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From Novice to Pro: Navigating the World of Home Recording for Audio Engineers

Embarking on a journey in home recording is an exciting endeavor that opens up a world of possibilities for audio engineers of all skill levels from novice to pro. Whether you’re taking your first steps or looking to elevate your expertise, this guide will serve as your compass through the intricate landscape of home recording. With clear and straightforward insights, we’ll navigate through essential concepts, gear recommendations, and practical techniques to help you transition from a novice to pro audio engineer.

The Foundation: Understanding Home Recording Basics

Before diving into the technical intricacies, let’s establish a solid foundation. Explore the purpose of home recording, the significance of capturing high-quality audio, and how it fits into the broader world of audio engineering.

Essential Gear for Your Home Recording Studio

Creating a functional home recording studio doesn’t require a multitude of equipment. Discover the key essentials that form the core of your setup. From microphones and headphones to audio interfaces and digital audio workstations (DAWs), we’ll guide you through smart gear choices that align with your goals.

When it comes to DAWs there is no good or bad anymore. It’s just about personal preferences and needs. When there is an audible difference between modern DAWs it does not play a significant role in the whole process. There are some kind of genre related industry standards. Or it’s more about engineers who are working with a lot of physical recorded stuff tend to use another DAW than engineers who do a lot of electronic / digital production.

Talking for myself: I’m a cubase user since my first hour. As a teenager I made a couple recordings during the guitar lessons. Starting out with an analog 8-track tape recorder we started with a very early cubase version. This happend during the 90’s. Since then I stuck to cubase for a comfort reason.

You can start with a cubase version like this (click here) and upgrade with your needs. Or you could try reaper. It’s a very good DAW and because of it’s an open source project it’s available at a cheap description model: Try reaper here.

Demystifying Acoustics and Room Treatment

Understanding acoustics is pivotal to achieving pristine sound recordings. Delve into the basics of sound waves, reflections, and resonances. Learn how to optimize your recording environment with simple and cost-effective room treatment solutions. Room treatment is important for multiple reasons but at the same time not too important at all. It’s almost more important to really know your room and it’s sonic behaviors. It really helps to listen to music a lot at the place you want to mix music. What also helps a lot is to measure your room. Take a look at the measurements and try to listen for the result when you just listen to music.

Recording Techniques for Every Situation

Recording different instruments and vocals demands versatile techniques. Explore step-by-step guides for recording vocals, acoustic instruments, electric guitars, and more. Gain the confidence to tackle any recording scenario and capture the essence of each performance.

Elevating Your Mix: Introduction to Mixing and Editing

Step into the world of mixing and editing with a beginner-friendly approach. Uncover the art of EQ adjustments, dynamic processing, and panning. Learn to edit audio clips, remove imperfections, and create seamless transitions. There are really a lot of possibilities in the modern world of audio production. It’s a big advantage of the digital age but can also be big disadvantage at the same time. Having too many possibilities can actually lead to lack of creativity. Limiting your digital toolbox helps to make creative decisions. It’s the same about timing and pitch editing. These days we can easily make vocals technically perfect, but technically perfect doesn’t sound natural and does not transport emotions very well. It might be necessary to edit vocals pitch and timing wise but making them perfect can be contra productive. Same when it’s about drums. Slightly off timing might give the whole performance some kind of a human touch every ow and then. It’s about finding the right amount that fits the song you’re working on.

The Art of Polishing: Mastering Your Recordings

Mastering adds the final touch to your recordings, ensuring they sound consistent and professional across different platforms. Explore the basics of mastering, from maximizing loudness to finalizing the track order for an album or EP release.

Troubleshooting and Optimizing Your Home Recordings

As you progress, challenges may arise. Learn to troubleshoot common issues like background noise, phase problems, and clipping. Discover optimization techniques to streamline your workflow and enhance your productivity. Keep in mind that’s not all about right’s and wrong’s or technical do’s and don’ts. It’s still art, we are producing music. Trust your ears, train your ears and develop your own style. Learn about the industry standards but see them as a kind of frame you can really be creative within. Download our Free Signature Sound Cheat Sheet here to learn more about some steps that might help you creating your own individual style.


