I'm in my 70s and always recorded covers just for fun on an old but decent reel-to-reel tape machine. Then I was introduced to Cakewalk and loaded it onto my PC, bought an interface and started having fun. During the COVID epidemic here in the UK, my young teenage grandson and I exchanged Stem tracks and mixed stuff online. Even more fun. Then he graduated from college with a distinction in Music Technology and organised the end of course concert. He invited me to go along and perform live again there with some of his class-mates for our shared birthday (his 18th, my 72nd) This was amazing and made me feel 50 years younger. (We did a cover of Jethro Tull's 'Locomotive Breath'). So now we're planning to do some original compositions and go to some open-mic nights together. It may not seem much, but it's brought faith, hope and the joy of sharing music back into my autumn years. We couldn't have done this without our little home studios and the help of some VSTs ( and the invaluable tutorials from Creative Sauce). Music breaches most barriers and can bring people of all ages and backgrounds together. Long may it continue.

I think the roadblock to great home recording is no longer technological--it is the craft of songwriting.

Totally agree with the con. I really enjoy working on my own and owning the whole process but it is very hard at times and I definitely think it would improve my work to have someone to bounce off occasionally.

Another thing I believe limits us today is too much choice. I have Arturia V collection, Komplete collector’s edition, omnisphere and a fair few others too. In my youth (I’m 59) I could only afford one synth, and I got to know it inside out. When I wanted a new synth, I’d have to sell my old one to part fund it. On getting it home, manual was read from front to back, I was making my own sounds in no time, when pro 12 (Steinbergs pre cubase software) first appeared, I would be playing/recording music in no time. Today I can spend a whole evening trying out various presets and not making any music, there’s synths in the V collection that I dreamed of owning in my youth, but I personally have not put in the time to learn them inside out, I simply have so much choice something gets in the way. I agree with what you say, although for some people it’s not really feasible, people with serious health issues etc and being able to do this in their home studio gives them a freedom they might otherwise not have

Studios with large format consoles are like a Rolex when everyone has a clock on their cell phone.

Great stuff Mike! The other problem i find with being a one man studio is finding time to actually write and record. I think many get caught up with all the new technology, spending time reading, watching KZfaq videos, testing free trials and learning things like EQ, compressors, LUFS, etc. there are a lot of distractions which absorb limited cycles and energy. When working on a song, I'm never happy and it's difficult to bring closure to a project. As you improve, you want to revisit that last song and change things and remix. I feel artist need to focus on writing songs. I believe home studios shift the focus to technology and artist will produce less.

That was great, I love your honesty Mike. Also, when you mention about doing something unfettered "to your heart's content," for some of us, our hearts are never content and the damn songs never get finished!

The technology is definitely a double-edged sword. On one hand, it opens up incredible possibilities. On the other, the focus in the marketplace has largely been put on production values over musical and artistic substance, so you have an avalanche of soundalike playlist-chasing dreck that is incredibly hi-fi but empty. That puts a huge burden on individual creators to have their music match that standard, which is a huge drain of time and resources away from musical creativity. People accept singers who can't sing (faking it with autotune), music that isn't original (made from sample packs and sampled backing tracks), but won't accept anything below an ultra hi-fi mix. In the pre-DAW days, there was much more variety in the sounds of mixes on the charts, and a much wider role or purpose for less than perfect mixes. No one expected a pro mix until you got signed to a label. Now, there seems to be little to no room for the reality of an individual artist's artistic voice (and literal voice, in many cases). Everything has to be digitally massaged and polished until there's nothing unique left. Some artists buck this trend (Louis Cole and the collectives he works with come to mind), but they're niche. We all wanted liberation from the limits of 4-track cassette machines, but what has come after that freedom is a mixed bag at best.

You're bang on, Mike. The very presence of another person forces you to deliver your best. It's natural to want to impress. The moment someone else is involved I become better. Good stuff!

Coming from a band where I had to fight tooth-and-nail for my ideas, the "con" of not having pushback from bandmates is a dream come true. I'm only in my first couple of years of recording and mixing (a relative newbie) but I don't miss being in a band at all. I can 'paint' any instrument to the grid - critique it - refine it - and usually the part comes out better than anything one of my bandmates could have recorded. There are none of the usual band issues: drugs, egos, bandmates who didn't learn their parts. I can walk away from my recording for 10 minutes or 2 days and it's waiting for me. I wouldn't trade this for anything. I love it.

Thank you so very much and Happy New Year to you and yours!

"We need to be challenged".... absolutely we do, it makes the end product better. Thanks for posting this.

