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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. important as the microphones themselves. One is that they've been mechanically designed and built from the cable up, specifically for drums. Not just by an engineer, but by an engineer who's a drum- YAMAHA mer. So they sound good with very little, if any, EQ. Engineering Imagination" Circle (5) on Rapid Facts Card www.americanradiohistory.com EDITORIAL

medium to capture the individual perform- Economic: It's not unusual to spend Alternative ances for later manipulation. more than $100,000 for the design, ma- For those of you who missed this period terials and labor to build a high -quality in recording history, there was no harder control room. This grand expenditure is Design Options environment in which to get good, natural becoming less and less acceptable as stu- sounds than in a studio with an RT60 of dio owners face mounting economic pres- half a second or less. sures. Doing without the mains could re- Thank goodness we are now pretty duce this figure by 30% to 50 %. In addi- much out of that era and have moved on tion to the potential savings in construc- to some very "live" and exciting times. In tion costs, factor in the additional savings Acoustic and architectural design make both the studio and the control room, de- created by reducing the large -scale up a very important element in the func- signers are developing ways to keep the monitoring system. The near field /sub- tional and aesthetic success of a recording life in the room acoustics and control the woofer system should require much less studio. Sonic, ergonomic and economic el- reverberant fields through geometry, dif- power, a less complex crossover network ements are ideally balanced in a cohesive fusion, active trapping and various con- and, quite possibly, no EQ. environment used for critical recording struction and finish materials. Ergonomics: Efficient ergonomic and listening, as well as being used as a So far, so good. But as technology leads design is becoming increasingly impor- creative habitat. us into the all-electronic media, the design- tant. The days of sticking the synthesist There are a number of philosophies sur- er/acoustician faces new challenges. Spe- off in a corner, under the mains or behind rounding the issue of studio design. They cifically, as production control rooms the engineer may finally be over. Current range from the attempted development of become significantly larger and incor- design philosophy suggests that the key - a "perfect" listening environment into porate computer -based MIDI workstations, boardist be located behind the engineer - which people and machines are placed to it becomes increasingly difficult to fill the at the producer's desk. This may be O.K. the "ideal" ergonomic environment, room with clean, smooth sound from the for the musicians, but does little to benefit around which acoustic treatment and main monitors, control the sound once it the engineers (unless they've got eyes in hardware exist. Unfortunately, there are is in the reverberant field and provide an the back of their heads), or the "evicted" trade -offs with each. acceptable monitoring "window" for all producers. Although basic laws of physics must be parties actively involved in the creative I know of a prototype control -room de- considered, no single "right way" exists process. sign that provides three discrete listen- to design and build a good -sounding studio Because of these challenges, I believe ing /working positions with full- frequency or control room. Even slight changes in we are on the verge of yet another design monitoring; eye -to-eye contact for the en- the physical space will result in a different - era. This era will further attempt to resolve gineer, producer and a work station op- sounding environment. In fact, two rooms many of the acoustic, economic and ergo- erator; three separate wrap-around con- built from the exact same plans will result nomic complications that still exist in most soles providing audio /vidleo monitoring, in environments sounding somewhat dif- control rooms today. Frankly, I have never computer terminal(s) and display(s); clock ferent because of disparities in finish seen a control room that effectively ad- and communication controls; and, for the materials, furniture and audio hardware. dresses even two of these elements engineer, a direct field of vision to the While this may seem like an unfortunate simultaneously. studio area. situation, it is really one of the wonderful What I'm about to propose will come as As mentioned earlier, this design is not aspects of acoustics. An artistic threshold a shock to some and will be misinterpreted for everyone. But for those who are in- to studio design exists that is not fully re- by others, so I want to make the follow- terested, the tradeoffs are good sonic, vealed until after the first few recording ing point very clear. This design is not for economic and ergonomic performance - projects are in the can. every studio; its development is aimed at the expense of brute power and ex- The art of acoustic design has evolved at commercial production, audio-video treme low -frequency response below through many generations. First, there post and computer -based MIDI control - 40Hz. were theaters and other live performance room applications. Sometimes it takes a radical departure venues. Next were large, lively studios of The key to this era will be the elimina- from established methodology to make the early radio days. These were followed tion of large, soffit -mounted studio quantum improvements in the way we by an era of the first purpose -built record- monitors -to be replaced by a close - work. The next generation of control - ing studios that were often smaller ver- field /subwoofer configuration. I know this room design is now. RE/P sions of the radio halls. sounds blasphemous, but consider these From the late 1960s through the 1970s, ramifications: the development of multitrack recording Acoustic: As you may know, much of caused a radical change in recording - the elaborate acoustic design and treat- studio design philosophy. In many ways, ment in today's control rooms is necessary Michael Fay this era was the "dark ages" of recording. to control and contain the high sound - Editor Nearly anechoic rooms were built so that pressure levels of the main monitors. In sounds could be captured as discrete ele- a close -field /subwoofer set -up, massive ments. Producers wanted to have total acoustic treatment becomes less critical, control over each instrument, and the and, in many cases, monitoring accuracy multitrack machine provided the storage increases.

4 Recording Engineer/Producer August 1988 www.americanradiohistory.com If Only More Expensive Consoles Performed As Well.

For a 16 or 24 track studio owner, the future looks The Series 6000 input module gives you very good. programmable electronic muting under optional MIDI control, solo -in -place to With MIDI systems and digital outboard gear, you're get a clear picture ofyour progress, and faced with extremely sophisticated productions. a patented active panpot with isolation But it's very hard to find a recording console to match of 90 dB (1kHz). the requirements without spending a small fortune. That's precisely why we've developed the new To give you the subtle control Series 6000, an evolutionary design that clearly it takes to achieve dramatic demonstrates the forward thinking of Soundcraft. results, you also get four -band Behind the classic layout is a revelation in per- EQ with mid sweeps on each formance and capability. input channel. For one thing, it's equipped with enough busses When you specify Soundcraft's and routing options to make adventurous produc- Series 6000, with options in- tions a pleasure, not a nightmare. The 6000 is a full cluding 16 to 56 channels, stereo -in 16 or 24 buss console with six auxiliary sends per input modules, and built channel. The split format of the 6000 means each of patchbay, you'll find it an the tape returns will double as extra inputs, with EQ. affordable slice of progress. Series 6000, simply the most We've also provided each input with push- button comprehensive production routing, EQ by -pass, and programmable electronic console in its class. muting that eliminates the clicks produced by ordinary switches. You even get true solo -in- place, sadly lacking on more expensive consoles. But it's the 6000's sonic performance that really sets it apart from the competition. Our revolutionary input design gives you 2dB to 70dB gain without a Soundcraft pad and virtually unmeasurable distortion, crosstalk, and noise. 6000 Our new grounding system yields superb Soundcraft USA /JBL Professional hum immunity and a routing isolation of 110dB 8500 Balboa Boulevard (1kHz). And our active panpot comes close to Northridge, CA 91329 theoretical perfection, exceeding our competitor's performance by a full 25dB. © 1988 -JBL Incorporated, A Harman International Company

www.americanradiohistory.com LETTERS

the following Sunday. Again, we observe phone number is 213 -876 -0059. Phase Shift substantial phase shift. But the time delay My thanks to Deane Jensen, who gra- From: Ralph Jones, independent compos- for the high- frequency component of the ciously consented to review this letter for er/producer and co- author of the "Yama- signal is different than that of the low - technical accuracy. ha Sound Reinforcement Handbook." frequency component, and the two can- Cosigned by: David Andrews, Andrews Terry Pennington's article, "Phase Shift... not add to reconstruct the original square- Audio Consultants; Lee Carroll, Network Should We Worry?" (May) represents stun- wave. This is an example of destructive, Production Music; Michael Dosch, Pacific ning proof that "a little knowledge is a frequency-dependent delay (there is also Recorders; Lee Furr, Lee Furr Audio; John dangerous thing:' a non -destructive, frequency- independent Hardy, The Hardy Company; Steve Hogan, Mr. Pennington has set out to convince delay component in this example). Jensen Transformers; Bill :Isenberg, Mar- readers of RE/P that the time -delay Now, if Mr. Pennington's thesis that shall Long /Acoustics; Deane Jensen, Jen- response of audio systems is irrelevant - "phase doesn't matter" is valid, then the sen Transformers; Edward M. Long, E.M. and that, therefore, the efforts of audio de- latter recording method is just as good as Long Associates; John Meyer, Meyer signers to minimize non -linear phase shift the former, and there should be absolute- Sound Laboratories; Robert Orban, Orban in their products are wasted. As evidence, ly no audible difference between the two. Associates; Stephen Paul, Stephen Paul he presents a simple mathematical expla- But I would hate to be manning the cus- Audio; Saul A. Walker, ROH Division, An- nation of the absolute phase shift that is tomer service phone at Warner Brothers chor Audio; Bill Whitlock, Jensen attendant upon the propagation delay be- if they started releasing their catalog in Transformers. tween a loudspeaker and a listener. His ex- this format! Obviously, frequency- depend- planation is technically correct -as far as ent delay is destructive, and is audible. From: John Monforte, director of recording it goes -but in no way does it support his services, University of Miami, Coral thesis. Gables, FL. One is tempted to this call article a grave Obviously, frequency - Terry Pennington correctly points out disservice to our industry. Some good may that as sound passes through air, it is yet come of its publication, however. dependent delay is delayed in time, and this time delay can Everyone who has had any significant in- destructive, and is audible. also be measured in units of degrees of volvement with audio has heard precise- phase shift. He also notes that since dif- ly this same misinformed line of "reason- ferent frequencies have different wave- ing" many times. We have here a rare op- In my 10 years of association with John lengths, the amount of measured phase

portunity to answer it in a public forum. Meyer, 1 have been privileged to partici- shift is different for each frequency. Every practical audio network exhibits pate in many experiments in which! have His conclusion is that phase shifts in a net time -delay response that has two clearly heard the destructive effects of audio are completely benign unless com- components: a linear delay, which is the very fine amounts of non -linear delay. Re- bined with the same signal without delay same at all frequencies, and a non -linear sponsible audio design engineers seek to or with a different delay. While these delay, which varies with frequency. The minimize this delay component in their "linear phase" time delays are in fact as former is benign; the latter is destructive. products-and, believe me, this is no sim- described, Pennington bounds to the spec- The following "thought experiment" ple task when you're dealing with a com- tacular conclusion that all phase shifts oc- should clarify the difference between the plex, real -world design. That Pennington curring from all sources are similarly in- two. would attempt to trivialize their good -faith nocuous and irrelevant. He concludes that Imagine a perfect recording system. We efforts, which provide our industry with the only way to rid the world of phase shift input a simple square wave to this system, more accurate tools, is unconscionable. is to change the speed of sound. record it, and play it back two weeks later. It is important to note that Terry Penn- This sweeping generalization ignores Comparing the input signal to the output ington's argument illustrates the funda- the fact that there are numerous other signal and calculating the absolute phase mental problem with phase measurements sources of phase shift that are not linear difference, we observe an enormous that do not isolate the frequency -de- with frequency. Pennington claims that amount of phase shift, which is an expres- pendent component of a network's time - "(When listening) only the frequency com- sion of the 2 -week delay, and which varies delay response. Such simple phase meas- ponents of the signal are discriminated with frequency. The waveform remains urements cannot provide a meaningful from the cacophonous elements of sound. unchanged in every respect, however, picture of a system's characteristics. Timing, as in phasing, is of little or no im- since the absolute time delay is the same Readers who are interested in learning portance. As an example, if the harmonics at all frequencies. This is an example of more about this topic should obtain a copy of a tone are scattered about in time from non -destructive, frequency- independent of "High- Frequency Phase Response Spec- the fundamental, the sound will be the delay. The propagation delay that Penn- ifications- Useful Or Misleading ?" This same:' Personally, I prefer to hear the tre- ington describes falls into this category. highly readable paper by Deane Jensen, ble of my favorite music at the same time Now, let's insert an active crossover after which was presented at the 81st AES Con- as the bass, and in the same order as well. the squarewave generator, recording the vention, offers a clear and accurate ex- Consider for a moment the perfect high-pass and low -pass outputs on sepa- planation (with minimal mathematics) of pulse. The mathematically ideal pulse has rate perfect recorders. We then play back some of the issues surrounding time-delay infinite height and zero duration and oc- the two recordings at random, with any measurements. It may be obtained directly curs at a single instance of time. Fourier arbitrary time relationship -the highs on from Jensen Transformers, 10735 Burbank says this pulse has a frequency spectrum a Tuesday, for instance, and the lows on Blvd., North Hollywood, CA 91601. The identical to noise where all frequencies are

6 Recording Engineer/Producer August 1988 www.americanradiohistory.com THE LATEST TECHNOLOGY IN 24 TRACK PRODUCTION MAYCOSTYOU F YOUR FAVORITE PR ONCEPTIONS. 1óu may think you know which 24 track cives you the most advanced technology and design- But you're probably in for a sJrprise. It's the ATR -80. The ATR -80 is a production dream come true. It's got features that make audio- for-video editing faster and easier than it's ever been before in a 2-inch, 24 track format. Loo< at the speed. Unique samarium - cobalt motors in the ATR -80 start the capstans quicker and then shuttle at a lightning-fast 380 ips. Lockup time is limited oily by your other equipment. Tascam's proprietary head technology alows you even more production speed, 4.ith head quality so uniform that EQing decisions can be made right in sync without rewinding to repro. Special circuitry provides transparent punch -ins for completely gapless and seamless edits. But there's only so much of the ATR -80 -hat can be described in features. For the rest you must sit down in front of it and lay your hands on the controls. That's when you'll sense the craftsmanship and quality of ft's design. The power, the speed, the smooth response of the transport. See your Tascam ATR -80 dealer. After you use t, you won't miss those precon- ceptions one bit.

TASCAM 1988 TEAC `or ration of America, 7733 Telegraph Road, lvkntebello, CA 90640.213/726 -0303. Circle (7) on Rapid Facts Card www.americanradiohistory.com LETTERS

present at all amplitudes. While the real often inaccurate, misleading or for a single -channel (mono) signal or if world is admittedly populated with band - incomplete. both channels of a dual -channel (stereo) limited noise and finite pulses, the approx- One statement that especially sticks in signal are equally manipulated. imation is still valid. What makes a pulse my mind implies that it isn't very impor- The importance of this "spectacular con- sound so radically different from noise? At tant to consider or control phase shift in clusion" is that phase, by itself, is one of the instant of the pulse's occurrence, all audio equipment. I can think of several ex- the last things one should consider in judg- the frequency components cross zero and periments to show that phase shift is in- head in the same direction. This special deed important! In another article, it phase relation causes the components to seemed the author just didn't understand It has never been proved, add constructively at that instant and av- the technical points he was trying to erage out to zero everywhere else. explain. at least to my satisfaction, Music depends on pulse -like signals, Perhaps you could engage an electron- that phase in and of itself known as transients, that are contained in ics engineer to work with the authors to lends anything positively a great many of the sounds we hear. Since review their articles, and correct or clarify sound travels in air at the same speed for the technical or theoretical aspects so the or negatively to the quality all wavelengths, time delays that are fre- articles would have more value as refer- of sound. quency- dependent alter the signal in an ence materials. unnatural manner and cue the ear that it Except for this one complaint, I find is listening to a reproduction. your magazine interesting, informative ing the accuracy of a sound system com- Concern for a type of frequency-depend- and quite useful in my work. ponent. Yes, I know this is blasphemous ent phase shifts known as group delay be- to many. Just hang in there and let me ex- gan as the Bell system introduced ampli- plain. As has been stated many times in fied phone lines. Researchers at Bell Labs Terry Pennington replies: various published articles, the ear, due to quantified these phase shifts and evaluated Several readers have taken the time to a first -order approximation, is a spectrum their detriment to speech intelligibility. write letters concerning "Phase Shift... analyzer. A real -time spectrum analyzer Their work was fundamental in establish- Should We Worry ?" And I do appreciate at that. It is primarily capable of telling ing criteria for equipment used in long their comments. I also appreciate their ap- one's brain what the relative difference is distance telephony, and these studies are proach to the subject and to their under- between frequencies across its rather lim- just as timely and well regarded as the standing of the science involved. I do not ited bandwidth. work of Haas and Fletcher-Munson. believe that any misstatements were made A well-trained ear /brain combination in the piece. I admit, due to space limita- can, in some instances, even correlate re- tions, there was a lack of detail to support ceived frequencies and musical notes. The the claims made. same highly educated ear, however, will Pennington bounds to the It is quite possible that the article should not detect a difference between a spectacular conclusion have appeared as an editorial rather than repetitive succession of identical triads that all phase shifts as a routine article or statement of fact. played on a piano with equal attack and occurring This piece did present more of an opinion sustain. These triads will all have different from all sources rather than a listing of pure facts preced- relative timing between the notes due to are similarly innocuous ing a conclusion based solely on physical the inaccuracy of timing between the play- and irrelevant. evidence. er's fingers. This will radically alter the It has never been proved, at least to my relative phase of the three motes involved. satisfaction, that phase in and of itself It will not change the sound. If the reader lends anything positively or negatively to is tempted to think that this phasing has The ultimate conclusion should be that the quality of sound. As stated in the arti- some effect on the beat frequencies that although phase shift can be directly meas- cle, when two pieces of a like signal are are so noticeable on a piano, it does not. ured, the results are not meaningful until allowed to interact, acoustically or elec- Beat frequencies heard in the sustain of the linear phase contributions are re- trically, the amplitude of the signal will be the chord are a function of the differences moved. The remaining phase shifts repre- changed through the vector summation of in resonances between the strings of in- sent destructive alterations to the signal. the two phases, and the result will be dif- dividual notes and may even be present The problem is not in the parameter but ferent than originally intended. If this sort between intervals of notes. They have in the measuring technique. of phase anomaly is allowed to occur, the nothing to do with relative timing. frequency response of the original pro- There are many other examples that From: A.J. Martin, Seque Services, Merri- gram material will be altered and it will could be presented to intuitively illustrate field, MN. sound different. What is being heard is the the irrelevance of the timing of dissimilar I just completed reading the May issue relative change in frequency- dependent signals. I am not sure that presenting ex- and would like to make a general com- amplitude, not the change in phase. If, on ample after example would satisfy many ment. While several of the articles report- the other hand, the phasing of a broad- of those who took issue with the original ed on knowledge gained through practical band signal is altered without any change story. It is my experience that much of the experience, which is probably accurate, in amplitude (i.e., as in an all -pass filter), sensitivity to the article is more a matter when technical explanations were offered the human ear /brain perception machin- of faith than of science. I have made my to explain these items, they were very ery will not detect a difference. This is true feelings on this subject known in previous

8 Recording Engineer /Producer August 1988 www.americanradiohistory.com imagination.

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LONDON: Alesis Corporation 6, Letchworth Business Center Avenue One, Letchworth, Hertfordshire SG6 2HR

Circle (8) on Rapid Facts Card www.americanradiohistory.com LETTERS

articles and papers (i.e., "Perceptions of system (compact disc player, tape ma- Conclusion? Well, you may conclude Audio Perception;' presented at the 79th chine, etc.) at 20kHz or 10° or 15° will not that a little knowledge is a dangerous convention of the AES) and hopefully do alter its sound quality. This phase response thing and I have proved so. I would prefer not need to reiterate them here. Suffice to is usually due to the impending amplitude the conclusion be the votes are not all say that when one believes a particular el- roll -off at a higher frequency and is to be counted yet. I have attempted to demon- ement of sound to be important, such as expected. Nevertheless, many designers of strate that phase shift is abundant in amplifying with tubes rather than transis- such devices will go to great pains and nature and that a few degrees added in tors, for instance, no outside influence is consumer expense to rid the product of either direction by audio componentry is going to have much of an effect. Faith the phase deviation. This is usually harm- not normally of great concern. There are means to accept without proof. Supplying less, but its relevance to sound quality is so many other parameters that should be opposing facts will do little other than to questionable. attended to first as to make any discussion promote bad feelings. To further bolster my position, I would of phase secondary. I am not advocating Those who reached the conclusion from like to insert a quote from Stanley Lipshitz. the complete dismissal of phase shift as all of my heresy that I believe phase He made the following comments during a criteria for evaluation. I would submit should not be considered when designing his digital theory demonstrations given at that in most instances, phase shift is the an audio product or an audio system have the 79th AES Convention in New York in mechanism that causes frequency re- inserted a few too many assumptions be- October 1985: "The ear is phase deaf sponse deviations, and without any tween my lines. The fact is that unusual above about 1kHz to 2kHz. You may not change in amplitude, phase is unlikely to phase response in an electronic product like the fact, but it is demonstrable, and be detected subjectively. almost always indicates that the designer I know of no evidence that anybody can Oh yes, one might wonder about the made a mistake. A mistake that usually hear phase shift between 10kHz and contribution of phase differences between carries with it a proportional amplitude er- 20kHz." our ears to the perception of direction. ror. The realities of electronics are such He went on to say, "I read a great deal And rightly so. It has been demonstrated that any wild phase deviations without in the press -popular press -about what that this is one area in which phase is im- corresponding amplitude variations are they hear in the phase behavior of these portant. I agree. I have made no attempt very unlikely. If it does occur, it should different filters, but it's a different matter to discredit the work of others in this area. most likely be rectified to ensure the in- between saying something and trying to It should be noted that a 2-channel system tegrity of the product. The real impetus demonstrate it. with identical phase performance in both behind the article in the first place was my "So, one can come reasonably close to channels will do nothing to our ability to contention that product evaluators tend to a good brick wall filter using analog tech- determine imaging or directionality. measure phase shift first and then all other nology. The only significant deviation is RE /P paramaters be colored by these phase the phase shift at the upper end of the fre- measurements. Especially subjective their quency band, which will cause waveform Send letters to RE/P, Suite 107, 8885 Rio San Diego Drive, impressions of the product. A phase devia- distortion, but there is no evidence it is San Diego, CA 92108. Letters may be edited for length and tion of both channels of a digital audio audible to anybody" clarity.

EDITORIAL Barbara Clare, Reader Correspondent SUBSCRIPTIONS Kevin Callahan, Creative Director Michael Fay, Editor Qualified: Frederick J. Ampel. Editorial Director TECHNICAL CONSULTANTS United States (Domestic Only) 824.00 Dan Torchia, Staff Editor Jeff Burger, Computers Foreign 845.00 Tom Cook, Senior Managing Editor Paul D. Lehrman, Electronic Music Aron-qualified: Linda Stuckey, Associate Editor David Scheirman, Live Performance United States (Domestic Only) 830.00 Kathy Mickelson, Editorial Assistant Foreign 860.00 James McWard, Editorial Assistant RECORDING ENGINEER /PRODUCER is edited to relate Optional airmail for non -qualified readers is also available for Pat Blanton, Directory Issues Editor recording science to recording art to recording equipment, an additional $55.00 per year. Foreign subscriptions are as these subjects, and their relationship to one another, may payable in U.S. funds only by bank check or money order. Ad- ART be of value and interest to those working in the field of com- justments necessitated by subscript,on termination at single mercially marketable recordings and live audio presentation. copy rate. Alecia Wright, Graphic Designer The editorial content includes: descriptions of sound record- Recording Engineer /Producer is not responsible for any ing techniques, uses of sound recording equipment, audio en- claim by any person based on the publication by Recording BUSINESS vironment design, audio equipment maintenance, new Engineer /Producer of material submitted for publication. products. Cameron Bishop. Group Vice President Photocopy rights: Permission to photocopy for internal or per- Dennis Milan, Publisher CORRESPONDENCE sonal use is granted by Intertec Publishing Corporation for Stephanie Hanaway, Promotions Manager libraries and others registered with Copyright Clearance Cynthia Sedler, Marketing Coordinator Advertising and Subscription: Center (CCC), provided the base fee of $2.00 per copy of arti- Laurel Cash, Executive Consultant 9221 Quivira cle is paid directly to CCC, 21 Congress St., Salem, MA 01970. Dee Unger, Advertising Business Manager Overland Park, KS 66215 Special requests should be addressed to Cameron Bishop, Tami Bartocci, Advertising Coordinator 913. 888 -4664 group vice president. Telex: 42:4156 Intertec OLPK ISSN 0034-1673 $4.00 + $0.00. AES Sales offices: See page 98. Fax: 913.541 -6697 Member, Business VBPA ! '4=; ADMINISTRATION Editorial: Publications Audit of Suite 107 Circulation ISINTERl Gis PUBLISHIRO R.J. Hancock, President 8885 Rio San Diego Drive CORPORATION Doug Rimer, Circulation Vice President San Diego, CA 92108 Sustaining member of Acoustical Society of America Jane J. Powell, Circulation Director 619 -299 -6655 Jo Ann DeSmet, Circulation Fulfillment Manager Fax: 619-692-9097 M1988. All rights reserved.

10 Recording Engineer/Producer August 1988 www.americanradiohistory.com Audio professionals everywhere are turning to the Servo control of the reels in the edit mode will help Fostex E-Series recorders for their production and you pin -print cues and spot erase. When the pitch post - production reeds. So much so, you hear the control is eagaged, the exact percentage of speed results of their work nearly every day - in movie devotion is displayed so that when you need to soundtracks, commercial and cable television re-set the control, you can do so precisely, and the shows, industrial and educational films and videos real -time canter features search -to-zero even from and, of course, hit records. the .negative domain. The E-2 uses 1/4" tape at 7 -1/2 & í5 Ips (15 & The E-Series features gapless `punching" so there's 30 ips speeds are optional); the E-22 uses 1/2" no blank space after the punch -out point. Only tape at i E & 30 1ps. recorders which are much more expensive offer this sophisticated function. But since you can't run When an - Series recorder is used with Fostex a fully automated system without it, Fostex in- Plodel 4050 - autolocator and SMPTE to MIDI cludes gapless pinch-in /out as standard equip- controller - you have programmable punch -in/out, ment on the E- Series. 100-point autolocate capability. 10 programmable exits, a SiVPTE time code generator / reader (all Also standard is a synchronizer port which will in- four forma..-s), plus the ability to locate to the bar terface with all SMPTE time code based systems. and beat. When used with he Fostex synchronizer, Model So if you-re looking for a professional recording then use to 4030, you can our software program instrument, `here's a Fostex E- Series recorder that perform sophisticated audio assembly editing. can nelp you wth two important `E" words: Effi- Models E -8 and E-16 are multitrack recorders with ciency and Effectiveness. The E- Series can also built -in noise reduction. help you acuieve the most important "E" word of all: Excellen e. Models E -2 and E-22 (not shown) are 2 -track master recorders with a third, center channel for SMPTE time code control. This is a standard feature, not an optfon. You will have complete com- patibility with existing 2 -track tapes, plus the ability to run computer derived edit decision lists and 15431 Blackburn Ave., Norwalk, CA 90650 full automation. (213) 921 -1112 01988 Fos) Corporation of America

Circle (9) on Rapid Facts Card www.americanradiohistory.com NEWS

48 -track DASH agement: Cultivating Your Most Potent RAMSA has awarded David Henderson of machine to be introduced Resource:' Coordinated by Bruce Merley, Pro Audio Associates the RAMSA/ Rumored for some months to be in the president of Clinton Recording in New Panasonic Eastern Regional Representa- final planning stages, a 48-track, 1/2-inch York, the conference will be held Sept. 17 tive of the Year award for outstanding per- DASH machine is expected to be released and 18 at New York University in New sonal effort in 1987. Everything Audio, before the end of the year, it was an- York City. Burbank, CA, was awarded Outstanding nounced in June at a press conference in Topics to be covered include hiring and Sales Achievement in the recording and Tokyo. Given by Sony, Studer and TEAC, firing, interviewing prospective employ- broadcast products group category. the press conference updated the industry ees, employee benefits, writing procedures on future plans to support the DASH manuals and policies, and various legal Soundcraft Japan is now the exclusive format. issues surrounding personnel manage- distributor in Japan for Rebis equipment, Details of the 48 -track machine were ment. For more information, contact the British manufacturer announced. few, but Sony and Studer plan to introduce Shirley Kaye at SPARS, 4300 10th Ave. N., machines as early as possible, and at least Suite 2, Lake Worth, FL 33461; Max Kay Public Relations, a public rela- one product announcement is expected to 305 -641 -6648. tions company serving the pro audio in- be made before the end of the year. TEAC dustry, received Backstage magazine's will also display a prototype 48 -track ma- UCLA plans award for greatest press contribution for chine before the end of the year. engineer courses the promotion of the music scene in the The machine is the result of joint engi- UCLA Extension has scheduled two en- Benelux countries. The award was pre- neering work conducted by Sony and gineering courses for the fall semester. "In- sented at the Belgian Music Fair in Studer. Present and future -generation troduction to Audio Engineering" will run Brussels. 24 -track machines will be fully compati- on Mondays from Sept. 19 to Nov. 14 and ble with the 48- track, and tapes recorded is designed for artists, writers, producers EdgeTech U.S. has formed a subsidiary on 24 -track machines can be extended to and record-company personnel who seek company, EdgeTech Distribution Corpora- 48 tracks on the new machines. an understanding of the recording process. tion, which is handling the U.S. distribu- Also announced was Sony's introduction It will be taught by engineer Michael tion for BSS Audio and Turbosound. All of the PCM- 3324A, an upgrade of the Braunstein. three companies are owned by the same 3324. "Recording Engineering Theory" will U.K. parent company, Edge Technology meet on Wednesdays from Sept. 28 to Dec. Group. West L.A. Music 14 and will cover basic electricity and elec- hosts keyboard show tronics, magnetic effects, acoustics, micro- Shape Incorporated has started produc- West L.A. Music's second keyboard and phones, speakers, magnetic recording, tion of DAT cassettes at its Shape Optime- MIDI show, Sept. 24 and 25 at California console design, special- effect electronics dia CD manufacturing plant. State University Northridge, will feature and studio maintenance. seminars, clinics, demonstrations and ex- For more information, contact UCLA Graham- Patten has delivered 12 ESAM hibitor booths. Last year, more than 90 Extension at Box 24901, Los Angeles, CA edit suite audio mixers to NBC for use at companies exhibited at the show, which 90024; 213-825 -9064. the Summer Olympics in Seoul, South was attended by more than 3,000 people. Korea. Additional information is available from News notes Martinsound Technologies has an- Jeff Rosenfield, West L.A. Music, 11345 Sandy Brown Associates, a London - nounced that it is in the final development Santa Monica Blvd., Los Angeles, CA based acoustic and architectural consult- phase of a new moving fader console au- 90025; 213 -477 -1945. recently the ing company, has completed tomation system called Flying Faders. following projects: TV -am, London; MTV, Northern California London; NBC, Seoul, South Korea; Austral- fair set for September ian Broadcasting Corporation, Hobart, People The third annual San Francisco Music Australia; Australian Broadcasting Cor- Pat Chupko has joined the staff of AST Fair, scheduled for Sept. 10 and 11 at the poration, Sydney, Australia; Novosti Press Sound as a sales engineer. San Francisco State University creative Agency, Moscow; RRI, Djakarta, Indo- arts building, will focus on "High Technol- nesia; and JRTV, Jordan. Bill Hall has been named engineering ogy in Music:' Sponsored by the San Fran- product manager at Graham -Patten cisco chapter of NARAS, the fair will in- Agfa- Gevaert donated PEM 469 master- Systems. clude exhibitors, seminars and performing tape for a recent benefit performance ances. For more information, contact Bev- in New York. Proceeds will be donated to Audio Kinetics has announced two ap- erly Sommerfeld at 415- 681 -1170. six organizations helping AIDS patients. pointments. Simon Bohannon has been The performance will be released on an named CSD manager, and Tim Harrison SPARS schedules conference album and concert video. has been named technical sales engineer. on personnel management Various aspects of personnel manage- Alpha Audio has donated a BOSS auto- Jeff Radke has been named Midwest ment in studios will be covered at the next mated audio editors to the Berklee School regional sales manager for AKG Acoustics. SPARS conference, titled "Personnel Man- of Music, Boston. REJP

12 Recording Engineer/Producer August 1988 www.americanradiohistory.com Everything else is 12 seconds behind the times.

You won't find 12 seconds of 16 -bit stereo RAM -based memory in every digital recorder. Or a built -in electronic editor, or 2 speeds, or 3 sampling frequencies, or CD mastering standard meters either. But you'll find them all in the Sony PCM -3402 2 -track digital recorder. And more. For audio sweetening there's nothing better. It can read, generate, convert and chase many types of time -code. It has digital fader and balance controls plus millisecond- accurate dynamic sync offset adjustment. It gen- locks, performs time -code based auto -cuing and auto -time fit, and time -code triggered audio sampling. And it even comes with multiple digital format I /Os. For a demonstration of the digital recorder that makes all others sound like history, contact your Sony Professional Audio representative. Or call us at 800 -635 -SONY. SONY Professional Audio

