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A spectrum analyzer can be a powerful tool that can be used to well-tune several audio signals. There are a number of uses for a spectrum equalizer. One important function of the spectrum equalizer can be used to try and check the response of a tape recorder. This equipment can even help identify the minute rumble frequencies in an air conditioner. This data can be used to filter out noise in recording studios or improve sound quality while recording. The market for such gadgets is becoming popular as ever.

There is a high price to pay for owning a commercial spectrum analyzer. Such an ownership presents a major problem and its high price may not be that affordable for some people. LED or (Light Emitting Diode) versions of spectrum equalizers may have cost many hundreds of dollars today, but it seems to be the most widely used unit.

A high quality spectrum equalizer model can also run into thousands. Such spectrum equalizers paved the way for producing high quality audio. And the valuable component is here to stay to provide consumers with great quality sound as well as more accurate signal calibration.

Although a real-time spectrum analyzer is more convenient and easy to use because of its simultaneous display of all frequency bands, an older manually swept model is no less professional and effective and its use follows well-established practice. In fact, a continuous sweep can detect narrow peaks and dips, which would be ignored by a real-time unit.

For all of the filter components on a spectrum equalizer, it is important to use the one with the closest tolerance available. Choosing One-percent metal film resistors, which are not only the best in the market, but also because of their accuracy and for their reduced sensitivity to temperature. In the absence of the metal film, polycarbonate or Mylar capacitors and other components are the best choice for the actual filter stages. Supplied bypass disk capacitors are not only sufficient for use but are also preferred, since they possess the least series inductance.

There are also several Tubular Types, though generally considered the more temperature stable component. They are constructed of long strips of foil which when rolled up for compactness become inductive thus reducing their effectiveness at high frequencies. Besides being able to easily vary and change the audio quality and tune to its regarded frequency, a state-variable filter can also provide.

These days it’s becoming more and more common for songwriters and bands to opt for a home recording solution over spending loads of cash in a commercial recording studio. Here’s one of the most important home recording tips I can give you: Take microphone techniques seriously. If you place your instruments and vocal microphone properly, you can easily produce recordings that rival those of the large recording studios. There are many common mistakes to be avoided when you’re just starting to produce music in your home studio. I talk about many of these in my Serve The Song blog.

One simple but crucial home recording mistake to avoid is microphone proximity effect. The definition of proximity effect as noted in Wikipedia is:

proximity effect in audio refers to a change in the frequency response of a directional microphone as the sound source is brought close to the microphone. The result of the change is a disproportionate increase in the bass response of the microphone.

In plain terms, if you mic your instrument or vocal too closely, you will end up with a distorted and bass-heavy recording. This only goes for directional microphones such as ones with a cardioid pickup pattern. There is nothing worse than laying down a killer take only to find that it’s all useless audio due to proximity effect distortion.

By the way- I’m not talking about the cool kind of edgy distortion you might find on heavier rock recordings. I’m talking about undesirable and super “boomy” bass-heavy distortion that says only one thing to the listener: This was done by an amateur.

Avoid Proximity Effect

Be sure to keep a healthy distance between your sound source and the microphone diaphragm. At least three to four inches of space should do the trick. Three to five inches of space will still provide the intimacy of close mincing an instrument. Farther than that will capture more of the room acoustics, which may or may not be desirable. A distance of under three inches runs the risk of causing proximity effect.

When recording vocals, it’s always a good idea to place a pop filter between the singer’s mouth and the microphone. While this will reduce unwanted pops and bursts of air, the pop filter alone will not necessarily reduce or avoid proximity effect. However, if you space your pop filter a couple inches away from the microphone diaphragm, then have the singer set up a couple inches away from the pop filter, you should be clear of proximity effect range.

A few years ago there was a revolution in recording technology. As computers became more powerful, they started to replace traditional tape recorders that were the heart of most recording studios. Today, computers designed for home use are powerful enough to emulate an entire recording studio, and can be used for everything from multitrack recording to audio editing and scoring music for videos.

This “democratizing” of recording techniques has opened up the entire recording industry to anyone with the proper software and hardware. With software packages costing a few hundred dollars and professional-quality audio interfaces costing less than $100, anybody can have a virtual recording studio in their home.

Some of the big names in the audio recording field are Cubase, ProTools, Sonar and Sound Forge. Each of these Digital Audio Workstations (DAWs) can be used for multi-track recording and editing and have the ability to combine recordings with “virtual instruments”.

Virtual instruments are computer-generated sounds that can be played via MIDI. Traditionally, MIDI was used to send music data to hardware devices like keyboards and sound modules, but computers are now powerful enough to emulate sound modules. Instead of hooking up cables to an external device to play MIDI tracks, virtual instruments can be loaded into the computer’s memory to play any type of sound.

MIDI tracks can be combined with audio tracks and all of it played back in perfect synchronization. All tracks can be processed with effects like reverb and chorus, and the entire mix can be compressed for a professional sounding result.

Although professional sound recording packages can be fairly expensive, you can get your feet wet by trying out one of the shareware programs that are available. They will allow you to see the capabilities of digital recording, and if you want to develop your interests further you can later buy one of the professional programs.