Setting Up a Home Podcasting Studio

This is a step-by-step guide to setting up a professional quality podcast recording studio for 2 people.
Here is how it looks to use the system. You can hear the end result of this podcast here.
Equipment Checklist:
2 x Audio Technica ATR-2100 Microphone (These come with XLR Cables & Mic Stand)
Scarlet 2i2 Mixer (This comes with the USB cable needed to plug into your laptop)

Pop Filter

This equipment will cost less than $300 but add 10x quality compared to a regular Apple headphone recording system.

Optional Equipment

Macbook Pro (This is the best computer in the land)
Beats by Dr. Dre (These headphones just feel and sound really cool)
Boom Arm Option:
Shock Mount – On Stage MY-420 Studio Microphone Shock Mount
Boom Arm – RODE PSA1 Swivel Mount Studio Microphone Boom Arm

RODE PSA1 Boom Arm

The boom arm is a device that holds the microphone for you. The shock mount attaches the microphone to the boom arm in a way that allows you to move the arm without ruining your recording.
If you didn’t have the shock mount and you moved the microphone, you would record the noise of the boom arm moving. Here’s a video that shows the boom arm in action with a different microphone and shock mount.
If you’re serious about creating a podcast that people want to listen to, quality recording equipment is a no brainer.
In my experience (after producing well over 200 podcast episodes) quality is a huge differentiator from shows that are successful and those that aren’t.
If you’ve come this far, you’re going to be investing a significant amount of time into your show. Quality should be high on your priority list. Especially since it’s so inexpensive.
With all the time you spend recording, producing and publishing; the investment will pay-off many times over.

Podcast Recording Software

I like the simplest software available. For Skype interviews, I use piezo. For in-person interviews and when recording alone, I use Audacity.

How to Set it All Up

The goal of this tutorial is to describe exactly how to create high-quality recordings. We’ll go through unpacking your equipment, plugging it all together, getting the free recording software and making your first recording.
I take an Audio Tecnhica ATR 2100 out of the box and explore everything that comes with the microphone. First a mic stand in 2 pieces that you get to screw together. Then we examine the XLR cable which plugs the microphone to the mixer. The box also has a microphone and the USB cable in case you don’t want to work with a mixer like the Scarlett 2i2.
We plug the XLR cable into the Scarlett 2i2 and the microphone to show how the microphone connects to the mixer.
Next we plug the mixer into the computer using a USB port which connects to the back of the mixer and the USB port of the MacBook (or whatever computer you have).
I go over a quick little breakdown of how to set the knobs, switches and dials on the mixer. There aren’t a lot there, but walking through this short video will help avoid confusion in the future. I even show best practices for where the knobs should be set to make a quality podcast recording.
After that, we get Audacity onto our computers as it’s an inexpensive and simple solution for making your podcast recordings on your own or with a live guest in the room. Of course, I’m a fan of simplicity. If you want to get some complex recording software, go for it. But don’t come whining to me when you fail to record because you don’t want to wait 10 minutes for your recording software to upload.

I believe that simplicity is important for creators. When you get your flow state going, you don’t want to stop and fall down a rabbit hole of audio-geek complexity.
While Audacity is loading up I do a quick demonstration of recording sound quality with, and without the mixer. Listen to the difference in the recording between the poor iPhone recording, the good USB microphone recording and finally the great mixer recording.
After breaking down sound quality, we dive back into Audacity and I describe how to set each setting to record from the proper source. Also how to select where to have the recordings play back while you’re recording.
Finally, I show how to make a split two channel recording and make it a mono track so it sounds professional. Sometimes people make the mistake of publishing L Channel audio and their shows sound rookie. You don’t have to worry about that because in the tutorial I teach you how to avoid this.

Finally, I show how to export your recording so it’s high quality and ready to be shared with your podcast producer or with us.
Special Note: When plugging your microphone into your mixer, use the far left XLR jack. I don’t know why, but it seems that the far left one is the one to use.

Transcript of the Podcast Equipment Video

So first off you have your Audio Technica AT-2035 microphone. I’m going to actually set this up. This is a Focusrite, it’s a Scarlett 2i2 mixer. This one works great for two channels when you’re doing live recording. It’s got the XLR cable, and then this is what the microphone looks like when it’s all set up, so right now we’re going to set up the microphone and plug it into the computer so you can see exactly how to have, how to set up a really nice recording studio.

So, I’m just going to open this up. Audio Technica box up, right now. So these things come with as you can see right here, this is the mic stand. Screw the mic stand on like that, then stand it up, this’ll make it so you can operate it, with it from your desk.

This is the XLR cable. This is the microphone. And this is the USB plug, so you really can just use this microphone with just a USB stick but if you really want the really high quality, you can go with the XLR cable. So after you’re done with the box, and then as you’re setting it up, if you want to set it up with the XLR cable, you just untie the cable. This end goes in here, so that’ll click, it’s on, and then this one goes into the mixer. You also want to get like a, a pop filter. I got the colorful ones, so you can go with like, pink or blue or whatever, but most people will go with black, I think that that, um. But these actually will make a big difference in your recording quality. For these you just want to stretch them, pull them over as tight as you can, and then once they’re on, oh jeez, they don’t come off. There you go. So, to set it up. The Scarlett comes with the USB connector, so you plug the USB connector, which is this one right here, into the back of the USB connector, and then you plug the thing into your computer. You’ll see this, when the lights on, let me explain real quick what all these are.

