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I get asked this fairly often: "How do you make your
music? What software do you use?" To make things easier, I've decided to
write this guide. Hopefully anyone looking to create music (or audio
in general) using
computers may find this in some way useful. Please note that this
should be considered a beginner's guide.
This guide does not
go into too much depth discussing the
basic functionality and terminology regarding computers themselves -- hopefully you already know most of of that.
If not, go back to my guides section and look for my up-coming guide
regarding building computers, which may have been posted since this
guide was.
Table of Contents:
I.
Hardware
A. The Computer
B. MIDI Control
C. MIDI
Keyboards
D.
Audio Interfaces and
Connectivity
E.
Where to Get Music Gear
II.
Terminology
A. Aftertouch
B. Audio Effect
C.
Bit Depth and Bit Rate (pertaining
to audio)
D.
DAW (Digital Audio
Workstation)
E. Loop Players
and Drum Machines
F. Mastering
G. MIDI
H. Mixing
I. Panning
J. Sample
K. Sample Rate
(pertaining to audio)
L. Sequencer
M. Synthesizer
N. Velocity
(pertaining to MIDI)
O. VST
(Virtual Instrument) and/or Sampler
III.
Software
HARDWARE
The
Computer:
First of all, you're going to need a decent computer -- as good of one
as you can afford. It doesn't have to be a supercomputer, but you can't
have too good of a computer; especially when you get into the more
advanced applications. Nearly all aspects of the computer will factor in, including the CPU
power, the amount of RAM, the speed of the hard drive(s) and how much space
they can hold, the quality of the sound card, etc... For audio creation, your sound
card will be one of the most important components of your computer. You should
get a sound card built to be used for audio creation, preferably from a company
such as Creative Labs (or even more preferably, from their "Pro"-level subsidiary
company, E-MU). M-Audio also makes good sound cards for this purpose.
MIDI
Control:
You're also going to want a MIDI keyboard controller and/or some other
MIDI input device (if you don't know what MIDI is, see the
terminology
section).
Keyboards are the most versatile for composing; you can, however, use any MIDI device to
play any type of virtual instrument. For instance, you can use a MIDI keyboard
to play virtual pianos, guitars, drums, violins, entire orchestral performance
patches, and anything else you can imagine. MIDI keyboards and
other MIDI input
instruments (such as MIDI wind controllers) are not the only types of
MIDI
controllers, however. You can also hook up such things as MIDI mixing
surfaces, so that you can use them to more easily mix your tracks within
your software, which we'll discuss in more depth later. Many MIDI
keyboards also include lots of sliders and knobs on them to help in
mixing. Technically, no MIDI input device is needed to
compose and mix music using software. However, they do make things a
lot easier.
If you're going to be using nothing but software for your actual audio
creation (which is really the
best way to go these days), then stay away from MIDI devices that
include built-in sounds and other functions -- all you need are MIDI
controllers if you want to simply use them to control the functions of
the software. Keyboards, mixing surfaces, and everything else -- they will
all just be controlling the software.
Keyboards with built-in sounds are still good, but on a price-to-performance ratio, they are not worth it.
The same thing is true of mixing consoles with built-in audio processing
functionality. This is because you're
paying for the added processing power built-in to the equipment --
whereas if you simply use your computer, some music production software,
and MIDI controllers, you're using the processing power of your
computer instead. After all, a good computer is way
more powerful than a synthesizer workstation keyboard could ever hope to
be. Hardware synthesizer keyboards are also much harder to work with,
especially when attempting to do entirely without a computer running
software. Besides, software can emulate old analog synthesizers, it can include modern synthesizers,
and it can simulate real-world
instruments (as well as record them via microphones and the correct
interfaces). In short, software is awesome... but we'll discuss that
more later.
MIDI
Keyboards:
When buying a MIDI keyboard, one important factor to think about is the
"action" of the keyboard. That is to say, how the keys are built to feel
when you play them. There are three different keyboard action types:
1. Weighted Hammer Action
These are keyboards that are designed to feel like a real piano.
