What Does a Recording Studio Need?

Every Recording Studio, whether it is a home studio or a professional studio, needs some basic equipment. Here's the list:

A Recording Medium: Tape or Digital

To capture sound, you need something to capture sound on. Today, there is a choice between recording on a Analogue (Tape) or Digital Medium.

Analog

Analog mediums, i.e. Tape, fall into two general categories: multitrack casset recording (horrible audio quality), and Reel to Reel, that varies from poor to excellent Sound Quality, sometimes more because of your knowledge of the equipment than the quality of the gear.

The cheap side of analog recording comes in the form of "Four Track" cassette recorders.

Four Track Cassette Recorders

A Four Track Cassette Recorder is exactly what it sounds like. It allows you to record four different tracks at once onto a single cassette. This means you could plug in a guitar into track 1, Vocals in to track 2, bass into track 3, etc and record all of them at the same time. Furthermore, you can control the volume and panning of each track individually. Some models also include EQ and other effects.

However, these recorders have some major pitfalls. First and foremost is a problem known as Tape Hiss. Cassettes, unlike 1/4 inch tape, tend to have a high pitch "hiss" sound on recordings. This is also true for commercially released cassettes, but tends to be more pronounced (often to the point of annoyance) on Four Track Cassette Recorders. Depending on the quality recording and playback heads, you may hear more or less hiss, but it is never completely gone. Some attempts to remove the hiss are somewhat successful, like Dolby's Noise Reduction, but nothing works perfectly and often these "solutions" make the recording sound dead by removing the higher frequencies.

Four Track Cassette Recorders sell for $100 to $300 and generally don't include Pre Amps of any quality nor phantom power.

General Advice: While some decent recordings have started out on Four Track Cassette Recorders, it is best to not even bother with them. While the price point may look tempting, after taking into account the need to by Pre Amps and other such necessities, these recorders aren't much cheaper then their much higher quality Digital counterparts.

Reel to Reel Tape

While getting a 2" 24 track studer used would at minimum a few grand, many 1/2" 2-8 track machines can be had for a few hundred bucks, are of decent to good sound quality and have the same pro's and con's of analog recording. A word of caution, most of these machines are old, and as such might need repair or maintenance. Buying one on ebay is highly risky if you don't know what your looking at, check out your local audio store for used deals. One of the drawbacks to these machines is the need for them to be cleaned, calibrated, and operated by someone with some knowledge of how they work, but learning to use analog tape is either a great experience, or something you hate. If you don't want to mess around with equipment go digital, but analog can be quite fun, and provide medium with many benefits if you have patience and enjoy working with it.

Digital

There are three basic digital mediums: Digital Audio Tape (DAT), Stand Alone Digital Audio Workstations, and Computer Based Digital Audio Workstations. Since DATs have gone out of use for the most part and have no real place in a budget recording studio, let us look at the later two options:

Stand Alone Digital Audio Workstations

Stand Alone Digital Audio Workstations are a step up from 4 Track cassette recording in terms of sound. The low end units cost as much as the high end 4 track recorders, but because they don't record onto tape, they don't suffer from Tape Hiss. This results in a cleaner, more professional sound, yet one that lacks the pleasant qualities of higher quality analog tape.

These recorder use either Flash memory or a harddrive (sometimes both) as the recording medium. Some allow you to burn cds directly from the unit and copy the recordings into a computer.

The middle to high end Stand Alone DAWs (Digital Audio Workstation) usually come with microphone pre-amps and effects and record anywhere from two to twelve tracks simultaneously. Keep in mind that often these units will advertise 8 Track capabilities, but will only record two tracks simultaneously (the 8 Track capability refers to playback rather than to recording).

General Advice: If you don't own a decent computer, a Stand Alone DAW can be a cheaper alternative with decent results if you plan to do only simple recordings such as guitar and vocals. However, if you plan to record a full band, these units can be difficult to operate and often as expensive as a good computer based setup.

Computer Based Digital Audio Workstations

Computer Based Digital Audio Workstations are often the cheapest and highest quality option for a budget recording studio. They record onto a computers hard-drive, allowing for virtually limitless recording depending on the size of the hard-drive. Furthermore, audio recording software tends to be easier to use then 4 track recorders and Stand Alone DAWs. Best of all, often a computer based setup is cheaper then both of the previous options, depending on what you want to do and if you already own a suitable computer.

