Amanda Bedzrah’s Leah: Unnoticed, Unwanted, Unloved now available on Audible

Leah - Unnoticed Unwanted Unloved by Amanda Bedzrah

Leah: Unnoticed, Unwanted, Unloved by Amanda Bedzrah is now available on Audible.

Produced here at Landen Park Studio, Leah… is a fictional retelling of one of the greatest Bible stories of all time. It is a story of love, deception, betrayal, competition, heartbreak, and forgiveness.

Recorded here at Landen Park Studio by Lucy Scott and directed and post-produced by Justin Mark Hill, Leah: Unnoticed, Unwanted, Unloved is now available on Audible and all your favourite audiobook platforms.

The second Amanda Bedzrah work we’ve produced here, Leah... was actually Amanda’s first novel – we produced Becoming Queen Bathsheba, her second novel, earlier this year.

Tiny Thunder now available on Audible

Tiny Thunder by Sue Rice

Tiny Thunder by Sue Rice, produced here at Landen Park Studio, is a fascinating journey through marketing using metaphoric storytelling.  The book explains, with copious examples, how to turbo-charge your marketing efforts through a “magical mash-up” of metaphor and story.

Recorded here at Landen Park Studio by the author and directed and post-produced by Justin Mark Hill, Tiny Thunder is now available on Audible and all your favourite audiobook platforms.

A relaxing time with Jessica Porter

Just completed the last of three really fun sessions with silver-tongued Canadian actress Jessica Porter – who’s also a certified hypnotherapist.

We’ve been recording meditations for the Sleep Wave podcast series, designed to help you relax and get a good night’s rest.  Fascinating stuff requiring close attention and concentration to deal with very quiet, veeeeery sloooow, readings…  Loved it.

The Listening Coach now available on Audible

The Listening Coach, read by author Jane Adshead-Grant and directed by Justin Mark Hill here at Landen Park Studio, 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.

Genelle Aldred’s Communicate For Change now on Audible

Communicate For Change, recorded here at the end of 2021, is now available on Audible.   Genelle’s recording was directed by Justin Mark 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.

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.