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Most music today is recorded on a Digital Audio Workstation (DAW), the heart of which is a computer and recording software. A few of the major players in recording software today are Cubase by Steinberg Media Technology, Protools by Digidesign, Logic by Apple, and Sonar by Cakewalk. There are basically three things you can do with your DAW: record, edit, and mix. This article is focused on the first process, recording or 'laying down tracks.'

Since it's easy to be overwhelmed by the myriad features, options, and settings in today's recording software, I'll stick to the basics. My examples will use Cubase, since that's the recording software I use. However, the basic process will be similar with other recording programs.

Begin by installing your audio digital interface and recording software and setting them up to work together. For example: if you are using Cubase, go to the Devices menu, select the Device Setup window, and choose the software driver which came with your interface.

Now hook-up your instrument or microphone(s). Most instruments with audio outputs should plug into the -10 db input on your interface; the interface will then amplify the signal by ten decibels. Microphones will require amplification by a preamp (often abbreviated to pre), a feature built-into many digital audio interfaces. Most microphones will plug into the +4 db input, and the interface will pad or reduce the signal by four decibels.

Next, you'll setup your first recording project. In Cubase, choose New Project from the File menu. You'll be asked to specify a location to store your files. Be sure to create a new folder for each new project. Your recording software will then create subfolders as needed. Save your new project. Then set the recording quality for your project, that is the sampling frequency and bit depth. Select Project Setup on the Project menu in Cubase. Keep in mind that CDs use 44.1 kHz and 16 bit. Higher settings improve quality, but also dramatically increase the demand on your computer processor and the size of audio files generated and stored on your hard drive.

If you are familiar with mixing live sound and understand signal flow, you've got a great start on this next step. Create a new input bus (use VST Connections in Cubase's Devices menu). Choose mono configuration for an individual microphone and many instruments or stereo configuration if you're using two microphones or an instrument with Right and Left outputs. Set this bus to use the appropriate input from your audio digital interface. Now create a new audio track to record on (Add Track on the Cubase Project menu), and assign the input bus you just created to this track.

At this point you may elect to record your track dry, use an external digital signal processor (DSP) to enhance the signal (perhaps with compression, EQ, or reverb) prior to recording, or employ an insert to apply effects within Cubase. Plug-ins are either DSPs or virtual instruments designed to work together with your recording software. VST (Virtual Studio Technology) plug-ins work best with Cubase. Before purchasing plug-ins, check to see what plug-ins come pre-installed with your DAW software and what type(s) are compatible with your software. Cubase, for example, provides plug-ins for compression, EQ, reverb, and a variety of other commonly used effects. While major studios commonly apply compression and EQ to tracks before recording, it's quite acceptable and often preferable to record your tracks dry, then edit them later taking time to experiment and find just the right effects to enhance your recording. Consult your manual to learn how to insert plug-ins into the signal flow while recording.

As you begin recording, another important concept to understand is signal-to-noise ratio (SNR). Along with the voice or instrument you intend to record, you will virtually always also be recording a certain amount of ambient noise, including both noise from inside the room (such as a computer fan, fluorescent light ballast, or toe-tapping) and outside (such as wind or road noise). Your goal is to maximize the signal-to-noise ratio and thereby minimize unwanted noise to the point where it is undetectable. You do this both by sound isolation and by making your signal as loud and clear as possible without distortion.

Now it's time to record. Choose the track to which you will be recording, and make sure the correct input is assigned. Enable record or 'arm the track' by pushing the red button. Take a look at the meter on the transport panel (or click the monitor button) to make sure the signal is coming through. Use the fader to set the level for maximum SNR without distortion. Finally, press the record button to begin and the stop button to end recording.

That's not all! Play back your track and listen carefully to how it sounds. Don't be afraid to record multiple takes until you're completely satisfied. Even professionals record multiple takes. If fact, before you even record onto your first track, you may want to copy it and create several duplicate tracks to save steps in setting up tracks for multiple takes. You may also want to overdub, recording different sections separately to edit and mix later. For those who use Cubase, I've discovered some cool video tutorials on the web at www.maketunes.com/articles/cubase-tutorial-videos.

Happy recording!

When computers found their way into homes they were used for every possible and imaginable task. Audio recording was not an exception. First music software applications were promising but from today's perspective they were very modest. This was due to limitations of computers at that time. Now we have two main streams of personal computing: PC and MAC. Both are used in professional recording studios with plethora of complex software applications.

The 1980s was a very important decade for music production and recording. MIDI started to emerge, Yamaha introduced the DX7 synthesizer, some samplers like Akai S1000 were very poplar, and first music software applications were written for microcomputers popular at that time. Various software sequencers were written for Commodore C64, Sinclair ZX Spectrum and Apple II. A real breakthrough was Macintosh with graphical user interface. It had widows with icons and a mouse pointer. Mark of the Unicorn developed Performer, the first sequencer for Macintosh.

For the history of MIDI sequencers Atari ST was also important. Designed as a gaming computer with graphical user interface it featured also MIDI I/O and it was cheaper than Mac. Steinberg Cubase and Emagic Notator were first developed for Atari ST.

First PC software applications were Cakewalk MIDI sequencer and the SCORE music notation package. However, at that time PCs with first Windows were not so stable as these days and many musicians preferred Mac for which CODA's Finale software appeared at the end of 1980s. Cubase and Notator were also ported to Mac and PC platform.

