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Storing this much information in ten seconds whole library of alignments can be built up and is an impossible task for anyone. recalled at the press of a button.
But the ability to store and recall complex The Series 20 will handle IA" and V" formats. settings in a matter of seconds, is just one of the And changing formats is a simple operation that special features of the Series 20 master only involves one button and three screws. The recorder. process takes less than a minute. The Series 20 has a built in micro -processor Add to its amazing micro -processor capacity which provides you with a concise series of a practical modular construction (which makes status messages via a fluorescent display. All the Series 20 one of the most serviceable audio settings can be adjusted by push button recorders on the market) and you have on your controls. Information such as tape speed, position hands the ultimate master recorder. and time can be selected as desired. So, to get a head start write to Soundcraft Within seconds each pre -set can be stored now for further information on the remarkable for three different tape speeds, three eq stan- Series 20. dards and five tape types; amounting up to 588 Don't forget. different audio parameters. Through changes of speed or tape types, a Soundcraft Series 20
Sourdcraft Electronics Ltd.. 5-8 Great Sutton St. London EC I V(18X. 7M:01-253 6988.1hk a:211fki,SCRAPT G. S Sourxlerafl Canada Ine:.144411vrnus Blvd_ Dorval. Quebec (.anoxia 1191" 1J6 Te1: (, îW) (iFfi 1616 Telex: 05 822582 www.americanradiohistory.com STUDIO SOUND AND BROADCAST ENGINEERING FEATURES REGULARS Editorial: Keith Spencer -Allen with a warning to beware of infiltration Diary: Address changes- Literature -People- 8 Cipher acquires btx -APRS column-Agencies- APRS membership and categories -SIM training -Up and coming topics- Benchmark design- Contracts New products: 32 Genelec control room monitor -SPL effects - Philips BPE condenser microphones- Budget Shure -In brief- Synchroniser and editor from Audio Kinetics -Synton replaces vocoders -ADA programmable delay -Alesis reverb -Imhof blower units - Yamaha REV -7 digital reverb- Harris pro gate - Nimbus CD manufacture: Richard Lamont Audioarts stage monitor 44 relates why and how a specialist record console -LOLA audio from manufacturing plant moved into compact disc Yugoslavia production In perspective: US columnist Martin Polon says 62 it's not all CD's fault Theme park sound at Disney: The sound set 64 ups at the Magic Kingdom and EPCOT Center are examined by Terry Nelson A personal view of psychoacoustics: How to Studiofile: Hollywood Studios, London -Battery 72 check if it sounds good without actually listening 52 Studios, London by Ted Fletcher Business: Spoiler boiler- Advice for drop -outs- A Blow by Blow account: Following George 58 Don't be an expert. By Barry Fox 76 Martin's discussion on the making of Jeff Beck's Blow by Blow, engineer on the sessions Denny REVIEWS Bridges gives Janet Angus some more inside information Klark -Teknik DN780: Keith Spencer -Allen's user 78 report on KT's new digital reverb device SPECIAL FEATURE Electrospace Spanner SP2: A user report by Ian Gilby on this automatic stereo panner Effects, reverb and equalisers: A rundown of 83 38 new equipment and modifications since we last Ursa Major MSP -126: A user report by Keith covered the subject 86 Spencer -Allen on this multi -tap stereo processor EDITORIAL ADVERTISEMENTS Editorial and advertising offices: Editor: Advertisement Manager: LINK HOUSE, DINGWALL Keith Spencer -Allen Kerr Duffy AVENUE, CROYDON CR9 2TA, Production Editor: Sales: GREAT BRITAIN Ann Horan Collette Ramsay Phone: 01-686 2599 Production Assistant Secretary: International: +44 1 686 2599 Beverley Hudec Mandy Paul Telex: 947709 Consultant: Production Manager: © Link House Publications Hugh Ford Jacky Thompson PLC 1985. All rights reserved. and Far East Agent: Contributing Editor: Japan 41- A LINK HOUSE Richard Elen Media Sales Japan Inc, Tamuracho PUBLICATION Bldg 3 3 14, Shimbashi Minato -Ku Secretary: Tokyo, Japan Publisher and consultant to Carrie Love US West Coast Agent: APRS for Studio Sound's Herb Schiff, 1408 Santa Monica Mall Suite 200, Santa Monica Producer's Guide to APRS CA 90401 USA Members 1984/85 Cover: Photography by Roger COMMERCIAL MANAGER June 1985 Number 6 Phillips Phil Guy Volume 27 ISSN 0133 -5944 3 www.americanradiohistory.com This much power in this much amp. The Amcron tradition of peerless Reversible forced -air cooling. performance was established with the intro- Amcron performance in 31/2 "rack space. duction of the legendary DC300 series in We believe that these facts, coupled 1967. Now, in 1985, on the back of modern with Amcron's reputation speak for them- technology and two decades of experience, selves. But if you wish to know more about Amcron bring you the Micro Tech 1000 the Micro Tech 1000 and how it can solve amplifier. your headroom problems, call HHB Hire & The Micro Tech 1000 is the amp we've all Sales at: Unit F New Crescent Works, been waiting for - lightweight, compact, Nicoll Rd, London NW1O 9AX.Tel: 01- 9613295. and with more than enough punch to suit the Telex: 923393. increased power requirements of the digital age. These are the facts: 400 watts RMS perchannel into 4 ohms. Q amcron 500 watts RMS per channel into 2 ohms. 10OO watts RMS into 4 ohms - bridged mono. Safe operation at high power to 1 ohm. M IHI b DENMARK, AVIDAN 02- 179591. FRANCE, SCV AUDIO 01- 8632211. ITALY AUDIUM 02- 2537853. HOLLAND, IEMKE ROOS 020 -972121. SPAIN, AUPROSA 03- 3517011. SWITZERLAND, MUSICA 01- 2524952. WEST GERMANY, MUSIK PRODUCTIV 05451- 140612. www.americanradiohistory.com 1 EDITORIAL EDITORIALThis month's comment from Keith Spencer -Allen We are vulnerable to aliens The professional audio industry is small fry. It is bigger, levels (they have other infestations) although occasionally much bigger than it used to be but still very small. I recall they find safe houses as studio time bookers for major a conversation with Martin Polon, our US columnist, in the labels. For example studio X may have completed very reception area outside the AES Convention in New York satisfactory work for the label for many years until the last October. I commented that the exhibition looked alien arrived. The alien then finds out that this very healthy -the biggest ever, attendance looked good and that satisfactory work was not recorded on an ABC console and perhaps there really was a recovery in industry fortunes. I promptly cancels all future work. If I could be sure that the don't quite recall how this developed into a discussion on alien knew the difference between an ABC console and a the total size of the business but Martin said that he found chocolate chip cookie I could be more charitable. The most audio people just don't realise a company such as IBM manufacturer of ABC consoles employs no aliens at all - or AT &T could buy the complete industry with petty cash something they are very strict about and I think that they should they have the need of it. Now I don't know if Martin would be rather disturbed at the fondness that this alien has access to precise figures but I am sure that he is close seems to have for their devices. enough. We are small fry. As I said earlier, it is possible to find these aliens at all Well, so what? Why should this matter, and why am I levels and in operations of all sizes. I recently saw an alien bothering to devote this space to talking about it? That is working for a major internationally known manufacturer slightly tricky to answer. I think it is because we have and expound the virtues of a newly proposed development. grown sufficiently large as an industry that we are now Excited members of the audience then asked when this new attracting aliens. These are people and companies which 10 development could also be applied to the company's existing years ago would have been profitably engaged in selling products in the field as this would solve a lot of the encyclopedias and arguably still should be. They have problems they had been experiencing. The alien then appeared within the pro audio industry at all levels and replied that there were no plans to implement the new are often quite incapable of understanding how the development in the existing machines as they were working recording process works even at basic levels. They also completely well without it -there was no problem. This seem very alien to those of us who entered recording came as a severe surprise to the excited members of the studios because we liked the idea of being creative at some audience who just happened to be some of the most level- either technically or artistically and had a genuine experienced studio owner /operators you will find anywhere. feel for the advancement of the process. Sometimes it seems As a small industry we find it very hard to cope with a that these aliens may have been sent to sabotage our corporate no which can have far reaching financial effects collective efforts. for many of our industry members who become victims of These aliens appear to have infiltrated many levels -at the alien influence. lower levels they are just a tiresome nuisance but when My final example (limited by space not examples) they are present in large companies, the small pro audio concerns a PR release from a foreign subsidiary of an industry is most under threat -not from extinction as this increasingly important manufacturer from a different isn't their aim -but from confusion and misinformation at a country. The release concerns the decidedly non -alien time of change when clarity of decision and beneficial activities of what seems like the majority of US rock artists industry objectiveness are most needed. in producing a recording to sell to aid famine relief-in a The question you are probably burning to ask is, `Who are similar manner to the UK Band Aid record. Altruism is rife they ?' although I should say that it is more important that in the project and there has been no commercial advantage we learn to recognise them than identify specific aliens. or gain made to my knowledge by any of the involved They do appear to need our help as they are more related to parties. Who but an alien would break ranks to tell us that ET than The Alien and are lost far from home. their equipment had been used in recording it. A clear case So, some examples. One area close to us is the PR of the displaced alien blundering lost when remarkable company who believes that the newsworthiness of an event, industry example of co- operation was taking place. It quite product or piece of news increases with the amount of obviously didn't matter what type of machines were used to releases and telephone calls they bombard us with often on record this track any more than the colour of the studio unsuitable topics; don't understand the word no and are so carpet and the use of such a notable occasion for lost in their field that they cannot answer a simple question commercial gain is in poor (alien) taste. about one of their clients. Not all PR companies have aliens Unfortunately, aliens will not go away now. We have to but many seem to adopt them quite happily. learn to recognise them and live with them. I have no Record companies seem refreshingly free of aliens at most further observations -look to the skies. STUDIO SOUND is published on subscription enquiries, including Avenue, New York, NY 10022. the second Friday of the preceding changes of address (which should be Total average net circulation of month. The magazine is available in writing and preferably including 1:3.9211 per issue during 1984. UK: STUDIO on a rigidly controlled requested an old address label or at least the 5.735. Overseas: 8.246. ¡ABC basis only to qualified personnel 7 -digit label code) should be made audited). (see back page for terms) or for an to the Subscription Department, Studio Sound and Broadcast annual cost of £18.00 UK, $40 US Link House, Dingwall Avenue, Engineering incorporates Sound surface mail, $75 US airmail, Croydon CR9 2TA, Great nternational and Beat SOUND £24.50 overseas surface mail or Britain. AND BROADCAST ENGINEERING Instrumental. Printed in England. £46.50 overseas airmail to non - US mailing agents: Postmaster qualifying readers or where more please send address corrections to than two copies are required in a Studio Sound, c/o Expediters of the studio or small organisation. All Printed Word Ltd, 515 Madison 5 www.americanradiohistory.com "A= SERIFS LEAVING OTHER POWER AMPLIFIERS IN THE DARK AGES Harrison Information Technology meets the accelerating demands of contemporary Sound Professionals with even more sophisticated technical specifications - incredible SECOND GENERATION MOS -FET amplifiers. A range of power amplifiers which are exceptional in every way, smaller size, lighter weight, and total reliability. Performance quality is optimum, so Harrison gives you superb sound handling capabilities, stunning bass outputs, crystal clear high frequency response and ultra low distortion - all for a remarkably modest price. X150 75 +75 Watts stereo Watts mono ( I 150 U) LET YOUR PROFESSIONALISM X300 150 +150 Watts stereo 300 Watts mono (2U) SOUND THROUGH. 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The digital interface provides a A complete Sony 1610 interface is programme for Sony domestic digital low -cost high quality AID converter for use available as a plug -in option fitted in a rack- processors, expands the scope of low -cost with computer hardware. When coupled mount cradle that holds the PRO -701 ES. This digital for the professional user. with the A +D Add-mix'" Digital Fader the interface not only offers ' end' facilities to The PRO -701 ES has a full professional system provides inexpensive digital mixing for 1610 from FI /701 format, but also digital analogue interface with improved cross -talk the first time. 'return' from 1610 tapes to F1 /701. Audio Design Calrec Ltd., Audio Design Calrec Inc., P.O. Box 182, P.O. Box 786, Audio + Design Reading, Berks. Bremerton, RG2 9BA England WA98310, USA Tel: Reading (07 341 861 088 Tel: (2061275 5009 The Hit Sound in Audio Science Telex: 848722 ADR UK Telex: 152426 ADR USA 6 Studio Sound, June 1985 www.americanradiohistory.com Once a month, we sit down to have a serious talk with Otari. Otani products are a serious investment by And of course, we have our monthly sales anyone in this industry. Our success with meetings too. An opportunity for everyone to their recorders is largely due to the extent of learn more about the remarkable range. technical expertise that Turnkey provides. For example, we've discovered that the Our investment in support of Otani the latest 5050 MkIII goes far beyond the tens of 0° flatbed, is the stereo thousands of pounds in backup mastering choice stock parts. for many studios - Our engineers are 'factory in particular trained' and we maintain very close where editing is contact with Otari engineering staff. of import. In fact, we run monthly, tech meet- Similarly, the ings during which the finer points of new MX70 six- operation and backup are clarified. teen track on inch Every machine that we deliver undergoes is the logical choice for many quality yet a thorough eight to fourteen hour checkout of budget concious production houses. both transport and electronics. Commission- In fact, wherever you look, Otari product ing involves a final line -up that brings the are satisfying every need in professional machine tight in on specification. It is our sound recording. experience that these machines will perform Call Garry Robson or John Ridel for more well inside their quoted tolerances. information on Otari from two to twenty four And of course, for a full year or more track. No one offers a more complete service threrafter, we make sure that the machine of supply, installation and backup. runs true. Our technical expertise with the Otari product has resulted in Turnkey becoming the recommended service agent for all their aunkey studio systems machines in Britain. Brent View Road. London NW9 7EL. Te1;01 -202 4366 7 www.americanradiohistory.com .....tried, trusted, TRIDENT SCPIICS 803 Quality that speaks for itself ! Trident Audio Developments Ltd. Shepperton Studio Centre Shepperton Middx. TW17 OQD, U.K. o Tel: Chertsey (09328)60241.Telex: 88139282 TRIMIXG o Trident U.S.A. Inc. 280 Mill Street, Ext, Lancaster, Mass 01523 U.S.A. TRIDENT Tel:617 365 2130í 617 368 0508 Telex: 951546 294105 TRIDENT 8 Studio Sound, June 1985 www.americanradiohistory.com Packages from Soundcraft, Systems from Turnkey Sounds just the same, but there's a subtle Our experience with Soundcraft products is difference. One comes as two large crates, unequalled. Our knowledge of their products the other is hands on from the word go. and our long relationship means that any When we turn a package into a system, problems are solved with speed. more of our expert staff become involved The Producer System shown below offers with your needs than any manufacturer could the most cost effective, two inch format six- dream of sparing. teen track in the market today. There are finance, design, acoustic and Their TS24 in -line console and and twenty building considerations. The ancillaries, the four track recorder offer even more installation, the commissioning and the long advanced facilities for upgrading studios. term backup. Call Garry Robson for full information on And of course the deal. our complete studio systems. Nobody knows Because as well as offering the same price Soundcraft better. as buying the package direct, we'll put together the best deal we can for anything else you need to get your system up and running. Total savings, buying this way are ah key studio systems often dramatic. Brent View Road. London NW9 7EL.Tel; 01 -202 4366 9 www.americanradiohistory.com electrospace developments ltd 4/1 The Family: The Time Matrix, a versatile multitap digital delay system. 1.637 secs on each tap. 80 memories, LF and HF controls. TIME Output level and delay display of each tap, on -board two MATRIX output mixer. Optional eight outputs are available. =MN Electronically balanced XLR's. The Spanner, the first digitally controlled stereo panning -- system. Auto -pans from once every 12 seconds to 6 times per Y second. External /internal trigger pulse count up to 8 beats. b- Asymmetrical panning and modulated stereo imageing. And next ... Available From: UK DISTRIBUTOR AGENT BRITANNIA ROW LTD TURNKEY 35 BRITANNIA ROW BRENT VIEW ROAD LONDON N1 801-1 LONDON NW9 TEL TEL 01- 2263377 TLK 268279 BRITROG TEL. 01.202 4366 OR 01-6371701 AGENT AGENT DON LARKING AUDIO SALES CARLSBRO SOUND CENTRE 29 GUILDFORD STREET 11 -13 HOCKLEY LUTON NOTTINGHAM NG1 1 FH BEDFORDSHIRE LU1 2NQ TEL 0602 581888 TEL 0582 450066 OR 0782 24257 ADO VDFO DATA A superb range of innovative loading and duplicating technology Worldwide the leaders Tape Automation Ltd, Unit 2, River Way, Harlow, Essex CM20 2DN. Telephone (0279) 442946, Telex 265871 MONREF G quoting Ref: 84 : AUL001 EUROPE *USA JAPAN *UK INDIA 10 Studio Sound, June 1985 www.americanradiohistory.com Psychoacoustic effects to fool your ears, exclusively, from Turnkey Direct. On the one hand, there's the traditional signal stereo width permit the unit to be tuned to processing. Limiters, equalisers, delays and any programme material. Used with care, their derivatives. the effect is subtle. It literally opens up a On the other, there's a variety of devices mono track into glorious stereo. which affect the sound in a way which 'tricks' The Studio Technologies Simulator is the the brain to believe that it's hearing some- effect you're least likely to give back once thing else. The domain is that of you've tried it. psychoacoustics, and the products we offer Aphex began with a black box and an are from leading American manufacturers. enhancement effect. Once their products Symetrix offers the 511 single ended noise were only rented, now you may buy them reduction system. Improvements of up to outright. Their Model B is well within any 30dB from previously recorded, objectiona- studio's budget and utilises established bly noisy tapes. Combining the techniques of techniques to restore clarity and presence to expansion and dynamic noise filtering, the recordings. 511 is an important tool in any control room. The Compellor is their highly successful, Downward expansion reduces noise by intelligent compressor. You set the input attenuating low level signals. The dynamic level and that's it. The Compellor provides filter works on the principle that music is smooth, inaudible compression, increased capable of masking noise within the same loudness, freedom from gain riding and the bandwidth. The Symetrix 511 helps achieve desired density, - all automatically. the dynamic range of digital from existing analog machinery. These unique signal processors are available Studio Technologies have announced only from Turnkey Direct. improvements in their AN2 stereo simulator. To audition any one of them, call Tony If two channels are perfectly coherent the Williams, and arrange for a free demoloan. sound is heard as mono. If one signal begins Discover the latest psychoacoustic effects to vary from the other, the channels become in your own studio - the only way to choose. incoherent and the spaciousness of the sound increases. This difference in the channels is achieved by delay and comb filtering ¶amkey studio systems techniques. Control over the modulation and Brent View Road. London NW9 7EL. Te1;01 -202 4366 www.americanradiohistory.com ÚLTRA Q C Hl -TECH VICE, DEALER _ STAND EASY UDlO can experience on MIDI COt11lP11TEWhere Yyou shown LU]tvRY Britain u g an equipment: NEW ]ace in Great HI TECH The only p tial of all the *°' paten 1 s5 CD productionrodu M STANDS ;- "' e this advertisement. MANUFAC f URERS CA- STANDS, RACKS AND SCREENS FUR IHE AUDIO INDUSTRY S'' "4 jyN: lr, ? \I;t!, - ;tl sw muttw 0q - . rg.1 ..jrs.?::7:?t? .v.,... ww. Digttal t"Í \ Programmable ÿ : ..iÿi.f!!3.- :. PCM Dnim Ma chines ii with Midi. ii programmableDigital afgorhythrn Stands for all makes synthesizer on of consoles. DX-7 R-1000 audio sales Midi D 1500 Digital Delay with ^:;:::..:,.: RX15 We can rack anything Luton: 20 GurldIord Srreet. Luton Beds rfifi::: ^"'':::.::.::.::::x ti., ;_::::_r:::.ò4:+::wa ::v;:t.n. Telephone Luton 105821 450066 latest Tete. 825488 DONLAR G Now with for less than 3 4 Software StokeonTrent: SioIord House, a '" Clough Street Hanley. Stoke on Trent you would think. Telephone Stoke on.Trent 10782) 24257 OBERHEIM 1 ulá._..-..laáolóill 'Ei:,i+wo..r- (,. I- DMX nrMnm in DSX voice- ) 2 osO s per 15 VCA's -5 LFG's- 4 RAMP corters LAG procenvessor-15 MODE filter- DX n `-XPIINDER sing every ...... ,zt' ÿti: 5g) Stellavox SP 8 Recorder ...... :::::>::.,.. '``'`::::?::?:::::` _ efi i_T1 KÓRG DW-6000 MIDI MIDI THRU pro9rarnming Synthesizer. easy l! MIDI pDM110 IN at,..t tatuano: Ella' ü=3i '..-: The 1111111111111111111111111 800 wu, »tZrro, X POLY 61-1\11 lightweig t portable with heavyweight features: << ``a` Inni H11111 11 iii i MULTI- TRAK 4.9 kg Total operational weight. * ,.ol:.. * EBUiSMPTETime -code generator version available. -i::: 11111111II 1I 11111111 * Universal option includes mono neo -pl lot compatible, mono synchrotone and SIX-TRAK IL stereo synchrotone. -- - DRUMTRAKS MAX -MIDI EXPANDER :g Optional plug -In 50 60 Hz synchronizer. .f: Very low power consumption (90 -1 10 mA). All this hooked up `. our new and working in * 6 Simultaneous Inputs: 2 x mike; 2 x variable line: 2 x fixed line. a_a4 showroom through * Passive big reel adaptor allows up to 12" spools to be used, including NAB DMX -15805 A `KNEE- TREIVI Programmable EXPERIENCE.L NG' SWITZERLAND digital delay able O< 2068 Hauterive-Ne, and viw. l6 Yro9ra rberator o menthe nt +X- dt4ital Switzerland.Te1: 038 33 42 33. interface. Keyboard iéiSf::: :ë +.t liilfjgp? S Telex:35 380. ... . ç5iuif.'ÉWtemi:i ' :::: hr:: ;;:r:a;aca::rs::::rr::::: °r Studio House r' `,:: E.111 - (6 LINES) UK Distributors: FUTURE FILM DEVELOPMENTS, 114 Wardour Street, London WIV 3LP, England I . High Lane Village, Nr Stockport Tel 01.434 3344 & 01- 4371892. Telex:21524 ALOFFD I G. Cables: Allotrope - London Wl. X06632 4244 SK6 8AA. Telex 665721 SOTA. 12 Studio Sound, June 1985 www.americanradiohistory.com Barry Blue is a successful singer turned producer. Some six months ago, he acquired and set about refur- bishing Aosis Studios in Chalk Farm, London. You wouldn't employ a carpenter without his own tools. After fifteen years of other people's studios, I decided to have my own. There are too many variables between the sound you get. I've worked in every major studio in Britain, and many overseas. There's always something you wish they'd done to help the artiste or producer. In refurbishing Aosis we've channelled out the bad points and channeled in the good. We don't profess to be a mega studio in terms of size, but we do offer all the facilities of the giants, and achieve the same quality for considerably lower rates. Turnkey Two was commis- sioned to redesign and rebuild the main studio and control room. Barry's long experience influenced many aspects. Working as writer, artist and producer, I've come across many studios where you simply don't feel like performing. Its important to have a live room where you can hear yourselfsinging and pitching. We've At what point does a producer achieved a studio environment live enough to hear the brain working. invest in his own studio? Artistes like it because there's a closeness when they perform, they Turnkey supplied, installed Their music then transfer straight up rooms. The major studios will have to both hear and feel what they're and commissioned the tape to twenty four track. Its a great room think video to survive. doing - and naturally give their best. recorders - even helped to to work in. Not the highest tech but Aosis is busy developing its The final design achieves variable arrange the finance. all the right outboard gear. client base with a reputation for acoustics. A drummer gets bounce - I called Garry Robson on Tuesday Considering the standard of accurate, quality mastering. back ifhe wants it or we can mike up with my decision to buy. Wednes- equipment, acoustics, and not What kind of clients are they for a dry, close sound. And the day, Prime Leasing called me and least the able personnel, Aosis attracting? foldbacksystem's the clearest we struck a deal. I took delivery the hourly rates seem to offer you've heard! There's a buzz about Aosis. The following week. incredible value for money. Can facility was rebuilt to provide the The control room follows a studio like this really make The mixer was a unique per- kind of studio that a performer feels Turnkey Two's principles of commercial sense? instantly at home in. Theres a team accurate monitoring. The main sonal choice. Ever since 1 worked at Abba's As a stand -alone business the ans- spirit here. I often get asked to listen is custom speaker system I've had my eye on wer would be no. Most studio rates to songs or join in on sessions. And soft Polar studios designed, using the -dome are undervalued. The Aosis opera- Will Mowat our studio manager is an approach. their mixer. I like American desks, and I think that the Harrison is the tion makes financial sense because expert synth programmer. We've been quite brave about the best sounding one around. When it it gives me more freedom over Aosis is more of a studio for monitors. The safe choice would came up for sale 1 grabbed the producers who don't own a studio. making music rather than just have been one of the classics like opportunity. The Otan with the Asa writer 1 can always find a free recording JBL, UREI or Tannoy. Harrison means Aosis can offer the hour or so to capture an idea. As a Turnkey worked closely with We spent a long time discussing and best facilities in its price bracket. producer there's more time to Barry Blue and his team for six listening. I've always found studio develop ideas and work with artists. Much of the outboard gear months to rebuild and re -equip too hard or too flattering. is a commercial studio first monitors from Turnkey as well. It's Aosis Aosis. When you take the mix home it came and foremost. And as with all viable an of the facilitites which If you would like to see or sounds different. We wanted some- aspect and successful studios today, there's Barry Blue is particular about. hear the results for yourself, call thing that added nothing to the a degree of speciality. Aosis on 01 -267 4680. Or if you sound. These Turnkey soft dome Even before I took over, Aosis Aosis has tagged the words would like to discuss your studio monitors are accurate. Soaringly always had a high outboard count. Audio Visual onto its name. As project with us, call Turnkey first time With new clients, one of the true. You get the mix right, many the business grows and Studio Systems on 01 -202 4366 they ask is what's in the around. first things changes, will this be an impor- and ask for Garry Robson. No You never give them Control room acoustics racks. can tant area of development? one knows the business better. proved true to the design. Dur- enough. I asked myself the basic question, It seems record companies talk as ing final checks it was found that what do I use to make a top twenty much about the video budget as they no EQ'ing was necessary. sound Equipment choice further hit, and what's good to work with? do about the music. Linking and vision will be paramount. With no- We've got a hundred 'U's of rack reflects a compromise the advent of digital 32 track attitude. gear now. AMS, dbx, Aphex, Drawmer You name it and we've keyboards, and compact sixteen We had to upgrade the ageing probably got it. track systems the studio business tape machines. I'm not one to follow will More and more of the Aosis runs a sixteen track change. trends, but Otan has arrived Its music on record is cominri nut nffron t studio too, equipped with a rapidly built up a reputation as a Soundtracs desk and the Fostex workhorse. A really brilliant trans- B 16 from Turnkey. port, brilliant ideas. We bought three of them. An MTR90 Series 1124 One studio gets the clients, the Eftm7ñkey studio systems track, and two stereo mastering other keeps them. The sixteen track machines. room is a boon. Clients can work out Brent View Road. LONDON NW9 7EL. Telephone 01 -202 4366 www.americanradiohistory.com GREENGATE LTD p r o d u c t i o n s The Greengate DS:3 is the definitive sound sampling system for the working musician /composer/producer /engineer. There are bigger names and bigger prices but none compete on a price /performance basis with this 4 -voice polyphonic, 15kHz, 2.8s system. "They're talking about adding looping... Frankly, I don't see how that's going to be possible given the Apple's rather slow processor': (David Ellis, Electronics & Musicmaker, October 1984) On the Ides of March we were pleased to prove him wrong... ._.._... But then there are a lot of things about the DS:3 that 8 ...m_. of DE doesn't know. Like the fact that all you lucky Simmons/Linn /Oberheim /Drumulator /Etc. , w.r. owners can blow your own PROM's on a DS:3. . With any sampled sound you like. And with the super sound quality obtainable only with a ONO mmomb +r ..s .. ... powerful visual /aural editor... Set your Simmons free...! Give your Linn a break...! Drop us a line and we'll tell you how its done. For a song! Ask your local record DS:3 store for the "Noise of Art" or "Close to the Ground (The C5 Edit)" 12" 45rpm classics (YYY001 & 002 on Polydor Records) which show just what the DS:3 can do... Greengate Productions Ltd., 24 Missden Drive, Hemel Hempstead, Hertfordshire, England. HP3 8Qi. Telephone: (0442) 3496 Greengate Productions, 2041 Pioneer Court (Suite 15), San Mateo, California 94403, United States of America. Telephone: (415) 345 3064 www.americanradiohistory.com Off the peg synchronisers suffer from trying to Versatility. Performance. be all things to all people. It can be supplied as an integral part of the Resolves auxiliary references: pilot frequency, At Studer, they have a no- compromise A810, or as a rack -mounted option for other video frame pulses, film bi -phase pulses, approach: the tailor -made TLS 4000 Studer transports. move pulses etc. synchroniser. After all, who knows the needs of Choice. Write or 'phone for full details. Studer transports better than Studer? Available as a simple chase lock synchroniser Studer TLS 4000. Cut to perfection. The advantages of this intimate knowledge or with a sophisticated local control unit. are immediately apparent: Flexibility. Economy. The TLS 4000 will resolve two SMPTE time - STUDER The TLS 4000 costs less than a 1/4' Studer codes of any standard. There is also a RS -232 tape machine. serial remote port. CH -8105 Regensdorf Telephone (01) 840 29 60 STUDER REVOX AMERICA INC Nashville Telephone (615) 329 -9576 STUDER REVOX SARL Paris Telephone 533 5858 STU DER REVOX CANADA LTD Toronto Telephone (416) 423 -2831 FW.O. Bauch Limited 49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ Telephone 01- 953 0091, Telex 27502 www.americanradiohistory.com reasons for choosing an OTRI. The MTR90 Mk II is now the world's best -selling multitrack It offers an audibly superior performance, simplicity in operation and maintenance and superb tape handling 1. combined with extreme reliability and excellent characteristics when locked to video. It is also several thousand pounds less than its only serious competitor. The MX70. The MTR90's new baby brother. This completely new, state -of- the -art multitrack draws on the wealth !?iliiflililii I.j111,111111'; of design experience gained with the MTR90 over 6 years, and offers smaller studios, broadcasters and video facilities Otari performance and reliability at lower cost. The MTR 12 is now available in a huge range of formats - 1/4" mono, 1/4" and 1/2" 2tk., 1/4" DIN stereo, and 1/2" 4tk., plus centre -track timecode and self- 3. resolving Nagrasync and Monopilot versions. A choice of speeds (30/15/7.5 or 15/7.5/3.75 ips) and cabinets (console or overbridge) is also available. The MTR20 is the ultimate analogue recorder. Incorporating the most advanced computer control and line- up system on any studio recorder in the world, this truly remarkable new machine will become the mastering recorder that clients and producers insist upon. 16 Studio Sound, June 1985 www.americanradiohistory.com reasons for choosing it from ITA. 1. We have 12 years experience with Otari. We offer you a PERSONAL service, and our sales staff really do understand the product. The BBC, Limehouse Studios, Riverside Studios, Swan Yard, Anglia 2. TV, Jacob's Studio and Windmill Lane are just a few clients who bought their Otaris from ITA. Full client list available. ITA offers TOTAL SYSTEMS CAPABILITY. Our range of services go 3. from simply supplying your Otari to designing and building your studio and specifying and installing everything in it. Our Otari back -up is second -to -none. Years of experience coupled with a huge 4. spares stock gives you security of mind. INDUSTRIAL TAPE APPLICATIONS -- PROFF SSIONAL PRODUCTS DIVISION - - m-= 1 Felgate Mews, Studland Street, London W6 9JT. Telephone: 01 -748 9009. Telex: 21897. www.americanradiohistory.com SOU N DTRACS CM4400 The best studios are not always 24 track It's the quality that counts The Soundtracs CM4400 computerised console. 8.8 Computerisation at no extra cost. As a studio console it is great value for money. As the price includes internal computer, it is outrageous. Larkin sales Interface via the RS232 port enables a audio internal computer The CM4400 enables 30 routing /muting personal computer to be used as a track Luton: 29 Guildford Street, Luton, Beds. combinations to be pre -set and sheet, to display patches and for desk Telephone: Luton (0582) 450066 changed at the push of a single routing. New software will enable routing Telex: 825488 DONLAR G button. and over 1,000 mutes to be triggered by Throw away your razor blades SMPTE /EBU timecode track. Stoke -on- Trent: Stafford House, for that difficult mix; this computer Conventional automation does not permit Clough Street, Hanley, Stoke -on- Trent. does it all. tracks to be switched into and out of effects. Telephone: Stoke -on -Trent (0782) 24257 You can do it with the CM4400. 18 Studio Sound, June 1985 www.americanradiohistory.com Leap into the future with the SA PPE-2400 the ep : - - "th Brains... 1 2 3 4 6 CHANNEL CHANNEL. 2' 0 9 7 8 CLIP CLIP - 9 PIIOGHAMMA,. PARAMF. TRIC Eo...uZEn FULL PARAMETRIC EQUALISER AUTOMATION READY stereo 4 -band; dual tracking possible with serial bus for computer link -up ALL FUNCTIONS PROGRAMMABLE STUDIO QUALITY ultimate versatility through full programmable functions extreme low distortion 64- REGISTER MEMORY BANK ROAD -PROOF preserve and recall your favourite settings very solid construction stage accompany www.americanradiohistory.com SA PPE -2400: the ultimate equaliser for now and the future! The SA PPE -2400 is a sophisticated, programmable, two -channel four -band parametric equaliser with total digital control of all variable settings. The memory offers storage, recall and comparison of up to 64 different settings. Once you've programmed an optimum EQ for a certain instrument or set of speakers, you can retrieve it in an instant with a push of your fingertip. Centre -frequencies are visible on highly accurate led displays. By "sweeping" a narrow boosted peak you can easily detect resonances and identify the frequencies at which they occur. Led displays are also provided for Input gain can be adjusted by UP /DOWN Adjusted by UP/DOWN push- buttons, the push- buttons in 250 steps and is indicated on BOOST /CUT level is indicated on an led dis- an led display. All UP /DOWN push- buttons play in dB. have "accelerating control speed ": the longer you keep it pressed, the faster the respective parameter changes. Adjusted by UP/DOWN push- buttons, the Input overload is indicated by a red led, one for CENTRE -FREQUENCY is indicated on an led each of the two channels. display in Hz. INPUT LEVEL BOOST /CUT [dB) CENTER FREQUENCY O-FACTC O 3+ 6 li H 0 t; a 3 f05 DOWN UP - 6 -9 -12 -15 -18 -21 O e e [dBl CLIP CLIP CLIP H CHANNEL 1 CHANNEL 2 BYPASS BYPASS PPE2400 BYPASS O e O O CLIP CLIP 1 SEC. 20 500Hz 68 1700Hz 240 5850Hz e EQ IN EQ IN 2 SEC M TE IN UT P AKH D YPA YPA FLA RES NSE +.1171111. For comparison of original and processed sig- The FLAT RESPONSE push- button affects the nal, two MASTER EQ IN /OUT switches are cut/boost levels of all four bands of both provided, one for each channel. A yellow led channels and enables you to "erase" all indicates when the equaliser is switched in the equalising in an instant and start all over again. signal path. Input levels are displayed by led bars with simultaneous VU and peak level indication. Peak -hold time can be switched to 1 or 2 Each of the four bands has an individual red seconds. clip led, a bypass switch with led indication, and a BAND SELECT push- button. When Electronically balanced (or unbalanced) inputs pushed. this button over -rides any previous and outputs are accessible on the rear of the selection and assigns the three EQ parameter unit by XLR sockets. They accept. respectively UP/ DOWN push- buttons with their corres- deliver levels up to + 20 dBV. ponding displays to the selected band. www.americanradiohistory.com input gain, cut/boost level, Q- factor, output gain and for memory banks and registers. Input and output levels are displayed on led bars with simultaneous VU level and peak indication. A serial data bus and interfaces, facilitating computer link -up and studio automation, are optional. A further option, the remote control unit with memory, allows you to carry your EQ programs and link -up to any PPE - 2400. You can then recall your own settings within seconds! The PPE -2400 analog, digital controlled equaliser amply matches the performance and capabilities of the all - digital competitors at only one tenth of the cost. By combining top -quality components with an unequalled solid construction this equaliser is also ideally suited to the heavy handling in "on the road" situations. The variable Q- FACTOR is also adjusted by Output gain can be adjusted by UP/DOWN UP /DOWN push- buttons and indicated on an push- buttons in 250 steps and is indicated on led display. an led display. The MEMORY is accessible by an 8 -digit key- board and enables you, together with the Output levels are displayed by led bars with STORE button, to store and recall combina- simultaneous VU and peak level indication. tions of settings of all front panel control func- Peak -hold time can be switched to 1 or 2 tions. 