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There are countless ways to get the sound from your microphone on to your computer.
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The audio interface's own mic inputs could still be used for a number of other things: maybe to record a band member's backing vocals, keyboards, your acoustic guitar etc.īasically, you'd be using your preamp to record the most important element of your music (for instance vocals and / or acoustic guitar) and freeing the audio interface's mic inputs for secondary elements, which could be handy if you'd be recording live with other band members.Īgain: NEVER EVER plug your Preamp output to an audio interface MIC input ARE THERE OTHER WAYS TO CONNECT YOUR MIC PREAMP TO A COMPUTER? This doesn't mean your interface's mic inputs would become obsolete, though! You could still use them to expand your recording setup! In the example above, for instance, you could record your lead vocals via external preamp, going through to one or of the interface's line inputs. Listen and learn.Otherwise, you'd be inputting a line-level signal from your preamp straight to the interface's own mic preamp, which would cause unwanted distortion of the signal, basically running the signal through two preamps! If you are interested in recording music, tune in to this podcast. I'm still learning, but suddenly finishing a long lost dream to release my own solo album is within my grasp.
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Thanks to Lij and the different pros that he has exposed his listeners to, I have actually learned how to mix songs. Not all guests are created equal, but on the rare near-snoozers, I find myself listening more to Lij and cheering him on. Nostalgia, humor and minutiae pervade, but so do legitimate insider tips and tricks. In addition to his own studio chops and experience, he has developed an excellent talent for interviewing the other pros, drawing out the classic tales of missteps, mayhem and meant-to-be happy accidents. Lij Shaw interviews people in the business of recording, mixing, mastering, production, songwriting and all things "recording studio". This sounds like an overstatement, but it's not. Thanks a lot Lij and keep up the great work! And what might at times seem highbrow and beyond the reach of many aspiring students of recording, Lij is able to condense into simple 'take-aways' - a credit to his broad understanding of all things sonic, but also to the needs of (some of) his audience. And of course there are a couple of engineers in the mix (excuse the pun). He also has a wonderful range of guests on the show, so rather than just listen to engineer after engineer talk gear, you might one day hear an acoustician talking spaces, and the next a songwriter talking processes and giving practical tips. Personality aside, it is clear that Lij possesses a wealth of experience and knowledge extending to all areas of sound, recording and production. This is largely due to the host Lij's wonderful manner - warm and playful, and self-deprecating almost to a fault. Like any good podcast you can take this one anywhere with you and it's like having an old friend there. Thanks so much to Howard Willing for making our introduction. Recent albums would be the last few Morrissey albums, Death Cab, and I produced 2 albums for Megan Mullally.
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Bill has also worked on TV shows, including Transparent, which has won Emmy and Golden Globe awards. Bill has worked on several films, two of which have either won or been nominated for an Oscar (The Theory Of Everything-Best Original Music Score 2015, Sicario-Nominated for Best Original Music Score 2016).
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He has been lucky enough to have been a part of many Grammy winning projects, two of which Bill earned statues for (Jimmy Cliff-Best Reggae 2012 and Ben Harper/Charlie Musselwhite-Best Blues 2013).
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Since then, he has done engineering and producing work for many artists. Between 20, Bill worked with some of the most famous artists in the world at Sunset Sound.īill left Sunset and went freelance in 2011.
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He became proficient in Pro Tools, as well as analog tape machines. In 2001, he spent a year in Orlando doing live sound, as well as an internship at a post production facility before moving to LA in 2002 and getting hired by Sunset Sound where he worked his way up the ranks and was an assistant engineer by the end of 2004.
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My guest today is Bill Mims, a graduate of Full Sail University in the Recording Engineering program. Need great vocals? Bill talked about recording Orianthi for the Olympics, why you need great speakers, mixing for film, headphone mixes, how to record dynamic vocals, and working with Prince, Morrissey, Brandi Carlile, Nancy & Beth, and Death Cab.