This action is usually found in 88-note keyboards. Manufacturers use
various methods to create this keyboard action, whether by applying
weights and springs or by adding a real hammer action for a more
authentic piano feeling. These types of keyboards are best for people
that are very used to the feel of a real piano, or who compose a lot of
piano music. Many consider this to be the best type of action because
they believe it lets the player add more expression to the piece.
However, others feel that this type of action is not the best suited for
playing very fast sections, as well as composing drum and percussion parts.
2. Semi-weighted Action
Also known as "semi-weighted synth action," this action is similar
to weighted hammer action, but with a somewhat springier release and
less key resistance. These types of keyboards can typically be played
somewhat faster than weighted hammer action keyboards, thus making them
better suited for such things as composing drum and percussion parts. If I were being
limited to one keyboard action type, this is the one that I would
choose, because it offers the best of both worlds -- it allows for a
quality-feeling weighted "touch" while still having the ability to be
played quite fast.
3. Synth Action
Not to be confused with "semi-weighted synth action," synth action
is the lightest action, with very little key resistance and no added
weight whatsoever. The spring-loaded keys of a synth action keyboard
feel much like an electronic organ; the keys return to their resting
positions a lot quicker than do weighted keys. This makes the keys light
and capable of being played very quickly. Synth action is best suited
for playing very fast parts, as well as for people who are not used to
the feeling of weighted keys or pianos in general. However, others find
the feeling of synth action keyboards to seem rather insubstantial and
"cheap."
Another factor to consider is the amount of notes (or keys) found on the
keyboard. Keyboards generally come in five sizes:
88-key,
76-key,
61-key, and compact sizes --
49-key and 25-key
The first three are the most popular sizes. It's up to you how many
keys you get on your keyboard, but if I were just getting one keyboard
to use for composing music, I would not get one with less than 76
keys. That being said, if you're on a really tight budget, a
61-note keyboard would still be decent, but anything below that is very
compact and of even more limited use. If you can afford two keyboards, a
good idea is to get a hammer weighted 88-note keyboard for playing slow
parts, piano pieces, and anything requiring access to many notes, and
then get a semi-weighted or synth action keyboard with 76 keys or less
for use in composing faster pieces, as well as for drum and percussion
parts.
Another thing you may want for your keyboard(s) are pedals, which can
include
expression pedals and
sustain pedals. You
should at the very least have a single sustain pedal. Luckily, they aren't very expensive. Sustain
pedals are very useful, especially when composing piano pieces.
Audio Interfaces and
Connectivity:
Depending on what type of MIDI keyboard you get, you may need an
audio interface
device in order to hook up your MIDI keyboard to your PC (some keyboards
have them built-in), so that it can communicate with the software. You
may want to get an external sound device to use in place of a good sound
card, such as an
E-MU
0404 USB, or something like
it. It acts as a sound card as well as an audio interface, and that way
you can hook up your MIDI keyboard to it using its MIDI ports.
Alternatively, look for a sound card that has MIDI inputs and outputs
supported on it (some do this using cables or CD drive-sized bay
devices), or simply get a MIDI keyboard that hooks up directly via a USB
cable, in which case you don't need to use MIDI ports at all. However, a
word of caution: I have used MIDI keyboards connected using nothing
but USB, and from my experience with them, they really don't work as
well as a connection using MIDI ports. This has just been my experience with them, of course. Luckily,
most USB MIDI keyboards still have MIDI ports as well, so if you can't get one to work well via
USB, you can always switch to a MIDI connection if you have the correct cables and sound card
or audio interface.
Often, however, an audio interface connects to your PC via a USB cable,
in which case you may think that connecting the MIDI device to the
interface's MIDI ports wouldn't help much, but I have still found this
solution to be much more stable for my MIDI keyboard. Otherwise, such
glitches as "stuck" notes occur more often for me. Other MIDI devices
may work perfectly fine when connected directly via USB, however.
To help you get an idea of things, here is a very simplistic flow chart
regarding my current studio setup:
It's a pretty simple setup, as you can see, but it's quite effective for
composing.
