24 December 2010

Complete low powered AM Radio Transmitter System in a Box!

Anyone interested to broadcast live using low powered AM transmitter? Enter The Procaster™, Hassle free AM transmitter installation and it sound great as well due to it built in audio processor. You are able to broadcast any contest you wish for your listeners, be it music, talk, information, advertising etc. It only limitation is your imagination and creativity.
Basically you can typically reach listeners in a 1/2 to 2 mile radius, which is sufficient for many applications such as Local community radio, retirement communities, churches, schools, marinas, campgrounds, businesses, builders, historic sites, hobby broadcasting, emergency broadcasts and many more.
Anyone who has the keen, determination and interest can setup the Am transmitter. Best of all, it's simple to set up with no technical knowledge required.

Nevertheless, if you feel uncomfortable and need professional to install them, you can count on ACE to do a good job and you will feel confident and your mind is free from unnecessary CATASTROPHE. Put your trust on ACE to setup your AM transmitter.

Is this legal?

In USA and Canada, Yes, In Malaysia not sure, You may need to apply for radio license through MCMC (Malaysian Communications And Multimedia Commission).  Anyway, short range broadcasting is legal in the USA and Canada (in Malaysia, short range broadcasting or low power transmitter is governed by MCMC - a government authority that control and regulate all commercial and non commercial radio/tv frequency range used for legal broadcasting) for specially certified devices, which means all you have to do is install it and use it!

So, how is it setup?

The outdoor-mounted weatherproof transmitter can be flat-mounted or clamped to a standard pole. Everything you need is included in the package including a sturdy 3-section 102 inch aluminum antenna that side-mounts onto the transmitter casing.
A 50 ft (or optional 100ft) shielded cable connects the outdoor transmitter to an indoor studio interface where power and audio connect.
The entire system runs on 12 volt power and only uses 1.2 watts and can be easily powered by a small 12 volt solar panel/battery setup when AC power is not available.

The Procaster™ AM Transmitter
Sturdy construction
Boxed in rigid welded aluminum enclosure with stainless steel hardware for a long corrosion-free life and it lightweight design permits for an easy install and light mast loading. Hence the transmitter is built t last.

Great performance
Low distortion, hi-fi audio frequency response delivers excellent low bass response and BIG sound just like commercial broadcast stations. Performance exceeds most AM radio receivers.

Built-in Audio Processor
No need to purchase additional complicated and expensive audio processors and signal conditioners - the Procaster™ includes built-in audio processing and limiting, Saving you hundreds in additional equipment costs and saving you install space. Sound dynamics can be easily tailored to suit your listening preference and best of all, it's simple to set up with no technical knowledge required.

Complete AM Transmitter System
It include everything in the box - you just supply a ground and mast if you choose to pole mount. Here is what you get...
  • Procaster™ Transmitter
  • Studio Interface
  • 50ft or 100ft shielded 4-conductor connecting cable
  • AC wall adapter
  • Tuning tool
  • Mounting hardware
  • Easy to follow instructions
Procaster™ AM Transmitter with Standard Studio Interface and 50ft cable
This standard version have the features where you can any audio source: iPod™, computer, mixer, tape deck etc. via a standard 3.5mm stereo jack.  Now that what I call Simplicity at it best.

Now, everyone can afford to broadcast Live Radio with minimum budget.

The easy way to Internet Radio

Internet Radio Broadcast is no longer considered an alien to worldwide internet user. Internet radio has becoming very popular since it introduction many years ago. Virtually anyone interested to broadcast audio via online can do so without much restriction in terms of legality and at it basic setup, you just need a PC with audio card and a broadband connectivity. However this type of setup may requires a special hosting to carry the online audio to listeners.
The cost of hosting may varies depending on how much bandwidth or listeners you are expecting and the quality of the audio you willing to provide. The more listeners and higher audio quality will cost you more.
For those who have very little budget, it may pays to look at the following concept which give us an alternative ways to create live online radio.
The main advantage of this method is that you do not need to spend much. So long as the server is able to provide reasonable bandwidth, you are set to go. Basically, the method only required hosting with reasonable bandwidth and no others requirement(unlike the common method which requires webserver that support shoutcast). Below are the brief explanations of it concept and how the audio is being channel to the listeners. At the ends of the day, you choose and decide what quality, how many listeners and convenient of usage you want your listeners to have.