These are the gains so when you’re recording you want to make sure generally putting these at about like three quarters, you can see, I don’t know if you can see it on the video, but the little nods are about pointing towards me, they’re like this, so you want to turn them at about three quarters. But with these, what you do want to do, is make it so that your audio average is in between like five and seven-five. The instrument ones don’t matter. This button, you want to make sure that this button is pushed in. This is what feeds power to the microphone. The monitor is unimportant unless you’re, you know, connecting to speakers. And then this is your headphone volume, so you can plug into here with the headphone jack, if you need, if you want to use your headphones from the mixer, you can just plug one of these in. Then these will go to a headphone. And then you want to have, you can get one of these, all of this stuff is listed in the blog post that’s linked underneath. But you can connect headphones into here, and then this will go into the headphone jack right there. And that’s it. Once you plug it in, we’ll go into the software, and I’ll explain that in the video right now.

So I’m just going to show you guys quick and easy how to get recording quickly. There’s various different softwares to use, but there’s a free one called Audacity. If you just Google Audacity, you’ll find that it’s the first one that comes up, audacity.sourceforge.net. If you go there, you’ll be able to download it. Bam, it’s very simple, it’s very inexpensive. And I like it because it’s such a simple program to use. I’ve already got it downloaded, so once you download it, you can just open it up like this. While Audacity is opening up, I’d like to just talk a little bit about the difference in quality between using the mixer, and using the USB. Right now, I’m actually using the USB connector to record this, right now. What you’re hearing is the USB. And in just a moment, I’m going to switch over to the XLR cable, powered by the mixer, so that you can get an idea of the difference in the way that it sounds . If you haven’t noticed, right now I’m using the Scarlett 2i2, as well as the ATR 2100, so this is actually the way that it’s supposed to sound, when it’s really nice. But anyway, once you get Audacity open, you want to make sure that you look at, that you find the record icon right there, and click this one and then go down to 2i2. Once that one’s built in, you can select either the built in, or you can use the Scarlett as the external one as well. Right now I simply have my headphones plugged into the computer, so I’m just using the built in audio to playback for myself.

But, once you’re done with that, once you’ve selected the proper driver, you want to hit the record button. Now you can see that it’s recording. The way that it records is on a two channel mixer, so that the top recording you can see here, is my voice, and as it goes along… if there was another person speaking into the other microphone, then the bottom one down here, the bottom track would be accepting that. I’ve just stopped the recording. Now if you’re listening to this with a stereo set of headphones, you’ll be able to hear that this one will play only in one ear. As it goes along, if there was another person speaking into - now, so the way that you address that issue to make it so that it plays in both ears equally is first off, you click the little tab here, and then you go split stereo track, and then you want to make this one mono. You see that it does it like that. Now with this one, say this is your final track, and this is your first podcast, and you want to share it with somebody, you go to File, Export. Now I recommend exporting in .aiff file or in .wav files if you’re using a PC. So I’m going to export this one to the desktop. Then you’ll see that it’ll actually pop up right here once it’s done exporting. Record button, and now you can see that it’s record– You can share this one with your podcast producer or you can use that as a, as the raw materials to make your own show. And that’s how you do it. It’s really not rocket science once you see this video.

And now if you’re ready to rock, you want to make sure the microphone’s turned on, which is this switch here. And then you can see, right here, it turns green because it’s picking up my voice. If I turn the gain all the way up, you see that right now it’s peaking. So you want to make sure that the gain is down a little, and then when the gain is down, that’ll show that the audio’s not peaky. So you can get the best recordings possible. And that’s everything, that’s how you set up your own little podcast recording studio.

Allen & Heath QU16 Mixing Board

Allen & Heath QU16 review

I recently got my hands on a Allen & Heath Qu 16 to use for a festival event. These are well known digital consoles from Allen and Heath and they are extremely popular. After using one I can see why they are popular. They are very intuitive to use whether coming from an analogue background or you are already familiar with digital consoles.

The first thing you notice is that they are a well-built unit and they are laid out in a logical manner. All of the channel parameters such as HPF, preamp, EQ are easy to hand. It is just a matter of selecting the channel and making adjustments.

The screen is all a touch screen and therefore you can access a whole range of parameters from here as well. Here you can set up the console in the way that you require. You have access to all of the parameters for all of the desks function. There is a rotary encoder below the screen to adjust parameters or you can use the screen or iPad. Also below the screen there is a function key to select certain functions, copy and paste keys and a reset key. Down the right side of the screen is buttons to access processing, routing, FX, Scenes, Set up and a Home key. These keys work in conjunction with what input or output you have selected to work on.

You have 2 fader layers and a custom layer. The 1st layer is all of the input channels, the 2nd is the stereos, effects etc. and the custom layer is for you to set how you like.
All of the functions are easily accessible on this range of desks. One button press and you are adjusting monitor sends, another you are looking after FX. This desk may have some limitations, but what you can do with it at this price point is amazing.

AnalogiQTM Preamps

Allen & Heath Qu-16’s sixteen AnalogiQTM total recall preamps feature zero crossing detection and an advanced padless 1dB step gain stage, closely allied to the DSP for optimal gain accuracy and audio transparency. The analogue signal is captured by high class, low latency 24bit analogue to digital converters matched to high quality 24bit digital to analogue converters to deliver the required outputs. The AnalogiQTM design has been refined over many months to offer superb transparency, minimal distortion and an ultra-low noise floor, with a warm, musical sound that is missing from some digital consoles.

The Mixing Experience

Having massive processing power and advanced functionality is great, but it counts for nothing if you Qu-16 Digital Mixercan’t access the controls you need in a heartbeat. Once you start using Allen & Heath Qu-16 you’ll sense the years of research into ergonomics and the hands-on mixing experience that our team has drawn upon to deliver a wonderfully natural layout and workflow. It’s not about recreating an analogue interface, it’s about creating an experience that’s fluid, comfortable and intuitive for novices, digital natives and old school road warriors alike, making all the benefits of digital mixing technology readily accessible to all.

