Can you really get a pro sounding recording with budget gear? Or are we simply lying to ourselves – trying to feel better about our budget or our purchases?
These are very important questions that I try and answer each and every week here at TRR.
You see, I’m on a mission to share my weird way of viewing the home studio and the bedroom producer with the world, but along the way I get some pushback, whether gentle or hard, and it always causes me to reflect on why I do what I do.
Via Marcel Grieder Flickr
Do You Really Believe This Stuff Graham?
The other day I was having coffee with one of my friends Jeremy. He’s a super talented engineer in his own right, and recently launched an audio blog of his own called Studio Skills – check it out.
In just about every area of home recording and mixing, he and I agree.
He’s all about improving your craft, not buying more gear to solve your problems. He understands that training your ears (which simply takes time and practice) is where results stem from.
One main area where we differ, however, is that he owns some much more expensive equipment than I do, even though I could afford the same stuff myself.
So during our little chat he finally came out with a question that I get a lot: “Do really believe all this budget gear stuff, or is it all an act, for the sake of the blog?”
The Blog Reflects Me, Not The Other Way Around
I guess the thought is (in some people’s minds) that I write this blog to appeal to a certain demographic and merely tell them “what they want to hear” that budget gear is acceptable and not to worry about buying the stuff they can’t afford.
And then in turn, I try and “live what I preach” so that people trust me.
The truth is actually the exact opposite!
I started The Recording Revolution because I was sick of all the other websites, forums, and magazines that promoted myth upon myth about what it takes to get a great recording. I’m not a reflection of what I write in this blog. What I write in this blog is a reflection of who I really am and how I really think.
I Get Some Sick Pleasure Out Of This
I’ve never bought into the hype about gear – and in fact I’ve always held a very weird view regarding budget stuff.
You see, if I can get a great recording with a $100 microphone (like one of my all time favorites – the Behringer B1), why would I want to use a $400 microphone? In the end they will both sound just as good, only one will have cost me four times as much!
That kind of thing kills me.
So much so that I get some sick pleasure out of churning out great recordings and mixes with super affordable stuff. It’s just the way that I’m wired.
You see – I don’t use affordable gear just to save money, I am motivated by something deeper – the drive to do pro work with as little as possible – because these days you can!
Nothing Wrong With Enjoying Nice Things
Now please don’t misunderstand me. There is absolutely nothing wrong with saving up and paying cash for some nice things in your studio. I own some nice third party plugins that I really enjoy the sound of. I even recently purchased a legit (and expensive) custom built desk for my new studio.
But – I don’t for a second think those things give me pro results. They are just fun.
Remember, I’m a crazy person. I don’t like knowing that I could get the same results with more affordable gear – it drives me bonkers. So I tend to stick with typical budget stuff when it comes to microphones, interfaces, monitors, preamps, you name it.
The Same Message Over And Over
It’s just the way I’m wired. And that is why The Recording Revolution continues to preach the same message over and over – because I believe it is true. And I know it will help set you free in your musical endeavors.
None of this is an act. I live and breathe this stuff as a home studio guy myself.
If you aren’t good with that, there are thousands of other websites out there that’ll tell you what you want to hear (that expensive gear is the solution). I won’t be sad if you leave and hang out somewhere else.
But if you’re all about getting the absolute most out of your affordable home studio setup, then you my friend are in the right place!
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My name is Graham Cochrane and I'm the founder of The Recording Revolution, one of the world's most loved audio recording and mixing blogs with over 200,000 readers each month. 
Great post, Graham! =) Your motto is a great theme in a world where “money is the solution”. It isn’t. And definitely not when it comes to music making.
I think it should be noted that the SM57/58 has been under $100 for years and is stil the best dynamic on the market. (arguably).
But, what make a $100 mic really pop is the preamp/processing. I would love to see an article on the benefits of a few professional preamps in the mix. I believe this can be the bridge to “less digital” sound without a lot of funny stuff…
Just a thought.
Yes, so much this. Preamps really play a huge part, and I feel they should be talked about more.
