ASIO is a software device driver standard that allows FL Studio direct access to the soundcard rather than communicating via the Windows operating system (as with the standard Windows driver). This will mean a significant performance advantage when running FL Studio. Look for a sound card for which the manufacturer has written custom ASIO. I use an external sound card, and when I want to record with my USB mic I have to use Asio4all, go into the asio settings inside of FL’s audio settings, and manually activate the input from my mic, as well as deactivate the input from my interface. After that, it lists my mic as an input on the input drop down menu above the FX rack on the mixer.

1. Connect your Mic to your PC. I have no mic so i used my headphones which came with a microphone. Now open fl studio and open your song. Now click on the record button which is at the middle top beside play, stop buttons. Now click record audio into edison recorder.
2. I will explain the ways on how to not hear yourself on mic in FL studio. In order to not hear yourself when recording in FL studio, follow these steps: Open FL studio; Open the mixer; Select master channel; In the plugins section, in the very top open select menu and select (none). Now select the track in the mixer that you want to record in.

Microphones typically produce fairly low output levels. Therefore, a microphone always requires a preamp that amplifies its low level output to line level. Most audio interfaces already have built-in preamps, which are usually good enough to get started. You may want to get an external preamp for better sound quality, later on. But there’s no need to rush to the store right now.

Choosing the Correct Input

Today’s audio interfaces often come with what is called combo jacks. Those are two connectors in one: The outer part is an XLR jack, and the hole in the middle is a TRS jack. The following is absolutely crucial: The XLR part is for microphones, the TRS part is either for line sources or instruments, but not for microphones.

So when you buy a microphone cable, make sure it is XLR female to XLR male. Some stores may sell you “microphone cables” that have a TRS plug at one end – you can use those for Karaoke, but not in your home studio. If you plugged your mic into the TRS input, it would either be noisy or not work at all. You can access the microphone preamp only via the XLR input.

Powering Condenser Mics

Condenser microphones require external power for their internal electronics. The international standard is P48 phantom power (a Neumann invention, by the way). Just about any microphone input, these days, is equipped with phantom power. All you have to do is press the button labeled “P48”, “48V”, or “Phantom Power”. Sometimes there is a global switch for all microphone inputs; more expensive devices often come with individual P48 switches for each input. Some audio interfaces don’t have a hardware switch, at all; instead you must activate phantom power via their control software.

As a general rule: Always connect your mic(s) first, before you turn on phantom power. Hot plugging while P48 is already activated can harm your mics. Also, never put anything between your mic and your microphone input. Any device in-between will likely block phantom power and/or degrade the sound quality. Also, puttting mic inputs on a patchbay is not recommended. Always connect your mic directly to the XLR mic input.

Can Phantom Power Harm Dynamic Microphones?

Dynamic microphones, i.e. moving coil and ribbon mics, don’t require phantom power (a rare exception being “active” ribbon mics). But what if you want to use a dynamic and condenser mics at the same time, and there’s only a global switch for phantom power? That’s no problem, really. As long as everything is wired correctly, phantom power does not affect dynamic mics, at all. However, just to be safe, it’s better to keep phantom power deactivated for ribbon mics. Phantom power shouldn’t harm ribbon mics, either, but since they are very fragile, there is no safety margin in the event of faulty connections or (accidental) hot plugging while P48 is already on.

A studio microphone operates with a balanced output: There are three pins: hot, cold and ground. The signal is between hot and cold; ground is connected to the cable shield. Phantom power is a DC voltage, whose positive side is applied to both signal pins. So there is no voltage difference between hot and cold, and that’s why it’s called phantom power: It is there and it isn’t. It exists only between ground and either of the signal pins, but a dynamic microphone won’t “see” it, because its transducer is only connected to the two signal pins.

P48 Phantom power operates with 48 Volts (+/- 4 Volts). Sounds like a lot, but it is not dangerous, really: The voltage is applied via large resistors (6.8 kOhms) which limit the available current to a non-lethal amount. Never put an XLR plug into your mouth, though! Even a 9V battery can potentially kill you, if you put it to your wet tongue.

I’m going to show you how to set up a microphone in FL Studio.

This can all seem a little confusing when you are starting out. For this example, I am going to be using the following pieces of equipment:

1. A condenser microphone
2. A mic stand
3. A microphone cable
4. An audio interface
5. FL Studio – Producer Edition

These are a few of the basic components that I recommend you have for your home studio. This is the process you go through when you first set up your microphone and get it working in FL Studio.

After you have done some of these steps, you won’t have to do them every time.

PUTTING TOGETHER THE PIECES

So let’s start with the basic mechanical stuff.

MIC STAND

We need to set up the mic stand. We’re going to screw in the mic basket. This is usually a unit that comes with the condenser mic to attach to the end of the mic stand.

