Category Archives: Awesome

Recording studio Survival Guide

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When it comes to recording studios, it’s easy to obsess over gear—the mics, preamps, monitors, and plugins that shape your sound. But while equipment is critical, it’s often the overlooked details that make or break a session. A forgotten cable, an overheated amp, or even a lack of snacks can grind the creative process to a halt. That’s where this Studio Survival Guide comes in. It’s a practical checklist for everything beyond the gear—cleaning supplies, tools, food, and creature comforts—that keeps sessions running smoothly and everyone focused on making great music. Whether you’re a seasoned engineer or a first-time studio owner, this guide ensures you’re prepared for anything, so the session never skips a beat.

Cleaning Supplies

  • Cable ties (for organizing cables)
  • Compressed air cans (for cleaning gear)
  • Contact cleaner/lube (for maintaining electrical contacts)
  • Deodorant (for personal hygiene during long sessions)
  • Dust covers (for protecting equipment not in use)
  • Fingernail clippers (for personal grooming)
  • First aid kit (for emergencies)
  • Javex, mop, broom (for cleaning floors and surfaces)
  • Light bulbs (for replacing burnt-out lights)
  • Microfiber cloths (for cleaning delicate surfaces like screens or instruments)
  • Mouthwash (for freshening breath)
  • Q-tips (for detailed cleaning of gear or instruments)
  • Rubbing alcohol (for cleaning and disinfecting)
  • Sink (for general cleaning and handwashing)
  • Towel per person (for personal use or spills)
  • Washroom Stock  (for personal hygiene and convenience)

Food

  • Apple juice (for hydration or snacks)
  • Aspirin or Tylenol (for headaches or minor pain)
  • Bottle of scotch (for celebratory or relaxing moments)
  • Breath mints (for freshening breath)
  • Candy, fruit, nuts, sodas, bottled water (for snacks and refreshments)
  • Coffee grinder and beans (for fresh coffee preparation)
  • Condiments (for enhancing food)
  • Cough drops (for soothing sore throats)
  • Drugs (medicinal, herbal, recreational) (as appropriate for the session)
  • Glasses (one per person) (for drinks)
  • Lemon juice, coffee (with all the fixings), tea, herbal tea (for beverages)
  • Local restaurant menu book (for ordering takeout)
  • Microwave or toaster oven (for cooking/warming food)
  • Mini freezer (for ice or frozen snacks)
  • Non-alcoholic beverage alternatives (e.g., sparkling water or mocktails)
  • Plates (for serving food)
  • Reusable water bottles (to reduce waste)
  • Silverware (for eating meals)
  • Snacks for dietary restrictions (e.g., gluten-free, vegan options)

Furnishings

  • Ashtrays (if smoking is permitted)
  • Chairs for everyone (for seating during sessions)
  • Coat rack (for storing outerwear)
  • Comfortable seating (e.g., ergonomic chairs for extended sessions)
  • Eating area (tables and chairs) (for meals or breaks)
  • GOBOs/Soundproof curtains (for windows or additional isolation)
  • Humidifier, possibly air cleaner (for maintaining air quality)
  • Mirror (for personal grooming or visual checks)
  • Mood lighting (to set the vibe for creative work)
  • Music stands with clip-on lights (for holding sheet music)
  • Office dividers (used as ISO dividers for sound separation)
  • Portable heater (for maintaining warmth in cooler environments)
  • Rugs, candles, and lights (for creating a comfortable atmosphere)
  • A small fridge or cooler (to keep perishable items fresh)
  • Storage solutions (bins, shelves for cables and accessories)
  • Waste bins and recycling containers (for managing trash and recyclables)

Gear

  • Adapters and patch cables (RCA, XLR, 1/4″) (for connecting various gear)
  • Backup hard drives (for session safety and data backup)
  • Extra vacuum tubes (for tube-based equipment)
  • Ground lift adapters (for troubleshooting hum and grounding issues)
  • Headphone amps/distributors (for multiple users to monitor audio)
  • Power conditioners or surge protectors (to protect equipment from power surges)
  • Snakes (for connecting gear to the patch bay)
  • Splicing tape and edit block (for tape editing and repair)
  • Studio monitor isolation pads (to reduce vibration and improve sound accuracy)
  • Test tone generator (for calibration and troubleshooting)

