Recording and editing software suites have reduced the need for stacks of bulky and expensive analog equipment, so the set-up of a recording studio is somewhat simpler than it once was. Recording audio is demanding of computer processors, so computers need to be streamlined and optimized for the task of recording audio. When it comes to Random Access Memory (RAM), more is better, but 2GB is a good place to start. Anything less, and your computer may struggle, especially if you're recording multiple tracks and using lots of special effects plug-ins. Make sure that the operating system is up to date to ensure compatibility with new recording software, and remove any unnecessary programs on your computer that may interfere with recording. The more streamlined your computer is, the more chance there is of it delivering an error-free performance.
Many newcomers to audio engineering try to fix a poor sounding signal by treating it with effects units or by trying to drastically change the tone of an instrument with heavy use of graphic equalizer (EQ) devices. While EQ can be a useful tool , it's best used to fine-tune the tonal character of an instrument during the mixing stage. As a general rule, it's wiser to experiment when tracking in order to get the best possible sound upfront. This could mean experimenting with different microphones and their placement when recording acoustic instruments, drums and voices, or trying different amplifier combinations when recording guitars. Time spent doing this will make your mixing sessions easier since you'll just be polishing the sound and making minimal adjustments.
While it's always good to have a hot signal when recording a track, it's important to watch the meter to make sure that the signal doesn't clip. When a level meter goes into the red, this indicates that the signal is peaking above 0dB and any digital information above this threshold is literally clipped, or cut off. The result is an unpleasant digital distortion that will severely compromise the quality of your recording.
When mixing your recorded tracks, avoid listening at high volume levels, and take frequent breaks to avoid ear fatigue. With tired ears, it's difficult to make good decisions about your mixes, and you'll often end up having to remix these tracks later. Make sure that you mix on studio monitor speakers so that you can get an accurate representation of how the music sounds. Mixing on headphones isn't a good idea, since their sound is often unnaturally colored with an exaggerated bass response. When you complete a mix, listen to it on your home audio system, in the car, on a boom box, and anywhere else that you listen to music. This will give you a good idea of how your mix will sound on a variety of consumer electronic devices.
Use of a pan (panorama) control on a recorded track moves it around the stereo field. As you sweep the control from hard left to hard right, the instrument on that track will move accordingly. There are no strict rules on placement, but in most pop music, the rhythm section will be in the center of the mix, as will the lead vocal. Experiment with moving the rest of the instruments around until you get a good balance and all of them can be heard clearly. Quite often, a slight nudge can give instruments the separation they need in order to shine without having to raise their volume level.
By the time you've recorded and mixed a song, you may have listened to it hundreds of times, which can make it difficult to listen objectively. When you've settled on a mix, it's a good idea to enlist the aid of friends to listen and offer their opinions. They don't necessarily need to be fellow musicians or engineers; in fact, it can sometimes be helpful to get the opinion of those who aren't in the business of making music. As an audio engineer, the view of someone who's a typical music consumer should be important to you, since they are the people that you're making music for.