How many of you have written this letter in your heads? For those who haven't yet, here goes:

Dear potential clients,

Please do yourself the favor of not requesting VO talents do your voiceover for less than it costs to buy lunch. I'll spell it out for you below...

There's a minimum amount I need to make to use my time wisely, just like you. To help you determine minimums I'll make a handy guide. First it depends on what you're looking for. Looking for prompt, professional service, handled effectively, efficiently and done right the first time or errors quickly dealt with? Then the minimum amount you should expect to spend is the average cost for a date night - dinner and a movie with a date/spouse/significant other. And yes that includes the wine, popcorn and soft drinks. If the talent is especially good and timely, it includes appetizers, dessert, an apertif and the tip as well. For those who aren't good at math - that means you start at about $100 in the middle of nowhere and work your way up to the national average of about $125-$150 for average middle America, $200+ for metropolitan areas and over $300 for major metropolitan areas. Note I said 'minimum'.  Just like a restaurant, the cheaper the date is, the less the budget will be. If you take a risk with someone who is a beginner, then you cut out portions of the evening as you would on a date that may not be going so well. Let's say you're looking for a meet and greet - maybe a coffee house to see if you even match up, followed by a simple meal if things go well - then we're in the $50-75 and up range. By the same token, if this is a week’s to month’s long project and you want to have me at your disposal – we're talking about the type of budget Richard Gere used in "Pretty Woman" – so several thousand to several hundred thousand. A girl's got to make a living after all.

Do not make the mistake that we are simply speaking or reading. For years, or decades, we have invested time, finances and hard work to craft the words handed to us with skilled delivery. We balance more than just punctuation, motion and energy into our delivery. To learn the difference between our craft and 'reading' - attend your average High School or College English class on the day they are delivering oral reports, or reading aloud. If you think we are speaking, think back to the last conference, corporate training or presentation you attended. Been awhile - I invite you to view this entry in a Toastmasters boring speech entry. It's quite indicative of the 'average speaker': http://www.youtube.com/watch?v=MiBsTwZ9UL0

In addition, we have also invested in purchasing, and learning how to use, equipment and software to insure that you receive a quality product. We make few to no errors, and correct the ones we do. To appreciate the difference in someone who properly uses the equipment in front of them, from someone who doesn't, call your local driving school. Ask to ride along with a few average teenage drivers who have just received their permit and can measure driving time, in hours, with single digits. Our equipment (microphones and mixers), hardware (computers, studio and the other ‘stuff’ that holds and contains everything) and software also require occasional maintenance, repair, updating or outright replacement. We have overhead costs for those– just like your business.

Unless it's a spec project, with a potential payday later, no one will (or should) do your production or voiceover for 'Free'. Not because you can make them 'great business contacts'. Who would want to make business contacts like that? The basis of that introduction would be, ‘Hey use this clown – they did it for free for me.' No thanks. No one will, or should, do your voiceover for the glory of being listed in the credits either - though some of us will do it for a non-profit group or educational purposes. To appreciate this 'free or credits' offer, extend it to an electrician. Ask them to rewire your house for contacts or credits. Would you trust the rewiring job of that electrician? Don't need rewiring? Extend the same offer to a lawyer or accountant. You will, no doubt, receive a cold, hard, stare until you change your mind. The local television or radio station, you may advertise with, may have conned you into thinking that your production, voiceover and music are free. You should know that the bulk of the cost is the equipment & overhead, production music, salesperson's cut and in-house talent expenses (in that order) and only a small fraction is spent on actual 'air time'. In-house talent is also very hit or miss – mostly miss. Just because someone knows enough about the latest and greatest celebrity or music, and how to run the radio station, it doesn’t mean they have anything invested in helping your company succeed. A VO talent has much investment in your company as you are their sole client focus for that moment in time. Radio and TV in-house talents are often doing a 'rip and read' of several commercials in a row - meaning they've never seen or practiced the script before, or looked at a pronunciation guide, and will read them all in a row - with no different inflection on a monster truck ad than a family restaurant ad. Then they (or the production director) will throw the client jingle, or several year old canned music/effects, behind each one and load it, breaths and bad takes often included at no extra charge, for airplay. This is done in a fraction of the amount of time it will take a professional to record your script and believe a few good takes have been laid down for safety - before doing a few more good takes for editing.

We also didn't produce our own demo, those who did are generally easy to point out. As professionals, when we needed our demo created, we hired people to assist us with scripts, use licensed music that's from this era and recorded on equipment that's at least as good as our own. Most professionals are also cautious to not record on equipment that’s so different it's not representative of what we can deliver for you. As part of that process we were pushed hard by a producer, an experience that most VO talent can’t help but hate to love – because it allows us to do even better than we did before those sessions. We also audition constantly. Occasionally that audition is stolen. Occasionally we catch those who steal our auditions and those clients can face civil and criminal penalties – and they also pay much more than we would have originally charged.

By each of use spending wisely on the *right* people for our products, we can both rest assured that we will have a much better chance to reach the people we are seeking, that no one is being taken advantage of and that we both have favorable reputations in our fields.

