Audio engineering 9 inch

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Content:

• Vinyl 101: How to Prepare Your Audio for Vinyl
• Home Recording Academy: Great Vocals in a Home Recording Studio (Part 1)
• Don’t mind the license. We got your back.
• Statement 40XW
• Pro-Ject 9cc 9 inch carbon tonearm
• Audio Engineer
• es-269 Dual 6×9-inch ACM Subwoofer System
• A top audio engineer explains NPR’s signature sound
• 9 Great Audio Engineers You Need to Follow and Why
• Small Room Acoustic Treatment

WATCH RELATED VIDEO: Top 10 Reasons Not to Be an Audio Engineer

Vinyl 101: How to Prepare Your Audio for Vinyl

Adam Ragusea, host of our podcast The Pub , wanted to find out, so he recently interviewed the guy who should know best — Shawn Fox, senior director of audio engineering at NPR. This is an edited transcript of the interview, which first appeared on The Pub Fox: Oh, the secret sauce! When we were in our very early design phases of our new building, that was one of the things that came up very quickly — making sure that we continue on with the NPR sound.

There was a whole detailed analysis of what was that sound? In terms of the phenomenon of being able to hear the difference between local and national audio quality, there are lots of reasons for that.

All in all, what our local stations do and what we do at NPR are very close when you compare it to some of our commercial brethren. But yes, you can hear that difference. Current: What is ingredient number one of the secret sauce? Is it the NPR studio microphone? Fox: The NPR sound has so many tentacles. We use a simple Neumann U87 microphone as the house-standard microphone at all of our facilities.

But it really comes down to the U87 with the bass rolled off. Fox: Sure. The U87 and most higher-end microphones have two switches on the back. One is a polar pattern, which is the direction of the microphone, and the other one is for the bass roll-off.

The microphone itself takes them away. And when I flip that switch, you get those lower frequencies. This is what they call flat mode; there is no attenuation. Current: It takes out frequencies below how many hertz? Fox: Yeah. The reason NPR came to this standard — and this was decades ago — was because most of our listeners are consuming in an automobile or with something else in the background. Back in the day, and even to some degree now, you roll down those windows and hear those low rumbling frequencies.

We wanted our voices to get above that so that they could be clear, open and understandable to improve our storytelling. We came to that conclusion mostly because most of our consumers were listening to Morning Edition and All Things Considered in the automobile to and from work.

And now, as more of our content is heard on headphones from iPhones and all the digital sides of that, we discovered that continuing with this is beneficial, because there is still that acoustic outside noise. We want to make sure that we work with our on-air talent, our reporters and our hosts.

We are fans of being close-miked, and P-pops come into play there. But we make sure that we are within a foot of the microphone and usually a lot closer — close to six inches — in working with any of our on-air talent. Current: The thing about getting closer to the mic is proximity effect, right? The closer you are, the more bassy you are.

Current: If you imagine the air coming out of your mouth as a column, you want that column of air not going straight into the microphone but at a diagonal, sort of off to the side of the microphone. Current: So going back to special sauce and its ingredients, we talked about a couple of things. In my experience, the most common studio mic at stations is the Electro-Voice RE Current: That mic tends to have kind of a warm, bassy, almost gauzy sound to it that, in my opinion, does not work so well on the radio.

We want to take out the sound of the outside newsroom. I do see a lot of stations using it. I never veer away from anybody using the RE But at stations I do see a lot of people using the RE20 and in that flat position, because that low-end bass attenuation on the RE20 can really be problematic at most stations.

Back when I worked in Detroit, we were an RE20 station. And a lot of on-air talent — and we get a little bit of this here at NPR — likes to sound a little bit more authoritative, and they hit the microphone into the flat position to get that bassy sound. And, honestly, we do see that occasionally here. Are there cheap fixes that can be pursued? Or if your studio is already built out, are you just kind of stuck with it? Fox: No, there are some little things.

Over the past 10 years, you see more computer screens throughout every broadcast plant. And often that microphone is real close to the computer screen: Depending on how close, you can actually hear some of the electronic interference off the computer screen.

The computer screen is the big issue. If it is just a little too close to that microphone, your voice is reflecting off of it. Fox: Yes, this is one of the things I frequently see. Another thing for engineers or anybody at a station to do is to go into the studio, turn the microphone on, crank it to That helps out quite a bit.

And then there are a lot of studios built for two microphones that will be set up with six microphones for a talk show. Those are the biggest things that I see on a regular basis. But with the right baffles and diffusion and all of that, the size allows all the different mic positions to be spread out really far apart, thus reducing any bleed from one mic into the next. Fox: Our old headquarters on Massachusetts Avenue was a great plant; it served our needs well for odd years.

You saw the large studios, but we consistently had problems with bleed in some of our smaller offline production studios. We resolved that in our new building on North Capitol Street. We made the offline production studios bigger.