You could just leave out the E-MU 0404 USB audio interface and directly connect
the keyboard to the computer using a USB cable (as long as this is
supported by the MIDI keyboard), as previously mentioned. If you were
to go the USB-only route, then you could just use your sound card's audio output for
your headphones and speakers. One problem with doing this, however, is the
fact that many sound cards don't directly support XLR or 1/4" audio cables
for outputting audio, which
means you can't easily hook up big, studio-quality monitoring speakers to your PC.
However, with an audio interface like the E-MU 0404 USB, you can easily hook up such studio
monitors. Of course, some sound cards do support such cables, and in any
case, studio-quality monitoring speakers aren't required to make
music, especially if you're a beginner. You could just stick with headphones or
standard PC speakers, which typically hook up to your PC via the sound card
using 1/8" audio cables. In some cases, they will hook up directly to your
motherboard's on-board audio via the same types of cables. However, on-board
audio is usually of poor quality, although some high-end motherboards support
pretty good on-board audio. Still, a good sound card is the best choice -- in
fact, it's more preferable than an external sound device, because the latency is
usually better. That's not to say that all external sound devices are bad -- for
most applications, they would be more than sufficient, especially if you get a
high-quality one like the E-MU 0404 USB.
Where to Get Music Gear:
So, by now you may be thinking, "Where should I get my gear?"
There are many retailers available online; you can choose any that you
like, but my personal favorite is
www.zzounds.com.
In case you were wondering, the gear shown in the above flow chart is as
follows:
Event ASP8 Studio Monitors,
an
E-MU 0404 USB Audio Interface,
Ultrasone HFI-700 Professional Headphones with S-Logic™, a
CME
UF7 (now UF70) 76-Key Semi-Weighted Synth-Action Keyboard, and
my laptop PC (I've also got
my desktop PC, which I use
when more processing power is needed).
TERMINOLOGY
Let's go over some basic audio-related terminology here, in case all of these terms are completely
foreign to you. Obviously we've already discussed MIDI keyboards and such, but
there are many other terms that you should be familiar with.
Here we go, in alphabetical order:
Aftertouch:
Aftertouch is a type of MIDI control data generated by applying varying
amounts of additional pressure on one or more keys on a MIDI keyboard after
they have pressed down and are resting on the keybed. This MIDI information
can be used with some audio samples in order to change how a
virtual instrument
or synthesizer will sound based on how much
additional pressure is being applied to
the keys.
Audio
Effect:
Audio effects can include reverbs (to do anything from authentically
simulating actual real-life acoustic environments to creating out-of-this-world
effects), mastering suites, equalizers, phasers, unisons, compressors, and other things. Audio effects
can be applied to nearly any track data a
DAW, whether it be a
virtual instrument,
a single sample, or a synthesizer. You can also stack effects in order to
achieve whatever sound you're looking for. The possibilities are limitless.
Bit Depth and Bit Rate (pertaining
to audio):
Without going into too much detail, bit depth, when referring to digital audio,
identifies the number of bits of information recorded for each sample.
It directly corresponds to the resolution of each sample within a set of
digital audio data. Some common examples (as of 2008) are CD audio, which is recorded
at 16 bits, and DVD audio, which is recorded at up to 24 bits. Bit rate
refers to the amount of data (bits) transmitted or received per second.
Beginners need not delve into all of this too much... but they should at least know that for bit depth and bit rate, higher numbers are
better. These are not the only things that affect the
quality of a digital audio signal -- other things, including
sample rate, also play a role.
DAW (Digital Audio Workstation):
This is usually the main piece of software that you'll be using
for audio creation; it is
the heart of the modern-day recording studio. A DAW is a "host" application that lets you record music using
both MIDI devices as well as microphones, and it lets you use plug-in software to
make your library of virtual instruments,
synthesizers, and
audio effects larger and
more capable. There are many DAW applications available, although you only
really need one. A DAW not only lets you record -- it also lets you mix your
music and finalize it into its finished form, whether that be anything from a
stereo MP3 to a high-end surround sound mix.
