Harold Detter

Approximately 5 years ago, the author of this article went through a divorce. The cost of those proceedings forced me to cut products and services that weren’t absolutely necessary. Out went visits to the movie theater, fast food restaurants, the internet, landline telephone service, and the costliest of those services cable television. Over the air television signals in the area I lived at the time wasn’t very good. Most stations were nothing but static and snow with sound occasionally being audible. Therefore, I stopped watching television. In its place went other activities such as reading, exercise, guitar playing and family visits. Though I was able to recover from the financial strain of the divorce, the activities that had taken the place of television watching were entrenched so I never requested cable service again and therefore television remained (and still remains to a certain extent) nonexistent in my life.

 

Fast forward a few years and an announcement was made that television signals received through antennas were to be converted to digital on February 19, 2009 and all television units that received the analog signals which is how they were sent since television’s inception were going to need converter boxes or cable / satellite service. The remaining option for consumers who choose not to pay for cable or satellite or who choose not to purchase a converter box is to buy a new unit. I decided to do neither since television is no longer an important factor in my day. About a year after that announcement was made, I moved to a location about 40 miles away from where I couldn’t receive a decent signal and the signal in my new place of residence was substantially better. So I started watching television again on a limited bases. It was mostly the local news programs and sitcom reruns.

 

One of the shows that I never liked during its initial run on network television is “Everybody Loves Raymond”. I recall watching 2, maybe 3, episodes because it was getting positive word of mouth yet it never hit home with me. The show didn’t connect with me nor I to it. Now it’s a sitcom so it wasn’t important enough to examine the reasons I didn’t enjoy the show. But when I started turning on the television again, that was one of the first shows (now in reruns) that I watched. Again, I found myself not enjoying the show whatsoever but this time there was something about it that bugged me. Yet I couldn’t put my finger on it. I have a lot free time on my hand these days and the “bug” that was placed in my mind by the show was feeding on something and grew. And it continued to grow until I decided to watch a few more episodes. A light switch was activated. Two episodes later and the problem I had with the show became readily apparent.

 

I was born in the late 1960s. The sitcoms that I recall from my youth and still to this day would enjoy were “Happy Days”, “Good Times”, Sandford and Son”, “All in the Family”, “The Jeffersons”, “The Brady Bunch” (yeah, I said it! And?) and “I Love Lucy”. During my youth, I just watched television because it was on. Family, environment, school and your own unique genes are the most important factors in determining who you are and what you become. However, just like music has the capacity to shape a youth in certain ways, so do sitcoms. How you ask? It’s nothing I consider important. But I simply believe the sitcoms I watched during my youth shaped how I view sitcoms as an adult.

 

One of my closest friends is a guy who enjoys “Everybody Loves Raymond” and it was he along with a few others (friends, family, coworkers, etc…) that persuaded me to watch the show during it’s initial run. So when I learned the reason that I didn’t like the show, it was he with whom I first shared the reason for my distaste.

 

If you’ve seen any of the aforementioned sitcoms of my youth, you may recognize that the men who were husbands in those shows have a certain “something” in common. And that “something” is that they were men. Real men.

 

The term “real” as it relates to humans now days in pop culture takes on a variety of meanings. I’ve heard women use the term to indicate that because they’re fat, they’re somehow are more “real” than other women who either take care of themselves or have a naturally high metabolism. A typical personals ad title will read “Real Woman With Curves Seeks Man Who Appreciates A Real Woman With Curves”. Men (read: black men) typically use the term to indicate that poor English with a ghetto mentality means they’re somehow more “real” than a black man with an education living in the suburbs. You may have heard young ballers saying Allen Iverson keeps it real because of the way he speaks, choice of hair styles and arms painted with tattoos but you’d never hear the term uttered for Shane Battier. Vince Carter, who chose to attend his own graduation in the middle of a playoff series, typically gets a pass because he has “hops”.