Touch Control

The 800 x 480, sixteen million color Touchscreen and its dedicated data encoder form the heart of the Allen & Heath Qu-16 interface, providing super-fast, easy access to all settings. The user-friendly interface has been designed with clarity in mind. Dedicated keys and screen tabs quickly guide you to meter and RTA views, FX racks, channel processing, USB audio control, scenes, setup menus and much more.
All your key processing tools are presented in a clean layout on the SuperStrip, with 1 function per physical control. The SuperStrip is complemented by an onscreen Touch Channel for intuitive access to full processing parameters without clutter or complex menu structures. Processing for Mono and Stereo inputs includes trim, polarity, HPF, gate, insert, 4 band PEQ, compressor and delay. The main LR and the Mono mixes have controls for Insert, 1/3 octave GEQ, compressor and delay. The Stereo mixes provide Insert, 4-band PEQ, compressor, delay and balance control.

Fader Automation

Moving faders started as an expensive option in the studio desks of the 80s, and later became the norm with the advent of digital technology. Nevertheless some entry-level digital mixers lack this precious commodity which is a fundamental part of the Total Recall approach. Fader automation is essential for rapid mixing, especially when you’re dealing with multiple monitor mixes – just press a mix key and the faders immediately fly to the send levels for that mix. Qu-16 features 17 motorized ALPS faders, 16 arranged over 2 layers, allowing instant access to all channels and masters in a compact space, plus a dedicated master fader which dynamically follows the mix selection. A third, Custom layer is available for ad-hoc user strip layout, where any combination of Inputs, FX Sends, FX Returns and Mix masters can be assigned.

True digital mixing is about being able to save and recall scenes (snapshots) at the Allen & Heath QU-16 Digital Mixere press of a button. Qu-16 can store up to 100 full Scenes for recall at will. Channels and mixes can be made Safe from Scene recall. For example, if an instrument or mic gets swapped out after the soundcheck, the channel can be made safe to avoid settings being overridden by Scene recalls. Or if a broadcast feed or walk-in iPod is added last-minute before the show kicks off, that mix or channel can be made safe from any scene change. In addition, single parameter updates can be blocked using per scene Recall Filters or a Global Recall Filter. So if you tweak the graphic EQ to reflect the room response when the audience gets in, you can block this to prevent any overwriting at scene change. Custom settings for each EQ, compressor, channel or FX can be saved as Library presets. This lets you store your tried and tested EQ setting for your favourite vocal mic or reverb pattern and apply it to other channels or shows. Libraries, Scenes and the complete Show configuration can be saved to a USB key, so you can carry the show with you, ready to use on another Qu-16.

USB Audio Streaming

Allen & Heath Qu-16 USB Allen & Heath Qu-16’s built-in interface streams multitrack audio to your Mac channel 1 to 16, the Main LR mix and 3 selectable stereo pairs.

The returns from the Mac can be assigned to the 16 Mono channels plus stereos.
The interface is class-compliant on Mac OS X – which means it’s truly plug ‘n play, with no need to install a driver. It will be recognized straightaway by any DAW supporting Core Audio, including Logic, Cubase, Reaper, and Pro Tools.

Standard MIDI control is tunnelled over the USB connection so you can easily map the faders to the tracks of your favourite DAW. Alternatively, a MIDI driver is available for use with the Ethernet port.

Qu-Drive

Forget soundcard drivers and software setup, Allen & Heath Qu-16 has an integrated multitrack USB recorder, providing 18 channels of 48kHz 24bit recording and playback straight to / from your USB hard drive. Capturing multitrack recordings of your shows has never been so easy. A selectable stereo pair can be recorded alongside the 16 Mono channels, and multitrack audio can be played back to the 16 Mono channels plus ST1. On top of this, Qu-Drive also provides stereo recording, patchable from any pair of Mix outputs, the Main LR (pre, post, or summed to mono) or even the PAFL bus, with 2- track stereo playback to ST3.

ARMed to the Hilt

Qu-16 is equipped with 5 cores of high efficiency ARM core processing, with dedicated ARM cores running the touchscreen display and surface, USB streaming, Qu-Drive multi-channel USB recording / playback, Ethernet and fader automation. Between them the ARM cores provide state-of-the-art processing, working in parallel to deliver extensive control, instant-on operation, and lightning-fast response. The mixer’s DSP farm exploits next generation dual core DSPs, giving 10 DSP cores, with 8 dedicated to the channel and mix processing alone. With so much DSP power under the hood the channel processing is only using a fraction of capacity, so A-H Qu-16 is future-proofed, with ample room for updates and extra functionality. The Allen & Heath Qu-16 DSP architecture employs varied bit depths, tailored to specific algorithms, with 48 bits on critical EQ functions and a 56 bit accumulator on the mix bus where it really counts, allowing every nuance of the audio to be captured in the final mix.

The Shape of Things to Come

Made from 18 gauge, cold-rolled Zintec steel, Qu-16’s distinctive frame is designed for strength, rigidity and ease of rack mounting. We’ve done unspeakable things to that chassis in the lab and it’s taken everything we’ve thrown at it – even being stomped on by our resident ex-tank commander.

Qu-16 Rackmountable Digital Mixer

Silence is a precious commodity in the live or studio environment, which is why nobody wants those moments of stillness ruined by the whirring of fans coming from the mix position. Qu-16’s sleek profile generates optimal airflow through the mixer, eliminating the need for any fans.
The shape has some unexpected benefits too. When we started taking Qu-16 out to gigs we soon found the space beneath it incredibly useful for keeping our USB drive, talkback mic, cue sheet and other clutter tucked out of the way. We’ve even had engineers hanging the mixer from a handy scaffold bar and mixing vertically.