Loop Players
and Drum Machines:
Loop players (sometimes called
other things, such as REX players -- REX being a common loop file
format) are devices (usually in the form of software) that allow you to play
"loops," which are short recordings of an instrument or performance
being repeated over and over again. These devices allow you to change the
pitch of the loop being played, as well as add other audio effects to it. Sometimes, loop players have the ability to break the loop down
into different "slices" which can be arranged in different ways using a
sequencer and then played back. Alternatively, the loop can be used in
its original form.
Drum machines, on the other hand, are
software or hardware devices that allow the user to program drum
patterns by using buttons. Drum samples are
used to playback the drum patterns, which can usually have a few levels
of velocity for each drum sample --
however, if realism is the objective, programming drum performances
using a keyboard and high-quality virtual instruments typically gives
better results.
Mastering:
Mastering (a type of audio post-production) is the process of preparing
and transferring recorded audio from a source containing the final mix
to a data storage device -- the master. This will be the source from
which all copies will be created (via such methods as pressing or
duplication). Digital masters are the most often used today, although
analog masters (e.g., audio tapes) are still used by the manufacturing
industry and by some engineers who specialize in analog mastering.
Various actions may be done during the process of mastering in order to
make the audio production sound better. This can include editing slight
flaws, adding ambience, applying noise reduction to eliminate hum and
hiss, adjusting stereo width, equalizing the audio, adjusting volume,
applying dynamic expansion and compression, and applying peak limiting.
These processes are often done during mastering in order to make the
music sound as "punchy" -- and often,
depending on the genre, as perceivably loud -- as possible.
Mastering can become very complicated, especially for those who consider
themselves professionals at the process. Some even consider it an "art
form," and insist that the practice should be left only to
professionals. While professional mastering can no doubt make a
production sound better, one should remember that it does not directly alter the content
of the production. A badly-mastered but well-composed piece of music is
still better than a well-mastered but badly-composed piece of music.
MIDI:
MIDI (Musical Instrument Digital Interface) is a protocol that allows
computers, electronic musical instruments, and other devices to
communicate and synchronize with each other. It allows computers, sound
cards, samplers,
synthesizers, MIDI controllers, and
drum machines to control one another, as well as exchange data. MIDI
does not directly transmit any type of audio signal. Instead, it
transmits digital data messages regarding musical notes and their
velocity, as well as signals for parameters such as volume, vibrato, and
panning. MIDI can also include information regarding tempo, among other
things. Thus, a MIDI file containing the information to playback a
musical performance is very small in file size, because it does not
contain any actual audio data. Instead, it simply contains
commands and information that can be used along with electronic musical
instruments and computers to playback the performance. A MIDI file for a
musical composition can be thought of as digital sheet music, and
virtual instruments and/or
synthesizers are the instruments that
can be used to playback the performance.
Sequencers are used to record MIDI data. Since its introduction in
1983, MIDI has seen widespread adoption throughout the industry, and
today it is an extremely useful electronic protocol for audio creation.
Mixing:
Audio mixing is the process of balancing the relative volume, frequency,
and dynamic content of a number of individual sound sources. Some people become
confused
over the terms "mixing" and "mixing down," as well as the differences between a "mix,"
a "remix," and a "CD mix."
Mixing music -- no matter whether it is being done using
hardware, software, or both -- and no matter whether the music tracks being mixed are
of
virtual
instruments, synthesizers, or
direct microphone recordings -- is about getting the volumes of the
different tracks of audio to
sound the way you want them to, getting the panning
of the tracks to sound the way you want them to, getting the frequency
content (equalization -- bass, treble, etc.) of the tracks to
sound the way you want them to, and getting any audio effects inserted
into the tracks to sound the way you want them to. The volumes of the
tracks are controlled using faders (a.k.a. sliders), and the
panning is controlled
using knobs. Mixing boards also include knobs for frequency content, as well as send effects,
so that you can change the amount audio effects and equalization being applied to
individual tracks. Many mixing consoles today have automation
capabilities so that the movement of their controls can be recorded and
played back automatically. Recently, control surfaces connected to
computers have become popular. This eliminates the need for a lot of the
electronics in a traditional mixing console, since the actual automation
work is instead done by the processing power of the computer.