You need to screw this in so that it’s seated all the way and tightened down.

Once that is tight, you can set the microphone into the basket on the stand. Also make sure that the screw that holds the microphone up is tightened down all the way, otherwise the microphone basket will drop, and could potentially fall out.

That’s not something you want to have happen with a mic you’ve spent a couple hundred dollars on.

POSITIONING THE MIC FOR SINGING

Next you want to get the stand set at a comfortable height and position for you to sing in.

I like to adjust the boom arm on the mic stand so that it has a little bit of an angle. This way I don’t have to worry about kicking the bottom of the stand while I am singing.

I like to set the height of the mic where it makes me slightly tilt my head upward. I heard a while back from a producer that when you do this, it forces the singer to open up a little more when they sing.

They end up projecting more. So I’ve always tried to set the height so that I tilt my head a little bit.

POP FILTER

Next I get the pop filter on the stand. I screw it onto the skinny part of the boom arm of the mic stand. Don’t put it up too close to where the mic basket is, otherwise it’s hard to get the pop filter into a position that works.

You have to let the pop filter stretch a little bit. I like to have about 1-2 inches away from the capsule of the microphone that you sing into.

And then I stand so that my mouth is somewhere in the neighborhood of 4-8 inches away from the pop filter. This is just a rule of thumb. You can try different distances to see what you think works best for you. Each song will call for a different approach.

The closer you stand to the mic when you sing, the more bassy the vocal will sound (for the nerds out there, this is called proximity effect). The farther away you stand the more thin it will sound. And you will hear more of the room.

Plug in and turn phantom power on

So now that the microphone is positioned well for singing, let’s move into getting it plugged in and powered up.

Take the male end of the microphone cable that you have, and plug that into the microphone.

Now take your audio interface, that is plugged into your computer. Make sure that the phantom power is turned off.

If you have phantom power turned on when you first plug in a microphone, you can actually damage it. So don’t do that.

On my audio interface, there is a blue light and button that tells you if phantom power is on. Look for the button that says +48v or phantom power.

Plug the female end of the microphone cable into one of the channels that have phantom power available. Make sure to turn the gain down on the channel you are going to plug it into.

Once all the cables are seated in firmly both on the microphone and the audio interface, then turn the phantom power on.

Now nothing magical is going to happen at this point, because we have to get the program (DAW) set up to recognize your interface.

Making sure the audio interface is setup in FL studio

Setting up the interface can be a little bit of trial and error process. Especially when it comes to getting the buffer size correct for larger projects.

The larger a project gets, the more it taxes the memory and CPU of your machine. And when that starts happening, you can start getting glitches and pops in the audio.

So to keep it from popping and sounding bad let’s work on getting the settings correct.

SETTINGS

So open FL Studio. Press F10 to open up the settings window, and then navigate to the audio tab. You’ll see a couple of sections.

The first section is where you want to pick the audio driver. We will look for something that looks like the name of the interface that you have, but that is the ASIO driver.

I have a Presonus AudioBox iTwo interface, and the driver for my interface is called the AudioBox ASIO Driver.

After I have selected the driver, then I need to look at setting the sample size/buffer size. This is what will keep my computer from creating glitches and pops when I am recording.

When I click to change the buffer size for my interface, a separate window pops up from the manufacturer of the audio interface.

The window looks like this for my Presonus interface:

BUFFER SIZE

A rule of thumb here is to set the sample size as low as you can get it, without it causing problems in your audio.

I had my buffer size set to 256 samples for a while, but I noticed that when my projects started getting bigger, with more files, I was starting to get pops when I would record. So I ended up bumping up the sample size to 512 samples, and that solved the problem.

So you might be thinking to yourself, well if you set the number larger and it helps, why not set it to the highest number? Good question.

The buffer size you set also affects how you hear the sound in your headphones. So the higher you set the number, the more delay you hear. So if you set it really high and are recording your voice, you will hear a delay.

So while you are singing a new line, you might still be hearing a line that you just finished singing. That can really throw you off when you are recording.

So the balance is to find the lowest number you can go without creating pops, and not so high that you start hearing weird delays in what you are recording.

So try out either 256 or 512 samples first and see how that works for you.

Now you can exit out of the settings window by pressing F10 again.

Setup channel in FL Studio to record from

So now we have the mic, stand, and cable all connected. We’ve set up the audio interface so that we can record. Now all that’s left is to set up a channel to record in FL Studio.

Do set up this channel, we are going to work in the Mixer window. To open up the mixer, press F9. And you are going to see a window that looks something like this:

SETTING THE MIXER VIEW

If it doesn’t look exactly like this, that’s okay. It may just mean that your view is a little different than mine. If you want it to look the same, then select the VIEW drop down menu, and pick EXTRA wide, this will give you the same look that you see above.