The actual on-air studios are larger than , but we were able to start with a clean slate and really put in a lot of time and effort working with our acousticians and our studio designers to make sure that we had defined what the secret sauce was and that they could design around that.

We keep it as pure as possible. We know that our over stations and all their listeners have different needs. So we try to give the purest sound to the stations so that they can manipulate it for their market, with varying degrees of success.

We have talked about, especially with our newscast unit, maybe starting to slide a little bit of compression into that. Real low stuff would start at least an entire octave and a half below that and continue down from there. Fox clearly knows his stuff, so I wonder if this is something that was perhaps misinterpreted by the author. Technically, this report is written at about a 3rd grade level.

It is purposefully dumbed down like for a script. After all, this is NPR not engineering school. Propaganda is what they do. He pays to get his hands manicured is his idea of work. You should of asked him about the Swiss digital mixing console and how that is used — what he plugs his Austrian microphone into. Then ask him why the US does not have the same services and education available as in Switzerland and Austria. Studer is now part of Harman Pro, which is US based. I guess you are not keeping track of the trajectory of Soundcraft ever since they started importing their shared tech from Studer.

Too bad that Sidney is passed on. The best part is when the service dept knows something that they are not telling you, and then you have to find out the real answer from Soundcraft UK. USA really has become the land of fronting and lies and it has filtered down to some companies right down to the street level. Reminds me of Comcast.

Instruct them to port a telephone number out of Comcast. A month later it has not happened and no one Obama? It really sucks, it sucks badly. It is rot and corruption, since you mention it.

Studer company culture has zero to do with what has become of Soundcraft. I would not mention the two companies in the same sentence, out of respect for the one that does their own work. Interesting that you advise self censorship. What is this, North Korea?

You do not realise the significance you what you advocate, particularly in the context of state run broadcast radio. You should go work for Kim Jun. Never minds that the party members live in estates and everybody else has a little hut to live in and some cane to chew on, maybe beans if they are lucky. Sounds like many parts of the USA. I admit Rush Limbaugh is paid more, but both of them are in the same business and have zero to do with working people ZERO. Go self censor that.

Let me know when NPR has some programming relevant to working people. I plan on living to be a hundred. That is a long damn time to self censor myself like a good little cookie, a good little North Korean. As your Fearless Leader and Dictator, I demand that go outside and take some deep breaths, maybe go for a nice walk.

When is NPR going to do right? Not ever.

Home Recording Academy: Great Vocals in a Home Recording Studio (Part 1)

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Don’t mind the license. We got your back.

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Statement 40XW

If you are indeed new to recording and production, please feel free to post a thread topic here if there is something you are curious about - there are no stupid questions! On the other hand, if you are a seasoned pro, please don't hesitate to jump in and offer your experience and wisdom. We all had to start somewhere! Looking for a buyer's guide?

Pro-Ject 9cc 9 inch carbon tonearm

And, surprisingly, not a prime number. A prime number is defined to be a natural number i. This capacitor-less design works by storing a binary 1 as excess positive charge in the device body and a binary 0 as excess negative charge. First described by Pierre C. The rule for spacing multiple microphones, which says that the distance between them should be at least three times the distance from each microphone to its source. This reduces phase cancellations between adjacent microphones.

Audio Engineer

Most of my early training in college was on large format consoles and multitrack tape machines, which were de rigueur in the studios of the day. Computers had certainly found their way into the recording environment nearly a decade earlier, but more so in the role of MIDI sequencers. During the years I was in school, however, the digital audio workstation DAW had gotten its foot in the door of the control room and the DAW that led the way was Pro Tools, which I began to work with in my senior year. I sat there in front of the monitor, staring at a graphic representation of a waveform, wondering whether the hours I spent learning how to splice quarter-inch tape with razors had been wasted…. I had the advantage of taking a one-on-one advanced digital audio class with my professor as a result of my need to use adaptive software known as inLARGE, a screen magnification program for the Macintosh. Several years earlier, I had been diagnosed with a retinal condition that impaired my vision. When I entered college, most of the gear I used was highly tactile: mixing consoles, outboard processors, tape machine remotes, etc. By the time I was preparing for graduation, things had already begun to change.

es-269 Dual 6×9-inch ACM Subwoofer System

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A top audio engineer explains NPR’s signature sound

A brief history of audio recording and playback, from the s onward, including details of all the audio media in the Museum in chronological order of introduction. The resulting tracings could not be played back at the time, but in several tracings from were processed as digital audio files and successfully played back He receives a patent in for recording on tinfoil Organette disc late s — s.

9 Great Audio Engineers You Need to Follow and Why

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Small Room Acoustic Treatment

For years now, Apple has produced some of the best laptops for music production. By comparison, those of us using a PC have traditionally been chained to the desktop format, but that has changed considerably in recent years. Dell, Microsoft, Samsung, MSI, Asus, Lenovo and others big tech brands are all muscling in to give Apple a serious run for its money, and some of them have proper music-making clout too.