How to Use an Audio Interface as a Beatmaker | Riley Weller | Skillshare

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How to Use an Audio Interface as a Beatmaker

teacher avatar Riley Weller, FL Studio Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 30m)
    • 1. [INTRO] - How to Use an Audio Interface

    • 2. What Is An Audio Interface

    • 3. Installing An Audio Interface Driver

    • 4. Audio Interface Overview And Connections

    • 5. Audio Cables Overview

    • 6. Sample Rates Bit Depth And Asio Drivers

    • 7. How To Record Audio And Vocals Inside Of Fl Studio

    • 8. [BONUS] - How To Record Your Own Sounds

    • 9. [CONCLUSION] - Audio Interface Wrap Up

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About This Class


It is my goal of this course to educate you on not only how to purchase the right audio interface for you, but to get the most out of your audio interface's performance, and achieve a solid recording of your vocals or what ever instrument you're trying to record!

We first start with what an audio interface is, what purpose it has for us beatmakers, and what to look for when buying an audio interface. (You want to make sure you buy the right product for you - save money, with high performance!)

We then cover all the features of most audio interfaces. We use an older model of one of my old audio interfaces, then a more recent audio interface. You learn about the inputs and outputs, how connections work from speakers and microphones to your audio interface, and dialing in a good recording level.

Further we talk about the importance of installing your audio interface's drivers, the audio cable connections (a specific video talks about audio cables!), sample rates, bit depth, and how to use your audio interface's ASIO drivers to their fullest potential for that butter smooth look to FL Studio.

Near the end of the course, once you understand the ins and outs of an audio interface, I show you how to record your voice in FL Studio. But not just a simple record, I share with you a secret technique to apply reverb (and other effects) on your voice without actually recording it! (A secret the pros use to get a better performance out of their artist!)

As a bonus, I threw in how you can record sounds to make a sound pack or for sound design purposes!

By the end of this course, you'll understand how to use your audio interface at a high-level, know how to pick out the right audio interface for you, and focus on your music and less on your gear!

# GratuiTous

Meet Your Teacher

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Riley Weller

FL Studio Teacher


GratuiTous (Riley Weller) is an FL Studio teacher who has used FL Studio since 2009.

He has worked with a GRAMMY nominated artist, and runs the podcast 'Music Production Made Simple'.

He also writes music production books, and has over 25 FL Studio music production courses!

His students tell him that his approach to explaining topics is extremely easy to understand.

His music production courses are based on FL Studio, and can range from beginners to advanced.

Feel free to reach out to GratuiTous with any questions you have about FL Studio.


GratuiTous' Most Popular Courses on Skillshare:

Piano Lessons for Producers FL Studio 20 Beginners Course: Learn How to Make Beats in FL Studio FL Studio ... See full profile

