ACOUSTIC / AUDIO CONSULTANT & ENGINEERS (ACE)

Acoustic Terminology Explained

2024-05-22T07:13:00.000-07:00

The following articles extracted from: https://www.acoustic-supplies.com/more-about-sound/

Image is extracted from: https://hgrgroup.co/explanations-of-acoustical-terminology/

What’s the difference between sound insulation and sound absorbing products?

Soundproofing, as it is commonly known, is all about creating an acoustic barrier. Sound insulation and soundproofing products are specially designed and manufactured to act as an acoustic barrier in order to reduce the amount of sound leaving or entering a room or workspace.
Sound absorbers are designed to absorb the sound within a room and help reduce sound reverberation or echo. Sound absorbers do not stop the sound leaving the space but will reduce the amount of noise by reducing the reverberation (echo) within the enclosure.
If you want to soundproof a room as fully as possible you almost certainly need to install both types of sound insulating materials.

What is the difference between sound absorption & sound insulation?

There is often confusion between sound insulation and sound absorption. Sound is absorbed when it encounters a material which will convert some or all of it into heat, or which allows it to pass through not to return. For this reason good sound absorbers do not of themselves make good sound insulators. Sound insulators rarely absorb sound. Sound absorbers contribute little to sound insulation. They are treated separately in sound control design.
Sound insulation prevents sound from traveling from one place to another, such as between apartments in a building, or to reduce unwanted external noise inside a concert hall. Heavy materials like concrete are the most effective materials for sound insulation – doubling the mass per unit area of a wall will improve its insulation by about 6dB. It is possible to achieve good insulation over most of the audio frequency range with less mass by instead using a double leaf partition (two independent walls separated by an air gap filed with a sound absorber).

What is soundproofing?

This is a term used when a reduction in the level of noise being heard is being reduced. It is often thought that if something has been soundproofed then the noise being generated has been silenced. This may be the case in some instances but is not always possible so a soundproofed situation may also refer to a noise nuisance that has been reduced in intensity as much as feasible or possible.

What is sound absorption?

Sound absorption is normally required in enclosed spaces such as studios, halls and recreation centers to reduce reverberation (echo) of noise. An un-insulated hall is often unusable for many events due to excess reverberation. This makes speech difficult to comprehend and becomes more of a problem when people are speaking further apart.

What is a sound barrier?

A sound barrier is another way of describing a sound blocker and normally comprises insulation with a high mass which then reduces the amount of noise that can pass through it. A simple door can be described as a noise barrier when it is closed to reduce the sound of noisy kids playing just outside. Sound waves flow like water and air so it is impossible to use a sound barrier such as a fence or screen to stop noise but they are effective when used to reduce noise immediately on the other side of them. From distances farther away the noise reduction will be less efficient.
If you imagine a large stone in the middle of a river, you will see that the water flows quickly around it but leaves a slack area immediately behind the stone. Sound waves act in exactly the same way when presented with a sound barrier that is not complete.

What is sound damping?

Sound damping is normally required to reduce noise from resonating panels. Noise from resonating panels is annoying and addressed by stiffening the panels usually with a vibration damping pad that is glued on.

How small and rapid are the changes of air pressure which cause sound?

When the rapid variations in pressure occur between about 20 and 20,000 times per second (i.e. at a frequency between 20Hz and 20kHz) sound is potentially audible even though the pressure variation can sometimes be as low as only a few tens of millionths of a Pascal. Movements of the ear drum as small as the diameter of a hydrogen atom can be audible! Louder sounds are caused by greater variation in pressure. A sound wave of one Pascal amplitude, for example, will sound quite loud, provided that most of the acoustic energy is in the mid-frequencies (1kHz – 4kHz) where the human ear is most sensitive. It is commonly accepted that the threshold of human hearing for a 1 kHz sound wave is about 20 micro-Pascals.

What makes sound?

Sound is produced when the air is disturbed in some way, for example by a vibrating object. A speaker cone from a high fidelity system serves as a good illustration. It may be possible to see the movement of a bass speaker cone, providing it is producing very low frequency sound. As the cone moves forward the air immediately in front is compressed causing a slight increase in air pressure, it then moves back past its rest position and causes a reduction in the air pressure (rarefaction). The process continues so that a wave of alternating high and low pressure is radiated away from the speaker cone at the speed of sound.

What is a decibel (dB)?

A decibel is one unit on the decibel scale, which is a logarithmic scale. The name means one-tenth of a bel, a bel being an eponymous unit named after Alexander Graham Bell and used to compare power in electrical communication, voltage, or intensity of sound. The abbreviation of bel is B and decibel, dB. 10 dB = 1 B
Eighty-five decibels is the threshold for the possibility of noise-related hearing loss, and this guideline is intended to prevent such hearing loss. This figure suggests that many people who do not currently use ear protection should consider it. The following chart reveals that a great deal of the sound we’re exposed to is above that 85-decibel threshold. Because conditions may vary and distances are not specified, these figures are approximate.

Decibels	Sound Source
0	low threshold of hearing – softest sound you can hear
10	leaves rustling in the breeze; quiet whisper
20	average whisper
20-50	quiet conversation
40-45	conversation between acts at a theater; hotel lobby conversation
50	rainfall
50-65	loudish conversation
65-70	moderate traffic; hair dryer
65-90	train
75-80	factory (medium) – washing machine
90	heavy traffic – power lawn mower – busy city walk
90-100	thunder – walkman – tractor
100	boom box with volume turned high – chain saw – leaf blower
110	shouting; synphony concert
115	rock concert
120	ambulance siren
130	threshold of pain – loud fireworks – gunshot
140	airplane takeoff from short distance away
140-190	space rocket takeoff
170	shotgun

Acousticians use the dB scale for the following reasons:

Quantities of interest often exhibit such huge ranges of variation that a dB scale is more convenient than a linear scale. For example, sound pressure radiated by a submarine may vary by eight orders of magnitude depending on direction; expression in linear units carries with it the confusion of the location of the decimal point. Decibels values are characteristically between only -999 to +999.
The human ear interprets loudness more easily represented with a logarithmic scale than with a linear scale.

Amplitude measures how forceful the wave is. It is measured in decibels or dBA of sound pressure. 0 dBA is the softest level that a person can hear. Normal speaking voices are around 65 dBA. A rock concert can be about 120 dBA.
Sounds that are 85 dBA or above can permanently damage your ears. The more sound pressure a sound has, the less time it takes to cause damage. For example, a sound at 85 dBA may take as long at 8 hours to cause permanent damage, while a sound at 100 dBA can start damaging hair cells after only 30 minutes of listening.
Frequency is measured in the number of sound vibrations in one second. A healthy ear can hear sounds of very low frequency, 20 Hertz (or 20 cycles per second), to a very high frequency of 20,000 Hertz. The lowest A key on the piano is 27 Hertz. The middle C key on a piano creates a 262 Hertz tone. The highest key on the piano is 4186 Hertz.