Today, I'll be talking about a subject that will make some of you itchy.

Yep, I'm going to focus for just a bit on the corporate world, and how the lessons/studies/tracking there can help keep you in the drivers seat in your home office, studio or whatever space you've carved out for yourself in the world.

I can hear many of you now, "Hold on there Mel - I left the corporate world and I don't want to go back." That's OK - I don't want to send you back. Really.
What I want to talk about are some things that are often missing from the Home Office and Home Studio. Think back, why did you start working from home? You, or someone you may know, was sold on the dream of working from home in your pajamas. Why? Not exactly sure - because there's much more to it than that. The issue for many is that they don't really think of their singing, voiceovers or music playing as a business. You want to enjoy what you're doing and just have the money roll in. Maybe you heard the old saying, "Do what you love and the money will follow"...

Well - you're doing what you love, so...

Why is this falling further into the hobby category?

Where's the money?

What's missing?

One word sums it up - Accountability.

To be accountable simple means; "to be responsible for an action".

Another word that ties in is Discipline, but not the meaning we tend to think of. Discipline can mean punishment, but here we're talking about an "activity, exercise, or regimen that develops or improves a skill."

When you look at those interpretations of Accountability and Discipline, and combine them into; "To be responsible for an action or regimen that develops or improves a skill" it shifts away from the negative - into a positive way to build knowledge and rewarding behavior.

Accountability and Discipline are two terms few may still want to look at. But it may the difference between the hobby and a business. A Hobby is somewhat self rewarding. You sit down, you do something for a short while  and work toward completion of a project. Once it's done, you pat yourself on the back, tell a few friends over a glass of beer, wine or dinner and think of it as time well spent. Maybe you even made a buck.

For a business, however, it's not exactly the same. Though those routine goals can still be very rewarding - there needs to be a bigger picture. Think of it as time spent, and time well spent. When you had money as a kid - there were two options. 1 - Save money for that new bike or, 2 - Spend it on candy and comic books. Of course, there's also option 3 - Save 50% toward the bike and spend 50% toward candy and comic books. When you have enough money - you go buy the bike. Accountability and Discipline helped you reach that goal, but it's not really as simple as that though - is it?

Part of why it's so difficult is that people get hung up on how to keep track of things and what to keep track of. Can you wait three years to buy the bike, or do you want it in six months? How will that bike help you? Will it cost more than it gains in the long run? Maybe you decided to follow metrics to see how you're doing, but that's not right either. To paraphrase, "Using metrics is like driving a car by looking at where you're been to direct where it is you're going."

So where did I get this quote - from FranklinCovey's Four Disciplines of Execution. Years of research on Accountability and Discipline went behind this program. There are some eye opening statements in the videos located on the Franklin Covey website about the topic. One of them is by looking strictly at 'metrics', or something that you may prefer to call Performance Measurement. Now those metrics can be valuable, but - just because 500 people visited your site, or listened to your demo - doesn't mean you'll get hired unless you are sure that the people listening are the right people. And what about follow up?  If you aren't practicing Accountability and Discipline - are you even following up? Are you waiting too long to follow up or, even worse, are you following up too frequently?

As you watch those videos, take some notes that pertain to you. Then take that list and look at the basic areas of your growing hobby, home business or studio you are operating. Ask yourself not only what 's most important, but why:

1. Goals - What are you working toward?
   
2. Budgets - Not just expenses, but what will you do with profits?
   
3. Motivation - What motivates you? Money? Seeing the impact your work?
   
4. Rewards - Are you rewarding yourself?
   
5. Education - If you aren't learning, something isn't right!
   
6. Improvement - How can you do what you're doing better?
   
7. Evaluation - How do you know you're being effective?
   

One very simple way that you may be able to get all of this done is with software built for for Customer Relationship Management aka CRM. Many of these above challenges are built right into the software. The great thing is - many CRM solutions are FREE! Now, of course, some of those free versions can be a bit limiting, so look them over and see what you believe your needs are. From ZoHo to Insightly, Really Simple Systems, Karma and more (Small Biz CRM has a good list) you can use many without any cost, or apply add ons for a small fee.

One great way is with applications that plug into Google Apps. I have worked with several clients who own a domain and use the clunky email interface from their webhost. But - if you sign up for a Free Google Apps account, instead of a paid business account, you can have easy access to email for a few users for free. Google even walks you through the whole process. The bonus - your CRM application may integrate right into your Google Apps account - and it's all in one easy to remember, easy to access, spot. Other systems plug right in too - so you can have an easy way to build newsletters, send out emails to new prospects and more. One thing to remember, don't go crazy - look over the options, find one of two that might work for you, and test them. Do a trial run with a few - see how you like it. Personal preference is key - so make sure you find the one that works best for you. Don't put valuable information into them until you find one you like.

