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Studio Hardware ...
This is the space where we suggest some sensibly-priced, good quality kit for your studio.
This page is not sposored by any manufacturer; the recommendations come either from our personal use of the equipment, or recommendations made to us by trusted friends and colleagues.
Microphones:
Condenser:
If you've already explored the soundbytes pages, you will know we love some of the entry-level Behringer condenser microphones. These are remarkable value for money. They're not perfect, admittedly, but remarkable for the price.
Both the C-series: C1 [medium-large diaphragm], C2 [compact condensers sold as a matched pair; very versatile and surprisingly detailed]; C3 [dual-daphragm version of the C1; selection of pick-up patterns];
and the slightly more up-market B-series: B1 [large-diaphragm Neumann look-alike (but not quite delivering the Neumann sound!)] and the dual diaphragm B2 are well worth investigating.
There are similar condenser models by Samson which also deliver good results and are reasonable alternatives to the Behringer range.
A little further "up market", some of the larger diaphragm condensers by sE Electronics [sE2000, sE X1] and Rode [M2] or smaller diaphragm models such as Rode [M3] and sE Electronics [sE 7 / sE 8] offer very significant improvements over those from Behringer and Samson, and are well worth the additional investment if your budget will stretch to them ... These are what we start to think of as "serious" microphones.
If you're really flush, the sE Electronics SE2200 / sE2300 series and Rode NT-1A / NT5 are based on the design of some of the classic Neumann models, at a lot less than the originals will cost you. At this sort of price and quality, they're likely to be microphones you will stick with for a very long time. (Indeed models like the sE7 / sE8, sE2200 series and the older sE 1a or Rode NT1 and NT5 are not significantly bettered until you reach the giddy heights (pricewise) of microphones by firms like Neumann and the more expensive Sennheiser models.)
Remember any larger condenser mic will benefit greatly from a good, suspended shock mount (if not supplied with the mic, there's an excellent "universal" model from Stagg for a modest price).
Dynamic:
For vocal work, the Shure PG48 or PG58, Sennheisser E 815, AKG D44 or the D55 if you can afford the extra, and Beyerdynamic Opus 29 are all quite usable, entry-level dynamic vocal mics.
For instruments, try the AKG D77, D22, D11 [bass instruments], or Sennheisser E 815 ; the newer V Kick and V Beat from sE are excellent bass and drum mics at the price; the Shure PG57 [drums], PG56 [bass drum] are all good designs - and the older Shure 515SDX is a mic that's been around for almost half a century now, but still has a lot going for it. [Actually works remarkably well for 'vintage' or 'retro' style vocals, as well ...] - it's the fore-runner of their "industry standard" SM57 at about half the price.
A bit further up-market, the "classic" dynamic handheld vocal mic is the Shure SM58 with the SM57 as the equivalent for close-mic'd instruments. This mic is a "must have" for snare drums, both in the studio and on stage. Alternatives to these include models like the Sennheiser e845 which is a slightly more "natural" and "open" sounding alternative to the SM58. The sE V7 is also excellent. Both of these cost about the same as the SM58.
For low-frequency work (things like bass drums, bass guitar sounds, the very lowest notes of church organs) a dynamic like the AKG D112 is another classic, but if you're just starting out, it may be wise to spend your money on other things first.
Headphones:
At entry level here, Music Village MV44 are just light years ahead of anything else we know. Like the Behringer condenser mics, these cans are very reasonably priced, without being cheap. They sound good; they allow you to hear what you're doing - and they're even reasonably tough!
A little further up-market you might like to try AKG K44, Beyerdynamic DT131, DT231. The problem we find with quite a lot of "hi-fi" headphones at this price level [for example, some of the current models by Sennheisser] is that they're made to "sound good" for pre-recorded music and radio, but they don't really let you hear what you're doing in the studio - they're not analytical enough. On the other hand, we'd like to bet you'll enjoy using good studio "cans" for general listening as well - you'll hear things in other people's music that you never heard before!
If you can stretch to more "serious" headphones, we strongly recommend you "try before you buy" - firms like Digital Village have a good selection by firms like AKG and Beyerdynamic and are usually very happy to let you listen and compare [take a couple of familiar recordings with you!] - some of the better hi-fi stores also carry a few professional headphone models [again: go for studio models that really show detail and sound "neutral in preference to domestic models, some of which are made to sound "pleasing" or "impressive" at the cost of some of the detail you really need to hear!] AKG K141, KRK NS6400, or AKG K240 [if your wallet will stretch] will all get you into the realms of serious studio haedphones. Now in its "Mark 2" form, the AKG K240 is a reference headphone for many producers and sound engineers; you can wear them all day without gwtting uncomfortable; you can listen with them all day without getting fatigue.
Beware of a lot of "fashion" headphones! There are plenty of fairly expensive headphones - fashion headphones as we like to call them - which look the business but have terrible sound quality. It's possible to spend a lot more than the price of the AKG K240 and end-up with something less useful to a real musician than the MV44. We are not kidding!
Mixers:
If you need a mixer, let's just say the Behringer XENYX series ... the Peavey company also makes some very respectable, reasonably priced mixers.
