For those who are keeping score - it's time for part #10 in our Home Studio Equipment Reviews and Recommendations Series. Part 10 is all about the Cables and Accessories. Don't brush this off as unimportant - if it wasn't, it wouldn't be on the list.So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

Amazingly, many people make some elementary mistakes that can either cost you in excessive amounts of cash - or in an unhappy client - this is one of those often overlooked areas.

It’s the little things that can get you. Make sure you think of them!

Microphone Stand – avoid straight floor and desktop stands which allow only one configuration – a ‘boom’ stand allows multiple options to allow you to find a configuration that works for you and your microphone. For those with very limited space the Desk /Drum Adjustable Boom Mic Stand

Music Stand, hang-able Clipboard or Copy Holder. Be hands free in front of your microphone! If you do get a Music stand, cover it with a carpet sample to reduce vibration and echo off the surface.

Shockmount. Some come with the mic, some don’t. Which one you need depends on which microphone you have. The one above is for the Electro-Voice RE20.

Shure Popper Stopper Pop Filter – great to have, though I have seen them home made with nylons and needlepoint hoops - this tried and true product is a staple in any recording studio that clips onto the Microphone Stand.

Windscreen – not a replacement for a popper stopper, but useful if you tend to breathe on the mic. Typically these are made specifically for a microphone, the one above is for the Electro-Voice RE20  family of microphones.

Microphone/XLR Cables & Monitor cables – there are three basic connector types XLR, RCA , TRS and multiple combination of those three. Which one you need depends on the monitors and interface you purchase. Try Sweetwater’s cable finder: http://www.sweetwater.com/shop/cables/finder.php If you can’t see it on Sweetwater’s Cable finder, ask an expert at the store (most online stores have a tech to call or online chat you can use for this purpose) to let you know which ones will work. If you have to buy them and are unsure, try buying the bundled wires, rather than the plastic packaged. This way you can test the connectors without opening a package and the hassles of trying to return opened items.

Desk– get a dedicated workspace for your EQ to sit on, and for you to sit at for editing, contacting clients and following up on your tasks. The easier you can access and use your space, the more likely you will be to use it. This Computer Office Desk isn't unlike mine in some ways. It's just big enough for my work that has to do with audio. I have my speaker stands on either side of a compact & dedicated space.

Recordable CD's or Recordable DVD's – occasionally you will have a client who wants a demo CD, or a project burned to CD/DVD and shipped to them. You may also find an agent or casting group that doesn't want to be emailed demos, they want them on CD's. So make sure you can make your own CD’s or DVD’s. I recommend buying the CD’s in packs of 25 minimum, and you can keep just a DVD or two around in case you need it. If you really want those CD's and DVD's to shine, you could even pick up an Inkjet Printer that prints directly to printable CD's and DVD's.

Flash Drive aka Thumb Drive – What if the Internet goes down and you need to get a file to a client?! Keep a thumb drive handy and you can go to a friend’s house, library or right to a client if they are nearby. I've even heard of some printing their logo , name, phone number and email, with digital contact card and demo on these as giveaways. While it might be a bit pricey - the client will likely use it or pass it on, and keep you in mind.

Home/Office Surge Protector or Outlet with Remote Control . In a prior post we talked about power conditioners. These are great, protecting your equipment and potentially extending it's life. So why am I know saying get a surge protector? Simple - they have a nice switch on them that allows you to turn all the power on and off. Why is this important? Any gear that you can't easily turn on is a potential excuse you will use to not do work. The electrical outlet with remote seems silly, as is normally used for Christmas lights, but is perfect for that hard to reach outlet. It gives you a great way to power everything on at the push of a button. Just hang the 'fob' on your desk and 'presto' - you're ready to go.

Thanks for following along!

Coming up next week - we'll talk about developing an 'Elevator Speech',  why it's important to have one and how not to throw a very forgettable sales pitch at a client.

Mel -Your Audio Pro

As we approach the final entry in our Home Studio Equipment Reviews and Recommendations Series, it's important to stop at Part 9 - External Hard Drives. Also known as Hard Disk Drives - we'll just call them "HDD" from now on.

