MIC LEVEL is the voltage of signal generated by

a microphone. This is the lowest, or weakest,

level signal of the four and requires a
preamplifier to bring it up to line level.

INSTRUMENT LEVEL signals fall between mic

level (lower) and line level (higher) signals. These
signals refer to any level put out by an
instrument, commonly from an electric guitar or
bass. A preamplifier is required to bring the
signal up to line level

LINE LEVEL signals are the highest level signals

before amplification. This is the type of signal that
typically flows through your recording system after
the preamplifier stage and before the amplifier that
powers your speakers. The two types of line levels
are consumer and professional

SPEAKER LEVEL signals are post-amplification.

After a line-level signal enters an amplifier, it exists
to the speakers at what is called speaker level.
These signals are much higher in voltage than line
level and require speaker cables for safe signal
transfer.
 Signal Chain

The preamplifier impro

ves sound quality by
boosting the sound
before it is sent
through the
power amplifier and MICROPHONE
removes some LEVEL SIGNAL
distortion that can be
Microphone level is usually
picked up when the
specified between
signal moves through
-60 and -40 dBu.
the stereo wires.

INSTRUMENT PRE AMPLIFIER PRE AMP

LEVEL SIGNAL GAIN

The purpose of a gain

control knob is to tune the
amp's input stage to
accept the head unit's
voltage level.

Gain knob controls how LINE

much of the signal should LEVEL SIGNAL
be allowed into the pre
amp for amplification.
 Signal Chain

A line-level
signal is
PRE AMPLIFIER approximately
one volt, or
about 1,000
A mic– EQUALISATION times as strong
level input is as a mic-level
typically a signal, +4 dBu
female XLR for professional
connector. COMPRESSION equipment.
A line–
level input is LINE
typically an DYNAMIC PRO.
RCA jack, or a
LEVEL SIGNAL
¼’ (TS/TRS)
phono jack. MODULATION FX

TIME BASED FX

POWER AMP POWER AMPLIFIER SPEAKER

GAIN LEVEL
SIGNAL
 Signal Chain
Line level signals in other professional &
consumer grade equipment

LINE
CD/DVD PLAYERS
LEVEL SIGNAL

DRUM MACHINES & GROOVE BOXES

SYNTHESISERS & KEYBOARDS

SPEAKER
LEVEL
SIGNAL
POWER AMP POWER AMPLIFIER
GAIN
Balanced & Unbalanced Cables

XLR -XLR

TS - TS

XLR -TRS
Home Studio Setups & Signal Flow
What are my Instruments & Sounds?

ANALOGUE: include Guitars, Piano, Drums,

Percussion, String, wind, brass and other
orchestral instruments, and many more.

DIGITAL: Digital Instruments are

programmed software emulations of the
analogue instruments.
AU, VST, RTAS are some of the common
software instrument formats.

What is my recording source??

 ANALOGUE
RECORDING
& PLAYBACK

What do I plug
all my instruments
& microphones
into??
DIGITAL
RECORDING
& PLAYBACK

What do I plug
all my instruments
& microphones
into??
 A MIXER BOARD

A Mixer is designed to mix all the different

inputs together, by adjusting the volumes of
each one and adding processing, such as EQs
and effects, and send the final mix to a set of
speakers or the PA.
 AN AUDIO INTERFACE

An Audio Interface is essentially, any device

that converts analogue signals (of your
microphones, Instruments etc.) into their
digital equivalents, which in turn can be
recorded into a PC.
DAW CHANNEL STRIPS
 Microphones & Polar Patterns
Dynamic Microphone

Used for: loud sounds, live instruments/ amps,

drums
Pros: cheap, durable, doesn’t need a power
source
Cons: not very sensitive to quiet or high-
frequency sounds
 Microphones & Polar Patterns
Condenser Microphone

