Multiple built-in power amps dedicated to the high and low frequencies, making up what’s called a tuned system. This is facilitated by a component called an active crossover, which divides the incoming signal into these two parts and then routes them to their appropriate drivers—woofers for the lows and tweeters for the highs.

They usually come in compact enclosures, making it possible to integrate them into studio spaces that don’t have much of just that.

Shielding of some sort to prevent noise most likely related to your computer monitor.

A robust design that allows for the consistent, stable reproduction of your inconsistent, un-mastered tracks, which will be inherently riddled with sudden volume bursts and sporadic moments of intense frequency explosions.

Starting with the obvious: They’re a portable, discreet listening device. Whether you’re using them as a part of your mobile studio or to work on your tracks in another studio, they give you the peace of mind that you’re equipped with a listening device you’re familiar with. Headphones easily go where you go, and their for-your-ears-only design is handy for those many times you’ll need to isolate your work in progress from your co-inhabitants or neighbors who actually sleep at night while you’re mixing your next opus.

Speaking of isolation it’s standard protocol to whip out a pair of headphones when recording overdubs (secondary tracks) if you have no other way to isolate miked sources.

You may be listening to a mix and think you hear something that isn’t right, something deep within the mix that’s too tough to identify while listening to your near-fields. Fear not: A pair of closed-back (explained in a moment) headphones will help shine an audible floodlight on whatever anomaly is lurking in the sonic shadows.

Many music lovers, including you, listen to music with some sort of speaker system attached to their heads—probably more so than ever before, considering all the digital toys we have to play with. So, if you’re planning to bring your music to the people—especially people who use headphones often—it makes sense to create and review your mixes and mastered works with that very same apparatus.

One standout difference between headphones is the drivers (see the preceding sidebar on drivers). Pro-level headphones are made with such desirable materials as Mylar, gold-plated Mylar, and even titanium to help deliver pristine reproductions of your productions that are superior to consumer-grade cans.

Another factor is in the advanced design with regard to driver placement. For instance, the Ultrasones shown in Figure 2.3 have their drivers placed slightly below your ear and angled away from your eardrum as opposed to sitting in the center of the earcup. This helps decrease the sound pressure level (SPL) by up to 40 percent, enabling you to work longer and safer.

Speaking of safety: Pro-level headphones feature shielding to cut down on low-frequency magnetic fields, which can be associated with ailments ranging from fatigue to serious disease.

Computer cables. Be they USB or FireWire, it’s always a good idea to have multiples of each in varying lengths in a computer-based music-production studio. And that goes for the various types of each cable, such as USB cables that feature smaller connectors and FireWire cables that work with the different transfer types (i.e., FW400 and FW800).

¼-inch instrument. The ¼-inch cable is the most common audio cable. It comes in two basic types: TS and TRS. The pointed end is called the tip (T). Below the tip is a small black ring that separates it from the sleeve (S), which is the shaft that makes up the remainder of the jack. A jack with one black ring can be called a TS cable, although it’s usually known as a “¼-inch” or “instrument” cable. These cable types feature a single conductor (connected to the tip, while the sleeve is the ground) and are used to connect one device to another in mono. If the jack has two plastic black rings, it’s a TRS (tip-ring-sleeve) cable. For the most part, these cable types also carry a mono signal, but one that is balanced. The extra ring is connected to a second conductor whose polarity is reversed, which provides a means for unwanted noise cancellation when running long cable lengths and/or exposing the cable to noisy electrical fields. Then you have some form of a tip-ring-sleeve (TRS) with the middle portion being the ring and the outer portions following the nomenclature just explained. These types of ¼-inch cables can also be used for carrying stereo signals (one channel per conductor) or for carrying two signals in opposite directions (one direction per conductor). Be sure you know which type of TRS you’re working with, as using the wrong one will result in varying degrees of failure.

