Studio Monitor Options

Welcome back everyone!
We are now getting into the final stretch of creating the skeleton of the at home studio. The next essential step is to get a pair of studio monitors so you can listen to what you are working on. Working in headphones can be a great way to monitor, especially when working late and don't want loud sound, but headphones can often miss out of low frequency content and you may not be getting as clear of a mix as you think.
That's why we need a good pair of monitors to get accurate results when working on our projects at home.

When it comes to monitors there are two available types, active and passive. Active monitors are a designed so there is no external power amp needed to power the monitors. With active monitors, the amp is actually build in behind the speaker driver. This means the user can attached the supplied power cord, plug it in to the wall or power strip and the monitor will turn on.

As you can probably guess, passive monitors require an external power source to power the monitors. In this came we need a power amp, which will not only power the monitors, but in most cases will receive the audio signal and the monitors will receive the signal through the amp.

There are definitely some advantages and disadvantages to both designs. An advantage with active monitors is they will take up less space because the power supply is internal. There is also no need to spend extra money on a good power amp. However, since the power supply is build into the monitor housing, behind the speaker cone, there may be some hiss from the power amp that comes through the speaker cone. This may not be an issue to some, where as to others that are working with quiet sounds may need to turn their gain up on the monitors, which may cause more hiss to get through.

An obvious advantage to passive monitors is there is no hiss behind the speaker cone. Since the power supply is external, what comes out of the monitor is only the signal that's being fed into it. Another advantage to this monitor design is the manufacture can focus all their attention into the design of the monitor, and not worry about the amp that's going to power the monitor. With that, buying an external power amp can be very expensive. If the user doesn't have a high quality amp, even the best passive speakers will not sound good.

For the at home studio, being practical and saving money is the best option for us. One thing to consider when testing out monitors is there may not be a "best" choice. The best way to choose which monitor pair is best for you is simply to test the monitors before purchasing.

Here are some passive monitor examples:

Avantone Audio MixCubes

These passive monitors are 6 1/2" tall and have a 5 1/4" speaker, which makes these perfect for sitting on a desk. With a frequency response of 90 Hz - 17 kHz, these speakers are designed to mix in "real life" situations where bass is usually challenged. This can be when using an mp3 player, computer, car stereo and so on. With those missing frequencies you may not be able to get the most accurate mix as possible, but often times the frequencies not present with these monitors are never heard anyway.

These monitors are available through Sweetwater for $269.00 (pair).
http://www.sweetwater.com/store/detail/MixCubes/

Next we have a pair JBL Control 5 studio monitors.

The JBL Control 5 stands 15.25" tall and 9.875" wide. While these are a bit bigger than the Avantone monitors, these monitors offer a greater frequency response. Being able to reproduce sound at frequencies from 50 Hz - 20 kHz, these speakers will reproduce sound with great accuracy. With a tight design, these speakers can also fit in less than ideal areas to work and have the same great performance.

These monitors are available through Sweetwater for $338 (pair)
http://www.sweetwater.com/store/detail/Control5/

While there are monitor designs that feature higher quality materials in the construction, the Avantone and JBL monitors mentioned are more than enough to get great results in the at home studio. For the price, both these monitors are great for anyone working in small spaces or less than ideal monitoring areas.

Next let's move to some active monitors. These are going to be a bit different because of the build in power source. Here are a few designs of active monitors:

KRK Rokit 5

These active monitors have two build in drivers, one for the high frequencies and one for the low frequencies. These is what is going to give the power to the monitor. The KRK Rokit 5 stands 5" tall, has a frequency response of 52 Hz - 20 kHz, and has amplification of 30 Watts for low frequency and 15 Watts for high frequencies. These monitors also offer XLR, 1/4", and RCA inputs, as well as an input sensitivity control. These monitors also offer a very accurate response because it response to a large frequency range. These monitors also come in the Rokit 6 and 8 version, which a larger than Rokit 5.

These monitors are available through Sweetwater for $149.50 (each) so 299.00 (pair).
http://www.sweetwater.com/store/detail/Rokit5G2/

Next we have the Yamaha HS50M.

