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Nieuwe Allen & Heath Mixer

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Presonus StudioLIVE 16.4.2. Wireless setup with iPad.

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2 - 16. The Tables Happen To Be Switched! ~Sudden Reversal Event BGM~

Seiichi Takamoto & Tatsuya Fujiwara - Genso Suikoden Tsumugareshi Hyakunen no Toki Original Soundtrack & Drama Compact disc.

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PreSonus Tech Talk Live - StudioLive for House of Worship - 3-6-12

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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

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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.

Exactly What Does a Cancerous Mole Seem Like?

Not every moles are precancerous and never all moles seem like melanoma, cancer of the skin. If you wish to know, "Exactly what does a cancerous mole seem like?Inch, then you should know what normal moles seem like first.

The scientific term for moles is nevi. An ordinary mole is shaped. This means that should you folded it in two, the 2 halves would match, or perhaps be not far from matching. The edges of the normal mole are smooth as well as completely around. The colour of the normal mole varies. They're black, brown, flesh well developed, red-colored, blue and translucent. They are definitely uniform colored throughout. Some are flat, some are elevated plus some moles are almost bulbous and incredibly soft.

Normal moles grow in various layers of your skin and that is one method to classify them. Individuals that grow within the epidermis, the surface of skin, are junctional nevus. This kind of mole is nearly flat towards the skin, even though they might be slightly elevated. Another kind of mole has cells both in the skin and epidermis and it is known as a substance nevus. They are more elevated compared to junctional nevus and also have a brown to dark colored. The 3rd kind of mole develops within the skin, the interior layer of skin. They're brown to flesh tone and frequently soft and elevated to create a small mound or ball onto the skin surface.

Some normal moles that appear to be like cancerous moles are blue nevi. The coloring of those moles frequently will get them wrongly identified as cancerous abnormal growths.

Most normal moles are more compact than six mm. Large moles that stay the same throughout your daily life frequently aren't cancerous, but should continuously be looked into for changes.

Since guess what happens an ordinary mole appears like, exactly what does a cancerous mole seem like? First cancerous moles have irregular edges. You will find twists and turns within the boarders that normal moles do not have. Normal moles are mainly round or oblong.

Next, normal moles are shaped. Cancerous moles aren't. A cancerous mole has indentations on one for reds, however the other is perfectly smooth. There's not a way the 2 sides match.

Cancerous moles generally have irregular colors. The colour is frequently not consistent through the cancerous mole.

Cancerous moles sometimes ulcerate and bleed. One sign which should give back towards the physician immediately is really a bleeding mole.

Some moles are atypical, and therefore they do not fit the pattern for normal moles but aren't cancerous. They are dysplastic moles. They often become cancer however they aren't always cancerous. Their edges are irregular, they're asymmetrical and frequently seem like cancerous abnormal growths.

If you're able to recall the first four letters from the alphabet, you know things to search for whenever you search for a cancerous mole. An easy method asymmetry, B means the edges with irregular edges, C is the possible lack of uniform color and D may be the diameter or size more than six millimeters. Also, watch out for any mole that all of a sudden evolves where there is none before and watch out for a mole that will bleed.

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Building a Recording Studio

Studio Considerations

The magic of the recording studio has often mystified even the most seasoned professionals. With all the knobs, switches and buttons on various gear and large format consoles, no wonder confusion sets in to most non-techies. Many people, especially artists, composers, producers, and engineers, will end up putting together their own studio for writing and pre-production, with some eventually deciding to take the plunge and create a full-fledged recording complex that is capable of recording major albums. This article will try to shed some light on the considerations to take into account when making a studio, be it a small home studio or a professional recording studio.

Is size important? Some may say it is so but this is not always the case. The dimensions of the studio are very important. A room too large may become over-reverberant or full of unwanted echoes. A room too small may sound tight and unnatural. It is important that the room size and room sound is relevant to the type of music you are recording. You don't want to go into a very small tight room to record BIG rock drums. Although, big room sounds can be achieved by adding external reverb effects to simulate rooms at a later time when necessary.

It is best to find the room that suits the sound you are trying to achieve from the beginning of the recording process. The smaller the room, the smaller and tighter the sound will be; this is not necessarily a bad thing. Small tight rooms can be good for vocals, guitars and percussion if you are going for a tight clean sound. Larger rooms have more air for the sound to travel in, so it will be in fact a bigger more open sound. The sound has a longer travel time for the sound wave to move, therefore the reflection from the walls will take longer to bounce back creating a bigger more spacious sound. The decision of size and sound has to be made early on before the recording starts. One advantage that a larger room will have is the ability to be scaled down by closing up the room using modular baffles or gobos (go betweens). Gobos are structures that are partitions, that help to block sound by placing them in between the musicians, instruments, and microphones. Placing the gobos around the microphone at a close distance will help a large room with too much ambiance sound smaller. This will eliminate the reflections coming off of the walls that are further away.

