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A Simple Studio Setup by Kai Aiyetoro November, 2003 There’s really no right or wrong way to build a broadcast studio. As long as you have the essential equipment, you can achieve whatever level of on-air broadcasting you desire. So the first thing is to determine what exactly your community wants the radio station to do. If you are automated, then you’ll need a computer interconnected with a board, and EAS equipment sitting in a closet so no one can touch it. But if you plan to broadcast locally produced programs, there are some pieces of equipment that you might want close at hand. Think about what types of audio sources you will be using, such as CDs, cassettes, minidisks, and vinyl records. Carts are rarely used these days, but if you get a couple of good machines donated, use them. Reel-to-reel units may even play a role in production, although they are almost obsolete. Or you might want to combine all of these units into one, and use a computer for all on-air and production work. Computers are the preferred tool for today and have become pretty inexpensive. You will want a Pentium+ unit, with editing software for production and playback. There are many software programs available at various prices for housing music and produced programs. These units may be part of the overall studio scenario, or the only piece of equipment used. Most studios, however are equipped with many different components.
You will need a desk or unit to hold all of the equipment. If you are
using several types of equipment, something L-shaped or U-shaped works
best. A good chair that supports the back will be appreciated by operators
that have to sit for two hours or more. Remember to make your studio
wheelchair accessible, and also easily accessible to studio guests.
Speakers are usually connected to the board so that you can monitor what is heard over the air. The speakers are muted when the microphone is on. Most stations have at least one microphone for the operator and one or two for studio guests. You may need a microphone amplifier if it is not part of the operating board infrastructure. Don’t forget the microphone stands. Headphones are not essential for the guests, but the operator must hear what is going across the air when the microphone is on. If your board operators still want to use vinyl albums for their
programs, a couple of turntables will be needed. Many DJs like to
scratch, so you will want to develop a policy about this type of performances
on studio equipment; it may wear the equipment out sooner than you wish. EAS equipment is essential (and mandatory) for all studios. LPFM studios are only required to have a decoder system installed, but you may want an encoder/decoder unit if your community is dependent upon the station for emergency information. LPFM stations are out of compliance if not equipped with an EAS system. A telephone hybrid is needed for call-in programs. A phone jack
must be dedicated to this line to avoid on-air mistakes. Headphones
are needed to hear the caller. Communication with the caller is achieved
through the microphone. This equipment is all integrated with the mixing
board. NFCB has developed group buys for equipment through Broadcast Richardson. For a copy of the equipment price list, contact Kai Aiyetoro at kai@nfcb.org. This is an example of the information you will find in the new
manual Starting an LPFM Radio Station, now available through
NFCB. This publication is full of startup information including sample
logs, contracts and FCC applications—just what an organization
will need to develop a new LPFM station. Cost is $50 plus $8.50 shipping
and handling. Kai Aiyetoro
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