How to Assemble a $500 Audio Studio on a Shoestring

Haveyou ever taught an entire class in mime?

Youwouldn’t train a live classroom session without speaking. Your web-basedtraining shouldn’t be any different.

Audioadds necessary context to video. Have you ever watched a movie with the volume turneddown? The missing dimension of audio limits meaning and understanding. So why don’t we useaudio more often in our instructional design, even though we know it is a keysupport for learning?

Muchof it comes down to costs. Few employers are willing to invest in a dedicatedstudio for recording voiceovers. High-end studio equipment can cost thousandsof dollars. As a result, some designers settle for using text boxes in place ofaudio. Others may spend a few bucks on their own, buying a USB headset ortabletop USB microphone—each of which has limitations. Audio can sound tinny,highly compressed, or it can be riddled with popping sounds or ambient noise. Ultimately,this may lead to audio that distracts more than it supports your message.

If Icould help you convince your manager to make a small investment in basicequipment which would greatly improve your voiceover audio, you would beinterested, wouldn’t you?

Whatif I told you that, when added to your work computer, the investment could beas little as $500 (USD)?At thisprice you might be willing to create your own studio on a shoestring in yourown home office or other quiet area at home. Here is what you need. (Editor’s note: The suggestions and equipment listed in this articleare also essential for high-quality audio podcasts.)

Quiet environment

Limitingthe amount of ambient noise is essential for professional-sounding recording. Ideally,you may have your own office where a closed door and a do-not-disturb sign mayprevent most unwanted sounds. Perhaps your office building has an unused room(even a large closet) where you can limit ambient noise. Your manager may alsoallow you to record your voiceovers from home, provided you can find a room orother part of your home which is quiet. If, like many of us, you work in a cubefarm, ambient noise is a part of daily life, in which case you may still beable to record at your desk … if you are willing to come to the office after-hours.

Audio recording/editingsoftware

Audiosoftware is needed not only to replace the “tape” in tape recorders but also toedit your audio and export it to usable MP3 or WAV files. While many of today’sinstructional-design authoring tools have built-in recording capabilities,these capabilities tend to be very limited and do not allow you to applycompression, noise reduction, normalization, and other post-production effectsto make your audio sound professional.

Howmuch will this cost? How does free sound to you? Audacity is a low-footprintsoftware package available for Windows and OS X devices that has a majority ofthe features found in software costing hundreds of dollars. Using this allowsyou to record, edit, process, and export audio to just about any file format. WhileMP3 is not natively supported by Audacity, a quick download of another freewareitem (LAME encoder) enables this functionality.

Microphone stand

Microphonestands come in varying sizes and types. Tabletop stands are perhaps thesimplest and most affordable, but allow little versatility in placement andoften require the voice talent to hunch over a desk, limiting their vocal rangeand performance. Also, tabletop stands often place the microphone too close todesk electronics that can generate unwanted noise. A straight floor-mount standoffers affordability while allowing adjustable height to accommodate the needsof the voice talent, though this usually requires the voice talent to stand. Whilemany consider a standing position ideal for optimal voice performance, thosewho seek additional versatility may wish to consider a boom stand that you canposition to accommodate voice talent who wish to sit or stand.

Lookfor a stand with either a heavy base or a tripod base to prevent tipping andpossible damage to your microphone. Also, look for a stand that can acceptdouble the weight of your microphone, as this will accommodate extras such ascabling, shock mount, and pop shields. Prices will vary, with even thesturdiest boom stands usually less than $100 (USD).

Microphone

Whilethere are different types of microphones such as condenser, dynamic, andribbon, condenser microphones typically provide the highest quality for thelowest cost. Choose one with a cardioid pattern, which allows the microphone tofocus on audio recorded from the front of the element while minimizing orrejecting audio from the sides and back. Some microphones allow multiplepatterns, including omnidirectional and figure eight, but these added patternswill add to the cost of your microphone. Omnidirectional patterns will captureambient audio from all directions while reducing bass response, not onlyincreasing potential noise but minimizing your frequency range and potentiallyreducing the overall audio quality of your voice. So-called figure-eightpatterns act as a sort of dual cardioid, capturing audio from both the frontand the back of the microphone. While this actually boosts bass response andrejects most ambient audio from the sides, you would need soundproofing behindthe microphone to limit echo from reflected sound waves captured from the rearof the microphone.

