Wednesday, June 12, 2013

Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System by Pyle

Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System
List Price : $417.99

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Our Most up-to-date Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System Will make Your Daily Life Even better

The moment you purchased your first Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System you almost certainly believed it absolutely was going to help you save both time and cash, after all this was the whole point behind the purchase of a item to start with. While it's true that those first varieties did make an impact and make your life easier, at Pyle we believed that it simply was not good enough. You earned an item that was not simply going to help you save time, but would definitely make your life more effective.

Even though there are lots of other Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System on the market today, we know that what we have done is considered the most beneficial aspects of all the various items on the market and used them to create our newest model. A very important factor which we did discover with the amount of the various other items available is they try to impress you with lengthy lists of "unique" functions they've included.

Our latest Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System incorporates a unique list of options, but instead than loading it up that includes a number of worthless features, we dedicated to incorporating only those that our shoppers let us know they needed. We then concentrated on making sure that each of these functions performed perfectly, to ensure you will finally have the ability to pick the one product that was made with just one thing in mind which is to spare no expense when making Your Daily Life simply that tiny bit better than it was.

Click here to visit the Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System full review & compare prices

Pyle-Home PLTTB8UI Classical Vinyl Turntable Player with PC Record, iPod Player, AUX Input and Dual Fold-Out Speaker System

This turntable-in-a-suitcase is practically portable. It comes in rugged suitcase with fold-out speakers. It’s equipped with a USB connector, so you can hook it up to your PC or Mac and record your favorite vinyl hits to digital music files like an MP3, OGG, or WMA. Auto return, auto stop phonograph. Aux-in port allows you to listen to music from an external music player through this system’s speakers. Headphone output for private listening. Runs on 110 V AC power. Included accessories: 45 rpm adaptor, CD with computer software, USB cable, aux-in cable, and AC adaptor.

Feature

  • Rugged suitcase with dual fold-out speakers - Headphone output
  • USB connection to enable recording with PC - 110 Volt AC power
  • Can be saved with MP3, WAV and OGG VORBIS in the computer - 45 rpm adaptor included, Software, USB cable & Aux in cable & AC adapter
  • Auto return - Dimensions: 20.62'' x 13.14'' x 7.24''
  • Auto Stop Phonograph

Tuesday, June 11, 2013

Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black) from Jensen

There had been been establishing and producing this amazing Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black) for you and your house. As opposed to generally taking the model we have been selling and adding a few new functions, we looked meticulously at what you liked about it and threw the rest away. So we can make this item the very best one of a kind. It is incorporate the future of fine living with technology beautifully together. You may discover that Jensen never quit developing our concept to make our very greatest for you.

Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black)
List Price : $99.99

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Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black) will most likely be the only answer for your inquiry. And also our design team has been listened of one's comments and requests and we're particular that you simply simply will uncover our newest item has been built to address all of them. Top quality manage is genuinely essential, and inside the individual step of development that result in this truly valuable item for the buyer like you.

Jensen honestly believe that the only strategy that you are going to replace what you had. It could be to construct an item that is far much better. Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black) will be the only answer for your inquiry. And also our design team has been listened of one's comments and requests and we're particular that you simply simply will uncover our most recent item has been built to address all of them.

Click here to read our Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black) full review & Low price

Jensen JTA-460 3-Speed Stereo Turntable with MP3 Encoding System and AM/FM Stereo Radio (Black)

Convert your vinyl collection directly to MP3 format without a computer with this direct MP3 encoding system from the turntable to a USB flash drive or SD/MMC card. This unit contains a belt driven 3-speed stereo turntable (33/45/78 RPM) and an AM/FM stereo receiver with digital frequency display. It works as a stand alone music system or connects to your home stereo system.

Feature

  • Convert vinyl to MP3 format without a computer
  • MP3 compatible with USB and SD/MMC Slots
  • AM/FM receiver with digital frequency
  • Belt-driven 3-speed stereo turntable: 33/45/78 RPM
  • Built-in stereo speakers and included remote control
  • Belt Driven 3-Speed Stereo Turntable - 33/45/78 RPM
  • Built-in Stereo Speakers; Remote Control
  • MP3 compatible; USB & SD/MMC Slots

Monday, June 10, 2013

Griffin Technology iMic USB Audio Device from Griffin Technology

Griffin Technology iMic USB Audio Device

Griffin Technology iMic USB Audio Device is the excellence concept for you to improve of residence and make your life less difficult. There are many from the other Griffin Technologys are spending their time and money on fancy packages and functions that nobody truly demands, we've gone in yet another aim. We need to provide you with a product that is certainly able of handling something that you simply occur to have in mind and best high quality, not a thing that just appears nice coming out from the box. Our designers have taken a close appear at every single other product out there and what each person has said about them, developing our models and make it perfectly best for you.


Our team of producer has been working quite difficult to come up using a new invention that not only does accurately what you bought it for, but Griffin Technology iMic USB Audio Device will far exceed your expectations. This product is an advance selection in the market in the moment. Base on all our information and knowledge in our product innovation make this clever item is quite interested for anyone who thinking of their new residence improvement.

We usually spend attention on product high quality and also suitable value. Lastly, Griffin Technology iMic USB Audio Device will be your most fantastic item for every single customer around the globe and which includes yourself too.

Griffin Technology iMic USB Audio Device
List Price : $39.99

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Griffin Technology iMic USB Audio Device allows you to use your USB port to add stereo audio input and output to your Mac or PC. iMic isolates the audio signal from the noisy electronics of your computer to give you higher quality sound. Perfect for transferring your vinyl to digital. A must for any audio enthusiast.

Feature

  • Record Vinyl LP's and cassettes for digital use
  • USB Powered
  • Provides Line level output for connecting powered speakers
  • Supports both Mic and Line level input
  • Compatible with all Mac and PC systems with a USB port

Saturday, June 8, 2013

Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock by Pyle

Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock
List Price : $435.99

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Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock is going to be your life benefit for your life. You will not know until you have a touch of our fine invention concept and receiving it for your gorgeous property. In case you might be thinking to be our client, we're able to guaranty which you just might be exceptionally pleased. This genuinely is possibly basically one of the most spoken merchandise that had been passing on from time to time. The searching for an suitable spending away your spending budget is finish here with us. As a fantastic deal of persons had been acquiring encounter in obtaining an owner, they're all seriously satisfied, why pay drastically much more than what you actually would like to have.

We usually pay attention on item exceptional and also suitable worth. The attentively productions are in each and every and just about every step. That is why Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock turn into well-known merely. This item is an advance choice within the sector within the moment. You are going to uncover plenty advertising and drastically a great deal a lot more possibilities on digital communication to draw you attention.

Base on all our understanding and understanding in our item innovation. Creating your approach towards the comfort life with our merchandise with the most global exclusive Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock. With our perfect of team technicians are considerate to this creation for you and your home. Pyle seriously confident which you might be going to be fulfilled.

Click here to read our Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock full review & cheap price

Pyle Home PTCDS2UI AM/FM Radio/CD/Cassette/USB Classic Turntable with iPod Dock

Now you can retain the look of a classic phonograph but have the technology of the 21st century. This vintage, authentically wood-crafted turntable is equipped with an AM/FM radio, CD player, cassette deck, aux-in jack for your MP3 player, and even an iPod dock for a wealth of playback options. Use the included remote to control your device. The built-in speakers sound great, and you’ll be enjoying the old classics and the new hits on this conversation piece in no time.

Feature

  • The USB is not included in the box.
  • Phono/Radio/CD player/USB record/CassetteAM/FM Radio - Ceramic stereo cartridge - 2 speaker
  • Front loading,single CD, drawer type - Auto return - AC Power
  • CD/MP3/CD-R/CD-RW discs compatible - Audio output power: 2.5W(max) - Dimensions: 20.08"X13.39"X8.86"
  • USB record - iPod player
  • 3 speed turntable 33-1/3, 45, 78 RPM - Remote control for CD/USB

Friday, June 7, 2013

Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording by Pyle

Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording
List Price : $404.99

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Inside the event that you might be trying to locate a terrific gift for your self or an individual that you totally care. This is truly going to be a terrific obtainable chance to let your self to expertise with our amazing item that is going to be the first brilliant selection for you. Our professional style teams are definitely attentive in Pyle manufacturing method improvement to carry out you the Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording, our latest excellence item that we're really proud. Delivering the total and clever idea for the most effective lead to every new item is much more concerned for us.

Creation final result for our new item is confirmed and authorize by our professionals long length experiences and is going to be in a position to make a strongly advocate for you that Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording was created from the added intention and our best final determination. Spending our full attention and times in every production method, carrying on the modern day improvement idea and concept for consumer support, developing the modern day advertising technique, modifying item particularities in every specifics do trigger our new intelligent item towards the marketplace for you.

Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording is one of our proud products which effective and amazing. Growing the customer members quickly come from the excellence reputation and intelligent item identity having a reasonable price for you and everybody to attempt.

