How to Build a Personal Studio on Any Budget

Jul 1, 2002 12:00 PM, Steve O

The Studio without Computer - $30,000

By Brian Knave

ITEMS PRICE
Ace Products APB48S $150
A.R.T. ProVLA 2-channel tube compressor $649
Audix OM2 small-diaphragm $298
dynamic microphones (2)
Behringer Powerplay Pro HA4400 $95
4-channel headphone distribution amp
Beyerdynamic Opus 65 large-diaphragm $349
dynamic microphone
Blue Baby Bottle large-diaphragm condenser microphone $649
Crown CM-700 small-diaphragm condenser microphone $299
Demeter VTDB-2b Tube Direct box $599
Earthworks QTC1 omnidirectional $1,000
condenser microphone
Electro-Voice N/D 868 large-diaphragm $310
dynamic microphone
FMR RNC1773 2-channel solid-state compressors (2) $398
HHB CDR830 BurnIt Plus CD-R burner $649
IZ Technology RADAR DVD-RAM backup option $695
IZ TechnologyRADAR 24 Project 24-track digital recorder $5,995
JBL LSR28P powered reference monitors $2,242
Langevin Dual Vocal Combo 2-channel voice processor $2,000
Lexicon MPX 100 2-channel multi-effects processor $299
Lexicon MPX 500 2-channel multi-effects processor $599
Lucid AD9624 2-channel A/D converter $899
Neumann TLM 103 large-diaphragm condenser microphone $995
Oktava MC012 small-diaphragm condenser microphones (2) $659
PreSonus ACP88 8-channel Compressor/Limiter/Gate $1,199
Royer Labs R-121 ribbon microphone $1,195
Sennheiser MD421 large-diaphragm dynamic microphone $485
Shure SM57 small-diaphragm dynamic microphone $146
Sony MDR-7506 headphones (4) $500
Soundcraft Ghost LE 24-channel recording console $5,495
TC Electronic M300 Dual Engine processor $299
TC Electronic M-One effects processor $699
ViewSonic E50 15" CRT monitor $151
TOTAL $29,997

Thirty grand may sound steep for a studio these days, especially considering the powerful computer-based rigs Miller and Rubin put together for half that amount. By my calculations, though, $30,000 is roughly the minimum required to outfit a traditional-style studio with enough decent gear to record and mix bands.

Taking recording and mixing bands as my cue, I have put together a high-quality but straightforward recording studio, complete with a slamming mic cabinet, a rack full of outboard gear, mixer buses directing the flow of electrons rather than bits, and even some big knobs to turn. If you're the type who prefers the simplicity, immediacy, and more visceral, hands-on approach afforded by a traditional studio environment, then you've come to the right place.

Three overriding concerns guided my gear selections: pristine signal capture and flow, maximum system versatility, and component reliability. Furthermore, I designed with an eye toward growth: this setup readily accommodates expansion.

In short, this system is built to rock. It's also built like a rock, simple and solid, and therefore should provide consistent, trouble-free operation for years to come. You may even find - dare I suggest it? - that this studio offers a level of sound quality not quite within reach of the other systems profiled in this article. The truth is, were I actually given $30,000 in real money for the purpose of putting together a studio from scratch, this is precisely how I would spend those dollars.

The core

Though I could easily have enlarged my system by economizing on core components (mixer, recorder, and reference monitors), I decided that was not the place to cut corners. The wiser course is to invest foremost in the core stuff, which I am doing to the tune of nearly half my budget. Fortunately, that approach enables a marriage of two units I consider to be the best sounding and most reliable available in their respective price ranges: the Soundcraft Ghost LE analog mixer and the iZ Technology RADAR 24 Project digital recorder. Both are open to expansion, upgrades, and repair, and both companies have excellent track records in terms of customer service and support.

Mixer

Naturally, I would have preferred the full-blown, 32-channel standard Ghost, which features onboard machine control, MIDI support, mute grouping, and even mute automation (when connected to a sequencer). However, it would simply eat up too much of my budget. So I settled for the pared-down, 24-channel Ghost LE, which has the same audio components but does away with the transport control and MIDI facilities.