When someone
refers to "mixing down" the tracks, they are referring
to the process of taking all of the audio tracks of a production
(whether they contain music or any other type of audio) and compiling them to be a
more simple audio signal, often in the form of such popular formats as MP3s or WAVs. The mixed down version
usually has only two audio signals (stereo), although higher amounts of
signals can be used to create such things as surround sound mixes. Whereas you have
control over the volume, panning, etc., of every track before you
have mixed down, this information is not present in the mixed down
version. Thus, a mixed down stereo audio file only has information for
the left and right signals of audio.
When a person refers to a "mix" of music, they are
usually referring to how the discussed information has been set for the
different tracks of audio in a production.
A "remix" is a remixing of the
original mix, usually with some or many changes and additions to
the composition and arrangement of the music.
When someone refers to something like a "CD mix," they typically
mean that they have simply taken their favorite tracks from various
albums or works and compiled them into one custom album.
Panning:
Panning is regarding where an audio signal is "located" within a range of
speakers. For instance, if you turn a knob on a mixing board for the
panning of a recording of a violin being played, and the speaker system
that you are listening to the recording on is a stereo system (two
speakers), then the violin playback will be heard louder in one speaker or the
other depending on how far left or right you turn the knob.
Sample:
A sample is typically a recording of a musical instrument, as already
mentioned. However, it doesn't have to be an instrument -- you could use your
sampler (the term used for a device or program that will play any sample you want it to)
to play a recording of you tapping your fingers on your desk, and then you could
do whatever you wanted to with that sample -- you could change the pitch and/or
add reverb or some other combination of audio effects.
You could change the sound to be something very different from what it
was originally. See sampler
for more information.
Sample Rate
(pertaining to audio):
The sample rate (also known as sampling rate or sampling frequency)
identifies the number of samples per second (or per a different unit)
taken from a continuous signal to create a discrete signal. Without
going into too much detail, the higher the sample rate, the better.
Sample rate for digital audio is usually measured in hertz (Hz). Some
typical audio sample rates concerning music and audio production (as of
2008) are 44,100 Hz (CD quality audio), 48,000 Hz, 96,000 Hz
(DVD quality
audio), and 192,000 Hz (Blu-ray quality audio). For music production,
44,100 Hz and up is sufficient, although many professionals prefer to
mix their music using equipment capable of the higher spectrum, such as
96,000 Hz or 192,000 Hz. Sample rate is not the only thing that affects
the quality of a digital audio signal -- other things, including
bit
depth, also play a role.
Sequencer:
A sequencer is the part of a
DAW what allows you to record
MIDI
information. With a sequencer, you can hit record, play something on your MIDI
keyboard, and then view and playback what you recorded in the sequencer. You can
then make changes to your recording, move the notes around, add new ones (a MIDI
device is not needed to compose within a DAW -- you can add notes using just
your mouse if you like), change their length, their pitch, their
velocity, and switch between
virtual instruments and
synthesizers.
Synthesizer:
A synthesizer is not to be confused with a
virtual instrument.
Synthesizers do not use recorded samples to create audio. Instead, they use
purely electronic methods. They usually have many different controls on them to
alter
the sound being produced; synthesizers are what truly allow you to create
entirely new sounds. With a virtual instrument, you're limited to what
musical
instruments were recorded (although you can change them a lot using effects), but with a synthesizer, you can make
your own
instruments. Of course, when it comes to virtually and authentically simulating
real-world musical
instruments, synthesizers are not nearly as useful as virtual instruments.
Velocity
(pertaining to MIDI):
The velocity of a sample being played relates to how "hard" the note is
being "struck." MIDI keyboards that are velocity-sensitive mean that
they support velocity-sensitive samples. Thus, if you're using a
velocity sensitive MIDI keyboard along with multi-velocity samples, the
virtual instrument you are playing will sound more aggressive or less
aggressive depending on how hard to strike the key(s). For instance,
multi-velocity piano samples will sound quieter or louder depending on
how you strike a key. Some virtual instruments and samplers may also be
programmed to change playing styles depending on velocity, or even switch between
musical instruments.
