a SOUND investment.

HERE'S A STEP-BY-STEP GUIDE TO BUILDING YOUR OWN HOME STUDIO AND TIPS ON TURNING A PROFIT

MICHAEL BORNEO, 42, ALWAYS LOVED MUSIC AND DABBLED IN IT WHENEVER HE COULD FIND the time. "I played in a band and wrote songs," he recalls. "But I didn't see much of a future in music, so I pursued a career in telecommunications." After all, 20 years ago the only people Borneo saw with in-house recording studios were the affluent, and it didn't seem that his dream of having his own setup was remotely within his reach.

That was until Borneo rediscovered his muse a few years ago. While working as a communications consultant for his own firm, Telecommunication Services Corp., he got a project requiring him to install a local area network and telephone system in a music studio. "I wrote some songs for the owner and he was impressed," says Borneo. That was all the encouragement the corporate professional needed to approach a commercial studio and begin the production of a demo tape. Unfortunately, the high cost of renting studio time, engineers and music equipment quickly soured him on going the professional route, so Borneo purchased a keyboard and some other odds and ends in hopes of banging out tunes himself. Before he knew it, his dream was reborn. "I kept purchasing more and more equipment to get better quality until I found myself with a studio," he says.

Although Borneo's experience was a little more complicated than it sounds, the development of small-scale or "project" studios has become a lot more common in recent years. New trends in the music industry are responsible for the surge. According to Anthony Collins, instructor at the Institute of Audio Research in Manhattan, "Ten to 20 years ago, record companies sent their artists to commercial recording studios for their demos and recordings. Now some record companies give artists advance money to purchase their own project studios." With the fees of larger commercial studios ranging from $75 to $300 per hour, "record companies realize that by investing in `project' [home or small-scale] studios, they can save money while giving the artists more creative flexibility," Collins adds. Now, professional musicians and even wannabees like Borneo can master record producing from their homes without breaking the bank.

If you're ready to build your own in-house recording studio, here are some tips on how you can determine the type of tools you'll need and where you can purchase the equipment within the confines of your budget.

TAKE THE GUESSWORK OUT OF GEARING UP

Before you hit the music stores, determine your equipment needs. The type of music you plan to write largely impacts the kind of equipment you need or whether you should consider building a project studio at all. Today's popular music--rhythm and blues, hip-hop, gospel and jazz--are perfect candidates for project studio technology. Alternatively, music that requires orchestras often needs more complex acoustical setups for quality recording.

Think about the tools you'll need with the product in mind. If you're only interested in recording some musical ideas for yourself or a band, then perhaps a 4-track analog recorder, such as the Tascam Porta 02 Multitrack Recorder, priced at around $160, will suffice. However, if you plan to make a profit from your venture by starting a music production business or creating professional-quality demos, then you should acquire equipment that is as close to CD quality as possible, say Peter McIan and Larry Wichman, the authors of The Musician's Guide to Home Recording (Music Sales Corp., $24.95). Remember, the more technologically advanced your home studio is, the easier it will be to match the technology of the commercial studio where you choose to do your final mixing. On the other hand, Borneo warns against purchasing products before you have a clear understanding of their performance. "Ensure you have the right equipment and know how to use it effectively for your desired results," he cautions. "That may not require spending more money."

Of course the best way to ensure you get the right equipment is to seek professional advice. Borneo started with the Internet, where he came across Auralex Acoustics Inc. (www.auralex.com), a firm targeted to hobbyists that specializes in sound reinforcement, broadcast and recording equipment. The site allows consumers to purchase products, access the firm's consulting engineers and download online instructions, including "Acoustics 101"--a guide that Borneo says was most helpful.