At this point, given the obvious control and feature advantages of digital mixers (automation, onboard effects and dynamics processing, and so on), you're probably wondering why I'm choosing an analog console. One reason is user-friendliness; you know what's going on at a glance with the Ghost, which cannot be said of most digital boards. Another reason is ease of servicing: the Ghost's vertical circuit boards allow the unit to continue functioning even if an individual channel is removed for repair, whereas if something goes wrong with a digital mixer, you normally have to return the whole unit. I also considered overall system integrity: analog mixers are simply more mature as a technology than their digital counterparts.

The main reason, however, is sound quality. In my opinion, the Ghost is the best-sounding, best-featured, and most versatile midlevel analog mixer available off the shelf today, and it sounds better overall - warmer and more musical - than comparably priced, full-featured digital mixers. Admittedly, the sonic differences may be subtle, but once you start working with the EQ and mic preamps, the Ghost kicks butt on digital mixers. In particular, having 24 high-quality mic preamps simultaneously available - potentially a necessity when recording bands - saves me a bundle on outboard preamps. The smooth, musical quality of the Ghost's 4-band EQ (two bands are fully parametric) is also a big selling point. I could go on to elucidate many other, professional features the Ghost has that comparable digital (and other analog) mixers don't - individually switchable phantom power and phase reverse on each channel, for example - but you get the idea.

Recorder

I have already expressed my opinion that RADARs are the best-sounding and the most reliable digital recorders currently available in their price ranges. But of course, I'm hardly alone in that opinion. Since the first RADAR came out in 1993, countless users have praised it for its analog-tape-like sound, ease of use, bulletproof ruggedness, and crashproof resilience. Not surprisingly, the majority of users have been pro engineers working in major studios - which, until recently, was the only place that you were likely to encounter a RADAR.

But that's changing fast. The price of the RADAR came down substantially a few years ago, from over $25,000 to around $10,000 for a 24-track system. The amazing price breakthrough, however, came just recently (in March 2002) with the announcement of the RADAR 24 Project system. Like the pricier RADAR 24 Classic ($9,995), the Project offers 24 channels of analog I/O on six rear-panel DB25 connectors, and it records at sampling rates up to 48 kHz. The sound quality of the two models is identical. One difference between models is that the Project comes with a scaled-down controller (the KC-24, a simple keyboard remote rather than the sturdier, full-featured Session Controller) and without the meter bridge, which attaches to the Session Controller. The other difference is that the Project records to an internal 40 GB IDE hard drive rather than to a removable 36 GB SCSI hard drive, the standard on the three higher-end RADAR models.

It's worth noting that the primary criticisms the EM reviewer leveled against the RADAR only a year ago (see the July 2001 issue) - editing capabilities that were cumbersome and average and no way to exchange file and session data except in real time - have been rectified. Editing capabilities are much improved on the latest RADAR systems, and now you can export WAV and time-stamped Broadcast Wave files.

The 24 Project system offers backup using external SCSI and Ethernet. But I am choosing to outfit my system with the optional DVD-RAM backup, a seamless and ultimately more cost-effective solution. Note, too, that I'm selecting a CRT monitor, the 15-inch ViewSonic E50. The monitor plugs directly in to the back of the RADAR 24 Project to provide audio metering.

Thankfully, the 24 Project is compatible with all other RADAR I/O cards and accessories and is fully upgradeable to the highest-level system (RADAR 24 S-Nyquist). That means I can start out at the affordable Project level and move up the ladder as my budget permits. But no matter what rung I'm on, I feel pretty grand with the RADAR.

Speakers

Choosing reference monitors is easy. I and many others I know (including some famous mixers I sort of know) have fallen in love with the JBL LSR28P active biamplified monitors. From all reports, the LSR28Ps are simply the most sonically accurate reference monitors available in their price range. One name mixer conducted his own extensive shoot-out of more than 20 celebrated monitors. He ended up choosing the JBLs and has since mixed on them exclusively. Though I've used them only as a guest in someone else's studio, I was soon hooked, too.

Of course, monitoring isn't restricted to reference speakers. My studio is all about recording bands, so I also need four pairs of headphones - at once the fewest I can get away with and the most I can afford - and a headphone distribution amp. My pick for phones is the Sony MDR-7506. They're comfortable, sufficiently isolated, quite accurate, and - very important - loud and bright enough for rock 'n' roll. They're also fairly rugged. Of the five pairs that have seen regular use (and abuse) in my studio for the past 11 years, only one has bitten the dust.