The Internet Broadcasting Studio is a software package composed of two programs: BS-Server and BS-Tuner.
BS-Server is capable of streaming audio (live or MP3 files) and pictures from a simple PC to a potentially large audience, using a standard web server as a bandwidth amplifier.
All you need to start your own Internet broadcast is this program, and the ability to upload files to some web server.

BS-Server runs in your computer, builds a data stream with your audio and picture files, and sends this stream into a directory of your web site. The disk space used in the web server is always less than 5 MB, even if your broadcast lasts for hours. See the Technical information page for more.
To view/listen to your broadcast, your audience will use BS-Tuner, a light-weight multimedia player specially designed to receive the BS-Server data streams.
BS-Tuner is freely redistributable, meaning that your audience can download it and use it for free. To protect your copyright and prevent others from copying your photos and music, BS-Tuner has no "Save" feature.
With Internet Broadcasting Studio, you can easily set up a pay-per-view broadcast by encrypting your data stream with a secret key. Send the key to listeners who subscribed to your broadcast with PayPal or any other online payment processing services. You can further control access to your broadcast by setting user-based passwords with your web server htaccess files.
You can download and get more info at Broadcasting-Software.

If you need assistance, you can call ACE. We can installed and configured them for you for a small fees.

08 December 2010

Presonus StudioLive 16 Channels Digital Audio mixer

The new Presonus Digital Audio Mixer is absolutely awesome. It has many features and as you can see on this demo, you have to try to see the different...Fantastic performance for such a small size...

22 November 2010

Original Tiny Mini Guitar Amp

This is the first product produced and designed by LucnSam Electronics ( invented by C.G.Simon, ACE). It is a Small mini Guitar Amplifier (3.3" x 2.1" x 1.1"). It has one volume control, 1/4 mono jack, LED power on/off, 1.6" speakers and powered by one 9V battery. This product will be on sale soon at http://lucnsam.blogspot.com. It is the size of cigarette box. It so small you can put it inside your pocket and carry it any where with you to Jam Session. It a mobile guitar practice amp.

Watch the video below to hear the mini guitar amp METEO-45SP in action.

18 November 2010

Portable Compact Loudspeaker System


Incredible small and compact loudspeaker system from HK Audio.Audio 

14 November 2010

How to determine the reverberation time of a room

The Dayton Audio USB OmniMic comes with a USB cable, software, a mic clip and carrying case to allow installers to accurate measure their audio installations, and it is available from Parts Express. Extracted from: www.cepro.com

Reverberation time of a room depends on the volume of the room and the rate at which the sound energy is absorbed by the wall surfaces and the objects in the room. In a typical room (without bare wall), the reverberation time is thus proportional to the ratio of volume to surface. By definition, the reverberation time is the time required for the sound level to decrease by 60 dB (hence the abbreviation RT60).
In 1922, a man named Wallace Sabine (pioneer in the study of room acoustics) came up with the following formula to calculate reverberation time:
RT60 = k(V/Sa)
  • k is a constant that equals 0.161 when the units of measurement are expressed in meters and 0.049 when units are expressed in feet.
  • Sa is the total surface absorption of a room expressed in sabins. It is a sum of all the surface areas in the room multiplied by their respective absorption coefficients. The absorption coefficients express the absorption factor of materials at given frequencies.
  • V is the volume of the room.

