Working with video voiceovers

Creating a voice over on video brings with it a few additional factors. On the one hand the audio is not as demanding as recording music, and then there are space constraints as the computer monitor(s) will need to be visible.

Equipment

1. Studio condenser microphone large diaphragm. To keep it simple you can use a model with a USB connector designed for Podcasting . This removes the need for Audio Interface device, less cabling and so easier to connect. There are some USB microphones at about £70 (entry level – but for talk-over quality will be fine), Samson CO1U USB or iSK CRU-5 USB (nice retro look!).  £150 would get a brand name more known for pro equipment such as Audio Technica AT2020 USB (but this is still their entry level)
2. A microphone stand, desk fastening with suspension arm as used in radio stations: RODE PSA1 Broadcast Studio microphone stand (about £75 though there are some cheaper chinese ones available)
3. A pop filter (large) £10 – though may get in the way so I would say optional. They are not used in radio stations. Likewise the cradle to prevent unwanted vibrations is unnecessary in most applications.
4. Acoustic treatment: the idea I had yesterday would be in the way too much and instead I would suggest 2 x Acoustic Treatment Foam Panels to go in front and behind the narrator. Total price about £180.  You can make a pair of hinged plywood boards to place behind the narrator and possibly stand up the other foam panel behind the computer monitors. This will not block out all unwanted sounds but will dampen it and prevent unwanted reverb within the room space

Post production

All the audio should be post processed to improve quality.

1. Compression. Makes the quiet parts louder and the loudest parts slightly quieter – evens out the sound. In professional recordings compression is always used and is applied to the appropriate degree to maintain dynamics
2. De-essing (maybe) removing sibilants
3. EQ: enrich the voice tone, remove hiss and hums (hopefully not too much there)
4. Remove noises ("transients")
5. Add reverb – The sound treatment will have removed most natural reverb, adding some controlled reverb back makes it more natural (ironically)
6. Maximising overall volume

1,2, 3 & 5, 6 would very soon become fixed presets (actually for each narrator) based on a known environment

Live sound - using your laptop for your sound

There are 3 stages to this article. Each of these have multiple ways of achieving similar results

1. Creating your sound. Setting up the software to be the instrument that you want
2. Using a keyboard to get the MIDI signal into your computer
3. Connect Audio

Creating your sound

There are 3 ways. In this we will take the example of a simple piano.

1. Use a plugin virtual instrument with your DAW software (Logic, Cubase, Protools, Ableton etc). If you have a windows computer this will be a VST, if you using an iMac then this could be an AU or VST depending on your DAW. Eg: Piano which conveniently has both a Mac and Windows version
2. Alternatively you can use a stand-alone virtual instrument software. This would run as a stand alone software. Eg: midipiano_chung. Run the software, plug in midi and all is done
3. Lastly there is the hybrid solution, using what is known as a VST wrap-around. Here you install the VST in your computer and install the wraparound software. This takes the place of the DAW and has very much more simplified controls
1. Window VSTHost
2. iMac VST Lord actually designed as a test program. 
3. Mac users can also use Mainstage but this only hosts the instruments that come with Logic and Garageband - however if they are what you need on stage then Mainstage is definitely the way to go

MIDI input

Next you need to connect a keyboard to your computer. Again there are choices.

1. Use a MIDI interface that connects to your computer with a USB or Firewire connection
2. Plug in a keyboard that has a USB connection
3. Use a keyboard that provides a wireless MIDI signal together with a USB wireless receiver. Eg: CME UF series of keyboards

Connect Audio

1. Very simply you can connect your computer headphone socket via a cable to the amplifier/mixer (mini stereo jack to twin mono jack cable)
2. Or allegedly better quality sound (depending on your laptop) you can connect an external sound card via USB and connect that as out to your amplifier/mixer

Working example

1. Install midipiano_chung on to laptop and run the program
2. Plug in Midi Wireless USB and install WIDI driver
3. Configure settings on midipiano_chung to use the correct MIDI input
4. Switch on CME keyboard
5. Plug your computer audio into amplifier

Video recording and audio

I am new to video and so will not try to advise anything on how to film but I have very quickly come to realise that I can certainly help on sound.