Now, admittedly - I made a comment above about working in your PJ's. The reality is - I researched and wrote this article in mine - but my mentality is never about being in my PJ's - I just jumped on the computer with my notes for this article early in the morning and never left until it was finished (except to grab a cup of coffee when it finished brewing). The good thing is, I can wear my PJ's and remain motivated. It's all simply because I keep track of what's going on, hold myself accountable, practice discipline and get the job done. It's really it's own reward - the benefit is that I hear back from others that what I teach them is working for them as well. Armed with some tools, and a dash of inspiration, it may work for you too! If nothing else, you'll know more about being accountable, and about being disciplined. The corporate mentality doesn't need to enter my home or yours, but learning how to operate more efficiently and 'work smarter not harder' is welcome anytime as far as I'm concerned.

For those who are struggling, you can hire us at Your Audio Pro on as your own personal coach. We'll help start you down this path, build some goals and hold you accountable while you set things into place. It might surprise you how a simple goal can quickly grow your hobby into an income generating business.

All the best, from  Mel and the rest of the Your Audio Pro team.

We're still amazed at home many people are gaining great insight from the 'Home Studio Equipment' series. If you record yourself, or your instrument(s) from home, it's a great way to get some insight on the proper setup.

For those who already have that setup - we'll now delve into how you can embark on making a profit from it. One great way is with an 'Elevator Speech'. Today's topic is written from the perspective of voiceovers. however, swap out voiceover with any business you do from your home, or even for a big business, and you might find a much more compelling way to perform - be it B2B sales, electronics repair or selling pet food.

So what is an "Elevator Speech"?

Initially it was called an 'Elevator Pitch' and was used as a way to talk to an investor - in the time it took to ride the elevator from the bottom floor to their top floor offices. If done well, you would win a new investor, an invite into their office to hear more, or at least schedule a time with their secretary.

Not a compelling pitch - you rode the elevator back down to the first floor.

The idea caught on - though it's focus has shifted. Now, it maybe the information you pass on to a local client who has no idea how your voiceover or your music is something they may need. Maybe you wrote a jingle that they have to hear, maybe your voice fits their product quite well. At the very least, it's what you can say to someone at a networking event, how you tell your neighbor that you now work from home. In essence, an "Elevator Speech" is a concise, carefully planned, and well-practiced description about your company. it should be simple enough that your mother should be able to understand what you're talking about and should still be said in about the time it takes to ride up an elevator.

However - that being said - you will want to write it longer than what can be said in a short elevator ride. More on that later...

What an "Elevator Speech" is not:

It is not really a "sales pitch." Don't get caught up in using the entire speech to tell a potential client how great your voice is. The Producer or Client is "buying" your professionalism and ability to get it done, not just your voice. At it's core, it's the basis for a coherent conversation. It's a way to speak about yourself without feeling like you're gloating. Aand always keep in mind this rule:, "If you don't connect with a client, they won't trust you can connect with their customers"

Section A - Creating the "Elevator Speech"

There are six questions your "Elevator Speech" must answer:

1. Why they need your service?
Describe what it is you do for clients. Do not go into excruciating detail.

2. Who is your market?
Briefly discuss what you specialize in, what your niche is.

3. How does a voice-over really drive or motivate people?
How is it that a voice-over would work, as opposed to just a PowerPoint slide show??

4. Who is behind the voice?
"Bet on the jockey, not the horse" is a familiar saying. Tell them a little about you, your background and achievements (as it relates to voice-overs) or what qualifies you so well for your work. Remember - people buy why you do it, not just what you do.

5. Who is your competition?
Don't have any? Think again. Briefly discuss who they are and what they have accomplished. Successful competition is an advantage-they are proof your business model and/or concept work - i.e. - why do so many movie stars do voice-overs?

6. What is your competitive advantage?
Simply being in an industry with successful competitors is not enough. You need to effectively communicate how you are different and why you have an advantage over the competition. A better voice, a lower cost, more timely turn around, understanding their company, product or service?

Section B - What your "Elevator Speech" must contain!
Once you've written the first part out, look to highlight these...

1. A "hook"
Open your speech by getting the potential client's attention with a "hook." A statement or question that piques their interest to want to hear more.

2. Not too much!
Your pitch should go no longer than 30-45 seconds (less is more)

3. Passion
Producers and potential clients expect energy and dedication from you.

4. A request
At the end of your pitch, you must ask for something. Do you want their business card, to listen to your demo, to speak more (in person or by phone), to ask for a referral/recommendation?


Section C - Evolve!

A good Elevator Speech doesn't just 'happen'. It will evolve over days, weeks or months. You'll learn where and how it needs to be modified. When it's best to use one, and that waiting for perfection means many lost opportunities. Use what you have today, and it will perfect itself in time.

Section D - Don't be a robot!
Your Elevator Speech is not something you should memorize and rehash to each person in exactly the same way. It's a framework you can use to speak to a specific client in a specific way. Memorize the parts and the pieces, and have a conversation with the client. It will be difficult to say everything in the limited time you have, so focus on having a memorable conversation and let parts of the overall speech enter into the conversation.

