Showing posts with label radio production notes. Show all posts
Showing posts with label radio production notes. Show all posts

31 May 2012

Audio Band-Aid

Sometimes in the field, one has to improvise. Lately the Peanut Whistle blogger has found himself seeing this in practice. Our latest venture at the new radio station involves a funny contraption that reminds this blog of a Rube Goldberg Machine.

We were called to fix the audio from the control room computer. It runs a version of Adobe Audition that is used to record satellite shows for later broadcast. The audio into and out of the machine was distorted—badly. Prior to the Memorial Day holiday, it was imperative that we get the audio fixed. Toolkit in hand, the hunt began for the gremlin that invaded the board, once again.

The console is an ancient, but serviceable,  mono 10-channel rotary pot LPB Signature III that has extra inputs on select channels. For whatever reason, previous engineers had placed conflicting sources on the same pot. For example, the Enco DAD presenter feed was on the same switch as the satellite feed. That was corrected.

First thing, the Adobe Audition computer, an E-machines brand, was rerouted so we could eliminate possible crosstalk. That was not the problem. The wire pulled away from the source and it was discovered that the computer tower had been placed on the floor! A great location for board ops to kick it. The audio was coming from the soundcard port on the back of the tower (arguably, not an ideal pro connection.) The speaker port had been damaged inside, as well as the odd jack and assorted adapters. A 1/8” to 1/4” stereo phone plug adapter into a 1/4” phone to stereo RCA phono plug, then into a stereo to mono y-adapter and finally an RCA cord to the board. No wonder the jack had been damaged; all the length and weight not only had bent the 1/8” plug, the jack on the sound card had been virtually hollowed out. (See the photos below)

Audio Patch

Emachines Rear Tower

In the example above, we recreated the adapter “pigtail” with a mono phone adapter, otherwise, it is the same as the studio’s.

The repair session took place afterhours and Radio Shack was closed. Bummer, so we frantically rummaged through the parts attic and found a new mini-plug in a plastic bin full of random electrical stuff. This was lucky, to say the least.

After recreating the improvised circuit, the connection had to be replaced to the front of the computer where an extra speaker terminal was placed (more good luck.)

Levels had to be tweaked in Windows. The line in jack, although noisy due to electrical and RF interference, was okay, required electronic adjustments as well. Oddly enough, the connection from the board was a straight wire, terminating in a mini-plug (1/8”). A return trip is guaranteed. The repair is only a Band-Aid. Next we will relocate the E-machine higher and provide a USB interface with pro XLR and RCA connections for a noise free balanced circuit.

Stay tuned.

30 May 2012

Hear Me Now

Telephone hybrids are a godsend. What they do, to you less technical types, is separate audio. They are especially useful in talk radio formats. When a listener calls a radio station the sound of his voice is sent along  a path from the phone line to the “hybrid” to the “board”. This little black box keeps the phone sound from looping thus causing feedback while at the same time sending clean audio to the caller so a meaningful conversation can ensue between host(s) and caller.

My new station had been experiencing problems. Callers were getting terribly distorted audio from the studio. Two way communication was impossible. This had remained unrepaired for a year. The station had recently flipped to a Progressive Talk/brokered time/Gospel music hybrid (pun) and were past due a fix. That’s where I came in.

DSC01434My 8 year old son (pictured, left) and I found the station in a strip of offices about 45 minutes from our home. My old radio friend is now the GM.

That first try was my engineer test, apparently. Taking about two hours of tracing wires, trying a spare hybrid (which worked, kind of), then reassigning board inputs. Nothing satisfied me until I noticed on the back of the Telos On-x-Six Telephone Hybrid (now reinstalled), an inconspicuous switch. telos back panelA mic-line level switch (above) set on “microphone level”. Oops! An entire year and no one had noticed. Could this be the problem? Sad to say, it was. My lesson for next time: check this switch first. What my son would call a duh moment. Next time I will look at my latest engineering challenge: computer audio running Adobe Audition.

Stay tuned

26 September 2011

Re-imagined

DSCN0758Like anyone with a somewhat artistic temperament, once I create something I am never finished with it. Recently, we warmed up the old Gospel Aircheck studios to revisit an ancient piece of copy I wrote in 1984 for the inaugural Christian Youth Skate we discussed last time. The script became a 30 second spot that I also provided the voice-over for. The Music bed was an overlap mix of two songs our management restricted from airplay because they were judged too hot. It’s hilarious that Water Grave by the Imperials and Home of the Lord by Sandi Patti (duet with Russ Taff) were taboo because they sounded a lot like rock music on a mostly Southern Gospel station that in reality played everything from the Happy Goodmans to Amy Grant. Gospel 90 had an inconsistent standard when it came to music selection, to say the least. Label the format more “psycho variety” than anything else.

DSCN0702Anyway, the point is that I used my music bed selection as a deliberate stab against this hypocritical system. Somehow, if a song had a strong drum beat or an electric guitar solo, it was a no-no.  The Youth Skate gave me license to rock (yeah, right.)

Back to the present: not necessarily in this order, I remixed the original music bed, taking bass licks and drum beats, digitally enhancing and looping them. Next, I added stereo effects (laser blast stingers) and manipulated the sound by re-panning some of the original elements until the music sounded unlike it ever did before. I didn’t use my 1984 reading of the copy. We used a Sennheiser MD-421 mkII (mid-90’s vintage); the same type microphone I had at the station for the new vocal track. In 27 years my voice has changed quite a bit, so it can be considered a completely reimagined version done just for the heck of it. The 1984 original can be downloaded here and the newly redone skate commercial here. Or just click below. See what you think.

1984 Original Christian Youth Skate, press play

2011 Reimagined Christian Youth skate, press play


Stay Tuned

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