What do you want more: a killer home studio? Or killer recordings of your music?
It’s an important question to ask yourself because many of us (myself included) champion the affordable home studio and what is possible with minimal investment, and yet our actions reveal we care way more about having nice toys than we do churning out amazing songs.
Via Stevie Bond Flickr
Truth: All You Need Is $300
Let’s start with some facts. Facts that many people don’t like to hear (which is beyond me, because in reality it’s nothing but GOOD news).
These days it only costs $300 to have a killer home studio.
That $300 gives you a great sounding audio interface (preamp + converters), a studio quality mic, headphones, mic cable, mic stand, and pop filter, and very capable recording software.
With the ability to overdub (i.e. record one instrument at a time) anyone can record a full band with this one mic setup.
In fact, recent Billboard chart toppers Fitz And The Tantrums tracked their debut EP at home with one mic and a 10 year old version of Pro Tools. And popular indie artist Ari Hest famously recorded an EP in his New York apartment in Garageband with an SM57 and a $99 interface, and Columbia Records picked it up!
It’s possible people.
Fact: Most Of Us Have Spent Way More Than $300
The reality of our home studios tells a very different story though.
Most of us have spent way more than $300 on our gear (not including instruments and your computer, which let’s be honest, most of us already had).
In fact, in a completely random (and unsophisticated) survey I conducted on Twitter and my iPhone app I learned that many people have spent at least $1000 on their home studios. And the majority have spent over $2000!
I’m a great example of this.
While I believe to my core that all I need is $300 to make a record and I do silly challenges like recording an EP with a $69 microphone and a $200 interface – even I have spent way more than $300 on my studio.
Between more preamps, studio monitors, some third party plugins, acoustic treatment and an expensive but cool looking desk, the bill adds up.
So Why Are We Spending More Than We Need To?
If we’re being honest (and for at least a moment we should be truly honest) we have spent more money than we need to. Myself included.
It’s kind of hypocritical and silly if you think about it. If there were a way to get just as good of a recording while spending less money, wouldn’t we all as logical and rational human beings do it?
We would…If we indeed acted logically and rationally when it comes to home studio gear.
The truth is we don’t.
We act emotionally and we make purchases based on things other than facts and pure needs. We buy things because we WANT them.
And that’s not a bad thing. Don’t mistake my point here.
Everything I own in my studio was purchased because I wanted it. But I don’t NEED the majority of it.
Does some of it make my recording and mixing life easier? Yes. Does some of it sound really cool and inspiring? Yes. Does some of it just LOOK cool and inspiring? Yes!
But it’s not a necessity to making a killer record.
Sitting In Your Nice Studio With Nothing To Record
Maybe you can identify with this scenario. Last year I sat in my home studio, with all the gear I could possibly need, staring blankly at my computer screen, guitar in hand.
I had all the toys needed to capture a great performance, but no songs to record.
Now on the surface this was just a case of writers block and songs eventually came out, but the scene paints an interesting picture: it doesn’t matter how much you’ve spent on your studio when you don’t have any good songs to record.
(Jeff on Twitter was honest about his spending vs musical output)
And this is the crux of what I’m all about here at The Recording Revolution – making better music. Not building a better studio.
I see the recording studio as a means to an end.
It is a great set of tools and (hopefully) a creative space that allows you to capture and perfect your latest musical masterpiece so you can share it with your fans and friends around the world.
If that’s what YOU are about, then you likely have seen a shift in your thoughts and conversations.
A shift AWAY from gear comparisons, shootouts, endless reviews, and pointless debates on Gearslutz and a shift TOWARDS actually making more music, writing better songs, sculpting better arrangements, and churning out better recordings and mixes with the gear you DO have.
And at the end of the day, isn’t that what you built your home studio for anyways?
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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. 
If we indeed acted logically and rationally we would spend our days growing veggies and singing songs with our family and friends instead of chasing this crazy rock’n’roll dream. 🙂
But I agree with you that content is king, as always. Unless your main interest is collecting gear of course (that’s legitimate too).
I don’t agree that you can make a killer acoustically recorded album with $300 unless you find things used for bargain prices and get some stuff for free. You can probably make a good sounding one, but it will take a lot more effort. If you have more time than money, that’s a great approach. But if you have a bit of money there are things that can take you further faster, and even inspire you a bit along the way.
The way I see it. If I spend a lot of time and effort writing and recording music. I want the best possible recording quality that I can afford.
For me, buying an Apollo Twin, Neumann TLM102, AKG C414 and some better acoustic treatment has been a significant upgrade over my previous home studio setup. Not only in audio quality but in work flow. They are reliable tools that give me the result I expect, and less time is spent with the mix.
And it was not even that expensive compared to what it used to cost me to rent a studio that provided me with the same results.
Why not focus on both making great music and building a great studio? As long as you don’t get lost in the hunt for the greatest gear and forget about the music.
I like the message you are teaching. No excuses, use what you have.
But sometimes I think that you are underestimating the value of good reliable tools.
I personally haven’t found one $100 mic that I was happy about. They sure did the job for demo recordings and if I didn’t have anything else then I would be happy to have it. But it’s not something I would use as a vocal mic for a serious release if I had a better option.
I know you disagree with that (since you have recently done so), but I guess our needs are a bit different.
I probably should say that I haven’t found one $100 LDC mic that I was happy about. There are really good SDC and dynamic microphones in that area. The Line Audio CM3 is one of the best mics you can buy for that kind of money in my opinion.
I think we agree more than you think 🙂
Thanks for the post, Graham.
I think that better gear *can* be very helpful, as you said. Not strictly necessary, but helpful.
Example: I had a decent sounding Takamine acoustic guitar for 8 or 9 years. I used it for everything. I built my guitar-playing skills from the ground up on that guitar.
Last year, I bought a nice expensive Taylor. Was it strictly necessary? Nope. Did it make a pretty huge difference? Yes, it did. It’s an amazing sounding guitar. It’s made my recordings better, and it’s inspired me to make better music and increase my skill even further.
But here’s the key for me: if I had gotten the Taylor 8 or 9 years ago, it wouldn’t have made much of a difference at all. It didn’t matter at that point what guitar I used. I had a lot of learning to do.