Hey Mike! Great video as always! I totally agree with you and MIck Fleetwood! It also turns out to ultimately be more fun! I do want to point out another CON if I may and that is that we have our wonderful home studios sitting and waiting there for us and oh...wait a minute...I'm too busy to go in there today but because it's always there, I'll get around to it! I get accused of that all of the time by friends, family, and fellow musicians. I need to use it more so I can actually collaborate with other musicians! Thanks again Mike and happy New Year!

Finally! No pesky collaborators to stop me from panning everything to the left!! **maniacal laughter** happy holidays, Mike, excellent topic, good collabs make it worthwhile.

Hi Mike,Hope you had a great holiday in Bali.I am just south in Australia.I enjoy ALL your videos and am in the process of making a commitment to get back into music again.I have just finished remixing somewhat, originals that I have been meaning to do for the last 15 years.Still using Cakewalk for now.Anyway hope you had a Merry Christmas and wish you the very best in the New Year.

Words of wisdom! Thanks mate! Happy New Year to you and yours!

Happy new year Mike! Always look forward to your uploads. Being a new studio one user, I find your videos extremely helpful!

Happy New Year Mike. Thanks for all the excellent videos you've given us in the past year. Looking forward to your output in 2024. Thanks again Mike. 😄 (Your generosity is much appreciated)

As a former bandmember who did most of the challenging and was faced with many compromises, I was so happy to buy my own 4-track in 1987. I've never looked back and I believe I have become braver and braver as I have gone. I have still sometimes played with others over the years but my own stuff was always my main project. The real enemy was not being brave enough to do it on my own - or direct others - sooner.

It's funny, because a few months back I decided that in 2024 I would start a collective or association for local musicians, composers and others in the music industry, with the aim for members to assist each other in various ways. Like going through lyrics or cord progressions or how an instrument you are unfamiliar with works so you can stay within it's boundaries, or rehearsals, and much more. So I'm totally with you on this :)

Mike has the best educational videos for home recording. I have been recording original music since 1999 using versions of Cakewalk. Mike happens to have the best tutorials on that DAW as well. I did record my first album 100% at a professional studio in Austin, TX in 2004. It was great fun and had access to many enjoyable professional musicians. Overall it cost over $20,000 not including mastering which was over $1,000. The point is it pays to invest in your home studio, learn the equipment and software and you can still work with professional musicians as needed. For example, if a song deserves a really great guitarist I’ll send a mix to my professional guitarist friend in Italy and pay for him and the studio he goes to for their work. Then I’m sent the recordings and create the final mix before sending the mix for mastering at a professional mastering studio in Austin. Yes, doing it right still costs but doing what you can at a Home Studio is the best solution for an independent like myself.

So true and great advice. Thank you

I agree, but I also think the current much lower cost & barrier to entry environment is much better than the other way around. I do think musicians need places to get together to get the creative discourse going, and to be challenged and receive feedback from our peers. I have seen several examples of this: Pirate Studios in Los Angeles, where DJs can go rent a small studio space for a few hours and they also hold regular "mix shows" throughout the whole building on certain days of the month. Another example is online mentorship communities where you can get honest feedback from big established artists about your new track, and this is done live with sometimes hundreds of other people attending and commenting. Peer feedback is very important.

Great Video Mike! Been thinking about you hope your doing good.

another great vid Mike

I always feared becoming a cave musician, but I am very close to that now. Interaction musically is sooo important to keep a fresh perspective!

Thanks for this. Excellent advice.

Hi Mike , I agree we All need to be challenged. One of the reasons I am a loyal Cakewalk user and plan on staying that way , is because of their Superior forum. All my music is uploaded there and is discussed and challenged. After "many" changes it is finally released. It is Very easy to get So close to a mix you aren't hearing things that are instantly picked up by helpful peers , no matter how brutal their suggestions are. Thank's for All your work and help. Mark

Thank you. Exactly my experience. Plus the missing live interaction that inspires and leads to instruments talking to each other. And one more point: I am usually not able to play my own songs after a while because they appear so quickly that I do not remember what I did a month later.

Spot on! I need to reach out more. It's so refreshing working with others. Music is all about communication and relationships imho.

Mike, your are so right, I have my own little recording studio for those reasons, but yes I do miss the input and constructive criticism from others. Also that person who has a totally different playing style could add so much to the mix. It is interesting that you made this video at the same time I am trying to expand my horizons. Great video with great suggestions.

It's fun making music today and being able to do what you want to do with it. I use CD Baby for my distribution. I find that I challenge myself on every song that I do, and how I can make it better. The home studio and computer programs have made my dreams come alive, especially being able to print out the music, (cause I was terrible at writing music and it was all in my head before) The Main Con I see today- is not much money from streaming services. Best wishes for a Blessed New Year my friend

Excellent points! Liked and subbed.

Hi Mike. It's funnyt because I just thought exactly the same during the Holidays, and I totally agree with you about being challenged. Thanks for the thoughts you gave us, I really appreciate.

