I want to build a studio to make and record my own electronic music. What do I need?


If you have moved beyond the basics and feel ready to build yourself a more professional-level studio, there are a few basic things you'll need to get started. While the initial investment may put a serious hurting on your credit card, if you make good, well-informed choices, your investment should keep you going for a long time without the need for more spending. Now may be a good time to start repeating the mantra 'less is more'. It is easy to get caught up in 'gear lust' and want to pick up every cool new piece of gear that comes down the pike, but having TOO MANY options in the studio can actually make you LESS productive. I have many friends who have absolutely obscene amounts of gear - stuff that might even cause Trent Reznor to turn green with envy - but the common thread among most of them is that I don't think any of them have ever actually finished a song. If you want to be a collector, that is completely fine, but you will most likely be more productive if you make a few well-thought-out purchases and learn to use those things very well. Research your potential purchases thoroughly! There are a ton of online resources that will assist you with this. I especially prefer resources that have user reviews of gear because it cuts through the marketing hype you'll get from the company's promotions and will let you hear from people who are using the gear on a day-to-day basis, not just over the course of a week to write a review for a music magazine.

Here's one to get you started for synths: http://www.sonicstate.com/synth/
And here is one to get you started with studio equipment info: http://www.sonicstate.com/digital/

With that out of the way, here are some things to get you started. I'll warn you, this is lengthy, so you may want to get some snacks.

1.) A computer
If you are reading this, it is probably safe to assume that you own a home computer. If that's the case, you may be able to skip this section. However, music and audio programs generally require higher specs than the average computer that is just used for checking e-mail and browsing the web for filthy, filthy porn. The first issue to decide on is whether you prefer Mac or PC. Go to just about any discussion forum on the Internet and the Mac vs. PC debate is bound to come up sooner or later. The passion with which people argue in favor of their own preferred platform, goes way beyond absurd sometimes (how about focusing that passion on finding a girlfriend and moving out of mom's basement, Poindexter?), and most of it is way off base. The fact is, the two major platforms are becoming more and more alike all the time (especially with the release of Windows Vista which borrows very heavily from Mac OSX), and it is largely a matter of what you are comfortable using. Some programs are only available on one platform, so take that into account too, but the most important thing is that the OS is something you feel comfortable with. The less distracted you are by the OS, the more focused you can be on creating music.

Once you have that sorted out, you want to make sure your computer of choice has a few key features. The first of these is an adequate amount of RAM. This is especially important if you are going to have lots of soft-synths or samplers running huge sounds, but virtually every aspect of music-making is pretty memory-hungry, so the more you can get the better. Requirements are changing all the time, but currently, anywhere from 1.5 - 2 gigs of RAM should serve you fine. The Windows OS is a bit more resource-hungry than OS X for the Mac, so if you are on a PC, you might consider getting a little more. It is always better to get a little more than your current needs require so that your system can keep up with your growth and ambitions as a musician. After all, you want to spend your time making music, not constantly opening up your computer to mess with its guts.

The other major consideration for music makers is the hard drive, or more accurately, drives. If you plan on recording audio, it is best to have two hard drives. One for storing and running all of your programs off of, and a separate, dedicated audio drive to record to. You will get much better performance (higher track counts, etc.) using this method. It isn't imperative that you have two drives, but for the long run, you will probably be happier if you have two. Having a third drive dedicated to back-ups isn't a bad idea either. It only takes a second to lose weeks worth of work, and when that happens (and rest assured, sooner or later it happens to everyone), you will be very happy you have back-ups to save the day. Note that hard drives are not really good long-term back-up solutions (you will want to back up to CD or DVD or possibly even a tape drive for this), but for quick, daily or weekly backups, they'll do the trick. As far as specs for the drives... 7200 RPM drives are really the minimum you should be using for audio purposes. Laptops often have drives that run at 4200 or 5400, and although you can get decent results out of these, as your songs become more complex and require more tracks, you may find these slower drives are not up to the task.

I recommend trying to buy the largest monitor you can afford to. Large, flat-screen monitors are getting cheaper every day, and although they still are pricey, trust me when I say the investment is worth it. Most audio programs have multiple windows to perform different tasks and the extra screen real estate comes in very handy so you're not constantly closing and reopening windows because everything is squashed into the same tiny space. Most computers also support the use of multiple monitors, which can also be nice, but for the most part, a single monitors in the 21"+ range should do the trick just fine.