Qu-Pad

Add the Qu-Pad iPad app to your Qu-16 setup and you’re free to adjust the monitors on stage, roam around the venue whilst tweaking the PA, and then mix the show from the heart of the audience. Qu-Pad connects to the mixer over Wi-Fi* and gives instant access to all live mixing parameters and settings. Qu-Pad requires the connection of a Wi-Fi router or access point to the Qu-16 Network port.

iLive FX

Qu-16’s dynamics and FX algorithms are derived from the FX used in our iLive pro touring series. Some of the world’s most respected audio engineers have chosen to use iLive’s FX on tour in preference to top-end plug-ins and external FX units. Qu-16 boasts 4 stereo iLive FX engines, featuring lovingly crafted emulations of legendary classic reverbs, gated reverbs, delays, modulators, flangers and more. The FX library has the ability to grow with future firmware releases. FX are returned to the mix on dedicated return channels, so you’re not tying up your mono and stereo input channels. Each Stereo FX Return has a dedicated 4 band PEQ.

With the Allen & Heath Qu 16 you have 4 user assignable softkeys, very useful for setting up favourite shortcuts.
The iPad app makes it even more versatile. First of it makes a bigger touch screen, great for those with bigger fingers and poor eyesight. The app proves very useful, if you cannot position the desk in your ideal mixing position.

In use I found this desk very easy to navigate. In fact for a first time user it would be a great starting point. The intuitive layout is a dream. From plugging in mics etc to getting a decent sound happening does not take very long. I was blown away on how easy it was to use and set up. For a lot of smaller bands or venues this would be an ideal desk, especially if you are moving from the analogue world. This desk will do a lot for its price point. It sounds great in use and you have a lot of power in a small footprint that you can cart around without a whole crew.

With the latest Chrome software update you get a major update, with automatic mic mixing for those corporate gigs we get from time to time. Also extra aux outputs – as we all know we need extra from time to time.

Tech Summary

16 mono inputs
3 stereo inputs
4 stereo FX returns
16 Busses
12 Mix ouputs ( LR, Mono Mix 1 – 4, Stereo mix 1 – 3
4 FX engines
AES Out
iLive FX Library
800 x 480 Touch Screen
dSnake Remote Audio port

Allen & Heath ZED-14 Mixer

Allen & Heath ZED-14

Compact mixer

The ZED-14 is part of a new range of compact mixers from Allen & Heath. The design brief was, according to chief designer Mike Griffin, to build a "small pro mixer" and not a "small cheap mixer", with performance and quality uncompromised when compared to their more upmarket models. The ZED series will be expanded to include other models — four-group versions are already in production and larger versions of the ZED-14's stereo format are in the pipeline, along with onboard effects variants.

Mixer Overview

The Zed 14 has a look and feel that is similar to the larger-format GL series, the main visual difference being the positioning of all connectors on the top panel, rather than the more traditional rear-panel arrangement. Build quality is up to the usual Allen & Heath standards, with a strong steel casing, individual vertically mounted channel circuit boards, and every nut bolted directly to the top panel. The whole thing has a very solid feel about it, and the moulded side pieces make it easy to pick up and move about.
The ZED-14 is a fairly straightforward fourteen-into-two desk, with six mono channels, four stereo channels, and an additional four stereo inputs, which can be mixed to the stereo strips or sent direct to the main mix. What sets this mixer apart from the more traditional designs is the inclusion of a USB port, which allows two-way transfer of audio data and can connect directly to a Mac or PC.

Mono channels

There are three extra stereo inputs on the front panel, which are the stereo returns to the desk and can work either on their own or together with channels 7/8, 9/10 and 11/12.
Channels 1 through 6 are standard mono inputs, capable of accepting microphone-level signals via a balanced XLR socket or line levels through the balanced jack input.
Interestingly, there is no attenuator (pad) switch on these channels; the channel's Gain control trims the input preamp gain over a range of -6dB to +63dB for XLR signals, and -10dB to +26dB for signals on the line input jack. So, if a line source is too hot for the XLR input then the line input jack must be used. Plugging anything into the line input automatically disconnects the XLR input, and inserts the input signal after the first preamp stage. This arrangement has the additional advantage that any line-input sources cannot be affected by even low-level noise produced in the (higher gain) first stage. This combination of wide-ranging gain adjustment and a choice of input points should cater for virtually every possible audio source.

A high-pass filter can be switched in on each channel, and this attenuates frequencies below 100Hz at 12dB per octave. It is useful for reducing undesirable low-end noises, such as wind rumble, vocal popping and microphone handling noise. The 100Hz filter can also be a handy 'instant clean-up' button in a variety of live situations, and can prevent your amps and speakers wasting power trying to reproduce low tones you don't want anyway. I always have these filters switched in as a starting point, and remove them only where necessary, very often (but not always) for kick drum and bass.
Just after the 100Hz filter, the signal path is interrupted by an Insert jack. This is used as an unbalanced, nominal 0dBu send/return point for inserting outboard effects, such as compression, reverb and the like. Note that any signal sent from this jack will not be affected by the EQ controls, speaking of which

The looks

On the inside of the ZED-14, vertically mounted channel circuit boards are bolted to the top panel and surrounded by steel casing, giving the unit a strong and sturdy feel.
The EQ section on the mono channels is a three-band design with fixed-point shelving for high and low frequencies and a swept centre frequency for the mid control. The HF control provides cut or boost of more than 15dB and has a 'corner frequency' (3dB away from the maximum cut or boost) of 12kHz. The LF control does a similar job at 80Hz, and the MF knob allows the same generous degree of cut or boost based on a centre frequency between 120Hz and 4kHz, which can be set by adjusting the sweep control. The range of the frequency sweep gives a lot of control in the lower-mid region, often inhabited by those nasty 'boxy' microphone sounds, and the upper limit extends smoothly into the region managed by the HF circuit (have a look at the EQ curves in the user guide). The EQ is smooth in operation and gives more than enough control for live sound and recording applications. It's easy to set up, and the swept mid gives you the ability to home in on problem frequencies and deal with them with no messing about.

