Directory: Northwest Studios PR99 MKII PRODUCTION -PERFORMANCE -PERFECTION

Suzanne Vega •MIDI Studios • GuitaristTommyTedesco

U.S. S4.00 CANADA $5.00 JANUARY 1988

Computers in the Studio: Hard Disks & Software On the Road X with Pink Floyd THE RECORDING INDUSTRY MAGAZINE

There can be mance. From the solid diecast aluminum transport chas- -0 03 36 no compromise! HR MIN • SEC sis and head block to 7 A-I on PPI 'FT qE! the servo capstan Tour the premier recording studios motor and the of the world — from London to New modular electronics, York to L.A. — and you'll find they have everything is milled, one thing in common: "no compro- PR99 MKII Real Time Counter and Autolocator. drilled and mounted mise" recorders from Studer of with Swiss precision. The parts fit brated "+4" balanced and floating Switzerland. together right — and stay there. inputs and outputs: • 10 /12 " reel Sure. their Studer multitrack The PR99's professional features capacity. mastering decks are abig investment, are perfect for efficient, accurate tape As for sound quality, the Studer but you can make an equally sound production: •Real-Time counter that heritage again allows no compromise. choice for your production needs for a reads both plus and minus hours, We think you'll find the Revox PR99 whole lot less. You can own atwo-track minutes and seconds: •True Auto Loca- MKII to be sonically superior to any- production recorder with the same tor allows precise, automatic search- thing in its price range. Audition the Studer heritage — a machine that has and-cue to any preselected address Revox PR99 MKII at your Studer Revox many of the same production features, point: •Zero Locate to return the tape Professional Products Dealer, or con- the same uncompromising audio per- to the zero counter location — tact: Studer Revox America, Inc., 1425 formance and the same level of manu- EXACTLY! •Auto Repeat to continu- Elm Hill Pike, Nashville, TN 37210: facturing perfection that has made ously replay a tape segment of any (615)254-5651. Studer Revox recorders the world stan- length. dard — THE REVOX PR99 MKII is the Plus: •Built-in, front-panel vari- machine! speed: •Self-Sync: •Input and output Like its "big brothers" in the top mode switching: •Edit mode switch: studios, the PR99 MKII is aprofessional 9 •Tape dump: •Calibrated and Uncali- eUROIDIEL ,3 REVOX machine built for long-term perfor-

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designs in other consoles. consoles is of this design. etc eat What's more, all capacitors in the audio path are Elna' Comprehensive "Carafine" grade low-ESR type 4-band Ideal tor n:\ for superior transient response. miscellaneous RE especially taxi cabs. I equalization. when you least expect it

2MHz The universal Each input module is equip- 5 (WU-S81) 4ical single-IC, unity gain buffer ped with apowerful 4-band, 1

input circuit II stage and its response. state-variable, sweep-frequency II cuit that performs this function Our engineers developed a equalizer with high speed (20 Module unique input preamp circuit. Its 0 ends up creating problems of volt per microsecond) bi-EET Input 41-position control can be con- II another sort That's because the ICs This circuit complements tinuously adjusted, with 1.5 dB II

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Why did in ground potential). Suddenly, crosstalk, or leakage. When much about the real system the performance is orders of you put asignal into the performance from looking at a Ramsa design magnitude less impressive. console, and it comes out typical crosstalk spec! In fact, many consoles everywhere, that's crosstalk. Consider that atypical this console? become unusable under these Crosstalk is usually present crosstalk figure of —55 dB at How many times have you conditions. This is one of the even in the finest consoles. For 1kHz can degrade to —40 dB compared the specifications for areas we sought to correct in example, the "infinity" mark- at 10 kHz due to the capacitive two different sound mixing designing the WR-S840 series. ing on afader really doesn't nature of high frequency cross- consoles and wondered why, Our market research indi- turn the signal off—it just talk. It doesn't do much good though their specs were very cated there was agenuine attenuates it Crosstalk also to achieve alow distortion fig- similar, they sounded so dif- need for atruly professional applies to all volume controls ure, like 0.01% (which is 80 dB ferently? It happens all the time. sound mixing console without (aux sends, pan pots, etc.) and below signal level), when the One of the primary causes alot of costly gimmicks. The to switches (pre/post, assign, crosstalk is —40 dB at 10 kHz. for this apparent discrepancy basic function of such acon- on/off, etc.). In other words, it That level of crosstalk is between specs and actual per- sole was already well-defined, affects everything in the roughly the equivalent of 1% formance is related to the way yet we wanted to design acon- console. The real question distortion at 10 kHz! in which specifications are sole that would become the becomes, "how much has the Ramsa uses several measured. lypically, aspec is benchmark which future con- crosstalk been attenuated, and approaches to reducing cross- measured in alaboratory, with soles must emulate. One that what is its frequency talk. In our physical bus struc- highly controlled conditions. would exhibit comparable per- response?" ture, we pair aground The console is driven from a formance and stability in the Crosstalk is as important an conductor with each signal single, well-behaved source (an field to that exhibited in the attribute of aconsole's perform- conductor so that adjacent oscillator or noise generator), lab. And our experience in ance as is distortion or noise. channels of audio are always and terminated by aresistive sound reinforcement, and Yet typically you will see only isolated by aground. Even with pad and some sort of analyzer. especially in the broadcast one crosstalk figure (adjacent all those grounds, it would still Under these conditions, you industry (where the demands inputs to adjacent outputs). No be possible for crosstalk com- may see very impressive specs are extraordinary), gave us the wonder you cannot determine ponents to modulate the poten- for noise and distortion. Yet know-how to do the job. The take that same console into a result is the WR-S840 series of studio, an arena, or atheatre consoles. - and consider what happens. NMI You'll connect dozens of inputs Crosstalk: akey from avariety of locations factor in console .... ,dede-41:" Oa (some carrying noise modula- e tion from dimmers, fluorescent performance. light ballasts, wireless mica, or One of the most critical, and the security crew's walkie-talk- least understood, aspects of the 1 ies). You'll hook up the outputs performance of aconsole is to loads through hundreds of feet of reactive cable. You'll patch in signal processors that may be fed from different AC _ systems (with hum and noise current riding on the difference WR-S840 Configured as a Alp Ap Ap spew,. , 52 Input House Console. in tial on the cumulative ground higher and higher as more large installations—sometimes bus—resulting in low fre- inputs are assigned. Every time Aproven method spanning many acres, with up quency crosstalk, and amuddy the number of inputs assigned of professional to adozen sound stages all fed sound. Therefore, we also run is doubled, the white noise console grounding. from acentral tape machine/ aheavy (/14 "x ") chrome- rises 3dB and the hum film dubber room. Similarly, TV plated solid copper ground bus increases 6dB. That's why the Grounding is the most mis- network facilities invariably the length of the console, to specs can look good in the lab, understood aspect of system distribute audio through multi- which each module's audio and not be very impressive in design. Improper console ple floors of high-rise buildings, common is tied. You won't see the field. grounding can cause odd evidence of this difference in You don't get something for noises and unwanted sounds the specifications, but you will nothing, and unfortunately, that are difficult or impossible It's no great sure hear the difference in the back-grounding does cause the to eliminate regardless of how engineering studio or in alive performance. summing amps to run at max- carefully the rest of the system Another way we combat imum noise gain. In order to is assembled. achievement to build crosstalk is to back-ground all keep the overall noise low in There are really just two aconsole that yields assignment switches. This the WR-S840 series, while basic types of grounding prac- good specs on the means that when abus is not avoiding crosstalk by using the tices: single-point and distrib- bench. But getting it assigned through agiven back-grounding scheme, we uted. Single-point grounding to perform to those switch, that feed to the bus is designed adiscrete summing can work well within asmall same specs under shunted to ground. This preamp circuit for the console. sound system. Distributed 'real-world' con- vents the signal brought to the This new amp yields an grounding lends itself to large ditions... That's quite switch from leaking onto the improvement of better than 12 systems, including those up to another matter." bus. dB in noise performance over the size of your telephone com- In anon-back-grounded conventional monolithic IC pany! Clearly, we selected a John Windt, (that is, aconventionally amps. Avery pleasant side ben- distributed system as being the consulting appropriate technique for the engineer WR-S840 series. We didn't do anything new, we just did our with alot of RF present. homework. Hence, the SMPTE practices As far back as the 1950's, the have to work for the toughest Journal of the Society of of grounding situations We fol- Motion Picture and Television lowed SMPTE recommenda-

Ramsa back-grounded switch (left) versus conventional hus assign switch (right). Engineers (SMPTE) character- tions in the WR-S840 series ized, in detail, adistributed because they comprise atruly grounded) system, you can see efit is that the system noise is grounding technique which professional methodology that very low noise figures with not only lowered, it doesn't they recommended for use by eliminates the vast majority of only one input assigned to a change as more inputs are all equipment manufacturers hum, buzz and other ground- bus, yet the noise comes up assigned (see specs). Film studios generally have related problems NOTE: SMPTE also stated that input and output connections must be balanced. which is why all inputs and outputs on the WR-S840 series consoles are balanced. In fact, these consoles are among avery few on the market that comply with all recommended WM. practices tiw professional sound equipment. Hi-MIC circuitry for precision and reliability. AHi-MIC is acost-effective circuit package that makes use of surface-mount technology. Traces are plated on asubstrate, and then all resistors, capacitors, transistors and ICs are surface simple, expedient circuit will any source from — 60 dBu to mounted to that substrate. create apeak in the response at +4 dBu nominal level while The package is then potted for avery high frequency, some- maintaining afull 20 dB head- stability and thermal conduc- where around 2MegaHertz. room throughout this range. tivity. Resistor tolerances in our The designers assume this will The circuit uses discrete tran- not cause problems because, sistors for low noise, and a after all, the audio range is bipolar 25 volt supply for the RAMS& E0A`r limited to about 20 kHz, and headroom. lAC-5713A 635 I this is 100 times higher in IIIIIIM1111111111111 frequency. Long-life At Ramsa, we know better. MRPTM controls. Hi-MICs can be held to within We realize that a2 MHz peak is avery low 0.5%, resulting in an invitation to radio fre- MRP (Matsushita Resistive excellent uniformity Hi-MICs, quency interference. It turns Plastic) describes aproprietary which are essentially self-con- the console into agreat busi- RAMSA process for building tained circuit blocks, also sim- ness radio receiver so that a high quality, high precision, plify troubleshooting. passing taxi cab, for example, is long life controls For example, likely to contribute to your the faders and input attenu- Good, stable program. For this reason, we ators on the WR-S840 consoles are rated at 300,000 operational circuit design— cycles This is some 20 times the It doesn't cost you life of atypical carbon fader! any more for us Fiberglas-Epoxy to do it right! No HF peak, no -....\i a simple roll-off I circuit boards with 6dB extra I Consider the buffer amps. margin of stability I Consoles invariably have many 2MHr throughout circuits to buffer one stage Rantsit unity gain huller stage and Fiberglas-epoxy boards may from the next, serving as an ts response. cost more, but they offer impedance converter without designed the unity gain buffer numerous advantages They changing the gain. For example, for the WR-S840 series. It now don't warp, they are much there's always abuffer between has more parts, but the circuit stronger than phenolic boards, each pan pot and its assign is much better behaved, exhib- they can be fabricated with

Typical module with Ili-MIC hybrid packages. switches so that the 3dB down point of the pan pot does not iting asimple, non-peaked shift, no matter how many single-pole response and pro- double-sided traces and plated assign switches are selected. viding some 6dB greater mar- through holes That's why every Unfortunately, the typical cir- gin of stability than the typical circuit board in the WR-S840 designs in other consoles. consoles is of this design. What's more, all capacitors in the audio path are Einar' Comprehensive "Carafine" grade low-ESR type 4-band Ideal for tuning—#.7An for superior transient response. miscellaneous RE especially taxi tabs,' equalization. I when you least expect it. The universal Each input module is equip- typical single-IC, unity gain huller input circuit ped with apowerful 4-band, (WU-S81 stage and its response. state-variable, sweep-frequency cuit that performs this function Our engineers developed a equalizer with high speed (20 Module unique input preamp circuit. Its ends up creating problems of volt per microsecond) bi-EET Input 41-position control can be con- another sort. That's because the ICs This circuit complements tinuously adjusted, with 15 dB the engineer's acoustic and detented resolution, to accept Mic/Line Mono III !II

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Frequency Response +0, -1 dB, 20 Hz to 20 kHz; -3 dB at 10 Crosstalkt Hz and 140 kHz; any input to any output Adjacent Input to 85 clB at IkHz; 72 dB at 10 kHz bus, at any level control setting Adjacent Output Fader (Maximum Kill) 80 dB at 1kHz; 60 dB at 10 kHz Total Harmonic Distortion Channel On/Off Switch 95 dB at 1kHz; 75 dB at 10 kHz At Nominal Level 0.01% *(+4 dBu in & out) Aux Send Pot 75 dB at 1kHz; 60 dB at 10 kHz 10 dB Above Nominal 0.006% (+14 dBu in & out) Output Module (All 80 dB at 1kHz; 65 dB at 10 kHz 20 dB Above Nominal 0.05% (+24 dBu in & out) Combinations of Group-Aux-Matrix) Intennodulation Distortion

At Nominal Level 0.01°/o *(+4 dBu in & ()ut) Common Mode 10 dB Above Nominal 0.01%(+14 dBu in & out) Rejection Ratio 20 dB Above Nominal 0.1% (+24 dBu in & out) Standard Channel Input 70 dB 20 Hz to 20 kHz at any input gain control setting Dynamic IM Distortion All Other Inputs 40 dB at 1kHz; 35 dB a: 10 kHz At Nominal Level 0.01% *(+4 dBu in & out) 10 dB Above Nominal 0.005% (+14 dBu in & out) Equalization 20 dB Above Nominal 0.02% (+24 dBu in & out) Low (shelving) ±15 dB, sweepable 40 Hz to 400 Hz Low-Mid (peaking) ±15 dB, sweepable 160 Hz to 1.6 kHz Phase Response +60° at 20 Hz, -20 °at 20 kHz High-Mid (peaking) ±15 dB, sweepable 800 Hz to 8 kHz High (shelving) ±15 dB, sweepable 1.6 kHz to 16 kHz Noise Equivalent Input Noise -127 dBm (150Q source, DIN audio High Pass Filter 12 dli/octave, sweepabfe 20 to 200 Hz bandwidth 22 Hz -22 kHz) Mixing Bus Assigns Output Signal-to-Noise 86 dB (all faders off, all channel switches Standard Input Modules 8group, 2stereo & 8 aux send Ratio off, all modules assigned to the bus) Monitor Module 10 mono & 4stereo (stereo outputs are 80 dB (all faders at nominal, all channels switchable to dual mono in pairs, for a on, all modules assigned to the bus, total of 18 busses) input gain controls at +4) Meters 18 VI; meters with LED Peak indicators: Maximum Voltage Gain 8switchable for Matrix or Group, Input to Group Out 84 dB (±2 dB) 2Stereo, 8Aux Input to Aux Out 86 dB (±2 dB) Input to Matrix Out 90 dB (±2 dB) Headroom 20 dB minimum throughout the entire console *There is no measurable distortion at nominal level; this value is actually the noise floor of the console, which is why distortion drops at 10 dB above Power Requirements 120 V AC, 60 Hz, 600 VA nominal level. (Ramsa WIi-PS80 Supply) 1- Crosstalk values are the difference between the level fed into the driven circuit, and the level measured in the non-driven circuit. Overall Dimensions 72-7/8" x 12" x39-3/8" (WxHxD) 1851 mm x 305 mm x999 mm

Weight 293 pounds (133 kg) approx.

Actual Nominal Source NominalNo Max Level Input Characteristics Impedance Impedance Level Before Clipping Connector

Standard Channel Inputs 51(12 150Q -60012 -60 - +4 au -40 -- +24 dBu XLR-3

Aux In, 2-Track 1 In, Efx In 10kil 6000 +4 dBu +24 dl3u XLR-3

Input Module Insert Return, 2-Track 2 Input, Sub Input 10kS2 6000 +4 dBu +24 dl3ti T/R/S Phone Jack

2-Track 3Input 101(Q 10k12 -10 dBV +12 dBV RCA Jack

Output Bus Insert Return 10kfl 6000 -2 Mu +24 dBu T/R/S Phone Jack

Aux Mk Input 5kQ 1500 -6000 -80 - -50 clBu -60 - -40 dBu XLR-3

Actual Nominal Load Nominal Max Level Output Characteristics Impedance Impedance Level Before Clipping Connector

Group, Aux, Matrix, Stereo, Control Room & Ose. Out 750 6000 .4 dii,, .24 dBu XLR-3

Input Insert Send, Direct Out, Studio Out 750 6000 +4 dBu +24 dBu T/R/S Phone Jack

Group, Aux, Matrix & Stereo Insert Send 750 6000 -2 dBu +24 dBu T/R/S Phone Jack

Studio Out 5000 101d2 -10 dBV +12 dBV RCA Jack

Data measured on an Audio Precision test set is available on written request. Fina is atrademark of Elna America. Inc., Panasonic Carson. CA. MRP is atrademark of Matsushita Electric Industrial Company Corporation of America.

6550 Katella Avenue Cypress, CA 90630 R-840 714-895-7200 •

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Circle *002 on Retider Service Card JANUARY 1988 THE RECORDING INDUSTRY MAGAZINE VOL 12, NO. 1

SUZANNE VEGA P. 132 HAL BLAINE & TOMMY SANDS P. 125 PC.'S IN THE STUDIO P. ro \LINEA' WALDMAN P 130

80 FIELD TEST: Leonardo Librarian FEATURES Software by Jerry Ross

48 A SURVEY OF MUSIC SOFTWARE 83 FIELD TEST: Lexicon 480L Digital by Paul Potyen Effects Processor by Larry Oppenheimer

86 LUNCHING WITH BONZAI: 58 THE R-DAT SCARE: Tommy Tedesco by Mr. Bonzai Mix Readers Speak Out 96 SOUND ON STAGE: Sound 66 SOFTWARE SOLUTIONS TO POST- Reinforcement News & Tour PRODUCTION PROBLEMS Update by Mark Herman

by Dale Strumpell 100 SOUND ON STAGE: On the Road with Pink Floyd by Elliot Luber 114 MICK JAGGER: The Stone Rolls Alone by tain Blair 110 MI UPDATE: The MIDI Studio Grows Up by Craig Anderton

163 GREG SHAW: Portrait of the Artist in a 125 THE HAL BLAINE STORY: Tommy Computer World by Lou CasaBianca Sands by Hal Blaine with David Goggin

170 PC'S IN THE STUDIO: 130 PLAYBACK: Wendy Waldman's Letters How Northwest Studios Use Home by Blair Jackson Computers by Linda Jacobson 132 MUSIC NOTES: Duane Eddy, Cinema Records, Suzanne Vega, Soundtrack Wizard Joel Sill

COLUMNS 146 AFTER-MIX: Formats & Futures by Philip De Lande 16 INSIDER AUDIO: CD Video Production by Ken Pohlmann 149 POST-SCRIPT: Tapeless Recording for Television Post by Peter Wetzler 24 JUXTAPOSITIONS: Disk & DAT by Mel Lambert 152 INTERACTIVITY: Macintosh's HyperCard by Lou CasaBianca 34 PRODUCER'S DESK: Elliot Scheiner by Larry Oppenheimer

54 STUDIO VIEW: Beyond the MIDI Studio by Tony Thomas

4MIX,JANUARY 1988 FROM THE EDITOR

Cover: located in ebig news in professional re- Reno. Nevada. Granites h House combines the atmosphere and coin cording these days is how the computer has entered into virtually

01111•1•1111.M fort of aVictorian home

Y 111,(”1-1, ING - /-.Yi6F,YrYill with tiate-of the-an every facet of the recording process. From operating astudio recording facilities. The suidk: is equipped with business to amixing console, from generating ascore for the an W.6000 fully auto mated console With instrumental arrangements to creating the sounds of the orches- Total Recall, tinder tape machines. t"REI and tral palette, from building an on-line masterpiece to carving a • - • Yamaha monis its driven by Crown power amps and awide assortment 72-second musical tidbit into two 30s and a60, the computer is of :nab:Yard gear. The studkr is minutes away being put to good use by the recording community. ..."1.1rnssrrnrnrrrirnrrtiris from the lake Tali: re resort area. Photo frt . At the fall AES Show, the barometer of pro audio's health and Roben Ordware Suidir One Photography. welfare, there were enough computer disk-based recorders and editing devices to prove that atrend has developed, and this hardware certainly received the most attention. Yet while these DEPARTMENTS systems boast impressive capabilities, they go up against many time-tested procedures and require significant user learning time.

6 CURRENT Whether they'll be quickly accepted by the studios or just become the latest round of instant obsolescence remains to be seen. We 8 INDUSTRY NOTES plan to follow these developments over the next few months, and try to give you, in the process, aclear view of how these 10 SESSIONS/STUDIO NEWS devices operate and their viability in the studio. 72 PREVIEW We begin our closer look at disk-based production with Mel Lambert's overview of AES and the key players in this new indus- 222 CLASSIFIEDS try niche. This month's PostScript profiles aNew York disk-based 226 AD INDEX recording studio, for an applications-oriented view of the topic. Our studio operator's forum this month, hosted by Linda Jacob- son, explores music hardware and software currently being used DIRECTORY by operations in the Northwest U.S. And for the latest on music and production software, our new associate editor, Paul Potyen, 184 LOCATION INDEX has surveyed the field and reports on where the action is. Paul, a 186 24+ TRACK jazz musician with two engineering degrees and MIDI tenden- 204 12 & 16 TR_ACK cies, replaces George Petersen, who moves over to become man- 212 4& 8 TRACK aging editor of Electronic Musician. However, George remains product editor at Mix. VBPA Keep Reading, Circulation independently audited and verified by Busi• ness Publications Audit of Circulation since 1986.

Mix magazine is published at 2608 Ninth St., Berkeley, CA 91710 and is e 108- by Mix Publications. Inc. 'Ibis is V: atone Eleven. Number Eleven. November 19e. (ISSN 0164 99S- 1is pub. lislied muuntlrlv. subscriptions are available for 83800 per year. Subscript i: ins outside USA. are $50.00 per year Single copy price David Schwartz is scoo, back issues $5.00. Send subscript:: il applkations. sub. script ion inquiries and changes of address lc: (kv magazine, PO Editor/Publisher Box 3-1-4 Escondido. CA 9202S-314 recall oneuuftheseti,llfree numbers: in CA, 1(800)255 330 «side CA, 1(14)0 1334 8152. Address all :rther correspondenc2 ii Mie magazine, 2608 Ninth WE'RE MOVING Sr. Berkeley CA 9410. 14151 8,3 '901. Fax, 14151 843-954. Sec::nd Clam postage paid at Berkeley, CA and additional mailing As of January 20, 1987, Mix Publication's mailing address will be offices. ((iv magazine is distributed in pro audio stores, music Cores and other related businesses. If you have arecording or 6400 Hollis St., Ste. 12, Emeryville, CA 94608. music-related busiowss and would likeiuu distribute Mk; please give us acall. Display advertising rates, specs and closing dates New phone: (415) 653-3307 are available upon request. This publican: in may not be repro duced or go xed in whole or in pan by mimeograph or any xher New FAX: (415) 653-5124 printed means. with: rut written rermissr: or of the publishers.

JANUARY 1988. MIX 5 CURRENT

Congress Asked to Include isfactory results. They support legis- ingly aglobal market. Music Rights in Package lation that would eliminate "blan- "We now have abalanced glob- Four witnesses representing the ket licensing" and establish "source al capability in the compact disc television broadcast industry told a licensing"—music rights would be and optical storage industries Senate subcommittee that the cost included with all other copyrights which will create greater effective- of music copyrights in syndicated (script, literary or choreography) ness in production, supply and programs purchased by local TV that are conveyed by the syndicator product development for our com- broadcasters should be included in when the rights to aTV show are bined operations." the purchase price of the overall sold to alocal station. laserVideo, formerly a wholly program package. owned subsidiary of the Chicago Currently, broadcasters must buy Video Expo Set for San technology company, Quixote Inc., expensive "blanket licenses" for Francisco adds aclient base with service of- the rights to millions of songs, al- More than 8,000 prospective buyers fices in NewYork and Los Angeles. though they may actually only need will be combing the aisles looking LaserVideo's pioneering work in the rights to afew dozen songs con- for equipment at Video Expo San videodisc and CD-ROM mastering tained in programs already bought. Francisco, February 23 to 25 at the plus audio CD dates from 1983. It Testifying before the Senate Sub- SF Civic Center. Along with exhib- is now the second largest produc- committee on Patents, Copyrights its, the Expo offers an intensive sem- er in the U.S., with the only CD and Trademarks were Leslie G. Ar- inar program, all under one roof. plant on the West Coast. Both Disc- ries, Jr., chairman of the All-Industry Booth space is now available. For tronics and LaserVideo use astate- Television Music Licensing Com- more information call (800) 248- of-the-art Meiki injection molding mittee, Buffalo Broadcasting Co., 5474, or (914) 328-9157 in NewYork. technology. Inc., Buffalo, NY; committee member C.E. Cooney, KPNX-1V, Phoenix, Disctronics Buys Two CD Music Expo Set for Los AZ; Philip J. Lombardo, NAB repre- Plants Angeles sentative, Citadel Communications, International compact disc manu- Music Expo '88, designed to be the NewYork, NY; and Dick DeAngelis, facturer, Disctronics Ltd., has ac- world's largest showcase for music KPHO-TV, Phoenix, AZ, represent- quired laserVideo Inc., the largest and music-related products, will be ing INTV. U.S.-owned CD producer, for $55 held at the Long Beach Convention "We are currently able to bargain million in cash and stocks. The Las- Center, south of LA., April 29 to directly with copyright owners for erVideo plants in Huntsville, AL, May 1. the performance copyrights to ev- and Anaheim, CA, combined with The three-day showwill host over erything we air except one thing— the Disctronics plants in Mel- 200 manufacturer and vendor ex- the background and theme music bourne, Australia, and Southwater, hibits in atrade show format struc- which the Hollywood studios insert England, will produce 65 million tured for consumers. Everything into the syndicated shows they sell units, capturing 20% of global pro- from drum kits and sheet music to us," says Lombardo. "All studios as- duction, making it the third largest electronic keyboards and the latest sign their music copyrights to one CD producer following Philips Du- in digital technology will be on dis- of two licensing societies, ASCAP or pont Optical and Sony. Disctronics play. In addition to the exhibits, the BMI. They in turn demand a flat has achieved this distinction less event will include demonstrations, payment, historically apercentage than 18 months after its original Aus- on-site seminars, live performances, of the station's total revenues, not tralian plant began construction. sweepstakes and individual product simply aportion of the money gen- "As the world's major indepen- promotions. erated by the programs them- dent," says Disctronics CEO, Roger Booth space is now available. For selves." Richmond-Smith, "we can signifi- complete information and aspace The broadcasters have spent 13 cantly enhance our commitment to reservation kit, contact Musex, Inc., months attempting to negotiate a client service—for majors and inde- 723 /12 North LaCienega Blvd., Los fair solution with ASCAP without sat- pendents alike—in what is increas- Angeles, CA 90069, (213) 659-0701.

6 MIX,JANUARY 1988 MX-80 32-CHANNEL TAPE RECORDER e

OPPORTUNITY KNOCKS.

"1; 7'. 1.mmâ rmrim2' Z:àmâ

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32 Tracks; constant tension tape transport; built-in autolocator; .noiseless and gapless punch-in/punch-out, and HX-Pro—at a price you can afford. -We call it opportunity". You'll call it "a killer". We know getting started in the music business can't mean an MT1R-90 in the first month, even when your talent warrants it. . So we've given you trie next best thing—the MX-80. Now you have room for the band, the back-ups, the strings and the horns—with some bucks left over for that new console you've been looking at. And there's a 24 channel version too! From Otan: Technology You Can Trust. Contact your nearest Otan i dealer, or call Otan i (415) 592-8311. Otani Corporation, 2Davis Dr, Belmont, CA 94002 DTEG111

Circle #041 on Reader Service Card STAFF EDITOR/PUBLISHER David M. Schwartz ASSOCIATE PUBLISHER Penny Riker Jacob ASSOCIATE PUBLISHER/MARKETING DIRECTOR Hillel Resner

MANAGING EDITOR ASSOCIATE EDITOR Blair Jackson Paul Potyen TECHNICAL EDITOR SENIOR EDITOR NDUSTRY NOTES Ken Pohlmann John Woram MUSIC EDITOR EDITOR.ATIARGE David Gans Mr. Bornai Sound and electronics system contractors turer, and will now draw upon the wide- PRODUCT EDITOR can look forward to acomprehensive sem- spread recognition of the Yamaha name George Petersen ASSISTANT Eproits inar at the Contractors Expo and Con- .. . Dyan Traynor was named director Karen Margroff Dunn landajacotlson EDITORIAL ASSISTANT ference '88, May 18 and 19 in Reno, Neva- of sales and marketing at EFX Systems in Josh Gressel da. The seminar will indude audio, video, Burbank, CA .. . Sound Genesis Corpo- CONTRIBUTING EDITORS lain Blair Lou CasaBianca Dan Daley management and computer-assisted de- ration hired DonnyJohnson as sound Philip Detancie Larry Oppenheimer Bruce Pilato Tony Thomas sign sessions. Nearly 300 product exhibi- development team leader and has con- ART DIRECTOR tors are expected at the Expo. To register tracted with Stephen Kay, aNYC-based Tim Gk-.eon ASSISTANT Airr DIRECTOR call the National Sound and Commu- independent producer, to act as waveform I>aye Marrs nications Association (NSCA) at (312) and production consultant .. . Advanced 1)ESI(;N ANI) PRODUCTION Patsy law Messerer Dehorah Villa 593-8360 .. . The National Computer Music Systems (AMS) Industries of TYPOGRAPHY Linda Dierking Connie Wiggins Janice leher Graphics Association (NCGA) is hold- England hired Julie Wood to work in PRODUCTION DIRECTOR ing afive-day conference March 20 to 24 public relations. .. Mitchell Brill was Anne tinsel, PROIX XTION ASSISTANT in Anaheim, CA. Artificial intelligence, named Editel/NY's director of client serv- Kathy Badenscher Al)‘E.ROSING TRAFFIC COORDINATOR computer art and animation, computer- ices .. . Raleigh Nelson was named ac- Donna Burristi aided design and manufacturing and elec- count representative for Grace & Wild ADVERTISING I)IREC.TOR tronic publishing will be among the sub- Studios in Farmington Hills, MI .. . Da- Ron Taff ASSISTANT ADVERTISING DIRECTOR jects of the 128 sessions conducted by vid Neal was appointed marketing man- FASTF.RN Al) MANAGER Jeffrey Turner over 300 speakers. For further informa- ager of Great Britain's DDA, which also NOR) MESTSORTH CENITIAL AD MGR. tion, contact Sharon Sutton or Bob Cramb- has named Savana Communicacoes Harun Firmin SOITHERN CALIFORNIA SOLTENVEsT Al) MGR. litt at (703) 698-9600 .. . The 129th Ltd. of Rio de Janeiro as its Brazil distribu- Ken Rose AIWERTISING REPRESENTATIVE SMPTE Technical Conference and tor and Professional Equipment of Dennis Gray SALES ASSISTANTS Equipment Exhibit, held October 31 Milan and Audio Link of Parma as Italian Randy Alberts Carol McMurray through November 4in Los Angeles, drew distributors .. . A/T Scharff Rentals in MARKETING ASSISTANT Jane Byer over 17,000 people, breaking attendance NYC appointed Scott Schachter as video SALES Al)MINISTRATOR Neil McKamey records for the third consecutive year. The accounts manager . .API Audio Prod- DIRECTORIES; CLASSIFIEDS MANAGER theme of this year's conference was "Imag- ucts, Inc. named Milam Audio in Pekin, Lauri Newman I)IRECTORIES CIASSIFIEDS ASSISTANTS ing and Sound—Today and Tomorrow" IL to represent them in the Midwest, in- Athena Craig Jeanne Hasan Rollin Boyce .. . Nimbus Records, aBritish compact cluding Nashville, and Syco of London as CUM TATION NIA.NAGER Nick Clements disc manufacturer, announced agreement API dealer for England and most of Eu- CIRCI ILATION ASSISTANT to acquire majority holdings in Maxwell rope .. . Harris Corporation named C:indy Lukk Communications Corporation for 24 company president John Hartley to the GENERAL MANAGER Mark Gunther million pounds. The partnership will in- additional post of chairman of the board CONTROUER volve further development in the areas of .. . Victor Van Rees has joined the staff Craig Kennedy ASSISTANT CONTROLLER electronic publishing and information tech- at Production Masters Inc. in Pitts- Linda looper ACCOI NIS PAYABLE nology, including CD-ROM .. . Optical burgh as sales manager and Rich Yasick Cathy Boyum ACCOUNTS RECEIVABLE Media International, a Los Gatos, CA has been hired as computer graphics art- Lisa Jensen company specializing in optical data stor- ist .. . Sencore, Inc. president Herb CREDIT MANAGER Ann Cuadra age and digital audio workstation technol- Bowden turned over his position to son BOOK DIVISION GENERAL MANAGER ogies, has formed Reflective Arts Inter- Alan Bowden and named his son Doug Craig Wingate OPERATIONS MANAGER national, anew publishing label that will Bowden executive vice president. The Camille Coyne be active in publishing optical discs in the Sioux Falls, SD-based company employs CUSTOMER SERVICE George Keres Brad Smith CD-ROM, CD-Audio and CD-Interactive over. 325 people .. . Gail Mezey Morris FULFILLMENT SERVICES Todd Souvignier formats .. . David Angress joined One was named executive vice president of OFFICE MANAGER Pass, Inc. of San Francisco as vice presi- San Francisco's Snazelle Film & Tape, a Rachel McBeth dent of sales and marketing .. . Martin commercial production facility .. . Steven RECEPTIONIST Lea Lewis Audio Video Corp. of NYC appointed Wenig was appointed director, technical MIX PUBLICATIONS INC. Michael Bogen as vice president and support at Nakamichi Corporation .. . Chairman CEO Rudy Hurwich President Penny Riker Jacob David Bellino as sales manager .. Ja- Cubicomp Corporation has contracted Executive VicePresident David M. Schwartz Vice President, Marketing Hillel Resner pan's Nippon Gakki Company, Ltd.—a with MarTech Associates, Inc. for help Treasurer Mark Gunther company perhaps unknown to most read- in developing its sales in the government NATIONAL EDITORIA1, ADVERTISING ers—decided to change its name to Ya- market. MarTech is anationwide consult- and BUSINESS OFFICES 2608 Ninth St., Berkeley, CA 94710 maha Corporation. Nippon Gakki is ing organization that specializes in assist- (415)843-7901 SOUTHERN CALIFORNIA ADVERTIKNG OFFICES the parent company of Yamaha, the giant ing manufacturers sell to the government 19725 Sherman Way, Suite 160, Canoga Park, CA 91306 (818) 709.4662 $2.7 billion musical instrument manufac-

8mix, javv,ey 1988 "One layup console, cream &sugar, please."

Even in your high-speed We know that the quality Best of all, we've put the world of ADR, Foley, and of your assembly rooms sets Essence system, with its effects layup, it might seem the stage for your mix theater. comprehensive master section that needs are simple. So we gave the Essence the and patch bay, into apackage Agood cup of coffee. same powerful parametric that fits Neotek sonic perfor- Acomfortable chair. And a equalizers and ultra quiet mic mance into your smallest console with just afew basic amps as our top of the line assembly room. With enough features. Elite. desk space for your scripts It's asafe bet, though, that Now you can have all the and synchronizer keyboard. your console can be amajor monitor inputs you want, 32 You can even add an Audiofile. headache. Noisy mic preamps, if you use adigital multitrack. So sit back in your comfy maybe. Or lame EQ that Each with slide fader and chair and imagine what you makes you reach for external. SMPTE automated mutes. could do without the com- Amachine interface that's a Essence gives you avariety promises of asemi-pro console. collection of add-ons and of solo functions on inputs and Think how the quality and compromises. monitors. Even the headphone efficiency of your work will We've designed the Essence feed has its own solo system. improve. to put an end to all that. Its Our logic puts tracks into We can't do anything about aworkstation for multitrack record ready from the console that cup of coffee, but now at effects layup that you'll think and you can route audio to least your console won't leave you designed yourself. any track you select. A abad taste in your mouth. sophisticated communication system knows the machines are in rewind and still lets you chat with the talent.

\Eotek

Neotek Corporation 1154 West Belmont Avenue Chicago, Illinois 60657 (312) 929-6699

Circle #035 on Reader Service Card SESSIONS AND STUDIO NEWS

NORTHWEST Watson and Paul Mills produced...At for A.C. Black & the Mean Katz... Re- the newly opened Future Audio in Dal- cent activity at Southern Tracks in Atlanta Sessions at Starlight Sound in Richmond, las, Geron Davis was in mixing aproject included completion of tracks by the group CA included anew demo by veteran rocker for Micki Mangun .. .The Otis Conner Starbuck, with Bruce Blackman and Elvin Bishop, engineered byJosh Hecht Companies in Dallas completed the re- DougJohnson co-producing, and John- and produced by Hecht and Bishop; also cording of original music for Texas' pari- son engineering. ..At Reflection Studios three songs by Al Rapone & the Country mutuel horse racing system. George in Charlotte, NC, singer Eileen Farrell Cajuns, produced by Rapone and Nei1J. Weems produced.... has been recording anew album for Audio- Young and engineered by Bill Thomp- phile Records with producer Loonis son. .Activity at SF's David Litwin Pro- McGlohon and engineer Mark Williams ductions included music for a Delta NORTH CENTRAL ...Word recording artists The Talleys Dental Service media campaign and were in at the Soundshop in Nashville track production for aUC Berkeley 'IV Group L.A. finished its second LP, Persis- working on an album project with Steve spot .. .At Sacramento's busy Swingstreet tence of Vision, at Mus-I-Col Recording Taylor producing...Criteria in Miami Studios, the production team of Phil Sil- in Columbus, OH. Doug Edwards engi- had the Epic act Will to Power in working las and Larry Lanzon have been working neered. Also at the studio was Bullroper, on their new album. Bob Rosenburg pro- on albums with the Heritage Singers and working with engineer Edwards...At Ze- &iced, with Mike Couzzi behind the Steve Wright. .Hope Sterling has been nith/dB Recording in Chicago, the vet- board, assisted by Dana Horowitz...At in Vancouver's Inside Trak Studios com- eran jazz quartet The Ken Chaney Xperi- the Bennett House in Franklin, TN, Amy pleting her gospel debut album with pro- ence began their second LP with produc- Grant cut tracks for her next project with ducer Roy Salmond and engineers Dave ers Dave Freeman and Robert Hearn, producers Brown Bannister and Jeff Slagter and Gary Tole .. .Satoshi Suzu- and engineer Joe Tortorici...At Royal Balding.... ki, producer and owner of Syncro Inter- Recorders, Lake Geneva, WI, Talking national Studio in San Anselmo, CA, has Head Jerry Harrison was in producing been working with guitarist Bruce Bec- some tracks for Milwaukee'sJohn Sieger, SOUTHERN CAL Var, producing and writing material for an who's cutting his debut album for Warner album due out on an independent label in Bros. Also at Royal, both Adrian Belew In Westlake's Studio E (LA.), former early '88.... and The Bears (featuring Belew) have Prince bassist Mark Brown produced begun work on new albums.... Chico De Barge and Stacy Lattisaw for Motown Records utilizing the Harrison Se- SOUTHWEST ries Ten console...At Skip Saylor Re- SOUTHEAST cording in Los Angeles, the Perri Sisters Shallow Reign recorded and mixed new were in with producer Victor Flores and material at Planet Dallas with Patrick At Ardent Recording in Memphis, Vel- engineer Eddie Delena overdubbing and Keel producing; while engineer Rick vet Elvis were in with producer Mitch mixing on dance tracks for MCA Records. Rooney led The Blind through some Easter to work on their debut album for Assisting was Clif Jones...Sound Im- demo sessions... Omega Audio's Dallas- Enigma Records. Tom Laune assisted. age in North Hollywood had singer/song- based remote truck was on hand at Billy Also at Ardent, ZZ Top producer Bill Ham writer Done Pride in cutting tracks for Bob's in Ft. Worth to record alive segment remixed some early ZZ albums for CD re- Atlantic Records with producer Kaman of the HBO film Baja Oklahoma, featuring lease. Joe Hardy engineered...Plati- Peterson and Conley Abrams at the Willie Nelson and Emmylou Harris. num Recorders in Orlando, FL, recorded board.. .Producer Chas Sandford was in Engineering were Paul Christensen, the Cutting Crew for a new single on at Secret Sound in LA. mixing and over- Philip Barret and Gary Bayles. Dick Virgin Records. Gary Platt engineered... dubbing tracks for the Capitol act House Rudolph produced...Norwegian artist Mr. 0 Audio in Columbus, GA had proof Schock, featuring former Go-Gos drum- Sohreig Leithaug was in at Rivendell ducer/engineer David Norman in work- mer Gina Schock. Gary McGachan and Recorders in Pasadena, TX, recording her ing on several projects, including a six- Daren Chadwick engineered...Barry second LP for Dayspring Records. Wayne song demo for The Society and four tunes White produced his own song, "Sho You

10 MIX,JAIVUARY 1988 Our latest Ampex hits the top of the charts with its newest rele release, Ampex -167 digital mastering tape. We not only pioneered digital audio tape, we also refined it. The result is Ampex 467, a tape that sets the highest standards for all digital audio applications. And it's available in all open reel and cassette formats, including the new 80-minute cassette length. lore top performers record their hits on Ampex tape than any other tape in the world. While opinion may vary on what it takes to make ahit, there's no A MPEX argument on what it takes to master one. (1 .,I*Poration• \lagneli,. E,Ie I) i,. i'Uni• 101 BrtgldWay. liet1W11011 CilY. C.\ 9 r,f367

Circle #045 on Reader Service Card INSIDER •AUDIO as DASH, Band D1 are not yet in suffi- 44.056 to 44.1 kHz. ciently extensive use. Their future pro- SMPTE frame modes also provide specifications are described. For all of liferation could be used to simplify an interesting challenge for CDV. With you trying to figure out CDV, let's take CDV mastering. Meanwhile, the use of aframe rate of 29.97 Hz, a30 frame- apeek over Mr. Vogelaar's shoulder different formats promotes the basic per-second count yields an error of for alook at some of the present and problem of keeping everything in sync. +108 frames in one hour. The SMPTE future solutions for reconciling NTSC The audio sampling frequency on drop frame mode compensates for this and CD. tape and disc is 44.1 kHz; the same as by dropping the first two frame num- The digital audio portion of the CDV CD -DA. However there is no integer bers at the start of each minute except format utilizes the existing CD -DA relationship between 44.1 kHz and the for minutes 0, 10, 20, 40 and 50. SMPTE format: 3/4-inch tape via Sony PCM-1630 N'TSC frame rate of 29.97 Hz, which non-drop frame mode is intended for processor. The video portion of the yields avideo rate of 44.056 kHz. Thus 30 frames per second field rates. How- format sources from the one-inch C the PCM processor cannot be directly ever non-drop frame mode is often format. Clearly, the use of two differ- locked to an NTSC sync pulse genera- employed in NTSC video, particularly ent tapes is problematic, but Philips tor. As aresult, any video material for in music video production. Thus the decided that combined formats such digital audio must be converted from correct program timing cannot be read directly from the code. When it comes to CDV mastering, aSMPTE non-drop frame code on channel 3of NTSC tapes is recommended. This syncs directly to the laser beam recorder's internal code generator. Be- cause both codes are increasing mono- tonically, synchronization is direct. STUDIO Meanwhile, non-drop frame (30 Hz) code is recorded on audio channel 2 of the U-matic tape. The VTR retains a drop-frame (29.97 Hz) code. To resolve the conflict, the code from the BASICS U-matic is recorded to the VTR audio channel 2; the U-matic recorder is frequency-locked to the video recorder during the time code copying. Thus video, audio and two related time FM TUBECRAFT codes are present on one (video) tape. OFFERS ALL THE Why not record video time code to BASIC SUPPORT U-matic audio channel 1? Easy. The SYSTEMS NEEDED video is missing. Video and audio IN HELPING YOU would have to be synchronized to OUTFIT YOUR make awork copy. In addition, audio STUDIO. channel 1 is reserved for CD's PQ subcode. The frequency lock between the two machines is easier said than done. The lack of common reference be- • Acoustafoam tween 44.056 and 44.1 kHz prevents • Racking Consoles 111;=::•• direct locking. The solution is aPLL • 19" Equipment circuit to guarantee identical running Racks • Keyboard Stands speeds. Both proprietary and commercial sync boxes are being pressed into • Mixing Console Stands service. A basic hook-up is shown in • Computer Tables Figure 1. To help resolve technical difficulties • Plus Much More • in CDV production, Philips/PolyGram has identified several potential prob- ACOUSTICAL SPECS AVAILABLE lem areas. FOR INFORMATION CALL OR WRITE: Amajor problem involves, naturally nimicen enough, sync. Most music videos are shot without lock between picture and sound. For example, the video may be teMLWrs-' shot to apre-recorded soundtrack The 1121-26 LINCOLN AVENUE, HOLBROOK, NY 11741 •516-567-8588 audio is typically synched to video during post-production. Ideally, the

Circle #071 on Reader Service Card

18 MIX,JANUARY 1988 Our latest Ampex hits the top of the charts with its newest rele release, Ampex 167 digital mastering tape. We not only pioneered digital audio tape, we also refined it. The result is Ampex 467, atape that sets the highest standards for all digital audio applications. And its available in all open reel and cassette formats, including the new 80-minute cassette length. Nlore top performers record their hits on Ampex tape than any other tape in the world. While opinion may vary on what it takes to make a hit, there's no A IVIPEX argument on what it takes to master one. .\„,,,ex Corporal', \lagnelit Tlix• Ilo,lon. 101 Broadway. Redw..1( dy. C.\ 9 IC Ni:S. 11, 31;7 :OU

Circle #045 on Reader Service Card Right," at Larrabee Sound in LA. Paul McKenna engineered and John Hege- des assisted...Cherokee Recording in LA. has been busy with such artists as Yngwie Malmsteen, working with producer/engineerJeff Gliycman, assisted by Scott Gordon; Vinnie Vincent, in with producer Dana Strum, engineer Mikey Davis and assistantJay Lean; and singer/ songwriter Jack Tempchin, cutting with producers Dee & Bruce Robb, assisted by Cliff Kane...At Elumba Studios in LA., producer Raymond Jones was in working with Pieces of a Dream on a song for Spike "She's Gotta Have It" Lee's next movie, School Daze... Action at The first Amek APC 1000 console in the U.S., at Greene Street Recording The Rock House in LA. included CBS in NYC. recording artists Krystol tracking for their son were behind the board. Stetason- mated board, to be the centerpiece of the new album with Larry Robinson produc- ic have been cutting tracks for their second Deli's "MIDI Kitchen".. .KRK Monitoring ing andJohn Van Nest engineering .. .At album on Tommy Boy Records at Calliope systems has signed contracts with three Studio Masters in LA., the team of L.A. Productions in NYC. Bob Coulter is at Southern California studios: Baby-0, Sum- Reid and Babyface have been producing the console...At Normandy Sound in ma Music Group, and Pacifique... tunes for Karyn White, Paula Abdul, Warwick, RI, The Neighborhoods record- Complete Post in Hollywood has added Johnny Gill and Howard Hewitt. Jon ed and mixed their album, Reptile Man, for athird audio bay, built for clients requiring Gass is engineering.... Roadrunner Records. The project was pro- an economical bay for simple mixing and duced and engineered by Phil Greene, announce booth work for commercials, assisted by Ralph Petrarca... Reggie promos, programs, videos, etc. Audio Bay NORTHEAST Lucas has been producing the Weather III is equipped with an Auditronics con- Girls' next Columbia LP at Quantum sole with Cipher Softouch synchronizer, At Dreamland Recording in Woodstock, Sound in Jersey City. Engineering those and much more...Sound Impressions NY, Joan Jett was in collaborating with sessions were Doc Dougherty, assisted in Milwaukee, OR, has added such equip- producer Desmond Child on two new by Abdu Malahi .. .Ralph Tresvant of ment as aPCM70, URE1813s, and aRoland songs. Arthur Payson engineered, with New Edition was in at Boston's Newbury SDE-3000 digital delay; and increased its Dave Cook assisting...Columbia Rec- Sound working on asolo album for MCA. engineering staff from two to four to ac- ords artists The Manhattans were in at Paul Arnold was at the controls...Pro- commodate aspate of new work...Mid- I.N.S. Recording in NYC sorting and re- ducer Pat Moran and artist Danny Wilde dle Tennessee State University has mixing tracks from two albums of oldies, stopped in at Barry Diament Audio in opened anew studio featuring acontrol which will be used for TV tracks. Dan NYC to master the CD of Wilde's new Gef- room designed by Bob Todrank of Valley Sheehan was at the board...At Third fen LP...Chrysalis artists Vigil are work- Audio. It's equipped with aNEOTEK Elite Story Recording in Philadelphia, Jim ing on their next album at Sheffield Au- console, acomplete Roland MIDI system Christopher and Dan McKay of the dio/Video in Phoenix, MD. Producing are and all sorts of outboard gear. ..Platinum Nova Express were in to mix down their Sam Prager and Vigil, with Bill Mueller Recorders of Orlando, FL, recently reno- latest single, with Christopher producing engineering... Engineer Rob Paustian vated its 48-track mobile facility with two and McKay at the board.. .Quad Record- was in at Metropolis Music in NYC to Otani MX80 24-track recorders, Adams- ing in Manhattan had Nona Hendryx in work on producer Arthur Baker's latest: Smith Zeta Three synchronizers, and vari- cutting "I Know What You Need." Hendryx Jet Vegas. Laura Fried assisted.. Roy ous new mics and outboard devices... co-produced with Dan Hartman, while Orbison popped into BlueJay Record- Secret Sound in LA. has installed an SSL Dave Ogrin and Henry Falco were at ing in Carlisle, MA, to cut anew version of 6048 console, and an Otan MTR-90 II... the board...At Power Play Studios in his classic "Cryin"" for the film Hiding Out. Sheffield Audio Video productions of Long Island City, NY, Vince Montana was The sessions were produced by Peter An- Baltimore upgraded its audio remote truck in remixing old and recent tunes for a derson and engineered by Dusty Wake- by installing aNeve 8068 Mk Il console .. . release on the Philly Sound Works label. man... The "new metal" band Deadly The Village Recorder in West LA. has All the tracks were engineered and re- Blessing completed their album at The been constructing anew studio designed mixed by Norberto Cotto, assisted by Warehouse in Philadelphia, with Bo expressly for audio sweetening and film Dwayne Sumal...At Cove City Sound Blaze producing and Obie O'Brian en- and video post work. The control room Studios in Glen Cove, NY, Taylor Dayne gineering, assisted by Chris and Slave will have aTrident T24 console and Otani was in recording her new album for Arista Brown.... MX-80 24-track recorder. The Fairlight CMI with producer Ric Wake, engineer Bob will also be available...Encore Studios Cadway and assistant Tom Yezzi .. .The in Los Angeles has purchased a56-input original, reunited Village People visited STUDIO NEWS Solid State Logic 6000-E console...Hill- Electric Lady in NYC to mix some tracks side Sound in Englewood, NJ has added recorded over at Quadrasonic. Producers The New York Music Deli in Manhattan Sony 3324 24-track and 3202 2-tracks to Joe Maggio, Bob Turco and Frosty Law- took delivery of aSoundtracs 6800 auto- their studio.

12 MIXJANUARY 1988 EXPANDING THE SYSTEM The 480L Sampling Memory Expande;: Accurate sampling in phase-locked stereo: aLexicon applications. brief

The 480L Digital Effects System de- you trim once. The 4801.s inno- livers audio performance that surpasses heads and vative signal processing al- conventional digital recorders: true to tails. and set audio gorithms allow vou to enhance life sampling is aprime example of its trigger levels. Audio souncls witli advanced reverbs advanced engineering. With the op- trigger response time. inci- itnil effects \\ it limit leaving the tional Sampling Memory Expanden the dental IV is under 3(X) micro- digital domain. Add signal pro- 4801 becomes an astonishingly prac- seconds — virtually instantaneous. cessing as you saml Ile. or process a Sampling Memory Expandur enhance- sample. on playback with digital titai "a` I" m"ve several see - onds of audio from point A to points B ments include Record Trigger to trigger wet-dry mixing. and C. sampling automatically from audio in- l'he 4801, digitally integrates sam- Until now. -flying in or -slipping- put. Time \ariant Re& ord. and sound on pling and signal processing because it's vocal and instrumental ovenlubs meant sound digital recording in sync with designed as acomprehensive audio pro- tradeoffs. Two-track tape is clumsy and the original sample. Lexicon Dynamic duction took asystem. And sampling degrades the signal: IMI.s with long MIDI® lets you assign Nil 1)1 controllers is only the first of many directions ill memories are bet ICI. Ina not by nuich. to sampling parameters. for new dimen- aluch this Digital Effects System can Now, with the 4801:s optional Sampling sions of real-time or sequenced control. grow. We're continual' \examining the Memory Expander. yI ucan digitally re- Sometimes even the most accurate possibilities. and as um: needs develop cord 10 seconds (dime phase-locked replica isn't exactly what Ymure looking wul Iimplement nua 10015 to meet them. stereo or 20 seconds of niono at a48 for: if so. the 480E will take von Now is the time to call your Lexicon kllz sampling rate. 18 bit equivalent lie\ end imitation into creative sam- zinced l'r(iducts dealer for ademo A/D conversion produces atypical dy- pliiig. Play samples faster or slower of the new production techniques the namic range of 98 dB. with abandwidth tw it hout changing the sampling rate). Sampling Memory Expander makes of 20 — 20.000 Ilz: output doesn't gel backwards or forwards. even both at possible. anv closer to input. If \ ni re using adigital recorder that's Sony 1610 compatible. the Sam- pling Memory Expander and the 4801's digital I/0 in can reproduce the original performance at au location on tape without lea\ ing the digital domain. Slip syncing. copying and time shilling of audio segments is faster and cleaner than ever before. You control sample recording. editing. processing and triggering from your work position using the 480L LARC. Varing tip si \parameters at once.

Lexicon Inc.. 100 liezner Street. \02 IT, IiblTi

Circle #046 on Reader Service Card COMPUMIX IV The Fourth Generation Console Automation System is here. Compumix IV advances dynamic automation technology far beyond the capabilities of other systems. to alevel of sophistication and accuracy demanded by tomorrow's digital recording techniques. The FORTH realtime software running in a32-bit 68000 computer provides 4simultaneous mixes on-line as well as write command recall accuracy of 1/10 frame. SMPTE time code driven, Compumix IV stores every frame (not only changes) making it possible to perform editing functions on-line. This requires an 80 Mbyte hard disk storage system designed for fast access in both read and write modes. Compumix IV is designed to control up to 256 IDF fader functions in realtime through easy to operate touch- sensitive plasma control panels. An optional Graphics Display System is available.

INTELLIGENT DIGITAL FADER The IDF is amicroprocessor-based module that utilizes the most advanced technology available. The super smooth fader is a10-bit digital encoder that supplies 0.25 dB resolution and 119 dB of dynamic range. The grouping functions are the most extensive ever supplied in amusic recording console. 16 groups are assignable with 4levels of operation: slave, group master submaster and grand master. Up to 256 IDEs run independently through arevolutionary "back door control bus" without the need for external computer automation. Realtime display of dB level, groupings. status, fader position and mutes are available at all times. 9membrane switches allow for selection of up to 160 software defined functions.

CENTRAL ASSIGNMENT This electronic output assignment cross-point switching system assures fast and reliable connections from the console to your tape machines with full routing or mixing capability. 64 output busses are assigned from each input orld Class Studios featuring the SUPERSTAR module by acentral touch control W And Compumix IV: plasma display panel controlling up to a 96 by 64 electronic switching matrix. KMH Studios Completely software driven, the panel Stockholm allows instant selection and display of the bus assignment with 10 presets in Salzburger Festspiele Salzburg local memory Optional unlimited storage to disk is provided. Easy to use, the Bosanova Hotel system prompts for bus assignments Los Angeles and provides help through informative Sigma Sound Studios menu displays. Philadelphia SUPERSTAR dvanced technology and unparalleled flexibility affordable price. Field expandable, the SUPERSTAR Acome together in the SUPERSTAR music record- provides ergonomical positioning of the console ing console. Development of this console centered modules, allowing you to satisfy your own configu- around the requirement for high definition sound, ration needs. High resolution meters, central bus improving that most important quality as necessary assignment, Intelligent Digital Faders, and the most for digital recording. comprehensive automation system all add up to No other single console offers the combination SUPERSTAR—your next console. of desirable sound, size, and flexibility with an

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• ON

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MUTE • 36, 44, 52, 60 or 68 I/Os REED

MUTE • Fully Parametric 4-Band EO URITE • 32 or 64 Bus Outputs • 16 Auxiliary Sends UPINITE • Intelligent Digital Faders • Automation Accuracy 1/3 Frame 50 60 70 • 80 INTELLIGENT • 4Automated Mixes On-line DIGITAL FADER

• Mtik MITSUBISHI PRO AUDIO GROUP DIGITAL ENTERTAINMENT CORPORATION Headquarters: 225 Parkside Drive. San Fernando, CA 91340 • Phone (818) 898-2341 • FAX (818) 365-8310 New York: Suite 1321. 555 W. 57th Street. New York. NY. 10019 • Phone (212) 713-1600 Tennessee: 104 Eastpark Drive, Suite 306. Brentwood. TN 37027 • Phone (615) 371-6602 • FAX (615) 371-6644 Canada: 260 The Esplanade. Toronto, ONT. M5A 1J2 • Phone (416) 365-3363 • FAX (416) 365-1044 United Kingdom: Unit 13. Alban Park. Hatfield Road. St. Albans, Hertfordshire AL4 OA • Phone 0727-40584 • FAX 0727-67684

Circle #031 on Reader Service Card INSIDER •AUDIO by Ken Pohlinann

CD- -VIDEO PRODUCTION PROBLEMS AND SOLUTIONS

video with digital audio, and could Conventionhe 83rd Audio (October Engineering 16 through Society 19) have significant impact on the produc- was aforum for numerous technical tion of both. In addition, depending papers addressing current and future on its acceptance, CDV may find itself advances in audio. Topics ranged from a product niche with considerable adynamic phase meter (at last—one economic clout, at once replacing the that really works), to digital time— 45 rpm single, and creating anew mu- coherent recording technique (at last sic video format. —a console with delay nudge buttons). The problem is that the audio and But one of the most timely papers, video (and film) formats from which er delivered by Gert-Jan Vogelaar of Phil- CDV is created were never intended to ips & Du Pont Optical Company, Baarn, be synchronized, and in fact are basi- The Netherlands, was "CD-Video and cally incompatible. In his paper, Vogel- Audio Engineering." It addressed the aar describes the incompatibility, the currently hot and problematic topic of headaches it creates, and the interfac- CD-video disc production. This new ing required for successful CDV mas- format promises to merge high quality tering. In addition, CDV master tape

TIME CODE FIGURE 1 Recording of

digital audio PCM RECORDER TIME CODE and video using GENERATOR the PLL for SMPTE synchronization. 44.1 kHz SYNC NON-DROP FRAME

PLL VTR TIME CODE 30 Hz CH. 3

29.97 Hz

CAMERA REFERENCE

SYNC PULSE GENERATOR

16 MIX,JANUARY 1988 Inside THE TAPELESS STUDIO" Direct-to -Disk DIGITAL MULTITRACK RECORDER

lready proven in leading studios through- integrity compared to tape, but superior per- out the world, the Direct-to-Disk Multi- formance. And because winchester disks are a Atrack Recorder is now available in stand- random access medium, alone, remote operated 4, 8, and 16-track units. rewind, fast-forward, auto- Powerful new software provides fast, flexible locate and SMPTE lock are automated editing features unavailable with instantaneous. conventional tape-based multitracks, such as With variable digital sampling rates of up to individual track offsets, auto fly-ins, and multi- 100 kHz, 16-bit resolution, 0.04% distortion ple loops on every track. and 96 dB signal-to-noise ratio, Direct-to-Disk The terminal screen gives acomplete, easy-to- offers by far the best fidelity of any multitrack read i visual display of all track information. on the market today. lee"- Using amouse you identify splice points The stand-alone Direct-to-Disk is based on III with microsecond precision on the the same hard disk storage and proprietary display, instructing the computer to digi- processing technology that has tally crossfade from section to section. made the Synclaviere the Unhappy with that edit? Splice industry standard for reli- points and crossfade times can be able performance in the adjusted with ten microsecond studio and on the road. accuracy. Or you can And like the Synclavier, define acompletely dif- the Direct-to-Disk system ferent set of edit points. is modular and software Because you never updateable. disturb your original 061 As new fea- tracks, Direct-to-Disk 9wriml tures become editing is completely available, you non-destructive. You upgrade simply by load- can construct dozens of ing in afloppy disk. different edits from the There is only one to- same material and A/B tally integrated disk- each one. Bounce again based digital audio record- and again with no ing and editing system 118801..111111whim. loss of fidelity. for today's music produc- Even punch-in without erasing. The computer tion and audio post-production requirements records and logs each move, and can instantly —the Direct-to-Disk Multitrack Recorder. retrieve any pass for comparison. With Direct-to-Disk, audio information is Newl_reand recorded and stored on a network of reliable, Digital high-speed winchester hard disk drives, which offer not only superior audio fidelity and data White River Jct., Vermont 05001 i802 )295-5800 INSIDER •AUDIO as DASH, Band D1 are not yet in suffi- 44.056 to 44.1 kHz. ciently extensive use. Their future pro- SMPTE frame modes also provide specifications are described. For all of liferation could be used to simplify an interesting challenge for CDV. With you trying to figure out CDV, let's take CDV mastering. Meanwhile, the use of aframe rate of 29.97 Hz, a30 frame- apeek over Mr. Vogelaar's shoulder different formats promotes the basic per-second count yields an error of for alook at some of the present and problem of keeping everything in sync. +108 frames in one hour. The SMPTE future solutions for reconciling NTSC The audio sampling frequency on drop frame mode compensates for this and CD. tape and disc is 44.1 kHz; the same as by dropping the first two frame num- The digital audio portion of the CDV CD-DA. However there is no integer bers at the start of each minute except format utilizes the existing CD -DA relationship between 44.1 kHz and the for minutes 0, 10, 20, 40 and 50. SMPTE format: /34 -inch tape via Sony PCM-1630 NTSC frame rate of 29.97 Hz, which non-drop frame mode is intended for processor. The video portion of the yields avideo rate of 44.056 kHz. Thus 30 frames per second field rates. How- format sources from the one-inch C the PCM processor cannot be directly ever non-drop frame mode is often format. Clearly, the use of two differ- locked to an NTSC sync pulse genera- employed in NTSC video, particularly ent tapes is problematic, but Philips tor. As aresult, any video material for in music video production. Thus the decided that combined formats such digital audio must be converted from correct program timing cannot be read directly from the code. When it comes to r:,'DV mastering, aSMPTE non-drop frame code on channel 3of NTSC tapes is recommended. This syncs directly to the laser beam recorder's internal code generator. Be- cause both codes are increasing mono- tonically, synchronization is direct. STUDIO Meanwhile, non-drop frame (30 Hz) code is recorded on audio channel 2 of the U-matic tape. The VTR retains a drop-frame (29.97 Hz) code. To resolve the conflict, the code from the U-matic is recorded to the VTR audio BASICS channel 2; the U-matic recorder is frequency-locked to the video recorder during the time code copying. Thus video, audio and two related time FM TUBECRAFT codes are present on one (video) tape. OFFERS ALL THE Why not record video time code to BASIC SUPPORT U-matic audio channel 1? Easy. The SYSTEMS NEEDED video is missing. Video and audio IN HELPING YOU would have to be synchronized to OUTFIT YOUR make awork copy. In addition, audio STUDIO. channel 1 is reserved for CD's PQ subcode. The frequency lock between the two machines is easier said than done. The lack of common reference be- • Acoustafoam • Racking Consoles "%==bi tween 44.056 and 44.1 kHz prevents direct locking. The solution is aPa • 19" Equipment circuit to guarantee identical running Racks speeds. Both proprietary and commer- • Keyboard Stands cial sync boxes are being pressed into • Mixing Console Stands service. A basic hook-up is shown in • Computer Tables Figure 1. To help resolve technical difficulties • Plus Much More in CDV production, Philips/PolyGram

ACOUSTICAL SPECS AVAILABLE has identified several potential problem areas. FOR INFORMATION CALL OR WRITE: Amajor problem involves, naturally enough, sync. Most music videos are shot without lock between picture and sound. For example, the video may be qiimeuelxaez shot to apre-recorded soundtrack. The 1121-26 LINCOLN AVENUE, HOLBROOK NY 11741 •516-567-8588 audio is typically synched to video during post-production. Ideally, the

Circle #071 on Reader Service Card 18 MIX,JANUARY 1988 Bruce Swedien, Michael, Quincy .. . and the high-power, ultra-accurate Westlake SM-1 Studio Reference Monitors BRUCE SWEDIEN: "We've lived with these SM-ls most powerful production reference monitor sys- now for a pretty fair amount of time, and I can tem. As afully integrated system it yields afull 6dB honestly say we like them better today than (we did) more headroom than typical 15" systems, at +/- 3dB the day we walked in here to start Michael's project. through the full audio range of 20Hz to 20kHz in a typical control room. IM distortion is extremely low, "I've never heard anything like the accuracy of the aminimum of 6dB -often as much as 20dB compared combination of the SM-ls and Studio "D". They are to 2-way single amp systems. just like good friends, you can trust them to tell you the truth. We'll work here with the SM-ls on Westlake monitor systems are the choice in more Quincy's new album as well." than 250 leading professional recording environ- Bruce Swedien's good friends, The Westlake SM-1 ments worldwide. Any substantial investment in monitors: with their dual 18" active woofers, a 12" either new room designs, or updated facilities ought mid-bass, 2" and 1" throat compression drivers, and to include serious consideration of the SM-1 or any a /12 "compression tweeter, the SM-1 is the world's of the family of Westlake reference monitors.

.. .the Westlake family of high-resolution studio monitors

SNI-1 TNI-3 . 11111-1* II IFI-7 'Available in Vertical and Horizontal Format.

from acoustic design to down beat...

Westlake Westlake iodic, Nlanuiarturing Group 2696 Lavery Court. Unil 18 Newbury Park. California !11320 • (.05/499-3686 Audio Circle #018 on Reader Service Card How much Fairlight do you need? If all these Fairlights look the same it's because they are. Each one is designed and hand- built to the same exacting standards, with the same 16 bit sound quality, as $39,950* 8VOICE/4Mb RAM our much-praised 16 voice, 14 mega- DUAL 20Mb FLOPPY byte Series III. The difference is, now there's a Fairlight to suit your exact need and " 4„-4Leaed.:#;'/ budget. We call them e-x-p-a-n-d- a-b-1-e Fairlights. Not a set model range. Instead a series of compatible options that allow you to choose any configuration and expand its capabilities. Right on up to an 80 voice, 140Mb RAM Ser- ies III with Gigabytes of Hard Disc and Optical WORM Disc Storage. There are no limitations. You don't pay for features you don't need. But you do get the exact Fairlight for 16 VOICE/14Mb RAM the job. 150Mb DISC, 60Mb TAPE Just decide what you require for your composition, arrangement or production role and we'll build the Fairlight to suit. Even our basic Fairlight is far from basic. For $39,950* you will start with a rack-mounted or portable Fairlight that is unchallenged by anything near its price. 16 bit Digital audio quality with oversampling capability ensures the sound that has made Fairlight the world's leading digital audio produc- $175,000 tion system. 40 VOICE/50Mb RAM Eight voices provide the versatil- 600Mb DISC, 400Mb WORM' ity required for most session work. And, if required, Fairlight's multi-port MIDI capability allows the control of up to 64 external, sampled or synthesized voices. Advanced software. This is sampling in its purest form from the people who invented it. Stereo sampling, Page R and CAPS Sequencers, Waveform Editing, FF"T analysis and resynthesis, and an extensive sound library orchestra, and just about any synthetic and composite are all included. sound you could ever use. SMPTE chase/lock provides the ideal setting for Design your own Fairlight. structuring musical scores, laying-in sound effects, and For full details of the new e-x -po-a-n-d-a-b-1-e Fair- synchronizing to multi-track tape and disks. lights, call your nearest Fairlight office. Los Angeles (213) A time-code trigger/event generator also lets you pro- 470-6280, New York (212) 219-2656, Toronto gram complex SMPTE cue lists for film and video post- (416) 964-1885. Fairlight dealers — Chicago: Gand production. Music and Sound (312) 446-4263. Miami: Limelite Real time effects allow complete control of attack, de- Video (305) 593-6969. cay and vibrato for arealistic acoustic feel. San Francisco: AIC (415) You have at your command every major section of the 686-6493.

'Prices effective as at July 1, 1987 subject to change without notice. Systems above 16 voice require external rack-mount units not shown), delivery late 1987. TREBLE WATSON • $39,950 system does not include music keyboard. MORE FATRAB116

Circle #004 on Reader Service Card INSIDER •AUDIO the tape to the cameras would be or 30 frames per second. For transfer through use of camera which record to mrsc, 29.97 frames per second is video should be recorded in sync to time code to film. The audio recorder's recommended to avoid flicker. The the time code of the finished audio picture time code could be conveyed use of 24 frames per second, for exam- program, with the accuracy of lip syn- either via VHF transmitter or cable. ple, would necessitate a3-2 pull-down ching dependent only on the ability of Once set, the camera's internal clock for transfer to NTSC video. (In Europe, the artist. could be used for minimal drift, or aspeed of 25 frames per second is the Another problem deals with audio slaving for zero error. Audio is also best bet.) After film processing, the quality. All too often the sound finally copied to the mag film in the case time code is read off onto channel 3of transferred to one-inch video is of where film editing will be accom- the one-inch VTR during telecine. fourth or fifth analog generation qual- plished. Simultaneously, a/34 -inch copy could ity. Only with digital audio will the The use of time code cameras allows be made for off-line editing. In either problem of generation degradation be user bit storage of data such as produc- case, the audio and video are recorded solved. tion number, take number, camera in sync on the one-inch VTR. Picture quality can also present problems. The tape supplied for disc mastering is often acopy of the "gold master," which in turn is at least a CAPSTAN fourth generation copy. To earn the OVERRIDE "collectable" status required to achieve U-MATIC marketing success for CDV, both audio TIME CODE and video quality must be very good. The transfer for film to video via telecine is another problem, one which is built into the production process. Telecine does not control the four- color NTSC field sequence in relation PCM 1630 SYNCHRONIZER to time code. Because it starts at a random field sequence, difficulties in editing are inevitable. 44.1 kHz TIME CODE Another problem stems from the CH. 2 fact that CDV discs (and players) must be available for both N'TSC and PAL televisions. Since double post-produc- PLL VTR tion is cost-prohibitive, standards con- SUB-FRAME version is mandatory, resulting in vis- OFFSET ible degradation. In addition, conversion also produces a 17- to 20-milli- 29.97 Hz second delay of picture relative to sound; this can be compensated for. A final problem is one already present, and troublesome, in CD-DA mas- SYNC PULSE tering. Care must be taken to achieve frame-accurate program timing of the GENERATOR PQ code as well as chapter codes. The solutions to the various problems are themselves varied, depending on the equipment available, and FIGURE 2: Synchronization of VTR and digital audio recorder/proc- the money (and care) budgeted for essor for playback with subfranne offset compensation. the project. Philips/PolyGram has out- lined production techniques which number, date, roll, etc. Systems manu- It is during post production that the emphasize quality, with reasonable factured by Aaton and Panavision re- essence of the problem of video and expense. cord the duration and start of every audio synchronization becomes appar- As noted, the preparation of the take, and selected takes can be printed ent. Specifically, without compensa- audio playback tape for avideo shoot out at the end of aday, to reduce the tion there will exist asubframe error is crucial. The master should be a3/4 amount of telecine work. In lieu of between the VTR and U-matic recorder. inch tape with digital audio (30 Hz) time code cameras, aslate could be The VTR will be the master, and will be and both audio and video/film (29.97 employed—as long as there is some locked to the sync pulse generator, Hz) time codes. This tape could be kind of fixed relationship between with the /34 -inch recorder slaved and copied to aNagra or pro-DAT recorder, original audio master, playback tape frequency (not phase) locked to the along with audio and picture time and camera. same reference via aPLL and PCM pro- codes, using an audio track as well as a Either 16 or 35 millimeter film could cessor. The synchronizer thus receives time code track The best way to lock be shot at film speeds of 24, 25, 29.97 two time codes, one from the sync

JANUARY 1.988, MIX 21 INSIDER •AUDIO gram, it can be synched to picture with must be added to the video program. van-speed after copying it to a hard In practice, the determination of PQ pulse generator via the VTR, and one disk or digital 2-track machine. In subcode is thus slightly complex be- from the U-matic with drum servo either case, asampling frequency con- cause it must also be related to video locked to the PCM processor. The verter recalculates the 44.1 kHz sam- time codes. Otherwise aperfectly fine patch is shown in Figure 2. pling frequency, so the result can be audio subcode marker would miss the However, there is acontinuous time copied correctly to the U-matic format. video content. In general, the chapter shift between the two references. Finally, audio PQ subcodes and vid- code is located first, followed by the When the VTR locks to its reference, eo chapter codes must be determined. PQ code, taking the earliest and latest the time shift between it and the U- Because CDV merges two formats, to audio and video times as the start and matic is constant, and the synchronizer achieve backward compatibility with stop times. For example, the two sec- compensates for it. However when the laservision, both PQ and chapter codes ond pause is taken as part of the video capstan override is disabled, the U- must describe apoint on the disc. Un- program. As with the CD-DA format, to matic's capstan servo (which controls fortunately, there are conceptual differ- ensure proper player access, several longitudinal tape speed) locks to the ences between the two. PQ code track frames (five or so) should be subtract- drum servo so the video heads can numbers essentially specify the end of ed from the start time, and added to track properly. This creates the sub- the stop time—the so-called subcode frame offset, determined by the time offset precaution. It should be noted the VIR takes to lock To compensate that Laservision accommodates amaxi- for this, an error signal from the syn- CDV may mum of 79 chapters, whereas CD has chronizer could be sent to the PLL at 99. The minimum chapter length for the moment the capstan override is find itself a CDV is set at four seconds. being disabled. In this way the VFR Fortunately, afew things about CDV time code can be synched to the U- product are familiar to audio engineers: all dig- matic time code by varying the word- ital audio tapes must be checked for clock until the offset is zero. niche with error rates; depending on the QC at Video post-production can be done the facility, ahigh error count would on-line by editing on one-inch VTR, considerable necessitate remastering. Of course, as then the audio tape with both time with any digital audio recording, audio codes is synchronized to the VTR to economic clout, levels must maintain at least 1or 2dB produce a U-matic copy with video of headroom. One thing an audio-only and audio time codes inserted in the at once engineer may want to consider: when picture and audio time code on chan- replacing apicture is added, the audio balance nel 2. If the audio did not require may be perceived differently. Ideally, a additional mixing, the digital audio the 45 rpm with-picture, and without-picture mix could be laid back on the gold master. should be made, each for its appropri- Acopy of this tape with both video and single, and ate format. audio time code becomes the CDV In summary, CDV production is cer- master. Alternatively, U-matic video creating a tainly not easy, but as audio engineers copies with sync audio and video time develop production experience, and code in the picture could be used to new music gain agreater understanding of film create an off-line editing list. and video production technique, the Audio post-production can be done video job can only get easier. Likewise, only quite easily. The audio tape contain- with greater understanding and expe- ing digital audio and both audio and format. rience will CDV production costs de- video time code can be copied to a crease. Of course, with the wider avail- digital multi-track at 44.1 kHz, with ability of new technology such as time both recorders locked. The offset be- apause whereas achapter code speci- code on film, and anew video stand- tween U-matic time code and multi- fies the start of apause. In addition the ard such as D1, CDV production might track time code should remain con- Red Book specifies atwo-second dura- become downright affordable. stant. Effects can be added in sync with tion before the start of the first track Mr. Vogelaar's paper (preprint picture and re-mixed to two tracks of Thus at the start of that track the CDV #2541) may be ordered from the Au- the multi-track or directly to a2-track player will find the chapter code at the dio Engineering Society, 60 East 42nd digital recorder with the same time start of the two second pause, but the Street, New York, NY 10165. code, using asynchronizer for slaving. audio start code is located at the end This tape master can be edited in a of the pause. In other words, the video Ken Pohlmann is an associate profes- digital audio editing suite. The tracks could have started two seconds ear- sor of music and director of music from the original audio tape are copied lier, the solution is akind of "video engineering at the University ofMiami to amaster tape in insert mode, and pause" inserted in the program, at the in Coral Gables, FL, and vice president the multi-track mix is added using the first track. For other tracks video code of U.S. Digital Disc Corporation in New in-point for the audio for video track, can coincide with audio code. Of York, NY He is author of Principles of and balanced. course, at the end of each video chap- Digital Audio and The Compact Disc In the case of existing audio pro- ter, the duration of the audio pause Handbook.

22 MIX, JANUARY 1988 You won't find violins, saxophones or spinets at Martin. And yet, we're amusic store. You won't find guitar strings, drumsticks or sheet music, either. And yet, we're amusic store. We believe the very definition of amusic store has completely changed today, thanks to microchips, MIDI and the exciting new directions of electronic instruments. You'll find that kind of excitement in our handsome new high-tech showroom and MIDI demo studio. Here, you can explore the latest synthesizers, samplers, computers, software, signal processors and recording equipment from leading manufacturers. In fact, you may feel abit like akid in a , candy store. But at Martin, we'll never treat you like one. The atmo- 1" IL °9 -. sphere's relaxed and professional, so we can take your music i) 1 ezr as seriously os you do. You'll be guided by a small and rather personable group of experts who'll offer you all the attention you'll need. And when you're ready to be encouraged towards apurchase, they'll quote `eV Lç-,./e--e q you prices that are also encouraging. Very en- \) couraging. Our service doesn't stop with the sale, either. Martin's Product Specialists ore always available to tell you how to get the most out of your equipment. And should the equipment itself ever appear at fault, the expert techni- c cians in our in-store Service Department will help set things right. Martin even sponsors acon- tinuing series of in-house seminars in Synthesis, Sam- pling, Signal Processing and Recording to help you keep up with the latest developments. If all this sounds too good to be true, it's only because you haven't been here yet. So come and see the music store that's not for everyone. It's for you.

423 WEST 55-STREET NEW YORK, N.Y. 10019-4490 (212) 541-5900 /TLX971846

Circle #020 on Reader Service Card JUXTAPOSITIONS by Mel Lambert DISK &D AT A REPORT FROM AES

he Audio Engineering Society truly is a cies" of audio interests—ranging from unique organization. Not only does transducer technologies to CD master- the AES represent the academic and ing hardware. professional interests of awide variety From my own lofty vantage point of audio types, each year the society as marketing consultant and industry also organizes aseries of extremely guru, Idecided almost half adecade interesting and handy conventions. ago that Ineeded a barometer by It cannot have escaped the attention which to gauge significant develop- of regular Mix readers that the AES ments within the manufacturing base, holds an annual gathering each fall on and arespectable indicator of chang- alternating coasts, in addition to a ing orientation within recording and European convention every spring and production facilities. The technology, specialized seminars throughout the of course, was digital; my attention year. At the society's annual U.S. con- ever since has been focused on the ventions, the accompanying exhibition fortunes of companies both supplying of recording and production equip- and using digital-based recording and ment is without parallel anywhere in editing systems. the world; miss it at your peril! At the recent AES Convention held It is obvious to many of us who have been making aregular sojourn to AES conventions and exhibitions for the past decade or so that it is increasingly difficult to keep up with the rapid technological developments which are now permeating the pro audio industry. After all there are "spe-

Above: DAR technical director Guy McNally dem- onstrates the Soundstation II. Shown left is Waveframe's AudioFrame workstation.

24 MIX,JAIVIIARY 1988 PHOTO GEORGE PETERSEN The essence of aProfessional is finesse under difficult conditions. Reliable performance day after day, night after night. At QSC, we believe that you shouldn't have to worry about your amplifiers. They should sound great and operate flawlessly. Always. Because we are committed to building the best Professional high performance amplifiers, we make reliability the number one criteria for our products, our service, and our company. We know that the reliability of your performance depends on the reliability of our performance.

Circle #036 on Reader Service Card

QSC Audio Products, Inc., 1926 Placentia Avenue, Costa Mesa CA 92627/714-645-2540 ERIN MIANSA LO MORE THAN PRESSING THEM: At Nimbus we've done more than anybody to master CD manufacturing, simply because we want our own recordings to sound as good as they sound when we make them.

We've fine-tuned and improved every step of the CD replication process and backed that up with absolute 100% quality control — so we can guarantee 100% satisfaction. And now, with our new plant in Virginia, we can offer you this same extraordinary service for all kinds of CD's, from the basic disc to acomplete printed package, for any quantity. What's more, we meet our deadlines.

Mastered by Nimbus. When that appears on your CD's, it says you're as particular about who manufactures them as you are about what goes on them.

FULL-SERVICE CUSTOM PRESSING: Mass CD replication — CD-Audio (includes CD Singles), CD-ROM, CD-V, CD-I. Flawless digital and analog mastering. Fast turn around — on-time delivery.

Full range printing and packaging services available, plus drop shipping, and warehousing. Now — your graphic design laser-mastered on CD singles. Only from Nimbus.

Nimbus

New York Sales Office: 200 West 57th Street New York, NY 10019 Telephone (212) 262-5400 Telex 239406 NMBS UR Telefax (212) 262-5409

Charlottesville Manufacturing Facility: PO Box 7305 Charlottesville, VA 22906 Telephone (804) 985-1100 Telex 9102408303 Telefax (804) 985-4692

Circle #005 on Peoder Service Cord

JUXTAPOSITIONS

in New York in early October, talk on Why work the exhibition floor was of little else. Which manufacturer had the most anywhere viable configuration? Was that system/ format/implementation cost-effective now, or two/three/four/five years else? down the line? The few years remain- Satisfied customers talk about ing in the '80s look like they will be a Live Oak Studios. tantalizing time. Of the new systems unveiled during the AES exhibition several are likely to turn the audio production industry on its ear. In this month's column I'd like to identify some of the main play- Soundcraft's Digitor editing ers in the digital recording and editing workstation. marketplace; and next month I'll fol- Eric Muhler low it up with some thoughts on why, dated); and atouch-sensitive, electro- Composer/Producer because of shifting market forces, some luminescent screen display. 46 Live Oak's combination of of these firms and their products prob- Still passing through the final stages state-of-the-art audio/video production equipment, asupportive ably won't be around by the time we of beta site evaluations, first ship- business atmosphere and an gather for next year's AES Convention. ments of the Soundstation II system excellent engineering staff has At least ahalf-dozen firms appear to are scheduled to begin by early spring. made it unnecessary for me and be squaring off for aposition in the Expected cost for abase system is in my customers to work anywhere initial rounds of the "Battle of Disk- the region of $80,000. else. We are very proud of the numerous successful projects we Based Recording and Editing." Ad- Behind the scenes, Lexicon is ob- have created at Live Oak Studios!! vanced Music Systems (AMS) drew viously continuing its refinement of good traffic to routine demonstrations the Opus digital editing, recording and of its AudioFile system, of which 100 mixing system. The Opus now offers units are currently said to be in regular an improved editing capability and use around the world. Ialso under- windowing displays (up to ten versions stand that the score for the forthcom- of an edit can be retained for compari- ing film Freeway Maniac was digitally son purposes); copy functions and edited on an AudioFile at the LA.-based time alignments of individual track el- Curtis Ohlson facility FITC Post. The latest software/ ements; and the ability to bounce up Recording Artist hardware enhancements being talked to 12 tracks into astereo composite. CC Iwant to express my sincere about in New York included cut-and- Record time has also been increased gratitude for Live Oak Studio's splice software, internal digital mixing to a total of 480 track minutes at a instrumental involvement in my plus level control, storage expansion sampling frequency of 44.1kHz. Iun- debut album, So Fast... Thanks to to beyond eight hours of 16-bit/44.1kHz derstand that the first two production Jim and Priscilla's help, Igot the sampling time, and "rock-and-roll" systems are scheduled for shipment deal and was able to finish the album. They are both not only editing. this month. professional, but are two of my The British firm of Digital Audio Re- In addition to Digital Audio Re- dearest friends. I'm looking for- search (DAR), formed three years ago search, another company unveiled a ward to completing many more by Jeffrey Bloom and Nicholas Rose to totally new digital audio workstation projects at Live Oak,' develop digital audio. software and at the New York show. Co-founded by hardware products, unveiled what will Glenn Edens andJohn Melanson, Wave- Live Oak Studios specializes surely attract agreat deal of attention Frame Corporation is reported to have in not only recording projects, but also film and video. We offer as one of the most visually interesting shipped seven of its newly developed acomplete multi-track studio digital audio workstations: Soundsta- AudioFrame systems to beta test sites with avideo interlock and pro- tion II. Described as asecond-genera- last June, and used the AES Conven- jection system as well as asepa- tion recorder and production center, tion to publicly launch its new music rate MIDI Keyboard Suite with Soundstation II features up to eight performance and digital editing 24 track recording capabilities. channels of analog and digital inputs system. and outputs (the latter comprising AudioFrame production worksta- For more information AES/EBU format at 32, 44.1 or 48kHz tions will be comprised of an IBM PS-2 on one of the sampling frequencies, or PCM-1610/30 Model 60 computer that handles sys- Bay Area's format); atotal recording capacity on tem control plus graphic display in a foremost stu- the basic system of around 60 track Microsoft Windows environment, and dios, call Jim and Priscilla ive OaK minutes of 16-bit audio at asampling a separate processing rack running ST1 DIOS frequency of 44.1kHz (18-bit/48kHz proprietary high-speed digital algo- Gardiner at Berkeley, California (415)540-0177. (415) 540-0177 combinations also can be accommo- rithms in a24-bit architecture.

Circle #072 on Reader Service Card JANUARY 1988, MIX 29 icon Opus, in that the former two units can be considered sophisticated mu- DPUs sical keyboard instruments, in addition igital Audio Production System to their current applications in recording, sound editing and audio-for-video post-production. At the AES Convention, New Eng- land Digital unveiled a stand-alone Direct-to-Disk system capable of holding 75 minutes of 100kHz, 16-bit audio on up to 16 "tracks" of hard-disk storage, each track of which can be slipped or offset against one other. Also being Lexicon president Ron Noonan announces the initial production and demonstrated was the new Audio delivery dates for their Opus system. Event Editor software that provides edit-point location to within adigital Recording and production facilities system with 180 seconds of sample sample (a quoted 10 microsecond ac- have the option of utilizing Audio- time, a2-channel A-to-D module, an curacy), and aspecial time code-based Frame as astand-alone, MIDI- and time 8-channel D-to-A module, and full ADR and voice-over mode that is said code-based digital sampling and re- Real-Time Control, VoiceEdit, Event to allow virtually limitless takes during synthesis synthesizer and sequencer, Processor and Edit Decision List soft- adialog replacement or commercials and/or as a music/effects recorder, ware; to just over $86,000 for a 48- session. editor and signal processor. Iunder- voice system with nine minutes of Fairlight Instruments also appears stand that digital equalization and dy- sample time and an additional eight to be taking the audio-for-video and namics control are planned as imme- channels of D-to-A capability. -film post market seriously these days, diate enhancements for the system. In many ways, WaveFrame's Audio- and has developed acustom control Pro audio prices for AudioFrame, Frame is more akin to the New Eng- panel and software for the Series III. which the company says is available land Digital Synclavier and Fairlight The new MFX (Music & Effects) hard- for immediate shipping, range from Instruments' Series III than to the AMS ware/software package provides acon- just under $46,000 for abasic 16-voice AudioFile, DAR Soundstation II or Lex- trol surface with dedicated transport controls, a "rock-and-roll" editing wheel and programmable softkeys for routine functions, along with Cue List time code-based sequencer and controlling software capable of initiating any Series III function at a specified time. Up to 30 events can take place simultaneously in aCue List sequence. Both Fairlight and New England Dig- ital saw very healthy traffic in their respective demonstration areas, as pro- Studio Consultants specializes in aselect group of exceptionally fine spective users caught up with the dif- professional audio products, including: ferent systems' operational features and production capabilities for musi- •AMS AudioFile —hard disk-based digital recording and editing system cal performance, digital sampling and •API—all-discrete equalizers and microphone preamplifiers, distribution replay to time code tracks, plus wave- amps, and other audio modules form editing. • Bryston —professional power amplifiers, preamplifiers. and crossovers Two companies were also showing • T.C. Electronic—digital delay/sampler, automated equalizers, and effects smaller-scale digital recording and ed- •Westlake— monitor speakers iting systems. Integrated Media Sys- tems (IMS) demonstrated its Dyaxis Also: Aphex, Audio Digital, Audio Kinetics, Fostex Professional, Digital Audio System, which comprises Rane, Valley International, White Instruments aD-to-A/A-to-D rack unit and control- Spec sheets, prices, and in-studio demos are available on request. And ler software for the Apple Macintosh. for short-term needs, Studio Consultants rents API and Bryston. In its basic format, Dyaxis is capable of storing up to seven minutes of stereo, 16-bit/481cHz audio on hard disk with studio coristaliteints,inc. full waveform editing plus MIDI- and time code-based triggering of stored 321 West 44th Street New York NY 10036 (212) 586-7376 samples. Prices range from $6,500 for the basic Dyaxis system (excluding Equipment, support, and design services for professional audio the Mac Plus, Mac SE or Mac II control- facilities and broadcasters. ling PC), to $12,500 for 30 minutes of

Circle #073 on Reader Service Card

30 MIX, JANUARY 1988 PHOTO GEORGE PETERSEN [01

BRYSTON POWER AMPLIFIERS CONTINUE TO DEFINE THE STATE-OF-THE-ART IN MUSICAL ACCURACY, LONG TERM RELIABILITY AND PRODUCT INTEGRITY.

ryston design philosophy the input section to the output another full day. At this point, incorporates three section, without exception, are they are returned to the test bench general concepts. designed to optimize the musical for another complete checkout of B 1. Musical accuracy experience. all operating parameters and 2. Long term reliability functions, at which time a test 3. Product integrity STANDARDS OF RELIABILITY sheet is made, and included in the packing with the unit. MUSICAL ACCURACY econsider this criterion to be exceedingly As may be seen, Bryston takes Musical accuracy is reflected important. We have very seriously the correct throughout all Bryston power mr applied techniques functioning and long term amplifiers and includes the and materials in our everyday reliability of its products. necessity for wide-band transient construction of electronic accuracy, open loop linearity equipment more typically utilized INTEGRITY ahead of closed loop specifications, in the military and aerospace and power supply design as an industries. ryston contends that integral part of the overall sonic the term 'best' should and electrical performance of a All components used in Bryston apply to the honesty power amplifier. power amplifiers are specified for Bpride and courage with continuous duty at maximum which we conduct our business, as We have found that asimple power, with typical safety margins well as to the performance of our carborn film resistor can contributk of 250%. products. more static distortion to asignal than the entire remainder of the The power transistors used in all For this reason, you will not find amplifiers circuitry combined. Bryston amplifiers are 100% tested Bryston's products being for safe operating area, both before cosmetically "updated" on a We discovered that some and after installation in the circuit. regular basis merely in order to parameters of transistors must be They are then taken to a"burn-in" keep the customer's interest, in controlled as much as 1000 times table when they are given a something 'new'. If we make a more closely before their capacitor load, asquare-wave change in the circuitry, it will be contribution to audible distortion is input signal, and set at slightly because, and only because, it rendered negligible. under clipping for aperiod of 100 yields aworthwhile performance hours. During this time, the input or reliability improvement. We discovered that under certain signal is cycled three hours on to actual conditions of speaker one hour off, to exert additional We feel that regular sweeping loading amplifiers were incapable thermal stress. revisions to basic circuit design of yielding high-power transients (accompanied by revised jargon) to without distortion. Following the burn-in period, the be cynical marketing on the part amplifiers are monitored for DC of the manufacturer and insulting Each of the various steps or stages bias stability for approximately to the discerning customer. in every Bryston amplifier, from

In the United States: In Canada: VERMONT Circle #038 on Reader Service Card MARKETING LTD. RFD *A Berlin, Monpelier, Vermont 05602 57 Westmore Dr., Rexdale, Ontario, Canada M9V 3Y6 (802) 223-6159 (416) 746-0300 JUXTAPOSITIONS or audio signal, or atime code track passing recording format as it is touted via its proprietary sync-to-tape code. by several manufacturers and facility stereo; additional storage capacity is Shipment of Digitor, whose price will owners, it does offer apotential cost available via extra 380-Mbyte SCSI range from $16.000 for abase unit to saving and space advantage over con- hard disks. $33,000 for afully configured system, ventional stationary head and video- Soundcraft Electronics also unveiled will begin this month. based transports. the Digitor system, which comprises a Although developments look rel- The battery-powered Sony PCM-2000 self-contained RAM-based recorder atively quiet on the DASH- and PD- portable R-DAT recorder, which fea- and editor. The unit provides up to six format reel-to-reel digital tape ma- tures mic/line analog and AES/EBU minutes of stereo recording into RAM chine front, it would appear that the digital inputs, begins shipping in March from analog inputs; AES/EBU digital R-DAT market is warming up. Both 1988, and has a pro audio price of and PCM-1610/30-type inputs will be Fostex and Tascam joined Sony in un- $7,000. Its sister transport, the rack- made available at alater date, the com- veiling R-DAT transports for the pro- mountable PCM-2500, offers line-level pany says. Sampling frequency can be fessional audio industry. Despite the analog, AES/EBU digital and PCM- set to either 44.1 or 48kHz. The system fact that Iam still not fully convinced 1610/30 ins and outs, plus switch se- can be triggered from an external DC that R-DAT represents the all-encom- lectable sampling frequencies of 32, 44.1 and 48kHz. Shipping is available now, Sony says, at aprice of $5,000. Fostex was showing apre-production prototype of arack mount R-DAT JACK NOISE. transport equipped with variable sampling frequency, analog and PCM- 1610/30 digital ins/outs which, the You don't need it. company says, will cost $4,000 and will start shipping next May. Of all the We don't make it! R-DAT transports currently being mar- No one needs jack noise, and when you specify Mosses & keted, the Fostex deck is the only one Mitchell jack sockets and jackfields you won't get it. What Icurrently know of that will chase and you will get is immediate noise free operation synchronize to external time code, and every time, plus secure plug retention which will enable in-machine editing. and long term reliability. Talk to The Tascam Model R-1 rack-mountable R-DAT offers few features beyond Penny & Giles about the those available from current consu- world's most advanced mer-style decks, including a record jack sockets and sampling frequency of 48kHz, 321d-lz jackfields. digital inputs and 44.1kHz replay-only; If you value shipment is scheduled to begin in Jan- performance uary at aprice of just under $4,000. don't settle for All in all, Iwould predict that the next six months will prove to be a anything less. «m«tcttrucCO C0 O 0 0 0 0 particularly interesting settling time • noise free for the pro audio industry, as prospec- operation tive users come to grips with the fea- every time tures and capabilities being offered by these existing and emergent compa- • secure plug retention nies. I'll be back next month with II self cleaning action some thoughts of my own regarding system configurations, input/output • palladium contacts compatibility, operational features for II audio and video the recording and audio production jackfields industries, as well as possibly blind alleys being pursued by some of the • audio jack sockets leading contenders. See you then. •

Mel Lambert has been intimately involved in the pro audio industry—on both sides of the Atlantic—for the past decade. Formerly editor of Recording Penny & Giles Inc Engineer/Producer magazine, he cur- 2716 Ocean Park Boulevard #1005 rently is apartner in the Marcus Lam- Santa Monica California 90405 bert PR firm, and the president of Tel: (213) 393 0014 Telex: 858866 Fax: (213) 450 9860 Media & Marketing a consultancy service for the pro audio industry.

Circle #074 on Reader Service Card 32 MIXJAIVUARY 1988 • - /Y- ti

aSCa to, • efeçording itp (4 track prod erjhats as easy to háridle aeyoeown instrument _ Forget bewildering patch bay jungles. The fully assignable 8buss mixer sends your signals anywhere you want them with the flick of aswitch. Forget open reel headaches. The unique Load feature loads the tape, senses the end automatically and never lets it run off the reel. And because Studio 8uses 1/4" tape, you'll never be stuck trying to find someone's rare proprietary tape format. Forget video hassles. The "One Plug" SMPTE/EBU interface gives you easy synchronizer or editor connections. But there's something more. Something that's greater than the sum of the features. Startling sound. No other system has Tascam heads. Which means that no other system has the impact and clarity that come from Tascam's thirty years of recording experience. Quality production is what you do. Do it with amajor recording studio. Take control of aTascam Studio 8.

Circle #039 on Reader Service Card PRODUCERS •DESK by Larry Oppenheimer

SeT-TETKPIR, FROM VAN TO THE DAN, AND BEYOND

one resume, he also co-produced the nthe audio world, engineer/producer Elliot Scheiner could lay claim to the smash 1986 debut album of Bruce sobriquet of "Mr. Clean" if he wanted Hornsby & the Range. and no one would argue. Today he For the last two years or so, Scheiner even looks the part: cool, fresh and has been working with Glenn Frey on relaxed in acrisp white shirt, beige his third solo album. The project has pants and new white Reeboks. Per- wended its way through anumber of haps best known for his crystal-per- studios in different locales, including fect work with Steely Dan, which here at the Sandbox in Fairfield Coun- brought him two Grammy awards for ty, Connecticut, only afew miles from 1Best Engineered Recording (for Aja Scheiner's home. Interviews with and Gaucho), Scheiner's career has ScheMer are virtually non-existent. included engineering and/or produc- Not that he is reclusive or inarticulate. tion work with many other musicians "I've pretty much shied away from in- of equal note: George Benson, Riclde terviews," he explains warily, "because Lee Jones, Van Morrison, Billy Joel, I've seen so many interviews with oth- Jimmy Buffett, Diana Ross, Manhattan er guys where things get taken out of Transfer, Ashford & Simpson, and on context and somehow you end up mak- and on. As if this were not enough for ing enemies." Although he professes

PI • : :: . ° VVVV.. -st \ret 't ttttt•. •

34 MIX,JANUARY 1988 THE COMPETITION HATES OUR GUTS. It takes alot Frequency re- of guts to com- sponse. Number pare yourself to of bands. Total some of the Harmonic Distor- biggest names in tion plus noise. In professional every category, Audio Logic SC 31 RANE GE 30 JBL/Crei 5547A Klark-Teknik DN 300 audio. the SC31 comes Noise Less than -90 dBm Less than -90 dBm Less than -90 dBm Less than .90 dBm Of course, Maximum Output +27 dBm +24 dBm +22 dBm +22 dBm out even or on top. when you offer Dynamic Range +117dBm +114 dBm +112 dBm +112 dBm In every cate- Frequency 18 Hz to 30 kHz 10 Hz to 40 kHz 20 Hz to 20 kHz 20 Hz to 20 kHz the quality and Response +1-0.5 dB +0/-3 dB +1/-2dB +/-0.5 dB gory, that is, ex- Number of Bands 31 30 30 30 cept price. Because features found THD Less than .005% Less than .01% Less than .5% Less than .01% inside the Audio plus noise @ +22 dBm @ IkHz @ +4 dBm @ +22 dBm @ +4 @ 1kHz the SC31 gives Suggested Logic SC31 Retail Price $550.00 $699.00 $849.00 $995.00 you all that capa- Graphic Equalizer, bility, plus it's easy to display more than alittle extra incomparable sound quality, for consider- intestinal fortitude. ably less than any other professional The SC31 is apowerful signal processing graphic equalizer. And that's what galls the tool designed for professional use. It fea- competition most of all. tures 31- /12 octave centered bands of equali- For ahands-on demonstration of the zation with selectable 6dB or 12 dB of boost SC31, visit your professional audio dealer or and cut. But that's just for starters. sound contractor. Or write Take alook at the chart: It shows how for additional informationj the SC31 stacks up against the competi- Audio Logic, 5639 So. ...A tion in the specs most important to audio Riley Lane, Salt Lake 1.1 engineers and sound contractors. City, Utah 84107. AUDIO LOGIC Maximum output. Dynamic Range. Or call (801)268-8400. 4 1987 DOD Electronics Corporation *All specifications taken from manufacturer's published literature.

Circle #006 on Reader Service Card THE 1 See the Sound g This is a video output of the IEQ as the unit is being adjusted IEQ The sliders can be moved + 15dB in 1/2dB steps to get the exact WITH response you need With the simple push of a button, complex u some / sire Smartcurve equalization can be done in seconds with incredible accuracy. Not Just Another

Programmable Equalizer 32 63 125 501 1K 2K 4s( est iR PRESET..< 122) Smartcurvis OFF BAND 250Hz With MIDI ART 1E0 BOOST --ea.e

he IEQ with Smartcurve TM is a The power of the 1E0 readily rprogrammable, high performance becomes apparent as the video 15 graphic equalizer that includes a display plots the frequency video output. For those who wish to 10 response due to the slider settings. enjoy the video output of the IEQ, 5 The IEQ offers high quality con- ART makes the IEQ Video Monitor.* 0 ea B O • stant "Q" equalization. The video SmartcurveTM ,proprietary software Cla• graphic display shows the correla- 5 • developed by ART gives you instant tion between the sliders and the 10 eir \nr\e ll e actual frequency response as easy - frequency response. as the push of a button. 1500"1 The IEQ Family consists of both the 32 63 125 250 500 1K 2K 41< BK 16K 2/3 octave and the 1/3 octave PRESET 122) Smart curve OFF BAND= 250Hz graphic equalizers. Both types come ART 'EC/ BOOST =-••.• in two varieties, Controllers and Satellites. A Controller is a self- contained programmable intelligent Turn Smartcurve on and graphic equalizer capable of perfect equalization is at your finger- controlling 15 satellites at once. 15 tips. Note the difference between the IEQ Satellites are exactly the same 10 second frame, (Smartcurvc TM OFF) unit except the front panel controls and this frame. The position of the are eliminated. sliders represent the acval frequency 1E0 Model Specifications: Controller 8. Satellite response of the EQ. Interaction - 128 battery backed presets between bands is virtually eliminated. - MIDI Incredible! Just think, now when you - Frequency Response 20Hz-20kHz ± 0.5dB adjust the EQ you get exactly what - THD - .009% @ I kHz, OdEiM typical you need. The -perfect - EQ? Let your - Dynamic Range - 100dB typical 125 250 500 1K K 4K K PRESET 122 Smart curve ON BAND + 25OHZ eyes and ears decide - Balanced inputs and outputs ART IEG1 BOOST ....lie. 0 "IEQ Video Monitor Features - 19" rack mountable • NTSC compatible monochrome monitor •4 Selectable inputs • Standard RCA jacks for easy connections

It Has To Be A Work Of.

Applied Research & Technology 215 Tremont Street agi Rochester, NY 14608 (716) 436-2720 TELEX 4949793 ARTROC FAX (716) 436-3942

, For more information see your local dealer PRODUCERS •DESK neer to producer was so lengthy. I started getting involved in production Tite art of to be apoor interview subject, Schein- about 1970 doing afew local people. I er proved to actually be softspoken did some work for Van Morrison and shaping sound. yet not shy, opinionated but not out- sort of helped on the production of SONEX is ahigh-performance spoken. Unafraid to reveal his tech- Moondance, but Ididn't really get acoustical foam that upgrades your niques, he seems confident that it is involved until the end. Morrison had studio inexpensively. Ideal for a worked at abunch of other studios on not what he does but bow he does temporary isolation booth, it can things that gets his sound and the cli- other tracks and then he ended up at ents that come calling for it. Scheiner A&R. Iwas the final engineer on the also eliminate slap echo and harsh makes a mockery of Leo Durocher: project and I'd done abunch of tracks resonances in the main room or he is the nice guy finishing first. with him and finished the overdubs. It silence noisy tape equipment in came to mixing and it had to be done the control booth. Mix: How did you get started in the before the end of the year. It was Write for our audio business? Christmas week and he was living in color brochure e Woodstock and didn't want to come today. in to NewYork. So he said, "You do the mixes and just send me copies," and "All the mod- that's how it happened. In theory Iwas producing and mixing, but Inever said ern records that. He stayed up in Woodstock and approved everything. So from there, Ithought, "Well, gee, have a lot of Ijust mixed this album and produced the mixes, so Imust be qualified to be effects, but I a producer." Ididn't know, geez. I made alot of mistakes. Ididn't really Alpha tend not to have any serious success as aproducer until this past year. Homsby's album Audio. 2049 West Broad St. use as much was the first top five album I've had. Richmond, VA 23220 (804) 358-3852 Circle #1375 on Reader Service Card Mix: It's difficult to get apicture of a as anybody producer without talking to the artist, because aproducer is not an island; N else because it's the producer and the artist that Burlington make the energy. Audio/Video Tapes Inc. Scheiner: More the artist Ithink. 106 Mull SI. (ke:in,i(16. N.Y. 11572 they're just Toll Free 1-800-331-3191 Mix: Often it seems to be the inter- In N.Y. (516) 678-4414 not as impor- action. Scheiner: Yeah, it's true. It's tension tant as other and interaction that creates the album, but my outlook is that it's still the artist's name on the album, not mine things." He's got to pay the consequences if it's alousy album. They're not really going to blame me. Scheiner: Istarted in 1967. Iworked for Phil Ramone over at A&R Studios. Mix: The sound Ihear on your work is That's how Igot my engineering very clear and crystalline. chops. Ididn't leave A&R for along Scheiner: That's something I've de- time; Ididn't go freelance until 1973. veloped over the years. Every time I So it was alearning process from '67 to work with anew artist, they can't be- 73. It was areal transition to go from a lieve that they can hear everything. It's staff engineer to freelance. Nobody anew trip for them. Like Glenn said, was doing that; there were still alot of "It's the first time Ican hear every staff guys. Iwas taking achance going instrument clearly." I've strived over my career to make that part of my freelance, but it worked out well be- In Stock and Priced Right. cause Ihad alot of clients. sound; most of my records are pretty Reels, Boxes, Custom Cassettes, clean sounding. Leaders and Splicing Tapes. Mix: How did that compare to branch- HARD TO GET ACCESSORY ing from engineering into production? Mix: Is that mostly amatter of balanc- ITEMS es or EQ or the initial sounds that you Scheiner: The transition from engi- \ ,106 Mott Street, Oceanside, New York 1151/

Circle #076 on Reader Service Card

JANUARY 1988, MDC 37 PRODUCERS •DESK the rooms had afew Pultecs, and you mic them so that Idon't have to touch used them on vocals because there any EQ." And sometimes it will work get or acombination of everything? was not too much mic technique on out great. But usually it's acombina- Scheiner: It's definitely not initial vocals—that depended on how the tion of EQ and level. That's what I've sounds. Ithink that it's more mixing. singer worked the mic. Back when I been using. I've mixed other people's work and was learning, everybody had these old I'll still come up with approximately tube mics. Most of the places that I've Mix: It seems like you're not afraid to the same thing. It's acombination of worked in the last 15 years don't have use drastic EQ if that's what you need balancing and EQ. those great old tube mics, so you end to get what you want. When Igrew up in this industry, up using alot of new mics that don't Scheiner: No, I'll over-EQ until Iget there was no EQ; it was all mic tech- sound nearly as good. There are afew it to the point where Ilike it. Ifeel like nique. That's the way Ilearned from studios out in L.A. that have an unbe- if I'm having to drastically EQ some- Phil [Ramone] :you place the mic in lievable mic selection, and it's nice to thing it's OK, it just wasn't right on the right spot, you get the right sound. get into it for asecond—"Well, gee, tape and I'm compensating for it. I The old broadcast consoles that we I'm going to try to not use any EQ on don't feel bad that Ihave to over-EQ had didn't have EQ in them. Most of the drums today. I'm going to try to something; it's not going to change the overall picture that much.