Finally, make sure your computer has a DVD drive of some kind. Not only is this useful for backing up song data (which is usually too large to fit on a single CD-R), but most sample libraries, softsynths, and magazine cover discs (such as the ones that come with Computer Music) come on DVD installation discs these days. Plus, it makes sampling from movies a breeze! And lord knows what this scene really needs are more songs with Hellraiser or Blade Runner samples in them.

2. An audio interface.
A computer is all well and good, but without a method of getting sound in and out of it, you only really have half of the equation. Of course, just about every computer out there has built-in audio these days, but the catch is most of these interfaces are usually not professional quality. They are geared more towards casual computer users and gamers who don't demand as much in terms of sound quality as an audio professional might. So it is best to do some research and find a professional quality audio interface for your system.

The first thing to consider is how many outputs and inputs you will need. If you plan to use nothing but softsynths, a simple interface with two inputs and two outputs should suffice. If you plan on recording vocals or anything else using a microphone, make sure the interface has XLR inputs that you can plug a condenser mic (more on that later) directly into. If, on the other hand, you plan to use a mixture of both hardware and software, it might be worth considering an interface with multiple inputs and outputs. This way, each hardware synth, sampler, drum machine, or effects box can have its own dedicated input. This not only saves you the hassle of constantly having to unplug one piece of gear to plug in another as you are recording, but it often means you can eliminate the need for a mixer.

The next thing to take into account is the bit-depth and available sampling rates. You can find technical explanations of what these terms mean elsewhere, but I'll keep it basic here. The current standard for bit-depth is 24-bits. Although CDs are a 16-bit format, you will often get better results from recording at 24-bit and bouncing down to 16-bit as part of the mastering process. The bit depth is a lot more important to consider if you are recording vocals or acoustic instruments, as these instruments generally have a wider dynamic range than is used practically with most electronic instruments. In terms of sampling rate, there are devices that will record at up to 192k these days (for perspective, a CD is 44.1k), but that is really overkill for most people's use. Something that offers rates of 48k (DAT quality) or 44.1k (CD quality) are perfectly adequate for most applications. You may have the temptation to get the biggest, baddest audio interface there is, but keep in mind that the higher the bit-depth and the higher the sampling rate, the more room your audio files are going to take up on your hard drive. And for most applications within electronic music, these super-high rates don't necessarily make a huge difference anyway. So it pays to do some experiments to find what sounds best on your material for practical purposes. I personally record these days at 24-bit/44.1k and it suits me fine.

3. A MIDI controller or Interface.
Much as an audio interface lets you get sound in and out of your computer, a MIDI interface or controller allows you to perform music into your computer and have it performed back by the computer. In simpler terms, it lets your keyboards talk to your computer. MIDI (Musical Instrument Digital Interface) was a standard that electronic instrument manufacturers came up with in the early 80's to let pieces of gear from different manufacturers communicate with and control one another. A full description of MIDI is beyond the scope of what I am writing here, but suffice it to say if you are unfamiliar with it, you may want to do a little research before building a studio. As far as getting MIDI data in and out of your computer, you really have two options here.

If you plan on only using software, you can skip the need for a full blown MIDI interface, and just buy a controller. A controller is generally a piano-type keyboard with a USB connection that plugs directly into your computer. The controller makes no sounds of its own (although now there are a couple of pricier ones that do), but is used for playing and controlling your soft synths. It's generally not a bad idea to look for a controller that has some assignable knobs and sliders on it, as this will let you program your softsynths a bit more easily and opens up more dynamic performance capabilities in terms of altering your sounds in real time.

On the other hand, if you have a hardware synthesizer with a keyboard already, you already have a controller (assuming the keyboard has MIDI, which almost all synths and samplers built after 1983 have), you just need a way to connect it to your computer. This is what a MIDI interface is for. The MIDI interface is just a box with special connectors that hook up to and from your synth(s). This box in turn usually connects to your computer via a USB connection allowing you to play something on your synth and have your sequencer record it and be able to play it back. Like audio interfaces, MIDI interfaces come in several different varieties. If you only have one hardware synth and don't plan on getting more (fat chance!), a simple 1 input/1 output interface will suffice. However, if you have several pieces of gear, it might be more practical to save your pennies for something with more inputs and outputs so each piece of gear has its own dedicated inputs and outputs. This set-up gives the most flexibility and will allow you to basically control any piece of gear in your studio from any other piece.