I am also adding the spiffy new Behringer Powerplay Pro HA4400 distribution amp. This unit is remarkably well featured, especially given its rock-bottom price. In addition to the requisite stereo amp, jack, and level pot, each channel provides 2-band EQ, output-level metering, left and right mute switches, a mono switch, and - get this - a stereo aux input with balance control. The specs are impressive, too, and the back panel sports servo-balanced, gold-plated XLR and TRS I/O.

Microphones

I'll allot my next big chunk of dough - nearly six grand - to mics. Rather than pick two or three superexpensive models, I am going for a generous and varied selection of high-quality, though mostly bargain-priced, units. That gives me a wide palette of colors and responses to work with, increases my chances for optimum capture of different sound sources, and allows for the mic-intensive application of recording a band with everyone playing at once, including a drummer behind a five-piece kit.
To accommodate a range of vocalists, I first need two excellent but quite different-sounding large-diaphragm condensers: the esteemed Neumann TLM 103, which has the characteristic Neumann presence boost and a big low end, and the Blue Baby Bottle, which more emphasizes a warm, full midrange. Both mics are also good on a wide range of other instruments. For those seeking to add a tube mic to the equation, I recommend swapping out the TLM 103 for the lovely sounding Røde NTK - a similarly bright condenser at about the same price but with a silky touch of tube flair.

To further extend the sonic palette of my mic cabinet, I am including two distinctive microphones that have come to be all but indispensable to my productions: the Earthworks QTC1 single-point omnidirectional condenser and the Royer Labs R-121 ribbon mic. I love Earthworks mics for their incredible realism and nearly flat response (from 4 Hz to 40 kHz for the QTC1), versatility (they work great on pretty much any source for which you want accuracy of sound capture), and ease of positioning. The omni models are especially useful because there is no bass boost from the proximity effect. You can, for example, shove a QTC1 right up to the sound hole of an acoustic guitar and capture a stunningly lifelike sound with no unwanted low-end buildup.

The R-121 ribbon, on the other hand, is all about smoothly attenuated highs and warmly emphasized low mids, making it an excellent choice for guitar amps, bowed strings, harmonica, certain woodwinds and percussion, and lots of other stuff.

Except for one mic, the rest of my cabinet is chosen specifically to accommodate miking a five-piece drum kit. But even here, I am purposely including models, some of which are classics, that are prized in other applications, as well. For overheads I can't find a better value in the small-diaphragm-condenser department than a matched pair of Oktava MC012s. Originally designed to record symphony orchestras, this modular, Russian-made mic comes with a set of three interchangeable capsules (cardioid, hypercardioid, and omnidirectional) and an insertable 10 dB pad, so versatility is a given.

The other small-diaphragm condenser in my cabinet, earmarked for hi-hat, is the Crown CM-700. This accurate yet relatively warm-sounding electret features two built-in highpass filters - handy for dialing out unwanted low resonance from some hi-hat cymbals.

My favorite kick-drum mic, at least among dynamics, is the Electro-Voice N/D868, which captures a beautifully round and fat thump. I know I can't go wrong with the Shure SM57 on snare drum, and it's a good pick for guitar amps, as well. For rack toms, I'll go with my all-around favorite low-cost handheld dynamic, the Audix OM2. This mic has exceptionally good transient response and a warm, natural sound. (Insider's secret: the OM2 employs the same capsule as the more expensive Audix D-2 "tom mic.")

Had there been no budget constraints, I would probably have chosen the Sennheiser MD421 II for all of my tom duties. But at least I can get one 421 into the mix - for miking floor tom. This is a useful, classic large-diaphragm dynamic mic. In addition to sounding great on toms, it also shines on kick drum, guitar amps, and even certain vocalists.

Last but not least, I am adding another large-diaphragm dynamic, the beyerdynamic Opus 65 (formerly known as the TG-X 50). This mic's superior transient response and unhyped tonality makes it the most natural-sounding large-diaphragm dynamic I've used on bass drum. It makes a great choice for miking compact, open-tuned, double-headed jazz kicks. Here, though, I'm including the Opus 65 for recording bass amps, an application at which it truly excels. (Whenever possible, I record bass guitar on two tracks, with one signal from a DI box and the other from the miked amp.)

