Engineering Handout
by Bill Stock
The following is a recreation using HTML of the ditto engineering handout by Bill Stock, Technical Supervisor of WRTI-AM, prepared for this site by Gerry Wilkinson. The use of the Xerox Text Bridge Software to convert the ditto into usable text was not very successful. This was mainly because of the non-sharp reproduction of the duplication. Large portions of this document had to be re-typed for insertion into this page. Many beginners in radio look upon engineering as a rather unpleasant job, lacking in glamour. They would much rather exercise their vocal chords in front of a microphone than sit in front of a control console and watch a needle bounce. What these people don't seem to realize is that the success or failure of a program depend to a great extent on the intelligence and skill of that needle-watcher. No amount of pre- planning, script writing, or rehearsal can offset the disastrous effect of a bad engineering job, whereas sometimes a good engineer can make even a bad program sound well. Engineering is a full-time job The performers or announcer can occasionally take short breaks during a program, but an engineer must be constantly on the watch to make sure that every part of the program comes off smoothly. So engineers keep in mind the tremendous importance of your job and perform each operation with the greatest amount of efficiency and ability at your command. Remember, it is not only your job, but your responsibility to see that all aspects of the radio production are presented in the smoothest, most professional way possible. The first time that you, as an announcer, are given the "ON AIR" light and the cue to begin, keep in mind the person behind that light and cue who has the tremendous task of seeing that only the finest quality radio reaches your listeners. May I wish you all the best of luck and success in your first semester at WRTI. Bill Stock
ENGINEERING: NOT JUST A JOB, BUT A RESPONSIBILITY
Technical Supervisor, WRTI- AM
PROCEDURE FOR GOING ON THE AIR FROM THE RCA BC-5A CONSOLETTE 1. SET THE FOUR SWITCHES AT THE UPPER LEFT OF THE CONSOLE FOR THE PROPER MODE OF OPERATION. At the upper left of the console are four two-way switches labeled MIX 1, MIX 2, MIX 3 and MIX 4. MIX is an abbreviation for "MIXER," which in simple terms is a volume control. On the bottom of the console, you will see four "mixers" labeled, as the switches were, MIX 1, MIX 2, MIX 3 and MIX 4. The purpose of these four switches is to determine what type of program signal will be controlled by each of the four "mixers." For example: The other three switches control the following: Switch number 3 Switch number 4 2 TURN THE MASTER FADER TO THE TWELVE O'CLOCK (STRAIGHT UP) POSITION The master fader is located at the bottom right of the console. This fader differs from the Four Mixers in the fact that it cannot control any one signal, but rather controls the volume of the entire broadcast being sent from the console Generally, this fader should be set to point straight up and left there. However, it may sometimes be used to bring down the volume of several program sources simultaneously. 3. THROW THE SWITCH ABOVE THE MIXER YOU PLAN TO USE TO 'PROGRAM' Above each of the four mixers is a two-way switch marked "A" on the left and "P" on the right. "A" stands for AUDITION which will be explained later. "P" stands for PROGRAM and in order to activate each mixer, it is necessary to throw the switch above it to the PROGRAM position. In the case of mixers 2, 3 and 4, it is wise to leave the switches in the PROGRAM position constantly (unless auditioning). When the switch above mixer one is thrown to the PROGRAM position, however~ a light will light inside the studio signifying that it is on the air. (YOU WILL RECALL THAT MIX 1 CONTROLS THE STUDIO MIKE.) For this reason, it is best to keep the mixer one switch in the neutral position until just before going on the air. 4. TURN DESIRED MIXER TO RIGHT UNTIL VU METER PEAKS AT PROPER LEVEL 5. THROW OUT THE CORRECT SWITCH ON THE BUSS BOX The buss box is the rectangular black box located on the right of the console. This is the final link between the console and the transmitter. In order to send the studio signal to the AM transmitters, it is necessary to throw the top switch to the right. When this is done, the green light opposite the switch will change to red, signifying that the connection has been completed. If, by any chance, the light opposite switch number one is already glowing red AND THE NUMBER ONE SWITCH IN STUDIO D IS NOT IN THE RIGHT-HAND POSITION, DO NOT ATTEMPT TO GO ON THE AIR! The red light in this case, signifies that another studio is using the AM transmission line, and an automatic interlocking device prevents your studio from being heard if another studio is on the line. As a rule, however, most programs will originate from studio D. In this case, the line can be thrown out and left that way for the entire broadcast day. IMPORTANT; DO NOT THROW OUT ANY OTHER LINE ON THE BUSS BOX EXCEPT NUMBER ONE WITH OUT BEING DIRECTED BY THE TECHNICAL SUPERVISOR! If you have followed the five steps correctly, you are now on the air. However, if you wish to remain on the air for any length of time, it would be a good idea to read on. VU METER MONITOR SELECTOR AND GAIN CONTROLS PHONE SELECTOR SWITCH As a rule, both the monitor selector switch and the phone selector switch are left in the PGM (program) position. AUDITIONING CUEING A RECORD IS A METHOD OF PLACING THE NEEDLE ON A RECORD AT THE POINT WHERE THE MUSIC