I have also very quickly learned why I need a clapper board/slate. Sound has to be recorded separately to the camera - even when recording voice.
To record close-up speech, I tried using an Audio Technica Lavalier Condenser microphone plugged directly into the camera's audio input. First of all interference noise made it unusable. I found out that the Audio Technica ATR-3350 is very susceptible to interference from other equipment. The only other gear was the HDMI monitor screen. I plugged out the monitor and recorded again and the interference was gone. However on the subsequent recordings there were high levels of hiss. Further research showed that this is specifically a Canon EOS issue. The audio stage of the camera features an Automatic Gain Control (AGC) so during any silences the camera turns up the gain causing the hiss. I have read some interesting/smart/messy/expensive workarounds on this to fool the AGC but none of them actually do what Canon should have done, which is provide a configuration switch to disable AGC. In the end, it is easier and of course better quality, just to record the audio separately and synchronise it back together in the computer - hence the clapper board to give you a synchronisation mark. You can use the audio in the camera just to verify the synchronisation. There are a number of excellent tutorials on how to do this on YouTube.

So finally I am not really treating music, speech or general sounds distinctly different. As with any recording the mic'ing recording should be done with the best method for the job.

1. Speech: Record directly into Logic Pro
2. Live Music: I use a Boss BR-1600 with 2 inputs from the mixing desk and an ambient boundary mic. (I'd like more inputs but that may sacrifice monitor outputs needed by the musicians on stage)
3. This leaves the issue of general mobile recording (not music - and presumably without a power socket being available). Most people sing the praises of the Zoom H4n and I will be investing in one before long. In the meantime, I can use my MacBook Pro which is more cumbersome but with an audio interface will give me the best sound quality and a battery life of a few hours.

After the filming/recording, I mix whatever stems there are first in Logic 9 to as near a finished product as I can, EQ, gain, effects if needed and then bounce down to 48K sample rate (because this is film - normal audio is 44.1K). Theoretically I may have to re-mix, re-edit post production but if this version is mastered quality, in most cases this will be the finished audio.

The audio should be then sync'd with your video using the clapper marking point or some other distinct moment that can be identified in the wave form shown on screen, and once sync'd, locked together.

Now the video (with its audio) can be cut, sliced, etc and possibly additional audio samples added in the video editing suite.

After the video edits are done, perhaps it all sounds good at this stage. If so, the job's done already. If not you can now bounce the video back down again as a WAV file; bring it back into your DAW and re-mix/re-edit using the original sound files. If you know the material, you should not find it too difficult to re-align the original source material to the video edited version. Obviously do not change any of the timing in the video's audio file. Using the Video's WAV as a timeline, any changes made to the finalised audio are then easy to re-align back into the video.

Audio Mastering

The work of audio mastering is the final stage in preparing your music for distribution. On tracks collected on to a CD, it includes matching volume levels and EQ to give the album a uniform sound. EQ is also used to enhance and bring out certain features of each track possibly vocals and percussion. It also includes trimming tracks, setting spacing between tracks. Especially with live instruments and generally on live recordings, the mastering engineer can remove unwanted noises, pops, bangs, sibilants and coughs (even behind the music). This is why it costs more to perform the mastering on live instruments and live recordings rather than the music produced "in the box"

Here are a few notes on submitting tracks for Audio Mastering. The people tagged on this note are mostly unconnected with the recommendations and these notes are intended for future projects (and partly as an advert).

Definitions

Producers: I refer to 2 different types of producer though in some cases this is the same person. The Beat Producer who creates the backing track; The Studio Producer who records the artist and produces the final mix. Some of these comments apply to both.