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1. [INTRO] - How to Use an Audio Interface: all right. Hey, what's everybody? Graduates here walk into my course on how to use an audio interface as a beat maker. So congratulations. You know, if you're trying to pursue this music production stuff more seriously and audio interface really is like the next step allowing you to plug in, you know, higher and speakers, nice microphones as well as take advantage of the ASIO drivers that these things are coated with. Now, this course is specifically aimed at beat makers, you know? And I say that because you really don't need something to intense versus somebody who is like recording bands and stuff like that because, you know, they're typically dealing with more hardware. They need more inputs and outputs and stuff like that. So I walk you through like, what is the purpose of an audio interface, what to look for in an audio interface as well as how to purchase the right audio interface for you and your workflow? We gettinto actually, how to record your voice and I show you kind of just how to edit it in different ways to record inside fl Studio. And as a little bonus, I threw in how to do like sound design. So, for example, if you want to record like a clap or just different sound effects and stuff like that, I share that with you. Because now that you have an audio interface, you're able to do that stuff. Okay, so it sounds interesting. Role will see as inside the course. 2. What Is An Audio Interface: Okay, Welcome to the course on how to use an audio interfaces of beat maker. This is gonna be a quick up and running course about you know, what is in our to interface with the benefits of an audio interface? How to get the best performance and usage out of your audio interface, as well as how to buy the right audio interface for you. So the first thing I want to say is on audio interface is probably the first step into the right direction. If you're warning to really take music production more seriously, you do not need an audio interface. Ah, but an audio interface just allows you to connect, you know, higher and microphones nicer speakers as well as you have access to their as your drivers. As your drivers just allow lower latency, which means better performance, more responsiveness when you're pressing your midi keys or ah, your talking to a microphone for recording purposes, you're able to actually, I hear what you are. You know, playing or saying Ah, lot faster. Audio agency is a big problem in the audio into in the audience Astri. Over the years, it's improved a lot, so just to give you a little reference. Ah, I currently have the focus, right? Scarlett to I to as this is the second generation. And I'm gonna break this down for you in a moment. Ah, but the first generation this right here is my audio interface, K, and we're gonna show him talk about all this stuff through the course. Ah, this is the second generation the first generation had. You know it, you had quite a bit of latent. See, you know. So when I was talking to the microphone Ah, there be a delay. And it's a huge problem, because what happens is, you know, imagine you're trying to play a musical piece. Ah, and then there's delay. So by the time you're playing like the next note, the previous note is being delayed and you're hearing that the previous No. Now, this all depends on how powerful your computer is, what type of audio interface you have nowadays. Most of them are pretty good. Ah, and also how big the project is. So typically, when the project starting a bigger, you're gonna have to increase what's called your buffer length. You just do this inside your settings inside of FL Studio show you how to do that. But every single music program or audio program, it treats this stuff the same. I'll break this down further, but just for, you know, for clarity. I currently have the second generation, and the audio agency has been a huge advancement over the first. There's even now the third generation of the scarlet toy, too. So I just want to talk about an audio interface here. Okay, so the benefits of an audio interface is we can plug in, you know, nice speakers. And these are what you call a reference monitor speakers. So I'll show you a picture here, but these are you know what? You said it in the studios. And the whole purpose of these types of speakers is to get a flat response. So in other words, when you go to mix your music that you're actually hearing your music the way it is, and now and therefore you could make more accurate judgment when you're mixing okay. If you buy consumer speakers, consumers more for like, you know the typical user not so much the creator of the music. Ah, you know, think of large attack or like beats headphones. Typically, they are boosting certain frequencies to make that music sound a little better. You know, in a sense that they might increase in base, make it feel like the music sounds based here than what it was really mixed and mastered up . But you is the beat maker and producer. You want to be able to hear your music for what it is. So that's where you're gonna be plugging in, you know, kind of like this. OK, so you you know, they had, like, little tweeter then you have like, your colon right here, okay? And that's like your reference monitor speaker. Now, these typically plug in XLR or T R s and 1/4 inch the lower and ones you might even have a R c A. Right that so RC is typically like Arcia is those like red and white cables? Um, but you want to be looking for speakers with excellent tear sk and then your audio interface, you know, typically is quarter inch. So, um, if it is XLR, you can get cables that are like tear esto, XLR, whatever. Don't worry. It will break that down in the audio cable section of this course, but to keep it simple, these speakers are other XLR or tear SK, and they're what you call balanced. Balanced just allows you to send your audio signal further with less noise. Okay, so you can plug in nice speakers Now, you can also plug in. Um, I just go with nice so we could also plug in nice microphones when you see these microphones like, you know, blue Ah, I think there's a blue yeti whatever's a USB, so you know, the microphone sounds fine and it's, you know, it probably performs very, very well, but when you have ah, you know a microphone that can plug into your audio interface, I'll just sure share this with you again. So when you have a microphone like this, as you can see what I'm talking, it's going right into here. Ah, you have control over like your volumes. Um, but in addition, you're also able to send it into, like, outboard gear and stuff so that you can get, um, higher quality. You know, you can really get that audio signal sounding exactly as you'd like. In addition, it also allows you to plug in a range of microphones. K. So, you know, right now I'm talking to you on what's called a boom microphone. It's a very, very directional microphone. And the reason why I have that is so want to do these courses. You don't see my microphone yet. My audio sounds, you know, high quality. And I stopped talking. It was very, very quiet. Okay? And that's just because I plug into what's called a channel strip. You guys can look that up. All right, It right here. Now, you don't need a channel strip to use an audio interface a record. I'm just do it. You know, just talking, talking to about this stuff district for clarity. Ah, you know, because as you start to proceed, you know, if you start getting clients are, you know however you want to approach, you know, music production. So a channel strip just has, like, an e que section a compressor section a gate. The gate is the key to getting a really, really nice quiet signal. Anything quieter than a certain threshold you It actually turns down the volume. It also has a good D s ing section. In addition, it also has a pre empt. Okay, which is what these audio interfaces have to, because when you speak into a microphone Ah, the signal is very, very, very quiet. Okay, so you have to boost that signal up in order for it to be, you know, audible so you can hear it. Um, OK, so I have just have, like, a channel strip, and that allows me to get a bit better performance out of my microphone. And then I just plugged that right into my audio interface. Ah, but with these nice microphones, you can be plugging in like, you know, dynamics condensers, mostly audio interfaces have what's called phantom power. If that 48 volts and it is allows you to use a condenser microphone, Condenser microphones are typically more sensitive. They pick up typically, you know, higher and better. But many times, if your room is not quiet Ah, you can be getting a lot of like room sound like even like your computer fan and stuff like that. So, um you know, even right now I'm talking on a condenser microphone, but my room is pretty quiet. I the computer, I you know, my custom computer I've made. I've specifically made it for music, production and stuff like that. So I've made it quiet on purpose. You know, I really focused on parts that were quiet. So these are just things to think about, because when I first started up, when I was using a new audio interface to record and stuff like that, these are the kind of problems that I always ran into is like, you know, noise. Or I even had the audio interface, which didn't perform very well. And then I got the focus, right. Scarlett Siri's, which is what I recommend. You'll notice. I'll keep continuing to recommend that throughout this course by no means of my sponsored or anything by focus, right? Ah, it's just I had an M audio audio interface. My first, you know, beginning years. It was a nightmare. I switched to the focus, right? Scarlett Siri's again. I start on the first generation now on the second generation. There is now the third generation, and it's just been a game changer. It's just been like it does what it's supposed to do, and that's the goal of you know your equipment. You don't want to be buying equipment, which is giving you headaches. Right. So, you know, you're playing in my speakers. Nice microphones, typically on the front of these audio interfaces. Ah, you're able to plug in, uh, XLR TRS as well as TSR. This right? Yes. Appear I'll do a division because this is for the speaker. But you can also be playing ts ts is typically for like, a guitar or ah, synthesizers. It was depending on how many inputs you have in your audio interface. In input is just how many things you can plug into your audio interface to record separately. So these audio interfaces, you can get them with tons of inputs like you can have, like, 18 inputs. And the reason why you'd want those is like, if you're recording a band or something, you don't think about like a drum set. If you watch YouTube tutorials to search how to record a drum set and you'll see that they have, like, 78 like they have tons of microphones. Ah, whereas you as a beat maker for me, I specifically chose this audio interface I've been producing for a long time now. And the reason why I purchased it is because I typically only use one input one channel for one microphone. Ah, the reason why I have to is because, you know, it was kind of came like that. Um, really, I only need 12 is nice, though, just for flexibility. Like if I want to do more advanced microphone techniques, If you're into sound design for, like, stereo recording or something like that, you know, the flexibility is there, but I don't need an audio interface that gives me, like, four channels or or anything like that. Okay, So, um, now, in addition, the last thing will talk about is what's called as eo drivers. And you guys could read into this. There's a really good Wikipedia, um, article on as your drivers and in simple terms and as your driver allows your computer to, uh so it allows the as your driver to connect directly to your music program. And it kind of bypasses all the other layers, you know, such as going through your operating system and stuff like that. So it direct so it connects directly to your audio program, and that's how you can get lower late. Insee again read into the article. It's just super, super powerful. So typically these as your drivers with your audio interface, are coded, you know, specifically for your audio interface, and they perform quite well now. Like I said, you don't need an audio interface to produce music. Ah, you could just be using, Like in the case of FL Studio. When I first started up, there was, as you know, for all v two. That's what it was. And I typically found that many times I would get better performance out of that, even compared to the audio interfaces drivers. So sometimes you gotta play around with it. But nowadays, FL Studio has actually created an NFL studio as your driver, Um, so you could be using that even if you don't have an audio interface. But just make sure you're not using a musing that the primary driver the primary driver is is horrible. Um, because it is not taking advantage of like that direct access into the music program. Um, but in short, that's pretty much all in