Measuring sound reduction – Decibels vs. Percentage reductions

Sound intensities are measured in decibels (dB). Decibels however cannot be expressed in percentages.
There are two reasons why you can never equate decibels to percentages. First, the decibel scale is open-ended like that of the Richter scale used for measuring earthquake intensities. To calculate a percent you need to know the maximum value possible. In both of these scales there is no limiting maximum value. Therefore, you cannot calculate a percentage. Any attempt to do so is just meaningless!
Second, the decibel scale is logarithmic, while the percent scale is linear. Numbers that appear to be similar have vastly differing meanings. They are as different as trying to compare apples to elephants!
A decibel is not a given intensity (loudness) of sound, but rather, it is a ratio of how many times louder (or softer) a sound is than a given reference sound level.
This means that 0 dB is not the absence of sound, but is an arbitrary zero. We define it as the faintest sound that a young sensitive human ear can hear. Furthermore, because the decibel scale is logarithmic, every 10 dB increase in sound intensity is actually a ten-fold increase. Therefore, a sound intensity of 20 dB is not twice as loud as a sound intensity of 10 dB, but is 10 times as loud, and a sound intensity of 30 dB is 100 times as loud as a sound intensity of 10 dB. Similarly, a sound intensity of 50 dB would be 100,000 times as loud (10 x 10 x 10 x 10 x 10). This is how the decibel scale works. It is totally unlike the linear percent scale.
It is a fallacy trying to compare the decibel scale to the percent scale. To illustrate this, let’s wrongly assume that 0 dB is equal to 0 percent hearing loss or sound reduction and that 100 dB equals a 100 percent loss or sound reduction. This would then mean that 50 percent would equal a 50 dB hearing loss, right? Wrong! Not by a long way! A 50 percent hearing loss would equal, believe it or not, only a 3 dB loss! Looking at it the other way, a 50 decibel loss is not just half as loud, like it would be in a percentage scale, but would only be one thousandth of one percent as loud!
So decibels and percentages just do not equate. They are absolutely meaningless!

How are decibel sound levels added?

If there are two uncorrelated sound sources in a room – for example a radio producing an average sound level of 62.0 dB, and a television producing a sound level of 73.0 dB – then the total decibel sound level is a logarithmic sum i.e.
Combined sound level = 10 x lg ( 10^(62/10) + 10^(73/10) )= 73.3 dB
Note: for two different sounds, the combined level cannot be more than 3 dB above the higher of the two sound levels. However, if the sounds are phase related (“correlated”) there can be up to a 6dB increase in SPL.

How does the ear work?

The eardrum is connected by three small jointed bones in the air-filled middle ear to the oval window of the inner ear or cochlea, a fluid- filled spiral shell about one and a half inches in length. Over 10,000 hair cells on the basilar membrane along the cochlea convert minuscule movements to nerve impulses, which are transmitted by the auditory nerve to the hearing centre of the brain.
The basilar membrane is wider at its apex than at its base near the oval window; the cochlea tapers towards its apex. Groups of the delicate hair sensors on the membrane, which vary in stiffness along its length, respond to different frequencies transmitted down the spiral. The hair sensors are one of the few cell types in the body which do not regenerate. They can therefore be irreparably damaged by large noise doses.

At what level does sound become unsafe?

It is strongly recommended that unprotected exposure to sound pressure levels above 100dB is avoided. Hearing protection should be used when exposed to levels above 85dB (about the sound level of a lawn mower when you are pushing it over a grassy surface), and especially when prolonged exposure (more than a fraction of an hour) is expected. Damage to hearing from loud noise is cumulative and is irreversible. Exposure to high noise levels is also one of the main causes of tinnitus.
Health hazards also result from extended exposure to vibration. An example is “white finger” disease, which is found amongst workers who frequently use hand-held machinery such as heavy drills or chain saws.

What is the sound absorption coefficient?

The absorption coefficient of a material is ideally the fraction of the randomly incident sound power which is absorbed, or otherwise not reflected. It is standard practice to measure the coefficient at the preferred octave frequencies over the range of at least 125Hz – 4kHz.
It can be determined on small material samples with an “impedance tube” or on large samples in a laboratory “reverberation room”.

What is sound insulation and how is it measured?

Sound insulation is a measure of the sound stopped by a barrier such as a partition wall. We can measure the sound reduction index in a laboratory transmission suite. This consists of two adjacent reverberant rooms, the difference between the level of the sound in the source room and the receiver room is measured, and the properties of the receiver room are taken into account by calculation.
The measurement method depends on the particular situation. There are standards for the measurement of the insulation of materials in the laboratory, and for a number of different field circumstances.
Usually test procedures generate a loud and consistent broadband spectrum of steady noise on one side of a partition or specimen of the material under test, and then measure the amount of this sound that passes through that material. The ratio of the incident sound to the transmitted sound is the “noise reduction”, usually expressed as 10 times the logarithm of this ratio. If the noise reduction is also corrected for the amount of sound absorption to be found in the receiving room, 10 times the logarithm of the corrected ratio is called the “transmission loss. This is performed for 1/3 octave bands of noise from 100 to 4000 Hz.

Modern myths about soundproofing

Attempts to quiet rooms over the years have created many fallacies. Even today, some companies and builders merchants sell a variety of materials to unsuspecting contractors and homeowners based on fallacies which have been pervasive for years. A few of these are:

Fallacy	What they said	What it actually does
Fill the wall with egg cartons	“Will improve loss by 10dB”	No measurable effect
Put acoustic insulation in wall	“Will fix everything”	Typically 3 – 4dB improvement
Put mass loaded vinyl under drywall	“Will improve loss by 27dB”	Actually 3 – 9dB
Add another layer of drywall	“Will stop the bass sounds”	Actually 2 – 3dB per layer
Use foam as a barrier	“Regarded as a great barrier”	Actually <2dB

As you can easily see, if we are trying to make a 30dB improvement, it will not be achieved with egg cartons and vinyl.

Soundproofing vs Sound Absorption

2024-05-22T06:56:00.000-07:00

Images from : https://www.angi.com/articles/soundproofing-vs-sound-absorbing.htm
Articles Extracted from: https://www.acoustic-supplies.com/

To assist customers who are not sure whether they need soundproofing materials or sound absorbing materials, the short definitions below will help provide a brief outline. If you want to soundproof a room as fully as possible, you will almost always need to install both types of sound insulating materials.

Soundproofing

Soundproofing is all about creating an acoustic barrier. Soundproofing products are specially designed and manufactured to perform as an acoustic barrier by reducing the amount of sound entering or leaving a room.

Sound Absorbers

Sound absorbers are designed to absorb the sound within a room and help to reduce the amount of reverberation or echo within the space.
If you want to soundproof a room as fully as possible, you will almost always need to install both types of sound insulating materials.

What types of sound are there?

There are two fundamental ways in which sound moves around the rooms and spaces in which you hear them:

Airborne Sound
Impact Sound

What is airborne sound & how to insulate against it?

Airborne sound is sound waves moving around within a space, such as a room. This sound bounces off walls and floors causing vibrations within those surfaces which will then transmit (re-radiate) to the other sides of the room (receiver space). Often the windows, doors, poorly fitted sockets or any cracks in a wall will drastically reduce its insulation of airborne sound. To reduce the amount or loudness of this sound you need to insulate it with the use of proper soundproofing materials on your walls, floors or ceilings.

