Some projects are cake; others are downright impossible. And right now I'm looking at the second kind. I mean, who can tell you what's the right gear for your project studio? Am I clairvoyant? For that matter, are you an individual, with your own needs and aversions, or were you stamped out on an assembly line? Sure, I can replay the standard bits of advice that seem to pop up again and again in articles like this. I can tell you to get the fastest computer and the biggest hard drive you can afford. Like, you need a magazine to tell you that?
Let's see if we can dig a little deeper. To help out, I got on the phone and spoke to half a dozen people who own and operate various kinds of project studios. I asked them how their studios are set up, and why, and what kinds of mistakes they've made in putting it all together. Some of their suggestions were pretty obvious (get the fastest computer. . .), but some were surprising.
Your choices will depend, first of all, on the type of projects you're doing. Recording song demos for an album project requires very different equipment than underscoring video or writing radio jingles. Then there are your personal preferences to consider: A setup that works perfectly for one musician could be a fabulous waste of money for another. So before you haul out the credit card, you need to ask yourself some tough questions.
In this overview we don't have space to discuss all the things you'll need: a DAT deck, maybe a CD burner, maybe a printer, maybe a video monitor and videotape deck, a good sync box, cables, maybe a balanced power supply, and so on. We'll focus on the big pieces of the puzzle, and trust that when the big pieces are in place, the little pieces will soon sort themselves out.
I'm not going to recommend any specific products. Depending on your needs, anything I mentioned could be dead wrong for you. In general, a serious project studio will require some fairly high-end gear, and most of the high-end stuff is from reputable companies and functions pretty well. Since every company in the industry is scrambling to add as many sexy new features as they can, it's the differences between features that will dictate your decision. Click here for illustration. How to Evaluate Your Needs
You're no dummy. You have a pretty good idea what you're hoping to accomplish musically, and you know how much money you have to spend (not enough, right?). The rough spot is figuring out exactly how to connect the two. Here's a quick four-step plan:
(1) Figure out what you need. Sixteen tracks? Automated mixing? Video sync? Umpteen gigabytes of backup? An 88-note master MIDI keyboard? An iso booth for vocal overdubs? Enough mics to capture a drum kit? Sit down somewhere quiet, with a pencil and a pad of paper, and visualize your first project from start to finish. Take note of what equipment is used at each stage in the process. Draw a floor plan, even.
(2) Prioritize your purchases. What do you need first in order to get some clients who will pay you so you can buy what you need second and third? Which elements of your dream studio are sexy but will hardly ever get used? It could be a mistake to answer that question too rigidly, though: One of my informants mentioned buying an effects processor that sat for three years without being used once, and then suddenly was a key element on five projects in a row. (In my experience, selling things that you think you'll never need again is often a mistake.)
(3) Research the options in each category as extensively as you can. Considering the prices you'll be paying for pro gear, if it takes you ten hours of digging to learn about the deeper features of the three samplers you're thinking about, and if your time is worth (at a minimum) $25 an hour, that's a $250 investment of time and effort that may save you from making a $4,000 mistake.
Research sources include reviews published in this and other magazines, friends who are using the gear, hands-on time in a music store - and only then, after you've educated yourself, the opinions of the sales staff at the store. Salespeople tend to be optimistic about whatever the manager has told them to push this week, and they're bound to overlook the flaws, some of which may be serious or fatal for your intended application. But if you've done enough homework to ask the tough questions, you can sometimes get a real answer. If you sound like an informed buyer, you may get a thoughtful response rather than a canned sales spiel.
If the salesperson doesn't impress you - or even if they do - ask whether they know of any local project studios that are currently using the item in question. If they've been on the job for more than a month, they should know who's been buying stuff.
And (here's the sermonette) if you've used the store's floor stock and taken up the salesperson's time, buy the equipment from the store - don't buy it mail order! Mail order is generally fine if you know exactly what you want, and if you won't need setup help after you get it home. But it's worth paying a little extra so that your local store will still be in business the next time you need to test-drive something. Think of it as an investment in your own future convenience.
(4) Don't buy promises. Buy the gear that does what you need today. A frightening amount of stuff these days, principally in the area of computer software and peripherals, is being sold on the basis of what it will do next month, when the next update ships (or when the product itself ships). But guess what? Sometimes "next month" is six or eight months down the road, or never. And when the update finally ships, it may be buggy, or crash everything around it.
Now let's look at some specifics. Multitrack Audio Recorder
Since I'm awed by the power and convenience of computer-based recording, it would be easy to recommend that everybody take the plunge. But would it be right? True, the computer has some big advantages for certain types of projects. It gives you graphic-based editing, the ability to combine audio tracks with MIDI tracks with no messy synchronization to worry about, some form of automated mixing, and the opportunity to use the latest plug-ins. Plus, you can use the computer to keep track of your studio's budget and browse the Internet.
