TASCAM MX -2424 Roes This Change Everything?

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www.americanradiohistory.com Forgive and regret OUR LOOK AT THE TASCAM MX -2424 serves to remind how delicate the relationship is between intermediate and milestone technologies. As someone who can remember DASH and ProDigi being dismissed in the 1980s as intermediate Studìá technology I could be forgiven for waiting for this machine for what has been an eternity. Of course 'intermediate' is a word that is frequently confused and misused by those of shallow pocket who then proceed to power out of their personal hand- Incorporating Broadcast Engineering brake turns as soon as they can afford to. Digital tape was, and is, an intermedi- August 2000. Vol 42. No 8. ISSN 0141 5994 ate, but it hasn't stopped DASH representing the high -end interchange format in United Business Media, for music recording or the DA-88 serving as an established post mix medium long 8 Montague Close, London Bridge, for shrewd operators many times over. enough to pay off the financing deals London SE 19UR, UK. What wide -scale technology adoption patterns all have in common is that they either facilitate efficiency and convenience or they are simply so cheap Fax: +44 (0)20 7407 7102 and simply make too much sense to ignore. The acid test of business plan justification and qualification generally throws up a lowish risk, no- brainer deci- Email. studiosound @unitedbusinessmedia.com sion that slots in seamlessly alongside existing systems and work methods that Net www.prostudio.com/studiosound have to be consigned to scrap. don't immediately Editorial The MX -2424 is not the first to offer affordable high track numbers on hard Executive Editor- - Zenon Schoepe disk, but it remains significant in doing it quite so well for quite so little. We live in an increasingly disposable society and a major attribute of many recent Email: zschoepe @unitedbusinessmedia.com 'milestone' developments has been a lack of emotional involvement and depen- Direct line: +44 (0)20 7940 8513 dence for the user. It's why we can recount and indulge ourselves in the finer Editor: Tim Goodyer points of analogue master tape machine ownership in this same issue despite Email: tgoodyer @unitedbusinessmedia.com the fact that we are unlikely to ever enjoy a similar attachment to the early incar- Direct line: +44 (0)20 7940 8578 nations of DTRS or, for that matter, early attempts at DAWs. Production Editor Peter Stanbury That change continues is not the surprise and not the issue, that is discards Email: pstanbury @unitedbusinessmedia.com in so quickly takes it predecessors, themselves milestones their own day, quite Direct line: +44 (0)20 7940 8523 of attitude and a hardening of outlook. Increasingly we are being an adaptation Secretary Eileen Sullivan stripped of the technological crutches that have previously tied us to the world. Email: esullivan @unitedbusinessmedia.com We are left instead with our own transferable crafts and skills as the truly sal- +44 7940 able commodity. The most important thing you take into the room is what you Direct line: (0)20 8524 Watkinson have in your hand. Consultants Francis Rumsey; John Zenon Schoepe, executive editor Columnists: Dan Daley; Barry Fox; Kevin Hilton Bench- testers: Keith Holland; Paul Miller Covering fire Regular Contributors. Jim Betteridge; Richard Buskin; Simon Croft; COMPARING MUSICAL NOTES with Philip Newell in Spain recently threw up Ben Duncan; Dave Foister; Tim Frost; an interesting difference of opinion. Where I had always regarded the term 'cover version' to apply to any reworking of another artist's song, no matter Yasmin Hashmi; Neil Hillman; Rob James; how greatly it differed from the original, Philip considered it applicable only to Caroline Moss; Philip Newell;Terry Nelson; a fairly faithful copy. To illustrate his point he quoted Cilla Black's 'Anyone Who Stella Plumbridge; Martin Polon; Had a Heart' as being a legitimate (read 'near identical') cover of Dionne War- George Shilling; Simon Trask wick's original, while Joe Cocker's interpretation of the Beatles' 'With a Little Help from My Friends' was another proposition entirely. I had to agree that he Advertisement Sales had a point. Group Sales Manage Chris Baillie Returning home, I chanced across a copy of Ann Harrison's book Music: The Email: cbaillie @unitedbusinessmedia.com Business (Virgin Publishing, ISBN 0 7535 0433 2), whose glossary contains the Direct ne:+44 (0)20 7940 8517 following: 'Cover version: a song written and recorded by someone else, that an artist records a new version of.' As the book is subtitled The Essential Guide Deputy Ad Manager Phil Bourne Email: pbourne @unitedbusinessmedia.com to the Law and the Deals, I thought Philip should know... My email prompted a fax reply that closed 'Joe Cocker took a weak insipid Direct line: +44 (0)20 7940 8542 ditty... and rearranged it into a monstrous rock classic which wiped the floor Classified Sales: Peter Lawn with the original. That, to me, is not a cover version but a huge development Email: plawn @unitedbusinessmedia.com of the song -a new original interpretation'. Philip was sticking to his guns. Direct line: +44 (0)20 7940 8518 So whose definition of 'cover version' were the scriptwriters of The Patriot Advertisement Production Denise Walshe and U-571 working to when they decided to rewrite history? For those not in Email: dwalshe @unitedbusinessmedia.com the know, in telling the story of the American war of Independence, The Patriot e +44 (0)20 7940 8539 (directed by Roland Emmerich and starring Mel Gibson) inaccurately casts the Direct British as a murderous bunch, massacring their enemies in the manner of the Nazis. U -571 (directed by Jonathan Mostow and starring Matthew McConaughey, Associate Publisher-: Joe Hosken Bill Paxton, Harvey Keitel and Jon Bon Jovi), meanwhile, transfers the credit Direct line +44 (0)20 7940 8602 for the capture of the first German Enigma machine and code books from the Circulation r:.rr,r,e, Lucy Howard British to the Americans during WWII. Direct line: +44 (0)20 7940 8591 In this case I defer unconditionally to Philip's view; the films might be cast PA to the Publisher: Lianne Davey as the development of a theme, but a good, old -fashioned cover version would Managing Director: Doug Shuard infinitely preferable. Tim Goodyer, editor have been Publisher: Steve Haysom 4 August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com Tokyo -based Yamaha Epicurus Studios AMS Neve, UK. hDVD breaking, High -Definition. video has ordered a 64- channel SSL SL9064L Tel: +44 1282 4570 I I. US: The forthcoming hDVD and musical performance be pub- analogue console.The second j- series Scottish audiop ebel Linn Records release of HDPIanet will offer a lished using the ground -breaking for the facility comes as a response to is the first customer for the new DPA said Ely, I format,' Mark growth in demand for 5. mixing Japan- Type 4041 large- diaphragm mic. In the tour of the Grand Canyon at new hDVD ese interest in Euphonix' CS3000 three months since their arrival, Philip dawn, a trip down Route 66 and director of product marketing for digitally controlled analogue consoles Hobbs has used the 4041 s to complete journey to the moon via footage Sonic. 'hDVD technology will be for music and post applications has more than 20 classical recordings captured during a recent voyage used to distribute the same 10801 been high with the V Vision postpro- beginning with a little -known piece by duction house installing a 32 -fader by the STS -93 Space Shuttle video content from the live per- Buxtehude for choir and orchestra. CS3000 in a new studio, producer Yota Columbia courtesy of Sonic Solu- formance, combined with a high - With the 4041 s as the main pair, the Tsuruoka's Rakuonsha music facility a quality uncompressed multi- anticipated 90-minutes balance time tions. HDPlanet, collaboration ordering a 48 -fader CS3000D -3 -48, was 15 minutes. between Chicago radio legend channel soundtrack. The result- and Osaka's Studio Aqua project and reduced to Steve Dahl (WCKG -FM), award - ing hDVD disc will be playable on multimedia studio ordering a 72 -fader DPA, Denmark. CS3000 -4 -72 console for games Net www dpamicrophones.com winning television journalist Bill a 650MHz or faster Pentium Ill PC work Rakuonsha specialises in Animé German postproduction facility Kurtis and record producer Joe with a DVD -ROM drive using a (Japanese animation) and has recently Voodoo Lounge Medienproduktions Thomas, combines HD video of software -based hDVD video produced for Worrier has installed two Martinsound Multi - soundtracks nature and travel with music per- player.' Gundam and sound effects for the MAX monitor controllers at its Grünwal take advantage of the higher - film and TV versions of the popular premises.The controllers are being formances by musicians includ- To Pokemon series. used to manage a Quested surround ing Joe Walsh, Christopher Cross resolution and higher hit -rate Yamaha Epircus Studios, Japan. system and Yamaha NS-10 close -fields and Jimmy Webb on a new for- video material. Scenic Solutions has Tel: +81 3 3719 910. in Studio A, and a Genelec I 032A with mat that supplements DVD. An extended the DVD multiplexing SSL,Japan.Tel: +81 3 5474 1 144. 1092A subwoofer surround system in and engine used in Euphonix, US.Tei: +I 650 855 0400. extension to DVD, hDVD adds formatting Studio B. Both studios use Digidesign New York's broadcasters have one or more of the high- defini- Sonic DVD Creator, DVD Fusion Pro Tools 24 workstations and Pro- ueen quick to take up the new AMS tion MPEG2 video formats spec- and DVDit! to accept and author Control control surfaces. Voodoo Neve Libra Live Series II digital console, video Lounge specialises in the creation of ified by the Advanced Television High -Definition MPEG -2 with Time Telepictures taking two for on -air advertising and promotional Standards Committee offering content. Sonic plans to ship live -to -tape audio production. MTV systems in Networks ordering one for Total spots in surround sound.Two MultiMAX more than 4x the resolution of hDVD-ready authoring Request Live and studio music units have also been installed in identical standard DVD -V titles. conjunction with hDVD software performances, and HBO Studio film mixing studios at Soundtrack in 'It's only fitting that this ground- players in autumn 2000. Productions readying a new digital Linz. Austria. Both rooms are centred r.-in.-01 room for theirs. on Digidesign 24 Pro Tools systems and

AMS Neve,UK. use Genelec I 037B surround sound TeI: +44 1282 46701 1. monitor systems with 1094A subwoofers. London post house Molinaire is to Martinsound, US. take two Soundtracs DPC -11 digital Net www.martinsound.com production consoles as part of the Slovenian state broadcaster RN refurbishment of Suites A and B where Slovenia has taken a fourth SSL Aysis will work in with they conjunction Air console for installation in a new TV film.TV AudioFile editors on DVD, OB vehicle.The purchase follows the drama and documentaries. UK -based earlier installation of an Aysis Air into a postproduction and duplication radio OB vehicle and Aysis Airs in RN company 10th Planet has taken Slovenia's television headquarters and delivery of a SADiE 24:96 digital audio the radio control room at the Cankarjev editor for its recently- completed West End studio facilityThe system Dom international concert hall. +44 has already seen use mixing and editing SSL, UK.Tel: 1865 842300. the music for the Dancestar 2000 Baltimore-based facility Tonal Vision Woldwide Dance Awards composed Studios has purchased a Fairlight in - house composer Jon Voda. MFX3plus workstation for use the Molinaire, UK. creation of original sound for picture. TeI: +44 20 7478 7000. One of the Baltimore area's most

1 0th Planet, UK. respected and busiest sound -for-picture Tel: +44 20 7637 9500. facilities.TonalVision specialises in work Soundtracs, UK. for television shows. A UK: Construction is under way on a new London recording Tel: +44 13 7284 5600. Fairlight,Australia. SADIE, UK.Tel: +44 13 5364 8888. Net www.fairlightesp.com complex, Sphere Studios, being described as 'the most Tiger Recording, located ri British -based Richmond Film Services, ambitious music recording complex to be built in the capital in 1.,shionable McMahon's Point the Dreamhire,Tiger Hire,Yorkshire Audio for many years'. The new studio hopes to rival London's finest district of Sydney has installed a 72 -fader have been adding to their hire stock. rooms dedicated to Euphonix CS3000 console in its main and will offer three main control While RFS has taken a number of Studio A control room.The facility tracklaying, stereo mixing and 5.1 surround mixing.There will Audio Technica's new AT895 mic for produces original music for the city's also be six white rooms available for hire to artists and sport broadcast use, Dreamhire has thnving television advertising industry independent producers, plus extensive ISDN facilities, plenty of PCM- alongside 'a hybnd of advertising work added a second Sony 3348HR parking and a licensed bar. Behind Sphere are musician and and major-label album projects'. digital machine to its stock bringing the Euphonix, US.TeI:+I 650 855 0400. company's total of professional multi- producer Francesco Cameli and Malcolm Atkin, formerly Italian sound engineer Daniele Gior- track recorders to 14 and Tiger Hire general manager of Sir George Martin's Air Lyndhurst facility. dana has upgraded his One Voice studio has invested in a 44:24 Soundcraft Five The design of the main studios and white rooms is being m Chivasso,Tunn with Digidesign Pro monitor console in readiness for Radio - handled by Munro Associates while Cameli and Atkin, with the Tools Mix Plus v5 running on an Apple imminent Meanwhile, the head's tour. assistance of Sphere's technical manager Tom Schlum, are G4 /350.The system includes Digidesign Yorkshire Audio has taken delivery of technical specification for the three 888 and 882 audio interfaces and a eight Crown MA -3600 VZ power currently finalising the number of plug -ins. Giordana's old Pro amplifiers to drive its EAW KF -850 rig. studios.Atkin says:'In order to develop the music industry on Tools Ill system will be used for writing, UK's Pearson Television, the a global basis there is a genuine requirement for recording editing and preproduction. production company responsible for facilities that can offer the most up-to -date technical solutions. One Voice Studios, Italy. IN's police drama. The Bill, has installed we a and therefore we TeI: +39 011 910 6211. With Sphere are in new -build situation two pairs of DynaudioAcoustics M3 Digidesign, US. have the opportunity to develop a facility that is truly designed main monitors and five pairs of Net www.digidesign.com passive for the future.The construction of the complex and the active BM6A close -fields as part of a Los Angeles -based Warner Brothers to offer facilities refit of existing studios and building of equipment we install will reflect our intention Postproduction Services has chosen a that far exceed those currently on the market in the UK.' By 48 -fader AMS Neve Libra Post console new rooms. Pearson's priority lies with for its Studio C stage.The digital desk dialogue and identifying locations sound September 2000, all six white rooms will be up and running, will be used for film and trailer mixing. problems, for which the speakers were with the main studios opening in Spring of 2001. Pictured are Warner Brothers, US. regarded the best choice. (L-R) Francesco Cameli,Tom Schlum, Malcolm Atkin. Sphere +44 Tel: +I 818 954 3723. Pearson, UK.Tel: 20 7691 6000. Studios. UK.Tel: +44 20 7924 4550 8 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com audio @ibc THE IBC'S ORGANISERS have :ommissioned Studio Sound to produce an 'audio only' supplement tzo raise the profile and branding of audio at its forthcoming Convention to be held at the RAI Amsterdam. 8-I 2 Septembe-. 'Audio has always been a key part of IBC.' said IBC's Mike Crimp.We look brwrard to wo-king with Studio Sound to draw people to the aacio hall to see the great technology now available to them' The supplement. called . ' . íi will contain audio news, comment and analysis alongside audio specific floor-plans and listings and will fellow the popular and succesful formula established by Studio Scorci in its production of the AES Daily News at the European AES Conventions 'Aud'o(atî represents something of a result for the cause of audio at this major international broadcasting event: said Sound executive edcor Zenon Schoepe, veteran of numerous AES and IBC Dai ies who will edit the publication.'The IBC is demonstrztirg its understand ng of the importance of audio in the future of new formats aid delivery methods. Contacts Editorial:Zenon Sdioepe.Tel: +44 20 7940 8513 Email: zschoepe @intedbusìnessmediacom Advertising Chris Ballie.Tel: +44 20 79z0 8517 US -UK:A new western starring Jackie Chan is set to become a Email: [email protected] modern classic.The film mix for Shanghai Noon was undertaken by Andy D'Dario at Buena Vista Sound on an AMS Neve DFC console who took particular pride in the finale fight scene Webcasting abandon multihand working in wanting 'to make the sound of every weapon France: A ccillaboration between favour of FIT. distinctive'. Randy Edeleman's score was engineered at London's II )1., loading French manufacturer Net: www.idt- fr.com of broadcast sound-processing www.tv -radio.com Lansdowne studios by Steven Lewis also on an technology. Internet ')roadcaster AMS Neve desk, this time the analogue VXS72 TV- Radio.com subsidiary of Télé- Custom 'fex pany direct. Some customcr,. was in the hands of Frequenzw- diffusion de France served the UK: Fol ll, \\ lin. design projects for therefore, are either not aware of erkstatt. Since the new format is French International Radio Show the BBC \ \, nid Service. Channel the design and manufacturing ser- compatible with the 'old' DVD -V with a 'broadcast quality' 'eh- a TV, Danish Radio. Northern yic'c's that we can offer, or have standard, the audiophile market - cast. t 'sing a prototype of its forth- Telecom and the Finnish Parlia- looked elsewhere and found the segment can he served without coming Digital Virtual Processor ment. Sonifex is offering bespoke process to be toi) time consum- additional replication costs. Net unit. IDT in red around design and manufacture services ing and expensive. As we have Net: www.syrinx.de 50 radio channels tiv r the Inter- alongside its current portfolio of already been successfully. but Logical net to the yisit:,r, at Paris' Palais proprietary pr iducts. Julian Speed, infitrmally, offering this service for des Congres. When released, the export sales manager for Sonifex sometime, the logical next step is development processor will feature functions commented 'Project work of this to formally market it alongside our Us: Dolby Laboratories has specially adapted to high-quality nature has generally been under- current product portfolio.' unveiled Pro -Logic II, narrowing webcasting and is claimed to he taken as a result of clients or Net: www.sonifex.co.uk the gap between the original Pro - the first Internot prncrs,nr to oli,uihin ,rc:q))i(:irhinh thecont- Logic matrix developed daring Super DVD the mid eighties and digital 5.1- Germany: Syrinx Music .S Media, channel systems. Pro logic II 'lets Audionet- Idektrun I www. audio- consumers enjoy [Pro -Logic] pro- net.de ) and Frequennverkstatt grammes with a convincing 5.1- have jointly announced the like presentation,' claims Dolby, release of the Super DVD record- with its eye on the Pro -Logic cat- ing of Retold -I lamamura Quintet alogue. Pro Logic II is intended IAudionet Standards no.II at to convert conventional stereo Frankfurt's I ligh End 20011 show. recordings into 'a natural. believ- ']'his is claimed to he the first DVD able surround experience'. to meet Ix>th the high -resolution This system was invented by DVD-A standard as well as the Jim Fosgate. who has been DVD -V standard. The disc can be involved in surround decoding read in an ordinary DVD -V technologies since the late sixties. player, with the consumer able Fosgate said, 'I have spent the to cltcx)se between 96kHzí 24 -bit past 25 years figuring out how to stereo 4t1kHr.' l fi -hit stereo, or 5.0 expose the hidden information in Czech Repubic: The last CEDAR Series 2 unit has been Dolby Digital multichannel. The 2- channel stereo recordings, both purchased by Sound Studio (pictured) at the Music Faculty same disc in a DVD -A or univer- new and old. This breakthrough at the Academy of Performing Arts in Prague to work alongside sal player also offers 192kHz -2 c- in matrix decoding technology its DC -I De- Clicker.The popular Series 2 line is being bit stereo or -+8kHz, 24 -bit 5.1) allows users to enjoy al: their discontinued after six years in prcduction as some of the multichannel. existing 2- channel programmes, hardware components are now obsolete, leaving CEDAR to The recordings were made in whether Dolby Surround encoded regard it as no Forger practical to build more systems but to the Milchkettenmusik Studio in or not, with an enhanced level of retain remaining component stodc to ensure support for Ilamburg, with Syrinx in charge spatiality and directionality.' Pro - existing units. Series 2 users include The US Library of of recording, audio postproduc- Logic II decoding can be imple- Congress, the British Library National Sound Archive,Abbey tion. screen design. DVD -pre- mented in analogue and digital Road Studios, Skywalker Sound, Warner Hollywood, Disney, mastering and providing the circuitry. intended for use in and TV and raso stations in Russia, Indonesia, Egypt, and central elements of the produc- home cinema and new music sur- Botswana. CEDAR Audio, UK. Net:www.cedaraudio.com tion system. Overall production round products.

Studio Sound www.prostudio.com /studiosound August 2000 9

www.americanradiohistory.com Email: [email protected] Dubai World Trade Centre, H August Net: www.saicom.com/ United Arab Emirates. broadcastindia. Contact:Andy Drew, z 23 -26 International Conference Distributors W BIRTV 2000 and Exhibitions. China International Exhibition November Worldwide Tel: +44 1 442 878 222.

Centre. Beijing, China. SRC Fax: +44 1 442 879998. Argentina I DBA Systems W 7 Tel: 00541 545 6800 Fax 00541 545 3668 Contact: P &O Events. -IO Email: andy@ice- Itd.demon.co.ui Tel: +44 (0)20 7370 8231. Satis Australia S Electric Factory TeL 00 61 3 9480 59U Fax: 00 61 3 9484 6708 Email: [email protected] Paris, France. 22 - J Austria I TC Electronic Austria Broadcas24 tThailand 2001 Tel: 0043 800 201 652 Fax: 0043 800 201 653 8-9 Queen Sirikit National September Sound Broadcasting Belgium e EMI Convention Centre, TeL 00 32 11 23 23 55 F. 00 3211232171 o Equipment Show 4 -7 Bangkok,Thailand. !Nazar Proware Audio Innovations Hall 7, NEC Birmingham. UK. : 00 55 11 Faz: 00 55 11 5584 6586 IECEP 2000 Contact Adam Ridgway. 55852866 Contact: Point promotions. e Philippine International Overseas Exhibition Services. ade digidesign +44 700. 00 1 800 333 2137 Tel: 1398 323 Tel: +44 (0)20 7862 2069. Convention Centre, CCP +44 w.dlgidengn.com Fax: 1398 323 780. Fax: +44 (0)20 7862 2068. Roxas Boulevard, e F elio Productora Musical Complex, Email: [email protected]. Email: [email protected] 0056 2 274 9621 Fax 0056 2 294 9575 Manila, Philippines. Net www.sbes.com. Contact: Overseas Exhibition Net www.besmontnet.com a /Hong Kong S Digital Media Technology (DLIT) 00 852 2721 0343 Fax. 00 852 2366 6883 Services Ltd. 8 -10 6a Slovenia, Bosnia. Macedonia B Serba: Tel: +44 (0)20 7862 2090. I Replitech May IC Export (Germany) Email: [email protected] 0049 89 746 12390 Fax: 0049 89 746 12392 Hong Kong, China. I2-I5 mark S New Musik AG 8-12 I7 -19 110th AES 00 45 86 190899 Fa 00 45 86 193199 IBC RAI Conference and and I Studiotee KV Reproduced Sound 16 00 358 9 5123 5300 Fax 00 358 9 5123 5355 Amsterdam,The Netherlands. Exhibition Centre, Stratford Victoria Hotel, e S DM21 Audio Solution Contact: International Amsterdam,The Netherlands. 1 1 Stratford upon Avon, UK. 00 33 48 63 04 43 Far 00 33 48 63 18 09 Broadcasting Convention. Contact: AES. Contact: Institute Of Acoustics. any I Tc Electronic Deutschland GmbH

1 Fax: 49 40 08 398 Tel: +44 (0)20 761 7500. + 1 00 49 40 531 08 399 00 531 Tel: +44 1727 848195 Tel: 212 661 8528. Fax: +44 (0)20 7611 7530. [email protected] Bon Fax: +44 1727 850553. Email: S Studio Email: [email protected] 40 30 1380 9605 Fax: 00 30 1382 7868 Email: [email protected] Net www.aes.org Net: www.ibc.org land I The Netherlands. Total Audio Net www.ioa.org.uk 0031 20 447 6447 Fax 0031 20 447 6464 10-13 June and S Exton 24-27 :00354 551 2555 Fax 00354 562 6490 Plasa 2I stTonmeistertagung I9 -22 'e I R It S Electronics London, UK. VDT International Broadcast Asia and 0091 22 636 9107 F4 x: 0091 22 636 9691 Audio Convention CommunicAsia 2001 S CIS Control Techniques 16-20 00 3531 454 5400 Fax: 00 3531 454 5726 Hannover Congress Centre, Singapore Expo, Singapore. Cinec 2000 1 / sontronics Hannover, Germany. Contact: Overseas 00 972 3 570 5223 Fax: 00 972 3 619 9297 MOC Events Centre. Munich - Contact Gisela Jungen,VDT. Exhibition Services Freimann, Germany. S Gnsby Music Professional Tel: +49 (0) 2204 23595. Tel: +44 (0)20 7862 2080. 00 39 0 71 710 8471 Fax: 00 39 0 71 710 8477 Contact: Messe München. Fax: +49 (0) 2204 21584. Fax: +44 (0)20 7682 2088. an I All Access Tel: +49 89 94901. Email: vdt@tonmeisterde Email: 00 81 52 443 5537 Fax: 00 81 52 443 7738 Email: info@messe- muenchen.de Net: www.tonmeisterde [email protected] S Best Logic Sound Co Net: www.messe-muenchen.de 00 82 2 515 7385 Fax: 00 82 2 516 7385 Net: wwwbroadcast- asia.com ko I Van Internac,onal S.A. de C.V. 22-25 2001 20-23 00 525 604 6946 Fax: 00 525 605 9656 109th AES Zealand Si Prote' Musikmesse : 00 64 4 801 9494 Fax 00 64 4 384 2112 Los Angeles Convention Centre. February Prolight & Sound ayF Lydrommet Los Angeles, California. US. Lenexpo Exposition Grounds, : 00 47 22 80 94 50 Fax: 00 47 2 80 94 60 Contact: Chris Plunkett. 3 -6 St Petersburg, Russia. and ...Hexagon Warsaawa Tel: + 1 212 661 8528. . 0048 22 4 66 99 fax: 0048 22 4 83 55 Middle East Contact: Hubert Demmier, Email: [email protected] Broadcast 2001 Messe Frankfurt Trade Fairs egal I Caius Temologias Net www.aes.org . 0035 12 208 4456 Fan 0035 12 201 6009 Bahrain International Exhibition Tel: +370 2 250 726. +370 sia S AT Trade Centre. Bahrain. Fax: 2 233 800. sciai Tel: 7 095 956 1105 Fax 7 095 956 6882 Contact: Overseas Email: hubert.demmier@lithua- October gapore / Team 108 Exhibition Services. n ia.messefrankfurt.com hniul Services Private Ltd 17-18 Tel: +44 (0)20 7862 2046. Net www.musikmesse.de 00 65 748 9333 Fax: 00 65 747 7273 Broadcast India 2000 Fax: +44 (0)20 7862 2049. them Africa S Powerhouse Electronics 00 27 11 728 3102 Fax: 00 27 II 728 6789 Centrum Centre I ,World Trade Email: Email your event in I Media Sys. Centre, Mumbai, India. [email protected] details to Peter Stanbury: 0034 93 426 6500 Fee: 0034 93 424 7337 Net: www.aeminfo.com.bh Contact: Kavita Meer. Saicom pstanbury@unitedbusiness Lanka S HiFi Centre Ltd Trade Fairs and Exhibitions. media.com. For prompt I: 00 94 1 580442 F. 00 94 1 503174 inclusion in World Events Tel: +91 22 215 1396 3 -I6 eden PolySonn Fax: +91 22 215 1269. MemexI 2001 00 46 31 7069050 Fax: 00 46 31 706 9110 ,teeilend S Bleue' Electronic AG

1 . 00 41 1 751 7550 Fax 00 41 750 5153 © United Business Media 2000. All rights reserved. No part of this pubhcat on mai Le rep an I Digtal Media Technology (DMT) or transmitted in any form or by any means, electronic or mechanical including photo, 00 866 2 2516 4318 Fax: 00 866 2 2515 9881

any information retrieval the express WI u ' 77' recording or storage or system without prior iiand S KEC consent of the publisher The contents of Studio Sound and Broadcast EGgtneenrr didí 00 662 222 8613/4 Fax 00 662 225 3173 subject to reproduction in information storage and retrieval systems. Studio Sound and B key I Imai Music Yaplm VE Organixasyon Tiaret A s. '00 90 212 216 7180 Fax 00 90 212 216 7189 Engineering incorporates Sound International and Beat Instrumental. Studio Sound .and Br BPA Engineering's published monthly.The magazine Is available on a rigidly controlled requested ba.. UK t Focusrite Audio Engineering Ltd. el: .44 (0)1494 462246 Fax: +44 (0)1494 459920 only to qualified personnel.The publisher may pass ,_:ltab'e relder .ddresses -0 other releva,. aal average USA digidesign suppliers. If you do not wish to receive sales info, . . -ice write to I lemational oreDlatorr. 7e1: 00 1 800 333 2137 crculatlon i d .IS,_ ; Subscription Rates. UK annualL50.00. www.digidesign. corn 21,333 . , Europe: [68.00. Rest of the World: US$ 1 29.00. - .nds on car, rlpt suela O&M Audio 1., 1, r l anq S only be pi .ilrel,,,_ ,le' a guaranteeo tnetern- : 00562 263 8790 Fax: 00582 267 4319 subscription offer. Circulation and subscription and address changes. UK: United Business Media. tnam I Vista, Sovereign Park, Lathklll Street. Market Harborough LE I6 7BR. UK. Controlled Circulation: Tel: +44 (0)1858 435 361. 00 84 4 8 824 3058 F. 00 84 4 8 825 0099 Fax: +44 (0)1858 434 958. Paid Subscriptions. Tel: +44 (0)1858 438893. US: Studio Sound and Broadcast Engineering

Magazine.2 Park Avenue.18th Floor. NewYork NY 1 0016. US second class periodical :, postage paid at Rahway,NJ.Orlglnatlon

by F E Burman Ltd. Cnmscott Street London SE I STF Printed in the UK by ET Heron.The Bentall Complex. Colchester ww.focusrite.com Road, Heybrldge. Maldon. Essex CM9 4NVV UK. Newstrade Distribution (UK) Seymour D Business Media I United tnbution, 86 Newman Street. London W P 31 Tel: +44 (0)207396 8000. Fax: +44 (0)207391 - IO August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com ISA110 Microphone Pimp and EQ AIR Studios, London, the brainchild of legendary Beatles Producer, Sir George Martin.The Focusrite ISA110 Microphone Preamplifier and Equaliser was developed in 1985 for the custom Neve console, which was reinstalled at AIR Lyndhurst Studios in 1992. It went on to become the most popular outboard mic -pre and equaliser in leading studios worldwide.

