BroadCast gear 4 the recording studio..

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sun Jan 22, 2006 1:07 pm

well that orban got me thinking...
soo hows about a discussion of broadcast boxes that stomp for the studio?

the re-20 seems like good start
then theres the neve broadcast consoles....the free-for-all is on!

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sun Jan 22, 2006 1:14 pm

witness the depths of radio geekery!!
oh there were some wet geek panties over this picture!!

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sun Jan 22, 2006 1:16 pm

oh and this one...SCIENCE!!! meh!

Professor · Post by **Professor** » Sun Jan 22, 2006 7:39 pm

We owe so much of our technological heritage to radio, which I suppose isn't so surprising, or at least not as surprising as what we owe to the telephone industry.

As for gear, yes the RE-20 and the Shure SM-7b are two that come to mind easily. All those Orban products, lots of Marantz stuff, anything with an RCA badge on it, and of course anything that is portable & battery powered for recording draws a line back to news gathering. I'm pretty sure all that old Gates and Fairchild stuff was for broadcast first, as are lots of goodies. And it goes right on down to conceptual stuff like faders, 'cue' systems, compressors, cross-fades, and other basics we take for granted.

From the telephone end, we're talking really fundamental and profound shit like "600-Ohm impedence" (or was that telegraph?), the patchbay, the 1/4 "PHONE" plug, balanced wiring, hell even the microphone, and so much more.

-Jeremy

cgarges · Post by **cgarges** » Sun Jan 22, 2006 7:40 pm

I can't imagine doing VO work without a U87, an RE20, and an LA4.

Chris Garges
Charlotte, NC

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sun Jan 22, 2006 11:50 pm

well good..... this is a nice start...
i only assumed this would start off with a gear freak out...

the radio....well.....
people assumed that those static signals and squeals were the souls of the dead when they heard them...the strange static....
craig baldwin 1997 Spectres of the Spectrum
and Erik Davis..add such nice take on early attitudes to wireless...
i like to think of wide eyed confusion at the dawn of electricity...

The War Of the Worlds...that and the hindenberg are part of the modern era..

theres this story about the early alexander g.bell experiments...
something about corpses...

I'm Painting Again · Post by **I'm Painting Again** » Mon Jan 23, 2006 7:23 am

lectrosonics makes great wireless systems we use them on the ENg cameras here..they are 2-3k a kit..but they sound like wire and they have great features and quality..setting up remote chamber reverbs with a wireless system is kind of a sweet idea..

Professor · Post by **Professor** » Mon Jan 23, 2006 12:44 pm

r0ck1r0ck2 wrote:there's this story about the early alexander g.bell experiments... something about corpses...

Early on when he was experimenting, I believe with one of Edison's early phonographs, Bell extracted the full outer and inner ear from a corpse and connected what I think was a phonograph needle to the three bones of the inner ear to use the whole biological mechanism as a microphone.
I might be mistaken, and perhaps that was somehow a telephone experiment with an electrical part attached to the bones, or it may have been earlier and setup to draw sound waves on pieces of carbonized paper where they could be "recorded" though not played back, but either way, the use of the dead man's ear remains.

Good thing that never went into production. Imagine having to tell your singer to get right up and eat the mic when the thing is a disembodied ear that stinks of formaldehyde.

-Jeremy

joel hamilton · Post by **joel hamilton** » Mon Jan 23, 2006 5:04 pm

Bell labs made more advances in sound reproduction than anyone, as far as I know....

Even digital audio as we know it today was pioneered by someone at bell labs in the 30's!!!

Amazing.

All my favorite compressors/limiters were originally intended for use in broadcast.

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Mon Jan 23, 2006 5:05 pm

yep..thats the one...i'll pull out the book onnit later but uts definately along those lines...creepy
of course i love this story..

Judas Jetski · Post by **Judas Jetski** » Mon Jan 23, 2006 6:49 pm

Got me a bunch of post-broadcast gear from local radio/TV station:

dbx 142 (type II broadcast NR)

Shure SE-30

Couple of Gates Solid Statesman comps and a couple of Gates FM Limiters to boot

and get this an Orban Stereo Synthesizer (model 245f).

Got no idea what I'm gonna do with most of it (well, I got some idea on the Gates stuff). I'm still trying to figure out how to hook the 142 up to those human ears I'm running for monitors.

(Don't worry, they're still attached to my head.)

cgarges · Post by **cgarges** » Mon Jan 23, 2006 7:26 pm

Andy Smash wrote:an Orban Stereo Synthesizer (model 245f).

I have one of those. They rock!

Chris Garges
Charlotte, NC

Mark Alan Miller · Post by **Mark Alan Miller** » Mon Jan 23, 2006 9:21 pm

cgarges wrote:
Andy Smash wrote:an Orban Stereo Synthesizer (model 245f).
I have one of those. They rock!

Me too! Really oddball stuff can be done with that. (Sometimes I'll use it on an insert and return one side or the other to shape something. Wild. Other times I'll send one side of it to one effect, the other to another... Tweaky.)

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Mon Jan 23, 2006 9:46 pm

i was looking at those this morning...
what the hell are they for (orban synth)

Professor · Post by **Professor** » Mon Jan 23, 2006 11:22 pm

Andy Smash wrote:and get this an Orban Stereo Synthesizer (model 245f).

Oh yeah, I remember spending a bit of time on the eBeast a long while ago trying to track one down, but I was never able to get one for anything I considered reasonable at the time. Now that you remind me I suppose I'll have to take another look around and see what I can find.
I saw an ad once in an old magazine where they advertised it towards the early MI/home-recording market as "Your 5th (or 9th, or 17th) Track" implying that you would record mono in place of a typical stereo source like a drum overhead or keyboard or whatever, and then route that mono signal into the 245f on mixdown to get a simulated stereo out of it.
If I remember right, it's kind of a combination of effects in there, right Chris? Like a little EQ, delay, phase-shiftin', etc.
Either way, when I was running around doing location work with only an 8-track it had lots of appeal - and not as much (at least in a pressing sort of way) now that I have a stoopid big track count.

-Jeremy

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BroadCast gear 4 the recording studio..

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