By Guest Blogger Endy Daniyanto

Let’s just get straight to it! These are the main components you need to have a functional studio:

1. Microphones. The mic’s single purpose is to convert the mechanical energy it receives from sound sources into electrical energy so that you can record the signal using analog or digital gear. There are two major types of mics: dynamic mics and condenser mics. The difference between the two is in the mechanism each mic uses to convert vibrations into electricity. Generally, condenser mics have a higher sensitivity than dynamic mics and are therefore often used when recording sound sources with delicate high frequency content, such as acoustic guitars.

2. Preamps. They function to strengthen the signal coming from the mic to a level high enough that is good for audio reproduction (from mic-level to line-level). These are the babies that can bring your signature sound into the song (amongst other later components in the signal chain). Every brand of pre-amp has their own coloring and characters. Even the low end budget ones can have their use when unique situations arise. Pre-amps to audio are like lenses to visual – they determine whether the image is sharp or blurry. Granted, pre-amps that give sharp definition transparent sounds are expensive, but an engineer always understands first that different situations call for different measures. Sometimes the lower end budget gear might just be what we’re looking for.

3. Soundcards/converters. When we talk digital music production, this is the third device you need in your signal chain. The converter’s task (sometimes called as soundcards) is to convert the electrical signal from the mic into digital bits (analog to digital conversion, or A/D). In a modest home studio, usually the converter acts both ways (A to D, and D to A), but in higher end studios the engineer may use separate devices for each conversion process to maintain a higher audio reproduction fidelity. You can use soundcards that are only converters, or use audio interfaces – converters and preamps bundled into one piece of hardware. Audio interfaces come in USB or FireWire form, each with their own necessities and advantages. It can’t be said that one is better than the either – it depends on the use and specification of the product.

4. Computer (or hard disk recorder). Obviously, all those bits need to be stored somewhere – this is where your computer comes into play. Normally, being a home studio enthusiast starts out as a hobby. It’s fortunate that almost any computer purchased during the Pentium IV era (sometimes even PIII) can be used as an adequate starting computer to produce music. This works by you recording the sounds into your hard disk as WAV or AIFF files. But as you develop your skills, you might want to upgrade to a computer that is specially designed and manufactured to be able to handle heavy use of audio data and editing. There is a debate on whether a PC or Mac is better for studio use, but the subject is completely dependent on the personal taste, preference, and commercial needs of the musician or engineer.

5. Monitor speakers. Not your average multimedia speakers you can get at the computer shop (although you can start out with those also). To produce acceptable quality music, investing in a good pair of monitors is a minimum. Monitors can range from a very modest US$300 a pair to thousands even tens of thousands for the higher end ones (used in the most professional studio environments). Good monitors allow you to listen to the music accurately, as it is, without introducing artifacts or coloring. The purpose of mixing is so that the song you produce sounds the same when played back using various playback systems (from boom boxes, to home theater sound systems). Using headphones is considered bad practice, although some engineers claim they can mix well using headphones only.

6. Room acoustics. Unfortunately, the majority of beginning home engineers don’t understand the importance of room acoustics. Acoustics is to music like light is to photography – the manipulation of these elements separate the pros from the amateurs. A good studio acoustic design may cost as much as half the cost to build the studio, but the results are often worth the investment (assuming you’ve done your homework). Many engineers, even pro ones, invest substantially in better gear but without better acoustics. This is not wrong, it’s just that the increase in quality won’t be as good as we estimated at first if we don’t also upgrade the acoustic quality of the room we produce in.

These are the 6 major components of a signal chain, the 6 major components of a home studio. You can start out real simple by just using the computer you already have, purchasing a low end budget mic, connect it to a converter, and start singing or whatever esoteric art you have in your vision. The key is: never let limitation stop you from making art!

Your fellow home studio enthusiast,
Endy

Endy Daniyanto is an aspiring singer-songwriter who produces his own music from the comfort of his modest home studio. He also has a personal blog where he talks not only about music, but also about his personal experiences in building a solid identity and being a happy, confident, and independent person: http://endydaniyanto.net

Article Source: http://EzineArticles.com/

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With the computer being able to do so many composites’ in the new era you might wonder should you play live or should you just synthesize every sound needed in the comfort of your own home? Many wonder this every day, with the computer you can make almost any instrument sound with ease and have them play at the same time. If you are considering this alternative, think about the things you can do either way. Playing live means that you can see your audience, but you can’t so much with a computer.