Click here to see the Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording full review & Low price

Pyle Home PTCDS1U Classical Turntable with AM/FM Radio CD/Cassette and USB Recording

The phonograph was invented in the 18th century by Thomas Edison, but has remained nearly the same for over a hundred years. Now you can retain the look of a classic phonograph but have the technology of the 21st century! This vintage, authentically wood-crafted turntable is equipped with an AM/FM radio, CD player, cassette deck, aux in jack for your iPod or MP3 player, and USB recording for a wealth of playback options. Use the included remote to control your device. The built-in speakers sound great, and you’ll be enjoying the old classics and the new hits on this conversation piece in no time.

Feature

  • Phono/Radio/CD player/USB record/CassetteAM/FM Radio - Ceramic stereo cartridge - 2 speaker
  • Front loading,single CD, drawer type - Auto return - AC Power
  • CD/MP3/CD-R/CD-RW discs compatible - Audio output power: 2.5W(max) - Dimensions: 20.08"X13.39"X8.86"
  • USB record - 3.5mm Aux in jack
  • 3 speed turntable 33-1/3, 45, 78 RPM - Remote control for CD/USB

Thursday, June 6, 2013

Learning and teaching MFL within the Uk - An Analysis of Traditional Versus Modern Assets

III- Resources

Science and technologies is a topic that I investigated personally, in order to provide general knowledge about these issues to an A-level group. It soon became more obvious to me that there has been a huge evolution and progress in these fields in the last century. Resources for teachers and for pupils have changed tremendously, moving along the general rapid technological evolution. We have progressed from the discovery of the cinema, to individual televisions with two or three channels in the 1950s, to interactive whiteboards and the internet in schools since the beginning of the 21st century. This phenomenon is particularly interesting and implies a revolution in classrooms.

In order to follow this trend, the government has adapted its policies, to try and provide the best opportunities to develop learning. Information and Communication Technology became statutory in the National Curriculum for Modern Languages in 1999.

Since the turn of the century, classrooms have evolved and developed a great deal. Teaching resources are a complex set of features which can be divided in three major groups: human resources, traditional resources and modern resources.

III.1. Human resources

III.1.a Teachers and students

The first but often disregarded resource available in any teaching and learning situation is the teacher. The classroom situation is a resource for both teacher and learner to develop their skills. Indeed, students are the second main resource within a classroom. Teachers improve their teaching by interacting with their students whilst students acquire new knowledge and skills thanks to the lessons delivered by their teachers.

Modern Foreign Languages classrooms though are very specific setting. The artificial learning situation can be improved by the use of a foreign language assistant. Even if the context is still not authentic, it is the closest that can be achieved within the educational system. Students are given the possibility to improve their listening skills and practice the language with a native speaker. This enables students to have a clear idea of the potential outcome of their learning process. It is motivating and challenging. Throughout my experiences in school X, Y and Z, I noticed that each of these schools had a French native speaker on its roll. They had all acquired the qualified teacher status on the United Kingdom. This can only be beneficial to students as they provide quality teaching but are also able to supply a thorough cultural knowledge about France, Germany or Spain.

School trips are another type of real life resource which, are extremely valuable but are less frequently accessible. For various reasons such as the huge responsibility that it represents, but also due to the amount of paper work required, teachers organise less school trips than they used to. Exchanges which are the most beneficial experience that Modern Foreign Languages students can experience are not carried out any longer by many British schools. As Hawkins explains "two weeks of total immersion in a country where the target language is spoken is equivalent to six months of formal school teaching".(Hawkins, 1988: 68). This is detrimental to students' progression but it does not appear to evolve into any more positive direction. Senior management in School X even tries to reduce the number of school trips. To obtain a principle agreement from the headmaster, the trip has to have learning outcomes. I am involved in organising a trip linking the Modern Foreign Languages Department and the Physical Education Department. The objective is to enable year 13 students to visit a French comprehensive school sport's facilities, as these students have to compare the sport structures in schools of various countries. The interesting aspect of this trip is that it will enable some students from France to practice their languages skills in a very specific context while presenting their schools to native speakers of English.

III.1.b Resources for Special Educational Needs

Learning support assistants are also part of the teaching team in the United Kingdom. They are a very valuable asset for teachers as they represent an extra resource in the classroom. Generally, they are allocated to one specific student who has learning difficulties. They help this student to access the content of the lessons. Inclusion is statutory in the British Educational system. This implies that comprehensive schools are opened to all students and that school have to cater for their individual needs. Schools provide their staff with a Special Educational Needs handbook stating the school policy and the needs of every individual child concerned. It is specified whether the student is under school concern, school action, school action + or statutory assessment.

This staged approach implies each time a close partnership between the teaching staff and the Special Educational Needs staff, but also with the Learning Support Assistants. In means also, in some of the situations, that not only the pastoral and teaching staff have to share information but that they work alongside parents and external agencies. In the Special Educational Needs handbook, strategies to deal with the disabilities and/ or needs are offered to teachers. For instance, ways of supporting a dyspraxic pupil or a sensory impaired pupil are recommended. Some explanations concerning semantic-pragmatic disorder, or ADHD and Ritalin, and Asperger's Syndrome are provided. A list of useful web sites is also suggested to enhance the teacher's knowledge of his pupils' needs.

During my training as a teacher in school X, I shadowed a pupil who had been purposefully chosen by the school. I spent my day with pupil A, "statemented for his language difficulties linked to semantic pragmatic disorder and obsessive compulsive disorder. He has great difficulties inferring what people actually mean by what they say... He relies heavily on routine... His concentration is limited and he has poor literacy and organisation skills". (SEN handbook, 2003: section 3) This is the way pupil A is described in the SEN Handbook. His Individual Education Plan shows that the areas of concern are learning, and the areas of need are defined as being the development of Numeracy and literacy skills and the improvement of his communication skills. The targets are as follows: to work independently with staff reinforcement as needed; to join a range of activities at break and lunch time; to start working without individual prompts.

I spent one day with pupil A and his form, going from English to DT, then to French and History. After having read about him, I was worried that breaking his routine, by having to show me round the school, might destabilise him. Nevertheless, he did not seem to be affected by my presence. In every lesson, he was sitting at the front. He was not accompanied by a Learning Support Assistant. However, I noticed teachers spending a little longer explaining him some of the tasks given. They were providing him with specific worksheets and had differentiated the activities for him.

In School X I taught Year 7S1, where 11 pupils out of 27 required special educational needs. No Learning Support Assistant was available, even if two children had been statemented. Pupil B has "a range of medical (restricted growth) and learning difficulties. He is working at level two across the curriculum and finds it hard to concentrate for any length of time... " (SEN handbook, 2003: section 1). The other students who experience special educational needs are under School Concern or School Action +, mainly for weak Numeracy and/ or literacy skills, and/ or across the curriculum. Obviously, lessons have to be planned to meet the needs of all the students. "Taking the literal definition, differentiation is the process by which we recognise and respond to differences... to cater for differences in learning styles and to combat stereotyping classroom, should provide variety and balance in the different types of experience offered" (Swarbryck, 1994: 72).

Challenge, pace, variety and fun became my motto to try and be as efficient as possible with this form. All the Special Educational Needs students have indeed learning difficulties, as I explained earlier, but seemed to enjoy this new experience of being taught a Modern Foreign Language. Indeed, as Deane (1992: 43-47) states: "Learning a foreign language can be particularly useful for students with learning difficulties, in that they have an extra chance to improve their understanding of language in general".

School X though is innovative as far as providing support is concerned. They recently hired Learning Support Assistants skilled in specific subject areas, and rather than allocating them to student they assign them to a department. These people are therefore qualified to care for pupils with learning difficulties but are also knowledgeable in a subject area, which benefits students as well as subject teachers. They are an outstanding resource that teachers must incorporate in their planning in order to enable the whole class to profit from it.

Human resources are all the people involved in a teaching and learning setting. However, all the training gained by teachers can also be considered as a resource as it informs their planning. In that concern, meetings with colleagues and senior management, in house training sessions or professional development provided by external agencies are an invaluable resource for teachers to improve their skills as professionals.

III.2. Traditional resources

Among traditional resources, there are obviously textbooks, which vary in quality, accessibility, and originality. The number of books available for French is predominant over any other language. As part of a package, a course contains generally a teacher's book, master copies of worksheets, overhead transparencies and an assessment folder. Most languages departments have also a vast quantity of visuals, like flash cards, worksheets, and overhead transparencies that they created themselves. Also, you will find dictionaries, books and articles, and board games. Additionally, schools are equipped with cassette and CD players. Usually they have access to televisions and video or DVD players.

In School Y, "Avantage 2", a French textbook, was used with Year 8 pupils. This course was published in 1993, that is to say that it was printed when pupils were about 2 years old. Needless to say that it looks and is out of date, as well in its design as in its content. It is not structured in a way that allows teachers to follow the activities, and still be in line with the Key Stage 3 strategy requirements. Other components of the course are still relevant, as for instance overhead head transparencies which can easily be used for starters or plenaries. Also some audio resources are of better quality and the activities linked to them can be revisited.

However, some courses are recent and correspond to what pupils of the 21st century need, as for example the latest version of "Tricolore 4" (published in 2002) which is used in School X with Year 10. Some Information and Communication Technology activities are suggested within the course. Also, the teacher's book provides a basis for a scheme of work giving the entire link to the Programme of Study.