Small rooms can produce big heavy tight sounds with the absence of the decay from the reverb that is caused from big rooms. Sometimes a large room can sound like it's washed out, or far away. With a good engineer any room can sound amazing with a little adjusting. A poor sounding room can be manipulated to sound good, although it requires much more work and time. Deciding on the proper room size for your needs is critical to the sounds that get re-produced. This will highly dictate the type of sound the microphones will pick up.

Clapping your hands in a room can give a good representation of what a room will sound like. The reflection coming off the walls will be picked up by a simple hand clap. The true test is to try out some instruments or vocals and position them in various sections of the room until reaching the optimum sound quality. If one side of the room sounds bad try a different spot or move around into a corner until the sound is improved.

Experimenting with different sections of the room also keeps the sound fresh when recording many instruments. If the acoustic guitars are recorded in the center of the room, when the time comes to record the electric guitars you may try recording them in a corner of the room for a different room sound. This gives clarity on the final mix creating separation and providing more distinction on various sounds.

If you are starting your own studio, remember that the bigger the studio the higher amount the bills will be. The benefit is that larger studios can charge more for their studio rates.

Getting the Necessities

If you happen to reach that elite 2% and become that million dollar, hit selling, famous producer or artist (or if you just win the lotto), then you might eventually think about buying serious studio gear and setting up your own producer paradise.

Acquiring the proper equipment and labor is key to a great studio and successful recordings. Studio gear is expensive and the knowledge of those who use the gear does not come cheap. Hiring the right people can save money and time in the long run. Studio designers also are specialty breeds that can make or break your studio. Your buddy Joe the carpenter may be able to help build it for less, yet if the studio is not properly isolated for sound it is a great waste of time, energy and finances.

The studio engineer is also the focal point of the sound that is created. Having an experienced engineer involved in the process will make your sound have a character of its own. He is the extra set of ears that gives another dimension to your productions. He is also a critical consulting partner when building or choosing to rent a studio. Let the experts help you with advice, it will create less of a headache in the long run. The experienced engineer can fill you in on all the equipment needed for recording the music that is relevant to your world. He can also give some guidelines on how the studio should be setup before having to consult a designer. There is no room for guessing or assumption on these issues.

Check List: Part 1

When purchasing studio gear it is wise to research only what is absolutely essential for your style of music. If you're not recording live drums in your studio, there is no need to buy a plethora of microphones for them. By being patient and shopping around for the best prices, a mass amount of money can be saved in the end. When you save to 0 bucks on each piece of gear it really adds up in the end, and there is a ton of gear needed to put a proper studio together.

Below is a basic studio checklist that will be discussed in further detail in later articles. These are the essentials of modern day recordings and the tools that are most commonly used in the best studios around the world.

The Studio Gear Checklist:

Recording / Mixing Console

The engineer or producer operates the console that controls all of the levels for recording, playback and mixing.

This is the big board that has all the buttons, switches, knobs, faders which control the levels and signal routing for each instrument. This could be referred to as a board, console or mixer. The most common consoles in major studios are SSL (Solid State Logic) or Neve. The console is the most important piece of gear in the studio. It controls the overall operations of signal flow and sound manipulation. The console allows for each instrument to be on its own channel on the board. Each channel may then have effects inserted into its signal path to enhance the sound. A signal may also be routed to external gear for further manipulation. Anything that can be imagined, can be done. There are no rules for experimenting with sound. A signal can be sent to reverbs, delays, compressors, guitar amps, speakers in hallways for re-recording

Each channel strip on a decent console will contain: Faders, Preamps, Panning, Equalization, Filters, a Routing Matrix, AUX Sends and Returns, Dynamics, Muting, & Solo.

Other Features Of The Console: Inserts, Outputs, Monitoring, Automation, Fader Grouping, Bussing, Splitting...

Patchbay

Allows the studio to combine interconnectivity with all the equipment by using patch cables. The patchbay can be configured for each studio's specific equipment requirements. All of the outboard gear, console and recording devices inputs and outputs are hard wired to the patchbay. The Patchbays can be be analog or digital. The most common is the bantam TT cable configurations.

Check List Part 2:

Microphones Microphones pickup the initial sound source. The mic is the first source in the recording process receiving and converting the sound wave into electrical energy to be amplified, transmitted and recorded.

Preamps Amplifies the original signal coming from the mic or instrument. Gives initial control of the recording levels. Preamps are located on the console or as external outboard gear.

DI Boxes The Direct box is used mainly for instruments such as keys and bass to be compatible with mic inputs. The DI box transforms line levels of instruments to mic level for console and preamp inputs.

Compressors Helps to further control levels and dynamics coming from the preamp or console. Usually comes in rack mounted outboard gear or software plugins for DAWs. Compressors keep levels from peaking into distortion levels and help to bring lower levels louder.

