page_title: Recording studio
section_title: Radio studios
hierarchical_section_title: Recording studio / Radio studios
caption_attribution_description: English: The studio at Ridge Radio in Caterham, UK. http://www.ridgeradio.co.uk
context_page_description: A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties.
  Recording studios may be used to record singers, instrumental musicians, voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks. The typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform; and the "control room", where sound engineers, sometimes with record producers, as well, operate professional audio mixing consoles, effects units, or computers with specialized software suites to mix, manipulate and route the sound for analogue recording or digital recording.
context_section_description: Radio studios are very similar to recording studios, particularly in the case of production studios which are not normally used on-air, such as studios where interviews are taped for later broadcast. This type of studio would normally have all of the same equipment that any other audio recording studio would have, particularly if it is at a large station, or at a combined facility that houses a station group, but is also designed for groups of people to work collaboratively in a live-to-air situation (see Ahern, S, Making Radio).
  Broadcast studios also use many of the same principles such as sound isolation, with adaptations suited to the live on-air nature of their use. Such equipment would commonly include a telephone hybrid for putting telephone calls on the air, a POTS codec for receiving remote broadcasts, a dead air alarm for detecting unexpected silence, and a broadcast delay for dropping anything from coughs to profanity. In the U.S., stations licensed by the Federal Communications Commission (FCC) also must have an Emergency Alert System decoder (typically in the studio), and in the case of full-power stations, an encoder that can interrupt programming on all channels which a station transmits to broadcast urgent warnings.
  Computers are also used for playing ads, jingles, bumpers, soundbites, phone calls, sound effects, traffic and weather reports, and now full broadcast automation when no staff are present. For talk shows, a producer or assistant in a control room runs the show, including screening calls and entering the callers' names and subject into a queue, which the show's host can see and make a proper introduction with. Radio contest winner interviews can also be edited "on the fly" and put on the air within a minute or two after they have been recorded accepting their prize.
  Additionally, digital mixing consoles can be interconnected via audio over Ethernet, or split into two parts, with inputs and outputs wired to a rackmount audio engine, and one or more control surfaces (mixing boards) or computers connected via serial port, allowing the producer or the talent to control the show from either point. With Ethernet and audio over IP (live) or FTP (recorded), this also allows remote access, so that DJs can do shows from a home studio via ISDN or the Internet. Additional outside audio connections are required for the studio/transmitter link for over-the-air stations, satellite dishes for sending and receiving shows, and for webcasting or podcasting.
caption: The studio at Ridge Radio in Caterham, England
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