Stems: This is the bounce of each individual instrument/voice etc as a seperate file. It can be stems with or without effects and it should be specified which is required

Do's and Don'ts

I need high quality WAV or AIF files. I can resurrect and enhance an MP3 if that is all there is but this will never be as good

Do not trim the recording right up to the first note of the track. Leave some space and I will trim it

Do not chop the end of the track too soon. Especially do not chop the reverb tail or a ringing note. This is usually the fault of automated bouncing of tracks. You can extend the length of the bounce by adjusting the setting to include effects trails or simply by extending time a few seconds. This is something I can fix, but would rather not have to.

You can leave the fades at the end of the track to me; a note telling me when to fade would be nice

While you will want to put compression on individual stems, PLEASE do not put compression on the whole track. This is best done at the mastering stage.

WAV and AIF files are pretty big. You can use YouSendIt or a similar service to send a single file but for a full set of files it is better to use FTP. I can set up an FTP account for you to transfer the files to my server.

Information required

Some of the following information is required as it is embedded in to the master CD image and iTunes tags.

Purpose of mastered tracks: CD, iTunes, MP3 downloads. It maybe that I need to produce multiple versions of each track to suit its destination.

Name of each track in the required order on the CD

Gap required between tracks (can be different per track). Without a specification, I will use 2 seconds

Any useful notes/opinion on tracks needed to assist me in the Audio Mastering

Names of any featured artists

Names of any writer(s) (This should include the beat producer, i.e. the maker of any backing track/beat)

Name of the studio producer for each track

Declararion that all material is copyright to the writers listed and that no unauthorised samples have been used

I can provide a form for this information on request.

Remixing and Radio Edits

I can do Radio Edits from the final mix files, but it is much easier to do this with the stems (with effects)

Remixing: I really do need the stems for each instrument and vocal; with or without effects depending on how much you want doing. I would prefer an MP3 of the original mix as a guideline unless you want me to just start again.

About my work

I qualified in Audio Mastering at the Berklee College of Music, USA. I have done mastering on all types of material from hip-hop to classical. Mastering starts at £25 per track for tracks made "inside the box". Mastering of live recordings is by quotation after I have heard the source material.

Using an FTP software to transfer files

Who: This note is for producers and musicians recording in their own studio

Difficulty Level: 1/5

Purpose: To transfer large files.

In a previous note, I described how to do FTP using Explorer (PC) or Finder (iMac). Using a specialist FTP software is far easier and faster, and many programs are actually free.

FTP Software

There are a number of free downloads of FTP client programs as well as a few that cost a few pounds

• PC: FileZilla (free) etc
• iMac: Filezilla (free) / Yummy FTP etc

At the basic level you need 3 pieces of information

1. Name of the FTP Server: in my case www.affinityentertainment.co.uk
2. User Name
3. Password: this is case sensitive to user capitals or lowercase as given to you

Once set up you can drag and drop files between your computer and the other computer, or vice versa

Transferring files with FTP using your existing software

Who: This note is for producers and musicians recording in their own studio

Difficulty Level: 2/5

Purpose: To transfer large files. (In this example from me to you)

At the basic level you need 3 pieces of information

1. Name of the FTP Server

User Name

Password

Windows

• Use Explore. Explore is your normal Windows file manager. It is NOT your Internet Explorer web browser. Right Mouse click on the bottom left (Window icon) and choose Explore. In the top line where it shows the current directory: click in that box and type the server name: ftp://www.affinityentertainment.co.uk

iMac

• Use Finder. From the Top menu choose Go/Connect To Server. In the dialogue box type the server name: ftp://www.affinityentertainment.co.uk

Logging In

You will now be asked for a user name and password. This has to be issued by me to give you access to your own area of the FTP server. Username and password has to be typed with uppercase and lowercase exactly.

Transferring Files

When You have logged in, you will see the files just as if they were on your own computer. You can drag the files to a folder on your own directory.

