Getting your home studio setup right isn’t easy.

It takes a bit of time and money to get going.

But I want to let you in on a little secret…

You only need 8 pieces of equipment to set up a home recording

studio that can produce radio-worthy tracks.

Keep reading if you want to learn what those items are.

Plus, I’m going to teach you…

1. how to choose the perfect room in your home

2. where to place your speakers

3. how to add acoustic treatment

4. and more!

CONTENTS [SHOW]

Want to Make Incredible Music?

Having the right tools is important, but they won’t help if you don’t
know how to use them.

That’s why Musician on a Mission has created this new free

workshop for people who want the entire framework for making radio-
ready music at home.
Inside are the only 7 steps you need to go through if you want your
mixes to sound professional.

So, if you just want a shortcut to pro-quality mixes, watch this free
training now:

FREE MASTERCLASS: 7 Steps to Pro Mixes at Home. Learn how to make

radio-ready music in no time with this free masterclass. Click for access.

But if you just want to learn about studio gear specifically, keep
reading.

What Equipment You Need

Setting up a home recording studio doesn’t need to cost a fortune.

Most people spend WAY too much on equipment…

When what they should be focusing on is their SKILLS.

Learn your gear inside out before you even consider upgrading.

Now…

There are only 8 key pieces of equipment that you need for a
successful home studio setup:

1. Audio Interface
 2. Microphone

3. Microphone Cable

4. Microphone Stand

5. Pop Shield

6. Headphones

7. Monitor Speakers

8. Acoustic Treatment

With this home recording studio equipment alone, you can start

getting audio work from the comfort of your own home.

But even then, some of these items are optional. For example don’t
necessarily need speakers or acoustic treatment, as a lot of people
learn to mix on headphones.

Let’s look at each item in a bit more detail.

ESSENTIAL ITEM #1 – Audio Interface

Most people chose to use a USB audio interface. This piece of home
recording studio equipment allows you to connect the microphone,
speakers, and headphones to your computer.

For a beginner, the best bang-for-your-buck is either the Focusrite

2i2 or one of NI’s Komplete Audio interfaces.
 

If you need more channels (for recording drums or a large choir), you
will need a larger interface. I’d check out the Focusrite 18i8.

Eventually, you might also want to upgrade to something with better

preamps and converters. Once you’re ready to upgrade, I’d absolutely
check out the Apollo Twin Duo.

ESSENTIAL ITEM #2 – Microphones

Start off with a cardioid large diaphragm condenser
microphone for your studio.

Let me break that down…

You want to give preference to cardioid microphones when recording

at home. They reject sound from the rear, so are useful for less-than-
perfect rooms.
And the perfect type of microphone for your home recording studio is
a large diaphragm condenser.

This mic type sounds great on vocals, acoustic guitars, and other

acoustic sources.

When recommending a good microphone for recording, my preference

is the sE Electronics sE2200a. It’s a good condenser mic, a great
general microphone for music, and a good vocal mic too. In my
opinion, the best condenser mic under $300. Here is my full review:

Then, if you want to add another microphone to your arsenal, I

recommend purchasing a cardioid dynamic microphone.

These mics sound better on guitar cabs, percussion and sometimes

vocals too.

Here, I would recommend the Shure SM57.

To make sure you’re getting the best sound with these mics, download
our free in-depth guide to vocal recording:
FREE BONUS: Improve the quality of your vocals and start producing
better music at home with the free Vocal Recording Playbook.
 

ESSENTIAL ITEM #3 – Microphone Cables

Yep, pretty boring, but essential!

Don’t spend too much here. If the cable works, it works. You need a
balanced XLR cable.

I find that the middle ground is usually best with accessories.

Don’t go for the most expensive option – but don’t go for the
cheapest either. You want things to last.

I’d check out the Mogami CorePlus mic cable.

 

ESSENTIAL ITEM #4 – Microphone Stand

The same goes here. Go for the middle ground.

You need one stand per microphone.

Be aware: these stands DO wear out over time. The cheaper you get,
the more likely you will have to quickly replace the stand.

I’d recommend grabbing the K&M 210 Telescoping Boom Stand.

It’s lasted me a few years at this point, which is a great lifespan for a
mic stand. Plus, it’s not as crazy expensive as some of the upper-tier
models.

ESSENTIAL ITEM #5 – Pop Filter

If you ever record vocals, you need a pop filter.

They aren’t expensive and will stop plosives from ruining your vocal
recordings.

I’d check out the Shure PS-6 Popper Stopper.

 
ESSENTIAL ITEM #6 – Headphones
You have two options here: closed-back or open-back headphones for
your studio.

Closed-back headphones are for monitoring when recording (or

mixing on the fly in public places).

Open-back headphones are for mixing.

For your first pair, go for closed-back headphones. You can still mix
on them (just remember to mix at a low volume and use a reference
track).

I love the Sennheiser HD 280 headphones for an affordable first

pair.
They sound great, and most importantly, they’re not thousands of
dollars.

ESSENTIAL ITEM #7 – Monitor Speakers

It’s difficult to learn how to mix without a set of proper studio monitors.
These speakers have a flat response, so you hear the mix as it really
is. Normal hi-fi speakers color the sound – not good.

You can mix on headphones alone. But only after a lot of practice and

experience.

Even then, it’s always worth checking your mix on monitors.

Just make sure you read up on proper speaker placement first!

I highly recommend the affordable Yamaha HS8’s.

Make sure your room is acoustically treated if you use this size. If your
room isn’t treated (or it’s smaller), check out the Yamaha HS5’s.

It doesn’t really matter which speakers you chose, though – just buy a
pair and stick with them for a long time. Learn how they sound.

It’s also worth investing in a set of monitor stands or monitor pads.

You need to be careful how you set your monitors up – we are going
to look into this in much more depth later in this guide.

ESSENTIAL ITEM #8 – Acoustic Treatment

Acoustic treatments are foam or fiberglass panels that soak up the
natural reverb of the room.
When mixing and recording, you want to be using as “neutral” of a
room as possible. That way your results aren’t being colored by the
sound of your small home studio.

I’m personally a fan of fiberglass panels. Rather than purchasing

panels (which can be extremely expensive), I’d recommend making
your own for 1/5th the cost.