Mix: Can you describe the sound that you're usually looking for? A SENSATIONAL RECIPE Scheiner: Ilike alot of transparency. Ilike hearing alot of low bottom, alot of tap. Itend to shy away from the middle and boost the top end more than anything.

Mix: Sort of like that British sound. (1) Take one professional recording engineer. (2) Add top quality digital recording equipment and facilities. Scheiner: Yeah, that's what first made (3) Season with the expertise of 20 concert artists. me take notice of that kind of stuff. (4) Record EVERY note in the range of almost every instrument Like the old Elton John records. The (5) Use only the finest instruments available anywhere. first time Iheard his first American (6) Add spices: muted strings and brass, pizzicato, natural and artificial harmonics, martelé string attacks, flutter-tongued flutes, plucked piano, bowed vibes, etc. record, you could hear the cellos, you (7) Record in stereo, and edit and master digitally. could hear the basses, and it was really (8) For good measure, add amanual with instructions and adirectory for easy access. crystal clear. You heard every octave What do you get? really distinctly: all the top end stuff, the range of the piano. So that was my goal: to get records to sound as clear THE McGILL UNIVERSITY MASTER SAMPLES as that. LIBRARY ON THREE COMPACT DISCS Mix: We've talked abit about EQ and balance issues. How do you get the If you are looking for the ultimate in clean, beautiful, luscious sounds, sense of space and placement that you look no more. We've got 2,267 of them. All you need is aCD player and like? any sampler. Scheiner: Itry and get the space with panning, echo. Itend to delay the Volume 1: Solo strings and ensemble violin (violin, viola, cello, bass) inputs to the chambers with a fair amount of delay so that it creates a Volume 2: Woodwinds and brass (piccolo, flute, alto flute, bass flute; b flat, eflat, bass, contrabass clarinets; oboe and English horn; bassoon and contrabassoon; little bit more space on the instrument trumpet and Bach trumpet; French horn; tenor, alto, bass trombones; tuba) in the echo. Istill use alot of old EMT tube chambers. I'm using more and Volume 3: Pianos, percussion, and saxophones (9' Steinway: soft, loud, more digital stuff with it, but Ialways plucked strings; marimba, xylophone, vibraphone, glockenspiel, crotales, tubular bells, plus 102 metal, wood, and skin percussion sounds on 65 different instruments; soprano, make apoint of having two or three alto, tenor, baritone, and bass saxophones) old, old mono chamber EMTs, like 140s. I'll use amono chamber on the left and one on the right and one down Send $69 (U.S.) per C.D. or $199 (U.S.) for all three volumes, plus $4 for shipping and the center. If Ihave aguitar on the handling. Quebec residents add 9% sales tax, outside North America add $4 (Allow 4-6 right, Imay want its echo returning on weeks for delivery). the left. With most of the digital cham- Send check or money order to: bers now, it's stereo in, stereo out, you can't send to just one side and get just McGILL UNIVERSITY MASTER SAMPLES one side out; you get echo down the 555 Sherbrooke Street West. Montreal, Quebec. Canada H3A 1E3 (514) 398-4548 middle in most cases. So Ilike to have that discretion with echo chambers.

Circle *077 on Reader Service Card

38 MIX,JA1VUARY 1988 • Q-Sheet. MIDI Automation. • Now.

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Circle #007 on Reader Service Card PRODUCERS •DESK room mics but never used them. We producer] Gary Katz, it was a real created whatever room stuff we want- drummer playing and he wanted to Mix: Inoticed on some of the Steely ed with the chamber. That was along make sure that everybody knew clearly Dan stuff, particularly the Aja and time ago, too. that this was adrummer. So we didn't Gaucho albums, that it has areal inti- use many effects, but there are some. I mate sound. It doesn't sound dead, Mix: How do you feel about all the do use alot of signal processing, but but it does sound like they're there in effects devices available? Do you use it's very, very subtle. Idon't like to aroom with you as opposed to some them much? crowd everything in there. huge space like alot of the records. Scheiner: You have to use acertain Schehier: It's funny—we used big amount to be competitive now. All the Mix: Do you have preferences in rooms, especially on Gaucho and Aja, modem records have alot of effects, speakers? Any thoughts about using where we used areally large room at but Itend not to use as much as any- small speakers as opposed to large A&R for most of the stuff. In those body else. Idon't use them to the max speakers? days, we wanted separation; we really because they're just not as important Scheiner: I've been using solely didn't want that room sound. We used as other things. Visoniks now for ten or 11 years: Itrack the room more so that the guys could A lot of the time on recent records, on them, Imix on them, Ido all my be in the same room, play as aband, you can't tell if it's amachine or areal overdubs on them. I'm never without and have enough separation that if we guy, and Ithink it's still important to them; wherever Igo they go with me. had to replace parts we wouldn't have be able to make that differentiation— Ihave them in my house. I'd be totally any guitar leakage on the drums. Every- that there might be areal guy playing. lost without those monitors. thing was pretty tight miked. Ihung On this project Idid with [Steely Dan Idon't like to listen very loud, Ilike

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Circle #078 on Reader Service Card

40 MIX,JANUARY 1988 to monitor kind of softly. Glenn moni- before you'd have to stop and change change over. ft wasn't like, "Well, we're tors incredibly softly. He feels he can EQs and everything. You really never doing averse section now, so since hear everything alot better if we mon- heard the song in its entirety until you we're set up for the verse let's go to the itor very softly, especially pitch. We cut were done. You just did eight- or 16- other verses." They didn't want to do vocals very, very softly, no echo, no- bar segments and cut it together. that. We would do averse, and then thing to alter the voice. break down for the chorus. Iwould Mix: So you didn't just split everything reset the EQ, echo, panning and every- Mix: How did you come to work with into separate console inputs and set thing else that they wanted to do and Steely Dan? Ithought Roger Nichols each one differently? then cut the section in, listen to the did their engineering. Scheiner: No, we didn't have the verse and the chorus and hear how it Scheiner: Prior to Royal Scam he was facility for that. The console we mixed worked. Then they had in their heads doing everything. Iknew these guys on only had 34 or 36 inputs, and there what was going to happen afterwards. from way back because Iused to work had to be the equivalent of 40 tracks of Icertainly had no clue as to what was with Jay & the Americans and Gary information, so we actually had to —COIVT1NUED ON PAGE 45 [Katz], Walter [Becker] and Donald [Fager] used to be involved with them. When Iwent freelance, it was right around the time of Royal Scam, The CDI-750 Time Code and about that time they felt some Reader/Generator kind of change was necessary They'd heard aFelix Cavaliere album called Destiny that I'd recorded and were really impressed with the way that album sounded, so they called me and Ibecame involved. What would usually work out [after Royal Scam] was that Iwould record the tracks and then not see those guys again until mixing time. All the overdubs in between were what Roger did. Ididn't have the patience required to do what they wanted to do with overdubs because they were really meticu- lous. They could spend 20 hours doing one four-bar guitar part.

Mix: Weren't they pretty fussy about the tracks too? Scheiner: Well, the tracks were tedious. For Gaucho we spent—it had to be six months—doing tracks, but it wasn't everyday. Each song must have been recorded three, four, five times The CDI-750 is afull function reader, generator, character inserter and programmable 16-event controller with different bands. They just wanted More all rolled into one. In addition to simultaneously to get the best possible track I'd never generating and reading time code, this intelligent seen recording in such amicroscopic than just microprocessor-based instrument offers aprogram- way before. It was abig learning expe- mable jam sync mode, built-in time of day clock, and rience for me and Iwas achanged guy a matter an RS-232/422 computer interface. And with front after that. panel controls, the CDI-750 is an easy unit to operate, of time affording the user greater flexibility. Mix: How does the influence from Fully compatible with the Shadow II -and Softouch, - that period show up in your current this system's state-of-the-art software controls make it readily adaptable to future needs. work? Scheiner: That's the beginning of my Each unit carries a3 year warranty. cleanliness era, of putting things in For more details contact Cipher Digital today. Call perspective. The first thing I'd mixed (800) 331-9066. for them was Aja, and that was abig challenge for me because everything was on one 24-track and three or four cioher cgrtl ' Inc things were on each track There was PO 80x 170/FREDERICK MD 21701 percussion on the same track as gui- D(301)695-0200 TELEX 272065 tars and background vocals. So you'd only get eight or 16 bars into the song 704 iod, xi'wd tohovtow.

Circle #079 on Reader Service Card

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Mix: How did you retain consistency most cases. Idon't think I've had between verses if you did averse and then broke down? Scheiner: Well, I'd make basic marks. to go to any great lengths to try and There were no computers in those days. I'd write panning, echo and fader make something more than it is." level and that would get me close enough. I'd pretty much remember EQ.

Mix: Let's talk about what you're doing Mix: What's your interaction with him tracks. He's had alot of freedom, not here at the Sandbox. Did Glenn call like? Does he always know pretty much having to worry about space on tape. you up to do the project? exactly what he wants? So I've brought those kinds of ideas to Scheiner: Glenn called me just two Scheiner: Yeah, he's always got it in reality for him. And Ithink sonically years ago this month. He'd done acut his head. He sometimes doesn't tell he wanted an album that would be for the Miami Vice soundtrack album you right away what he's doing—you competitive with everything else on and asked me to mix it. Idid and it know, he's got it and he's keeping it a the market. He didn't want to have to was, like, a number two record for secret—but he always knows. It's like worry that he was going to have a him. That was the beginning of our he's got this master plan in his head, mediocre-sounding record. And Ithink relationship, and he thought we and Ialways trust him. He says, "Let's we've accomplished that. You get close should work together on something do this," and although Imight not to it and it's hard to tell, but I'm really great. So we've been working for the agree with it right away, we go through pleased with the album and Iknow he last year and ahalf on this album. He it, because chances are that he's going is. The material's great. Glenn is agreat has been spending alot of time on it, to be right. Ithink the guy's agenius. singer, and he does his background taking his time writing the material; We've been great buddies on this vocals so quickly and easily, and they're he feels it's avery important album for project; it's been a really wonderful so great sounding. He just goes in and him. He's gone back to '60s roots— experience for me because he's such a does them by himself. He'll usually there's alot of Memphis R&B/Motown nice guy. end up adding other people and I kind of stuff on this album. That's what haven't quite understood why he al- he feels most comfortable with. We're Mix: So then alot of your role is to ways wants other people on there trying to make it modern, but we still make his ideas areality? singing with him when his tracks want to keep some of that '60s flavor. Scheiner: Yeah, a lot of that, espe- sound so great. Irealize it's for differ- It's a pretty simple album sonically. cially technically. Ithink this is the first ent textures and stuff, but his back- There are strings and horns on it, and time he's used more than one tape grounds are unbelievable. we're using real strings. Most people machine on an album; he's only used shy away from strings and are using one 24-track before. This album's giv- MIX: Well, this is interesting because synthesizers; Glenn wound up using a ing him the capability to do alot of you're saying that he wants it to sound 30-piece orchestra. other things: have abunch of vocal modem but he wants to maintain alot of the '60s R&B feel, and he's doing a lot of things like using real strings instead of synth stuff, but here you are "It's tension and interaction that at the Sandbox. rIlle Sandbox is over- whelmingly oriented towards MIDI instruments. See Mil; October '87.] creates the album, but my outlook Scheiner: The Sandbox is great, especially for me because Ilive only is that it's still the artist's name on five minutes from here. We spent a year out in LA. and it was nice to come home for awhile. Glenn came with the album, not mine. He's got to me and checked out the studio: all the keyboard options, the drum machines. We already had seven or eight things pay the consequences if it's a which we did in various places totally done when we came here. We decided lousy album." to mix what we had because they were all done and while we were doing that

JANUARY 1988, MIX 45 OTEWORTHY PROGRAMS NA Music Software Survey by Paul Potyen board. This was accomplished through industry has seen the appearance of a the use of five-pin "DIN" connectors family of excellent, high-quality, MIDI- The acceptance of the MIDI standard by for MIDI in, MIDI out, and MIDI thru controllable digital reverb units, mix- the music and recording community in information. Some of the first MIDI- ers, and other outboard equipment. the last three years has radically changed equipped products to hit the market- What follows is ageneral survey of some the way music is being made, and judg- place that year were the JX-3P and the of the software available to support this ing from some of the new music hard- JP-6 by Roland, the Prophet 5and T8 new equipment. ware and software, we've seen only the by Sequential Circuits, and the now Most music software can be put into tip of the iceberg. legendary Yamaha DX7. one of the following broad categories: Introduced in early 1983, the first ver- It didn't take long for all of the major sequencers, music scoring and printing sion of the MIDI specification was the instrument manufacturers to be con- programs, editors and librarians, and result of the combined efforts of several vinced that MIDI was afeature that pro- miscellaneous applications. The distinc- American and Japanese equipment man- fessional musicians wanted. Likewise, tion among these categories some- ufacturers. Their common goal was to computer software developers realized times gets alittle fuzzy, but it's impor- create astandard interface which al- the potential that MIDI held for them, tant to clarify them before we dive into lowed musicians to transmit musical and they responded with avariety of specific programs. Sequencers allow the information between different brands software applications and MIDI adapt- computer to behave somewhat like a of synthesizers and drum machines. In ers for the Commodore, the Apple II, multi-track tape recorder. The MIDI its most elementary application, MIDI the IBM PC compatibles, and what for spec calls for 16 MIDI channels, which enabled one or more synthesizers to be now seems to be the industry standard, can be thought of as 16 independent controlled remotely from amaster key- the Macintosh. And in the last year the tracks, although that's really an oversim- plification. Generally, the user can play apart on aMIDI keyboard either in real time or step time. In each case the mu- MACINTOSH MUSIC SOFTWARE sical information is recorded by the com- program description company price phone # puter. This information can then be edited and played back, allowing the Performer 22 sequencer Mark Of The Unicorn $395 (617) 576-2760 Sequencer 2.6 sequencer Opcode Systems $250 (415) 321-8977 user to easily change tempo, key, note Mastertracks Pro sequencer Passport Designs $349.95 (415) 726-0280 values, durations, dynamics or any other MidiPaint sequencer Southworth Music $150 (617) 772-9471 KCS v1.5 sequencer Or. Ts Music Software (617) 244-6954 of amultitude of musical parameters. Professional Composer scoring Mark Of The Unicorn $495 (617) 576-2760 The complexity of apiece of music is HB Music Engraver scoring FIB Imaging $395 (801) 225-7222 Deluxe Music Const. Set scoring Electronic Arts $99 (415) 571-7171 limited only by the number and kind of Yamaha DX/TX editor/librarian Opcode Systems $250 (415) 321-8977 MIDI instruments being controlled Yamaha FB -01 editor/librarian Opcode Systems $150 Casio CZ editor/librarian Opcode Systems $150 (and of course, by the imagination of Oberheim Matrix 6 editor/librarian Opcode Systems $200 the composer). Akai MPX820 mixer editor/librarian Opcode Systems $200 Kawai K-3 editor/librarian Opcode Systems $150 The second category, music printing, DX Ed. 1.1 editor/librarian Altech Systems $49.95 (318) 226-1702 is somewhat more straightforward. Put CZ Ed. 1.2 editor/librarian Altech Systems $49.95 ESO lib 1.0 editor/librarian Altech Systems $49.95 simply, music scoring and printing pro- Caged Artist Roland D50 editor/librarian Dr. T's Music Software (617) 244-6954 grams are to composers what word FX Designer Lexicon PCM 70 ed. Digidesign $195 (415) 327.8811 Softsynth additive & FM synth. Digidesign $295 processing programs are to writers. Universal Sound Designer waveform editing Digidesign $395 Some companies bundle music scoring 0 Sheet automate° MIDI cont. Digidesign $495 Sound Lab 1.2 (Mirage) waveform editor Blank Software $299.95 (415) 863-9224 programs with sequencer programs, Drum File SP-12 librarian Blank Software $295 while others allow you to import a CUE film music system Opcode Systems $499 (415) 321-8977 MIDIBASIC 3.0 MIDI programming Altech Systems $99.95 (318) 226-1702 sequencer file from acompanion pro- algorhythmic composer Intelligent Music $150 (518) 434-4110 gram. Still others provide you the op- Jam Factory Intelligent Music $150 Upbeat rhythm programmer Intelligent Music $150 tion of exporting ascore into asequen- Sonata fonts Postscript music font Adobe Systems $95 (415) 852-0271 cer program and playing it. Finally, there are programs which simply allow you •shipping 1/88 to create afinished score for printing purposes only.

48 MIX, JANUARY 1988 MIMOMi ialliMn ERR •••• • • •BM R• • ffl\ IM .ORMIL IMURIIMIR RIM. .• , BRU '.11 ,.--W ••• MR Man OM MI am/ - RWIME IM Mal IIMI •BR RIMmIP iM ‘I. MU OM ... a -- III MR •ffla MINI• MI BIBI "..«M 4/// h.._ ,0 IIIIRER RIM Mk MBI R , IM•II IIRIffl IRM ....., fflp MII 1ML BM \NMI

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Let's assume that results CAT Central A console are what's important, Automation investment that not which tools you use. Terminal: engineered to instantly doubles

Audio production is at least as speed your work flow. your returns. much art as science; there will al- The DCM 232's Central Automat- Each of the DCM 232's ways be those \\ lu) ascribe amagi- ion Terminal controls one of the channels, including the cal aura to certain pieces of most ingenious automation systems four band I.:(2 section, itquipment. But if your client list is ever to shorten a mixing session. can be split during mix- built on quality and consistency Along with the precise fader and down. So a56 channel rather than techno-voodoo, the muting control you'd expect, the frame can handle as DCM 232 in-line console with CAT CAT system includes advanced many as 112 inputs automation can give you more functions like Channel Copy that from samplers, synths of both. lets you duplicate achannel's signal and digital storage me- flow as many times as you need to. dia. You'll probably run You need more console, The computer will recall a"snap- out of control room not more headaches. shot" of most console switch settings space before the DCM manually or via SMPTE code. 232 runs out of inputs. You're working for more de- The advantages of manding clients, on bigger projects, the DCM 232 in-line with tighter deadlines. You need console with CAT auto- greater flexibility, expanded fea- mation are explained tures, enhanced performance. more fully in our bro What you don't need is a"mega- chure. To get acopy, write on your star" console—or the jumbo mort- gage that goes along with it. letterhead to the appropriate address below. DDA's AMR 24 has already set

new standards of audio perfor- Circle #051 on Reader Service Card mance and versatility in the "clas- ‘Vith all of its convenience folic sic" split configuration. Now the tions, this CAT won't leave foot- DCM in-line DCM 232 combines the accu- prints all over your tracks. The ID DA racy of digital-quality audio, the DCM 232 maintains an overall dy- flexibility of digital control and the namic range of 100 dB with at least Klark-Teknik Electronics Inc., 308 Banfi Plaza North Farmingdale, NY 11735 (516) 249-3660 capacity to handle apair of syn- 22 dB headroom at each stage, chronized digital 32 tracks. Unit #1, Inwood Business Pk., Whitton Rd. thanks to exacting calculation of Hounslow. Middlesex, UK TW3 2EB every circuit component. 01 570 7161 —FROM PAGE 48, NOTEWORTHY PROGRAMS The introduction of the Yamaha DX7 synthesizer and its progeny created a IBM PC MUSIC SOFTWARE demand for patch editors and librarians. These instruments were capable of pro- program description company price phone e

ducing a wide variety of complex Mastenracks PC sequencer Passport Designs $395 (415) 726.0280 sounds, but the process of program- Personal Composer seq. 8 notation/print. Jim Miller $495 (808) 328-9518 Texture 2.5 sequencer Dr. rs Music Software $299 (617) 244.6954 ming these instruments without the Sequencer Plus Mk Ill sequencer Voyetra $495 (914) 698.3377 aid of a computer was a slow and The Copyist notation/printing Dr. T's Music Software $225 (617) 244.6954 Cakewalk sequencer 12 Tone Systems $150 (714) 594.5051 painstaking one. In addition, digital MESA. seq. 8 notation/print. Roland $495 (213) 685-5141 sampling devices have become aval- SCORE notation/printing Passport Designs $795 (415) 726-0280 FB Master (F13.01) editor/librarian Dr. T's Music Software $99 (617) 244-6954 uable tool in music production. Soft- TZ Master (TX-81Z) editor/librarian Dr. Vs Music Software $99 (617) 244-6954 ware programs have been very help- FB -01 Editor editor/librarian Passport Designs $125 (415) 726.0280 JX-8P Editor editor/librarian Passport Designs $125 (415) 726-0280 ful in managing the many problems TX-81Z Graphic Ed. Sys. editor/librarian Bacchus Software $199.95 (213) 820-9145 inherent in high-quality sound sam- TX-802 Graphic Ed. Sys. editor/librarian Bacchus Software $249.95 (213) 820-9145 DX/TX Voice Manager editor/librarian Bacchus Software $169.95 (213) 820-9145 pling, as well Vision II (Mirage) waveform editor Turtle Beach Softworks $349.95 (717) 741-4972 Vision II (Akai S900) waveform editor Turtle Beach Softworks $349.95 (717) 741.4972 MACINTOSH SYSTEMS

Music producers and composers who previously had no experience with or can be exported for transcription to Professional Composer access to a computer seem to have either Professional Composer by Mark Mark Of The Unicorn has recently flocked to the Macintosh en masse Of The Unicorn or Deluxe Music Con- updated its music printing program, within the last two years. Its power, struction Set by Electronic Arts. long regarded as the standard for the ease of use, portability, price, and the Mac. Up to 40 staves of music can be availability of outstanding software Mastertracks Pro entered from the Macintosh keyboard have made it avery popular choice Passport Designs has been in the mu- or from files imported from its com- among professionals. sic software business since 1980, orig- panion program, Performer. Profession- inally marketing their sequencer for al Composer has powerful editing fea- Performer 2.2 the Commodore 64 and the Apple II. tures, including single event to large One of the pioneers in music software Mastertracks Pro, the company's sequen- section cutting, copying, and pasting, for the Mac is Mark Of The Unicorn. cer package for the Macintosh, was as well as normal and enharmonic trans- Their Performer 2.2 is a significant released some time after its competi- position. The system provides for odd update of their popular Performer tors, but it is as sophisticated as any time signatures, dynamics, lyrics and 1.22, which provided more than 200 program currently available. It pro- much more. Aplayback feature allows tracks, 50,000-note capacity, 480 parts vides 64 tracks of real-time and step- you to hear your score via the Mac per quarter note beat resolution, and time input, graphical song editing, speaker system. Version 2.1 supports many other attractive features, in- graphical step-editing, asystem-exclu- Adobe Systems Sonata Fonts, which cluding easy, single event editing. The sive librarian and keyboard control allows high-quality laser printing of Mac screen is set up to look like atape mapper. This last feature allows you to music notation. deck with rewind, stop, play, pause, control the sequencer from your MIDI fast forward, and record buttons. This keyboard. The program reads and gen- Deluxe Music Construction Set new version of Performer includes erates MIDI clocks and MIDI song posi- DMCS from Electronic Arts is actually SMPTE frame display and editing, plus tion pointers. To get it to operate with much more than amusic notation pro- a cue sheet for film and video pro- SMPTE codes, however, you need a gram. As in Professional Composer, duction. Extra features have been sync converter. you can enter information from the added to its already powerful editing Mac keyboard, but you can also play it options. Files can be exported to Mark MidiPaint in (and hear it back) via aMIDI key- Of The Unicorn's companion pro- MidiPaint, Southworth Music's latest board. So essentially, DMCS is abasic, gram, Professional Composer, for entry in the Macintosh sequencer wars, no-frills sequencer. It also includes a music transcription. is acomplete re-design of their Total library of editable sounds which can Music package, which was one of the be used to play your score over the Sequencer 2.6 first for the Mac. It includes all of the Macintosh speaker, although its use in Opcode's sequencer program is the major features of the other programs the professional market is limited. But cornerstone of an extensive line of mentioned here, including MIDI file if you own Opcode's Sequencer 2.6, music software and hardware for the compatibility, and it's worth noting that you will be interested to know that Macintosh. This latest update includes its $150 price tag is considerably lower files created on that program can be independent track looping, song point- than the others. If you want to sync to read by DMCS. The $99 price tag is er synchronization with SMPTE/MIDI SMPTE, your best bet is to use South- worth mentioning, too. interfaces, recordable tempo changes worth's own Jambox converter. The and many other powerful features. other brands will not work without a HB Music Engraver Version 2.6 is Multifinder-compatible MIDI merging device. Also, it's Multi- This newest entry into music scoring and Mac II-compatible. Files can be finder-compatible and Mac II-compat- by HB Imaging is described as acom- saved in the new MIDI file format and ible, and it's not copy-protected. puter-aided engraving tool. The goal

JANUARY 1988, MIX 51 and editors. It automates every paperwork task and calculation procedure that occurs in the process of creating ATARI ST MUSIC SOFTWARE music that synchronizes to picture. program description company price phone # Some of its many features include the ability to enter timing points (in feet Mastertracks Pro sequencer Passpon Designs $349.95 (415) 726-0280 Pro 242.1 sequencer Steinberg Software $349 (818) 993-4091 and frames, SMPTE, minutes and sec- Master Piece sequencer Sonus Corporation $375 (818) 702-0992 onds, or measures and beats) directly SMPTE Track sequencer Hybrid Arts $575.95 (213) 826-3777 KCS 1.5 sequencer Dr. Is Music Software $225 (617) 244-6954 from video tape with a single key- The Copyist 1.4 notation/printing Dr. Ts Music Software $225 (617) 244-6954 stroke; display of both absolute and Superscore notation/printing Sonus Corporation (818) 702-0992 EZ Score Plus notation/printing Hybrid Arts $99 (213) 826-3777 relative time at once; and the ability to Soundfiler ST sampling editor Drumware $299 (213) 478-3956 enter up to 24 lines of description per Oasis ST Mirage sampling editor Hybrid Arts $249 (213) 826-3777 ADAP Soundrack additive/FM synthesis Hybrid Arts $1995 (213) 826-3777 cue point with text editing capabilities. Softsynth additive/FM synthesis Digidesign $295 (415) 327-8811 It has a sophisticated tempo search section, allowing you to determine • shipping 1/88 which cue points are hit by agiven tempo. It also creates custom score paper with click and bar numbers, as well as abbreviated cue point descrip- is publication -quality music printing, products. Digidesign makes Sound tions. Amaster cue list and performing and it stores and reads the new MIDI Designer for practically all the com- rights list are automatically compiled. file format used by Opcode and Pass- mon sampling units on the market. port. It also allows you to import lyrics Intelligent Music Programs from word processing files. This pro- Softsynth Intelligent Music is a company on the gram was expected to be shipping by And if you liked Sound Designer, you'll forefront of anew kind of compu ter- mid -December. love Softsynth. It allows you to perform aided algorhythmic composing tech- additive synthesis using aMacintosh. nology. Their catalog currently con- Editor/Librarians by Opcode The resulting sound files can be load- tains three different programs (M, Jam There are several software companies ed into the sampling unit of your Factory and UpBeat) which allow you that have taken advantage of the fact choice. It features 40-segment ampli- to use your Mac as acompositional that computers can help in the job of tude envelopes, 15-segment frequency tool programming synthesizers and keep- envelopes, individual control over up ing track of patches. Opcode Systems to 32 harmonics and five wave-shapes. IBM SYSTEMS has one of the most complete lines of It's easy to understand, simple to use patch editor/librarians. They are reli- and capable of producing some com- For those of you who already own able, easy to use and most of them plex and interesting sounds. and use an IBM-compatible system, include "Patch Factory," a random the entry into music software may be patch generator. "Patch Factory" allows Cl-Sheet more practical with your existing sys- you to constrain its "randomness" in a This third program by Digidesign is tem. A significant number of compan- variety of ways to create and store new their newest, described by the com- ies support the IBM with music soft- sounds for your synths. Also worth pany as both an automating device for ware, including Roland, Passport and mentioning is Opcode's editor/librar- MIDI controllers and amethod to pro- Dr. Ts Music Software. ian for the new Alcai MPX820 provide MIDI-controlled sound effects grammable mixer. editing for video and film. Q-Sheet has Mastertracks PC its own internal SMPTE clock, elimi- Passport Designs' Mastertracks pro- Sound Designer nating the need for a converter. Se- gram for the PC is aphrase-oriented Digidesign has done for sampling quences can be created (or loaded multi -track sequencer and step editor units what Opcode has done for synthe- from MIDI files created from Opcode, with 64 patterns for each of its 16 sizers. Anyone who has tried creating Passport or Southworth sequencers) tracks. Information can be entered in original samples without the help of a to control program change informa- real time or step mode and then error computer knows that it's abig pain. tion (e.g. the original Yamaha SPX 90) corrected, merged, deleted, trans- Sound Designer allows you to literally to full dynamic MIDI (e.g. the Lexicon posed, repeated or copied. Other fea- see what you're doing when you try to PCM70). Other possibilities for Q- tures include programmable Punch In edit asampled sound. You can hear Sheet are complete control of amix- and Out, extensive single event and the results of your edits, and when down on aMIDI mixing console, such track editing, and MIDI song pointer you're finished you can store the as the Yamaha DMP7, or automation for SMPTE sync. Memory is up to sound on floppy disks in Sound De- of MIDI lighting controllers. 40,000 MIDI events. signer's 16 -bit linear format. The beauty of this format is that you can CUE, The Film Music System 2.0 Personal Composer call up a sound you created on an This software product for the Mac is Jim Miller's version of music software Akai S900, for example, and then trans- produced by Opcode Systems, and is for the PC is more than a sequencer. fer it into a Roland SW. Other com- not to be confused with Digidesign's While you can enter text from the IBM panies, like Blank Software, are now Q-Sheet. Cue is acomprehensive sup- keyboard, a mouse or a MIDI key- using this same format with their port system for film music composers -CONTINUED ON PAGE 220

52 MIX, JANUARY 19118 JOIN THE WINNING TEAM!

V3 Octave Hand Held Real Time Audio Analyzer TS-1 The model 30B is aprofessional V3 octave real time audio spectrum analyzer at an affordable price and the ideal machine for: • THE STUDIO; to check room response and monitor the mix. Oscillator • Frequency Counter • dB Meter • LIVE SOUND; to eliminate feedback and easily set room EQ. Three audio test instruments combined in one unit. Features • SOUND CONTRACTING; to analyze rooms, set EQ and SPL include: levels, eliminate feedback, verify system performance. IM Low distortion audio oscillator with frequency range 10Hz II BROADCAST to adjust cart machines and check line quality. to 30KHz. AVAILABLE ACCESSORIES: Carry case & remote instrument • Frequency counter with response of 1Hz to 99.99 kHz. microphone with phantom power source. • DB meter with range of —50 to 24dB from 20Hz to 20KH7 FEATURES INCLUDE: built-in rechargeable batteries: built-in microphone, aux line input. SPL in A or C weight, Decay settings. MODELS: TS-1 -Balanced in $299.95 FILTERS: 30 bands on ISO centers to ANSI Class II double tuned TS-1RM -Rack Mount Balanced In S359.95 specificat ions. TS-1RMX -Rack Mount Balanced In SUGGESTED RETAIL $599.95 and Out with XLR Connectors $399.95

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Circle #052 on Reader Service Card STUDIO •VIEW by Tony Thomas BEYOND THE MIDI STUDIO AN INTERVIEW WITH SHELLY PALMER CREATIVE AUDIO RECORDING SERVICES

he battle is on. Svelte and sophisticat- as Creative Audio Recording Services' ed home "MIDI Ships" (home MIDI (CARS) two new tapeless recording studios) are poised in a valiant at- studios—studios designed to blow tempt to put the big, powerful "Moth- the average home MIDI studio to bits. er Ships" (professional recording stu- Designed around New England Dig- dios) out of commission, forever. ital's 200-track Synclavier Enhanced This pseudo sci-fi (or is it hi-fi?) sce- Digital Music System and 16-track nario is becoming more and more of Direct-to-Disk Recording System, CARS' areality due to the rapid proliferation new studios have all the firepower and of MIDI-based musical instruments, horsepower needed to do it. recording gear and signal-processing Shelly Palmer, CARS president (who equipment. Who will save the record- also heads Shelton Leigh Palmer & Co., ing universe? Enter the "Death Stars." one of New York's largest and best- The "Death Stars" are rooms such known music production companies),

Photo right: SLP&CO REPS Andree Kamin- ski (left) and Lisa Tesoro (center) pose with commercial music composer/producer Shelton Leigh Palmer.

54 MIX,JANUARY 1988 7"T s“"re- - e • —.• ; r a e • • • MC22 • • *." ;mi.:. 1E/ \;;;e" ,,ernet. • • • «• moo •

We love baseball, apple pie, our mom, and coming up with innova- offer unequalled accuracy, consistency and flexibility. tive, mind-boggling all-American technology. Take the AC 22 and AC 23, They're packed to the metal with so many capabilities, you could for example. They're loaded with so much exclusive American write abook on them. Which we did. And it's included with every

Rane technology, the blueprints will probably wind up at KGB unit. As you discover the capabilities of the AC 22 at the headquarters. suggested list price of $389, and AC 23 at $499, your system

Rather than improving on existing crossover technology, will improve with cleaner, tighter sound. And more of your

Rane decided to reinvent it. The result means features like audience will hear the best sound your system can deliver.

24dB/octave slopes, the distinct performance advantages of Maybe even all the way to Siberia.

Linkwitz-Riley crossover design. State-variable filters, coupled Rane Corporation, 6510 216th Southwest, IngeANE with the precision 41-detent continuous frequency selectors, RAM Mountlake Terrace, WA 98043. 206/774-7309. —

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Circle #082 on Reader Service Card

JANUARY 1988, MIX 57 Fig frreefrfcietee

To Copycode Or Not To Copycode .. . There Are Many Questions

by Richard Elen taping actually is—although Iwould places where a prepared demo has not put people who tape their own been all that has been experienced, Editor's note: A couple of months ago material in this category). Thus, they many people appear not to have we asked for your comments and sug- are unfair. heard the notch that Copycode impos- gestions for the DAT/copycode contro- Spoilers have traditionally never es on pre-recorded material. Where versy Of the many wonderful sugges- worked, or have been capable of cir- there has been more flexibility in the tions that came in, we felt the follow- cumvention: as amember of any in- presentation, it appears to have been ing reflected the most imaginative and telligence service will tell you, to any more noticeable. In England, for exam- refreshing view We feel it is aplan electronic measure there is an elec- ple, it has been suggested that by the well worth considering. tronic countermeasure. Now we have end of the demonstration it was being or several years, the record busi- aspoiler which probably would carry admitted that "Copycode changes the ness has been concerned—some out its required function: the CBS sound, but it's worth it." Fwould say overconcerned— Copycode system. But like other pro- Copycode can be circumvented, in about the alleged evils of illicit copy- ducts of CBS labs—SQ and CX to any case, by the use of the new gener- ing of records. Industry bodies on name but two—it has some fatal ation of digital audio processing con- both sides of the Atlantic have claimed, flaws. Demonstrations of the system sumer products—like the Yamaha with varying amounts of evidence, have met with amixed response: in DSP-1, which costs only a few hun- that millions of dollars are being lost every year as aresult of home taping and counterfeiting. And having been a skeptic initially, Ihave been con- Quincy Takes a Stand vinced that there is sufficient evidence to indicate that the industry is indeed I'm concerned about the impact that home taping with selling fewer records and pre-record- DAT will have on our artistic community. Home taping ed tapes because some people are hurts the entire music community. It drains away the copying tracks they do not own—from revenues needed to experiment with new music, new the radio or from other people's copies. Iam, however, still of the opinion artists and new songwriters. Iwant tomorrow's creators that many people simply copy their to have the opportunity to make acareer in music, as I own albums onto amedium that they have had the good fortune to do. can listen to, for example, in the car or on aWalkman. That is why Isupport legislation that assures creators The record industry has proposed a the ability to protect their music with anew technology number of answers to the problem, called the copy-code system. I've listened to it, people I most of which are being worked on trust have listened to it—producers, engineers, mastering simultaneously. We have all heard of the idea of a levy on blank tape. A engineers and A&R professionals. We're confident that levy on recording hardware. Spoiler this system would allow protection without compromis- signals on pre-recorded material to ing any of my music's sound quality. prevent it from being copied. All these so-called solutions are in one way or another iniquitous. Levies on blank Quincy Jones tapes and tape machines hit everyone, Courtesy RIAA including people who do not indulge in copyright theft (which is what illicit

58 MIX,JANUARY 1988 • • RUM • •

Rane technology, the blueprints will probably wind up at KGB unit. As you discover the capabilities of the AC 22 at the headquarters. 111111 suggested list price of $389, and AC 23 at $499, your system Rather than improving on existing crossover technology, will improve with cleaner, tighter sound. And more of your

Rane decided to reinvent it. The result means features like audience will hear the best sound your system can deliver.

24dB/octave slopes, be distinct performance advantages of Maybe even all the way to Siberia.

Linlfflitz-Riley crossover design. State-variable filters, coupled Rane Corporation, 6510 216th Southwest, with the precision 41-detent continuous frequency selectors, 9AN1 Mountlake Terrace, WA 98043.206/774-7309. I.1.1 ‘. -1.. 111E•.

Circle #010 on Reader Service Card STUDIO •VIEW producers of motion pictures." Mix: How did you justify purchasing Is there life after MIDI? We spoke all the gear you have from abusiness reportedly sunk millions of dollars to Palmer at his New York studio to standpoint? into his studios, facilities that breathe find out. Palmer: From abusiness standpoint, new life into the word "competitive." it is more important than ever to use Palmer, who has operated his own Mix: What made you decide to get good management principles in eval- recording studio in Manhattan since involved in MIDI in the first place? uating equipment purchases. It didn't 1982 to facilitate his music production Palmer: Well, I'm an old control vol- used to be that way because, for many work, feels that the future of record- tage person, so CVs and gates were years and in some people's minds ing is tapeless technology "CARS was more fun to me than MIDI. For along today, an SSL and Studer room was a formed," says Palmer, "for the sole time, MIDI was ahorrendous incon- license to print money That may have purpose of providing the highest qual- venience, and only in the last year or been true in 1984 through '86, but ity, state-of-the-art, tapeless, digital so has it become something you need that is over now. It's sort of like what audio post-production facilities to to have and something that solves happened with synthesizers. When I advertising agencies and directors and more problems than it creates. was one of the four people in New York who had synthesizers, Iwas in extraordinarily high demand, not so much for my musicianship or my creativity, but for my equipment. Now, anybody with $15,000 in their pocket can own arecording studio, if he or she desires—can do real close HIGH SPEED PURSUIT to broadcast-quality advertising and real good motion picture soundtracks & AUDITION [for that kind of money]. In fact, you can do almost anything but digital of Sound Effects and Music Libraries record production. When the R-DAT machines become commonly availa- Results in Customer Satisfaction ble, even that is going to change. But the fact is, you can own aStrad- ivarius, but that won't make any music by itself. Machines don't make music; people do. And that is where the change is going to be. Studio owners who are so used to having studios where clients bring their own engineer and who charge whatever they possibly can to make their monthly lease payments are in for asurprise. In reality, many have been nothing PROFESSIONAL LIBRARIAN more than landlords. It's gone from the days when Les Paul was working in the studio with his multi-track producing all those wonderful tape tricks and trying to get the best sound he could out of aroom, to what we have today, with people coming in with their own engineer and they just use the room and leave. But now, we are beginning to come back full circle and see situations where the creative engineers are the draw and the equipment •Search &catalog any music or effects library is pretty much inconsequential. And •Control the Sony CDK-006 CD player that will happen eventually with MIDI. •External trigger control of CD selections •Track library usage for royalty/client billing Mix: What are your basic feelings about MIDI? Palmer: Well, MIDI has forced manufacturers to do things that are basically unbusinesslike. Since it has become a standard, it's like Ford saying to GM: "I'm designing acar with amore efficient carburetor and I'd like you to

Circle #081 on Reader Service Card

56 MIX,JANUARY 1988 know about it," and then every time you want to add a new feature, you have to go tell GM and Chrysler about You can own aStradivarius, but it and have them vote on it. So now every manufacturer has the same features the same day, and if they choose that won't make music by itself. to sidestep the MIDI standard by using MIDI system exclusive commands, they make their units incompatible Machines don't make music; with the rest of the MIDI world, making MIDI less of the standard than it is lauded to be. people do." Because of this, the new batch of synthesizers are, in reality, consumer items and there are no more profes- everything, and all of it has a useful and technical knowledge which they sional musical instruments except for life of about 15 minutes because just don't have. Unless they are capa- the Synclavier, Fairlight, the new they're not revolutionary musical in- ble of understanding what we're do- WaveFrame and afew others. I'm not struments and they have no useful ing, they're going to lose out. And it's saying this is bad—I'm just reporting life beyond the current model year. going to get worse before it gets bet- the news. That's just the way it is. ter. What does a MIDI studio mean to a Mix: Where do you think recording is studio owner, economically speaking? headed in the next few years because Tony Thomas has been involved in A MIDI studio is a home studio. If of the MIDI explosion? broadcasting recording and publish- there is such athing as aprofessional Palmer: We're going to see major, ing for over a decade. He is manag- MIDI studio, it has to have every in- major changes in the business side ing director of Target Communica- strument ever made because some- and the client side of this business. tions International, afull-service ad body is going to ask you for the one The big problem is, the clients don't agency, broadcast production firm, you don't have. Therefore, to stay pro- know how to relate to it. We're asking and MIDI-based recording studio fessional, you're going to have to buy for a high level of client education based in Southern California.

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Circle #082 on Reader Service Card

JANUARY I988, MIX 57 Fax frATRP/173-eseee

To Copycode Or Not To Copycode .. . There Are Many Questions

by Richard Elen taping actually is—although Iwould places where a prepared demo has not put people who tape their own been all that has been experienced, Editor's note: A couple of months ago material in this category). Thus, they many people appear not to have we asked for your comments and sug- are unfair. heard the notch that Copycode impos- gestions for the DAT/copycode contro- Spoilers have traditionally never es on pre-recorded material. Where versy. Of the many wonderful sugges- worked, or have been capable of cir- there has been more flexibility in the tions that came in, we felt the follow- cumvention: as amember of any in- presentation, it appears to have been ing reflected the most imaginative and telligence service will tell you, to any more noticeable. In England, for exam- refreshing view We feel it is aplan electronic measure there is an elec- ple, it has been suggested that by the well worth considering. tronic countermeasure. Now we have end of the demonstration it was being or several years, the record busi- aspoiler which probably would carry admitted that "Copycode changes the ness has been concerned—some out its required function: the CBS sound, but it's worth it." Fwould say overconcerned— Copycode system. But like other pro- Copycode can be circumvented, in about the alleged evils of illicit copy- ducts of CBS labs—SQ and CX to any case, by the use of the new gener- ing of records. Industry bodies on name but two—it has some fatal ation of digital audio processing con- both sides of the Atlantic have claimed, flaws. Demonstrations of the system sumer products—like the Yamaha with varying amounts of evidence, have met with amixed response: in DSP-1, which costs only a few hun- that millions of dollars are being lost every year as aresult of home taping and counterfeiting. And having been a skeptic initially, Ihave been con- Quincy Takes aStand vinced that there is sufficient evidence I'm concerned about the impact that home taping with to indicate that the industry is indeed selling fewer records and pre-record- DAT will have on our artistic community. Home taping ed tapes because some people are hurts the entire music community. It drains away the copying tracks they do not own—from revenues needed to experiment with new music, new the radio or from other people's copies. Iam, however, still of the opinion artists and new songwriters. Iwant tomorrow's creators that many people simply copy their to have the opportunity to make a career in music, as I own albums onto amedium that they have had the good fortune to do. can listen to, for example, in the car That is why I support legislation that assures creators or on aWalkman. The record industry has proposed a the ability to protect their music with anew technology number of answers to the problem, called the copy-code system. I've listened to it, people I most of which are being worked on trust have listened to it —producers, engineers, mastering simultaneously. We have all heard of the idea of a levy on blank tape. A engineers and A&R professionals. We're confident that levy on recording hardware. Spoiler this system would allow protection without compromis- signals on pre-recorded material to ing any of my music's sound quality prevent it from being copied. All these so-called solutions are in one way or another iniquitous. Levies on blank Quincy Jones tapes and tape machines hit everyone, Courtesy RIAA including people who do not indulge in copyright theft (which is what illicit

St MIX,JANUARY 1988 Most mikes make you sound like everybody

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Circle #025 on Reader Service Card dred dollars and allows stereo pitch- pean Economic Community as a would prove very interesting). shifting sufficient to move the Copy- whole—we may be in danger of hav- At the moment, however, there is code notch out of the way of detec- ing the worst of all possible worlds. every sign that DAT as asystem is not tion chips in a DAT recorder. And We may have a levy on blank tape, enjoying the sales in Japan that its there's another problem: there would and thus no need for Copycode chips proponents would like. Just like the have to be international legislation to in our DAT recorders. But we will also Fl format, DAT was hailed as agod- ensure that the chips are indeed fit- have the same CDs as everyone else, send to the professional recording ted. By the time that exists, it may which may have the notch imposed industry, but has been met with con- already be too late. upon them if CBS has its way (and if sumer disinterest. If consumers really In Britain—and probably the Euro- CBS isn't bought by Sony, which wanted high-quality digital audio at home they would have bought EIAJ processors and hooked them up to their videos. They didn't: so why will A Call for "Verifiable Packaging" they buy DAT machines—essentially The record companies want the public to pay for an Fl and avideo recorder squashed into alittle box; no new technology something they should have invested in long ago— there—at five times the price? namely protecting their recorded material from boot- Isuggest that there is another solu- leggers. Why couldn't the record companies spend tion to the home taping "problem" their money protecting their product? Look at the which nobody, to my knowledge, has proposed, and is fairer than all the credit card companies, which print into their cards a above. In the case of DAT the poten- 3D logo which is hard to copy. Why can't such alogo tial counterfeiting problem could be be printed on album covers? Or maybe acode in 3D taken care of simply by the record companies agreeing not to release on the packaging could be printed so that stores could product in that format (and thereby verify the products are not bootlegged. And what also saving mastering facilities and about the distributors? They should be held more record companies alike all the costs accountable for they are the first line of defense of another subcoding computer, yet another master preparation process against bootlegged material making it to market. and so on). Any "pre-recorded" DAT Hey—wake up! tape would thus be acounterfeit one, There are plenty of analog methods of copying and easy to spot. CD is a more ad- music which bootleggers have used for years with vanced technology anyway; tape will soon be athing of the past. Why waste great success. And what about all those foreign DAT company money on DAT duplication recorders which would have no copyguard? Aren't facilities you really don't need? most bootleg albums copied and manufactured out- On the home front, the solution is to charge the consumer alicense fee side the USA? Wake up! The record companies have on purchase of pre-recorded material, complained for years, but what have they done? at the point of sale. The license has a Nothing! simple function: it confers on the My feeling is that alot can be done to protect musi- purchaser the right to do whatever he or she likes (within reason) with the cal material in the packaging, so don't start messing material purchased. Tape it for your- with the recording itself! The quality of pressed self, tape it for your friends, whatever. records and mass produced cassettes has steadily gone Virtually anything you like as long as downhill, but the complaining about bootlegging has you don't charge money for it. It's that simple: why has nobody thought of it? gone up. Are the record companies afraid the boot- Of course, the license would prob- legger armed with DAT will produce abetter quality ably increase the retail price of pre- product? recorded material (and there would be arrangements to collect the fee Well, they better start investing in "verifiable" pack- from broadcasters and other commer- aging and working very closely with distributors to cial users who expose copyright ma- stop the problem. Don't ruin DAT because of the terial to the possibility of home tap- record companies' failure to manage the manufacture, ing), but this would not necessarily affect sales. The increase of value distribution and sale of their own product. added tax in Britain from 5% to 15% a few years ago didn't appear to have George Radovcich any tangible impact on sales, for San Pedro, CA example. The license fee would be easy to -COIVT1NUED ON PAGE 161

60 MIX, JANUARY 1988 What Makes Sony The Leader In Digital Audio? Our trac Before you leap into digital recording, look and listen first. You'll find that only Sony can take you every step of the way. It all begins with the PCM-3324 digital multi-track recorder. Over 370 are already in use and that number keeps growing. Here's why: The PCM-3324 is more than aproven sonic performer, it's the heart of an unparalleled creative recording system. With the RM-3310 remote unit it offers auto-locate of 100 cue points. Automatic punch in/punch out timing precise enough for spot erasure. And the gateway to aperfect marriage with asecond PCM-3324. With two machines you get 48 perfectly synchronized channels plus added flexibility. Such as the ability to make pure digital-to-digital safeties, the freedom to do digital fly-ins, and full electronic editing capabilities. And if you want to go beyond music recording to video or film post-production, the PCM-3324 system can go with you. Because Sony offers all the peripher- als you need to make the right connections. For mixdown, the perfect companion for the PCM-3324 is the PCM-3402

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inammim zamium aummum meainum emu» am krecord. 2-speed electronic editing recorder: the new generation of Sony DASH 2-channel digital machines. Advanced digital technology and thoughtful input from Sony customers were combined to create the PCM-3402. You can hear and feel the difference. Over- sampling of the playback circuitry allows super-smooth audio phase response. And new balance and level controls operate completely in the digital domain. But what really sets the PCM-3402 apart is the incredible control it offers for virtually any recording situation. It features 12 seconds of 16-bit stereo RAM- based memory for electronic editing, insert recording on any track, PCM-1630 style metering, and selectable 48kHz/44.0561d-lz/44.1kHz sampling frequencies. And if you need to merge digital audio with video, the PCM-3402 makes it easy. It gen -locks, chase-locks, performs time code based auto-cuing and auto- time fit, and time code triggered audio sampling. Best of all the PCM-3402 and the PCM-3324 are digital links to an even bigger system. For that story, advance to the next page.

SONY

Professional Audio

DIGITAL sorry DIGITAL

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o 9 9EL BM MOO ea BUDD MM 0,r2 03 11961 MC »DU BM DM UM= lMU How we've Walk into practically any compact disc mastering studio and you'll hear the same song: Sony. Sony, and more Sony. The explanation is simple: Our mastering system is the standard for recording studios and CD manufacturers throughout the world. In fact, virtually all of the compact discs ever made have been mastered with Sony digital equipment. We stay the leader in mastering systems because we constantly refine and expand them for even higher performance and ease of use. You can hear and see our commitment at the heart of the system: the PCM-1630 digital audio processor. New analog filtering and digital oversampling contribute to dramatically improved tonal quality. It has adjustable digital peak meters with AUTO or HOLD modes and OVER indicator. And with an optional circuit card, the PCM-1630 is capable of both RAR (Read After Read) and RAW (Read After Write) functions. The DMR-4000 master recorder also features RAR and RAW

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•I, mastered it. Of course, no mastering system is complete without insurance. You get it with the DTA-2000 digital tape analyzer. When attached to the PCM-1630 and an optional printer, it measures and prints out any code errors in the master tape. For editing, there's the DAE-1100A digital audio editor and the DAQ-1000 cue editor, the most advanced digital audio tools of their kind. The DAE-1100A delivers seamless electronic crossfades and RAM-based cueing for the most precise electronic editing. The DAQ-1000 gives you the utmost flexibility for generating, recording and checking music track and index numbers as well as the necessary P Q subcodes for CD disc cutting. Sony also makes digital recording tape, remote metering systems, and a full line of accessories. So if you're about to go digital, or want to get further into it, talk to the company that goes the whole route. Call The Leader In Digital Audio' at 800-635-SONY.

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Circle #011 on Reader Service Card objects, events and environments in the film that need additional sound .11MIUM effects. This task is often known as spotting. Reviewing a two-hour film and identifying everything to be "covered" by sound effects means creating alot of lists: one for each sound or each scene. SOFT A 2. The next step is to choose the sound effects, a task that always involves looking up the effect descriptions in acatalog of the sound effects library. The art of describing sound is an imperfect one and the editor inevitably must audition the material before deciding which effect to use. SOL 0\S TO Having found the appropriate sound effects, the editor then puts their names or ID codes on the lists created during the spotting stage. 3. Inevitably, some of the required effects do not exist in the library. Var- ious lists must be made for keeping track of the necessary effects. Such POST PRCLCT 0\ lists correspond to the means of acquiring the effects: Foley, field recording, searching through another library and creation in the studio (via synths, samplers, processing, etc.). Other effects may already exist in the production recordings, but might be contained on other takes; somebody BL vs will need to search through these tapes. PRo 4. Transferring the effects is the next by Dale Strumpell ertheless represent ground already step, aprocess of copying sound from well covered in other articles in this one medium to another. The preferred Little by little, the tasks involved in and other trade journals. storage medium for sound effects, 1/4 sound post-production have become The software we will examine in inch tape, is almost never used for more complex; together with reduced this article is used by editors, mixers, film editing. For one reason, editors budgets and shorter schedules, the assistants, recordists, apprentices, never work with master recordings; necessity for saving time and money secretaries and typists: virtually any- equally important is the ease of syn- has never been more acute. For the one in sound post-production. Editors chronizing sprocketed film. However, last several years, microcomputers have and mixers use such software to locate in preparation for the transfer process, been appearing in studios and edit- and compare creative choices, such the editor must assemble alist of the ing rooms, running modified spread- as material in asound or music libra- selected sound effects, sorting them sheets, off-the-shelf filing databases ry; to view the task at hand in an by source reel. The sound effects and user-developed programs. Partic- organized way, to automate repetitive transferred from tape to mag film ularly in the world of video produc- operations and to communicate effec- comes off the film recorder in groups, tion—where technology changes more tively. Assistants, apprentices, typists usually ten-minute rolls which, due rapidly than in the film domain—peo- and secretaries use it to sort, display, to the needs of the transfer task, are ple have been turning to computers remember, update and print the many not grouped in any logical order. to help solve and manage organiza- bookkeeping and cataloging tasks es- 5. Each sound transfer must be sep- tional and creative problems. sential to post-production. arated, identified and labeled. If the This article comprises asurvey of film or tape is alengthy and complex the kinds of software solutions avail- What Tasks Can Be one, several days have passed since able commercially to the sound post- Computerized? the initial viewing. production industry. We will not be The following summary of post-pro- 6. Editing, in film terms, means concerned with the more well-known duction tasks indicates several poten- viewing the picture, and selecting the types of programs adapted from the tial processes in need of silicon effects and their synchronization with music industry—including programs assistance. the film. If the editor has previously such as sequencers, synth program- chosen sounds and picked effects, a ming aids and patch librarians— Film-Style Sound Editing list describing these decisions, as well which do indeed have their uses in 1. The sound editor receives the as any additional notes, is used as a sound post-production but which nev- film or tape and begins to look for reference by the sound editing crew.

66 MIX,JAIWARY 1988 dbx The future is modular ...

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Circle #047 on Reader Service Card The effects often require trimming new entries, a process that involves Specific Features and internal deletions to make them retyping redivided categories, per- Needed for Each Task fit exactly to picture. Juxtapositions haps the worst part of the job. For- At this point we will discuss exactly can be checked at slow speeds to fine- tunately, excellent programs designed what the software should do: what tune synchronization. to handle exactly these tasks are benefits it provides, what functions it 7. The completed effects and dia- available. performs and what features it contains. log tracks, after being assembled with Music library cataloging, like sound spacing leader, are ready for the mix- effects cataloging, is atedious record- Effects Library Cataloging ing stage. However, somebody must keeping process that computers assist Searching: A library program should now draw up the mix cue sheets, enormously. Many studios use pro- let us add as many effects as we want, which are the standard form of repre- duction music libraries, often search- using any description we want, using senting how the sound and dialog ing through several library catalogs to as many words as we want. We should have been prepared. Unlike a linear find music for their clients. Keeping be able to find effects using the same list of sounds and footages, cue sheet all the library catalogs in acomputer words we use to describe a sound, descriptions are spaced throughout provides fast centralized searching. whether ashort general description,. many sheets of paper, similar to an Sample library cataloging is aprob- such as "birds," or aspecific request, orchestral score, to be read at the lem owners of sampling keyboards like "Welsh Forest Birds In the Morn- mixing console. Picture changes al- have after creating hundreds of sam- ing." We should be able to limit a ways affect the footages listed on ples spread over hard disks, tape back- search to effects in aparticular medi- these sheets, requiring much last-min- ups and floppy disks. Strangely, the um, including compact disc or floppy ute recalculation and rewriting. instruments themselves provide no disks. central cataloging facility, creating a We should not have to be too literal Multi-Track Sound Editing need that third-party products current- in specifying asound; the computer Multi-track sound editing, unlike ly fill. should know that a"background" is film-style editing, is often amatter of Sound effects spotting, the process often the same as an "ambience" or playing the master recording (or a of reviewing afilm or tape, choosing an "atmosphere." We don't want to copy) directly from a tape machine effects to be used, recording new ef- miss agood effect just because it was and copying it to amulti-track playing fects and so forth, is aprime candi- described with adifferent vocabulary. in sync with the picture. Editing then date for computerization. A good su- If we use acompact disc jukebox becomes a matter of synchronizing pervisor maintains lists for every spot, to store and play our CD effects libra- the two tape machines with appropri- scene and reel in the film. Sounds not ry, we should be able to control the ate offsets. The editor must spot and in the library have to be listed for player from the software program, choose the effects as in film-style edit- later recording or synthesizing. linking the searching and auditioning ing, and cue sheets still need to be Creating transfer orders, the result process with just afew keystrokes. We prepared for the final mix. of searching asound or music library, should even be able to trigger play- involves keeping alist of effects, sort- back of the CD selections from an Sampling Keyboard or ing the list by source reel and writing external source, such as an event con- Hard-Disk Sound Editing labels for each sound. troller or aMIDI note-on command. In this technique, the effects are sam- Creating off-line edit decision lists If we are using amulti-machine syn- pled into memory, edited and played for transfer into an on-line audio synchronizer, the program should trans- from atime code-based sequencing chronizer is the audio counterpart of fer alist of the reels and cue points to or event-listing program using akey- acommon editing process. The idea allow the synchronizer to cue up the board or hard disk-based sound edit- here is to capture time code values effects after we have put the reels on ing system. This can be the fastest from avideotape, choose effects and the tape machines. method of building up sound effects source reels, and upload this informa- As we use the library, we need to tracks. After aperiod of time, alarge tion to the synchronizer, thus saving easily change or add the description sample library will have accumulated; time when working with the expen- of an effect. Often when using asound libraries containing over 1,000 floppy sive synchronization and recording we think of additional ways to de- disks are not unusual. equipment. scribe the sound in more detail; the Preparing ADR paperwork on abig program should let us quickly and What do you now accomplish film involves an incredible amount of easily make changes without breaking by hand that a computer could typing, as the many dialog lines, with the flow of our sound editing. do better? their appropriate footages and charac- As we perform searches through Effects library cataloging requires the ter names, must be listed in several the library, we should be able to print editor to carefully describe, categorize different forms. Then, when footages alist of the effects found. We should and cross-reference each effect in the change because of picture re-editing, be able to set up holding files to add library, atask which involves agreat many of the forms have to be typed to as we search, for later printing or deal of typing and sorting. New effects again. review. added to the library must be append- Writing mix cue sheets is atedious Adding New Effects: As we add ed to each relevant category and cross- task, usually performed at the last min- new effects, the program should help reference list, an exceptionally tedi- ute before the mix. Picture changes us eliminate redundant typing, with ous process. Over time, the organiza- always affect the footages listed on user-definable defaults and reference tional scheme used in the library these sheets, requiring agreat deal of lists to choose from. The software should be reviewed to account for the last-minute recalculation and rewriting. should carefully check the entry of

JANUARY 1988, MIX 69 technical information; it should pre- pre-existing descriptions with com- Centralized Lists: One of the inevi- vent people from misspelling and, to ments of our own without breaking the table headaches of being responsible create consistency, replace undesir- flow of using the library. for the sound editing of a film or able words and abbreviations with Adding New Music: We should be video is the necessity to identify each other words of our choice. We should able to easily add new material to the event, object and phenomenon need- also be able to retroactively affect database, and create whatever category ing asound effect, choosing the right global changes in word usage, with system we like. The computer's cate- sound effects for each event and, if search and replace functions similar gorizing ability is important because the project is alarge one, communi- to good word processors. We will each library has adifferent category sys- cating these decisions to the sound need a print-out of the contents of tem; the computer's ability to organize editors. The benefit of using acom- each roll, tape, disk and cart. Labels all libraries by the same criteria pro- puter to assist in this process is the for floppy disks would be convenient. vides an important level of consistency. convenience of using a list-keeping Organizing: We should be able to CD Music Libraries: If we use com- program rather than many paper lists easily reorganize the library and the mercially available music libraries, we and catalogs. The program should category system. Adding new effects should be able to obtain their catalogs maintain alist of the type of material often means we want to sub-divide an on floppy disks from the librarian soft- we normally record as we acquire existing category that has grown too ware publishers, ready for uploading sounds for afilm or tape. large. We should be able to do this into the librarian programs. If we use a Automatic Searching: Addition- without retyping or changing any compact disc jukebox to store and play ally, to speed up the process of choos- existing descriptions. We should be the CDs, the librarian program should ing sound effects, the database in the able to see aprint-out of the entire play the CD selections directly from the librarian program should be available dictionary/category system we have searching function, so that we can use from the spotting program. The whole created. the programs to audition the CD library. process should be linked to create a Printing a Catalog: It is often Some means of triggering the CD play- list for each scene, search for the more useful, not to mention more back should allow us to play the selec- appropriate sound effects and then convenient, to provide the sound edit- tion on command. copy the chosen effects, pasting them ing staff with printed catalogs, rather Client Billing: We need the soft- into the scene list without retyping than shared access to asingle comput- ware to keep track of each client who any descriptions. er. Changes in the library, by changing uses the production music libraries. The Working Without Footages: We categories or by adding effects, should software should be able to track the need the ability to describe the scenes be printed almost automatically. Cate- client's past usage of the libraries, to without knowing the footages or the gories in particular should be auto- indicate what selections were purchased final order, in order to begin spotting matically updated. The software in previous sessions and what products before the picture editing has been should be smart enough to create a the music was used for. At the end of completed. We should be able to table of contents and an index of our each session, we want abilling report move the order of the scenes around organizational scheme. to use for accounting, detailing what as the picture changes, with the order CD Effects Libraries: While using royalties are due. of the spots and effects moving auto- commercially available sound effects matically with the scenes. libraries we should be able to secure Sample Library Cataloging Printing Cue Sheets: To save re- copies of their catalogs on floppy File Names & Descriptions: The typing the effect information when disks, so we don't have to type them sound effects librarian software should creating the cue sheets, we should be into the computer. be able to catalog each sample made able to transfer the spotting informa- on asampling keyboard or hard-disk tion to acue-sheet printing program. Music Library Cataloging system as adiscrete effect in the li- The spotting information should also Searching: Searching through amusic brary. Because the file names that be printed by reel or by scene, to library is adifferent process from search- sampling instruments allow are only indicate our editing instructions to ing an effects library; at times, the selec- eight to 16 characters in length, an the sound editing crew. The same tion process is extremely specific, acir- inadequate amount to describe a editing instructions should also be cumstance that requires the software to sound effect in detail, the software capable of being sent to atime code- search for titles, composers, moods, keys, should let us create much longer de- based multi-machine synchronizer tempos, categories, instrumentations, scriptions we can use to later identify system as an event list file. lengths, libraries or formats. Searching the sample. Creating Source Reels: If the ef- through amusic library is almost always Search Listings: Any search listing fects needed to be transferred to tape defined by multiple words; therefore, of the library should indicate if the striped with time code for use by the the program should memorize every effect is amaster recording or asam- synchronizer system, the software search we request and "learn" how we ple made from an existing master re- should help us speed up this process. use the library to perform faster search- cording and vice versa. We need to be If the effects to be used are stored in ing with continued use. able to see alist of any samples made the CD jukebox, the software should While using production music librar- from every effect. The software should cue them up and coordinate playback, ies, we depend on the catalogs and de- create labels for each floppy disk, and with the recorder creating the source scriptions provided by the library to a cross-referenced catalog of only reel. identify the music; for this reason, we sampled effects. Creating Transfer Orders: It is need to be able to personalize the de- important that the software provide scriptions of the music, to append the Sound Effects Spotting printed orders and labels for the ef-

70 MIX,JAMIARY 1988 fects chosen during the spotting pro- this task should require us only to post-production data into the comput- gram. To prevent redundant reloading enter the description, footages and er is tedious, enough advantages exist of the tape machine, such transfer track numbers; the spacing and print- to make the effort more than worth- orders must first sort the effects by ing calculations should be accom- while. Probably most of us should source reels. The labels should indi- plished automatically by the computer. start by computerizing asingle func- cate the reel, scene and spots the One of the problems that the com- tion, such as the sound effects library effect is intended for, as well as the puter should eliminate is the task of or the ADR print-outs; then, add the effect description. changing the cue sheet footages if the functions that take advantage of the picture changes occur after the sheets existing data, such as sound effects Preparing ADR Paperwork have been written. We should just spotting or cue sheet print-outs. • Spotting & Programming Without enter the change information and how Footages: A computer program that the affected cues were conformed; the Dale Strumpell is with Leonardo Soft- helps us eliminate redundant typing software should reprint the sheets ware, a Venice, California-based de- of those tiresome ADR forms should with correctly recomputed footages. veloper of software for the audio re- let us enter the lines, characters and Although the labor of entering the cording and production industries. scene numbers before we know the footages or even loop numbers; in this way we could get ajump on the programming task The lines should ‘"‘";L>;'l.:'lk.;'‘.;t;‘l..t..St.t.t.>>>>>>>SeeeeL.L L+L.t".‘,"••‘-•‘•-+L.L«,‘.‘"..‘.‘:l7+t" be linked to the scene, letting us re- order the film as necessary, moving scenes around, from reel to reel, split- LL ting apart and even omitting if necessary. The software should understand •c›, either footages or time code, convert- WE GET ARDU ing between them if necessary. Any offsets necessary for the ADR recorder should be computed by the software so we need only think about the real footages. Printing Forms: The software should be able to print awide variety of ADR forms, listing lines by reel, scene or character, maybe even listing only aparticular character's lines per scene or reel. Large, expanded- type printouts would be useful for an actor on the lectern. Aprint-out of the number of lines per reel per character From a tele- would be valuable for estimating stage vision docu- time needed. mentary in the Post-Session Changes: After the arctic circle to film- recording session, the program should scoring in Hungary, let us join together lines as we may from multi-track re- have combined at the session, and cording in Brazil to di- should also accept new lines created gital sampling in Australia, on the spot. We should be able to from outdoor football broad- indicate slates and take numbers, for casts in the United States to use on print-outs and cue sheets. Any chamber music recording in picture changes that occur after we Germany, the breadth of appli- have entered footages should be man- cation of the series 4000 profes- aged by software: we should only sional microphone range continues have to enter the changes per reel and to expand. Isn't it time that you tried have the software ripple the changes Brüel & Kjœr Series 4000 microphones? through the appropriate footages. All of this information should be able to transfer into acue-sheet printing program.

World Headquarters: DK-2850 Nœrum Denmark

Writing Mix Cue Sheets Telephone . +452800500 •Telex: 37316 bruka dk Preparing cue sheets involves spacing USA (617) 481-7000 •Local representatives and the data in accordance with the foot- service organisations world-wide ages or time code of the picture. A software program that accomplishes Circle #083 on Reader Service Card

JANUARY 1988, MIX 71 PREVIEW NEW PRODUCTS

formance with mixed size DAR reels, and the capstan has Soundstation II its own processor to insure A touch-screen display, matching reel speed in instant-access audio edit- slew rate and lock performing, and digital multi -track ance. The transport, audio recording and signal proc- performance and pro- essing are some distin- Bose grammability equal those guishing features of Acoustimassru on the 24-track model. A Soundstation II from Dig- Pro Speakers basic A820-8 costs $28,250, ital Audio Research (based With the upcoming debut and optional plug-in NR in England). Soundstation of the Acoustimass Pow- cards are available. II is designed for audio, ered Speaker System, the tern which launches sound Circle *153 on Reader Service Card video and film sound pro- Bose Corporation (Fram- via two air masses instead ingham, MA) addresses the of avibrating surface; a entire pro music and two-state modulation sound industry. This two- switching amp mounted way system boasts internal on asingle card, weighing amplification and equaliza- 9.2 pounds and providing tion—no external power 400 watts continuous Yamaha Digital EQ duction environments. amp or EQ connections power (650w peak); and a The dual-channel DEQ7 Programs recorded within are required. Its 12-inch reaction-injection molded digital equalizer/filter from its 20-bit digital audio woofer has an "electro- enclosure of "clamshell" Yamaha features 44.1IcHz structure have their origi- magnetic braking system" type, two-part construction sampling and 16 -bit con- nal sound quality pre- combining very high so it's rugged, compact, version with 32 -bit internal served through conversion, power output and clarity, easy to move (weighing processing. Full graphic storage and signal process- and its six 4/12 -inch drivers only 70 pounds) and easy and parametric EQ config- ing. Complicated audio are arranged in an articu- to mount or install. urations and shelving, edit tasks can be per- lated array (2 x3) for full- Molded into the enclosure notch, and dynamic/sweep formed with no sound range optimum dispersion. are handles and hang filters are among the de- degradation. The system The Acoustimass achieves points. 3,CLR connectors vice's 30 factory programs. comprises aControl Con- 122 dB SPL/1 meter with and /14 -inch jacks allow Also included are 60 user- sole—with controls similar 55 to 18k Hz bandwidth, amplification of any line - programmable, on-board to conventional audio tape and incorporates such pat- level source signal. Bose memory presets. Program recorders—and aProces- ented Bose technologies will release the Acousti- location and bulk dump sor/Storage Unit contain- as: abass reproduction sys- mass in March at asug- capability are accessible ing software and disk gested unit price of $2,500. through MIDI. When used drives. The Control Con- Circle *152 on Reader Service Card in conjunction with var- sole achieves matching ious Yamaha digital audio gain across an edit, with systems, the DEQ7's digital digital gain control and Studer A820 I/Os allow "converterless" variable cross-fade adjust- 8-Track operation. Retail price is ment. Variable-speed play- Introduced at the last AES $1,295. back is possible up to Convention was Studer's Circle *154 on Reader Service Card twice normal speed. Sound- A820-8 one-inch 8-track recorder. The intermediate format machine, designed for audio production and video post work, is optimized for extreme speed and control flexibility. Reels up to 14 inches can be accommodated without compromising speed or control. Reel inertia- sensing enables top per-

72 MIX,JANUARY 1988 "Ifs like adream machine

PETER CHAIKIN, ENGINEER/PRODUCER

I ,

I I 1 Producers and engineers are calling it a And syncable via MIDI to SMPTE. dream machine. It makes unforgettable music. We call it the DMP7 Digital Mixing Pro- The DMP7 takes a"snapshot" of all of your cessor. It's anew kind of creative tool and there's settings. Instead of developing writer's cramp never been anything like it. after each session, you can digitally store your For the first time, you can command true production notes into memory. Up to 97 snap- digital mixing and dramatic digital effects. And shots (with RAM4 cartridge), each consisting of have them programmed into memory for more than 200 parameters, from fader positions instant, flawless recall. to effect settings to 3-band parametric EQ settings. All from one incredible, affordable, simple- Then recall them instantly at the touch to-use 8x2 console. of akey, or with an external MIDI controller All MIDI-controllable. Remote-controllable. or sequencer. Yamaha introduces it event programmer, a Mat All the colors are built in. saying goodbye to outboard The DMP7 has three "gear and their multiple data conver- on-board digital signal sions. The DMP7's mixer has eight input % , - processors that deliver channels, and its digital cascading feature lets spectacular effects like you connect additional DMP7s to add more stereo chorus and echo. inputs (up to 32), as you require. Panning. Four kinds of reverb, and reverb And build yourself the ultimate digital plus gate. And up to three effects can be mixed console. simultaneously. There's alot more you should know about the There are 18 different effect types in all, DMP7, and your Yamaha Professional Audio dealer with up to nine parameters for each. So you can can tell you the whole story. See him this week. create precisely the sounds you want, while And believe in dreams. newest digital mixer, ad digital processor. once. Here's the setup.

The simplicity of demo. Until now, this the diagram below belies level of mixed automa- the many capabilities of tion was only possible the DMP7 at work in an with more expensive automated multi-track consoles. mixdown/processing The DMP7 doesn't system. just do the final mixing, Dry tracks from but the final processing the multi-track recorder as well, to each indi- are fed into the DMP7. vidual track. With A SMPTE track is fed reverbs, flanging, delay, into the SMPTE/MIDI and stereo panning Or converter. The MIDI tim- whatever sweetening you ing track controls the MIDI sequencer/recorder. need. And again, in sync with the music. The MIDI control information for the What's more, if you have more than eight DMP7 can now be recorded in sync with the tracks, you can cascade in the digital domain music. The DMP7 then automatically mixes to another DMP7 for 16 tracks. Or another for everything down into atwo-track master or 24. And yet another for 32 tracks.

@YAMAHA® Engineering Imagination"

Yamaha Music Corporation. Professional Audio Division, P.O. Box 6600, Buena Park, CA 90622. In Canada, Yamaha Canada Music Ltd., 135 Milner Avenue, Scarborough, Ontario M1S 3R1.

Circle #027 on Reader Service Card PREVIEW

multiple reverb sounds Four Designs and "Death Flange" Son of FX (reverb meets flanger). An Four Designs Company ULTRA-HARMONIZER LCD display shows all (Canoga Park, CA) proudly parameters and allows announce the birth of Son station II can insert or Eventide dynamic labelling for four of FX. The new arrival is delete sound segments in Ultra-Harmonizer soft-key buttons. intended to organize program sequence, and Eventide (Little Ferry, NJ) Circle #157 on Reader Service Card recording, computer, and automatically provides has developed the H3000 rack mount equipment in continuity between adja- Ultra-Harmonizer pitch awork station on wheels. cent segments. The basic change and effects proces- Son of FX provides two ad- system provides four-chan- Alesis Digital sor. It's MIDI-programma- justable shelves for multi- nel recording/editing, Drum Machine ble and includes 50 factory tracks, drum machines, expandable to eight chan- Alesis (North Hollywood, programs, plus on-board mixers, sequencers, com- nels. Both analog and dig- CA) announces their new memory storage of user puter monitors, disk ital inputs and outputs are HR-16 high sample rate pre-sets. The H3000 incor- drives, etc. Ten rack space provided for each channel, digital drum machine fea- units are also provided. conforming to the AES/ turing 16-bit drum samples The all-wood design elim- EBU digital interface. The and 18-bit processing sys- inates ground loop prob- Soundstation also inter- tem. The 48 drum and per- lems encountered in metal faces with Winchester or cussion samples, says Ale- racks. Son of FX takes up WORM disks. sis, range from pure just two square feet of Circle #155 on Reader Service Card acoustic tonalities to space, is shipped flat, and aggressive power drums and electronic drums. Fea- tures include 16 channels, 47kHz sample rate, 20kHz porates two independent, bandwidth, 100 patterns, fully de-glitched pitch 100 songs, full MIDI change channels. Pitch implementation, song posi- change functions include tion pointer, velocity- "layered shift" (two differ- sensitive pads, tape sync, Beyer ENG/EFP Mic ent pitch shifts on one in- real time record and single put), "stereo shift" (stereo step editing. One can as- The new M58 omnidirec- pitch change with two- sign any sound to any tional dynamic mic is channel de-glitch to pre- MIDI note or any drum Beyer Dynamic's first prod- serve stereo imaging and pad. Volume, pan and uct designed for electronic phase-accurate mono pitch are programmable; news gathering and elec- compatibility) and "dia- the outputs (two stereo tronic field production tonic pitch shift" (one pairs) are assignable. It applications. It incorpo- input harmonically pitch- also provides astart/stop rates an internal shock- shifted to two separate foot-pedal jack, and all mount system to diminish musical intervals; the two for $499. handling noise, and its outputs combined with the Circle #158 on Reader Service Card extended response rises input yield atriad chord). subtly in the high end to Effects programs include enhance vocal clarity, even - off-axis. The ergonomic assembles easily with only design and light weight ascrewdriver. You can get allow for minimum fatigue Son of FX with mounting during long interviews, hardware and one-year and its ruggedness with- warranty for $139.95. The stands the harshest EFP Rackdrawer (shown in operations. The mic is slim photo), an option at and finished in matte black $39.95, is atwo-space rack for alow-profile 'IV mount drawer for storing appearance. widgets and gadgets. Circle #156 on Reader Service Card Circle #159 on Reader Service Card

JANUARY 1988, MIX 77 PREVIEW

SSL-4000 G Series be upgraded to a4000G.

Solid State Logic recently The G Series keyboard is • ,ONV • launched its 4000G Series available as astand-alone • ..., DIGITAL of studio consoles. Once unit that works with up- again integrating adigital graded Emodels. control system with ad- tion. System prices range mount into the battery vanced analog processing from $45,590 to $86,290 compartment of PCM-Fl power, SSL has added on- and all include IBM PS/2 and Nakamichi DMP-100 board memory for faster WaveFrame Digital computer, 70 Megabyte processors (mounting in- system operation, and a20 Audio Workstation hard disk, 60 MB tape ternally in the 501/601/ Megabyte, removable data The AudioFrame from back-up, monochrome 701s) and will be opti- cartridge that holds as WaveFrame (Boulder, CO) monitor, keyboard, mouse mized for pro and semi- much data as 80 floppy is atotal sound production and software. pro input/output levels, Circle #161 on Reader Service Card disks. Floppies produced environment in one unit bypassing most of the on 4000E Series consoles that lets music, sound standard analog input and are fully compatible with effects and dialog work Sony Digital output circuitry. The mod- the 4000G; all G systems occur entirely in the digital Audio Limiter ule utilizes Apogee anti- also include apair of flop- domain—handling synthe- Sony expands its digital aliasing filters, highly py disk drives. A new full- sis, storage and editing, audio product line with evolved oversampling D/A size QWERTY keyboard signal processing, mixing the DAL-1000, arack converter technology, and provides anumeric key- and mastering. The 64- mount device for digital improved analog output. paid and special function channel digital audio bus signal compressing and According to Apogee, the keys; any one of the latter and switching matrix pro- limiting during the CD modification kit (target can be programmed to vides the basis of an all- mastering stage. Previously priced at under $400) also perform acomplete string digital studio. Its open handled by analog circuitry eliminates the time offset of commands. Enhanced architecture incorporates which introduced degrada- errors common to many software handles large, multiple industry standards tion, the compressing/lim- other systems. Circle #163 on Reader Service Card complex mixes on- and (SMPTE, MIDI, AFS/EBU, iting can be accomplished off-line, taking full advan- MS-DOS, Microsoft Win- via the DAL-1000 and its tage of the G computer's dows, IBM Token Ring full 16-bit linear quantiza- API Mc Pre-Amps increased speed and ex- network). Its fixed sample tion. The DAL-1000 API Audio Products panded on-board memory. rate architecture and proc- achieves "0 word" attack (Springfield, VA) presents The G Series integrates essing lead to pure, pre- time and provides six pro- the rack mount 3124 and fully with other SSL tech- mium sound and eliminate grammable presets for 3124M microphone pre- nology such as Total aliasing and digital noise parameter setup. It oper- amp/mixer modules, avail- Recall, the SSL Synchroniz- problems inherent in vari- ates at three sampling fre- able in 2- or 4-channel ver- er, Master Transport Selec- able rate architecture. quencies (44.056, 44.1 and sions. The 3124 provides tor and Events Controller, WaveFrame offers com- 48 kHz) and works in con- switchable 150/600-ohm and any 4000E console can plete support and installa- junction with aremote XLR inputs and afront- control keypad. The 19- panel, mic-level /14 -inch inch, 1U rack package inter- input, compatible with gui- faces with Sony digital and tar, bass or keyboard direct AES/EBU formats. It's box-type inputs. Also available now at $3,200. Circle #162 on Reader Service Card included is a20dB pad for the mic input, mic/line Apogee PCM- switch, LED bar graph display (-12, -6, 0, +8, +16) F1/501/601/701 and gain control. The "M" Electronics version adds stereo and Upgrade aux busses, mix level con- Apogee Electronics, of trol, panning, aux send, Santa Monica, CA, is now optional insert point for finalizing the design on an each channel, plus left and integrated EIAJ cformat right master controls and (Sony PCM-Fl family) master aux send with ster- sonic upgrade in modular eo return. form. The module will Circle #164 on Reader Service Card

78 MIX, JANUARY 1988 As You Might Expect, No $700 Amplifier Has Ever Equalled The Performance, Quality And Reliability Of The $1000 BGW 7500...

Introducing The BGW 7500T. $1000 Performance At A $699 Price.

here are thousands of BGW 7500 amplifiers in the field today. The 7500 and 75001 are the most rugged and reliable amplifiers you can TIn every case, our $1000 model 7500 was chosen over anumber buy. Inside, you'll find no trouble-prone relays and no sound- of lower priced alternatives, for its superior quality, durability degrading IC's. and sonic performance. And here's an important difference between the 7500/75001 and other But BGW knows that you don't always have the luxury of choosing the competitive units: Many use inexpensive MOSFET designs which require higher quality, higher priced amplifier. Until now, the price-sensitive high bias, and consequently run very hot. Other brands use inadequate buyer has had no choice but to settle for aless expensive, lesser heat sinking. These competitive amplifiers can't live without performing unit. forced air cooling. Not anymore. Because BGW's new 7500T amplifier delivers exactly the BGW's exclusive copper header output devices don't require bias at all. same performance as our legendary model 7500, at aprice that We mount them directly on highly efficient heat sinks. As aresult, the goes head-to-head with any U.S. or foreign competitor—just $699 7500 and 7500T run cool and efficient—so they don't require forced air professional list. cooling. And that means you can forget about replacing burned-out fans every few years. The model 75001 is aprice/performance breakthrough. You get the same conservatively-rated 200/250 Watt-per-channel power BGW's 7500 has always been the ultimate choice for quality and 16, 8/4 ohms), the same performance specs—in fact the exact same dependability. Now that our 7500T gives you the same unmatched amplifier design, circuitry and components as our no-compromise performance at just $699, there's really no reason to settle for anything model 7500 — at a$300 savings. less than BGW. Call us toll-free at 1-800-252-4800 (In CA, 213-973-8090) How did we do it? We selectively trimmed afew of the model 7500's nice to arrange for ademo trial. but non-essential frills. The 75001 has asteel front panel instead of a fancy aluminum one, and uses cost-effective barrier strip terminations. The 7500's LED indicators are omitted on the 75001 The lower-priced BGW SYSTEMS INC. 13130 SOUTH YUKON AVE. model accommodates one optional BGW internal crossover card HAWTHORNE, CA 90250 for biamp applications, while the 7500 can take two cards. These SYSTEMS differences aside, our new economy model is aBGW model 7500 through-and-through. ENGINEERED TO BE THE BEST

Circle #012 on Reader Service Card by Jerry FIELD •TEST LEONARDO SOFTWARE PROFESSIONAL LIBRARIAN

sing a computer to keep track of a tion equipment; for example, after the sound effects library is probably anew software searches through your library concept to many production engi- and finds the sound effects descrip- neers, so some orientation is in order. tions, by pressing afew more keys on A useful and commonly encountered the computer you can tell the program personal computer like the IBM-PC can to load acompact disc of the effects hold the entire catalog of the largest and play the selected effects, thus auto- library in its memory (on ahard disk, mating the entire search and audition actually) and find effects for you faster process (assuming the effects are on than you can look them up in printed compact disc and the discs are in a catalogs. The computer can only per- computer-controlled CD jukebox). form this function if it is running a Professional Librarian is asoftware program designed to keep track of program for IBM-PC ATs and compat- quantities of information; such pro- ibles, requiring 512K RAM and ahard grams are known as database manage- disk. Leonardo Software is asmall com- ment software, the data being the infor- pany started by audio professionals mation about the library. who have agreat deal of sound effects Another advantage of using the com- experience. They have been very re- puter is communicating with produc- sponsive to suggestions, cooperative with telephone support and seem to constantly upgrade the program, adding new features several times ayear. (Updates cost a nominal $15.) Also available from Leonardo is Music Li- brarian, which serves the same function for music libraries. Ibegan using sound effects database software because, like anyone working in audio production, Ihave alimited time to achieve results and Ilike to eliminate unnecessary busywork. Until Ibegan using Professional Librarian, I hated to look for sound effects, particularly when aclient was present. Now it is a pleasure: Ican complete ten searches in the time Iused to take to thumb through catalogs for one.

System Setup PL begins with an installation program that more or less automates the setup -CONTINUED ON PAGE 140

50 MIX,JANUARY 1988 R-8118

GRAPHIC EQUALIZER III tell Zal ,I1411 M1 Ill«

GRAPHIC EQUALIZER

HERTZ SO GOOD. ADOD equalizer is not only great audio 95 dB, .006% total harmonic distortion a1KHz , gear, it's one of the world's best audio bargains. 0.01% intermodulation distortion and a For over adozen years, we've reconfigured, control range of ±12 dB. refined, updated and enhanced our entire line of Virtually anything you can do to enhance a equalizers to where they are now: the world's sound—cut, boost, shape, brighten, thicken or best-selling EQs at any price. And we've worked mellow—you can do with aDOD graphic hard to make that price avery reasonable one. equalizer for alot less than you'd expect. DOD manufactures more configurations of Want to know more? Write DOD Electronics, graphic equalizers than any other company, 5639 South Riley Lane, Salt Lake City, Utah ranging from asingle channel, 15-2/3rds octave 84107 for afull-color catalog. Or call (801) band unit, to atwo-channel, 31-1/3rd octave 268-8400. band brute that squeezes into atwo-rack unit Manufactured in the U.S.A. space. Each offers adynamic range greater than with aone-year warranty.

Circle #048 on Reader Service Card ;000 SX "en ..triad

N\t'e>3 The price you have to pay to be free.

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Circle #043 on Reader Service Card FIELD •TEST by Larry Oppenheimer LEXICON 480L DIGITAL EFFECTS PROCESSOR

he 4801. Digital Effects Processor is and atotal of 60 factory presets. Fifty Lexicon's latest generation signal onboard memories can store user pre- processor, taking the directions set by sets, and aRAM cartridge which plugs their 224X1and PCM70 processors an- into the front of the chassis allows 50 other step. It is capable of an excep- presets to be loaded or dumped. tionally wide variety of signal process- Physically, the 4801consists of a3U ing tasks, which Ihave divided into rack mount chassis which contains all four classes: reverberation, effects, of the circuitry and the LARC head. sampling and utility (further elabora- The two are connected with aflexible tion on these areas follows below), 50-foot cable, although it is possible and, additionally, can perform any to connect two cables for a 100-foot two of these simultaneously. The 480L run, and even longer runs can be is controlled by the same LARC re- done if the LARC is powered by a mote head that is used for the 224XL separate, local supply. The front panel and, in fact, a224XL and a480L can of the chassis is hinged and opens both be controlled from a single simply by pulling on its handle (no LARC. The IARC's Machine button screws to undo!) to reveal the card switches control between the two cage inside. This, along with the "Machines" in the 480L and a224XL, modular construction, makes for ex- if one is connected. The device also traordinarily easy service access and offers excellent interfacing capabili- updating. Inside is a host processor ties, sporting MIDI control and digital card, two identical high-speed proc- input/output (in addition, of course, essor (HSP) cards, ashielded module to standard analog I/O). containing the analog electronics (in- There are nine banks of programs cluding the "18-bit equivalent" A/D

kod AR) ms, mix 83 FIELD •TEST plate. The Automation jack currently to drop on a regular schedule. The has no function outside of Lexicon, Lexicon 4801, Digital Effects System is and I), A converters as well as input where it is used for development. The most certainly a case in point, offer- and output level controls on the mainframe weighs in at 24 pounds, ing signal processing funct kins in front), a slot for an expansion card, which is not bad c()nsidering what's copious quantities at a price which, and the cooling fan. The front panel inside. although still considered somewhat also contains askt for RAM cartridges upscale, is half that oldie first digital and the power switch (some manu- Reviewer's Preface reverberat or to appear on the scene a facturers actually put the power switch by and large, die advances of technol- scant II years ago. On the rear pane! I. ogy have been a blessing to the art Even with this gracious bounty to The rear panel cc )ntains XLR- type and science of music making and re- behold, unimaginable when the first connectors fOr the two inputs and cording. Not only is it possible to eas- 8-track tape recorder hit the streets, fc mar outputs, MIDI In, Out and Thai ily accomplish things which were some things remain the same. There jacks, and DF. -9 connectors w 1ARC laborious or downright impossible is always atrade off between making 1, LARC2. digital 1r O. and "Autc)ma- only a few slue years ago, but the full use of a complex, sophisticated tion, - and the AC cc innector and fuse cost of the equipment to do it seems and powerful device, and making quick and simple use of adevice. The 4801, also epitomizes this well-proven truth. "Ah!'' you cry. ".'o )ti are telling me that the 4801. is hard to use. Strike eETA-THREE one!" Well, no, that's not what I'm s;iving. It wt add be more accurate to n..éVç ;CI E"3 say it is...deep.

1.0,1A3 0.1,1K 34 Cori os A— FA/M.03J %fiy, pray tell, is the reader troubled o with such philosophical distinctions o bet we even awcwd of evaluatk -wi has o been rendered? Because sheer quan- o We bent more than tity of features is aprimary character- istic of the -1801., and this led to two afew rules putting problems in reviewing it: first, finding the time and applications to evaluate this much synchronizer it fairly and completely (even with the extra long consignment period to o which Lexicon graciously agreed), in asingle product! and, second, fitting such apiece into the very limited space allowed by MIDI SYNCHRONIZER short-sighted editors w'ho believe that o MIDI-to-SMPTE synchronization readers are not interested in mentally o with MIDI sync and song pointer, herniating themselves with 35-page tempo map storage, fractional reviews. o tempos, transport control from So it is hereby acknowledged from 2.; o MIDI, bar and beat display, and more! the outset that it just was not possible o to ti -y eroything on the 480L or to o describe it all here. But 1sure as hell TAPE SYNCHRONIZER tried mv best. two-transport chase synchronizer, full master/slave control, sub-frame Configuring the 480L accurate rehearse/record, 'Mere are anumber ot different setup SMPTE/EBU time code generator, parameters available in the 4801.. The

Circle #085 on Reader Service Card 84 res chine receives only one of the inputs fused groups of pre-echoes to mimic (the 4801. as two mono-in, stereo out these reflections. (In many applica- processors); and Cascade, in which tions, such as classical music record- Machine A is fed by the inputs and ings of the type that Griesinger does, Machine 13 is fed by the outputs of these reflect ions are wholly' undesir- Machine A, still in the digital domain. able and. in fact, are avoided. ) In all ctmfigurations except Single, Griesinger's and Lexicon's experi- the machines' outputs are available ence and research also showed that separately. many reverberant spaces appeared to The sampling rate of the 4801. can the ear to have much longer revert-) be switched between 48 and 44.1 kHz. decays than their measured RT60s. As mentioned above, digital 1, 0 is This indicated to him that the method also available. This takes the form of of portraying space by using aprede- SDIF (Sony 1610 1630 format )which lay before the onset of revert) was fal- is selected (as are the configuration lacious, and that the perception of and sampling rate) in the 480L's Con- reverb decay was affected 1110 we by trol mode. When using the digital the quality of the initial sound build- inputs, the 480L can be (and in most up. Although the Diffusion parameter cases, would be) clocked by an ex- present on Lexicon (and many other) ternal source (the digital mixer, tape reverbs since early on gave one han- deck, or workstation), in which case dle on this behavior, it seemed insuf- it can be clocked at 48, 44.1, or 44.056 ficient. The 480L introduces two new kHz. An external adapter box (which parameters, Shape and Spread, which is available from Lexicon) is needed sculpt the amplitude envelope of the to directly hook the 4801. to a 1610, early sound. Shape controls the con- 1630, or many other digital devices. tour of this early sound; as its value is The digital 10, the Cascade configu- increased, the initial attack becomes ration, and wet. "dry mix parameters longer and secondary reflectkm areas found in several of the programs mean appear (manifested as a slight sus- that a digital master could be level- tain), until a point is passed where adjusted, equalized (using the Stereo the contour is no longer realistic and Adjust program) and reverberated begins to approach an "inverse" type with the desired rnix, then fed to a of envelope. Spread determines the CD mastering device or other digital length of time that this whole opera- destination, without ever having left tion takes. These two parameters in- the digital domain. teract strongly with each other, and the Size and Decay Optimization pa- Program Descriptions rameters. All of this sound takes place Reverb: Lexicon was apioneer in the before the reverb decay parameters area of digital reverberation, largely have any effect, i.e. the "early sound" due to the efforts of software engineer precedes the reverberator. It would David Griesinger, a classical record- be difficult to overstate the impor- ing engineer who created a digital tance of these parameters in the 480L's reverberator to satisfy his own profes- reverb programs. Many uses of the sional needs. Griesinger's orientation 4801:s reverb require very low revert, in revert-)is towards authentic emula- decay settings (less than 1.2 seconds tion of the behavior of acoustic spac- or so); the body of the work being es, and this, to my ear, has always performed in the early sound. been apparent in the sound of Lex- The remaining parameters in the icon reverbs. It appears to be this reverb programs are familiar to Lex- frame of reference that Ilas led Lex- icon users: mid-frequency decay time, icon to introduce several new con- bass decay time multiplier, crossover, cepts in the 4801's reverb programs. size, high frequency cut (bandwidth), The simplest of these is in the area of high frequency reverb rol loft frequen- pre-echoes. In the past, digital reverbs cy, diffusion, pre-echo levels and de- have used a handful of programma- lays, and so forth. ble discrete echoes to simulate pri- The 480L offers banks of hall, room mary, reflections from the stage, side and plate reverb sounds, plus abank walls, etc. This was not an accurate called Wild Spaces that Iclassify as an simulation of initial reflections in a effect. Between the first three banks space, which would never be discrete, there are 25 factory presets ranging and their use often resulted in comb from a very small room to a large filtering effects. The 480L uses dif- --CaV7el'ED av PAGE NI

Circle #086 on Reader Service Cord

/.1.\/ Pm. MIX 85 LUNCHING •WITH •BONZAI by Mr. Bonzai TOMMY TEDESCO THE MAN WITH THE GOLDEN GUITAR

Tommy Tedesco is a hit man—the just about everybody who ever did hired gun chosen by the aristocracy anything. Ihave the utmost admira- of recording. He is the Michaelangelo tion and respect for him as amusician." commissioned by popes and kings to Icaught up with Tommy Tedesco decorate their musical castles. He's an just before he was about to leave for old bebopper who can make abanjo an evening at the Guitar Institute of sound like ashamisen. Technology, where he is a tenured He says he's been likened to an professor of music—in the real world. Italian dockworker and his speech has astreetwise offhandedness. But Tom- my's articulation is in his music—he can speak almost any language: jazz, Italian, blues, Greek, rock, Congolese or classical. Records: he's been the guitar for Elvis, Sinatra, Streisand, Ronstadt, the Beach Boys, Ray Charles, Nelson Rid- a dle and Frank Zappa. Television: .u.A.S.H., Happy Days, The Mickey -r Mouse Club, Ozzie & Harriet, Gilli- S mu= gan's Island, My Three Sons, The Mun- erAirMern..-,-1 sters, The Gong Show and Charlie's Mg& Movies: Bonnie & Clyde, E.T, retkeee- Jaws, The Exorcist, King Kong, Mary PoPPins, Butch Cassidy & The Sun- dance Kid, The Godfather, The French Connection and Magnum Force. The list of hit records, TV shows and films he's played on reads like the work of 12 men. We've all been immersed in this one man's music since the mid-'50s—and there's no sign of his letting up. He's the heavyweight champ of guitar. When Iasked Toto's Steve Lukather why Tommy has done so well, he replied, "Because he can fit into any situation—even an intense reading session—and he can come up with great parts. He's also an unbelievable guy to hang out with—he's very funny. People like him. He's the grandfather of all studio players. He's helped out

86 \IIX,./AM AK)* 1988 Bonzai: You're about to head out to lot of guys who pick this way. Ican the Guitar Institute tonight? also do alternative picking, but this Tedesco: Yes, Ido a clinic once a way Ican play runs twice as fast—I month there. I'm the director of their "I didn't even just use this method for runs. Iuse studio guitar program. the style that fits the situation. I've had people in front of me who Bonzai• What do you do with the realize all the hits I study classical guitar and they play Institute? with their fingers and some can sound Tedesco: Well, Irecreate session made. My work awful. Iask them why they don't use a dates. Tonight I've invited a fellow pick and they say you're not supposed musician, John Belzekian, who plays to. Why sound terrible?—get apick. I the oud. He's one of the masters in stopped when Ileft make all my own rules—it doesn't the country. And Ihave the cartage mean athing to me. company bring along my instruments —about 50—so they can see what I the studio. Now Bonzai: What are your favorite guitars? go to work with. Too many people Tedesco: In the studios Iusually use have aphony impression—they think I'm curious." anylon string classical guitar, because it's one guitar. Tonight, the students I'm pinpointed that way. A local guy, will see my guitars, amplifiers, man- Greg Brandt, made the one Iuse the dolins, banjos, bazoukis, balalaikas. instruments—how did you learn how most. Ialso have aRamirez, and many to play them all? other great guitars, but Iprefer his. It Bonzai: Is that atypical collection for Tedesco: Ido it very Hollywood style. was made for me, and it gets abigger asession date? Itune 'em all like a guitar. If they sound. It might not be as good on Tedesco: Every time Igo to work I want atruly authentic player, they'll stage, but for recording—it has an bring it all, unless it's absolutely spe- hire that person. But generally, they even sound, and every time I've used cific, like "we need some solo work run into problems, because they may it with the top engineers, they have on a nylon string guitar" or "it's all not read, or aren't familiar with studio loved to record it. It must be good mandolin." Ninety-nine percent of the playing. They may be great players enough. time, everything goes, because you and sound tremendous at the Greek never know what will be called for. Theatre, but they may not be as adapt- Bonzai: You also have your strings able as is needed. You've got to be designed for you? Bonzai: Do you get paid more for able to do exactly what is called for. Tedesco: Iwent out and tried alot of playing different instruments? strings from different manufacturers. Tedesco: I'm at the point in my ca- Bonzai: You've even done Japanese There are a lot of good strings out reer where it doesn't make much dif- scores. there, but Iwas very happy with the ference—I charge double scale any- Tedesco: Iuse a banjo and try to strings made by GHS. Ihad them de- way for pictures and record dates. make it sound exactly like ashamisen. sign abunch of strings in my gauges, I've done many Japanese pictures with for different styles Iplay, like jazz and Bonzai: What was your last film date? Japanese players. Iaccompany the rock You can walk into aguitar store Tedesco: Iwas working on the Char- koto with my banjo. Ihave atechnique and find arange of strings that work lie Parker movie with Clint Eastwood of playing with certain picks and Iget for you. If you like 'em, come back the other day. the high sound that is needed. Iwas working recently for Jerry Bonzai: You've worked for so many Bonzai: Was Clint there? Goldsmith and worked with aJapa- of the great producers, going way back Tedesco: Yes, he's there for most of nese lady to get just the right sound. to people like Phil Spector. What the dates. Here was acase where they She plays the koto and is an expert in makes a great producer—what per- were using a lot of old instruments, Japanese music. When Iwas done sonality, what input, what creativity? so Iwent to the trunk and got my recording, she picked the track and Tedesco: Well, you see, I've always 1947 electric Gibson. With all the in- said it sounded exactly like the sham- come from left field. I've never paid struments on hand, Ihave my choice isen. As soon as she said that, my job attention to producers. I've come from and try to find the right sound. was done. If it was good enough for aweird background—Hal Blaine and her, it was good enough for me. I Iwere so different when we were Bonzai: Do the producers and direc- believe that most people listen with recording. We'd be on 3,000 dates tors and composers tell you exactly their eyes and not their ears. together and Ididn't know any of the what they want, or do they expect you people. Ididn't know 'em before and to come up with ideas? Bonzai: What about picking—what's Ididn't know them during. Tedesco: Usually, if they choose me your method? My whole thing was at the date. it is because they feel Iam the right Tedesco: Ido what Icall "economy They'd call me as aguitar player and I player for the session, and then it's picking," and wrote about it in my would look at the booth and it was my job to come with the right touch book, For Guitar Players Only. When completely blank to me. The singers and the right ideas. you enter from one string to the next would be ablank. Iwould look at the string, you always enter on a down music and do what Ihad to do. Bonzai: You play so many stringed stroke. It's worked for me. There's a It's kind of funny—now Ilook back

JANUARY 1988, MIX 117 LUNCHING •WITH •BONZAI during the session. We'd send gag liked. telegrams to each other. We had a tions. Doing my classes at the Guitar great rapport. Bonzai: What about your role in Institute has changed my life. I Ecri ¡U 'yod Tonight? couldn't believe it when everyone Bonzai: How does 1V work differ Tedesco: That was the exception to knew who Iwas. from afilm date? all the rules. That was the greatest Tedesco: A movie is the biggest. They show for me. Iloved it. We got to Bonzai: Can you recall any ridiculous aren't afraid to spend millions to get play, Martin Mull is agas, the people sessions in your career? the music right, with aMancini, or a were great. It was aput-on of everyone Tedesco: Ican remember some Phil Lalo Shifrin, or Johnny Williams. There you've known—people who were se- Spector dates where Leon Russell are no budget problems. When you rious and talked that way, and actually would stand on the piano and start do IV, it's in and out. If there are mis- acted that way. preaching. takes on the music, they usually let it pass. The music is usually trite. Bonzai: Let's get some quick impres- Bonzai: Let's talk about Phil. What sions of the people you've worked was special about those sessions? Bonzai: You go way back to the days with. Elvis? Tedesco: Well, Iwent in there with of Ozzie & Harriet. Tedesco: At the time, he was just Elvis the same attitude as Ihave now. I Tedesco: Yeah, Bob Bain, who's the Presley, the star. Iwish Iwas the per- didn't know anything about him. I guitar player for The Tonight Six« was son Iam now, because Iwas only con- was just aguitar player. Iremember doing Ozzie & Harriet and Istarted cerned with my work Idid some pret- the first date—after about an hour and subbing for him back in '56, when Ricky ty things that he loved. Ithink he was ahalf we still hadn't taken abreak. I was just a kid. And then later on, I intimidated by me as aguitar player. A finally said, "Hey, Phil, what's going ended up doing some work with him few times Iwas staring at him while on here. Don't you take breaks?" Iwas for his records. Idid alot of work in he was recording and the next thing I coming from alegitimate studio angle television, things like the theme for knew, his people put up ablocker so and he said. "In New York, Kenny MASH, The Odd Couple, Green Acres. we couldn't see him. When he was Burrell never asks for breaks." Itold with his guys, he was always joking. him he was name droppin' the jazz Bonzai: How about live 1V? But in the studio, he was very shy. guys. We had abig gag going. later on Tedesco: Idid alot of it, but Inever that night, Phil and Iwent out for cof- really liked it. It didn't pay well. Rec- Bonzai: Frank Sinatra? fee and discussed what had gone on ord dates and movie calls were what I Tedesco: Iworked on many of his HOT TRACKS FROM ACES

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Circle #087 on Reader Service Card

90 MIX, JANVAA'Y 1988 albums, and even got credit on afew. Bonzai: In olden times? He was great to work for, because you Tedesco: Well, I'm considered a Attention were just in and out. You never made warm and sensitive player—if they money with Sinatra though, because had it then, Iwould be playing it. I'm Sony MXP-3000 they could care less. If you asked for sure Iwould have made my living as more money, you were usually re- amusician. fused. It was considered aprivilege to Console Owners work for Frank, and being an Italian Bonzai: Is there some sort of master kid from back East, Iagreed with them. plan for your life? Plug-in the Tedesco: 1think so, but Iwasn't MPC-3000 Mic Preamp Bonzai: Did you ever just hang out aware of it. Everything has been by and you'll notice with Frank Sinatra? accident. Igot started in this business the superior Tedesco: None of us musicians hung because Iwent to adance and met quality of sound. out with Frank Sinatra. Ralph Marten's band in 1953. Ihad stopped playing, but they auditioned • 990 discrete op-amp Bonzai: Michael Jackson? me on the spot and suddenly Ifound •Jensen JE -16-B Tedesco: Same thing when Iworked myself on the road. mic input transformer with him. Nothing. All this is because • DC Servo Circuitry of me. Ihave lots of opportunities to Bonzai: Any advice for young musi- chat, but I've never done it. People dans interested in studio playing? like Jan & Dean or the Beach Boys Tedesco: They have to be here, or would come up to me during the ses- someplace where there are sessions sions and Ididn't really know who —like LA., New York, Nashville. It's they were. Later on, Istarted coming hard, because the odds are amillion out of my shell and realized there was to one against you, but that didn't aworld out there beyond my guitar stop me. You have to be where the work. business is. Next step, people have to know you—you have to get out and Bonzai: Why did you stay so isolated? play, and get arep [reputation]. And Tedesco: Ijust grew up as aguitar never give up—as soon as you put player, not messing with anybody, not the instrument in the corner, it's all thinking of them or even that they over. Iwas ready to give up many knew Iexisted. It was just the music. times, and Ididn't get started at a The craziness that came later made young age. Go to your own limit, and up for the serious side of me in the maybe something will happen. I'm early days. almost 60 and I'm still playing and having aball with the young, up-and- Bonzai: Stevie Wonder? coming guys. If I'm still pluggin' away Tedesco: Just worked for him. at this age, what's to stop you if you're 17? Bonzai: Ray Charles? Tedesco: Ray is tough to work for, Bonzai: You could put your feet up but it's worth it. It was funny—the and take it easy now—why is it you're other day Iwas watching The Cosby trying to develop a performance Show and heard atune that Ray made career? many years ago, "Green, Green," a Tedesco: Because Inever did it be- Sesame Street number—had a lot of fore. And now I'm enjoying it. my guitar solos. All these years, I didn't realize what Ihad done. He Bonze: You have afew albums out called me recently and we did some of your own—what's different on things together, just the two of us. The your work? reason he called was because of the Tedesco: When I'm in charge, 1do work Idid many years ago on "Green, exactly what Iwant to do and choose Green." Iheard the tune on The Cosby exactly the material Ilike. If it fails, THE JOHN HARDY COMPANY Show and it sounded pretty good. And it's my fault. When Igo to work for The Manufacturers of Idon't even have the record in my col- someone else, I'm liable to be asked High-Quality Audio Equipment lection. Inever bought arecord for 20 to do anything—whatever they ask years—now I'm trying to catch up. for, they get it if Ihave it in my bag of P.O. Box AA631 tricks. Ihave been making agood liv- Evanston, IL 60204 Bonze: Can you imagine playing ing, and Ilove playing guitar. (312) 864-8060 music in another time? I recently started working every Tedesco: Well, I'm a frustrated be- Wednesday night at The Blue Note TELEX: 910-380-4670 bopper. I'm still abebopper. Cafe, ajazz club, for $40 anight. This (JOHN HARDY CO)

Circle #088 on Reader Service Card

JAN1 ARY 1088, MIX 91 ONE FOR ALL, PERFORMING TOURING "When Istarted my first band, "An amplifier must more years ago than Icare to remember — display two virtues for any Crown was then, as it is now, definitely given tour — it must have the amp to have. But at that time Ifelt excellent sonic quality and beginning with Crown power it must be indestructible. was alittle like taking "For all of our Driver's Ed. in aFerrari. tours we choose Crown." "As things started The introduc- picking-up, we found tion of the Macro Tec ourselves loading in Series brings anew and out of adifferent dimension of Crown club every weekend. engineering to the tour — It was becoming the natural progression clear our equipment of advancing technologies wasn't quite as has brought about anew ambitious and series of astounding durable as we were. amplifiers. Expanding on We learned quite an the incredible success of expensive lesson by Micro 'frch®, Crown now not having Crown brings you Macro lbch, a from the beginning." series built on the premise With the that to succeed in any advent of the Power- business one must never Base" Series, today rest on one's laurels. even the entry level Developed in musician can afford the usual way, by to have the legendary testing thoroughly %use performance and before it is ever brought to the market, Craig Schertz. reliability of the Showco Crown product. the new Macro Tech is Dallas, ibxas Crown's ability every bit — Crown. Al Evarts, to provide light "Showco has depended on Crown The Duke llamatoe Band weight power and for years — acompany you stake your Indianapolis. Indiana dependability at a reputation on must be acompany you can price that is both surprising and affordable rely on. In short — if the amp doesn't work is the essence of the Power-Base Series. neither do we. "The Power-Base Series starts at "Test out anew Macro Tech — $769.00 — Ipaid more for my first Crown it's atremendous performance." amp in 1969 and it was used. "Seems like Crown is out to make payin' your dues alot easier"

cm will INTERNATIONAL INC ALL FOR ONE. RECORDING CONTRACTING "It's avery simple matter really — "We have enjoyed an extremely Ihave never used another product Ilike good relationship with the people of Crown better when it comes to powering astudio. for many years. We especially value Crown's mie reproduction is the main intent here desire to work with us in developing at Westlake. Though we have tried other specific products for specific needs." products we have always returned to Per Haugen has been Crown and the PSA-2." aleader in the sound contract- The Crown PSA-2 has been an ing business for over 30 years. industry standard since its introduction. Heading acompany that has Professionals like Joe Gorfinkle rely on installed literally thousands Crown to produce the results they expect, of church and other sound no compromise — no short-cuts. systems Per knows the Years of continuing research and importance of having qual- development means Crown is always one ity products such as the step ahead of the competition. It's the PS-200/400 Amplifiers. reason someone of Joe's caliber chooses "Crown's tradi- Crown, and will always choose Crown. tional qualities of perfor- "Beyond the sonic quality is mance and reliability are Crown dependability they very well suited for just never need attention. my business. I'm not only very comfort- "The PS Series able in using the Crown Amplifier provides quality product, but also in sound for years and years and recommending it." requires very little maintenance, that translates directly to the sound contractor being able to provide more service for the dollar." At Crown the feeling is, personal contact guaran- tees the success of the product line. Untold hours Per Haugen. are spent consulting General professionals like Per to Communications insure each product Salt Lake City Utah satisfies the exacting requirements of those who utilize them. Crown will always value open communica- Joe Gorfinkle, tions with pros in the field and will always Westlake Audio Los Angeles. California be committed in bringing products to the market that make sense.