Instrument supply

  • Guitars

    • Baby powder (cornstarch-based) (for reducing hand friction while playing)
    • Capo (for changing the pitch of the guitar)
    • Extra guitar patch cables (for connecting guitars to amplifiers or pedals)
    • Guitar stands (for safely holding guitars when not in use)
    • Guitar strings (nylon, acoustic, electric, and bass) (for replacements)
    • Picks (for playing)
    • Slide (for slide guitar techniques)
    • Straps (for comfortable guitar playing while standing)

  • Drums

    • Drum dampening gels or rings (for controlling overtones and resonance)
    • Drum key (for tuning drums)
    • Extra drumheads (for replacements during sessions)
    • Extra drumsticks (for replacements or variety in playing styles)
    • Lug lube (for maintaining tension rods and smooth tuning)
    • Metronome or drum machine (for keeping time)
    • Percussion mallets and brushes (for different tonal textures)
    • Various-sized cymbal felts, nylon cymbal sleeves, snare cords, tension rod washers (for maintaining drum hardware)
  • Chromatic tuner (for tuning instruments accurately)
  • Keyboard stand(s) (for securely holding keyboards)
  • Keyboard sustain pedals (for expressive keyboard playing)
  • Violin rosin (for maintaining bow grip if working with string players)

Office Supplies

  • Backup players (for covering absent musicians)
  • Blank CDRs (for storing recordings or sharing sessions)
  • Business cards (for networking opportunities)
  • City map (for navigating the area)
  • Clothespins or clamps (for holding papers or securing cables)
  • Decent restaurants that deliver (menus on hand) (for ordering meals)
  • Debit/credit card terminal (for client payments)
  • Dry-erase board with markers (for tracking or brainstorming)
  • Good restaurant list (for dining recommendations)
  • Good rolodex of numbers (for contacts like clients, vendors, and repair people)
  • Graph paper (for sketching layouts or diagrams)
  • Guitar Player, Bass Player, Modern Drummer (magazine subscriptions) (for inspiration or industry insights)
  • Label maker (for organizing cables, drawers, or gear)
  • Large wall calendar (for scheduling studio time or tracking projects)
  • Manuals for all equipment (for troubleshooting and reference)
  • Music staff paper (for writing out parts/arrangements)
  • Notepad (for jotting down lyrics, cues, or notes)
  • Pens, pencils, highlighters, and Sharpie markers (for writing and marking)
  • Repair people (contact information for equipment repairs)
  • Rental companies (for gear or equipment rentals)
  • Track sheets (for organizing session details)
  • USB drives or external SSDs (for data backup and transfer)
  • Vacuum (for cleaning the studio)
  • Whiteout (for correcting written errors)

Tools

  • Blue masking tape (for marking spots on the floor)
  • Cable tester/DMM (for testing and troubleshooting cables)
  • Console labeling tape (for marking controls or sections on the console)
  • Crimping tool and connectors (for making custom cables)
  • Digital multimeter (for measuring voltage, current, and resistance)
  • Earplugs (for hearing protection during loud sessions)
  • Fire extinguisher (for safety precautions)
  • Flashlight (for working in dimly lit areas)
  • Gaffer tape (for securing cables and other temporary fixes)
  • Heat gun (for shrink-wrapping or repairs)
  • Matches or a lighter (for igniting or emergency use)
  • Miscellaneous portable fans (for ventilation during long sessions)
  • Multi-tool, screwdriver set, socket set, and soldering/wiring tools (for general repairs and maintenance)
  • Portable phone chargers (for clients or band members)
  • Razor blades (for precise cutting tasks)
  • Roomba (for autonomous cleanup)
  • Safety goggles (for soldering or repairs)
  • Sandpaper (for smoothing surfaces or cleaning contacts)
  • Small step ladder (for reaching high shelves or fixing lights)
  • Small vacuum cleaner (for detailed cleaning)
  • Spare fuses (for outboard gear or amplifiers)
  • Stud finder (for securely mounting or hanging gear)
  • Tape (for general use)
  • Tester (RCA, XLR, 1/4 with polarity checker) (for verifying cable connections)
  • Thermal camera (for locating overheating gear)
  • WD-40 and 3-in-1 oil (for lubricating and maintaining equipment)
  • Weather stripping (for sealing gaps to improve sound isolation)

Computerism (noun)

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Computerism (noun): A form of discrimination or bias where individuals are judged, stereotyped, or treated differently based on their choice of computer operating system (e.g., macOS vs. Windows vs. Linux) or browser preference (e.g., Chrome vs. Safari vs. Firefox). This phenomenon often manifests as social stigma, exclusion, or assumptions about a person’s technical skills, personality, or values based on their technology preferences.

