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Planning a Home Broadcast Studio
April 09, 2011
By Bob Burnham

One of the most frequently asked questions I get asked is what it takes to put together a home studio. 

I have very high standards myself, but a lot of people think they can assemble something “on the cheap.”  Perhaps they can, but it will never give them professional results, and it will be very difficult to use.  

They simply HAVE TO spend $300 or more bucks on the basic audio software.  Period.  They probably also need a GOOD soundcard, and NOT the $19.95 Sound blaster from Best Buy, or the built-in sound.  It may work to an extent, but it will fall short on some capabilities and may crash the computer on certain functions. 

But let’s back up and start at the beginning.

PRIORITIES & PURPOSE…
The first thing that needs to be decided is the PURPOSE of the studio.  This is directly related to what capabilities will be built-in, and what the budget requirements are going to be.  If the budget is tight, I would suggest mentally designing in your **minimum** requirements and adding more capabilities as the budget and needs allow.

An example of this is phone equipment for interview or call-in segments:  Hybrid and especially multi-line broadcast phone equipment is expensive.  If your phone interviews will only occur infrequently, put that part of the set-up aside until time (and cash resources) allow.

There is also a tendency for people to think they can locate some used equipment and save some money.  With the exception of only certain pieces, this is a mistake.

Modern technology and advanced manufacturing methods have put new equipment within the reach of almost everyone.  The latest technology will out-perform and (usually) out-last any equipment out of the past that may also be a source of problems and failure.

Today, the central piece of equipment is no longer the mixer or console (again, as determined by the purpose of the studio). 

Today, the computer is the centerpiece.

MAC OR PC?   THE DEBATE NEVER WENT AWAY…
Apple MacBooks and Mac-based systems have become popular, however, as a former Mac user, I recommend PC-based desktops if you plan to run any type of pro or semi-pro broadcast software.  

The second reason I prefer a PC is a desktop PC, if designed correctly, is less expensive and more easily expanded and serviced over a period of many years.  The Operating Systems, however, (i.e Mac OSX and Microsoft Windows 7) for general use, are very equivalent in terms of what they do and how easy they are to use.  The bottom line, however, is to choose whatever YOU are accustomed to.

Video editors seem to have overwhelmingly settled on the Mac platform, and some recording studios use Mac.  In the broadcast area, however, Windows-based systems rule. Mac users may argue and defend their platform.  A broadcast station may actually have a Mac in the Production studio, but the On-Air system runs on a PC-platform.  Sorry, but that’s the way it is.

THE COMPUTER IS THE CENTER OF YOUR UNIVERSE…
Even if you plan to produce your own music DJ shows, it usually is NOT necessary to have two CD players, or two turntables as in “the old days.”  The twist is if you plan to use the computer as both your source of audio AND your recorder, you need both a the hardware that supports it (including a soundcard or device that can handle multiple streams) AND the right software.  The second requirement for audio is more than one hard drive; preferably something faster than a USB drive.  In the case of a PC-based system, a secondary internal SATA drive will work fine in most applications.

Hard drives are inexpensive these days. Solid state drives are even better but they are currently considerably more expensive.

Having the right software is equally crucial for success, and I’m referring only to a legitimately licensed copy!  Bootleg copies are not only illegal, but not supported by the software developer. 

CONNECT IT TOGETHER!
...And don’t skimp on cabling!

It is not, however, necessary to buy the most expensive “Monster” brand, but try to avoid the Radio Shack bargain bin pieces.  Ideally, you are friends with a broadcast engineer who routinely “builds” cables from scraps around the shop.  If not, head to the website of a supplier like MCM Electronics, figure out what you need and get the credit card out.

Understand your equipment if you’re doing it all yourself:  Understand the difference between balanced and unbalanced audio, microphone and line level and how to make them all work together.

To many people, there are a seemingly bewildering details involved in assembling a studio.  There are a lot of specialized skills and knowledge required of installing pro or semi-pro hardware, but everything starts with determining TWO basic things:  What you want the studio to accomplish NOW and how much (or how little) of a budget you have to work with.  If you want it to sound as good as your local FM talk station, or network-fed show, realize some equipment is just expensive by nature and there’s no way around it.    

