Multitrack Digital Workstation Topics:
» How many tracks do I really need?
» Professional production inside the box
» Think about the box - OUTSIDE the box!
» The amazing advantages of modeling
» Can I use my workstation with my computer?
» What to Look for in a multitrack digital workstation
Powerful and feature-rich, Multitrack Digital Workstations deliver audio recording, editing and mixing capabilities while affording convenient mobility. This Sweetwater Buying Guide includes information that can help you choose a Multitrack Digital Workstation for your needs. Since there's so much to consider when purchasing a digital recording system, don't hesitate to call 1-800-222-4700 for more information.
How many tracks do I really need?
When choosing a Multitrack Digital Workstation, more isn't necessarily better. You really need to think about how you plan to use it. And that really depends on who you are and how you make music. Perhaps you're a singer who accompanies yourself with just your guitar or keyboard. Or maybe you're a composer - writing anything from your own personal songs to film scores - and you need to capture your musical ideas whenever and wherever inspiration strikes. You might be part of an acoustic trio or quartet who wants to create an audition demo of your music to hand out to club managers or others who might get you gigs. Or, you might be in a band with original songs you want to record for a label demo. Finally, you could be a serious (pro or not) recording or broadcast engineer who needs a full complement of recording equipment for studio and location recording. Whatever your situation, Sweetwater has a Multitrack Digital Workstation that meets your needs!
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For the singer/songwriter/composer
A 4-track personal recorder like the Zoom PS-04 Palmtop Studio can be your "must have" personal recorder. It even has a built-in mic so you can hum or even whistle in your ideas! In addition, the PS-04 includes onboard drum kits and bass sounds, plus an effects processor, so you can fill out an arrangement of your song on the plane, at the coffee shop - wherever you might be. The 4-track digital recorder is a must-have for songwriters who need to be able to capture their artistic vision when inspiration strikes!
View all 4-track Digital Workstations
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For the small acoustic combo
If you don't need dozens of tracks to get your music down - just the assurance that you can make a quality recording with effective mixing capabilities - an 8 to 12-track digital recorder is just what the doctor ordered. The BOSS BR-1180CD has two XLR mix inputs so you can record two instruments at once, plus 24-bit resolution and built-in drum tracks. The perfect song creation tool, an 8 to 12-track digital workstation can also double as backing tracks when you're working alone.
View all 8 to 12-track Digital Workstations
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For the band recording a demo
Gigging groups often have to juggle travel, setup and performance time against the need to record new songs for demo use. If this sounds like you, you know your time is at a premium! That's where the simplicity of a 16 to 20-track workstation such as the Yamaha AW16G can really pay off. A 16 to 20-track digital recorder will give you exactly what you need to produce a CD to get you or your band more gigs, AND sports enough tracks and power to get your song ideas completely fleshed out. It's the perfect tool for anyone ready to take their art to the next level.
View all 16 to 20-track Digital Workstations
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For the recording or broadcast pro
For full-scale multitrack recording, editing and mixing, you really need to consider a 24 or 32-track digital recorder. Roland's VS-2480CD, for instance is perfectly comfortable as a complete personal studio or "B" room workstation, while mobile enough to take out for remote recordings. A 24 or 32-track digital workstation offers the tools (such as automation, high resolution, large storage capacity, CD burning, high-quality effects, etc.) necessary for professional results. If you're serious about audio production, and prefer not to mouse around with a computer, these top-of-the-line workstations are calling your name.