In 1989 Digidesign introduced one of the first hard disk audio recording systems Sound Tools. It was a two-track recorder/editor used with Q-Sheet software. In 1990 the first MIDI and Audio sequencer was introduced. It was Opcode's Studio Vision and used Digidesign's Sound Tools hardware for audio. 4-channel Pro Tools appeared in 1992. There was also one not so popular microcomputer, the Acorn Archimedes with an interesting software called Sibelius. It was a score writing package which was also ported to Mac and PC. Later in the 90s Cubase VST (Steinberg ) and Logic Audio (Emagic) both implemented the notation features.

Computers became faster with more RAM and disk capacity so the next trend was multi-track recording. Steinberg worked on MIDI + Audio sequencers like Cubase VST (Virtual Studio Technology). Third-party developers welcomed the plug-in feature and a new market emerged. Emagic and Mark of the Unicorn also accepted the plug-in approach. In 1990s Pro Tools introduced 64-track system MIX with 16/24 bit audio at 44.1 or 48 kHz. At that time Cubase VST, Logic Audio and Pro Tools were all available on the PC platform.

In 1999 Steinberg introduced Nuendo. It offered 96 kHz recording and 5.1 surround audio. Pro Tools offered surround audio in 2002. At that time Pro Tools became a standard for professional recording studio software. Pro Tools 5.1 proved it's capability of recording MIDI sequences and audio tracks. It's user interface was simple and powerful for either recording, editing or mixing audio. At the same time Logic Audio was the most popular sequencer on the Mac platform. Digidesign introduced Pro Tools HD (sampling at 96/192 kHz) in 2002 when new operating system for Mac, OSX become available. Cubase SX and Logic Audio were also released for OSX. Pro Tools 6.0 for OSX become available in 2003.

Some ownership changes also occurred: Digidesign was acquired by Avid, Sony acquired Sonic Foundry, Emagic was acquired by Apple, Adobe acquired Syntrillium's Cool Edit Pro software and changed its name to Adobe Audition, and Steinberg was acquired by Pinnacle. Now every leading recording studio software runs on both popular platforms, PC and Mac. And stability is not an issue anymore.

One of the big players in professional audio recording is still Digidesign's Pro Tools. There are actually three flavors of Pro Tools, all of which share the same user interface and file format. The primary distinction is the hardware they complement. Pro Tools|HD runs on elite DSP-powered Pro Tools|HD hardware and is mainly used in professional environments, Pro Tools LE used in home studios works with a variety of Digidesign hardware including the Mbox 2 family and Pro Tools M-Powered delivers even more options via compatibility with dozens of M-Audio interfaces. Some audio engineers, producers and remixers use Pro Tools hardware with third-party software instead with the original Pro Tools software.

Computers and software in music recording and production are inevitable. We can hardly imagine working with analog tapes and mixers. Digital signal processing has raised audio technology to a new level. Personal computers have evolved to a level where everybody can afford a home recording studio. Cheap hard disks allow us to record unlimited number of tracks at arbitrary sample rate. Music recording has never been easier. There are also some disadvantages with this new technology. You can easily compress music and make it louder destroying the original dynamic and life it originally had. CD clipping is also very popular. However, the advantages of using computers in recording studios are huge. You only need the right software and some skills.

The Olympus VN-4100PC digital voice recorder is a phenomenal piece of equipment for the price. It measures 4 inches tall, by 1.25 inches wide, and .5 inch thick, so it is easily portable. On the highest recording quality setting, there is 11 hours and 42 minutes of record time available. On the lowest setting, 144 hours and 28 minutes of recording time is available. The recorder runs of two triple-A batteries and lasts about 50 hours on one set of batteries. When you open the box, you will find the Olympus VN-4100PC recorder, the USB cable, the instillation CD and two manuals. One manual for the recorder and the second for the audio enhancement software.

The interface of the recorder is easy to use and navigate your way around the menus. There are buttons stop, record, erase, display menu, change folder, play, and one button that functions to fast forward, reverse, and to lower or increase the volume. I know the last four sound confusing being on one button, but it is not.

There are four folders to use, A, B, C, and D. These make it easier to organize the audio files recorder. After an investigation when I get home I download all of the files to my computer, than organize them, so I only use folder A. If an investigator is in a situation where they are performing more than one investigation at a time, they can use a folder for each investigation.

Under the menu settings, you can change the recording quality, the microphone quality, voice activation on or off, the beep noise on or off, the time, and a timer for when the recording starts or stops. The timer is amazing for investigations when an investigator cannot be there to psychically use the recorder. Such as if an investigator needs to be recording in a haunted location from 3 to 5, when the most activity is reported, but they have the recorder in a different room, the recorder starts and ends itself automatically.

A feature to cut down on the battery usage is the voice activation. This way, you can set the recorder down, and it begins to record when it picks up noise. After the noise ends, the recorder stops, until noise is picked up again.

After you are finished recording and are back at your computer, it is easy to download the files. After you connect the recorder to your computer using the supplied USB cable, synchronizing files automatically begins. The one flaw I found with the recorder is that the upload time is long. If you only have an hour recording it will not take long. If it reaches the 3 hour point and beyond, expect to be waiting. Normally, when this happens, I will go do something else so I am not sitting and waiting. Now, there have been reports about the recorder deleting files as they are being downloaded, and being lost.

I have not had this happen a single time, and I have uploaded about 100 files, ranging from 30 minutes in length, to 8 hours. My computer is an HP Pavilion dv6000 laptop, and it runs off of Windows Vista. I do not know whether the problems reported have been truly due to the Olympus VN-4100PC, or if it was a problem with the user's computer. I personally do not think it is a problem with the recorder, since it has never happened to me.

I do highly recommend the Olympus VN-4100PC digital voice recorder. For the price of it, it is more than worth your money. Its slim profile allows it to be portable without taking up much room in your pocket, and produces clean and crisp audio.