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How to Build a Personal Studio on Any Budget

Jul 1, 2002 12:00 PM, Steve O

The $10,000 Studio (without computer)

By Gino Robair

ITEMS PRICE
Alesis ADAT HD24 modular hard-disk recorder $2,495
Blue Baby Bottle microphone $649
Electro-Voice N/D468 microphone $278
HHB BurnIt Plus CD-R burner $649
Lexicon MPX 110 multi-effects processor $329
Oktava MC012 mics (matched pair) $659
PreSonus MP20 2-channel mic preamp $699
Samson Q5 headphone distribution amp $199
Sony MDR-7505 headphones $135
Tascam DM-24 digital mixer $2,999
Tascam IF-AD/DM ADAT card $249
Yorkville YSM1p powered monitors (2) $640
TOTAL $9,980

My needs are simple: I want the ability to record a small group of musicians while monitoring and mixing in stereo. Given my budget, the trick is to get more than you pay for. Fortunately for me, quality gear continues to drop in price, and for that reason, there has never been a better time to build a personal studio on a limited budget.
As I assembled this studio, I kept reminding myself that a studio is a work in progress: there are so many items I want but don't have the money for. A number of items ended up on my wish list for a time when my bank account is flush again. In the meantime, let's go shopping!

Mixer

My budget doesn't allow me to buy a full complement of the outboard processors I'd like, such as compressors, EQs, gates, and mic preamps, so I chose a digital mixer with onboard effects. The Tascam DM-24 is a 32-channel, 8-bus board that can handle 24-bit, 96 kHz audio right out of the box (although running the DM-24 at 96 kHz reduces the channel count to 16). It has the connections I need, too: 16 analog inputs, 6 aux sends, 4 sends and returns, 24 channels of TDIF I/O, 8 channels of ADAT Lightpipe I/O, and 2 channels of both AES/EBU and S/PDIF I/O.

I'm filling one of the open interface slots with an IF-AD/DM 8-channel ADAT Lightpipe I/O card so that I have digital interfacing that matches my multitrack hard-disk recorder (which I will discuss in a minute). I really want to buy two of these cards, but my budget doesn't allow it, so I will buy one now and save my money to buy another one later. Tascam also offers the MU-24 meter bridge; it would be useful, and I would like to buy it, but I can't afford that right now, either.

Each of the DM-24's analog input channels offers phantom-powered XLR mic inputs (switchable in groups of four), TRS line inputs, and inserts. In the digital realm, I can assign a compressor, a gate/expander, and a parametric EQ to each input. The onboard effects also include Antares mic and speaker modeling, TC Works reverb, and assorted effects from Tascam. Together, this complement of inputs and processing should cover most of my needs for the time being.

I can use the mixer's onboard automation to adjust fader levels, panning, muting, aux and bus master levels, and compression, EQ, and gate settings. The 17 motorized faders have a comfortable 100 mm range.

The mixer sends word clock, so the DM-24 can act as the master clock and make sure the digital words are synced between mixer and recorder. The DM-24 requires MTC for automation duties, so I'll choose a recorder that sends MTC. The DM-24 can send and receive MIDI and send MMC. Overall, it should give me a fair amount of flexibility.
Recorder. The heart of my studio will be the Alesis ADAT HD24, a 24-track hard-disk recording system that sounds excellent and is as intuitive to use as a tape machine. The recorder has 24 channels of balanced 1/4-inch analog I/O as well as 24 channels of Lightpipe digital I/O. The two combined give me plenty of options for interfacing with my DM-24 mixer.

The ADAT HD24's 24-bit converters run at 44.1 and 48 kHz, but the unit can also record and play back at 88.2 and 96 kHz using external A/D/A converters and the Lightpipe I/O; however, that reduces the track count to 12. Alesis is also developing the EC-2 optional 96 kHz I/O board. With the HD24 and DM-24, then, I'll be able to record at high resolution when I'm ready to, and in the meantime, I can record 24 channels simultaneously at 44.1 and 48 kHz, which is exactly what I want.

The ADAT HD24 has a word-clock input and MIDI In and Out and sends MTC, so I can sync to the DM-24 and use its automation. I'll place the HD24's LRC remote controller next to the mixer.