Likewise if you have write access, you can send files to me by copying the files (drag and drop) up to the server

If the files are large, they could take some minutes or longer to copy. You should see a progress bar while the files are copying.

Still having difficulty copying files over?

You need to have the FTP window open and another window of Explore on your own computer. If you are having difficulty with drag and drop. You can select the file(s) you want and press Ctrl C to copy. Then in the window of your own computer press Ctrl V to paste.

If you using an iMac then the key commands are Cmd C and Cmd V

FTP Software

There are also a number of specific FTP programs that do the job far more clearly.

PC: FileZilla (free) etc

iMac: Yummy FTP etc

Filezilla setup screen click File / Site Manager/ New Site

Sending Tracks for re-mixing

Who: This note is for producers and musicians recording in their own studio
Difficulty Level: 2/5
Purpose: Preparing files for remixing

Mastering is the last chance to get a track right but prior to that sometimes you may want to have a track mixed or remixed by someone else (like me :) ).

You can share your tracks between different software and even different computer platforms (PC, Mac, Linux). Each instrument or voice, whether in audio or midi, should be exported or bounced to a separate audio file (the most universal format is WAV. MP3's are not good enough). In Logic 9 and probably in some other DAWs you have the luxury of being to bounce every track to a separate file with just one menu option. In other DAWs you have to do each track one by one. It is best also to remove any compression from the tracks before exporting. You may also want to remove other effects or plugins but that depends on how crucial they are or how certain you are that they are part of the finished sound.

If you are working in midi on some tracks, you may also want to export these tracks in midi format, i.e. .MID files.

As well as the files, it is useful also to give some notes on your expectations or thoughts on each instrument/voice and for the track as a whole

Each individual instrument or stem will be quite large, too big (20mb - 70mb) to send by email. You may need to send via CD but also see my previous note on FTP. Also see my previous notes on mastering which are also relevant to preventing mistakes in bouncing tracks.

iPad as a MIDI musical instrument

Who: This note is for musicians using software synths
Difficulty Level: 4/5
Purpose: Using an iPAD as a MIDI instrument

As I am travelling for a few weeks and already missing my studio, I decided to experiment using the iPad as a musical instrument. There are 100's of iPad and iPod application with which you can play all sorts of musical instruments, everything from Celtic harp to Djembe but having already used the iPad as a DAW controller and already used an iPod synth live with Anima Animus Animal concert, I wanted to try the iPad to go a step further, not just to play the synths but also to record the MIDI. Also each MIDI controller has its own feel and as with physical devices ranging from keyboards to pads, different control surfaces on the iPad would each have their own feel and then produce a different style of playing from the musician.

Again because I am travelling, I have a laptop PC instead of my usual weapon of choice the iMac. I do have a number of software synths installed already on it. In researching the configuration I had to refer to a number of websites and install a number of applications. I know on the iMac it would have been far easier. Also the instructions I read were each giving you an instruction but then saying before you do this you must do such and such - basically it was all in the wrong order. Here is my version of the instructions.

Enabling the PC for wireless MIDI

1. Install LoopBE1. Run the applcation. This does then automatically start when you reboot your computer. LoopBE1 creates a virtual MIDI port. After startup make sure that the application is set to "mute" = unchecked
2. Install DSWifiMIDI. Unless you put this in your autostart then you will need to restart this each time you start your computer. I also found it more reliable to launch DSwifiMIDI in a DOS window. You can make a batch file then to launch it this way from your desktop. In the configuration, you should set both the Input Port and Output Port to be Loopbe Internal MIDI
3. In your DAW or Synth application choose LoopBE as your MIDI input
4. You may also get firewall messages in which case you should give permission to DSwifiMIDI in your firewall settings

LoopBE1 and DSwifiMIDI are free downloads. 