You should also make some bass traps if your low end is out of
control

NOTE: Here’s a great video on Acoustics terminology:

Can I use any laptop or computer?

Any modern computer will be sufficient for recording.

But, if you want to run large projects with a high number of channels, a
computer with a powerful CPU and 8GB+ of ram will help.

You also need to consider the operating system. Personally, I have

found that Mac computers are far more reliable and stable when
working with audio.

Once you have your computer ready, you will also need to download
a home recording studio software before you can get started.

That’s everything you need to build a home recording studio! Now we

can move onto recording studio design.
 

Home Studio Setup: The Perfect Room

Setup
You might have the best equipment in the world…

But if you don’t set it up properly, your mixes will never improve.

You don’t NEED to do any of this. But choosing the right room, setting
it up properly and adding some affordable acoustic treatment will
make your job 10X easier.

I can remember the first time I re-organized my room and added

acoustic treatment. It was a breakthrough for me.

Suddenly I could hear every detail of the mix, every subtle EQ

move and all of the low end.

In this guide, I want to show you how to do the same.

But don’t get obsessed with this stuff. No room is perfect.

It’s highly unlikely that you will be able to find the perfect room,
put the speakers in the perfect position and treat the room
perfectly.
Even professional designed and built home recording studios make
various compromises.

Just try to meet as many of the following suggestions as possible.

If you can’t, you will still be able to produce good mixes.

My room is FAR from ideal. But I can still mix in it.

Don’t get too caught up in the science. Do your best, and then
learn to mix with what you have.

Now, let’s dig in…

There are 5 vital things you must consider when choosing a room:

1. The size of the room

2. The dimensions of the room

3. The surfaces within the room

4. The height of the ceiling

5. Noise level within the room

#1: Room Size

Avoid small rooms. They’re an acoustical nightmare.
The bigger the room, the better. Plus, that means more space for
recording (and possibly a drum kit).

#2: Room Dimensions

Avoid rooms with equal width and length dimensions.

If the room is an exact square, avoid it like the plague.

This creates an immense buildup of standing waves (which are bad).

 

#3: Room Surfaces

Try to avoid rooms with too many reflective, hard surfaces.

A kitchen would be the worst place for a home recording studio. But
why would you want to do that, anyway?

A room with a floor length window or mirror along a whole wall would
be a bad choice.

A concrete basement would be a VERY bad choice.

Wooden floors are desirable as carpet only absorbs high frequencies,

which can make the room sound muffled.

But windows, mirrors, bare concrete, marble etc. are highly

undesirable.

#4: Ceiling Height

If the ceiling is too low, vertical reflections are going to become much
more of an issue.

When you record vocals, for example, a strong reflection from the
ceiling can cause comb filtering – which is very bad.
As for mixing, a low ceiling can be equally destructive.

#5: Noise Level

Can you hear passing traffic in the room? Is it next to an A/C unit? Or
a boiler?

You want the room to be as quiet as possible.

Don’t Have a Choice?

Quite often you will only have one room available to you. Or maybe
you have a temporary setup in a bedroom or living room.

This is where acoustic treatment becomes vital.

You can learn more about choosing the best room in this video:

Home Studio Setup: Placing Your

Monitors
Before you consider acoustic treatment, you need to make sure to
organize your room in the right way.

It’s easier to start with an empty room. This gives you a blank canvas
to work with.

The main thing to consider when designing the layout of your room
is the position of the speakers.

When recording, you are mobile (in most cases). You can move the
microphone around the room.

But once you set up your speakers, they’re gonna stay there.

Here’s the ideal way to set up your room…

#1: Position the Speakers Away From the Wall

Many monitor speakers have bass ports on the back. If you position
them right up against a wall, they won’t work properly.

Check the manufacturers guidelines for the minimum distance

between the speaker and the wall.

Contrary to popular belief, positioning your speakers a foot or two (30-

60cm) away from the wall doesn’t always result in a more even
bass response.
In fact, sometimes it can even be detrimental. The reflection from the
wall can cause more issues than the bass buildup that comes from
having your speakers near a wall.

The solution?

Position your speakers the minimum distance from the wall

(according to the manual). Then, if you can, reduce the bass on
your speakers.

#2: Distance to the Front Wall and Side Walls

Should Be Unequal
If the speakers are the same distance from the wall behind them (the
front wall) as the side walls, move them.

This can result in a buildup of standing waves. In turn, this causes

some low end frequencies to appear a lot louder than they are.

For example, if each speaker is 12″ from the rear wall AND 12″ from
the side wall, they should be moved.
 

#3: Position the Speakers Along the Longest

Wall
This ONLY applies if you have a larger room.

Your aim here is to reduce the volume of the first reflections from

the speakers into your ears.

Strong reflections from can cause comb filtering and a range of other
issues. These come from the nearest walls to the left and right of the
speakers.

You don’t need to know all the details – just know that the first
reflections are highly problematic.

By positioning the speakers along the longest wall, you are moving
that reflection point further away from the speakers. This reduces their
volume, as they must now travel further before reaching your ears.

To maintain a symmetrical stereo image, it’s best to position the

speakers in the middle of the wall.
BUT, if you have a small room, this would be a bad idea.

If positioning the speakers along the longest wall causes the

listening position to be over halfway across the width of the
room… don’t do it.
This leads nicely onto my next tip…

#4: Avoid Having Your Listening Position

Halfway Across the Length of the Room
This only applies to the length of the room AND the distance between
the floor and ceiling.

If your head is halfway between the front wall and back wall, OR
halfway between the floor and ceiling – you will hear a distinct loss in
bass.

Consider the floor and ceiling as well as the walls.

 
#5: Create an Equilateral Triangle Between Your
Head and the Speakers
The distance between the speakers should be the same as the
distance from your head to each speaker.

This is the listening sweet spot.

 
#6: Don’t Put Your Speakers on Their Sides
Unless your monitors are specifically designed to be mounted on their
sides, position them upright.

If you don’t you will completely throw off the sweet spot.

#7: Point the Speakers Towards Your Ears

Most speakers are designed to be angled inwards pointing at your
ears- not pointing straight ahead.
Also, consider the vertical angle of the speakers. If the speakers aren’t
at ear level, tilt them upwards or downwards accordingly.

