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ART launches line of mixers, guitar amps. (Applied Research and Technology) (Product Announcement): An article from: Music Trades
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This digital document is an article from Music Trades, published by Music Trades Corp. on March 1, 1992. The length of the article is 552 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: ART launches line of mixers, guitar amps. (Applied Research and Technology) (Product Announcement)
Publication:Music Trades (Magazine/Journal)
Date: March 1, 1992
Publisher: Music Trades Corp.
Volume: v140 Issue: n2 Page: p154(2)
Article Type: Product Announcement
Distributed by Thomson Gale
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Sunday, June 16, 2013
Hands Held Energy Drills - Selecting the very best Drill To do the job
If you were a professional contractor who used various types of drills on a daily basis throughout the course of your job, you would probably already know what type of drill you need for a specific job. But, what about the person who does not work with drills every day. This person probably knows that a certain job or task requires the use of a drill, but may not be certain about what type of drill is needed. Choosing the right drill can be a daunting task and it's really no surprise with all the types of drills to choose from. You have:
basic drills VSR drills drill/drivers hammer drills impact drivers/wrenches rotary hammer drills right angle drills spade handle drills
Maybe you have already been looking at drills and have other questions such as:
What does VSR mean? What is the difference between SDS and spline drive? How does chuck size matter? What is the difference between keyed and keyless chucks? What is a hex driver? Should I go with a cordless or corded drill? What type of cordless battery is best? What is the clutch used for?
Many years ago, when the first hand held power drills came around, there were not many choices outside of brand names when it came to selecting a power drill. Basically, the drills were all corded, all had keyed chucks, and rotated in only one direction and at one speed. So, the choice was not too difficult. Just pick a brand you like.
Things certainly have changed over the years. There are enough options available today to make a person's head spin. There are even more variations and innovations in the works as I write this. While the scope of this guide will not be able to cover every type of power drill in existence, we are going to try to cover most of the bases. My goal in writing this article is to help those who might be having difficulty deciding which type of drill they need, so let's get started.
The basic corded drill
This is the most basic of hand held power drills. It is a simple electric drill with one speed and one direction. It is mainly good for drilling holes in wood, metal, plastic, and soft metals. It is not the ideal choice of drill to use for applications such as driving screws. Since the speed is not variable and the drill only operates at a higher RPM, you would likely either strip the screw head or snap the head off the screw if you tried. You will not likely find many of these around today as their uses are rather limited.
The VSR drill
VSR stands for "variable speed reversible". These drills come in both corded and cordless versions as will most all the drills we discuss from here on out. The drill speed is varied by the amount of pressure applied to the trigger. The farther the trigger is pulled, the higher the RPM will be. There is also a switch, usually near the trigger which reverses the operation of the drill. As you can imagine, these have distinct advantages over the basic corded drill. In addition to being able to perform all the functions of the basic corded drill, they also have a better suited although still limited ability to drive screws, and small lag bolts. Since the speed is variable, you have the ability to drill into harder material without overheating the bit.
One disadvantage to this type of drill is that trying to maintain a certain RPM with the trigger can be very tricky. It takes a certain knack and some getting used to in order to be able to drive screws consistently without stripping the heads, driving the screw too deep, or snapping off the screw head. The reversible feature allows you to remove screws, drive reverse threaded screws, and back out of stock when your drill bit gets stuck or jammed.
The VSR drill/driver
The VSR drill/driver has all the capabilities of a standard VSR drill with the added bonus of a lower rpm/higher torque setting. Another feature generally found on these drills is an adjustable clutch. These are probably the most common types of everyday use cordless drills you will find on the market today. The big advantage with the low rpm/high torque setting is that now you can drive screws and lag bolts at the low rpm needed without having to try to hold the trigger in a certain position. The adjustable clutch will keep you from driving the screw to deep, stripping the screw head, or breaking off the screw head. The clutch will also prevent reaction torque which happens when a bit jams or a screw bottoms out and the drill tries to twist in the opposite direction. In addition you also get higher torque at the low rpm setting that you miss out on when using a standard VSR drill and higher torque means more screw driving power. These drills generally have a slide switch that you use to switch between the 2 settings. In the high RPM setting, the drill functions exactly like a standard VSR drill. In the low rpm/high torque setting, the drill becomes an effective driver for driving screws and small lag bolts. Some of these drills may have a 3rd intermediate setting that compromises between torque and speed allowing you to better match the speed/torque setting to the application.
The VSR hammer drill/driver
Do you need to drill into concrete, stone, or masonry? If, so, then you would want to consider a hammer drill. This type of drill uses a hammer or pounding action as the drill bit rotates. The pounding action of the bit is what enables these drills to bite into the concrete, stone, or masonry. If you were to try to use a non-hammer type drill, you would have a hard time penetrating the hardened concrete, stone, or masonry and would likely overheat the bit or the bit would become jammed in the material. When drilling into concrete, stone, or masonry you will also want to be sure and use a masonry bit. A masonry bit is specially designed for drilling into these materials. Depending on the material, the drill and the bit used, you can generally expect to be able to effectively drill holes in concrete, stone, or masonry up to around 1/2" in diameter. VSR hammer drill/drivers have all the capabilities of a VSR drill/driver in addition to functioning as a hammer drill at the flip of a switch. Due to their versatility, hammer drill/drivers have become a popular choice among both professional contractors and do-it-yourselfers. Some practical uses would be, drilling holes for inserting concrete anchors or TapCon screws for attaching fixtures such as hand railing or light posts to concrete surfaces or attaching fixtures to concrete, block, stone, or brick walls. One of the most highly and professionally rated hammer drill/drivers on the market today is the DeWalt DC925KA.
Rotary Hammer Drills
Think of a rotary hammer drill as a larger, more powerful version of a hammer drill with an added bonus. It also works like a small jack hammer. These drills are dedicated to the purpose of drilling and chipping into concrete, stone and masonry. They are generally not intended for drilling into wood or other similar materials. Rotary hammer drills use a special bit designed not to slip in the chuck. The most common types are the SDS and spline drive. The type of bit you use will depend on the drill. SDS bits come in several different sizes, so you will need to get the size that matches your drill. If you want to drill many larger diameter holes in concrete or stone, then this is the type of dill you need.
As mentioned, this drill also functions like a small jack hammer. By flipping a switch you can turn off the rotary action, then insert a chisel bit and you're ready to go. While rotary hammer drills aren't going to compete with a full sized jack hammer, they are very useful for many smaller jobs such as removing ceramic and stone tile, removing bricks and blocks from existing wall or floor structures, chipping away unwanted or spilled mortar, chipping the rough edges from concrete, and removing excess concrete from concrete forms or other surfaces.
Traditionally, rotary hammer drills were all of the corded variety since cordless batteries were not able to supply the power needed to operate a rotary hammer drill. However, all that is changing with advancements in lithium-ion batteries and power tool design technology. The popularity of cordless rotary hammer drills is growing rapidly. Some cordless rotary hammer drills rival, and may even surpass the performance of their corded counterparts. One such example is the Bosch 11536VSR which in an HGTVpro power tool review was found to drill 1/2" holes in concrete faster than the tool's corded counterpart.
Impact Drivers/Wrenches
Impact drivers are quickly becoming a hot item among contractors and do-it-yourselfers and with all the added benefits of an impact driver, it's no wonder. If you drive a lot of long screws, lag bolts, or have a lot of nuts and bolts you want to assemble quickly and easily, then an impact driver is for you.