These passive monitors also has two drivers, one for high frequencies and one for low frequencies. The high frequency amplification of 25 Watts powers a 0.75" tweeter while the low frequency amplification of 45 Watts power a 5" woofer. These monitors have a frequency response of 55 Hz - 20 kHz, which gives for an accurate recreation of sound. A great feature about these monitors is the EQ section on the back of the monitor. This allows the user to reduce or add gain to a set frequency built into the monitor. These frequencies are 80, 100, 500, 2000, and 3000 Hz. This gives the user more control over how the monitors reproduce sound.

These monitors are availble through Sweetwater for $199.99 (each) so $399.98 (pair).
http://www.sweetwater.com/store/detail/HS50M/

So while there are differences in both passive and active monitors, the active monitor is going to be a little bit more expensive up front because you are not only paying for the monitor but the power supply for each monitor.

Keep in mind however that the passive monitor is going to require a power amp in order for the monitors to work. This is going to be another purchase and may end up being more expensive than the active monitor.

Another reminder is to always test out the monitor before you purchase them. Just because a certain monitor model sound good to one person, doesn't mean that it will sound as good to you.
Please leave comments and feedback on any monitor you have used. There may be some monitors suggested that I didn't mention in this post. Stay tuned for my next post where I continue the development of the at home studio.

TTYL,
BCEB

*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*

Microphone Stands

Welcome back everyone!

Last post discussed how to take your at home studio on the road if necessary. Having the opportunity to run sound at a event, I couldn't pass up the chance to show everyone how I roll on the road.

With that being said, this post is going to take us back to the development of the at home studio and show the next step to take in the creation of your studio!

Now that we have our interface, we have selected which DAW we are going to record with, and we have selected a few microphone options, it's time to get some mic stands so we can start setting up our session and get ready to record. Ideally, you as the at home engineer/producer don't want to be holding the mic for yourself or for the artist you are recording.
Mic stands pretty much all come in the same shape, but there are some different sizes and features on some stands and today we are going to discuss these features.

This is the cheapest stand I was able to find. It is available through Sweetwater for $19.95.
http://www.sweetwater.com/store/detail/MicStdLt/
Included with all mic stands is going to be a base for the stand to sit. What is pretty much standard on all stands is the the base has a knob which allows the entire base to move up on the mic stand. The legs then fold in and the stand because much easier to store. One of the biggest limitations on the stand is that the stand only moves up and down at one break point. This is great if you are recording vocals and maybe a guitar, but for anything else, the limitations on the position of where the stand can reach will turn anyone away from this stand.

A better option to go with instead of a fixed stand would be this:

This stand not only have the same style base, with three legs and an adjustable base to raise up and down, the same single break point to heighten or lower the stand, but also come with a boom option, which will allow the engineer to mic instruments with more precision.
What's nice about the boom is the adjustable level that will allow the boom to move up and down. This allows for the stand to be shorter and you can raise the boom to reach a higher point. One limitation to this style stand is that on the boom there is no break point. Some other stands have one or two break points on them which allow for even more control and accuracy when micing up a setup. Having these extra break points would allow for opening up more space and not having a clutter or stands when recording. This comes in handy with drum tracking and micing a full band.
This stand is available through Sweetwater for $24.95
http://www.sweetwater.com/store/detail/MicStdFBoomL/

Next we have a short stand available through Sweetwater for $27.95
http://www.sweetwater.com/store/detail/MicStdShortBm/

This stand is the same design as our other stands, featuring adjustable base, fold in legs, one break point to heighten and lower the stand, plus the boom arm that allows for more accuracy. The only different with this stand is that it's much shorter than the first two stands mentioned. A full sized mic stand can usually be adjusted between 36" and 64" inches, while the short stand can be adjusted between 17" and 27".
A great way to use this stand would be micing a kick drum, bottom of a floor tom, back side of a kick drum, bottom and top of a snare and amplifiers. Since the stand is so short, it rarely gets in the way of micing any other instrument and has precision control with the adjustable boom arm.