1718W MISHAWAKA ROAD, ELKHART, INDIANA 46517

Circle #109 on Reader Service Card SOUND •ON •STAGE by Mark Herman SOUND REINFORCEMENT NEWS

Kiss continue to keep Sla other k ing rigs active .. .When Iasked Wil Sharpe if any of his tours posed any special problems he replied. "An interesting one is the Barbara Mandrell n u.which one day plays in an arena, and the next day plays a corporate pri igr.un in abalk( xwit With every thing changing, our crew has k be ultraflex- ible. Alsu, we are general contracting everything kw the entire n mnind. lights, staging, trucking, busing, the backline crew, etc." Slit wco's latest act is the Australian band Pseudo Echo. "They have a live- week tour with us that started in mid. November," Shape said. "I think people will like them." 'That leading edge si Kind company, Ultra Sound just announced that they have pur

A Meyer sound system blasts SF during U2's free concert there. Below: lead singer Bono at the show.

"Ibis year probably won't see any radical systems luive been out with Aerosmith, changes in the sound reinforcement indus- James Taylor and Eric Clapton. Addi- try. Still, certain trends do seem to be ap- tional accounts REM, Willie Nelson and pearing in my crystal hall. My three predic- tions for 1988 are: (1 ) A general trend for more tours seems to he in order. The '60s rock music l'ans wh() made this sound business possible ).ears ago have now entered the economic mainstream and represent a gut al chunk if pi >tent ial money (read prof- it 1that should attract promoters and agents. But remember. this business seems to run in two year cycles and we have just had two gi xxl years; (2)0 nitinued mth of speaker and amplifier sales due tua general trend kmuftis upgrading and doubling of speaker systems; and (3 ) A healthy upsurge of interest in house and monitor consoles; upgrades would seem to be the next logical step alter speaker and amplifier improvements in the developing trend for high- quality professional PA systems. Now, on to the news .. . . Things seem to be on an even keel at Showco this new year. Their three Prism

PHOIOS PON DRANY

96 N11 X. JAN1 1988 SOUND •ON •STAGE

chased anew Gamble Series EX 56 channel to an impn uhf It ti incert hy U21 in Nt ivern assemble their Meyer Gamble Crest PA, 11( else mixing system from Jim Gamble her Ilth. Twenty thousand per pie packed transpon it and stage the evunt Associates. The new top line 56x16x2x1 + SF's financial district after local radio sta- Mr Me star and singur Pia Zadora ti x)1:

16x16 matrix house console will he used fir ins announced 1'2's appearance just two out the new A-1 Audio 1).,\ system It w a extensively on twcoming Grateful Dead hours her( we the surprise nor intime event. six-week umar air( iss America (see -On The tours .. .I h milt( Avri San Francisco was Jars( 7Itra Sr nand barely had 18 hours' notice to 12r )ad - I. The system was comprised of Meyer CDN THE RCDAD SOUND COMPANIES, EQUIPMENT, ARTISTS 8( PERSONNEL ON TOUR

Artist House Console #1 Main Speakers Main Amplifiers Engineers: Sound Company House Console #2 Other Speakers Other Amplifiers (B) band Tour Dates Monitor Console *1 Subwoofers Sub Amplifiers (H) house & Region Monitor Console #2 Monitor Speakers Monitor Amplifiers (M) monitor Crossovers

Elvis Costello & the TAC Scorpion 32x8x2 16 Meyer MSL3 Crest 4000 Chris Beale (H) Confederates ------S. Flewin (M) Audio Support TAC Scorpion 40x12 8Meyer 650R2 Crest 4000 John Doerschuk Nov-USA --- Audio Support 2x12 Crest 3000 Henry Cohen Meyer

Michael Jackson Clair Custom 32x12x2 100 Clair S-4 Carver 2.0 Kevin Elson (B. H) Clair Brothers Clair Custom 32x12x2 ------Rick Coberly (M) Sept-Dec Harrison SM-5 32x16 — — — — — — Gene Clair, Tom Ford Japan & Australia — — — Clair Custom SAE 2600 Forrest Green. Nyle Wood, Clair Custom Walt Mensching

Little Steven & Yamaha PM3000 40x8x2 16 Meyer MSL3 Crown MA1200 Mike Sinclair (H) the Disciples of Soul ------N/A (M) Andrews Audio Tours Wheatstone M16 40x16 8 Meyer 650R2 Crown MA1200 Tommy Varaday Nov-Dec --- Meyer UMI, UPA Crown MA1200, Europe Meyer USW. MSL3 MT1200

REM Soundcrafi Series 440x16x2 32 AX Crown PSA2, MT1200 Bruce Jones (8, H) Showco — — — 8SS front fill Crown Chris Lantz (M) Sept-Nov Harrison SM-5 32x16 4AX Sub Crown Chris lacuone N. America — — — Showco 100, 200 Crown MT1200 Phil Christensen Showco 300, 400

Rush Gamble HC 40x16x2 18 AA Arena Phaselinear 700 Jon Ericson (H) Audio Analysts Yamaha PM3000 40x8x2 24 M 53 (Quad) QSC 3800 Steve Byron (M) Oct. 25-Jun 88 Gamble SC 32x16 8AA SW QSC 3800 Dan Shreiver N. America --- AA 2x15, M SF QSC 3800 Michael Caron JBL 5234 Paul Parker

Suzanne Vega Yamaha PM3000 40x8x2 16 EAW KF850 Crest 8001 Robin Donor (B, H) Sun Sound Audio ------John Gallagher (M) June-Aug, Oct TAC Scorpion 40x12 8EAW SBKF850 Crest 8001 Fred Mueller N. America --- Sun Sound 2115 Carver 1.5 Mark Frink Brooke-Siren 360

Whitesnake Midas Pro5 40x8x2 Split 26 stacks (78) Harwell BGW, Crown Jim Rivers (H) Tasco Midas Pro5 32x8x2 ------Ken Parkin (M) Nov-Dec USA Midas Pro5 30x10 ------Mike Sprague Dec-Jan Europe --- Tasco Wedges Crown MT1200 Steve Brooks SG Engineering 2x12, 2x15

Pia Zadora Yamaha PM3000 40x8x2 24 Meyer MSL3 Crest 4000,4001 Peter Saver (H) A-1 Audio Yamaha 2404 24 ch. ------Lee Rickmers (M) Nov-Dec Soundcraft 800 C 40x12 6Meyer 650R2, 6USW Crest 4000. 4001 Jim Stark USA --- Meyer UM1, UPA Crest 4000,4001 Meyer

IAN/ AR) . I'M. Mix 97 SOUND •ON •STAGE offs [national one-nighters] and lots of con- ate systems if needed. It is a pmprietaly vention trade show industrial theater. For 3-way flying one-box system with additional cabinets, Yamaha and Soundcraft consoles instance we have done the National Associa- subwoofers. There are 48 main cabinets and and Crest amplifiers. According to the crew, tiori of Broadcasters Convention, Frito-Lay, 12 subwoofers powered by QSC MX 1500s. this is afirst-rate act with Pia flying in her jet, the National Association of Home Builders, The monitor console is aMidas Pro4 24x8 and the hand and crew in a decked-out Dr. Pepper and alot of others. Generally the and the house a40-channel Yamaha PM3000. 727 .. . Andy Williams was also out for a one-nighters are pan of some convention." We also have aset of 32-channel Soundtrac brief holiday season tour and appeared Some of the company's recent national one- O wisoles: back-to-back with Pia on soine shows .. . nighters were Run-DMC at Fort Bliss in El Motley Crue is back out on tour with A-1 Audio also reports they have been doing Paso, Hiroshima at the Arcadia Theater in Tasco again after abrief break. They are agood business selling Yamaha's PM3000 Dallas. Paul Williams at the Marriott Hotel, carrying 36 stacks of horn-loaded Harwell console, with h( ;tels the main customers. and the Four Tops at the Fairmont Ho- cabinets. Ashort November leg in the U.S. Crossroads Audio of Dallas has been tel. .. . Crossroads also provided sound for preceded the European leg with Tasco UK around the live audio scene since 1972, afundraiser for presidential hopeful George supplying sound reinforcement there .. . . primarily doing unth ng nxsk acts in the early Bush at aprivate club in Dallas. .. . Asked Whitesnake is on aworld tour (see "On years. Now they concentrate their expertise about Crossroad's PA Doug Hall explained, The Road - )using 26 stacks of Harwell PA on commercial and industrial accounts. Ac- "Basically we have one system that varies in and two Midas Pro5 house cons( es totaling cording to Doug Hall, "We mostly do one- size. It can be broken down into two separ- 72 input channels. One house console is a custom split 40-channel Midas with the left section containing masters and 15 channels, and the right sectit Mt 25 &winds. The other is astandard 32-input ht rani. A30x10 Midas console is used for monitors. Whitesnake is performing in Europe in January before coming back to America. Anew sound company, Tennessee Con- cert Sound, adivision of . Music Business Inc. of Br iwnsvi Ile, Tennessee, purchased a nInd system from Nashville-based ALittle More Sound. Designed to provide audio for crowds of up to 8,000, the main system is composed of 16 3-way Bill Little-designed custom cabinets. Monitors are FAW FM155 wedges augmented with custom sidefills. Power is provided by Crest 3501 and 2500, QSC 1400 and 1700, and Carver 1.5 amplifiers. The house console is a 40-channel Yamaha PM3000 and the monitor console a Soundcraft 32 x 10 400B. Also utilized are Brooke-Siren 340 crossovers, Mark Teknik equalizers, and avaried assortment of cf- feas.... Engineering for Tennessee Con- The quality of McCauley loudspeaker systems goes far beyond cert Sound is Bernie Bernit who recently cabinetry and exterior decor. Inside every McCauley system is what worked on the Genesis tour. owner Ste- our company is all about, the driving force behind every wart Ttitt and PA manager Dave White- system—its components. Not just a collection of pieces lock. and parts that you find in so many other Matrix Sound of Daly City, CA, is anoth- companies' boxes, but a precisely t or'''•ie, er sound company that has shifted its em- matched set of transducers that have phasis from rock acts to industrial and been designed, engineered, and commercial accounts. Owner Joe Bajza manufactured at McCauley and by states, "We do alot of local corporate shows McCauley to deliver asignature of pure profes- which involve anything from vocal rein- sional performance to the term "State of the forcement for meetings to nationally known • Art." acts that perform at conventions. We also handle lighting and full production. Our To experience the sheer power of a inventory includes 50 Harbinger enclosures, McCauley speaker system is reward and 50 flyable cabinets of our own design enough for some; but to lay your which are bask-ally 3- and 4-way JBL com- claim puts you in a world of "Pure Per- ponent systems. Our proprietary. cabinets formance." Tame the Series 800 system at an authorized McCauley are used exclusively for commercial ac- dealer. Call or write the factory for detailed product specifications. counts in hotels and convention centers." The monitor system is composed of Har- McCauley Sound, Inc. 13608 94th Ave. E., Puyallup, Washington, USA 98373 (206) 848-0363 -CONTINUED ON PAGE 160

Circle #138 on Reader Service Card

98 MIX, JANIARY 1988 Paul Young shown using the Beyer MCE 81 Tou rg rsup Series ¡nit-. HE USES THEM. Paul Young's singing achieves arare blend of classic soulfulness and modern energy. Matched to an explosive and unusually mobile stage presence, this exciting combination has won the hearts of fans and critics all over the world. Young's passion for excellence on stage places unusual demands on his microphone. That's why he depends on Beyer Tourgroup Series mics. Their unmatched accuracy and transparent natural sound bring out the subtle nuances that form the distinctive character of his sound like no other mics could. And their solid, road-proof construction withstands any kind of punishment. If performance means more to you than "endorsements," as it does to Paul, choose Beyer. beyerdynamic U.S., 5-05 Burns Avenue, Hicksville, New York 11801 Tel: (516)935-8000

TourGroup beyerdynamie

Canada: ELNOVA Ltd. 4190 Rue Sere, St. Laurent, Quebec H4T 1A6 Great Britain: beyerdynamic, Ltd., Unit 14, Cliffe Industrial Estate Tel. (514) 341 69 33 Telex 5824086 films; Sussex 13N86/1- Tel. 273 479 411 Australia: Hi-Plzon Distributors Pty, Ltd. 356 A-358 Eastern Valley Way Germany: Eugen Beyer Elektrotechnische Fabrik GmbH & Co., TIzeresienstrasse 8, Chatswood N.S.W. 2067 Tel. (02)417 7088 Postfach 13 20, D-7100 Heilbronn Tel: (07131) 617-0 Telex: 728771

Circle #049 on Reader Service Card WE DON'T HAVE TO PRAISE THE D-50

Dan Goldstein, International Associate in the last couple of years. It takes the best aspects of Editor, Music Technology: The D-50 what MIDI allows you to do with layering sounds was the single most exciting from different instruments and puts it all together in instrument at the 1987 Winter one machine. It's intelligent and very powerful, and I NAMM show. It's something that's think it will have amusical impact that will show up genuinely new and that's why it will have an impact. in what people hear on record. David Pratt, Associate Editor, Upbeat: Ithink the For players on stage, it has more power sonically than D-50 sounds very good. It's very user friendly— it's any comparable digital synthesizer. Thé sound has not intimidating. Musicians are always looking for got the sort of punch that will take it through amix new sounds, they're always searching for something in away that's not possible with most digital synths. different — sounds they haven't heard before. Ithink Studio players will like the D-50 for its versatility. they'll definitely be looking at the D-50. And Ithink hard-core synthesizer programmers will Bob O'Donnell, Associate Editor, Music Technology: be attracted by the breadth of its sound structure. Ithink the D-50 is an incredible value for the price— Dominic Milano, Editor, Keyboard: The D-50 has a you've got real high quality sound and all the signal wonderful sound. At its price point, it should appeal processing built in. Ithink the fact that digital signal to just about everybody. The D-50's approach to processing is incorporated into it is going to be the synthesis —which lets you take PCM samples and start of avery interesting trend in which all the combine them with digitally synthesized portions — elements for creating acomplete sound will be makes more sense than just about anything I've seen contained in asingle instrument.

Roland

LINEAR I-37 Soundtrack u: melloTones SYNTHESIZER rdIPL SP C4 Bal 50 L: BriteFirtb

TO.

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MaliM.M0 Paul Young shown using the Beyer MCE 81 Tourgroup Series tine. HE USES THEM. Paul Young's singing achieves arare blend of classic soulfulness and modern energy. Matched to an explosive and unusually mobile stage presence, this exciting combination has won the hearts of fans and critics all over the world. Young's passion for excellence on stage places unusual demands on his microphone. That's why he depends on Beyer Tourgroup Series mics. Their unmatched accuracy and transparent natural sound bring out the subtle nuances that form the distinctive character of his sound like no other mics could. And their solid, road-proof construction withstands any kind of punishment. If performance means more to you than "endorsements," as it does to Paul, choose Beyer. beyerdynamic U.S., 5-05 Burns Avenue, Hicksville, New York 11801 Tel: (516)935-8000

TourGroup beyerdynamic))))

Canada: ELNOVA Ltd. 4190 Rue Sere, St. Laurent, Quebec H4T 1A6 Great Britain: beyerdynamic, Ltd., Unit 14, Cliffe Industrial Estate Tel. (514) 341 69 33 Telex 5824086 Lewes, Sussex BN8611„ Tel. 273 479 411 Australia: Hi-Phon Distributors Pty, Ltd. 356 A-358 Eastern Valley Way Germany: Eu gen Beyer Elektrotechnische Fabrik GmbH & Co., Theresienstrasse 8, Chatswood N.S.W. 2067 Tel. (02)417 7088 Postfach 13 20, D-7100 Heilbronn Tel: (07131) 617-0 Telex: 728771

Circle #049 on Reader Service Card SOUND •ON •STAGE by Elliot Luber ONT OUR WITH PINK FLOYD

he current Pink Floyd tour may very Maryland Sound Industry's quadraphon- well live up to its name: "A Momentary ic production of the band has got the Lapse Of Reason." For only amadman, old calliope beat. or perhaps P.T. Barnum, would have Some critics have apparently missed the guts to take this complex amulti- the boat. Wrote one New York review- media production around the world er, "Pink Floyd is best listened to in afleet of semis. through headphones in a darkened A century after Bamum's Greatest room." Reviewing the Montreal Show, Show On Earth first hit the road, Pink Rolling Stone called the production 11 Floyd concerts seem hauntingly famil- "the obligatory Pink Floyd Sensa- iar in organization and scope, if not round." But if audiences pay more to content. The elephants are hardly re- see spectacle, as Barnum long es- placed by agiant blow-up pig (which poused, the tour provides enough fog really blows up at outdoor shows), but for London, enough candle power to

100 MIX,JANUARY 1988 Listen to it ...not to us!

Really, there's nothing we can say about we continually refined it to stay well ahead of our our JF-500 that will induce you to buy it except this: imitators. And, true, our single-box system is still try it. Because the evidence provided by your own the qualitative standard of the industry. two ears will be, as it should be, far more convincing But, enough words. You can buy any- than anything you'll read here. body's single-box reinforcement system you choose. True, we invented the horn-loaded single- Were utterly confident you'll choose the one that box reinforcement system over adecade ago. True, sounds best to you. Our JF-500. EAW

Eastern Acoustic Works, Inc., 59 Fountain Street, Framingham, MA 01701 •(617) 620-1478

Circle #014 on Reader Service Card Kitsolr itZtr.a LLIIIPM SOUND •ON •STAGE

practically melt the stage, more lasers than the strategic defense initiative, a r I movie, aflying hospital bed that crashes in aball of flame—you can literally feel the heat on your face—spacecraft - like light droids, Telescan pods hover- ing about the stage, and agiant disco DYNAMIC RANGE of products —huge in-store inventory ball that opens like aflower to reveal SWEET savings with consistently low prices danling strobes. WARM, knowledgeable sales people To come together in aproduction RESPONSIVE 24-hour delivery available these effects require sophisticated AWARD-WINNING service center technologies and synchronization tech- SENSITIVE to your needs: mail order layaways available niques more akin to Hollywood than the road. Production director Bobby Williams of Britannia Row Productions can tell you: it's an exhaustive exercise OUND GOOD TO YOU? in logistics, engineering and intestinal fortitude. But he won't, of course. He'll just say: "It's abit of fun." Above all, the tour remains true to Floyd's Dark Side Of The Moon concept, whereby the whole is larger than the sum of its individual songs. Floyd has always strived to be larger than its 2204 E. Hillsborough Avenue, Tampa. Florida 33610 (813) 237-5597 individual members—its concerts larger than amusical performance. When FREE U.P S. DELIVERY IN THE CONTINENTAL U.S.! the group came out with The Wall album, it was forced to make afilm in Circle #089 on Reader Service Card order to successfully bring its full presentation to the masses. There were Noise Gates Should be Seen only two live show dates in the United States—at which abrick wall was actu- & Not Heard ally constructed and, later in the even- With its unique application of optical switches (rather than ing, demolished. the noisier VCA's used conventionally) the Omni Craft offers In 1987, the group realized it had to very low noise & high performance -at an go one better, or admit to the charges affordable price. it was past its prime, that departed Just $395.00 buys you four noise leader Roger Waters had taken its crea- gates in an AC powered/rack- tive spark with him. And so, the stage mounting package, with facilities was set, as it were, for the current one- to "key" the gates from external year, approximately 150-show, three- triggers as well as adjustable Range, continent tour. Threshold and Release Time. "When you're working with Pink Also available are plug-ins for Floyd, the whole idea is that you don't most popular rack systems. Studio necessarily focus on the individual performance for the budget- band members," Williams says, "so you conscious! Call us for literature really have to create something that & information. seems to take over the whole arena or 1111 stadium. And we use the quad sound Omni Craft -- - OMNI CRAFT system to do that, and then we go on the quiet one! to create the largest thing at the far end of the stadium for people to look at." CALL 1-800 CT AUDIO Design work began in March with set designer Paul Staples and Holly-

e, eye. wood lighting designer Mark Brick- man. "We spent alot of time in both SEE = 7; .V7d9 e Z MUM London and Los Angeles," says Wil- US AT liams. "We realized that we wanted to NAMM In Florida Call (305) 738-0622 CT Audio Marketing Inc., 3050 S.W. 14 Place, #3 get away from the normal look of a BOOTH Boynton Beach, FL 33426 U1007 show, which is basically to have 10

Circle #090 on Reader Service Card

102 MIX,JANUARY 1988 million par cans hanging 30 feet above by FM Productions in San Francisco. ble. It takes hours and lots of thought." Brickman continues, "We ended up the stage. The lighting pod mechanisms and all with four Droids [light robots that "The idea of the pods [like many of of the mechanics that go with it were the tour's concepts and even ele- built in England by Kempt Engineer- come up from under the stage on ris- ments] came up out of the system we ing—it's an endless list. Basically, we ers] from Color Ray technology with some help from Laser Media Technol- used to use in previous tours. We used spent six weeks honing the thing, ogy. Icame up with the idea of life-like to have two large cherry picker trucks changing aspects, giving Mark Brick- behind the stage, enabling us to move man achance to see exactly what com- light figures with the Color Rays in around the stage and go to avery high ponents we had there to work with, them, and they customized the soft- trim height. We've achieved that in and developing the look you saw ware for us. We also have two tracking- pods [Varilite clusters that raise and about every hall we've worked so far." tonight." Adds Brickman: "We basically put lower on winches and travel around the stage from asuspended track] .In Lighting together asystem to enhance the mu- all we have 85 Varilites, 24 Telescans, The next step in the design phase was sic's attitudes and one which is in and two full-power, full-color lasers, to bring in alighting company to see keeping with the Pink Floyd concept, what Brickman had to work with. Wil- which is atotally audio/visual presen- which really means four lasers, which all must be water-cooled. The foot of liams called in four. tation, where the band is but one ele- "We went to Samuelson's for the ment of that show. Everything comple- the stage has 280 PAR-46 periactoroids basic grids and afew bits of base light- ments the other elements; there is a in panels that spin around with three ing, Varilite of Dallas for the Varilites, mixture, you don't just see one per- faces. One face is mirrored, one is Cameleon of Paris for the Telescans sonality." black and one has the lights." He says the Varilites surround the and Laser Media for the lasers. For film "It took afew incarnations first, of projection, we went to Long Island's course," Williams notes. "It all comes circular movie screen above center stage, and others are on the tracking Associates & Farren," he says. For ex- together finally and you have agreat plosives, another traditional Floyd ele- show worked out, and then you look pods which at one point in the show ment, they went to LunaTech. at it again and realize 'My God! We've come down to either side of guitarist "On August 1st we took over ahang- got to tour with all this!' And you pro- David Gilmour during his "Comforta- bly Numb" guitar solo. ar in Toronto for six weeks and started ceed to tear parts of it down and re- assembling the various components. build the entire set so that it is to some Besides Brickman, the lighting crew The actual stage, for example, was built extent of the imagination transporta- includes Christof Ducret from Camel-

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Circle #129 on Reader Service Card JANUARY 1988, him 103 Lto R: Nick Mason, David Gilmour and Rick Wright.

eon to operate the Telescansjoe PoIan The device is controlled by an IBM PC program in astart cue for the motor, sky of Varilite to operate the Varilites, computer using Associates & Farren's program in the shutter opening, and Mark Grega to operate the droids, proprietary control software. The PC an open pass, close pass, stop, park, Main Bradley to control the pods, laser receives SMFTE time code from the search for the next frame, wait for the operator Scott Cunningham and "Ham- Otan i 8-track recorder by the audio next instruction. Ican change all of the mer," from the U.S. firm LunaTech, to console. On the 8-track there are four cues to make it do whatever Iwant." handle the pyrotechnics. audio tracks [effects only, all music is The remaining tracks, he explains, provided live by Pink Floyd] and four contain the audio effects with audible Film control tracks." instructions and countoffs recorded by According to Williams, much of the Gilmour. For example, Gilmour's stage film used on the tour was originally Sync mix includes acountdown for the gui- shot and used for previous tours. "Ev- Assistant house engineer Jim Geddes tar part to enter in sync with the rest of erything in the first half (of the three- says the tour originally used an Audio the production. Similar audio counts hour concert) is new production be- Kinetics Pacer synchronizer in the feed the lighting director and special cause the music is new. Film stuff is equipment racks, but that the tricky effects technicians: "Release the pig: always the last minute it seems. Ithink nature of sprocketed film sync caused four, three, two, one...." we got the final set of prints about a some frame lags. "We got the PC and it "It all fits together," says Bartlett. week ago [three weeks into the tour]. all seems to be working much better "For example, in the beginning of 'Wel- We had re-edits, and new bits were now," he says. come To The Machine,' the creature coming in almost right up to the show One control track feeds SMPTE time crawls up on the film from the back- tonight," he adds, laughing. code directly to the computer, which ground, and just as David Gilmour be- MSI film projectionist Steve "Ziggy" knows what frame it's at and what gins his guitar part there is aflash of Bartlett, aveteran audio engineer, for- frame it's supposed to be at. The lock light across the screen. It comes across merlywith Tasco, explains the synchro- is accurate to half aframe at 24 frames as anatural coincidence to the audi- nization: "This particular system is per second, or accurate to about 1/50 ence. It's not, believe me." pretty much state-of-the-art. The proof asecond. jector is a 35mm with a 7,500 watt "The beauty of the system," projec- Audio lamphead built by Associates & Farren. tionist Bartlett says, "is that you can Steve Guest, the Maryland Sound In-

104 MIX,JANUARY 1988 Today's tougher audio requirements demand anew choice Tele • 6120 XLP ith 8X sp dtoughe

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Circle #015 on Reader Service Card WE DON'T HAVE TO PRAISE THE D-50

Dan Goldstein, International Associate in the last couple of years. It takes the best aspects of Editor, Music Technology: The D-50 what MIDI allows you to do with layering sounds was the single most exciting from different instruments and puts it all together in instrument at the 1987 Winter one machine. It's intelligent and very powerful, and I NAMM show. It's something that's think it will have amusical impact that will show up genuinely new and that's why it will have an impact. in what people hear on record. For players on stage, it has more power sonically than David Pratt, Associate Editor, Upbeat: Ithink the D-50 sounds very good. It's very user friendly— it's any comparable digital synthesizer. Thé sound has not intimidating. Musicians are always looking for got the sort of punch that will take it through amix new sounds, they're always searching for something in away that's not possible with most digital synths. different — sounds they haven't heard before. Ithink Studio players will like the D-50 for its versatility they'll definitely be looking at the D-50. And Ithink hard-core synthesizer programmers will Bob O'Donnell, Associate Editor, Music Technology: be attracted by the breadth of its sound structure. Ithink the D-50 is an incredible value for the price— Dominic Milano, Editor, Keyboard: The D-50 has a you've got real high quality sound and all the signal wonderful sound. At its price point, it should appeal processing built in. Ithink the fact that digital signal to just about everybody. The D-50's approach to processing is incorporated into it is going to be the synthesis— which lets you take PCM samples and start of avery interesting trend in which all the combine them with digitally synthesized portions— elements for creating acomplete sound will be makes more sense than just about anything I've seen contained in asingle instrument.

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Ted Greenwald, Assistant Editor, Keyboard (NAIVIM Craig Anderton, Editor, Electronic Musician: As Winter Market Wrap-Up): The Indefatigable Roland Editor of Electronic Musician magazine it's easy to led the way with the D-50 Digital Synthesizer, the gauge aproduct's impact by the degree of reader obvious highlight of their prolific new offerings and interest. Based on what I've been hearing, Roland possibly of the entire show. has areal hit on their hands with the D-50. Bill Lewis, Senior Editor, Music, Computers & Simon Trask, Music Technology: Software: Roland has managed to meld the Whichever way you look at it, the complexities of computer controlled synthesis with D-50 is one hell of agood instrument an ease of programming. This, along with the com- and one that has already booked itself bination of sampled with synthesized waveforms aplace in the synthesizer's hall of fame. points the way to the future of sound creation. WE COULDN'T HAVE SAID IT BETTER IF Jock Baird, Editor, Musician: Five months after its WE'D SAID IT OURSELVES Anaheim introduction, the D-50 has no challengers as 'Best New Synth of the Year.' What's also Circle #016 on Reader Service Card interesting is that with programs like its Developer's Workshop, Roland is trying to jump-start the same support web of sound and computer-editor programmers that took acouple of years to grow up Roland around other synthesizers. WE DESIGN THE FUTURE MI •UPDATE BRAVE NEW PRODUCTION THE MIDI STUDIO GROWS UP

dence over recording with mics. Some ver since Les Paul invented multi -track recording, musicians have used this MIDI studios are all MIDI—pre-pro- technique to translate creative im- duction is done entirely on acomput- pulses into audio reality. Aby-product er sequencer, and for the final record- of multi-tracking is that it gives coming, the sequencer drives MIDI instru- posers a chance to construct entire ments in real time. These outputs then compositions in their own studios and mix directly into a2-track mastering at their own pace, so they can hear a deck (often a PCM-F1, or analog 2- A MIDI room at rough sketch of work before hiring track with Dolby SR). Other studios Unique Record- musicians to play the "real" version. In combine MIDI with tape; the tape is ing in New York Efact, thanks to advances in synthesiz- synchronized to the sequencer, so the City. ers and samplers, in some cases the composer can see a work through from the first creative flash to the final mixed-down stereo master without ever having to leave the multi-track environment. Despite the huge contribution that multi-track recording has made to the world of music, progress never stops and many musicians seek more than what tape has to offer. Specifically, tape is difficult to edit on a microscopic, note-by-note basis; and mechanically speaking, the time it takes to constantly rewind and fast forward adds up to a lot of wasted hours. Another problem is the relative permanence of parts recorded on tape. If you want to change a violin track to acello track, for example, you'll have to re-record an entirely new part. Even fairly simple tricks, like shifting an individual track up or down an octave, is difficult—if not impossible —in atape -based studio. Enter the MIDI studio. The definition of aMIDI studio has yet to be etched in stone, but try this one on for size: astudio where more recording is done via tapeless means (typically, a computer running MIDI sequencing software) than via tape, and where direct injection recording takes prece-

110 MIX,JANUARY 1988 sequencer plays the electronic instru- do MIDI pre-production, we'll put in ways had to re-patch something, or ments and the tape stores the acoustic suitable facilities." Fast, by the way, change some settings, whatever." Un- parts (guitar, vocals, percussion, etc.). practices what he preaches. On his like some MIDI studios that are in- Tape can also store bunches of effects latest release for Audio, Metropolitan tended mostly for pre-production and other unusual sound sources that Suite, he did months of pre-produc- chores, MIDI City is afull-blown stu- would be difficult to do in real time in tion at home in his own MIDI studio, dio with 24-track tape facilities (48- an all-MIDI setup. Still other studios then carted the equipment off to the track is also available). Their artist ros- are set up primarily as tape studios, House of Music, ran his MIDI sequenc- ter includes Stewart Copeland, Dan but to keep current, are willing and es under SMPTE control, and fed the Hartman, Chaim Khan, Billy Idol, Bob able to accommodate MIDI projects. outputs direct into aSony digital multi- James and many others—proof that House of Music, in New Jersey, is an track The proof of how well this ap- the MIDI studio serves a real need example of one such studio. Larry Fast, proach works is particularly apparent among professionals. There's also a known for his work with Peter Gabriel, in the CD version of Metropolitan Suite. separate "programming room" as part Hall & Oates, Bonnie Tyler, Jim Stein- In NewYork, Bobby Nathan, co-own- of MIDI City. Here, artists can go man, and as asolo artist in his own er and president of Unique Recording through sound libraries to pick the right under the Synergy name, uses and MIDI City, confirmed Fast's state- sounds most suited to their work, tweak House of Music for alot of his projects ments about logistic and real estate presets, or even do some sampling if and also has afinancial interest in the problems. When asked why he started needed. studio. He says, "House of Music is MIDI City back in the spring of '85, Economics of the MIDI studio seem more of atraditional studio, partly be- Nathan's answer was simple enough: to benefit both owner and client. For cause of our location. Being on the "We needed a bigger room. Setups the owner, as Nathan says, "it costs less fringe of the New York metropolitan were getting so involved—this was to build aMIDI room. You still have to area, space is not at quite so much of a before rack mounts were popular— float it, but the isolation problem isn't premium, and many of our clients— that standard control rooms couldn't as extreme. And many clients see the like Kool & the Gang—have extensive handle acouple dozen full-size key- MIDI room as away,to keep on budget. MIDI setups in their homes. In New boards. Also, Simmons drums were a A lot of work can be done on atune York, cartage, parking, using elevators, factor since players wanted to drive without using the main room." Iasked and so on is such anightmare that the Fairlights, DX7s, and so on with the if most people bring in their own gear, idea of being able to walk into some- Simmons. We couldn't really set all or whether, as Fast suggested, they just place like Unique Recording with a this up in the studio, because you al- bring in their disks and RAM cartridges. couple of diskettes and some RAM cartridges, and simply plug those into an existing array of MIDI gear, is very attractive. Here, there's no real pressure to use a studio like House of Music for pre-production; we concentrate on the finished product." At House of Music, groups will generally bring their own MIDI gear and set up a personalized MIDI studio within the context of the existing studio. This approach still requires some special treatment, though; as Fast says, "When we rebuilt Studio Ain 1984, we went for amuch larger control room space to accommodate the heavily electronic sessions that were then becoming commonplace. We also did things like scatter patch points around the control room. For the people who want to do MIDI sessions, the enlarged control room is very helpful; we also No matter what size have the world's largest supply [laughs] your studio, digital of MIDI and power cables, plenty of makes you more console inputs, and several keyboard competitive. Better stands." sound. Better client Still, the idea of a separate MIDI appeal. CSE works with room is under serious consideration. studios of all sizes, "We have the space available. We're from Kodak to the basement 4track! looking at putting in arack of `generic' We've got Sony R-DAT synths; we already have aMacintosh machines in stock now! running Master Tracks Pro, some DX7s, and so on. If there's abig demand to

Circle #091 on Reader Service Card

JANUARY 1988, MIX 111 MI •UPDATE afew of his own), recorded them on Day After), Frank Serafine's studio is tape, and went straight to mixdown. essentially just one big control room, "If an artist has gear set up at home, it Although the synths did not go live to linked together by SMFTE and, thanks should stay at home," Nathan respond- tape, Vartanian says that on his latest to the JamBox, via MIDI-to-SMPTE. The ed "Bob James would work here using project (with artist Bruce Mitchell), biggest advantage, according to Sera- our equipment, but he had his studio he's "sending alot of synths live into fine, is "you can always make changes set up at home and if he wanted to the 2-track along with the multi-track and get back to where you were be- make some changes at home, he could You can open up more tracks, and of fore. When someone tells you 12 sec- do that, too. So yes, he basically trans- course there's no tape hiss. It's just like onds was cut from ascene, it's vital to ported just data back and forth. But having another multi-track. What we be able to make changes rapidly. You people had already gotten used to that really need for the future is better com- just don't have the same kind of free- approach with us anyway. We've al- munications between machines." (The dom with tape." He doesn't use his ways had lots of instruments around, latter sentiment was also echoed by 16-track recorder very much; most of since this helps us avoid cartage prob- Nathan, who is looking forward to the the music goes direct to PCM-F1 with lems, renting instruments that aren't day when sequencers, drum machines, no intervening tape stages. The studio properly maintained, and such. Actual- and so on read SMFTE directly and houses four computers: Mac Plus, Mac ly, this has traditionally been the kind painlessly.) SE, Mac II, and Amiga. His main proof place where you can bring in ase- The Mitchell project itself started off grams are MIDIPaint (Southworth), quencer disk and plug into different in an unusual manner. Vartanian and Sound Designer (Digidesign), and CUE instruments." producer Eric Linden basically got two (Opcode); the Amiga he uses "mostly Looking towards the future, Nathan to run Laurie Spiegel's 'Music Mouse.' has some interesting comments. "Peo- These days, astudio really does need ple think that because we started MIDI There's no doubt that to have more than one computer." City, we think this is the wave of the As Frank points out, though, the future or that it's going to take over or the MIDI studio has MIDI studio brings anew set of limita- something. Not so. It's just another tions. "It's time-consuming to map out way of doing things. Iwouldn't advise earned its legitimate all the different data to the different aheavy metal band to do their whole synths, and make sure you keep your project in aMIDI room, but for alot of place in the grand program changes and such in order. types of music this kind of studio is You also need auxiliary gear, like the best-suited to what needs to be done." scheme of recording. Axxess Mapper or aCooper switchbox, Another studio owner who is hap- and they have to be programmed too." piest blending MIDI with other ele- Anything that makes Right now, Frank is scoring an Isaac ments is David Vartanian of DV Pro- life easier for studio Asimov film, called Nightfall, entirely ductions. Located in Milwaukee, DV in his MIDI studio. He's looking to- does much of the work for new age owners and artists, wards going to 32-track, mostly so he label Narada Records; but the Violent doesn't have to set up his whole MIDI Femmes, Jerry Harrison and others and saves them both system every time he wants to make an have also worked there. While design- adjustment or two in an older piece of ed to accommodate acoustic record- money, can't miss. music. ing, the control room is often used as a It's fitting that everyone we talked to MIDI room. The computer of choice is feels tape is still very much apart of aMacintosh running Performer; instru- Performer disks and an outline of what the MIDI studio, and likely to stay that ments include an Emulator II ("I'm sounds would be appropriate, but had way for at least awhile. After all, there's anxiously waiting for the E- III," says complete leeway in substituting voices only so much that can be done in real Vartanian), D-50, TX rack, DX7, and SP12. from the array of available soundmak- time using the MIDI protocol—and He also uses the JamBox extensive- ers. This suggests to me that perhaps tape can take up that slack like no ly—"I love it"—and makes automa- the producer of the future will be other medium. But there's no doubt tion acreative part of the whole effort someone who is extremely adept at that the MIDI studio has earned its as well. picking the right musical voice for the legitimate place in the grand scheme Ifirst met Vartanian while assisting parts written by the composer. of recording. Anything that makes life with mixdown and doing technical DV also has aseparate pre-produc- easier for studio owners and artists, consultation for David Arkenstone's tion space where artists can check and saves both of them money, can't Narada release Valley in the Clouds patches, edit sequences, and the like. miss. It will be most interesting to see This album was aclassic case of effec- This comes in particularly handy when what happens with the next genera- tive use of aMIDI studio. The parts aproject runs over time and/or budg- tion of this new type of studio. la had been worked out by Arkenstone at et, and an artist wants to continue home on aCommodore SX-64 driving working on aproject even if the main Craig Anderton is the editor of our abunch of lower-cost instruments, and room is being booked by someone sisterpublication Electronic Musician, with ademo made in this fashion, he else. and is guitarist/keyboardist for the landed arecord contract. He then took Private studios are also embracing synth band Transmitter, as well as the SX-64 to DV, sequenced the avail- the MIDI studio concept. Best known author of numerous books and arti- able upscale instruments (and brought for his sound effects work (Tron, The cles for MIDI users.

112 MIX, JANUARY 1988 Sampler:Up to 26 seconds sample time at 18 kHz bandwidth (40 kHz sampling rate) •Special enhanced 12 bit format for very low noise •16 simultaneous voices •32 drums • Dynamic sensitive drurr pads •Stereo mixer and echo send mixer •Sample editing. Sequencer: 60.000 notes •99 sequences •99 tracks •Tape recorder-style operation •2 record modes—record or overdub •Looping in record • Instant-playback timing correction •Shuffle • Full-screen step edit •Insert/delete bars • Copy/merge tracks •Edit loop •Timing shift • Song mode •Tempo changes •Meter changes • Pressffe-sensitive note repeat •4 independent Midi outputs. Sync interlace: SMPTE •Midi Time Code •Song Position Pointer •Sync to 1/4 notes •SMPTE chase. Features: 320 character LCD with graphics •3 1/2 disk • Built-in electronic reference manual in HELP key • Very fast to learn and use •And much, much more t's mid-afternoon in the sleepy, not, and some people are having prob- nondescript San Fernando Valley YACK lems, and some people aren't getting suburb of Reseda, and the only along, it's just not going to work. sign that something unusual is going on is the row of film trucks JAGGER Mix: There were all these stories parked outside The Country Club, about you and Keith not talking to and the muffled roar of arock band each other. revving up for action inside. Jagger: Yeah, well, it was abit of a And what a band. Fretboard pyro- problem. technics courtesy of guitar hero Jeff Beck. Solid backing from a power- E Mix: Are you talking now? house rhythm section that includes Jagger: Yeah, sort of. Hopefully we're Terry Bozzio on drums. Harmonies and going to get on a bit better. But it's seductive choreography by three cur- not just Keith and myself. There were vacious singers. And tough, kick-you- alot of other problems which Idon't STONE particularly want to get into. Imean, in-the-teeth lead vocals from Mick Jagger. there are the other guys in the Stones Rock's perennial bad boy and some- —Charlie, Bill and Ronnie, and it time singer for the Rolling Stones is wasn't happening. Ithink it's a big hard at work shooting a video for ROLLS problem just to say, "O.K. Now we're 1 "Throwaway," the catchy second sin- 1 gonna tour," when things aren't right, gle from his second solo album, Prim- 'cause when you drag everyone on itive Cool. the road, you have to be in tiptop Perhaps the rest of the Stones can't shape and condition, mentally and get it together to get back on stage ALB Ephysically, and the vibe has to be again for awhile, but it's obvious that right. It has to be great. You can't go by lain Blair Jagger loves his work. After aquarter on the road saying, "We oughta" when of acentury of rock and roll, the face you're kicking and screaming. Ithink that launched athousand leers may it's ashame to do that, so Ijust had to be weathered and lined now, but say to Keith that Ididn't think it was Jumping Jack Flash can still wiggle his the right time. hips and shimmy across the stage with Hopefully the right time will come. the best of them. And he sounds better than ever. Mix: You assembled apretty hot band In between video takes and an im- for your second solo album Primitive promptu show that included killer Cool, including Jeff Beck on guitar, versions of "Little Red Rooster" and Simon Phillips on drums and Doug Jimi Hendrix's "Foxy Lady," 01' Rub- Wimbash on bass, plus helping hands ber Lips took some time out to answer from Dave Stewart, Omar Hakim, Da- the questions on everyone else's lips. vid Sanborn, etc. Are you going to tour Will he tour as asolo artist? Does this as asolo artist? mean the end of the Rolling Stones? Jagger: Well, I'm just starting to play How's Charlie Watts' gardening com- again. We had abit of ahiatus in re- ing along? hearsing when Jeff kind of disappeared for awhile, but he seems to be back Mix: Let's start with the question ev- on track now. There are obviously eryone wants to know the answer to. other players around, but Ilike play- Does this second solo album spell the ing with him. We've done two albums end for the Rolling Stones? together now, and Ithink we work Jagger: I really don't know. The well together, both in the studio and Stones are abit of ahassle really, and on stage. It's agood feeling. But we it just all got so problematical. The have to start it off really small. Idon't major difficulty with a band that's think you just go out and bang off in been together that long is that every- huge stadiums. You have to warm up to one's astar in his own right. And you it gradually, so I'm just going to see have to plug into it, when everyone's what happens over the next few happening, when everyone's in exact- months or so. We're starting with this ly the right mood to go on the road, video shoot and warm-up gig, and or go into the studio. And if you're we'll just go on from here.

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*For convincing proof of t "waterfall" curves, plus additional product info The Stones on the set for the video of "Start Me Up," 1981.

Mix: Will you take the same players also depends alot on where you are. picked up by Epic, which was cool. on the road? If you move around a lot like Ido, It's great when you can help an act Jagger: Some of them would be the you get a very different perspective like that. same, yeah. It depends on everyone's on what's going on, both in produc- schedules. For instance, right now, tion and studios and the sound of Mix: Do you use your power much in Simon Phillips is off working with records, than if you just live in one terms of producing unknown acts like Pete Townshend, so Terry Bozzio is town, even a record town like Los Living Color? standing in. I'm very happy with the Angeles or New York It's funny, 'cause Jagger: Not often enough, unfortu- band as it is, but we probably need to when you travel, you hear and see the nately. When Iproduced them, Iwas add some more players gradually. It's similarities in music, but you also see on such ahectic schedule, but Ijust great to start off small and then add, the differences, and what makes some wanted to do it, so we rushed in the 'cause Ilike to cover alot of different countries go apeshit for asound and studio. But Ilike doing that, and I'm kinds of music eventually I'll start off what makes others reject it. pleased with the results. very rock and roll, and then get into a bit more funk and country and so on. Mix: Do you check out alot of new Mix: In terms of wearing your pro- I'm not talking about ahundred piec- acts? ducer's hat, do you listen to alot of es; just adding as necessary. Jagger: Idon't do it that much. I'm radio? not really in the A&R business Jagger: Yeah, Ilike to keep up on the Mix: Do you pay much attention to [laughs]. Igo and see shows if Ilike latest sounds. Ijust think it's very the current music scene? the act, and in New York Igo to compartmentalized in the U.S. And it's Jagger: Iguess so. It's hard to avoid CBGB's and all that. Iwent to see that very odd and peculiar in England. I it, really. You hear music everywhere act I'd produced two sides on, Vernon rather like radio stations in Paris, you go, don't you? And as far as the Reid and Living Color. They're aNew which tend to play highly eclectic overall scene goes, Idon't know if in York band that was playing CBGB's mixtures. That's very refreshing after reality there's a huge difference be- and I really liked them, but they the highly programmed, formatted sta- tween the scene today and the one couldn't get arecord deal. So Iwent tions in America. Ipersonally don't ten years ago, or when the Stones first in the studios with them and pro- like formatted music, and never have. started, in terms of all the trends. It duced two tracks, and then they got Ilike to play all different kinds, and

JANUARY 1988, MIX 117 what Ilike doesn't always fit in with idea down. Unfortunately, even when CALL FOR OUR NEW people's ideas of what Ishould like. Iuse the 4-track I have to have aroadie CASSETTE CATALOG Basically I hate formula music—it's around to help, which is adrag, 'cause commercial, it's just for money. It's sometimes you just want to be com- just sad that except for college radio, pletely on your own. But even with a no one else seems to be able to do 4-track you need an engineer—you THE OPUS anything else. have to, to get adecent track—and I find that really boring. Mix: You co-produced four tracks on AUDIO,VIDEO,COMPUTER your album with Dave Stewart. How Mix: When you go into the studio, do &CASSETTE TAPE did you hook up? you go in with relatively finished Jagger: Imet him at agig, acouple of ideas, or do you start building up years ago, and we just started talking. from agroove and arough lyric? LOW PRICE,ONE STOP It turned out we have quite a lot in Jagger: Generally Iprefer to go in common, 'cause we both like to throw with a very clear idea of what Iwant CATALOG! a lot of ideas around and experiment to record, so Ialso like to rehearse a with unusual sounds rather than just song idea first. But that's for my solo stick to what might be considered albums. It's very different from work- straight ahead rock and roll. So Ilike ing in the studios with the Stones, where alot of the time it's very loose. I e Ir. a ,e(t working with Dave 'cause he pulls in these ideas from completely different Sometimes there's afinished idea, but places, and he's very creative in the more often there's agroove, or ariff,

nrconowo seouonoeur nr ea 2 Goren s,o. 312-33Z (40PUS)-878702 studio. and an idea for achorus, and it gradually comes together. Of course the RECORDING Mix: How do you go about organiz- Stones spend alot of time rehearsing ing material for recording? material in the studio, which can get Jagger: I write alot of songs, in differ- pretty expensive. (i) lef. EQUIPMENT ent batches. I'll write perhaps a group Gurnee, IL of songs, and then go off in another Mix: When you went in to record direction and write some more, and Primitive Cool, were you feeling your 312-336 -6787 gradually build up my ideas. So for way in terms of an overall direction, Circle #092 on Reader Service Card Primitive Cool, Iwrote the songs in or was it fairly clear to you? three batches. Basically Ilike to keep Jagger: It was pretty clear, and Ialso writing all the time, because if you knew the kind of sound Iwanted on Ze TOLL FREE start from scratch, it's really hard. The the album. There are quite a few Ce NUMBER other way, you know you've got one people playing on it, but they're basi- or two numbers to build up from. cally peripheral to the core band, so I= 1 00°- the sound and feel is fairly unified Mix: Is writing a laborious process from track to track, Ithink. 527- for you? Jagger: I don't like to labor over songs Mix: Are you atech-head? 3472 too much. Imean obviously some- Jagger: Well, not totally. I'm pretty MAJOR IN-HOUSE times there's parts that you work over involved in keyboards and sampling U.S. RECORD and craft, but Ilike to work relatively and all the usual things musicians and PRESSING FACILITY • Custom Albums fast and capture the energy of that producers get into. I use all that •45 RPM Singles initial inspiration. I also like to write equipment all the time, but Iwouldn't • Mastering with Neumann VMS70 Lathe & SX74 Cutter the lyrics quickly for the same reason. claim to be on the cutting edge of • Digital Mastering Available Imm If it takes you months and months to technology, no. I'm just naturally cur- TAPE DUPLICATION write alyric, it kind of loses it for me. ious and interested in the latest equip- •Custom Packaging ment. I mean, I was using computer- SPECIAL!! Mix: When inspiration hits, do you ized mixing boards on the Some Girls 1000 7" 45 RPM immediately get it down on tape? album way back in 1978, which was Record Package $469 1000 1 Color 12" Jagger: Yeah, Imake aquick demo at long before most producers got into it. Album Package $ 1 372 home, either on 4-track or 8-track, or even on asmall portable Sony record- Mix: Since the early '60s when the er—anything that's handy. Stones first recorded an album on a 4-track machine, the state of the art in 1•1. eti=1 Mix: Do you have ahome studio? recording has changed out of all rec- A & R RECORD & Jagger: Not really. Ijust use aregular ognition, largely thanks to computers TAPE MFG CO. 4-track Tascam machine with various and hi-tech equipment. What do you 902 North Industrial Blvd Dallas, Texas 75207 bits and pieces. Ihook it up to a drum see as the drawbacks, if any? 214-741-2027 machine, and then play rhythm guitar Jagger: Well, I like using machines or play some keyboards, and then put and hi -tech equipment, but Istill pre- down a rough vocal track to get the fer the sound of live drums on arec- Circle #093 on Reader Service Card

118 MIX,JAMIARY 1988 DAY\ER "In-line System"

0 30 mm Module Width Yields Unparalleled Compactness Up to 56 Modules in less than 5/12 feet Up to 112 "Mix" inputs in less than 5/12 feet E Unique "Floating Subgroup System" Any input can be subgroup Each input module has a "Summed" output D In-line "Tape Monitor" section Monitor patch point, aux sends, and equalizer Monitor solo, mute, and fader reverse 0 Four Band Equalizer High and Low shelving with two sweepable mids EQ split (EQ on channel and monitor) ClaftEd Oy: El 8 Effects send busses per module E Stereo "In-place" solo and PFL (pre-fade listen) 10 Hand-crafted cabinetry with pedestal base 0 Digital quality specifications 113 •,111

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Circle #094 on Reader Service Card

See us at Booth #1009 NAMM, Anaheim &yawl Cleitellidelli

, • I ••••• - - . • • ly, this really felt like success. When hand grabbed me and whirled me "How about joining my group next our first payday rolled around, we all around. It was Felix and he was ob- door at Harrah's Lounge?" he said. "It's huddled in the small office of the viously happy to see me. Ihad at times just asmall casino but we're going to paymaster, ready for the big bucks. hung around the Wagon Wheel Lounge open in Hollywood in a couple of Crying and bellowing, however, our while working at Sahati's and often sat weeks. My drummer got sick and we leader informed us that he had gam- in with Ian Bernard and his group. Ian, could really use you." bled the entire payroll away at the a great pianist and composer, was It was an opportunity Icouldn't tables! Shock, disbelief, horror and making abig name for himself in tele- pass up. "Grab acase," Ishouted, "and then murder entered all of our minds vision and movies. let's go!" simultaneously. Felix said, "Well kid, you're making My drums were set up in nothing But sometimes a bad experience the big bucks. I'm proud of ya ." flat and that was the start of my tenure can lead to agood one. The owners let "Well," Isaid, "three hundred and with the Carol Simpson Quartet. Now I us all draw cash in advance, we fin- fifty bucks aweek is better than apoke was playing out-and out jazz, my love ished our few weeks there and were in the eye with astick, but Iwouldn't of the day. Our first stop was the Gar- booked next at Harvey's Wagon Wheel exactly call it the big bucks." Boy, was I den of Allah in Hollywood, the jazz in lake Tahoe, Nevada. This was an- wrong. Felix took me up to the office lounge famous for drawing acrowd of other great lounge for showcasing and showed me acontract that said we movie stars and producers. Iknew this funny hat bands and these jobs usually were making $7,000 aweek! Now, we could be the stepping stone to astu- led to bigger and better things. Again, were aco-op band, acorporation band dio career. we opened to agreat crowd and did a making equal money. What alaugh! I Iwas on top of the world, working rousing first set. We were back on was supposed to be making around a every night at the Garden playing for Cloud Nine. thousand aweek and our bum band- the Hollywood crowd. It was the kind When Ihad visited my brother at leader was obviously taking all the of job Ihad dreamed of getting. One Lake Tahoe afew years earlier, Ibe- money. That's all Ihad to see. night, just about closing time, aman came friendly with other dealers, pit In seconds Iwas on the bandstand walked up to me and said, "I like the bosses, security men and the like who packing my drums. On my way out a way you play, kid. Igot ahot job for worked at the hotels and casinos at the young Latin-looking guy said, "Hey, you." It turned out that he was the lake. One boss was Felix. what are ya dom'?" manager of acountry group called The As we came offstage after our open- "I'm splitting man," Isaid. "I've been Raiders and they were working at a ing show at Harvey's Wagon Wheel, a had and now I've had it up to here!" little dump out in Bell, south of LA. These kids were neighbors of Tommy Sands. Tommy was on his way to becoming America's latest teenage idol. Elvis was still tops, of course, but was in the service at the time. Elvis' infamous manager, Colonel Tom Parker, knew Tommy and Tommy's mother, Grace, from their Houston days. When the Kraft Theater made a special called The Singing Ickg Elvis was all set to do it but his military stint made his partic- ipation impossible, so the Colonel called Tommy to do it. Tommy was a DJ in Houston at the time, and he jumped at the chance. Even without Elvis, the show was a smash and Tommy was an overnight star. Thou- sands of letters poured into NBC and all of asudden every record company in town was after Tommy. He eventually signed with Capitol and recorded "Teenage Crush," which made it to #2 on the charts in early 1957. Now Tommy needed aband. Tommy had heard The Raiders prac- ticing noisily in aroom at ahotel across the street from his house and he liked WALK what he heard. He told them that he ER,,L'nt. Dos was looking for aback-up band, but 6850 35th NE they would have to find adrummer. So Seattle WA 98115 their manager told me that Icould Series 80 Mixing Consoles (206)-527-4371 make some really big money—Sands was hot and the group was booked all Circle #097 on Reader Service Card

126 MIX,JANUARY 1988 DAY\F "In-line System"

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Circle #094 on Reader Service Card

See us at Booth #1009 NAMM, Anaheim Seed Cattipalioog ord. Iuse adrum machine at home changed since you first went in the for demos, but in the studio Ilike to studios in the '60s? work with people. The thrill for me of Jagger: Well apart from all the obvi- making agreat record is working with ous things like the equipment, and other musicians and capturing their the advent of multi-track and digital best, most energized performances. and all the effects that are now availa- Custom pressing, tape duplication and packaging. ble, Ithink people are generally alot Mix: You recorded Prtmitive Cool at more knowledgeable about recording. 1,000 Wisseloord Studios in Holland and Iremember back in the middle '60s Blue Wave Studios in Barbados. Why no one could get adecent drum sound 7:45s 12-Albums those two places? that quickly—it took forever! Engi- with jackets Jagger: Well, Ithink they're both pret- neers would run around stuffing blan- including mastering, including mastering, metal parts and metal parts and ty good studios. In fact, Ididn't mean kets in the bass drum and experiment- processing, poly dust processing, to spend so much time in Barbados, ing with different mics to see what sleeves, labels, pressing white sleeves, and printing of full but Jerry [Hall, his girlfriend] got bust- sounded best. Today, you can pretty labels, pressing. colour ultra high gloss board jackets from ed there, so Iwas stuck there! [laughs] much go into any studio anywhere customer supplied So Ijust carried on, working and re- and get a fairly decent drum sound process film cording. Then Idid all the mix-downs quite quickly. It's all experience. $439.0° $1,390-00 at Right Track Studios in New York,

(F.O.B. DETROIT) and it was mastered at Sterling Sound, Mix: Do you still have favorite studios • 2 -3 WEEK SERVICE also in New York you like to record in? For instance, I • VIRGIN VINYL was thinking of Olympic Studios in • HIGH GLOSS BOARD JACKETS • Cr02 CASSETTES Mix: Which tracks did you record London where you did a lot of the • CUSTOM 7" SLEEVES • INHOUSE ART & TYPESETTING where? early Stones albums and where Led Jagger: Ithink we did "Throwaway," Zeppelin liked to record. Call Toll Free Continental U.S.A. "Let's Work," "Kow Tow" and the title Jagger: You know, Ihaven't been 1-800263.'7'798 track in Holland. [He pauses and back there in years. The thing is you Canada's Largest Custom Producers laughs.] You know, Ican't remember get rooms that suddenly become fash- WORLD for sure. Iproduced one track, "Party ionable, and Ican remember that it's RECORDS Doll," on my own, and the rest were always been like that. At one time Sun- 8ASEUNE ROAD WEST, BOWMANVILLE. ONTARIO LI C 3Z3 co-produced, either with Dave Stewart, set Sound in LA. was real fashionable Circle #095 on Reader Service Card or with Keith Diamond. —everyone wanted to work there. And then there was RCA in LA, where Mix: Who engineered? we recorded "Satisfaction." That was NAGRA UPDATE! Jagger: Ed Stasium, who also mixed abig room, and that's one thing Ilike all the tracks except for "Let's Work," —big rooms with abig, live sound. Scotch 208 tape replaced by which was done by Steve Thompson They also afford you some sort of pri- new Scotch 3M 808 tape .. . and Michael Barbiero. Ed was assisted vacy. Small rooms just drive me crazy. by Bob Rosa, Manu Guiot and John Ihate those low ceilings and the Bavin, and they all did agreat job. acoustics. Idon't think they're very conducive to working. 3M Mix: As one half of "The Glimmer Twins" [Mick and Keith] you've pro- Mix: Who do you rate as producers? • MM. Recording T-tpe duced most of the Stones' records. Jagger: Ithink producers are a bit How actively involved are you in terms like rooms in that they also suddenly of engineering the sessions? become fashionable. You know, one 808 Jagger: I'm fairly active, I'd say. I'm year it's Nile Rodgers, the next it's there in the studio nearly all the time Jimmy Jam and Terry Lewis, and ev- and you always have to oversee that eryonewants them to do their album. Alan Gordon Enterprises offers end of it. Imean, I'm not always lean- Ilike working with different producers, re-bias servicing of your Nagra IV series recorders to ing over the shoulder of the engineer and Idon't have any one guy Ithink accommodate the new tape. The and fiddling with the EQ or reverb, is the ultimate. It all depends on what update is low-cost, fully but you always have to be there, espe- material you're recording and the kind guaranteed and our expert cially at the beginning, to get drum of sound you're after. Obviously pro- technicians will have your Nagra sounds and guitar sounds. Of course ducers can be terrifically helpful in back in action in just two you get to acertain point where peo- the studio, but you've got to know working days! For more details. ple can do quite a lot without you, what you're doing. And Ido. contact our service department but unfortunately I've never met any- today. one where you can just play out in "Count" lain Blair, British writer, the studio and say "record it." It just musician and author, was an origi- never works like that. You have to be nal cast member of the Rocky Horror ALAN GORDON ENTERPRISES, INC. there. Show and the film version for 20th 1430 Cahuenga Blvd., Hollywood, CA 90078 Telephone (213) 466-3561 •(818) 985-5500 Centuty Fax He's currentbt writing TWO: 910-321-0526 •Cable GORDENT Mix: How have recording methods screenplays in Los Angeles. Circle #096 on Reader Service Card

120 MIX,JANUARY 1988 The scope and challenges of today's music keep Midiboard and 250 Expander; Oberheim OB8 expanding daily. Basic musical craft remains the and Xpander; Yamaha DX, RX, TX and QX series; indispensable foundation for success. But there is also Emulator II; Roland Juno 106. MSQ 700, and Jupiter awhole new dimension of music technology. It is an 6; Rhodes Chroma; the Notebender Keyboard; and inseparable part of our musical present and future. Apple II, Macintosh, and Commodore computers. For the emerging musician, Berklee has acompre- Six professional recording studios featuring three hensive selection of course offerings, professional 24-track Studer/Otari facilities with automation and faculty, and technical facilities including: digital capability. A Music Synthesis Complex equipped with nearly Two Movieola film studios and BTX Softouch System 100 of today's latest instruments, such as the Kurzweil for film and video scoring and editing. Berklee will make you more of amusician by teaching you more than music.

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Circle #023 on Reader Service Card TOVVY SA\ Th was, the drummer in a name group. This an opportunity for my folks to finally see me and maybe understand there might be a future to me in this crazy business."

by Hal Blaine & David Goggin

This month we go back afew more years in Hal's career to one of his first big "breaks," playing drums for the teen idol, Tommy Sands. The endless touring continued, and in 1957 Iwas working with anonde- script comedy band traveling all over the United States. Iwas doing jokes, MC'ing and playing my drums. We worked Duluth, Minnesota, in Febru- ary and Tucson, Arizona, in August. We'd travel from one end of the U.S. to the other to work for five days, only to find out that we had to go back again. Another 3,000-mile drive. These days were among the lowest for me. But then, almost magically, the leader informed our seven-piece group that we were finally going to las Vegas—that magic town—where working in a lounge meant ashot at the big time. After months of being financed by our singer, Shirley Claire, and barely eking out a living, this was like a dream come true. We opened at the Golden Nugget in downtown Vegas. The crowds liked our music and we felt pretty good about the group. We each earned around $250 aweek. After the scant money we had been making previous- Hal with Tommy Sands

JANUARY 1988, rtim 125 ly, this really felt like success. When hand grabbed me and whirled me "How about joining my group next our first payday rolled around, we all around. It was Felix and he was ob- door at Harrah's Lounge?" he said. "It's huddled in the small office of the viously happy to see me. Ihad at times just asmall casino but we're going to paymaster, ready for the big bucks. hung around the Wagon Wheel Lounge open in Hollywood in a couple of Crying and bellowing, however, our while working at Sahati's and often sat weeks. My drummer got sick and we leader informed us that he had gam- in with Ian Bernard and his group. Ian, could really use you." bled the entire payroll away at the a great pianist and composer, was It was an opportunity Icouldn't tables! Shock, disbelief, horror and making abig name for himself in tele- pass up. "Grab acase," Ishouted, "and then murder entered all of our minds vision and movies. let's go!" simultaneously. Felix said, "Well kid, you're making My drums were set up in nothing But sometimes a bad experience the big bucks. I'm proud of ya ." flat and that was the start of my tenure can lead to agood one. The owners let "Well," Isaid, "three hundred and with the Carol Simpson Quartet. Now I us all draw cash in advance, we fin- fifty bucks aweek is better than apoke was playing out-and-out jazz, my love ished our few weeks there and were in the eye with astick, but Iwouldn't of the day. Our first stop was the Gar- booked next at Harvey's Wagon Wheel exactly call it the big bucks." Boy, was I den of Allah in Hollywood, the jazz in Lake Tahoe, Nevada. This was an- wrong. Felix took me up to the office lounge famous for drawing acrowd of other great lounge for showcasing and showed me acontract that said we movie stars and producers. Iknew this funny hat bands and these jobs usually were making $7,000 aweek! Now, we could be the stepping stone to astu- led to bigger and better things. Again, were aco-op band, acorporation band dio career. we opened to agreat crowd and did a making equal money. What alaugh! I Iwas on top of the world, working rousing first set. We were back on was supposed to be making around a every night at the Garden playing for Cloud Nine. thousand aweek and our burn band- the Hollywood crowd. It was the kind When Ihad visited my brother at leader was obviously taking all the of job Ihad dreamed of getting. One Lake Tahoe afew years earlier, Ibe- money. That's all Ihad to see. night, just about closing time, aman came friendly with other dealers, pit In seconds Iwas on the bandstand walked up to me and said, "I like the bosses, security men and the like who packing my drums. On my way out a way you play, kid. Igot ahot job for worked at the hotels and casinos at the young Latin-looking guy said, "Hey, you." It turned out that he was the lake. One boss was Felix. what are ya dom'?" manager of acountry group called The As we came offstage after our open- "I'm splitting man," Isaid. "I've been Raiders and they were working at a ing show at Harvey's Wagon Wheel, a had and now I've had it up to here!" little dump out in Bell, south of LA. These kids were neighbors of Tommy Sands. Tommy was on his way to becoming America's latest teenage idol. Elvis was still tops, of course, but was in the service at the time. Elvis' infamous manager, Colonel Tom Parker, knew Tommy and Tommy's mother, Grace, from their Houston days. When the Kraft Theater made a special called The Singing Ici(X Elvis was all set to do it but his military stint made his partic- ipation impossible, so the Colonel called Tommy to do it. Tommy was a DJ in Houston at the time, and he jumped at the chance. Even without Elvis, the show was a smash and Tommy was an overnight star. Thou- sands of letters poured into NBC and all of asudden every record company in town was after Tommy He eventually signed with Capitol and recorded "Teenage Crush," which made it to #2 on the charts in early 1957. Now Tommy needed aband. Tommy had heard The Raiders prac- ticing noisily in aroom at ahotel across the street from his house and he liked what he heard. He told them that he was looking for aback-up band, but they would have to find adrummer. So their manager told me that Icould make some really big money—Sands was hot and the group was booked all Circle 097 on Reader Service Card 126 MIX,JANUARY 1988 THE SOUND DECISION

Sound Image presents without sacrificing acous- Phase-Loc: the ultimate tic coupling. Trapezoidal sound reinforcement design also minimizes lob- system. ing and phase cancella- tion at higher frequencies. Phase-Lc is an engineering breakthrough in qual- Modular construction ity acoustics and electron- gives Phase-Loc the flexibility for top perfor- ics. Full audio spectrum mance anywhere, any coverage over a wider area, flexible enough for time. And its interlock- ing cabinets can fly four any application, rugged high, eliminating barriers yet compact. between performers and Phase-Lc is the result of audience, and making 15 years of professional more seats available. touring sound experience, The system's state-of-the-art plus extensive research and electronics delivers full fre- development. quency coverage, 40 Hz to 20 It's the sound choice for quality, kHz, up to 1750 watts audio per and the sound choice for the cabinet, and zero-phase-shift fre- touring professional. quency crossover. Last, but not least. Phase-Loc's rugged, Here's why. tour-proof construction and compact pack- A unique enclosure design allows cabinets aging conserve valuable truck space and to be splayed — for better area coverage shorten setup and strike time.

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Circle #033 on Reader Service Card ping at our clothing, leaping into li- " T i next weeks were my initiati mos. We worked state fairs with people like Gabby Hayes, Johnny Cash, e really big time: screarmIg and Sky King & Penny. Iwalked the midways filling up on sweet corn on the cob. It was heaven. And Iwas fans, signing autographs, neon treated with more respect than Ihad ever known. tppqlg at our clothing, leaping into Amazingly, Tommy seemed unaffected by his celebrity—except when we were about to board an airplane. os. Amazingly, though, Tommy Then he would suddenly disappear. Time after time the airlines held up eled unaffected by his celebrity." the plane while Iwent searching for Tommy. And I'd always find him at the magazine stand reading movie magazines. He was in every one of them. I over the world. But Iwasn't interested. Bucket's Got AHole In It." They started even started seeing my puss in one Ididn't know the first thing about rock pickin' and grinnin' and Ifell in play- now and then. and roll or country, and rockabilly ing with them. Ididn't know this tune The guys in the band were wonder- seemed to be their thing. The man- from Adam, so Ijust played They did a ful. They taught me more about the ager came back the next night and standard ending and that was that. Un- true "feel" of country music than I offered mea lot of money just to audi- known to us, Tommy and his manager, could have ever learned in aschool. I tion with the group so that he could Ted Wick, were standing in the hall- was tuned in to every hit of the day and get the trio signed. At the last minute way and listening just outside the we were even doing atot of them on they could replace me, he said, but open door. When we finished the song stage. Whenever possible we visited this would insure his trio getting Tommy and Ted walked in and greeted Leon's and Eddie's home towns and signed with Tommy for the tour. So I us with, "Well you found the right the red carpet would always be rolled agreed, knowing that Iwould pull out. drummer. Let's go on the road!" out for these local kids who made it The next afternoon Iwent to the Wick was alovable, pudgy, round- big. We were quite the celebrities in Algiers hotel where Imet the three faced man with abroad smile, obvi- Texas and Canada, and the parents of guys. Ifound them to be really good, ously wise to the world. Iwas about 27 these kids treated me like ason. More honest, hard-working musicians— at the time and Ted took me aside and than that, we all became like brothers, Leon Bagwell, bass; Eddie Edwards, said, "I can see that you really know which posed some challenges along rhythm guitar; and Scotty Turnbull on what you're doing and Ineed an expe- the way. electric guitar. Ihad no idea that these rienced man as road manager for this I'll never forget when we worked three hillbillies would change the crew. How about drumming and being the Starlite Room of the Waldorf Hotel course of my career and my life. the road manager and I'll start you out in New York City with the Count Basie Leon Bagwell was aslap bass player. at three hundred aweek?" Isaid, "Let Band. It was an incredible experience Agood-looking Texan, he spoke with me think about it." "Don't think too for me. Count's drummer, Sonny Payne, the most countrified drawl Ihad ever long," he quipped, "you're leaving got sick so Igot to play the gig—a real heard. Hailing from Loop, Texas, next week!" We spent the rest of the drummer's dream come true. Iknew where he had been adirt farmer for all afternoon running over tunes and it most of the charts already and now of his 19 or 20 years, Leon was green to seemed like Idid everything right. there Iwas, kicking my favorite big the business. He was the tall silent Tommy was impressed, the kids were band! type, but boy could he slap that old impressed and in no time we had a Count Basie, the gentleman of the upright bass! mutual admiration society going. keyboard, even offered me the job of a Eddie Edwards was from San Saba, Ispent the next few days with lifetime: "I'll make you the most fa- Texas, famous for its paper shell pe- Tommy and the group and really fell in mous white drummer in the world!" I cans. Eddie was the comedian of the love with everything they were doing. was flabbergasted. What an opportun- group. He was also agreat rhythm gui- Iknew that going to New York and ity! But Iexplained that being in tar player, but it took me the longest doing The Gary Moore Show and The Tommy's band was my job and I time to get used to his tobacco spit- Perry Como Show wasn't the worst couldn't think of leaving the group. ting. Audiences loved him. thing that could happen. Here Iwas, We had worked so hard and the guys Scotty Tumbull, from Lachine, Que- the drummer in aname group—the in the group were brothers to me. bec, was amixture of country and rock chance of alifetime for ashowoff like Count even offered me the job as road and roll. He was also one hell of a me. This would also be an opportunity manager along with the drum chair if picker and also songwriter—Tommy for my folks to finally see me perform I'd change my mind, but there was no recorded abunch of his songs. The and maybe understand that there reconsidering. trio had met at Texas Tech and formed might be afuture for me in this crazy Many years later Iwas walking their group there. (That's where their business. through the hallway of United Studios name, the Texas Raiders, came from.) The next weeks were my initiation in Hollywood and heard that unmis- We all sat down to our instruments into the really big time: screaming takable sound from Studio A. Ipopped and one of the guys called out "My fans, signing autographs, people rip- -CON7rVUED ON PAGE 162

128 MIX, JANUARY 1988 EXPERIENCE M.E.S.A.: THE POWER OF INTEGRATED MUSIC SOFTWARE

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Roland WE DESIGN THE FUTURE e 1987 Roland Corporation US Circle #024 on Reader Service Card PLAYBACK by Blair Jackson "LETTERS HOME" WENDY WALDMAN DOES IT HER WAY

t's always nice to see an overlooked year ago with the self-proclaimed "yup- artist get afresh career boost. Wendy pie" record label Cypress Records, Waldman has made anumber of excel- Waldman is currently enjoying the lent records through the years—al- strongest sales of her career with Let- bums that showed her to be both an ters Home, and is also thriving on ev- emotive singer and ahighly sophisti- ery other front: personal, songwriting cated songwriter—yet for whatever and producing. For the Los Angeles- reasons she's never quite found her born and bred Waldman, the turning audience. Until now, that is. Signing a point came when she left LA. and moved to Nashville afew years ago. "I pulled out and went to Nashville to try to get a fresh start," Waldman says. "I did alot of songwriting, alot of back-up work and alot of recovering from my last adventures in the record business in California. If you're not a trend-oriented artist and you want to survive, you've got to be prepared to take your lumps and you also have to figure out creative ways to stay in the game. Nashville was so open and there was alot of work for me and, as importantly, a lot of appreciation for the whole body of my work. Ihad gone through a really horrible bout with Epic Records and Ineeded to find a place that was more supportive than LA. For awhile, Icommuted back and forth between Los Angeles and Nash- ville, but then Ifinally moved. And almost immediately it really did change things for the better." To say the least, this was abig move for Waldman. Rightly or not, she had long been considered a member of the "LA. mafia," that amorphous group of singer/songwriters who dominated the music scene in Southern California for most of the '70s, including Jackson Browne, J.D. Souther, The Eagles, An- drew Gold, Karla Bonoff and Warren Zevon. "I think Warner Bros. sort of -CONTINUED ON PAGE 144

PI-1010 KAREN MILLER

130 MIX,JA1VUARY 1988 FOSTEX RP TECHNOLOGY

When it comes to sound, some What's more, when you mix with people get a little funny about the RM-765s or 780s, tape playback re- point blank truth, in that they don't mains relatively the same from want to hear it. studio mains, to home stereo to car. They've come to expect that low How many times have you heard end bump around 200 Hz because just the right sound on a mix, only it makes the kick drum punchier, or to find acompletely different sound they like the phase irregularities of when you hear the tape on other the typical tweeter because the monitors? highs are all tst-tst. When you work with sound, you At Fostex, we believe that truth is need atruthful reference. One that stronger than fiction. That's why we lets you hear the misses as well as RM-765/780 made the RM-Series. Point Source. the hits. Phase Coherent. Near Field. We encourage you to audition They are reference monitors. They these Fostex reference monitors with Fostex tell you exactly what you have and a known source. Because we're Pro Sound Division let you hear precisely what you're confident that you'll know the truth doing. Period. With neither when you hear it. 15431 Blackburn Ave. Norwalk, CA 90650 apologies nor pamperings. Just the Point Blank. point blank truth. (213) 921-1112

Circle #017 on Reader Service Card

88888 V. .1 Iv ..••••

JANUARY 1988, MIX 133 MUSIC •NOTES

ers," Abrams notes. "You ask some of them their favorite record and they Real Time BNB name one that came out when they Real time means real quality. ESP were one year old. And asubstantial 30 provides real time tape duplication 28 number of late college age people (for the highest quality), professional looking for something more adven- 26 service, aquick turn-a-round, complete turous." packaging services, and low prices. 56 24 Abrams feels that upper-aged buy- ESP customizes each order to ers are "disenfranchised," and he your needs. All cassettes are custom 22 attributes the "classic rock" revival to loaded onto Shape Mark 10 shells. that. "The 25- to 40-year-olds are still 50 very musically active," he points out •Real Time Audio Cassette Duplication 48 and says his research proved that they •Full Printing and Packaging want an evolution in progressive rock. •Custom Loaded Blank Cassettes Somach admits that Cinema is fol- • Hi -Fi Video Duplication lowing ademographic bulge of baby boomers: "The average record buyer isn't 20 years old anymore. The average buyer of Springsteen is 29.5 years old. Most kids buy Cinderella and CALL TOLL FREE 1-800-527-9225 Megadeath. Cinema's not really for Or in NY call collect 716-876-1454 them. Another thing that proves it is the death of the single—nobody's buying them." EASTERN STANDARD PRODUCTIONS, INC. Both Abrams and Somach contend 26 BAXTER STREET, BUFFALO, NEW YORK 14207 / (716)876-1454 that Cinema isn't abloodless child of market research, but a labor of love !!)r whose raison d'etre was simply but- tressed by research. "These days every- Circle #140 on Reader Service Card thing's so research-oriented," says Somach. "It's OK to have alittle bit of research, but it should really be used to confirm what your gut feelings are, and too many people have lost sight Power Stroke of that." PRODUCTIONS Cinema's recording budgets, which max out at $25,000, could be considered low in the rock industry. Somach 24 Track Studio agrees, "But just because someone spent amillion dollars on arecord, so what? Where did it go? It didn't go into the record. The first Police record 24 HOUR RECORDING was made for $18,000. Most of our DISCOUNT BLOCK RATES artists are self-contained and some have their own studios. So why would "MIDNIGHT SPECIAL's it cost more to make arecord?" Budg- EQUIPMENT RENTAL etary considerations are part of the Cinema signing criteria. "But that's not to say that if someone wanted to Kurzweil 250 Trident Console • Studer 24 track try something and needed additional Studer 820 2track • Lexicon 480L funds that we wouldn't consider it," AKG ADR •Publison Infernal Machine says Somach. 68K digital reverb •PCM 70 •2-PCM 42 Cinema aims to market itself Yamaha Rev 7• 4 Drawmer gates •EMAX through traditional venues like record T.C. 2290 sampler delay •Sontec iSt White EQ stores, though Somach says they're Yamaha Grand Piano •Meyers Monitor System trying to stay out of the new age sec- For more information and bookings call: tions and are shooting instead for the rock bins. Other methods include 673-1829 cross-promotion by including promo 245 Hyde • SF • Studio A on other label artists in each record, an approach that harkens back to the

Circle #100 on Reader Service Card

138 MIX,JANUARY 1988 FOSTEX RP TECHNOLOGY

When it comes to sound, some What's more, when you mix with people get a little funny about the RM-765s or 780s, tape playback re- point !Drank truth, in that they don't mains relatively the same from want to hear it. studio mains, to home stereo to car. They've come to expect that low How many times have you heard end bump around 200 Hz because just the right sound on a mix, only it makes the kick drum punchier, or to find acompletely different sound they like the phase irregularities of when you hear the tape on other the typical tweeter because the monitors? highs are all tst-tst. When you work with sound, you At Fostex, we believe that truth is need a truthful reference. One that stronger than fiction. That's why we lets you hear the misses as well as RM-765/780 made the RM-Series. Point Source. the hits. Phase Coherent. Near Field. We encourage you to audition They are reference monitors. They these Fostex reference monitors with Fostex tell you exactly what you have and a known source. Because we're Pro Sound Division let you hear precisely what you're confident that you'll know the truth 15431 Blackburn Ave. doing. Period. With neither when you hear it. Norwalk, CA 90650 apologies nor pamperings. Just the Point Blank. point blank truth. (213) 921-1112

Circle #017 on Reader Service Card obvious white girl in a mostly black and Hispanic BACK TO neighborhood. Ialso think THE FUTURE that if you have any sort of CINEMA RECORDS artistic sensibility in TAKES NEW AGE A America you feel on the STEP FURTHER BY outside, because people GOING A STEP don't see it in the same BACKWARD light as they do in other countries. Everyone thinks by Dan Daley of it as aphase you're going through. 'Oh, you're Some old music refuses to kind of artsy, maybe you'll die. But where many grow out of it and do record companies and something useful.' Ican radio programmers attrib- remember being in the ute this longevity to nos- second grade and deciding talgia, Cinema Records, a Iwanted to be adancer, year-old venture based in and awhole bunch of girls Philadelphia, has adiffer- in my class deciding that ent view. They feel that wasn't any good, that it there is asolid market of was better to be anurse adults who still like the because nurses help peo- music of the '60s and '70s SUZANNE wish Icould separate them ple but dancers didn't help and are willing to pay to alittle bit more and put on anything. Iremember not hear it in an evolved '80s VEGA apublic face, but Idon't. seeing it in quite that light form. COMES TO There are times when I and not knowing how to Where major labels are wish Icould take a say that Ithought being a sporadically making room GRIPS WITH weekend off" Her growing dancer was better for me." on rosters for former heavy- SUCCESS popularity has forced Vega Vega was born in weights hoping for one into the limelight offstage Southern California, but more shot at stardom, by Derk Richardson as well as on, and she is lived there only two years Cinema has virtually dedi- learning to adapt to the before her family moved cated itself to this proposi- With only two albums to expectations engendered to New York. In her own tion. Cinema president her credit, Suzanne Vega, by her visibility. Since the idiosyncratic way, she feels Denny Somach and his the frail-looking waif of the release of Solitude most at home in "almost partners, radio program- folk music revival, is Standing and the any big city." "I like that mer/marketing whiz Lee already playing catch-up beginning of her tour, she feeling of being together Abrams and former Steve with her young career. The says, many mailbags of with alot of people but Morse manager Larry success of the single letters have amassed at the not necessarily with them," Mazer, call their roster "Luka' (from her LP Soli- record company. "One she says. "It's the feeling of "new progressive." They tude Standing) and the widower wrote me a being in adiner and eating hope "to fill the void left resurgence of interest in letter," she says. "He had by yourself when it's full of by Genesis, Yes and Pink poetic singer-songwriters four children, and he said I people; no one's asking Floyd," Somach says. "We have Vega out of the should come have dinner you questions or talking to wanted to capitalize on the bohemian folk clubs and with him." you but you're kind of next level. You'll notice into major city concert Vega spent much of her with them anyway." Vega that Genesis and Gabriel halls. The leap has early life on the margins of grew up in ahousehold are both bigger than ever, inspired subtle shifts in social life, with words and without TV, at least until Pink Floyd is back, Yes had her songcraft and given music providing the main all four children got their biggest album of all her cause to weigh her links to the world beyond chicken pox at the same time acouple of years ago. lifelong outsider stance her private domain. "I time and forced the issue. "No one is serving the against the responsibilities think Ialways did feel Her parents encouraged type of people who grew of moderate stardom. somewhat apart as a the kids to read, think and up on that music and who "I think my public and child," she allows, "partly talk, things which pre- now find new age music to private personas are not because Idid read at a occupy Vega to this day. be too many waterfalls and very separated," Vega really early age, and some She started writing songs sunsets. By interviewing explains. "Sometimes I of it was being afairly -CONTINUED ON PAGE 134 people who had bought

132 MIX, JANUARY 1988 MUSIC •NOTES

progressive rock through (WNEW-FM DJ Muni's Bea- the early '70s, Lee Abrams tles paen), and the Psyche- found that they were look- delic Snack. The titles of ing for the next level of the shows reveal less a new age and though they pattern of nostalgia than an thought new age was fine, astute realization that 20- it really wasn't serving year-old music again is sell- their needs. So the idea for ing big, atrend which has alabel like Cinema came exploded of late with the about." Or, as Abrams puts Beatles' "Revolution" it: "Our goal is to create being used to sell running the music that has the shoes, and so on. adventurous spirit of the So it would seem that early '70s with today's Somach was aperfect technology and tomor- match for Abrams, whom row's vision." he met in 1975 when the Somach began his career latter was consulting at as aDJ and amusic direc- WYSK in Philadelphia, his tor in Philadelphia. In 1979 first gig as aconsultant in a he started his own produc- career that has seen him tion company—Denny become the most well- Somach Productions— known and respected which originated syndi- radio fixer in the biz. cated radio and television Abrams pioneered market programs, including research techniques that Legends of Rock, Scott turned aconfused industry DUANE EDDY: mostly on the low E, A and Muni's Ticket to Ride, -CONTINUED ON PAGE 136 IT DON'T MEAN A D strings, picking economically instead of racing up THANG IF IT AIN'T the neck with flurries of THE FAR SIDE By GARY (ARSON GOT THAT TWANG 16th and 32nd notes, as is

Sal P•eSS SyndIC by Bill Milkowski the fashion of many guitarists today. It's the approach Guitarist Duane Eddy is he took on his 1958 hit, living proof that what goes "Rebel Rouser" (which has around comes around. It's racked up sales of 3 Somethings' st;11 not been nearly 20 years since million to date) and it's riyht, Le Var—Take his last American release, the same minimalist ap- rl -Fran, 'slinci -they call The Biggest Twang Of proach he takes on the 7`he w;n4 Murray." Them All on Reprise, and new Capitol album. In fact, now he's back in the sad- it's the very same guitar. dle again with his debut "Yep, the old Gretsch," on Capitol, Duane Eddy. he chuckles. "Same one I Has the twangy formula had all the early hits on changed over the years? back in the late '50s. It's a "Not at all," says the custom-made red Chet bearded six-stringer from Atkins model 6120 Gretsch his home in Phoenix, Arizo- that Ibought in 1956 brand na. "I like to do what Ido. new, and I've had it ever Idon't know how you since. I've used others would describe it. Ijust through the years. I've got like the sound that Iget aGuild DE-500 Duane and Ilike making records Eddy model that Iuse for with it." concerts and 1can get Eddy's signature sound pretty much the same is awarm, gutsy, resonant sound on it. And I've also - - e?a---"s.ifeje voice, enhanced by echo got agreen Country Club and judicious use of the model 6120 Gretsch, which Songwriters of the Old West tremolo bar. He plays -CONTINUED ON PAGE 139

JANUARY 1988, mix 133 MUSIC •NOTES that's the best. Iwish Icould write one of the youngest in acrop of singer- lyrics, it would be so wonderful if I songwriters that included Steve For- —FROM PAGE 132, SUZANNE VEGA could write lyrics,' and then two years bert, Willie Nile, Carolyne Mas and when she was 14. "It was something I later Istarted to write. And when Iwas The Roches. "It was really exciting," was always interested in," she remem- 16 Idecided, Well, Ihave these songs she recalls. "There was a feeling of bers, "and the whole idea of asinger —I guess Ishould go out and perform hope and afeeling that things might songwriting fascinated me as far back them." actually get a little easier for people as Ican remember. Iremember think- Shy and deathly nervous, Vega inau- who were doing that kind of music." ing that singer-songwriters seemed gurated her performing career in a But already, she says, "the scene has special because they were able to pro- small coffeehouse in achurch base- lost some of its focus," and, besides, ject their personality in such away that ment, the kind of proper 1970s bo- she's not around enough any more to people listened. To me, asinger-song- hemian spot with candles on the table, be apart of it the w‘t she was. writer had all the freedom in the world serving brownies and apple juice. She In folk music Vega found fewer of to say what he or she wanted to and to was 20 when she first went down to the obstacles that greet most women create their own character. Iremember Greenwich Village, "to see what this performers in pop, but she was and is being 12 years old and thinking, 'God, folk revival was all about." Vega was aware of the gender issue. "I think it's hard for any woman coming up," she says, "especially in afield that has so many men in it. But Ithink if someone sticks to their own unique way of performing, they'll make it through. If you develop your unique characteristics, you'll be respected for them whether you're awoman or not. Inever wanted to get attention because Iwas awoman. Inever wanted to be deliberately sexy. It meant alot to be respected for my songs and for being intelligent. Better Than Live "Lately," she continues, "people have more role models to look up to. You can play it any way you want, from The softness of asax. ¡he smoke of an electric Laurie Anderson, who is completely guitar, the dancing rhythms of axylophone. androgynous, to Madonna, who is cer- When you're sampling sounds, nothing's as good tainly not androgynous by any stretch of the imagination. There is awhole as live. And nothing's as much trouble. range of people you can at least look at The new Prosonus Sound library puts you in and think about. If Iwould want to be like anyone it would probably be Chris- control. We offer an on-going series of direct-to-disc sic Hynde or Rickie Lee Jones: they recordings on CT that give you the live sounds you have acertain toughness about them need —without the hassles. that Iadmire." But however much she rocks out or Just connect any CD player to any sampler. You toughens up, Vega's appeal will always get complete and easy access to hundreds of live be based on her detailed attention to error-free sOunds —each one recorded or designed words. Her audience, she surmises, is interested in the kind of "poetic song- by professional musicians and engineers. writing" that was popular 15 years ago. So sample Prosonuslhe rfrofOssional's mod But more than athrowback, the cool, library. measured and often soothing sound of her music is not far removed from Because better sounds make better music. the placid instrumental new age music For more information, visit your favorite music store that is in vogue today. Vega sees her songs as filling a need that she felt or call Prosonus at 213 463-6191. when she was growing up, and that she believes is felt by asignificant audience of all ages. "I feel that my music does have aservice," she explains. "I'll never forget what it was like to be a fan, to be working as a receptionist and music was my inspiration. It meant so much to me to be able to go home SOUND LIBRARY and listen to Leonard Cohen or Paul Simon. It was one of the reasons for (formerly known as Cal Circle #098 on Reader Service Card

134 MIX,JANUARY /988 getting up in the morning, so you rather than doing everything myself. home. "I like sitting on the bus with could go to the record store. And I'll Suddenly it left me free to do things I the band," she says, "and traveling with never forget that view of the world. knew Iwas good at and then Icould them. In some ways it reminds me of Now Ifeel like Ispeak things for peo- parcel out the work to everyone else. the one time when Idid fit in: when I ple who can't speak them for them- I'd say, 'I need a bridge, could you came down to the Village in 1980 and selves." write me something like that?' 1wanted Ifound awhole group of people who "Luka," the successful single from to learn more about writing. Ithink a were doing what Iwas doing. Ifound Solitude Standing is the best example lot about the lyrics. Ididn't always acertain comfort in that, and now that of Vega speaking up for the relatively know how to think about the music. In I'm away from that scene alot, Ifind I inarticulate. Not only does the song some ways, the way Iwas thinking go to the band for that sense of contain her most overt social commen- about music was somewhat primitive support." tary, illuminating the fear and silence compared to the way Ithink about Last year, Vega missed the ten-year around the issue of child abuse, it is lyrics. Ifound when Iwas working reunion of her graduating class at New arguably her best song to date because with the band Icould expand a lot York's High School of Performing Arts. of its straightforward, unadorned lyrics. more and work from their perspective." She confesses curiosity about who "I was trying to capture the point of The band has also given Vega, a made it and who didn't. "In that high view of the person who is being victim- consummate loner, a new sense of school," she says, "that's kind of what ized," Vega explains. "I tried to put it in the language of a9-year-old boy. I tried to write it as simply as 1could." In So doing, she created far more powerful images in "Luka" than the often over- wrought word tapestries of some of her other songs. But "Luka" has also placed new burdens on the songwriter. "Two years ago when Iwas on tour," she explains, "the words Iheard most linked to my name were `folk music.' Now it's `child abuse.' At some point I'd like to work through that so people can see I've written other songs, about other things also." Vega also does not want to generate expectations of explicit political commen- 111111U Inn Mill= tary in every song. "I feel that the small 1111 11111111111111111111 situations Iwrite about," she says, "if you take them and put them in differ- em circumstances, they become big issues. Ithink about those issues alot. Ijust have not yet found the way to put them into writing in any way that Ifeel Move your FairlightTM CMI up to first chair with The Master Sampler is meaningful. I'm not just going to sit Collection' of fully-engineered virtual instruments for professional down and write a political song be- sound producers. Unlike a"sound library" of raw notes that you must cause people think Ishould be the sample, trim, loop, filter, transpose, ... every virtual instrument in The new Bob Dylan. That did happen for a Master Sampler Collection is ready to load and perform. while where I'd get, You're supposed to be afolk singer, where are your polit- The Master Sampler Collection provides producers with the highest ical songs?' Idon't subscribe to that." fidelity and sonic realism that digital sampling computers can produce. These days, Vega is concentrating Along with the collection, you receive ScoreKeeperTM which organizes on her new creative relationship with the entire collection of virtual instruments. ScoreKeeper allows you to aworking band—bassist Michael Vis- listen to each waveform on an Apple iTM .After you have selected ceglia, synthesist Anton Sanko, guitar- virtual instruments and prepared ascore, ScoreKeeper takes your deci- ist Marc Shulman, and drummer Ste- sions to the Fairlight and minimizes wait time by handling all the loads phen Ferrera. On Solitude Standing from disk to RAM. all the musicians contributed to the music writing, and it was the first time Don't play second fiddle! The Master Sampler Collection moves you up Vega had collaborated on her songs. to concertmaster. "At first it made me very nervous," she admits, "but Ifound after awhile that 4ffilh. SOUND GENESIS it was avery natural way to work, and Sound Genesis Corporation in some ways it is more natural to 7808 Creekridge Center •Minneapolis, MN 55435 work with the band that you're going mar (612) 944-8528

to be recording with and touring with Fairlight is atrademark of Fairlight Instruments. Pty. Ltd. Macintosh is atrademark licensed to Apple Computer Inc.. Master Sampler Collection and ScoreKeeper are trademarks of Sound Genesis Corp. Circle #099 on Reader Service Card

JANUARY 1988, mix 135 MUSIC- NOTES A roster based on retreads? You put the question that way and then duck. everyone was aiming for. I'm amazed But Somach has a sense of humor: DON'T that so many people who Ithought "We like to call them dinosaurs," he would make it never did. I'm certain laughs. "But remember, the Moody that alot of people are astonished that Blues are bigger than ever; they just Imade it, because Iwas very quiet, had their biggest album in five years MISS introspective and moody. Idon't think and did amajor tour. Yes is going to Iwas someone you would have picked have abigger album than the last. We out as most likely to succeed." If her look at our roster as established, vet- success has come fairly quickly and eran, pro-type guys. Individually they YOUR unexpectedly, Vega wears it well. Her may not have the marquee value of test will be to decide what to do with the group they were in. But generally it, and discover how to keep her cre- what happens with aguy like Patrick DIRECTORY ativity apace. Moraz or Keith Emerson, who we also spoke to, is these guys spend ayear doing their album with their group, -FROM PAGE 133, CINEMA RECORDS then they spend ayear on the road, around. As he was programming So- then the record company, as afavor, NORTHEAST STUDIOS mach's playlists, Somach saw that their gives them asolo deal and that's why MAY 1988 personal tastes were similar and ran they never put out great solo records. Questionnaire Deadline: to The Nice and King Crimson. "Lee's Part of our criteria is that this can't be one of the biggest Yes fans in the like ahobby, like it's been in the past. February 3, 1988 world," he says, "and Ishared that If you want to make asolo record for with him." Cinema it has to be better than that. REMOTE RECORDING Two years ago the pair began look- "And every one of our artists is a ing for ways to take advantage of the real artist in the sense that they all &SOUND REINFORCEMENT burgeoning new age audience and tour—not like Windham Hill where FACILITIES the technology that was paralleling it, three or four of the artists tour and JUNE 1988 but employing the "progressive" the rest just make records. Pete Bar- music that was born of art school dens will most likely be doing atour, Questionnaire Deadline: dropouts in London 20 years ago Patrick Moraz will do atour." Somach March 3 rather than the wind chimes and assures that Cinema will support mantras of the West Coast. "We were these tours. looking for Dark Side of the Moon He then takes the rationale astep 1987, and it just wasn't happening," further by adding, "Nowadays, people he says. But he was convinced that it would rather get arecord from areal 85% of Mix subscribers read was out there: pro veteran like Keith Emerson or Mix Directories for informa- "This is basically an English type of Patrick Moraz than take achance on a music. But 18-year-olds over there new artist. People have less money to tion on Recording and who would make this kind of music fool with. Years ago you could get a Production Services." Don't look around and realize they're not record for three or four dollars. Now, miss this opportunity to get going to get signed [to labels] doing with higher prices and CDs, you're the valuable exposure it. As aresult there really aren't alot of taking more of arisk on apurchase. new artists doing this kind of music. And there's more new media compet- you're looking for! But we found that there are a lot of ing for your money." veterans of it who haven't been out But will this close off slots to yet there for awhile—people like Tony more new artists, something that Kaye of Yes [whose Cinema record is Classic Rock formats have been ac- To be listed n Mix Direc- pending release], Pete Bardens from cused of doing by clogging the air- Camel and Patrick Moraz of Yes and waves with records made nearly two tories or for more informa- the Moody Blues." decades ago? "No, not at all," Somach tion, please call or write: Thus was born the Cinema roster. responds. "If we had more new artists Along with Michael Hoenig, who who made this kind of music, we'd Mix Directories Dept. toured briefly with Tangerine Dream sign them, but they just don't exist. (a band that Somach and Abrams And that's mainly because those who 2608 Ninth Street consider seminal) and Amin Bhatia, would—before we came along—felt Berkeley, CA 94710 the only "new" artist they've signed, that they wouldn't get signed, so why (415) 843-7901 they pulled together a collection of should they make that music? Ours is older recording artists making new along-term plan, but people need to music. The company's first release be educated to it. As soon as we edu- '1987 Mix Readers Survey. was on June 4, 1987, distributed by cate the public to what we're doing, Capitol Records. this thing will really just explode."

136 MIX,JAN1lARY 1988 Somach is careful in signing new back cards" in 1972 in which record speaking from his home in Atlanta, artists. "We talk to alot of people and buyers fill out cards as they make a GA. "Not everybody loved it, but there what we look for is those who have purchase and are then called after- was a definite segment that's really the 'it' factor," he says enigmatically. wards and quizzed about the purchase into it," he says. "Certainly enough to "Of every 20 we talked to, 19 didn't and other preferences. Over the last create arenaissance for alot of these have that. Only one really understood 15 years, the files have become mas- artists and unquestionably enough to what we were doing. They [people sive. "He tracked down some guy who constitute a client base for a new with 'it'] know how to use the technol- bought Genesis at 19," says Somach. record company." ogy of the '80s and they have avision "He's now much older and works for Abrams says his research outfit, of the '90s and they are able to produce abrokerage house. When Lee got to Burkhart/Abrams/Douglas/Elliot, had this kind of music. Basically, we're those people he checked what they about a 20% success rate in finding looking for artists who have kept up were into now and found out that his the people from call-back files after with technology." instincts were correct. They still want 12 years, about 1,200 people out of While he says he'll listen to other what they listened to back then." 5,000 calls. The numbers broke down types of music, he makes it clear that The response was catalytic if not to a 60% male group, 25 to 40 year he's looking for artists who came out cataclysmic, according to Abrams, old. "And surprisingly alot of teenag- of the art rock movement and that what defines the Cinema sound is, in aword, technology. Or more precisely, its artistic applications. Pete Burdens had avideo track from his LP, Seen On Earth, in heavy rotation on M'IV ayear ago, and Somach contends that MTV made astatement about the music's viability by running the instrumental cut. He admits there was some resistance initially: "Every- one said, 'You're crazy.' But this is like the progressive rock movement of the late '60s where you had groups like the Grateful Dead and the Jefferson Airplane drawing people to concerts and everyone wondering what's going on. Then it started to creep onto the radio and then it exploded. The same thing's going on now. Six years ago, Windham Hill started and now you have George Winston and Will Ack- erman selling millions of records without any airplay. As soon as it starts to get airplay with the advent of all these so-called new age stations, it'll get bigger." just as the advent of cassettes and component stereo aided progressive rock years ago, Somach draws an analogy to CD's explosion now, and the new type of music it might usher in. Of course, it doesn't hurt to have as your partner the biggest wunderkind radio has seen since Marconi blew his first tube. When Abrams talks, E.F. Hutton listens; trade and business publications from Advertising Age to The Wall StreetJournal have acknowledged his primacy in the radio programming field. And as much as So- mach professes to truly love the stuff, market research played an important part in the formation of Cinema, if only, as Somach states, "To make sure we weren't fooling ourselves." Abrams developed asystem of "call-

Circle #143 on Reader Service Card JANUARY 1988, MIX 137 MUSIC NOTES

ers," Abrams notes. "You ask some of them their favorite record and they Real Time. name one that came out when they Real time means real quality. ESP were one year old. And asubstantial provides real time tape duplication number of late college age people (for the highest quality), professional looking for something more adven- service, aquick turn-a-round, complete turous." packaging services, and low prices. Abrams feels that upper-aged buy- ESP customizes each order to ers are "disenfranchised," and he your needs. All cassettes are custom 22 attributes the "classic rock" revival to loaded onto Shape Mark 10 shells. that. "The 25- to 40-year-olds are still very musically active," he points out •Real Time Audio Cassette Duplication and says his research proved that they •Full Printing and Packaging want an evolution in progressive rock. •Custom Loaded Blank Cassettes Somach admits that Cinema is fol- • Hi -Fi Video Duplication lowing ademographic bulge of baby boomers: "The average record buyer isn't 20 years old anymore. The average buyer of Springsteen is 29.5 years old. Most kids buy Cinderella and CALL TOLL FREE 1-800-527-9225 Megadeath. Cinema's not really for Or in NY call collect 716-876-1454 them. Another thing that proves it is the death of the single—nobody's buying them." EASTERN STANDARD PRODUCTIONS, INC. Both Abrams and Somach contend 26 BAXTER STREET, BUFFALO, NEW YORK 14207 / (716)876-1454 that Cinema isn't abloodless child of market research, but a labor of love whose raison d'etre was simply but-

Circle #140 on Reader Service Card tressed by research. "These days everything's so research-oriented," says Somach. "It's OK to have alittle bit of research, but it should really be used to confirm what your gut feelings are, and too many people have lost sight Power Stroke of that." PRODUCTIONS Cinema's recording budgets, which max out at $25,000, could be considered low in the rock industry. Somach 24 Track Studio agrees, "But just because someone spent amillion dollars on arecord, so what? Where did it go? It didn't go into the record. The first Police record 24 HOUR RECORDING was made for $18,000. Most of our DISCOUNT BLOCK RATES artists are self-contained and some have their own studios. So why would "MIDNIGHT SPECIAE's it cost more to make arecord?" Budg- EQUIPMENT RENTAL etary considerations are part of the Cinema signing criteria "But that's Kurzweil 250 not to say that if someone wanted to Trident Console • Studer 24 track try something and needed additional Studer 820 2track • Lexicon 480L funds that we wouldn't consider it," AKG ADR •Publison Infernal Machine says Somach. 68K digital reverb •PCM 70 •2-PCM 42 Cinema aims to market itself Yamaha Rev 7• 4 Drawmer gates •EMAX through traditional venues like record T.C. 2290 sampler delay •Sontec & White EQ stores, though Somach says they're Yamaha Grand Piano •Meyers Monitor System trying to stay out of the new age sec- For more information and bookings call: tions and are shooting instead for the rock bins. Other methods include 673-1829 cross-promotion by including promo 245 Hyde • SF • Studio A on other label artists in each record, an approach that harkens back to the

Circle #100 on Reader Service Card

138 MIX,jANUARY 1988 early '70s (remember Warner's sam- ranked #1 in the summer of 1986 on help from his friends. pler series?). Marketing plans also call Rolling Stone's dance track chart. The "I had this idea that if Ihad different for ads in publications like Playboy twang was back producers working on the album it and Esquire as well as music-oriented "The record came out and did well wouldn't take so much time out of magazines. and Iended up doing alittle tour with their lives, and also I'd get the best of Somach says that they didn't really them last summer," Eddy recalls. "And their singles-thinking, so to speak. factor radio into their marketing plans, during that tour, Huey Lewis' manager, "The first people Icalled were the and that they lucked out with the Bob Brown, called up and asked me if folks from The Art Of Noise. They hap- acceptance of Pete Bardens. Other- I'd like to go out on atour, opening up pened to be in LA., so they flew down wise, they're concentrating on special- for Huey Lewis & The News. Naturally, to Nashville and we did two tracks, ty niches, like headphone oriented Iaccepted.' 'Spies' and 'Lost Innocence,' live at shows. Somach points out that Cine- Suddenly, interest from record com- Treasure Island studio. Then they took ma's were the first simultaneous vinyl, panies surged. "Up until that point," the tapes with them back to London cassette and CD release in Capitol's he adds, "record companies weren't and finished overdubbing some of history, and that their approach is all that interested in me. They thought their effects and things over there. similar to Capitol's progressive Har- the 'Peter Gunn' record was sort of a "Next, Iwent out to the Capitol stu- vest label in the early '70s, whose ros- fluke—a novelty and all that sort of dios in Los Angeles to work with Ry ter included Pink Floyd, Babe Ruth thing. But when Iwent out with Huey, Cooder, who's been afriend of mine and Quatermass. that got their attention. Huey let it be for several years. He had written acou- Radio does figure in Cinema's fu- known that he really liked what Idid ple of songs with me in mind, 'Blue ture, however: "As soon as more and that he was gonna take me out City' and los Companeros.' So we did [alternative] radio stations go on line again come spring, so they figured them live and he overdubbed some and ageneral awareness of this type they'd better come up with some strings there and finally mixed it at of music gets through, Ithink the product." Ocean Way studio, which is the old whole thing's going to explode," re- Capitol signed him and released United studio. Lee Herschberg did the marks Somach. "Every record compa- Duane Eddy the following summer. engineering on that. He's been around ny has a new age division. And we The album was something of aglobe- a long time—probably as long as I feel like our type of stuff is going to trotting project for Mr. Twang, involv- have. be even bigger in Europe and Japan ing sessions in Nashville, Los Angeles "Then Iwent to London to work than new age." and London. And for this comeback with Jeff Lynne, who Ihad met in Mon- album, Eddy ended up getting alittle -CONTINUED ON PAGE 220

—FROM PAGE W, DUANE EDDY Iused last year on 'Peter Gunn' with The Art Of Noise. Iget pretty much the URL same sound on all my guitars. It's my sound and Iwouldn't change it for ALEsis anything." fL-Roland That 1986 session with The Art Of Noise is partially responsible for bring- O YAMAHA ing Duane Eddy back into the lime- Fostex light after all these years. Between July 1958 and February 1963, Eddy and his twangy guitar scored an incredible 15 TRIDENT Top 40 singles. But with the emerg- SONY- ence of The Beatles and other British TASCAM Invasion bands of the mid-'60s, Eddy's strictly instrumental approach suddenly fell out of vogue. AMPEX During the late '60s and throughout Soundcraf t the '70s he surfaced only occasionally—in England, ironically, where there d x was still asizeable market for instrumental music. In 1975, his single "Play Me Like You PlayYour Guitar" reached *9 on the British charts, but he was still ignored in the States. years of satisfied customers nationwide... Then The Art Of Noise called. The lo areputation built on superior service and British techno band brought Eddy over to England to work on aremake of his competitive pricing. 1960 best-seller, "Peter Gunn." The song became an instant hit, reaching ;:mill ina illihilit PROFESSIONAL AUDIO-VIDEO the Top 10 around the world, and ‘,.1!,"!' Allit 2641 E. McDowell • Phoenix, AZ 85008 1MI, 'MU 602.267.0600 Circle #101 on Reader Service Card

JANUARY 1988, mix 139 FIELD •TEST the computer was abig job for our ticular, like aspecific scene in a film, library, which numbers about 10,000 you could search and select and search —meal, PAGE 80 effects; we were typing for months. some more until you found all the procedure of loading the program That is the downside of the computer- effects you needed. Then print the onto the hard disk. You simply feed the ized catalog. At least for the the com- select list with the title of the scene. A disks in as it asks for them. Once you've mercial libraries we didn't need to en- very useful function. started adding your own data, you em- ter anything because Leonardo provid- ploy the backup/restore technique to ed us with the information already Floppy Disk Libraries move the library from one computer typed in the computer. As more librar- We use the E-mu Systems Emulator to to another. PL gives you direct access ies are released on CD, Leonardo plans create sounds, which means we have to the DOS backup and restore pro- to keep providing the new descrip- effects samples stored on floppy disk. grams, which facilitate making back- tions in the catalog and providing their PL handles samples very intelligently: ups of the data, stored in separate sub- customers with floppy disks contain- each sample is aunique effect in the directories from the program. Another ing the data. We've already received library, even if it is acopy of another feature Ilike is the auto-save function: some for the BBC, Elektra, Valentino, effect; however, PL can "link" the sam- PL waits for you to stop typing and Sound Ideas and Digifex libraries. pled copy and the original. So if you after 20 seconds writes the latest search for effects you can see if the changes to the hard disk. Searching the Effects Library effect displayed is an original or a Leonardo has adopted the Lotus 1- One of PL's strongest features is its copy, if any copies have been made, 2-3 style of horizontal menus, which ability to create equivalents. Equiva- and what the copies are. PL also prints most people seem to catch on to pret- lents are words that describe the same nice labels for the floppies and uses ty quickly, and has added atitle bar for sound, like "CARS" and "AUTOMO- the paper sleeves to hold labels that each menu as well. PL is amenu-based BILES." It is asimple matter to tell PL show the descriptions of the effects program: telling it to do something to link those two words; from then on, sampled. always involves choosing an option any time you ask for "CARS," PL will from amenu. First-letter selection of automatically also search for "AUTO- Problems the menus is possible, just like Lotus, MOBILES" and vice versa. You can link As much as Ilike PL, Ido have a few and context-sensitive help is just akey- as many words as you want; you can gripes about some features Ihope stroke away. PL supports color with remove the link words at any time they'll fix in the next software update. extensive user-definable choices. Most later on. However, "CARS" is a very The effect descriptions are always con- of the time when entering something general word, probably used in many verted to upper-case letters. The pro- at aprompt, PL can display apop-up effects; a search for "CARS" would turn gram won't run on acomputer with- window to give you alist to choose up ahuge list. Fortunately, PL also lets out a hard disk (they probably can't from. you be as specific as you want: you do anything about that). The program When PL lists effects on screen you could just as easily ask for "1957 CHEVY doesn't use a mouse or pull-down can switch between one line per effect BEL-AIR PASS-BY AT 30 MPH ON A menus like the Macintosh. Once you or as many lines per effect as necessary DIRT ROAD." know your way around the menus, to see all of the information about that The great advantage is being able to being able to mouse-click on acom- effect. The effects are displayed clearly, look for any word in any description. mand line would be a faster way to in a manner that corresponds to the For example, say Ihad atraffic back- get from point to point. printed version in the catalog or roll ground described as "NYC TRAFFIC — Newer, better and cleaner sound ef- listing. TIMES SQUARE AT NIGHT—RE- fects are always being recorded, lead- CORDED FROM WINDOW—DIS- ing inevitably to larger libraries. Unfor- Adding Your Own Data TANT CITY PRESENCE—HORNS & tunately, the bigger the library, the To enter information about sound ef- TIRE SQUEALS"; Imight usually use more difficult it becomes to use, un- fects into PL, you fill out ascreen re- that as atraffic effect. But let's say that less you put in the effort to keep it sembling ablank form for each effect one day Ineed distant car horns. Since organized. PL does a superb job of in the library. Each line you type on is this description contains the words helping you keep on top of an effects called a field, a computer term that "Distant" "Car" and "Horns" Iwould library. It is rich with features that antic- indicates apiece of information. The find it in asearch based on "Distant ipate the most complex problems, it different types of information (length, Car Horns," although when Iput the provides extremely fast and flexible format, effect number, description, effect in the library, Ifelt it was basi- access and it is clear and straightfor- etc.) are each entered on adifferent cally a traffic effect. As long as the ward to use. line: after typing one, you press Enter words are in the description you can Once you've tried the convenience and the cursor jumps down to the next find the effect. of Professional Librarian, you won't prompt. PL also provides aclipboard list that ever want to use paperwork again. Context-sensitive help is available you can add effects to as you search, so at all prompts, by pressing the Fl key, you can selectively build up alist over to explain what each prompt is for. aperiod of time. That listing can be To find out more about the availability Even better are the pop-up reference viewed on screen or printed. You can of Professional Librarian software, con- lists available at most prompts, to re- even give it a unique title when it tact Leonardo Software, 693 Washing- mind you of potential choices. prints. For example, if you were look- ton Street, Venice, CA90292-5418; (213) Typing the effect descriptions into ing for sounds for something in par- 305-1521.