8 banks of 8 registers each, provide seconds. storage of up to 64 different pre -sets. OUTPUT LEVEL OUTPUT LEVEL 10 2501 BANK- REGISTER A 6 A PROGRAMMABLE PARAMETRIC EQUALIZER PEKK {-1-CMD The DUAL TRACK switch links all UP /DOWN The red ADDRESS button on the keyboard control functions of channel 1 and 2 for stereo bypasses the internal memory and assigns the operation. This feature also affects centre -fre- digital control functions to the databus for quency and Q- factor. computer controlled operation. The LOCK push- button disables all front panel The READ OUT push- button assigns the three control functions to prevent unauthorized alter- EQ parameter UP /DOWN push- buttons with ations of any setting. This feature does not their corresponding displays to the selected affect the actual operation of the equaliser: any band of either channel 1 or channel 2. An setting will remain unchanged. A special code, illuminated led shows which channel is chosen by the user and typed -h on the key- chosen. board, unlocks the "lock" function. www.americanradiohistory.com POSSIBLE SYSTEM LINK -UP FOR THE FUTURE As a result of the demands in today's fast developing sound systems, Stage Accompany is designing a comprehensive computer controlled sound system. Unlimited possibilities are created when you link -up a complete digital controlled sound system, including mixing consoles, equalisers, reverb units, delays, electronic crossovers and power amplifiers, to a personal computer. Ultimate control of each unit is achieved from an easy -to -use keyboard, while the status is displayed on a screen. Other major advantages are: * Very complex, pre -programmed alterations of all function settings on all units are possible, whether in studio mix - down sessions or at live- concerts, by just pushing a few buttons. * This information can be stored, then transported and used to program identical systems anywhere in the world. * In live situations, sound -checks for fixed set -ups are reduced to merely adjusting to the particular acoustic environment. * Notably improved sound quality, especially in live -sound reinforcement, as a result of dramatically shortened signal paths. Remote control allows the signals to remain on stage, avoiding the use of multicables. PX-800 PDD-2000 PDR-1000 PX-800 PPA -500 PGE-2300 PPE -2400 PPA -500 PPA -900 PPA -900 l CONTROL UNIT PPA -1200 PPA -1200 PMC 3212 PERSONAL COMPUTER SYSTEM DIAGRAM Specifications: Max. input level: + 20 dBV Centre frequency range: band 1: 20 Hz - 600 Hz Max. output level: + 20 dBV band 2: 60 Hz - 2 kHz Frequency response: 20 Hz - 20 kHZ, ± 1 dB band 3: 200 Hz - 8 kHz Max. gain (input to output): + 16 dBm band 4: 800 Hz - 20 kHz Slew -rate: 13 v/µ sec Data bus: (optional) serial bus, IEEE -488 T.H.D.: 0,02% max. Power consumption: 120 W I.M.D.: 0,008% max. Power supply: 220 - 240 V ac S/N ratio: better than 85 dB Housing: 19" rackmounting, 3 H U high Max. cut/boost level: ± 16 dB (per band) 0-factor: min. 0,3; max. 30 Input impedance: 66 k f2 Stage Accompany reserves the right to change specifications without notice. As a result of constant research, SA products may differ from Output impedance: 100 f2 published description but will always equal or exceed the Input and output connectors: 3 -pins XLR, with earht lift specifications stated above, STAGE ACCOMPANY Anodeweg 4, 1627 LJ Hoorn, Holland, phone (0)2290 -12542 telex 37989 Stage nl Marienburger Straße 29, 4460 Nordhorn, Germany, phone (0)59211 -6196 5A Spiseggstraße 30, 9030 St. Josefen, Switzerland, phone (0)71- 281696 Kennell s.n.c., 324 Corso Unione Sovietica, 10135 Torino, Italy, phone (0)11- 612148 Caw Sonoss, 3 Rue Vieille, 59160 Lomme, France, phone (0)20- 925091 Kühn1 & Wurzer, Waldeggstraße 68, 4020 Linz, Austria, phone (0)732- 668125 stage accompany www.americanradiohistory.com For every occasion ¡-111 1 DUDIOFILE Cables from Conncrronics CONNECTRONICS LIMITED CONNECTRONICS CORPORATION Victoria Road 652 Glenbrook Road New Barnet Hertfordshire Stamford EN4 9PF England CT 06906 U.S A Telephone 01 449 1669,4011 ' 0 i lev 8955127 SGRI r MUCH MORE THAN DIGITAL AUDIO SuccessTimingm RECORD/PLAYBACK Good Timing is our speciality, so it won't take a second to tell you about our unique range of tape timing products: The SPIN TIME, a real time counter for the A77, PR99, 5050 and AG440. The CM50, an autolocator currently available for 20 different multitrack machines with all the features you would expect to find in a top -line autolocator and at a reasonable price. Popular interfaces for the CM50 are the A80, MM1100 and M79. The older the machines, the greater the transformation in deck control. The I -CON, incorporating all the features of the CM50 with the addition of channel select keys and now our EBU compatible synchroniser for locking .i. audio to video or even audio to audio. Check with us for machines available or call us or any of our dealers for information on all our products. Applied Microsystems Limited t 9 8 4 Bagshot Road, Chobham, Woking, Surrey GÚ24 8BZ. Telephone: (09905) 6267. Telex: 8952022 CTYTEL G. AD'.aNCED MUSIC SYSTEMS millstreams Lane, Wursthorne %'illage, Burnley 1.ruti;, AUSTRALIA; Klarion Enterprises, (03) 613541. CANADA; Derr Electra AcouatIca, (416)868-0528. DENMARK; BB1tt 3ty1'. England. AB Music, 96)19873a FRANCE; Studio Du Hlbou, (76) 860158. GERMANY; S.C.S., (7159) 7222. HOLLAND; P.A.C.. (040) 424455. ITALY; Startek, (051) 321063. NORWAY; Aodiotron, (02) 3520 96. NEW ZEALIND; Maser Communications. (444) 3583. SOUTH AFRICA; Eitran, at 1) 293066. SWEDEN; Stage 8 Studio. (031) l l: l0282I 57011 Telex 63108 ANIS-G. 2240 90. SWITZERLAND; DAM Studio, (061) 728972. U.K; Don Larking Audio Sales. (0582) 450066. In Ere USA, call. (213) 854 -5098. www.americanradiohistory.com WED THURS FRI JUNE 12 13& 14 10.00 to 18.00 hours 10.00 to 18.00 L INTERNATIONAL PROFESSIONAL RECORDING EQUIPMENT ô J KENSINGTON EXHIBITION CENTRE, KENSINGTON, LONDON Alpha Audio Elliott Bros. Penny & Giles Audio Services Eardley Electronics Philip Drake Electronics Autograph Sales Electromusic Playback Studio Audio -Music Marketing E.M.O. Systems Quad Electro Applied Microsystems Film -Tech Electronics Quested Monitoring Audio Systems Components Formula Sound Recording Studio Design Ablex Audio Video Future Film Developments Rebis Audio Audio Video Marketing HHB Hire & Sales Roland (UK) Limited ACES (UK) Ltd Harrison Information Sifam Advanced Music Systems Hidley Design Studio Innovations Avcom Systems Harman (Audio) Sonifex Audio Kinetics H.W. International Shuttlesound Ampex Hayden Laboratories John Hornby Skewes Audio & Design /Calrec Hill Audio Sony Broadcast Audio Developments HH Electronics Solid State Logic Agfa -Gevaert I.T.A. Studio Sound Alice (Stancoil) IC M Swisstone Electronics Arny's Shack (Tools) "International Musician" Surrey Electronics Amek Systems Industrial Acoustics Sound Engineer Allen & Heath Brenell KEF Electronics Scenic Sounds Allotrope Kelsey Acoustics Soundcraft AKG Acoustics Klark Teknik Soundtracs Bell & Howell Keith Monks Space Logic Britannia Row Lindos Electronics Sellmark Electronic Beyer Dynamic Lennard Developments Studio Equipment Distribution Bruel & Kjaer Mosses & Mitchell TAM /England BASF United Kingdom Minim Electronics Tannoy F.W.O. Bauch Magnetic Tapes Tweed Audio Electronics Branch & Appleby Michael Stevens TRAD Brooke Siren Systems Musimex Turnkey Clear -Corn Intercom Modutec Tandberg Cadac Electronics Music Lab Trident Audio Developments Cetec International Marquee Electronics Technical Projects Canford Audio Midas Audio Uher Sales & Service Cunnings Recording Assoc. Neve Electronics Wellard Connectronics NEAL Yamaha -Kemble Music DDA Otari Zonal Dolby Laboratories Professional Recording Drawmer Marketing & Sales Peavey Electronics Exhibitors at Ernest Turner Pangbourne Musical Dist. 12.4.1985 Tickets: APRS, 23 CHESTNUT AVENUE, CHORLEYWOOD WD3 4HA, ENGLAND 20 Studio Sound, June 1985 www.americanradiohistory.com OVER THE ROAD SHOW HAS MOVED JUNE 72, 7 3, 74 7 985 THE TARA HOTEL Scarsdale Plac e, Kensington, LONDON W8 5SR The Don Larking Audio Sales Over The Road Show has MOVED. selection of top quality manufacturers including: Aiwa, Aphex, Round the corner at the TARA HOTEL, KENSINGTON the Applied Microsystems, Bel, Fostex, Lexicon, MXR,Quad, Rauch, Over The Road Show is even bigger and better than last year. Rebis, Soundcraft, Soundtracs, Standeasy, Studer /Revox, Tannay, Come and SEE and HEAR and TRY equipment from an incredible TC Electronics, Trident, Teac /Tascam, Westlake and Yamaha. Applied Microsystems Bel BD80/320 32 Secs Icon Autolocator Delay /Sound Sampling Developed out of the Yes the amazing new digital delay processor from Bel is CM50 autolocator, available up to 32 seconds delay @ 1 5kHz bandwidth. the Icon is designed Sampled sounds can now be played on your synthesiser/ specifically for the keyboard. Fostex B16. It is, however, perfectly possible to supply units for other makes. Like the CM50, it is a 9 memory autolocator plus record select. It simply plugs into the remote socket on the 816. Most exciting of all, if you buy a Sync Unit you can link two B16s - instant 32 track at its most revolutionary cost yet. You too can drop -in Over The Road. 3011llD i i 016/18/16 Mixer Now a firm favourite in both home and professional studios alike, the Soundtracs 16 /18/16 continues to enjoy sound reputation for quality; coupled with its extremely competitive pricing this mixer is a must! Features now include ALPS faders (standard), dual level inputs and outputs via stereo jack sockets (compatible with Japanese and European equipment), 3 band EQ, 3 Aux Sends channels and monitors, plus EQ and fader reverse on 8 monitors allows use of the monitor channels as further inputs on mixdown. Fostex Collection Everybody knows about Fostex and Teac and all the rest, but it's not every day that you can try it all out with an extremely patient and knowledgeable recording engineer. You can do it Over The Road. Soundcraft Trident for the Machines Professional The Soundcraft Series 20 Stereo Mastering Range of consoles Machine takes the concept of conventional and multitrack machines analogue tape machines into a new era. The from Trident for which Series 20 meets the highest professional D.L.A.S. are sole UK Neumann standards at a very competitive price. The agents. The Series 70 end result of this revolutionary design mixer is the ideal Professional is a very impressive product indeed. instrument for the producer/engineer and comes in many different Microphones configurations. The Recently appointed Series 80B is for the UK main dealer fully professional for the complete studio. Come and fix a mix Over The Road. range. Luton: 29 Guildford Street, Luton, Beds Telephone Luton 105821 450066 o0 Larkin, Telex 825488 DONLAR G Stoke -on- Trent: Stafford House, Clough Street, Hanley, Stoke -on- Trent audio sales Telephone Stoke -on -Trent (0782) 24257 www.americanradiohistory.com the New SM81 by REHW International H V 3 -5 Eden Grove London N7 8EQ Tel 01 -607 2717 TRAD FOR SALE FOR SALE £ Lyrec TR532, 24- track, current grey model, Electrospace time matrix, new P.O.A. 5000 -hrs. 32 -memory autolocate 13,000.00 Webber test tapes P.O.A. 3M M79, 24- track, recent head replacements 10.000.00 Marshall time modulator 500.00 Studer A80, 16- track, Mk 1, 15/30 ips 8,500.00 Eventide digital delay 1745A 400.00 Studer A80, 24- track, Mk 2, 15/30 ips 14,500.00 Eventide omnipressor 175.00 Telefunken 24- track, new 19,000.00 Audio and Design E500RS selective processor 500.00 Ampex MM1200, 24-track autolocate, etc. 11,500.00 Fairchild 600 Conex 350.00 3M M79, 16 -track 6,500.00 H.H. S500D amp 350.00 3M M56, 16-track, selectake -varispeed 4,750.00 H.H. V800 MOS fet amp 475.00 Studer 810 with time code, new 5,200.00 MXR digital delay 350.00 Studer A80 stereo 3,200.00 Scamp modules, large stock P.O.A. Studer A8OR stereo 3,000.00 Roland DC10 110.00 Proline 2000 stereo 1,200.00 Beyer microphone stands s/h 15.00 Lyrec TR55 stereo 2,300.00 Tascam 32 -2B, as new 425.00 Studer C37 stereo, valve 750.00 A.K.G. BX20 reverb 1,300.00 Soundcraft 1624 with 24 monitoring 8,000.00 Bel DDL 4 sec P.O.A. Neve Kelso 10 -2 5,000.00 KEF LS5 /1 loudspeakers per pair 150.00 Neve B.C.M. 10 -2 5,500.00 KEF LS5 /1 loudspeakers per pair 225.00 Quad 8, 32-16 -24 10.000.00 Helios P.S. desk 16 -8-16 3,000.00 Trident Series 80, 32 in 14,000.00 Helios 36-16 -24 4,500.00 EMT 240 gold foil 2,500.00 Dolby M24 noise reduction 8.000 Master Room MR3, reverb with DC2 control 950.00 Sennheiser MD421 microphones 65.00 Klark Teknik DN34 350.00 Shure SM58 75.00 Drawmer Multitracker 350.00 Quad 405/2 amps, new 195.00 Crown DC300A 450.00 Quad 303 amps, new 127.00 Crown D60 120.00 A.K.G. C451 with CK1 capsule 85.00 Beyer DT100 headphones, new 34.00 The above prices do not include V.A.T. ELECTRONICS SALES LTD TRAD 149b. St. Albans Road, Watford, Herts, WD2 5BB, England Tel: Watford (0923) 47988/9 Telex: 262741 22 Studio Sound, June 1985 www.americanradiohistory.com NEUMANN Manufacturer of sophisticated Disk Cutting Equipment of worldwide reputation. TELDEC DMM- Technology, accepted worldwide and realised by the Neumann system, has established a new Quality Standard for the Long Playing Record. Cutting into copper for direct production of the mother eliminates three stages of the previous processing sequence. The Technology: TELDEC DMM The Equipment : NEUMANN VMS 82 Cutting Lathe SX 82 Cutterhead SAL 82 Cutter Drive Logic For DMM Licence Agreement, please contact Teldec Schallplatten GmbH, Neussweg 25, D -2000 Hamburg 19 AUDIO EXPORT GEORG NEUMANN 741 Washington St., New York, NY 10014 &CO GMBH (2121 741.7411 Badstraße 14 Postfach 1180 D -7100 Heilbronn Tel. (0 71 31) 8 22 75 West Coast Saks Office Telex 7 -28 558 audex d Cables Audioexport (213/841-1111 F.W.O. Bauch Limited 49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ Telephone 01- 9530091, Telex 27502 www.americanradiohistory.com www.americanradiohistory.com LOS ANGELES TOKYC one: Q -Lock by Audio Kinetics. It's the same all over the world. The simple, uncluttered controls. The custom interfaces that suit your machines. The remarkable software capability. The integrated system with built -in expansion possibilities. It all Adds up to accuracy and ease of use, and that means speed and creative flexibility. It means Q- Lock. If you're looking for an international standard, you've found it. Now, more than ever, you need to keep in sync with the times. Lock around the The ability to synchronise video and clock - with Q -Lock. audio recorders is an increasingly vital facility required in studios all over the world. As much as Audio Kinetics Limited, three -quarters of today's audio recordings Kinetic Centre, Theobald Street, involve a visual aspect, and recording is more Boreham Wood, Hertfordshire, international than ever before. Basic tracks in WD6 4PJ England, New York, string and brass overdubs in London, Tel: 01 -953 8118 Telex 299951 AUDIO KINETICS dubbing in Los Angeles ... modern international Audio Kinetics Inc., 4721 Laurel Canyon Boulevard, productions need an international standard for Suite 209, North Hollywood, California 91607, USA machine synchronisation, and there's really only Tel: (818) 980 5717 Telex 230 194 781. www.americanradiohistory.com Audio Jackfields? Over 100 listed Dixieland Hroduekm,, Athnr,, in our Catalogue. SONEX kills GA background noise beautifully. SONEX is a special acoustic foam that absorbs noise four í times better than acoustic tile or carpeting. It makes you _:.; sound like a pro - inexpensively - because your voice comes ;r,r. ; ':,>:. . across clear, clean, and intelligible. Use SONEX for video, At remote conferencing, voice -overs, radio communications, audio production, or anywhere else you need to sound RRLIRË crystal clear. Kill background noise beautifully - and save .. ` plÌkw..,w, the true sound with SONEX. Send for all the facts. -`CtS - _ Q :111414'."`"-' "t,,,, w SONEX is manufactured by Illbruck `r Alpha and distributed exclusively to the pro sound market by Alpha Audio. Audio ff) FUTURE FILM DEVELOPMENTS 2049 West Broad Street Richmond, Virginia 23220 (804) 358 -3852 114 Wardour Street. London W 1V 3LP Telephone: 01-434 3344. Acoustic Products for the Audio industry Telex: 21624 ALOFFD G. Cables: Allotrope- London WI After 57 years of research, Sanken offers a microphone that you cannot hear. Reputation is most compromise in dimensional quality of the Sanken is of powerful salesman of design. Where the response paramount importance in microphones. A studio's of one capsule falls off. the his work. locker will contain a wide second takes over. Diap- They are Steve Levine's selection of flavours. Bright hragms are made from favourites for piano and ones. mellow ones and micron thick titanium. vocals at Red Bus. punchy ones. A selection of assuring stability under all The Sanken captures coloured sound for every conditions. The housing is sound without adding application. Even reference nickel pated solid brass. colour. it is the most to the leaders in the mic- accurate microphone you rophone stakes turns to ENTHUSIASTIC USERS can own. words like warm, or tight. As well as its extensive While there's room for all applications by NHK. the THE CASE TO TEST these. there's also need for a Sanken has been highly Endorsement is not enough. microphone that comes as acclaimed in the West. Audition the Sanken for close to the truth as possible In America. Mix Magazine yourself by asking your local - offering transparency and said 'transparency that cuts distributor for a demoloan adding nothing to the sound. through the track: of a pair of these remarkable When Hugh Ford microphones. SANKEN'S FIRST EXPORT reviewed the CU41 for Sanken have been in the Studio Sound he discovered microphone business for 'texbook performance' polar over half a century. much of response. the time working in close The first owner /users of cooperation with NHK. these precision devices are Japan's state broadcaster. equally enthusiastic. Over the past four years Tony Faulkner. the they have developed a classical music recordist uses microphone for use with them extensively. He states digital audio systems. that the medium of digital The unique design audio exposes colouration The Sanken CU41 is the employs a dual capacitor that was acceptable on acclaimed state of the art in capsule. permitting no analogue recording. The microphone technology. Sole Export Agent. Pan Communications Inc. 5.72 -6 Asakusa, Taito -ku. Tokyo 111. Japan Telephone 1031871.1370 D str butors. Turnkey Brent View Rd London NW9 TEL England Radelco Itahelei 179. B -2000 Antwerpen, Belgium Telephone 1031233-7935 3M France 1 Rue Francois Malherbe. 8540 Vernon llet France Telephone 1031031 -6423 26 Studio Sound. June 1985 www.americanradiohistory.com SIup V. NO .SNE 19OGLW85 If YOUha venoty!t tp. received your copy . :.,:692 Phone Ol. - Acoustitile & Acoustisheet ' 405-303-34-44- FM4 in stock all in stock U87 - U89 - KM84 - U47 & Accessories T T`T in stock Patch Panels 17 versions & Patch Cords All Effects and Reverb - SWITCHCRAFT - ISOTRACK - STUDIOSPARES BANTAM DI Bcxes in stock Access Trade counter now opens 8am to 5.30pm BARCLAYCARD Phone for free 50 page fully illustrated catalogue VISA I Camden Town Station 1 minute's walk Orders 01 482 1692 Administration 01 485 4908 16 Stucley Place Hawley Crescent Camden Town London NW1 6NS www.americanradiohistory.com DIARY DIARY Addresses, Literature, APRS list of BPI member companies, Address changes and this will be updated The Hudsons Group of London head office, the move frequently. Annual Companies is moving its base to Slough being part of overall subscription to the user group to Slough in Berkshire, future plans. The new costs £250. England. The four companies premises are on the Bath Road Similarly, the use of the involved in the initial move International Trading Estate, system for posting studio were MVC Hudsons Slough, Berkshire. availability is confined to (predominantly involved in the The British company of APRS members. They are able construction and equipping of AKG Acoustics has moved to buy pages at £100 each per outside broadcast vehicles); from its home of many years ô year (including cost of Hudsons Freight Services; in West London to Godalming unlimited necessary updates) Hudsons Airfreight Ltd in Surrey: Vienna Court, but do not need to have and Crow of Reading, Catteshall Wharf, Catteshall It was only after careful Prestel receiving TVs the television systems Lane, Godalming, Surrey GU7 consideration of how best it themselves because they can engineers. 1JG. Tel: (04868) 25702. could be used, and how best to make all arrangements for Hudsons will retain its Telex: 859013. avoid misuse, that the new displaying and updating via interactive viewdata service telephone to GWV. for APRS member studios on Studio Link Up is a service Literature Prestel was launched. The endorsed by the APRS but run Gerr Electro Acoustics Ltd Synchronising for Television Studio Link Up service was entirely by GWV. Subscribers of Toronto, distributors of Audio Production and Post - endorsed at the April meeting can check on an APRS Sound Workshop, Audio production; Keyboard control of the APRS Executive, when noticeboard page (and can Kinetics, Mitsubishi digital for Basic Chase Synchronising; the terms under which it place notices on it), they can recorders, the Synclavier and Automating Master Transport would be operated were check a list of studios on the more, has published the first Operations for Television finalised in order to protect system area by area and can issue of a quarterly newsletter. Audio Post -production; the interests of the then call up specific studio Containing features, product Manipulating Numerical Data Association's members who pages to check on available information, technological in (Adams- Smith) System 2600 use it to show their time. developments and news from Controllers and Controller availability for bookings. GWV will be running around the world the Displays. Studio Link Up is being demonstrations of Studio Link company's aim is to keep their More titles will follow and operated by Gwynn Williams Up on the APRS stand at the customers informed. they are available free from Viewdata Ltd, the company show (Kensington Exhibition Gerr Electro Acoustics Ltd, Marquee Electronics Ltd, 90 which has for some time Centre, June 12, 13 and 14). 363 Adelaide Street East, Wardour Street, London WIE operated similar services With all the 192 stand units Toronto, Ontario M5A 1N3. 3LE. called Theatre Link Up (for for APRS 85 booked -by a Tel: (416) 868 -0582. 1985 208 -page catalogue venue availability and total of 120 companies -it is Imhof-Bedco Standard from Nortronic Associates with bookings) and Conference Link clear that the near -clash with Products have brought out a information on wide range of Up. ITS in Montreux made no 60 -page catalogue giving capacitors, connectors, mains Studios can use the service impact on the bookings for the details of the company's filters and resistors. Technical to show what time they have UK annual show. extensive range of standard articles cover specific areas, free in a three month period, The APRS is expecting the cases and boxes designed to and the technical spec is and subscribers can dial up usual high, and ever - meet the requirements of a accompanied by line diagrams the pages to check on this, and improving, numbers of visitors wide variety of applications. and photographs. Available then make bookings by to what is undoubtedly one of Imhof, Ashley Works, from Nortronic at Gateway, telephone. GWV has the world's premier pro -audio Ashley Road, Uxbridge, Middx Crewe Gates Industrial Estate, undertaken to provide an exhibitions now. However, UB8 2SQ. Crewe, Cheshire CW1 1YY. update service seven days a there is considerable concern From Marquee Electronics, Instrument trolley brochure week, and to update any at the prospect of an AES a series of applications reports from Tele-Production Tools Ltd information in any of the show being held in London in on the use of timecode in with a new range of Studio Link Up pages within 1987. That concern is made audio and video systems. equipment trolleys all of which half an hour of being called greater by indications that the Titles available include Video include two shelves which can and informed about it. dates of AES in that year will Tape Editing with Vertical be adjusted for angular The company has also be put back to as late as the Interval Timecode; Basic Tape positioning and/or height. undertaken to operate a end of March or April. Such system of checks, intended to proximity to the APRS show is ensure firstly that the studios expected to be anything but People who buy pages do keep their welcome to would -be APRS Signetics Corp, a subsidiary Audiosales, Mödling, information up to date all the exhibitors who would also of US Philips Corp has Austria, have appointed time; and secondly that no wish to take stands at the announced the resignation of Thomas Ruisz product subscriber misuses the Link AES Convention. It is felt that their executive vice -president manager for Klark -Teknik and Up to tie up studio time with the need for an AES Charles Harwood. Mr Harwood Drawmer. He was previously spurious bookings in different Convention in the UK -the joins Quality Improvement Inc. with For Music PA -Hire. studios at the same time. one European capital which Studio Link Up can be holds its own first league received on any TV which professional audio exhibition Cipher acquires btx accepts Prestel but only annually -no longer exists, Video and timecode equipment financial strength necessary to members of a closed user and it would probably be company Cipher Digital has develop the former btx range group will be validated to acceptable to manufacturers acquired the btx Corp's further. access the relevant pages. The and potential buyers for the product, product rights, trade Cipher Digital, 10 Kearney APRS has decided that this European AES convention to names and development rights. Road, Needham, MA 02194. will be confined to members of rotate around Continental Cipher feel they have the Tel: 617 -449 7546. the BPI. GWV will be given a capital cities only. 28 Studio Sound, June 1985 www.americanradiohistory.com dbx The world's smartest noise gate /expander fits into the same rack as the world's smoothest compressor which fits into the same rack as the world's cleverest de -esser which fits into the same rack as the world's most versatile parametric equaliser which Ills into the same rack as the world's... dbx 1-- SCENIC SOUNDS EQUIPMENT LIMITED Unit 2, 8 -14 William Road, London NW13EN. .Tel: 01- 3871262, 01 -734 2812 Telex: 27939 SCENIC G dbx PO Box 100C, 71 Chapel Street, Newton, Mass. 02195 USA Austria KAIN GES MBH & COMPANY Salzburoh, Vienna Australia KLARION ENTERPRISES PTY LTD South Melbourne Belgium TRANS EUROPEAN MUSIC SA Dilbeek Denmark SLT Kopenhagen Finland STUDIOTEC KY Espoo France S C V AUDIO Paris Great Britain SCENIC SOUNDS EQUIPMENT LTD London Greece ANTALEX O E Athens Hong Kong STUDER REVOX LTD Indonesia PT KIRANA YUDHA TEKNIK Jakarta Italy SCIENTEL AUDIO SRL Modena Japan BSR LIMITED Tokyo The Netherlands SPECIAL AUDIO PRODUCTS B V Amsterdam New Zealand VICOMM SYSTEMS LIMITED Auckland Norway LYDROMMET Oslo Singapore LINGTEC PTE LTD South Africa PRO SOUND Johannesburgh Spain AUDIO PROFESSIONAL SA Barcelona Sweden TAI, & TON ELEKTRONIK AB Gothenburg Switzerland AUDIO BAUER AG Zurich Taiwan YANG'S AUDIO VISUAL LABS Taipei Turkey OMER TRADE EXPORT AND REPRESENTATION Ankara West Germany AUDIO VERTRIEB www.americanradiohistory.com Agencies, contracts Agencies Benchmark design Beard Audio has appointed for backup service. Turnkey, Vin Gizzi and Francis Daniel services to recording studios, Presence Audio as UK Brent View Road, London have combined their video facilities, broadcasters, marketing agent, the two NW9 7EL. Tel: 01 -202 4366. backgrounds in architectural production stages and companies having been closely Amek Systems and Controls design, acoustics and corporate communications allied in recent months and has appointed two new engineering to form services. with the Presence Audiostatic European agents: Audio Bauer Benchmark Associates. Based Benchmark Associates Inc, 425 speakers complementing the in Switzerland and Trans - in New York City, they East 63rd Street, New York, Beard amps. European Music for Holland. provide consulting and design NY 10021. Tel: 212 688 -6262. Beard Audio, Unit B1, Askew Amek Systems and Controls Crescent Works, Askew Ltd, Islington Mill, James Crescent, London W12 9DP. Street, Salford M3 5HW. Contracts Tel: 01 -749 4528. Tel: 061 -834 6747. Turnkey have recently Terry Medwedyk of Group Presence Audio are at The London office of Capitol supplied an Otani MTR12 One Acoustics Inc, Toronto, Eastland House, Plummers Magnetic Products has master recorder to Worldwide has recently completed a new Plain, Horsham, West Sussex. appointed the first of its Pictures in London's Wardour 24 -track facility for Comfort Tel: 044485 333. European network of Street, specialists in Sound in Toronto and the Turnkey has been appointed Audiopak distributors: multistandard film dubbing. redesigning of both 24 -track UK distributor for the new Studiotec KY in Finland, Audiosales have supplied control rooms at Ocean Sound, Westec LT3000 multitrack Eurotronica SA in Spain, Tal several Klark -Teknik DN780 Vancouver. The rooms feature recording and post -production Ton in Sweden, Dr W A digital reverberator /processors. `expansion' ceiling designs and audio mixing console, and Guenther in Switzerland and Customers include Power a combination of techniques PPG. They will be stocking the Professional Recording Sound factory, Achau; GP- aimed to control early the complete PPG range and Equipment Company Ltd and Recording Studio, Fred reflections and maintain a contacting all existing owners Canford Audio Ltd in the UK. Jakesch, and Seemann uniform soundfield. Mastersound, all in Vienna; Theatre Technology Inc, Pop Group Opus, Styria; Harry New York has added Eastern APRS membership and Schörch PA- Rental and Berton Acoustic Works JF-500 3 -way Records in Vorarlberg, speaker systems bi -amped with categories Austria. QSC 1700 amps and JBL Recent moves within the members of the executive, Two new Solid State Logic 5234A crossovers to its list of APRS to expand and embrace notably Phil Wainman of SL6000E series stereo video rental equipment. those companies and Utopia and Bob Hine of BASF system consoles have been Solid State Logic has individuals involved in the are directly involved. installed in London studios supplied the first SL4000E recording industry without Ten new membership Mayfair and the Roundhouse. computerised console to actually owning a studio have applications have been The Mayfair console is one of Philadelphia. Kajem Recorders led to the introduction of the approved by the membership the first in London to be have also redesigned their Facilities membership sub -committee: Aosis Studio, equipped with the SSL control room with the category. This embraces Amazon, The Barge, Integral Synchroniser and assistance of Al Fierstein of mastering and cutting Hollywood Studios, Terminal Master Transport Selector. Acoustilog, making it brighter facilities, video and film post 24 Studios, Griffiths Hanson Further recent SSL contracts and expanding the effective production houses where audio (Facilities), Music Labs and include fully computer- assisted listening area in terms of is laid on, audio and audio- Quested Monitors SL4000E Master Studio frequency response. video mobiles. (Manufacturers/Agents) and Systems with Total Recall into The UREI Time Align The APRS is also working to Chapel Lane and Right Track New York's Unique Recording monitors have been modified set up a producer's guild with Studios (affiliates). Studios, and Skyline Studios. in order to accommodate Solar Audio and Recording's louder dB levels and transient new studio at 6065 Cunard peak information delivered by SIM Training demonstrate that with the Street, Halifax, Nova Scotia, the SSL. Gauss speakers Meyer Sound held the first of correct instruments and has been designed by Claude interfaced with a custom -built a series of training seminars technique it is possible to Fortier of State of the Arts Acoustilog crossover have been on the Source Independent effectively eliminate acoustic Electronics, Ontario. installed, biamped with Hafler Measurement (SIM) technique resonance (and the consequent Equipment will include Claude P500s and P225s. in their factory back in unwanted frequency response Fortier CF2000 monitors and Soundcraft Electronics has February. The principles and modification) caused by Soundcraft TS24 40-input installed a TS24 in -line practice of SIM were acoustically `bad' performance console with MasterMix console at Advision Studios, introduced to dealers, to environments. automation. London where it will be used Jor -Dan studios has opened for 24- and 46 -track digital a new 24 -track facility in recording in a wide variety of Wheaton, just outside Chicago, applications. The console Up and coming topics with the first Studer A80 VU features MasterMix As you know, every month we copydate 21 June; and MkIV 24 -track machine in the automation and the studio's have specific special feature October: AES preview and USA. The console is a new equipment includes Sony topics and it is always exhibition, tape machines and `vintage' all- discrete Neve PCM 3324 digital multitrack. appreciated if you are aware of synchronisers, copydate 26 8058 console, modified and The new digital facility is these and send in any relevant July. installed under the personal designed to complement that product information which Press releases should be supervision of Rupert Neve offered by Advision's other your company may have. marked for the attention of and features Neve studio with its SSL SL6000E Topics for August: test Keith Spencer -Allen, Editor, compressors, 31102 equalisers, console, and their digital equipment, metering and Studio Sound, Link House, 16 added sub -groups and four editing suite, the Pumacrest interconnection, copydate 24 Dingwall Avenue, Croydon extra grouping faders mobile and the latest project: May; September: microphones, CR9 2TA, UK. accessible via the patchbay. refurbishing of Studio Three. 30 Studio Sound, June 1985 www.americanradiohistory.com LOOK AT LYRECP-2500/2000 before you leap Look at 64 : 1 quantity at 32 : 1 quality, two speed switchable. Look at Dolby HX -PRO fitted as standard (P- 2500). Look at The return of invested capital: Lyrec scores better than Japanese or American products. Look at Staggered loading capability. Look at The loop bin design: no compressed air, no static. Look at Space requirements: Lyrec has the smallest foot print of all. Look at Lyrec, which has more than 200 units operating around the world. Look at No import duties or heavy freight charges to inflate the price. And if you are contemplating upgrading from in cassette copying to high speed, it may well be worth your while looking at Lyrec. And Now 13 Hill, Bucks HP9 1BP Contact Dag Fellner, LYREC (U.K.) Ltd, Hampden Beaconsfield, DO DOLBY HX PRO Tel (04946) 4425 Tlx 838725 TTL G DOLBY and the Double, D symbol and FLX -PRO are trademarks of Dolby Laborarones Licensing Corporanon The Lyrec range includes: I Multitrack Recorders of /áb ' Recorders u Q -C Machines Address Lyrec Cassette Mastering Recorders Tel. OF DENMARK NM 31 www.americanradiohistory.com NEW PRODUCTS NEW PRODUCTS Equipment, modifications, options, software Yamaha REV -7 digital reverb Launched in preproduction a numeric LED for memory form at the Hamburg AES, indication, a 16 character two the REV-7 digital reverb fits line LCD for program and between the existing models. selected parameter readout, a Specification and exact 3 -band parametric EQ, facilities may change slightly selection buttons for presets, when the unit becomes parameter adjustments, available later this year. It is numeric keypad and memory a 2 U 19 in rack unit. It can functions and other general operate in a stereo or mono master functions. One mode although in stereo the interesting feature although it inputs are summed with the is not quite clear how it output being stereo reverb. functions is the provision for Basically the unit has 30 MIDI control of program preset ROM memories and 60 number (and other functions ?). non -volatile RAM user The price has yet to be memories which will store all confirmed although the price information other than EQ bands being mentioned were and level input. At present it extremely competitive Audioarts stage monitor appears that there are only 10 although not confirmed for presets in memory including publication. console Large Hall, Small Hall, Vocal Yamaha, Nippon Gakki Co Audioarts Engineering has input phase reverse, channel Plate, Percussion Plate, Early Ltd, Hamamatsu, Japan. added a stage monitor console, dim, illuminated on /off, direct Reflection Mode A and Mode the M16 to its line of stage out and patch points. Outputs B, Delay, Stereo Echo, Stereo UK: Yamaha -Kemble Music and recording consoles. The include talkback, output phase Flanger A/B and Chorus A/B. (UK) Ltd, Mount Avenue, M16 is a 16 -mix monitor reverse, illuminated pre -fade Reverb time is between 0.3 to Bletchley, Milton Keynes, console with features that PFL and on /off. The master 9.9 s mid band with initial MK1 1JE. Tel: 0908 71771. include programmable mutes, module includes cue speaker delay being adjustable up to USA: Yamaha International optional bus switching matrix level, master solo level and 99.9 ms. There are up to 15 Corp, PO Box 6600, Buena and full output VU metering. illuminated mix masters. early reflections available. Park, CA 90620. Tel: (714) Standard mainframe size is 32 Front panel features include 522 -9105. input although other frame Audioarts Engineering, A sizes are available. Division of the Wheatstone The input channels feature Corporation, 5 Collins 4 -band parametric EQ, Road, Bethany, CT 06525, sweepable highpass filter, USA. Tel: (203) 393 -0887. LOLA audio from Yugoslavia Harris pro gate Lola professional audio equaliser featuring active or This compact, battery- operated addition to the usual gating equipment is manufactured by transformer balanced input, noise gate, the P92, is the first functions, the complete control Yugoslavian company No Lola active LC filters -equalisers product from a brand new over the envelope shape Ribar and includes the Series with high slew rate, low noise company, JJC -AV Research provided offers a range of LA1100 and LA1300 mixing operational amplifiers and Limited of Cumbernauld, sound generation possibilities consoles. The LA1100 is continual regulation of boost Glasgow. via the external key input designed for broadcast, sound and cut, and XLR -type At first glance one could be when used in conjunction with, reinforcement and theatre connectors. forgiven for assuming this to say, an electronic-drum pad or applications as well as small The power amps, LA2102 be just another musician's logic control from a production studios. Basic and 2111A are rated 25 W and pedal. Closer inspection, synthesiser or sequencer via features include four group 200 W /channel into 8 S2 or however, suggests there is the Remote input. outputs, optional stereo or 70 W and 600 W bridged mono more to this unit than meets Specifications include a mono master output, two aux mode with a quoted THD the eye. senstivity of -65 dBu to sends and P &G faders. figure of 0.02% and 0.05% In addition to the usual -35 dBu; attack time from The LA1300 series is for respectively. controls for adjusting the 1 ms to 100 ms; hold time 0.1 s broadcast and large PA and The 2012 is designed for threshold level and hold time, to 2 s and decay time from multitrack studios with eight smaller studios and OB vans the P92 includes controls for 0.1 s to 2 s. sub -group outputs and and the 2111A for professional adjusting attack and decay Measuring approx stereo /mono master, 3 -band studios and sound times; has an external key 96x 127x 52 mm, the unit is semi -parametric equaliser, reinforcement applications. input; remote switching (logic powered by a 9 V alkaline phase reverse, VU or PPM or contact); an LED to indicate battery. metering and patchbay. Ivo Lola Ribar, Ro Lola, noise gate status and a Other products include Fabrika Racunara, footswitch for manual JJC -AV Research Ltd, 17D LA3201 graphic equaliser and YU -11250 Beograd, Zeleznik, operation of the gating Stuart House, Burns Road, LA2102 and 2111A power Yugoslavia. Tel: (011) function. Cumbernauld, Glasgow G67 amplifiers. The LA3201 is a 571 -950. Telex: 11276; 12090 The makers claim that in 2AP, UK. Tel: (02367) 25602. 27 -band '/a- octave graphic YU ILR. 32 Studio Sound, June 1985 www.americanradiohistory.com KS ILI lfCf[tfitsitPiy.®srsrr'_' ._`j,.. J 'JP -J-J J"J'J`J'J`J ' ...... útI. . _._-_ .i 4 .. .A. AAA AA A s 1 . 1 . r . A A A A A A Y t 4 4 V v b v ti r V.ti.ti ,ti tir}ti 1 .' + -/. . i- ' . 7 j f i i The 16/16/2 is designed to complement budget 16 -track recorders. It The 16/8/2 is compatible with 8 -track recorders and has all the versatility of features its own external P.S.U. which can supply even a fully expanded the 16/16/2, like optional expander modules for the mic. channels (an extra 16/16/2 (a 32/16/21). All mic. channels have 48V Phantom Power, 16 mic. channels may be fitted without altering the unit's P.S.U.) and a parametric E.Q. network, and 3 auxiliary sends. Full 16 channel monitoring is double patch bay. Mic. channels feature 48V Phantom Power, parametric E.Q. included in the 16/16/2 package. 12 segment 2 colour bargraphs are fitted network, 3 auxiliary sends and 90mm faders. Full monitor and foldback to the 16 sub -mix stages and the master output which is also fitted with 3 systems are included. Master outputs have 3 -band E.Q. and 2 colour 12 band E.Q. As well as optional expander modules for the mic. channels, a segment bargraphs. These bargraphs are also fitted to the 8 sub -mix stages. double patch bay is available. Applications for the 16/8/2 include small 8 -track studio mixing and live sound reinforcement. 16 -4 -2 6 -2-1 {_.. The 16/4/2 is the mixer that the 16/8/2 and 16/16/2 developed from and TheSTUDIOMASTER 6 -2 -1 mixing console offers features and performance consequently contains all their superb features. It is expandable to 32/4/2 on normally obtainable from mixers costing twice the price. Mic. channels feature its existing P.S.U. and a patch bay is also available. Mic. channels have three band e.q., effects and monitor sends as well as the usual gain and pan parametric E.Q. network, 48V Phantom Power, 3 auxiliary sends and 90mm controls. 