Focusrite have now reissued this industry reference product as a Limited Edition rack -mounting device and are proud to have presented Serial #001 of the Limited Edition to Sir George in recognition of this unique association with AIR Studios. To check availability of the ISA 110 Limited Edition reissue, please contact us, or call your local Focusrite Dealer. Focusrite NwtiY.focusrile.Con1 www.airstudios.com

Produced in the UK by Focusrite Audio Engineering Ltd. Phone: +44 (0) 1494 462246 Fax: +44 (u) I494 45992 email: ..des a tocusrite.com Distributed in the USA by 1)igidesign. www.digidesign.com I'hone: +44 (0)1494 462246

www.americanradiohistory.com Old gold up article showing the old desk as it is available for all machines and their ver- now. working well and sounding fah? sions. from the Studer A80 Mk.II to Mk.IV, I ESI'ECIALLi ENJOYED the June edi- Kevin van Green A800 Mk.i to Alk.iII, A820 to the Studer tion of Studio Sound because of the trib- A8r. including the Gold Edition. ute to Dick Swettenham and the Masterworks excellent review of the Helios EQ1 by IN REPLY to the article Nlasterclass 2 -inch, 24 -track heads: George Shilling. -Tape Heads' (Studio Sound, March Machine Type Record Head Reproduce Head In that article reference is made to 2000) and the remarks of Mr Summers Tony Arnold's design being based on in 'Letters' (.Studio Sound, May 2000). A80 Mk II. Mk III. Mk.IV 1.317 184.00 1.317 185.00

Eric 111 the early modules of Clapton's con- we would like to point out that Studer A800 Mk.I, Mk. 11, Mk. 1 317.380.00 1 317.385.00 sole. Interestingly, that particular con- still makes and delivers original heads sole is alive and well and working in a for all its 2 -inch, 24 -track machines. A820 13 18.7 80 00 1.317.785.00

busy 'vintage' studio in South Norfolk. Studer even offers original heads or A 82 7 1 3 18.780.00 1.318.785.00 We restored the console and it has been replacement heads for most of the older Note:The Studer A80 Mk.I was never built worked hard for four years now with- machines and for all standard formats in a 24 -track version. out a single fault. (from' /, -inch to 2 -inch) like the Studer B62. I owned two Helios consoles with Unfortunately, the article and the chart The article states that the exact replace - identical mic -EQ modules the other in the article contained some misinfor- nient for 1.316... heads may not be avail- being the old Ronnie Lane mobile. So mation that found its way into it due to a able anymore. In fact, most of them have the modules I sent to Tony Arnold could misinterpretation at Studer. We would like been replaced by the 1.317... series of have belonged to either console -sorry to clarify this situation and state the cor- heads offering much better performance to he an anorak. How about a follow- rect details: 2- inch, 24 -track heads are and less wear. It therefore is possible to improve the performance of an older machine by mounting the new 1.317... heads. The cleaning fluid which should he used for the heads caused another If recording quality is the issue - question. Owners of original Studer heads are allowed to use both. methylated sprit our new microphone is the solution as well as isopropyl alcohol (IPA), for cleaning heads. There are no restrictions like with some of the non -original head designs. Nothing comes close to the Any further queries are welcome at: exceptional quality provided by the Studer Professional Audio AG, all -new large diaphragm Type 3541 Email: nicolas.boehmer @studer.ch

+41 1 870 75 I I . - the microphone that sets new Tel: standards in recording technology. Fairy stories? Combining outstanding build quality )It of many books, sev- with unrivalled specifications. the eral dealing with the unexplained such Type 3541 ensures that, from today, as The Children That Time Forgot and your soloist recordings need never Mystic Forces. I am now researching my new Ix)ok that looks at ELEMENTALS, be compromised. creatures from a different sphere of existence, commonly referred to as fairies, Only Type 3541 delivers elves, and so on. i have collected sonie The highest output available fascinating stories, for example David, a perfectly sober normal man, was walk- Extremely low self noise ing along a riverbank one sunny afternoon, leading horses hack High SPL handling characteristics two to his stables, when he heard a distinct voice Choice of solid state or tube coming from the stream. He looked preamp technology down and to his amazement he saw a tiny man (about a foot high) standing All accessories included in on a stone in the water, dressed in sturdy carrying case trousers, hoots and shirt, remarking in an ordinary manly voice that there had been no fishing that morning. I le con- You need to find out tinued about the rain and how he hoped more. Call to request it would be better next day and how survive the new DPA were they expected to without good fishing. I le then added that he catalogue today. shouldn't complain as he wasn't bad off as sonic of die others! David watched him turn round as if looking out for something but the moment he made eye contact with the entity it vanished. The horses were disturbed and remained agi- 450 Allerod, Denmark tated until they were safely back in their T: +45 48142828 F +45 48142700 stables. I would love to hear from you Email: infogkipamicroehones.com if you have had :Inv similar experience. www.dpamicrophones.com N I C R O P H O N E S Mary Harrison, I2Thirlestane Road, MONO Northhampton NH4 8HD. 12 August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com Tascam MX-2424

Offering possibly the first genuine step beyond the digital tape machineTascam's new hard -disk recorder-editor attracts the attention of Rob James THE PRO -AUDIO LANDSCAPE usually. tages: the disk space is fixed so that if there RC -2424 changes slowly and steadily. Incre- is enough space to create the required length THE RC -2424 REMOTE duplicates all the mental improvements mark progress of project, you know you won't nun out. There front panel keys of the MC -2424 with a that often only really becomes apparent over is also virtually no waiting for housekeeping few a period of years. Occasionally. however. after intensive punching in and out on differences and additions.There are something comes along that really changes 24 tracks. Non -destructive mode allows for no meters, but a LED matrix shows Input, Overload Select and Record status of the world. almost overnight. eclipsing other changes of mind via the u 'Ni>) and RtIx> key s. aspirants to the 'revolutionary product' crown. All recordings are kept even where they are 24 tracks above triangular track keys. Six Tascam has turned these out before: the DA -88 entirely 'overwritten' and effectively 'or- dedicated machine access keys. A -F, are and DTRS format ushered in the age of afford- phaned'. Repeatedly rerecording the same programmable to select specific machines. able professional digital recording. Alesis' section over 24 tracks rapidly uses up disk Where more than six are connected they ADAT had the same effect in some areas. but space and multiple consecutive punch -in and can be 'stacked' on keys.A single press it is DTRS that became common currency for outs over 24 tracks will result in a subjectively accesses the machines as a group. programme interchange in film and sound - lengthy wait for housekeeping once the trans- Repeatedly pressing the key cycles for- picture. It is just possible Tascam can port is stopped. through individual machines.The other repeat the trick with the MX-2424. The There can be up to 999 tracks per project. noteworthy addition is a row of eight machine alone is impressive enough to Any 24 of these can be played hack. Tracks macro keys, programmable with sequences warrant close attention. but the implications can be freely loaded and unloaded e\ en of key presses inherent in the control and networking capa- between projects. At present the files recorded bilities make it potentially astounding. by the machine are SDI' (Digidesign Sound sync and a possible total of 768 track, There

The MX-242 4 is a 2 t -hit. 24 -track hard -disk Designer ID on Macintosh formatted disks. is also a remote control, the RC-2424 that recorder- editor when run at 44.1k1 lz or The alternative of Broadcast VAN' files onto duplicates all the front -panel keys and adds 48kHz; 24 -hit. 96kHz operation halves the PC FAT32 formatted disks should he avail- dedicated editing keys and a macro function. number of tracks. The machine comes with able soo n.OMFsupport forexportingprojects There are ten banks of menus to navigate. an internal 9Gb SCSI hard drive, 2- channel to Pro Tools is also being investigated. although only nine are currently in use. Setup digital I -O. sensible audio interface options The El)L format used by the MX -2424 has accesses the setup and configuration menus and a range of sync connections. Unlike the been Lluhlxxl Open T': or Open Track I.ist. and banks may be accessed directly by press- earlier M \IR -ti Dubber. it uses a dedicated l'ascaun is making this available to any manu- ing a number key. Individual menus are found chip -set rather than a PC motherboard and is facturer who wishes to use it. Projects can be by using the Up and Down keys or by scrolling ready to use less than 15s after switching on. hacked up to a variety of supported media with the jog wheel. To change a parameter Two distinct in( xles of operation are including DVD -RAM disks and Travan tape you press TRIM, adjust the parameter using the supported. In TL Tape mode. the MX-2424 streamers. Up and Down keys or jog wheel. The shut- functions like a tape recorder. Recordings are Although the NIX-2424 will function tle ring moves the cursor where appropriate. destructive Intl there is no undo function. perfectly happily as a stand -alone machine. Changes are confirmed by pressing STORF When a project is created in TL Tape mode. the ViewNet Audio MX software package -it sounds more complicated than it is. an empty audio file is created for each track offers easier setup, provides a moving track I found it reasonably intuitive. but much for the entire project length. Recordings and display. enhanced editing capabilities and can preferred using the pull -down menus in the punch -ins to pre -existing recordings edit the control up to 65.000 machines across a ViewNet software. relevant audio file(s). If tape -style working network. t'p to 32 machines can be connected Although NIX -2424 is clearly intended to suits the job in hand, there are several advan- together via the TI. bus for sample accurate be used with a mixer there are useful input

<.M RC-2424 . 744B4

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14 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com rfrfef..S______'____ 7- .. A` - r ,r 411/ r ,i _ i ,S .f!_,R7r *r_,w_i iii _ i rltttiil 1` ttmtt_ _ it ,,,

routeing options. The 2- channel input can be 1-8 and 9-16 are fed from one of the multi- Inputs 1-8 and so on-or each block can he routed to record tracks in blocks of eight. So channel option cards. Each block of eight fed from analogue or digital Inputs 1-8. so for example. Tracks 17 -24 might be fed in tracks can either take the same numbered Tracks 1-8, 9-16 and 17 -2-+ all take analogue odd -even pairs from this input while Tracks analogue or digital inputs- Tracks 1-8 take or digital Inputs 1-8. This will be particularly useful when working with the common 8 -bus Panel keys in a small area the shape and spacilg consoles. Outputs are always in a one to one Front makes it easier to hit the ones you want. correspondence with tracks. For a 24-track machine, the front panel is not All the keys have white legends printed )n Tascam has covered most of the bases. pzrticularly busy, although many keys have them indicating the primary function.Whe-e Internal sample rates are currently 44.1kHz shifted functions.The big meter display is eye there is also a Shifted function its white and -+KkHz plus the pull -ups and pull -downs catching with 24 corresponding triangular legend is beside the key. No keys are for drop frame working. Time code is auto- track keys below it. Sixteen -segment bar internally lit, but there are adjacent LED matically switched to the correct rate between usual Tascam with indicators where appropriate. graphs follow the pattern 24. 2S and 30fps when chasing SMPTE. meters, below the power only the OdBFS segment coloured red. If Left of the However, the drop frame variations on 30fps tF ree more consecutive samples hit zero, rocker switch, lie four Track Function keys or must be manually selected. The rate must also the red latches until either PLAY or RECORD is These determine which function will be be set manually for MTC chase. The MX-2424 p-essed.Above this,a green segment applied to the track or tracks selected with will not chase i me frame rate and generate irdicates input monitoring.At the botto-n the track keys.Thus, ALL SAFE toggles AUTO another. This requires an external time -code another green segment shows if the track has INPUT when shifted, RECORD SELECT, INPUT a ld gearbox. Varispeed of up to ±12.5% is possi- been selected for editing and a red blinks to EDIT switch all tracks when shifted. output sample rate will vary indicate record ready, going solid in record. Below the meters the MOUNT key attempts ble, although the The triangular keys are not simply eye to mount all connected drives if none are accordingly. catching, they aid the ergonomics.With many currently mounted.With shift it unmount. TL bus enables up to 31 machines to chase a single master MX -2424 without any exter- Four blocks of five LEDS indicate various parameters: nal synchroniser. Both wordclock and timing Sample rate: 44 100, 48000, 2X, pull down, NON STandarD. reference are taken from the designated Time code: 30, 29.97, drop, 25, 24 master. The simplest remote option is to use mode: 24 -BIT, tape mode, DIGital INput, 2 CHannel I -O, auto input Record an Alesis LRC which connects to the footswitch rate, Chase Lock,TL -Bus Master,TL -Bus Slave,T Sync: Sample jack. For more comprehensive control Tascam A further block of four LEDs to the right of the meters indicates: offers the optional RC- 24+24+ remote. Apart of: Error, Busy, MIDI and Disk Status from these the machine responds to MMC The round Edit keys are (Shifted functions in brackets): commands. If you need Sony 9 -pin control of (LOCAL CUT), COPY (SPLIT), CLEAR (DISCARD), PASTE (SYNC PASTE),INSert (SYNC INSERT),OPEN CUT one or many machines you'll have to wait for (IN -NOW), UNDO and REDO. the forthcoming TL -Sync synchroniser. Two rows of transport related keys sit right of the drive slot, top row: The Scrub function works well. across all ONLINE, LOOP (LAST),TO (PREVioUS), FROM (NEXT), IN (OFFSET) and OUT(TC -READER) 24 tracks at once if you want. It sounds much Larger, tape recorder style transport keys are below. like a tape machine with audio changing in The concentric scrub -shuttle wheel has a semicircular halo of shaped keys. pitch as the speed of scrub varies. Shuttle is Clockwise these switch: similar. but the maximum speed is limited to JOG -SHUTTLE, NUDGE (CAPTURE EVENT),TRIM, INCREMENT, DECREMENT, SETUP (TEMPO), PR l' ',x play. I would have liked at least double and VIEW (UNLOAD) and preferably -tx play speed. Rewind and fast Above scrub-shuttle the locator section has a numeric pad plus CLEAR- CANCEL, CAPT' -, forward do not give any audio output. but and the all-important STORE -YES and RecaLL -No keys. in speed like a The 2- Iine,40- character LCD is used for operator and system messages.When menus are n they both ramp up and down being accessed it shows the playhead position in the top line and entry register time values reel -to -reel machine. I was pleased to find the bottom. there is a reverse play function, less pleased The final item of interest is a 'Smart Media' slot.This is used to update the operating sys_en-. to discover there is no dedicated key. You have to press Pm and KF\vI\t together. >

Studio Sound www.prostudio.com /studiosound August 2000 15

www.americanradiohistory.com .. COnade,/IGe, In todays rapidly evo..ing media landscape. confidence in new technology has to be earned With the abundance of equipment being introduced cal you depend on your supplier. the product reliability. ' SOUNDTRdCS the life -span? an you k -low if you've allowed for all the possibilities of new mix formats. dig al input'output configurations and new standards of alltomatlonwhich may appear without warning?

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< Apart from the normal tape recorder this way the peak of a jet by or similar can he controls there are a number of autolocator hit without calculation. IN To NOW moves the functions. Capture places the current loca- section between the In and Out points to the tion of the play head in a register. From here current play head position, overwriting any it can be used to load the In, Out or Offset existing audio. registers or he stored in one of the 100 loca- Insert slips all subsequent audio. Sync Insert tor memories. Auto Punch uses the In and Out works in the same way as Sync Paste, but ' MI... points to set punch -in and out points for slips subsequent audio. Open inserts silence, rehearsal and recording. When Auto Unload slipping subsequent audio. Reverse is an is set to on each Loop -Auto Record cycle offline DSP function that reverses the selected h creates a virtual track automatically. audio. Render creates a single audio file from Front panel edit functions are all based whatever multiple events are between the IN around the concept of setting In and Out and ot-r points. All edits, punch -in and outs points, selecting the track(s1. and then use are real -time crossfades. The length can performing edit functions. Clear he set from a menu anywhere removes the selection to the clip- between 0- 90nms. Using boardand without slipping subse- Tascam, UK. Viewnet more sophisticated quent audio. Cut does the same. Tel: +44 1923 819630. editing is possible including hut slips all subsequent audio on Net: www.tascam.co.uk level and fades in real time. the track or tracks up. Local Cut Tascam, US. There is a great deal in this is similar, but only audio from Tel: +44 1 323 726 4864. machine and its accessories to the same event is slipped up. Net: www.tascam.com discover and digest. It is also Copy and Paste work as expect- continually necessary to remind ed, with Paste overwriting any existing audio oneself of the asking price. Next month I shall after the In point for the duration of the pasted be koking at some of the possible applica- audio. Sync Paste uses the position of the play tions for the \1 \- 2 42.1 and how it performs head in the source to define a sync point. In in practice.

Connectivity time -code In, Out and Thru plus MIDI In, Out THE PLAINVANILLA MACHINE comes with and Thru and two TL -bus proprietary 9 -pin

a single stereo digital 1 -O in both AES -EBU D -sub connections. and SPDIF flavours with input sample rate Additional SCSI storage is taken care of

conversion. Most, if not all, purchasers will fit by a half- height 5.25 -inch drive slot on the one or more of the optional multichannel front panel and a 68 -pin High Density interfaces.Two audio option slots allow Fast-Wide connector for external storage simultaneous fitting of one analogue and one devices.The slot is intended to be fitted with digital card.At present there is only one either a 'hot swappable' hard drive frame, analogue option.Twenty -four channels of (Kingston Rhino Junior and Data Express 24 -bit 48kHz (I 2 channels of 24 -bit 96kHz) frames are recommended.The Data Express A -D and D -A convertors is on one board. In has the advantage of being quieter in fact calling it a board is almost an insult. It is environments where this is an issue.) or housed in a metal screening box with only supported DVD -RAM and tape drives. è.y, the top open (this is covered by the top of A list is supplied with updates on the the machine casing) For the digital slot, as Tascam website. -.. you might expect, one option is 24 channels A punch in footswitch connects to a ofTDIF. ADAT Lightpipe and AES -EBU are jack. Polarity is automatically also available.The AES-EBU card features detected. It will also accept an Alesis LRC input sample rate conversion on all remote for basic transport remote control. 24 channels. For 96kHz operation both 'bit More comprehensive control is available split' high resolution two wire and single wire from the RC -2424 control surface which 'wide' are supported. Digital audio sync connects via a 9 -pin sub -D, not to be P -8375, Portugal possibilities comprise wordclock In, Out and confused with the TL -bus connectors.Apart Tel +351 282 361748 Thru on BNCs with the welcome alternative from IEC mains input there is one further Fax +351 282 361749 of video sync IN and THRU BNCS.Audio syncs connector, an RJ -45 socket.This insignificant For further information and may also be derived from the digital audio looking port is a 100 baseT Ethernet worldwide distributors visit I -O or time -code. network connector and is, arguably, the www.sintefex.com Transport sync connections are; SMPTE gateway to the machine's likely success.

Studio Sound www.prostudio.com /studiosound August 2000 I7

www.americanradiohistory.com Marantz PMD330, PMD33 I , PMD340

The one thing that goes hand -in -hand with the wide adoption of CD -R as a medium is the continued requirement for sophisticated CD players to accompany them. Zenon Schoepe reports ESIGNED FOR POST. broadcast and DI applications the Marantz _ Pwsnuio+ D 300 series of CD players comprises three units. The entry level PMD330 offers a good portfolio of standard professional features which are enhanced in the PMD331 and l'MI)3 -+0 with the inclusion of a lOs ant ishock buffer, instant start and advanced pitch control and remote features. The top -of- the -range PMD340 dis- 1,101 510.111 tinguishes itself additionally with the incorporation of an industrial grade transport mechanism and optical pickup unit with an integrated preamp. A bullet point hitlist of the range's fea- 41 tures includes CD -RW capability as well as CD Text -which for those that are unaware of its arrival employs album and INnrrsiIu track naming in much the same way does. There's also frame search I - "sfp, i. index search. programmable cue -point memory, digital pitch control ±12 %. end monitor, a 10 -key pad. fader start. backlit Lc i) and adjustment free mechanisms with digital servo. There can Ile no doubt whatsoever about the professional nature of these the ordinary transport is in anyway lack- afforded by a 25-pin I) -Sub that accom- machines. They are built to a very high ing, but because Marantz clearly thinks it modates among most other functions the standard with a decidedly pro priority lay- will appeal to anyone looking to invest in lack of dedicated fader start port as found out and dependable and programmable such a ntachine on a truly long -terns and on the PMD330. logic that can be customised by the user. extremely high mileage usage basis. As already alluded to, operation is iden- Large transport controls are restricted only \\'ith the exception of the inclusion of a tical across the range with the exception to PLAY-PAL SE, la t': and sump all of which are dial on the PMD331 and PMD340 (without of the use of the dial. Time cycles between lit with smaller buttons provided for the which they would all look identical) all track and disc total. remaining and less immediate tasks. three machines look extremely similar with elapsed times while Text switches the dis- Because the range adopts a derivative no outwardly visual clue to the existence play between time and text indication approach by adding features to a core unit of a different transport in the PMD340. modes. Numeric buttons permit direct as you go up the range I'll major on the Rear panel arrangements also follow this access to tracks and are used when pro- PMD330 and the PMD3 -10 as representa- theme with the entry-level machine being gramming playback which employ the tives of the extremes of the series and point offered with phono analogue outputs and PLAY- PAnsE, err and sump transport keys out that functionally the l'N1I)33I sports all SPINE on RCA plus a fader start jack and which double as Enter, Clear and Exit but- the features of the PMD340, but runs a RCS compatible remote socket and output tons. respectively. PMD330 transport rather than the heavier with accompanying selector switch. An There are track and index increment but- duty one on the PMD340. Differences infrared remote was not supplied with my tons, and forward and reverse scan. The between these transports were not evident review models. The PMD331 and PMD340 (AT button permits the location and cre- in the course of my use of these boxes. add balanced XLR analogue outputs with ation of a cue point that can be entered However. I think the inclusion of a beefier individual grub -screw trim pots, a balanced pretty much on the fly or can be fine tuned transport in the flagship product is a sig- XLR SPDIF output and an optical digital by using the traditional looped audio seg- nificant one, not because it suggests that port. Remote control possibilities are ment approach that is nudged up or>

PMD330

August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com PMD33I < down the programme by front panel and functionality hidden in the 300 series pletely baffling for an outside user and. con- buttons or the dial on those models for what are after all just CD players. There sequently. enough to configure it in almost equipped with it. are enough options and custom configu- every aspect to the specific requirements

Lean contrast is adjusted on a front panel rations available to make a machine cotn- of. sa\ . a human driven radio station. grub screw and the machine can he set to play single track. programmed. random and On the button repeat modes as %yell as 'power -on auto The PRESET button accesses the machine's customisable parameters while in Stop mode. You step repeat playback.. through the parameters on repeated presses of the PRESET button or move forward and back Pressing Exit while paused auditions a through the menu on the index t switches with parameters altered on the track increment keys. preset selectable end chunk of the currently Parameters available for adjustment include auto cue activation, auto cue level, end monitor playing time, end warning flash time, and fade in and 8s in increments). selected track while : -mi predictably selects out times (up to 0.5s start and end points for repeated playback. Other functions cover pause mode to playback delay, default time display, key lock, and a useful fader start lock mode which locks out all controls aside from the Text and Time buttons when Pitch adjustment employ a pitch switch playback has been triggered by fader start with full control returned in Pause. with up -down keys on the P \Ií)331) to do There are also settings for locking the tray from opening while in play, for setting the auto what the dial does on the P \11)331 and PNID340 while the more expensive mac- close time of the tray, the default mode entered after loading a disc (stop, pause or play) and time for machine in hines also get the ability to henil pitch up the to go to auto standby mode. Control connectors can also be disabled along with a CD sync function and display alert to signify that a'skip' has occurred.The PMD33 I and or down í)Y8 inslallianeouslyat the press PMD340 additionally get the facility to defeat the digital outputs, if selected instant start, or a key and drops back to the orig- shockproofing and pitch bend are themselves defeated, and to fire an output on the remote I -O inal speed just as quickly. pin I I when selecting index 2 or 3. Clever stuff. There is a surprising amount of detail

20 August 2000 www.prostudio.conustudiosound Studio Sound

www.americanradiohistory.com m

PMD340

Things Tike how long you want the tray the job despite my best attempts to upset extend to excellent headphones circuits. door to stay open before auto closing itself it. but when the sturdy cases are locked in The issue then becomes which one to is just one example of the thought gone in to a rack you'd probably have to go off chop se and the decision here will depend to these machines and how they have been road while on -air to catch it out. to a large extent on your circumstances. made accessible. The renloting possibili- I'm particularly impressed by the way The PMI)330 is probably adequate for most ties mean. in the case of the PMI)331 and Marantz has split the 300 series into its dis- requirements for a dependable and trust- PMI)3 t0, that they can also be really well tinct price points. Rather than kick it off as worthy CI) player with the PMI)331 cut- integrated into the work environment while many do with a substandard bottom of the ting in for those who need to remote a the P.\tÚ331 does at least qualify with the range machine that pro- machine more compre- essential entry requirement of fader start. gresses to a happier hensively. up its connec- All models benefit from a rather good medium product and is fol- Marantz Professional Europe. tivity possibilities and like display that combines the usual sorts of lowed by an over -the -top the comfort of the shod:- Tel: +44 1753 686080. things with a less usual rotary pitch dis- flagship complete with proofing. Those who in play and numerical read -out plus an cup -holder. cigar clipper Fax: +44 1753 686 020. addition to this work ordi- extremely useful 10- segment bar that and floss dispenser, its Net: www.marantz.com nary machines to death on moves from left to right to tell you where weighed in with a base too frequent a basis and- in the current track you are currently at model that is extremely well spc ed but- or are perhaps located in the more far flung -this is far more immediately meaningful tered by models that add what are a few and more isolated reaches of our reader- than elapsed and remaining times, for fairly lux features. ship will gravitate most naturally to the example. The shockproofing available on All in all these are great packages all with PMD3 -10. Its a nice decision to he able to the P,MD331 and P.\l1)3it) seemed to do Marantz high audio quality outputs that make and you won't he disappointed.