And I think *that* is where we really go wrong sometimes. We think we need all the best stuff, when we haven’t yet developed our abilities to the point where we can really use it.
Better music is typically made on better instruments, through better gear, etc. But more importantly, better music is made by *better musicians*. I think that’s what we need to focus on.
Better music is typically made on better instruments, through better gear, etc. But more importantly, better music is made by *better musicians*. I think that’s what we need to focus on.
That’s the thing! It’s always about something else. 😀
Oh, no it’s not the mix it’s the microphones.
No no, the microphones are not important it’s the room.
No it’s not the room it’s the instruments!
Nah, it’s not the instruments it’s the musicians.
You’re kidding, it’s about the song stupid!
It’s about all of it!
It might be fine not to care about the gear if you are a songwriter. And it’s ok not to focus on song writing if you’re a mixing engineer.
But if you are a self recording and producing artist you need to improve every one of those little things to improve your music overall. But yeah, it’s easy to get stuck in gearslutland and lose focus of what’s really important. But it’s a very valuable resource if used wisely.
And to be honest, I think shootouts can be both fun and educational sometimes. You really get to train your ears. But they are often kinda pointless at the same time. 🙂
Yeah, you’re right that everything all adds up. Better gear, better instruments, better songs, better musicians, are all important.
But I guess what I think is common for home studio people (at least it was for me) is that when things aren’t sounding how we want them to, we tend toward “easy” fixes. Buying a better microphone is a whole lot easier than becoming a better singer. And yeah, the better microphone will technically make your bad singing sound a little better.
So no, I’m not saying that musicianship is the only thing that is important. But I think it’s the thing that we most easily forget about sometimes, and I think it also makes a bigger difference than using better gear, recording in a better room, etc.
But you’re also right. Good music is a sum of *all* of its parts, and we need to be aware of that.
You nailed that last paragraph. Look at The Beatles. Thin, brittle sounding recordings with no bottom end when you actually think about it. But… ah the Songs. You always hear how people love the songs. You never hear about the sonic quality of the recordings.
Ah yes, the Beatles! But….times do change and they have changed indeed. No longer are there small record labels on the street corners of popular and hip music towns. It was easy to get noticed back then with “lo fi” sound, as long as the talent was there.
Today, the market is FULL of talent and great sounding competition. Any good record label today is looking for a WELL PRODUCED DEMO right off the bat. Sure they might look passed the sound just for the raw talent, but the SOUND of your demo is SO important today then it ever has been.
So, yes…I would love to go back to the simple audio times of the Beatles and Elvis, but who wouldn’t? 🙂
Agreed. And today’s music…great talent, let’s face it awesome production. And songs as disposable as gum. The song will always rule no matter the production. The teeny boppers don’t care what compressor was used. Why is classic rock still on the radio?
You never hear about the sonic quality of Beatles records? OMG… I found that too damn funny!
Well said Alex!
Thanks man 🙂
Music industry evolves just like every other industry, that’s why we hear better mixes, better masters….. wait…. I take that one back (not masters!!, Go dRD!!), anyways, better instruments, better virtual instruments, better DAW’s. It’s just like the “Industrial Revolution” of audio, that’s why Graham dubbed his site “The Recording Revolution.” Things improve overtime if people are diligently working on improving them. But something said here is needed to be agreed upon: Producers of today want to hear demos as they will sound in real life. Look up Vienna Instruments website and view videos of composers talking about their workflow.
“sitting in your nice studio with nothing to record”. Thankfully a pen and paper is still cheap!!!
There is no way hell you can get a great sounding audio interface (preamp + conerters), a studio quality mic, headphones, mic cable, mic stand, and pop filter, and very capable recording software for $300.
That’s absolute bullshit!
You could possibly get a spell check?
After a VERY quick, 2 minute search…
http://www.musiciansfriend.com/recording-packages/presonus-audiobox-gold-elevate-990-package
http://www.musiciansfriend.com/recording-packages/tascam-us-4×4-pop-filter-package/j15710
http://www.musiciansfriend.com/recording-packages/steinberg-ur22-mxl-990-alesis-elevate-package
http://www.musiciansfriend.com/recording-packages/presonus-audiobox-itwo-studio/j13663
http://www.musiciansfriend.com/recording-packages/focusrite-scarlett-2i4-mxl-990-package
…or if these are too “crappy” for studio quality recordings, perhaps that’s just on you…
I dunno. For myself, $400 Rokit monitors, $500 Duet interface, $100 SM58, $100 Headphones, $200 Logic Pro X , plus your instruments.
Yeah, I agree. I think the $1000 range is more doable. However, I appreciate the good for thought Graham. This has made me stop and consider just how many purchases do I need to make.
Great points, Graham. I can’t tell you how many times I’ve read posts from folks just getting started asking questions like “what plugins should I buy?”.
whats a conerter?
The thing that conerts your auio from anaog to digial 😛
Simply put, start by having material waiting to be recorded, not by building a studio waiting for material. There is nothing more depressing than setting up your gear and/or software with much effort and often expense, and then sitting down and realizing you have nothing to input (been there, done that).
Once your real recording needs outgrow your setup, by all means get new stuff if you can afford it. But start simple and don’t blame the gear if you can’t get things done.
I personally don’t believe in buying cheap gear just because you are starting out, and that you need to be at a certain skill level to deserve certain gear.
I’d say buy the best you can afford, but keep it simple.
Sure, there is some benefit to starting out with cheap gear because it’s more challenging to get a good sound of it. But I still feel that I’ve grown more with good quality gear because it allows me to hear things better and train my ears to more subtle things.
Also, if you have some good equipment you know deep inside that it’s all your fault if it doesn’t sound good. No excuses. 🙂 Cheap gear is easy to blame.
Great points Graham and everyone! But I LOVE my gear and what it does to my signal path. If you have the funds…buy a couple KEY pieces of gear, learn how to use it and how to best implement them in your project(s), and you’ll be a happy camper. I’m talking about gear that a plugin just can’t touch. Don’t waste your hard earned money on gear that the top plugins can emulate well. I’ve realized I can’t get that pro icing and smooth gloss without a quality analog signal path, and of course the right tools within that path. But hey, that’s just me…. sound is so subjective!
