The Audio Performance Environment

Meeting 2
English for Broadcasting 2020
2.2 The Audio Studio
On-Air Studio
• Is the domain of the disk jockey
(DJ) or announcer who is
broadcasting ‘live’ from that
studio
• Most of what is done in the on-air
studio is simultaneously going out
over the air.
Production Studio
• is used to produce and record
material that will eventually be
used in the on-air studio, such as
commercials or radio station
promotional spots.
2.2 The Audio Studio(cont’d)

Counter Arrangement
• One common arrangement of
counters is a U-shape or L-
shape because this puts all the
equipment within arm’s reach of
the announcer.
• This is important when the
announcer is working combo —
announcing and operating the
equipment at the same time.
2.2 The Audio Studio(cont’d)

A simple home recording studio

• Most home computer set-ups can

handle audio recording, but obviously
the faster the CPU, and the more
RAM you have, the better.
• You’ll also need a decent sound card
and some audio editing software,
such as Audacity and Adobe Audition
2.2 The Audio Studio(cont’d)
A simple home recording studio
• To this computer-based equipment,
you’ll need to add a quality
microphone, small audio mixer (see
Figure 2.3), and headphones or
speakers to monitor your recordings.
• Many home studios are simply set up
in a quiet corner of a room; others
have built small soundproof
enclosures to house the studio, and
many fall somewhere in between.
2.3 Microphones - classified by its sound-generating
elements
• The dynamic microphone is also
known as a moving coil microphone
• Often used in field situations, they
can withstand a certain amount of the
abuse that is almost inevitable when
performing outside the studio.
• Dynamic microphones also provide
accurate voice reproduction, good
frequency response, and fall within a
reasonable budget range for
broadcasters.
2.3 Microphones - classified by its sound-generating
elements (cont’d)

• The Shure SM7B (shown in Figure

2.5), Sennheiser MD421II, and
Electro-Voice RE20 are all dynamic
microphones frequently found in the
radio studio.
2.3 Microphones - classified by its sound-generating
elements (cont’d)
• The condenser microphone is also
known as a capacitor microphone
• Condenser microphones are popular
studio microphones because they are
of high quality and they produce a
signal of exceptional warmth and
clarity
• The Neumann BCM 104, Audio-
Technica AT4033CL, (shown in
Figure 2.7), and Shure KSM44 are all
popular condenser microphones for
radio studio use.
2.3 Microphones - classified by its sound-generating
elements (cont’d)
Ribbon microphones Regulated phase microphones
• Ribbon microphones were quite • Other types of microphones, such as
popular in the early days of radio the regulated phase microphone, are
because they “colored” the also rarely found in the radio
performer’s voice with a smooth, environment because their
warm quality. characteristics aren’t ideal for
• However, ribbon microphones are broadcast applications.
extremely sensitive to shock, wind
noise, and other abuses that
sometimes occur in broadcast
settings, and thus lost favor with
broadcasters.
2.3 Microphones - classified by its pickup patterns

• An omnidirectional microphone
picks up sound equally well in any
direction — in other words, it is
nondirectional.

• The bidirectional microphone picks

up sound from the front and back of
the microphone.
2.3 Microphones - classified by its pickup patterns
(cont’d)
• The cardioid pattern is considered
a unidirectional pattern because it
essentially picks up sound from one
direction.
• The name derives from the heart-
shaped pattern that allows the
microphone to pick up mostly from
the front
• Most broadcast studio microphones
are cardioid — that is,
unidirectional — because the
announcer is positioned directly in
front of the microphone where it
best picks up sound.
• The cardioid pattern doesn’t pick up
much from behind the microphone
where the announcer may be
manipulating switches, handling
paper scripts, or making other
unwanted noise.
2.3 Microphones - mounting the microphone
• Microphones are usually mounted to
position them properly in relation to
the announcer.
• A microphone can be hand-held
microphone when used in a remote
situation.
• A windscreen is often used to
prevent wind noise or other plosive
sounds when microphones are used
outside the studio.
• A windscreen is a foam filter
(review Figure 2.5) that can be
placed over the head or front of the
microphone to lessen pops or
thumps caused by a sharp puff of
air.
• To free the announcer’s hands
(perhaps to hold a script), a
handheld microphone is often
placed in a floor stand or a desk
stand
2.4 Working with Microphone
Mic-to-mouth distance
• A good mic-to-mouth distance is
about six inches.
• A good approximate measure of the
six-inch mic-to-mouth distance is the
length of a pen, the length of a dollar
bill, or the span between your thumb
and little finger
• By good mic-to-mouth position, we
usually mean not talking directly into
the microphone, but rather, talking
slightly off axis to the microphone.
• One good technique is to align the
microphone with your nose and then
tilt the microphone down a bit. That
way you end up speaking slightly
below the microphone rather than
directly into it.
2.4 Working with Microphone (cont’d)
Testing the Microphone
• In a studio, you’ll often be asked to “give
a level”, which means you are asked to
speak into the microphone so that proper
volume levels can be set.
• The best way to give a level, if you are
reading a script, is to read an actual
portion of the script aloud, just as you
would if you were performing. If you are
ad-libbing, voice several full sentences.
This gives the engineer enough time to get
the mic levels set.
• If you just mouth a word or two, you’ll
stop talking before the proper levels are
set.
• Don’t ever blow into or tap on the
microphone to test levels or see if it’s
working. It’s possible to damage a good
microphone that way.
• Counting into the microphone (“Testing,
1, 2, 3, 4”) is also not always the best
way to get good levels, although this is
often done.
2.5 Mic Fright and How to Overcome It

