La Belle Digital and Your Location Audio

Often lost in North America in the deluge of truly wonderful audio gear developed and sold by American audio brands is some truly handy gear from other parts of the world.

One fine bit of gear I picked up several years ago has become idespensable in my tool kit. The V2 VX Pocket sound card from Digigram (France) has been a lifesaver. It retails for about $400.00 US but I got mine on-line for a lot less. It's a fully equipped PC sound card that slips into a laptop PC and it allows me to plug my pro audio gear directly into my computer no matter where I am. I've found that a lot of interfaces offer overkill solutions for multitrack recording. This card fits my more simple need to plug 2 channel pro sound gear into a laptop.

We had a meeting of the Santa Barbara Indie Co-op at the Production Room to share tips on location audio with some independent film makers in SB. While we covered the basics, I wasn't able to point to some of the wonderful opportunities for capturing live audio direct to digital - and even previewing or editing on location.

With my laptop and a battery powered Behringer mixer (Germany) I can record high quality location audio with phantom powered mics directly into a digital file.

The difference between on camera mic plug-ins and consumer grade PC laptop audio cards is that the VX Pocket is configured with a "pigtail" of cords that allow you to plug inputs and outputs to and from the sound card at line level (pro) with XLR connectors directly to and from a mixer. It also allows a SPDIF digital in and out connection. This is really handy for interfacing with other digital gear.

Now, anyone who knows me knows that I am not a technical engineer. So audio gear that plugs together like a kids toy and delivers quality that passes muster in the main studio is my kind of gear.

When I'm on location in Canada, my studio consists of my laptop, the VXpocket Card, a Focusrite Platinum Mic Preamp, a main amp, some monitor speakers and my editing software. With that and an internet connection I have recorded audio for film, a PBS Documentary, broadcast TV and Radio Commercials, and on-line media.

For just a few dollars more than it takes to plug a location mic into a camera, Indie film makers can track high quality location audio into battery powered remote gear and get better sound to work with in post production. And you can even do some of your pre-production on location, which will save you time and money. Synching to picture could be an issue for some but by using 48k .AIFF files, you should be able to strip in the audio in Final Cut without too much trouble. Let me know your thoughts about that...

Please share your location audio problems and let us us help you with some tips that
may save your next post session. Our advice is free...and worth every penny!

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Podcasts: Communication, Branding or Marketing?

What the heck IS a podcast.

I honestly thought I knew. Generally, podcasts are described in technical terms and defined by how they are distributed. Podcasts are usually represented as low tech messages or program content that are subscribed to or downloadable online. Like blogging.

But that isn't actually what a podcast is to the communicator or the listener and they are the only two parties that matter in this equation.

We are working in a medium created by technicians. We need to start defining our terms better. To start with I recently found that it's important to define what a podcast DOES.

I had designed a podcast project that would include informal interview style Q&A with the client which I would minimally edit into a simple audio program structure: intro, body, conclusion, close. Nice and clean.

We tried it. The client didn't like it. They felt it didn't represent them. Ironic since they had spoken every word themselves. But it was a predictable result.

Any Company, Individual or Commercial entity that has invested in creating a brand identity will not allow anyone to muck about with some half arsed effort at ad-libbing lamely through a podcast about who they are or what they do.

So Podcasting is on the road to becoming just like other "Reality Programs". That means highly produced, tightly controlled and structured to look and sound informal. In the process, goals are defined, ideas are focused, communication is direct and brand identity is protected.

There's a lot more to this than meets the ear, and I'll have more to share about this very soon. Right after the client hears our revised program.

And by the way, shouldn't you be subscribing to this blog?

Local Media Misses Fire Season Premiere

Multiple broadcast signals (appx. 23) are licensed for the expressed purpose of serving the public in the Santa Barbara metro. That's 23 local channels that will reliably air detailed coverage of whatever Paris Hilton does.

So how many local reporters showed up to cover a brush fire above the city on East Camino Cielo last night at about 9:40? I don't know but I couldn't find any news about it until The Daily Sound was linked to me this morning on Blogabarbara.

If you don't live here, you may not think that matters.

But if you are like many who have noticed that there is no local news or public emergency information on your local TV, Radio, Digital and Satellite stations, then it does matter. Towns across the country are giving the FCC an earful about broadcasters who have failed to serve them in an emergency. What's the FCC doing about it? Holding regional public hearings.

What are the broadcasters doing about it? Very little. Because they don't have to.

If that seems wrong to you you're not alone. And let me share what I've learned about the subject here in wild-fire prone Santa Barbara.