Further up-market, models by Soundcraft and Allen & Heath are generally a safe bet; some of the Studiomaster range are also worth a look.
Monitors:
Monitors come in two types: active [powered] and passive [you need a separate amplifier to drive them].
Passive:
Shop around a bit, some places have JBL Control One monitors for about 60. With a small professional amplifier, these are serious, small traditional monitors. Cheaper than this, the Behringer 1C looks very similar, but isn't quite in the same class to listen to!
A bit further up-market, the Tannoy Reveal 601P is a serious studio monitor we could listen to forever. KRK Rokit R6 G2 at the same price is another seriously good option.
The little JBLs can deliver great results if you can also afford a good subwoofer ...
Active:
Some of the speakers sold as entry-level active studio monitors are no beter than those sold with a PC! However, there are some good models, which we might describe as musician's loudspeakers available at reasonable prices. Here are a few ideas:
Behringer's MS16 are about the cheapest we'd describe as "tolerable"; their MS20 are quite a lot better! The MS40 better still. Any of these will still show some shortcomings in their performance [detail and evenness of frequency response].
Above that, KRK Rokit RP5, their slightly larger RP6, or Tannoy Reveal 501A start to provide serious active studio monitoring, without breaking many banks. These are a huge step forward from some of the models mentioned in the previous paragraph, and well worth a listen.
At this price level, our favourite by far is the ADAM T5V. A pair of these make anything cheaper sound a bit of a joke. (actually, they make quite a few rather more expensive loudspeakers sound mediocre). Something you really should listen to if you have the cash! The whole ADAM range has become a huge favourite with us. These are very accurate, clean-sounding, highly detailed monitors (not least thanks to their amazing hand-made ribbon tweeters) which very simply let you hear things other monitors hide.
Again, if you're really flush, listen to the ADAM A5X, its bigger brother the A7X or the baby Genelec 8020B - but make sure you listen to both first - lovers of one may not be happy with the other (works both ways with these!).
Amplifiers:
If you use passive monitors, you need something to drive them. Most cheap domestic hi-fi amps are not up to the job here!
Models from Alesis and Samson represent good value. Yamaha studio amplifiers are always a safe bet, in our books. The Trojan 200 from Studiospares would also serve well.
The selection available here is shrinking; there are a lot fewer passive monitors and suitable amplifiers on the market than there were ten years ago. This is due to the big increase in active monitors at affordable prices. There's still some good passive gear around on the second-hand market, but you might need a bit more knowledge than we have space for here.
Avoid "hi-fi" amplifiers with tone controls. The amount of musical information lost in the tone control circuits usually makes these things less-than-useful.
Soundcards and interface boxes:
Our preference here in terms of value for money and sheer sound quality is the Focusrite Scarlett range. For all others, anywhere near the price, these are the products to try to beat! Seriously professional quality; the smaller entry-level boxes are very reasonably priced considering the superb quality they offer, in terms of sound and build quality). These have microphone inputs of the same family pedigree as the legendary Neve mixing desks ... the input preamps are also frighteningly quiet. Many have MIDI interconnects, meaning you can add a MIDI instrument, such as a keyboard - can be useful for playing more "conventional" melodies with your sound samples = and some of the more expensive models also have ADAT optical ports, so that your studio can
UPDATE As of June 2016 the Focusrite Scarlett series was superceded by Scarlett (second Generation). Now, the new boxes look almost the same as the original models (slightly better finished; logos moved just a little ...) However the big difference is in the performance: Even better signal-to-noise ratios; even better handling of dynamics; even lower noise floors; and some really nice improvements to the "instrument level" inputs if you're an electric guitarist or bassist. Having lived with (and adored) a first generation Scarlett interface for 3 years, the change the Second Generation box made in this studio was ... almost frightening. The First Gen boxes may still be available at reduced prices; the Second Generation are the things to buy!
FURTHER UPDATE The third Generation came out in 2019, these have even better instrument inputs and an option they call air which can give you some great sounds. Yamaha and Steinberg also make some nice interfaces, as an alternative to Focusrite. First gen Focusrite boxes are now getting a bit old (unless you find the occasional refurbished one on Focusrite's site), but the second gen stuff is often available refurbished, direct from Focusrite at some very attractive prices.
We can understand why some people will be attracted to some of the M-Audio/AVID products, we're not convinced they're as ruggedly built, and many don't offer the same resolution of analog to digital transfer as similarly-priced competing products...
Some of the Yamaha/Steinberg products are beautifully made, and interface very smoothly with Cubase software, but they can be just a little more expensive.
If you use Firewire connections, and you can stretch to the Focusrite Saffire series, you'll get those same Focusrite-pedigree microphone inputs - hearing is believing!
Please Note: Many of the product names and manufacturer names
quoted in this section are trade marks or registered trade marks of the associated
companies. ComposingWithSounds.org.uk, its authors and contributors are
not affiliated with any of these companies.
Disclaimer: The products suggested in this section are selected
based on our experience and those of our friends and colleagues.
ComposingWithSounds.org.uk, its authors and contributors make
no guarantee that they will be perfect for your taste or the way you might
choose to use (or misuse) them.
Check back soon; we will have more recommendations for you ...
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