Installing MIDI instruments on your iPad

Search "MIDI" and you will find quite a few apps. What you are looking for are the apps that will send an OSC wireless MIDI signal. I chose
iPad AK-7 Synth

• AK7 a rather simple keyboard
• iJammer based on the hexagonal key layout that is used on a few physical MIDI devices now
• I will probably add a drum or pad MIDI controller at a later stage then I have the main input mechanisms for playing both music and rhythms into my DAW.

iPad iJammer
These MIDI instuments for the iPad are not free but cost a few pounds each. 
At this point you are already ready to work with applications on your computer that use MIDI input.

Using your soft synths as "live" instruments

Most VST's are designed to be used within your DAW software but this is not always the most convenient of using your soft synths live. I use a wraparound freeware software called SAVIhost. I have also used this live already with Anima Animus Animal.
Native Instruments Kore Player used with the SAVIhost wraparound. The keyboard is optional but useful for testingSAVIHost is a free software and easy to install - follow the instructions about copying the SAVIHost.exe to the location of your VST DLL and renaming the SAVIhost.EXE file to be the same as your DLL file. For your synth which has a DLL mysynth.dll, you rename SAVIHost.EXE to mysynth.exe. So in fact you may well have many copies of SAVIhost copied in to your VST directory. Next, under the "Devices" menu, set your MIDI input to LoopBE and set your Audio output correctly (usually to your Audio Interface, but as I am travelling at the moment I am using the computers internal sound card)

Troubleshooting

A simple OSC Monitor utility for Windows : Frieder Weiss OSC Monitor

Usability Verdict

Using the iPad as a wireless device, there is some delay from pressing the keys to the MIDI signal being received on the PC (i.e. hearing the sound). It is only small delay but enough that it will slow down your playing. You can improve on this by plugging your PC into the network hub with a network cable.

AK-7 is a passable keyboard with a piano layout but looking a little different, which is OK, maybe better as there is no point in pretending that it will be ever like playing a piano. It is OK for chords and simple melodies.

iJammer is my best iPad hope for producing something new musically. The hexagonal key layout frees you to experiment with new chords. The layout of the sharps and flats means that you would use these only occasionally and I think you would naturally play major scales in C and minor scales in A but you can transpose and with this instrument I would not feel guilty about using the transpose setting.

Using the iPad (or iPhone) as a Control Surface in Logic or other DAWs (iMac & PCs)

Who: This note is for producers and musicians recording in their own studio

Difficulty Level: 3/5

The iPad app AC7 Pro emulates a Mackie control surface. This gives you a totally wireless control surface for your DAW. Total cost of this is £5.99 which is for the App for the iPad. This also works for iPhone with minor modification. I read in a magazine about doing this job for Digital Performer. The instructions were not applicable to Logic and other DAWS so here is my version. Sorry, the configuration section is not the easiest but if, as a producer, you are used to how your DAW works then you should figure it out!

Why would you want to do this

Well for me, the first reason was - because I can. Basically I just wanted to learn the iPad communications functionality. However it is not just a geeky thing; much better reasons are

• As a recording musician you can control your software from anywhere in the room. I can put my iPad/iPhone next to the piano or microphone stand and control the start and stop of the recording from there. Also the "Undo" last recording....
• Mixing, you can sit back in your chair and ride the faders. With the appropriate channels assigned as write or latch you can "live mix" the channels in a way that would be impossible with a mouse.

Installation

1. The iPad and iMac should both be connected to your WiFi. (Alternatively use Airport service on the iMac and connect them to each other).
2. On your iMac download DSMI Server for OSX (current version is v1.02). Install and Run
3. On your iPad install the app AC-7 Pro Control Surface. Cost is £5.99. Run the app
4. Start your Logic or other DAW software. The iPad is now already set up to send midi signals to your DAW but it will need configuring

Logic Configuration

You now need to assign the controls of AC7 to the control function on your iPad. At this time I have not completed the full mapping of the controls. If anyone has a mapping for this that can be imported then please let me know.