Example of creating an "Elevator Pitch"
Here is an example of what you might use in developing an Elevator Speech for a fake VO company - let's call it "YourVoiceOver". Remember - this isn't what you would memorize and repeat verbatim, you would try to memorize the 'bullet points' of the following, and flavor your conversation with a potential client by adding the following at the appropriate point in a conversation:

YourVoiceOver is changing the future of voiceovers - as part of a $12 Billion Dollar a year, and growing, industry - on a local level. While many are familiar with commercials - they represent only 20% of voiceovers being done.

YourVoiceOver offers producers or clients an efficient and interactive method for creating a standard voice across the spectrum for our clients that can represent them in commercials, in store announcements, presentations, voicemail and more - because YourVoiceOver has 24/7 access to a professional recording studio, which means no additional studio fees and quick turnaround time.

YourVoiceOver is a local company working with neighboring businesses and supporting the community by working with non-profits like Reading for the Blind and Disabled (or whatever non-profit you choose).

YourVoiceOver has specific experience the Producer or clients can tap into to represent their topic or industry - years of public speaking, specialized training (perhaps ProTools Classes with Your Audio Pro), industry specific knowledge (if applicable in the medical field, IT, Telecommunications, legal, automotive, etc.) recording training narrations or by working with similar clients at XYZ companies, etc.

Our industry continues to grow as more companies realize a professionally done voiceover humanizes a company at the consumer level - giving you a connection and therefore great potential advantages over a competitor who doesn't. As an example, Morgan Freeman, James Earl Jones and other actors, who have successful movie careers, continue to do voice-overs because they work so well that companies are willing to pay top dollar for star power.

YourVoiceOver is a professional business committed to representing it's Producers and Clients well, and working with you to assist in improving your bottom line. YourVoiceOver is not interested in rushing you through a process and will work with your timeline.

YourVoiceOver continuously improves our facilities, studio equipment, vocal training and accessibility by reinvesting a portion of our income.

Here's my business card, and I have a compelling demo I can send to you by email to let you hear examples of what I do for my clients. Do you prefer a link or attachment?

Now that you have this framework, start writing things down and make a call. Start with a friend and role play with them as if you were trying to get them to invest in you. Who knows, maybe you'll convince them!

To your future!
Mel - Your Audio Pro

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

What's good about Monday - well for me it means the next installment in the Home Studio Equipment Reviews and Recommendations Series. 
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 topic is probably the lengthiest to date, and some may find it could be longer. It's also sure to cause some thought as we'll be discussing part #7 Sound Management aka Acoustic Treatment. Notice I didn't call it sound proofing. Unless you have the knowledge of NASA, and large pile of funds available to back it - you will not be sound proofing your space.

Sound Management is all about minimizing the sound you are creating, and the sound that wants to jump into your recording from outside. There are some inexpensive ways that leave plenty of room for growth until you can build that studio of your dreams. Contrary to popular belief, the goal of sound management is not to have a completely 'dead' space to record in. You ultimately want a mix of absorptive, diffusive and reflective surfaces - which is what you'll typically find in professional recording studios.

So Let's Get Started with Home Studio Equipment Reviews and Recommendations - Part 7 - Acoustic Treatment.

Step 1 - Don’t think in terms of a room – start think in terms of a telephone booth - larger or smaller depending on what you need to fit inside with you. Now, I know this will grab the attention of many Audio Engineers who will tell you that a minimum 10' x 12' space is required to hear audio properly. I can't agree more. But, for those who are getting started - it's doubtful you have a space that has been custom built with a high density mass loaded vinyl barrier like Auralex Sheetblok or a poly-weave sound diffuser with a thick resin sound blocking back like Mutex, maybe some double walls of QuietRock with Celotex Sound Stop behind them and even loads of isolating Sorbothane 'pucks' or Auralex U-boats that your floors and walls are 'floated' on. Next your walls are covered with a decoupling foam or faced with the standard Auralex Roominator kit with Bass traps in the corners or even Next Acoustics foam. If you are starting with that - then you're far ahead of this article and you're either reading it to pick it apart, or you think you may have missed something. For the rest of you who are unprepared or live in apartments - where you can't build anything permanent - read on. as you learn, you can start planning ahead for that amazing studio you will build one day!

Step 2 - Manage the noise you are creating *inside* the room. Keep computers away from your microphone(s). Some keep their desktop in a large box (you can find these online or build one yourself) that allows for airflow around the computer plus in and out of the box. Some claim their laptop doesn't make any sound, but that's only when it isn't under load. Put some heavy recording time on your laptop and the fan will kick into high speed, pumping out lots of noise. It's more likely you can't hear the fan noise because of all the other noises. Getting your computer out of the room/area is best. You can purchase extended cables online or at your local Radio Shack, Best Buy, etc. These allow you to have all the function you need, just with the computer sitting away from you and your microphone(s). Some just build a tiny 'booth' to record in and get a KVM switch (Keyboard, Video and Mouse) so they can have full use of the computer inside and outside of the 'booth' area.

Step 3 - Manage the noise inside the home, but outside the room. Temporarily turn off your Heat/AC anytime you are recording to avoid the ‘hum’ in the background while recording (I set an alarm to remind myself to turn it back on). Refrigerators make a considerable amount of noise and vibration - avoid turning them off, just don’t record near them if at all possible. If you have to record on the other side of a wall from a refrigerator, there's a great Recycled Rubber Mat that's meant to sit under washing machines and reduce vibration that can help - especially if it's on both sides of the offending wall. If it's applied with an adhesive like TubeTak, it's best. Other attaching will give mixed results.