On the other hand, if you look at it as a project that you can assemble over a period of time, half of the enjoyment is in the assembly and anticipation!  It’s almost like putting money in a savings account, but it’s much more fun.

If you’re thinking about doing any of this and are a student or staff at Specs Howard (or simply a good friend of mine!) feel free to bounce any of your ideas off me.  Remember I am primarily an “audio” guy although I may dabble in photography, video and of course, computer-related issues. 

My old-time radio AND live music friends are in two completely different worlds altogether and I have many thoughts and experiences in these areas as well.

[email protected]
[email protected]

-Bob Burnham
  April 9, 2011

 
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by Bob Burnham
I guess you have to be "older" to start figuring stuff like this out.

As I say over and over, I've been doing what I do “for a very long time.”

I have knowledge and skills in a wide variety of areas broadcasting; some I'm better at than others, but none of it came overnight.

All those audio studios (and there's a lot of them!) at Specs Howard are my "babies," especially the ones with digital consoles (again, there's 25 of 'em!).  Over the years they get a little beat up, but they are still something that came out of cartons and became reality because of my work.  They are also works in progress.

I am grateful to TOM PROFIT who has trusted my judgement at Specs from day 1. I do have my "methods" but they are *MY* variations of what I picked up from the best in the business, and based on years of experience. As a result, I RARELY get a support call on any of the studios.  If anything, it's usually computer-related or a CD player that just died. 

I've come to realize it boils down to three people over the years whom I've crossed paths with, worked for or with at one time or another.  There's lots of other GOOD people whom I work with, but these are the top guys.

BOB SNEDDON...  was one of the earliest.  You never realize how important people like this are going to be at the time you're working with them.  For a few years before and after my commercial radio career began, Sneddon was the GM at WSHJ, where I spent endless hours hosting programs, at all hours of the night.  The format was tight hit radio and album rock.  My "Third Phone Endorsed" FCC operator license (required at that time) hung at WSHJ until I took it elsewhere.  Even after I got hired by a commercial station, I would still get calls from WSHJ:  "we're in a jam, can you do midnight to 6?"  It was such a cool station, I never said no...even AFTER I got off the air elsewhere working 6:00-10:00!  That wouldn't have happened without Sneddon. He lit the fire in me that still burns.

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JACK HOOD...  the late great programmer worked all over central Michigan and had a stop at WJR before he arrived as Operations Manager at WAAM in Ann Arbor.  Thanks to my years at WSHJ and elsewhere I fit in to his air staff like a glove, and was named Production Director within a year of being hired.  Jack took me under his wing, gave me some encouragement and a nudge:  "I think you can do this Bobby!"  And I never stopped.  At the same time, their Chief Engineer tapped into my help to install new consoles and set up remotes (while also being the on-air dude every night).  On our first meeting, we listened to a few minutes of my demo in his office together. Jack didnt say much, but hired me on the spot.   Under Jack Hood, WAAM was known as "WJR WEST."

BILL MULLEN…
  was our local consultant at WCAR many years later.  Bill is by far, one of the best engineers in the Detroit area. WCAR took me on a series of adventures over a 10 year period I'll remember for a lifetime.

Bill and I would frequently go over the facility with a fine tooth comb, not just for reliability issues but for FCC compliance. I quickly became a walking version of FCC Rules book!  WCAR had a "surprise" FCC inspection and to this day, I fully credit Bill's help for for us passing that FCC visit with "flying colors."  Bill also took me on adventures and projects at other stations and I took on many on my own. He has hung his hat at at Channel 4, WDIV for many years.

Mullen's standards, like Sneddon and Hood were uncompromising.  In later years as I undertook massive projects at Specs Howard and elsewhere, I would ask myself "Would this be good enough for Mullen?"  If it wasn't, it wasn't good enough for me.  Of those I’ve worked with, Bill was the Gold Standard as far as studio design and construction.

These became the standards which I require of any Operations Interns who work under my direction today.  There is no room for sloppy work in my world, yet at the same time, have a pleasant demeanor!

Not everyone has been as "lucky" as I, but it's really much more than just luck:  If you build a good life, good people will come. 

Thanks to everyone mentioned.

