The Student’s Studio

Starting a music production course this autumn? Read our essential guide to setting up your first home studio.

If you’re just about to start a music technology course, then you’ve probably already been looking into home studio gear and noticed the overwhelming amount of options available. There’s never been a better time to get into audio: even some of the lowest‑cost gear on the market now comfortably outperforms the high‑end equipment of old, and it’s possible to get impressive‑sounding results with even the most modest of setups. But the abundance of reasonably priced kit that’s available these days is both a blessing and a curse — there may be plenty of choice, but it can be hard to know exactly what you actually need to get yourself up and running. In this article, we’ll take a look at some of the most important elements of a modern home studio rig, and highlight some key options in each category with a focus on affordability and a particular eye on the needs of students.

Compact Audio Interfaces

Sitting at the heart of every home studio setup is the audio interface. This key bit of kit serves as a way of getting audio in and out of your computer, and they’re available in a huge range of shapes and sizes. We’ll concentrate on compact, desktop devices here, all of which are capable of handling mic, line‑level and instrument inputs, as well as offering at least one monitoring output and a built‑in headphone amp. Some can be expanded over ADAT, making it possible to add more I/O as needs increase, and there’s always the option of a compact interface becoming a secondary or portable rig as and when you decide to upgrade.

The Audient iD4 ($269.99£153) is a two‑channel interface that features one of the company’s console mic preamps and a JFET instrument input, along with a stereo monitor output and a built‑in headphone amp with both quarter‑inch and 3.5mm outputs. Direct, zero‑latency monitoring is available from a dedicated top‑panel control. It boasts impressive technical specs, too, with the A‑D and D‑A converters achieving dynamic range figures of 121 and 126 dB respectively.

www.soundonsound.com/reviews/audient-id4-id14-mkii

Left to right: Audient iD4 & Focusrite Scarlett Solo.

Described as “the songwriter’s 2‑in/2‑out interface”, Focusrite’s fourth‑generation Scarlett Solo ($159.99£149) features a single mic preamp and a dedicated instrument input, and boasts Air Presence and Harmonic Drive modes that offer a vintage console‑style sound. There’s a stereo output for connecting a pair of monitors along with a powerful built‑in headphone amp, and the Solo comes supplied with a software bundle that includes Ableton Live Lite, Pro Tools Intro+ and Cubase LE.

www.soundonsound.com/reviews/focusrite-scarlett-4th-gen

The smallest of Heritage Audio’s vintage‑inspired interfaces, the i73 Pro One ($599£499) houses a single Class‑A transformer‑coupled preamp with pad and polarity switches, while its second channel offers connectivity for line‑level sources; output trim controls make it possible to intentionally drive the preamp harder for effect without risking clipping at the conversion stage. As for outputs, the i73 Pro One offers a stereo monitor output and a built‑in headphone amp, and in a move that’s increasingly rare for an audio interface, also includes built‑in MIDI I/O.

www.soundonsound.com/reviews/heritage-audio-i73-pro-edge

Left to right: Heritage Audio i73, SSL 1, Neve 88M.

The latest addition to SSL’s interface range, the SSL 1 ($159.99£143.98) features two channels. The first is equipped with a preamp, a high‑pass filter and a Legacy 4K mode that emulates the sound of SSL’s iconic 4000‑series console; the second will accept either line‑ or instrument‑level signals. A large top‑panel volume knob controls the main stereo output, and there’s also a built‑in headphone amp. The unit is supplied with the SSL Production Pack, which includes a selection of plug‑ins and virtual instruments.

www.soundonsound.com/reviews/ssl-1

Neve’s first dedicated audio interface, the 88M ($1365£999) comes with a higher price tag, but is based around the same Marinair transformer‑coupled preamp circuitry as their flagship large‑format console, the 88RS. It’s equipped with two channels that will both accept mic, line and instrument sources, and units made after January 2026 also feature digital inputs that allow it to function as a hardware insert, so users can process recorded DAW tracks with the preamp circuitry. Along with stereo outputs and a headphone amp, the 88M also features balanced insert points for both channels, and can be expanded with an additional eight inputs and outputs over ADAT.

www.soundonsound.com/reviews/neve-88m

Elsewhere, there are options such as Fender’s Quantum LT 2, LEWITT’s Connect 2 and Connect 6, Universal Audio’s Volt 176, Antelope Audio’s Zenith 2 and Yamaha’s UR12 MK3.

Headphones

Headphones play an important role in any studio setup, and when it comes to mixing they can be especially valuable to those working in spaces with difficult acoustics. Generally speaking, closed‑back designs are best suited to tracking work and mixing in noisy environments due to the isolation they offer, while open‑back cans tend to offer a more natural, speaker‑like sound, but with the compromise of providing less isolation from external noise.