2 colour, 12 segment bargraphs allow monitoring of channels, faders. Full monitor and foldback systems, 3 -band E.Q. on the master outputs auxiliaries and both stereo and mono sum outputs. This outstanding and 2 colour 12 segment bargraphs are all supplied on the 16/4/2. Use:: of specification makes the 6 -2 -1 ideal for sub -mixing, P.A. and recording. this mixer include live sound reinforcement and for use with 4 track recorders in small studios. Mosfet 500 Mosfet 1000 With distortion not exceeding 0.005% (1kHz sinewave at 200 watts/4ohms) Ibis high power amplifier delivers twice the power of the MOSFET 500 with this amplifier provides reliable amplification of outstanding fidelity in all the Same 0.005% distortion (1kHz sinewave at 400 watts/4 ohms). This applications. The extensive protection circuitry ensures failsafe protection amplifier has already proved itself under the most stressful of applications and against D.C., thermal overload and short circuit conditions. The front panel is fast becoming the standard against which all other amplifiers are measured. carries LED indication allowing instant monitoring of the amplifier's The Mosfet 1000 delivers high power with total fidelity in all applications. operational status. The Mosfet 500 is ideally suited to all professional applications requiring medium power, accurate reproduction. A Studiomaster, Faircharm Industrial Estate, Chaul End Lane, Luton, Bedfordshire. Tel: (0525) 221331 Telex: 825612 STUDIO G * www.americanradiohistory.com NEW PRODUCTS NEW PRODUCTS Equipment, modifications, options, software Genelec control room monitor SPL effects Genelec has introduced an Sound Performance Laboratory SPL has a Scamp -type rack addition to the Triamp range is a West German company and the exciters are also of active monitoring speakers: manufacturing signal available in Scamp rack size. the 1022A control room processors for both home The PQ3 3 -band parametric monitor which has been recording and professional equaliser has a frequency specially adapted to the needs markets as well as musical response of 20 to 20 kHz and of medium -sized music and instruments and MI amps. each EQ band has separate drama studios. Of particular interest for the output, LED bars and bypass Featuring frequency professional studio are two switches. The unit features response from 37 Hz to 20 kHz Exciters: EX 2 and EX 3, and two gain range pots to ±2 dB and 108 dB SPL, its their parametric equaliser calibrate input and output of three built -in amplifiers PQ3. The Exciters may be used the complete parametric produce 150 W each for bass, on high frequency producing equaliser. It is 1 U 19 in rack midrange and treble. The rigid instruments such as crash ride mounting. Balanced in /outputs enclosure is designed for cymbal, strings, oboe, flute, are available as an option. symmetric radiation, stable etc. The basic unit features Sound Performance stereo imaging and minimum input, mix and brilliance pots Laboratory, colouration. for each channel; the EX3 has PO Box 1227, 4055 Niederkruchten 1, West Genelec OY, Satamakatu 7, additional functions output Germany. Tel: 021 -8 SF -74100 Lisalmi, Finland. gain, +10 dB switch, LED bar 63 1200. Tel: +35877- 24942. and on/bypass switch for each USA: Europa Technology Inc, Telex: 4452. channel. The units are also 1638 West Washington Blvd, available with balanced Venice, CA 90291, USA. Philips BPE condenser in /outputs. Tel: 213 -392 4985. microphones The BPE is a new concept in goose- necked and fixed stem microphones and is based hypercardioids. around a combination of both All models are rated at condenser and electret 134 dB SPL with equivalent characteristics, resulting in a input noise level of 17 dB condenser microphone with giving a dynamic range of permanently charged back- more than 117 dB. Frequency plate electret (BPE) inserts. response of the hypercardioid The series comes in three condensers is quoted at 60 Hz ranges: professional, standard to 17 kHz, and for the and special purpose. The omnidirectional 16 Hz to professional series B43 20 kHz. Budget Shure comprises five models Shure has introduced a new or low impedance versions. Philips BV, available in configurations to International line of microphones designated Each model features an all suit applications such as Electro- Acoustics Division, the Prologue range. It is metal die -cast case, on /off broadcasting and sound Building HCZ 1, 5600 MD designed and quality switch and professional XLR reinforcement which require Eindhoven, The controlled in the US and connector. precision. The range offers Netherlands. Tel: 040 -757279. manufactured in with Japan Shure Brothers Inc, 222 three hand -held mics: two UK: Philips Business Systems, looks and feel and performance Hartrey Avenue, Evanston, hypercardioid and one Cromwell Road, Cambridge in Shure style. IL 60204, USA. Tel: (312) 866 omnidirectional. There are also CB1 3HE. Tel: 0223 245191. Aimed at home recordists 2553. and `beginners' vocalists, musicians and audio/video UK: H W International, 3 -5 hobbyists, there are three Eden Grove, London N7 8EQ. models, all available in high Tel: 01 -607 2717. In brief Bruel & Kjaer: has just interface for connection to released information on a new printers is part of the system. precision sound level meter Symetrix: has introduced a with a modular construction. revised version of the 511 Known as type 2231, the unit single ended noise reduction is designed for high accuracy unit known as the 511A. The enabling use as a precision unit now provides independent integrating sound level meter variable threshold controls for and a statistical analyser and, both the expander and filter if required, as a calibration circuits in addition to separate standard. Three in /out switches for each Shure correction interchangeable modules are circuit. The two signal In last month's issue we profile mic as the SM92. It currently available with channels may be run as dual wrongly referred to the new should have been the SM90. further modules being mono or stereo linked. Other Shure omnidirectional low Apologies for the confusion. introduced shortly. A digital specifications are as before. D 34 Studio Sound, June 1985 www.americanradiohistory.com The Future of sixteen track More than ever before, there is demand for tightly produced and specialised music for the film, video, broadcast, advertising and music industries. The Fostex B1 6 is engineered to bring all the potential of sixteen track within reach of both working musicians and studios. It is the most compact, most affordable, sixteen channel multitrack ever made. Precision heads, developed for the unique half inch tape format achieve astonishing fidelity and minimal crosstalk. And Dolby C noise reduction results in remarkable signal to noise performance without side effects. Every aspect of the machine is carefully thought out and built for fast operation. All motion and status modes can be entered from an optional paperback sized remote. It has advanced facilities that professionals need, yet it is simple to operate. If you are producing music for the needs of today, then take a closer look at the Fostex B16. Call or write for the brochure and the name of your specialist dealer. Sixteen track puts no limits on your creativity, and presents every opportunity to achieve more with your music. Bandive Ltd. Brent View Road. London NW9 7EL. Telephone 01 -202 4155 Fostex www.americanradiohistory.com NEW PRODUCTS NEW PRODUCTS Equipment, modifications, options, software Synchroniser and editor ADA programmable delay The Digitizer 4 is a is an optional footswitch from Audio Kinetics 16- program digital delay control. Frequency response is Audio Kinetics launched a machine group remains in the offering complete 17 kHz, delay time 1024 ms re- modelled synchroniser range sync state and without programmability and instant displayed by LED readout and a new editing system at affecting the status of these access to any program. On which also displays function. the recent Hamburg AES. The other machines. Also two types board computer allows The unit has stereo outputs Q. Lock computer frame has of machine groups may be set programming of all effect and a self- diagnostic program been redesigned to accept four up, each with a different settings including sweeps, which runs a self check during complete machine interfaces. machine as master. Selection regeneration, mix and delay power up. The standard Q. Lock controller of which machine time. Analog Digital Associates, will still only sync three configuration to be used is a Sixteen shadow programs 2316 Fourth Street, machines although the one -key operation. The have been programmed into Berkeley, CA 94710, USA. operator will have the ability operational parameters and constant memory to be Tel: (415) 548 1311. to access any of the four general facilities may be set recalled at any time, and there Telex: 470 880. machines without new PCBs. up from the keyboard such as Provision has also been made code standard and facility for an optional VITC reader options, etc, with the with rear panel connections. assistance of the display. The Further provision has been system has a number of made for additional spare assignable keys to allow cards such as the 16 -event operator programming of Relay Card option. multi -key operations. There The completely new editing are also now 100 loop system is known as the memories available for Eclipse. It will operate in specialised use. conjunction with the Audio Kinetics Ltd, Kinetic redesigned Q. Lock 4.10 system Centre, Theobald Street, and will offer full 4- machine Boreham Wood, Herts WD6 capability. The unit itself has 4PJ, UK. Tel: 01 -953 8118. a high definition mini VDU that can display 20 lines of USA: Audio Kinetics Inc, 4721 information such as machine Laurel Canyon Boulevard, status, timecodes, set -up Suite 209, North Hollywood, menus and other text. Control CA 91607. Tel: (818) features include access to any 980- 5717/(800) 423 3666 toll machine individually while the free. Alesis reverb The XT digital reverb is the Front panel input, output first product of Los Angeles and mix controls mean that based Alesis, and was designed the unit may be used with by Keith Barr, formerly instruments and through president of MXR Innovations. sends and returns on a The XT features 14 kHz console. Rear panel '4 in jack frequency response, full stereo connections include input, output and decay time stereo outputs, loop and variable from less than '/ s to external defeat. 10 s. There are two separate Future software updates will reverb programs (stored in be made available to all XT replaceable ROMs) with front owners as they are developed. panel option switches: pre - Alesis Corp, PO Box 3908, delay, slap back, diffusion, Los Angeles, CA 90078, damping and high and low USA. Tel: (213) 467 -8000. Synton replaces vocoders filters. Telex: 855310. The introduction of a low cost, carrier inputs, voice circuit, versatile stereo vocoder to the built -in noise generator, VCO Imhof blower units Synton product list makes the with doubling circuit, bypass, A space saving slimline blower other fans may be supplied. unit's predecessors, the 221 multiconnector for external unit from Imhof occupies The units may be fitted and 222 redundant. The patching and formant shift 38 mm of space behind a 3 U vertically or horizontally and mounted SPX216 is a 1 U 19 in rack facility up or down by push 19 in panel, and can be fitted each has a panel mounting unit which features button or remote control. with fans for extraction or neon indicator lamp. 14- channel analysis /synthesis, Synton Electronics BV, Box induction. The standard unit Imhof -Bedco Standard low frequency roll -off filter on 83, 3620 AB Breuklen, contains three fans wired for Products Ltd, Ashley mic input, LED level Holland. Tel: (03462) 63499. 220 V, 50/60 Hz and each Works, Ashley Road, indication on speech and Telex: 40541. rated at 94 cfm, although Uxbridge, Middx.0 36 Studio Sound, June 1985 www.americanradiohistory.com take a closer look at in -line mixing.. The new DER Series 2000 is a new revolutionary design in the field of in -line mixing technology. The Series 2000 provides features in a price -class all of It s own. The desk has a floating subgroup system, called F.S.S. , which opens the opportunity to make sub -groups on every desired channel without the need of repatching. It is also possible to process as many effect- returns as the desk has channels, whereby the original function of an input -channel holds good. The Series 2000 is designed so that every audio signal takes the shortest signal -path which insures transparency of sound and a signal to noise ratio on the microphone -input of more than -126 dB (A weighted)! Because of the Series 2000 extensive facilities it is impossible to lift all mixers features. Therefore contact your local dealer requesting a free brochure. GREAT BRITAIN, Studio Spares London /FINLAND, Lahti Sound Lahti /FRANCE, Mettler Audio Paris /ITALY, CEM Elettronica Varallo /NORWAY, Jon Vedum Oslo /SWEDEN, Music Workshop Stockholm /SWITSERLAND, Jacques Isler Zürich /GERMANY, Sound Service Berlin /BELGIUM, ASE Mechelen. THE ULTIMATE MIX rijnkade 15 b 1382 gs weesp holland tel: 2940 -18014 electronics by tlx: 18503 dr nl www.americanradiohistory.com EFFECTS, REVERB AND EQUALISERS Equalisers of graphic equalisers including the These update features largest model, the Q2031, which has No Lola Ribar: This little known 31 -bands of 1/2-octave control with two company is one of Yugoslavia's larger contain details of new channels in a single 2U high rack unit. manufacturers and has been producing The other end of the scale was a professional audio equipment for many equipment and prototype system shown at the Hamburg years. The company exhibited at the AES -a digital equaliser that will Hamburg AES for the first time; one of changes to existing eventually form part of the same range their exhibits was the LA 3201 27 -band models made since the as the REV-1 and YDM -2600 units and 1/2- octave single channel graphic will be completely programmable with equaliser using active LC filters. last time we featured multichannels (more than 10) of Knowles/Industrial Research: Of parametric control. particular interest is the newly these topics (January introduced Transversal Equaliser. Information is brief at the moment 1984). Further details Reverberation although the unit is a single U with 16 Currently this is probably the fastest bands controlled by rotary knobs. The can be found in the growing area of new products. There are design is claimed to minimise response new products sections something like 20 manufacturers ripples, frequency interaction and phase involved in digital reverbs and the major shift. There are no tuned filters in the of the magazine over advantage of such a situation is that design. The transient response is there are now enough different types and synthesised from a single fixed response the same period and approaches that finding a unit suitable circuit and uses a single tapped delay for your needs has become simpler as has chain. We hope to bring more those of the next few finding a unit to meet your finances. information about this unit in the near What has become more difficult, future. months for the newer however, is that manufacturers vie with Meyer: A 2- channel unit with five bands items. each other for unique software updates of parametric EQ per channel including and new features such that studio clients high and low cut filters. Each band may expect far more in many cases in terms be switched out independently and the output impedance very low. The price of of reverb facilities than they are circuitry is described as `complementary the unit has also been kept competitive. prepared to pay for -one of every type at phase' to ensure minimum phase Stage Accompany: Mainly known for their disposal or as near as they can distortion even at extreme settings. large power amplifiers and crossover squeeze. The advent of the low cost unit Psionics: This is a range of products systems, this Dutch company has has freed the high cost devices to create made by Kelsey Acoustics and they have introduced a rack mount programmable the more exotic demands with recent introduced the EQ4 which is a single U parametric equaliser known as the examples offering only a simplified range rack unit with four bands of parametric PPE -2400. Basically a 2- channel, 4 -band of features rather than a real decline in EQ, each having a range of 50 to with digital control of all variable quality. This has also helped to meet 1200 Hz with a x10 range switch. Cut settings. Memory for up to 64 settings. client demand and enabled many smaller and boost are variable over 15 dB with TOA: Two new graphic equalisers, the facilities to offer a digital reverb without fully adjustable bandwidth. There are E -112 and the E -131. The E -112 is a putting themselves in major debt. additional high- and lowpass filters. By 2- channel, 10 -band parametric graphic We should not, of course, forget the switch selection it is possible for all five with octave spacing band centres with mechanical reverb systems that are still sections of the unit to function ± 12 dB cut or boost. The E -131 is a with us and there have indeed been a independently. single- channel, '/3- octave unit with 28 number of devices in this area mainly in Rane: Two graphic equalisers, the GE bands and ±12 dB range. the area of low cost spring devices. This 27 and GE 14. The GE 27 is a '/a- octave Yamaha: Yamaha is working in two will certainly continue for some years 27 -band unit and the GE 14 is a areas at the moment. The first is a range until digital devices can be effectively %e- octave 2 -band unit. The design criteria were to maintain constant bandwidth at all filter level settings and Rane claims APRS Stand that this reduces band interaction. SCV: This French company is beginning 20 to make a name for itself in the field of p PM5 PIN DUAL INLINE HYBRID signal processing. It has recently Vcc 8.5V -35V at 3mA launched two new equalisers, the model 209 and model 228. The 209 is a Only signal level and meter tolerance presets 2- channel 9 -band parametric graphic required. Mother Board 1, MB1 with of high- and lowpass a set filters MB2: Bal input. MB3: Bal input, overload LED together with a high and low quasi - parametric shelving network. The 228 is flasher to IBA specification a 2- channel 28 -band graphic using Applications note and full specifications on request. minimum phase LC and RC networks. The model 1500 is a Spectra Sound: SURREY ELECTRONICS LTD. 27 -band 1/3- octave equaliser that has been designed to maximise distortion and The Forge, Lucks Green, Cranleigh, Surrey noise performance, enable precise GU6 7BG. Tel. 0483 275 997 calibration of band centre and keep 38 Studio Sound, June 1985 www.americanradiohistory.com rf¡¡ '1)) ; ( ; r1 t, ,- / - o Th G / \ .\ 1\\\ /, "WOW!" When the boys from the engineering and backward discrete repetitions. Then department walked in with their newest there's a traditional 'comb filter' stereo creation, we said: "Nice looking box. synthesis. And delay -based panning. And What is it ?" binaural image processing for Walkman "This," they said proudly, "is our new applications. And delay clusters. And con- MSP -126 Multi -Tap Stereo Processor. It's a cert hall early reflections." stereo -tapped digital delay line with a "That's better," we said. "We've proba- 20kHz bandwidth, eight pre -programmed bly got enough to do a pretty good ad for processing modes, and ..." you. Before we go, though, you probably "Hold the engineering jargon," we said. ought to run us through a quick demo. "Just tell us what this gizmo does." That might help if we get stuck for the "Oh, no problem," they said. "Basically, right word to describe what the effects the MSP -126 is a signal processor that cre- sound like." ates a whole range of interesting effects. "Sure," they said. "Hope you like what To begin with, it produces really great you hear." balanced stereo with flat response from So we listened. Then we walked over to any kind of program material. And it also the typewriter, rolled in a blank sheet of creates other kinds of effects -some of paper, and typed a headline that seemed which are subtle, dramatic, or even to say it all: bizarre. It's easy to fine -tune the effects you get, too. For each of the eight effects "WOW!" modes, there are 16 delay parameter set- ups and 16 amplitude variations. Okay ?" If you'd like to see why we're so excited We tried to look enthusiastic. "Well, about the MSP -126, ask your nearest Ursa maybe it would help if you could just Major dealer for a hands -on demonstra- give us a few examples of these effects," tion. It's an astonishing experience. we said. "Good idea," they said. "One of the neat things the unit does is produce forward MSP -126 STEREO PROCESSOR Box 28, Boston, MA 02258 USA Telephone (617) 924 -7697 URSA MAJOR, Inc. Telex: 921405 URSAMAJOR BELM www.americanradiohistory.com reverb program updates. These are EMT: The EMT 251 and 252 units have supplied as laminated cards that can be been available for some time now EFFECTS, REVERB read by a remote terminal with barcode although a recent update on both units reader supplied by AMS. Any three allows them to be very simply modified AND EQUALISERS programs may be stored at the same with the correct initial installation, to time and the first barcodes available produce the reverb algorithm of the older manufactured at this kind of price. It include new programs not available on EMT 250 digital reverb which has may of course always be cheaper to use a the current software in addition to apparently remained quite popular. The spring device than try for a spring effect previously available programs not on the feature is indicated solely by a single on a digital unit costing far more unless current software. button on the 252 S remote control unit. we are really fond of a mythical spring ART: The demise of MXR resulted in a Eventide: There have been substantial sound when the digital device is the only buy -out. Applied Research Technology, software changes to the 2016 unit in the answer. the company formed from ex- senior MXR form of the Generation II software and Alesis: The first product from this new employees, has seen an uplift in the the Signal Processor User Development company is a low cost digital reverb with fortunes of the better products that were system (SPUD) for user origination of a decay time of up to 10 s down to 0.1 s selected to form its initial product lines. original program software. with a stereo output. The unit has two Former MXR model the O1A digital Klark Teknik: The DN780 was programs stored in ROM and there are reverb, is one of these and it has seen a introduced just over a year ago. It is seven selectable options for signal software update since its introduction. simple to use, is capable of a wide modification. The device is apparently DOD: Spring line units are getting more variety of reverb types and employs a designed for specific uses in complex sophisticated and the R -848 is fairly non- dedicated software program system mixing rather than general uses. typical. It incorporates a 6- spring that allows a high degree of flexibility. It AMS: As well as providing software assembly with a variable predelay of 20 contains 20 starter programs together updates for the RMX 16 digital reverb, to 60 ms, a 4- preset EQ network and an with five special effects memories. AMS has introduced a system of barcode additional parametric EQ for fine tuning. Recently introduced software updates have added another seven preset memories in the form of plate and gated reverb types and a system for giving increased protection to selected user memories. Lexicon: A very influential new unit was the PCM60, a compact digital reverb that had plate and room programs that could be shaped by size and decay switches together with HF and LF contour controls. The practical limits of such a device are clearly visible but it has found wide acceptance as a basic reverb device when sophisticated reverb patterns are not needed. The model 200 has Version 1.3 software which increases P. the number of preset programs to eight. There has also been a new release for the 224X. Quantec: A simplified version of the standard QRS in the form of a single input and stereo output device known as Most the QRS /L. It is recognisable from the of today's coo c4 different front panel. With tei Roland: We have no details on this new digital reverb although we understand it aree4uP1 to be a flexible low cost device that will probably be more widely known by the time you read this. Ursa Major: A Mark II version of the 8X32 has been added to the range and this now offers eight preset programs: new software for the previous four - Plate I, Plate II, Hall and Space -plus four new ones: Cask, Perc, Chamber and R rev. There are apparently a number of changes to be made shortly to the StarGate low cost reverb although Users already selected telcom c4 are available for 1, 2 (stereo) and not available at the as precise details are the most suitable NI? System 3 channels, for simultaneous time of writing. for type C VTRs. The new telcom encode/decode and automatic Vesta Fire: The RV -3 replaces the RV -1 c4 units are now designed to switching. and has a true stereo output and 3 -band improve the sound of type C Furthermore, telcom c4 is used in EQ on each channel. The channels can VTRs. telcom c4 creates lower connection with ATRs, line and be fed from a common source or operate independently. There are limiters on the distortion from tape, better satellite transmission. Don't you inputs and the output has a noise gate crosstalk attenuation, improved also need super sound for stereo designed to remove mechanical and hum - headroom plus a 25 dB gain in or copying? induced components from the output. dynamic range. No line -up pro- Just contact us for further infor- Yamaha: The REV-1 was first shown over 18 months ago and created quite a cedures. c4 telcom units for VTRs mation. lot of comment with regard to the sophistication of the remote controller and in particular its displays. Further Telecommunications details are now becoming available about Contact Audio & Design Calrec Ltd. even higher levels of control using Unit 3, Horseshoe Park, Pangbourne, ANT Nachrichtentechnik GmbH Reading, RG 8 7 JW, England LindenerStr.15 D -3340 Wolfenbüttel external computers although there is not Phone 07 34 8610 88, Telex 848 722 ADR UK Phone 105331) 83 -0 Telex 95651 ant d the room to expand on this here. The R1000 was also introduced. This is a 40 Studio Sound, June 1985 www.americanradiohistory.com single -channel rery low cost digital EMT: Although they probably will not is available ready built or in kit form. It reverb that has inevitably found use in be used as effects units, EMT has can function as a straight delay line low cost applications where its short introduced two new units that could be from 0.3 ms to 32 s or as a sampler with comings were not a hindrance. used as such. The EMT 445 is a digital looping and pitch control facilities. This Introduced in preproduction prototype at delay line in the form of a stereo 16 -bit can be controlled externally and there the Hamburg AES was the REV-7 that 48 kHz design with adjustable delays are MIDI and V /octave interfaces. The is closer in concept to the REV-1 but has between 1 ms and 10.9 s; the EMT 448 unit can also be run in conjunction with a price related to the R1000. It is based Unimatic is a short duration audio a BBC Micro for permanent saving of more around the ability to modify a storage unit using a Winchester disk samples to floppy or tape. preset number of programs in a very drive. Publison: The IM90 Infernal Machine is user -orientated format. Eventide: The new H969 Harmonizer now in production and widely also referred to as the ProPitch. It uses distributed. 16 -bit linear PCM coding for the first Ursa Major: The MSP-126 Multi -Tap Effects time in a Harmonizer. Features include Stereo Processor which is a device that Akai: Recording products are coming 12 preset pitch change presets, full can simulate stereo from a stereo signal from Akai at a very great speed. There bandwidth has increased to 1.5 s with in a number of ways, provide stereo are two devices that would loosely come :3 s at half bandwidth, memory for five panning effects using time delay, provide under the heading of effects -MM -99 settings of delay and the delay and pitch a number of delay type effects including Sound Controller is a unit combining ratios can be displayed at the same time. delay, repeats and delay clusters, etc. pitch changer, octave doubler and digital Orban: A new version of the 245F stereo Yamaha: The D1500 digital delay line delay; and the S612 MIDI digital synthesiser, with the improvements with 16 memory positions, full sampler that creates a 6 -voice polyphonic being a balanced input, output modulation controls for time related output from any sampled sound. transformer option, RF filtering and AC effects, max delay of 1.023 s and a MIDI AKG: A completely redesigned version of line filtering. interface allowing external control of the the TDU 8000 digital delay line. Powertran: A digital sampling unit that memory selected. AMS: A number of new items including an interface for the DMX 15 -80S that allows V /octave control of digitally sampled material and the Timeflex which is a modified version of the DMX 15 -80S designed for time compression and expansion. Analog Digital Associates: Two units in the form of the 2FX digital multi - effects box and the Digitizer 4 have been introduced. The 2FX can produce Hanger and chorus functions which may be used mullions simultaneously with delay or repeat 16:2:1 12:4:2:1 16:4:2:1 hold. The unit has a bandwidth of 17 kHz at 1 s. The Digitizer 4 is a All from one 19" rack mount console 16- program delay line offering programming of all effects settings. 3 band Equalisation RIAA equalised inputs Aphex: A modular version of the Aural 2 auxiliary sends Peak LED on inputs Exciter that is designed so that 10 units 90mm smooth action faders 12 way LED displays on masters can be fitted in the standard Aphex R -1 rack or nine in the standard dbx F900 Mic and Line inputs Phantom power on every input rack. This system makes the Exciters Subgroup direct outputs 5532 Op -amps throughout very much cheaper than the standard 19 in rack versions. Audio Engineering Associates: A new version of the stereo simulator known as the AN2 is about to be launched and hopefully will have been by the time you read this. Bel: The BD80 -a single channel of digital delay with an expandable memory (up to 8 s), a loop edit facility and synchronised record and playback facilities. A loop reset allowing the loop to be retriggered manually or by program has been added more recently along with keyboard 1 V per octave Facility. Also the BD:320 )up to 32 s) with similar facilities to the 13D80. DOD: Two new units -the R -938 digital delay offering 1.9 s of delay at 15 kHz bandwidth and up to 8 s with a decreased bandwidth; and the R -944 Chain Reaction which is a unit containing four independent effects units in the same box -compressor /distortion, digital delay, Hanger /chorus and Hill Audio, Inc. 231 Marquis Court parametric EQ with a harmonic Lilburn, GA 30247 USA enhancer circuit provided on the output. (404) 923 -3193 TLX 293827 HLAD ElectroSpace: Following on from the Headwater Industries Time Matrix multi -tap delay line, comes 635 Caron Avenue Windsor, Ontario N9E 588, Canada the Spanner stereo or mono automatic (519) 256 -2454 panning system that features a clamp Hill Audio, Ltd. that can count `beats' and Hollingbourne House arrangement Hollingbourne, Kent ME17 1Q1, England then pan the processed signal. There are (062 780) 555 Hill Audio a number of rumours about future TLX 966641 HILL products from this company that suggest some unique items. 41 www.americanradiohistory.com EIIP alINN OIMM 111111IM MIN I 411 411111. OWNWO 11111. MINIM =111111, 4no MEND YDD-2600 - Professional Digital Delay The REV -1 digital reverb and YDD -2600 digital delay systems team. And it is these circuits that give REV -1 and YDD -2600 their herald the arrival of an exciting era of professional studio processing unprecedented levels of controllability and sophistication, putting equipment from Yamaha, designed without compromise to deliver them clearly ahead of what is currently considered state -of- the -art. absolute quality. But what about the musician in all of this? As music and technology Both units utilise new technology centred around a series of unique- become synonymous with one another, the roles of artist and engineer ly powerful LSI chips specially developed by Yamaha's own R &D become increasingly fused. The old idea of the recording studio gives RX11 - PCM Digital Rhythm Programmer www.americanradiohistory.com IMOMIME. MIMMIMMI MIMI 4INNEMI 4=110 IIIIMO alMINNI. MIN .11. AMMP 411 11 4111111NO 11110 OMNI =OMfl IMOII OMEN, WINED UMM IMMEND allIMOP 011 MINIM 011 tD INEMO 411=P 41- MIN MIIM MINIM IMI MM. 11=111 010 OMM 4I I=M. ,IMMIM ONI 41I OMM 4..=. 4=1=1. 4. 1110 gil IIM OMIMM MINIMUMal alle fllb =11. ONIMP MII COMM MIMI 4IND ...UMW MIMI 11, elII =WM 01. MOM» 11 . AP:íF.='9.;; Yér ffr.MWrl FT lR: .InO '0 Yna.. tY ., ' al - YD. 58 © ® Q.. ®® -.m won, a :' ¡; °: saur ...a" ;wvote` wer. REV-1 - Professional Digital Reverb way to the concept of the totally integrated production environment. sequencers capable of forming one of the most musically powerful Here the line between instrument and processor becomes indistinct, systems in the world. and to remain competitive a studio needs to offer an array of instru- Music and machines from Yamaha. We suggest you make notes. ments as standard equipment. See the range of Yamaha Professional Once again Yamaha lead the way with a range of unrivalled MIDI - Audio Equipment on stand No. 122A based synthesizers, controllers, tone generators, drum machines and KX88 - Virtuoso Master Controller Keyboard TX816 - FM Tone Generation System (DX7 x 8) QX1 - 8 -track Digital Sequence Recorder YAMAHA IIIIIIIIIIIIIIIIIIIIIIII1II1t11 YAMAHA MUSTCAL INSTRUMENTS MO. JNT AVE NUE BL E TCHLEY, MILTON KEYNES, BUCKS, MK11JE :C90HI f,41J 1)'?4nr Ansaphone 109081 64 92 22 www.americanradiohistory.com NIMBUS CD MANUFACTURE The decision to would cost to buy a system manufacture compact Nimbus is the only CD from Philips or Sony. So we discs was a started basic research on the monumental one for a manufacturer in the UK. Richard mastering process and signed small company like Lamont reports on how and why a licence with Philips. We Nimbus. It will yet were one of the first licensees prove to be bits. It was working at around distortion, a thing which CD is of the system outside monumental for the whole 12% or 13, and it was completely free of. PolyGram." European record industry. But suffering from something very "We decided that compact The licence from Philips why did they take such an analogous to crossover disc was the way we had to go. simply gave Nimbus the right enormous gamble, and how on distortion. Most A/D That was our future: we to manufacture the thing earth could they match the converters tend to drift, and at decided that it would replace called `Compact Disc'. It was research and development around 0 V all the bits change LP in the long run. If we did not a recipe book on how to resources of Philips and Sony? at once. That pretends to not get into CD then our make one. To find out we paid a visit to produce a glitch, or market would eventually "All it tells you is precisely the company's base near discontinuity, in the transfer disappear and our livelihood what a CD is. Even that Monmouth, Wales. The characteristic of the converter. with it. sounds too easy: in fact it `Brideshead' setting -an It is possible to adjust that "That gave us an contains some very obscure enchanting country estate out, if there is an adjustment opportunity to capture a large mathematics on how the error called Weystone Leys -is on the converter, provided you percentage of the UK and correction system works and hardly the stuff of lasers and have the right equipment to European manufacturing the actual encoding of the binary digits. see it. Dr Halliday developed a capacity, which would never digital signal on to the disc. It Many of Nimbus' past black box which enables one to have been the case on LP. The tells you what output a achievements have been see this fault quite clearly on number of people who wanted standard player should see reported in this magazine an oscilloscope, and actually our quality of LPs is relatively when you play a CD on it. before, but to understand how look at the transfer limited. However much better That gives a certain amount of and why Nimbus arrived at characteristic. So you have a we made our LPs, we wouldn't latitude in the physical CD in the first place it is direct means of adjusting it get a much bigger market. geometry of the pits on the necessary to know a little of and correcting it. share. CD gave us an disc. If you compare Japanese the company's history. Gerald "We managed to make our opportunity to increase - discs and PolyGram discs and Reynolds, technical director, own 1610 system work at 16 dramatically -our market our discs, we achieve slightly says that their involvement in bits. We immediately got very share of manufacturing different pit geometries but digital audio started with their satisfying results indeed. We business. It would enable us to they all produce similar LP mastering business for recorded in parallel for a time, get the quality of our outputs from the player. There outside clients. both analogue and digital, but recording to the end user at are different ways of achieving "Digital recording was very soon stopped using home. the same result." becoming a reality. We analogue. Digital was clearly "Some time later we went to Nimbus' pits are more like purchased a Sony 1610 system, superior when it was working see Sony in Japan and saw the Japanese than the German initially to service those properly. We were therefore what they were doing. We ones. Philips tend to use fairly customers of ours who were completely convinced that the were very impressed by their large pits with sloping sides, making digital recordings. We future in recording was digital ingenuity and by what they the Japanese tend to use did try it ourselves: we made recording." had achieved with the smaller pits with very much comparison analogue and They reached this stage resources they were using. We sharper edges. The shape has digital recordings. about four years ago. then went to see Philips in to produce the right output "Initially, we were very "We then were beginning to Eindhoven and saw their signal to meet the disappointed with the quality hear about Philips' complete CD mastering specification, but that can be of digital recording. At around development of compact disc. operation. We were certainly achieved with different that time, Dr Jonathan At that stage they were still impressed by the amount of combinations of shape and Halliday, who was head of the trying to launch the 14 -bit money that they had spent, size. Different shapes create audio research department at system, rather than the but were glad that we had different moulding problems. the IBA, joined us. He was outcome of the joint work seen what Sony had done first. "They differ, I think, for two being wooed by NASA and between Philips and Sony. We Philips has spent very much reasons. One is that some people like that in America, went to see Philips. It was more money than Sony to shapes are easier than others but fortunately he decided to quite clear that they were achieve the same result. to mould. The other is that it join us, and now heads our very serious about it; they had "We looked at the two depends at what stage of the research team. He took our put many years and a mastering systems -the Philips mastering process you control subjective objections to digital tremendous amount of money one and the Sony one. We the shape of the pits. There recording and examined the into developing it. It was decided that we could make a are three things which govern equipment and tested it. He absolutely clear that a digital system that was better than the shape of the pits. In very developed special test storage medium for home use either of them. broad terms, there is the equipment to observe what was the future. "In order to have a full thickness of the photo- resist was going on, and found the "The deficiencies of the understanding of the process layer, which has to be very objective reasons for the poor analogue LP couldn't really be we had to control the accurately controlled. There is quality, and found ways of overcome. The analogue mastering. The only way to the amount of exposure -the correcting faults that were system is already 100 years fully understand it was to amount of laser light that you causing that poor quality. The old and has been refined and develop our own. We could expose each pit to. And there problem, essentially, was that refined and refined beyond make a better mastering is the amount of development most of the 16 -bit equipment what is strictly practical. It system; we could do it for less afterwards. It's analogous to around was not working at 16 still suffers with very severe money than the £2 million it photography. You can either 44 Studio Sound, June 1985 www.americanradiohistory.com the nickel master that you have grown from the glass master -obviously problems can occur during those stages. It is a very much more refined plating process than for analogue records, but provided it's done properly there's no significant change in the shape of the pits. The most difficult parts are controlling the shape of the pits at the beginning of the process (the mastering) and controlling the injection moulding process to reproduce consistently what is on the stamper. It is only people who are doing it who know how to do that. There are several manufacturers of equipment for injection moulding who have tried to offer packages to mould CDs, but unless you have all the testing facilities that go with the mastering process you cannot actually say whether the disc you are making is a good one or not. You can mould the disc and put it on a player and say it plays alright, it plays all the way through without any muting or anything, but that unfortunately is not sufficient. You have to be able to monitor the shape of the pits and what the error rates throughout the disc are. Is the position of the errors varying from one disc to the next? Robot arm takes a disc from the press What's causing them? All of these things require the kind D go for low exposure and very full development or high exposure and partial development. It produces different results. Philips decided in the early stages to use one method of controlling their process and we adopted a different one. It's a matter of which one you believe will give you the most consistency. Opinions do differ about it. "The manufacturing process is a complete circle. This is one reason why we felt it absolutely essential to have our own mastering facilities. Until we were mass producing discs by injection moulding, we could only produce discs by a laboratory process akin to the one used for making video discs. This is the process that Philips and Sony and we use for making `test' discs. The actual shape of the pits produced by that process is different from that produced by injection moulding. Unless you have feedback from the moulding process to the mastering process, you are working in the dark." Does the shape of the pits change as one moves through the chain from master through to stamper? "The galvanic processes -that is making the nickel mother and the nickel stamper, from Injection moulding press 45 