Sony Communications Products Company, Professional Audio Division, 1600 Queen Anne Rd., leaned NJ 07666. © 1988 Son Corporation of America. Sony is a registered trademark of Sony Corporation. Circle (10) on Rapid Facts Card

www.americanradiohistory.com MANAGING MIDI

By Paul D. Lehrman

What is All Notes Off for? pitch converters, the thing sends out a con- Part 3 All Notes Off is actually a special case troller 123. If you are working with a se- Q&A, of MIDI continuous controller known as quencer that doesn't filter the command a Channel Mode Message, a class of com- out while it's recording, you will have to mand that also includes Omni On and Off, find it later and filter it out by hand. And, Poly and Mono Modes, and Local Control. of course, not all sequencers are so sophis- It is controller number 123 (decimal). ticated, so you may end up with flying All When sent, it is always followed by a Notes Off commands constantly cutting off "value" of O. your beautiful legato lines and otherwise In theory, having such a command is not wreaking havoc with your tracks. a bad idea. It would be convenient to be By the way, the MIDI spec also says that More common questions and answers able to tell a sound generator to shut up when you send any other mode message about MIDI: without having to send it individual note - (except Local Control), it implies an All offs, because then you don't have to keep Notes Off. This message represents no 1 Why can't "mult "MIDI lines the way track of which note -offs to send. MIDI practical problems that I know of. I can my audio lines, and why can't I merge processing devices with "Panic" buttons two MIDI lines together with a send out the All Notes Off command on What are the outside pins on the MIDI Y-connector? 16 channels to unstick stuck notes. But life connector used for? The MIDI specification says that the isn't always so straightforward. They're not supposed to be used for +5V. MIDI data line must be maintained at anything. Those pins (labeled 1 and 3), are To do this, every MIDI Out and MIDI Thru to be left unconnected, according to the jack has a buffer stage attached to it, MIDI spec. Most manufacturers adhere to whose purpose is to make sure the voltage that convention, which means you can of the outgoing signal is correct. MIDI In safely use "true" MIDI cables, having on- to a 5V and jacks expect receive signal, MIDI In jacks expect to ly the three middle pins connected, or old - they dismiss anything substantially less as receive a 5V signal, and fashioned "European" stereo DIN cables, noise. If you split a MIDI line after the out- having all five pins hooked up, and which put buffer, the voltage will drop in half, they dismiss anything are available at your neighborhood Parts and the input stage won't read it at all. To substantially less as noise. R' Us. split a MIDI line properly, you need what's As always, however, there's a catch: On which has commonly called a Thru Box, Atari ST computers, pins 1 and 3 of the one MIDI In jack and several MIDI Thrus, MIDI Out connector act as a MIDI Thru. each with its own buffer. This is a pretty clever idea (especially Besides voltage conflicts, there's a sec- because there just wasn't room for a third ond reason you can't merge two incom- First of all, the MIDI spec says that MIDI jack), and the Thru signal is easily ing lines: synchronization. Even if both manufacturers don't have to program their accessible with a homemade Y-adapter to lines use a common clock and phase lock, devices to recognize an All Notes Off at split up the two pairs. there is no way for one line to know what all, which limits the usefulness of the com- If you don't want to use that feature, and the other is doing. For example, both may mand. In addition, if a synthesizer is as long as everything connected to the send a high bit at the same time, and one holding a note using a Sustain Pedal On computer ignores what s on those two of those bits will be ignored. In the world command, the All Notes Off will not turn pins, there's no problem with this varia- of MIDI, this situation is an unmitigated that note off; only a Sustain Pedal Off (Con- tion. But some manufacturers of low - disaster. troller 64 at 0) will do that. power devices, such as keyboard con- Even if this situation were avoided, there There's also a problem with overdubbing trollers, use pins on their MIDI Outs for the is still the problem of interrupting com- tracks in a sequencer. Say you record one dc power supply. As it stands now, one mands. MIDI commands can consist of pass of a keyboard line, and insert an All should never encounter a situation of the anything from two bytes to thousands of Notes Off command at the end-. Then you Atari MIDI Out being connected to one of bytes (in the case of patch or sample bulk record a second pass on the same chan- these "powered" MIDI Outs, but if some dumps), and any interruption inside a nel, but you want to hold a chord past the foolhardy manufacturer decides to vary command results in a gross error. If you end of the first pass. You can't, because the the technique slightly and, for example, try to combine two lines, one line will previously recorded All Notes Off will cut put dc onto a MIDI In jack, and then you have no way of knowing when a com- the chord short. hook the device up to an ST with a 5 -pin mand on the other line is complete, and, In general, using All Notes Off is more Parts 'R' Us cable, you're on your way to once again, you have disaster. For this trouble than it is worth, and many se- MIDI Hell. reason, "MIDI Merger" boxes require a quencer, processor and synthesizer man- This is another chapter in the continu- certain amount of intelligence, and, ufacturers have wisely chosen to ignore ing saga of why the MIDI spec should be therefore, tend to be expensive. it. Representing a major fly in the oint- left alone. C'mon guys -let's be careful out ment, however, is one Japanese company there. insists on using it constantly. Every RE/p Paul D. Lehrman is RE/P's electronic music consulting editor that and is a Boston -based electronic musician, producer and time you take your hands off one of its free -lance writer. keyboards or stop singing into one of its

14 Recording Engineer /Producer August 1988 www.americanradiohistory.com Profess iona

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New, tougher specs for a Send me a free demo cassette for my difference you can hear. evaluation- Include my reservation form Telex is still the leader in high speed duplicating (16X speed) for a personal demonstration. with its famous 6120XL series, providing outstanding audio Send me literature only at this time. quality, unlimited expandability and highly profitable production capability. However, if you have higher critical audio needs, Telex Communications, Inc. the new Telex 6120XLP with 8X speed and XL Life heads should 9600 Aldrich Av. So. be your choice. For full details and specifications or even a Minneapolis, MN 55420 demo tape, call or write to: Telex Communications, Inc., Minneapolis, MN 55420. Name

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Circle (11) on Rapid Facts Card City State Zip Telephone www.americanradiohistory.com' REP 8/88 SPARS ON -LINE

By Dwight L. Cook

tune them. Be flexible and change your clientele. Marketing an plans if they don't work. Aspects of every- Attending trade shows is an effective one's presentations included "niche mar- way to promote business and make new audio service keting" and the "mothership concept" contacts. For example, cassette duplication [Author's note: These topics are covered services can be marketed at trade shows company in depth in the SPARS papers, a collection to people who need cassettes, such as of articles written by SPARS members and music schools. Ask your clients what trade available by contacting the SPARS national organizations they belong to and get offices at 4300 10th Ave. North, Lake involved. Worth, FL 33461; 305 -641 -6648.] It may be necessary to employ a dedi- SPARS recently conducted another in its "Niche marketing" means getting to cated salesperson to promote business. comprehensive series of business confer- know your clients' needs and fulfilling When hiring, be very careful to find the ences. Titled "Marketing Diversified Re- them. Perhaps no one in your market can right person for your business. Remember cording Services,' the seminar was held do dialogue replacement or cassette dup- that every person on your staff should be at UCLA's Graduate School of Manage- lication. Are your customers going out of involved in selling /promoting the busi- ment and focused on developing a mar- town for these services? Would you attract ness. Their daily conversations with clients keting plan and selling studio services. more customers if you provided special- present new sales opportunities. Commis- I can't tell you how many times I've ized services? A niche is not necessarily sions work by rewarding people for their heard someone say, "I just opened a re- a specialization, but it requires you to be skills in "closing deals." You can judge the cording studio. Now how do I get some flexible enough to recognize and meet effectiveness of your promotion by setting customers ?" This is a recurring saga: the your clients' changing needs. measurable goals (quotas). opening of audio businesses without a The "mothership" is the central aspect What is your image? It should be clear- clear marketing strategy, and sometimes of an audio business that effectively serves ly defined in your marketing plan before without previous studio experience. the needs of its satellite operations. For ex- proceeding with any promotion. Your SPARS's goal is to promote excellence ample, the central business (music record- marketing plan will help you define your through education, communication and ing studio) can direct business to your sat- image. Your company's name, logo design, innovation. Education can never be sub- ellite operations, such as a publishing com- decor, and employees' appearance can all stituted for experience, but instruction pany and a sales company that sells equip- play a part in creating and maintaining from the veterans can be extremely ment to personal -use studios. your image, which may dictate the serv- valuable. The "mothership" concept describes the ices offered and price schedules. Are you Guy Costa, president of SPARS, and Shir- studio as a wheel's hub and the ancillary "discounting" or selling "quality "? Federal ley Kaye, executive director, chose a cross- businesses as its spokes. Seek to develop Express advertises speed and dependabili- section of board members from across the satellite businesses apart from your cen- ty; however, if you stop and think about country to speak on marketing. The tral studio operation to meet your clients' it, the company is really promoting an im- speakers were: Chris Stone, Record Plant, needs. For example, you may wish to of- age: peace of mind. Los Angeles; John Rosen, Fanta Profes- fer talent or duplicating services. However, An effective marketing plan is a major sional Services, Nashville; David Porter, be careful not to compete with your cus- part of your business plan. How long has Music Annex, San Francisco; Nick Col - tomers as you develop these new areas. it been since you created a business plan leran, Alpha Audio, Richmond, VA; Dick or considered the questions of the plan- Trump, Triad Productions, Des Moines, IA; Advertising and promotion are a critical ning process? Be honest. Define your pro- and the author. aspect of marketing and may take many motion, financing, direction and business forms, including direct mail, magazine ar- strategy. Will they get where you want to Each speaker had a different set of ticles, display ads in trade magazines, corn - be? marketing subtopics to cover, but a company newsletters, handout material, trade - mon thread connected their ideas show presence, trade organizations, and The next conference will be in New York throughout the day: Marketing is more a sales staff. City at New York University Sept. 17 and than just sales, and it begins with the No single promotion method works for 18. The theme is "Personnel: Cultivating definition of product, pricing promotion, everyone. Success depends largely on Your Most Potent Resource' People are the strategy and research. Sales is an impor- your business niche, market area and your key factor in making or breaking a busi- tant part of marketing and should be de- clients. Educating your clients about your ness. Anyone can buy equipment, but it veloped before a business is launched, and service is easily the most expensive type takes a talented staff to make it work ef- it needs constant re- evaluation for the of promotion. However, educational ad- fectively and profitably.. business to operate successfully. vertising can position you as the expert. Management trainer, Burton Hall, of A marketing plan should analyze mar- Display advertising in trade magazines Burton Hall Associates, will speak on hir- kets and competition. Seek direct custom- can be more effective when announcing ing, firing and management styles. A pan- er feedback and investigate new markets. a new service to existing clients or pursu- el of insurance industry professionals will Review your services and constantly fine- ing new clients. Handout material can also discuss issues such as the COBRA law, be effective in promoting your services. labor laws, and union laws. (For informa- Most customers do not use all of the serv- tion, call SPARS now at 305 -641- 6648.) I'll Dwight L. Cook is secretary of SPARS and president of Cook ices you provide, and it's possible to pro- see y'all there! [RE /P Sound and Picture Works, Houston. mote additional services to the existing

16 Recording Engineer/Producer August 1988 www.americanradiohistory.com SUP R NATURAL CONTROL

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RANE) 10802 -47th Ave. W., Everett, WA 98204. (206)355 -6000. www.americanradiohistory.com Circle (12) on Rapid Facts Card UNDERSTANDING COMPUTERS

By Jeff Burger

CPU's X-register with the contents of loca- the maximum word size or value that can Microprocessors tion $6000"; the second might say "incre- be passed at any given moment. Table 1 ment the contents of the X- register by 1"; gives an overview of the microprocessor and the third would finish the job with chips that are currently being used in the "store the contents of the X- register in marketplace. memory location $6000:' The advanced processors such as the Don't worry, we're not going to try to 80386 have the ability to address some- teach you how to become a hexadecimal thing on the order of 4Th (terabytes, equal programmer. Inquisitive readers, however, to 4,000Gb) of virtual memory. Virtual may be wondering just how a stream of memory is non -physical address space; the numbers issues these commands. Just as CPU can treat hard -disk space as addi- the English language uses nouns, adjec- tional RAM, above the 4Gb limit, and ac- tives and verbs to create coherent cess it by swapping hard-disk data with Probably one of the greatest quantum - sentences, the microprocessor's native blocks of data in validly addressable RAM leap inventions in the history of mankind language, its "assembly language,' allows space. In effect, the hard disk becomes ex- has been the advent of microprocessors. different hexadecimal numbers to signify tra memory on an as- needed basis. They make your microwave program- specific commands that relate to an intrin- We should also touch on the concept of mable; give your VCR memory; access, sic number of bytes that follow. wait states. Just because a processor is store and retrieve data from digitally con- clocked at a high rate and has impressive trolled signal processors, synthesizers and architectural specs doesn't mean that it's samplers; and, yes, they make personal When we speak of the CPU's architec- not all dressed up with no place to go. The computers possible. ture, there are three elements to consider, RAM itself may not be fast enough to keep In previous columns we covered read- all of which concern data handling up with the CPU. In that case, the pro- only memory (ROM) and random -access capabilities. cessor has to wait for the number of cycles memory (RAM)-places to read instruc- First, the internal architecture refers to that it takes for the RAM to respond tions and data from and addresses to send the size of a word (8 -bit, 12 -bit, 16-bit etc.) (hence, the term wait states). The solution them to. We need an engine or "brain :' that the microprocessor can hold and to this problem is faster RAM, which, you however, to do the actual manipulation. manipulate. The larger the register size, guessed it, costs more money. RAM speed The microprocessor, also known as the the fewer the instructions that have to be is measured in nanoseconds (ns), typical- central processing unit (CPU), is the clear- processed to perform mathematical opera- ly in the 100ns to 150ns range. ing house or central terminal through tions. Translation: faster number which all active data must eventually pass. crunching. The biggest differences between CPUs Second, the address bus determines As we've seen, clock rate, internal ar- are the rates at which they are clocked, which memory location is being ad- chitecture, instruction set and memory their instruction sets and their architecture dressed, so the bus size dictates how much speed all interact in a CPU's performance. with respect to data handling. Micro- memory can be accessed. For example, There are even more mundane factors that processors are typically driven by a crystal the largest number that can be described go into comparing microprocessors. The clock running in the megahertz range. by 24 bits is approximately 16 million, so way most professionals determine their ef- Each clock cycle triggers the processing 16Mb is the maximum amount of memory ficiency is to give the computer a common of the next instruction. The faster the that can be addressed by a 24-bit address benchmark program or problem that has clock, the quicker the processing rate and bus. been measured on other machines. Even the greater the throughput of data. All Third, the data bus holds the value that this process isn't foolproof, and probably other things being equal, a CPU running is sent to or received from the memory the best test is that of the specific applica- at 14MHz can process twice the data in cell (RAM or ROM) specified by the ad- tion you wish to run under the conditions a given time period as the same processor dress bus. The size of the data bus dictates that will prevail during your work. running at 7MHz. RE/P CPUs have temporary holding areas, called registers, for the data that they work with. The instruction set is a series of commands inherent to a microprocessor that Processor Internal Data Address Maximum execute instructions and perform opera- (bits) Bus (bits) Bus (bits) Memory tions on data in various memory locations and CPU registers. For an oversimplified Intel 8088 16 8 20 1Mb example, let's say that we want to add to Intel 8086 16 16 20 1Mb Intel 80286 16 16 24 16Mb in memory loca- the number being held Intel 80386 32 32 32 4Gb tion $6000, a value equal to the number Motorola 68000 16 16 24 16Mb 1. A first command might signify "load the Motorola 68020 32 32 32 4Gb Motorola 68030 32 32 32 4Gb

Jeff Burger is REJP's computer consulting editor and president of Creative Technologies, Loe Angeles. Table 1. Microprocessor specifications.

18 Recording Engineer/Producer August 1988 www.americanradiohistory.com YOU'VE NEVER HEARD A TAD SPEAKER AND YOU NEVER WILL.

With TAD speakers, materials available, every component is assembled technicians get the by hand, allowing for tolerances down to a millionth purest, most power- of an inch. ful reproduction At Pioneer, we put of sound in the so much more into industry. And our TAD speakers, nothing more. they don't sound Because the like speakers at all. TAD division at For more infor- Pioneer Electronics mation regarding TAD prides itself on being colorless. speaker components, please contact Leon Sievers at Our Professional Sound Lab insures the outstand- Pioneer Electronics (USA) Inc. ing quality of our products through a series of tests, including Doppler lasers, holography lasers and Technical anechoic chambers. Products are also tested by Audio Devices computer for phase uniformity, transient response Professional Productions Division ut Pioneer Electronics tl SA) Inc. and frequency response. Then, using only the finest 2265 E. 220th Street, Long Beach, CA 90810 (2131816.0415

c 1988 I'omeer F:Ienromc> ILSAI In Long Bear h. CA Circle (13) on Rapid Facts Card August 1988 Recording Englneer/Producer 19 www.americanradiohistory.com Facility Profiles

By Larry Blake

The capabilities of the Technical Building were arrived at by determining the requirements of making five stereo feature films a year.

20 Recording Engineer/Producer August 1988 www.americanradiohistory.com In 1981, Lucasfilm Ltd:s post-production couraged to do so by the physical nature branch, Sprocket Systems, built a dubbing of the building." stage /post -production facility in San Rafael, CA. Although it was certainly a Construction and quality operation, close inspection would acoustical design have led one to believe that this facility Despite the drawn -out gestation period would not be Lucasfilm's last word on of the Technical Building, the staff at sound post- production: no dedicated foley, Lucasfilm, along with the architects and ADR, music recording, small machine myriad subcontractors, decided to "fast - 1.., rooms or 70mm projection, not to men- track" the construction process. In this ratngtttU tion that it was placed in an anonymous 3 -phase project, construction on the foun- industrial park. dation began even before blueprints ex- Indeed, George Lucas and company did isted for interior spaces. Phase 2 was the have something up their sleeves: Skywalk- build -out cf sound isolation assemblies, Photo 1. Ceiling isolator. The "room -within-a -room" er Ranch, a 2,949 -acre spread in Nicasio, and the third phase was the interior design design is applied to all recording stages in the building. CA, 15 miles north of San Rafael, a and finish work. The dates for contractor The spring isolation hanger shown above is the resilient 45- minute drive from San Francisco. design documents were November 1984 structural connection between the concrete scoring stage -deck isolation ceiling below. Having begun with Lucas' first purchase for Phase h, June 1985 for Phase 2 and roof above and the sound of land in 1978, the ranch now contains February 1986 for Phase 3. all of Lucasfilm Ltd. facilities except the Holman drew up a technical program visual- effects wing, Industrial Light & Magic. Yet, despite Lucasfilm's position as one of the more visible film companies, little of the ranch is devoted directly to the nuts and bolts of a movie studio; it has none of the familiar soundstages, prop or wardrobe departments. The only representative of roll- up -the- sleeves filmmaking on the ranch is the Technical Building, Lucas' 150,000- square- foot monument to post -production, his favorite part of the filmmaking process. The focal points of the building encompass two mirror -image east and west wings, each of which contains a dubbing stage; a smaller, but similarly equipped "premix" room; a local machine room; and enough space (16 rooms) to house the picture and sound editorial staff for epics such as Lucasfilm's "Star Wars" and "Indiana Jones" series. Shared by both wings are two centralized machine rooms containing mag dub - bers and video equipment. In addition, one finds the capabilities the San Rafael building lacks: ADR and foley recording areas, a large (4,500 -square -foot) scoring stage and a 300 -seat screening room. Lucasfilm Corporate technical director Tomlinson Holman notes that the capabilities of the Technical Building were determined by evaluating the requirements of ,,. making five stereo feature films a year. fit' Although many facilities in Hollywood and 191011 New York can meet this mandate for rf*r9`{r'``;,lñ' work, few of them offer such a high per- o centage of, as Holman says, "human `-!h1: spaces. The atrium, entertainment area, lounges and other amenities are all areas that George added:' He also notes that by grouping the sound-editing suites near their dubbing stage, sound editors "who might never go to the mix are now en-

Larry Blake is a sound editor and mixer at Weddington Pro- ductions, North Hollywood, CA. Early next year, he will publish a second edition of his book, "Film Sound Today," an anthology of his articles that have appeared in RE/P. Photo 2. A mixing room.

August 4988 Recording Engineer /Producer 21 www.americanradiohistory.com those of mixing rooms. George Lucas felt uncomfortable with the idea of non - perpendicular corners. Nevertheless, the edit rooms were built to what Schwind calls "high -end condominium" isolation, which translates to an STC (sound transmission class) rating of 60. (See "Acoustic Design for the Rest of Us" on page 49.) To test the isolation between edit rooms, construction was accelerated for one room, and the sound isolation of intervening walls and floor -ceiling assemblies was measured. Once this isolation tested out acceptably, Schwind felt that he could tell the contractor, "You can build this level of construction and it will be acceptable. Now build the rest of them this way, and we're going to hold this one up as a level of performance:' In another case, Schwind and Schindler tested a one -tenth scale model of a final mix room specifically to check flutter echoes using a 40kHz tone, reproduced by a piezo -electric tweeter and measured with a precision microphone with an -inch diaphragm. Impeding the ability of Holman, Schwind and Schindler to isolate the build- Photo 3. The scoring stage. ing and keep the NC levels within spec was the issue of stability during earth- quakes. (Although the ranch is about 7 outlining his criteria for all areas. "I tried tween "the program for a project, which miles from the San Andreas fault, the con- to set pretty rigorous standards for every exists between the owner and the design siderations were the same as they would issue that could come up: flutter echoes, team, and the specification, which exists be almost anywhere in earthquake - reverberation time, background noise lev- between the design team and the contrac- conscious California.) As a result, Holman el, absence of discrete tones in back- tor. The program says what is wanted, and notes, "A lot of the money is 'invisible' ground noise level, and so on. So I stated the drawings and specifications tell exactly because it's in earthquake -damage con- the objectives, but specified virtually how to put it together. The process goes trol:' One design compromise that had to nothing as to how the objectives were to from being very creative to very restric- be made in the interest of safety was that be achieved. That's the professional engi- tive' Holman would have built the ceiling of the neer's role: 'We need XYZ to meet these Along these lines, Schindler recom- scoring stage control room a few feet high- criteria: " mends that any owner /builder have rep- er if it hadn't been under a structural sup- Participating closely with Holman in resentatives on site to supervise construc- port diaphragm that would have cost writing the program were Sprocket Sys- tion and to integrate the responsibilities $150,000 to reposition. tems engineers Brian Kelly and Howie of the various subcontractors. He says, "Er- The importance of sound isolation was Hammermann. Bob Calderwood drew up nie Sachse (Lucasfilm's on -site person, and, constantly debated, and Holman recalls the architectural specifications with for years, CBS's construction supervisor) meetings with the structural engineers Holman. is extremely knowledgeable in construc- when he finished off their sentences with Charles M. Salter and Associates of San tion in the practical sense. He has gone the caveat "... resiliently!" Where the Francisco was hired to draw up the speci- through the ranks and seen virtually every structural engineer wants to "screw every- fications for acoustic design and noise con- type of job. This was good because, with thing down tight,' Holman says, "you can't trol. Heading Salter's team were David the exception of a palm- frond -thatched have that if you want noise control. Be- Schwind and Tom Schindler. (For further roof construction, every conceivable type cause of the box-within -the -box design, information on their work on the Techni- is in this building. It behooves the owner the inner box may be structurally sound cal Building, refer to preprints 129-81 and to have someone like him on site in the unto itself, but if it starts going side to side 129 -82 from the 129th SMPTE Technical event that one of the subcontractors says, in an earthquake, then you have to 'snub' Convention.) 'Trust me, this is the way to do it.' And, that action at the top of the walls:' (See Noting the importance of the technical if you have someone on your side who has Photo 1.) programs such as the one Holman pre- seen it all, he can smile and point to the Although both style mix rooms (final pared, Schwind says, "Any time there was spec:' and premix) are small compared to their a decision to be made, he (Holman) said Detailed specifications even existed for counterparts in the San Rafael facility, not 'What does the program say? That's what the editing rooms, which, although they to mention Hollywood mix rooms, Hol- we want: When you are doing complex now contain standard moviolas, were orig- man is quick to point out, "We know a lot work involving acoustics, a precise pro- inally designed as digital sound -editing more now about the sound field in rooms gram like Tom's can avoid expensive suites. Holman says that one of his ideas and how to get them to match in level, mistakes." that wasn't implemented called for angled timbre and spatialization so that you can Schindler emphasizes the distinction be- walls in the editing suites, somewhat like make judgments, even in the 15' x25'

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Circle (14) on Rapld Facts Card www.americanradiohistory.com comfortable looking at films." Although the mix rooms have small "footprints;" Holman points out that the volume is large. "You want reverberant energy distributed evenly over the entire audio spectrum. This distribution occurs naturally as the room volume gets larger. With the premix room, we took what might be normal height-to-width -to-length measurements and tipped it on its side. The cubic footage is kept under control visually by having a lot of air volume above the cloth ceiling. If we had built it to the conventional (HxWxD) ratios, we would be tempted to put another story above it, and you'd have a noise control problem with footfall from above:' Screening room and recording areas The two largest work spaces in the Tech- nical Building are the scoring stage and the screening room. As conceived by Hol- man and Ted Schultz, movable baffles on the scoring stage allow the reverberation time to be altered from 0.7s to 3.5s in the midrange. Allowing for the sound absorption caused by the players in a full -sized Photo 4. The screening room. orchestra, a maximum fir160 of 2.5s is to be expected, which is still the equivalent of a long concert hall reverb. (See Photo 3.) The variation of reverberation time vs. frequency is, according to Holman, "as uniform as we know how to make it. As to how long you can make the reverb time, at the high end, you inevitably run up against air absorption:' Design factors aside, one might wonder why Lucasfilm is constructing one of the largest scoring stages in the world - 60' x75', large enough for a 120 -piece orchestra-in the middle of nowhere. Hol- man readily admits, "It's a grand and elegant idea, a complete and utter entre- preneurial risk because scoring five feature pictures a year does not justify the construction costs:' Obviously, one goal is to attract other major projects from the outside. This is one reason the ceiling was built with a load -bearing capacity sufficient to accommodate a lighting grid for film and video shooting. At this point, the scoring stage has no console. The final decisioni depends on the direction that the room will take. Tom Photo S. Foley stage. The design of the foley stage required the highest degree sound of -isolating Scott says that the first two recording ses- construction to reach the background-noise criteria of NC -5, the single lowest background-noise criteria of the project. sions at the scoring stage (an album for the San Francisco Ballet orchestra and an album by the Grateful Dead, using Guy premix room, that will pretty much carry speakers. In a conventional control room, Charbonneau's Le Mobile remote truck) in- across to the theater. It won't be identical, the subtend angle is usually 30 °; that is, dicate "the kind of diversity we'd like to but I can claim that you will make the the mixer bisects the 60° angle of an equi- continue to tackle:' same level and equalization judgments:' lateral triangle, with the monitors repre- The 300 -seat screening room is com- (See Photo 2.) senting two of the three points of the tri- pletely outfitted to play back virtually any Further consistency between rooms was angle. "When we start involving the pic- format, composite or interlock, from accomplished by having the mix consoles ture, we block that off at ±22.5 °. That's 16mm to 70mm, using classic Norelco subtend a 45° angle between the outer pretty much as far as most people are 16mm and AA-II 35/70 projectors. As with

24 Recording Engineer/Producer August 1988 www.americanradiohistory.com It's Time To Rack Up Another Hit.

It's hard to follow a great act. Expectations run threshold, attack, release time and output level - high. The performance must be flawless. When we the 7110 automatically rides the gain with split decided to carry the legacies of our LA -2A, LA -4 second response. and 1176LN into the next genera- To make set -up as simple as possible, we've included tion, we knew exactly what we an Automatic Preset function. Punch the button were getting into. on the front panel- the 7110 automatically Our new 7110 Limiter /Com- defaults to program dependent attack pressor incorporates the char- and release times, and presets the peak acteristics of its predecessors, threshold and ratio to consistently used is the natural addition to a settings. Perhaps the best news of all, the The 7110 combines the legendary line and has all the smooth predictable RMS 7110 produces crystal clean sound and is virtually potential to become a major style performance of the transparent. hit in its own right. The 7110 LA-4 with the precise Just another limiter/compressor? We don't believe combines both peak and aver- automatic peak control of the 1176LN. so. After you've heard it for yourself, we think you'll age limiting action, producing agree. Stop by your local JBL/UREI dealer and give smooth, predictable RMS style performance like the it a listen. And, get ready to rack up another hit. LA -2A and LA -4 with the precise automatic peak control of the 1176LN. The 7110, with our exclusive program dependent UREI Smart -Slope," gives you adjustable compression ELECTRONIC curves from 1.5:1 through infinity:1. You set JBL PRODUCTS

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www.americanradiohistory.com rupting a mix:' (See Photo 4.) Whereas the mixing and screening rooms in the Technical Building are fairly dead, the foley studio was built to industry standards: as dead as possible. The "dead" acoustics give the foley walkers and mixers a chance at creating believable foot- steps and movement to fit the most dead exterior, while reverberation can always be added to simulate live interiors. (See Photo 5.) The same is usually thought true of the SUPPLY AIR TRUNK design of ADR stages, with no audible "room impression:' Holman says that ex- RESILIENTLY SUSPENDED GYPSUM -BOARD CEILING perience of others has shown that if a room is too dead, actors have to shout to ARCHITECTURAL CEILING get enough sound back to their ears. "The PROJECTION SCREEN trick in ADR (room design) is to make it LOUDSPEAKER BAFFLE WALL a little more lively than it should be for ABSORBENT CAVITY the equivalent room volume in the THX-

FLOATING FLOOR outfitted theater, but to make the reverberant field very diffuse:' To this end, the three windows in the studio (including one that looks outside!) are tilted downwards so that reflected sound from the voice is directed away from the microphone.

1. -a-room" construction can provide a very high degree Figure Isolation/ventilation section. "Room-within Power and HVAC of sound isolation using common building materials. Details such as the resilient structural connections recall, the original of the inner envelope to the outer envelope, penetrations of both envelopes by ventilation ducts, and elec- As many may intent trical and audio cabling must be carefully considered. for the Technical Building was to do away with analog mag film and multitrack tape completely, and to store, edit and record all sound onto a network of hard disks and optical drives, all run via the SoundDroid that Lucasfilm was developing. The idea was that each editing station would require 15kW because of power- hungry, high-speed logic in the SoundDroid architecture. Because of the high power usage, the air conditioning in both the central and local machine rooms is overkill compared to the requirements of dubbers and multitrack recorders. With the dream of digital editing still alive at Lucasfilm, we felt it was wise to build for worst -case situations. The main service into the building is 12,000V, 3-phase, with 1,000A per leg. Uninterruptible power supplies connect to emergency lighting, the SSL computers and Unix file servers. 'All HVAC, plumbing, electrical, fire and security, and control lines, are in the ceiling;' notes Holman. `There is higher floor- to -floor spacing in this building than is ever typical. This allowed us to dedicate the area under the floor for technical serv- Photo 6. An example of the many wiring troughs. ices. The wiring not only extends from the central and smaller machine rooms, but also to individual editing rooms because the scoring stage, everyone asks of the de- screening room to dubbing because "there of the need for audio and control lines to sign: Why isn't this also a dubbing stage? isn't one stick of conduit into the room to every digital sound editing station:' (See Tradition in Hollywood (at MGM, 20th allow that. It is that deliberate. Multipur- Figure 1.) Century -Fox, Disney and Glen Glenn, for pose spaces are really tough (to schedule), The HVAC "chillers" are buried under example) the main studio theater serves and you would like to have the luxury of the parking lot because of their vibration- dual duty as the premier mixing arena. To having a place where you can always producing nature. Hot and cold water is this end, Holman notes almost with glee come in and run a screening as in a per- then sent to air handler; throughout the that it will cost a fortune to convert the fect theatrical environment without inter- plant. Air handlers extract the heat and

26 Recording Engineer/Producer August 1988 www.americanradiohistory.com With over 200 different audio /video needs of musicians brands of pro audio/ and production studios. video equipment, we offer you the best selection in the west. Just the Facts, Ma'am What LA's And we carry a much larger Things change quickly in pro inventory so chances are we audio. To make sure everyone have what you need in stock. here knows all the facts about Largest We'll keep you abreast of the latest equipment, we've new developments, new added a Product Specialist to options, and updates for your our staff. His only job is Pro Audio equipment so you're always researching equipment -read- current and usually ahead of ing brochures and tech man - the rest of the industry. uals, going to trade shows, talk- New ing with manufacturers -and Dealer Demonstration sharing that knowledge with Rooms our customers. Since we moved to larger Can Do quarters here in Burbank we've New Central Location opened two new fully equipped We're easy to get to from showrooms. In the Pro Room Hollywood, LA, and the val- For You are three complete, operating leys. And with more room, production systems - consoles, we've enlarged our technical monitors, tape machines and parts departments for even (including 32 track digital), and better service and support. signal processing /effects gear. Come by and visit us in our Our second room has three new building. Turn some knobs more complete production sys- in the demo rooms. Or just call tems set up to hear and com- and we'll be happy to discuss pare. This room caters to the your pro audio needs.