The H200s ($179.99£139.99) are ADAM Audio’s first in‑house headphone design, and aim to offer the same signature sound as their popular loudspeaker range. They feature a closed‑back design and employ the company’s PEEK drivers, allowing them to offer good isolation as well as high‑quality playback. Interestingly, they come with a dedicated DAW plug‑in that offers two distinct voicing modes and an Externalization function that uses crossfeed to better emulate the experience of working on speakers.

www.soundonsound.com/reviews/adam-audio-h200

Audeze MM‑100Audeze are a big name in the high‑end headphone market, so they caused quite a stir with the launch of the MM‑100s, which deliver much of the performance of their praised Manny Marroquin signature model at a much lower cost of £399$399 — reduced to $299 at the time of going to press. Equipped with the company’s renowned planar magnetic drivers and patented waveguides, the open‑back MM‑100s punch well above their weight in terms of performance, as well as remaining comfortable over long sessions thanks to a lightweight design and gel‑filled earpads.

www.soundonsound.com/reviews/audeze-mm-100

Austrian Audio’s entry‑level Hi‑X 15s ($149£89) utilise the company’s High Excursion technology, and come loaded with 44mm drivers that are said to deliver an immediate, detailed and honest‑sounding character. A closed‑back design, the Hi‑X 15s are cost‑effective ‘all‑rounder’ headphones that can be put to work at every stage of the production process.

www.soundonsound.com/reviews/austrian-audio-hi-x15

Two of the designs in the beyerdynamic range have recently been treated to a design overhaul that introduces some significant performance enhancements. The closed‑back DT 770 Pros and open‑back DT 990 Pros both come loaded with the company’s new STELLAR.45 driver system, which extends their frequency range to 5Hz‑40kHz and offers a lower impedance that makes the headphones compatible with a wider range of playback devices. The headband and earcup designs have been updated too, with both models boasting improved comfort over long sessions. Both are priced at $229.99£199.

Sennheiser HD 490 ProSennheiser’s HD 490 Pros ($429£349) utilise an Open‑frame Architecture construction that helps to lower harmonic distortion and minimise resonances, while high‑quality components deliver accurate, dynamic reproduction throughout their frequency range. They boast a lightweight design and switchable earpads, and are claimed to be the most comfortable headphones in pro audio! Recently, Sennheiser introduced the HD 480 Pro, a new closed‑back model that’s been designed to match the sound of the HD 490 Pro as closely as possible while offering some additional isolation.

www.soundonsound.com/reviews/sennheiser-hd-480-pro

www.soundonsound.com/reviews/sennheiser-hd-490-pro

You’ll also find cost‑effective closed‑back models from the likes of Rode, Yamaha and Audix, while brands such as Shure, AKG and Audio‑Technica manufacture both open‑ and closed‑back headphones at a wider range of prices.

Microphones

While it’s nice to have different options to call upon when miking something up in the studio, a single ‘all‑rounder’ mic that can deliver decent results on just about anything is a good place to start. Plenty of the big names offer entry‑level models that draw inspiration from their more extravagant offerings, and while they may feature fewer bells and whistles than their more expensive counterparts, they don’t usually give much up in terms of sound.

Boasting the same European‑made capsule and Open Acoustics design as their popular OC18 but at a lower cost of $449£299, Austrian Audio’s OC16 delivers a clean and natural sound that works well on everything from drums and guitar amps to vocals and string instruments. It’s a fixed cardioid mic, includes a switchable 40/160 Hz high‑pass filter, and comes supplied in a carry case with a clip and shockmount.

www.soundonsound.com/reviews/austrian-audio-oc16

LEWITT’s dedicated home studio offering comes in the form of the LCT 240 Pro, a cardioid capacitor mic that’s aimed at vocal, instrument and voiceover duties and promises to outperform its modest price tag. It’s available in a Standard version that costs $129£89 and includes a clip, foam windscreen and carry bag, as well as the Vocal Set, which comes in at $149£130 and adds a shockmount and magnetic pop filter to the included accessories.

Left to right: Austrian Audio OC16, LEWITT LCT 240 Pro, sE Electronics X1 A.

The latest version of the sE Electronics X1 A is said to improve on the original, a design which already had a reputation for competing with far more expensive mics. Housed in a rugged metal chassis, the mic promises first‑class sound at a home studio cost ($99£69), offering a transparent character that works well across a range of vocal styles and instruments. A 100Hz high‑pass filter is joined by a ‑20dB pad, and with SPL handling of 150dB, the X1 A will stand up to just about anything you point it at!