audio interfaces. So is an external sound card that you plug in. You know, either USB or FireWire or whatever. Typically, now it's USB. Now there's a USB three point. Oh, now, without the USB Type C connection. Now all that's new stuff is starting to become a standard. Ah, the performance is becoming much better. Audio agency at the moment still is a problem, but computers are becoming more powerful audio interfaces of being coated better. Um, you know, probably the hardware in there is doing much better as well. Like I said, from the first generation to the second generation, huge performance, you know, increase. I just remember even some projects on the first generation. I would struggle. You would have to increase in decreases buffer length, which will break down for you later. Um, but nowadays I can even record a course at the same time working on a huge project, you know. So if we're working on a huge project inside that course, the audio interface handles it just like super easy. So it's really, really great. So in audio interface, is this an external sound card that you plug into your computer, which allows you to plug in, you know, speakers, microphones, and you get access to thes ASIO drivers, which is super awesome. Okay, and that's it at its most simple level Now. I just want talk about purchasing just quickly. Okay? Now, when you go to purchase your audio interface, you just have to think about what are you gonna be using it for? Okay. Are you gonna be Are you interested in recording bands or multiple microphones at the same time? But since this courses, you know, guided towards a beat maker, typically, you're just gonna need what I have right here. Okay, Um, again, this is just the focus, right? Scarlett to I to it's the second generation. Now that the third generation is out, I'd recommend that one. Ah, but again, I just like to channels. I'm only using one channel for my actual microphone. Um, and this does great. It's pretty affordable. There's also like, the to i four. So, in other words, you're still able to get two channels, but the difference is on the back. Okay, so, you know, as you can see, you can plug in like your speakers and stuff here. I'll make a separate video breaking down the actual audio interface here in a moment. Ah, but I just want to talk about purchasing, right. So when you when you go to purchase out an audio interface, you have to think about how do you flow? And when you first start up, it is hard to know how you flow because, you know, you're just starting up. You don't really know Ah, what you like or what you need and for me producing for like, over 10 11 years now again, I purchased this audio interface on purpose because I know that this is how I flow. I don't have much outboard gear and only have just a single channel strip. You guys could just, you know, just Google that go to sweetwater dot com, check with the channel strips that just loves you to plug in. Ah, you know, a microphone or, you know, some type of, you know, even like a guitar, an instrument. And you are able to process it going through the channel strip before it goes into your computer or before you actually record it so you can kind of tweak it a little bit. I typically only do light processing, and then I do you know that I finish up inside my music program, but again, I specifically chose the two I two because it's affordable. It performs well and it's all I need. You know, I don't need to be getting into anything special. So some of these audio interfaces you'll see that they have, like, Midi like the old MIDI connections and stuff like that. Ah, one thing to mention is that, uh, USB is midi now, okay? And so that's that's pretty much it. That's all I want to talk about in this video is just an audio interface. You can plug a nice speakers, nice microphones. You get access to this as your drivers, um and yeah, that's it. An audio interface is really, really powerful again. You don't need one to be a beat maker, but it just allows you to take that next step plug in these nice speakers. One other thing to mention is don't get caught up on the price. Your speakers if you're purchasing $500 speakers, so that would be each speaker. So each speaker to be a you know, 500 so $1000 at that threshold, your speaker is typically quite a good speaker. It's your room which will have to focus on in a sense of acoustics Because sound bounces around in a conspicuous your judgment. Frequencies can cancel out and stuff like that, or they like they can cancel or boost so it can skew your judgment. You may be adding in, you know, more high end. Then what's required Or, you know, maybe too much low end or whatever. Okay, So, like, I'm saying, once you get decent speakers, you want to focus on your room, which is gonna be much more important, okay? 3. Installing An Audio Interface Driver: OK in this video, I want to talk to you about drivers. Now, back in the day, drivers were a little bit more important than nowadays. The reason why I say that is because so first of all, if you are on Mac, many times Mac users never even have to install drivers. They could just simply plug in the audio interface. And you're good to go now with Windows 10. Many times when you plug in your device whether that be an audio interface or if you checked out my last course about how to use a midi keyboard as a beat maker, it will install the drivers automatically for you. Ah, but best practices over the years has been to always go to the manufacturer's website. So into Google, I take focus. Right. Scarlett toy, too. What is click here? I'm gonna go support You're gonna go downloads a cat. Um, so right now I'm focused, right? We're gonna pick our range. A quick shortcut is this. Pressing s is gonna kind of bring you closer to your goal. It's even pretty powerful if you're filling out like forms and stuff. If you're gonna purchase something online and free, like your country. Okay, So here's Scarlett. Now again, you have to be careful about what's your generation and for me. I'm on the second generation, so I'm gonna select it. And as you can see right here, here's the software. Um, so as you can see a Mac user, there's no driver required. That's pretty awesome. But for Windows users, before you actually plugged in the device, I highly suggest you come here, download this, install it many times. There is, like a restart required, depending on you know the manufacturer. But just follow what it tells you to do. Once you're done, plug it in and you guys are good to go. Typically, these audio interfaces, sometimes they have a switch, but many times they don't. So, as you can see, it's powered on just by USB. There's no switch on the back or anything like that. So that's why I say it's important to install your driver first and then you can plug it in because it will turn on automatically. Okay, this is what the driver looks like. Okay, so if I were to plug in my audio interface, it will install like some kind of default drivers again, That's like the benefit of Windows 10. Many times Windows 10 installed like the newest driver for you, which is cool. But even with the Windows 10 installing the driver, it's not installing like this, okay, which gives you more flexibility. If you want to change your sample rate again, it's like your buffer size, which I break down for you later. You can select your sample rate, uh, just to break this down quickly. So, with, you know, CD quality over the years has always been, Ah, 44.1, which is 44,116 bit. Within the video industry, it's been 48 1000 hertz and 24 bit. Ah, this buffer sized this is to do with the Layton. See? So, in other words, how much you know it's to do with your CPU and how much you can kind of handle. Um, we'll break that down once we get into setting that up inside your music program. Okay? So download the driver, install it, plug it in. You guys are good to go. 4. Audio Interface Overview And Connections: OK, in this video, we're gonna be talking about inputs and outputs as well. As you know, the features of an audio interface. I actually have to audio interfaces for you. This is again the second generation. This is the two I to Okay. Ah, but I also have my first generation here is Well okay. Ah, this is actually the to I four and I just want to break down. You know, the audio interface, the connections and what you're really looking at and what you need in an audio interface again, if we compare like the backs here, So I will flip this one around and if we just look at these So as you can see the one of the top, this is the two i two super super simple, right? The one on the bottom. It's getting a little bit more advanced, right? So this is what I'm saying. That when you're actually purchasing your audio interface, it's really, really important that your understanding what you need it for again. As a beat maker, you really do not need much, OK? You just need a way to plug in high end microphones and your high end speakers as well as you want to take advantage of those ASIO drivers. Ah, again, If you're getting into recording bands and drums and stuff like that, then you're gonna need more inputs. For example, even something like this would not be good enough, you know, like in other words, not not gonna just it wouldn't do the job. Okay, So again, this is the scarlet to I four. This is the first generation. And, you know, as you can see, it was just a little bit different. You know, they have, like, white and black case. Let's just walk through the actual audio interface. So on the front, you have what's called inputs. Okay, So when you go to actually record, let's say a microphone. The microphone signal is so quiet that you actually have to boost up the signal to actually make audible. Now, these are what you call preempts K, and these preempts, they can actually introduce a lot of noise into your audio signal. So all equipment by itself actually has noise with, you know, with the microphones. So if you plug in a microphone, you're always going to get a little bit of noise. But when you talk, you don't hear that noise. It's just like when If I were to stop talking, you sure? The noise, Okay, like, for example, Like the furnace in my home just turned on. So you may be able to hear some noise. Ah, whereas you know, if there was no furnace on, you may be able to hear some background noise because of the microphone itself. You know, this is typical of, like, old movies, right? So when the people talk, you know, you can hear them talk, But what As soon as we stop talking, you can share, like, the kind of the background static become really, really loud. And, um, I haven't done any research into it, but I'm assuming it's because of like, you don't probably poor quality preempts or, um, you know, because there's so you know, it's so old. Or maybe it was digital with like their bit depth and bit death is just to do with, like, noise, K. So, you know, here you're able to plug in different audio audio cables case you can play an XLR tier s or ts and their next video all breakdown audio cables just for some more clarity to you. Okay, You have your actual, um, volume adjustments. You don't turn up and down the volume for this input or this input you can control separately, Which is cool. Ah, the really, really awesome thing with these focus right audio interfaces, as they have with these halo rings as well. And when it's green and it is telling you that you know, you're good, you're not distorting. It will actually start to go red when it's distorting and the really, really accurate. So it's really, really cool. Okay. Ah, both of these have it the first and second generation and I'm assuming the actual third generation would have it too. Ah, pad is what's used to reduce the signal. So sometimes when you plug in certain microphones or certain equipment, sometimes it could be so loud even with when you're turning like the volume, like, really, really quiet, so you can push in the pad and it just reduces the signal by quite a lot. And then you have more control over your volume control. Now I'll quickly talk about this line and instrument. The second generation has the exact same thing. So, like I was saying a microphone or like a turntable. These signals by themselves are very, very, very quiet. So you have to actually boost up that signal. Okay, so when you are actually recording ah, microphone or an instrument, you want to make sure that you're putting it on instrument. And there is also case. So it actually goes microphone instrument, and then line. Okay, microphone and vinyl. Very, very quiet. An instrument like like a guitar, for example, is quite louder. So you put it to instrument. In this case, they just have instrument just for microphones or instruments. K ah, line is when the signal is actually already boosted. Okay, so in my case, and I will share this with you. Ah, so again, I actually have a channel strip. My microphone right now is plugged into that channel strip. It goes in, I'm able to compete. I actually see it compressing a little bit. I see the gate engaging. So when I stop talking, it's just making you know, the