Case in point, I had a Lexicon Omega interface (around $200 or so) and two mics: a cheap Samson Condenser (~$70) and a Shure SM57 (~$100). Both sounded really muffled and just plain bad, initially. Eventually scored a free (normally $60) preamp, and WHAM, the difference really shows. There a bit of noise in the signal since it was a B-stock, but the tone was fantastic; it’s like the mics finally sounded what they should have already sounded like in the first place.
While cheaper audio interfaces are great, I think their preamps are kinda lacking. External preamps, even if they’re cheap, make a massive difference in the quality of sound you can get from your mics. Wish there was more discussion or emphasis on this.
They have done blind tests with cheap and expensive pre’s … No real difference is the result.
I have an Echo audiofire4 interface, an ART MPA Gold with NOS Sylvania tubes that I bought separate, and an M-Audio DMP3. I naturally swung towards using the MPA Gold for the longest time because it’s “external” and “tube” was the most expensive of the three items. I had been doing a bunch of vocal scratch tracks with the built in Audiofire4 press and when I went to do the real thing, I realized the MPA Gold and M-Audio DMP3 fell short to the sonic quality of the Audiofire4’s built in pres. They externals both sound duller and noisier than the interface’s. I would highly recommend Echo interfaces. The price is right and they sound amazing.
Hey Graham,
I’m a believer! I recorded my entire EP in my home studio using Pro Tools 10, mainly stock plugins, the Presonus Audiobox interface (2 inputs total), 2 mics (Rode NT1-A, Lewitt 540), Mackie monitor speakers, and a few other inexpensive things. And I used my ears to get the best recordings I could.
As a guitarist, I know that I can grab Joe Satriani or Steve Vai’s guitar and not play any better than I do with my current rigs and yet either of those gentlemen could make the cheapest, entry level 6 string absolutely cry. I see many, many people confuse “high end” with “better skills” which isn’t the case at all.
Now, there’s definitely a spot on the Laffer curve when it comes to gear just like there is with any tool – a higher quality tool will help you consistently make the same product. If your skills are low, you’ll consistently make the same low results.
So, there’s a point where crappy gear gives you crappy results and for only a few bucks more, you can get gear that covers 95% of everything you’ll need. People start getting rather crazy about that last 5% as if that was the problem to begin with.
It’s sad to see so many people get so caught up in that 5%, especially when most people do not have the skills that require them. Back to guitars, there are people who claim that you simply cannot play well unless you use [exotic wood] with [frets with a particular shape] as if what’s holding people back from shredding has nothing to do with skill, but the .00001″ flexing that their fingerboard does.
I assume the same goes for studio gear.
Thanks for the article.
“Do really believe all this budget gear stuff, or is it all an act, for the sake of the blog?”
It’s not like you’re asking people to believe in the Easter Bunny.
I have a $50 Behringer mic that sounds very nearly as good as my KSM 32s. The Chinese have microphone diaphragms down pat now.
If you can’t spare two channels for snare drum try putting a bass drum mic under the snare with some low mid EQ added to fatten it up
For Rock or metal music I use up to 12 Mike’s to get the drums of doom sound, but for jazz or blues I just use 4 mics for a more realistic sound
Just like a band is only as good as it’s drummer, a mix is only as good as the drums sound
“The Chinese have microphone diaphragms down pat now.”
I totally agree! The Chinese are expert at copying technologies, then cheapafying it with mass production. Don’t know if China has anything to do with these companies (I’m pretty sure they do), but I’ve had great luck recording with mics (mostly SM57 & SM58 knock-offs) made by CAD, GLS, Seismic Audio, and Pyle-Pro. Granted, mics made by these types of companies aren’t well-known and high-dollar like Sure, Schoeps, Sennheiser, or even Behringer . . . but, they usually come with a free mic clip, free cable, and I can buy them any day of the week on Amazon for anywhere between $9 and $40.
no way i’m leaving,. What you are teaching is gold..I have learned more in your lessons in a year than the past 10 of looking through magasines and other sources. I used to mix while recording, and in stereo. now i have gone to recordin, then mixing in mono ,and finally panning
One of these days, I’ll upgrade to Pro Tools or Reason (coincidentally, they are the two I’ve been eyeing). For now, though, I like using Nero, because it forces me to develop and use my skills.