Wise words as always, thank you Mike.

Good advice, as always.

Great advice.

God bless ya Mike! TheCon is real and alive.I’m one of those multi talented , incredible songwriter - musician. I can do anything I am the greatest…lol Oh how Horrible feel after every session. This truth u speak. Has always been my desire, more than any million dollar microphone or vintage Martin guitars. I’d set my Steinway piano on fire to have collaboration with others, but that two is so difficult to find Being in my 60s, I get more response from those much younger than i… my peers are just not into it. And stuck sitting in their way…just a reminder that John and Paul were practically teenagers when they wrote those fantastic songs, but my resolution for 2024 will be to find more collaboration in music wether that be writing or recording or both cheers mate.

I completely agree with collaboration. Short version: Early band days this is all I ever did. These days: I have reached out to many and it seems everyone is in their own bubble and won't reciprocate. So I just struggle in frustration.

I ran a commercial studio during the 90s. These days all I need is one iMac running Logic, an interface, a MIDI keyboard, Tannoy monitors + amp and NS10s + amp, plus a few mics and stands. No mixing desk, no rack of outboard stuff. I don't even bother with soundproofing. It does everything I want. (I have a ton of guitars, but who hasn't?)

Great Video Mike Your words are true ones. Collaborating with other human beings is very necessary. But when I was in the Music school in Pasadena, I was told by the instructor, that many here will not collaborate. This I was told while in class by my film instructor as well when I asked about the theater department. I wanted to go there and film the production for the class assignment. The instructor told us that it would be alright with him but no one there would collaborate with anyone. It's still true to this day #HappyNewYear

Excellent video. Completely agree with the problems of DIY and the need for others. Indeed, maybe home studios are more for quality home demos and you need interaction and perhaps another studio to finish a project well. Strangely this is exactly what I intended to do in 2024!

Collaboration adds dimension to results. I love hearing things I wouldn’t think of myself. Collaboration puts a time frame on the process. ‘Great, it’s done, let’s move on’ is a welcome release for me. On my own I can get totally lost in the revision/retake wormholes.

Great point! In order to get better collaboration is the key!

Hi Mike! Thanks for the video! Been writing music for about 20 years solo! Maybe it's time for a change! Hope you all had great Christmas. Have a Happy new Year!

Ever since I started playing again, and learned how to record myself, one of the most valuable things for me, is truthful feedback. I have literally begged my friends, and former band mates, to listen to and tell me what I need to fix. Getting told, "that's awesome," when you're looking for constructive criticism is frustrating. I have 2 friends, who have given me thst kind of feedback, but, I don't want to bug them, every other day. As that is another pro of home studios, ..being able to keep churning demos out. I had such a backlog of ideas, in every genre, that even after 3 years since I started back. I have a list of 20+ songs that I never had recorded before.. love the accessibility, now

Hey, Mike … Happy New Year to you and yours. I must confess that I recently discovered a wondrous website for just this conundrum. I just turned 55 ( yes. I qualify for discounts at restaurants now ) and I have never released my own songs. I appear on 3 CD projects recorded back in the ‘90s, but nothing I can claim as my own collection. I intend to take full advantage of collaborations and DistroKid ( using your discount code, btw ) this coming year. If things work out, maybe I’ll start writing new material soon, but I really want to dust off the old stuff first. I think a collaborative effort would breathe new life into the songs. Thanks a trillion for sharing your thoughts on the “Home Studio Con.”

The reason I do everything on my own is because there’s nobody else to do it with. 😊 I had to finally get comfortable with I’m on my own, a solo, independent artist/musician/entrepreneur. It’s not that I don’t have others speaking into my life. I just don’t have bandmates.

Very TRUE!!!... Thx You for making this VID. George :)

I built my studio home so I can collaborate with other musicians, With everyone living far and wide, having children, running businesses and any combination or more of the above, by having a studio I could record random musical interludes, and overdub more musicians and instruments at a later date, or develop the music. Though over the years I would go on doing various projects for others as well. As much as I would appreciate a larger studio for larger projects, My system and setup here is perfect for the way things are now.

I caved in and mostly do collabs now. It is rewarding in various ways, as long as you let go of past issues with bands and other collabs.

I am lucky enough to play/perform the major instruments Drums Guitar bass and vocals. I do everything myself and while i agree with your sentiment sometimes working alone can be very liberating You only have your own ego to deal with and you have to make your own decisions and live by them. My recording mindset is to try and make the song sound like a band's performing them even though it's just me. But I agree if you listen to Paul McCartney versus his work with the Beatles his collaboration efforts are better than his solo efforts, but his dolo stuff is pretty great too. Btw love your content Mike!