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Studio Sound www.prostudio.com /studiosound August 2000 21

www.americanradiohistory.com Drawmer 1969 Mercenary Edition

Adapting the successful 1960 dual vacuum tube compressor to suit all- American tastes has delivered the Mercenary Edition. Dave Foister signs up T11E NAME OF DRAWMER remains synonymous with dynamic processing. Fashions and techniques shift and develop. but Drawmer is always in there somewhere. adding digital control. digital outputs, valves. and anything else the industry wants and needs, and always with a ht- tle something to slake it its own. Drawmer time values specified for them. partly per- was in there with the retro movement. pro- haps to avoid mixing by numbers, but also There's something ducing the 196X range of valve processors because all the times are varied according that included the big 1960 compressor, to what release time is chosen. Here too confidence- inspiring heavy on the British valve compression char- there is a change. in that of the six switched about a front panel like acter. The 1960 was taken up enthusiasti- settings three are programme-dependent, cally around the world. wet Mercenary operating over different ranges of times: this, and it's very easy to Audio's Fletcher still fbund himself reach- position 4 gives 200ms to 2s, while 6 gives ing for the real vintage gear for particular is to 10s. get drawn in to what the sounds, and felt it would he useful to have Obviously with this many settings. this a similar beast yet with a brighter, more much programme dependence, and an 1969 can do and mess American flavour. The result of his ideas and interaction between the two adjustments. his input to Drawmer is the 1969 Mercenary there is far more flexibility available than it with the settings.There is Edition compressor. might initially seem. and in the best tradi- tions a bit of experimenting a distinct character to its is usually rewarded. There is POWER sound, which is wide open METER no automatic gain make -up, but a pair of output level con- J U trols allow it to be adjusted and clean with a hint of ergo 1K)RM manually: unfortunately brightness that counteracts t L 1 f N these are not ganged for CHANNEL 1 ON 4J r OUT PUT stereo operation. Stereo link- the tendency of some 1969 ing has a new feature -a third position on the toggle STEREO ITO compressors to sound METER L INK switch marked 1116. This con- JU GR VACUUM TUBE tours the compressor side slightly dull COMPRESSOR chain it sensi- OF F to make less IORM PRE -AMPLIFIER tive to low frequencies, effects are, of course, often brought about ' CHANNEL 2 avoiding the risk of heavy by injudicious adjustment, and the decep- OUTPUT bass content pumping the tive simplicity of the 1969's controls makes rest of the signal up and this easy to avoid. It has all the control you down. I found this a big ben- need to handle all the expected compres- At a casual glance the 1969 looks very efit. saving the need for patching an EQ into sion tasks, and I found it particularly effec- similar to the 1960. but this is not a simple the side-chain inserts on the back. tive on an overall stereo mix, where it could tweak of the original with a new badge: there The microphone preamps are valve - be needle- bendingly extreme or unobtru- are several differences in detail and opera- based, and now have switched gain con- sive as required, and always with its pris- tion. The basic package is essentially iden- trols and the addition of a phase reverse tine clarity intact. tical: two channels of vale -based switch on each channel, which also oper- If there are some types of devices that compression, each with a fully specified ates on the line input along with the 2-posi- should have no character, a compressor is microphone preamplifier as well as its line tion high -pass filter. The auxiliary instrument definitely not one of them. The background input, and a single instrument input with its input takes the increasingly familiar idea of to the 1969 shows this well own unusual features. that can Ix routed to the front -panel DI jack to extremes. making -there's nothing wrong with the 1960, it either compresscorchannel or even both. The it almost a complete guitar just has a certain character compressor controls are simple and direct. signal path needing only a that suits some applications the two channels can he linked for stereo speaker simulator on till. Drawmer Distribution, UK. hetterthan others. The 1969 with Channel 1's knobs controlling the com- end. Its got bass and treble Tel: +44 1924 378 669. fills that gap, and could pression, and a pair of traditional vu meters Ixx>st F.Q, a 11K161 1T Switch to Fax: +44 1924 290 460. reduce still further the need shows either output level or gain reduction. emulate the typical pres- Net: www.drawmer.co.uk. to put up with the crackles Like the 1960. the compressor has a soft ence peak of a guitar amp UK: Transamerica Audio Group. and hums of forty- year -old

knee characteristic that makes a ratio con- and its own gain control that Tel: + 1 805 241 4443. equipment just to get that trol superfluous. Thus the only knobs on the allows its dedicated valve Fax: +I 805 241 7839. certain special compressor section itself are THRIisHol.n, preamp section to be over- Net: www. transaudiogroup.com something.

vrra(:K and a1 -ri \si . and two of these are driven. This makes it .1 rotary switches rather than pots. Here we much more likely candidate than most to lx see the first clear difference from the other the front end in a guitarist's rack. and adds unit: the 1969 has six Attack settings where useful facilities for hass and keyboards too. the 1960 only had three. for slow, medium There's something confidence- inspiring and fast. These in turn do not have actual about a front panel like this, and its very

22 August 2000 www.prostudio.com/studiosound Studio Sound

www.americanradiohistory.com REACH STARF O R rFl

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MAYAH Communications GmbH Am Soeldnermoos 17 85399 Hallbergmoos, Germany Tel: +49 811 -55 17 -0, Fax: -55 ÑWM E -Mail: info @mayah.com COMMUNICATIONS w w w. www.americanradiohistory.comm a a h. c o m Manley 120W For methodology see Studio Sound, June 1 999, page 27. See it on the web -site: Monoblock www.prostudio.com /studiosound /index.html

Studio Sound's bench test amplifier reviews continue with the Monoblock. Paul Miller Deports HAVING TESTED a variety It is Manley's wide range of Power Amplifier: Manley 120W Monoblock of fairly conventional, valve power amplifiers, however, (Rated Spec. in brackets where given): solid -state amplifiers over that really straddle the divide the last few months. we thought between pro and domestic 20Hz !kHz 20kHz it timely. as the saying goes, to scenes, and here it is possible to Max Continuous Power Output. kook at something completely dif- choose anywhere between the 3 %THD into 80 (one channel) 47W 135W(120W) ISW ferent. Different. in this instance. 18W single -ended triode 30013 5 %THD into 4S1 (two channels) 135W means valve -based amplification Retro to models as powerful as Frequency Response @ OdBW -0.06dB 0.0dB -0.8dB courtesy of Manley Labs. Based the 500w Monoblock. This test Dynamic Headroom (IHF) +0.6dB (154W) near LA in the States. Manley has revolves around Manley's 120W Maximum Current (I Omsec, I %THD) 8. I A footholds in the professional and Monoblock which weighs in at a Output Impedance (9dB NF) 1.4420 (0.5 -IS1) domestic hi -fi markets with no not insubstantial 22,895 per pair Damping Factor 5.547 ( -10) less than 50 valve- orientated but that the 'technology', employs RCA Input products. These range from including user -selectable feed- Total Harmonic Distortion (9dB NF) microphone preamps. equalisers back, associated with its bigger (OdBW, !kHz) -49dB and limiters to standalone D-A pre and power amps. (2/3 power, !kHz) -37dB convertors and preamplifiers This sort of amplifier is not Noise (A wtd, re. OdBW) .79 2dB accommodating both line -level unknown in the control room, but (re. 2/3 power) -97 0dB (-91d13) Ind phono sources. is probably better .suited to less Residual noise (unwtd) -58.4dBV MANILY I20w MONOBLOCK POWER OUTPUT Ito 30 nqI INTO OA. Input Sensitivity (for OdBW) I 88mV (for full output) 2186mV (I000mV) THE t SUITE MILLER AUDIO RE SEAROP Input loading I00ko DC offset, left/right OmV

Serial Number M 1 2021 Retail Price £2895

intensive work in the editing and - 704. double -triode in a phase - or mastering suite where bomb- inverted configuration. proof, 24 -hour operation is rarely The amplifier may be operated a pre -requisite. The engine -room in Ultralinear mode, where the is provided by a pair of KT90 pen- feedback signal is derived from todes, though 6550's, KT88's and one of the transformer taps, or tri- s even EL34's (with some small ode mode, where the feedback is he from the at which the 1D moxlification) may loaded as taken point 20 Táo alternatives. The single -ended plates are connected to trans- input is serviced by a 5751 dou- former primary. The lower-output ble-triode that. in turn, feeds a triode mode ensures the tube is ostensibly more richly biased and MAN LtY120WMONOBLOCK CONÌINUOUS 8ohm vs DYNAMIC OUTPUT 8ohm,4ohmt;?ohm therefore more linear. but maxi-

. r.. Idl7 I MILLER AUDIO mum sound levels and. poten- .RESEARCH tially, valve life will be forfeit. The ,21 . output transformers themselves are wound in- house, promising a .30 more consistent part that's also

.32 'tweaked' very specifically for the product at hand. An output tap rat- .34 ing of some 50 provides a 'halfway house' between separate Z .36 O 8S2 and 40 taps commonly encountered on other valve 0~C le- O power amplifiers. Ñ -40 Tested in the preferred Ultra - C linear mode, this 120w Mono - -42 block' succeeds in delivering some u- 135W into 8S2 at l kl Iz with a THD limit of 3%. This represents a gain

46 of +23.5dß. Unlike most solid -state j designs, their valve cousins rarely 48- i clip so abruptly. hut overload in a I progressive and arguably more .50 0 10 20 30 40 50 60 70 80 90 100 110 1'70 130 140 .160 graceful fashion. Nevertheless, WYms with transformer core saturation to E . gu [ - e . - .. cope with at very low frequen ties and slew -limiting at high 24 ugust 2000 www.prostudio.com/studiosound Studio Sound

www.americanradiohistory.com MANIE Y 17W MONO0IOC1 OUTPUT IMPF DANCE WIT11 H1 i.iIH 1'4.111I t

©MHIFHA11D111 RES!

1 5

00. frequencies, this same 3% limit the uniform loss between 8 and 20 100 1000 10100 7110e7 is quickly reached at just 47W 4S2 loading. for example. Either ¡He I (20Hz) and 15W (20kHz). way, with the HF impedance

respectively (Fig.1). trend speakers Y I I of many dip- WOLF 70W MONOet OCF NF QM HO' IIHtI (.IIMIW I It is possible to squeeze ping below 452, the impact on

slightly more juice from the the overall system response THE SUITE OC 11411.1 E H AUDIO Manley s under dynamic con- will certainly colour the final R!S(AR(7/ ditions hut, as depicted by sound of the amp- speaker Fig.2, the increase in 7N1) with combination. output follows an almost loga- Tonal colour, of course, is rithmic path. Plotted here on a also modified by the high and linearpowerscale, it's possible extended harmonic comple- to see the anomalous decrease ment of the amplifier's distor- in distortion just before the tion spectrum, traced out on notional clip point at 154W Fig.5 with minimum (blue). (red), 160W (blue trace) and medium (black) and maximum 131W (green trace) into 852, 4S2 (red) levels of applied feed- and 211 loads, respectively. The back. The lower spectrum amplifier's continuous output clearly highlights the high 2nd, IeYee SOSO profile is traced in black. 3rd and 4th harmonics which Clearly, the Manley lacks both typically persist at around Fig.4: the load tolerance (dynamic 0.7%-1.0% through the mid-

current = 8.1A) and headroom range at modest power levels tower Imo MONUBLOCK,i1Dh FNEOUENCYPTeW/0411114;NM SIM. MED. tealeMAxII FFF1'Hni1 (just +0.6d13) of its solid -state and medium (9dB) feedback. 5.5 competitors, so moderate -to- Higher -order harmonics are INE OC SUITE MUSS Aim o AY.1T.N(1, high sensitivity speakers with also clearly visible which do S.5- a minimum 8S2 impedance not enjoy the same degree of 4.5- loads are recommended. signal masking and, therefore, a.e- The nature of the speaker contribute to a greater subjec- 15- load takes on even greater sig- tive impact. Its also possible 10- nificance in the light of this to see some supply modula- amplifier's high output imped- tion, visible as the cluster 2S- . ance trend. Three levels of neg- around the hase of the -1kHz :e-

ative feedback (low 6dB, tone. which, typically, influ- 1.S-

medium 9áI3 and high 12d13) are ences bass resolution and the 4 - 1eJ -- - ' available and which inevitably crispness of stereo imagery. e5- . ..-. . -_ _ r-~ effect this trend (sec Fig. 3). hut All of which is reflected in none can quell the inductive OS rise the very rich, warm _ _ aeew at HF which reaches nearly 5S2 and undeniably 'colourful' it at 20kHz (minimum feedback). sound produced by the 120W IMIKFY 120W MONOOLOCF TND P 10WOldr MEDIUM FFE00AQ I-1tNr. STEP 171 Even with maximum feedback Monoblocks. A sound that (red trace), the overall amp - audiophiles would, and with IHEpCSUITE © MILLER AUD,i W IDlSYAN! N speaker response will depend some justification. describe as 20

heavily on the swings in imped- 'musical' and enthralling if not 10 ance of the speaker load, espe- especially neutral. So. as cially at HF. transparent window on the 4e

The linear losses are musical event, this amp 20 reflected on Fig.4 which shows slightly rose- tinted perspective n the response into nonreactive is, perhaps. not ideal as a tool ae

80 (green trace) and 40 (red for nixing and production pur- 50 trace) loads with minimum poses. And yet, when the desks ao feedback. The responses may are powered down and the stu- >o be compared with those dio quiet of an evening. I can so obtained into no load (blue imagine the Manley's being ;_ a1+uriÌ11ItIWidiliaYllbJlio[i41rr1ilwlYilÍtlïIWiliv trace) and 812 with medium brought out . if only to enhance e eeN ISM 120e0 140041 Ie0e0 INN . now NOW feedback (black trace). Note the simple pleasure of listen- that all responses are nor- ing to the fruits of a day's Fig.S: malised at 1kHz, concealing labours. Studio Sound www.prostudio.com /studiosound August 2000 25

www.americanradiohistory.com For methodology see Studio Sound,April 1998, page 14. See it on the Internet net -site: DAS Monitor 6 www.prostudio.com/studiosoundiapr198/r_tannoy.html

Studio Sound's 'bench test' loudspeaker reviews continue with the Monitor 6. Keith Holland reports ment and minimal low -fre- zontal plane (this applies to quency acoustic source most loudspeakers which position shift, both of which use axisymmetric horns). suggest an accurate response DAS specify harmonic to transients. Horizontal distortion levels of around directivity is well controlled, -35dB (1.8%) at low frequen- but the crossover interfer- cies for an input of 10% of ence notch is evident both the nominal power handling above and below axis. The rating. This figure reduces to uneven high frequency -50óB (0.3 %) at frequencies response is not a problem if above 200Hz. These figures listening is carried out are typical for a loudspeaker slightly off -axis in the hori- of this type.

THE DAS MONITOR 6 frequency narrowing, but 0 is a 2 -way, passive the vertical directivity shows loudspeaker compris- the interference notch due -10 ing a 165mm woofer with a to the spacing of the drivers dB polypropylene cone and a appearing in the upward 19mm aluminium -domed and downward directions. -20 tweeter that radiates thro- The 10kHz dip, evident in ugh a shallow axisymmetric the on -axis response. is not -30 horn. The cabinet has exter- present at 15` off -axis in any nal dimensions of 335nun direction. The time -domain -40 high, by 226mm wide. by performance of the Monitor 265mm deep, weighs 6.9kg 6 is particularly good, with 20 100 1000 110011 and has a rear -hieing port. the step response (Fig.3) de- Frequency (Hz) The loudspeaker is supplied monstrating excellent time - with a cloth grille that was alignment of the drivers, Fig.S: Horizontal Directivity removed for the tests. DAS and the acoustic source recommend the use of amp- position (Fig.2i showing a lifiers with a maximum po- shift of less than 2m at low 10 wer output of between frequencies -an unusually 100\V and 200 \V into Hil, low figure for a ported 0 and specify a maximum peak design. The waterfall plot SPI. at full of 111413. (Fig.7) further demonstrates per -10 The author regrets that. the rapid decay at low fre- due to an equipment fault at quencies. although there is dB the time of the measure- some evidence of ringing in -20 ments. the usual harmonic the mid -hand I]et\ een 400Hz distortion plots are not pre- and 900Hz. The cause of the -30 sented in this review. Fig.] clip in response at 10kHz shows the on -axis frequency may he apparent from the -40 response for the Monitor 6. power cepstrum which is The response is a bit un- shown in Fig.-+. A strong 20 100 1000 even at high frequencies echo can he seen after Frequency (Hz) with a 5dB clip at 10kHz, but about 1001ís, which corre- it lice within ±3dB from 7011z sponds to :t path length dif- Fig.6:Vertical Directivity to t+kl Iz and ± -idli from 6511z ference of 3-1mm -one wave to 211kí Iz. The low- frequency length at 10kHz. This sug- roll -off is approximately -ail - gests that the 10kHz dip is order with -10dB at about due to diffraction from an -10Hz. Figs 5 and 6 are the edge, such as the mouth of horizontal and vertical off- the tweeter horn. as dif- axis responses respectively. fracted waves are phase - The horizontal directivity is inverted relative to the direct well controlled with no evi- wave. As noted above, the dence of sicle-lobes or mid- 10kHz dip is not present at angles away from the axis, which also points towards DAS Audio. Spain. diffraction. Overall, the DAS Tel: +34 96 134 0860. Monitor 6 is a good per- 20 100 IUMI Europe: Sennheiser. former. its has a particularly Fmiurnq IHcI Tel: +44 1494 551 571. good time- domain response. with accurate time align- Fig.7: Waterfall

26 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com AEA R44C Soundtracs nets Soundtracs ltas released net.tracs as a networking environment for users of _ts prod- Offering a real alternative to modern condenser microphones, this ucts that permits the interchange of project information between consoles in a multi- reissued ribbon brings the past up to date Dave Foister listens in room facility ar-d to provice a convenient ITS COMPETITION TIME. Of all the repli- ally. The integral flexible cable emerging from facility -wide archival and restoring system. cas of classic equipment. which dates hack the main lxxly is clamped in the stirrup's hase. A 19 -inch rackmount server controller con - the furthest? How long ago could you have and this hase is the only means of mounting nects via CATS ethernet and deals in Sound - found equipment in use that still has a place the microphone on a stand. Don't even think tracs session files for relocation and today. not just as a means of getting a 'period' of trying to extend the thing on a loom -it'll restoration. sound but as a quality tool alongside nxxl- only end in tears as the 44's weight brings the Soundtracs, UK.Tel: +44 1372 845600. ern equipment? Valve microphones. valve whole lot crashing to the ground. equalisers. valve compressors are all very The cable is reasonably long and termi- SIENA PCI well. but in terms of the age of the originals nated in an XI.R: in the absence of instruc- SEK'D has introduced the SIENA PCI audio they don't come close to the ribbon micro- tions I didn't Clare connect it to a phant mi card which has eight analogue inputs and phone. Now a Californian company that for powered input. although. of course. it ought outputs and 24/96 resolution. Two separate 20 years has been servicing old microphones to be perfectly happy. The output level. like has come up with a replica of one of the clas- all ribbons, is relatively low. but since its noise sics -the RCA 44. Although the original was is almost non -existent this is only a problem[ manufactured over many years. Audio Engi- if your mic preamps aren't up to it. There neering Associates has gone all the way hack is now an X vari- to the very first models produced in 1936 to ant higher out- produce the AEA R44C.C. put version of Even if you didn't know what it was -and this silo available. on the Eastern side of the Atlantic this could The polar pattern be forgiven as its use was never so widespread appears to he a over here -this microphone would he very smooth and instantly recognisable. It's as much of an icon uniform figure of as the BBC AXBT or the PGS /4038, both of eight. allowing nie which share the basic technology of the Amer- to place pairs of MIDI I -O ports are included and multiple ican model. In those clays the rihlx>n was king. musicians across it SIENA cards can be connected via a Sync- far and away the most sophisticated micro- and adjust their Bus. The card is Windows 95/98 compliant phone technology available and capable of balance by getting and cones with a comple:e driver set. an audio fidelity that can stand up to close then[ to stove SEK'D, Germany.TeI: +49 7946 776 66. inspection today. Not long ago we looked at backwards and the currently available ribbons, many with f( )rwards. Sea Sound Solo an unbroken heritage dating hack to the era This is the kind The Solo EX recording system enables inter- of the H. and it was a salutary reminder that of approach that a active monitoring of record and playback the condenser was certainly not the first microphone like of signals with separate level controls decent microphone design the industry had. this seems to pos- Essentially a PCI carc supporting Windows In ternis of noise. flatness of frequency itively encourage.

and Mac, it has a separate break -out 'ox response, and uniformity of polar pattern. to I used it on a spe- that contains the A-DID-A convertors anc name but three. a peel ribbon can rival almost cial project where all interconnection facilities. including any condenser. we were trying to inputs for ins:rumens and microphones But like most classics. the success of the RCA recreate the with 24/96 conversion, channel inserts t4 was not predicated on clinical accuracy. sound of an early headphone amps, built -in mixing, SPDIF but on a characteristic sound. This is why AEA jazz big hand, and and MIDI in, out and through with zerc- has gone hack to the earliest design. because. there was a sense latency input monitoring. although its bass response is demonstrably less in which this microphone's character. along Seasound, US.Tel:+I 415 485 3900. even than later refinements. its sound is with the avoidance of very close techniques, regarded by adherents as superior. Because of made it easier to find the sound we wanted. Compact flexibility its servicing facility AEA is in constant touch On the other hand. this should not he taken 'Che Altair DA-+I0 is a It -high distribution with many users of the originals. and could to imply that the 44's sound is in any way amp, zone mixer and mic splitter able to therefore easily decide which version to repro- lacking the extremes: I used it on trumpets,

process two s:ereo input signals to obtain duce. much as AKG did with the C12VR. saxes, trombones and percussion where I five stereo outputs w_th independent level The AEA R-+4C is, of course, enormous. It wanted a modern sound. and it was all there. cor-trol. As a zone mixer it can control five comes packed in a fabric pouch that is in turn Valves have warmth. and ribbons have it too. zones in stereo mode and ten in mono inserted into a very large foam padded but in a different way. This microphone has mode. Individually selected mic -line input canvas carrying case. the whole thing being a velvety smoothness, uncomproniised by preamps allow mic or line signal splitting so big that when it arrived I had no idea that IIF deficiencies. that would he hard to find to additional destinations in 4 x 8 or 1 x 1C. it might be a microphone. Its anywhere else. The unit has a monitoring system with built - weight is as substantial as its AEA's reproduction has won in microspeakers, headphone output and size. thanks to the magnet Audio Engi neering plaudits from engineers like selectable vu meter. I-Os are electronicalli essential for its operation. Its Associates, US. Bruce Swedien. Allen Sides and balanced with transformers an option as ar_ distinctive grille. with its angled Tel: +1 626 7 98 9128. Shawn Murphy, all with plenti- two parametric EQ cards. faces allowing a glimpse of the Net: www.ae ra.com ful experience of the original Altair, Spain.TeI: +34 918 043 265. working hits inside. sits atop a and all saying the AEA version boob identical with the original apart from is aN good or better. It may be tempting to Domestic Interface the logo. The whole thing is suspended in a think of it as a useful movie prop that hap- The Canf.)rd Pro-Interface Mk II is a h - swivelling stirrup arrangement, whose big pens to work. but this is a serious microphone directional stereo interface for matching knurled nuts can only just be finger tight- that delivers something special. And it does- semi -pro or domestic equipment o ened enough to stop it moving unintention- n't half impress the artists.

Studio Sound www.prostudio.com /studiosound August 2000 29

www.americanradiohistory.com Sennheiser MKH800 Lu

> professional audio line levels. The Mk II is W a portable version of the original 1U-high cc With mics capable of feeding fast and wide digital records thin on the rackmount Pro-Interface. The rugged design has four XLR connectors on the front ground, the MKH800 is a welcome innovation writes Dave Foister panel. Two are female, connecting to high - IT IS ONE OF LIFE'S LITTLE. MYSTERIES available. but this too is conveniently compact. impedance, electronically balanced, line - that the Sennheiser MKI180 has never truly The switches are what lends the micro- level inputs, while the remaining two are become an industry standard. an icon like phone its unusual versatility. l'o begin with. male, fed from electronically balanced bow - the t'8-. the 414 or the 4006. It is comfort- it has no less than five polar pattern settings. impedance, line level outputs. The rear ably one of the world's half-dozen or so most inserting supercardioid and wide cardioid panel has four phonos. All have associated expensive microphones. and with justifica- between the usual set of cardioid, omni and multi -turn gain controls tion, as it is also one of the most flexible, figure -of- eight. This facility stakes it a par - Canford, UK.Te1: +44 191 418 1000. high quality tools on the market. Yet outside ticularly flexible all- rounder for various step a hand of devotees it has not passed into the configurations, from spaced to crossed to.t Neutron upgrade language. So confident is Sennheiser of its in fact a pair of these stakes an ideal MS cou- AVI has upgraded its NuNeutron monitors innate qualities. however, that the micro- pling, partly because they are easy to set up to Neutron III status with a number of phone has been upgraded still further, as physically. with close proximity between the improvements that are available as a pay Sennheiser's first hid to offer a microphone capsules. and partly because the front- facing for retrofit to existing models or for the same that stakes sense of 2-+ -96 recording. M microphone has such a good selection of It does not take much thought to realise patterns available to control the ambient that one illogical aspect of the quest for ever pickup of the array. higher sampling rates, and the striving to Attenuation and bass roll -off are dealt with deliver frequencies outside the conventional on two of the switches. again with extra flex- range of hearing. is the lack of those fre- ibility as there are two levels of LF cut and quencies in much of the source material. two pad positions. The final switch adds the There are some microphones- notably the unusual facility of slight HE lift. again with small- diaphragm ontnis from the likes of DPA two positions offering +3d13 and +6dB at and Earthworks -that have uniform fre- 8kHz. This degree of frequency contouring quency responses ex- on the microphone itself is highly unusual. tending to 40kHz and offering a useful alternative to EQ in tailor- beyond. but most of the ing the microphone to the acoustic while £499 as the original. The crossover on the other nxxlels we use are actually rigging it. 2 -way box has been moved down to 2.8kHz starting to roll off before This much is all there on the original ver- together with improvements to the circuitry.

they even reach the sion. The MKH800 adds only the extended top AV I, UK.TeI: +44 1 453 765682. hrickwall filter freque- end. which is now claimed to he flat all the ncy of traditional CD way to 50kHz while retaining a low end down ESI2000 sampler sampling rates. and by to 30Hz. This is achieved by means of a Successor to the popular ESI4000, E-niu's the time we reach the redesigned capsule, revised electronics, and a ESI2000 sampler is said to be the most area of the spectrum fresh look at the enclosure as its acoustic effects affordable sampler from the company ever where the benefits of in the upper reaches become more significant. and features 64 -voice polyphony, up to 96kHz sampling rates Using the 800s I quickly came to under- 128Mb of RAM, 64 digital 6 -pole filters lie, there's really noth- stand why the microphone's adherents are (19 different types) and DSP capabilities that ing much coming out of so enthusiastic about it. It delivers a top -Flight include time compression and expansion, then to record. This is sound in a package that stakes it adaptable parametric EQ and digital tuning. The user - not the only point of for any situation. The terns all- rounder is often interface has ten programmable buttons higher sample rates, but taken to mean jack of all trades. with the impli- which can be used to trigger samples while if you accept the neces- cation that it is master of none, but the a Turbo board adds two more stereo sub sity to reproduce fre- MKH800 can he master of almost any of them. outs, an effects stereo submix, two 24-bit quencies in that octave Superbly quiet yet with a maximum SPL han- effects processors and SPDIF I -O. The above 77kHz. the sad dling ability of 142dB, it is equally at home machine comes bundled with ten CD -ROMs truth is that there often as a single microphone on an acoustic gui- of the official Emu sound library. is not much there in the microphone output tar, recording a soaring classical voice, or as E-mu- Ensoniq, US.TeI: +1 831 438 1921. to begin with. a stereo array over a drum kit. For this I set hence the MKI 1800. which takes the design up an MS pair and the benefits were inune- New drivers of the 80 and adds another octave. Since the diately apparent. with an ideal combination Digigram has released VX drivers for PC and original is not as familiar as perhaps it ought of consistency. control and quality. It also Mac. On the former this includes an ASIO to be. a reminder of what it offers is in order. showed well the HF capabilities of the micro- driver and current Wave for VX driver while