MIDI files are one of the types that are used to simulate the sounds of instruments. As time has progressed, the sounds have become less electronic sounding and more realistic. The MIDI format is mainly used on Mac Pc’s. They use plug ins that are existent, plus you can always download more of them. This makes them appealing to those who just seek to make music using a computer rather than going live.

Virtual Sound Technology is another format that can be used to create live sounds of instruments. The wide variety of instrumentations takes and then loops sounds. Electronic effects can be used in many programs available; there is also a variety that can be added By the Internet. Virtual Sound Technology and MIDI files both convert the files to digital sound. This results is a wide variety for the person using this feature to arrange sounds and ways the music is produced without needing new sounds.

The question then becomes whether or not to move into a recording studio or to produce the label using only the electronic versions. While the electronic versions keep all the same notes and length they also produce the same effect every time. With a live performance this is not always the case, music has to be adjusted based on the instruments used and the notes that are played.

Resonance is one of the main problems however to using a computer to make the music files. Once the sounds are digitalized the sounds no longer carry the waves that an instrument makes in Resonance waves. Resonance waves are vibrations carried from various instruments from the chimes, to even a drum. If you are looking for a little bump to it then you don’t want to digitalize and you will want to use the live performance idea not the production of computer sound files.

Another important choice in this department is choosing the right File to fit the sound you want to make. There are several types of files that can emulate an instrument but if you choose the wrong one fans and even record labels can tell that your sounds are made from a computer rather than a live band. If you are going for techno or electronic music then any file type will work. If, however, you want a more realistic sound you will need to listen to many files and choose the ones that fit what you want them to do.

If you don’t find the ones that you want right away you can always check for upgrades and check for new add-ons, this will increase the chances that you will find what you are looking for. Selecting the right file may need more time then you initially think because of the effects and sounds you’re looking for.

The main thing to think about is this is your music you can have it play any way you want it to. Selecting the right music for what you want is important. After you have selected the type of music you want played, you will want to add them all together; this can add the full flavor of the music. If it plays how you think it should then you can then keep the file. If, however, it’s not the way you want then you might need to tweak it some and change some of the arrangements of files, or you might need to change a file or two to add the sounds you want.

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The improvement of technology and the capabilities within digital music not only allows for different sounds and formats to be available, but is also creating a space where musicians can record for themselves. If you are ready to record, you can set up a space that works for what you need and start moving towards getting your sounds on CD. Following are some of the must haves to get your recording studio up and recording.

Software and a computer. There are several choices that are available with software, but you want to make sure that you have it. This is the brain center of your recording studio and will do more for you and your music than anything else. With your computer, also make sure that you have much memory and power that can easily store and keep up with the recordings.

Foam. One of the most important parts of your recording studio is to make sure that it is soundproof. It’s easy for your instruments or voices to bounce off the wall, causing an echo when you record. Recording foam will deaden the sound and allow you to record what you need without the bounce back. Keep in mind that, depending on the room size and the acoustics, you may not have to foam the entire room.

Mixer. To get the sounds from the instruments into the computer, this is your tool. Make sure that you have enough inputs and outputs to record all the instruments that you want at once.

Preamps. If you want some good sound, don’t just plug your instruments into the mixer. Instead, you should get preamps into the mix. This will allow for instruments, such as guitars and basses, to keep their best sound, then go into the mix board. For example, if you want a bass to have a certain resonance, you can set it up on the preamp, without it changing the main sound of the guitar, as it would if they were both plugged into the mix board.

Monitors. You will need special speakers for after the recording to make sure that you have everything set together right. Monitors will help you to hear both the high and lows of your recording and make sure that it all blends correctly. Some prefer headphones over monitors; however, if you choose this option, make sure that they are recording headphones, designed in the same way as monitors.

Microphone Equipment. It would be nice if you could just set up a regular microphone for recording, but it doesn’t work that easily. You will need to get a recording microphone, which will catch all the sounds from the voice on every side. Attached to the microphone should be a popper, which will stop the hard consonants from recording and muffling the recording.

Compressor. This is an option for recording, but shouldn’t be overlooked. This is specifically used for vocals, and allows the waves in the voice to not reach certain peaks. Instead, it is compressed to equal the rest of the waves. You can then adjust the voice to match the other instrumentation as you go.

Starting with this equipment will allow you to have the basic boosts that you need to cut your first recordings. Of course, you can always add in extra equipment, or take away other equipment, but with the above, you can get a good start to a basic and complete home recording studio.