Next we have a standard sized stand with more precision control. This is the stand I use when I do all my at home work. It's available on Sweetwater for $34.95
http://www.sweetwater.com/store/detail/MicStdBoomLt/

What's great about this mic stand is the boom arm has an adjustable break point on it. This means the boom arm can go from 19" to 37", freeing up space if you have a tight mic setup. The adjustable boom will allow the engineer to place the stand farther from the source, but still reach the source with the adjustable arm. Another great this is the boom arm on this stand unscrews, essentially leaving the stand looking like the first stand mentioned in this post. This allows for different attachments to go on this stand such as a t-bar mic holder (allowing two mics to be mounted at once), or even placing a headphone amplifier on the stand.

Finally we have our stands for overhead drum micing, or room micing. This stand is available through Sweetwater for $169.95
http://www.sweetwater.com/store/detail/StuBoomW/

This stand allows for the heights between 40" and 82". This is great for overhead drum micing because a standard size stand will have a hard time reaching over the top of the kit. If you decide to use a regular stand for overhead, the odds of the stand falling over are likely because of the full extension needed. This stand allows for a lot more flexibility and height control. The big base on this stand will allow for the stand to move up a lot higher and not have to worry about tipping over.
Another great feature are the wheels attached to the base of the stand. This allows for easy movement when placing this stand in your setup. The only downfall to this stand is if you are working at home and don't have a big enough space to store this stand, it will take up a lot of room and might get in the way of some things. (Especially if you purchase two of these stands!)

Keep in mind that most microphones will come with their own mount, but you will need a stand in order to place that mount.

Please comment and leave feedback on some stands you may prefer over what I have displayed. Also, if there are any funny mic stand stories you would like to share, please leave the story in the comments section.

TTYL,
BCEB

 *It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*

(My story is short. I used two regular sized stands just recently at a live event to mic overheads on a hand percussion setup. I didn't have the mounts that came with the overheads, so I ended up duct taping the mics to the stand in order to capture the performance. Embarrassing...I know!)

Taking Your Studio on the Road

Welcome back everyone! I hope everyone is staying super busy with their production work. I sure know I am! Over the past weekend I was given the opportunity to produce live sound at a birthday party at a small cafe in Rodgers Park for the band The Dastardly Bastards, whom which I am also recording their debut EP. One of the main reasons I got the Focusrite Saffire Pro 40 digital interface was because it would give me the capabilities and flexibility to run live sound through this interface. With the Pro 40, I was able to get 8 channels of audio signal (only used 7), and this particular interface has a specific output labeled "monitor output", which allows me to send a stereo (left and right) audio signal feed to two speakers, as well as monitor the mix in my headphones.

With this I thought it would be a great idea to show everyone how I like to travel with my studio. I know this is leading away from where we were going with the development of the at home studio, but don't worry! Check back on my next post where I continue the development of the at home studio!

Another reason I purchased the Pro 40 is that it's not too big of an interface so it's pretty easy to travel with. The 8 channels of audio signal input really gives me a lot of recording options, so I often find myself traveling with my gear to various studio or events. When I first started traveling I used bags to carry all my gear, but this got really heavy and bulky quick, especially when I was carrying a significant amount of gear. Over time I put together my way of traveling with my studio and here it is below.

The best way to travel with your studio is a carry on suitcase.

As you can see, the interface lays on the bottom of the bag. My computer sits on top of the interface and gets strapped down with clips build into the bag. (Not in picture)

This is a shot of the bag with my computer on top of the interface, under the cables. It is very important to keep your gear neat and organized when traveling this way. If you chose to not carry your mic stands in the bag, one of the best ways to carry stands is with bungee cords.
Turning the stands head to toe and wrapping a bungee cord at the top and bottom is one of the easiest ways to carry stands. Usually I use 4 stands per bundle, but if you are using a car as transportation you may get away with wrapping 6 mic stands together.

What's nice about carry ons is there are pockets that can hold a lot of items and not get in the way of anything that's in the main storage area. In this pocket I kept a flash light (very important when working in dark conditions!!!!), ear plugs (in case it got loud), 2 extra XLRs and 2 extra 1/4" instrument cables.