Sound absorption

(Extracted from :  http://www.lenardaudio.com/education/04_acoustics_3.html)

Acoustical absorption of furnishing and curtain fabrics against walls readily absorb high frequencies but have limited absorption at low frequencies. The further curtain fabrics are placed away from walls, the better the absorption is to include lower frequencies. The amount of sound energy absorbed depends on type of material, weight and pleating width. Rock wool (fibreglass) has the highest absorption capacity, converting molecular air movement to heat (at molecular level). Fibreglass consists of minute razor sharp fibres that are irritant and need to be contained within fabric.


Acoustic absorption

Brick, stone, concrete, reflect all sound. Timber, gyprock, steel, reflect most high frequencies and a % low frequency is absorbed by the wall. The remaining low frequency energy that is not reflected or absorbed passes through the wall. Nothing can be done about sound that passes through a wall. Bass frequencies are the most difficult to absorb.

The 1/4 wave-length rule. Acoustical absorbent material must be placed away from walls and ceiling at a distance of 1/4 wavelength of the lowest frequency to be absorbed. This will include all higher frequencies if the absorbent material is soft furnishing or fibreglass. Please note that the ceiling should also be included. Understandably this will slightly reduce the physical size of the room. Acoustically the room will sound and feel LARGER. Also an acoustic absorbent environment is relaxing and calming.

Bass trap

Bass trap refers to distance the absorbent material is from a wall to include absorbing bass frequencies. Lowest frequency absorbed is governed by the material being at a distance of 1/4 wavelength from a wall. Recording studios can have fabric up to 6ft / 2meters from walls. At 1/4 wavelength the molecular air movement is maximum, and is converted to heat by the absorbent material. The remaining sound that gets through the absorbent material is reflected back from the wall and again absorbed by the absorbent material.

Standing Waves are bass frequencies reflected back from walls and ceiling. The reflected bass interferes with the new incoming bass frequencies, causing cancellations at different points throughout the room. Each bass note will behave differently and the cancelled points will be in different positions. Moving speakers or listening position does not solve the problem. The only solution is to insure that the room is 100% absorbent at all bass frequencies. Standing waves also refer to how a string behaves on a musical instrument. There are excellent descriptions of standing waves on other web sites which include animation. Right mouse click to open in new window and allow time to download animation. While waiting to download continue reading.

room standing waves
stringed instruments

Panel Absorbers consist of large sheets of plywood formed into complex architectural shapes. The panels can break up standing waves, deflect high frequencies and resonate to absorb bass energy. The formulas governing their behaviour are complex and the outcome is unpredictable and unknown until constructed. Almost without exception they require time consuming trial and error modifications to get them to work as predicted. There are only a few acoustical architects that have mastered them. The below formula gives an approximation only.

fres. = √60/md (fres = frequency of max absorption) (m = panel mass Kg/m2 (d = depth of air space in meters)

Anechoic chamber is 100% absorbant at all frequencies. No sound can enter or escape from the room and is 100% silent. The closest we can experience this is in an open field, forest or desert on a perfectly still night. Simply described as free field. No sound is reflected or returned. Everyone should experience being in an anechoic chamber or spend time a silent free field to attain a reference. Surprising how different and revealing a sound system actually sounds and therapeutically humbling a reality change can be.

Recording studio  control rooms often have walls and ceiling slope outward and upward, away from the speakers and screen. Absolutely no sound should reflect from the rear wall. For amplified performance including cinema's, all walls and ceiling, yes ceiling, should be as close to 100% absorbent as possible at all frequencies (free field).

Echo and excessive reverberation destroys intelligibility and enjoyment for the audience. Absolutely no echo must be allowed to be reflected from the back wall to the stage. The further away from the stage performance the more acoustically absorbent the room should become.
Perfect room

For live acoustic performance the stage walls and ceiling can have a small % of controlled acoustic reflection to enhance the performance. Only from the stage. Acoustic path lengths must be as short as practical. An exaggeration of short acoustic path lengths is a bathroom. Long acoustic path lengths are echoes (churches) and cause difficulty for musicians to play in time.

Sound system placement. Facing speakers directly forward adds excessive reflection from walls, and further reduces intelligibility. Many roadie sound engineers incorrectly mix in mono, in front of one speaker stack facing forward.

