USB C: USB-C is twice as fast as USB 3. Though it uses the same connector as Thunderbolt (see the Thunderbolt section later in this chapter), it is considerably slower. It is fast enough, however, for any audio you may want to record.
FireWire
Developed by Apple, FireWire (also known as IEEE 1394 or iLink) is a high-speed connection that is used by many audio interfaces, hard drives, digital cameras, and other devices. You won’t find FireWire ports on any new computers, but you will still find some audio interfaces with them. Luckily, all these audio interfaces also have USB ports.
Like USB, FireWire comes in two flavors, which are described as follows:
FireWire 400: This standard supports data transfer speeds of up to 400 Mbps. Many audio interfaces currently use FireWire 400 as a way to connect with your computer. These interfaces can handle quite a few inputs and outputs.
FireWire 800: Yep, you guessed it — this standard can handle data transfer rates of 800 Mbps. Several FireWire 800 devices are available.
Thunderbolt
Thunderbolt is the fastest connectivity format to date, with speeds between 20 gigabits per second (Thunderbolt 2) and 40 gigabits per second (Thunderbolt 3). Audio interface manufacturers are excited about this amazing speed, and many experts see Thunderbolt as the next format that the pros will embrace.
Unfortunately, things got confusing when Thunderbolt 2 was quickly replaced by Thunderbolt 3 just as audio interface manufacturers rolled out a variety of Thunderbolt 2 interfaces. Each has a different type of connector (see Figure 3-9) and a different protocol, which I outline here:
Thunderbolt 2: Thunderbolt 2 uses the mini DisplayPort and can transfer data at speeds up to 20 gigabits per second (Gbps). This was available on computers between mid-2013 and late 2015.
Thunderbolt 3: Thunderbolt 3 employs the USB-C connector and doubles the speed of Thunderbolt 2 to 40 Gbps. You can find Thunderbolt 3 ports on computers and peripherals made after late 2015.
FIGURE 3-9: Thunderbolt is a high-speed data-transfer protocol that comes in two varieties: Thunderbolt 2 (left) and Thunderbolt 3 (right).
Working Efficiently
I hope that you’ll spend many hours in your studio creating great music (possibly to the dismay of the rest of your family). One important thing to keep in mind is that you need to be comfortable. Get a good chair and set up your workstation to be as easy to get around as possible. Figure 3-10 shows a classic L setup. Notice how everything that you need is within arm’s reach. If you have enough room, you may want to consider a U-shaped setup instead, which is shown in Figure 3-11.
FIGURE 3-10: A classic L setup: Everything is easy to reach.
FIGURE 3-11: The U-shaped setup can work great if you have the room for it.
If you use a lot of outboard gear — such as preamps or effects processors — and you think that you need to plug and unplug a lot, invest in a good patch bay (see Figure 3-12) so that you don’t have to strain to access the cords that are tucked away behind your mixer. A patch bay is a device that has a bunch of inputs and outputs that allows you to route your gear in (and out) in an almost infinite variety of ways. If you do much plugging and unplugging, you’ll quickly find out that a patch bay is an indispensable item. It can save your back — and your cords (repeated plugging and unplugging wears them out quickly and produces buzzes that can be hard to locate).
FIGURE 3-12: A patch bay lets you plug and unplug gear without having to crawl behind each piece of gear.
Taming heat and dust
The number-one enemy of electronic equipment is heat. Dust is a close second. Try to set up your studio in a room that you can keep cool and fairly dust-free. Air conditioning is a must for most studios. Be careful with a window air conditioner, though, because it can make a lot of noise, requiring you to shut it off when you record. Depending on where you live, this can quickly warm your room. Regarding dust, try to cover your equipment when you’re not using it, especially your microphones. A plastic bag placed over the top of a mic on a stand works well.
Monitoring your monitors
If you have a set of near-field monitors (speakers) — the kind that are designed to be placed close to you — they should be set up so that they are the same distance from each other and from you, forming an equilateral triangle (see, high school math has some real-world applications). The monitor’s speakers should also be placed at about the height of your ears.
Figure 3-13 illustrates the best placement for your monitors. Placing your monitors this way ensures that you hear the best possible sound from them and that you can accurately hear the stereo field. (For more on the stereo field, see Chapter 16.)
FIGURE 3-13: Your monitors (speakers) sound best when placed at equal distances from each other and from you.
Optimizing Your Room
Your studio probably occupies a corner in your living room, a spare bedroom, or a section of your basement or garage. All these environments are less than ideal for recording. Even if you intend to record mostly by plugging your instrument or sound module directly into the mixer, how your room sounds has a big effect on how well your music turns out.
As a home recordist, you probably can’t create a top-notch sound room. Professional studios spend serious cash — up to seven figures — to make their rooms sound, well, professional. Fortunately, you don’t