View all 24 to 32-track Digital Workstations |
Professional production inside the box
With the advent of new digital technology, it's becoming easier and easier to produce a recording "in the box". Affordable recording and mixing equipment is finally in reach of the average musician, and it no longer takes millions of dollars to produce a hit record. Of course, that means that musicians will have to become engineers and that's going to raise some questions. The first that comes to mind is, "what should I look for in a multitrack workstation and which ones have the features I need for professional production? "
Multi-track recorders come in all shapes and sizes with various feature sets, all designed with a specific user in mind. For example, a 4-track Zoom PS04 is a perfect tool for putting down song ideas while you're on the go, or even laying at the beach. There are workstations in the 8 to 20 track range with built in drum, bass and vocal machines that are clearly designed for a musician or singer/songwriter who wants to flesh out their production and arrangement ideas to greater depth in a convenient all-in-one environment. Units, such as the Boss BR-1600CD are perfect for a guitarist working on their own, or for an upcoming band to realize a full sounding demo on CD. However, for the purposes of producing professional quality music for broadcast or record release, there are certain requirements that your multitrack workstation should meet. (Keep in mind that there are always tradeoffs.)
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Sound Quality First
One requirement for good sound is 24-bit data storage and processing. Mixing, equalization, gain changing, and digital processing increase the word length of digital audio words. Your multitrack digital workstation has to be able to handle these operations transparently in order not to alter the sound. If your workstation only deals with 16-bit words, then all you should do is edit unless you're actually looking for that "raw and grungy" quality. Otherwise, your music will probably lose stereo separation, depth and dimension; and soundcolder and harder with a side order of fuzzy.
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The Source-Quality Rule:
One way to maintain sound quality is to follow this important rule: Source recordings and masters should have higher resolution than the eventual release medium. There's always a loss down the line, due to data compression, cumulative processing and lossy transmission techniques. For example, consider a lossy medium like the analog cassette. Dub to cassette from a high quality source, like a CD, and it sounds much better than a copy from an inferior source, like radio. In other words, the higher the audio quality you begin with, the better the final product. Choose a multitrack workstation that doesn't have data compression or allows you to disable it.
Following the source-quality rule, a workstation that is ready for high-resolution media, such as DVD, will allow you to make better CDs. 24-bit/96kHz medium has qualities that are even more analog-like, including greater warmth, depth, transparency, and apparent sonic ease than 44.1kHz. A workstation such as the Roland VS-2480DVD will allow you to make DVD masters with longer word length storage and processing at high sample rates. (While the VS-2480 has a DVD recorder built in, it's not necessary to have in order to be DVD ready - the ability to record at 24-bit/96kHz is.)
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Integrated Audio Production
To meet all the needs of serious project studios, commercial recording facilities, and sound for picture post-production, a workstation should combine hard disk recording, automated digital mixing, plug-in effects, and DAW-style editing. Its built-in effects should ensure that you be able to access a wide variety of effects for full-sounding productions. Since the number of instances of plug-ins you can use, as well as which ones are available for your workstation will be limited (especially at high resolution), the multitrack workstation should allow users to easily interface with other gear in their studios. A VGA output is also important: Being able to output to a video monitor gives you precise feedback about how your tracks are shaping up with an easy-to-view graphic representation. This is especially important if you want to edit on the sample level, which the AKAI DPS 24 will allow. Some all-in-one production studios even include MIDI sequencing capabilities along with all of the above, such as the Tascam SX-1.
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Getting Sound In and Out
There are other factors to consider that contribute to the source-quality rule such as the quality of the AD/DA converters and preamps. It goes without saying that the high-end units will have better analog conversion and preamps. You always have the option of using high quality external preamps and converters, provided the workstation you choose has the proper inputs and digital I/O. Speaking of inputs, for professional work, balanced XLR and line inputs are necessary. Digital I/O such as S/PDIF or ADAT lightpipe is a good thing to have as well, even if your workstation can master directly to a built in CDR or DVD-R. Digital I/O allows you to use external AD/DA converters or send signal via S/PDIF to a digital effects processor. Another digital output that can prove useful is USB. This gives you the ability to transfer files to and from your computer or output to a monitor screen.
If you plan to use the unit's preamps for recording, you'll need phantom power for condenser mics. Another factor to consider, based on the type of recording you plan to do, is how many inputs can be recorded simultaneously. If you are working alone and overdubbing, this is not an issue. However, if you plan to mic a live drum kit for example, you'll need a unit that can record at least 8 tracks at once.