140 MIX, JANUARY 1988 The PL software package for IBM-PC ter). Used on backbeat snare, for second fadeup on playback, whereas ATs and compatibles costs $750. A re- example, the delays can be heard be- the Drum Sampler is instantaneous. mote control unit for the Sony CDK- fore the snare itself. Easier than turn- The Sampler program allows asam- 006 multiple compact disc player costs ing the tape over, if slightly more ple to be played forwards, backwards, $250. limited. Another parameter allows the or both, with aprogrammable over- two inputs to be continuously varied lap. The Rate Changer provides pitch Jerry Ross is asupervising sound editor from normal stereo through mono to shifting of the sample, and the Dual working in the LosAngeles feature film reverse stereo. Sampler does Forward/Reverse and industry His credits include D.O.A., But the unique aspect of this pro- Rate Changing. Sampling length for Raw Deal, Delta Force, Bedroom Win- gram is that any pitch shifting that the Forward/Reverse and Rate Chang- dow and Times Square. would ordinarily result from varying er are 1.5 seconds; other factory pre- the delay times is suppressed. This sets allow three seconds of mono, FIELD •TEST means that apiano or guitar can be three seconds of stereo, or six sec- chorused without any pitch wobble. onds of mono, but all three of these -FROM PAGE 85 Sampling: With a48 kHz sampling require all of the 480L's memory, church, and including such interest- rate and 18-bit A/D conversion, the mandating the use of the Single con- ing simulations as wood rooms of 480L offers extremely high fidelity, figuration. Samples can be triggered several sizes and halls with and with- making it excellent for sampling. manually, by an audio trigger (with out stage reflections. There are two banks for sampling, the an adjustable threshold), or by aMIDI Effects: In this category I have difference between them being that note event. lumped two banks: Wild Spaces and the Sampler program uses a 5-milli- The first card for the 480L's expan- Effects. With only a few exceptions, these programs do not provide any realistic sounds. Wild Spaces appears to be areverb algorithm gone crazy, 480L Software/Hardware Update while Effects is ahigh-powered multi- As this review was going to press, ously sampling. When recording is tape delay algorithm with an empha- Mix received word from Lexicon of actually triggered, the programmed sis on random modulation of the de- both hardware and software up- amount of time before the record lay times (as in the 224 and 224XL dates for the 480L. Mix was unable trigger is saved, along with the sam- Chorusing programs). Wild Spaces to evaluate these updates, so the ple after the trigger. This avoids los- shares the parameters of the reverb information presented here comes ing important attack transients due programs and includes in its comple- from Lexicon. The hardware update to the user's reaction time when ment of factory presets sounds that is in the form of the Sample Mem- triggering. Of course, this "pre-roll" are reminiscent of the inside of an oil ory Expansion (SME) board (which is subtracted from the total sample drum, or a number of silica beads plugs into the extra slot on the 480L time available. bouncing around asurface. Obvious- chasis) that expands available sam- The Stereo Adjust program has ly, it is difficult to describe such ple time to more than ten seconds been restructured and enhanced. sounds other than to say that they will of stereo or 20 seconds of mono at a Instead of individual level controls make purists cringe and pop produc- 48 kHz sample rate. The SME also for each channel there are coarse ers smile. adds to the current sampling pro- and fine level controls and abal- The Effects program introduces yet grams all enhancements included ance control. Stereo image can be more new parameters. The algorithm in the software update described altered with a Rotation control, provides for up to 40 randomly time- below, as well as stereo rate chang- which operates similarly to chang- varying voices; the Number, Length, ing and stereo forward/reverse sam- ing balances in an M-S recording. Spin and Wander parameters control ple playback. EQ features include ganged stereo the quantity, delay time, rate of delay On the software side, Version 2.0 treble and bass shelving EQ with time modulation, and depth of mod- software has been released. Version programmable rolloff frequencies, ulation, respectively. Slope controls 2.0 contains asimple two-channel separate treble shelving controls for the delays' amplitude characteristics, pitch shift program which will work each channel (in addition to the which range from a linear decay, on stereo or dual mono material. ganged stereo EQ), and the Spatial through flat (equal amplitude for all Pitch shifts up to amajor 7th above EQ. Other processing features are delays), to alinear increase. Number and an octave below original pitch on/off toggles for: 11.5 microsec and Length interact: the greater the can be performed, with programma- delay (used with Sony PCM-F1 re- number, the smaller the available ble predelay and feedback for each cordings to compensate for delays length. If 40 voices do not sound channel and adjustable splice time. resulting from the multiplexed thick enough, the voices can be dif- Several enhancements to the 480L's AID), de-emphasis (used for re- fused into clusters, and asingle tap is sampling programs are also includ- cordings made with Sony PCM available for feedback. There are a ed: the ability for sampling to be series processors that have the pre- few other notable aspects of this pro- triggered from an audio source, syn- emphasis feature), and phase inver- gram. One is the ability to delay the chronized sound-on-sound record- sion for one channel. original, dry signal so that the effect ing, and "Time Variant Recording." The SME is priced at $2,000 can precede it (all reverb and effects This last is afeature that creates a (which includes the board and sup- programs have awet/dry mix parame- sort of sampling "pre-roll" time. Af- port software), and the Version 2.0 ter choosing a time value for this upgrade is $99. parameter, the 480L begins continu- —by Larry Oppenheimer FIELD •TEST the monster! That was not simply my reverb could be simulated, but not thought on reviewing it, but on using done as well as even the PCM70. These sion slot will be amemory expansion it. For some, the sound and versatility two areas, though, have never been which will allow around 30 seconds of the unit alone will justify its cost, Lexicon's strong point. Although I of mono sampling. This should be even though they will never go much liked the no-pitch-shift chorusing for available by the time you read this. beyond calling factory presets. If that some applications, Imissed the pitch Utility: The Doppler and So What is your bent, Ican assure you that the wobble on things like synthesizers. I Else? banks provide several useful util- unit sounds excellent and offers some tend to use pitch wobble not only for ity programs. As one might imagine, fine factory presets, especially in the chorusing, but in reverb also. This is Doppler is a program, designed for reverb programs. The 480L is far and one place where Iam not always con- film and video work, that simulates a away the quietest digital signal proc- cerned with authenticity. The 480L is "fly by" such as one experiences essor Ihave ever used, and the audio also not capable of the types of dis- when atrain or car drives past. The quality is beautiful, probably due to crete delay effects that the PCM70 program uses pitch and amplitude the high sampling rate and A/D/A excels at. Again, some variations on cues and provides extensive controls, resolution. The Plate program was these ideas can be achieved, but not such as apparent speed, approach compared to an excellent EMT plate easily and not as well. Ifound that (and recede) time, apparent distance and, while it did not actually sound as only MIDI note events could be used from the listener as it passes by, nor- good as the EMT, it sounded closer to trigger samples, which left out mal or parabolic (zoom) path of trav- than any digital reverb that Ior any of switches, such as footswitches or but- el, and a"fudge factor" which alters the other engineers at Russian Hill tons on aMIDI controller. the pitch shift/amplitude shift ratio. Recording who helped me evaluate Units like the 480L also present a The effect is triggerable manually or the unit had heard. Certainly, it sounds challenge to users and marketing per- from audio. like Lexicon's best effort in this area. sonnel alike when it comes to nam- The Stereo Adjust program, intend- The "i-Stage" presets of the Hall ing presets. How does one name a ed primarily for CD premastering ap- program were useful not just for mu- bizarre effect so that it is easy to get plications, allows /14 dB resolution sic, but for dialog on afilm project, some idea what it is? "Silica Beads" control over level of each channel, /12 and the Wood Room presets of the does well on this score, but what does dB resolution control over two bands Room program proved to be quite "Surfin — tell me? Although this seems of EQ on each channel, plus aparam- sweet sounding on guitars. The Metal- trivial, it turned out that when the eter called Spatial EQ. Griesinger's lica preset was recommended for 480L was being used in session, sev- research has led him to believe that, crunch guitar, and it worked great on eral of the engineers flipped through contrary to popular notion, direction- that. Silica Beads sounded like its the presets in frustration and eventu- ality of low frequencies is not only name, and it was fun, too. Obviously, ally turned instead to another unit, perceptible, but vital to the perceived Ican't go through every program and such as the PCM70 (Version 2 soft- "spaciousness" or stereo width of an name what Iliked, but Idid find a ware—they have the same problem image. Thus, Spatial EQ deals with the solid number of useful presets. with the preset names in the Version stereophony of low-frequency mate- The question is: what if you want 3software). rial, yielding influence over perceived to go beyond the presets? This is a In sum, Ithink the 480L is tremen- stereo width. It is my understanding very sophisticated unit which is im- dous: it sounds superb, offers alot of that the second version of the 480L's posing in sheer quantity of features useful functions, presents agood value software, which will probably be avail- and parameters, and it became clear for the money (the mainframe is able when you read this, will feature to me that it was "power users" who $8,200; the LARC controller is $1,500), some revision of this program. ATwin would get the greatest benefit out of performs well, and delivers on the Delay program with cross-feedback as it. However, it was equally clear that promises of which the march of tech- well as same channel feedback is also to learn to really use this tool required nology has spoken. It is not all things included. a number of hours dedicated solely to all people, though. This is reason- MIDI: The 480L incorporates the to learning the 480L. This is not a able, but you must decide before you same Dynamic MIDI (a Lexicon copy- good device to try to learn on the fly. spend the money whether its limita- right) concept as the very successful Even some of the basic setup parame- tions are ones you can live with. If PCM70. MIDI events can be mapped ters require knowledge that is not you can only afford to choose one to up to ten parameters at atime and intuitively evident. More to the point, signal processor, this might be aprob- can then vary those parameters con- some of the new concepts, particularly lem, but with the availability of in- tinuously. As Ihave written before, Shape and Spread, are not easy to expensive processors whose limita- some parameters lend themselves to grasp and get in the ear. In other tions might lie elsewhere, it should this control better than others. As of words, if you want to learn the 480L, not be. this writing, the 480L is not capable of you must read the manual closely dumping/loading via System Exclu- and you must set aside time to play Prolific writer Larry 0 is a musician, sive messages, but this will reportedly with it. Fortunately, the manual is very sound engineer and electronics tech- also be in the Version 2 software well written and put together. nician. His SF-based company, Toys release. Idid find that there were a few in the Attic, offers consulting services Subjective Evaluation "meat and potatoes" types of things in the fields of MIDI, product docu- So what did Ithink of this thing? which were surprisingly difficult to mentation and signalprocessing and Good grief, there's alot to look at in do on the 4801. Inverse and gated is affiliated with Russian Hill Recording

142 MIX,JANUARY 1988 AUDIO PROFESSIONALS! YOU CAN'T AFFORD TO MISS

February 22 -26, 1988 (Exhibit Hall Open February 23,24,25) Civic Auditorium San Francisco, CA

Attending will be the wisest SPECIAL NEW FEATURE business decision New Power House Seminars you make all year! Includes admission into the exciting exhibit hall To make the most of your valuable time, plan to:

one or all of your choice of 6 one-hour "powerhouse" sessions—held each day from 10:00am to 11:00am. These sessions, a new feature this year, will zero in on the most vital issues of concern to video professionals. Topics to be addressed include: "Low Cost Pizzazz," "Video Publishing Update," "New Production Technologies," "Shooting in San Francisco," "Video Management: Issues and Challenges," and "Video Job Clinic."

visit the more than 170 companies represented on the exhibit floor to see the latest in products and services, featuring: Audio for Video Interactive Systems Receivers Video Accessories Cameras Lighting Equipment Rentals Videodisc Players Cases Monitors Switchers Video Projectors Character Generators Music Libraries Tapes and Cassettes VTRs Duplicators Production Companies Time Base Correctors ...and dozens more Editing Systems Publications

Exhibit Hall Open 11:00am -5:30pm on February 23 and 24, and 11:00am -4:00pm on February 25

Register for the in-depth seminar program, half-day sessions scheduled each afternoon 3:00pm -6:00pm. Full day seminars, two-day expanded sessions and a five day basic hands-on production workshop (with one afternoon free to visit the exhibit hall) have been planned to help you make the most of your VIDEO EXPO SAN FRANCISCO experience. Seminars will focus on a Basic Track covering, The Script, Audio: The Basics, Editing, Producing Programs, Shooting....a Production Track featuring, Print to Screen, Writing for Video, Corporate Video Applications, Seven Steps to Better Video Graphics, Getting A Grip on Light, How to Operate and Adjust Video Test Equipment, Managing the Video Project...and a Masters Series centering on Mastering Special Effects, Advanced Camera Techniques, Audio Post Production, Advanced Budgeting for Film and Video. If you are involved in—or about to become involved in—professional non-broadcast television, send for your free Advanced Planning Guide to VIDEO EXPO SAN FRANCISCO, or call (800) 248-KIPI (in NY call (914) 328-9157).

Mall to: Video Expo San Francisco Planning Guide MIX-VESF' 88 Knowledge Industry Publications, Inc. 701 Westchester Avenue, White Plains, NY 10604

0 Please send me afree copy of VIDEO EXPO SAN FRANCISCO's Advance Planning Guide with information about events, seminars, exhibitors and registration.

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Name Title Organization Business Address City State Zip Telephone PLAYBACK to concentrate on her songwriting and ways interested in what went on in the back-up work. She made good con- studio when Imade records," she says, -FROM PAGF 130 tacts quickly and seemed to fit in easily "and Igot to work with some good saw me as their girl Randy Newman," with the changing Nashville scene. producers, like Chuck Plotkin and Waldman says of her label in the mid- "When Igot there," she says, "it was Mike Flicker. Italked to Lenny [Wa- '70s. "But Inever felt Iwas part of any the tail end of the 'old Nashville,' but I ronker, producer at Warners] for years Hollywood mafia, and Idon't think could tell that things were opening about producing but Inever got to first most of those musicians did. I've al- up. Ten years ago Idon't think Iwould base. On this album Ifinally became a ways been different and Ithink that's have been accepted the way Ihave producer, and as aresult I've also been one reason record companies have had been. But the people have been producing other acts." ahard time figuring me out." great." Letters Home was recorded over a Her last experience with a major It was Mike Robertson, owner of two-year period at Robertson's studio; record company, Epic Records, left her 1030 Studio in Nashville (and now her she'd worked on it for ayear before shattered and disillusioned: "I thought manager), who convinced Waldman she even signed with alabel, paying the record Imade for them, Which in early '85 that she should try to make the musicians herself from songwrit- Way to Main Street [1982] was the another record. "At first Isaid no," she ing royalties. As apartner in the album, greatest achievement of my career. I remembers. "Let's keep working with Robertson absorbed the studio time. put everything Ihad into it and I other people. But Ilooked at the songs Unlike some artists, who feel that thought it came out great, but Icouldn't Iwas writing and Ifelt good about spending alot of time on aproject can get to first base with it. After a few them and about working with Mike, so make things seem unfocused, Wald- weeks it just completely disappeared; Ifinally said, 'OK, it's been 15 years in man thinks that she gained valuable you couldn't find it anywhere. There's the record business working with oth- perspective on her work something wrong with that system— ers; it's time to make my own records, "One advantage to stretching aproj- you work so hard and then this thing my own way. I'd love it if [producer] ect over a long period of time is it that's so important to you is allowed to Jimmy Iovine would jump in and help, allows you to look at the work and vanish almost immediately." but that's not gonna happen." update it; whereas when you do it in When Waldman moved to Nashville After some initial work co-produc- six weeks, you don't get that chance to in 1983, she more or less acknowl- ing tracks with Harry Stinson (who catch your breath and re-evaluate," she edged that her recording career was at joined Steve Earle's band) she decided notes. 'The song 'FasyWay Out' started least temporarily on hold, and decided she would produce herself. "I was al- out with no synths and it had different lead and background vocals. About four months went by after the sessions and Ijust couldn't relax about that song. So Iwent in and cut anew vocal and it completely brought the song to life. Then Italked to Mac McAnally and changed the background vocal so we both sang it. That was six months after the original. Then earlier this year, we transferred it to 32-track digital, which opened up some new tracks, so we put synthesizer on it. Ithink all of those things were improvements and came about because Iwas able to live with the song for awhile. "I'm very zen about the studio," she continues. "I know you can't force things. If you're going to produce, you have to accept your role and accept the fact that you've taken responsibility. Ising avocal; I'm not allowed to throw ahysterical fit-1 sound so terrible!'—because there's no one to pick me up but me. So Ihave to realize, 'Well, that's as good as we're going to get today, so maybe we should work on something else. — Waldman says her greatest joy in working in the studio comes from the interaction with the players, and feeling like part of ateam. "I'm extremely involved in the instrumental performances," she says. "I've been very fortu-

144 MIX,JANUARY 1988 THE RECORDING ACADEMY nate: I'm amusician myself and when the label "flipped" and immediately " Iput out a call for musicians, they signed her to what she admits was "a NEEDS YOU! usually come eagerly because they low money deal." Buoyed by Cypress' If you have been involved in the creation know they're going to get achallenge. enthusiasm and support, she went of six recorded and commercially releas- Ihave high standards. Because Igrew back into the studio, cut some new ed selections as: up in LA. in aclassical music family, tracks and, over the course of the next D Vocalist, Singer, Narrator D Leader, Conductor I'm not afraid of creative chord changes year, finished the record. D Composer, Songwriter or odd time signatures. Musicians en- 'The irony of this situation," Wald- 0 Engineer (mixer, master cutter) joy that. Itry to build asituation in the man notes, "is that when Isigned with D Instrumentalist, Musician studio and in my live band where you Cypress, my career was in the best D Arranger can create a framework and certain shape it had been in 15 years. Ihad 0 Art Director, Photographer, guidelines, but then you turn them learned to stand in the music business Artist or Album Designer loose. You make your music achance without being arecording artist. Iwas D Producer for them to express their musicianship, collaborating successfully as awriter, 0 Video: starring Vocalist. Conductor Musician, Director or which is very different from most Nash- producing other people and not being Line Producer ville producers and alot of pop pro- crushed that Iwasn't aplatinum re- You could be an active (voting) member ducers. I'll give them boundaries and cording artist. But Ialso came to terms who makes the Grammy® Nominations acontext, but enough rope that musi- with the fact that Ineeded to make and votes for the Ultimate Winners. Even cians really feel like they're contribut- albums whether they were successful if you don't have these minimum qualifica- tions you can become an associate mem- ing—because they are." or not, because Wendy Waldman al- ber Just fill out the coupon below and mail From working on her own album bums are like novels or paintings to to SFNARAS, 1124 Rivera, SF 94116, to and producing others, Waldman has me—they're my literature. Imight nev- receive the necessary information. developed a close relationship with er have the success singing my own her engineer, John Wiles, and makes it songs that others might, but that BENEFITS apoint to work with him whenever doesn't matter. I'm the happiest I've DISCOUNTS she can. "We've grown together as a ever been." 5% on tape and accessories team," she comments. "I think he's She's also the busiest she's ever at Leo's Audio brilliant. He's aserious techno-head. been. Aside from making the album 10% on tape at Different Fur We'll have long discussions like, 'How and touring all summer and fall open- 10% on all accessories at Sherman Clay did Pete Townshend get that sound on ing for Dan Fogelberg (Waldman's 25% on California Talent Guide "Face to Face?" Iwant this sound on band includes her guitarist/husband, ($30 each instead of $40) the snare on "Easy Way Out." And Brad Parker), she continues to write 25% on Music Industry he'll work on it and come up with constantly and she's become an active Reference Guides: California Music Directory, Music Business something, or tell me it's not happen- producer as well—recent projects in- Directory, Music Radio Directory ing. Jim and Idid the final mix of the cluded acontemporary Christian art- ($25 each instead of $33.45, all 3for $60. asavings of $40) album together. I'm ahands-on mixer ist named Pam Hall; her longtime because Ifeel that as producer/arrang- friend Jonathan Edwards; the Ozark HEALTH INSURANCE er, Iknow when Iwant to pull alead Mountain Daredevils; and country NARAS ' membership in Media Alliance allows NARAS members Group Health In- guitar line back a little or when we singer Suzy Boggus, whose Waldman- surance rates through avariety of policies need to make the double of the lead produced record was abig seller for LEGAL ADVICE vocal shadow it, instead of be right up Capitol. "The word has gotten out va -hour free consultation, next 2hours at there. John might work more with the that I'm producing and doing pretty $75/hour, all additional time at $100/hour rhythm section. good work," she says. "So now I'm from Attorney Marc Greenberg. "On the whole, I'm really, really hap- digging in and seeing what else CREDIT UNION py with how this record sounds," she comes my way." in which a $25 share deposit plus a $1 continues, "and on our next project Another Cypress album is likely, and membership fee into the Franklin Media we'll do even better." And how about this time it won't be five years between Credit Union entitles you to reduced rates digital, which has swept Nashville dur- records. "The L.A. mentality is if you're on loans, checking and savings accounts, plus low a.p.r Visa accounts ing the last few years? "We don't need not on amajor label, you don't have a to cut my albums digitally, except it career," the ever-defiant singer says. San Francisco N.A.R.A.S.') would be nice to have more tracks. We "But there are alot of people out there Membership Invitation The Grammy' People hadn't worked in such an automated proving that's not true. Look at John Yes! Iam active in the music industry and want context before this record. We had a Prine—he's got his label and is selling to :iccome amember of the San Francisco Neve console with NECAM—not an more than ever. Small companies are Chapter of the National Academy of Recording Arts and Sciences ' SSL—and it was fine. We stumbled more flexible than the majors and through the darkness afew times, but more willing to take chances on an Name in the end we took something that had artist. That suits me fine, because I'm been recorded in anumber of differ- always going to take chances with my Address ent settings over a long period and music." made it sound consistent." City Slate Zip According to Waldman, when she Day Phone Evening Phone played early mixes of her work-in- Blair Jackson is managing editor of PLEASE SEND ME AN APPLICATION 'The National Academy of Recording Arts and progress to people at Cypress Records, Mix magazine. Sciences - The Grammy' People

Circle #132 on Reader Service Card

JANUARY 1988, MIX 145 AFTER •MIX by Philip De Lancie FORMATS & FORTUNES

the impending introduction of DAT, inal Recording Industry Association of America (FtIAA) figures on net ship- combined with aprobable continued ments of pre-recorded products for the reduction in CD pricing, makes any first six months of 1987 provide rela- long-term prediction tricky at best. At tively good news for just about every any rate, the new figures show aslow- sector of the industry. While units ing of momentum, at least temporar- shipped in 1986, exclusive of returns, ily, in some of the trends that have had fallen 5% relative to 1985, the first been in evidence since 1984. Fhalf of 1987 brought a healthy 18% After years of impressive growth, CD revenues continue to move up, the vinyl LP is heading down. Cassettes are still going strong, but the 8-track is finished. But the big question is: will DAT make adent?

increase over the same period one unit shipments of pre-recorded cas- year earlier. In dollar value terms, cal- settes advanced only incrementally in culated at manufacturer's suggested 1985 and '86, seeming to portend the list price, the increase was greater onset of a decline for the nation's than 28%, reflecting the ever increas- most popular music program carrier. ing market share held by the highest Sales of duping equipment were re- priced configuration: CDs. But the portedly stagnating, and many dupli- upswing is especially welcome be- cators began to sense that the future cause it clearly goes beyond just those of their industry lay more in spoken consumers who own CD players to a word than music cassettes. But for the general trend of more people buying first part of 1987, net shipments of more music. pre-recorded music cassettes were up A look at the recent comparative 22% in units and 23% in value. The performance of the various configura- format's reported share of the total tions suggests the possibility that market, at 57%, was slightly higher dramatic shifts in format popularity than ever before. And, looking just at may be moderating, with several for- those formats whose shipments mats perhaps eventually coexisting at showed gains, the cassette increase relatively stable market shares. But represented more than 57% of all the

146 MIX, JANUARY 1988 MIPI Mel -nie increases. This means not only that list. In place of numbers were dashes the cassette is holding its own, but like those used in charts on cereal Moelerm that for the first time since 1984 the boxes to denote the absence of apar- Phi Tech, manufacturer of the growth in the cassette market has ticular vital nutrient. Perhaps in affir- Photon MIDI Converter, has exceeded, in numbers of units shipped, mation of the cycle of life, however, a produced a 16-page guide to the growth of CDs. new category appeared just as the 8- help guitarists better understand the benefits of MIDI. Explore To record company accountants, of track expired. Cassette singles made sections on enhancing the guitar, course. the units-shipped figures are their debut in trace quantities of effects control, tricks with MIDI less important than those concerning 842,000, or 0.26% of units shipped. and more. Rumor has it that this new configura- dollar value. With average suggested Discover how the pros are list price in the recent report at almost tion, introduced experimentally early using MIDI, with comments from: $16 (down from over $17 in 1986), in 1987, picked up steam in the latter John Abercrombie, Carlos CDs certainly deliver the record com- half of the year, providing one more Alomar, Steve Bargonetti, panies more buck for the bang. Cas- good reason to eagerly await the next Brian Bromberg, Bunny Brunel, sette prices, by way of comparison, RIAA report. Larry Coryell, Mikail Graham, average out at just over $7 per unit. Nick Moroch, That explains why CDs accounted for Chris Stein & 27% of the total market value with Al Weissman only 13% of the units. Similarly, CDs September I986's "After-Mix" cov- For Your contributed nearly 60% of the value ered Sony's then relatively new Sprint- jump in the up-moving formats with er system for high-speed video dupli- only 40% of the increased shipments. cation, and speculated on the applic- rRr.c. Copy Compared to the first half of 1986, CD ability of the magnetic contact print- Contact: value and units were up 113% and ing technique to duplication for R- 131"à respectively. These gains come DAT. At the time, Sony representatives Phi Tech 4605 N. Stiles, Dept. MX1 were cautious about the future of DAT, as little surprise, and may even seem Oklahoma City, OK 73105 disappointing compared to the growth and especially reticent concerning (405) 521 -9000 rates of two or three years ago. But in DAT duping. The company acknowl- sheer numbers of units, the January edged its concern about the impact of Circle #102 on Reader Service Card through June figures for 1987 were DAT on the ascendance of the preco- close to double those for all of 1985. cious yet still vulnerable compact disc. Even for fans of the black vinyl The technology for DAT duping was formats, the RIAA report is mildly en- certainly within Sony's reach, but the RC/11 couraging. 1.13 .'EP shipments continued introductic )n of actual hardware would to fall, dipping by 5%. The drop in depend on both the health of the Cl) value, at 10%, was somewhat steeper, and the development of amarket for Test Tapes reflecting in part a40-cent decrease in the new format. average list to $7.05. But compared to In the intervening time, DAT has the unit shipment slides of 17% and been thrust to the front lines of the 25% respectively in 1985 and '86, these record industry's war against sales setbacks seem relatively mild. The displacement from home taping. Lob- ele*4 same may he said with respect to ship- byists on both sides of the "home tap- ç ments of vinyl singles, which fell 10%, ing rights" issue have had their say c ilteeeee instead of 22% as in 1986. It might be before Congressional hearings in that the vinyl formats, particularly LPs, Washington, and the controversy has are reaching aplateau in their decline even been reported in the regular that can be sustained for atime by a news sections of daily papers. Pro- • Cassettes core of consumers disinclined to take posed inhibitions on the ability of the CD plunge. If the trend holds, the DAT machines to copy from pre-re- • Open Reel up to 1" IP's market share, near 17% of units in corded music sources would likely • Custom Formats the RIAA report, could linger above strike afatal blow to the format. As of 10% for close to adecade. this writing, however, action on bills For the 8-track cartridge, on the to require inclusion of the CBS "copy other hand, the lingering days are code scanner" chip in all U.S. DAT over. After years on the sidelines of machines is stalled, pending an eval- For acatalogue of standard test tapes or further information contact. the race for format pre-eminence, the uation by the National Bureau of Stan- 8-track has finally bottomed out. In dards of the copy code's effect on RCA TEST TAPES this latest RIAA report, perhaps the encoded music. So DAT hardware DEPT M configuration's last, 8-track figures manufacturers have astrong incentive 108 Monticello Road Weaverville, NC 28787 were apparently too low to actually to bring product to market now, he- 17041658-2067

Circle #103 on Reader Service Card

JAVI :eV Pm. miX 147 AFTER •MIX cluded utilizing helical scan subcode ticipated, based on the Sprinter video data tracks. Longitudinal auxiliary duping process mentioned above. fore Congress makes any moves. And tracks at each edge of the tape may be (Readers are referred once again to Sony, dropping its hesitant pose of used for time code. the September 1986 "After-Mix" for a mid-1986, has made it clear with a It enough studios choose DAT as a full explanation of Sprinter and the recent set of product introductions cost-effective way to mix to digital, bias magnetic field contact printing that it intends to reassert its leader- the PCM-2500 or similar units prom- process.) The configuration used for ship role in the propagation of DAT ised soon from TEAC, Fostex, Naka- high-speed DAT is designed to inte- technology. michi and others may well become grate with existing Sony equipment Heading up Sony's DAT lineup are standard equipment in mastering and used in compact disc production. The two professional recorders shown at production facilities. But the new process begins with playback of a the recent New York AES. The PCM- machine shares an important draw- PCM-1630 format production master 2000 is aportable machine for "out- back with its forebears in the Fl fam- on aDMR-4000 video deck (see Fig. door recording and field sound acqui- ily: it does not provide the user with la). The digital output of the 1630 sition" applications, priced in the editing capability. Since Fis have processor is fed, along with signals $7,000 range. For non-remote applica- gained a fair measure of acceptance from Sony's DAQ-1000 PQ generator, tions, Sony offers the PCM-2500 at for certain professional applications, into the AS1-100 signal converter, one roughly $5,000. This unit features 4x there may be little incentive to switch of three "key components" newly de- oversampling digital filters in the D/A over to the pro-DAT equipment if it veloped for DAT duplication. The section, double-encoded Reed-Solo- doesn't offer the added advantage of AS1-100 translates the PCM signal of mon code for error detection, and editing. the source into DAT PCM, inserts DAT independent conversion/processing In the area of DAT duplication, Sony subcode into the PCM signal, adds of each channel. Three sampling rates has, as mentioned in the July 1987 error correction signals, and generates may be selected, as well as three types column, been working on the devel- the ATF (Automatic Track Finding) of digital interfacing: S/P DIF (RCA opment of both high-speed and real- signal which will allow playback ma- connectors), AES/EBU (XLR) and SDIF- time systems. Specifics on the config- chines to differentiate between "nor- 2 (BNC). Analog ins and outs are +4 uration and operation of these prod- mal" (real-time recorded) and "wide" balanced transformerless XLRs. Avari- ucts have now become available. The (high-speed recorded) track pitch ety of cue/search capabilities are in- $600,000 high-speed system is, as an- modes. The combined signals are then RF modulated and outputted to one or more AMI -12 Mirror Mother recorders, which record DAT signals in a mirror-image track pattern on amodi- fied high-coercivity metal mother tape. The third new component in the sun chain is the AP1-12 high-speed printer. The API-12 is loaded (see Fig. lb) with the mirror mother and ablank volley copy tape which utilizes abarium ferrite oxide formulation developed by Sony for this application. The tapes are run together around the "transfer audio drum" through a"bias magnetic field" emitted by the "transfer head." Field THE SOURCE strength and orientation are such that IN THE ROCKIES the barium ferrite copy tape is biased, while the higher coercivity metal tape FOR PRO of the mirror mother emerges un- AUDIO AND scathed. As the two tapes, held oxide- to-oxide by pressurized air, exit the RECORDING bias field, the oxide particles of the EQUIPMENT copy tape are oriented by the field of the metal mother oxide against which NEW PRODUCTS. they are pressed. A mirror image of the mirror mother is created, result- ADAMS•SMITH ing in aproperly oriented DAT format OTARI • JBL • AKG copy tape. Sony advertises a print ZETA-THREE - SYNCHRONIZER KURZWEIL • LEXICON speed of 327 times faster than real 3M TAPE • YAMAHA time, allowing an 80-minute program SHURE • RAMSA Eiirgil mX55 (the maximum time for DAT in the VALLEY INTERNATIONAL SEMPTE CENTER-TRACK wide mode) to be reproduced in a mere 15 seconds. BOX 285, SUN VALLEY, IDAHO 83353 208-726-3476 —COIVTINIIED ON PAGE 221

Circle #104 on Reader Service Card

148 MIX,JANUARY 1988 POST •SCRIPT by Peter Wetzler TAPELESS RECORDING A COMPONENT HARD DISK- MIDI SCORING SYSTEM

11)1 technology and hard disk audio The CompuSonk.s lets you make recorders make an effective combina- critical time code adjustments as fast tion for working in the field of music as your fingers can fly. For instance, composition/post-production. The ad- when Iscore live to picture, Ifind that vantage of scoring to picture with an my keyboard response time is often interactive hard disk and MIDI con- three to five frames late. Ican slide the trolled electronic synthesizers is ap- cue with one keystroke. This feature is parent to anyone who has spent his very important to composers like me career synching sound to picture and who like to work in a spontaneous creating musical designs. Digital audio manner—scoring on the liv. quality is only part of the benefit—a major advantage is increased speed. The CompuSonics DSP 2002 system Digital audio is only combined with a wide selection of keyboards, sampling devices, computer and signal processors serves my part of the benefit needs and perft wms all necessary post- production and music design require ments with the requisite speed and of using a system increased creative flexibility. Almost everything you can do with reel-w-reel tape you can do on hard disk—and faster. For example, synch. like this—a major ing can be done with one keystroke; all Ihave to do is engage avideocas- sette with time code in "play," set up advantage is my synthesizers to aparticular sound color, put the CompuSonics in "record" mode and let it follow the time code. increased speed. Working this way, Ican often score things in one pass. There is no fast Synthesizer technology is changing forward and rewinding involved. If I rapidly and as the keyboard and al- scored afive-minute section and need- ternate controllers evolve, we can ad- ed to locate a transition at the four- vance with them. In the process we minute mark, Iwould enter four min- simply keep our hard disk separate utes and have it play right from there. from this development; it can be ex- Synching that transition to video is panded as the storage need arises. At simply amatter of entering the correct this point it already has all the flexibil- time code number. The computer does ity and storage capacity we need since all the number crunching and Inever the system we've assembled at Trans- have to rock and roll any tape reels. corn Digital offers ten hours of stereo

JAM Ala' 1988. Mix 149 POST •SCRIPT EXCELLENCE is the result of uncompromising dedication to quality and service. sound storage on 14 hard disks. For my JRF is proud of its reputation as a leader in the field of magnetic purpose, Ihave allocated 2.5 hours of heads. Our technical and engineering staff is committed to providing sound space (at 50 kHz) with adigital the finest products and services: streamer "Megatape" for back-up.

•Magnetic Head Refurbishing A Sample Component •Optical/Digital Assembly System Design Alignment The musk design studio we've as- •Full line of replacement heads sembled is built around three sam- IN STOCK plers: the Emulator II, Kurzweil 250 •MCl/Sony parts dealer and Akai S900; the Yamaha DX7, Casio •3M parts dealer CZ and an analog synthesizer, the •Technical Assistance Rhodes Chroma Polaris. An array of •Fast,reliable service that's outboard effects that have become in- unmatched for quality creasingly important for coloring the sound includes the Lexicon 224, the Eventide SB1026, Yamaha SPX90, Ya- maha REV7 and Lexicon PCM60. MIDI software is run on both Macintosh and Amiga personal computers. Since the MAGNETIC SCIENCES Amiga is a multi -tasking machine, we've placed the CompuSonics screen Responsive to the needs of on a memory resident window that we the recording industry, we at JRF feel pull up as an overlay at any time. This there can be no substitute for EXCELLENCE. consolidation has reduced the number of terminals cluttering up the work- Kennedy Road •P.O. Box 121 •Greendell, NJ 07839 »mum' space. Tel: (201) 579-5773 •Fax (201) 579-6021• Telex 325-449 MUM Ihave access to massive sound effects libraries on the CompuSonics. Circle #105 on Reader Service Card Edit lists constructed in the dialog suite and in the off-line sound effects studio are available to me in an instant. I also have direct access to all the outboard equipment (i.e., harmonizers, compressors, digital delays, etc.) stored in the main recording studio featuring a 36- input SSL 6000E mixing console and Professionals demand the best tools Sony 3324 multi-track digital recorder. There are 24 tielines linking my studio available. to this mixing suite, so Ican either send instruments direct to the digital Manny's supplies the best support multi-track or pull effects from the systems necessary to help achieve racks into my machines at any time. The studio has devised aunique D-to- excellence—professional tools to assist D interface between the CompuSon- in creating that excellence. ics and the Sony 3324 based on the 1630 protocol so that my music never Manny's the professional's choice. leaves the digital dunmin.

Working with the CompuSonics MANNY'S MUSIC Working with the hard disk falls into 156 W. 48th Street three basic categories: recording, sam- NYC, NY 10036 pling and networking. Despite its many (212) 819-0576 applications, the CompuSonics serves primarily as a recording device. AMIDI Mon.-Sat. 9:00-6:00 sequencer cannot actually store sound data. Once you have done all your MIDI multi-tracking you have to record it somewhere. With the hard disk tie - lined to my studio, Ihave access to a considerable memory bank's worth of

Circle #106 on Reader Service Card

150 MIX. JAN( AR) 1988 stereo storage space. This affords me as interesting compositional tools. I CompuSonics software is atremend- the luxury, for example, to record to have been sequencing with Mark of ous editing tool. Overall, it is the kind picture on the CompuSonics and the the Unicorn's Performer 2.1 and will of setup that allows for tremendous MIDI sequencer concurrently. If Ilike probably switch to Oix-ode's sequenc- creative flexibility and still lets the the take, it is stored in the CompuSon- er for compatibility with Intelligent musician/composer play apivotal po- ics and I'm ready to move on to the Music's M, jam Factory and the new sition on the audio/video post-pro- next cue. If the mix or tempo was drum programmer, Upbeat. duction team. wrong, Isimply make adjustments on The standard MIDI/SMPTE interface, the MIDI sequencer and fire it back meanwhile, is handled by the Roland Peter Wetzler is staff musk designer at into the CompuSonics. SBX-80. If Iwant the sequencer to fire Transcom Digital a Neu , )brk-based Storage is only part of the picture, akeyboard at aparticular time code telelision production andpostproduc- since the editing capabilities are con- number, this box makes all the impulse tion studio. A classically trained pian- siderable as w•ell. Takes can be dis- connections. ist and experimental music. composer, sected and pieced together in much The combination of tools become be bas written and performed sound- the same way as awriter works with an artist's varied palette. The hard disk tracks for a range of feature films his word processor. Samples can be serves as my storage hin while the and TV shows. auditioned and synched to picture for quick review and c(mnparison. Sc)und effects can be pulled from archive with instant access and then be sampled or processed with a range of digital de- Now! ASingle Channel BBE with vices. As already mentioned, time code slips and slides are simple numeric Mic Level, Line Level and Phantom Power! keystrokes away. Ihave other recording options from which to choose. The Sony Fl works nicely as an auxiliary multi-tracking device. Ican create an original bed The clarity, definition, presence, texture and voice intelligibility for which with asynthesizer, record that to Fl, BBE has become world renowned is now in asingle channel format. For all bring it back through my mixer, track another layer of sound to the Fl and microphone uses—from vocalists to instrumental soloists and lecturers to then add the combination to the Com- distributed sound systems, the BBE 401 will become indispensable. puSonics. It's a fast and easy way of High or low impedance mics and musical instruments can plug directly into digitally multi-tracking off-line with- the front or rear panel jacks. The BBE 401 has its own preamp with gain con- out leaving the room. trols, can be used as adirect box and will accept — 10dBu line levels. 24 volts In addition, Ihave the option of of phantom power are available from the low impedance mic output. going direct to the SSL and the Sony The BBE processors achieve time alignment of harmonic and fundamental 3324 if time and budget perrnits. In frequencies that were present in the live performance but became reshuffled in post-production we sometimes have the often convoluted paths of recording, playback and broadcast of audio. to do an entire television episode in one day. Someone is in one room com- piling the effects track while I'm in another room creating three or four The BBE 802 separate stereo music tracks. All of this For use in broadcast, recording and large concert systems and industrial audio. sound data is assembled to the 24- Balanced and unbalanced lines +24 dBu headroom, track recorder, perfectly synched to hard wire bypass. The ultimate BBE for SMPTE time code and ready to mix. professional use. Working with MIDI The Macintosh and Amiga personal computers are essential elements in an overall digital audio post-production picture. The Amiga's own stereo sound is plugged into the patchbay The BBE 402 and occasionally the samples are even For use in home recording, clubs, good enough to record. There are alot discos, and systems using unbalanced lines. of sequencing and librarian programs +14 dBu headroom —10 dBu levels. Home audio and cassette copies are available for the Mac while there is a greatly improved. growing range of algorithmic programs for the Amiga (i.e., Henry Low- N 5500 Bolsa Ave.. Suite 245, Iluntington Beach. California 92649 engard's Lyre, burie Spiegel's Music 714-897-6766 •800-233-8346 (USA) •800-558-3963 (CA) Mouse, and the forthcoming M from Intelligent Music) that actually work (In Canada contact Daymen Audio. 3241 Kennedy Rd. #22 Scarborough. Ontario M1V2J9 or call 416-298-9644 Circle #107 on Reader Setvice Card

JAVIAR) I988, MIX 151 INTERACTIVITY by Lou C2,-aBianca HYPERCARD A NEW KEY TO INTERACTIVITY

or years, the demystification of tech- nate the linked or connected text pos- nology and its integration with the arts sibilities that allow areader to pursue has been my ongoing personal avoca- references behind words and con- tion. As an 18-year-old songwriter/pro- cepts. Initially, their work was relegat- ducer, Iwas committed to the concept ed to theoretical problem-solving soft- that the left brain and the right brain ware and expert systems. As microproc- could and should co-exist peacefully. essors and chip design have increased After abrief honeymoon in the studio, speed and storage capability, the con- writing, singing and learning about the vergence of audio, music, film, video recording process, Icame to the con- F clusion that making music and its tech- THE MACINTOSH PERFORMANCE LIBRARY nical production were organically and creatively compatible. In the mid-'70s that commitment was put to the test in my first encount- ers with aBuchla computer music system, mainframe computer-generated graphics and their attendant programmers. Like high priests guarding the oracle, the programmers seemed to have avested interest in placing barriers and computer jargon between users and their objectives. Years later, I found myself in front of seminar and workshop audiences, explaining and sometimes defending the creative freedom to be gained from synthesizers and computers in music and animation. Things have come full circle. Desktop publishing, PC-based graphics and MIDI music workstations are now familiar and integral parts of the "new media" landscape. As one of Mix's resident Macintosh advocates, I have been pleased to see the Mac technology achieve its place in the sun—in graphics and in the studio. In essence the message has been and interactive programming has the same: computers are not just tools brought about the existence of what or robots—they can be powerful, friend- they called "hypermedia." Nelson's ly extensions of our own creative con- ideas are detailed in an updated edi- sciousness. Elegantly designed soft- tion of computerLib/DreamMachines, ware can allow an expert's knowledge published by Microsoft Press. There to become a"personal guide" in con- are now more than 20 software incar- verting data into knowledge. In the nations of his hypertext vision, afutur- 1960s, programming pioneers Ted istic computer-based method for re- Nelson and Doug Englebart created thinking the way we read, write and the concept of "Hypertext" to desig- communicate.

152 MIX,JANUARY 1988 NOW AVAILABLE FROM MIX BOOKSHELF... Affordable Management Software for the Studio Executive

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Nominated for a "The instant accessibility to financial "As astudio owner, Ifind 1987 TEC Award information is extraordinary. It used to this is the only system that (Technical Excellence take days to compile information of this addresses our particular and Creativity) in detail and clarity. Idon't know how we industry and helps keep the category of Out- managed all these years without it. This is you on top of it...An standing Technical definitely the way to go. Iwould recom- essential tool for today's Achievement in mend it to anyone without reservation!" studio businessman." Computer Hardware/ —Paul Camarata, President, Sunset —Angel Balestier, Owner, Software. Sound Group IV Recording

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b-1.\1:1RY \Ir.: 153 INTERACTIVITY RECORDING EQUIPMENT Hypermedia One of the most important new devel- —All Major Brands— opments in bringing hypermedia to the general business and creative community is Apple's release of HyperCard FOR STUDIOS/HOMES for the Macintosh computer. Its inven- CHURCHES/CLUBS tor calls it an "interactive erector set." It can be used to organize your desk- •Reel to Reel Decks (2-4-8-16 Track) top, create a personal management •Cassette Decks •Mixing Boards system or to realize your own vision of •Mikes •Studio Monitor Speakers interactivity. Contrary to the implica- •Special Effects Units Accessories tions of its name, HyperCard is not hardware or an add-on board. It is a TASCAM creative software database environment which allows the user to gener- • VOLUME DEALER ate and link interactive custom programs. The HyperCard will do for in- • NEVV 8( USED teractive video what the laser printer • E-Z TERMS and page layout software have done • ALL MAJOR CREDIT CARDS for desktop publishing. The program • PROFESSIONAL ADVICE is being given away with the purchase Call for acatalog and pricing information. of every new Macintosh. HyperCard uses the metaphor of RHYTHM CITY stacks of cards, where each card is the equivalent of a database record con- 287 East Paces Ferry Road N.E. taining up to 32K of information. Stacks Atlanta, Georgia 30305 of cards are created and linked to ac- 1-404-237-9552 •1-404-237-8526 complish the desired programming ef- CALL TOLL-FREE IN GA 1-800-282-7995 fect. The user can determine how the

Circle #108 on Reader Service Card cards are linked to each other, and a powerful scripting language lets the user customize the application. Users can also access cards residing on another Macintosh running on the same network. HyperCard provides the development tools for writing applications previously too complicated for non- programmers. For media and interactive producers, Apple has prepared driver "stackware" which allows Hy- perCard commands to control videodisc machines. Apple describes Hyper- Card as "a personal toolkit that gives users the power to use, customize and create new information using multiple information types such as text, graphics, video, music, voice and animation." It could also be described as ahigh-level programming language (similar to Pilot or Logo) which provides an authoring environment for r people who would not consider themselves computer programmers. It ena- LEARN THE ART OF RECORDING bles users to create and customize LEARN CREATIVE RECORDING SKILLS ON THE LATEST EQUIPMENT AT THE LEADING their own applications, organizing SCHOOL FOR SOUND ENGINEERS, PRODUCERS AND STUDIO MUSICIANS. WITH OR WITHOUT PREVIOUS EXPERIENCE, IF YOU'RE SERIOUS ABOUT A CAREER IN RECORDING, information by context rather than OUR 'HANDS-ON' TRAINING PROGRAMS CAN GET YOU STARTED AND PUT YOU AHEAD. hierarchy. HyperCard uses icons, fields FOR FREE BROCHURE, PLEASE CALL OR WRITE TODAY and buttons which can be configured THE THE RECORDING WORKSHOP by function as a database manager, 455-X MASSIEVILLE ROAD, CHILLICOTHE, OHIO 45601 RECORDING word processor, spreadsheet applica- (800) 848-9900 (614) 663-2544 WORKSHOP 01-170 STATE BOARD OF SCHOOL AND COLLEGE REGISTRATION #80-07.06967 tion, communications terminal pro-

154 MIX,JANUARY 1988 gram, and interactive video authoring world. The programming involved in program. HyperCard creates a new system. In fact, there are few computer linking these applications was achal- platform for developers which will applications for which HyperCard lenge, and the satisfaction of having a result in stackware programs using the cannot be used. program concept up and running in a HyperCard metaphor of card stacks. HyperCard required over three years matter of minutes or hours, not days or The program will be distributed on of research and development. The de- weeks, was exhilarating. Iapproached disk at first, but will eventually be put velopment team was led by Bill Atkin- HyperCard, as Ido with any new Mac- in the system's ROM, according to Ap- son, an Apple Fellow and the devel- intosh software, without consulting ple's higher education marketing man- oper of QuicicDraw and MacPaint soft- the documentation, and found it an ager, Bud Colligan. ware, two fundamental building blocks amazingly intuitive program. Browsing through HyperCard is a of Macintosh technology. The pro- HyperCard organizes data by mean- very natural process. The off-the-shelf gram is based on the concept that ing and context, allowing users to package comes with anumber of stacks, "cards," the basic units of information, browse or search through large bodies including clip art, stack ideas, Rolodex may be organized into "stacks." Users of information quickly, making it an card layouts, calendars, tape box lab- can work with existing ones or create a ideal access medium for CD-ROM and els, and more. The user level can be variety of cards and stacks, and can videodisc technology. Apple is current- set at browsing, typing, painting, purchase third party stacks developed ly working on CD-ROM drivers for the authoring or scripting. The basic erec- for special purposes. While the original release of the program contains sample stackware, Apple expects most stackware applications to be written WE CAN TRANSFORM YOUR PROJECT by third party developers and users. In fact, Ipredict that well-designed stack- FROM THIS ware will become a minor industry satisfying needs in wide range of vertical applications.

Why HyperCard? According to Atkinson, "the promise of modifying and controlling your own environment is apromise that has not been fulfilled. HyperCard is apersonal tool kit for putting together an information environment that works the way you do." Coping with the revolution in information has become a full-time job for media production pro- -çt;\ fessionals and members of the general business community. Anyone who has to keep records and make decisions based on referring back to those records is a candidate for HyperCard. When we look at the functional use of information we find that the process ••./7 of decision making is based on linking NORTHEAS7F/IND/0/7;11 RECORDING; INC bits of data into chains of information. The traditional database is built around •Services: Transfers from 1/4" and 1/2" analog to Sony PCM-1610/30 an arbitrary architecture, with limited for archiving and LP or CD mastering. ability to customize the model. Be- Digital transfers to PCM-1610/30 from other digital formats: yond the database applications, Hyper- PCM-F1, 701, or 501, DASH 1/4" (Sony PCM-3202), others. Card is an invaluable tool in the organi- Digital Editing and Compact Disc tape mastering with the zation of the day-to-day activities of Sony DAE-1100 Digital Editor. managing a project, a business or a Complete Compact Disc Services. career. Rentals.

Practical Applications •Credits: Frank Zappa, Arlo Guthrie, Rubber Rodeo, Ritchie Havens, As aMac user Iwas able to easily trans- Swimming Pool Q's, Matt Glaser, Lucio Dalla fer my computerized Rolodex, appoint- Soundtrack to Diva, A & M, Polygram, Rounder, Rykodisc, ment calendar, job lists, and budget Musical Heritage Society, Centaur, Second Hearing, Titanic, templates into the HyperCard environ- Bose, CompuSonics, Polaroid, Wang ment. Subsequently, 1 linked these All editing performed by Dr. Toby Mountain, PhD. Music. stacks to current projects, scripts and Call: 617-753-1192 articles in development. Today, Hyper- Card is the center of my Macintosh for information, prices and our PR package.

Circle #110 on Reader Service Card

JANUARY 1988, MIX 155 INTERACTIVITY HyperVision, an integrated audio-video production software package, is an example of the kind of HyperCard- based "stackware" products that are starting to come on to the market. HyperVision provides templates, buttons and fields programmed to permit the linking of scripts, budgets and schedules with the storyboard, image and

iD 1987 Speed of Light Corornunicalions sound libraries, and the edit HyperVision Control Panel decision list.

tor set piece is the card. Cards have HyperCard Authoring ability to separate the background from definable backgrounds, buttons and HyperCard's "authoring - component the card is reused. Cards can have spe- fields. A group of cards is astack. All allows you to create stacks that com- cific ID numbers or specific names activity starts at the "Home Stack." The municate ideas or present scenarios that allow them to be accessed uner- home stack card is a series of icon that you may want to share with your ringly. A card maintains its card ID as buttons and fields which can be select- clients, co-workers or family. Author- long as it exists. In mixed card stacks ed and arranged to the user's specifica- ing means that you can harness the discrete names may prove to be more tions. At any given point you can ask to power of HyperCard to create your practical. review the cards you have browsed own Macintosh world view. The Hyper- through by clicking on "Recent," afea- Card screen can be expanded beyond Fields and Buttons ture which is also invaluable in the the 9-inch diagonal 512 by 342 pixel The "Field and Button Tools" are lo- design and linking of stacks. The "mes- display area. The 12-inch Macintosh II cated on the "Tool Menu." Fields are sage box" allows you to navigate screen can handle 640 by 480 pixels, fill-in-the-blank programmable text through or locate agiven card, graphic with larger screens going up to 1,000 areas. Each field has an optional visual or entry. The search through the Hyper- pixels in each dimension. layer and font properties. The Hyper- Card file is extremely fast and is akey Talk programming language can be di- aspect of the programming break- Stacks and Layers rected to access and respond to data through designed into the package by Stacks can be homogeneous, all the entered into the field. HyperCard per- the developers. Finding and entering same kind of cards, or they can be mits the cloning, copying and pasting information, the retrieval environ- heterogeneous, with avariety of dif- of fields between stacks. ments and the browse tool are unique ferent kinds of cards. The HyperCard Buttons perform actions. HyperCard aspects of the program. author can decide on the levels of ac- "buttons" may be created and used Cross-referencing information, for cess and security applicable to agiven any place on acard or stack. They can example linking asound file with the stack, or through the use of a pass- be used to link the functions of the sheet music, or script with budget in- word, protect the stack from being ac- cards and stacks so that highly special- formation, is the kind of application cidently changed or deleted. Multiple ized functions may be called up for that illustrates the power this program picture, field and button layers are an- any application. Using buttons to link delivers. HyperCard's ability to print other innovative aspect of the pro- one card to another requires absolute- out data as text, graphics or reports is gram's design capabilities. Awide va- ly no knowledge of how HyperTalk another important function. You can riety of blank backgrounds are provid- works. Buttons have selectable and customize these reports to reflect the ed with the program. These back- customizable visual properties. Over particular way in which you want to grounds can then be customized with two dozen buttons are included in the see the text or graphics in a given fields, buttons and graphics. Card and package. Buttons can also be cloned, stack, within the window restrictions background interaction come into play copied and pasted between stacks. built into the program. in the design process. Essentially, the This is a real timesaver, eliminating

156 MIX, ANVARY 19H8 the need to re-invent the wheel each tations in HyperCard are the size of the result of some kind of action. The time you want to re-use agiven field or active window, which is limited to Script Editor's automatic formatting button. screen size, and the fact that you can ability insures that plain English Linkage is the very essence of aHy- only see one card at a time. While commands are written properly. perCard. Card fields, buttons and frustrating for power users, consider- scripts can be linked to create the par- ing what the program delivers, these HyperCard Hierarchy & ticular functionality you are shooting i in itations are endurable. The modu- Commands for in your program design. The ele- larity of the Script Editor structure al- HyperCard operates within avery spe- gant simplicity of this aspect of Hyper- lows you to re-use pieces from exist- cific hierarchical structure. The program Card is where the Mac's friendly inter- ing programs. This would be the equiv- itself is at the top of the object hier- face, and the art and science of the alent of cutting and pasting "code," archy. The "Home Stack" is the plat- program come together. something not as easily executed in form from which all functions may be traditional programming languages. launched. "Stacks" are the next basic Hyperpaint The structure of the HyperTalk script element. The cards in agiven stack HyperCard includes a new and Un- is based on ashort series of instruc- share acommon "Background." Each proved version of MacPaint. The "Paint- tions that are to be carried out as a "Card" contains text, numbers and/or ing Tools Menu" has been expanded to include some extremely functional new additions. The Painting Palettes include the Selection Tool, the Lasso (for moving images), the Pencil, the Paintbrush, the Eraser, the Straight Line Tool, the Rectangle Tool, the Rounded Rectangle Tool, the Paint Bucket Tool (for filling in patterns), the Oval Tool, the Curve Tool, the Patterns Palette and the Text Tool. The Paint Menu includes all of the MacPaint functions and several new additions. The Regular and Irregular Polygon Tool and the Spraypaint Tool are new additions to the MacPaint tool kit. The paint program is the onboard graphics generator. Images can be created and stored for use later. Existing images can be digitized and scanned into the program for stotyboards, etc. Virtually any graphic image can be rendered through the use of the paint capabilities.

HyperTalk HyperTalk is HyperCard's program- Imitation is the sincerest • Sync-source tune compensated, ming environment, apowerful author- FSTMhestundlloin ccnnittlopretiist(siurrieillyit)huer most flattery. ew biampable passive crossover with ing tool for nontechnical users. It is a popular large monitor in use in the gold buss bar contacts. language which allows the owner to U.S. today. It is, in fact, astandard. • User defined low frequency "roll your own" software. Despite the And perhaps for good reason too. window allowing 4 or 8 ohm Originally conceived as a high SPL operation complexity of programming for the pop monitor, it took advantage of the ON THE SUBTLE SIDE: Macintosh with programs like Basic, dual-concentric principle of speaker It is the artful blending together of HyperTalk is consistently easier to use design pioneered by Tannoy over for- these obvious advantages that yield a ty years ago. more musical, accurate, powerful, than other customizing environments. Now there's anew alternative destin- non-fatiguing presentation of sound. Author Danny Goodman calls Hyper- ed to become the next standard. And This allows the engineer and producer although it may be the obvious advan- to mold the finer details of amix in Talk the deluxe Swiss Army knife of tages that establish Tannoy's FSM as amore precise way than ever before. programming. You can program in the new industry standard, it's really At any sound pressure level ... plain English. "Go to the next card," the subtle differences that we're most even at very low listening levels ... proud of. certainly at high ones. Can you say the "zoom in," "dissolve "area few exam- ON THE OBVIOUS SIDE: sanie about the current standard'? ples of the commands that can he used • Far greater power handling to obtain the desired result. ability TANNOY, • Greater full bandwith sen- Professional Products Programming commands are writ- sitivity Tannin North America, Inc. ten in scripts. Scripts can retrieve data • More extended low frequency 300 Gage Ave., Unit I response Kitchener, Ont., from other cards and perform calcula- • The lowest stated phase shift of any Canada. N2M 2C8 tions combining retrieved and current large studio monitor (519) 745-1158 Telex 069-55328 card information. The two major limi- • Separate sub-enclosure for bass driver

Circle #111 on Reader Service Card

JANIARY 1988, MIX 157 INTERACTIVITY cations to talk to each other. Multi- gram, it can support other applica- finder supports fast switching between tions, such as electronic mail and ter- graphics. Commands or instructions to applications and interprocess commu- minal emulation. create reports or perform specific ac- nications on the Mac II, SE and Plus. When used with AST Research's DOS tions are accomplished through the Multifinder was developed at Apple by Card it will allow Mac Ils to run DOS use of "Buttons" and "Fields." Within Erich Ringewald and Phil Goldman. software. This will eliminate the bar- astack and in the generation of anew The program enables users to open as rier in information sharing between stack based on an existing one, Hyper- many as 30 applications at once, and operating systems. Apple president Talk's object-oriented language per- supports background laser printing. John Sculley has described the arrival mits users to leverage its "Inheritance" With slight modification to the proof multi-tasking and other technolo- abilities. HyperTalk commands are the most complex element of the program. They Hypermedia of the limited amount of informa- require knowledge and application of tion most computers could manage "Notation Conventions," "Navigation A View "on line" at any one time. But as Commands" and "Action Commands." high capacity magnetic hard disks The commands permit a complete From the Top become nearly standard equipment range of "Arithmetic Commands." The John Sculley, chairman and CEO of on computers like the Macintosh, screen, menus, window, buttons and Apple Computer, Inc. was the cor- established methods of finding re- fields can be accessed through "Screen porate advocate behind the devel- lated pieces of information become and Object Manipulation Commands." opment of HyperCard. The follow- cumbersome. At the same time, HyperTalk is capable of producing the ing comments are excerpts from his we've scarcely begun to take advan- "beep" sound, the standard Mac reac- foreword to Danny Goodman's tage of new magnetic and optical tion to unacceptable requests. It can book The Complete HyperCard mass storage technologies that also be used to play back electroni- Handbook: place on our desktops more infor- cally recorded sounds through the Hypermedia. It's anew word for mation than the largest mainframe computer's speaker or audio port. most of us. Yet this term and its computers managed ten years ago. HyperCard has afairly extensive sin- definition will become increasingly The hardware that holds the in- gle-voice music generator controlled important the more we rely on per- formation is only one side of the by the "play" command. It can extract sonal computers to store, manage, hypermedia equation. The balanc- the waveform from a prerecorded and retrieve information. ing side—and unquestionably the sound and allow you to play it back at In broad terms, hypermedia is most difficult part—is the software any tempo or note pitch. the delivery of information in forms that lets us function in ahyperme- The fundamental value of the sound that go beyond traditional list and dia environment. By "function," I management aspects of HyperCard is database report methods. More spe- mean working with linked informa- the ability to program sounds with in- cifically, it means that you don't tion in an intuitive and interactive teractive programs, ideal for stand- have to follow apredetermined or- way. And not putting information alone programs or interactive video ganization scheme when searching delivery just into the hands of com- simulations. There is also aseries of for information. Instead, you branch puter professionals, but giving ev- "File Manipulation Commands" and instantly to related facts. The infor- eryone sufficient power to bring in- "HyperCard Properties" dealing with mation is eternally cross-referenced, formation to life. Bill Atkinson's Hy- text, fonts, margins and other related with fact linked to fact, linked to perCard puts hypermedia into the aspects. Programmable HyperTalk fact. hands of nearly every Macintosh functions include "Time and Date," Hypermedia is particularly true owner. and "Math Functions," such as sine, to its name when it links facts across Ishould stress that HyperCard is cosine and tangent. As you can see conventional subject boundaries. not an application, like aword proc- HyperCard offers an endless array of For example, when studying chem- essing, spreadsheet or database opportunities for individual develop- istry, you may wish to study the life program. It is, rather, asoftware en- ment of custom applications. of achemical compound's creator. gine—a hypermedia tool kit, if you One hypermedia link would con- will. With HyperCard, virtually any- Multifinder nect that compound to the chemist's one can become asoftware author, The HyperCard's capabilities will be- biographical information located in producing an information-based ap- come even more extensive with the an entirely different reference work plication that looks like aprofes- introduction of Multifinder, Apple's Another link might connect the sionally designed Macintosh appli- new multi-tasking operating system. A chemical compound to alisting of cation. HyperCard shatters the bar- multi-tasking operating system exe- grocery store products that incorpo- rier between aperson's information cutes several instructions and applica- rate the compound, or to long-term handling dream and its realization. tions concurrently. During concurrent health studies on the compound. The expertise embodied in Hyper- execution, each program informs the We can focus more on content, Card applications will be the exper operating system of its actions and re- while ignoring the organization. tise of business people, profession- source needs by atechnique known as Until recently, there has been lit- al people and educators—in short, interprocess communication (IPC). tle need to address hypermedia on the people who work with informa- This function allows concurrent appli- personal computers, largely because tion daily.

158 M1X,JANUARY 1988 gies as bringing Apple astep closer to "interpersonal computing." It's important to note that Apple's Multifinder (unlike the promised IBM OS/2) is not at present atrue multi-tasking sys- MASTER Eric Clapton tem. It does not do foreground-con- Rod Stewart current processing. Limitations of the Kenny Rogers 68000 CPU and of current Mac applica- A tions prevent Apple from producing a Judas Priest true multi-tasking system this time FULLERSOUND The Romantics out. What the Multifinder does is some Company B very facile and fast context switching Complete Mastering Services for: Barry Manilow (like Switcher, only better integrated • Compact Disc with the Finder and other Mac applica- • Records Exposé tions), while allowing some back- • Cassette Julio Iglesias ground-concurrent processing to occur. The background processing, most- Eddie Money ly communications and print spooling, Dionne Warwick uses aprogramming construct called Sony PCM 1630/DMR-4000 "wait-next-event" to handle the proc- Sony PCM 3202, Sony PCM 601 Braulio essor interrupts. Mitsubishi X-80 Bee Gees Multifinder is Apple's first step in Bellamy Brothers the direction of multi-tasking and all the benefits it offers. True multi-task- Kenny Loggins ing will require a break in upward George Clinton compatibility with current limited Mac ENG: Michael Fuller applications. At some point expect to see Apple make the jump to true multi- o tasking with an operating system that FULLERSOUNO, INC. may run only on the Mac II (and sub- 1755 N E 149 STREET MIAMI. FLORIDA 33181 / [305)945-6697 sequent Mac incarnations). That operating system will use the memory Circle #112 on Reader Seniice Card address space, its Nubus slots and its hardware support for virtual memory. So, true multi-tasking may not be available on the Mac Plus and Mac SE.

HyperCard Mike Leibhold of Apple's Optical Me dia Systems Development Advanced Technology Group told me that the driver software for virtually every videodisc player capable of Level Three control has been placed on separate cards. Users can instantly integrate a videodisc player into aHyperCard ap- 11 I plication. Drivers for audio tape recorders and CD-ROM units are under development. Videodisc driver cards will be distributed at a nominal fee I I through the Apple Programmer Devel- I) opers Association (APDA, 290 SW 43rd Street, Renton, WA 98055, 206-251-9798). Apple is so positive about Hyper- Ill Card's value in microcomputer appli- FUTLRE DISC cations that they include the package as a"no-charge" application provided 9-LSTEMS with every new Macintosh computer. The program and 220-page user manu- COMPLETE ANALOGUE & DIGITAL MASTERING SERVICES al is now available to previous Macin- tosh owners through Apple's dealer FOR COMPACT DISC, RECORD & CASSETTE MANUFACTURING network for nominal charge of $49. A 3475 CAHUENGA BLVD. WES'. HOLLYWOOD. CALIF01-iNIA 90068 number of companies have created (213) 876-8733

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javtLey 1988. MIX 159 in NYC taped November 5; Gladys Knight INTERACTIVITY November (see "On The Road"); in conjunction with England's Audio Lease, they & the Pips at the New York Hilton; and software and videodisc products for provided equipment for Depeche Mode's David Bromberg andJorma ICaukonen the HyperCard environment. The Voy- U.S. tour. Their Meyer main PA consisted of at the Beacon Theater in Manhattan .. . The ager Company has developed Hyper- 36 MSI3s and 18 650R2 subs powered with Pat Metheny Group, Lisa Lisa and En- Card stackware that controls avideo- Crest amplifiers .. . AndJoe Cocker's tour gelbert Humperdinck were some of the disc containing the complete works of in November-December was handled joint- national acts that Andrews Audio provided The National Gallery ofArt. OWL Inter- ly with Audio Support covering the Eastern equipment for at Radio City Music Hall in national president, Alan Boyd, has an- and Ultra Sound the Western duties. New York City. . .New purchases include nounced OWL's intention to move its Located in Northampton, Massachusetts, aYamaha PM300040-channel house console. own excellent hypertext program, 100 miles west of Boston, Sun Sound This month's EQUIPMENT SPOTLIGHT Guide, with added HyperCard features, Audio Inc. has been in business for eight is on Panasonic's new RAMSA WR-S840 to the IBM PC environment. Macor- years and traditionally has provided sound Series sound reinforcement console. mind's Video Works II has built-in Hy- reinforcement for colleges in the New Eng- RAMSA has unveiled anew house and mon- perCard "hooks" to allow the two pro- land area. But they have also been involved itor console that looks like it could take a grams to operate as one from the user's with several national and regional tours over good sized bite out of the mid-priced profes- point of view. Video Works also has the last few years, and just finished the North sional mixing console market. Igot achance been upgraded for the Mac II color American leg of Suzanne Vega's world to see the WR-S840 at the New York AES capabilities and with HyperCard deliv- tour (see "On The Road"). She used Sun convention and came away quite impressed ers one of the most evolved interactive Sound's new PA system that consists of East- at the quality and price (approx. $27,000 programming and simulation packages ern Acoustic Works' new flyable KF 850 retail, fully loaded). House model configu- available. cabinets, Crest's new 8001 amplifiers and a ration is 40x8x2 with an 11x8 matrix capa- new 40-channel Yamaha PM3000. Asked bility. The state board has 40 inputs, 18 The Complete HyperCard about the EAW cabinets, Herb Mayer re- outputs and utilizes the same frame as the Handbook sponded, "We have been working with EAW house console. Some things that impressed The Complete HyperCard Handbook, for the past six or seven years. Since they are me about the 840 console were the resistive written by Danny Goodman and pub- right here in Massachusetts, we have had a plastic faders designed to last 20 times the lished by Bantam Computer Books, is close relationship with them and have been life of atypical carbon fader; flexible ribbon the definitive resource for those who involved in this KF 850 project for the last cables that mate with the modular PC boards are interested in HyperCard. The au- two years. We give EAW user feedback such through gold-plated contacts; the elimina- thor had the unique opportunity to be as how it sounds, rolls, sets up, packs in the tion of fragile motherboards; fiberglass- on the inside and literally participate truck, etc. They have been very receptive to epoxy circuit boards with double-sided trac- in the development of HyperCard having that input so it has been a good es and plated holes; adistributed ground- while he was writing the handbook. relationship for us. This new cabinet is tre- ing system with asolid copper bar running His affection for the Macintosh, re- mendous and we've had nothing but good the length of the frame; and the input-saving spect for the accomplishments of the reports." Sun Sound has been working with submix module that is adouble wide input HyperCard team and incisive approach Southside Johnny for the past three with eight mic/line preamp circuits and the to explaining and organizing agargan- years .. . Last spring they did anational tour same 4-band state-variable sweep-frequency tuan amount of information (720 pag- with Arlo Guthrie .. .They also work with EQ, high pass filter, PH, and channel "on" es), combine to make his book the Great Adventure (one of Six Flags' amuse- switches as the standard input modules. "bible" for HyperCard users. He has ment parks) in New Jersey, which has an Designed to increase the input potential, it also developed aHyperCard stacicware outdoor arena where they have shows every is ideal for keyboards, effects, strings, and product called "Focal Point," which is week throughout the summer .. . In the other groupings that can be submixed. an integrated time management, sche- spring, Sun Sound keeps busy around New To be honest, Iwould like to have seen duling and personal management pack- England's colleges with anovel idea called eight stereo (or 16 mono) subtnasters in- age. HyperCard is amajor step forward The Great College Drive-In where apor- stead of the eight mono, and Iprefer full in bringing interactivity and interactive table drive-in screen is erected and audio LED metering. Still, the 18 meters provided video to the general user. played through speaker cabinets and/or should be adequate for most applications. transmitted on AM for car radios. And if the noise specs given by the manufac- The heavyweight championship boxing turer are met in subsequent field testing, SOUND •ON •STAGE match between Mike Tyson and Tyrone and the rumors 1hear of good audio quality

-FROM PAGE 98, REIATOM I NLU Biggs at the Atlantic City Convention Cen- are verified by more veteran engineers, one binger 524s, Matrbes custom 3-way JBL-load- ter utilized a Meyer PA provided by An- would have to think RAMSA has awinner on ed double 15s for the occasional rock bands drews Audio Tours. Twenty MSL3s and its hands. encountered, and Yamaha 2408 consoles. ten UPAs arranged in acenter cluster over Crest 4001s power the entire sound system the ring gave knockout coverage for the Got any news? Call (415) 726-2428 or EMail and house consoles are Midas, Hill, and 20,000 people in attendance ... A com- Herman-US IMC 2560 or send press releases, Yamaha PM2000. plete Meyer house and monitor system was photos, etc. to: Sound Reinforcement News, New York's Audio Support was busy shipped across the Atlantic for Little Steven Mix magazine, 2608 Ninth Street, Berkeley, with three different tours right before the 8c the Disciples of Soul's November and CA 94710. holidays—Elvis Costello 8c the Confed- December European tour (see "On The erates with Nick Lowe opening carried Road") .. Other shows keeping Andrews Mark Herman owns Hi-Tech Audio, a Meyer main PA and TAC Scorpion house busy were the Grammy lifetime Achieve- sound reinforcement company eecial- and stage consoles for a brief junket in ment Awards at the Mark Hellinger Theater izing in console rentals.

160 MIX, JANUARY 1988 —FROM PAGE 60, RDAT collect: there are already the mecha nisms in place to collect royalties from retail sales, radio stations and the rest. And those procedures are Direct specifically designed to route the correct percentages of these royalties to from Digital? the appropriate recipients. Incorporat- ing alicense fee clause into an artist's contract would be easy to do, also. No problem! There are no complex exemption requirements as would be needed for atape levy to enable the blind, jour- nalists, nature recordists, home musicians and others to get their tapes Experience Ultimate Fidelity levy-free; arecording royalty is much on the world's largest more straightforward than that. No rk Nakamichi real time vast expenditure on spoilers like Copycode that affect the sound. No cassette duplication system. need for equipment modification or Call toll free (800) 323-AAPX international legislation (the license In northern California, call can be enacted on acountry-by-coun- (800) 327-AAPX or (707) 585-1132 try basis with no trouble). In fact there would probably be no need for legislation at all. It's simply an agree- "Our Success ment between the record company is the result of and the consumer which could be AAFEXTM people caring printed on the inner sleeve of an al- WE UNDERSTAND SOUND about Quality"© bum, in the booklet of aCD, on the inlay card of acassette: "In breaking the shrink-wrap on this package, you hereby agree to the following license Circle #113 on Reader Service Card conditions. .. . " A good deal of computer software includes a licensing agreement: why not an album? At a stroke, a recording royalty charged to the purchaser or commercial user would solve many of the problems which plague—or are said to plague—the record business today, with no unpleasant bending. It's simply amatter of incorporating an additional royalty (not unlike the "blanket license" issued to broadcast users of production music in the United States today) into the existing structure. ou'll find everything you need to make music at Sam Why the idea hasn't been raised be- Y Ash at consistently low prices. It's afact that Sam Ash has fore I'm not sure. And I'd like to hear been filling America's playing and recording needs for some reasons as to why it shouldn't more that 60 years. So whatever your needs may be, be proposed now. It could be agood you'll find that the helpful and expert people at Sam Ash deal easier and fairer than present will bring music to your ears. schemes—and cheaper, too, for all YOUR SOURCE FOR MUSIC AND SOUND concerned. The principle is simple: instead of trying to stop people from Call Toll Free: 1-800-4-SAM-ASH doing something they want to do, OR 1-718-347-7757 charge them for the privilege. Home taping? Legalize it!

Richard Rien, formerly editor of Stu- dio Sound magazine, is a recording engineer, producer and computer music and communications specialist 124 FULTON AVENUE HEMPSTEAD, N.Y. 11550 MUSIC STORES based in England's West Country. He is an occasional contributor to Mix. Circle #114 on Reader Service Card

JANUARY 1988, Ntlx 161 remember a wonderful trip to Van- "After the applause died down, couver, British Columbia, when we all drove together and Tommy and Nancy we were back in the dressing room were just inseparable. Grace would say, "Now look you kids, no hanky welcoming a continuous stream panky!" and we would laugh for hours. But there was no hanky panky. We all of Hollywood well-wishers, had separate rooms and Iknow how tough it was for them. Watching these acquaintances and friends. And kids was a show in itself, especially when they were saying goodnight and fighting to keep their hands off of each then came the big one for all of us— other. Tommy and Nancy's engagement Nancy Sinatra." party was ablow-out affair. Every star I had ever heard of was there. There was even aspecial heart-shaped cake for -FROM PAGE 128, TOMMY SANDS The Tommy Sands fans were there the celebration. They were married not my head into the booth and Count was along with Tommy's friends, most of too long after that and for a while at the console listening to aplayback. whom were celebrities themselves. seemed like the happiest couple After the tape stopped and everyone This was Hollywood's new generation, around. They lived in agorgeous white agreed that that was the take, Iquietly and Tommy Sands was atop draw. apartment that Auntie Tina decorated. walked up to him and reintroduced Well, the show was aknockout. After Frank often called the kids when we myself as cool as Icould be. Isaid, the applause died down we were back were performing, and he always said, "Count, Idon't know if you remember in the dressing room welcoming a "Blainey, pick up the check and sign me or not but...." He interrupted continuous stream of Hollywood well- my name!" The kids lived afairy tale me, "Hal Blaine, as much drums as you wishers, acquaintances and friends. life, often going to Dad's house in Palm play, you think I'm gonna forget you?" Each time the door opened and the Springs, and on special occasions I Everything was going wonderfully maitre d' announced another name was lucky enough to be invited along. with the Tommy Sands show. Iwas we looked at each other in shock and The marriage didn't last too long, getting great studio experience with excitement. And then came the big though. In ashort time it seemed like Tommy doing his records. Imet all the one for all of us—Nancy Sinatra. She'd the perfect marriage wasn't that per- top producers at Capitol Records, and been sitting near the stage during the fect after all. Maybe Tommy and Nancy Ieven worked in Tommy's films doing show, laughing and having a ball as were just too young. No one knows bit parts, standing in for Tommy and she watched Tommy move through the reason for sure, but they did even- later working with many notables. We his paces, so handsome in his tuxedo. tually break up and Tommy more or were working at the Sands Hotel where They hit it off immediately. less quit the business. Rumors had it we recorded Sands at the Sands, my Tommy was about 19 then and Nancy that Frank Sinatra put out the word that first big band show album. Unfortu- was 17. After their first meeting they Sands was not to work anywhere, but nately, it was also the start of the finish were constantly together. Nancy in- insiders knew that was total hogwash. for our group, The Raiders, now called sisted on being on the road with us Tommy called me just prior to his move The Sharks, aname we adopted after and we all fell in love with her, too. to Hawaii and told me he didn't really playing Hawaii anumber of times. The She was everybody's friend, kid sister want to work anymore. He warned to Sharks were coming to aclose because and mentor. She had kind words for find himself and get back on the right Tommy was starting to play only big everyone and wasn't at all the spoiled track. He just had to get away, and what rooms, and large orchestras couldn't Hollywood brat some had feared. better place than Hawaii? My feeling really use country pickers. Nancy had gone to public schools and was that this teenager had gotten too But one of our biggest gigs was still was surprisingly normal. much too soon and just couldn't han- to come: the Coconut Grove. We had Nancy's mother (also named Nancy) dle it. been building to this event for three turned out to be the exact same way. Tommy had been retired for some years and the stakes were high. After She was the Italian counterpart of a time and was attending college when all, L.A. was the toughest town for any Jewish mother—there was always food promoter Tom Moffatt talked him into entertainer. on the table and Iwas constantly putting together an act for the Out- The houselights dimmed. Jeff Lewis amazed to find her making drapes for rigger Hotel in Honolulu. Tommy did threw the tympanist his cue to start the the living room or sewing somebody's really well there. One year when I thunderous roll. The curtain came up torn clothing. Her opening line was came over Idecided to surprise him. and the goosebumps started, remind- always something like, "Cmon. You While he was doing his act Isnuck ing me again of my childhood sitting must be hungry"—just like my mom. backstage and got on the drums. front row center back in the State Tommy's mother Grace and "Big Tommy finished his speech to the au- Theater in Hartford. Nancy" (as we affectionately called dience and away we went doing the It was such an emotional experi- her) consented to Nancy coming out Hawaiian favorite "Ain't No Bit Ting." ence. This was it as far as Iwas con- on the road with us on one condition: In amatter of seconds Tommy turned cerned. If Inever did another thing in either or both of them would come and somehow just knew it was me. It the business, Iknew Ihad made it. along and chaperone the lovebirds. I was awonderful reunion.

162 MIXJANIARY 1988 GiFte simeum

For years I've noticed that astrikingly cross over into each others' fields so large number of musicians are in- Portrait easily? volved with computers. At the same Shaw: Both music composition and time, aseemingly large group of com- computer programming involve put- puter programmers are musicians, or ting together asmall number of ele- involved with computers in music. I of an ments (notes, bits) into patterns am sure this is one of the reasons (phrases, instructions) that when as- computers have been so successfully sembled together into complete put to use in the generation and re- Artist works (songs, programs) have an aes- cording of music. San Francisco-based thetically pleasing effect on the con- composer-musician Greg Shaw is an sumer (listener, user). excellent example of the hybrid artist- scientist involved with shaping the in a Mix: Tell us about your computer and leading edges of both worlds. He is a computer music roots. gentle, humorous man with an irre- Shaw: When Ifirst became involved pressibly exuberant outlook on life. Computer with computers in 1970, text was put Recently we met at Gentle Synergy, into acomputer using punched cards his Synclavier-based studio. What fol- and JCL By 1972, Iwas using a line lows is arevealing portrait of one of editor and batch processors like RUN- the most interesting and creative World OFF on aTexas Instruments hard-copy minds actively involved in bridging ASCII terminal. By 1975 Iwas using a the gap between today's technology character editor, TECO, on an ASCII and the vision of tomorrow's new CRT terminal. By 1977 Iwas using a media. scroll mode WYSIWYG [What You See by Lou CasaBianca Is What You Get] editor, Bravo, on the Mix: Why do you think so many musi- Xerox Alto bit-map CRT. Only recent- cians and computer programmers ly, in 1986, Istarted using apage mode

PHOTO KIM HAIUNGION JANUARY 1988, mot 163 1988

ONIN $25.001 NE* &ENLARGED! Mix MORE 'MAN 1,000 ANNUAL UPDATED LISTINGS! DIRECTORY OF RECORDING INDUSTRY FACILITIES & SERVICES The Recording Industry's most comprehensive Sourcebook. Audio/Video Professionals everywhere rely on the regularly updated, monthly MIX Magazine directories for accurate, thorough and fresh information about their business. The new 1988 MIX ANNUAL DIRECTORY is an exhaustive, "nuts 'n' bolts," single-source reference compiled from these detailed directories and expanded with other indispensable industry data. When you want information fast, the 1988 MIX ANNUAL DIRECTORY has everything you need right at your fingertips—in one, easy-to-use, definitive reference source. Because the new 1988 edition contains more than 400 pages of new information, we've added new, heavy-duty, tabbed Index Pages which makes sourcing fast and easy. The totally revised 1988 ANNUAL DIRECTORY contains more than 7,000 up-to-date listings, arranged by geographic region, in more than adozen different categories, including: 1988 MIX ANNUAL DIRECTORY listings have the [:1 Recording Studios of the U.S. & Canada. detailed and important info industry Video Production & Post-production professionals need to make decisions. Facilities. • • • • • • • • • • • • ore". • Ul Facility Designers and Audio, Video Please send me copies of the New & Revised Equipment Suppliers. 1988 Mix Annual Directory of Recording Industry Facilities & Services as soon as it's off the press. I've also enclosed $2.00 per Mastering, Pressing and Tape Duplication copy for postage and handling. If I'm aCalifornia resident, I've Facilities. enclosed 6% for the Duke (sales tax). LI "A to Z" listing of Audio, Video and Musical Equipment Manufacturers. Enclosed is ri Check LI Money Order F.] Enlarged Market Data & Industry Statistics Charge to my credit card section. [1 Visa El Mastercard H American Express M188

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1987 MIX Publications. Inc. place your order TOLL-FREE at: (800) 233-9604 (In California: 800 641-3349). Canterbury of New Zealand (TV and radio spots), the California Strawberry Advisory Board (radio spots), and the 1987 Mill Valley Film Festival (TV spot and film trailer) with Saatchi & Saat- chi, BBDO and other agencies. I've produced music for home video such as Cooking With Country Stars from IVE/MVS, the Winter Olympic Games from ABC Sports/Mindscape/3 Star, for interactive home video, and computer-based audio such as music for the Macintosh Il dealer demo for Ap- ple. I've done sound effects for Dear America, afeature film for HBO/Cou- tune. Half of the projects Ido by myself, and half in collaboration with others.

Mix: In your opinion, when will the dynastudio become areality? The manufacturers indicated are used by way of example of the types and approximate casts of the various technologies Shaw: Two more generations of in- involved. creased ease of use will be required before the real dynastudio Ienvi- WYSIWYG editor, ReadySetGo, on the mastering; yet it would be so easy to sioned in 1978 arrives as a global Apple Macintosh. Music processors use that a2-year-old child could create commodity. The current generation of have followed asimilar evolutionary hit records with one. One of the first Synclavier-type ministudios requiring path in my experience. Luckily, I steps Itook was to organize and im- substantial power, air conditioning missed the punch-card music editor plement a22-year plan which includ- and computer expertise will evolve phase, although Isuspect many Music ed raising some seed capital. In 1979, over the coming decade into agener- V users did not. The first computer- Ico-founded a computer company, ation of personal studios that can fit based music editor Iused was aline 3Com Corporation, with Bob Metcalfe, on asingle desk top. They won't re- editor, Music Box LOGO, at the MIT inventor of the Ethernet local area quire any more power, air condition- Artificial Intelligence Laboratory in network. Ileft 3Com in 1985, after the ing or expertise than atypical office 1972. The PDP-11 Iused in 1973 in company reached over $50 million in machine. The following decade will Barry Vercoe's laboratory sported sales and was named the 22nd fastest see the emergence of dynastudios ASCII CRT terminals. My first use of growing company in the U.S. by Inc. small and easy enough for achild to scroll mode \WYSIWYG music editors magazine. carry around and use. This trend in was Jim Miller's Personal Composer audio studio computers roughly du- on the IBM PC in 1985, later super- Mix: This is when you were able to plicates the evolution of the general- seded by Mark of the Unicorn's Pro- concentrate on composing and the purpose computer, delayed by ten fessional Composer/Performer on the dynastudio? years. Macintosh. Page mode WYSIWYG mu- Shaw: Right. In 1986 Ispent ayear sic editors are doubtless soon to fol- consulting with New England Digital, Mix: What was your motivation or low. Music processors are following since they had built the closest thing inspiration to make dynastudios? in the footsteps of word processors. to adynastudio yet available. At this Shaw: Because of my personal expe- point I've assembled aprototype dy- rience when Iwas 2years old. When I Mix: When did you first conceive the nastudio from professional audio was 2, Iremember having atremen- "dynastudio" concept? equipment as applicable technologies dous passion for music. Iwanted to Shaw: In 1978, while Iwas working have become available. For example, play the trumpet, but Ihad to wait as acomputer programmer at Xerox I've made daily use of the Apple Mac- until Iwas 8 years old before Iwas Corporation in Palo Alto, the dynastu- intosh since June 1985, Synclavier strong enough to hold one. Life is dio only existed in my imagination. A since June 1986, Direct-to-Disk since short, and Iwish there had been an dynastudio is the musical analog of November 1986, and the Synclavier instrument Icould have played when Alan Kay's dynabook. By the turn of Optical WORM disk since October Iwas 2. Building dynastudios will give the century Ifigured that a lap-size 1987. I'm using this prototype dyna- future 2-year-olds that instrument I box, $300 at retail, could be mass- studio to compose and produce mu- never had. marketed internationally. It would sic and sound effects for avariety of contain the equivalent of an entire professional applications. Mix: Do you think 2-year-olds are audio recording studio, capable of developed enough to create music? enabling a single person to create Mix: What are some of the musical Shaw: Studies have shown that the complete musical works of the finest projects you've worked on? period from 1/12 to 3years old is the professional quality. It would allow Shaw: I've composed and produced time when the neurons in the brain you to go from initial concept to final music for such commercial clients as are most sensitive to forming path-

166 MIX,JANUARY 1988 01987 GENTLE SYNERGY ways that determine aperson's ability 2-year-olds will be able to compose is addressed by the perfume industry. to think creatively. People exposed to music with adynastudio, because they The quest for apersonal tactile iden- acreative environment at this age are won't have to understand how to com- tity is expressed by playing sports and more likely to exhibit creativity pose music. They'll just do it. going out dancing. The quest for a throughout their lives. Being able to personal expression of taste is ad- think creatively has given me alot of Mix: How would you describe the dressed by home cooking. The major- options in life that may not have been market for the dynastudio? ity of people Iknow have aclear per- available to me if Ihad not been Shaw: Iwant a dynastudio, and al- sonal identity in terms of each of these raised in acreative environment. Build- most everybody Idescribe the dyna- senses, and yet few people Iknow ing dynastudios for 2-year-olds will studio to wants one too. Arecent ran- have apersonal aural identity. Dyna- make acreative environment available dom survey conducted in the U.S. by studios will make it possible for any- to more people in the world, and con- Casio discovered that the majority of one to create amuch richer personal sequently provide greater lifetime op- people surveyed wish they could play musical identity than ever before with tions for the next generation of peo- amusical instrument, and yet only a very little effort and cost. ple on earth. small fraction of them do. More peo- Itell people dynastudios will be ple would if the difficulty and cost Mix: Let's talk about upcoming dyna- easy enough for a2-year-old child to were not so great. Dynastudios will studio/music technology break- make ahit record. Perhaps even young- greatly lower the difficulty and cost of throughs. er. Recently, while Iwas working on creative musical expression, allowing Shaw: The first thing is turn-key sim- the sound effects for the HBO docu- more people to turn their wish into plicity. A dynastudio must be so easy mentary Dear America: Letters Home reality. to use that anyone can take one home, From Vietnam with Doug Murray, turn it on, and be composing music Doug brought his 6-month-old son, Mix: This will be an extension of the within ten minutes without ever read- Alex, into the Gentle Synergy studio success of other personal expression ing amanual. Since most people today to try out the interim dynastudio. markets. think harder means better, achieving Within seconds Alex started playing Shaw: Major industries thrive on satis- this is more of ashift in design atti- on the Synclavier keyboard, instantly fying every person's quest for personal tude than technology. and gleefully noticing that his bang- identity as expressed through each of ing produced music. While not the the senses. The quest for apersonal MIX: What about size? most mature composition I've ever visual identity is addressed by the Shaw: A dynastudio must be easily heard, it was clearly the artwork of a fashion and cosmetics industries. The portable by everyone. Within the com- mind, at six months old, already ca- quest for apersonal olfactory identity ing decade, erasable optical technol- pable of agile aural awareness and expression.

Mix: Fortunately educational technol- DEVONSHIRE AUDIO/VIDEO ogy is advancing on the same curve. Shaw: Irecently had the pleasure of POST-PRODUCTION STUDIOS hearing Alan Kay give atalk in which he screened avideotape of Harry Rea- soner challenging Tim Gallwey, author •Sony and RCA 1" Type C Video with TBC of the book The Inner Game Of Ten- •Four Studios with Sony BVU-800 and nis, to prove Tim's claim that he could teach anyone to play tennis in 20 Adams-Smith 2600 minutes live on national IV. Amazing- •VITC capability in all rooms ly, the video shows Tim doing so with ease. He explains that this is possible •Neve 8128 Necam 96 with 56 inputs because everyone has long ago devel- •Separate Video Transfer room for laydown/layback oped muscle coordination, and it is just amatter of getting the mind out & copying of the way so the body can do what it • Otan i and MCI 24-Tracks with Dolby already knows how to do. Alan point- ed out that the same is true of music. •Digital Effects Libraries We all have long ago developed the •Digital sampling and synthesis aural coordination to create music and it is just amatter of getting our mind •Digidesign Q-SheetTM & Sound Designer' for MIDI- out of the way so the body can do Based Sound Effects Editing & Placement what it already knows how to do. This immediately made sense to me: explaining music can actually interfere with expressing music. That's what en- 10729 Magnolia Blvd. •North Hollywood ables some people to write songs Bookings and Information — (818) 985-1945 even though they can't read music or explain how they do it. And that's how Circle #115 on Reader Service Card

JANUARY 1988, MIX 167 ogles will make gigabytes of storage typically several years or more. Cur- peating musical motif A section of available in a pocket size area at a rent computer music technology is music could be filled in using the mass-market consumer price-point. nowhere near this level, and care will paint bucket, or random subsets of a This will permit lifetime access archiv- be required to catch up to the level of pattern could be sprinkled around ing. Music created on a dynastudio reliability consumers have become ac- using the spray can. A snap-to grid must be archived in away that it can customed to expect. could be used to constrain placement be accessed for a lifetime or more. of notes and motifs to measure, phrase This is as much adesign attitude as a Mix: What was your first experience and section boundaries. Grabbing a technology. Innova Digital Archive, in with intelligent instruments? handle on a rectangle filled with a Boulder, Colorado, is the first record Shaw: An intelligent musical instru- pattern and stretching it out could be company Iam aware of to adopt this ment is one whose output depends one way of increasing the length of a attitude. Digital cloning is making on continuing user input and is con- section of music. Intuitive visual ana- such an attitude possible, and within strained to always sound good. My logs such as these will become in- adecade it will be the norm. first experience with such abeast was creasingly popular in music software. in 1972 during my freshman year at Mix: How do you see the human in- MIT Ed Fredkin, my favorite profes- Mix: Do you see new technologies terface evolving beyond the mouse, sor, had an instrument in his office and standards like MIDI coming to- touch screens, light pens, etc.? called aMUSE, which was little more gether to create the dynastudio? Shaw: Vocal input is the key. A dyna- than apanel of knobs and faders con- Shaw: More multi-vendor coopera- studio must be able to easily take trolling a collection of flip-flops at- tion is needed. MIDI is an outstand- input from a composer who sings, tached to aspeaker, set up so that no ing cooperative effort that should be hums, whistles or grunts a musical matter how you twiddled the knobs, wholeheartedly supported by the en- motif. Improvements in signal process- it would always produce an interest- tire consumer and professional audio ing technology are needed before ing melody. Ithought to myself, "Any- industry because it dramatically lever- audio input can be transformed and body could have fun with one of these ages the value of all equipment that is manipulated as easily as keyboard in- things." Looking back, this MUSE was MIDI-capable. However, MIDI has lim- put. Composers must be able to dance, one of the seeds planted in my mind itations. It should be abi-directional wave their hands in the air, draw or that later grew into the dynastudio link with CRC handshaking for relia- tap out amelody, rhythm, harmony or concept. bility and configuration. It should be timbre into adynastudio. There's also faster—fast enough to support all of tactile input. Much of this technology Mix: How do Ted Nelson's hypertext the devices that want to use it, like is currently available, and will be and hypermedia concepts fit in? pianos and automated consoles. High- steadily refined. Shaw: Ever since Iran across Ted er level protocols above MIDI should When Iwas growing up, my family Nelson's book Computer Lib/Dream be defined in layers that correspond would occasionally invite the entire Machines in 1974, it has been my to the International Standards Organ- neighborhood over for ajam session. most referenced and revered source ization Open Systems Interconnection Everyone would be given a musical of vision into what is possible for Reference Model, such as presentation instrument to play—grandmothers, lit- computers to be: pleasure tools ex- layer protocols that enable the transfer tle babies, everyone. Later on, the panding what our minds can visualize, of samples and sequences between music teachers Istudied under at- create and produce. Iam still amazed dissimilar machines, and peer-to-peer tempted to teach me by example that each time Ibrowse through the book control protocols so that any machine anything less than technical perfection at how many of the visions Ted de- can control any other. As such things should be scorned and ridiculed. I scribed have come about, and how are standardized, care must be taken still have some tape recordings Imade many are yet to come. For example, to provide backward compatibility for of those early jam sessions; each time the essence of the Apple Macintosh existing MIDI equipment. Ilisten to them I'm reminded of the and its major applications are foresha- Media standards for archive and enthusiasm and satisfaction everyone dowed in great detail. This book was transfer media are essential to the felt in the absence of ridicule. my first introduction to hypertext, and growth of the audio industry. As new is still the most compelling source of technologies appear, designers must Mix: How much do you think adyna- insight into the subject I've ever seen. take great care to cooperate with one studio will cost? Anyone who designs or uses music, another to agree on compatible for- Shaw: Mass-marketed consumer prod- graphics or word processors should mats long before any products are ucts like the dynastudio must be low devour this book. It's quite tasty. developed. Such cooperation in the cost—in today's dollars, $300 or less. case of the audio compact disc result- For equivalent functionality, computer Mix: In mixing, we use words like ed in the CD becoming the most suc- technology decreases in price roughly "color" and "image" when referring cessful consumer electronics product afactor of two every year. As aresult, to aspects of sound. Do you see visual in history. Musicians, engineers, man- the prototype dynastudio's current analogies being used in music com- ufacturers and developers should all cost on the order of $300,000 will de- position technology? strive to continue such cooperation crease to the $300 price-point in rough- Shaw: Many of the notions used in as new technologies appear on the ly ten years, around 1997, allowing the Macintosh painting and drawing market, such as optical WORM and mass-marketing of the dynastudio to programs can be directly applied to erasable optical discs, so that they, begin. A dynastudio must work prop- music composition. For example, a too, can be as valuable and successful erly for as long as consumers expect, visual pattern could represent a re- as the CD has been.