Used for: quieter more complex sounds with a

greater range of frequencies
Pros: sensitive, accurate
Cons: more expensive, more delicate, don’t deal
well with very loud sounds
Directionality is a microphones sensitivity to sound
relative to the direction or angle from which the
sound arrives. There are a number of different
directional patterns available, and these are plotted
in graphs known as polar patterns. A polar pattern
graph shows the variation in sensitivity 360 degrees
around the microphone - assuming that the
microphone is in the centre and that 0 degrees
represents the front.
 Signal Chain

The preamplifier impro

ves sound quality by
boosting the sound
before it is sent
through the
power amplifier and MICROPHONE
removes some LEVEL SIGNAL
distortion that can be
Microphone level is usually
picked up when the
specified between
signal moves through
-60 and -40 dBu.
the stereo wires.

INSTRUMENT PRE AMPLIFIER PRE AMP

LEVEL SIGNAL GAIN

The purpose of a gain

control knob is to tune the
amp's input stage to
accept the head unit's
voltage level.

Gain knob controls how LINE

much of the signal should LEVEL SIGNAL
be allowed into the pre
amp for amplification.
 Live Level Signals
Line level signals in other professional &
consumer grade equipment

LINE
CD/DVD PLAYERS
LEVEL SIGNAL

DRUM MACHINES & GROOVE BOXES

SYNTHESISERS & KEYBOARDS

SPEAKER
LEVEL
SIGNAL
POWER AMP POWER AMPLIFIER
GAIN
 Portable/Digital Keyboards
Casio CT-S200 & CTK-7300
Digital keyboards work with sampled sounds. Sampled sounds are
made by digitally recording discrete audio samples of an
instrument (or any other sound) and storing them in the brain of the
keyboard.

Digital keyboards come with a variety of features to simulate the

experience of playing a real instrument. They also feature fun
options, like recording and editing your own playing, accessing
other instrument sounds at the touch of a button, and connecting
to other keyboards or your computer.
 Arranger Keyboards
Korg PA700

Arrangers have evolved into a necessary tool for

the professional performing musician, and have
even made their way into the studio. An
arranger keyboard has built-in “auto-
accompaniment.” and with the push of just a
few buttons, the keyboard will provide backing
tracks that automatically match the style, rhythm,
and tempo of what you’re playing. This has
become a unique tool for composers who have
to produce music quickly in a style they may not
be familiar with.
 Workstation Keyboards
Yamaha GENOS

A keyboard workstation is equipped with tools

for both performers and composers alike. In
addition to basic “bread-and-butter sounds”
that professional keyboards typically come with,
a workstation generally has more synth sounds,
more effects, and other music creation such as
advanced patch editing and sequencing.
Modern workstation keyboards include features
like on board pre amps and instrument inputs for
sampling and an A/D converter etc.
 Synthesizer Keyboards
Novation SUMMIT

Keyboards often contain a synthesizer, whether it's

simple or complex, but they don't need to have
one.

Synthesizers mimic sounds that are made

acoustically. Naturally, sounds come from vibrations
in the air. Our eardrums pick up those vibrations,
which are translated into sounds. A synthesizer has
an oscillator, which is the source of the sound that
creates electrical signals. Those signals move
through an amplifier, then a speaker. The speaker
turns those signals into vibrations, which turn into
sounds.
With additional components, a synthesizer can
mimic any instrument and produce many other
unique sounds.
 Digital Piano
Roland FP10

Digital pianos use samples of acoustic pianos

and are designed to imitate traditional acoustic
pianos.

Digital pianos generally come with 88 keys, like

an acoustic piano.

They are usually built in three arrangements:

upright like a traditional upright acoustic, in a
cabinet, or on a keyboard stand.

Digital pianos are generally closer in touch,

feel, and sound to an acoustic piano.
 Emulated Organ
Nord C2D

An electric organ, also known as an emulated organ, is

an keyboard instrument that was derived from
the harmoniums, pipe organs and theatre organs.