The impact driver functions as a standard VSR drill until the time when extra torque is needed. That's when the impact action kicks in. Don't confuse this with the hammer action of a hammer drill. The difference is that a hammer drill "hammers" on the bit in a lateral direction along the length of the bit as it rotates where an impact driver impacts the chuck of the drill in a rotational direction. The result is a huge increase in torque. The impact action also causes the screw bit to grab the screw resulting in less slippage, reducing the possibility of stripping the screw head. As an added bonus the amount of force the operator needs to apply to the drill in order to keep the screw bit from slipping is significantly reduced resulting in less user fatigue.
Impact drivers have a quick change bit holder designed for accepting hex shank bits which are now common among screw bits and many other drill bits and socket driver bits. This style bit holder really makes changing between bits a snap. This bit holder is the main difference between an impact driver and impact wrench. An impact wrench has a square drive for accepting either 3/8" or 1/2" drive sockets depending on the model of impact wrench.
Impact drivers and wrenches also have a size advantage delivering as much as 4 times as much torque as a comparable size VSR drill. This means that a smaller size tool can be used for a particular job which further reduces user fatigue, especially when working overhead. The small size also gives you the ability to work in tighter spaces and if the impact driver uses lithium-ion technology, then the tool weight is even further reduced.
There is one particular impact driver that stands out. In a tool test by Tools of the Trade Magazine, out of 9 top of the line cordless impact drivers, the Milwaukee 9081-22 was able to outrun the group when pushed to the max. This tool sent 48 4" long Timberlock screws into the stock before a noticeable battery slowdown was observed. Timberlock screws are a long screw with a hex head. They are commonly used in outdoor applications such as landscaping, fence and deck building because they require no pre-drilling. Just think of the time you could save when armed with an impact driver and screws that require no pre-drilling.
Right Angle Drills
Right angle drills, as the name implies, have the chuck positioned at a right angle to the body of the drill. Right angle drills are able to drill in tight spaces where other drills just won't reach such as in between two closely positioned wall studs which makes these drills particularly useful for plumbers and electricians.
These drills come in both corded and cordless varieties as well as a wide range of sizes. The smaller size right angle drills are suitable for small to medium jobs in pine and other soft material. The heavy duty models can handle much larger jobs in harder material such as thick oak. One thing you should be aware of when using the more powerful heavy duty models is reaction torque. Due to the design of right angle drills, if the bit should get stuck, the entire drill body will rotate around the chuck potentially causing injury. It's generally a good idea to brace the drill against a floor, wall, or stud. Some models have a built in torque limiter or clutch to help prevent this occurrence. One such model which has a built in torque limiter is the Makita DA4031 [http://www.thetoolspot.us/Products/Makita/Makita-DA4031/MAKITA-DA4031.html]. This heavy-duty right angle drill was also the overall winner in a Tools of the Trade test of several top of the line right angle drills.
Spade Handle Drills
When spade handle drills are mentioned, one might likely think of mixing drywall compound. The mixing of drywall compound or similar substances is one of the most commonly used applications of spade handle drills. These drills are designed with a low rpm, high torque setting that is well suited for mixing drywall mud. Special drywall mixer attachments can be inserted into the chuck for this purpose.
While these drills are very suitable for mixing drywall mud and other similar substances which require mixing, this is certainly not the only use for this type of drill. The aggressive torque these drills produce make them ideal for boring large holes in wood and other materials using spade bits, auger bits or hole saws up to as large as 5" in diameter.
Many of these drills have a rocker or similar type of switch for rapid switching between forward and reverse which aids in backing out jammed bits as well as mixing drywall mud. In addition, these drills generally have an auxiliary side handle as well as a spade handle to aid in tool control.
Questions and answers pertaining to power drills.
What does VSR mean?
VSR stands for variable speed reversible. Drills with this feature are able to operate in both forward and reverse rotation and at variable speeds. Most likely the drill will have a switch or button for switching the rotation from forward to reverse. Generally the speed varies in relation to to how far the trigger is pulled.
What is the difference between SDS and spline drive?
SDS and spline drive refer to two types of bit technology used in rotary hammer drills. There is really no difference in the performance of the two types, so the one you choose will simply be a matter of which type your particular rotary hammer drill requires. There are different sizes of SDS bits which include SDS, SDS+, and SDSmax. Smaller rotary hammer drills will use SDS or SDS+ bits where the larger rotary hammer drills will use SDSmax or spline drive bits. As the name implies, spline drive bits have a splined shaft, while SDS bits have concave recesses in the shaft.
Why does chuck size matter?
Chuck size basically determines what size drill bit you can use based on the size of the drill bit shank. With the exception of rotary hammer drills and impact drivers/wrenches which use a special type of chuck, most typical hand held drills come with either a 3/8" or 1/2" chuck. Most of your smaller drills will use a 3/8" chuck while the heavy-duty models typically use a 1/2" chuck. You cannot put a drill bit with a 1/2" shank in a 3/8" chuck, but you can put a bit with a 3/8" shank in a 1/2" chuck.
What is the difference between keyed and keyless chucks?
Years ago, all hand held drills used keyed chucks. In order to tighten the chuck down on the drill bit, you would use a small tool called a chuck key. Most 3/8" chucks and many 1/2" chucks today are now of the keyless variety. Keyless chucks, as the name implies, do not use a chuck key. Instead the chuck is designed so that a person can easily tighten the chuck down on the bit by hand. While keyless chucks are faster and easier to use, they cannot clamp down onto the bit as tight and therefore do not have the same holding power as a keyed chuck. This lack of holding power can potentially cause round shank bits to slip in the chuck. This is why you will still find many heavy-duty high torque drills using keyed chucks.
What is a hex driver?
A hex driver is just another name for an impact driver. Hex refers to the type of bit holder the drill uses. These drills use a hex shank bit designed not to slip in the holder. This type of bit holder also makes changing bits a snap. Impact wrenches, on the other hand use a square drive for accepting either 3/8" or 1/2" drive sockets.
Should I go with a cordless or corded drill?
This can be a difficult decision for some. The industry trend is ever going more and more towards cordless technology. The very first cordless drills on the market left much to be desired in both power and run time. Over the years cordless technology improved to the point where many cordless tools now compete with and even in many cases out perform their corded counterparts. With power and performance becoming near equal, the choice basically comes down to price. Are you willing to save some money and deal with the inconveniences of dragging power cords around, or would you rather spend a little more and have complete freedom of movement? The choice is yours.
What type of cordless battery is best?
The power tool industry is currently trending toward lithium-ion battery technology. With all the benefits of lithium-ion it is easy to see why. If you compare lithium-ion batteries to nickel cadmium batteries, lithium-ion charges faster, runs longer, maintains longer constant power output, weighs less and stores a charge longer. The disadvantage is that Lithium-ion costs more. However, the difference in price may not outweigh the advantages you get in performance and charge holding time.
What is the clutch used for?