Step 4 - Manage the noise coming into the room from outside. This one initially seems complex, but the number on culprit is windows, followed by doors, outlets, venting, cables or other 'holes' in the building. If you have windows – try blocking them with plywood, carpeting, exterior grade rigid foam insulation, etc. Combining those materials is even better (insulation , then plywood and mount the carpet on the plywood). Whatever you use - leave a 'dead space' between the glass and the material  so they do not touch. It might not seem like much, but even a half inch of dead space will help tremendously. Put weather stripping around the door to your room to prevent noise seeping in around the door’s frame. Replace a hollow core door with a heavy solid wood door, and mount the Recycled Rubber Mat to the door (use screws or staples to hold in place) and adhere it with TubeTak to prevent vibrations. Doors also aren't very expensive - especially from Craigslist.org or a local architectural salvage. If you rent, replace the door that's there with one that you can 'beef up'. You can bring it with you, toss it out if you have to or sell it to someone else.

Step 5 - Manage the space you have now created. How you do that depends on your budget.

Let's start with Free or Cheap:

First is something I would definitely *not* recommend. Packing foam. Many don't realize it is not intended for interior use and so it is not fire rated. While it may approach the thickness, durability and look of acoustic foams, it likely does not do the job well. It could be dangerous and burst into flames if a spark or heat source were ever exposed to it - something that is fairly common around the equipment and light sources needed for a studio. when it burns it will give off fumes and burns quickly. If you insist on using it, get a flame retardent spray to treat the material. Be prepared to buy several cans.

Another in the 'do not recommend' section are ‘Memory Foam’ mattress pads, 'egg crate' foam bedding pads and egg crates themselves. Non-scientific tests that I've done seems to put these material about parallel to a thin cotton blanket. Actual Scientific tests show there are enormous spots in the audio that are completely unaffected. Basically - it's for you to have the feel/mock the appearance of a studio. I've even heard of people purchasing automotive fabric paint to give the appearance of a higher end product. The problem is that they can only help soften/reduce sharp echoes to a small degree (perhaps trivial) and give you some sound diffusion. Absorption is likely minimal. Two layers of the foam are no doubt better than one, though perhaps egg crates mounted over memory foam would work to a degree? Again, we have the issue of flammability. Not all bedding products are treated and egg cartons most definitely aren't. Again, if you insist on using it, get a flame retardent spray to treat the material. Again, be prepared to buy several cans.

Something I constantly see people insisting on using are acoustic tiles. You can find some that actually will work, though I have found some that most definitely do not. What they do provide is a dead space in between. Because most acoustic tiles are mounted in a suspended ceiling configuration, it is the suspension system and dead space that actually provide the acoustic treatment, not the tiles.

On to the next - Cubicles, Office Partitions and Portable Room Dividers. They manage sound to a degree (offices use them to keep noise at an acceptable level for phone use after all) and can often be found free or cheap on Craigslist.org. The number one problem is, they are heavy and difficult to find in a convenient size. You can also look for wall panels that can be hung like a message board (just much heavier) and give you some convenience and options on where to place them.

Carpeting is a good way to reduce echo and add a bit of mass, especially if it's the kind that has a thick foam-rubber backing. As an example - many Radio stations I've worked at are very thrifty in preparing a studio. Beyond heavy doors and double or triple windows, all they do it mount industrial carpeting with foam rubber backing on the floor and walls and use ‘blown in’ or cotton batting insulation in the walls between studios. It’s not perfect, but is very inexpensive compared to other options. I've even seen a rolled up carpet remnant placed in the corner to act as an inexpensive ‘bass trap’. Does it work as well as the pros use? Probably not. There are frequencies that will no doubt pass through, but they will likely be decreased.

*Heavy Duty* packing blankets that are double sided and lined on the inside with cotton batting are fair, better in multiple layers. The lightweight bluish ones you likely get when you rent a moving truck are no good for a studio. Thick down comforters are actually good and high quality (in other words heavy) lined/insulated/light blocking curtains work fairly well too. I have heard, and even recorded my own VO, in 'studios' that were no more than a booth made from two layers - and some room preparation. The talent had weather stripping around the interior door and foam insulation in the window. In the room were heavy light-blocking curtains and a down comforter(suspended from the ceiling with hooks and grommets), with a small lamp, a throw rug on the floor and a couch cushion hooked in above. Not only was I impressed, but so was the VO talent's own clients. With the curtain/comforter combination they had a studio quality sound and had bought only the grommets for the comforter and weather stripping for the door - everything else they had on hand. [EDIT] Another Great option is the sound barrier blanket from AudiMute  (and more) Also a big thanks to John T. at Towne House Studios for the link to sound blankets from Movers Supplies. He recommends them highly, and they start at a very low cost! His Quote, "My first booth was lined with them to great effect."[EDIT]

A closet or 'nook' area lined with bookshelves full of books (mix up the sizes) will give you mass, absorption and diffusion as well. Often putting these on three sides allows you to be the fourth side of the wall, and there are several top end Voiceover talents who admit to recording in such an environment.