So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

[EDIT] First very important to point out, if you have a desktop/tower, much of this can be done with an internal HDD so you aren't writing to the drive with the OS, however the vast majority of those we work with setting up home studios do so with a laptop, or the odd Mac mini, so we wrote this with that perspective in mind[EDIT]

Why is it important to have an external HDD? Not only will this free up your computer's internal hard drive, give you portability and flexibility in your recording environment, it may be *required* by your DAW Software. We're talking about ProTools, in case you haven't read the instructions that came with your software. Even if you don't use ProTools, an external HDD can be a real necessity - a life saver even. Keeping your files stored on an external HDD gives you easy access, and keeps a client happy, if your computer is unexpectedly out of commission and the file you sent was lost or accidentally deleted (happens at least a few times a year). 

So what is it about an external HDD that make some recommended, and others not? There are a number of considerations (especially with ProTools) that you will want to know first. Already know - go see the full list in our Store.:

1) Is it large enough?
    If you are just looking to store files, or backup your computer's internal HDD, then you're in luck - that's easily done and several HDD options will work. While I highly recommend LaCie or Glyph drives (Glyph is ProTools certified), your preference  may be different and run more in the Western Digital territory. If you are just in need of an option for automated backup, get an external HDD  at least 2-3x bigger than your internal drive - this will allow for automated programs to back up your files properly. My recommendation - buy *at least* a 1TB HDD. External HDD's are very affordable these days and audio files can be surprisingly large. While you may ultimately send the files in mp3 format, always save the originals in the highest quality (PCM WAV, AIFF or similar), then convert them to the desired format. It might be overkill, but it's come in handy several times before with clients. Just remember you can never truly 'upsample' a low quality audio file, but you can always 'downsample' a high quality audio file.

2) Is the External HDD spinning at the same speed as your internal HDD?
    The speed we're talking about is the disk speed. The two most common are 5400 RPM and 7200 RPM. It's part f the formula of making sure you're matching the disks up properly. It might not seem important, but if your external HDD is slower than your internal HDD, it may always be behind, trying to play catchup and your data may be lost in the process. Unless, of course the next question makes that moot.

3) What is the actual write speed of the external HDD vs the Internal HDD?
    You want to insure that, when writing data to an external HDD, it's going to be able to receive the information from the internal HDD where the files are temporarily cached. Without getting too technical, the 7200 is usually faster - just don't assume it will be. Insure as well that you're connecting by a means that will actually use the speed of the hard disk drive - that means Firewire 800 or eSATA (potentially USB 3.0 - though most computers only suport USB 2.0) Solid State Drives are not on this list as of yet, but keep your eye on them in the future.

4) What are the power requirements of the external HDD?
    Are you going to be working in the field? Then lugging around a generator to power your external Hard Drive might not be an option. The usual conundrum is - USB powered options don't write fast enough and Firewire doesn't power an external HDD. However, with the Firewire, there are a few exceptions. One, used by a team member, is the 'Mercury On-The-Go Pro' in 500GB, 750GB and 1.0TB.

5) What options for connecting are available/required with my external HDD?
    Several options are available  and the requirements depend on your intended use. Using a software like ProTools, that requires you to write to the external HDD, means using the fastest option available - namely Firewire 800 or eSATA (potentially USB 3.0). Anything else will not write fast enough and you may experience a bottleneck of too much data flowing through too small a connection. Again, if you're just using the drive for storage or backup - USB 2.0 will do well enough for you. Soon, new technologies, like Firewire 1394d and USB 3.0, may become standard. They promise to be incredibly fast, though some emerging USB 3.0 products have shown to be a bit less than favorable.

6) How do I keep it all organized? (this is just a bonus for you)
    Use a filing system! Many talents explain their in detail on forums - Just Google it. Below is an example of one client's folder. For me - I start off with the Client name (the computer automatically puts them in alphabetical order). In each of those client folders, is a folder for the year (2011, 2010, 2009), and in each of those a folder for a month I did work for a client. This is very useful when the client says, ‘can you do this job just like you did that one last March?’ When I no longer do work for a client, I typically compress (aka 'zip) the files move them into an 'inactive client' folder. After another 6 months I may decide to archive or delete that folder.

I name my individual files as follows: year_month_day_client_project_my firstname_mylastname.wav So a recent file is named ‘2011_06_03_Client_elearning_Mel_Allen.wav’

 I did a screenshot of an example of the folder structure for you below:

Now that you know what the requirements are, go see the full list in our Store.

We've come quite a long way through the Home Studio Equipment Reviews and Recommendations Series but we're not done yet. Now I hope you're reading through the link just above to get all the insight on what you need in your studio. Let's continue to work the rest of that way through the studio equipment you need.