A MIDI controller or MIDI interface achieve the same result in the end. Which is right for you depends on your set-up and whether you plan to incorporate hardware synths or not.

4. Studio Monitors.
While it may be tempting to just plug your audio interface into your home stereo or some headphones, these are not really suitable for professional applications. The reason for this is, most home stereo speakers or headphones are designed to exaggerate certain frequencies to be more pleasing to the ear. So while you may have something that sounds great on your home stereo, you are only hearing what it sounds like on your stereo. Different speakers have different frequency biases, so something you mix on your home stereo speakers that sounds great, may sound horrible on someone else's stereo. The solution to this problem is to use studio monitors. Studio monitors are basically speakers that are designed to be as sonically 'flat' as possible. That is to say, they lack the frequency exaggeration that home stereo speakers or headphones have. Thus, you get a more accurate picture of what the music really sounds like and can perform better mixes of your material. Depending on the type of monitors you buy, you may also need to buy a reference amp to power them. There are a TON of different monitors options out there, so be sure to research them carefully, and if you are able, listen to them in a store before you buy them. If you do this, make sure to bring a CD of some material you are very familiar with to use as a test. This will allow you to get an idea of how the speakers sound and if they have any weird frequency exaggerations.

5. A Mixer.
If you are planning on a software-only setup, you can skip this one. However, if you intend to incorporate some hardware synths or guitars, etc. into your set-up and you don't have enough inputs available on your audio interface, you will need a mixer. A mixer does pretty much what its name implies. It takes several audio signals and mixes them together into a single stereo signal. In this way, you could have several hardware synthesizers all playing through the same set of speakers. Avoid the temptation to skimp on this one. A bad mixer can really ruin the sound of your equipment by introducing noise, distortion, and other nasties to your pristine signal. There are lots of different configurations of mixers with varying numbers of available channels (inputs). Choose something that will not only accommodate the equipment you have now, but will allow for some expandability if you add more synths to your set-up in the future.

6. A Microphone
If you are only planning on making instrumental music, you might want to skip this one. Keep in mind, however, that mics can be used for recording things other than just your voice. So, for example, if you make instrumental music, but want to sample yourself banging on Grandma's pots and pans, you will need a mic to do this. There are many different types of microphones out there, but the two most common types are condenser mics and dynamic mics. In most cases, if you want professional sounding results, you will want a condenser mic. A technical explanation of how a condenser mic isn't really going to tell you what you need to know to make a decision, so I'll just say this... Condenser mics generally sound better and are more accurate than dynamic mics. There are a wide range of quality and price levels in condenser mics (seriously, some can cost more than your car does), but generally speaking, you can pick up a decent quality condenser for around $300. Do your research and avoid the temptation to just buy the cheapest thing possible. Remember the old saying, 'garbage in, garbage out'. In other words, if you buy a cheap mic made with poor quality components, pretty much everything it records is going to sound like shit.

A special consideration with condenser mics is that they require power of some sort. Some will operate on batteries, but most operate on what is known as 'phantom power'. Not nearly as sinister as it sounds, phantom power simply means that the microphone draws its power from the mixer or audio interface it is plugged into. So make sure your mixer or audio interface is equipped with this. Condenser mics also use a different sort of cable than your standard guitar/instrument cord. This cable/connector is known as an XLR cable. So again, make sure your mixer or audio interface has XLR inputs available. Another thing to keep in mind with condenser mics is that they produce a quieter signal than the average musical instrument. So, to bring the audio signal up to a useable level, you need something known as a pre-amp. Most mixers and audio interfaces have these built in, but if yours doesn't, you will need to buy a separate pre-amp. This will bring the mic's level up to a useable level and plugs right into your mixer or audio interface.

If you are on an absolute budget and can't afford a condenser mic, a dynamic mic might be better suited for you. As I mentioned before, most dynamic mics are not of a high enough quality for professional recording purposes, but the company Shure makes a very good dynamic mic for around $100 called the SM-57. These are the same mics you see onstage when you go to see your favorite band play live. The SM-57 is very highly regarded as a dynamic mic, and even gets used quite a bit on some mainstream, professional recordings (Beck swears by it, apparently). Although dynamic mics aren't as high quality as condensers in most cases, there are a few key advantages. First, obviously, they are a lot cheaper than condenser mics. Secondly, they don't require any external power to work. And best of all, they are extremely durable and stand up to abuse very well. (Condenser mics are very fragile and must be handled and stored with care).