VST (Virtual Instrument) and/or Sampler:
A virtual instrument (also known as
VST) is just what the name implies, except that they are
usually a package of instruments, all contained in one plug-in. Take the plug-in
"Miroslav Philharmonik" for example. This is a
nicely-priced symphonic VST containing "samples" of real-world orchestral instruments that have
been meticulously recorded and programmed so that they are playable from a
MIDI keyboard. You don't need microphones to record the instruments -- each
individual note has already been recorded -- all you have to do is compose using
your sequencer! Often, the individual notes of each instrument (or each drum, in
the case of drum kits or percussion packages) have been recorded multiple times
at different velocity levels, so that maximum realism is achieved.
A virtual instrument sometimes acts multi-purpose as a
sampler, which is the term used for a device or program that
will play any sample you want it to.
However, not all virtual instruments are samplers, and not all samplers
are virtual instruments. That is to say, not all virtual instruments can
play any sample that you want them to, and not all samplers come with a
read-to-use library of samples (which would make them more of a "virtual
instrument"). When used with musical instrument samples, most
decent samplers allow the user to change the
mapping of the instrument(s) and notes on the keyboard (as well as
the notes' velocities), so that you can have different instruments mapped to
different parts of the keyboard, and/or so that different instruments
will play depending on how hard you strike the keys of the keyboard.
SOFTWARE
Okay, hopefully you now understand some of the basic terminology
regarding computer audio creation. By now
you may be asking yourself, "What software should I start out with?" That's
up to you -- there is a ton of great
music production software available -- but for absolute
beginners, a good program to start out with is something like...
Propellerheads Reason. Reason is great for beginners because
it is complex enough to produce pretty high-quality audio, and yet
simple enough that it doesn't completely overwhelm beginners. It may
look pretty complex at first, but once you
learn how it works, you'll find it isn't all that difficult. It's also still less
daunting than more advanced programs. Reason includes everything
you need to get started -- it's a complete,
self-contained studio, containing a sequencer, mixers, samplers with real-world
musical instrument samples, a library of patches for its various synthesizers and
effects devices, and more, including a "combinator" device to allow you to
combine instruments and synthesizers and play them together. Your
library of samples within Reason can be expanded by buying
Reason
Refills to be used with Reason's built-in sampler. And the great thing is that after you are ready for
the more advanced DAWs, you can use Reason as a plug-in to your DAW! Reason
isn't really a DAW itself, especially since you can't use plug-in VSTs and
effects (as of the writing of this guide), but it works great as a stand-alone music production
application, as well as a plug-in to an actual DAW. A high-end DAW typically
costs more than Reason does, so it's great to be able to buy just Reason
and use it stand-alone while you're still learning, and then switch over
to using it as a plug-in to a DAW when you're more experienced.
So, go head,
get Reason. Of course, it's up to you
how you do things -- buying a DAW first wouldn't be a bad idea, as long
as you're motivated and capable enough to actually get through the
learning curve. A good DAW is far more capable than Reason --
also, most DAWs still come with plenty of virtual instruments,
synths, and effects to get you started. Two of the most popular DAWs are
Cakewalk SONAR (my personal favorite)
and
Steinberg Cubase... but if you can't
deal with Reason, then you probably can't deal with the more advanced programs.
However, if you can deal with it (which, after a few tutorials,
hopefully you
should be able to), then you can upgrade later and still have Reason to
use as well. After all, one can never have too much software!
Are you feeling the need to look at even more software options?
Go here. Do you want to look at some VST options, in case you're
getting (or already have gotten) a compatible DAW?
Go here. As already mentioned, you must remember that VSTs
cannot be used with software like Reason -- if you want to expand your
Reason sound library, get
Reason
Refills.
One final thing: depending on your level of musical experience, you may want to
learn more about music theory in order to enhance your ability to create music.
Although there are millions of resources out there related to this, I have found
this website to be quite useful:
www.musictheory.net
Well, this concludes my guide to making music using computer software. This
barely even touches upon everything, including how to actually use the
software... but that's what tutorials are for. Whatever software you get, it
will come with tutorials. Use them. Good luck! |