Aux sends

The four auxiliary sends are configured as Aux 1 and 2 Pre(-fade), Aux 3 and 4 Post(-fade). Sends 1 and 2 have their own master level control and would normally be used for foldback feeds or creating live recording mixes, as these outputs will not be affected by movement of the channel faders.
Aux sends 3 and 4 do not have an overall level control, and the channel fader affects the amount sent to the buses from each channel. These sends are useful for sending to group effects where the amount of signal sent to the effects should be related to the channel level at any time. There is an internal modification available, which will convert the Aux 3 sends to operate pre-fade — this involves changing soldered jumpers on the circuit boards and must be carried out by an authorised Allen & Heath repair agent.

The usual stuff

As expected, each mono channel has a Pan control that assigns the channel output anywhere between hard left and hard right, and a channel Mute switch that kills all output from the channel into the main left and right outputs and all four aux sends. The Mute switch has a nice bright red LED, which warns that the channel is isolated, and that no signal will be coming from that channel into mains, monitors or effects sends. Pressing the PFL button sends the channel signal directly to the headphones and output meters, so that individual channels can be monitored and their levels trimmed without anyone else hearing them. The PFL function can be used even when the channel is muted, which is a great benefit when setting up input levels for the first time, or in the early stages of soundchecking a band. A small red LED next to the PFL switch shows that PFL is selected for that channel, and also acts as a peak signal indicator — it lights brightly when the channel signal gets to within 5dB of clipping.
Last in the mono channel feature set is the channel fader itself, which, although very much taken for granted, is the thing that generally gets used the most, and with which the engineer will bond closely during the performance! I'm pleased that, on the ZED-14, Allen & Heath have provided their usual excellent-quality, full-travel 100mm faders, which have lovely smooth control and a nice, just-light-enough-but-not-flimsy feel to them. As is fairly standard practice these days, there's a unity gain (marked as 0) position near the top of the fader travel, but with an additional 10dB of gain above, which can be invaluable in the middle of a live gig where an extra bit of level is called for, and means you don't have to start messing with your other channel settings.

Stereo channels

Now, this is the place where you can usually say, "The stereo channels are a kind of cut-down version of the mono channels and, well, they're stereo," but on this desk, there's a lot more to tell. The basic channels are indeed stereo versions of their mono counterparts, and each is equipped with a pair of balanced line input jacks with the ability to operate in mono (ie. signal sent equally to left and right) if only the left jack is connected. Instead of three-band, swept-mid EQ, there's a fixed two-band circuit, and the Pan control becomes a Bal(ance) control, which alters the relative levels of left and right signal being mixed into the main output buses. Instead of an input gain control, there's a trim control labelled 'In', which gives a range of control from fully off to +10dB. The channel faders are stereo versions of the mono ones, and are only very slightly heavier in feel — another nice A&H touch, and certainly something I've come to appreciate when using my own GL2400 desk.

And there's more

Something else that the ZED-14 has in common with its larger relatives is the provision of additional mini-channels, which can operate in conjunction with or independently of the stereo channels. These extra inputs are in fact the three stereo returns to the desk, and they are paired up with channels 7/8, 9/10 and 11/12.

Above stereo channel 7/8 is a pair of unbalanced RCA phone sockets for the 'stereo return' input. This stereo return is not linked to any send, it's just another line input and can be mixed in to the main left/right outputs or mixed into its associated stereo channel (in this case 7/8). The stereo return channel has its own level control, which, like the stereo channels, gives control from off to +10dB, and it has an on/off switch, which is useful for cutting out potentially noisy unbalanced sources when they're not being used. A small under-panel switch (you need to operate it with a pencil point or something similar) lets you decide whether to assign the stereo return direct to the main left and right buses, or send it into channel 7/8 — in this 'mix' mode, it can be blended with the signal already on channel 7/8, or it can give access to the additional channel's controls within the channel strip. This arrangement is copied on channel 9/10 with the unbalanced stereo input, 2-track return, and again on channel 11/12, which accommodates the stereo input from the USB port. This all adds up to six additional inputs, so they could have called it a ZED-20

USB live

Here, we come to another clever feature of the ZED-14: the inclusion of a bi-directional USB port. The port can be used in a number of configurations. In terms of output, it can carry the main stereo output in either pre-fade or post-fade mode, or it can be used to send either Auxes 1-2 or 3-4. Used as an input, it can be mixed into stereo channel 11/12 or sent direct to the main mix.
Although an obvious use of the USB connector is with a computer-based recording setup (there's a free copy of Sonar LE bundled with the mixer!), it can also be used as an effects send/return for live sound work. This is a fabulous feature and gives access to all kinds of real-time software processing. You're no longer limited to the hardware in your effects rack, you can take along a laptop loaded with suitable software and simply connect a single (supplied) USB lead.
One notable factor is the quiet performance of the USB port. There is an issue with this type of interface, in that the communications part of the USB codec takes its power from the connected computer, which is, I think, to ensure that it doesn't operate when it's not in use and therefore doesn't contribute to overall noise or power drain. This can give rise to undesirable digital noise, especially when using a laptop plugged into a mains charger, but careful design of the grounding and isolation in this part of the circuit has addressed this.