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Recording a first demo CD is a big step towards being a professional musician. It is not every day that an artist steps up and decides to present themselves professionally to the world, which in effect is what a demo CD really is. For an artist, a demo CD is much like a resume, a portfolio of the highest quality, and a calling card. Getting it right is important, and presenting it well is equally important.

Recording your first demo CD will take time and money, something that most musicians have precious little, and the steps taken in preparation will enable you to make the most of your time in the studio. When choosing your studio setting, you have two options. You can pay the higher costs (which typically results in higher quality) for the use of a pre-existing high name studio or you can find local garage talent. Often, local garage talent will be more patient, will be more willing to offer suggestions and help you through the process, and will charge you less. The quality of the demo will be acceptable, sometimes even high, if you find the right garage talent. This requires asking around … a lot … and listening to some previously recorded demo CDs.

Technology has advanced far enough ahead and has become cost-effective enough that many professionals can now build their own recording studios right in their own garage, soundproofed spare room, or somewhere on their property. So can amateurs. This is good for the industry and many musicians are even beginning to learn how to build their own recording studios to create their own demo CDs. However, having your own recording equipment and having all the qualities of a good recording studio are two very different animals. You can find affordable, high quality amateur or professional recording without breaking the bank that will be of admirable quality if you look hard enough.

Once you are sure of the direction you want to head and have either found your garage talent or have booked yourself with a professional high end sound studio, the key to your success lies in your talent as well as your preparation. No matter how cool you are, you’re going to be stoked and getting your foot in the door is going to feel very powerful to you. You must prepare so your emotions don’t take you out of your element and ruin your time allotted.

Preparation means organization, it means knowing exactly what you’re going to do from the moment you step into the sound booth until the moment you step out. Ironically, it also means being a little bit flexible in case there’s an issue out of your control that might delay or offset your plans. Preparation means knowing the music well, having your equipment tuned, ready, in top working order and being emotionally ready to do what you do best.

If you are using live musicians, each of them needs to meet the same standard of organization that you are aiming to achieve. There is nothing more frustrating than having to wait on, cater to, and continually replay for the benefit of one musician out of the bunch who can’t get his or her goodies in gear. Have a little meeting the night before and go over a written checklist as well as a little “pep” talk to help the musicians around you live up to their potential. Hours will be spent on each individual recording, so you are going to want you and your crew well rested, and relaxed so everyone can do the one thing that will make a higher quality demo CD. Have some fun.

Every musician knows, and this applies to recording your first demo CD, the instant a musician is wound up, nervous, and focused on everything but the music, something will sound off no matter how well they are able to cover their emotions. There is a fantastic quality that comes through when a musician is relaxed and enjoying him or herself in the process. This is vital to creating the best demo CD possible.

From start to finish, recording your first demo CD should be an experience that you learn from, enjoy, and of course, create the perfect CD for you and your goals. This can be done with preparation, practice, a little guidance from those who “know a great who can help you out,” and enough faith in yourself to have fun while performing.

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By Guest Blogger Alan J Orr

To get started, you will need three things. The most expensive tool, I’m sure you already own.

A computer. You can buy a digital hardware deck, but this article will be talking about home digital recording with your computer. The computer should have a fast processor, as much ram as possible, and a large hard drive. I recommend at least 1 gig of memory and of course up to 4 gig would be even better. The more ram you have, the more tracks you can record and monitor, and the more effects you can use.

The next thing you will need is an interface. This is a hardware device that allows you to plug in instruments or microphones as well as midi controllers such as keyboards. An interface can cost as little as $75.00 or as much as $2000 or more. Don’t worry though if your just starting out, an interface just over $100. will probably do nicely. You can even search eBay and find one for as little as $20. Hey! That’s the same amount of money I can get for my $500. Tascam!

The only real considerations here are what ports you need to connect to your computer, and how many instruments you want to record at the same time. If you have USB ports on your computer, a USB interface would be a logical choice. Firewire is another option. Are you going to record a band, many instruments at once, or are you just looking to record your voice and guitar. This will tell you how many inputs you will need. If you are planning to just record yourself and your guitar, an interface with two to four inputs will be sufficient. If you are just interested in recording “real” instruments, just an audio interface will be fine. I do however suggest that you consider MIDI inputs as well. Midi is a great way to add new instruments or backing instruments to your music. The only other consideration at this point is if you are planning to record with Digidesigns Pro Tools. Pro Tools requires specific interfaces, while the others do not.