FX Processors For special effects like adding space, dimension, pitch and time delays on signals and recorded tracks. Usually comes in rack mounted outboard gear or software plugins for DAWs. Multi-FX processors may have reverb, delay, flangers, EQ, compression and more all in one unit.

FX Pedals Small floor foot pedals originally designed for guitar FX processing. These pedals are created for distortion and special effects, which add space, dimension, pitch and time on guitars mainly, but are an inexpensive alternative used as outboard gear for other instruments.

DAW The Digital Audio Workstation is like an entire studio inside of a computer. Protools, Logic and Nuendo are just a few DAWs that provide a digital multi-track recorder, a virtual console, a wide variety of effects, editing, and sequencing(musical programming) possibilities. The DAW uses software, hardware and computers in combination to operate.

Check List: Part 3

Control Surface The control surface acts as a console that controls a DAW or external machine. The control surface usually has faders, knobs and buttons that are controlled by the computer connected to a DAW. This makes operating the DAW similar to analog operations by being able to put your hands on faders instead of clicking a mouse. Some control surfaces have all the same features as a console. The most common control surfaces are made by Digidesign.

Clocking Digital recorders use different clocking formats to operate properly. Digital units sample the sound to be replicated. Clocking refers to the amount of time in between samples taken for reproduction. If the digital clocking is off it will sound jittery or add noise to the sound in the analog to digital conversion. A quality clock will improve the sound. Some common digital clock sources can be found in products made by Prism, Rosendahl, DCS, and Aardsync to name a few. Some clocks have sync generators built in to lock up with other machines.

Sync Generator Generates tones to allow communication between machines so that several recording devices can be synchronized together and operate at the same speed. Clocking works with synchronization (sync) when analog and digital equipment is combined. Sync uses SMPTE, MTC (midi time code), Midi Clock, MMC (midi machine control) to allow recording on several DAWs and tape machines to be linked up together.

CD Recorder Records and plays back compact discs. Gives the ability to record stereo mixes and playback these mixes on other CD players. CD standard for consumer playback is a sample rate of 16 bit and a sampling rate of 44.1kHz. Sony, Tascam, Alesis, and Yamaha all make good studio CD recorders.

Tape Machines Recording machines that use analog or digital tape for recording and playback of music. Some purists in sound recording prefer the sound of analog tape. There are many digital tape machines used for recording both music and video.

Cabling Literally miles of various cabling could be needed for a single studio. Common cables in sound reproduction are XLR balanced mic cables and Unbalanced 1/4 inch instrument cables.

Monitors / Amps Speakers in the studio are referred to as Monitors. Powerful clean amps are needed to run monitors. Many monitors are self powered, which means that they have built in amplifiers. Monitors usually consist of high frequency tweeters, low frequency woofers and cabinets that contain the speakers and components.

Headphones / Distribution By using a set of earphones this allows communication between the control room and the studio, also allows pre-recorded tracks to be heard during the overdubbing process. Headphones are also referred to as cans.

Instruments / Keyboards / Drums / Guitars These are more of the tools of the craft. You may have all the best studio gear in the world, but if the instruments sound bad you are starting in the wrong place. Anything could be considered an instrument if it makes noise that could possibly be recorded on a record.

Amplifiers This is often referred to as an amp. Amps increase the amplitude or volume of electrical signals from sound waves. These are used in powering speakers. Guitar and Bass amps can be used for many other applications such as running a vocal or snare drum through them.

Microphone Stands A wide variety of sizes and styles are needed for a proper studio. The mic stand helps to get the microphone placed properly for the best sound quality possible.

Studio Furniture There are many types of racks and furniture designed to hold consoles and outboard gear. The interior decoration of the studio completely sets the vibe of the working environment.

Electricity

Nothing will work without electricity unless you're jamming at the local drum circles down on the beach. Electrical installation studio power is often overlooked. Studios will setup a "clean feed" that is a separate breaker from the rest of the general power that is being used for air conditioning, lighting and the basic necessities of the rest of the building. Have you ever plugged something in and heard that horrific buzzing sound coming from the speakers or guitar amp? This is usually due to bad electrical wiring, which causes ground noise. This is the first thing to listen for when going in to a studio session. A simple solution to the problem would be to use a simple ground lifter on the gear or lift the ground from a direct box which can also solve the problems. We will go into details later.

Isolated electrical circuits for each individual room are a must in a recording studio. The proper amount of amperage is also a must. Not enough amperage will surely cause your breakers to blow. Consult with an Electrician who is familiar with studio setups to insure that wiring and voltage is regulated and conforming with local codes.

Unregulated Power Supplies (UPS) should also be in place just in case there is a power failure. This will insure that valuable equipment will not blow up or cause a fire. If there is a case of a power outage the UPS will provide enough time to backup important computer files and safely turn off your equipment. Some studios will have complete generator systems in place to keep the studio running for the remainder of the session.