Most drill/drivers and hammer drills have an adjustable clutch. The clutch is typically used when driving screws, nuts, or lag bolts. The clutch is designed so that once a certain required amount of torque is reached, the clutch will engage and cause the rotation of the chuck to slip and stop rotating. There are several reasons for this. One, you won't strip the screw head when the bit keeps turning. Two, you won't drive the screw too deep. Three, reaction torque when the screw or nut bottoms out won't twist your wrist. Many drills produce enough reaction torque to cause bodily harm if the clutch is not used. Many heavy-duty drills capable of producing high amounts of reaction torque have either a non-adjustable built in clutch or a built in torque limiter. An finally, the clutch protects the drill motor from damage.
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Yamaha EMX212S 8 Input Powered Mixer with 200 Dual Watt Amplifier from Yamaha
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The EMX212S is a powered mixer with 12 inputs, built-in digital reverb and dual 200-watt digital power amplifiers. It is housed in a sturdy, plastic cabinet that tilts back for easy access. The mixer section is an 12-input stereo mixer that has an effects send, a monitor send, and 3-band EQ. FCL (Feedback channel location) helps pinpoint the offending channel when feedback occurs. The effect send is routed to the built-in DSP that provides high quality reverb effects based on the popular SPX processor series. The amplifier section uses Yamaha’s proprietary EEEngine technology for efficiency and cool operation. A switchable YSP circuit tailors the amplifier’s response for the Yamaha Club Series loudspeakers. Numerous line level output jacks on the front panel allow the EMX212S the flexibility to grow as needed.
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Thursday, June 13, 2013
Voice-over - A Beginner's Guide
IT ALL STARTS WITH YOUR VOICE
If you have ever been told that you have a great voice, then you may have thought of making use of that great voice in a professional way - as a singer, announcer or as a voice over talent. Voice over, or adding your voice to advertisements and recorded messages, can be a very lucrative field for a trained talent.
In the commercial world all kinds of voices are needed: low voices, whiny voices, gravelly voices, flat voices and even average voices. So, even if you don't have a classic "good voice" you can enter the field if you have determination.
First, explore your instrument. Not just your voice, but your whole being. Do this by taking an acting and/or improvisation class at your local college/learning annex/community center. Stay with it for 3 months. Aside from freeing yourself up, you'll probably meet some fun people.
Why acting classes? You need to know how to create the characters who "speak" in a commercial. Just taking an animation class won't do it. You need to start the process organically. It's not about the voice, just yet, it's about the intention behind the voice that gives the voice a shape.
After you've opened yourself up for three months in an acting class, it's time to move into specifics with a voice over class.
This is where I'll begin to speak to two types of people: Those who want to move to L.A., New York, Atlanta, Chicago, or San Francisco and pursue a union voice over career, and those who want to create an internet voice over career right there in Smalltown, USA. For simplicity sake, we'll refer to them as Red state and Blue state... Actually, I think CITY (union) and COUNTRY (non-union/internet) might be better.
CITY:
This part should be very easy for you. Just do a search for "Voice Over Class" and "your city" with Google. Of course, there may be classes offered at your local universities and performing arts centers. Ask around for good word-of-mouth about them. Then sign-up with the best and attend! (Avoid classes that end with you paying another 00 for a demo reel).
A comprehensive resource is Voice Over Resource Guide It lists all the studios as well as classes In addition, read some books on the subject.
COUNTRY:
Here's where you will find some challenges. Try your local college/learning annex/community centers to see if one is offered. Also ask your acting teacher if they know of any coaches who do voice over coaching. It may even be your own acting teacher! You might have to drive a bit to the next big town to find a class or coach. But, it's imperative to get some formal training. Just reading a book won't do it for you.
You need a "director" in the beginning to help you become aware of where your technique is weak or failing. By all means, read books, too! They will give you great insight into the mechanics. But, it all comes down to those sound vibrations and how they land on the listener's ear.
In addition to your voice over class, start practicing at home. Listen to any and every commercial on the TV and radio. Mimic them. Pick up magazines and read the ad copy aloud as though it were a commercial. Get so used to your voice that silence sounds wrong.
Most people want to skip this whole part and get right to the money making part. Believe me, if you skip this part, no one will want to pay you for what you'll be offering. Ego and confidence are not a substitute for talent and technique.
Some books on the subject:
There's Money Where Your Mouth Is: An Insider's Guide to a Career in Voice-Overs - by Elaine A. Clark
Secrets of Voice-Over Success: Top Voice-Over Actors Reveal How They Did It - by Joan Baker
The Art of Voice Acting: 2nd Edition - by James Alburger
The Page You Made: Word of Mouth -by Susan Blu, Molly Ann Mullin
Work in Voiceover Acting: written by a Casting Director
FINDING YOUR RANGE AND NICHE
Once you've gotten a handle on your voice, you need to know what your range is and, by association, what your market is.
Are you the classy BMW voice, the GenX hamburger guy, the Don Pardo game show host? You could be all three and more. Knowing all that you can do will help you promote yourself with confidence and direction.
Start with your normal speaking voice. What does your coach say? Are you the "everyman" voice? The "hip, edgy" voice? The "natural announcer" voice? Whichever comes the easiest may be your bread and butter. Foster it. What you and your coach decide will become the centerpiece of your promotion.
But don't stop there! Now start stretching your voice. Try accents, character voices - both broad and subtle (this is where the acting classes come in handy). Anything you can do with your voice may be called upon for any one of the different voice over market niches out there!
Here are the main areas you might find work:
Radio/television commercials
Promos/trailers
Business narration
Cartoons
IVR/voice mail greetings
Web audio
If you're COUNTRY you probably won't get much cartoon work and if you're CITY you probably won't get much IVR/voice mail greetings work. But ALL of these areas may require ANY TYPE of voice style! So, the broader your range, the broader your work potential.
This is an important step. It is here that you determine your whole approach to your career, whether it be CITY or COUNTRY.
For example, you have a gravelly, low voice that's warm. You might sell yourself as the "Your Bourbon Straight-Up voice". Or you have a super-sweet female voice you would be "The Voice of a Princess", etc.
It also helps to know what celebrities you sound like. See what kinds of commercials they perform voice over on. Listen closely, Alec Baldwin, Keifer Sutherland, Stockard Channing, Susan Sarandon - they all do voice overs.
You may want to specialize. For CITY folks, you can find an animation class or a promos class. COUNTRY folk will have to do a bit of self-teaching here. Read Terri Apple's Making Money in Voice Overs.
Start collecting copy (scripts) that fit your style. Even within your style there are sub-styles. Cover them all. Also look for copy that best shows your other "stretch" voices. This all will lead up to making your demo reel.
The business starts with your demo reel...
THE DEMO REEL
Here is where it gets complicated and potentially expensive. If your going the CITYroute, you'll want to ask around as to where to get your demo done. Where do other voice over actors go for theirs? How does their demo sound? And, of course, what's the cost? If it sounds too expensive, than it is.
For CITY folk, the demo is primarily used to get an agent. That's about it, as most clients/jobs/gigs will come from auditions you'll do at the agency or local casting facility.
For COUNTRY folk, your demo(s) will continually be your selling tool on your website. You will probably want to have one for each of the markets I wrote about previously. And getting your reel done will be hard at first. In some geographical areas, there won't be anybody who can edit them for you, let alone offer good direction. But that's where your career will differ from CITY folk. I'll talk more about this in a moment.
Let's start with the basics for both CITY and COUNTRY folk.
Your demo shouldn't be longer than a minute. Yes, a minute! Others will say 2 minutes, but no one listens that long unless you have SO MANY DIFFERENT voices.