Causes of Mic Fright and Solutions

1. disliking one’s voice • In summary,
– Get used to hearing your voice being 1. prepare your material properly,
played back to you
2. relax just before your performance,
2. fearing failure
1. Believe in what you are saying 3. believe in what you are saying,
2. Imagine that you are communicating to 4. have confidence in yourself, and
ONE PERSON, not a huge audience
5. practice!
3. being inexperienced
– Practice makes perfect
4. being unprepared
– Prepare yourself mentally
– Relax before performance
2.6 The Broadcast Console or Audio Mixer
• Typical operation requires the console
Audio Console/Mixer operator to choose the desired source
• Any audio console or mixer has three from an input selector switch, turn
major functions: (1) selecting, (2) up the volume using a fader, and
monitoring, and (3) routing audio choose one or more outputs from an
signals. output selector switch.
• The console allows the operator to
select whatever piece of equipment he
or she needs by manipulating the
correct buttons, switches, or slide
controls for the channel assigned to
that particular piece of equipment.
2.6 The Broadcast Console or Audio Mixer (Cont’d)
1. Selecting
• Since one or more sources are often
assigned to a single channel, an
input selector switch allows the
operator to choose the one he or she
wants.
– For example, a CD player and audio
recorder may both be assigned to
channel 3 on an audio board.
• Two push-buttons near the top of the
channel (often labeled A and B)
determine which piece of equipment is
active through the channel at any one
time, according to which button is
depressed.
 2.6 The Broadcast Console or Audio Mixer (Cont’d)

1. Selecting
Having more than one piece of equipment
assigned to a channel allows the board to have
more inputs • Since more than one channel can be “on”
a ten-channel board may have twenty or more pieces at any time, an audio console has a
of equipment going through it. secondary, but important, function of
Only one input can be active at a time; mixing audio signals. Much of the
however, more than one channel can be used production work of a board is in mixing
simultaneously. several sound sources together
The operator could have a microphone active through
channel 1 and a CD player active through channel 4.
In fact, that’s often done, and that’s the way an
announcer can talk over the beginning of a song.
 2.6 The Broadcast Console or Audio Mixer (Cont’d)
2. Monitoring
• Volume controls on most modern
audio consoles consist of a slider-
type control known as a fader, like
the ones in Figure 2.10 above.
• Some boards use a rotary knob,
known as a potentiometer (“pot”)
that increases the volume when
turned clockwise (review Figure
2.3).
• Faders are moved upward from the
bottom of the board to increase volume.
They are easier to work with and provide
a quick visual reference of what
channels are on and how loud the
volume is set.
• To help the operator keep volume
controls at an appropriate level, the
audio console has VU (volume unit)
meters.
– These are electromechanical devices that show
loudness on one of two scales — a percent
scale and a decibel scale
2.6 The Broadcast Console or Audio Mixer (Cont’d)
2. Monitoring
• The percent scale goes from 0 to
100 and indicates the percentage
of audio signal going through the •
board in relation to the capacity of
the board to handle that signal.
• The scale goes from black to red
as you go above 100 percent.
• It is all right if the VU needle
occasionally flicks above 100 percent,
but signals that are continuously in the
red will be distorted.
Good board operators keep the level
between 80 and 100 percent.
• If you let the signal get too low (usually
below 20 percent) you’ll get in the mud
and your audio signal will be weak in
relation to the inherent electronic noise
that exists within all electronic circuits.
 2.6 The Broadcast Console or Audio Mixer (Cont’d)

2. Monitoring • Instead of traditional VU meters, some

• Even though you can often monitor the
audio signal with speakers and
headphones, you’ll learn that’s not •
always the best way to control levels and
it’s better to always keep an eye on the
VU meters.
audio boards will utilize LED (light-
emitting diode) meters — a horizontal
row or vertical column of lights indicates
the audio signal strength.
For example, if there were ten lights, six
might light up green, two yellow, and
two red. Of course, as with the other
style of VU meter, going in the red for
very long means a distorted signal.
 2.6 The Broadcast Console or Audio Mixer (Cont’d)