Hi. What would be those key pieces of gear? I’m looking for an audio interface with great quality D/A’s pc/mac compatible. Thanks!
Well I was speaking more in terms of a couple of quality analog outboard pieces for those that like to venture outside the box like I do. For example, I have a couple tube pre’s I love and wouldn’t think twice about NOT using them on the way in. Another example is analog summing mixers which I highly believe in….for that analog punch and clarity a plugin just can’t quite match ITB. But if you’re gonna do it, do it right with quality stuff like Burl, Dangerous, etc.
In terms of interfaces, I’m partial to UAD Apollo. The converters are top notch and you can’t go wrong with the UAD2 powered plugins. But all that is straying away from Grahams point of quality mixes on shoestring budget, which is possible. I’ve been lucky enough to be able to afford quality gear that really inspires me to keep making music and be the best I can be at it. I’ve always been the type to “hear” the pro stuff and stop at nothing (if possible) to achieve that sound. These days, a $300 setup will get you going but as soon as you get more experience and practice (like 2 years worth) you’ll find that you will outgrow that setup quickly and learn that where YOU really want to be with your music and productions is gonna take a bit more investment in time and money.
Thanx! I know it defeats the purpose of the article but i want a recording interface for beginners with good SC and good preamps, I think I’m going for the Audient iD22, then after i get good with my mixes (and playing!) I can take the next step with the apollos or even the Prism audio ones.
It’s called GAS. Gear Acquisition Syndrome. I currently suffer from this affliction. I’ve recently setup a studio in my basement and I have been mulling over what type of snake to buy. The only reason I want one is that it cuts down on the clutter of mic cables strewn about the floor. After that, it’s all systems go. I won’t go into what I have “acquired”. It’s way more than I need and far beyond what I want.
Thanx! I know it defeats the purpose of the article but i want a recording interface for beginners with good SC and good preamps, I think I’m going for the Audient iD22, then after i get good with my mixes (and playing!) I can take the next step with the apollos or even the Prism audio ones.
It’s our reality, and we do what pleases our reality. It can be argued the system ( the Man, the Government, Wall Street, The Democrats, the Republicans, the Mets…..) all want you to spend MONEY so THEY can make more money and buy the things somebody else has convinced them they want. I’ll make up my own mind for me.
But, boy! that U47 really sounds great! It even makes my fecal voice sound OK.
Graham,
In 2010-11 I recorded with a heavy metal group (that broke up), a solo classical guitar album, and later my kirtan group in the same “pro” studio – a beautiful space with a pro-tools HD system and the Neumann mics to drool over. The engineer was wonderful and it was a great space to work in. It sounded good and it was reasonably priced to produce our music there. I learned a ton in that space and believed that I needed something like it to make great sounding music at home. On our kirtan album, we had to make decisions due to how far away the studio was from home and how much the entire project was costing that we ended up settling on some performances and then trying to fix them later which ended up costing more and more. So,
I made the conscious decision to make our next album in my home – I have old tech that I made demos on but it’s good and “clean” and I had a vision for how I wanted the disc to sound and look. I tracked everything separately out of necessity over months, spent a great deal of time listening to the rooms in my house (tracked vocals in the bedroom closet) and listening to my mixes on many different systems, and mastering the final CD myself – making sure that what was there was honest and had the energy we wanted in the music – like we were in the room with you – clean, beautiful, alive, and real. I did all the album art layout and packaging design myself as well. So from start to finish it was a true DIY project and in the end it is our best selling album – our fans love it and it cost us next to nothing to produce it – just the cost of CD manufacturing ect…No Recording costs, just our time. I didn’t buy a single piece of equipment for the project. My studio set up is definitely modest (Mackie cr1604, Edirol UA RCA to USB interface 24bit 44.1, AKG Perception 120, AT2020, Alesis RA100 power-amp and Point seven monitors and Studio One 2 Pro) and I kept all that secret (maybe because I was little embarrassed because I don’t have a “real” studio). But at the CD release party when I dropped it in the tray, no one cared – they just thought it sounded awesome. I no longer worry about my studio’s “lack” because I know no one cares where it was recorded and no one cares as much about the sound of my music more than I do.
I put in the wrench time and even though I could record it on a system that costs $20-30,000 or more it wont sound $20-30,000 better.
Graham is right. Make your music a good as you can on what you’ve got. You wont regret it.
What you say…is no one care with your music dude!
But you have to mention that you and your band members already had your not-so-cheap guitars, amps and effects at the time of recording and THAT is what really contributed to the sound that you liked so much….. not the gear you used. It takes having a decent instrument in the first place before you even get a single piece of gear, if you want to make great music. Or, if you use VI’s like me, it takes decent ones (and expensive ones).
Rosti V,
Absolutely true! I definitely have an excellent concert classical guitar and an excellent electric guitar and amp – my set up is pretty basic (JVM410H and a cab, a chorus pedal)……I am not a gear collector – I like my guitars and amp and they generate income for me. It was convincing myself that I could record the sounds I wanted in my own very modest studio that was the hard part. In the end, I am glad I did.
Peace,
Stupid atricle…
A good mic is above 300!!!
The pre of an interface sucks!
I think I need to read this post everyday. I get clients into my studio with the exact same mentality that we studio owners have sometimes. A lot of us have a “great” setup but don’t do enough with it. I’ve been there. It’s time to start making some music.
Some people like james still dont get it. Its absolutely true you can get killer productions with 300 bucks, there are many examples out there, it all depends on inspiration and abilities as a musician and as an engineer. But if one is frustrated about his lack of these thing he will of course blame the equipment, thats so sad.. Wake up man! The truth is you can improve your music by getting better by 1000% (theres no limit). With better equipment you will only improve about maybe 10% IF YOUR ABILITIES STAY THE SAME, no matter how much money you spend.
I’m curious. What killer productions have been made with $300 equipment that aren’t mostly ITB?
I know a few that sounds pretty good but none that I would think “wow, that’s a killer production”. I’m sure it’s possible, but I haven’t heard of one yet.