Sennheiser’s home‑studio‑focused range includes two models: the MK 4 ($429£339) and MK 8 ($799£629). The former is a fixed‑cardioid mic that features a capsule based on the company’s e965 high‑end stage vocal mic; the latter looks almost identical, but features a pair of capsules that allow for five switchable patterns (omni, wide cardioid, cardioid, supercardioid and figure‑8), along with 60 and 100 Hz high‑pass filter options and a ‑10/‑20 dB pad. Both are voiced to deliver natural‑sounding results on a wide range of vocal and instrument sources.

Shure’s SM4 Home Recording Microphone’s name makes its intentions clear, serving as an ‘all‑rounder’ vocal and instrument mic aimed squarely at home studios. Its dual‑diaphragm capsule has been engineered to reduce the proximity effect, meaning it’ll deliver natural‑sounding results even when close‑miking, while Shure’s Interference Shielding Technology helps to block unwanted RF from the likes of phones, laptops and Wi‑Fi routers. The mic costs $219£209 and is supplied with a clip and features an internal pop filter. It’s also possible to purchase it as part of the Home Recording Kit bundle ($299£275), which includes a shockmount and an external, detachable pop filter.

www.soundonsound.com/reviews/shure-sm4

Left to right: Sennheiser MK 4, Shure SM4, Telefunken M80.

Telefunken are best known for their high‑end large‑diaphragm capacitor designs, but their range also includes the M80 ($249£249), a handheld mic that combines the convenience and ruggedness of a stage mic with the clarity and low‑noise performance of a studio‑focused design. A natural‑sounding frequency response means it can be put to work on a wide range of vocals and instruments, and its supercardioid pattern offers great spill rejection and helps to avoid feedback during live use.

Other options include the likes of the Aston Origin, Audix A131, AIM Audio Essence, Rode NT1, AKG’s new C‑Series line‑up and Audio‑Technica’s AT2020.

Modelling Mics

There’s also the option of modelling mics, which come with companion plug‑ins that allow them to emulate the sound and behaviour of a range of classic designs. They offer a convenient way to experiment with the impact that different polar patterns and frequency responses have on a recording, as well as a cost‑effective way to have an array of different tonal options to hand. Choices in the current market include Universal Audio’s Sphere DLX and LX, Antelope Audio’s Edge line‑up and the Slate Digital ML‑1A / VMS system.

Controller Keyboards

Arturia MiniLab 3A MIDI keyboard can play a crucial role in a home‑studio setup, and as well as their obvious role of inputting notes, many models also pack in a selection of faders, encoders, drum pads and function buttons that provide hands‑on control over DAW mixers, plug‑ins and virtual instruments. We’ll concentrate on compact models here, but if you’re after something with more keys, there are larger models to be found in each of the ranges.

Designed specifically for small studios and portable setups, Arturia’s MicroLab Mk3 is about as compact as a MIDI keyboard can get, and costs just $99£59. Its 25 velocity‑sensitive mini keys are joined by a pair of pitch/mod touch strips, and that’s it! If you’d like a bit more hands‑on control, then opting for the MiniLab 3 ($149£99) gets you eight drum pads, eight rotary encoders and four faders.

www.soundonsound.com/reviews/arturia-microlab-mk3

www.soundonsound.com/reviews/arturia-minilab-3

Novation Launchkey 25The Novation Launchkey 25 ($189.99£144.99) pairs a full‑size 25‑note keybed with pitch and mod wheels, 16 velocity‑sensitive pads that can be used for triggering drums or clip launching, eight endless rotary encoders and DAW transport controls. The Launchkey Mini 25 is even smaller still, owing to its mini keybed and the use of touch strips rather than pitch/mod wheels, but it retains the pads, encoders and transport controls.

www.soundonsound.com/reviews/novation-launchkey-mk4

If drum programming is your thing, then the MPK Mini IV is well worth a look. It combines Akai Pro’s renowned MPC pads with a set of 25 mini keys, pitch and mod wheels, eight rotary encoders and a set of transport/function buttons, and at $99£79.99, offers a cost‑effective entry into the ever‑popular MPC family.

www.soundonsound.com/reviews/akai-mpk-mini-mkiii

The latest version of the M‑Audio Oxygen 25 comes in at $129£84, and pairs 25 full‑size keys with a healthy selection of hands‑on controls including eight drum pads, pitch and mod wheels, eight rotary encoders and a set of transport buttons that are automatically mapped in most major DAWs.

www.soundonsound.com/reviews/m-audio-oxygen-25

The smallest of Nektar’s Impact range, the LX25 MKIII ($129.99£94.49), features 25 keys, eight velocity‑sensitive drum pads, nine encoders, pitch and mod wheels and a set of function buttons. NKS support means that it works seamlessly with software from Native Instruments and a whole host of third‑party partners, while Nektar’s custom scripting offers in‑depth integration with a range of major DAWs.