The recorder's storage configuration is another great feature: the ADAT HD24 includes two IDE drive bays with removable caddies that allow me to hot-swap hard drives during a session. A 20 GB drive comes with the recorder, and any IDE-compatible drive with a spindle speed of 5,400 rpm or greater can be used in either bay. (Click here for a review of the Alesis ADAT HD24)

Speakers

Whether or not my studio has a separate control room, I'm going to need close-field monitors. I'm choosing the Yorkville YSM1p, a biamped, active monitor that is an excellent value. The YSM1p is small and relatively light, and it offers a balanced frequency range, free of EQ hype. That's what I want from a pair of monitors intended for critical listening. The 6.5-inch woofer and 1-inch tweeter are both shielded and are driven by 115W and 30W power amps, respectively. A 2-inch port adds to the monitor's bass response.

The YSM1p includes filters to help tailor the monitor to its location in your control room. The low-frequency filter lets you boost or cut the response at 80 Hz by 2 dB. Other filtering variables include what Yorkville calls HF Reflection Optimization, with settings for a dampened room, a normal room, and a bright room. The filters are set using rear-panel DIP switches. The YSM1p also includes an input trim pot ranging from –6 to +9 dB, a limiter switch, and a Neutrik combo connector that offers XLR and 1/4-inch TRS input.

While I'm on the subject of transducers, I'll need headphones for my studio. Because most musicians already have headphones, I'm budgeting for only one pair: the tried and true Sony MDR-7505s. Although I can't buy them now, I also plan to save up for a pair of open-ear Grado Prestige Series SR125 headphones for critical listening. The SR125s are lightweight, sound great, and are comfortable to wear during long mixing or editing sessions.

For times when I have more than one musician recording simultaneously, I'll need a headphone distribution amp. The Samson Q5 is small and rugged and comes with five outputs, each with its own volume control. This is especially helpful when you're overdubbing string, brass, or wind instruments, because the players have different listening requirements based on the size and position of their instruments. Although five outputs may seem excessive at first, remember that you might want an extra set of cans for the conductor or producer - during a string-quartet overdub, for example.

Microphones

Choosing mics is always tough because there are so many good options. I want to be able to track anything that comes through the door - vocals, guitar, bass, keyboards, drums, and various acoustic instruments - so I need a handful of multipurpose mics that are quiet, can handle high sound-pressure levels (SPLs), and won't wipe me out financially. I'm choosing four mics that will also give me adequate coverage for a drum kit: a dynamic mic that can double on snare, a large-diaphragm condenser that will cover voice and bass drum duties, and a matched pair of small-diaphragm condensers for drum overheads and acoustic guitar.

I've chosen the diminutive, supercardioid Electro-Voice N/D468 as my dynamic mic. The nice high-end definition and beefy lower mids of the N/D468 give me an evenly balanced snare sound right away, and the adjustable, rotating capsule lets me aim the mic right where I want it. Because of its low profile, it also makes a great tom mic, so I'm planning to augment my mic cabinet with more of these in the future.

Next up is a large-diaphragm condenser, and that was an easy choice: Blue's latest release, the Baby Bottle, is possibly the best large-diaphragm condenser in its price range. This single-pattern (cardioid), solid-state wonder features a 1-inch capsule and a Class A, transformerless output circuit with self-noise that rates at an impressively low 5.5 dB. The Baby Bottle has no pad, no filter, and best of all, no EQ circuitry. What you get is a transparent, high-output transducer that's quiet but can handle high SPLs. It sounds great on voice, electric and acoustic guitar, and bass drum - exactly what I need. Eventually, I'll spring for the optional shockmount/pop filter accessory package in order to get the most out of the Baby Bottle. (For a full review, see the June 2002 issue of EM.)

A matched pair of mics can't be beat for those occasions when I want to record an instrument in stereo. The best value I found is the Russian-made Oktava MC012. Each mic comes with three interchangeable capsules (cardioid, hypercardioid, and omnidirectional) and an insertable 10 dB pad. Whether you use it individually or in a stereo pair, the MC012 is a bread-and-butter mic that sounds great on piano, acoustic guitar, percussion, and voice. Oktava microphones are available in the United States exclusively from the Sound Room (http://www.sound-room.com). Although you may be able to find these mics for less money elsewhere, it's worth getting a pair that's been professionally matched.

Mic preamp

This is another tough category for a studio on a tight budget. Although my mixer has 16 mic inputs, I want at least two channels of Class A preamplification for recording critical tracks. If I can get a direct-injection (DI) box or two in the deal, that's even better. This sounds like a job for the PreSonus MP20. The MP20 offers two discrete Class A mic preamps, each with phantom power, a 20 dB pad, an 80 Hz rolloff, phase reverse, and PreSonus's IDSS circuit, which can be used to add harmonic distortion for simulating so-called vintage warmth. In addition, each channel has a front-panel 1/4-inch, low-impedance input for use with electric guitars and basses. The rear panel has XLR I/O and individual 1/4-inch TRS send and return jacks for inserting a compressor, a limiter, or EQ.