I’ve been home recording since the mid 90s. I’ve been writing my own music since the late 70s. I played in bands from ‘76 until early 2000. I basically quit the band thing when I started having kids. Since 2000 I’ve continued writing songs and recording them on my own. It was nice having the feedback of bandmates but I’m still my own worst critic, meaning I’m very hard on myself in both my writing and performance. My tendency is to get as weird as I can in initial stages and gradually pare things back to more accessible ideas towards the final stages. I’m really just writing for myself anyway, I have albums worth of material that very few people ever hear. But I like it, and in the end that’s why I do it : ). I’ve released my last bands recordings through TuneCore but have considered using a different service for my own songs. Anyone have any opinions on which ones are best to use?

Started off 2024 doing a colab with an old friend that lives in Tennessee, I'm in SoCal...another amazing technical advantage of recording nowadays. In the past 3 Years I've released 8 solo albums, it was a blast but I agree, I'd like to colab again.

You made me subscribe because I'm all about at collaboration😊😉

My new years resolution is to figure out my latency issue.

Big subject here which would have many different outcomes and experiences for many. I'd say this, have consultants, but remain the manager of your music. Great video.

I'll be looking for a vocalist or two in the New Year. I always pass new drafts through my friend of 30+ years who is the most brutally honest critic you've ever known! Not only does it get my brain working in different ways, it also gives me a thick skin :)

Collaboration is key with most all things in life. Here's to a productive 2024 !

I will be 70 in April, and have recorded demos on everything from cheap cassette machines to Porta-Studio to multi-track digital devices from Roland and Yamaha, and even cell phones. I also started using what is now Cakewalk when it was MS-DOS based from 12 Tone Systems to Sonar Platinum to the latest from Bandlab. Like many, I am now facing an uncertain future, given Bandlab's decision to stop supporting the free DAW and move forward with a paid Sonar. One way or the other, I will stay with Cakewalk in one form or another... With all of this said, I must agree with Mike and many others that multi-tracking in isolation is no substitute for collaboration with other live musicians. Not only do we share useful critiques, but we also benefit from shared inspiration, as each person brings something unique to every project. I think this latter aspect is what I miss most as old friends and collaborators pass away or depart for one reason or another. I continue to play and record because music has been and remains such an integral part of my life and who I am, but I also miss the comradery that made music so much more rewarding and fun.

Good video, as you always do. I do agree with the con, but I also find it can be hard to find the right people to help you better your music. Collaboration with others who are amazed by everything you do, or conversely, urge you to change your music in ways that it is just not your music anymore, can be frustrating instead of productive. I find I collaborate the best with people with open minds and ears, people who ask questions rather than draw conclusions. But they are not always easy to find!

We’re definitely not get the best music from home studios and yep it’s not the equipment. There’s a lot of non musicians that think they can write and make songs. Also there is a lack of real training on how to mix and master

Mike, you make some mighty good points. I agree the present time will be looked upon as a golden age in recording but ... if you don't know much about recording so you can't record as good as a recording engineer and mix as good as a mixing engineer it will be some time before you can publish commercial quality audio even with all the tools presently available.

If collaboration and human interaction is the whole point, you can do that with a home studio. In fact, I'd argue that a lot of the time that's easier having your own little home studio. I don't really think there's any con involved. Artists have been using little home studio setups to write and record musical ideas if only to have a fairly good quality sound bytes not to forget them. I do agree that bouncing ideas off of others, collaborating, that human interaction is important for quality control (and even with that, not necessary all the time. Depends on your personality and whether you're doing music just for you or to be distributed to the public). Having a home studio doesn't mean that you're all on your lonesome forever lol. That's a choice humans make. Anyone can have musicians over to their home studio to collaborate with. If you don't, that's on you most of the time, not on the idea of home studios.

Great video. However with all this newfound technology the CON in my view is the impact on creativity. What I mean by that is as a "born again" synthesis fan, while I was so much harder to do the most simple of tasks in the 80s using my SH101, JX3P, TR505 a digital delay/reverb and Fostex 250 4-track, because they did "less" than even the most basic DAW (I'm an Ableton user), more time was spent actually creating tunes and experimenting with the shortcomings. Having taken a complete break for the best part of 20 years, I now find I spend all my time "needing to know" what everything does, scrawling through thousands of beats, clips, samples, tones, effects etc. for hours and then realising I haven't "created" anything at all...

Having somebody around will result in associations that never may happen working solo. Just having a different musical taste can result in really nice work.