Creating Studio-Quality Sound at Home: A Comprehensive Guide for Audio Engineers

The dream of achieving studio-quality sound right from the comfort of your home is now a reality for audio engineers. With advancements in technology and a wealth of knowledge at your fingertips, creating impeccable recordings in your bedroom studio has never been more attainable. In this comprehensive guide, we’ll take you through a step-by-step journey to help you craft studio-grade soundscapes that rival professional recording studios.

The Fundamentals of Sound Quality

Before diving into the technical aspects, it’s essential to understand the core principles of sound quality. Explore concepts like frequency, amplitude, and dynamic range. Learn how these elements interact to shape the sonic character of your recordings. You don’t necessarily have to study audio engineering at an dedicated school. You can also learn the basic yourself due to YouTube tutorials for example. But you need any kind of system and some basic fundamentals about sound processing, sonic behaviors and such to really understand what you are actually doing.

Building a Budget-Friendly Home Recording Setup

Creating a high-quality home recording setup doesn’t necessarily require breaking the bank. Discover cost-effective alternatives for microphones, audio interfaces, and other essential equipment. Uncover strategies to make the most of your budget while still achieving exceptional results.

Our recommendations when it comes to audio interfaces is the Steinberg series. One of it’s benefits is that it has Digital Sound Processors (DSP’s) build in. This helps you at recording because the Interface DSP’s handele Plugins without latency. The size of the interface you need depends on what you are about to do it with it. How many mics you’d like to record simultaneously or how many outboard gear you’d like to run later on. Just a little side-note: plan bigger than you might think you need. We all grow and with that our needs get bigger. Click here to learn more about the Steinberg Interfaces.

Recording Techniques for Crystal-Clear Audio

Effective recording techniques are at the heart of capturing pristine audio. Delve into microphone placement techniques for various instruments and vocal recordings. Understand the significance of proper gain staging and how it affects the clarity of your recordings.

Mixing and Mastering Like a Pro

Take your recordings to the next level by mastering the art of mixing and mastering. Explore techniques for EQ, compression, panning, and more to create a balanced and immersive mix. Learn the intricacies of mastering to ensure your tracks sound polished and consistent across different playback systems.

But keep in mind: producing music is an art form. It’s not only about technicalities or right and wrong. It’s about music. Try to develop your own signature sound. Click here to learn how to develop your own signature sound.

Troubleshooting Common Sound Issues

Even the most skilled audio engineers encounter challenges along the way. This section will help you troubleshoot common sound issues such as background noise, phase cancellation, and unwanted resonances. Equip yourself with problem-solving skills to overcome obstacles and achieve top-notch recordings.

Mastering the Art of Home Recording: Essential Tips for Audio Engineers

Recording Acoustic Guitar

In the dynamic world of audio engineering, the ability to create professional-quality recordings from the comfort of your own home has become more accessible than ever. Whether you’re an aspiring audio engineer or a seasoned pro, mastering the art of home recording is a valuable skill that can take your musical creations to new heights. In this comprehensive guide, we’ll delve into essential tips and techniques that will empower you to achieve outstanding results right from your bedroom studio.

Setting Up Your Home Studio for Success

When it comes to home recording, the right setup can make all the difference. Start by designating a dedicated space for your studio, ensuring minimal external noise and distractions. Invest in ergonomic furniture and acoustic treatment to create an environment conducive to creativity and precision.

Choosing the Right Microphones and Monitors

Selecting the appropriate microphones and monitors is key to capturing and reproducing high-quality audio. Research different microphone types and polar patterns to match your recording needs. Additionally, invest in reliable studio monitors that provide accurate sound representation, aiding in precise mixing and editing.

Talking about Monitors: at our studio we trust our Yamaha HS 5, these are great monitors for smaller rooms. As soon as you learned to know them by simply listening to music you know at your mixing place, they will help you very well identifying problems or making your mix translate to other listening situations.

Yamaha HS 5 Studio Monitors

Click here to grab your studio monitors at musicstore

Understanding Acoustics and Soundproofing

Acoustic treatment plays a pivotal role in achieving professional sound quality. Learn about sound reflection, absorption, and diffusion to optimize your room’s acoustics. Implement soundproofing techniques to prevent unwanted noise from entering or leaving your studio, ensuring clean recordings.