www.americanradiohistory.com of expertise which goes with Electric Plastics in Holland a the mastering process. pilot production set -up, which "We developed our they had developed in order mastering system over a that they could prove a new period of about 15 months: the NIMBUS material which they had actual building of it took developed for injection about eight months. We first CD MANUFACTURE emerges from the press is used it in December '83, and it mechanically complete. It worked first time." already has a centre hole of unlikely, simply not possible." simply because of the technical the right size and the outer How much of a gamble In the UK there were other problems but some of them edge is complete. Apart from was it for a small licensees who have for one didn't even get that far. the fact that it's transparent company to invest reason or another all fallen by "We had the good fortune to and has no aluminium layer such a large amount the wayside. Most of them be able to buy from General or anything else, it doesn't of money? If there had been problems developing the mastering process what would have happened? "It was an enormous gamble. You have to remember that when we told Philips we were going to develop our own mastering system, their view was, 'Don't be silly! It's far too much for you to take on. We don't think you're very wise to attempt it. You ought to buy ours!' The proof of the pudding is that we've done it. If we'd failed it would have been a very serious setback, mainly of confidence, because by the time we had largely developed the mastering system, we were seeking the finance for the mass production side. The development of the mastering was financed out of both our own resources- income from our analogue pressing -and out of a loan from NRDC (National Research Development Corporation). Discs on rack entering the metallisation chamber They had faith in our ability to do it and they provided a have to go through further loan for the development of stages of mechanical finishing the CD mastering. like putting a centre hole in or "Certainly, finding the trimming the edge off, which finance for the mass PolyGram have to do with production stage was a very, their process. very time consuming and "We have been working in exhausting matter. The fact discussion with General that we had got the mastering Electric Plastics for some time. to work was a major We were desperate, having not contribution to getting that had delivery of the original finance." machine, so we went to Was the laser mastering General Electric Plastics and part of the whole production said, 'can we beg, borrow or process -from tape to finished steal your machine ?' Thirty - disc- technically the most nine hours later they said we tricky? could buy it. So we did. "The mastering is "We received that machine undoubtedly the most difficult, at the beginning of August yes. The skills and the '84, and started producing the technology required to both first CD from it that actually develop the mastering, and to went out of the door for sale maintain the optimum result, on 22nd August." are of a higher order altogether to that required to The CD is a deceptively press the discs. But I wouldn't simple object. It's flat envy anybody trying to make and round. There are discs without knowing about Disc before metallising very basic problems in mastering. Because it's all injection moulding a part of the same chain. "Nimbus started to build moulding CDs. Up until that flat round disc. How "There's a firm in France their factory in about August time, in Europe, CDs had only do you get it to stay which is attempting to do this 1983. It was complete and been made using the where you want it to be, when who have made extravagant ready for equipment in early PolyGram system, which is the mould parts? It's no trivial claims about their capacity -a '84. Unfortunately the original injection compression matter to ensure that the disc ridiculous 30,000 discs per supplier of injection moulding moulding. The Japanese have stays where you want it- week on one machine. This equipment was ultimately always done it by pure whether it sticks on the would require 200 hours of something like 15 months late injection moulding, which has stamper or the mirror face perfect production. Highly in delivering. the great virtue that what which forms the other side of 46 Studio Sound, June 1985 www.americanradiohistory.com Here's to the next 100 units sold around the world 10 as goo: reason o propose a toast. After all the PCM -3324 DASH recorder has outsold all its rivals by a considerable margin and is in use throughout Europe. \orth America. Australia and Japan. Despite all the words about formats we believe that the PCN -3324 is the best Digital Audio Multi Track Recorder in the world. Were biased, of course, but countless top artists and producers keep telling us the same story. So, we raise our glasses to them "Good recording, great chart success and here's to the next one hundred." Sony Broadcast Ltd. Belgrave House Basin View, Basingstoke SONY Hampshire RG21 2LA + Broadcast United Kingdom Telephone (0256) 55 011 International +44 256 55 0 11 Telex 85 84 24 Fax G2 /G3 (0256) 474585 www.americanradiohistory.com _AEY.st the disc. It sounds a simple expects demand to exceed problem, but it was extremely supply for at least two years. difficult to solve. Some of the biggest record "The other thing is that the companies are facing a optical requirements for NIMBUS shortfall in the order of compact disc are very much 3,000,000 discs in 1986. more stringent than, for CD MANUFACTURE "I have every respect for instance, video disc. With Barry Fox, but his figures are video disc you have quite a slightly misleading," says large margin around the edge Gerald Reynolds. "I know he of the disc. A major optical wants to argue that the price problem with compact disc is will come down, but in fact strain. If there is any strain the capacity by the end of this left in the plastic after you've year will not be as high as moulded it, that produces a anticipated. The various plants property called birefringeance. that were hoping to be in It means that when the player production, like CBS in tries to see the track, the America, are behind schedule. track isn't where it thinks it "PolyGram are working very is. So if there is too much conscientiously to fulfil the strain in the disc, the player pressure on them, and so are cannot follow the track. This we, but there is still going to is one reason why, up till now, be a shortfall." the full potential playing time of CD hasn't been realised. Anumber of problems The longest playing time so keep cropping up far -commercially available -is which are under about 70 minutes. the customer's Theoretically the CD can control. One is the accommodate about 82 started but it's now about 25% which is by now carried in the subcode data on minutes, but that would mean and going down. grey plastic tray which forms 1610 tapes. Very going to within about 1 mm of "Those first discs were made part of the display case, is few of the tapes have been PQ the edge. Nobody has yet at about 5 o'clock in the then ready to have the label edited correctly. Some master managed to mould discs which morning. Because of the late screen printed on it. This is discs have had to be scrapped have a low enough strain that delivery of the equipment, we about the only conventional because of drop -outs on master near the edge. We can get had to telescope our learning technology anywhere to be tapes. around 70 minutes, which is curve into a very short time. seen. Even this involved some A less hi -tech problem is the comparable to what is being This meant many, many days tricky development to produce artwork or film supplied for achieved by PolyGram or in of running the machine an ink that sticks to the discs the label. Many customers are Japan. through the night." well. unaware of the limitations of "That's one moulding At the moment Nimbus has After that, the discs are the screen printing process. problem. The other is simply just one pressing unit working. ready to be tested. Nimbus can only guarantee to reproducing accurately those This consists of two injection "The finished discs go reproduce lines at least 6,000,000,000 bits of geometric moulding machines, each of through three basic tests," 0.3 mm thick. Lines thinner information, which needs very, which moulds one disc from says Gerald Reynolds. "Every than 0.1 mm may not come very low levels of the raw polycarbonate every disc goes through a very out at all. A simple typeface, contamination in the raw 18 s. The moulded disc then thorough visual examination. without elaborate serifs, will material and extreme passes to the cleanest part of Discs are sampled regularly by reproduce best. cleanliness. Even small the clean area, the computer, which tells us the In a few months Nimbus will particles of dust can obliterate metallisation room. Here the error rates and gives us a map be able to offer 2- colour screen thousands of bits. Whilst the air is changed about 40 times of where the errors are on the printing, and 4- colour at extra player has some tolerance for an hour, and the pressure is disc. About one in 100 discs cost. faults that are due to the deliberately kept higher than are tested right the way Nimbus also says it is manufacturing process, that the outer area, so that there is through. We also do an audio unwise to order too small tolerance is limited. There is a steady draught outwards, check on each new job before quantities: last minute an upper limit beyond which not in. Clean air is also blown we start manufacturing to requests to increase the run things go seriously wrong. The over the moulding machines to make sure nothing has gone may have to be turned down quality of discs has to be very, keep less clean air away. The amiss during the mastering to avoid delaying the next job. very good." air is cleaned to the same stage." Gerald Reynolds reckons Towards the edge of the first standard, `Class 100', as used by Experience shows that a that producers could sell more CD that Nimbus manufactured semiconductor manufacturers. fault which affects only an CDs by one simple move: (for the BBC), there appeared The discs are spread out on a individual disc is likely to be "Many producers have missed to be a round spot of plastic, rack which is put inside the visible. Invisible faults tend to the opportunity of really using about 2 mm in diameter. metallisation chamber. This affect the whole batch. the inlay card. When the disc "That was with our original produces a very high vacuum. The current pressing unit is is on display in the shop, the development mould. That spot The discs are left in the the first of three to go in the back of the case is a very good was due to a pressure vacuum for 20 to 30 min to clean factory area: selling area. In many shops transducer, which was giving `suck out' any gaseous construction of the second you can't open the case and us information about the impurities. Then the started in February and look at the booklet. Nothing is pressure with which the aluminium is evaporated on to should by now be well more boring that just a black plastic was being forced into the surface of the disc by a advanced. When all three and white listing of the the mould. It didn't affect the tungsten wire heated by an units are going by the end of contents, which is about as far `playability' of the disc, electric current. this year, they will have a as most of the classical because that pressure After metallisation, the disc combined capacity of about companies have got. Pop transducer would have been emerges from the metallisation 3,000,000 discs per year. producers, in general, use it out at the 75- minute radius, or room on the opposite side to A second factory with six more imaginatively." over. We used that tool for where it came in from the more units should be ready to Finally, a small plea. Please about two months, by which injection moulding machines. start production in mid or late leave a couple of seconds of time we had learned enough A protective lacquer is applied 1986. This will bring the total silence at the beginning of the from it to be able to manage to the aluminium layer by a capacity to 9,000,000 discs. first track, to give those of us without it." machine developed by Nimbus. Nimbus is aiming to capture without remote control players They were running at 75 to This lacquer is then cured by 40% of the European a chance to sit down before 80% reject rate when they first ultra violet light. The disc, manufacturing market, and the music starts. 48 Studio Sound, June 1985 www.americanradiohistory.com A small -31ES universe lifi' Visitors can evaluate the new version 1.5 Software at the forthcoming APRS in a nearby recording facility. Admission is by invitation only. For further information please contact Stand 45 in the Rainbow Suite. Create space The DN780 - Reverberator/Processor Klark- Tbknik's ongoing investment in The result is simply - greater realism. research leaps into the age of variable space From natural concert hall reverberation with the new DN780 reverberation simulator. through remarkable small room and plate Integration technology Its Very Large Scale sounds to an impressive "infinite space" TEK1t1K and a superfast Digital Signal Processor (DSP) effects programme, the DN780 will uncannily K111iiK allow the world's first practical application of place you in the musical environment of n'/ specifically developed algorithms, creating your choice. % "added density "mi reverberation: reflections British designed, British made with much smaller intervals between them. Trusted throughout the World Manufactured by Klark- Teknik Research Limited Klark- Teknik Electronics Inc. Distributed in the UK by Autograph Sales Limited Coppice Trading Estate, Kidderminster I)Y 11711J, 262a Eastern Parkway, Farmingdale, 2 Spring Place, London NW5 38; \. England. Teephone: (0562) 741515 Telex: 3:39821 NY 11735, LISA. Telephone: 15 16) 249 -3660 'lèlephune: 01-267 6677 www.americanradiohistory.com THE BLACK & WHITE S concept of playing acoustic or 'sampled' T,,uunds on a keyboard. first introduced by Fairlight ith the CMI in 1979. has now become a requirement of today's synthesiser users. Syco, the specialists in 'sampling' keyboards, have selected the 'state of the art' instruments, instruments which meet the varying demands of our clientele. The choice of the best sampling keyboards. The Fairlight CMI, the Emulator II and the Kurzweil 250. The Black and White Collection. Fairlight CMI is much more than a musical instrument. It is an integrated music production system. expandable to cope with the ever-changing needs of today's musician. Consistently upgraded since its introduction in 1979, the CMI has become legendary for its compositional software. Now the largest selling computer musical instrument in the UK, the options arriving in the next six months will increase its already fantastic potential tenfold. EII, successor to the popular Emulator, brings the power of high quality sampling within the reach of most professional musicians. Featuring a five octave dynamic keyboard with a variety of possible keyboard modes. the inclusion of filters, VCAs envelope generators and independant LFOs allows you to extensively modify any sampled sound. An eight track sequencer with MIDI and SMPTE interfaces enables complex compositions to be recorded. These features. together with a dramatically increased sampling memory make the Ell a powerful creative tool. Kurzweil 250 features an 88 note piano -type keyboard. Utilising technology from the fields of artificial intelligence and pattern recognition it achieves extraordinary realism of sound with unprecedented expressive capabilities. It's supplied with thirty preset sounds, (expandable to 60), can accomodate up to 40 keyboards set -ups, and features a twelve track sequencer. Ideally suited to live performance and studio work the Kurzweil 250 is the only viable alternative to an acoustic grand piano. All of these instruments are available for you to see and hear at our demonstration suite in W2. So next time your looking for something very special. try the best sampling keyboards. The Black and White Collection. Syco. 20 Conduit Place, London W2. Telephone 01 -724 2451 for an appoint [writ Telex 22278 Syco G. 50 Studi you nd. June 1985 www.americanradiohistory.com Syco.We are www.americanradiohistory.com STUDIOFILE STUDIOFILE During 1984 Hollywood concrete mixing were over. Studios opened their doors to Hollywood Studios, As soon as Save Your Love the recording industry and started to move up the British began to take outside London charts John decided to get bookings. The studios are serious with regard to owned by John Edward who long building with good while. developing the recording has been in the music business straight -through ground floor "Norman told me how to put studio. Some 30 rubbish skips for some time, having played access and ample parking up the two -by -two timbers on later, the carpets, mock tudor guitar with David Jones (later facilities. The building had the walls, the Rockwool in beams and all the rest were David Bowie) in the Manish previously been a factory between, the plasterboard, gone and John had an Boys, been a booking agent, among other things and marine ply and all the rest of Eastlake control room and pirate radio DJ, rehearsal needed considerable sound it." studio. rooms proprietor, publisher insulation before it could be Alex Alexandros -an ex- The studio follows two and record producer. From the used for rehearsals. Soundcraft employee -also popular trends in that the building that houses He built up the rehearsal became involved with John, acoustics are quite reflective Hollywood Studios, John studios room -by -room over a bringing in a modified and and live in the mid and high operates his group of mainly period of time and was not reconstructed Soundcraft frequencies, and there is a music related companies which averse to rolling up his sleeves console. complete synthesiser - include Hollywood Records and to mix and lay concrete and After producing some 30 or sequencer- computer suite Hollywood Publishing. the like. When he opened his so records that were released which can be patched into the During the early '80s first room, Dire Straits during the '70s, his efforts in control room. John says he various ventures began to pay rehearsed their first album that direction were finally wanted a friendly and off allowing him to realise his there and were followed by rewarded two -fold. He devised comfortable environment and personal ambition of owning a various well known and not so Metal Micky, a radio this has been achieved. professionally designed well known bands. With controlled robot, to promote a The four rooms adjoin one multitrack recording studio. 1,000 W Orange PA systems, single featuring a vocoder another in a straight line. The Though initially he intended' fitted carpets and various treated vocal. Metal Micky control room is at one end, Hollywood as a private studio comforts, the four rehearsal was more successful than the then there is the main studio. in which to work on his own rooms were soon well booked record and promotional Then there is a room currently projects, after a complete with clients that included appearances led to a London used for John's video and studio re- fitting in 1984, Billy Idol, Adam Ant, Susie Weekend Television series as television routining. At the financial practicality led him Quatro and Bucks Fizz. well as various commercial opposite end to the control to start hiring out. As he After eight years, he called spin -offs. room is the synthesiser suite. explained, he feels there are in a company of studio design John also had a recording The layout makes also other advantages. consultants to give him a project for a single that had simultaneous use of the "The idea of having studio quote for the full treatment to been on the shelf gathering different rooms quite practical. clients is not a bad one. You make the transition to dust for seven years which had The increasingly popular get a chance to keep tabs on recording studio but on previously been turned down wood-faced floor, ceiling and what other producers are up hearing a quote of £75,000 for all over town. Originally wall coverings dominate the to. And at least people realise a control room and studio he conceived and put together as Eastlake designed control we're a record company as realised that he was going to a joke, it was suggested that room and main studio. Floors well and they can bear that in need considerably more he record a slightly less are African Walnut while the mind if they want to submit funding to finance the project tongue -in -cheek version which rest is American Red Oak. recordings." than he had access to. he did. The song was written The control room was kept to In the mid '70s he had Towards the end of the '70s, by John and his wife Susanne, a comfortable and practical become aware of an acute John started to turn one of the published by his own company minimum size to allow the shortage of rehearsal rooms rooms into a recording studio. and released on his own label. studio area to be as large and with reasonable facilities in Norman Bone -an ex -BBC The record -Sane Your Love by live as possible. The the London area. He found man who had experience of Renee and Renato -was a No 1 Soundcraft Series 2400 console suitable premises in Upper studio design and acoustical UK hit and an international faces sliding glass doors (with Clapton Road in East London treatments-advised John and hit with multiple cover around a 21/2 ft sound isolation (now Hollywood Studios) a became his partner for a versions. John's days of gap) which allow good visual The main studio room The synth room 52 Studio Sound, June 1985 www.americanradiohistory.com STUDIOFILE STUDIOFILE contact and access to the units. There are 16 lines hard- studio. The multitrack is an Hollywood Studios, wired through to the console Otani 24 -track MTR90 which in the control room. is complemented by an Otani continued Studio operatives include 1/4 in MTR12 recorder and a Monitors are recessed into the equipment are set up on a engineers' Stephen Warwick Sony PCM Fl. Studio monitors ceiling. plinth making them and Roger Wake as well as are by Eastlake, powered by A drum booth with variable convenient to use. Most are programmer /arranger Simon HH amplification with White acoustics is situated at the linked via the UMI 1B (issue Sterling. graphic equalisers. There are opposite end from the control 3.12) combined sequencer and In summary, Hollywood is in also Yamaha NS10 speaker room. There is also a small MIDI interface which is run touch with the currently units as well as Auratone isolation booth of just under on a BBC -B micro with the favoured live and reflective reference monitors. The signal 59 ft' with mainly mirrored Aries 20K memory extension. acoustics, and well equipped to processing rack -which is and glass surfaces with This is used with the Garfield deal with the popular recessed into the wall- houses curtains for acoustic variation. Electronics Mini Doc which computer- sequencer oriented an AMS RMX16 digital The room used mainly for triggers a LinnDrum. The recording. The comfortable and reverb, Audio +Design Panscan John's own video and equipment also includes a light feel of the studio make it and various other units. television work divides the Yamaha DX9, Yamaha DX7, an easy and enjoyable place in The main studio room synth room from the main PPG Wave 2.2, and the which to work. measures 18 x 30 ft with a studio. The synth room has Simmons SD7 Digital /analogue ceiling height of 18 ft. There basic sound insulation and drum system. This is all Hollywood Studios, 38 is a Yamaha Baby Grand and quite acceptable acoustics for patched through a Soundcraft Upper Clapton Road, a Fender Rhodes electric what is essentially all DI and series 200 16- channel mixer to London E5. Telephone: piano. Novel features include a sequencing work. Most of the Tannoy Super -Red monitors 01 -806 0071/4. couch and palm trees! instruments and ancillary and/or Yamaha NS10 speaker Ralph Denyer LONDON BOROUGH OF ISLINGTON BRITANNIA ROW N.I COMPLETE SERVICE AUDIO HIRE 2 -24 TRACK TAPE RECORDERS BTX SYNCHRONISERS DIGITAL TAPE RECORDERS NOISE REDUCTION SYSTEMS PROFESSIONAL VIDEO EQUIPMENT r 01 -226 3377 TELEX: 268279 BRITRO G BRITANNIA ROW LTD 35 BRITANNIA ROW LONDON N1 8QH www.americanradiohistory.com STUDIOFILE Battery Studios in West studios, an adjacent plot of London are located in three Battery Studios, land became available and the separate sprawling buildings company naturally snapped it where they have quite rapidly London up, with a view to expanding. grown up and spread out, and Since they have subsequently continue to do so at an almost area, which is very live, reverb. purchased another building alarming rate. Part of the having been designed for large The 2 -track machines are round the corner this project Zomba group of companies orchestral work. This was situated at the front of the has temporarily been put on which include the record and redesigned in January 1984, room between the monitors ice. management companies, the as it was felt that the room and are Studer A8OVU, one of After Battery One, came mobile, the four studios and was too dead, explained Derek. which is convertible to 1/2 in. Battery Two where Rod Dreamhire studio equipment A certain amount of Bradstone Multitracks are two Studer Stewart recorded Maggie May hire company, the Battery stone wall tiles were A800 24 -track machines, one all those years ago. A few studios are equipped to a very introduced with drapes located of which is utilised by the minutes' walk away on the high standard: Solid State all round the room so that you company's hire service when corner of Maybury Gardens Logic consoles with UREI could deaden it up if required, not required at Battery. The this facility was acquired from Time Align monitoring in and bass trapping took care of cassette recorder is a Revox Morgan in December 1980. three of the rooms, a long list the booming bass problem they B710 MkII. Noise reduction The recording area, which was of outboard equipment as well had previously experienced in consists of 24 Dolby 361s, with very dead, was livened up, the as virtually any kind of the room. Derek wanted as a floating rack of the new console and monitors replaced synthesiser/keyboard you care flat a room as possible and Dolby SP24s for 48 -track and otherwise it is just the to name. that's what he reckons he got. work. Reference monitors are same. Derek Sticklen has it All the buildings at one The `Cotswold' -type stone is Yamaha NS10Ms. scheduled for a cosmetic stage belonged to Morgan moulded tiles glued on to Between the monitors there facelift, but the acoustics will Studios, scene of many a '60s plaster board, and all the are three television monitors: remain. hit, and Battery bought them walls are slightly angled. one CCTV for close ups of It was previously a very in the order of their Other wall surfaces consist of artists in the studio, one to dead room with carpet on half numbering -so you can work it oak panelling and hessian. view the front door and one the floor and wall areas. The out as you read. The first was The floor is covered in for the SSL's Total Recall. floor is now all parquet. The in Chaplin Road, which Japanese wood. Behind the control room is layout is rather odd: to get to surprisingly seems to be The grand piano is a what used to be a live room in the control room you have to directly oppposite a primary Yamaha C3 which was quite the Morgan days. Redundant negotiate the recording area; school. Perhaps it has been a recently acquired and lives as such with the revamping of commanding the best view of studio for so long that when here. the main studio, this has now the studio is a small iso room planning permission was first All the studios have a large become a playroom with which is no longer used for granted they did not realise range of effects units, although television, pool, snooker, table recording and the control room what a recording studio was, a lot of them are floating. As a tennis, video games and a is to one side, unable to see or they would surely have basic guiding rule, they try to fridge. about a third of the room jumped to all the irrational have one digital reverb and The rest of Chaplin Road where the Yamaha C3 grand conclusions planning one digital delay line in every houses the studios' piano stands. The piano area authorities usually do these room as a permanent fixture, administration offices with has a lowered ceiling to house days. explained studio manager Helen Tyler who takes care of air conditioning ducts. The Battery One (ex- Morgan Chris Dunn. Studio One has a bookings as well as working walls were livened up by Four) was taken over by Pultec EQP1A3 valve with Lou Landin on the means of introducing the stone Zomba in 1980. In July 1981 equaliser, Klark Teknik DN22 Dreamhire side of things; the tiles used in Battery One. the studio was closed and graphic, UREI 1176 limiters, hire company store room; the The control room has not completely gutted and refitted dbx compressor/limiter, two tape store and Impulse changed acoustically or by Keith Slaughter, working UREI 545 parametric Records, a promotion company cosmetically since Morgan. with the studio's technical equalisers, AMS DMX15 -80 which does not belong to The ceiling slopes downwards manager Derek Sticklen. The mono delay, Eventide H910 Zomba although there is a and walls come in towards the room is approximately 21x 14 Harmonizer and FL201 working connection. front of the room giving a ft and was full of keyboards flanger, Valley People Kepex This sprawling building is strange impression of being in and synthesisers at the time of noise gate and Gain Brains probably destined to sprawl a cinema or some such place. our visit. Beyond the and AMS DMX 15 -80S digital some more. Prior to the The UREI 813 Time Align keyboards is the first SSL delay and RMX16 digital purchase of Battery's latest monitors are mounted on SL4000 40- channel console plinths in front of the room with monitors with Total Recall acquired by Studio One's control complete CCTV 32- channel SSL SL4000E this Battery. Complemented by the time without Total Recall. UREI 813 Time Align "At the time the old Cadac monitors powered by Studer desk was replaced it was felt A68 power amps, this set -up unnecessary to provide the formed the model for the Total Recall in here, and all it subsequent studios. means is that sessions The Keith Slaughter design requiring that facility go into incorporates a sloping ceiling one of the other studios," made up of a combination of explained Chris. wood and hessian with bass What really dates the room traps towards the rear, the is the thick carpeting on the angle of the ceiling levelling rear wall and the rear section off over the desk and going up of the side walls. Moving again towards the monitors. towards the front of the room The room is fairly bright and the walls become wooden slats looks into a spacious recording over the hessian with trapping 54 Studio Sound, June 1985 www.americanradiohistory.com www.americanradiohistory.com STUDIOFILE STUDIOFILE behind. The effects racks can be Tape machines are one Battery Studios floated on an umbilical cord Studer A80 24 -track machine which plugs straight into the and two 2- tracks, and the continued patchbay so you don't get reference monitors are Teac masses of wires all over the LSX7s and Yamaha NS10Ms. place. The racks contain two Effects and outboard gear are Drawmer DS201 noise gates, of similar wide range and three UREI 1176 limiters, four plentifulness as Studio One. dbx 160X compressor/limiters, These could not be inspected AMS DMX15 -80S digital very thoroughly because delay, Yamaha REV-1 digital engineer Peter Wooliscroft was reverb, three Kepex: two Gain trying to get on with a mix Brains and one noise gate, which he had had to start at 6 Roland SBF325 stereo flanger, o'clock that morning in order Klark Teknik graphic, to get studio time. Eventide H910 Harmoniser, The rest of this building is Lexicon Prime Time, Sony Jive Records and Zomba music PCM Fl system, and EMT 140 publishing and management. and 240 Gold Foil plate A few yards further into Control room, Studio Four -recently opened reverbs. Maybury Gardens is the For the monitoring it is newest Battery, which Morgan consoles: a TAC and a which actually have wooden again UREI 813s with converted from factory Soundcraft with every fronts. Derek has been very Yamaha NS10Ms for reference premises. Next to the main keyboard, synth and drum impressed by these and and the tape machines are two building there is a small machine you could wish for. stresses that they work Studer A800 24- tracks and cottage which, when This room will be available as extremely well. They are also A80 2- tracks. redecorated will be used as a additional studio space when employed at the back of the Self-appointed resident cynic store. The main house is vast Mutt moves. control room. The rest of the Tony Platt was working on a and contains two more studios, Continuing on round the wall surfaces are a mixture of Gary Moore video with a dance studio, and various house there are several rooms hessian and wood. assistant Andrew Warwick at recording, musical, resting and tucked away which are The console in Battery Four the time, which represented recreational facilities. variously kitchen facilities, is 48- channel SSL SL4000 in a the first time Battery had Battery Three is upstairs recreation room, Jive meeting 56 -frame with Total Recall. mixed to video. The necessary and was originally a 24 -track room, Derek Sticklen's Derek discussed the reasoning monitors and Q.Lock, etc, were studio built by Morgan. So far workshop and the behind the company's decision hired in although they would nothing has been changed and programming room. This is to go SSL virtually of course buy them if demand it was closed down at the time principally for the Fairlight throughout. Every studio they grew. of our visit for air conditioning and PPG with a Soundtracs have refurbished has been The studios are just a small work. It has a Trident Series 16/8/16 small console, fitted with an SSL console. part of an altogether larger - 80 console with UREI 815s Portastudio and various other It wasn't necessarily simply scale whole as can be glimpsed and Studer A80 24 -and bits and pieces to facilitate the that the combination of SSL here. There is a mobile which 2- tracks. One of the programming of the numerous and UREI monitoring seems to for the moment is living in applications being considered synths and drum machines, equal bookings at the moment. South Africa where it records for this studio is digital: The etc. Producer Peter Harris is It was more a case of having many black artists. The tapes recording area is fairly large the house Fairlight installed SSL in Battery One, are then sent back to London and it would probably be very programmer and this room is they wanted to make the other for mixing, etc. Zomba also suitable. principally for his benefit. Phil facilities compatible with that has record companies in Below this is the dance Nicholas who works primarily enabling the studios South Africa and America. studio which is sometimes with Mutt Lange also does themselves to be very flexible; The nearby Power Plant used as a live room by Battery programming work for if a producer recorded in have three studios in Maybury Four down the corridor. The Battery. Battery One, he could move to Gardens, but there is no real floor has some very curious, On the ground floor, Battery Four for mixing and find the rivalry between the two well, mounds I suppose which Four is the company's latest same kind of atmosphere and companies, according to Chris. look for all the world like pride and joy which has only facilities there. "I must say, There is so much work around graves! Chris is still dying to been working since November however, that SSL is the finest at the moment for them that . find out who is under there. 1984. Previously a Morgan desk I know of-for its they can all be friends and Seriously, he puts it down to rehearsal studio Keith facilities, reliability ... almost help each other out when bad workmanship on the part Slaughter was brought in to everything. It is very needed. of Morgan's builders. completely rebuild with expensive, but it is worth it," Perhaps SSL plus UREI plus Mutt Lange has his studio in emphasis on a large control Derek concluded. management of several top this building `in transit' prior room to cater for lots of Battery Four's wiring producers who all like the to moving it into his home. keyboards. Its size is increased obviously involved a fair studios are the secrets of Mutt is one of the many by virtue of the fact that the degree of forethought. It may Battery's success. They must producers which Zomba multitrack machines can sit be accessed almost anywhere certainly contribute. At the manages, including Martin outside behind sliding glass in the control room, so that end of the day, however, it's Birch, Nick Tauber, Tim doors if so desired. should they wish to change all down to the studio and Friese Green, Tony Platt, Because of this the isolation things round ever it may be equipment, and if that is good Mike Howlett, Peter room is not over large done so without completely it will succeed. Henderson, Nigel Green (who although quite adequate for destroying the decor. This was Janet Angus started life as tape -op here), their purposes. The walls are done by means of Budgie Peter Harris, Bryan `Chuck' covered in angled wooden boxes "or at least that's what Battery Studios, New and Phil Nicholas. Mutt's panels which are a new Keith the builders kept calling them 14 -16 Chaplin Road, London studio has no less than two Slaughter design for bass traps at any rate. I don't know why!" NW2 5PN. Tel: 01-451 3044.D 56 Studio Sound, June 1985 www.americanradiohistory.com The new Modular Aphex Aural presence ... improves intelligibility Exciter is designed to fit in the ... increases perceived loudness popular Aphex R -1 Rack System. .. and generally improves acoustic Ten across! Or nine across in the performance. All without the unnat- dbx F900 Rack System. So you ural distortion which can be caused can now add the psychoacoustic with other signal processing. excitement of an Aural Exciter to See the Modular Aural Exciter at every audio channel without filling your sound professional's soon. And, your entire rack with stereo Aural while you're there, check out the Exciters. modular Aphex EQF -2 Equalizer/ Like the famous Type II Aural Filter and the CX -1 Compressor/ Exciter, the new modular version Expander. restores natural brightness and Aphex Systems Limited Atlantex Music Ltd., 3 Cadwell Lane, Hitchin Hertfordshire SG4 OAG Telephone: (0462)31511 Telex: 826967 Aural Exciter is a registered trademark of Aphex Systems Ltd., North Hollywood, CA ©1984 Aphex Systems Ltd. AUSTRALIA FINLAND ITALY SPAIN East Coast Audio Sales, Nores Oy, Helsinki M. Casale Bauer, Bologna Neotecnica, Madrid Melbourne FRANCE JAPAN SWEDEN AUSTRIA 3M France Matsuda Trading, Tokyo AB Betoma, Solna AKG, Vienna Cergy Pontoise Cedex NEW ZEALAND SWITZERLAND BENELUX GERMANY Maser Comm., Auckland PAS, Basil Trans European Music, AKG, Munich Dilbeek SINGAPORE TAIWAN GREECE Auvi Private Ltd. Linfair Engineering, Taipei CANADA Omikron, Athens AKG Acoustics, Scarborough SOUTH AFRICA HONG KONG Tru -Fi Electronics, DENMARK Audio Consultants, Wynberg, Sandton SC Sound, Taastrup Kowloon 57 www.americanradiohistory.com Barry Fox investigates the facts behind the industry news Southampton University, at a cost of The first rule is never to re -use tape. Spoiler boiler over £10,000, to carry out spoiler At £20 a U -Matic cassette, it just isn't a The BPI and record companies have now research. Over the following two years worthwhile economy. Second, note that got themselves back into the position the BPI officials, including its chairman most of the drop -outs heard (around 90%) where they were at the end of the '70s, and members of the technical committee, are on replay only. They are not on the before a disastrous PR front and publicly reassured the record companies tape. If you run back to the offending nonsensical sci -fi talk about spoilers to that a working spoiler was not only spot on the tape, the chances are that prevent home taping, pulled the rug possible but nearly ready. So it was no the drop -out won't be there second time from under their case for a levy or tax surprise that in the 1981 Green Paper around. There's a simple safeguard in on blank tape. the British Government neatly side- case it is. Use two machines, locked The recent Government Green Paper stepped the levy issue by promising to together for mastering. In other words approves, in principle, the idea of a small introduce legislation in support of any make two master tapes at the same levy. Information Technology Minister spoiler which the industry could develop. time. That halves the chances of ending Geoffrey Pattie says the Government By definition a spoiler signal would up with a drop -out recorded on to tape. changed its mind because the record prevent home taping and thus make a Of course the real, long-term answer is industry has now stopped whining so levy redundant. It is hard to believe that a U -Matic recorder with reassurance loudly for compensation on lost sales. an industry, which relies entirely on head that monitors off tape, just like an "No -one could know what sales should technology for its living, can have been ordinary analogue deck. Professional be," says Pattie. so stupid. I am not surprised, however. video machines have these, so why on A small levy, to be fixed by law at a Every time I have tried to talk earth not U- Matics? No reason. This is maximum of 10% for audio tape and 5% technology to the trade bodies for the why it's a dead certainty that U- Matics for video tape, will effectively legalise record industry, spokesmen who were with reassurance heads and off -tape what the record industry calls copyright only too happy to make nonsensical monitoring will be available soon. Sony theft and let people home tape with pronouncements in public, have prefaced say January but it could be sooner. The impunity. Pattie pledges that all the their private remarks with those familiar extra heads will give read -after -read as money, after administration fees have words: "Of course I am.not technical." well as read -after -write. been deducted, will go to the copyright I am only too happy to admit that I owners. None will go to the Treasury for know nothing about brain surgery. bigger and better bombs. That's why I steer clear of writing and Don't be an expert The Green Paper is a discussion talking about the subject. I am not surprised lawyers find it so document and Pattie's ministry, the DTI, difficult to get people to come into a UK welcomes comments. But as usual, in its court and give evidence as `expert' typical clumsy way, the DTI has set a Advice for witnesses. If my experience is anything deadline (April 30) too late for leaders of to go by, the best thing you can do when most monthly magazines to respond. drop -outs asked to give technical evidence is run a The Government obviously realises the A record producer was complaining mile. I was approached by a firm of risk of giving the profligate record recently about the cost and practical solicitors representing a retailer who had companies a present of free cash. The problems of mastering for CD release. been accused of deliberately damaging money raised (around £5 million a year The prime gripe was the need to use U- gramophone records. They had got my from audio and £5 million from video) Matic videocassettes for the digital name as someone who had been critical will be collected by an independent master. Normally these have a of the general standard of record society and then distributed by a hard - maximum playing time of 1 hr. But pressings in Britain and would thus say nosed industry group. One suggestion is 75 min U -Matic cassettes are available. that not all records supplied to the shops the MCPS which already has long Yes the machine tape tension has to be are perfect. I agreed. experience of dealing with the not - re- aligned to cope with the thinner base. Everything was a terrible rush. I spent always- too -honest record companies. But the re- alignment is usually a simple many hours overnight hunting out old Back in the mid '70s, the idea of a levy job (a couple of extra capacitors in the documentation and spent the best part of on tape to legitimise home taping made electronics) and new machines already a full Saturday afternoon giving sense. But then someone, somewhere, contain them. statements to the defence team. I was talked the BPI into plucking figures Also don't be surprised if PolyGram told I would get £50 for this research. In from the sky to `prove' lost sales of over soon starts accepting Decca open reel lost work it cost me far more but I £300 million a year. Government tape as the master source. Incidentally agreed. I then had to go to a suburban ministers and the Patent Office officials the 75 min tapes actually run for 81 min, court where I sat around for the best who advise on copyright are human. with 4 min set aside for the control code part of a day before being grilled under They buy records and tape for use in data. cross- examination. I lost a full day's their cars. So they know the £300 More of a problem than running time, work for which the court awarded £50 million claim is just baloney. or at least apparently so, is the risk of compensation. By talking about spoilers, in the late drop -out from U -Matic tape, especially if Months later I was still waiting for '70s, the BPI gave the Government a it has run several times. This is even payment on the drop- everything research Heaven -sent opportunity to duck the more likely if the tape is thin -based for work and weekend briefing. Finally, potentially unpopular solution of longer than 1 hr playing time. Decca's after heavy badgering, the solicitors imposing a fresh tax on the public, while open reel system is so heavily protected explained that their client was on Legal appearing to be helpful. The idea of a with error correction that drop -outs are Aid so they had to get the money out of spoiler, which magically permits normal virtually no risk. But a producer court. Not in the best of grace, they paid reproduction of a record but spoils any planning to send a U -Matic master to me out of their own pockets. So, the total attempt at making a tape copy, was first Hannover, or Japan, needs to listen to fee paid for searching through piles of proposed by the Beatles' electronic the cassettes for any drop -out crack or old documents for material admissible as company Apple, in 1967. It has been mute, and if there is one go back to evidence, a weekend briefing for the repeatedly re- invented and discarded square one, re- master and listen all over defence team, a day in court and literally ever since. again. So the hours roll by. Actually months of chasing for payment produced Through 1978 and 1979 the BPI there are some simple ways round this, the princely total sum of £100. I am commissioned the Wolfson Unit of which not everyone seems aware of. assured this is routine. Be warned. 