To summarize, at this point you need a decent computer and an audio/midi interface. Assuming you have the computer, your total investment so far is approximately $150. Possibly much less.

Next you need a Digital Audio Workstation. This is the software equivalent of a mutl-track recorder and mixer. These are programs such as Ableton Live, Pro Tools, Cubase, Sonar, Samplitude and others. These programs usually come in a couple of editions. The limited edition, and the whole enchilada editions. In the limited editions you are usually limited to a certain number of tracks, while in the super edition the tracks are greater or unlimited. The limited editions usually offer less effects and other goodies, while the super edition is loaded. Even the lighter versions however will let you record your music in cd quality or better! Examples of the lighter editions are Cubase LE, Sonar Home Studio, Sony Acid Music Studio, and Samplitude Se, or Samplitude Music Studio. If money is no object, you will want the top of the line Pro Tools, Cubase, Sonar, or Samplitude. The lighter versions usually sell for under $100. The top of the line workstations can cost thousands.

Once you have the interface and the workstation software, you are ready! Of course you will need decent monitor speakers, and hopefully a large amount of talent.

Alan Orr is a musician of over thirty years and a digital composer living in the mountains of New York State. This will be a series of articles on the subject of home digital recording. The next will focus on the Digital Audio Workstation software. You can find an easy guide to home digital recording at http://www.hotconcept.net You will cover all the essentials, from what you need to start, to quantizing your music, all in a couple of hours. http://www.hotconcept.net

Article Source: http://EzineArticles.com/?expert=Alan_J_Orr http://EzineArticles.com/?Your-Computer-Recording-Studio-&id=2117792

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By Guest Blogger Ron Stephens

Do you think you have talent? Do your friends think you have talent? My guess is that’s why you’re reading this article. You have talent, but don’t have the resources you need to lay it all out there.

I think the biggest obstacle to aspiring artists like yourself, is lack of funds and lack of resources. If you really want to make it in the music recording business…you CAN! Desire, when it is focused and unrelenting, will propel you to your goal. Don’t ever stop moving toward your dream of creating music that sells, and especially, don’t let lack of resources stop you.

Now more than ever, if someone has a strong desire to make music that sells, and applies the discipline necessary to work through to the point of high creativity, the resources are available. Trust me when I tell you that 99% of wannabe musicians will never make it big. Why? Because of a victim mentality that they give into that tells them life isn’t fair and unless they get a big break like so and so, they can’t make it.

Well so and so, got a big break because of tremendous discipline and hard work and so can you. Talent can be developed. I’ll say it again, talent can be developed with strong desire, hard work and dedication to your goal.

If you have a strong desire to create your own beats and other types of music, but you don’t have the studio or equipment, I know that can be real frustrating.

I know, that it just don’t seem right, it costs so much for good equipment and/or studio time, but you feel a compelling desire to lay down your beats for the world to hear. But the truth of the matter is, you have to be able to record your stuff, and record it with equipment that makes it sound good. That costs money, lots of it! Until now!

It costs less money than ever before to get your stuff put down on tracks. It is no longer possible to use lack of money and resources as an excuse for not making it. You can do it online. There is training on video, tutorials that will teach you how to use the equipment, and you can even use and record with some of the world’s best equipment right online, for a fraction of the cost of studio time and/or buying your own equipment.

You deserve to be able to get your music on track, and now you can. And these websites make recordings that sound really good! And it’s really cheap!

If you really believe you are talented do not stop moving toward your goal of making good music. Stay dedicated and use the resources that are available to you.

Have you dreamed of having your own recording equipment to make your music. Now there is somewhere you can go for cheap! Make beats and download them so you can share them with your friends, and for self promotion! Go here now for more incredible tips for making beats online! Make beats, download them and then go promote yourself with http://makingbeatsonline.com!

Article Source: http://EzineArticles.com/?expert=Ron_Stephens http://EzineArticles.com/?Making-Beats-Online—The-Cheapest-Way-to-Make-Your-Own-Beats&id=1856047

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By Guest Blogger Richard Marples

The biggest problem with many amateur guitarists is poor tone, and that’s the first thing you might want to correct before you start placing a microphone for recording. Get down and listen to your amp and guitar combination on microphone level – that is where the microphone would be placed when recording. Adjust your tone so that you’re happy with it, but remember one thing: the low-end will be increased with a microphone placed close to the source, which is known as proximity effect.