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Track Count
Also of importance is the number of tracks available for playback. This not only relates to mixdown capabilities, but sound quality as well. All workstations offer varying numbers of virtual tracks and the ability to bounce tracks, which creates the impression that you have an unlimited number of tracks at your disposal. The idea that bouncing tracks in digital formats doesn't affect sound quality is not true; it does. As stated earlier, digital processing, which includes bouncing, increases the length of digital words, which eventually are truncated, resulting in a loss of sound quality. The more tracks your workstation can play back before bouncing and truncation, the better. This is why a 16-track machine might not suffice if you plan on larger scale productions, especially if you require a streamlined workflow. Managing submixed virtual tracks can be unwieldy and time-consuming, especially if you have to go back and change levels of a particular instrument or voice in a in a submix without being able to hear it in context of the overall mix.
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Automation
There are two types of automation, snapshot and dynamic; Snapshot automation means simply recalling the set-up of the mixer. This includes volumes, pan, mutes, EQ, aux, effects and dynamics settings etc., plus in some cases, the ability to fade the volumes of one snapshot into another. Most automated consoles and DAWs will be able to store a number of automation snapshots in their internal memory that can be called up at any time during a mix as part of the normal automation process. Snapshot automation is most useful for a complex mix that requires numerous changes to happen instantaneously, such as audio post-production for film, where scenes change constantly.
Dynamic automation generally refers to real-time control over individual settings. This may include changing fader levels, pan positions, EQ settings, bus assignments, plug-in parameters, etc. Dynamic automation is more suited to music production where, for example, instrument levels need to change smoothly over time.
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Fader Automation
Moving fader automation provides an easy visual reference for volume levels, whereas with VCA (Voltage Controlled Amplifier) volume changes, the faders remain stationary. VCA automation can be advantageous by virtue of eliminating distracting mechanical fader noise, so long as there is a visual reference in the software. This is where having a unit with a VGA monitor or at least a VGA output is of particular advantage.
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Fader Resolution
Without going into detail, this is simply a case of 'more is more.' A fader with 6-bit resolution gives you 64 steps of volume control, whereas 7-bit gives you 127, 8-bit yields 256, 10-bit provides 1024, and so on. The issue of high vs. low fader resolution was a concern with digital control of analog consoles where the audio is routed through the faders. High resolution was needed because anything less would create audible steps in volume changes, referred to as zipper noise. In a digital system the volume is controlled by a gain coefficient value so software should remove the audible steps and any zipper noise by scaling gain coefficients between the missing values presented by the on screen or remote fader. Put simply, in a digital system, fader resolution does not affect sound quality, but it does affect the precision with which you are able to work. From a human interaction perspective, a fader with a 45mm throw and 6-bit resolution will make your work more difficult and less precise. A minimum of 60mm faders will give you adequate control, whereas a 100mm will be optimum, provided the bit resolution changes accordingly. A 60mm fader with 10-bit resolution will be just as effective as a 100mm fader 8-bit resolution. Naturally, the best combination of precision and workflow ease would be a professional long throw 100mm fader with 10-bit resolution.
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Editing
For professional work, comprehensive editing features are essential. At absolute minimum you should be able to copy, cut, paste, insert, move, etc., with levels of undo/redo to perfect your recordings. If your work involves remixing or other intensive forms of audio manipulation, you'll need more advanced audio editing features including stereo timestretch, pitch shift, BPM match and the ability to edit on the sample level (as found on the AKAI DPS 24). This is where a VGA monitor and mouse comes in very handy.
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Effects and Mastering
Professional workstations come with some form of effects processing and mastering capabilities. A factor to consider is the number of simultaneous effects such as compression and EQ that are available per track. For professional level work, access to studio quality plug-ins is something you'll want as well. If you have hardware effects processors that you prefer to work with, a workstation with aux sends is key. The ability to send to external effects units will save you processing power for other applications.