Office Staff (1 to r): Niki Simpson (Accounts Payable), Carol Gumbel (Controller), Shanah Metzelaar (Recep- tionist), Darrin Miller (Pur- chasing), Michele Schwartz (Accounts Receivable), Jim Kropf (Delivery), Front: Brian Cornfield (President)

Sales Staff (1 to r): Nat Hecht, Paul Freudenberg, Paul Svenson (Sales Manager), Karyn Thomas (Sales Assis- Our Pro Demo Room: Three different fully tant), Philip Celia, Mark Lever, Vanessa Perea (Tape operating production systems, plus a vast and Accessories), Garth Hedin, Robert Corn, array of outboard gear Ben Ing (Product Specialist), Constantino Psorakis

Technical Staff (1 to r): Steve Smulian (Service Manager), Paul Hulse (Senior Sales/Service/Design Technician), Rik Shannon (P. O.M.P.), Greg Dougan (Parts Manager), Everything Audio (Not Pictured: Nello Torri) _- Advancing with Technology -e2721 West Burbank Boulevard Burbank, California 91505 Phone (818) 842 -4175 or (213) 276 -1414 Fax (818) 953 -2908 Circle (16) on Rapid Facts Card www.americanradiohistory.com tom consoles and meeting resistance from several manufacturers to modify their existing consoles, the Sprocket Systems staff began discussions with Solid State Logic about modifying the modular SL 5000M series broadcast consoles. "Even though they do not do custom work, they wanted to get into this new realm (film re- recording), and what we needed to use was exactly what they needed to create CENTRAL for themselves:' says Scott. Working close- SCORING STAGE ENTERTAINME MACHINE ROOM ly with SSL on the design of the consoles . was Brian Kelly. ° +'::y In the final tally, Lucasfilm ordered five . y L consoles, with two large consoles in final mix rooms, plus a smaller one (36 inputs) SCREENING ROOM in the west premix room. In addition,

LARGE there is an SL 5000 foley console. The fifth ROO console went to the San Rafael facility. The large mix consoles contain 64 mono faders plus six 4 -track returns, which are designed to bring 4- channel effects devic- Figure 2. Plan view of the Technical Building. es or premixes into the board without needlessly taking up prime fader real estate. In addition, each dub room also has 24 "mix -in- context" inputs that normally route premixes directly into the monitor chain so that further premixing can be done against them, hence, "in context :' The primary difference between the Lu- casfilm SSL film consoles and the "stock" 5000 film board is the monitor section. The Sprocket Systems boards were delivered without monitoring facilities, and, instead, the Lucasfilm staff designed a custom monitoring system that they dubbed a "CP-250 :' in deference to the amount of Dolby Laboratories recording and monitoring equipment that is normally housed Photo 7. Duct isolator. Field inspections during construc- Photo 8. Plumbing isolation. Effective noise in a dubbing stage in a hot -rodded CP -200 tion are necessary to avoid improper construction and control requires attention to detail. Even small theater processor. Gary Kephart was the installation. If the installation of finished water pipes (shown above) are isolated with felt detected before project engineer of the "CP -250." materials (ceilings and wallboard, for example), con- collars. ditions such as the misaligned ventilation duct hanger Basically a rack -mounted PC that sends shown above can be corrected easily. commands to two sets of 64x8 Integrated Media Systems crosspoint switchers, the CP -250 allows instant resetting of the mul- cold from the water pipes and distribute resulted primarily in design overkill at titude of recording and monitoring modes the conditioned air to the various rooms. times; the only area in which conventional demanded by film sound post- production. With this system, each room can be indi- analog systems taxed the design was in In addition, the CP -250 allows for every vidually climate-controlled. Kelly notes console heat dissipation. It had been as- conceivable form of "real- world" noise, that although the size of the units are a sumed that the heat dissipation needs of distortion, and equalization simulation, in- bit much for current needs, "we don't want the SoundDroid digital consoles would cluding the optical track simulator de- to turn around in 10 years and say, 'okay, come from the power supplies in the local signed by Terry Beard of Los Angeles. let's knock the building down and start machine room; the large SSL consoles dis- again: Systems such as this are hard to put sipate most of their heat in the studio. Wiring design in later; it's real easy to run it on a low Once it was decided to have the whole One of the first questions in designing cycle at a third of its normal speed. When mechanical system (computer equipment, any sound or video facility is whether stu- we do get rack after rack of TTL electron- machine rooms and air handling) placed dios will share a central machine room or, ics that dissipate 10kW, we can crank it centrally in the building, Schwind says that instead, will have their own dedicated ma- up for greater cooling :' four schemes for vibration isolation were chines ( "distributed "). The design of the The decision to use standard analog evaluated for results and cost -effectiveness. Technical Building has incorporated parts technology was made "so late that it was of each approach, with all mag film repro- impossible to modify the floor plan" ac- SSL SL 5000M film consoles ducers (40 currently, with wiring in place cording to Holman. At that point, Phase In late 1985 /early 1986, the search for for an additional 16) in a large machine 3 had been drawn up, although not fin- a film -dubbing console began. After dis- room in the middle of the building. Local ished. As noted before, reverting to analog covering the high cost of producing cus- machine rooms are equipped with 6 -track

28 Recording Engineer /Producer August 1988 www.americanradiohistory.com mag recorders, four currently in the west wing and two in the east. Although Sprocket Systems currently has 13 full -time people on its engineering staff, the staggering amount of wiring necessitated hiring subcontractors. David Carrol Electronics was brought in to handle all low- voltage wiring and the interface design. DCE's on -site representative, Michael Stocker, and Sprockets engineer John Brenneis supervised the planning and installation of the wiring. Early on, it became apparent that long runs from the main machine room would benefit from lower capacitance than otherwise available in off -the -shelf cabling. To this end, David Carroll, working with Paul Miller at Belden and the Sprockets engineering staff, specified that the insulator be made of Datalene instead of the standard polypropylene. Final reduction of capacitance was calculated to be approximately 20 %. As long as they were having cables custom -made, Carrol specified much thin- ner jackets than are usually the case with multipair cable, resulting in much greater flexibility and less bulk, all the easier to lay in the maze of troughs. (See Photo 6.) The only problem was that Datalene is softer than normal insulation. "Screwing down tight for strain relief could distort the insulation enough to cause a short;' according to Kelly. "Datalene works because it's in expanded form, and, therefore, it's soft. If you crush it hard enough, you can give yourself problems:' Outside jackets were color -coded, with blue indi- Photo 9. ADC cross -connect wall in a local machine room. cating 26 pairs, green 16, yellow eight, red four and single -pair wiring standard gray. The word "custom" usually implies great expense, but Carroll says that, in fact, the cost on a per-foot basis was substantially lower than that of Belden's standard multipair. A primary reason for this was that the short ends that result during the manufacturing process were always used. In addition, Belden didn't have to pass on the cost of storing and inventorying leftover cable because DCE purchased an entire production run. Scott notes that because DCE put the connectors on and tested the cabling off site, it "lent itself to a kind of production - line testing procedure. For the hundreds of thousands of connections, there were only a handful of reversed-phase problems. Typically, when we found something wrong, it was a mistake that we had made in the ordering and the paperwork." From the dubbers in the central machine room to the console, the signals follow a Byzantine path through three patch bays and two ADC UltraPatch cross - connect racks. (See Photo 9.) Briefly, from the XLR output on the dubber, the signal Photo 10. A wiring trough. Each wire is measdred for its realitiue position in the trough.

August 1988 Recording Engineer /Producer 29 www.americanradiohistory.com THE BEST SOUNDING WILL ALSO PREVENT FROM BECOM:

Announcing the Wendel Jr. from Roger Nichols' Wen s 1 Labs.

Three reasons why sounds last only 2 -3 seconds, hand" feel to the snare rolls. while the Wendel Jr. Ride This is a subtle effect, but it Wendel Jr. sounds cymbal is 8 seconds long! makes your drums sound better: The most expensive drum human - as opposed to 1) A 50 kHz sampling rate, machines in the world can't machine -like. The Wendel Jx unsurpassed in this industry, even come close to Wendel Jr.'s is the only product that is gives you a real 25 kHz fre- long samples. capable of giving you this quency response! Beware of incredible "two- hand" feel. units that claim a sampling The world's fastest When are other manufac- rate of 30 kHz - the true trigger! turers going to realize that nobody plays all the drums usable audio frequency range Wendel Jr. does not use MIDI rate. with just one hand ?* is only half the sample triggering because it's too 2) These samples weren't slow (as most of you sophisti- recorded by some second cated MIDI users have Prevent your drum engineer, but by Roger already found out). Instead, machine from Nichols, one of the best Wendel Jr. drum sounds are becoming obsolete: engineers in the world. triggered by an incredibly fast They were recorded direct to circuit. It is so fast that you Wendel Jr. is a percussion the 3M Digital Mastering can listen to the original replacement device, not a System and then transferred drum sound and the triggered drum machine. As mentioned directly to the EPROMs used Wendel Jr. sound side -by -side earlier, you can use your ex- in the Wendel Jr. So Wendel and you'll hear no timing dif- isting drum machine outputs) Jr. samples have always been ference! The trigger input to drive the Wendel Jr. Or, for in the digital domain! (Many can take virtually any signal example, let's say you wanted drum machines' samples are (drum machine output, tape to replace the mediocre snare from analog tapes.) signal, shorted footswitch, drum sound on track 3 of your 3) Incredibly long samples etc.). recorder. Just take the track give you unmatched realism 3 tape output to the trigger in- and sound quality, superior to Drum sounds so put of Wendel Jr. and record any drum machine at any real, they have that the new Wendel Jr. snare price. Just listen to other ride sound on another track. You or crash cymbals and compare human feel. don't have to keep buying a them to the Wendel Jr. You'll The optional "Snare Pair" car- new drum machine every find that their typical cymbal tridge gives a "left hand -right year Perhaps more important- *Rick Allen notwithstanding

30 Recording Engineer/Producer August 1988 www.americanradiohistory.com DRUMS YOU CAN BUY YOUR DRUM MACHINE OBSOLETE!

ly, you can now use the drum Zbto, Miles Davis, Pink Floyd, machine that's easiest for you Heart, Supertramp, George BUY DIRECT to program, and then replace Benson, Paul Simon, Christo- AND SAVE! key sounds with the Wendel pher Cross, Bruce Hornsby Jr. as needed. and the Range, David Foster, 40 -60% off typical retail etc. prices. Every product tested before The ultimate drums Now here's the deal: shipment. for sound 5 -day trial period - return Roger used to sell the Wendel shipping extra. reinforcement: Jr. with one cartridge (kick Money Back Guarantee if Wendel Jr. is the perfect and snare) to his dealers for not fully satisfied. answer for sound reinforce- $720 with a suggested retail 2-day turn-around on service price of $1000. - we fix everything right ment problems. Just use "trig- But direct here. ger" mics on the real drums from us, the Wendel Jr. is Always on the lookout for to feed a rack of Wendel Jrs. NOW ONLY $600! And if you unique products like the patched directly to your PA decide to buy before Wendel Jr. - hot tips are mixer. Bingo, you have in- September 30, 1988, we'll welcomed. send you a second cartridge Sneak Preview: Incredible credible drum sounds without savings on highly rated any feedback loops. All in a free. So take advantage of this N.I.H. Labs PA gear and matter of minutes, not hours. offer now! Many optional the amazing R -16 Digital sound cartridges are available. Effects Processor. How to audition the Wendel Jr.: Wendel Jr. Percussion Replacement Device listen to Just "Hey Nineteen" Digital Software Based on Steely Dan's "Gaucho" 50 kHz Sampling album. Or try other albums Hewlett- PackardTM by Steely Dan, Steve Win - Cartridges Designed wood, Rod Stewart, Starship, and engineered by Al Jarreau, Stevie Wonder, Roger Nichols. Kenny Rogers, Diana Ross, Duran Duran, Huey Lewis,

I want the Wendel Jr. and love your price. I've enclosed Name 1 cashier's check 1 money 1 order payable to Industrial Strength Industries; Address 1 bill my f l Visa I-1 Mastercharge '_] American Express City, State, Zip 1 Account Number Expiration Date 1 Mail to: 1 Signature Date 1 I\ll)US'l'RIAL S'l'RC\1G'l'Il INDUSTRIES' "I 1 Calif. residents add 6.5% sales tax ($639.00 Total). 1 Sounds great but I'd like more information. Please send me a 13042 Moore St. Cerritos, CA 90701 1 product review and excerpts from the owner's manual, written 1 Call TOLL FREE: 1 -800- 537 -5199 1 by Roger Nichols. 1 In CA: 213 -921 -2341 Hours: 8 am -5 pm Pacific Coast Time MEMti MIIMEM MIN MMMMI

Circle (17) on Rapid Facts Card August 1988 Recording Engineer/Producer 31 www.americanradiohistory.com Equipment List

Sprocket Systems, Rane equalizers ADR stage Technical Building at programmable intercom system MTE ADR controller, 6-track Skywalker Ranch from McCurdy Radio, Toronto 35mm and 1 -track 35mm recorders time code equipment from Skotel with Dolby SR Studios D and G and Timeline 2 -track and 24-track Otaris with Consoles are custom SSL 5000 Dolby SR series with 88 automated inputs and Studio E 35mm projection and video a 24-input side mixer. All the 35mm Same as Studios D and G, but only sprocketed equipment is from Mag- 36 automated inputs and a screen Foley room na Tech Electronics of New York. size of 15' x6 i'. Also includes Al- 1,600-square-foot room, water Each room provides: pha Audio's The Boss synchronizer tank and different floor surfaces as many as four 6- channel 35mm controller and a synclavier. 35mm projection and video recorders, all with Dolby A or Dolby SSL 5000 console, Otani MTR -90 SR Studio H 24-track with Dolby A or SR as many as 36 dubbers (1; 3, 4- (sound effects workshop) and 6-track) all with Dolby A or 24-input Soundworkshop console Screening room Dolby SR 16 -track Otani MX-70 300 seats, 48-foot screen, 35mm Otani MTR-90 24-truck with Dolby Otani MTR-10 2- tracks and 70mm projection, magnetic or A or SR Lynx time code synchronizers optical sound playback Otani MTR -10 2 -track with Dolby Sony video playback double system sound also avail- SR and time code MIDI equipment able (1, 3; 4- or 6- track), as well as high -speed 35mm projection to a time code synchronization 24' x10' screen image Scoring stage Dolby Cinema Processor CP-200 video -synchronized playback 5,000 -square-foot floor, 29-foot THX Theatrical playback system available ceiling, adjustable acoustics, QSC power amps machine control via JSK Engi- 48' x20' screen neering controller and Lynx microphone pre -amps: George Wiring synchronizer Massenberg, Deane Jensen, prewired patchbays from Audio reverb devices: Lexicon 224Xs, Focusrite, API Accessories and custom cable from Lexicon 480 XL, Quantek QMS microphones: Neumann, Telefun- Belden limiters and expanders: dbx, SSL, ken, Schoeps, Sanken, AKG, custom ADC Ultrapatch panel for Drawmer, Aphex, UREI, Dolby Sennheiser cross -connect termination THX sound systems with sub- Meyer Sound Labs monitor woo fer and stereo -surround speakers channels Hailer power amps CSC power amps

goes to the rear of an ADC panel, which machine rooms in each wing have two By keeping work in- house, chief engi- assigns it to a patchbay in the machine multitrack stations. 'IWo multitrack stations neer Wayne Wagner hopes to avoid the room. Through a patchcord, the signal is are in front of each final mix console, and all- too -prevalent standard time code and sent to an input channel of a given con- one is at each premix console. Patching sync problems. "In a place like this, where sole, and, if that signal is SR- encoded, no to and from multitracks, primarily to the you start on film and finish on film, and further patches are necessary. There are "B" inputs of the consoles, is handled at sort of make a detour over into the video Dolby channels dedicated to all console 90 -pin Elco /Edac patchbays in the local world and back, we want to be very care- inputs, and non -encoded material is played machine rooms, with 84 connectors each. ful about everything that goes on." Wag- with the channel placed in "bypass." All of the patchbays and patchcords for ner says that although Sprocket Systems From the 56-pin Elco/Edac connector at the facility have nickel -plated connectors is generally thought of as an audio facili- the rear of machine room patchbay, the to avoid the tarnishing problems associ- ty now, his goal is eventually to "behave console inputs travel approximately 200 ated with brass. (Audio Accessories made in a professional video manner, with video feet to the cross -connect rack in the local the patchbays and ADC, the patchcords.) lines timed, equalized and using a routing machine room of each wing. (See Photo Brian Kelly notes that because of the small switcher:' 10.) The cross-connect rack also accom- contact area of TT-style connectors, brass The Technical Building at Skywalker plishes equipment- bay -to-patchbay nor- connectors are very susceptible to dirt and probably represents the largest 1 -time in- malting with the signal going through the oxidation. vestment in post -production sound and TT patchbay in the machine room. The Recent development at the ranch in- certainly sets a standard for the design of patchbay routes the signal through the cludes a video department, headed by 1 -stop post -production sound. Only time Dolby XP racks to the console credenza Dale Miner. In addition to video transfers will tell how Lucasfilm will benefit from patchbays. and sync distribution, the video machine the intricate design of the facility. Multitracks may be connected almost room also has a film chain for film-to-tape RE/P anywhere required because the premix transfers.

32 Recording Engineer/Producer August 1988 www.americanradiohistory.com

. _ G G rT W ENGINEER/ E\TERTAI \VE \T ! , A S S O C i A T O N 1 r

www.americanradiohistory.com Nashville's Finest

The Castle SL 4056 G Series; 48 Channels SSL G Series Studio Computer with Total RecallTM (615) 791 -0810 Emerald Sound Studios SL 4064 E Series; 56 Channels SSL G Series Studio Computer with Total RecallTM (615) 321 -0511 Masterfonics SL 4064 E Series; 48 Channels SSL Studio Computer with Total RecallTM (615) 327 -4533 Sixteenth Avenue Sound SL 4056 E Series; 48 Channels SSL Studio Computer with Total RecallTM (615) 327 -8787 Sound Stage SL 4056 E Series; 48 Channels SSL Studio Computer with Total Recall'

SL 4056 E Series; 46 Channels SSL Studio Computer with Total RecallTM (615) 256 -2676

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www.americanradiohistory.com GREAT INPUT, GREAT OUTPUT Kim Carnes Amy Grant Hank Williams Jr. Randy Travis Reba McEntire Rodney Crowell Steve Earle all have one thaw in common...something very uncommon... Emerald Sound Studio

We have the most technically advanced ik;AAAA --- recording facility in Nashville 0$4 1,MW///,,/fkkAAAAAAPe.M////,,//kkAAAAAA. Pti,M,W/,/,///k/NAAAAAA Featuring ?Y'M'MJ//////t/qq\AAAAA Nlyy,e,emem////////t/Ant..,\AAAA AA " Solid State Logic SL4000 E Series Myy,MW////,/,t/NAAAAA\\(' AA\ Recording Console with 56 input nudules /1"10(tH///////\AAAAA\/yyy.MMW/////,,,A,`AAAA" and the G Series Computer Upd3te jiìi 1 I / / / / / AAAA Two 32 track digital/analog mutt track tape machine capability LYNX time code synchronization system More in-house outboard gear than any other Nashville studio On-site IDB Satellite Uplink/Downlink to send or receive tracks, overdi bs and demos Nashville's most comfortable, relaxed atmosphere with a "cool out" lour ge, kitchen area, meeting room, total security---and a putting green. We're making tomorrow's hits today (Emerald ffill-1,tid

1033 16th Avenue South Nashville, TN. 37212 Tel. (615) 321-0511 Circle (19) on Rapid Facts Card

www.americanradiohistory.com Promoting Nashville By uniting the different facets of the entertainment industry, the NEA promotes the city as a total production center.

The Nashville Entertainment Association gory in which they belong. For instance, turing leading members of the entertain- may have started out promoting only mu- only producers can vote for other pro- ment industry. sic, but its scope has broadened as Nash- ducers to represent them. NEA Spotlights: a series of showcases villes has. As Nashville has evolved into The result is that the 26 board members for selected new and developing artists a total entertainment /production center, (two from each category) tend to approve who are ready for recording contracts and the NEAs mission has become an enter- projects and policies that benefit all the who perform before members of the tainment Chamber of Commerce. membership, rather than a heavily repre- industry. The studio community is an integral sented group. The NEA Film & Video Committee: part of the NEAs base. Studio owners sit After the annual board is elected, it produces public service announcements on the board of directors, facilities are cor- chooses an additional 23 vice presidents promoting the arts, in conjunction with porate members, engineers and producers to round out the body. This is a non -elec- the Tennessee Arts Commission. are individual members. This supplement tive office; vice presidents run committees, Master Award: given to the person or is a way to salute the factor that has pro- and are chosen as a way to groom future persons contributing the greatest influence pelled Nashville into national and interna- directors. in establishing and developing Nashville tional prominence as a total production Day -to-day operations are handled by as an entertainment center. center: the studios. Lynn Gillespie, executive director, and Di- MIDEM and New Music Seminar: NEA The association started in 1980 as the ane Rankin, director of special projects. exhibits at these premier music industry Nashville Music Association, with the goal Both started at the NEA (Diane as an in- events, promoting the Nashville and Ten- of promoting the music industry. In suc- tern and Lynn as a secretary/receptionist) nessee entertainment communities. ceeding years, it started working with after which they went to various jobs in Producer/Publisher Nights: Publishers other parts of the Nashville arts communi- the industry and returned to NEA can't get their songs to the producers; pro- ty, and the name was changed in 1986 to full -time. ducers aren't getting good songs. NEA reflect this growth. One of the services NEA provides is brings the two groups together at Produc- Today, the NEA is comprised of 1,000 helping people new to the community find er/Publisher Nights, at which publishing corporate and individual members. A jobs. Many times, volunteers at NEA are companies submit their best songs, which 60- member board sets general policy and able to find jobs through contacts they are then heard by the area's producers. By direction; two paid staff members handle made while working at NEA. And like a acting as a broker, NEA speeds up the day -to-day activities. film commission, NEA also helps individ- process for both the publishers and the Part of the NEAs ability to promote all uals and companies that are in Nashville producers. aspects of the industry is because the temporarily for a project. Individual memberships are $40 per membership is divided into 13 categories. year; corporate memberships are available When members join NEA, they choose Other activities at various donation levels. For more infor- what membership category they want to Some of the NEAs other activities: mation, contact the NEA at Box 121948, be in. When board elections are held each NEA Forums: a series of topical discus- Nashville, TN 37202; 615- 256 -4435. year, members can vote only in the cate- sions for information and education, fea- RE/P

A project between Recording Engineer/Producer and the Commerce Union Bank; Bob Kirsch, Welk Music Group; Tari Secretary: Priscilla Riggs, Priscilla Riggs & Associates. Nashville Entertainment Association. Lees, Tari Laes Co; Paul Lohr, Buddy Lee Attractions; Ken Measurer: Tom Rashford, Gelfand, Rennert & Feldman. Mansfield, Main -Mansfield; Mark O'Connor; Jim Owens, Jim Cover design by Alecia Wright. Owens Entertainment; Sue Patton, New Clarion Music; Eddie Directors Reeves, Warner Bros. Records; Martha Sharp, Warner Bros Cal Bean, WPLN Radio; Teena Camp, Teena Shirts; Betty RE /P Records; Roger Sovine, BMI; Ken Wendrich, W.O. Smith Clark, Talent & Model Land; Charlie Feldman, Screen Dennis Milan, Publisher Nashville Community Music School; Kay West, Kay West Com- Gems /Colgems-EMI Music; Clarke Gallivan, Studio Produc- Michael Fay, Editor pany; Keith Newcomb, Belmont College student chapter presi- tions; Cathy Gurley, Cathy Gurley & Associates; Al Hagaman, Fred Ampel, Editorial Director dent; David Conrad, Almo /Irving Music; Mary M. Matthews, O'Neil, Hagaman & Ca; Randy Himes, AFrRA/SAG; Jimbeau Dan Torchia, Staff Editor Studio Productions Inc.; Frances W. Preston, BMI; David Hinson, American Romance Songs; Michael Joyce, Across The Linda Stuckey, Associate Editor Skepner, David Skepner & the Buckskin Co. Room; Bob Kirsch, Welk Music Group; Paul Lohr III, Buddy Kathy Mickelson, Editorial Assistant Lee Attractions; Kirke Martin, Martin & Associates; Joe Alecia Wright, Graphic Designer Vice presidents Moscheo, BMI; Roger Murrah, Collins Music; Neil Pond, Music Mary Tracy, Marketing Manager Alan C. Bernard, MTM Music Group; Dr. Anne Brown, Metro City News; Eddie Reeves, Warner Brothers Records; Janet Nashville Arts Commission; Vincent Candilora, SESAC; Paul Rickman, MCA Records; Johnny Rosen, Fanta Professional Ser- NEA Corbin, The Nashville Network; Bob Doyle, ASCAP; David Ear- vices; Paul Ross, Ross Productions; Michael Schussele, Scene Lynn Gillespie, Executive Director nhardt, WTVF Channel 5; Robert Frye, Show Stopper Produc- Three Video; Skip Stevens, Skip Stevens Promotions; Judith Diane Rankin, Director of Special Projects tions; Dan Harrell, Blanton /Harrell Productions; Pat Higdon, Lovin Stiles; James Stroud, MCA Records; Kay West, Kay West Warner /Chappell Music; Mike Hollandsworth, Zomba Enter- Company; Steve West, Go West Presents; Keith Newcomb, Bel- 1987/1988 NEA Board prises; Kathy Hooper, Greil- Hooper Mgmt.; Michael Joyce, mont Student Chapter President. Chairman: Brenda Haynes, Performing Artists' Workshop. Across The Room; Brian Kelly, Third Coast Management President: Richard Thrall, Multimedia Entertainment. Group; Steve Miller, Benson & Siman, Attorneys; Kerry O'Neil, Legal Counsel Executive Vice President: Johnny Rosen, Fanta Professional O'Neil, Hagaman & Co., CPAs; Grace Reinhold, World Wide Jim Harris, Harris & Baydoun; Mike Milom, Gilbert & Milom. Services. Media & Management; Priscilla Riggs, Priscilla Riggs & Secretary: Betty Clark, Talent & Model Land. Associates; David Ross, Music Row Publications; Bennett Honorary Lifetime Board Members Treasurer: Tom Rashford, Gelfand, Rennert & Feldman. Tarleton, Tennessee Arts Commission; Steve West, Go West Bob Beckham, Bob Beckham Enterprises; Jimmy Bowen, Presents; Brian Williams, Third National Bank. MCA Records; David Conrad, Almo-Irving Music; Brenda Directors Haynes, Performing Artists' Workshop; Mary M. Matthews, Cal Bean, WPLN Radio; Barry Beckett, Beckett Productions; 1988/1989 NEA Board Studio Productions Inc.; Frances W. Preston, BMI.; David Jay Bell, Northport Group Inc.; Teena Camp Teena Shirts; Bob Chairman: Kay West, Kay West Company. Skepner, David Skepner & the Buckskin Company; Richard DiPiero; Cathy Gurley, Cathy Gurley & Associates; Al President: Joe Moscheo, BMI. C. Thrall, Multimedia Entertainment. Hagaman, O'Neil, Hagaman & Co.; Jimmy Hall, Jimmy Hall Executive Vice President: Johnny Rosen, Fanta Professional Enterprises; Randy Himes, AFTRA; Ted Johnson; Jim Kellam, Services. ©1988 Intertec Publishing. All Rights Reserved.

36 Recording Engineer/Producer August 1988 www.americanradiohistory.com All the best to our friends in Nashville and Memphis.

Our greAtes 1 - There's only one way to build a great reputation. And that's to do it consistently, hit after hit. We set the analog standard with Ampex Grand Master® 456. We pioneered a new digital standard with Ampex 467 digital mastering tape. And we developed Ampex 406 for outstanding performance in a wide range of analog mastering applications. When it comes to analog and digital mastering tapes, nobody offers a wider selection. More great 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 AM P:' Di cì nxxau "°. "`tir ",`"n. A c T, argument on what it takes to master one. IDl I3roadcap. Ret1'axì Cih, CA A I1x33, 415/3673809. Circle (20) on Rapid Facts Card www.americanradiohistory.com Nashville.... Neve's Got Your Number Old 8232 SERIES Affordable Multitrack Recording 542 SERIES Traditions, Video Post or Portable 51 SERIES Mainframe Broadcast or Video Post V SERIES New Neve's Flagship console for Music /Post DTC -1 Digital Tape Transfer console Frontiers NECAM-96 By Kay West Moving Fader Automation Whatever your requirements, Neve has a console From the beginning, the Nashville series that will fit your particular needs. recording industry has been based on a And in Nashville, that could mean starting your a diversity of projects, ready acceptance production project on our V- Series console, MIDI of new technology and healthy and vocal overdubs on our popular 8232 Series, with reverence for a song. mixdown assistance from NECAM-96 moving fader automation. It all begins with a song. Your entire digital product can then be processed for This motto, taken from the Nashville Songwriter's Associa- tion International, neatly sums up the history and success compact disc mastering through the DTC -1, our of the Nashville recording industry. Digital Tape Transfer console. Forget what you've heard in the past-that Nashville studios are technically backward, that the only music recorded here When you need sales, parts, service or support you is country, that no one really on the creative edge would want won't be dialing long distance either. That's because to work here. Neve has made a long -term commitment to Come to Nashville and you'll find a vibrant city scene, with Nashville and it's future as a world renowned some of the best studios in the world recording the best music to be found anywhere. recording center. In fact, our new Nashville sales and service facility is right around the corner. Give us a Industry's roots call. The roots of the Nashville studio biz can be traced to a jingle recorded in 1947 at the city's first recording studio. That first TOM SEMMES Southeastern Regional Sales Mgr. session, however, was a long time coming to the small MARLA LEVITAN Administrative Assistant southern city then recognized as the "Athens of the South." FRED HILL Technical Support In the 1920s and 1930s, the major music centers were New York, Los Angeles and Chicago. Country music, still developing as a musical category, had a regional popularity, but it didn't extend to those metropolitan areas. and Nashville, Although the big country stars of the time, such as Vernon Dalhart and Elton Britt, were often brought to New York to You've record, most country recordings were accomplished in the Got Ours field. The earliest instances of recording in Nashville took place in 1928, when Victor (now RCA) came to the city to 615 329 -9584 record selected Grand Ole Opry singers and string bands. These sessions were held at the WSM Radio studios in the National Life Building on Capitol Hill. At that time, the Grand Ole Opry was not as successful as its competitor, the Chicago WLS National Barn Dance. When Al Novo the Opry finally went on weekly nationwide radio on NBC in the early 1940s, an aggressive 1221 16th Avenue South Nashville, TN 37212 talent search landed such stars as Bill Monroe, Ernest 1ùbb, Eddy Arnold, Red Foley, Fax (615) 329 -1473

Kay West is a freelance writer and publicist in Nashville. CT (203) 744 -6230 NYC (212) 956 -6464 CA (213) 874 -8124

Circle (21) on Rapid Facts Card 38 Recording Engineer/Producer August 1988 www.americanradiohistory.com Minnie Pearl, Hank Williams, Kitty Wells, Hank Snow and Roy Acuff. It was Acuff who, in 1942, staged a personal rebellion that sparked an industry revolution. Acuff had already scored several huge hits and was the undisputed star of the Opry. Disen- chanted and dissatisfied with his treatment by music publishers based in New York and Chicago, Acuff formed, with Fred Rose, Acuff -Rose Music. Not long after, Julian and Gene Aberbach established Hill Music and Range Music (they later merged). These publishing companies were the beginning of RCA Studio B opened in 1957 in the heart of Music Row. Considered what would become the cornerstone of Music City and the to be the birthplace of the Nashville Sound, it operated as an active studio community. studio for 20 years. Since 1977, it has been a museum operated by the By the mid 1940s, there was some recording taking place Country Music Foundation. at WSM's old broadcasting studia Victor was again at the fore- front, recording Eddy Arnold there in 1944. By then, the foundation was laid. The Grand Ole Opry had surpassed the Chicago Barn Dance in popularity and harbored an incredible pool of singing stars and musicians. A national market existed for records from those Opry stars, and, of course, the fledgling publishing concerns were eager to supply material. First studios Taking the giant leap for Nashville were three WSM engineers who had conducted the recording sessions at the station. In 1947, George Reynolds, Carl Jenkins and Aaron Shelton opened their own studio in the Wane Hotel at Church Street and Eight Avenue. They called it Castle Studio, from the WSM slogan, "The Air Castle of the South." The first session there was the ad jingle (presaging one of the most lucrative areas of Nashville's recording business) for Shyer's Jewelers. The vocalist was Snooky Lanson; backing him up were pickers Owen and Harold Bradley and George Cooper, three men who would prove vital to Nashville's development. It didn't take long for t New York -based record labels to recognize the economic L , efits of recording country music in its home base. Castle Studio soon became one busy place. Supply followed demand, and in 1948, the Brown Brothers Transcription Service opened for business at the corner of Bob Dylan's "Blonde on Blonde" album, recorded at Columbia Recor- Fourth and Church and was used extensively by Victor. ding Studios in Nashville, remains one of the most critically acclaimed The Bradley Brothers opened Bradley Film and Recording albums from the 1960s. Studio at Second and Lindsey in 1952. After a brief move to Hillsboro Road, they ventured into the uncharted territory The 10 years between 1956 and 1965 were the boom time. of 16th Avenue (now Music Square East), a rundown residen- The city helped launch the careers of stars like Elvis Presley, tial area. Gene Vincent, Buddy Holly, the Everly Brothers, Brenda Lee The Quonset Hut, Music Row's first studio, was just that, and Roy Orbison. The Nashville Sound embraced Patsy Cline, an Army Quonset hut that looked like a corrugated metal Jim Reeves and Eddy Arnold. In 1963, Nashville also hosted airplane hanger. Built in 1955, the Hut was instantly belov- several black musicians who recorded major hits: Brook Ben- ed. Decca (now MCA) booked all its sessions there, and Capital ton's "Hotel Happiness" and the Dixiebell's "Down at Poppa and Columbia used it frequently. Its presence sparked a rush Joe's" both hit the pop Top 10. to that area by publishing companies, talent agencies, and, In 1966, Bob Dylan came to town to record "Blonde on eventually, record labels. Blonde:' The double album remains one of his most critical- In the spring of 1957, RCA hired Chet Atkins to oversee ly acclaimed projects; more importantly, it set the precedent its Nashville recording operations, and in November of that for rock artists to record in Nashville. year, opened Studio B at 17th and Hawkins (now Roy Acuff In the 1970s, the Outlaw Movement, spurred by Kris Kristof- Place). It was here, and in the Quonset Hut, that the Nashville ferson, Willie Nelson and Waylon Jennings, declared war on Sound was born. the Nashville label recording system, insisting on using their own musicians, their own songs and doing it their way. Their Pop roots revolt was supported by tremendous success that their albums Although Nashville is primarily thought of as a country enjoyed across the board. (Coincidentally, it also set a prece- town, pop recording coexisted with country from the begin- dent for the engineering community. Nashville studios used ning. Francis Craig's 1947 recording of "Near You" spent 12 to have a staff of several engineers, whose services were in- weeks at No. 1 on the national pop charts. In 1948, Nashville cluded in the daily rate; today, independent engineers are the enjoyed its first hit by a visiting pop star. The Dinning Sisters rule. Their role is extremely important, often influencing what came to town, and one of the cuts recorded here, "Buttons equipment a studio will buy and which studios a producer and Bows,' climbed to the No. 7 spot on the Hot 100. and artist will use.)