A computer based DAW system generally requires a computer with firewire or USB inputs, atleast 512 MB of RAM and a reasonably modern CPU (at-least 400MHz, 1GHz or more is preferable.) Both Macs and PCs will work, but Linux is not fully supported by most audio interfaces and popular DAW software. It is also noteworthy that all new Macs come with GarageBand, Apples basic yet surprisingly capable DAW software, pre-installed.

Besides the computer itself, a Digital Audio Interface is a must for any basic recording setup. Decent Audio Interfaces for a small studio setup, both FireWire and USB, start at around $150 for M Audio's basic interfaces and go to about $2000 for DigiDesign's 002. Most basic studios can pick up what they need for around $300 to $600, usually including DAW Software for both Mac and PC.

Microphones

Microphones come in many varieties. Each variety has its own advantages and disadvantages.

Types of Microphones

There are three basic types of microphones, two of which are commonly in the price range of a budget studio. Keep in mind that all three kinds of microphones can produce studio quality results from most sources and their common uses are only suggestions, not hard and fast rules.

Learn more at the Guide to Buying Microphones

Condenser Microphone

Condenser microphones come in two basic varieties, Large Diaphragm and Small Diaphragm, and in many different polar patterns. Large Diaphragm condenser microphones are often associated with and used for recording Vocal performances. Small Diaphragm condenser microphones are often associated with recording acoustic instruments, such as guitars and pianos, although there is no hard and fast rule for what a microphone can and cannot be used for.

Advantages:

• Because condenser microphones are powered, they react more strongly to changes in the air and this gives them a better impulse response. This can result in more detail in the subsequent recordings, making them a favorite for acoustic instruments and vocals.

• The iconic look of a large diaphragm microphone can give your studio a more "professional" image.

Disadvantages:

• Requires a 48V Phantom Power Supply (built into most microphone preamps.)
• Relatively delicate and expensive, though the prices have come down significantly in recent years.
• Not suited for loud sound sources due to a typically thin and easily damaged diaphragm.
• Generally not useful for live sound applications.

See Condenser Microphone article for more detailed information.

Dynamic Microphone

Dynamic microphones are more durable, simpler in design, and generally cheaper than condenser microphones. They are often used for drums, loud vocals, and guitar/bass amplifiers due to their tolerance of high sound pressure levels. For the most part they come in one basic design that is suitable for all uses, though some have built in windscreens and are considered "vocal dynamic microphones", though this does not mean they can only be used for vocals.

Advantages:

• Often cheaper than condenser microphones, even for "studio quality" dynamic microphones, such as the ubiquitous SM 57.
• More durable. Most will take a beating and keep on working fine.
• Suited to loud sources, such as guitar amps and screaming vocalists.

Disadvantages

• Less sensitive than condenser microphones. Requires more gain from a microphone pre amp for a similar source, which can translate into a higher noise floor.
• While there are many quality dynamic vocal mics that produce wonderful results on par with condenser microphones, dynamic microphones tend to appear cheaper and less impressive on first impression.

See the Dynamic Microphone article for more detailed information.

Ribbon Microphone

Ribbon microphones are generally too expensive for budget studios and require very careful use (often they can easily be damaged by 48v Phantom Power.) While they are excellent microphones, they are uncommon in low budget studios.

Audio Interface

Audio interfaces, such as the Digidesign Mbox and the MOTU Ultralite, take the signal from audio sources, such as a microphone or the line out on a keyboard, and digitizes the signal for playback and recording on a computer. They come in both Firewire and USB 2.0 varieties and often feature built in microphone preamps and phantom power. Most come packaged with DAW software.

Learn more at the Guide to Buying an Audio Interface

Recording Software

When choosing recording software, it is wise to consider the options that each DAW (Digital Audio Workstation) offers. The maximum number of tracks the program allows you to work with, pre-bundled effects/virtual instruments, video editing capabilities, and system requirements are important to keep in mind when making the investment.

If you own a Mac, you probably already have some version of GarageBand installed, Apple's low end version of Logic.

Apple also offers Logic Studio and the cheaper Logic Express, but be warned that these are mac only, as is the popular Digital Performer.

On the PC side, common choices are ProTools, Cubase, and Albeton Live, just to name a few.