Like any other piece of kit, the same microphone can give tremendously different results depending on how it is used. To get the sound you are looking for takes a bit of expertise and a lot of experimenting. Even the best microphones available can sound “boomy” and unusable if not used correctly.

So, is microphone placement an art or a science? Well, it’s a little of both, but often just a matter of experimenting until you hear something you like.

To begin with, get a flashlight and press it against the cloth on your amplifier. This is to locate the centre of your speaker cone, once you’ve located the centre, mark it with a pen or some chalk. Next mark the edge of the speaker.

Take your microphone and stand it perpendicular to your amplifier at a 90-degree angle and point it at the centre mark you made earlier, this is known as on axis. Do some recording and listen to the sound files. You’ll find that the sound is aggressive, tremble filled, and maybe a little harsh.

Now move the microphone to the second, outer mark you made. Again, record some tracks and listen to the results. You’ll notice that the sound is a lot mellower than the first with less high end, however can sound a little dull or muddy.

The next step is to do a third recording with the microphone boom moved in on an angle between the points you made, this is known as off axis. This sound is a mixture of the two, not as aggressive as the first however not as dull as the second. Re-listen to the recordings and see what you like.

From here it is really all about experimenting until something grabs you, use on and off axis positions, use different parts of the speaker. It’s important to get the initial sound as you like, as it’s something less to worry about later with an eq, as sometimes you may not be able to fix it.

You might also try using two microphones on your amp – one close up and one farther back and mix and match the two. You also need to remember, when running your amp in a recording situation, recording it at the highest volume possible while still achieving your desired tone is really recommended.

But, how can you really blast your amp without annoying the neighbours? Well that’s where something called an isolation box comes in useful. Take a look at my article on Isolation Boxes.

Richard Marples has over 10 years experience of playing and recording guitar, and also hosts a website explaining how you can record at home. If you enjoyed this article on Home Recording then you can get more free tips at => http://www.uncleslinky.co.uk

Article Source: http://EzineArticles.com/?expert=Richard_Marples http://EzineArticles.com/?The-Art-of-Microphone-Placement-When-Recording-Guitar&id=1852908

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When you are getting started with songwriting, you may find that you are drawing inspiration from a number of different sources. There are many things that you can do when you are looking at moving forward and getting the right sound for your work, but what happens if you want a specific sound, whether it is a specific and recognizable few bars of music from another song or something more odd? Sampling is essentially the process of reusing existing sound recordings when you are looking at creating new works, and you may be surprised at what you can really do with it.

When you are looking at a way to work sampling into your songwriting, you will find that you are going to need a sampler, which is an electronic musical instrument that is not all that far removed from a synthesizer. However, unlike a synthesizer, which will generate sounds from scratch, a sampler will let you make multiple records of different sounds and then you can play them back. The sound that you will get will depend on how you have the mechanism configured, and you will find that because the recordings are stored in RAM format, they can be very quickly accessed. The sampler has become a staple in musical genres including hip-hop, electronic music and avant-garde music.

When you have a sampler and you are looking to see what you can do with it, you may be interested in understanding some of the ways that other people use it. For instance, some people use samplers specifically for their looping ability. Think about the drum and percussion parts in a lot of modern music. Though it is by no means always the case, you will find that the percussion line is very frequently composed of a variety of short samples and beats strung together. You can find many libraries of beats online and of where they are licensed and you can use them without paying royalties. You will even find that there are some pieces of software out there that will let you specialize in creating loops.

Where a loop is often just a single note over and over again, you can even get more complex sounds through sampling of individual instruments, and this can give your song a much richer sound.

You may also use a sampler to help you put in samples of recordings, where an artist will use a phrase or musical line from a well-known recording. There are many different ways that this can be done, and though there are legal issues to think about, it can be quite helpful in recalling a certain mood or set a certain scene.

You can also use a sampler to create a polyphony, where you will be able to layer sounds together and on top of each other. This will let you create a richer tone as well as leave more instruments free to create additional sounds.

If you are a songwriter, a sampler can be a great thing to add to your career. Consider what your options are and what you can do to move forward when you are looking at integrating one into your work.

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The most important step from the instrument to the recording software is the mixing board. This particular part of recording is one that allows you to put everything together the correct way, before you have to manipulate it in the computer software. If you want to make sure that you are putting together everything right, you will also want to know exactly how the mixing board can benefit you.

A mixing board is also referred to as a sound board and is responsible for taking the instruments and mixing and routing them into the computer. As soon as an instrument is plugged into a mixer, it will then turn into a digital signal, which creates sound waves.