So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

Today's subject, part #8, is Studio Monitors. Notice I didn't call them speakers. Why? Well a speaker is typically no built in crossover, amplification, it's connected to a small radio or maybe a stereo receiver in your home, typically small, often underpowered or with loads of unrestrained power, and it's typically not as good a piece of gear as you may believe. Now I know many may disagree with some of those statements - and in fairness some of them may be partially right - but it's still not designed specifically for accurate representation, it's often built more for constant use and durability. Compared to the Studio Monitor - your home stereo may be likened to the stubborn mule. It can carry a heavy load and work often - but the quality of the work isn't on par with what you need for a studio. Why? You frequently have an inexpensive cone and poorly manufactured parts, no active management of the sounds the different speaker parts are firing in your direction, and the ability of the speaker to play sounds across the spectrum is, at best, very limited.

To be a studio monitor, you need all the things a typical speaker lacks - a bunch of electrical engineers, a couple audiophiles, a physicist or two and a manufacturer who put them all together in a room to push the envelope of sound. There are different types of Studio Monitors as well. Some come with a subwoofer, some it's an optional add on. Some are for large open studio spaces and some are 'nearfield' monitors. Most of the people building a home studio will want the nearfield monitors.  So, that's what I'll mainly be focusing on today.

One thing to be cautious of before you buy - studio monitors aren't always sold in pairs. This way, you can replace them if they ever break and you can also buy 5, six or seven (or more) of them to play audio throughout a room, office or even a building. Say you have a very long room that you use as a studio, but you move a room divider and it becomes a home theater. A flip of a switch can allow you to fill the entire room with balanced sound and the odd monitor of the bunch works as a center channel in your 5.1 or 7.1 Home Theater system. Or, perhaps you just want to have a mono feed to one room or one studio monitor to test your mixes.One of the best things about Studio Monitors is that they will allow you to listen comfortably, without the need for headphones for hours. You won't be as likely to get ear fatigue (often happens after a few hours of headphone use). because by moving your head slightly - the sound comes in your direction in a slightly different way almost each and every time. You can move farther away from the source, or even leave the room to test the mix. 

When you shop for your Studio Monitors - look for ‘Powered’ or ‘Bi-Amplified’ monitors. Do your best to avoid Passive or Non-powered monitors. They require additional amplifying equipment, which can be costly and eat up some of your space. Don’t try to use a home stereo amplifier – the quality just isn’t there, it can add noise and can even mask some sounds.

Which studio monitors are right for you is ultimately dependent on your end use. As the writer of this, I use Behringer Truth B2031A Studio Monitors. Are they the best? No. Are they the cheapest or most expensive? Again, no. I chose them because, simply put, I liked them. I used a pair for mixing and 'fell in love' with them years ago. When it came time to replace them I was very close to picking up a set of KRK Kokit RP8G2 studio monitors. Again, not the best, but some I liked. That's important for many people - liking the sound of your studio monitors. I use mine for mixing, and frequently for casual listening when I'm doing everything else. To me, enjoying the sound is part of it. If you can, get yourself to a music store and demo the studio monitors. I've listened to the same mix on several and been surprised by what I did, or what I didn't, hear. Make sure the setup is roughly the same for each monitor as well. You want them to be all about the same distance from each other and from you. Make sure they are plugged in through the same equipment. One set of monitors through one source, may sound quite different through another. By contrast, the setup at many 'Box stores' for their home stereo setup are all different. I often see speakers set apart by mere inches, and others apart by 6' or more. That doesn't give you an apples to apples comparison.

So - now to start looking at Studio Monitors available for your space. One thing I want to be sure you know is that most of these Studio monitors are not the 'top of the line'. We're talking your home studio you're building here, and I have to put some marker in for where a budget begins and ends. If your budget wasn't a concern, you probably wouldn't be looking to put the studio in your home, and would just build a custom studio as an addition of your house.  From the 'mid level' monitors on up these studio monitors would be on par with several studios I've worked in, better than most radio stations and perhaps a perfect fit for your budget and space.

Let's start with Low end. I hasten to recommend any of these, but if you desperately need something other than your computer's speakers, or some relief from headphones, these are some options in the 'low end': 

M-Audio AV20 Basically - a set of computer speakers - I'm not sure these would be very capable of mixing anything well. Probably better suited in a conference room attached to a projector. In that setting they are worth every penny - but likely not more. These are here mainly as an option to replace your laptop speakers.