 

It was via a yahoo chat session that I gave the reason for not liking “Everybody Loves Raymond” (except me!) to my buddy. That reason is because, with few exceptions, I find it difficult to watch a sitcom where the main character is a male who’s completely emasculated by his significant other. Therefore, the term “real man” as used in this article simply means a man who’s either married or in a long standing relationship in a sitcom who doesn’t walk on eggshells in his own home. What I found interesting was his response to my discovery. He said “but I thought that’s how all sitcoms are now days”. Whoa!

 

I was taken aback. Then I gave it some thought. Many of the fairly recent sitcoms (early 1990’s to mid 2000s) with which I’m familiar started running through my mind. Let’s see if any of the husbands or men in long standing relationships pass the “Real Man” test.

 

“The King of Queens” (starring Kevin James and Leah Remini)? Fail. Reason: Husband was routinely beaten down verbally by his wife.

 

“Still Standning” (Jamie Gertz and Mark Addy)? Fail. Reason: Though he shared many of the same traits of what we typically call bad parents with his wife, whenever she wanted her way, she got it.

 

“Seinfeld” (Jerry Seinfeld, Julia Louis-Dreyfus, Jason Alexander and Michael Richards)? Fail! Reason: George, who held a long standing relationship after he proposed in season 7, was in many ways afraid of Susan.

 

“Mad About You” (Paul Reiser and Helen Hunt)? Fail. Reason: The episode where the husband wanted to keep his beard but was told no by wife who insinuated that she’d withhold sex to get her way (and it worked!) comes to mind.

 

“According To Jim” (Jim Belusi and Courtney Thorne-Smith)? Fail. Reason: The husband is always wrong about everything!

 

“The Jeff Foxworthy Show” (Jeff Foxworthy and Anita Barone)? Fail. Reason: If the wife gave her husband that one eyebrowed lifted stare, he’d acquiesce.

 

“Married With Children” (Ed O’Neill and Katey Sagal)? Fail: Al Bundy, the bread winner, never spent a dime of the money (no matter how little) he made unless it was on something bought for his wife Peggy.

 

Since I’m batting a thousand here (or zero depending on how it’s viewed), I challenge anyone to name a sitcom that had its initial run started on or after 1990 where the man, who’s the main or an important supporting character, was at least an equal partner in the relationship with his wife or significant other. If it’s a sitcom with which I’m not familiar, I’ll find an episode to watch and I guarantee that he doesn’t qualify as a “real man”.

 

Now before anyone (ladies) takes this too seriously, this is not a diatribe about how recent and current sitcoms is a direct reflection on men in real life and society. I don’t know what goes on in anyone’s home other than mine and I’m not married. I don’t think all real life men, husbands or otherwise, are emasculated by the women in their lives. This is simply something I noticed about sitcoms.

 

But I will ask this question. As we prepare to make the switch over to digital television (now delayed until June 12, 2009), at what point did situation comedy television make the switch to emasculated men? And more importantly for me, will we ever return the glory days of the “real men” of television sitcoms?

Hard Disk / Computer-Based Recording

One of the biggest trends in recent audio production has been to merge digital audio with computer technology to create a samplebased approach to sound recording. The encoding of audio data into digital memory or onto a storage medium provides us with a means for storing or manipulating defined blocks of digital data. This data can be stored as a soundfile such as .wav, .aiff or SDII.

Perhaps the most important difference that can be distinguished between a tape-based system (digital or analogue) and samplebased recording system is random access. Random access production refers to the fact that digital audio can be stored within a random access memory (RAM), or a disk based memory medium in such a way that the data can - virtually instantaneously - be accessed, processed, or reproduced in any order at any point in time.

Once developers began to design updated sample editor software, it was discovered that through additional processing hardware, digital audio editors were capable of recording digitized audio directly to a computer’s hard disk. These devices, sometimes known as digital audio workstations (DAW), serve as computer based hardware and software packages that are intended specifically for the recording, manipulation, and reproduction of digital audio that resides on hard disk.

