The Howe 9000 audio console is a 16-channel audio board designed for stereo operation. (However, at KTSC-TV it functions in a monaural mode.) The board has two independent stereo program outputs, a separate mix-minus output, and a monaural (L+R) output. Each of the sixteen channels has three inputs available. These are selected by pressing the A, B or C switches at the top of each channel. The A, B and C sources are identified at the bottom of each channel. It is important that no two audio sources needed for a production be routed into the same channel as only one of the three sources is available at a time on any given channel. The inputs of greatest importance to 142 students are as follows:
Voltage controlled slide faders allow for volume adjustment. Peak-reading LCD bar graph displays are used to indicate levels. As with VU meters, red indicates levels too hot for optimum audio.
Each channel also has ON/START, OFF/STOP and CUE switches. The ON switch must be activated before any audio can pass through a given channel. When the OFF switch is depressed, audio is terminated regardless of the position of the fader. The CUE switch allows for the audio from that channel to be heard by the audio operator through the Howe's on-board speaker. The cue audio does not affect program audio and is used to monitor audio without it becoming part of the program audio. For example, using the CUE feature you can check whether a microphone is in fact working while feeding audio from another source. The mic check audio will be audible to the audio engineer using headphones, but will not be heard by those listening to program audio.
One feature of the Howe board is that the ON/START switch can be wired to provide a start cue for outboard equipment, e.g. our cart machines. When the ON switch is pressed, the channel is opened and a TTL signal is sent to the cart machine. This signal tells the cart machine to enter play mode. Note: the OFF switch does not stop the cart machine.
The Howe audio console is not a production console and as such does not have equalization capabilities. However, KTSC-TV has a parametric equalizer in-line downstream of the Howe console. This provides for very specific equalization of the entire program audio mix, but not of individual channels. It is assumed that your audio is not in need of equalization before it gets to this stage of the production process.
The Howe board has a mix minus option that allows the operator to subtract that channel's audio from the sum buss so that, for example, when the M- button is selected a telephone caller can have his own audio subtracted from the signal sent back down the telephone line. The caller hears the P1 and P2 signals, but not himself, thereby eliminating a feedback problem through the telephone.
The audio operator's intercom headsets are special due to the special needs of the position, i.e. the audio technician must be able to hear both program audio and the director. For this reason, the audio operator's headset is a double-muff with program audio in one ear and PL (intercom) in the other. The level adjustment for the PL is on the belt pack while the level control for program audio is on the Howe board.
A count-up clock is built into the Howe board and is very useful for timing prerecorded segments that are rolled into the program. For example, a 30 second audio segment on audio cart is used to open the program. As soon as the ON/START button is pressed, the cart begins to play and the clock begins to count up from 00:00. This clock will continue to count up until another ON button is pressed, and then the clock will begin again from 00:00. As you can see, the clock is a useful tool as long as you know the length of audio segments to be used.
Audio engineers are professionals who have invested the time necessary to understand the technology of audio. In addition they have invested the time necessary to develop an ear. What do we mean by this? Simply that to mix audio well, you have to hear more than your casual audio consumer. You must be able to hear subtleties of tone, timbre, and acoustic presence. You have to know when the background music is not too soft, not too loud, but just right. You must be able to identify the reverb or delay that is interfering with the intelligibility of the talent. You must know when to boost the bass or cut back on the upper mid range. In short, you must be a critical listener--always trying to hear what might make the audio just a little bit better, a little bit more effective at communicating the intent of the producer.
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