Encore Lounge Music Gear

It’s often hard to keep track of the names we give emerging musical genres. Sometimes, however, a style is so distinct it deserves a second listen, and gathers a big enough following to carve its own place in an already crowded market. That seems to have been the case with neo soul: a genre that combines elements of R&B, 70’s-era soul, and hip hop. The resulting sound is mellow yet catchy, both a modern beat and a throwback to classical, genre-defining music.

Although it’s actually been around for a few decades, neo soul has ridden a renewed popularity in its parent genres, as well as a general thirst for meaningful music. One of its key characteristics is more profound, sometimes poetic lyrics compared to modern R&B. It’s also known for having a more soulful, personal sound than most contemporary creations.

Tony! Toni! Toné!, the band made famous by musician Raphael Saadiq, is credited with putting neo soul on the map in the mid-1990s. However, the likes of Erykah Badu and D’Angelo are likely the ones that helped give it its current status. Indeed, Badu’s style has become an unofficial blueprint for the sound of neo soul. Lauryn Hill, Alicia Keys, and similar acts all show traces of Badu’s influence, albeit with a distinctly American twist.

One of the reasons it took so long to take hold in the U.S. is that neo soul has a far smaller commercial interest. The first—and most “authentic”—neo soul artists are more about expression and creativity than making it big. Therefore, they never really sought out the record companies and remained largely unheard even as their followers brought the music to the big cities. That’s all starting to change, however: as music fans start to value individualism and seek out more unique sounds, many are picking up neo soul, and big-name artists have started adapting their styles accordingly.

As is often the case in the music industry, there are those who aren’t as ready to embrace the new genre. A few artists have actively, and sometimes publicly, dissociated themselves from the movement, as the term neo soul been used by record labels to attract a growing niche of fans. Many prefer to refer to their music as soul. But labels will always stick—and for most fans of the genre, the label doesn’t matter as long as they’ve got a good connection with the music.

Most musicians create their first few pieces in a rented studio before getting access to fancier gear provided by record labels. But you’ve probably entertained the idea of building your own at some point. A home recording studio allows you to choose your own equipment and work in your own time. Unfortunately, it can also be very costly—unless you’re a smart shopper. Here’s how you can build a decent home studio on an amateur’s budget.

Audio interface: A good signal chain is essential to any home studio, so if you’re going to splurge on any part, this should be it. You’ll need onboard analog-digital converters and preamps, and in and out jacks to connect to your computer. Make sure you have a compatible DAW program; ProTools, Sonar, and Cubase are some of the most popular. A good audio interface should cost somewhere between $200 and $500.

Microphone: A mic is one of those things you can just upgrade as you go, so don’t spend too much on it just yet. You’ll find that everyone has their opinion on sound quality, but any diaphragm microphone over $100 is usually pretty good. One feature worth spending on is shockmount—not only does it reduce vibration and taps; it also makes the mic itself much more solid. You may also want to get a pop filter, which keeps plosives (letters that pop, such as p and t) and sibilants (letters that hiss, such as s and sh) from overpowering the vocal.

Headphones: This is another fairly cheap investment. It’s mostly a matter of preference—if you’re not bothered by ambient noise, you can get a good pair for just $50. Otherwise, you can look into closed-back headphones, which cancel out background noise and can go for over $200.

Keyboard controller: A MIDI controller sends a code to your computer, which then translates it into corresponding sounds. You’ll need one to input sounds directly when you start putting patches of music together. Again, you don’t need to splurge on this one; a budget of $200 should get you a great unit.

Studio monitors: These are professional-grade loudspeakers, designed to mimic the sound you make as closely as possible. You’ll hear a lot of jargon when you shop for them, but the most important terms to look for are near-field and active reception. Near-field means the speaker can be placed close to you so that the sound doesn’t get distorted by bouncing off surfaces, and active just means they don’t need an amplifier. Invest in a good one; the best models are usually between $350 and$500.

Cables: Most shops will sell cables by the foot. For an average studio, expect to spend $70 to $100 on these. There are pricier cables that will set you back hundreds of dollars, but they don’t make much of a difference. They may last longer, but even changing your regular cables a few times would be cheaper than buying “signature” ones.

Music production has gone leaps and bounds from the early days to recording to the age of the iPod. But for all their modern bells and whistles, CDs and mp3s have yet to match the sound quality of vinyl records, a technology that dates back to the 1800s. Audiophiles are drawn to their rich, warm sound, something even state-of-the-art recording tools would be hard-put to achieve. The only catch, of course, is that vinyl records don’t last forever.

Vinyl collectors swear by a number of methods to keep their records in top shape, but most would agree that cleaning is essential. You want to keep your discs free of dust and stains without using strong cleansers and abrasive surfaces. The best way to go about it is to use a record cleaning machine, which takes care of everything from the cleaning solution to the scrubbing and drying. Having a machine do it helps you avoid over-cleaning or missing some spots. It’s not a small investment, but if you’re a serious collector or seller, it’s well worth the money.

If you’re bent on doing it yourself, or don’t have that many records to make machine cleaning worth it, get a cleaning solution specifically made for vinyl records—you’ll find them at most music shops. Most stores will also have professional cleaning brushes designed to be gentle to vinyl surfaces; read the recommendations on the bottle or ask store attendants for suggestions.

You can also make your own solution if you’re on a budget. Use either 90% isopropyl alcohol (available at pharmacies) or a dishwashing soap, preferably unscented or the kind made for sensitive skin. If it smells or looks too strong, dilute it in a bit of water. It’s always safer to make it too weak and just add more soap or alcohol as needed, rather than the other way around. Microfiber or soft flannel cloths usually work well for drying.

Once you’re done cleaning, you’ll want to store your records properly. Instead of putting them in their original sleeves, which are probably dusty as well, get a new set of plastic inner sleeves and use them for newly cleaned discs. Then put everything in a larger outer sleeve before storing. Use a new sleeve every time you clean. Do this regularly and you’ll find that you won’t need to clean the disc as often, and they’ll keep their sound quality for a lot longer.