• Menu:Logic Pro/Control Surface. In this section you teach Logic the assignment of controls such as the volume slider on the channel strip. I found this a bit tricky and certainly tedious. Choose Learn Mode and define the slider in the menu options and then move the appropriate slider on the iPad. Alternatively this can be done by selecting the control in Logic and then press Cmd L and it takes you into the same menu
• Menu:Logic Pro/Key Commands. In this section you teach Logic the assignment of buttons such as the transport buttons. Choose a button function and choose learn. Press the button to be assigned on iPad control surface

Modifications and PC software

• If you want to the same with your iPhone (although the control surface is rather small then the iPhone app is called AC-7 DAW Control surface and costs £3.49
• 
  
• You can also do the same with PC and DAWs such as ProTools by installing the appropriate communication driver available on the same website in step 2 of the installation.

Recording with backing tracks

Preparing to get the most out of your studio time.

Backing tracks should be WAV or AIFF. MP3s are normally not good enough.
Send backing in advance either by FTP or through a system such as YouSendIt. Sending in advance means that the tracks can be setup in advance, saving time.
If you are bringing CDs then bring 2 copies in case one is faulty.
USB Memory sticks are generally more reliable.
Do not bring USB hard drives as they can have compatibility issue with different computers

Finally it is useful if you know the beats per minute (BPM) of each track as that will save time on creating the best setup in the studio

Collaborative Music via internet Pt 4: Exporting WAV/AIF

A few collected notes from questions that have come up from various artists

If you are recording tracks with a microphone, i.e. mono, then you should also choose a mono track to record on. You should do this before you start recording as often software programs default to give you a stereo track.

• Garage Band: Track/Show Track Info (Command I), Input source should be Mono (name of interface input will be in parentheses depending on which equipment you have connected.
• Other software. some software has a stereo symbol (2 overlapping circles) or a mono symbol (single circle). Look at the track info to change the track to mono

Your recording should be exported in highest quality available. 320kbps MP3/M4a is good but really you should export uncompressed as AIF or WAV

In Garageband you can export an AIF file as follows

* Share

* Export to Disk

The default is compressed. Untick the checkbox after "Compress" then click export and choose your file location to save. 

Non keyboard MIDI devices

This is the 2nd article about the MIDI setup in my studio. Keyboards can be very versatile used with various MIDI sounds; but sometimes just to have a totally different way to play the notes can provide some new inspiration for creativity

Casio Digital Horn DH100 breath controller
This is played like a saxaphone and looks rather like a toy sax. I had to brush up on the fingering. I never played sax before but I did play flute as a teenager, inspired by watching and listening to Ian Anderson of Jethro Tull. 
The in-built sounds are awful. When connected to MIDI, I was able to get a better sax sound but still without live character; needs a few squeals in there (not the one that had to be engineered out of the original design of this instrument) rather like you get the extra sounds in acoustic guitar sampling when you hear the fingers moving on the strings. 
In fact the best and more innovative results are obtained by using this instrument to drive synth leads or even atmospheric pads.

I also have a Yamaha BC3A breath controller that can be used in conjunction with a MIDI controller keyboard such as my CME but in fact I have never got it to work - although I have seen the MIDI signals change on the computer MIDI monitor.

Digitalent Hand-Controlled Midi
This is a device triggered by two optical sensors. The sound/pitch changes depending on the height of your hand away from each sensor. It has been compared to a theramin. The effect is MIDI output created somewhat chaotically and can also be great fun on percussion.