What is impact sound & how to reduce it?

Impact sound starts with an incident like a door slamming or heavy footsteps which then creates vibrations directly through the walls and floors of a building, and the sound travels from one room to another. Impact sound can travel through a concrete floor; from one room to another even if the wall in between is a good airborne sound insulator. To reduce the amount or loudness of this sound you need to stop it at its source with proper soundproofing materials on your walls, floors or ceilings.

Nuisance noise within a room and how to reduce it

As well as unwanted noise coming from a separate room, noise from within one large room can also be a nuisance. Large open rooms can often become prone to echoes of noise incidents like people speaking loudly. In an open plan office or any kind of performance hall, this can be a real problem for individuals working or concentrating. Rooms that are prone to echoes (or sound reverberation) are typically large and have wall surfaces that absorb very little of the sound, therefore bouncing it back across a room. To reduce the amount or loudness of this sound you need to absorb it with proper soundproofing materials on your floors or ceilings.

How to Control Noise

Before considering soundproofing a building it is worth considering the quality and methods of construction of the building.
There are two main ways to reduce and control noise.

Increasing Mass – the more mass (weight and density) a floor or wall has the less sound will make it vibrate. As a general rule of thumb doubling the mass will give a 5 decibel reduction in the sound transmitted.
Additional Layers – adding several layers to the construction of a wall or floor can greatly improve the control of noise. Each layer will be made of soundproofing materials, slightly separated to reduce airborne and impact noise transfer.

Acceptable noise (dBA)

2021-03-22T18:27:00.008-07:00

The above images extracted from : http://www.benjaminjaffe.net

dB(A) - the A weighted noise or sound measurement - is

its adaption to how the human ear responses to sound - the human hearing, and
the possibility to measure noise with "low cost" instruments

Maximum acceptable Equivalent Sound Level - L_eq - at some locations:

The above sound level extracted from: https://www.engineeringtoolbox.com/decibel-dba-levels

Caution: Please be alert not to subject your hearing with a noise level of more than 85 dB(A) each day, doing so will increase the risk factor for hearing damage.

Soundproof vs Acoustic treatment, is it the same?

2020-11-17T00:45:00.002-08:00

This is a very common question, many will says that it is very easy to sound proof a wall, just add acoustic foam to cover the whole walls and that it. My friend, doing this does not make your room sound proof or the wall soundproof. all it does it, it just modify the sound reflect onto the wall i.e. it absorbed the sound. Acoustic foam is usually used for acoustic treatment. Acoustic treatment is a method to control the echoes and reverberations inside the room. Whereas soundproof is about isolating the room from outside noise coming into or noise from inside going out of the room.

Let us discuss some basic acoustic for us to get an idea and a better understanding of these confusing subject.

Extracted from: https://auralex.com/alpha-dst-roominator-kit/

Acoustic treatment:

(the following statement is extracted from Acoustic 101(Auralex) by Eric T. Smith, page 6, 7 . 2014).

One of the single biggest concepts to understand and appreciate is that (Auralex) acoustic foam, one of our core products, is not going to "soundproof" your room. It is an extremely effective absorber of ambient, reflected sound and helps make rooms "sound better." Acoustic foam does contribute some sound isolating properties (mostly high frequencies), but is not sufficient by itself to keep sound in or out of a room.

Thicker acoustic foam is better at absorbing low frequency sounds. Controlling reflected sound within a room is extremely important in producing good sounding recordings.

Image extracted from : https://all.biz/tr-en/bondex-30mm-g278659

Sound Proof:

(the following statement is extracted from Acoustic 101(Auralex) by Eric T. Smith, page 6 . 2014).

• When sound strikes a surface, some of it is absorbed, some of it is reflected and some of it is transmitted through the surface. Dense surfaces, for the most part, will isolate sound well, but reflect sound back into the room. Porous surfaces, for the most part, will absorb sound well, but will not isolate.

• The best way to stop sound transmission through a building structure is to isolate the sound source from the structure before the structure has a chance to vibrate.

• Walls need to be isolated from ceilings and floors, usually by means of dense, pliable rubber.

• The main ways to minimize sound transmission from one space to another are adding mass and decoupling.

• Limp mass is most often better than rigid mass (actually, a combination of the two is really what you are after).

• Every object, every construction material has a resonant frequency at which it is virtually an open window to sound — kind of like a tuning fork that “sings” at its particular resonant frequency.

• Different materials have different resonant frequencies.

• Trapped air (a.k.a., air spaces and air gaps) is a very good decoupler.

• Airtight construction is a key concept. Sound, like air and water, will get through any small gap. (Sound can leak through openings as small as 1/32” – in some cases even smaller.)

• Sound bounces back and forth between hard, parallel surfaces.

Soundproofing is not an easy Job and it is recommended to refer the job to professional team or acoustic consultant who has experience building soundproof structure. It should by no mean attempted by DIY or laymen as there are many areas if not done properly can cause sound to leak through gaps or flanking path or faulty structure which may cost more to amend then to build. In addition, there are measurement (acoustic report) need to be carried out before and after the job is done.

Reference :

Acoustic 101, Practical Guidelines For Constructing Accurate Acoustical Spaces by Eric T. Smith Edited by Jeff D. Szymanski, PE July 2004 Version 3.0

Build an Online Radio

2020-05-27T03:22:00.004-07:00

For those who are planning or about to plan to start an online radio, the above info will get you run at no time. Call the number or whatapps +60162798533 (Ts.C. G. Simon, Senior Broadcast Engineer) . We will help you get started and assist you in whatever question you may have regarding online radio.

Guide to Mixing by Soundcraft

2017-06-27T22:00:00.003-07:00

The Soundcraft Guide to Mixing

Soundcraft Mixers
17 videos
173,834 views
Last updated on Jun 29, 2014

A great introduction to "how to use a mixer for live music production", for novices, or to get tips, or as an educational aid for Media Colleges and Schools.

Even though the last update was in Jun 29, 2014 but the information provided in most of the videos are still relevant for beginners or armature or even for the experience sound engineer.

Handy dB Reference Chart

2015-01-20T18:20:00.001-08:00

I have enclosed herewith one of the notes from the Seminar I did years ago in Sound Reinforcement System. I Thought this might be handy for those who wants to know how much power increase in relation to dB increase.

Simple Tools

2014-06-23T17:58:00.000-07:00

At present day, most of us involve in audio reproduction will certainly encounters problem with managing the audio for reproduction or processing. For instant, one of the most common fault is to do with ground loops which caused buzz, hum or hissing. A simple thing like cable defect, mismatch audio input level, improper cable conversion form balanced to unbalance, improper audio splitter can more or less introduce undesirable audio i/o which can degrade the quality of the audio.

An example of such tools are: Rolls BUZZ OFF HE18, Rolls Cable Detect CT1 PRO, Behringer ULTRA-DI20, behringer CT100, Henry Engineering PatchBox II, galaxy Pro JIB/S 4 Way Splitter.

