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When Cancer Screenings Aren't Worth the Risk. Cancer is the worst. And, maybe thanks to Movember and pink consumer goods, we’re all extremely aware. Too aware. Because we’ve gotten it drilled into our heads to always get tested, patients are ignoring the risks of unnecessary cancer screenings, says the New York Times.
Low- risk patients often get false positives, leading to dangerous and wasteful misapplications of radiation and chemotherapy. Whose fault is it? Everyone’s. Doctors are afraid to get sued for missing a cancer diagnosis. The public are aware of cancer risks but not treatment risks. And, says the Times, insurance usually pays for the test, giving little personal incentive to skip it. Screenings are obviously important, and low- risk patients do get cancer.
But before you get tested, slow down and talk to your doctor about the risks and trade- offs. With Cancer Screening, Better Safe Than Sorry?
Recording Live Events - Transom. Live Events. Radio listening may have started out as a communal activity, with the family gathered around the Hi. Fi, listening to radio drama and variety shows. But in recent years, listening to the radio, or podcasts, has tended to be a more private activity, a solo experience during a commute, sequestered from others by earbuds, or by the insulating confines of one’s car. It’s a little surprising that many broadcasts have come full circle, and more often are again becoming social events. More and more radio programs, even podcasts, are performed in front of a live audience, and interplay with the people in attendance becomes part of the production.
Low-risk patients often get false positives. Staff Writer, Lifehacker Nick has been writing online for 11 years at sites like Urlesque, Gawker.
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Rick and Morty Deleted Scenes Season 1 Episode 1 – You Made a Dinosaur. Rick and Morty Season 2 Episode 10 The Wedding Squanchers. Watch Anime Online. Jeff Towne dives into the details of recording live events from. of-house mixer is a big risk. online interviews could I connect my mic to both. '/videos/search?format=&mkt=en-us&q=Watch+At+Risk+Online+Mic&ru=%2fsearch%3fformat%3d%26mkt%3den-us%26q%3dWatch%2bAt%2bRisk%2bOnline%2bMic&view=detail&mmscn=vwrc&mid=53D3FB91090F0004299753D3FB91090F00042997&FORM=WVFSTD' h='ID=SERP,5730.1'>Watch video· International Business Times UK. UK; World;. R'n'B group MiC LOWRY say they would not have auditioned on The X Factor to launch their singing career Mic Lowry. Michael Kors Watches : Find top watch brands like Michael Kors, Rolex, Gucci, Citizen, Fossil, Coach, Omega, and more! Overstock.com - Get 5% in rewards with Club O! Calendar for Projectfreetv full episodes and tv shows. ABC News. Latest headlines. U.S. news, world news, politics, video, investigative, health, entertainment, money, tech, travel.
Recording an event in front of a live audience so that it still sounds good to the folks listening on earbuds, or in their cars, or at home on their stereos, is a challenging balancing act. I recently had an opportunity to record a few live spoken- word events for broadcast or podcast, and learned some lessons along the way. And more importantly, I was lucky enough to get some extremely helpful advice from an engineer who has very likely done more recording of live spoken- word events for radio than anyone: Paul Ruest, who is probably best known for his many years recording events for The Moth. Getting broadcast- quality audio on stage involves a combination of particular equipment, techniques, and coordination with the venue.
Balancing all those elements should allow you to get a high quality recording that will work both for the performers and audience at the live event, and also for listeners to the program on the radio or internet. The Microphones. The first important element is the microphone.
Radio reporters in the field commonly use either omnidirectional or shotgun microphones. Neither is especially well- suited for use as a voice mic on stage.
In a recording studio, the announce mic of choice tends to be a large, very sensitive mic. The attributes that make that type of mic appealing in a sound booth make it problematic on stage. In most cases, live performances in front of an audience require amplification, and that changes the equation when picking mics. The most common choice for a vocal mic when on stage with a PA system, is one with a cardioid pick- up pattern. It’s difficult to get an omnidirectional vocal mic loud enough on stage without causing feedback, because it will pick up the sound from house speakers and monitors. Shotgun mics are too specifically directional: even small movements tend to put the performer out of the mic’s “sweet spot,” causing uneven volume.