M-Audio Studiophile AV 40 Not much more here than the AV20, These are getting into the 'multimedia' speaker set. Good for PC speakers, good for watching movies at your studio - give you some basic listening ability and surprisingly popular with may VO talents I have worked with.

Behringer MS40 These are another multimedia PC speaker to my ear. Considered the entry into the Behringer line - about on par with the AV 40's, and good for about the same purposes.

Stepping into the mid level studio monitors are a BIG step up from the low end. With a 5" -6" woofer and a tweeter. These start to accurately represent some of the tones you will need. Not all are good for multi layer mixing, but fine for working with basic 1-2 tracks of audio and really increasing the sound coming from your computer. In rough order they are:

Samson MediaOne 5A Samson makes some smaller units I just didn't like -  but this one starts to give me some useful sound. It's not much of a step up from the AV40 or the MS40 - but it is a slight step up.

M-Audio Studiophile BX5a I actually found these to be fairly good for the mid tones, work well for many VO talents (these are the second most popular I've seen in ther studios). Surprisingly I've found that they travel fairly well - again great multimedia speakers for a PC.

Alesis M1 Active 520 a huge leap over the 'low end' these will allow you to hear sounds not present in the options named yet.

Now we're getting into the higher end for the home studio. Some of these are still on the smaller side, still can work as nearfield monitors and give you a more 'true' representation of the sounds you'll be looking for when mixing. Again - in rough order:

Alesis M1 Active Mk2 This is a big step from their small brother - they begin to clearly define many sounds.

KRK Rokit RP5G2 These are on the low end of KRK's line - but they do reproduce sound well. Not revealing quite enough for complicated mixing purposes, they will do very well for one to two tracks of audio. A great set for casual listening as well.

KRK ROKIT RP-6 G2 A decent upgrade to the RP5G2 - I did find these sounded similar, but there was a better presence to many things I listened to on this pair of studio monitors - compared to their small, yet capable, little brother.

Yamaha HS 50M These are one of the Sony MDR 7506's of the monitor world. Many won't go to anything else. the difference is that they can be tricky to mix on, though if you can mix on these, several audio engineers will attest that it will sound great almost everywhere! These are often used in professional studios.

Focal CMS 50 Focal CMS50 These are not inexpensive, but they are favored by several engineers I have worked with over some larger monitors - even at their small size. These are often used in professional studios.

Some don't like using these next ones as nearfield monitors, but I have seen them used - and used some of them as such myself - with some good results. They will also allow you to have a really great sound that will not leave you with shortcomings. If you do decide to turn that other bedroom or basement into a studio - these will be right at home.

Focal CMS 65 Focal CMS65 - While I found these a bit difficult to listen to up close, they are good for a large space. The low end seems under-represented to me as a nearfield monitor, but begins to show it's presence with a bit more space. One thing I can say about these monitors - they are very crisp. These are often used in professional studios.

KRK RP8G2 Just a great listening experience here. They reproduce much very well. Tied to a KRK K10S Powered Subwoofer you can extend their range into casual listening, or for insuring the bass is well represented for club mixes. These are often used in professional studios.

Mackie MR5 The Mackie is another like the Sony MDR 7506 - many who put these in their studio see no reason to swap them out. It's a decent, hard working monitor. Mixing on this monitor sounds good on several other sources. This is a jack of all trades' - so nothing sounds great on it, but by the same token, nothing sounds bad on it either. These are often used in professional recording studios.

Behringer Truth B2031A Behringer Truth B2031A - the price of these don't necessarily represent a shortcoming. Some consider these an 'older' style of monitor and they have in fact been replaced by Behringer making them a steal for some - myself included. While a bit complex, a series of switches allows you to compensate this for a variety of environments. Plain & simple - they deliver a great sound. These are often used in professional studios.

Yamaha HS80M Yamaha HS80M is very similar to it's little brother, but not exactly - and more 'punch' to the bottom end. These are often used in professional studios.

[EDIT] One final thought - thank you to Paul Strikwerda in the comments for reminding me of this - isolate your monitors. You can use something like the Next Acoustics MOFO Rizers. As of this posting, no reason not to - they're on special for about $35 less than the competition. You can also buy Auralex MOPADs or Auralex SpeakerDudes, but you can also 'get away' with other vibration absorbing materials like Tall Cymbal Felts, stacks of foam rubber, or other do-it-yourself options.[EDIT]

Disagree? Did I leave out a brand you love? Leave it in the comments!

Mel - Your Audio Pro