Radio stations here cover local news during the day. At night, the staff goes home. They turn off the lights, turn on the answer machine and lock the doors.

TV stations operate pretty much the same way, except KEYT, which still has a live 11:00 PM local news cast. They're pretty much the only local news after sunset.

The last wildfire disaster hit Santa Barbara in 1991. The one before that was 1978. The one before that was 1964. You get the picture?

In the 1991 fire, one person was killed and 440 homes were destroyed. A lot has changed since then but not for the better. Since 911, the rules have changed from the top down. A local event may suddenly be controlled by a FEMA director instead of local fire and police officials. And if an earthquake hits at 3:00 AM, there probably won't be ANY local news until somebody gets to the radio/TV station. Or you might get an EAS bulletin. More about that in a moment. But First...

Over the past several years I've talked with broadcasters, residents and emergency service providers about our current situation. Everyone knows there is a problem. Everyone knows the problem is communication of emergency news and information in a disaster event. The logical entity to take the lead here are the broadcasters. Except for that one little problem. Remember? They don't have to.

Well, THEY think they don't have to. And they should know. They helped lobby the FCC to make the rules. And here's a general idea of what the rules are.

"Harrumph! Mr./Ms. Broadcaster, you are hereby charged as a public trustee with serving the interests of the public. Since we at the FCC have no idea how to interpret what the public interest is, we leave it to you to decide."

One thing that complicates this situation for our otherwise satisfied broadcaster is the EAS or Emergency Alert System. EAS replaced our old Cold War Favorite, "The Emergency Broadcast System" ("If this had been an actual emergency..."). Since people hear EAS alerts on their local stations, they assume EAS is under local control. And they are wrong. EAS is actually meant to allow the President of the United States to address the nation in a national emergency. Homeland Security has put the director of FEMA in charge of the EAS. And FEMA can also trigger a national EAS broadcast.

After that, participation in EAS is voluntary and effectiveness is limited by the ability to respond to a local alert.

"Broadcasters and Cable Systems may decide individually whether to transmit such messages that originate at the State and Local level"

(FCC Report 05-191 Released 11/10/05 Section II, Part B, Paragraph 8)

So...you decide what the public interest is and don't worry about EAS unless the President is talking.

And what, you humbly ask, does this have to do with a fire on East Camino Cielo last night? Glad you asked.

While I am grossly irrtated and perturbed about the wholesale slaughter of the concept, "principled local broadcaster as trustee of public interest", you my friend may ignore my crusty attitude and let your local station know that they'd better straighten up - or else! Which brings me to The Public Comment File.

Every broadcaster is required to maintain a public file. Almost any citizen of good standing with interest in the community can file a complaint with a station regarding it's public service. The station must also open it's file to public inspection. The FCC reviews this file and the station response at license renewal times.

Since the FCC has declined to define public interest, this is a very important vehicle for pressuring broadcasters to meet community needs at the local level.
It's important to document the facts and submit them to the public file each time a station falis to be of service. Over time a pattern of failure can be established and a broadcaster will have a tougher time claiming that they serve the public.

The events of last night would seem to be a good place to start in Santa Barbara.

Super ISDN Celebrity Hollywood Extravaganza!

Yes, thanks in part to key word searches we're back to the breathless headlines of the good old days, when gossipy newspapers strung nouns and adjectives together like plastic cranberries and popcorn on a Zody's Xmas tree.

Today certainly was our day to, "Service the Stars!"...so to speak.

First up was an ISDN engagement for our friends at Campbell, Mithun, Esty of Minneapolis, Minn., wherein animation and commercial VO star Jeannie Elias (Over The Hedge, The Wild) stopped in for a commercial read. The Montreal native is now at home in So. Cal. (A gratuitous plug being mandatory for those north of the border who love to play, "Guess Who's A Canadian" eh?)

Next up was an ISDN session with TV and Film star John Corbett (My Big Fat Greek Wedding, Northern Exposure, etc.). John was in for an ISDN session courtesy of DDB Chicago. Always the cool breeze when he visits The Prod Room, John just came off the road with The John Corbett Band which recently hit Chicago and Kansas City.

Finally, ever vigilant engineer Steve Gordon stepped out onto our second floor landing to hail a citizen who was parking his car and blocking our driveway. The motorist turned out to be Kenny Loggins, who graciously scooted his car out of the way.

Only in Santa Barbara.

And by the way, shouldn't you be subscribing to this blog?

Now! For ALL Your Radio Needs!