Commonly, such devices are designed around and controlled by a standard personal computer with the addition of a sound card which provides the input and output interaction with the computer.

There are multiple advantages to using digital audio workstations in an audio production environment.

- The capability to handle longer sound files. Hard disk recording is limited only by the size of the hard disk itself (commonly one minute of stereo recording at 44.1 kHz occupies 10.5 MB of hard disk memory or 5MB / track minute).

- Random Access editing. As audio is recorded on the hard disk, any point within the program can be accessed at any time, regardless of the order in which it was recorded.

- Nondestructive editing allows audio segments (often called regions) to be placed in any order, manipulated in any fashion without changing the originally recorded sound file in any way.

- DSP. Digital signal processing can be performed on a segment or entire sound file in either real time or non-real time in a nondestructive fashion.

- In addition to these advantages, computer-based digital audio devices serve to integrate many of the tasks related to both digital audio and MIDI production. Many DAW’s are capable of importing, processing, and exporting sound files into formats such as mp3 or Real Players G2.

Recording Techniques

FILTERS

Also known as equalization or EQ, filters are used to increase or decrease the level in a specific range of audio frequencies. The most common filters are the simple bass and treble controls found on inexpensive stereo systems, which act on a broad range of frequencies. But other filters are designed to surgically boost or cut very narrow bands of the audio spectrum.

SHELVING FILTERS

As the simplest form of filter, shelving EQ boosts or cuts all frequencies above or below a fixed frequency. A bass shelving filter, also called a low-pass filter, boosts or cuts everything below its fixed center frequency. Likewise a treble shelving filter, also called a high-pass filter, boosts or cuts everything above its fixed center. A single control typically adjusts the amount of boost or cut.

These filters are useful for making broad changes like reducing boomy bass and wind noise. But encoders can easily be overloaded by too much bass or treble, so it’s often wisest to use these filters to cut high and low frequencies to prevent artifacts.

BANDPASS FILTERS

These filters can be used to boost or cut audio on both sides of a center frequency. Bandpass filters are commonly used as midrange filters, because they have little effect on either high or low frequencies. The familiar graphic equalizer is just a set of bandpass filters tuned to different center frequencies.

More sophisticated versions, called sweepable bandpass filters, have an additional control allowing you to change the center frequency. Bandpass filters are useful for increasing the intelligibility of a speaker without increasing hiss or background noise. A variation of the bandpass filter is the notch filter, which boosts or cuts all frequencies except those around the center frequency.

PARAMETRIC FILTERS

A parametric filter is a bandpass filter with an additional control to adjust the width of the frequency band being effected (fig. 3). These are the surgical tools of audio editing. They can be used to eliminate just the noise from an air conditioner, while having a minimal effect on the rest of the audio.

With all filters it’s important to follow the audio engineer’s first rule of EQ — cut rather than boost wherever possible. Cutting undesired sounds is always less obtrusive, and boosting too much can make a track too loud and lead to distortion and artifacts when encoding.

COMPRESSORS

A compressor’s basic function is to reduce the dynamic range of an audio recording, which is the difference between the loudest and softest sounds that pass through the recording chain. Simply put, a compressor is a processor whose output level increases at a slower rate as its input level increases.

By reducing the volume of the loudest sounds, a compressor lets you raise the level of the entire audio track, making it all sound louder than it actually is. Compression can be a big help in achieving intelligible audio tracks with a more uniform volume that will survive the encoding process.

A compressor consists of a level detector that measures the incoming signal, and an an amplifier whose gain is controlled by the level detector.

A Threshold control sets the level at which compression begins. Below the threshold, the compressor acts like a straight piece of wire. But when the input level reaches the Threshold, then the compressor begins reducing its output level by an amount determined by the Ratio control.

The Ratio control establishes the proportion of change between the input and output levels. If you set the compression Ratio to 2:1, then when the input signal gets twice as loud, the output signal will increase by only half.