Hence, the following simple solution can somehow improve the audio ( i.e. removes buzz, hum caused by ground loop, matches level, detect faulty cables, convert high level to low level and so on and so forth). I will discussed each one of these tools later. So in the meantime, stay tune.

Newly installed Broadcast Conty

2013-12-30T04:19:00.001-08:00

We have successfully completed the job of installing the above On-Air Studio on the 8 Jan 2014. This on-Air Studio is ready for use. Notice the mixer is embedded into the table and look more tidy without all the cables laying around/on the tabletop.

The conty is equipped with the latest professional broadcast equipment from branded name such as AKG, Allen & Heath, Warfadale, Behringer, HP workstation, Presonus, Dell workstation, Arrakis System ( Radio Assist Application ) and so on.

Partially completed broadcast conty (refer below), just few days before Christmas ( on the 23 Dec 2013 ).

As seen above, the student are trying out the soon to be completed broadcast equipment.

Radio Online Streaming Part 3

2013-10-08T07:03:00.001-07:00

Steps 3:

WINAMP STANDARD (to download go to http://www.winamp.com/media-player/all ) Once you have successfully downloaded the application and you may run the setup program as shown graphically below:

A ) Go to www.winamp.com/media-player/all and
Click the “ FREE DOWNLOAD” to download the
application.

B) click OK.

C) Click “Next”

D) Click “ I Agree”

E) By default the destination folder of the
Winamp shall be located at c:\Program
Files\Winamp…you can change the location
but not necessarily, it best to leave as it is.
Click “ Next” to proceed.

Constant Voltage Speaker System

2013-09-12T07:45:00.001-07:00

Recently I was involved in setting up an audio distribution system (100V) and the hardest part is to choose the type of speakers that suit the client requirement such as wide dispersion speakers, horn type speakers, indoor and outdoor type, interior type wall mount speakers and so on and so forth. In the end I manage to figure it out and the result is shown below:

The total power of the speakers is 91Watt which is less than the PA Amplifier output power of 120Watt. The system should function as required and what important is the client satisfied.

Online Radio Connectivity using Behringer UCA222

2013-08-22T16:49:00.001-07:00

I found that the easiest method to connect an analog audio mixer to PC is using an audio interface and in this case I am using the UCA222 from Behringer. The UCA 222 use two sets of unbalanced RCA namely Input RCA ( L&R) and Output RCA(L&R). Download the Behringer UCA222 manual for more info. Impedance mismatch is the most troublesome problem ( i.e. Hum, distorted, imbalanced audio level ..etc.) especially if you are using external devices such as CD player, IPod, Ipad and similar to generate audio into line in of Laptop or PC. Now this can be minimized if you use UCA222. Try it to believe.

How To Configure Shoutcast

2013-08-22T01:55:00.000-07:00

Reference: Extracted from www.shoutcast.com/‎

What is SHOUTcast?

SHOUTcast is a free-of-charge internet DJ solution. It allows anybody on the internet to broadcast audio from their PC to listeners across the globe. SHOUTcast relies on MP3 or AAC technology to deliver audio in a live situation. If you prefer to broadcast from your pc to your listeners the information below will have you broadcasting in no time. You may also switch between live and auto dj if you plan to broadcast live shows from your studio.

SHOUTcast DSP Plug-In for Winamp 5.x

SHOUTcast DSP Available

We're pleased to announce the release of SHOUTcast DSP 1.9.0. This release includes support for streaming in AAC+. Note that the client will also need to support AAC+ (we recommend last version of Winamp).

SHOUTcast DSP 2.x.x for Winamp: Download ShoutCast DSP 2.x.x
This is currently available for Windows. UNIX/Linux/etc version coming soon.

Step 1

Once the download has completed, you will need to install the software. Verify that Winamp is not running, then double click on the installer that you downloaded and follow the on-screen instructions. When the installation process has completed, start Winamp and open your preferences. Click on "DSP/Effects" in the menu to the left, and highlight "Nullsoft SHOUTcast Source DSP v2.x.x [dsp_sc.dll]". When you have selected it, a new window should pop up. You may now close your preferences window.

Step 2

Once you have highlighted the proper row, a dialog box will pop up. This is the main SHOUTcast DSP window. Here, you can configure the server, encoder, and audio settings that you will broadcast with. You can stream more then one kbps rate by setting up more then one Output account. This is common with broadcasters who wish to broadcast a high bandwidth stream for pc listeners and a lower kbps rate (like 64 kbps aac+) for listeners on mobile devices.

Step 3

Select the "Output" tab at the top of your DSP window. Select "Output 1" under the selection box, and fill in all of the following fields properly.

Address:
Here, you need to enter the server that was given to you in the welcome email you received from ReliaStream. Your radio address will vary and it depends what server your station is set up on. be sure to look over your welcome email for all of your station details. Make sure that you put in the proper server, or else you will not be able to connect. See our example pictures.

Port:
In this field, you need to enter the port that was given to you in your welcome email. It should contain 4 numbers. Once again, this must be set properly or else you will be unable to connect.

Password:
Last, but not least, you need to set the password that was given to you in your welcome email, or the one that you changed it to. Enter this here, and make sure there are no mistakes.

Step 4
Yellowpage setup (streaming server display details) Click on the "Yellowpages" tab right above where you entered all of the previous information. If you'd like your server to be listed in the SHOUTcast directory, check the "Make this server public" box, and fill in all of the information below the box in a proper manner. If you do not have a web site you should at least enter your Stream Start Page. This is located in your radio account (under Quick Links).

Step 5
Encoder Settings (select streaming audio format) Select the "Encoder" tab at the top of your DSP window. Choose the Output # you wish to work with. If you only have one station then choose Output 1. The Encoder Type can be set to either MP3 or AAC+. In most cases it will set to MP3. If you plan to stream 64 kbps aac+ then select AAC+ as your encoder. The higher the kbps rate the better the sound quality. Only enter the kbps rate you purchased!! If you try to stream at a higher kbps rate your account will be suspended automatically. MP3 audio sounds very good and is compatible with just about every media player on the market. AAC+ is only compatible with Winamp and Windows Media Player (with a plugin), but sounds much better at lower qualities. Be sure to choose wisely. In the Encoder Settings dropdown, select the bitrate that you ordered from us, and be sure that the line you selected has "Stereo" at the end, so individual sounds will come out of both of your listeners speakers.

Warning: If you stream at a bitrate higher than what you have ordered, your account may be deactivated or suspended by the shoutcast hosting service.

Step 6

Go back to the "Output" tab in your DSP window. Make sure "Output 1" is selected, and then click the connect button. In the status box above the button, if you are connected you should see an update in the Status section (time and then "Sent xxxx bytes"). You may have to start your radio software before connecting to get this to work properly. Make sure your radio server is ON and AUTO DJ is off or deactivated before trying to stream live. Most people having problems streaming live (99.9% of the time) have a setting wrong. Check all of your settings. If you are still having trouble connecting let us know and we will do our best to help you. Once you are connected you are ready to broadcast. Please view all of our help guides. There are many things to consider when streaming live and many things to watch out for. USA clients should choose one of our USA servers when broadcasting live. Overseas clients should choose our European server to broadcast to. Make sure you modem can handle the constant upload and make sure your modem provider allows constant uploading. If you have any questions be sure to ask our support team... Good luck and happy broadcasting!!