It’s also cheap. 🙂
I’ve had astounding results with FL Studio. It’s no longer a toy & has been a great, inexpensive intro into digital music editing.
I whole-heartledly agree Graham! what many people don’t realize is that what bedroom Recordists have at their disposal is more than what was used on Sgt. Peppers.. or even (dare I say it?), Dark Side…
it’s about know how to use what you DO have and turning any gear limitations into strengths instead of waiting for the “best” gear to even plug stuff in… coming from the era of Fostex 4-track cassettes.. I am well versed in doing whatever it takes to capture the inspiration… and I’m delighted in what is available these days.
I agree. Also, so much of what people think of when they think of a good recording is due to things happening upstream of the microphone. How do you get that super tangible intimate attack of fingers on electric guitar strings? By having a player that plays that style well and a guitar with pickups that are sensitive enough to capture it and put it through the amp. There are a lot of microphones that can do the job of capturing an already great guitar tone, picking an audix i5 over a shure sm57 is not going to be whats responsible for that great sound.
I’ve seen comments on this blog and maybe a couple of other places that stick to the idea that there is a difference in an expensive studio and a home studio. Of course there is! That’s decidedly not the point when I read TRR. I’m not sure I’ve ever heard at TRR that the home recordist was superior to a big studio. What I have heard is that a home recordist can get pro results. From this, stop complaining that you don’t have the gear when you probably already do. That’s what I get from it.
Listen to Kansas’ ‘Carry on Wayward Son’ from the 70’s. It is a gorgeous recording from a few decades ago and very limited technology. Still, it is as good today as it was then. Why? Skill not gear. An EQ was just as effective then as it is now. Knowing how to mix is just as important then as now. The rest is all candy from the candy story with all the plug ins. Skill matters more than gear.
Yes, a million dollar studio can do stuff you can’t in your home but stop making the comparison folks. It’s not the point. You can make a recording competitive with radio songs if you work hard enough and learn the craft (which I still have aways to go).
Hi Graham, thanks for this message. It came exact at the right time for me…i was very depressed about my studio/mixing skills. I always am, very unsure if i do it ‘right’…but reading your article i realised again, it’s about skills not gear and skills take time and practise. So i need patience and practise more.
But i’ve read a lot of stuf, blogs, books, etc but what are good resources to just learn the job and get some feedback of my work…i can’t hear my improvements or if my skills are getting better, or when i doing it ‘right’. I’am always very unsure about my self…
Now i now (thanks to you) that i don’t have to buy expensive gear to get better results, but what is a good ‘program’ or steps to follow to get some confidences….
I really like your blog, thanks!
Graham, your timing is perfect! I’ve been playing with the trial version of a new reverb plugin which is available at a heavily-discounted introductory price for the next few days… it’s very nice but I know I haven’t yet explored all the corners of the Pro-Tools bundled reverbs. That money will be better spent on a session musician for my next song!
WORD
Hey Graham, I believe bruv in budget gear can get you pro result. just a while ago i recorded and mix a song for a rapper from church on pro tools express with my m-audio track plus 2 way usb interface on my mother inlays old 6 years old laptop. and he loved it. He was so impressed that he went out and bought a pair oh beyerdynamic headphones as a present for the studio, cos we were using my apple if one earphones, lol.
I was so shocked and happy, and last week at the town yearly christian event day in front of 900 people he performed that song playing the instrumental and rapping over it. And it sounded good .
So that encouraged me more mate, to really apply myself more and more in bringing the best out of the equipment I have , and it really boosted my confidence up.
All that from your video recording a band with one mic. thats the video that really did it for me. i was like if he can do it so can I.