58 Studio Sound, June 1985 www.americanradiohistory.com Presenting Lexicon's PCM 60 Superior Digital Reverb Within Reach. Lexicon proudly announces the PCM 60 Inside the PCM 60's refined package are Whether you're looking for a long, rich Don't invest in a reverb until you demo Digital Reverberator -the first reverb the same realistic rooms and plates that reverb for vocals; a warm spaciousness the PCM 60 at your Lexicon dealer. With with the Lexicon sonic quality demanded have made Lexicon famous. And Lexicon for instrumentals; a bright or sizzly plate the most demanding program sources, by so many performing artists and engineers have carefully designed the for percussion; or a natural ambience listen to the PCM 60 and compare it with studios at an amazingly low price. PCM 60 for rugged use and easy for dialog or all forms of electronic the competition- you'll find no one else operation: over 100 distinct and useful music, the PCM 60 does the job with comes close. For the serious musician or reverberation effects are only a few Lexicon style. small studio, the PCM 60 is worth your pushbuttons away. investment. 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That's the part of the MTR90 that does What could the other three slots all the thinking. contain? An integral synchroniser? On a mere seven cards is contained all Something even more advanced? the information the MTR90 Mk.2 user needs The answer is that those slots will control the features that Otari users will be _r. _. --- demanding from their MTR9Os in 1986. Or 1987 Or 1990. Those spare three cardframe slots may be empty now. But to Otari users, they're the future of multitrack. Because the most important thing about that hole is the fact that Otari are looking into it. For more information on the MTR90 Mk. 2 Series or other Otari products, contact 7hrnkey Studio Systems, Brent View Road, London NW9 7EL. Telephone: 01-202 4366 Industrial Tape Applications, 1 Felgate Mews, Studland Street, London W6 9JT. Telephone: 01 -748 9009 www.americanradiohistory.com IN PERSPECTIVE IN PERSPECTIVE Comment from Martin Polon, our US columnist It has become very fashionable to blame our supposed CD nerd and find out that the compact disc for everything wrong Let's lay off the in most cases these people make some that happens in audio in the Continental sense. There is much about the way United States and in the rest of the compact disc digital audio and digital disc was foisted world for that matter. Consumer and on all of us that does not sit very well. It trade audio magazines are full of letters lot. For those who view the compact disc is as though the industrial giants simply and articles from writers who are and its Japanese and Dutch mentors as made it happen despite some grey areas obviously digitally literate `Men of the the earthbound equivalent of the evil in the technology. A respected engineer World' (women seem to have too much empire led by Darth Vader (and how recalled his first exposure to the compact sense to get drawn into CDmania). many articles have we all read with that disc: "I was at a meeting where one of However, it would be so simple to analogy) ask yourself how much like the chief backers of the new system from assume that these fellows are wearing 'Rebecca of Sunnybrook Farm' our old a well known international company sea green polyester slacks with a white friends at RCA were with the silenced his critics by saying it was dress shirt hanging out; the pocket development of the LP record? going to happen no matter what!" stuffed with an assortment of pens kept Compact disc is subject to a particular We really do need those who criticise. fastidiously in a plastic pocket protector. kind of rumour at every audio trade It keeps the audio industry honest and One could also assume Florsheim shoes show. `The latest album from (name any helps those less sophisticated to be aware worn with white socks. A pocket pop group) was recorded digitally with a of subtle shadings in things technical. It calculator hanging from the belt, glasses special black laser.' `The record is important to remember too that those broken at the bridge repaired with tape companies are run by zombies who who developed the mathematical theory and a conspicuous disregard for worship cash and not record quality and and did much of the basic research that underarm deodorant would complete the are defiling the pressing of CDs the way made studio digital recording and the picture of our imaginary CD critic. That they ruined the LP.' `Japan only wants compact disc possible, were viewed as the hypothetical CD defiler fits the 75 %Ir of all digital audio business in the just as eccentric in the past as today's description of what is known in America world.' The latest CD portable will have `dithering' critics. as a `Nerd' is clear. Unfortunately, there two meg of RAM with a solar powered The solution at this point is to accept are several problems with identifying gas plasma display for still video and compact disc as a reality of the those protesting the power of Japan (and data plus frequency response from DC to marketplace and move forwards. It is not the Netherlands) in forcing compact disc 100 K; all for $300.' 'Compact disc has going to 'go away,' no matter how much down our collective throats (or ears as bi- directional translateral dither at 17 some of us resent its real or supposed the case may be) as cranks. kHz clearly audible if you have an R2D2 inadequacies. Nobody in their right mind The Japanese electronic companies amplifier played at the levels found in is going to pretend that compact disc is have not been noticed for their dainty Wembley stadium.' `Martin Bormann is the new toy for 1985. Ten years have ways. One is currently swallowing alive and well and running a compact passed since it has evolved into the American professional audio makers and disc pressing plant in Paraguay, that system we are now using. You can find has been lovingly identified as `Nauru of will come on -line third quarter problems with 14/16 -bit technology, Tokyo' (as in killer whale) by several 1985.' ...hey, gimme a break will ya! aliasing, with the kinds and quality of employees of these absorbed ventures. Despite numerous hypotheses to the filters used by various manufacturers, (`Nauru of Tokyo' -not bad. It sounds like contrary, the Dutch and the Japanese with dither, with A/D conversion and so an exclusive Japanese couturier about to are not consciously planning to destroy on. It is important that we do talk about challenge Ralph Lauren). all other forms of audio hardware or these problems so we can move forwards. On one side of the coin, there is less software. It is inevitable that many jobs But, we are finally beginning to interest wrong with the CD and Japan than and companies will change as the audio the owners of some 200 million -odd LP many people think. The Japanese have industry goes through various hills and phonographs in the new system. I am legitimised an industry that could only valleys of conversion to digital. Consider actually looking at research that says sell digital audio to people who really US census figures and similar statistics middle class citizens in Framingham, could clear an elevator in 1.2 s by from HM census and European authori- Massachusetts and Slough, England and raising their arms above their heads. ties. Look at statistics on income and Blois, France are recognising and The Japanese sell CD machines that poverty. Look at the age and income showing interest in compact disc. It work and fix them when they don't. distribution curves and demographics. represents a quantum jump for those They stay in business, by and large See all the 'junk' audio systems and who have audio equipment so crude that police their dealers so they support innovations that have been foisted on the a stylus is changed every ten years. And product as well as customers and have consuming public in the past. (Remember bottom line; the audio industry needs spawned profits for a broad range of Quad? No? -you'd be surprised how digital and compact disc to provide second and third party vendors who have many consumers still do!) How many momentum. It is, I suppose a supplied software and hardware for pieces of audio equipment can be found compromise. But it is a very necessary digital audio. Yes, it is true that other in people's closets or garages? Check one and if we look back at the Philips companies have been hurt or destroyed discretionary income in consumer's cassette tape format of the early '60s; we as Japan changes its directions in homes and budgeted expenses for home can find an analogy for trying to improve professional and consumer audio, but it's entertainment systems. Look at each the digital disc in an evolving way. If we a lot like sleeping in the same bed as an category of audio hardware and software continue to dwell on all that is wrong 800 lb gorilla. The gorilla does not or audio peripheral vendor and count the with CD, we might just scare off the necessarily ,intend to hurt you, but if it number of different companies in each audio consuming public. And people rolls over during the night -you got a category; all in competition with each would be saying, "That used car problem. So if you do business with or other. Japan and compact disc didn't 'do' salesman- didn't he used to sell digital because of digital audio or compact disc any of that. audio equipment -and personal you make money but you don't sleep a However, it is now time to go back to computers before that. 62 Studio Sound, June 1985 www.americanradiohistory.com M M M M SERIES M NO MORE SLEEPLESS NIGHTS! M "7111111111111111111! .ouwn.c> m )ailE> tt it ,® r I r Y .t fit a 1 ì/ l 71 t 71 t t WW t rrrr t r i%%%%%%1i% t \ NM= No nonsense eight buss mixing equ. By four matrix on each sub group console designed for live sound pre or post fade. Stereo return to masters. reinforcement, theatre or eight track Fader reverse. Eq on group output, recording. Unique facilities such as permanent access to all eight busses for +30db input headroom, 4 band effects returns with eq option. Full equalisation, six auxilliary sends, monitoring of groups. A total solution to switchable pre or post fade and settable an eight buss mixer that will not fail on using hand set jumpers to pre or post you; So NO MORE SLEEPLESS NIGHTS! THE SERIES BY M U.K. Distributor Larking affordable quality audio sales Luton: 29 Guildford Street, Luton. Beds Soundout Laboratories Limited Telephone Luton (0582) 450066 91 Ewell Road, Surbiton, Telex 825488 DONLAR Surrey KT6 6AH Tel: 01 -399 3392 Stoke -on- Trent: Stafford House. Clough Street, Hanley. Stoke- onTrent Telex: 8951073 /SNDOUT /G Telephone Stoke -on -Trent 107821 24257 America Soundtracs Inc., 745 One Hundred and Ninth Street, Arlington, Texas 76011. Tel: (8171 460 5519 (MI) MCI MUSIC Inc. 745 One Hundred and Ninth Street, Arlington, Texas, 76011. Tel: (817) 469 1600 Australia Klarion Pty., 63 Kingsway, South Melbourne, Victoria 3205. Tel: 0361 3541 Austria Kain Ges.m.b.H. & Co. KG, Hi -Fi Stereo Center, 1 120 Wein, Steinbauergasse 25, Tel: 0222- 838235 Canada Omnimedia Corporation Ltd., 9653 Côte de Liesse, Dorval, Québec H9P 1A3. Tel 514 636 9971 Denmark Kinovox AS, Industrivej 9, 3540 Lynge. Tel: 02 187617 Finland MS Audiotron, Laitilantie 10, 00420 Helsinki 42. Tel: 90 5664644 France Phase Acoustic. 163 -165 Bd Boisson, 13004 Marseilles. Tel. 91 -4987 28 Germany Amptown. Hamburg. Tel: 040 6460040 Session Musik, Walldorf. Tel: 06 2272876. Sound & Drumland, Berlin. Tel: 030 882791 I . Musik Shop. Munich. Tel: 089 34 I I 1 1. Der Musikladen, Nurnberg. Tel 091 1 445454 R & H Studio Sound, Waldkirch -Kollnay. Tel: 07681 5043 Greece Sound Centre, 22 Tossitsa Street, P.O. Box 148, Athens, Greece. Hong Kong Ace (International) Co, Block A, 10 /Fl., AS Hong Kong Industrial Centre, 489/491 Castle Peak Road. Kowloon, Hong Kong. Italy Linear Italiana SpA, 20125 Milano, Via Arbe, 50. Tel: 02- 6884741 Israel Barkai Ltd., 5 Krinizi St., Ramat Gan. Tel: 03-735178/732044 Korea Computech, Ywanghwamun, K P O Box 1706, Seoul Netherlands Pieter Bollen geluidstechniek by /PAC, Hondsruglaan 83 A 5628 DB Eindhoven. Tel 040 -424455 Norway BE siving Benum as, Boks 2493, Solli, 0203 Oslo. Tel: 02- 442255 Portugal Amperel Electronica Industrial LDA. Av. Fontes Pereira, De Melo, 47, 4 °. D 1000 Lisboa. Tel. 532227/532698 Singapore Lingtec Pte. Ltd.. 246 MacPherson Road 07 -04, Betime Building, Singapore 1334. Tel: 07- 471951/07- 471952 South Africa Eltron (Pty) Ltd., 2nd Floor Film Trust Building, 112 Polly Street, Johannesburg 2001. Tel: 11-29-3066 Sweden Septon Electronic A.B., Box 4048, S -42104 Vastra Frolunda. Tel. 31299400 Switzerland Studio M & M, Villa Tannheim, CH5012 Schoenewerd. Tel: 64 4 149 69 Thailand Kitchareon Machine Tool and Musical Ltd., 73 Asadang Road, Bangkok 2. Tel: 2224712 United Kingdom Don Larking Audio Sales Ltd., 29 Guildford Street, Luton, Beds. Tel: 0582 450066 www.americanradiohistory.com THEME PARK SOUND AT DISNEY From the very first Walt Disney difficult to sing in a relaxed manner cartoon, Steamboat Willie Walt Disney World's while dancing energetically around a produced over 50 years ago, sound stage. has always played an integral role sound system is Tomorrowland Stage has a fully in Disney productions, be they equipped covered stage with 4 -way film or live entertainment, and examined by Terry speaker systems built into each side of this is strongly demonstrated in the proscenium arch and hidden by Walt Disney World. An area of 43 square Nelson, in Florida decorative material. The band plays miles near Orlando in Florida contains rearstage with the song and dance hotels, camping sites, etc, and two theme company at centre front. Monitoring is parks -Magic Kingdom and Epcot by E -V wedges and the front vocal Center. To say that Disney is a world of monitors are sunk in at floor level to be sight and sound would seem to be an apt unobtrusive; the band's drummer description: from the moment you board receives cues and click tracks through the monorail or ferry, sound becomes an headphones. Front vocal mics are Shure important part of the environment, even SM85s and the collection includes down to the quality of the Sennheiser MD441s and MD421s and announcements. AKG 451s. Although the engineers have The sound installations are very a free rein in their choice of discreet and as far as possible built into microphones, they have found that these the surrounding decor of each of the six provide a dependable general purpose `lands' or theme areas -sound should be combination for outdoor work. heard and not seen. Loudspeakers vary There is a sound and a lighting booth from 4 in Hot Spot single drivers up to at either side of the rear of the stage and multiple arrays using 12 in woofers and though the sound booth does have small constant directivity horns for mids and local monitors, the bulk of the trebles. Some attractions also use Altec monitoring is through the open window. A7s where space permits. The sound is controlled from a Yamaha There are four main situations to cater mixer and very few special effects are for in the Magic Kingdom: general used -a bit of reverb or delay here and background music; open -air shows; sound Cinderella's Castle there with a compressor or two to for rides and attractions; and various smooth out any peaks. The coverage of audio /visual presentations. Rides such as and realism that would not be possible the audience area is good with very little carousels or flying Dumbos only require with a normal sound system, even stereo. variation from front to back. Levels gave background music but for the attractions Another area where great care has to a decent `punch' to the show but not (stories presented in an audio /visual be exercised with this type of enough to drive people out. manner) it is much more important to presentation is levels. The reality cannot Fantasy Faire is a much smaller affair create the right atmosphere and the be maintained if a character who should and the musicians rarely more than a sound is a vital ingredient toward be whispering seems to shout -the trio. However, the intelligibility of the creating the illusion desired. volume also must be as near as possible vocals is very good and the fun of live Visuals are a mixture of decor, to real life. However, power is available music is retained. lighting, slides, film and animated when needed. In the earthquake section The stage area in front of Cinderella's figures, all carefully co- ordinated into the of Big Thunder Mountain Railroad a Castle is completely exposed and situated whole and placement of the loudspeakers battery of 15 in woofers provides the between the double ramps leading to the varies a lot with the effect desired, even necessary noise and vibration of a castle gateway. Again the musicians play to the extent of having `personal' subterranean rockfall. behind the company but on a slightly speakers in the cars taking visitors Live entertainment in the Magic higher level. Floor monitors are sunk through the attraction. However, the Kingdom necessitates a combination of into the stage and the speaker systems main philosophy appears to be put the mobile and fixed installations. For are well concealed in tall cabinets sound source where the sound is parades audio comes directly off the looking to the outside world as though supposed to be coming from. floats and background music is fed they are large supports for hanging The audio -animatronics (as the system through speakers along the route and banners that go with the castle decor. A is known) really come into their own in faded up and down as the parade passes. Yamaha mixer is used on -stage there the Country Bear Jamboree. This is a Each float is linked to its own cart being no permanent mix position within parody of a wild west show in a saloon machine in the Audio Control Center the audience. theatre where a cast of hillbilly bears and can fire off music and effects at will. perform songs complete with heckling Stage shows are performed in three After a guided tour behind the and interjections from a trio of wall - main areas: in front of Cinderella's scenes (very rare I understand) mounted hunting trophies. The sounds Castle; in a fairground tent known as I was welcomed to the audio emanate from each `performer' and the Fantasy Faire; and at an open air nerve centre by Bill Tomlinson, spectator is left in no doubt as to which theatre called Tomorrowland Stage. The engineer in charge of audio. I character he should be watching. At the shows consist of song and dance routines, was simultaneously confronted same time, interruptions from the wall - bands and appearances by Disney with the largest collection of mounted trio cause heads to turn and characters; the vocals are a mixture of NAB cartridge machines I've ever seen the whole show has a feeling of depth live and pre -recorded tapes as it is in one place, a few recorders and a 64 Studio Sound, June 1985 www.americanradiohistory.com Worldwide List of Audio Developments Ltd., Agents COUNTRY AGENT Australia Rank Electronics Tel: 2 449 5666 Telex: 71289 TOTAL Contact: Andrew Harrison Austria Peertronic Tel: 43 222 832224 Telex: 134072 Contact: Gunther Friedrich Balkan States Constantin Stavrinids Tel: 4121 39 5015 Telex: 26297 Contact: C. Stavrinidis CONTROL Canada Gerr Electro Acoustics Ltd. Te1:416 868 0528 Telex:065 24385 Contact: G. Eschweiler China Ace (Intl) Co. Te1:852 3 7452343 Telex:40442 Contact: Michael Pang /Whymen Chan AT Denmark Kinovox YOUR Tel :452 187617 Telex: 40394 Contact: Steen Peitersen Finland Studiotec KY Te1:358 0 514133 Telex: 125284 Contact: Peter Stralman France Simplex Electronique FINGERTIPS Tel :331 271 5330 Telex: 230045 Contact: J.C. Thobois Germany Nagra Kudelski GMBH Te1:4989 656633 Telex:529893 Contact: J. Weber Greece K. Stavrinidou Tel:607 7782938 Telex:210934 Contact: K. Stravinidou Hungary Cinac Tel:4124 711600 Telex:451070 Contact: Henri Suter India Cinerama PVT Ltd. Te1:293873 Telex: 1171198 Contact: S. Agarwal Israel Sontronics Electronic Equp. Ltd. Te1:9723 442233 Telex:361579 -Ref SSK Contact: S. Shmueli Italy Audio International SRL Te1:392 7384751 Telex: 322251 Contact: R. Beppato Japan General Traders Ltd. Tel: 813 2912761 Telex: 24754 Contact: H. Saitoh Korea Saetong Corp. Tel: 783 6551 5 Telex: 23596 Contact: J.B.Kim Kuwait Light & Sound Elec. Co. Tel: 965 434307 Telex: 4528 Contact: A. Al- Baghli New Zealand General Video Int. Ltd. Tel: 644 881 169 Telex: 30129 Contact: Gerry Smith Norway Siving Benum & Co. Te1:472 44 2255 Telex: 17681 Contact: Bjorn Benum JUST TWO OF OUR WIDE RANGE OF Singapore Rank O'Connors Sing. PVT Ltd. Tel: 65 637944 Telex: 21023 PROFESSIONAL MIXERS FOR BROADCASTING, Contact: Patrick Ching South Africa Prosound (PTY) Ltd. FILM SOUND AND POST PRODUCTION. Tel: 27 11 337 6556 Telex: 485712 Contact: D. Feldman CONSOLE MOUNTED, RACK MOUNTING AND Spain Telco Electonic S.L. Tel: 341 231 5601 Telex: 27348 PORTABLE Contact: J. Escrig VERSIONS AVAILABLE TO ORDER. Sweden Intersonic N.B. Tel: 468 744 5850 Telex: 11136 Contact: R. lsacson Taiwan Linfair Lng. & Trading Ltd. Tel: 886 23214454 Telex: 22563 Contact: Duncan Chang Thailand Ace (Thailand) Co. Ltd. Tel: 2812512 Telex: 72300 Contact: Bundhit Thongpen Tunisia Soger Electronique Tel: 2161254 230 Telex: 13447 Contact: C. Barouch Avto Turkey Nefan Ltd. DEVELOPMENTS LTD Tel: 465952 Telex: 26304 Contact: A. Fresco Audio Developments Ltd, Hall Lane, Walsall Wood, Zimbabwe Audex (PVT) Ltd. Tel: 26370 Walsall, West Midlands, WS9 9AU Contact: W. Mueller Telephone: Brownhills (0543) 375351 Telex No: Audev G 338224 U.S. Office Audio Developments Inc. Tel: 818 843 7567 Contact: Ron Fuller www.americanradiohistory.com series with an Altec compressor really unnecessary. The flexibility of the controlling the output. From the desk EQ plus these few effects is THEME PARK distribution studio a Yamaha PM2000 sufficient resource for the studio to 24/8 console sends the audio for the produce the ambience flavoured tracks parades and other special events. Each needed. Other accessories are UREI 964 SOUND bus is dedicated to one of the `lands' plus digital metronome, especially useful for outputs for overall background music film work as the tempo range is based on and announcements. From here the 24 frames/s, and a Cypher SMPTE AT DISNEY audio following the parades is faded up timecode generator. sizable number of loop bins and 35 mm and down as they pass each point and Studio D is linked by send/return tie - Maglink machines. A large number of radio links between floats and their lines to all parts of the Magic Kingdom patchbays enable signals to be patched respective cart machines are maintained. and the hotel for recording and in anywhere in the audio network in A rack of Shure octave equalisers is on production of live events. Participation in case of need. There is also a paging hand for shaping sound as required. live events could involve additional system that can be patched into any or Monitoring is again comprehensive and musicians playing in the studio and all the areas for announcements. the audio supervisor can keep track of being patched through to the stage mix Much of the audio equipment is what is going out to the parade at any point. Mixing can be done from an designed and constructed in -house for one time, and where. outside mix point or in the studio or maximum reliability and ease of even a combination of both for maintenance, and the Mapo cart Completing the Audio Control simultaneous performance and machines are no exception. Center is Studio D. The bulk of recording -the idea of a Neve 8128 as a The various attractions and A/V recording work here consists of PA console is quite fun! presentations are served by the NAB voiceovers and vocals with most The machine room houses two Ampex cart machines, 14 Ampex 1 in 14 -track of the music tracks being ATR -124 24 -track and two ATR -100 loop bins (12 audio, 1 timecode, 1 guard) handled by the Walt Disney master recorders and Technics and and 13 RCA 35 mm Maglink machines Studios at Burbank, California. Nakamichi cassette machines. Noise for soundtracks accompanying film However, Studio D produces all the tapes reduction, if used, is dbx. There is also projections. and carts for the Magic Kingdom as well an old MM series Ampex which is used as getting involved in EPCOT projects, for 16- and 8 -track recording /playback. some tracks for Disney commercials and Film recording is looked after by 35 mm TV and film work. and 16 mm magnetic recorders and the The studio consists of the control room, digital age is represented by a 3M '/z in a small studio, machine room/lounge and 4- track. Equipment layout is very open dubbing room. The control room is not facilitating fast and easy operation and the symmetrical listening room found in when things get hectic, tape -ops do not most recording studios and is more of a get in each other's way. control centre. At the time of my visit, Equipment in the dubbing room the whole area was in the process of includes two ATR -100 2 -track recorders being redesigned and this will no doubt for copying, and two ATR -100 4- tracks entail a certain amount of relocation. for tapes needing cue tones (30 Hz for The newest addition to the studio's Magic Kingdom, 1 kHz for EPCOT). A equipment is a Neve 8128 console with batch of Nakamichis handle cassette 32 input channels and in -built Neve copying. stereo compressor /limiter. At present the Three miles away from where Cinderella's castle overlooks the Magic Kingdom, the multi- faceted globe of Spaceship Earth dominates EPCOT Center -two skyline symbols of the legends of yesteryear and the promise of Magic Kingdom cartridge machines tomorrow. Divided into two sections, Future Because of the complexity of the World is a collection of exhibitions and various cues and multiplicity of A/V presentations dealing with present sequences very little of the audio knowledge and the foreseeable future for operation is manual. The central technology in communication, computers, computer is located next door and the energy, art forms, transport, farming, 35 mm and loop bin machines are linked etc, plus a look at life in the 21st to this by SMPTE timecode. Century, while World Showcase is a A comprehensive monitoring system is series of pavilions from nine (soon to be essential in this type of operation and 10) countries combining famous Magic Kingdom's is both simple and landmarks. extremely effective. The monitor unit Loop bins in the Magic Kingdom As with Magic Kingdom, the visitor is consists of a rack mount chassis with greeted with background music upon alphanumeric pad to punch up monitors are Electro -Voice Sentry 100As, entering which changes appropriately designated source monitor reference which are standard in all parts of the with each different area. numbers and VU meter to check levels. studio and control rooms. The previous The Universe of Energy starts out with A rack mounting monitor speaker with control room monitors were Altecs fitted a pre -show that alone makes the visit amp completes the system. The with UREI Time Align crossovers but worthwhile. A Cinerama -size screen is versatility of the system is that any although these performed well, it was composed of modules that revolve source can be monitored at any of the found that they were too big for the independently and can thus form a flat individual points along a particular room. However, with the plans for the screen or a number of screens as each audio chain from replay output to new control room under preparation, section can receive its own projection. amplifier output, thus the source of a various other monitors are also under The animatronics set succeeds problem can be tracked down in seconds. consideration. admirably in creating a general The Audio Control Center also houses Special effects units include only soundfield and localised sources giving a Walt Disney World's own AM radio Eventide H949 Harmonizer, Aphex II 3 -D effect. I am convinced that the key station which provides visitors with (fitted into one of the rack mount spaces to creating the right atmosphere with information on the day's events, parking in the console) and Lexicon 224 digital sound lies in clear and powerful and traffic conditions, etc. Audio reverb unit. Bill Tomlinson points out rendition of the low mid and bass distribution is quite simple and consists that for the sort of work carried out, frequencies. This plays a large part in of two Shure M67 professional mixers in racks of signal processing equipment are helping the visitor to enter more fully 66 Studio Sound, June 1985 www.americanradiohistory.com MS- MULTIMIX TOTALLY MODULAR - True modularity to really meet your requirements, in theater and multipurpose hall installations. -A family of some 20 different input, grouping, fader, metering and output modules. - Special modules for control room and headphone monitoring, test signals, talkback, remote control etc. - Heavy duty steel chassis. -- Transformer balanced inputs and outputs. - Wide range meters, 60dB display. MCA; MICROCOMPUTER CONTROLLED "A few seconds listening is AUDIO SYSTEM enough to convince on floppy disk - Stores up to 600 cues (scenes) most people that Active 1 - Controls up to four tape recorders. - Assignable digital fader and meter to set and is something exceptional. control output levels. - Eight output groups. ... Alert, commanding, perky, - System operation by single cue entry push button. delicate, direct, realistic, - Pocket terminal for remote control and cueing. - Optional speaker switching matrix. raring to go, discerning, utterly natural, enthusiastic, awesome .. . . Certainly I know no neater, SCENE tidier and less obtrusive path to the full range of musical enjoyment ..." GEOFFREY HORN AUDIENCE OF GRAMOPHONE M1 MUSIC LOVERS' SOUND SYSTEM MCA We have appointed a few exclusive dealers REMOTE where you can hear a full demonstration. Please write or phone for details. MULTIMIX f UK B &W Loudspeakers (UK Sales) Ltd Marlborough Road Lancing West Sussex BN15 8TR Tel. (0903) 750750 1° WORLDWIDE John Bowers Ltd Elm Grove Lane Steyning O West Sussex BN4 3SA England Tel. (0903) 815666 MS-AUDIOTRON OR 00420 HELSINKI 42 frer5 Laitilantiel0 67 ¡n FINLAND 23 90-5664644 L/" Telex: 125778 msa sf www.americanradiohistory.com and this means that any one speaker promenade route zones; 2 Maintenance system can find itself between 20 and terminal, with diagnostic programs for THEME PARK 50 ft away. Human absorption all audio and lighting systems -this permitting, great care has been taken to permits troubleshooting in advance or obtain an even coverage over all areas of during a fault, making for speedy SOUND the parade route so a 'route curve' was rectification of the problem; 3 Audio developed that would be pleasing to the monitor for all audio signals in the ear while retaining a proper frequency World Showcase pavilions -all signals AT DISNEY balance. Each speaker system has a can be monitored along the audio chain into the world being shown and dispel- dedicated 14 -octave equaliser and careful up to the output of the amplifiers that 'its only coming out of a speaker. adjustment of each area ensures smooth permitting quick and easy impression. reproduction throughout the parade troubleshooting should a fault occur; The presentation uses several different route. 4 Cue editing terminal allowing 'theatres' for the segments of the show Additional sound reinforcement comes programming of new events or revision and a noticeable feature was the from vehicles known as pageant audio of existing programs. uniformity of sound quality from hall to units. These are multi- purpose vehicles As well as the terminals, the console hall with a suitably low reverberation providing 360' sound distribution which also houses all the communications time keeping things nice and clear and also serve as monitors for artists taking systems for the live events in the form of never muddy or resonant. part in the pageant. They can also be telephone and 2 -way radio links with Interesting A/V fun awaits the visitor decorated as floats and thus fully maintenance engineers, operations crew, to The Image Works in 'Journey into integrated into the procession. Link to security and entertainment divisions, Imagination'. Here you can conduct, the audio unit is by radio with all audio each department having its own radio arrange and balance an audio - distribution coming from EPCOT frequency. There is also a special show animatronics orchestra with your hands Central. intercom switchboard for live events that in front of light beam controllers (I links up all the pavilions, sound booths, wonder if there is an idea here for finger Opened October 1, 1982, lighting positions, equipment rooms and controlled light beam subgroups) or do a EPCOT Center represents a access gates. The master console can little dance on a discotheque -style floor leap ahead in computer communicate with any station routed to that lights up when your foot touches a controlled entertainment the network as well as tie together any square. systems. Apart from the of the selected stations into an 8- channel The Chinese and Canadian pavilions in complexities of the audio/ assign system. This allows the intercom World Showcase feature 360° circle visual -it would be truer to system to be tailored to suit the needs of vision shows which are travelogues say multimedia -attractions of Future individual productions. exhibiting the scenic joys and history of World, the attractions and live shows in The live shows in World Showcase the two countries. Modular screens can requiring audio sources use an Ampex provide up to nine separate films or one ATR 124 24 -track machine and 30 stereo wraparound projection so some audio NAB cartridge players, whereas the prompting is necessary to keep the Future World exhibits and presentations viewer looking in the right direction. To such as the American Adventure or the this end each screen also has its own CircleVision shows are fed from 36 2 in audio channel and a 10th channel is loopbins, 5 -stack NAB cartridge largely used for off-screen narration. The machines, 1 in VTRs and Sony U -matic sound quality is excellent helped by the shuttling VCRs, Sony interactive facts that all tapes are first generation videodisc players and graphics control analogue from digital masters and sound equipment. Racks of 14 in reel capacity is not mixed with the infamous Academy Scully playback decks are also used for curve. the general background music The American Adventure put on what requirements for the different areas amounts to a full scale theatre around EPCOT. production with audio -animatronics Much of the equipment is designed, if actors. A potted history of America The Epcot Center not built by, WED Enterprises. This is beginning with the Mayflower pilgrims the technical projects and engineering is narrated and presented by Benjamin World Showcase have their own special side of the Disney organisation which Franklin and Mark Twain who set of requirements. In particular, the often has a vital role in creating what is convincingly walk up and down stairs, Promenade Route can be considered as known as the 'Disney magic' and write notes and even go up the Statue of being a stage 'in the round' that is 1.2 because existing equipment does not Liberty. miles long and divided into 22 separate always meet the challenge, WED have An outdoor amphitheatre, The zones, each requiring audio and lighting often been innovators. One example of American Gardens, contains a high control. To deal with the challenge the this was the 360° panners that were quality sound system which is split into Entertainment Control System, or ECS, used for the audio production of Fantasia two levels. This means that sound levels was evolved and housed within EPCOT (here it was possible to go from left to can be adjusted separately for the front Computer Central, the operational heart right without looking through the and rear seats and thus achieve even of the park. centre). Among the WED innovations at distribution. The nearfield speakers start The continuing complexity of parades EPCOT are the WED designed 2 in at stage level and comprise two 18 in and special events in the Disney parks loopbins built by Pacific Recorders. The subwoofers, two 15 in low mids, one high led to the forerunner of the ECS being horizontal tape bin is able to vary its mid horn with driver and two treble installed at Disneyland in 1979. This size and vacuum pressure depending on horns. The rear coverage system is was an antenna system buried along the the loop length and a self -cleaning similar but has two horns for high mids parade route and able to monitor float operation is carried out on the tape with and three treble horns. positions and radio the information back each pass. Maximum loop time is 28 min Parades and outdoor shows are also an to the central computer. at 15 in /s (I'll let you work out the important part of the presentations at As is often the case in systems design, length!). World Showcase and the circumstances the ECS evolved from its original role of With so much computer control the are much the same as those described at audio and lighting controller to also operators at the audience end often do no Magic Kingdom. The speakers are mostly being able to control maintenance and more than see that everyone is installed, 2 -way with constant directivity monitor all show elements, live or make announcements and push the horn /driver and 12 or 15 in woofer. Two otherwise, throughout EPCOT. The button that tells the central computer to reference levels are used: 75 dB SPL for central unit consists of two mini- run the show. The appropriate audio and background music and 95 dB SPL for computers installed in a console complete video (if required) sources start up and a reinforcement allowing for 10 dB peaks with four dedicated touchscreen local computer dims lights, draws when dynamics are required. The centre terminals. The functions of the terminals curtains, starts the cars, etc, in a of the promenade is taken as the are: 1 Real -time display of all stage carefully ordained sequence with reference point for these average levels areas with live shows, plus status of the everything being held in place by 68 Studio Sound, June 1985 www.americanradiohistory.com When no manufacturer will discuss equalizer performance, Spectre Sound still does. Have you euer noticed how few, if any, graphic equalizer manufacturers will discuss the measured performance of their product? At Spectra Sound, we believe that measured performance is an essential factor in the selection of an equalizer. The Model 1500: Performance You Can't Hear The measured performance of the Spectra Sound 1500 is second to none. Unmeasurable distortion, (I.M. and T.H.D), and extremely low noise, (104dB, +4dBv, unweighted), represents a significant, perfor- mance improvement over any other professional twenty seven band graphic equalizer. In addition, band -centers are calibrated by hand to be within two percent, and an output impedance of below one ohm, (typically .3ohm), minimizes the disastrous effects of long cable runs. The 1500 is also affordable Surprised? Well don't be. In fact, the 1500 is priced well below the majority of twenty seven band graphic 3750 Airport Road equalizers on the market. Ogden. Utah 84405 (801) 392 -7531 is often judged by price, In a day where performance Spectra Sound is a wholly the 1500 is truly a bargain. owned subsidiary et Spectra Sonics www.americanradiohistory.com the floats and the operating status of based switching system that operates in audio and lighting. The maintenance a similar manner to a matrix. Let us THEME PARK terminal permits troubleshooting as well now take a closer look at the programme as manual override of the inputs and sources. outputs of an RIC. The source material for the 63 inputs SOUND The central computer also controls two comes from two areas: 22 channels come computers that are independent from the from the 24 -track recorder (track 23 ECS. One is for general lighting (streets, being a guard band with track 24 AT DISNEY buildings, etc) and the other for audio containing SMPTE timecode) while the SMPTE timecode. (or, to be more precise, the Audio Router remaining 41 come from NAB stereo Foreign visitors and the hard of Switcher (ARS)). This handles the audio cartridge machines. The source tracks hearing are not forgotten either. A cues fed from the 24 -track machine and from the cartridges are selected from a Sennheiser infra -red FM transmitting the NAB cartridges and we will look at total of 60 available. system has been installed in most of the its functions more closely in a moment. The ARS then routes the input attractions, permitting the selection of The remote interface cabinets, or RICs, channels to three main groups of one out of three languages presently report in to the ECS central computer outputs, viz: the pavilion zones, RICs for available -German, Spanish and French. every tenth of a second. The RICs promenade route transmitters to the The system is 9- channel so presumably monitor real -time status of lights, floats and monitoring. In addition, each others will follow suit. The headphones, lighting positions (those on hoists or of these output groups is divided into or `Personal Audio Listening Systems' as lifts), float positions (ID system) and any preselect groups A and B. This means we they are grandly known, have a other information pertaining to the area now have a total of 44 outputs for the 22 bandwidth of 12 kHz and are operational of each one's responsibility. Should the zones of the promenade route, 40 outputs throughout the whole of EPCOT, ie you sequence of events or event file be for the 20 pageant audio units and two don't have to fiddle with changing the changed, for example, an RIC could be for monitoring. The latter enable the tuning for each attraction. In fact, the instructed by the central computer to operator(s) at the ECS console to check only fiddling you have to do is with the take commands from another RIC; this up on any channel of programme without volume, the frequency for the language information is then stored back at breaking into the signal flow. Both the chosen being determined by the battery Computer Central for later reference. pavilion zone and float signals pass pack which is installed at the EPCOT Also interfacing with each RIC is the through an RIC where all crossfading entrance. As might be expected, the float ID system, or radio identification operations are done by means of VCAs narrations are recorded on extra tracks system. Each float has its own dedicated (you had already guessed, no ?). of the loopbins, VCRs or on NAB In case anyone is thinking that human cartridges. control is all but non -existent, take The basis of the Entertainment Control heart, it still needs a finger to operate System is that of a central computer the Showtime Switch! This is a facility with a distribution -or network- of that lets a performance area tell the intelligent controllers at key points ECS that a show is about to start and to around the show areas. This means that relinquish control of the audio system to a local systems failure will not upset the the local console (also human- operated!). others and the `show can go on!'