School Z, has been allocated a budget to purchase new books and the whole teacher's package for all the students doing French at Key Stage 3. This represents a huge investment for the school. Although it is a tremendous achievement for the Modern Foreign Languages department in school Z, there are still not enough books to be able to lend the books out to students. They need to remain in classrooms so that they can be used with other groups. This new resource is up to date and complies with government requirements. School Z also now respects the Ofsted report published in 1996, which states that "Schools should give priority to providing pupils with adequate support for their learning; usually this will mean providing each pupil with a personal copy of a textbook". (HMSO, 1996: 124). This was not the case in school Z up to September 2005.

This kind of situation is extremely common in the United Kingdom. It is a constraint on both teachers and students as they are not able to make the best use of the resource available. Setting homework, linked to this lack of resources, is a challenging for teachers, who have to resort to worksheets or learning homework. Yet, the books recently published (2004), such as "Expo1, 2 et 3" are built following exactly all the requirements of the National Strategy and the National Curriculum. The activities developed in the Teacher's Guide are referenced across the Programme of Study. Starters and Plenaries are suggested. Every lesson has learning objectives clearly stated at the top of the page. The Assessment file that is produced within the package offers end of unit assessments. The marking schemes have in-built levels of achievements as required by the National Curriculum that can be awarded according to the student's performance. The assessment is divided in 4 parts which correspond to the four skills students need to develop; reading, writing, speaking and listening. Expo 1, 2 and 3 have a workbook that can be purchased by students to further develop their independent learning. The course comes in two levels, red for the high achievers and green for the average or lower achievers.

Other traditional resources such as tape players or overhead projector tend to be problematical in many aspects. Often, it is very old material that can break down at any time. Teachers who are not lucky enough to have their own classroom, struggle to have access to all the equipment needed for an efficient language lesson. Although the quality of teaching and learning does not only rely on quality material and resources, it is largely improved if the latter is adequate.

There has been an evolution in the traditional resources produced, but the latest technological developments offer some advantage that textbooks cannot compete with.

III.3 Modern resources: new and adapted tools.

Modern resources consist of all the resources linked to Information and Communication Technology. To understand what this includes, it is imperative to clarify what we mean by Information and Communication Technology. Many people tend to restrict this to computers, interactive whiteboards and the Internet, and forget about cam recorder, video conferencing, CD players, DVD players, digital cameras or computer software. These technologies are all rather recent, but are already very present in classrooms.

III. 3. a. Focus on 21st century pupils

I chose this focus, as I reckon that scientific and technological discoveries have a tremendous impact on society and cultures. Children in Year 13 were born in the late 1980s. At that time, schools started having a few computers. Pupils who are in Year 7 during this academic year were born around 1994. The internet was already becoming accessible. These teenagers have been brought up surrounded by all sorts of new technologies. They are a "visual generation", watching TV or playing computer games during their free time. They like colours and sound effects. Therefore, it becomes rather obvious that teaching tools had to be adapted consequently. Indeed, when learning becomes entertaining, and less fastidious, pupils not only improve their knowledge but also have fun. However, this does not mean, that old resources have lost all their usefulness and attractiveness, as alongside new technology they improve pupils' learning as it provides challenge and variety.

III.3.b Government requirements

Since 1999, it has been stated in the Modern Languages National Curriculum (1999: 30) that "Pupils should be given opportunities to apply and develop their Information and Communication Technology capability through the use of Information and Communication Technology tools to support their learning in all subjects".

Within the Programme of Study, there are also references to Information and Communication Technology in the various sections. It should help to develop languages skills (2h and 2j); it can be used to develop cultural awareness (4a). It develops breadth of study (5d and 5e, 5h).

These features have to be incorporated in the new schemes of work built by school to be in accordance with the Key Stage 3 Framework for Teaching Modern Foreign Languages: Years 7, 8 and 9. It seems that Information and Communication Technology plays a key role in this strategy according to Graham Davies (www.camsoftpartners.co.uk) as for example it is "enabling individual learners to assess and record their own achievement through Information and Communication Technology, raising the quality and widening the range of online teaching and learning material... setting up virtual languages communities". The Department for Education and Skills has also an e Learning Strategy Unit which tries to provide advice to teachers as how to use Information and Communication Technology efficiently in class.

Indeed, the aim of the teacher when he uses Information and Communication Technology is to enhance learning objectives and not simply to act as a motivating tool. This is also strongly emphasised in the various pamphlets that have been produced about Information and Communication Technology. However, we might want to quote the Nuffield Report in which it is clearly said that at the end of the 1990s, it had become obvious that "where Information and Communication Technology had been used, this had been motivating, particularly for boys." (Nuffield Foundation, 2000: 46). Considering the disaffection for languages, we can not but think that Information and Communication Technology, if it used as an efficient learning tool, also helps in motivating pupils, should be the trend that all teachers would follow.

III. 4 Traditionalism versus modernism

In 2005 students read less than they used to, and also tend to write less. Modern resources can help them to overcome the apprehension they have of written supports. For instance, a paragraph projected on an interactive white board becomes a whole class activity. The teacher can model the deconstruction of the paragraph, which will help them to understand it, by highlighting in different colours, annotating and pupils can actively contribute in the process.
At this point in time, resources have considerably evolved. However, the survey I carried out at School X shows trends that are not quite in accordance with this evolution. To their credit, I have to say that they only acquired two interactive white boards for the department in December 2003. The school is equipped with various computer suites, laptops and sim pads. Most of the teachers admitted that they had barely tried the new Information and Communication Technology device by the end of February 2004, as 6 out of 9 of them had used it less than 10 times or even not at all, in the two months period that had elapsed between their acquisition and my survey.

As for the pattern of use of Information and Communication Technology in general, 5 of them, quite frankly wrote that they use Information and Communication Technology less than once a month with their pupils, when it is not less than once a term. It also appeared in the survey, that the major use of Information and Communication Technology device they make is computers, and for a few of them the interactive white board. Another element that has to be taken into account is the fact that the teachers who really benefit from the white board are obviously the two teachers, who had them installed in their classroom. They all believe though that it has a positive impact on motivation, some of them doubt about the actual impact on learning, but seem to think that experience will tell. They fear, at the moment that it has merely a novelty value for the students. They regret that they are not trained enough to improve their performances in using these modern devices. Additionally, they agree on the lack of time they have to enhance their skills, as a personal professional development. Indeed, even if teachers are provided with training, it is only if they practise regularly that they will be able to use these tools adequately. One teacher commented: "Some year 7's are streets ahead of me".

A New Opportunities Fund has been made available to provide staff with training sessions all over the United Kingdom. However, it has been admitted in the Ofsted Report, in April 2002, "Information and Communication Technology in schools: effect of government initiatives" that the project had failed to provide the right training. "The training focused on building on previously acquired Information and Communication Technology skills, which many teachers at that point did not have" (The Teacher, 2004: 17). Nevertheless, it is encouraging to see that the government is aware of the difficulties and tries to work towards improvement.

"Information and Communication Technology is more than just another teaching tool; BECTA'S Impact CT2 study indicates that it has the potential to improve the quality and standards of pupils' education. Equally its potential is considerable for supporting teachers, both in their everyday classroom role, for example by reducing the time occupied by the administration associated with it and in their continuous training and development". (canteach.co.uk). According to the survey, most of School X's Modern Foreign Languages staff says that they use Information and Communication Technology to prepare their lessons, and have to use it for administrative tasks.

If Information and Communication Technology proves to be attractive, entertaining and fun for students, it has also to demonstrate its reliability as far as effective learning is concerned. Are the following 4 main skills, which are used in assessment, still covered? Attainment target 1: listening and responding, Attainment target 2: speaking, Attainment target 3: reading and responding, and Attainment target 4: writing. If attainment target 3 and 4 can be seen as being dwelt with naturally by using computers, either by getting pupils to access web sites in the target language, or organising a "mail a friend" system with a school in a foreign country, or word process a page of a journal or a letter for instance, it seems less obvious to reach any targets of Attainment Target 1 and 2. As far as listening and responding is concerned some software like "dix jeux" provides interactive learning games accompanied by instructions and music. Attainment Target 2 can consist in the presentation of a Power point.

Most of these activities, though, enable teachers to assess to a certain extent the pupils' learning process. They are often met in KS3 lessons, but what about KS4 and 5 when the targets are GCSE, AS and A level? Do the constraints linked to the curriculum allow teachers to do "entertaining learning" or do they revert to traditional methods still often seen as more appropriate?

Pupil E, a year 11 student in school Y, says he has had the opportunity of "doing a lot of revisions on computers; we found sites and things all in French and it becomes a living language; when you see sites entirely in French you feel connected to the rest of the world". This comment is particularly interesting, as this pupil mentions that a language is "living" and that indeed it exists outside the classroom. Information and Communication Technology and especially the internet or video conferencing give an authentic dimension to the subject. It opens pupils to the culture of a foreign country. Even if it is only to reach a conclusion as simple as that, it is vital that pupils use Information and Communication Technology. Pupils will achieve better if they are motivated, and as we have seen it earlier, the use of Information and Communication Technology is motivating, particularly for boys as found out in the Nuffield Report.
According to my personal experience, throughout my teaching, I have used Information and Communication Technology rather regularly, as an incentive, but also because it proved to be an excellent teaching tool. Recently, I taught a grammar point to a Year 9 German bottom set, using a PowerPoint presentation on an interactive white board. To assess their understanding, they had to create, the following lesson, a PowerPoint presentation themselves, dealing about the Environment, and as a focus, they had to use the new structure they had learnt, once on each slide. The results were rather impressive. The following step was to present their production to the rest of the group. Students were so proud of the work they had done that they even enjoyed the oral presentation.