Mastering Mixing and Editing Techniques

Home recording isn’t just about capturing audio; it’s about shaping and refining it during the mixing and editing stages. Dive into the world of EQ, compression, and reverb to balance and enhance your recordings. Explore editing tools to remove imperfections and create polished tracks.

By the way: if you are interested in learning more about mixing techniques, next to our blog, you can find some in depth tutorials at our YouTube Channel

Leveraging Virtual Instruments and Plugins

Maximize your creative potential by integrating virtual instruments and plugins into your recordings. These tools offer a wide array of sounds and effects that can elevate your productions. Learn how to use virtual instruments to compose music and enhance your tracks with versatile plugins.

As I started out I was overwhelmed about all that offers you can find online about plugins and such. I could not decide which ones I need, how much money to spend on them etc. For you to help: you can start with waves plugins. They have a huge amount of professional plugins for absolutely fair prices. Click here to check out some waves plugins.

How to find a good starting point for the vocal volume

After we went through some point to find a good bass volume in the previous blog article / video, we are heading over to find a good starting point for the vocal volume right now.

Hit the following link just in case you missed the previous blog post / video:

How to find a good starting point for the bass volume

Vocal Volume – where to start

First of all make sure your vocals are a little more consistent when it comes to dynamics. Even when we are in the static mix phase right now get rid of some unwanted frequencies in your vocal tracks and make sure the wanted frequencies are audible. After that compress your vocals a little do get some control about the dynamics. When your vocals are reasonably stable and not jumping up and down in volume too much, you can get over to the next step.

Just a quick reminder: this is not about finally polishing your vocals, this is just about finding a good starting point. So don’t play around with that too much. Just make quick decisions that feel good to you.

Vocal fader down

Now turn down your vocal fader. After that bring down your monitoring volume that much, that you can barely hear the snare drum and the most important parts of the song so far.

Now you are ready to bring up the vocals again. Listen for the snare drum compared to the overall vocal level. You want to bring up the vocals so far that they are just about the same level like the snare drum. But even when your monitoring volume is that quiet your snare and the vocals should not compete each other. Both should be about the same level but the snare drum should not distract you from listening to the vocals.

If so, you can bring up the monitoring volume again to your normal level. Now your vocals should have a good place to be in the mix as your starting point. The vocals should be audible right in the mix, not on top and it should not compete with the snare or any other element.

And that’s it

If you have followed these steps from the blog posts / videos, you should now have a rough drum mix, a proper starting point for your bass and now also a good starting point for your vocal volume.

Important: check these balances all the time through further mixing. Every step you do next, might also affect these balances. For example when you add some saturation to your vocals it might make them a significant amount louder. Same thing when you compress your bass mix bus to make it even more consistent for example. It might bring up the bass volume.

But keep also in mind: these are just ideas for the starting point. When you have dialed in your vocal volume like I’ve explained above and it doesn’t feel right for you and that particular song because the vocals seems to be very quiet, go for it ant make them louder. Trust your ears and not what you someone else might tell you, even when it’s me ๐Ÿ™‚


Vocal Volume YouTube Video

Bass Volume YouTube Video

Sheps Omni Channel 2 for vocal volume

In the video I’ve used the Sheps Omni Channel 2 Plugin for my goto channel strip plugin to quickly dial in an EQ and a Compressor for the vocals. If you want to try the Sheps Omni Channel, you can find it here at waves.com

How to find a good starting point for the bass volume

How to find a good starting point for the bass volume

One of the most important parts of mixing is setting up a really good rough / static mix right at the beginning. But sometimes it’s not that easy to find the right balances. Especially the bass volume can be hard to place right.

Here is a simple method to find a good starting point for the bass. The trick is so et up the kick and the bass in a way that they add up together about 3db.

And here is how to to it:

Do the drums first

Start with the drums and do a quick rough mix just for the drums. Set up a dedicated drums mix bus and keep in mind to not exceed -14 db on the drums mix bus to leave enough head room for the actual mixing.