. The The actual operations involved can vary two Sperry- Univac V77 -500 in complexity from just fading out minicomputers control 10 microcomputer - background music to routing backing based remote interface cabinets (RIC) via tracks to the local console, fading out fibre -optic links. The RICs act as in -situ background music and setting levels for controllers for local lighting and audio the audio feeds to the show. The system cues as well as relaying commands to works on an 'Are you ready? -Yes, I am' floats via the pageant float identification Mickey Mouse leading the parade basis. The ECS knows when a certain system (ID). The system can accept up to show should start and 5 min before 20 RICs without any degradation, thus code that is emitted by transmitters 'curtain up' a pilot lamp flashes above leaving the way open for future mounted in the float itself or from the Showtime Switch. Once the stage expansion. handheld sets with personnel manning manager and technician have verified Operation of the ECS depends on a pre- the float. The ID code is picked up by that all is in order -and everyone is in programmed show schedule that is fed in the antennas that are buried along the place -the operator pushes the switch, each day from the entertainment promenade route and relayed to the RIC the ECS fades down the background department. The central computer then which in turn relays the information to music and the local console takes over 'organises' the show from its own data the real -time status tables at Computer control of that particular audio system. base and from information received from Central. Not all live entertainment is theatre - the RICs. Though two central computers Another facet of the central computer based and is often in the form of are used, each one is capable of running control is that each event, be it live show strolling players requiring no audio the ECS on its own and to this end there or pageant, is put on to file. Thus a support. In these cases it is a question of is a continual transfer of data from one series of events can be analysed for being backstage at the right time. The to the other so that each computer is breakdowns and equipment failures, Showtime Switch flashes to let you know able to take over control immediately running times versus scheduled time, '5 minutes and you're on'; the performer should the other fail. and other performance related data. This acknowledges by pressing the switch As mentioned previously, the ECS enables improvements and/or changes to and -fade out music, enter players. terminals use touchscreens instead of be made on the basis of the information If one word can sum up all the keyboards. This means that cue files can collated. Maintenance organisation is possibilities of the audio, video and rapidly be built, modified or deleted at also aided as problems can be identified lighting systems at EPCOT, it would be will by using a cue editor program that before or while they occur, enabling the flexibility. Any live entertainment enables the running of a show to be repair crew to be at the right place at situation can be dealt with and the planned by its director. Available the right time -and with the necessary creative possibilities within a totally commands include: Lights up; Lights tools and spare parts! automated system that allows instant down; Lights lift up and Lights lift down Audio distribution for the live events updating must be endless. EPCOT is (where lifting hoists are involved for and pageants is a lot easier to say than only in its beginnings and is now just lights); Sound up; Sound down; Wait for; do. The configuration used is 63 input starting to get into its stride. New as well as logical commands that wait channels going to 86 outputs. In console attractions, new pavilions, one thing is for certain conditions to be met before terms, this would mean a 63/86 desk! for sure, the place is not going to be executing cues. Large or complicated routing changes, static and there will always be plenty to As we noted earlier, the ECS central such as multichannel crossfades, would see and do. computer terminal 1 displays the real - require quite a few pairs of hands and be time status of each show area. In the completely impracticable. This is where Acknowledgements: additional information from Walt case of a pageant -or procession -the the Audio Router Switcher or ARS comes Ihsne} World engineering stuff Rohh Resler_ Jell Smith. Ií. Let. Pharr, Theatre Cru/1 magazine and Paul D display shows the relative positions of to the rescue. The ARS is a computer- Lehrman. 70 Studio Sound, June 1985 www.americanradiohistory.com TURN YOUR USED AUDIO E QUIPII/lE'Allücean Audio are specialist dealers in premium used studio equipment. Our worldwide clientele. especially U.S. studios, are eager to acquire your used equipment. Many are seeking the INTO CASH a specific items you may have considered for sale. 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Easily added to almost any existing system. Radio links are also available. Reliable - proven by over 5 years of use in the field. Available off the shelf. Inexpensive. TecPro - Active in Talkback since 1975. Technical Projects Ltd. TecPro Inc. Unit 2, Samuel White's Industrial Estate, PO Box 1069, Palatine, Illinois 60078, USA. Medina Road, Cowes, Isle of Wight, P031 7LP, England. Telephone: (800) 562 -5872 From IL AK HI (312) 359 -9240 Telepone: (0983) 291553 Telex: 869335 TECPRO G Telex: 280 502 (PROTON PALTN) 11, www.americanradiohistory.com A PERSONALVIEW OF PSYCHOACOUSTICS HOW TO CHECK IF IT SOUNDS GOOD WITHOUT ACTUALLY LISTENING In all areas of sound equipment, test The vertical portions are really vertical, routines are becoming more and The interplay of and the horizontals are absolutely more complicated, and less and less parallel. Any little blips or pimples at meaningful. Measurements of psychoacoustics and the corners are decidedly out of order parameters such as frequency test procedures with making the test signal worse than response and distortion reduce to the useless for our purposes. Fig lb shows level of, `What would you like to particular emphasis on the mangled mess that appears at the see, Guy ?' While noise has become a output but don't be disheartened, all is simple arithmetic computation based on the squarewave by not lost. Examine the results and what a bit of original work by Boltzmann and they mean in terms of sound rather than latterly ...modesty forbids. The Ted Fletcher pretty pictures. technology of mixers and sound waveform that tells a host of stories at a To start at the beginning, the first processing equipment has become single glance. vertical line is not too bad, this means transparent and there are enough people To return to the real world of that the response of the amplifiers in the who understand the disciplines to make integrated arrays and ultimate limits of chain is quick enough to follow this the job of the `customer' a matter of performance, having grown up with rapid transition and the `slew -rate' is paying a defined amount of money, and electronic rectangles they form the basis good. The nasty little wiggly bit at the getting equipment that will do as much of production testing today in the `Arriss' top of the first rise is a different matter, of the job as he has paid for. factory. Recent excursions into the this shows that the system is not too Over the last few years, there seems to domains of the competition have shown happy about settling down after such a have been a polarisation of attitudes that I am by no means alone -the rapid change of state. But now is not the when it comes to specifications of mixers. rectangle is there on 'scope tubes up and time to jetison the system, this minor The manufacturers are tending to offer down the country. ripple shows that there is an inductive the same old parameters; stretching The simplest of all signals to produce is element present -a piece of the circuitry things where the customer can't possibly a repetitive change in potential. If this that retains charge during transitions of check for himself and being ultra can be done by switching on and off at a voltage. It could be a transformer, or a conservative where bad results could end regular rate, then we have it; a filter circuit intended to remove in litigation. The area where squarewave with a unity mark /space supersonic components of the signal. The specifications become really meaningless ratio. If the speed of the oscillations can main thing is that the wiggle dies away is in the psychoacoustic domain; what be controlled to either 1 kHz or 10 kHz, very quickly; the oscillation is heavily does the equipment sound like? and the `offs and ons' are symmetrical damped and will have no effect on the about a reference voltage (or `earth') perceived `quality' of the signal (unless then we have all that we need to `listen' your ears are particularly sensitive to The squarewave with our eyes to the performance of any frequencies above 100 kHz). Running the risk of being ultimately piece of audio equipment. The 'horizontal' part of the squarewave boring and senile, in the pre -transitor The test signal is merely an has suddenly lost its direction. It is era when the EF86 reigned supreme and instantaneous set of transitions from one falling downwards giving the appearance all heaters were 5.5 V DC by selinium voltage state to another, separated by a of drunkenness to the picture. This tells (under -run the heaters boy!) the known time; both of these facts are of us one of two things; either the squarewave was the ultimate test of any utmost importance to the conclusions frequency response is falling off at the amplifier. We used to modify the anode that can be drawn from the results we bass end (the electronic charge in the currents and the biasing to produce the get. circuit is decaying noticeably), or there is best transfer characteristics (slew rate So let's plug our test squarewave into significant phase shift in the bass end. and damping to the modern youth) a hypothetical audio chain in a recording Unfortunately, it is not possible to tell watching it all on some dreadful ex- studio and look at the output on a 'scope. the difference without a quick look at government Cossor 'scope and drawing the frequency response. inaccurate conclusions about starvation All analogue circuits that have ratings and matching impedances. The The flat state bass -end roll -off suffer from both of these standard waveform for these empiric Fig la shows a squarewave as it is effects (suffer? -it's intended!) so some meddlings was the 1 kHz squarewave, meant to look before modification by bending of the horizontal is quite normal and for a very good reason: it is the only some `state -of- the -art' audio equipment. and to be expected. D 72 Studio Sound, June 1985 www.americanradiohistory.com Ey SH UTTL E so \D La TD. IQ HEX HD CAP SCREW 1.4 TD. 11;] HEX WASHER HD SCREW - TD. 1112 HEX. Ha -TD. TREE% WABHfR HD SCREW D CAP SCREW SHOULDER WASHER 138112/ as 41 -SCREW EVE HOOK O 13 CES/ 1 1 fi LS HOOK - CHAIN - 1/4 TO EYE 8011 13 PLACESI b WCB 1 BRACKET -; System Mounting WCB 1 BRACKET Great Sound In Small Packages We went into the field to find what The PI100's one -piece molded you wanted most: a wide -angle polyethylene enclosure is tough speaker system that works like a com- enough to go outdoors. ponent array, but installs with ease All three new units are two -way, and looks great anywhere. Then we full -range systems featuring EV's own designed our new FR 15 -2, FR 12 -2 and constant- directivity design which PI100 speaker systems to make your radiates sound over well- defined job easier. coverage zones: 90° x 40° for the All systems are factory- fitted with FR15 -2; 100° x 100° for the FR12 -2 threaded inserts to and PI100. They're all substantially facilitate suspension. And, more sensitive (96/97 dB, 1 W/ I m) and with an optional telescop- more rugged (100/200 watts long -term average ing bracket, the FR12 -2 power capacity) than most and PI100 can also be competing systems. wall or ceiling mounted in The FR 15 -2, FR 12 -2 and PI100 six versatile positions. For TK60 TRANSFORMER KIT speaker systems from Electro- Voice. constant- voltage opera- Outstanding performers that install tion, an optional TK60 line with ease and look as great as they transformer kit replaces the normal listen. Let us tell you more. direct input panel. The FR15 -2 and FR12 -2 have oak - Shuttlesound Limited grained, vinyl- covered enclosures, for Unit 15 Osiers Estate, Osiers Road, London SW181 EJ use indoors. Telephone: 01 -871 0966 Telex: 27670 Shutso G 73 www.americanradiohistory.com A PERSONAL VIEW OF PSYCHOACOUSTICS 1500)JS.01 r 41) !Ei Fig 1: (a) The 'flat' squarewave with clean 90' angles -the starting point. (b) The squarewave through some reasonable equipment. A slight ring on the leading edge and an angle on the horizontal indicating bandwidth limiting,. )e) The response of an amplifier suffering from transient instability. (d) The Sony FI record /replay characteristic as shown by squarewave. (e) An analogue tape record replay characteristic -but it still sounds good. (f) Waveform showing severe rise -time restriction. Frequency 10 kHz. The next point of interest is the transient, and the response straightening transition from the horizontal to the Getting it right circuitry introduces fairly severe phase vertical. An unstable system would show Making it very plain that I have no axe shifting in the mid and lower bands a nasty kink either upwards or to grind in the digital domain, the which accounts for the wavy horizontal downwards here; a sure sign of engineers at 'Sunny' were faced with section. Why then does it still sound intermodulation distortion tendency and some horrific problems when developing OK? a 'rough' sound. Our waveform shows a the circuitry of the Fl system of digital Back to psychoacoustics -the human normal near right -angle, with no recorders. The system demanded ear is remarkably tolerant of aberrations twitches or kicks in either direction. extremely steep filtering at the HF end; in sound that occur naturally in The conclusions that can be drawn usually an instant recipe for disaster in everyday life. Specifically, reflections immediately from the wave are: transient response. Fig Id shows the from large masses create odd delays that the frequency response has been result of a record /replay squarewave on a show as phase shifts. At high limited to audio frequencies and is standard Fl. The front edge shows no frequencies, these shifts are interpreted substantially flat within those limits; signs of 'ringing' at all, there is just a as directional information while at lower stability is good; little ramp demonstrating the HF frequencies the brain cannot 'compute' intermodulation products are at a low response roll -off. The LF response is direction and ignores the effect. The level. absolutely flat (fairly easy with digital! predominant distortions that are Its a good bet that the system that has and the collapsing charge is an exact introduced in magnetic recording are '1st a squarewave response like Fig lb will right angle showing the excellent order'; a modification of waveform that is sound good under all conditions and with damping and control in the analogue greater on one side than the other. (This all programme material. stages. It is no wonder that the system was expounded upon in The Human Look at Fig le. At first glance it is sounds right (anyone wishing to argue Ear' August 1983.) This form of close to a perfect squarewave, the only can meet me after school and receive a distortion is 'acceptable' to the ear as difference being the tweeks at the front fat nose to match his thick ears). pleasing within moderation and so the and the back of the waveform. This one Having just become lyrical about the analogue recorder 'improves' on many is unfortunately all too common in the input /output performance of an forms of programme material. The less - middle range of audio equipment; a inexpensive digital recorder, it is only than- perfect transient handling of frequency response test using sinewaves fair to show the equivalent waveform via magnetic tape does affect the perceived will probably show absolute linearity. a good analogue recording chain. The performance, imparting a 'glassy' sound Distortion tests will be acceptable but in result is shown in Fig le. Conventional to the high frequencies; once again a reality. it will sound awful because those testing would show good frequency useful effect (in both senses). insignificant -looking spikes show response, reasonable distortion and filter Another effect that is not strictly to do instability during fast transitions -the roll-offs; why then is the squarewave so with the squarewave testing bit but is transients of music, the bits that give dreadful? The parameters that modify none the less interesting when sound that indefinable 'quality'. The only the ti-ace most significantly are phase considering analogue recorders, is the other test that will show this is a high changes across the audio band and strange appearance of modulation noise. frequency intermod test requiring response over an extended bandwidth. Record a simple bass line and do a direct kilopounds worth of test equipment and The analogue recording path has to A/B comparison as it is going on to the a 3 -year course in result interpretation. apply emphasis and de- emphasis, filter tape. The increase in 'noise' is It's a sad fact that it is all too easy to out bias frequencies, and generally get astonishing; but careful listening will produce equipment that looks like this, as good a result as possible from what is show that the noise comes and goes with when for the sake of some intelligence basically a non -linear medium. The the modulation. This is just a little and a squarewave, the problems could be result is that the inductive components example of how specifications can be eliminated quite early during the design in the record and replay amplifiers show totally misleading when it comes to what stage. as 'ringing' when hit with the first you actually hear: the bottom end modulation noise is far worse than the Fig 2: (a) High frequency lift and cut (6 dB-octave). Operating (shelf) frequency approx noise measured (and specified) with clean 10 kHz. (bi Low frequency lift and cut (6dB /octave). Operating (shelf) frequency approx 100 Hz. )c) Mid frequency lift with a Q of 2 at 4 kHz. tape running. Careful bias setting will minimise the effect but it's a fact of life that it is always there! Dr Ray Dolby proved practically that this sort of noise is effectively masked by the modulation itself, but in a controlled comparison test the brain is aware that there is 'something different' in the noise of f analogue. Having grown up with conventional tape recording, the sound of digital is happens to be more 'correct' 10, different. It in that it faithfully reproduces the 74 Studio Sound, .June 1985 www.americanradiohistory.com A PERSONALVIEW OF PSYCHOACOUSTICS signals that were thrown at it in the of how the circuitry has difficulty in fact all the parameters that are first place. The current generation of stabilising itself after a transient edge important to the end user. humanity have been inexorably when such filters are in circuit, and So look at squarewaves as a valuable indoctrinated to love the tiny gives a clue to why a low Q value interpretative tool; just the odd word of 'modifications' that exist in analogue; produces a more pleasing and cleaner caution. By its very nature, the square and this is why analogue recorders still sound than a high one. (I hasten to add uses very wide bandwidths in the rest of sound good; but some sound better than that this is an over simplification -my the test equipment -if the gear isn't others. brain has not gone completely soft.) linear out to about 250 kHz (even higher A separate, but useful, use of the Testing equalisers then can be simply preferably), then the kinks on the 'scope equipment squarewave is to check the `rise -time' or a matter of watching a 1 kHz won't necessarily be from the slew -rate of any equipment. To be useful squarewave on a 'scope and swinging the under test. Similarly, at the LF end the in a professional audio environment, the controls -the gyrations of the waveform equipment must be flat down to a very slew -rate should allow near -perfect giving more than just an indication of few Hz. All this is easily checked by reproduction of transient signals the performance. In a production looking directly at the signal source and approximating to a frequency of 20 kHz environment, once the `correct' making sure that the squarewave is (being the limits of hearing). After much performance results are known and really square. arithmetic, this equates to a slew -rate of understood, the diagnostic capability of Interpretation takes a little practice ability in about 5 V /µs (in the world of 30 V power the squarewave is supreme, giving but the achieved Guru -like supplies and 26 dB overload margins and instant graphic indication of lifts and fingering problems makes it very assuming a transient THD of within 1'4 ). cuts, Q values, frequencies of operation, worthwhile. With present -day devices, this figure is interaction, smoothness of control -in The he.t equali.tt i.' nu equalt:er. reasonably easy to achieve, and to check it, all one needs to do is apply a 10 kHz squarewave, and measure the slope of the rising and falling `verticals'. Some simple sums will provide the answer. Fig If demonstrates the effect of SICL, equipment that is deficient in this respect and shows a 1 V /Ns response. ,_Airy HIRE Equalisers Smartly pulling the article back to its original course, the squarewave is at its most useful as an instant high speed way to examine the performance (both specified and perceived) of that haven of subjective garbage -the equaliser''. When many, many small mixers are being produced each week by some little factory with narrow profit margins and restricted facilities for testing, engineers are desperate for a test procedure that can show at a glance all the parameters of a particular set of circuitry. The equaliser is ideally suited to squarewave testing because it affects phase, amplitude, and is time related. Fig 2 shows some pictures that are the real result of 1 kHz squares bounding through typical mixer channels. Fig 2a shows the effect of single order (6 dB /octave) high frequency lift and cut. The amount of height above or below the original squarewave that the front edge goes is a good idea of the amount of lift or cut that the circuit is giving, the amount of the squarewave affected shows the frequency at which the control commences its effect. The 'curve' shown is a `Baxendall' type of HF control shelving at about 10 kHz and with 6 dB lift (and cut) applied. Supplying the very latest pro audio equipment to the recording studio and broadcast Fig 2b shows a similar state of affairs industries, Music Lab Hire offers todays most flexible and professional hire service. with a bass control. The front edge of the Whatever your audio requirements may be, from the most advanced digital processor to waveform remains unaffected, the the last minute accessory, we can deliver24 hours a day. modification becomes progressively greater along the 'horizontal' section. Our experienced technical services staff will ensure that you get the correct interface Fig 2c has been intentionally over- cables, operators manuals and full technical backup with every rental. All equipment is cooked to demonstrate that one cannot fully maintained, subjected to a quality control programme and is protected in heavy duty waveforms; this read too much into these flight cases. A fast and efficient delivery and collection service is also available if one is a mid- frequency lift at about required day or night. 4 kHz but with a high Q value (a sharp and peaky filter). The apparent oscillation is exactly that -it is a demonstration of the nasty wiggle that such filters create, but is more related to 24 HOUR STUDIO EQUIPMENT RENTAL time and stability than to apparent lift and cut which were evident in the other examples. It is a graphic demonstration 75 www.americanradiohistory.com A BLOW BY BLOW ACCOUNT eff Beck's first solo any great fuss about album Blow by Blow The making and producing of Jeff placement of mics -none of the was recorded in the drama you sometimes get Autumn of 1974 at AIR Beck's epic album Blow by Blow nowadays. We weren't going London. Denny Bridges was one of the subjects discussed for anything in particular allhad been working there soundwise, it just unfolded as for three years, by George Martin in our recent we went along. Things like the engineering for about two of Clavinet, which was DI'd, those, and anyone familiar interview. Denny Bridges was the might be too up front and with the training set -up at things like that, so you would AIR will know that after three engineer on those sessions and he have to mic it a bit as well, years Denny had not to because if you try to turn it engineered very many full talks Janet Angus about the down it doesn't fade as quickly scale album projects. Because making of a musical milestone. as some of the other of this George Martin has said instruments." that Denny brought a The Bosendorfer grand freshness to the recording. "Hence George's relationship intrusive and restrictive to his piano, played by Max Denny admits that he was with Geoff Emerick -they have playing (approximately 12 in) Middleton, relatively was miked up with inexperienced and such a good relationship and a the drums were put down. "It two Neumann U87s; the agrees with George's surmise. huge confidence that this was not a very ambient sound, Fender Rhodes DI'd stereo. As for the working routine, enables George to let Geoff get but it was open; the drums "The Fender Rhodes has an although it was Jeff's album on with twiddling the knobs." only spread a little. We close ambience its and of own. It was George was the producer miked the kit as well." the only I it did thing immediately not seem to matter nother aspect of On the bass drum they used EQ'd -cut at 200 Hz and then much if one or other of them George Martin an AKG D25, predecessor of compensated for level; cut went missing for a while: which left a lasting the D12; on the snare a rather than boosting of the "George Martin would leave impression on Neumann KM86; hi -hat was frequencies. A thing I do quite around midnight and then the Denny was his an AKG D224 and on the toms often is give quite a massive band and I would routine and handling of the Neumann FET U47s. boost (at whatever top work the through ideas. Recording artist; the way he "What we were aiming for knob on the desk is) on the would recommence around two motivated Jeff to come up with in the overall sound of the bass drum which would then in the afternoon the following the goods and fed his recording was very simple. I be shelved off in the mix. So day. confidence time and time didn't immediately dive on the when you are recording there "The backing track of She's again. Jeff Beck put himself EQ for 'creative equalisation' is a good clicky bass and then a Woman was done without under a lot of pressure for as they call it these days. It you can rectify it in the mix. Jeff being there. They ran Blow by Blow. Being his first was all done with mic It keeps the bass drum well up through it and recorded it and solo album he was very technique and working for a front and you can get rid of it just happened to turn out to worried that it would not be a very clean sound. We used the hiss at the end." be the best. Jeff didn't mind success. He had also been out very little EQ even on the The main reason Denny that sort of thing at all, and of circulation for a while mix." didn't EQ any of Jeff's guitar he did the lead melody live on which had helped to lose him Other sounds were achieved work is that he changes to the tape." a little of his confidence. in different ways. The bass pickup and brings effects in Working with George Martin Consequently George Martin's was miked and DI'd, the and out so often during a solo, worked very well for Denny main task was simply to FET U47 placed in front of the constantly changing settings and he is clearly very convince him that what he bass amp; no EQ at all. "We in the middle of runs, and so impressed by the man. "In was doing was as brilliant as didn't mess around with the it was partly caution and those days producers produced, it really was, and Jeff by all sound at all. It was about partly the fact that it sounded engineers engineered and accounts took a tremendous 10:1 /mic:DI and it sounded great anyway which made artists performed. It was amount of convincing. very loud, although it wasn't. Denny back off. different then. George Martin Recording started with "On the guitar we had three "We used very little EQ let you get on with the Carmine Appice on drums. different ways: for the backing generally. It was not engineering and he looked After only two days work the tracks it was in the studio necessary. All the instruments after the musicians, the music two musicians' managers fell with a Neumann U87; some of fitted together very nicely. and the performance. He out over the album concept the work was DI'd in the Possibly the album turned out doesn't create a sound in the and Appice was replaced with control room and some with to be a bit top light to some desk or the machine but with Richard Bailey. Denny had Jeff in the control room and people's ears because of that instruments and artists' worked with Richard before on the amp out in the studio. but it is all down to individual performances. That's how he an album for John Williams so "Of course Jeff had loads of taste. There was a lot of gets what he hears in his he knew the player and his kit effects pedals. Miking up the warmth on that album. The head -not by techno -wizardry. very well. Recording in AIR amps, depending on the combination of instruments: "This is part of George's One, which is a very big room, volume, the mic was placed bass, bass drum and piano and strength, that he is confident the area was divided in two between 2 and 5 ft from the Jeff's guitar, especially with enough to delegate those with large screens-Richard amp. No ambient mics were his octave splitter taking it areas. Of course he has the stuck in the middle of a still used-we went more for down an octave, there were right to veto and change a fairly large space, and the capturing exactly the right lots of nice bass sounds. The component if it is going wrong drum sound was achieved by atmosphere rather than the overall atmosphere you get by and therefore he has control. miking up Richard Bailey's ambience." miking up 3 or 4 ft of air For instance if I did ears. Using two Neumann A lot of the mic placement around the sound gives it a everything wrong I would be U87s as close to the ears as experimenting went on during sound all its own -a warm the component that had to go. they could get without being rehearsal but "There wasn't shell, a roundness." 76 Studio Sound, June 1985 www.americanradiohistory.com Hardly any effects While we are still with were used either. Scatterbrain, Denny illustrated Eventide Instant the sheer musicianship which Plunger and digital was present on that album delay line were the with a tale about the `five only things. George finger exercise' riff which is at wah wahed some of the back of the track. Jeff and the strings on Scatterbrain, Max Middleton played this and there was The obligatory repetitive, fairly complicated 71/2 in /s repeat echo on Jeff's riff based on a five -finger guitar from time to time, exercise live on the backing especially on Freeway Jam. track. "Scatterbrain is in two "On the first track, just as sections. It starts off in slow Jeff is going into the second or á time and then it goes into solo there is a really long a rhythm, and then into the note. The guitar was DI'd and sort of funk solo guitar and all he was sustaining it just with that was recorded at once. finger tension on the Then the middle bit was fretboard -pure finger inserted afterwards. We did technique on Jeff's part. It that by getting a bit of tape wasn't amplified so there was and mixing a long chord on to no ambience. Being a guitarist 2- track. Then we dropped it in myself, I couldn't shut my so that it died away. mouth for about three hours "The hi -hat that comes in afterwards, it was incredible!" that section we recorded in the middle of AIR Four which was As Denny said before in the process of conversion they quite often got into a dubbing theatre and it on with their own had a fairly live acoustic. So thing if one or we set the hi -hat up in the other of the key middle of the control room and people was busy. in order to dry the hi -hat George would go off sound out and shield off the to do sonic string noise from the machines, arrangements leaving Denny everyone stood around with and the band to record. George's overcoat and "Sometimes George would go whatever else they could find, off at 6pm and when he came forming a wigwam around back he would bring me bacon Richard while he played. And and egg sandwiches. He can then the final section was always go into catering, added on to that and Jeff did because they were wonderful!" his bits on top. It was unfortunate and "This illustrates another of disappointing at the time that George's strengths. He can when the album was released work things like that out in Jeff's nervous tension broke, his head; he knew exactly how with the result that he was long that section was going to very critical of the production, be and the hi -hat and then engineering and even players Jeff coming in. George can on the album for a while. keep that timing perfectly in "That's all water under the his head and it always comes bridge now. Jeff was so out exactly right. He has done nervous about what sort of that time and time again reception the album would get. when I've worked with him. "It is an album made in He also has perfect pitch." heaven, and is the result of The strings were all the musicians, the music, capacitor miked- between 20 George and, overcoming my and 24 players, Denny can't natural modesty, me. We had remember the exact number. a totally undefined approach, The string recordings were and we didn't have any done in two lots: one for disagreements. The only Scatterbrain in AIR Two, difficult thing was George which is a smaller studio and having to demonstrate to Jeff a bit dry "There isn't as much that what he was doing was openness to the sound "; and brilliant. the other was for Andromeda, "We lost quite a few which is now called Diamond amazing performances because DRAWMfR VACUUM IOU Dust, in AIR One. Jeff couldn't be convinced of "It's a slower track anyway their value. I tried to keep but you can hear the space; we them on track 24 or COMPRESSOR AMPllflf81960 used it to our advantage. something, but as we ran out George wah wahed those of tracks they had to go." strings. The mics used were The whole project took Neumann U87s, FET U47s around five weeks, which was and KM84s -all Neumann quite standard fare in those capacitor mies. At the time days. "We didn't have the they were the best we had -we marathons you do now."E didn't have any valve Denny is now chief engineer microphones. I think it was and studio manager of before the days of the AKG Berwick Street Studios, 414." 8 Berwick Street, London W 1. www.americanradiohistory.com A user report by Keith Spencer -Allen , MUIPAHEMN ON 780 OIGITt REVERt1ERATEJR,PROCESSOR -, íßìw . 