August 1988 Recording Engineer/Producer 39 www.americanradiohistory.com some of it is international. cent non-country projects have included Old guard remains Bradley's Barn, opened in Mt. Juliet in Dave Mason and the Royal Court of China. Quonset Hut was sold to Columbia in 1964 (and recently rebuilt after a fire), is Sound Emporium, a 15 -year veteran, 1962 and closed by CBS in 1982, and RCA making media news these days as the stu- has welcomed some of rock's newest faces. Studio B has been operating as a museum dio where k.d. lang recorded her album Its location off the beaten path in Green since 1977. But four long -time veterans "Shadowland:' More significantly, she per- Hills hasn't stopped Jason and the Scorch- still are enjoying success with updated suaded Owen Bradley to come out of re- ers, the Shakers and REM from finding its equipment and a variety of projects. tirement to produce. door. Music City Music Hall has been in opera- East Nashville's Woodland Studio was tion in the basement of RCA Records since converted from a movie theater 20 years New client bases 1963. Studio manager Michael Bevington ago to a two -studio facility. While most of Nashville's newer studios, such as says 80% of its business is still country, but their business is in the country area, re- Emerald Sound and Sixteenth Avenue Sound, are also attracting a fair share of rock, along with the bread -and- butter country recordings. Some, such as Digital Recorders, are making a concerted effort to go after non -country artists. Still others are finding niches not ordinarily associated with Nashville studios. Westpark Sound, a new studio run by "YOU HAVE EVERYTHING ON former gospel artist Tom Reeves, depends on jingles and contemporary Christian music. Westpark is for the "MIDI crazy" THE FAIRLIGHT SERIES III. and has more than 10,000 keyboard sounds in its Macintosh -based system. The studio has jumped on a new trend that IT SOUNDS GOOD AND shows no signs of slowing down-children's recordings. Recent projects have included "A Child's Gift of Lullaby" from the WORKS QUICKLY." J. Aaron Brown Company ('which has sold more than 150,000 in nine months) and "In composing, the children's projects for Brentwood Music Series III is good for laying International. a pattern down quickly. Jingle production has been a vital part You have all the instruments of the Nashville music industry for more available and you don't need than 20 years, says Pat Patrick of the Pat- 25 rick Creative Group. He estimates that synthesizers and drum more than 30% of all recording done in machines in order to start a Nashville is jingle -related, but says that song structure. some people have estimated as high as And going into the 60 %. studio, you can prepare But what makes Nashville studios the everything on the Fairlight. right place to be for so many out-of -town It saves a great deal of time clients? There are several factors. Record- and money in the studio. It's a ing technology is on par or surpasses anything to be found in any other city. Rates great tool, very compact, user - are competitive not only with other cities, IA Ill friendly and reliable." For but within Nashville itself, because of the Josef Nuyens, composer/ further information great number of studios located here. Ac- songwriter /producer and owner on the remarkable Fairlight commodations are far less expensive than of Castle Recording Studio and Series III, contact your audio Productions, one of Nashville's few elsewhere. studios specialising in rock, pop consultant or your nearest Finally, the single most important thing and R &B. Fairlight Office. that is drawing national attention and out - of- town clients to Nashville more than ever before is the talent base located here. Nashville has the greatest concentration of engineers, producers, musicians, vocal- ists, technicians and, of course, songwrit- FAIRLIGHT INSTRUMENTS INC. U.S.A. ers, packed into little more than one small 2945 Westwood Blvd., AUSTRALIA neighborhood, than any other city in the LOS ANGELES CA 90064 world. 15 Boundary Street, Phone: (213) 470 6280 Fax: (213) 474 9716 RUSHCUTTERS BAY 2011 110 Greene Street, And when everyone works together, the Phone: (02) 331 6333 Fax: (02) 332 3362 NEW YORK NY 10012 results are magic. It may start with a song, ENGLAND Phone: (212) 219 -2656 Fax: (212) 334-6153 else, you get Kimberley Road, Suite 201, 49 Music Square West, but when you add everything LONDON NW6 7SF NASHVILLE TEN 37203 a product unlike any other. No matter Phone: (01) 624 6000 Fax: (01) 372 6370 Phone: (615) 329 0414 what the final form, whether an album, Fairlight is a registered trademark of Fairlight Instruments Pty. Ltd. jingle, corporate score or children's record- TREBLE JOHNS + MORE FAIR 0067 C ing, if it's done in Nashville, it's bound to Circle (22) on Rapid Facts Card be unique. Nashville's time is now.

40 Recording Engineer /Producer August 1988 www.americanradiohistory.com to some interpretation (The Castle was first if you include Franklin as part of the Nash- ville area; Treasure Isle was first if you don't), what's more important is that these studios had the foresight to recognize the Honing The future of digital recording. The acceptance of new technology isn't limited to digital multitracks. Nashville studios are leading the way in the use of other technical innovations such as studio Cutting Edge computers, digital workstations, R -DAT machines and satellite dishes. Setting aside the question of who was first, both the Castle and Treasure Isle saw By Dan Torchia digital as a way of doing things a little differently than what was then the standard in Nashville. From its inception, the Castle has tried Nashville studios continue to acquire new technology, to find its own niche in the recording com- taking the state of the art to new places. munity, to do things a little differently than its competition. As an example, its console /multitrack combination of a Solid State Logic 4000E and a Mitsubishi X-850 The Nashville studio community has al- their digital capability, Nashville was gen- was not being done anywhere in Nashville, ways been laid back. People do their work, erally overlooked, until somebody did a which was a main factor in purchasing do a good job and go home at the end of little counting and came up with an inter- decisions, says Jozef Nuyens, studio owner. the day. While this ethic contributes to esting discovery: Nashville was the digital The studio will mark another milestone Nashville's appeal -it's a livable city with leader. While most major pop and rock al- in August, as it is scheduled to install a healthy competition between studios, bums recorded in New York and Los An- Nashville's first SSL G Series console, with but without a cutthroat pace -it also con- geles were being tracked and mixed in 56 inputs and the G Series computer. In tributes to something of an image analog, most of the country projects, conjunction with the installation, the problem. meaning Nashville projects, were tracked acoustic treatment will be redone in all While studios in other cities boasted of and mixed in digital. three of Castle's rooms. Although which studio received the Treasure Isle's decision to add digital re- Den Torchia is statt edttor of RE/P Nashville's first digital multitrack is open cording also was based on imported design ideas. In 1983, when the studio was searching for a new location, Fred Vail, Treasure Isle president, and David Shipley, his partner and the studio's chief engineer, wanted to build a studio that was techno- logically current. Some of the this translated into Nash- villes first LEDE -style control room and the purchase of two 3M DMS 32 -track machines. "We listened to all of them, and we liked the sound of the 3M best :' Vail says. "It also had an attractive financing plan, which was something we had to consider." One of the most technically advanced facilities is The Nashville Network, whose $17 million facility rivals those found on either coast. Its first priority is television production, but its audio facilities are equally impressive. Studio A, for example, contains a Har- rison TV -3 48 -input console, a Soundcraft 800B console for foldback, EAW and JBL power amps, Ampex tape machines and a wide variety of outboard gear. Also available are two additional studios, three remote trucks, two edit bays, and uplink and downlink capabilities. Undergoing one of the more comprehensive renovations in the area is Emerald Emerald Sound is in the middle of a E1- million -plus renovation. Tom Hidley redesigned the con- Sound Studio, which is in the middle of a trol room, was gutted, given a new geometry. which enlarged and $1 million -plus renovation, including a control room redesign by Tom Hidley. The

August 1988 Recording Engineer/Producer 41 www.americanradiohistory.com Home Office: Nashville, TN

Although many pro audio compa- a business trip, the company presi- Ampex: The tape manufacturer nies are located on the East or West dent at the time went through Nash- maintains one of eight regional of- Coast, Nashville has its own share ville, liked it and decided to relocate. fices in Nashville. Aside from hous- of companies with offices in the In addition to Nashville's recording Southeast operations, the office area. These fall into two categories: ing and live sound market, compa- maintains an active customer serv- companies with corporate head- ny president Norman Baker also ice for local studios. quarters in Nashville, and compa- cites a strongly competitive broad- Fairlight: The maker of the nies that have branch offices to cast market as another source the Series III opened its Nashville office serve the recording community and company can rely on. All of the in the spring, providing sales, serv- the Southeast region. company's operations, including fi- ice and user training to Nashville A review of companies that call nal product assembly and quality and the Southeast. Fairlight opened Nashville home: control, are based in Nashville. the office as part of its ongoing mar- Studer Revox America: Studer Harrison Systems: The console keting efforts and because of strong moved to Nashville in 1975, two manufacturer began its existence as sales in the Southeast. years after moving North American Studio Supply Company, the Nash- Mitsubishi: The X850 and -80 operations from Toronto to Buffalo, ville-based pro audio dealership are a particularly strong format in NY. All North American operations, now under different ownership. Nashville, and Mitsubishi has had including sales, service, warehous- Dave Harrison, company president, an office in town for about five ing and quality control, are located decided to launch the console busi- years. The office offers equipment in Nashville. ness because of Studio Supply's sales, technical support, training When deciding where to move, established client base. seminars and some parts stocking. the company discounted moving to Neve: The console manufacturer, Los Angeles, citing the nine -hour Branch offices which has had a Nashville office for time difference between California Manufacturers with branch offices three years, recently moved to a and Switzerland, and New York, be- serve the entire Southeast, not just new location and expanded its serv- cause of the high cost of doing Nashville, but the city's recording ice. The office houses sales, service business. community makes it the logical and technical support for the South- Valley International: The com- place to locate. east. In addition to repair, the office pany started its existance in Los An- Here is a rundown of companies also offers computer-aided design geles as Allison Research. While on and the services they provide: services for console installation in

For privacy, for personal attention, and for absolute state-of -the -art digital recording, computer -assisted mixing and electronic music synthesis, Tennessee proudly boasts one of the world's great residential studios. THE CASTLE 1393 Old Hillsboro Road Franklin, Tennessee 37064 (615) 791-0810 FAX 791 -1324

And we're proud to say that The Castle is equipped with an SL4000 G- Series Master Studio System with 56 channels of Total Recall! Plasma Bargraph Metering For information call Jozef Nuyens

Circle (23) on Rapid Facts Card 42 Recording Engineer/Producer August 1988 www.americanradiohistory.com new or existing facilities. control room was gutted, enlarged and the third Hidley room; see "More Than A New England Digital: The given a whole new geometry. Studio" for more information.] Contrary to its Solid maker of the Synclavier and Direct - Emerald recently upgraded most designs, Front Stage has no division to-Disk is represented by Songbird State Logic 4000E console with the G Ser- between the control room and the studio: Digital, the exclusive distributor for ies computer, the first studio in Nashville Both are in one room. the Southeast. Songbird has been in to employ the new computer system. The This open room, called Front Stage, and business for six years, three in At- studio is also breaking new ground with a second, conventionally designed room, lanta and three in Nashville. The of- the radio show "Nashville Live;' which is called the Back Stage, feature SSL 4000E fice has demonstration facilities that recorded on an R -DAT machine and is consoles, Mitsubishi X -850 multitracks allow people to do an entire project transmitted to Los Angeles through an on- with Apogee filters and Hidley /Kinoshita to show the system's capabilities. site satellite dish. [See the story "More monitors. In Front Stage, acoustic treat- Otani: The company's Southeast Than A Studio" for more information.] ment above the monitors extends 20 feet, regional sales manager has been a Another studio using R -DAT machines trapping bass notes and providing ade- is Audio quate separation. 1 -man office for two years, serving AMR, formerly known as Media rep firms and dealers throughout Recorders, which has been using the Sony Various iso booths are located in front the region. Future plans are to ex- 2500. According to studio manager War- of and behind the console for vocals and pand the Nashville office to include ren Peterson, the main use has been for other instruments. Drums are usually re- technical support and seminars. CD preparation. Mixes will be recorded to corded in the main room, Treat says, with Sony: Sony's office houses three R -DAT and tranferred D/D to the Sony other instrumentalists and vocals in the iso sales specialists, one each for ana- 1630 system. booths. Keyboards and guitars are usual- log tape machines and consoles, "We also make copies for producers to ly DI into the console. wireless/RF miss and small mixers, take home, which gives them an exact Perhaps the most unique thing about the and digital equipment. A technician, representation of what was recorded in studio community is the range of technol- who works for Sony's service divi- the studio;" Peterson says. "It's a better ogy available. From the unlimited budget sion, also works out of the office. reference :' to the most restricted, a well- equipped, Some parts are stocked for the re- Hidley's renovation of Emerald was one well -staffed studio is available to all. pair service, but it is not a parts of three studios he did in a four -month per- Studios will work with clients to make sure warehouse. iod in 1986. Perhaps the most unique de- that the best possible product is made sign was Front Stage, one of two rooms within budget. RE/p at Sound Stage Studio. [Masterfonics was

IIIIIIIIIIIilllilllllllllilillli II IIIIIIIIIIIIIIIIilllll

(615) 383 -1982 3102 Belmont Blvd. Nashville, TN 37212

Circle (24) on Rapid Facts Card

August 1988 Recording Engineer/Producer 43 www.americanradiohistory.com WOODLAND SOUND More Than STUDIOS... A Studio An Old Friend, By Dan Torchia A New Attitude. Nashville studios are expanding into musiic publishing and radio shows, in addition to acquiring new Now Featuring studio clients. The studio business is no longer just the both the production company and studio NEVE time -renting business. In cities across the to fill niches that he sees are being unmet country, studios are finding that it makes by other studios. GML Automation good business sense to diversify. "Why not try and fill those gaps?" he In Nashville, many studios are getting says. "We use the studio for the produc- into such ventures as music publishing, tion company, and both the production - STUDER artist development, radio shows and rec- company and the studio feed business to ord companies. And Nashville is no longer each other." just a place to make country records. The Another area studios are moving into entire range of audio production, from jin- are radio shows. Emerald Sound Studio is gles to video post to corporate /industrial the originating point of "Nashville Live :' have developed, bolstering the city's grow- a weekly radio show from the MCA Radio ing reputation as a total audio production Network broadcast by more than 125 ra- center. dio stations. The arrangement is notable because From recording studio Emerald is the only studio in Nashville to record company with a satellite dish. In 1987, Emerald Nashville's rock and R&B scene has joined forces with IDB Communications been bubbling under the surface for a few Group to install a 1.8- meter Ku -band earth years and is just starting to gain national station, which is used to transmit the show attention. to Los Angeles. One studio that has gone that route and The show originates at the studio, which has become one of the most visible exam- is recorded live onto a Sony PCM -2500 R- ples of branching out through its music DAT machine. It is then uplinked to MCA publishing and production companies, is Radio studios in Los Angeles, where the Castle Recording. Three Castle acts have program is edited and broadcast. landed record deals this year: rock acts Treasure Isle is another studio that is Stealin Horses and Walk the West, and participating in radio shows through its For more information R&B group Sepia. president, Fred Vail, who is the host of For Castle owner Jozef Nuyens, the pro- "Starmaker's Radio Showcase' The local or studio bookings, duction company exemplifies his philos- show plays 12 to 14 songs, with a panel ophy for the recording studio. Nuyens uses of judges discussing the merits of each one. A wide range of music is presented, call Tim Farmer or Dan Torchia is staff editor of RE/P. although the majority is country, and the sound ranges from master- quality to Traci Sterling at boom -box. There are times when studios can an- ticipate technical developments; sometimes the march of technology will dictate the direction a studio should go. For Mas- terfonics, a major change in direction came with the introduction of the compact disc. For 11 years, the facility's business SOUND STUDIOS, INC. s was mainly mastering and digital equip- swam ment rental. In 1986, Masterfonics decided to add a mixing room. 1011 Woodland St. MNWm "We knew that our laquer cutting busi- Johnny Rosen, president of Fanta Professional ness was going to be limited in the com- Nashville, TN 37206 Services, in Fanta's 40 -foot mobile recording ing years:' says Glenn Meadows. "We also (615) 227-5027 truck. The console is a 40 -input Sphere; the felt that no one had built a great control equipment rack to Rosen's right is used for TV room. We made a conscious decision to sweetening work. go after the high end of the market :'

Circle (25) on Rapid Facts Card 44 Recording Engineer/Producer August 1988 www.americanradiohistory.com Scene Three is a multitrack audio suite with synchronization to any format videotape. It also has an on -line one -inch edit suite. Equipment includes an Adams Smith 2600 AV audio editing system, 46 -input Harrison TV 3 console, 28 -input Har- rison TV 4 console, Audio Kinetics Mastermix automation, Studer multitracks, Sony 1610/1630 two -track digital system, a variety of outboard gear, noise reduction and mics. 1813 Eighth Ave. South, Nashville, TN 37203; 615- 385 -2820. rpuá v Azdam_. Shook Shack is a demo studio located in the heart of Music Row. Equipment includes a 16 track Ampex MM 1000 tape V -THE NASHVILLE NETWORK NASHVILLE, TENNESSEE machine, and hourly or block rates are available. 802 18th Ave. South, Nashville, TN 37203; 615 -242-1421. For the best in television production, look inland...to Nashville,

Tennessee! If you're looking fora full -service production company Sixteenth Avenue Sound has completed control room renovations in Studio A. The front wall soffett was redone to install with the top technology and personnel in the industry-plus every Tannoy FSMU monitors purchased earlier in the year. Other plans for Studio A call to add an analog 24 -track machine in perk and amenity you can imagine, from office space to catering addition to its Mitsubishi X -850 digital multitrack. 1217 16th and security -look inland. Look to Nashville. Tennessee. It's Ave. South, Nashville, TN 37212; 615-327 -8787. just east of Burbank. just west of the Hudson. You can't miss it. The Song Cellar has recently expanded to 16 tracks and Call us, (615) 889 -6840. with any questions. or if you just need upgraded its equipment list. New equipment includes a Tascam 1 -inch machine, a Kurzweil K-1000 digital grand piano /syn- directions. We g aarantee, it's one of the best on the continent. thesizer and live drums. The facility provides demo production services for songwriters, publishers and record companies. 803 18th Ave. South, Nashville, TN 37203; 615-321 -5005. NE NASHVILLE NE UIORK .. Y806 Soundshop Recording has purchased new equipment and nm.le Iem,seu S72W Circle (26) on Rapid Facts Card rewired its control room. New equipment includes Tannoy LGM monitors and a Yamaha REV -5; Mogami cable was used for the rewiring. Owned by Tree Publishing, the facility has two 24-track rooms in one location and a third in the Tree building. 1307 Division St., Nashville, TN 37203; 615-244 -4149.

Spotland Productions has been providing audio production for advertising, radio and TV broadcast, film, video and A/V for 20 years. Services include two multitrack recording studios, phone patching capabilities for out-of -town clients, and a comprehensive sound effects and music libraries On The Spot Music Productions, a division formed in 1985 to provide music and audio production for commecials, corporate presentations and film, recently won the 1988 Nashville Ad Federations's top award winning spot for Purity Premium Ice Cream. 1443 12th The Creative Ave. South, Nashville, TN 37203; 615-385 -2957. Source Book Studio Supply Company has marked its 16th year as a pro A hot creative sourcebook fora hot market audio equipment dealer and now sells equipment from more than 75 manufacturers. In addition to equipment sales, Studio More than 4,000 researched listings! If it's in Supply has two other divisions. EARS rents equipment for not the book, we'll find it for you! studio or road use, and Studio Builders provides studio design Nashville has the professional and experienced techni- and construction services. 1717 Elm Hill Pike Suite B9, Nashville cians, equipment, and support services for your produc- TN 37210; 615-391 -0050. tion.

Curious? Why not save money on your next location Westpark Sound is a 24 -track MIDI workstation 10 featuring budget. Give us a try! in -house keyboards, two Macintosh computers for sequencing and sound /patch work. Staff includes two programmers, Ted $27.95 plus $2.63 S &H Wilson and Tom Reeves, and two engineers, Wilson and Dan \ Wujcik. Reeves is the studio manager. 3212 West End Ave., Sec- ond Floor, Nashville, TN 37203; 615- 292 -5838. The Nashville Hotline 9 Music Square West Nashville Update is a special adaptation of RE/P's Studio Update department, which appears every month. Send your studio's latest news to Studio Update, RE/P, Box 12901, Nashville, TN 37203 Overland Park, KS 66212. (615) 255-0011

Circle (27) on Rapid Facts Card August 1988 Recording Engineer/Producer 47 www.americanradiohistory.com PART

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For audio quality and character, the A820 -24 with its optional fully integrated C4 or SR noise reduction cards, has become the multitrack - analog or digital -to equal or better.

1 Take it piece -by- piece, take it all together . . . the Studer A820 -24 is precision -built with the kind of quality that professionals world -wide recognize as synonymous with the Studer name. And that same quality extends beyond both hardware and software to Ncíyp reavction C2laJ,5 - our factory sales engineer who installs your A820 -24 onsite. Gblby P SFi ar V0416904, Studer. trice again with the A820 -24, setting the standard. In our own quiet way.

STUDER _1E13 E1/CM Circle (31) on Rapid Facts Card STUDERIMOX AMERICA INC. 1425 Elm Hill Pike Nashville, TN 37210 (615) 254 -5651 Offices: Los Angeles (818) 780 -4234 / New York (212) 255 -4462 / Chicago (312) 526 -1660 / San Francisco (415) 930 -9866 www.americanradiohistory.com Acoustic Design: Noise Control

By Vin Gizzi

Noise control is the science of reducing noise and vibration transmission through a building's structure or boundary surfaces.

The design and construction of a record- good -sounding room as he does of build- Acoustics and architecture are funda- ing studio, control room, MIDI room or ing his own atomic reactor -and surviv- mentally related; in fact, they are insep- any other type of critical listening facility ing. The fact is, a large number of people arable. Acoustics is one of the components is a project so fraught with perils and pit- in the audio business have built their own in the signal path of architecture. This is falls that I often wonder why anyone takes rooms and pulled it off. Some of them a point that needs to be made and under- it on. Funny talk from a studio designer? have been lucky, others have nearly killed stood. The acoustic character of a space Well, yes, partially. themselves in the process, and a large per- is determined by the architecture of that I often make the analogy that a novice, centage have just learned to live with the space: the location, geometry, construc- both to acoustics and construction, has dismal results. tion and finish of the surfaces. If these el- about as much chance of successfully de- How did the lucky ones do it? What ements aren't right, the acoustics won't be signing and building a properly isolated, should the others have done? The details right. It's that simple. Accepting that a stu- are far beyond the scope of any single art- dio project is an architectural design proj-

Vin Glzzl is a partner in Benchmark/Downtown Design, a icle, but the principles of basic noise con- ect, albeit a highly specialized one, the New York City-based firm specializing in the design of re- trol, commonly called "soundproofing;' first step is to choose a designer. General- cording studios and control rooms. are the basis for this article. ly, in the audio business that means deciding between one of the few experienced professionals in the field or doing the job yourself. Experienced studio designers have learned not only how to produce good rooms, but also how to avoid costly mistakes and unnecessary expenses. They can easily put their fingers on all the details and specifications needed for unusual and specialized materials. The do- it-yourselfer probably has no experience v in the field, will fall into 50% of the awaiting traps and will spend days and weeks trying to locate the needed materials. The designer will charge a fee that amounts to 10% to 15% of the total construction cost, and will do his best to keep within budget. Owner/builders probably have no real budget because they have no 125 200 160 250 315 400 500 630 800 1k 1.25k 1.6k 2k 2.5k 3.15k 4k experience with the actual costs for studio FREQUENCY (Hz) construction; furthermore, they will waste 25% of what is spent correcting mistakes, Figure 1. The SR' (Sound Transmission Class) curve. overbuilding and using expensive, un-

August 1988 Recording Engineer/Producer 49 www.americanradiohistory.com I admit, as a design professional, to masonry at about one -third the cost. tave or 1/2-octave bands. The more abbre- some bias on this subject, but I promise Because acoustic construction is costly, viated "TI.' (transmission loss) will be used now that I've had my say, I won't bring it it's important to know exactly what you when referring to sound transmission loss. up again. Let's assume that some people need. Selecting the right amount of noise A rating system common in the con- have perfectly valid reasons for undertak- isolation is fairly straightforward, using the struction industry is the Sound Transmis- ing these projects themselves, and I'll do sion Class (STC), which assigns a single - my best here to keep them on the right number rating based on the combined TL path. A large number of people in the 125Hz to 4,000Hz,1/2-0ctave bands. in the audio business have (See Figure 1.) The STC was developed Acoustics built their own rooms and primarily to rate the effectiveness of con- First, the bad news. Good acoustic construction types in reducing speech trans- struction is expensive. Studios need mass- pulled it off mission and is sometimes called the ive boundaries that are carefully (slowly) Speech Transmission Class. It is, therefore, erected, sealed and finished. The most large pool of test data available on the very tolerant of, and imprecise about, low - economical (general) building systems are noise -reduction characteristics of most frequency transmission. A wall rated at an lightweight, assemble quickly and require construction materials. STC 50 could have as little as 27dB of TL minimal finishing. There are exceptions, at 125Hz and much less at lower frequen- however. Some construction techniques Noise control cies where the SIC does not dare to tread. used in many studio environments are rea- Noise control is the science of reducing A less -used, but more effective, rating sonably cost -effective. Drywall, for exam- noise and vibration transmission through system is the MTC (Music Transmission ple, often called sheetrock, is readily avail- a building's structure or boundary sur- Class) pioneered by Stan Roller at US Gyp- able, economical and easy to work with. faces. The measure of effectiveness at re- sum. This system requires stricter stan- When used properly in frame construc- ducing airborne sound is Sound Tansmis- dards at 125Hz and t60Hz and would rate tion, the results closely match those of sion Loss (STL), generally specified by oc- the wall mentioned above at only MTC 42. The third important abbreviation in noise control is NC (Noise Criterion). Again, this is a single- number rating sys- 20 75 150 300 600 1,200 2,400 4,800 tem for classifying ambient, or broad- 75 150 300 800 1,200 2,400 4,800 9,600 band, background noise levels weighted according to typical hearing characteristics. (See Figure 2.) The well -known Fet- cher- Munson tests showed that humans 80 are less sensitive to very low and very high frequencies. An ambient, steady-state background level that is perceived as evenly balanced throughout the audible 70 hog spectrum actually measures nearly 30dB higher in the 63Hz band than the 1,000Hz band. The NC curves reflect this conten- A- weighting waft::, tion very close to the curves 60 at the lower ranges. Generally, an NC between 30 and 35 is acceptable in an urban residence, while 15 to 25 is the desirable range for a studio 50 111111ftfte or control room. The NC curve is valuable in determining the acceptability of ambient levels only when the spectral pattern . 40 . of the background noise matches the NC MN& curve fairly well and contains no pure tones. In a room with an NC 15 background level, an exhaust fan producing a . 30 ROSPA . 250Hz hum 10dB. above the NC curve would be very obtrusive, and the room should be rated at. NC 25. Subjectively, it will seem much noisier than that because 20 111611% the 250Hz tone is not integrated into the noise curve. TOH D USO I T 10 Using the rating systems . Now, how do Nre use these rating systems? The concept is simple, or at least sometimes it is. Basically the desired NC 0 will be achieved when it equals the max- 63 125 250 500 1k 2k 4k imum external noise level minus the corn - FREQUENCY BAND (Hz) bined STC of all intervening construction. Thus, if the desired NC in a room is 30 and Figure 2. The NC (Noise Criterion) curve. the maximum external noise is 80dB SPL,

50 Recording Engineer/Producer August 1988 www.americanradiohistory.com AKG's C747. Small Sine. Big Sound.

AKG's new C747 "pencil-type" condenser microphone sounds a lot bigger than it looks. In fact, its unique miniaturized transducer design and acoustically -tuned interference tube give the C747 sensitivity and uniform frequency response superior to mics many times its size. You'll like that on stage, N, above a church choir or on a podium, where you need to capture performances without obscuring them. And you'll like it in the studio, where the C747 will go places other mics are just too big to follow. Clear lows, shimmering highs, tight pick-up pattern and mounting accessories that provide total convenience in any recording or sound reinforcement situation - with the C747 you get everything you need. Small size. Big sound. tak AKG

Focusing on new technology. 77 Seileck St. Stamford, CT 06902 t AKG 1988 .ÄAkustische und Kino- Gerate GmbH, Austria [203] 348 -2121

www.americanradiohistory.com the combined sound rating of the walls, 90dB and 105dB. Clearly, a much better commodity in audio rooms. So the design floor and ceiling must be STC 50. system will be necessary to maintain even process becomes a balancing act: trying The problem is that none of these rating modest isolation. An STC rating in the 65 to keep isolation, space and cost in rea- systems focus enough on low -frequency to 75 range and good low -frequency per- sonable proportion. transmission. (Remember, they were orig- formance is the goal. inally intended primarily to ensure speech Resilient mounting privacy.) Note especially that the S'lt scale Major components of a studio First, let's review the basics of a resilient doesn't go below 125Hz, and there's a lot Let's take a look at the three major com- mounting system. Meeting the conditions of musical energy below that frequency. ponents of a room -the floor, walls and of mass and separation requires a heavy In order to get adequate isolation at low ceiling. The floor slab in a typical high- secondary-floor layer with minimal con- frequencies, we need to take a closer look rise building is 4 to 6 inches of poured contact to the primary -floor slab. Ideally, it at some actual measurement data. crete, rated at STC 45 to STC 50. Your first should "float" in space with no support Let's start with a typical wall used in instinct might be to increase this thickness points tying it to the slab below. The corn - commercial construction, rated at STC 50. to improve the floor's performance, but mon technique for platform construction, It is composed of % -inch gypsum wall- the Mass Law shows that doubling the using slot lumber on end ( "sleepers ") as board on both sides of a 3% -inch metal mass (pouring an additional 4 to 6 inches the spacing material, would not be effec- stud with fiberglass insulation filling each of concrete) will only raise the STC by 5dB tive here because the sleeper faces pro- stud cavity. (See Figure 3.) Its TL charac- to 6dB. That increase is not suffient to im- vide too much contact between the two teristics (See Figure 4 ) are pretty good floor surfaces. above 250Hz. But, at 125Hz, it attenuates Resilient mounts make good supports only 29dB and at 63Hz only l2dB. If the when properly loaded, providing deflec- source noise we're isolating is rock music Acoustics is one of the tion of sound and vibration traveling reproduced on high-quality monitors at an components in the signal through the floor surface. A relationship average level of 80dB SPL, there may well path of architecture. exists between the isolator's "static" de- be 80dB of energy in those bands. That flection -the amount of compression un- means 51dB of noise gets through the wall der normal load -and its "natural frequen- at 125Hz, which would raise our NC in the cy" -the rate at which it would oscillate receiving room to about 35. But things are prove performance for the expense in- freely. A greater deflection, and lower na- even worse in the 63Hz band where 68dB volved. Meeting the goal of an STC 65 to tural frequency, is desirable because the of noise is transmitted, raising the NC to STC 75 will require an additional floor, sep- isolator's effectiveness for our purposes 45. This environment is completely unac- arated several inches from the existing begins at five to 10 times its natural ceptable for any type of recording or crit- slab. This construction has the two ingre- frequency. ical listening. dients necessary for noise isolation: mass To put these concepts together then, we Conversely, if the goal is to keep noise and separation. want a floor material of maximum mass, from leaking out and disturbing neighbors, Practical considerations, however, often separated as much as possible from the this amount of isolation is also far short. make these two ingredients very difficult building slab and supported by resilient In the previous example, I've assumed to incorporate. A lot of mass is expensive mounts with the lowest possible natural monitor levels of only 80dB SPL, which and sometimes beyond the load- bearing frequency. The best system is a poured is very moderate. Typical mix levels, even capacity of the floor structure. Raising the concrete slab (good mass), with a 4 -inch on close -field monitors can be between floor reduces available height -a valuable air gap (good distance), on springs (natural

A B C A

. 1( ) (Pli 1f / / I ' / PER SQUARE FOOT ( ., 1 \ t 1 ( ` l ) 1 lv) % `` " THICKNESS: 4.875 INCHES "' `-' CAVITY: 3.5 INCHES SOUND RATINGS: STC- 50 /MTC -45

A. 5/8 -INCH SHEETROCK BRAND FIRECODE "C" GYPSUM PANELS

B. 358ST USG STEEL STUDS 24 -INCH OC

C. 3 -INCH THERMAFIBER SAFBs

on each side of a 3548 -inch steel stud with insulation in the cavity. Figure 3. S7 50 wall, composed of a single layer of 5%-inch drywall

52 Recording Engineer/Producer August 1988 www.americanradiohistory.com 15,000 channels in 31 countries.

NG SPECTRAL RECORp DOLBY 210 Modulo Auto Cat. Compare IXJDOI

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Dolby Laboratories Inc.,100 Potrero Ave., San Francisco, CA 94103. 346 Clapham Road, London, SW9 9AP Dolby and the Double -D symbol are trademarks of Dolby Laboratories Licensing Corporation.S88/8313. ©1988 Dolby Laboratories, Inc.