That’s it for home recording studio monitor placement.

I realize that’s a lot to consider, so don’t worry too much if you

can’t meet every requirement.

To be perfectly honest with you, my listening environment only meets

80% of these needs. You have to make compromises.

Now that your speakers are in the ideal location, you can consider
treating the room acoustically.

You can learn more about monitor placement in this video:

Home Studio Setup: Treating Your

Acoustics
Acoustic treatment has two main aims:

1. Correct any problems with the room

2. Create an ideal environment for recording/mixing

Before we go into more detail, I just want to clear something up:

Don’t let acoustic treatment scare you.

It doesn’t need to be complicated, and you don’t need to be a

scientist.

The study of acoustics is an entire field of physics. But you don’t really
need to know any of that in order to treat your room to a good
standard.

Which Type of Treatment?

Acoustic treatment doesn’t have to be expensive. You can build your
own acoustic panels if you have the time.

Avoid foam acoustic treatment. It seems like this is the best option,
but it’s all marketing.

Foam treatment only affects high frequencies. In a home recording

studio, it’s the low frequencies that are the most problematic.

Build your own rockwool/fibreglass panels or purchase pre-made

absorber panels.

Guerilla Acoustic Treatment

 If you have a complete lack of funds, you can improvise with
household items. Try using the following in place of absorber panels:

 Mattresses

 Thick Duvets

 Thick Drapes and Curtains

How to Treat Your Room (For Mixing)

These are the primary locations to place acoustic treatment in a home
recording studio for MIXING, in order of priority…

#1: First Reflection Points on Side Walls

The walls to the left and right of the speakers. Imagine the walls are a
mirror. Wherever you would see the speakers is where you should
place the treatment. Also, consider the ceiling if it’s low.

If you are using rockwool panels, try to make the panels at least 4″
(10cm) thick.

You can also add an air gap behind the panel to increase the
efficiency. In my room, I opted for 4″ panels with a 2″ air gap at the
first reflection points.
#2: Room Corners
This is where bass builds up the most.

You can use purpose made bass traps…

Or you can absorber panels at an angle across the corner. This has
the added benefit of creating an air gap that increases the efficiency of
the panel.
Also go for thickness here with panels ideally thicker than 6″ (15cm).
 
#3:  Wall Behind Speakers
After treating the side walls and corners, you can place
treatment behind your monitor speakers.

This will allow you to move them a bit further away from the wall (1 or
2 feet) without suffering the ill effects of comb filtering from the
reflections. This will result in a more consistent low end (and no need
to cut the lows from your speakers any more).
 
Fixing Room Issues
If you have a less than ideal room, you can also treat those issues.

For example, if the wall has a lot of hard, reflective surfaces, add more
absorption.

If the ceiling is particularly low, add absorption there.

How to Treat Your Room (For Recording)

So far we have only discussed room setup and treatment for mixing. A
room that is ideal for recording has a different set of requirements.

For us, though, working in a one-room home recording studio requires

some compromises.

Here are a few tips for creating a hybrid recording/mixing room…

Don’t make the room too dead

In general, you want a ‘live room’ for recording.

This means a room that has more diffusive or reflective surfaces,

rather than a room with a lot of absorption.
To find the balance, just be careful not to overtreat your room.

But, that would be a very hard thing to do.

Unless you invested considerable time and effort into building or

purchasing a high number of absorber panels, the room will be
appropriate for recording.

Just don’t cover the ceilings and walls in carpet. That’s the worst thing
you could do, from both a mixing AND recording perspective.

Use moveable panels

If the panels that you build or purchase are moveable, you can set
them up for specific recording requirements.

For example, you could make a vocal booth out of 3 panels positioned
into a triangle.

Or you could place a panel in front of a guitar cab to reduce reflections

from the opposing wall.

Split the room into two halves

Dedicate one side to mixing. Add absorber panels at the first reflection
points, corners and walls nearest the speakers.

Then leave the other end of the room ‘live’ with no absorption or
treatment.

Avoid Foam at All Costs

I wanted to address this point one last time, to really drill it in.

A lot of people use acoustic foam to treat their rooms.

It’s affordable, and it takes up less space than proper panels, so I can
see the temptation.

But DO NOT be one of those people.

Foam has its place in a home recording studio. it’s useful for treating
high frequencies…

But that’s it.

Foam will never treat the entire frequency spectrum, and

especially not the low end – where you need help the most.

Build your own panels, and don’t make this common mistake.
To learn more about treating your home recording studio, watch this
video:

7 Steps to Pro Mixes at Home

Here’s the thing…

You could have all the right gear still end up with music that sounds
amateur if you’re missing a crucial step.

There is SO MUCH that goes into a good song and a professional

mix. It’s actually pretty overwhelming.

But what if I told you that you don’t have to be an expert (with years of
experience) to make radio-ready music at home?

Well…

That’s the truth.

It’s likely that you’ve already wasted time, money and effort on the
wrong things. Most of us do. We waste years focusing on the wrong
things.

So, what should you focus on if you want fast results?

Inside this new free training, you’ll learn the secret to making radio-
ready music at home.
With this new approach, you’ll know exactly where to spend your
time and energy. You’ll no longer feel confused and
overwhelmed by the recording and mixing process.

So, if you want to learn the *exact* steps that will take your mixes to a
professional standard in under a year…

Watch this free workshop now:

https://www.musicianonamission.com/home-studio-setup/

How to Make a Home Recording Studio

Computer
Chances are, you’re going to want to use your computer as the centerpiece of your setup. Maybe you’ll do everything totally “in the box”—that
is, on software instruments alone, most likely running inside a digital audio workstation (DAW) like Ableton or Logic Pro X. (More about how
to choose the best DAW for you below.) Or maybe you’ll use the computer as a glorified tape recorder to capture and edit the sounds you
make with instruments or microphones.

The Mac vs. PC debate is, at this point, a non-issue. If you have a preferred operating system, stick with it, though it’s worth bearing in mind
that certain software applications will only run on one platform. Logic Pro X, for instance, is only available for Mac. (On the other hand, FL
Studio, for two decades a Windows-only program, finally got released in an OSX version in 2018.) One option is to run an application like
Apple’s Boot Camp that lets you install Windows on your Mac, says Fractal Fantasy’s Zora Jones. “It lets me take advantage of both systems,
so I can run MacOS for production and boot into Windows for live performance.”