Improper lighting can also cause buzzing ground issues, especially fluorescent bulbs. Avoid using these in any studio. Dimmers can also cause many problems. The average household dimmers will surely put a damper into a clean sound. Make sure that professional grade dimmers are installed to avoid ground noise. Always listen carefully to signals being recorded before committing to a final take. There are a countless number of accounts that the engineer discovers electrical noise on takes during the mix process.

If you are serious about your studio, may I suggest balance power or a separated panel with neutral power conditioning. The evil problems of ground issues are a direct reflection of sources returning or looking for a different ground. Voltage potential between neutral and ground will certainly change your way of looking at things... for example, .5 volts between neutral and ground is the maximum allowance by UL code that electronics will operate optimally without potential induction issues. I would suggest having a meter installed to rate this. Logging this information and having a good rapport with the local electric company would not hurt at all.

Air Conditioning/HVAC

This is another very important area that is often not considered. Studio gear gets very hot. The lack of adequate cooling could result in equipment failure or damage. Blowing up equipment is no fun and it gets very expensive. Some recording studios have a separate Machine Room for computers, tape machines and power amps that is highly air-conditioned to keep everything cool. This also cuts down on the noise from the fans on such units, which can distract concentration from listening in detail in the control room. Having too much air conditioning could also result in moisture or condensation build-up that may also damage the gear. Water in general is bad for electronic gear.

The return air system is used to pull heat out of needed areas and also provides an air intake for the AC units. These are placed in key areas where there is a build-up of heat from the gear, for example near the console or in the machine room.

Separate Rooms: Control Room

Most studios have several isolated areas for recording, mixing, and production. Soundproofing is the main agenda when creating multiple rooms in a studio. To achieve this, the main objective is to make the rooms airtight. If air cannot leak in or out of a room, there will be less chance of sound leaking in or out as well.

Most pro studios have double doors that create a sound lock to help prevent noise leakage. They also have very thick double walls with interior air gaps to also help trap unwanted sound. The floors in the studio should also be floated which means they are lifted from the ground to help further prevent extra vibrations and leakage.

The first focus would be the Control Room where the mixing console and outboard gear are contained. This is where all of the recording and mixing is controlled, hence control room. The acoustics in this room should be designed for hearing the exact sound that is being recorded or mixed. The sound of the room should be as natural as possible for accurate representation of the original sound translated to the speakers in the room.

The first rule for an appropriate acoustically treated room is that there should be no parallel walls .If you were to clap your hands in a room with hard parallel walls you would here the sound bouncing back and forth, this is known as a flutter echo. This is neither good for recording or mixing. The trapping of unwanted bass is important for a room to sound great as well. Twenty five percent of the room should be assigned for bass traps for an adequate mixing room.

Separate Rooms: Live Rooms

The next focus of equal importance would be the Live Room where the music is recorded. This is where the musicians and vocalists perform on the microphones. Live rooms should have more versatility to be able to adapt to different recording situations. Wood floors for example are great for reflection of sound, which creates a brighter tone. If a warmer tone is wanted, one could simply place a rug on the floor. Many live rooms also have a great deal of glass to see between rooms for communication. This is also very reflective. Many studios use curtains to control the amount of reflections coming off glass or hard walls. Non-parallel walls are again needed to eliminate any flutter echoes.

Some studios also contain a vocal booth within the live room. This would be a smaller room designed for vocals. They may also be used for guitar amps and other instruments. There are no rules for what this can be used for; its main purpose is for additional isolation during the recording process. Glass doors or windows are used for visibility of the artists and those working in the control room.

Many elaborate studios may have multiple control rooms and production suites. Lounges and proper bathroom facilities are important in keeping the creativity flowing. A dining area and kitchen are also a consideration if budgets permit. Many hours are spent in the studio when working on projects. It is important to have all the comforts of home to keep everyone happy.

A few proper offices are necessary for the client to be able to have private internet access and to handle business without any distractions. All studios are designed differently. Whatever can be imagined can be created. There are no rules, only guidelines.

Acoustics

Sound is a wave, much like the ripples on a still body of water when a rock is dropped into it. The larger the wave, the lower the tone. Lower tones, known as bass frequencies, travel in wide long waves while higher tones known as treble frequencies travel in a tighter, shorter wave. Frequencies heard by the human ear range from 20Hz to 20K. Just as an indication, a piano's range, probably the widest range of any instrument, is from 39Hz on the low note and 3Khz on the high note.

Sound is measured in decibels also represented as dB. An average concert is about 95-100 dB while a heavy rock concert or hip hop concert could reach levels of 130dB. This is above the threshold of pain; so don't forget to wear your earplugs which are designed to protect your hearing when in extreme sound levels. Interestingly enough, whales can actually produce levels of up to 180dB. It should be remembered that taking care of your ears is the most important thing you can do to prevent damage and have a sustained career. So don't hang out with any whales and put some protection in your ears when exposed to loud volumes.