-Bob B


 
 
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BEING IN THE RIGHT PLACE
By Bob Burnham


I grew up in the midst of radio and music.  The Motown Sound was part of my background, but so was the Chicago Transit Authority album in the 1970s.

AN EARLY RADIO EXPERIMENT
I found an old raw speaker, mounted it in a shoebox, snipped off the earpiece end of the earphone of my transistor radio (which I’d won in a TV contest), connected to the speaker terminals…plugged it into the radio’s earphone jack, and of course, it worked. The “shoebox speaker” sounded better than the radio all by itself.

That was one of my earliest radio “experiments” I can remember.  I must have been about 10 years old at the time.  Throughout my life, my “experiments” got more and more advanced, until eventually I was able to earn a salary doing stuff I enjoyed doing

HOW I GOT INTO IT (GET NOTICED)
Being in broadcasting and music was just a matter of knowing the right people at the right time.  Whether I worked on those crafts as a hobby or a source of income, enough of the right people took notice, and here I am today.

I could have easily gotten work in fields that paid better, even gotten a business or journalism degree, but that’s not what I wanted..

STARTING OUT (RECOLLECTIONS)…
In the mid 1970s, Eastern Michigan University actually paid us to put in time at WEMU.

I did an afternoon show and was paid $2.90 an hour (minimum wage at that time was $2.65). I thought I was doing well, but as a Commercial Radio Guy, I didn’t quite fit into their National Public Radio “sound”!  I loved Detroit’s WJZZ, but that’s not the approach THEY wanted (and I heard about it, too!).

I’ll never forget the PD (later GM), Art Timko’s words: “So you’re leaving us to become a superstar, huh!?”   Art was a good guy though, but I was a commercial radio jock!

STILL TIME TO HAVE FUN…
Somewhere it the midst of it all, I was also spending time doing album rock overnights at Southfield’s WSHJ under Bob Sneddon.  Of course, it was a volunteer situation, but I didn’t care…in the least!  This was what I loved to do. 

(If you’re in the Detroit area, several of us from that WSHJ era are planning to take over the station on April 29…88.3 starting at 4:00)  

TREAT US WELL OR WE ARE OUTTA THERE!
Next, I was on the air mid-days at the long defunct, WBRB-AM out of Mt. Clemens, Michigan. I was paid a fixed salary of $150 per week.  There was some things I wasn’t happy about, as when I say “fixed” salary, it truly was.  Remotes were frequent and sometimes out of range of the stations’ signal.  I was expected to wear a sport coat and tie even on hot summer days when the air conditioning was busted in the remote trailer.  There were no gas allowances or talent fees, and they expected me to do shows on weekends in remote locations almost at a moments notice.  When they hired a new PD who took my shift, I was busted down to part-time and they STILL expected me to do those remotes.  I probably could have negotiated for a higher rate of pay, but I was already burned out from the whole situation. 

ANN ARBOR & BEYOND…
Being at the right place at the right time, I was introduced to Jack Hood, then Operations Manager at Ann Arbor’s WAAM.  Jack and I got along great.  He took me under his wing and soon gave me the title of Production Director at WAAM while I was also on the air full time.  Those years I always say were career highlights.  I don’t even remember what I was paid, because it was never about money.  Hearing tapes of my work at that time, you can tell I was having a good time.  Not every day was great and after Jack and our original General Manager left, I saw the end of my time there closing in.  

It took a while, but eventually I hooked up at WKHM in Jackson Michigan, briefly got rehired at WAAM, and after a few more stops, wound up at WCAR in the Detroit area, and the story goes on from there.  Every station that actually hired me for money came from contacts I had developed or again, being in the right place.

It’s not about how good you are, what your demo sounds like, or how fancy your resume is.  Those things certainly help, but mostly it’s about the people you know and being in the right place at the right time. 

There’s a lot of people who helped me get to where I am, and you will encounter similar people down the path of life if you pursue it to the extent I did.  If you want to make a lot of money especially in the beginning, you’d better find another business.

But if you want to be involved in a tough meaty business that you can really sink your teeth into, and hang with some of the coolest people anywhere.  Do what I did:  Go radio. 

Just make sure you develop those CONTACTS!