A more difficult decision may be whether to go with a desktop or laptop as your recording hub. If you plan to perform on your computer or
like to work on the road, then a laptop will probably be your instrument of choice. “I’ve made some of my favorite music sitting on a bed or at
a cafe in an unfamiliar place, so mobility is really helpful,” notes Los Angeles’ Diamondstein. And Montreal’s Patrick Holland, aka Project
Pablo, adds, “A laptop helps with collaborating, which is key when starting out.” Desktops offer more bang for your buck, though.

Most of the musicians I polled suggested that at least 8 gigabytes of RAM is ideal, and more is better. “But I’ve done most of my music on an
11" MacBook Air with 4 GB RAM, and it was totally fine,” admits New York electronic producer Anthony Naples, who suspects that the
limited capabilities of his machine helped him develop his distinctive, stripped-down style.

When it comes to optimizing performance, don’t discount the speed of your hard drive, says the Mexicali producer Siete Catorce. “So get an
SSD [solid state hard drive]—this affects DAW performance way more than having lots of RAM.”

Of course, what looks poky today might once have been a top-of-the-line machine, so unless you’re planning to run some seriously memory-
intensive plug-ins, don’t worry too much about what’s under the hood. “Most of my music I produced on a laptop I found in the trash,” says
Swedish experimental club producer Sissel Wincent, who puts more emphasis on peripherals. “An extra screen is handy, because it makes
your workflow easier.”
And as with many creative pursuits, sometimes less is more. Los Angeles’ Nick Sylvester, who runs the GODMODE label, says, “My studio
machine doesn't have email or messaging, which cuts down on distractions.”

Audio Interface
The audio interface (sometimes called a sound card) is a funny piece of gear. You might spend a couple hundred bucks or more on one, plug it
in, set it up, and then never touch it again. But for many it’s an indispensable item, for several reasons.

First, if you’re running any kind of external audio into your computer—hardware synths, voice, guitar, etc.—the inputs on the audio interface
are the only way to get those sounds into the machine. And if you’re using monitors—speakers designed for studio applications, more on
those later—instead of headphones, the audio interface is what you’ll plug those into. Most importantly, the audio interface is what actually
processes all the audio going into and coming out of your computer, via analog-to-digital and digital-to-analog converters. That might not
sound like a big deal, but it is.

Your computer already has audio converters built into it—they’re what allow you to chat on Zoom and listen to Spotify directly through your
laptop speakers—but they aren’t designed for professional-grade audio. And while virtually any standalone audio interface is going to have
better converters than the ones your computer comes with, you can generally count on them to improve in quality as you go up the price
scale.

How much you should shell out for the best converters is up for debate, though.

“Part of me likes to think it’s not that important, because music isn’t the sum of a bunch of technical specs” says Anthony Naples. “The truth
is, when I upgraded to a higher quality sound card, I instantly noticed the difference. But what you don't know definitely won’t hurt you when
you’re just starting out.”

Ultimately, the choice will depend on how you make your music. If you plan to have multiple synthesizers and drum machines running in
tandem, then you’ll need enough inputs to accommodate each one of those instruments. “If you have no experience with audio equipment, I
would start with a small, cheap interface, like four channels max, just to get to know how the routing works,” suggests the deep-house
producer Galcher Lustwerk. “Make sure it has MIDI [the protocol that allows electronic music devices to communicate with each other], and
make sure there’s low latency”—that is, the time it takes to communicate information to and from the computer. If latency is high, you’ll have
more trouble getting the elements of your audio in sync.
 The Focusrite Scarlett 4i4 ($230)

With two inputs, the Focusrite Scarlett 2i2 ($110) is popular with podcasters, and it works just as well for electronic musicians who plan
on starting small. A number of musicians recommend the Scarlett 4i4 ($230) as a slightly more versatile option: With four ins and four
outs, it allows you to simultaneously record four mono sources or two stereo sources (like a synthesizer, drum machine, or turntable).

If you plan to use microphones, you’ll need to make sure the interface has inputs with mic preamps, which amplify the low-level microphone
signal so it’s suitable for mixing and recording. The Audient ID4 ($187) uses the same mic preamps as the company’s acclaimed higher-
end studio equipment, earning rave reviews for a budget-conscious pick for vocalists.
 The SSL2+ ($280)

The SSL2+ ($280) “is probably the best sub-$400 interface you can buy,” says Anthony Naples. “And the volume knob literally goes to 11.”
Stepping up in price, the Apogee Duet ($649) is widely praised for its simplicity and sterling sound, while Sui Zhen swears by her RME
Fireface UCX ($1599). “Learning to record at a higher quality can inspire and encourage you to take more care with your audio,” she
recommends. Berlin producer Ziúr likes the UAD Apollo X6 ($2199), despite the daunting price: “The good thing about UAD hardware is
that it processes UAD plugins [the company’s acclaimed emulations of classic studio technology] and is even lighter on your computer’s RAM
use.”

And if you’re daunted by some of these prices, consider opting for a used model, or even a previous generation of a popular product. Hausu
Mountain label co-founder Maxwell Allison, aka Mukqs, uses a decade-old, first-gen Apogee Duet. “I basically inherited this interface from a
friend who upgraded to the newer Apogee models, all of which seem fantastic, but even this old model does perfectly for my purposes.”
Monitors
Of all the choices you make while setting up a home recording studio, this one might be the trickiest. Judging music will always be a
subjective activity, and the same goes for judging how it sounds. At the same time, certain generalizations tend to hold true: You want
speakers that sound neutral and don’t unduly color or flatter your productions. They should not boost the bass, for example, because that
interferes with your ability to adequately hear what's actually going on in the lower frequencies, nor should they present high frequencies as
too bright; the speakers you listen to music on are not necessarily the speakers you want to make music on. “If your monitors aren’t good and
you can get your music to sound good on them, you’re in business,” suggests Call Super. GODMODE’s Sylvester goes even further: “You
should hate your monitors. Your monitors should make your mixes sound bad. The mix is done when it sounds good despite the monitors.”