There are also big pockets on the front of the bag. On the top pocket I keep a pen, pencil and Sharpie. In the bottom pocket I like to keep a miscellaneous pocket. For me this includes an 8', 3 plug, grounded extension cord, my computer charger, and my cellphone charger.

So I was able to fit all of these items, 5 XLR cables, 8 1/4" instrument cables, Saffire Pro 40 interface w/ cables, headphones, hard drive, power strip, extension cord, ear plugs, multi-tool, flashlight, MacBook Pro, writing tools, tape, 4 microphone stands.
And with all this in my bag, this is what it looked like:

This is pretty easy to carry. All you have to do is roll it around. The worst part of this would be carrying it up stairs because of the weight. I'd say this entire bag weighs close to 70 lbs, which may be pretty heavy for some. I was able to take this setup on the train several time with no problem, and in a cab several times too, so it's really easy to travel with.

Just a tip for all you that plan on doing live sound through your interface...
It is a really good idea to have painters tape and a sharpie with you so you can label your inputs on your interface. This will make it much easier for you to adjust something if necessary and not forget which input is which source.

 So with all this I hope you all can find an easy way to travel with your studio if necessary. I love doing live sound and the Saffire Pro 40 gives me the option to do it.
If you all were wondering the show went great. I ran the monitor output from my interface to a JBL preamp, and that preamp powered two PA speakers which provided sound for acoustic guitar, 2 sets of vocals, percussion overheads, and the bottom of one doumbek for bass presence. Here are the only two pictures I took from the night:

I hope everyone got an idea of what can be done with their at home studio. Not only does your studio have to stay at home, but if you build it right, you will be able to take it on the go to record in the studio, produce live sound, or produce live sound and record at the same time.

Stay tuned for my next post where I continue the development of the at home studio.

TTYL,
BCEB

*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*

Microphones Cont. (Getting the bang for your buck!)

Welcome back everyone! I hope my readers were as anxious as I was to learn about some other mics on the market. Last post I went over the two must haves in your at home studio, the Shure SM57 and SM58. Both these are industry standards and can be used on many applications.
In this post I will discuss four different microphones, all from different companies that feature different options and color sound differently. Before we go on to this post I want to make it clear that the mics I am discussing are chosen because they are going to be used for our at home studio on a budget. From day one I wasn't showing you all the most expensive gear on the market, but I was showing you the most affordable that includes the same quality as products that are thousands of dollars. With that being said, don't think that the price of the mic makes the difference. Just because mic A is $200 and mic B is $3000, doesn't mean mic A is any bit less quality than mic B.

GREAT!

To start of I want to introduce the AKG C414 XLS, manufactured by Harmon. You know be familiar with Harmon as they make profession audio products for cars under the name Harmon and Kardon. The C414 is a very versatile mic due to its pickup pattern options, pad options, and roll off features. This means the C414 can change pickup patters. We saw that the SM57 and SM58 were both cardiod pick up patters, meaning it focuses its pick up on the sound in front and eliminates sound behind. Not only does the C414 have a cardiod pattern, but also features a super cardiod, hyper cardiod, bidirectional and omnidirectional. Because of this, the C414 is a great mic for overheads or picking up the room tone with the omnidirectional pattern. Here are what the C414's pickup patterns selector looks like on the mic as well as the frequency response for each pattern:

  

Along with the ability to change pick up patterns, the pad on the mic is great for live applications if you are recording very loud noise. The pad will cut the dB going into the mic and give the user a more ideal signal level, offering more control without losing audio quality. The roll off feature is also great on this mic because it gives the user more control over the exact sound they want. Let's say your sound is a little to boomy in the low end. All that needs to be done is apply the roll off to the certain frequency and things are good to go. 