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Dr. Richie Moore at Gate Five Studios by Linda Jacobson of fantastic audio/visual workstations establishments have opted for the with full synchronization, program- computer- bu i lt- i nto- the-world-class- Lots of studios use personal comput- mable audio mixing, direct-to-disk re- console approach. San Francisco's ers in the office to lighten the load of cording, and programmable audio and Different Fur, for instance, has afully bookkeeping and inventory chores. video patchbays. automated Solid State Logic console, But it's still not agarden variety item Today, however, while it seems and The Plant in Sarlsalito has Melquist in the control rooms of the great nearly every recording facility in the automation for its Trident console. American Northwest—even though Northwest uses apersonal computer We contacted several studios that this is the home of Silicon Valley and to help manage business operations, work with personal computers and growing high-tech communities in afar smaller group has actually gone we learned that their PCs usually in- Seattle and Portland. It looks like a PC in the control room or studio. In terface MIDI instruments, handle couple more years will pass before fact, some of the area's best-known sound storage duties and provide se- there's acomputer in every studio. It will happen because even today there exists software for music printing, recording and production tasks A DIFFERENT EMPHASIS to be handled by any breed of PC. All by josh Gressel neers might translate the word "art" the late models of Apple Macintosh, differently in their studio and their IBM PC and clones, Atari ST and Com- Regular readers of Mix might get work, we checked with afew plac- modore Amiga can work as cost-effec- the impression that to be a top es that have chosen not to empha- tive, hard-to-beat SMPTE/MIDI tools. studio means to have the latest size computers and asked them why. One can run programs for digital sig- mixing board, or, as the accompany- The following three studios are nal processing, EQ, sample editing, ing article emphasizes, to be in- alike in that each feels itself capable and sound merging, storage and mix- volved in computer-assisted music. of handling high-tech projects, and ing. Specialized PC packages can con- But who says the "art" in "state-of- each engineer emphasizes his open- trol Sony's 60-CD "jukebox" or edit the-art" has to refer to technology? ness to any musician who wants to Lexicon PCM70 sound effects. And PC Following ahunch that some engi- record. But beyond this, each feels systems can provide the foundation

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GRANNY'S Call us at (702) 786-2622 HOU .„. ,1(1,1 ,•1111111SE for a complete brochure. Circle #044 on Reader Service Card quencing functions in pre-production Mobius Music's Yamaha grand and recording. Around these parts, piano sits in the main studio over- Macintosh leads the pack, followed by looking the isolation booths. IBM PC and IBM clones (some places use both Mac and IBM). The Atari "It doesn't seem that there are as 104051 is next most popular. many good songs being written In discussing software and comput- now," he continues. "If you listen er-to-MIDI interfaces, studio managers to Motown or that genre of music most often mentioned Opcode. That of The Beatles, basically there's not fits in nicely with our geocentric awhole lot of technology involved theme—Opcode Systems is headquar- in that music-making process. It's tered in Silicon Valley's Menlo Park pretty straightforward. But the mu- (hometown of the Music Annex pro- sic, the arrangements, and the songs duction complex). Opcode's Mac- were really strong. Nowadays, you based sequencing, patch editors and acertain indifference to technology hear a lot more production. You librarian programs are closely followed as an art form in and of itself Listen hear alot more of the equipment in number by the preeminent Perfor- to them explain why. that's making the music. Whatever mer, asequencer/editor program by piece of gear is hot at the current Mark of the Unicorn (chosen by Mix Oliver DiCicco, chief engineer, time is the sound you hear." readers as the winner of a 1987 TEC Mobius Music Recording, DiCicco feels that many are turn- Award in the Computer Hardware/ San Francisco: ing back to the "human" touch: Software category). For all the modern technology "There's some degree of abacklash that's happening, look at pieces of to drum machines. People are get- Atari in the Studio gear that are prized," says DiCicco. ting tired of the sounds and are Jab Works Recording Studio (O'Brien, "They're 20-year-old tube micro- looking to get real drum sounds. Oregon, ten minutes north of the Cali- phones, tube limiters and equaliz- Instead of using acomplete drum fornia border on Redwood Highway) ers. These things are popular not machine setup, they'll maybe use a is "an alternative energy-based, Rasta because of their technology but be- kick and a snare from the drum owned-and-operated, multi-track stu- cause of the way they sound machine and then add live toms dio in the heart of the woods that

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172 MIX,JANUARY 1988 and live cymbals. Anybody can plug is very, very healthy. asynthesizer into amixing console. "Any pro 24-track studio like There's no art to that." ours must be well-versed in doing DiCicco hastens to add that syn- the synthesized music," Wellhaus- thesizers also make viable music: en emphasizes. "But the acoustic "The art is to get the synthesizer to music and the in-between music is sound alot better than it really does alive and well and there are plenty and to create that aural image, that of activities where people don't sense of space. I ny to work with a run a sync track before they do whole palette of sounds. Idon't their songs, and the whole comput- really care what the source of the er revolution has had little to no sound is—whether it's asynthesiz- impact on countless people." er, or aviolin, or someone squeez- Does Wellhausen feel there's a ing acat—as long as we can get technological discrimination, creat- Warren Dennis of The Banquet something out of that. ing apressure on studios and artists Sound Studios. "All music is an emotional thing. to invest in computers? Iwant to be able to capture that. I well: "The studio is selling not so "People for whom technology like the human element. Ilike the much the studio and the time as doesn't have anything to do with tension that gets set up when you're much as the creativity of the people their music will make little bows in listening to someone and you ask who work here," he explains. "We its direction," Wellhausen admits. 'Are they going to make this note? are less and less infatuated with "I might do these folky kind of Are they going to get through this time and material—having to stay bands and we'll put this inconse- passage?' There's abreathing. The up at night to buy the next piece of quential synthesizer in acouple of music has adynamic to it that doesn't gear and then having the guy go songs just to go 'Yeah, we've got necessarily exist with acomputer- down the street because he can this in here.' It is kind of weird generated program where the notes save $5 an hour. I'm not really in- when you see that there's this kind all have equal value. People spend terested in that kind of studio at- of pressure, even for those people. a lot of their time programming mosphere any longer. Most of the "It doesn't look good when you those human elements into their projects have some relationship think about the people who Iwork music. They'll say: 'Yeah, Ipro- with us beyond the studio, either with who are really great musicians. grammed the drum machine so it on aproducer's level, or co-produc- They started playing when they almost sounds like a real guy. I er's level, where we have alittle bit were kids, practiced every day for programmed in a couple of mis- more at stake than astudio being hours and hours on how to get a takes and stuff.' It almost seems to hired by the hour. good tone on the violin or play the me: 'Well, why bother? Why don't "Our equipment is very, very guitar chord cleanly. You have to you just play it?' " high quality [they have a$30,000 face facts that if kids are going to Yamaha 9-foot concert grand piano be interested in music, agreat deal Warren Dennis, owner, Dennis says no computer has been of them are going to spend their Banquet Sound Studios, able to imitate] and if we don't talents in learning how to program Santa Rosa, CA: have apiece of equipment we can synthesizers and drum machines "l think computers make it possi- rent it or hire amusician who has instead of learning how to play ble to make mediocre music sound it. But Ithink our clientele [who acoustic instruments." great," says Dennis. "I think it's range from heavy metal to Chris- Does Wellhausen feel there is one of the dangers of the technol- tian choirs] are people who want any intrinsic difference between ogy—it's being utilized a lot by not just somebody who plugs the acoustic and synthesized sounds? people who are fascinated by the stuff in and who gets things on "Yes, I do," Wellhausen re- sounds. tape without distorting. They want sponds. "Acoustic instruments make "I like to use the computer to people working on their produc- air move. Synthesizers and drum serve the music, not to make the tion who can add that fourth di- machines only make a speaker music from that. Computers are mension." move, which makes the air move. I wonderful in terms of flexibility of notice that when you're doing a sound texturing. And there are cer- Dave Wellhausen, owner, synthesizer overdub in the control tain advantages to them in commer- Dave Wellhausen Studios, room, the only sound that the in- cial work. But when Ilisten to the San Francisco: strument makes is voltage. That's radio I'm tired of music that sounds "The people who are doing music kind of weird when you think computerized. I'm tired of hearing that doesn't come off aSMPTE track about it. In all the acoustic instru- everybody having the same snare need aplace to come to, too," says ments, the person moves the air drum. And Ithink it's apretty uni- Wellhausen. "The main reason I directly. If you're playing a wind versal feeling in terms of the artists haven't got a computer is that it instrument it's the air out of their out there." hasn't seemed to have paid. Istay body into atube. It's got to have a Dennis' attitude is reflected in booked two months in advance. different impact spiritually. Anyone his studio business philosophy as The regular analog musician scene can see those differences clearly."111

JANUARY /988, MIX 173 specializes in reggae and world beat enough for him to build afull-service dio focus is on blending electronic music," according to studio owner Jah 24-track facility which opened for music and sounds with acoustic mu- Levi. A producer, engineer and multi- business early this year. sic, particularly ancient instruments instrumentalist, he spent his Philadel- Levi himself designed, constructed, made available to clients, including phia boyhood immersed in learning and wired the two-story, 33-foot by the niyabinghi drum, sitar, Chinese electronics and playing music, and 12-foot building. He lives on the sec- singing bowls and Tibetan bells. hung out in recording studios, where ond floor; on the first he installed Jah Levi's computer system of choice his father Kenneth Goldstein produced Works, two floating control room/stu- was the Atari 1040ST and Steinberg Pro and engineered records by blues art- dios. Jah Works' 8-track room is a 24 software, used to control his Korg ists. Levi moved out West and toured MIDI-controlled, automated studio DSS-1 sampler, Casio CZ-5000, Fair- with the Oregon-based reggae band with aFostex 80 and 4050 auto-loca- light Voicetracker, four Yamaha FBOls, Strictly Roots, then left to assemble a tor, and various MIDI controllers. The Photon MIDI guitar controller, and studio and establish his two labels, 24-track room holds aSony/MCI JI-1- assorted Roland, Korg, Linn and JL Tree of Life Records and Theocratic 24 tape machine and aMIDI-muteable Cooper gear. "When Iput the studio Records. Levi's own original reggae Studiomaster Series II console. Mix- together, Ihad money only for the cassette recordings, which he pro- down is to 2-track digital, on the basics. So Ipicked the Steinberg for duced and engineered, have sold well Nakamichi DMP-100. The overall stu- sequencing and for its note editing grid, rather than go with alibrarian or patch editor. Ido quite a bit with sequencers, often using eight or nine at once—sometimes with the ST as a MOTORISED FADERS slave sequencer because the other sequencers have better resolution for THE WAY AHEAD synching to tape—either the Sequen- tial Circuits Studio 440 or Yamaha Penny & Giles motorised faders QX1, which Irun off of SMPTE." Be- — the way ahead for the new fore he purchases any editors or librar- generation of manual and ians, Levi hopes to acquire visual edit- automated mixing consoles. ing and MIDI data analysis software, Just part of perhaps Steinberg's editing program Penny & Giles' for the DSS-1 and the Studio 440. comprehensive Jah Works may be the only studio range of audio and in the country whose electronics, light video controllers. and heating systems run on solar power generators, power bank and sine • rapid wave inverters ("the general setup for response to alternative energy"), all enclosed in a small building adjacent to the main commands structure. "If it's wintertime and there's • sensitive not much sun," notes Levi, "I have to manual control run the generator every so often. If I'm running the generator and it runs • digital, VCA or analogue out of gas, then Ilose whatever data compatible Penny & Giles I'm working on. But it doesn't mess audio and video up the machines." So he must often II update signalling controllers are renowned for high quality and reliability. Join the world's leading and regularly back-up data from the incorporated broadcasting and recording organisations computer's internal storage to floppy -don't settle for anything less • positioning disk, or—as Levi does frequently— repeatability 0.5mm "sequence things and immediately mix them onto digital 2-track; Idon't For further information and waste any time. As a result, things come together very quickly." technical data contact us on Levi's reasons for choosing Atari? "I (213) 393 0014 spent alot of time researching. Iliked the built-in MIDI ports, the price, the amount of memory and how much it Penny* Gies can be upgraded to, and the fact that it can work with the [Hybrid Arts] ADAP Soundrack—I like the idea of Penny & Giles Inc having digital editing set up in the 2716 Ocean Park Boulevard #1005 computer." Santa Monica California 90405 USA In Richmond, California, Starlight Tel: (213) 393 0014 Telex: 858866 Fax: (213) 450 9860 Sound is an automated 24-track/digital mixdown facility with afull MIDI Circle #117 on Reader Service Card

174 MIX,JANUARY 1988 DAVID ED RNE TRUE STORIES o LUIS VAL.DF.:2. o CORRIDOS patchbay to interface with their myriad samplers and synthesizers. They do AL LX. GO.x. o WALKER o BEACH BOYS CARR01,..L. BALLARD a lot of commercial rock, jazz and R&B projects here, and this year NEVER CRY WOLF - JOE STRUMMER DAVE BRUBECK claimed platinum and gold records Noi:NAN MAn ER TRI RH Ri YS DteIt'l• DANCE for the work they did with client Club Nouveau. N .MIND Studio owner Bill Thompson went '•riy WOLF for an Atari 1040ST; he chose amono- chrome monitor for its high resolu- g DAY RP'i ID 0S tion, necessary because there's so much happening on screen when he Russian Hill Recording PAUL. runs Steinberg's Pro 24 sequencing SHPPU MIND program. Thompson points out that A recording and mixing facility dedicated in this application, the color display is NORM; to the music and film communities WANG distracting, and its low resolution "looks a bit squashed." But a color ° DAVID monitor purchase is planned so that BYRNE: o ALEX games can be played and computer art created—one important function COX 1520 Pacific Ave., San Francisco, CA 94109 :\IORMAN of the Atari is to entertain band mem- Call Gail Nord: (415) 474-4520 bers in the lounge while they wait for MAILF I, NM each other to track vocals or overdub. SI CvI RUDOLPH- TROUBLE IN MIND LEE Starlight also uses Atari's Word Writer software and a Panasonic dot matrix HOOKER DAVID BYRNE o TRUE STORIES LUIS VALDE.2.' • printer to write and print out lead CORI:M.)0S

The Mac Pack Overlooking San Francisco Bay from scenic Sausalito is Gate Five Studios (featured on this issue's directory cover). The studio is album-oriented, but When it comes to quality offers powerful MIDI/SMPTE interface record manufacturing and capability and earlier this year hosted cassette duplication, CICA Corey Lerios as he created and record- has no equal. ed his synth-laden soundtrack for ABC-TV's Max Headroom. Dr. Richie Moore designed the facility, and works there as engineer. Gate Five has two Macintosh Plus systems: one in the control room, and one that travels Circle #119 on Reader Service Card JANUARY 1988, MIX 175 from office to studio. The latter is Another new Bay Area business is often powered up to run MacDraft, Midnight Records, an independent Microsoft Word and Acousticalc—the label formed last January by some of last, an electrical and acoustical lay- the San Francisco Bay Area's record out/design package written by pro- industry "heavies." Engineers/produc- grammer Annie Moore (Rich ie's wife) ers Jeffrey Norman (John Fogerty, to run under Excel, the Mac spread- Huey Lewis & the News, Bruce Horns- sheet/utility program. by) and Ann Fry (Van Morrison, Rick When brought into the studio, this James) joined forces afew years ago Mac uses the latest version of Perform- in aproduction company to do demos er to run all the MIDI keyboards, which and soundtracks. They worked regu- also interface with the studio's new larly at The Plant, at that time man- Roland S50 sampling synth. Gate Five's aged by their friend Claire Pister. favored patch librarians are Opcode's When The Plant closed (it has since Bob Ross, manager of the key- programs for storing and loading been re-opened and updated by Bob board room at Fantasy Studios in TX/DX sounds. Skye), Jeff Norman says, "as indepen- Berkeley. The Macintosh (left) The control room Mac also runs dents, we thought it was agood time loads and stores sounds for the Performer, interfaced (via the Opcode to start arecord company. People were Kurzweil 250 (bottom right). Studio Plus thru-box) with aSound - interesting in financially backing us, tracs MIDI PC board. On mixdown the why did Moore go Mac? "It's user- and there was a lot of interest from console takes 48 inputs, so guitars, friendly. Just for that. If you can point, the recording community. Our com- vocals and EX record to the 16-track, you can use it. And you can teach it to patriots include producer/engineer synchronized with live MIDI stuff people fairly quickly, and that's the Jim Gaines [profiled in July '87 Mix] going direct into the console. And the important thing—other people can and Bonnie Simmons, aradio DJ and Mac can store console mutes for the learn to use it really fast. So everybody former promo director of Warner mix and change MIDI programs in the can share in the process [of pre-pro- Bros." The three set up shop in the SPX90 and other outboard gear. duction and recording]. If you go for Albany (East Bay) offices/studio Gate Five is young enough (just an IBM, you have to go for its operat- owned by John Fogerty who gave them over ayear old) to have had its choice ing system. The Macintosh has its own agood lease-to-buy option. of studio-savvy computer systems built-in operating system, and that "Right now the studio is a 'musi- when first installing equipment. So makes life easier." cian's studio'—all the equipment is in the room you play in," Norman says. "John could play and just reach over and punch 'record.' We're going to expand to a24-track control room, with a Studer machine and Trident board. We're looking at it as being a Thunder ... /1 4/ real clean, state-of-the-art overdub room, ready for us to use in April or May." So far Midnight has signed Heist, from downunder! Ààdik amelodic heavy metal band that just Australian Monitor cut tracks in Studio D in Sausalito. Midnight is about to purchase a Macintosh Plus to handle keyboard and sound storage duties, and to interface and sequence instruments. Until the Midnight Studio is ready, Ann Fry's Macintosh travels to other facilities. 4.. They use Performer for sequencing, and Opcode editor/librarian programs for their DX7 and Super Jupiter. Fry also uses the Mac's older sibling, the 2models: 900w and 1600w Apple Ile, to run Passport's MIDI/8 Built TOUGH—custom alloy chassis sequencing program. Fry says she chose the Macintosh for studio work because the comput- • Whisper cooling er "has much more music software Grafton Sound available than any other system, and • Superior Specifications also it's very portable. It was ideal for • Full protection features (213) 306-0759 us as aproduction company, for pub- • Classic sound lishing demos and to sequence drum DEALERS REQUIRED! machines." • 2ohm capability In the venerable Fantasy Studios' VISIT US AT NAMM: BOOTH #159 (Berkeley) 24-track keyboard/MIDI Circle #141 on Reader Service Card

176 MIX,JANUARY 1988 SPECIFICATIONS TAPE FORMAT •V2 inch AKA! original cassette tape (MK20) HEAD CONFIGURATION •Super GX recording playback head WOW AND FLUTTER •19 cm s: 0.03% (W.RMS) - 0.05°4 Peak (DIN IEC A COMPLETE Weighted) 9.5 cm s. 9.04% (VO.FIMS) 0.06% Peak (DIN IEC Weighted) DrsToRTION RECORDING STUDIO •19 cm s: 0.5%. OdB (315Hz third harmonic distortion) 9.5 cm. s: 0.13% Cd9 (315 Hz third harmonic distortion) DYNAMIC RANGE ...IN ONE UNIT. •115dB. 1kHz (19cm s, 9.5 cm s) FREQUENCY CHARACTERISTICS •19 cm s: 50117— MHz, 9.5 cri s: 50 Hz —16kHz SN RATIO The revolutionary AKAI MG1214 incorporates a12 channel •94 dB (NAB A— WED, 315 Hz. 3% third harmonic mixer, a14 track recorder, an auto locator, and adigitally distortion) CROSS TALK switched bussing system in one single unit. This makes the •(Between neighboring channels) 55 dB, MG1214 invaluable as aproduction tool. A must have item 1kHz (19 cm s, 9.5 cm s) EQUIVALENT INPUT NOISE for your audio arsenal. •MIC: —125 dB PARAMETRIC EQUALIZER •HIGH: 1.5 /14Hz —15kHz 15dB MID 350 Hz — Sitliz 1-. 15dB LOW: 40147 — 890112 -±- 15dB AKAI professional Creative at Heart

‘;:-9 Ç,79 17•1 40 0, 40 oz. .00

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Circle #029 on Reader Service Card JI f ,113„ For more information contact your dealer or write to: _

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Two versatile, compact mixing consoles from Studiomaster available as 8-2 or 16-2 Applications: Front-of-House P.R. Club Installations Keyboard Mixing Theatre

Features: 3-band EQ, 4 auxiliary sends, 2 auxiliary returns, Stereo returns (16-2), Output EQ (16-2), LED output meters, Insert points, Post-fade Direct Outs (16-2), 5-pin DIN Record/Replay Socket, Expandable inputs, 8-2 can be rack-mounted, wall-mounted or stood free with unique endcheek design. For further details, contact Paul Reeve or Tony Allen at STUDIOMASTER INC., 1340-G Dynamics Street, Anaheim, CA 92806. Tel: (714) 524 2227 Fax: (714) 524 5096

djil b e.

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CALGARY Mothers Music (403) 245 3725 EDMONTON Mothers MUSK (403) 439 0007 HALIFAX Music Stop (902) 422 5671 MONTREAL Steves Music Store (514) 878 2216 OTTAWA Steves Music Store (613) 232 1131 QUEBEC Musique Richard Gendreou Inc (418) 522 3877 ST JEAN SUR RICHELIEU Guy Berger Son & Lumiere (514) 346 5310 TORONTO Steves Music Store (416) 593 8888 VANCOUVER Mothers Music (604) 438 3341 room, the main sampling tool is the Kurzweil 250. And as engineer Bob Ross says, "If you get a Kurzweil, you've got to get aMac to store sounds and load samples." However, he adds, 95% of his computer-using clients hap- AND WE'LL EAT IT! pen to work on the Macintosh, so that's We're so confident here at MUSIC ANNEX DUPLICATION„ that if you'll the system (512K) that makes life eas- bring us a sample duplicated cassette that's better than our own high ier in the Fantasy keyboard room. speed OTARI/DOLBY HX PRO' product, we'll eat it. Ross explains that he often starts a Better, by the way, means better sounding, a better price than you're song on the Linn 9000 drum comput- now paying, and better because we can get the run done faster. er/sequencer "because it's so fast," Much faster. then transfers the data to the Mac for detailed editing and sequencing with If you think we're ready to eat these words too, Performer. Synths here include four pick up the phone DX7s (modified to store extra banks and give us a of patches, so the in-house Opcode shot. librarian is often idle), Oberheim itekt Xpander (with Opcode librarian) and With the money Roland D50. Clients have a choice: 4.00* we'll save you they can program everything to be on a better. more played later in the studio, then bring consistent product, the computer or synth system into the who knows -you might studio for recording; or they can re- even want to buy us lunch. cord MIDI keyboard, bass and drum arrangements onto 24-track (using Austin Development's MIDIface II interface, JL Cooper MIDI switchers, and the Roland SBX-80 SMPTE/MIDI de- Music Annex Duplication vice to coordinate it all), then take 970 O'BRIEN DRIVE •MENLO PARK, CA 94025 (415) 328-8338 the tape into one of Fantasy's four Circle #121 on Reader Service Card studios to tape vocals and acoustic instruments, or to mix down. Ross works as programmer and engineer, TASCAM • FOSTEX • JL COOPER • SOUNDCRAFT • JBL e but also as keyboardist and co-produc- • er. His Fantasy clients range from major TV/radio commercial and video .1,TAKING MULTITRACK BY STORM - producers to rock and jazz artists including Jeffrey Osborne, Eddie Money, • LIGHTNING MUSIC & SOUND! and Richie Cole—working with Ross or in a"self-service" capacity. TELEPHONE-MAIL ORDERS 2 PCs: Better than 1? ,) alee'O' SHIPPED ANYWHERE . à • Live Oak tt.iLlios in Berkeley primar- • ily handles album, demo and EP proj- Huge Selection of Recording Gear & Effects ects (most recently, aCurtis Ohlson LP for Enigma Records). Ten months MIDI/SMPTE Specialists BEYER ago they officially opened The Attic, a

• The Southwest's only Authorized computer-based, 24-track pre-produc- TASCAM ATR80 24 Track Dealer tion and recording studio. It's on the IlaSIaHNNaS building's top floor, complete with cathedral ceiling and panoramic Bay MEYER view. The Attic served as a beta test • site for Digital Creations' (IBM PC- based) Diskmix II console automation software, so naturally Live Oak has an IBM system to enjoy it. Here one can also find Macintosh Plus computers gelVive4/14 LEXICON which use Performer to sequence • Kurzweil, Yamaha, Oberheim, and E- mu instruments, Opcode patch editors 4801 Spring Valley #103 A • Dallas, Texas 75244 for Casio and Yamaha synths, and

Opcode librarians for all their key- ALESIS (214) 387.1198 boards. The setup is enhanced by the Circle #122 on Reader Service Card JANUARY 1988, MIX 119 Unicorn's Composer and Performer programs for MIDI composition, notation, control and sequencing. They also employ adatabase management program in which they've entered catalog info on their huge Emulator SFX disk library. Because of the existence of asingle, powerful program, Russian Hill purchased an IBM PC five months ago. This SMPTE-based Kelly Quan Re- search synchronization and editing system (consisting of PC circuit board and software; see Mix, April '87) provides high power for editing dialog, sound effects and music to picture. Says Shotland, "It auto-assembles an entire show from the source onto the master reel, and it also does all the clerical work, giving aprintout of the Jim Gardiner in his Attic at Live Oak Studios in Berkeley. edit list with time code numbers. It will replace alot of what the Mac does ability to print out musical scores. The IBM you go through alot more stuff for us now, in terms of assembling Attic Mac also triggers outboard effects to do the same thing as the Mac. Just and editing sound effects." while tape's rolling, and controls the to copy adisk, you have to go through Up north in Seattle, the busy Steve parameters of their new Yamaha 8by all the DOS [operating system] com- Lawson Productions comprises three 2 mixing console, the MIDI- and re- mand stuff. So we started to use the studios and accompanying control mote-controllable DMP7 digital mix- IBM for mixing. Then we got the Mac, rooms tielinecl to aMIDI room, and ing processor. Opcode's Studio Plus which has Performer, a beautiful se- does everything from jingles and links the systems. And aGarfield Mas- quencing program that never crashes." demos to finished scoring of video ter Beat encourages dialog between Across the Bay, Russian Hill Record- projects. The MIDI room houses aFat MIDI, SMPTE and other clock formats. ing hosts agrowing number of fea- Mac (512K), used mostly to store Live Oak's 20-Meg IBM PC/XT with ture film clients, and devotes its Stu- Kurzweil sounds and to run Opcode color monitor runs the Diskmix soft- dio C, an off-line MIDI/keyboard librarians for their Yamaha synth ware for the Attic's new Sound Work- room, primarily to editing sound ef. modules and Juno 108. The Mac han- shop Series 34 console. Owner Jim fects and dialog to picture. Macintosh- dles sequencing, too, with Opcocle's Gardiner employs the IBM for mixing, es have been active here since their Sequencer 2.5. When the MIDI room and prefers the Mac for working with introduction in '84. Bob Shotlancl tells is empty, the Mac is used "the old- music because "it's easier. We used to us they use Digidesign's Sound De- fashioned way—for word processing," use a32-track sequencer on the IBM signer package to edit and reshape says Steve Lawson. "We write and which is why we got the computer in Emulator patches, sound samples and produce our newsletter on it, and take the first place, before the Mac came effects (the system that enhanced the the disk out for laser printing." out. Iwasn't acomputer nut; we just soundtrack of Tough Guys Don't The facility recently purchased two got the system for convenience. With Dunce), and they use Mark of the hard disk-based Whole Earth PCs (IBM XT clones) for the two control rooms. These systems will be dedicated to Dislanix automation software for their MCI-automated Sony 636 console, and later used for managing CD-based sound effects.

Midnight Records staff. From left: Ann Fry, vice president of marketing and promotion; Mick Hig- gins, chief of maintenance; Patty Watson, marketing director; Claire Pister, president and CEO; Anita Pister, sister; Jeffrey Nor- man, vice president of A&R. (Missing from photo: Jim Gaines, director of A&R; Bonnie Simmons, promo director; Maureen Dro- ney, A&R coordinator.)

180 MIX,MIVIIARY 1958 Singing the Big Blues workspace to compose and arrange a "I never expected myself to be corn- commercial score or video soundtrack. puter-oriented," says musician/engi- "My whole quest in purchasing the ni neer Peter Buffett of San Francisco's Synclavier is the versatility and time- Independent Sound, which he co- saving. We can do entire commercials owns with vocalist/producer Mary —music, effects, voiceover—in the Buffett. Yet computer-oriented they Synclavier, entirely in the digital do- 1=1 are, even though the Buffetts are look- main, synched to the 3/4-inch video ing for abuyer for their studio Macin- deck, and we can do six needle-drop >0. tosh. Since aSyncJavier purchase last spots in one day" Sometimes the SNIA113S year has them figuring to sell their benefits are more than efficiency and Kurzweil 250 and Linn 9000, "the Mac- flexibility—it was one of Buffett's rn 31/1 intosh is going to go, too," says Buf- original Synclavier jingles written for fett. "It was asad waste of computer U.S. Sprint that caused his record power just using it to store Kurzweil company, Narada/MCA, to request a Po sounds, and now Ican store every- similar composition to lead off his thing on the optical disk." new album, The Waiting.

9N1011033t1 ›.» As Independent Sound "keeps try- The computer the Buffets want to ing to keep up with the world and hold onto is their hard disk-based technology, we keep buying stuff and IBM clone. This is dedicated to run- moving forward. The latest, neatest ning the studio's Diskmix program for thing is the optical disk for our Syn- their Sound Workshop board, which • clavier," says Buffett. The new OSI lets Independent Sound merge and Áll.18170N1 CD-ROM system stores a massive splice mixes, store fader positions, amount (2 gigabytes) of data on-line, and enter info about the mix, includ- 33NIS and was developed for New England ing notes on the client ("all the house- Digital by Philips and Control Data. keeping stuff that you often forget to ni

1161 ni Independent Sound already had doz- do"). And it runs off SMPTE time code, ens of floppies holding Synclavier which is great for a company that sounds, as well as an 80-Meg hard disk creates and produces scores of major c/à that Buffett filled to the limit. "So 1 1V commercials (U.S. Sprint, Empori- • transferred all my stuff from floppies um-Capwell department stores, Lin- and the hard disk to the CD-ROM, SO I coln Mercury). "So from one track on De• have all the sounds right there, on- the 24-track," Buffett enthuses, "I can line, when Ineed to access them." run the Synclavier, the video stuff, and With the optical disk storing sounds the mix. The IBM software lets it all rn and patches, Buffett can use the 80- he tied together." Meg disk as agiant sketch pad and --COMINIIED ON PAGE 221 ni

Russian Hill Recording's Studio C, an electronic production facility integrating a Macintosh-based MIDI network and an IBM PC-based automated editing system to perform audio post-production tasks such as sound effects and dialog editing.

Circle #139 on Reader Service Card

JANUARY 19118, mix 181 21 ne d Cue Production. Zarkov Unchai

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some of the most innovative and METER CHARGE: dows respected Film and Television composers have been producing soundtracks for some of the hottest feature films and network W. Shows in home studios designed and executed by leNs MideNorks.

What are they doing that you're not? Gaining acost advantage with a properly designed system that's ready when they are, day or night, no bookings required. Which is why, when Iasked if Icould mention their names in this ad, roost of them elide think it was agood idea, just in case everyone finds out how easy and cost effective it can be to put in your own home facility.

But you can find out what aproperly put together SIVIPTEIMidi based production system can do for you. Just call me, Karl Wirz, and I'll spill the beans.

AENs Mide/Yorks. Multitrack Audio, Synchronizers, Midi Computer Systems, for the professional composer.

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f; ASSOCIATES' 1029 N. Allen Ave., Pasadena. CA 91104 AUDIO E'01IGINg.FEI Call 818-798-9127 or 213-684-4461 Moose ask tor Kart Win, our demo rooms are by appointment tor your convenience 1988 MIX DIRECTORY • NORTHWEST STUDIOS

Information in At left is the the following MIDI/SMPTE directory sec- room at Gate tion is based Five Studios in on question- Sausalito, Cali- naires mailed fornia. De- earlier this year signed by and was sup- Richie Moore plied by those and owner facilities listed. Chris Hubbard, Mix claims no this facility responsibility opened in Jan- for the accu- uary '86. It is racy of this equipped with information. aYamaha -• Personnel, • acoustic grand equipment, piano, a Kurz- locations and '-'71111111/zummumnj . weil MIDIboard, rates may aYamaha DX7 change, so and several please verify other synthe- critical informa- sizers, samplers tion with the and drum ma- companies chines. A Mac directly. Plus with Per- former software is set up to control the MIDI equipment. An Otani MX70 and a Sound - tracs MIDI PC series mixing console are located in the adjacent control room. Photo: Barry Shapiro

CONTENTS

116 LOCATION INDEX

118 24+ TRACK STUDIOS

136 12 8( 16 TRACK STUDIOS

145 8, 4 8( 2 TRACK STUDIOS

Mix listings procedure: Every month, Mix mails questionnaires to recording studios and/or other vital facilities and services for the recording, sound and video production industries. Basic listings (name, address, contact) are provided free of charge. Extended listings (equipment, credits, specialization), and photographs or company logos may be included at a nominal charge. If you would like to be listed in a Mix Directory, write or call the Mix Directories Department, 2608 Ninth Street, Berkeley, CA 94710, (415) 843-7901.

Upcoming Directory Deadlines: Video Production/Post-Production: January 13, 1988 Northeast Recording Studios: February 3, 1988 Remote Recording/Sound Reinforcement: March 3, 1988

JANUARY 1988, MIX 183 24 Spectrum Inc 200 Recording 201 San Francisco Sunnyvale 24 Alpha 8 Omega 24 Arriviste 186 NORTHWEST Recording 186 4 DMK Sound Design/Frogs 16 The M of Ears 204 Productions 213 16 Robert Berke Sound 204 16 The Recording 8 Bralove Productions 212 Studio. Inc 209 24 CD Studios 187 24 Bruce Tambling Sound 202 24 Coast Recorders 188 Tahoma 4 Command ProductiOns 212 8 Rubber Park 24 Different Fur, Ltd. 188 Productions 217 16 Duncan Street Studio 205 Trinidad 16 Emerald City 8 Humboldt Records 214 LOCATION Productions 206 Uidah 24 Focused Audio 190 2 North Woods 216 24 Philip Roscoe Gallo Vallejo Productions 191 8 Pseudo Studio 216 2 Hall Inch Video 214 Visalia 16 Horcdko Soundtrax/TLA 206 8 Absolutely Gripping Creative 24 Hyde Street Studios 192 Sound Production 212 24 Independent Sound 192 Wantland INDEX 24 Jensen Sound 192 8 Studio Sea 218 8 Kaledosound 214 8 McCune Studios 215 COLORADO 16 Peter Miller Recording 207 Aurora STUDIOS 24 Mobius MUSIC 8 Xanadu Studios 219 Recording 195 Boulder 24 MS Studio 196 24 Mon Audio 189 24 Music Annex, Inc 196 8 Claws On Productions 212 All studio information listed has been supplied to Mix by studios 24 One Pass 197 16 Coupe Studios 205 24 Parvins Studio 198 8 Fergus Sound responding to questionnaires mailed in August 1987. People, equip- 24 Power Stroke Enterprises 213 Productions 198 24 Slow Boat Studios 200 ment and locations change, so please verify critical information with the 24 Kelly Own Recording 199 Colorado Springs 24 Russian Hill Recording 199 8 Homely ProductionS 214 studios directly. Mix does not take responsibility for the accuracy of the 24 San Francisco Conservatory 2 Midnight Blue of Music 200 Productions 216 information supplied to us by the studios. 8 San Francisco Production 24 Pan Studios 197 Group 217 8 Play It Again, Sam 216 16 Savage Studios 209 24 Professional Sound 6 8 Randall Schiller Recording. Inc 198 Productions 217 16 Startsong 210 ALASKA Denali' Nevada City 24 Sound Recording 16 While Dove Recording Anchorage 16 Musii_al Image 4 Crystal Clarity 213 Organization 200 Studio 211 8 Christian Mist Studio Productions 208 Newark 8 Studio P 218 Denver Productions or "Christian Dutch Flat 24 Montage Recording 8 Transmedia. Inc 219 16 Fred Arthur Productions. Studios' . 212 8 Jude Productions 215 Studios 195 4 Al Vedro Associates. Inc 219 Ltd 204 8 Real Time Recording 216 Emeryville Novato 4 Violet Race Studio 219 16 Beyond Sound 205 8 Sound Innovations 218 16 Dancing Dog 205 24 Color Zone Productions 24 Dave Wellhausen 16 Christian Recording 8 South Central Sound 218 16 Emeryville Inc 188 Studios 203 Studios 205 24 Surreal Studios 202 Recording Co 206 Oakland San Jose 16 CPS Productions Co lChristian Fairbanks 8 Sound Suite 218 8 Aniomar Studio 212 16 Astral Sounds Recording .. 204 Production Services) 205 16 Dome Studios 205 Eureka 8 Artichoke Productions 212 8 Bent Nail Studios 212 8 Daystar Recording 24 True North Recording 203 2 AItern., Video 212 16 Bunyup Bakeries 205 8 Champaign Sound 212 Studios 213 Utica Felton 16 Deva Records 205 24 Chrome Dreams Prod 188 2 Emerson Film and Video 4 Raven Radio Foundation 216 8 Fox Recording 213 16 Freeway Recording, Inc 206 16 Creative Sound Studio 205 Sound 213 Soldotne Foster City 24 Denny Jaeger Creative 16 E.J. Sound 206 16 Fasttrack Recording 8 Foundation Studios 213 8 Linear Productions 215 Services, Inc 192 12 Incognito Remote Studio 206 Garberville 24 Peakdesign 198 Recorders 206 8 Free Reed Sound 213 8 Step One Studios 218 24 The Source Studio 200 4 PFS Recording 216 24 FTM Studds 191 CALIFORNIA Garden Valley 2 Syrinx Recordings 218 8 Platinum Sounds Recording 8 Full Circle Studio/Full Alameda 8 Timele_ Productions 218 Occidental Studio 216 Circle Productions 213 24 Infinite Studios 192 Greenville 24 Joe Hoffmann Studios 191 24 Tiki Recording Studios 202 4 Hank's Basement Audio 214 Aptos 4 Miss Wtab, Abroad 216 Orinda San Lorenzo 2 Marilyn Hickey Ministries 214 8 Aptos Aucto.Pineforest 8 Onion Audio 216 8 Xandor Recording 8 J&R Audio Labs 214 16 Inlet Records, Co. 206 Studio 212 GuernevIlle Studios 219 San Mateo 8 Mammoth Recording 24 Music M Recording 4 In Without Knocking 214 Pacifica 16 Avid Productions 204 Studios 215 Studio 196 Hayward 16 Keyboard Studio 12 B Street Music 8 16 Multivisen Of Denver 208 Atwater 24 Phil Edwards Recording.. 190 Productions 206 Recording 204 8 Reel Art/Reunion 16 Atwater Recording 204 24 Master Pack Palo Alto Sen Rafael Productions 216 Auburn Productions 194 24 James Daniels 16 Atmosphere 204 16 Clay Ryan Productions 209 8 Blue Crystal Studio 212 Neseldtburl, Productions 188 8 Hun Sound Inc. 214 24 Studio Soren 201 Belmont 8 Schechter Studios 217 8 House of Faith 214 8 Lion Tracks Studio-Creative 8 Time Capsule Recording 218 24 OTR Studios 197 Homewood 8 Recording Etc 216 Enterprises 215 8 Valentine Productions 219 Ben Lomond 8 Wild West Graphics 16 Strategic Air 16 Rolls Recording 209 4 Western Cine Film and 8 Phantasma Sound 216 8 Cornmanicatens 219 Command Records 210 8 Shyne Sound 217 video 219 Berkeley Livermore Petaluma 16 Synchronoty 210 Englewood 16 Bay Records 204 8 Little People Studio 215 16 Luna Productions 207 16 Syntasy 211 16 Brown Bag Productions .205 16 Bob Kat Studio 205 Lodi Pleasant Hill 24 Tarpan Studios 202 8 Heartbreak Hotel Studio .214 4 Control I 212 16 Nacnud Sound 208 4 Hollcraft Recording 214 24 Wizards 8 Cecil B 203 Estes Park 24 Fantasy Studios 190 Los Gatos Quincy Serbia Clara 16 Zeppelin Ltd 211 24 Live Oak Productions 194 16 Bear Creek Recording 4 New Life Broadcasting 216 16 Audio Visions 204 Evergreen 4 Open Door Productions .216 Studio 204 Rancho Cordova 8 Egomaniac Studio 213 16 Rocky Mountain Mists 209 2 Robert Shurnaker 8 Hghland firudio 214 16 Ray Nakamoto 8 Thomas Recordings 218 Frisco Recording Services 217 16 Jopheir 12 206 Productions 208 Santa Cruz 4 Event Audio Productions 213 4 Stax Sound ET Vision 218 Madera Redwood City 16 Magic Sound 207 Grand Junction 8 Syntonos Recording 218 24 Ken Carlton Recording 187 8 Areal Productions 212 4 Sounds Natural 4 Gary R Smith 4 Vinyl Touch Productions 219 Menlo Park 24 Dragon Studios . , 190 Audio Services 218 Productions 217 Big Bend 24 Music Annex. Inc 196 16 Drone Studios 205 4 Square One 218 Lafayette 8 Transient Sounds Merced 8 Hybrid Music 214 Santa Rosa 8 Reels on WheelS 217 Recording 219 8 Ftal-Recorong 216 Richmond 24 The Banquet Sound LaPorte Blue Lake Mill Valley 24 Bayvew Studio 187 Studios 187 16 Eye In The Sky Sound 206 16 Redwood Creek 8 Globe Studios 214 24 Starlight Sound 200 8 Page Studios 216 Littleton Recording 209 8 Sensational Sounds 217 Sacramento 16 The Sound Source 210 24 Audoworks Recording Boulder Creek Millbrae 8 Enharmonik Studios 213 Saratoga Studios 186 8 Mt Studio 216 8 Chinese Outreach oh 24 Exit Records Studio 190 24 Archive Audio 186 8 Sow's Ear Sound 218 Campbell San Francisco 212 24 Moon Recording 195 Sausalito Louisville 4 Reel Time 24 The Music Complex 196 24 Paradise Studios 197 16 Gate Five Studios 206 4 Caledonia Street Sound . 212 Reproductions 216 Modesto 8 Pregnant Badger 24 The Plant Recording Loveland Carmichael (Sacramento) 8 Jade Productions 214 Studios 216 Studios 198 8 Melodic Services 24 Pacific Mobile Recorders ... 197 4 Uphill Productions 219 8 Puddingstone 24 Studio 0 Recording Inc . 201 Productions 216 Chico Monte Sereno Productions 216 Scotts Valley Northglenn 16 Starshine Audio 24 Vsta Sound Recording 203 16 Bill Rase 24 Point Blank Recording 198 24 Avalanche Recording Studios, Enterprises 210 Monterey Productions. Inc 209 Sonoma Inc 186 Concord 8 The Soundsmith 218 8 Studio Z Recording. Inc 218 12 Sonoma Sound 210 12 Downhome Demo's 205 24 R.O. Studios 199 8 Slod'sSouna 218 24 Swingstreel Studios 202 South Lake Tahoe Thornton Cote« 8 Sunset Recording 218 8 TS.R Productions 219 4 Studio in the Back 218 8 Underground Sound 219 24 Prairie Sun Recording 198 Mountain View 4 Ultima Mobile Recording 218 South San Francisco Westminster Cupertino 8 Full Spectrum St. Helena 8 Fred Four Music Co 213 24 Colorado Sound 24 Autolott Recording Studio 186 Productions, irc. 214 16 Napa Valley Recording 208 8 Ping-Pong Productions 216 Recording 188 Danville 8 Bob Wilson Recording San Anseimo Stinson Beach 24 Akashic Records Group/ Services 219 16 Syncro International 24 Ocean Studio 196 IDAHO Rheem Theatre 186 Napa Studio 210 Stockton Boise Davis 16 Staffordshire San Carlos 24 Atlanta Productions 186 4 Snake River Sound 217 16 Davis Sound Studio 205 Productions 210 24 Positive Audio 198 24 Studio C/Custom Idaho Falls

184 MIX ,JANUARY 1988 8 Mike's Music 216 16 Gung-Ho Studio 206 UTAH Gig Harbor Production 209 4 Snake River Studios 217 8 D Ross Productions 217 Castle Dale 4 CW Recording 213 8 Reciprocal Recording 216 Ketchum 24 Toad Recording Studios 202 4 Eagle Nest Recording and Index 16 The Right Track Studios 209 24 Sun Valley Audio 201 Gleneden Beach Sound Reinforcement 24 Paradise Sound Recording 8 Roxound Studios 217 Kanab 213 Ludb 4 Pine Apple Studios 216 Inc 197 8 Salmon Bay Productions 217 16 Shewbrend MUSIC Co. 209 Grants Pass 4 Marcan Studio 215 Kirkland 8 Sound Productions 218 Meridian 8 Little Oak Sound Mapleton 2 John Wesley Production 219 24 Star Trak Recording Inc 200 16 Horizon Audio and Video 215 16 Rocky Mtn. Productions .209 Marysville 8 TDS Productions 218 Recording 206 Hood River Morgan 8 August ProductionS 212 24 Telemation Productions 202 Pocatello 2 Keyboard ResourSes 215 2 Aesthetic Productions 212 Mill Creek 8 Tinderbox Studios 219 8 Clockworks 212 Lake Oswego North Ogden 16 The Power Base 208 16 Trax Recording 211 4 Ground Zero Sound 214 8 Elhena Recording Drees 8 Vineyard Studios 219 MONTANA Lincoln City Studios 213 4 Flamingo Ranch 24 Woodmont Beach Billing* 8 Leon-Forrest Provo Productions 213 Studios 203 16 Jester Sound and Video. 206 Productions 215 24 Fine Ms Recording Redmond Selah Bozeman Medford Studio 190 16 Full Scale Productions, 16 Creative Commercial 8 Peak Recording & 16 Sirius Productions 209 24 Rosewood Rec. Co. 199 Inc 206 Concepts 205 Sound 216 24 Staunton Studios Inc 201 Salt Lake City 24 Triad Studios 203 Spokane Helena Mihvaulde 8 Covenant Recordings Renton 12 Doctor Black Studio 205 8 Valtron Recording 219 24 Sound impressions 200 Inc 212 16 The Recording Chamber 8 inland Audio Visual Kalispell O'Brien 16 Forest Productions 206 Inc .209 Company 214 8 Kalago Productions Inc. .215 24 JAH Works Studios 192 16 KSL Recording ...... 207 Rosedale (Gig Harbor) 4 Reel Creations 216 Red Lodge Portland 24 LA East 194 4 Rosedale Audio 8 Romance Recording 4 Aerial Audio 212 16 Artist Sound 204 2 Norman Ross Productions 217 Studios 217 8 Bible Temple Recording . 212 Productions 217 Seattle 16 Sound Recording NEVADA 4 Nathan Bryden Music 8 Tapestry Productions 218 4 American Tape Company 210 Incline Village Company 212 16 Telescene. Inc 211 Duplicating 212 Tacoma 4 Lane Cameron Studios 212 24 Desdrek Studios 188 16 WT Studios 211 8 Applewood Recording 16 PLU Audio (Pacific Reno 4 Foot 0' Mah Bed Studio 212 Lutheran University) .208 24 Granny's -louse Recording Recording 213 WASHINGTON 24 Audio Design Group 186 16 Sound West Recording .210 Studios 191 8 Gary Gadwood Custom Arlington 8 Audio Recording Inc 212 24 TJ Recording Studio, 24 Slarsound Audio. Inc 200 Recording 214 24 Sage Recording 199 8 Bade Art & Music 212 Inc 202 8 Toe Jams Recording 219 8 Little Pond Productions 215 Bellevue 8 Camera One 212 Vancouver Sparks 2 David Mathew Recording 24 Extra Sensory 24 Crow Recording Studio 188 8 Cozy Dog Recording 213 24 Ave-Iran Recording Services 215 Productions 190 8 Current Rutledge 213 Walla Walla Studio . 187 16 Moonbaby Music. Inc 107 24 Miramar Recording 8 Hummingbird Sound 8 Ruttier Remote 16 Jon Newton Music 208 Studios 194 Lab 214 Recording . 217 OREGON 16 Northwestern Inc 208 8 Sound Design 217 8 Kenny Husted Wenatcher Allegany 24 Pace Video Center 197 Bellingham Productions 214 16 Apple City Music . 204 16 Tioga Recording Studio .211 16 Rainbow Recording 209 16 Lay-A-Track Recording 207 24 Ironwood Studio 192 Woodinville Beaverton 24 Recording Associates . . 199 Bothell 8 JB Recordings 214 24 Bear Creek Studio & Music 4 Radioactive Records 216 24 Rex Recording Co. 199 24 Diai-nond Star Recording 188 24 Steve Lawson Production . 187 Central Pt. 24 Spectrum Sound Studios 200 4 Polytunes 216 Productions 194 4 Crystal Clear Recording .213 8 Teknifilm/Tecknifilm 8 Lew's Recording Place 215 WYOMING Video 218 16 Buckley Cottage Grove C.M.i 205 4 Location Recording 215 Cheyenne 24 Data Tracks Recording 188 8 Wayne Mark Studio 219 Centralia 24 London Bridge Studios 24 Rough Cut Recording 199 Eugene Salem 8 Jake Earner Studios 212 Inc 194 Jackson 24 Color Blind Music 188 8 Western Oregon Sound Everett 16 Michael Lord 16 Media Works 207 8 Deroy Productions 213 and Recording 219 8 Metnx Recording & Productions 207 8 Saddle Butte Music 217 8 Em- An-Ee Sound Studio213 Tigard Production Studio 216 4 Micro& Systems 216 Thermopolis 8 Full Moon Recording 4 Torte 213 Federal Way 24 Mdltree Productions 194 16 Mountainwood West 208 Company 213 Williams 24 Horizon Recording 24 The Music Source 196 8 Generation Organization 214 8 Beautiful Heart 212 Studio 192 16 Rainwood Studio & 8 ZUipontoicnSounds 219

COMING IN APRIL...A MIX SPECIAL SUPPLEMENT HYPERMEDIA PR 0•D•U .c •T• •0•N

HyperMedia: the production and delivery of infor- how it will affect your job as aproduction profes- mation and entertainment by methods that go sional in the 1990s: beyond the traditional. •CD-ROM •Computer Graphics •Digital Video Breakthrough technologies are rapidly changing the way music and other forms of entertainment •CD-V •Interactive Video •Fiber Optics are produced and delivered to the end user. We've •CD-I •Telecommunications •Optical Media barely digested the impact of digital audio on our industry—yet ahost of new systems and methods •DAT •Digital Workstations •HyperCard are following in its wake. Learn about the technology of HyperMedia, and •HDTV •On-Line Databases •Digital Effects

For information on advertising in the HyperMedia Supplement, call (415) 843-7901.

AD CLOSING: FEBRUARY 7 MATERIALS DUE: FEBRUARY 15

JANUARY 1988, MIX 185

jvvuiuez 1TO , IVIIA le/ —LISTING CONTINUED FROM PAGE 191 (24+] DENNY JAEGER CREATIVE SERVICES. INC. NORTHWEST Oakland, CA MICMIX XL-305, MXR hanger/doubler. (415) 339-2111 Other Outboard Equipment Symetrix 522 (5 function stereo), Owner: Denny Jaeger Symetrix SG200 stereo gate, (2) Symetrix 501 comp/limiter. (2) Studio Manager Denny Jaeger UREI LA-4 comp/limiter. (2) Phase Linear E51 parametrics. (10) Dimensions: Studio 14 5x 24, contra: room 14.5 x22 w/adjoin- dbx 150, (4) Dolby C. Technics SL-1200 MkII. Shure V15 Type 5 24+ TRACK Wig equipment room 10 x185. cartridge, Barcus-Berry Electronics processor. Dolby A 24 Mixing Consoles: Harrison Series Xvirtual console 112 inputs x channels, Dolby SR mastering, CD player STUDIOS 48 bus Microphones: AKG, Audio-Techneca, MK Beyer. Countryman, Audio Recorders: (2) Sony 3324 24-track digital. Ampex AIR- E-V, Sennheiser, Shure, Sony, Tascam, Neumann M249 tube. flanger 124 24-track, Ampex AIR-104 2-/4-track /12 ", Sony PCM-F1 Monitor Amplifiers: Peavey DECA 700. Carver 1200, JBL 660, Other Outboard Equipment (2) Drawmer gates. (2) Drawmer 2-track digital. Otan MIR -20 4-track w/ /12 "heads, Otan MIR - Rene HC-6 (cue). compressors 20 2-track w/ /12 "heads Monitor Speakers: KEF Model 105/2, KEF 104/2, Yamaha NS- Microphones: AKG 414, Neumann U87. Echo, Reverb, & Delay Systems: (4) Ouantec room simulators. 10, Toa 312-ME Auralones. Monitor Amplifiers: BGW 750, AB Systems 205 Lexicon 224XL. (2) Lexicon PCM70. (2) Lexicon PCM42, Lexi- Musical Instruments: Steinway 9' concert grand. Monitor Speakers: JBL 4411. MOM 4, Yamaha NS-10, Aura- con 200, Eventide SP2016. Video Equipment: Live session shoots arranged with alocal tones Other Outboard Equipment (4) Drawmer stereo gates, Aphex production company in /12 "or /34 "video format. Musical Instruments: Synclavier digital audio system. Kurzweil Dominator. (2) Aphex compellors, (2) dbx 160X limiter/com- Rates: $35-$50/hr Please call for rate card and literature 250. Linn 9000. Roland D-50. Yamaha TX7, Roland MKS-80. pressors. (2) LA-4, (2) UREI Universal filter sets. E-mu voltage Extras & Direction: The owner designed and built the studio Roland MKS-20 controlled low pass filter. E-mu voltage controlled high pass from the ground up, using state-of -the-art concepts Its located Video Equipment: JVC video deck. Sony PVA4-1910 monitor Aphex Aural Exciter It, Dolby SR 24 channels, Dolby 361A, in agorgeous rural setting near the Russian River resort area. Rates: Call for rates (5) Lynx modules. Skylights and alarge picture window provide plenty of natural Microphones: Schoeps, B&K Neumann U87, Sony (many varie- tight The studio, including lounge, is climate controlled and ties), E-V RE20, Shure SM56. Shure SM57 wheelchair accessible Cenif red massage and hypnosis are Monitor Amplifiers: Meyer MS1000 amp. Crest 4000. BOW available for performance preparation Complete production (24+) INFINITE STUDIOS 250, Bryston. capabilities albums, demos, r•Accettes. video soundtracks, radio PO Box 1709 Monitor Speakers: Meyer 833 w/processor and Complemen- drama, musicals...The acoustic design of the studio offers Alameda, CA 94501 tary Phase E0 remarkably warm and rich sound for acoustic instruments. (415) 521-0321 Musical Instruments: Yamaha grand peno, Synclavier digital Recent credits- 1986 Windham Hill albums. VVe offer sensitive Owner: Michael Denten system w/32 megabytes of RAM. 64 voizes. (2) 140 megabyte professional engineering in agood feeling environment Studio Manager: Michael Denten Winchester, velocity keyboard, guitar controller, SMPTE. MIDI. Kennedy cartridge device, music printing, Yamaha DX7, En- soniq ES0-1, Oberheim Matrix-6. [24+) HORIZON RECORDING STUDIO Video Equipment JVC 6650U /34 "recorder, JVC 8250 W . also REMOTE RECORDING recorder, Sony KV-25XBR monitor. Q Lack 4.10 synchronizer 1317 S. 295th Pl. Rates: Upon request Federal Way. WA 98003 (206) 941-2018 Owner: Roger A Wood Studio Manager: Bill Gibson [24+) JAH WORKS STUDIOS PO Box 15 [24+) HYDE STREET STUDIOS O'Brien, OR 97534 245 Hyde St (503) 596-2180 San Francisco, CA 94102 Owner: Jah Levi (415) 441-8934 Studio Manager: Luna Dove Owner: Michael Ward Engineers: Jah Levi Studio Manager: Ricky Lee Lyrd Dimensions: Room 1. studio 10 x 12. control room 12 x 12 Engineers: Garry Creiman, John Cuniberti, Ricky Lee Lynd. Room 2: studio 12 x12, control room 10 xf 2. Drum booth 9x 9. Brian Rener. E.J Emmons, Wendy Bardsley. Andrew Murdock. Mixing Consoles: Studiomaster Series I: 24 x 16, Yamaha Dimensions: Studio 31 x20, control room 20 x18. RM1608 16 x16. Sound Workshop Logex 812 x8. TEPC 2A 6x Mixing Consoles: Amek 2500 48 x24 x48 automated/Master- 4. Gemini 8x 4 disco mixer Mix disc-based Audio Recorders: Sony/MCI JH-24 24-track w/ALIII, Fostex Audio Recorders: Otani MIR -90 II 16-124-track w/autolocater. Model 80 8-track, Nakamichi DMP-100 2-track digital PCM, Tascam AIR-60 2-track /12 ". 3M M-79 16-track (w/autolocate). Otani MTR-10 2-track /12 ", Otan MIR -12 2-track '/z", (2) Otan MX-5050B 4-track. Scully Cassette Recorders/Duplicators: Eumig FL-1000. Technics 280 'h" RSB-100, TEX W-880RX dubbing deck, Nakamichi 600. Echo. Reverb, & Delay Systems: Acoustic chamber. Yamaha Noise Reduction Equipment dbx 224 Type II 2-track. REV7 (digital reverb w/MIDI), Lexicon PCM60, Lexicon PCM41, IRONWOOD STUDIO Synchronization Systems: Fostex 4050 auto'ocater, Kong Kres- Lexicon PCM42, Eventide 949 Harmonizer, DeltaLab DL-2. Seattle, WA 30 MIDI-FSK sync Lexicon PCM70. stereo EMT plate. Lexicon 480L w/LARC. Echo, Revert). & Delay Systems: IC Electronic 2290, Yamaha Other Outboard Equipment (6) Drawmer noise gates. (5) Dyne- [24+1 IRONWOOD STUDIO REV7, Yamaha SPX90, Roland DEP-5, Roland SRV-2000, Ro- Mite. Teletronix LA-2A. (4) ADR F760 compressors. (2) UREI 601 NW 80th St land SDE-2000, Alexis MIDIverb, Korg SDD-3300, Rockman 1176LN. ADR Vocal Stresser. (2) UREI 546 stereo parametric Seattle, WA 98117 rock modules. DOD Electronics 2-sec. semi ding delay and IC Electronics flanger EQ. (2) Furman parametric. (2) White 10-band EO, Klark-Teknik (206) 789-7569 1/3-octave room EQ. (2) dbx 165A. UREI 565 Little Dipper Owner: Paul Scales Other Outboard Equipment Aphex Type C Aural Exciter. IC Electronic 2240 para EQ. Orban parametic KJ, dbx 166 Microphones: Neumann M49, Neumann U47 (tube w/omni Studio Manager: Myron Partman capsule). Neumann U67, Neumann U87, Neumann KM54. Engineers: Jay Follette. Paul Scoles, Ron Phillips comp/limiter, Demiter tube bass preamp, dbx 2020 EC), dbx AKG C12 (tube), (4) AKG C12A (tube), (2) AKG 414E8, Senn- Dimensions: Studio 34 x28. control room 16 x14. 4BX expander, dbx 120X subharmone synth. Kyocera DA-810 CD player, Aka CD player heiser, Beyer, Shure, Crown PZM etc, Countryman direct boxes. Mixing Consoles: Harrison Raven automated 32 x24 Microphones: Beyer MC-740, (2) Beyer M-88. Beyer M-69, Monitor Amplifiers: Haller, Soundcraftsmen. Crown. Audio Recorders: Sony JH-24 24-track. Sony JH-110C 2-track Beyer M-160. AKG 414, (2) AKG D-310. AKG DT-330. (3) E-V Monitor Speakers: Meyer, Yamaha NS-10M. /12 "and V.". Tascam AIR-60 2-track /12 "w/center time code Musical Instruments: Steinway 9' grand piano. Emulator II, Ham- Cassette Recorders/Duplicators: (2) Sanyo. Technics. PL10, E-V PL20, Audio-Technica ATM-2 , Monitor Amplifiers: (2) Sumo "The Nine" Class A, Yamaha mond B-3 organ w/Leslie, Music Man amp. Rogers drum kit Synchronization Systems: Audio Kinetics 0.Lock 4.10 synchro- and percussion nizer AVC-50. Monitor Speakers: JBL 4430. JBL Control 1, JBL 4612B, Video Equipment Adams-Smith 2600 synchronizer system. Echo. Reverb, &Delay Systems: Lexicon 480L w/LARC. Lexi- Klipchorn La Scala, Roland SRS-80. Sony VO -5800 /34 "video deck w/address track modification. con 200, Lexicon PCM70, Lexicon Super Prime Time delay, Rates: Please call for rates. Yamaha SPX90, DeltaLab DL-2 delay, Roland SAE -SSS tape Musical Instruments: Korg DSS-1, Casio CZ-5000, (4) Yamaha FB-01, Photon MIDI guitar converter. JL Cooper MSB 16/20. Extras & Direction: Dual multi-track lock-up in-house produc- echo. tion of musical scores for film and video, real time duplication, Other Outboard Equipment dbx 900 rack w/(4) gates(3)com- Kong DVP-1, Linn 9000, Sequential Circuits Studio 440, (2) MPC percussion computer. set of North drums, Yamaha RX11. (2) cassette. /12 -track. /12 "/12 -track and 2" safety masters, call screen- pressors. de-esser, Teletronix LA-2A tube limiter. (2) UREI 1176 ing, game and lounge room, free Pee's coffee Now providing compressors, Aphex Type C Exciter. (2) Symetrix parametrics, Ken Smith bass, many guitars, basses, amps, percussion, sitar and ethnic instruments, Trace-Elliot, Fender and Roland Jazz quality audio for film, video, radio, theater as well as traoitional (2) Symetrix compressors, (2) Symetrix gates. MXR pitch trans- musical recordings for disc and demos. poser, Roland Dimension D. Roland flanger Chorus-120 amps Other MIDI Equipment Roland Octapad, Atari 1040ST w/Stein- Microphones: Telefunken U-47 (tube). Neumann U67 (tube). berg Pro-24, Fairlight Voice-tracker. Yamaha OX-1. (2) Neumann U87, Neumann U47, (2) Neumann KM56 (tube), [24+1 INDEPENDENT SOUND (2) Neumann KM84, AKG The Tube. (2) AKG 451, AKG D-12E, Video Equipment Samsung VHS VCR. San Francisco, CA (2) Sennheiser 441, (2) E-V RE20. (2) Sony C-37A. Sony C-500. Other: Biotech Bionaire 2001, industrial air filter and negative on generator. Honda EX5500 generator. (2) Heart interlace (415) 929-8085 Monitor Amplifiers: Hatter P-500, (2) Yamaha P2050, Crown sine-wave inverter and chloride battery pack. (20) Arco photo- Owner: Peter Buffett. Mary Buffett D-60. voltaic panels. Studio Manager: `Nome Graves Monitor Speakers: JBL 4430, JBL 4311. Yamaha NS-10. Aura- Engineers: Peter Buffett. tones. Rates: 8-track $25/hr., 24-track $45/ht, also open to bartering. Dimensions: Studio 13 x12. control room 17 x10 Musical Instruments: Yamaha 7'4" grand w/Fone MIDI, Korg Mixing Consoles: Sound Workshop Series 34C automated 32 x DSS-1 digital sampling synthesizer. Roland JX-10 synthesizer. 24 LenDrum, Hammond M-3 w/Leslie, Micromoog. Hohner clavi- Audio Recorders: Otan MTR-9011 24-track, Otan MTR-12 2- net. Pearl drums. track, Otani 5050B 2-track Other MIDI Equipment Yamaha OX-5 sequencer (24+) JENSEN SOUND Cassette Recorders/Duplicators: TEAC 122B, Sony TCD5M. Video Equipment: Sony JI-1-110C 1" layback recorder. Sony San Francisco, CA 94115 Synchronization Systems: Dian CB121 VO -5600 W' VTR, (2) NEC color monitors (415) 469-0192 Echo, Reverb, & Delay Systems: Lexicon 224 XL Lex:con Other Diskmix console automation system Owner: Eric and Suzanne Jensen PCM70, Roland DEP-5, Eventide 949 Harmonizer, Bel stereo Rates: Please call for rates. Studio Manager Suzanne Jensen

192 MIX,JANUARY 1988 8 Mike's Music 216 16 Gung-Ho Studio 206 UTAH Gig Harbor Production 209 4 Snake River Studios 217 8 D. Ross Productions 217 Castle Dale 4 CW Recordrng 213 8 Reciprocal Recording 216 Ketchum 24 Triad Recording Studios 202 4 Eagle Nest Recording and Index 16 The Right Track Studios 209 24 Sun Valley Audio 201 °Minden Beach Sound Reinforcement 213 24 Paradise Sound Recording 8 Roxound Studios 217 Luella 4 Pine Apple Studios 216 Kanab Inc 197 8 Salmon Bay Productions 217 16 Shewbrend Music Co. 209 Grants Pass 4 Marcan Studio 215 Kirkland 8 Sound Productions 218 Meridian 8 Little Oak Sound Mapleton 2 John Wesley Production 219 24 Star Irak Recording Inc 200 16 Horizon Audio and Video 215 16 Rocky Mtn. Productions .209 Marysville 8 TOS Productions 218 Recording 206 Hood River Mayan 8 August Productions 212 24 Telemation Productions 202 Pocatello 2 Keyboard Resourses 215 2 Aesthetic Productions 212 Mill Creek 8 Tinderbox Studios 219 8 Clockworks 212 Lake Oswego North Ogden 16 The Power Base 208 16 Tres Recording 211 4 Ground Zero Sound 214 8 Elberta Recording Drees 8 Vineyard Studios 219 MONTANA Lincoln City Studios 213 4 Flamingo Ranch 24 Woodmont Beach Billings 8 Leon-Forrest PTOVO Productions 213 Studios 203 16 Jester Sound and Video .... 206 Productions 215 24 Fine Arts Recording Redmond Sedan Bozeman bledloid Studio 190 16 Full Scale Productions. 16 Creative Commercial 8 Peak Recording & 16 Sirius Productions 209 24 Rosewood Rec. Co. 199 Inc 206 Concepts 205 Sound 216 24 Staunton Studios Inc 201 Salt Lake City 24 Triad Studios 203 Spokane Helena Mihvaulde 8 Covenant Recordings Renton 12 Doctor Black Studio 205 8 vattron Recording 219 24 Sound Impressions 200 Inc 212 16 The Recording Chamber 8 Inland Audio Visual Kalispell O'Brien 16 Forest Productions 206 Inc 209 Company 214 8 Kalago Productions Inc. .. 215 24 JAN Works Studios 192 16 I

COMING IN APRIL...A M/X SPECIAL SUPPLEMENT HYPERMEDIA P•R•O•D•U•C•T•1•0•N

HyperMedia: the production and delivery of infor- how it will affect your job as aproduction profes- mation and entertainment by methods that go sional in the 1990s: beyond the traditional. •CD-ROM •Computer Graphics •Digital Video Breakthrough technologies are rapidly changing the way music and other forms of entertainment •CD-V •Interactive Video •Fiber Optics are produced and delivered to the end user. We've barely digested the impact of digital audio on our •CD-I •Telecommunications •Optical Media industry—yet ahost of new systems and methods •DAT •Digital Workstations •HyperCard are following in its wake. Learn about the technology of HyperMedia, and •HDTV •On-Line Databases •Digital Effects

For information on advertising in the HyperMedia Supplement, call (415) 843-7901.

AD CLOSING: FEBRUARY 7 MATERIALS DUE: FEBRUARY 15

JANUARY 1988, MIX 188 70, IC Electronic delay and effects. Yamaha REV7, Yamaha SPX90, Alesis MIDIverb II, Alesis kificroverb, Yamaha R1000. Other Outboard Equipment: (4) dbx 903 compressor, (4) dbx NORTHWEST 904 Kepex, dbx 902 de-esser. Eventide Harmonizer Microphones: AKG tube, Neumann U87, Neumann U89, (2) Neumann KM84, AKG C414, Beyer M380, Shure, AKG Dy- namics, Monitor Amplifiers: OSC. Perreaux, (2) Rane headphone amps. Monitor Speakers: (2) Westlake BBSM-8. (2) Yamaha NS-10M. Musical Instruments: Emulator 11 w/CD-ROM. E-mu SP-1200, E-mu SP-12, Roland MKS-80 Super Jupiter. Roland MKS-20 digital piano. Roland D-50, Oberheim DPX-1, Yamaha TX802, Yamaha TX816 rack w/E1 modules. Prophet 2000, Ensoniq ESO-1,Steinberger w/Roland synth electronics. Steinway grand 24I-TRACK piano. Yamaha 10(88. Other MIDI Equipment Sycologic 16 x32 MIDI switcher, Macin- tosh SE, Mega mix automation system. Performer 2.0, Digide- STUDIOS sign sampling and 0-sheet Video Equipment JVC CR -850 /34 "video deck w/remote, Sigma Electronic color sync generator. JVC digital VHS, (2) Sony color monitors AMS RMX-16, Eventide SP-2016, Ouantec stereo room simula- Other Macintosh 512K, Fender, Ibanez. Yamaha bass guitars, tor, Lexicon Prime Time II, Lexicon PCM42, Loft Delay, live large Yamaha MJC8, Yamaha OX1 sequencer, etc echo chamber, Eventide 949. Rates: Please call. Other Outboard Equipment Fairchild limiters. (4) dbx 160, Extras &Direction:Manta Productions is afull-service commer- Drawmer tube stereo compressor. NTP limiter. Trident stereo cial production facility specializing in audio post-production limiter. UREI LA-4. UREI 1176, Compas limiter, Aphex compel- and music scoring. We cater specifically to the independent lor, Massenburg stereo limiter, (2) CBS audimax tube limiters, producers who wish to complete their project on time and (2)API 525. (2) Pultec EOP-1A (2) Pultec MEO, Pultec HLF filter, within budget We also have an extensive library of music. (2) Massenburg E0s. (4)API 560, (2) Massenburg microphone sounds and sound effects to choose from Our experienced preamps. Aphex Aural Exciter II, EXR Exciter. Barcus-Berry staff of programmers, engineers, composers, arrangers and Electronics exciter, (3) Drawmer DS-201 gates, aLock syn- musicians can help your project look and sound its best Work chronizer, Lynx Time synchronizer can be performed in arelaxed, friendly and professional atmos- Microphones: Sanken CU-41, TLM-170, U89, U47 FET, AKG phere complete with swimming pool and spa Local transporta- C414, Sennheiser 421, Shure SM57, AKG 460, Countryman tion and lodging can also be provided. For any questions Dls, Simon Dls. regarding our services please call Diane. Monitor Speakers: Custom system (call for details), Yamaha NS-10M. ROR. Musical Instruments: E-mu SP-1202, (6) Marshall. [24+1 AUDIO DESIGN GROUP Video Equipment Sweetening wiSony BVH-3100, Sony BVW 1921 Minor 755P Betacam, Sony BVW-40 Betacam, Sony BVU-800DB. Seattle, WA 98101 Rates: Please call for rates. (206) 623-1418 Owner Audio Design Group Inc. Studio Manager Craig Ormond (24+) ARCHIVE AUDIO AKASHIC RECORDS GROUP/RHEEM THEATRE PO Box 3800 Danville, CA Saratoga, CA 95070 [24+) AUDIOWORKS RECORDING STUDIOS (408) 241-6406 (24+) AKASHIC RECORDS GROUP/RHEEM THEATRE also REMOTE RECORDING Owner Bruce Gast also REMOTE RECORDING 7479 S. Teller St. PO Box 395 Littleton, CO 80123 Danville, CA 94526 (303) 972-4255 [24+] ARRIVISTE (415) 837-7959 Owner: Bill Prentice also REMOTE RECORDING Owner: Stephen Jarvis Studio Manager Bill Prentice Sunnyvale, CA Dimensions: Studio 250L x100W x50H, control room 15 x21. (408) 745-1571 Mixing Consoles: MCI JH-800 12x 12 x4, (8) Massenburg 8x 8 microphone preamps, (4) Drawmer 4 x4 preamps, Ampex Owner: Axis Recording and Creative Services (24+) AUTOLOFT RECORDING STUDIO Studio Manager Pat Doran MX104 x2. 21103 Patriot Way Audio Recorders: 3M M79 24-track transformeriess, Otan Cupertino, CA 5050B 2-track. Sony PCM F-1 2-track digital processor w/Mey- (408) 257-8178 er correction filter. Nakamichi DMP-100 2-track dgital proces- Owner Galana Productions sor Studio Manager Michael Galane Cassette Recorders/Duplicators: Nakamichi 550. Noise Reduction Equipment Dolby XP-24 SR 24-track w/auto switching for Otan, Studer, MCI, 3M, Dolby SR 361 stereo pair. Echo, Reverb, &Delay Systems: AMS RMX16, Lexicon PCM 70. Other Outboard Equipment (3)Drawmer noise gates, (8) Aphex E0F2 parametric equalizers Microphones: (2) AKG C-12, (2) Neumann M49, Telefunken ELAM 251, Neumann SM69 stereo, Neumann J87. (2) Neu- mann TLM170 transformerless, (3) AKG 460, (5) Sennheiser 421, Sennheiser 441, (3) Shure SM56. Shure 546, (3) Syncron S-10. (2) Beyer M160. EV RE20. Shure SM7, AKG D112. Shure "Silver Bullet" Monitor Amplifiers: McIntosh 2100, Yamaha 2050. Monitor Speakers: Yamaha NS-10, UREI 809. Musical Instruments: E-mu SP-12 turbo. Rates: Please call. Extras &Direction: This equipment is located in rte 1,000-seat Rheem Performing Ms Thea:er, Moraga, California We specialize in "live feel" studio production and iecording of live performances in 24-track SR Dolby The large sound stage is also used for pre-production and recording prior to studio recording at other BayArea facilities. Indrvidual equipment rental and remote ATLANTA PRODUCTIONS recording is available. Stockton, CA

[24+) ALPHA &OMEGA RECORDING [24+] ATLANTA PRODUCTIONS 245 Hyde St. 6884 Atlanta Cir AVALANCHE RECORDING STUDIOS, INC. San Francisco, CA 94102 Stockton, CA 95209 Northglenn, CO (415) 885-4999 (209) 473-2345 Owner: Sandy Pearlman Inc Owner Ralph & Diane Stover [24+) AVALANCHE RECORDING STUDIOS, INC. Studio Manager Nancy Evans Studio Manager Diane Stover 10650 Irma Dr, 1127 Engineers: Paul Mandl, Mark Senasac. Ken Keize, Mary Ann Engineers: Ralph Stover, independents. Northglenn, CO 80233 Zahorsky, Mn Maria Scott, Doug Gaines. Mixing Consoles: Neotek Elite 32 x24 w/MIDImute automation. (303) 452-0498 Dimensions: Studio 20 x35, isolation room 130 sq.ft, control Audio Recorders: Studer A80 MkIV 24-track, Studer 4012 2- Owner: Avalanche Recording Studios, Inc. room 18 x22. track. Studio Manager Linda Warman Mixing Consoles: API 44-input w/36 monitors w/automation. Cassette Recorders/Duplicators: Nakamichi Engineers: George Counnas, Harry Warman, Steve Forgy, Mi- ARMS moving fader, 80 inputs for mixing. Noise Reduction Equipment (2) Dolby SR chael Pfeifer Audio Recorders: Otan MTR-90. Ampex 124 24-track. Ampex Synchronization Systems: (3) Lynx time code modules. Jambox Dimensions: Studio 44 x30, control room 20 x30. 124 16-track, Ampex ATR-102 2-track /12 "and 4+ Mixing Consoles: Soundcraft 2400 52 x24 modified. auto- Echo, Reverb, & Delay Systems: Les con 4801_ AMS 15-80S, Echo, Reverb, 8. Delay Systems: Lexicon 480L Lexicon PCM- mated

186 MIX,JANUARY 1988 Audio Recorders: Sony/MCI JH-24 24-track, MCI JH-16 16- (24+) BAYVIEW STUDIO [24+1 KEN CARLTON RECORDING track. Sony digital 2-14-track. Studer Revox PR99 2-track Y.". 1368 S. 49th St (FORMERLY SOUND TECHNIQUE REC. STUDIO) Studer Revox All 2-track V. -. Richmond, CA 94804 11240 Hwy. 41 Cassette Recorders/Duplicators: Technics RSB100. (415) 237-4066 Madera, CA 93638 Noise Reduction Equipment Upon request. Owner Stephen Suda, Robert Hall (209) 431-5275 Synchronization Systems: (3) Lynx Timelines. Engineers: Tom Anderson, Jack Crymes. Owner Ken & Marilyn Carlton Echo, Reverb, &Delay Systems: Lexicon 224XL Lexicon 200. Dimensions: Studio A45 x20 x17, studio B19x 16x 17, control Studio Manager Ken Carlton Lexicon PCM70, Lexicon 95. Audi-ence RFS-2 plate reverb. room 14 x18 x8 Engineers: Ken Carlton. Lexicon 41. IC Electronic 2290 (11-sec ). Eventide H949 Har- Mixing Consoles: Soundcraft TS-24 40 x24. Dimensions: Studio 20 x22, control room 14 x17, w/8 x8 piano monizer, MXR flanger/doubler Audio Recorders: Studer A800 24-track, Ampex ATR-102 2- alcove. iso room 9x 10, vocal booth 5x 10. Other Outboard Equipment (2) Aphex CX1 comp/exp., (2) B&B track, Studer A80 Mk11 RC 2-track Y2". Mixing Consoles: Sound Workshop Series 34 32 x24 w/Disk- F-2 E0. (2) dbx 160, UREI 1176LN, (2) Symetrix 522. dbx 263X, Echo, Reverb, & Delay Systems: (2) EMT 140 stereo plates. mix II dbx 166, (2) Strategate, UREI 546 parametric EQ. Aphex Type B Yamaha REV7, Roland SRV-2000 Audio Recorders: Otan MTR-90 16-124-track, Otan MIR -10 Aural Exciter Other Outboard Equipment Eventide 949 Harmonizer, Lexicon 2-track. Otan MTR-12c 2-track, Otan 5050B 2-track. Pioneer Microphones: (4) Neumann U87, Neumann U47, (2) Neumann Prime Time S(4) UREI 1176. (2) UREI LA-4A, Teletronix LA-2A. RT707 /14 -track U48 (tube), Neumann U67 (tube), AKG C414, AKG C451, AKG dbx 161. (2) Valley People Dyna-Mite. (2) Pultec ME0-5, (8) Cassette Recorders/Duplicators: (2) Akai GX-912. (13) Hitachi D112. (2) Telefunken ELA-M251 (tube), (3) Sony C-37A (tube), Dolby 361. DE-7 Sony C-37R. (7) Sennheiser 421, Sennheiser 441. (2) RCA 77. Microphones: AKG 414EB, AKG 414EB-P48. AKG 451. AKG Noise Reduction Equipment Dynafex (2 channels). RCA 44. (2) E-V RE2O. (2) Crown PZM-30 GPB. (2) Beyer C-422 stereo. Neumann U87, Neumann KM84, Neumann U47 Echo, Reverb, & Delay Systems: Lexicon 224XL. Lexicon M260. (5) Shure SM57 FET, Neumann M49B, Crown PZM, E-V RE20, Shure SAA57, PCM70 V.3, Ecoplate II, DeltaLab DL-3. Eventide 949 Harmo- Monitor Amplifiers: UREI 6500, Haller 200, Phase Linear 400. Shure SM7, Sennheiser 421, Sennheiser PML DC-73. Country- nizer, Marshall 5402 Time Modulator, lape delay Technics SE-9060. man 'so-max, direct boxes. Sony ECM-50. Other Outboard Equipment ADR Vocal Stresser. Stereo Ex- Monitor Speakers: (2) JBL 4430, (2) Yamaha NS-10, (2) Tannoy Monitor Amplifiers: Haller. press com/lim/exp, (2) UREI LA-4, (2) UREI 1176LN, (4) Allison SRM-12, (2) Auratone cubes. Monitor Speakers: Meyer 833. Yamaha NS-10. JBL 4311, Aura- Gain Brain and Kepex, (2) dbx 165. Orban 6228 parametric Musical Instruments: Yamaha C7, Hammond F33 w/Leshe 147. tone 5C, MDM-4 EQ. Aphex Aural Exciter, total Power One protection on all PC. Korg DSS1. Yamaha RX11, Fender 1965 PBass, Fender 1954 Musical Instruments: Gretsch, Yamaha "R" Series. Simmons Microphones: Neumann U87, Neumann U89, Neumann KM86. Telecaster. Seymour Duncan 100-watt convertable (all mod- drums available by arrangement, vintage Fender basses and (2) AKG 414EB. (7) AKG 451E8, (2) Sennheiser 441, (9) Senn- ules), Fender Bassman 10. miscellaneous percussion. guitars, Martin guitars, Gretsch guitars, old Fender amps, Am- heiser 421, (2) E-V RE-20, E-V RE-16. (2) Crown PZM, Shure 56, Other MIDI Equipment Programmers available with various peg B-15 bass amps, Steinway B piano also available by ar- (8) Countryman FET 85 Dis and more. equipment rangement Monitor Amplifiers: Bryston 48, Haller. Video Equipment JVC CR6650U 44 - video recorder. Pana- Rates: Please call for rates. Monitor Speakers: JBL 4430 BiRadials. Bryston biamped. Ya- sonic CT 1930 19" color monitor, (3) Transport TimeLine syn- maha 145-1000 in studio, Yamaha NS-10, Auratones chronizer Musical Instruments: Kurzweil 250 w/all updates, gully loaded, Rates: Upon request. Rate card and color brochure available. Linn 9000 w/sampling, Yamaha DX7 w/El. Yamaha C7 grand Extras & Direction: Up to 40-track capability with automated piano, Moog, others, Peterson Strobe Tuner, many guitars and mixes also available Accommodation service for mountain re- amps, Rockman Rock Module, various effects pedals and black treats or Denver's best hotels wrsansportation arrangements boxes available Less than an hour drive to Rocky Mountain serenity Other MIDI Equipment Macintosh Plus w/MIDIpaint and Jam Top studio musicians, producers, arrangers and composers. Box 4. Digital 2-track mastering and synchronizer lockup with any Rates: $35/hr. 2-track $55/hr. 24-track Engineer and all equip- additional equipment available upon request Credits: The Pre- ment and instruments included tenders, The Wynans, Michael McDonald, The 4Tops, Leon Russell, Jock Bartley (Firefall) Highway 101, Flash Cadillac Producers: Paul VVorley, Bill Poner, Geoff Workman, VVarner Brothers, Geffen Records, Island Records We continue to offer our clients the best in stale-of-the-art equipment, engineers and personal service. Avalanche has a highly creative and comfortable atmosphere and total privacy

(24+1 AXE-TRAX RECORDING STUDIO 1558 Linda Way Sparks, NV 89431 (702) 358-7484 Owner: Dr. Lawrence R. Davis Studio Manager: Ron Starceve

BEAR CREEK STUDIO 8, MUSIC PRODUCTION [24+1 AXON AUDIO Woodinville, WA Sunshine Star Route Boulder. CO 80302 [24+1 BEAR CREEK STUDS() & MUSIC PRODUCTION (303) 440-0277 6313 Maltby Rd. Owner: John Hobbs, Sherry Livingston Woodinville, WA 98072 Studio Manager: John Hobbs (206) 481-4100 Owner: Joe & Manny Hadlock Studio Manager: Victoria Wirth [24+1 THE BANQUET SOUND STUDIOS Engineers: Joe Hadlock Steve Heinke. CD STUDIOS 540 E. Todd Rd., Ste. B Dimensions: Studio 25 x38, control room 19 x17. San Francisco, CA Santa Rosa, CA 95407 Mixing Consoles: Trident TSM 32 x24 (707) 585-1325 Audio Recorders: MCI JH-114 24-track (modified), (2) Ampex [24+] CD STUDIOS Owner: VVarren Dennis ATR-102 2-track (/14 "and /12 1, (2) Revox A-77 2-track 1230 Grant Ave., Ste. 531 Studio Manager: Janet Stark Krick Cassette Recorders/Duplicators: (2) Revox B710. San Francisco, CA 94133 Noise Reduction Equipment Dolby A 26 channels. (415) 285-3348 Synchronization Systems: Lynx TimeLine. Owner: David Ferguson Echo. Reverb, & Delay Systems: Lexicon 224. Ecoplate II, Studio Manager Gary Hobish Yamaha SPX90.AMS 15-80w/chorus interface. Lexicon Prime Engineers: Gary Hobish, Gary Mankin, Amy Atchison, Robert Time, MXR DDL, Master-Room MR-2. Geller. independents welcome Other Outboard Equipment Teletronix LA-2, (2) UREI 1176, Dimensions: Studio 30 x40. control room 200 sq.11. UREI LA-3A, Trident stereo limiter, ADR Scamp rack w/noise Mixing Consoles: MCI JH-636 30 x24 automated transformer- gates. de-esser/auto-pan/auto-flange. UREI and Orban para- less wiparametric EQ metric EQ. (2) Allison Kepex, (2) Allison Gain Brain. MXR auto- Audio Recorders: Studer A80 MkIV 24-track transformerless flanger w/autolocator. MCI JH-110B 2-track transformerless, Sony Microphones: (2) Telelunken U-47 (tube), AKG C-24 stereo PCM-F1 2-track digital w/Propack transformerless interface. (tube). (2) AKG 414, (2) AKG 452, (2) Neumann U87, (2) Neu- Otan 505013 Midi 2-track. mann KM84, (2) Sennheiser MD-421, Sennheiser MD-441. E-V Cassette Recorders/Duplicators:Aiwa M70013, Technics M280. RE20. (4) Shure SM57. Milab DC96B, (2) Crown PZM, (2) Sony Synchronization Systems: SMPL system SMPTE synchronizer ECM-22. RCA 77-DX Echo, Reverb, & Delay Systems: Lexicon 480L digital reverb Monitor Amplifiers: Custom Eico stereo tube, McIntosh MC2300, and processor. AMS RMX-i 6digital reverb, Lexicon 200 digital McIntosh MC240, Crown PSA-2, BOW 250B, Phase Linear reverb, Yamaha REV7 digital reverb, AKG F3X-10 spring reverb. 400. Spectra Sones, Tape°. Lexicon PCM42 digital delay line, Lexicon Super Prime Time Monitor Speakers: Altec custom, Yamaha NS-10M, Auratone digital delay, DeltaLab DL-4 digital delay. ADA STD-1 stereo 5C. JBL 4333. JBL 4311. tapped delay Musical Instruments: 1919 Steinway Br grand, E-mu Emulator Other Outboard Equipment Drawmer noise gates, Dyna-Mite II sampler wichsc library. Yamaha DX7. Alpha Syntaun noise gates. UREI LA-4 compressor/limiters. Symetrix 501 com- Prophet 5w/MIDI and sequencer. Apple Mac w/Southworth, pressor/limiter. Scamp rack w/compressor/gate/dynamic filter/ Oberheim DMX w/MIDI. Music Man 212, Carnco drums. EQ. Deltalab DL-5 HarmoniComputer, API 554 EQ. Video Equipment JVC 6650V /34 "VCR, Proton 600M monitor. Microphones: Neumann U64 tube, Neumann U67 tube, Neu- (3) Lynx Timeline synchronizers, Ampex AIR-102 w/CTTC. mann U87, Neumann KA454, AKG C24 stereo tube. AKG HAY VIEW STUDIO Rates: $125/hr.. $175/hr video interlock, block and evening Richmond, CA rates available. —CONTINUED ON NEXT PAGE

JANUARY 1988, MIX 187 —LISTING CONTINUED FROM PAGE 187 [24+1 DATA TRACKS RECORDING NORTHWEST also REMOTE RECORDING C414EB. AKG Cl2A, AKG C460B.AKG C451. Sony C-48. Sony 2155 Bennett Creek Rd. ECM-22P. Sennheiser MD-421U, Sennheiser MD-441, Shure Cottage Grove, OR 97424 SM57, Shure SM58. Shure Sk481, Shure SM85. E-V RE20, E-V (503) 942-5877 RE16, E-V DS35, Crown PDA, Beyer M-88. Countryman direct Owner James Roger Nelson boxes 24+ TRAcK Studio Manager Jimmy Blue Monitor Amplifiers: Haller P-225. Crown DC-300A. Crown D- 60, Phase Linear 13-60, Klark-Teknik DN-27A 1/3-octave EO. STUDIOS Monitor Speakers: UREI 811A time aligned, Yamaha NS-10M. MDM-4, JBL 4301, JBL 4313, Realistic Minimus-7, Auratone (24+) COLOR ZONE PRODUCTIONS INC. [244] DESITREK STUDIOS 5C PO Box 1911 3415 SE Hawthorne Blvd. Musical Instruments: 1929 Baldwin 7' grand piano. Emulator II Novato, CA 94947 Portland, OR 97214 sampling keyboard. Yamaha DX7, Oberheim OB-8 w/MIDI. (415) 892-8027 (503) 232-8606 LinnDrum LM-2, Rickenbacker bass, various guitars and amps, Owner Color Zone Productions Owner: Michael Demrners, Douglas Durbow Hammond M3 w/Leshe cabinet Studio Manager Elissa Mord, Peter Gifford Studio Manager Michael Demmers Other MIDI Equipment: Roland MS0-700 sequencer. Garfield Mini-Doc Clock divider. Extras & Direction: Fresh ground coffee; large client lounge with refrigerator and microwave; sleeping facility, shower, one block from Willie McCovey basing range. CD Studios is an (24+) DIAMOND STAR RECORDING extraordinary facility at exceptionally reasonable rates Our Bothell, WA huge, live recording space is suitable to amultitude of tracking (206) 481-9439 situations from heavy metal to orchestral recording; it is made Owner Grant Gittins even more versatile by our two isolation booths We offer awide Studio Manager Grant Gittins variety of keyboards (including the Emulator II, Baldwin grand piano and Hammond M-3 w/Leshe), four digital reverbs (including the new Lexicon 4804 new and vintage tube microphones: digital and automated mixdown and much more. In addition, our parent company, CD Presents, can help the independent record maker with manufacturing and distribution. Recent clients include Tramaine Hawkins (MM Records), Game Theory (Produced by Mitch Easier for Enigma Records); Seahags (produced by Kirk Hammett); True West, Twisted Roots, Rat Music Volume HI (CD Presents Records). Check us out for your next project'

F -LIF? [2441 CHROME DREAMS PROD. RECORDING 5852 Sentinel St San Jose, CA COLORADO SOUND RECORDING (408) 268-6066 Westminster, CO Owner: Leonard Gocinto Studio Manager: Monette Paparrotti (2O) COLORADO SOUND RECORDING also REMOTE RECORDING 3100 W. 7155 Ave. Westminster, CO 80030 (303) 430-8811 Owner: Kevin Clock [244] COAST RECORDERS Engineers: Kevin Clock, Tom Capek 1340 Mission St DIFFERENT FUR, LTD. Dimensions: 650 sq It., 550 sq.ft., control room 450 sq.ft., control San Francisco, CA 94103 San Francisco, CA (415) 864-5200 room 10 x 13. Mixing Consoles: Trident TSM 24 x24 x2 Owner: O&M Enterprises [24+1 DIFFERENT FUR, LTD. Audio Recorders: Otan MTR-90 24-track and 16-track, Ampex Studio Manager: Steve Atkin 3470 19th St ATR-104 2-/4-track and/s'. Studer A80 2-track /12 "and /12 ", Engineers: Steve Atkin, Bob Lindner. Jim Hilson. Revox PR99 2-track, Technics 1500 2-track. San Francisco, CA 94110 Dimensions: Roars 1: studio 25 x40, control room 18 x 20. (415) 864-1967 Cassette Recorders/Duplicators: Technics RSB100, Yamaha Room 2 studio 12 x18, control room 16 x18. Room 3: studio 6 Owner Susan Skaggs, Howard Johnston x 12, control room 10 x 12. Room 4: control room 14 x 14 K2000 Echo, Reverb, & Delay Systems: ANAS RMX-16, Lexicon PCM- Studio Manager Susan Skaggs Mixing Consoles: MCI JH-428B 28 x24 automated, Harrison Engineers: Howard Johnston, Mack Clark, Marc Senasac, Mark 70, (2) Yamaha SPX90 II, Ecoplate, Lexicon Prime Time, (2) 3624 36 x24 automated. API 1604 16 x4. NEOTEK 20 x Slagle, David Plank, Devon Bernardoni. DeltaLab 1024. Ursa Space Station. MXR digital delay, Lexicon Audio Recorders: MCI 24-track, MCI 16-track, MCI 8-track, MCI Dimensions: Studio 25 x35 x12, control room 17 x21 x12 plus 92. 4-track, MCI 2-track, Ampex 8-track, Ampex 4-track, Ampex isolation Other Outboard Equipment (2) API 550 EQ. (2) API 525D 2-track, Ampex mono, 3M 16-track. Mixing Consoles: SSL 4056 48 x48 w/Total Recali. compressor , limiters, Audioarts 4200B Parametric. Teletronix Cassette Recorders/Duplicators: Sony, TUC. Nakamichi Audio Recorders: Studer A80 VU MkIlI 24-track, Sony 3324- LA-2. (2) UREI LA-3A. (2) UREI 1176. (2) UREI LA-4, (4) Valley Noise Reduction Equipment Dolby 30 channels PCM 24-track, Studer A80 VU MkIll 2-track V2" and 'A", MCI People Dyne-Mites. (2) dbx 902 de-essers. Barcus-Berry Elec- Synchronization Systems: BTX 4600. BD( 4500 synchroniza- JH-110A 2-track and/or 4-track. Sony PCM-Fl 2-track digital. tronics 802 tion systems. Microphones: Neumann U47 tube, (2) Neumann U87. (2) Neu- Cassette Recorders/Duplicators: Sony R-DAT, (5) Technics Echo. Reverb, &Delay Systems: EMT 140 stereo plates. Yama- Noise Reduction Equipment (2) Dolby A. mann U47, Neumann KM84, Neumann KM86.AKG C24 stereo ha REV7, Yamaha SPX90. Synchronization Systems: (3) Lynx. Other Outboard Equipment Lexicon Super Prime Time II, Lexi- tube. (4)AKG 414, (2)AKG 451, AKG C33. (2) Sennheiser 441, (2) Sennheiser 421. Echo, Reverb, & Delay Systems: Lexicon 224XL. Lexicon 224 con 1200 time compressor, UREI 1178, UREI 1176, UREI 537, digital reverbs, Yamaha SPX90. Yamaha REV7, EMT 240 Gold Monitor Amplifiers: UREI 6300, Yamaha. Crown. UREI 535, Orban de-essers, Drawmer noise gates, Eventide Foil. Eventide digital delay. (2) Lexicon Rime Time, live echo Monitor Speakers: UREI 813. UREI 809, Yamaha NS-10. Aura- 949 Harmonizers, UREI digital metronomes. Korg digital delay chamber. Lexicon 4801_ tones Microphones: Neumann U87, Neumann KM84,AKG 414. AKG Other Outboard Equipment Dolby A 2 channels. Kepex Ils. Musical Instruments: Yamaha C7 grand piano. Emulator II. (2) 451, Sennheiser 421, Sennheiser 441, E-V RE20, Beyer 160. Gain Brain Ils, 1176s, LA-4As, Eventide Harmonizer, While 1/6- Yamaha DX7. Emulator SP12 drum machine, Hammond C3 Shure SM56, RCA 77DX. octave digital spectrum analyzer. MXR flaiger. w/Leshe, Oberheim Matrix 6, Oberheim Matrix 6R, Roland Monitor Amplifiers: UREI 6500, UREI 6250. UREI 6260, UREI Microphones: Neumann SM69 stereo tube, Neumann 269. MKS-20 digital piano, Yamaha 10(88. Yamaha TX802, Mesa/ 6150 Neumann 254 (pair), Neumann U87, Neumann U47, Neumann Boogie guitar amp. Rockman Type Bli. Monitor Speakers: UREI 81a UREI 811. UREI 809, Auratone KM84. AKG 414, AKG 452, Beyer. Sernheiser, Sony. E-V. Other MIDI Equipment Macintosh sequencer/editor program. 5C. Shure, many rare tube mics available. Rates: $600/day. $60/hr. Musical Instruments: Steinway grand piano, Celeste. Monitor Amplifiers: Crown, BOW, Spectra Sonics, Phase Linear. Video Equipment JVC 8500-U VCR, JVC 850 VCR, BTX 4450, Yamaha Jam-sync general 3-way machine lock. Monitor Speakers: Westlake TM-ls, 604Es. JBL 4310s, JBL Rates: Audio $75 to $100, w/video $105 to $165 [24+] CROW RECORDING STUDIO 4311s, Yamaha NS-10s; Auratones. Extras & Direction: Hi-speed open-reel arid in-cassette dupli- also REMOTE RECORDING Musical Instruments: Yamaha C-7B grand piano also available cating, total mailing/trafficking service. Phone patches in all 4000 Wallingford N. at specially arranged rates, 32-voice Synclavier. T-8, Yamaha studios For over 25 years the leader in audio services for the Seattle, WA 98103 DX7 advertising industry Total Service except film and location. (206) 634-3088 Video Equipment Sony 25" monitor, JVC /34 ". Owner: John Nelson Rates: $125/hr. $1,500/12-hour lockout; rates subject to Studio Manager: John Nelson change Telephone for rate card. Extras & Direction: Sauna/shower, lounge w/lutchen, color TV. Custom services in astate-of-the-art studio designed by John [24+1 COLOR BUND MUSIC [24+) JAMES DANIELS PRODUCTIONS Storyk, with acoustical consulting in 1987 by Russell Berger of also REMOTE RECORDING PO Box 618 the Joiner-Rose Group. offering both digital and analog exper- 1128 Alder, Ste. C Palo Alto, CA 94301 tise. Complete seclusion in avery private atmosphere. Media Eugene, OR 97403 (415) 325-8574 and jingle recording Recent clients include Windham Hill Rec- Owner: Glove Productions Owner James Daniels ords. Virgin Records. N'arners, RCA. Solar, Manhattan, CBS. Studio Manager Michael K Pfohl Studio Manager Bruce Kaphan DEG, Word and Ralph Records.