Still, everyone will likely have a slightly different idea of what neutral sounds like, and there are other factors that will affect the music
coming out of your studio monitors, including the dimensions of your recording space. “The most important thing to consider is the size of
your room and the sound treatment in it,” cautions Fergus Jones, aka the Scottish bass producer Perko. “I was using the Yamaha
HS8s ($370) in my tiny room with no sound treatment, and it was way too much. All the bass would bounce around and get trapped in this
one corner.”

You might consider treating your room, adding acoustic panels or other absorbent materials in the right places to correct for unwanted
reflections. “Measure your room and make some DIY bass traps and reflectors,” suggests the Spanish house producer Jose Bernat, aka Pépe.
But, he cautions, “Don’t buy them pre-made unless you have money to burn.”

Another important piece of advice that the musicians I surveyed told me: Try out lots and lots of speakers. Go to the music stores around
town and bring music to play through them. Do they seem to accurately represent the music as you know it? Do they reveal aspects of the
sound you’ve never heard before? Or do they seem like they’re artificially sweetening certain frequencies?

ADAM Audio A7Xs ($750 each)

While certain models of monitor kept turning up, almost every musician I surveyed had a different preference. Berlin’s Ziúr started out, like
many fledgling producers, with KRK’s affordable ROKIT line (the 5" KRK ROKIT 5s are $179 apiece), but found that they colored the sound
too much; today she uses a pair of ADAM Audio A7Xs ($750 each) that she found for cheap. Perko favors Genelec 8010As ($350
each), which “don’t go very low but are very clear.” (For what it’s worth, I’ve been using a pair of Genelec 8030s—the current model goes
for $695 each—for over a dozen years now, and I still think they’re the best home studio purchase I ever made.)

JBL 308s ($199 each)

A number of people praised the HS8s ($370 each) or the smaller HS5s ($200 each), which Pépe called a good fit for his relatively big,
290-square-foot studio. For a pure bang-for-buck, Siete Catorce puts his money on the larger, cheaper JBL 308s ($199 each). “If you don’t
have a treated room and you’re on a budget, I’m convinced these are the best you can get. The bass is loud without being boomy, the highs are
just crispy enough. All the mixdowns I’ve done on these translate very well to other sound systems. Most importantly, they are fun.”

That bit about translating well to other systems is important. In fact, Zora Jones turns to a “tiny, really awful Bluetooth speaker” as the “final
frontier” of her mixdowns: “If it sounds good on there, the mix is done.” Mukqs’ Allison does the same thing, but with his car stereo. “As
much as it’s a cliche, the ‘car listen’ is a trope for a reason.”

“Just get a set of monitors that you can afford, and stick with them,” advises Anthony Naples. “As you listen to lots of other music on them,
you’ll learn how things are supposed to sound on them. I use the Presonus Eris E5 XT ($125 each), which are the very definition of ‘OK.’
You'd be surprised how many ‘professional’ producers use the cheapest entry-level monitors. After 10 years, they can make them sound just
as good as anything else. Considering most people aren’t hearing music through hi-fi means anyways, it’s sort of giving you a relatable
perspective on how people will listen to the music when it's out.”

Headphones
Though headphones will fatigue your ears faster than monitors and don’t have the visceral bass response that monitors do, it’s smart to have
a set on hand so you can work late at night or test how mixdowns sound outside of speakers. In fact, many city-dwellers may end up working
on headphones most of the time anyway. Perko suggests working out your budget, then splitting the cost between monitors and headphones.

Beyerdynamic DT 770 ($179)

Monitoring headphones should be comfortable enough to wear for hours at a time, have a wide frequency response with accurate bass and
treble—check the technical specs on retailers’ websites to compare different models—and have as neutral a sound as possible. DJ headphones
may not have the flattest response, but many musicians turn to their Sennheiser HD-25s ($150), something of an industry standard in the
DJ booth, just because they’re so used to the sound of them. (“Just make sure you don’t blast them for too long or you’ll seriously damage
your ears,” cautions Perko.) Another popular pick is the Beyerdynamic DT 770 ($179). “They’re a studio classic for a reason,” says Ziúr.
“They’re super comfortable to wear, they’re affordable, and sound absolutely fine.” In a similar price range, Pépe likes Audio-Technica’s
ATH-M50x ($149), “a wonderful pair at a very reasonable price.” Galcher Lustwerk praises the Sennheiser HD 600 ($400), which, as
an open-back headphone, he calls “my most comfortable pair for mixing tracks.” (Open-back headphones, which don’t shield the wearer from
outside noise, provide a better soundstage, so you can more accurately place elements in the mix.) In the same price range, Sony’s closed-
back MDR-7520 offer a considerably different experience. “They have bumping bass and nice noise canceling, so you feel like you’re deep in
the box,” says Mukqs’ Allison.

Swedish house producer DJ Seinfeld recommends Avantone Pro MP1 Mixphones ($199), which he says are “excellent and comfortable
enough for detailed mixing, even for beginners. I’m far from a mixing engineer myself, but found these to unlock a significant amount of
texture and awareness around frequencies and space.”

I’ve been using a demo pair of AIAIAI’s TMA-2 HD ($350), which are made with studio work in mind. They’re comfortable enough that
you can sit beneath them for hours, and they have a rich, reliable response; I’ve used both the TMA-2s and the recently released HD model,
and the step up in quality from the previous model is remarkable.
Digital Audio Workstation
In terms of creative work, your choice of a digital audio workstation (DAW) might be the most important choice you make. The name sounds
complicated, but a DAW is simply the software environment where all the recording, mixing, and editing of your music will happen. There
are a number of different DAWs out there. Image-Line’s FL Studio ($99-$899, depending upon the bundled features) is popular
with hip-hop and footwork producers, though it also has fans in EDM artists like Porter Robinson and Madeon. Steinberg’s Cubase ($99-
$588) has long represented the gold standard for many drum’n’bass artists. The comparatively inexpensive Reaper ($60-$225) has a
passionate user base behind it. Bitwig Studio ($270) is an evolving platform that recently reinvented itself as a fully modular system. And
then of course there’s Avid’s Pro Tools ($599, or $30 for a monthly subscription), the veteran workhorse that’s a longtime favorite
for recording live instruments and bands. But the big DAW rivalry these days really comes down to Ableton Live ($99-$749) and Apple’s
own Logic Pro X ($200). (Disclosure: I was paid to lead two discussion sessions at Ableton’s Loop 2016 conference.)