Henrik,
I’ll throw this example into the fire – It’s called “Vapor Proof Suit” – it’s about a guy who tries to save survivors of the zombie apocalypse by wearing a vapor proof suit that keeps the zombies from smelling the scent of his humanity. I know from the iTunes sales that there is a certain class of teenager and adult that really dig it.
what about the drums? how do you record them with one microphone and also being able to get a killer sound?
I see your point and agree with it. I’m just asking cause I believe I’ll be able to learn something from your responses.
I would use one overhead mic and use a sample for the kick. But that kind of micing needs a really good room.
Firstly, respect to all of you. I am reading about you arguing over expensive and less expensive gear and how expensive gear has made some of you better and inexpensive gear has been as good as expensive gear in a studio.
For me, what you are saying are mere words. What I would like is that those of you who are pro expensive gear and those of you who have inexpensive gear to put up YOUR original completed songs here on Recording Revolution so that I can make up my mind about what you are talking.
Once again, I respect your comments but I need to listen to your songs.
Thank you.
Interesting suggestion. But don’t you think that it would end up pissing contest with people pointing out flaws in each others work? I hope not, but that’s how it usually goes from my experience.
But the fact is that I’ve been toying with the idea of recording a whole song with low budget and mid budget gear to see what difference it really makes. I think it would be interesting as it would take the song and performance out of the equation.
I just need to get a splitter for the guitar. Ideally I would record both with a squire bullet and a fender US, but that would make a difference in performance. 🙂
Aren’t you paying attention? There are no songs to post, because everyone is too busy fussing over better gear! 🙂
Graham should stop insistently making these ridiculous statements; the real message of his articles are getting lost because of that. Not to mention the loss of credibilty.
It’s one thing to tell people not to postpone making music or being creative due to the lack of dream gear and to just use what you can afford (in 1983 I started with one cheap mic, a dj-mixer and two cassette players, ping-ponging).
But it is something else to insist that better gear doesn’t make any difference, ’cause it does.
If someone doesn’t have the ears or skills to hear or produce the difference, that is a different story.
In fact, that is exactly what this article is telling you; your recordings won’t be any better with better gear, because you are not good enough anyway. Quite insulting.
You could survive hunting with bow and arrow, but who’s going to argue that you wouldn’t be more succesful at it with a hunting rifle?
Joep – you misunderstand the point of these “ridiculous” statements I’m making. There is no reason for you to feel defensive. If you like your gear (as I like mine) then you should keep using it to make great music. My point is that none of us NEED all the gear we have to make great recordings. If we’re being honest.
I push hard on this message because what it does is force people to stop buying stuff in hopes that it will save them, and THINK for a moment that maybe they can get better recordings with their current gear. Right now!
And that is a liberating message. I’m not putting anyone down or insulting them. I’m offering them freedom! Freedom from dropping money on stuff that honestly won’t help. If they cant’ get a great recording/mix on a $300 setup, then they shouldn’t spend more money yet.
Cheers,
Hi Graham,
I do get your real message (and your good intentions) and I don’t feel insulted personally.
But your real message, as you eloquently describe above, gets lost when you put a price tag to what should be peoples minimal setup, since that depends on ones aspiration, situation and music genre, amongst other things.
You remember your previous article “the worst thing I learned in audio school” where you critisized your teachers for telling you to ALWAYS record ……. and its effect on your development later on?
Well the same happens when you narrow down your liberating message to these absolute statements; it will become restrictive when people try to forcefully implement this unintended ‘RULE’ in their situation.
On my turn I hope that you understand that my critisism is not on your message itself, but on some of its conclusions.
I do get you, but as they say; “c’est le ton que fait la musique”.
Regards,
Joep, although I agree Mr. G’s articles have been black-and-white-ish lately, everyone should do their math for themselves and it’s not like you can’t buy anymore gear or software once you’ve reached the $300 “threshold.” Everyone is ultimately in control of their finances and it doesn’t mean that we need to bash each other because of that.
Simple fact is, none of us are good enough, or else we wouldn’t be spending time on this blog, and those of us who are good enough are busy making music instead.
My advice to all those who want to buy better gear to improve their sound should consider first, if haven’t already, buying some great training material Graham has to offer. I did. I never looked back. I owe G almost everything I know about audio.
Hi Rosti V,
I fail to see how your conclusion that none of us is good enough, spending time on this blog, buying Graham’s training material or you owing him everything you know about audio, has to do with the fact that I do not agree with the conclusions of this article.
If you do agree that the articles have been black-and-white-ish lately, then you see my whole point of critisism.
But indeed to each his own :-).
The way I see it is, don’t keep waiting to start learning and perfecting your skills, or learning the craft of mixing and songwriting etc.. until you get a “Perfect” studio with “Expensive” gear! I think if you upgrade gear and add things as you go is perfectly fine, and that’s what I have done, and getting gear that makes the whole process easier and faster for me…I don’t buy any gear that doesn’t get used, everything I own has a purpose, and the gear I own will last for many years to come, cheaper gear doesn’t always last as long; but, does cheaper it get the job done? Of course it does… so for me it’s a long-term investment as well…at this point I am not mixing and recording for a career, it’s purely a fun hobby, but one I wanna be really good at, and I play drums, and play gigs for fun, and that’s enough satisfaction for me! I have invested $15,000 total in gear, ranging from a $6000 DW complete drum-kit, cymbals and all…which is my dream kit, so that will be my last kit ever, and the other $9000 ranges from Audix DP7 drum mic’s, MXL vocal mic set, 2-AT 2020 mic’s for OHs and other uses… Presonus Gear as follows: Eris 8s, SL16.4.2 mixer, Monitoring Station v2, Faderport, and Studio One 2 Professional DAW,…and finally an Akai MPK 49, iMac 27″2012, my first set of monitors M-Audio BX5As, my first 2ch M-Audio FastTrack Pro, and odds and in like cables, mic stands, monitors stands, etc…It has taken me 5 yrs for me to accomplish buying all this, and everything gets used regularly, and I have no regrets at all, next I am building out my one car garage into my home studio, more for my personal use, and sure I’ll be recording for others and making some money at it, and have a lot of fun doing that, but like I said before, it’s not a career…it’s a really fun hobby that I still take very serious, and I have no reason to buy anymore gear really, in other words nothing is needed, I had a goal, and as my experience got better, and the more I learned, and I saw a need for certain specific things I would use, I got it…and it gets used, so I am perfectly content with my investment! I will say, I did start off small at first, just a 2 ch interface, a few mic’s, my PC at the time, and Logic Express, and a much cheaper drum kit, LOL…and I did learn that way, so use what you have, and like I started off saying, don’t wait til you have the “Perfect” studio with “Expensive” gear, put what you have to use…learn your craft, and only add things that will be used and make the whole process a little bit easier and IF you can afford it…and make great music, that is more important than anything, a really good song that moves people when they hear it!