Double the bass

The next step is to double the bass track and set up another mix bus for both bass tracks. One of the bass tracks is just for the low end so you need to set up low pass / high cut filter at the frequency that is about the double frequency of the fundamental root note. Let’s say your fundamental root note is at about 49 hz, you need to set up the low pass / high cut filter at about 100 hz. You need to do the opposite thing at the other bass track for the high end.

Set up a low cut / high pass filter for the high bass track at 100 hz too. Choose steep flanks for both filters, something about 24db/octave.

splitting the bass onto to tracks. One for the low end and one for the high frequencies.
Use high pass / low cut and low pass / high cut filters to just let through the frequencies you need for each channel.

PreOut Channel

Set up another group bus for the drums mix and the bass mix together. On this PreOut mix bus you need a VU meter. In best cases a VU meter with an input volume knob.

Setting the bass volume

Now solo the kick drum and set up the VU meter on the preout bus that the kick is peaking at about -3db. After that bring in the bass, but with the fader on the bass mix bus all the way down. Now bring up the fader to a point that the VU meter where kick and bass together peak at about 0db.

After that remove the VU meter plugin from the preout bus so that you are at it’s original volume again.

Now you have a good starting point for your bass volume to move on

Now you’re bass should be at a good starting point to move on with the mixing process. It might not be the final level and for sure there are a couple steps more to go through, but now your bass is at a level where you can make good decisions for the rest of the mix.


Plugins I’ve used in the video

As VU Meter Plugin I have used the “CLA Mixdown” Plugin from waves. This Plugin has an input control. But any other VU meter plugin should also work for this. Even when it has no input control. In that case you can increase the pregain of the channel in cubase or use another gain plugin for other DAW’s.

In the video I’ve also used the MV2 compressor plugin from waves for the low end channel of the bass to get it more consistent.

You can find both plugins here (click here)

Other Gear from the video

DAW Controller
https://www.musicstore.de/de_DE/EUR/Behringer-X-Touch-USB/art-PAH0015337-000?ProgramUUID=PlMKAQMEnTMAAAGKWd9awRwd&campaign=affiliate/s-l-s

Cubase 12 Pro
https://www.musicstore.de/de_DE/EUR/Steinberg-Cubase-Pro-12-Retail-Boxed/art-PCM0017286-000?ProgramUUID=PlMKAQMEnTMAAAGKWd9awRwd&campaign=affiliate/s-l-s

Yamaha AG06
https://www.musicstore.de/de_DE/EUR/Yamaha-AG06-MK2-White/art-REC0016008-000?ProgramUUID=PlMKAQMEnTMAAAGKWd9awRwd&campaign=affiliate/s-l-s

UR44C
https://www.musicstore.de/de_DE/EUR/Steinberg-UR44C/art-PCM0015991-000?ProgramUUID=PlMKAQMEnTMAAAGKWd9awRwd&campaign=affiliate/s-l-s


Your own signature sound

You’re struggling to develop your own signature sound? Grab our free signature sound cheat sheet to help you with this.

Signature Sound Cheat Sheet

Bridging the Twang and Rebellion:

Toby Schuetgens’ Journey as the Unconventional Audio Engineer

Rebellious spirit of punk rock

In the heart of Germany, a land brimming with history and culture, Toby Schuetgens came into the world where he is nowadays bridging Twang and Rebellion during his work as a professional audio engineer specialized in mixing and mastering country and punk. Born with an unyielding spirit and a love for all things music, Toby’s journey was destined to take him beyond the borders of his birthplace.Growing up in the ’80s and attending school during the vibrant ’90s, Toby found solace in the melodies and rebellious spirit of punk rock. It was during those formative years that he attended his very first punk rock concert, where the pounding drums, blistering guitars, and charged atmosphere sparked a fire within him. The energy of punk spoke to Toby’s restless soul, igniting a passion that would shape his future.

Yet Toby’s heart yearned for more than just punk rock. A unique twist of fate led him to a parallel world, far removed from mosh pits and raucous crowds.