audio signal quieter. But as you can see here on my audio interface, my volumes all the way at zero. But in addition, it's also online, okay? And That's just because I'm already boosting up that signal. I'm bringing it up to what's called a line level, and I put it right into my audio interface on the line. Okay, in simple terms, that's how it works. Here you have your 48 volt phantom power, so with dynamic microphones, they don't need 48 volts Phantom power. But typically you'll find you have to drive them a lot harder. But that's what you're 48 volts is. Four is for this condenser microphones, so you can actually use them. Now, best practice to enable phantom power because you are dealing with a voltage and stuff like that is you want to make sure that you are actually plugging in your microphone first. Once everything's all connected, like you know your your cable into your microphone, then you can actually enable it. If you want to disable the microphone like unplug it, I would first recommend actually, you know, turning it off. I'd wait like, one or two seconds, at least, and then you can unplug everything. Okay, um and, uh, and this 48 volts applies to both channels. Now, this direct like this play and input and this direct monitor. Uh, this has been kind of like a work around these audio interface companies have done over the years, and I'll actually show you both of them. Now again, the problem is to do with audio late and see. OK, so this knob, you could see it on the toy four has this knob this one doesn't. But the direct monitor was used so that you can actually hear the local recording going on with the audio interface, but it would actually reduce the volume of the audio of, like, you know, whatever you're listening to again, the audio agency is a problem when you go to record and that delays coming back at you. So a little work around that they were doing is they were introducing this direct monitor knob. Uh, in my opinion, the best way to work around audio agencies to get, like, a mixer. A real hardware mixer. It's a really cool trick. You can actually send your audio into that mixer. Uh, you can You can hear the audio. You can hear your voice and like you, you know, very, very responsive. 00 There's a zero audio entity. Ah, That's cool way. Ah, but this is what they're using as a work around. I always just find it was just annoying for me. I always just kept this just so I can hear my music inside my computer. But again, this knob, you could you could dial it so that you could hear more of the local recording versus the actual audio of, like, you know what you're listening for. Like your music, Whatever Music production, ah, is actually very, very intense on a CPU, like even more so than, like, creating video games and stuff because it's all real time. So music productions actually very, very hard on a computer. Um, and I don't see that, you know, computers will be able to get zero late and see for many years, but I do think you know that it's improving. Okay, So, like I'm saying so from the top one, the second generation to the first generation, it was a significant difference in performance. Um, this is probably the biggest jump I've experienced in my audio career so far. Been producing for about 10 11 years now. So And computer, you know, see, pews are improving very, very rapidly. So, like I'm saying so I really feel that, like, the bottleneck in the industry right now is like these audio interfaces when it comes too late and see and stuff like that, uh, but again, not to spend too much time. But the direct monitor just allows you to get a local hearing of your voice so you can kind of, ah, avoid the audio agency. Ah, but again, I personally would just suggest working with your buffer settings and even going to take a different project. So, for example, you had your song. I would export the song into another project. Therefore, it's not very hard on your computer anymore. And you can record over that and then bring those audio files back into the real project. That's that's what I found over the years. OK, so here you have your actual volume knob. This is like what you would increase for your speakers. Uh, this gave you an option for different outputs. Uh, so as you can see, here we have, like, one and two and three and four. So because this is the two I to the focus, right, Scarlett, try to it only has two inputs and to open its. But again, this has actually four outputs. So it has two inputs. Okay, but then on the back here, it actually has ah four output. So even though we have a lot of connections, if we look closely, you can see we have one and two. So this is going to like your left and right speaker. But if you look closely again has 12 again. Okay, so it just this is like a duplicate signal off the quarter in shacks. So again, this is the TRS Jacks thes of the R C A. The red and white. We also have three and four. So this is where if you wanted to send ah different audio out of your audio of your music program, you could send it your different audio in three and four. You could send that into some hardware gear and then you can record it back into your actual audio interface. And that's kind of like you know how it works. When these audio interfaces have more inputs and outputs, you just have more control over that stuff. So is that your power it to see what's be now this is the old Midi connections. Ah, the reason why I purchased this specific one is because I I had a little, um it was called the Mackie Control Universal. Okay, I had an old school one where you actually had to plug in the media cables. It was just a midi controller with motorized fader so I could get hands on mixing, for example, instead of FL Studio. If you move the slider with the most, it would actually move the slider on the unit because they're motorized and it sounds cool , right, But fl studio doesn't really integrate super well with hardware. Ah, in my experience over the years, the easiest way to do things. It's just with a most and your keyboard. But this is the reason why you know, I specifically bought this one because it gave me these midi ends and, er the mini and midi out with the old school ones. Nowadays, USB is midi. Um so there is really no reason to be using the's connections anymore. You want to be using everything inside your computer the simplest way to work as a beat maker. You know, you have all your V s teas and everything like that. So just a quick reference to the to I to again, there's no difference now, this one. You know, they just made a little bit different from the first generation to the second. You know, it kind of has, like a metal knobs and stuff now compared to plastic. But again, you have to inputs. You have volume control again. I'm online because I'm actually playing into a single channel strip. So my microphones actually being boosted upto a line level, I plug it into my audio interface. Um, and then again, it plugs into USB. Can't again. This is I think this is only USB two point. Oh, but nowadays, like there's 3.0 audio interfaces coming out, which is really cool. You have your 48 volt phantom power began that direct monitor just a work around. I don't even use it again. How I work is if my computer is struggling, which nowadays it doesn't. My computer is very, very powerful to handle large projects. But when my computers were struggling with larger projects, I would just export that song into like a MP three. I would open up a new project, and then I would would actually record in that project. Okay, so therefore, it's a lot easier on my computer to handle. I'm able to go down to a lower buffer size and get more response of miss out off my microphone. Okay, with less less latency. You have your actual speaker volume, your headphones. K, in this case since is a to I to OK, so you could see scarlet to I two on the back. As you can see in comparison, and I will just give a comparison because, you know, we're just just to show you it's like even after producing for like, 10 years, I purposely purchased the one on top because this is how we work nowadays. I only work inside my computer, and then this is gave me an option to plug in my left and right speaker back in the day when I first started up, you know, you want to experiment, you want to try, you know, hardware or, you know, different things. Like I even want to Ah, purchase. You know, different types of audio hardware and a sense of like, you know, compressors and accuse. And I wanted to try and go that route. And then I just realized over the years, it's like with hardware. You actually have to dial the knobs. If you switch songs, you know, you have to remember the placement of those knobs. Otherwise, if you want to do a remix or something, how do you know where the knobs where? That's why in a project in Digital Project is a file you saved to a file. When you open up that file again, everything's stored. It's amazing, right? It's this way simple. We were simpler, Um, but again, just comparing the the back year so it looks more intense than what it is. But again, the left and right is the same as this one and two. So you're left speaker. You're right speaker again. This this is the duplicate of this one. So we have the left speaker the right speaker again. And then if you wanted to send some audio out on the actual, uh, three and four, you could do that. Okay. Again. Once you start dealing with even more expensive audio interfaces, you'll have even more options. But again, I specifically purchased the two I to because it's all I needed. It's affordable. It does the job great. Like compared especially compared to the first generation. Um, And again, it does everything I need to do a complete in my microphones. I completed my speakers, and it's a simple USB connection right to my computer. Um, you know, I can control my speaker volume and the head from volume. You know, what more do we need so again when you go to purchase an audio interface, you just have to think, what do you need it for? Um, And also thinkable expand ability. So in a sense of like, if you are just, you know, bedroom producer doing your own thing and maybe, you know, you have one person come over once in a while and you just need one or two microphones. That's great. But if you want the potential to work with, like, a band or something like that, you know, maybe you do want to purchase an audio interface that gives you more inputs and more outputs for more control if you want to get to more hardware and stuff. But in my experience, I would purchase You know what you need, not what you want okay. If you, you know, if you want the expand ability, You know, maybe you can even, like, rent something, or you two be typically you can find something cheap on, like a used website. I know for myself, like where I live, there's like a website where, you know, local people can kind of post a gear or something like that. Ah, but again, simple connections I've been producing for 10 11 years. This is all I need. Okay. So again, just think about how you flow. And ah, that's gonna really dictate what you need. And again, I think when I purchased this, it was like $150. Like Canadian, so close to probably 100 120 bucks us at the time. Nowadays, there's 1/3 generation, so I picked that up. Okay. 5. Audio Cables Overview: OK, in this video, we're just gonna quickly talk about audio cables. Okay, So it's important to really focus on, like if we're gonna be talking about TS. And so these are what you call quarter inch jacks, K, uh, eighth inch jacks, like your earbuds. So if you're gonna plug into, like, your phone or a computer, that's the eighth inch jacks, these air, quarter inch jacks. Many times you could even get the connections. You know, couplings or well, I guess, like connections that producers So you can go from 1/4 inch to eighth or you could even go from eighth to quarter inch and stuff like that. But it's really important that you focus on the rings. OK, so as you can see, this has to um but Okay, so this is called the TS cable. Kate only has one ring, and it's what's called an unbalanced cable. Typically, you're gonna be using it for, like, a guitar, and, um, it doesn't allow you to travel at long lengths. OK, it's really susceptible to noise. Uh, what, you're going to be more focused on for microphones and for your speakers. Are these two cables okay, so this is so again, This is a T s cable. Okay, this is a T. R s. So there's a tip and a sleeve. This is a tip of ring and asleep. Okay, so if I bring it a little bit closer, Allah will bring both of these closer. So as you could see, this one here is the tip. Ring and sleeve. Okay, so the tip, the ring and the sleeve. And this is the tip Innis leave. So this is like for a guitar and stuff like that when you're focused on your, um, again, microphones and speakers. You you're gonna be warning to Tear s the quarter inch K. This is a balance cable, or you want the XLR cable. Okay. And just looked like this. I'll bring the female end up as well. So the female end is what goes into, like your microphone. Okay, if you are gonna be plugging into