Patrice Rushen, a three-time Grammy Award-winning recording artist, also turned to the pros when she did a complete upgrade of the eight-year-old project studio she has housed in her garage. For the most part, you can design a quality recording studio to suit any living space--without altering the structure of that area--since home recording gear is small and portable. "However, if you are looking for a top-quality recording environment, you need to seek out a studio design consultant to discuss structural changes," advises Dave Carlock, professional audio sales consultant at Los Angeles-based Westlake Audio Inc. (see Professional Audio Consultation Services). Rushen got advice on every aspect of her Southern California workspace, from acoustical design to the purchase of equipment: "The final musical sound and quality produced at my studio must be competitive with commercial studios," she insists. As a result, she purchased ProTools, a software-based program for high-end and topnotch professional recordings.

"It can do major record-label quality, from recording to mixing in the computer," says Carlock. At $20,000 for just the software and some basic accessories, ProTools is currently the most expensive recording program on the market; however, with 64 tracks of recording capability and editing ease, professionals like Rushen and Carlock find the program invaluable.

But determining the type of equipment you need is only half the battle. Now it's time to choose the right retailer.

NARROW YOUR SELECTION

Type in "home recording studio" in any Internet search engine and you're sure to a get a large selection of companies offering musical equipment. So how do you determine which gear outfitters make the cut? Borneo says comprehensive research will help you better understand which equipment you need to purchase from specialty stores and which you can buy from general merchants. "All companies push their own products, but you have to know what you need and why you need it," he explains. Since Borneo familiarized himself with the products he required for his studio, he didn't go to an acoustics store for Homosote (a soundproofing material)--he shopped at the less expensive Home Depot.

Carlock recommends that whenever possible, you purchase equipment in person from a local dealer rather than through mail-order catalogs. "Mail-order houses and volume chains typically have a little better pricing but finding a knowledgeable salesperson can be tricky. Just remember: if you live in Chicago and your house is on fire, you want to be able to call the Chicago fire department, not the one in Florida or Indiana. The same applies for pro audio gear." If you have to return defective equipment, the cost of overnight shipping could diminish the savings on the initial purchase, Carlock warns. But no matter how much you save, music equipment can be expensive. Here's how you can pay for it.

BE FRANK ABOUT YOUR FUNDS

Once you've determined what your equipment needs are, take a realistic look at your wallet. "It's important to establish what your budget is up front," Carlock advises. Knowledgeable proaudio sales associates and consultants in equipment stores such as Sam Ash Music can help you get your studio up and running, especially since many of these consultants have studios of their own. Travis Milner, an owner of a commercial jingle-writing company, Soul'd Out Promos, points out that many music stores have payment plans and credit cards to make the overall cost of studio equipment more digestible. Whether you choose to join a payment plan or not, get as many opinions as you need until you find the products that suit your requirements and your pocketbook. Says Carlock: "Work with someone who's compassionate about your ideas and goals. An `expert' who's shortspoken and indifferent to you may not be an expert after all."

And don't feel pressured to buy everything at once. "I'm a big fan of purchasing equipment in stages," Rushen says. Do your research, consult catalogs and seek the best prices on your purchases, as you would with any other investment. Finally, take the time with the instructions and products to get the most out of your investment. "If you learn [to operate] your equipment to the fullest," Collins explains, "you can take a thousand-dollar board and get almost the same [professional quality] as one in a bigger studio." In the long run, it's about the quality of the product you create, not how fancy and expensive your equipment is. Borneo, who used his annual bonus and credit cards to purchase his music equipment, is glad he built his home studio in stages. Although the process took a few years, the timing allowed him to upgrade his skills, home in on the type of music he wanted to produce and determine the kinds of services he wanted to offer. Come the year 2000, Borneo plans to market his business to churches and schools. "It's worth the investment for me," he proclaims. "And there's definitely a market out there. It's just up to you to find your niche."

Michael Borneo

Profile:

Full-time manager of communications at Royal Bank of Canada.

Specialization:

Gospel music and CD reproduction. Aims to have his studio fully functional by January 2000.

Studio space:

Basement in three-family home in Brooklyn.