Absorption is the act of a sound wave being soaked up by a particular material. This is measured by co-efficient ratings. The higher the sound absorption co-efficient rating, the more sound that is being eliminated from troubled spots in your room. Different section of the room may require different co-efficient ratings. Remember that studios start off as an empty shell. Hard surfaces and walls need treatment to provide for a great sounding room. For example, 20 gauge theater curtains are commonly used in studios. They consist of a thick velvet material, which is excellent for absorbing high-end frequencies. The thinner materials soak up higher frequencies.

The thicker materials soak up lower frequencies. This is why thick bass traps are very large and contain ports or holes to trap low-end frequencies. The larger the port, the lower the frequency absorption.

There are endless amounts of products and designs that are used in the industry. Wall panels are also commonly used to absorb sound. These are made from a fiberglass product wrapped in a cloth material. Various sizes and thickness are used for problem frequencies. Again the thin materials eliminate high end and thicker materials absorb low end.

Reflection is the opposite of absorption. Think of the sound as a wave hitting a mirror and bouncing back. This can be used as an advantage for a brighter tone. If a room has too much absorption causing the room to sound too dead, hard surfaces such as wood panels can be placed in strategic locations to add a more live sound to the room.

Some studios have reversible hanging panels that can be flipped between reflective and absorptive to change the room sound at will. For vocals the room may need a more dead sounding absorptive room. Drums may require a more live sounding room. John Bonham, from Led Zeppelin had an amazingly huge live reflective drum sound. This became the goal for the big Rock drum sound.

Prince is underestimated as a drummer. He has a great tight drum sound on his first record where he played all of the instruments as well as the drums. The drums have just the opposite effect using absorption in a small tight room creating a very in your face heavy Pop drum sound.

These are not rules, only guidelines. Using your ears is always the key to getting the best sound.

Designing a studio is quite an undertaking to do professionally. Each room is completely separated and isolated from one another. The most common method is to actually build a room inside of a room. The inner walls do not touch the outer walls, which creates an air gap that traps sound. Each wall can be many feet thick and multiple layers of thick glass and doors divide the rooms.

The floors in each room are floated from the ground with spacers that also create an air space to lower vibrations and help to trap unwanted sound leakage. All floors have different characteristics in the way sound waves bounce off from their surfaces. While wood floors have a warm tone, concrete and tile have a brighter tone. This also holds true for walls.

A solid plan is needed to run cabling between rooms so that each room can be interconnected with each other for microphone signal lines and headphone communication systems. Custom made cable troughs or PVC tubing is used to send groups of microphone cables from a panel to the control room. From the control room the Headphone lines would be run through the walls for communication between all of the rooms.

Materials and Tools

Drywall is needed for walls. The more layers of drywall added will increase the thickness of the studio walls. By using varying thicknesses of drywall stacked and shifted, alternating at the seams will help minimize sound transmission between rooms. Many drywall screws and a good electric drill will definitely come in handy if you are building a studio.

Fabric is used for making wall panels and ceiling clouds that control the absorption in the studio. There are specific fabrics that are designed for different frequency absorption. Each thickness and texture has varying co-efficient ratings at multiple frequency bands.

AC Duct Board and other fiberglass products are wrapped in fabric with spray glue to create absorbing panels called Wall Boxes and Bass Traps. Thermal Fiber or Fiberglass Insulation is inserted in between two sets of walls and ceiling to create an additional thickness providing an alternate texture, containing fiberglass, which is superb for capturing sound.

Sand is also an excellent alternative choice for filling walls to prevent sound wave transmission. Wood provides the skeleton for frames that hold the panels and boxes. Larger Bass Traps with large ports could be made from wood or fiberglass. RPG panels are a series of wooden slats mathematically designed to absorb and refract, or soak up and scatter sound inside a room. Wood can also be used to create custom racks to hold the outboard gear, console and patchbay. Custom studios can be designed for any situation and style.

Doors, Walls and Windows

Doors and walls are the single most important item where recording studio sound bleed is concerned. A small 1/4inch air gap at the bottom threshold of a door will release 30% of the sound. Creating airtight rooms are the first step in sealing all the gaps for optimum sound proofing. The transitions between where the rooms are connected have more possibilities for sound leakage. All corners, gaps and frames for door and window cutaways must be sealed with a silicon or caulking material. Keep in mind that if air can escape through any passage then sound will surely go through as well.

Road Tale from Road Cases: Going to Belfast With Motorhead

Road Tale: Going to Belfast, Northern Ireland with Motorhead and Lemmy Kilmister. Getting drawn in by Belfast police and taking pleasure in poteen. For additional on Road C...