Mission control

The master section of the ZED-14 is fairly straightforward, with the main left/right impedance-balanced outputs appearing on XLR sockets — a summed mono signal (post-fade) is available on a balanced jack socket. The auxiliary outputs are all impedance-balanced jack sockets, and Aux 1 and 2 each have rotary master level controls located just above the main output faders. There's also a useful pair of insert jacks for the main mix signal, giving the opportunity for any global outboard effects to be connected right at the end of the mix process. The insert point is just before the main faders, which feeds a more constant level to any connected equipment and should give better signal-to-noise performance than feeding the output from the desk into an external device, such as a feedback suppressor.

Flexi-monitoring

The ZED-14 monitor section allows various signal configurations to be sent to the headphone output and to the main meters. A series of push-button switches are used to select the monitor source, which can be main left/right, Aux 1, Aux 2, 2-Trk input or USB input. If Aux 1 and Aux 2 are selected at the same time, Aux 1 feeds monitor left and Aux 2 goes to the right — very handy if you're using these Auxes for a stereo recording feed. The headphone output is plenty loud enough for live sound monitoring and didn't distort when I cranked it up as loud as I could stand it. And there's even a stereo mini-jack socket in addition to the standard size connector.

Even more outputs!

There are two additional pairs of outputs available on unbalanced RCA phono sockets. The Rec Out signal is the same as the main left/right mix, but is tapped off before the faders so that level adjustments made during a performance do not affect your live recording. The Alt Out sockets are fed from their own little master section, which has a dedicated level control, and you can select the source as left/right mix (pre- or post-fade) or send whatever is currently feeding the monitor section. Talk about spoilt for choice!

Conclusion

With all this functionality, the ZED-14 should find employment almost anywhere! I used the review model as a live sub-mixer for drums, and as the front-of-house mixer for a small-scale conference. I also used it to prepare some audio-visual presentation material and found it just as easy to work with as my 'everyday' GL2400 mixer. The ZED-14 has exactly the same feel of quality about it as its larger and more expensive brethren, and I love its compact size, neat low-profile appearance and user-friendly flexibility. It's very good to see that, in producing a mixer at a lower price point, the sensible folk at Allen & Heath have not abandoned any of their quality principles with the ZED-14, and have packed so much functionality into it that the front panel is like an Aladdin's cave of mixer features. According to the A&H website, there are 99 controls on the panel, but I beg to differ — if you include the various switches as well as the knobs, I make it 153!

There are so many things you can do with this versatile little desk that, for me, its only limitation would be the number of input channels. If the ZED range now includes larger format four-group models (which I seriously hope to get my hands on very soon), and extended stereo versions (some with onboard processing) are on the way, then this is going to be the series to beat for portable live sound at a very reasonable price. However, for project studio work or smaller scale live events where loads of mics are not required, the ZED-14 is a little gem and has got to be on everyone's shopping list.

Mackie 1604-VLZ3 mixer

MACKIE 1604 VLZ4 Mixer Review

Not too long ago, the quality-to-price factor in compact mixers was pretty sad. When Mackie came on the scene, they were able to make a high quality mixer for a fair price, and the pro audio world hasn’t been the same since. Their VLZ series mixers have been around for a while, and their newest incarnations still could be called the gold standard for mixers.

This is pretty much the bread and butter of mixers, with 16 channels, super easy connections with 1/4” and XLR ins and outs; nothing out of the ordinary there. Each channel sports Aux sends and a 4-band EQ, the ability to submix 4 separate groups, as well as a tactile fader. Headphone and tape in and outs are here as well. It’s definitely a step up from most table top mixers, as it can be configured to be mounted in a rack system, with the patch bay being mounted facing front. No onboard effects, but considering the price, and at this point, using external effects will give better overall performance.
So who’s this for? For a small club this would make an excellent front of house mixer, or even a monitor mixer, due to its construction and mud-free, transparent sound quality. As a home studio deck its equally exceptional, considering the ample amount of channels and the superb preamps, which deliver crystal clear audio on each channel without fear of clipping or unwanted signal noise. For most bands in a practice studio it may be a bit of overkill, but the fact it can be used for several formats really give it a decent value for the money.

FEATURES

1. 16 great-sounding mic preamps
2. Balanced main outputs
3. Inserts per channel
4. RCA and 1/4? inputs
5. Sweep mid EQ
6. Six AUX sends

Way back in the 1990s, Mackie introduced the VLZ Pro compact mixer line, which single-handedly invented the "musician-friendly" compact mixer category. In fact, the 1604-VLZ Pro quickly became the most successful, best-selling mixer of all time. I’ve been using mine since they first came out, and what a workhorse it’s been!  It has seen me through more gigs than I can count without a single failure.  Not only has it served as my live sound mixer for club dates and private parties, I’ve also used it to record demos of the various bands I’ve been in.  I’ve lost track of how many times it’s been in and out of the rack and saying that it looks a little shop-worn is indeed an understatement.
It’s always been difficult for me to part with a good piece of gear, especially one that has worked this well. My 1604-VLZ Pro has been rained on, dropped, and subjected to the various indignities that plague the nightclub environment—clouds of cigarette smoke, the occasional spilled beer, and the seemingly endless exposure to the dust and "club goo" that forms a thin layer over everything I own. The 1604-VLZ Pro has taken all this abuse, and more, without so much as a whimper.

What’s new?

When I heard there was a new 1604-VLZ3. I wondered, how much better could it be?  After giving it a thorough workout I can vouch for the fact that this latest version of the perennial favorite is an absolute knockout! And with the exact same price as the VLZ Pro, it will please both dedicated Mackie users and newcomers alike. In retrospect I’m really glad that I took the plunge and placed the order.

I felt just like a kid at Christmas when the UPS driver dropped off my package. As you can probably tell, I don’t get new toys every day, so this was something special. The new 1604-VLZ3 looks great and the Rotopod I/O lets me set up the patchbay in a variety of desktop and rackmount configurations.