Speaker position

The speaker system should be turned inward to improve directivity, and minimise wall reflection. The angle that speakers could be turned inward can only be approximated by academic calculation. The most suited angle has to be found by trial and error. Wherever possible mixing should be from the centre, in stereo, where sound from left and right speakers intersects and at a distance no further back than where direct sound from the speakers is equal to the reflected reverberant energy of the room (Critical Distance). www.genelec.com/support/flushmount.php

Ceiling absorption

The above picture is to bring attention to the importance of acoustical absorption of ceilings. Many cinema complexes provide acoustical absorption on walls, but forget about ceilings. Below is the address of a company that supplies and consults on acoustical absorption, with many excellent pictures of applications as above. www.acousticalsurfaces.com

Copy Right (c) 2010 Lenard Audio

04 November 2010

1st successful Live Sound Reinforcement Workshop


The first ever workshop on Live Sound Reinforcement was held in Kota Kinabalu, Sabah, Malaysia on the 28th Oct 2010 to 30th Oct 2010 at Tang Dynasty Park Hotel.(ACE is the first to make history)
ACE wishes to thank you to the participant for their effort and interest to attend the three days workshop. 

13 October 2010

Workshop on Introduction to Sound Reinforcement System for Audio Operators

The objective of this workshop is to introduce a hands on experience to audio operators and technician. The knowledge gained from attending this workshop will help them to properly operate and tackle the common problem facing with the majority of sound reinforcement system.

What You Will Learn:

  • The inner workings of audio interfaces,such as line signal, Low and high impedance signal, power and other signal characteristics. 
  • Understand the different type of microphone.
  • Understand microphone technique
  • Understand microphone characteristics such as frequency responses.
  • Understand loudspeaker cables and the required size (AWG)
  • Understand system gain structure for optimum signal to noise ratio.
  • How to match audio power amplifier to the loudspeaker.
  • Basic Troubleshooting on typical Audio System
  • Understand the The functionality of a typical audio power amplifier.
  • Understand the operational and mixing technique of a typical professional audio mixer.
  • An equalization strategy that gets at what you can fix, and avoids "over equalizing" the sound system.
  • How to properly setup PA system.
  • and many more.
This three days workshop covers the theory and practical aspect of operating the sound reinforcement system. The whole workshop will be conducted side by side with typical live working sound system so they can relate the theory being taught and the actual application. It include a hands on session where the technician can demonstrate what have been taught.

Day 1
  • What is Sound?
  • Loudness of Sound (dB)
  • signal Flow
  • Tea/Coffee Break ( 15 Minutes )
  • Signal Flow - continue
  • The Microphone Jungle
  • Selection and application of wired microphone
  • Lunch
  • Hands on Training & knowledge testing

Day 2
  • Using the Mixing console
  • Understanding the mixer
  • Tea/Coffee Break ( 15 Minutes )
  • Connecting the mixer to other equipments
  • Mixing techniques- P.A. Mixing : Small, Medium & Large System
  • Lunch
  • Hands-on training & knowledge testing
Day 3
  • An overview of the Signal Processors.
  • An introduction to Amplifier application.
  • Tea/Coffee Break ( 15 Minutes )
  • Continued – Amplifier application.
  • Hands on training & knowledge testing
  • Lunch ( 1 hour )
  • Speaker cable–importance of correct length.
  • Using Loudspeakers.
  • Top 10 ways to ‘Toast’ speakers and diaphragms.
  • Tea/Coffee Break ( 15 Minutes )
  • Summary of two days lesson.
  • Practical session on setting up & operating a complete P.A. System. Can they do it and overcome any problems?
  • Training Evaluation – Comments & Feedback
  • Group Photo & Certificate Presentation
  • End of training 
Who Should Attend?

• Those who want to acquire basic fundamental in sound reinforcement system

• Audio Operators or Audio technicians

• Worship leaders

• Musicians who want to explore and improve their sound

• Those who want to experiment with typical small portable sound systems

• Anyone who has the keen interest in sound reinforcement system.