188 MIX,JAIVIJARY 1988 BREATH-TAKING AUDIO recreates what was on your final mix down the way you want it heard every time your client's cassette is replayed. LISTEN TO AN EXAMPLE

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o e ao\ KABA Research 8( Development 24 Commercial Blvd., Suite E, Novato, CA 94949

Circle #019 on Reader Service Card Berkeley, CA 94710 NORTHWEST (415) 549-2500 Owner: Fantasy Records Studio Manager Nina Bombardier Engineers: Danny Kopelson, Dave Luke, Michael Rosen, Tom Size 24+ TRAcK Dimensions: Studios: (A) 30 x50, (B) 21 x26, (C) 24 x37, (D) 30 x50 w/18 x30 string room. Other rooms: CD and disc master- STUDIOS ing room, keyboard room w/Kurzweil 250 and tape copy room. Mixing Consoles: SSL 4056E 56 x32 Total Recall and automa- and respect your budget like our own For better product. tion, Neve 8108 40 x32. Neve 8108 32 x24, Trident Series 80 without compromises, for less money—call us At Dragon Stu- 32 x24 x32 dios, the bottom line is music. Catero/Fantasy Mayfield Rec- Audio Recorders: Mitsubishi X-850 32-track digital, Mitsubishi ords; Windham Hill; CBS; Pacific International; Random House: X-80 2-track digital, Sony PCM-1630 2-track digital w/D4000, MR Records; First Strike John Lee Hooker; Buddy Miles. Tuck & Sony PCM-Fl 2-track digital, Studer A800 24-track, Studer A80 Patti; Wire Train; Strange Toys; Daddy in his Deep Sleep, Baxter 2-track Y2" and Y.". Studer A80 4-track /12 ". MCI 110C 4-track Robertson (148) and 8-track. DRAGON STUDIOS Echo, Reverb, & Delay Systems: Live cnambers, EMT 140. Ecoplate, AMS, EMT 250. Lexicon 224XL. Lexicon 200 PCM60. 2" 1G-Track Recording Other Outboard Equipment Bel DDL, Eventide DDL, Eventide 910 Harmonizer, Eventide 949 Harmonizer, Lexicon Prime [4 15] 325-5575 Time, Dyna-Mite gates, Drawmer gates, Lexicon PCM42 DDL Space Station, ADR Compas limiter, ADR Vocal Stresser, dbx DRAGON STUDIOS 160 limiters, Orban de-esser. Scamp rack. MXR phaser and Redwood City, CA much more Microphones: (174) microphones—ribbon dynamic, condens- [24+1 DRAGON STUDIOS er and PZM. also REMOTE RECORDING Monitor Amplifiers: Crown, McIntosh. 100 Fifth Ave. Monitor Speakers: Sierra-Hidley, UREI Time Aligned, Yamaha Redwood City, CA 94063 NS-10s, Auratones, Visoniks, MDMs, AIL 4311. (415) 366-5575 Video Equipment: Video sweetening, video transfers, /34 "to Owner: Charles and Sally Albert VHS or Beta /12 ", SMPTE code window dubs, etc. Studio Manager. Cathy Furness PHIL EDWARDS RECORDING Rates: Call for rates. Nina, Andrea or Roy Engineers: Charles Albert. Bruce Kaphan, Laetite Sonami, Tom ISSA WEST WINTON AVENUE • HAY WARD CA VASAS I311 Carr Dimensions: Room 1: studio 24 x22, control room 22 x23. [24+1 FINE ARTS RECORDING STUDIO Room a studio 9x 8. control room 13 x7 also REMOTE RECORDING Mixing Consoles: MCI JH-636 32 x24 w/JH-50 automation, C-550 HFAC Ramsa WA-8816 16 x8. Provo, UT 84602 Audio Recorders: MCI JH-16/24 16-124-track autolocate 11 (801) 378-2854 VSO, Otani MX-5050 MkIll 8-track VSO counter, MCI JH-110B Owner: Brigham Young University 2-track locate. remote, VSO. counter, Ampex 440C 2-track Studio Manager: Jon Holloman servo, VSO/display, Otan i MX-5050B 2-track VSO, Sony PCM- 501ES 2(4)-track digital PHIL EDWARDS RECORDING Cassette Recorders/Duplicators: (10) Nakamichi BX-100, (3) Hayward, CA [24+1 FOCUSED AUDIO Technics M205 30 Berry St. Noise Reduction Equipment: (4) dbx 155 Type II, (2) Dolby A. [24+1 PHIL EDWARDS RECORDING San Francisco, CA 94107 Dolby SR also REMOTE RECORDING (415) 777-3108 Synchronization Systems: BTX 23-machine sync to video or 1534 W. Winton Ave. Owner. Jeff Roth audio-audio. Hayward, CA 94545 Studio Manager: Jeff Roth Echo, Reverb, & Delay Systems: Lexicon 224 digital reverb. (415) 784-1971 Engineers: Jeff Roth, Jaime Kibben, James Allen. Lexicon PCM70 digital reverb/eftects. Yamaha REV7 digital Owner. Phil Edwards Dimensions: Room 1: studio 12 x 14, control room 20 x40. reverb/effects. (2) Yamaha SPX90 digital reverb/effects. ART Studio Manager: Brian Hague Room 2: studio 12 x14, control room 12 x.14. MA digital reverb. Master-Room XL-305, Master-Room XL- Extras &Direction: Specializing in remote recording, broadcast Mixing Consoles: Studio B: Allen & Heath 16 x16; upgrading 121, Lexicon PCM41 DDL, De'taLab DL-4 DDL, (2) ADM 256 spot production and album post-production Call for rates and Studio A's 32 x24 console. Effectron. (2) ADM 1024 DDL, ADA STD-1 stereo tapped delay, brochure Audio Recorders: Otan MX-80 24-track, Fostex B-16 16-track, Sequential Circuits Pro-FX DDL, phaser/flanger Otani MIR -10 2-track center track SMPTE, Technics RS-1500 Other Outboard Equipment (3) UREI 1176LN limiter, (2) Valley 2-track. People Dyna-Mite Dynamics processor, (2) Valley People Ke- [24+1 EXIT RECORDS STUDIO Cassette Recorders/Duplicators: Sony, Hitachi, pex gate/expander, Symetrix CL-100 compressor/limiter/de- 9844 Business Park Dr. Noise Reduction Equipment (3) dbx 155 (4 channels each). esser, (2) Symetrix SG-200 sigial gate, Roland Vocoder. (2) Sacramento, CA 95827 Synchronization Systems: IBM clone w/Kelly Ouan Audio Edit- White 4001 1/3-octave E0. (4) PE-40 Parametric EC) 4-band, Owner Exit Records Inc. ing System, (3) Cypher Digital Shadow, Shadowpad. Aphex Aural Exciter, Technics SL-1200 Mk11 turntable. Echo, Reverb, & Delay Systems: (2) Yamaha SPX90, ADM Microphones: (2) Neumann U87, Neumann U89, (3) Neumann 1024 Effectron DDL, MIDIverb. Master-Room revert). Roland KM84. (2) AKG 414, AKG D190E. (3) Sony C-37A (tube), Sony [24+1 EXTRA SENSORY PRODUCTIONS SDE-1000 DDL. C-33F. (6) Sennheiser 441, Sennheiser 421. Crown PZM-6LP, 1028 Bellevue Way SE Other Outboard Equipment (2) Kepex noise gates, (2) Gain (2) Countryman EM-202PPM, Isomas IIC, E-V RE20, (7) Shure Bellevue, WA 98004 Brain compressor/limiters, UREI 1176 stereo peak limiter, SM57, Shure SM58, (4) Beyer M-500. Beyer Soundster, (4) (206) 451-2652 Aphex Aural Exciter, (2) Orban paragraphic equalizers. White Countryman DI, Conquest DI. Owner: Charles Meserole passive equalizer. Roland 15-track CompuEditor SMPTE auto- Monitor Amplifiers: Haller P500, (2) BOW 100. BOW 150, (3) Studio Manager: Charles Meserole mation. (3) Orban de-esser. Crown, Symenx, Sweet C. Microphones: RCA DX77 ribbon, RCA BK5A ribbon, Schoeps, Monitor Speakers: (2) UREI 813, (4) Yamaha NS-10. (2) JBL Sennheiser 421, Sennheiser 441, Sennheiser condensers, (3) 4311, (2) Auratone, Klipsch, (6) Realistic Minimus 7, (12) AKG. E-V R15, Neumann available. Fostex, Sennheiser headphones. Monitor Amplifiers: NAD, Crown. Musical Instruments: Baldwin grand piano, Gretsch 5-piece Monitor Speakers: JBL bi-radials, Yamaha NS-10M. drum set, Ludwig "Black Beauty" snare. (2) Yamaha DX7, Ya- Musical Instruments: Roland S-50 digital sampler, Ensoniq maha T'X. E-mu E-max. Ensoniq Mirage, Ensoniq ESO-1, Se- Mirage digital multi-sampler, (2) Oberheirr OB-8 polyphonic quential Circuits Prophet 10, Roland JX-3P, Kong DDD digital 8-voice synth, Roland D-50 Linear 16-voice synth, Roland Juno drums, LinnDrum wIJL Cooper MIDI, Gibson Les Paul 1960 60 programmable 6-voice synth, Roland MD-8 MIDI/DCB inter- custom, custom strat w/Floyd Rose. Ibanez artist, Santa Cruz face, Yamaha TX7 6-voice digital FM synth. Oberhem digital D-46C acoustic. Fender bass, deluxe amp (Amp Lab modified). drum machine, E-mu Drumulator, Roland G-303 guitar, Roland Other MIDI Equipment Macintosh Plus computer and drive. GR -300 synth, Fender Telecaster, (2) Music Man amplifiers. Opcode Studio plus two interface. Mark of the Unicorn Per- Other MIDI Equipment Opcode Studio Plus 2interlace, Farra - former 2.0 1.22, Composer, Opcode patch editor/librarians, Ion computing Phone net interlace, Kong MIDI synchronizer. sequencer Video Equipment JVC 8250 3/4"w/address track time code, Video Equipment: JVC high band /12 ". Sony BVU 3/. 'A/B roll JVC BR8600 VHS editor. JVC VHS Hi-fi recorder. BTX synchron- editing system. Grass Valley GVG-100 swither. JVC CCD 700 ous time code generator, BTX regenerator. line res. Ikegami. Sony cameras, Mindset character generator. Other: (2) Apple Macintosh Plus w/hard disks, Apple Macintosh Lowel light kits SE. (19) software programs for sequencing, sampling and edit- Other: Sound effects library (digital), in-house original music ing digital audio. library Rates: Studio A: audio only $60/hr.. audio-for-video $125/hr.; Extras &Direction: Ar conditioned lounge, kitchenette. parking. Studio B: audio only $50/hr., audio-for-video $85/hr Consulta- walk to restaurants and stores (24 hr.). Fully equipped MIDI/key- tion, complete soundtrack design and booked rates on aper board/8-track room at special rates. Nakamichi chrome cas- project basis. sette dupes Production, arrangement, full staff of session musi- Extras & Direction: Focused Audio specializes in post-pro- cians, vocalists. programmers. etc Founded, owned and run by duction sound for theatrical, broadcast and corporate film and professional musician/engineers with years of experience on FANTASY STUDIOS video. Working with SMPTE synchronization since 1983, Foc- both sides of the glass. Staff engineers specialize in production Berkeley, CA used has been an innovator in the development and application and arrangement and understand music. We'll even play apart of software for audio post-production (see Mix article April 1987 for you at no extra charge. Beginner or veteran—we've been (24+) FANTASY STUDIOS "Focused Audio Meets Kelly Ouan Research"). With audio there, and will work with you. We care about every single project 10th & Parker Sts. engineers experienced in film. video and music/MIDI produc-

190 MIX, JANUARY 1988 lion, Focused has pioneered the developement of new tech- nation's finest studios Located on the west side of Denver. Near niques which bring together the best qualities of these previous- summer mountain activities and winter skiing ly distinct audio disciplines Speed, flexibilty and creativity in soundtrack design and production are the result of our hardware, software and talent mix. From feature films to documen- taries, Universal Studios to "Gumby". HBO to MTV, Focused (24+] PHILIP ROSCOE GALLO PRODUCTIONS Audio is committed to client satisfaction. In two SMPTE studios, 3112 Laguna Focused offers total audio post-production services, including. San Francisco, CA 94123 original music and sound FX creation (as well as vast CD (415) 563-8223 libraries); ADR; Foley narration recording: digital sampling and Owner Roscoe Gallo editing, MIDI sequencing; SMPTE-based automated mix. Studio Manager Roscoe Gallo

JOE HOFFMANN STUDIOS Occidental, CA

(24+) JOE HOFFMANN STUDIOS also REMOTE RECORDING PO Box 840 Occidental, CA 95465 (707) 874-2278 GRANNY'S Owner Joe Hoffmann Studio Manager Tina Dungan Engineers: Joe Hoffmann, Randy Own, Stephen Hanl HOUSE Dimensions: Studio 23 x26 skewed, drumnso booih 10 x14 R ECOR DI NC; STUDIOS skewed, control room 16 x 21 skewed FTM STUDIOS Mixing Consoles: NEOTEK Series II 28 x24. Ramsa 8210A 10 x Denver, CO 4 GRANNY'S HOUSE RECORDING STUDIOS Audio Recorders: Otari MTR-90 16-124 -track, Otan MX-5050 (24+) FTM STUDIOS Reno, NV MkIll 8-track, TEAC 3340$ 4-track, Otan MX -505013 2-track, also REMOTE RECORDING Otani MIR -12 2-track (39 ips). 1111 S. Pierce St (24+) GRANNY'S HOUSE RECORDING STUDIOS Cassette Recorders/Duplicators: Mai GX-F71. (5) TEX for Denver, CO 80226 1515 Plumas St. real time dupes. (303) 922-3330 Reno, NV 89509 Echo, Reverb, &Delay Systems: Klark-Teknik DN-780. Lexicon Owner John & Diane Sundberg (702) 786-2622 60. Lexicon 70 Lexicon 200, Roland DEP-5, Roland SRV-2000, Studio Manager: John F. Sundberg Owner Robert Forman Engineers: John Sundberg. Dave Lumaye. approved indepen- Studio Manager: Robert Forman —CONTINUED ON NEXT PAGE dents Jeff Shuey, Steve Avedis, Michael Pfeifer, Dan Diamond. Dimensions: Room 1. studio 2.200 sq.ft w/5 sos, control room 550 sq.ft Room 2 studio 1,500 soft w/4 isos, control room 450 sq.fl Room 3 550 soft w/1 iso control room 350 sq.ft Mixing Consoles: Soundcraft 2400 28 x 24 x 24 customized and modified. Soundcraft 2400 24 x 24 x24 customized and modified. Tascam 15 24 x 16 x8. AUTOMATION... NATURALLY Audio Recorders: Otan MTR-90 24-track w/autolocator, (2) Soundcraft 760 24-track w/autolocator. Otan MIR -10 2-track Adding automation to amixing console has never been easier. /12 " and /12 "w/center track SMPTE. (3) Otan MkIll 2-track /12 -, Otan MkIll 4-track V2 -, (2) Ampex AIR -700 2-track /12 ", Tascam Using automation has never been more natural. Series 70 4-track ,/2", Tascam 80-8 8-track /12 ", Otan 5050B . ee r 8-track /12 ". ‘4-1 bey te Echo, Reverb, & Delay Systems: EMT 140 plate, Audi-ence plate, Ouantec ORS. (2) Lexicon 200 w/6 programs. Roland SRV-2000, AKG BX-10, (2) Scamp stereo, (2) Lexicon Prime Time II, Lexicon Prime Time, (3) DeltaLab, Eventide 949 Harmo- nizer. Eventide 910 Harmonizer. (2)1024 Plectron II, MXR pitch transposer, 0L-5 pitch transposer. Ursa Major* Space Station, Lexicon PCM70. (4) Yamaha SPX90. Other Outboard Equipment Gates; Scamp: (4) limiter/compressors, (4) expander gates. (4) noise gates, automatic panner, (2) parametric E0s. (4) Symetnx 501 limiters. (2) Symetrix 522 limiter/exp, (8) Bamp limiters. (3) dbx 161. (4) dbx 160X, (2) dbx 162. (3) Aphex, (2) Sontec, (2) Audioarts 4200B parametric ECIs. (2) dbx 905 parametric E0s, (2) Orban stereo parametric EQ. (2) dbx 902 de-essers. (2) Orban 536A de-essers, (3) Orban 516EC de-essers, UREI LE5, 1176. Valley People Dyne- Mite gates. (2) MXR 1/3-octave E0s. Microphones: AKG C-24, AKG 442, AKG 414, AKG D112, Neumann U87. Neumann KM86, Neumann KM84, Neumann U47, Shure SM81, Shure SM85, Shure SM57, E-V RE20. E-V REIS, E-V REIO, E-V RE16, E-V RE11, Sennheiser 421, Senn- Simply patch pro MIX in series !veer 431, Crown PZM, Countryman Pressure Zone. with the audio path of your Monitor Amplifiers: Crown Della Omega, (8) Haller 500, Crown existing console and connect editing can be done on any or 300D. Crown 1500, Crest 3501. Monitor Speakers: UREI 813B. E-V 500. Yamaha SP10. Aura - it to your MIDI sequencer. ail channels simultaneously. No computer is needed. tone, Tannoy 1213. Tannoy 10B, E-V 100. proM IX is a modular system Musical Instruments: Kawai T grand piano, Kawai US50. Kurz- Now do your mixdown using the proMIX panel m that can grow with you. The basic system can be weil 250 Wall blocks and sampling, Oberheim OB-Xa, Ober - helm DMX. Oberheim DSX, Rhodes. Kong C-30 organ, ARP MANUAL mode — just as you would use your expanded up to 64 channels in any multiple of 8. Odyssey. Korg DW8000, Yamaha TX7. existing board Because proMIX is recording Prices start under $2000. Video Equipment: Adams-Smith 2600 SMPTE-EBU. JVC CR- every subtle movement of faders and mutes, you There is much more to the proMIX story. Call or 850U 'A" video stereo recorder. Olen /12 "w/center track are hearing your mix just as it will sound when SMPTE. NEC 25" high resolution monitor write today for more mformation on the most you play it back in the AUTO mode. With proM IX, Rates: (1) $65 w/eng.. (2) $40 w/eng.. (3) $15 w/eng. comprehensive, easiest to use automation system what you hear is what you get. Extras &Direction: Large lounge w/big screen TV. kitchen and you can add to your mixer. meal table. Conference room with high ceilings for practice and If changes are needed, the EDIT mode allows relaxing All rooms acoustically designed. Constructed from the Microsystems, Inc. ground up. Studios 1& 2 with RPG diffusers on rear walls. Real you to either modify or replace fader moves time cassette duplication. CD Sound effect and music libraries. using the unique proMIX Auto Splice system. 2500 E. Foothill Blvd., Suite 102 48 tracks available, commercials, jingles, audio sweetening, And with a fader dedicated to each channel, Pasadena, CA 91107 •(818) 577-1471 film scoring. Arrangers and producersare available. One of the Circle #123 on Reader Service Card

JANUARY 1988, WX 191 —LISTING CONTINUED FROM PAGE 191 [24+) DENNY JAEGER CREATIVE SERVICES, INC. NORTHWEST Oakland, CA MICMIX XL-305, MXR flanger/doubler. (415) 339-2111 Other Outboard Equipment Symetrix 522 (5 function stereo), Owner Denny Jaeger Symetrix SG200 stereo gate, (2) Symetrix 501 comp/limiter, (2) Studio Manager Denny Jaeger UREI LA-4 comp/limiter, (2) Phase Linear E51 parametrics, (10) Dimensions: Studio 14.5 x24, control room 14.5 x22 w/adjoin- dbx 150, (4) Dolby C, Technics SL? 200 Mid, Shure V15 Type 5 24+TmcK ing equipment room 10 x18.5. cartridge. Barcus-Berry Electronics processor, Dolby A 24 Mixing Consoles: Harrison Series Xvirtual console 112 inputs x channels, Dolby SR mastering, CO player. STUDIOS 48 bus Microphones: AKG, Audio-Technica, B&K Beyer, Countryman. Audio Recorders: (2) Sony 3324 24-track digital. Ampex ATR- E-V, Sennheiser, Shure, Sony, Tascarn, Neumann M249 tube. langer. 124 24-track, Ampex ATR-104 2/4-eack Y2", Sony PCM-F1 Monitor Amplifiers Peavey DECA 700. Carver 1200, JBL 660, Other Outboard Equipment (2) Drawmer gates. (2) Drawmer 2-track digital, Otan MTR-20 4-track w/ /12 "heads. Otan MTR- Rane HC-6 (cue) compressors 20 2-track w/ /12 "heads. Monitor Speakers: KEF Model 105/2, KEF 104/2, Yamaha NS- Microphones: AKG 414, Neumann U87 Echo, Reverb, 8. Delay Systems: (4) Ouantec room simulators, 10. Toa 312-ME, Auratones Monitor Amplifiers: BOW 750, AB Systems 205. Lexicon 224XL, (2) Lexicon PCM70, (2) Lexicon PCM42, Lexi- Musical Instruments: Steinway 9' concert grand. Monitor Speakers: JBL 4411, MDM 4, Yamaha NS-10, Aura- con 200, Eventide SP2016. Video Equipment: Live session shoots arranged with alocal tones Other Outboard Equipment (4) Drawmer sereo gates, Aphex production company in /12 "or /34 "video format Musical Instruments: Synclavier digital audio system. Kurzweil Dominator. (2) Aphex compellors, (2) dbx 160X limiter/com- Rates: $35-$50/hr Please call for rate card and literature. 250, Linn 9000, Roland D-50, Yamaha TX7, Roland MKS-80, pressors, (2) LA-4. (2) UREI Universal filter sets, E-mu voltage Extras & Direction: The owner designed and built the studio Roland MKS-20 controlled low pass filter. E-mu voltage controlled high pass from the ground up, using state-of-the-art concepts It's located Video Equipment: JVC V." video deck, Sony PVM-1910 monitor filler, Aphex Aural Exciter II, Dolby SR 24 channels. Dolby 361A in agorgeous rural seeing near the Russian River resort area. Rates: Call for rates. (5) Lynx modules Skylights and alarge picture window provide plenty of natural Microphones: Schoeps, BM, Neumann U87, Sony (many varie- light. The studio, including lounge is climate controlled and ties). E-V RE20, Shure SM56, Shure SM57. wheelchair accessible. Certified massage and hypnosis are Monitor Amplifiers: Meyer MS1000 amp, Crest 4000, BGW available for performance preparation Complete production (24+) INFINITE STUDIOS 250. Bryston. capabilities: albums, demos cassettes video soundtracks. radio Monitor Speakers: Meyer 833 w/prnegicsor and Complemen- PO Box 1709 drama, musicals...The acoustic design of the studio offers Alameda, CA 94501 tary Phase E0 remarkably warm and rich sound for acoustic instruments. (415) 521-0321 Musical Instruments: Yamaha grand liana Synclavier digital Recent credits: 1986 Windham Hill albums We offer sensitive Owner Michael Denten system w/32 megabytes of RAM. 64 voices. (2) 140 megabyte professional engineering in agood feeling environment Studio Manager: Michael Denten Winchester, velocity keyboard, guitar controller, SMPTE, MIDI, Kennedy cartridge device, music printrig, "amaha DX7. En- soniq ESO -1. Oberheim Matrix-6. [24+1 HORIZON RECORDING STUDIO Video Equipment JVC 6650U /34 "recorder, JVC 8250 /34 " also REMOTE RECORDING recorder, Sony KV-25XBR monitor. 0 Lock 410 synchronizer. 1317 S. 295th Pl. Rates: Upon request Federal Way, WA 98003 (206) 941-2018 Owner: Roger A Wood Studio Manager: Bill Gibson (24+) JAH WORKS STUDIOS PO Box 15 O'Brien, OR 97534 (24+) HYDE STREET STUDIOS (503) 596-2180 245 Hyde St Owner Jah Levi San Francisco, CA 94102 Studio Manager Luna Dove (415) 441-8934 Engineers: Jah Levi Owner: Michael Ward Dimensions: Room 1: studio 10 x 12, control room 12 x 12. Studio Manager: Ricky Lee Lynd Room 2. studio 12 x12. control room 10 x12 Drum booth 9x 9. Engineers: Garry Creiman, John Cuniberti. Ricky Lee Lynd. Mixing Consoles: Studiomaster Series II 24 x 16. Yamaha Brian Risner, EJ. Emmons. VVendy Bardsley, Andrew Murdock RM160816 x16, Sound lAtorkshop Logex 812 x8. TEX 2A6 x Dimensions: Studio 31 x20, control MOM 20 x18. 4, Gemini 8x 4 disco mixer. Mixing Consoles: Amek 2500 48 x24 x48 automated/Master- Audio Recorders: Sony/MCI JH-24 24-tract, wiAL.111. Fostex Mix disc-based. Model 80 8-track. Nakamichi DMP-100 2-track digital PCM, Audio Recorders: Otan MTR-90 II 16-/24-track w/autolocater, Tascam ATR-60 2-track 1/2". 3M M-79 16-track (w/autolocate), Otan MIR -10 2-track /12 ", Cassette Recorders/Duplicators: Eumig FL-1000. Technics Otani MTR-12 2-track /12 ", (2) Otan i MX-5050B 4-track, Scully RSB-100, TEX W-880RX dubbing deck. Nakenichi 600 280 /12 ". Noise Reduction Equipment dbx 224 Type II 2-track Echo, Reverb, 8. Delay Systems: Acoustic cnamber. Yamaha Synchronization Systems: Foutes 4050 autolocater, Korg KMS- REV7 (digital reverb w/MIDI), Lexicon PCM60. Lexicon PCM41, IRONWOOD STUDIO 30 MIDI-FSK sync Lexicon PCM42. Eventide 949 Harmonizer. DeltaLab DL-2, Seattle, WA Echo, Reverb, &Delay Systems: TC Electronic 2290, Yamaha Lexicon PCM70, stereo EMT plate, Lexicon 480L w/LARC. REV7, Yamaha SPX90, Roland DEP-5, Roland SRV-2000, Ro- Other Outboard Equipment (6) Drawmer noise gates, (5) Dyne- [24+] IRONWOOD STUDIO land SDE-2000, Alexis MIDIverb, Kong SDD-3300, Rockman Mite, Teletronix LA-2A, (4) ADR F760 compressors, (2) UREI 601 NW 80th St rock modules. DOD Electronics 2-sec. sampling delay and TC 1176LN. ADR Vocal Stresser. (2) I.:RE! 546 stereo parametric Seattle, WA 98117 Electronics flanger E0, (2) Furman parametric, (2) White 10-band Ea Klark-Teknik (206) 789-7569 Other Outboard Equipment Aphex Type C Aural Exciter, TC 1/3-octave room EQ. (2) dbx 165A UREI 565 Little Dipper. Owner Paul Scoles Electronic 2240 para EO. Orban parametric EQ. dbx 166 Microphones: Neumann M49. Neumann U47 (tube w/omni Studio Manager: Myron Partman comp/limiter, Demiter tube bass preamp. dbx 2020 EQ. dbx capsule), Neumann U67. Neumann U87, Neumann kM54. Engineers: Jay Follette. Paul Scoles, Ron Phillips. 48X expander. dbx 120X subharmonic synth. Kyocera DA-810 AKG C12 (tube), (4) AKG C12A (tube). (2) AKG 414EB, Senn- Dimensions: Studio 34 x28, control room 16 x14. CD player, Akai CD player. heiser, Beyer. Shure. Crown PZM etc, Countryman direct boxes. Mixing Consoles: Harrison Raven automated 32 x24 Microphones: Beyer MC-740, (2) Beyer M-88, Beyer M-69, Monitor Amplifiers: Hatter, Soundcraftsmen, Crown. Audio Recorders: Sony JH-24 24-track, Sony JH-110C 2-track Beyer M-160, AKG 414, (2) AKG D-310. AKG DT-330. (3) E-V Monitor Speakers: Meyer. Yamaha NS-10M. Y2" and /14 ", Tascam ATR-60 2-track /12 "wicenter time code PL10, E-V PL20, Audio-Technica ATM-21 Musical Instruments: Steinway 9' grand piano, Emulator II, Ham- Cassette Recorders/Duplicators: (2) Sanyo, Technics Monitor Amplifiers: (2) Sumo "The Nine" Class A, Yamaha mond B-3 organ w/Leske. Music Man amp. Rogers drum kit Synchronization Systems: Audio Kinetics aLock 4.10 synchro- AVC-50 and percussion ner. Monitor Speakers: JBL 4430. JBL Control '. JBL 46128. Video Equipment: Adams-Smith 2600 synchrorizer system, Echo, Reverb, 8. Delay Systems: Lexicon 480L w/LARC, Lexi- Klipchorn La Scala. Roland SRS-80. Sony VO -5800 Y." video deck w/address track modification. con 200, Lexicon PCM70, Lexicon Super Prime Time delay, Musical Instruments: Kong DSS-1. Casio CZ-5000, (4) Yamaha Rates: Please call for rates. Yamaha SPX90, DeltaLab DL-2 delay, Roland SAE -SSS tape FB-01, Photon MIDI guitar converter, JL Cooper MSB 16/20, Extras & Direction: Dual multi-track lock-up in-house produc- echo. Kong DVP-1. Linn 9000. Sequential Circuits Studio 440. (2) MPC tion of musical scores for film and video, real tme duplication; Other Outboard Equipment dbx 900 rack w/(4) gates, (3) com- percussion computer, set of North drums, Yamaha RX11, (2) cassette. /12 -track, /12 -track and 2" safety masters, call screen- pressors, de-esser. Teletronix LA-2A tube limiter. (2) UREI 1176 Ken Smith bass, many guitars, basses, amps, percussion, sitar ing, game and lounge room, free Peet's coffee. Now providing compressors, Aphex Type C Exciter, (2) Symetrix parametncs, and ethnic instruments, Trace-Elliot, Fender and Roland Jazz quality audio for film, video, radio, theater as well as traditional (2) Symetrix compressors, (2) Symetrix gates, MXR pitch trans- Chorus-120 amps. musical recordings for disc and demos. poser. Roland Dimension D, Roland flanger Other MIDI Equipment Roland °dead. Atari 1040ST w/Stein- Microphones: Telefunken U-47 (tube). Neumann U67 (tube). berg Pro-24, %night Voice-tracker. Yamaha OX-1. (2) Neumann U87. Neumann U47, (2) Neumann KM56 (tube), Video Equipment Samsung VHS VCR. 12441 INDEPENDENT SOUND (2) Neumann KM84, AKG The Tube, (2) AKG 451, AKG D-12E, Other: Biotech Bionaire 2001, industrial air filter and negative San Francisco, CA (2) Sennheser 441. (2) E-V RE20. (2) Sony C-37A, Sony C-500. ion generator, Honda EX5500 generator, (2) Heart inter4ace (415) 929-8085 Monitor Amplifiers: Hatter R500, (2) Yamaha P2050, Crown sine-wave inverter and chloride battery pack, (20) Arco photo- Owner Peter Buffett Mary Buffett D-60. voltaic panels Studio Manager Yvonne Graves Monitor Speakers: JBL 4430, JBL 4311. Yamaha NS-10, Aura- Rates: 8-track $25/hr., 24-track $45/hr ,also open to bartering Engineers: Peter Buffett. tones. Dimensions: Studio 13 x12, control room 17 x10. Musical Instruments: Yamaha T4" grand w/Foie MIDI, Korg Mixing Consoles: Sound Workshop Series 34C automated 32 x DSS-1 digital sampling synthesizer, Roland JX-10 synthesizer, 24 LinnDrum, Hammond M-3 w/Leslie, Micromoog. Hohner claw Audio Recorders: Otan MTR-9011 24-track, Otan MTR-12 2- net, Pearl drums. track, Otan 5050B 2-track Other MIDI Equipment Yamaha OX-5 sequencer. (24+) JENSEN SOUND Cassette Recorders/Duplicators: TEAC 122B. Sony TCD5M. Video Equipment Sony JH-110C 1" eyback recorder, Sony San Francisco, CA 94115 Synchronization Systems: Otan CB121 VO-5600 /34 "VTR. (2) NEC color monitors (415) 469-0192 Echo, Reverb, 8. Delay Systems: Lexicon 224 XL Lexicon Other: Diskmix console automation system Owner Eric and Suzanne Jensen PCM70, Roland DEP-5, Eventide 949 Harmonizer. Bel stereo Rates: Please call for rates. Studio Manager Suzanne Jensen

192 MIX,JANUARY 1988 BACK ISSUES o 1985 January, Northwest Studios. Vide, Supplement. Alligator Records. 1987)anuary — SOLD OUT soles. Videos Stephen Johnson. Women in Superbt nvl Sound. Springsteen on Stage. Ray Women in Media Production. Sound Reinforcement. Paul Simon Live in D 1987 February, Independent Engineers Parker Jr. Leon Russell. 1985 December, Tape-to-Disc Listings. Zimbabwe. o a Producers. International Recording Mastering Pressing & Duplication. TEC 0 1985 February, Independent Engineers Supplement. APRS Studio Directory. Bruce O 1987July — SOLD OUT Award Winners. Sound for the Twilight Zone. & Producers. Brian Eno. The Art of Touring. Lundvall. DMM for CD. Kittro. 0 1987 August SOW OUT Roger Powell on MIDI. Les Paul. Tom Waits. CI 1987 March, Southeast Studios. Digital C) 1987 September, Southern California 1986January, Northwest Studios. O 1985 March, Southeast Studios. Recording Supplement. Tom Jung. CD Studios. Recording in Hawaii. The Doors. Equipping Home Studios. Paul Winter. loudspeaker Technology. Martin Rushent. Mastering Forum. Richard Thompson. Analog 2tracks Phil Spector. Cotton Club !kitind. John Fogerty. SNIPTE MI1)1 Connection. Yoko Ono. 0 1987 April, Video Production a Post- o 1987 October, New Products Directory. 13 1986 February, Independent Engineers O 1985 April, Video Production Supple- Production Facilities. Location Mic Pnxiticers' Forum. John Hiatt. Tape Reci triler Producers. Microphone Special Report. ment with Facilities Listings. Compact li•chniques. Adrian Helm. Synchronizer Maintenance. Laurie Anderson, Laurie Spiegel. Budgeting for Sessions. Joni Power Amps. Radio Recorder; Ilany Bryant. Stiney. Pee wee's Playhtiuse. Eurythmics. Mitchell. ▪ 1987 November, North Central and 0 1987 May, Northeast Studios. Stevie Canadian Studios. George 'Unison. 1986 March — SOLD 0 1985 May, Northeast Studios. Digital our Winder it Nile Rodgers Record by Satellite. Pioneers and Trends in Film Sound. Reverb. Flo & Eddie. Holophonks. Emmylou o 1986 April, Video Production & Post Programmable Signal Processors. GRP localization. Maurice Jarre. Harris. Humberto Gatica. Production Facilities. Video Supplement. Records. I)igital Video Interactive. George O 1987 December, Mastering, Pressing, Al Kooper. Wireless Mies. Alan Parsons. ▪ 1985June, Sound Reinforcement Martin. Tape Duplication and CD Facilities. Chet Remote Recording Listings. Location Re- 0 1986 May, Northeast Studios. Digital O 1987June, Remote Recording & Sound Atkins. All Clausen's Scoring for TV. Steve cording Tutorial. Grateful Dead Sound. Weird Supplement. Sampling Primer. CD Facilities. Reinforcement Listings. Touring Con- Lukather. Al Yanktwic. Synthesizer Oriented Studios. Future of Console Design. Steve Lillywhire. David Sanborn. O 1986june, Remote Recording a Sound O 1985 July, Recording School Listings Reinforcement Listings. Rtradability. Russ and Southwest Studios. Mixing Consoles. Titelman. CD ROM & Cl) I. Rs Couder. CHECK THE ISSUES YOU'RE INTERESTED IN. Dr. Dement() Kashifs Studio. Roger Nichols 1986July — SOLD OUT and John Denver. 1986 August — SOLD OILTT # of BACK ISSUES CHECKED ABOVE at $5.00 each O 1985 August, Studio Design Issue: • 1986 September, Southern California ($6.00 outside U.S.) Listings of Designers & Suppliers. Studios. Film Sound. Telecommunications. Control Room Acoustics. Thomas Dolby. Production Music Libraries. David Bernes Orchestral Recording. On the Rind with CHECK ENCLOSED FOR TOTAL (U.S. Funds) True Stones Prince. Neil Young. Payment must accompany order. 1986 October— SOLD OUT O 1985 September, Southern California O 1986 November, New Products Studios. Film & iv Sound. Frank Zappa. Directory. Cl) ISupplement. Kenny Loggins NAME Digital 86 Supplement. Mishima Sound. Tour Sound. Daryl Hall. Grounding Primer. David Foster. ADDRESS Rupen Neve. O 1985 October, New Products for AES. 13 1986 December, 'Ewe-to-Disc Issue: CITY STATE ZIP Maintenance & Testing. Abbey Road Studios. Mastering, Pressing & Duplication /unhisonics. Ben Burn on 'max. Nile Rogers. MAIL TO: Mix Back Issues, 6400 Hollis Street, Suite 12, Emetyville, CA 94608 Facilities. Cl) Manufacturing. Mastering 0 1985 November, North Central Engineers Fonim. Lee Ritenour's Studio. Make checks payable to Mix Publications; allow four weeks for delivery a Canadian Studios. George Massenburg. Casey Kasem. within t'S. BINDERS

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JANUARY 1988, MIX 193 (24+) LA. EAST Neve noise gates, ADR Vocal Stresser. (6) Scamp gates, (4) 915 W. 100 South NORTHWEST Scamp compressors, ADR de-esser, UA-176 tube compressor, Salt Lake City, UT ADR Panscan, Aphex Aural Exciter. (801) 532-3278 Microphones: (2) Sheffield Lab custom tube mics, (2) Neumann Owner. Randall Thornton, Brian Hof hems. Gary Jackson U47, (2) Neumann U87, AKG 414, AKG D-12, AKG 460, Senn- Studio Manager: Jeff Carter heiser 421. E-V RE20. Shure SM57, Shure SM58 24+ TRACK Monitor Amplifiers: Crown, Haller Monitor Speakers: JBL 4435, Yamaha NS-10, Auratones. STUDIOS Musical Instruments: Yamaha C7E grand piano, SP- 12Emula- tor, (2) Yamaha DX7, (2) Mirage sampler, Casio CZ-1, Roland JX8P. Kong DW-8000. Roland Super JX, Roland TR-707. Other MIDI Equipment Macintosh computer, Mark of the Uni- corn, DRT, Opcode, Commodore 64 computer Rates: Upon request

[24+1 MASTER TRACK PRODUCTIONS 1524 W. Winton Ave. Hayward, CA 94545 (415) 782-0877 Owner: Don Enns Studio Manager Linda Rebuck Extras & Direction: For over 15 years we've been producing albums in the fields of contemporary and traditional gospel, jazz. rock and other styles with an emphasis on gospel music. Our facility Ise completely professional, fully equipped 24-track studio with spacious morns and high ceilings, plus a wide assortment of microphones and signal processing gear We deliver quiet and sonically superior recora ngs with our transformerless 32 x24 NEOTEK Series IIIC console and Stephens Electronics multi-track recorder We also include 30 ips Studer A80 2-track recorders and Dolby A noise reduction systems STEVE LAWSON PRODUCTIONS Our engineering staff is experienced, knowledgeable and help- Seattle, WA LIVE OAK PRODUCTIONS ful with a long list of album and radio credts Their combined Berkeley, CA expertise in the fields of musical performance and technical (24+] STEVE LAWSON PRODUCTIONS production assures ahigh level of excellence and understand- 2322 6th Ave. Mixing Consoles: MCI JH-636 console WARMS II/Diskmix ing of each client's needs MTP is also acomplete, high-volume Seattle, WA 98121 automation. Sound Workshop Series .34C 32 x28 x24 auto- cassette duplication and packaging plant. Please call for addi- (206) 625-9153 mated. Yamaha DMP7 8 x2 digital record console. tional information Owner Steven Lawson Productions, Inc Audio Recorders: MCI JH-24 16-/24-track weutolocator Ill, Studio Manager: Steve Lawson Otan MTR-10 2-track l/2" and /14 ", Sony PCM-F1 2-track digital, Engineers: Bob Israel, Steve Lawson, Jim Wilson. Terry Date. MCI JH-24/16 [24+) MILLTREE PRODUCTIONS Vince Werner, Bruce Calder. Carol Howell. Randy Yount Echo, Reverb. & Delay Systems: Lexicon 224XL. Lexicon Prime also REMOTE RECORDING Dimensions: Room 1. studio 27 x16.5, control mom 17 x 13. Time II, Lexicon PCM42. Lexicon SDE-3000, Publison America PO Box 70322 Room 2: studio 13 x14, control room 12x 11 Room 3: studio 50 Infernal Machine 90 stereo audio computer w/controller. Ya- Seattle, WA 98107 x 14. control room 16 x 11 maha REV7, (2) MIDIverb II. (206) 782-3115 Mixing Consoles: (2) MCI 636 aLtomated 28 x 24. Tangent Other Outboard Equipment: Full Scamp rack. Vocal Stresser, Owner Unfree Productions, Inc 3216 Drawmer gates, UREI LA-2. UREI LA-3A, UREI 1176, Spectra Studio Manager Claude Autry Audio Recorders: (2) MCI JH-24 24-track. MCI JH-110C 8- Sonics 610. Publison America fullmosl vocal exciter, Publison Extras & Direction: With an emphasis on innovation and quality. track, (3) MCI JH-110C 2-/4-track, (3) Otani 5050 2-track, Sony CL20C. Drawmer DS-201, Symetrix 544, dbx compressorffimit- Milltree makes Music Magic' « Our full service audio post- ATR-5003 2-track center track time code er production studio is designed for flexibility with audio, video. Echo, Reverb, & Delay Systems: Eventide 949 Hemonizer. Monitor Amplifiers: Bryston 313, Bryston 49. Yamaha, Crown, MIDI and computer tiehnes to all rooms. Analog ard digital Lexicon 224X w/LARC.AMS reverb, Lexicon Prime Time, Lexi- Crest. (2) UREI 809. recording including Scny/MCI /34 "broadcast and W' stereo con Prime Time II. (3) PCM-42. Klark-Teknik DN-780, AMS Monitor Speakers: JBL 4430 Bi-Rad al. ..:BL 4401. Yamaha VHS/Beta video Complete synchronization. Extensive MIDI sys- RMX-16, Yamaha REV7 NS-10. Toa 265 ME, Auratone. tems. outboard equipment, computer systems. CD and soft- Other Outboard Equipment (2) UREI 1176, UREI 1178, Symetrix Musical Instruments: Kurzweil 250 w/50kHz sampling option. ware inerument/FX libraries Digital recording/editing/sound 501. Gain Brains. Kepex. Scamp rack w:assorted modules. (thousands of voices available). E-mu SP-12 sampling drum design workstation Pre-production & oost-production. Foley. Symetrix Hybrid telephone interface, Orban deesser, Symetrix machine, Yamaha TX816 rack system witi DX7 modules, Op- ADR, voicing Comfortable, great sounding, working environ- 522. (2) Teletronix LA-2 tube limiter. CD players, satellite down- code Voice Editor and Librarian software (SECO patches), Ober- ments With 20 years of musical experience. composer;produc- link to studios around the country heim Matrix 12 synthesizer, Casio CZ-101 synthesizer, Garfield er Claude Autry's accomplishments include complete. sound- Microphones: AKG, Shure, Neumahn. Sennheiser and others. Master Beat, Emulator It, IBM PC. Apple Macintosh system track scores, scoring lo picture. sound design and in-house Monitor Amplifiers: UREI. BGW, Crown. Haller w/Mark of the Unicorn Performer software to' up to 250 tracks production We proudly serve the video, film multi-image, the- Monitor Speakers: JBL 4430. JBL 4311, UREI Time Aligns. of MIDI control/recording, sequencing and music notation. ater, broadcast communities in the Northwest and across the MDM 4. Auratone, Yamaha NS-10. Video Equipment Audio Kinetics aLock 4.10-E synthesizer U S. Vile also give special attention to the individual artist Our Musical Instruments: (2) Yamaha T4" grard pianos. Tama Su- w/Eclipse editor, JVC 8250 /34 " U-VCR, Sony VTH-1020 O-I clientele includes award winning corporate, commercial, fea- perStar drum kit w/power-toms, LenDrurn. DMX, Ooerheim high resolution color projection system w/100" screen, Sony ture presentations. Call or write for more infcemation. drum machines, Music/MIDI suite, Kurzweil 250 advanced, KV-1311CR 13" color monitor. Yamaha TX rack w/4 modules. Juno 106 synthesizer keyboard, Rates: Upon request Macintosh computer, Opcode MIDImac 25 sequencer, and Extras & Direction: Mists lounge with spec:acular views of the assorted edited programs, books w/operator tie lines to all Bay Private garden with redwood decks ano brick patios Com- [24+) MIRAMAR RECORDING STUDIOS studios. plete pre-producton services available using top of the line (FORMERLY NOVA RECORDING SERVICES) Video Equipment: Audio Kinetics Q.Lock synchronizer, Sony synthesizers and computer programs Live Oak Studio is de- 14715 SE 37th St BVU-800. MCI 1" layback macryne for laying audio directly to signed for the art st/composer or producer who wishes the Bellevue, WA 98006 1" videotape. highest quality recording tracks for his or her project We are (206) 747-5233 Rates: Cantor information. equipped to produce albums or to record tracks lor movie Owner Miramar Images. Inc. Extras & Direction: Our equipment and rooms are state-of-the- scores or video work We have the very latest synchronization Studio Manager: Paul Speer art, but it is our people that make us shine. We work on many gear, acomputer-aJtomated mixing console and an outstand- Engineers: Paul Speer. David Lanz, James Reynolds different types cl projects Iron, heavy metal to light banter. LP ing collection of outboard gear includirg the Publison Infernal Dimensions: Studio 15 x25, control room 12 x 15. project and audio sweetening soundtracks radio and N com- Machine 90 We have a long list of satisfied clients who enjoy Mixing Consoles: Bemp Bimix 24 x 16 mercials and audio sweetening cl video projects. We also offer the beautiful and peaceful private atmosphere. If you need a Audio Recorders: Sony/MCI JH-24 24-track, Otan 5050 2- high quality high-speed reel to reel and cassette dubs in mono producer for your project, Jim Gardiner is available to help you track. Sony Fi 2-track and stereo Call for rates. Our gmat rooms and comfortable get the best prodt.ct Cassette Recorders/ Duplicators: Aiwa, Technics atmosphere attract superb engineers. Our commerc al work Noise Reduction Equipment: Symetrix 511. has been recognized by the world's largest awards including: Synchronization Systems BTX Shadow Clio, IBA. Andy's. One Reel Show and Best in tie West. Our [24+] LONDON BRIDGE STUDIOS INC Echo, Reverb, & Delay Systems: Lexicon PCM70, ART 01A, music production includes major label releases with lop pro- 20021 Ballinger Way NE, *A Yamaha SPX90, Roland SIDE-1000. ducers. And best of all, our clients from around the country Seattle. WA 98155 Other Outboard Equipment dbx 900 rack w/comp/gate/EQ/ come back Again and again. Give us acall. We'd love to give (206) 364-1525 de-esser, dbx 166 stereo comp/gate, Symetrx 522 comp/gate. you atout Owner: London Bridge Inc. Microphones: E-V RE20. (2) Sennheiser 421, (2) AKG 414, Studio Manager Rajan Parashar Neumann U87 Engineers: Rakesh Parashar. Peter Barnes, Kurt Bujack. Scott Monitor Amplifiers: Crown D-150A, Symetrix headphone amp. [24+] LIVE OAK STUDIO Shangle. Monitor Speakers: (2) JBL 4425, (2) Yamaha NS-10, (2) Aura- also REMOTE RECORDING Dimensions: Studio 27 x46. control room 20 x21 tone 5C 1300 Arch St Mixing Consoles: Neve 8048 30 x 16 x24 ci 1081 EQs. Musical Instruments: Prophet VS, Yamaha DX7, Yamaha D(7. Berkeley, CA 94708 Audio Recorders: Studer A800 MkIll 24-track. Sony APR-5002 Roland MKS-20 piano. Yamaha 10(88 MIDI board, Kong EX- (415) 540-0177 2-track. 8000, E-mu Emax, brinDrum. Simmons drun kit Owner Jim & Priscilla Gardiner Echo. Reverb, & Delay Systems: Lexicon 224XL, Yamaha Other MIDI Equipment Yamaha OX5 sequencer Studio Manager Priscilla Gardiner SPX90, Yamaha SR V-200, Yamaha REV7. (2) CompuEffectrons, Video Equipment: Sony 19" monitor, Sony 12" monitor. Sony Engineers: Dale Everingharn. Arne Frager. Jim Gardiner. (3) Roland SDE-3000, (2) Roland SDE-2500, Lexicon Prime /34 "VCR and Beta Hi-fi VCR, Magnavox VHS VCR. Dimensions: Studio 350 scuft, attic 800 sq.ft, control room 275 Time. Other Krups espresso machine. sctff Other Outboard Equipment (4) Neve compressor/limiters, (2) Rates: Vary Private facility/invitation only

194 MIX, JANUARY 1988 Roland Oclapad, Roland digital sequencer, Moog Taurus pedals. Akai S-900 rack mounted sampler. Metlotron. Chamberlain. Moog Prodigy Other MIDI Equipment: Roland sequencer, self-designed MIDI patching system wfiber Optic data transmission, in-house designed software for IBM PC implementation, as well as Macin- tosh Other: Extensive and rapidly growing library of sounds and other software for Aka' S-900 and Prophet 2000 samplers Sample library composed around audio post-production needs Rates: Call for quotes Block/lockout available

[24+] MOON RECORDING 156 Otto Cir. Sacramento, CA 95822 (916) 392-5640 Owner George Whyler Studio Manager: George Whyler Engineers: David Houston. Gary Woltmon Dimensions: Studio 22 x34. control room 17 x 18 Mixing Consoles: MCI JH-636 28 x24 fully automated Audio Recorders: MCI JH-24 24-track. Otan MkI11-8 8-track, MOBIUS MUSIC RECORDING Otan MTR-10 2-track 74" MOON RECORDING San Francisco, CA Cassette Recorders/Duplicators: (2) Tascam 122B Sacramento, CA Echo, Reverb. & Delay Systems: Lexicon Prime Time II, Delta- —CONTINUED ON NEXT PAGE 124+) MOBIUS MUSIC RECORDING also REMOTE RECORDING 1583 Sanchez St San Francisco, CA 94131 (415) 285-7888 Owner: Oliver DiCicco Studio Manager Oliver DiCicco Engineers: Oliver DiCicco, Ken Kessie. Maureen Droney. Dimensions: Studio 38v 16, control room 18 x16. plus two so NOISE REDUCTION booths Mixing Consoles: Auditronics 30 x20 Audio Recorders: MCI JH-114 16-/24 track. Studer A820 2- track, MCI JH-110 2-track FOR UNDER $10. Cassette Recorders Duplicators: (2) Sony FX-44, Nak.amichi 600 Echo. Reverb, & Delay Systems: Lexicon 224 reverb. Master- Room MR-3 reverb. Yamaha REV7, Yamaha SPX90. DeltaLab dee DL4. Lexicon 92. lleX/NG CO4/0 tiGb Os. Other Outboard Equipment: (2) dbx 160 limiters. (2) UREI LA-4 -ozes, limiters. (2) Dyna-Mite processors, (2) Kepex gates. Lang pro- L eteD gram equalizer. UREI 530 graphic EQ. Orban 622 parametric EQ. Microphones: Neumann U47 tube. (2) Neumann KM54 tube. SWITCHES (2) Neumann U87. (2) Neumann KM84. (2) Neumann KM85, (6) Sennheiser 421, Sennheiser 402, Beyer M500 ribbon. (2) Shure PATCH's SM57. E-V REIS. E-V RE1 Monitor Amplifiers: Flatter 500, Crown 0150. Crown 060 MICROPHONE Monitor Speakers: (2) UREI 811. (2) Altec 604 w/Mastering Lab crossovers, (2) Auratone. CONNECTORS FADERS, POTS Musical Instruments: Yamaha C36' grand piano. Fender Tele- caster (w;EMG pickups). Yamaha RX15, Slingerland "Radio King" drums. Fender Vibrolux amp, Fender Bandmaste• amp Other MIDI Equipment: Available as rentals TERMINAL STRIPS Video Equipment Available as rentals sNAK E GAsLEs Rates: Available on request. Block rates and lock out rates available Ose/14G's Speziiref? 7. [24+] MONTAGE RECORDING STUDIOS 37532 Sycamore St Newark, CA 94560 (415) 794-2992 Owner Will Mullins, Bill Walsh Studio Manager: Will Mullins CRAMOLIN ® Engineers: Will Mullins, Jerry Merrill. David Hartzheim. Rob Beaton Even the finest equipment in the world can't guarantee a noise-free Dimensions: Studio 25 x35, control room 14 x 16 Mixing Consoles: MCI 528 28 x 52 wrJH-50 aulomason. 8 recording. One "dirty" connection anywhere in the electrical path can returns/6 sends cause unwanted noise or signal loss. Audio Recorders: MCI JH-114 16-/24-track w/autotccator II, Ampex ATR-102 2-track, Pioneer 2+2 2-track master recorder Cassette Recorders/Duplicators: Naltamichi MR-18 Noise Reduction Equipment (2) Dolby SR "MORE THAN A CONTACT CLEANER" Echo, Reverb, & Delay Systems: Lexicon 224 digital reverb. (2) Yamaha SPX90 digital reverb (MIDI), Lexicon Prime Time stereo CRAMOLIN® is a fast-acting, anti-oxidizing lubricant that cleans delay. Etlectron II delay and preserves all metal surfaces, including gold. Other Outboard Equipment Auchoarts stereo parametric equalizer, (2) UREI LA-4 compressor/limiter. UREI 1178 stereo com- When applied to metal contacts and connectors, CRAMOLIN' pressor/limiter, (6) Scamp rack style noise gates, (41 Scamp removes resistive oxides as it forms aprotective molecular layer that F-300 expanders. Scamp auto panner. (2) Scamp sr:0 stereo adheres to the metal surfaces and maintains maximum electrical compressors. Scamp sweep ED, Scamp parametric EQ. Aphex Type B Aural Exciter conductivity. Microphones: (4) AKG 414. (4) Sennheiser 421, (2) E-V RE20. AKG tube. Neumann U87, (6) Shure SM57, KM84,AKG 451. (2) CRAMOLIN e -USED BY THOSE WHO DEMAND THE BEST: Shure SM58, (3) Shure SM56 Bell & Howell Hewlett Packard Monitor Amplifiers: Bryston (1,200-watt) mains. Yamaha (600- MCI(Sony) Nakamichi watt) studio monitors. Crown (150-watt) near fields Boeing John Fluke Mfg Motorola RCA Monitor Speakers: UREI mains, MDM-4 alternate, loa studio. Capitol Records McIntosh Labs NASA Switchcratt Musical Instruments: Simmons SOS-1000, Roland RD-1000. smcr ,956 Roland JX-10 Sequential Circuits Prophet 10. Sequential Cir- cuits Prophet 2000, Helpinsbll electro-acouslic grand, Ham- LABORATORIES mond C-3 w/Leshe. Nippon acoustic guitar. Gibson 335, Fen- CAIG der Strat, Takamine 12-string. Mesa/Boogie amplifier. Roland 1175.0 Industrial Ave., I P.O.Box JI Escondido, CA 92025 0051 U SA • 16191 743 7143 jazz chorus. E-mu Drumulator. Oberheim DMX drum computer. Circle #124 on Reader Service Card

JAIVIARY 1988, MIX 195 —LISTING CONTINUED FROM PAGE 195 (24+) MUSIC ART RECORDING STUDIO MARS. NORTHWEST PO Box 1838 Lab CompuBlectron, Eventide Harmonizer. Lexicon PCM70, Aptos, CA 95001 Lexicon PCM60, Lexicon PCM42, Yamaha REV7, Ecoplate II. (408) 688-8435 Other Outboard Equipment: (2) UREI LA-3A limiters. UREI 1178 Owner: Ken Capitanich comp/limiter. Orban 424A comp/limiter. 2) dbx 160 comp/limit- Studio Manager: Ken Capitaruch er. Aphex studio Dominator. Aphex BAural Exciter. Valley Peo- 24+ TRAcK Engineers: Ken Capitanich. Ken Kraft, David Gibson, Eric Bates. ple 415 Sibilance processor, (2) Valley People Maxi-0, (6) Valley Dimensions: Studio 16 x18, control room 14 x15. People Kepex 810. (2) Valley People Gain Brain II. STUDIOS Mixing Consoles: NEOTEK Series II 24 x24 Microphones: (2) Neumann U87, (2) Neumann U67. (4) E-V Audio Recorders: Ampex MM-1100 24-track, Tascam 80-8 PL20, (5) E-V RE 15, (2) Sennheiser 441 .(3) Sennheiser 421, (2) 8-track w/dbx, Ampex 440-C 2-track. Own MX-5050 2-track, AKG 451, AKG 414. (2) Crown PZM-3'S, Sony ECM-56F, (3) Pioneer 2-track. Shure SM53 Cassette Recorders/Duplicators: (3) Sony TC-K81. Monitor Amplifiers: UREI 6300. JBL/UPEI 6290, Crown 1200. Noise Reduction Equipment (8) dbx. Monitor Speakers: (2) UREI 8' 38. (2) JBL 4. (2) E-V Sentry Echo, Reverb, & Delay Systems: Lexicon 200. Ecoplate II, 100A, (15) AKG 240 headphones. Lexicon Prime Time, Eventide Harmonizer, MICMIX XL-305, Musical Instruments: Yamaha 7* grand piano, Emulator II, SP-12 S-24 lime shape module. Yamaha SPX90. drum machine. Yamaha DX7. (8) Yamaha 816, Yamaha RXii Other Outboard Equipment (3) ADR expander/gates. (5) ADR drum machine. Roland Octapad, Min moog, Macintosh 512 Comp/ limiter, (2) ADR parametric EQ. Aphex Exciter, (2) Summit w/CD sound library Audio tube limiters. Pultec tube EQ. Aphex Aural Exciter Other Sony PCM-701 digital processor. Sony 2710 Beta VCR, Microphones: Neumann. AKG, Sernheeer, Sony, Shure, E-1/, Sony 520-ES CD player, Sound Ideas mound effects library Beyer, Neumann U67 tubes. Rates: Please call Block rates available Monitor Amplifiers: Crown DC-300A Crown 0150A, (2) Crown DC75. Crown DS400 Monitor Speakers: UREI 811, MDM-4, JBL 4313B, Auralone. Musical Instruments: Chickening 6'6" grand piano, Hammond B-3. DX7Il FD Rates: Available upon request

(24+) THE MUSIC COMPLEX also REMOTE RECORDING MUSIC ANNEX, INC. 348 Broadway Ave., Ste. 4 Menlo Park, CA Millbrae, CA 94030 (415) 697-4488 michi MR-2 Owner: Cliff Spencer. John Macielewsk. Pat Maceiewski Noise Reduction Equipment dbx 157 8-channel, Dolby 361 Type A 4-channel, Dolby 361 Type SR 2-channel Synchronization Systems: SF facility only Echo, Reverb, & Delay Systems: Lexicon 224, Ouantec ORS room simulator, (4) Yamaha SPX90, Lexicon Prime Time, Lexi- (24+) THE MUSIC SOURCE con Super Prime Time, Klark-Teknik ON34 analog processor. 615 E Pike EMT 240 gold foil plate. EMT 140 plate, Roland 2000 DDL, Seattle, WA 98122 Marshall Time Modulator (206) 323-6847 Other Outboard Equipment (4) UREI 1176LN limiters, (2) UREI Owner: Jim Wolfe 1178 stereo limiters, ADR Vocal Stressor, ADR stereo EQ. UREI Studio Manager: Peter Barnes Little Dipper filter sel, (3) Scamp racks 30 modules, (2) Drawmer Engineers: Jim Wolfe, Peter Barnes, Glenn Lorbecki, Ron Gangnes. David Raynor, Jim Simmons M.S. STUDIO noise gates. Aphex stereo compellor, (2) Valley People Gain Dimensions: Room 1: studio 27 x24. control room 27 x18. San Francisco, CA Brain, (2) Valley People Dyna-Mite gates Microphones: (120) AKG, Neumann. E-V, Sony, Shure, Senn- Room 2: studio 15 x13, control rcom 15 x21 Room 3: studio 11 MS. STUDIO heiser, Mesa/Boogie and Calrec, (12) Countryman FET directs, x12, control room 11 x12. PO Box 24182, 5191 3rd SL, Ste. 7 (3) Crown PZM-30 GP. (3) Tram levaliers. Mixing Consoles: MCI 636 automated 36 x44. MCI 636 28 x San Francisco, CA 94124 Monitor Amplifiers: BGW. Crown, Yamaha. AB Systems, Haller 28. Yamaha 24 x24. (415) 282-4806 Monitor Speakers: UREI Time Align primary, various auxilary Audio Recorders: (2) MCI JH-24 48-track in room A, (2) MCI Owner: Melvin Seals monitors including Yamaha NS-10. Klawiser 702, MDM-4, Aura- JH-114 24-track in B& C, (2) Sony/MCI JH-110 2- and 4-track, Studio Manager: Melvin Sea's tones, Augspurgers. JBL 4333. JBL 4310. JBL 4301. Tascam ATR62 2-track center channel time code, Sony layback Engineers: Melvin Seals Musical Instruments: Yamaha C7. Fender Rhodes, Yamaha I" video, Magna-Tech 16/33mm recorder/reproducer. Sony Mixing Consoles: Sound Workshop Series 34 DX7. E-mu Drumulator PCM.Fl digital Cassette Recorders/Duplicators: (10) cassette real time dupli- Audio Recorders: Otan MTR-901124/24 24-track Otan MTR-10 Video Equipment: (2) Sony 2860 /34 ". (2) Sony color monitors, 2-track. soundstage with Mole Richardson lights and 600-amp grid. cators, Nakamichi. (8) Tascam 22-2 and Revox A77 dubbing Cassette Recorders/Duplicators: Sony, Technics. Other: Sony 701-PCM, Sony 2860 /34 "U-matic. (2) SMPTE- decks. Echo, Revert,. & Delay Systems: Lexicon 224XL. Eventide based automation systems Noise Reduction Equipment dbx 8 channels. other formats Harmonizer, Marshall Time Modulator, MICMIX. Lexicon 95 Rates: $30-125/hr available wimerno update. Lexicon PCM70. Lexicon Prime Time II, (2) Synchronization Systems: Adams-Smith 2600 for 5slaves in- Yamaha REV7. cluding compact controller. Other Outboard Equipment (4) UREI 1176. (2) UREI 530, ADR (24+) MUSIC ANNEX. INC. Echo, Reverb, &Delay Systems: Lexicon 224X w/LARC, Lexi- Scamp rack. (2) S01. (2) SO4.;2) F300. S100 dual gate. Orban also REMOTE RECORDING con Prime Time, Lexicon Super Prime Time, (2) Yamaha SPX90. Yamaha REV7, Eventide Harmonizer. Alexis digital reverb. AKG 622B. UREI 537. F760X-RS Compex limiter. (2) Orban de- 69 Green SL, 2nd Floor essers. (4) LA-4 comp/limiters, (2) Aphex Aural Exciters, much San Francisco, CA 94111 BX10, DOD Electronics digital delay. more available. (415) 421-6622 Other Outboard Equipment Scamp rack, UREI. Symetrix. dbx, Microphones: E-V. Countryman, SGP, Sennheeer, AKG. Shure. Owner: Music Annex, Inc Spectra Sorucs limiters. graphic and paramteric EO,Aphex and Neumann, Neumann mic cables. Studio Manager: Angela Goodson EXR exciters, Garfield Master Beat and Drum Doctor, Roland Monitor Amplifiers: Crown PS-200, (2) BGW 750. Engineers: Randy Bobo. Roger Wersema, Robert Bradford, Vocoder, UREI 1/3-octave equalizers, Barcus-Berry BEE802. Monitor Speakers: JBL 4312. JBL 4411, MDM TA3, Yamaha Patrick Fitzgerald. Microphones: Neumann U87, Neumann U67 (tube). AKG 414. NS-10, Auratone Dimensions: Room 1 studio 12 x 16, control room 23 x28 AKG 451, AKG D-1 2E, AKG "The Tube". E-V RE20, Shure Musical Instruments: Emulator II, grand peno. ARP string en- Room 2. studio 13 x11, control room 17 x14 SM57. Sennheiser MD421, Beyer ribbons. RCA lids, Altec semble, (2) Hammond B3 w/4 Leslier, Wurlitzer electric peno, Mixing Consoles: Amek 2500 28 x24. Amek TPC 16 x8. M-20 condensers (tube). Sony tube condenser Minimoog. Fender Rhodes, DX5 synh, LinnDrum, sight tuner, Audio Recorders: MCI JH-114 24-track, Otan 5050 MkIll 8- Monitor Amplifiers: UREI 6500. Crown, BOW, Phase Linear. much more available. track, Ampex 440-B 4-track, (2) Otan MTR-12 2-track CTC, (2) Symetrix. Rates: $50/hr MCI JH-110B 2-track. (2) Otan 5050 2-track Monitor Speakers: JBL 4430s, JBL --100s, Yamaha NS-10, Cassette Recorders/Duplicators: (3) Tascam 122, Otan C-2 Auratones. UREI time aligns Musical Instruments: Kurzweil K-250, Yamaha DX7, Oberheim [24+) MUSIC ANNEX, INC. master w/2 slaves. OB-Xa. Minimoog, (2) Emax, Yamaha FB-01, Yamaha 1X81Z, also REMOTE RECORDING Noise Reduction Equipment Dolby M-24. (3) Dolby CAT-43/ Yamaha RX5 drum machine. LinnDrum (w/M101), Oberheim 970 O'Brien Dr. 361 A, (2) Dolby SR 361 dmx (w/MIDI). Kawai 9* concert geed. Simmons electronic Menlo Park, CA 94025 Synchronization Systems: (2) aLock 3- or 4-machine lockup drums. Yamaha acoustic drum kit. (415) 328-8338 Echo, Reverb, & Delay Systems: Lexicon 480 LARC, Lexicon Other MIDI Equipment Garfield Master Beat and Drum Doctor, Owner: Music Annex. Inc. 224. (2) Yamaha SPX90, 949 Harmonizer Macintosh Macplus w/hyperdrive running Opcode software. Studio Manager: Michelle Le Comte Other Outboard Equipment (2) Symetrix phone patch, (4) UREI Video Equipment Sony layback (1"), Sony 5850 34" w/address Engineers: Russell Bond. David Joslyn, Jim Dean, Rainer 1176 limiters track. Magna-Tech film dubber (16/35mm) Gembalczyk Microphones: (2) Neumann U87, (4) AKG 414E8. (2) Senn- Rates: Available upon request. Dimensions: Room I: studio 28 x25, control room 22 x25. heiser 421. (2) AKG 452 Room 2: studio 16x 13, control room 21 x18. Room 3: studio 30 Monitor Amplifiers: Yamaha 2200, BGW 750, (4) BOW 100. x20, control room 26 x22 Room 4: studio 42 x36, control Monitor Speakers: JBL 4430, JBL 4425. MDM-4. (4) Auratone. room 10 x16 Klaweer 702. Mixing Consoles: Neve 8036 24 x8, Soundcraft 3-B 32 x24, (2) Musical Instruments: Emulator Ill. Mac II, Yamaha DX7. (24+) OCEAN STUDIO Amek TPC 16 x8. Video Equipment JVC 850 /34 "U-matic,JVC 8250 /34 "U-matic. Box 747 Audio Recorders:Studer A80 16-/24-track, MCI JH-114 8-116- Sony BVH-1100 1" C-format, JVC 5760 /12 "VHS Hi-fi. Stinson Beach, CA 94970 /24-track. (4) MCI JH-110B 2-track, (6) Ampex 440132-track, (2) Other: Datametncs time code generator, Sigma black genera- (415) 868-0763 Otan 505013 2-track, Otan. 2-track. tor Owner: Tim Tomke Cassette Recorders/Duplicators: (8) Tascam 122, (2) Naka- Rates: $75-$175/hr. Studio Manager: B.J. Meines

196 MIX, JANUARY 1988 (24+) ONE PASS One China Basin Bldg. CLEAN San Francisco, CA 94107 (415) 777-5777 Owner: Scott Ross PATCH BAYS Studio Manager: Ruth Scovill NO DOWN (24+) OTR STUDIOS also REMOTE RECORDING TIME PO Box 874 Belmont CA 94002 (415) 391-9861 Owner: Cookie Marenco Studio Manager: Cookie Marenco Engineers: Randy Sellgren, Cookie Marenco, Mike Cutter, Vic- tor BeHorn° Mixing Consoles: Sound Workshop Series 30, Soundcraft 600 Audio Recorders: Otan MTR-90 Series II 24-track. Otan 5050 8-track. Otan MTR-10 2-track /12 ",7." and center track time code heads, Otan 5050B 4-track, Otan 5050 2-track, (2) Sony PCM 2-track digital encoder/decoder Cassette Recorders/Duplicators: Yamaha C200. Tascam 122, Nakamichi PARADISE SOUND RECORDING INC. Noise Reduction Equipment dbx. Dolby A, Dolby SR available Index, WA VERTIGO BURNISHERS AND INJECTORS upon request Synchronization Systems: Audio Kinetics Eclipse O.Lock 4 10 DX7, Yamaha RX11 drum machine, Yamaha OX7 sequencer, RESTORE ORIGINAL PERFORMANCE Echo, Reverb, 8 Delay Systems: Lexicon 224XL revert), AMS Pearl drum set w/Zildjian cymbals. Mesa/Boogie amp. Marshall TO YOUR PATCH BAYS RMS-16 reverb, Lexicon Super Prime Time delay. Lexicon amp. Emulator It wiouistanding library, Roland S-50 sampler PCM42. Lexicon PCM60. Yamaha SPX90. DeltaLab 1024 Other MIDI Equipment Roland MPU-401 MIDI processor con- VERTIGO 14 TRS AND 17 BURNISHERS: Other Outboard Equipment: Eventide 949 Harmonizer, Aphex trolled by IBM compatible w/Personal Composer software Compellor, Drawmer noise gates, Valley People Dyna-Mite Video Equipment: Lynx synchronizer. gates. Rates: $45/hr. (package rates available) VERTIGO 1/4" IRS AND TT INJECTORS: Microphones: AKG 414, AKG 451, Neumann U87, Neumann Extras 8 Direction: We specialize in 24-track albums, demos hich allows iniedion 01 cleaning solvent in nuking U67. E-V RE20. Crown PZMs, Shure SM56, Shure SM57, and remixing and we also offer real time and high-speed contacts (formals). lo eliminate inferinglency that Nakamichi C-100, Sennheiser 421, Sennheiser MHO. Senn- cassette duplication Quality and pride keep us both satisfied. occurs when patch cord has been removed heiser ME88. Beyers Lodging for those of you who need a few days to "track your Monitor Ampliliers: Crown dreams." we provide apackage session that includes lodging Caul USA) Monitor Speakers: Tannoy. Yamaha NS-10M. Auratones, Meyer in acabin right next to the studio. It features its own kitchen and STILL ONLY $29.95 Ea. Please wile tor additional intonnalion and order Wm 833 aspectacular view to inspire your creativity There is also dining Musical Instruments: Steinway 7* piano (1885), Yamaha DX7. available nearby Lounging and food available Please call Used by Prolessionals Worldwide Patent Pending Yamaha TX7, Prophet 2002 samplers, Prophet VS syn:hesizer. Equipment, expertise and inspiration in a breathtaking setting VERTIGO RECORDING SERVICES Prophet 5 w/MIDI. Minimoog, LinnDrums. Casio CZ-101. Ro- Quality and pride keep us both satisfied We put the extra time land 505 drums. Roland MS0- 700 sequencer. Roland MC- and care into our recording that it takes to create aprofessional 12115 Magnolia Blvd. #116 500 sequencer, Hammond B-3 organ. and creative product North Hollywood, CA 91607 Other MIDI Equipment: Macintosh Plus computer MIDI system. Telephone.. 818.'769-5232 Mark of the Unicorn 22 Performer/Composer software Op- Telex.. 5106006748 VERTIGO RECRD code patch librarian. Digidesign Sound Designer software Video Equipment: (3) recorders. (2) monitors Other: Roland SBX-80 sync box, Garfield. Nanodoc. Circle #125 on Reader Service Card

(24+) PACE VIDEO CENTER 2020 SW 4th Ave. Portland, OR 97201 (503) 226-7223 Masters Owner: Ed Cornelius Studio Manager: Greg Smith ,of Duplication. (24+1 PACIFIC MOBILE RECORDERS only REMOTE RECORDING 2616 Garfield Ave. Carmichael (Sacramento), CA 95608 (916) 483-2340 Studio Manager: Kat Coffey Hibbard

(24+) PAN STUDIOS 1767 S. 8th St, M-6 Colorado Springs, CO 80906 (303) 633-6764 PARADISE STUDIOS Owner: Dale Nixon Sacramento, CA Studio Manager: John Standish (24+) PARADISE STUDIOS 1020 35th Ave. (24+) PARADISE SOUND RECORDING INC. Sacramento, CA 95822 also REMOTE RECORDING (916) 424-8772 PO Box 63 Owner: Arne Peterson Index, WA 98256 Studio Manager: Kid Shearer, Craig Long (206) 793-2614 Engineers: Kid Shearer. Craig Long Owner: Patrick Sample Dimensions: Room 1 studio 22 x30, control room 22 x 16. Studio Manager: Karen Sample Room 2 studio 14 X 10 (booth). Dimensions: Piano room 15 x20 x&drum room 20 x20 x8, uso Mixing Consoles: Amek TAC 32 x8. Hill 16 x4 multimix booth 12 x5 x 8. control roan 20 x9 x8 Audio Recorders: (2) Fastes B-16 16-track (synched for 32). Mixing Consoles: Harrison MR4 32 x24. Fastes E-2 2-track (30ips)w/center SMPTE stripe. Otan 5050B Audio Recorders: Otan MIR -90 24-track. Otan MTR-12 2- II 2-track, TEAC 3440 4-track w/dbx noise reduction. track, Otan 5050 2-track, Revox B77 2-track, Sony 2-track Cassette Recorders/Duplicators: (2) JVC TD-V66 w/Dolby B/C digital mastering. dbx 2-track digital mastering Synchronization Systems: Fostex 4030 synchronizer w/4050 Cassette Recorders/Duplicators: Nakamichi, Yamaha. autolocator Echo, Reverb, & Delay Systems: Lexicon 200. Lexicon PCM60 Echo, Reverb, 8 Delay Systems: Lexicon PCM70 effects proc- revert), Lexicon PCM41 essor with 12 and 30 software, (2) Yamaha SPX90 effects Other Outboard Equipment: Aphex Compellor. dbx 163X comp/ processor, Yamaha REV7. Alesis XTC digital reverb. Roland limiter. dbx 463X noise gates. Symetrix 511 noise reduction. SDE-3000 digital delay. ART 01A digital reverb w/updates CablEZZE VICRO Yamaha SPX9011 Other Outboard Equipment Aphex studio dominator stereo Microphones: Neumann U89. Beyer M88, AKG 414, Senn- peak limiter, (2) Drawmer DS-201 dual channel noise gates. (3) Audio r& Video Duplication heiser 441. (4) Sennheiser 421. (2) E-V PL20. (3) E-V PL76. Symetrix 522 dual channel compressor/limiter/expanders. Tas- Call or Write for Free Services Kit Shure SM81. (2) Shure SM57, (2) Fender P-2 cam PE-40 4-channel 4-band parametric EQ. Barcus-Berry Monitor Amplifiers: Haller P5050, Yamaha M80 BBE-202R phase compensator PO Box 158 Pasadena. CA 91102 Monitor Speakers: JBL 4411, E-V Century 100 1-800-423-TAPFA 1-800-972-TAPErA Musical Instruments: Hammond B-3 organ w/Leslie, Yamaha —CONTINUED ON NEXT PAGE Circle #126 on Reader Service Card

JANUARY 1988, MIX 197 —LISTING CONTINUED FROM PAGE 197 NORTHWEST Microphones: Telefunken Elam 251 tube mic. Neumann U87. (4) AKG 414 (EB and ULS series), (2) AKG 451, (2) Shure SM81 condensers, (3) E-V RE20. (3) Sennheiser 421, (5) Shure SM57, (2) Shure SM58. (4) Countryman direct boxes, (2) Boss D1-1 active direct boxes 24+ TRACK Monitor Amplifiers: (2) Haller P-225. (2) McIntosh - 60s" tube amps. Carver M-400 cube amp. STUDIOS Monitor Speakers: UREI 813A Yamaha NS-10M "studio" version nearlields. Auratone 5-C cubes. Musical Instruments: 1947 Baldwin 6'3" grand piano, 1967 Hammond B-3 organ w/Leslie model 122. Rogers 6-piece drum set wiZildjian cymbals, Yamaha DX7 synth, Yamaha TX7 synth. E-mu SP-12 turbo sampling drum machine, Fender Rhodes 73-key. Mesa/Boogie 100-watt guitar amp w/5-band EC. Mesa/Boogie 4x 12 cabinet w/EV drivers. Mesa/Boogie bass cabinet w/15" EV drive-. AMP 400-watt bass amp w/6- THE band semi-parametric EQ. Other MIDI Equipment Macintosh computer w/Performer and Composer software. 6,000 sounds for DX. TX stored on Op- code librarian/editor software, sample 'loran/ and segment storage for SP-12 on Drumfile software, Fostex 4050 allows Pienr SMPTE/MIDI sync to tape for all MIDI equipment. POWER STROKE PRODUCTIONS Video Equipment Audio-to-video SMPTE interlock, (for both RECORDING STUDIOS San Francisco, CA 16- or 2-track). Rates: $35/hr for 16-track, $45/hr. 32-track, block rates avail- U47 FET, (2) AKG 414, (4) SM57, (2) AKG 441. (2) AKG 460B, able. misc. studio mics. Monitor Amplifiers: Meyer MS1000. Meyer 833 preamp, (2) Haller 500-watt power amp. (24+) PARVINS STUDIO Monitor Speakers: (2) Meyer 833, (2) Meyer 834. (2) Yamaha also REMOTE RECORDING NS-10M PO Box 16191 Musical Instruments: Kurzweil 250 w/ABC Sound blocks and San Francisco, CA 94116 THE PLANT RECORDING STUDIOS complete Mac Plus system, Yamaha baoy grand piano. (415) 359-1853 Sausalito, CA Other MIDI Equipment Most all outboard gear MIDI compatible Owner: Lee Parvin Video Equipment Sony BVU-800 1" sync Studio Manager Lee Parvin (24+] THE PLANT RECORDING STUDIOS Other Full PA rental available also REMOTE RECORDING Rates: Available upon request 2200 Bridgeway (24+) PEAKDESIGN Sausalito, CA 94965 6114 La Salle Ave., Ste. 314 (415) 332-6100 (24+) PRAIRIE SUN RECORDING Oakland, CA 94611 (415) 332-5738 (FAX) also REMOTE RECORDING (415) 531-5331 Owner: Bob Skye Box 7084 Owner Tony Milosz Studio Manager: Alice Young Cotati, CA 94928 Studio Manager Joanna Rayska Extras & Direction: Three solid studios and our mobile are (707) 795-7011 Engineers: Tony Milosz, Stanislaw Krupowicz and freelance available for your music, audio for video and film, and location (707) 795-8184 engineers recording. Studio A is equipped with aTrident TSM board and Owner: Mark "Mooka" Rennick Dimensions: Integrated control room sue) 18 x40 Studer A80 and will soon be rebuilt to accommodate a 750- Studio Manager: Mark "Mooka" Rennick Mixing Consoles: Dynamix D3000 32 x8 x 16 (hot-rodded) sq ft control room for additional keyboard and production space Dimensions: Room 1: studio 25 x30, control room 10 x 15 w/automation, 500-point patchbay, mfticellaneous submixers. as well as complete video sweetening facilities. Studio Balso Room 2: studio 8x 10, control room 22 x23 Audio Recorders: Sony/MCI JH-24 24-track transformerless features aTrident TSM and Studer. Studio C is equipped with a Mixing Consoles: Trident TSM 48 x32 x80 automated, Trident w/Autolocate Ill, Otan MX-5050 8-track /12 "(hot-rodded). Sony Trident BOB and Studer equipment. All studios and mobile are Series 80 32 x24 x56. Biamp 16 x2. PCM-501ES 2-track digital, Otan MX-5050 2-track 'k" equipped for quick setup of vide() sweetening and sync lock-up Audio Recorders: (2) Studer A80 VU 24-track (2) Ampex ATA - Cassette Recorders/Duplicators: Sony 650 2-track 'A". equipment. Digital multi-track and 2-track mastering are avail- 102 2-track, Otan 5050 2-track. Echo, Reverb, &Delay Systems: (2) Roland SRV-2000. Yama- able. Rover, the mobile recording unit, now amember of The Cassette Recorders/Duplicators: (2) Technics RSB, (2) Naka- ha SPX90, (2) Yamaha R1000 (for gating), (3) DeltaLab Effectron Plant family, delivers and records consistent, translatable audio michi. 1024, Korg SDD-1000 (modified), (2) custom springs, ADA in acomfortable, functional atmosphere. We are minutes from Synchronization Systems: ()lock synchronizer. flanger, Wavemaker phaser, Ibanez analog delay, misc effects San Francisco on the Bay in Sausalito, yet out of the hustle and Echo, Reverb, &Delay Systems: AMS RMX-16, AMS DMX-15, and any other processing equipment available on request pressure of the city The Plant maintains the finest in recording Publison America Infernal Machine 21-tec stereo. (4) Yamaha Other Outboard Equipment Cyclosoric FS1 2-channel, 3-di- artistry and technology And, as always, it's all offered in asetting SPX90, Yamaha REV7, 1,000-sq.ft. live cnamber, (2) EMT ster- mensional panner w/sync. Orban, Taman', Advent, DOD equal- that rivals the comforts of home. eo, Lexicon 92. Lexicon PCM41. (2) DeltaLab 1024. izers, Aphex Exciter, Dynalex noise reduction. Orban, dbx com- Other Outboard Equipment (4) 1176 Imiter compressor, (4) pressors, Gates 4-channel noise gate (modified). Peakdesign dbx 160X. dbx 165. Neve stereo compftimiler, Publison America custom MIDI/SMPTE control compute ,.Yamaha CX5F system, (20) POINT BLANK RECORDING stereo tube comp/limiten. (3) Drawmer noise gates. (2) Valley Roland SBX-80 SMPTE sync, Roland and Yamaha sequencers, 19 Locke Way People Dyna-Mites. (2) Kepex. Eventide 949. Sontec stereo Sony 520-ES CD player, Sony turntable w/Monster Alpha II MC Scotts Valley, CA 95066 parametric. Orban stereo parametric, (2) Rane SP paramelrics, cartridge. (4) IBM PC/XT and PC/AT computers w/all major (408) 438-2331 dbx de-essers, Publison America "Fulmost" exciter. Aphex software for sequencing, editing, notation printout and librarians Owner Rick Chaisse, Robert Crow Type C. EXR Exciter, Putter EQ, Lang 13:às, etc. (over 8.000 DX voices) We design c.rstom gear/software as Studio Manager: Rick Chaisse Microphones: Neumann, AKG, Sony, Sennherser, Shure. E-V needed Spectrum analyzers, scopes and misc equipment. All tubes are regularly maintained by the famous "Klaus Heyne" Any other processing equipment available on request. microphone technician. Microphones Beyer MC-740 N(C), PZM, Sennheiser, Sony (24-ii POSITIVE AUDIO Monitor Amplifiers: Crown. Haller, Audio Research, UREI, Fos - and other misc. 1250 San Carlos Ave. tex. McIntosh. Monitor Amplifiers: Yamaha. San Carlos, CA 94070 Monitor Speakers: UREI 811, UREI 813, Yamaha NS-10, Wharf- Monitor Speakers: Calibratioistandard instruments. MDIvt-TA2 (415) 595-4041 dales, MDM-4, Big Reds, JBL 4311. B8W Time Aligned, JBL, Altec Laising. Owner: The Andre Perry Groupe. Inc Musical Instruments: E-mu II, Kimball 6'7" grand. Macintosh Musical Instruments: Yamaha T)1816. (2) Yamaha DX7, Altai Studio Manager: Michael David Wall music software. MSB MIDI patcher. Prophet 10. Yamaha sampler, (2) E-mu Drumulators w/custom chips and MIDI, Ro- DX7, Casio CZ-101, Drumulator. Please call about these be- land. Oberheim, Sequential Circuits (VS). Moog synths. Fender cause we are updating all the time. tube twin reverb amp, grand piano, Fender P-bass, Gibson (24+) POWER STROKE PRODUCTIONS Video Equipment: Q.Lock sync in-house. ES-335 Many other instruments available on request 245 Hyde St, Studio A Rates: Lock-outs between $600 and $1.000/day, depending Video Equipment /12 "Beta and VHS wiSMPTE sync. PCM/Beta San Francisco, CA 94102 on studio choice Please call i dubbing and transfers. /34 "equipment availab.e on request. (415) 673-1829 Extras &Direction: Located 50 minutes north of SF We have two Soundtrack composition and production to existing or planned Owner Sally Procter 24-track studios including our new 48-tack automated mixing video/film pieces. Overloaded? We handle partial subcontract Studio Manager Bill Jackson room. We have excellent maintenance, video lock-up and on- work. Engineers: Mark Needham, Mane Senasac, Steve Fontana. site economical lodging. We pride ourselves on making your Rates: Competitive rates include all gear and knowledgeable Dimensions: Studio 35 x25. control room 15 x18. budget work from rehearsal to traceing, to mixing to duplication engineers Call for details. Mixing Consoles: Trident Series 80B 32 x24. Many talented musicians and producers are available if you so Extras &Direction: Compact disc pre-production CD produc- Audio Recorders: Studer 880 24-track, Studer 820 2-track. need If you have any questions, please ask for "Mooka" and I tion subcontracted in Japan. VVe are a complete electronic Cassette Recorders/Duplicators: (2) Nakamichi MR-2. will be happy to assist you. music facility Our solid technical expertise in software and Noise Reduction Equipment (2) Drawmer gates. hardware combines with music production skills to create a Synchronization Systems: Studer remote, Adams-Smith Zeta state-of-the-art, yet practical working environment MIDI master- 3. (24+1 PROFESSIONAL SOUND & RECORDING, INC. ing, new music, MIDI-to-stereo master via 8-trace, 24-track or Echo, Reverb, &Delay Systems: Yamaha REV7, Lexicon 480L only REMOTE RECORDING direct-to-2-track digital, with or withoutacoustic overdubs. such AKG ADR 68K Lexicon PCM70, (2) Lexicon PCM42. TC Elec- 3320 Chetton Loop S. as vocals, piano etc. 8- to 24-track transfers, mixes, digital tronic 2290 sampler/delay. Publison America Infernal Machine Colorado Springs, CO 80909 remixes. With music prepared on sequencers, truly professional so (303) 597-8125 mixdown becomes affordable. Our resources and expertise Other Outboard Equipment (2) Sontec EQ. (2) Tube-Tech pro- (303) 578-0682 make the difference between a"demo" and afinished product. gram EQ. (2) UREI limiters, Adams-Smith Zeta-3, Valley People Owner: Chris Mettle VVe also offer production/composition work, from discreet sub- Dyna-Mite 430 compressor/limiter, (2) White EQ. Studio Manager Chris Mickle contracting and helpful suggestions to complete projects. Microphones: (8)Sennheiser 421, (2) Neumann U87, Neumann Engineers: Chris Mickle, Mickey Houlihan, Mike Chilcote, Kevin

191 MIX,JANUARY 1988 Clock, Ron VVesley. control processor. TC-1210 Spatial Expander and stereo chorus (24+1 RUSSIAN HILL RECORDING Dimensions: Studio 12 x7 5 1984 Winnebago Centauri van flanger, Alexis MIDIverb II 16-bit digital effects processor, (3) also REMOTE RECORDING Mixing Consoles: Soundcraft 1624 24 x24, Rowland Research Alexis Microverbs. 1520 Pacific Ave. 8x 2 audiophile, additional consoles available in most configur- Other Outboard Equipment (2) UREI 1176LN peak limiters. (2) San Francisco, CA 94109 ations as needed. Valley People Dyna-Mite 430, UREI LA-4 limiter, 1178 limiters. (415) 474-4520 Audio Recorders: (2) Stephens 821B 16-124-track. (2) Nakami- MX-MIDI device. MX1 +triggering device, Garfield Master Beat Owner: Jack Leahy, Bob Shotland chi DMP-100 PCM 2-track digital, Revox PR-99 2-track. SMPTE device. Studio Tech mic pre-amp, any outboard equip- Studio Manager Gail Nord Cassette Recorders/Duplicators: (12) TEAC V-2RX real time. ment available upon request Engineers: Jack Leahy. Sam Lehmer. Jeff Kliment. Gary Clayton Pentagon C-4322 high-speed Microphones: Neumann. AKG, Sony. Sennheiser, Shure. E-V. Dimensions: Room 1 studio 20 x30, control room 15 x 24 Echo. Reverb, 8. Delay Systems: Lexicon PCM60. DeltaLab any mic available upon request. Room 2. studio 18 x28, control room 13 x22. Room 3- studio ADM-1024. Yamaha REV7, Yamaha SPX90 Monitor Amplifiers: Haller DH-500, BGW 7508. McIntosh 2105. 12 x 14. Room 4: studio 12 x 14. Other Outboard Equipment: Barcus-Berry Electronics 202R. Monitor Speakers: UREI 811. Yamaha NS-10, Auratones, KEF Mixing Consoles: SSL 4040E 32 x32, NEOTEK Series III 28 x Dorrough meters, full line of Symetrix compressors/limiters/ listening speakers, PAS studio monitors 1 24. Soundcraft 600 24 x16. Sony FT 8 x2 gates. dbx 166, any piece of outboard equipment available Musical Instruments: Yamaha grand piano. (2) Prophet 2002. Audio Recorders: (3) MCI JH-24 24-track, (4) MCI JH-110 upon request, full dbx 900 rack (4) TX modules, Macintosh computers w/3.000 DX7 sounds. 2-14-track, (2) Technics 1506 2-track. (2) Fostex El 6 16-track, Microphones: Schoeps.AKG, E-V, Neumann, PZM, Sennheiser. Sound Designer and Performer software. Linn 9000 fully loaded Fostex E-22 3-track Shure (all internal audio wiring is Mogami Neglex). w/SMPTE. Marshall amps, Steinberger XL-2 bass, Sequential Cassette Recorders/Duplicators: (2) Aiwa, Tascam. Monitor Amplifiers: Intersound SP-300, Haller DH-200, Row- Circuits 440 drum machine and sequencer, rock boxes. Lee Noise Reduction Equipment: Dolby A 24-track, Dolby 360 land Research Model 5. Jackson guitar pre-amp, Sequential VS, Prophet 3000 16-bit 6-track Monitor Speakers: BEM DM100. Spica TC-50. Yamaha NS-10, stereo samplers. Roland GM-70 guitar MIDI converter, any Synchronization Systems: (2) Otock 3 10 (3 machine), Kelly JBL Control 1 instruments available upon request. Ouan 610 (4 machine), Fostex 4035 Video Equipment: 58 input x14 isolated output access bay Full Rates: Call for rates Block rates available. Echo, Reverb, 8. Delay Systems: EMT plate. (2) Lexicon 224. (4) audio for video services. Clear-Corn system, stage cameras Extras & Direction: Swimming pool, shower and kitchen lacili- Lexicon PCM70, (2) Lexicon PCM60, (2) Lexicon Prime Time. and video monitors Completely self-contained production unit ties; listening room; special thanks to our clients of 1987: Eddie other various delays and reverbs available Audio PC circuit is transformer isolated and maximum draw of Money. for the Can't Hold Back album. Jimmy Lyons Johnny Other Outboard Equipment: Anything currently available, if not all AC Circuits is 15 amps or less Extensive transformerisoner Gunn. Jack Gerow, Jon Gibson. Z Boy. CBS Records, Motown in house, we'll rent it. system Records. Capitol Records and especially producers Ritchie Microphones: Full complement, Neumann, AKG, RCA, E-V. Rates: Available upon request. Zito, David Kershenbaum and Tom Dowd. Here at RO we have Sony, Sennheiser, Crown, Shure, Countryman, etc. the most modern state-of-the-art equipment available along Monitor Amplifiers: Haller. McIntosh, OSI. with a very relaxed atmosphere Come work with the best for Monitor Speakers: UREI 813 TA, JBL 4311. Yamaha NS-10. (24+) KELLY MAN RECORDING lessl Auratone also REMOTE RECORDING Musical Instruments: Steinway grand. Yamaha grand. E-2. DX7, 1249 /12 Green St. various synths San Francisco, CA Other MIDI Equipment: Macintosh doyen systems. various MIDI (24+) ROSEWOOD REC. COMPANY (415) 771-6716 interlaces. 2288 W. 300 North Owner: Kelly Ouan Video Equipment: All studios equipped for sync AN work. Provo, UT 84601 Studio Manager: Marie Davalos Film-to-tape transfer suite, all formats big screen projection (801) 375-5764 studios. A and B. Owner: Rosewood Rec Inc Other: KEM K-800 six plate and full bench, mixing to all film Studio Manager: Kristen Randle (24+) RECORDING ASSOCIATES release formats, mono to 6-track on custom SSL in studio A. also REMOTE RECORDING Rates: Brochure on request. 5821 SE Powell Blvd. Portland, OR 97206 (24+1 ROUGH CUT RECORDING [24+) SAGE RECORDING (503) 777-4621 also REMOTE RECORDING also REMOTE RECORDING Owner: Jay Webster, Bob Stoutenburg 2525 E. 12th St, 14311 Stehr Rd. Studio Manager: Jay Webster. Bob Stoutenburg Cheyenne, WY 82001 Arlington, WA 98223 (307) 638-9894 (206) 691-5203 Owner: Richard P Creswell Owner: EW Littlefield, Jr [24+1 REX RECORDING CO. Studio Manager: Richard P Creswell Studio Manager: Caroline Littlefield also REMOTE RECORDING 1931 SE Morrison Portland, OR 97214 (503) 238-4525 Owner: Sunny Day Productions Studio Manager: Rhiner P Johnson HAVE THE PACKAGING BLUES GOT YOU DOWN? Don't know where to turn for superior quality products at competitive prices? Then come to the source, Stoughton Printing Co. We have been supplying top quality products for the recording industry since 1965. Direct board record jackets, 7and 12 inch sleeves, labels. CD booklets and inlay cards. We even offer special "custom-look" generic CD long boxes with 3111W windows, ready for immediate shipping. R.O. STUDIOS Concord, CA Record or CD packaging -whatever your needs, if it's worth doing, it's [24+) RO. STUDIOS worth doing right. Come to the 3359 Walnut Ave. Concord, CA 94519 source .. . (415) 676-7237 Owner: The Henry Bros. Studio Manager: Ralph F. Henry Jr. Engineers: Rick Henry, Chris Boggs, independents welcome. stouc,hton ppinunq co. Dimensions: Room 1: studio 25 x 15, control room 16 x 15.

Room 2- studio 20 x 15 Mixing Consoles: Sound Workshop Series 40 28 x24 w/VCAs, 130 N. Sunset Avenue, City of Industry CA 91744 24-channel high resolution metering. From Los Angeles: (213) 686-2753 Audio Recorders: Otan MTR-9011 24-track, Otan MTR-10 2- (818) 961-3678 track. Technics SV-110 digital audio processor Cassette Recorders/Duplicators: Denon DR-M44. Echo, Reverb, 8. Delay Systems: Lexicon 224XL digital reverb, Quality Printing For The Record Industry Since 1965 (2) Lexicon PCM70 digital reverbs, Eventide H969 Harmonizer, e.) 1988 Stoughton Printing Co. Lexicon digital delay, TC Electronic TC-2290 Dynamics effects Circle #133 on Reader Service Card

JANUARY 1988, MIX 199 NR. (2) Sony KV-25XBR monitors e and /12 "machines, com- NORTHWEST plete DA system, monitoring and patching. Other Nagra IV STC, Nagra 4.2L, complete location recording kit including Sennherser. Neumann. Cetec Vega wireless mica. 16mm reproducers/dubbers. Rates: Weekly lock-out and block time available. Prices on 24+ TRACK request Extras & Direction: New facility Russ Berger. Joiner-Rose STUDIOS Group designed rooms. Five room recording complex. Mea- San FraltriSco (' tistvatiirvof Il is sured noise floor NC-8. One of the quietest studios in the world. (415) 863-0400 18' ceilings create an ambience that must be experienced. Owner: S-R-0 Inc. Large control room offers extremely accurate imaging Central Studio Manager: D Dobkin tech room handles all power, grounding, amplification. video, audio and MIDI between studios.

(24+) THE SOURCE STUDIO 2423 Magnolia St (24+) STAR TRAK RECORDING INC. Oakland, CA 94607 19351 23rd NW (415) 421-6262 Seattle, WA 98177 Owner: Smokey Towers (206) 542-1041 Studio Manager: Rich Pena (206) 745-1427 Owner: Bob Long, Richard Eaks Studio Manager Richard Eaks [24+1 SPECTRUM INC. SAN FRANCISCO CONSERVATORY OF MUSIC San Francisco, CA also REMOTE RECORDING PO Box 757 (24+) STARLIGHT SOUND [24+1 SAN FRANCISCO CONSERVATORY OF MUSIC San Carlos, CA 94070 also REMOTE RECORDING also REMOTE RECORDING (415) 593-9554 617 S. 13th St Transparent Recordings Owner: Paul L Weaver Richmond, CA 94804 1201 Ortega St Studio Manager: Wes Weaver (415) 233-7140 San Francisco, CA 94122 Owner Bill Thompson. Neil Young (415) 564-8086 Studio Manager Jon Long Studio Manager: Lolly Lewis Engineers: Bill Thompson, Steve Counter, Jamie Bridges, Kay Extras &Direction: The San Francisco Conservatory of Music's Arbuckle Hellman Hall is a330-seat performance hall with ar adjoining Dimensions: Studio 54 x28, controi room 38 x28, no/piano recording facility Capable of 2- and 4-track recording, Hellman booth 18 x28. Hall is ideal for live solo or ensemble recording. Our engineers Mixing Consoles: Harrison 40/32 40x32 w/Allison 65k auto- are experienced in high-detail tape editing. Center stripe mation. SMPTE and digital recording are also available. Transparent Audio Recorders: MCI JX-24 24-track. Ampex ATA 102 2-track Recordings, affiliated with the Conservatory, can bring high- w/ /12 "and V." headstacks, Otan 5050B 2-track, Sony F1 2-track quality 2-channel recording to your location. Call for details digital. Cassette Recorders/Duplicators: Nakamichi MR-I, Nakamichi MR-II. [24+1 SC.OW BOAT STUDIOS Synchronization Systems: Yamaha FSK sync-MIDI. Roland only REMOTE RECORDING SDX-80 SMPTE-MIDI 1135 Pearl St, Ste. 7 Echo, Reverb, & Delay Systems: Lexicon 224X digital revert), Boulder, CO 80302 Lexicon PCM70 digital reverb, Lexicon PCM60 digital reverb, (303) 443-9822 Yamaha SPX90 digital reverb, Roland DEP-5 digital reverb. Owner: Wind Over the Earth Inc Alexis MIDIverb. MIDI FX, (2) Effectron DDLs. Lexicon PCM42 Studio Manager: Mickey Houlihan DDL, Roland SDE-1000 DOL MXR flanger/doubler. 910 Harmo- nizer. Other Outboard Equipment (2) Dra -Mite noise gates, (2) (24+) SOUND IMPRESSIONS Drawmer noise gates, (3) Symetrix noise gates, (2) Audioarts 4704 SE View Acres parametric equalizers, (2) Romp graphic Ea. (2) EXR Exciters. Milwaukie, OR 97267 (3) UREI 1176 comp/limiter, LA-3 limiters, Rccktron power play (503) 659-5953 GTR FX Owner: Dan Decker SPECTRUM SOUND STUDIOS Microphones: (2) Neumann KM250 tube, Neumann KM69 ster- Studio Manager: Bob Stark Portland, OR eo tube, Neumann U87, Neumann U47 tube, Neumann U47 Engineers: Bob Stark, Brian Ms, Dan Decker FET, (2) AKG 414, (4) Sennheiser 421, E-V RE20, RCA 77 Dimensions: Room 1: studio 24 x22. control room 20 x 18 [24+) SPECTRUM SOUND STUDIOS ribbon, (4) Beyer M160 ribbon. (4) Shure SM57 Room 2. studio 10 x14 (MIDI room). 1634 SW Alder St Monitor Amplifiers: Bryston, Haller. Crown, Yamaha. Mixing Consoles: Amek Matchless 26 x24 x8 x 2 (modified for Portland, OR 97205 Monitor Speakers: UREI 813 time aligned w/custom subwoofer 62 returns), Bamp 1642 16 x4 x 2, & 602 6x 4 (head- (503) 248-0248 (non-E0ed), Yamaha NS-10s, Auratones. phone mixer). Owner: Michael Carter, Lindsey McGill Musical Instruments: Yamaha DX7. Yamaha DX100, Prophet Audio Recorders: 3M 79 Series 24-track, Tascam 52 2-track. Studio Manager: M. Carter 2000 sampling keyboard. Oberheim Matrix 6, LinnDrum, Ya- Cassette Recorders/Duplicators: Nakamichi MR-1, Sanyo dub- Engineers: M. Carter, Chris Douthitt Jim Baer, Rob Perkins, maha AX -il drum machine, Roland TA-505 drum machine. bing deck Mike Moore, Jeff Dennerline, Jim Rogers. Akai 612 sampler. Rogers drum kit, (2) Roland Pad-8 Octapads, Echo, Reverb, &Delay Systems: Lexicon PCM70 effects proc- Dimensions: Room 1: studio 38 x30, control room 25 x23. MS0 700 sequencer, Simmons sampler and EPROM blower, essor, (2) Yamaha REV7 digital reverbs. Ibanez SDR-1000 digi- Room 2: studio 27 x19, control room 21 x22. Roorn 3: 17 x16, Columba congas, Yamaha C-7 concert grand piano. various tal reverb. Roland SDE-3000 programmable delay. Lexicon control roorn 20.5 x22. Room 4: studio 11 .5 x17. control room guitar amps, Marshall. Boogie, Vox, Fende PCM4I digital delay. Effectron 1064 digital delay, Fectron 64 205 x22. Scoring suite 20.5 x22. Other MIDI Equipment: Atari 1040 ST computer m'Steinberg digital delay, ADA 1000 digital delay Mixing Consoles: SSL 6056E 56 x32. MCI JH-536 36 x32 sequencing software and visual pech editors lor the DX7. Other Outboard Equipment Aphex Type BAural Exciter, Aphex automated. (3) Spectrum Studios 16 x8. DX-100, Oberheim M-6 and Prophet 2000. stereo Compellor. Symetrix CL-150 compressor. (2) Symetrix Audio Recorders: (2) Otan MTR-90 Mk1124-track,Otah MTR-12 Rates: Call for rates and studio tour. CL-100 compressors. (2) Symetrix 544 Quad noise gates, Audio 2-track, Mitsubishi X86a 2-track, (2) Ampex ATR-104/2 2- 4- Logic Quad noise gates, Roland CompuEditor (automation unit). track. (18) Scully 280B 4-/2-track and monos. Microphones: AKG "The Tube," (2) E-V RE20, AKG D12, (7) Cassette Recorders/Duplicators: (14) Tascam 124AV, (2) Naka- (24+) STARSOUND AUDIO, INC. Shure SM57, (7) Audio-Technica ATM-63. (2) Tascam PE-250. michi LX-5. (2) Tascam 133AV. 2679 Oddie Blvd (2) AKG 330, (2) AKG 320. (2) E-V PL-76. (2)AKG 451, (2) Sony Noise Reduction Equipment (2) Dolby M2411. (4) Dolby 361 Reno, NV 89512 condensers, American ribbon. w/Dolby A (2) Dolby SR, (3) dbx 187, (7) dbx 180. (800) 354-7252 Monitor Amplifiers: (2) Crown D-75. Symetrix headphone amp, Synchronization Systems: Audio Kinetics Otock 3.10. Owner: Scott Bergstrom (2) !lamp TC-120. Echo, Reverb, & Delay Systems: Lexicon 224XL, (2) Lexicon Studio Manager Mark lshikawa Monitor Speakers: UREI 813, Yamaha NS-10M, Aurarones. PCM70, Lexicon Prime Time II, Eventide H910, Eventide H949, Engineers: Mark Ishikawa, Scott Bergstrom. Dave Jensen, Lee Musical Instruments: Yamaha C3 6' grandpiano. Yamaha DX7, Eventide flanger. (4) Yamaha REV7, (2) Yamaha SPX90, Ursa Taggart. Korg DW-8000. Oberheim Matrix 6, Sequential Circuits Prophet Major Space Station, EMT 240TS plate, AKG BX-20. Dimensions: Studio 35 x30, (3) iso rooms 8x 14, 7x 10. 8x 16; 5. Sequential Circuits Drumtrax and chip library, 1962 Fender Other Outboard Equipment (3) ADR Vocal Stressers, (2) Barcus- control room 15 x25 Telecaster, 1968 Telecaster, 1960 Fender J-bass, 1964 Fender Berry Electronics 802 exciters, (4) dbx 160, dbx 162, (4) Roger Mixing Consoles: Amek Angela 28 x24. CPE-800 ASS mix- P-bass, Kramer DMZ-5000 fretless bass, 1968 Rickenbacker Mayer noise gates, Orban 622B. Orban de-esser. (5) UREI down computer 4001 hags, Gibson J-40 acoustic guitar LA-3A comp/limiter, (2) UREI 1176 comp/limiter. UREI Little Audio Recorders: Studer A80 24-track, Otan MkI11-2 2-track, Other MIDI Equipment Multiteck 1100 AT (IBM compatible) Dipper, (3) Valley People Gain Brains. Tascam 52 2-track w/42 meg drive. Voyetra 4001 MIDI interface, 48-track PC Il Microphones: Neumann TLMI 70, Neumann U47FET, Neu- Cassette Recorders/Duplicators: Yamaha C200. sequencing software. mann U87, Neumann KM84, Neumann KMR811, AKG C414, Echo, Reverb, & Delay Systems: Lexicon PCM70, Lexicon Other: AKG B-15 bass amp. Roland Cube amp, Fender Sidekick AKG C451, Shure SM57, Shure SM54, Sennheiser MD-421, PCM60. Yamaha REV7, Yamaha REVS. (2) Yamaha SPX90, amp Sennheiser 8151, RCA 77DX, trams. Roland SRV-2000, Roland SDE-3000, (2) DEP-5 Brick Audio Rates: $35 regular. $25 block, $250 lockout per day Monitor Amplifiers: (2) UREI 6500A, (6) Yamaha PC2002, (4) 3300 plate, DeltaLab CPE-1700. Yamaha PC1002, (4) Yamaha PC2075. Other Outboard Equipment Aphex It broadcast, Aphex C(mod), Monitor Speakers: (4) UREI 813C. (4) UREI 811C, Auratone, UREI dbx 166. Valley People Dyna-Mite, Symetnx 522. [24+1 SOUND RECORDING ORGANIZATION S-R-0 Yamaha NS-10, Yamaha NS-20. Orban 674A parametric, Roland Vocoder Dimension D, dbx also REMOTE RECORDING Musical Instruments: Yamaha C3 grand piano. 503 1338 Mission St Other MIDI Equipment Anything on request Microphones: AKG 414EB, AKG 460, AKG 451, AKG 330. San Francisco, CA 94103 Video Equipment: Sony BVH-1100a 1" Type C VTR w/Dolby Sennheiser 441, Sennheiser 421. Sennheiser 431, Sennheiser

200 mix, JANUARY 1988 409. Sennheiser 211, E-V PL20, E-V RE20. E-V RE1 5. E-V Musical Instruments: New England Digital digital Synclavier II RE18, Shure SM56, Shure SM57. Shure SM81, Shure SM85. music system including polyphonic sampling, music printing, TOLL FREE Sony C-37, PZM, Countryman 101 SMPTE. MIDI, IBM interface, 200-track digital recorder, video Monitor Amplifiers: Crown PSA-2. Crown DC-300. Yamaha sync, etc. Steinway 6'8" grand piano. Hammond B-3 organ. NUMBER PC2002, Crown PS-400 Alembic bass w/graphite neck. Oberheim DMX drum machine, Monitor Speakers: JBL 4333. JBL 4435. JBL 4425, JBL 4411. assorted guitar and bass amps, Roland MKS-20 digital piano Auratone T6. Auratone 5C. Yamaha NS-10. Other MIDI Equipment Complete Synclavier 11 system. 1-800 Musical Instruments: Large set Fibes drums. Simmons, Kawai Video Equipment: JVC 8250 /34 "VTR. 7'4" grand. Prophet 2000, Prophet VS. E-mu SP12, Yamaha Rates: Rates available upon request. DX7, Yamaha DX21, Akai S900. Ensoniq Mirage. Roland JX-10. 527- Video Equipment: (2) JVC 8250 34" recorder, (2) JVC 5550 34" players. JVC 86-U editor, Sony SEC-2000 6-camera switcher/special effects generator. Sony DCX-M-3A camera. Sony 3472 CCD-3000 chip camera. Rates: 645-$65/hr depending on project. MAJOR IN-HOUSE Extras & Direction: Over 2.000 instruments available in Star- U.S. RECORD sound Audio/Bizarre guitar complex TEF analysis available to PRESSING FACILITY clients Studio in Reno, 45 minutes from Lake Tahoe. endless •Custom Albums recreation potential. Also provide concert sound, lighting and •45 RPM Singles staging for any Reno/Tahoe venues State-of-the-art production •Mastering with Neumann facility with ahigh-tech, low key staff Complete album projects. VMS70 Lathe & SX74 Cutter tracking only, demos: the key is the quality of service for the •Digital Mastering Available small cost TAPE DUPLICATION •Custom Packaging [24+1 STAUNTON STUDIOS INC. FORMERLY MOUNTAIN MOBILE RECORDING also REMOTE RECORDING SPECIAL!! 1000 7" 45 RPM 5450 Coleman Creek Rd. s469 Medford, OR 97501 Record Package (503) 535-3972 1000 1Color 12" Owner: Web & Karen Staunton Album Package sl 372 Studio Manager: Web Staunton Engineers: Web Staunton. Chris Wood. Jeff Bates. all independents welcome Dimensions: Room t• studio 26 x20, control room 14 x20 STUDIO D RECORDING INC. Room 2 studio 8x 8. Room 3: studio 11 x12. Sausalito, CA Mixing Consoles: NEOTEK Series II 28 x28 Audio Recorders: Otan MTR-90 24-track, 3M 792-track, addi- [24+) STUDIO D RECORDING INC. tional recorders (digital and analog) are available upon request. 425 Coloma St, A & R RECORD & Cassette Recorders , Duplicators: Yamaha K960/Dolby-dbx. Sausalito, CA 94965 TAPE MFG CO. (11) Technics M-205/ M-224 real time duplicators. (415) 332-6289 902 North Industrial Blvd Owner: Dan Godfrey. Joel Jaffe Noise Reduction Equipment (2) dbx 150. Dolby SR available Dallas, Texas 75207 upon request Studio Manager: Joel Jaffe 214-741-2027 Echo, Reverb, & Delay Systems: (2) Alesis XT. Lexicon Prime Engineers: Ricky Sanchez, Bob Hodas, Karl Derfler, Dr. Richie Time, Yamaha SPX90 Moore, Lenene Viegas. James "Watts" Vereecke, Robed Miss- TE Other Outboard Equipment: (6) Valley People Gain Brain It bach, Jim Gaines, Jim Stern. comp/gates. Teietronix LA-2A (4) dbx 160X comps Dimensions: Studio 29 x36 x20. iso booth 7x 14 x16, control room 20 x20 wicompression ceiling Microphones: Neumann U87, Neumann KM84. Sennheiser Circle #142 on Reader Service Card 421. E-V RE20. Countryman Ds and mics, Shure SM81. Shure Mixing Consoles: Trident TSM 40 x32 x32. SM58. Shure SM57. etc Audio Recorders: Studer A800 MkI124-track. Ampex ATR-102 Monitor Amplifiers: Haller 500. Crown DC-300A Unisync 50. 2-track, Studer/Revox 877 2-track. Monitor Speakers: UREI 811 time align. E-V Century 3, Aura- Cassette Recorders/Duplicators: Aiwa 770. Aiwa 660. tone 5C. Echo. Reverb, & Delay Systems: EMT 140 plate (tube), AMS Musical Instruments: Yamaha C7 grand piano, keyboards and RMX-16 reverb, Roland SRV-2000 revert). Roland SDE-3000 drum machines are available upon request delay. Bel BD-80 delay/sampler, Yamaha SPX90 optional, Ya- Rates: Call for rates and info. maha SPX9011 Extras &Direction: Situated on eight tree-covered acres. Staun- Other Outboard Equipment (2) Pultec EOP-1, (2) Pultec EDP- Want More ton Studios provides the Northwest with one of the finest combi- 1A. (2) Lang PEO -2, Pultec MEO -5. (2) UREI Model 545 para- nations of environments and facilities for the recording artist and metric EQ. (2) Drawmer DS-201 dual gates. (4) Kepex II, dbx Information? producer Our studio is situated on aprivate hill that overlooks 165 compressor. (2) Teletronix LA-2A (2) UREI 1176LN. (2) the beautiful Rogue Valley of Southern Oregon Our wraparound UREI LA-4, Eventide H910 Harmonizer, MEO 15. deck and hiking trails allow our clients to relax when not in Microphones: (2) Neumann U87, Neumann M49b. Neumann The advertisers in Mix session The studio's full security system gives the client the U67, Neumann U47 tube. AKG C-24 stereo tube. AKG C414 EB, peace of mind without interruptions Located only 15 minutes AKG C451EB, (2) AKG D-200E, AKG D-12. Sennheiser MD- are happy to supply from the Jackson County Airport. which is served by United. 421. Sennheiser MD-441. Beyer 201, E-V RE20, (2) PZMs. (2) PSA Continental and Horizon Airlines, you will have the conveni- 47 FET, Sony ECM-50. E-V 666. KM84, (6) Countryman direct readers with additional ences of the city with the atmosphere of the country We also boxes, (4) AKG C28, (6) Sennheiser, (6) SM57. provide free transportation from your motel-hotel and from the Monitor Amplifiers: Haller 500, (5) Haller 220 custom modified information about the airport Our list of major artist and corporate clients is quite 2-line. (4) 2-link modified. extensive and include aGrammy nomination and numerous Monitor Speakers: Hidley custom. Yamaha NS-10M, Auratones. products and services advertising awards. Corne see us in Oregon! and enjoy your Musical Instruments: LinnDrum, Yamaha DX7, Hammond B-3 recording experience organ, Korg Polysix. Jazz Chorus amp, Marshall JCM 800. advertised in this issue. Gallien-lQueger studio amp, Roland Super Jupiter w/remote programmer optional, MKS 20 and MKS 80 extra rental To receive more [24+) STUDIO C,'CUSTOM RECORDING Video Equipment Studio is located next to major soundstage. 2220 Broadridge Way Video tie-in to control room Otock and all VTR formats availa- information, just circle Stockton, CA 95209 ble upon application (209) 477-5130 Rates: Please call for rates. the appropriate Owner: Dr Thomas TChen. MD Studio Manager: Bryan Caldwell numbers on the Reader Engineers: John Edman, Dr. Thomas Chen. Bryan Caldwell. [24+1 STUDIO SOREN Dimensions: Studio 32 x30. control room 12 x8 7450 E. Jewell, Ste. F Service card on page 194. Mixing Consoles: Sound Workshop Series 30 28 x24 w/ARMS Denver, CO 80234 automation, Interface Electronics 8x 4. (303) 755-4802 Audio Recorders: Otan MIR -90 24-track, 3M 8-track 1", Otan Owner: Soren Bredsdorff MTR-10 2-track Studio Manager: Soren Bredsdorn Cassette Recorders ,Duplicators: Nakamichi MR-1, Denon DR- Ml2HX, Otan high speed duplicator Noise Reduction Equipment: Dolby SR, Hush IIC. [24+1 SUN VALLEY AUDIO Synchronization Systems: (2) Lynx time code modules 808 Warm Springs Rd. Mix Echo. Reverb, &Delay Systems: Ouantec ORS room simulator. Ketchum, ID 83340 Lexicon 224, Yamaha REV7. (2) Yamaha SPX90 (208) 726-3476 THE Other Outboard Equipment Aphex Cornpellor.UREI 1178 limit- Owner: Amos Galpin er. Eventide Harmonizer, Valley People Kepex It. Valley People Studio Manager: Amos Galpin RECORDING Gain Brain Il. Valley People Maxi O. Engineers: Lance Parker. Randy Young. Microphones: AKG, Neumann, Shure, E-V, Sennheiser, Crown Dimensions: Studio 32 x23 x16. piano room 9x 15, control INDUSTRY PZM, etc room 15 x25 w/"The Wedge" patented control room. Monitor Amplifiers: Spectra Sonics 701, Crown D-60. Mixing Consoles: ICC 9000 noise gates and limiters and auto- MAGAZINE Monitor Speakers: Yamaha NS-10. Rogers LS3/5A, MDM-4, ADS L-2000. -CONTINUED ON NEXT PAGE

JANUARY 1988, MIX 201 —LISTING CONTINUED FROM PAGE 201 Room 2: studio 9x 13, control room 15 x13. NORTHWEST Mixing Consoles: Neve 5116 24 x24 x4, Neve 5432 8x 2. mation in each channel. 24 x24. Audio Recorders: Studer A800 Mk11 16-/24-track, MCI JH- Audio Recorders: Sony DAT-1000ES, Stevens 24-track w/BTX. 1108 2-/4-track, Nagra T2-track center track TC. Sony 5003 Ampex ATR-104 2-track /14 ". Ampex ATR-102 2-track Y2". 2-track center track IC, (2) Ampex ATR-800 2-/4-track. (3) Cassette Recorders/Duplicators: Nakamichi, (10) Aka Ampex 350 2-track w/lnovonics Electronics. Synchronization Systems: Adams-Smith Zeta 3. 24+ TRACK Cassette Recorders/Duplicators: (2) Nakamichi MR-1, (5) Am- Echo, Reverb, & Delay Systems: (3) Lexicon PCM60. (4) ICC pex high speed V." dubbers, (9) 3M high speed cassette plate reverb system, live echo chamber 30 x20 x16. Lexicon STUDIOS dubbers. 93, Echotron, Fostex DDLs. Synchronization Systems: Audio Kinetics 3.10 wiADR, JVC Other Outboard Equipment Eventide 949, Eventide flanged CR -8200U /34 " phaser, Kurzweil AS 250, LinnDrum, Simmons head, (10) Akai Echo, Reverb, & Delay Systems: EMT 190 plate revert). Ya- cassette recorders for real time duplication, unreal in-house maha SPX90, Eventide H949 Harmonizer, Ursa Major Space technician Station, Clover 500. additional equipment available Microphones: AKG Tube, AKG 414, AKG 460B, Neumann U87, Other Outboard Equipment: (3)TC Electronic generators and Sennheiser 421, Shure, regenerators, (4) Neve compressor/limiters. Audio & Design Monitor Amplifiers: Hafler. PS Audio. Vocal Stresser, (3) Orban 6228 parametric EQ. (3) UREI graph- Monitor Speakers: JBL. TAD custom monitors, JBL 4430, MOM ic EC), (6) UREI LA-4A. (2) Technics turntable. Denon DCD- TA-2, Auratones. 1500, (2) Ashly SC-50 limiter/compressor. Musical Instruments: Kurzweil AS 250, Yamaha 9' grand piano. Microphones: (2) Neumann U87. (2) Neumann KM84, (2) Prophet 5. studio drum sets. AKG 414-EB. (2) RCA 770 (reconditioned), Crown PZM, E-V Rates: $70/hr, block rates available. RE20, Sennheiser 816, Sennheiser 416, additional mics avail- Extras & Direction: To fill out afull service profile, Sun Valley able including Calrec Soundfield. Audio has developed a pro audio and recording equipment Monitor Amplifiers: BGW. division to provide equipment and tech, support to the growing Monitor Speakers: (6) Altec 604E. (4) Yamaha NS-10M, (4) numbers of 4- and 8-track studio in the state Direct-to-DAT Auratone cubes recording Dealerships include JBL, Otani. 3M/Scotch audio Musical Instruments: Yamaha C7 grand piano, assorted percus- tape. Lexicon, Eventide, Hafler. OSC and Kurzweil sion, all standard instruments. synthesizers. sequencers and samplers available. Other MIDI Equipment Available on request [24+1 SURREAL STUDIOS Video Equipment: (2) CMX 3400 edit bays 1" and ve, Beta- 355 W. Potter Dr. cam or M-format WAD°, Bosch FDL60B, Di Vinci color correc- Anchorage, AK 99518 tor. Nagra T38 x60 x16 stageight rates available. (907) 562-3754 Extras & Direction: Telemation Productions offers complete Owner: Kurt Riemann TARPAN STUDIOS production services from concept to chstibution, all Lnder one Studio Manager: Sarah Middleton San Rafael, CA roof. We have the most extensive collection of music libraries in the Pacific Northwest and our sound effects library includes (24+) SWINGSTREET STUDIOS Synchronization Systems: Audio Kinetics Q.Lock 310 synchro- the latest CD libraries as well as many field recordings we 620 Bercut Dr. nizer. Roland SBX-80 sync box have collected over the past 20 years We can also provide Sacramento, CA 95814 Echo. Reverb, &Delay Systems: (2) AMS RMX-16 reverb, AMS composers, arrangers and musicians for original score to (916) 446-3088 15-80S digital delay. (2) Yamaha SPX90. Lexicon Prime Time. picture The Telemation Studios are designed for music scor- Owner: Ashley, Lauzon. Sillas Eventide 949 Harmonizer. Ecoplate 1. DeltaLab DL-4 w/mem- ing. Foley, voice and ADR recording We specialize in syn- Studio Manager: Larry Lauzon ory module, Marshall Time Modulator, ADA SD-1. anything chronous transfers and can solve virtually any audio sync Engineers: Martin Ashley, John Baccigauppi, Larry Lauzon, available upon request problem. Our Nagra Tallows us to resolve neo-pilot, FM-pilot Craig Livach. Phil Sillas. Other Outboard Equipment (2) Focusrite 110 modules, NIP or center-track time code to 16, 24- multi-track; 1, W. Dimensions: Studio 34 x37, control mom 21 x24 compressor. Aphex Compellor, anything available upon re- BelaCam and M-format video; as well as 16 or 35 mm mag Mixing Consoles: Quad/Eight Pacifica 28 x24. quest. Drawmer gates, Valley People Dyna-gates, Orban de- stock. Telemations experienced staff will provide you with the Audio Recorders: MCI JH-16 8-/16-/24-track. (2) MCI JH-110B esser. (4) Teletronix LA-2A (4) UREI LA-4 compressor/limiter. best product within your production budget! Try our award 2-track Symetnx gates, (4) Allison Kepex and Gain Brains winning sound on your next audio sweetening project. Cassette Recorders/Duplicators: (2) Technics M-85. Microphones: Neumann. AKG. Sennheiser. Beyer. Shure. PZM. Noise Reduction Equipment: dbx 28 channels. Monitor Amplifiers: Crown DO-2000 w/Della Omega modules. Echo, Reverb, &Delay Systems: Lexicon 224 digital reverb 4.4. BGW 750. (2) Crown D-150 Series II, Crown PS-400. (2) Crown (24+) TIK1 RECORDING STUDIOS AKG E3X-20E reverb. Yamaha SPX90 digital effects. Lexicon 97 Micro-Tech 1000 amps. 195 S. 26th St. Super Prime Time. Eventide H910 Harmonizer, (2) Marshall Monitor Speakers: UREI 8138, (2) Yamaha NS-10M, Auratones. San Jose, CA 95116 Time Modulator, Yamaha 01500 delay UREI 811 (408) 286-9840 Other Outboard Equipment (2) UREI 1176LN limiters, (2) Tele- Musical Instruments: Fairlight CM1 Series III w/custom sound Owner: Gradie &Jeannine O'Neal tronix LA-2A limiters. (2) Allison Gain Brain, (2) Quad/Eight library, Baldwin 9' grand peno. Studio Manager: Grade O'Neal CL-22 companders, (3) ADR/Scamp expander/gates, ADR/ Other MIDI Equipment: Kahler Human Clock. Extras & Direction: Specializing in country, gospel, rock, all Scamp autopan. Gregg Labs 2530 3-band compressor. Aphex Video Equipment Mitsubishi 35" color monitor w/RGB. NEC styles of Mexican. Portugese, Vietnamese and international Aural Exciter, (2) Pultec PEO-1S equalizers. Pultec HLF-3C filter. DX-2000U VHS videocassette player. music. Chart proven producers, arrangers and musicians Microphones: Neumann U47FET. Neumann U67, Neumann Other: Sony CDP-310 CD player. Denon DP-30L II turntable available. Three active publishing companies, one active rec- U87. Neumann KM84, AKG C414EB. AKG C451, AKG C34, w/Shure V15 Vcartridge. ord company. In-house cassette duplication for short or long Countryman EM-101, Crown PZM30, Crown PZM31, E-V RE20. Rates: Please call for rates run cassettes Record and CD manufacturing available. E-V 654A E-V 666, E-V 667A, Sennheiser 409, Sennheiser MD-421, Shure SM7, Shure SM53, Shure SM57. Shure SM58, Shure SM81, Shure 545, Shure 300, Sony ECM-22, Sony (24+) T.J. RECORDING STUDIO, INC. ECM-280, RCA 770X, Altec M-30. also REMOTE RECORDING Monitor Amplifiers: UREI 6500, Yamaha P2150. (2) McIntosh 2718 E. 96th 2100 Tacoma, WA 98445 Monitor Speakers: UREI 813A Time Aligns. JBL 4333, JBL (206) 537-0123 4313, JBL 4311, Auratone 5C. Owner: Thomas J Landon Musical Instruments: Yamaha DX7 digital synthesizer. Emulator Studio Manager: Thomas J Landon Emax sampling keyboard, Yamaha C3 grand piano, various percussion, total instrument rental available. Rates: Available upon request. (24+1 TRIAD RECORDING STUDIOS 352 W. 12th Ave. Eugene, OR 97401 (24+) BRUCE TAMBLING SOUND (503) 687-9032 1151 W. Iowa Ave. Owner: Allan Weyl Sunnyvale, CA 94086 Studio Manager: Allan Weyl, Alexis Maddock (408) 733-4240 Engineers: Peter Lorinez. Owner: Bruce Tambling Dimensions: Studio 30 x40, control room 20 x30. Studio Manager Bruce Tambling Mixing Consoles: Triad 26 x16 x24 x8 automated. 20n-l)13-59-1 Audio Recorders: Ampex 1200 24-track 20-point/search-to- 12011 Stewart Street (24+) TARPAN STUDIOS cue/remote/VSO, Studer B67 2-track, Otan 5050 2-track, 1925-G Francisco Blvd. E. Seattle. WA 98101 Revox A70 2-track. San Rafael, CA 94901 ciiicAGo DENvER PHOENIX Cassette Recorders/Duplicators: Nakamichi 582. Nakamichi (415) 485-1999 DP 40-50 duplicator Owner: Narada M. Walden TELEMATION PRODUCTIONS Echo, Reverb, & Delay Systems: EMT plate stereo tube re- Studio Manager: Janice Lee Seattle, WA verb, Klark-Teknik ON-780 digital reverb. Idark-Teknik ON-36 Engineers: David Frazer, Dana Chandelle. Matt Rohr, Gordon delay. Lexicon Prime Time delay, DeltaLab Acouficomputer, Lyon, Doc Shaffer (24+) TELEMATION PRODUCTIONS MICMIX Super C Master-Room reverb. Dimensions: Studio 25 x35 irregular (inducting sos) ceiling 12 also REMOTE RECORDING Other Outboard Equipment Scamp rack w/(4) 'imiter/compres- x14, drum booth 9x 8 x 12. control room 19 x18 w/ceiling from 1200 Stewart St. sor, (8) noise gates. (4) parametric EO/delay/autopan, (2) dbx 12 to 9to 14. Seattle, WA 160 compressor. (2) Roger Mayer noise gale. EXR Exciter. (2) Mixing Consoles: Trident TSM 40 x32 w/AAison automation. (206) 623-5934 White 27-band EQ. Audio Recorders: Studer A80 VU MkIV 24-track, MCI JH-24 Owner: Telemation Productions Microphones: (2) Neumann U87, (2) Neumann U47, (2) Neu- 16-/24-track, (2) Ampex ATR-102 2-track (f" and Y.' ). Otan Studio Manager: Michael C. Olds mann KM8U, (2)AKG 414, (2) RCA 77DX, (2) Sennheiser 421. MX-5050 8-track (/12 "), Otari MX-5050B 2-track (/12 "). Engineers: Peter S Lewis. Gordon R Glascock. Kathie Hopkins, AKG D-112, (2) Shure 57, (4) AKG 251, PZM. Cassette Recorders/Duplicators: (2) Technics RS-B100, (2) Brian Joseph, qualified freelancers welcome Monitor Amplifiers: Phase Linear 700B, McIntosh 7270, McIn- Technics RS-B50. Aiwa ADVVX909. Dimensions: Room 1: studio 28 x38, control room 18 x16. tosh 2105.