the drums make it all worthwhile! and expensive.
as a guitar player with many different tunes and tunings,,,,i need mostly alot of guitars,,,in performance also for less downtime tuning. i have 2 acoustics 2 basses and 5 electrics. these probably are the bulk of the price of my studio,,,,,,actually the space itself is expensive ( a home)and if you want real drums,,,,a real drumset is way over 300. i love you graham and you tech. my fave tune or grahams is “sticks and stones”.
brett lemos in LA CA
Oh, guitars are certainly a weak spot for me. I have more than I need to be honest, even with the different tunings. But guitars can be a pretty good investment. Most of my collection is worth more now than what I paid for it. Not sure if I’d want to part from them though. But it’s cool to have a savings fund that I can enjoy every day.
Speaking of favorite tunes of Graham’s, mine is “One Word” from “The Tree.”
Graham, no offense, but I like “The Tree” way better than your latest EP. Just my preference 😉
Rosti – no offense taken 🙂
Sure, you could spend $300 for s cheap mic & a handful of used gear, but the end result is what everyone is after. I started with a $300 studio, and it sounded like it. With a bit more dosh, the end result is pleasing to MY ear!
Although I agree with the point of the article, I disagree with the math. While I certainly have not overspent on my current setup, incidentals add up.
For example, if one plans to do any overhead micing a good quality (not best quality) boom (e.g., On Stage) alone will run $100.
I think this article would have a lot more credibility if the $ amount were $500 (and even that, I feel is low balling a bit).
You must’ve missed the video where Graham hangs the overheads from the ceiling fan. 🙂
Yes–I missed that. Don’t think I’ll be trying that anytime soon. I was just citing one example. Others have pointed out that many interfaces come with ‘lite’ versions of various DAWs. I started with a very basic MAudio interface and PT Express. The preamps were pretty poor, and the functionality of PT Express was very limited–that was the biggest stumbling block. For a few shekels I upgraded both and haven’t looked back since.
Not saying that the point of the article is off base. Just saying the math is skewed. Reminds me of when they took the then mayor of New York to a supermarket. He thought a dozen eggs were “about a dollar” (they were about $3 at the time).
I’m pretty sure there’s no video like that. 🙂
Anyway, I think Graham was basing his numbers on something like this:
http://www.musiciansfriend.com/recording-packages/focusrite-scarlett-2i2-mxl-990-package?cntry=us&source=3WWRWXGP&gclid=CjwKEAjwlsSoBRDoid2ihqnjjlISJABZoG9-GNlNwHWkO0PcBz6B2nCTgXy-LakIoZJVC9z1zPFEXRoCS6nw_wcB&kwid=productads-plaid[email protected]^PLA-device^c-adid^51870555867
Pretty bare bones, but arguably all you really need.
Key word is arguably.
I, unfortunately, completely identify with this post. Over the course of the past 3 years, I’ve probably spent close to £10,000 on gear. Recent purchases include UA Apollo, sE Electronics Eggs amongst some outboard compressors and preamps. It’s pretty shameful to have such high end gear just sat in my bedroom literally doing nothing. I’m definitely a collector more than an engineer, how I wish it was the other way round. I buy more gear with the hopes to be like the engineers I aspire to be, but of course it doesn’t generate anymore clientele or make me use my newly bought equipment any quicker.
Wow, Martin. Next time you want to spend some big cash on some gear why don’t you consider send in it to me instead 😉
We just started working on converting our office into a ‘studio/music room’ and while some of the rework is being done with recording in mind, the overwhelming majority of the work is being done to simply have a nice place to relax, play and enjoy our time with the music. We have some of our old pictures from the 60s on the wall (Roy Acuff, Kitty Wells, Bill Monroe, Johnny Cash, Conway Twitty), along with our instruments mounted on the wall (mandolin, guitar and dulcimer). We have an LP of CCR mounted, as well as a CD frame of the one EP I recorded with my daughter when she lived here at home. Now none of this makes our recordings any better, and not a single dime spent on any of this will make a difference on the final CD. But it is so nice to go into a room that just says, “Relax. Play your music and have a good time.” That’s what it is all about, and it is worth every dime we have spent thus far! 🙂
I enjoy your posts Graham! I don’t comment for the most part because I have a full time job, am a full time student, and also trying to produce my own album right now. My time is limited. I have always found your articles inspiring and full of information. As a matter of fact, between Joe Gilder and yourself, my mixing and recording techniques have improved 100% according to the people who heard my first album and now the new stuff I’m working on. It’s a shame that some people are nit picking the message here. There are great interface bundles out there for $300 to get you started. Just check out Presonus. I think it depends on the artist and what they think they need to accomplish their task of capturing themselves but, knowing how to use the tools properly is a must and I believe someone could get a great recording with one of these bundles. Thanks for all you do for us Graham!
Hey Dave,
I have to say that my post below was not nit-picking Graham’s article, but rather offering a realistic perspective from another vantage point. I know Graham does VI’s for some of his work, but only as background elements, most of his recordings feature the great-sounding drums and guitars that were recorded at his home studio. Joe Gilder is the same way, he said himself that he doesn’t deal with MIDI, but mostly with audio, and that’s fine. And that’s why most of what they’re saying in their articles regarding making (not mixing) music, is from a perspective of recording real instruments into real mics using real musicians or paying them in yourself. They don’t talk much, if at all, about making music using MIDI and virtual instruments, which leaves out a large group of people, not so much here in the US, but in Europe and other continents. Not that they’re wrong, they just happen to be in a different realm of music production. Take Joe’s latest CD, for example, it’s very rock-influenced. I love rock, in fact, the song I’m working on right now is a rock genre, but rock songs are not recorded using VI’s, and you can’t emulate this genre with VI’s, that’s just not how it’s done. You can, and people do, create orchestral arrangements using VI’s, you can, and people do, create big band, swing and jazz arrangements using VI’s and MIDI. I am just offering a different perspective and saying that whether you create guitar-driven music or using VI’s, you have to spend some cash.
