One of the most common conversations I have with musicians, engineers, and producers goes something like this: “I own an XXX audio interface, and I have YYY microphones, ZZZ monitors, these processors, those instruments, etc. What should I get next to improve my studio?” While there are tons of variables to discuss — which is one of the reasons that I always recommend a conversation with your Sweetwater Sales Engineer to get into specifics — there are some broad guidelines I use when making recommendations in this situation.

The key is to figure out the weakest link in your studio and focus your attention there first. Solve that problem, then move on to the next weakest link, and so on. By doing this, you’ll work your way from the areas where you can most dramatically improve things and eventually get to things that make a difference but may not be as dramatic as the earlier weak links you fix or improve.

The mistake I see most people make is focusing on the “fun” or “sexy” things first and then worrying about other stuff later — and that’s okay, but it may not be the best approach to making quick improvements in your studio. It all depends on what you want.

With that being said, here are things that I recommend considering as you look to improve your studio. I feel these items make the most difference. Which you address first depends on where the weak link is in your chain.

The Room

Everything you record or listen to in your studio is affected by the room. I’m a huge proponent of making the room sound as good as possible using acoustic treatment. It’s the area where many studios are weakest but also the area where improvements can affect every aspect of the music you create. Sometimes acoustics can be intimidating, but there are simple solutions, such as complete room packages (Auralex Roominators and Primacoustics London systems).

Monitoring

Like your room, everything you hear in regard to the audio you record is affected by your monitor rig. Affordable monitors offer incredible quality at unbelievable prices, and stepping up the quality of your monitors will have a drastic effect on the quality of your productions. Cleaning up the monitor path with a pristine monitor controller can also make a big difference.

Alternative Monitoring

In addition to upgrading the quality of your monitors, consider adding a second or even third set of monitors and a great set of headphones. Each set of monitors and headphones has a sonic signature and a certain response. By listening on a variety of playback transducers, you’ll get a better overall picture of what your music sounds like and make it more “transportable” to consumer systems.

Add a Subwoofer

Some engineers like to mix with a subwoofer, others don’t. I prefer having one, but I also prefer using a monitor controller that allows me to mute the sub. I use the sub both to extend the range of my monitors down lower and also to reveal any noise or problems way down low in the frequency range.

Mics

Just as your room and monitor system affect what you hear in your room, your microphones affect the front-end capture of audio. Get the best mics you can; I prefer having a few great mics to having a bunch of less stellar choices. I recommend beginning with a great large-diaphragm condenser and a great dynamic mic and then filling in your selection from there, depending on what you record. (Check out my article in the last issue of SweetNotes on building a mic locker; you can also find the article online at Sweetwater.com/inSync.)

Preamps, Processing, Converters, and Audio Interface

Once you can hear clearly in your room and are capturing quality audio with your mics, look at upgrading your preamps, converters, audio interface, and other hardware processors. You might put this higher on your list if you’re looking for a specific color or response for your recording — a particular flavor from a preamp or compressor, for example. Or if you’re looking for a more pristine sound from your mics, then maybe you want a high-quality uncolored preamp or a better converter.

Cables

I have a philosophy on cables (and accessories, as well): I buy the best I can afford. I feel this removes concerns about any impact the cabling may have on audio or data transfer. Inexpensive cables work fine — for a while. But I’ve seen them degrade quickly. I prefer the peace of mind I get by going with great cables. It’s just one less thing to distract you from making music.

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