0 i ifrii 1 .. ,7. KLARK-TEKNIK DN780 One of the few advantages in you can dial up and then proceed to brief description of front panel controls is the proliferation of modify within certain limits as with in order first. At the extreme left hand reverberation systems is that most units. The K -T approach is to side of the front panel lie the basic there is an increasing amount provide 89 internal memories, with the master controls. The LED column is an of choice in the operational block from 1 to 39 being factory preset. input headroom indicator with the style and complexity available In the current software release (1.4) the necessary peak reading movement and a together with a wide variety first 20 memory positions contain preset red LED calibrated 0 dB that illuminates of prices. We are currently seeing what Hall, Plate, Chamber and Room at 3 dB below the clipping point. The you might term the second wave of settings -five of each -which can be lowest of the 10 LEDs is calibrated as manufacturers entering the market and instantly recalled. These memories are -27 dB. The 0 dB LED also indicates they have had the advantages of being not programs but recordings of the front overload at the arithmetic processor able to consider user requirements from panel settings needed to make those which can only really occur if some of a far more practical user basis than their reverb types. As I will describe in more the special effects programs are used first -wave manufacturer predecessors. detail later, there are seven user without care. The input level control has Further, the range of users of digital adjustable reverb parameters on the a usefully wide range with K -T reverb has increased to the point where front panel and these preset selections recommending a setting such that loud there is no longer such an item as the were created using only these passages cause the -3 dB LED to universal- meet -all- requirements system adjustments and the other 50 user illuminate. and a degree of tailoring is necessary. memory locations can be filled with the Remaining in this section are two The DN780 is the first digital reverb user's own settings. I was slightly momentary action pushbutton mutes device from Klark -Teknik although they sceptical myself that there were no labelled IN and REV. IN kills the input have had the DN700 series of digital software aspects in the preset selections feed to the reverb section while the delay lines and a range of effects and set about taking a Room and a Plate button is depressed and this allows the processors from their earliest days aside preset and modifying the parameters of user to check the decay pattern on the from the graphic equalisers with which each until the displays read identically, reverb setting he is working on. The they are more commonly associated. In entered them into a sequence and REV button has a similar effect but fact the DN780 is instantly recognisable switched between the two with a variety upon the reverb sound itself. as a product of K -T with its silver of signals and I have to report that they As mentioned earlier and can easily be brushed aluminium front panel with were exactly the same. seen from the front panel, half of the black trim and lettering. These presets are really only for quick panel is a numerical readout with eight The unit is a compact 3'/2 in high access to certain types of reverb pattern separate values displayed at the same within the 19 in rack mount format. and also to familiarise the user with the time. Seven of these are the adjustable There is also a small remote unit that type of parameter settings to achieve reverb parameters while the eighth at the manual describes as an option different types of reverb. To summarise the far right is the number of the although I believe that it is now a this aspect, the DN780 should be viewed accessed memory. Below each of these standard item with the DN780. The front as a `blank reverb slate' with the displays is a momentary pushbutton that panel is dominated by a multi figure flexibility of controlling all the selects the parameter for adjustment and display with associated switches very parameters needed to create a wide this is clearly indicated by a green arrow simply laid out in such a way that range of reverb settings with 20 settings that appears under the numerical display makes the capabilities of the unit appear stored for guidance or as good starting for that parameter. At the right hand deceptively basic. points. This having been said, there are side under the memory store readout Before covering the front panel also five special effects programs that do there are parameter up ( +) and down ( -) facilities, some explanation of the contain dedicated software although they buttons. By tapping the appropriate up general philosophy behind the design are not part of the general reverb section; or down button the selected parameter criteria is necessary as it is not typical. I will cover these in more detail later. can be stepped up or down through its The DN780 doesn't have dedicated available values. Holding down the software programs for the user to select Front parameter button will cause the selected from in the normal way and is therefore panel parameter to automatically step slowly arguably more versatile. There is for The easiest way to explain the DN780 is through its range. If rapid adjustment is example no dedicated Hall program that to describe the operating procedure but a needed then both + and - buttons D 78 Studio Sound, June 1985 www.americanradiohistory.com Selected effects from HHB. The staggering range of signal processors that has To help you make the right choice, HHB has selected become available on the back of low -cost computer tech- a few that we think are special, representing best quality nology can be overwhelming. and value for money. n_.w AMS RMX16 Digital Reverb: Undoubtedly uonn KLARKTEKNIK DN780: Flexible new digital . tyßnY the state -of- the -art in digital reverb.12 fac- nnna reverb from KT, offering choice of Plate,Hall, tory presets, 9 user stores for user -edited 7 Chamber, or Room simulation, as well as sounds plus loadable programs. Up to 800ms .:.... delay, ADT, SOS, and multi -tap echo. Up to pre -delay, 9.9 sec decay. Hi- and lo- filters. 990ms pre -delay, 99 sec decay: also reflec- DDL tion pattern and intensity controls, filters. capability. Stereo. £4680.00. 3 "4 36 65 t1Y ® d 39 presets + 50 user stores. Stereo. £3580.00. LEXICON PCM60 Digital Reverb: Brings famed Lexicon 224X quality at a realistic YAMAHA'S R1000: The lowest cost, high Plate or Room with quality digital reverb. It features 4 presets price. simulation, each # r.. 4 decay and 4 size presets. Hi- and lo- filters. D ) Ill. .f.i. and a nifty 3 band parametric EQ for flexi- Stereo, £1475.00. bility of effect. Digital quality at the price of Q a spring. £449.00. BEL BD80 DDL : Amazing value with full band- width, 2 sec delay as standard, up to 8 secs DELTA -LAB ADM 1024: We are glad the ; 3 available. Digital sampling with loop u i; 5 ; pgioy Effectron II range is once again available here, editing facility. Internal or external trigger because of all the many 1 sec DDL's now on of sample. Modulation and phase controls. the market, we think this one is the best. £695.00 (2 secs) + £200.00 per extra 2 secs. Features one second delay at full bandwidth, : x FECrpONâ d fine time control, modulation etc. £399.00. DRAWMER DS201: This sophisticated low - r01_ cost dual noise -gate, offers attack, hold and DRAWMER DL221 Compressor /limiter: Linear decay controls ,frequency -conscious keying i> performance and flexible control, plus a gate or duck function, 80dB attenuation separate limiter and side -chain functions and stereo link. £275.00. Q make this a steal at £325.00. All these units (and more) are permanently on Access, Barclaycard /Visa, American Express. Finance demonstration at HHB if you need to try before you arranged. (All prices exclude VAT and are correct at time If not, why not take advantage of our mail -order of going to press.) service for best possible prices and free delivery 'III' HHB Hire and Sales,Unit F New Crescent Works, Call now on 01- 9613295. /i I I Ii Nicoll Road, London NW10 9AX. Tel: 01- 9613295. Over 5.000.000 man -hours of experience Group of companies in communication technologies in the development, planning, manufacture, An der Ochsenwiese 3 -6 / P.O. Box 23 00 80 installation, and maintenance of radio, D -6500 Mainz -Gonsenheim F. R. G. television, and communication equipment. Telex: 4187300 bfe d; Telephone: (61 31) 4630 Productinformation No.17 C301 Live /Studio Mixing Console The C 301 Live /Studio- Mixing button switches are of a type which Console meets the stringent demands has gained acceptance in the broadcast of top audio engineers and provides industry. truly professional performance. Its ver- satility, whether used for live perform- A mixing -console-system based on a ances or in the studio, results from its 16/8/2- Mixer, expandable up to 40 ease of operation and simple expan- r} N='}. .K t n i 4 a channels. i.. ..,n. M1.. d i t4 l i 2 J1 sion through addition of standardized 44 F t .. .. .r 4 l ( modules. All channels are accomoda- - Transformer ballanced inputs with ted on their own separate circuit phantom -power boards accepting the plug-in bus line, - 4 -band EQ with 2x param mids and are thus easily interchangeable. - 4- Aux -Sends pre /post switchable The power supply is incorporated into - 8 in 2 monitor- matrix an external 19" rack -mount housing. - external power supply 19" 2 U LED -indicators for supply voltages Double potentiometers with two adjustment - excellent tecnical dates are the best and internal voltage supplies are situa- knobs on a single shaft are deliberately avoi- qualification for highclass P.A. - ted on the mixing panel. ded in order to simplify operation; all push- systems and studio work. For further information use our telephone -service: Audio-Nideo -studioplaning Rack -systems Call West -Germany 6131 -4 63-0 Mixing -consoles and Studio -gear Acoustic -planing 6131 Professional audio equipment Room -measurements 463-0 0010_0000_01w 0900090o 00000000000000900000000 al www.americanradiohistory.com REVIEW should be held down with the required output level controls that are factory earlier. If not, then simply enter the direction button being pushed slightly preset although adjustment procedures memory location of the desired pattern ahead of the other. are detailed within the manual should with two digits on the key pad and it The adjustable parameters are largely they be needed. The fan is very quiet will appear. Memory positions 1 to 20 self explanatory although they do require and produced no distraction within the are factory preset and if you are creating some clarification -from left to right they control room. The XLRs are wired pin 3 a new pattern, it would make most sense are: hot as is standard K -T practice. to enter one of these nearest to the type Predelay: the time delay between the In prolonged use, the unit did not of reverb you are looking for. Then initial signal and the initial become any more than comfortably warm having modified it to your taste it would reverberation. Fully adjustable from 0 to and aside from the sensible precaution of make sense to store it in one of the 50 100 ms in 1 ms steps, to 200 ms in 2 ms keeping it away from the other heat user memories. This is done by pushing steps, to 500 ms in 5 ms steps and to a creating devices and allowing adequate the STO button on the keypad then the maximum of 990 ms in 10 ms steps. If ventilation at the rear of the installed number of the store that you wish to this is adjusted with programme rack, I can see no restrictions on assign to it. This of course must be a running, small clicks may be heard. installation. user memory (over 39) and if it is empty, Reflections-Pattern & Level: these the display will scroll from left to right two parameters are paired and together and then reappear with the store in the they define the basic acoustic character Remote memory position fully entered. If the simulated. Pattern adjusts the pattern of This is connected at the rear of the unit selected memory is full, then the the early reflections, ie those that by approximately 25 ft of cable. Basically memory position display selected will determine the character of the reverb. it gives the user remote control over flash. Entering the memory number Settings 1 to 5 give a variety of values predelay, level, HF and decay again will erase the previous memory for number, spacing and density with the parameters on sliders. This means that and enter the new. I would support K -T's 1 position giving a very solid compact rapid adjustment is very easy. The suggestion that a note should be kept on type pattern such as would be more remote is enabled by hitting the remote the pages at the back of the manual. suited to a percussive requirement, while button which then illuminates the LED You will need this anyway unless you increasing pattern numbers diffuse the next to it on the box. The only indication can remember all 89 presets. early reflections creating a more spacious on the main unit itself is that an LED If the memory is getting full, patterns sound character. Level is a 9 increment labelled `a' under the memory display is may be stored by hitting STO and 0,0 control that sets the level of the initial illuminated. The parameter display and the pattern will be entered in the reflections against the reverberant field shows the setting created by the remote. numerically next highest empty memory with the higher value settings giving Should any of the front panel parameters position. Trying to access empty stores or higher initial reflection levels. be adjusted with the remote operative, store into factory presets leaves a broken The next three controls effect the the remote becomes switched off and has dotted line across the displays and the reverberation type: to be re- enabled which is a useful way of word NO before it returns to previous Decay: the overall midband reverb preventing two -ended operation. status. The manual also details the decay time. Adjustable from 0.1 to 99 s The faders on the remote have LEDs method of erasing the complete user although the complete range is not above them and these show when the memory if required with a sequence of available in all settings -the extremes faders have taken control of that buttons that you are quite unlikely to are also controlled by the room size parameter on the main unit. To `switch make in operational use. parameters selected. it in' you have to move the fader until The DN780 has the ability to store a LF & HF: separate control allowing the fader position corresponds with the sequence of up to 16 reverb patterns to boosting and attenuation of the decay current parameter setting and then the allow rapid changes in live use or during time within their respective frequency LED illuminates and you are in mixdown, etc. This is set up by hitting areas. control -similar to finding automation STO and the SEQ buttons. The memory Room Size: adjustable control to null points although in this case it is display will then read SE 1. You then simulate room size with a display just a sweep of the fader. It is also hit the 2 -digit number of the first reverb stepping from 5 to 99 which is intended possible to step a sequence from the pattern and the display reads SE 2, you to represent a linear dimension in remote and this will be covered later. enter the next and so on until you reach metres. Adjustment of this control will One point worth remembering though is 16 or the end of the sequence, push SEQ also cause the decay time to alter at the that this control is separate from the and the sequence is stored. This process more extreme settings. remote on /off status. can be set up while a reverb pattern is Above the up and down parameter running programme material as normal. controls is the memory display. This is a If you should inadvertently enter more red readout as against the other In use than 16 memories the sequence is erased parameter displays which are green. To The difficulty with the DN780 is that and you have to start again. The stored the right of the displays is the key pad. the unit appears so simple you tend not sequence can be recalled by simply To access a memory location you simply to look at the manual till you run into pressing SEQ and stepped through by enter the two digit number, the audio problems. This is what I did and found pushing the button again. A useful mutes while changing and then returns that there were certain aspects I could addition could be provision for the with the displayed parameters and not make work; it was then I found I remote switching of sequences from other memory number which takes about 1.5 s. didn't really understand the unit very than the remote, eg from a real -time The STO and SEQ keys will be explained well. So read the manual first or you events controller or a console automation within the operational discussions. The will miss many of the unit's features. system. It is possible to alter the only remaining front panel control is the When power is first applied, a self - parameters of user memories within a power on /off button at the extreme diagnostic routine runs and if all is sequence although this will of course right -hand' side. running correctly the unit resets itself change the memory itself. The rear panel layout contains a 2 s later at the last used display. While You may have noticed that so far I standard IEC mains socket with an running the diagnostics, the software have not commented on the sound integral fuse assembly, a cooling fan series number is displayed within the quality of the DN780. This is largely outlet, a 15 -way socket for the connection memory readout. If this is the reverb because if you have a reverb device that of the remote, XLR -type input and pattern you want, then you can start creates a definite Plate program, you can output sockets and a pair of recessed modifying the parameters as described comment on the sound of that program 80 Studio Sound, June 1985 www.americanradiohistory.com REVIEW Ara% LIU within the control parameters that you patterns. Once you have understood the have at your disposal. In the case of the approach that Klark -Teknik have taken DN780, however, there are no programs in the technical and operational design, Postscript and so if you don't like the sound of the manipulation of the reverb patterns is Since the completion of this review suggested presets you can alter them simple and quick as all parameters are Klark -Teknik have informed us of a totally -do you see the problem? The adjustable at the front panel with easy number of software changes that add to presets are good examples of their type operation and clear indication of the the abilities of the DN780. The new although I could not really imagine parameter settings. Simplicity in release, Edition 1.5, has added another using any of the room or plate settings operation has not compromised reverb seven preset memories in the form of without some small modifications. potential and the way that the system is plate and gated type reverbs and a user There are, however, some general configured suggests much future memory protection facility. One of the observations that can be made about the potential. remote faders has now been made reverb quality of this unit. Firstly, the There is virtually nothing to criticise `assignable' so that it can be used to decay of the reverb signals is very with the DN780 and I would recommend control other functions than the fixed smooth and dense, even at the tail end of a serious audition of this unit to anyone. assignment of the review unit. the reverb. The sound quality is very full and solid and the stereo image is wide while still remaining mostly natural. The unit is also very quiet in operation. I was able to find the reverb patterns that I needed for most uses-the percussive ambience, the expansive hall, the ringing plate and the explosive - snare. They are all there but you need '000" seines some operational experience to reach them easily. All digital reverbs sound power amplifiers different and in this aspect of reverb creation, the DN780 is a match for any other. Where it may currently miss out *3000 watts in 51/4 inches dx1000 1000W into 8, mono is in the area of the very specific HIGH EFFICIENCY dual power supplies 600W into 4, per channel requirement or the special effect reverb from TOROIDAL transformer and 300W into 8, per channel that some of the top end units can dx1000A computer grade capacitors. 1500W into 8, mono provide. 800W into 4, per channel I have not yet mentioned the five FULLY PROTECTED against damage to 450W into 8, per channel load or (1x2000 special effects memories. These are either amplifier. 2000W into 4, mono memories 31 to 35 and are: delay line SPACE 3 units 1200W into 8, mono SAVING occupies only 1000W into 2, per channel (up to 2 s); ADT effect with variable (51/4 ") of 19" rack space. 600W into 4, per channel predelay selection of two to 300W into 8, per channel and eight RELIABLE devices can handle voices; multi -tap stereo echo with output (1x3000 6 times rated power. 3000W into 4, mono predelay, pattern, decay and HF decay 1600W into 8, mono 1500W into 2, per channel control; sound -on -sound loop with a UNIQUE ultra li 800W into 4, per channel variable length of up to 2 s with level coup 450W into 8, per channel and decay control; and the infinite room which allows fresh input while the up parameter button is selected. The manual provided with the DN780 is very clear and comprehensive although aimed solely at the user -no user serviceable parts inside, etc! It does say that software updates are envisaged on a regular basis and that these will be provided free of charge to registered owners so there may be some interesting future developments. Conclusion You have to become familiar with using the DN780 to appreciate its ease of operation and indeed its complete mode of operation. For those of us reluctant to read manuals: it looks very simple, and it is, but not so simple that all is immediately clear. Because of this many people may be put off and not check it out fully. A fairly powerful inducement to look closely should be its price -which in the UK is about a third of some of the 'dx3000 bridged mono established US models and must still be considerably lower in most territories. The DN780 is a high -quality digital Hill Audio, Inc., 231 Marquis Court, Lilburn, GA 30247 USA (404) 923 -3193 TLX 293827 HLAD reverberation system that has a unique Headwater Industries, 635 Caron Ave., Windsor, Ontario N9E 5B8, Canada (519) 256 -2454 approach to the creation of reverb Hill Audio, Ltd., Hollingbourne House, Hollingbourne, Kent ME17 1QJ, England (062 780) 555 TLX 966641 HILL 81 www.americanradiohistory.com INVEST IN A SOUND FUTURE YOUR CAREER IN THE MUSIC RECORDING INDUSTRY In a 2 year professional training program In the RECORDING ARTS AND SCIENCES BO` : of graduates placed 80 COURSES IN MUSIC VIDEO PRODUCTION RECORD PRODUCING SOUND ENGINEERING MANAGEMENT LIMITED INTERNSHIPS AVAILABLE For Day or Evening courses APPLY NOW! For application and FREE brochure describing courses MESAS If1STITUTIE pf RECARDInG RRTS 34 West 8th Avenue. Vancouver. BC., Canada V5Y 1M7 410 Dundas Si East, Toronto, Ont., Canada M5A 2A8 290 Nepean St.. Ottawa. Ont . Canada K1 R 5G3 1435 Bleury St , Ste. 301. Montreal, Oue. . Canada H3A 2H7 1901 Ave. of the Stars. Suite 1774, Los Angeles. C.A.. U S A. 90067 01 -708 0483 (24 hrs) developing tomorrow's music industry leaders since 1979 The studio effects hire service ti) TREBA3 In5TITUTE OF REcORDInc ARTS WITH OVER 44 YEARS' EXPERIENCE IN THE DESIGN AND MANUFACTURE OF SEVERAL HUNDRED THOUSAND TRANSFORMERS WE CAN SUPPLY: AUDIO FREQUENCY TRANSFORMERS OF EVERY TYPE YOU NAME IT! WE MAKE IT! OUR RANGE INCLUDES Microphone transformers (all types), Microphone Splitter /combiner trans- COURSE FOR STUDIO ENGINEERS formers. Input and Output transformers, Direct Injection transformers for THE 12th COURSE IN THE SERIES WILL BE HELD Guitars, Multi-Secondary output transformers, Bridging transformers, Line transformers, Line transformers to British Telecom Standard Isolating SEPTEMBER 13 -20, 1985 Test Specifications. 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The Course includes lectures on each link in the chain We can design for RECORDING QUALITY, STUDIO QUALITY, HI -FI to Finished Product, to QUALITY OR P.A. QUALITY. OUR PRICES ARE HIGHLY COMPETITIVE AND of operations, Microphone WE SUPPLY LARGE OR SMALL QUANTITIES AND EVEN SINGLE TRANS- record sound for: FORMERS. Many standard types are in stock and normal dispatch times are short and sensibJe. Professional Recording Studios Radio OUR CLIENTS COVER A LARGE NUMBER OF BROADCASTING AUTHOR- Television Video ITIES, MIXING DESK MANUFACTURERS, RECORDING STUDIOS, HI -FI ENTHUSIASTS, BAND GROUPS AND PUBLIC ADDRESS FIRMS. Export is a a large range of modern equipment assembled speciality and we have overseas clients in the COMMONWEALTH, E.E.C., using U.S.A., MIDDLE EAST. etc. especially for this Course + workshops. Send for our questionnaire which, when completed enables us to post quo- tation by return. Prospectus from: APRS SOWTER TRANSFORMERS 23 Chestnut Avenue, Manufacturers and Designers E. A. SOWTER LTD. (Established 1941), Reg. No. England 303990 Chorleywood, Herts., U.K. The Boat Yard, Cullingham Road, Ipswich /P1 2EG, Telephone: 0923 772907 Suffolk. P.O. Box 36, Ipswich IPI 2EL, England. Phone: 0473 52794 & 0473 219390. Telex: 987703G 82 Studio Sound, June 1985 www.americanradiohistory.com A user report by Ian Gilby ELECTROSPACE SPANNER SP2 The popularisation of stereo in the electronically balanced with pin 3 hot. low frequency oscillator (LFO) which '60s brought about those terrible, Since the Spanner is designed for unity controls the automatic panning feature. yet inevitable, stereo gain operation, both left and right input Three knobs -Auto Depth, Auto demonstration records that more controls provide level attenuation as Frequency and Auto Symmetry -govern often than not featured a full opposed to amplification. As long as you the operation of this LFO and thus the drum kit being whimsically patch into an auxiliary send /return autopan effect. The width of the pan is panned across the stereo field circuit with a high enough drive level to set by the Auto Depth control whose and vocalists who not only sang `moving' prevent possible signal degradation, this range is sufficient to encompass lyrics but walked across your living room won't cause any problem. extensive image shifts or no pan at all. as they did so. The speed of the pan is then determined When the novelty of moving sound by the Auto Frequency Knob which, on pictures wore off and stereo became Controls maximum, can produce a very long pan stationary, the panpot was quickly At the front panel, attention is that takes some 12 s to complete right relegated to a passive role selecting a immediately drawn to the horizontal down to eight pans every second. The `fixed' position within the stereo image 9- segment image display which provides latter setting produces a tremolo effect for each particular sound source -a a good visual indication of the panning similar to that of a Leslie speaker function it still performs today, of course. The resurgence of interest in the `sound for sound's sake' philosophy prevalent in many modern pop productions, has placed the emphasis once again on studio effects and their creative utilisation- automatic stereo panning being one effect destined to receive the attention of an on the ball equipment designer looking to develop a new product. Electrospace Developments is one such company and the device is the cleverly entitled Spanner. Function In fundamental terms, the Spanner is an advanced and versatile stereo panning action. A central pan position is shown cabinet, since fast panning is merely system that removes the need for panpot by the green LED illuminating in the another form of amplitude modulation. twiddling by engineers and offers centre of the display whilst wider image The triangle waveform is used by the automatic or externally triggered pan movement is indicated by three yellow LFO since it produces a perfectly functions. LEDs per side and red LEDs for the symmetrical pan; think of it as a signal Housed in a sturdily constructed lU extremities -clear and concise. It should climbing steadily from left up to centre 19 in rack -mounting steel case with matt be noted that this image display only then back down to the right, effectively black front and rear panels, the Spanner ever illustrates the positioning of the left drawing a triangle shape. The provision looks and feels as though it could well input signal, requiring any mono signal of the Auto Symmetry control on the live up to the rigours of life on the road, to be fed to this input if an image Spanner cleverly lets you modify this so studio sessions should present no display is to be achieved. triangle wave to create a ramp wave, problems. The adjacent Offset control allows the with the audible result that the signal Two versions of the device are user to select where exactly in the stereo pans gradually from left to centre, then available: the SPI and SP2 configured field he wants the reference `centre' of quickly to the right (or vice versa). for mono input /stereo output and stereo his stereo image to lie. Since the Operation of this autopan section is input /stereo output respectively. The two panning action of the Spanner is always simplicity itself and the image display models differ visibly only by the centred around the position set by the helps to promote a clear understanding inclusion of a Right Input level control Offset, at extreme left /right settings, the of what's going on. on the SP2 front panel which is the panned signal will appear to `wait' at version chosen for review. one side whilst it completes the out of Audio input and output connections on range pan cycle. Mod /clamp facility the Spanner SP2 are made via female An 8038C waveform generator chip is Unique to the Spanner is a second, and male XLR -type sockets on the rear, used in the Spanner to give the triangle totally independent panning system these being the Neutrik latching variety, wave output for the constantly running which allows further modulation and 83 www.americanradiohistory.com REVIEW triggering of the stereo image. This triggers selected is shown by the lift slider switch on the rear panel section can operate in either Modulation 7- segment, green Trig Count display. As enables the mains earth to be isolated or Clamp modes according to the setting each trigger is received, the Trig Count from the audio earth if hum becomes a of the small Mode toggle switch. A readout continually decrements to 1 and problem in situ. second switch labelled Mod /Trig selects automatically changes the direction of whether the audio signal fed to the left the pan as indicated by a green decimal input is used as the internal modulation point to the left or right of the number, Applications source or whether an external signal and begins the countdown again. Having stereo inputs, the SP2 allows applied to the rear panel Mod/Trig Input The inclusion of a gate -type Trig that rarely heard effect of cross -panning jack socket is employed. Threshold which monitors the amplitude to be achieved. This is especially In Modulation mode, the Mod/Clamp of the trigger signal provides precision effective where a dry signal is left intact Depth and Damping controls function in setting of the desired trigger level. Only whilst its reverb is made to sweep gently a similar manner to the previously when the trigger signal is loud enough from either side of the stereo field to the described Auto Depth and Auto to cross this threshold, shown by a red other- positively ethereal. Frequency features by varying the square LED below the Count number, Experimentation is the name of the amount and speed of the modulation will the Count function be activated. game but where it proves to be an effect. What this means in practice is Using the direct audio output of a snare obvious benefit is in panning a mono that you can set up an initial autopan sound on a Drumtrahs rhythm machine tom -tom sound, again from a Drumtrahs, effect and then simultaneously apply as an example, it proved very easy to to create the illusion of a drummer another `overall' pan movement if so vary the threshold so that it was low playing a roll around the kit. All you do desired. enough to capture each individual stroke is programme several beats on a tom -tom For example, a Juno 60 polysynth was of a programmed snare roll or merely the each with a subsequent drop in pitch, used to play a sustained organ chord and first beat, and to use these to trigger the then feed the tom -tom direct output from the Auto Depth control set to a 10 panning. the drum machine into the left input of o'clock position with Auto Frequency A further bonus of the Reset switch is the SP2 and clamp the sound to the left. near maximum to create a tremoloed that an engineer can clamp a sound to Then add sufficient Clamp Depth and Leslie effect on the organ sound which one side of the stereo field and prevent it Damping and the correct threshold so remained stationary in the centre of the from changing polarity by manually that with each trigger from the drum, stereo field. The Mod /Clamp Depth was overriding the count before it reaches 1. the tom -tom sound moves gradually over then turned to full and Damping to below halfway which resulted in the tremoloed organ sound appearing to move slowly from left speaker to right and back again -a most impressive effect, the direction of the second pan movement being determined by the trigger system, more of which later. In Clamp mode, internal and external modulation sources have no effect on the image position which is effectively frozen as far to one side of the stereo field as possible dependent upon the amount of Mod/Clamp Depth and the trigger system. Whenever the trigger changes In addition, a +15 V pulse is generated to the right dropping in pitch as it does polarity (left or right), the frozen or whenever the pan polarity does change so. The end result is very realistic and a `clamped' image will move to the and this is available as an output from superb way of humanising any rather opposite side at a rate set by the amount the rear panel Trig Count jack socket flat and robotic drum machine. of damping (maximum 20 s) where it will which may well be employed to trigger again remain fixed until another polarity other external devices such as noise change is implemented by the trigger gates or even synthesiser arpeggiators. Conclusion system. Very useful. The Spanner is a fascinating device to use which also has many more applications than may be apparent on Triggering Interior design first encounter. Auto panning, like the Associated with the Mod /Clamp section First impressions on opening up the majority of other effects, is best used is a versatile triggering system which Spanner are of neatness -always a good with subtlety and always with the allows the panning action of the Spanner indicator of the thought put into any overall context in mind -though there to be synchronised to any programme design. If the interior is badly laid out, it are times when out of the ordinary pan material, the benefits of which are pretty more than likely spells reliability effects are called for and here again the obvious. problems in the long term. All front Spanner can provide the necessary goods, Trigger pulses may be derived panel controls and displays mount being considerably more sophisticated internally from the audio input itself or directly on to the one -piece PCB which than any other panner on the market. from an external source, making it runs the full width of the case. ICs are In terms of audio quality and possible to control the panned signal all socketed for convenient servicing and construction too, there are no complaints, from a bass drum or a sequencer for the use of PCB connectors on audio the Spanner being a classic example of a example. The Trig Count and Threshold cabling means downtime will be reduced black box that does the job it's designed functions also allow you to preset how to a minimum if any fault does occur. to do without creating a fuss. many triggers you wish to receive before Component quality is high, the heart of the pan action changes direction. A the unit being the somewhat infamous Electrospace Developments Ltd, Suite small thumbwheel is used to set the Aphex VCA chip which is expensive but 3, 39/41 Newnham Street, Ely, required number (to a maximum of very quiet in operation; the claimed Cambridgeshire CB7 4PG, UK. eight) and by momentarily pressing the noise figure of -85 dBm concurred with UK agent: Britannia Row Ltd, 35 Reset toggle switch, the total number of the review findings. Finally, a ground Britannia Row, London N1 BQH. 84 Studio Sound, June 1985 www.americanradiohistory.com Lyrect Secret army When we were talking to Lyrec about That over 60 of those are in the In short, we think that Lyrec have distributing their products in the UK we UK? That Lyrec machines are in use with been hiding their light under a bushel were surprised and impressed by what broadcasting organisations all over the and that it's high time for us to bring we heard. world and the BBC alone have 30 of their secret success into the open. Did you know:- That Lyrec are a the newly introduced 'FRED' two track Remember, unlike Swiss or Japanese Danish company who have been editing machines? products, Lyrec machines are made in manufacturing tape machines for over the EEC and therefore, carry no import 30 years? That Lyrec are Europe's largest duty. maker of high speed loop -bin duplicators'? 0 So if you are looking for impeccably That there are over 300 Lyrec multitrack Lvrec engineered tape machines at a very machines in use in Europe? NM OF DENMARK ME reasonable price talk to us about Lyrec. Distributed in the UK by: NEWS FLASH...... TAKEN DELIVERY MUSIC SCENIC SOUNDS. LYRE A THIRD LYREC. THIS IS THEIR Scenic Sounds Equipment Limited, Unit 2, 10 William Road, London NW1 3EN. Tel: 01- 3871262, 01 -734 2812. Telex: 27939 SCENIC G Lyrec Manufacturing A/S, Hollandsvej 12, DK -2800 Lyngby, Danmark. Tel: 02 -87 63 22. Telex: 37568 Lyrec dk. 85 www.americanradiohistory.com REVIEW REVIEW A user report by Keith Spencer -Allen URSA MAJOR MSP 126 This is an unusual effects unit in consisting of six delay taps. How these possible to switch this remotely. The that it doesn't fit into any of the taps are arranged in time delay, phase application of the power illuminates the neat accepted categories that we and amplitude is determined by pre- central display strip that gives bright like to place equipment in. Yes programmed memory stored in EPROM. red readout of the selected Mode and the it is a delay line but that is only The front panel of the unit allows precise settings of the Parameters 1 and a very small part of what it selection of any of the eight basic 2 all at the same time. These values are does -other features including operating modes which may be further altered by the three knobs to the right of basic Room simulation, Haas -type stereo modified by Parameters 1 and 2 both of the display which are unusual in that panning, non -localised stereo images, which modify the processing in ways although indented they are continuously repeat echoes, filtering in musical scales, dependent upon the selected mode. rotating and therefore the display is etc. Ursa major have always had a As you can see from the photograph essential to see the setting of all three different approach to signal processing the MSP-126 is a single U 19 in rack knobs. devices right from the early days with mount device. Front panel controls are The rear panel contains a standard the Space Station and this unit is no very simple beginning with input and IEC mains connector, rear pointing heat exception. output level controls and a five LED sink, the bypass remote socket, and pairs Although I have possibly made the indication of input level at the left side. of male and female XLR -type sockets for unit seem an eclectic collection of effects Being a firm believer in reducing the inputs and outputs. Due to an obvious this is not the case and designer fiddling possibilities from idle hands in space restriction on the rear panel, all Christopher Moore, in a statement at the all pieces of installed equipment I think the socket labelling is on the top panel beginning of the manual, explains the I would have preferred to see slightly and this will of course not be visible once rationale by saying that although all less accessible level controls for such a mounted within a rack. The XLR -type listening experiences are stereo, more of device. All interface levels are standard sockets follow pin convention in L & R the recorded sources are `severely' mono line level and for such a piece of and input /output and therefore will not and that he believes `a richer, more equipment, I would imagine permanent be any real problem. natural kind of stereo ambience is vital installation is the order of the day, so Although the MSP-126 has a pair of in all media'. To achieve this the ready access to levels on the unit is, I inputs, it actually sums the channels MSP-126 converts sound into a digital feel, not so necessary. internally and so there is small benefit format and enters it into memory which At the far right hand side of the panel in using a stereo input. There is is then read from 12 different locations are latching pushbuttons for power and a pushbutton switch on the back panel within the memory and from this creates the bypass mode which has an for switching between a mono input and a left and right output signal each accompanying indicator LED. It is also a stereo input. The only advantage of 86 Studio Sound, June 1985 www.americanradiohistory.com WHEN ALL IS SAID AND DONE.... ITS THE MICROPHONE THAT COUNTS. 0*% AT THE LAST COUNT WE HAD OVER 100 TYPES TO CHOOSE FROM. %%IS HERE'S A FEW. $% d 49.00 SENNHEISER lt$ AKG D190E General Purpose MKE203U Omni-directional b/p 7200 Mosses & Mitchell AKG D202E1 Vocal/General Purpose d 119.00 SENNHEISER MKE403U Uni-directional b/p 8300 AKG D222EBVocal General Purpose d 101.00 SENNHEISER MKE803U Short Gun b/p 98.00 are the largest AKG D12E Bass Mic d 121.00 SENNHEISER MD421U Vocal/General manufacturer of Audio Jacks and AKGD330EBT Vocal d 113.50 Purpose d 95.00 in We are approved AKG C414EB General Purpose p 347.00 SENNHEISER MD441U Super Cardoid d 131.00 Jackfields the UK. AKG C451E +CKI p 135.00 SENNHEISER MKH416 Short Gun p 236.00 suppliers to the BBC, British Telecom, Pye AKG C451EB +CKI p 159.00 SENNHEISER MKH816 Long Gun p 302.00 Telecommunications and many other major AKG C535EB Vocal p 115.00 SHURE SM58 Stage Vocal d 125.00 BEYER M201 d 78.00 telecommunication companies throughout the world. General Purpose SHURE SM57 General Purpose d 99.00 BEYER M550 Omni Interview d 28.00 & ELECTRO VOICE RE20 Studio Mic d 425.00 We manufacture a complete range of Audio Jacks M88 Purpose 123.00 BEYER General d ELECTRO VOICE RE50 Omni- Directional d 139.00 Jackfields and offer a design and manufacturing BEYER HM560 Head Mic d 109.00 ELECTRO VOICE PL5 Omni-Directional d 7400 service geared to meet your specific requirements. SONY ECM30 Miniature Tie Clip b 59.00 NEUMANN U47 FETi p 613.00 For further information and technical data on our SONY ECM50 PS/PB Miniature Tie Clip p/b 113.00 NEUMANN U87i p/b 633.00 SONY ECM969 Single Point Stereo b 118.00 products contact: NEUMANN U39i p 633.00 AUDIO TECHNICAATM41 Rugged Vocal d 65.00 TECHNICAPRO4L AUDIO Stage Vocal d 39.00 MICROPHONE TYPE CODES = Battery d= dynamic AUDIO TECHNICA ATM83G Talk-Back Mic 44.00 p = phantom. MOSSES & ALL PRICES SUBJECT TO VAT, CARRIAGE EXTRA. I MITCHELL ,. Mosses & Mitchell Limited .l_. %_._'. ._'._: /.i .144/_/.d Weydon Lane, Farnham Surrey GU9 8QL Telephone: Farnham 721236 (STD 0252) The Homesdale Centre 216 -218 Homesdale Road Telex: 858820 Bromley Kent England BR1 2QZ 01- 460 7299 B I R"I-HS TO PARADISE STUDIOS: On 10th April 1985 at 329 Chiswick High Road, London W4, a daughter, Angela (full name Amek Angela). A big sister for Otari and a playmate for Fairlight and PPG. Studio and baby both doing well. 01 -747 1687. 