Each clip on your reel should be no more than 15 seconds, probably less.
Each clip should show something NEW about your voice.
The clips should get shorter the longer the reel goes so the pace quickens.
Your demo should only contain things appropriate for that market! i.e. Commercials for a commercial demo, cartoon voices for a cartoon demo, narration for a narration demo.
CITY folk will probably only need a Commercial demo and a Narration demo (and Cartoon demo if they do funny voices).
COUNTRY folk should have a demo for each market listed previously.
So, the CITY folk have their reel and are ready to find an agent. Go ahead and skip to FINDING AN AGENT.
COUNTRY folk, you have some work cut out for you!
In order to have a home voice over studio business, you are going to have to learn to record yourself, edit your recording and burn CDs and also upload them to the internet. This is something you'll be doing every day.... You might want to read this paragraph again.
In order to have a home voice over studio business, you are going to have to learn to record yourself, edit your recording and burn CDs and also upload them to the internet. This is something you'll be doing every day....
The semi upside of this is that you will get to edit your own demo reels and save money. But, money that you will have already spent on your equipment!
BUILDING YOUR STUDIO
This is where your business comes to life! Here's what you'll need:
A closet or sound booth.
A microphone.
A mixer (optional).
A pre-amp (optional).
Headphones.
A music stand and a microphone stand.
A computer optimized for audio recording (processor/RAM).
A sound card or ProTools mBox.
A software program or ProTools.
Monitor Speakers (for accurate sound editing).
A website and DSL or Cable Broadband!
All this will require two other people (Helpers): One helper who knows about audio equipment and recording software (your musician friend, most likely, or the Guitar Center employee), and a web designer who can create your site and teach you how to upload audio.
Let's break this down:
A CLOSET OR SOUND BOOTH
When you're starting out, you'll want to watch your money, so a sound booth shouldn't be considered. They usually run about ,200 or more.
However, a closet is always easy to convert. You need a space that is away from the plumbing (so you don't record the toilet flush!) but close to your computer. Carpet the walls of the closet so you don't get your voice bouncing around, giving that echo-ey sound to your recordings. You can buy studio insulation, but carpet's much cheaper.
A MICROPHONE
You essentially want a microphone that records voice well. There are many out there. I use an AKG 414 and it cost me 0 on eBay. If you go to your local music store and let them know what you're doing, they should be able to guide you towards something right for your situation. Then check eBay for better prices!
Ideally, you'd want to find someone who will come out to your house and help you put the whole studio together for a small fee (around 0) or free (buy them lunch, though).
A MIXER
Someone who knows how to make a good martini... Wait, sorry. I mean a mixer is good for being able to control your mic and headphone volume when you're in the booth. It will also be needed if you decide to add a phone patch (a way to have someone on the phone to hear you record while they offer direction).
(A side note: You may hear about ISDN as a way of recording your voice remotely to some far away studio. The cost of equipment and installation is not worth it at this stage of your career. Wait a bit, as the technology is moving towards voiceover internet protocol [VOIP] which will render ISDN outdated.)
A PREAMP
This juices up your mic and can also warm your voice prior to being recorded, saving some EQ-ing time later. This is something to discuss with your Helper.
HEADPHONES/MUSIC STAND/MICROPHONE STAND
If I have to explain this, you might want to think about another career...
COMPUTER/SOFTWARE
Get a Mac. Any Mac that's a G4 or G5 with 1 gig of RAM. (Yeah, I'm partial to Macs). If you want to go another way (Not Mac?!?) then talk again with your Helper. If you are not good with computers, this could become a stumbling block for you.
If you have a computer, you might be able to use it. Talk with your Helper as to which sound editing application to use. (You'll need some tutoring from them initially). Knowing which program to use will help determine if your computer has enough processing power to handle voice recording.
SOUND CARD/mBOX
Some computers already have a sound card installed. Ones that don't will need one, or you can get an mBox, a sort of external sound card. mBox runs about 0 and includes the software, ProTools. Again, talk to your Helper.
MONITOR SPEAKERS
Make sure you get some monitors. The main difference between monitors and regular speakers is that they don't pump up/beautify the audio. You want to hear exactly what you sound like, not the best-case scenario. I use Roland Micro monitors. They're inexpensive and accurate. Don't use your internal computer speaker!!!
WEBSITE
And here is the monster! If you don't do web design (as I do), you want to find someone who won't charge an arm and a leg.
First, determine what you'll want on your site. You'll need to introduce yourself and your style. You'll need your demos on there. You'll want some instructions on how clients can work with you. Check out your competitor's websites. What do you like about theirs, what don't you like. Then, see if there are any website templates that could be customized to fit your needs. Going to a web designer with a template, aside from bumming them out, will save you lots of hours and money.
(Side note here: Make sure your designer makes your site optimized for search engines. Google "SEO" to see the ocean of info on this.)
Now that you've bought all your equipment, installed it, learned the software and built your website, it's time to edit your own reels!
Yup, you can do it yourself. Listen to all the reels out there. Which ones work for you? Why do they work for you? Implement those techniques with your reels. If you've been practicing your voice over, taking classes, etc., then you should be fine with creating your own reels. You hear TV and radio ads all the time. Do yours sound like those? It can be that easy.
You'll also want to find some royalty free music to put underneath the spots you created. In all honesty, you can use anything since you're not selling the demos.
Update your demos often as you get real work.
If you're uncertain about how your demo is sounding, get feedback from people you respect. But, take all the input with a grain of salt. It's YOUR demo after all.
But most importantly: Just do it. Most COUNTRY folk get stuck right about here. Will you?
FINDING AN AGENT
For CITY folk, this is the hardest part. Not that the act is difficult, but the perseverance required is enormous. It may take you several mailings, meetings, etc. to land an agent. The most important thing to remember is "don't give up"!
First, package your CD so that it represents you, your product, what you're selling. Make it catchy. You want to grab their eye so they'll want to pop your CD in the player.
Get the agency list from your local SAG (Screen Actors Guild) or AFTRA (American Federation of Television and Radio Artists) office. Mail that CD with a SHORT intro letter to every V.O. agent out there.
Also, ask your friends whom they are with. See if they'll take your CD into their VO agent. Ask your VO teacher for a referral. Ask your barber! Anybody!
In the interim, send your CD to all the non-union voiceover auditions you find online or in your local trade paper. In L.A. and NY you would check out Backstage and Actors Access.
For COUNTRY folk, you'll want to sign up with many agencies in many cities. They'll email you auditions, and you'll email your mp3 back.
I could list agencies here, but they change a bit over time. I suggest Googling "voice over agency". There are also two major pay websites. They get the majority of non-union VO auditions. They also have 1000s of voice over artists like you. Voice123 and Voices.com. The are the gorillas in the room that take everyone on who pays. This results in 1000s of actors for each job posted, though they do use some algorithms to help keep it semi-reasonable. Avoid websites that will charge to list your site, but not offer daily auditions. For the most part you're throwing your money down the drain.
COUNTRY folk, your biggest challenge now is to get clients. Focus on getting your website seen (pay-per-click with Google and Yahoo) and sending your link to all the local companies in your town. They'll be happy to know they don't have to go far to get a professional voice over for their commercial or in-house narration.
GOOD LUCK!