Features:

Fully soundproofed separate control room, wood floors, ADAT, DAT and Cubase sequencer computer-based recording ability.

Investment:

$60,000

Kenny Seymour

Profile:

Professional musician, producer and songwriter. Keyboardist for various popular artists, including Jodeci and Chico DeBarge.

Specialization:

Rhythm & Hues, hip-hop and jazz

Studio space:

Walk-in closet in a New York City high-rise apartment building.

Features:

Because his space is not soundproofed, he uses headphones for late-night recording on his largely digital setup.

Investment:

$6,000

Patrice Rushen

Profile:

Musician, composer and arranger. Currently working on a new solo album and soundtracks for movies.

Specialization:

Jazz, rhythm & blues and movie soundtracks

Studio space:

Transformed a 3-car garage into a professionally designed studio.

Features:

ProTools computer-based recording program

Investment:

$80,00, including equipment, studio design and rewiring, computer, software packages and ProTools

GLOSSARY

ADAT An eight-track digital recorder developed and manufactured by the Alesis Corp. It uses standard VHS videocassettes for information storage.

ANALOG A close but imprecise method of copying sound. Analog recordings require complicated editing, which can be a drawback, and produce "tape hiss," but many professionals consider certain instruments or mixes recorded with analog technology to have a "warmer" sound than music projects recorded only digitally.

DIGITAL An electronic format that is designed to duplicate sound while affording extremely accurate control over any changes you might wish to make in the copy. Digital recordings do not have the tape hiss present in analog copies. Experts recommend the digital technology for pro-quality sound.

MIDI Musical Instrument Digital Interface. MIDI is digital communication that allows you to transmit sound information produced on one MIDI instrument to another unit, and to manipulate information digitally.

PROJECT STUDIO A relatively small-scale studio designed for an individual's work, from demo to commercial quality.

SEQUENCER A digital unit that allows you to program beats, lines of music or entire songs and record them in its memory. Although it may be a separate unit, many MIDI keyboards and drum machines come with a sequencer.

WORKSTATION Nearly self-contained digital recording units that allow you to record and mix. Later models include special effects.

Purpose                     MIDI KEYBOARD            WORKSTATION

START-UP BASIC

Serves as a foundation      Roland XP-10 Sound       N/A
for your project studio.    Module ($500).
Allows you to write,        Non-sequencing
record and make a           keyboard/controller
practice demo. You will     (not a "workstation")
need to go to a             so you won't be able
commercial studio for       to drum sounds or song
editing and final mixing.   arrangements without
                            purchasing a separate
                            sequencer/drum
                            machine.

PROFESSIONAL

MID-LEVEL

Preproduction capability    Roland JV 1080           Korg Triton
for songwriting and          Synthesizer             ($2,100). A
demos. You will record      Module ($880)            new
most of your album or                                all-in-one
project at home, then go    Expansion Cards ($220)   unit with
to a commercial studio                               combined
for final mixing. You                                keyboard,
may add a computer and                               sequencer and
appropriate music                                    sampler.
software.

HIGH END

CD-quality that can         Roland JV 2080           N/A
deliver toll-notch           Synthesizer
professional services for   Module ($1,200)
producers, commercial
studio owners and           Expansion Cards ($220)
musicians. You can do
all your work at your
home, including mixing.

Purpose                     SAMPLER             RECORDER

START-UP BASIC

Serves as a foundation      Akai MPC 2000 XL    Korg D8 Digital
for your project studio.    Sampling drum       Recording Studio
Allows you to write,        machine ($1,500).   ($700). Records
record and make a           Can be used in      onto eight
practice demo. You will     combination with    tracks, contains
need to go to a             less expensive,     mixer and
commercial studio for       non-sequencing      built-in sound
editing and final mixing.   keyboard for        effects.
                            basic hip-hop/
                            R&B tracks.