• This seminar is for those who operate and handle sound reinforcement systems.

REGISTER FOR THIS 3 DAYS WORKSHOP - Please call or email us for more info.

Kindly register in advance to avoid disappointment

To be advised
To be advised

Apart from the Audio Notes and ACE Pen
* Venue/Date subject to change with prior notice.

Instructor Profile:

C.G. Simon

He is currently works as a senior broadcast Engineer with the local Audio Consultancy and Engineering Company. He has accumulated suffice knowledge in sound engineering while working fulltime as broadcast engineer. With his 18 years of working experience ranging from setting up and running pro-audio sound system, troubleshooting and designing system pertaining to broadcasting, he is well suited to conduct the said workshop.

He graduated from University of East London, United Kingdom with Bachelor Engineering in Electrical and Electronic (Honours Degree). He has always been actively involved with music and shown keen interest in Sound reinforcement System ever since his school days. He is also a musician and played the guitar, keyboard and drums.

To further improve his teaching skills, he attended numerous local and overseas training courses, seminars and workshop and this help to update his technical knowledge. He has also undergone a “Train the Trainers” program as well as a “Training Needs Analysis” Course. He is a qualified trainer and able to analyze the technical training requirement of department personnel if necessary.

09 October 2010


If you setup a radio station, your FM transmitter should be tested before even trying to use it with an antenna. 

Tuning or testing of a FM transmitter requires the use of a dummy load. This prevents unwanted radiation during test (antenna is in active) and tune procedure. This is to ensure the FM transmitter output stage is always correctly loaded. 

We recommended two dummy loads rated at 60W and 1500W respectively. 60W version is suitable for smaller transmitters. Where else, the 1500W version is for medium to big transmitters.

Features 60W Dummy Load:
- Gold Plated PL Connector
- 0 - 600 MHz Range 50 Ohms

Features Palstar DL1500 1.5kW HF Dummy Load :
- Enables Short Term Off Air Testing Up To 1500 Watts For Frequencies Up To 500 MHz
- Dimensions: 2.75" H x 3.5" W x 8" D
- Weight: 1.5 lbs
- Hyperbolic tuning cone
-Impedance: 54 Ohms +/- 5% 

08 October 2010


06 October 2010

Understanding the Audio Mixer

In audio business world, it is a fact that audio engineering is a combination of both science and art. It dependency of each other can not be denied. In the context of an audio mixer, understanding what's under the hood of the mixer is paramount important. By understanding the science part it will help you to develop your art side. There are many ways to learn how audio mixer operate but nothing can compare if you attend an audio workshop where you can gained a whole lot more about mixers than you'd learn from a typical owner's manual, including:
  • Names and functions of the major building blocks of a mixer
  • How to read and follow a block diagram
  • Signal paths through the mixer
  • Function of all the controls and some special features
  • Hookup diagrams for many different applications
  • Mixing and operating tips
ACE is organizing many workshop and seminar to help you have better understanding of an audio system particularly concerning the science part.

26 September 2010

Internet Based Radio Station

 Example of an online Radio / online Campus Radio / Online Student Radio

Are you into online radio broadcast? Do you want to setup your very own online radio? If you do then you come to the right place. ACE can help you setup the online radio based on your requirement or goal (some for the purpose of profit and generating revenue others just for fun i.e. sharing CD collection and so on) and affordability.

ACE will help you choose the right type of equipment, configure and install them and you are ready to broadcast online in no time. ACE is committed in ensuring that you will be using the right tools for your Online Radio Broadcast.

Call us for more info

24 September 2010

How To Construct A Double Pane Studio Window

By Auralex

Anyone with trim carpentry experience can build their own studio window if they plan correctly, take their time, and follow these steps. You will need at least one helper when installing the glass. This example project assumes the window is set in 2'' x 6'' wall with multiple layers of drywall, Sheetblok, etc. on both sides. Procedure is the same for single wall of any thickness. When installing window in two separate walls, there will be separate inner blocks for each pane.