A mixer works by allowing each instrument being recorded to have one area in which the signal is received. These individual instruments can be changed with volume levels, depth of the sound and other features through the mixing board. For example, if you are playing with a piano and a bass, they can both have a different input area in the mixer. One can be louder and the other can be softer, with the bass having less treble, or high end sound, with the piano balancing out with more mid-range sounds. It is these volume levels that then move into the software and allow for the sound waves to be recorded with a specific balance.

When defining the different parts of the mixer, there is also the ability to combine different types of volumes, depending on the knobs that are being used for the right mix. These are known as input controls, and contain everything that allows for the specific sound of the instrument. This starts with defining the volume through this one instrument. There is also a trim or gain control, which defines the level of sound within each wave.

From here, the mixing board will allow for details of the sound waves to be defined through an EQ, which means equalization. The main responsibility of this part of the mixing board is to change the frequencies within each range. For example, if the EQ of the bass is too high, the higher frequencies can be boosted in order to balance out both ranges. The EQ frequencies can be referred to with some general preferences that work within instrumentation as well as personal preference to allow the sound to be as low or high as you want.

When the instrumentation is received into the mixer and begins to be balanced, other options can also be put into the mix. For example, the amplitude of the sounds can be defined through specific parts of the board. There are also noise gates, which stops the sound from echoing before it goes into the recording area, or allows for some resonance to be in the mix. There is also the ability with some mixers to compress the instruments, meaning that the sound waves will be shortened if they reach or go over a certain peak number, allowing you to keep control of the volume before it gets into the computer program as a sound wave.

After all of these options for individual instruments, the mixing board will then move into mixing the physical space. Main volume areas as well as controls for outputs are used in order to ensure that everything is balanced while recording and remains equal in sound to those who are listening while recording. Like the instrumentation that is moving into the software as sound waves, these areas have a variety of options for making the sound balance within the studio.

The idea with a mixing board is to make the right mix for both the internal software so that the sound files can sound the same, as well as the external area, so that all of the instruments can blend together while recording. The different devices that are used within the mixing board help to achieve this through the different options for volume control and mixing options.

When you are looking into a sound board, you should always consider the options for getting the mix right, including the number of instruments that you can hook up to the different functions that the mixing board contains. When you start to put together the recording with the right mix board, you will have a better blend of sounds and will allow the end result of the recording to mix together exactly right.

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Even after the mastering is done, the ability to get your CD out into the right places and to have it meeting the necessary standards still has to be a priority. There is more than one way to get your recording into the right place, but the engineering and technology has to come first in order to get it into the right arena.

The general concept to keep in mind with each of the areas that your recording formats can and should be is that each of them is based on two things. The first is the way in which the mastering is done with the instruments, allowing each one of them to blend together with the lows, mids and highs in the right places. What this means is that too much bass in one area is just enough in the other. The second consideration is the volume levels that are used. The overall volume format that you use will be different according to where you decide to put your music.

The way to follow each of these formats is to test it through your monitor speakers. This will give you an idea of the high end and low end sounds and how they are impacting the song. You can also look into industry standards and concepts with some of the following formats.

CDs – The major capability of CDs is to be able to create your own unique sound and volume consideration. There is an industry standard for CDs in terms of volumes and mix; however, you have the choice of whether to follow this. Within this, you can master things according to your style. For example, if you play rock music, you will want the rhythms and the bass to be slightly higher on the low end than they would be in a country piece.

MP3s and Downloads – Thanks to digital media, there are entirely new ways to listen to music. With this are also different volume checks, standards and mixes that are incorporated. This is important to follow because most of the digital media that is downloaded will be going onto a computer or a smaller digital device. This makes it so that the mix is different, specifically with the need to have low ends on a computer or not to have the high ends taking over the smaller speakers.

Radio – The radio has a completely different standard than any other type of format. This is because the music must be processed through the radio’s player and then into the speakers that move into a home stereo. Typically, volume control for radios is going to be slightly louder with mixes in the low ends being more quiet than the high end. This allows for the format to be played on anything from an alarm clock to a car radio without a bad mix.

Of course, more formatting options are available, all which specialize in the volume control options as well as the high end and low end mixes. You can easily find your options through looking at the industry standards or looking at plug ins in your software that may already have the current industries recommendations as a plug-in. When it is time to change your wave file into a format, you will want to make sure that you know the formatting that fits.

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