Some even less expensive alternatives would be a a box filled with high density foam pillows around your microphone. Likely the inspiration for Harlan Hogan's Porta Booth and Porta Booth Pro This can give you a great sound by preventing outside noises from reaching your microphone, preventing sharp echo's too. Don’t overlook materials you already have. You can upgrade with income generated and create a studio that has paid for itself and looks professional.
____

Ready to start preparing or upgrading your space - here's what you can add to it.

A High density mass loaded vinyl barrier like Auralex Sheetblok or a poly-weave sound diffuser with a thick resin sound blocking back like Mutex,

For the walls QuietRock and/or Celotex Sound Stop behind them

To isolate the floors and walls - Sorbothane 'pucks' or Auralex U-boats

Acoustic foam - there are a few choices. Something like the standard Auralex Roominator kit (includes Bass traps for the corners) or even Next Acoustics foam. You can also have alternating waves, lightweight Skyline Diffusors, floating panels and bass traps.

Rigid insulation like Owens Corning 703 series insulation is great. While not recommended, these can be mounted in their raw form, however they work best when placed in frames and wrapped with material. It gives you an easy to clean & professional look that can be mounted easily. Two outlets with decent prices and their own 'off brand' versions/multiple configurations are ATS Acoustics or Ready Acoustics.
_____

Now, before you go shopping for everything, you need to learn about two very important topics Noise Reduction Coefficient and Sound Transmission Class. Why? Because without knowing what these are, and without knowing the NRC or STC of a product you are buying, you may not be picking up the right product for your space.

Thanks for reading and stay tuned for next week's topic; Studio Monitors.

Comments, thoughts, anything you have found that works well not mentioned here? Disagree completely? Sound off in the comments below!

- Mel  - Your Audio Pro

For today's installment in our Home Studio Equipment Reviews and Recommendations Series the topic in part #6 is Headphones.

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

Many people new to professional audio don't understand what a proper pair of headphones are. In fact, I've found that people who have worked with audio for years sometimes don't know how to distinguish a proper pair of headphones. Do You? Look at the headphones next to you - are they ear buds ('in ear' type) or labelled, 'Pro', 'DJ' or 'Noise Canceling'? Don't worry - it's not necessarily a bad thing. Now think about how you use them - do you love the way music sounds on them, but hate listening to audio books (or vice versa)? Do they claim to pump more bass into your music? These are some of the factors that influence your selection when you're looking for a pair of casual use headphones. However there's one simple phrase to look for when you are searching for a good pair of headphones - 'Studio Monitor'.

Why Studio Monitor? It means the headphones are intended to give you a flat response across the sound spectrum. In fact, they will typically say something or even have a chart on the box with a notation '15hz to 25Khz frequency range'. Some will be higher, some will be lower. Don't worry - you probably can't hear everything they are capable of playing. Oddly enough - price (to a degree) doesn't always indicate an identifiable difference in performance.  And just like there is no one microphone perfect for all voices, there is no pair of headphones perfect for all ears. Let's go back to price. What price often does determine is the level of comfort, portability, appearance, quality of materials, name recognition and even life of the product.

So why did I mention to stay away from the ear buds, Pro, DJ or noise cancelling headphones? The ear bud style headphones will often lead to ear fatigue or discomfort (unless they are custom fit). The Pro, DJ and Noise Cancelling headphones typically 'color' the sound. Pro and DJ styles often add more bass and change the treble and mid tones of music. Mix on a Pro or DJ set of headphones and you'll find that everything sounds good on those headphones, but, when listening through standard speakers, it may sound very thin or unexpectedly muddy. Noise cancelling headphones are simple - they actively change the sound based on any interference, the same technology that allows you to hear music while on an airplane or train is what makes these unreliable for mixing.

So what to choose? Well, there are many more choices in our store -  but I'll share with you some of those options below that I know have worked well.

The ''Low End', 'Mid Range' and 'High End' distinction are not to say they are the lowest or the best, just a range with the average budget that clients have come to me with. You may decide your budget allows even more - and I will assure you there are options to suit you.

Low End:

For decent comfort, good sound, doesn’t allow much sound in or out. Some replaceable parts. The Audio-Technica ATHM40FS Precision Studio Headphones deliver clean audio and at about $50-60.

For good comfort, good sound and editing in more open environments.  Some say they are better than other low end, others disagree and say you're paying for the Sennheiser name. However, the Sennheiser HD-280 PRO Headphones seem to deliver between $80 - 90.