*Note: The AKG C414 requires +48v Phantom Power. This means an external power source, usually coming from our digital interface or recording counsole, powers the C414 for use. With phantom power the mic will do nothing for you.*

In my personal experience I have used these mics on drums and vocals. If you have the chance to get two of these mics, they are great to use for overheads. The slight bump in the high end makes this mic great for cymbals and high hats. Also female vocals that have an exaggerated high end will reproduce great through this mic. While being a little pricey, this mic can really define your at home studio and will be a go to for recording engineers.

The AKG C414 XLS is available through Sweetwater for $1049.00.

http://www.sweetwater.com/store/detail/C414XLS

 Next I am going to discuss the Shure PGDMK6 Drum Mic package. While individual mics can add up in cost, I found this great package that comes with everything you need to mic up and record a full drum kit. Included with this package is the Shure PG52, which is the new version of the B52. This microphone is designed to capture the low end up drums and doesn't have a high frequency response. This makes this mic perfect for recording kick drum or floor tom. The design of this mic allows the engineer to get extremely close to the source and get the accurate sound they desire. This mic is available through Sweetwater for $119.00, but wait until I finish describing this mic package to see the price of all the PG series mics together. Here is the PG52:

Also included in this Shure PG series drum kit package is the Shure PG56. This mic is ideal for recording snare and toms. Included with the package comes three of the PG56, which is great because it allows for greater accuracy when micing a full drum kit. Also included with these mics are clips that attach right to the drum themselves. This is a nice feature because it eliminates the amount of stands we need, and also allows for greater control over the mic placement. While you might not want the same coloration from the mic on your toms and snare, if we pull out our trusty SM57 for the snare mic and use the PG56 for strictly the toms, we will get a great sound and free up one more PG56 to use on another tom rather than snare. The PG56 is available through Sweetwater for $69.00, so if we decide to get three of these it will be around $210.00. Wait till the end of this package to see what the final costs of the package will be! Here is the Shure PG56:

The last microphone included in this Shure drum package is the PG81. This mic is designed to be used at overheads, on acoustic instruments, or on vocals. The flat frequency response (with a little bump in the high end), will give a nice reproduction of cymbals and high frequency sound. Included with this drum package are two of these mics, which is great because Shure gives the option for full drum micing with these two mics as overheads. Included with the PG81 are two mounts that need stands in order to be mounted properly. The Shure PG81 is available through Sweetwater for $129.00, but if we were to get two of these it would be roughly $260.00. Here is the Shure PG81:

All of these drum microphones come in a great package from Shure. Included are a PG52, 3 PG56s, and 2 PG81s. Also included are 6 XLR-XLR cables, which is great because we don't need to spend more money on the cables and will be ready to record right out of the box. Also included is a durable carrying case that will hold all the mics securely. This package is available through Sweetwater for $399.00, which is a great deal if you ask me!
http://www.sweetwater.com/store/detail/PGDMK6XLR/

Moving on I am not going to discuss the Blue Baby Bottle. This is not only a great sounding mic with awesome sonic clarity, but is a beautiful mic by design. Blue has a reputation of producing "boutique" microphones, and the Baby Bottle appears to be just that. This is a large diaphragm cardiod mic, which will pick up sound from the source and eliminate sound in the background. This mic is known as the "do-all" microphone due to its clarity and durability. The Baby Bottle is great to use when recording vocals, both electric and acoustic guitar, strings, drums, saxophone, flute, and reeds. With this huge range of applications, it is no wonder this is a go to for recording engineers. The circuitry and capsule on this mic are also hand made, which assures for quality reproduction. The Blue Baby Bottle is one of my favorite mics because of how well it sounds on acoustic guitar and vocals. Included in the Baby Bottle package is a custom Baby Bottle shock mount and pop filter.
The Blue Baby Bottle is available through Sweetwater for $399.00.
http://www.sweetwater.com/store/detail/BabyBottle