Apple’s Logic Pro X is a common digital audio workstation for many power users.

Logic Pro X comes loaded with highly regarded software synthesizers and effects. Power users tend to prefer Logic for recording audio from
multiple sources, and its MIDI features—that is, the connections that allow the software to communicate with hardware controllers and
external devices like synthesizers and drum machines—are solid. It’s also an intuitive step up for anyone who may have fiddled around with
GarageBand, the recording program that comes pre-installed when you buy a Mac.

“Logic is exceptionally clean,” says GODMODE’s Sylvester, “[it] doesn’t guide you to working one way or another. I find that a lot of music
made in Ableton and FL Studio can accidentally have a ‘sound’—not because of their audio engines, but because they lead you into specific
loop- and pattern-based workflows.”

Ableton Live is the favorite DAW among artists polled for this article, though musicians stress that expertise within a program is more
important than the program itself.

Ableton Live’s good for a lot more than just looping, though. “If you want to make your music into live performances, I’d recommend Ableton
Live,” suggests the UK experimental producer Loraine James. Ableton Live was originally introduced as a tool for performing electronic
music—a task that has long presented its share of logistical challenges—but it eventually developed into a full-scale DAW, and many
electronic musicians use Live as their principal tool for composing and recording. Virtually every artist I surveyed praised Ableton for its
quick, intuitive workflow and flexibility. Its two principal working environments—Session View and Arrangement View—facilitate different
modes of working: one loop-based and jam-oriented, and the other more traditionally linear. “Ableton strikes a good balance of music-
making potential and an easily understood [interface]” says Anthony Naples. “Plus, the sampling and resampling is the best, which is the
reason I got it into it in the first place.” And Ableton’s own on-board instruments and effects are nothing to sneeze at, either—with several
new additions to the set with the release of Live 10, in 2018—while Max for Live (included in Live Suite, or available as an additional
purchase) opens up access to an ever-expanding library of user-created instruments.

Of course, these aren’t the only options. The VCV Rack is a free, open-source platform that emulates the functionality of modular
synthesizers, with an expanding library of modules, both paid and free, to plug into it—though novices might find the format bewildering. At
the other extreme of user-friendliness, new apps for smartphones and tablets are constantly being released, many of them free. Finally, while
they may not have the cachet of their high-gloss peers, free, open-source programs like Audacity can be a great way to get started with making
and processing audio. “It isn’t the same as the professional DAWs, but it basically does the same things, and some of the records people are
making at the professional level use it too,” says New York electronic musician Bryce Hackford.

If you’re in doubt, try out the demo versions of various programs and see how each one resonates with you.

Ultimately, says Sylvester of the great DAW debate: “Whichever one doesn’t make music feel like work—go with that one!”
Controllers
 Akai’s MPK 249 ($395)

Mouse, trackpad, keyboard—none of them make for a particularly intuitive music-making tool. Which means that you’ll want some kind of
controller interface—whether a piano-style keyboard or an array of pads—in order to trigger and control sounds within your DAW. The range
of options is, once again, pretty staggering. If you just want to key in notes on a traditional piano-key layout, you might do just fine with the
ultra-portable, foot-long Korg nanoKEY2 25-key controller ($57)—it even comes in a fetching orange and green—or M-Audio
Keystation Mini 32 ($59). If you like knobs to twist and pads to hit, something like Akai’s MPK Mini mkII could get you started
for $99—though if you want full-sized keys and you’re partial to playing chords, you might want to move up to something like Akai’s MPK
249 ($395), which boasts four octaves, semi-weighted keys, aftertouch (which allows you to control MIDI parameters by pressing harder on
the keys), and a mess of assignable knobs, faders, and pads. Anyone interested in the functionality of classic drum machines and hardware
sequencers might want to explore the Arturia BeatStep Pro Controller & Sequencer ($259), a remarkably inexpensive MIDI step
sequencer for controlling both hardware and software.

All of these controllers more or less seamlessly integrate with whatever DAW you’re using; for an even more seamless plug-and-play
experience, there’s a growing market in third-party tools like the Akai Professional Fire ($84), a grid controller for FL Studio,
and Novation Launchpad Mini ($110), for Ableton Live. If you want a device that truly functions as a three-dimensional extension of
what you see onscreen, try Native Instruments’ Maschine ($649) or Ableton’s Push ($799). The Maschine is a pad-based instrument
that integrates with Native Instruments’ software instruments, samplers, and effects to facilitate quick, intuitive writing, editing, and
performance techniques like pattern editing, step sequencing, and sample slicing. Push takes a similar approach, with an expansive array of
pads designed to mimic Ableton Live’s Clip View, and numerous built-in and freely programmable controls to give hands-on access to Live’s
key features.

Software Instruments
Here’s where the list of possibilities really becomes unlimited. Though both Ableton Live and Apple Logic Pro X come pre-loaded with an
extensive range of samplers, effects, and other virtual instruments—sometimes called “soft-synths” or “VSTs” (short for “Virtual Studio
Technology,” since many early VST plug-ins were meant to emulate familiar hardware devices)—there are plenty of downloadable a la carte
sounds out there. In terms of versatility and quality alike, many inexpensive software instruments today are capable of sounds as rich and
substantial as those produced by far more expensive pieces of hardware—and some are designed explicitly to replicate them. Arturia offers an
extensive line of software instruments that emulate hardware classics like the Yamaha DX7, Buchla Easel V, and even the semi-
modular ARP2600.

For many musicians, Native Instruments will be a good first stop. (Disclosure: I gave a paid lecture at a Native Instruments workshop in early
2016.) The Berlin company, active since 1996, is one of the giants in music software, and their Komplete suite of software
instruments ($599) offers an extensive collection of synthesizers, samplers, effects, acoustic emulators, sample-based instruments, drum
machines, and more. (For the curious, there’s also the more rudimentary Komplete Start, which is free.) Among Komplete’s instruments are
the heavyweight Massive (a favorite synth of dubstep and bass producers), the Battery drum sampler and sequencer, the Guitar Rig amp
simulator, and various sample-based instruments that painstakingly recreate different types of acoustic tones. “I hardly use soft synthese
these days, but I still really enjoy NI Komplete,” says Project Pablo. “It’s the most diverse set of software you can grab as a beginner.”

