The Basics...
Large commercial studios are not only expensive to build, but they're expensive to use. A lot of the difference between large studios and home studios isn't the basic equipment —the gap between home and commercial studio equipment is closing in every day — it's the acoustic space. Some studios are world-famous not for their equipment or engineers, but for their space. Any good engineer will tell you, a great space allows the engineer to utilize the space itself in making the recording sound good. Creating a great space to record in is harder in the home studio; chances are, your bedroom or basement wasn't designed with a recording studio environment in mind.
Large commercial studios are not only expensive to build, but they're expensive to use. A lot of the difference between large studios and home studios isn't the basic equipment —the gap between home and commercial studio equipment is closing in every day — it's the acoustic space. Some studios are world-famous not for their equipment or engineers, but for their space. Any good engineer will tell you, a great space allows the engineer to utilize the space itself in making the recording sound good. Creating a great space to record in is harder in the home studio; chances are, your bedroom or basement wasn't designed with a recording studio environment in mind.
Choosing Your Space
When selecting and setting up the room you choose for your home studio, your goal should be to use a room that's as neutral as possible. When recording, you want what you lay on tape to be the best representation of what is being played. That being said, you also want a room that's accurate when you're mixing and listening. A room that's neutral is very important. You want to minimize recording the room itself, and when you're mixing, you don't want to be mixing to compensate for the room. A room with carpeting is your best bet; if you have hardwood floors, you'll want to add rugs or acoustic foam. The goal is to minimize reflections of the sound waves while recording, and to keep the room from favoring a certain frequency range. You should also consider possible background noise such as traffic or air conditioners etc.
Keeping Your Neighbors Happy
If you have neighbors to worry about, being courteous of your neighbors and their needs and concerns when recording at home is very important, because nothing is worse than being told by your landlord you can't record anymore because your neighbors can't handle it, or having the local cops at your door daily. The first thing to do is listen. Play something through your mixing speakers at the normal volume at which you'd listen, and walk around. If you can hear it outside your recording room when the door is closed, chances are the neighbors can hear it across the hall. If the noise bleed is a big enough problem, consider a pair of high-quality headphones to mix with. Although not as good as a pair of speakers, making do with headphones sure beats not being able to work in your home studio anymore. Otherwise, work out an arrangement with those around you; offer to keep your recording times to mutually convenient hours.
When selecting and setting up the room you choose for your home studio, your goal should be to use a room that's as neutral as possible. When recording, you want what you lay on tape to be the best representation of what is being played. That being said, you also want a room that's accurate when you're mixing and listening. A room that's neutral is very important. You want to minimize recording the room itself, and when you're mixing, you don't want to be mixing to compensate for the room. A room with carpeting is your best bet; if you have hardwood floors, you'll want to add rugs or acoustic foam. The goal is to minimize reflections of the sound waves while recording, and to keep the room from favoring a certain frequency range. You should also consider possible background noise such as traffic or air conditioners etc.
Keeping Your Neighbors Happy
If you have neighbors to worry about, being courteous of your neighbors and their needs and concerns when recording at home is very important, because nothing is worse than being told by your landlord you can't record anymore because your neighbors can't handle it, or having the local cops at your door daily. The first thing to do is listen. Play something through your mixing speakers at the normal volume at which you'd listen, and walk around. If you can hear it outside your recording room when the door is closed, chances are the neighbors can hear it across the hall. If the noise bleed is a big enough problem, consider a pair of high-quality headphones to mix with. Although not as good as a pair of speakers, making do with headphones sure beats not being able to work in your home studio anymore. Otherwise, work out an arrangement with those around you; offer to keep your recording times to mutually convenient hours.
Building a Home Studio From the Ground Up
As a working musician, chances are you really want to record your own ideas in the comfort of your own home. After you've got your room selected, it's time to stock your studio.
Computer or Not?
The first step in choosing what you need for your home studio is deciding how you'll be recording. Do you plan on recording with a computer, or with a stand-alone recording device like a digital multitrack? Each way has it's advantages and disadvantages; however, the most bang-for-the-buck today is computer recording.
Computer or Not?
The first step in choosing what you need for your home studio is deciding how you'll be recording. Do you plan on recording with a computer, or with a stand-alone recording device like a digital multitrack? Each way has it's advantages and disadvantages; however, the most bang-for-the-buck today is computer recording.
If you aren't computer-savvy, consider a product like the Fostex VF160EX ($799), an all-in-one digital recorder capable of recording 16 tracks simultaneously, and featuring a built-in CD recorder so you can immediately burn your creation.