certain equipment, it's really important that you figure out what is the actual equipment type, you know, like, what is the connection is that male and female, when it comes to excel are with TRS. It doesn't matter because, you know, it's the same connection again. If we look on like the back here of, like, let's say again, this is the first generation, you know, this is 1/4 inch jack, so, you know, it plugs in just like so you know, that's it. And then the back of my speakers also have 1/4 inch jack. But in addition, they also have an XLR jack. Okay, so imagine your audio interface allows you to plug in XLR, so you would actually need to mail ends. Okay, So when you go to purchase your audio cables again, I don't know what equipment you have over equipment you're looking at, but it's just important to figure out the connections of your audio interface. Typically, it's gonna be quarter inch. Okay. So again, like the TRS here, Um, but in case of microphones, you will need a male end, which goes into the actual ah, front of the audio interface. OK, so as you could see, this is the XLR. Okay. And you're gonna plug it right into the front right here, just like so, um, and then the female end right here. This goes into the microphone and it even comes to look a little like lock. Most of them do. So you plug it in eclipse in. But again, you just want to be looking at the actual, um, connection types of the equipment that you're plugging into. Ah, that's just going to save you some headaches, because the worst part when you buy stuff, is when it doesn't work. Um, I just woke. You will give you guys one tip I've learned over the years when it comes to your audio interface and you're gonna be plugging in your speakers, you want to be thinking about length of cables. Now online, you'll see people that really, really stingy in a sense of all, you only want to buy the cable length. Uh, you know the exact cable length from your audio interface to your speaker. And I listen to that for with my first purchase, And then I started moving my studio around a little bit. You know, I actually moved rooms. Oh, and then I also got like, a subwoofer. Okay. And when your cable length is exact, it gives, you know, flexibility. Like K. If you were in a professional studio that you know you're gonna be there for 10 15 20 years . Yes. You want to be building a studio to, you know, the ultimate standard of what you can afford it that time. But just for a bedroom producer, I would say that the convenience of a longer cable is more important than carrying a boat just like this tiniest bit of noise, which you will not even here, Especially when you're first starting up. This is for people who really study audio it like a super it in depth level. Right? So what I'm saying is, you know, for example, let's say your audio interfaces on your desk and your speakers are, you know, to the sides you could probably get away with a six foot cable for each one. Okay, you need one for one, and then one for the other one for left, one for right. But let's say you know, you move into a bigger room or you get a subwoofer. Now you might be like, Well, what do you mean, subwoofer? Well, the thing is, how this works is all Bring out that the two I two here. So how this works is when you plug into your actual speakers, you just need the left and the right. So you need to TRS cables, which are six feet long each on and you'll be good to go. You'll be happy. You could be ableto turn up your volume and everything is good. But when you're dealing with a subwoofer, you actually need four audio cables. Okay? And many times the position of your sub subwoofer is not where you want it to be. Or it might be further away because if you read a line, what people say like the best spot for your for your subwoofer is to crawl around in your hands and knees and figure out where is the bass sound most even. And that's where you want your sub to be. But realistically, it's like you're not gonna put yourself in like the middle of the room. So if your subwoofer goes like overtake the left somewhere, now what happens is you have to leave on the left and right to the subwoofer, okay? And then from the subwoofer, you have to plug in to go to your speakers. Okay, so you can see we only have two connections here, so it goes from your sub, and then again from your sub to your speakers. That's four cables K. In that case, you may need like 15 feet, you know, a 15 foot cable for each cable so that before cables at 15 feet each Or, you know, maybe your subwoofer is a little bit further, but that sub is still closer to like your speakers, whatever. So maybe you need ah to 15 feet or 2 to 15 foot cables and then to six foot cables. Okay, so what I'm trying to say is, you just want to be thinking in terms of what do you need for your studio and what's going to make it easiest for you? Um, okay, because in my experience, a longer cable has just given me way more. Convenience is giving me more options, for example, like, let's say, you know, I want to push my speakers back a little bit. Maybe I feel like they're too in my face or something. It just gives you the flexibility, OK, so just to break down these audio cables one more time, so there's TS. This is what you're going to plug into like instruments and stuff like that. You have TRS. Is this it will be typically to connect audio gear together Or, if you want to be connected, like your speakers from your audio interface. And then you also have XLR again. Always look at the connections of the equipment you're connecting because you may need to mail ends or you just need a male end and a female end to go into the actual microphone. One other thing will share is the company that I've been purchasing my cables from is actually from model price. So I'll share this with you. So the company just called model Price can. They've been a phenomenal company. Um, you know, back in the day, people are always like all monster cables this and stuff like that. Ah, there's actually a funny test out there. Um, it's they were testing a coat hanger versus monster cables just searching into Google Monster cable coat hangers, audio test. Um, I don't know. It's just kind of funny, because at the end of the day, this is just like copper, Okay? And then you know what you can do to protect that coppers to put, like, shielding and stuff around it to prevent you know, your voltage. Okay, because again, this is, like, very, very low voltage when we're dealing with, like, power, you know, in North America and stuff, it's like 1 20 volts, right? So when you deal with, like, line voltage versus, like, super super low voltage, it could be susceptible to noise. But in my experience, I've never experienced noise again. What I'm trying to say is these tears cables by model price have been awesome. Um, you know, they're affordable. They do the job. Great. Don't get caught up in the hype of expensive, like, you know, $100 speaker cable just for one. I think I paid probably 17. Or like you, maybe even like, $10 for just the one here, okay? 6. Sample Rates Bit Depth And Asio Drivers: OK, in this video, we're gonna be talking about sample rates, your bit depth as well as as your drivers and late and see. OK, so first, let's talk about sample rate and bit depths K is going to get a little intense, but I'm gonna break down. Super, Super simple. Okay, so there's something called The Night Quest serum, and we see this sample rate as 44,100. Okay, but the actual recorded audio that we here is up to 22,000 and 50 hertz. Okay, when you go to ah, 48,000 that you actually get 24,000 hertz can eso It's always just half of what the actual sample rate is. Ah, but we as humans, we could only hear up to 20,000 hertz. So if we break 44,000, 100 half Okay, so that's still higher than 20,000 hertz and most adult humans can't hear 20,000. OK. Ah. So in other words, when you select 44,100 it's sufficient to how we humans can hear audio. Okay, uh, within the within the video industry again, like I was saying, they work off of the 48,000 and 24 bit. Um, the reason I believe they do that, as I was reading into it, is because it syncs up better with film and stuff. So in other words, frames don't get, like, the late or anything like that. Now, when we talk about bit depth, k, you see that we don't have an option here. And I was like, because that you used to be able to select your bit depth out of the driver settings here. And I just looked at it, you know, to explain this to you, and it's not here. So I searched it into Google and it came to their ah support help. So there's the windows driver, okay? And you do not want to be using the windows driver. Okay. Ah, so let me just kind of walk you through this, OK? So if you're using the windows driver, you're able to select these modes. Okay. However, uh, this setting has absolutely no effect when using the as your driver, which is what we want to use. See which uses should always use in Dawes do twist Lowell agency and increased performance . Okay, so again, as you just allows you just to directly, um, access your music program and bypass, like the Windows operating system is stuff. So the audio stream captured from our hardware, so your audio interface is always 24 bits. Okay, So, um, like I said, I used to be able to switch between 16 and 24 bit, but I guess they've just updated it that this is what it is. Or maybe it's always been that way, but I do know I was able to switch before Ah, so these samples are not altered or process in any way by the driver for recording. So the Windows Audio Control panel may say it's 16 bit mode, but the as your driver bypasses the windows audio system and is therefore not affected by the setting. Okay, So again, like I'm saying that as yo bypasses the windows audio system so again, every layer you have has late and see, and when you can bypass you know most of these layers you get lower latency. So therefore, using 24 bit depth in your recording in your recording software while using the as your driver is still 24 bit when recording such creating more 24 bit actually matters. So 24 bit versus 16 bit is to do with noise. Okay, So, like I was explaining to you, even if you plug in a microphone, So right now, my furnace, uh, fan is not on, and it's very, very quiet. Okay, so every single piece of equipment you know, when you have ah, pre amps when you have microphones, when you plug them in, there's always some, you know, self noise that this equipment has. And so when you're dealing with 16 bit to 24 bit, it's what's called like the noise floor. And when you have 24 bit, 24 bit is actually just pushing that noise floor even lower. Okay, so I believe that was 16 bit. It's you have the option of 96 decibels of like, you know, space. But in 24 bit, you know, I think it's 144 decibel. So you know, it's just that much more to push down that noise floor to get you a nice, clean audio signal. Ah, but something to think about Is that the end of the day being a beat maker. Ah, your music is always going to be going down to, like Spotify or like iTunes, which is typically liken MP three or a C. Uh, again. These are just like compressed audio formats. I think Spotify uses Ogea. It's like a variable compressed format. So what I'm trying to say is bit death is just to do with noise. So if we make that comparison to, like the old videos, you old movies from way back in the day, like Western movies and stuff Ah, when they were talking, you know it was fine. But as soon as you stop talking, you know that noise was really, really audible, right? And again, I haven't done any research from assuming is to do with, like, the bit depth, either. They didn't use much bit depth, so there's just lost of noise. Or it could have been poor quality preempts again. The preempt is you know, when you just turn up the actual volume. Ah, that's the pre EMP. You know, that can introduce noise and hiss and stuff, too. So that's why it's important to buy a reputable quality brand, which gives you, you know, typically your goal behind a pre empt. It's just to give you a nice, clean, transparent signal into your computer. And then you can process it however you want inside your computer. Ah, went to get more intense. Some of these actually no professional recording engineers mixing engineers they actually like to have preempts which can color, uh, you know, so many times will have multiple different types of preempt like they'll have one which is very transparent just to get that vocal or that recording just into their system so I can hear it true. But then sometimes they also want pre amps stuff which actually can kind of color a sound. You know, in other words, kind of give it harmonics or what they call a warrant just to kind of give it a little bit more flavor or something. Okay, it all comes down to preference, but really having a nice, transparent preempt, which just gets your signal in there nice and true. Then you can, you know, manipulate it. However you want inside your music program with e que compression and different effects. Okay, so let's go to FL Studio here. And let's just