"In many schools, it is too early to evaluate the effect of Information and Communication Technology on pupil's achievement, as the increase in opportunities to use Information and Communication Technology in Modern Foreign Languages is very recent and the ability to use a foreign language has to be built up over sustained period of time. Where evidence is available, there has been little or no effect so far in about one school in four" (Ofsted, 2002: 7). Only 4 years have elapsed since Information and Communication Technology has become statutory across the curriculum, and it seems that what teachers particularly need is time to adapt their schemes of work, resources and teaching practice. Learning a Modern Foreign Languages is indeed a long and difficult process, but teachers themselves have to go through a steep learning curve by becoming more familiar with a technology that is progressing fast.

III.5 Adapting: a key solution?

Adapting the resources to broaden the teaching possibilities seems to be the path that School Y is following. Traditional resources are still used as the department, like many others, owns more of these than modern ones. However, they have been provided with two interactive white boards and software 3 years ago and had a chance to adapt to new technologies. In practice, it is again only two teachers who mainly benefit from this opportunity. The Head of Department is willing to develop the strength of the department, and providing funding is obtained, he would like more of his staff to use this tool. Nevertheless, in a recent departmental meeting, it appeared that they also would like to use text books, if they could afford more recent ones, to suit 21st century pupils' needs and also which would match governmental guidelines.

On another level, it is not only resources that have to be adapted, but also teachers who have to adapt to new resources as well as to students' interests. This is obviously not an easy challenge. To help them in that concern, several initiatives have been started up. The project ICT4TL exists since 1999; it consists in a web based course for modern foreign languages teachers. There are also web sites which provide lots of ready made resources, as for instance http://www.wildfrench.co.uk, which offers up to date material, compatible with courses like Avantage, Metro, or Voyage. It helps teachers integrating Information and Communication Technology in their lessons plans. Indeed, we have not stressed one of the dangers of this focus on Information and Communication Technology, which is the fact that some teachers are going to use computers, their objective being to comply with the National Curriculum requirements, rather than having a suitable learning objective.

"A survey published at the end of 2003 found that the vast majority of schools fell that they are well equipped with desktop computers" (The Teacher, 2004:16). Because the funding varies from one school to another, there are still disparities.

The government set up the Excellence in the Cities programme in 1999. It is part of a wider strategy to improve gifted and talented education within inner cities. According to the DfEE web site "all together there are some 1000 secondary schools involved in Excellence in the Cities Programme. Results at KS3 and 4 show that Excellence in the Cities is making a difference". The government plans to expand this programme by carrying on funding school until 2005 /2006. They plan to involve more schools. It has been reported by the Office of Standards in Education that Excellence in the Cities has a positive impact on behaviour, attendance and attainment. This programme has first been aimed at inner city schools as it was felt that pupils were not provided the possibility to stretch their capacities. Provided with funds by the Government, these schools have manages to acquire new computer suites and Interactive white boards. This tool has the specificity of replacing many other more traditional resources: it can be used as a projector and as a CD player. The software produced is in line with the government's requirements.

Teachers will no longer be able to avoid Information and Communication Technology in the coming years as it is statutory, but it is also part of a trend now generally followed by schools. The resources will be more easily stored, kept up to date, as it is easier to update parts of software programmes and might be cheaper than acquiring a whole new course and set of textbooks.

Pupils learning has to remain a priority, and if Information and Communication Technology proves to be efficient in the coming years, the next step should be as suggested in The Teacher, 2004: 18: "More will need to be done to convince the examination boards that using Information and Communication Technology effectively throughout the curriculum means using it in the examination room as well as in the classroom".

Pyle Home PTCDS5U Vintage Turntable with CD/Cassette/Radio/Aux-In/USB/SD/MP3 and Vinyl to MP3 Encoding(Black) by Pyle

Pyle Home PTCDS5U Vintage Turntable with CD/Cassette/Radio/Aux-In/USB/SD/MP3 and Vinyl to MP3 Encoding(Black)

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This new retro turntable from Pyle was designed with the sleek chrome styling of 1950s-era jukeboxes - but it's been updated with technology from the 21st century. The two-speed turntable has a built-in speaker and plays records, cassettes, CDs, and MP3 files via the USB port or SD card slot, and the radio covers both AM and FM bands. You can also encode your vinyl to MP3 files directly to a USB/SD card - so you can listen to your favorite hits on your digital music player. RCA line out allows you to hook up this turntable to your home theater system for rich, full-bodied audio. You can also listen privately using the 3.5mm headphone jack. Includes a wireless remote control.

Feature

  • Two Speed (33/45 RPM) Turntable - Plays CDs and MP3s from USB/SD - 3.5mm Auxiliary Input Jack - 3.5mm Headphone Jack
  • AM/FM Radio (FM 88 - 108 MHz, AM 540 - 1600 kHz) - Extra Bass Control System - LCD Display With Blue Backlight
  • Cassette Playback With Single Key Design - Dial Scale With Illumination - Power Source: AC 110 / 220 V
  • USB/SD Card Slots - Play MP3s or Encode Vinyl to MP3 - Rotary Volume Control - Dimensions: 15.98'' (W) x 13.62'' (D) x 8.66'' (H)
  • Converts Vinyl, Cassette Direct to USB/SD Card - Remote Control for CD with 12 Buttons

Tuesday, June 4, 2013

Online Beat Maker Or Home Studio - Selecting The Very Best Music Production Center (MPC)

Music Production Centers (MPCs) are a popular choice for laying down tracks and making beats, and for good reason. MPCs offer aspiring and successful producers alike a one-stop-shop beat making machine. The attraction of this technology is that it combines real time sampling facilities with drum machine programming allowing the producer to lay down multi track beats. In fact MPCs have been instrumental in the evolution of Hip Hop and Rap as well as other urban music genres and have facilitated the on-going explosion of new and up-and coming producers.

So how do MPCs work? Well every MPC has the same basic set-up. They have a number of tap pads plus a range of controls that manage the volume levels and effects and of course a screen output that shows track sequencing. Samples are assigned to the pads for example kick drums, snare drums, high hats, piano, guitar and bass. These samples can either be taken from audio sources such as vinyl, CD or mp3 files or purchased as complete instrumental libraries.

You can create the track in two ways. If you have good timing you can start by tapping out the groove on the pads and then build the beat by adding tracks, each time adding the sample by tapping the pad. If your timing isn't so great or if you start to build up a large number of tracks in your beat then you can simply use the sequencer to lay down the required samples at the precise point in each bar that you want.

But isn't this expensive? It all depends on your point of view. An entry level MPC will set you back just under 00 and you can quite easily spend -3000. When compared to the set-up cost of a professional studio rig, its small change. But for an aspiring producer just starting out this is a veritable fortune.

The good news is that there are now a number of beat makers available online that are basically virtual MPCs and they have many of the same features. You can build multiple tracks, tap out grooves on virtual tap pads and make arrangements using the sequencing controls. And because they are software based, they have features that are only found on top end MPCs. For example using virtual piano keys to input samples is a great way to build melody lines. Usually you would need a midi controller or synthesizer to do this in a hardware based studio.

Monday, June 3, 2013

The Beatles in FLAC - Audiophile Quality Beatles Stereo system Catalog within the Beatles USB Thumb Drive

The Beatles USB thumb drive may be the digital form of The Beatles in Stereo system Box Set that was launched on 9/9/9. It offers all the same remastered stereo system mixes and every one of exactly the same visual content (such as the small documentaries, the pictures, the initial LP artwork, and also the extended lining notes.)

The main difference is this fact form of the stereo system box set can easily fit into your hands and includes the tunes in mp3 format and 24bit FLAC format. The tunes can be simply put into and performed on any music player (like a Zune or perhaps an ipod device) but it is the 24bit FLAC versions which are the subject want to know ,.

With this remastering project, the initial analog tapes were taken in 24bit seem quality after which remastered in 24bit, it had not been until these were placed on Compact disc they compressed to 16bit. With these FLAC files our prime quality 24bit seem could be heard by Beatles fans.

It ought to be noted these are 44.1kHz FLAC files, not the 96kHz files that audiophiles would rather, but nonetheless the purpose remains: They are the best sounding versions from the Beatles albums available which can make this USB stick a "must buy" for serious Beatles fans and audiophiles around the globe.

Some may decide to hold on just in case the 96/24 versions can be found sooner or later later on (on Blu-Ray dvds probably.) However there's no be certain that 96/24 versions is ever going to be launched. A minimum of in the near future. With this particular thumb drive apparently as being a special edition with simply 30,000 copies being made, there might not be an chance to buy it again once it's offered out.

