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The Applications Magazine for Audio Professionals $4.00 The Applications Magazine for Audio Professionals $4.00 AN INTERTEC PUBLICATION www.americanradiohistory.com TOTAL AUDIO BRILLIANCE rREV +OIiOR+ NG +Eo REV TIME: 2.2s Up to four incredible studio sounds simultaneously! Total Audio Brilliance! ART takes digital processing into the 21' Reverberation Pitch Transposition Digital Delays century. Four effects at the same time. Full parameter variabilit Arpeggiated Effects Pitch Shift Doubling Chorusing Thirty -two character LCD for operational sii iplicity. Create Reverse Gates Imaged Doubling EQ custom programs. Stack multi - Easy to use front panel controls effects. Store them in 200 200 user memory locations -E0+i_Hi IR+FLN1=+_ memory locations! ART's NEW REV TIME= 2.2_ Over 100 studio- crafted presets ultra-high resolution circuitry Fully programmable ='IT1_H TRANSPOSE yields audio performance Full parameter control F'ITC=H= +12 unequaled at any price. Random access keypad 1_Hi IF:L I_+REJ+DELÑ':' We Put It All Together.. Ultra -wide bandwidth NOD. FF:1_I= 0.9 Applied Research & Technology Full midi with battery back -up 215 Tremont Street r. DL4'+GHQ I R-a 1 Remote footswitch Rochester, NY 14608 jack with DLY =106. 0N_ preset (716) 436-2720 increment TELEX: 4949793 ARTROC Circle (1) on Rapid Facts Card FAX: (716) 436-3942 Export Distributors: THE NETHERLANDS /Audioscript B.V. /Soest/02155- 204001 FINLAND /MS- Audiotron /Helsinki/90- 5664644 /SWEDEN /Muskantor & Co. /Molndal /031- 878080/ FRANCE /High Fidelity Services SA/ Paris /(1) 42.85.00.40 /CANADA/Yorkville Sound LTD./ Scarborough /416-751 -8481 /ITALY /Ital C.LDA. SPA/Parma/0521 690158/ WEST GERMANY /PME Audio/Hauffweg /07136- 6029 /SWITZERLAN Musikengros P. Gutter /Sissach /061- 983757 /HONG KONG /Audio Consultants LTD. /Kowloon / 3- 7125251 /JAPAN /Kanda Shokai Corp./Tokyo /(03) 254- 3611ITHAILAND /Beh Ngiep Seng Musica Instruments/Bangkok/222-5281/INDONESIA/PT Kirana Yudha Teknik /Jakarta /3806222/SINGAPORE/Lingtec PTE. LTD.17471951 /SPAIN /Aplicaciones Electronicas Quasar SA/Madrid /6861300/ TURKEY /Kadri Cadmak/Istanbul/ (1) 1661672/AUSTRALIA/Hi-Phon Distrib. Pty. LTD. /Chatswood NSW /024177088/DENMARK/M.I. Musik/Kobenhavn/1- 854800/Ú.K. /Harmon U.K. /Slough/ 075376911/NEW ZEALAND /Maser Digitek/Aukland /4443583 /4/ISRAEUMore Productions/Tel Aviv /03- 454003- 442697/ARGENTINA/Lagos Sarmiento/ Buenos Aires /40 -6455 www.americanradiohistory.com Simple telligence 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- n Each of the DCM 232's ways be those who ascribe a magi- ion Terminal controls one of the C c channels, including the cal aura to certain pieces of most ingenious automation systems four band EQ section, - equipment. 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 a 56 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 a channel'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, .1 the DCM 232 in -line with tighter deadlines. You need Ceeeeet .eeelyet NeeeN console with CAT auto- greater flexibility, expanded fea- =ai S f2 11 i fa 14 ta a. 11 a 12 s mation are tures, enhanced performance. explained aaaarssasaa. more fully in our bro- What you don't need is a "mega - star" console -or the jumbo mort- chure. To get a copy, write on your gage that goes along with it. letterhead to the appropriate ad- dress DDA's AMR 24 has already set below. new standards of audio perfor- mance and versatility in the "clas- With all of its convenience func- spsRs/ 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 IDDÀ 232y 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., 30B Bann Plaza North Farmingdale, NY 11735 (516) 249 -3660 capacity to handle a pair of syn- 22 dB headroom at each stage, Unit #1, Inwood Business Pk., Whitton Rd. chronized digital 32 tracks. thanks to exacting calculation of Hounslow, Middlesex, UK TW3 2EB every circuit component. 