talk about, um, setting up your as your driver. So just quickly, though, So the sample rate I typically leave on 44 100 but it looks like now it's in 24 bit. If I were to record, um, but there's not a big deal. He just, you know, it's still larger file size. But typically tip, you know, a CD over. However many years we've been listening to music with CDs has been 44,100 hertz or 44.1 kilohertz, and 16 bit. Okay, so now inside of FL Studio, if you have 10 it brings up your settings here and you score with the audio tab. You can also go to the options up here and you have since left any of these and you can see that Midi Audio General Midi Audio General. So it all brings it to the same window. You just select a different tab. So inside the audio tab, you can see appear in device. Now, it's really, really important that you're selecting an ASIO driver and as your device here. If you don't, you're gonna be using that the Windows driver and you're going to get horrible performance out of your music program even for myself. If I were to select this primary sound driver, my whole computer just looks like it's feel it feels like it's going to explode. Like especially on, like a large project. He gets skipping and what's called un runs. So as you can see those under runs right here. So, like I was saying as you could see, what I first started I was using, like the as, you know, for all the two like this was the classic way back in the day of what I used. Nowadays, FL Studio has released their FL studio as your driver. The reason why I use it, it's that you can actually hear the audio from my music program. Um very, very grateful. Ethel Studio has released that because I can create these courses and very high quality. My music program for performs very well, cause I'm using it as your driver. You're able to hear the audio so you can also select this. Ah, if I were to have a choice, I would probably use the focus, right, ASIO Ah, just because it's been coated specifically for this audio interface and you know you're going to get great results out of it. But if I select this, you wouldn't be able to hear the sound of FL Studio. So in my case, when I'm creating these courses anyways, I always leave it on the FL studio as you, um And typically, I just leave it on there because it gives me a good performance regardless. But if you know, if you're just doing your own thing on your own computer, you're not creating tutorials or courses or your streaming or anything that I would just use your actual audio interfaces. But if you are streaming and stuff used efforts, did you as you Okay. So since I'm on the FL studio, as you, you can see that you can actually adjust what's called your buffer life. Now, this is gonna be the performance out of the as your driver. Now, FL Studio suggests not going less than like, I think, 10 milliseconds, which is about this 5 12 Now for myself, I've just found around 10 24 has been a good medium, um, comfortable with that delay when it comes to playing on like my midi keyboard. Ah, but if I were to actually record vocals. I may want to bump that down to that 5 12 the reason why they say not to go lower is just because I guess it puts unnecessary strain on your computer when you really can't notice too much of a difference. I guess from 10 milliseconds, that's their argument. OK, so let me just give you a breakdown of why you'd want to be adjusting this buffer length. So back in the day when I first started up, producing this is only 10 years ago. And in 10 years, the audio industry has come a long way. Like FL Studio has come a long way. They've updated tremendously from when I first started as well as computers weren't as powerful back then. Now so, you know, in the last 10 years, computers have advanced huge and then now, even every year, computers air advancing even way faster than even before. Okay, so computers are becoming very, very powerful. So back in the day, uh, depending on the size of your project, you were actually having to adjust your buffer length depending on where you were at in the state of that project. Okay, so let me just give you a walk through. So let's say it's the very, very beginning of a song. You have nothing going on. Therefore, I'm gonna keep it around this 5 12 to make sure that, like, you know, if I had a keyboard here, that my many key border would be really, really responsive to how I was playing, because if it if there's a delay, it kind of throws you off. When you're trying to be creative case, you wanted to be responsive. You know, as that song starts to grow, that's they have seven instruments, eight instruments, 11 instruments, right starts to grow. Now, that's more CPU, you know, processing power required for my CPU. Therefore, my computer isn't able to keep up with this low buffer size. Okay, so now I would come. You know what have 10 I do in my buffer size and how you know your computer wasn't able to keep up with it is you would start to get under runs and you'll hear glitches that you know would be glitches. Pops kind of stutters, and it literally feels that your computer is about to, like, just totally shut off or something it sounds horrible. And if you look you're under runs, you'll see the the endurance are starting to go up. It just sounds like clipping and distortion and all this weird stuff. So just come to your settings and you want to, you know, for myself I would stop. Okay, stop the actual audio program. Increase your buffer length. Now you're going to get a little bit more delay in your keys and if you're gonna record vocals and stuff But you could increase this because if you still wanted to, you know, hit some keys and stuff like, let's say you're a 10 instruments and you just feel you want to add two or three more instruments, right? So maybe you're starting to build the arrangement a little bit, this song starting to grow. So you know, let's say you can keep it on here. There's a little bit of delay, but not too much. Now what you start getting into like the mixing and mastering, you know you're gonna be opening up lots of different effects. You know, let's say, on channel 17 you have an e que compressor, a reverb or something. You gotta 14 eq You can, you know? So each answer is gonna have, you know, its own effects in its own V is teas. So again, that's more CPU power required from your computer to keep up with all this information and again back in the day with a, you know, less powerful computer. You know, you weren't able to throw a much throw as much at your computer as I can now. Like nowadays, I have a beast computer. I keep it on 10. 24. I can have huge projects of, like, you know, so much stuff going on. Um, and I could record a course at the same time, and my computers is not even sweating, which is really, really amazing, right? But back in the day, if your computer wasn't even able to handle that and typically like laptops and stuff to, you know, sometimes it's even hard to find a nice laptop which can handle a lot of stuff to is, you know, So I would have to max out the buffer length, okay, And then even if I was having problems there, then it would also have to, uh, add on triple buffer, and that is gonna allow your computer to get, you know it will be ableto handle. Just that just that little bit extra make you maybe save some money and hold off buying that no new computer for another year to Okay, um, also something to think about is just like the types of AEA's tease you're using. Some V ST's are more CPU hungry than others, but that was kind of the process back in the day when I was actually making my beat, that when I first started, I had to go on a lower buffer size, you know, for the nice response of feeling, because that's what you want. You know when you're making your music, when you hit a key, he wanted to be responsive. You hit that key. You don't want to be like press and then, like you know, half a millisecond. Or however you know, however long then you hear it. And when you hear that delay, I'm telling you, it throws you off, especially when you're trying to record with your voice. As the songs air to grow. You just increase your buffer length, Um, and that's just how it would go. But nowadays it's not so much of an issue, especially nowadays with second generation. So again, from the first generation, I was having to do this a lot with the second generation and my new computer. Um, this is phenomenal. Like, I have a pretty good set up again. Uh, Layton C is still an issue in the audio industry. Uh, it is getting better again. I haven't tried the third generation, but again, with CP use even coming out with, like, eight cores, 16 cores and stuff like that. Like, you know, things are gonna happen here much faster, but I still feel that were quite a few quite a few years off until we actually start seeing that really time performance without the computer sweating, you know, really, really working hard for that kind of Ah, riel zero late insee. Okay. So again, it was just, you know, sample rates instead of fl studio to change your separate in here in the audio tab, you can select here if you want to do that again. Sample rate is just how high of frequencies that you can record. Okay, again, I just work in 44. 100. It does me great. Okay. Um we talked about the bit depth. It it just looks like on the focus right anyways is 24 bit always now, which is good. You know, it's it's high quality, less no ways. Okay, So again, it was like the noise floor. And then we talked about selecting an as your driver how important it is to get better performance under your computer. It doesn't matter how powerful your computer is. Even if you selected one of these, it doesn't matter. The computer's gonna suck. You want to make sure you selected as your driver and you'll see immediate performance. Your computer will look butter smooth. It's awesome. Okay, And then I just talked to you about the buffer length that if your computer isn't ableto handle what you're throwing at it, you'd have to increase his buffer length I pro. I wouldn't go lower than like the 5 12 you can play around with it, But again, FL Studio just says that you're putting more stress than what's necessary on your computer . Um, and then you could also try the triple buffer. If you're working on a larger project and that's that's it. That's all there is to know what they can as your driver and how to get the best performance out of your audio interface game. 7. How To Record Audio And Vocals Inside Of Fl Studio: Okay, guys. And as a little bonus, I'm gonna share with you. You know how this audio interface performs with this project? It's quite a large project. It's not 100% done, but it's pretty much done. It's probably gonna be on my newest beat tape. I beat Tates by graduates. Volume nine released Beat tapes of Spotify. And I just kind of created a Siri's over the years if you want to check that out, um, as you could see on my audio interface, So I have my actual, um, microphone plugged in. Okay, so this is the microphone or hear. My headphones are plugged into here. That's like the volume, Um, and so I'm actually just going to record. Just like some words you noticed said hello and stuff just to show you how to record inside of FL studio. Um, and you didn't get a little sneak peek of this song, which is called contempt. Okay, So what we're gonna do to set up our voice is again F 10 you got to go toe audio and again , you want to make sure you're selecting an as your driver Now again depend on the audio interface I would probably select your audio interfaces as your driver. But just so you can hear my fl studio audio, I have to be on efforts to do as you. Okay. So close that now just go to an empty insert. Okay? Now, how it works is the top is your inputs. The bottom is your outputs. So if we look at our old, uh, you know, this the first generation, remember, we have our one and two right here, right one into again. This is the one and to duplicate, and this is this one was three and four. So let's just say for 42 uh, you know, down here. So again, this is like the one and two this is gonna be your speakers, because that's one in two. Ah, but in the case of this scarlet to I four, you would actually have You would actually have the option to come out on three and four here. Okay. So Okay, so you'd actually see three or four. And you could said, audio this audio interface. And you can go through some hardware separately from what's going on inside your computer, and you can just put it right back in again. I personally suggests to sticking rate inside your computer. They call it in the box, or I t B. It's the easiest way to work as a beat maker nowadays. Um, but now the top is your inputs. Okay. So, again, this for here is my input. It's on input one. We also have input to if we wanted it. But again, this is just input one caso input. One input to. So since I played in the input one, uh, right now you're seeing the, you know, little halo ring light up because I'm speaking into it for you so you can hear. Ah, but we also have to enable it inside of fl studio so that, um, we can record. Okay, so