Speaker. These cable types are designed to connect your monitoring systems to whatever device is last in the signal chain that’s passing the audio along. They come in three different connector types: ¼-inch, banana plug, and Neutrik Speakon, with ¼-inch being the most common. Given that fact, it’s very important not to mistakenly mix speaker and instrument cables (more so with speaker cable being used as instrument cable, as this will produce a lot of noise). More times than not, ¼-inch cables of all types are marked as such near the jacks right near the sleeve.

XLR. These are the cables you use to connect any microphone worth its salt to its destination device. XLR cables always have a male and female end that always make the same connection. The female end is the one that plugs into the mic itself, while the male end always plugs into the connecting device such as an audio interface, mixing console, or snake. You can never have enough XLR cables, and it’s a smart move to have them in varying lengths. If you need an extraordinarily long XLR, you can always connect two of them together!

Patch cords. If you’ll be using outboard processors and/or a patch bay (see Chapter 8, “Accessorizing Your Studio With…”), you’ll quickly appreciate the existence of compact ¼-inch cables known as patch cables. Usually coming in bulk packages in an array of colors, these cables are similar to instrument cables with the noticeable difference being they range from a few inches to a foot in length.

MIDI. Cables with a round, hollow connector that have five pins inside are the ones used for connecting MIDI devices. Unlike XLR connections, there are no female MIDI connectors, only male ends that connect into the female jacks on all MIDI-compatible gear.

RCA. If you partake in modern media at even the most elementary level, you’ve come across RCA cables—the rounded-end cables that connect most every piece of consumer-level A/V equipment, including your stereo and entertainment system. You’ll find these plug types on audio interfaces in the form of main outs and on DJ mixers to connect turntables, to name a few. With regard to the former, they’re considered a lower-grade connection system as they are unbalanced and thus susceptible to noise and interference, but at the same time they help keep costs down and are usually used on more compact units.

¼-inch-to-⅛-inch. There are many cabling scenarios that use the smaller ⅛-inch jack (also known as 3.5 mm, while ¼-inch jacks are 6.35 mm); these adapters are used to make the larger ¼-inch types fit into the smaller plugs. Make sure out of the two types—mono and stereo—you have multiple stereo adapters, as these will be used way more often. Most commonly used for making sure your headphone jack will connect with whatever device you need to plug into, if you don’t have one of these adapters and have headphones that have the opposite jack, that late-night session is toast if you have a home studio that’s not substantially soundproofed.

Low-Z/High-Z. That’s the nickname for an adapter that serves as an impedance (Z) transformer that is one part female XLR (Low Z) and one part TS ¼-inch (High Z). These are great for when you just have to connect an XLR cable into a ¼-inch jack. At the same time, try not to find yourself in this scenario unless it’s completely unavoidable, as it delivers compromised results.

USB adapters. The rectangular end of a USB cable is called Type A, and it’s always the connection needed to plug into the computer itself. It’s the other end that has variables that may call for an adapter. The almost squared-off Type B connector is the most commonly used type to plug into the devices that are being patched into your computer. But there are alternative, smaller mini- and micro-type connectors for, well, smaller devices. For example, the compact Korg Nano Kontrol (refer to Figure 2.13) discussed back in the “MIDI Controllers” section uses the more compact Mini-A connector.

RCA-to-¼-inch. There will be plenty of times when you look to see what the connection type is on a piece of hardware (probably an interface) and you’ll discover it’s RCA instead of the expected ¼-inch. This adapter will save the day (and a schlep to the music store, wasting precious studio time).

Y-adapters. If you have an instance where stereo signals are involved but one of the devices has only one stereo plug, you may need a Y-adapter of some type. Aptly named, these adapters have two separate wires that come together into one jack. They could be two RCA female to one ¼-inch male or two ¼-inch female to one ⅛-inch male. There are many possibilities, but if you had to start somewhere, these two are safe bets.