Circle (32) on Rapid Facts Card www.americanradiohistory.com 80

70 frequency between 3Hz and 4Hz). As often is the case, the best is also the most expensive, and if we can't afford it, we must look for alternatives. 60 Alternatives A good compromise for most applica-

50 tions where occasional noise intrusion can be tolerated is a secondary floor made of 3 -inch drywall, sandwiched between layers of'/ -inch plywood, and supported on 40 neoprene pucks or compressed -fiberglass cubes. Pucks, which are manufactured by Ma- son, Kinetics and others, are 2 to 5 inches 30 high and can have natural frequencies between 6Hz and 9Hz when optimally loaded. However, that optimal load is closer 20 to the weight of poured concrete than the drywall we plan to use, so we should count on a natural frequency at the high end of the range. 10

An Sir rating in the 65 to 40 63 100 60 250 400 630 1,000 ,600 2,500 4000 6,300 - 31.5 50 80 25 200 315 500 800 1,250 2,000 3,150 5,000 8,000 75 range and good low 1/3- OCTAVE BAND CENTER FREQUENCIES (Hz) frequency performance is Figure 4. Transmission loss by ;i3- octave bands for wall construction the goal. shown in Figure 3.

80 Cube isolators, manufactured by Kinet- ics, also have a natural frequency around 10Hz and are available in 1 -inch to 4 -inch sizes. The plywood top and bottom layers 70 are needed to attach a finish material to and to prevent crushing of the bottom drywall layer.

60 As shown in Figure 5, the calculated minimum rating for this system is STC 64. The TL at 63Hz is 43dB and at 125Hz, 53dB. These are very respectable numbers 50 and would protect a neighbor downstairs, for example, from the sound levels produced by most musical instruments and

40 monitoring levels of up to 100dB. Ceiling system For a ceiling system, the same concepts 30 apply as for floor mass and separation. But it is not practical to get as much mass in a ceiling, because of limitations both on the weight that can be added to the floor 20 above and the maximum span of a ceiling structure. Either a new ceiling is hung on a grid supported by the floor above, or 10 separate ceiling joists are installed on the walls of the isolated room. With the first system, spring or neoprene isolators, similar to those used for 40 63 100 60 250 400 630 1,000 ,600 2,500 4000 6,300 the floor, are hung from the ceiling joists 31.5 50 80 25 200 315 500 800 1,250 2,000 3,150 5,000 8,000 1/2- OCTAVE BAND CENTER FREQUENCIES (Hz) or structural slab overhead. A grid of wood or steel is attached to them and lay- Figure 5. Calculated transmission loss by (octave bands for sand- ers of drywall then are installed on the wich floor, on a 6 -inch concrete slab grid. Three layers of % -inch drywall is

54 Recording Engineer/Producer August 1988 www.americanradiohistory.com When the Ki.rz.n.eil 250`' was introduced in 1984, it set tl'e industry standa-d for sampling excellence and programming sophistication. But what may have been a crowning achievement for others was just a starting point for us. The K250', you see, is being updated continuously to keep pace with futare technological advances. For example, we'.e recently deve oped powerful, portable RAM :artridges that vastly extend tie K250's memory. We've just released our ninth sound library and have more on the way. Also, the oJta-i of having twelve separate outputs fo- Lrprecedented versatility in using those renown K250 voices is available. Things have c-i nged a lot since 1984, but the K250 and 250RMXä; 'rack mount expand =r) are still on :he leading edge of music tech - -ology. So when you buy a <250, you krow you're investing in an instrument that will continue to earn the admi- ration of music rnaaErs eerywhere. Visit your learea Kurzweil dealer today. By the time you get there, he'll have more excitinc updates to tell you about.

Kt_ r-weil 250, K250 and 250RMXare registered trademarks of Kurzweil Music Systems, Inc-, 41 :X.averley Oa

1 I INCHES material improves TL. Because of its high I I I I 1 I 1 1 1 1 I I CAVITY: 6.5 density and moderate cost, the preferred l_J (v) (vl `1 ( ) (v) (_.) (. insulation is Thermafiber from US Gyp- sum, but this type can be hard to find in

:i.'.. . _ . ... .a:',...... :}:r ...... 1,T small quantities. As a general rule, ceiling cavities should be filled to at least half SOUND RATINGS: STC- 63/MTC -59 their depths with fiberglass insulation of 3pcf (pound per cubic foot) density. If prac- A. 5/8-INCH SHEETROCK BRAND FIRECODE "C" tical, add additional amounts; it will im- GYPSUM PANELS prove the noise specs. B. 60SJ20 USG STEEL STUDS 24 -INCH OC Wall construction C. 5 -INCH THERMAFIBER SAFBs There are probably as many theories about proper wall construction as there D. USG RC-1 RESILIENT CHANNELS 24-INCH OC are about who really invented flanging. HORIZONTAL Theories are likely to be numerous on any

Figure 6. S7' 63 wall composed of three layers of Sib -inch wallboard on one side of 6-inch steel subject when little hard data is available studs; two layers on the other side over resilient channels, insulation in cavity. to prove or disprove them. Only within the past few years has thorough and systematic acoustic testing of wall types been done. Most of the testing was conducted under the direction of Stan Roller, at US Gypsum, and provided extremely valuable information about the performance of different systems. 80 To begin with, excellent studio walls can be built with either steel or wood studs. The ingredients for success are the now - familiar mass and separation, with a lot 70 more interest in stiffness. Partitions con- structed of lightweight, thin steel studs have surprisingly good, low- frequency TL

60 because of the flex in the whole structure. The quality is not good, however, when considering the sonic performance of a room. We don't want the walls acting as 50 imperfect, low-frequency absorbers, rera- diating harmonics in a complex and un- predictable way. A stiff and massive wall

40 will contain the low- frequency energy without coloring it. The thickness of the stud is important, as it will affect the stiffness of the wall and the separation be- 30 tween leaves. A steel stud will perform just as well as wood if it is at least an 18 to 20 gauge. We've all heard about bizarre -sounding 20 combinations of wall surface materials that promise incredible performance. May- be some of them work. But for low -cost 10 mass, you can't beat drywall. There are some tricks that will improve its performance considerably. A resilient channel installed horizontally 40 63 100 60 250 400 630 1,000 ,600 2,500 4 000 6,300 between one face of the stud and the dry- 31.5 50 80 25 200 315 500 800 1,250 2,000 3,150 5,000 8,000 Va- OCTAVE BAND CENTER FREQUENCIES (Hz) wall can raise the STC by as much as 10 points, although most of the improvement Figure 7. Transmission loss by !i-octave bands for wall construction is at high frequencies. I don't recommend shown in Figure 5. this system if the resilient channel face of

56 Recording Engineer /Producer August 1988 www.americanradiohistory.com the wall is in an acoustic space. The reason the wall is very high in this frequency the design, it is an important factor in the is that the channel is quite flexible (that's region. However, for other types of con- effectiveness of this wall. Reducing it also why it improves TL), so it will contribute struction, particularly windows, the dip will decrease low -frequency TL. the same artifacts as a lightweight stud. can be greater in amplitude and more This would not be a problem for a wall be- serious. Doors tween a studio and hallway or office as For more demanding applications, a A paradox exists here somewhat belong as the resilient channel was on the double -stud wall with 21/2-inch drywall on cause these walls, with such terrific sound hallway or office side. one face and 2 -inch drywall on the other ratings, must be penetrated in several plac- Another significant improvement can will outperform the wall in Figure 6 by es for such essentials as doors and win- come from using 1- inch -thick drywall, 5dB to 10dB. Although the 16 -inch thick- dows. But if chosen and installed "careful- usually called "shaftliner,' as the base ness may be difficult to incorporate into ly", they will not ruin the isolation system layers with a standard 1/2-inch or Y8-inch finish layer. The method of attaching the panels also can be improved by applying a bead of caulk to the stud flange before installing the base layer. On all subsequent layers, apply small dabs of caulk on 8 -inch centers between drywall panels. This application serves dual purposes of laminat- ing and damping the layers. All seams between panels also must be caulked carefully.

Insulation ;11%?r'`.46p ii3is:fl8? As in ceiling construction, the amount 1,11111211 111111101Q and type of insulation in the stud cavity is very important. The same guidelines apply here -fill all cavities completely with fiberglass insulation of 2pcf to 3pcf density. A good partition for use between an acoustic and non- acoustic space with Wideband - High Qualit }' Choose the works. moderate isolation required is shown in Figure 6. Its TL by '/3- octave bands is Incredible Specs or only what you need! shown in Figure 7. Three layers of drywall Chances are you'll want a fully are attached to the face of a 6 -inch steel Sensible Price loaded 8 x 1 switcher for video stud with two layers attached to a resilient (from $ 895. -) channel on the other face. All layers are and stereo audio. But, you can laminated, and stud cavities are filled with start with just video for glitch -free Remote Control (option) vertical interval switching. Add one or both audio channels later. Laminated glass Use it for Flexibility is key! You don't need outperforms standard the video module if audio is all you plate and should always Program Monitoring want to switch. be specified. Picture Matching The front panel is uncluttered and functional. Tactile feedback pushbuttons, separate video and 6 inches of Thermafiber insulation. This Test Signal Switching type of construction is sometimes called audio LEDs, a replaceable "unbalanced" because there are more lay- VTR Input Selection designation strip, 3- position toggle ers of material on one side than the other, to select married (audio - follow - more ... which has an important effect on the coin- And video) or audio /video only cidence dip. switching, and a REMOTE tally. All materials have a "critical frequency" Ask for illustrated brochure. at which they offer less resistance to sound our waves of the same frequency striking at It tells the whole story. certain angles. This critical frequency results in a coincidence dip or an area of the band with reduced TL. For wallboard panels, the coincidence dip falls in the LEITCH 1,000Hz to 3,000Hz range, depending on the thickness of material and whether the For more information contact your local LEITCH dealer layers are laminated. In Figure 7, for the or call: wall described above, note the reduction In U.S.A.: 1- 800 -231 -9673 in TL of about 5dB at 2,500Hz, at- or (804) 424 -7920 tributable to the coincidence dip. It's not In Canada: 1- 800 -387 -0233 significant in this case because the TL of

~~Circle (42) on Rapid Facts Card~~

August 1988 Recording Engineer/Producer 57 www.americanradiohistory.com that we've been working on so hard. They separated by several feet of space (remem- seal is a mechanical "drop" type in which will lower the overall sound rating for that ber the mass and separation criteria) will a pin extending through one side of the section of construction because a door or have a combined STC rating that is near- seal cover forces a rubber strip down window rated at 60dB to 70dB is rarely ly the sum of their individual ratings. when the pin contacts the door jamb. Drop within the means of the average recording Sealing a door properly is essential for seals are tricky to set properly and require facility. There are many ways to maintain maintaining its rating. The preferred seals periodic readjustment; like all moving the design goal for isolation, however. are made of compressible neoprene parts, they also are prone to failure. The most practical and effective door around the door jambs and a thick felt - systems use two composite -core steel or type material on the bottom, used in con- Windows wood units, each rated at STC 40 to STC junction with a cam hinge that literally lifts Windows are equally important, and 45, installed in a sound lock. Two doors the door as it opens. An alternate bottom vulnerable, elements of the studio. The acoustic principles that apply to them are our old friends, mass and separation. The advantage here compared to wall construction is that no studs are used between panes and, therefore, there is no contact except at the perimeters. The disadvan- tage is that it's impractical to equal the mass of several inches of drywall. A window with an S'R rating in the low 50$, however, can be achieved using two panes of heavy, laminated glass separated by an average distance of 5 inches. Lami- nated glass outperforms standard plate and should always be specified. Using two different thicknesses (for example, finch and 1/2-inch) will reduce the coincidence dip problem we discussed earlier. Lastly, following the analogy to wall construction, insulation will improve the TL by absorbing cavity resonance. This application is rather tricky because obviously we want to look through the window and not use it as a display case for fiberglass insulation. The answer lies in the reveals, the portions of the frame visible between the panes. They must be covered with a minimum of 2 inches insulation. This application will require a tricky frame detail, then covering the insulation with fabric. Sloping the panes, long a tradition in studios, is useful for reducing flutter echoes with reflective wall surfaces and controlling light reflections, but this techni- The NR system que does not improve the TL. The volume you and forget. of the cavity between panes, regardless of just set its shape, is the important factor. I hope this article doesn't seem like a A ANT product of Telecommunications, Inc. crash course in studio design; it would be No wasting time lining up - not even for tape exchanges. impossible and foolish to condense that complex process into a few pages. Under- Up to 118dB dynamic range - the widest dynamic range standing these principles, though, will be available in any noise reduction system today. helpful whether you plan to build or re- model yourself, or hire a consultant. Over 15,000 channels in No pre or post echo. Noise control is becoming quite an ex- use worldwide. acting science. We know how to control noise transmission, but designing a good - No breathing or pumping. sounding room is less calculable. In a fu- No overshooting. telcom c4 ture article, we'll explore design elements Silence by Design that influence the sound of a particular acoustic space. Distributed by: RAM BROADCAST SYSTEMS INC. R&p 346 W. Colfax Street, Palatine, IL. 60067 New York (516) 832 -8080 Chicago (312) 358 -3330 Tennessee (615) 689 -3030

~~Circle (34) on Rapid Facts Card~~

~~58 Recording Engineer/Producer August 1988 www.americanradiohistory.com Studio Design: Ergonomic Considerations~~

~~By Andy Munro and Michael Fay~~

~~Ergonomics: The relationship between workers and their environment.~~

There can be few working environments more complex than the modern multi- INTEGRATED FACILITY track recording studio. A matrix of up to 100 microphones, sampled sounds and effects channels, multiplied by up to 64 C/R 1 groups creates an unprecedented demand on the engineer whose task it is to produce a finished product. Added to this scenario are the commonly seen array of CENTRAL keyboards and computer control devices. Much research has been applied to MACHINE recording hardware without due con- AREA , C/R 2 sideration to its operation. It is a valid argument that every functional system in a control room should be operable from one comfortable, seated position in much the same way that a pilot controls an air- craft. But, there is a point in the design of any studio when a conflict arises be- C/R 3 tween purely acoustic or engineering considerations and ergonomics. Good ergonomic design can make an enormous difference to the successful integration of control room functions, starting with the flexibility of working positions. The engineer, producer, programmer and musician work long hours together in highly interactive ways, often sharing the responsibility for producing DISCRETE FACILITY the right sound, at the right time, in the right place. To balance these ingredients, it is possible to resolve design ambiguity by applying a combination of logic and ex- C/R 1 C/R 2 C/R 3 perience to each aspect of the project in hand. This requires a consensus approach that includes client, designer and hypothetical users in a systematic analysis of every aspect of the studio. The following examples illustrate that successful music projects are not limited by technology, nor are they directed by it. 1) U2 produced one of the most refresh- ST 1 ST 2 ST 3 ing rock albums in years by recording al-

~~Andy Munro is a partner at Windmill Munro Design, Lon- don. Michael Fay Is editor of RE/P. Figure 1. Two types of facility design.~~

August 1988 Recording Engineer/Producer 59 www.americanradiohistory.com most everything "raw;' in several Dublin this is considered the best rack location. them and use the resistant mounting houses and other unconventional loca- Other options are side racks (extending baffles. tions in the country. Much of it was re- perpendicular to the console, on either 2. LV wiring must be short and heavy - recorded and finally mixed together at side) and wall- mounted racks. duty. Mount transformers as close as possi- Windmill Lane, but the essential feel is not Side racks are often the most conve- ble to the light fittings (preferably central a product of a studio environment alone. nient, but offer limited space (typically two to each group or bank). 2) Peter Gabriel spent two years in a 19-inch rack spaces wide, by 24 inches to 3. Beware of transformers. Mount them converted barn, in the company of two 30 inches high). Ergonomically, wall - at right angles when adjacent and test for digital multitracks, compiling an album mounted racks are the least desirable. This radient EMI field strength! that, again, is conspicuous by its success. configuration requires the engineer to 4. Always use one more light than you 3) George Michael used the combined walk across the room to make adjustments think you need. facilities of Puk Studios to create a decep- or view any metering. Wall- mounted Caution should be taken with all forms tively simple sound based on using equip- racks, however, use the least floor space of dimmers, and none should be specified ment representing the near -limit of ex- around the console, which may be without rigorous testing for RF inter- isting technology. desirable. ference. Similarly, fluorescent lighting Each situation was entirely different, 5. Seating in control rooms is often should be properly suppressed. and yet the result is million -selling albums, planned around the space left over, but Natural elements can be as important each highly acclaimed. The common this is not sufficient to satisfy the needs as the technical environment being thread in these examples is that the en- of musicians and production personnel created. Natural daylight filtering into vironment, not the equipment, was a who need to make accurate quality judg- studios together with a neutral color primary factor influencing the creative ments concerning the recording. scheme are ingredients for a relaxed process. 6. The ubiquitous sofa at the back of the working atmosphere. The successful studio carefully matches room invariably sits in an area of excessive facilities to demand and, therefore, must bass boost, obscured top-end and im- Monitoring offer a flexible approach to the use of its precise imaging. Low- frequency localiza- The same neutrality should be applied own resources. tion has always been a significant problem to monitor speakers and the way in which in control -room planning. Standing waves they interact with the mixing space. The working space induce large changes in low -frequency Natural acoustic instruments and voices There has been a trend for at least five sound pressure, which vary enormously should sound as if rio transduction has years toward larger control rooms capable with location. Many control rooms have been employed in their reproduction. Any of fulfilling the need to both mix at a con- large sofas placed in a strategic model coloration is ultimately fatiguing. sole and to play a wide variety of key- point where there may be a relative There is an ergonomic aspect to board instruments. Yet, most control energy increase of 15dB! This effect can monitoring, too. TDS (Time Delay Spec- rooms are expected to be operated by one be reduced by even distribution of low - trometry) allows accurate assessment of person or, at most, two people. It is, frequency damping and geometric design, the effects of room boundary relationships therefore, desirable to make the engineer's but the laws of acoustics dictate that the to the direct sound of the speakers. The job as easy as possible. Several factors can bass will always be louder in the corner, result is the evolution of very wide con- influence the viability of a 1-operator so put the coffee machine there. trol rooms with main speaker positioning room: Thoughtful acoustic design can create that eliminates precise mirror images or 1. The ever -increasing number of fans in a wide, stable image for a reasonable "hot spot" reflections. Although this power supplies and microprocessors has number of people who should be provided room /monitor relationship is commend- led to the need for remote machine rooms, with adequate seating, but the sofa is able, it creates large amounts of redundant which house multitracks and other hard- seldom an area for critical listening. space, given that most activities must oc- ware. The system design for such facilities Alternative sofa locations can be con- cur within the central stereo picture. must incorporate adequate provision for sidered if the studio is still in the planning Due consideration should be given to remote metering and control of tape stages. Another common location is in the acoustic design in relation to working machines and other devices. front of the console. This location isn't space, and, if appropriate, absorption or 2. There is often a requirement for link- good for monitoring either, but when diffusion should be used to eliminate un- ing together several ATR and /or VTR square footage is precious, the sofa may wanted early reflections. machines; therefore, synchronizer systems need to be the first to move. Loudspeaker directivity must also be are a must. Placing the sofa to the side of the con- taken into account when planning a con- 3. Remote -operated doors, lighting and trol room is a much less common location, trol room with soft dome monitoring, ventilation should be considered a necessi- and additional care must be taken if this which gives significant advantages in ty, and not just a luxury. idea is considered. To maintain an even coverage at the expense of efficiency. 4. Outboard equipment should be spectral balance between the left and right Horn -loaded systems often create high- mounted within easy reach of the mix monitors, it is important to have similar frequency beaming that must be an- position but in such a way as not to create surfaces, opposite one another, on the side ticipated when planning keyboard areas acoustic interference. For this reason, walls. This probably means identical sofas behind, to the side or inside the monitor overhead racking is not recommended on each side of the room. focal point. A response curve or polar plot unless there are overriding considerations, The subject of lighting has received re- that looks good on paper may sound unac- such as mobile trucks. cent attention, thanks to the flow of well - ceptable to the trained ear. Do not trust Each of the traditional signal- processing designed, low -voltage (LV) Italian systems. data sheets for this information. Measure rack locations has advantages and disad- Although five times more efficient, the it first! vantages for the engineer: When located following warnings should be heeded in Video monitors can be placed locally for behind the engineer, it is necessary to turn respect to LV lighting. synchronization and control information. 180° to make an adjustment, then turn 1. The lamps and reflectors become very A large screen between the monitors is back again to face the monitors. To many, hot. Allow adequate ventilation around also acceptable. In either case, it is impor-

60 Recording Engineer/Producer August 1988 www.americanradiohistory.com tant that the key production personnel can all its resources equally, with no bottle- technical area would control each session see the visual monitor(s) easily, and that necks or redundancy unless preplanned. to ensure proper allocation of resources. adequate video patching or switching is This presupposes that each recording The experience of video and television available. space is dedicated to one control room systems designers may be followed to pro- Ventilation is frequently left too low on while a another control room is used for duce this centralized concept. the priority list, and it is easy to dismiss mixing only. Other areas might be desig- Obviously, a need exists for multitask- the effects of poor air quality as part of nated as programming or preproduction ing within the recording process, which the lifestyle many studio engineers rooms with instant access to multitrack has a parallel in computer networking. experience. machines and ancillary equipment. When the recording medium becomes ful- By completely changing the air in the Again, in an ideal setup, a central ly disk -based and consoles are totally studio at least eight times an hour, it is fairly easy to measure the benefit in alertness and concentration over very long periods. Ergonomic Checklist V Of course, this is assuming that the system provides proper filtration and humidity, Sight lines Doorways and also may have ionization capabilities. Elbow room Steps, ramps and elevators Air velocity should be kept below 500ft /m Machine locations Hallways to eliminate turbulence, which can be Location and convenient Loading doors and both noisy and irritating. operation of outboard studio /control access Temperature control should be variable, equipment Lighting and more than one thermostat is often Audio monitoring positions for HVAC desirable. It may be difficult to maintain those other than the first Foot traffic, wanted/unwanted a desired temperature constant if load con- engineer Storage: cases, mics, stands, ditions are different for various parts of the Video monitoring positions cables and tapes control room, studio and building, or if the Client's or guest's seating Lounge area conditions are constantly changing be- Communication systems Security cause of outside weather conditions. (For Placement of artists rack(s), more information on HVAC, see "HVAC keyboards and computers for Audio Facilities" on page 72.) Hypothetically, the perfect facility uses

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Circle (35) on Rapid Facts Card August 1988 Recording Engineer /Producer 61 www.americanradiohistory.com assignable, then the traditional control This is especially true in an environment The value of a lounge area is often room layout will be obsolete. Once the where 2 -way verbal communication is overlooked. This may look like waste of console is reduced or removed altogether, restricted and often cluttered. Quick hand valuable floor space, but it isn't. The everything else changes. signals can usually deliver a message from lounge serves many functions. It provides engineer to musician, when the noise level artists /clients with a place to congregate Communications in the studio or control room makes it im- before, during and after a session that is Good talkback communications are ab- possible to hear. unobtrusive to the operation of the rest solutely vital. Some studios incorporate Movement between studio and control of the facility. The lounge can also serve remote talkback and clock panels in room should be as easy as possible, and as a warmup room for musicians, a meet- several locations, which allows for conve- remotely operated, motor-driven doors are ing room or a place to sleep during an all - nient communications in a variety of not necessarily an extravagance. A 50dB night session. areas. A company known as Brainstorm door with a spring closer, opened 50 times Good ergonomic design requires as has developed a wireless talkback button. a day, expends many ERGs! (An ERG is the much careful planning as it does money This allows the client or producer to have unit of work expended when the force of and labor. With a good design, an audio access to the talkback button anywhere one dyne moves an object a distance of facility can maximize its use of time and in the control room and frees the engineer 1cm.) space. In many ways, :ime is the limiting from the "talkback guessing game." factor for a studio and, therefore, it is The relationship between studio and Unproductive areas necessary to improve the efficiency of the control room deserves some considera- Circulation space is often underesti- operation wherever possible. tion. Musicians need to know what is re- mated in a studio complex design, and, The fatigue factor also comes into play quired of them and, therefore, good com- despite its non -productive nature, it can here. A studio that is comfortable, efficient munication is vital. Foldback systems can be used to good effect. Wide corridors and sounds good is conducive to creativi- be integrated with a local "black box" create useful storage areas for flight cases, ty and repeat business. whereby the musicians can mix both con- music stands or chairs and can create The art of professional studio design has tent and level to their own requirements. acoustic buffer zones between studios. reached a fairly sophisticated point in Good visual communication with the Careful zoning can increase isolation by most top -line facilities. However, there is control room is more important during an equivalent cost factor of up to 50 %. It still room for improving the relationship large sessions than for soloists, but, in can also reduce the frustration of overlap- between man, monitor, machinery and en- general, there is an improved working ping sessions if equipment can be stored vironment, and the introduction of new relationship if people can see each other. next to the studio. standard interfaces.

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~~Circle (38) on Rapid Facts Card Circle (37) on Rapid Facts Card 62 Recording Engineer/Producer August 1988 www.americanradiohistory.com Basic Design Factors for Remote Recording Facilities~~

~~By Christopher Donley and Patrick Murray Weight, suspension, console orientation and stringent ergonomics are examples of the unique considerations needed for the mobile environment.~~

Small, cramped spaces overflow with electronic gear. Speakers hang from the ceiling, and a maze of wire twisting like spaghetti rests on the floor behind the multitracks. Engineers, producers and various non-essentials breathe smoke- filled air, getting on each other's nerves. Are these the images that come to mind when you hear "remote recording"? Modern professional remote trucks are obviously a far cry from this scenario. In fact, some of the finest facilities today are found on wheels. The rapidly increasing need for audio-for -video and the constant growth of live broadcasts are creating a growing demand for quality mobile audio. Studios and remote trucks have several common areas in electrical and audio design principles, but some parameters involved in mobile design do not occur in the studio domain. Weight distribution, vehicle suspension, console orientation and the necessity of stringent ergonomic planning are examples of the kinds of unique needs that must be considered for the proper mobile environment. The purpose of the truck sets the path for its design, which should be determined, to a large degree, by the company's direction and the needs of its perspective clientele. Although it is true that a good remote should be able to handle any task, different companies may wish to pursue particular areas of the mobile market. A studio is generally designed from the control room outward, but a remote is designed from the shell inward, and this design is becoming modular. A "module" is a room or area intended for a specific use or group of people, such as control, lounge, vocal booth, tech space and

Christopher Denby and Patrick Murray operate Guns For Hire, a database of Independent engineers and technicians. They are currently on tour with Mlles Davis as monitor and The Metropolis Audio mobile recording and broadcast van features two Optro 1000 24 -track house engineer, respectively. recorders, an Otani MX5050 2-t-ack, 24 channels of Dolby A" and SEDCO distribution amps.

~~August 1988 Recording Engineer/Producer 63 www.americanradiohistory.com Intmducîng Panasonic Professional Digital Audio. The difference between a purchase andan investment.~~

Digital technology is here now. And without a committed investment in the necessary digital hardware, audio professionals won't be able to cut it in the competitive world of audio production. Panasonic is a service- oriented organization that's committed to a substantial, long-term investment in the future of digital production. Our first offering is a quartet of digital audio tape and compact disc products that answer the specific demands of professional environments. Rugged, reliable, hard working designs incorporating the essential features and high quality you need to make your investment pay off. New from Panasonic are a pair of professional DAT machines. The portable SV-250 for field and location recording, and the rack - mount SV-3500 for studio and permanent applications.

www.americanradiohistory.com The SV250 Portable DAT: 35 pounds n internal battery u mit/line inputs high- precision metering u dual MASH A to -D 64 -times oversampling digital filters headphone monitoring. The SV3500 Studio DAT: high -speed search ] full programming functions u multiple- repeat mode SV -3500 Studio DAT. u wired remote - XLR ins /outs E CD /DAT digital interface. SV-250 Portable DAT. For demanding industrial CD applications, the rackmount SL -4300 Single -CD and SV-4700 Magazine Compact Disc players feature heavy duty transports, four - times oversampling and dual DACs for ultra- linear replay quality.