The cons of home recording are all related to our obsession to do things we have never been able to do before. We can begin recording without having written or arranging anything first. We can release as much material, unh

Oh Mike, I understand you so much about flying military planes😂😂😂 ALL DAY LONG, but sometimes is quiet🤓

I'm from Sacramento CA and definitely looking to collaborate as this resonates heavily

Yep totally agree Mike. Our band, Toys That Bite, home record. We all have Calkwalk so we could do total remote recording but we don't we we do it together. For speed I could actually record all guitar and bass parts but it all sounds like me, I might for guide trax only. Also The amount of changes to a song, after we all have a say, is quite a lot at times but the better for it. It's usually after we have rehearsed the songs that they evolve. On top of that a proper bass player does things I would never think of, similarly the other guitar player. He has different techniques so it sounds like two guitarists. we also use electric drums or Midi, noise and space dictate that, but that is done by our drummer, not like my feeble attempts no no no... So yes for us its vital to work together or at least get other peoples opinions as we go. We also record using a lot of the stock, or free, plugins so again I agree you don't need mega amounts of gear, although I have taken to using a limiter on vox input. I have been recording a duo and the singer doesn't really do dynamics and when he sings loud its hard to stop clipping, as he doesn't move back of the mic, so I thought I'd give it a try... We'll see, but that's it.

Yes Sir!!!!!!!!!

In my experience the issue of collaboration is a question of whatever works for you as a creator. There is much to be said for working alone to let the music develop where it takes and inspires you without interference. If it’s my song then I want control. I might get others in to play parts because they might be more adept at a particular instrument, and having more than one musician play usually creates a more musical product. That said, there are definitely times when you want and need the input of others - especially when vision fails you as a songwriter, arranger or mixer but you know you have a good basic idea to work from. The challenge is finding people you know of sufficient creative calibre to do that with you.

Another home recording problem is, if you are doing this for yourself primarily, there is no rush to finish anything, tinker tinker.......

Just catching up on my ‘watch later’ queue, and found this one to be particularly interesting. I’m one of those old guys who does things on his own; one of the differences is the type of music that I write. Folks refer to it as ‘classical’ or ‘film score’. So there isn’t a lot of opportunity to collaborate with others. But I’ve built up a network of critics who give me constructive (sometimes brutal) feedback, and I consider them a key part of my creative process. I also agree with those who have pointed out what I believe to be a big con. The technology is such that most anyone can write and publish something - and they shouldn’t… I don’t mean to sound elitist, although I don’t think there’s a way to avoid it, but a considerable amount of what’s put out there just shouldn’t be. And I’m talking about a wide spectrum of genres. Just my opinion, but from reading the comments here, I see I’m not the only one. There is a result of little, if any, collaborating…

Together with the lack of criticism from others when you work alone, you also miss out on the encouragement - it's so easy to put tons of effort into something, listen back to it and think "That's terrible, I'm deleting it" when it could be something incredible and it's just your own hypercritical artist brain hating your own creation. Sometimes just having another musician there really getting into what you're doing helps you hear good things that other people do but you don't. Lost count of the amount of times in studios I recorded a part, thought it was awful, then someone said how great it sounded and a few weeks later I've listened back and realised they were right, and had I sat there all day in a room by myself trying for another take I'd have totally lost the feel.

From what I`ve heard recently, particularly on KZfaq, it seems that, unfortunately, because everyone can do it, everyone thinks they can do it.

Thanks again..I LIKE MIKE

Tak!

You're on! Bring on 2024 collabs:) now, who wants to play piano for my josh groban style singing? 😎

I completely agree with your con. I grew up playing in bands, even writing a number of songs. I have since been forced to retire from stage and am "resigned" to my studio. Don't get me wrong, it is rewarding and presents it own challenges, but the interaction between bandmates, or co-writing (sometimes on the fly) is sorely missing. Other members can bring a new perspective or twist, can make enhancements you just wouldn't have thought of, etc.

I agree mostly, but it's also a CON to have *too much* feedback - too many cooks in the kitchen, you know? It's true that working with others makes music production more fun, but every great band, collective, or ensemble needs ONE guy to be the leader & make the final decisions. Without a visionary, bandleader, producer, music director, etc. you can end up stuck in analysis paralysis listening to feedback from everyone and their mama, lol. Once everybody agrees on who's the leader, it's up to them to *focus* the feedback towards a specific shared goal. It's not about ego and telling people their ideas suck, it's about what's good for the music. Great examples are guys like Zappa, Prince, and Quincy Jones to name a few... they know how to be part of the team AND lead the team.