Learn more at the Guide to Buying Recording Software

Studio Monitors/Speakers

Studio monitors are often considered to be essentially high quality speakers. This is a wrong perception, as many are particularly low quality (a $100 studio monitor will probably be no better than a $100 hifi speaker). There is also a wrong perception that studio monitors have a flat response (no louder at one frequency than any other), whereas hifi speakers are not flat, and aim to sound "nice" not "accurate". This is also incorrect, as many studio monitors, including popular models (such as the famous Yamaha NS10, found in almost every major studio) have very non-flat response, whilst many high end hifi speakers have very flat responses.

Their job is to allow you to do what is probably the most important part of recording: listening. They come in many shapes and sizes, varying by their job. Whilst most high quality studio monitors are out of the range of the budget project studio, some high quality options are available. One major consideration is whether to choose Active or Passive. Active monitors have their Power Amplifier built inside the speaker, and the Interface or Mixing Console is plugged directly into the monitors. Passive Monitors use an external Power Amplifier, much like most home hifi setups, and the Interface or Mixing Console is plugged into the amp, whilst speaker cables connect the Monitors to the Amp.

Many people make the mistake of thinking that a good pair of monitors will give them better listening results. As most budget recording studios have poor Acoustic performance, better listening results cannot be achieved, really, until some Acoustic Treatment is installed, to remove resonant frequencies and dampen reflections caused by the room itself. For those on budgets, mixing at low volume or in headphones can reduce the requirment for Acoustic Treatment.

Learn more at the Guide to Buying Studio Monitors

Audio Cables

Audio cables are probably the most overlooked expenses in any recording studio. Due to being mostly utilitarian in nature, they don't tend to inspire the same "gear lust" as other pieces of equipment, but they are as important as every other piece of equipment you buy and often just as expensive.

There are three standard types of audio cable that you will need for your studio:

• XLR, usually balanced. These may be used for microphone connections, but are also commonly seen for connecting interfaces to monitors, or monitor amplifiers.
• 1/4 inch, both balanced (TRS) and unbalanced (TS). Jack plug on each end, unbalanced looks like the end of a guitar lead, balanced looks like a big headphone plug. Balanced provides the same function as balanced XLR, and is common on audio interfaces with lots of inputs, as the physical size of the jack socket is smaller than that of an XLR. Jack leads carry mainly audio, but can also carry data, such as that from a footswitch, or SMPTE.
• RCA, looks similar to the Red / Yellow / White cables that plug into a TV / DVD etc. These are usually found on older equipment, such as the Alesis LX-20 ADAT recorder. RCA cables and sockets should not be confused for S/PDIF connections, which look visually similar but are different.

There are options such as cable snakes, which allow for a single cable to do the work of 8, 16, or 32 cables.

Learn more at the Guide to Buying Audio Cables.

Establish Your Budget

Knowing how much you have to spend for your total project will drive many of the decisions on what hardware you actually select. As a general rule spend the bulk of your budget on the most critical components.  Your budget will limit you initially but if you plan your purchases correctly you will be able to expand your system as resources become available. Know what you plan on doing with your equipment. Do you expect it to be mobile or will you only be recording and mixing then sending your work off to be mastered. 

$1000-$2500 USD

You will not be able to do much in this price range other than some of the basics. Unless you already own a computer using a DAW might be out of the question but there are still options to choose from.
  -Stand Alone Multitrack Recorders: Prices start at around $200 USD and go up. Make certain what ever recorder you purchase has USB or Firewire capabilities  for later use with a DAW. See the Guide_to_Buying_a_Multi_Track_Recorder
  Recording Bundles: Might be the most cost effective way to start. Most large music retailers offer package deals which might include microphones, cables, monitors, stands and a Multitrack. Keep in mind the microphones and reference monitors are not the best quality but will do in a pinch. These items can be upgraded later.

$2500 and up

 This guide should cover most of what you are looking for. Your priorities are quality over quantity so focus your spending based off these priorities.
 1 - A/D-D/A Interface. (Audio Interface Card)(Expandable)
 2 - Microphones and Preamps (assuming the Audio Interface Card does not them built in.)
 3 - Audio Reference Monitors
 4 - Computer and Software (Expandable)
 5 - Sound isolation.
 6 - External signal processors (Compression)
 7 - Cable Management.

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