The SL-4300 CD Player: direct access SL- +300 CD Player . to any track in under a second n playback sequencing with up to 20 selections n automated series play mode. The SL-4700 CD Player: a removable magazine holds six CDs u 36 -event random access to any CD track on any disc u SL_4?00 CD Player. full- feature remote control unit. If you're considering the purchase of a studio quality DAT recorder or CD player, spend a few minutes talking to a Panasonic dealer. The investment could pay off for the rest of your career. For the name of your nearest dealer, call 714-895-7278 now, or write to us at Panasonic AVSG, Panasonic: 6550 Katella Ave., Cypress, CA 90630. Professional Audio Systems

Circle (38) on Rapid Facts Card www.americanradiohistory.com and shielding. The shell is the mobile's foundation, and the general layout and weight distribution should be considered before it is purchased. Structurally, certain areas may need to be more flexible or rigid than others to accommodate different load requirements, and the shell construction needed depends on the stresses incurred during transit to and from jobs. They are available with vary- ing rigidities and can be modified to suit the needs of the design. A shell that is too rigid may result in internal structural and equipment damage. Thermal insulation of polyurethane foam or fiberglass may be needed to keep operating temperatures stable within the shell. Many times this insulation doubles as part of the acoustical treatment. The top of the shell should be waterproofed. Many existing trucks have no specific shell treatment for EMI shielding, which is a credit to their wiring and the fact that many boxes are made of steel or aluminum, which serves as the shield. An increasingly popular treatment is lead The Metropolis van features a Harrison 40/32 console, Tannoy and Auratone monitors, dbx 160, shielding, available as foil or foam. 160X and 162 compression and limiting and communication facilities. Although lead guarantees shielding, it is also expensive.

storage. These areas can overlap, and most downtime. Trailers are the largest boxes Suspension trucks currently operating have been available and are usually split -level, hav- The suspension is another critical con- adapted to changing needs by modifying ing a raised section called the dance floor sideration. Generally, air-ride systems are areas to serve more than one function. at the front of the box, where the cab is becoming a standard requirement to en- Zones can be distinguished by actual walls, attached. The dance floor is normally used sure minimum shock transfer to the on- by changes in carpeting, wall treatments, for lounge, tech or storage space. Drop - board electronics. Part of the suspension color or by the placement of machines frame trailers or moving vans are well scheme depends on the weight distribu- and racks. suited for remotes, because they have the tion of the equipment. Typically, HVAC Along with modularity comes the need best interior height. units are located at the very front of the for efficient use of space. Years of ex- Straight trucksThese vehicles average truck, just above the wheels. The console perience are providing for greater know- 24 to 36 feet long including the cab and and tape machines are usually located in how in using every last inch of space ef- yield around 18 to 30 feet of floor space, the middle of the truck, and the rear of fectively, and with a much better feel for although anything down to a step -van the truck, behind the axle, is suitable for human engineering. Currently, two basic should be included in this category. storage. Once the equipment is in place, approaches seem to be emerging in over- Straight trucks get better gas mileage, are the truck will need to be secured by jack- all design: the "super control room" and more maneuverable and less expensive ing it up and leveling it. the "total studio on wheels:' than tractor /trailer combinations. This Door placement is important in terms The super control. rooms are generally type of truck is basically converted into of traffic flow, artist /engineer comfort and built in straight trucks, and have 48 to 64 a control room, simply because it doesn't general session sanity. Door locations tracks, 60 or more inputs, superior have enough interior space to support should provide access to particular zones acoustics, video and time code links, lots separate rooms properly. without interfering in the activity going of processing and good ergonomics. The BusesThe average bus is about 40 feet on within that zone. total studio on wheels may or may not long. Its interior dimensions offer internal Some operations are currently ex- place as much emphasis on the control length closer to that of trailers, but it is nar- perimenting with expanding boxes as a room, but attempts to offer the client the rower and has less headroom than trailers means of enlarging the operating area same options and flexibility as a regular or straight trucks. This length makes it without changing the traveling size. This recording studio. These facilities are usual- possible to have more than one zone, concept involves a sliding section from 12 ly housed in trailers and have different usually offering a lounge in addition to the to 24 feet long that increases the truck zones. control room. Buses also have luggage width by 3 to 5 feet and is often used in The shell bays that are easily converted into storage video production trucks. However, this Several choices are available for the compartments. A bus gets good gas may be too expensive for an audio truck. vehicle or shell of a remote truck: mileage, has a smooth ride, and a good Trailers-Typically, they are 40 to 48 feet used bus may be a viable way for a new Power and IIVAC long. The trailer's main advantage is that company to enter the business. Stable, clean power is necessary for any it is separate from the cab. If mechanical The first phase of design and construc- remote recording facility, and all trucks breakdowns occur, the trailer can be at- tion starts with the empty shell. Two main should carry their own isolation tached to another cab, thus minimizing considerations are present here: structural transformer and distribution system,

66 Recording Engineer/Producer August 1988 www.americanradiohistory.com which incorporates some kind of voltage board gear is more subjective, but will regulation, filtering and spike protection. ultimately be based upon the layout of the A growing number of trucks are carrying console. You should remember that the heavy -duty generators capable of supply- second engineer must move quickly and ing the truck's complete power needs. must reach tape decks and patch bays Although these units are not generally without interfering. The standard ap- used daily, they do eliminate down -time proach in a widthwise configuration is to from outside power failures. Generators have tape decks and outboard racks op- should be treated as air -conditioning posite each other, just behind the console. compressors- shock -mounted, well away This plan helps to isolate the engineer from the mix position or tape machines. from traffic flow. HVAC compressors are important in the Placing the multitracks under the successful operation of any studio environ- monitor soffit allows the engineer to read ment, and the remote is particularly the multitrack meters directly, assuming dependent on a system with sufficient the console does not completely traverse capacity to keep operating temperatures the width of the truck. In a lengthwise stable, regardless of outside conditions. configuration, tape machines may be on Normally, trucks are single -zone systems, one side of the board with the most but they may have a duplicate compressor popular outboard gear mounted over the to provide backup. External mounting is console as part of the soffiting. Video the most popular method of isolating com- monitors are typically placed between the pressor noise. Ductwork follows similar audio monitors. There is an increasing rules as in studios. (See "HVAC for Audio desire to have two or three small, black - Facilities;' page 72.) Some designs in- and -white monitors for visual links to the tegrate the ductwork into a floating floor stage, as well as a large color monitor for to help maximize headroom. playbacks or broadcast monitoring. A view of the Metropolis van, showing the on- The basic acoustic and isolation prin- board voice- over/overdub booth. Control room ciples that apply in non-mobile studio con- The control room is the heart of the trol rooms also apply in trucks, but the remote operation and the main focus of materials and methodology are different. transformers, generator and similar equip- the design. The objective is to achieve the A box is a natural habitat for standing ment. In larger trucks, it's common to have best possible acoustics and optimize the waves, and the control room design should rooms, usually at the front or the rear of working environment. Generally, good address this problem. Curved surfaces the trailer, dedicated as storage or lounge control -room layout comes from common with mass and diffusive areas are useful areas. sense. Zones should be determined ac- in controlling standing waves and energy Many of the larger trucks have specific cording to who will be working where, build -ups at wall and ceiling junctions. lounge areas in keeping with the studio- and then gear should be positioned to 'Iiube traps are gaining popularity because on-wheels concept of offering clients all facilitate that design. A major considera- they are small and effective. the comforts of the recording studio. tion in remote control -room design is the Control rooms in mobile trucks have These areas are vital in keeping non- placement of the console and monitors. been pretty dry in the past, but more and essential sound out of the way of produc- The most popular configuration places more rooms are beginning to parallel fixed tion. Lounges are wired for audio and can the console widthwise, facing the front or studios in the use of more ambient mix- serve as announce areas or isolation rear of the box. This method allows some ing environments. This should probably be booths when doing with remote broad- distance between the monitors and the approached on a trial- and -error basis after casts or vocals. engineer and makes use of the greater most of the control-room construction has Finally, quality of the people behind the distance to the back of the control room, been completed. equipment makes a company successful. which allows better development of low - Less -absorbent control rooms are This is true for the designing and construc- frequency waves. The main monitors are desirable when mixing for video or track- tion, as well. If proper attention and suffi- usually located in a soffit built against the ing from an artist's house, for example. cient time are given to these areas, a truck front or rear wall. However, because the The engineer must be able to judge ap- can be built that satisfies engineers and maximum speaker width can be only propriate levels of reverb in the mix. clients and will not become outdated. about 8 feet, the stereo imaging may be An aspect not to be forgotten is the REA) less than ideal. finish of the interior design. Aesthetic trim Placing the console lengthwise in the is important to provide a comfortable at- box offers greater separation between the mosphere, because many hours will be monitors, which improves stereo imaging. spent in this small space. It also allows the engineer greater visibility to other areas of the truck. However, in Storage, lounge and tech areas The authors would like to thank the following people for their this configuration, only about 8 feet of Other areas of the remote truck will help in preparing this article: Steve Colby, Evening Audio depth is available to accommodate the vary in size and location, depending on Consultants; Bob Demuth, Westwood One; Randy Ezraty, engineer, console and monitors, so space limitations by size Effanel Music; Fritz Lange, Remote Recording Services; Ron the imposed the of Lorman, Hartke Systems; Kooeter MacCalllater, Record Plant main monitors are more in the close -field the control room and, ultimately, the size (NY); Dave Roberts, Le Mobile; John Vocl, GBH Productions; class. Because close -field monitoring is so of the box. Several options exist for and John Rosen, Fanta Professional Services. popular with most engineers, this should storage areas, such as bins beneath the not often prove to be a major drawback. box. These bins are used for storage of Photos courtesy of Metropolis Audio Pty. Ltd., Melbourne, Placement of the tape decks and out- multicore reels, mic stands, isolation Victoria, Australia.

~~August 1988 Recording Engineer/Producer 67 www.americanradiohistory.com CAD Facility Design~~

~~By Curtis Chan~~

~~The ability to integrate many disciplines and functions -such as project and facilities management, and engineering design- - makes the CAD workstation an invaluable tool in systems design.~~

78.75 451 - VENT SPACE - 77.00 44' VENT SPACE - 75.25 43 73.5 42 POWER AMP 71.75 41 POWER SUPPLY - 70.00 40 - VENT SPACE - 68.25 39 66.50 38 VENT SPACE _ 64.75 37 POWER AMP 63.00 36 EYE HEIGHT I. STANDING 61.25 35 - VENT SPACE - 59.50 34 57.75 33 POWER SUPPLY - 56.00 32 POWER AMP _ 54.25 31 52.50 30 - VENT SPACE - - VENT SPACE - - VENT SPACE - 50.75 29 VENT SPACE - 49.00 28 GATE - LIMITER /COMPRESSOR -. 47.25 27 GATE - POWER AMP 45.50 26 GATE 43.75 25 DDL EYE HEIGHT p. - VENT SPACE - SEATED 42.00 24 POWER SUPPLY - DDL 40.25 23 EXCITER 38.50 22 EFFECTS PROCESSOR POWER AMP - LIMITER /COMPRESSOR - 36.75 21 35.00 20 VENT SPACE _ REVERE DE-ESSER 33.25 19 REVERE REVERB 31.50 18 DDL 29.75 17 REVERB DI 28.00 16 -CLOCK CONVERTER. 26.25 15 POWER SUPPLY - 24.50 14 EQ - METRONOME - 22.75 13 21.00 12 EQ 19.25 11 VENT SPACE - 17.50 10 15.75 9 14.00 8 12.25 7 POWER 10.50 6 SUPPLY - 8.75 5 7.00 5.25 3 3.50 2 VENT SPACE : 1.75 1 INCHES

~~FROM RACK 1 RACK 2 RACK 3 RACK 4 FLOOR Figure 1. Using CAD to lay out rack elevations.~~

~~68 Recording Engineer/Producer August 1988 www.americanradiohistory.com REGISTER!~~

Within the last decade, fixed and ing and engineering design) makes the NOW mobile facility design have become in- CAD workstation an invaluable tool in creasingly complex. The advancement of systems design. With properly skilled peo- production and post-production technolo- ple working with CAD, project lead times, gies have led to a higher level of creative budgets and manpower constraints can be freedom and a divergence from past minimized. RD operating methodologies. With the ad- Any design, whether it's a fixed record- 3 ANNUAL vancement and integration of analog and ing facility or mobile unit, requires corn - CARPENTER'S digital audio technologies coupled with re- mon engineering, design and updating HOME CHURCH cent progresses in storage and distribution, tasks. These tasks encompass floor and systems design has taken on a new mean- space planning, equipment listing, signal AUDIO & ing. Fortunately, computer technology has flows, power loading, rack elevation (See advanced enough that designers can use Figure 1.) considerations, HVAC (heating, MUSIC it as a cost -saving design tool, with the aid ventilation, air conditioning), and even the of CAD (computer -aided design) or CAE selection of color schemes for interior SEMINAR Featuring (computer -aided engineering) software. design. For a facility or designer not having CAD or CAE tools, the amount of PHIL DRISCOLL Benefits of CAD in systems design repetitive labor, as well as the incident for and Top Industry Representatives In the past, systems designers were con- error, is increased. As an example, the fronted with many repetitive tasks when equipment list must be updated as design October 6 7 8 doing a project. The tasks were the same changes occur. As a result, there is a whether the project was a circuit, architec- parallel effort for the updating of drawings CARPENTER'S HOME CHURCH tural or systems design. The common and repetitive calculations for power Lakeland, Florida tasks were the tracking and updating of loading and the like. equipment and parts, continual updating If the drawings are in 3D rendered form, SEMINAR WORKSHOPS of drawings and repetitive calculations. modification or replacement of the com- These tasks of handling large amounts of plete drawing is required. If the client asks DESIGNED FOR AUDIO ENGINEERS, PRO- data and the need for continuous updating "what if" questions, drawing and cost DUCERS, MUSIC DIRECTORS, MUSICIANS, AND are ideally suited to a computer. With the estimation times are also increased. The TECHNICIANS. advent of the CAD workstation, design entire design process becomes more com- SPECIAL GUEST PHIL DRISCOL will conduct companies have taken advantage of this plex if different departments do each task, a How To Workshop on Incorporating today's electronic music technology into your praise technology to increase their efficiency. because the communications must be & worship music. Over the years, CAD has received tremen- coordinated to avoid errors and dous support such that its applications can bottlenecking. OTHER WORKSHOPS conducted by top industry representatives and the Carpenter's now be found in disciplines such as Home Church technical staff: Music /Video Pro- engineering, architecture, facilities Design applications without CAD duction. Understanding and programming management, graphics and project The benefits and features derived from Synthesizers, Midi Clinics, Choir Microphone management. The result is major cost and the use of CAD can best be illustrated by Placement and Microphone Application, time savings to both the designer and the examples of steps taken by typical pro- Understanding Equalization and Signal Pro- client. jects. As a first example, let's look at a cessing, Mixing Console function and Opera- The ability to integrate many company system design without the use of CAD. tion, High Speed Cassette Duplication, Multi disciplines and functions (such as project In this simplified scenario, the approved Track Recording, the use of Wireless and facilities management, inventory con- project design objectives are given to the Microphones and Wireless Hard of Hearing Systems, Noise Reduction, Click Track Applica- trol, database management, word process- engineering department. After the tion, and many more. designer draws the first revision of the Special exhibits and instruction by: Aiphone, Curtis Chan Is vice president, marketing and product system signal flow, it is handed to the draft- AKG, Audio Technica AYL Accoustical Treat- development, for Centro Corporation. Satt Lake City. ing department. There, tasks such as ment, CTape, Cetec -Vega, Clear Corn, Communi- ty Light and Sound, Crowne. Industrial Research, Klark Teknik, Nakamichi, Neumann, QSC, Rane, Sennheiser, Shure, T.A.D, T:QA. Vik- ing Cases, Williams Sound and Yamaha.

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Zip Phone ( 1 THE CARPENTER'S HOME CHURCH 777 Carpenters Way, Lakeland, FI. 33809 FOR MORE It1MRMATIOIY CALI. DENNIS (813) 859.1477 Figure 2. Southeast elevation of issue cover. Side and rear walls have been removed to expose interior. Circle (39) on Rapid Facts Card

August 1988 Recording Engineer/Producer 69 www.americanradiohistory.com tegration and use of many software packages that optimize specific, repetitive operations. Since the introduction of AutoCAD software in 1982, many design barriers have been overcome. Now various CAD programs are available that can run on most 16-bit computers and several 32 -bit models, thus bringing the power of high -performance CAD to design professionals for a fraction of traditional mainframe computing required for CAD operations. CAD software allows the designer many options in drawing, editing, coloring and setting one or more light sources. Many of the tools that a designer, draftsperson and artist uses are inherent in the software package. Likewise, some CAD features cannot be duplicated in the real world, for example, layering and the ability to zoom, with ratios of 10 trillion:1 between the largest and smallest objects in the drawing. CAD drawings can be exchanged with other applications software, databases, and mainframe CAD systems. With a specific version of LISP programming language, AutoCAD users can create custom menus and command strings that tailor the software to their particular needs. This facilitates the development of applications and utilities that aid productivity. The advantages in using CAD for systems design can best be shown by taking the previous examples and incor- Figure 3. Plan view of issue cover. porating the use of CAD applications software. For systems design, initial signal flow diagrams are done once. In addition, repetitive sections or blocks of drawings along with their symbols can be in- dividually stored for later retrieval. numbering, cable counts, equipment in- Modifications to the renderings can be sertions or deletions and the aesthetics of slow and expensive. The same is true for Linking various software blocking out the complete system are updated cost estimations, and equipment With additional software, cable count- done manually. When the drafting depart- and materials ordering. This results from ing, numbering and engineering calcula- ment finishes with the drawing, it is usual- a manual database of information in tions can be automatic. Because software ly given back to the designer to check for which everything is hand -tracked, thus in- databases can be linked, data entry from errors. If an error in drafting occurs, it is creasing the likelihood for human error. the drawing to the database can also be sent back to drafting and rechecked by Obviously, the common denominators automatic. This data can then be used for engineering until all errors are corrected. that may result in lost revenue when different applications, such as predicting Parallel to this effort, the bill of materials designing manually are the tracking of and forecasting "what if" situations, as well is being updated. This repetitive, time - large quantities of equipment and com- as updating the bill of materials and the consuming loop is necessary with a ponents, the continual updating of draw- product management schedule under manual system. If the client wishes to add ings and equipment lists, and the each new circumstance. When an engi- or delete equipment from the initial order, repetitive math operations needed to neering change occurs, drawings can be this usually results in an engineering reflect engineering and design changes. updated simply by removing, inserting change, which means that all affected These tasks can best be handled by a cost - and manipulating respective sections of drawings and equipment lists must be effective, computer -based system capable the original drawing. The ability for the updated. of easing the transition from an all -manual designer to recall often -used blocks and The process is both tedious and time - operation to one that is semi- automated. symbols helps to facilitate this process. consuming. If the example given is ex- The process then carries through to the panded to include facility design, the Advantages of system elevation drawings with the same ease of workload and the incident for error in- design using CAD operation. (See Figure 2.) Additionally, all crease. Aside from engineering -based For the individual designer or company, equipment and component lists are up- documents, most facility designs have 3D investing in a CAD workstation can in- dated automatically. Some specialized ver- renderings drawn by a design artist. crease revenue, which results from the in- sions of CAD and CAE allow system

70 Recording Engineer/Producer August 1988 www.americanradiohistory.com C designers to test their models dynamical- ly Iifessional before manufacturing. With facility design, the same is true with other added benefits and features. SOUND recording Software packages allowing 3D rendering can quickly update "what if" situations. In addition, advanced systems mutate 2D duplicating drawings into 3D form such that drawings can then show color, perspective, surface SUPPLIES POLYLINE shapes and features. This is exactly how D0 the cover of this issue was generated. \ 0 / alanktlsaded audio Though the design on the cover is quite / o cassette rudimentary, it demonstrates some of the EmptyEmpty reels and boxes capabilities available. With architectural Audio cassette boxes and albums software, CAD workstations allow the v v v v designer to create complete sets of draw- AUDIO TAPE and ings. Global commands from the master CASSETTES from Agfa SHIPPED template can insert, modify and update V V FUJI Ampex Maxell sections of the drawing automatically. FROM STOCK w 3M TDK WITHIN This is a great advantage in ergonomic BASF design. The CAD system can place equip- POST -PRODUCTION 24 HOURS ment and people in the drawing in and MAINTENANCE under normal circumstances simulated scale, then check the different SUPPLIES views for ergonomics. Designers can create and modify schematics and then ASK FOR OUR FREE CATALOG have them converted to floor plans without any added labor. (See Figure 3.) Call Additionally, shapes and symbols can be Polyline extracted and fed into a database for quick, accurate generation of contracts 312 / 298 -5300 1233 Rand Road Corp* and documents. Because drawings and 8:30 am -5 pm Central Time Des Plaines, IL 60016 order entries are kept on a common database, several advantages exist. The Circle (40) on Rapid Facts Card CAD workstation can automatically track all equipment, calculate repetitive engineering functions (such as rack loading, weight distribution and power loading), give accurate cost estimations DON'T GET ZAPPED! and generate a variety of reports. Finally, because the information is stored on com- Investing in a Control Room or puter disks, users then have compact, con- Studio? solidated archives of their work that can be updated, copied or stored easily and PROTECT YOUR INVESTMENT efficiently. CAD workstations and associated software offers several advantages to the Power up with ... Z -LINE designer. The applications software allows accurate tracking of equipment, quick engineering analysis, accurate cost analysis, easily updated databases and Power drawings, Controller TPCNB and the ability to generate a ., twl,ttR,, ,., .-. . variety of reports and documents from a WIVE' common database. As computer process- /Th -1 MODEL R, ing technology increases in performance TPC 115-8-A and decreases in price, CAD workstations will become a viable addition to many Protect your expensive equipment with our designers and companies. The benefits, Z-LINE AC Power Distribution and Control System. shorter project lead -times and smaller budget variances will have a favorable im- POWERFUL AFFORDABLE STACKABLE EASY TO INSTALL pact on the client. COMPACT QUIET LIGHTWEIGHT EMI /RFI FILTER RE/P GROUND ISOLATION SPIKE AND SURGE PROTECTION Order now ... Priced at only $160.00 Distributor Inquiries Welcome PL'LIZZI ENGINEERING INC.. 3260 S. Susan St., Santa Ana, CA 92704 -6865 (714) 540 -4229 FAX (714) 641 -9062

~~Circle (41) on Rapid Facts Card August 1988 Recording Engineer/Producer 71 www.americanradiohistory.com HVAC for Audio Facilities~~

~~By Jeff Blenkinsopp~~

~~A well -designed AC system keeps the temperature, humidity and air quality at comfortable levels for your clients and optimal levels for your equipment.~~

The studio environment should be comfortable, with minimum disturbance from the outside world. It should also provide your equipment with clean, climate - controlled conditions. OFFICE CONTROL STUDIO The air -conditioning (AC) system plays ROOM an important part in a studio's overall atmosphere, and yet its importance is often MD T overlooked. A well -designed AC system keeps the temperature, humidity and air HIGH- quality at comfortable levels for your EL clients and optimal levels for your equipment. This is especially important because soundproofing essentially makes your environment air- tight. With outside air elim- T inated, the heat from the equipment, lights and people is trapped inside the acoustic CORRIDOR shell. iiaiiiiiiií7 When designing the air- conditioning system for a studio, contact a reputable dealer or consultant in your area early in = DUCT the system -design process. If you choose a company that hasn't done any studio in- 3 TON -5-TON stallations, beware that most HVAC (heat- AC UNIT AC UNIT ing, air conditioning) engi- MD = MOTORIZED DAMPER ventilation, ZONES: neers have very little knowledge of the CONTROL ROOM T = THERMOSTAT specialized considerations necessary in an HIGH -LEVEL ROOM OFFICE AND CORRIDOR Jeff Blenkinsopp Is owner of J.B. Audio, an audio consulting Figure 1. Having two AC units eliminates crosstalk between studio and rest of area. company in New York.

72 Recording Engineer/Producer August 1988 www.americanradiohistory.com audio environment. When listing the sys- Water-chilled units- Similar to split formation on the requirements, especial- tem requirements, state how important systems, these are usually used only on ly heat loads, operating conditions and these are to you. Once a system is installed large studio projects, in multistory build- zones. incorrectly, it is difficult and expensive to ings or where a rooftop cannot be fitted. The heat load of the space is the heat correct it. The chiller unit is mounted outside or next generated by the equipment, lights, peo- When selecting from among HVAC corn - to a window, and pipes run to the cool- ple and heat transmission through walls panies, ask whether they have installed ing /fan units, which are mounted in the or windows in that area. The HVAC con- any systems for computer or clean -room duct work. tractor will need an estimated heat load applications. They require specialized in- from you to calculate the size of the sys- stallation and design with similar demands Zones and heat load tem. Prepare a list of the following to give (constant operation, clean air, and tight The size of the systems is an important to the HVAC contractor. temperature control) to those found in a requirement. If there isn't enough AC, 1. Number of people using each area. recording studio. Also, beware of compa- you'll never get your facility as cool as you Give a maximum number. If the studio can nies that are really just sales offices and want, and if the system is too big, you're hold a 40 -piece orchestra, allow for this subcontract out all of the work. You can paying for equipment and cool air you many people. save a lot of time, money and irritation by don't need. The number of systems is also 2. Number and types of lights in each acting as your own contractor and getting an important consideration. Divide your area. the electrical, plumbing, masonry and facility into separate zones (for example, 3. Total electrical wattage of equipment other similar work done by your own sub- control room, live room, machine room, in each area. The wattage of each piece contractors. The HVAC company usually amp closet and offices), and then decide of equipment is usually found in the own- marks up the sub's fees and does not al- how to supply the climate control that er's manual or on the back of the equip- ways give the sub's work the attention you each zone requires. (The zones are deter- ment. Add these individual figures to ob- would if you hired directly. You are also mined by their cooling requirements and tain the total. Some manufacturers can tell controlling the sub's payment, which can audio consideration.) you the load for their equipment if you call help ensure the job is done right and on For example, the control room will prob- them. (While you're checking the wattage time. Hiring your own subs only works if ably require year -round cooling, but your on your equipment, note the power fuse the details of your system are well defined office space will need to be heated in the rating and keep a log. It will come in and you have a competent HVAC compa- winter. If the control room and live room handy when you're trying to work out ny working with you. are cooled by the same unit, sound leak- what fuses to keep in stock.) age can be a problem. (See Figure 1.) 4. Set of drawings of the facility show- Selecting a system Air conditioning units are usually meas- ing layout, wall construction, doors and Different types of systems are common- ured in "tons," and 1 ton of refrigeration windows. ly available: equals 12,000Btu /hr. So, the greater the From this information and the answers Window unitsThese are the type used tonnage, the more cooling power. The to a few other questions, the HVAC con- in apartments and are fitted in a window HVAC company or consultant will tractor should be able to calculate the or through a wall opening. They're noisy, calculate the size and number of systems studio's heat loads. The average 24 -track and, in most cases, duct work cannot be required, but you have to give accurate in- control room will require 3 to 5 tons of AC. connected to them. They are not generally acceptable for studio use. Self-contained units -These can be mounted outside on a concrete slab, in an attic or can be free -standing. Simple duct work can be connected to them, and they OFFICE CONTROL STUDIO are suitable for studio use if positioned ROOM correctly. Split systemsThese have the condens- .T ing section remote from the cooling sec- M tion. The condenser is mounted outside HIG and the refrigerant lines run to the cool- ;íl ing units. The main noise -generating part is the condenser, but the cooling sections have a small fan to move the air. They can be used in studios, but beware of the fan MD noise. A split system could be used in less critical areas (for use in less critical CORRIDOR environments). Heat pumps -Similar to the split system, these have a reversible feature that allows the heat to be pumped in or out, depend- = DUCT ing on the need. 8 TON Rooftop units are self -contained These AC UNIT units with electric cooling and gas heating. ZONES: MD = MOTORIZED DAMPER They can be mounted on a roof or at CONTROL ROOM T = THERMOSTAT ground level on a concrete pad; they can HIGH -LEVEL ROOM be ducted and come in many sizes and OFFICE AND CORRIDOR configurations. These are used in a lot of studio applications. Figure 2. Using a single AC unit allows noise to travel between areas.

August 1988 Recording Engineer /Producer 73 www.americanradiohistory.com If your facility is running 24 hours a day, zones and duct layout is essential to re- fixed, with a narrow band of adjustment. tell the contractor; it will affect his choice duce this problem. The system may have master thermostats of equipment. For your acoustic areas, the entire and auxiliary ones controlling automatic length of the duct work should be hung dampers. The masters should definitely be Acoustic considerations on vibration hangers. This will reduce the locked, but the auxiliaries can be accessi- The acoustic environment places unique transmission of sound and vibrations ble. (If there's an adjustment that can "melt demands on an AC system. When install- (especially high-impact sounds) into the down" your facility, someone is going to ing your system, consider: acoustic environment. find it.) System noise -An AC system generates The air leaving and returning from your Amplifiers and mainframe computers noise in several ways, including vibration, grilles can interfere with your sound. If the are kept in high-level areas. They generate equipment -generated noise and air - grilles are near the monitor, the airflow a high heat load and need to be kept cool. generated noise. causes a disturbance with the monitors' A backup system and /or an alarm should The AC equipment is motor -driven and sound waves, and if the grilles are posi- be fitted in them so if the area does get mechanical. When used, it vibrates, usual- tioned near your microphones, the same too hot, you know about it. In simple back- ly at low frequencies, and this vibration problem occurs. To eliminate these prob- up systems, the fans kick in at a certain will be transferred to whatever the units lems, place the grilles away from these temperature, pulling in air from a different are mounted on if care is not taken. If the critical areas. zone to circulate within the high -level units are coupled directly to the floor or area. The alarm can be a buzzer and light roof, vibrations will travel through the Other considerations that are connected to a thermostat, which building structure and interfere with your The air entering your space, especially activates them at the set temperature. recording. It's best to mount the units away the control room, should be clean. Any from the building structure. If the unit has dust that enters can get into your equip- Installation tips to be mounted on the building, use vibra- ment and will eventually cause problems. As when working with all contractors, tion mounts. These come in a variety of The AC air is cleaned by filters, which are watch and monitor their work. Simple mis- types and sizes (rated by load weight and inserted in line of the airflow. These filters takes that aren't remedied easily during vibration transmission). construction can cause serious problems The vibrations from the unit will also later. With HVAC systems, make sure any travel along any duct work connected to A backup system and /or duct work that should be lined is lined, it. This problem can be eliminated by de- and any acoustic wall that is penetrated coupling your duct work by means of a an alarm should be fitted with duct work or thermostat wires is flexible coupler. Any water, gas or drain in high -level areas so if sealed with acoustic caulk, and so on. If pipes will also transmit the vibration, so they do get too hot, you isolation hangers are used, make sure they it's best to run these away from your are hung correctly and the hanging duct acoustically sensitive areas. know about it. is not touching anything it shouldn't be To prevent noise from entering the touching. acoustic environment, mount the units HVAC is a specialized industry. Although away from the building. This is the best are usually located near the main AC this article can help you understand it, I location, but if it isn't feasible and the units equipment. Numerous types of filters are cannot stress strongly enough the impor- must be inside the facility, they should be available. Most mechanical filters are tance of consulting with specialists in the enclosed in a soundproof room. Remem- either reusable or disposable. There are HVAC field to get your system right. ber, the unit has to have access to outside also electronic filters. Discuss these RE/P air (usually a window) to work correctly. choices with the HVAC contractor and de- The air movement through the duct sys- cide on the best type for your installation tem also creates noise. To reduce this and budget. noise, low air velocities must be used. Typ- If the system is heating an area in the ically 400ft3 /min to 500ft3 /min using the winter, humidity should also be controlled. largest duct possible will reduce air - Optimizing the humidity reduces static generated noise. The duct work should be electricity, helps acoustic instruments lined internally with acoustic material. A (especially pianos) stay in good condition, combination of rigid (internally lined) and and reduces variables in the acoustic flex duct is acceptable. Use a sound - areas. (See "Effects on the Speed of absorbent plenum after the fan to reduce Sound," April, pg. 38.) Control of humidi- the air noise before it enters the main duct ty is achieved by using humidifiers, which work. are mounted in the duct work of large sys- The air going through the diffusing tems or free -standing in small systems. In grilles can also cause noise, so select smaller facilities, dehumidifiers can be grilles that do not rattle or buzz, and main- used in summer if the AC system is mar- tain low air velocities. Noise travels be- ginal. Different types of units are available, tween areas through AC duct work. If two but make sure they operate quietly. areas share the same system, sound can Thermostats are the main sensing and For further Information, contact the Air-Conditioning and enter the duct in one area and be transmit- control element of your HVAC system, and Refrigeration Institute, 1501 Wilson Blvd., 8th Floor, Arling- ted through the duct into the other area. care should be taken in choosing their ton, VA 22209. (See Figure 2.) If these two areas are the type and location. The thermostat setting control room and the live area, you can and tolerance controls your environment's imagine the problems. This type of trans- temperature, which is critical for both peo- For further reading, "Refrigeration and Air-Conditioning," 1987, is available from Ben T. Cott, College Marketing Depart- mission can be eliminated by the use of ple and equipment. Remember, they ment, Prentice-Hall, Englewood Cliffs, NJ 07832. sound traps and by putting several bends should be out of the reach of prying fin- "Acoustical Designing in Architecture," Knudsen & Harris. in the duct work. Correct planning of the gers, preferably under lock and key, and

~~74 Recording Engineer/Producer August 1988 www.americanradiohistory.com Artificial Reverberation: Simulating Natural Acoustics~~

~~Proper use of digital reverb allows you to simulate natural acoustic environments and provides special effects in live situations and in the studio.~~

Reverberation is all around us. It forms cipline of acoustic engineering, it is desir- ular music have elevated reverberation to part of our everyday lives, and although able to maintain control over the character the status of a special effect. Reverbera- we may not always be aware of it, a short of reverberation that contributes to the tion now fulfills two purposes, one correc- visit to an anechoic chamber will demon- overall sound. tive and one creative. To satisfy these strate just how much of what we normal- Modern studio recording practice tends needs, an artificial reverberator must be ly hear is, in fact, reflected sound. to make extensive use of close micing able to simulate a wide variety of natural A sound stripped of its accompanying techniques, and, consequently, much of acoustic environments and must have the reverberation can be very disquieting to the reflected sound is excluded. Combined scope to produce the special effects re- the listener. So it follows that in any dis- with the fact that, in the past, studios have quired of it. often been designed to minimize reflected Understanding the basic goals and de- sound, this means that some form of arti- sign parameters Adapted from "Artificial Reverberation: A Developed Digital of reverberation simu- Method,' researched by Terry Clarke, technical director, ficial reverberation must be added to re- lators will help the applications engineer Klark-Teknik. Copyright 1986, Klark Teknik. Used with store some semblance of natural sound. get the most from these permission. digital devices. Furthermore, production trends in pop- Identifiable components Design engineers are concerned with simulating natural reverberation by artificial means, so it is necessary to break down the mechanism of reverberation into separate building blocks, which gives an indication of how it should be synthesized. First, a finite delay or predelay exists between the initiation of any sound and the time the first reflection from that sound reaches the listener. Second, this first reflection is followed by other discrete early reflections, the spacing and intensity of which depends on the physical properties of the room and the position of the listener relative to the sound source. However, these early reflections are sur- rounded by a halo of reverberation themselves, because of diffusion occurring at reflective surfaces. As we shall see later, these early reflections will need to be considered separately from the main body of reverberation. The characteristics of the room also determine the way in which the frequency content of these reflections will be modified, so it is necessary Figure 1. Reverb unit with FIR plus comb and all-pass filters. to find a way of simulating this effect.