These are essentially the steps I took to start both my COUNTRY and CITY careers. There are hundreds of little details to everything I've mentioned. My intent was not to hold your hand through the process, but to give you an overview in a simple, straightforward way. Half of being good at this is the ability to learn on the job. The other half is the preparation (classes, reading, practicing).
There will be those people who will want an article to show them an easy way right to the money. Well, there is no easy way. But I've shown you some practical steps to get you into the game. What you do when you get into that arena is up to you. You can take a seat and watch or you can figure out how to get onto the field. It's different for everyone. But, the opportunity is there. It's real.
But, YOU have to take those steps. No eBook will do it for you. I wish you all the best in your new voice over career!
Wednesday, June 12, 2013
Serge - Creature - M-Class - Patch 1a (Bubbles)
Tuesday, June 11, 2013
Monday, June 10, 2013
Pyramid PA305 Amplifier With Microphone Mixer (100-Watt) by Pyramid
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Pyramid PA305 Amplifier With Microphone Mixer (100-Watt)
Feature
- PHONO/MIC 4 Input Selector - Master Output Level Control - Mix Bus Input Jack Connects To Another System - Rack Mountable with Handles
- Sound Reinforcement Amplifier - Phono RCA Inputs - Rotary Feedback Filter - Clipping and Protection LEDs - Power On/Off Switch with LED Indicator
- 100 Watts RMS 300 Watts Peak Output - THD Better Than 0.05% - Lighted VU Meter - 4, 8, 16 ohms & 70 Volt Speaker Outputs - Outputs for 1 or More 4, 8 or 16 Ohm Speakers
- Front 3.5mm AUX CD Input Jack - Controls Volume Up To 4 Microphones - Four 1/4" & XLR Phone Jacks - 110/220 Voltage Selector - For Use with all Mixers, PA Equipment, Home Audio
- MIC 1 Talk over - Controls Vol./Balance of Phono/CD/Aux - EQ Input/output Jacks with Bypass - Heavy Duty Aluminum Heat sinks - Dimensions: 19 x 4.9 x 11.94 Inches
- 1/4-Inch Phone Jack
- Led Level Display
- Master Volume Control
- Tone Control
- Phono/Aux Volume Control
Saturday, June 8, 2013
YaMama'Nym on Fox45
Friday, June 7, 2013
Pyle-Pro PQA3100 19-Inch Rack Mount 3100-Watt Professional Power Amplifier from Pyle
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This rack-mountable professional power amplifier packs a huge punch – 3100 watts of maximum power. This amplifier is equipped with dual 1/4 Inches and RCA inputs as well as dual speakon, 1/4 Inches, and banana plug outputs. The dual output level controls allow you to tweak your levels to your exact specifications. The soft start limiter prevents turn-on damage to your speakers. It’s all powered by a high quality ring transformer that eliminates transients and maximizes sound quality. Run in stereo, or bridge with another amplifier for even more power.
Feature
- 1550 Watts x 2 Power Amplifier 775 Watts x 2 RMS - 380 + 380 Watts@ 8 Ohms - 760 + 760 Watts @ 4 Ohms - 1520 + 1520 Watts @ 2 Ohms - 2550 Watts RMS
- Protection Indicator - Dual 1/4 Inch and Dual RCA Inputs - Outputs: Dual Speakon / 1/4 Inch /Banana Plugs Speaker Outputs - Dual Output Level Controls and Illumination
- High Quality Ring Transformer - Soft Start limiter - Power On / Off Switch - Stereo Mono Parallel Selector - Stereo or Bridged Power into 4 Or 8 Ohms
- Led Display - Ground lift Switch - Heavy Duty Fan Cooling Aluminum Heatsing
- 115/230 Voltage Selector - Dimensions: 5.75 x 19 x 14.37 Inch
- 1550 Watts x 2 Power Amplifier 775 Watts x 2 RMS -380 + 380 Watts@ 8 Ohms - 760 + 760 Watts @ 4 Ohms -1520 + 1520 Watts @ 2 Ohms -2550 Watts RMS
- Protection Indicator - Dual 1/4 Inch and Dual RCA Inputs - Outputs: Dual Speakon / 1/4 Inch /Banana Plugs Speaker Outputs
- High Quality Ring Transformer -Soft Start limiter - Power On / Off Switch - Stereo Mono Parallel Selector-Stereo or Bridged Power into 4 Or 8 Ohms
- 1550 Watts x 2 Power Amplifier 775 Watts x 2 RMS - 380 + 380 Watts.
- Protection Indicator - Dual 1/4 Inch and Dual RCA Inputs.
- High Quality Ring Transformer - Soft Start limiter - Power On / Off Switch.
- Led Display - Ground lift Switch - Heavy Duty Fan Cooling Aluminum Heatsing.
- Dual Output Level Controls and Illumination
Thursday, June 6, 2013
Wednesday, June 5, 2013
Mobile Disco Beckenham Kent Cricket Club
Tuesday, June 4, 2013
Presonus StudioLive 16.4.2 Rack Mounted
Monday, June 3, 2013
My DJ Setup
Sunday, June 2, 2013
Blue Microphones Yeti Pro USB Condenser Microphone, Multipattern by Blue Microphones
We Are Excited to Present Our Most innovative Blue Microphones Yeti Pro USB Condenser Microphone, Multipattern To You
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Click here for the Blue Microphones Yeti Pro USB Condenser Microphone, Multipattern full review
Quickly select any of the four pattern settings by rotating the pattern selector knob. View larger
Capture digital audio with up to four times the clarity found on CDs
The Yeti Pro is the world's first USB microphone combining 24-bit/192 kHz digital recording resolution with analog XLR output. Featuring three custom condenser capsules and four different pattern settings, the Yeti Pro can capture digital audio with up to four times the clarity found on CDs. Plus, the Yeti Pro features a cutting-edge A-D converter chip and separate analog circuit path for use with professional studio mixers and preamps. You also get a built-in headphone amplifier for zero-latency monitoring, and direct controls for headphone volume, pattern selection, mute, and microphone gain. So whether you record at home, in a studio (or in the Himalayas!), the Yeti Pro is your ultimate sound solution.
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Legendary Features
The legend of the Yeti continues with the most advanced and versatile multi-pattern USB microphone roaming the wild today. The Yeti Pro features tools and recording capabilities usually requiring multiple microphones and devices, all with the simplicity of a plug-and-play USB microphone.
Desktop or Studio, the Possibilities Are Endless
You can quickly select from each of Yeti Pro's four pattern settings (stereo, cardioid, omnidirectional, bidirectional) by simply rotating the pattern selector knob. The chart below shows each pattern's symbol, sound source direction, and suggested recording applications.
Like Having Four Mics in One
The Yeti Pro is like having four mics in one, thanks to its built-in pattern selector. Choose between four polar pattern settings for any home recording application. Select Stereo for capturing a realistic, two-channel stereo image. Cardiod is the most commonly used mode for basic recording and is useful in almost any situation, such as recording vocals, a podcast, voiceover work, and more. Omnidirectional mode is perfect for recording a group of musicians playing at the same time, or recording a conversation between multiple parties around a room such as a conference call. Choose Bidirectional for individual instruments, or for recording an interview with two or more guests.
Its versatile application along with simple plug-and-play functionality makes the Yeti Pro the only desktop microphone you'll ever need.
Stand and Cables Included
The Yeti Pro features a custom base, including a threaded mic stand mount with cable management. A USB cable and a stereo XLR breakout cable are also included in the box.