On the other hand, a computer can be a balky, stubborn beast. Most computer users spend more time than they'd like tearing their hair out over system conflicts, compatibility problems, and bugs. If your studio is going to be recording mainly musicians' song demos, a digital tape deck or stand-alone hard disk recorder may be easier to use. But don't assume that computers are just for MIDI nerds. You can play rock guitar or drums directly into audio recording software, jamming for 15 or 20 minutes at a time, and then cut and paste the good bits into the ultimate performance. Most stand-alone hard disk recorders will let you do this, as well.
Digital tape is handy, too, if you're planning to do basic tracks in your studio and overdubs elsewhere (or vice-versa): You can carry a tape cassette across town in your briefcase and never have to worry about file format compatibility. And a stand-alone disk recorder is only slightly less portable.
The minute you start talking about soundtracks for your local cable TV channel, though, the video synchronization issues (not to mention the ability to cut and paste so as to reuse the material when the client calls and asks for a version that's 15 seconds shorter) tip the scales back in favor of the computer. Being able to see the video as a QuickTime movie on the screen while you work can be handy in a pinch, though most underscore composers prefer to use an actual video monitor. A video deck that can be slaved to incoming SMPTE timecode is not a necessity unless you want to use your sequencer/recorder's transport as the master control panel.
If you're considering hybrid sequencer/audio recorder software, you'll have to do some careful questioning to figure exactly what is and isn't realtime on the audio side. Even software that has the same name and version number on the Mac and PC may not perform in an identical manner on the two platforms. I've seen several programs that promise "automated mixing" in which the audio responds to mixer moves in a sluggish, jerky manner, so I'd recommend an in-store demo.
In planning carefully for the future, you're well advised to invest in an audio card that has ADAT I/O. This will give you the best of both worlds. You can lay an instrumental submix to tracks 1 and 2, record six tracks of lead vocal on tape, and then bounce the vocal tracks back into the computer to comp together the best phrases (and maybe do a little pitch correction). Plus, you'll be able to back up your computer audio tracks to digital tape, which is a lot cheaper than stacking up 5-gig hard drives or buying pallets of Jaz cartridges.
Assuming you want a computer-based recorder, you'll have to contemplate what hardware and software to get. It seems new audio hardware is appearing (or at least being announced) every week, and the market is being deluged by software upgrades. Here are a few pointers you might find helpful: - Lean toward a recorder that has been around for a couple of years and has a good-sized installed base of users. This won't guarantee stable software and regular upgrades, but it may help. Yes, there are some exciting new recorders on the horizon; in a couple of years they may be firmly established as the big guns, and that can only happen if people like you have the courage to invest in them. But that doesn't change the facts: (1) The field is overcrowded right now, and newcomers face an uphill battle. Some of them will fail. (2) This stuff is expensive to develop and expensive to support. You may get personalized service from a smaller company (like, they can respond to your bug reports within a day or two), but your system may easily end up as an orphan. - If you're planning to buy the audio interface hardware from one company and the recording software from another, call the software company and ask which hardware they have thoroughly tested and can recommend. - More than 16-bit analog I/O is a good thing. If you can afford 18-bit or 20-bit D/A and A/D, you'll probably be happier with the sound. However, keep in mind that full-tilt 24-bit hardware and recording requires attention to a different set of issues having to do with software capabilities, computer speed, and, most especially, storage requirements. - Other factors being equal, an external audio interface is preferable to one that operates inside the electrically noisy environment of the computer chassis. - There are a couple of good recorders that use their own DSP and hard drive protocols, which allows them to work effectively on an old, slow computer. This type of technology is less likely to support third-party plug-ins, however. The trend is toward host-based audio processing, which means (you guessed it) you'll need to buy the fastest computer you can afford. Which brings us to. . . . Computer & Software
The old adage is still true: Don't buy the computer first. Instead, figure out what software you want to run, and then buy the computer that the software runs on. True, more and more of the leading programs are cross-platform, but others, while just as powerful, are not. When considering which platform to go with, think about which audio editor and editor/librarian you want to use, as well as which sequencer/recorder.
Then there are the differences in plug-ins between platforms to consider. On the PC, Microsoft's DirectX is emerging as the standard. On the Mac, you have a choice among Adobe Premiere, Digidesign AudioSuite and TDM, Steinberg VST, and Mark of the Unicorn MAS (MOTU Audio System). In researching your requirements, you need to ask the recorder manufacturer what plug-in format(s) they support, and then ask the plug-in manufacturer whether the plug-ins you want are available in that format. Many plug-ins are available in multiple formats. (For more, see "The Plug-In Zone" in Keyboard, Aug. '97). Bear in mind that some plug-in formats and recorders support realtime operation, while others only do file edits.