August 1988 Recording Engineer/Producer 75 www.americanradiohistory.com Finally, the process of reflection and re- plement a statistical clutter generator. Moorer reflection causes these early reflections to The actual decay time is a function of Moorer's 1979 paper, 'About this Rever- build up into a dense statistical clutter of the reflective properties of the walls, the beration Business" took up from where decaying amplitude, the frequency con- contents of the room and the room dimen- Schroeder had left off and, with the help tent of which is further modified by the sions. To make the hypothetical reverber- of the more advanced computer technol- reflective characteristics of the wall ator capable of simulating a variety of ogy that had developed in the interven- materials and the air absorption within the natural acoustic environments, not only ing years, set out to narrow the gap be- building. The combination of these must these parameters be simulated, they tween natural and synthetic reverberation. aspects indicates a need to build and im- also must be variable. The first step was to examine the problem areas in Schroeder s original designs, which were as follows: 1. With a reverberator built up only from Low Pass Filter LI = single sample delay a number of all -pass filters in series, the decay does not start with a dense sound and die out exponentially. In fact, the higher the order, the longer the echoes take to build up to a pleasing level. This lag in reverberation can be as much as several hundreds of milliseconds. Memory Access = 3 2. Even slight changes in delay time be- Mem Access = 3 tween the successive filters can cause the smoothness of the overall decay to vary Full L.F./H.F. Control enormously. 3. The tail of the decay exhibits a me- tallic ringing. These parameters defy precise mathematical analysis, and the most satisfactory H.F. BoostlCut L.F. BoostiCut combination of values has to be arrived H.F. Turnover Frequency. at empirically. L.F. Turnover Frequency In his paper, Moorer examined the properties of the Boston Symphony Hall, wide- IMP a2= 7 Memory Access = 10 ly held to be a particularly good example Mem Ace = 10 of concert hall acoustics, and published the following observations. The reverberation lime of more than Figure 2. Low-pass and LF/HF control filters. 1.7s suggests that the sound has traveled more than 600m before dying away and, given typical atmospheric conditions, the 4kHz signals are attenuated about 60dB l more than the 1kHz signals. This shows the importance of simulating the correct x ® IR (Input) frequency characteristics for the late early reflection 411Pr, character decay. ® Furthermore, to simulate a good listen- y 140 must be mors Access 200 ing environment, the reverb N Combs = 12 smooth and dense, with no apparent resonances. And, to simulate the early reflections accurately, they would have to include a halo of reverberation to simulate the effect of diffusion at the reflecting surfaces. Then Moorer, using a finite impulse re-

APF sponse filter, moved on to consider the fi simulation of these early reflections. In effect, this is a tapped delay line in which each of the taps has separate gains. The spacing of the taps must be irregular to te avoid any obvious periodicity in the reflection pattern, but the optimum delays have to be chosen empirically; attempts to calculate mathematical spacings based on ® 111 o prime numbers or to simulate the behav- 0 Low pass filter ior of actual rooms did not prove satisfac- Ii Full HF/LF control StatisticalSratut.cal clutt r generator tory. These taps may then be summed and treated with an all -pass/comb reverberator to build up the required density. Figure 3. A complete digital reverberator. Taking all this into account, the block

76 Recording Engineer/Producer August 1988 www.americanradiohistory.com decay little, if at all, before being abrupt- How many units? ly cut off. This is exactly what a non -linear You might think that one good reverb amphiudr program does. is all you will ever need, but there are oc- Furthermore, abrupt cutoff due to threshold action the length of the burst can of ex rornal gate casions when you may want to use differ- be varied using a single control, and, con- ent reverb treatments on different parts sequently, no external gate is needed. A of a mix at the same time. In a live situa- further advantage Single of this digital method l t p r i p 1 tion, you may compromise by choosing an is that the effect remains independent of Gated Reurb En, elope in- between setting, but in the studio, com- input level. promise is less acceptable. You can, of One occasion in which a separate gate s elope shape under software Godin no threshold no course, record the effects directly for part can be used in conjunction with a reverb of the production, but this means that you unit to advantage is in producing an ef- are going to have to use up two extra tape fect sometimes known as "splash reverb:' tracks for each different setup if maximum Here, a signal, often a vocal part, is treated flexibility (and stereophony) is to be with the addition of a modest amount of UMW maintained. Non Linear Di gtral Simulation reverberation that increases during loud When it comes to mixing, the reverb is passages. This is sound obtained by using now free to produce the second effect, but Figure 4. a gate that can attenuate when closed, A gated reverb envelope and non- what happens if you can't afford to use up linear rather than simply shut off, and which is envelope. two tape tracks or you need more than connected in series with the output of the two different reverb effects? Here, you reverb unit. really need more than one reverb unit, but A stereo gate is, of course, required if amplituide if this is impractical, you can record your the reverb is to be in stereo and if the side original sound with its reverb all onto one control circuitry is triggered from the orig- track in mono. Then overdub the other inal program material via the sidechain ac- parts again with the reverb recorded on- cess input. The attenuation is then set so to the same track in mono until the corn - that when the gate is closed, it attenuates position is complete. The unit can then be the Single reverb level to the desired background mrulse input. used during the mix on a short ambience amount. When the gate opens, the reverb setting to add depth to these mono tracks. level passes through unattenuated and ef- This method works surprisingly well. The Figure 5. A typical reverse pattern. fectively increases in level. The gate's at- main problem is that there is no way of tack and release settings can be adjusted altering the amount of effect that was according to the effect required, but a fair- tion. Feeding a pattern of early reflections originally printed. Once recorded, the ef- ly fast attack and medium decay are good generated by a digital reverberator to a fect balance cannot be changed. starting points. stage monitoring system often improves For sound reinforcement or recording intonation. applications, two units are a distinct ad- Reverse reverb A parallel situation occurs in the record- vantage and offer a great deal of addi- A refinement of this effect is the reverse ing studio, where a singer may perform tional flexibility. program. For this, the intensity of the burst better when a little reverb is added in the of reflections actually builds up to a peak headphone mix, even though it may not The future and then ceases abruptly. Because most be recorded. Use caution here because it The music and broadcast industries may naturally occurring sounds have a fairly is just as common that too much reverb be subject to fashion, but in many respects fast attack and a longer decay, an illusion in the phones will make good intonation they are very conservative. Nevertheless, of a sound being played in reverse results. more difficult. And, some groups of singers fashions in sound do change, which is one Of course, this method can't generate true (such as those who sing on jingles) want reason why many manufacturers have reverse reverb, in which the reflections oc- their vocal mix kept totally dry while adopted an open -ended approach where- cur before the original sound is generated tracking. by software updates can be made available (You still have to turn the tape over to do Though there may be no apparent pres- to users as soon as they are developed. In that trick.), but the illusion is remarkably ence of reverberation in the accepted this way, the units are not going to become similar. Again, this treatment is particular- sense, much of what we normally hear is obsolete just because a new reverb effect ly well suited to percussive sounds but is reflected sound, even in a fairly dead becomes popular. also useful for creating an eerie at- room. However, these reflections give the In the field of sound contracting, some mosphere on vocals and other instru- original sound much of its identity, and a interesting developments have taken ments. A typical reverse pattern is il- dryly recorded or close -miced sound can place. Whereas concert halls were once lustrated in Figure 5. be brought alive by adding a short rever- selected for their suitablilty toward a cer- beration treatment. tain kind of performance, the current Applications At decay times of up to half a second thinking is that it might be possible to give Most reverb applications are similar or so, the addition of reverberation creates a hall a very dead acoustic and then create whether you are in a live sound applica- the effect of a room without the listener the desired reverberation characteristics tion or in a recording studio. Generally, re- being aware that any processing is taking electronically via artifical reverberation verberation is added for the benefit of the place. This can be a useful treatment for devices and banks of loudspeakers. This end listener, but there are exceptions. For voice in a broadcast situation and makes way, a single hall could be optimized for example, some musicians find playing in the program sound more natural without different types of performance on consec- tune is easier in some rooms than others, reducing intelligibility. Likewise, in music utive nights without anyone having to and current thinking suggests that the ear- production, close -miced drums or drum compromise. ly reflections within a room are used sub- machines can be given a sense of "life" consciously to help attain accurate intona- without being obviously effected. RE/Pi

~~August 1988 Recording Engineer/Producer 79 www.americanradiohistory.com Hands On: Audio Precision System One~~

~~By Jim Rogers~~

~~The System One is a single monolithic ll llli(Illlllil! test unit that is controlled by an external computer. The physical design is expandable, not only to the user, but to its designers as well.~~

The world of audio is growing and management is driven to find more effi- changing rapidly and, consequently, audio cient ways for engineering, assembly and equipment is becoming more and more test departments to carry out their work. complex with each succeeding genera- The optimum solution to these problems tion. The test gear in maintenance shops is to combine the power of the computer around the world is having greater de- with a broad array of test equipment and mands placed on it almost daily. make it all fit in a compact space. How- What were once thought of as great ever, that's easier said than done. Some pieces of test gear are now becoming manufacturers put everything into one paperweights (or boat anchors) before box with a dedicated computer to control they are fully depreciated. More often than all the functions, while other manufac- not, today's complex audio equipment re- turers make separate test boxes and con- quires a minor laboratory of test equip- trollers. Another approach is to make a ment to accomplish everyday repairs. An single, monolithic unit that is controlled ever-increasing amount of new, more com- by an external computer (giving the user plex gear makes its way into audio the best of both design philosophies). This :CD PLAYER DEVIAIION FROM LINEARIIY (ds) is the approach taken by Audio Precision 8 . eee8- -8.80B establishments daily, putting greater :7. 7.eee demands on maintenance departments with its System One.

~~=6.08ee :, _.6.08e that are already overworked and often~~

. . ." S . 8tT98.. 5 6ee ill- equipped. Physical characteristics .4.000 '4.8008.. As consumers demand greater reliability System One is a stand -alone unit con- 3.4300e 3 . from lower -priced equipment, manufac- structed of steel, painted tan and measur-

; 2.000 2.0880--- : - turers find themselves facing similar prob- ing 5 "x17 "x17 ". A large, grille-covered 1.'0808? 1. 080 - lems. As the cost of labor continues to rise, cooling fan is centered in the front panel le. 8 `` - . .... e.e of the mainframe, above the power switch i-i.600 .--1.00 technical at Spectrum Studios, and indicator light. To the left of the fan -^ 0P0 -2.00. Jim Rogers Is chief engineer ?00 -ë0.e -40.' -20,0 0. Portland, OR. are the generator output(s) with the

BO Recording Engineer/Producer August 1988 www.americanradiohistory.com analyzer input(s) to the right. (Both the generator outputs and analyzer inputs are brought to the front panel in the standard ß:.; ;.-T 111 XLR connector of appropriate gender, as well as banana connectors.) Associated BNC connectors for sync output, monitor output and trig /gate input are below the generator section. Beneath the analyzer inputs are monitor outputs for each of two analyzer channels and a buf- FU TI: RE r OPTION fered output of the final signal that goes INTEAMOO INTERMOD to the detector stages (for all of us mad OPTION OPTION DC -I27 GENERATOR ANALYZER WOW AND DIGITAL + DC scientists to have something else to play SOW. .VE FLUTTER o - A B A B with). In addition, an output and an input OPTION are provided for user -supplied external filters. The mainframe may also be rack - mounted for user convenience. is System One available in a number of OUTPUT INPUT configurations: one or two generator out- SWITCHER SWITCHER f11111IT1111 11111ITTTÏIT- puts, one or two analyzer inputs and with INPUTS OUTPUTS or without the burst noise -square wave DEVICES) UNDER TEST output, SMPTE /CCIF /DIM distortion measurement or wow and flutter options. System One flow chart. The most useful general- purpose system will be configured such that it will have two generator outputs and two analyzer inputs. This basic system will put you in Nevertheless, within an hour of initially one will measure amplitude, bandpass, unpacking the system, you will find band -reject, THD +N, SMPTE /CCIF/DIM,

[AMPLIFIER NOISE, SPECTRUM ANALYSIS (V) yourself running (and beginning to write) wow and flutter, crosstalk or phase. It also quite complex tests on all sorts of equip- displays the currently measured level (in ment using the very comprehensive user -selectable units of V, d$m, dBV, dBu, library of tests that are included. dBr or W), frequency (expressed in Hz or The menus can be navigated through in numerous comparative units) and very easily by using either the cursor keys analyzer/voltmeter reading. T he software or by merely typing the first letter of the also allows the user to select what the menu selection (much the same as with analyzer's input will be (front panel input Lotus 1 -2 -3). The software also supports or generator monitor), as well as the ter- the use of a mouse. mination impedance. The analyzer 100 1k 10k 100k The front panel of System One is devoid module is an extremely powerful part of of any controls, so they all show up on a "soft" front panel on the CRT. The left side the I- gotta- have -it zone (for example, "I of the screen contains the control NFCISIpI ?PPPuRBIC EBBAU2E8 REMISE (BB) as Ihz) 11 JPN bb 19:86:35.

I p . gotta have the wow and flutter option"), parameters for the generator (GEN 1). The but will solve a great percentage of your signal generator sweeps from 10Hz to audio test requirements. 200kHz with 0.03% accuracy. The gener- í1a, The one outstanding physical design ator frequency value can be selected by i feature is that the unit is made to be ex- direct numeric entry to test. The gener- E pandable not only to the user but to its ator's output is similarly controlled by the 0~` - ! designers, as well. The internal mainframe software to change output impedances r is divided into four sections, three of which (600(1, 1500, and 50(2), balanced /un- -- are filled when the system is purchased balanced or common -mode configured ><;, ,---- fully loaded, leaving room for future outputs, floating or grounded outputs and designs, which are certainly forthcoming. whether A, B or both outputs will be on System One is controlled by an IBM PC, or off. The burst- noise /square -wave option PC /XT, PC /AT or any number of clones also allows the instrument to generate that have a minimum of 512k of memory tone bursts from 20Hz to 100kHz, square RECORDER MOL (3rd HARMONIC DISTORTION) (640k preferred) and operate DOS waves with from 20Hz to 20kHz and random /_ version 2.0 or later. Only one expansion noise (pink, white and 1/2- octave filtered slot is necessary for Audio Precision's pro- pink noise that can be continuously prietary controller card. swept). The output is transformer -coupled and Operating the unit can deliver amplitudes up to +30dBm in- The software for controlling System One to 600(2 with a nominal distortion of is written to be user -friendly because it is 0.005% (0.0005% being the system limit). menu-driven. (Refer to "System One Menu The analyzer section allows the user to Tree:') The levels of complexity of the control a range - wide of parameters. User 4.08 2 12.a0 system's software are quite numerous. selectable parameters include whether

August 1988 Recording Engineer /Producer 81 www.americanradiohistory.com shooting and to provide end -users with solid proof -of- performance verification. Menu Tree Although I'm not an owner, I am a fre- quent user, and I must say that the unit is extremely easy to use. Last month's Run -Run procedure, test or graphs. Editor -Show text editor help screen. "Hands On: Analog Noise Reduction" (Ju- Procedure -Run a procedure. Test-Measure and graph new data. XDOS -Call DOS. Type "exit" to return to Si. ly, page 44) was writtenn after having com- Graph -Graph stored data. pleted over 45 complex tests with the unit. Bar graph -Display readings on bar graph. DOS- Execute one command under DOS. write Local -Cause all instruments to be Local. The series of tests only took a day to Remote -Enable Remote instruments. Names-Select compare limits, title, etc. and run, with another afternoon used to Slave-Split -site slave mode. Upper -Select file for upper compare limit. rerun some of the tests to double -check Lower-Select file for lower compare limit. Panel- Display instrument front panels. Sweep -Select file for sweep source table. the results. I've also used it to conduct Gen1#1 -EQ- Select file for generator EQ. shoot -out-style tests, the results of which Load -Load test, data or text from disk. Error -file -Select file for error reporting. Test -Load entire test from .TST file. Off- Disable error reporting. were used to make a final decision as to Limit -Load entire test from .LIM file. Title -Select title for graphs. which of two major -manufacturer con- Sweep -Load entire test from .SWP file. Rename- test -Select new test name (won't ef- Comment -Load comments from disk. fect disk). soles to purchase. Procedure-Load procedure from disk. Clear -Clear Upper, Lower, Sweep, Err and EQ. In addition to the internal options Macro -Load macro from disk. Delta- Select file for Compute Delta. available, external options are available. Data -Load ASCII data from .DAT file. EQ -Load entire test from .EQ file. If- Conditional execution in procedure. The two that are currently offered are the Image-Load image from .IMG file. Error[-Do only if test error (end with j character). SWR -122 2x12 switcher, which is available Overlay -Load entire test except punch-outs Noterror[ -Do only if not test error (end with ] - from .OVL file. character). in an input and output version (the corn if above limit (end with character). Above( -Do I puter can control up to 16 of each -DO if below limit (end with I character). Save -Save test, data or text to disk. Below( configuration at once), and the DCX -127 Test -Save entire test to .TST file. Limit -Save entire test to .LIM file. Util- General utilities. multifunction module, which can measure Sweep -Save entire test to .SWP file. Restore-Restore hardware after power cycle. dc volts and ohms (with 41/2 -digit accura- Comment -Save comments to TXT file. Out -Write to output port. Procedure -Save procedure to .PRO file. Wait -Wait for value at an input port. cy). The DCX -127 has a programmable dc Macro -Save macro to .MAC file. Delay -Delay for specified time. voltage output (that's accurate to four Data -Save ASCII data to .DAT file. Break -Put a break in procedure. EQ -Save entire test to .EQ file. Learn -Begin learning (recording) procedure. decimal places) and a parallel digital port Image -Save stored image to .IMG file. End -End recording procedure. with 21 -bit programmable input /output Overlay -Save entire test except punch-outs to Prompt-Make prompt to be used in procedure. (perfect for A/D converter tests) .OVL file. Message-Make message to be sent to error file. capability and three 8-bit parallel ports to use as Append -Append test or data from disk. Quit -Quit program and return to DOS. device controllers for relays, test fixtures Test- Append data from .TST file. Data -Append data from .DAT file. Compute- Select data computation. or whatever. Normalize -Normalize data at the value Edit -Edit text or data specified.

Comment -Edit comment buffer. Invert-Invert (reciprocate) Data-1. BIT- NEIGHTIt4G ERRORS D (dB) vs LEVEL ' Procedure -Edit procedure buffer. Smooth -Smooth data. -76.8 -+ -76.0 Linearity -Compute deviation from best fit line. Data -Edit data buffer. -78.00 -i-me Macro -Edit macro buffer. Center -Center data between limits. -79.00. -; -779,0 Delta- Subtract Delta file from data 614 Help -Show help menu choices. 2- Sigma- Compute maximum value, excluding -i-82.0 Special -Show special functions help screen. peak 5%. íf--84.0 Overlay -Show overlay (partial load) help Exchange -Exchange Data -1 and -2. t -'. -85.0 screen. -87.0 -88.0 -99.0 -40.0

100 -70.0 -50 the system because of all the data analysis make its job a bit easier. With the multi- that it actually carries out. (Use of the ple sweep capability of the software and system for a short time will prove this to a couple of SWR -122 switchers, multitrack Future options be true.) machines can be documented as to their Planned for fall release is the DSP op- The third and final section of the front effective head life, wow and flutter, and tion, which will allow the unit to be a true panel allows users to include any sweep response evenness track-to-track. The new "1- stop" test system. The DSP option (an test definitions that they desire. The defini- generation of remotely alignable internal option) will enable users to per- tions can be changed at any time before machines can complete alignments fully form measurements such as the ones or after the test and can even be altered unattended and provide hard copy Crown's Techron system can now perform, months later, after the test and /or data documentation of the results. Studio equip- but all in one system, thus keeping the test have been saved on a disk. ment that's aging can also have fast, ef- equipment "body count" to a bare Another software feature enables you to fective performance tests run on it to aid minimum. enter data from the outside world without maintenance in keeping it at peak The product can be a useful system with the system interfaced to your computer performance. a great many capabilities, and, at the same and output a dot -matrix hard copy of your If you think that this is just a glorified - time, is configured to be a building -block data. (Even though it takes just as long as tape recorder checker, think again. system. This test equipment will definite- before, at least the graph paper gets System One can also be run by an un- ly grow with your needs regardless of the skipped.) skilled operator to perform pass /fail tests application and is not destined to become and provide hard copy for each unit obsolete. Studio applications (whether it passes or fails), allowing RE/P In the studio, the unit can provide the manufacturers to provide technicians with maintenance department with data to good guides to save them time in trouble-

~~82 Recording Engineer/Producer August 1988 www.americanradiohistory.com Touriflggm' with á ' Reggae Festival in1 fric a~~

~~By David Scheirman~~

~~Several West African nations were host to a series of outdoor concerts billed as the world's largest touring reggae festival.~~

Pop music is rapidly becoming one of To present concerts that feature reggae splash, a yearly event staged in Jamaica) the most dominant forms of communica- and other popular musical forms in Third "joined hands" with two of Africa's most tion around the world. Musicians, musical World nations, well -designed, portable popular rr.usic groups. An entourage of art forms and lyric content more rapidly sound systems that are easily transport- more than 125 people journeyed to such affect social structures and attitudes than able must be supplied. Such systems are West African nations as Liberia, Nigeria the printed word ever did. Nowhere is this usually shipped in for use on specific proj- and Zaire to present a series of outdoor more true than in the newly developing, ects and are drawn from sound reinforce- festivals. Third World countries. Here, a fast -grow- ment rental firms in North America, West- Artists such as Yellowman, Judy Mowat, ing market exists for the latest in a wide ern Europe, Japan or Australia. Chalice, Burning Spear, U-Roy, and Sly and variety of musical styles. Currently, one Robbie represented Jamaica. King Sunny of the most popular of these styles is World's largest reggae tour Ade and hiis band, along with Fela and his reggae. In February and March, a group of Ja- 30 -piece Nigerian entourage, represented maican performers that comprised the Africa's music. Although the African au- David Scheirman is RE/P's live sound consulting editor and world's largest touring reggae festival diences were familiar with reggae music president of Concert Sound Consultants, Julian, CA. (modeled after the popular Reggae Sun- because of extensive local radio airplay,

August 1988 Recording Engineer/Producer 83 www.americanradiohistory.com most had never experúenced this style of 22"-01- music in a large, outdoor festival format. So the crowd response was expected to be enthusiastic. The sound crew for the tour was made COMPONENTS up of three system technicians and several soundmixers associated with various 15-INCH (2) LOUDSPEAKERS groups, including Jamaicans David Rowe (1) 2 -INCH EXIT COMPRESSION DRIVER (1) FLAT -FRONT HF HORN and Robert "Chuckles" Stewart. This crew (4) COMPRESSION TWEETERS had at its disposal a complete, portable sound reinforcement system that was transported by air to Africa. This system needed to reproduce live TRUCK CASTORS program material accurately for both in- ON BACK PANEL door and outdoor venues. For any single performance, a maximum crowd of 50,000 54" was anticipated, and most performances were to be held in open -air sports stadiums. The length of the tour was to be five weeks, and an additional week was scheduled before and after for air cargo trans- 24" DEEP port time of the sound, lighting and stage gear. Two large diesel generators were reserved for the project in Los Angeles, but in the end, these did not make the trip. Because of budgetary considerations, representatives of the event promoter decid- 1 ed to rely on locally available power supplies. Thirteen performances in 10 different DETACHABLE PLYWOOD countries were scheduled. Each concert FRONT COVER (SHOWN WITH GRILL REMOVED) was planned as a 16- hour -long event, to begin in midafternoon and end the follow- PLAN LEVATION F ing morning. An extra day at each loca- Figure 1. The Steradian 3-way loudspeaker enclosure. tion was scheduled for setup and teardown.

Sound system. supplier The event's production staff realized that a well-designed, well- integrated, compact and portable sound system package would be required because setup time would be at a premium. After a survey of several sound system packages available from the United States, the production team con- tracted with Schubert Systems Group (SSG) of North Hollywood, CA. "We really didn't get the final word on this until the very last minute," said technician Gary Whitelock of SSG. "Last summer we supplied a system for the Reggae Sunsplash tour dates in the United States, so we knew what to expect regarding the various bands and the show format. Tak- ing a system to Africa, though, was something completely new :' Weight and size restrictions for the tour's overall equipment package helped the sound company plan the total mass of the sound system to be used. Rather than supplying the variety of equipment that might be used for such events in the United States, with large amounts of signal - processing gear, the system was trimmed Photo 1. The Stemdian loudspeaker enclosures supplied by Schubert Systems Group were set down to a package that could be used to up in an arced array, 16 per side with subwoofers at each end. its operating limits for extended periods

84 Recording Engineer/Producer August 1988 www.americanradiohistory.com without component failure. 4E" The resulting sound system package included both front -of-house and monitor mixing gear, an 8 -mix stage monitoring system, an electrical power distribution system and all required microphones, stands, cabling and spare parts. The main 24" loudspeaker system, designed by SSG, consisted of 32 3 -way enclosures and 16 subwoofer enclosures. Upon receipt of advance payment from the African tour promoter, the sound and lighting companies sent the gear by truck (24" DEEP) from Los Angeles to an air cargo facility (SHOWN WITH GRILL ASSEMBLY REMOVED) in New York City. From there, it was flown by wide -body commercial jet to the tour's Figure 2. The subwoofer enclosure houses a pair of JBL 2945 18-inch loudspeakers. first stop in Monrovia, Liberia. Shipping weight for the total sound system was 25,655 pounds. The total volume was 1,419 cubic feet. Each case appeared on the shipping manifest along with contents and value. This information proved to be of great value when dealing with air shipping agents and particularly the Ni- gerian Airways charter jet pilot, who expressed concern about the type and weight of the unusual shipment. Upon arriving in Liberia, sound- system technicians supervised the removal of the equipment from the air cargo pallets and its loading into metal shipping containers. These containers proved to be ideal for storage and land transport because they offered a secure means of trucking the system in areas where most commercial - freight hauling is done with open trailers. The containers also were used as on -site storage at the open -air stadiums. Storage became a necessity in some instances, when the concerts were delayed for political or economic reasons, and the gear needed to remain at the site for an extra Photo 2. Compact rack for powering sidefill monitor enclosures includes amplifiers from Carver day or two. The entire sound system fit in- and Crest. to approximately one and a half 20 -foot container units. Loudspeaker system The main loudspeaker system is the part of a concert sound rig that usually takes up the most shipping space. As such, it is important that the speaker system be as compact, lightweight and easy to handle as possible during load transfers. So, nearly all sound systems transported for international projects today rely on direct - radiating speaker design technology. SSG relied on its Steradian system, so named because each trapezoid- shaped, 3 -way loudspeaker enclosure represents a solid angle (or steradian) of an ideal spher- ical sound source. When multiples of these cabinets are coupled in a stacked or suspended configuration, an array is formed that imitates a single, curved, direct- radiating loudspeaker baffle. (See Photo 1.) These 3 -way enclosures weighed approximately 265 pounds each and could Photo 3. Jamaican soundmixer David Rowe at the Gamble HC-40 console.

August 1988 Recording Engineer /Producer 85 www.americanradiohistory.com DETACHABLE PLYWOOD thus be handled by a crew smaller than COVERS (FRONT AND BACK) other modular sound- system enclosures weighing up to 500 pounds. The box has (24" WIDE, 48" HIGH) a total enclosed volume of 16.5 cubic feet. Its exterior dimensions are 54 "hx22 "lx 24 "w. (See Figure 1.) OPEN -CELL These ported boxes housed a pair of CUSHION FOAM modified JBL 15-inch woofers that cover the frequency range of 90Hz to 1kHz. A (24" WIDE, 36" HIGH) single, 2 -inch JBL 2441 compression driver was mounted on a JBL 2385A horn in each cabinet and supplied signals of 1kHz to 10kHz. A total of four (JBL 2402) high - frequency compression tweeters were ar- rayed within each cabinet, offering extended response to 22kHz. The 3 -way enclosures were supplement- ed by subwoofer units. Each housed a pair of JBL 2445 18 -inch bass loudspeakers. This vented, direct-radiating box weighs approximately 220 pounds and has a total enclosed volume of 16 cubic feet. This box measures 48 "hx24 "1x24 "w. (See Figure 2.)

(30" DEEP) dE I) drib (30" DEEP) System power amplifiers MAIN SYSTEM POWER AMPLIFIER SIGNAL PROCESSING The main loudspeaker systems were RACK (TYPICAL) RACK (TYPICAL) powered by either Crest or Cerwin -Vega dual -channel amplifiers. The amps were Figure 3. Power-amplifier and signal- processing racks are built of birch plywood. The double - in -built, heavy -duty, birch shell design includes a layer of foam to protect the electronics in transit. installed custom plywood road racks, with rugged, all - weather carpeted exteriors. A single rack weighs approximately 510 pounds and measures 48 "hx24 "1x30 "w A foam inner lining separates the cases' double -walled construction, which protected the electronic equipment during transport. (See Figure 3.) The African tour project used eight such racks, each housing five Cerwin -Vega power amplifiers. All racks were interchange- able, with the level sensitivity of each in- STAGE MONITOR SPEAKER (TYPICAL) put channel being calibrated. A ninth rack was brought as a spare. f 40' Custom -built frequency dividing net- works, designed by Dirk Schubert, were optimized for minimum signal delay, optimum phase coherence and transient re- (DRUM MIX) sponse. Valley People Gain Brain II limiter units were inserted on each crossover output band, and their action could be ob- p served on the crossover metering. "The crossover is the most important 3 2' piece of electronics in the PA system," Schubert advised. `Amplitude response and system headroom, as well as the level (STAGE RIGHT MIX) (STAGE LEFT MIX) of power response that is sent to the amplifiers, are functions of the selected crossover points. It is best to match a crossover to the speaker system with which it is MIX used." POSITION The stage monitors, with the exception o' db db db `o of the sidefill enclosures, were powered by (SIDEFILL ( SIDEFILL (3 FRONT MIXES) ENCLOSURE) ENCLOSURE) compact Carver amplifiers housed in smaller racks. These larger sidefill enclo- Figure 4. Stage monitor system. sures used the Crest 8001 amplifiers to

~~86 Recording Engineer/Producer August 1988 www.americanradiohistory.com FLUSH MOUNT 75 OHM BNC CONNECTORS~~

Recessed panelmount less prone to damage. Fully isolated. Compatible with all other manufacturers BNC connectors. Beryllium copper external contact with gold Photo 4. Keeping cool Production technicians improvise a shady resting area in the equatorial heat. coated center contact pin. VSWR characteristic ( <1.1) up to 2 GHz. power the lower frequencies. (See Photo inputs, the Gamble HC-40 is equipped with 2.) electronically balanced microphone chan- A total of 10 identical floor wedges were nel inputs. It accepts mic -level stage sig- CANARE CABLE INC. 832 N. VICTORY BLVD. BURBANK, CA 91502 provided for the on -stage area. Another nals from a multipair trunk cable that is (818) 840 -0993 FAX (818) 842 -7548 pair of boxes was supplied for the monitor connected directly to the stage monitor Circle (46) Rapid Facts Card mix position and as a spare unit. Each console. The stage monitor console also on stage monitor contained a single 15 -inch serves as the audio grounding point for the JBL speaker covering 50Hz to 1.5kHz, a sound system. (See Figure 5.) JBL 2441 2 -inch compression driver on a SSG's Whitelock advised, "With the DMM LP JBL horn covering 1.5kHz to 10kHz, and Gamble consoles' on -board patchbays and a single JBL 2405 compression tweeter, of- our snake system, repatching can be done MASTERING fering response to 22kHz. (See Figure 4.) very quickly in case of an emergency. For State -of- the -art, Direct The sidefill enclosures were placed in instance, if the house board were ever to Metal Mastering, a each down -stage corner of the perform- crash, we could have a mix on the monitor quantum leap in LP ing area, two per side. These boxes board standing by for patching to the quality housed a pair of JBL 2225 bass loudspeak- house crossovers. If the monitor board ers and a JBL 2441 driver on a 2385 flat - goes down, auxiliary buses can be patched front horn. up to the stage from the house console:' LP PRESSING To simplify the stage monitor system for A variable line voltage transformer DMM audiophile quality the African tour, a total of eight monitor (Vari -ac) was positioned at the house mix- Teldec vinyl mixes from the 16 available were used. ing platform, offering daily adjustment of Monitor mix equalization was done with the electrical power voltage level at the DIGITAL SERVICES the of Gamble console's onboard, adjustable, end the 200 -foot snake cable run. Neve Digital Console 4 -band parametric EQ circuits. This saved - EQ, Limiting/ space in the shipping package by elimi- Signal processing Compression nating outboard EQ racks and simplified The signal-processing gear supplied for Editing the monitor system cabling scheme, allow- this project included a Lexicon 224 digital Sony ing setups and teardowns to be more reverb, a Lexicon Super Prime Time and Digital Format efficient. a pair of Yamaha SPX -90s. Compressors Conversion Although several different soundmixers and noisegates (dbx 900 series) were avail- Analog -to- Digital and technicians were available to assist able for channel insertion as needed. Transfer with the stage monitor systems during the The process of mixing reggae music is CD Master Tapes show, Jamaican monitor mixer John somewhat different from jazz, rock or DAT Copies "Bugs" Parkinson to styles. chose man the con- other concert- performance Reggae COMPACT DISC PRODUCTION sole from start to finish. He took on a features a prominent bass guitar and kick CASSETTE DUPLICATION marathon feat of endurance, running the drum sound. Underlying low -frequency 7 INCH SINGLES 16 -hour concerts. impulses support basic, steady drum beats Complete packages with printing A 40 -input house mixing console from and guitar /keyboard syncopated riffs. Jim Gamble Associates was chosen for the Special, recognizable snare-drum echo ef- ''%mCMeta EUROPADISK,LTD:, African project. Featuring eight auxiliary - fects or delay repeats, done in "dub" Mm 75 Varick Street bus outputs and an additional eight effects fashion, require a keen ear for timing, \ uteri° New York, NY 10013 C TECH (212) 226 -4401 Circle (47) on Rapid Facts Card August 1988 Recording Engineer /Producer 87 www.americanradiohistory.com along with quick auxiliary bus cues. At each venue, the sound crew set up conditioned spaces or cool motorhomes Soundmixer David Rowe commented, the main loudspeaker system in a curved were not available, so improvisation led "Having worked with many of these musi- array of 16 boxes per side, flanked at each to some interesting ways of providing cians as they developed this music in the end with a group of four subwoofers. One shade. (See Photo 4.) recording studio, I've become familiar with entire day was budgeted for the setup and In each location, work crews were hired what they require in a live setting" (See testing of the production gear; the per- to help move, set up and tear down the Photo 3.) formance was then set for midafternoon sound, lighting and stage equipment. Gen- Adequate security for the house mixing of the following day. erally enthusiastic, the local African crews position was a major consideration. Tour The hot, equatorial sun caused temper- were easily motivated by gifts of T-shirts contract specifications called for a sturdy, atures that averaged more than 100 °F dai- and athletic shoes, and friendships formed single platform to house both the sound ly. This made the working conditions quickly. (See Photo 5.) and lighting control areas; spotlight posi- somewhat more stressful than sound crews tions would be on the upper level of the usually encounter. Although space blan- Electrical power same platform so that all production tech- kets can help protect the sound equip- In West Africa, 220V power systems are nicians working in the audience area were ment, it turned out to be more important the norm, and 110V systems are practical- in the same vicinity. to protect the health of the workers. Air- ly non -existent. The American sound system was specified to operate on a 5 -wire, 3- phase, 400A electrical service with 120V per leg, 50 or 60 cycles. Local agents were to supply large stepdown transformers and 41111.11111111 111111111111111,UL generators, if needed. - Locating an adequate electrical power at source for each performance turned out to be the tour's primary challenge. Some- t _ times, an entire day was spent locating : and hooking up a power source, even when local contacts had assured all parties that "it was covered.' In cases requir- ing generators, the search often led to ma- rine shipping yards, army bases, foreign embassies and TV stations. (See Photo 6.) In one instance (Monrovia, Liberia), the government -controlled power company was brought in to erect a separate "mini- substation" for the concert, drawing power from the 2,400V utility grid lines. SSG technician Larry McCall was desig- nated as the tour electrician. His U.S. military experience with field electrical power plants came in handy more than Photo S. Part of the local stage crew in Lagos, Nigeria. Stage manager Ron Byrd from Los Angeles once. Encountering new challenges daily is in the center (white socks). as he worked to locate hardware and explain concepts to electricians, he acted above and beyond the call of duty. "I don't like to rely on generators as a general rule;' he explained. "As it turned out, we had to take whatever we could get. The generators can be preferable, sometimes, to the unreliable local utility companies that we encountered:' In one unforgettable incident in Kin- shasa, Zaire, an entire day was spent in the basement of the Parliamentary Palace, adjacent to the government parade grounds. A travel agent who translated English to French relayed questions and instructions to a building administrator who translated French to Chinese. This man spoke with a Chinese generator technician who was in charge of an ancient power plant. An attempt was made to dis- connect the water pump electrical supply lines for the parade ground fountains, and to use the 1,000-foot electrical service cable to get generator -powered ac to the Photo 6. The search for electrical supply parts led to some interesting places. Here, the Nigerian outdoor stage area where the perform- Army pitches in with a portable 110V stepdown transformer for use with band gear. ance area had been set up in advance of