Such highly directional mics are also extra- sensitive to wind, and P- Pops and vibrational noise, making them generally troublesome when paired with speakers. There are good reasons that cardioid mics are the most commonly used mics on stages. The sensitivity pattern is tailored to highlight whatever is directly in front of the mic, and to reject sound from behind, so feedback can generally be controlled with careful placement of the mics and balancing of levels. Cardioid mics also cause a bass- boost when used up- close, a phenomenon known as the “proximity effect,” which is flattering to many voices.
Dynamic cardioid mics are most commonly used on stages, partly because they’re very durable and can smoothly deal with loud sound sources. However, for spoken- word performances, such as storytelling events, or other productions that aspire to keep the more detailed sound of a studio production, a cardioid condenser mic is often a better choice.
Condenser mics tend to have a brighter, more sensitive character than dynamic mics, a sound similar to the larger mics commonly used in studios. Condenser cardioid mics designed for vocal use on stage are usually markedly more expensive than their dynamic counterparts, and they’re significantly more fragile, so the venue’s own sound department may not have these available. Watch The Nut Job 2: Nutty By Nature Online. You, as the recordist, will likely want to have your own mic (or mics) for this purpose. Not only can you assure that you’ll have the right kind of mic, but you can also avoid the unpleasant surprise of encountering a noisy or otherwise defective mic from the venue’s inventory. Paul Ruest prefers the Shure Beta 8. A. It’s a great sounding mic, relatively affordable (approx.
Although spoken- word performers tend to be quieter than singers, a storyteller can still get quite loud, between laughter and other excited exclamations, especially when they may be speaking over an enthusiastic audience, so you need a mic that can handle loud peaks. The Beta 8. 7 fits that bill. Buy a Shure Beta 8. A from B& H> > Buy a Shure Beta 8. A from Amazon> > There are surprisingly few cardioid condenser mics designed for this kind of live stage work, and many of those are very expensive.
The less- expensive basic entry- level mics may work in some circumstances, but will not be as robust as the Shure Beta 8. A. The Shure SM8. Beta 8. 7C are very similar to the Beta 8. A, and may work adequately, but Paul found the Beta 8. A to be the best fit for recording storytellers on stage. I’ve had very good luck with the Neumann KMS 1. Earthworks SR2. 0, but those microphones sell for $6.
They give excellent sound, but they could receive some rough treatment on stage, and worrying about a very expensive microphone might be counterproductive. I would not recommend skimping on this part of the audio chain, but if your budget doesn’t allow for the Shure Beta 8. A, you might be able to get by with the more affordable Shure SM8. The AKG C5, the Rode M2, or the Audio Technica AT2.
Although all those mics will display the louder, crisper, more detailed sound of a condenser mic, they might not have as balanced and pleasing a sound as the Shure Beta 8. A, and they’re not that much cheaper.
It’s increasingly common to use wireless mics on stage, but they should be avoided for this kind of recording. Wireless mics often have a low- level steady background noise, and are much more likely to suffer from interference, or battery problems, than a simple wired microphone. Its best to eliminate those potential problems. Lavaliers are visually appealing, but never sound as good as a properly- placed microphone on a stand, so unless the person speaking cannot possibly speak into a standard microphone, skip the lavalier. Following from that those two cautions, wireless lavaliers are especially unwelcome! Of course, there are occasional circumstances when the person speaking has to move around freely, and in that case, a wireless lav may be the least of several evils, but it’s also likely to result in less than ideal sound quality. Try to convince the performer to use the mic on a stand.
Pop Filters. Most small cardioid mics designed for live voice work, including the Beta 8. A, have multi- layer windscreens built- in, which the makers claim will prevent P- Pops and other breath noises. However, these mics still seem to be fairly susceptible to P- Pops, and can benefit from additional pop filters. The large disc- shaped fabric or metal mesh filters typically used in studios are very effective, but unsightly and hard to keep in place on stage. Even foam pop filters can interfere with sight lines, but they’re a necessary evil, especially for storytelling events, where the performers might be relatively unfamiliar with ideal mic technique. So a good foam pop filter can help reduce P- Pops and other rumbles from breath noise.