By the way, I truly appreciate both Graham and Joe for what I’ve learned about recording and mixing, and if I ever have a chance to meet either one of them in person, I would be thrilled.
I don’t have time to read blogs or comment either, except when I’m at work. On slow days, we are allowed to browse the Net as long as the work is done on time. No, when I’m in my studio late nights, I don’t even go on the Internet, I create music. I spent 2 hours yesterday recording electric guitar parts over the chorus. That’s it. Around midnight, I shut down the computer and went to sleep.
Glad to help Dave!
Hey Graham. I agree with you here… for the most part. When I started in recording, I bought a PreSonus FP10 8-channel audio interface that came with Cubase LE 4 (very limited DAW with 16 audio tracks and 8 busses), and I paid only $150 for that. Now, granted, it was from a coworker who’s also a home studio owner, so he made me a deal, otherwise I would have paid about $300.
So, I do agree, $300 is enough to start recording something…. you can get a small 1-2 channel interface that usually comes bundled with a limited edition of some DAW software, like Studio One Artist, Cubase LE, or Pro Tools Express, and usually, nowadays anyway, also comes with a condenser mic.
Here’s where I have a problem. When I got down to making music with just the Cubase LE and the interface, Cubase’s virtual instruments are ALL, and I mean all, I was able to use to make some music, because even though I had an acoustic guitar at the time, I couldn’t record it, for I had no mics. Oh, and I forgot to mention that I already had a basic Yamaha keyboard that happened to have MIDI out. After fiddling with that setup and recording a few arrangements (without vocals), I listened to some other compositions by other artists and realized how horrible mine sounded compared to theirs. Not from the mixing perspective, but from the SOURCE SOUND perspective. I mean, let’s face it. When it comes to virtual instruments, you tend to get what you pay for them. I realized later on that quality comes with a price, whether we’re talking about a real tangible acoustic instrument, or a virtual instrument.
I got to a point where I it was clear to me that some upgrades were necessary if I was to put out great music. About a year later, I bought 2 mic bundles that were on sale and paid $140 for both. I also bought a little better sounding acoustic guitar and an entry-level electric guitar with an effects processor by Boss. Those upgrades alone me a HUGE difference in the sound of my tracks. With the cheap electric and Boss effects I was able to achieve rich and full tones that I was never able to emulate with VI’s that came with Cubase LE. What I used to get is a cheap, thin, toy sound and I was ashamed to put that out to the world. I will say nothing about drums. Addictive Drums came to the rescue with the price tag of $150 around Black Friday last year. Either do that or hire a drummer but then you won’t make it within $300.
You see, $300 excludes a large group of people. It assumes that you already have some great instruments in your possession and that you are a great musician, because you won’t have the luxury of being able to quantize audio with the basic DAW. But it excludes those of us who are not great musicians, but want to make great music, and things are a bit more expensive for us. True, the advances in DAW technology made it very affordable to record, but at the same token, advances in Virtual Instrument samplers and sample libraries made it quite possible for non-musicians to create great music……… at a price.
What if your passion is composing scores for film and TV/games? $300 will get you nowhere. That alone is only enough to purchase East & West Holywood Strings, or maybe Vienna Instruments Symphonic Library. If you want quality sample libraries you don’t want to pay for anything less. You would need a full version of a DAW of any kind, which would cost you at least $200 (Logic Pro) if you’re a Mac, if you’re a PC, you’re paying at least $400 (Studio One) for the DAW alone. I have been eyeing Roland’s Integra-7 sound module with some of Roland’s best sounds ever, where again one would have to lay down some $1500 of cash to get all those sounds, and that’s after some $700 price drop!!
As the saying goes, “crap in, crap out,” and that is true in recording as well. You can’t mix it to sound great if it sounds like crap on the way in.
Bottom line: if you want to create great-sounding quality music, you have to pay the price.
So, if you’re a great musician who already has some great instruments, then $300 is plenty for you. But if you’re a VI-based musician, $300 will only scratch the surface.
I have to say that this topic is getting pretty worn out on this blog. My take is that $300 can get you a BASIC recording setup that a skilled producer could use to make some decent sounding recordings. It will not get you a KILLER home studio. I’m sorry, it just won’t and everybody knows it.
It’s a “worn out” message because people are still falling for the lies out there that you need to spend an arm and a leg to get great recordings.
Graham, I just don’t think we need to go from one extreme: (arm and a leg) to the other: (absolute bare minimum). The sweet spot is obviously somewhere in the middle. I have made very good sounding recordings with basic equipment, but I sure wouldn’t trade my current setup for a $300 one, even if you could give me all my money back. I don’t think you would (or should) either.
What professional article here……they forget the MOST IMPORTANT item at all home/project/pro studio, AUDIO MONITORS, Only Say that decent ones cost standalone more than these 300 dollars….With your minimum requeriments and needs covered is much better to get more time available than improve your gear studio
I agree that working on monitors is preferable. Just not necessary. I’m talking about the absolute minimum you need to do great recording and mixing.
You can get very good sounding mixes without the expensive monitors. I know I do. My mixes actually sound great now (according to a fellow friend from Dueling Mixes, who’s also experienced engineer), but it wasn’t thanks to expensive monitoring, but rather due to practice and referencing on multiple systems (boom box, headphones, EarPods, car stereo) and against professional mixes.
This article is talking about making music, rather than mixing or mastering, which is different. You won’t be able to get a great mix with expensive monitors if your recording sucks. A great sounding source, be it an instrument or a voice, will sound great no matter if it’s recorded using expensive or inexpensive recording equipment.