If you set the Ratio to its maximum (10:1 or more), the the compressor becomes a “limiter” that locks the maximum level at the Threshold.

While a compressor can level out a recording, high levels of compression can also introduce artifacts including “pumping”, in which there is an audible up and down change in volume of a track, or “breathing”, which sounds like someone breathing as the background noise level goes up and

down.

EXPANDERS

An expander is the opposite of a compressor. As the level of the audio signal gets louder, the expander’s amplifier turns up further making loud signals even louder. An expander can be used to reduce noise in a process called downward expansion. In this case you set the Threshold just above the level of background noise. The expander will then raise the volume of everything above the Threshold, but won’t change anything below the Threshold, thereby lowering the perceived background noise.

NORMALIZING

Normalizing increases the gain of the audio file until its loudest point (or sample) is at maximum level. The overall signal level is now higher, which makes for clearer audio, and also gives the encoder more bits of data to work with and reduces encoding artifacts. The only downside of normalizing is that it increases the noise as well as the audio signal so it should be used carefully. It should be your last step before encoding, and you may not need it at all.

By: Stephanie Ciccarelli

About the Author:

You’ve heard of audio books, or recorded books before, haven’t you? Many people, even the ones who use them daily, remain tongue-tied when it comes to answering correctly the following questions.

Why? My guess is that audio books in general are so convenient to use. Many of us prefer to venture into the scenes of an audio book without delay more willingly. Spending our precious time researching every detail about its creation remains a distant “maybe”.

On the other hand, there are a few details about recorded books you want to know.

What for?

‘Cause knowing them makes it easier for you to navigate around audio books with more confidence. Your improved “shopper’s education” to make the right choice is worth it.

I admit I used to be unaware of even the basic terms about audio books myself. So, I asked questions to get answers.

Guess what? I’ve found them. And I’d love to share them with you so you can save time researching the same questions. If you’d like to know the answers to the following basic questions about audio books, keep on reading.

What’s an audio book?

An audio book is a book in audio format. It is a “fun replacement” for a physical hardcover or paperback book you’d read from cover to cover. Instead, you grab-n-read books on CD, books on tape, or MP3 books versions.

What formats do audio books come in?

You can get recorded books on tape, books on CD, and MP3 books. From an old-fashioned cassette player to modern and sleek MP3 players, audio books keep you company on-the-go where traditional book reading is simply unsuitable.

What’s an MP3 book?

MP3 books are still audio books. But a clever compression technique reduces the file size to take up less recording space. Besides that, MP3’s are portable and easily downloadable. Storing them is a breeze when compared to piling up stacks of cassettes or CD’s.

How can recorded books in MP3 format be played back?

You can play MP3 audio books on any MP3 portable player. You can also play them on your home PC (need to have Windows Media Player or similar). Playing MP3’s on a laptop or MP3-enabled cellular phones is the latest trend. If you don’t have an MP3 player, but have a CD player, you can burn MP3 files to a CD using your computer. You’ll need special software to do that. Search Google for “free software to burn CD’s” :).

What does “unabridged audio book” mean?

Good question. An “unabridged” audio book is narrated (or told) word for word. It’s the printed book equal in audio format. Nothing’s missing. Nothing’s added. As a result, they are longer than “abridged” versions.

What’s an “abridged audio book” version then?

It’s similar to the printed original, but shorter. The word-for-word narration from the previous example is not exact. “Abridged” also means shortened, cut. Keep that in mind if you are looking for the original version.

What are “dramatized audio books”?

Dramatized audio books are stage-like, “play-life” versions of printed books. You get all the bells and whistles: full cast, music and sound effects. Some people prefer it; some would rather get a simple, told version by an experienced narrator.

Is there a difference between having the author of the physical book tell the audio version, or is it better to have a professional narrator do the job?

Some authors are gifted for both writing and telling their own book. Others are better off leaving it to professional “voice-over calibers”. If you can, listen to a sample of the recorded book that catches your interest. It’ll help you decide if the narrator resonates with you. Some people swear that half the beauty of an audio book is the voice-over quality.