01 570 7161 Circle (4) on Rapid Facts Card www.americanradiohistory.com CONTENTS Studio Design Other Features Facility Profile: Lucasfilm's Acoustic Design: Noise Control Skywalker Ranch Noise control is the science of reducing The capabilities of the Technical Building noise and vibration transmission through were arrived at by determining the re- a building's structure or boundary quirements of making five stereo feature surfaces. films a year. By Vin Gizzi 49 By Larry Blake 20 Studio Design: Ergonomic Nashville: Old Traditions, Considerations New Frontiers Ergonomics is defined as the relationship This special project between RE /P and the between workers and their environment. Nashville Entertainment Association Good ergonomic design can encourage spotlights the elements that make creativity and streamline the work flow. Nashville a unique production center. By Andy Munro and Michael Fay. .. 59 By RE /P and the NEA 33 Basic Design Factors for Artificial Reverberation: Remote Recording Facilities Simulating Natural Acoustics Weight, suspension, console orientation, Proper use of digital reverb allows you to Departments and stringent ergonomics are examples of simulate natural acoustic environments, in the unique considerations needed for the addition to providing special effects in live Editorial 4 mobile environment. situations and in the studio 75 Letters 6-10 By Christopher Danley and News 12 Patrick Murray 63 Hands On: Audio Precision Managing MIDI 14 System One SPARS On -Line 16 CAD Facility Design The System One is a single monolithic test Understanding Computers 18 The ability to integrate many disciplines unit that is controlled by an external corn - Studio Update and functions -such as project and puter. The physical design is expandable, Talkback 90 facilities management, and engineering not only to the user, but to its designers Studio Update 91 -92 design -makes the CAD workstation an as well. New Products 93 -94 invaluable tool in systems design. By Jim Rogers 80 By Curtis Chan 68 On the Cover HVAC for Audio Facilities A well- designed AC system will keep the The use of CAD temperature, humidity and air quality at software for designing comfortable levels for your clients and op- studio and remote timal levels for your equipment. facilities is a relatively By Jeff Blenkinsopp 72 recent development. The rapid evolution in this area is attributable largely to the increased power and lower cost of personal computers. 4Touring with a Reggae Volume 19, No. 8 Festival in Africa RECORDING ENGINEER /PRODUCER is published monthly by Intertec Publishing Corporation, 9221 Quivira Several West African nations were host to Road, P.O. Box 12901, Overland Park, KS 66212 -9981. a series of outdoor concerts billed as the Second-class postage paid at Shawnee Mission, KS, and additional mailing offices. POSTMASTER: Send address world's largest touring reggae festival. changes to Intertec Publishing Corporation, P.O. Box By David Scheirman 83 12901, Overland Park. KS 66212 -3981. 2 Recording Engineer/Producer August 1988 www.americanradiohistory.com Announcing a new pr duct with serious repercussions. As a sound engi- And we know that a drum mike, no matter who neer, you've heard it all. made it, is absolutely no good if it's not in the right posi- Now hear this. tion. So we also painstakingly created our own Yamaha, the leading man- pan and tilt mechanics and a sidemounted connector. ufacturer of drums and Which not only lets you position the mike among all just about everything else the other hardware, but keeps it out of the way at the musical, introduces not same time. one but two professional The last element, of course, is you. Because a mix drum microphones. The is often judged on the drum sound. And because specs, MZ204 and the MZ205Be. diagrams and calculated rationalization can't convey the The MZ204 is a dynamic microphone designed hair -raising, toe- curling, goosebump rush you get when especially for kick, floor and bass drums, and anything the drums finally sound just right. bigger than a 13" tom. That very feeling is available in the MZ204 and Its counterpart, the MZ205Be, is a dynamic mike MZ205Be, and at your Yamaha Professional Audio with a special beryllium diaphragm. dealer. So drop on by and give them a listen. In case you forgot some of your high school chem- The mikes won't skip a beat. But your heart istry, and who hasn't, beryllium makes fora lightweight yet just might. rigid diaphragm. So it's perfect for high hats, snares, or Yamaha Music Corporation, Professional Audio Division, P.O. Box 6600, tom-toms smaller than 13." Buena Park, CA 90622. In Canada, Yamaha Canada Music Ltd., There are a few other elements, however, just as 135 Milner Avenue, Scarborough, Ontario MIS 3R1.
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