You, know, Graham, you make many excellent points in the general sense, but I think you never really address the idea that as people become more experienced, they may actually HEAR the difference in their recordings when they upgrade their gear. No, you don’t HAVE to spend a ton of money, but after a certain amount of time and experience, people MAY VERY WELL hear the difference between a cheap mic and a better one. Or the difference between a DAW’s built-in compressors and EQs and really well modeled plug-ins of classic hardware. I’m a guitar player who does the producing in my project. I can hear the difference between a Strat and a Les Paul, I can hear the difference between a Marshall and a Fender amp. Similarly, as a producer, with better gear, I have learned to hear the difference between certain compressors and EQs. Yes, it takes time and experience, but once you learn to recognize what you’re hearing, you CAN hear the upgrade and use it to your advantage. Do I have to be Yngwie or Van Halen before I upgrade from my beginner guitar? I think not. But just like after x years of playing guitar, you may want to upgrade from your Squire Strat and crappy DMA to something better, the same holds true for recording gear.
Hmmm, I am totally about spending as little as possible, as I have already put my time in hustling 24/7 to pay for the privilege of owning a 24trk analog place, back when that was the only option and I had a very serious lust for microphones, processing, you name it, I thought I had to have it. Things are so much better now if you have ears and love the idea of bypassing Avid and GC and have the luxury of experimenting a bit. Download Reaper, it works really well, and is an easy transition for those who already have a background. Free until guilt finally kicks in, then it is a pittance for what it can do. Then find maybe some kind of Focusrite I/O, I paid 40 bucks for one that works just fine. I found some M-audio 8 inch powered monitors for 150, okay, I am sort of relentless on the haggling, but pawnshops seem to be full of stuff that people thought they wanted until they found out that recording is harder than it appears. Groovetube FET 55 LDCs can be had for around fifty bucks and they sound way better than you might think. I also found a Groovetube pencil for ten bucks, same series, works fine. I bought a Yamaha keyboard at a yard sale for ten bucks, a midi out is all I need to know. That leaves forty bucks for some Craigslist boom stands and a few cables, so a bit over 3 bills. That is the easy and fun part, digging through pawnshops and classifieds and having the patience to outwait them. Reaper has no instruments, but does have a low-CPU sample player. There are so many interesting and free sample swap sites that a person could spend their life auditioning kick drums that have no application but are pretty freaking groovy-sounding. First step is some kind of rompler, find another DAW freebie with some VST in it, one of them sounds sort of like witchcraft, their moniker anyway. Pay them a bit for an extended trial, or buy it outright, it is a very handy little tool for writing and arranging, the VST rompler that is, if not the software itself. Lots of decent sounds, I always replace them but to get things started it has most common instruments in listenable form. Get some freebie guitar amps, PODfarm, Shred 101, Voxengo, California Sun when CPU is tight, HyBrit, they all have their uses and sound great once you learn how to gain-stage them. G-Tune is a fine little tuner you can just load onto the master channel, and it comes with a decent pitch adjuster called G-Snap. I couldn’t live without Mr. Ray, real fine Wurly/Rhodes, AZR3, best Hammond sounds out there, IMHO, did I mention all this stuff is free and works terrific. There are so many synths in freebie land that another lifetime could be wasted, some quick and dirty and easy ones include Messiah and MinimogueVA, I pretty much avoid EDM but there is so much to explore that you will find whatever you hear in your head. Then go on a boutique processor binge, Molot, Roughrider, Blockfish, Thrillseeker VBL, Modern Lost Angel, Fl4tt3ry, L3v3LL3r, Limiter 3, Classic Master Limiter, Liquidverb 6, Ambience, Epicverb, Tal plate, Tal Tube, Cinema verb, EasyQ, QB-1, Spinner LE, I use all of these listed daily and anybody who thinks you need name-brand bundles for fidelity or customer recognition is kidding themselves. If a customer knows Waves, he isn’t going to be your customer for long, he is going to load his own laptop. Now I am going to share with you something that is so important that if you can’t grasp it you should just probably find some other hobby/job/whatever. If you can’t play keyboards, better learn. Enuff said….have fun…
Just as an addendum, I thought I would throw this track out that I just did a quick mix on. Equipment list is as above, although the lead vocal was actually a one-pass scratch on a Samson Q7 handheld dynamic that seemed to fit the mood. It is not mastered, or terribly sweated over, just the typical day/night here at the Spare Bedroom……
Hmmm, link did not appear, try again. https://soundcloud.com/jjinvegas/stars-of-the-afterlife-pete-and-the-repeats
Talk about kicking up some dust here…
I for one agree you can get a great sounding recording for under $300. I do wonder, and would be very curious to know, how much additional time will be spent in the overall time spent on just recording. For example, if the recording is a vocal and acoustic guitar there would be no additional time spent as compared to a recording with 4 vocals, 2 guitars, 1 bass, keys, and a full drum set.
I guess for me, when I spend money on my home studio it’s not because I think it will magically make my music so much better (though, quite honestly, it does). I spend the money because I am bored with my current stuff, or I have learned everything I can from it. I want to learn new things, have fun with new equipment, enjoy making the music with new fun stuff. Recently, I spent $5,000 upgrading my studio, to make music that mostly only my immediate family hears. New, fantastic laptop, new great interface (That cost $500 and was recommended by Graham), new Protools 11 etc. I’ve been having so much fun with the new stuff. I loved it from the unboxing until now …. great fun. My knowledge about recording has grown 10 fold, and my fun level has grown equally. My music has gone from stinky to slightly better than stinky … but that is only because I’m a mediocre musician. Yes you can get from Philadelphia to Las Vegas on a $100 bicycle but there’s nothing like a first class seat on a jumbo jet. It’s not always about what you can do with a couple hundred bucks. The music journey has so many more fun components. Life is short … don’t penny pinch everything … unless you’re dreaming of a gold casket.
Im glad i found the recording revolution when i did. I am the guy who would have saved and bought everything someone told me was awesome, instead im here and rather than buying plugins, really expensive microphones, and what the top retailers are pushing, im using stock plugins and slowly learning a new craft. Thanks Ghram for all the FREE tips and advice.