This is au side -fire condenser with an unusu- phone, which appear to have no audible lim- for the latter it includes the ASIO driver and all small (half-inch) diaphragm. and :t trade - its and next to no colouration. an update on SoundManager for VX driver. mark set of four small rotary Even development in audio Digigram, France.TeI: +33 4 76 52 4747. switches down the front of its requires parallel developments Ixxly. It is usefully compact. with Sennheiser, Germany. in associated equipment. Just as Logic adds surround a body little wider than soak' Tel: +49 5130 6000. surround requires surround Version 4.5 of Logic Audio adds surround simple end -fire models, and Sennheiser, U5. processing, high -sampling re- functionality and a new class of audio

attaches happily to a stand with Tel: + 1 860 434 9190. cording requires extended fre- objects called audio inputs that is said to a conventional 'ennheiser Sennheiser, UK. quency response in its sources. further the value of the integrated real -time sprung clip. Its construction is Tel: +44 1494 551 571. The MKH800 is one of few mies effects system. Studio Description Language certainly Ili it lightweight. but its that can meet that requirement, aids the description of MIDI devices for size means that it does not have the mass or and perhaps the only all- purpose micro- more control over complex setups. The sur- awkward hulk to balance that bigger n adels phones on the market that can deliver the round features permit freedom in the place- (1o. and is very ease to position either singly spectrum modern recorders are designed to ment and movement of sounds from any or in pairs. There is an optional shock mount capture. channel strip with full automation. A sep-

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www.americanradiohistory.com Lindos Electronics LSC24

arate fader controls LFE contribution per strip. Meanwhile Wavebumer Pro for Mac Crossing the line between digital and analogue domains inevitably builds on the original CD mastering soft- test ware. The system integrates mastering plug raises questions of quality. Rob James puts the LSC24 to the ins and support for VST format plug ins. EGARDLESS OF THE INEXORABLE for 'set and forget' purposes. although small Plug ins include Fat EQ, compressor -lim- onslaught of digital technology. audio clicks are sometimes audible between steps iter, multiband compressor and audio still demands precision analogue elec- due to sudden gain changes and there is invari- restoration tools. The system is 24-bit with tronics. Successful convertor design requires ably a big one when you switch between I 8d13 dithering and noise shaping. AIFF and SDII meticulous attention to engineering detail and and 19d13 on the D-As. Since gain will nor- files are supported in addition to WAV and some black art. Even in digital -to- digital con- mally only be adjusted when setting up this MP3. Emagic has also introduced the version there is no single 'correct' method, should not he problematic, but should be EXS2424 -bit sampler for Mac and PC which guaranteed to produce good results. borne in mind for live work or high monitor- runs under Logic Audio and MicroLogic AV The name Lindos will be familiar to any- ing levels. from V4.0. Sample assignments are per- one who takes an interest in audio test equip- In A -D modes a soft limiter is available formed in a editor in WAV, AIFF, SDII, and ment. The LSC24 Studio Convertor is Lindos' that begins to operate at -3dBFS. A red LEI) Akai with other standards underdevelop- first foray into the fiercely competitive world indicates limiting. Output word length is ment. Sounds can be subject to subtractive of outboard signal processing. And Lindos is selectable between 16 -hit, 18 -hit, 20 -bit or synthesis processing, output selection and not the first manufacturer to crossover from 24 -bit. Noise shaping uses Lindos' own 'Min- keyboard settings and velocity zoning. gamekeeping to poaching. imally Audible' filter algorithm with an ultra- Emagic,Germany.Tel: +49 4101 4765 44. LSC24 is a stereo convertor with 96kIlz, sonic noise-shaping filter option for double 24 -bit capabilities, offering a number of sampling rates. Analogue monitoring is Low cost studio condenser modes. Convert mode gives digital -to- digital switchable before or after noise shaping for Canford have launched a large diaphragm sample rate, hit depth and format conver- comparison. Sync source (referred to as condenser microphone. Despite its budget sion. Record mode is intended for analogue- DABS, or digital audio reference signal) is price the CSM41 is said to be manufactured to a high standard and features a 1 -inch. gold- sputtered diaphragm plus a cardioid 2 pickup pattern, balanced transformer out- Ióó1Ìl¡iïïïìi ï 00 put and a machined brass enclosure. The mic also has an internally mounted bass to- digital conversion with an analogue output selectable between the AESI I (XLR) input, cut switch. Frequency response is claimed for monitoring purposes. ADDA gives inde- external times 256 (super) clock or incoming pendent analogue -to- digital and digital - audio. There is no indication of valid signal to- analogue conversion while HQDA on the selected sync source which caught me mode offers high -quality D-A conversion. out once or twice. Housed in the ubiquitous lli -high metal The same selection of chip -sets is available case. the unit has a smooth membrane across to many manufacturers so the desirabil- the front panel. The rear panel has XLRs for ity of most designs is all down to imple-

analogue 1 -O, AES A and B 1 -O and AES sync mentation and factors such as user with BNCs for X256 wordclock and AES 3 -id interface and design of noise shaping

1 -0. The last two double as SPDIF I -O. There curves. is also a 9 -pin sub -D 'data port' and IEC mains II i. difficult, if not impossible. to achieve input. There is no mains switch; when did the full performance theoretically possible you last turn off the power on a rack unit? from 24 hits. The Lindos acquits itself hon- Nor are there any knobs or buttons as such ourably with quoted noise and THD figures as all switches are of the membrane type, well up to average for the current generation. clearly delineated by grey keys- selection is The LSC24 combines three functions in indicated by LEDs above. The panel is logi- one workmanlike unit. Setup is simple and as 30Hz -20kHz with a sensitivity of cally laid out. Panel lockout switch and indi- logical for the operator and with 'stepped 15mV /pa and a maximum SPL of 130dB. cator on the left followed by mode select, attenuator' gain adjustments there is little Canford supplies the CSM41 complete with analogue input gain block, the other para- excuse for getting encoding levels wrong. elastic suspension and flight case. meter blocks and finally output gain. Input Interfacing is flexible with the inclusion of Canford, UK.Tel: +44 191 418 1 000. and output meters are 11- segment LED ladders. both single and dual 96kHz most welcome. The input pair has peak hold and ttESt-r key. The only strange omission is xl wordclock. Smallest mic Analogue level adjustments At this level anything less than Countryman has introduced what it claims B6 lava - are made using the increment - excellent performance would is the world's smallest mic with the decrement keys below the large Lindos Electronics. be surprising. The LSC24 does lier. Measuring one tenth of an inch in diam- bright numeric LED displays. Le\ Saddlemakers Lane, not disappoint. I liked the sim- eter the mic is targeted at broadcast and els are set in discrete, ldB steps Melton,Woodbridge ple setup and subjective quality live applications. Impervious to moisture Input ranges from 8dBu t( IP12 IPP,UK. although, without similarly high damage it can be worn on a collar or taped a face. Replaceable caps pre- 2ódBu for OdBFS. Output fron i Tel: +44 1394 380307. -quality units to hand for com- to performer's I cannot honestly say I vent perspiration and make -up from enter- -9di3u to 26d1iu at OdBFS. D -,\ Fax: +44 1 394 385 156. parison performance is optimised for the noticed anything extraordinary ing the mic but can also alter its colour and ' +18' and '+26' settings. Lindos has taken the about the sound. Performance is certainly frequency response. unusual course of using resistor arrays, superior to the convertors built into many cc m Countryman, US.Tel: + I 6S0 364 9988. switched by relays. to set gain, achieving accu- soles and recorders. Dither appears effective racy and solid tracking between channels. Lin- and smooth and I could not detect any obvi- Voice processor dos elected to use relays rather than solid -state ous artefacts from the sample -rate conver- The VIP- digital is voice processor that uses switches to ensure minimum degradation. I sion. chipcards to store personal setups of think this is a better option than either knobs Analogue monitoring output in sample rate announcers and talent. DSP powered and which get accidentally knocked or fiddly conversion mode adds to the flexibility. This bundled with Waves reverb, presets are multi -turn pots which are really only suitable combination of functions in one slim box stored on a smart card with system setup

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Thum +Mahr,GermanyTel: +49 2 1 73 96730. A CD -R duplicator that looks and acts like a piece Circuit test of regular studio gear? Tim Frost takes a look Mein + Hummel's DLC64 digital control sys- 1115 IS WHERE studio duplicators grow normally obligatory RS232 ports and keylxrtrd tem automatically shows malfunctions of up. Gone is the industrial CD dupli- connector are balanced analogue XLR input - loudspeaker circuits for impedance and T cator with its mini -tower approach, outputs and unbalanced phono input -outputs, ground faults. A microprocessor base unit folded metal casings. low -cost pressure sen- an AES-EBU XLR, coax SPDIF input. optical controls 64 circuits with a maximum of sitive decal control panels and off- the -shelf SPDIF (TOSlink) input-outputs and a socket Lens. In comes the 19-inch rackmount that for a remote control -an optional extra. looks like a pro DAT machine with a control When mounted, it looks. and acts. like any panel that is pure audio industry and a back other bit of studio kit and has the huge advan- panel that really was designed for the studio. tage over other duplicators because it is capa- 240 loudspeakers per circuit. Defects are StartREC comes in a -4' -high rack package ble of creating and editing together a master displayed as LEDS and can be printed out. that comfort- from external sources, as well as duplicating Klein +Hummel, Germany. '' ably holds the discs. StartREC is effectively a master CI) Tel: +49 7I 145 8930. control panel recorder and duplicator in one package. -1 --- and its five The system has three separate modes of LA Audio goes green CD drives-a operation; Copy for copying complete CDs. LA Audio's Millennium range of processors dedicated 40x Track Extraction for loading individual tracks are now available in metallic green with ..-1 Plextor read or a complete list of tracks from a CD to the gold. Legending is screened using UV that electric blue - -= - drive and four hard -disk and Audio for editing tracks on the fluorescing dyes glow 8x CD -R burn- internal 6Gb hard disk. under UV light. ers. This panel has the normal Each has its own control and menu system LAAudio,UK.TeI: +44 20 7923 1892. -well. normal for a recorder-play. record which is loaded from the internal hard disk stop. forward, rewind, buttons, and level con- separately. While this seems a long -winded TimeMachine update trols. The Lc:D has level meters and a sector that way of going about things, it does simplify Additions to C -Lab's Tina bine sync box is used for control menus and status informa- the way the system operates as you don't have now include a break -out box which is con- tion. There is also a headphone socket and to page through endless numbers of options. nected via C -Net and makes control data level control- another rarity on a CD duplicator. Making copies is as straightforward as you and clock available near the work place. The rear of the unit gives further evidence would expect from any copier system now. Machines that only handle 9 -pin protocol that the system has been designed from the StartREC will identify the type of disc being can be remoted via 9 -in, through the same ground up as a studio copier. Replacing the copied (it doesn't have to be audio disc) and connection the time code is read and

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34 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com go into disc -to -disc co1y which simply makes -ttidbI and duration of the silence 13s to 9s I direct copies from the piaster to the four that kill trigger the auto track numbering. slaves. Alternatively it will copy the contents The logical [tuxes. fir creating a master translated in to MTC and LTC. Providing a of the disc to the internal hard disk- impor- is to use the Track Extract or Audio input machine is transmitting constant time code tant when you are creating a run of discs and menu to bring the tracks into the system and the TimeMachine can be set to a Precision won't want to keep reloading the master. Sub store them on the hard disk as stpau ale tracks. Follow Mode when connected to a seque- indexes can he copied and the user has the Then any mistakes, ss rl n ii tracks. wrong ncing or HD system in which it will follow du of record speed -Ix to 8x. orders of tracks. false starts or need for fine fast forward and rewind. In jog -shuttle The Track Extract function executes the tuning dealt with using the edit functions. The mode the system will show accurate simple transfer of existing CI) music tracks start and finish points of track can he altered machine position in its own timeline. either piecemeal or the entire contents of a by selecting an index point splitting the track. C -Lab, Germany.TeI: +49 406 944 000. disc. It can transfer the Sub Index informa- and deleting the unwanted hit -following lion and ignores the SC \IS settings on the standard MiniDisc editing procedures. Start- PostConform 2.0 incoming content. alt hl )ugh it does offer full REC's editing functions also include track Digidesign has released PostConform 2.0, control over the SC Is setting for the copies. moving. erasing and fade -in and lade -out. an update of its autoconforming solution This all runs snxn)thl and the 8x drives If there are any negatives its the need to for Mac OS -based computers, which is now means that ti >ur copies can he made in well load the individual software menus separately fully compatible with Pro Tools 24 and Pro under ten minutes. rather than having an additional control pad. Tools 24 MIX systems. 2.0 is a stand -alone What makes StartREC really useful in the stu- Also the system doesn't support CD -R \\. application that supports Pro Tools 4.x and dio environment is that you no longer need an although given that all the possible record- 5.x session file formats and HFS and HFS+ audio CI) -R recorder to create ing and editing functions are Mac OS disk formats. The software is the master disc to eopt from carried out on the internal compatible with the newer G3 and G4 Mac- [sing the Audio menu. an Microboards Technology, hard disk. this is hardly a prac-

intosh computers and can use USB con- thing froni an outside source- 1 721 Lake Driv e West, tical limitation. nections for Machine Control and MIDI analogue or digital -can hk Chanhassen, M N 55317, US. Combining the piaster Time Code. It also supports the Digidesign recorded onto the hard disc Tel: +161255 6 1600. recording. basic editing and + Universal Slave Driver. and then edited to top and tail Fax: l 612 5 56 1620. copy functions in the one rack- Digidesign, US.TeI: +1 650 842 7900. tracks, move. 1)r erase t helm Net: www.mic roboards.com mounting ls x. with dedicated Audio quality on the analogue controls and input- outpats Amp DSP module inputs appears excellent. although users are creates a more relevant co1ying ux>I fir stu- QSC has introduced a digital signal pro- most likely to Ix coming into Stanl(EC from dio applications than a simple duplicator. cessing module that offers two channels of one of the three digital inputs. \Iicrolxrtrds is to Ix highly commended for DSP that attach to the back of most Data - Like other (1)-R audio recorders. the approaching studio duplication afresh and Port- equipped QSC amps. Each channel Record nuxle offers auto -mark to increment moving Cl) -R audio duplication one step has high -pass and low -pass crossover fil- the track numbering when there is silence. beyond the half -wan- nuxlified add -on -s( nne- ters, high -pass and low -pass shelf filters, l tnlike consumer units. this unit offers full con- audio- functions approach that has largely cat-

signal delay, compression, peak limiting, trol of Ix Alt the detection level 1 from -36db to egorised the market so far.

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Studio Sound www.prostudio.com /studiosound August 2000 35

www.americanradiohistory.com w Lucid SRC9624 > six parametric filters, 2:1 mixer, signal split- W ter, signal mute, O.1dB attenuation steps, The conflicts presented by the variety of digital sampling rates can signal polarity reversal and selectable IV /3V input sensitivity. DSP configuration i:: per- limit quality and creativity. Rob James prepares for conversion formed via software and RS232 and the inEN DIGITAL AUDIO BEGAN it bridging and will require external termina- module operates at 24- hit/48kHz. exorable rise. a number of tion if it is the last device in a chain. Word- QSC, US.Tel:+1 714 957 7100. practical, operational problems clock output is always the same frequency as became apparent. From the outset, several the selected sample rate of the audio output. KT delays sampling rates were in common use. Of these. Four routeings are possible. The Inde- Klark Teknik has unveiled two delay lines. 32kHz has dropped out of favour in produc- pendent routeing option offers the A and B The DN7454 is successor to the DN7204 tion since its only advantage is economy of inputs to the A and B outputs respectively. while the DN7453 supersedes the DN7103. storage. Higher up the scale, 4- +.IkHz was The Distribution option routes the A input to The former is a 2 -in, 4 -out device while the adopted for CDs while, for many reasons, both outputs. The 96kHz Dual AES (source ) 48kHz became the 'professional' standard. Of requires a 2-wire AES signal on inputs A and 44 l late. the situation has been further compli- B and merges the signals to give a single - iét!*.!,é cated by the advent of double and quad -rate wire output at the chosen rate via Output A latter has one input and three outputs. Each sampling. In sound- for -picture, life tends while the 96kHz Dual AES (receiver) does device provides 5.4s of delay while inputs toward greater complexity largely due to the the converse, accepting a single wire input have seven EQ filters which can be con- compromises inherent in NTSC television on Input A and converting to two wire on figured as fully parametric, high -low pass standards (like 29.97 drop frame) and the Outputs A and B. or high -low shelving. Outputs have the requirements of film running at 24 or LEDS indicate the settings of the status hits same EQ options with two additional all - 25 frames per second. To cut to the chase; if in the input signals. Signal sources, output pass filters for phase adjustment and a com- you wish to remain in the digital domain sample rate and output dither are selected pressor/limiter. using toggle switches. The output KT, UK. Tel: +44 1562 74151 5. sample rate can he derived from aigu%s, k l" . sir audio Input A, either sync input Palmer or internally generated at 32kHz. New Palmer amps include the 4- channel throughout a production, a means of con- 44. l kHz, 48kHz. 88.2kHz or 96kHz. When- 1500LX4 (2x250W/2x500W 452) and verting between sample rates is a necessity. ever an unlocked or invalid audio input or 2200LX4 (2x400W/2x700W 4(i) with pro- Of course there is the alternative of con- sync source is selected the relevant LED tection circuitry and built -in crossovers. Rat- verting to analogue and reconverting to dig- blinks. Dither is flat triangular PDF (proba- ings in to 80 in bridged mono mode are ital at the required sample rate. In some cases bility density function). This was chosen lx500W /lx1000W and 1x800/1x1400W this has been a preferred option since early since. if the resulting signal is subsequently respectively. convertors were either seriously costly or not redithered, it causes fewer problems than Adam H al I, G e rm any.Te l:+49 608 194 190. particularly transparent. One pro CD player noise -shaping types. actually used this technique as an economi- As a function of the convertor chip TEF System 20 v4.0 cal method of accepting wordclock to sync employed (Crystal Semiconductor CS8420), TEF is now shipping TDS v4.0 Windows with other equipment. the performance is relatively transparent at software for the TEF System 20. The soft- Lucid's SRC9624, then. is described as a conversion ratios of 1.7:1 or less. At ratios ware is available as an upgrade for TEF Sys- 'high- definition sample -rate convertor'. It pro- higher than this -like the 2:1 required when tern 20 users and provides RT60, Alcons, vides two independent channels of conver- going from 96kHz to 48kHz-the distortion and the ability to rapidly set delays and sion between all the normal rates and, by performance is slightly poorer. As a subjec- analyse room reflections. Measurements using an appropriate external sync source. tive test on the 96kHz to 48kHz conversion can be accurately accomplished even in the pull -ups and downs required for TV and I used some sine wave tones generated in noisy work areas. All TEF products are film work. Alternatively it can function as a Samplitude. I could not detect any notice- available factory- direct from Gold Line via single- channel convertor at the 'double sam- able increase in distortion between a 48kHz their website. pling rates. II also offers dither to handle source with no conversion and a 96kHz Gold -Line, US. Tel: + I 203 938 2588. changes in bit rate and can convert between source down converted to 48kHz. Net: www.gold-line.com physical formats. In operation, the SRC9624 is quick and con- The shallow 1U-high box has a finely venient. The toggle switches are positive and Dolby's metadata box sculpted brushed -alloy front panel. Lin stacks intuitive. Whenever parameters are changed Dolby's DP571 multichannel authoring tool indicate the selected functions and status while the unit appears to mute the outputs. neatly accepts eight channels of PCM audio and all parameter selection is via detented mini avoiding high -level splats. Around half a sec- then feeds the audio accompanied by a sep- toggle switches allowing the shortest route to ond after any parameter change the panel LEDS arate metadata bitstream to a Dolby DP571 a desired parameter. Although the LED stacks blink, indicating that the setup has been Dolby E encoder for further distribution or are laid out vertically they are circular in func- stored. The same setup will he restored on a a DP569 Dolby Digital encoder for trans- tion, so if the required selection is at the top subsequent power up. mission to the consumer. This allows pro- and the current one at the bottom it only takes Leaving aside the future proofing of the ducers to assign metadata parameters that one click down to move back to the top. The high- hit -rate options, the two channels will reach consumer playback systems via mains switch is a slightly incongruous hori- proved very useful at normal sampling rates programmes with Dolby Digital and opti- zontal plastic rocker. when used as an interface mise presentation quality. The DP570 has On the rear, four blocks with a DAT recorder. This multiple speaker selection, audio channel of connectors provide the Lucid Technol ogy, US. allows source material from routeing, separate inputs for Dolby Sur- audio I -O each with TOSlink Tel: +I 425 742 1518. tapes at 44.1kHz and 48kHz round Pro Logic decoding and 5.1 channel optical. BNC for AES3 or Net: www.lucid technology.com to he loaded into a DAW and monitor configuration. SPDIF (phono adaptors are the finished product to he Dolby, US.Tel:+I 415 558 0200. supplied) and XLR for AES -EBU. All outputs recorded back to DAT at both sampling rates are independent so may be used together. A without any repatching. Luna 2496 DSP lands further block has the sync connections. an The SRC9624 is an attractive package. Its Luna 2496 DSP is described as an uncom- XLR for AES -EBU and two BNCs for word - versatility and good looks will find it many promising audio I -O interface system for clock in and out. The wordclock input is converts. Windows and Macs. It features a large num-

36 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com William Wittman is a multi- platinum Producer/Engineer, former Staff Producer/ A&R Vice President (RCA / BMG Records and Columbia / Sony Records), Musician and Songwriter. His career truly covers all the bases. LS. 44 I'll tell you a secret; I've always had a love -hate relationship with near -field monitors. But these LSR's have changed all that. First, they're just easy to listen to. They've got plenty of full, real bottom, great Profiles stereo imaging, and they go loud enough to feel right. Plus. they translate incredibly well The world's most noted recording to the rest of the world. They're just musical. professionals discuss the world's most % *. Wow; good sounding speakers I can trust! /0 It's love-love. 99 advanced monitoring systems. ,. o

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Since its introduction in 1997, the system -engineered JBL LSR Series has become a favorite choice of engineers, producers and performers, many of whom have also become its most loyal advocates. More important, this acceptance is found in every major geographic area of the recording industry: from Los Angeles and New York to Nashville and London. Joel Jaffe is an award winning Engineer/ Producer /Composer and co -owner of Studio D Recording, Inc., home to a long list of platinum and Grammy Award winning albums and artists. Currently, Joel is working on DVD surround mixes for some of the industry s top touring acts. LSR surround systems are his choice for stereo and 5.1 channel multimedia projects.

a "The THX Approved 5.1 JBL LSR28P with the 41 'a 11 )) JBL LSR12P subwoofer provide an extremely linear response. great transients and full- frequency monitoring in a near -field set up. In addition, the LSR LSR 3? LSR 28P LSR 12P speakers allow us to be able to go between stereo mixing and multi -speaker formats, which is absolutely Monitors Whose Performance Profile Was necessary today in a state -of- the -art studio. 99 Determined By Science, Not Opinion.

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www.americanradiohistory.com Universal Audio 1176LN

ber of analogue and digital I -Os in 24 -bit/ 96kHz, the new Ultra Low Latency Inter- While most reissued kit revives the past, little is as accurate face with a comprehensive driver set and three SHARC DSPs for audio processing as as UA's comp -limiter George Shilling travels back in time well as for mixing and surround sound soft- IT IS ( WIT two years since I re\ re\ eLl die canal and also remote metering, although ware applications. The system hardware

Purple :Audio \IC76, an enhanced recre- I would imagine this to rarely be required. consists of a new PCI card and an external ation Of the I'rei 1176LN. my favourite Apart from a fuse holding IEC mains socket A-D /D-A convertor box. The card hosts desert - island compressor- limiter. Perhaps the only addition to the original design is a stereo analogue and stereo SPDIF digital awakened by the continued demand for this pair of XI.R signal connectors. The previousl inputs and outputs. The convertor box adds design. the two sons of original designer. the available NIoxlel 301 bolt -on Ix>x attached to another eight analogue I -Os. Luna can oper- late IT 'Bill' Putnam. sprang into action to the tag strip to provide XLRs. but many own- ate all of these channels in full 24/96. reissue the original model under its original ers made their own nxxlifications and attached Furthermore, the system can be expanded brand name. And a goxxl job they appear to sockets directly to the case. The phono socket with additional I -Os (up to 36 I -Os per unit have nude of it. for stereo operation is retained. This is labelled -two units can be linked via S'TD\t bus). Every last detail has been faithfully repro- 11'6SA. and the stereo adaptor must be con- Creamware,Germany.Tel: +49 224 15 95 80. duced: even the manual cover has been nected between two units for stereo opera- copied. including the textured paper. The spec tion. The timing capacitors are in parallel. so OMR8 gets controller sheets make authentic reading. with virtually doing this doubles the fastest speed of the DAR has introduced an edit controller for even figure identical. and the circuit diagrams Attack time. and stereo operation is fiddly to its OMR8 24 -bit 8 -track system that includes show a similar design. although they are no set up. especially between units of different a weighted action wheel and dedicated longer hand -drawn. vintage. clue to differing transconductance in The front panel is black. recreating the the FET. Perhaps the 1176SA circuitry could Zook of the more favoured versions of the have been included inside the case. as with original 1 176. The originals went through sev- the Purple model. eral revisions. designated A -G. this unit being In use the unit feels very much like one of based on the I) E black -faced models. Later the originals. I was fortunate to have the lux- units replaced the class -A output stage with ury of David Gilmour's Astoria studio, which a class -AB push -pull stage. and the trans- boasts several original black -faced and grey former input was replaced with a differen- Haeco- badged 1 l -6s for comparison. not to tial op -amp circuit. mention excellent monitoring. The 1176 uses a FET as a variable resistor to control gain (there are no valves here). and this is the main reason for its function keys. Two recently introduced unique character. All units were features of the system include CD master- slightly different. but the new ing and a new fine edit function. CD mas- model's output gain pot was notice- tering is accessible from within the OMR8 ably changed. with perhaps a internal editing software and enables tracks All controls feel similar. the unit featuring slightly different value -I had to turn it fur- to be prepared for mastering with the OMR8 wonderfully large 1\ Pi r and o i ii't i knobs. ther clockwise to match levels. However. in controlling the CD -R burning process. Fine and .Arr:uat and Io n r \sL pots. which are all most other respects. operation is identical and edit permits two alternative takes to be smooth in operation. the .Arr:u a< retaining its the sound very similar. with perhaps a little viewed side by side and edited at waveform bypass click- off setting. This removes any extra clarity from the new unit. \icalssounded level with hi -res zoom. compression. but leaves the gain controls wonderfully enhanced by this compressor. DAR, UK.TeI: +44 1 372 742 848. active. turning the unit into a characterful line and in normal use it was hard to hear any dif- amplifier. The illuminated meter is similar in ference between the new and old models. Realverb 5.1 ships appearance to later t'rei designs. with the re- Attack and release characteristics seem to have RealVerb 5.1 is a multichannel reverb plug created CA logo featured. and a recessed trim I)een accurately retained. with an attack range in for Pro Tools with the ability to map pot across the other side of the panel for zero of 20-800ps and release times of reverb spatially for surround mixing and to calibration. Old- fashioned radio- hands -style 50ms- 1100ms. The only really obvious sonic morph between room shapes and textures. push- buttons all work exactly the same as on difference was in 'overdrive' nxxle -the leg- Rather than funning parallel reverberators the originals. except that they feel a little stiff endary technique of pressing all four Ratio the package uses a single reverberator and and 'new'. Ratios of -I: I. 8:1. 12:1 and 20:1 are buttons in simultaneously to give a really over- crossfades the controls producing inter- available with the central row of buttons. and the-top distorted compression. The character mediate states with no zipper noise. on the right are selections for meter: Gain of the new unit in this situation was quite dif- Kind of Loud, US.Tel: + 1 83 I 466 3737. Reduction mode, Output Level at +-i or +8. ferent from any of the older moxlels. with much and by pressing the bottom button the unit is brighter and nastier distortion. and less Broadcast mic powered off. The on,r legending had been mys- warmth. especially on fast settings. By back- Soundelux has released the R -1 cardioid teriously stickered with on -off symbols. no ing off the Release speed, a more similar sound condenser. It features a 1 -inch diaphragm doubt to satisfy some pernickety modern could be achieved. but there was still an obvi- with gold on 6- micron Mylar and trans- safety rules. Although. ous difference, and altho- formerless FET talking of safety. upon ugh the older units may Soundelux, US.TeI: +I 213 464 9601. removing the cover. I \\ Universal Audi o. 604 Cayuga have been somewhat out of surprised to see bare wires Street, Santa Cru z. CA 95062, US. alignment. this was the N /Dym wireless on the mains connections Tel: +1 83 1 466 3737. sound I preferred. The N /DYM series UHF wireless mic sys- -a nuisance for any service Fax: +1 466 377 5. The I I -61.N sounds great tem is enhanced by Secure Phase diversity engineer. However. the but the lower- priced Purple while the receiver has an adjustable squelch approach is admirable: the circuit layout looks competitor is sonically very similar. and fea- level, beltpack, and hand -held transmitters similar in every respect. with plug -in transis- tures many improvements over the original include Tx gain controls. Available in two tors inserted into sockets mounted on the design. However, as a 'strictly authentic' offi- hand -held versions, an omni lavalier, car- board. On the rear panel are tag connectors. cial reissue with indisputable credentials. the dioid lavalier, a headset and guitar system. exactly like the original. with connections for UA is the box to have. EVI Audio, Germany.TeI: +49 9421 7060.