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Digital Dj'ing - Utilizing a Laptop or PC in your Mobile Disco

Many Mobile Discos have made the change from a conventional CD or Vinyl based system to a software based one, usually running on either a full sized pc or a laptop. The fundamentals of both systems are largely the same, and so you shouldn't simply be taken in by reading other DJs horror stories about how their laptop overheated during the first dance at a Wedding or how their full sized PCs power supply exploded halfway through a gig. There are pros and cons of using both systems, but largely whether to use a full size pc or a laptop comes down to personal choice, practicality, budget and space, and you'll often find that DJ's criticising the opposite machine, have never actually used the system that they are criticising!. If possible visit a DJ who already uses a system to that which you intend to use yourself, nothing can sell an idea better than actually seeing it in use!, for the record, I have watched Mobile DJ's use both PC's and Laptops to DJ from, and neither, in my opinion, was more reliable or better than the other, so it should only be personal choice, rather than rumour or scaremongering which makes the decision on that score!.

Is running a Mobile Disco from a PC or Laptop reliable?

Anybody who has ever encountered the windows blue screen of death, or worn out the Ctrl+alt+del keys on their keyboard will possibly dread the thought of using such a system as a platform to their DJ'ing!. In essence, a decent dedicated pc or laptop with a clean install, good quality hard drive and a reasonable amount of memory will out preform most typical home pc set ups which may be running several applications at a time, be infiltrated with virus or spyware traces, and have a hard drive and registry full of corrupt enteries and partly uninstalled files.

The key to running a successful software based DJ system, is to buy a dedicated pc / laptop for the task, and to only run the operating system and DJ Software on there, and never allow it to run other applications or even connect to the internet. This way the installation runs and remains clean and largely error free, will rarely have a corrupt file, and won't get infiltrated or bogged down with several other applications. This advice is given by DJ's who have been using software and PC's for many years, and have found this method of DJ'ing to be just as reliable as conventional DJ'ing from CD's.

The advantages of using a Laptop or Pc to DJ

The advantages of converting your material to music files and using a Pc or Laptop to DJ from are many. The first is the most obvious, gone are the days where you are carrying several heavy boxes of CD's around with you, most DJ's CD collections can easily be converted to MP3 and will fit onto a 80gb - 200gb hard drive!. By converting to Software Dj'ing you also rid yourself of that long search through several hundred CD compilations in order to find that elusive requested track that you just know that you have got somewhere!. With most DJ Software, you can type in part or all of the artistes name or song title and find it within seconds!. It really is possible to find and cue up a request within 5 seconds - something which just can't be done easily or quickly with a CD or vinyl collection.

Other advantages of a software based DJ system, include the possibility to create playlists from frequently used tracks, and you could create playlists from all genres, for example a playlist for background music, one for dance music, one for the 70s and one for the end of the night slowies. Of course you can also group the tracks together and catalog them according to Genre which also makes finding tracks from particular era's easier too. Some DJ Software will also allow you to group tracks together which have a similar BPM - a boon for DJ's who mix.

Which DJ Software should I choose?

There are many different brands and types of DJ Software about, again it comes down to personal preference which type you choose. It is always a very good idea to check out reviews and discussions on DJ Forums and if possible to find a DJ who uses a system based on the software which is of interest to you, so you can actually see it in action, in a disco environment.

Some DJ Software comes with a free trial, which enables you to download and install the software on your system and try it for for free for a time limited period (usually 10 - 30 days). Depending on the cost of the software, there can be differing features. Some Dj Software will simply allow you to cue up and play music using 2 "players", others will have more comprehensive features, such as being able to fade between tracks, alter the pitch and tempo controls in a similar manner to conventional CD and Vinyl turntables, some of the more expensive software will even allow you to mix, or add a USB controller which looks and functions like a twin cd controller!, some Software will even mix the tracks for you!.

Remember that a feature is only worthwhile if you have a use for it!. Carefully consider what features you need, and which will be the ones that you will have any use for. It would be pointless buying a Dj Software package which allows you to mix, if you are a mobile dj who rarely has the requirement to beat mix. Most Software in its basic form, also comes with the option to add and install plug ins which give you additional updates and features, so its worth starting with the basic packages and then adding new features if and when you require them!.

My advice at this stage, if you are new to, or considering Software Dj'ing is to download the free trials of the various software which is available, try them for the time limited period, and then buy the one which suits you, and which is the most comfortable to use.

Some dj software titles which are currently popular and well reviewed by Mobile DJ's include OTSDJ, DSSDJ and PCDJ

What type of PC do I need to run my DJ Software package

When you have decided on a software package, it is then time to consider what pc or laptop to use it on. Contrary to rumour, you don't need the latest brand new pc or laptop to successfully run DJ Software from, and neither do you need a huge CPU processor. Most DJ Software will happily run on a pentium 3 processor with 600mhz speed or higher, many of the newer 1.2ghz+ celerons will also flawlessly run DJ software with no problems and without breaking into a sweat. Try and buy as much memory as you can afford, ideally 512mb of memory or a minimum of 256mb for most applications.