Partially true. The reason I would spend is on need as well. BUT when artists are coming to your home studio expecting a properly lit, decent looking place and they enter a room with a bed, no recording both and a laptop, they won’t take you serious. This is based on experience and from hearing first hand from a female vocalist here.
Am not saying buy expensive rack units, but you should have at least a place that makes anyone feel like you’re really ready to do business.
In addition to the minimal essentials above, I would add to that list a recording both, fair lighting and a clean space. With that you can get clients coming in and feeling comfortable and ready to work. THEN you can apply the above by tightening your sound with what you have.
for someone putzing around and having fun recording, I would agree you don’t need to spend a lot on gear. Also, sure with some engineering chops and such you can make a decent sounding record. But, there’s a reason that $300 studio is $300. Quality. Those cheap studios won’t hold up in a pro environment day in day out with $$$ on the line. I can’t tell you how many $100 Mics and $150 interfaces crapped out on me. The manufacturers can’t possibly put reliable quality components in units that cheap.
I see what Graham is saying. He’s focusing on the bare minimum and I get that. However, as I progressed on my own bare minimum setup and began to become increasingly frustrated with overall tone of my tracks when I compared them to pro recorded references tracks. I would spend hours and hours trying to find the perfect cheap plugin to emulate what I was hearing pro recordings, but nothing seemed to get me there. When I decided to spend a little more in my setup (400 dollar setup to $1500 setup) I immedately began to hear what I had been missing all along. Hardware such as the Golden Age Pre73 preamps and Golden Age Comp-54 compressor were life savers for me. I immediately heard character, warmth and harmonic richness that I wasn’t getting in the box with my cheap plugins. I also discovered that I was now spending a lot less time trying to find the right plugin and a lot more time tracking and moving on.
With that said, I don’t think it’s necessary to spend 10 grand on a home studio setup. I would say a happy medium, such as 2 grand, will get you a killer home studio setup that allows you to make recordings that actually sound like recordings I would listen to from artists such as Ryan Adams, Pete Yorn,Tom Petty, That’s just my experience. I like the tone of analog gear. It’s a preference. I’ve never been able to get that same tone in the box with cheap mics and plugins.
hi Graham,
just wanted to say that there is something common between almost all home mixers — they all compare their own home studio records to PRO records taken in $1000000 studio environment — don’t do it! It’s a mistake. Just go with your music and try to make your instruments sound good according to your idea. Don’t try to reach the sound of the others, find your own. Quite simple, isn’t it? 🙂
This is very easily relatable for me. I got into mixing and recording with a bit of gusto and got excited about the possibilities out there….happened upon some nice deals on various products….and the next thing you know I have 4 interfaces, too many effects and plugins, and generally just too much of everything.
If I could do it over I would certainly starve myself of options purely for the idea of mastering theory instead of mastering options. Options are great, don’t get me wrong…but they are not critical for great music. They tend to only muddy the water.
Great write-up here, Graham…as always. I owe an incredible amount to you for sharing your wisdom.
As a quick side note — if anyone that views this message has NOT seen the “5 minutes to a better mix” series of videos Graham posted to YouTube you are really missing out. Incredible amounts of info to get yourself up and working quickly!
Thanks a lot David!
Hey Graham,
many thanks for the amazing lessons you’ve taught us over the last years! I still feel like 300 bucks are likely to be a bit unrealistic (as many have stated above), but that’s not what I think this is about: It’s supposed to express that one should never stop going for what they love, because they think recording would cost thousand of bucks. Another thing I got from you website: Keep believing in yourself and don’t stop practising… there’s never been anyone who didn’t go through some kind of struggle to become a great mixer.
Greets, Chris
You’ve got it Chris!
This article really resonated with me. I couldn’t really spend more than $300 dollars on a “studio” because I was going to college. My studio is an on-the-go system of my laptop and scarlett 2i2, with one SM57 and on Behringer B1. And I didn’t even buy the ’57, someone lent it to me.
Listen to Graham. Spend more time on mic placement and overall recording quality, and you’ll spend less hours undoing your work.
Just passing through and thoroughly enjoyed this thread – except for some of the sour grapes people that missed Grahams point. Expertise with your instrument(s) will make a larger difference in your finished work than the quality (or quantity) of equipment in your studio.
I say that as a former (active) musician. Currently I’m doing voice over work from my home studio. Did I spend more than I needed to? Undoubtedly! Could I have done just as well with a lot less? Most assuredly! Do I regret spending approx. $2k for my setup? Not at all. My instrument is my voice, and learning what to use and how to make it record like I want it to has been the learning curve for me. Breath control, inflection, diction – all that stuff, I use a AT2035 mic w/ NO EQ, A couple of free plugs for compression and limiting – one for “debreathing” and All captured on Pro tools express (which I got for $200). I spent as much on sound absorption for the walls and ceiling as I did anything else..
When I play I back I’m listening 95% to my performance and 5% to the actually quality of the recording. I’m booking enough jobs to pay for my rig and make it worth the effort – so no complaints there. I would suggest to one of the readers posted above (don’t remember the name) that there are literally dozens of decent mikes around for under $300. You don’t need a Neuman 47 for everything – Shures SM57 is a staple of the industry for both live and studio work… Thanks for letting an audio engineering novice blather on…
Thanks for your thoughts George!
This interesting post made me wanna chime in. My 2 years ago, I bought my first “REAL” mic, a dynamic EV Cobalt CO9. It sounded fine and served me well. I wasn’t getting that great of recordings with my dynamic, but this Christmas, I finally upgraded when my brother graciously bought me a LDC.
But what I learned is that the LDC doesn’t suddenly make everything I record sound better- I’ve actually become better at making use of the CO9 because for my needs (recording lots of brass), it has turned out to be more versatile. My recordings with the dynamic SOUND much better.
My LDC is more suited to vocals and acoustic instruments and things like that. So gear can sometimes fix problems! xD
It’s wonderful that you are getting thoughts from this article as well as from our discussion made here.
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also, don’tthink because its od its no good, take the roland vs recorders can be had super cheap nowadays,yet you can still get 24 bit 48k recordings great for tracking and then import into daw.I recorded 200 albums this way for aa couple hundred bucks
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