Mackie 1604-VLZ3
16-Channel/4-Bus Mixer
First gig with the 1604-VLZ3

Since the 1604-VLZ3 has been completely redesigned from the ground up, I thought it might take a little getting used to. So, in order to familiarize myself with the new board, I asked a friend to let me mix his classic rock band’s next club gig. Sometimes the best surprise is that there’s no surprise at all. The new VLZs control layout is exactly the same as the VLZ Pro! No steep learning curve here; I can practically close my eyes and grab the knob I need without looking. And the new color scheme makes it easy to read, even in a dimly lit club. Setting up the VLZ3 ringing out the room, and riding the faders was a breeze—everything seemed like second nature.
Sound quality

Probably the most noticeable difference between the 1604-VLZ3 and its VLZ Pro predecessor is the sound quality. The new XDR2 mic preamps are the best I’ve heard in this price range. They are superbly transparent and offer tremendous headroom versus the original XDR pres. Even with a relatively low output mic on the kick drum, I was able to crank up the gain without any noticeable loss of low end.

And the new 3-band active EQ is better than ever—in fact the individual controls seem to be more focused, more independent of each other.  I find that I often use the sweepable mid frequency as a second upper bass control.  By sweeping the frequency down to somewhere between 250 and 600Hz, I can give the kick drum and bass guitar real in-your-face punch, without the boominess that often occurs when the low EQ is cranked.  And the top end sparkles—something you really notice when you start adding effects to the mix.

All in all

Even though it’s hard to say goodbye to an old friend, I have to admit that I love the new Mackie 1604-VLZ3 mixer. Not only is the new look an upgrade to my professional image, but the sound quality of the VLZ3 is a marked improvement. My live mixes were good before, now they are highly detailed and cleaner than ever. Studio-quality sound in a nightclub—imagine that. Hey, maybe it’s time to replace my old, battle-scarred 1402-VLZ Pro too.

Mackie Onyx 1620i Sound Mixer

Mackie ONYX 1620i Premium 16-Channel Mixer with Firewire interface

The Onyx-i series is a range of deeply integrated Firewire mixers that will delight those who wish to exploit the advantages of both digital recording and tactile mixing using a traditionally-laid-out mixing desk. Onyx-i mixers work with all major DAW programs including Pro Tools M-Powered 8. The Onyx-i series is a step up from the original Onyx with Firewire connectivity included as standard. Thanks to innovative thinking and excellent execution, these mixers allow you to exploit digital technology with an analog workflow. Take a look at these examples to see what I mean... Wet or Dry? - Every channel on the mixer can be routed pre or post EQ to the computer, allowing you to choose whether to implement 'EQ to tape' or not. Studio Quality Effects - Aux sends are routable to the computer, allowing you to utilize your computer as a powerful FX engine by implementing your favorite plug-ins in a live scenario. Preserve Your Mix - Master L/R is routable to the computer for recording your analog mix. Burn and sell CDs of the mix at the end of the gig! Mix Integration - Stereo return from the computer can be routed to either the control room for instant monitoring or to a stereo channel for mix integration. Latency-Free Overdubs - Having a "real" mixer has its benefits. Latency-free overdubs are simple since you are using an analog mixer. No more wasted time dealing with the complicated "DSP" mixers commonly used on standalone interfaces. The mixers can be used in the studio to exploit the best of computer and analog mixing at the same time; or used live to record gigs, and take your sound to a new level by utilising your favourite plugins from your computer as live Aux effects. This 16 channel model features everything you'll need for most medium sized gigs including 4 band-EQ with swept mids on all 8 mic channels. However if you need a fully fledged live & studio mixer that needs to be able to send signals to a number of different places and has dedicated analog recording outs, the 1640i will offer the flexibility you need. If you don't need busses, more than 8 pres or complex routing options however, then the 1620i will give you all the functionality you need at a lower price (this is usually the case for most small-medium live gigs). Here's what Mackie say about the Onyx-i 1620 Mixer The 16-channel Mackie Onyx 1620i FireWire Recording Mixer combines the benefits of a powerful computer interface with the tactile, hands-on control of a sleek, space-saving premium analog mixer. Proven, professional features like eight Onyx mic preamps and classic Perkins EQ only accentuate the mixer's ample connectivity and clear-cut workflow. Qualified by Mackie for use will all major DAWs, including Pro Tools M-Powered 8, the 1620i allows you to send channels, aux sends or master L/R signals discretely to your Mac or PC for recording. It's a premium analog mixer that integrates seamlessly with your favorite DAW. A better way to record - Onyx-I.

Mackie ONYX 1620i Features:
16-channel premium analog mixer with integrated 24-bit/96kHz FireWire I/O;
Qualified by Mackie for use will all major DAWs, including: Pro Tools M-Powered 8, Logic, SONAR, Cubase, Ableton Live, Final Cut Pro;
8 Onyx boutique-quality mic preamps;
4-band Perkins EQ with sweepable mids on mic/line channels;
3-band Perkins EQ on stereo line;
Flexible FireWire routing, including aux sends and pre/post EQ assignment for all channels;
4 aux sends with pre/post assignment;
Smooth 60mm channel and master faders;
Built-in DI on first two channels for direct connection of guitars, bass, etc.
Individual 48V phantom power switches on all mic inputs;
Talkback section with built in mic and flexible routing;
"Planet Earth" switching power supply for worldwide use Optional rack kit available.

