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The Studio - Television Production

Here is info written with you in mind, you, the community access television supplier. Whether you film in Brooklyn, Manhattan, Bronx, Queens or Staten Island, if you are studying television production as well as if you are in the television production business at a community access studio, you will find some helpful hints inside this article. This article is about community access television production, in general, not specifically about almost any particular studio or station.

This topic, the facility is a very broad topic. I will try to tell you as much with regards to the studio that I can pack into this short article. First No later than this note that all studios are different. So this description is a brief description of some studios and in some cases, most studios for local community access television.

The Building: Generally the buildings that house these kind of community access studios are very secure. There are uniformed individuals in most of the buildings, and some have security downstairs in addition to upstairs. There are sign-in books downstairs and upstairs, consequently there is double security. In the Staten Island community accessibility building, the surrounding area of the building is secure in that there is also a linked fence around the parking lot/entrance and a security guard her at the entrance to the parking lot. In the Brooklyn building, there isn't any parking lot (and sometimes parking can be near impossible). The place is secure in the respect that there is no parking without standing -on the entire block of the building. There are not any meters and no suggestions that anyone need park just about anywhere near the building. There are patrolling police officers in the neighborhood (It is a high-traffic -both vehicle and pedestrian- area). Some, the Manhattan building is in a busy part of Manhattan, runs without saying that parking there is probably near unattainable unless you want to pay rent for your car. Most ideal cases in all three of the studios is to use public transportation, bike, shuttle bus or walk to the studios. (The Staten Island building is most accessible by automobile). Once inside the building, just about anything your "outside" life or personality is like, producers, team, administration and interns expect respect and dignity. When you are drunk, high or in a particularly obnoxious aggressive mood, aim to wait until you are feeling better before you approach the studio creating. This will save you embarrassment and possibly suspension from the services with the community access studios.

Access: Most of the buildings have elevators and stairways to use to gain access to the studios. Most of the houses have dressing rooms and rest rooms, and some include water coolers, cups and conference rooms. (Check having each individual studio to find out more details). There are certain rules and regulations that all readers and producers must abide by. These are general courteous rules (that I have mentioned in some of my other articles). This is a place of business, so treat it that way. Generally there is no cigarettes and no drinking inside the buildings. Generally there are no animals acceptable inside the buildings. If you need special permission to bring animals interior, ask Administration ahead of time. Generally, the law permits seeing-eye pets or dogs needed due to physical disabilities, but it could well be nice if you let people know -ahead of time -that you are bringing these into the building. The reason you need to forewarning staff is because sometimes staff changes and there might be completely new people on who have not yet learned policy. Another reason to help alert is because if you need something special -for the animal, or simply special accommodations, then staff will know about this ahead of time. All things will be done to accommodate you when you put reasonable needs in to Administration. Of course it goes without saying that most likely you will not be given permission to do anything dangerous inside the building (i. e. to generate starving, growling pit bulls -that is just an example). So always ask permission when you need to do something that is often against the building or studio policy.

Timing: Each recording studio, and each Administration has their own rules about timing. Abide by these rules and you should have no troubles when producing your individual shows. (For example, the Brooklyn and Manhattan dojos have regulations about how long they will "hold" the dojo for you if you do not show up at your appointed time. You might get rid of the spot for your show if you are too late. There are other timing guidelines about how far in advance you can reserve the studio for your own personal use, and other timing regulations that state when you ought to vacate the studio after your production is over. To get complete details, see the studios manuals and or ask Operations what the latest rules are or if the manual is changed in any way. Do not take anyone's work for timing and also other issues. In the past, producers have been wrong with facts, so take it straight from the manual or from Administration's word.


How to Build a Recording Studio

Facility 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, not any wonder confusion sets in to most non-techies. Many people, especially designers, composers, producers, and engineers, will end up putting together their own facility for writing and pre-production, with some eventually deciding to use the plunge and create a full-fledged recording complex that is efficient at recording major albums. This article will try to shed some light source on the considerations to take into account when making a studio, be it a compact home studio or a professional recording studio.

Is measurement important? Some may say it is so but this isn't always the case. The dimensions of the studio are very critical. A room too large may become over-reverberant or full of unwanted echoes. A room too small may sound tight and made with chemicals. 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 little tight room to record BIG rock drums. While, big room sounds can be achieved by adding external reverb side effects to simulate rooms at a later time when necessary.

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

Small rooms can produce big heavy tight sounds together with the absence of the decay from the reverb that is caused from significant 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 or space can be manipulated to sound good, although it requires much more do the job and time. Deciding on the proper room size for your needs is critical towards the sounds that get re-produced. This will highly dictate any type of sound the microphones will pick up.

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

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

If you are starting your own studio, remember that the higher quality , the studio the higher amount the bills will be. Extravagance is that larger studios can charge more for their studio fees.

Getting the Necessities

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

Acquiring the proper equipment and labor is vital to a great studio and successful recordings. Studio accessory is expensive and the knowledge of those who use the gear doesn't come cheap. Hiring the right people can save money and time ultimately. Studio designers also are specialty breeds that can make or break your personal studio. Your buddy Joe the carpenter may be able to guide build it for less, yet if the studio is not adequately isolated for sound it is a great waste of time, energy and particular predicament.

The studio engineer is also the focal point of the appear that is created. Having an experienced engineer involved in the process can certainly make your sound have a character of its own. He is the excess set of ears that gives another dimension to your productions. He's also a critical consulting partner when building or picking out to rent a studio. Let the experts help you with assistance, it will create less of a headache in the long run. The experienced engineer may fill you in on all the equipment needed for taking the music that is relevant to your world. He can also supply some guidelines on how the studio should be setup before having to refer to a designer. There is no room for guessing or premiss on these issues.




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