Now turn up the input control. Until the meter which is sitting at 0-VU. It starts deflecting downward. And I wanted deflecting nearly all the way downward. With everything you say into the microphone. So that it looks like your windshield wipers. On your car. Driving 70 mph. On I-95 South. In Florida. Driving through a hurricane. That's the way I want that meter to look with every word you say. Then! You're not done yet. Then you have to plug the output of that limiter. Into a, Allison Research/Valley People, KEPEX, Downward Expander/Gate. And with that. You will adjust the threshold control. So the meter lights up. With every breath you take. Adjust it on your breath. Then set the downward control. For only minus 10-15 DB.. Your release control really fast but not all the way fast. And take another listen to your voice. You've never heard yourself like this before. You know sound like, Don Lafontaine. This is how guys like that are recorded. And it works with musical instruments as well. Even better. And so the output of the downward expander. Is then plugged into. Just an average, modern, USB, computer audio interface device. Starting at about $40 up. Like for a Behringer. Or a pre-Sonos for around $150. And others. They pretty much all use the same converter chips. And you're not going to use the microphone input much. You only need to be concerned with the line input.. So virtually any USB audio device for your computer will do just great. When you have this one single special channel to record with. That's all you really need. And you will get this sound. That is firmly ingrained into your brain without your knowledge. And you will hear this sound instantly. With a SM-57 plugged it in. Or your bass guitar plugged directly at him. Or the 57 on your cheap guitar amplifier. And you will hear a very familiar sound. With that signal chain plugged in. You'll know it when you hear it. It's Familiarity of Sound. You didn't know you had. But now that I've told you about it. You'll hear it.. With that set up.. That's all you need. And a cheap USB audio interface device. For its line level inputs. And it'll have a microphone input. When that's all you have with you. And it will be adequate. You'll get a recording. Then you could pass that recording. Through your signal chain when you get back and loop it through. And you'll hear it again! Just like that. Familiarity of Sound. I don't want better sound. I want That Sound.. That I know everybody knows. And they will instantly latch right onto. Because they know the sound. They've heard it before. In their favorite recordings. And so one needs to use a little psychology behind their audio engineering technique. This is what it's all about really. It's how we fool the listeners years. And ears. They don't know what they are listening to? But they intrinsically do. That's why I don't need to use any better microphones. Those are the only microphones I need to use for musical instruments and vocals. The best recordings were made with those microphones. The cheap ones mostly. On all the musical instruments. In the studio. Because SM stands for Studio Microphone. It always has been. They always have been.. Even though they were incredibly affordable and cheap! That's the beauty of those. They are very affordable. Every rock band owns 1/2 a dozen or more. You don't want better microphones. You really don't. They could sound better but they will sound different and not familiar.. Your brain will not instantly latch onto it. It won't be familiar. And so there's a reason why I'm a history making multiple major music award nominee you see. I'm a Seasoned Professional. That actually built some of this equipment. For those companies. I really did. I've had one hell of a career in the industry. I come from the inside deep. Right down to the inside of the equipment. And the design and building of the studios. And the recording of the artists. And playing it on the radio. I've done all of that. Spending a career of more than 50 years. I know more than most college professors know about the industry. Most are has-beens and/or frauds that know nothing have worked for no one. Like I have. From the inside. And so there's a lot of misinformation going around on the Internet and KZfaq. With a lot of experts. Using a lot of SM-7B microphones. Headphones on. To look important. And they know nothing. But they want to let you think they do. So be careful. Most of its bullshit. By little children having fun with plug-ins. That's not where it's at kids. But it is today for computer-generated musical junk. Not really worth listening to. As it has no melodies anymore. Nobody can write a melody that hasn't already been copyrighted. So the music industry is over. It's done. Everything has been copyrighted. So just like in the past. Those other composers. After they were dead. They just kept on performing their stuff. Mozart, Beethoven, Brahms, Tchaikovsky, Copeland, Gershwin, Lennon. They are dead and gone. We love their music. We love their songs. They brought light to our darkness. They improved our miserable lives. They help to stop wars. They brought people together. We don't seem to have that anymore. It's gone. It's over. Kids in college they are supporting Hamas. They flunk.. They all flunk. They have learned nothing. And they will mean the end of the USA with their disinterest. For anything that's not a videogame. That they can also play with their audio software.. And that's all that matters to the kids today. We are doomed. I don't think this is going to turn out well in the next few years. I hope I'm wrong. I don't think so. RemyRAD

Never introduce other cooks into your kitchen unless you want a different recipe. Sometimes it can help, esp in a band and don't have a solid foundation on where the song should go, but if you are a solo artist then usually no thanks. If you were a painter would you let someone else come in and start painting on your canvas? No. That's your canvas. Same goes with poetry. Those are your thoughts and ideas. If someone else is introducing theirs into yours, then those thoughts are no longer yours singular but yours plural. Artwork is an extension of the person.

Something else about doing it all yourself. Your timing is the same n all instruments. Too similar. I know one can tediously add small timing changes but that isn’t the same as say a guitarist and bassist playing the same notes and even meaning to play the same exact timing, there will be these minuscule differences, that add to the song. If I play the guitar, then bass, the timing is going to be exactly the same. Just as a song where everything is ON the beat exactly it ruins songs.

