Home Studio Essentials
From noise-free cabling to slip-free boom stands, a short list of value-add items for the studio
When we think of “essential studio gear,” it’s usually the fun stuff like new instruments, nice microphones, recorders and the like. But there’s a whole subset of basic equipment that can help make your music projects more productive and tension-free. Consider some of the following bona fide essentials when making your next round of studio acquisitions.
Reliable Cabling
To help prevent random electronic emissions from ruining your session, be sure to invest in an assortment of high quality, extra-thick gauge XLR and ¼” cables outfitted with stress-resistant connectors. Companies such as Monster, Whirlwind, Hosa, PreSonus and Pro Co offer a wealth of microphone, instrument and monitor cables in various lengths for all of your patching requirements.
A Trusty Stand
As we recently noted, every studio with at least one good microphone should have at least one good microphone stand with heavy base and counterweight, especially when suspending heavier mics used for overhead or vocal-miking applications. For modest budgets, companies like On-Stage offer plausible boom models for around $50; if you have the wherewithal, consider something pro-quality such as the Atlas SB-11WE Studio Boom Stand or Ultimate Support’s MC-125 model, both equipped with die-cast metal bass and locking casters, allowing you to perch your sensitive condensers with confidence.
Good Monitors
To achieve a balanced mix that sounds good in any situation, you’ll want to have a decent set of nearfield monitors which, unlike conventional speakers, reproduce sound without excess coloration. Passive (unpowered) monitors cost less but require some form of external amplification; by contrast, the built-in amplifiers used in active monitors are already matched to the specifications of the individual drivers, thereby providing more accurate sound. To maximize the direct sound, keep the monitors situated as close to your listening position as possible, or no more than 3 feet from your ears (otherwise known as the “sweet spot”).
The Right Headphones
Particularly if you want to hear yourself clearly while shutting out all extraneous noises, a good pair of mixing headphones is absolutely essential. So-called “open back” headphones are generally better at reproducing the full range of frequencies, and are therefore better-suited for mix duties. These include the semi-closed AKG K-240 Studio headphones, a fixture in pro facilities for decades and a deal at around $55. When tracking, ideally you’ll want headphones that are sealed or “closed-back,” such as the Beyerdynamic DT770 Pro or Sennheiser HD-280 studio-monitor headphones, which help prevent bleed and phasing issues when recording vocals, for instance.
Headphone Amplifier
A must-have when recording simultaneously with multiple players, a standalone headphone amplifier provides a handful of dedicated inputs and gain controls for each member of the recording entourage. These units include the four-input Mackie HM Series 4-Way headphone amplifier, as well as the Behringer MicroAMP HA400 headphone amp, both priced under $50.
A Direct-Injection Box
Another essential for those who regularly go direct, a DI box balances and cleans a signal from any high-impendence source such as guitar, bass or electronic keyboard. DI boxes come in two varieties: passive, which have no amplification nor alter the character of the incoming signal; as well as active boxes, which include a built-in amplifier, allowing you to shape the sound at the front of the chain. Boxes start at around $25 for basic passive models, $200 and up for active DI’s.
Room Tuning Materials
Even when your monitors are properly positioned, any existing room abnormalities can still cause listening issues when mixing. To reduce excess floor reflections, use sound-absorbent material such as throw rugs (or, better still, wall-to-wall carpeting), and also fill up empty space with upholstered furniture. Also be sure to treat bare walls and corners with acoustical foam panels, such as those made by Auralex, Pyle or Sound Addicted; however even carpet remnants or packing blankets will often do the job.
Audio Snake
An audio snake with connector box is a good way to keep things tidy when running multiple XLR and/or ¼” instrument cables. For small- to medium-sized applications, you could try Hosa’s Little Bro Sub Snake, a basic snake for studio or stage work that sports a half dozen XLR connectors plus two balanced TRS outs; there’s also Whirlwind’s Mini 6 six-channel drop snake, offering the same XLR/TRS configuration as the Hosa with a box small enough to fit into a gig bag for easy portability.
Finally, here are some additional work-enhancing items that you can pick up for just a few extra bucks:
- An armless swiveling chair with pneumatic seat-height adjustment, allowing you to fine-tune your listening position up or down so that you’re always in the “sweet spot”
- A pair of wireless intercoms, one at the workstation, the other attached to the wall in an adjacent recording area, which acts as a simple talkback system to communicate with fellow musicians
- A set of inexpensive hanging hooks to keep instrument and microphone cables at the ready and orderly
- Plastic totes or portable storage draws for holding cables, adaptors, guitar strings, cleaners and other studio items
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