For example, a macOS user might be labeled as “trendy but impractical,” while a Linux user could be stereotyped as “overly technical” or “elitist.” Similarly, browser preferences might spark debates or judgments about privacy, efficiency, or mainstream conformity.

“Jason’s blatant computerism was evident when he refused to collaborate with Sarah, simply because she preferred macOS over Windows.

A computerist is someone who engages in or perpetuates discrimination, bias, or stereotyping based on another person’s choice of computer operating system, software, or browser. They may judge or treat others differently because of their tech preferences, often making assumptions about their personality, competence, or values.

For example, a computerist might mock someone for using Internet Explorer, assume all Mac users are creative professionals, or stereotype Linux users as overly technical and antisocial.

In a broader sense, a computerist could also describe someone deeply passionate about computer systems and their associated cultures, though this usage is less common.

“Don’t be such a computerist—just because I use Linux doesn’t mean I think I’m better than everyone else!”

 

 

In memory of Mick Ellis

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In memory of Mick Ellis, whose influence shaped a generation in the media world.

Mick had a huge impact on my life – he was the reason I deviated from Catholic school into the “sinful” path of multimedia. His work on TV Soul Time was a defining moment for me, helping me decide which high school to attend. His media studies program from grade 9 drew me in, and I became one of his mentees, hooked from the start. Mick and I worked countless events together – pep rallies, plays, sock hops – creating hours upon hours of media that built my skills and passion for this field.

Russ Ramsden - Tony Kuzub - Mick Ellis

Russ Ramsden – Tony Kuzub – Mick Ellis

Mick, Russ, and I tackled at least a dozen Gateway plays, and every project we took on was filled with lessons that stuck with me. Mick introduced me to multi-track audio recording, even gifting me a copy of “SAW” so we could push our audio-visual work to new heights. That experience shifted my career, opening my eyes to what was possible in media, and to this day, I wouldn’t be where I am without those early projects.

Mick helped me understand the media landscape – how to tell stories, to motivate, and to wield the art of sound and visuals in ways that captivate audiences. I often reached out just to say hello and to thank him for the countless opportunities, encouragement, and wisdom he provided. Even now, with each new experience, I’m brought back to those days in his classroom.

Mick, you were not only a mentor but a true friend. My thoughts are with his family, friends, and everyone lucky enough to have known him. He will be greatly missed.

It is with broken hearts that we have to say goodbye to our beloved Mick. Our husband, father, friend, grandfather – our rock, Mick. Mick died on August 18 after a short illness from cancer. He loved life and his family beyond measure. Mick is survived by his wife and best friend of 54 years, Lorraine; his children, Erin (Dany), Mike (Kathleen), and Dan; grandchildren, Malcolm and Gillian; brothers, Peter (Maria) and Colin (Susan); sisters-in-law, Linda and Lynne; and 9 nieces and nephews along with their children.

Mick has been an actor, a woodworker, a musician, a consummate fix-it guy and DIY dude, an artist, a media studies pioneer, a beer-maker, a gardener, a student, a teacher, and above all a dad and husband. He had an appreciation for everyday joys, every day. “Oh man, that’s good!” he would exclaim over each evening cup of coffee. If he could creatively salvage something into usefulness the whole day was “great!” Relentlessly positive and gifted with seemingly endless energy, nothing was ever too much trouble for him. He showed his care through action, perpetually willing to lend a helping hand, especially to his (sometimes needy) family.

He was an educator who left a lasting impression on students and colleagues. Many former students from his years teaching at Evan Hardy Collegiate and running audio-visual programs through the Saskatoon School Board have sought him out to reconnect and share the ways he impacted them as a teacher. He truly was a pioneer in his field, creating lasting programs such as Telemedia.

Mick was a dedicated environmental steward, and ingrained the ethos of reduce, re-use, recycle into his children. More recently, he described saving energy as his hobby, and he derived great joy from checking the energy production of his solar panels every day.

We are bereft, but Mick loved life and so we will strive to carry on that tradition, at times through bleary eyes, however working to live with joy in our hearts, one scrap piece of wood re-purposed or quiet morning savouring a good book at a time.

A Celebration of Mick’s life will be held at Glass and Lumber, 432 20th St. W, on Sunday, September 15 from 1-5 p.m., presentation at 2 p.m. Mick had an intense dislike of formal wear, so please wear whatever you’re comfortable in.