Tools needed; hand saw or circular saw, sanding block or orbital sander, drill, screwdriver, level, utility knife, plane, etc. A note about parallel vs. angled glass; Although angled glass is common in professional studios, we generally suggest parallel panes for most applications.

This is because the air gap between glass is more important to isolation than an angle is. Unless the panes are several inches apart, the angle would probably not be large enough to make any difference, and would lessen the air space. If you prefer to angle one or both of the panes, there are additional tips at the end of the directions.

These instructions assume you are installing two panes of glass, in parallel, with the largest feasible air gap in between. Use very high grade pine with no knots, or finish grade poplar, for best results. Do not substitute plastic or Plexiglas for real glass.

1. Window opening should be roughed in level and plumb, and all surface substrates (drywall, etc.) finished flush with framing. ...READ MORE

12 September 2010

Acoustical Treatment

Home Studio Acoustical Treatments on a Budget
by Gavin Haverstick

Digital technology in the recording industry has evolved and expanded greatly over
the years, allowing high quality/low cost recording gear to be widely available to the
general public. Due to this fact, hundreds of home studios are either being converted
from existing bedrooms, dens and basements or constructed as a separate room of a home. Hobbyists and part-time musicians that typically do not have the advantage of a large recording budget operate the majority of these studios.

Along with digital equipment, acoustical treatment has become more affordable over the years giving many musicians the opportunity to write, record and produce ideas, demos, and even entire albums in the comfort of their own home without having to sacrifice acoustical quality along the way.

Acoustical treatment such as absorption, diffusion and bass trapping are often implemented to reduce the effects of issues such as flutter echo, excessive reverberation and bass build-up, among others. The purpose of this article is to highlight the issues and challenges faced by hobbyist....read more by clicking the link below.


26 August 2010

ACE Broadcast Engineer - Profile

C.G.Simon is a sabahan. He is the second eldest in a family of talented musicians and singers. He grew up playing and handling musical instruments. This has helped him developed a sensitive ear to music and keen understanding of sound systems. He is a member of IEEE and Society of Broadcast Engineers, USA and a Certified ADC Krone Master Installer (certificate of competency), USA. Diploma in Applied Science ( Mara Institute of Technology, Malaysia), Diploma in Electronic Technology with FCC (Cleveland Institute of Electronics, USA). Certificate in Digital Data Communications (Cleveland Institute of Electronics, USA).
He had his primary and secondary education in the local schools of Kota Kinabalu, Sabah, Malaysia. He then went on to study at the Mara institute of Technology, Shah Alam and finally graduated from University of East London, United Kingdom of Great Britain with Bachelor of Engineering in Electrical & Electronic. All this time, he continued to be involved in Music, Bands and the setting up of various P.A. Systems.

After graduating as a qualified engineer, he worked in other industries before finding his true calling in the broadcasting industry which again involves music, audio-visual equipments, sound engineering, Audio Mixing, Microphone Basic & Live Sound Engineering ( microphone technique, Loudspeakers placement, Audio Amplifier, Musical instrument miking, Audio effect processor, mixing console, editing, digital recording, equalization, echo, feedback and reverberation and many more ). Having had the informal background training in the music industry and the theoretical technical knowledge gained at university, he easily mastered the technical work and become excellent at his work.

He has experience working with the local broadcasting station both at  Kota Kinabalu  and Kuala Lumpur, Malaysia for more than 18 years in both Radio and TV broadcast engineering section. He is often consulted by government agencies and departments on Audio-Visual technical matters especially ones which involves electronic and computer equipments.
During the 18 years span he has from time to time attended both local and overseas training courses, seminars and workshops to update his knowledge. He has also undergone a “Train the Trainers” program as well as a “Training Needs Analysis” course. He is now a qualified trainer and is able to analyze the technical training requirement of the department personnel if necessary.