Percussion
Digital Drums
My digital drum kit is a Roland HD1. In fact I bought it just for visiting drummers to rehearse. The drum sounds are not at all satisfactory. Not always wanting working to work with MIDI through the iMac, but in fact wanting just to have a simple audio out, I upgraded the drum brain with an Alesis DM5. This is clamped on to the front of the HD1 kit. I got the Alesis DM5 second hand and in fact bought the full kit so I have added additional pads and cymbals to the kit. With the Roland pads, I did a quick fix by just taking a MIDI cable from the original Roland drum brain to the MIDI in of the Alesis DM5. The extra pads are then linked directly to a couple of trigger channels directly to the DM5 as designed.
While mostly played in the studio with its own audio, I also have this Frankenstein linked by MIDI out into my synthesizer suite as described in another page. Logic Pro environment can then be used to make the drum kit an input for any of the synthesizer modules or any of the soft syths on the iMac and of course record either as an audio or as a MIDI track (or both)
Yamaha DD-10
Tried to sell this some time ago but nobody bought, now i see them selling on e-bay for more than I paid for it years ago. Strangely it has a MIDI in but no MIDI out. The sounds are really retro. I think badly retro and the rhythms are very dated but in fact this little thing has been used on 2 demo recordings in the past year and so has a reprieve from being sold.

Roland Pad 5
I also had this for sale for a while and it did not go either. I just bought an old E-Mu World synth module that used to belong to Andy McCluskey of Orchestral Manoeuvres in the Dark. The world instruments in it are covered by my other synths too but I am using this to have some dedicated world percussion available. Something to shake a stick at, you could say

Korg Nano Pad
Great for some quick percussion and I use its "Kaoss" pad with my atmospheric synths to modulate the synth settings while being played

Collaborative Music via internet Pt 3: The Drums

There should be little difference in recording digital drums and any other midi instrument such as a keyboard but because of its fundamental importance, and that it is always at least the 2nd instrument to be recorded, this article will treat the percussion as a special case.

The equipment

• Digital drum kit with drum "brain"
• USB or firewire Audio Interface with midi connection
• audio cable
• midi cable
• Software to record (DAW)

Software

Many Audio Interfaces come with a lite version of an audio software (Cubase, Ableton etc) for iMac or PC. It does not matter if you are collaborating with someone who is using a different software or hardware. Interchange can be done with WAV files - although you can happily play along with an MP3 - the mixing will be done with WAV files.
The limitations of the lite version should not restrict laying down a rhythm track. There are also some freeware softwares that can do the job such as 

• Audacity http://audacity.sourceforge.net

(but as a Logic user, I have not tested them yet).
These notes will cover recording both audio and the midi signal at the same time. The midi track is in the most simple terms a recording of the hit of each drum/cymbal as data and can be edited later including re-assigning the sounds for each instrument and moving notes.

Installation

• Install your recording software (DAW), install the driver for your Audio interface and then connect your Audio Interface. Usually in that order but of course read the instructions.
• Connect 2 jack cables from the drum brain to the audio interface. Most audio interfaces accept both jack and XLR cables. Some cheaper drum brains (eg Roland DD1) will only have a mini-jack/headphone out and you will have to use some adapters
• Connect a 5 pin din midi cable from the drum brain to the midi connection of the audio interface.

Setting up the recording

This is a very generic description but most softwares operate in a similar way.

• Create a new song. You may have to specify whether this is audio or midi or both. You need both. Some/most softwares do not ask this setup question
• Create a new track as stereo audio. Happily most softwares will automatically default to using input 1/2, and if you have a simple audio interface with 2 inputs these will also be outputs 1/2.
• Create a new track as midi. Again happily most softwares will automatically default to using all midi channels as input and so should already match your audio interface
• Create a 3rd track as audio and import the MP3 to that track. Make sure the beginning of the MP3 is right at the beginning of the track (at position 1,1,1,1)

Set tracks 1 and 2 to record. When you hit any instrument you should see the signal bar on each track jump appropriately,
You can also choose to listen to the track via headphones plugged directly into the audio interface.

Audio Interface

Focusrite Saffire 6 is a simple audio interface that connects both audio and midi signals and connects to your computer via a USB cable (about £139)
Alesis iO2 Express (£79)

Still to be wrtten
Saving as a WAV file
Some photos ...