Charitable giving was important to Mick, so rather than flowers, if you would like, his family suggests that a tribute donation is a loving way to honour him. Some of his favourite charities included: Doctors Without Borders, Meewasin Valley Authority, and EGadz. (Also, hug your loved ones and unplug your not-in-use appliances.)

The aesthetic of quality

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Something that appears to be of high quality or sophistication but lacks true substance or craftsmanship. It’s the idea of presenting an illusion of excellence—through design, branding, or superficial elements—without the underlying integrity or value. In other words, it’s a deceptive or inauthentic display meant to mimic true quality, often relying on surface-level attributes rather than genuine merit. This can be seen in products, services, or even experiences that seem premium at first glance but ultimately fall short when examined more closely.

 

 

“Access is the medium”

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“Access is the medium” describes the shift from physical ownership of media (books, CDs, DVDs, etc.) to a digital world where the primary way to consume content is through access, typically via subscriptions or paywalls. Instead of purchasing individual pieces of media, users now gain temporary access to vast libraries of content, often behind paywalls or through streaming services. In this paradigm, access itself becomes the medium through which content is delivered and consumed, emphasizing convenience and immediacy over ownership.

TWiRT 712 – Fun with AI Inspires Broadcast Engineers – Matt Aaron & Anthony Kuzub

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The rise of AI-generated lyrics and music is giving engineers something to chuckle about. But could this “easy creativity” inspire other engineering solutions? Kirk drew a comparison with photographer Jeremy Cowart and his use of an LED wall to produce 60 different portraits in 60 seconds. Anthony Kuzub, an engineer at CBC in Canada, pointed out the AI that’s involved with lighting a new studio, matching accent lights to the video monitor feeds. Matt Aaron is programming a fully-AI streaming station that’s playing “Broadcast Engineers Gangster Rap”. Are these just passing curiosities? Or are they signals of technologies and techniques to come for broadcasting and content creation?

Show notes: “The Legend of Chris Tarr” from suno.com https://suno.com/song/ecb43422-a9a0-4…

And another version of “The Legend of Chris Tarr” https://suno.com/song/9f924c42-c5b7-4… Matt Aaron’s AI-music streaming station https://broadcastengineeringgangsters…

And if Kirk had a radio station, KIRK, this could be the theme song https://suno.com/song/7e61f354-34e0-4…

Anthony mentioned ElevenLabs for text-to-speech and AI voice generation https://elevenlabs.io/

Anthony noted the Roland VC-1-DMX video lighting converter https://proav.roland.com/global/produ…

 

The last meter

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“The last meter” refers to the final connection between an audio device, such as a microphone, headphones, or speakers, and the larger sound system or network. Just as “the last mile” in telecommunications represents the crucial final stretch that delivers service to the end user, “the last meter” in audio engineering highlights the importance of the final cable or wire, which directly impacts the quality and reliability of the sound being transmitted. Despite its short length, this connection is critical for ensuring the integrity of the overall sound system.

Live from the CCBE in Toronto, Canada – TWiRT Ep. 710

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The CCBE conference encompasses two days of professional broadcast engineering career development. This includes carefully-chosen paper presentations, an expo hall, and an awards dinner and ceremony honoring leaders in the broadcast engineering profession. We got to meet with and converse with leaders in the Central Canadian Broadcast Engineers group, plus Canadian engineers and leading equipment manufacturers.

AES Member Profile – aes.org/AES/APK/ no longer working

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AES Member Profile
Anthony Kuzub
Anthony Kuzub
Job Title: Sr. Systems Designer
Company: CBC / Radio- Canada
Status: Member
Member since: 2009
Technical Committee: Network Audio Systems
Standards Committees: SC-02-01 (Digital Audio Measurement Techniques), SC-02-02 (Digital Input/Output Interfacing), SC-02-02-K (Multichannel audio in AES3, X196), SC-02-02-L (MADI over twisted-pair cabling), SC-02-08 (Audio File Transfer and Exchange), SC-02-08-E (X212 HRTF file format), SC-02-12 (Audio Applications of Networks), SC-02-12-H (AES-X192), SC-02-12-J (Network Use Cases), SC-02-12-L (Open Control Architecture), SC-02-12-M (AES67 development), SC-02-12-N (Media network directories), SC-02-12-P (Broadcast and Online Delivery), SC-02-12-Q (Streaming Loudness), SC-02-12-R (Streaming audio metadata over IP), SC-03-06 (Digital Library and Archive Systems), SC-03-12 (Forensic Audio), SC-04-03 (Loudspeaker Modeling and Measurement), SC-04-04 (Microphone Measurement and Characterization), SC-04-04-D (Project AES-X42), SC-04-04-E (Microphone comparisons), SC-04-08 (Sound systems in rooms), SC-05-02 (Audio Connectors), SC-05-02-F (Fiber optic), SC-05-05 (Grounding and EMC Practices)
Primary Section: Toronto