38 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com Want to move your mics after you've recorded?.. ...No problem.

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www.americanradiohistory.com READILY TRADING HIS SEAT at a key - hoard rig for a seat behind a mixing console. Steve Power's recording career really began riding shotgun for Mick Glossop. We got a deal with Virgin, hut instead of spending the money on renting studios we built one in Liverpool called The Pink.' he recalls. 'Mick Glossop, whose engineering skills are renowned. produced our album and I assisted him. I was just mad keen -I was 18 and I took everything I could from him. which is a lot. because he is very knowledgeable. 'Before that I had done the hand's 4 -track demos and I was more into the studio than the keyboards. So when the band went on the road, I made a decision to leave in order to run the studio.' What had seemed a simple move was, in Fact. only the start of an eventful learning curve for the young Englishman. 'I'd only ever worked one way -I wasn't used to "You're the client, and I do what you say ",' he explains. 'I just thought people came in and I organised them and got the best out of them. I didn't really think I was producing them but I suppose I was. 'People would come in and do six songs, record and mix in a day, which is very good practise. I was doing demos for Dead or Alive. Frankie Goes to Hollywood, The Lotus Eaters, and several other acts that didn't get anywhere but did get signed up-it was the usual thing of the masters not being as good as the demos: Power made the move to London and went straight into producing, working with Steve Lovell among others. Around 1986, when things went quiet for a few months, a chance meeting with another Liverpudlian put hint back in the studio. One day I was walking past Battery Stu- dios.' he says, and out walked Mike Score from A Flock of Seagulls -I knew him from Liverpool and he needed someone to finish engineering his album, so he invited me in and I finished it.' Another of the producers working at Bat- tery at the time subsequently asked him to engineer a Billy Ocean album that he was producing and suddenly Power found himself with a management contract for Zomba. 'I did The Railway Children, then it went quiet again for a bit around 1992 -93 and so I studied classical guitar for two years. That really helped when I came back. I think that was part of the reason why I changed from wanting pristine multitracks to music that affected me. I suddenly realised that they don't huy the multitrack. they huy the stereo, and as long as the stereos okay... You can get a lot more work done if you're not so cautious with every click and pop on your multitrack. On my multitracks now there's Or he finished working clicks and buzzes all over the place, but there ms' album, producer are more spontaneous performances there.' As 1993 got underway, Power found r'talks with George Shilling himself working with Babylon Zoo on the album that spawned 'Spaceman'. Hard on out kit, career and characters its heels came Bahyhird's'You're Gorgeous' ('Both records that everyone hated...'). And then Guy Chamber, asked him to produce

40 ugust 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com Robbie Williams. now, if you don't mic drums too close, as for the mix. There's an SSL in Battery Stu- All those years ago Guy had replaced me long as they're tuned and hit properly. Ambi- dio 4 which has the black knob EQ, which in the band.' explains a bemused Steve ent mitring depends on the song, but I'll is a slightly softer EQ. That's quite a special Power. 'i'd known him since he was 15. Roh maybe put up one ambient mic, I very rarely desk because it's got the crunch, but you wanted to be Oasis at the time and Chris put up stereo ambience and try and get a don't find a lot of black -knob desks. You can Briggs. who had A &R'd World Party had the big sound that sounds great but is useless use it without thinking. whereas when i idea of bringing in Guy as someone who within the song. With electric guitars I don't went to the j-I can't be bothered learning could work with Bobby and write with him. put ambient mics on them either, just one a new computer system that doesn't seem They had tried various people and it hadn't as close as I can get. and that's it, because to be based on the same principles. They worked out. but they complement each if you have two you get phase things going should make a disk that emulates a G- series other so well. Guy's much more of an artist. on, and it's not as present, and you can computer.' he's a hit scatterbrained, and he knew I'd always add something after. Power's approach to mixing itself mixes be able to hold a net underneath him. 'Mind you, I don't like revert) either. I've work and play -a recipe he's found helps 'Often they don't know when they've done almost complete mixes with no revert). retain objectivity through the process. done a good demo.' he continues. 'I remem- for a long time. If I do use revert). I'll use a 'When I mix Igo really quickly through ber 'Strong' and No Regrets for instance plate. I don 't like the sound of Lexicon plate it. and I can't go really quickly with the -I picked them out as singles straight away very much. The new one i tried briefly and i- series. because I'm too busy picking the from the demos. and Guy didn't think it sounded nicer, and I tried the to 6000, and pen up and thinking. "what do I have to say 'Strong' was very good. As regards demos i like the sound of that better, and I'm going to it ?". i like simplicity, nothing getting in the for the new album. when they were tour- to use that tomorrow doing surround mixes wady of just getting done what you want to ing in America. Roh and Guy get bored very of 'Rock DJ' and a track not on the album, do quickly. Generally I'll come in, do a bit. quickly- they've really got no patience, and six tracks from Robbie's Slane Castle have some lunch. read some Ceefax about either of them -so they had popped into gig for DVD. It has 5.1 reverbs and 5.1 com- the ffxtball, go and do a hit more. But I do studios and written songs. There were about pression. which I'm intrigued to try: a lot quickly. in half -an -hour or an hour, but 35 or more songs that came through which The album was recorded 48 -track then I'll want to not hear it, and I'll go and were quickly culled down to 12, and the analogue. watch telly fora bit, come hack in. do another last three were written because Roh decided 'For the last album we mixed to Genex bit. have my dinner at seven and go home. he wanted to get more "progrtnmiy" stuff. 2A -bit machine and half-inch tape, and com- And I'll take it home, and come in the next and they were just done about two weeks pared every track at the mastering stage. The day and tweak it a hit, call Guy in and we'll before recording started.' Genex won every time. The half-inch added put it down. So I seem to have spent two Power professes not to have had a stan- warmth. but took away some of the clarity. days on a mix, but i've actually not been dard way of approaching making master which made you want to add some 5kHz to doing a great deal most of the time. recordings out of these demos. compensate. but with the Genex you did- I think it's so important to keep yourself 'Because Bobby is such a large person- n't need to. So this time we didn't bother separate from it and objective -if you sit ality you don't have to do just one style of with the half -inch and just used the Genex.' there all day listening to the thing, you can't music, you can do anything and it's still him. As regards mixing. Power prefers SSL E retain your objectivity. Something like "Angels" is approached very G- series consoles to later models. 'Another thing I do to retain objectivity, traditionally. The whole band went out and "X'hen I tried the 9000j. i found it too clean which people who come to see nie mix find played -acoustic guitar, piano. drums. for this rock track I was doing.' he explains. very amusing is that i have every set of hass-and Boh sang while the hacking track 'So what I've settled on now is Neves and speakers in the world there. As soon as it went down. Of course everything was Focusrites, and the DPA 3541 preamp [see sounds goxxl on the KRKs. I'll put it on the replaced except the drums. sidebarl. I record with as good -quality mie AR18s that I've got on the Floor, 'cos they 'I don't spend long on the drum sound amps as I can, and then I kind of like the were designed to he used on the Floor, that's though -I find it easy to get drum sounds crunching up that happens on the old SSL where they've got proper bass. So I switch >

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www.americanradiohistory.com < it over and go "Oh. I didn't notice that middle frequency sticking out a bit". and get rid of that. It sounds okay on them, so 111 switch it up to the I'\1Cs that I borrowed to mix the album, and l'll think it could do with a bit more compression. It just makes me think of different things. If I switch to a s different set it gives me a totally different viewpoint. like the situation where you take a mix somewhere else. 'I've got nine 'I've got literally about nine different sets different sets of of speakers. l'll return to the previous speakers after making a change. to see if I've over- speakers. I'll return to done it. So I get that instant "oh it doesn't previous speakers sound like it did in the studio" straight away, the before I've left the studio. I never use Mills. after making a charge, by the way. because to me if it is right. it sounds terrible on NS 10s, I can't mix to sound to see if I've terrible. I spend a lot of time listening to other overdone it, CDs on each set of speakers. 'A lot of what we do is going to he played on the radio. I do squash stuff a lot. and I don't like it. in a sense, hut I know that the shop window is radio, and it does need squashing and it does need high end. I com- press the mix with the SSL and a Prism ,Mas- elcc. which k r t.t tit.. On this album I had two sets of the i-way mic amps, and I had the Prism EQ across my monitors, so I recorded a lot of the time without EQ. so I've never done anything that I'll regret. However. I'm screwing in a lot across the monitors. The quality of those things is absolutely incredible I think, the mic amps. the compressor and the EQ. I've never done anything wrong that I'll regret while I'm recording. however. its loud and sounds great for the musicians who are working on it. so they can get off on it and get the

WHEN I WAS AT METROPOLIS I was offered the DPA 3541 microphone kit to try

out, and the thing I like most about it is the

sound pressure handling. I like the sound of the [Neumann] 149, but you put it on a loud guitar and it can't handle it.And it can't actually handle Bobby when he's yelling. He's got a hell of a loud voice, and when he suddenly decides in the middle of a ballad that

This is too down, I want a "YEAH YEAH YEAH" bit here,' and he'll suddenly do it excitement. but I haven't done it to tape. becaus they understand what gees on: completely out of the blue without warning So when I'm mixing I've got that, I've got Other notable achievements include anyone. However, I've found that even when their compressor there as well. Because if mixes for various rock acts that have left I know he's gonna do it, on some mics like the you mix and then you take it to the mas- Power hungry for more-in good time. 149, I'll have the mic amp all the way down, tering room with a view to. "I'll put the top 'I'd really like to work with Sou vax,' he and he'll still distort the mic on the way in, on then," it can change the balance. I know confirms. 'They are a really talented Bel- because he's so bloody loud.The DPA can what I'm doing when I'm mixing-I'd say gian band and I've mixed their net single. actually handle him, and it sounds kind of it's mainly for radio, but then a lot of hog - Also Feeder did some atlditi( nal pro- similar to the 149, probably because of the -I standard hi -fi's and ghetto blasters are quite duction and remix for two singles which treble lift. I thought, if it can handle the like radios to me, and that is our selling point got them on the radio. Then there':. an artist volume, it can sound like a condenser on very really. not to the hi -fi people. But there are called Rebecca Ryan on Zomba that I'm loud guitar amps and snare drums, which it tracks where you can get a hit more of that. hopefully going to do after a break Ind after can. I sometimes like the sound of a 57 on the generally the ballads.' the DVD. But I'm definitely going k) have a snare, but sometimes I would like to be able Robbie Williams is only the most recent break first: to get more like the sound of a 451, and with notable artist to have come Power's way. Joe With a career characterised by its stops this thing you can, and you can get it close, Cocker. Geri I lalliwell ( for Chris Briggs). The and starts, a break might noun i like a which is a step forward, nobody else has Dunm Dums and new artist Rebecca Ryan dangerous option. managed that before. I ended up using it on have all helped keep him busy. 'Usually there are a few things queuing acoustic guitars as well, and there its treble lift 'Chris is the only A&R man you can play up,' he says. 'and I can only do one of them. was very handy. And I like to use high quality a monitor mix to.' Power enthuses. 'He once At the moment I'm in the good period but mic amps, and the mic amp you get with it is told me he'd like to sack all A&R men and of course, I'll he at home for two weeks and very good and open.' bring in out -of-work record producers. then think, "Oh my God.....:

42 August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com Hea.d case In most conversations, monitoring invariably means loudspeakers but headphones play are valuable too. Derek Johnson & Debbie Poyser audition the options BUYING STUDIO HEADPHONES Choosing between Audio Technica's seems an uncomplicated propo- headphones is easy, as AT markets just sition -and typically people put three models in the UK, all enclosed rather less thought into choosing their -the 6652 ATHD40 and 6052 ATHM40 cans than their monitors. Yet most stu- Studiophones, and the 3052 ATH910 dio musicians and engineers spend a Pro. The D40 and M40 (185) are iden- fair amount of time wearing head- tical in appearance, with padded headphones, so selecting the right ones is band, cushioned earpieces, and a good worth some effort. upper frequency response of 28kHz. First, there's the choice between However, the D40 has LF extending enclosed and open types. Enclosed down to 5Hz, compared to the M40's phones usually offer higher levels and 20Hz. Both Studiophones are, usefully, increased bass perception, and as they fully serviceable, with earpieces, ele- allow little sound to escape they're the ments and cables being replaceable. most appropriate for providing cue The ATH910 Pro model (20Hz- 22kHz, mixes, where any leakage could make 40e, 168) is recommended for home it onto tape (or disk). They also let in listening and studio monitoring, but isn't little external sound, so are especially field -serviceable. suitable for live engineering in noisy Many of Beyerdynamic's headphones environments. Good open headphones distinguish themselves by being mod- are usually prone to less colouration ular, allowing defective parts to be than enclosed ones (making then more removed and replaced individually. At useful for niix checking) and are less the lower end of the range is the DT220 fatiguing. but they allow more sound (179), an enclosed phone with 20Hz- to escape and to enter. Semi -open 20kHz frequency response and 2052 or phones provide a compromise between -+0052 impedance. The fully serviceable, the strengths of both types. mid- priced DT100 (.1109) is an enclosed Then there is impedance to consider: model widely used in the studio indus- the best sound quality is produced by try. it has a solid construction and a high -impedance headphones, but low - 30Hz-20kHz frequency response, and impedance phones offer higher listen- is also available with a variety of imped- ing levels (though they tend to more ances: 852, 400e or 2000e. The DT150 distortion) and so are often preferred (1129) is similar to the DT100 but has by location recordists. In the studio, an extended frequency response of probably the most important thing is to 5Hz-30kHz. Those looking for an open - ensure everyone has access to the same backed phone might want to check out type of phones. If there are a mixture the D1990 Pro (ä.1l9), which has a of types, some listeners could experi- remarkable 5Hz -35k1lz frequency ence problems with volume levels. response and a 60052 impedance. Beyer Quality headphones from major man- especially recommend the 990 for ufacturers span a wide price range (from critical post and broadcast studio mon- under £30 to almost 1200 ex VAT in the itoring, but it and its enclosed version, UK). It's impossible to cover all models the D1770. are accepted as fine here, hut we can at least provide a taster all- rounders. of whit's available. Starting at the begin- At least two of Fostex' four models of ning of the alphabet, AKG models are headphone are apparently gaining wide affordable right across the range, and acceptance in US studios. Both the semi - are used in studios world wide. At the open T20RP (.183) and fully enclosed lower end is the K70 (at 127). a light- T40RP (89) are field -serviceable, cour- weight, open -back, hi -fi -style phone tesy of a screwed assembly. The T20 with foam earpads, a 20Hz-20kHz fre- boasts a 20Hz-30kHz frequency re- quency response and 10052 imped- sponse, while the T40's response is a ance-a good bet if multiple sets are slightly less extended 25Hz- 20kHz. needed. Going up a step, the popular Both phones have a 5052 impedance. semi -open K240DF (185) has a 60052 deeply padded ear- cushions and impedance. 15Hz -20kHz frequency padded headband. The 4452 T5 (.1 -16) response, and a studio -grade build with and 7052 T7 (165), both with a 20Hz- deeply padded ear- cushions. If it is a 20kHz frequency response, are de- quality fully enclosed phone you're scribed as good general-purpose after, the K2705 (1110), with a 20Hz- phones, their main distinguishing char- 28kHz frequency response and 7552 acteristic being ultra -light construction impedance. could fit the bill. for extended wearing comfort. > 44 August 7000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com < Sennheiser markets a large range devices. The professional \IDR7502 of headphones, including enclosed pro (..60) is an affordable enclosed phone models and open -hacked Iii -fi designs. described as general- purpose. with The 3252 111)500 (160) is classed as a lightweight construction. -+552 imped- hi -fi phone. yet it has studio -friendly ance and 60llz -16kHz frequency re- characteristics. including a more than sponse. The \IDR7505 (195) is another respectable I +Hz -21 kHz frequency enclosed model with an improved response and unusually large 'circum- 10Hz- 25k11z response and a -+052 im- aural' earpieces which encircle the ear. pedance. Its recommended for re- with the phones sitting against the head cording, remix and DI use -boasting a rather than pressing on the ears. Open swivelling. earpiece for single -sided construction and low weight help monitoring -and has a build quality ensure comfortable wear. From the stu- described by Sony as capable of with- dio range comes the HD250 Linear 11 standing years of daily handling. The (1.12'4), an enclosed phone which is MDR7509s (1185) is termed a profes- apparently one of Sennheiser's best sell- sional reference monitoring headphone. ers. Again, the cushioned with an appropriately earpads are designed to wide frequency response fit around the ears. and AKG Acousti cs,Austria. (5Hz-3OkHz), high pi Aver

Sennheiser claim that Tel: +43 1 866 540. handling. an enclosed, cir-

though the phones are Audio Tech ni ca. UK. c u ma ura I earpiece designs, enclosed they offer the Tel: +44 113 2 77 1441. and robust construction. feel of an open design. Beyerdynam ic, Germany. Studios on a tight bud- Frequency response is a Tel: +497131 6170. get needling many sets of creditable 1011z- 25kliz, Fostex Corp oration,)apa identical phones and pre- and impedance is 30052. Tel: +81 425 4 56111. pared to be open-minded Then there's the 11D25 Sennheiser, G erma about brand -name may (1136), a rugged enclosed Tel: +49 5130 6000. be interested to hear that headphone recommended Sony Broadc ast. Europe. Studiospares recommend Tel: +44 1256 355011. for studio and live sound Ir the low- impedance Altai applications, with a 16Hz HVS22, at just 112. It has

11 -22kHz frequency response, a choice t - +t I /-181:11z frequency response. and of 70Q or 60052 impedance, and a con - tit ud it ,shares say its performance conies ventional 'on -ear' design. close to that of models costing six times Sony produces many headphones. a the price. Something for every pocket. few of which are dedicated studio then...

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For more information on how we can help you reach your pro audio audience, visit www.prostudio.com or contact Chris. Baillie on tel: +44 (0)20 7940 8517, or e -mail: cbaillie @unmf.com www.americanradiohistory.com Mi Jo INN ill III the NASDAQ technology exchange, as that market place has sustained great wounds on many of the most significant technology sector and dot.com stocks listed. Apple's revival has been based on carefully-implemented technology in- mi novations and strong sales of the i -Mac, professional desktop G3 and now G4 and PowerBook computers. The success of these technologies has surpassed even the fastest and most recent inno- II mu vations available on PCs. Despite the fact, that Apple desktop computers with G4 chips are still only rated at 450MHz- 500MIiz clock speeds (as opposed to the GHz range of Intel and AMD top - of -the -line chips), Apple computers consistently out perform their supposedly faster PC brethren. Apple's Power PC chips have profited from their ability to perform more computing tasks, during each clock cycle than a PC microprocessor in a similar time frame. In addition, the Power PC G4 chips use a 'velocity engine' devel- NI in oped by Motorola and now adopted by IBM (Apple's two captive chip III foundries) which operates as a vector processing unit. This so- called Altivec feature set means that graphical or multimedia content -heavy computer pro- _ n II grams run more quickly and smoothly. Obviously, this also means that audio programs specifically designed to take advantage of the Altivec feature will offer greater speed and functionality than those that don't. A further bonus is the co-operation 1±1, finally restored between Apple, IBM and Motorola in terms of chip design, features, and chip production -a con- 7- dition that had evaded the so- called 'AIM' triumvirate for several years, but now is finally operating again more like a finely tuned Swiss watch than not. At any rate, when we measure the up.):-is benefit of the G4 -based Mac Power PC against that of an Intel or an AMD PC engine the difference is impressive. It II -_'ll is especially so when used to mea- _rLip sure the performance difference between Macs and PCs operating in a power -hungry graphics processing environment, which is analogous to the demands of audio processing. In sev- With Apple back on its feet, Mac race is the -PC on once eral recently published tests, the most again. Martin Polon explores the likely impact of important of which was Henry Norr's in the San Francisco Chronicle, one forthcoming computer technology method of testing between the two computing platforms was to use Adobe's H111NG FINALLY ENTERED the efforts of Apple founder Steve Jobs, Photoshop (v5.5) as a common test millennium, and having sur- returned to the fold for several years. medium. This was done specifically, vived the Y2k miasma, we now The recovery was accentuated by the because it is the one piece of power face a new Millennium of computing mid -April 2000 announcement of a two - using software that is closer to a com- and related technologies. We also find for-one stock split, the first such action mon denominator than almost any other ourselves obsessed with processor in over 13 years for the Cupertino -based computer program available. The speeds -Intel and AMD seem to he company. The stock itself is selling at importance of this is significant, because jumping over each other to reach giga- $120 per share pre -split (as of 20th April, other specifically designed computer hertz speeds and beyond for the PC. 2000), or about ten times the asking price benchmarks are rather platform exact By now, nearly every one is aware of previously during the company's near- with various benchmarks available for the remarkable recovery of Apple Com- death experience. Apple has even man- the Mac platform and various bench- puter-ostensibly spurred on by the aged to maintain it's share strength on marks available for the PC platform. But 48 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com there are none that are not common to the chip and to run the copper chips using this and some of, if not all of, the only the one platform or the other. In cooler and to use less electricity. IBM other new technologies discussed other words, these measurement tools and the other Apple partner Motorola, above will be available for commercial that work with the PC won't work with pioneered this technology as well and usage beginning in 2001. the Mac -making it very difficult to other chip makers are also beginning The development of all of this extra- measure between the two systems. to transition to copper this year. In fact, ordinary microprocessor technology is The tests were designed so that by it would be safe to say that the year 2000 indeed challenging, but where does that using the same amounts of random will he known in the semiconductor leave those of us in the audio industry access memory in both PCs and the Mac industry as the 'run' to copper. It is clear who have to make on -going decisions to be tested (25OL I, and specifying the that despite a history of using alu- for the future as to platforms and func- same tasks and the identical image to minium as a microprocessor and other tionality' The first issue that appears be operated upon within Photoshop, chip substrate in some form for the last clear is that both IBM and Motorola will the processing speeds yielded would 30140 years, the transition to copper will continue in one form or another to serve represent identical task outcomes. it be complete for any new technology Apple's bidding for microprocessor was clear after the tests were completed, products sooner than later. It is only in chips for Macintosh computers. Whether that the Mac computer, using a proces- the realm of high current (non-com - the two companies exist in rigid logic - sor ostensibly half as fast as the chips puting) products that aluminium chip step or simply operate in relatively par- on the PC, outperformed the PCs on substrates will hang on in the short term. allel positions, they both are married to the graphics heavy transactions in two - The multiple demands in computing the Power PC chip and that is not going thirds of the time required by the PCs. and computer devices of speed, size, to change soon or easily or even at all. What is so fascinating about the heat and reduced power consumption It is also clear that the leach IBM has direction indicated for the future of will guarantee the ascent of copper. taken with these microprocessor fabri- Macintosh computing, is the research Fourth. IBM now proposes to build cation developments will place it one advances and chip fabrication tech- power PC chips with circuits of only 0.13 to two generations ahead of the Intel - niques produced recently by IBM's microns in width. This is approximately AMi) camp in the development of PC research labs. The iBM semiconductor 30% smaller than the current 0.18 microprocessors. And, as we have research facilities have won five Nobel micron width in use in today's micro- already seen of the lead held today by prizes for work done in semiconductor processor chips. The new chips will also the supposedly inferior Power PC chips physics. That is an almost unbelievable use an insulation spacing of only 0.1 ( inferior in terms of raw clock numbers number for the research output of one micron between two individual circuits. rather than throughput), the future will company. But IBM is not an ordinary Although the smaller spacing promises be measured not in raw clocked num- company and the breakthroughs that speed advances to as high a clock rate bers but by the use of multiple chip have been recently announced, promise as 3MHz or better, the need to maintain clocks -the several insulation tech- to increase the power and the speed of inter -circuit isolation becomes that niques used to reduce chip die size and computers using IBM's microprocessors much nx>re important. This is especially increase speed -to the gains made in as well as reducing the heat generated true, since the space between on -chip chip fabrication implementation. and the size of the chips. The advances wiring and circuits could be measured In other words, the speed advantage are as follows: in the thousands or even the hundreds held by Power PC chips over suppos- The future will see use of multiple of atoms. Intercircuit electrical interfer- edly faster Gigahertz -range PC chips, local clocks oh board IBM -designed ence must be suppressed or else any will in all likelihood remain. And as to microprocessor chips including the chip using these micro dimensions will how long two generations of chip future range of Power PC chips, as become unreliable. Current chips from implementation will represent. it is pos- opposed to the current practice of using all chipmakers use glass -like silicon - sible to look at the current rule -of- a single central clock to run the entire dioxide -based insulation. That method thumb that says one chip generation chip. This new technique is known as of insulating is not appropriate to the equals one year. This may not hold true Interlocked Pipelined CMOS (iPCMOS) incredibly small dimensions of the 0.13 in the compressed universe of chip fab- technology lu e use of multiple clocks micron chips. rication and development in the new will allow faster elements of a chip to Fifth, to insulate for the new chips. Millennium, but it is clear that whatever run at their own speed -not having to IBM has developed the use of an organic happens in the Intel -AMi) camp. IBM wait for a system -wide clock cycle to polymer material known as a low-k will not be sitting on its hands. proceed. The technique removes the dielectric' or SiLK which is baked on It is estimated by analysts in the micro- current limitation of the fastest elements between layers of more conventional processor industry, that IBM's lead in on a microprocessor having to wait for oxide materials in a sandwich. iBM has technology should yield Gllz Power PC the slowest elements and could even- learned how to manage the incredible chips by the end of this year or the begin- tually yield operations in the 3bn to difficulty of using polymer material, so ning of next and potentially two and 4.5bn cycles /second using conventional it can he layered and sculpted to ultra - three GHz chips in forthcoming years. It or unconventional silicon circuitry. precise specifications around the cop- is not unlikely that by 2005, the average Second. it is the use of another per circuitry. All of this to shield the Power l'C chip will be pinning at 5GHz method of insulating size- reduced chips millions of individual copper circuits on or better. However, despite this very from the Internal interference caused the microprocessor chip, reducing the pretty picture there is one problem. by the closeness of connections known electrical crosstalk between circuits that Despite the advances that have been as silicon -on- insulator or SOi. This tech- could denigrate chip performance made and which have yielded powerful nology will have an immediate impact (speed) and waste electrical power on and significant improvements in video on chip fabrication and may influence the chip. The low -k (or low capacitance) editing and manipulation technology, succeeding generations of chips. plastic material is a semiconductor audio has lagged far behind on both the Third, is the continuation of the move dielectric produced by Dow Chemical PC and Macintosh platform. Audio soft- from aluminium -based chips to copper- Co to IBM's proprietary specifications. ware has to be written to take advantage based chips. This advance too, came Curiously, the Apple computer partner of these incredible future advances in from IBM's research laboratories with Motorola is the other major chip maker chip design. That this will hap- the initial announcement made in 1997. to be working with SiLK. although its pen is very likely, but when and The use of copper allows circuits to he plans for using the organic polymer with what standards remains the 'll made physically thinner without the loss material do not indicate chip produc- huge question mark hanging of any ability to move electrons about tion until 2002 at the earliest. IBM chips over the audio industry. Studio Sound www.prostudio.comistudiosound August 2000 49

www.americanradiohistory.com Surround Sound Microphone Recording

The second part of our surround sound investigation highlights a study in microphone placement. Dave Foister follows a series of purist Swiss recording sessions