what I'm gonna do so from 42 were going toe click here and you could see So this is where it can be confusing, Especially when you're first starting up. So when you have a single input, it's actually a model recording. Okay, if you had two microphones, that's how you can get stereo. But since we only have one, we want mono. So if I were just like stereo, it would only put it on like the left side. So you'd only hear audio order to your left speaker, which was like, Well, that's not what we want. You're not going to select input to because there's nothing plugged in there. So if I select input one, you'll actually hear a duplicate of my voice. And then I'm just gonna mute it inside my video editing program. But just to share with you. So here we go. Hello? I'm hearing a duplicate too. Its three me off. Okay, now I can talk to you. So what was happening? There is. I've clicked 42. I enabled the microphone. Okay, Now we can actually you could actually see my voice talking, right? Ah, but because it was going to the master. And again we go to the master, you could see that the out is one and two. But if you look at all of these inserts every single one, every single insert, you look at the bottom, there's none. So in other words, they're not going to one and two. But if you follow like the cable, Okay. So, for example, let's go like the symbols. So if you look at symbols symbols has an audio cable that goes to master, and that's why were able to hear it. Okay. Same with, like, the effect guitar. Or like, you know, let's just go to one of these sounds so you could see 25. It is not going to one in two, which is actually a left and right speaker. But if we follow this audio cable, it's going to the master, which is going to the one and two. Okay, it might be a little bit confusing, but eventually you will catch on. You will understand. Now, on 42 I have enabled input one, which is my microphone. But I don't want to hear my own voice being recorded back right now. So I've selected 42 I came to the master will enable it. You'll hear duplicate of my voice. So hello Here it is disabled. Now I'm talking normally again. Okay, Now, this is where you can get creative with recording inside of fl studio. So sometimes, you know, people want to record with, like, reverb or you know something on their voice. So you can actually send 42 to a different insert. So for example. So from 41 I'm just going to disable this just for the moment, just so I don't hear a duplicate of my voice so I can keep talking to you now for 42. I'm going to wrote this to 41 but we're not going to hear my voice, but we're going to see it go into both channels. Okay? Again, We're not gonna hear 41 because it's not going to the master anymore. So here's 42. Hello. We see a duplicate if I go to 41 and put a master Hello. Okay, disable it. So what you could actually do is on 41. You can open up effects so you can put like a river. But compressor, whatever. You want to get that vocal when you're recording. But if you want to record just the dry signal without the effects you can you can record off of 42. It's kind of a cool little work around. Okay, so on 42 we have our microphone. We would record this channel, but we're actually sending the signal out to another insert. Ah, so that you can apply effects on the river And the reason why I say that is because river typically helps ah, singer perform a lot better. Okay, When someone hears their voice into the microphone, it can some really dry and really, really quick sounding. But one of reverb, or even delay and stuff is enabled. It helps that singer, uh, you know, just get a better feel, and you kind of get into the groove a little bit better. So again, off a 41 you apply the effects you'd make sure 41 is going to the master. So, for example, we go 41 we go select, and I'm going to go like reverb and just put reverb on, okay? And I will now put 41 to the master. My voice is gonna have river. Hello? Okay, lots of river. Hello. Okay. Disabled. Okay. So again, you can actually listen on 41 but record 42. Now, how do you record? So there's two ways you can actually record. Okay, You can come here and you want to right click on the actual insert. Okay, so right now it disabled it. I want to, right click again. Can. And it's gonna bring up a window and you guys can save wherever you want to save K. So ah, you know, in the case, this is civil like desktop. Okay? And I'll just say this. So now we have been able to record on this channel. We've selected an area where we want to record it to typically, each song I work on, I create its own folder and then any, you know, audio I record goes into that folder. So I confined it really easy. So now if you want to actually record your voice case, so on the channel, we've We've said that yes, we have enabled it for recording. We've decided where we wanted to record. In our case, we just went desktop. But I would suggest into a folder for that song. And then up here is record now in FL Studio For the first time, if you're gonna record, you hit this button, a window will pop up. Just select everything. But now, if you right click on it, you could also, you know, change your options later on too. Okay. So this is how I have mind set up Now the insert is armed for recording. I've enabled the song, you know, like the actual music program for recording as well. Here's my voice. And if I wanted to hear my voice is a recorded, let's just do that. We'll do this. A lot of river licious dialogue is throwing me off. Okay, so licious Go. Let's say we want to record under the same list. Okay, let's say we want to record right here. OK, so it's just, um you can write. You could hold on control, right? Click and hold. I'll zoom in this area. So if a warning imagine the words were starting right here, I typically would start back one or two bars. OK, so that's one bar, just two bars, I'd say. Let's go to bars back. The reason I say that is because you can hit space bar, Wait for to bring you in and you don't take your breath and then, you know, say what you want to say, So let's just do that so I'll leave it right here. I will make the voice be audible again. It throws me off because I'm here. My voice echoed back again with some late and see going on because it is at 10 24. So again, F 10 audio. So again, Because I'm on 10. 24. It is throwing me off a little bit. I'd want that late Conceded to be a little bit lower, so I'm gonna Here's my voice record is on I'm gonna hit space bar. Hello? Kiss voice school down so you can actually see it Recording right here. Hello. So stop. Okay, so we recorded on my voice off of 42. So it's the dry signal, but we were able to hear my voice on the reverb. Okay, I increased the reverb. Hello? Okay, so that's how you can record inside of FL studio. Just go to the insert. Make sure your actual microphones enabled. Right here is where you can arm thean cert for recording. I just right clicked on it and I slept in my desktop. Okay. You want also enable the actual project for recording as well. I go back, you know, a bar or two just to get myself set up. Because if you look here, you know, that just gave you some timeto get prepared and then Ok, now you're ready. It's just a matter of hitting play. I also have this 3 to 1 enabled. The reason why I have that is you know, if you just sit space boards, it is kind of rushed, like the countin, especially when you're playing like he's the stuff to, um And then now here is the voice. Okay. So, again, this is the dry recording, Uh, the records on. Okay, so we're not able to hear it. But if you look at the channel Rack, you can see it's routed to 41. The reason why it's ready to 41 is because on 42 we've armed their actual insert. We have it right into 41. So, Ethel Studio, I guess, assumes that, you know, it's on 41 is where we want it. But I'm just going to put it to know, um, no inserts. So in other words, it just plays directly. Take the master so we can actually hear the voice. Now. Hello? Hears my voice? Um, if I scroll down and inside of the song was tried the volume. Okay, so now let's say you wanted to get a process that vocal just kind of quickly so licious Highlight it. Come here. You can right click here is channel routing Joo's routes like the chance to this track or control l Let's use this Uses a shortcut. I always use this shortcut stuff controlled Anel. Um, now you can process it however you want. So let's just put some eq you on here. Let's compress it really, really quickly just to kind of give you just a quick example. Okay, so on the EQ, you typically on a vocal and, you know, many times you kind of duck out like the low end is, for example, let's just kind of gruesome highs, maybe cut some mids or something. And then again, I haven't even heard I don't even know, and it's just I was just talking words. Let's compress it quite hard just so we can hear the vocal nice and audible. So hello, voice, actually recording. Okay. Um, so again, that's just one way to record in fl studio. Quickly. Another way is we're gonna go 42 is You can also open up, Edison. The shortcut is controlling E. So I've selected the insert control on E. This is Edison. You want to learn to use. Edison is out of fl Studio It's tremendously powerful. Um, but again. So since we are going to make it smaller. So since we are on insert 42 I've enabled the microphone, and I just opened up Edison. Now that allows Edison to see the voice, as you can see right here. You know, it could see my voice. I could just click right here. Go. Hello. Hello. Hello. There's also different options for Edison to record. You guys can always hit F one. So whenever you go to Edison or any any type of plug in, that's FL studio. You know, native to FL studio, you can click on it F one, and it will pop up with help annual, which is super useful to know when. If you have questions about anything, just press F one. You know, you go like this. This window here, you can slightly the playlist. Half one is gonna pop up all about the playlist. Okay. So really useful stuff to know. Ah, so here on Edison. So I do like recording in Edison. But it's a little tricky cause you actually have to sync up that vocal to the song. Okay, I'll share that with you. Just a second. So with Edison, it's nice, because if you screw up, it's just a matter of clicking here and going new. Or I think you you impressed control and see. Yeah, OK, so I'm gonna press control, etc. To bring it back. So let's say we're happy with it, though. I'm gonna grab the arrow, and you could just drop it wherever you want. Okay, so let's say we drop it here. Now again, The tricky thing with, um, Edison is now you have to lie at the vocal. Okay, So I'm just gonna make this big screen, okay? We're gonna focus a little more in here Now, let's just say ah, we want to line up the vocal it a bit more. So what you want to do is you can hold on Olt. Okay. Imagine like this word we wanted here. Okay? So if I don't hold on, Ault, it follows like this Snap. Okay, so as you can see, follow this right here. It's gonna come with great Ramos is a boom, and then boom is back. Okay, so that's a huge gap. Imagine we just want to move just a little bit, you know, it's a little bit like that. So you hold on salt and you can get it exactly where you want also appear. You can click like the horseshoe at the magnet, and you could select like none here as well. I just find this takes longer like the keyboard shortcuts. So he hold on, Ault breaks free of that snap and you guys are good to go. Okay, Um and so that's two ways to record inside of FL Studio. Recording directly on the insert is nice because it keeps it in sync. But it's kind of annoying because if you screw up, then you have always, like, you know, files that you've recorded, especially if you take, like 10 11 12 retakes, which is common with recording. Ah, but with Edison, it's just a matter of, you know, you come here like all new. You don't click here, go new or controls the whenever, but again. Then you have to sync up that vocal, which is a little bit tricky. Many times I will try to find a clap so, like 1234 like, for example, and on like that, too in the four. That's where I try to line up like the vocal, so it's in sync. But sometimes even then it's a little bit tricky. Okay, so that's just a little walk through of, um, recording inside of FL Studio. 