Mic preamp and DI

As I said earlier, I'm happy with the sound of the Ghost's ProMic preamps, and I'm confident they will suffice to keep people at a pro level in their recording endeavors. Still, an assortment of top-shelf outboard mic preamps - some tube, some solid state; some with transformers, others without - would help push this studio to greater sonic heights and diversity.

Though my price ceiling prohibits the luxury of an assortment, I think it essential to include at least one high-end mic pre. Most attractive are the multifunctional voice-processor units with onboard EQ and compression for those times when I need to shape the sound going to the recorder. My pick is the lovely Langevin Dual Vocal Combo, a 2-channel, Class A discrete, Manley-made unit that not only adds a touch of class to the studio but also extends its capabilities considerably. In addition to impeccable sonics, each DVC channel provides a front-panel DI input, very musical high and low shelving EQ, and a wonderfully smooth electro-optical compressor that I can turn around and use on the stereo-mix bus after I've finished tracking. Truly, this box is an awesome and versatile performer.

Bass matters tremendously in a mix. To ensure fat, ultraclean bass signals, I also specify a premium tube DI, the Demeter VTDB-2b Tube Direct. This unit delivers a mouthwatering balance of deep, focused bottom and clear, overtone-rich highs - the perfect complement to that unruly miked bass-amp signal. Of course, the VTDB-2b also sounds great on guitar, synth, and most any other instrument coming in at line level.

Patch bay

I also need a patch bay to allow direct-to-RADAR recording from the preamp or DI. That way I can keep the Ghost preamps permanently routed to the RADAR and insert outboard units at will. I'm selecting the Ace Products APB48S, a 48-point patch bay with 1/4-inch TRS I/O and silver-plated brass contacts. The APB48S also features modular PCB cards that let you change the routing configuration of each vertical channel from half normaled to denormaled (or vice versa) simply by turning the card around.

Dynamics processors

Digital mixers certainly offer advantages, with dynamics processors on every input and output and even on aux buses. For me, however, the really cool thing about using outboard analog compressor/limiters is that each model has its own response characteristics and "sound." This lets the engineer further shape and color the mix by assigning different compressors to different instruments - for example, a VCA-based solid-state compressor to a bass track, an opto tube compressor to a vocal track, and so forth - depending on the mood of the song. Even with sophisticated modeling, that's something you don't quite get with digital. Of course, such luxuries come at a price.

For this studio setup, I can't afford to have a dynamics processor on every channel - at least not with the units I want - nor can I purchase exorbitantly priced boutique compressors. I can, however, nicely cover 16 of my 24 channels (including using the Dual Vocal Combo) with compression or limiting, and I can cover eight of those channels with gates, as well. A single box, the smartly designed 8-channel PreSonus ACP88 Compressor/Limiter/Gate, is doing most of the work, including all of the gating. This straightforward, VCA-based unit is a fine performer with a transparent sound. I am also including two 2-channel FMR RNC1773s, which really are Really Nice Compressors.

I am greatly disappointed to learn that one of my favorite inexpensive compressors, the Joemeek C2, a half-rack stereo unit with optical control, has been discontinued. This puts a hurt on my studio's mix capabilities, as I know of no other unit in the same price range (under $400) that can do what the rad little C2 could. Then again, I'm saving some dollars by not being able to include it.

My other favorite expensive-sounding inexpensive compressor, the 2-channel A.R.T. ProVLA, is fortunately still available. This soft-knee-style leveling amplifier uses hybrid tube/solid-state circuitry and optical control to produce smooth, warm compression reminiscent of vintage units but with a flavor all its own. I typically use the ProVLA on vocals but have also received great results on harmonica, pedal steel, synth pads, and bass tracks.

Effects processors

Elsewhere in my studio, I wish to increase sonic diversity by selecting items from a range of manufacturers - each company does things differently, after all, which leads to different sounds. But when it comes time to choose digital effects processors, I proceed directly to two names I have come to trust: Lexicon and TC Electronic. (An Eventide processor would be a great choice, too, but would derail my budget.)

I had a tough time determining whether to go with three or four effects units. Sure, I know it's possible to turn out slamming mixes using only one effects processor - or even none at all if you have killer tracking rooms. But then I remembered the most recent album I mixed and how often I had to compensate for this or that problem (usually caused by the sonically screwed-up spaces the tracks were recorded in) and how, even though the music was simple, five or six effects were often run, albeit subtly. Given that the big-name manufacturers have come to market with low-priced, 24-bit gems, four was the right minimum.