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Narrowing the Choice
With all of this in mind, the best way to find out if a multitrack workstation is right for you is to talk to a professional who understands production, like a Sweetwater Sales Engineer. A workstation that does well at video post may not be good with CD mastering. An editing station that's good for 60 second radio commercials may not be able to do long radio dramas. Be sure to ask about the learning curve. Is it long or short? High power is often accompanied by a long learning curve, so you have to decide which is more important to you: more recording and editing power or a short learning curve. Feel free to call us at 1-800-222-4700!
Think about the box - OUTSIDE the box!
One of the great things about owning a Multitrack Digital Workstation is its flexibility. You can put one of these boxes to work in a number of ways you may not have thought of yet! Here are a few applications in which a workstation can help you make better music:
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Live performance playback enhancement
You know how tough it is to "sound like the album" when you perform live. Most top-name tours employ digitally recorded tracks to cover the string sections, horns, background vocals, etc., that they can't take on the road. For example, Alicia Keys' musical director Onree Gill employs two Roland VS-2480 units to handle orchestral and horn sounds when Alicia tours. Any of the 24 to 32-track recorders will work for larger shows, but the principle remains the same for 8 to 12 and 16 to 20-track workstations as well! |
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Live mixer with "on the fly" recording
If your workstation has the mic and instrument inputs for your needs, why carry an additional mixer to the gig? Especially since you can also record directly from your mix whenever you wish. The Akai DPS24 includes 12 mic and 12 line inputs. This is an excellent choice for small groups and houses of worship! So, if you play out live, a multitrack digital workstation with sufficient inputs will allow you to mix your show AND develop the tracks you need for a "live" CD project at the same time! |
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Record live shows, mix and master on the road
A Multitrack Digital Workstation is great to take on the road. Many groups and solo acts can be out on the road for weeks or months on end without the luxury of taking time out of a busy schedule to record. With a multitrack digital workstation on hand, you can have a live album, mixed, mastered and ready for distribution by the end of the tour! Even if you play around town at your favorite clubs and pubs, a multitrack digital workstation can record your show and give you the freedom to edit, mix and master from the convenience of your very own home or project studio! |
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In the DJ booth - mixing/matching tracks
Imagine the creative power you could have with your favorite Groove Production machine and a Multitrack Digital Workstation loaded with your tracks! Mix and blend recorded tracks while your beat box keeps things moving. Many workstations, including the Roland VS-2000CD, have built-in MIDI ports and can sync to MIDI Time Code for accurate tempo adjustments. |
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A jingle writer's compact solution
With onboard sounds and effects (as with the BOSS BR-1600CD), you can produce jingles (and even station IDs, commercials, etc.) in a flash using your workstation. And if you're preparing audio for broadcast, the file format capabilities and mixing power provided by the Tascam SX-1 practically gives you a control room in a box. |
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The perfect learning tool for the aspiring engineer
Nothing beats hands-on experience with audio gear - the more you reach for faders and knobs, the quicker your workflow becomes! Get started with an economical workstation such as the Korg D-1200mkII, and the experience you gain here will follow you through your career. You'll learn the art of recording, editing, adding effects, compression and EQ plus mixing and mastering, all from one box! When you consider how affordable a multitrack workstation is, this might be the most economical way to get the basics down! |
The amazing advantages of modeling
Almost every multi-track digital workstation available today offers some for of physical modeling in the form of guitar, amp, mic, and effects. Physical Modeling is a uniquely powerful synthesis technique, which reproduces the behavior of an object. It uses no sampling; it simply calculates the sound as you play in accordance to the controls it receives. This results in very natural and realistic sounds and reproduces the nuance and expression you would expect from real acoustic instruments, as well as the warmth of real analog circuits.