202 MIX, JANUARY 1988 Monitor Speakers: Custom tri -amplified system, Tannoy Gold [24+1 VISTA SOUND RECORDING Y. -track. Line, UREI 809. 17760 Vista Ave. Cassette Recorders/Duplicators: (2) Nakamichi MR-1. (2) Musical Instruments: Steinway Bvintage concert grand, Kurz- Monte Sereno, CA 95030 Aiwa 6900. weil 250. (408) 395-5945 Noise Reduction Equipment: Dolby 361 on 2-track machine. Rates: $50/hr. includes engineer. Owner: Dan Wyman Echo, Reverb, &Delay Systems: Lexicon 224XL digital reverb Studio Manager: Timm Burleigh w/LARC and all updates. Roland SRV-2000. Roland DEP-5. Alexis Microverb, Yamaha 01500. Yamaha SPX90, Lexicon [24+) TRIAD STUDIOS Prime Time digital delay. DeltaLab ADM-1024, DeltaLab ADM - 4572 150th Ave. NE 64. Redmond, WA 98052 Other Outboard Equipment Eventide Harmonizer, Marshall (206) 881-9322 Time Modulator analog delay. Valley People Dyna-Mite, SAE Owner: Emerald Studios, Inc. graphic equalizer, SAE parametric equalizer, (2) Drawmer gates, Studio Manager: Jim Loomis ADR Vocal Stresser, Symetrix noise gates. (2) UREI 1176 Engineers: Lary Nefzger, Tom Hall, Mike Tortorello. limiters, (2) UREI LA-4, Aphex Aural Exciter, Aphex Compellor. Dimensions: Studio 40 x24, control room 19 x24. Microphones: (2) Neumann U87, Neumann KM84, (2) AKG Mixing Consoles: NEOTEK IIIC 36 x24. 414EB. (2) AKG 451, (2) AKG 460B, AKG 012E. (3) E-V RE20, Audio Recorders: MCI JH-24 24- and 16-track. MCI JH-110B (2) E-V RE1 5, (6) Sennheiser 421, Sennheiser 441, (5) Shure 2-track Ir, Otani MTR-12-2 2-track center band, Pioneer SM57, Shure SM58. (2) Countryman direct boxes. Country- PT701. man EM101, Beyer M101, Beyer M201. Beyer M300. Sony Cassette Recorders/Duplicators: Technics RSM85, (2) Aiwa C36P, Sony ECM-33. (4) Crown PZM. F660, (22) Ken A Bacon Associates real time duplicators. Monitor Amplifiers: AB Systems 600 precedent. BGW 250, Synchronization Systems: Lynx time code, Synhance MTS. Symetrix A220. Echo, Reverb, &Delay Systems: Lexicon 224XL, Lexicon PCM- Monitor Speakers: (4) Ed Long MDM-4, (2) Yamaha NS-10M. 70, (2) Lexicon PCM41. Lexicon Super Prime Time, (2) Even- (2) Auratone, (12) AKG 240 headphones. tide H910, Klark-Teknik DN780, (3) Alexis Microverb. Musical Instruments: Yamaha C3 6' conservatory grand piano, Other Outboard Equipment Klark-Teknik 0N60 real time. Yamaha DX7, Roland MKS-30, Roland TA-707 drum machine, ADR panscan, ADR F760X compex-limiter, (2) dbx RM160. Roland MS0-700 sequencer. drumulator, Les Paul. Roland Aphex 6028, Kepex II, UREI 1176, (2) Teletronix LA-2A, (2)API Octapad. Fender Precision Bass, Casio CZ-101, MIDIbass 550A, (2) Barcus-Berry Electronics EQF-2, Orban 536A de- and anything else available upon request. esser, Pulteq EGH-2. Akai M30P. Macintosh Plus. Rates: You'll find our rates to be the best value for pro record- Microphones: AKG 414-EB. AKG 451-EB, AKG C-60, AKG ing in the Bay Area. Please call for rates. D-12E Neumann U47, Neumann U87, Neumann KM84, Neu- mann KM88, Sony C-37A, Sennheiser 421, Sennheiser 441. DAVE WELLHAUSEN STUDIOS Shure SM53, Shure SM56, Shure SM57. Shure SM58. E-V San Francisco, CA 124+1 WIZARDS & CECIL B. RE2O. Beyer M-500, Countryman E101, Countryman M85. also REMOTE RECORDING Foster M77. [24+1 DAVE WELLHAUSEN STUDIOS 1111 Second Ave. Monitor Amplifiers: Haller DH500, Haller DH220, Haller DH200. 1310 20th Ave. San Rafael, CA Monitor Speakers: (2) JBL 4435. (2) JBL 4311. (2) Yamaha San Francisco, CA 94122 (415) 453-0335 NS-10M, (2) Auratone SC. (415) 564-4910 Owner: Pete Slauson Musical Instruments: Yamaha C7D grand piano, Emulator II, Owner: Dave Wellhauser Studio Manager: Mike Brannon Yamaha DX7, Prophet 5, LinnDrum, Gretsch drum kit. Studio Manager: Janet Wellflausen Engineers: Dave Wellhausen, John Altmann, Marc Senasac, Gary Mankin. Mikey Razor, Steve O'Hara and independents. (24+) TRUE NORTH RECORDING STUDIO Dimensions: Studio 25 x 15 x12 is/vocal and drum booth, (24+) WOODMONT BEACH STUDIOS Box 81485 control room 15 x15 x12. PO Box 98553 Fairbanks, AK 99708 Mixing Consoles: Sound Workshop 34C 32 x24 x6 w/ARMS Seattle, WA 98198 (907) 456-3419 II automation 52 inputs in mixdown. (206) 941-2430 Owner: Michael States, et. al. Audio Recorders: MCI JH-24 16424-track traosformerless, MCI Owner: Richard &Jillene Rogers Studio Manager: Richard Pasillas JH-110 2-track, (2) Otani MX-5050 Mkt', Pioneer RT-707 Studio Manager: Rich Rogers

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Adams-Smith Klark-Teknik As aspecial tribute to The King, Iam re-recording the Agfa Lexicon AKG Littlite Amek Loft complete Elvis catalog. Needless to say, Iwanted the best Ampex Maxell Anchor Mogami recording equipment; the latest in MIDI technology Ididn't Annis MRL Anvil Nody know where to turn. And then one night, Elvis appeared to Aphex Nakamichi ART Neumann me in adream and sent me to LD Systems. What did Ifind Ashly Neutrik Audio-Technica Nortronics there? Over 160 of the finest pro-audio lines available and on Auratone Numark display in the most beautiful showroom Iever saw this side AXE Omnicraft DBE Omnimount Beyer °Awn of Graceland. The salespeople really knew their stuff and Biamp Otani Brooke Proco helped me demo all the gear Iwas interested in. Naturally B&K QSC Carver Ramso Igot everything Ineeded there. Cetec- Vega Renkus-Heinz Clearcom RTS Systems Thanks Elvis! When Itake my show on the road, Community Ruslang I'm going back to LD for my sound reinforcement Countryman Scotch/3M Crest Sennheiser Crown Sescom equipment too. C Tape Shure dbx Simon dbx digital Soundcraft Deltalab Star Case LD SYSTEMS, INC. EAW Switchcraft Electrovoice TAC 467 W. 38TH, HOUSTON, TEXAS 77018 Eventide Toscam Fostex TOA (713) 695-9400 Gauss Turbosound GL1 Urei Goldline Ursa HME White "LD can be contacted electronically Interface Whirlwind ¡vie Williams on ESI Street." JBL Wireworks

Circle #127 on Reader Service Card

JANUARY 1988, MIX 203 automated, Audio-TechnicaAT-RMX64 6x 4 w/onboard 4-track cassette. (2) Yamaha MM10 4x 2 PC/DC portable mixers. NORTHWEST Audio Recorders: Otan MTR-9011 16-track, (2) Otan MX-5050BII 2-track. Cassette Recorders/Duplicators: (10) Sony TC-FX320 real time cassette. (2) JVC DD-7 3-head cassette, (2) Technics M-205. Synchronization Systems: BTX Shadowpad synchronizer Echo, Reverb, & Delay Systems: Lexicon 224 digital reverb, Lexicon PCM70 digital effects processor. DeltaLab DL-4 digital delay Other Outboard Equipment dbx 900 rack w/noise gates/de- essers/limiters. Eventide H949 Harmonizer. Orban Parasound 674A parametric EO. Microphones: Neumann U67 tube-type. Neumann U47, Senn- 12846TRACK heiser 421, Sony ECM-30 Leveller, Audio-Technica AT-803a Leveller, (4) Shure SM58. (2) Shure SM57, (2) Beyer M69, (2) E-V RE20. STUDIOS Monitor Amplifiers: (2) AB Systems. Monitor Speakers: (2) JBL 4430. (2) Ed Long MDM-4, (2) Infinity, (2) Yamaha S2115H stage. (2) E-V S15-3. Musical Instruments: Yamaha DX7, Ensoniq Mirage sampling 116] APPLE CITY MUSIC modified. keyboard, Casio CZ-1000, Yamaha RX11 drum machine, Linn PO Box 2192 Synchronization Systems: SMPL system w/MIDI interface. Drum, Simmons SDS- 7, Roland TR-808, (6) guitars and basses, Wenatcher, WA 98801 Echo. Reverb, 8, Delay Systems: Lexicon 224XL, EMT 240, (4) amplifiers. (509) 663-8739 Ursa Major SST-282, Marshall lime modulator, Lexicon Delta-T. Other MIDI Equipment Macintosh Opcode MIDI sequencing Owner Robin Goodrich TC-2290 (11-second). (2) SPX90, (3) Effectron 11, Microverto, system, Yamaha OX1 sequencer Roland DEP-5. Video Equipment 34" and VHS NB roll edil system. Chyron Other Outboard Equipment (2)1176LN, (2) LA-3A stereo com- VP-2 broadcast character generator, (2) Ikegami 1TC-730A [16] THE ART OF EARS pex, Eventide Omnipressor, Aphex Studio II, Moog Poly Phaser, broadcast video cameras. 34" portable production package 1217 A Fell St (2) Pultec MEG-5. Lang PEO -2, (2) m ECts, Ashly SC66 stereo wifights San Francisco, CA 94114 parametric Rates: Please call Peter for rates/demos/tours (415) 864-4641 Microphones: Telefunken, Neumann, AKG, Sennheiser, Sony. Extras /A Direction: Avid Productions is afully integrated audio Owner: Andre Ernst Crown. E-V, RCA. Beyer. Countryman. Mec (tube). and video production complex offenng complete production Studio Manager Nance Urquidez Monitor Amplifiers: Meyer PCD. Eagle-7 (Electron-Kinetics), and post-production services. Creative innovation has kept Avid McIntosh. growing steadily in the areas of industrial, commercial and Monitor Speakers: Meyer PCD, JBL 4230. JBL 4315. Yamaha corporate audio and video communications Nestled in down- 116] FRED ARTHUR PRODUCTIONS, LTD. NS-10. town San Mateo, Avid clients enjoy the newly renovated, tree- 1218 E. 18th Ave. Musical Instruments: Fender Lap Steel, Baldwin/Howard baby lined streets and the abundance of good restaurants, shops Denver, CO 80218 grand, tympani, vibraphone, mellotron. Oberheim DX. and convenient parking the area offers Broadcast video pro- (303) 832-2664 Other MIDI Equipment Apple II Plus w/Synlech software, SMPL duction, audio for video, scoring to picture, radio and television Owner Fred Arthur MIDI interface w/measure pointer programs, music videos, albums, demos and duplication for Studio Manager Susan Weber Video Equipment JVC 19" monitor, Amdek 15" monitor, JVC clients ranging from Star Search hopefuls and independent 34" VCR. VHS and Beta producers to major corporations such as Fortune Systems, Other 1/3-octave RTA and X-Y scope on-line. Apple Computer. Nikon, US Sprint and Safeway [16] ARTIST SOUND Rates: Call for rates only REMOTE RECORDING 12311 NE Glisan, 11254 [121 El STREET MUSIC & RECORDING Portland, OR 97216 [16] ATWATER RECORDING also REMOTE RECORDING (503) 254-9742 also REMOTE RECORDING 47 N. B St Owner Richard Paige 1468 Broadway San Mateo, CA 94401 Studio Manager Richard Paige Atwater, CA 95301 (415) 342-2208 (209) 358-7431 Owner Gary Zimmerman Owner: Jim Schriber Studio Manager: Tim Azzaria 116) ASTRAL SOUNDS RECORDING Studio Manager Hugh Sell 482 Reynolds Circle San Jose, CA 95112 [161 BAY RECORDS (408) 436-1153 [161 AUDIO VISIONS 1741 Alcatraz Owner: Joan Hare, Bill Hare, Randy Musurneci 313 Brokaw Rd. Berkeley, CA 94703 Studio Manager Bill Hare Santa Clara, CA 95050 (415) 428-2002 (408) 988-2048 Owner: Michael Cogan Owner Lee Grazian, Studio Manager Michael Cogan Studio Manager Dave Portera Engineers: Robert Shumaker, Michael Cogan. Dimensions: Studio 30 x34, control room 15 x20. Mixing Consoles: Efiamp Bimix 20 x16. Audio Recorders: M79 16-track. M79 8-track, Ampex ATR-800 2-track, Sony PCM-Fl 2-Irack, Ampex AG-350 2-track. Cassette Recorders/Duplicators: (2) Sony Noise Reduction Equipment dbx 4channels outboard. Atmosphere Echo, Reverb, & Delay Systems Yamaha SPX90, MICMIX Super C. Etfectron. Other Outboard Equipment dbx 160 limiter. SAE 2700 equalizer Microphones: (2) Neumann U87, Neumann SM69. (3) Neu- mann KM84, Neumann KM83, (2) AKG C452. (2) AKG D224. more Monitor Amplifiers: (2) Haller Monitor Speakers: (2) JBL 4311. Musical Instruments: '

[16] ATMOSPHERE AVID PRODUCTIONS 23 Joseph Ct San Mateo, CA [16] BEAR CREEK RECORDING STUDIO San Rafael, CA 94903 20711 Bear Creek Rd. (415) 479-2125 [16] AVID PRODUCTIONS Los Gatos, CA 95030 Owner Robert Brown 235 E Third Ave., Ste. 215 (408) 354-2351 Studio Manager Gregg Schnitzer San Mateo, CA 94401 Owner Justin Mayer Engineers: Gregg Schnitzer. Ray Bobo. (415) 347-3417 Studio Manager Justin Mayer Dimensions: Studio 15 x25, control room 12 x14, with separate Owner Henry Bilbao drum booth. Studio Manager Peter Nixon Mixing Consoles: Tangent 3216 custom 28 x 24. Engineers: Chris Craig, Peter Nixon. [16] ROBERT BERKE SOUND Audio Recorders: Stephens 16-track 2" 30 ips, 3M 64 2-track Dimensions: Room 1: studio 18 x20, control room 12 x 10. 50 Mendell St tIll Mi" 30 ips, Technics 2-track digital. Room 2: studio 18 x 23, control room 12 x 10. San Francisco, CA 94126 Cassette Recorders/Duplicators: (2)Sony 777, (4) Onkyo 2048 Mixing Consoles: Sound Workshop Series 34B 24 x24 fully (415) 285-8800

204 MIX, JANUARY 1988 Owner: Robert Berke (16) CPS PRODUCTIONS CO. (CHRISTIAN PRODUCTION right piano Studio Manager: Mark Escott SERVICES) Other MIDI Equipment Roland Octapad Pad-8. Engineers: Steve Bravin, Mark Escott, Chris Miloslavich. only REMOTE RECORDING Other (6) Phi Tech acoustic drum triggers, (2) Axe kük-trac, Dimensions: Room 1: studio 15 x 18, control room 14 x 19. 10225 E. Girard Ave. NAD 5255 compact disc player. Bang and Olufsen TX turntable Room 2: studio 7x 12, control room 15 x21. Room 3: control Denver, CO 80231 w/B&O MMC 2cartridge. room 11 x13 Room 4: control room 10 x13. (303) 695-4558 Rates: 1-10 firs: $30/hr 11-50 hrs: $25/hr; 50+ hrs: $20/hr. All Mixing Consoles: Auditronics 700 16 x 16, Sound Workshop Owner Stuart V. Simon prices include engineer and any studio instruments the client 34C 16 x16 w/DiskMix, Soundcraft 600 12 x16, Soundcraft Studio Manager Mike Nelson desires to use. 200B 8x 4 Extras &Direction: Davis Sound Studio strives not only to make Audio Recorders: (2) Otan MTR-9011 16-track, Otani MTR-10 the best possible recordings technically, but also to provide a 4-track. (7) Otan MIR -10 2-track, (3) Otan MX-50508 4-track. (16) CREATIVE COMMERCIAL CONCEPTS very friendly, comfortable, relaxed and creative atmosphere for Otan MX-70 8-track 9790 N. VVenas Rd. our clients We treat every project with care and concern for Cassette Recorders/Duplicators: (3) Technics. (4) Akai. Selah, WA 98942 what our clients want, and turn their desires no aprofessional Noise Reduction Equipment dbx 32-channel noise reduction (509) 575-6685 quality finished product We handle all types of projects includ- system Owner Mark Farmer ing narration, voice-over, commercial and jingle production. Synchronization Systems: (2) Kelly Ouan computer systems. Studio Manager Mark Farmer (we have the entire Sound Ideas 1,000 Series sound effects Echo, Reverb, & Delay Systems: (2) Yamaha SPX90 reverb library on 28 compact discs), demo tapes and albums Kt also systems. Yamaha REV7 reverb systems. Lexicon 2008. Even- offer real time tape duplication. In addition, production services tide H949 Harmonizer (16) CREATIVE SOUND STUDIO and session musicians are available upon request. Our lounge Other Outboard Equipment (3) Dynafex noise reduction sys- 602 Cree Dr area includes 11/, video games and refrigerator (always stocked tems, (4) Orban 424 limiter/compressors, Orban 464 limiter/ San Jose, CA 95123 with water, soft drinks, coffee and tea) Access to Davis Sound compressors. (3) Orban 622B parametric E0. (4) Orban de- (408) 224-1777 Studio is easy via nearby freeways and airports As you can see. essers. Valley People Gain Brain. (2) Symetnx telephone inter- Owner Richard Dias we are more than just competitive' Please give us acall or just face systems, (4) Yamaha/Technics CD players. (4) Technics Studio Manager Ramah Dias stop by turntables Microphones: Neumann. Shure, E-V. Monitor Amplifiers: (3) Bryston YB, (8) BGW (16) DANCING DOG [16] DEVA RECORDS Monitor Speakers: JBL 4430, JBL 4430, JBL 4425. 1500 Park St., B210 3525 Calafia Ave. Video Equipment Sony BVH-1100 1" VTR w/TBC and Dolby Emeryville, CA 94608 Oakland, CA 94605 audio, (2) Sony BVU-800 /34 "VTRs,JVC 850 /34 "VTR, Panasonic (415) 655-6760 (415) 638-3341 V2" VCR, Sony/Panasonic color monitors. (4) Cipher Digital time Owner David Bryson Owner: Bruce Mishkit code generator/readers. EC 101 synchronizer, (4) Cipher Digi- Studio Manager David Bryson Studio Manager Bruce Mishkit tal Shadow synchronizers Rates: Please call for rates Extras &Direction: Thousands of music and sound erects cues from the leading production libraries, client lounge, conference (12) DOCTOR BLACK STUDIO rooms and kitchen. Robert Berke Sound is an audio production W1627 10th Ave. facility specializing in audio for video, commercial and AN Spokane, WA 99204 sound production. The complex now features full 1" VTR trans- (509) 456-0622 ter and layback capability; three acoustically identical control Owner Robert Schwartz rooms and studios designed by Randy Sparks of RLS Acoustics: Studio Manager Mark Beys, Jamie Melville and the most up-to-date music and sound effects library available The studio has completed post-production sound for hundreds of network, local and commercial video programs during the previous year (16) DOME STUDIOS 1912 Gilmore Trail Fairbanks, AK 99712 [16] BEYOND SOUND (907) 457-1993 6300 Federal Blvd. (907) 456-2604 Denver, CO Owner Gerald Ralson (303) 427-6789 Studio Manager Ron "Rif" Rat son Owner: Paul Stenvig Engineers: Rif Rafson, Jerry Ralson. Dimensions: Studio 460 sql1 (irregular polygon), control room 150 sq fl, (16) BOB KAT STUDIO Mixing Consoles: Hill B-3 24 x8 x 2. Tascam Model 38 x 4 x 2. PO Box 5503 (2) Shure 4x 1 sub-mixers Berkeley, CA 94705 Audio Recorders: Tascam MS-16 16-track, Tascam 80-8 8- (415) 548-9766 track, TEAC 334DS 4-track, Technics RS1500US 2-track, Pio- Owner: Kat Epple, Bob Stohl DAVIS SOUND STUDIO neer RI 1050 2-track. Davis, CA Studio Manager: Bob Stohl Cassette Recorders/Duplicators: Tascam 122E Technics. Noise Reduction Equipment dbx 8channels, Symetnx 511. (16) DAVIS SOUND STUDIO Echo, Reverb, & Delay Systems: ART ProVerb, DL-2 Acoush- 1205 Oak Ave. computer, AKG BX-5 reverb. (16) BROWN BAG PRODUCTIONS Davis, CA 95616 Other Outboard Equipment: Orban 622B parametric equalizer. 4134 S. Eudora St (916) 758-6661 Rane GE-27 graphic equalizer. Rane RE-27 real time equalizer, Englewood, CO 80110 Owner Andy Lang (2) Furman LC-2 comp/limiters. (303) 756-9949 Studio Manager Andy Lang Microphones: Neumann U47 tube, Beyer, Shure, AKG, Crown Owner: Dr Michael Lee, Robert Lee Engineers: Andy Lang, Christine Webster. PZM, Audio-Technica. Toa, Calrec, Peavey. Countryman direct Studio Manager Robert Lee Dimensions: Studio 13 x12. control room 18x 10. 'so room 17 boxes x6, iso room 25 x4. Monitor Amplifiers: Hatter, Crown. Rane HC-6 headphone amp Mixing Consoles: Amelf/TAC Scorpion 16 x8. Monitor Speakers: Klipsch Cornwalls, JBL 4313, Auratone [16] BUNYUP BAKERIES Audio Recorders: Otan MX-70 16-track, Otan MX-50508 II Musical Instruments: Yamaha DX7, Yamaha OX7, E-mu drumu- PO Box 10562 2-track, TEAC X-3 Mkt' 2-track. lator, E-drums, electric and acoustic bass, guitars, upright grand Oakland, CA 94610 Cassette Recorders/Duplicators: Bang and Olufsen Beocord piano (415) 534-4641 9000, Nakamichi BX-300, Denon DR-M4, Other Macintosh SE Owner: Bill Carrico. Maureen Coyle Noise Reduction Equipment (2) dbx 224X. Rates: Upon request Studio Manager Bill Carrico Echo, Reverb, & Delay Systems: (2) Lexicon PCM70 digital effects processor, Lexicon PCM60 digital reverb, DeltaLab ADM-1024 electron II digital delay. Ibanez DM-1000 digital (16) CHRISTIAN RECORDING STUDIOS delay (12) DOWNHOME DEMO'S 6300 Federal Blvd. Other Outboard Equipment: (4) Valley People Kepex II noise Northglenn, CO Denver, CO 80221 gates, (2) Valley People Gain Brain II compressor/limiter/ducker. (303) 457-1740 (303) 427-2075 (3) Valley People Maxi-C) 3-band parametric E0, (2) Rane DE- Owner Steve McGowan Owner Dean R. Carroll, Larry PStastny 15 5-band parametric EO. Orban 674A 8-band, 2-channel Studio Manager: Steve McGowan parametric EO. Orban 424A 2-channel compressor/limiter/de- esser. dbx 1662-channel compressor/limiter/gate, Aphex Type (16) C-M-I 82-channel Aural Exciter, Burwen TNE7000 2-channel transi- (16) DRONE STUDIOS 10125 227th Ave. Cf E ent noise eliminator. 2516 El Camino Real Buckley, WA 98321 Microphones: Neumann U89i, (3) Neumann KM841, AKG C414, Redwood City, CA 94061 (206) 862-1877 (2) Sennheiser MD-421, (2) Audio-Technica AT813R, Audio- (415) 366-4212 Owner: Tom Thrasher Technica ATM-63. Beyer M-500, Beyer M-201, Shure SM57, Owner Brett Brown Studio Manager Tom Thrasher (2) Crown PZM-30 GPB. Studio Manager: Brett Brown Monitor Amplifiers: Tandberg TIA-3012, Hitachi HA-610 (headphone), Rane HC-6 (headphone). (16) COUPE STUDIOS Monitor Speakers: Spica TC-50 w/2 Spica servo subwoofers also REMOTE RECORDING (main), ADS L-400 (console), Canton GL-300F (studio), ADS (16) DUNCAN STREET STUDIO 2539 Pearl St L-400 (console), ADS 300i (car type), JBL 4627 (bass cabinet). 240 Duncan St Boulder, CO 80302 Musical Instruments: Sequential Circuits Model 400 drum ma- San Francisco, CA 94131 (303) 447-0551 chine. Memorymoog plus analog synthesizer, Ibanez Roadstar (415) 285-9093 Owner Scott Roche, Patrick Culhe II electric guitar. Yamaha G240 acoustic guitar, Marshall Lead Owner John eakeley Studio Manager Scott Roche, Patrick Cull* 12 guitar amplifier/cabinet. Wing and Son concert grand up- Studio Manager John Blakeley

JANUARY 1988, MIX 205

Lircie eFlzes on it ectuer oervice

JANUARY 1988, MIX 207 [16) STARSHINE AUDIO ENTERPRISES S ets A NORTHWEST PO Box 3305 I Chico, CA 95927 (916) 345-3027 Owner Hugh E. Santos ORGANIZE YOUR RECORDING. COMPUTER AND RACK. Studio Manager Hugh E Santos MOUNTABLE EQUIPMENT 12816TRACK IN AN ATTRACTIVE. MOBILE WORK STATION STUDIOS [16) STARTSONG SON OF FX FEATURES . • Two adjustable shelves for 3218 E. LaSalle multi-tracks, drum machines. [121 SONOMA SOUND Colorado Springs, CO 80909 computers and morel also REMOTE RECORDING (303) 634-2045 • Holds up to 10 rack "spaces" PO Box 1623 Owner Tom Gregor of equipment Sonoma, CA 95476 • Shown (7071996-4363 ASK.. Rack YOUR Dwradwher"I DEALER FOR A DEMONSTRATION Owner Arron Johnson [161 STRATEGIC AIR COMMAND RECORDS CALL OR WRITE FOR FREE BROCHURE Studio Manager Anon Johnson 440 Pepper Ave. Palo Alto, CA •ili (415) 325-0542 FOUR (818) 716-8540 A v: 116] SOUND RECORDING COMPANY Owner Dan Arlie also REMOTE RECORDING Studio Manager Eric Dodd West 503 Indiana Ave. FOR ADDITIONAL FOUR DESIGNS Spokane, WA 99205 PRODUCT INFORMATION, CALL: (5091 326-0222 (161 SYNCHRONICITY 1-800-544-3746 Owner Paul W. Carter Box 596 SAY YOU SAW IT IN MIX! Studio Manager Irene Carter San Rafael, CA 94915 (415) 472-2523 Owner Windsor Riley (16) THE SOUND SOURCE Studio Manager Windsor Riley 741 4th St., 2nd Floor Engineers: Tom Rollison, Windsor Riley ECONOMICAL 19' RACK MOUNT Santa Rosa, CA 95402 Dimensions: Studio 18 x11. live space 6 x4. "FURNITURE' . FOR THE (7071 528-1530 Mixing Consoles: Ramsa WR-T820 20 x8x 2. Kawai MX-8R 8x PROFESSIONAL OR HOME STUDIO Owner Randy Teat Ord. Dave Armijo 2. Studio Manager Claire Teaford. Marilyn Armijo Audio Recorders: Fostex B16 16-track, Sony PCM-501ES 2- EX RACK FEATURES: Extras & Direction: The Sound Source is aunique new 16-track track w/Super Betamax. Betamax. III Holds up to 18 "spaces" of audio/digital production facility located above one of Northern Cassette Recorders/Duplicators: Technics M-235X. equipment. California's largest music stores, Stanroy Music Center Our Noise Reduction Equipment Dolby C Ion B16). Ill Attractive black tee-lured vinyl laminate. primary function is to offer all musicians, producers and film Synchronization Systems: Fostex 4050 MIDI/SMPTE/autolo- • Shown vath optional wheels makers, integrated computer sequencing via Macintosh Plus/ cater Apple II computers with the very latest keyboards, synthesizers Echo, Reverb, & Delay Systems: Roland SDE-2500, Roland ASK YOUR DEALER FOR A and digital samplers available as cost-effective techniques for SRV-2000, Yamaha SPX90, Lexicon PCM60. DEMONSTRATION production An expanding library of software and samples fea- Other Outboard Equipment Symetrix 525 compressor/limiter/ CALL OH WRITE FOR FREE BROCHURE turing Performer/Composer. Opcode, Digidesign, Passport, gate Blank, Intelligent Music and many others offers the client the Microphones: AKG, Fostex, Sony option to do their own pre-production if desired and then Monitor Amplifiers: Haller 500, Harrran Kardon 18181 716-8540 download their data here for final engineering Currently The Monitor Speakers: Celestion SL65. Toa 280ME Sound Source is hosting the musical scoring and engineering Musical Instruments: Yamaha 10(88 keyboard controller, Ya- for the next Charles Shuts film for W"The Girl in the Red Truck," maha DX7II, Roland D-50. Roland JX-8P, Roland MKS-20 digi- Circle #131 on Reader Service Card aTV musical production for "Satin Steel" and various commer- tal piano module. Kawai K3M, Altai S612, Altai S900, Korg cial broadcast projects Rates and equipment list upon request. DSS-1 Other MIDI Equipment Macintosh Plus w/20 Megabyte hard disk and Performer software for Mac (segrencing), Atari 1040- (16) SOUND WEST RECORDING ST w/Steinberg Pro 24 sequencing, D-5C editor/librarian, Hy- 2321 Tacoma Ave. brid Arts DX android editor/librarian. Digital Music Corp MX-8 MOVING? Tacoma, WA 98402 MIDI patchbay, 360 Systems MIDI patchbay (206) 272-4251 Rates: Negotiable. Owner Steve Paulik, Carl Schneider FOR UNINTERRUPTED SERVICE Studio Manager Steve Paulik MAIL TO: Engineers: Steve Paulik. Carl Schneider MIX PUBLICATIONS Dimensions: Studio 19 x25, control room 19 x 14 Mixing Consoles: Soundcraft TS-12 24 x12 x24 2608 NINTH STREET Audio Recorders: Tascam MS-16 16-track w/dbx, Technics BERKELEY, CA 94710 1500 /12 -irack w/dbx, Akai GX-635D Va -track. TEAC X1OR /14 -track Cassette Recorders/Duplicators: TUC Ci. Altai GXC-709D, Pioneer CT-F900. Noise Reduction Equipment dbx 16-channel, dbx 150 2-chan- SYNCRO nel. Synchronization Systems: E-mu SP-12 SMPTE lock and MIDI interface Echo. Reverb, & Delay Systems: Lexicon PCM70, Lexicon INTERNATIONAL PCM60, Lexicon PCM42, Roland SRV-2000, Roland SDE-1000,

HERE) Ibanez SDR-1000 Other Outboard Equipment: Aphex Type C Exciter, Symetnx 544 gates. (21 UREI LA-4, Yamaha 01027 E0. STUDIO BELOW) Microphones: AKG, Sennheiser. E-V. Sony. Beyer, Beyer PZM,

LABEL Shure, Audio-Technica. Monitor Amplifiers: Carver, Crown, Yamaha, Harman Kardon. Monitor Speakers: UREI 809, Yamaha NS-10M, Auratone 5C, AKG 240M (phones). Musical Instruments: Ensoniq Mirage sampling keyboard w/ex- ADDRESS tensive library. Yamaha TX81Z. Akai AX73, E-mu SP-12 sam- ADDRESS pling drum computer wiextensive library. Roland Octapad, SYNCRO INTERNATIONAL STUDIO guitars Les Paul, SG, Ibanez, Ovation, Sire amps. Gallen- San Anselmo, CA NEW

OLD Krueger, Rockrnan, Yamaha, Lab Series, Fender Twin, Ampeg, keyboards: (avalable w/advanced booking), Yamaha DX7, Ro- [161 SYNCRO INTERNATIONAL STUDIO land JX-8P, Roland Juno-2, Roland Jupiter 6. Korg DW-8000, 2 Allemand Ln.

PRINT Korg DW-6000. Korg Poly 800, E-mu Emax San Anselmo, CA 94960 Other MIDI Equipment: Mark of the Unicorn Performer software (415) 457-4852 ATTACH (version 2 1), Macintosh 512K, Yamaha MJC8 (MIDI switcher). Owner Satoshi Suzuki Video Equipment /12 "VHS Hi-fi and Beta JVC GX-N5U Studio Manager Dr Space camera. Panasonic PK-956 camera. Engineers: Daniel Ryman (credits for Color Purple w/Ouincy (PLEASE Rates: Please call for rates. Jones), Derek Stowe. Dimensions: Booth 8 x8, room 20 x20, reverb room 17 x6, (PLEASE up control room 12 x20 [16] STAFFORDSHIRE PRODUCTIONS Mixing Consoles: TX Scorpion 32 x16 x8 cE o PO Box 4364 Audio Recorders: Tascam MS-16 16-tracL, Sony PCM-601ES o o> Napa, CA 94558 2-track digital, (2) Fostex E-16 30-track w/syncho, Fostex E-22.

COMPANY (7071 226-8273 Cassette Recorders/Duplicators: Naxamichi MR-1, Aiwa WX- Owner Kent Monson 220 Studio Manager: Kent Monson Noise Reduction Equipment (2) Dolby SR.

210 NIIX,JANUARY 1988 Owner Robert Berke [16] CPS PRODUCTIONS CO. (CHRISTIAN PRODUCTION right piano Studio Manager Mark Escott SERVICES) Other MIDI Equipment Roland Octapad Pad-8. Engineers: Steve Brawn, Mark Escott, Clins Miloslavich, only REMOTE RECORDING Other (6) Phi Tech acoustic drum triggers. (2) Axe kL1k-trac, Dimensions: Room 1 studio 15 x 18, control room 14 x 19. 10225 E. Girard Ave. NAD 5255 compact disc player, Bang and Oluf sen TX turntable Room 2: studio 7x 12. control room 15 x21. Room 3: control Denver, CO 80231 w/Et&O MMC 2cartridge. room 11 x13 Room 4. control room 10 x13. (303) 695-4558 Rates: 1-10 hrs; $30/hr; 11-50 hrs: $25/hr: 50+ hrs: $20/hr All Mixing Consoles: Auddronics 700 16 x 16. Sound 1Alorkshop Owner: Stuart V Simon prices include engineer and any studio instruments the client 34C 16 x16 w/DiskMix. Soundcraft 600 12 x16, Soundcraft Studio Manager Mike Nelson desires Io use. 2008 8x 4 Extras &Direction: Davis Sound Studio strives not only lo make Audio Recorders: (2) Otan MTR-9011 16-track, Otan MTR-10 the best possible recordings technically, but also to provide a 4-track. (7) Otan MTR-10 2-track, (3) Otan MX-5050B 4-track, [16] CREATIVE COMMERCIAL CONCEPTS very friendly, comfortable. relaxed and creative atmosphere for Otan MX-70 8-track. 9790 N. YVenas Rd. our clients. We treat every project with care and concern for Cassette Recorders/ Duplicators: (3) Technics, (4) Akat Selah, WA 98942 what our clients want, and turn their desires into aprofessional Noise Reduction Equipment dbx 32-channel noise reduction (509) 575-6685 quality finished product. We handle all types of projects includ- system Owner Mark Farmer ing narration, voice-over, commercial and jingle production. Synchronization Systems: (2) Kelly Ouan computer systems Studio Manager: Mark Farmer (we have the entire Sound Ideas 1,000 Serres sourd effects Echo, Reverb, & Delay Systems: (2) Yamaha SPX90 reverb library on 28 compact discs), demo tapes and albums We also systems. Yamaha REV7 reverb systems. Lexicon 200B, Even- offer real lime tape duplication. In addition, production services tide H949 Harmonizer. [16] CREATIVE SOUND STUDIO and session musicians are available upon request Our lounge Other Outboard Equipment: (3) Dynalex noise reduction sys- 602 Cree Dr. area includes TV. video games and refrigerator (alwaysslocked tems. (4) Orban 424 limiter/compressors. Orban 464 imitent San Jose, CA 95123 with water, soft drinks, coffee and tea). Access to Davis Sound compressors, (3) Orban 622B parametric EO, (4) Orban de- (408) 224-1777 Studio is easy via nearby freeways and airports As you can see. essers. Valley People Gain Brain. (2) Symetrix telephone inter- Owner: Richard Dias we are more than just competitive! Please give us acall or just face systems. (4) Yamaha/Technics CD players, (4) Technics Studio Manager: Ramah Dias stop by turntables Microphones: Neumann. Shure. E-V Monitor Amplifiers: (3) Bryston YB, (8) BGW. (16) DANCING DOG [16] DEVA RECORDS Monitor Speakers: JBL 4430. JBL 4430. JBL 4425 1500 Park St., 8210 3525 Calatia Ave. Video Equipment Sony BVH-1100 1" VTR w/TBC and Dolby Emeryville, CA 94608 Oakland, CA 94605 audio, (2) Sony BVU-800 34" VTFts, JVC 850 34" VTR. Panasonic (415) 655-6760 (415) 638-3341 1/2"VCR, Sony/Panasonic color monitors, (4) Cipher Digital lime Owner David Bryson Owner: Bruce Miel« code generator/readers, EC 101 synchronizer. (4) Cipher Digi- Studio Manager David Bryson Studio Manager: Bruce Mishkit tal Shadow synchronizers. Rates: Please call for rates. Extras &Direction: Thousands of music and sound effects cues from the leading production libraries; client lounge, conference (12) DOCTOR BLACK STUDIO room and kitchen Robert Berke Sound is an audio production W1627 10th Ave. facility specializing in audio for video, commercial and AN Spokane, WA 99204 sound production The complex now features full 1" VTR trans- (509) 456-0622 fer and layback capability, three acoustically identical control Owner: Robert Schwartz rooms and studios designed by Randy Sparks of RLS Acoustics; Studio Manager Mark Bews, Jame Melville and the most up-to-date music and sound effects library available. The studio has completed post-production sound for hundreds of network, local and commercial video programs during the previous year. (161 DOME STUDIOS 1912 Gilmore Trail Fairbanks, AK 99712 [16] BEYOND SOUND (907) 457-1993 6300 Federal Blvd. (907) 456-2604 Denver, CO Owner Gerald Rat son (303) 427-6789 Studio Manager Ron "Rif" Rat son Owner: Paul Stenvig Engineers: Rif Rafson, Jerry Rafson. Dimensions: Studio 460 sq.ft. (irregular polygon), control room 150 scull. Mixing Consoles: Hill B-3 24 x8 x 2, Tascam Model 38 x 4 x 2, [16] BOB KAT STUDIO PO Box 5503 (2) Shure 4x 1 sub-mixers. Berkeley, CA 94705 Audio Recorders: Tascam MS-16 16-track, Tascam 80-8 8- (415) 548-9766 track, TEX 334DS 4-track. Technics RS1500US 2-track, Pio- DAVIS SOUND STUDIO Owner: Kat Epple. Bob Stohl neer RT 1050 2-track. Davis, CA Studio Manager Bob Staff Cassette Recorders/Duplicators: Tascam 122B, Technics. Noise Reduction Equipment dbx 8channels. Symetnx 511. (16) DAVIS SOUND STUDIO Echo, Reverb, & Delay Systems: ART ProVerb, DL-2 Acousti- 1205 Oak Ave. computer, AKG BX-5 reverb [16] BROWN BAG PRODUCTIONS Davis, CA 95616 Other Outboard Equipment Orban 6228 parametric equalizer. 4134 S. Eudora St (916) 758-6661 Rane GE-27 graphic equalizer, Rane RE-27 real lime equalizer. Englewood, CO 80110 Owner Andy Lang (2) Furman LC-2 comp/limiters. (303) 756-9949 Studio Manager Andy Lang Microphones: Neumann U47 tube, Beyer, Shure. AKG, Crown Owner: Dr Michael Lee. Robert Lee Engineers: Andy Lang, Christine Webster PZM, Audio-Technica Toa. Calrec, Peavey, Countryman direct Studio Manager: Robert Lee Dimensions: Studio 13 x12. control room 18 x10.1so room 17 boxes. x6, iso room 25 x4 Monitor Amplifiers: Hafler, Crown, Rane HC-6 headphone amp. Mixing Consoles: Arnek/TPC Scorpion 16 x8. Monitor Speakers: Kipsch Cornwalls, JBL 4313, Auratone. [16] BUNYUP BAKERIES Audio Recorders: Otan MX-70 16-track, Otan MX-5050B Il Musical Instruments: Yamaha DX7, Yamaha OX7, E-mu drumu- PO Box 10562 2-track, TEX X-3 MU 2-track. lator, E-drums, electric and acoustic bass, guitars, upright grand Oakland, CA 94610 Cassette Recorders/Duplicators: Bang and Olufsen Beocord piano. (415) 534-4641 9000. Nakamichi BX-300, Denon DR-M4. Other Macintosh SE. Owner Bill Carnot), Maureen Coyle Noise Reduction Equipment (2) dbx 224X. Rates: Upon request. Studio Manager: Bill Carrico Echo, Reverb, & Delay Systems: (2) Lexicon PCM70 digital effects processor, Lexicon PCM60 digital reverb, DeltaLab ADM-1024 Effectron Il digital delay, Ibanez DM-1000 digital [16] CHRISTIAN RECORDING STUDIOS delay (12) DOWNHOME DEMO'S 6300 Federal Blvd. Other Outboard Equipment (4) Valley People Kepex Il noise Northglenn, CO Denver, CO 80221 gates. (2) Valley People Gain Brain Il compressor/limiter/ducker. (303) 457-1740 (303) 427-2075 (3) Valley People Maxi-0 3-band parametric E0. (2) Rane DE- Owner Steve McGowan Owner Dean R Carroll. Larry PStastny 15 5-band parametric E0. Orban 674A 8-band, 2-channel Studio Manager Steve McGowan parametric EQ. Orban 424A 2-channel compressorffimiter/de- esser. dbx 1662-channel compressor /I imiter/gale, Aphex Type [16] C-M-1 B2-channel Aural Exciter. Burwen TNE7000 2-channel transi- [16] DRONE STUDIOS 10125 227th Ave. Ct. E. ent noise eliminator. 2516 El Camino Real Buckley, WA 98321 Microphones: Neumann U891. (3) Neumann KM84i. AKG C414, Redwood City, CA 94061 (206) 862-1877 (2) Sennheiser MD-421, (2) Audio-Technica AT813R, Aude- (415) 366-4212 Owner Tom Thrasher Technica ATM-63. Beyer M-500. Beyer M-201. Shure Stv157. Owner Brett Brown Studio Manager Tom Thrasher (2) Crown PZM-30 GPB. Studio Manager Brett Brown Monitor Amplifiers: Tandberg T1A-3012, Hitachi HA-610 (headphone), Rane HC-6 (headphone) [16] COUPE STUDIOS Monitor Speakers: Spica TC-50 w/2 Spica servo subwoofers also REMOTE RECORDING (main). ADS L-400 (console), Canton GL-300F (studio), ADS [161 DUNCAN STREET STUDIO 2539 Pearl St L-400 (console), ADS 300i (car type), JBL 4627 (bass cabinet). 240 Duncan St Boulder, CO 80302 Musical Instruments: Sequential Circuits Model 400 drum ma- San Francisco, CA 94131 (303) 447-0551 chine. Memorymoog plus analog synthesizer, Ibanez Roadstar (415) 285-9093 Owner Scott Roche, Patrick Culhe Il electric guitar, Yamaha G240 acoustic guitar, Marshall Lead Owner John Blakeley Studio Manager Scott Roche, Patrick Cut lie 12 guitar amplifier/cabinet, Wing and Son concert grand up- Studio Manager John Blakeley

JANUARY 1988, MD( 205 [16] E.J. SOUND phone 7096 Coronadd Dr. NORTHWEST Monitor Speakers: Yamaha NS-10M. JBL 4411, Auratone SC. San Jose, CA 95129 Eclipse, MG 240 headphones. (408) 446-2473 Musical Instruments: 1959 Fender P-Bass, 1967 Fender Telly Owner: Eric Harding w/Bigsby, Yamaha C-3 6' grand piano, 1947 Martin 0018. Studio Manager Eric Harding assorted Zildjen cymbals. synth and drum machine rentals 1246 TRACK available on request Rates: $25/hr. [16) EMERALD CITY PRODUCTIONS STUDIOS 512 Lisbon St San Francisco, CA 94112 Engineers: Dr Richie Moore, PhD, Terry Chambers, Lenette [161 HORIZON AUDIO RECORDING (415) 585-6219 Viegas. 4115 E. McMillan Owner Christopher Grinstead, Veronica Labeau Dimensions: Studio 20 x20, control room 12 x12. Meridian, ID 83642 Studio Manager: Christopher Grinstead, Veronica Lab Mixing Consoles: Soundtracs MIDI PC audio console, Ramas (208) 939-6197 WR1820. Owner Rob & Kim Matson Audio Recorders: Otan MX-70 16-track, Otan MX-5050 2-track Studio Manager Rob Matson [16] EMERYVILLE RECORDING CO. mastering deck, Sony DTC-1000ES R-DAT. Tascam ATR-60 1331 61st St, Unit C 4-track. Emeryville, CA 94608 Cassette Recorders/Duplicators: Akai professional studio deck, [16] HORODKO SOUNDTRAX/T.LA. (415) 655-9490 Onkyo TA-2047 stereo also REMOTE RECORDING Owner Randy Rood Synchronization Systems: Lynx TimeLine SMPTE modules. 111 Vallejo St Studio Manager Randy Rood Roland SBX-80 San Francisco, CA 94111 Echo, Reverb, & Delay Systems: (2) Yamaha SPX90 digital (415) 956-8729 processors. (2) Roland DEP-5 digital effect processors, Roland Owner Edward Horodko [16] EYE IN THE SKY SOUND SRV-2000 digital reverb. Roland SRV-3000 digital delay Studio Manager Jeorge Anderson 4315 N. Hwy 287 Other Outboard Equipment Aphex Cornpellor, Aphex studio LaPorte, CO 80535 Dominator, (2) Furman signal processors, (2) Rene ME-30 (303) 482-3947 1/3-octave graphic equalizer. Rene /12 -octave graphic equaliz- [12] INCOGNITO REMOTE RECORDERS Owner: Randy Metke er. (2) Furman LCX expander/compressor/limiter, Brooke- only REMOTE RECORDING Studio Manager Randy Miotke Siren DPR-402 compressor peak limiter. (2) Furman power 97 Boston Ave. conditioning modules w/lights, Symetrix 544 quad expander San Jose, CA 95128 Microphones: AKG "The Tube." Neumann U87 AZ. (4) AKG (408) 294-8754 [16] FASTTRACK RECORDING STUDIO ULS-460, (2) Sennheiser MD-421, (2) Shure SM81 LC. (5) Owner Clay Reid also REMOTE RECORDING Shure SM57 LC. (2) Sennheiser 409 U3, Sennheiser MD-409, Studio Manager Norman Berwicky 4220 Broadway Crown PZM and power supply, Toa K4, (2) AKG C-414 Ea AKG Denver. CO 80216 P48 (303) 292-2115 Monitor Amplifiers: (2) Z-Link 450W stereo audio amplifiers. 1161 INFAL RECORDS. CQ Owner Terry McMurtry Yamaha 2200 power amp. Peavey CS-1200 power amp. also REMOTE RECORDING Studio Manager: Wayne K Gerbrandt Monitor Speakers: (2) Tannoy SRM-12B studio monitor, (2) 2217 Champa St Yamaha NS-10M, (2) Toa 380SE loudspeakers, (2) Toa 312-ME Denver, CO reference monitors, (2) Toa 280-ME reference monitors. (303) 295-1500 116] FOREST PRODUCTIONS Musical Instruments: Roland S-50 digital sampling synthesizer, Owner Victor M Hernandez also REMOTE RECORDING Yamaha DX7, Yamaha 1X7, Kurzweil MIDIboard controller, Ya- Studio Manager: V.M Hernandez PO Box 9201 maha 7' baby grand piano (MIDI controlled) Salt Lake City, UT 84109 Other MIDI Equipment Roland MKS-20 digital piano module, (801) 466-7330 Roland MKS-70 Super JX synthesizer module. (2) Apple Macin- (161 JESTER SOUND AND VIDEO Owner A Forest Production Company tosh Plus computers, Mark of the Unicorn "Performer" sequenc- also REMOTE RECORDING Studio Manager: Leigh Nichols er software, Opcode Studio Plus MIDI interlace for Macs, Toa 423 Kuhlman Dr. D4 electronic music mixer, Toa D4-E electronic music mixer, Billings, MT 59105 Video Equipment Sony VO -5600 /34 "video cassette deck, (2) (406) 248-5896 [16] FREEWAY RECORDING, INC. Sony KV-1311CR RGB video monitors. Sony l0(-M270 25" Owner Bob Hale 2248 E. 14th St video monitor, Mitsubishi HS-402UR Hi-fi stereoN-scan/digital Studio Manager Grace Fillmore Oakland, CA 94606 auto tracking video cassette recorder. (415) 532-3700 Other Technics SL-1200 Mk11 turntable, Technics SL-P500 Owner Bernie, Billy, Peggy Rivera compact disc player, ADC 288 point palchbay, (2) Furman [16] JOPHEIR 12 Studio Manager Ronnie TThomas PB40 patchbays. Rene HC6 headphone amp. PO Box 2207 Rates: Call for rates. Los Gatos, CA 95031 Extras & Direction: Central location in beautiful Sausalito 15 (408) 266-1779 [16] FULL SCALE PRODUCTIONS, INC. minutes from San Francisco. Lounge with full kitchen and show- Owner Joe Rizzi. Opher Segev also REMOTE RECORDING ering facility Professional staff of full time engineers and full time Studio Manager Opher Segev 16241 Cleveland St, Ste. B technical support. Gate Five Studios in the past two years has Redmond, WA 98052 grown to be afull service audio and audio-for-video production (206) 883-4037 studio. We have become one of the most fully equipped 16- [16] KEYBOARD STUDIO PRODUCTIONS Owner Full Scale Productions, Inc track recording facilities in the Bay Area. Major accomplish- also REMOTE RECORDING Studio Manager David M Krygier ments have included the musical soundtrack for ABC's televi- Pacifica, CA sion series Max Headroom. Audio commercials for Levi's and (415) 355-6617 Cal-Train, as well as numerous albums for local artists. Besides Owner Grant Ewald being so diverse technically, Gate Five offers the ultimate in Studio Manager Grant Ewald acoustics, aesthetics, privacy and most importantly, an environ- Engineers: Grant Ewald ment totally conducive to creativity Dimensions: Studio 15 x35, control room 10 x12. Mixing Consoles: Fostex 440 16 x4, Kawai 8 x2 keyboard mixer • [161 GUNG-HO STUDIO Audio Recorders: Fostex E16 16-track w/buitt in Dolby. Fostex 86821 McMorott Ln. #20 2-track w/cue strip. Eugene, OR 97402 Cassette Recorders/Duplicators: Nakamichi MR-1, Sony MR- (503) 484-9352 6. JVC 005 Owner Bill &Julienne Barnett Noise Reduction Equipment Fostex 3070 comp/limit. Studio Manager Bill Barnen Synchronization Systems: Fostex 4050 autolocatot Engineers: Bill Barnett. independents. Echo, Reverb, &Delay Systems: Alesis Microverb. Alesis MIDI- Dimensions: Studio 24 x20 plus 2iso booths, control room 17 x verb Il. Orban spring. Fender reverb Yamaha E1010 delay. etc. 12. Microphones: Sennheiser 421. Share SM5, (2) Shure SM58. Mixing Consoles: Trident Series 65 24 x16 x2. Shure SM57, Beyer MKII, MG 221, MG Tube. (2) PZMs, Audio Recorders: Tascam MS-16 16-track, Otan 5050B-11 2- various others. track, Revox A-77 2-track, Monitor Amplifiers: (2) Crown DC 300, McIntosh 225 Mac Cassette Recorders/Duplicators: (8) Nakamichi MR-2-13, Aiwa M1010 pre amp. 770. Akai GX-9, Sony Pro Walkman. Monitor Speakers: (2) Yamaha NS-10. E-V SH15-2. (2) Voice of Noise Reduction Equipment: dbx on all channels 16-track se- Theatre, many others. lective, dbx 180. dbx 150. Musical Instruments: (2) Yamaha DX711. Yamaha 'D(7, Yamaha Echo, Reverb, & Delay Systems: Lexicon PCM70, Yamaha FB01, (2) JL Cooper Minimoogs MIDI interface. Chroma w/MIDI. SPX90, ART DR-1, Lexicon PCM41, DeltaLab CE -1700, Delta- ARP string, Korg CX-3 organ thru real Leslie. Yamaha RX15 Lab ADM-1024. drum machine. Alesis drum machine sampler, ES01. MU Logis GATE FIVE STUDIOS Other Outboard Equipment Valley Autogate (2 channels). Valley Slave 32, Akai 5612 sampler, Roland 550 sampler, Hammond Sausalito, CA 4-channel Gatex, Orban 536A de-esser. (2) dbx 160X compres- C3, Fender Rhodes Silver Top, Wurlitzer 140B elec.. Yamaha C3 sor/limiters. dbx 166 stereo gate/comp/limiter, Symetrix 525 studio grand (upright). [16] GATE FIVE STUDIOS gate/comp/limiter (2-channel), Aphex Type C Aural Exciter Other MIDI Equipment Roland MPU-104 input, Roland MPU- also REMOTE RECORDING (stereo). 105 output. Roland mpu-bol MIDI/CV interlace. Yamaha 2Gate Five Rd. Microphones: (2) Neumann U87. Neumann KM84, (2) MG YMC10 MIDI converter Sausalito, CA 94965 C-414EB. (2) AKG C-451E, AKG 0-112. (2) AKG D-224E Senn- Video Equipment Sony Camcorder and Sanyo Beta Hi-fi 7300, (415) 332-2866 heiser 441, (4) Sennheiser 421, (4) Shure SM56, Shure SM57, Sony color camera. Owner Christopher G. Hubbard (2) Shure SM58, Beyer M-422. Other: Macintosh ext. drive printer, Mark of the Unicorn 2.1 Studio Manager Kathie Plaskewicz Monitor Amplifiers: Hafler 220, McIntosh, Rene HC-6 head- Performer/Composer, patch librarian for DX7.

206 MIX, JANUARY 1988 Rates: $25/hr (Discount for original song projects includes Realistic Minimus 7 Monitor Amplifiers: Haller 250. keyboard player and computer programming ) Musical Instruments: Yamaha 6' C-3 grand, Roland MKB-1000 Monitor Speakers: Altec/UREI 811, White 4100 EQ. Sennheiser MIDI controller. Roland MKS-80 sound module, Oberheim Ma- and AKG headphones. trix 6R, Yamaha RX5. Oberheim DX w/Stretch. Roland Octapad Musical Instruments: Cable upright piano. Apple computer [161 KSL RECORDING Other MIDI Equipment Apple Macintosh Mac.. Southworth 16-voice synthesizer system, Guild F30. Danelectro and Rick- also REMOTE RECORDING Jam Box 4 enbacker 12-string guitars, Fender Princeton and Deluxe amps, Broadcast House, 5Triad Center Rates: On request Polytone amps, CB drums w/Zildjian cymbals. E- mu Drumulator Salt Lake City, UT 84180 w/computer sequencer (801) 575-7600 Video Equipment Panasonic NV8200 w/computer search, Owner: Bonneville International Corp. (16) LUNA PRODUCTIONS Panasonic 8500 VHS editing system. Studio Manager: Sus Lorit 909 Sonoma Ave. Rates: $40/hr 16-track; $35/hr block (10 hrs or more); $30/hr. Petaluma, CA 94952 8-track; $30 block: $30/hr. 2-track and editing; 1-hour free (707) 778-1039 setup. Above rates include engineer and instruments. 116] LAY-A-TRACK RECORDING Owner: Jim Stern also REMOTE RECORDING Studio Manager Rhonda Block 1805 Academy Rd. (16) MEDIA WORKS Bellingham, WA 98226 also REMOTE RECORDING (206) 733-8824 1161 wee SOUND 1250 Huff Ln. Owner: Jim & Mary Ann Zender also REMOTE RECORDING Jackson, WY 83001 Studio Manager Jim Zender 1780 Chanticleer Ave. (307) 733-1300 Santa Cruz, CA 95062 Owner Jeff McDonald (408) 475-7505 Studio Manager Jeff McDonald (161 MICHAEL LORD PRODUCTIONS Owner Alan Goldwater 9508 17th Ave. NE Studio Manager Alan Goldwater, Merle Sparks Seattle, WA 98115 Engineers: Alan Goldwater, Merle Sparks [16) PETER MILLER RECORDING (206) 527-9002 Dimensions: Studio 16 x20 x12 (asymmetrical wedge ceiling), only REMOTE RECORDING Owner: Michael Lord isolated drum room 12 x14. booth 5x 6 x 7, control room 12 x PO Box 11013 Studio Manager: Jeanne Castle 14 x16. San Francisco, CA Engineers: Michael Lord, Mixing Consoles: Custom 36 x8 separate 16-track fully equal- (415) 567-7040 Dimensions: Studio 24 x13. control room 12 x13. ized monitor, section, lull patchbay. API 550 mixboard EQ. Owner Peter Miller Mixing Consoles: Soundtracs CM4400 32 x12 x24. Audio Recorders: MCl/Inovorfics JH10 16-track 15/30 ips, Studio Manager: Peter Miller Audio Recorders: MCI JH-16 16-track, Sony APR-5002 2-track. Rockwell computer autolocator. Ampex AG 440 2-track 15/30 Otan MX-5050B 2-track. ips. Otan MX-5050 2-track, Sony PCM-701 2-track digital Cassette Recorders/Duplicators: Nakamichi BX-100. Cassette Recorders/Duplicators: (2) Kenwood 10( 1060 [161 MOONBABY MUSIC, INC. Echo. Reverb, & Delay Systems: Yamaha REV7, Ibanez SDR- Echo, Reverb, &Delay Systems: Ecoplate II multi-track reverb. 231 SE 88th Ave. 1000+. Lexicon PCM40, DeltaLab DL4, Advance Audio Designs Marshall Time Modulator. Roland Space Echo, Lexicon Prime Portland, OR 97216 DL-250. MXR System II (3.8 sec I Time II. (503) 257-3280 Other Outboard Equipment: Orban 424A stereo C/L. (4) Syme- Other Outboard Equipment (2) MXR flanger, (2) MXR 2/3- Owner Doug Rowell Iris CL-100 CIL. Orban 6228 parametric EQ. Ibanez GE-1502 octave graphic EQ. UREI LA-4 limiter, (2) Universal Audio 1750 Studio Manager: Doug Rowell 15-band stereo graphic. Rocktron Hush IIC noise reduction. tube limiters, Allison Gain Brain, Roger Mayer noise gates, (8) Engineers: Doug Rowell, Dave Miles. Rocktron RX2H exciter/imager. (4) Furman ON-4 noise gates. API 550A EQs, (2) UREI (A-4 limiter, Thorens/Rabco disc player. Dimensions: Control room 15 x23 Rockman rack mounted preamp. Microphones: Neumann KM54a, Neumann U67„ (2) AKG 414- Mixing Consoles: Biamp 3228 32 x8 x 2 (64-input mix-down) Microphones: Neumann U47. (2) AKG 451, AKG D-12. (2) E0. AKG C-451, AKG D-190, AKG 0-160, AKG D-12. AKG Audio Recorders: Fostex 0-16 16-track, Sony PCM-501ES 2- Sennheiser 421. (7) Audio-Techneca AT63, (2) Audio-Technica C28-A (tube). Beyer M-260, (2) Beyer X1 N, (2) Sennheiser track digital Beta and VHS. AT813R, Audio-Technic.a ATM-21. (2) E-V PL77, Beyer X1N MD-421, Shure SM57, Shure SM58, Shure SM81 (several Cassette Recorders.' Duplicators: Nakamichi MR-1, Technics Soundstar. Beyer M500N, Beyer M220. each), Sony C-377, Sony C-22. Sony C-37A (tube). Alter M3Os M255X Monitor Amplifiers: UREI 6250. Dynaco, Symetrix HA-10B (tube), RCA BK5 (ribbon), (2) AKG C-61a tube, AKG C-12 (tube), Monitor Speakers: JBL 4311, Auralone C5. Yamaha NS-10. Shure SM7. —CONTINUED ON NEXT PAGE

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Many power amps have ahard time communicating—because And that's not all. The VU-40 has abonus feature: turn-on/turn- they lack meters. Meters that show the presence or absence of off transient muting. To use it, line level feeds to the power amp are signal or the headroom available. Meters that can reveal ultrasonic routed first to the VU-40, then back out to the amp. When AC power oscillations or other system problems. is applied or removed, the feed will be muted for one second, The Furman VU-40 Stereo System Monitor is the inexpen- eliminating loud thumps with their potential for speaker damage. sive solution. Comprised of two 20-LED color-coded bar graph The VU-40. Another Problem Solver from Furman. Call or write meters, it gives you an instant visual check of amp function—even for more information. from across adark stage. The meters may be set with afront panel switch to read either Peak or Average response. There are sixteen Furman Sound, Inc. Power Output range choices, from 20 to 1250 watts, selectable on 30 Rich Street F the rear panel. If you're not using power amps, or prefer to read line Greenbrae, California 94904 levels, the VU-40 can accommodate you, too. It has two line level Phone: (415) 927-1225 settings with the VU "zero" at your choice of -10 or 0dBV. Telex: 425900

Circle #128 on Reader Service Card

JANUARY 1988, MIX 207 NORTHWEST

tares compact EC-201 SMPTE/EBU time- 1246 TRACK code reader is anatural for STUDIOS field or studio operation, and it costs only $495. It offers —LISTING CONTINUED FROM PAGE 207 1/20 to 60X playspeed read- Synchronization Systems: Fostex 4050 autolocator w/SMPTE ing. 40 hour continuous use MIDI converter. Fostex 4030 synchronizer Echo. Reverb, & Delay Systems: Yamaha REV7 digital reverb. on battery power, and re- Ibanez SDR-1000 digital reverb. Yamaha SPX90 digital effects shaping circuitry on the loop processor. Roland SDE-3000 DDL. DOD RDS-1900 DDL Other Outboard Equipment Symetnx 501 comp/limiter. Barcus- output. Berry Electronics 402 exciter. Microphones: AKG, Sennheiser, Shure, Sony This advanced reader Monitor Amplifiers: (2) Crown DC-300A. (2) Crown D-60 features afuli hexidecimal Monitor Speakers: UREI 809 Time Aligned user bits display (with ahold- Musical Instruments: Ensoniq Mirage. (2) Yamaha TX812, Prophet 600 SCI, Roland GR -700 guitar synth (w/TTL mod and NACNUD SOUND button for edit logging), a MIDI in). E-mu SP-12 turbo. Minimoog, (2) hand-built Boogie Lodi CA Bodies SUM, - Roland G-707 guitar synth controller, Hagstrom —10 to +10 dBV input range, 'Swede," G&L L-1000 bass guitar. Scholz sustainer chorus/ Microphones: Neumann U87, AKG 414, AKG 441, Akki 442. echo, Rockman X-100. Marshall 50-watt amp w/assorted balanced XLR inputs/out- Senrheiser 421, E-V RE20. Shure SM81, Shure SM58, Shure speakers and cabinets, Ampeg V-4 amp and more. SM57. Sony ECM-23F Other MIDI Equipment: (2) Macintosh Plus computers wra 5 puts, and includes an AC Monitor Amplifiers: Hatter D-500, Yamaha P2200, Aacom meg RAM. and 40 meg hard disk. JL Cooper automation, GFA-1 adapter, belt clip and batter- Syntech MIDI switch box. Beaverton digital system MIDIface II Monitor Speakers: (2) Westlake BB-SM10. (2) Yamaha I1S-10M interface ies. It measures 1.5" x4.2" x studio (2) Auratones Video Equipment Sony SL-HF400 Super Beta Hi-fi, Magnet ax Musical Instruments Yamaha 1.0(88. Yamaha DX7I1). Roland 5" and weighs 18 oz. VHS VTR MKS-20 MIDI digital piano, Oberhern Xpander. Matrix 6R. Other: Mark of the Unicorn Performer (vet 1.22 and 2.2)/Com- Contact Otan i at (415) Roland Jupiter 6. JX8P. Prophet 5. Oaerheiin DPX-1 .aample poser. Soundlab and Sound Designer visual waveform editors, 592-8311 for your nearest playback of Mirage Prophet 2000. E-2, Minimoog wiMIDI. drum file, Beaverton Digital Systems editor/librarians. on-line Fender Rhodes, Mernotymoog. Pearl 7-pece maple set veZildj- BBS, large sample and patch libraries dealer. From Otan: Technol- ian cymbals, custom basses. Ibanez guitar. Emulator SP-12. Rates: Vary, depending on service. hi-watt guitar amp. Yamaha bass rack, JBL cabinets Extras & Direction: Moonbaby Music. Inc .established in 1986 ogy You Can Trust. Otani Other MIDI Equipment: Yamaha OX1. Macintosh Plus. South- as aprivate studio, is afull production MIDI recording facility Vtle Corporation. 2Davis Drive, worth MIDI interface. Opcode storage libraries, Performer se- have written and recorded tingles, records, television and film quencer. computer modem. Yamaha MjC8 Matrix swikter scores In 1987 we opened our doors to producers and artists Belmont, CA 94002. Other Bone headphone monitors. Crown paragraphic EQ in need of cost-effective pre-production Real time recording on Rates. Available upon request the Macintosh allows intricate and precise editing of all MIDI information The Mac also gives us the ability to quickly load Off210'11 samples and patches for auditioning Since the Macs and SP-12 are locked to tape via SMPTE they usually go directly to [16] RAY NAKAMOTO PRODUCTIONS 2-track, leaving tape tracks open for vocals and acoustic instru- 3054 Gold Canal Dr, Ste. D ments Drum patterns, track editing and sounds can be modi- Rancho Cordova, CA 95670 fied even during mix-down Being composers and performers (916) 638-7770 ourselves has given us knowledge in the use of technology for Owner: Ray Nakamoto practical applications We enjoy aone to one relationship with Studio Manager: David Whitaker our clients and offer assistance in all stages of production.

[16] MOUNTAINWOOD WEST [161 NAPA VALLEY RECORDING PO Box 1232 1815 Spring Mtn. Rd. TIME MITI Thermopolis, WY 82443 St Helena, CA 94574 (307) 864-2245 (707) 963-9528 Owner: Don Jackson Owner: Bob Foley Studio Manager: Don Jackson Studio Manager: Bob Foley

[16] MULTI VISION OF DENVER also REMOTE RECORDING [16] JON NEWTON MUSIC 720 S. Colorado Blvd., Ste. One Box 42526 Denver, CO 80222 Portland, OR 97242 (303) 691-2700 (503) 233-9421 Owner: Corporation Owner: Jon Newton Studio Manager: Dirk Phannensteil Studio Manager: Michael Bard

[16] MUSICAL IMAGE PRODUCTIONS 3013 E. Monte Vista [16] NORTHWESTERN INC. Denair, CA 95316 1224 SW Broadway (209) 632-8415 Portland, OR 97205 Owner: Gary Shnver (503) 226-0170 Studio Manager: Eric Cripe (800) 547-2252 Owner Bob Undahl Studio Manager: Michael Lee Hellums [16] NACNUD SOUND 6748 Hogan Ln. Lodi, CA 95240 (209) 334-2845 [16] PLU AUDIO (PACIFIC LUTHERAN UNIVERSITY) Owner: Rick Duncan also REMOTE RECORDING Studio Manager Cecil Ramirez 121st & Park Ave. Engineers: Rick Duncan. Fred Etch« Mark Zarek, Chris Wat- Tacoma, WA 98447 son (206) 535-7268 Dimensions: Studio 22 x40. control room 22 x 12 Owner: Pacific Lutheran University Mixing Consoles: Soundtracs 32 x 16. Studio Manager Bob Holden Audio Recorders: Tascam MS-16 16-track w/autolocater. Otani MX-5050 /12 -track master w/remote, Pioneer RT-707 2-track Cassette Recorders/Duplicators: Nakamichi MR-2. Noise Reduction Equipment dbx 16 tracks. [16] THE POWER BASE Echo. Reverb, & Delay Systems: Lexicon Prime Time 11 DDL, 16212 Bothell-Everett Hwy. Lexicon PCM70, Yamaha REV7, (2) Yamaha SPX9011. Yamaha Mill Creek, WA 98012 REVS. AKG BX-20 (206) 337-4285 Other Outboard Equipment dbx 160X comp/limiter. Valley Peo- Owner. Kevin Bielaga ple gate/limiter/SO/multi-rack. Aphex Aural Exciter. Studio Manager Kevin Bielaga Circle #130 on Reader Service Card

208 MIX, JANUARY 1988 [16) RAINBOW RECORDING [16] ROCKY mTN. PRODUCTIONS (303) 861-9451 also REMOTE RECORDING also REMOTE RECORDING Owner: Clay Ryan 6614 SW Garden Hm. Rd. 1050 E. 1600 N. Studio Manager: Clay Ryan Portland, OR 97223 Mapleton, UT 84663 (503) 246-5576 (801) 489-7850 Owner: Gallen L Hegna Owner: Walt C Jones Studio Manager: Gallen L Hegna Studio Manager: Carl Fritch [16] SAVAGE STUDIOS 372 Brannan St San Francisco, CA 94107 [16] RAIN WOOD STUDIO & PRODUCTION (415) 546-1374 [16) ROLLS RECORDING also REMOTE RECORDING Owner: Fun Productions, Inc 767 Lincoln Ave., #14 7930 Rainier Ave. S. Studio Manager: Steve Savage San Rafael, CA Seattle, WA 98118 Extras & Direction: Savage Studios is a newly constructed (415) 258-0535 (206) 722-4144 facility with a very large control room, live studio room, and Owner Mark Baker Owner Greg & Roger Wood comfortable lounge in the thriving South of Market district ol San Studio Manager: John Lawrence Studio Manager: Greg Wood Francisco Construction features the finest in modern studio Engineers: Kirk Schreit Ettrim Deluntl. independents welcome. design concepts, with easy street-level access Operated by Dimensions: Room 1. studio 20 x30. control room 12 x 16. producer/engineer Steve Savage, the studio offers complete Room 2 studio 18 x22 audio and creative services for albums, band demos, song [16] BILL RASE PRODUCTIONS. INC. Mixing Consoles: Trident Series 65 24 x 16 w/300 point TT demos, radio ads. etc Video facilities are planned for the near also REMOTE RECORDING patchbay, 40 inputs on mix future Independent producers and engineers are welcome 955 Venture CL Audio Recorders: Otan MX-70 16-track. Otan 5050B-MKIII The 1- 16-track faety includes anew Soundcraft mixer with 36 Sacramento, CA 95825 2-track channels available at mix-down, awide variety of high-quality (916) 929-9181 Cassette Recorders 'Duplicators: Technics MR222 signal processors and microphones. Otan MTR-10 2-track re- Owner: Bill Rase Synchronization Systems: SMPTE corder as well as computer sequencing Call us for information Studio Manager: Wayne Johnson Echo, Revert). & Delay Systems: (2) Yamaha SPX90. (2) Roland anct or assistance in planning your next project 3000, Roland 1000. custom 2 sec Effectron. Ibanez SOR- 1000.. DRII digital reverb, Fostex 3080 reverb Other Outboard Equipment: Teletronix LA-2. Dyna-Mite gates. 116] THE RECORDING CHAMBER INC. 18912 SE 133rd Pl. Fostex 3020 comp/limiter, MXR pitch transposer Renton, WA 98056 Microphones: AKG 414EB, Sennheiser 421. (6) Shure SM98. (4) Shure SM57, Beyer Dynamic, (2) PZMs, (2) RE 15 [161 SHEWEIREND MUSIC CO. (206) 235-TAPE Hwy 95 Owner: Dennis Palmer Monitor Amplifiers: Crown DC-300, (2) AB Systems 300 Monitor Speakers: Yamaha NS-10, Auratone Lucile, ID 83542 Musical Instruments: E-mu Emulator II v. ao w/huge custom (208) 628-3944 library. E-mu SP12.26 w/Commodore 1541 disc drive, Korg Owner: Phil Moulton [16] THE RECORDING STUDIO. INC. Poly 61 Studio Manager Phil Moulton 1016 Morse Ave., #17 Other MIDI Equipment Amiga 2000 PC w/Soundscape se- Sunnyvale, CA 94089 quencer. Casio MIDI spiffier boxes (408) 734-2438 Video Equipment: Minolta VHS VCR and color monitor, genlock Owner: The Recording Studio. Inc available Studio Manager: Scott Smith, Doug Hopping Rates: Call for rates, block time discounts (16) SIRIUS PRODUCTIONS Engineers: Scott Smith. Kai Gilbert, Doug Hopping. Lare Garcia. also REMOTE RECORDING Kevin Casey 2125 Knowles Rd. Dimensions: Room 1 studio 15 x 18 x 12. control room 21 x Medford, OR 97501 14 5x 12 Room 2. studio 8x 10 x12. Room 3 studio 12 x15. [16] CLAY RYAN PRODUCTIONS (503) 772-6031 8 901 Sherman, #1017 Owner: Waldo Thompson Mixing Consoles: TPC/Arrek Matchless 20 x24 x8 x 2. Roland Denver, CO 80203 Studio Manager: Waldo Thompson CPE-800 compu-editor (16-track digital automation) Audio Recorders: Ampex MM-1000 16-track wiautolocator. Otan 5050B 2-track, TEPC A-3340S 4-track. Cassette Recorders/Duplicators: (2) Sony TCK-444 ES2, JVC KO-04 Echo, Reverb, & Delay Systems: Lexicon 200 digital reverb. Roland SRV-2000 digital reverb, Ecoplate Ill plate reverb, Lexi- con Prime Time DDL, Lexicon PCM41 DOL. Yamaha SPX90 multi-effects processor. Eventide 910 Harmonizer. MXR tlang- eridoubler Other Outboard Equipment: UREI LA-4 compressor. dbx 160X compressor, dbx 161 compressor, Symetrix 522 noise gates. Symetrix SG-200 noise gates. Barcus-Berry Electronics exciter, EXR Exciter Microphones: AKG. E-V. Neumann, RCA. Sennheiser. Shure, Sony Monitor Amplifiers: Hatter, BGW Monitor Speakers: JBL 4430 Bi -Radials, Yamaha NS-10. Aura- tones Musical Instruments: Kawai -grand piano. Emulator II HD. Yamaha DX7, E-mu SP-12 drum machine. LinnDrum drum machine w/extensive chip library. Roland 0-50. Roland Octa- pad Other MIDI Equipment: Akai 600 sampler w/extensive sample library Rates: Please phone for rates. Weekend specials avalable.

[16) REDWOOD CREEK RECORDING also REMOTE RECORDING 5865 Stover Rd. Blue Lake, CA 95525 (707) 668-4244 Owner: Bert Pectol Studio Manager: Ann Pectol mixing consoles, amps, [16] THE RIGHT TRACK STUDIOS 218 SW 153rd turntables, effects racks, Seattle, WA 98166 (206) 241-4850 multi-tracks, synthesizers, Owner: CKO Enterprises Studio Manager: Ron Combs, Ed

[16] ROCKY MOUNTAIN ARTISTS d.j. consoles also REMOTE RECORDING 6851 Highway 73 Evergreen, CO 80439 (303) 674-2379 Owner John Newkirk Studio Manager Ric Lawrence Circle #134 on Reader Service Card

JAIVUARY 1988, MIX 209 (16) STARSHINE AUDIO ENTERPRISES NORTHWEST PO Box 3305 s. ff» Chico, CA 95927 ..dmrmL... (916) 345-3027 Owner Hugh E Santos ORGANIZE YOUR RECORDING. COMPUTER AND RACK Studio Manager Hugh E. Santos MOUNTABLE EQUIPMENT 1246TRACK IN AN ATTRACTIVE. MOBILE WORK STATION STUDIOS (161 STARTSONG SON OF FA FEATURES. • Two admstable shelves for 3218 E. LaSalle multoracks. drum machines. [12] SONOMA SOUND Colorado Springs, CO 80909 computers and morel also REMOTE RECORDING (303) 634-2045 • Holds up to 10 rack "spaces" PO Box 1623 Owner. Tom Gregor of equipment Sonoma, CA 95476 W .BgtorDra wnwheoe onal (707) 996-4363 ASK YOUR DEALER FOR AOEMONSTRATION Owner Arron Johnson [16] STRATEGIC AIR COMMAND RECORDS Studio Manager Anon Johnson 440 Pepper Ave. CALL OR WRITE FOR FREE BROCHURE Palo Alto, CA Df (415) 325-0542 FOUR C.,MPANY 18181 716-8540 L. '.4 3 •• (16) SOUND RECORDING COMPANY Owner Dan Artie also REMOTE RECORDING Studio Manager Eric Dodd West 503 Indiana Ave. FOR ADDITIONAL FOUR DESIGNS Spokane, WA 99205 PRODUCT INFORMATION, CALL: (509) 326-0222 (16) SYNCHRONICITY 1-800-544-3746 Owner: Paul W Carter Box 596 SAY YOU SAW IT IN MIX! Studio Manager Irene Carter San Rafael, CA 94915 (415) 472-2523 Owner Windsor Riley aim MIMI (16) THE SOUND SOURCE Studio Manager Windsor Riley

AM. 741 4th St, 2nd Floor Engineers: Tom Rollison, Windsor Riley. ECONOMICAL 19" RACK MOUNT Santa Rosa, CA 95402 Dimensions: Studio 18 x11, live space 6x 4. "FURNITURE" FOR THE (707) 528-1530 Mixing Consoles: Ramsa WR-T820 20x 8x 2, Kawai MX-8R 8x PROFESSIONAL OR HOME STUDIO. Owner Randy Teaford, Dave Armijo 2 Studio Manager Claire Teaford, Marilyn Armijo Audio Recorders: Fostex B16 16-track, Sony PCM-501ES 2- FX RACK FEATURES: Extras &Direction:The Sound Source is aunique new 16-track track w/Super Betamax, Betamax, W Holds up to 18 "spaces" ol audio/digital production facility located above one of Northern Cassette Recorders/Duplicators: Technics M-235X. equipment. California's largest music stores, Stanroy Music Center. Our Noise Reduction Equipment Dolby C (on 816). • AttractWe black textured vinyl primary function is to offer all musicians, producers and film Synchronization Systems: Fostex 4050 MIDI/SMPTE/autolo- laminate. makers, integrated computer sequencing via Macintosh Plus/ cater • Shown with optional wheels. Applellcomputers with the very latest keyboards, synthesizers Echo, Reverb, & Delay Systems: Roland SDE-2500, Roland ASK YOUR DEALER FOR A and digital samplers available as cost-effective techniques for SRV-2000, Yamaha SPX90, Lexicon PCM60. DEMONSTRATION production. An expanding library of software and samples fea- Other Outboard Equipment Symetrix 525 compressor/limiter/ CALL OR WRITE FOR FREE BROCHURE turing Performer/Composer, Opcode, Digidesign, Passport. gate Blank, Intelligent Music and many others offers the client the Microphones: AKG, Fostex, Sony _ , '',JSA PARK CA 9.30, COMPANY option to do their own pre-production if desired and then Monitor Amplifiers: Haller 500, Harman Kardon. FOUR _. (8181 716-8540 download their data here for final engineering. Currently The Monitor Speakers: Celestion SL65, Tos 280ME Sound Source is hosting the musical scoring and engineering Musical Instruments: Yamaha 10(88 Keyboard controller, Ya- for the next Charles Shu lz film for TV "The Girl in the Red Truck," maha DX711, Roland D-50, Roland JX-$P, Roland MKS-20 digi- Circle #131 on Reader Service Card aTV musical production for "Satin Steel" and various commer- tal piano module, Kawai K3M, Mai 5612, Altai S900, Korg cial broadcast projects. Rates and equipment list upon request. DSS-1. Other MIDI Equipment: Macintosh Plus w/20 Megabyte hard disk and Performer software for Mac (sequencing), Atari 1040- [16] SOUND WEST RECORDING ST w/Stemberg Pro 24 sequencing, D-50 editor/librarian, Hy- 2321 Tacoma Ave. brid Ms DX android editor/librarian, Digital Music Corp MX-8 MOVING? Tacoma, WA 98402 MIDI patchbay, 360 Systems MIDI patchbay (206) 272-4251 Rates: Negotiable Owner: Steve Paulik, Carl Schneider FOR UNINTERRUPTED SERVICE Studio Manager: Steve Paulik MAIL TO: Engineers: Steve Paulik. Carl Schneider MIX PUBLICATIONS Dimensions: Studio 19 x25, control room 19 x14. Mixing Consoles: Soundcraft TS-12 24 x12 x24. 2608 NINTH STREET Audio Recorders: Tascam MS-16 16-track w/dbx, Technics BERKELEY, CA 94710 1500 W-IraCk w/dbx. Akai GX-635D Y. -track, TEAC X1OR /14 -track. Cassette Recorders/Duplicators: TEX Cl Altai GXC-7090, Pioneer CT-F900. Noise Reduction Equipment dbx 16-channel, dbx 150 2-chan- SYNCRO nel. Synchronization Systems: E-mu SP-12 SMPTE lock and MIDI interface. Echo. Reverb, & Delay Systems: Lexicon PCM70, Lexicon INTERNATIONAL PCM60. Lexicon PCM42, Roland SRV-2000, Roland SDE-1000,

HERE) a_ Ibanez SDR-1000. Other Outboard Equipment Aphex Type C Exciter, Symetrix 544 gates, (2) UREI LA-4. Yamaha 01027 Ea STUDIO BELOW) Microphones: AKG. Sennheiser, E-V, Sony, Beyer, Beyer Pail,

LABEL Shure, Audio-Technica. Monitor Amplifiers: Carver, Crown, Yamaha, Harman Kardon, Monitor Speakers: URE1 809, Yamaha NS-10M, Auratone 5C, AKG 240M (phones). Musical Instruments: Ensoniq Mirage sampling keyboard w/ex- ADDRESS tensive library, Yamaha TX81Z. Altai AX73, E-mu SP-12 sam- ADDRESS pling drum computer w/extensive library, Roland Octapad. SYNCRO INTERNATIONAL STUDIO guitars: Les Paul, SG. Ibanez. Ovation. Strat. amps: Gallien - San Anselmo, CA NEW

OLD Krueger, Rockman, Yamaha, Lab Series, Fender Twin, Ampeg, keyboards: (avalable w/advanced booking), Yamaha DX7, Ro- (16) SYNCRO INTERNATIONAL STUDIO land JX-8P. Roland Juno-2. Roland Jupiter 6. Keg DW-8000. 2 Allemand Ln.

PRINT Korg DW-6000, Korg Poly 800, E-mu Emax San Anselmo, CA 94960 Other MIDI Equipment Mark of the Unicorn Performer software (415) 457-4852 ATTACH (version 21), Macintosh 512K, Yamaha MJC8 (MIDI switcher). Owner: Satoshi Suzuki Video Equipment Y2" VHS Hi-fi and Beta Hi-fi. JVC GX-N5U Studio Manager: Dr Space camera, Panasonic PK-956 camera. Engineers: Daniel Ryman (credits for Color Purple w/Ouincy

(PLEASE Rates: Please call for rates. Jones), Derek Stowe. Dimensions: Booth 8x 8. room 20 x20, reverb room 17 x6,

(PLEASE >- w z w control room 12 x20. < w (16) STAFFORDSHIRE PRODUCTIONS Mixing Consoles: Tie Scorpion 32 x16 xB. o_ CC PO Box 4364 Audio Recorders: Tascam MS-16 16-track. Sony PCM-601ES 2 C Napa, CA 94558 2-track digital. (2) Fostex E-16 30-track w/syncho, Fostex E-22. 0 0 L I o < 5 (707) 226-8273 Cassette Recorders/Duplicators: Nakarruchi MR-1, Aiwa leVX- Owner: Kent Monson 220 Studio Manager Kent Monson Noise Reduction Equipment (2) Dolby SR.

210 MIX, JANUARY 1988 Echo, Reverb, & Delay Systems: Natural room revert), AMS, [161 TELESCENE, INC. 061 WHITE DOVE RECORDING STUDIO Yamaha REV], (4) Yamaha SPX90, Lexicon PCM70. TC Electric 2185 South 3600 West also REMOTE RECORDING 2290. Roland DEP-5. Salt Lake City, UT 84119 4680 Edison Ave., Ste. C Other Outboard Equipment: dbx 900 rack wicompressorsi (801) 973-3140 Colorado Springs, CO 80915 EOsilimiter, 1960 Drawmer vacuum tube compressor. Yamaha Studio Manager: Jeff Hall (303) 597-8709 DMP7. DOD 944 Owner Anthony B Watkins Microphones: Neumann U87. AKG 414. BNK 4007. Studio Manager Wes Cavalier Monitor Amplifiers: Bryston 4B. Eagle II modified Jan C Iverson (16) TIOGA RECORDING STUDIO Monitor Speakers: JBL 4430 Tannoy SRN-10B. Ce - also REMOTE RECORDING (16) WT STUDIOS lesson SL6S. Auratones PO Box 205 Musical Instruments: Emulator II+ w/hard disk, Oberheum OB- Allegany, OR 97407 2025 S. 900 E. Xa synth, DSX sequencer and DMS drum machine. Korg poly- (503) 267-2330 Salt Lake City, UT 84105 phonic synth. Yamaha DX7, Fender Rhodes, Roland B-50. Owner: Jim Flanagan (801) 486-4977 Casio CZ-3000, Casio CZ-101. Casio CZ-230. Yamaha TX7 Studio Manager: Jim Flanagan Owner: Brent Marshall rack. Roland GR -700. Roland G-707, fully upgraded. Studio Manager Brent Marshall Other MIDI Equipment: Macintosh 2+, Julian Strapmick 20 megabyte hard disk, Korg KMT-60, Mark of the Unicorn Perform- 1161 TRAX RECORDING er expansion. Opcode DX librarian and Digidesign. Opcode (16) ZEPPELIN LTD. 3008 NE 110th PCM digital design FX designer. also REMOTE RECORDING Seattle, WA Video Equipment Video post-production equipment is avail- Box 1321 (206) 361-8622 able. Estes Park, CO 80517 Owner: Jeff Gossard Extras & Direction: We proudly feature a"state-of-the-art" MIDI (303) 586-8265 Studio Manager Jeff Gossard system The final mix is mastered digitally, providing maximum Owner: Glenn L Harrington Engineers Jeff Gossard, Marty Frazu. assurance of exceptional excellence in sound quality We spe- Studio Manager Glenn Harrington Dimensions: Studio 18 x 12, control room 12 x 12 cialize in hi-quality/low budget master and/or demo work as Mixing Consoles: Auditronics 501 24 x26. well as scoring for soundtracks/industrial and new age/syn- Audio Recorders: Tascam MS16 16-track 1", Otan 5050 V." thesizer music. Recent projects: Satoshi Suzuki & Marty Bahr,/ master Spirit of America— Satoshi and Dr Space Band/MTV score with Cassette Recorders /Duplicators: Nakarnichi MR-2 Debra Winger and Kevin Tigh/director Karl Krogstad, written by Echo. Reverb, & Delay Systems: Yamaha SPX90. Lexicon Tom Robbins Satoshi Suzuki & Bruce Beckver "Everywhere The extensively updated and PCM60. Yamaha RD1000, Roland R-1000. MIDIverb Magic" (Windham Hill artist). Also providing aproduction serv- Other Outboard Equipment (2) Fairchild Instruments 670. (2) enlarged FALL/WINTER MIX ice, we will pleasantly surprise you with our ability to make the LA-4s. (2) dbx 160s. (4) Symetrix 544 noise gales. most of your production dollar This service, based upon experi- BOOKSHELF CATALOG contains Microphones: Neumann U47 tube, E-V PL20, (2) Sennheiser enced and advanced technology. G highly versatile in many 421, AKG D-12E, (2) AKG 451 condenSers. (2) AKG 535 con- over 600 items: the most compre- musical areas from pop to new age We tailor productions densers, Beyer 201, (2) Shure SM57, Shure SM58, Audio- (budget and product) to your artistic personality After "your hensive selection of books, audio Techruca sound" is found, post-production direction will provide support Monitor Amplifiers: Yamaha 2250. and video tape courses, music for exposure in the current atmosphere of music production Monitor Speakers (2) JBL 4412. (2) Yamaha NS-10, (2) Aura- tone. software, sound effects libraries Musical Instruments: Yamaha RX5 drums. Ludwig Ive drums. and databases available anywhere Yamaha DX7, Roland JC 120 amp. Seymour Duncan Converti- (16) SYNTASY ble amp, Les Paul 1976 standard. Fender 1971 Precision Bass. for the audio, video and music PO Box 6283 1960 strat, Casio FZ1 16-bit sampler. Roland FX8P, Yamaha producTion professional. See page San Rafael, CA 94903 FB01, Casio CZ-101, Roland TR707, Suzuki XGIM MIDI guitar (415) 499-8747 Other MIDI Equipment Atari 1040ST Dr. T program, sound 153 for your FREE copy! Owner: Bernard Xolotl libraries for all synths. Studio Manager: Bernard Xolotl Rates: $25/hr or block time at $20/hr.

The affordable solution to AUTOMATION.

Finally there is an inexpensive, simple-to-operate, modular, full featured Automation System to retrofit any console at any budget. MidiMation, from JLCooper, gives your console all the power and all the features previously only available as built-in features on afew megabuck consoles. MAGI (Mixer Automation Gain Interface), MAGI VGA (dbx VCAs), SAM (SMPTE AUTOMATION MANAGER), SAMDisk 3.5" floppy sub-system, and MIDI MUTE truly constitute a breakthrough in console automation. Now, you can automate your studio starting for as little as $549. And, like all JLCooper products, these grow with you — up to 56 channels! Buy only the features you need, as you need them, and add to your MidiMation system as your needs change. Best of all, MAGI, MAGI VGA, SAM, SAMDisk, and MIDI MUTE require no modification of your console.

•dbx is a teetered trademark of the dbx Corp MidiMation, affordable state-of-the-art automation.