Still can not figure it out? Ask us about our Remote PC Support

Remote PC Support

If you are not able to connect to your radio server we can log into your pc remotely (but this is chargable to you) and set it up for you. The service fee for Remote PC Support is RM100. This is a per connect fee so we suggest you save the settings so we do not have to log back in. Contact us if you need this service.

Embeded Media Player on your website using HTML scripting:

<center class="style16"><strong><a target="_blank" href="http://www.YOURWEBPAGEHERE.com" mce_href="http://www.YOURWEBPAGEHERE.com">YOUR WEB SITE HERE - YOUR SLOGAN HERE </a></strong></center> <center><a target="_blank" href="http://www.ampedfm.com" mce_href="http://www.ampedfm.com"> <img border="0" src="http://www.reliastream.com/november/images/reliastreamlogo.png" mce_src="http://www.reliastream.com/november/images/reliastreamlogo.png" width="478" height="88"></a></center> <center> <span class="mceItemEmbed" allowScriptAccess="never" allowNetworking="internal" enableJavaScript="false" allowScriptAccess="never" allowNetworking="internal" allowScriptAccess="never" TYPE="application/x-mplayer2" PLUGINSPAGE="http://microsoft.com/windows/mediaplayer/en/download/" ID=MediaPlayer Name="mp_330916561" Width="478" Height="26" Src="http://www.reliastream.com/cast/tunein.php/ampedfmcountry/playlist.asx" mce_Src="http://www.reliastream.com/cast/tunein.php/ampedfmcountry/playlist.asx" AutoSize="1" AutoStart="1" ClickToPlay="1" DisplaySize="0" EnableTracker="0" Mute="0" PlayCount="1" ShowDisplay="0" ShowGotoBar="0" ShowStatusBar="0" ShowTracker="0" ></center> <center class="style16"><a target="_blank" href="http://www.YOURWEBSITEHERE.com" mce_href="http://www.YOURWEBSITEHERE.com"><strong>Place this station on your web site or web page!</strong></a></center>

Radio Online Equipment Setup

2013-08-22T01:11:00.000-07:00

Hi There, this is another way to setup the equipment used in your online radio. I ve used this similar setup before to run an online radio and it works i.e. no feedback, no delays, however if you blast the monitor at high volume during live then doing that will cause an ear piercing feedback. But other than that it run without hiccups. Keep in mind that It is important to choose or select your radio automation software wisely. I recommend you use Jazler radio automation or if you prefer use ZaraRadio (free for lite version).

Radio Online Streaming Part 2

2013-08-06T01:07:00.002-07:00

Welcome back Folks, now if you choose to use TYPE II connection, it is crucial that before we begin setting up the hardware,I should mentioned here the importance of a good audio interface module (here we recommend you to use Behringer UCA 222) as this will greatly affect your online radio stability (latency and audio loop) especially if you are using only one desktop or laptop to run both audio streamer and Playlist or radio Automation.

Assuming that you have the entire hardware ready (except the guitar and the additional desktop as both of these items are optional), you will find it easy to make the connection by referring to the diagram shown in basic online radio.pdf. ( refer to Step 1 Radio Online Streaming ).

Do quick checking to all connectivity of the system before you switch on the power. If the connection is done properly and all items are in working condition, there should be no problem (I hope so). Next steps may need you to download (assuming that you have not yet downloading the applications) and runs the setup program of these applications:

Steps 3: Next...

Radio online Streaming Part 1

2013-07-14T02:22:00.001-07:00

I wrote this tutorial few months ago and I guess it will be cool to publish it for the benefit of everyone who wants to learn how to setup their online radio.

TYPE 1


TYPE 2

STEP 1: ONLINE RADIO TUTORIAL:

Hi everyone, now let me see where should I begin? Ok are you ready, relax, if you find it difficult to follow do not worry, it will be easy once you get hold of the concepts and the secret ( actually it is not a secret at all) behind this mysterious and confusing topic. Technically the steps to setup an online radio is not that difficult at all.

This tutorial shall also involve setting up shoutcast hosting server (in my experience, with RTM, it is more reliable to host the shoutcast server elsewhere rather than running your own shoutcast server. This is mainly because of certain limitation i.e. limited listeners and streaming instability and others matters concerning server maintenance and servicing. Unless you have a very big dedicated broadband line in the region of 30MB and above and of cause you need highly knowledgeable technical staffs to look after the server.

You better off in my opinion to let the server side taken care by other so that you are free to concentrate the content of the online radio rather than wasting time doing the maintenance i.e. troubleshooting and related matters just to keep the server running. Believe me, I was there before and it gives me lot of sleepless night and headache.

Just in case, you may also need to understand what is shoutcast, if you are being asked to explain later.

What is SHOUTcast?

SHOUTcast is a free-of-charge internet DJ solution. It allows anybody on the internet to broadcast live audio/shows from their PC to listeners across the globe. SHOUTcast relies on MP3 or AAC technology to deliver audio in a live situation. If you prefer to broadcast from your pc to your listeners the information below will have you broadcasting in no time. Find more info at www.shoutcast.com.

An online radio is little bit easier to understand if you study the diagram (two configuration to choose) as per attachment (TYPE I.pdf and TYPE II.pdf as above).

The hardware consists of the following items:

a) Basic Behringer one channel microphone Model Behringer UB502

b) Behringer USB Audio interface UCA 222 (Ultra-Low Latency 2 In/2 Out USB Audio Interface with Digital Output). Please refer to attachment for more info. (for TYPE II only).

c) OPTIONAL : Desktop PC for Playlist or Radio Automation

d) Cables : 3.5mm stereo jack to TRS jack / RCA ( left and right)

e) Dynamic Microphone : Shure SM58 (made in Mexico) or equivalent

f) Studio Headphone (any good studio /semi pro headphone).

g) Active studio Monitor

h) Laptop or desktop for Audio Streamer ( win 7 OS )

i) OPTIONAL : Others accessories : guitar, sound generator…etc

The Software consists of the following:

a) Winamp Standard (go to http://www.winamp.com/media-player/all to download )

b) SHOUTcast DSP Plug-In for Winamp ( go to http://www.shoutcast.com/broadcast-tools to download )

c) Registered with free shoutcast hosting for training purposes at http://www.listen2myradio.com/ and choose and click “sign up for free account” and follow the instruction to setup the free shoutcast hosting server.

Once you have gather the above hardware and software requirement, then the following steps is to setup the said hardware and software. So are you ready to go to the next steps? Or perhaps you want to stop here for a cup of coffee, watch TV or something to relax you.

NEXT is Step 2.

Presonus Studiolive 16.0.2

2012-12-13T00:40:00.000-08:00

Recently we managed to get hold of the Presonus StudioLive 16.0.2. We installed the soft bundles that come together with the mixer and within minutes the mixers are set and ready to record. The mixer is easy to operate and the sound production is fantastic, comparable to high end digital mixers such as protools (obviously protools have more features and more powerful than this mixer and not so user friendly).