From Lexicon I am adding the MPX 100 and the MPX 500, each of which offers 240 great-sounding presets, including some dual programs. The 100, which I love as much for its simplicity as for its palette, is the perfect box for quickly dialing in, say, some ambience behind a row of tracks. The 500 is just as easy to use in its way, thanks to a superintuitive interface, but it gives you far more tweaking power than the 100 - important when working with featured tracks.

I have gotten my hands on a TC Electronic M-One just once, but boy, did I love what I heard. This box has "only" 100 presets, mostly reverbs - but of course, it's the handful of algorithms behind those presets that makes the unit so desirable. Until the M-One came along, those coveted TC sounds had never appeared in a unit costing under a grand. Now with the release of the new M300 Dual Engine Processor, TC has opened its doors to the masses. To be honest, I haven't even heard the M300 yet; but based on how it looks and what I know to be inside, I don't hesitate to add one to my studio.

Mixdown

I still mix to a primitive DAT recorder in my studio - I know, I know - but for this setup, I'm ready to get with the times and burn right to disc (rather than disk). Problem is, I haven't used any of the standalone CD-R burners out there, so I defer to Robair in my selection of the new HHB CDR830 BurnIt Plus standalone CD-R burner. Based on features and specs, the BurnIt Plus appears to be the best deal going, and Robair loves his.
Still, after all the signal care I've taken thus far, I'm reluctant to entrust my final mixes to the stock converters on an inexpensive CD burner. That's why I'm also choosing a Lucid AD9624 stereo A/D converter. This is a box I've used extensively, so I can vouch for its excellent sound and build quality. The AD9624 supports multiple sampling rates - 96, 88.2, 48, 44.1, and 32 kHz - at true 24-bit conversion. And yes, you really can hear the difference, even when playing back at 16 bit (which the unit also allows, thankfully). Analog input (fed from the Ghost console) is on XLR connectors, and the digital bitstream is output simultaneously through both AES/EBU and S/PDIF coaxial and optical Toslink connectors. I'm going with the AES/EBU connection, thank you, which the BurnIt Plus accommodates.

Future Expansion

I realize I'm taking some risks running this studio with no power conditioning, and I'd hate to lose a magic take because of a power problem, so among the first things I'll add in the future (aside from patch bays) are a couple of APC Back-UPS Pro 650AVs.

One whole category I ended up losing, regrettably, was equalizers. The box of choice - or at least, the best one I thought I could afford - was the Nightpro EQ3D, a sweet-as-honey broadband EQ I intended to put just before my A/D converter and secret mix weapon (more on that in a moment). Another unit I had hoped to install near the end of the signal path was a BBE 882 Sonic Maximizer, a box that does a little delay trick I have always liked.
Mics I was forced to leave out include the Lawson L47MP, a versatile and distinctive-sounding large-diaphragm tube condenser; the illustrious Blue Kiwi; and the Shure 520DX "Green Bullet," which I sometimes use as an effect mic on drums, vocals, or what have you.

Other preamps I tried to keep in the mix include the mono Grace Design Model 101, the 2-channel PreSonus MP20, the 4-channel Sytek MPX-4Aii, and the Peavey VMP-2, which remains the best deal in a 2-channel, all-tube preamp/DI that I know of.
As for dynamics processors, I hated losing the Drawmer MX30 and the Drawmer 4-channel MX40 Punch Gate, which is a gem for drum processing. But I really hated not being able to include at least one Empirical Labs ELP8 Distressor - one of the best-sounding compressors I've ever used and certainly the most multifaceted.

I already alluded to one of the other multi-effects processors I wanted: the vast and versatile Eventide Eclipse Harmonizer. Another that I was keen on, though I could hardly justify the thing because it's pretty much a one-trick pony, was the Demeter Real Reverb.

Speaking of analog, and in particular the sound of analog tape, I'll conclude by singing the praises of the "secret weapon" I alluded to a moment ago, a 2-channel mix accoutrement I wanted desperately to install just after the broadband EQ that I also couldn't afford. That box is the Empirical Labs FATSO, also known as the Full Analog Tape Saturation Optimizer. Beyond that acronymic mouthful, it would be impossible to describe in a few words all this unique box can do. All I know for certain is that I mixed a record through one recently, and ever since I've been at a loss to figure out what I'm going to do without one.

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