DOPER ELECTRONICS

1931 Pontius Avenue •West Los Angeles, CA 90025 •(213) 473-8771 •TLX: 5100110679 JL COOPER

Circle #135 on Reader Service Card

JANUARY 1988, nex 211 [4) NATHAN BRYDEN MUSIC COMPANY also REMOTE RECORDING 526 NW 24th NORTHWEST Hoyt Professional Center Portland, OR 97210 (503) 243-2634 Owner Bryden Music Company Studio Manager Charles Bryden

[4] CALEDONIA STREET SOUND 250 Caledonia St Louisville, CO 80027 (303) 666-9678 4&8 TRACK Owner George TWard Studio Manager George TWard STUDIOS (8) CAMERA ONE also REMOTE RECORDING (8] ABSOLUTELY GRIPPING CREATIVE Oakland, CA 94608 431-A N. 34th St SOUND PRODUCTION (415) 655-1283 Seattle, WA 98109 also REMOTE RECORDING Owner Paul Katbach (206) 547-5131 PO Box 1779 Studio Manager Paul Kalbach Owner Gray Warnner Visalia, CA 93279 Studio Manager Orlando Duenas (209) 732-5767 Owner: Ken Emmer. Jean Inman [8] AUDIO RECORDING INC. Studio Manager. Ken Emmer, Jean Inman also REMOTE RECORDING [4) LANE CAMERON STUDIOS 4718 38th Ave. NE PO Box 5267 Seattle, WA 98105 Incline Village, NV 89450 (206) 525-7372 (702) 831-6516 [4] AERIAL AUDIO (206) 623-2030 Owner Lane Cameron also REMOTE RECORDING Owner Kearney W Barton Studio Manager Lane Cameron PO Box 908 Studio Manager Kearney W Barton Red Lodge, MT 59068 (406) 446-2710 [8] CHAMPAIGN SOUND Owner: Grant West (8) AUGUST PRODUCTIONS PO Box 7003 Studio Manager Grant West 6822 21 Dr NE San Jose, CA 95150 Marysville, WA 98270 (408) 252-4536 (206) 653-6117 Owner Ted Champaign [2] AESTHETIC PRODUCTIONS Owner Gregory G Landon Studio Manager Ted Champaign 5894 Sierra Ave. Studio Manager Gregory G Landon Morgan, UT 84050 (801) 876-3391 [8] CHINESE OUTREPCH OF SAN FRANCISCO Owner: James A Banas [8] BADE ART & MUSIC also REMOTE RECORDING Studio Manager James A Barias also REMOTE RECORDING 1Spruce St. 8017 Stroud N. Millbrae, CA 94030 Seattle, WA 98103 (415) 872-1277 [2] ALLERICE VIDEO (206) 522-8274 Owner Chinese Outreach also REMOTE RECORDING Owner Michael Bade Studio Manager Manson Chau 350 ESt, Ste. 309 Studio Manager Michael & Lisa Bade Eureka, CA 95501 (707) 445-3922 (8) CHRISTIAN ARTIST STUDIO PRODUCTIONS Owner: Darrell Shun [8] JAKE BARNER STUDIOS OR "CHRISTIAN STUDIOS" Studio Manager: Esmaa Martin-Shur also REMOTE RECORDING 3420 E 64th 120 S. Barner Anchorage, AK 99507 Centralia, WA 98531 (907) 349-5239 [4] AMERICAN TAPE DUPLICATING (206) 736-9476 (national office) (907) 349-5502 7023 15th NW (206) 736-1764 (Studio A) Owner Merl Shandley. Laura Hall Seattle, WA 98117 Owner Barrier Communications Studio Manager Dan Nelson (206) 789-1011 Studio Manager Allen Fadness Owner: Conrad Denke Studio Manager Ella Bachmann [8] CLAWS ON PRODUCTIONS (8) BEAUTIFUL HEART 1355 C Bear Mtn. Dr. also REMOTE RECORDING Boulder, CO 80303 [8] ANTOMAR STUDIO PO Box 345 (303) 499-1144 also REMOTE RECORDING Williams, OR 97544 Owner Lisa & Dan Clawson Oakland, CA Owner John Borland Studio Manager: Dan Clawson (415) 482-0839 Studio Manager John Borland Owner: Anthony Pascincco Studio Manager Tony Pashuco [8] CLOCKWORKS [8] BENT NAIL STUDIOS also REMOTE RECORDING 2375 Cory Ave. 240 W. Center [8) APPLEWOOD RECORDING STUDIO San Jose, CA 95128 Pocatello, ID 83204 4542 49th SW (408) 244-0766 (208) 232-1829 Seattle, WA 98116 Owner: Dave Morris Owner Michael Worona pas) 932-6348 Studio Manager: Dave Moms Studio Manager Dave Bauman Owner: Harlan Michael VVeniger Studio Manager Harlan Michael Weriger [8] BIBLE TEMPLE RECORDING [4) COMMAND PRODUCTIONS 7600 NE Glisan also REMOTE RECORDING [8] APTOS AUDIO -PINEFOREST STUDIO Portland, OR Custom House POB 2223 also REMOTE RECORDING (502) 252-3852 San Francisco, CA 94126 PO Box 1445 Owner Bible Temple Inc (415) 332-3161 Aptos, CA Studio Manager Steve Trujillo Owner VVarren Weagant (408) 684-1555 Studio Manager Michael Dupen Owner: Kenneth Mabie Studio Manager Kenneth Mabie (8) BLUE CRYSTAL STUDIO also REMOTE RECORDING [4] CONTROL I 11520 Edgewood Rd. also REMOTE RECORDING (8) ARCAL PRODUCTIONS Auburn, CA 95603 2207 Shattuck Ave. 2732 Bay Rd. (916) 888-7478 Berkeley, CA 94704 Redwood City, CA 94063 Owner Jeff L Bond (415) 848-4395 (415) 369-7348 Studio Manager Jeff L Bond Owner KPFA Owner Arcal Inc. Studio Manager Jim Bennett Studio Manager Steve Viola [8] BRALOVE PRODUCTIONS 621 Lawton St (8) COVENANT RECORDINGS INC. (8) ARTICHOKE PRODUCTIONS San Francisco, CA 94122 also REMOTE RECORDING also REMOTE RECORDING (415) 566-9811 1345 S. Major St 4114 Linden St Owner Bob Bralove Salt Lake City, UT 84115

212 MIX, JANUARY 1988 (801) 487-1096 [8] ELBERTA RECORDING STUDIOS 181 FOUNDATION STUDIOS Owner: Lew Kotford also REMOTE RECORDING also REMOTE RECORDING Studio Manager Chris Jensen 343 E. Elberta Dr PO Box 2192 North Ogden, UT 84404 Soldotna, AK 99669 (801) 782-4666 (907) 262-9847 [8] COZY DOG RECORDING Owner David T Brimhall Owner Mark Gaede 603 SE Morrison Rd. Studio Manager Richard L Myrup Studio Manager Mark Gaede Vancouver, WA 98664 Engineers: Mark Gaede. (206) 694-1845 Dimensions: Studio 19 x19, control room 10 x8, Owner: Tad Suckling Mixing Consoles: Tascam M-35 +35E< 16 x4 [8] EM-AN-EE SOUND STUDIO Studio Manager: Cozy Dog Audio Recorders: Tascam 38 8-track, Tascam 32 2-track /12 ", 66 Club Rd., Ste. 250 TEX X-1000R 4-track V.". Eugene, OR 97401 Cassette Recorders/Duplicators: TM C-3RX (503) 342-4039 Noise Reduction Equipment (2) Tascam DX-40 dbx NR, Tas- [4] CRYSTAL CLARITY Owner Gary M Kaplan cam DX-2D NR. 14618 Tyler Foote Rd. Studio Manager Andrew Widders-Ellis Echo, Reverb, &Delay Systems: Yamaha REV7. Deltalab ADM- Nevada City, CA 95959 1024, (916) 292-3111 Other Outboard Equipment Yamaha 02031. ADC SS315. dbx Owner J Donald Walters 160X, (2) TEX Model 1. [2] EMERSON FILM AND VIDEO SOUND Microphones: (2) Shure SM81, Shure SM7, (4) Shure SM58. only REMOTE RECORDING Monitor Amplifiers: Haller 500, Haller 220 1490 S. St Paul St. [4] CRYSTAL CLEAR RECORDING Monitor Speakers: JBL 4401, Speaker Lab S-7. Denver, CO 80210 PO Box 5067 Musical Instruments: Yamaha DX7. Yamaha RX11, Korg Poly-6, (303) 744-3001 Central Pt, OR 97502 Yamaha TX81Z, Kawai KG-6C 7'4" grand peno Owner James Emerson (503) 776-2423 Other MIDI Equipment 360 Systems MIDI patcher. Atari 1040ST Studio Manager James Emerson Owner Roger Green w/Dr. TKCS and Copyist. Studio Manager Roger Green

MI FOX RECORDING (8) ENHARMONIK STUDIOS also REMOTE RECORDING [8] CURRENT RUTLEDGE also REMOTE RECORDING PO Box 120 only REMOTE RECORDING PO Box 22243 Felton, CA 95018 614 12th Ave. E Sacramento, CA 95822 (408) 335-5562 Seattle, WA 98102 (916) 443-0373 Owner Tom Fox (206) 324-7530 Owner: Mad Rover Records Studio Manager Tom Fox Owner David Current Studio Manager: John Baccigaluppi Studio Manager: Carol Holland, Willem Borden Extras & Direction: Enharmonik Studios is the in-house studio for Mad Rover records. lndie bands and labels are our specialty [8] FRED FOXX MUSIC CO. Complete recording and production servicesavailable. Record. also REMOTE RECORDING CD and cassette manufacturing services are available. Digital (41 CW RECORDING 5Elkwood Dr. mixing is also available on request We have excellent relations also REMOTE RECORDING South San Francisco, CA 94080 with two 24-track studios and can take your demo or record 4014 15511, St. NW (415) 994-5908 project all the way from pre-production to 24-track if your Gig Harbor, WA 98335 Owner FH Nesbitt Jr project needs it Tons of processing, MIDI and SMPTE stuff Way (206) 857-7588 Studio Manager VA Nesbitt cool engineers and producers Coffee's free, meals and accom- Owner Charles Wright modations are available too. Previous clients have included 7 Studio Manager Charles Wright Seconds, Richard McGrath and Gavin Blair (True West), Richard [8] FREE REELIN' SOUND THardesty, Headface. The Borman Six. Scott Moon (Bourgeois- also REMOTE RECORDING Tagg), Twice Shy, Tommy Tutone, John McCrea, Vicious Gel, 1175 S. Lincoln St [8] DAYSTAR RECORDING STUDIOS Robert Kuhlmann. Donny Woodruff (La Rue-Jay King Pro- Denver, CO 80210 also REMOTE RECORDING ductions), The Fringe, Rhythm School, Neo Geo, ILove Ethyl, (303) 744-9751 1105 Leyden St Captain Carrot. The Beer Dawgs, Ryo Antony and The Cactus Owner: Shirley Kenneally Denver, CO 80220 Liquors (303) 394-4637 Studio Manager: Mark Derryberry Owner Kirk Hutchinson Studio Manager Kirk Hutchinson [4] EVENT AUDIO PRODUCTIONS [8] FULL CIRCLE STUDIO/FULL CIRCLE PRODUCTIONS only REMOTE RECORDING 7441 Granada Rd., PO Box 21591 PO Box 1292 Denver, CO 80221 [8) DEROY PRODUCTIONS Frisco, CO 80443 (303) 426-0901 1210 Washington (303) 668-0153 Owner: Craig Cutcliff Eugene, OR 97401 Owner Scott lkier Studio Manager Paul Bernadou (503) 683-6866 Studio Manager: Mark Westby Owner: Ron Royer, D Roberts Studio Manager Ron Royer

[8] FERGUS SOUND ENTERPRISES also REMOTE RECORDING [4] DMK SOUND DESIGN/FROGS PRODUCTIONS also REMOTE RECORDING 1925 Orchard Ave. Boulder, CO 80302 PO Box 2218 (303) 442-3939 Sunnyvale, CA 94087 Owner Fergus (408) 739-2222 Studio Manager Fergus Owner Dennis M Kambury Studio Manager: Frogs Extras & Direction: DMK Sound Design was built to provide producers, arrangers and composers with aflexible, cost-effec- [4] FLAMINGO RANCH PRODUCTIONS tive pre-production MIDI facility that is upwardly compatible with also REMOTE RECORDING full service 24+ track recording studios Sampling. FM, har- PO Box 56 monic and subractive synthesis formats are all supported and Orcas, WA 98280 coordinated by the Mac Plus, as well as software by Digidesign. (206) 376-5176 (Donate. Passport and more. Planned enhancements lor 1986 Owner James Berkshire include video production capabilities and 2-track digital recorc- Studio Manager: Andre Frye ing Please call or write for current cost schedule and available services

(4) FOOT 0' MAH BED RECORDING 141 EAGLE NEST RECORDING 11 SW Curry, *7 AND SOUND REINFORCEMENT Portland, OR 97201 FULL MOON RECORDING COMPANY PO Box 1184 (503) 223-2327 Eugene, OR Castle Dale, UT 84513 Owner Robert Vandiver (801) 381-2120 Studio Manager Millie Watt [8] FULL MOON RECORDING COMPANY Owner Craig C Garrett also REMOTE RECORDING Studio Manager Craig C. Garrett 197 W. 12th Ave. Eugene, OR 97401 [4] FORTE (503) 343-1294 [8] EGOMANIAC STUDIO also REMOTE RECORDING Owner: PRN, Inc 90 Woodhams Rd. 12495 SW Summercrest Dr Studio Manager: Steve Diamond Santa Clara, CA 95051 Tigard, OR Engineers: Steve Diamond, Jon Dave (408) 243-7431 (503) 620-7849 Dimensions: Room 1: studio 24 x15 plus 2isolation booths. Owner: Sam Sasmita Owner Walter Bruhn Studio Manager Myron Dove Studio Manager Walter Bruhn —CONTINUED ON NEXT PAGE

JANUARY 1988, nux 213 —LISTING CONTINUED FROM PAGE 213 PCM42. Master-Room XL-305, DOD Electronics RDS-900. NORTHWEST Other Outboard Equipment Orban 424A gated compressor/ control room 15 x12. ROOM 2: control room 15 x12. limiter/de-esser. UREI 1176LN peak limiter, dbx 164 compres- Mixing Consoles: TPC Scorpion 16 x8, Ramsa 12 x4. sor/limiter. Symetrix SE-400 stereo parametric equalizer. Aphex Audio Recorders: Otan MX-70 8-track, (2) Otani MTR-10 2- Type C Aural Exciter. track, Otan MX-5050 2-track, Ampex 350 1-track, Ampex 700 Microphones: (2) Neumann KM84, Sennheiser MD-441, Senn- 2-track. 48 TRACK heiser MD-421. Countryman, Beyer, E-V. Cassette Recorders/Duplicators: Otan DP-4050C2 stereo hi- Monitor Amplifiers: McIntosh 1900. speed w/5 slaves, Nakamichi MR-1, Nakamichi MR-2 and STUDIOS Monitor Speakers: (2) JBL L100. others. Musical Instruments: Steinway 87' grand piano, Prophet 2000 Echo, Reverb, & Delay Systems: Lexicon PCM70. (2) Yamaha Owner Marilyn Hickey Ministries sampling keyboard w/expanded memory, Casio CZ-101. 3- SPX90. Studio Manager Haran M Hunter octave chromatic marimba. sitar, (3) Chinese chengs (harp-like Other Outboard Equipment dbx 166 dual channel complim- zithers). butterfly harp, (4) thumb pianos, (7) ocarinas, large iter/gate, Aphex compellor dual channel. Valley People Dyna- quantity of world percussion and unusual instruments, including Mite 2channels. Valley People Gales 4channels, UREI 533 E0. [8] HIGHLAND STUDIO new inventions. Microphones: (2) Neumann U87, (2) Neumann TLM-170, (4) PO Box 554 Other MIDI Equipment Yamaha 0X21 sequencer, Yamaha Neumann KM84. (2) AKG 460. (2)AKG C414EB. Beyer 500, (2) Los Gatos, CA 95031 YMC MIDI converter. Sennheiser MD-421. others. (408) 353-3952 Rates: $24/hr general. $20/hr for solo composers. Monitor Amplifiers: Haller DH-220, Yamaha, Rane HC-6, (2) Owner Joe Weed McIntosh C-60 tube. Studio Manager Joe Weed Monitor Speakers: Tannoy Little Red w/sync source, JBL 4315, [8] HUN SOUND INC. JBL 4311, Auratone 5C. also REMOTE RECORDING Musical Instruments: Many synths available. (4] HOLLCRAFT RECORDING 647 Irwin St Video Equipment Coming soon! also REMOTE RECORDING San Rafael, CA Other: Technics SL1200 MkIlturntable, (4) Harris cart machine. 1961 Rose Ln. (4151454-2911 (2) custom phone patch couplers. Pleasant Hill, CA 94523 Owner Don Podesto (415) 689-3444 Studio Manager Marianne Rhea Pcdesto Owner E.J. Hollcraft [8] FULL SPECTRUM PRODUCTIONS, INC. Studio Manager EJ Hollcraft 150 E Dana St [8] KENNY RUSTED PRODUCTIONS Mountain View, CA 94041 7026 30th NE (415) 967-1883 (8] HOMELY PRODUCTIONS Seattle, WA 98115 Owner John A McCauley 8264 Timothy Cf (206) 524-6996 Studio Manager: Tery Collins Colorado Springs, CO 80920 Owner: Kenneth J. Husted (303) 598-5857 Studio Manager Kenny Husted Owner Jay Jernigan [8] GARY GADWOOD CUSTOM RECORDING Studio Manager Jay Jernigan also REMOTE RECORDING Engineers: Jay Jernigan (8) HYBRID MUSIC 11995 NW Keamey Dimensions: Studio 10 x16, control room 8x 10. 2777 Devonshire Ave. Portland, OR 97229 Mixing Consoles: Biamp 1221 modified 12 x2, Toa RX-208 8x Redwood City, CA 94061 (503) 644-0683 2 (415) 364-0354 Owner: Gary Gadwood Audio Recorders: Fostex 80 8-track, Pioneer AT 707 2-track. Owner Ron Torbensen Studio Manager: Gary Gaawood Cassette Recorders/Duplicators: GXA5X deck. Studio Manager Ron Torbensen Noise Reduction Equipment dbx Type II, Dolby C, Dolby B. Synchronization Systems: Yamaha YMC-10 FSK to MIDI. [8] GENERATION ORGANIZATION Echo, Reverb, &Delay Systems: Yamaha SPX90 signal proces- (4) IN WITHOUT KNOCKING 4840 Brookwood St sor. Roland SDE-1000 digital delay, Alexis MIDIverb II. Alesis also REMOTE RECORDING Eugene, OR 97405 Microverb. 14536 Eastem Ave. (503) 484-9087 Other Outboard Equipment Symetrics 528 preamp de-esser Guemeville, CA Owner Lew Thorne compressor parametric EQ. Yamaha GC2020 stereo compres- (707) 869-9350 Studio Manager Lew Thorne sor/limiter/gale, Valley People Gales 4-channel noise gate. Owner Jack Ellis Rocktron RX2H Exciter imager Hush Il , ADC 10-band stereo EQ Studio Manager Jack Dupp (house), (4) Realistic 1-octave graphic EQ. [8] GLOBE STUDIOS Microphones: Shure, Audix. also REMOTE RECORDING Monitor Amplifiers: Technics. (8) INLAND AUDIO VISUAL COMPANY 16 Locust Ave. Monitor Speakers: Yamaha NS-500M, Auratone 5-C cubes. also REMOTE RECORDING Mill Valley, CA 94941 Musical Instruments: Roland AlphaJuno-1 synth, Yamaha AX-5 2325 N. Monroe (415) 381-1702 drum machine, Yamaha SG-1500 guitar, ESP strat, Fender jazz Spokane, WA 99203 Owner: Tim Eschliman bass, (3) Yamaha G-100 Markllamps, full complement of Boss (509) 328-0706 Studio Manager: Tim Eschliman pedals. Owner: Larry Ellingson Other MIDI Equipment: Alesis MMT-8 8-track digital sequencer Studio Manager Bruce Hemingway Other (4) AKG 240 DF and Fostex T-20 headsets, Audio Source [4] GROUND ZERO SOUND RTA 1spectrum analyzer, ADC patchbays, Connectronics ca- also REMOTE RECORDING bles throughout. (8) J&R AUDIO LABS 5665 SW Bonita Rd. Rates: Available on request. also REMOTE RECORDING Lake Oswego, OR 97035 16028 Via Segundo (503) 639-3694 San Lorenzo, CA 94580 Owner Mark Gensman (8) HOUSE OF FAITH (415) 278-9870 Studio Manager Mark Gensman also REMOTE RECORDING Owner: Randy Heise. Joan Miller 119 Lowell Ave. Studio Manager: Randy Heise Palo Alto, CA 94301 [2] HALF INCH VIDEO (415) 324-9483 185 Beroy St, Ste. 467 (415) 322-5152 (13) JADE PRODUCTIONS San Francisco, CA 94107 Owner Bart Thurber also REMOTE RECORDING (415) 495-3477 Studio Manager Bart Thurber PO Box 4803 Owner Mark Lamper Modesto, CA 95352 (209) 578-3770 (8) HUMBOLDT RECORDS Owner Gina Rose [4] HANK'S BASEMENT AUDIO also REMOTE RECORDING Studio Manager Alvin Rose also REMOTE RECORDING PO Box 713 5665 E Colorado Ave. Trinidad, CA 95570 Denver, CO 80224 (707) 677-3305 [81 JB RECORDINGS (303) 756-8777 Owner: Robby Jarvis 6532 5th Ave. NW Owner HBA Enterprises Inc Studio Manager Robby Jarvis Seattle, WA 98117 Studio Manager Hank Anderson (206) 783-6579 Owner: JB (8) HUMMINGBIRD SOUND LAB Studio Manager Mr James Bachman [8] HEARTBREAK HOTEL STUDIO 10201 Belgrove Ct NW Engineers: Jim Bachman. also REMOTE RECORDING Seattle, WA 98177 Dimensions: Room 1: studio 11 x18 x8. Room 2: studio 14 x15 3885 S. Logan St (206) 782-1512 x8. vocal booth 11 x6 x 7, control room 11 x8 x 7. Englewood, CO 80110 Owner Robert Casper, Donnee (-Asper Mixing Consoles: Studio Master patchbay 24 x8. (303) 761-8060 Studio Manager David Casper Audio Recorders: Otan MX-5050 MkIlf 8-track, Tascam 32 Owner Cary Steinberg Engineers: David Casper. 2-track. Studio Manager Cary Steinberg Dimensions: Studio 16 x15, control room 16 x8. Cassette Recorders/Duplicators: Nakarrchi BX-2. Mixing Consoles: Sound Workshop 12808 12 x8 Super EQ Echo, Reverb, & Delay Systems: Lexicon Model 200 reverb, Audio Recorders: Otan MX-5050B 8-track. Otan MX-5050B Lexicon PCM42 delay w/ext. memory, Fostex 3050 delay. (2) MARILYN HICKEY MINISTRIES 2-track Other Outboard Equipment Dyna-M ite 430J, Symetrix SE-400 also REMOTE RECORDING Cassette Recorders/Duplicators: (6) Nakamichi BX-100, Naka- parametric EQ. MXR dual limiter, Phase Linear 1300 Series 2 405 S. Platte River Dr. michi BX-125. noise reduction, Symetrix HA-10B headphone amp, Flane SM26 Denver, CO 80223 Noise Reduction Equipment dbx 155. splitter/mixer, Otan CB-116 autolocator, Aphex Type C. Axiom (303) 698-1155 Echo, Reverb, & Delay Systems: Lexicon PCM60, Lexicon Ten Stereo Imager.

214 MIX,JAIVUARY 1988 Microphones: (2) Neumann U89, (2) Beyer M69, AKG 330 BT, [41 LOCATION RECORDING Shure SM57 only REMOTE RECORDING Monitor Amplifiers: Pioneer Spec 4. 4202 NE 105th St Monitor Speakers: E-V Sentry 100A Seattle, WA 98125 Musical Instruments: Assorted things with strings. (206) 527-0318 Rates: $15/hr Owner Al Swanson

(8) MAMMOTH RECORDING STUDIOS (8) JUDE PRODUCTIONS 8580 Essex Dr. PO Box 90 Denver, CO 80229 Dutch Flat, CA 95714 (303) 287-2382 (916) 389-2326 Owner Kenneth Hendricks Owner: Russell Brian Brooker Studio Manager Kenneth Hendricks Studio Manager: Victoria Brooker

[4] MARCAN STUDIO 18) KALAGO PRODUCTIONS INC. also REMOTE RECORDING also REMOTE RECORDING 360 E. 200 South, 8171 559 Maple Rd. Kanab, UT 84741 Kalispell, MT 59901 (801) 644-2442 (406) 752-0155 Owner Adrian & Marcia Hymen Owner Todd Stillwell Studio Manager Marcia Hymen

(2) DAVID MATHEW RECORDING SERVICES MCCUNE STUDIOS [8) KALEIDOSOUND only REMOTE RECORDING San Francisco, CA 185 Berry St. Ste. 2805 2815 NE 35th Ave. sor/limiter, parametric EO dynamic noise filters and 7ime Shape San Francisco, CA 94107 Portland, OR 97212 module. UREI 1176LN compressor/limiter. Orban de-esser, (415) 543-0531 (503) 287-1420 Technics SL-1200 MkIlturntables w/Bui wen TNE7000A transi- Owner: Forrest G Patten Owner David Mathew ent noise eliminator and other devices from McCune rental Studio Manager: Dina Kaler Studio Manager David Mathew stock. Microphones: Neumann U87, Neumann KM84, AKG 414, AKG 451, AKG 202, Sony C-37, 9CA 77, Shure SM56, Shure SM57, (2) KEYBOARD RESOURSES (8) MCCUNE STUDIOS Shure SM58 and many cites from McCune rental stock also REMOTE RECORDING also REMOTE RECORDING Monitor Amplifiers: Haller DH200 (biamped). PO Box 700 951 Howard St Monitor Speakers: McCune SM-4B Mec 604 w/active X-over. Hood River, OR 97031 San Francisco, CA 94103 (415) 777-2700 .nciuding time-correction and EO circuitry. Auralones (503) 352-MIDI Owner McCune Audio Visual Video Musical Instruments: On reqœst. Owner Debbie Skinner Video Equipment Full production services: V." arid 1" studio/lo- Studio Manager: Debbie Skinner Studio Manager Jim Draper Engineers: Dave Duca, Jeff O'Sammon, Jim Draper, Don Geis cation recording. Ye editing, full dui:A:cation SeViCeS, W. Dimensions: Studio 16 x26, control room 15 x19. VHS, Beta), 16mm and slide-to-video transfers; SMPTE coding: Mixing Consoles: Amek TAC 1682 16 x8 x 2. audio control room equipped wAndeo playback/recorder and [8] LEON-FORREST PRODUCTIONS Audio Recorders: Otan MX-5050-8 8-track. (2) MCI JH-110 monitor (FORMERLY HARBINGER PROD.) 2-track, Otan MX-5050 B0114.track. Ampex 440 2-track, Arn- Rates: Audio $50/hr All equ'pment in stock no extra charge. 4416 SE Hwy 101 pex/Inovonics 350 2-track, Ampex 350/351 mono, 16-track Video on request. Call for rate card. Lincoln City, OR 97367 (1"/2" on request). Extras &Direction: McCune Studios we fully eauipped to serve (503) 996-2575 Echo, Reverb, & Delay Systems: AKG BX-20, Scamp S-24 the needs of our media clients, from television and radio spots. Owner LF Caulkins Time Shape module, AMS reverb and delay on request to multi-image presentations, to films and videos Free parking Studio Manager LF Caulkins Other Outboard Equipment Scamp rack including compres- and coffee.

(8) LEW'S RECORDING PLACE also REMOTE RECORDING 1219 Westlake Ave. N., 11115 Seattle, WA 98109 (206) 285-7550 Owner Lew Lathrop Studio Manager Lew Lathrop

[8] LINEAR PRODUCTIONS 1131 Compass Ln. Foster City, CA 94404 (415) 349-8780 Owner Tony T Studio Manager Gene 0

(8) LION TRACKS STUDIO-CREATIVE ENTERPRISES also REMOTE RECORDING 647 Irwin St San Rafael, CA 94901 (415) 454-2911 Owner Mario Lewin Studio Manager Mario Lewin

[8] LITTLE OAK SOUND AND VIDEO 2028 SW "G" St MIX CLASSIFIEDS Grants Pass, OR 97526 are the best way to reach thousands of profes- (503) 479-3205 Owner Rosie Moore sionals in the audio-video industry! Find out Studio Manager: Roy Duckworth why Mix Classifieds are the most cost-effective way to advertise—see the Classified section in (8) LITTLE PEOPLE STUDIO the back of this issue for categories and com- also REMOTE RECORDING 2111 Research Dr., 82 plete details. Livermore, CA 94550 (415) 449-9820 Owner: Michael Ferrucci, Doug Mann Studio Manager Michael, Doug FOR MORE INFORMATION, OR TO PLACE A MIX CLASSIFIED AD, [8] LITTLE POND PRODUCTIONS CALL (415) 843-7901. DEADLINE: 15TH OF MONTH, PO Box 20594 Portland, OR 97220 6 WEEKS PRIOR TO PUBLICATION. (503) 254-5776 Owner David B Miller Studio Manager Jo Anna Burns-Miller

JANUARY 1988, mot 245 [8] MELODIC SERVICES PRODUCTIONS AKG 707E. (3) Shure SM10 headset PO Box 393 NORTHWEST Monitor Amplifiers: (2) NAD 3130 Loveland, CO 80539 Monitor Speakers: Auratones, Toa 265-ME, ESS HD series. (303) 669-1525 Musical Instruments: Yamaha RX11, Yamaha RX21L Yamaha Owner Brian W Salyards DX9, (2) Yamaha DX7, Kawai K3, Roland Juno 106, Minimoog, Studio Manager Brian W Salyaro's 48 TRACK Sequential Circuits Prophet 5, Yamaha TX81Z STUDIOS [8] METRIX RECORDING 8. PRODUCTION STUDIO [8] PSEUDO STUDIO also REMOTE RECORDING 125 Tennessee St [8] PEAK RECORDING & SOUND 10830 1st Dr SE Vallejo, CA 94590 also REMOTE RECORDING Everett WA 98208 (707) 552-7370 PO Box 1404 (206) 347-3824 Owner Robert L Detweiler Bozeman, MT 59715 Owner Doug 8. Debbie Williams Studio Manager Eddie Carpenter, John VVestbury Studio Manager Doug Williams (406) 586-1650 Owner Peak Recording 8. Sound. Inc Studio Manager Gil Stober [8] PUDDINGSTONE PRODUCTIONS [4] MICROFT SYSTEMS 4804-58th St 1314 NE 43rd St Sacramento, CA 95820 Seattle, WA 98105 [4] PFS RECORDING (916) 452-2956 (206) 547-2440 also REMOTE RECORDING Owner Bruce Bolin Owner Dave Halliday Box 6840 San Jose, CA 95150 Studio Manager Bruce Bolin (408) 275-6322 Owner Mike Halbran [2] MIDNIGHT BLUE PRODUCTIONS Studio Manager Mike Halloran [4] RADIOACTIVE RECORDS also REMOTE RECORDING 170 SW 139th PO Box 77013 Beaverton, OR 97006 Colorado Springs, CO 80970 [8] PHANTASMA SOUND (503) 626-2331 (303) 520-9079 also REMOTE RECORDING Owner: Mark Hannah Owner: Ken Toe 7909 Fremont Ave. Studio Manager Mark Hannah Studio Manager: K Toal Ben Lomond, CA 95005 (408) 336-2494 Owner Errol G. Specter [8] RAL-RECORDING [8] MIKE'S MUSIC Studio Manager Errol G. Specter 2455 N. Yellowstone 6Southfork Idaho Falls, ID 83401 Merced, CA 95340 (209) 722-3220 (208) 524-4441 [4] PINE APPLE STUDIOS Owner Robert Laughton Owner: Mike Doggett also REMOTE RECORDING Studio Manager Robert Laughlon Studio Manager: Don Christensen PO Box 427 Gleneden Beach, OR 97388 (503) 764-2617 [4] MISS WHIB, ABROAD (503) 757-8702 [4] RAVEN RADIO FOUNDATION only REMOTE RECORDING Owner Clay Ashley 102 B Lincoln St PO Box 185 Studio Manager Henry Zellers Sitka, AK 99835 Greenville, CA 95947 (907) 747-5877 (916) 284-7258 Owner Raven Radio Foundation Owner: Jean A Souders [8] PING-PONG PRODUCTIONS Studio Manager Mary Baker. Rich McCiear Studio Manager: JA Souders also REMOTE RECORDING PO Box 708 South San Francisco, CA 94083 [8] REAL TIME RECORDING 18) MT STUDIO (415) 968-1257 also REMOTE RECORDING 17835 Hwy 9 Owner: R Duane Hoopes 8101 Peck Ave., 8134E Boulder Creek, CA Studio Manager John Cigliutti Anchorage, AK 99504 (408) 338-9555 (907) 333-1189 Studio Manager: Steve Kritzer Owner: Patric D'Elmon [8] PLATINUM SOUNDS RECORDING STUDIO Studio Manager Patric D'Elmon 516 Martha St (4) NEW LIFE BROADCASTING San Jose, CA 95112 also REMOTE RECORDING (408) 629-4729 [8] RECIPROCAL RECORDING PO Box 117,440 Lawrence St, Owner Cornell Watson, N.D. Johnson 4230 Leary Way NW Quincy, CA 95971 Studio Manager Elsa Hendrex Seattle, WA 98107 (916) 283-4144 (206) 782-6411 Owner: Ron Trumbo Owner Chris Hanzsek Studio Manager: Ron Trumbo [8] PLAY IT AGAIN, SAM 2001 W. Colorado Ave. Studio Manager Chris Hanzsek Colorado Springs, CO 80904 (303) 578-9738 [2] NORTH WOODS Owner Samuel Hall [8] RECORDING ETC. also REMOTE RECORDING Studio Manager Samuel Hall 3905 N. State St also REMOTE RECORDING 633 Cowper Ukiah, CA 95482 Palo Atto, CA 94301 (707) 485-0253 )4] POLYTUNES (415) 327-9344 Owner: John Denninger also REMOTE RECORDING Owner Dennis Reed Studio Manager JD. Fletcher 3211 Silver Crest Dr. Studio Manager Ted Brooks Bothell, WA 98012 (206) 337-4322 [8] ONION AUDIO Owner Paul Havnlak [8] REEL ART/REUNION PRODUCTIONS also REMOTE RECORDING Studio Manager Paul Havrilak PO Box 869 534 Acoma St. Greenville, CA 95947 Denver, CO (303) 534-7775 (916) 284-6929 [8] PREGNANT BADGER STUDIOS Owner David E. Rice Owner Hank Alrich 10010 Biscanewoods Way Studio Manager Michel Crowley Studio Manager Lams Le Baron Sacramento, CA 95827 (916) 363-8361 Owner Decision Systems Design [4] OPEN DOOR PRODUCTIONS Studio Manager Cohn Aiken (4) REEL CREATIONS PO Box 8556 Engineers: Colin Aiken, Bill Barton. also REMOTE RECORDING Berkeley, CA 94707 Dimensions: Studio 13 x21, control room 6x 16. E. 11321 37th (415) 527-9311 Mixing Consoles: Tascam Model 308 8x 4, Biamp 12/83 12 x Spokane, WA 99206 Owner Burke Tneschmann 2. (509) 928-2460 Studio Manager Burke Trieschmann Audio Recorders: Tascarn Model 38 8-track, Tascam Model Owner: Alan J. Perry 22-2 2-track. Cassette Recorders/Duplicators: Tascam 225, Yamaha 520, [8] PAGE STUDIOS Yamaha MT44 4-track. [4] REEL TIME REPRODUCTIONS also REMOTE RECORDING Noise Reduction Equipment dbx 166 comp/limiter, dbx 160 only REMOTE RECORDING 1220 Bertha Ln. comp/limiter. 190 Manama Way Santa Rosa CA 95405 Echo, Reverb, & Delay Systems: Yamaha SPX90, Alexis XTC Campbell, CA 95008 (707) 579-5335 digital reverb, ADM 1024 Effectron, Orban reverb. (916) 487-5364 Owner Steve Ruiz Other Outboard Equipment Rane HC-6 headphone amp. Owner Timothy Whyte Studio Manager Dan Chappell Microphones: (2) Shure SM58, (3) Audio-Technica Pro 5. (3) Studio Manager Timothy Whyte

216 MIX, JANUARY 1988 (8) REELS ON WHEELS also REMOTE RECORDING [8] RANDALL SCHILLER PRODUCTIONS 959 Vetch Cir. also REMOTE RECORDING 2 -EÉ- Lafayette. CO 1207 Fifth Ave. E (303) 666-9593 San Francisco, CA 94122 E

Owner Norman B Ross 870-3987 recorder. Studio Manager: Alice L Ross Rates: 8-track. $25/hr 4-track. $20 /hr.. 2-track $20/hr. Location ° recording available upon request. (602) [8] ROXOUND STUDIOS 2833 NE 115th [8] SENSATIONAL SOUNDS Seattle, WA 98125 PO Box 2069 (206) 365-7949 Mill Valley, CA 94942 Omer: Mark Angeledes (415) 381-4224 Circle #136 on Reader Service Card Studio Manager: Tony Elzmar Owner Michael Angelo Studio Manager: Michael Angelo

(8) RUBBER PARK PRODUCTIONS also REMOTE RECORDING PI ROBERT SHUMAKER RECORDING SERVICES PO Box 120 also REMOTE RECORDING Tahoma, CA 95733 2321 Russell St, Ste. 1E (916) 525-6554 Berkeley, CA 94705 Owner: David FChance (415) 548-9986 MUSICI A NI Studio Manager: Steve Teshara Owner: RS Studio Manager: RS

(8) RUTHER REMOTE RECORDING [8] SHYNE SOUND also REMOTE RECORDING also REMOTE RECORDING 108 N. Roosevelt Box 9906 Walla Walla, WA 99362 ...the first magazine San Rafael, CA 94912 (509) 522-0438 (415) 459-2833 Owner: Bud Ruther devoted exclusively to Owner Leroy Shyne Studio Manager: Bud Ruther Studio Manager: Leroy Shyne the new technology

[8] SADDLE BUTTE MUSIC (4) GARY R SMITH PRODUCTIONS that's revolutionizing also REMOTE RECORDING also REMOTE RECORDING PO Box 2232 2154 McKinley Ct. the industry, covering Jackson, WY 83001 Grand Junction, CO (307) 733-9008 (303) 243-7551 MIDI, computer music Owner: Barbara Moore Owner Gary R Smith Studio Manager: Roger Lavake applications, SMFTE/ [4] SNAKE RIVER SOUND also REMOTE RECORDING synchronization, video, [8] SALMON BAY PRODUCTIONS 1008 N. 6th St Seattle, WA Boise, ID 83702 (206) 782-9182 (208) 386-9276 music sampling/ Owner: Gien Travis Owner: David Smyth Studio Manager Diane Travis synthesis, and much [4] SNAKE RIVER STUDIOS more! See page 146 for (8) SAN FRANCISCO PRODUCTION GROUP also REMOTE RECORDING 550 Bryant St. Rt 6, Box 46 San Francisco, CA 94107 Idaho Falls, ID complete information. (415) 495-5595 (208) 529-3786 Owner: Jeff Cretcher, Joel Skidmore Owner Max E Harrison Studio Manager Max E Harrison A Mix Publication [8] SCHECHTER STUDIOS PO Box 1153 [8] SOUND DESIGN Healdsburg, CA 201 165th Ave. NE (707) 433-1720 Bellevue, WA 98008 Owner: Randy Schechter (206) 747-1815 Studio Manager Randy Schechter Owner Ed Masters

JANUARY 1988, MIX 217 [8] SOUND INNOVATIONS Dimensions: Control room 14 x12. (FORMERLY AUDIO PRODUCTION STUDIO/ NORTHWEST Mixing Consoles: Dynamix D-3000 24 x8 x 2. RAINBOW RECORDING Audio Recorders: Otan 5050 MKIII 8-track /12 -,Technics SV-100 5520 Lake Otis Pkwy. Ste. 104 PCM 2-track, Technics RS10A02 2track. Anchorage, AK 99507 Cassette Recorders/Duplicators: JVC KDD-99, Anva WX220 (907) 563-8273 dub. Owner Creative Productions, Inc. 48 TRACK Noise Reduction Equipment Gales noise gale/expander. Or- Studio Manager Bruce Graham ban 424A compressor/de-esser, dbx 161 compressor STUDIOS Synchronization Systems: SMPL syr;tem w/SMPL lock. SMPTE to MIDI converter (8) SOUND PRODUCTIONS [8] STOTZ'S SOUND Echo, Reverb, & Delay Systems: Lexicon 224, Lexicon Prime also REMOTE RECORDING also REMOTE RECORDING Time DDL, Yamaha SPX90, ART 01A, Orban 111B dual reverb. 402 NE 72nd 576 Cypress St Other Outboard Equipment Eventide H910 Harmonizer, Lang Seattle, WA 98103 Monterey, CA 93940 PEO-2 parametric EQ. (2) Yamaha 001031 1/3-octave E0s. (206) 525-9999 (408) 375-9718 (3) MSC-1 semi-parametric E0s, Roland SVC-350 vocoder. Owner: Sound Productions Incorporated Owner Gary M Stotz Microphones: Neumann U47, Neumann KM85. AKG 451, (2) Studio Manager Brian Bouchard Studio Manager Gary M Slots AKG C-61. (2) AKG D-24, AKG D-19, AKG D-15, Sennheiser 413, Shure SM76, Shure Unisphere B. Monitor Amplifiers: McIntosh 2105. (8) SOUND SUITE (4) STUDIO IN THE BPCK Monitor Speakers: (2) JBL 4312. (2) Yamaha NS-10M. (2) Aura- 6400 Hollis also REMOTE RECORDING tone 5C. Emeryville, CA 94608 PO Box 7838 Musical Instruments: Yamaha TX81ti. Yamaha TX7, Ensoniq (707) 463-0930 South Lake Tahoe, CA 95731 Mirage DSK, Prophet 10 w/MIDI, Pro-' w/MIDI, E-mu drumula- Owner: Tim Tully (916) 542-1121 tor w/MIDI, Yamaha CX5-F, Roland GR700 guitar synth, (2) Engineers: Tim Tully Owner Frank Chaverini Stratocaster guitars. (2) Precision basses (1 fretless), Marlin Dimensions: Studio 15 x15. Studio Manager Frank Chiaverini 012-35, Martin 0-18, alto sax, trumpet. Mixing Consoles: Hill 32 x16 x2. Other MIDI Equipment: IBM XT clone w/MPU 401. sequencer Audio Recorders: Fostex 8-track, Reos B77 2-track (/12 "), Hi- plus MKIII. 64-track sequencer w/song pointer, Bacchus voice tachi DMP-100 2-track ND PCM. [8) STUDIO P manager for DU. Vision sampler editor for Mirage. Cassette Recorders/Duplicators: Hitachi 99-DE 1831 Lake St Video Equipment: JVC BT-6400U Pro VHS recorder, Panasonic Noise Reduction Equipment Dolby C. San Francisco, CA 94702 portable VHS, Mitsubishi portable VHS. Synchronization Systems: Master Tracks Pro to 8-track. (415) 221-4VOX Other JL Cooper 8x 10 MIDI switchbay, Yamaha YMN-2 MIDI Echo, Reverb, & Delay Systems: Yamaha SPX90, Effectron II, Owner Joe Paulino merge. LAB L-5 guitar amp. Fender Pro reverb guitar amp. NEC 351 5-band reverb, Yamaha REVS. Studio Manager Bob Ducatt Gallien-Krueger guitar amp. Other Outboard Equipment Pane parametric E0. Dyna-Mite Rates: $20/hr. comp/limiter, Symetrix 528. Aphex Type C stereo. Extras 8 Direction: Syntonos specializes in sound design for Monitor Speakers: Visonik Davids. [8] STUDIO SEA theater and video. Several projects have won awards, including Musical Instruments: Korg DSS-1, Casio CZ-101, Prophet 600, 418 Front St, Box 1078 the 1981 Bay Area Theater Critic's Circle Award for best live Yamaha TX81Z, TR707. Weatland, CA 95962 theater soundtrack Our work has appeared in half adozen Bay Other MIDI Equipment: Macintosh sequencers. Sound Design- (916) 633-4277 Area theaters as well as on cable TV We welcome sound er. various librarians. Apple 2E Owner Curt &Lee Burrows designers, MIDI composers and independent engineers who Rates: Ad Hoc Studio Manager Skip need 8-track mix facilities.

[4] SOUNDS NATURAL AUDIO SERVICES (8) STUDIO 2 RECORDING, INC. [2] SYRINX RECORDINGS also REMOTE RECORDING also REMOTE RECORDING only REMOTE RECORDING 214 Keystone Ave. 1030 48th St 182 Caldecott Ln., 11314 Santa Cruz, CA 95062 Sacramento, CA 95819 Oakland, CA 94618 (408) 425-8015 (916) 456-2737 (415) 548-3996 Owner Bill Burnside, Ken Bolelho Bill 'Mn Bloom Owner Zack Boles Owner Robert L Miller Studio Manager: Bill Burnside Studio Manager Mary Golden Engineers: Zack Boles, Jay Lemmons, Dimensions: Room 1: studio 16 x20, control room 22 x24. (8) THE SOUNDSMITH Room 2: studio 10 x8, control room 12 x14. [8] TAPESTRY PRODUCTIONS PO Box 1567 Mixing Consoles: Sound VVorkshop Series 30 18 x8. also REMOTE RECORDING Monterey, CA 93942 Audio Recorders: MCI 110C 8-track. MCI 110C 2-track, (2) Otani 4077 S. Cowan Way (408) 394-6940 5050 2-track, Ampex 440 2-track. Salt Lake City, UT 84120 Owner David Kempion Cassette Recorders/Duplicators: TEPC 122. (801) 969-TUNE Studio Manager Jeremy Hertzberg Noise Reduction Equipment Dynafex DFX-2. Owner Steve Aubery Synchronization Systems: (2) Adams-Smith Zeta 3. Studio Manager Steve Aubery Echo, Reverb, &Delay Systems: Yamaha REV7. Yamaha SPX- PI SOUTH CENTRAL SOUND 90. DeltaLab Super Timelme, Master-Room B(MICMIX). also REMOTE RECORDING Other Outboard Equipment (4) Valley People Dyna-Mite. (2) [8] TDS PRODUCTIONS 2019 Sunrise Dr. Aphex compellor. Aphex Aural Exciter, MXR graphic E0. Syme- PO Box 31983 Anchorage, AK 99508 trix phone patch, Technics SPL-1200 CD. Seattle, WA (907) 277-0538 Microphones: Neumann U87, AKG 414, RCA 77, RCA 44, (206) 284-2399 Owner Rick Gay Crown PZM, Shure SM5B. Owner Tom Dyer Studio Manager Rick Gay Monitor Amplifiers: Crown D75, Yamaha. Studio Manager Tom Dyer Monitor Speakers: Tannoy Gold, JBL 4311. Yamaha NS-10. Auratone 5C, E-V 100A [8] SON'S EAR SOUND Musical Instruments: Yamaha DX7. [8] TEKNIFILM/TECKNIFILM VIDEO 7057 S. Kline St Video Equipment Sony XBR-36 monitor. Sony /34 "U -matiz, also REMOTE RECORDING Littleton, CO 80127 Sony Beta, Technics VHS. 909 NW 19th Ave. (303) 973-2672 Other (5) music libraries, (6) sound effects libraries. Portland, OR 97209 Owner Eddie D. Eads Extras & Direction: With totally new facilities, Studio ZRecord- (503) 224-3835 Studio Manager Eddie D. Eads ing is now Sacramento's most elaborate audio post-production Owner Frank Hood, Arian Evensen studio. We are dedicated to superior commercial production. Studio Manager Wayne Woods We have upgraded our equipment to include video synchroni- [4] SQUARE ONE zation and also offer one of the largest music and sound effects also REMOTE RECORDING library collections available. We are also available for music [8] THOMAS RECORDINGS 104 Yosemite Ave. demo's and special audio production projects Studio Z Re- Santa Clara, CA Santa Cruz, CA 95060 cording is awinner of numerous Clio's. IBA's Telly's and other (408) 985-6967 (408) 429-6929 national awards Our work is our best advertising. Owner L Thomas Owner John V Reynolds Studio Manager L Thomas Studio Manager John V Reynolds [8] SUNSET RECORDING also REMOTE RECORDING (8) TIME CAPSULE RECORDING [4] STAX SOUND El. VISION 856 Airport Rd. also REMOTE RECORDING Monterey, CA 93940 1042 Perry St Berkeley, CA (408) 375-2861 Denver, CO 80204 (415) 528-1144 Owner Sal Marullo (303) 534-6977 Owner Marshall Star Studio Manager Sal Mane Owner James Jackson, TJ. Jackson Studio Manager Marshall Star Studio Manager: J Jackson

[8] SYNTONOS RECORDING [8] STEP ONE STUDIOS also REMOTE RECORDING [8] TIMELESS PRODUCTIONS 432 Church St 1571 San Lorenzo Ave. 5050 Traverse Creek Rd. Garberville, CA 95440 Berkeley, CA 94707 Garden Valley, CA 95633 (707) 923-3388 (415) 527-5367 (916) 333-1335 Owner Jimmy Dangler Owner J Gordon Funden Owner David A Blonski Studio Manager Jimmy Dangler Engineers: JG Finder Studio Manager David A Blonski

218 MIX, JANUARY 1988 [8) TINDERBOX STUDIOS Owner Roger B Cox also REMOTE RECORDING Studio Manager Dale Stetson 505 14th Ave. E, Ste. 106 Seattle, WA 98112 (206) 323-5066 [4] VINYL TOUCH PRODUCTIONS (206) 283-3662 also REMOTE RECORDING NEXT Owner: Music Etc., Jamie Jones Berkeley, CA Studio Manager Len Wallick (415) 841-0605 Owner Frank Estrada Studio Manager Linda Cowles IN MIX [8] TOE JAMS RECORDING 895 Vassar Reno, NV 89502 [4] VIOLET RACE STUDIO (702) 323-2471 also REMOTE RECORDING Owner Keith Irwin 350 Arballo Dr., It5D FEBRUARY Studio Manager Keith Irwin San Francisco, CA 94132 (415) 334-5716 Owner Sven Jorgensen •International Recording [8] TRANSIENT SOUNDS RECORDING Studio Manager Richard Serna only REMOTE RECORDING •Directory: Independent PO Box 93 Big Bend, CA 96011 Engineers and Producers [8] WAYNE MARK STUDIO (916) 244-4462 8622 SE 11th Ave. (916) 337-6798 •Automation and Control Portland, OR 97202 Owner: David B Green Owner Michiel Harth, Gary Miles Systems Studio Manager Gary miles [8] TRANSMEDIA, INC. •European AES Issue also REMOTE RECORDING 350 Pacific Ave. [2] JOHN WESLEY PRODUCTION San Francisco, CA 94111 441 t/2 11th Ave. W. (415) 956-3118 Kirkland, WA MARCH Owner David B Adams (206) 827-7299 Studio Manager Frank C. Canonica Owner: John Wesley •Southeast Studios Studio Manager John VVesley Directory [8) T.S.R. PRODUCTIONS 3387 Marysville Blvd. [4] WESTERN CINE FILM AND VIDEO •Nashville Recording Sacramento, CA 95838 312 S. Pearl St (916) 648-9613 Supplement Owner: Tank Roshdy Denver, CO 80209 Studio Manager Tank Roshky (303) 744-1017 Owner: John Newell •Studio Monitors Studio Manager Paul Emrich [4] ULTIMA MOBILE RECORDING AD CLOSING: only REMOTE RECORDING PO Box 20604 (8] WESTERN OREGON SOUND AND RECORDING JANUARY 7 Sacramento, CA 95820 also REMOTE RECORDING MATERIALS DUE: (916) 395-4733 3430 48th NE Owner: Almerritt ICovington Salem, OR 97305 JANUARY 15 Studio Manager: Almerritt ICovington (503) 370-7906 Owner: Duane Sheets Studio Manager Gary Brown [8) UNDERGROUND SOUND APRIL also REMOTE RECORDING 4577 E. 129th Ave. 181 WILD WEST GRAPHICS 8. COMMUNICATIONS •Video Production/NAB Thornton, CO 80216 also REMOTE RECORDING (303) 450-0168 PO Box 346, Lake Tahoe Issue Owner Scott Flores Homewood, CA 95718 Studio Manager Scott Flores (916) 525-5201 •HyperMedia Supplement Owner Edward Miller Studio Manager Edward Miller [4) UPHILL PRODUCTIONS •Directory: Video also REMOTE RECORDING Production and PO Box 1158 (609 Palm) Modesto, CA [81 BOB WILSON RECORDING SERVICES Post-Production Facilities (209) 526-3457 also REMOTE RECORDING Owner: James M. Lopez 83 Devonshire, *2 Studio Manager James M. Lopez Mountain View, CA 94043 AD CLOSING: (415) 967-4921 FEBRUARY 7 Owner Bob Wilson [8] VALENTINE PRODUCTIONS Studio Manager: Bob Wilson MATERIALS DUE: 910 16th St, Ste. 900 Denver, CO 80202 FEBRUARY 15 (303) 893-0912 [8] XANADU STUDIOS Owner Laurie Gordon, Sam Beaman also REMOTE RECORDING Studio Manager Jim Passarelli 1163 Lewiston St Aurora, CO 80011 (303) 366-6815 [8] VALTRON RECORDING Owner: Richard Abbot also REMOTE RECORDING Only Mix has a Studio Manager Richard Abltbol 1002 E. Broadway BPA-audited circulation Helena, MT 59601 (406) 442-0734 of over 44,000 copies Owner: Sandra Liedle [8] XANDOR RECORDING STUDIOS Studio Manager Mike Liedle also REMOTE RECORDING each month!" 407 Camino Sobrante Orada, CA 94563 Call (415) 843-7901 for [4] AL VEDRO ASSOCIATES, INC. (415) 254-9077 also REMOTE RECORDING Owner Jim VVeyeneth space reservations and 725 Second SL Studio Manager Jim Weyeneth San Francisco, CA 94107 complete advertising (415) 957-1131 Owner Al Vedro information. Studio Manager Al Vedro [8] ZIONIC SOUNDS also REMOTE RECORDING 'Source: Publishers' BPA statement of Box 562, 1117 Division SL circulation for six months ending June, 1987 [8] VINEYARD STUDIOS Upton, WY 82730 (average of qualified and non-qualified (307) 468-2742 PO Box 69522 circulation). Seattle, WA 98188 Owner: Randy Crain (206) 630-3466 Studio Manager Randy Crain

JANUARY 1988, MIX 219 servea tfuey Lewis esz tne News, Van Know now to use me computers, how especially at today's unfavorable ex- Morrison, Kantner/Balin/Casacly Band, to use sequencers, how to merge key- change rates. For further information, Aretha Franklin, and Bruce Hornsby) boards. People do their pre-produc- JPI may be reached at Akasaka Resi- decided not to buy aPC, but to invest tion at home with their own comput- dential Hotel #801, 9-1-7 Akasaka in adedicated musical computer. They ers, then they bring in their setup and Minato-Ku, Tokyo 107, Japan. just installed the Yamaha C7E, a7-foot we have the ability to handle their grand piano with internal computer setup. That seems to work best for Phil De Lancie is one of our resident that stores 164 MIDI-controllable pre- us." voices on topics relating to record sets and provides four MIDI outs, two mastering and manufacturing tape processors, and can control 16 key- Linda Jacobson, Mix assistant editor, duplication, CD replication, storage boards at once. The piano player can does all her writing on an antiquated and formats. He's also a mastering pre-program arrangements and change Eagle PC2—a 5-year-old IBM clone engineer at Fantasy Recording Stu- settings while playing, thus controll- that has never crashed Nevertheless, dios in Berkeley, right across the street ing acomplete orchestration situation she rents aMacintosh to desktop-pub- from the Mix offices. while tickling real ivories. A far cry lish newsletters.

JAM ARY 1988, MIX 221 FROM PAGE pexx,uts software program like Hybrid Arts' will read and write files from its com- board, and perform awide variety of ADAP Soundrack, to become a full- panion sequencer program. KCS 1.5. editing functions, this program also fledged 16-bit sampling device. lets you convert your files into music Others notation for print-out. Each of the 32 Mastertracks Pro Dr. Ts carries a full complement of tracks is assignable to one of 16 MIDI The Atari version of Passport's sequen- quality editor librarians (including a channels which can be looped, cer is basically the same as its Macin- program for the PCM70) for the ST bounced and otherwise edited. Avoice tosh version. However, as noted above, Hybrid Arts also supports the ST with librarian for the Yamaha DX /TX series there is no need to purchase a MIDI its ADAP Soundrack (mentioned is also included on the disk. interface with this version. above), as well as sequencer, notation and patch editing software, including The Copyist Pro-24 2.1 one for the Ensoniq Mirage sampler. This scoring program from Dr. T's Mu- Steinberg Research offers asequencer • .1 r • CLASSIFIEDS ment hand with our monstrous growth. keyboard and studio equipment. Call Business If you are an MBA with asuccessful our toll free watts line 1-800-354- Opportunities track record w/growing companies 7252 when you're ready. Mike, Bill, w/knowledge of audio, please call: Terry or Marty. Owner of established (1978) New Personnel, 2-4 p.m. (415) 777-1355, New Used & Demo Soundcraft York City recording studio looking to San Francisco, CA. Neotek, Otan, Akai, Klark-Teknik, expand. Seeks working partner with INSTRUCTOR to teach audio pro- dbx, E-V, LEXICON. USED NEO - capital. Industry experience amust. duction beginning Fall, 1988. Cours- TEK CONSOLES, microphone sale, Serious inquiries only. Call Joel: (212) es include multi-track recording in over 200 mics in stock. E-V, AKG, 362-7840. our newly remodeled studio and field Beyer, Sennheiser, etc. New E-V audio production. Master's degree N-DYM mics in stock. Call Pyramid Employment and experience required. Salary Audio Inc (312) 339-8014. Offered $20,000-$22,000. Search closes Jan- Call Us Last! uary 15, 1988. Contact: Mike Mirar - Midwest-based National Radio Pro- SIDEREALKAP. The SiderealKap chi, School of Telecommunications, duction facility needs PROD. ENGI- was designed from its inception to OHIO UNIVERSITY, Athens, OH be the finest sounding capacitor NEER w/ management skills. Must 45701. An affirmative action/equal have 5years experience incl. doc- available for audio today. Find out opportunity employer. Women and NEW, USED, DEMO SALE umentaries and radio commercials. what the music lover's capacitor minority candidates are encouraged RECORDERS, CONSOLES, doesn't sound like. Free literature Send tape, resume, salary history to apply. OUTBOARD EQUIPMENT and references to Classifieds, PO Otani MTR-90 24-trk, Tascam and price information upon request. Box 2526, Berkeley, CA 94702. MS-16, Ramsa T-820 20x16 Dealer inquiries invited. SIDEREAL FAIRLIGHT AKUSTIC, 1969 Outrigger Way, PRODUCT ENGINEER mixer, Aries 24x8x16 mixer, SALES OPPORTUNITY Oceanside, CA 92054, (619) 722- MONSTER CABLE Scamp Rack, Cypher Shadow Synchronizer w/Remote, Yamaha 7707. Monster Cable is looking for engi- The ideal candidate has team lead- DMP-7, Yamaha REVS, UREI MCl/SONY PRODUCTS neering talent in the areas of prod., ership qualities, is self motivated product development and mechan- 813C monitors, Tannoy PBM 6.5 JH-24 recorder, MXP-3000 mixing and has experience in audio pro- ical design. Experience in comput- monitors, Yamaha NS-10M, console, ARR 5003 center track reduction as well as sales. ers and pro-sound equip. pref. Roland S-550, D-550, MT-32, corder, Sony PCM-3324 digital. Southworth Jambox 4+, Per- Cash, lease or finance—Quick serv- Build afuture in ayoung, friendly, This is an outstanding opportunity former & Composer software... ice call Dick McCalley (612) 929- high energy, fast-growing co. Send with unlimited growth potential sell- E.A.R. PROFESSIONAL AUDIO 4000. resume to: MONSTER CABLE, 101 ing the world's most respected dig- Townsend, SF, CA 94107. Attn: (602) 267-0600 ital audio workstation. Westlake studio monitors, MegaMix Personnel. IF YOU'RE NOT USING IT console automation, Yamaha NS- Recording studio manager/engineer. Send resume to —SELL IT! 10M reference monitors, Yamaha Excellent opportunity no security. Frank Daller Your national clearinghouse for SPX90 effects processor, call Dick 16-trk recording studio located 90 Fairlight Instruments, Inc. used audio and video! Call for McCalley at (612) 929-4000. miles south of Memphis, Tennessee. 110 Greene St. free copy of our latest listings, STUDIO FINANCING and leasing Great facilities and equipment Knowl- New York, NY 10012 or to list your used gear free. plans for qualified buyers. Quick edge in audio maintenance preferred. The Bertech Organization service, 36-60 month terms. $5K to If you love achallenge send aresume No Phone Calls Please! Call toll free: (800) 992-2272 $200K—for information call Dick to: Domino Recording Inc., PO Box In Calif. call: (818) 909-0262 THINK BERTECH FIRST! McCalley at (612) 929-4000. 816, Grenada, MS 38901. TECHNICIAN WANTED DO YOURSELF A FAVOR ADVERTISING ENGINEER Fairlight Instruments requires atech- LEASE/BUY/SELL If you're ready to buy any type of Major NYC studio, catering to ad nician to work on digital audio and Great prices and great service on recording gear or musical instru- digital video workstations. Training over 200 lines including Otani, Har- agency clients, wants to make you ment, do yourself afavor and call us and your clients happy. Call Bob or on systems given. Must be able to rison, Soundcraft, Tascam, JBL, before you buy. We have most name Sandy (212) 840-1350. travel. Call West or East Coast offi- Lexicon, AMS, Akai, Trident, KT, brands at some of the lowest prices ces of Fairlight Instruments. LA: (213) dbx and all the rest for the best in AMajor Audio Mixing/Post-Produc- you'll find anywhere. Call us before 470-6280, NY: (212) 219-2656. new or used. AVC SYSTEMS (800) tion facility in Toronto, Canada has you buy, you won't regret it. (318) 323-0281, in MN call (612) 729- an opening for askilled Sound Mix- 234-5021. 8305. er experienced in Television Com- Employment 3M M-79 TAPE HEADS mercials. The successful applicant Wanted IN STOCK 16- & 24-TRACK 2" will have agood track record, ex USED EQUIPMENT We stock tape heads /14 "thru 2" & cellent customer relations skills, English audio technician, 30s, Swiss Bought & Sold spare parts for most recorders and be a team player. This is a resident, seeks professional experi- O (800) 553-8712 or (800) 325-4243 terrific opportunity for a creative, ence in U.S. (pref. CA) 1-2 yrs. Broad- Summit CA, (818) 994-6602, Telex: 754239, energetic person. Send aresume based background in film and video Audio Sprague Magnetics, Van Nuys, CA and salary expectations to: General production/post-production, system er-* Inc. Manager, Mastertrack Ltd., 35A engineering, maintenance. Full cv D&R MIXING CONSOLE!! SERIES PO. Box 1678 Hazelton Avenue, Toronto, Ontario, on request Jim Brogdale, CH-6516, 8000 MOD II, DEMO EX. 8MONTHS 111: 1!). LOS Gatos Canada M5R 2E3. Gerra Piano, Switz. OLD. IN-LINE 32/24 IN OUTPUT CA 95031 CHANNELS, PENNY & GILES FAD- 408-395-2448 MANAGEMENT MBA Equipment ERS, T&T PATCHBAY, 8 AUX +32 MONSTER CABLE 4-trk, 8-trk and MIDI studio gear. Best EFFECT RETURNS. MINT! RETAIL We are a small fast-growing audio For Sale prices—courteous, knowledgeable $57,850 —ONLY $39,500—(612) manufacturer who needs amanage- staff. Most major lines of pro audio 866-2999.

222 MIX, JANL'ARY 1988 [8] TINDERBOX STUDIOS Owner Roger B Cox also REMOTE RECORDING Studio Manager: Dale Stetson 505 14th Ave. E, Ste. 106 Seattle, WA 98112 (206) 323-5066 [4] VINYL TOUCH PRODUCTIONS (206) 283-3662 also REMOTE RECORDING NEXT Owner Music Etc., Jame Jones Berkeley, CA Studio Manager Len VMIuCk (415) 841-0605 Owner Frank Estrada Studio Manager Linda Cowles IN MIX (8] TOE JAMS RECORDING 895 Vassar Reno, NV 89502 [4] VIOLET RACE STUDIO (702) 323-2471 also REMOTE RECORDING Owner Keith Irwin 350 Arballo Dr, 115D Studio Manager Keith Irwin San Francisco, CA 94132 FEBRUARY (415) 334-5716 Owner: Sven Jorgensen •International Recording (81 TRANSIENT SOUNDS RECORDING Studio Manager Richard Serna only REMOTE RECORDING •Directory: Independent PO Box 93 Big Bend, CA 96011 Engineers and Producers (916) 244-4462 [El] WAYNE MARK STUDIO (916) 337-6798 8622 SE 11th Ave. Owner David B Green Portland, OR 97202 •Automation and Control Owner Michiel Harth. Gary Miles Studio Manager Gary Miles Systems [8] TRANSMEDIA, INC. also REMOTE RECORDING •European AES Issue 350 Pacific Ave. [2] JOHN WESLEY PRODUCTION San Francisco, CA 94111 441 /12 11th Ave. W. (415) 956-3118 Kirkland, WA MARCH Owner: David EL Adams (206) 827-7299 Studio Manager Frank C Canoruca Owner John Wesley Studio Manager John Wesley •Southeast Studios

[8] T.S.R. PRODUCTIONS Directory 3387 Marysville Blvd. Sacramento, CA 95838 [4] WESTERN CINE FILM AND VIDEO •Nashville Recording (916) 648-9613 312 S. Pearl St Owner Tank Roshdy Denver. CO 80209 Supplement Studio Manager Tank Roshky (303) 744-1017 Owner John Newell •Studio Monitors Studio Manager Paul Emrich [4] ULTIMA MOBILE RECORDING AD CLOSING: only REMOTE RECORDING PO Box 20604 [8] WESTERN OREGON SOUND AND RECORDING JANUARY 7 Sacramento, CA 95820 also REMOTE RECORDING (916) 395-4733 3430 48th NE MATERIALS DUE: Owner Alrnerritt I. Covington Salem, OR 97305 JANUARY 15 Studio Manager Almerritt I. Covington (503) 370-7906 Owner: Duane Sheets Studio Manager: Gary Brown (8) UNDERGROUND SOUND also REMOTE RECORDING APRIL 4577 E 129th Ave. Thornton, CO 80216 18) WILD WEST GRAPHICS 8. COMMUNICATIONS •Video Production/NAB (303) 450-0168 also REMOTE RECORDING Owner: Scott Flores PO Box 346, Lake Tahoe Issue Studio Manager Scott Flores Homewood, CA 95718 (916) 525-5201 •HyperMedia Supplement Owner: Edward Miller [4] UPHILL PRODUCTIONS Studio Manager: Edward Miller •Directory: Video also REMOTE RECORDING PO Box 1158 (609 Palm) Production and Modesto, CA [8] BOB WILSON RECORDING SERVICES (209) 526-3457 also REMOTE RECORDING Post-Production Facilities Owner James M. Lopez 83 Devonshire, *2 Studio Manager: James M. Lopez Mountain View, CA 94043 AD CLOSING: (415) 967-4921 Owner: Bob Wilson FEBRUARY 7 [8] VALENTINE PRODUCTIONS Studio Manager: Bob Wilson 910 16th St, Ste. 900 MATERIALS DUE: Denver, CO 80202 (303) 893-0912 FEBRUARY 15 Owner Laurie Gordon. Sam Beaman [8] XANADU STUDIOS Studio Manager Jim Passarelli also REMOTE RECORDING 1163 Lewiston St Aurora, CO 80011 [8] VALTRON RECORDING (303) 366-6815 also REMOTE RECORDING Owner Richard Abitbol Only Mix has a 1002 E. Broadway Studio Manager: Richard Abitbot Helena, MT 59601 BPA-audited circulation (406) 442-0734 of over 44,000 copies Owner Sandra belie [8] XANDOR RECORDING STUDIOS Studio Manager Mike Ladle also REMOTE RECORDING each month!' 407 Camino Sobrante Orinda, CA 94563 [4] AL VEDRO ASSOCIATES, INC. (415) 254-9077 Call (415) 843-7901 for also REMOTE RECORDING Owner Jim Weyeneth space reservations and 725 Second St Studio Manager Jim Weyeneth San Francisco, CA 94107 (415) 957-1131 complete advertising Owner Al Vedro Studio Manager Al Vedro [8] ZIONIC SOUNDS information. also REMOTE RECORDING 'Source: Publishers' BPA statement of Box 562,1117 Division St circulation for six months ending June, 1987 [8] VINEYARD STUDIOS Upton, WY 82730 PO Box 69522 (307) 468-2742 (average of qualified and non-qualified Seattle, WA 98188 Owner: Randy Crain circulation). (206) 630-3466 Studio Manager: Randy Crain

JANUARY 1988, MIX 219 -FROM PAGE 52, NOTEWORTHY PROGRAMS software program like Hybrid Arts' will read and write files from its com- board, and perform awide variety of ADAP Soundrack, to become a full- panion sequencer program, KCS 1.5. editing functions, this program also fledged 16-bit sampling device. lets you convert your files into music Others notation for print-out. Each of the 32 Mastertracks Pro Dr. T's carries a full complement of tracks is assignable to one of 16 MIDI The Atari version of Passport's sequen- quality editor librarians (including a channels which can be looped, cer is basically the same as its Macin- program for the PCM70) for the ST bounced and otherwise edited. Avoice tosh version. However, as noted above, Hybrid Arts also supports the ST with librarian for the Yamaha DX/TX series there is no need to purchase aMIDI its ADAP Soundrack (mentioned is also included on the disk. interface with this version. above), as well as sequencer, notation and patch editing software, including The Copyist Pro-24 2.1 one for the Ensoniq Mirage sampler. This scoring program from Dr. Ts Mu- Steinberg Research offers asequencer sic Software contains the full selection program that can handle as many as This survey only scratches the sur- of music symbols necessary for profes- 5,000 patterns and 200,000 MIDI face of what's currently available in sional use. Notes are entered directly events with edit features as powerful music software. If you're thinking about from the PC keyboard, and can be edit- as any available for the ST In addition, jumping in the pool, you would be ed singly or in groups. Copyist sup- the screen is set up to resemble amulti- well advised to do some comparison ports most of the standard printers, track tape recorder with "buttons" for shopping. Each program has its strong including Laserjet for publishing- record, play, rewind, etc. This updated and weak points, and the best way to quality output. version of Pro-24 requires at least 1 know what you like is by playing with Meg of RAM, and includes new features the ones you think are right for your Others such as "logical edit," "score edit," needs. In general, the companies list- Bacchus Software, Dr. T's Music Soft- loop recording, and aural feedback of ed here have been in existence for a ware, and Passport Designs all carry a event edits. while (by software company stand- wide range of editor/librarians for Ya- ards) and their products are reliable. maha, Roland, Casio and other synth Master Piece 1.64A You will want to buy from acompany manufacturers. In addition, Turtle Beach This two-disk sequencer package from that is willing to provide you with Software sells awave editor for both Sonus Corporation features real-time technical support and software up- the Mirage and Akai S900 samplers. and step-time input, search and delete, date information six months from and filter editing. Aseparate program, now. In fact, six months from now ATARI ST called Microevent Editor, is included you'll probably be looking at awhole on the disk, and is used to edit single new world of software choices. III For those interested in starting from events in a file created by Master Piece. scratch, the Atari 520ST and 1040ST Files can be exported to Sonus' Super- Paul Potyen is associate editor of computers offer an attractive alterna- score for printing. Mix, and co-leads the progressive Latin tive to aMacintosh-based system. This band, Canoneo, which is currently is an inexpensive but powerful com- The Copyist 1.4 working on their third album. He also puter which seems to have been made Dr, T's Music Software has developed composes, arranges and produces mu- with the musician in mind. It provides the Atari version of its music scoring sic for commercial and industrial direct MIDI access and it has the abili- program with fundamentally the same applications in his spare time, if any. ty, when used in connection with a features as The Copyist for the PC. It He is not related to Paul Shaffer

MUSIC •NOTES get yours done.' He knew Iwas on a ask if he'd produce apiece for me?' I deadline with this project. It's like, wait had his `Rockestra Theme' in mind, -FROM PAGE 139,1)(AM 1:1)1))• 20 years for adeal and then you get which was atune he had written sever- treux, Switzerland, when Iwas work- one and they tell you, 'We want it al years ago [for the Back To The Egg ing with The Art Of Noise. At that time, yesterday.' album] and I had always liked that Jeff seemed to think lwas going to get "So I flew to London, hooked up melody. So Igot in touch with Paul's a deal from some record company on with Jeff and we did three songs there office, set up ameeting with him and the strength of that 'Peter Gunn' thing, —'The Trembler' and 'Theme For he was all for it. And he not only ended so he said, 'Well, when you get your Something Really Important,' both of up producing the track but he played deal, let me know and I'll be glad to which George plays slide guitar on, bass on it as well. We did that session help in anyway I can—write, produce, and `Rockabilly Holiday,' which Jeff at his studio, The Mill. play, anything you want.' plays bass, drums, rhythm guitar and "Then Icame back to California to "So when the Capitol deal came synths on. We did those three tracks at do the last few sides myself. I wanted down, I called Jeff. He was very busy at George's Friar Park Studio, which is to get together with some of my old the time working on George Harrison's his fabulous home facility. Ihad afan- friends—guys Iused to work with back new album, but he called back aday tastic time with those guys. in the old days with The Rebels, like later and said, 'I spoke to George about "And while Iwas there in London I Larry Knechtel and Jim Horn. And I it and he wants to put his album on thought, 'The way things are going, wanted to hook up with James Burton, hold for a couple of weeks while we why not give Paul McCartney acall and who's another old friend. So we began

220 MIX, JANUARY 1988 cutting at the Lighthouse, and John make it perfect, so they can get it where AFTER •MIX Fogerty came by. Then Stever Cropper you don't lose the feeling. Ithink digi- showed up and we put him to work tal works great for new age music, clas- -FROM PAGE 148 too. And it turned out to be agreat, fun sical music, jazz, things like that. But For those who can afford to dupli- jam—guitar players' heaven, for me. I for rock and roll and country, it's still cate at a more leisurely pace, Sony mean, Burton, Fogerty and Cropper missing alittle feeling. Digital cleans it also has the "Real Time DAT Software on the same cut rKickin' Asphalt']! up alittle too much. You need alittle Production System." As with high- "And then the second day we did grit in there when you're doing rock speed duping, the production chain 'List Look Back,' which sort of summed and roll or country. begins with a 1630 format master played through the 1630 and DAQ- 1000 PQ generator into an AS1-100 "I think people are hungry for this signal converter. The output of the AS1-100 is fed to one or more DRD- kind of basic, gritty rock and roll now. 100 real-time duplicators, used in the "master recorder" mode. Once mas- It seems there's anatural swing back ter recording is complete, aDRD- 100 may be switched to "master reproduc- to live musicians and the original er" function, with its digital output fed to adaisy chain of up to 50 additional rock and roll feel." DRD-100s in "slave recorder" mode for duplication. The multi-function capability of the DRD-100 allows flexible allocation of machines depend- up how Ifelt about the whole project. "A lot of my support comes from ing on the requirements of the job or Iknew it was going to be the last song England," he says, "but it's also sweep- jobs at hand. of the project and Igot kind of emo- ing here. Ithink people are hungry for Naturally, there may be many who tional about that. It was just so great to this kind of basic, gritty rock and roll are reluctant to rush right out and buy be working with those guys again; back now. Ilike all the new MIDI stuff but I DAT duplication gear until some kind in the studio with some of the original think, like everything, you tend to over- of reasonable market develops for the Rebels. And we had agreat time, just do it. Some people have gone to ex- format. These folks might be pleased playing live in the studio. John Guess, tremes with all that technology, but to know that DAT duplication is al- the engineer, said that was the first live it'll settle back down. It seems that ready available to them should the session he had done in over ayear and now there's a natural swing back to need arise during the early stages of ahalf. live musicians and the original rock DAT's introduction here. Japan Pro- "We did everything in analog. Ihap- and roll feel. After all those synths and gram International (JPI) is offering its pen to like that because Ithink they MIDI and stuff, my simple, twangy gui- services to the U.S. market, billing need to do one more thing to digital to tar is starting to sound fresh again?' • itself as "the only company in the world providing mass duplication of DAT today." Prices for their product -FROM PAGE 181, PC'S IN THE STUDIO from aplastic QWERTY keyboard, and are denominated in yen and vary de- miles from amouse. pending on the program length and Have Computer, Will Travel Studio D's Joel Jaffe says they haven't the type of master provided by the Yes, many facilities incorporate per- installed aPC in the studio "because client. Unless the master tape is al- sonal computers, but throughout the much of the time, computers are used ready DAT, amaster is made from CD Northwest, many prefer their functions in pre-production. People don't come "because of the subcode require- to be B.Y.O.P.C.—clients bring their into the studio for that; it just isn't ment." If no CDs of the program are own system of choice. For instance, economically sane. Both Richie available, JPI will make some from the the aforementioned Studio D (a rela- [Moore, Studio D's technical director client's master. As one might imagine, tively new tracking facility which has in addition to his Gate Five gig] and I this process starts to get alittle pricey, served Huey Lewis & the News, Van know how to use the computers, how especially at today's unfavorable ex- Morrison, Kantner/Balin/Casaly Band, to use sequencers, how to merge key- change rates. For further information, Aretha Franklin, and Bruce Hornsby) boards. People do their pre-produc- JPI may be reached at Akasaka Resi- decided not to buy aPC, but to invest tion at home with their own comput- dential Hotel #801, 9-1-7 Akasaka in adedicated musical computer. They ers, then they bring in their setup and Minato-Ku, Tokyo 107, Japan. just installed the Yamaha C7E, a7-foot we have the ability to handle their grand piano with internal computer setup. That seems to work best for Phil De Lancie is one of our resident that stores 164 MIDI-controllable pre- us." voices on topics relating to record sets and provides four MIDI outs, two mastering and manufacturing tape processors, and can control 16 key- Linda Jacobson, Mix assistant editor, duplication, CD replication, storage boards at once. The piano player can does all her writing on an antiquated and formats. He's also a mastering pre-program arrangements and change Eagle PC2—a 5-year-old IBM clone engineer at Fantasy Recording Stu- settings while playing, thus controll- that has never crashed. Nevertheless, dios in Berkeley, right across the street ing acomplete orchestration situation she rents aMacintosh to desktop-pub- from the Mix offices. while tickling real ivories. A far cry lish newsletters

JANUARY 1988, MIX 221 CLASSIFIEDS ment hand with our monstrous growth. keyboard and studio equipment Call Business If you are an MBA with asuccessful Reliable Music % our toll free watts line 1-800-354-

track record w/growing companies Soong the 5o.eeou fcr 25 ano,, oNet,no 7252 when you're ready. Mike, Bill, Opportunities w/knowledge of audio, please call: on e>celleet se.e.on of ',Ace Inseurnenn Terry or Marty. tec, sound ono œcoe,l , q epeernent In o Owner of established (1978) New Personnel, 2-4 p.m. (415) 777-1355, hands on en,ronmen, We ho , o CYO 90eShve e.pe ,.enced sole, en , fOCIOry New Used & Demo Soundcraft York City recording studio looking to San Francisco, CA. 'footled techasen, one f5e, oses ne con,pet.owe Neotek, Otani, Akai, Klark-Teknik, expand. Seeks working partner with INSTRUCTOR to teach audio pro- dbx, E-V, LEXICON. USED NEO - capital. Industry experience amust. duction beginning Fall, 1988. Cours- TEK CONSOLES, microphone sale, Serious inquiries only. Call Joel: (212) es include multi-track recording in over 200 mics in stock. E-V, AKG, 362-7840. our newly remodeled studio and field Beyer, Sennheiser, etc. New E-V audio production. Master's degree N-DYM mics in stock. Call Pyramid Employment and experience required. Salary Audio Inc (312) 339-8014. Offered $20,000-$22,000. Search closes Jan- Call Us Last! uary 15, 1988. Contact: Mike Mirar - Midwest-based National Radio Pro- 7 SIDEREALKAP. The SiderealKap chi, School of Telecommunications, 7041375 8662 was designed from its inception to duction facility needs PROD. ENGI- OHIO UNIVERSITY, Athens, OH NEER w/management skills. Must be the finest sounding capacitor 45701. An affirmative action/equal have 5 years experience incl. doc- available for auno today. Find out opportunity employer. Women and NEW, USED, DEMO SALE what the music lover's capacitor umentaries and radio commercials. minority candidates are encouraged RECORDERS, CONSOLES, doesn't sound like. Free literature Send tape, resume, salary history to apply. OUTBOARD EQUIPMENT and references to Classifieds, PO Otan i MTR-90 24-trk, Tascam and price information upon request Box 2526, Berkeley, CA 94702. MS-16, Ramsa T-820 20x16 Dealer inquiries invited. SIDEREAL FAIRLIGHT AKUSTIC, 1969 Outrigger Way, PRODUCT ENGINEER mixer, Aries 24x8x16 mixer, SALES OPPORTUNITY Oceanside, CA 92054, (619) 722- MONSTER CABLE Scamp Rack, Cypher Shadow Synchronizer w/Remote, Yamaha 7707. Monster Cable is looking for engi- The ideal candidate has team lead- DMP-7, Yamaha REV5, UREI MCl/SONY PRODUCTS neering talent in the areas of prod., ership qualities, is self motivated 813C monitors, Tannoy PBM 6.5 JH-24 recorder, MXP-3000 mixing product development and mechan- and has experience in audio pro- monitors, Yamaha NS-10M, console, ARR 5003 center track re- ical design. Experience in comput- duction as well as sales. ers and pro-sound equip. pref. Roland S-550, D-550, MT-32, corder, Sony PCM-3324 digital. Southworth Jambox 4+, Per- Cash, lease or finance—Quick serv- Build afuture in ayoung, friendly, This is an outstanding opportunity former & Composer software... ice call Dick McCalley (612) 929- high energy, fast-growing co. Send with unlimited growth potential sell- resume to: MONSTER CABLE, 101 E.A.R. PROFESSIONAL AUDIO 4000. ing the world's most respected dig- (602) 267-0600 Townsend, SF, CA 94107. Attn: ital audio workstation. Westlake studio monitors, MegaMix Personnel. IF YOU'RE NOT USING IT console automaton, Yamaha NS- Recording studio manager/engineer. Send resume to —SELL IT! 10M reference monitors, Yamaha Excellent opportunity no security. Frank Daller Your national clearinghouse for SPX90 effects processor, call Dick 16-trk recording studio located 90 Fairlight Instruments, Inc. used audio and video! Call for McCalley at (612). 929-4000. 110 Greene St free copy of our latest listings, miles south of Memphis, Tennessee. STUDIO FINANCING and leasing New York, NY 10012 or to list your used gear free. Great facilities and equipment Knowl- plans for qualified buyers. Quick edge in audio maintenance preferred. The Bertech Organization Call toll free: (800) 992-2272 service, 36-60 month terms. $5K to If you love achallenge send aresume No Phone Calls Please, In Calif. call: (818) 909-0262 $200K—for information call Dick to: Domino Recording Inc., PO Box THINK BERTECH FIRST! McCalley at (612) 929-4000. 816, Grenada, MS 38901. TECHNICIAN WANTED DO YOURSELF A FAVOR Fairlight Instruments requires atech- LEASE/BUY/SELL ADVERTISING ENGINEER If you're ready to buy any type of nician to work on digital audio and Great prices and great service on Major NYC studio, catering to ad recording gear or musical instru- digital video workstations. Training over 200 lines including Otan, Har- agency clients, wants to make you ment, do yourself afavor and call us on systems given. Must be able to rison, Soundcraft, Tascam, JBL, and your clients happy. Call Bob or before you buy. We have most name travel. Call West or East Coast offi- Lexicon, AMS, Akai, Trident, KT, Sandy (212) 840-1350. brands at some of the lowest prices ces of Fairlight Instruments. LA: (213) dbx and all the rest for the best in AMajor Audio Mixing/Post-Produc- you'll find anywhere. Call us before 470-6280, NY: (212) 219-2656. new or used. AVC SYSTEMS (800) you buy, you won't regret it (318) tion facility in Toronto, Canada has 323-0281, in MN call (612) 729- 234-5021. an opening for askilled Sound Mix- Employment 8305. er experienced in Television Com- 3M M-79 TAPE HEADS mercials. The successful applicant Wanted IN STOCK 16- & 24-TRACK 2" will have agood track record, ex- We stock tape heads /14 "thru 2" & English audio technician, 30s, Swiss Bought & Sold cellent customer relations skills, spare parts for most recorders resident, seeks professional experi- o and be a team player. This is a (800) 553-8712 or (800) 325-4243 ence in U.S. (pref. CA) 1-2 yrs. Broad- terrific opportunity for a creative, Summit CA, (818) 994-6602, Telex: 754239, based background in film and video energetic person. Send aresume Audio Sprague Magnetics, Van Nuys, CA production/post-production, system and salary expectations to: General Inc. Manager, Mastertrack Ltd., 35A engineering, maintenance. Full cv D&R MIXING CONSOLE!! SERIES P. O. Box 1678 Hazelton Avenue, Toronto, Ontario, on request. Jim Brogdale, CH-6516, 8000 MOD II, DEMO EX. 8MONTHS Los Gatos Canada M5R 2E3. Gerra Piano, Switz. OLD. IN-LINE 32/24 IN OUTPUT CA 95031 CHANNELS, PENNY &GILES FAD- 408-395-2448 MANAGEMENT MBA ERS, T&T PATCHBAY, 8 AUX + 32 MONSTER CABLE Equipment 4-trk,8-trk and MIDI studio gear. Best EFFECT RETURNS. MINT! RETAIL We are a small fast-growing audio For Sale prices—courteous, knowledgeable $57,850 —ONLY $39,500—(612) manufacturer who needs amanage- staff. Most major lines of pro audio 866-2999.

222 MIXJANUARY 1988 VINTAGE TUBE MIKES CONSOLE FOR SALE NEOTEK Series III 28x24 Record- Call Bill Bradley TASCAM—Model M-1624x8, 4-band ing Console, Logic control, Full patch- LEASING (312) 751-1216 semi-parametric EQ.16-trk mixdown, bay w/cables, producers desk, rose- patch for 24. NEW CONDITION, wood cabinetry, 4-band EQ. Exc. con- (3) Studer A800 MKIII 24-trk. 1year w/power supply $7,500 OBO. CALL dition, 20K, (312) 429-2760. Specialists in old machines w/autoloc stand. —ANDREW (916) 877-4703. Audio Equipment $50,000. Call Bobby (212) 921-1711 AVR GROUP MCI 24-TRK-2-TRK HEADS The widest selection of used gear. OTARI MX-80 24-TRK. 3 MO. OLD IN STOCK Otan MX5050B—$1,200; Neumann $23,950; NEUMANN "TUBE" U67 Rent or We stock tape heads /14 "thru 2" & U87 $850; Otan Mark 11I-8—$3,300; $1,200; NEUMANN NEW KM-84 spare parts for most recorders Neve 36x24 $55K; Wheatstone Lease All $359 EA; RAMSA WRS-820 20 X (800) 553-8712 or (800) 325-4243 24x8—$6K, Pultec MEQ—$650; 8/METER BRIDGE $4,800; FOS- Brands Tascam 48—$3,000. All used equip. TEX E-16 NEW $5,400; OTARI MTR- CA, (818) 994-6602, Telex: 754239, Sprague Magnetics, Van Nuys, CA. warrantied and calibrated to factory 12 6 MO. OLD $6,950; TASCAM specs or your $ back. (617) 332- MS-16 W/LOCATOR, STAND, WE TAKE 24 channel Dolby rack fitted with 361 1441. Call for prices on new equip. BRIDGE $7,500; NEUMANN TLM cards. Excellent condition—$10,000. TRADE-INS! NOW—A solid oak, 16-space rack 170 "NEW" $1,250. CALL OPUS E-mu Emulator II w/3.0 software— with /12 1" steel rails, sturdy metal cast- FOR ALL YOUR EQUIP QUOTES $4,500. Call E.A.R.S. (201) 673-5680. 312/336-OPUS (6787). ers for portability and afully adjusta- PMI, Inc. —Emulator 11+— Large library and ble tilt for easy access. Also avail. 8- BUILDING AN AUDIO SUITE? 567 N. Market St. flight case. $4,200 or b/o. space desk top & 20-space floor NEED PA EQUIP? —Soundtracs MR24 Console— racks. For more info. contact STU- Wooster, OH 44691 DON'T BUY A THING... UNTIL Like new—$7,500. Call Eric Jensen DIO WOODS INC., 20437 W. Out- YOU'VE HEARD MY PRICES (216) 262-1518 (415) 469-0192 erdrive, Dearborn, MI 48124, (313) on the brand you're looking for! 563-8588. TRIDENT TSM Call David Wynn—American Au- FOR SALE BY AUCTION. RARE 40x32 mainframe console in exc. dio Systems (612) 929-4000. Prices ROCK 'N ROLL COLLECTORS Highest Performance condition. (612) 872-0646—Steve too low to afford an 800 number. ITEMS. Two Tannoy Red Speakers (612) 824-8921. Financing and/or leasing avail. in Lockwood Cabs. One Rickenback- Audio Transformers! er 4001 Bass. Blue. Speakers used •Wide bandwidth •Low hysteresis distortion Southeast's largest broker has avail- Used Trident BOB 30/24/24—$30,000 by Pete Townshend to record "My •Flat group delay •No overshoot or ringing able quality, used recording equip. w/MasterMix automation add $11,000. Generation" and "Pinball Wizard." Call for free applications assistance for sale—MCI & Harrison consoles, (Mon- Thu rs. 9oref5plei Pacific time) Used Soundcraft 2400 Series 28/24/ These items have been donated by MCI & STUDER machines, QUAN- 24 console, home studio use only— Pete Townshend to the Merseyside TEC QRS—steal at $7K; LEXICON $24,950; (813) 960-5100. Unemployed Resource Centre in jensen transformers 224's —mics—all types of outboard INCORPORATED Liverpool, England to help raise funds equip. Lots & lots of MCI parts avail. Trident Series 75 console 28x24, 8 10735 Burbank Blvd. •North Hollywood, CA 91601 for their Recording Studio. The stu- Call for new list. Special: Dolby M- sends, 4-band EQ, EQ on monitors, FAX (818) 763-4574 Phone (213)876-0059 dio is used for recording demos and TELEX 6502919207 MCI UW 24H —$8,000; EMT 251 w/250 prog. 1/12 -yrs-old, exc. cond. $17,500. Call records by unemployed bands in —Inquire. Randy, Bobby or Tim (615) (201) 653-6389 or 653-6729. Liverpool, and as an Educational STUDIOMIXER Il REC. CONSOLE 361-8429 or 361-6768. We are al- 24x8x2 3-band EQ &6 sends, never AMPEX MM1200 16-trk exc. condi- Facility. The Centre is an important ways looking for good used audio & used $3,900. Scully 284-8 1" 8-trk, tion, priced for quick sale—$8,000 facility helping to stimulate the crea- video equip. late model w/silent punch in & mo- firm. PROPHET 2000—$975, AKG tive use of leisure time amongst kids tion sensing. Used only in home stu- MCI JH-416 console 24x24. Now in C12A—$695, SONY C37FET—$150, in an area where unemployment, dio. Will include 4spare record/re- use at a home studio. Well-main- (2) SPECTRASONICS 610 limiters crime and misuse of drugs are en- pro modules. Exc. condition—$2,000. tained, spare parts. Will accept ANY —$100 each. (805) 466-1833. demic. The sale of these items could reasonable offer. Call Joe (301) 761- help find the new Beatles?? Reply (914) 356-6553. 6159. to: Mix Classifieds, PO Box 2526, SUNSET SOUND #1, Berkeley, CA 94702. 3M-79 24-TRK RECORDER WISE- '" A MAZING"' CUSTOM CONSOLE Star-studded studio 2 console, se- LECTAKE; AUDITRONICS 501 CON- db ENGINEERING SOLE 18x16; (2) UREI 529 1/3 LOVV.LOVV PRICES (formally NE Equip. Exchange) lectively seeks new home. Available early 1988. Serious inquiries only. OCTAVE EQ-CUT ONLY. CALL LEE INVENTORY REDUCTION SALE The only Broker w/OTARI & TAS - (415) 359-1853. CAM service. Used Otan MX5050B (213) 469-1186. —$1,200, EVRE20—$275, Otan de- Ampex MM1200 24-trk tape record- V Quality Recording & Midi Gear esser—$350, Sony VP-5000 U-mat- Equipment er with remote and 20 point memory V Digital Reverb & PCM Processors ic—$1K, Lexicon PCM60—$650, Ro- $25,000 Canadian. Ampex ATR-102 land 16 -ch. Compu-Editor, SMPTE Rental tape recorder with autolocator $5,500 V P.A. Systems & Power Ampli tiers auto.—$2K, Ramsa T820, 20x8 mix- Canadian. Ampex VS-10 van-speed e V Multitrack Recorders & Consoles er mint w/mtr bridge—$3,500, Neu- paii ncT, Acta $500 Canadian. For more informa- mann U47 tube—$1,500, MCI JH- tion call George (416) 622-4568. V All Equipment New &Warranteed 428—$9,000, JH-24—$13,500, Neve V Major East Coast Audio Supplier 80483-band—$60K, Soundcraft 800, DIGITAL AUDIO RENTALS 18x8x16 w/300 bay—$8K. List with V Great Buys on Rare Equipment us for FREE! Specials on new gear. Specializing in digital tape DAT AKG 414-ULS—$650, Beyer M69 machines, reverbs and effects We have Digital Audio Tape Te kC om —$150. Call for prices on Aphex, processors. Technical decks and tape ready for delivery!! C3 CORPORATION Klark-Teknik, Orban, Gauss, Aries & consultation included. Isla,terearri ,S: Vi‘a are We Trident. We design & build studios, (213) 838-6555 (..m.i. 215426-6700 custom PB & more. (617) 262-0311. Outside CA (800) 441-4415 P.O. Box 491087 oPCM AKAI MG1214 12 TRK REC., 7 MO. Los Angeles, CA 90049 We buy and sell all Sony PCM products. OLD, MINT CON D., $5,800 OR Call for info!! MIDAS CONSOLES B/0. (312) 677-3550. Micro Seiki Turntables SAEC Tonearms—Cartridges (1) Custom 38x8x4 Pro 5House; (1) MIX LC-OFC wire —the bese LS4 32x8x2 Pro 5House; (1) Custom AUDIOCRAFT 32x16 recording con- Portable DATs available. 16x8x4 Pro 5 Studio; (1) 30x10 6 sole $7,500, TEAC 90-16 track re- CLASSIFIEDS Audio Gallery (213) 829-3429 corder w/dbx $7,500, (212) 581-2305, 2718 Wilshire BI., Santa Monica. CA 90403 blank Pro 4 monitor; EXCELLENT WORKI CONDITION. (705) 674-1450. FILMUS Recording, Ben or Peter.

JANLIARY 1988, MIX 223 The new fall 1987 Mix Bookshelf Tammy Faye Baker, and many oth- Catalog is now available! VVrite or ers. 24-, 16- or 8-trk mix through —CRYSTAL INC. call now for your free copy of the DUPLICATED CASSETTES Hard Disc Automated Sony 3000 AS LOW AS 435 PLUS SU UP most comprehensive selection of board going to PCM-3202 Digital or FULL COLOR CASSETTE INSERTS books, tape courses, music software, APR-5000 /12 "Analog. ITS NOT TOO .supw. $53.00 mom— 1619 Broadway, NY.NY 10019 SFX libraries, databases and more. LATE! Call us for rates and schedul- FULL COLOR GLOSSY PRINTS (2121 582-7360 MIX BOOKSHELF ing, (704) 377-4596 (Charlotte, NC). 23e Ettrso,,,.. The Best That Money Can Rent 2608 Ninth Street HIGH ENERGY CASSETTES •Digital Multitrack *Outboard Equip Berkeley, CA 94710 AS LOW AS 'Time Code Equip •Mixing Consoles C-62: 28e and C-92: 34e •PA Equip •Walkie Talkies CALL TOLL FREE: (800) 233-9604 FULL COLOR POSTERS OR *Wireless Mikes *Video Playback CD MASTERING& In California: (800) 641-3349 BROCHURES DIGITALTRANSFERS AS LOW 05 $195.00 PEA 000 FULL COLOR ALBUMS 2.1£1.11—Lie611 Maintenance 58e roc,, DIGITAL PHONE TOLL FREE: Pà?..112-i9.1.11 Services 1.800-826-6540 TN: 615-843.0717 Sony 3324—$750 per day, Focus- & Repair SERVICES ,.8002 Middle Valley Road, Hixson, TN 37343W.. rite EQ (6)—$200 per day, Sony P. O. BOX 694 3202—$225 per day, Free cartage Tim ELECTRONICS INC PROFESSIONAL RECORDING within 25 mi. of NYC (914) 639-1091. / LYNBROOK, NY SUPPLIES 343 MANVILLE RD I I 11563 We are a major wholesale Dis- PLEASANTVILLE, NY 10570 tributor of Ampex, Agfa &3M reel is- (516)872- 2325 Aublo ,etcrT Pto fiedéo Seuxice to reel mastering tape (1/4"to 2"). We also stock broadcast video STUDIO EQUIP. FOR HIRE •Consoles •Multi-Trax tape, assorted reels and boxes, Technician on staff 7am-lam • Amplifiers •FX equip Records, Tapes splicing/leader tape, and pre- Open 7days aweek CD Services packaged cassettes. We load Digital Tape Machines, —Repairs bulk cassettes in custom lengths Synclavier Systems, —Modifications and Supplies using a variety of tape brands. Effects Processors, Reverbs — Performance Testing Please call or write for our FREE Disc Mastering and Record Pro- (213) 871-1104 (818) 980-4006 catalog. \ (914) 769-6423 duction LPs, EPs, 45s—Plating, Advance Recording Products Labels, Pressing, Jackets. RCA MICROPHONES — Repai 7190 Clairemont Mesa Blvd., Equipment DIGITAL NOW AVAILABLE! service on all models. Complete San Diego, CA 92111 THE CUTTING EDGE Wanted sound and cosmetic restoration. 35 (619) 277-2540 Box 217M yrs. experience with company. ENAK Inside CA: (800) 858-1061 PULTECS, FAIRCHILDS, API 560s, Femdale, NY 12734 Microphone Repair, 420 Carew Ave- Outside CA: (800) 854-1061 TUBE MICS, ANYTHING NEVE, (914) 292-5965 ANYTHING EXOTIC! nue, Pitman, NJ 08071. (609) 589- Visa/MC Accepted (213) 45-SOUND 6186. REAL TIME Best Quality Cassettes using Naka- NY TECHNICAL SUPPORT, LTD. (.1.M,FI EASTERN michi decks only. Custom loaded S Instruction Factory Trained & Equipped TANDARD Agfa or BASF Chrome. Label and in- P Ampex/API/MCl/Neve/Otari RODUCTIONS sert printing, shrinkwrap, blank tapes. 26 BAXTER ST BUFFALO N Y 14207 INSTITUTE OF COMMUNICATION Scully/SSL/Studer/3M/Trident SUPERB QUALITY • AUDIO CASSETTE DUPLICATION ARTS. Commercial Music Perform- CALL GREG HANKS AT LOW PRICES High Quality Real Time ance, Audio Engineering/Prod., Vid- Service/Design/Consults/Installs Uni-Sette, Inc. 1854 Fulton Ave., • VIDEO CASSETTE DUPLICATION eo Prod./Sound Reinforcement, Mu- 35 Hardscrabble Hill All Formats Sacramento, CA 95825. (916) sic &Entertainment Bus., Communi- Chappaqua, NY 10514 • CUSTOM PRINTING 8, PACKAGING 485-9534. Labels -Inserts -Shrink Wrap cations, Electronic Music, Music (914) 238-4171 CALL COLLECT Theory &Arrang. 2Yr Prog/P.T. Stud- FACTORY DIRECT For Free Brochure ies. 12-12840 Bathgate Way, Rich- Music PRICES ON 3M TAPE (716) 876-1454 mond, BC. Canada (604) 278-0232. & AMPEX TAPE Products/ Discounts available. Best AGFA Prices! Software We can & have saved you 2" Reel =$105. money! Call us—you'll like us. 14511 Delano 1/4"Bulk =$9.50 Los Angeles, CA 91411 We're in the business, just like WORLD CLASS TAPES DISKS? you. STUDIOWORKS is also a (313) 662-0669 Exclusive library of over supplier of pro recording equip- 400 disks: Emulator II, EMax, ment (800) 438-5921 & (704) Oberhelm DPX-1, Mirage, s-5e 375-1053. "skulakers , • Super Low Prices on Agfa, BASF, SW» per disk Ampex and Mag Media, Bulk Cas- 818 994-9976 Call efrl .„fger S Is: settes and Accessories. Real-time Neffelhi • o " and High Speed Duplication. Call • 5.E. or write for prices and brochure. TRAXX RECORDING PRODUCTS, RecOnlillg 24 Crest Way KC, New Fairfield, INSTITUTE Recording CT 06812, (203) 746-3561. RECORD PRESSING CASSETTE DUPLICATION Services ULTIMATE FIDELITY EDUCATIONAL VIDEOS SE ND FOR (MIR PRICE IS T 2/6/12 hour sound mixing/record- EVEN IF YOU DIDN'T RECORD AT The VVorld's largest Nakamichi CALL TOLL FREE ing courses: $39, $119, $239; 2hour REFLECTION, ALL IS NOT LOST— real time cassette duplication 1-800-468-9353 MIDI course $39; Add $5 shipping/ YOU CAN STILL MIX AT REFLEC- system. Full service packaging. 925 N. 3rd St.. Phila., PA 19123 handling for each course. Visa/MC/ TION. We handle remix work from 50 to 50,000 qty. Call toll free— check. For brochure: RECORDING studios all over the country (and a in NO. CAL, (800) 327-AAPX Neumann to Eventide, AKG to dbx. ASSOCIATION, 5821 SE POWELL, few in Europe). You have heard our outside CAL, (800) 323-AAPX All in stock, ready to ship. UAR Pro PORTLAND, OR 97206, (503) 777- work on REM, Don Dixon, Mart Jones, or (707) 585-1132 Systems. ares Fairhaven, San Anto- 4621. Marshall Crenshaw, Let's Active —Call AAPEX today! nio, TX 78229. (512) 690-8888.

224 MIX, JANUARY 1988 FANTASTIC RECORDING STUDIO PUT THE MUSIC INDUSTRY 32 trks made to order. Custom P.B. 3M SCOTCH AUDIO TAPES MCI 16/24 trk, 8trk. Additional equip. AT YOUR FINGERTIPS! Prompt Service—Low Prices 8i panels. Will install as desired & incl. Located in Midwest area Studio •THE 1987/88 CALIFORNIA MUSIC quality control guaranteed. (805) /14 "pancakes, /14 "-2" reels, acces- designed and equip. 1st class. Realty DIRECTORY—$33.45. 251-6547. Call for estimates. Dolby sories, Scotchcarts & cassettes. and as package. Lease to own. (812) •THE 1987/88 MUSIC BUSINESS racks, outboard racks, PC board Call or Write for Price List 446-0003. VVrite-1 /12 W. National work, all done to your specs. R& M PRO AUDIO DIRECTORY—$33.45. Ave, Brazil, IN 47834. Attn: Warren •THE 1987/88 MUSIC RADIO 1080 Pacheco, S.F., CA 94116 Grey. DIRECTORY—$33.45. (415) 665-8480 —SOUND EFFECTS- 180 SOUNDS YOU REALLY NEED DISTRIBUTORS WANTED Miscellaneous Special discount—All 3for $80. 5 STEREO LPs GROUPED BY Major manufacturer of bulk-loaded Checks/M.O./VISA/MC to: CATEGORY: S89.95. POSTPAID. cassette blanks looking for distribu- MUSIC INDUSTRY RESOURCES EFX 2325 GIRARD S. tors outside California. Standard and TRACK SHEETS Box 190, Dept MIX MINNEAPOLIS. MN 55405 custom lengths. Send for confiden- BOX & REEL LABELS San Anselmo, CA 94960 tial price list and samples on your •Cassette Labels & Inserts (415) 457-0215—ORDER TODAY letterhead. Phylco Audio, 4697 •Drum Machine Sheets Brooks St., Montclair, CA 91763. •Alignment Plaques SYNCLAVIER COPYIST Rare 81 •Plus many other items c Synclavier Music Engraving sietees • PRINTED WITH Hard-to-Find slectegteeicçw on Your Studio Name Lead sheets to complete orches- Professional video supplies & accesso- ‘cscoteeci Dec Iizent-etc‘ tra scores. Full editing including ries for recording, production & besad. Address & Phone casting at the best prices in America — \cs tegefeeteGie.Chfet0 FREE CATALOG corrections and transpositions. the industiy's most unique catalog! of specialized forms for the Write: Studio C, 2220 Broadridge Call or write now for your free copy: es lec.hcetcoreslec\-eeo recording & music industries Way, Stockton, CA 95209 (209) mocesietststectlechnetco 477-5130. Marker STUDIOFORMS CO Technologies of America es e tteseteoleero• 186 Glen Cove Avenue, Suite 20 1/M-28 Glen Cove, NY 11542-3505 STAR'S CUSTOM CABLES 145 Ulster Ave Saugeftes, NY (USA) 12477 çse.sttee) lel e O • led\sve 800-522-2025 in NY 914-246-3036 ee. (516) 871-1047 Audio & Video snakes, 16, 24 and ,voeeslizchnetso(i‘ccpleee \Cs »Po col CDVICD-ROteeC. etei‘cslechortcose)lech How to Place a Mix Classified Get& we ear.bcee. 9.+b Please print or type in CAPITAL LETTERS and lower case. There are 8 lines to the inch

le bet. k9b, e, &sea cote and approximately 24 CAPITAL letters per line or 32 lower case letters. $80 per inch — 1" see CNES1E9,1*, Nee minimum. Additional lines $10 per line. BOLD TYPE or Black Border $10 per line. Gray screen $15 extra. Logos or display advertising up to 4" will be charged at $100/inch. Frequency discount rates available. Call for information. Payment by check, money order or charge OUR 10TH ANNIVERSARY must accompany ad. DEADLINE is the 15th of the month, 6weeks prior to publication.

Categories Available (Check one.) D Acoustic Consulting E Equipment Rentals E Records, Tapes & CD D Business Opportunities D Equipment Wanted Services and Supplies D Employment Offered D Instruction I: Recording Services 0 Employment Wanted D Maintenance Services Studios for Sale 0 Equipment for Sale D Music Products/Software I: Miscellaneous FYOU ARE LOOKING FOR A RELIABLE ENDLESS CASSETTE YOU VE FOUND IT YOUR ENDLESS SEARCH IS OVER Name UP TO 120.000 • PASSES. HEAVY DUTY SELF CLEANING TAPE SOUNDS BETTER LONGER Address PLAYS VERTICALLY OR HORIZONTALLY IDEAL FOR ON HOLD TELEPHONE MUSIC Phone TALKING HOUSE RADIO TRANSMITTERS. POINT OF PURCHASE DISPLAYS. ETC Iam paying by (Check one.): 0 VISA D MASTERCARD D AMERICAN EXPRESS ALSO SPECIAL ENDLESS TAPE PLAYER AVAILABLE -CALL OR WRITE FOR PRICING INFORMATION Card #: Expiration Date MANN ENDLESS CASSETTE INDUSTRIES P.0 Box 1347 San Francieco, CA 94101 1415) 221.2000 EXT. 9 Signature:

Studios For Sale O Check or Money Order #: Amount Enclosed: $ 24-TRK STUDIO EQUIPMENT Mail to: Complete Package Includes: Harri- Mix Classified, 2608 Ninth Street, Berkeley, CA 94710 son Console, Studer 24-trk, AMS, Eventide, Lexicon, UREI. Call Jim at (415) 843-7901 (513) 681-8715. Ad Copy . 48 TRK WORLD CLASS STUDIO EXCEPTIONALLY BEAUTIFUL LOADED LARGE AND PRIVATE, W/house in residential, exclusive Alpine, NJ, nine minutes from NYC. $1,950,000. BROKERS or Please attach your classified ad copy on a separate sheet, AGENTS WELCOME. LAN DCAS- typed double-spaced or printed out clearly. TLE. (231) 767-8453. -p

fAN11,1111 . 1988, mix 225 ADVERTISERS INDEX

PAGE ADVERTISER PAGE ADVERTISER PAGE ADVERTISER 118, 201 A & RRecord & Tape 116 Electro-Voice, Inc. 118 Opus Recording and Manufacturing 20 Fairlight Instruments Equipment 161 Aapex 18 FM Tubecraft 172 Orban Associates, Inc. 84 Adams-Smith 131 Fostex Corporation 7,208 Otan i Corporation 113, 177 Akai/IMC 210 Four Designs Company 49 Peavey Electronics Corporation 89 AKG Acoustics 85 Full Compass Systems 108 Penn Fabrication 227 Allen & Heath Brenell 159 Fullersound 32, 174 Penny & Giles 37 Alpha Audio 207 Furman Sound 147 Phi Tech 11 Ampex Corporation 159 Future Disc Systems 138 Power Stroke Productions 103 API Audio Products, Inc. 53 GoldLine/Loft 90 Power Studio Supply 36 Applied Research and 120 Alan Gordon Enterprises, Technology (ART) Inc. 137 Professional Audio Services & Supply 47 APRS 176 Grafton Sound 134 Prosonus 161 Sam Ash Music 171 Granny's House 175 QCA Record Pressing 182 Audio Engineering 91 Hardy Company Associates (AEA) 25 QSC Audio Products, Inc. 46 Institute of Audio Research 35 Audio Logic 55 Rane Corporation 68 JBL Professional 59 Audio-Technica 147 RCA Test Tapes 40 Russ Jones Marketing Group 154 The Recording Workshop 151 13arcus Berry Electronics 150 JRF Magnetic Sciences (BBE) 189 KABA Research and 154 Rhythm City Music 121 Berklee College of Music Development 93 Rocktron Corporation 99 Beyer Dynamic 181 Keystone Printed Specialties 106, 107 RolandCorp US 79 BGW Systems, Inc. Co., Inc. & 129 71 Bruel & Kjaer 82 Kurzweil Music Systems 175 Russian Hill Recording 31 Bryston 203 ID Systems, Inc. 122-123 The Sandbox/Spectral Music 92 Simon Systems 37 Burlington Audio/Video 56 Leonardo Software Tapes, Inc. 13 Lexicon, Inc. 42-43 Solid State Logic (SSL) 102 C-T Audio Marketing, Inc. 179 Lightning Music and Sound 61-65 Sony Professional Audio 135 Sound Genesis Corporation 209 CAE/Littlite 29 Live Oak Studios 195 Caig laboratories 150 Manny's Music 124 Sound Ideas 169 Carvin Corporation 23 Martin Music Technologies 127 Sound Image 197 Cassette Works 38 McGill Master Sample 228 Soundcraft 41 Cipher Digital, Inc. 98 McCauley Sound, Inc. 199 Stoughton Printing Co. 211 J.L Cooper Electronics 28 Meyer Sound 2 Studer Revox 94-95 Crown International, Inc. 191 Microsystems, Inc. 30 Studio Consultants, Inc. 111 CSE Audio 14-15 Mitsubishi Pro Audio Group 178 Studiomaster 119 D& RUSA 164-165 1988 Mix Annual Directory 148 Sun Valley Audio 67 dbx, Inc. 153 Mix Bookshelf 57 Symetrix 50 DDA, Inc. 217 Moonvalley Cassettes 157 Tannoy Professional Products 126 Design Direct Sound 44 Moseley (DDS)/Walker 33 TASCAM 179 Music Annex Duplication 167 Devonshire Audio/Video 105 Telex 145 National Academy of 39 Digidesign Recording Arts and Sciences 102 Thoroughbred Music 81 DOD Electronics 9 NEOTEK Corporation 115 Valley International, Inc. 139 EAR Professional Audio- 3 Rupert Neve, Inc. 197 Vertigo Recording Services Video 17 New England Digital (NED) 143 Video Expo 101 Eastern Acoustic Works, Inc. 26-27 Nimbus Records 19 Westlake Audio (EAW) 155 Northeastern Digital 120 World Records 138 Eastern Standard Recording, Inc. 73-76 Yamaha Music Corporation, Productions, Inc. (ESP) Professional Audio Division V11,19.1 esigned for the Working Professional! Performance DThe Sigma Series offers you the Sigma will satisfy your Current and Maximum Flexibility, in layout and Future needs in 16, 24 and 32 track design features that reflect the evolution recording as well as MIDI First of Sigma Engineering. Generation Recording and Sound Reinforcement Applications. Built to the Highest Standards, to which AHB has established its reputation For more detailed information on the on... for over 14 years. New AHB Sigma Console, Contact your Authorized AHB Dealer Today. fiLLf[141ffiTt1 5PfilfLL U.S.A. Allen & Heath Brenell (USA) Ltd. Five Connair Road Orange, CT 06477 /(203) 795-3594 U.K. Allen & Heath Brenell LtcL 69 Ship St. Brighton, BNI IAE England Tel. (0273) 24928 /Telex 878235 j. CANADA: GerrAudicelbronto (416) 361-1667 ,-.. .. 4'... „,- ..._ 4P ,---, ge ,-.. '•-.... --•,- ge „, _ ,•--.. -...."...... :- - ""4., ., -•:,-"1,- • - it. . ,gi>""• ...... e ...... , . •-- ,.... "4-.01 '''' ,...., , , ,---, lie- ,...0 , ..,.. ...,, ' - ...o.,,, • 7...,....,4--re- ,...,e . ,..-... ge„ , , ...• .,.•...•...... -414 e. ., ... ell -. ----:--..-- -• ..... ' '-• .... -, 4' .. • '.., 4 •4, ise ii ,,..... **:,iii::- 4¡gr.. •.. .' ..4>4... 4.4.114. ' - '4'4? --: , ' ' /14 .../ • ,e?Ie, ...4*"•114, ,4,„ • s. , ...?.. • 14 ..• I.›, - ....a. ,...... #. -- -, /_, :-...... - - 2 ....• ..: ' e•alib• 4, •••• , ,', , _, .... 1 .0 '•• • '-,.., ....:•--, *--...-.- --, - -• 4;7' , •••; ••• , I,. ** f e ii.• .• ,.... „._,I. Ld ...... • -...... 4,, ••••.. ,..,.... 4.,' .7 «•-•,."..., ..".., ..s- ei. '''. •."" ,,,,,,. - ....-.....- , ,..:14,„ ' ' #4:11114. I ,:‘;114 .1, ... - , , 4 " •••••"*".• __. !.."...... , ' ,..-1.... .4r.-e, "* #4' .•_, :11,*.,, • .•- ''...." - ' -• ‘-,-••.••;;-- ,•4' '''=e., ..,..-- #• --•••• .. --' ... •';'":!.., • , #,.., ''''"*....7.• jit.' '9.4•7 ...... - . '....., ".. - ' . . °^41e, •,' ..-..-..- ',..:.. '..7:.;:e...ele %":0',7 .."-:- ''• ..." ..-:>.„, ,,,...> • «:..,' n"..,...4,.., ."." '«...... ',.:,-.17. • - --- " •:; -- # *--e'N ...,,,, -,..4 -. -.... - -- ' 7,:„... 'lc., e,....•' 7 1. •4 ,,,,-, , ...... ,...... •••,', 4 „71e, 4/, ..."„, 40e e ....- ..,, • - ‹..,...... , , ..e.„.• ...,„.., 40e / „,‘,.. %, ./„...... ite - .., ' ... .."..12 ;" ...7..,, ‘,... ." 4.1 ..." ''‘'--4-,.._-, •-"-,-.. 4e4te •••••• . _„/ a*" .7 ‘. ;44 ,' •• •-,•' .." .. ,,.;„.:.„ „„/ ".....•,„,,,, „...-,... , - '•• 2... --'-., • '4 N. 444> : • I ,.2 7 --• - --"---, ----> .' ...• *,.%.,.'., _ "••". ' 4:, s' 7 •"‘ti.,, -: *-- • "*".4.- 4;,....2, ,... !,--, •• 7 ' -' ,..- . 7 dCd> ‹,4e ji` ,:-.-- e".--- "--1.e-• •-•"" , -;------;-' cee-',1;

e -- -,--:.;------;.-- _-,%-,,,- •-•:":'; • ,,. ----;-•,- 7 ----- 4, ee.<- ..... -4 .;., •, oe e ••••/•".

• This is the mixing console that will cause a

revolution in 24 track studios.

The world's first Dual Mode mixing console.

With the advanced features and performance of

adesk you'd expect to cost agreat deal more than it

actually does, its a remarkable achievement. Take

Dual Mode.

When you record with the T512, its in-line

monitoring means you create a control room mix on

the main faders. ALL THE FEATURES YOU'D EXPECT In mixdown this becomes the basis for your IN A $50,000 CONSOLE, EXCEPT ONE. master mix. Saving time and helping you keep atrain

of thought as to how the final mix will sound. THE PRICE.

Unlike other in-line desks, though, the TS12 also

allows true stereo subgrouping on long-throw group

faders.

In this mode the routing matrix offers either six

stereo groups or four extra auxiliary sends - totalling

ten sends -plus four stereo groups.

No other console in the world provides such

versatility.

The TS12 is an open-ended investment, with op-

tional disc-based SMPTE automation for faders.

mutes, EQ in/out and auxiliary on/off. Again, at the

price it's unique.

And fittingly, audio performance is superb.

Recent Soundcraft advances in summing amp

technology, and in grounding and decoupling systems,

make the TS12 one of the cleanest and quietest

consoles ever.

The mic amplifiers, a critical factor in console

quality, create less than 0.01% distortion at 10kHz at

70dB of gain. (Easily exceeding 16-bit digital

specifications.)

Standard features are impressive, to say the

least. Six auxilliary sends, seven stereo line irputs or

effects returns, a 'musician friendly' headphone mix,

an extensive 19" metal frame patchbay - and the

option to create amassive total of 102 inputs.

Quite aline-up.

Attention to detail is equally stringent with modular PCBs, no dual concentrics and aclear, logical layout that belies the sophistication inside.

But the most remarkable feature of the new

TS12 is without doubt the price.

We suggest you call us today to find out just how Sour)dcratt remarkable. Immina

IAAA 1Z2 ,NP L, TS Arm 36 C RA ( I SUMMING AMP ',DIU -12 SOBv FIN é AK AIdi -11110, EIN 120n)I MC AM DISTORIION C iND AT 70FEI GAIN I -05013v AUX SEND KILL AT ALL FREQUENCIES I CROSSTALK TYPICALLY -7 COB AT 101,N1 4S5 BM • MAXIMUM 26014 OUTPUT

SOUNDCRAFT USI , ASO BALBOA BOULEVARD ,NORTHRIDGE ,CA 913 Z9, TEL 1810, 693 4357 FAA ISM 053 3631 SOUNDCRAFT UK TEL 0112075050