Timeless melodies of country music

After school, he found himself immersed in the world of Western horse training, where the bond between man and animal, the vast expanse of open landscapes, and the timeless melodies of country music enchanted him. Amidst the gentle rhythms of galloping horses, Toby discovered a profound connection with the heartfelt storytelling of country songs. These tunes captured the essence of his own journey, resonating with the longing he felt to be pulled toward a land across the ocean.

While Germany was his birthplace, Toby always sensed a magnetic force drawing him to the United States. It was a place where the country twang met the rebel roar, where his love for both country and punk music would intertwine and flourish.With a burning desire to explore his passions further, Toby embarked on a new adventure just a few months agoโ€”his foray into the world of audio engineering.

Although he was still at the beginning of his career, his unyielding spirit and insatiable appetite for knowledge propelled him forward. Toby’s innate understanding of punk rock’s raw energy and country music’s heartfelt storytelling became his guiding light as he honed his skills behind the soundboard.

More alive than ever before

Toby was more alive than ever before, breathing life into the music he loved with each mix and production he undertook. He felt a sense of purpose, knowing that he had found his calling in the convergence of country and punk. Through his talent, he aimed to create a sonic tapestry that would transport listeners, evoking the rawness of punk’s rebellious spirit and the emotional depth of country’s heartfelt tales.Though his journey was only just beginning, Toby’s boundless passion and unwavering dedication endeared him to fellow musicians and industry professionals alike. They recognized the spark within him and eagerly sought his expertise, eager to collaborate with a rising star who understood the intricate dance between country and punk music.

As Toby embraced his newfound path as an audio engineer, the bridge between Germany and the United States grew stronger. His dream of crossing the Atlantic, both physically and musically, started to manifest. He yearned to immerse himself in the thriving music scenes of Nashville, Austin, and beyondโ€”places where his dual loves of country and punk converged harmoniously.

Audio engineer for Country & Punk

Toby Schuetgens, the German-born audio engineer, was no longer confined by the borders of his birthplace. With a heart pulsating to the rhythms of punk and a soul longing for the vast landscapes of country music, he had found his true homeโ€”a place where his unique blend of passions could flourish, and where the sound waves he crafted would resonate with the world.And so, Toby’s story continued, brimming with the promise of adventure and creativity. With each passing day, he moved closer to the realization of his dreams, leaving an indelible mark on the music industry as he blazed a trail as a masterful audio engineerโ€”an artist who seamlessly blended the rebel spirit of punk and the heartfelt honesty of country, defying boundaries and forging a new musical frontier.

What is a “hybrid studio”?

First of all itยดs about analog and digital equipment used in a studio. You can mix music entirely on a computer (aka “in the box”) these days. There is actually no need of analog gear except from a AD/DA converter (converts analog audio signals into digital audio signals and the other way around).

In the early days, when there have not been computers in a studio, it was all analog. Huge analog consoles and lots of analog audio processing electronics. So there are actually two domains: analog mixing and digital mixing.

The big benefits we have today is to combine best of both worlds. And in this case we are talking about a “hybrid studio”. In a hybrid studio setup is most commonly a computer the center of the whole production. But next to the computer there is also analog outboard gear used to take over on specific reasons.

Advantages of analog gear
Even we have lots of possibilities in recreating and emulating special sounds on a digital basis, there are always some reasons to use the original analog gear once in a time. And the main reason is “character”. Analog gear does react to the sound in another way than digital software does. Depending on how hard you hit analog gear with an incoming signal it may add distortion and / or saturation to the signal in a musical way. Especially when it comes to compressors for example. Using an analog compressor is something else than using an digital compressor. What does not mean that digital compressors arenยดt good, they are just different.

Disadvantages of analog gear
The special character of analog gear has some disadvantages where working in the box is a lot easier. First of all itยดs the possibility to recreate an earlier setting. Or just a recall of an earlier setting. When it comes to software driven equipment you can easily save your settings and reload it every time you need it. On analog gear you have to take notes or photos of the settings and you have to save them anywhere. To reset the settings you have to pull up these notes and you have to go through every single parameter to set it up the way it was before.

The next disadvantage is simply space. Analog gear might take a lot of space. And when you just need it once in a while itยดs just a lot of dead space you could better use for something else. Next to the space, the price is also a big disadvantage. Real good analog gear just has still itยดs price. Itยดs the purchase, the maintenance and the electricity.