8. [BONUS] - How To Record Your Own Sounds: one last little bonus video. Want to throw it, you guys is how to do like sound design. You know, if you want Teoh. Well, now they have an audio interface. If you have a microphone, you know, how can you record like a clap? You know, how can you record that? So I would personally suggest doing that inside of Edison. Okay, so again, we So let's just start from scratch, Okay? So right now I'm talking to you, you can hear me, but you can't see my voice inside of fo studio, so select an insert. Select again. These air inputs down below are open scare. Let's put this back up top here. When you select mono, it means that the audio is gonna be the exact same under the left and right speaker. And it makes it sound. Dead center. When you select the stereo one early, the stereo in one and into, then the audio will only come on a one speaker, which is so annoying. So in our case, we want insert one. You're going to hear my voice. And the reason I say that is because if you look at 44 where is it going is going to the master. Okay, so watch that. So hello. I find that annoying, especially as I'm trying to talk achieve If I was recording, it's a little bit different again. Late and see comes into play there, too. So on the actual insert, I select it and then you can come here, go to select. And then wherever you have Edison stored, I believe I have it in miss effects of miscellaneous effects. I've organized my effects in a different way than what FL Studio comes with. So yours might be different, but the shortcut Argentina the compressor, they're just delete it. But the shortcut is controlling E. Okay, so I'm on 44. Press control. Andy Edison opens up nice. Quick shortcut. Um, now, if you want to record, likely know the clap. So, for example, again, with Edison, if you had f one, the help manual comes. The reason I say that is because these different options air sometimes useful, depending on what you're trying to do. So I'm going to select record. I'm not going to say anything. Therefore it's not going to start recording on me, and then I'm gonna clap. I'll maybe make two or three other noises T OK, so here we go. So his record, that was the clout. Do this one and it will snap. Okay, now it is just important when you're recording, you know, not to distort. As you can see, my clap was too loud. I snap. It was pretty close. You know, I want to make sure a little bit quieter, but when I did like the little mouth pop thing that you know, I could even wanted it a little bit louder. But I say that's good. You know, you don't want to risk distortion. So what you want to do is how Edison is. You can right click here is like the slice. Okay, so in the top left of Fo studio is the hint panel Super, super helpful. Anything you want to learn said efforts. Do you always look up? Rep. Your work Ramos is okay. So you can see this is like the slicing tool and it's mediums audience auto slicing. Okay, so if you right, click it, you have different options. Teoh, Chop up thes sounds into different slices. So what is going medium auto slice. Okay, I'm gonna remove my microphone. Okay. And then I'm going to bring 44 back to the Master. Therefore, we can actually hear Edison now. Okay, So if I hold on controlling, click on market, too. That's the clap. OK, so what I like to do is I like to put another so I just double click. I put another marker here. I'm gonna put one right here. The reason for that is because I don't want an audio sample with all this unnecessary space , I'm gonna click on it now. I also like to fade out rate around here, so I'm gonna left, click and hold. Bring it over here. You You could bring the marker over two. Okay, so and again when the sound you know, you don't want to cut off the sound, but you don't want all this dead space. And when you have a shorter sound, it gives you more flexibility with fl studio sound editing tools. For example, if we ah, look like this sound and you could see that we have, like, the start length and that the end of the out and stuff, um, it just gives you more flexibility. So if we come up here to the think it's No, it's the wrench. Okay, so we click on the wrench, you see that there's fade out, which is all too f This is a shortcut. Okay, that I'm gonna hold on Control left, Click here. And I'm just going to come to unsorted. And we could just drag this sound in right here. That's the clap. We're gonna come here. Let's get, like, the pop sound. Is it right here? Okay, so I'm gonna bring this marker closer and double click make woman Mark. Hold on. Control left. Click. Zoom in so I could move this over a little bit. You care? And again, the control the shortcut was controlling f kind of fades it out. You can see it's fading out, uh, again insisting the wrench than fade out. You guys will suppress control in end. It will normalize the sound. And I'll bring this in here too. Okay. Okay. So those are just two sounds that we recorded that we can use in our song. So, for example uh, we have this. Ah, this just go to a new sound. Eso were in this pattern could hit Plus to go to new pattern. Uh, let's just play it like this. Well, maybe they make this one a little bit, and this would go up a little bit. Okay, So, for example, sounds like this. But now, if you want to take this and like bringing like 46 for example, um, begin. You know, you can have your effects on the six. Me que Let's just, like, take this so lots of high end. Sounds funny. Um, now there's something called sends. You guys can check out my other courses. Such as, like, Ethel, studio mixer, workflow and stuff to learn about sends and how to use them. I'm just gonna do is quickly just add some effects on. Okay, So let's say we come here to, um, our playlist and let's just listen to the course so it sounds like this. So let's pat in a bumble fins, So here we go way could do to improve it. So I'm gonna take this just a compressor. Let's compress it quite hard for every fast release, open up the attack. We're gonna emphasize the transient. Um, And then gonna right clicking, go piano roll and right click. Hold on. Control. Right click and hold Just a zoom in on that A little bit more. And I'm just going to Justin velocities here a bit. Just make it so it's just not so, uh, you know, repetitive. My son. Cool. I don't know. Maybe we'll have to kind of go down a note and up one or something. So we listen one more time. Nine turned on the morning of it and steak, and even further, you can double click on it. Right? Click, go pan. Okay. You can like a just, like, you know, different panning and stuff left and right. Okay. So one more time. Okay. You know, just to give you an example. So if that's what we did here, you know, put this on, like, 46 as well. This is a clap. So it's not there just like this, but with the club. So watch this. So with the clap in, does it sound cooler? They will put it only on the four. Okay, So anyways, you got a little taste test of this contempt song. Sounds pretty cool, but that's how you can record your individual sounds and kind of play around and mix it up 9. [CONCLUSION] - Audio Interface Wrap Up: Okay, That's the course I hope you guys enjoyed about an audio interface. What's necessary is a beat maker again. Realistically, you just want to be thinking, What do you need an audio interface for in real talk as a beat maker? Uh, you just need one to plug in your microphone, play in your speakers as well as to take advantage of the ASIO drivers again You could still take advantage of as your drivers, even without an audio interface. But typically these air quarter just a little bit better, whatever. But you probably won't see much performance difference in my early in my early years. I did, depending on what as your drivers selected. But nowadays no, like, compared to the efforts to you as your driver to the focus, right As your driver, I get great results out of both of them, Um, again, for me producing for 10 11 years now, I've I've selected this option on purpose, like I don't need the expensive audio interfaces which give you all this different stuff. Um, it's just a matter of I only use one microphone to record, and I'm good to go again. If you are having problems with your performance. It's just probably your CPU. Um, you know, you want to make sure you're selecting the single core speed is this fast, and typically there's different websites, different websites, which will give you the performance of different CP use. Um, image line also has a webs are, ah, page that will specifically break down, um, the best computer for music production. Just type into Google type in like FL Studio Best computer or something like that, and Image Line has an article, and they keep it updated. Ah, with, like, the newest processor, which they recommend and stuff like that. Um, Now, some of these audio interfaces come with other features, such as, like a DSP so digital signal processing. And it just allows you to use, like, real time effects like reverb and compressors and stuff to bypass all like that late and see stuff I was talking about in the case of discriminatory to It doesn't. And again how I get around. That is, if I were to record and the song is so big that I can't go on lower buffer size again. I just export that songs like an MP three. I go to a new project I will record. And I'll bring all those recordings back into my real project or in my experience, actually getting a really hardware mixer, for example. This is my little hardware mixer. It's pretty cool. I'm able to just come out of my audio interface into here, and I send the audio as well. And I could listen to the audio out of here, and I can record into here, and I can just dial in like my my microphone and everything. Um, it's been really, really cool because I'm 100% able to bypass audio agency. Now. One thing you just want to be careful of is just, you know, sometimes thes mixers. If you're going for a really, really cheap one, you can get poor quality preempts. Uh, this is by Maki. You know the preempts for good. You know, you plug it in and you record you're not hearing unnecessary background hiss. It just sounds like my voice and to be able to work off of it, um, again, it just all comes down to What are you using audio interface for? Are you even going to be recording if you're not gonna be recording then this late and see stuff isn't too big of a concern for you. Maybe with your midi keyboard a little bit. But again, with computers becoming so powerful, it's not that big of a concern. But again, this was a wrote that I learned about earlier on. And it's just it was really cool because I was able to get zero late and see, you know, be able to perform with my voice much better, rather than having to deal with Ah, late insee out of this. Okay, So again, if you guys have any questions or you guys want a recommendation about you know what, brand or you know what to look for, Nadia interface. You guys can always reach out to me. Um, you know, I'll reply back to you, But again, I personally suggest the focus. Right line. Focus. Right, Scarlett? Again, this is the to a two second generation. There's 1/3 generation out now, so I would suggest that again I'm not sponsored or have any connections with them at all. I'm just passing on to you What's worked for me again. When I first started, I started with an m audio on a nem audio audio interface. I had a horrible experience with it. I may have got like, a lemon, you know, not a good product or the product itself just wasn't good. But when I switched over to focus, right, it was just night and day, like it just it just worked. And that's what I wanted it to do. Um, in addition, these halo lights are really, really cool. Um, you know, they really share with you. Are you distorting? Ah, and one thing I will share is you know how to get a good recording. So what you want to do is plug in your microphone. You know, make sure you can hear your voice, whatever dial it in and then do a test recording. You know, if you're gonna be seeing a verse or the course you know, with your voice or with an instrument, play it and look at you know your meter. Now, some of these audio interfaces they just have, like, a little led and will be like, you know, a clipping meter, and if you're clipping, it will flash. Which means that turned on your signal. But it's important that you do a test run and dial in your volume so that, you know, it's like, OK, it's too loud. And then this one is too loud. I wouldn't just dial it back, you know, just a tiny spit. I would go, you know, quite a bit back, like not to the point where super quiet, but to the point where you're not risking distortion at all because it's better to not have any distortion then to risk distortion. Because you'll hear a lot of people in the industry they'll say, Oh, you want to record it the hottest signal you can get without distorting and it's really, really risky. And I also believe that was to doom or back in the day when it was with with analog gear with, like, you know, a lot of hiss. So again, that signal to noise ratio. Therefore, they were trying to get that volume at a higher level over that hiss, so you can hear more of the voice versus the hiss, especially ones on like the instruments are going on. You really don't hear that? But you know, if you have all these recordings going on and they all have the same it on a hiss, You know, it builds up, it adds up. Right? So, in my opinion, just set your level. Do you test recording? You know, if you're not distorting, you know, you're good. If you are distorting, you know, bring it back, You know, a generous amount. Not to the point where it's so quiet, but to the point where you're not going to risk distortion. Okay, so hopefully this course helps You guys always feel for you to reach out. And I'll talk to you guys in the next one.