Compact Desktop Speakers

While headphones can offer a great mixing solution, especially for those with challenging room acoustics, it’s certainly a very different experience to working on speakers, and the latter provide an important reference for crucial factors like stereo imaging and vocal presentation. Sticking to a smaller system is usually a wise move for typical home studio spaces, and much like interfaces, decent compact monitors can still be put to good use if you decide to upgrade further down the line, whether as a secondary reference system or as part of a portable setup.

The smallest member of the ADAM Audio family, the D3V ($349.99£289.99) pairs the company’s AMT tweeters with a 3.5‑inch woofer, and employs a passive radiator design that helps the system to play down to 45Hz (‑6dB). Analogue connectivity is complemented by built‑in USB‑C audio, and rear‑panel Position, Desk and Room switches use the onboard DSP to optimise them for different placements, desk sizes and room acoustics.

www.soundonsound.com/reviews/adam-audio-d3v

Left to right: IK Multimedia iLoud Micro, ADAM Audio D3V.

IK Multimedia’s iLoud Micro Monitors ($299.99£239) have a reputation for sounding much larger than they are, and despite only being equipped with three‑inch drivers, their frequency response extends down to 55Hz (‑3dB). A built‑in isolation stand allows them to be placed at two different angles, and onboard DSP provides a selection of EQ profiles that tailor the response to the room and positioning. Along with their line‑level inputs, the iLoud Micro Monitors also offer wireless Bluetooth playback. Given their size, they lend themselves well to portable rigs, and can be purchased with a fitted carry case.

www.soundonsound.com/reviews/ik-multimedia-iloud-micro-monitor-pro

Genelec’s 8010A ($900£650) promises to deliver the accurate and powerful sound of their larger speakers in an incredibly compact package. The system employs a three‑inch woofer and 0.75‑inch tweeter and keeps within ±2.5dB between 74Hz and 20kHz, and is capable of reaching a maximum SPL of 96dB. A pair of Bass Tilt switches (‑2 and ‑4 dB) are joined by a Desktop setting designed to combat desk reflections, and some built‑in decoupling is provided by Genelec’s IsoPod stand system.

www.soundonsound.com/reviews/genelec-8010a

Left to right: Genelec 8010A, Mackie CR3.5.

Mackie’s recently refreshed CR Series features two compact models, the CR3.5 and CR3.5BT ($99£105 and $129£130); the two are identical in terms of specification, but the latter offers wireless connectivity over Bluetooth. Desktop and Bookshelf modes optimise the system for close and distant listening, and a Tone control makes it possible to dial in some additional low‑ and high‑frequency energy for casual listening. Quarter‑inch TRS, RCA and 3.5mm inputs are provided, and helpfully, the system is also equipped with an onboard headphone output.

www.soundonsound.com/reviews/mackie-cr35-gen-3

Kali Audio IN‑UNF.

Designed to provide full‑range audio at short listening distances, Kali Audio’s IN‑UNF ($699£579) system has been designed specifically for desktop setups. It comprises a bass unit loaded with two 4.5‑inch woofers and a pair of satellite speakers that feature the same coaxial midrange/tweeter unit as the company’s praised IN‑5 and IN‑8 studio monitors. Along with analogue line‑level connectivity, the system offers digital inputs via optical and USB‑C, and features a set of DIP switches that can be used to adjust the response to suit different placements and room acoustics.

www.soundonsound.com/reviews/kali-audio-in-unf

Other contenders include the likes of KRK’s ultra‑portable GoAux systems, EVE Audio’s EXO 24 and the PreSonus Eris 3.5, all of which focus on delivering a solid performance at a keen price, while a higher budget opens up options such as Neumann’s KH80 and Focal’s Shape 40.

Plug‑in Subscriptions

Designed to provide all of the processing and effects you need to record, produce and mix your own material, the Complete Access package includes every plug‑in from SSL, Slate Digital and Harrison Audio. It contains emulations of vintage SSL and Harrison designs, as well as a healthy selection of modern effects and SSL’s new AI‑powered AutoSeries plug‑ins.

If composition is your thing, then EastWest’s ComposerCloud+ offers access to the company’s entire product line‑up, kitting you out with everything from their award‑winning orchestral sample library collections to vintage synth emulations and innovative hybrid instruments.

And of course, there’s our very own SOS For Artists, which offers an all‑in‑one package that starts at $12.99/month and spans from initial creation and production through to mixing, mastering and distribution. Lite versions of Cubase and Ableton Live are joined by plug‑ins from the likes of Baby Audio, Eventide, Arturia and Synchro Arts, while the built‑in distribution platform offers a convenient way to upload your finished tracks to over 150 streaming platforms.