The dividing line between platforms is still fairly sharp in the audio hardware realm, although a few audio interfaces swing both ways. For the PC, there are a host of consumer-grade audio cards, a few of which boast good enough specs that you could conceivably do radio and TV spots with them, though you might be stretching it to try to produce a CD.
The pro audio hardware on the PC, however, tends to be somewhat balkanized. If you're not careful, you could easily find yourself with audio editor software that can't play back directly through your audio hardware. In this situation, you'd have to edit the file, save it, and then paste it into the recorder to hear it - not a fun situation. When choosing hardware, then, talk to the manufacturer of the audio editor you want to use and get their recommendations. And be prepared to ask detailed questions. Manufacturers' reps will sometimes say blithely, "Yeah, we're compatible with that." When you say, "Does that mean I can get realtime playback?" you may have to decipher what they're saying to figure out that the answer is, "No, you have to edit the file."
You may have other software needs. Most sequencers will do sheet music printouts good enough to put in front of session players; a copy of a dedicated notation program would probably be overkill, unless you're doing a lot of composing for ensembles and prefer to write directly into the notation software.
A good editor/librarian, on the other hand, is likely to be vital in a keyboard-based studio. Both of the leading programs will let you bundle the patch banks for different synths in a single file; with this feature it's far easier to take a "snapshot" of your studio, switch to a new project, and later switch back to the previous project with a minimum of hassle. Switching from one editor/librarian to another is likely to be a nightmare if you have a lot of stored patch banks, so whichever program you choose, plan on sticking with it. If you need support for a new instrument or an obscure old one, ask before you buy.
Sampler
Every well-equipped project studio needs a sampler. In fact, a good sampler is such a versatile tool that it might be the only musical instrument you need.
Here's a no-brainer: Get as much RAM and as much polyphony as you can afford. If you've got 128MB to play with, the number of audio tracks you need (not to mention the number of effects processors) may drop dramatically. Insist on a sampler with a SCSI port, and budget for both a CD-ROM drive and a removable-media drive for backup.
Not quite so obvious: Before committing to a sampler, consider the type of sound libraries you're going to be using. This is the same as choosing the computer software you want to run, and then buying the computer that it will run on. If you have clients coming into the studio to talk about jingles, being able to pull up a few sampled grooves can be a quick way to zero in on the right feel. One studio owner I talked to, whose sampler happens to live inside his computer, has transferred his entire CD-ROM library to hard drives so that he can use a database program to find whatever material he needs in a hurry.
After spending hundreds or thousands of dollars on CDs, the very last thing you'll want to do is switch to a new sampler. Many CD-ROMs are available in several different formats, and some samplers will load disks in other formats than their own - but cross-platform file loading is not always reliable. Envelope and velocity data can get lost in translation, and when you need to lay down a lush string pad, that's precisely the data that you don't want to spend hours recreating from scratch. Just because the ad says, "XYZ compatible," for instance, don't assume you're covered.
Every sampler has its partisans, so we're not going to make any specific recommendations. One studio owner I talked to said that since he's not too technically minded, he chose the same model sampler a friend had, so as to be able to call the friend for help. Whatever works. Here are some other things to think about:
- Do you need a good built-in sequencer? - How important is having a good visual display of waveforms for editing purposes? - Do you need built-in effects? - Most of the newer samplers will resample their own output in real time, including pitchbends, effects, and so on. This feature is great for advanced sound design. - Ask about time-stretching, crossfade looping, and other DSP features. If you need to do a lot of tempo adjustment of beat loops, ask to hear the time-stretching in action. (Depending on how the sampler's operating system implements this feature, you can expect to hear some changes in the feel of the beat.) - Flash RAM, which is instantly available on power-up, can save you loading time with often-used sounds. - A few samplers include their own waveform ROM - again, a good starting point for projects that need to be developed quickly. - For song demo studios, a tabletop sampler/sequencer is worth considering, but these devices tend to lack the flexibility that you'll need for more demanding projects.
Mixer
Assuming your studio has a few keyboards, including a sampler, you'll be eating up mixer inputs like candy. Get as many channels as you can - 16 at a minimum, but preferably 24 (or 32, if you can afford it). If your recorder is tape-based, you'll want tape return jacks on the channels; this "inline" design is not found on many keyboard-type mixers. On the other hand, if your recorder is living in the computer, so that the mixdown is all virtual, you may be able to use a simple keyboard mixer. Some of the latter have knobs rather than sliders - a disadvantage if you need to perform your final mixes.