Sunday, June 2, 2013

Rare Vinyl Records - Identifying the need for Vinyl Records

Cleaning has ended, and you are looking at seven crates of rare vinyl records that the parents had stuffed inside a corner of the basement during the last fifteen years. Forgotten reminiscences? Or potential found diamond? The need for records is growing, similar to the sales, and record sellers and fanatics alike are searching to grade and cost their collections for selling available on the market, eBay to be the biggest marketplace now over time.

Should you own collectible or rare vinyl records, it might be to your advantage to possess individuals records evaluated to find out their worth. The most typical method of finding the worth is always to use an expert records evaluator, who'll evaluate the problem, rarity, and playability from the record. Too, they'll have a look at other aspects for example:

The discharge date - The older the record, the greater it may be worth. If the record is sealed or otherwise - Whether it has not been performed, the worth increases.Limited release records also hold elevated value - e.g. only 1000 copies pressed.

If you have several crates of old LP's and 45's that you are looking at getting evaluated, it might find yourself to become fairly costly particularly if you have limited understanding of methods records are rated. My suggestion is always to buy a vinyl records cost guide which lists the present market cost and needs for purchasing and selling rare vinyl LP's. I have tried personally Tim Neely's Found diamond Record Album Cost Guide for a number of years, which is undoubtedly probably the most comprehensive and simple to navigate cost guide currently available.

Cover Art is another step to consider when searching to purchase or sell rare vinyl records. Throughout the 60's and 70's many celebrity artists worked with with music artists and bands they respected by means of cover art and inner masturbator sleeves, Andy Warhol being one of the most popular. Remember that any artwork with nudity appears to become popular among purchasers likewise! Remember, vinyl sold more copies than CD's in 2007 the very first time in lots of, a long time and a great time to get involved with collecting records and start going through the heat and quality they bring. Should you download an mp3 you are given a skinny-sounding, compressed audio file having a digital image thumbnail from the album cover and artwork. With vinyl records you receive an event that's truly unique, and there's no feeling that can compare with it!

Friday, May 31, 2013

A History of DIRECTV

Possibly typically the most popular satellite provider within the U . s . States, DIRECTV® includes a lengthy and impressive history under its belt. So, who is DIRECTV? And just how did they reach where they're today?

DIRECTV - The First Years

Satellite as you may know it today really began in 1984, when Hughes Electronics acquired FCC approval to construct and manage a direct broadcast satellite system, or DBS. The satellite DIRECTV-1 was released on December 17, 1993 as well as in 1994, Hughes Electronics founded DIRECTV and opened the very first United States offering of DBS service. Frequently known as the "minidish", this new satellite dish was substantially more compact than customers were utilised to - roughly 18 inches across - plus much more workable than individuals large, cumbersome TVRO satellite dishes from your past.

Together with its sleek little look, the minidish introduced customers a different way of receiving satellite tv transmissions. Older TVRO dish systems were analog only and according to open standards equipment. Minidish systems however, were digital, offering clearer audio and video, and were operated on the closed system that needed special reception equipment. TVRO systems were also mobile, an essential feature to enable them to get transmissions from multiple satellite systems, while minidish systems are stationary and received all their programming in one specific satellite. In August of 1994, DIRECTV released its second satellite, DIRECTV-2 and boasted a million customers in the finish of the season.

DIRECTV - Full Steam Ahead

In 1995, DIRECTV approved Toshiba and Uniden to start manufacturing DBS systems. Carrying out to 0 million in advertising, DIRECTV ready for the expected customer growth and released their third satellite, DIRECTV-3 in This summer.

In 1997, DIRECTV released DIRECTV-6 as well as in 1998, with more than 4 million customers, DIRECTV Satellite joined into a contract to buy its partner, US Satellite Broadcasting for more than .3 billion in stocks and funds. The merger provided DIRECTV clients with use of USSB's premier movie broadcasting, growing funnel selection from 185 to 210. In This summer, DIRECTV invested 0 million in XM satellite radio.

1999 introduced much more growth when DIRECTV acquired Primestar, Corporation. as well as their 2.3 million customers. Included in the transaction, DIRECTV inherited Primestar's satellite assets - particularly, 11 transponders and 2 satellites - providing them with high-powered DBS wavelengths to supply full dental coverage plans from the continental U . s . States. Additionally towards the Primestar acquisition, DIRECTV released a brand new satellite that belongs to them, DIRECTV-1R on October tenth.

By 2001, DIRECTV Satellite had acquired over ten million customers as well as in October, introduced it's intention to merge with it's prime competitor, EchoStar Communications, parents company of DISH Network. In November, DIRECTV became a member of with Music Choice and Wink Communications to announce a brand new interactive music commerce service that will allow customers to buy a Compact disc from the song these were hearing directly through their handheld remote control. This 24/7 feature was released in September of 2002.

The merger with EchoStar's DISH Network fell through in 2003 and then that very same year, Vehicle offered their controlling interest of Hughes Electronics to News Corporation. 2003 also saw the development of a brand new high-definition video recorder from DIRECTV and TiVo in addition to a second-generation model via a partnership with Philips. It was even the second year consecutively that DIRECTV was named #one in customer support by JD Forces &lifier Affiliates.

On November 11, 2003, DIRECTV loved its 12 millionth customer milestone.

DIRECTV - Today

Today, DIRECTV offers plan to a lot more than 14 million customers within the continental US along with the a million plus customers in Latin America. It continues to be top ranking consumer satellite provider and is constantly on the expand its choices through high-definition and special interest packages for example National football league SUNDAY TICKET and TOTAL CHOICE® Mobile programming.

Exactly what does the long run hold for DIRECTV?

With four new satellites expected through the finish of 2007 and exclusive Digital recording device sneak previews of high-ranking premium broadcasting, DIRECTV is constantly on the push the envelope and expand the phrase satellite tv entertainment. What's going to be next for DIRECTV?

If history offers any clue, it's certain to be large!

Thursday, May 30, 2013

Building a Recording Studio

Studio Considerations

The magic of the recording studio has often mystified even the most seasoned professionals. With all the knobs, switches and buttons on various gear and large format consoles, no wonder confusion sets in to most non-techies. Many people, especially artists, composers, producers, and engineers, will end up putting together their own studio for writing and pre-production, with some eventually deciding to take the plunge and create a full-fledged recording complex that is capable of recording major albums. This article will try to shed some light on the considerations to take into account when making a studio, be it a small home studio or a professional recording studio.

Is size important? Some may say it is so but this is not always the case. The dimensions of the studio are very important. A room too large may become over-reverberant or full of unwanted echoes. A room too small may sound tight and unnatural. It is important that the room size and room sound is relevant to the type of music you are recording. You don't want to go into a very small tight room to record BIG rock drums. Although, big room sounds can be achieved by adding external reverb effects to simulate rooms at a later time when necessary.

It is best to find the room that suits the sound you are trying to achieve from the beginning of the recording process. The smaller the room, the smaller and tighter the sound will be; this is not necessarily a bad thing. Small tight rooms can be good for vocals, guitars and percussion if you are going for a tight clean sound. Larger rooms have more air for the sound to travel in, so it will be in fact a bigger more open sound. The sound has a longer travel time for the sound wave to move, therefore the reflection from the walls will take longer to bounce back creating a bigger more spacious sound. The decision of size and sound has to be made early on before the recording starts. One advantage that a larger room will have is the ability to be scaled down by closing up the room using modular baffles or gobos (go betweens). Gobos are structures that are partitions, that help to block sound by placing them in between the musicians, instruments, and microphones. Placing the gobos around the microphone at a close distance will help a large room with too much ambiance sound smaller. This will eliminate the reflections coming off of the walls that are further away.

Small rooms can produce big heavy tight sounds with the absence of the decay from the reverb that is caused from big rooms. Sometimes a large room can sound like it's washed out, or far away. With a good engineer any room can sound amazing with a little adjusting. A poor sounding room can be manipulated to sound good, although it requires much more work and time. Deciding on the proper room size for your needs is critical to the sounds that get re-produced. This will highly dictate the type of sound the microphones will pick up.

Clapping your hands in a room can give a good representation of what a room will sound like. The reflection coming off the walls will be picked up by a simple hand clap. The true test is to try out some instruments or vocals and position them in various sections of the room until reaching the optimum sound quality. If one side of the room sounds bad try a different spot or move around into a corner until the sound is improved.

Experimenting with different sections of the room also keeps the sound fresh when recording many instruments. If the acoustic guitars are recorded in the center of the room, when the time comes to record the electric guitars you may try recording them in a corner of the room for a different room sound. This gives clarity on the final mix creating separation and providing more distinction on various sounds.

If you are starting your own studio, remember that the bigger the studio the higher amount the bills will be. The benefit is that larger studios can charge more for their studio rates.

Getting the Necessities

If you happen to reach that elite 2% and become that million dollar, hit selling, famous producer or artist (or if you just win the lotto), then you might eventually think about buying serious studio gear and setting up your own producer paradise.