System Requirements
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What Critics Are Saying About the Yeti Pro
"We loved the original Yeti -- especially as a terrific addition to any podcaster's arsenal. For the sequel, Blue Microphones made a great mic even better."
--MacLife
"... the results are quiet, clear audio recordings without the hiss associated with cheaper mics."
--The New York Times
"... if you seek a professional sound or are recording audio--voice or instrumental--that needs the best possible reproduction, then the Yeti Pro is a splendid choice and its ability to also interface with XLR audio equipment makes it a must-have for any digital roadie too."
--Ask Dave Taylor
 |  Yeti |  Yeti Pro |
| Studio-quality audio via digital USB |  | |
| Blue's premium condenser capsules in a proprietary triple setting | | |
| Four recording patterns (stereo, omni, cardioid, and bi-directional) | | |
| Adjustable Microphone gain control for varying volumes | | |
| Mute button | | |
| Zero-latency headphone output with volume control for direct monitoring | | |
| Adjustable angle on its integrated custom-designed desk stand | | |
| Driverless installation for both Windows and Mac | | |
| Professional recording via analog XLR | | |
| Separate analog circuit path | | |
| Maximum recording resolution | 48 kHz/16-bit | 192 kHz/24-bit |
| Optional Radius shockmount available | | |
Feature
- Three custom condenser capsules and four different polar pattern settings: Cardioid, Stereo, Bidirectional and Omnidirectional
- Cutting-edge A-D converter chip and separate analog circuit path for use with professional studio mixers and preamps
- Built-in headphone amplifier for zero-latency monitoring, and direct controls for headphone volume, pattern selection, mute, and microphone gain
- 15 Hz-22 kHz frequency response
- 192 kHz/24 bit Sample/Word
Friday, May 31, 2013
Thursday, May 30, 2013
Nieuwe Allen & Heath Mixer
Wednesday, May 29, 2013
Presonus StudioLIVE 16.4.2. Wireless setup with iPad.
Monday, May 27, 2013
2 - 16. The Tables Happen To Be Switched! ~Sudden Reversal Event BGM~
Sunday, May 26, 2013
Portable Soundsystem
Friday, May 24, 2013
PreSonus Tech Talk Live - StudioLive for House of Worship - 3-6-12
Thursday, May 23, 2013
Shock mount Amplifier Rack Situation with Utility Table by OSP - Professional Road Tour Flight Situation
Wednesday, May 22, 2013
Behringer XENYX502 5-Channel Mixer from Behringer
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BEHRINGER XENYX 502
Premium 5-Input 2-Bus Mixer with XENYX Mic Preamp and British EQ
- Premium ultra-low noise, high headroom analog mixer
- State-of-the-art, phantom powered XENYX Mic Preamp comparable to stand-alone boutique preamps
- Neo-classic "British" 2-band EQ for warm and musical sound
- Main mix, stereo CD/tape plus separate headphone outputs
- CD/tape inputs assignable to headphone output or main mix outputs
- High-quality components and exceptionally rugged construction ensure long life
- Conceived and designed by BEHRINGER German
Got a solo gig at the local coffee shop? Need to make a quick public announcement? Simple sound calls for the simply excellent XENYX 502, the BEHRINGER mixer with everything you need to give an intimate setting incredible sound. And with the new addition of +48 V phantom power, the possibilities are even greater.
The Ins and Outs
The 5-input, 2-bus XENYX 502 with XENYX mic preamp can accommodate either a dynamic or condenser microphone. The two-band British EQ is famous for its warm, musical sound. Play music between sets via the RCA CD/tape inputs (assignable to main mix or control room/phones outputs) and record your performance to an outboard recording device via the RCA outputs.
Small Is Beautiful
Weighing in at 1.2 pounds (0.55 kg), the XENYX 502 is the portable, practical way to turn a speech or scaled-down performance into a sound to behold. Schools, meeting rooms, coffee shops and songsmiths the world-round agree this mighty mite is a high-fidelity lifesaver.
Value
Lending optimum sound quality to small-scale performances has never been this easy or affordable. The XENYX 502 provides incredible versatility at a price other mixers in this class simply cannot touch. Test drive a 502 at your nearest BEHRINGER dealer.
Feature
- Premium ultra low-noise, high headroom analog mixer
- State-of-the-art Xenyx mic preamp comparable to standalone boutique preamps
- Neo-classic "British" 2-band EQ for warm and musical sound
- Main mix, stereo CD/tape plus separate headphone outputs
- CD/tape inputs assignable to headphone output or main mix outputs
Monday, May 20, 2013
Sunday, May 19, 2013
Road Tour Professional ATA Shock mount Flight Situation Amplifier or Effects Rack - rival Road Ready, Marathon
Saturday, May 18, 2013
How you can Design and Layout a Cafe Or Espresso Bar
If you are planning to open an espresso bar/coffee shop, then developing an efficient store design and layout will be one of the most important factors in positioning your business for success.
Speed of service is critical to the profitability of a coffee business. An efficient ergonomic store design will allow you to maximize your sales by serving as many customers as possible during peak business periods. Even though your business may be open 12 to 16 hours a day, in reality, 80% of your sales will probably occur during 20% of those hours. Coffee is primarily a morning beverage, so your busy times of day (those times when you are most likely to have a line of waiting customers), may be from 6:30AM to 8:30AM, and then again around lunchtime. If you have a poor store layout, that does not provide a logical and efficient flow for customers and employees, then the speed of customer service and product preparation will be impaired.
Think of it like this; if someone pulls open the front door of your store, and they see 5 people are waiting in line to order, there's a good chance they'll come in, wait in line, and make a purchase. But, if they see that 20 people are waiting in line, there is a high probability that they may determine that the wait will be too long, and they will simply get coffee somewhere else. This is money that just escaped your cash register! And, if they come to your store multiple times, and frequently find a long line of waiting customers, they may decide you are not a viable option for coffee, and will probably never return. Poor design slows down the entire service process, resulting in a longer line of waiting customers, and lost sales. So in reality, your daily business income will be dependent upon how many customers you can serve during peak business periods, and good store design will be essential to achieving that objective!
The financial impact of a poor store design can be significant. For the sake of this example, let's say the average customer transaction for your coffee business will be .75. If you have a line of waiting customers each morning between 7:00 AM and 8:30 AM, this means you have 90 minutes of crunch time, in which you must drive through as many customers as possible. If you can service a customer every 45 seconds, you will serve 120 customers during this 90 minutes. But, if it takes you 1 minute 15 seconds to service each customer, then you will only be able to serve 72 customers. 120 customers x .75 = 0.00 x 30 business days per month = ,500. 72 customers x .75 = 0.00 x 30 business days per month = ,100. This represents a difference of ,400 in sales per month (,800 per year), coming from just 90-minutes of business activity each day!
So how should you go about designing your coffee bar? First, understand that putting together a good design is like assembling a puzzle. You have to fit all the pieces in the proper relationship to each other to end up with the desired picture. This may require some trial and error to get things right. I've designed hundreds of coffee bar over the past 15 years, and I can truthfully tell you from experience, it still usually takes me a couple of attempts to produce an optimal design.