Whichever type of mic you choose, there are some accessories you will probably want to pick up to go with it. The first of these is a mic stand. While it is technically possible to simply hold the mic in your hand while recording, you're likely to run into problems with the mic picking up rumble any time you adjust your grip or move your hand. You also won't be able to always keep the mic at a consistent enough distance for most practical purposes. Finally, you might want to pick up a 'pop filter'. This is simply a piece of fabric stretched over a round frame that goes in between the microphone and your mouth. Its purpose, as the name implies, is to prevent the popping sounds that can be picked up on microphones from something called 'plosives'. Plosives are the percussive bursts of air produced by the vocal sounds of the letters 'p' and 'b'. This blast of air tends to manifest itself as loud popping noises when recorded which can be very unpleasant and make your vocals sound a lot more amateurish. If you don't want to spend the money on buying one, you can construct your own by taking a pair of women's pantyhose and stretching it over a wire clothes hanger. No, I'm not kidding, it really works!

7. A "Host" Program
It used to be that if you wanted to record at home, you had to buy a multi-track tape recorder. While these are still available (and indeed, many people prefer the sound of material recorded on tape), digital recording on a computer has become so cheap now, that it is generally the solution most electronic musicians choose. And it is not hard to see why. Editing is a breeze, you have a virtually unlimited number of tracks, and best of all, if you are using a laptop, you can carry your entire studio with you wherever you go. I don't recommend trying that with the typical tape-based studio! A host program (also known as DAW, or Digital Audio Workstation) is simply a program that combines a sequencer (software that records the music you play into it as MIDI data so the performance can be recreated and played back... think of it as a fancy 'player piano') and audio recording and mixing facilities. There are more and more options in this department than ever before, and there really is no clear 'best' host program. Your best option is to find a demo versions of the programs, if available, and try out a few to see which one feels best to you. The most popular DAW programs are probably:

• Digidesign ProTools - This is sort of the industry standard at professional studios. It used to be that it was because it was the best option available, but recently it just gets used more because people have been using it for such a long time. The disadvantages of this one are the price (the program and hardware are very expensive, as are the plug-ins) and what some people feel is a not very elegant interface and MIDI features.

• Apple Logic - This one is rapidly catching up with ProTools in terms of popularity in the professional market (For example, the last couple Madonna albums were done with Logic). It is incredibly full-featured and in addition to coming with just about every basic effect plug-in you need, it includes a suite of really great software instruments, so you may find you never have to buy another softsynth if you don't want to. The disadvantage is that it will only run on a Mac, and the learning curve can be a bit steep because it is VERY full-featured. Apple is apparently right on the verge of introducing a vast overhaul of the program, possibly with a different name.

• Steinberg Cubase - Another one of the most popular DAW programs (in fact, probably the most widely used one). This one will run on both PC and Mac and in many ways is very comparable to Logic, although most of the built-in effects and instruments pale in comparison to the ones included with Logic.

• Ableton Live - A relative newcomer, this program has been getting a lot of people very excited because it uses a very different approach than other DAW's that allows songs to be re-arranged and modified on the fly (thus the name 'Live'). The different approach may take a little getting used to, but it really is a very fun program to use and many people find it sparks their creativity in ways other programs haven't. One of the only disadvantages I have seen people mention is that the audio quality is not quite up to the level of the others. Keep in mind, these differences are pretty slight, and are likely only of concern to professional users, but it is something to consider carefully if you intend to make it the center of your studio.

8. Some Instruments
Obviously, you need to have something to make music with! This can be anything from a guitar to a hardware synth to the ever-growing number of softsynths. There are advantages to every type of instrument, so be sure to do your research and try before you buy. Most softsynths have demos you can try out, and if you are leaning more towards a hardware synth, find a local music store that has some and play around with them. Don't drop the cash until you are confident it's exactly what you want.


If you've made it this far without wanting to jump off a cliff, congratulations! Setting up a studio is indeed a big step, but if you are smart about what you get, your studio will serve you faithfully for years and years to come. And always keep the following in mind:
• Research, research, research!
• Less is more
• 'More expensive' doesn't necessarily mean 'better'.
• Conversely, don't be a cheapskate and skimp on something if it might effect the quality of your sound adversely. Your studio is only as good as its weakest link
• Try before you buy

•• Return to "Studio/Tech" ••