Hi Mike you are right, learning your instrument, learning skills, not everyone is talented

Hi Mike and other viewers. I agree entirely with what you say. I record at home, by myself and am continuing to learn more and more each day. I have played in bands/trios/duos for many years and have recorded in 'pro' studios, including a studio run by a friend who is an award-winner. These days it is difficult to find like-minded people, people who are reliable and willing to contribute without large expense, or people who aren't just out there to push their own barrow so I DIM (do-it-meself 😂). I have a friend, also a musician and one I am in a duo with, who passes critical comment when I play tracks I'm working on as well as my partner who, whilst not really being a muso, will be very honest -'too long'; 'sounds a bit dull'; 'too much going on' etc. But most of the time I try to think as my friend the producer would when I listen to my tracks. Although I'd prefer to be challenged by others, I try to step into that role when listening back to my tracks. Thanks again and looking forward to more of your videos in 2024! Cheers, Keith.

no doubt

The "master plan" plugin is amazing and cheap

I completely agree about the need to be challenged . . . ASSUMING that you want to create music for commercial purposes, or even for distribution among a small number of family and friends who you think will want to hear it. But if . . . like me . . . you are now ONLY making your music for YOURSELF . . . your OWN enjoyment . . . then having someone to bounce ideas off is nice . . . and can be very helpful . . . but I hate to admit it . . . is UNNECESSARY. I listen almost exclusively to my own music now, and two of my kids actually enjoy it. (I do enjoy listening to very well written and produced music by other people though.) I do have a friend who listens to it, and sometimes offers advice (he plays bass very proficiently). But if I disagree with his assessment (which is rare), I don't HAVE to listen to him or debate. I'm not making music for anyone but me. I'm old, I enjoy making it, and I enjoy listening to it. And I have no plans to stop.

Here's my personal Con. "While the technology is at a great stage, the fun can be sucked out pretty fast when you reached all the goals you thought would take a lifetime"

making music alone in home studio is a nightmare. :D

I tried to collaborate with my wife, but she's too busy playing candy crush.

I think the biggest con is that anybody with a bit of cash can buy some gear and make music. And due to this, musicality has taken a nosedive, musicianship is rare and all their efforts use the same set of samples and sounds. Hence the inane sleep-fest of modern music. Many exceptions to the rule of course, but in the old days such inept people would have shown mo interest in music

Personally, I've got that situation where I can do everything by myself, but really don't enjoy it or find the best of myself in those circumstances... I've known for a long time that when ya get a couple of m8s together, more magic things happen... I've also had it where the wrong M8s make it worse lol ... I'd haft to say that when it's just me, I find myself doing more of a practice type session along with gear experimentation... I have had times where being all by myself I wrote, came up with, or created good stuff, but it's always found its way back to me asking my fellas their opinion as to what they think anyways... So I'm gonna say that Mike is spot on with this for anyone who thinks they can go all in alone, and go platinum try and challenge yourself... Not to say some can't... I've learned so much at my age of 48; from criticism that there was a time it's all I wanted to hear!!! Hoping someone would guide me into the next level of playing, writing, composition, etc. It truly has made myself better!!! Great point 👉 Mike....

How do you isolate the monitors from the microphone?

I don't disagree with your point about the "con" / downside of trying to do it all, but finding the right collaborator has been the difficult part for me. I have done some recording with others, in a pro studio, jamming/recording in a rehearsal room, but to their agenda, chosen genre, and so on, but finding the person with similar taste, and an open mind is tough.