Originally designed to imitate their sound, or orchestral

sounds, it has since developed into several types of
instruments:

Hammond-style organs used in pop, rock and jazz;

Digital church organs, which imitate pipe organs and are

used primarily in churches;

Other types including combo organs, home organs,

and software organs.
 Upright Piano
Yamaha

Upright pianos are musical instruments in which the

soundboard and plane of the strings run vertically,
perpendicular to the keyboard, thus taking up less
floor space than the normal grand piano.
Upright pianos are made in various heights;
 Grand Piano
Yamaha

In grand pianos the frame and strings are horizontal,

with the strings extending away from the keyboard.
The action lies beneath the strings, and uses gravity
as its means of return to a state of rest.
 MIDI Keyboard & Control Surface
Arturia Keylab 88

MIDI controllers come in different forms, and the most

common ones have keys. Keyboard-style MIDI
controllers can have varying numbers of keys and
different response characteristics such as “velocity-
sensitivity” (the keys respond to the speed with which
they're pressed), “weighted action” (more realistic,
piano-type feel), and “aftertouch” (allows additional
parameters to be assigned to a key such as vibrato or
filter sweeps).

Not all MIDI controllers have keyboards. They come in

various forms including drum pads, control surfaces (for
controlling a software mixer, for example), wind
controllers, and combination controllers with keys,
knobs, and sliders.
MIDI Pad Controller
Akai MPD218
MIDI Pad Controller
Novation LAUNCHPAD
 MIDI Pad Controller
Control Surface/Performance Controller
Maschine MKIII & Maschine Jam
Ableton PUSH
 What are SEQUENCERS?
In digital audio recording, a SEQUENCER is a program in a
computer or a stand-alone keyboard unit that puts together a
sound sequence from a series (or sequence) of Musical
Instrument Digital Interface ( midi ) events (operations). The MIDI
sequencer allows the user to record and edit a musical
performance without using an audio-based input source. The
performance is recorded as a series of events that would
ordinarily be played in from a keyboard instrument. The MIDI
sequencer does not record the actual audio, but rather the
events related to the performance - what note was played at
what time, how hard the key was pressed, when did the sustain
pedal get depressed, and so forth. This data is then played back
into a MIDI instrument or sound module. Using this method, the
performer can select a piano sound for a musical passage and
later decide that the passage would work better as an organ
sound. The editor can simply change the sound program on the
MIDI keyboard to alter the sound without needing to rerecord
the entire performance.

Jump to maschine
Multitrack MIDI Sequencer / Pad Controller
Arturia Beatstep Pro

Multitrack MIDI Sequencer

Keyboard Controller
Arturia Keystep Pro
Multitrack MIDI Sequencer / Pad Controller
Korg SQ64

Multitrack MIDI Sequencer / Pad Controller

Polyend SEQ
Multitrack MIDI Sequencer / Keyboard & Pad
Controller / Control Surface
Novation SLMK3
 What are Drum Machines?

A drum machine is an electronic musical

instrument that creates percussion sounds, drum
beats, and patterns. Drum machines may imitate drum
kits or other percussion instruments, or produce
unique sounds, such as synthesized electronic tones.

A drum machine often has pre-programmed beats and

patterns for popular genres and styles, such as pop
music, rock music, and dance music.

Most modern drum machines allow users to program

their own rhythms and beats.
Drum machines may either create sounds using analog
synthesis or play pre-recorded samples.
Analogue Drum Machines
Korg VOLCA DRUM
Arturia DRUMBRUTE
Digital Drum Machine
Roland TR - 06
 What are Groove Boxes?

A groove box is a standalone music production instrument

that combines onboard sequencing tools with one or more
sound generation modules—most commonly drums, bass
synths or samples.
Before DAWs and computer sequencers, groove boxes were
the cheapest, most accessible way to build entire tracks.

Early groove boxes like the Roland MC-202 and MC-303

demonstrated the power of integrated synthesis and
sequencing.