87 www.americanradiohistory.com REVIEW R TT using a stereo signal would be that in reflection time was above 80 ms although possibly save a number of channels on a the bypass mode the stereo signal would a very staccato rhythm guitar gained a console as well as saving the use of feed into the stereo outputs rather than very unusual percussive edge (in stereo) patching and routing. a dual channel mono mode. which I would not normally have been RPTS (Repeats): This is a program for The MSP -126 comes with a very good able to achieve so easily. The very long spaced stereo repeats that are explanatory manual that goes into quite room settings are very extreme for predelayed. Parameter 1 sets the delay of some depth on operation of the unit and common usage although if for instance the last repeat in ms from 10 to 360 ms the effects programs themselves. There is you were after a massive sounding while the second parameter selects the no service information. It would appear acoustic guitar solo, sending a 360 ms number of repeats from 2 to 10 and the the Ursa Major are planning software reflection time with 45% mix to another gain of the repeats-either equal, updates on the system in the future. echo device such as a plate would be increasing or decreasing. Aside from the very effective. Also adding a 300 ms integrated stereo character of the repeats, reflection at 15% mix across a complete this is similar to a tape type repeat mix is quite effective on the right track. although the increasing loudness Modes Whatever setting, the stereo effect is repeats is of course impractical with Some of the effects created are very very natural and cohesive-not two mono tape. This gives an almost backwards difficult to describe in words but I'll do channels. Returning to an earlier point, quality to the repeats particularly on the my best. This is further complicated by one useful application for the MSP-126 very longest delays. Except on the very the fact that in some modes, the variable could be for working with a standard low repeat settings, this is really aimed parameter controls modify the basic echo plate to increase the density of at non -percussive type material. effect considerably and a full description early reflections that just really are not Pan: This is a program that uses Haas of every possibility is totally beyond the present in those devices. effect principles to pan signals left and scope of this user review. DLAY (Delay cluster): This program right. It is possible to create such an I will work through the modes and gives a cluster of delays after an effect with a basic delay line by then try to describe the parameter adjustable predelay. Parameter 1 adjusts adjusting the delay on one channel to be controls in roughly the order that the the delay before the cluster in 20 ms a few ms later in arriving than the modes appear on the control, starting steps from 20 ms to 320 ms while the other. The brain then hears the signal with Room. second parameter control adjusts the from the undelayed channel first and Room: This program adds early wet /dry output mix in percent from 0 to interprets the image as being in that reflections of a hypothetical room to the 100 %. The effect is similar to a single direction -how much depending on the dry signal -a sort of digital reverb repeat although the repeat is a solid delay settings used. The levels of the without the reverb decay. The first stereo signal that is thick in quality signal within the channels make very parameter controls adjust the longest rather than the slightly thin character of little difference within almost 20 dB. In reflection time in different sized a single delay. The ideal uses for this the MSP-126 clusters of delays are used increments from 5 to 360 ms in 16 steps would be on exposed signals where the to simulate this effect rather than single while the other adjusts the mix of dry full quality of the repeat is audible. delays and effect is subsequently rather signal and reflections in the output of DDL: This one is where the MSP-126 more specific. The first parameter adjusts the unit between 0 and 100 %. The effect gets closest to being a standard delay the angle of pan from 0° (centre) to 90° of small rooms on the voice and line. The second parameter selects which left or right. The second parameter percussion is well known. This unit channel will have the delay added to adjusts the apparent image width and made it easy to experiment during it -L, R or L &R and also the range of does this by adjusting the durations of mixdown in a number of ways that delays for that channel. Both left and the time delay clusters. The other general availability of equipment may right have a choice of 1, 2, 5, 10 and aspects of this setting worth noting are often preclude. Firstly, the stereo effect 20 ms while the combined L & R offers that both channels are of equal level, generated greatly enhances many the same values with the addition of a and the channels are both flat response. instruments particularly during solo 0.1 ms position. Parameter 1 is a delay The mono summed channel is only flat passages. By playing off the reflection multiplier and multiplies the selected at the higher settings of parameter 2. It time against wet /dry mix various tonal parameter 2 delay by a factor between must be said that this effect is not effects due to combing could be created. 1 and 16. This is of course quite an easy blatant; it works best when the signal The individual repeats became too effect to create with standard equipment source is fairly exposed. The delay obvious on percussion when the although the left /right aspects will quite clusters also add a slight ADT type 88 Studio Sound, June 1985 www.americanradiohistory.com REVIEW quality to the signal even when panned the 200 and 400 Hz values where the seem decidedly uncommercial these days. centre. This is a very interesting effect image sounds more natural and full. Let's wise up! to experiment with and there are no Between this setting and MSP11 there As you can see, however, from this problems of mono compatibility. The idea should be a means of stereo simulation seemingly brief review, this `simple' unit of using these units for stereo panning in for virtually all cases. has a tremendous amount of potential for a live situation is also covered briefly as experimentation. With an increasing a suggested experiment in the manual. number of mono sources -particularly This would mean that the audience near non- acoustic in origin, here is an to a left or right speaker would hear a Conclusion excellent way of bringing stereo effect proper balance even though the panned For those expecting a unit that produces back to music in a very wide range of effect could be to the other side as levels aural fireworks it should be noted that ways. The number of uses for this device within the left and right channels would many of the effects created by the are vast and the quality of design and still be equal. MSP -126 are subtle and the quality of construction are very good. Scale: This program uses stereo comb the stereo aspects needs appreciating. Recommended for those serious about filters to filter in musical scale steps. Unfortunately these qualities too often stereo. Parameter 1 sets the musical interval between the fixed A 440 filter in the left channels and the variable filter in the right channel. This scale ranges from A 440 to the minor 3rd above A 880. Parameter 2 sets the intensity of the filters from 0 to peaks on all harmonics or odd only. I have to say that this is truly only a special effect. I cannot think of any musical use for what is similar in quality to a stationary flange with loads of regeneration. In some cases though the audible pitch of the filters together with the displayed value will be mildly educational. MSP11 (Multi -tap stereo processing): A useful program for straight stereo simulation. Parameter 1 sets the depth while parameter 2 sets the width. Used in moderation this is a very natural sounding simulation although at depth settings over 50 the delay line nature of the processing becomes increasingly more noticeable particularly at the wider width settings. The summing of left and right signals was flat or as near flat as makes no difference at all settings and the individual channels also sounded flat. As a rule this setting sounds far better over speakers -with the delay aspects sounding rather more obvious over headphones. A useful effect to call PE 15 PARAMETRIC EQUALIZER upon particularly when simulating stereo on non -acoustic sounds. CSP (Comb filter stereo processing): AND NOTCH FILTER This program creates stereo with complementary comb filters in the left The PE 15 brings an unprecedented degree of performance capabilityto the and right channels. This means that the singlespace parametric equalizer format sound in the individual channels is very frequency sweeps coloured although the sum is quite flat. -Five complete bands with four- octave - range from 1.5 down to 0.03 (1/30) octave Parameter 1 adjusts the frequency Bandwidth between 200 Hz and 14 kHz and -+15dB boost and -20dB cut for notch filter capability parameter 2 adjusts width. In terms of -Bands 1 and 5 switchable to shelving mode the comb filters, 1 sets the frequency of -Y" and threepin balanced /unbalanced inputs and outputs the lowest comb peak and the null comb, -Up to 20dB input gain for low level EQ such as electric guitar or bass while 2 sets the depth of the comb nulls. I would recommend that adjustment of Backed with low- noise/low distortion circuitry and reliable Rane con- the stereo image is not made on struction, the PE 15 would be a studio, sound reinforcement or broadcast headphones as altering parameter 1 "must have" at any reasonable price. See, hear and covet a PE 15 at: appears to give rise to phase type effects MUSIC move the illusion around in the that LAB SALES 72 -74 EVERSHOLT STREET, LONDON NW1 1BY. 01 -388 5392 stereo and make your brain never hear it in the centre at all. This just doesn't 6510 SW, happen on speakers. Single items such as Mountlake Terrace, WA 98043 voice seem to prefer a stereo simulation RANE C oR Po RAT ION (206) 774-7309 using a HF value of parameter 1 while more musical and complex signals CANADA: Head -water Ind, 635 Caron Ave., Windsor, ONT. (519) 256 -5665 benefit from a very low setting such as 89 www.americanradiohistory.com STUDIO AND BROADCAST ENGINEERING PRO -AUDIO DIRECTORY 1984/85 From the publishers of Studio Sound and Broadcast Sound magazines, the world's leading journals for recording and broadcast studios, comes the 1984/85 edition of the Pro -Audio Directory. Just published, the new edition of this definitive guide to international audio products and services provides up- to -the- minute information on companies, products and services throughout the world. Thoroughly cross- referenced and indexed, the easy -to -use classified guide to industry services and products features everything from Connectors to Consoles. Extensive address files of distributors and manufacturers worldwide. Extensive illustrations. Don't be without your copy of this important international reference work. Size A4 152 pages Soft cover ISBN 0 -86296-020 -7 ISBN 0266-2248 £6 I $9 net Professional Publications Group, Link House Magazines (Croydon) Ud, Dingwall Avenue, Croydon CR9 2TA, United Kingdom. IPlease send me copies Pro -Audio Directory Name I 1984/85. Address I £7 (UK). Overseas surface mail £8.50 USA surface mail $15 Includes Postage Overseas airmail £10.50 USA airmail $18 and Packing I enclose a cheque /postal order/Intemational money order payable to Link House Magazines for the amount (please print) Or debit my credit card visA t Please return the completed order form enclosing full remittance (including delivery) or giving your credit Credit card No. card number to Professional Publications Group, I I Avenue, 0 Credit card holders can order by simply ringing 01 -686 2599, Link House, Magazines PLC, Dingwall ext 213, quoting credit card No. Croydon, CR9 2TA, United Kingdom. Please allow 28 days delivery m Britain, extra overseas depending on Signed country and delivery method. )0 Studio Sound, June 1985 www.americanradiohistory.com At HH we know there is no substitute for have been quick to note quality. That's why when you buy an HH and appreciate amplifier you automatically get a range when installing of benefits and features not always our amplifiers - available from our competitors. A point and amazingly many of the most notable Studios, it doesn't cost Installation and Broad- any extra! cast Companies HH design, manufacture and sell, thus cutting out one or more stages in the supply chain. The M900 benefit - higher quality and additional features. 400W +400W The M900 has been designed for the Range of Connectors installation or P.A. specialist who wants Inputs: Jack and XLR together with quality, reliability and limited features XLR Link connectors at a fiercely competitive price. Iden- Outputs: Binding Posts and 4 x XLRs tical in performance and specification - - to the V800 it has Rear Carrying Handles the advantage of 'Lock Pot' Input Invaluable rear carrying handles help Attenuators. in transport and when installing in racks. Additionally they provide pro- The V800 tection against accidental breakage features stepped posts. input of the binding attenuators Contact one of our distributors or HH direct for full details of our range of power amplifiers. H. H. ELECTRONICS LIMITED, VIKING WAY, BAR HILL, CAMBRIDGE CB3 8EL. TELEPHONE 0954 81140 TELEX 817515 HH Elec G www.americanradiohistory.com AND BROADCAST ENGINEERING AVAILABLE NOW the new official guide to APRS members. Published by STUDIO SOUND, the number one sound recording magazine in the world, in partnership with the Association of Professional Recording Studios. This completely new guide is an essential reference source for professionals in sound recording throughout the world. * Full facility listings to member studios UK and overseas. * Main cross referenced sections to which studio has what, by consoles, primary monitoring and tape machines. * Location maps divided into individual geographic areas where each studio is pinpointed by a reference number. * Comprehensive cross reference sections. * Master studio address file. * Manufactures/Agents section to what they manufacture and or are agents for. * Courses and facilities offered by UK Size A5 and overseas educational members. 92 pages ISBN 0- 86296-029 -0 £3 / $5 net * Handy AS size. 81/2" x 53/4 ". Soft cover Professional Publications Group, Link House Magazines (Croydon) Ltd, Dingwall Avenue, Croydon CR9 2TA, United Kingdom EPlease send me copies APRS Producers Guide Name 1 1984/85. Address £3.50 (UK). Overseas surface mail £4 USA surface mail $6 Includes Postage Overseas airmail £6 USA airmail $10 and Packing I enclose a cheque/postal order/International money order payable to Link House Magazines for the amount (please print) Or debit my credit card 11 = ° Please return the completed order form enclosing full I remittance (including delivery) or giving your credit Credit card No. card number to Professional Publications Group, Link House, Magazines PLC, Dingwall I * Credit card holders can order by simply ringing 01 -686 2599, Avenue, ext 136, quoting credit card No. Croydon, CR9 2TA, United Kingdom. Please allow 28 days delivery in Britain, extra overseas depending on I Signed country and delivery method. I www.americanradiohistory.com CLASSIFIEDS Advertisements for this section must be pre -paid. The rate is 50p per word, minimum £12.50. Box Nos. £3.00 extra. Semi -display rates on The application. Copy and remittance for advertisements in AUGUST issue must reach these offices by 12th JUNE addressed to: Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA. Cheques made payable to Link House Publications Ltd. Note: Advertisement copy must be clearly printed in block capitals or typewritten. and Replies to Box Nos. should be addressed to the Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA, No job the Box No. quoted on the outside of the envelope. The district after Box No. indicates its locality. SEX DISCRIMINATION ACT 1975: inviting advertisement which indicates or can reasonably be understood as indicating an intention to discriminate on grounds of sex (e -g. by it is in a applications only from males or only from females) may be accepted, unless (11 the job is for the purpose of a private householder or (21 Act. A statement must be business employing less than six persons or 131 it is otherwise excepted from the requirements of the Sex Discrimination made at the time the advertisement is placed saying which of the exceptions in the Act is considered to apply. The attention of advertisers is drawn to "The Business Advertisements (Disclosure) Order 1977 ", which requires that, from 1st January 1978, all advertisements by persons who seek to sell goods in the course of business must make that fact clear. From the above date consumers therefore should know whether an advertisement relates to a sale by a trader or a private seller. i Angel Talk Limited e speciality. Rapid service FOR HIGH QUALITY, REAL -TIME, AUDIO CASSETTE DUPLICATION, Small runs 30+ stereo format, cassette or open reel masters. THE COMPLETE SERVICE. Disc cutting (masters and demos), pressings, sleeves, Ring 0344 425200 ANYTIME for details or write to HARMANS WATER, BRACKNELL RG12 3NX cassettes, labels. 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Both offering full audio /visual production, PA VS offers a full studio equipment maintenance tisinu Ampex, Basf, Capital open -reel Full VIDEO EQUIPMENT copying. printing 8 -track studio. Sony, low -band video service and a comprehensive facilities (side labels & inlays), Major suppliers of Ampex COMPRESSORS /NOISE GATES studio and studio equipment edit suite. Equipment, hire and design service. open reel tape. Also razors, leader tape, splicing tape sales and spools and boxes, etc., etc. cassette copying. Rainhill Tape Specialists Voiceport Ltd, Windmill House, 31 Eccleston Street 137A Windmill Road, Brentford, Prescot, Merseyside L34 5QA Middlesex TW8 9NH 051 -430 9001 Tele: 01 -568 0462 134051' SELF ADHESIVE CASSETTE LABELS We are specialists in self adhesive cassette labels and can supply them in a wide range of formats. Send or phone for our price list and samples. TANNOY MONITOR GOLDS, REDS, 10795) 28425 -24 -hour service. SILVERS, X /Os CONES, CABINETS ETC. INDUSTRIAL PROCESS - Self -Adhesive Labels SUPERFAST EMT 927, 928, 930 ST. Neumann U47. STC 4038. Unit A4, Smeed -Dean Centre, Sittingbourne, Valves Kent ME10 3RN PX4, PX25 KT66. Midland Radio Supplies, CASSETTE DUPLICATION 021 -430 7817. (J) COMPREHENSIVE FACILITIES Jbs records QUICK TURNROUND - LOW PRICES MUSIC- SPEECH-COMPUTER THE COMPLETE SERVICE PRIVATE BUYER SEEKS to equip 24 track REAL -TIME or (Slow) HIGH-SPEED Quality Cassette N.R.A. RECORDING Duplication and Blanks studio for cash. Package deal considered. Tel: from 1 to 1000 +. Computer 37 WEST END, LAUNTON, OXON. printed Cassette Labels. Studio speech and solo 0232 225225 (daytime) 644632 (evenings). recording /editing etc. Fast Security Delivery service. 08692 53986 jbs records-a dlvMon of FILTERBOND LTD, 19 Sadlers Way, Hertford SG14 2DZ. 0992- 551188. WANTED; Multitrack machines wanted any make, age, condition or format also heads, TO ALL USERS OF MAGNETIC TAPE HEADS IN EUROPE spares, boards, and mastering machines etc. SAKI MAGNETICS INC, CALIFORNIA, MANUFACTUERS OF THE WORLD'S FINEST MAGNETIC TAPE (0803) 25575. HEADS, ARE PLEASED TO ANNOUNCE THAT THEY HAVE APPOINTED TAPETEK AND TAPE MARKETING TO HANDLE SERVICE AND SALES AS DISTRIBUTORS OF THEIR PRODUCTS. SERVICE: TAPETEK OFFER A REPAIR SERVICE TO MANUFACTURER'S SPECIFICATIONS AND GUARANTEED HIGH STANDARD. IT IS NO LONGER NECESSARY TO SEND HEADS TO CALIFORNIA FOR RECONTOURING. STUDIO PACKAGES TAPETEK'S LABORATORY IS EQUIPPED TO DO THIS IN LONDON. CONTACT: DAVE HILL, TAPETEK, 44A BRIGHTON ROAD, LONDON N16 TEL: 01 -254 5203 TELEX: 858623 OR 858393 FOR SALE SALES: 24 TRACK STUDIO SUPPLIES OF NEW HEADS AT MANUFACTURER'S LIST PRICE CAN NOW BE MADE THROUGH: TAPE MARKETING, 13 ELM ROAD, FARINGDON, OXON JACKSON MUSIC GROUP ENGLAND SN7 7EJ The Studios, Rickmansworth, TEL: 0367 20262 TELEX: 858623 OR 858393 Herts, England WD3 2XD SAKI Telephone: 0923 772351 or THERE IS NOTHING BETTER THAN THE BEST - -S Vodafone 0836 203557 CLASSIFIEDS 94 Studio Sound, June 1985 www.americanradiohistory.com SUPER DEALS N -R==14- IN RECORDING & P.A. FOR SALE -TRADE DOLBY 361's Pair as new in flight case £ 1,195 DOLBY 360's from £350 SPRING CLEARANCE SALE. DBX RM160 TRIDENT TRIMIX. AS new" 16 frame 10:8:2 £2,495 compressors /limiters £250 each. Ibenes HD1000 TASCAM 52 "New in box" (Second class stock) £1,295 £275, Lexicon PCM4I digital delay £425. JBL 4430 Pair New(ish) used only in my own Hi -Fi £ 1,895 Lexicon prime time £995 Audio and design FRX £2,995 TASCAM 58 "New" Ex- showroom 760S £450. Deltalab ADM 64 £150. BSF FDS 320 FOSTEX 600 Power Amp "New" £375 crossover £275. 1 Shure SRI06 stereo £200 stereo STUDER B67 Meterbridge "New" £70. Fostex 3050 digital delay £135. £895 crossover FOSTEX A8 "Nice" Accessit EQ £25. Accessit stereo amplifier £35. MB ELECTRONICS Stereo PZM mics £195 SCV dual noise gate £100, 3 PZM sound grabber TASCAM 38 "New" in box £1,599 £35. 2 PZM 12 SP microphones MILLBANK STEREO DISCO III Mixers "New in box" £75 microphones recorder £425. 2 Mixers C1,475.00 £95. Fostex 250 4 track cassette 3000 16 8 2 mew TEAC A3440 "New in box" £795 Doane E1.775.00 portable cassette recorders 3000 16 162 mew MCI 500c 36 frame VU. inputs fitted, 4 extra returns, Nakamichi DT550 Dynamo, 0,595.00 I Sono Trident 20 8 16 mon meta .... £25,000 £100 each. 1 Sony watchman £150. E1.295.00 automated matching wrap around side cheeks 8 16 8 2 TV £295. All price, A H.2, System Telephone KV6000 BE portable colour 8 16 16 2 HILL POWER AMPS "Brand New" A H -8 System P.O A. VAT at I5 07o. H.H.B. Hire & Sales, Unit T A C Scorpion mow available) 100w (811) mono £75 2 x 275 (811)ST £395 LAST FEW exclude P 0 A. r = J,rchless FOSTEC 350 Mixer with 3060 MTR Bridge £375 F, New Crescent Works, Nicoll Road, London from £2,750.00 £380.00 1 £89 Tel: 01 -961 3295. Telex: 923393.(() TEAC V350c Cassette Deck only "New" NWIO9AX. =1x3i £190.00 TASCAM 34 "New" £795 TASCAM 38 Ex -demo £1,500 taper Machines £850.00 ALLOWS THE SALE OF: Tascam 44 Inew, on front panel "New" £1,595 REORGANISATION £425.00 TASCAM 52 NAB/IEC Switchable Teac 3440 van speed is hl 3M M79 24 track recorder £11,000 £ 2,450.00 1 BASF £49 616 Is sr Roll New 2" Tape postes £1,150.00 + VAT. 24 ch. dbx N/R + 2 spares £2,500 +VAT. 48 Inewi DRAWMER DUAL GATES DS201 S/H £225 Foster, E1,295.00 hi £229 Helios 32ch console £5,000 +VAT. Total Tascam 38 Is £670.00 DRAWMER COMP/LIM DL221 S/H ste'ee Much more studio Tascam 32 26 from £650.00 QUAD 303 "Very good condition" £95 package £17,500 +VAT. For complete list Tel: Revoz B77s £3,875.00 JBL 4401 "Ex- demo" £250 equipment available. Studer B67 mewl TEAC V330 Cassette Deck "New" £75 Bristol 426409. Effects, etc. E1.450.00 -en PCM 60 £495.00 TASCAM 225 Syncassette "New" £195 reverb eeord Dig £435.00 in Box" £925 Dry reverb REVOX PR99 "New MONO -COMPATABILITY, stereo balance and ,aha E230 00 RV2 stereo spring TASCAM PORTA 1 inc power supply unit £345 Mahre £170.00 width, soundstage position, correlation, ,,afire RV3 spring lim corn TASCAM 244 (mint) £435 £299.00 transport defects and more... "THE BOX" by srex 3180 stereo reverb MULTICORE Short Runs - Ideal for studios "Dead cheap" £195.00 TAPE TALK gets it all together. For full details AS spring E210.00 12" DrG 410 dig delay JBL CHASSIS SPEAKERS "New" 4 off 2203A (8) ,tafire £260.00 of this unique professional stereo display unit Sig delay Bass £90 each erar DN2000 C425.00 on Milton keynes (0908) 77710. 01500 drgldelav £ 120 call Tape Talk ameba £265.00 1 only E130 delay .,' e R. dig £210.00 Pair £75 q CHEAP JEL MONITORS 0216) S d delay £450.00 £1,595 FX dig effects SOUNDTRACS 16:8:16 "As New" DISC CUTTING EQUIPMENT and systems P 0.A. M 16 RM 1O £495 P.0.A RAM Ex -demo bought, sold, installed and manufactured (under 580s 'y1 : £1.650.00 TEAC 144 PORTASTUDIO "Immaculate" £350 ql Reverb licence from ORTOFON). TAM /ENGLAND, £225.00 £450 405 2 amp TASCAM 22 -4 with DBX RX9 13a Hamilton Way, London, N3 IAN. :uad £339.00 BOSE 802 (pair) Good condition £595 Telephone 01 -346 0033. (X) Quad 520 £419.00 New" £325 Quad 510 £225.00 TANNOY BROADCAST MONITORS (BM8) "As 52050 Yamaha £350.00 KLARK TEKNIK DN34 (Pair with link) "As new" £795 Yamaha 52100 TASCAM RM8 (Pro dBx) "Bargain" for use with 122 or TEAC 244/34/38 discounts and HP and leasing. Microphones £28.00 "C" series £100 Erricks Bradford 309266 (Julian). (X) K G 080 £50.00 K G 0190e £125.00 A & DR SCAMP Rack +PSU (MAJ) Containing S24 time 0KG 012 £495 £106.00 shape +octave "Sparkling Condition" Shore SM57 £120.00 YAMAHA R1000's Pair "Special Price" £695 Shure SM58 £285.00 SM81 Each £385 (Limited stocks) MUSIC Saure £462.00 K.G. Neumann U87r £460.00 D1500 "Midi" Digital Delay Ex -demo £450 Northern Stockists and Distributors for YAMAHA Neumann U89, £460.00 Amplifiers. U47 tet TEAC LSX 7 Monitors (Pair) £49 RSD /STUDIOMASTER Audio Consoles and Neumann £102.90 MD421U -5 TEAC LSX 3 Monitors (Pair) £20 ALL DRAWMER PRODUCTS IN STOCK Sennheiser £75.80 "mini' MD419U Sennheiser £425.00 OBERHEIM OB -8 Ex -demo slightly marked £2,895 AND ON DEMONSTRATION is hi Ponastudro 244 £395.00 box" £1,950 Large stocks of new and used Recording and Audio 244 is hi OBERHEIM DMX DRUM COMPUTER "No Ponastudro £345.00 SEQUENTIAL CIRCUITS SIX -TRAKS "As new" £599 equipment- extensive range of connectors and Yamaha MT44 cassette deck for lists. Monitors 360 SYSTEMS with 13 voices incl:- Bosendorfer Grand £4,100 accessories -Send large S.A.E. 1207.62 Bose 301 £795 18/42 Charlotte Street, Wakefield, W. Yorks WF1 1UH E 146.95 REVOX PR99 S/H Literally as new Bose 205 Tel: (09241 371766 £121.69 MCI JH 110B 8T 1" "Corking Condition" £3,500 Bose 101 C69.50 cubes AKG BX20E £1,395 Auratone 5C super 000.00 Dau,ds 6001 £995 Visonrc C120.00 ADR COMPEX LIMITER Vrsonic Davids 7001 reach, £155.00 KLARK TEKNIK DN22 2x 11 Band Graphic £350 J B 4401 For Sale: 2 Studer A800 MKII leach, £465.00 FOSTEX SPI l's with Tripods (pair) £195 L 4411 J Bever, Sennherser and n sr ock, full range of Please add VA'l' to all pnces. $48,500.00, each. 1 Q -Lock 3.10 (2 AlsoE Phone for hest Urices. Electraectra voice microphones not include VAT or P e P A800 Cards, 1 JVC Card) $10,000.00. Prices do stock of * We also have a limited NEW MAIN DEALERSHIPS: Package price $100,000.00. equipment for hire HLIRK- TEKnIK e TOA Call (615) 327 4621 for details. 2" MASTER TAPE HIRE AND SALES Once used by major studio. Guaranteed no joins. Ola061 -483 9563 Ampex 406 £25.00; Scotch 226 £25.00; Scotch 5ROOKf SIREN SYSTEMS UO 250 £25.00; Scotch 206 £20.00 + VAT. Some 061 -483 4299 1" Tape available. Empty 2" spools £7.50. PART EXCHANGE WELCOME Quantity discounts. CAN I BUY ANY OF YOUR WANTED URGENTLY SURPLUS EQUIPMENT ... WELCOME 01 734 0134 TYPES OF USED STUDIO EQUIPMENT CAN I SELL ANY EQUIPMENT ALL FOR YOU ON COMMISSION Action Sound 01 -434 4365 PLEASE PHONE FOR BEST PRICES ALAN J SINCERELY ('' hearing from you! CHEETHAM Look forward to NORTHERN AUDIO, 4 CHEVIOT ROAD, IT'S FREE HAZEL GROVE, STOCKPORT, CHESHIRE STUDIO HOUSE Don Larking audio sales produce a free bi- monthly newsletter which is mailed direct and contains lists High Lane Village, Nr Stockport any of new and used recording equipment for both the * This Company has no association with SK6 8AA. Telex 665721 SOTA. professional and home studio. Telephone now and other recording equipment supplier. get your name on our computer. (0582) 450066 or 06632 4244 telex 825488. CLASSIFIEDS 95 www.americanradiohistory.com 35 BRITANNIA ROW LONDON NI 8QH BRITANNIA 35 BRITANNIA ROW LONDON NI8QH ROW 01 226 3377 BRITANNIA 24 HOUR RENTAL ROW 01 226 3377 A comprehensive range of Digital and Analogue effects including AMS, Lexicon, DIGITAL Eventide and Roland. Plus Sony PCM systems, Tape machines, Noise reduction, AUDIO units, Signal processors, Microphones, Drum RENTALS computers and Keyboards. Jí Immediate delivery and collection service SONY Li P` PCM 1610 DIGITAL AUDIO PROCESSORS 01-3879356 5850D/A U-MATIC RECORDERS 24 HOUR STUDIO EQUIPMENT RENTAL DAE 1100 DIGITAL AUDIO EDITOR 76 EVERSHOLT STREET, LONDON NW1 1BY PCM Fl DIGITAL AUDIO PROCESSORS SLF1 BETAMAX RECORDERS Studio Hire FULLY EQUIPPED AIR CONDITIONED t ul range of FOR SALE -PRIVATE DIGITAL EDITING & TRANSFER FACILITY effects, keyboards and drum IIIIIlIl111111111N11114A Computers etc. Phone for a CHILTON 16/8/16 MIXER to high spec including competitive HHb Parametric all channels, P & G faders, 4 HHB Hire & Sales, Unit F New Crescent Works, Nicoll Road, quote. auxiliaries, London NWIO 9AX. T iephone. 01-961 3295 Telex 923393. phantom power, PPM's etc. In good Emulator II £100, Oberheim condition. For full details tel. 0904 58436. X- Pander £35. AMS from £75. %- Phone Paul Tattersall on 01 -640 8487 - 01 -646 3137 REVOX A77 with remote /varispeed. HS version i in good condition /recent service. £350. HIRE ® Tel. 0904 58436. MULTITRACK FOR HIRE Lexicon 224X Larc . AMS 15 -80s 6.4s/1 -6s 2pc De- Glitch JBL L36 SPEAKERS good condition, £350. Tel. 0904 58436. AMS RMX -16 Digital Reverb Drum Computers, Keyboards, etc POTENTIOMETERS -4,000 x 10K sliders. Offers to Jane. Tel: 01 -897 1881 TTE HIRE SALES 01 -228 0984 Ext. 50. Pni. A INSTALLATIONS 01 -607 KLARK -TEKNIK DN60 real -time spectrum Bl 0087 The First Name in analyser, calibrated mic, LGB3 long period PROFESSIONAL SOUND SYSTEMS ANU USound Equipment Hire integrator, little used, operators manual, complete CONTROL EQUIPMENT (TOYS) packing, leads. £975. Tel. after 6pm 0684 72955. MIDI FELDON AUDIO C 01 -995 4730 VIF will 24 HOUR SERVICE INTERNATIONAL remanufacture your SYSTEMS AMPEX or SCULLY (Ashland /Bodine) direct Super Jupiter £30 Linn Drum Mk3 £25 drive capstan motor for US $250. Average turn Yamaha QXl /TX816 f60 Simmons SDS7 £25 around time 2 -3 weeks. For details write to PO Box SCI Multi Trak £20 MXR01A dig reverb £25 43111 1555, Mountain View, CA94042, USA. (D /F). MSQ700 sequencer [15 Bel BD80 delay £15 580 126 Great Portland Street. London WIN 5PH. Telee. 28668 AUDIO G. Large range includes Juno 106, DX7 keyboards, RX11, Sony PCM -3324 24 -track digital recorders. TR707 drum machines, digital delay/reverb/harmoniser * Sony PCM -1610 2 -track digital recorders. systems and Portastudio or 8 -track home recording packages. * * Sony Fl and 701 2 -track digital recorders. * Plus the most comprehensive range of audio effects Private Studio has for sale the following and ancillary equipment available. items in good condition. Will sell separately it Electronic editing facilities for 24 -track digital. required. New fully equipped 2 -track digital editing and transfer suite Dolby A 361 x 8 Ampex MM 1000 8 -track JBL Soundcraft series 2 16/8/2 0101 Otani MX 5050 2 -track Quad 8 CPR /16 Digital reverb Late night i Scamp ADT module S24 Teac 4 -track A3340S sales 8 service. 4 Shure mics 565 B.30 am - 1 1 pm Calrec CM 1050 Master Room Ill BL Reverb 50 yards 8 -way multicore 6 Broom Stands j1lnrquee (Electronics 4 Screens Offers. Telephone 01 -609 6001 anytime 10 RICHMOND MEWS, W9. 439 8421 24 HOUR SERVICE RING: 01360-313-990 L CLASSIFIEDS 96 Studio Sound, June 1985 www.americanradiohistory.com AUDIO ENGINEER STUDIO DESIGNERS SITUATIONS VACANT The appellant must have extensive experience in mixing live sound in The applicant must AND CONSULTANTS a large arena environment in Europe and the USA. also be familiar with the installation, repair and maintenance of large ENGINEER /ASSOCIATE to help run small four -way and five -way PA systems on a touring basis. A familiarity ambitious company operating around its own 16 with the on the road repair of Midas desks and Crown and BGW STUDIO CONSTRUCTION amplifiers is also necessary. track (pre -wired 24) studios, designed by top Studio a vironrnents built to the mghest stande,ds specialist. Work includes music and speech Applicant must be able to organise other members in a team and Our services include: assume responsibility for the financial running of the system including Fully engineered floating floors, suspended ceilings, high density doors, sound lock lobbies, concrete and brickwork, double glazing, low frequency absorbers recordings to professional standard, audio and the preparation of tour accounts. The applicant must be physically fit attenuated ventilation systems. insulating sealants, acoustic screens, electrical possibly satellite TV installations and studio and be prepared to travel at short notice. and electronic installation. equipment sales and commissioning. maintenance. Experience in above and This position is offered on a contract basis which is renewable on a tour U.K. and international projects undertaken. enterprising, easy -going personallity by tour basis. Salary is dependant on age and experience_ Planning. design and materials export. advantageous. Contact 22a Forest Road West, Applications should be in writing, enclosing a full CV to Tasco 115 -125 Ring RECORD CONSTRUCTION LTD SE1 7JL. For the attention of Mr. L. N. Blyth- Nottingham N97 4EQ. Tel: (0602) 784714. Lambeth Road, London 01 -985 7573 - London, England SOUNDS EQUIPMENT LIMITED KENNETH SHEARER AND ASSOCIATES in acoustics SCENICUnit 2.8 -14 William Road, London NW1 3EN. Consultants 30 years' experience in the custom design of all kinds of Tel: 01 -387 1262 recording and TV studios, remix, dubbing and viewing suites - new and conversions. Down to 25 Hz. SERVICE ENGINEER Tel: 0442 54821 At SSE we have been specialising in the distribution and technical support for sophisticated audio /digital products for over 10 years. We are looking for a fourth engineer to join our existing team of FOR SALE three. 24 -track professional studio with The successful applicant will have several years' experience in house and grounds. fault finding down to component level. Will be faimiliar with large digital and analogue products and be a self- motivated person who An excellent going concern with appreciates the freedom and demands of working in a small potential for expansion and friendly team dedicated to excellence. improvement. We are located in Euston, just behind Capital radio and look If you would like more details forward to hearing from you. please write to Box number 923. !CLASSIFIED ADVERTISEMENTS ORDER FORM Please use this coupon for all your sales and wants. Rates 50p per word. Minimum £12.50. Box Nos. £3.00 extra. Please publish To: Studio Sound, Classified Advertisements Dept., Link House, Dingwall Avenue, Croydon CR9 2TA. the advertisement below for insertion /s under the heading Name Cheque /P.O. enclosed £ made payable to Link House Publications (Croydon) Ltd. Address Is a Box No. required Yes /No. If no, please include remittance to cover name and address and /or tel. no. Please write in block capitals. CLASSIFIEDS 97 www.americanradiohistory.com CHIN AUDIO M A É . INDEX TO ADVERTISERS MIXERS & .. TASCAM A ® APRS 20. 82 Advanced Music Systems 19 Alpha Audio 26 wwïwsw"s Amek Ltd 55 Pro TAS ANT Nachrichtentecnik Gmbh 40 mastering Aphex Systems Ltd 57 at budget price Applied Microsystems Ltd 19 (P.O.A.) Audio & Design (Recording) Ltd 6 TASCAM 480B -` Audio Developments 65 SMPTE Compatable Audio Kinetics 24, 25 Commercial quality, 411,0) Audio Service Co 12, 95, 98 Small number at NA&MEC me & A SPECIAL PRICE playback for proessional BFE 79 mastering. TASCAM 52 Bandive 35 BASF AG 1111 IBC Fostex r Britannia Row 10, 53 FOSTEX A-2 SPECIAL /PACKAGE FOSTEX DEAL Connectronics Ltd 19 B-16 FOSTEX A8 with T' RAM RM10 I FOSTEX D & R Elettronica B V : i Also with 350 37 EXTRA SPECIAL PRICE Don Larking Audio 12, 18, 21 FOSTEX DBX 29 A-8 Drawmer Marketing & Sales 77 ,t,,t11 Future Film Developments SPECIAL kir7k ci -rztn- Ltd 12, 26 A new standard PACKAGE DEAL iRtaMEatlkskik>t FWO Bauch Ltd 15, 23, OBC in multitrack FOSTEX recording. B16 with imMiN4:40 AIM 24:16 Greengate Productions 14 Ì41ROIIHEI P.O.A. FOSTEX 350 H H Electronics Ltd 91 IíüLú1 H W International (Shure) 22 Harrison Information Technology 6 HHB Hire & Computer arded Sales 4, 79, 96 mixdown. Superb Hill Audio Ltd 41, 81 armer for B -16 Hilton Sound 82 AHB SYSTEM ITA 8 24:16:2 16, 17 D or 'nth Co °on John Bowers Ltd 67 644 don Klark Teknik Research Ltd 49 r Lexicon 59 lssassss Lyrec (UK) 31 RAM MEGA .bb ...... ;ä. EEEE Michael Stevens & Partners 87 ...... 1 .I ...... : Modular ' .. eEéE Mosses & Mitchell Ltd 87 design, ideal for 8-16 6 aux, 4 band Music Labs Hire Ltd 75 eq, Off, Ipf. rar .i'yy8iiiii MS Audiotron 67 l' STUD RAM MICRO / Northern Audio 95 MAS TER Neumann 23 Ocean Audio REVOX (16 71 B77 Otani 60, 61 MkII T Paradise Studios Ltd 87 Rane Corporation 89 Sanken Microphone Co Ltd 26 Scenic Sounds 29, 59, 85 Shuttlesound 73 SE Sony Broadcast Ltd 47 SECK Soundcraft Electronics Ltd IFC 12:2 Soundout Labs 63 Sowter Ltd E.A 82 Spectra Sonics Inc 69 Studiomaster 33 Studer 15 Studio Spares 27 Surrey Electronics TASCAM 225 38 : 244I Syco Systems Ltd 50, 51 Tannoy OBC Tape Automation 10 variations TASCAM Two Technical Projects 71 on the musical sketchpad Trad Sales & Services 22 theme. 1 Trebas 82 Trident Audio Developments \4 TASCAN 8 Turnkey 7, 9, 11, 13 TASCAM 234 Great companion Ursa Major 39 (6 LINES) Studio House, Yamaha /Kemble 42, 43 High Lane Village , Ni' Stockport 06632 4244 SK6 8AA. Telex 665721 SOTA. Studio Sound is available suit how charge to qualified readers: these are directors, managers. executive and kr personnel actively engaged in sound recording in any part of the world. The Publisher reserves the iehi refuse lit applications considered inappropriate and restrict the number of free copies sent to an one company or organisation. Non- qualifying readers can buy .Studio Sbm+d at an annual subscription of ,n:. All enquiries to: Subscription Department, Link House Magazines, Central House, 27 Park Street. Croydon CRO I YD. Tel: 01 -760 0054. Published Os the proprietors Link House Magazines Limited. 1-.ink House, Dingwall Avenue, Croydon CR9 2TA and printed h_ Lawrence -Allen Ltd., Gloucester Street, Weston- super-;Nlare, At on 0523 1TP. www.americanradiohistory.com BASF Studio Master The new Tape Generation BASF Studio Master 910 BASF Loop Master 920 BASF Digital Master 930 dioxide master tape for high- This professional chromium dioxide tape i This sophisticated recording tape of high The chromium of for the speed duplication systems. At 64 -times especially tailored to the requirements dynamic was designed especially where the demands of modern multi- duplicating rate, the master is usually re- digital sound recording (PCM), high professional density makes exceptionally track technology. corded at 9.53 cm /s. It is only the typical high storage featured by high demands on the evenness of the coa wear resistance of the magnetic layer chromium dioxide properties The which offer that extra qual- ing. The typical chromium properties are ensures reliable operation even after Loop Master 920 ity needed to allow exploitation of all the brought out excellently in this latest form of hundreds of passes. layer advantages of a high -class cassette tape (eg. sound storage. The antistatic magnetic In spite of its considerable high MOL (+ 11.6 BASF chromdioxid ll). In spite of the mecha- and the black, conductive matt back protect dB over reference level 320 n Wb/m), BASF nical stress to which it is subjected in the the recording against dust -induced dropouts Studio Master 910 has an unusually good "loop bin': the durable magnetic layer means and ensure smooth, steady winding without print ratio of 57 dB and is therefore also that the recording level remains extremely damage to the tape edges. suitable for long -term archiving. The BASF constant, particularly in the high frequencies, typical constancy of the electroacoustic even after running thousands of times. properties and the excellent winding charac- teristics also ensure easy hub operation. Coupon: Please send me further infor- mation on the BASF Studio Master Series. Name /Company 1 Address BASF BASF United Kingdom Ltd. 4 Fitzroy Square London W1P 6ER Tel: 01 -388 4200 Telex: 28649 BASF Aktiengesellschaft Gottlieb -Daimler -Str. 10 D -6800 Mannheim 1 Tel: 06 21/40 08 -1 Telex: 4 62 621 basf d m BAS www.americanradiohistory.com Family Resemblance. All Tannoy professional monitors have a common heritage: a family resemblance which is born from a commitment to the ultimate in sound quality. Each aspiring Tannoy monitor is carefully examined by the best -tutored ears, and by the most sophisticated measurement instrumenta- tion available. When Tannoy give a monitor top marks, the family's reputation is assured. Hugh Ford of Studio Sound commented recently that the Tannoy BM8 -the smallest speaker in the professional range- indicated the similarity of overall tonal balance of all the Tannoy range of professional monitors" This resemblance ensures that whenever a mix is monitored on one Tannoy speaker it will have the same sound continuity on another speaker from the Tannoy family. For full technical details, just 'phone or write. The Name for Loudspeakers FW.O. Bauch Limited 49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ Telephone 01- 953 0091, Telex 27502 www.americanradiohistory.com