- iv- otu le t . isaair , f. ` it .I . ' ;! 1rr; j L - atg- t -. h *ea:- AriIligiaÌ/r1a11miilri (ilutlL 't.,.., rl' i11i .4, VelY . t.. _`, _. ..._.. - -rt _.\ .1 s Sl'EREO I IAS BEEN with us for more for themselves in location recording. pro- ntoush to the depth and perspective of the than a century. and we're still finding duction and editing for the classical CD mar- sounds in front of the listener. removing the ne\c ways of recording it. Generations ket. including their own Pan Classics label. sense Of listening through a wind( m. that of engineers and producers have explored The team of Clement Spiess, Koichiro Hattori. stereo could be said to give. an enormous spectrum of techniques. and Iensiaumin, and Simi in Fox share out the roles Few- microphone arrays designed specif- no clear winner has emerged -and never of producer. balance engineer and editor in ically for surround recording have ever been will, since the concept of a perfect multi- every possible combination depending on available. There was for a time :t special. purpose technique is nonsense. If there's a the nature of the job. Their relationship with quadraphonic version of the Neumann vile, it along the lines of horses for courses. Lucerne's Arts and Conference Centre was S \I()9. with tì air capsules instead of the usual or perhaps letter still there are no rules -if highlighted in our review of the SPI.- Brauner two: there is the SPI. system referred to ear- it works in a given situati(in. clo it. \tnu's ,.I microphone array Last Year. and lier: and there has been for many years the By comparison. surround is a newcomer. it allows thet» to explore various methods Soundfield microphone. designed for full Even allowing for the quad explorations of within a known. acoustically successful envi- spherical surround reproduction. although the sixties and seventies. and the adoption ronment. The SPI. recording was one of a its surround capabilities have often played

of Alttbis(lmcs ;Irld either methods by small series carried out in the Lucerne hall. as well second fiddle ti I its flexibility and sheer qual- hands of enthusiasts. it is t fraction of the as in a favourite church up in the mountains ity as a stereo system and even as a mono age of 2- channel stereo. and widespread use outside Lucerne. This time the focus of my microphone. I know of users who have of surround intended for a real consumer visit was a recording of the Central Swiss owned a Soundfield for years and never done market is still in its infancy. The consumer youth Orchestra. with a programme includ- any surround recording with it. The fact format that has emerged as the de/bclo stan- ing Bruckner's 6th symphony, and the cen- remains. however, that its tetrahedral cap- dard may in it be what music WC( irdists would tral surround element this time was to be the sule array (not one in each corner as many have chosen. but the cinema-dictated Soundfield Mk.\ microphone along with its imagine) has the capability of capturing :i 5- channel layout appears to be here to stay. new surround partner. the SP-ri I processor. complete spherical sounclfield, although few Idealists continue to complain that its inap- This eagerly awaited adjunct to the established decoders capable of delivering this have ever propriate fiir ni ti sic. and that yet another microphone system is still in development. been pr( xluced. On the other hand. surround opportunity has been missed. another sec- and a prototype fitted with the first output without height of the kind we are now ond -lest system has wi in. while pragmatists format card was kindly lent by Soundfield becoming accustomed to is second nature are rolling their sleeves up and finding out Research for the purposes of the trial. to the Soundfield. and Soundfield Research how to slake it work. While manufacturers In its wan-. Sound Arts' fundamental aim is is now beginning to offer us real -world are beginning to offer pu ducts that address simple -to produce a realistic impression of processors to exploit this potential. 5.1 recording. effects and mastering, astute an acoustic performance from the point of The device loaned to Sound Arts for this

recording outfits are trying various ap- view of an ideally placed ntentlxr c if the audi- recording was the SP-m51. a I t t -high proces- proaches to nuking an acoustic event. par- ence. There is no attempt to ck i amt ping fancy sor that takes the 11-format signals from the allelling the decades of work spent with the surround channels. as anything nu we microphone control box and delivers mul- identifying the strengths of the va ri( )lis stereo than recreating the sense of the original space tiple surround channels in whatever format techniques. A particularly enthusiastic team would distract front the central purpose. At has been chosen. There are eight output is Swiss company Sound . \rts AG. the same time it becomes manifestly clear on NI.R, on the hack. allowing delivery of all Sound Arts is a group of Ii inner Detmokl first hearing of a good surround recording of kinds of standards and layouts. The actual Tonmeistei :s who ha\e established a niche this type that the rear channels add enor- choice of how the signals are presented is

50 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com dependent on a card fitted in one of two slots lack of any antiphase romp( ments or arrival - in the chassis. Al the moment there is only time comb filtering created a stable and con - one such card available. and this is there- vincing image. tolerant of moving around fore Nwhat was used. The fact that this card the listening space. and capable of being col- has the name Microphone Array Pattern lapsed into stereo or mono without any ill (\1AP) gives a strong hint as to what the effects. The adjustments cwere interesting and approach is at this stage. useful: the width controls did what one The conventional stereo output of a would have hoped, particularly once the cen- Soundfield is derived by mixing the B -for- tre microphone had been appropriately mat signals in a manner similar to Nis tech- adjusted. and tl-e polar pattern adjustment niques, but with considerably more on the back pair had the expected effect of flexibility. As a quick reminder. these B -for- putting more signal on the rear channels. mat signals comprise four virtual microphone Turning it tc wdds onni brought the frontal signals: three figure -of-eights pointing fin-- image tirward into the room. while the other ward, sideways and up. and :in )tees \lixing direction. by effectively putting front signal

I the front t X a and side l > ;gives figure -of- out of phase on the hacks. exaggerated the eights pointing in any direction. and adding front -back separation and enhanced the the onni I \\'1 to these modifies the polar sense of space. pattern to any first -order configuration you A major benefit of B- format work is that want. It is thus possible to synthesise any all this kind of r_djustment can take place in number of microphones of any pattern and postproduction, just as MS allows later adjust- pointing in any direction from a single ment of stereo images. Recording the straight t i Soundfield. and indeed the \lark Ill could Ii-format from a \Ik.\ .:n ti l' 50. or an do four simultaneously in a symmetrical Anbisc micas mixing system requires only four array. The SI' 15 I's MAP card takes this a stage channels for even three if the vertical com- further. and creates five cardioid miicro- ponent. not used in the SP 15 I. is discarded). phones pointing nominally in the directions and the entire range of adjustment and proof a standard 5- speaker surround layout. cessing is a ailahle exact) as it would have Ca >wok are provided t. >r altering the widths been on the microphone live. This is useful attic front LR and rear pairs, for altering the enough in simple stereo. where a location polar patterns of the rear -facing micro- B- format recording can have all the stereo phones. and for adjusting the relative levels. configuration decisions made in a known It do >csn't take much thought to work out control room after the event. and the addi- that for music recording. the centre micro- tional power here to control the surround phone is gc ding tc > seriously reduce the appar- stage in such detail and so simply could ent width of the frontal image the bec'ottle a huge ad anta ;ge. microphone is picking up: our feeling was Those of us who have heard true that if it was used at all. it should he at least Amhisonirs derived from a single Soundfield

11) -12d13 below the levels of the others. and a ill know that ' here is much more to he had this was confirmed by Soundfield as the from this microphone. including the facility intended use afterwards. Its purpose is for to map an extraordinarily natural surround recordings awl fere a strong fre mt centre image field on to whatever loudspeaker layout is is required, like a dialogue recording. available. it is t:> be hoped that future (level - laving established this. the sound stage opnients of the SP45 I will exploit Sound- the microphone produced was impressively fields technology to the full and include natural in a restrained sort of .way. Those deciding to w eat has become known as G- they're wanting particularly noticeable ping -pong format. which is five \mbisonic :ally- decoded effects \\ mid he disappointed. but the same speaker feeds intended lorthe .standard lay- almost is true of coincident cardioids in stereo. out in use here. \Ic :>myhile the 5- cardioid which never give as spacious a result as fìg- \LAP card isa significant step in the right direc- here ure-of- eights.. \t the sane time, the complete tion and another useful addition to the sit Il >

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Sound Arts' Simon Fox and Koichiro Hattori (seated) at the Yamaha 02R with Soundfield

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www.americanradiohistory.com This basic idea was expanded on for a further session six months later, where two variants on a larger rig were tried. Here an out -front ORTF -style pair of Schoeps car - dioids formed the basis of the front, augmented by a 6m- spaced pair of B&K omnis and multiple spot microphones. The hack was handled by two rear-facing KM143s in line with the ORTF pair, and two Neumann KM130 omnis 5m or 6m further hack. Two versions of this rig were used in the course of the recording: one as it stood with simple mixing, and one with delays added to all the closer microphones according to their carefully measured distances from the main pair. This technique of attempting to time - align the various sources is of course common practice in stereo, but in this case it actually seemed to work against the intended Fox and Hattori with Studer mic Genex and Tascam DA -88 recorder hand preamps, to result. Both versions were very impressive, < surround armoury. By the way guys, it's with the SPL providing virtually all the rear and both enveloped the listener in a per- spatial. not spacial. information while the spots augmented the suasive surround image; but the one with- Having spent time playing with the frontal space and depth. out the delays seemed more open, more Soundfield, we went on to review some of Panning individual microphones into a natural, more clearly localised and the other surround trials Sound Arts has convincing surround image was of course generally more satisfying. In fact the very undertaken, played over an extraordinary nothing new to Sound Arts, who had previ- symptom the delays should have cured set of five Manger Zerohox 109 loudspeak- ously experimented with elaborate layouts -muddying and smearing of the image ers, which use a new design of lightweight of discrete microphones of various kinds. -seemed to be worsened by their addition. broadband transducer to minimise the tran- The very first such experiment, in December Sound Arts has been through many per- sient problems associated with the mechan- 1998, was on a recording of a piano con- mutations of the idea of natural surround ics of conventional drivers. These innovative certo using a remarkably simple setup with recordings, from simple specialised arrays speakers have attracted considerable atten- only eight microphones in total. In a sense to complex ad -hoc layouts, and two lessons tion in their native Germany, and did an excel- this was the surround equivalent of a semi - appear to emerge. One is that experiment is lent job of conveying what we were hearing purist stereo recording that might have been often rewarded by surprising results; the in a natural, transparent way, undoubtedly done with a Decca tree plus some close mik- other is that there is no 'right' way to do it helping with the judgement of the spatial ing of the piano. Here five Neumann KM 143s -different methods have different strengths aspects. We began with the final surround were used in a roughly pentagonal layout and different weaknesses. Both reinforce the mix of the Atmos 5.1 recording, complete above the audience and orchestra; the rears idea that the final decision as to how to with surround- panned spot microphones, were about 8m apart and 10m up, several approach each recording is a matter of taste, that I had heard in its raw state on my pre- rows hack over the audience and facing judgement, knowledge and experience. Bit vious visit. This had used a large array of spots backwards, while the three fronts were 3m like stereo then. throughout the orchestra, and the care taken above the stage and spaced by 2m or 3m. Thanks to all at Sound Arts for their in the mix with the main SPL array had pro- The detail of the piano was handled by three enthusiastic co- operation in the preparation duced a very impressive and involving further 143s in a small tree arrangement. The of this article, to Soundfield Research for the recording. Sometimes the balance between result was a very vivid impression of the loan of the equipment, and to Josef Manger for instrumental detail and a proper sense of the venue's acoustic, with excellent rendition of providing and setting up five of his monitors recording space is hard to achieve even in the localisation of orchestral the instruments for the sessions. stereo, but this setup certainly worked well, and good clarity on the solo piano.

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www.americanradiohistory.com tour overlapping frequency hands per channel. is part of the Intermix modular mixing system. it could fit into any mixing situation. The A newer name to analogue signal pro - cessing is Cambridge-based digital con - vertor manufacturer Prism Sound. who teamed up with equipment designer and producer- engineer Leif Masses to create the \laselec Master Series MEA-2 -t -band mastering equaliser (1.3.950). This 2- channel device has stepped controls for precise settings, and four bands grouped as two ( nrrlapping pairs, each pair being dedicated to low or high frequencies. Each frequency control offers 21 settings. staking a total of 84 choices per channel. Gain in the range of ±äd13 is adjustable in 10 steps. and the hand - width control for each hand selects between five preset curves and a shelving option. Across the pond there's once more a wealth of choice. including parametric EQs from the ratan who introduced the GUIDt idea to the world. George Massenburg Labs markets two parantetrics: the Dividing its time between remedial and creative reference -standard. hand-built 8200 (,£3,195 ). a dual- channel. 5 -band model, duties, the outboard equaliser is an essential and the 9500 program equaliser t £6.295 ) studio tool. Derek Johnson & Debbie Poyser with detented controls. Both have discrete transistor circuitry, G \IL's servo audition the options stabilisation to correct DC offsets. top - quality passive components. and a EQUALISATION has become a choices, with Q variable between 0.3 tr tsfornterless. DC-coupled design. recording and mastering mainstay and 3, and up to 184.113 of cut or boost Another successful American export is and the popularity of outboard available. Klark Teknik is a venerable Manley Labs. the company which has units has only increased Nvith the rise British company who made its name access to the passive EQ circuitry fea- ( )f di ;gitaI rec( )rding and digital consoles. with graphic EQs. but are also famous tured in the legendary Pultec EQs. The Studio models available range from the for flexible, afti>rdable and long - valve- equipped 3 -band Pultec EQP -IA cost -effective and functional to the eso- lived paraunetrics. The single -channel is available in single (£1,300) or dual - teric, where its probably fair to say that IOS (.1595) is a 5 -band device. with all channel versions. and as mastering if you have to ask the price you can't hands fully parametric and covering a models featuring detented controls. afford it. Design approaches vary 2011z- 2(tk1 lz frequency range. Band- Manley even offers an all -tube. dedi- equally widely. We can only provide a width is y ;unable between 0.08 and 12, cated mid-frequency EQ (,1.060) said speedy tour. and we've had to exclude and cut -boost of -25d B to + 15dß is avail- to be ideal k mid-heavy instruments combination devices. able. It also features high- and low -pass such as ;guitars. The latest 1:Q is the The failed Kingdom has an illustri- filters. The DN 110 (1.999) is a dual - Massive Passive (.2»S ), a stereo, ous history in EQ. and British compa- channel version of the -+05. t -hand mastering processor with addi- nies otter a Variety of equalisers at Two Oram contenders are the tional high -pass and logy -pass filters. different price points and with differ- Hl)-EQ2 (Ä3,534) and the limited -ccli- I'S designers certainly scent to favour ent approaches. The idiosyncratic tion 11D-35 (S1.276). Electronically sim- valves: tubes are used in equalisers joemeek proffers the VC5 Meequalizer ilar ( though the EQ2 has a sculpted front ranging from the Aphex 109 (.13.0)). a (at £25-1. t'1í exVAT), a dual- channel panel and more precise calibration). cast -effective parametric featuring device aiming to offer a classic sound both are dual- channel devices offering 'Tubessence valve circuitry and clual with simple facilities- shclyin ;g treble six parametric bands plus HI' and LF 2 -band or ntonO I -bancl operation. right and bass hands. and a swept mid hand. filters. Also available from Oram is the up to EQs costing £2.000 plus. The Cut or boost of 16 -18d13 is ;i\ailable, but Octal EQ (.!. 1.850 ), providing eight chan- EQP -20013 (£1.995) front Summit is an there's no bandwidth cc tntrol. Another nels of I -hand parametric l(. From example of the latter type. Its a 2 -chan- model in a niche that spans the project Focusrite rc tine the Red 2 L,k. 2.195 ) dual - nel. -+ -hand passive parametric. pro- and professional studio is the 5013 channel -I -band model (with a trans- gramme equaliser utilising tubes as well (1399) from TI. Audio. This dual -chan- former- coupled design offering two as solid -state electronics. a trans - nel, I -hand parametric uses hybrid parametric mid hands. shelving 1 IF and formerless signal path. and an unusual tube solid -state circuitry and offers 1.1" bands. and high -pass and low-pass configuration. This comprises an 11F overlapping hands with up to t5dB of filters) and the dual- channel Blue 315 shelf attenuator, a mid-high hand offer- cut or boost in each bancl and Q vari- Ise ntorphic \lasteringEqualiser(,i3.9)5). ing boost control at eight frequencies. able between 0.5 and 5. Drawnter's take The latter is a I -hand device with an IF hand with boost and cut (avail- on tube equalisation is the £995 1961 stepped rotary switches and the saute able simultaneously ) at five frequencies, dual- channel parametrie, which aug- circuitry and unponents as the leg- and an LF shelving filter. The saute c()nt- ments its bass. low -mid. high -mid and endary Focusrite ISA W. let another panvs EQF -100 (12.99; . is a single - treble hands with adjustable high -pass opportunity to buy British is offered by channel. full -range passi\ e device. with and logy -pass titters. Each main hand Trident- \l'l. \. with the iX2 EQ module. four overlapping EQ bands folio \yc(1 1)\ has six s\yitchable. ( )verlappingfrequency Though this 16- channel F.Q, featuring a valve amp stage. \Iillennia Media. > 54 August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com < too, uses valves and solid-state elec- enhancement technology. The dual - centre frequencies in the LF hand, 11 in tronics, in a rather unusual way. Its channel, 3 -hand Qure also features vari- the mid hand, and five in the HF hand. 11,950 NSEQ2 dual -channel, 4 -hand able- frequency high -pass and low -pass Also on the Tube -Tech roster are the parametric EQ offers switchable valve filters, and a valve stage. PE1C 3 -hand passive mono program and solid -state amplifier stages in one There are not many digital equalisers EQ, and the EQ1A 3 -band single-chan- unit, for an instant choice of sound char- in the world, yet Z- Systems, makes two. nel PO acter, plus an impressively wide fre- The Z -Q6 mastering EQ (£6,750) can quency response. operate at up to 96kHz with 24 -bit res- in six Over the tubeless camp is olution, and provides channels of Aphex Systems, US.Tel: +I 818 767 2929. California -based Avalon Designs, who 4 -hand EQ -ideal for surround mixing ARX International, UK. offer two 4 -hand, dual-mono paramet- -or two channels of 18 -hand EQ. The rics based around class -A amplifiers, a 12,495 Z -Q1 is aimed at mastering engi- Tel: +44 (0)20 8742 0350. DC- coupled, transformerless design, neers, providing four parametric and two AvalonDesign, US.TeI: +I 949 492 2000. and passive- active filter topologies. shelving bands, and can run in stereo or Behringer, Germany.Tel: +49 2154 920 666. The 2055 (£2,635) has passive lower dual- channel mono. This 24 -hit device

+44 1 and upper hands with shelving or peak - is designed to behave like an analogue Drawmer, UK.Tel: 924 378669. dip characteristics, and two fully vari- EQ, offering real -time adjustment with- Focusrite, UK.Tel: +44 1494 462246. able active mid hands. The substantial out pops, clicks or digital artefacts. US.TeI: + 1 323 854 1155. 2077 (£8,615) is recommended for mas- Behringer addresses the lower -cost +44 tering, and to that end it has switched end of the market with the sub-£100 Joemeek, UK.Tel: 1626 333948. controls. Even Summit, previously solid -state Ultra -Q Pro PEQ2200, but Klark Teknik, UK.Tel: +44 1 562 74 1 515. known for valve designs, is branching climb the price ladder somewhat with Manley Labs. US.Tet: +I 909 627 4256. out, with the new Element 78 EQ -200 the valve- enhanced Tube Ultra -Q T1951 Millennia Media, US.Tef: +1 530 647 0750. (£3,495). Summit used the talents of (1560). The PEQ2200 offers five fully Rupert Neve in the design of the discrete parametric hands plus tunable high -pass Oram, UK.Tet: +44 1474 815300. Class A transformer -coupled circuitry of and low-pass filters. The four overlap- Prism Sound, UK.Tet: +44 1223 424988. this solid -state 4 -hand parametric, and ping hands of the stereo T1951 are fully SPL, Germany.Tel: +49 216 398 340. added MIDI, 25 memories, and support parametric, though the high and low for Pro Tools with the 'Extension 78' soft- hands can he used as shelving filters. Summit, US.Te1: +I 831 728 1302. ware control panel. A quick trip north of the border brings TL Audio, UK.Tel: +44 1462 680888. Many ways to spend your Euros are us to Denmark, home of Tube Tech. Trident -MTA, UK. Joemeek. offered by companies such a SPL, whose valve processors share a retro- +44 Z- Systems and Behringer. SPL's Qure style, functional appearance and large Tel 1626 333948. parametric EQ (1999) features a myste- precision rotary controls. The ME1B sin- TubeTech, Denmark.Te1: +45 38 71 0021. rious 'Qure' control which appears to gle- channel parametric offers three pas- Z- Systems, US.TeI: +1 352 371 0990 he derived from some of their Vitalizer sive EQ hands, with five selectable MODULINE Modular unit construction system for digital audio, video and data routing

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Studio Sound has now published two market's growth areas and forecasts to volumes of invaluable analysis covering the make informed decisions for The future. key trends and issues affecting pro audio Both volumes are clearly sectioned and manufacturers and facilities across the illustrated with graphs and charts, allowing globe - essential reading for all industry quick and easy reference to the information professionals with a need to know their you need.

Volume I - Pro Audio World Report

Over 300 pages of detailed analysis of the international pro audio market's major issues

Overview of end -user markets - sound recording. post -production, radio stations, broadcast Overview of the world studio market split by region and type Objective evaluations of the latest key trends and issues affecting broadcast and facilities 30 company profiles of key facilities and equipment manufacturers Outlook - short, medium and long -term forecasts for the audio facilities market, and much more...

"...38% of studios plan to open new facilities in the next two years, while 68% intend to upgrade their existing facilities."

Volume Il - Pro Audio Facility Survey

The results of the first major 1998 Studio Sound survey of facilities worldwide. broken down by major world region and area of activity. Analysis is illustrated with tables and graphs for quick use.

Key areas of growth and decline The current operating environment - turnover, profit growth, daily rates & capacity utilisation Equipment manufacturers' market shares, by type of equipment Facility managers' views on investment opportunities, the impact of digital technology, factors that will impact on the industry in the next five years, and more.

"Profit margins were at their highest in the Asia -Pacific region (54.4 %) and at their lowest in Eastern Europe (12.1%)."

For more information on purchasing these essential volumes, contact Lianne Davey on tel: +44 (0) 171 940 8598, or e -mail: Ikdavey @unmf.com Alternatively, visit www.marketfile.com to view sample pages.

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www.americanradiohistory.com domestic receivers. Most of these can be used as standalone applications and do not have to be used in conjunction with mediatron's full automation systems, the AirControl NT and AirEdit NT. AirControl NT is a full studio software package for the dig- italisation and automation of radio stations and is designed to run programming on a 24 -hour basis. Music, jin- gles, news, commercials and other sound elements are sourced in CD- quality from RAIDS hard -disk arrays, running at 32 -hit on the Windows NT 4.0 platform. All manufacturers of radio automation systems have built their reputation on one element, as with RCS and Selector, or have become the main supplier in either their home country or a specific part of the radio market. While aimed largely at the high -end, large scale sector, Netia Digital Audio and Dalet Digital Media Systems, coincidentally both biggest Increased computing Matrix Controllers and the new DAB/ French, are arguably two of the WWW package, featuring the PAD server. names in automated radio. power has taken broadcast DAVID, at one time part of the Netia has consolidated its position in Harman Group, is now owned by fel- the last year by becoming part of the automation systems into the low German company Management Belgian EVS Broadcast Equipment Software Engineering. At the end group and taking over another French 2 I st century. Kevin Hilton Data of last year this software house com- operation. Audio Follow. The former explores the options and pleted a 2 -year project to design and move strengthens Netia in the TV mar- opportunities install a full digital production frame- ket, as it, unusually for a radio automa- work for all seven channels of the tion company, also works in the vision IN THE EARLY DAYS of computing, Hessischen Rundfunk network. Man- field. Netia and Audio Follow had been mechanical computers took up huge agement Data has also been involved business partners since 1993; a formal amounts of carefully air- conditioned in initial pilot projects for the digitali- merger was regarded as prudent, as both space. Today, more powerful devices sation of the BBC World Service's systems work on the NT platform. Audio sit quietly in the corner of many living Russian language channel and is col- Follow's products have now been rooms. In the same way, time -con- laborating with US company b -i -t -s absorbed into Netia's Radio Assist range. trolled, mechanically driven radio Broadcasting Technology Services. This Netia has its own set of broadcasting automation systems were housed in year it expanded the scope of its auto- modules, marketed under the Odyssey special equipment rooms. away from mation activities by merging with Omni - umbrella name. These incorporate the main studios. Their modern, server - Bus Systems, a British specialist in Audio Follow's 'Air' prefix and include based counterparts are also consigned integrated TV studio control. the Air -DDO play -out system for net- to separate racks. but they take up con- As much as manufacturers may want work centres; the Air -PlayList for siderably less space and could com- customers to use their system and their themed stations, which can be used in fortably run the entire output of an system only, end -users have become automated or manual modes; the Air - station if necessary. more sophisticated and shown that they HotKey; Air -CartStack; and Air jingle. With the evolution of computer do not necessarily want to be tied to one Users of Netia equipment include Radio processors and soundcards, the radio platform. Plug -in technology has made France, BBC World Service and the station in a broom cupboard is now a it easier for operators to pick and choose Australian Broadcasting Corporation. reality. As is commonplace today, the the applications or components they Dalet has an equally long list of users, Internet is adding a new dimension: sys- want. A classic example is the RCS among them the BBC, CNN. Radio tems developed for that medium have Selector music play -list package. which Switzerland International and BFBS. found their way into the mainstream has become almost the generic term for Central to the company's philosophy is and have forced the prices down, bring- such systems. Many stations will use this the Dalet 5.1, which is able to acquire ing automation to users who would in conjunction with other automation audio from a variety of sources, includ- have previously considered it a luxury. systems, preferring not to use RCS's own ing satellites, CDs, digital files, and live In a market that ranges from expensive, automation package or the scheduler of recordings. All content is stored in a fully functioned. complete solutions to their chosen system. common database and assigned titles software packages for under .£ 100, radio A company banking heavily on plug - for correct identification. automation is a classic example of users ins is Mediatron. Working on familiar One system that developed from col- getting exactly what they pay for. drag -and -drop lines, Mediatron's plug - laboration and licensing is the Sony During last year's Sound Equipment ins work under either Windows NT 4.0 B\1S. Swedish software house BSS was Broadcasting Show (SBES) in Birming- or Windows 2000. Current plug -ins looking for a hardware platform, which ham, UK, Jutel introduced a component include: HotControl, a hotkey and short- was supplied by the multinational in version of its On Air-applications pack- cut play -back module that replaces cart 1998. Latest developments for BMS age. This can now be used for playing machines; X- FadeEdit for creating cross- include a new SQL database, based on out schedules from the ENPS desktop, fades and segueways; VoiceTrack, a ODBC (Open DataBase Connectivity) aside from its established jingle facilities. module for recording and triggering for Windows and a new edit function. Included in this is the Cartwall, plus linking announcements; and the ODBC .acts as a translation device, AutoPlayer for automatic play -out of Digital Radio control module, offering which allows different data sources to playlists, the Quick Edit audio editor. the potential of text and graphics on communicate via SQL. The BMS editor August 2000 www.prostudio.comistudiosound Studio Sound