Berlin’s U-He began as a one-man operation, but these days the software developer Urs Heckmann has built his boutique virtual-instrument
company into a formidable operation with a growing range of products. The Zebra 2 ($199), the current version of a soft-synth that’s been
around for more than a decade now, combines a variety of synthesis types with a powerful modulation engine to offer an instrument that’s
powerful, surprising, and sounds great. (Composer Hans Zimmer even used it on The Dark Knight soundtrack; you can purchase his sound
set and custom update to the instrument for €99.) Any Cable Everywhere ($79) and Bazille ($129) both extend modular-synthesis
techniques to the virtual realm, while Diva ($179) leverages classic synthesizer design to offer amazing sound quality. For an alternate
approach to modular-style synthesis, you can try the excellent, Buchla-inspired Aalto ($99) from Seattle’s Madrona Labs, which particularly
excels in the creation of dynamic, evolving sounds and sequences. If singing is more your thing, try Madrona Labs’ Virta ($89), a voice-
controlled synth with truly head-spinning effects.

For more effects, many of the musicians I surveyed swore by Valhalla DSP’s line of plugins like the Valhalla Plate classic plate
reverb ($50), Valhalla Shimmer reverb ($50), and the free Valhalla Freq Echo frequency shifter. Anthony Naples recommends
Soundtoys plugins, like the Echo Boy delay unit ($199)— manna for dub fanatics—and the MicroShift stereo widener ($129), while
Perko likes Unfiltered Audio’s Spec Ops ($99) multi-effect and Dent 2 ($49) distortion unit, and Sui Zhen suggests Unfiltered
Audio’s Instant Delay ($29).

Galcher Lustwerk recommends reserving your plugin budget for effects—a good reverb, compressor, EQ—“which are usually cheaper and give
your music more character.” Izotope’s Ozone 9 bundle ($129-$499) is a good effects starter kit “for quick, radio-quality sound,” says DJ
Seinfeld. “The presets are good, and you can learn a fair amount about basic mastering and mixing through tweaking them.”

Likewise, Siete Catorce stresses the importance of learning the ins and outs of synthesis, no matter how easy-to-use the instrument might
appear. “Knowing everything about your soft synth to get the sounds you want is more important than having a million of them.”
Hardware Instruments
The wide world of hardware instruments encompasses decades’ worth of electronic gizmos—synthesizers, drum machines, sequencers, effects
—not to mention all those more traditional sound makers like guitars and drums and flugelhorns, to name a select few. But when it comes to
electronic gadgets, despite the allure of classics like the Roland TR-808 or Juno-106, their worldwide fame means that prices have
skyrocketed in recent years; many eBay sellers are asking upwards of $4,000 for 808s in good condition. Fortunately, for users looking for
that classic sound, there’s a robust market in modern replicas.

The TR-08 ($400)

Roland’s Boutique series is a line of miniature versions of the company’s most iconic machines. The TR-08 ($400) is a scaled-down replica
of the TR-808 drum machine, one of the building blocks of techno. The TB-03 ($390) is heir to the TB-303, the bass synthesizer that begat
acid house. And the JU-06 ($400) module recreates the legendary Juno-106 synthesizer. Korg has also been doing a brisk business in
reviving various workhorses of yore. They recently brought back the ARP Odyssey ($650), a versatile duophonic synthesizer originally
released in 1972, in an effort overseen by ARP co-founder David Friend; the new model remains faithful to the original’s architecture and
analog circuitry, simply using new parts and manufacturing. The MS-20 mini ($530), meanwhile, is a scaled-down version of 1978’s MS-
20 that reproduces the original’s analog circuitry. “I have been bonding with my bandmate’s Korg Minilogue,” says Sui Zhen. “It’s a great and
affordable synth. For sound design and atmosphere and also hectic dance music, it’s a perfect starting point for happy accidents to get
creative with.”

Korg’s Volca series offers an even more back-to-basics sensibility—with even more appealing price tags. “It’s a wonderful gateway drug into
the hardware world,” says Pépe, the Spanish producer. Volca Keys ($146) is a polyphonic analog synth with built-in loop sequencer whose
simple structure makes a great first synth for novices. Volca Bass ($150) is a simple analog bass synthesizer and step sequencer that
features 303-like functions. The Volca Beats ($150) combines both analog and digital synthesis into a powerful, compact drum machine
and step sequencer. And further machines—the DX7-inspired Volca FM ($150) digital synthesizer, Volca Sample ($150) digital sample
sequencer, and Volca Kick ($150) analog bass-drum generator—offer even more creative possibilities at a nice price.

For those with the extra cash on hand, Moog—whose synths are still manufactured at their headquarters in Asheville, North Carolina—makes
investment pieces built to last, and some carry a relatively reasonable price tag, like the Moog Minitaur Analog Bass
Synthesizer ($499), or the semi-modular Grandmother ($950). Sequential (formerly known as Dave Smith Instruments), the
brainchild of Prophet-5 designer Dave Smith, is another American company doing amazing things, albeit with a hefty pricetag. “The only
hardware synth I have is the OB-6 ($2999), and it’s not at all reasonably priced,” says Anthony Naples. “But wow, listen to it.”

A few musicians suggest going with rack-mount gear (that is, synthesizer modules with no built-in keyboard). “No one needs a full keyboard
these days,” reasons Project Pablo, who’s a fan of vintage units like the Roland JV-1080, Waldorf Micro, and Yamaha TX81z.

But be honest with yourself, cautious Pépe: “A lot of gear ends up being a glorified paperweight. Be critical with how it’s going to enhance
your workflow.”
Nick Sylvester agrees. “With any hardware purchase, I try to articulate why I want it, how I intend to use it, and what I could do with it that I
can't do with what I already have. Which is to say, I don't buy a lot of new stuff. I like hardware that functions as idea starters—something
that takes away my own agency as a composer and forces me to listen and happen upon an idea.”