Advantages of mixing in the box
Mixing in a box has definitely itยดs advantages these days. Once you are familiar with it and know your DAW (Digital Audio Workstation) in and out you really can make a lot of really good sounding music just on a laptop. The entrance into it isnยดt that expensive as it would be on analog gear, you need less space and you can always save and open it up again.

Disadvantages of mixing in the box
But even when itยดs so much easier in some cases in the box there are also some disadvantages. To get the best out of it you really need to know how to use it and how to create a good sound. Sure it is the same when it comes to analog gear but one of the problems of mixing in the box in this case is the huge amount of possibilities. Letยดs take the example from above: a compressor. In an analog studio you might have a couple compressors and you have to decide about what could benefit the most from it. In the box you could easily use 10 different compressors on every single channel. But does that help? Certainly not.

When you use analog gear it adds a certain sound to a specific signal. It may do things to the audio that just sound good, even you donยดt know what this thing is actually doing. An audio signal in the box is what it is. It sounds like the mic or the DI box has captured it and you need to dial a couple things in to make it sound really good. Donยดt get me wrong both worlds assume some knowledge, but it feels like the analog domain is a little more natural than the digital domain what might make it a little more easier to achieve a sound that we are used to.

Combining both worlds
Luckily we are in a good situation these days. We donยดt have to limit ourselves on one of both worlds. We can just hook them up together to mix in a box WITH analog outboard gear. And in my humble opinion this is the best we can do these days. When can mix a complete song in a box but when itยดs necessary we can easily add analog character to it on the flight. And that is what a hybrid studio matters. A computer in the center of it all and some selected analog gear to add in to taste.

Corrective Room EQ

Corrective Room EQ

Monitor / Room Frequency Response Measurement

In some cases it absolutely makes sense to use an additional corrective room EQ even you have a well treated room from the audio perspective. A room EQ might be easier to set up than a very good acoustic treatment for your room but it also has itยดs disadvantages.

How a room EQ works

A room EQ is set as the last peace in your output chain directly before the monitors. What the room EQ is than doing is to adjust the frequencies so that the result is an almost flat response. A corrective room EQ can not replace a good acoustic treatment in your room, but it should be seen as a additional supplement in some cases. To make it all possible you have to measure your room before to give the room EQ the proper information it needs to adjust the frequencies. For example it needs to know if you have any kind of standing waves in your room, the EQ can than disable by lowering the output for the specific frequency range.

So you need a measuring microphone and a software to measure the frequency response of your room. The software I use is “Sonarworks SoundID reference”. This is an all in one solution, depending on the package it also includes a measuring microphone. It also contains the measuring software as well as the final room EQ you can run as a standalone solution on your device but also as a VST Plugin within your DAW.


Sonarworks SoundID reference

If you want to check out Sonarworks SoundID reference software hit one of the following links depending on your location:

link for the USD offer

link for the EUR offer


Room Measuring

After you have installed the software you have to connect the microphone to your interface. Simply follow the instructions from the software for the proper setup for your system.

Is everything set up correctly the measurement can begin. The software will now send a click sound through your monitors which is caught by the microphone to locate the position of the microphone. Once the position is located the software runs a frequency sweep through the monitors. Now the microphone can measure the room response of the frequency sweep at a specific position. This progress will be repeated for about 30 locations in your room. This will bring enough data to the software to finally set up the room EQ.

Measuring Results

The picture above is the result of my latest room measurement. As you can see it is everything else than flat. As I have expected the is some trouble going on in the low end, as well as a build up in the top end. And even the mid range has itยดs ups and downs.

This pictures shows you the calibration the EQ does with the data from the measurement to achieve an almost flat frequency resonse.

And this is the result of the measurement and the final room EQ. Itยดs almost completely flat from about 100 Hz up to the top. Everything below 80 Hz canยดt be flat in my case because of the monitors. They canยดt reproduce a solid low end and Iยดm not using an additional subwoofer. Something that isnยดt there canยดt be fixed with a room EQ.