Company Website: http://www.CBC.ca
Other Professional Website: http://www.TorontoAES.org
Personal Website: https://like.audio
Contact: Anthony Kuzub
Audio Fields:
Broadcasting – Television Sound
Broadcasting – Studio
Broadcasting – Transmission
Broadcasting – Radio
Job Duties:
Designer
System Designer
About
Vice Chair Toronto AES 2017-2019
Chair Toronto AES 2019-2021

Bio:ANTHONY KUZUB updated May 2021

Anthony is a 3rd generation recording / broadcasting engineer. Obsessed with audio from a young age, he studied Ward-Beck Systems console schematics while his dad worked at CFQC-TV in Saskatoon. He maintains WBSps.ca , a Preservation Society whose members collate tech info and documentation about the legendary Toronto manufactured broadcast equipment. After 15 years of owning studios, producing music, mixing for IATSE 300, and refurbishing consoles he moved from Saskatoon to Toronto. In 2010 Anthony commissioned Revolution Recording as their Technical Supervisor. While Rush was recording in studio A, he built a custom Ward-Beck Systems Mixing Console for C. Anthony consulted, upgraded and designed audio equipment for community pillar like Livewire, Joao Carvalho Mastering, Lacquer Channel, many private individuals and studio visitors.

In 2016 he earned an Honors Diploma in Communication Engineering from Seneca Toronto.
Upon graduation, Anthony worked as the IP audio product manager for Toronto’s Ward-Beck.Systems. While taking on the role as Chair of the Toronto Audio Engineering Society (www.TorontoAES.org) he designed networked audio systems for railroads, broadcast plants, transmitter sites, production studios and virtualized production environments. Most notably were his contributions in an AES70 commanded remote controlled microphone pre-amp with AES67 transceivers meeting SMPTE 2110-30 compliancy. Anthony has designed, engineered, manufactured and supplied the highest quality broadcast and studio equipment to television and radio broadcasters worldwide.

As of 2020 Anthony has been working with the Canadian Broadcasting Corporation to design systems to best implement Audio Engineering Society standards. Leading projects with engineering Solution for the Media technology and infrastructure services. Anthony’s current portfolios include real time and file transport of production audio for radio, television and digital production.

Anthony is actively involved in the technical development of audio and media control standards.

 

Timeline;

1997-2010 – Recording studio Producer / Engineer: High Voltage Recording – Tanda Recording
2003-2018 – Audio Technician: Bell Media, IASTE 300
2010-2013 – Revolution Recording + Custom shop – Technical Supervisor – Console restoration
Ward-Beck Systems Mixing Console for their third room. Livewire, Joao Carvalho
Mastering, and Lacquer Channels Cutting system.
2013-2016 – Honors Diploma in Communication Engineering – Seneca Toronto.
2019 – Author – AES72-2019: AES standard on interconnections – Application of RJ45-type connectors and quad twisted pair cable for audio interconnections.
2014-2019 – IP audio product manager – Ward-Beck.Systems Toronto
2019 – Chair AES SC-05-05 – EMC practices
2020-present – CBC Radio Canada

Education Background
Seneca College of Applied Arts and Technology:

Degree Name: Electronics Engineering Technologist Communications

Grade: Honours

A comprehensive investigation of electronic circuitry, diagnostic techniques, applied mathematics, process control, and computer systems/networks. An advanced study of communication topics, including digital and data communications, the characteristics of signals and transmission media, cellular wireless systems, as well as broadband to the home.

This is a 3 year program that provides 30% hands—on laboratory work.

Program link: http://www.senecacollege.ca/fulltime/ELM.html

Software Development;
C, C++, VHDL, VB.NET, VEE, MATLAB

Employment History
www.MuchMusic.ca
Http://Ward-Beck.Systems
Http://RevolutionRecording.com

Related Experience
Anthony has spoken at NAB, AES, IBC, SMPTE meetings on the topic of networked audio using AES67 and ST2110-30

Why Am I An AES Member?
Birds of feather flock together.

To play for the Tie:

AES Member Profiles
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