The design process begins by determining your menu and other desired store features. If you plan to do in-store baking, then obviously you'll need to include in your plan an oven, exhaust hood, sheet pan rack, a large prep table, and perhaps a mixer. If you plan to have a private meeting room for large groups, then an extra 200 sq. ft. or more will need to be designed-in, in addition to the square footage you are already allocating for normal customer seating.
Your intended menu and other business features should also drive decisions about the size of location you select. How many square feet will be required to fit in all the necessary equipment, fixtures, and other features, along with your desired seating capacity?
Typically, just the space required for the front of the house service area, (cash register, brewing & espresso equipment, pastry case, blenders, etc.), back of the house (storage, prep, dishwashing and office areas), and 2-ADA restrooms, will consume about 800 sq. ft. If space for extensive food prep, baking, coffee roasting, or cooking will be required, this square footage may increase to 1,000 to 1,200, or more. What ever is left over within your space after that, will become your seating area.
So, a typical 1,000 sq. ft coffee bar, serving beverages and simple pastries only, will probably allow for the seating of 15 to 20 customers - max! Increase that square footage to 1,200 sq. ft., and seating should increase to 30, or 35. If you plan to prepare sandwiches, salads, and some other food items on site, 1,400 to 1,600 sq. ft. should provide enough space to seat 35 to 50, respectively.
Next, you will have to determine the tasks that will be performed by each employee position, so that the equipment and fixtures necessary to accomplish those tasks can be located in the appropriate places.
Normally, your cashier will operate the cash register, brew and serve drip coffee, and serve pastries and desserts. Your barista will make all your espresso-based beverages, tea, chai, hot chocolate, Italian sodas, as well as all the blender beverages. If you'll be preparing sandwiches, panini, wraps, salads, snacks and appetizers, or will be baking on-site, then a person dedicated to food prep will be necessary. And, if you anticipate high volume, and will be serving in or on ceramics, a bus-person/dishwasher may be a necessity.
After you have determined what you will be serving, the space you will be leasing, and what each employee will be responsible for, you will then be ready to begin your design process. I usually start my design work from the back door of the space and work my way forward. You'll need to design in all of the features that will be necessary to satisfy your bureaucracies and facilitate your menu, before you make plans for the customer seating area.
Your back door will most likely have to serve as an emergency fire exit, so you'll need a hallway connecting it with your dining room. Locating your 2-ADA restrooms off of this hallway would make good sense. And, because delivery of products will also probably occur through your back door, having access to your back of the house storage area would also be convenient.
In the back of the house, at minimum, you will need to include a water heater, water purification system, dry storage area, back-up refrigerator and freezer storage, ice maker, an office, 3-compartment ware washing sink, rack for washed wares, mop bucket sink, and a hand washing sink. Do any food prep, and the addition of a food prep sink and prep table will be necessary. If doing baking, gelato making, full cooking, or coffee roasting, all the equipment necessary for those functions will also need to be added.
After all the features have been designed into the back of the house, you will then be ready to start your design work on the front of the house service and beverage preparation area. This area will probably include a pastry case, cash register(s), drip coffee brewer and grinder(s), espresso machine and grinders, a dipper well, possibly a granita machine, blenders, ice holding bin, blender rinse sink, hand washing sink, under counter refrigeration (under espresso machine and blenders), and a microwave oven.
If serving food beyond simple pastries and desserts, you may need to add a panini toaster grill, a refrigerated sandwich/salad preparation table, soup cooker/warmer, a bread toaster, etc. If you plan to serve pre made, ready to serve sandwiches, wraps, and salads, along with a selection of bottled beverages, an open-front, reach-in merchandising refrigerator should be considered. Serving ice cream or gelato? If the answer is yes, then an ice cream or gelato dipping cabinet will be necessary along with an additional dipper well.
Finally, when all the working areas of the bar have been designed, the customer seating area can be laid out. This will, of course, include your cafe tables and chairs, couches and comfortable upholstered chairs, coffee tables, and perhaps a window or stand-up bar with bar stools. Impulse-buy and retail merchandise shelves should be established, and a condiment bar should be located close to where customers will pick-up their beverages.
A quick word about couches, large upholstered chairs, and coffee tables. Living room type furniture takes up a lot of space. If you plan to be opening evenings, and will perhaps serve beer and wine, and having comfortable seating will be important for creating a relaxing ambiance, then by all means do it. But if you have limited seating space, and are not trying to encourage people to relax and stay for long periods of time, then stick with cafe tables and chairs. The more people you can seat, the greater your income potential!
Features from the front door to the condiment bar should be arranged in a logical, sequential order. As your customers enter the front door, their travel path should take them past your impulse-buy merchandise display, and the pastry case, before they arrive at the point of order (where your cashier, cash register, and menu-board will be located). Exposing customers to your impulse items and pastries, before they order, will greatly increase their sales. Then, after the order and payment has been taken, they should proceed down-line away from the cash register to pick-up their beverage, and finally, the condiment bar should be located beyond that point. Be sure to separate your point of order from the point of product pick-up by at least six feet, otherwise customers waiting for their beverage may begin to intrude into the space of those ordering.
Don't make the mistakes that many inexperienced designers commonly make. They arrange these features in a haphazard way, so that customers have to change direction, and cut back through the line of awaiting customers to proceed to their next destination in the service sequence. Or, wanting to make their espresso machine a focal point to those entering the store, they place it before the cashier along the customer's path of travel. Customers inevitably end up trying to order from the barista before they are informed that they need to proceed to the cashier first. If this happens dozens of times each day, confusion and slowed beverage production will be the result.
On the employee's side of the counter, work and product flow are even more important. Any unnecessary steps or wasted movements that result from a less than optimal design will slow down employee production. All products should flow seamlesly in one direction towards the ultimate point of pick-up. For example, if preparing a particular item is a 3-step process, then placement of equipment should allow for the 3 steps to occur in order, in one linear direction, with the final step occurring closest to the point where customers will be served.
Equipment should be grouped together so that it is in the immediate proximity of the employee(s) who will be using it. Beyond the actual equipment, empty spaces must be left on the counter top to store ingredients and small wares (tools) used in product preparation. Counter top space will also be needed where menu items will actually be assembled. Think of the grouping of equipment for different job functions as stations. Try to keep different stations compact and in close working proximity to each other, but make sure that there is enough space between each so that employee working-paths don't cross, which could contribute to employee collisions.
Creating defined work stations will allow you to put multiple employees behind the counter when needed. When it is busy, you may need to have 2 cashiers, another person just bagging pastries and brewing coffee, 2 baristas behind the espresso machine, a maybe even a dedicated person working the blenders. If you're preparing sandwiches and salads to order, then another person may need to be added to handle that task. Keeping your stations in close proximity to each other will allow one employee to easily access all equipment during very slow periods of business, thus saving you valuable labor dollars.
When you arrange equipment in relationship to each other, keep in mind that most people are right handed. Stepping to the right of the espresso machine to access the espresso grinder will feel more comfortable than having to move to the left. Likewise, place your ice storage bin to the right of your blenders, so when you scoop ice, you can hold the cup or blender pitcher in your left hand, and scoop with your right.