If you're going for a computer-based interface, the options are limitless. The most popular interfaces are FireWire interfaces by manufacturers like M-Audio and Presonus. The things to look for when selecting an interface are pretty basic: at least two microphone inputs with pre amps (which allow you to plug in high-quality microphones and use them without a mixer), speaker and headphone outputs, and of course, compatibility with your current system. From there, choose whichever software you wish to use.
If you're going for a computer-based interface, the options are limitless. The most popular interfaces are FireWire interfaces by manufacturers like M-Audio and Presonus. The things to look for when selecting an interface are pretty basic: at least two microphone inputs with pre amps (which allow you to plug in high-quality microphones and use them without a mixer), speaker and headphone outputs, and of course, compatibility with your current system. From there, choose whichever software you wish to use.
Pro Tools vs. Everything Else
It's no secret that Digidesign's Pro Tools software suite is the standard of almost every major commercial and project studio in the world, and with good reason. Pro Tools is highly stable, offers limitless expansion, and the industry-standard compatability means you can start a project in your home studio and quickly take it to almost any studio in the world for completion. For most of the tutorials here, I'll be referencing Pro Tools because of its widespread use. Pro Tools comes in three versions: M-Powered, for use with M-Audio interfaces; LE, which is designed for use with the MBox and Digi 002 products; and HD, which is meant for use with higher-end systems. When using Pro Tools, it's necessary to work with a compatable interface. Pro Tools M-Powered is a fantastic version of Pro Tools that's compatable with many of M-Audio's less expensive interfaces; the software alone will run you close to $250, but it's well worth it. Pro Tools LE requires the purchase of either the Digidesign MBox ($550 new, less if purchased used) or the Digi 002 ($2200)/Digi 002-Rack ($1200). The only exception is Pro Tools Free, a version limited to 8 tracks with limited capabilities; however, it'll work with an on-board sound card and doesn't require a specialized interface. If you choose not to go the Pro Tools route, there are many additional options; Apple's built-in GarageBand software is fully capable of multitrack recording, although the mixdown options are somewhat limited. Apple's Logic software is quickly gaining a reputation for great quality multitrack work as well. Other software packages include Cakewalk and Cubase. One thing to remember is that it's very easy to over-buy when getting started. Stick to something that's intuitive when you're just starting out and that will have the ability to expand as you do over time.
Some Other Stuff
Once you've selected your interface and software, it's time to procure the other things you'll need. How "fancy" your equipment is depends on your budget and needs. At the very least, you need a microphone and monitoring speakers. Which microphone you select, again, depends on your needs and what interface you're using. If you're not using an external interface which includes a microphone connection, you'll want a microphone that's either self-powered/USB powered or battery powered. Mics like the Samson C01U ($299) simply plug in to your USB port. A good starter microphone like the Audio-Technica AT2020 ($99) is perfect for acoustic instruments and vocals. From there, it's up to you what you want and what you can afford. Monitoring speakers serve a very important purpose: allowing you to hear well and mix your project to the very best. Choose something within your budget that sounds the best to your ears; your local music store should be able to help you audition the speakers in a controlled environment before purchase. From the M-Audio BX5a ($299/pair) to the JBL Nearfield Monitors ($2400/pair), there should be something that works perfectly for you in every price range.
It's no secret that Digidesign's Pro Tools software suite is the standard of almost every major commercial and project studio in the world, and with good reason. Pro Tools is highly stable, offers limitless expansion, and the industry-standard compatability means you can start a project in your home studio and quickly take it to almost any studio in the world for completion. For most of the tutorials here, I'll be referencing Pro Tools because of its widespread use. Pro Tools comes in three versions: M-Powered, for use with M-Audio interfaces; LE, which is designed for use with the MBox and Digi 002 products; and HD, which is meant for use with higher-end systems. When using Pro Tools, it's necessary to work with a compatable interface. Pro Tools M-Powered is a fantastic version of Pro Tools that's compatable with many of M-Audio's less expensive interfaces; the software alone will run you close to $250, but it's well worth it. Pro Tools LE requires the purchase of either the Digidesign MBox ($550 new, less if purchased used) or the Digi 002 ($2200)/Digi 002-Rack ($1200). The only exception is Pro Tools Free, a version limited to 8 tracks with limited capabilities; however, it'll work with an on-board sound card and doesn't require a specialized interface. If you choose not to go the Pro Tools route, there are many additional options; Apple's built-in GarageBand software is fully capable of multitrack recording, although the mixdown options are somewhat limited. Apple's Logic software is quickly gaining a reputation for great quality multitrack work as well. Other software packages include Cakewalk and Cubase. One thing to remember is that it's very easy to over-buy when getting started. Stick to something that's intuitive when you're just starting out and that will have the ability to expand as you do over time.