How big should I be :o)

A decent sized hard drive is the next consideration. Remember the bigger the hard drive the more individual tracks that you can fit on there. An average music file ripped at 192kbps is around 5mb in size and so a 100gb hard drive should fit around 20,000 tracks on there. However if you increase the quality of the track in MP3 format, then the file size rises also, so a 320kpbs mp3 could be as large as 11mb in size and so the same 100gb capacity would be reduced to holding only around 9000 tracks. Don't forget to factor in space for your operating software, drivers and DJ software when working out hard drive capacity!. You can of course expand your hard drive capacity by fitting external hard drives to USB ports, and these are also reliable. If possible try and use a system which runs USB2.0 or even firewire since these run at faster data speeds than conventional USB1.1 although many Dj's report no issues with hard drives and soundcards run from older 1.1 systems.

Give me Sound!

Using a good quality soundcard is a must!, many laptops and motherboard based sound chips on full sized pc's rarely do justice to sound quality or are designed with full time high quality audio playback in mind. Consider installing a pci sound card in your pc, or investing in a good quality USB external soundcard if you opt to use a laptop. Most 2 channel soundcards will suffice for DJ'ing in most mobile applications, where the audio is mixed between the players on the laptop and the single output is then fed through a pair of "L" and "R" connectors on the soundcard, and then into the mixer or amplifier.

However, if more creativity is required, or the software is to be used for mixing applications or the use of a crossfader between channels on a conventional mixer is likely to be utilised, then you need to buy a 5 channel soundcard. This allows the soundcard to be set up, in a manner which allows one pair of "L" and "R" outputs to be used for "Player 1" on the soundcard and fed into an individual channel on the mixer, and the same for "Player 2" - this allows each software player to have its own fader on the mixer - just like a conventional twin cd player.

What Quality?

Some Dj Software packages come complete with the means to "Rip" a cd. "Ripping" means placing the original Cd into the PC's CDROM and the process of converting the original music on the CD to MP3 Data, which is then stored on the hard drive as an MP3 File. In the case of OTSDJ, the option is also there to convert to a file called OTS, this is a custom files regonised only by the OTSDJ software, however it sounds just as good as MP3 and is also a slightly smaller file size, meaning that more OTS files can be stored on a hard drive when compared to conventional MP3 files.

If you use a DJ software package which does use conventional MP3 files, then you will need to select the quality at which to "rip". This figure is measured in "Kbps" and often ranges from 32kbps and 320kbps. Lower ranges are not recommended for professional use over a PA system since they can sound dull and even distorted. Ideally for professional use, the DJ should be looking at ripping their CD's to Mp3 files at 192kbps or greater.

192kbps is considered reasonable quality, however 320kbps is near cd quality and may be preferred by some Dj's - however on smaller audio systems the difference may be hard to detect. As the quality is increased, so does the file size, and a 320kbps file may be several mb larger than its 192kbps counterpart, it may also take longer to rip an entire CD at 320kbps than at lower rates.

For Dj Software which doesn't have ripping capability, Musicmatch Jukebox may prove to be an alternative for this process,

Are there any disadvantages to being a Digital DJ?

Now the disadvantages!. Obviously the initial cost of buying a PC / Laptop, a good quality soundcard, large hard drive and the Dj Software itself is likely to total far more than buying a conventional CD Player or turntables. It also takes time to "rip" your cd collection to Mp3 and store them on your hard drive. In some jurisdictions it is also illegal to convert original material to MP3 format for digital use without a licence, and this can prove to be expensive, if the Dj is to work on the right side of the law. It is the possible licence requirement that we discuss next.

Do I need a licence to play music from a laptop?

At the time of writing this article, an annual licence is required in Canada and the UK in order to use a PC or laptop to DJ from. In the UK, a further licence and possible royalty payment is also required for the conversion process. Although no fees have yet been advertised (April 2006) these controversial laws are likely to make this form of DJ'ing unattractive when compared to more conventional, and "licence free" alternatives.

Finally, my tips for Software Djing

* Always buy and use a dedicated pc / laptop purely for Dj use, do not be tempted to use the family pc or run other applications on the machine you use to DJ from, and do not allow this machine to connect to the internet. On a pre-used machine, also start from scratch with a format and fresh install of the operating system.

* Use a good quality soundcard, even if you need to upgrade or buy an external USB one

* Always rip the music direct from an original CD at 192kbps quality or higher. 320kbps is advised for higher quality pa systems and is near cd quality. 192kbps is okay for smaller systems used by the Mobile DJ.

* Don't be too concerned about buying the latest top of the range PC to run from. Most Dj Software will happily run from basic P3 600mhz machines, but do check out the minimum requirements on the software authors website.

* Read reviews on the various software packages available. Stick to the features that you will use, since you can always upgrade extras later. Take advantage of the free trials of DJ Software which are available and use the time to find the best software to suit you

* If you choose a full sized PC make sure that it is professionally flightcased - pc's are not designed to be carried around.

* Select a high capacity 100gb - 200gb hard drive from a reputable manufacturer. Where practical and legal always back up your data

* Fit your machine with at least 256mb of memory, and ideally 512mb.

