Microphones Major studios have a wide array of vintage and modern mics so that they can audition microphones for performers and find the best match . When selecting a microphone for your home studio , you ’ ll need it to be more of a workhorse . Each microphone has a sonic profile and will sound completely different based on every instrument or vocalist . Still , I will give you my best picks if you can only purchase one microphone for your studio .
First , the most cost-effective mic is the Shure SM7B . I ’ m sure you ’ ve heard of this microphone because it ’ s a highly familiar sounding microphone . Originally designed to be a radio broadcaster ’ s mic , it made its way into the studio because it ’ s deemed “ the sound of radio .” In music , familiarity can be significantly more potent than quality . Despite being a dynamic microphone that doesn ’ t sound very bright , this mic has been used for vocalists in every genre , from pop to country to metal . I often select this mic over vintage microphones worth tens of thousands of dollars . The SM7B is undoubtedly one of the best vocal microphones , but I have also occasionally used it on guitar amps . Don ’ t get fooled by brighter-sounding microphones ; when it comes time to mix , the SM7B will sit far better in the mix than most other microphones .
The AKG C414 B-ULS is the cheapest condenser microphone I recommend for professional use . This mic is standard in most commercial studios and can be used for everything from voiceover work and vocals to recording pianos , acoustic guitar , dobro , banjo , or even drums . The 414 is commonly seen in front of guitar or bass amps and is a great mic to have around . I would say that this is the most versatile mic and an excellent all-around option . If I had to do an entire project with only one microphone , I would probably select this one .
The Neumann U87 is a step up from the AKG 414 and is the usual standard for vocals in most studios . Much like the 414 , the U87 sounds great on acoustic guitars and drums , though I wouldn ’ t be as excited to put it on amps or folkie instruments . While this is undeniably a better vocal mic , I think it may be a little less versatile .
Patch Bays Now how do we connect it all ? When you ’ re just starting , you ’ ll connect everything directly . There ’ s nothing wrong with this practice ; technically , it is the cleanest signal path that , in theory , should make for the best quality recordings . But after getting behind your desk to plug in a microphone for the hundredth time , you may start to consider a patch bay . A patch bay is a simple device that lets you plug every device in your studio into one place . Having every input and output on every device connected to one spot is a handy creative tool .
The patch bay was the heart of the old-school major studio , and while we ’ re doing more and more in-the-box these days , they can still have a place in a home studio . There ’ s a wide range of patch bays . The cheaper TRS patch bays will have the same sonic quality as a fancier bantam patch bay or even the highly-advanced digitally-controlled patch bays that are now coming onto the market , which allow you to save patches and automatically recall them from your computer . There are some essential tips to remember when wiring your patch bay . Never wire microphones or preamp inputs to your patch bay ! Many mic preamps supply phantom power , which sends 48V of electricity up the ground wire . Most patch bays will have a unified ground to simplify wiring and dissipate any noise in the signal , so if phantom power gets turned on , you ’ ve just sent 48V to everything in your studio , potentially damaging some equipment .
When planning out your patch bay , it is crucial to consider your workflow . If there is anything that you ’ ll be patching in regularly , you can consider wiring it as a “ normal ” or a “ half-normal .” A “ normalled ” patch point means that it will be connected by default without any patch cables plugged in , but then it can be re-routed if a patch cable is inserted . A “ half-normalled ” patch point is when it is connected by default , but when you re-route the signal with a patch cable , it splits the signal and is now going to both the normal and the patched line . Halfnormalling is an excellent trick for quickly sending one signal to multiple pieces of the outboard .
Outboard Gear Today , do we even need outboard gear ? There is no question that plug-ins have become the dominant form of signal processing in modern audio production . That doesn ’ t mean there isn ’ t a place for outboard gear to still contribute in the home studio .
The preamp is the most critical piece of outboard equipment and still plays a role in every studio . The way a microphone is powered will affect the sound of that microphone . The particular combination of components within a preamp creates resistance values and power variances that , to my ear , are still unique .
Justin Meli
Justin Meli is a Toronto-based producer , multi-instrumentalist , and songwriter . His mixing and engineering credits include Juno-winning artists like Dizzy and Crown Lands , the Grammy-nominated Paul Beaubrun , and countless production credits on indie records across Canada . Justin also composes music for film / TV and has worked on music for documentaries , commercials , and short films .
CM : What is the smartest purchase you ’ ve made for your home recording needs ? How has it made a difference for you ?
Justin Meli : The smartest purchase I have made is actually several different items that make up a portable rig : a great mic , powerful laptop , and high-quality interface / good headphones . I find that equipping myself with a rig that I can use at home and take with me to other studios / preproduction sessions / writing sessions has helped secure more work , open doors to other opportunities , and most importantly , allows me to work the way I am used to at home from anywhere around the world without having to readjust my workflow .
CM : Thinking of things you ’ ve learned over the years of recording and / or mixing music at home , what is one often-overlooked tip you ’ d like to share with others ?
Meli : I am not too sure how overlooked this tip is , but one thing that I always find myself coming back to is trusting my ears and trusting my tastes . I can sometimes get lost in the references that people send me and forget the true meaning of the music that I am creating in the moment . Music is so subjective and so universal that , in my opinion , if you like what you hear and it makes you feel good , there will be people out there that will feel the same .
CANADIAN MUSICIAN 45