Some Other Stuff
Once you've selected your interface and software, it's time to procure the other things you'll need. How "fancy" your equipment is depends on your budget and needs. At the very least, you need a microphone and monitoring speakers. Which microphone you select, again, depends on your needs and what interface you're using. If you're not using an external interface which includes a microphone connection, you'll want a microphone that's either self-powered/USB powered or battery powered. Mics like the Samson C01U ($299) simply plug in to your USB port. A good starter microphone like the Audio-Technica AT2020 ($99) is perfect for acoustic instruments and vocals. From there, it's up to you what you want and what you can afford. Monitoring speakers serve a very important purpose: allowing you to hear well and mix your project to the very best. Choose something within your budget that sounds the best to your ears; your local music store should be able to help you audition the speakers in a controlled environment before purchase. From the M-Audio BX5a ($299/pair) to the JBL Nearfield Monitors ($2400/pair), there should be something that works perfectly for you in every price range.
Selecting The Right Mic
When selecting microphones to use both live and in your home studio, you'll commonly come across two different types of microphones, dynamic and condenser. Let's look at both of these microphone types, and what their advantages and disadvantages are.
Condenser Microphones
Condenser microphones are the most common types of microphones you'll find in studios. They have a much greater frequency response and transient response - which is the ability to reproduce the "speed" of an instrument or voice. They also generally have a louder output, but are much more sensitive to loud sounds.
Condenser microphones are generally much more expensive than dynamic microphones. They require the use of a power supply, generally 48 volt "phantom power", and that's supplied very easily by most mixing boards or external power supplies (look for a switch that says "P 48" or "48V" on the channel strip or on the back of the mixer.)
Condenser microphones are generally used only in studios because of their sensitivity to loud sounds and the fact that they're quite a bit more fragile than their dynamic counterparts. That being said, you'll find them onstage at live music venues for use as drum overheads or for use in orchestral or choral sound reinforcement.
With condenser microphones, you'll generally find two different types: small diaphragm, and large diaphragm.
Large Diaphragm Microphones - Large diaphragm microphones (LDMs) are generally the choice for studio vocals, and any instrument recording where a more "deep" sound is desired. A large diaphragm microphone generally warms up the sound of what it's recording, which also leads to the myth that most LDMs reproduce low frequencies better than small diaphragm mics; this isn't true, in fact, small diaphragm mics are much better at reproducing everything evenly, including bass. You'll want a pop screen if using a condenser microphone for vocals; they're so sensitive to transient noises that the "P" and "SH" sounds you make will cause distortion.
Small Diaphragm Microphones - Small diaphragm microphones (SDMs) are generally the best choice where you want a solid, wide frequency response and the best transient response, which as we mentioned before, is the ability for your microphone to reproduce fast sounds, such as stringed instruments. SDMs are also the preferred choice for concert taping.
Good suggestions for condenser microphones include the Oktava MC012 ($99), RODE NT1 ($199), and AKG C414B ($700)
Condenser microphones are generally much more expensive than dynamic microphones. They require the use of a power supply, generally 48 volt "phantom power", and that's supplied very easily by most mixing boards or external power supplies (look for a switch that says "P 48" or "48V" on the channel strip or on the back of the mixer.)
Condenser microphones are generally used only in studios because of their sensitivity to loud sounds and the fact that they're quite a bit more fragile than their dynamic counterparts. That being said, you'll find them onstage at live music venues for use as drum overheads or for use in orchestral or choral sound reinforcement.
With condenser microphones, you'll generally find two different types: small diaphragm, and large diaphragm.
Large Diaphragm Microphones - Large diaphragm microphones (LDMs) are generally the choice for studio vocals, and any instrument recording where a more "deep" sound is desired. A large diaphragm microphone generally warms up the sound of what it's recording, which also leads to the myth that most LDMs reproduce low frequencies better than small diaphragm mics; this isn't true, in fact, small diaphragm mics are much better at reproducing everything evenly, including bass. You'll want a pop screen if using a condenser microphone for vocals; they're so sensitive to transient noises that the "P" and "SH" sounds you make will cause distortion.
Small Diaphragm Microphones - Small diaphragm microphones (SDMs) are generally the best choice where you want a solid, wide frequency response and the best transient response, which as we mentioned before, is the ability for your microphone to reproduce fast sounds, such as stringed instruments. SDMs are also the preferred choice for concert taping.
Good suggestions for condenser microphones include the Oktava MC012 ($99), RODE NT1 ($199), and AKG C414B ($700)
Dynamic Microphones
Compared to condenser microphones, dynamic microphones are much more rugged. They're also especially resistant to moisture and other forms of abuse, which makes them the perfect choice onstage. Dynamic microphones like the Shure SM57 and Shure SM58 are legendary for not only their good sound quality, but the amount of abuse they can withstand. Any good rock club probably has at least 5 of each of these microphones in various states of aesthetic ruin; however, they still turn on and more than likely sound just as they did the day they came out of the package.