www.americanradiohistory.com has been able to open a range of file plenty more that have carved out a niche features for conventional radio. formats (MP3, MPEG Layer II, AVI) for on a local basis. Computer Concept Web Jockey is not alone. In no par- some time, using ActiveShow technol- Corporation is one of the longer serv- ticular order, and taking a very deep ogy built into Windows. But this was ing developers, recognised for the DCS. breath, also available are: Radio 2000 only enabled it to 'write' (or mixdown) This has evolved into Maestro 2.0, which digital jukebox and Internet radio sys- completed edits to a PCM WAV or uses apt -x, MPEG, or linear audio for- tem; Raduga V3.0 low -cost automation; Broadcast Wave file. This has now been mats and can integrate with a user's pre- Keogh Software's RMS WaveCast 3.0 for expanded, giving the ability to use any ferred music scheduler. automated play -out of digital audio files; file format supported in the Windows On Air Digital USA has introduced Supersonic software driven audio rack; ACM (Audio Compression Manager). version two of its Ultimate Digital Studio Virtual DJ, using Microsoft Direct Xtech; For production purposes, the system (UDS), which is designed to work with a trio of systems from Greece -AK offers the Mix Editor and Surfer appli- live presenters, but can also run as a Radio Suite, Hotradio and Jazler; BasS cations for editing and preparing mate- completely automated device. At the (Broadcast Automated Support Sys- rial. Dalet also has an optional music core of the UDS II is the RS -HD (Radio tems) Windows and Mac-based server scheduler, while the whole system can Suite Hard Drive system), a Linux -based and play -out tools; Discosoft MP3; DRS work in live or fully automated modes. digital audio server. This stores all 2006; Etre Windows -based software that For the future, Dalet has included a multi- events on hard drive or combines with can interface with 'leading compo- media content database and a variety of external CD changers. nents'; LAN International's Sound optional broadcast modules. Webcasting A venerable name in broadcast Manager, with a range of components is covered by the On -Air Now! function, automation is Smart Broadcast Systems. including OnAir and Cartwall; OZZ enabling broadcasters to offer a -com- Its radio system is the Smartcaster, a 2000, offering three modules for studio merce and content data (for example, hardware rack and software combina- operations, planning departments and song titles, album covers) that completion that employs MPEG or Gen2000 systems engineers; Pristine Systems' ment the on -air programming. files controlled by Windows 98, 95, NT Rapid Fire hard disk studio system and A big name, yet a relative newcomer or DOS. The software is currently in its MusicPlus scheduler; Pro Studio Radio to radio automation is Fairlight On Air second generation; a play -list scheduler, I lost integrated software, including the Systems, formed when the DAW manu- Digital Programme Director, is included Heavy Rotation scheduler; Tiesseci facturer acquired Vamos Media Solu- in the package. Broadcast Systems' ís2000, a networked tions, based in the Netherlands, and Both stand -alone and integrated or stand-alone system running on NT fellow Australian company Ogenic On products are produced by Zenon Media or Windows 2000; Win Antenna from Air Systems. Central to its range is CoStar, of Germany. Stand -alones include the France; Italy's Winjay; the Spanish based around hard disk RAID storage, Air Check hard -disk logger and Auto XSystem; SBZ AIRMIX sound automa- semi -online CD jukebox arrays or offline Recorder; integrated units are the Send tion PRO and AIRMIX sound automa- CD- ROM /DLT tape backups linked to a 32 scheduler and the Audio -Cast com- tion DJ; and Radio Edition's Megamix, self- tuning database engine. As a mod- plete one- channel broadcast system. equipped with Soundsoft MP3 TAG ID ular system, users have a choice of var- VCS has a family of automation prod- file labelling technology. ious components: Quick Recorder, Multi ucts under the dira (digital radio) Kan- Unsurprisingly, some manufacturers Channel Recorder, Looping Recorder, ner, including the OACTRL On Air are dismissive of the cheaper software Single Track Editor for journalists and Controller and the On Air jingle solutions. Those involved with these editors, CoSTAR Multitrack Editor for machine, cart player and scheduler. packages admit they are limited in cer- specialised usage, News Wire third -party Two of the best known British man- tain respects, but say it is a matter of systems interface, CoSTAR internal wire ufacturers for small to medium radio sta- what the user wants to do. In a per- reader and the CoSTAR NewsCollector. tions are Barrcode, which first came to ceived digital world, radio is neither as A recent major installation was at Radio note for the Brian editor, and ProCass, digit -based nor as automated as might New Zealand's new Broadcasting House developer of the WAVcart. For wider be thought. Large -scale radio stations, complex in Auckland. automation Barrcode offers the BCSCS particularly the cash -rich groups, can Windows NT has become the operat- (Barrcode Storecasting System) and afford the high -end systems in a big ing system of choice for an increasing ProCass the Soundßox, an MPEG com- way. Many smaller stations either use number of audio applications, so radio pression -based system that can run low -cost software automation or still automation is shifting towards this plat- small stations on a 24 -hour basis. have not progressed that far. Techno- form as more new releases are purely Software house P Squared produces the dreams must he tempered with the software packages that work on any PC Myriad V2.0 play -out and automation revelation that, apparently, 80% of Am- infrastructure. Although it can operate package. This comprises three compo- erican radio stations still run off cart. with servers running Novell or Unix, nents: Myriadmin, Myriad Live and Q- Lower cost technology is becoming Studer's DigiMedia uses NT 4.0 as its NXT. A fourth element, Voice Custom, critical to radio automation. As off-the main platform and, like a great many is also available. Another significant shelf soundcards fall in price and rise automation systems, employs Digigram seller in the UK is Radiomation, which in quality, there has been a move away professional audio soundboards, includ- has a strong grip on its native Republic from Digigram. 'MPEG and apt -X coming the PCX9, PCX11, PCX11 +, PCX80, of Ireland market, being used by the pression could see a similar migration PCX20 and PCXPocket. country's independent news provider to other formats, although compression Another convert to NT is Enco to feed most commercial radio stations. in general could he a less common part Systems, an American manufacturer that A great many software packages cur- of this technology. is apparently making a new push into rently available for automation either This is due to a shift towards linear Europe. It's main contender is the began life aimed at Internet radio or are audio. Manufacturers are already ad- DADpro32 digital audio delivery system, also intended for other music sequenc- dressing the issue, with RCS's Master which will also run on Windows 98. The ing applications, like live DJing and Control NT V14.3 supporting the forniat. system can he used for live assist, full music scheduling in clubs and bars. Web Barrcode will introduce linear versions automation, on -air presentation, pro- Jockey by HGYS caused a stir at last of existing products at SBES in duction and inventory management. year's SBES, where it was demonstrated November. The radio market has The array of radio automation soft- by UK distributor Alice Soundtech. always been an idiosyncratic one and it ware on the market is almost bewilder- Retailing for around 170, Version 2 is seems that its future will once ahead ing. There are those that are well known due later in the year, retailing at approx- he mapped out on a wet day in in most national markets, but there are imately 1600, and will offer more Birmingham. Studio Sound www.prostudio.com /studiosound August 2000 61

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www.americanradiohistory.com nmk li ul .1 Buenos Is more than L e Idt lgO, with two major inure presence in all ul rite continent (only Brazil and \Iexio) thus recording facilities illustrating the future of the most tar), \lolho is betting that I )\ I) will European of Latin America cities report, Dan Daley become a major force in his region. although not in quite the way its doing BUENOS AIRES IS 91 ITE PROI'I) is glued to a cellphune dial never seems so in Europe and North America. of its European heritage. That's to stop buzzing. found w.ivs to follow 'Argentina is what I would call I lolly - immediately evident in the archi- the money in a business that was rapidly wood -dependent. observes \lolho tecture of the sprawling city's down- becoming the purview of everyone and from behind his desk. where he sits town section. where sleek stores sell anyone who could afford the increas- framed by a Kandinsky print from the even sleeker Euro couture and furniture ingly a11i)rdablc new generation of pro Guggenheim \Iuseunt. 'I suppose its designs. \Vherc much of the rest of audio equipment. After \111)1 had be- understandable to some degree -with South America remains an adobe and come a commodity. he moved into 35m people, Argentina is a relatively glass- and -steel hybrid Of structural video editing and audio postproduc- small market for movies. But I knew that design. part Castilliam. part Indian, part tion, shitting the company's fis(us from movies weren't the way introduce Bauhaus. BA. as the locals call it. music recording ( rock. nut Latino: an authoring business to Argentina.' combines classical post -Renaissance. another way that l3A stays nusre Euro What Fingers Arts Group-the name post- colonial postproduction and har- than South American ) to corporate refers to the musical acoitnessof \k)lho's moniously amid post -modern and clients such as advertising agencies. cousin. a musician who lives in the twisty European lanes feeding into wide Than. in turn. led to the addition of ani- states-did instead was to leverage its boulevards, including Avenue 9 de mation. graphics and digital audio edit- already large hase of corporate clients. Julio. at 121)111 the widest avenue in the ing. and Later led to the creation of a which it had developed during its tran- world. In short, BA takes some chances, joint venture cyith t 5 media facility sition to postpr(xluction, and introduce but knows whence it carte. designer John Storyk's Walters- Sturyk them to I)VI) as the interactive succes- That sense of history seems to give it Design Group in 199.1. after k lhu had sor to VI IS for corporate promotional a good sense of where its going. as well. moved his expanded studio business videos. Although the awareness (>t D \T) Two facilities in BA illustrate how into new digs in BA's Villa Crespo in the advertising and other corporate Argentina and possibly the rest of Latin neighbourhood. ranks was virtually nil in 199°). within six America will handle the future. Onc 'The studio business is changing all months Fingers Arts had created two is facility resting its hopes (>n DVD. over the world.' \I( >Iho says. -And even DVD presentations. one for a real estate using the recording business founda- though this is Argentina, were not developer. the other for the BA branch tion it was once based on as a support intntune iiit II lc forces of evolution in of an Italian advertising first. During that mechanism for its launch int() the world the business. \Ve ye had t(> adapt the facil- time. it also slid the DVD authoring for of digital media formats. The other is ity to changes in the market and changes the first domestically produced Argentine straight -ahead your rock h' roll studio in technology. Yeah. we follow the film logo to D\1), .UiaAhna (DearAlnra ). that is undergoing the increasingly com- money. But that's what business is about. I1u veyer. !\lolho doesn't believe that mon shift front private (lontain ()f a rock When a lot of people can stake records the advent of DVD is going to he any luminary to staking a living in the day - ( in their (nyn equipment. then nwsicstu- sort of deliverance for the Argentine films to -day world of fur-hire facilities. dios have to move into areas where peo- industry or the audio post business Fingers Arts Group is rooted in the ple can't do things at home.' which feeds it. The Argentine movie recording studio business. one started That mind -set has now led Molho to industry puts out only about a dozen modestly ern nigh by owner Sergio turn yet another technological corner new titles a year. Mulho isn't kidding Molho hack in 1986 out ofa small space and establish v-hat is South America's himself that Argentina is destined to With a S( >uncicratt recording console and first independent 1) \'D authoring facil- replace Hollywood. Bombay or Hung a lot of \111)1 gear. I fowever, \lolho, a ity last year. While the new format has Kong any time soon. Rather. Ile says. husky. gregarious BA native whose ear barely a footprint in Argentina and not the theatrical titles that will start fill- > Studio Sound www.prostudio.com /studiosound August 2000 63

www.americanradiohistory.com < ing Argentina's DVD pipelines will come from catalogue films, bringing domestic output from 12 to about 40 locally produced new films per year within a few years, still a very small number. Fingers Art Group is fitted like .t Ilg- saw puzzle into a 2- storey space above retail shops on the street level below. At the top of a steep staircase is a war- ren of small yet well -apportioned studios and offices containing the DVD authoring suite and a multimedia presentation room hack to hack, with Molho's and other offices on the other side of the reception area. The second Floor, accessed via a spiral staircase, holds the audio studio that was the original business at this location, fitted with a Soundcraft analogue console and Panasonic digital mixer. as well as video editing and multimedia graphics suites by Me placement di sha ll( RI'(i dif- films don't get out of the country much,' using Adobe Photoshop and Quark fusers on the rear walls, creating an artic- Alvarez explains. 'That would change Xpress, and a small cafe and lounge. ulate and accurate surround audio the entire culture of film audio post - The DVD suite is based around a playback environment. And while most production in Argentina. But that may Sonic Solutions DVD Creator system of the audio components of DVD pro- happen at some point as the film indus- residing on a Macintosh computer. This ductions are created out of house and try here grows.' is fed by an array of media devices, brought in by the client, Fingers uses a And while Molho continues to pur- including a Tascam DA -30 DAT deck Digidesign Pro Tools system to create sue music recording to some extent, he and a DA -88 digital 8 -track for audio its multichannel mixes. Despite its com- believes that the region's future will be tracks, and a Sony Beta SP video deck. pactness, the entire facility has each based on a wider range of media, and Two Pioneer 244 DVD decks serves as media suite linked via Ethernet. he is acting accordingly. 'We think cor- playback for quality control and pre- The authoring projects have been rel- porate work is going to be the big sentations in the adjacent presentation atively simple and straightforward thus growth area for audio,' he states. room. Both suites are fitted with far. Mia Alma, for instance, has a mid- Rock music has been the anarchistic Speakercraft audio monitors which, like dling degree of interactivity, including muse to a few generations of social, the Denon power amps that run them. interviews with the producer and the political and cultural hellions, and it did are decidedly quotidian as far as audio- cast, as well as cinema and broadcast not pass Argentina by. phile pieces go. We decided that we trailers, a music video clip, and Por- wanted to be able to do the authoring tuguese and English subtitling. The sub- ESTUDIOS CIRCO BEAT started as and monitor the results under the same titles are translated by another company the private facility for Argentine kind of playback environments that in BA and delivered to Fingers as text rock legend Fito Paez, but in most of the work would be seen in,' files with time code embedded. The many ways it is the logical conclusion explains Augustin Ignacio Alvarez, Fin- film's audio came in on the DA -88. with of how rock gained its foothold in gers' DVD manager and sole authoring tracks 1 -6 holding the surround mix and Argentina, a narrative that has all the engineer. (At the moment; Molho ex- stereo on track 7 and 8. The dialogue elements of made -for -TV movie. A war pects to add two more by year's end in tracks are mixed in with the film score; movie, actually, dating hack to the 1982 order to have the facility running a full there are no separate M&E tracks, which Falklands War, better known here as La three shifts. Currently, Fingers has a total is standard operating procedure in Hol- Guerra Malvinas, the name by which of six technicians working here at var- lywood to facilitate foreign versioning Argentina knows the disputed islands. ious media disciplines.) The rooms dubs. 'They don't do separate music and 'Rock 'n' roll had always been perse- sound good and tight, however, helped effects tracks in Argentina because the cuted by the military governments of

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www.americanradiohistory.com Argentina while I lived here,' recalls Alan Colbert, a native of Buenos Aires who left for the States in the late eighties, working in the music business in New York and Los Angeles and now hack in BA as the label liaison between Warner Music and Paez. 'If you went to a rock concert here in the seventies, you could easily he arrested. It wasn't a place that was very hospitable to rock 'n' roll.' Up until that point, says Colbert, the local rock music industry was small and based largely upon garage hands playing cover songs of western artists -especially British ones, since Buenos Aires is culturally, architecturally and emotionally a European city, and the UK was the centre of much of rock's development in the seventies and eight- in many instances, building a complex facility night start to be rented out, and ies. And though Spanish is the language and expensive personal facility leads to that was one of the reasons for getting of Argentina, those bands sang Ameri- it being opened eventually for outside the control room sunken and made a can and British rock songs in English, rentals, which is the road that Circo Beat little hit larger than we might have done trying to get every note and inflection is now taking, after a redesign of the if it was just a project studio. perfect, like any adolescent garage band large space, located in the industrial The big issue in the studio was vari- of the time anywhere in the world. Paternal barrio of Buenos Aries, by the able acoustics. Fito needs live big hand The way things were then, with rock Walter-Storyk Design Group. recording potential -he uses a great essentially on a short leash and locked The main recording space is 12m x number of strings and acoustic instru- in the cocoon of English that prevented 50m with a 7m ceiling rising to a small ments on some of his recordings as well it from infusing itself into Argentine cul- skylight and surrounded by several iso as typical rock setup. We were able to ture, was just where the ruling military booths. Motorised acoustical cloud pan- get a 100% RT60 (reverberation time) junta wanted it, to the extent that it tol- els can change the room's acoustical swing from 0.4s to 0.8s with a system erated it at all. Besides, they had other properties dramatically: from a decay of of moving wall panels- hinged variable things to think about, including a fal- 0.4ms to over 0.8ms. The control room, surfaces as well as motorised ceiling tering economy that was producing which houses a 56 -input SSL G+ con- clouds. And all of the rooms are isolated quadruple -digit inflation on an annual sole with Massenberg automation and using a combination of floated and split basis, and political unrest that was a vintage 10:2 Neve sidecar mixer. is slabs. We actually made our own isola- inducing increasing violent-and in- heavily diffused, and loaded with Gen - tion product in Argentina from materi- creasingly lethal -police crackdowns elec 1038 monitors. als that we can get locally.' on dissidents. The design was limited to some Power is always a concern in a Third It was a time in Argentine history degree by the building itself, which is World environment, and Circo Beat was when the studio that Colbert and I were long and somewhat narrow -it was no exception. 'Power was a screw up, sitting in and having this conversation originally meant to be a television pro- that's for sure,' Storyk sighs. In gen- would not have been possible. Fito Paez duction studio before Paez purchased eral, Third World power situations are opened Estudios Circo Beat in Decem- it. Storyk recalls that the first move was not that difficult; most of the problems ber, 1997, and named it after one of his to get the control room lowered. were and are political- getting it best- selling albums. A protege of Argen- 'I needed the height,' he explains. 'Then installed and so on. Cleaning up the tine rock legend Charly [sic] Garcia, with I angled the control room a little in the power was not that big a problem. It's whom he played keyboards and guitar space to give a new axis to the entire getting the lines in properly that's the before stepping out to his own multi - facility, which also provided acoustic main issue in these situations.' platinum career, Paez originally plan- high frequency ray reflection benefits In addition to work by regional ned it as purely a personal recording with the angled surfaces in the studio. recording artists, including Los Fabu- facility. However, as has been the case We also knew that at some point the losos Cadillacs and Ilya Kuryakin & >

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www.americanradiohistory.com < the V tlderamas, Circo Beat has also propelled Paez's film -scoring career. and a projector and drop -down screen are part of the design in the main studio. The facility is gaining an international reputation. helped by the fact that Paez' most recent record was produced by Phil Ramone and engineered by Frank Fil- ipetti. Upstairs, the fittings for a prince of the musical realm are evident in a huge, manor house -like dining- confer- ence room. next to a gourmet kitchen. But hack to the narrative, because it was in that dining room that the conversation with Colbert took place. and where, surrounded by racks of vintage Argentinean. Chilean, Californian and French wines, the story of how rock 'n' roll came out of the closet in Argentina reached its conclusion. 'What changed it all was the Malv- inas War.' says Colbert. The government was in trouble, economically and politically. and war was a good wav to deflect criticism and attention from those issues. as it often is for many TUBETECH SMC 2A authoritarian governments. and a way to rally the people around a central ANALOG STEREO issue. So as part of the war effort, the government decreed that in the future, all broadcasting had to he in Spanish MULTIBAND COMPRESSOR -no English. Especially not English, because the war was with England. And that turned out to be the best thing that ever happened to rock 'n' roll here, because all of a sudden, radio and television needed a lot of Spanish music to fill up the airwaves. That meant that the musicians of Argentina -including the ruck musicians -had to start generat- ing new music. The hands began to write their own songs instead of covering English and American rock songs. And now that they could do that in Spanish and have an outlet for them, that really pushed the development of a rock culture here forward. And what had once been a business that stayed in small clubs was suddenly filling soc- cer stadiums. That was the beginnings of Argentine rock.' The TUBE -TECH SMC 2A is an all tube based stereo And Argentine rock music never multiband opto compressor. It features variable x -over stopped to look hack. After the military of Malv- frequencies between the three bands. Each band features government fell in the wake the inas War disaster. Argentine rock artists separate ratio, threshold, attack, release and gaincontrol. found a wider reception for their music A master output gain controls the overall level. throughout South America. and several of them, such as Los Fabulosos Cadil- World wide representation. lacs, are making inroads into the North Australia: (02)9975 1211 Belgium: (011)23 23 55 Brazil: (011)604 8339 Czech republic: (0455)631 555 American music market. Rock's revolu- Denmark: 43 99 88 77 Finland: (95)123 530 Freon: (03)8721 8210 Germany: (089)609 7670 Greece: (I )0238 200 Holland: (010)414 7055 Hong Kong 2408 2322 Italy: (051)766 648 Japan: (03)5489 3281 Korn: (02)56 i 3565 tionary roots run deeply in Buenos Norway: 8800 89 89 Poland: (622)44 66 99 Portugal: (1)7 1220 10 Russia: (095)784 7575 Slovak Republic: (07) 214 051 Aires. The walls of the buildings in Paez' Singapore: ( 225)5115 Spain: (3)319 5358 Sweden: (046)32 02 70 Switzerland: (01)840 0144 Taiwan: (2)2719 2788 Thailand: (226)23015 Turkey: (0212)272 9750 UK: (1691)6585 50 USA: (805)373 1828 working -class neighbourhood are cow- ered with political graffiti. And. up in his equipment storage loft. he keeps a LYDKRAFT portrait of Cuban revolutionary leader Che Guevera hung on the wall, over- Lydkraft Apt Ved Damhusseen 38 looking the guitars and drums and Vanlese DENMARK DK 2720 amplifiers. Like some saintly icon, Che's visage confers a blessing on the equipment, reminding it that has a larger mission in the world than fraternity parties and Saturday night soirees. 66 August 2000 www.prostudio.com /studiosound Studio Sound

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(Trust lie. I know where I'm going with and in doing so will perhaps hasten the up on Napster before the scheduled release this.) You have :t weapon of unimaginable erosion of the music industry: MP3 has date. Other artists. reportedly Radiohead destruction, but are incapable of delivering caught on in a huge way in the commer- among them. are demanding that no it. Along come the \fright brothers. who cial music business. Audio post facilities advance copies of albums be sent to jour- provide you with just the delivery system across the States are using MP3 to send nalists or others in the promotional chain. to w'honp whomever it is you feel needs draughts and finals of commercials, promo The labels are reportedly scrambling to whomping. You needn't buy a bad I folly - bumpers, spots and other commercial devise and implement security measures w(xrd script to arrive at a similar scenario audio bits to advertising agencies for to avoid leaks. in the music business at the moment. Just reviews and approvals. It would be funny, if it weren't also so Flick on your computer and watch the music But it also seems that that same record amazing. What's being created out of this business as we know it crumble around you. industry which so reviles MP3 for ripping unstoppable use of new distribution tech- It you look at the world from the per- music off the Internet is now also using nologies is .t definite disincentive to stake spective of the Recording Industry \swc- the format in a similar fashion to the audio music for commercial gain. At least, in the iation of America. you'd view MP3 :is :i slew post business: they are taking in new ay that it has been done for the last 100 of atomic bombs, going off randomly . chip- releases. formatting them for MP3, and (ran or so. In the sante way that personal ping away at the fortress of your business. using the Net to send them to such desti- recording technology created the horizon Then add Napster to the equation. If the nations as radio programming directors to for the studio business the way it was since RIAA went crazy over MP3. it went apeshit get feedback on which cuts should be the the forties. MP3 and Napster and Gnutella over the delivery mechanism that is first single off the album, or sending them and other such software are putting nails Napster. a software engine developed by to prospective directors to hid on doing the in the coffin of the music business as we :t bright but bored 19- year -old college music video. or distributing within the com- know it. dropout that enables people to find exactly pany preproduction tracks before an album No longer will large conglomerated the music file they want. retrieve it from is even finished. These files might have nteclia entities hay e cAsy strangleholds on one of the estimated 10m hard drives of been conveniently labelled for internal use. the way music is created. marketed and other Napster users and store it on their such as 'Green Day Nu Release' or 'Sting distributed. Combine that with the pro- own hard drives. from which it can be Single' or 'Oasis demo'. posed sale of l niver..iI's music holdings.

s i s lw retrieved by any of those users. TI t i pre- Enter Napster. Go up there sometime and acquired and owned seagrant's. to a cision bombing at its finest. enter words like 'demo' or 'advance' and French corporation. and Sony's long-

room with a hard drive that whirred louder Europe: Listening and hearing than quiet passages of the music and any subtle ambience. The drive could not be switched off during the tests. How can any- Listening tests carried out in London on the Verance watermarking one who is serious about testing, organise a test with such an obvious distraction? system have done nothing to quell engineers' fears writes Barry Fox Faulkner flew back from Malaysia to be AVEER A CONCERTED awareness built -in.' in London for the tests. 'I'm 49 years old, campaign conducted over the The 4C tests which led to this decision I've got a cold and I had jet lag', he said Internet by UK -based engjneer were conducted last year in US studios, after participating the day after flying in. Tony Faulkner, the SDMI and Verance on 50 'golden ears' who had been cho- 'I scored 75%, correctly identifying the finally gave the first demonstration of their sen by the five major record labels. So far watermarking in six out of eight cases. This analogue watermarking system outside the only Denny Purcell of GeorgeTown system is not transparent, and anyone who US in early July. Around 30 engineers and Mastering, Dave Smith (Sony Music) and says so just isn't telling the truth.' a few journalists were invited to Sony's stu- Mark Wilder (Sony Music) have been pre- James Mallinson is a Grammy -winning dios in Whitfield Street and given the pared to identify themselves. Although producer for all the major record labels chance to do comparative listening tests DVD -A provides a sampling rate of and independents. 'The tests were so badly on four pieces of music, with and without 192kHz, 4C's test material was coded only handled that they are totally invalid. I don't watermarking. at 96kHz/24 -hit standard. know whether it's because they don't know Paul Jessop, technical director of the IFPI After 4C chose Verance as the winning about sound quality or were trying to pull represented the Secure Digital Music Initia- system, 4C created a licensing corporation the wool over our eyes.' tive; David Liebowitz, Chairman of Verance called LMI which will now administer the 'The first musical piece, Debussy piano Corporation, was there too. But no-one was licences and collect huge royalties on was an old analogue tape with hiss and present from 4C Entity, the consortium of behalf of Verance. very constrained frequency range. Halfway IBM, Intel, Matsushita -Panasonic and So why no 4C in London? They were through I refused to continue because I said Toshiba which ran the US tests in the sum- busy with other commitments, they send there was no point in the test. The mer of 1999 on behalf of the SDMI, and on their apologies and have left me to carry Petrushka recording was some of the worst whose say -so DVD -Audio and probably the flag', said Liebowitz. Yes, there were recorded sound I have ever heard; ana- also SA-CD will be watermarked. Panasonic good personal reasons why one member logue hiss and you could hear the azimuth has already launched DVD -A players in of 4C could not be present. But why flexing, as you do from old tapes. the US, over the 4th July weekend. no-one? In the words of Pretty Woman, 'It was quite impossible to judge a sys- The testing for DVD -A is done and com- Bad Mistake. tem with that kind of material and DVD plete' Leibowitz insists. 'From October all Astonishingly, the testing process depend- audio and DSD are all about high quality. DVD -A players must have Verance circuitry ed on a Compaq laptop PC in the listening Then they played some New World