I've used the MP20 in the studio and in the field, and it performed admirably in both settings. The unit is clean and rugged, and the musicians I've recorded have always liked their sound through this preamp. I can never have too many preamp choices, so when my budget allows, I'm going to spring for a Grace Design Model 101, an exceptionally clean single-channel preamp, and for the Summit Audio TD-100 Tube DI and instrument preamp for those times when I want a little more color.

Dynamics processors

High on my wish list is an outboard dynamics processor, one I can use for tracking drums, bass, and guitar and can put on the stereo bus during a mix. The FMR Audio Really Nice Compressor will give me the most crush for my cash when I can afford it. The RNC offers two modes: Normal and SuperNice. The latter gives you the effect of three compressors in series, yielding gentle, transparent compression. The RNC's Normal setting has all the punchiness needed to beef up guitars, drums, or an entire mix. For the price, the RNC can't be beat, which is one of the reasons it's so popular in both personal and pro studios.

Effects processors

Although the DM-24 offers most of the effects I'll need, I want a dedicated 2-channel outboard reverb. The budget-priced Lexicon MPX 110 is a 24-bit effects processor with 240 presets, including a stereo reverb, a flanger, a tremolo, a delay, and an echo, all of which are excellent. The high-quality sound is accompanied by a flexible routing scheme that lets you combine two independent effects with separate processing on the left and right channels. The unit has a coaxial S/PDIF output that can be used simultaneously with the analog outputs. The MPX 110 also has MIDI I/O, which is great for remote control and for editing hidden parameters.

Mixdown deck

I've been a loyal DAT user for longer than I care to admit, because the format is both ubiquitous and reliable. My loyalties changed, however, when I began using HHB's CDR830 BurnIt CD-R deck. The BurnIt is as easy to use as a tape deck and includes many features you wouldn't expect in this price range; for example, the device has front-panel level controls for the analog and digital inputs. The digital input offers ±20 dB of control, which is useful when archiving low-level digital recordings. In addition, the BurnIt automatically converts incoming digital signals at 32 or 48 kHz to 44.1 kHz. If you're going in and out from the analog domain, the converters sound great.

Other features make this item stand out: the BurnIt can create CD Text discs, and it can store text for three separate unfinalized CD-Rs. In Sync-Final mode, the BurnIt begins recording when the source deck begins playing, transfers all ID marks, and automatically finalizes the disc when finished. I've used this feature numerous times to back up digital source material, such as DATs and MiniDiscs.

The BurnIt has RCA jacks for analog I/O operating at –10 dBu, and optical and coaxial jacks for S/PDIF digital I/O. However, HHB has just released the BurnIt Plus, which adds pro-level I/O to match the professional interface. The BurnIt Plus adds balanced XLR analog inputs and outputs that operate at +4 dBu, balanced S/PDIF digital I/O (on XLR3 connectors), word-clock input, and a parallel-remote connector. I use the BurnIt on a daily basis already, so it's a no-brainer for the studio of my dreams. The added I/O closes the deal for me, so I'll splurge for the BurnIt Plus.

At this point, I can make a little extra scratch by offering remote stereo-recording services using a tidy setup culled from my list: a pair of MC012s going into the PreSonus MP20 preamp, with the HHB CDR830 BurnIt Plus as the recorder and the Sony MDR-7505 headphones for monitoring.

Future Expansion

I've already noted several items that I'll add later, when I have more money: a second Tascam IF-AD/DM 8-channel ADAT Lightpipe I/O card and a Tascam MU-24 meter bridge for the DM-24 mixer, Alesis's optional 96 kHz I/O board for the ADAT HD24, the optional shockmount/pop filter accessory package for the Baby Bottle mic, more Electro-Voice N/D468 mics, the Grace Design Model 101 and Summit Audio TD-100 preamps, and the Grado Prestige Series SR125 headphones. In addition, I'm saving up to buy a $55 pair of Kiwi mic cables from Blue, which will help me get the most out of my microphones; I came in $20 under budget, so I'm already almost halfway there.

Finally, an analog patch bay is an important ingredient in a studio, even if you have only a couple of outboard devices. Unfortunately, I am unable to afford one right now, but when my budget permits, I will buy the Ace Products APB48S, a 48-point audio patch bay with 1/4-inch TRS I/O. The APB48S has modular PCB cards that let you change the routing configuration of each vertical channel from half-normaled to denormaled (and vice versa) by simply turning the card around. This modularity allows me to configure my studio exactly the way I want to.