 First, with guitar amp and cabinet modeling you can accurately duplicate the sound of your favorite guitar hero right in the comfort of your bedroom. Additionally, with acoustic modeling, you can produce an authentic acoustic guitar sound without having to own one. Another advantage is mic modeling. Let's say you can only afford an SM 57 or an inexpensive condenser mic for vocal recording. A mic model can imprint the sonic signature of a high-end studio mic on the sound of your mic giving you a number of otherwise unavailable sounds. Keep in mind, however, that a mic can only reproduce what it "hears." A condenser mic model can't add back in the transient response that a dynamic mic misses, but it can give your sound the color associated with the modeled mic with very impressive results. Some guitar modeling effects have mic modeling built in, so you can change the sound of your amp model by, for example, choosing whether the sound plays back as though it were recorded with a dynamic mic or a condenser mic. Some models even allow you to choose mic placement to further vary the sound.
The advantages of modeling in a workstation are many, with the most important being versatility and cost effectiveness. The inclusion of modeling in your workstation will add a level of realism to your recordings that would otherwise be unattainable without thousands of dollars worth of gear. It would take a small fortune to buy all of the various instruments, amps, effects processors, and mics (not to mention a good studio to record in), to produce all of the possibilities available right inside your workstation at the touch of a button.
Can I use my workstation with my computer?
 After all the time we've devoted to extolling the virtues of all-in-one Multitrack Digital Workstations, this may seem like a strange question. But we can think of some very good reasons to connect your workstation to a computer. The first question you must resolve for computer connectivity is, "Does my workstation have the right outputs for my use?" You'll want to check for USB or FireWire ports, plus S/PDIF, ADAT or AES/EBU audio I/O. Then think about these applications:
File storage on the computer's hard drive(s)
This is a good way to clear your workstation hard drive for future projects. You need compatible computer connections. Several workstations, including the Roland VS-2000CD, have USB ports for data transfer (the VS-2000CD has a USB 2.0 port for faster transfer rates). The economical Tascam 788 includes a SCSI port that can connect to your computer (a GREAT use for your old pre-G4 Mac!) or to external SCSI hard drives, CD-R/RW drives or Zip drives.
Transfer tracks to your software DAW
For audio archiving, you can simply connect your workstation's analog outputs to your computer audio interface's analog inputs and directly into your software (Pro Tools, Logic, Sonar, etc.). Or, use S/PDIF or AES/EBU I/O for digital transfer. Korg's D-1600mkII is equipped with S/PDIF I/O. Some workstations can also transfer audio over a USB connection.
Sync issues
This raises the question of audio synchronization. All digital audio requires a clock source to tell it when (and how fast) to play. If your plan is to transfer/record your audio digitally to a software DAW, you need to make certain your workstation can receive or transmit Word Clock. This is available on machines like the Yamaha AW4416 (which transmits and receives Word Clock) and is an option on the Korg D16XD and D32XD. Your computer audio interface also must either transmit or receive Word Clock.
Software and file format compatibility
For your workstation and your computer software to work together they must be compatible. You should make certain your software accepts the audio file format your workstation can transmit. The three most common formats computer DAWs accept are .WAV, AIFF and Sound Designer II (SDII). Check your workstation's ability to output the right format before you buy! Some manufacturers (including Roland) offer software file converters to handle this.
Workstation as studio mixer/DAW front end
Here's a way to get double productivity out of your workstation. Besides using its internal recording ability, you can use it as your computer-based project studio mixer. Here you need to have the sync issues (described above) resolved, plus some other considerations: does your workstation have direct analog outs from at least some of its input channels? The Akai DPS24 has 4 TRS sends that can be routed to your audio interface inputs. Roland's VS-2480CD can function as a complete control surface for Logic, Cubase, and any software that supports the Mackie HUI format - including Pro Tools.
So your computer and a Multitrack Digital Workstation can be friends, after all. Your creative and workflow needs are really the things that determine how you want to set up your recording rig!
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