I did a lot of research on medium-sized mixers. I found myself in the market after my Mackie classic CR1604 stopped working after abusing it for over 20 years. During that time, I also used a huge Behringer 32 channel Eurodesk but, found it hard to dial in the sound. It was too much and the components weren't impressive. It was also time to start recording direct to my Mac. Even though I work with myself or maybe one other player at a time, the idea of being able to zap 16 channels at once was very appealing. I didn't fully realize how easy and convenient recording this way made the entire process. Ideas were recorded on the fly, inserted into the mix (because I could). I had studied the manual prior to purchasing, so I hit the ground running with little effort. There were specific reasons I chose this mixer:

1) Latency. It drives me crazy. The 1620i sends the mix back to the board through channels 15/16 (a stereo pair). When you overdub, there is NO latency whatsoever.
2) Overdubs in general. I mix using Tracktion 4 DAW on the computer. I didn't need to have my hands on an actual mixer to mix down. But when the entire mix is routed back through 15/16 it's a nice little subgrouping of the whole thing so if you need the recorded tracks less hot while you're overdubbing, you just adjust one slider. Very convenient way to dial in the overdub mix.
3) Computer performance/multitracking. This was a leap of faith. My computer is an unmodified, out-of-the-box iMac from Best Buy. I had concerns that it could handle a lot of tracks without choking. The first song I made was about 17 tracks and it recorded and played back perfectly. No problems whatsoever. And I was recording stereo tracks on everything at 24 bit/96kHz.
4) The preamps and Perkins EQ. I think anything above that Eurodesk is a step up for my ears. These preamps are warm and musical. I'm using very little EQ and when I do, a little goes a LONG way. The option of running dynamic and condenser mics side-by-side is perfect with the 49V phantom power button on each of the 8 XLR inputs.
5) Overall sound. You don't know until you record YOUR music. When I get equipment that works right, it makes me more creative because I'm not spending time figuring out problems. I love the sound. The preamps make capturing an acoustic guitar or vocal very musical because it's not harsh. With some mixers, I've had to dial back the high end because it was too brittle (digital) sounding. The mixes are smooth and full.

Behringer X1204USB Mixer Review

Behringer X1204USB Mixer review

I bought this mainly to record presentations (voice over). I had no problem with getting it set up and working with my computers, mics, etc., but their are some things that seem strange to me, probably simple misunderstanding on my part. However, I thought I would come where the experts hang out to see if they can be clarified for me.

I will put the stuff in this paragraphy that applies to everything. Mic's stage type cardioid dynamics, or omnidirectional condenser mics, battery or phantom powered. Computers: PC Workstation (noisy), or older Thinkpad note book (quite). I connected my workstation's monitor speakers (cheap) to the mixer console outputs, and that is working fine, or headphones.

First, the mic gain seems low, I need to turn it up all the way to get a base -20db recording level that seems about right for narration. That is with the channel fader and the main mix faders set at zero. The really funny part is the mic pre's seem to be getting more sensitive as I use the mixer a bit. But, to get the signal level well above the noise floor it seems like I would have to add external preamplifiers. Strangely when I connect my mic's to the line in I get about the same signal level. The manual says to run the gain knob up until the clip light blinks a bit, to do that I have to swallow the mic and shout. Am I missing something?

The one knob compressors work, but... When you turn them up until the light comes on like the manual says the sound gets all choppy, if you more intelligently turn it up to that point and back it off just until the light no longer comes on at all it seems to work better. The compressor does bring the level up a few db's, but it also brings the noise floor up with it. Is that a problem with these one knob things, or anything else?

The USB port brings up some other questions. Tech support and the manual says 16bit 48kc, but preferences in Audacity go up to 24bit 96kc, is that a "feature" of Audacity, or is the manual wrong?
Behringer says that they mixer uses ASIO, but ASIOALL does not show up as an option anywhere, I did think that Audacity was ASIO aware, but I could be mistaken.

There does not seem to be anyway to choose between the monitors and the headphones, is that right or did I miss something?

I bought this mixer because I felt the build in USB interface and the compressors would be very useful to my purposes, which are to record music and narration to Power Point slide shows for the local photography club, to plug into and amp and speakers for PA use, and to use with my tape recorders (which will peg the needles with the recording level set about 1/2 way up with any of my mic's, and they have simple one transister preamps). My needs are fairly simple, and the 1204USB seems to more than cover them if I can get it all figured out.

In case anyone is interested the reports that the cases on these are warped is apparently true, it keep it from wobbling I had to put a credit card thick pad under one foot. The mute button on the channel strips also deverts the signal to the Alt 3-4 bus. There are no Solo buttons to switch the channels to the VU meter for setting gain, you have to go to the Behringer X1204USB to get those.

The one thing that continues to bother me is the lack of mic gain on this console. With my ATM10a mic's on the old Superscope portable stereo recorders, I can pick up a quiet whisper from 20 feet away without turning the gain all the way up. With the Behringer X1204USB, I can pick up a whisper if my lips are touching the mic and every gain control is turned up all the way. Folks close mic'ing the the guitar cabinet, and screaming into the mic's will have not problem. At conversational levels from six inches you have a hard time getting above the noise floor. Maybe, the intent is to sell mixers, AND additional microphone preamp's?

 Other than that I have no real problem with the mixer, it seems to work as intended in other respects. I have not yet used the sends, returns, 2-track/usb (recorder) in/out.

Simply using it as a USB stereo audio interface, it works well. I get cleaner sound out than with the internal sound card.

The upgrade from the Behringer Xenyx 1204 USB, note the space between the 4 and the U that is the difference in the model names, is the built in USB interface rather than the separate one, the addition of the one-knob compressors on the mono channels. There may be some others but I am not knowledgable enough about the old one to notice them. There actually is not a lot of info on the web about this newer version which has been out for almost a year now. The amazon.com listing that I bought it from actually still has the photos and main description for the old model, but the title and small description correctly identifies it as the newer model. Selling price seems to be between $119 and $164.99, it looks like to get the same features in other brands you would have to pay over $200. It certainly seems more than adequate, except for that lack of mic gain, for low-budget home recording.