Stands. Make sure you not only have mic stands but music stands as well. With regard to the latter, it’s not always a matter of reading music per se, but a matter of having somewhere to put notes, lyrics, pictures, etc. You never know what you or someone you’re working with will need to make the magic happen.

Mic clips. Most mic stands do not come with the clamp-type apparatus known as a clip that’s used to hold the microphone in place. While some mics come with their own proprietary clips and shock mounts, a handful of generic clips are a must.

Batteries. At the top of the list are 9-volt batteries, with AA being a close second. You may not see too many instances of the other types, but it never hurts to have a small quantity of C, D, and AAAs in the drawer (with a slight emphasis on AAAs).

Sharpies. These markers are great for writing on myriad surfaces, especially CDs and DVDs. You’ll often need to jot down a quick description after burning a fresh copy of your latest mix.

Gaffer’s tape. Hands down, a studio must. Whether it be for taping cables down to ensure no one will trip on them or taping down adapters in a surge protector, gaffer’s tape is the go-to studio tape because it holds incredibly well while leaving almost no residue when you remove it.

Refrigerator. Depending on where your studio is located, (or, if it’s in your house, like most project studios, how far it is from the kitchen), you may need to invest in a small fridge. During long, tedious editing sessions or taxing tracking sessions, it’s a good idea to have liquids nearby so you can keep yourself hydrated. While you’re at it, stocking that mini-fridge with some fruit and other high-energy food is a smart move as well.

DI boxes. When plugging an instrument directly into an audio interface and/or mixing console, you will need what’s called a direct box, or DI for short (which stands for direct input). This allows you to connect a high-impedance, line-level, and/or unbalanced incoming signal to a low-impedance, microphone-level input that is balanced—the most common scenario being a ¼-inch source going into the DI and an XLR cable coming out to the destination device of choice. And, don’t get just one!

Blank CDs/DVDs. A spool of at least 50 of each should be on hand at all times.

Tuner. Never depend on someone else to have a tuner. While many virtual modeling apps feature built-in tuners, nothing beats the convenience of a portable hardware tuner to quickly plug into. Try to get one with a big, bright LCD so you can use it live, too.

Metronome. While Live has its own built-in metronome, having a standalone will come in handy when you need one and Live is busy doing something else (rendering, for instance). Make sure whatever one you choose has a tap tempo function where you can tap a pulse to reveal a tempo.

Strings/picks. No matter what type of music you’ll be producing, a guitar and bass will surely be involved at some point. Aside from breaking strings and having to be forced to replace them on an as-needed basis, a fresh set of strings can be exactly what a lifeless-sounding guitar track could use. As for picks, they’re just like adapters: They grow legs. Also, different picks have different tonal properties and afford different techniques. Get a handful of varying types to have on hand.

Expanded shelving. As you’ll soon see, there’s a great deal of strategy that goes into what goes where with regard to smooth workflow and, more importantly, sonic projection. A good workstation should provide ample shelving and desktop real estate for placing your core hardware—computers monitor(s), studio monitors, MIDI control surface and/or keyboard controller, etc.—in places where you can work most comfortably while at the same time allowing you to place components such as monitors in positions where they’re most effective for a discerning listening environment. In addition, you’re going to need many items at close hand as you work no matter what the project calls for. These items need to be within arm’s reach without cluttering your workspace. Be sure to map out what you think you will need to live on the workstation so you can make a smart, informed decision when pondering this important purchase. While you’re at it, look for a piece of furniture that is a bit more than you need and affords you room to grow. You will, and that’s a fact—albeit a fun one.

Rackbays. At some point, your Ableton Live studio will surely include a few (if not many) pieces of outboard processors, often called “rack gear.” The reason for this nickname can be found on the front panel of these powerful rectangular DSP units, where there are winged extensions, or ears, on both sides that are used for mounting (see Figure 2.28). Any workstation worth its wheels will have at least a pair of two-space rackbays for mounting these processors, making for convenient positioning. In case you’re wondering whether the rack piece you have or will obtain will fit into the rackbays, no worries. The dimensions for all outboard processors of this ilk are a standard 19 inches wide, and the mounting slots are guaranteed to line up with the workstations.