 
There is still one more microphone I feel is needed for the at home studio. This would be the Sennheiser e906. This is a supercardiod mic that will focus extremely on whats coming from the source, limit the amount of sound being picked up on the sides, and eliminate a significant amount of sound coming from behind the mic. This microphone is a great choice for recording guitar cabinets and drums. The precision features on this mic include a high frequency bump, a flat response, and a low frequency roll off options. This gives the e906 more versatility and strength. Another great feature is the flat front panel design, which gives the engineer the option to place the mic right up to the speaker on the guitar cab, creating accurate results with precision. In my own use I have used this mic on acoustic and electric guitars. I find that the reproduction is fantastic, which makes this mic a must have for the at home studio.
The Sennheiser e906 is available through Sweetwater for $185.95.
http://www.sweetwater.com/store/detail/e906

I hope everyone get the information they needed on the mics I suggest for the at home studio. Of course there are a lot more mics available on the market, but for what we are production from the at home studio, the mics discussed are great options to get things rolling. Please leave comments and feedback on what you think of these mics from personal experiences or from what you have read.
Also leave feedback on other mics you think are suitable for the at home studio. This will help us all learn more and give us more ideas and options and how to produce the best quality material.

This blog is intended on developing the at home studio. While I am going to move on from microphones from the time being to keep the development moving, stay tuned for later posts where I will focus on individual mics that may be suitable for the at home studio!

TTYL,
BCEB

 *It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*

Intro to Microphones (2 Must Haves)

Welcome back everyone! I hope everyone is staying busy with their production work. I have several friends that are working on some great projects and can't wait to hear the finished products.

My last post was all about the DAW, broken up into two posts, I fully explained Pro Tools and what the different versions of this DAW feature. The next posting featured Reason and Logic, two powerful DAWs that are designed for the musician. Since we have our interface and DAW, it's time for us to get some microphones so we can start recording. In this post I will discuss two industry standard mics that everyone should have in their at home studio. Since there are so many mics, I'm going to break this section on mics into several posts.

On that note, probably the most industry standard mic anyone needs to have in their collection is the Shure SM58. Shure is an American company that has produced professional quality products for more than 30 years. The SM58 is mic designed for vocals, but can also be used to mic anything you desire. I have one of these mics in my collection and I have used it for vocals, acoustic guitar, electric guitar, and electric bass. While in some of these conditions the coloring of the mic may not be ideal, the quality of the sound coming from the mic will be more than enough if we are limited on our gear due to it being the at home studio.



Since this microphone is designed for vocals, the midrange frequencies are brightened and there is a bass roll off. This means lower frequencies don't get picked up after a certain frequency, and with the brightened midrange, these are going to areas of common speach, so they are exaggerated to clarify and sound beautiful. Here is the frequency response chart for the Shure SM58



Another feature included with the SM58 is the cardiod pick up pattern. This pattern isolated the main sound source and limits the amount of sound picked up behind the mic. This makes the mic more directional, which is ideal in vocal recording situations. Here is what the cardiod pickup pattern looks



The Shure SM58 is an industry standards for plenty of reasons. The quality and durability of this mic makes it ideal for any professional studio or live sound production. This mic is available through Sweetwater for $99.00.

http://www.sweetwater.com/store/detail/SM58/

The second microphone in our must have collection is also a product by Shure. The Shure SM57 is the industry standard instrument mic. It is ideal for recording acoustic instruments or amplified string instruments. In the studio it is suitable for drums, woodwinds, guitar.



The Shure SM57 is available through Sweetwater for $99.00

http://www.sweetwater.com/store/detail/SM57/

Just like the SM58, the SM57 is extremely durable. This is why these mics are so popular because not only do they reproduce at professional quality, but the mics are so durable that they will last you a lifetime. I have used the SM57 on many projects, using it to record hi hats as well as snare drum. I think this mic does a really good job on the snare. The SM58 and SM57 are industry standards and have been used on so much music that the sound of it is probably familiar with some people. These are definitely two mics you will want to have in your studio. It might not even be a bad idea to pick up two each of the mics because that it how often you will use them.

Shure is a great company that offers even more great products than the ones I have mentioned. The purpose of explaining only these two are because they are industry standards and the are also the most affordable professional quality mics on the market. Feel free to check out more Shure microphones on their website http://www.Shure.com. Stay tuned for my next post where I discuss a few more affordable mic options, as well as mics that you may want in your at home studio.

TTYL, BCEB *It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*