But for layman or musician who want to experience using digital mixer, this is the mixer I recommend you to try. Once you get use to the operation, you will notice that it is the same as using an analog mixer but with digital features. The VSL software is great and it helps you see the overall setting of the mixer i.e. it shows you what features or setting is currently in use or active. It is like using a digital mixer but feels like an analog mixer.

Presonus StudioLive 16.0.2 features:

8 mono mic/line channel inputs, each with:

· High-headroom Class A XMAX™ mic preamplifier

· XLR mic and balanced ¼" line inputs

· 60 mm precision fader

4 stereo line channel inputs, with:

· High-headroom Class A XMAX™ mic preamplifier (Ch. 9, 11, 13, and 15)

· XLR mic inputs (Ch. 9, 11, 13, and 15)

· Balanced ¼" line inputs (Ch. 9-16)

· Unbalanced RCA line inputs (Ch. 13-16)

· 60 mm precision fader (4 stereo)

· 4 Auxiliary buses (pre/post-fader send)

2 Internal FX buses and 2 stereo 32-bit digital effects processors with customizable reverb and delay presets.

Fat Channel signal processing on all channels and buses, with:

· 3-band semi-parametric EQ (individual band on/off)

· Full-featured compressor

· Gate

· Limiter

· Phase reverse (12 mic preamplifiers only)

· Pan with dedicated 15-LED display

· Stereo link for input channels and aux buses

· High-pass filter

31-band stereo graphic EQ on each main channel (on main outputs only)

PC communication via 16-in/16-out FireWire recording interface (24-bit/44.1 kHz and 48 kHz)

Scene store and recall - Settings can be copied among channels and buses and saved as user presets.

Software bundle for Mac® and Windows® includes:

· PreSonus Studio One^® Artist digital audio workstation

· PreSonus Capture™ live-recording software

· PreSonus Universal Control with Virtual StudioLive™ bidirectional mixer-control software

· Free downloadable software from the Apple App Store provides wireless remote control, including:

o PreSonus StudioLive Remote for iPad®

o PreSonus QMix™ for iPhone® and iPod touch®

Lockout mode protects your settings from meddlers and accidents

MIDI Control Mode provides control over:

· Scene and FX Preset recall

· Main Volume, FXA, and FXB output levels

· FXA and FXB assign/unassign to Mains

Newly installed Recording Studio

2012-01-09T05:14:00.000-08:00

We have recently successfully installed the new Recording Studio at JHEAINS, Wisma Muis, Kota Kinabalu, Sabah. Malaysia on Christmas eve ( 24 Dec 2011 ). As shown in the images, the studio consists of professional equipment e.g. KRK VXT-6 Powered Monitor, Studio Project Condenser Microphone B1, MXL 770 Conderser Mic, DELL High Performance Desktop with 5GB Ram, Sony MDR-7506 Studio Headphones, Fortex CR400 CD recorder, Microboard CD Duplicator and the heart of the whole system is the Presonus Digital Mixer 16.4.2. It also has a broadcast tools telephone Hybrid.

The whole system works just fine and ready to record. It has been a great pleasure for us at ACE for being able to provide and setup a simple but sufficient recording studio for voice and instrument. We take pride in our job and looking forward for others similar or more advance recording studio.

Audio and Video hosting for only US$1 a month

2011-09-14T01:44:00.000-07:00

For those on the budget, you can click the link below to know more about this site that offers affordable and reliable audio and video hosting. In addition to this, the site provides you with plenty of tutorial and how to, steps by steps to setup, configure the tools used in online radio i.e. winamp, DSP plugin and so on. The instructions are explained in a simple step by step approach. here are some of the useful link to the site that might be of interest to you. Try it and find out.

ReliaStream .com Home Page
ReliaStream.com Knowledgebase
ReliaStream.com ShoutCast DSP Help
ReliaStream offers a variety of servers to it's clients
ReliaStream Affordable Audio Hosting Plan

As Low As $1!! You can start your very own radio station for only $1 USD a month. The company ( www.reliastream.com) offers an affordable rates, reliable servers, and excellent customer service will have you broadcasting in no time. Instant account set up once payment is made!!! . Now that what I called fast and simple.

NEW: ReliaStream now offers Centova Cast and WHMSonic radio plans. All radio servers on powerful 1000 mbps servers. We also offer web hosting for only $3.99 per month!! Over 450 clients broadcasting on the ReliaStream network. Stop paying to much for your internet streaming.

Main component in an Online Radio or Internet Radio

2011-09-05T21:39:00.000-07:00

When you search and google online radio, you will be amazed the numbers of result you will get (if you google of course). This shows that online radio is very common, in fact it is a norm nowadays. Whether an individual, organization or government and private sectors, almost all of them have their own online radio as a mean of communication, promotion or simply conveying messages to the public or their client.

What are the components that involved in forming a system of online radio or internet radio? Here I have listed and show you the most common used component.

Audio Mixer preferably with built in USB connectivity for you to easily connect the mixer to a laptop or desktop via USB (equipped with USB cable) i.e. Alesis Multimix 4 USB or better.
Telecommunication Broadband (dialup or fixed) preferably with minimum of 512kbps uploading speed or more with modem. Wireless broadband can be used but not quite stable and it can interrupt your streaming or uploading of audio to shoutcast hosting server.
One unit of Fast laptop (preferably 2 core processor i.e. 1.6Ghz CPU or better) or fast desktop (preferably 2 core processor i.e 2Ghz and above).
One unit of microphone (preferably low impedance) i.e. shure SM58 or condenser microphone i.e. Audio Technica AT2020. Additional microphone is required for guest if required.
Subscribed to shoutcast hosting services. This is required for you to broadcast your online radio to the internet for the whole world to listen.
Download the free audio streaming application i.e. winamp at http://www.shoutcast.com/. Alternatively you can buy SAM Broadcaster at http://spacial.com/sam-broadcaster-shoutcast-discount/.
Download Free internet radio automation system i.e. download at http://www.radiodj.ro/wp-content/plugins/download-monitor/download.php?id=3. But if you already purchase SAM Broadcaster, this is no longer required.
Song material (preferably in MP3 format)
One unit of Headphone i.e. Shennheiser HD202 or Koss UR29 Studio Headphones.
One unit of Desktop Microphone stand i.e. Atlas Sound DS7 or similar.
Domain name registration. You can name for your online radio station i.e MyBigVoice.com, MelodyFmRadio.com or anything which reflect your online radio identity. You can register domain name of your choice at www.godaddy.com or any other domain registration provider.
Subscribed on website hosting i.e. http://webhostingworld.net or other hosting provider you preferred.

Well, that wrapped just about everything that are required to setup a simple or basic online radio system. The next steps will be to perform connection, configuration and setup of the items listed above.