Users could easily generate patterns and sequences on the fly.

The format caught on.

When sampling came along groove boxes became a key tool

in electronic and hip-hop production.

But most importantly, a groove box takes your music

production out of the DAW and into the real world.
Standalone Groove Box / Sampler
Novation CIRCUIT TRACKS
Standalone Groove Box / Sampler
Akai MPCX
 Portable
Standalone Groove Box / Sampler
Elektron DIGITAKT
 Portable
Standalone Groove Box / Sampler
Akai MPC Live
A few DAWLESS Setups
MICROPHONE LINE LEVEL
LEVEL SIGNAL SIGNAL
CD/MM
PLAYERS

DRUM MACHINES &

GROOVE BOXES

PRE AMPLIFIER

POWER AMPLIFIER
 Audio Playback Systems
Speakers & Headphones

Tweeter

Cabinet
Woofer

The electronics of a monitor speaker are encased by

the cabinet. This can be made out of various materials, like
metal, wood, or plastic.

The higher one vertically is called a tweeter. Tweeters are

often cone- or dome-shaped, again constructed from a
wide range of materials. They are responsible for
producing high frequencies, usually starting at around 2
kHz.

The other speaker, placed below the tweeter vertically, is

called a woofer. These are generally cone-shaped and
responsible for producing low and mid-range frequencies
in monitors with two drivers (called two-way).
 A passive monitor requires an external amplifier to amplify the
input signal before entering the monitor. This amplified signal is
then sent through a series of electronic components within the
monitor called the crossover network.
The crossover network essentially acts as a filter, separating the
input signal into multiple signals based on frequency. The
higher frequencies are sent to the tweeter and the lower ones
are sent to the woofer.

An active monitor does not require external amplification, as

amplifiers are housed within the cabinet. The input signal
entering the monitor passes through the crossover network first,
after which each band is separately amplified before being sent
to the relevant drivers.
 Audio Playback Systems
Passive Surround Speakers

Audio Playback Systems

Active Studio Monitor Speakers
 Near field & far field monitoring

Monitors will sound different depending on your listening

distance. Because of this, most monitors are designed to be
used as either near-field or far-field monitors.

Near field monitors generally have smaller drivers and are placed
closer to the listener (around 2-3 feet away). Their proximity
means that more direct sound from the monitor will hit the
listener’s ears, rather than reflected sound from surfaces in the
room. This will reduce the impact of room acoustics, allowing for
more detailed work, such as identifying small problems in the
mix like pops and clicks.
Far field monitors, on the other hand, generally have larger
drivers and are placed along the perimeter of the room further
away from the listener (around 10 feet away). They’re often
mounted on or in the wall behind a mixing desk.
Far fields allow audio to be heard in the room, taking advantage
of room acoustics to impact the sound.
Near field monitoring setup

Far field monitoring setup

 Subwoofers

A subwoofer (or sub) is a loudspeaker designed to

reproduce low-pitched audio frequencies known
as bass and sub-bass, lower in frequency than those which
can be (optimally) generated by a woofer.

The typical frequency range for a subwoofer is about 20–

200 Hz for consumer products, below 100 Hz for
professional live sound, and below 80 Hz in THX-certified
systems.

Subwoofers are never used alone, as they are intended

to augment the low-frequency range of loudspeakers that
cover the higher frequency bands.
 Commercial and Studio
Headphones

Consumer headphones and earphones are often

tuned to emphasize certain frequencies for casual
listeners. They typically have raised highs and lows
for you to better appreciate the content.

While they can work for some, their sound

coloration is generally considered as detrimental in
music production where you need to hear every
part as transparently as possible to make correct
adjustments when mixing.

Headphones are mainly categorized into Closed

Back, Open Back and Semi-Open headphones.
 Closed Back Headphones

In Closed back headphones, the solid ear cup prevents sound

from leaking out, and it also isolates the listener from outside
sound. This makes it perfect for vocalists and musicians who
record while listening to a guide track in the studio, reducing the
risk of sound leaking into the microphone.

