The Radio Studio

Studio Layout
Studios for transmission or rehearsal/ recording may consist simply of
a single room containing all the equipment, including one or more
microphones. This arrangement is designed for use by one person
and is called a self – operation or self – op studio.

Where two or more rooms are used together, the room with the mixer
and other equipment is referred to as the control room or cubicle,
while the actual studio – containing mostly microphones - is used for
interviewees, actors, musicians, etc. if the control cubicle also has a
mic it may still be capable of self-operation. In any area, when the mic
is faded up the loudspeaker is cut and monitoring must be done on
headphones.
 The studio desk, mixer, control
panel, console or board
Most studios will include some kind of audio mixer –
analogue, digital or fully computerized. This is essentially
a device for mixing together the various programme
sources, controlling their level or volume, and sending the
combined output to the required destination – generally
either the transmitter or a recorder. Traditionally, it
contains three types of circuit function:
•Programme circuits. A series of differently sourced audio channels, with their
individual volume levels controlled by separate slider faders. In addition to the
main output, a second or auxiliary output – generally controlled by a small rotary
fader on each channel – can provide a different mix of programme material
typically used for public address, echo, foldback into the studio for contributor,
etc.

•Monitoring circuits. A visual indication (either by a programme meter or a

vertical column of lights) and an aural indication (loudspeaker or headphones) to
enable the operator to hear and measure the individual sources as well as the final
mixed output.

•Control circuits. The means of communicating with other studios or outside

broadcasts by means of ‘talkback’ or telephone.
The volume of the monitoring loudspeaker should be adjusted to a
comfortable level and then left alone. It is impossible to make
subjective assessments of relative loudness within a programme if
the volume of the loudspeaker is constantly being changed. If the
loudspeaker has to be turned down – for example, for a phone call –
it should be done with a single key operation so that the original
volume is easily restored afterwards. If monitoring is done on
headphones, care should be taken to avoid too high a level, which
can damage the hearing.
In mixing sources together – mics, computer play out, CD
players, etc. - the general rule is to bring the new fader in before
taking the old one out. This avoids the loss of atmosphere which
occurs when all the faders are closed. A slow mix from one sound
source to another is the ‘crossfade’.
Editing principles
The purpose of editing can be summarized as:
•To rearrange recorded material into a more logical sequence.
•To remove the uninteresting, repetitive or technically unacceptable.
•To reduce the running time.
•For creative effect to produce new juxtapositions of speech, music, sound and
silence.