Lookfor microphones that have one-inch or larger diaphragms that capture a widerrange of voice frequencies resulting in the most natural-sounding audio. Headsetmicrophones, while convenient lack this large diaphragm, which leads to voice thatsounds tinny or sounds as if it is being heard over a telephone. While notnecessary, look to see if the microphone has a pad switch that reducesoverloading caused by speaking at high volumes, as well as a low-cut switch thatminimizes noise caused by stand and floor vibrations from nearby vehicular andwalking traffic. Good studio-quality microphones which accurately capture yourfull vocal spectrum can be found in the $200 to $300 (USD) range.

Shock mount

Ashock mount absorbs floor vibrations that a low-cut switch may not be able tofilter. It can be as simple as an air-filled latex ring or complex enough tomake your microphone appear it is being attacked by a large spider. Shockmounts for some high-end microphone models can get pricey, but most can befound for around $50 (USD).

Pop filter

Popfilters redirect air flow from your spoken voice that might cause poppingsounds (also called “plosives”) in your audio. Pop filters are absolutelyessential for condenser microphones which tend to amplify wind noises. A fabricpop filter might set you back $30 (USD). A metal pop filter, which is more durableand redirects plosives while minimizing the impact on the treble frequencies inyour voice, will cost double. For do it yourselfers, articles and videos can befound on the internet demonstrating how to build your own pop filter for aslittle as $10 (USD) using  an embroidery hoop,a nylon stocking, and some hardware store items.

USB audio interface

Theaudio interface acts as a preamplifier for your microphone while feeding theaudio you record into your computer. Even the most affordable USB audiointerfaces use electronics with noise suppression superior to those foundwithin typical USB microphones. Look for an interface with a headphone jackallowing for real-time monitoring through the interface itself, as monitoringthrough the headphone jack of a personal computer introduces latency. “Latency”refers to the lag time between your spoken voice and your monitored voice dueto the small delays the sound card in your computer causes while processing theaudio. In most situations, this latency will be just long enough to causestumbling as well as unnatural slowing of your speech rate. You can find high-qualityentry-level USB audio interfaces, such as those made by Focusrite and PreSonus,between $100 (USD) and $150 (USD).

Microphone cable

Professionalmicrophones tend to use a three-element connection called XLR. An XLR connectorcreates a balanced connection which is much less susceptible to noise than astandard mini-or phone-plug. Connecting the microphone to an appropriatepreamplifier (such as a USB audio interface) requires a special cable. Look fora cable with a female XLR connector that allows it to plug into the microphone.The other end of the cable will most often require a male XLR connector, thoughsome interfaces and processing equipment use what is called a TRS connector,which is a balanced variant of the phone plug seen on some headphones. Do NOTmistakenly select a cable with a TS connector, which creates an unbalancedconnection and leaves the cable susceptible to interference and noise. Makesure the cable is long enough to connect the microphone to the USB audiointerface without stretching, getting in the way, or creating a trippinghazard. It might be a good idea to consider additional length for themicrophone cable to allow versatility in microphone placement and movementwithin your studio, though any cable lengths longer than 15 feet run the riskof acting as an antenna, which may inadvertently introduce interference fromany broadcast transmitters within two miles.

Whilemany manufacturers will try to pressure you to buy premium cables with highprice tags and promises of great shielding and gold connectors, you can easilyfind high quality microphone 15-foot microphone cords for less than $25 (USD).

Kits/vocal packs

Tominimize costs (and simplify the buying process) even more, a few manufacturersoffer vocal packs, kits that bundle your microphone with cables, filters,and/or shock mounts. RØDE and sE Electronics currently offer high-quality condensermicrophone bundles with cable, pop filter, and shock mount; you can find theseamong the major retailers for less than $250 (USD).

Your studio on ashoestring is complete!

Through carefulplanning and shopping, you can assemble a basic studio on a shoestring usingyour work computer and as little as $500 (USD). This equipment provides the professionaledge you need for outstanding voiceover recording while simultaneously allowingyou to expand should needs arise and your budget allow.