PROFESSIONAL

MID-LEVEL

Preproduction capability    N/A                 Alesis ADAT VT20
for songwriting and                             8-Track
demos. You will record                          Recorder ($1,900)
most of your album or                           or
project at home, then go                        Roland VS880EX
to a commercial studio                          Hard Disk
for final mixing. You                           Recorder ($1,600)
may add a computer and
appropriate music
software.

HIGH END

CD-quality that can         N/A                 Tascam DA 88
deliver toll-notch                              Multitrack
professional services for                       Recorder ($3,299)
producers, commercial
studio owners and
musicians. You can do
all your work at your
home, including mixing.

Purpose                     PROGRAMS             MICROPHONE

START-UP BASIC

Serves as a foundation      N/A                  Shure SM 58
for your project studio.                         ($100)
Allows you to write,
record and make a
practice demo. You will
need to go to a
commercial studio for
editing and final mixing.

PROFESSIONAL

MID-LEVEL

Preproduction capability    Cubase VST 24        Audio Technica
for songwriting and         ($550 for Mac)       40 33SM ($348)
demos. You will record
most of your album or
project at home, then go
to a commercial studio
for final mixing. You
may add a computer and
appropriate music
software.

HIGH END

CD-quality that can         ProTools ($8,700)    Audio Technica
deliver toll-notch          Note: Recording      AT4050 ($600)
professional services for   program only.
producers, commercial       Requires Mac G3
studio owners and           Computer ($1,600):
musicians. You can do       sequencer or
all your work at your       sequencing program
home, including mixing.     such as Cubase;
                            effects software,
                            or "plug-ins"
                            ($3,250+):
                            interfacing
                            accessories
                            ($3,000+).

Purpose                     MIXER               MONITORS

START-UP BASIC

Serves as a foundation      Use your own        Use your own
for your project studio.    stereo system.      stereo speakers
Allows you to write,                            or headphones.
record and make a
practice demo. You will
need to go to a
commercial studio for
editing and final mixing.

PROFESSIONAL

MID-LEVEL

Preproduction capability    Mackie 24x8         Event 2020 BAS
for songwriting and         24-Channel 8-Buss   ($850 a pair)
demos. You will record      Recording Console
most of your album or       ($2,300), with
project at home, then go    optional Mackie
to a commercial studio      MB24 Meter Bridge
for final mixing. You       ($600)
may add a computer and
appropriate music
software.

HIGH END

CD-quality that can         Mackie 32x8         Mackie HR 824
deliver toll-notch          32-Channel          ($1,320 a pair)
professional services for   Recording Console
producers, commercial       (63,000), with
studio owners and           optional Mackie
musicians. You can do       MB32 Meter Bridge
all your work at your       ($700)
home, including mixing.

Purpose                     EFFECTS             COMPRESSOR

START-UP BASIC

Serves as a foundation      N/A                 N/A
for your project studio.
Allows you to write,
record and make a
practice demo. You will
need to go to a
commercial studio for
editing and final mixing.

PROFESSIONAL

MID-LEVEL

Preproduction capability    Alesis midiverb     Behringer Pro
for songwriting and         4 Digital           Composer-MDX
demos. You will record      Reverb ($250)       2200 ($260)
most of your album or       Lexicon MPX 100
project at home, then go    Multi Effects
to a commercial studio      Processor ($250)
for final mixing. You
may add a computer and
appropriate music
software.

HIGH END

CD-quality that can         Lexicon MPX1,       DBX D166XL Stereo
deliver toll-notch          Multi-Effects       compressor (6310)
professional services for   Processor unit
producers, commercial       ($800)
studio owners and           Yamaha SPX 990
musicians. You can do       Stereo 20 Bit
all your work at your       Effects Processor
home, including mixing.     ($900)

Purpose                     FINAL MIX

START-UP BASIC

Serves as a foundation      Use cassette player
for your project studio.    for listening and
Allows you to write,        making tapes
record and make a           of your work.
practice demo. You will
need to go to a
commercial studio for
editing and final mixing.