Microphones
Even if you’re not planning to sing, consider investing in a decent microphone. For a more detailed look at options, check out our guide to
the 11 Best Microphones for Your Home Studio, but the place to start is Shure’s SM57 ($99) for instruments or Shure’s SM58 ($99) for
vocals. For not much more money, Zora Jones says, “The Audio-Technica AT2020USB ($149) bangs! I’ve tried so many other mics and I
always come back to it.”

AKG C214 ($359) condenser mic

More serious vocalists might step up to something like an AKG C214 ($359) condenser mic. “I recently invested in one, and it’s hugely
improved my home vocal recordings, picking up the nuances and dynamic range of the voice,” says ambient composer Lucy Gooch.

“For vocalists, you should invest in something decent that suits your voice,” advisees Sui Zhen, who uses the Peluso P12 ($1881). “It will
make you sing better.” But, she says, the really important thing is just to get started. “If you really want to do it, you’ll make do with whatever
you have at hand—including your crappy iPhone mic. Gear won’t get you anywhere without having something to express.”

Bryce Hackford echoes that thought: “The most important piece of gear is you. Gear fetish and dogma just get in the way—focus on the sound.
You can make interesting art out of garbage.” In fact, he suggests, if it’s not being put to good use, even the most expensive piece of
equipment is just that—garbage. Fortunately, between the ever-expanding array of tools, robust secondhand market, and democratization of
music-production knowledge, it’s never been easier to record your own music at home, whatever your budget and background. The creative
potential of the home studio just keeps growing, which is great news for anyone with a sound in their head that they’re itching to share with
the world.

Back to home

Small Room Acoustic Size

And Shape
By MikeSorensenJuly 1, 2012No Comments
All Shapes And Sizes
Our small room acoustical environments seem to come in all sizes and shapes.
Most of the rooms I see are small. I see a lot of rooms that were originally
designed by the builder to be used for another purpose. Closets become vocal
booths and a garage becomes a drum room. Most of the rooms also have
unique shapes and layouts. Uneven or unbalanced room shapes cause many
unwanted “noises”. Taming room acoustical issues is difficult but a rectangular
room gives us a fighting chance.
Rectangular Room Shape
In our small rooms, it is imperative that we have a room that is rectangular
shaped. This shape allows us to have a consistency and predictability to the
sound energy’s behavior within the room. With a room that has a length and
width, with the width always smaller in distance than the length, we can have a
high degree of confidence in the way the room acoustics will behave. Both
walls that make up the width and both walls that make up the depth or length
face each other at a given distance. If we have rooms that have alcoves,
closets, or other “holes” for sound energy to enter,we create more acoustical
problems for ourselves.
No Closets!
A closet or a hallway can be turned into a “speaker” with a small amount of
sound energy. Energy into a closet can cause the closet to resonate at the
frequency its dimensions tell it to. Now, not only do we have the room to deal
with, we have another room attached to our room that wants to speak for
itself. Acoustically, we must now treat this resonance and make sure it doesn’t
interfere with the rest of the room sound.
Sound Stage
Side wall reflections and the correct acoustic management of these reflections
in a music play back environment are critical in developing a sound stage. Most
of our time is spent minimizing the time signature of the side wall reflection, so
that it is slower than the direct sound. With a parallel side wall surface and
structure with given distances, it is easier to manage both left and right
channel side wall reflections with predictability and consistency. If you do one
thing to one side wall, you must do it to the other.
Reflection Treatment
Side wall reflections are usually treated with some type of sound absorption
technology. To slow down the primary side wall reflection, individuals use
some type of absorption material which is usually acoustic foam. With a
parallel side wall surface is is easier to hear subtle differences in room
treatment techniques because one has to treat both sides the same. Parallel
side wall surfaces give us signal predictability.
Rear Wall Distances
We must be careful and pay attention to the distance from the listening or
monitoring position and the rear wall of our rectangular room. Sound energy
reflected off of the rear wall at the listening position causes, in essence, a
comb filter effect if this distance is not far enough. Now, one is sitting in this
zone of reflections off of the rear wall. This reflection not free zone interferes
with the sound from our speakers. We will lose definition and separation at
our sound stage.
Rear Wall Treatment
Using sound diffusion technology to treat the “rear wall” is popular. With true
sound diffusion and not just sound redirection, we need distance. Distance is
required because of the way a quadratic diffusor works. A diffused waveform
needs room to grow to its mature length in order to sound good. It sounds
good by not being heard. Once it achieves its full length, then it can arrive at
the listening position hopefully, with out being noticed. A properly diffused
rear wall surface makes the whole room sound larger than its physical size.
No Triangles
Unparalleled wall surfaces such as half rounds, triangles or any other non
parallel shape in our rooms will only compound our acoustical issues when we
are dealing with the time signature of a reflection in order to keep it in proper
line behind the direct sound from our loudspeakers. These shapes in the room
can also redistribute middle and high frequency energy back into our rooms in
uneven and unpredictable ways at our listening or monitoring position.
Irregular shapes of wall structures can cause sound pressure energy to move to
areas that it would not go to in a rectangular room, maybe even back to the
listening or monitoring position.
Room Size And Volume
Room size and volume are very important. Their importance can not be
stressed enough. There are optimum sizes and minimum sizes that one must
choose. Choosing the proper length, width, and height of the room will assist
us in dealing with resonances by “structurally” minimizing them. If one is
considering using a given room within their structure for sound use, measure
the physical dimensions of the room and then research sizes that may be
acoustically better ratios. Obviously, we can not make our room larger, but we
can make our room smaller, if it gets us a better frequency response curve,
especially with low frequencies.
The shape of our rooms is critical if we are going to put together a room that
will sound good for its intended purpose. We have to deal with low frequency
sound energy pressure causing resonances and middle and high frequency
reflections interfering with wanted sound at the listening position. Closets and
hallways can become their own speakers, with the closet and hallways sides
wall and ceilings become the surfaces of the “speaker” cabinet. They will
resonate or talk at whatever frequency their size will allow for. Rear wall
distances from the listening position to the rear wall must be at minimum
distances to allow for the time delayed reflection off of that rear wall to be
managed acoustically. A rectangular shaped room gives us predictability in
treatment options and gives us a fighting acoustical chance at good sound.

https://www.acousticfields.com/small-room-acoustic-structure/