I agree with that CON…. I need to bounce of others

Okay.. This was a good video. You're very inspirational. For the beginners. To get everything wrong. Sure. That's how we all learned. I did go to school for recording engineering. But I teach the professors that teach it. Or I used to. And yes that challenge is extremely important. I don't want to do anything if there is no challenge in it for me. I love a challenge. And I want to record under the worst circumstances. Live. Because people have trouble getting good live recordings. That sound like anything. Without too much crowd noise too much ambience. I like it more intimate. Intimate on stage in front of 65,000 screaming fans. That's what I do. And I don't have my Bush posted. I don't have my General Public, posted. I don't have any of those guys currently posted. That I have recorded and broadcast, live. Upon the MTV Satellite the NBC-TV Satellite,, PBS and others. When I have millions of people listening to what I'm doing. And everything is a terrible technical compromise. I love a challenge. Sometimes it comes out sounding great. Sometimes not so much. Here's one. It's only an instrumental. But since you said Sound City is one of your favorite movies. I could not agree more! Because the whole movie. Is about, My Control Room. Only mine is better than the one in the movie. You know? The Neve Audio Console. Mike was custom-built for NBC-TV. I started using it in 1984. I purchased it from NBC in 1996. And Rupert Neve. Whom I have had the pleasure of having hours and hours of talks and discussions with. Since I was the owner of one of his early consoles. From around 1972. His 1970 design. And all I have are those lousy 1073 style equalizers. You really can't do anything surgical with those. You need a George Massenburg, Parametric Equalizer. And you need them on every input of your console. I don't have those. George does. But I think he largely uses a, SSL now? Maybe it's a Neve Siemens? It's digitally enhanced analog console. And what he's also using at his control room at Blackbird in Nashville. That might be an, Avid desk? I'm not certain? I read what it was. I'm getting old and senile. I can't remember? It's one of those. Because it had to be. He doesn't make consoles anymore. He went out of business doing that. And all of his limiters are essentially, DBX types. He uses their VCA. He uses their RMS detector. He's into that RMS detection. Not so much those 1176 types. I don't think he likes those? I don't know? I've never really discussed it with him. We don't talk much.. He don't want to talk much. He's secretive and/or silent. He doesn't like me I feel. Yet we both worked for the same folks and had the same mentor.. And he's obviously more OCD than I am. And that's okay. That's why he's famous. I didn't exactly pursue that same course. I was one of about only 12, Remote Recording Truck Owners, in the world. And mostly all in the USA. Except for that original Rolling Stones Recording Truck. Now based in America. I think it's an Oregon? Maybe Washington state? Somebody there bought it. And brought it over from England. It's really old. But it does sound great and made some great recordings. And control rooms on wheels are great. One day.. I had an, Acoustic Engineer walking to my control room. And he got angry. He started shouting in my control room. THERE'S NO WAY THIS CAN SOUND THIS GOOD IN THIS SMALL SPACE! WHAT, ARE YOU DOING?! I had to inform Mr. Acoustic Engineer. That he was quite correct. The size in cubic volume inside a diesel box truck. Should not sound good. And I am doing absolutely nothing to the audio. What this ignorant BOOB failed to realize. I design my control rooms as a Positive Pressure Wave Design Control Group. That is what I call my control room design scheme. And all of my control rooms that I have built. Over the years. In brick-and-mortar facilities mostly. All sound like this. It doesn't matter how big or small. And he doesn't understand why? The reason for this? Is understanding. What, speaker, Absolute Polarity, means? It is not what you think it is. It is not a cut and dry mathematical formula. Though it is. It's used in the wrong manner. And the test they have. Is correct but flawed. You see. People like me. Some of us are special. We are only known amongst the very elite. And when they have a problem with sound. And the electrical engineers at acoustic engineers can't get it right. No matter how many extra thousands of dollars are spent on acoustic treatments, equipment swaps, modifications. They are going after the wrong area. They are chasing their tails. They don't know where the problem is? Okay you are wondering? Where the problem is? It is simply, the speaker wiring. Nothing more. It is truly that simple. That everybody thinks. They are in positive polarity with their speakers. But they are not.. They are in negative polarity. And it was a simple mathematical error.. That every electrical engineer and every acoustic engineer has made. Since the 1960s. Perhaps all the way back to the 1940s? I heard this anomaly back in 1968. I didn't know what I was hearing at that time? I was too young yet. But 10 years later did it. In 1978. When I stumbled on what was happening. Oh my goodness? How did everybody get this wrong? These folks all have college degrees.. They got it wrong. Because they were mathematically correct. They were technically correct. Everything was in phase. From input to output. All the way to the speakers. And that's where the problem is. At the speakers. That's the only place. Where, Absolute Polarity can be established. Because Absolute Polarity is not Phase. And everybody gets those mixed up. Phase is something else. It's related to.. But has nothing to do with the, Speaker Polarity. And whether it is negative or positive. And they've all made the mistake and made it negative. And they think it's positive. With a test they have. That is correct but flawed. When you misinterpret it. The way they have. It's an honest mistake. One they did not think through clearly. Your speakers are the same way at home. Unless you use JBL speakers. They are the only company. That figured this out. And that's why there speakers Are all out of phase. With every other speaker manufacturers, speakers. Because everybody else got it wrong. And you can hear the difference for yourself. When you reverse the connections. On both your left and right channel speakers. But! If you are like many of us today. And you are using self-contained compact, active Monitors. That you also have to plug into your electric wall outlets each. Because the amplifiers are built into the speaker box. You are going to have to be modestly technically proficient. With a screwdriver and a soldering iron. You will need to unscrew both the woofers and the tweeters. And with your soldering iron. You will reverse the wires on the tweeter. You will reverse the wires on the woofer. You will then reinstall the speakers. And you will screw them down, snugly. Without a death grip. Without trying to screw the speaker through the wood. Just snugly. No more. You don't want to warp the frames on the speakers. With your massive strength and muscles. Be gentle. (More Stodgy old information in following post)

Yes but you gotta find the right people to collaborate with...and if there are no such people....why not just go with your gut and follow your instincts?

Music education in schools is disappearing unfortunately.