As you create your store layout, the equipment you select should fit your space and the needs of your anticipated business volume. A busy location will most likely require a dual or twin, air pot, drip coffee brewer (one that can brew 2 pots at the same time), as opposed to a single brewer. If you anticipate selling a lot of blended and ice drinks, then an under counter ice maker, one that can only produce 100 pounds of ice or less per day, will not be sufficient. You should instead locate a high-capacity ice maker (one that can make 400 or 500 lbs. per day) in the back of the house, and transport ice to an ice holding bin up front. Plan to bring in frozen desserts and ice cream? Then a 1 door reach-in freezer in the back of he house will probably be inadequate for you storage needs, so you'll need to consider a 2 or 3 door. I always recommend a 3-group espresso machine for any location that may generate 150 drinks per day or more. And, I can tell you from experience, you can never have too much dry or refrigerated storage space!
Make sure that any equipment you select will be acceptable with your local bureaucracy before your purchase and take delivery of it. All equipment will typically need to be NSF & UL approved, or have a similar, acceptable, foreign certification equivalent. Your bureaucracy will most likely want to see manufacturer specification sheets on all equipment to verify this fact, before they'll approve your plans.
ADA (American's with Disabilities Act) compliance will also come into play when you are designing your coffee bar. In some areas of the country, this will only apply to those areas of your store that will be used by customers. However, other bureaucracies may require your entire store to be ADA compliant. Following are some of the basic requirements of compliance with the code:
• All hallways and isle ways must be 5 feet wide (minimum).
• All countertop working heights must be 34 inches high (instead of normal 36 inch height).
• 18 inches of free wall space must be provided on the strike-side of all doors (the side with the door knob).
• All hand-washing sinks must be ADA friendly.
• All bathrooms must be ADA compliant (5 foot space for wheelchair turnaround, handrails at toilet, acceptable clearance around toilet and hand washing sink, etc.).
• No steps allowed, ramps are OK with the proper slope.
• If your space has multiple levels, then no feature may exist on a level where handicapped access has not been provided, if that same feature does not exist on a level where it will be accessible.
You can find the complete regulations for ADA compliance at the following website:
http://www.access-board.gov/adaag/html/adaag.htm
Beyond the basic Equipment Floor Plan, showing new partitions, cabinets, equipment, fixtures, and furnishings, you'll need to produce some additional drawings to guide your contractors and satisfy the bureaucracies.
Electrical Plan
An electrical plan will be necessary to show the location of all outlets needed to operate equipment. Information such as voltage, amperage, phase, hertz, special instructions (like, "requires a dedicated circuit"), and the horizontal and vertical location of each outlet, should all be specified.
A small, basic coffee shop might get away with a 200 amp service, but typically 400 amps will be required if your equipment package will include items like an electric water heater, high-temperature dishwasher, or cooking equipment (ovens, panini grill, etc.).
In addition to the electrical work required for your coffee business-specific equipment, you may need to adjust existing electrical for additional or reconfigured lighting, HVAC, general-purpose convenience outlets, and exterior signs. Also, have your electrician run any needed speaker wires, TV/internet cables, and cash register remote receipt printer cables at the same time they are installing electrical wires. Finally, make sure your electrician makes provisions for lighted exit signs, and a battery-powered emergency evacuation lighting system, if needed.
Plumbing Plan
A plan showing all plumbing features will be necessary. At minimum, this should show stub-in locations for all needed water sources (hot & cold), drains, your water heater, water purifications system, grease interceptor (if required), bathroom fixtures, etc.
While a typical P-trap drain should be acceptable for most fixtures and equipment, some will require an air-gap drain. An air gap drain does not go through the "S"-shaped twists of the P-trap. Instead, the drain line comes straight down from the piece of equipment or fixture, and terminates 2 inches above the rim of a porcelain floor sink drain. This porcelain drain basin is usually installed directly into the floor. The air gap between the drain line from your equipment or fixture, and the bottom of the basin, prevents any bacteria in the sewer pipe from migrating into the equipment or fixture. I drain the following pieces of equipment to a floor sink drain when creating a plumbing plan:
• espresso machine
• dipper wells
• ice maker
• ice holding bin
• food prep sink
• soft drink dispensing equipment
To save on the life of your water filtration system, only your espresso machine and coffee brewer should be supplied by with treated water. Coffee is 98% to 99% water, so good water quality is essential. Your ice maker should only require a simple particle filter on the incoming line (unless your water quality is terrible). There is no need to filter water that will be used for hand and dish washing, cleaning mops, flushing toilets, and washing floors!
Be aware that many bureaucracies are now requiring a grease interceptor on the drain line from your 3-compartment ware washing sinks and automatic dishwasher. A grease interceptor is basically a box containing baffles that traps the grease before it can enter the public sewer system.
Also understand that a typical retail space will not come equipped with a water heater with enough capacity to handle your needs. Unless your space was previously some type of a food service operation, you will probably need to replace it with a larger one.
If cutting trenches in the floor will be necessary to install porcelain floor sinks, a grease interceptor, and run drain lines, then establishing a few general purpose floor drains at this same time behind the counter, and in the back of the house, will prove useful. Floor drains will allow you to squeegee liquids away when spills occur, and when washing floors.
Finally, if you added some new walls during your remodel, you may need to have the fire sprinkler system for your space adjusted or reconfigured.
Cabinet Elevations
Drawing cabinet elevations, (the view you would have if you were standing in front of your cabinets), will be necessary for your cabinet maker to understand all the features they will need to incorporate into your cabinet designs.
These elevations are not meant to be shop fabrication drawings for your cabinetmaker, but merely serve a reference, showing needed features and desired configuration. Where do you want drawers, and under counter storage space; and, where do you want cabinet doors on that under counter storage? Where should open space be left for the placement of under counter refrigeration and trashcans? Will cup dispensers be installed in the cabinet face under the counter top? These elevations will provide your cabinetmaker with a clear understanding of all these features.
While your kitchen base cabinets at home are typically 24 inches deep, for commercial applications they should be 30 inches deep, and 33 inches if an under counter refrigerator is to be inserted. Also, when specifying the size of an open bay to accommodate under counter refrigeration, be sure to allow a couple of inches more than the physical dimensions of the equipment, so that it can be easily inserted and removed for daily cleaning.
Dimensions Plan
You will need to create a floor plan showing all the critical dimensions for new partitions, doors, cabinets, and fixtures. This will, of course, help make sure that everything ends up where it is suppose to be, and will be the right size.
A final thought about design; unless the space you will be designing is a clean vanilla shell (meaning, nothing currently exists in the space, except perhaps one ADA restroom), you will have to make sure that all the features that you are considering keeping, will be acceptable with your local bureaucracy. Many older buildings were not designed to present codes. If the business type remains the same (your space was occupied by a food service establishment before you), then some times any non compliant features will be grandfathered-in, meaning you don't have to bring them up to current requirements. But don't count on this! You need to check with your bureaucracies to make sure. More and more I see bureaucracies requiring new business owners to remodel, so that all features are compliant with codes. This means you may have to rip-out bathrooms and hallways, add fire sprinkler systems, and provide ramps where there are steps. Better you know all these things before you begin your store design!
I always tell my consulting clients, that if I produce a perfect design and layout for them, they will never notice... because everything will be exactly where you would expect it to be. Unfortunately, if you create a less than optimal design for your coffee bar, you probably won't realize it until you start working in it. Changing design mistakes or inadequacies after the fact, can be extremely expensive. Not correcting those mistakes may even cost you more in lost potential sales. For this reason, I strongly suggest using an experienced coffee business space designer to create your layout for you, or at very least, to review the design you have created. Doing so will payoff with dividends.
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