Acquiring the proper equipment and labor is key to a great studio and successful recordings. Studio gear is expensive and the knowledge of those who use the gear does not come cheap. Hiring the right people can save money and time in the long run. Studio designers also are specialty breeds that can make or break your studio. Your buddy Joe the carpenter may be able to help build it for less, yet if the studio is not properly isolated for sound it is a great waste of time, energy and finances.

The studio engineer is also the focal point of the sound that is created. Having an experienced engineer involved in the process will make your sound have a character of its own. He is the extra set of ears that gives another dimension to your productions. He is also a critical consulting partner when building or choosing to rent a studio. Let the experts help you with advice, it will create less of a headache in the long run. The experienced engineer can fill you in on all the equipment needed for recording the music that is relevant to your world. He can also give some guidelines on how the studio should be setup before having to consult a designer. There is no room for guessing or assumption on these issues.

Check List: Part 1

When purchasing studio gear it is wise to research only what is absolutely essential for your style of music. If you're not recording live drums in your studio, there is no need to buy a plethora of microphones for them. By being patient and shopping around for the best prices, a mass amount of money can be saved in the end. When you save to 0 bucks on each piece of gear it really adds up in the end, and there is a ton of gear needed to put a proper studio together.

Below is a basic studio checklist that will be discussed in further detail in later articles. These are the essentials of modern day recordings and the tools that are most commonly used in the best studios around the world.

The Studio Gear Checklist:

Recording / Mixing Console

The engineer or producer operates the console that controls all of the levels for recording, playback and mixing.

This is the big board that has all the buttons, switches, knobs, faders which control the levels and signal routing for each instrument. This could be referred to as a board, console or mixer. The most common consoles in major studios are SSL (Solid State Logic) or Neve. The console is the most important piece of gear in the studio. It controls the overall operations of signal flow and sound manipulation. The console allows for each instrument to be on its own channel on the board. Each channel may then have effects inserted into its signal path to enhance the sound. A signal may also be routed to external gear for further manipulation. Anything that can be imagined, can be done. There are no rules for experimenting with sound. A signal can be sent to reverbs, delays, compressors, guitar amps, speakers in hallways for re-recording

Each channel strip on a decent console will contain: Faders, Preamps, Panning, Equalization, Filters, a Routing Matrix, AUX Sends and Returns, Dynamics, Muting, & Solo.

Other Features Of The Console: Inserts, Outputs, Monitoring, Automation, Fader Grouping, Bussing, Splitting...

Patchbay

Allows the studio to combine interconnectivity with all the equipment by using patch cables. The patchbay can be configured for each studio's specific equipment requirements. All of the outboard gear, console and recording devices inputs and outputs are hard wired to the patchbay. The Patchbays can be be analog or digital. The most common is the bantam TT cable configurations.

Check List Part 2:

Microphones Microphones pickup the initial sound source. The mic is the first source in the recording process receiving and converting the sound wave into electrical energy to be amplified, transmitted and recorded.

Preamps Amplifies the original signal coming from the mic or instrument. Gives initial control of the recording levels. Preamps are located on the console or as external outboard gear.

DI Boxes The Direct box is used mainly for instruments such as keys and bass to be compatible with mic inputs. The DI box transforms line levels of instruments to mic level for console and preamp inputs.

Compressors Helps to further control levels and dynamics coming from the preamp or console. Usually comes in rack mounted outboard gear or software plugins for DAWs. Compressors keep levels from peaking into distortion levels and help to bring lower levels louder.

FX Processors For special effects like adding space, dimension, pitch and time delays on signals and recorded tracks. Usually comes in rack mounted outboard gear or software plugins for DAWs. Multi-FX processors may have reverb, delay, flangers, EQ, compression and more all in one unit.

FX Pedals Small floor foot pedals originally designed for guitar FX processing. These pedals are created for distortion and special effects, which add space, dimension, pitch and time on guitars mainly, but are an inexpensive alternative used as outboard gear for other instruments.

DAW The Digital Audio Workstation is like an entire studio inside of a computer. Protools, Logic and Nuendo are just a few DAWs that provide a digital multi-track recorder, a virtual console, a wide variety of effects, editing, and sequencing(musical programming) possibilities. The DAW uses software, hardware and computers in combination to operate.

Check List: Part 3

Control Surface The control surface acts as a console that controls a DAW or external machine. The control surface usually has faders, knobs and buttons that are controlled by the computer connected to a DAW. This makes operating the DAW similar to analog operations by being able to put your hands on faders instead of clicking a mouse. Some control surfaces have all the same features as a console. The most common control surfaces are made by Digidesign.

Clocking Digital recorders use different clocking formats to operate properly. Digital units sample the sound to be replicated. Clocking refers to the amount of time in between samples taken for reproduction. If the digital clocking is off it will sound jittery or add noise to the sound in the analog to digital conversion. A quality clock will improve the sound. Some common digital clock sources can be found in products made by Prism, Rosendahl, DCS, and Aardsync to name a few. Some clocks have sync generators built in to lock up with other machines.

Sync Generator Generates tones to allow communication between machines so that several recording devices can be synchronized together and operate at the same speed. Clocking works with synchronization (sync) when analog and digital equipment is combined. Sync uses SMPTE, MTC (midi time code), Midi Clock, MMC (midi machine control) to allow recording on several DAWs and tape machines to be linked up together.

CD Recorder Records and plays back compact discs. Gives the ability to record stereo mixes and playback these mixes on other CD players. CD standard for consumer playback is a sample rate of 16 bit and a sampling rate of 44.1kHz. Sony, Tascam, Alesis, and Yamaha all make good studio CD recorders.

Tape Machines Recording machines that use analog or digital tape for recording and playback of music. Some purists in sound recording prefer the sound of analog tape. There are many digital tape machines used for recording both music and video.

Cabling Literally miles of various cabling could be needed for a single studio. Common cables in sound reproduction are XLR balanced mic cables and Unbalanced 1/4 inch instrument cables.

Monitors / Amps Speakers in the studio are referred to as Monitors. Powerful clean amps are needed to run monitors. Many monitors are self powered, which means that they have built in amplifiers. Monitors usually consist of high frequency tweeters, low frequency woofers and cabinets that contain the speakers and components.

Headphones / Distribution By using a set of earphones this allows communication between the control room and the studio, also allows pre-recorded tracks to be heard during the overdubbing process. Headphones are also referred to as cans.

Instruments / Keyboards / Drums / Guitars These are more of the tools of the craft. You may have all the best studio gear in the world, but if the instruments sound bad you are starting in the wrong place. Anything could be considered an instrument if it makes noise that could possibly be recorded on a record.

Amplifiers This is often referred to as an amp. Amps increase the amplitude or volume of electrical signals from sound waves. These are used in powering speakers. Guitar and Bass amps can be used for many other applications such as running a vocal or snare drum through them.

Microphone Stands A wide variety of sizes and styles are needed for a proper studio. The mic stand helps to get the microphone placed properly for the best sound quality possible.

Studio Furniture There are many types of racks and furniture designed to hold consoles and outboard gear. The interior decoration of the studio completely sets the vibe of the working environment.

Electricity

Nothing will work without electricity unless you're jamming at the local drum circles down on the beach. Electrical installation studio power is often overlooked. Studios will setup a "clean feed" that is a separate breaker from the rest of the general power that is being used for air conditioning, lighting and the basic necessities of the rest of the building. Have you ever plugged something in and heard that horrific buzzing sound coming from the speakers or guitar amp? This is usually due to bad electrical wiring, which causes ground noise. This is the first thing to listen for when going in to a studio session. A simple solution to the problem would be to use a simple ground lifter on the gear or lift the ground from a direct box which can also solve the problems. We will go into details later.

Isolated electrical circuits for each individual room are a must in a recording studio. The proper amount of amperage is also a must. Not enough amperage will surely cause your breakers to blow. Consult with an Electrician who is familiar with studio setups to insure that wiring and voltage is regulated and conforming with local codes.

Unregulated Power Supplies (UPS) should also be in place just in case there is a power failure. This will insure that valuable equipment will not blow up or cause a fire. If there is a case of a power outage the UPS will provide enough time to backup important computer files and safely turn off your equipment. Some studios will have complete generator systems in place to keep the studio running for the remainder of the session.

Improper lighting can also cause buzzing ground issues, especially fluorescent bulbs. Avoid using these in any studio. Dimmers can also cause many problems. The average household dimmers will surely put a damper into a clean sound. Make sure that professional grade dimmers are installed to avoid ground noise. Always listen carefully to signals being recorded before committing to a final take. There are a countless number of accounts that the engineer discovers electrical noise on takes during the mix process.

If you are serious about your studio, may I suggest balance power or a separated panel with neutral power conditioning. The evil problems of ground issues are a direct reflection of sources returning or looking for a different ground. Voltage potential between neutral and ground will certainly change your way of looking at things... for example, .5 volts between neutral and ground is the maximum allowance by UL code that electronics will operate optimally without potential induction issues. I would suggest having a meter installed to rate this. Logging this information and having a good rapport with the local electric company would not hurt at all.