These are a bit of a quirk. People seem to love them or hate them. they are decent in their comfortable, clarity and collapsible. They even come with a soft bag for transporting. Caution - if you love them you won't want to use anything else. The Sony MDR7506 Professional
comes in at about $80-90

Mid Range:

Standard equipment at many recording studios/radio stations for great musical range, allows airflow for extended wear comfort – good for quiet home environments and studios they are my personal all around favorites: The AKG Acoustics K-240 Semi Open Studio Headphones have a good overall balance of price, clarity and comfort all for about $100

High End:

As you would expect we start with a set of headphones that is a step up in comfort, quality and appearance. These, like many high end headphones, have some replaceable parts to insure they will last you some time. The Audio-Technica ATHM50 Studio Monitor Headphones with Coiled Cable delivers it nicely for about $160

Again besting it's little brothers in several areas, these are comfortable for long periods of time, again have several replaceable parts and are good for areas where there might be distractions or in a bit more of a noisy environment. The Sennheiser HD 380 Pro might be right for you and cost about $190

Better Comfort, better sound and again doesn't allow much sound in or out. Several Replaceable parts make these last a long time. You'll often find these are labelled 'hands off' in broadcast studios as the owner doesn't want to share.The AKG K271MKII Closed Back Circumaural Headphones delivers all of the good of it's little brothers and makes it better for about $160

Now - like all equipment, you can spend as much as you have available for a lovely set of headphones that are hand built, have wooden ear-cups and a guarantee for comfort, etc. I hope you're able to add those to your collection some day. The sets I've shown you, however, should carry you into a new world of audio clarity. A word of caution, if you listen to your CD's with these or similar quality headphones - you may not want to use anything else. You'll hear what I mean if you do!

Stand by for next week's installment in our Home Studio Equipment Reviews and Recommendations Series for some discussion on what is commonly called 'Sound Proofing'. I prefer to call it Acoustic Treatment or Sound Management and it should be some fodder for great discussion.

Until then, onward and upward!
Mel

Today's topic in our Home Studio Equipment Reviews and Recommendations Series is pretty simple, it's part 5, and it's all about the power. 
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

Now, I'm no electrical engineer - so my description may be quite an oversimplification, but I hope it helps. One things for sure, you need to protect your equipment. Many people use the wrong piece of equipment, which brings us to today's topic:

5 - Power Conditioner – You have all this equipment, make sure you treat it right. 'But Mel' you say, 'I already have a surge suppressor with a $100,000 guarantee. Aren't I protected?' The answer is a resounding 'No!' What you need to do is condition that electricity to make sure the fine electronics you have stay in great shape. Oh, and that surge suppressor guarantee? It only works if the wiring in your house is properly in place, and you'll have to prove that it wasn't an 'act of god', etc. You would likely be better off with a good homeowner's insurance policy (you renters can and should get one too). One fact you should know - nothing you simply plug in to your gear is going to work well if your house's wiring is funtionally inadequate. A visit by an electrician might come with an estimate on fixing what's wrong, but it may also come with a clean bill of health.

So why are Power Conditioners a great purchase for any expensive equipment? Well, power conditioners are very different from the surge suppressors many people think they need. Surge Suppressors are a ‘dead man’s switch’. To simplify - if a huge power spike comes down the line, your surge suppressor throws itself in the way – frying it’s internal circuitry in the process – in an attempt to salvage your electronics. The best ones will try to reroute that electronic frying spike down the ground wire.

So how does a power conditioner work differently? A Power conditioner is constantly working to make sure any fluctuations (large and small) are managed. It prevents static, hums and shortened life spans on your electronics. By way of three separate (but complementary) functions - your valuable studio equipment will be much safer and, potentially, last much longer. If you get another year out of your equipment, we all know it's worth the small investment to condition your power.

I'm going to hand off the technical writing on this topic. I've forwarded this link to many who didn't understand the differences. This describes it much more elegantly, and technically, than I easily could. It's from Electrical Construction and Maintenance Magazine. Click to read the article Surge Strips vs. Plug-in Power Conditioners.

To wrap it up, there are many, many power conditioners available. Most of the quality ones, but not all, are rack mounted. Just be careful not to buy the one from the kid at the store who assures you the one in the box that includes your HDMI cables, etc will 'do the trick'.

Furman makes great power conditioners that start around $50-60 dollars. Buy one, buy two! The FURMAN M-8x2 Merit X Series M-8x2 Power Conditioner

That wraps up today's topic. stay tuned for next week's topic in the Home Studio Equipment Reviews and Recommendations Series, Headphones!

Make it a great Day!
Mel

Greetings Audiophiles. time for Part 4, DAW Software, in the Home Studio equipment Reviews and Recommendations Series.

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 topic - DAW Software aka Digital Audio Workstation Software. First, as stated with the computer section above, sometimes a re-purposed old computer can save money – just make sure it meets or exceeds the minimum requirements for the software. In addition, some DAW software companies suggest you don't use your for running anything other than DAW software - especially not surfing the internet or emailing. Some don't recommend writing to the main Hard Disc - and recommend a disc just for any and all recording. Other make no such suggestions. One thing is for certain, check your DAW software for compatibility with the Interface and the computer! Not all DAW/Interface/computer combinations work together.