God bless you Graham.
jawad
Leicester, Uk
Just my 2 cents: Sure that you can learn sooooo much (and get great results) with stock-plugins and cheap(er) gear. But we recorded our old songs with a 300$ bass, a good 150$ microphone and a 200$ soundcard. Then we borrwowed a Musicman Stingray and a Shure SM7 mic with an external preamp. And wow: That´s totally like day and night! Instead of using 10 plugins on the basstrack I now just use 3 (with way less extreme settings). Same with the vocals: They sound like they should and all the eq-ing is so much easier now. Sure, that doesn´t change the song, our skills or the feeling of the song at all (and the mic is still a cheaper one), but it makes life easier.
I guess there is a curve: cheap=70%, good&cheap=85%, mid-budget=95%, hi-end=98%, ultra-high-end=99%. You know what i mean? So Grahams approach is totally right, because you can get so much out of it and learn everything (!) with affordable gear. That high-end discussion is like two people discussing whether a Ferrari or a Lamborghini is better. SSL or Neve console?
It comes down to this: A pro studio with high end gear will make everything recorded and mixed there SOUND good while home recordings will always be a mixed bag. It doesn’t mean that everything recorded in a pro studio is good though and there are plenty of examples of great recordings and songs done at home.
The fact that the biggest hits were traditionally made in a big studio is more a byproduct of the band or artist having a record deal and the the label wanting to guarantee professional results.
If you look into bands like The Killers and Foster the People, you find that they (and a lot of bands) do both. In the case of those two bands they demo with Logic and when they make the record they incorporate a lot of their demo takes into the master recording and nobody can tell the difference.
Put Chris Lord Alge, Dave Pensado or Tchad Blake in my basement studio with my laptop, Pro Tools and stock plugins and I’d bet my house you’d get a pro result that would be as good as people with expensive gear. Most of us aren’t there yet and that’s where home recording gets its knock: It’s not the gear it’s the operators.
90% of it is a great song and a great performance of that song. Always come back to that.
I always laugh (at myself for being guilty of this) when I hear a great recording or a classic recording and chase the sound only to realize it wasn’t the sound you were after but the song.
Take “Blackbird” by the Beatles. Great acoustic guitar sound. Nice warm vocal. Cool effects. Very retro vibe.
You can get that by a REDD console emulator, a Martin D28, a Puigchild Limiter, a J37 emulator and a Neumann U47 or U67 if you use them right.
But if the song isn’t as good as Blackbird you won’t be satisfied.
I had GAS (Gear Acquisition Syndrome) for a bit there and had to stop myself from buying the latest Abbey Road plugin.
Here’s what worked for me.
I read Jonathan Blume’s “Six Steps to Songwriting Success”…. not because I didn’t know how to write songs but because I wanted to improve. I got so into songwriting (Just an acoustic guitar and an iphone mic) that when it came time to record I just stuck to the basics: Basic mic technique, basic EQ and Compression techniques etc… notice I said TECHNIQUES. Half the time it was stock EQ. Once the song SOUNDED right I moved on. The excitement came from creating MUSIC not from endlessly flipping through plugins to “make it sound like 1976”
It was so much cheaper and so much more satisfying to focus on the craft of songwriting and use recording to ENHANCE that than it was to try to make something sound fancy.
Try it…work on your writing and use the techniques outlined on this site to get the most out of your new songs…you’ll find that this re-prioritization will probably remind you of what got you into recording in the first place.
+1. How many examples are there of amazingly written songs everyone loves despite being recorded on sub pro equipment? Now, how many examples are there of crappy songs recorded on pro gear that everyone loves? Well, I suppose it could be argued that much of mainstream music today is polished crap, but my point is great song can be enjoyed despite an imperfect recording (sonically speaking), but a professional studio and audio engineer cannot save a bad song.
Well said.
Graham is Truth. Its as simple as that.
On a limited budget, one of the great buys these days are a decent ribbon microphone fitted with a good transformer, and a quiet preamp with lots of gain.
The Cascade Fathead II with a Lundhall or Cinemag transformer new, is under $400 and can be picked up on that auction site we will not mention for around two bills.
Pair it up with the True Solo, or The Audient Mico, and you have a very nice package that can take a ton of high frequency “lift” to add air without becoming screechy, which is something difficult to do with a budget condenser.