Disadvantages from a room EQ

You have always to check back the room EQ. Because it can bring some problems in. For example phase problems. The more an EQ has to change frequencies, the more it can lead to phase cancellations.

The next thing is a small latency between the right and the left monitor for example. Sometimes there can be false information within the measurement process and when the room EQ tries to fix latency or delay problems, which hasnยดt been a real problem before, can lead to problems with the stereo image and the perceived stereo center.

For example: to place a vocal directly into the middle between two speakers itยดs necessary to reproduce the same signal at the same time on both speakers. When the room EQ tries to fix a delay problem, and delays a signal, even when itยดs just a couple milliseconds, it will loose the perceived stereo center and it feels like the vocals appear more on the left and the right side.

Conclusion: Corrective Room EQ

All in all it really can help a lot and can make a huge difference in some circumstances. A room EQ can help to improve your monitor situation in your room and it can also identify some problems. But it also is very important to know your room and your monitors and to check back with reference tracks for example. When you have bad monitors in an untreated room, the room EQ can not hep you that much. The most important thing is the room treatment, the next important thing are the monitors itself and than afterwards you can bring the room EQ into the game.

What is an independent or indie artist?

home recording

An independent or indie artist is an artist who publish his music on his own. An independent artist is so to say self-employed, an entrepreneur, in the music business who is doing, next to the whole music thing, the management and the marketing for example.

Modern music industry

These days it is as easy to publish music as it never was before. Everyone who has a computer with an internet connection can upload music to the common music streaming platforms at almost zero costs.

Also music production became way easier than let’s say 20 years ago. Modern technology makes it possible, that these huge recording studios are not absolutely necessary.

That’s why many artists start to record their music on their own in the rehearsal room for example. That makes record deals almost unnecessary.

These artists who publish their own music on their own are called independent artists or easily indie artists (has nothing necessarily to do with the genre). Because that is what they are: independent.

The complete business

But that also means they have to do everything else what’s around the music as well on their own.

They have to be the songwriters, the Instrumentalists and vocalists, the producers and often also the engineers.

But next to it they have to be managers, booking agents, artwork creatives, marketing experts and so on.

Itยดs not just writing songs, playing an instrument and to sing along. You have also to record the songs in a quality that is comfortable to listen to and carries the emotion of the song. Also you have to mix and arrange the song in a good structure, that fits the art on the one hand but also makes it possible to sell the song. After that you have to make it fit to streaming platforms or CD formats and to be sure it sounds the best it can on all different devices. Not to forget that old kitchen radio and modern bluetooth speakers.

But after that the job ainยดt done. Actually the hard works starts right now. Because all the work isnยดt it worth when nobody listens to the songs. So you have to make sure to get it heard. You have to make the artwork for the song, the video(s), you have to provide the platforms with the lyrics and additional informations. You have to send it to curators for playlists and radio stations and so on. You have to manage the library so that the older songs are not forgotten over the newer releases. You have to engage with the fans.

I think you can slowly imagine whatยดs all connected to it.

A lot of hard work

All together is really a lot of work. It needs a lot of organisation to get it all done and stay creative at the same time.

It can also cost a lot of money. Especially in the beginning. And also especially in the beginning the return on investment is, let’s say, unavailable.

Let’s talk numbers

You know what an artist gets per stream? It’s currently about 0,003 $ per stream, but only when you listen to at least 30 seconds of the song. That has changed the whole structure of modern music and release strategies. It’s necessary to keep the intros short and to enter the first chorus within these first 30 seconds. Also the whole songs are getting shorter as what they used to be before the streaming era. When a song is about 6 minutes long you get also 0.003 $ per stream. So when a song would only be 3 minutes long you could double the amount of return when two streams are counted in the same time.

So let’s say you need about 1,500 $ to make an average living. In streams it would be 500.000 streams. And to reach 500.000 streams on a monthly basis is really a lot of hard work. Especially when you think of that are about 60.000 new songs are uploaded to Spotify daily.

Everything has it’s pros and cons. It has never been easier to be an independent artist but to make a living out of it seems to be more difficult than it has ever been before. That’s why signing a contract on a huge label definitely has it’s right to exist.