Affordable , reliable audio video broadcasting hosting : www.reliastream.com

SIMPLE DEVICE FOR ONLINE RADIO BROADCAST OR INTERNET RADIO

2011-08-01T21:11:00.000-07:00

This is a simple setup with minimum devices for basic online radio or INTERNET RADIO. The iO2 EXPRESS contains high-quality components and circuitry suitable for the studio, compact and provides simple 2 channel mixer for audio-recording interface for home studios, as portable recording devices and also for basic or simple online radio setup.
This device enables you to record at up to 24-bit resolution for input into virtually all DAW, recording, and performance software. Yet it is small enough to comfortably fit into your mobile recording rig, laptop bag, or backpack, yet contains high-quality components and circuitry suitable for the studio.

In short, you have a mobile recording as well as online broadcast studio (using fix or broadband telecommunication lines) with you all the time.

Main Features of iO2 Express:

a) Record up to 24 bit resolution

b) Built in preamp and true 48V phantom power.

c) Analogue to Digital Converter as well as Digital to Analogue Converter.

d) Plug and play with virtually any computer.

e) USM bus powered with minimal laptop battery drain.

f) XLR mic input and ¼” TS jack line level sources

g) Direct connection to Guitar or keyboard or other line level music devices.

h) MIDI in and OUT

i) Headphones output

j) Monitor output via ¼” balanced outputs.

k) Channel gain trim control and master level control for optimum gain staging.

l) Tricolor, stereo metering tree and lighted status indicators.

m) Include Steinberg Cubase LE digital audio workstation software.

n) Compatible with virtually all audio and MIDI software.

More information of iO2 EXPRESS can be found at http://www.alesis.com/io2express
However to enable the iO2 Express to send and receive signal, it requires the following setup depending on your OS:

WINDOWS 7:

1. Use the included cable to connect the iO2 EXPRESS to your computer.

2. Go to Start Menu = > Control Panel = > Hardware and Sound = > Sound.

3. Click the Playback tab and select USB Audio Codec* as the default device.

4. Click the Recording tab and select USB Audio Codec* as the default device.

5. Click Properties in the lower right-hand corner.

6. In the new window, click the Advanced tab and select 2- channel, 16-bit, 44100 Hz (CD Quality) as the default format.

7. Uncheck both boxes under Exclusive Mode.

8. Click the Levels tab and set the slider to "4."

9. Click OK to close the Properties window.

10. Click OK to close the Sound control panel. io2

WINDOWS XP:

1. Use the included cable to connect the iO2 EXPRESS to your computer.

2. Go to Start Menu = > Control Panel = > Sounds and Audio Devices.

3. Click the Audio tab.

4. Under Sound Playback and Sound Recording, select USB Audio Codec* as the default device.

5. Click OK.

Before you can stream or broadcast online you need to subscribe shoutcast hosting packages i.e. 32kbps 300 listeners (minimum requirement), download winamp and DSP plugin ( you must have a broadband connectivity or fixed broadband line to access the internet). If the application is setup properly you will be able to stream and therefore broadcast through internet.

You can learn to setup by clicking How to Broadcast to your Shouthosting Server using winamp ?

Check out BSW for a wide selection of professional audio, recording and broadcast gear at great prices.

Minimum PC Requirements:

• Pentium III 450 MHz Processor

• 128 MB RAM

• Available USB 1.1 Port

• Windows XP (with Service Pack 2 installed)

Recommended PC Requirements:

• Pentium 4 or Athlon Processor

• 512 MB RAM

• 7,200 RPM Hard Disk Drive

• Available USB 1.1 Port

• Windows XP (with Service Pack 2 installed)

Minimum Macintosh Requirements:

• Any Apple computer with native USB support

• Mac OS X "Jaguar" version 10.2 or later

• 128 MB RAM

Recommended Macintosh Requirements:

• G4 733-MHz Processor or faster

• 7,200 RPM Hard Disk Drive

• Mac OS X "Jaguar" version 10.2 or later

• 512 MB RAM

Requirement for Internet Radio Station

2011-07-13T02:43:00.000-07:00

Click here for FREE Radio Automation Software

In principle, radio online is not far different from the commercial radio station. They are both using more or less the same technique or procedures. To some extent, the equipment used is almost the same. The only thing that keeps them apart is the size of the equipment used i.e. commercial radio station have more than one on-air studio, several production/editing suite, recording studio and ingest suite.

Unlike commercial radio, online radio usually requires one on-air studio only. This is because, one person can runs the online radio without much hassle as compare to commercial radio where they normally hire few personnel to look after the engineering as well as the programme side.

In other words, online radio is much simpler to manage (less man-power, lower operating cost and so on). All you need is as follows:

Studio equipment such as broadcast mixing console – usually 4 or 8 channel analogue with USB connectivity is sufficient.
One or two studio microphone (dynamic will do fine, condenser is preferred).
Low impedance Headphones (usually 50 ohms).
Microphone’s stand (adjustable boom-arm type).
Microphone cables and few audio cable for interfacing, PC desktop with USB, preferably large hard-disk capacity for audio storage, more than 400GB is better ( in MP3 or others audio format) and audio card.
Winamp (free to download) for streaming audio.
Audio broadcast automation software and your creativity.
Broad band subscription (one year minimum)
Domain name registration ( name of your radio station e.g. samsonRadio.com or DoggieRadio.com)
Last but not least, shoutcast server hosting.

Click here for a wide selection of broadcast equipment at great prices.

Search Amazon.com for broadcasting
Assuming you don’t want to run your own shoutcast server ( running your own server usually limits the number of listeners unless you have a very large fix or dedicated business broadband in the region of 10Mb or more) which is very tedious and can be expensive. My advice is better to rent or subscribe server hosting. Believe me, I have been there before, I know what I am talking about.

Again, if you find it very troublesome to follow and execute the procedures, do not be despair, call us and let us guide you.

Procedures to setup an in-house or small commercial Radio Station

2011-05-17T04:46:00.000-07:00

Typical Block diagram of Broadcast Radio Automation System

Introduction

This serves as a brief explanation in setting up an in-house Radio Station complete with the necessary audio/video distribution system and also an option to setup a small size commercial radio station. This simple guide however is not meant for complete or detailed procedures.

Setting up a commercial radio station involves many complicated aspects such as details engineering design, management structure, administration, program production and finances. Therefore a more thorough planning approach is required which involves complex broadcast planning and development. Furthermore it may also involve licensing issues as well as terms and regulations enforced by the current federal government.

The following pages are presented in a manner that is short, simple and in bullet point format as not to include too many technical jargons.

If you decides to proceed with the setting up of an in house Radio Station, it is advisable to consult a professional certified Broadcast Engineer as it may involves complex issues that need to be addressed accordingly so as to avoid unnecessary problems that may halt or jeopardize the whole project.

Engineering and Technical Matter:

Basically, an in-house radio broadcast involves two major engineering tasks mainly:

1. Respective Studios / Suites.

On Air Studio (Studio I and II):

Ideally the on air studio shall be acoustically treated or soundproofed (insulated observation windows, Insulated twin doors). Air conditioning vent shall be located away from the microphones.
Suitable furniture shall be installed that are suited for studio environment.
The size of the on air studio varies but ideally not less than 10 ft x 12 ft. You can have a choice to either be one-man op (the main presenter /DJ operates the main audio console desk) or have separate control room (with equipment and technician to operate the main Audio console).