PROFESSIONAL

MID-LEVEL

Preproduction capability    Tascam 302 Dual
for songwriting and         Dubbing Casette
demos. You will record      Deck ($600)
most of your album or       Tascam DA20MKII DAT
project at home, then go    Recorder ($700)
to a commercial studio
for final mixing. You
may add a computer and
appropriate music
software.

HIGH END

CD-quality that can         Tascam CDRW 5000
deliver toll-notch          Compact Disk
professional services for   "burner" ($1,000)
producers, commercial       Tascam DA40 DAT
studio owners and           Recorder ($1,100)
musicians. You can do
all your work at your
home, including mixing.

Source: Peter Panic, sales associates for Sam Ash and studio design consultant (e-mail: [e-mail])

RELATED ARTICLE: Ringing Up Profits

Kenneth Johnston, Grammy Award-winning engineer for Lauryn Hill's album, "Miseducation of Lauryn Hill," owns Perfect Pair Recording in East Orange, New Jersey. Since 1994, he and his wife and business partner, Sabrina, have recorded top hip-hop and B&B groups in a studio they redesigned themselves. Here are some guidelines Kenneth Johnston suggests you follow to ensure your in-house recording studio becomes a profit-making business.

* Develop a business plan. A comprehensive plan can assist you in securing additional investors, bank loans and even clients. It will also keep you organized and help you maintain a clear understanding of your business' strengths, weaknesses, opportunities and threats. It should include pictures of your equipment, floor plans, short biographies of selected customers, a prospective clientele list and letters from artists expressing an interest in using your studio for projects. For additional details on writing a business plan, consult the BE Entrepreneurial Workbook series (Enterprise, September 1997 through April 1998).

* Network with industry professionals. Members of the Society of Professional Audio Recording Services (www.spars.com) and the Audio Engineering Society (www.aes.org) can provide you with information on upcoming seminars or programs as well as the latest equipment. ProAudio.net (wwww.proaudio.net) hosts an online forum for users of professional audio equipment and allows members to buy and sell goods to each other. Another organization, the American Society of Composers, Authors and Publishers (ASCAP), sponsors the Foundation Songwriters Workshops, a program that allows songwriters to play their songs before a panel of music publishers, producers and executives--another great way to meet other enthusiasts.

* Get help. You can't do it all, so get others to support your effort. For example, recruit college interns by posting ads on school bulletin boards. Interns can assist you with answering phones, cleaning, repairing, management, billing and booking sessions. Also, try placing "free" ads on the Internet in the classified sections of search engines.

* Stay informed. Mix Magazine, a publication that features information on commercial and project studio recording, concert sound, audio for film and video, is one way to help you upgrade your skills, keep abreast of new products and ensure you continue to offer quality services at a competitive price. ASCAP (www.ascap.com) recommends This Business of Music by Sidney Shemel and M. William Krasilovsky (Watson-Guptill Publications, $29.95) and All You Need to Know About the Music Business by Donald S. Passman (Simon & Schuster, $27.50). Also refer to the product catalogs of music outfitters on a regular basis.

* Build your clientele. The best place to get customers for your home-based business is close to home. Although your advertisements in publications, the Yellow Pages and on the Internet may drum up some business, your final product will be your best commercial. Provide your clients with exceptional service, and you'll secure lifelong customers. Also, let your community know about your production capabilities and invite your neighbors to see your space and listen to your demos. Says Johnston, "Until recently, I never had business cards. The cassette that came out of the studio was our advertisement."

Professional Audio Consultation Services

Audio Services Co.       New York City
                         212-977-5150

Auralex Acoustics Inc.   Indianapolis
                         www.auralex.com

Manhattan Audio          New York City
                         212-391-5526

Westlake Audio           Los Angeles
                         213-422-4976