Focusrite ISA 430 Mk.II Meter Replacement

 There are always little maintenance jobs waiting to be done in a studio.  One I had been meaning to get round to was replacing the VU meter in the mighty Focusrite ISA 430 Mk II Producer Pack mic pre.

What was wrong with it?  The bulb had gone.  

Cyril Jones, the founder of Raindirk and one of the great British audio designers, once told me that he used to tell his clients never to turn their desks off.  He reckoned that the only time components were stressed were during power-on, when that initial surge of current hit cold components.  Once powered up, he would say, the thing would go on working forever.

He had a point.  I do try to leave my analogue equipment on, turning it off only when I know I won’t be using it for some time.  But I got into a situation with the Focusrite; I was fooling with different grounding arrangements for the mains and measuring the effect on noise floor, so I was turning the thing on and off repeatedly.  And inevitably, the bulb went.  An incandescent bulb is an obvious case-in-point for Cyril’s advice.  At the instant of turn-on, a high current momentarily surges through the bulb as it warms up and its resistance increases.

Other people to whom this has happened have moaned extensively that you can’t apparently replace the bulb in this type of meter.  You have to replace the whole meter.  Actually, it’s probably possible to replace the bulb (even with an LED).  I’ll be experimenting on the old meter when I get a chance.  I’ll tell you how I get on.

Obtaining The New Meter

Folks I’ve read about who found themselves in this position seem to tell stories of ‘finding’ a meter on eBay, or from such-and-such a supplier.  Before you go down this route, and especially if you’re in the UK, you should reach out to Focusrite’s service department.  After all, this is professional gear, not domestic or pro-sumer, and accordingly is intended to be maintained.

Focusrite supplied me with a brand new meter, with the all-important ff logo.  The cost was £28.08 including VAT and shipping.   At that price, why would you go anywhere else?

Fitting The New Meter

After removing the 10 screws to withdraw the lid, the meter is revealed, held in place only by two metal brackets which are bent into place:

rear view of meter

(Take care lifting the lid; there is an earth strap running from the underside of the lid to main chassis.)

You can straighten the brackets easily with needle nose pliers, and the meter then simply drops out.  The four connecting wires terminate in a connector at the extreme end of the main PCB, so you can remove the meter completely to do your soldering:

view of meter connection point

Then, it’s simply a case of transferring the four wires from the old meter to the new one.  Make sure you don’t mix up any of the connections, then pop the new meter in.  The metal brackets can be gently re-bent to hold the meter snugly.  The whole exercise takes about 20 minutes.

Power Supply Connections

While I was in there, I looked at another problem that the 430s ( Mk I and Mk 2) can suffer.  The main connection from the transformer to the PSU board is via a Molex connector.  Now these, as anyone who’s had the privilege of maintaining an MCI multitrack machine knows, can be troublesome.  People report burn marks on and around the connector where the molex is no longer making a good connection.

The oft-quoted ‘solution’ is to discard the connector and solder the wires directly to the board.

In my case, there was a barely-discernible discolouring of the plastic which you can see in this picture:

Power connector

I decided this was acceptable.  I cleaned the connector contacts and applied a little contact lubricant before putting it back together.  I’ll make a note to look at it again in six months to see if it’s got any worse.

Finally, I noticed the mounting bolt for the toroidal transformer had worked a little loose, so I tightened it.  This is well worth checking whenever you’ve got a piece of gear like this open for inspection.

Remote Support at Landen Park Studio

We offer two types of remote support at Landen Park Studio, which we’ll discuss in turn here.  (Note: a previous version of this post described the Sonifex SY03 TBU, and the CleanFeed software.  We no longer support either of these.)

Source-Connect

Landen Park Studio is a Source-Connect 4 Studio facility.  This allows us to connect directly to other studios and to voice talent with Source Connect software anywhere in the world.  Source Connect allows full-resolution audio to be shared and transferred between multiple systems with no loss of audio quality.


Zoom

For a lot of our voiceover work, Zoom provides a easy way to connect remote producers into the session.  It’s important to note that this is only a solution where (a) the talent is physically here at Landen Park Studio and (b) full-resolution audio can be uploaded post-session to the client.

We set up the Zoom connection on a separate computer which is linked to the main studio computer and patched into the cue system.  The remote producer, local engineer and talent can all communicate with each other and, thanks to Zoom’s ‘studio quality’ modes the remote sound is very good indeed.

We also optionally send and receive video.  This allows the remote producer to see either the talent or the local engineer and vice-versa or, when we’re working to picture, the main video.  We use this to great effect when we do our regular sessions for Channel 4’s A Place In The Sun.

 

Digitise your cassettes? Oh all right then

People keep asking me to digitise their old DATs and cassettes into CDs, and I keep saying no.  It’s not because I don’t have the means – it’s just that there are so many outfits already offering to digitise LPs, cassettes, VHS tapes and so forth, and prices are ridiculously low – so low it just isn’t worth the effort.