74 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com rumoured desires to unload their entertainment properties. and you are watch - i ng ing the unstated reaction of the corporate Refram the airwaves mega -entities to this situation: divestiture of entertainment holdings due to a dimin- From being a specific forum on broadcasting issues Kevin ishing ability to wring revenues out of Hilton them. Not bad for an afternoon's work signals a widening discussion of delivery matters by a disaffected teenager. THIS IS THE END, the end of broad- division of a now almost forgotten regu- It goes further. Once the broadband cast as we have all known it since latory body, would become a brand name pipeline becomes more widespread. this the mid -nineties. In the last year, splashed over newspapers, TV and radio scenario begins to apply itself to films and much has been discussed as to how 'tra- as 'the complete communications com- tele\ i.ion. Don't take nip word for it; lis- ditional' broadcasting practices and company'. But it has. Likewise, national tel- ten to lack Valenti. president and CEO of panies will change through the influence cos- France Telecom is a prime example t \I( /tic )11 Picture Association of America of new technologies and techniques. -are central to the distribution of sport- \II':\:\ t. AS quoted in the Viami Herald: There will undoubtedly be a long -term ing events like Euro 2000 and are poised 'If \ap.tet- can facilitate and encourage evolution, but in the immediate future, to be crucial to webcasting. the distribution of pirated sound record- long -established broadcast ways will form Delivery is important; it is even, to use ings. then what's to stop it from doing the basis of all activities. an eighties word, 'sexy'. Naturally, with- the sauae to movies. software. books, What is changing is this column. From out good content, delivery is just a means magazines. newspapers, television, pho- being a specific broadcast comment forum to an end. Hence Nil taking shares in tographs or video games ?' The answer. to allow me to take relevant broadcasting digital radio multiplexes and others buy- Jack. is nothing. issues and make irrelevant, obscure ing into production companies. In the light It would be a cheap shot to say that the remarks about them, it will become a of all this, it would appear that the BBC's high -end marketers of music are playing wider-ranging discussion of delivery mat- decision to privatise and sell off its trans- a charade- decrving \IP3 and Napster ters. About which I will make irrelevant, mission networks was hopelessly short- while simultaneously wing it as an inter- obscure observations. It is reassuring to sighted. But if one considers that nal marketing tool. and crying again when know that while things change, they don't conventional terrestrial transmission is not it turns around and hire. them in the change that much. the future, then the Corporation did not shorts. But the two points I will leave you Some of the issues that will now be dis- completely strand itself-particularly as it with are that it was :ftidio which estab- cussed regularly in this space have already retained the landline infrastructure be- lished the pattern for what will likely been examined in past outings, whether tween the transmitters. become the most radical restructuring of in detail or just in passing. Digital tech- In the spirit of free trade, the BBC made the modern entertainment business since nology has blurred the edges between its studios and facilities business a wholly its inception. and that the field it was many areas: where there was once a clear owned subsidiary-BBC Resources -with played out upon was the one delineated divide between production, postproduc- the implication that it would eventually by American marketing concepts and tion, distribution and transmission, the privatise it. At the beginning of July, new technology. Keep an eye on how this core use of digits has reduced the entire director -general Greg Dyke announced plays out over here. It's how its going to process to merely the movement of data. the findings of his review of Resources. go everywhere else. Different front -end interfaces remind us Privatisation is out and more efficient and that there are differences between the var- cheaper working is in, with the loss of ious stages, that they are different skills; 200 jobs. Some elements of Resources will music which was appallingly badly but, ultimately, it is possible to imagine a be returned to BBC Production, while a recorded, with no low end, no high end workstation that combines all the func- new subsidiary, BBC Technology, will be above around 10kHz, and heavily corn- tions, connected to a black box that will formed, subject to government approval. pressed. It was of magnificently low qual- then direct where the finished product 'We want to change parts of Resources ity. Then they played some dreadfully goes. Production and postproduction and make it more profitable,' Dyke told a recorded pop. It was a joke, a complete techniques are highly developed and strangely under attended press conference. joke. I was really quite cross because while they will continue to grow in sophis- Making a profit out of public service broad- I thought they had wasted my time. These tication, delivery of the programme or cre- casting was central to the approach of tests were totally invalid.' ative content is the area where most Dykes predecessor, John Bin, and while World-renowned hi -fi reviewer Martin attention is currently directed. the new incumbent has not rejected that, Colloms had to invite himself. Says With a plethora of outlets-digital ter- he is set to almost completely undo the Colloms: 'I withdrew from the tests. The restrial, cable and satellite television, dig- philosophy that became known as Birtism. quality of the material was appalling. It ital radio, broadband communications and 'We are trying to get rid of the dafter parts was sub-Walkman standard. They were the Internet (including mobile 'phones, of the internal market without losing the using very old analogue material, the personal organisers, WAP devices et al) good parts,' Dyke stated bluntly. Petnrshka dates hack to 1962. The piano -delivery is arguably as important as the One of the good parts is obviously deliv- had a dynamic range of only around creation of what is carried. This is a mas- ery. BBC Technology will centre on 'BBC 40dB. It was awful music, lifeless and sive turnaround in thinking. At one time, technological and distribution expertise', anaemic. There was a mess of hiss. The not very long ago, transmission was the with the ultimate aim being to generate material had been copied from CD -R onto broadcast journalism equivalent of the additional income to spend on programmes computer hard disk, and then processed black spot. We all knew that it was and services. (The subtext is getting enough through a 96-24 convertor, so it didn't start absolutely necessary-otherwise the cre- cash to win back sport from the com- as 96-24. The room acoustic was bad, with ative stuff wouldn't go anywhere-but that mercial sector.) The new subsidiary will metalwork ringing. The PC hard drive was did not make up for the overall dullness comprise approximately 1,300 personnel, whirring in my ear and a transformer was of the subject. It did not help that trans- experienced in broadcast, telephony, IT, mechanically humming. I told Sony it was mitters looked like filing cabinets. The only on-line technology and communications. an embarrassment to their company and commission more mind -numbing was one The BBC projects that Technology will gen- I couldn't avoid wondering whether they concerning routeing and switching. erate between £150m to £200m over the had chosen material that was bad to con- But things change and now those next six years. ceal what the system was doing.' involved in transmission, routeing, switch- Such projections emphasise the impor- Adds Faulkner: 'If the system is audi- ing and matrixing -the technological tance of delivery and show how much ble now with a 2 -bit copy management meek -are very likely to inherit the earth. broadcasting is set to change. Delivery payload, how will it sound with a 72 -bit It would have been hard to imagine that being used to underwrite programme full identifier payload ?' NTL, once merely the engineering making-who would have thought it?

Studio Sound www.prostudio.com /studiosound August 2000 75

www.americanradiohistory.com tion slide switches (S2 or S3) to the '4+S' position. For each speed in turn. determine if

record low frequency Ixxist is required I NAB).

Switch Si 1 through Sl. -+ to select this. for 30ips through to 3.'5ips respectively. Any switch in the on position provides no LF boost (iEC) as required by AES 30ips or EIC -CCIR ex I lips and 7.5ips. For NAB 15 '.sips and IEC - NAB 3.75ips standards. set the appropriate ATR 100 Series switch to off and this will provide the stan- In the second part control P \\'1\. it provides an extremely dard 3180 low frequency record boost. Flexible equalising and biasing system. For the 4 -speed setup (Fig.l ). mount the of his eulogy on the In the -t -speed configuration each of the appropriate front overlay on the Padnet and ATR mastering four speeds (30ips. l5ips. 7.5ips and 3.75ips ) the ensure audio control PW.A is jumpered cor- venerable is individually biased. level controlled and rectly for the speed pair desired. Set S2 to the machine, Tony Arnold equalised. The equalisation at each speed may position corresponding to the higher speed be set to any required standard. of the required speed pair. gives more pointers In the 2 -speed configuration. as with the Set 53 to the position corresponding to the and fixes standard Padnet. any two speeds of the four lower speed of the required speed pair. If S2 available iliay be selected. However. each of and 53 are set to the same speed, the illegal ALVAN'S MAKE SURE that your ATR the two speeds selected has two separate speed indicator next to the transport speed has tape lifter sleeves fitted over the equalisers and level controls available. The select switch will illuminate indicating

tape lifter arms, otherwise a master selection of which equaliser is in use is made improper operation. Set SI 1 through Si 4 to can he severely damaged due to wear from by the EQI i switch on the audio control P \\:A. the correct positions determined by the equal- the original arms. Machines are often updated In addition the audio control P \\A also pro- isation standards to he used at each speed. from' inch to' . -inch without changing tape vides individual roaster bias adjustments for and -or the EQ I or Il selection. lifter sleeves or fitting them at all. and users each speed- equaliser. Si I and SI 2 are for EQ I. high -speed and then wonder why they have a severe scratch With this Padnet it is thus possible to con- low -speed respectively and S1 '3 and 51 4 are down the middle of a' -inch tape or the edges figure the full 4-speed capability of the ATR 100. for EQ II. high -speed and low -speed respec- are curled on ' ,-inch and ' _inch tapes. or. having selected the 2 -speed dual equaliser tively. As before. the on position for each Another further warning accompanies configuration. to align the two equalisers. lev- switch of S1 is for no LF record boost (AES another tip. If you wish to run your capstan els, and biasing for two major equalisation stan- 30ips. IEC -CCIR 15 '.sips) and the off posi- for adjustment or repair then you will have to dards (that is NAB and IEC) or to align the tion provides 31811 l.F record boost ( \ AB place it in an extender card that is usually system to use either of two types of tape at 15 -.Sips. and NAB -IEC 3.7--Hps). housed in slot No. 5. All you have to do is to each speed with no restric- AUDIO AUDIO switch P \\A No. 9. tions on operating levels. AUDIO AUDIO the ATR off and remove CONTROL This is the Reel Servo Card and you will now equalisation standards. or CONTROL SYNC BAI MASTER BIAS have all transport functions without haying to biasing. In addition to inde- SYNBAL MASTER BIAS load the tape. That's the tip. now for the warn- pendent reproduce and 30 40 RE GAIN HI REPRO GAIN ing. Ampex provided a clip on the extender record gain presets. and the r HI L_n 30 15 card to prevent whichever P \\A you are ser- normal repro HF. LF, record Eo IPS LO t5 vicing from falling out. but now that the cap- HF, front panel equalisations. DrrN 75f. 75 stan P \\:A and the servo are removed from there is a second record HI LO E0 375f the machine it has been known for the cap- equaliser. 'Record shelf' L_ ;0 + /5 stan to be fitted accidentally into the wrong which. in conjunction with REPRO HF EQ REPRO HF EO slot with a huge amount of resulting damage. the normal record HF I- HI 30 E0I L To stop this happening we make up dummy equaliser. permits Batter over- L LO tel 15 cards from plastic:and fit these into the empty all response to be obtained r- HI 75 slots not being serviced. with a wider range of tape Fo II 3 /5 I will repeat again that you should never and biasing conditions. L LO REPRO remove or refit cards while the machine is Poll can change the over- REPLF E0 LF E0 r- HI 30 switched on and this includes the headhlock. lays (n the appropriate P \\A E0 When removing or refitting the ATR head- to suit 4 -speed or 2 -speed L ® LO IS block always turn the head release screw and if you have the wrong r- HI 75 clockwise as this will prevent the allen screw overlay showing you should EO II L LO 3 75 from coming Ioose from the lower I section. find the correct one behind RECORD N RECORD GAIN Users often auk for low -profile 103 tran- the existing (me. You simply 30 r 1 sistors to replace Q5. Q6. Q8. Q9 and Q10 on remove the small screw, and Fol a_ LO 15 the main heat sync chassis and the reason slide the two in May':s out these were used was to prevent the collector vertically to change. On the r- HI 75 will ron from grounding through the on -off switch Audio Control P \\A. L_ LO 3/5 ann. \\'e fix this by fitting thick sleeving over also have to remove the SHELF EQ SHELF the arm to isolate this problem. printed hoard as the bias _HI Fo I The 4 -speed dual EQ Padnet assembly is switch will prevent removal. L LC) 15 designed as a plug -in compatible accessory Sortie confusion sloes Ì HI 75 for the ATR100. It niav interchanged with the exist on how to set the DiI. 0 11 standard Padnet assembly and requires no switches on the 4 -speed L LO w 3r: n BIA: nuolification to the standard ATR100 or to the Padnet. For the 2 -speed BIAS ^)RM existing main audio board. setup ( Fig.l ), mount the The 4 -speed Padnet can be configured in appropriate front overlay Overlays set Overlays set two modes by simple switch selections. in and ensure the audio con- for 2speed for 4 speed conjunction with the existing jumper options trol P \\'A is set as required. 5 5 for piaster bias operation on the audio Set either of the hair posi- Fig. I a Fig. I b

76 August 2000 www.prostudio.com /studiosound Studio Sound

www.americanradiohistory.com These 4 -speed Padnets are still available from Courthouse Facilities or M Tupper (Tel: ++1 1729 552428). Many second -hand ATRs are purchased without :t service manual and most machines were shipped to only take 10'', -inch reels. new owners often wonder which type of ATR accommodates 14-inch reek. There is not space in this article to explain homy to mod- ify your machine to take the larger reel -size. but all the relevant information is in the service manual. Photo copies of service manu- als are available from us and in time these will he available on CD- ROM.

For the conversion from -inch to ' _ inch mastering operation. apart from the cost of the heads the other expensive items are the upgraded tape tension guides. If you have the early type of guide then you will have to change the whole assembly. hut if you have the later type just the extra length shaft and fixing screw need to be fitted to your existing Ceramic guides and this brings the cost down dramatically. \\'lien removing ICs. often the print itself is damaged. and with the print Icing on both sides of the PWA it makes it difficult to see if that gets into the s"\ itches causing intermit- you have nude good contact with the upper tent malfunction. Ampex later made a pro- Courthouse Facilities print which will sit below the new IC. \\'e tection sheet to trap the dust :utd it's worth Tel: +44 1725 571359 have had great success by using wire wound checking to see if you have this update .iîi Email: ampex @courthouse.softnet.co.uk type IIL Sockets and when using this type of it switch leads to longer life. Net: www.soft.net.uk /courthouse UIL you are able raise the socket and solder This is the completion of my continents 1 n in place to see the print around the legs of the the ATR 100 Series. next month I'll he ;giving socket. tips on the \I \I1 2I m series. If you have any of this feature with extra figures is On the early version of the control panel questions or problems please email me as available on our website switches the press -buttons shed a powder I hope I can be of some help.

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Studio Sound www.prostudio.com /studiosound August 2000 77

www.americanradiohistory.com _ Transforms and Duality o o Exploiting the duality of digital signal analysis gives us an essential insight into the working of many audio processes. John Watkinson explains transforms and prediction the.. comp1.ETE DEscRIpTioN of impulse response. At Fig. lb is shown a and reduce distortion. a signal in the frequency filter of narrower bandwidth that has a Fig. 2 shows some examples of dual - Ad ()main consists of frequency wide impulse response. This is duality ity..\t Fig. 2a to increase the width of and phase information. whereas in action. the frequency response of a tape head. a complete description in the time 11. we want to know the effect ofa fil- the gap has to he made smaller. At Fig.2h domain consists ofa waveform. Trans- ter on a signal. we can use either the to improve the width of the directivity

forms allow either description to he frequency ( )r the time domains. In Fig. I c pattern of a loudspeaker or micro- used. In general, any phenomenon in the output spectrum is obtained by phone. the diaphragm has to he made audio that can he explained in the fre- multiplying the input spectrum by the smaller. At Fig.2c the narrower a pulse quency domain can also he explained response of the filter. If these responses gets. the broader its spectrum becomes. in the time domain and vice versa. are measured logarithmically in dB, the Duality is like paranoia, the more Indeed if it cannot there is something multiplication is achieved by adding. paranoid you get. the more threats you wrong with our understanding. I h )\sever. in the time domain. the effect perceive. Thus the more familiar you The duality of transfinrnts provides an of a filter on the vavetiwill can he cal- become with duality. the more exam- interesting insight into what is happen- culated by convolving the waveform ples come to mind. The compact disc ing in common processes. In general the with the impulse response of the filter player has a storage density that is a product of equivalent parameters on as in Fig. Id. A good example of con- funeti(n of the spot size of the laser either side of a.transfornt remains convolution is the tracking process ofa vinyl pickup. We can also apply transit rms stant. so that if one increases. the other disc player (anyone remember vinyl to light. Fourier optic, holds that a lens must tall. Fig.l shows the example of a discs ?) The output waveform of the is a filter to spatial frequencies. Asdetail low -pa,s filter. As an ideal low -pass fil- pickup is the convolution of the shape in an image increases, the light goes fur- ter Ira a rectangular frequency re- of the stylus and the shape of the ther and further front the optical axis sponse. the impulse response will be the groove. As we might expect, narrow- toward the perimeter of the lens. Thus transform ofa rectangle which isa sinx x ing the impulse response of the stylus. the rest )lotion is limited by the aperture. can e. At Fig. la is shown a filter with a by making it elliptical instead of round. In order to increase the capacity of CD wider bandwidth. \yhich has :t narrow cc mild extend the frequcne\ response to stake D\'1). the aperture of the lens has to go up. This has the effect of increasing the spatial bandwidth of the lens. so by duality it can focus to a smaller spot on the disc. The intensity function of the read -out spot then con - volVes with the track ge()netty to give the replay waveform. Duality also hotels Ii)r sampled systems. A sampling process is periodic in the tinte cluntain. This results in a spectrum that is periodic in the frequency domain. It the time between the sample, is reduced. the bandwidth of the system rises. Fig.3a shows that a continuous time signal has a continuous spectrum whereas at Fig.3h the frequency transti>ritt of a sampled signal is also discrete. In other wt trds sampled signals can only he analysed into a finite number of frequencies. The nte>re accurate the frequency analysis has to he. the more samples are needed in the block. \Liking the block longer reduces the ability to locate a transient in time.

This is the 1 Ieisenberg inequality again. The i leiscnherg inequality is the ultimate case of duality because when infi- nite accuracy is achieved in one domain. there is no accuracy at all in the other. Block length switching is common in audio coding. For example in MPEG Layer 2 coding. usually the blocks con-

tain 1 152 samples. corresponding to a Fig. I a):Wide frequency response has narrower impulse response. time period 2 ints. During transients, Fig. I b): narrow frequency response has wide impulse response. of 38-+ samples, Fig. I c): in frequency domain, input spectrum is multiplied by filter response to give the block length drops to output spectrum. increasing the tinte resolution by a fac- t( )r t )t three. but reducing the frequency Fig. I d): in time domain input waveform is convolved with filter impulse response. resolution by the same factor.

78 August 2000 www.prostudio.com /studiosound Studio Sound

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Tascam 45 T DIScR..Tt. -11 tie T TC Electronic 43 01 Cc f..-E. LYE crl12+4% TL Audio 52 Fig.3: A continuous signal a) has a continuous spectrum whereas a sampled b) has Trident /MTA 64 a discrete spectrum i

Studio Sound www.prostudio.com /studiosound r1uui 2UUU 79

www.americanradiohistory.com as long as the same predictor is present at both ends of the system. A stupid predictor might simply assume that the current sample has the same value as the previous one. This results in differential coding as in Fig. -ib. A smarter coder night look at two previous samples to estimate the slope of the waveform as in Fig. -+c. Using three previous samples allows the slope and the curvature of the waveform to be taken into consideration as in Fig. id. Predictors of this kind work well on waveforms such as sine waves. but in the presence of transients the prediction fails. Essentially the predictor doesn't see a transient coming, because it doesn't follow from what went before. Another type of prediction that can he used is in the frequency domain. Fig.S shows that after a trtnslorm the result is a block of coefficients. By scanning the coefficients from one end of the block to the other, a predictor can be used to estimate the value of the current coefficient from the value of previous ones. Again any number of previous coefficients can be used to make the prediction more accurate. Predictors of this kind work best on broad or uniform spectra where many frequencies are present in the audio signal. Predic- tion in the frequency domain works poorly in the case of discrete tones because these make the spectrum spikey and the predictor fails to anticipate a discrete tone at one frequency because there is no energy in nearby frequencies. Combining Figs. -i and 5 give another interest- Fig.4: Time domain prediction. At a) the prediction error is sent to the ing example of transform duality shown in Fig.6. decoder. Comparison with previous sample b) results in differential At Fig.6a in the time domain, a predictor fails to with three coding. Using two samples c) the slope can be used, whereas anticipate a transient because it is not a function samples d) the curvature is included. of the earlier part of the waveform. At Fig.6b a tine- domain predictor works well on a sine wave because it contains no transients and the slope and curvature change smoothly. If we transform PtcTlvegrPcz Gob FrIct6t,r into the frequency domain we obtain an oppo- .lfllfIfz co /Wet cam/ site characteristic. Fig.6c shows that in the fre- of Fig.6a has a 622.45123 quency domain, the transient Fgt,,vrNcy broad spectrum, consistent with Fig.2c. A predictor working in the frequency domain finds 1 Ct eiP5 60EF-F the spectrum of Fig.6c easy to handle because it is reasonably smooth. In the same way Fig.6d shows that the spectrum of the sine wave of Fig.6b Fig.S: Predictive coding can also be used in the frequency domain where is a spike or singularity. This is difficult for a the coefficient's value is estimated from the ones before spectral predictor. Thus the duality can be seen in predictors. A transient waveform that is difficult for a temporal predictor is easy for a frequency domain predictor. and a stationary waveform in the time domain that is easy for a temporal predictor is difficult for a frequency domain predictor. b) This all sounds like a lot of abstract theory but it has a practical application. In MPEG Advance Audio Coding (AAC) both temporal and fre- TF quency- domain prediction are used. The incom- a frequency transform, 11144.4651240 V ing audio is subject to I and the temporal predictor attempts to anticipate what coefficient values will he by using the values from earlier blocks. On stationary material this will work well. Additionally the frequency domain predictor operates within each transform i block by trying to predict each coefficient from F ones of lower frequency. This works well on tran- d) sient material. The AAC coder is free to use either ) of these techniques and it may even try both to see which results in the most effective compression. AAC achieves a better subjective quality is bad thing. and Fig.6: Transient at a) is not anticipated by predictive coder, whereas broad than Layers 1,2 or 3, which no transform dual- spectrum of transient at c) is easy to predict. Sine wave has opposite it does so by tangibly exploiting effect.Waveform is easy to predict b) but spectrum contains a spike d) ity.

80 August 2000 www.prostudio.com /studiosound Studio Sound

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www.americanradiohistory.com u E Passing the buck z W d The mutterings of discontent over new audio distribution channels is becoming O a roar. Peter Filieu ponders the position of the artist and producer MP3. DOWNLOADING. streaming. being bandied around. Maybe artists and stage of development. fears are already broadband, security and business producers will be forced to sacrifice some being voiced over whether the US record models are becoming an increas- quality in favour of business but the idea companies are the right people to handle ingly familiar part of our vocabulary. The that the imposition of a variety of packages, what is estimated to be revenue in excess impact of our brave, new digital future is each depending upon particular commer- of t SS -4OOm from digital distribution sources often described in terms of enthusiasm. cial alliances. as an intrinsically postpro- and what or even whether performers will excitement and opportunity but tinged with duction process is regarded by many get any of it. caution over security. Often such rhetoric discerning producers as untenable. In any Key is metadata -the information about masks a combination of apprehension (not event. the producers and the artists are not who played What. wrote what or owns what to say fear). a lack of clear understanding even in the loop. and how a recording was nude-that feeds (not to sat' ignorance) and suspicion (not to Producer revenue streams are affected in all ecommerce systems. Collecting and say cynicism) resulting from the atmosphere parallel to artist revenues. hut the situation handling this information has always been of corporate uncertainty and an apparent for the producer is more critical. The ques- sector specific and piecemeal-record com- lack of priority being given to the artists' tion of performance revenues derived front panies. publishers and the Ml for example and producers' desire and indeed. duty to 'related rights' is still in the balance for pro- only wanting data that suits their own needs. ensure their fans have access to the very best ducers and remixers. but there is an issue While there is broad acknowledgement of in music at top audio quality. of even greater importance affecting all per- the need to develop a cost -effective and Much of the talk is of increased choice, formers. While secure downloads can be accurate metadata system. there is resistance 'free' music, cutting out the (big had) record compared to sales of physical products. to spending money on developing it on a companies in favour of (small had) music cross -sector hasis. : \s the studio producer is the one individual in the recording process distribution dotcoms and download direc- I 'I tory services. The prospect of genuine ecom- who can provide accurate and at- source per- merce security is the straw to which we are formance and asset protection data. facili- all clinging but the speed with which new tating the extra work should be a worthwhile Irl ',('(_) ),jl technologies arrive and are adopted casts a investment. Sadly this seems not to be the dark cloud over everyone's future. The SDMI case. Indeed. there have even been efforts standard seems to he the only game in town to cynically transfer data collection respon- but there is still a measure of scepticism as (-)!1)1),í'r '_'ìr'C'. ..';In !'' ihC'll- sibilities under 'take it or leave it contrac- to whether its implementation can stem the r,.itI- il', tual terns. Napster terror. Much of the current confu- A true perspective of the current 'music sion arises from the vast and disparate range on the Internet' situation would probably of services and business models on offer. benefit from a regular reminder that. com- Sadly. many of the first players suffer from pared to. say. commercial flight. the \Web, a 'chicken and egg' market -share dilemma even including broadband. is much closer -the need to acquire a critical mass of con- different industry sectors have differing to Lindhurg's'Spirit of America' than to Con- tent before they can attract sufficient con- opinions on whether web -cast streaming is corde. There may be new business models sumer attention to fulfil their promises to analogous to broadcast or whether as broad- on the horizon that will place the studio artists. This has led to there being little fil- casts they should benefit (or suffer) from producer in an altogether different position tering of quality from dross. Currently. con- related rights revenues. It seems the future but our traditional role as bridge between sumers are drowned in so much. usually of conventional broadcast is set to lie in inspiration and product will remain pivotal substandard. choice that realistic profitable weh- casting. There are over 3.000 'stations' no natter how music is distributed. How- commercial volumes are hard to come by. available all over the world, some rebroad- ever. both producers and artists could find This may change when the majors go on casting existing programmes and others pro- the quality of their recordings in jeopardy stream. but at the moment a new artist can viding new focused services. Web-casting as a result of decisions made by company expect to lose best tracks as free download organisations usually pay for music use. but execs who in their enthusiasm to protect our samples and collecting relatively insignifi- not necessarily on a measured census basis business feel unable to trust the contribu- cant mail -order revenue only for the first even though on -line details of what is play- tions and experience of those who make couple of quarters. ing is available to the punter. Collection soci- the music at its core. Maybe we should agree to reduce the eties like PRS, ASCAP and HMI have On balance, the marketing and career quality of all 'free' downloads and apply historically relied upon measurement of building added -value provided by experi- impregnable security to all high- quality dis- usage to calculate distributions of licence enced record companies (be they virtual or tributions. Producers and artists are becom- income to composers and publishers. Hut not is likely to remain the most attractive ing increasingly concerned alxout how and the proliferation of users expected in the option both for ambitious artists and dis- at what stage security systems are applied. digital distribution environment threatens to cerning consumers. It remains to be seen The old chestnut of inaudible watermark- expose an inability or possibly an unwill- whether the record company sector has the ing still poses serious questions. Only ingness to afford the cost of the necessary vision to include the studio producer com- recently have proprietary systems become data processing. The sane applies to per- munity as full participants in future solu- commercially available and the yen' issue formance income to a greater extent. How tions. If they don't, the reduction in the cost of competing regimes splitting up the total PPL and PAMRA plan to handle web -casts of quality audio production and the con- available catalogue can only add further is still up in the air. Even the question of vergence of the interests of producers and problems for the consumer as well as caus- whether web -casts qualify in the sane way artists will encourage a vast increase in rights ing nightmares for the producer. Listening as conventional broadcast is a point at issue. owning producers. management and pro- tuts have almost universally failed to Another move in the US has the RIAA duction houses who licence their recordings satisfy the best expectations of audio pro- launching a royalty collection and distribu- to marketing and distribution entities that fessionals and the expression 'trade-off' tion system of its own. Although at an earl used to he called record companies.

82 August 2000 www.prostudio.com/studiosound Studio Sound

www.americanradiohistory.com "REASONS NOT TO BUY A MACKIE D8B...zERo:' -Roger Nichols, EQ Magazine

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