Dynamic microphones don't require their own power supply like condenser microphones. Their sound quality is generally not as accurate, however. Most dynamic microphones have a limited frequency response, which makes them well-suited, along with their ability to withstand high sound pressure levels, for loud guitar amps, live vocals, and drums.
Good dynamic microphones include the Shure SM57 ($99), Sennheiser E602 ($100), and the Shure SM58 ($109).
Dynamic microphones don't require their own power supply like condenser microphones. Their sound quality is generally not as accurate, however. Most dynamic microphones have a limited frequency response, which makes them well-suited, along with their ability to withstand high sound pressure levels, for loud guitar amps, live vocals, and drums.
Good dynamic microphones include the Shure SM57 ($99), Sennheiser E602 ($100), and the Shure SM58 ($109).
Selecting Between The Two
Let's take a look at what you might be doing.
Recording Vocals At Home - You'll want a large-diaphragm condenser microphone if you have phantom power; if not, you might want to consider a large-diaphragm dynamic microphone like the Shure SM7B ($350). If you're on a budget, you won't get much better than a Shure SM58.
Recording Acoustic Guitar - You'll want a good small-diaphragm condenser microphone. A good choice is the Oktava MC012 ($99), Marshall MXL 603S ($99), or, more expensively, the Neumann KM184 ($730).
Recording Cello/Upright Bass - You'll want a large-diaphragm condenser microphone. This is because, while the strings resonate quickly, the slower transient response of the large-diaphragm microphone will lend to better low frequency reproduction on these instruments.
Concert Taping - You'll want a pair of small-diaphragm condenser microphones for stereo recording.
Drums - Here, you'll want a combination of dynamic and condenser microphones. You need a dynamic mic on the drums themselves - Shure SM57 or Sennheiser E602 are great on toms and snare, AKG D112 and Sennheiser E602 are great on kick. Then for overhead mics and cymbals, you'll want small diaphragm condenser microphones, since they give you the best frequency and transient response.
Some Basic Home Recording Tips
1) The Better The Source, The Better The Recording
Think of your microphone as your ear. If something sounds bad to your ear, chances are it won't sound great in front of a mic. Making sure your source is the best it can be is the first thing to remember whenever starting a new project. That could mean a new set of strings, fresh drum heads, or having your vocalist do warm-ups before tracking. Remember that there's a lot you can edit out later on down the line, but there's a lot that you can't add if it's not naturally there.
2) Save Your Work Often
Nothing is worse than losing something you worked for hours on, especially when you're running your studio as a business and you have a paying client. Always save your work between takes. It also doesn't hurt to have an external hard drive that you backup your sessions to nightly; if something happens to your hard drive, you'll at least have a copy to start over from, and you won't have to waste blank media backing up every night.
3) Always Keep Spare Parts
Keeping basic items at your studio will always help keep things going smoothly when the inevitable happens. Stock a set of guitar strings (both electric and acoustic), some drum sticks, and always keep spare instrument and microphone cables on hand. You never know when your session will be saved because you came to the rescue! It also helps to be able to kindly suggest a new set of strings to the stubborn guitarist who showed up with old, dead strings on his axe.
4) Nothing Leaves Until The Check Clears
This tip applies only to the home studios that record for profit, not your simple project studio, but it deserves a mention of it's own. Don't ever, ever let any mixes leave your studio until you're paid in full. This includes mp3 copies you send out via email, and CD-Rs you let leave your studio with rough mixes. At any point during the recording process, a financial dispute of some sort may arise, and they've still got a rough mix. This is rare, but it happens.
5) Keep It Simple
I can't stress this last tip enough: keep it simple. One of the biggest and most common mistakes is being too fancy. You'll waste a lot of time — and your money, by overdoing it in the studio. Examples of this include recording an instrument in stereo when a mono (single) track will do, doing too many vocal overdubs, or laying down too many guitar layers. Let the band's music speak for itself.
No matter what type of music you record, or how simple or complex your studio is, there are a few tips to keep in mind when you're starting your recording project. Remember, these aren't just beginner's tips; I know many recording engineers who've been doing this for years who live by these same rules! Good Luck to you I look forward to hearing your recording real soon. And I hope this was at least somewhat helpful to you.
I agree, all of these is very important in-home studios NYC. My brother also has one, he is a very good artist, he is trying to form a band of his own. Three of his friends are thinking of joining him. I am sure he will be very successful one day. He is amazing!
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