What you can do to support your favorite independent artist

Software driven platforms

It’s all about the algorithms. Not only social media but streaming platforms as well are algorithm driven. All these platforms make a living of their users. So they will keep you on their platform as long as possible. To achieve this, it is necessary that you are given the content you are really interested in. And that is where the algorithms comes in. The software analysis you as the customer and the content to find the best next fit.

But the algorithms can not work without proper data. And that is where you come in turn. Because of there is not data available for new artists and new music. But you can help to gain that data without any costs.

What you can do for free

Hit the like buttons on the songs you like, share them with your friends and family and also in your own playlists. Feed the algorithms with proper data so that it can come to work and suggest the new songs to others listener that might like the music to gain streams.

It’s also important to make connections. Add new songs together with other artists that fit together in your playlist. Also cross over to social media, like and comment posts. A huge impact would be when you name artists together. For example in a story “hey I found this great track from artist a. It sounds a little similar to this track from artist b”. You know what I mean?

Follow your artists on their social media accounts and even better join their email lists because it also helps a lot to stay in tune on upcoming releases. It’s important how many streams and songs gets especially in the first hours. If there are enough streams in a short period of time the algorithms notice that and become aware of what is happening with this special song.

So it’s up to you to support your favorite artists and help them out to keep up with making and publishing new music. They don’t have these huge marketing budgets to buy into the proper data for the algorithms or drive huge campaigns on their releases. They are reliant on you, on their fans.

Talking for myself as being an independent artist as well: thank you very much for your support so far. You all make it possible for me to do what I love to do! Canยดt say it often enough: Thank you ๐Ÿ™‚

Human Mastering vs. AI Mastering

Introducing the Artistry of Human Mastering: Elevating Music to New Heights

In an era defined by technological advancements, the power of AI has undeniably made its mark across various domains. However, when it comes to the nuanced craft of music mastering, human expertise remains unparalleled. Here’s why:

1. Aesthetic Sensibility: Mastering music is not solely about achieving technical perfection; it involves infusing emotion, creativity, and subjective interpretation. Human mastering engineers possess an inherent ability to understand the artistic intent behind a composition, allowing them to tailor the mastering process to enhance the desired emotional impact. Their trained ears and musical sensibility enable them to make delicate adjustments, applying subtle nuances that AI algorithms may struggle to capture.

2. Contextual Understanding: Music is deeply influenced by cultural, historical, and genre-specific contexts. Human mastering engineers possess an extensive knowledge of diverse musical styles, ensuring that the mastering process respects and aligns with the conventions and expectations of the intended audience. This contextual understanding enables them to make informed decisions about tonal balance, dynamic range, and overall fidelity, resulting in a polished product that resonates with the listeners.

3. Collaboration and Communication: Mastering is a collaborative effort between the artist and the engineer. By working hand-in-hand, human mastering engineers build relationships with artists, gaining insight into their vision and aspirations. This collaborative approach allows for effective communication and the ability to adapt the mastering process to meet the artist’s specific needs. The invaluable exchange of ideas and feedback fosters an environment of mutual trust, where the artist’s unique identity is preserved and enhanced.

4. Flexibility and Adaptability: Music often calls for unconventional techniques, experimental sounds, and distinct sonic signatures. Human mastering engineers possess the flexibility to adapt their approach, thinking outside the box to bring out the best in each composition. They have the ability to experiment, iterate, and explore different possibilities, tailoring the mastering process to suit the unique characteristics of the music, resulting in a final product that is truly distinctive.

5. Legacy and Expertise: Throughout history, music has been shaped and elevated by the hands of skilled mastering engineers. They carry with them a rich legacy of experience, knowledge, and techniques passed down through generations. This accumulated wisdom, combined with their adaptability to modern tools and technology, allows human mastering engineers to provide a holistic approach that respects tradition while embracing innovation.

While AI mastering undoubtedly offers convenience and efficiency, the human touch remains an irreplaceable aspect of the mastering process. It is this blend of technical mastery, artistic sensibility, and collaborative spirit that enables human mastering engineers to bring out the full potential of every musical composition, creating an immersive and transcendent listening experience.