Air Conditioning/HVAC

This is another very important area that is often not considered. Studio gear gets very hot. The lack of adequate cooling could result in equipment failure or damage. Blowing up equipment is no fun and it gets very expensive. Some recording studios have a separate Machine Room for computers, tape machines and power amps that is highly air-conditioned to keep everything cool. This also cuts down on the noise from the fans on such units, which can distract concentration from listening in detail in the control room. Having too much air conditioning could also result in moisture or condensation build-up that may also damage the gear. Water in general is bad for electronic gear.

The return air system is used to pull heat out of needed areas and also provides an air intake for the AC units. These are placed in key areas where there is a build-up of heat from the gear, for example near the console or in the machine room.

Separate Rooms: Control Room

Most studios have several isolated areas for recording, mixing, and production. Soundproofing is the main agenda when creating multiple rooms in a studio. To achieve this, the main objective is to make the rooms airtight. If air cannot leak in or out of a room, there will be less chance of sound leaking in or out as well.

Most pro studios have double doors that create a sound lock to help prevent noise leakage. They also have very thick double walls with interior air gaps to also help trap unwanted sound. The floors in the studio should also be floated which means they are lifted from the ground to help further prevent extra vibrations and leakage.

The first focus would be the Control Room where the mixing console and outboard gear are contained. This is where all of the recording and mixing is controlled, hence control room. The acoustics in this room should be designed for hearing the exact sound that is being recorded or mixed. The sound of the room should be as natural as possible for accurate representation of the original sound translated to the speakers in the room.

The first rule for an appropriate acoustically treated room is that there should be no parallel walls .If you were to clap your hands in a room with hard parallel walls you would here the sound bouncing back and forth, this is known as a flutter echo. This is neither good for recording or mixing. The trapping of unwanted bass is important for a room to sound great as well. Twenty five percent of the room should be assigned for bass traps for an adequate mixing room.

Separate Rooms: Live Rooms

The next focus of equal importance would be the Live Room where the music is recorded. This is where the musicians and vocalists perform on the microphones. Live rooms should have more versatility to be able to adapt to different recording situations. Wood floors for example are great for reflection of sound, which creates a brighter tone. If a warmer tone is wanted, one could simply place a rug on the floor. Many live rooms also have a great deal of glass to see between rooms for communication. This is also very reflective. Many studios use curtains to control the amount of reflections coming off glass or hard walls. Non-parallel walls are again needed to eliminate any flutter echoes.

Some studios also contain a vocal booth within the live room. This would be a smaller room designed for vocals. They may also be used for guitar amps and other instruments. There are no rules for what this can be used for; its main purpose is for additional isolation during the recording process. Glass doors or windows are used for visibility of the artists and those working in the control room.

Many elaborate studios may have multiple control rooms and production suites. Lounges and proper bathroom facilities are important in keeping the creativity flowing. A dining area and kitchen are also a consideration if budgets permit. Many hours are spent in the studio when working on projects. It is important to have all the comforts of home to keep everyone happy.

A few proper offices are necessary for the client to be able to have private internet access and to handle business without any distractions. All studios are designed differently. Whatever can be imagined can be created. There are no rules, only guidelines.

Acoustics

Sound is a wave, much like the ripples on a still body of water when a rock is dropped into it. The larger the wave, the lower the tone. Lower tones, known as bass frequencies, travel in wide long waves while higher tones known as treble frequencies travel in a tighter, shorter wave. Frequencies heard by the human ear range from 20Hz to 20K. Just as an indication, a piano's range, probably the widest range of any instrument, is from 39Hz on the low note and 3Khz on the high note.

Sound is measured in decibels also represented as dB. An average concert is about 95-100 dB while a heavy rock concert or hip hop concert could reach levels of 130dB. This is above the threshold of pain; so don't forget to wear your earplugs which are designed to protect your hearing when in extreme sound levels. Interestingly enough, whales can actually produce levels of up to 180dB. It should be remembered that taking care of your ears is the most important thing you can do to prevent damage and have a sustained career. So don't hang out with any whales and put some protection in your ears when exposed to loud volumes.

Absorption is the act of a sound wave being soaked up by a particular material. This is measured by co-efficient ratings. The higher the sound absorption co-efficient rating, the more sound that is being eliminated from troubled spots in your room. Different section of the room may require different co-efficient ratings. Remember that studios start off as an empty shell. Hard surfaces and walls need treatment to provide for a great sounding room. For example, 20 gauge theater curtains are commonly used in studios. They consist of a thick velvet material, which is excellent for absorbing high-end frequencies. The thinner materials soak up higher frequencies.

The thicker materials soak up lower frequencies. This is why thick bass traps are very large and contain ports or holes to trap low-end frequencies. The larger the port, the lower the frequency absorption.

There are endless amounts of products and designs that are used in the industry. Wall panels are also commonly used to absorb sound. These are made from a fiberglass product wrapped in a cloth material. Various sizes and thickness are used for problem frequencies. Again the thin materials eliminate high end and thicker materials absorb low end.

Reflection is the opposite of absorption. Think of the sound as a wave hitting a mirror and bouncing back. This can be used as an advantage for a brighter tone. If a room has too much absorption causing the room to sound too dead, hard surfaces such as wood panels can be placed in strategic locations to add a more live sound to the room.

Some studios have reversible hanging panels that can be flipped between reflective and absorptive to change the room sound at will. For vocals the room may need a more dead sounding absorptive room. Drums may require a more live sounding room. John Bonham, from Led Zeppelin had an amazingly huge live reflective drum sound. This became the goal for the big Rock drum sound.

Prince is underestimated as a drummer. He has a great tight drum sound on his first record where he played all of the instruments as well as the drums. The drums have just the opposite effect using absorption in a small tight room creating a very in your face heavy Pop drum sound.

These are not rules, only guidelines. Using your ears is always the key to getting the best sound.

Designing a studio is quite an undertaking to do professionally. Each room is completely separated and isolated from one another. The most common method is to actually build a room inside of a room. The inner walls do not touch the outer walls, which creates an air gap that traps sound. Each wall can be many feet thick and multiple layers of thick glass and doors divide the rooms.

The floors in each room are floated from the ground with spacers that also create an air space to lower vibrations and help to trap unwanted sound leakage. All floors have different characteristics in the way sound waves bounce off from their surfaces. While wood floors have a warm tone, concrete and tile have a brighter tone. This also holds true for walls.

A solid plan is needed to run cabling between rooms so that each room can be interconnected with each other for microphone signal lines and headphone communication systems. Custom made cable troughs or PVC tubing is used to send groups of microphone cables from a panel to the control room. From the control room the Headphone lines would be run through the walls for communication between all of the rooms.

Materials and Tools

Drywall is needed for walls. The more layers of drywall added will increase the thickness of the studio walls. By using varying thicknesses of drywall stacked and shifted, alternating at the seams will help minimize sound transmission between rooms. Many drywall screws and a good electric drill will definitely come in handy if you are building a studio.

Fabric is used for making wall panels and ceiling clouds that control the absorption in the studio. There are specific fabrics that are designed for different frequency absorption. Each thickness and texture has varying co-efficient ratings at multiple frequency bands.

AC Duct Board and other fiberglass products are wrapped in fabric with spray glue to create absorbing panels called Wall Boxes and Bass Traps. Thermal Fiber or Fiberglass Insulation is inserted in between two sets of walls and ceiling to create an additional thickness providing an alternate texture, containing fiberglass, which is superb for capturing sound.

Sand is also an excellent alternative choice for filling walls to prevent sound wave transmission. Wood provides the skeleton for frames that hold the panels and boxes. Larger Bass Traps with large ports could be made from wood or fiberglass. RPG panels are a series of wooden slats mathematically designed to absorb and refract, or soak up and scatter sound inside a room. Wood can also be used to create custom racks to hold the outboard gear, console and patchbay. Custom studios can be designed for any situation and style.

Doors, Walls and Windows

Doors and walls are the single most important item where recording studio sound bleed is concerned. A small 1/4inch air gap at the bottom threshold of a door will release 30% of the sound. Creating airtight rooms are the first step in sealing all the gaps for optimum sound proofing. The transitions between where the rooms are connected have more possibilities for sound leakage. All corners, gaps and frames for door and window cutaways must be sealed with a silicon or caulking material. Keep in mind that if air can escape through any passage then sound will surely go through as well.

Tuesday, May 28, 2013

Digital Dj'ing - Utilizing a Laptop or PC in your Mobile Disco

Many Mobile Discos have made the change from a conventional CD or Vinyl based system to a software based one, usually running on either a full sized pc or a laptop. The fundamentals of both systems are largely the same, and so you shouldn't simply be taken in by reading other DJs horror stories about how their laptop overheated during the first dance at a Wedding or how their full sized PCs power supply exploded halfway through a gig. There are pros and cons of using both systems, but largely whether to use a full size pc or a laptop comes down to personal choice, practicality, budget and space, and you'll often find that DJ's criticising the opposite machine, have never actually used the system that they are criticising!. If possible visit a DJ who already uses a system to that which you intend to use yourself, nothing can sell an idea better than actually seeing it in use!, for the record, I have watched Mobile DJ's use both PC's and Laptops to DJ from, and neither, in my opinion, was more reliable or better than the other, so it should only be personal choice, rather than rumour or scaremongering which makes the decision on that score!.

Is running a Mobile Disco from a PC or Laptop reliable?