Archiving/Editing Suite:

Ideally the Archiving/ Editing Suite shall be acoustically treated or soundproofed. Air conditioning vent shall be located away from the microphones.
Suitable furniture should be installed to provide comfortable and relaxing environment.
The size of the Archiving/ Editing Suite varies but ideally not less than 10 ft x 10 ft. In general, it operates as one-man op where all the audio equipment placed inside the same room. The producer shall operate the mixing console themselves.

Recording Suite:

Ideally the recording studio should be acoustically treated or soundproofed. Air conditioning vent shall be located away from the microphones.
Suitable furniture shall be installed that are suited for studio environment.
The size of the recording studio varies but ideally not less than 10 ft x 15 ft. You can have a choice to either be one-man op (the main presenter /DJ operates the main audio console desk) or have separate control room (with equipment and technician to operate the main audio recording console)

Typical example of recording Studio

Studio equipment, distribution and transmission of Audio/ video within the building.

Audio Professional Radio Broadcast Equipment:

Radio Broadcast Audio Console (mixing console either analogue or digital), minimum of 3 ( one presenter and two guest) professional broadcast microphones per studio, three (3) Professional broadcast headphones, an amplifier and one set of studio speakers, one CD/DVDs player, DAT player, radio automation.
Optional: Logging machine or Hard Disk logging PC to record all broadcasts and usually this recording shall be retained or kept for at least 3 months. This is necessary if there is a public complaint or dispute or other matter concerning the broadcast.
Optional: Radio Automation System – This is an additional requirement to provide audio source from the audio server (songs, jingle, station ID, commercial break, news etc) via computer system and can be programmed to run automatically throughout the days.

Audio Server:

Audio server is required if you install or engaged radio automation system in your on-air studio.
Main function is to provide audio source to Audio Automation Suite (Radio Automation System) and sound editor/recording suite as well as audio media storage for recorded material (usually from sound editor suite).
Connectivity to the audio server is via Cat 5e or Fibre optic cable.
Ideally the server or clean room should have air conditioning and security access system (preferably a dedicated room to house the servers only).
It should be equipped with matching U.P.S. to provide sufficient uninterruptible power supply to the servers.
The servers shall be installed in the equipment rack.
Dedicated room, size varies, but shall have enough space to house the servers and others additional servers or workstation if necessary in the future (upgrading).

Distribution and transmission:

The program output from the studio mixing console shall be routed or channeled using quality audio/video cables to the respective in-house Audio/Video equipment located inside the rooms through the ADA/VDA devices. Proper terminations of these cables with matching connectors are required.

Radio Automation System:

This system allows the radio program runs with or without producer in the studio. The professional of Radio Automation system can be very expensive (few hundred thousand ringgit). However a reasonably priced Radio Automation can be purchased via the internet. The system however shall be installed by professional broadcast personnel to integrate with the existing radio broadcast equipment.
Most radio automation is able to stream the audio to the internet (online audio streaming).
SMS facilities (optional): This is quite common nowadays where the station is able to accept sms massages from the listener. This facility can be provided by local SMS provider.
Email address for requests/audience feedback (preferably with internet link in studio).

Transmission equipment ( OPTIONAL – does not applies to in-house radio broadcast station)

To broadcast your program (radio output), you need to install radio FM transmitter, a limiter and FM omni-directional antenna (aerial) to broadcast the program to nearby fm receiver (FM Radio).
The transmission coverage area will be determined by the radiate output power of the transmitter and the type of antenna used as well as the placement of the antenna (the higher above ground level, the further the signal will travel). The higher the power of the transmitter the wider the coverage or the further the station can be heard. The transmitter output power will determine the type of license issued by the government authority, in this case, the MCMC.

And you thought acoustics was only for concert halls!

2011-04-26T16:13:00.001-07:00

by National Council of Acoustical Consultant

We expect our indoor environments – from home to school, from office to entertainment venue – to “sound” a particular way. The office should be free from distractions. Concerts and live performances should be dynamic and clear for every seat in the house. Industrial workplaces should not damage our hearing. Acoustics plays a pivotal role in the comfort and enjoyment of our everyday lives. Acoustics is equally important outside the buildings where we live and work.

With urban growth and industrialization have come increased public concerns over noise issues relating to transportation, industry, recreational facilities, and all types of development. Good acoustical solutions may go unnoticed; poor acoustics will be recognized immediately.

As our awareness grows, so do rules, regulations, and even confrontations over sources and control of noise. The acoustical consultant combines both Science – technical expertise and practical working experience and Art – insight, innovation, and creativity to shape the sound of our environment.

Acoustics — The physical science of sound and vibration. The acoustician seeks to understand and quantify the production, control, transmission and effects of sound.

Sound — Any audible vibration transmitted by longitudinal pressure waves through a material medium, such as air or water. The perception of sound is called hearing.

Noise — Any sound that is damaging, undesirable, or interferes with one‘s hearing of a desired sound.

Acoustical Consulting — An applied science dealing with acoustical issues in real-world settings. The acoustical consultant blends precise measurement, objective standards, and mathematical modeling with the practiced art of problem solving, creative design techniques, and a highly subjective human sense - hearing.

Is Analog Audio Equipment dead or still kicking and alive?

2011-04-07T21:34:00.000-07:00

These days, high tech and complicated audio system are mostly in digital domain. Although analog audio equipment is still around they are less popular. The main reasons are because of features. Digital equipment has more features, lighter, small in size and very convenient to use. On the other hand analog equipment is heavier, big in size and less features.

Digital equipment is made of either hardware or software based or both (a combination).

As an example, the digital audio mixer, Presonus Studiolive series, it is small in size, many features built in such as 31band EQ, Effect processor and many more that you can insert to all channels mic and Line input. It is a combination of hardware and software digital audio system.

Another example is your home PC. The PC can be configure as virtual guitar power amplifier i.e. Studio Devil Virtual Guitar Amplifier. All you need is an electric guitar, audio cable, quality loudspeaker and good sound card installed in the PC and you are ready to rock n roll. It is extremely easy to setup and the sound is as good as the analog guitar amplifier.

With all these advance features of the digital audio equipment, will the analog audio equipment quickly fade away and vanish? Not so fast, In spite of all the advance features in digital technology, analog is much alive and still kicking and can co-exist in the digital domain.

For example, have you come across The VPR Alliance? No? Yes? Not sure?

Basiclly VPR Alliance is a program of standardization and consistency guidelines for manufacturers who wish to make or produce analog products designed to fit into API's 500 series rack format" (it is a type of equipment rack with built in power supply).

500-6B

6-slot lunchbox® with built-in Power Supply

This rack commonly know as lunchbook, house a variety of audio modules (compact size) including preamps, EQs, compressors and so on (kindly refers below).

With the VPR Alliance, the manufacturers who stick to the specification requirement of the rack can create Lunchbox modules set to one preferences or requirement. This format gives one the freedom to choose and match a variety of analog modules which lead into production of the desirable sound.

Personally, I am comfortable with analog audio equipment because I can actually feel them unlike the virtual digital equipment. The feel is not there, it all virtual, not real. In my opinion, Analog equipment is very far away from dead.