The other options with condensers are tue Michael Joly modded flavors of Pacific Rim products.
These are tweaked to take out the hair and fingernails, bring the noise floor down, and give you a mic that is competitive with a U-87.
Our best friend is mic positioning, and that is free which is the best price of all!
I am spacing out on which James Taylor tracks Frank Fillipetti recorded on location with a Yamaha O1V96(IIRC), Prism Orpheus, and a collection of his microphones.
Certainly a far cry from the typical dollar amount of gear used on a JT tracking session, and it sounds amazing of course.
http://www.reverbnation.com/phaneron#!/phaneron/songs
I wanted to share this here for two reasons. One it was recorded on budget gear with techniques that I learned here. Two it’s metal which is a genre not talked about a lot here. I wanted to show how universal these techniques are. I know it’s not perfect, but I’m super proud of it and I hope you guys enjoy it.
If anyone really likes it you can pick up the release at
nimbitmusic.com/phaneron
Also, thanks to Graham for showing me Nimbit.
It’s a little late for me now, but this made me feel a lot better about using a VERY budget MXL voice mic for recording podcasts back in the face of everyone telling me I needed “something better.” And, of course, my beloved Rode VideoMics I used for separate audio tracks when I did prosumer-level video stuff (is prosumer still a word?). Other than the occasional interference from cell phones (which doesn’t seem to be much of an issue anymore), they’ve served me well since the mid to late 2000’s and I have yet to see a reason to upgrade to something more expensive.
Maybe that says more about my A/V path that I don’t yet need anything better, but I prefer to think it’s because I’m good at squeezing blood out of a stone, as they say. /possible delusion
Mike, if you’re getting good results with an MXL then keep using it. A few weeks ago someone complimented my drum sound and asked what overheads I was using. The answer? Behringer C-2s. This might be the cheapest stereo pair of condensers you can get at 60 bucks new for the deuce. I got them used for next to nothing.
A while back, Dr. Bill (Pearson) did a big mic shootout for tom mics.
The CAD M-179 happened to be the mic a lot of us really loved the sound of, and so did he.
At $120.00 or so a pop, that is a lot cheaper than my Sennheiser 421s or U-87s, or 414 which are great to use when you can.
Which condenser would you rather have a drummer smack with a stick, especially when you are still getting a killer recording?
For a shade over the cost of one 421, you can get 3 of the CADs and have the toms in a basic kit covered.
I love it!
The ep I shared was recorded with an mxl 990 and nady dm70. a 50 and 40 dollar mic.
Thanks Graham,
Great to see someone thinking the same way I do. Every time I start drooling of a U87 I remind myself that Bruce Swedien recorded Michael Jackson’s vocal on Billy Jean using an SM57. http://www.soundonsound.com/sos/nov09/articles/swedien.htm
That usually puts everything back into perspective for me.
thanks,
Josh
I know. Great example of how it’s the song and the performer that make a great mix.
Josh,
Mr. Jackson’s voice was actually recorded with an SM-7, which costs a whopping $350.00 instead of $95.00.
It’s a great mic, and if you look around you can find the SM-7B model (better mount, humbucking transformer for quieter performance around electrical fields) in the $200.00 ballpark, maybe better if you luck out.
It is also a fantastic mic on kick drum, bass amps, upright bass, floor tom, sometimes a snare, but it is a bit unwieldy to get in place, and it’s not terrible on horns, not magical like a ribbon, but decent.
THANK YOU!
Hi Graham, I am a big fan of yours and God bless you for this great job you have done in helping people out. When I was almost getting in trouble by spending a ton of money with gear and plugins, I found your website. Since then I’ve learned a great deal about mixing. With only a 90 dollars audio interface (M-Audio M-Track) and a 100 dollars dynamic microphone (Shure SM58) I’ve just released my two songs single. Hope you enjoy, because you´re part of this.
Kind regards from Brazil, and here is the result:
https://soundcloud.com/sonatacloud
Congrats!
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