Anybody who has ever encountered the windows blue screen of death, or worn out the Ctrl+alt+del keys on their keyboard will possibly dread the thought of using such a system as a platform to their DJ'ing!. In essence, a decent dedicated pc or laptop with a clean install, good quality hard drive and a reasonable amount of memory will out preform most typical home pc set ups which may be running several applications at a time, be infiltrated with virus or spyware traces, and have a hard drive and registry full of corrupt enteries and partly uninstalled files.

The key to running a successful software based DJ system, is to buy a dedicated pc / laptop for the task, and to only run the operating system and DJ Software on there, and never allow it to run other applications or even connect to the internet. This way the installation runs and remains clean and largely error free, will rarely have a corrupt file, and won't get infiltrated or bogged down with several other applications. This advice is given by DJ's who have been using software and PC's for many years, and have found this method of DJ'ing to be just as reliable as conventional DJ'ing from CD's.

The advantages of using a Laptop or Pc to DJ

The advantages of converting your material to music files and using a Pc or Laptop to DJ from are many. The first is the most obvious, gone are the days where you are carrying several heavy boxes of CD's around with you, most DJ's CD collections can easily be converted to MP3 and will fit onto a 80gb - 200gb hard drive!. By converting to Software Dj'ing you also rid yourself of that long search through several hundred CD compilations in order to find that elusive requested track that you just know that you have got somewhere!. With most DJ Software, you can type in part or all of the artistes name or song title and find it within seconds!. It really is possible to find and cue up a request within 5 seconds - something which just can't be done easily or quickly with a CD or vinyl collection.

Other advantages of a software based DJ system, include the possibility to create playlists from frequently used tracks, and you could create playlists from all genres, for example a playlist for background music, one for dance music, one for the 70s and one for the end of the night slowies. Of course you can also group the tracks together and catalog them according to Genre which also makes finding tracks from particular era's easier too. Some DJ Software will also allow you to group tracks together which have a similar BPM - a boon for DJ's who mix.

Which DJ Software should I choose?

There are many different brands and types of DJ Software about, again it comes down to personal preference which type you choose. It is always a very good idea to check out reviews and discussions on DJ Forums and if possible to find a DJ who uses a system based on the software which is of interest to you, so you can actually see it in action, in a disco environment.

Some DJ Software comes with a free trial, which enables you to download and install the software on your system and try it for for free for a time limited period (usually 10 - 30 days). Depending on the cost of the software, there can be differing features. Some Dj Software will simply allow you to cue up and play music using 2 "players", others will have more comprehensive features, such as being able to fade between tracks, alter the pitch and tempo controls in a similar manner to conventional CD and Vinyl turntables, some of the more expensive software will even allow you to mix, or add a USB controller which looks and functions like a twin cd controller!, some Software will even mix the tracks for you!.

Remember that a feature is only worthwhile if you have a use for it!. Carefully consider what features you need, and which will be the ones that you will have any use for. It would be pointless buying a Dj Software package which allows you to mix, if you are a mobile dj who rarely has the requirement to beat mix. Most Software in its basic form, also comes with the option to add and install plug ins which give you additional updates and features, so its worth starting with the basic packages and then adding new features if and when you require them!.

My advice at this stage, if you are new to, or considering Software Dj'ing is to download the free trials of the various software which is available, try them for the time limited period, and then buy the one which suits you, and which is the most comfortable to use.

Some dj software titles which are currently popular and well reviewed by Mobile DJ's include OTSDJ, DSSDJ and PCDJ

What type of PC do I need to run my DJ Software package

When you have decided on a software package, it is then time to consider what pc or laptop to use it on. Contrary to rumour, you don't need the latest brand new pc or laptop to successfully run DJ Software from, and neither do you need a huge CPU processor. Most DJ Software will happily run on a pentium 3 processor with 600mhz speed or higher, many of the newer 1.2ghz+ celerons will also flawlessly run DJ software with no problems and without breaking into a sweat. Try and buy as much memory as you can afford, ideally 512mb of memory or a minimum of 256mb for most applications.

How big should I be :o)

A decent sized hard drive is the next consideration. Remember the bigger the hard drive the more individual tracks that you can fit on there. An average music file ripped at 192kbps is around 5mb in size and so a 100gb hard drive should fit around 20,000 tracks on there. However if you increase the quality of the track in MP3 format, then the file size rises also, so a 320kpbs mp3 could be as large as 11mb in size and so the same 100gb capacity would be reduced to holding only around 9000 tracks. Don't forget to factor in space for your operating software, drivers and DJ software when working out hard drive capacity!. You can of course expand your hard drive capacity by fitting external hard drives to USB ports, and these are also reliable. If possible try and use a system which runs USB2.0 or even firewire since these run at faster data speeds than conventional USB1.1 although many Dj's report no issues with hard drives and soundcards run from older 1.1 systems.

Give me Sound!

Using a good quality soundcard is a must!, many laptops and motherboard based sound chips on full sized pc's rarely do justice to sound quality or are designed with full time high quality audio playback in mind. Consider installing a pci sound card in your pc, or investing in a good quality USB external soundcard if you opt to use a laptop. Most 2 channel soundcards will suffice for DJ'ing in most mobile applications, where the audio is mixed between the players on the laptop and the single output is then fed through a pair of "L" and "R" connectors on the soundcard, and then into the mixer or amplifier.

However, if more creativity is required, or the software is to be used for mixing applications or the use of a crossfader between channels on a conventional mixer is likely to be utilised, then you need to buy a 5 channel soundcard. This allows the soundcard to be set up, in a manner which allows one pair of "L" and "R" outputs to be used for "Player 1" on the soundcard and fed into an individual channel on the mixer, and the same for "Player 2" - this allows each software player to have its own fader on the mixer - just like a conventional twin cd player.

What Quality?

Some Dj Software packages come complete with the means to "Rip" a cd. "Ripping" means placing the original Cd into the PC's CDROM and the process of converting the original music on the CD to MP3 Data, which is then stored on the hard drive as an MP3 File. In the case of OTSDJ, the option is also there to convert to a file called OTS, this is a custom files regonised only by the OTSDJ software, however it sounds just as good as MP3 and is also a slightly smaller file size, meaning that more OTS files can be stored on a hard drive when compared to conventional MP3 files.

If you use a DJ software package which does use conventional MP3 files, then you will need to select the quality at which to "rip". This figure is measured in "Kbps" and often ranges from 32kbps and 320kbps. Lower ranges are not recommended for professional use over a PA system since they can sound dull and even distorted. Ideally for professional use, the DJ should be looking at ripping their CD's to Mp3 files at 192kbps or greater.

192kbps is considered reasonable quality, however 320kbps is near cd quality and may be preferred by some Dj's - however on smaller audio systems the difference may be hard to detect. As the quality is increased, so does the file size, and a 320kbps file may be several mb larger than its 192kbps counterpart, it may also take longer to rip an entire CD at 320kbps than at lower rates.

For Dj Software which doesn't have ripping capability, Musicmatch Jukebox may prove to be an alternative for this process,

Are there any disadvantages to being a Digital DJ?

Now the disadvantages!. Obviously the initial cost of buying a PC / Laptop, a good quality soundcard, large hard drive and the Dj Software itself is likely to total far more than buying a conventional CD Player or turntables. It also takes time to "rip" your cd collection to Mp3 and store them on your hard drive. In some jurisdictions it is also illegal to convert original material to MP3 format for digital use without a licence, and this can prove to be expensive, if the Dj is to work on the right side of the law. It is the possible licence requirement that we discuss next.

Do I need a licence to play music from a laptop?

At the time of writing this article, an annual licence is required in Canada and the UK in order to use a PC or laptop to DJ from. In the UK, a further licence and possible royalty payment is also required for the conversion process. Although no fees have yet been advertised (April 2006) these controversial laws are likely to make this form of DJ'ing unattractive when compared to more conventional, and "licence free" alternatives.

Finally, my tips for Software Djing

* Always buy and use a dedicated pc / laptop purely for Dj use, do not be tempted to use the family pc or run other applications on the machine you use to DJ from, and do not allow this machine to connect to the internet. On a pre-used machine, also start from scratch with a format and fresh install of the operating system.

* Use a good quality soundcard, even if you need to upgrade or buy an external USB one

* Always rip the music direct from an original CD at 192kbps quality or higher. 320kbps is advised for higher quality pa systems and is near cd quality. 192kbps is okay for smaller systems used by the Mobile DJ.

* Don't be too concerned about buying the latest top of the range PC to run from. Most Dj Software will happily run from basic P3 600mhz machines, but do check out the minimum requirements on the software authors website.

* Read reviews on the various software packages available. Stick to the features that you will use, since you can always upgrade extras later. Take advantage of the free trials of DJ Software which are available and use the time to find the best software to suit you

* If you choose a full sized PC make sure that it is professionally flightcased - pc's are not designed to be carried around.

* Select a high capacity 100gb - 200gb hard drive from a reputable manufacturer. Where practical and legal always back up your data

* Fit your machine with at least 256mb of memory, and ideally 512mb.

* Check out the legal aspect of converting original music to MP3 and whether a licence is required to operate such a system.