The reason I like this view is because you can see all the effects that you have stacked on a channel at a glance. And you can click on those to quickly bring up the effect that you want to mess with. That can save a lot of time when you get into the mixing phase.

So now that we have the mixer windows looking the same, let’s click on one of the empty insert channels. For this example I am going to click on INSERT 5. There is no magic to this number, I’m just randomly selecting one.

MIXER CHANNEL INPUT

On the right side of the window you should see some options that say IN, then a bunch of empty slots, and the OUT. This is where you select the INPUT you want to use from your audio interface. And it’s where you can put the effects that you want to use on this channel if you want to.

So for this example, I plugged my mic into input 2 on my audio interface.

So when I click on the drop down menu for input, I should see a window that looks like this:

I want to make sure that I pick the MONO channel, since I am using a mono source, the microphone. If I had a stereo source, like a keyboard, that was plugged into Input 1 and input 2 on my interface, then I could select the stereo input.

But since the microphone is a single source, I select mono.

When I do that, you will see a few things happen on the insert channel.

The first thing is that you should see some green bars appear. This means that the channel is now getting a signal from your microphone. As you talk into the mic, you should see the bars go up and down.

ADJUSTING THE AUDIO INTERFACE GAIN

So what you want to do now is adjust the gain on your audio interface channel to that the peaks of the green bars are hitting between -16 and -12 on the Insert Channel. This is just setting the signal level for the source you are recording.

I’m just giving you a rule of thumb when you are starting out. Getting the audio level in that range will allow you to have good audio to work with, without all the crazy noise that can happen if you set it too low.

This is another Goldilocks kind of principle in audio recording. You want to set the audio loud enough that you can manipulate it without getting a lot of bad noise in the background, but you don’t want to set it too high, so that you can’t adjust it, or you get clipping.

So when you are setting your levels you want to get something in the middle.

FILENAME AND LOCATION OF RECORDING

The second thing that happens when you select the INPUT from the drop down menu is the Record Arm button lights up RED on the Insert Channel. This means that the channel is armed for recording.

Sounds dangerous, right?

If you right click on the red button, you will open up a window. That window will let you name the file what you want, and tell the program where you want to store the recorded file.

I like to name my audio clips with word that will help jog my memory about what the clip is about. For example, if I am singing a section of the song, I might name the file something like vox-verse1. That way once the clip is in the playlist, I can easily see what the content is.

NAME AND COLOR THE MIXER CHANNEL

Something else that I like to do to keep myself more organized in my projects is to color code the mixer channels that I am working on. This color coding transfers to the clips you record as well.

All the organization nerds just clapped their hands and cheered.

So select the mixer channel that you just set up your mic on. Press F2. This will bring up a dialog box that lets you name and color code the channel. So for my vocal, I would call it VOX, and I typically color the channel with a dark blue.

And I do this on all my projects. So when I open up a project and I see dark blue audio files in the playlist, I know that these are all vocal clips. I do the same thing with other instrument groups like drums, bass, synths, strings, etc.

I’m a very visual person, so it helps me see at a quick glance what all I have in a project, and I can quickly narrow down to what I am looking for.

I suggest that you develop your own color coding and naming system to help keep your projects organized. This will save you a lot of trouble in the long run.

CLICK TRACK

How To Connect Mic To Fl Studio 20

One thing that I want to give you a suggestion about, is that before you start recording vocals, I would put together your foundational elements of your track.

I like to set a metronome up and get the basic drum beat, and at least a scratch guitar track down set to the metronome, so that I know the timing of the song is going to be steady. That way when I go to record vocals, I don’t have to have the metronome in my ears.

This can be distracting, and it can also bleed into the recording it you have your volume up in your headphones.

So lay down some foundational elements, then record your vocals without the click track.

This will save you a lot of heartache of trying to clean up vocals that have a click in the background.

CONCLUSION

So now you know how to set up a mic in FL Studio.

I also go into detail on the recording process in another article on the site. So if you need some more of the nitty gritty details on the settings to use and some different methods of recording, then you can check that out.

That wasn’t so bad, was it?

Nope.

So what’s next? Well, I think that setting up a mic is a great part of the basics that you need in order to feel effective in using FL Studio as your DAW. I also have a resource that will walk you through the rest of the basics, like recording settings, working with midi , setting up drums, organizing your projects.

It’s a FREE course that will get you up to speed quickly and easily.

I’ll show you step-by-step a way to get familiar with FL Studio, and set you on your way to creating loads of music.

You can check out more information about the basics course here.

Well, that’s all I have for you.

I hope this was helpful.

How To Connect Mic To Fl Studio 12 Without The Delay

Talk to you soon,

Fl Studio Settings Loud Mic

Jeremy