Where’s a good place to start for a novice interested in recorded books?

An excellent place to start is to pick up a favorite story you already know about, but would like to “read” as an audio. About the length, pick “abridged” audio books to start with to cut down on time they take to play back. Once you become more skilled with recorded books, you got to check out “unabridged” editions as downloadable audio MP3 books as soon as you can.

By: Lu Smith

About the Author:

Roberto Sedycias

Since the dawn of television, children have found this an enjoyable and interactive pastime. Visual stimulation is preferred by children in comparison to any other media, and current figures report than children watch an average of four hours of television a day. These figures are much larger than they were almost half a century ago, but changes in lifestyle and technological advances make this inevitable. However, many people question how television is affecting the lives of modern children.

Children`s television programmes began in the 1950s. By 1951 television showed up to 27 hours per week of television programmes aimed at children. The usual time slot was late afternoon and evening with programmes aimed at shorter viewing periods. In the mid 50s the Saturday morning television programme slot was discovered, and since then has long since been kept for children`s viewing. The 1960s saw a switch to animation based television programmes which were cheaper to produce. The lower the cost; the more could be produce and children`s television gained more viewing slots. In the 1970s programmes were made longer to increase viewing figures and in the 80s cable television arrived. This enriched and widened the scope for the provision for children and dedicated television channels were aired.

As the industry grew, so did the concern for the effects of watching television on children. The children`s television act arrived in the 1990s, requiring high levels of research and monitoring in that area. The main concerns centred around health, academic progress and the effects of violence on television. The first testimonial involving the effects of violence on television on juvenile behaviour was brought about in the US as early as 1952. The effects of violence on television have been studied since 1964 when it was officially ruled that television was a factor in children`s behaviour. The main concerns were that levels of violence would increase through copied behaviour, with children becoming desensitised.

So, what has been determined through research with regards to children and television violence? Two outcomes were discovered; catharsis and stimulation which are still the leading theories in this area. Catharsis was found to remove negativity, whereas the stimulation effect increased violent emotions with the latter showing to be the most likely outcome. There is a proven small and consistent link between viewing violence and increased aggression. However, the results were highest amongst children witnessing violence at home rather than non television.

Other studies showed that there are definite cognitive effects when children watch television as they are stimulated by visual movement. This includes the movement of colour, camera angles, and panoramic views. Television aimed at children takes this into account and this is why children seem transfixed. Research shows, however, that attention to the television is in fact fragmentary before the age of two, but it steadily increases until attention peaks at the age of 12 years. The understanding of many concepts is lost until aged 10 in the average child as there is too much information to comprehend and so concentration depends upon pure enjoyment.

In terms of health, the main problem is obesity through a lack of exercise, and so television has been blamed for this in part. This is because watching television distracts the receptors in the brain which let the child know when they are full. However, there is no research to state that this has any more effect than general family eating habits. Television is like any other factor in life; it can have positive effects in moderation. There are no suggested guidelines for television viewing, and so it is down to personal and family choice.

If you have concerns about the effects upon your child, the best advice is to look at family attitudes towards television. This includes the amount of time spent watching television, the type of programmes viewed and even comments made. It is possible to limit the type of programmes viewed, and to reduce the time spent watching by offering it as a reward system. To improve educational elements, discuss issues raised with honesty and interest and your child will be encouraged towards this type of programme.

Specification:

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Tighter bass and transparent clarity high frequency and fidelity are our main resolute principle throughout every series speakers, as well as TL series. Certainly advanced components are integrant, our engineers constantly research acoustic technology and innovation to provide reasonable price and high quality for our clients. The voice diaphragm is polymer diaphragm. The enclosures are made of multi-intensity MDF, mounted integral variable suspension for portable application or permanent installation.



By: Sanway Professional Audio Equipment Co.,Ltd.

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