* Check out the legal aspect of converting original music to MP3 and whether a licence is required to operate such a system.

Can One Connect Multiple Outside Loudspeakers to My Amplifier?

So you are sitting on your patio, with the sounds of your favorite tunes playing through your outdoor speakers. It sounds wonderful! You there relaxing, enjoying a cold beverage in your lazy chair. This is the life isn't it? You decide to get up and take a stroll through your garden, and then suddenly you realize that your wonderful music can no longer be heard! "What can I do?" you say to yourself. Well no worries again! The Outdoor Speaker Guy is here to help.

Okay, so you have experience with hooking up your outdoor stereo speakers. Now you want to add more speakers to your sound system, but you don't know how? In this session we will discuss the ins and outs of hooking up multiple speakers to an amplifier. So before you go trying to just hook up 3, 4, 5 or 6 speakers on to your amplifier, there are some things you need to know before you destroy that amplifier you spent hundreds of dollars on! You want to get the music to more areas of your landscape but you just can't go hooking up speakers all willy-nilly! There are some rules you need to follow.

Speakers are made to handle specific wattage's. This is the number that most people pay attention to when picking out their speakers. Now I know that when you see a pair of speakers advertised they always tell you how much wattage they can handle. And of course we all want the ones that will handle the most, cause we will be rockin' these babies till the neighbors call, right? Speaker wattage is not what we are most worried about when it comes to hooking up multiple sets or pairs of speakers. The real killer is the resistance that comes with added speakers. Most home speakers, whether they are for in your home or outdoor speakers, are rated for 8 ohms resistance. This can be found on the packaging or in the specifications for each individual model. Some other options available for outdoor speakers and car audio speakers are: 6, 4, 2 or even 0 ohm resistance. And most home amplifiers are rated for 8 ohms. Notice I said "most". You can get amplifiers that are rated for 6, 4, 2 and 0 ohms as well. You just need to know what to look for in you planning stages.

So let us try to explain resistance in terms the average homeowner can understand, shall we? Think of it like this: one speaker connected to your amplifier is like hooking your garden hose up to the faucet, the pressure from the waterline feeding your house is, let's say, 8 ohms. No matter how much you open the valve on the faucet, the pressure of the water coming out of the end of the hose can never get any faster. This is because the resistance of the hose is its diameter, or how big around the hole is through the hose. The pressure flowing through the hose allows the water to shoot out the end about four feet before it hits the ground. Now if we add speakers to the line, it is like taking that hose and doubling the inside hole diameter. Now when we have the water turned all the way up, the water coming out the end is the same size as the hose, but only shoots out about two feet before it hits the ground. Then half that when you add another speaker and double the size of that hose. And so on. The resistance goes down by half when you add another speaker, which requires your amplifier to work 2x harder to get the same amount of wattage to both speakers on that line. Add a third speaker, it works 3x harder. Add a fourth speaker, it works 4x harder.... Get the idea?

To sum it all up; if you add speakers, you decrease the resistance on the amplifier causing it to have to produce the same amount of wattage, faster and harder. If your amplifier is not designed to work at these resistance levels, you will burn it out faster than say, trying to light a cigarette with a blow torch! Amplifiers are designed to work at certain resistance levels only. If they state that they are stable down to 4, 2, or 0 ohms, then they are made with different circuitry to handle higher loads. You will need to keep this in mind when you want to start adding more outdoor speakers to your garden or landscape.

Totally confused yet? Don't worry, most stereo home amplifiers have two sets of outputs labeled "A" and "B" which you can hook a second set of speakers up to and you don't need to worry about resistance issues. I know, I could have told you this at the beginning, but you would never have learned anything about resistance. I know, call be crazy, but I have a feeling you are reading this to make yourself more-smarter, right?

There are ways to keep the amplifier you have and still add more speakers without blowing it up from the resistance. It has to do with running speakers with different resistances in series or parallel to match your amplifiers, but that is for another time I think! So join me next time and I will take you on another amazing outdoor speaker journey!

Dj Amplifier

Las Tabenas p Wancho 3 2013.

Factor V460 60W Mixer Amplifier 25-70 Volt 4 Input (Black) from Factor

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Factor V Series amplifiers are professional tools designed and built for installed sound applications. The V Series includes four models which provide a range of power outputs: V-430, V-460 V-4120 & V-4240. All models are rugged and lightweight, and offer unmatched value in their class.

Feature

• 60 watt mixer power amplifier with 4 inputs expandable to a total of 10 Inputs
• Front panel Input 1, Aux, Bass, Treble and Master volume controls Include tamper proof security caps.
• Front panel USB charging port keeps hand held device batteries charged while in use
• Back panel input 1 terminal block accepts microphone or line level (bal/unbal) signals W/ switchable 24V phantom power, mic/line, 100Hz HPF, priority and Includes stereo RCA inputs.
• Back panel Aux input accepts stereo RCA unbalanced signals.