If you don't already know - you'll soon find that every piece of DAW software you will find is music focused. As a result it is much more complex than you may ever need - depending on your use. Midi is something that you may want if you are working with music - but if you're just recording your strumming on a guitar, singing some lyrics, podcasting or voiceovers - then midi isn't something you will likely need. DAW software may also come bundled with your interface and you may not need to purchase  any (though many choose a preferred version for ease of use, training or familiarity). You don't even need to purchase any as you can also use Audacity – a free software - with many interfaces. If you have an Apple computer - then Garage Band (included on a Mac) can even work well. One final thought before we move onto some of the options (though again more than listed are available) is the phrase 'Industry Standard'. Many people are under the assumption that only one particular software is the industry standard. That is not the case. Almost any DAW software you purchase will meet industry standards. All of the major players will be updated from time to time to allow you to stay current as the standards change. Some of those updates are free, some you have to pay for. I don't like to reference WikiPedia often, but if you wantt o find out more about DAW software available, click this link (with caution). One area I like is the 'comparison of digital audio editors' on that page.

That said, here are the Digital Audio Workstations I have worked with, and some considerations to make when looking at them:

Audacity (pros - free, free and free. Also fairly simple to navigate for beginners cons - can crash, lacks functions and support of pay software). There are sites that will charge you, but the software should only be paid for if you choose to make a donation. It can be downloaded from http://audacity.sourceforge.net/

GarageBand (Pro – free* (on a mac) and files load directly into Logic. con – not compatible with PC, a bit tricky to use ) most people think this is only for podcasting and musicians to record themselves for training purposes. It’s much more powerful, and can be used for basic VO needs, however many people find it difficult to use as many of your conversions of files have to be done in iTunes. Many people use Garage Band for auditioning for VO jobs.

*If you have an older Mac and don't have the more recent version of GarageBand and iMovie, etc. You can buy the package called iLife '11

Audition (Pro - easy to use interface, 'royalty free' sound library - though these may get overused and tired soon, CS 5.5 is NOW Mac Compatible. Con - a bit 'bulky' in it's newest version, somewhat pricey). Adobe Audition has been used in many radio stations since it was known as 'Cool Edit'. At that time it was a compact software that had a fairly straightforward interface and was easy to learn. New improvements and changes to the interface have complicated that, and many Radio stations haven't upgraded for that reason. The newest version is CS 5.5, though older versions are available, and fair well with many users. Adobe Audition 3 (older version) & Adobe Audition CS 5.5

Studio One Pro – (Pro – clean layout, easy to learn ‘drag and drop’ effects, social media integration. Con – more than you may need. Social media may not be for you) from Presonus, this is a new build over an old music engine (CuBase), but the updates are done very well. This software boasts great social media integration allowing you to upload and share files from right within the application. This is an ‘extra’ that you may not need, but can also allow you to share your files easily with friends/associates for feedback – important when starting in VO’s. As with most software, it’s intended for people creating music, but the many plugins available compel some to upgrade from the Artist Version:  Studio One Artist to Pro Upgrade & Studio One Pro (Full Version)

ProTools – (Pro –often called ‘the industry standard’ software for audio. Massive amount of support and plugins available - some free. Con – quite pricey, many flavors that lack necessary functions creates confusion, older versions don't play well on PC's). ProTools got into many homes and studios with the older versions of their software that came bundled with the mBox. Lower quality, and much less useful versions were called 'Fast Track' or 'M-Powered' and caused quite a bit of confusion (most likely thanks to ill informed salespeople). Now, however, you can buy ProTools 9 as a standalone software and use it with several interfaces that support ‘Core Audio’ Drivers. An added bonus is that you can now edit on the go without an interface plugged in - by purchasing an iLok device. The iLok also holds the 'key' for plugins you may be interested in purchasing for use with your ProTools edits. ProTools 9 and iLok and iLok  2.

[EDIT]- Of course for those who use, or want to use, ProTools and feel they could use it better, or need to use it better - we do offer training for ProTools. At your location, or perhaps one of ours in the Burlington, Vt area or online anywhere via Skype. Screen sharing allows you to see exactly what the coach is teaching, and for you to repeat the steps they've just taught you. Contact us to let us know your ProTools needs today! [EDIT]

Cakewalk Sonar X1 series - (Pro - three versions - priced competitively, fairly easy learning curve, Cakewalk/Roland makes loads of equipment and it all plays well together & great Midi support - if you need it. Cons - PC only, so no Mac's) What has amazed me is how Cakewalk's Sonar software started to really falter in some areas, and came back. It's also a software that has plugins available to make it useful for the visually impaired . It's really a very functional software that took some lumps for awhile (though they did have some great features even then) and seems to have learned from them. There are three flavors available: SonarX1 Essentials, Sonar X1 Studio & Sonar X1 Producer

Logic – (Pro – Garage band files work with it, works with almost any interface. Con – only on a mac, a bit pricey, made for music creation & editing it can be overly complex for basic users) Logic is a very powerful music creation software, but quite a bit more than you need for VO’s, recording your guitar or singing. If you like actually creating music, and want to plug in just about any interface there is – Logic might be for you. Logic Studio

Disagree with any of what we've said? Think we're missing any software that should be included? Let us know in the comments!

Happy recording!