BEGINS IN ORDER TO HAVE THE MUSIC READY TO PLAY WITHOUT DELAY. How to cue a record: On mixers two and three (the mixers which control turntables one and two respectively) there is another position past the extreme "OFF" position marked "CUE". With the mixer in this position, the engineer can hear the record through a special cue speaker without sending it out over the air. In cueing a record, the engineer plays the record from the beginning and stops the record with his hands at the point were he hears the sound begin. By rotating the record back and forth, the engineer finds the exact point where the sound begins. When he finds this point, he rotates the record BACKWARDS for 1/4 of a turn. The needle will now be resting in the record groove exactly The recommended "backtrack" distance for 78 rpm records is 3/4 of a turn. The "backtrack" distance for 45 and 33 l/3 rpm records is ½ to 1/4 of a turn. As you become more proficient in cueing records, you will be able to increase this distance. SEGUE (pronounced seg-way) 1. Records on wrong speed (It only takes a second to check and oh, what a difference it makes) 2. Record "wow" caused by a bad cue (when the needle is resting too close to the first sound groove, the needle hits the sound before the record gets up to speed, causing "wow") 3. Cueing a record "ON AIR" (Nothing can jar a listener more than hearing a needle being ripped back and forth across a record. Please make sure the mixer is in the "CUE" position) 4. Auditioning mike "ON AIR" (Can be just as unnerving to a listener. 5. Music too loud, announcer too soft, and vice-versa 6. and finally: And now that you are all fully aware of why you need it, may I wish you once again, GOOD LUCK, and remind you that if you have any problems at all with the console, come to me. That's what I'm here for.
The switch marked MIX 1 is labeled "CR" at the top and "MIC 1" at the bottom. This means that when the switch is in the up position, "CR" (the control room mike) will be controlled by mixer number one. If the switch is in the down position, "MIC 1" (the studio D mike) will be controlled by mixer number one. When the switch is in the neutral position, no connection is made.
Switch number 2
UP - turntable number one (left-hand side)
DOWN - mike 2 in studio D
UP - turntable number two (right-hand side)
DOWN - mike 3 in studio D
UP remote broadcasts
DOWN - tape recorder playback
The VU meter is located at the top center of the console. The bouncing needle indicates the volume strength of the signal being sent from the console. The needle should never move past the "100" mark. Generally, the needle should "peak" between 80 and 100. A needle "peak" is the position of the needle during the loudest portion of the program segment.
These are located at the upper right of the console. The monitor selector control chooses the signal to be heard over the speakers in studio D and the control room. The monitor gain control is simply a volume control for the two speakers in studio D and the control room. The monitor selector switch and the monitor gain control effect only the speakers in studio D and the control room.
THEY HAVE NO EFFECT AT ALL ON THE TRANSMITTED SIGNAL!
This is labeled just like the monitor selector switch and has the same function, except that the signal will be heard through the console earphones. This is useful in"combo" operations. "Combo" refers to announcing and engineering done by the same person.
Auditioning is a way o previewing the signal from any source before sending it out over the air. To audition any particular mixer, simply throw the switch above it to the "A" or audition position. Also turn the monitor selector switch to the "AUD" position. Also turn the monitor selector switch to the "AUD" position. When the mixer is turned up, you will hear the signal as it will sound when it is sent out over the air.
REMEMBER: AUDITIONING HAS NO EFFECT AT ALL ON THE TRANSMITTED SIGNAL; THE SIGNAL FROM ANOTHER MIXER IN THE 'PROGRAM
POSITION CAN BE TRANSMITTED NORMALLY, EVEN THOUGH YOU WILL HEAR THE AUDITIONED SIGNAL THROUGH THE STUDIO SPEAKERS.
1/4 of a turn away from the sound signal. Throughout the entire cueing operation, the turntable is running at full speed underneath the record. Only the record is stopped by the hands of the engineer. When the record is ready to be played, the engineer lets go of the record and quickly brings up the volume on the correct mixer. If the record has been cued correctly, the music will come in at once.
Segue refers to a continuous blend from one record to another with no noticeable change. The announcer signals his engineer to segue two recordings by crossing his fingers.
In the past few pages, you have been bombarded with what may seem endless technical hogwash, but take my word for it, it is all very necessary in order to do the type of job we expect at WRTI. In closing, I am going to list some of the most common faults encountered by novice engineers. Read the list carefully so that you are not caught off guard.
Remember: the switch above the mixer must be in the "A" position and the monitor selector switch in the AUD" position)
(All caused by faulty engineer. In addition to watching the VU meter, you must also LISTEN)
WHEN PUTTING A STUDIO MIKE ON THE AIR, ALWAYS, ALWAYS, ALWAYS GIVE THE ANNOUNCER A CUE TO BEGIN BY POINTING DIRECTLY AT HIM. EVEN THOUGH THE "ON AIR" LIGHT IN THE STUDIO MAY BE LIT, THE ANNOUNCER HAS NO WAY OF KNOWING IF HIS MIKE IS LIVE OR NOT UNLESS YOU SIGNAL HIM.
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