Figure 2.28. To mount any outboard rack gear to your workstation’s rackbay, each component will have a pair of rack ears—one on each side, as shown on this Furman M-8Dx power conditioner—whose mounting slots will perfectly match up with the bay’s slots.

Advanced wire management. When it comes to cables, if you build it (i.e., your studio), they will come. It’s a good idea to organize your wires right from the beginning. Fortunately, your workstation can provide several means in which to do so. Below each rackbay and other smartly placed locations, you’ll find cabling grommets (see Figure 2.29), which are plastic cylindrical pieces used for wire management that are meant to fit snuggly into circular cuts made into the desktop area and/or side walls. On more involved workstations, you may also find larger openings in the back walls that are meant for larger bundles of cabling. These openings will also have some sort of plastic border such as PVC T-molding to cut down on any chances the wires may become damaged due to hanging over potentially sharp wood edges that may cut into a cable’s outer casing.

Figure 2.29. When shopping for your workstation, make sure the desk has small plastic circular grommets wherever there will be wires of any kind, to ensure tidy cabling.

Sturdy construction. The combination of computer hardware, rack gear, MIDI gear, a mixing console, and more will be hefty in weight to say the least. A dedicated music workstation should be built with sturdy materials such as furniture-grade oak plywood to ensure a long-lasting existence. The station may be covered with high-pressure laminate surfaces such as thermo-fused melamine or Formica as well to best take on the punishment you will surely dish out on the desktop and shelving areas as you work.

Casters. There may be times when you’ll need to move things around in your Ableton Live studio. Be it an impromptu live recording session or a mixdown that calls for some extra gear—say, an old analog ½-inch tape machine to warm things up—you may need to rearrange your room’s current setup. Luckily for you, most workstations come equipped with appropriately weighted casters (wheels), allowing you to easily roll the apex of your studio wherever you need it to go.

At the top of all considerations should be comfort. Do not settle for anything less than perfect. Make sure there’s ample back support, too. Remember: Only you can make this call. Unless you can sit in the chair your forum buddy swears is the best, don’t even think about ordering a chair online sight un-sat! Trying it before buying it is of paramount importance.

It has to be adjustable. The more options, the better.

Absolutely no noise can emanate from your chair—at least any that you determine cannot be eliminated with a quick spray of WD-40.

Mobility in the form being able to spin freely (with no squeaks, of course) and being able to smoothly glide across the room on the casters is a big one.

If you play an instrument, especially a fretted one like a guitar or bass, make sure you can remove any arms that you think may impede playing of said axes.

Shelves. You’re going to accumulate countless items of medium size—controllers, guitar effects, headphones, sample CDs, manuals, and of course Cengage Learning texts including this book to name a few—that will need a place to go when not in use. Standalone pieces of furniture and/or wall-mounted types will do just fine and help clear the studio of unnecessary clutter resulting from very necessary things that have nowhere to go.

Storage containers. Just take a quick trip to the nearest Target or any major retailer that stocks home goods and you will have an incredible array of storage containers before you. From pieces that feature stacks of removable, skinny drawers with flip-tops to massive tubs you can probably sleep in—you’ll be hard pressed not to find a container to fit your needs.

Incidental wall-mounted items. Be it hooks, a dry-erase board, or something as simple as thumb tacks to hang a calendar as opposed to having one sitting on your workstation desktop, burglarizing precious space, elevating miscellaneous items in your studio will organize things greatly. As an added bonus, they may provide some cost-effective room treatments to combat common sound-wave challenges that are inherent with four-walled enclosures.

Filing cabinet. With a studio comes a paper trail composed of warranty cards, manuals, receipts, charts, and yes, take-out menus. Having a filing cabinet is so elementary, you just might overlook obtaining one. Don’t.