And it’s not like this work is new to me – I spent several years digitising Jon Hiseman’s tape archive over at Temple Music, working with 2 inch 24-track, 1/4 inch half-track, DAT, cassette, DDS, you name it.  Even a rare Audio & Design modified Sony PCM-F1 system.

And I worked with Jon when he created the CD-R versions of several classic Barbara Thompson/Paraphernalia albums that had previously only been released on vinyl (by playing in up to six unused LPs for each album and amalgamating them to produce the ‘perfect’ transfer).

I also produced the digital master for Art Of Life Records’ CD release of the Peter Lemer album Jet Yellow, from the original (and somewhat dilapidated) 1/4 inch analogue masters, which had to be baked twice and have all their leaders and splices replaced.

The transfers I did for Jon and Peter were scrupulous, painstaking – pedantic, even – exercises in preserving historic recordings for posterity, squeezing the absolute most out of the material and the equipment.  Seeing people offering to transfer from analogue to digital for twenty quid “including return postage” seems faintly ridiculous in comparison.

But… just because I can’t do it cheap, doesn’t mean I shouldn’t do it at all.  I can, after all, do it well.  I suppose I should stop saying no.

I might even plug up my turntable… maybe not…

COVID-19 and The Other Operation

We’ve been keeping in close contact the the MPG (Music Producer’s Guild), who have been liaising with the UK government regarding the status of recording studios and production houses in these difficult times.

In common with other facilities, The Other Operation remains open for business and we’re still accepting new work.  We have a a continually-updated risk assessment in place, staff have been trained in special procedures, we’re registered with NHS Test & Trace and in general doing everything possible to protect ourselves and our clients.

Health and safety is our prime concern.  We continue to monitor the situation on a daily basis.  Stay safe!

Update: see this, from Music Week.

The Other Operation to produce “Walking A Tightrope”

We’re delighted to announce that The Other Operation will be producing the audio version of Olivia Cox-Fill’s extraordinary book “Walking A Tightrope – Memories of Wu Jieping, Personal Physician to China’s Leaders”.

When Dr Wu Jieping was selected by Chinese Premier Zhou En lai as his personal physician, he had little choice in the matter though it transformed his life, not always in a positive way. Olivia Cox-Fill got to know Dr Wu Jieping following the death of Zhou En Lai and while Mao’s wife was still in prison. He had attended several of China’s leaders, including Premier Zhou En Lai, Chairman Mao, Liu Shao Chi and Madame Mao. Over a period of three years, Olivia Cox-Fill interviewed Dr Wu and gathered vivid and unique recollections of his contacts with the Chinese leadership. But Wu specified that none of these memories should be published until after his death, which occurred in 2011, since its frank revelations would lead to state repercussions. The memoir reveals the appalling conditions in China as experienced by one of its most famous doctors, who carried out research into TB and kidney cancer while attending to the health of the country’s leaders. It also shows what it took to survive in Communist China at a time when most leading intellectuals were expelled to the countryside, imprisoned or beaten to death.

The book will be narrated by the author, and we expect to deliver the final masters by the end of December, 2020.

Home booths – The Pendulum Swings Back?

Audiobook publishers have been courting narrators with their own home recording facilities for some time.  The reason is obvious – it’s cheaper.  Even paying the reader a ‘premium’ for using their own booth still saves money compared with hiring a real studio with an engineer/producer at the helm.

Home booth productions can also have tighter deadlines, because narrators will sit up all night in their cupboard under the stairs, attic or converted study to get the work done.

But there are signs that the tide is turning.  Publishers are seeing negative comments being left by reviewers on audible and other sites about background noise, intelligibility and ‘tone’.  Editors are complaining about having to spend more time than they can afford ‘fixing up’ problems with the recording.  And we’re seeing proof-readers actually turning down work from self-read authors.

And we’ve noticed that the big operators we work with are going back to being a lot more picky about audio quality than they’ve been of late.

Of course, not all “home booths” are the same.  Well-known long-standing ‘high end’ professional narrators sometimes install pro-quality facilities at home and benefit from the convenience and extra revenue this gives them.  But these are the exception.

Audiobook production isn’t the same as podcasting, for example, and sticking a USB microphone on the dining table is increasingly being seen as not good enough.  Furthermore, working solo is much harder than it might seem – and being guided by an experienced professional engineer/producer is more than worth the extra production cost.

 

Another little private job…

Landen Park Studio’s inaugural session was performed by Ian Hoare and took place on 11th and 12th August.  The live room wasn’t finished, the door didn’t shut properly, none of the fabric covers had been fitted, there was building work going on just down the road and the temperature was in the mid 30s – but all went swimmingly well.  Ian Hoare (Lettuceheads) gave a typically smooth performance singing a short piece composed by Pip Burley to lyrics by Bob Justice.  Apart from Ian, everything was virtual (Ivory for the piano, and multiple tracks of East West Hollywood Strings Gold)