3. Routing • Program is the normal output mode for

an audio console. When this button is
• The routing function of the audio
depressed, the audio signal from the
console is handled by the output
board is sent to the transmitter if the
selector switch, which allows the
board’s in an on-air studio, or to a
operator to control where the audio
recorder if the board’s in a production
signal is going as it leaves the audio
studio.
console.
• The audition and auxiliary positions are
• On many boards it consists of three
merely additional output routes that the
buttons —program , audition , and
console audio signal can take.
auxiliary. Unlike the input on an audio – E.g., in an on-air studio, program may send the
console, more than one output can be signal to the transmitter to be broadcast, and
selected at the same time. audition sends the signal to a recorder so the
announcer can record himself
2.6 The Broadcast Console or Audio Mixer (Cont’d)
• The monitoring function of an audio
board is accomplished with either
speakers or headphones.
• Monitor speakers are high-quality
speakers that are fed the output of the
audio board. The volume of these
speakers is controlled with a separate
volume switch that controls only the
speakers.
– In other words, the operator can run these
levels as loudly or softly as he or she wants
and not affect the volume of the signal going
through the board.
• This is important for the operator to
understand, because it’s possible to have
the board level be too low (in the mud)
yet have it sound loud because the
monitor speakers are turned way up.
• This is why you’re advised to always
watch the VU meters on the board.
Keep the board levels in the proper range
and you can run the studio monitor
speakers at whatever level is comfortable
for you.
2.6 The Broadcast Console or Audio Mixer (Cont’d)
• Most audio consoles also have a plug-in •
for headphones.
• Headphones are really just tiny speakers
encased in an ear muff-type band that
rests on your head.
• They are used for one extremely
important reason — when a microphone
is “on” in the studio, the monitor
speakers will be muted or turned off.
This prevents feedback — that
screeching sound you get from speakers
when a sound is produced, picked up by
a microphone, sent through an audio
console or any type of amplifier,
reproduced by the speakers, picked up
by a microphone, and so on, over and
over until the speakers howl with
feedback.
2.6 The Broadcast Console or Audio Mixer (Cont’d)
• Another secondary function of the • Many consoles also contain simple
audio console is signal processing. equalizers — various switches and
• All audio consoles amplify the buttons that control the amount of bass
incoming audio signal to some or treble applied to the incoming signal.
extent with internal amplifiers.
• Weak input signals (such as from a
microphone) will be amplified more
than the stronger signal coming
from a CD (compact disc) player.
2.7 Music Playback Sources
• Mostly from CD player or computer-
based playback system
• An end monitor button on some CD
players allows the operator to hear the
last ten to fifteen seconds of the selected
track so that an announcer can determine
exactly how a song ends.
• A display window on the CD player
shows track numbers and timing
information.
– The most important information for broadcast
is the “remaining time”, because it’s necessary
to know how much time you have until the end
of the current song and before some other
programming element must begin.
2.7 Music Playback Sources

• In making the transition from analog to

digital equipment, many stations now
play back their music and other
programming elements from a digital
audio storage system.
• With mouse clicks and drag-and-drop
operations, the announcer can
manipulate songs and various
programming elements for playback at
the proper time. The “log” is displayed
on a computer screen (see Figure 2.12)
that the announcer can follow and adjust
as he or she is broadcasting.
2.8 Digital Audio Equipment

• Cassette recorders have been replaced

with compact flash recorders and reel-
to-reels with desktop audio editors.
These will be explained in the next slide.
• Some digital recorders, like the mini-
disc, use removable recording media.
– Configured much like a cassette recorder, it
has standard play, record, and stop buttons, but
also controls for basic editing functions and
has a display window to show timing and other
pertinent information about the material on the
disc
2.8 Digital Audio Equipment (Cont’d)

• Another type of digital recorder (see

Figure 2.13) uses a compact flash
card, like a digital camera, to record
and store audio instead of digital
pictures.
• Operational controls are fairly
straightforward and operate much like
any traditional recorder unit.
– Two channel audio can be recorded in
WAV or MP3 files and then, using drag
and drop commands, transferred easily into
an audio software program via USB 2.0 for
editing or recording onto another medium.
2.8 Digital Audio Equipment (Cont’d)
• The desktop audio editor shown in •
Figure 2.14 (next slide) served as a
replacement for the traditional two-
track reel-to-reel recorder. It could
record and store up to two hours of
stereo audio.
• In addition to recording the audio,
you can easily edit what you’ve
recorded.
A display window shows the audio
waveform, and editing is as easy as
setting electronic “in” and “out”
marks and electronically cutting or
copying portions of audio as desired.
• A typewriter-style keypad allows easy
labeling and setting of “hot keys” for
instant playback of selected audio
from stored files.
2.8 Digital Audio Equipment (Cont’d)
2.8 Digital Audio Equipment (Cont’d)
• Taking the desktop concept a bit
further are editing systems that are
used with standard computer systems.
• Figure 2.15 (next slide) shows the
screen from a software program that
produces a full-blown multi-track
recorder.
• This system is capable of easy “point
and click” and “drag and drop”
editing and even adds the ability to do
basic signal processing to the audio.
• More sophisticated systems, known
as digital audio workstations
(DAWs) are essentially computer
editing systems incorporated into a
traditional audio console.
2.8 Digital Audio Equipment (Cont’d)
THE END