Last weekend was a really important sales weekend for car dealers. I know because I've been voicing and producing car commercials for a very long time.

Memorial Day Weekend sales events are as common as dirt. It's pretty hard to stand out from the crowd of advertisers who blast the airwaves with video vomit and full frequency audio assaults for THIS WEEKEND ONLY!

So I was pretty happy to learn that a simple spot I voiced at Red Rocket Productions for Toland Marketing helped sell 73 Toyotas. That's pretty good for a single dealership. Furthermore, the dealer only bought radio. No Print. No TV. No Direct Mail. So that would be an example of good radio advertising.

Now, for a hilarious example of bad radio advertising that you can write yourself, follow this link: http://danoday.com/bcg
to "Dan O'Day's Amazing Bad Commercial Generator!"

There's lots of fun stuff here, Dan has been providing prep. sheets, production elements and "sound" advice to radio professionals for years. This is your chance to peek behind the curtain at some real old school radio goodies. Trust me, anybody who ever was a disc jockey knows Dan O'Day and O'liners.

And if you want to know how we helped a single dealer sell 73 cars last weekend, let me know.

Meet An Ambassador of the Environment

I've worked on many projects over the years with Jean Michel Cousteau and Ocean Futures Society. We're pleased to work with this charming man and honored to participate in his mission to develop human understanding of marine life.

When Brooks Intitute of Photography student, Dave Cheney contacted us about a film project featuring a new Ocean Futures program, I was intrigued. The film documents the "Ambassadors of the Environment" program - an educational camp for grade school students who learn environmental science in a natural, hands on setting. Dave needed us to record a professional narration and he needed location audio from the shoot cleaned up.

Almost by definition, a student film is budget challenged. When we met to review his request we realized Dave had a great project that just needed a little help to make it even better. We recorded the narration, Steve Gordon cleaned up the location audio tracks and did the final sound mix. Dave worked with us to cover some of the studio time but once we took on the project we felt the real issue was doing our best work regardless of the budget. Thanks to Dave for sending us a link to the final version of the production:

http://www.youtube.com/watch?v=OE-LtvOGfjg


And then there was a moment of cosmic comedy. Yesterday I spotted Jean Michel and a companion strolling up the walk in front of the San Roque Post Office in Santa Barbara. I was about to say hello when a couple from out of town pulled up behind my truck and asked him if he knew the way to "fisherman's wharf". Mr. Cousteau gave them a slight chuckle and then gave them directions.

They drove away unaware that they had just asked Jean Michel Cousteau for directions to the ocean.

Planting Summer in the Snow

Okay, what happened? last week was sunny and warm in the Canadian Maritimes. The door to Spring was thrown wide open as temperatures climbed into "balmy" territory. Locals were giddy after the long winter. Then it was as if Ma Nature flipped us back into winter, yelling,"Psych"!

On Wednesday the air temperature was hovering near freezing. As a steady wind blew down from the north I bent over the prepared soil in a field I have been fallowing for 3 years. I carefully placed each seed for our potatos, peas, spinach, beets and chard into the moist earth. My hands were numb. I kept working. My back hurt. I kept working. My legs ached. I kept working. Snow and rain in the forcast that night meant finishing all of the field work 3 days sooner than I had expected. After snow and rain soaked the dirt it would simply be mud. Too wet to plant. So I kept working.

Why?

All winter I had been making plans. Placing seed orders, organizing tasks so I could optimize the 2 weeks in May when the farm wakes up. My vision of summer bounty required that certain work be done - no matter what.

My plans were largely destroyed by first contact with reality on the ground. I spent time revising expecations and re-organizing tasks. I juggled my time around weather forcasts and visiting neighbors, production work in the studio and just plain daydreaming. But the real test of my creative vision was on that cold afternoon when my body wanted to quit and accept the consequences. I kept working.

And here's what I learned:

Make plans. Then scrap them.

Reality just is.

It's amazing how powerful an intention can be.

I beleive in what I'm doing enough to be uncomfortable in the process of doing it.

It's about love!


Tomorrow, I will leave for Santa Barbara. My seeds are planted. The weather will soon be warm and summer will come. The fields and flowers will be beautiful. I will pick beans with my wife, I will smell fresh mowed grass, I will watch my children steal sweet peas in the late afternoon, I will meet charming couples from Montreal, freckled kids and their parents from Ontario and smiling locals. I will laugh with friends who come home to the island each summer for wine and potluck suppers at the shore and a pack of kids and dogs will scream and shout into the deep twilight.

Summer.

Sometimes you have to plant it in the snow.