The Listening Coach, read by author Jane Adshead-Grant and directed by Justin Hill, is now available on Audible.
The Listening Coach will help you coach yourself through the elements of listening that are critical in life, in business and in your community. It is easy to read and digest, with practical ideas so you can convert its insights into deeper ways of listening. Peppered with conversations and real-world case studies, you will discover the transformational impact of deep and generative listening.
How To Be Happy In Life And Love, recorded by author Pascale Lane and directed by Justin Hill, is now available on Audible.
A complete guide to understanding yourself and getting the life you truly deserve, How To Be Happy In Life and Love is written by Pascale Lane, a Relate trained relationship counsellor and accredited life coach.
Communicate For Change, recorded here at the end of 2021, is now available on Audible. Genelle’s recording was directed by Justin Hill.
In Communicate for Change, journalist and communication consultant Genelle Aldred offers suggestions and guidance to help us be better listeners, readers, watchers and talkers. With insight drawn from years of experience, she breaks down the barriers to effective conversation so we can communicate in a more nuanced, thoughtful way and understand our part in bringing about a more just society.
There are always little maintenance jobs waiting to be done in a studio – and 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, and I do try to leave my analogue equipment on most of the time, 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 about the fact 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), and I’ll be experimenting on the old meter when I get a chance – and 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, for a total of £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 to be held in place only by two metal brackets which are bent into place:
(Take care lifting the lid; there is an earth strap running from the underside of the lid to main chassis.)
The brackets are easily straightened 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:
Then, it’s simply a case of transferring the four wires from the old meter to the new one, ensuring you don’t mix up any of the connections, and popping 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 inside the unit, I took a look at another problem that the 430s (both Mk I and Mk 2) can suffer from. 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. There have been reports of 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 carrier which you can just about see in this picture:
I decided this was acceptable so 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.
We offer two types of remote support, which we’ll discuss in turn here. We’ll also show the pros and cons of each method. The two methods we provide are Phone-In, and Internet Connection.
We use a Sonifex SY03 TBU (Telephone Balancing Unit). The SY03 and its predecessor the SY02 are almost a de-facto standard, with thousands of units installed in broadcast and post-production facilities. So, what’s a TBU?
If you’ve ever phoned in to a radio programme, you’ve heard a TBU in action. Put simply, it’s a device that attaches to a phone line and converts the incoming and outgoing audio to balanced signals that connect to the mixing desk. An incoming call is answered using a handset in the usual way and then, with the press of a button, the audio is re-routed into the studio’s system.
It’s a bit more than just a glorified telephone of course; the public phone network works with two-wire connections and uses DC voltages for signalling. You can’t just plug that into a studio desk – and even if you could, it wouldn’t be allowed by BT. The TBU does the conversion while simultaneously protecting the phone line and your mixing desk from each other.
What are the benefits of using the TBU?
The TBU allows a director/producer to join a recording session simply by phoning the studio. It’s a tried and tested technique and directors with a broadcast background in particular will be completely familiar with it.
It’s ‘portable’ and fool-proof. The director can access the session from anywhere where’s there’s a phone – including mobiles – anywhere in the world.
Set-up is quick, and no special software or hardware is required. This is ideal for short-form recording – e.g. voiceover – where a spontaneous decision can be made to ‘bring in’ a director to check the recording.
What are the disadvantages of using the TBU?
It’s only really suitable for remote direction. Line quality prevents its use for recording, and the slight latency in these systems makes it difficult to use for read-ins.
Line quality issues can also make it harder for the director to hear details in the recording. This isn’t a major issue since the local director/engineer will be taking care of ensuring the recording sounds good.
It’s not really suitable for long-form recording – e.g. audiobooks – because, firstly the phone network (and particularly the mobile phone network) will tend the ‘lose the connection’ especially for calls lasting longer than an hour. Secondly, it can get expensive, particularly when calling from a mobile. Many ‘free calls’ plans only apply to calls lasting less than an hour.
There are a number of internet-based solutions available. At the moment, we generally use CleanFeed Pro. So, how does this work?
You can think of CleanFeed as being like Zoom. One party sets up a session, and then the other parties access that session through the CleanFeed website. The ‘host’ – that’s the studio in this case – can include multiple remote parties in the session. These could include a director, a read-in actor, or the session talent, working remotely. Audio quality is very good – equivalent to mp3.
What are the benefits of using CleanFeed?
Unlike the TBU method, using CleanFeed also allows the director to be local while the talent is remote. Obviously this requires that the remote end is simultaneously recording a full-bandwidth version of the audio – but Cleanfeed will ‘record’ the session in up to mp3 quality as well as passing the audio.
Because CleanFeed supports multiple connections, it’s possible, for example, to have an actor recording dialogue here at the studio being fed lines by one or more read-in actors remotely and even being directed remotely if necessary.
CleanFeed is fairly resistant to drop-outs, assuming good internet connections at both ends. It’s reasonable to expect connections to stay up all day if required and of course there’s no direct cost associated with the time connected.
What are the disadvantages of using CleanFeed?
Obviously, it’s more complex to set up than TBU. At the time of writing CleanFeed is only supported on Google Chrome browsers so all participants will need to be using a computer running Chrome and have some basic understanding of audio setup.
In its current form, CleanFeed only “recognises” the computer’s built-in input and output (this is a limitation of Chrome, we’re told). You can use an external audio interface but only one (stereo) input and output will be recognised. This is mainly an issue at the studio end; “input 1” and “output 1” are unlikely to be free for CleanFeed to use so we get round this by hosting CleanFeed on a separate computer with it’s own audio interface, patched into the main system.
Because CleanFeed only uses one input and out channel, there’s no way at the studio end to ‘split out’ multiple participants. This means that if you have, say, a remote director and a remote read-in actor, they will both appear on the same channel and be heard by everyone else at the same level.
As already mentioned, CleanFeed transfers and optionally records audio at near-mp3 quality. In some cases this may be sufficient but generally full-bandwidth uncompressed WAV files need to be recorded. If the talent is remote, they will have to be recording their audio locally, simultaneously. This is a key limitation; if someone is here at the studio directing talent who is recording remotely, the director is hearing the CleanFeed ‘feed’, not the actual recording. So if the remote recording is full of plosives and breathing issues for instance, the director might not be aware of this.
Champion Building, a best-selling book by Bob Skeens, is now available on all your favourite platforms as an audiobook. Narrated by Bob himself and produced here at the The Other Operation, Champion Building is that rare thing – a book on selling which actually sheds new light and introduces genuinely new ideas for enterprise selling. You can check it out here:
People keep asking me to turn their old 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.
Pip Burley has been back in the studio with another song… This time, the vocalist was Aoife Kenny.
Pip and I built up the arrangement during April, and brought in the truly wonderful Emma McPhilemy to perform a sax part. Subsequently, our rough bass line was replaced for us by towering bass talent Phil Mulford.
A good time was had by all, and Pip was very pleased with the resulting mix.
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!