Closed back headphones can also have a tendency to 'trap' bass

frequencies and therefore over-emphasize them, which is why in
professional studios this type is often not used for primary mixing
duties but used as a reference while recording/tracking.
 Open Back Headphones
Open Back headphones have fully open ear can designs, with
perforated metal serving as the cover. These openings allow
outside sound to get to the listener, adding natural ambience.
They also allow some of the sound to go out (including bass
frequencies) reducing the harshness that is associated with
closed back headphones.

Open back headphones provide a more natural sound stage,

particularly because they don't artificially emphasize bass
frequencies. For these reasons, when mixing and mastering is
done on headphones it's usually this type that is used.
The downside is that because the leak sound they're not suitable
to use when recording/tracking because sound leaks into live
mics.
 Semi - Open Back Headphones

These are same as open back headphones, with partly opened

cans instead of having them fully opened. This means that they
get some of the benefits of fully open back headphones, while
also reducing its unwanted effects - resulting in a sort of milder
in between version.

Since sound still leaks from partly open ear cans, they won't
meet the requirements for quiet recordings, although they are
sometimes used for recording vocals to give the singers a more
'natural' sound to sing to. Like open back headphones, you'll
need a quiet studio environment to enjoy its ambient sound
when mixing and mastering.
 MIDI Recording & Editing

MIDI stands for Musical Instrument Digital Interface, and

was created as a communication standard for musical
hardware.

The standard allows two products, from two different

manufactures, to send performance data back and forth
using a common language.

It's a fast transferring digital signal that allows

performance data to be layered using multiple channels
or separated using multiple ports.

Channels v/s Ports

MIDI messages can be defined by a MIDI port

and/or a MIDI channel.

Each port has 16 different channels that can

be used to pass data.
 USB Midi v/s DIN Midi

MIDI is transferred using two common

cables/connectors.

Most hardware and external sound modules will

use MIDI 5-pin DIN inputs and outputs to transfer
MIDI.

However, since computers come standard with

USB ports, more recently, MIDI is being sent over
USB cables.

MIDI controllers may have USB-MIDI as well

as 5-pin DIN in and outs. This
accommodates computer and external
hardware connections.
 What is a Virtual Instrument?

MIDI does not pass audio signal, so if you are

using a MIDI controller connected to the
computer, you will most likely need a software
that will interpret the MIDI and produce sound.

This software is referred to as a Virtual

Instrument, VI, or plug-in. If you are using a
recording/sequencing software (DAW), you may
already have some virtual instruments included.

Some Advantages of Using MIDI

• A standard language between musical

hardware and software

• Sound assignments can always be changed

in the future

• Quick digital to digital data transferring

• Easy editing once recorded

• Simple time and quantize adjustments

•Small file sizes

 Types of MIDI Messages
NOTE ON/OFF

The most commonly used MIDI message is a

note-on or note-off message.
A note-on message is created when pressing
a key (or pad), and a note-off message is
created upon release. This MIDI note
message tells you what note was played, how
hard the note was hit, and what MIDI channel
the note was played on. Using note-on and
note-off messages will determine how long
the note took place. All this performance
data gets translated to digital information,
which can then be read by any other device
supporting MIDI.
 Types of MIDI Messages
NOTE ON/OFF

Momentary vs Toggle
Momentary messages send both ON and
OFF messages when the key/pad is triggered
and released respectively.
Where as Toggle messages send only the ON
messages when the key/pad is triggered and
nothing upon release. While using toggle,
the off message comes from the next trigger.

Continuous Control/Control Change (CC)

Most commonly referred to as a (CC), this

message consist of a controller number and a
value ranging from 0-127. Most hardware
encoders, such as knobs and faders, will send
these types of messages.

Program Change (PC)

Also known as "patch change", these messages

are commonly used to tell hardware or software
to change a patch preset.