Digital mixers are becoming more common and less expensive. They offer several advantages, including automation (handy if you need to do complex mixes on a tight schedule, or comp several different versions of the same material) and built-in effects. Digital mixers may also provide direct digital I/O for interfacing with other high-end devices.
The most important thing about a mixer is its sound. After narrowing the field to a few boards that you're considering, try to find a local studio where each of them is in use, and take along a reference CD to listen to. Listen to the EQ in particular. Don't assume that you'll be able to compensate for inadequate EQ by editing your sounds in the sampler or synth; even if you've got multimode filters rather than the lowpass-only kind, there will still be times when you need more pinpoint control.
While you're contemplating mixer I/O, consider budgeting for a good patchbay. Not only will it save time in the middle of a session (and impress a client much more than if you're crawling around behind the furniture with a flashlight), it may actually enhance the creative process: If it's easy to patch in different effects, you're more likely to try stuff - and once in a while you'll hit something brilliant.
Effects
A decently equipped project studio should have, at a minimum, a good reverb, a good stereo compressor, and a noise gate. The compressor is vital for getting parts to sit correctly in the mix, and the noise gate will help clean things up - especially things that you've recorded by setting up mics in your bedroom, right next to the computer's fan. Assuming your recorder has enough tracks and/or disk space that you can print dry and add FX during a bounce, you may be better off investing in one good multi-effects processor rather than trying to patch together a system using four or five budget-quality units. On the other hand, some of the budget FX boxes sound pretty good these days. Being able to build a cohesive mix in real time rather than processing tracks separately is a definite plus.
If you're planning to record vocals, think carefully about vocal processing. A compressor that's a software plug-in won't do you any good until the vocal is digitized; a real analog compressor can be patched into the signal path to tame fluctuating vocal levels. This can both optimize your signal-to-noise ratio and reduce the likelihood of digital clipping (which can ruin a great take). A good mic preamp with its own compression and EQ would be an ideal accessory for any system where vocals are a priority. Noise gating and other types of noise reduction can often be accomplished in the software domain, however, so you may be able to skip the hardware gates if you're using a computer recorder.
If you're doing dance or techno music, you can avail yourself of a wide variety of specialized effect processors - and even guitar stompboxes - in pursuit of the ultimate sound.
Monitors
The mythical "flat monitor" doesn't exist. No matter what you get, it's going to color the sound in some way, so shop with a view to finding monitors whose sound you like. If you're doing dance mixes, the sheer size of the woofers (or having a subwoofer) is important for realistic bass response - but you knew that already. Conversely, if you're mixing for TV broadcast or for desktop multimedia speakers, you'll need a monitor system similar to the target platform. I'd call this a "reference monitor," except that the term has become a meaningless buzzword unless the question "referenced to what?" has a clear answer.
Surprisingly, one of the most popular monitors around (if you don't know which model I'm talking about, ask your friends) is not a hot seller because of its sweet sound: People buy this particular model because everybody else has them, which makes them useful as reference monitors.
When evaluating monitors, be sure to sit in the sweet spot. Off-axis coloration (the changes in frequency response that occur as you move to the left or right) is a reality, not a myth, though it's more prominent on some speakers than others. Again, bring along a reference CD, something whose sound you know well, when auditioning monitors.
If you do a lot of actual playing in the studio (as opposed to sequencing), you may want a pair of large speakers to fill the room with jam-level noise. At this point, you may want to strap a stereo graphic EQ to the mixer's output in order to compensate for the deficiencies of the room. This type of EQ should be less necessary with near-fields, since you're hearing mostly the direct sound.
Going the other direction, plan on acquiring a good pair of headphones (or several pairs, if you're recording vocalists). Most of the same considerations that apply to speakers apply to headphones, though off-axis coloration is not normally a problem. Especially if you wear glasses, headphone comfort is an issue, but that's a topic for a different article.
Up & Running Now that your studio is all patched together and functioning flawlessly. . . . No, but seriously, folks. Chances are, that will never happen. There will always be something you want to add as soon as you can afford it (or sooner, if you can sweet-talk your spouse), or something you're dreading and would never bother with if your clients didn't insist on it, or something cherished that you have to replace because it finally gave up the ghost. My own studio is perpetually in a state of flux, and ultimately that can interfere with the creative process. At a certain point you have to take a deep breath, relax, and say, "Okay, this is what I've got. This is what I'm going to make music with for a while." Lest we forget, that's what it's all about. This article appeared in Keyboard's February '98 issue.
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