‘The Buzz’ is something that happens a lot in a recording studio as one of the syndromes of recording. If you are setting up a recording studio and notice that there is white noise coming from somewhere in your equipment, you will want to make sure that you check some things out, reorganize your options and figure out where the buzz is coming from.

If you don’t find the buzz, or white noise, that is taking place in the studio, it can cause problems with the recording. The white noise, like everything else in the studio, will automatically be recorded as part of the sound wave. While some of this can be taken out with a filter during the mixing process, the sound will not be as clear and can cause problems by the time you get to the mastering process.

If you hear a buzz, the first thing to check is the spacing of all the instruments. Often times, the cables or the amps will be too close to each other. The frequencies will begin bouncing off of each other and will cause the buzz to happen. You will want to move the instruments away from each other or will want to turn them in a different direction so that the frequencies don’t hit.

Not only can that sound come from the instruments, but can also come from monitors. Your monitors, like the instruments, can create a buzz from the sound frequencies hitting the electrical part of the monitors and bouncing off. You will want to fix this by moving the monitors into a higher area or mounting them against the wall so that this doesn’t happen. Crossing the monitors on both sides of the room so that they are far away from each other and give a complete sound will also help to prevent the white noise and will allow for a better sound to be heard.

Another check point for the buzz is with the cables that you are using. If a part of the cable comes loose or has some problems with the wires, it can easily start to create some extra noise. Cables that are crossing each other may also sometimes have this problem. If you want to make sure that you are stopping this type of noise from happening, get three prongs to plug into the amps and sound boards if possible. This is more stable than the single prongs and will prevent extra noises from slipping into the recording.

If you still hear the noise, you might want to check the sound board. Often times, the wrong levels on the mixing board can cause problems as well. If the volume is too high on one, for instance, it will cause feed back to occur in the rest of the room. Checking balances, frequencies, volume levels and trims on the mixing board may lead to preventing the background noises and allow the instrumentation to go into the software needed.

The setup of your studio as well as the way in which you proceed with your equipment should help you to get a handle on any of the extra noise that you hear. By checking all areas and keeping everything ordered in the right way, you should be able to prevent the extra buzzing sound from going into your recording.

With every turn of the knob on a mixer or mastering tool is also a certain application of acoustics with the recording. If you can grasp the acoustics of recording and how it works with the development of your particular sound, you will also have more capabilities in recording and how you are able to portray the audio sounds that you are creating.

Acoustics begins with the vibration of air, or in some instances, an electronic device. With natural acoustics, the air moves through a certain compartment, such as an instrument or the voice. The more the vibration of the air moves, the more sound it is able to create for the instrument. This is what leads to the sound waves, which are more re-creations of the vibration of air that is moving through the space that it is in.

The vibration of air is what causes various acoustics to respond in a given space. It is also the simple concept of air vibration that leads to specific ideals about how to set a recording studio in order to take in the right sounds to record. Understanding how to control acoustics becomes the basis for setting up a recording studio as well as the main concept in controlling sounds as they are recorded.

When a sound is made through an instrument, it has a variety of levels of air that it hits and causes to vibrate. At one level, we hear this as a note that is played through the sound. However, the acoustics can take on different capacities in producing different sounds that are not heard.

The first sound that is produced comes from the environment in which the sound is played. If the room is larger, has further ceilings and is spacious, the sound will bounce against the walls. This will cause the sound to move faster, become louder and to resonate throughout the area. For recording, this is why the walls are deadened and smaller spaces are created. If there is the echo effect in the song, it can begin to sound like the beats are off.

Another way in which acoustics change the sound is through resonance. This is when the vibration of the sound is heard, even when the note is no longer being sung or played. This resonance can continue to move as long as the vibration of air continues to hit the particular area. Most of the time, resonance will be a filtering off of the initial sound as the vibration of air continues to slow down. In recording, this resonance is also muffled through the sound proof rooms in order to create a clearer sound.

The last part of acoustic sounds is the concept of overtones. Even though we only hear one note that is being played or sung, this is not the only note that is in the air. Acoustics create a vibration of sound waves that continue to resonate and vibrate at different levels. These will be pitches that are created above the original pitch, with specific spacings in the pitch. While they are not heard, they still create an effect on the ear with the sound vibration that moves through the air. This also makes a difference in recording, as the overtones can create a different effect and can be recorded as a wave file. This may cause differences in peaks as well as basic sounds that are heard in the piece.

With the understanding of these acoustic ideas is also the ability to control it within the recording studio. Each of these areas are ‘sound proofed’ at certain levels. This is to allow the audio to move into the recording area as a pure wave file, which will then stop the acoustic sounds from muffling, echoing or changing the sound that is intended to be heard in the recording.

When defining acoustics and recording, there are a variety of perspectives to consider that relate to sound waves and how they work. By understanding these perspectives, you can create a recording area that is more conducive to muffle certain acoustics and to let others resonate through the air.

Many of you have been in a situation where you are watching your favorite program. It is interrupted by a commercial break where you have to turn down the volume of what you are listening to. Then, when the show comes back on, you have to turn the volume back up.

This scenario is not a mistake of the television program. This is a controlled function in the industry to control volume levels at different ratios. The result is that it causes individuals to listen to the music differently. At this point, many are calling the industry standards for volume at a louder frequency, which is changing the instrumentation, the way that the music is played and even the listening capabilities of those who are tuning into their favorite CD.

When the recording industry started, the volume levels were closer to negative numbers, around 2 or 3. Records would be at this lower volume because it was considered to be more pleasant listening. It would also allow for the ranges of the instruments to be heard, such as loud and softer dynamic levels and high and low instruments that would blend together.

The use of these lower levels for volume allowed the industry not only to show off the instrumentation, but it also gave them room. When you are recording, your volume is a space where the noise can be increased or decreased. When you are moving into the negative numbers, usually -6 to -1, you have room to increase the volume in order to allow it to balance out. This is always a part of the volume levels within instrumentation.

As time went on, the frequencies of these volumes continued to increase. The industry standard now is close to 0 for music. This means that they are at one of the loudest points of volume that they can get to. Most don’t notice, and simply turn down the volume on their stereo or in their car. However, this particular decision by the industry to change the volume levels to the maximum is changing everything within music.

Not only is it changing the musical concepts, such as dynamics, range and instrumentation, but it is taking out a lot of the traditional and innovative ideas that are musically based. If you listen closely to music, you will notice that the music does not usually have a lot of ranges, changes in musical instruments or pace that is going. This is because the volume level has been maxed out. Because this has changed, there is no room to put anything else in that is musical.

Of course, the volume controls and the mastering process that causes this will also differ according to the format that you get. For instance, there is a standard for radio playing that is very different than CDs, which is also different than MP3 players. For Indie musicians and those with specialized and custom recording studios, there is also a difference in preferences according to their musical tastes and style with volume as well as the arrangement that is being used. If you are recording, deciding on your preferences for volume that fits to different formats and style will be important before going to the industry standard or producing the CD.

One of the main concepts that should be kept in mind with recording is to know the volume capabilities and the differences that they make in music. You don’t want to compromise the music for the volume, but you want to get close to industry standards. Knowing what you need to do with your volume, how it relates to your instrumentation and your concepts within music will help you to create a volume that is worth turning up and listening to.

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