88 Recording Engineer/Producer August 1988 www.americanradiohistory.com STAGE INPUT BOXES shapiñg sotind. ':5 IN/ dSI SA 64 R'I1::, 1,41,1Ir? SONEX is a high -performance acoustical foam that upgrades your studio inexpensively. Ideal for a

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Figure S. Mixing consoles and interconnect cabling scheme. Alpha the show's arrival. involved in projects such as this should Audio. 2049 West Broad Street After this experience, the production budget more time and money than ex- Richmond, Virginia 23220 USA crew unanimously agreed that in the fu- pected for problem solving in this (804) 358-3852 FAX: (804) 358 -9496 ture, if the shows are to take place on time, department. Telex: 469037 (ALPHAAUD Cl) concert-scale sound and lighting equip- On the lighter side, the chance to be- Acoustic Products for the Audio Industry ment bound for Africa must be completely come acquainted with other cultures can Circle (48) on Rapid Facts Card self -contained with regard to ac power be an eventful opportunity. The African supplies. A "knowledge gap" appeared to crew members sincerely appreciated sim- THE BEST exist in this case; the promoter's contrac- ple gift items such as cassette tapes, Amer- YOU DEMAND tors did not actually realize what it was ican magazines, flashlights and ballpoint WE SUPPLY THE BEST. they were agreeing to be responsible for. pens. Polaroid photographs of the stage crews were an instant hit and cemented 1 ...... Tour conditions friendships on the spot. Often, the stage iit,it, Despite on -site production, advance crews' loyalty rested with the visiting tour work and a tremendous amount of inter- staff, and they completed loadouts despite continental communications, difficulties the event organizers' lack of agreed can obviously still exist when attempting compensation. to take a contemporary concert produc- After the show was up and running, the tion package into developing nations. results were very gratifying. The sound Besides language barriers, currency ex- system performance expectations were changes and cultural differences that can met. The system was set up and used for complicate matters, another barrier en- as long as four days at a single perform- countered was that most people in Third- ance site; during the entire 5 -week project, World countries just cannot grasp the only two loudspeaker voice coils and a sin- scale upon which entertainment events gle compression driver unit suffered fa- are conducted in developed regions of the tigue to the point that replacement was world. This means support elements that required. And entertainment groups and production When touring in developing nations, Cal Switch Switchcraft® crews may take for granted under normal thorough advance planning and prepara- The Popular Demand touring conditions just cannot be provid- tion greatly increases the chances of suc- ed if the events are to be profitable for cess. Although sound system technicians Audio Connectors local promoters. operating in such environments may con- Cable Assemblies The African reggae tour was a severe front unexpected challenges, system de- Jack Panels test of both equipment and personnel. sign and performance expectations can be Multi- Switch® Switches Heat, humidity, dust, uncertain political met. and economic trends from day to day, and the relaxed concept of time held by peo- (800) CAL -SWCH ple in West African cultures all combined Author's note: This feature is written with reader interest and to make the entire project more difficult education in mind. The specific mention of brand names CAL SWITCH of equipment is not to be taken as an endorsement by the than most. 13717 S. Normandie Avenue author, RE/P or Intertec Publishing Corporation. Sound reinforcement firms that become Gardena, California 90249

~~Circle (49) on Rapid Facts Card August 1988 Recording Engineer/Producer 89 www.americanradiohistory.com STUDIO UPDATE~~

~~Talkback Wired and Wireless Micing for Videotaping~~

~~By Roy Stuewe~~

I have a customer whose sole business cation with the cameraman led him to call The solution was the addition of VHF is the making of video training tapes for me for a solution. highband wireless, a mic mixer, and a industry. Many of his clients have assem- I equipped him with a standard, wired - 72MHz system for the hearing- impaired- bly lines using heavy machinery. He usual- headset intercom system. This setup al- all mounted in a road case. The client rep, ly shoots with only one camera. He started lowed everyone individual listen volume, talent and floor director still wear their one project with an omni mic and 50 feet as well as a mic on /off switch. This sys- single -muff headset, but they are now of cable shared by the client rep who ex- tem met his needs, and business boomed. plugged into the transmitter and receiver. plained the machine operation and an- He added a floor director and then called The three wireless mic receivers are other person who asked questions. The to ask about going wireless, but keeping mixed via the rack-mounted mixer, with machine noise and the lack of communi- it simple. channel 4 accepting the wired intercom system audio. One output of the mixer TO INTERCOM drives the camera; the other drives the PGM INPUT hearing- impaired transmitter. RE/P ISOLATION TO AND MATCHING Roy Steuwe is sales engineer at Sound /Com Corporation, INTERCOM Cleveland. LINE Have you encountered a problem or unusual request dur- RCVR 1 ing a recent job that required a unique solution? We would like to share it with the industry. Sent it to "Talkback "; if we RCVR 2 use it, we'll pay you $50. "Talkback" is a forum for sharing your solutions to difficult production situations other RCVR 3 engineers may encounter. In a continuing effort to educate, we feel that this type of information is helpful and will display your professional abilities. This is not a tech tips column; rather the focus is on solutions to problems -technical or non -technical. 0 0 0 To submit in 1 -2 pages, describe the job, what the prob- o MIXER lem was and what you did to solve the problem. Include arty XMIT RCV XMIT RCV XMIT RCV supporting documentation, such as diagrams or photos, that would help explain the situation. If we publish your entry, TO CAMERA you and your company will be fully credited. AUDIO INPUT Send material or inquiries to Michael Fay, Editor, REM 72MHz XMTR 8885 Rio San Diego Drive, #107, San Diego, CA 92108.

The MRL Calibration Graph is your proof of the quality control that goes into every MRL Reproducer Calibration Tape. We guarantee what each one to exceed the performance requirements of IEC, NAB, AES, and EIA Standards. MRL Calibration Tapes are designed and supported by experts in magnetic recording and audio standardization ... we helped write is'whatC the standards. Each tape comes with detailed instructions and application notes. The MRL catalog includes tapes for all studio you applications. In addition to the usual spot - frequency tapes, we make single -tone tapes, rapid -swept frequency tapes, wideband or

1 /3rd octave -band pink random noise tapes and difference- method azimuth -setup tapes. Most are available from stock. For a catalog and a list of over 60 dealers in the USA and Canada, contact J. G. (Jay) McKnight at: Magnetic Reference Laboratory, Inc. awe m T abtead8/ re 229 Polaris Ave., Suite 4 tv k_evet Mountain View, CA 94043 TaPe Flu (415) 965 -8187 Exclusive Export Agent: Gotham Export Corp, o

~~New York, NY A~~

~~Circle (45) on Rapid Facts Card 90 Recording Engineer /Producer August 1988 www.americanradiohistory.com STUDIO UPDATE~~

Century III Audio (Boston) has added processor, 16-channel Hill Multimix and a Studio NeWS Chris Anderson to its staff as engineer. 16- channel Roland M160 mixer. Box 791, Mark Henderson has been appointed post Flushing, NY 11352; 718 -886-6500. producer. 651 Beacon St., Boston, MA 02215; 617- 267-6400. Dreamland Recording (Bearsville, NY) Northeast has renovated Studio A. New equipment Star Mix Studios Ltd. (Messapequa, NY) includes a Lexicon PCM 70, UREI LA2, Production Masters (Pittsburgh) has has taken delivery of an additional Neumann M49 and U67 mics, Pultec named Jack Bailey as audio operations Sony /MCI JH -24 24 -track recorder. New MEQ -5 and an Eventide 3000 Super - manager. 321 First Ave., Pittsburgh, PA MIDI gear includes an Emulator III, Ober- Harmonizer. Box 383, Bearsville, NY 15222; 412 -281 -8500. heim Matrix 12, Roland Super JX, Yamaha 12409; 914 -338-7151. TX -802 and an Apple Macintosh SE -20 Squires Productions (White Plains, NY) computer with Mark of the Unicorn soft - The Tape House, Photomagnetic Divi- has announced two appointments. Chris ware. 4160 Merrick Road, Massapequa, sion (New York) has ordered a custom Cassone has been named chief engineer/ NY 11758; 516-541 -1222. Neve V series console, the studio's third. producer, and Donna Gibbons has been It will be housed in Studio C. 222 E. 44th named account executive. 196 Maple Ave., ASL Mobile Audio (Flushing, NY) has ex- St., New York, NY 10017; 212 -687-6230. White Plains, NY 10601; 914-997 -1603. panded and updated its equipment. The control room has been expanded, and all Trackworks Recording Studios (New NFL Films /Video (Mt. Laurel, NJ) has signal- processing gear is accessible by way York) has added two people to its staff. purchased Otari mastering recorders, a of two front and rear ceiling racks. New Bob Liebert, former president of Delta Re- Lexicon 480L digital effects processor, equipment includes a Sony DTC 1000ES cording Studios, is an engineer and pro- Eventide H -949 and SP -2016, AMS DMX DAT deck, 40-channel Brooke Siren Sys- ducer. Carmen Liebert, formerly Delta's and RMX processors, and a TAC Scorpion tern active splitter network, two BSS marketing and casting director, performs console. 300 Fellowship Road, Mt. Laurel, DPR-502 MIDI gates, two KlarkTeknik the same duties for Trackwork. 2 W. 45th NJ 08504; 609- 778 -1600. DN -410 dual parametric EQs, BBE 802 St., New York, NY 10036; 212- 921 -7878.

MOVING? TAKE US WITH YOU. Just peel off your sub- 446- scription mailing label NCEH00 and attach it to the address change card STEP UP TO THE FUTURE inside this issue. Please allow 6 -8 weeks to 10 Vol. CD Sound Effects Library process your address 10 Vol. CD Music Library change. 0ACT DISC SAM CONTACT: 27TH DIMENSION, INC., P.O. BOX 1561, JUPITER, FLORIDA 33468 FLORIDA COLLECT - 3051746-2222 OUTSIDE FLORIDA - 8001634 -0091 OlolopNOw)cs IS A 1RAOEMMK Of ZUCCMEIL NOIOMIONKS, INC)

~~Circle (50) on Rapid Facts Card~~

~~August 1988 Recording Engineer/Producer 91 www.americanradiohistory.com STUDIO UPDATE~~

Southeast Motion Picture Sound Incorporated Opcode SMPTE -to -MIDI interface. 1310 (Detroit) has installed a 32- channel, three - 20th Ave., San Francisco, CA 94122; Orion Post - Production (Miami) has man mixing console for film re- recording, 415-564 -4910. broadened its client base. In addition to with 10 inputs for dialogue, 16 for sound post -production and music scoring, the fa- effects and six channels for music. The cility has diversified to include music vid- board was designed and engineered by Northwest eos, foreign translation and dubbing, and Jerrell Frederick, the studio's president. The Music Source (Seattle) has upgrad- corporate -image films. 17 Palmetto Drive, 3026 E. Grand Blvd., Detroit, MI 48202; ed its facility to three rooms. Studio A is Miami, FL 33166; 305 -888-2481. 313 -873 -4655. 48 -track automated, Studio B is 24 -track automated and Studio C is a 24 -track MIDI Here Here Studios (Ashville, NC) has in- Sound Images (Cincinnati) has added a and voice recording room. Studios A and stalled a Soundcraft TS12 console; UREI MIDI room, featuring a Kurzweil K250, B have added Adams-Smith 2600 synchro- 809 Time -Align monitors; JBL 4301 mon- and a third production room. The third nizer systems with compact controller; itors; and a UREI 1176LN Peal Limiter. room, Studio C, is an 8 -track facility de- Studio C has a Zeta 3 chase system. 615 signed to complement the facility's two E. Pike St., Seattle, WA 98122; 206 -323- Flood Zone Studios (Richmond, VA) has other rooms. John F. Murray has joined the 6847. upgraded to 24 tracks with the addition staff as chief engineer for Studio C. 602 of a Studer A80 MkIV tape machine. 11 Main St., Cincinnati, OH 45202; 513-241- Canada S 18th St., Box 7105, Richmond, VA 7475. 23220; 804 - 644-0935. The Master's Workshop (Rexdale, On- Smith /Lee Productions (St. Louis) has tario) has received two Golden Reel Key Studios (Jacksonville, FL) has installed an MCI 24 -track recorder in Con- Awards from the Motion Picture Sound remodeled and expanded its main control trol A and has upgraded the console's I/O Editors of Hollywood. Awarded were room. New equipment includes a Neotek module capacity to 32 channels. In Con- "Captain Power and the Soldiers of the Series Ill 28x24 console, Tannoy LGM 12 trol C, an Audio Arts console and an Am- Future,' for best sound editing for a half - monitors and a Neumann TLM 170i con- pex 16 -track machine have been added. hour TV series, and "Ford: The Man and denser mic. 2969 Edison Ave., Jackson- New on the staff is Sean McMahon, chief the Machine;' for best sound editing in a ville, FL 32205; 904-388 -8273. music recording engineer. 7420 Man- TV miniseries. 306 Rexdale Blvd., Unit 5-7, chester Road, St. Louis, MO 63143; 314- Rexdale, Ontario, Canada M9W 1R6; Georgetown Masters (Nashville) has pur- 647 -3900. 415 -741 -1312. chased a Monster Cable Genesis 1000 Phase -Corrected Moving Coil Cartridge, Southern California Manufacturer said to be the first mastering house in the (Burbank) has country to make such a purchase. Larson Sound Center announcements completed its first year in operation. Fu- ture plans call to expand services into the Neve has recently installed consoles at of Music, West Midwest movie -of- the -week market, in addition to two facilities: House series television, and to add three more Orange, NJ, a V Series with 60 channels 96; and Fame Recording Stu- General Television Network (Oak Park, electronic sound-editing rooms, a 2 -mixer and Necam dios, Muscle Shoals, AL, an 8232 with MI) has announced that Gary Pillon, senior dubbing stage and another 3 -mixer dub- automation. sound mixer, won an Emmy Award for bing stage. 4109 Burbank Blvd., Burbank, Audio Kinetics Mastermix best audio for video shot on location for C4 91505; 818 -845-4100. "The New Historians," a half -hour Mitsubishi has installed two X-850 digital 32 -tracks in two U.K. studios: Brook House documentary. Music Grinder (Los Angeles) has installed Studio and Genetic Studios. a Neve 8108 console with 48 inputs and Studio A (Dearborn Heights, MI) has up- GML automation. Other additions include graded its New England Digital Synclavier has received orders for its In an Eventide H3000 Super Harmonizer and Soundtracs with 32 polyphonic sampling voices, Line console from Pace Studios, Aosis Stu- a T.C. Electronics 2290 sampler delay. 160Mb Winchester disk, 8Mb of RAM and dio, New Studio, keyboardist Paul Fish- 7460 Melrose Ave., Los Angeles, CA 90046; a Synclavier Phase II sound library. In ad- man's private studio and CGD Records. 213 - 655 -2996. dition, the 24 -track Synclavier /MIDI room AKG Acoustics has delivered ADR 68Ks has also added a Roland D -50 and two Custom Duplication (Inglewood) has in- to Unique Recording, New York; Sri Chin - Focusrite 110 modules. The 24 -track main stalled professional real -time DAT duplica- moy Centre, Jamaica, NY; and Anthony room has added two Yamaha SPX -90s, tion, labeling and packaging equipment. Michael Personal Studios, Liverpool, NY. Tannoy NFM -8 monitor speakers, two dbx 3404 Century Blvd., Inglewood, C4 90303; 160X compressor /limiters and three dbx 213- 670-5575. -533 24 263 de- essers. 5619 N. Beech Daly, Dear- Lyrec has delivered three TR -track Britain's Capi- born Heights, MI 48127; 313-561 -7489. recorders to BBC Scotland. Northern California tal Radio has taken delivery of three FRED Hatchery Studios (Warren, MI) has pur- Dave Wellhausen Studios (San Francis- audiotape editors. chased a Valley International Gatex. 2175 co) has added an Apple Macintosh SE Michael, Warren, MI 48091. computer with Performer software and an

~~92 Recording Engineer/Producer August 1988 www.americanradiohistory.com NEW PRODUCTS~~

Sanken CMS -9 PRC videocassette mailer Publications MS -stereo mic The mailers ship two videocassettes in Video directory and The CMS-9 is a portable mic that incor- hard library boxes and are available in guide porates a mid -side sum and differencing white. Made of corrugated cardboard, the buyer's processing circuit, and outputs normal mailers are shipped flat to save on ship- Available from Palm Springs Media, stereo signals that can be input to a field ping costs. the 1988 "Official Video Directory & recorder or portable DAT machine Circle (173) on Rapid Facts Card Buyer's Guide" includes a buyer's equipped with L -R and 48V phantom guide, manufacturer directory, dis- power. The cardioid response is on -axis. tributors list, company profiles, acces- Audio Services Corporation sories and video services. Dynamic range is 108dB, self -noise is 19dB power supply Also includ- or less, and frequency response is flat. ed are a master index, industry mem- The MP -48 PH Stereo is a mic- battery Circle (131) on Rapid Facts Card bers cross -reference, and toll -free and power supply designed for use with the fax numbers. Neumann 190i mic. The unit provides 48V Circle (182) on Rapid Facts Card SSL Harry Sound digital phantom power with a switchable 15dB audio editing system pad and low -cut filter ( -6dB at 100Hz). E -Z Hook catalog HarrySound results from a collaboration Circle (169) on Rapid Facts Card The 116 -page catalog details the between Solid State Logic and Quantel, company's line of electronic test acces- and is designed to extend the power of Mass Micro Systems Data Pak sories and includes specifications, con- Quantel's Harry video editing system. The Designed for use on the Macintosh, Data figuration diagrams, application exam- system uses the control pen and tablet Pak is a removable hard disk containing ples and ordering information. Prod- from the Harry system, and operational 44.5Mbytes. Average access time is 25ms ucts include test connectors, test lead principles overlap as much as possible. on an SE and 16ms on a Mac II. Several interfaces, BNC and DB coaxial test Digital audio soundtracks are transferred configurations are available, ranging from cables, and type N connectors and ca- via the AES /EBU interface; analog sound- 44.5Mbytes to 160Mbytes of storage. ble assemblies. tracks are interfaced using SSL's proprie- Circle (166) on Rapid Facts Card Circle (183) on Rapid Facts Card tary A/D converters. Circle (151) on Rapid Facts Card

Evertz Emulator II The unit allows VHS or S -VHS machines to be used in a professional editing environment by communicating directly to an edit controller or computer and providing HOLDS UP transport control at all speeds. An optional VITC and LTC reader permits frame - accurate editing. ON THE ROAD Circle (160) on Rapid Facts Card

ADC Telecommunications cable organization network ICON stands for Integrated Cable Organization Network and uses the company's QCP insulation displacement for gas- tight, secure cable termination. The network is available in rack- and wall - TYPE 85 FET DIRECT BOX mounted versions. The rack-mount version provides up to 192 terminations in AMP. INST. PICKUP two rack spaces and features rear trunk terminations and front cross -connections. Circle (161) on Rapid Facts Card

Panasonic R -DAT tapes SPEAKER The tapes use high -coercivity metal par- ticles and a specially developed binder system that the company says delivers excellent recording and reliability. Available lengths are 60, 90 and 120 minutes. Circle (162) on Rapid Facts Card COUNTRYMAN ASSOCIATES INC. 424 STANFORD AVE.- REDWOOD CITY, CA.- 94063-PHONE 415- 364 -9988

~~Circle (51) on Rapid Facts Card August 1988 Recording Engineer/Producer 93 www.americanradiohistory.com NEW PRODUCTS~~

Hardware, software updates Patch Bay Designation PatchPrints Aphex Compellor, NED Direct -to -Disk PatchPrints are custom labels for audio Dominator improvements software enhancements and video patchbays, control panels, racks, mixing boards, rear -illuminated button The Compellor and Dominator now Three features have been added to switches and all field- designation areas. incorporate the Aphex VCA1001 as the Direct -to-Disk system. Waveform The plastic labels are printed on a white control element. The Editing provides a graphic waveform their dynamic background with black lettering or vice new VCA1001 offers a dynamic range of the source material being edited. versa and may be color-coded. The com- of 110dB and distortion levels below Word Alignment allows an editor to pany can make labels from customer - at any audio level. It also move any audio event, including a sin- 0.005% supplied blueprints or a company-supplied A amplifier at all gle note or syllable, without disturbing operates as a Class layout sheet. times, eliminating crossover distortion the timing of the surrounding material. Circle (171) on Rapid Facts Card of Class AB and B circuits of other VCA Dynamic Output Allocation allows out- according to the puts to be assigned via software, which technologies, HH Electronics TA series company. permits independent routing of each Circle (175) on Rapid Facts Card edited segment of audio material to an loudspeaker systems output for processing. The series consists of the TA2 and TA3 Full Frequency systems, TA3 -1 sub -bass Intelligent Music M 2.0 Circle (178) on Rapid Facts Card system and C -1 controller. The TA2 and Version 2 of the MIDI software for the TA3 are two-way and four -way systems re- several new fea- Jensen 990 pre-amp update Macintosh contains spectively; the sub -bass unit can be add- tures, including easily manipulated The Twin Servo 990 mic pre -amp ed to extend bandwith below 40Hz. Fre- version screen controls, interactive pattern now uses a 22- transistor of the quency response alignment, crossover and editing, automatic conducting, Record original nine -transistor 990 discrete op- limiter functions are performed by the C -1. in var- Modes that interpret MIDI input amp. The additional circuitry includes The systems are designed for use in both which al- dc offset com- ious ways, Time Distortion, power supply regulation, music playback and sound reinforcement with lows for rhythmic nuance, Snapshot pensation and input bias rejection systems. quantization and Slideshows, which al- thermal tracking. According to the Circle (165) on Rapid Facts Card lows users to record control settings. company, the new 990s are better - Compatible with the Macintosh II and suited for the dc servo feedback cir- AKG Acoustics MicroMic series MultiFinder, the upgrade is free to reg- cuitry, which eliminates ac coupling MicroMic consists of five microphones, istered users of earlier versions. capacitors. each smaller than a thumbnail. The Circle (176) on Rapid Facts Card Circle (180) on Rapid Facts Card C401 /B and C402 /B are vibration -contact pickups that mount directly to the instru- UREI 7510B mic mixer Tatum Labs software update ment body. The C408/B, a miniature ver- The 75108, an update of the 7510A, The company's analog circuit simula- sion of the D112, is for percussion in- includes several new features. Switches tion program, ECA -2, is now available struments. The C409/ B is a clip-on instru- and LED indicators are prealigned and for Macintosh computers having at ment mic with a swivel joint for precise fixed to a subplate for simple insertion least 512k of RAM. Features include ac, positioning. The C410 +B9 is a headset mic to the main frame. A new chassis de- dc, transient, Fourier, temperature, designed for vocal applications, based on sign allows quicker setup and wiring, worst -case and Monte -Carlo analyses. the C410 and equipped with a 9V power and the unit has a new input amplifer, A demo disk is available. Also available supply. output amplifier and phantom power is EC -Ace, a subset of ECA-2 that ex- Circle (163) on Rapid Facts Card supply. Two units can be linked to- cludes some functions such as Fourier, gether to create a 48- channel system. worst -case and Monte-Carlo analysis. U.S. Audio PHMS -1 Circle (179) on Rapid Facts Card Circle (181) on Rapid Facts Card Standing for Personal Headphone Monitor System, the PHMS -1 is a modular network for headphone monitoring and mixing. The basic cue mix is set up on the master module (a 12W "control console" Sola electronic Technical Arts Click Kicker with four inputs, volume and pan controls, power conditioner Click Kicker is a metronome output con- and bus insertion jacks) and sent to satel- The EPC is designed to protect elec- ditioner that upgrades low -level metro- lite modules that have two discrete chan- tronic equipment from almost all ac power nome outputs from external devices such nels and two jacks for headphone outputs. problems except a total power failure. It as sequencers or sync boxes and also can Up to eight satellites, totaling 32 sets of is available in output capacities of 500VA, directly drive loudspeakers or power headphones, can be daisy -chained and 1,000VA and 2,000VA. At full load, the amps. Output pulse level is ±9V and lasts powered by one unit. All units are con- EPC can offer 94% efficiency, and also has lms. The triggering threshold is rated at nected with standard mic cables. high -inrush overload capacity. ±200mV. Circle (155) on Rapid Facts Card Circle (174) on Rapid Facts Card Circle (167) on Rapid Facts Card IRE/pi

~~94 Recording Engineer /Producer August 1988 www.americanradiohistory.com CLASSIFIED~~

Advertising rates in Classified Section EMPLOYMENT are: THE MOST COMPLETE $1.00 per word per insertion. Initials and abbreviations AUDIO SERVICES ASSISTANT DIRECTOR. Oberlin Col- count as full words. lege invites applications for the position of Assistant Director SELECTION OF "Blind" ads $25.00 additional. Minimum of Audio Services. The person in this position is responsi- classified charge $20.00. Classified is ble for professional recording, concert sound, admini- also available at $122 per inch. Order strative work and assistance in maintenance of equipment. Desired qualifications include Baccalaureate Degree, re- must be accompanied by payment to en- cording studio environment work experience, oral and writ- sure publication. ten communication skills, familiarity with musical notation AUDIO TEST. Classified columns are not open to or instrumental technique and knowledge of classical music. Thorough knowledge advertising of any products of electronics relating to audio regularly required. To ensure consideration, apply by October 1, 1988 produced by manufacturers unless use,' to Thomas Bethel, Director of Audio Services, Oberlin Col- and no longer owned by the manufac- lege, Oberlin, OH 44074. Include three letters of reference TAPES turer or distributor. with your letter of application. Salary commensurate with experience; range 16k to 22k. Affirmative Action, Equal Op- All termets including cassettes Classified Advertising should be sent portunity Employer 8 -88-11 to RE /P, Advertising Department, 9221 Write or phone for free catalog Quivira Rd., Shawnee Mission, KS 66215.

IN HOUSE MUSIC AND AUDIO PRODUCTION Talented FOR SALE Composer /Producer with extensive commercial production TEI and management experience seeks director level position with busy production house or agency. Relocation, no prob- STANDARD TAPE LABORATORY, INC. NEW 19" ADC tt patchbay panels, balanced/normalled, 144 lem. Box 354, 2120 Crestmoor Rd., Nashville, TN 37215. 26120 Eden Landing Road Hayward. points each, $150 each or 3 for $375. Roger Cordell, 10818 s5, CA 94545 8.88-3t Hortense, North Hollywood, CA 91602. (818) 763-8301 14151 786.3546 8 -88-1t Circle (53) on Rapid Facts Card SYNCLAVIER: FOR SALE. 16 voice polyphonic sampling system w/24 FM synthesis voices; hard disk; music printing; never moved 8 never "down "; digital guitar interface; cost $126,000-must sell: $70,000. Phone 214 -869 -0592. Direct Metal Mastering 8 -88-lt THE Audiophile LP Pressing HOTTEST Compact Disc Pressing AVR GROUP Cassette Duplication The Widest Selection of Used Gear NEWS IN THE Digital Tape Studio Neumann' Pultec' UREI Teletronics' MUSIC INDUSTRY! CD Master Tapes PCM 501' "DAT IN STOCK"' Personics offers the latest in music Otani MX5050 Bit- $1.6k; Otani Mk111- 8- $3.5k; Revox retailing. We develop and manufacture Digital Format Conversion A77 -$650; Ampex MM1200 /16 track -$9k; Ampex computerized systems so that customers Analog -to- Digital Transfers AG440B- 51695; Ampex MM1200/24 track -59k; Tascam can make personalized cassette tapes MS-16 (w /everything- $9.3k; Tascam 32 -$1k; Tascam from selected cuts right in the store. Digital Clones ATR- 60/8-$5k; Sony TCM- 5000EV-5325; Neve 8058 Soon to expand nationwide with our Neve Digital Console 20x16 -$84k; Neve 8056 I6x8x16 w/4 -band eq -$22k; innovative music machine, we are seek- Soundtracs MRX 32x8x16 (as new)-$10k; Ramsa ing individuals who really want to play Sony Editing T820- $3.5k; Soundcraft 200B 24x8- $3.8k; Soundcraft an important role in our growth. DAT Cassette Dupes 500 16x4 -$6k; Necam 1 w/32 faders-$21k; JBL 4425- 51.3k; Lexicon 224 (latest rev.) -$3k; EMT 140 FIELD SERVICE EUROPADISK, LTD. stereo plate -$3k; EMT 240 "Gold Foil " -$4k; Neumman ENGINEERS 75 VARICK STREET U -87 (mint )-$1.3k; AKG C- 34- $1.6k; AKG 414 EB -5675. San Francisco Bay Area NEW YORK, NY 10013 Los Angeles Area (212) 226 -4401 We BUY and TRADE!! Fantastic opportunities for career All used gear warrantied and calibrated to fac- advancement are possible in these posi- Circle (54) on Rapid Facts Card tory specifications or your $$$ back. Call for dis- tions. Prior experience in repairing and count prices on new items. maintaining Pro Audio Recording equip- (617) 332-1441 ment and familiarity with standard audio test and measurement techniques and Highest Performance equipment are necessary. Computer hardware /software knowledge is required to the level of installing and Audio Transformers! troubleshooting systems and board level Wide bandwidth Low hysteresis distortion products, and MISCELLANEOUS installing systems and Flat group applications software. delay No overshoot or ringing Make a difference and join our team) Call for free applications assistance WANTED: PULTEC EO's. We will pay $1,000 for almost Send your resume today to: (Mon- Thurs. 9am -5pm Pacific time) any Pultec program EC models EQP1 /EQP1A/EOP1A3. Personnel Department, /MB1 /any tube or Also wanted EQH2/EQH3/MEQ5/MAVEC Personics Corporation, 120 ribbon microphones and limiting amps. Please call or write Scott Drive, Menlo Park, CA 94025. EOF to: Dan Alexander Audio, 2944 San Pablo Ave., Berkeley, Principals only. No Phone calls. jensen transformers CA 94702, (415) 6442363 7 -88-4t INCORPORATE O

10735 Burbank Blvd. North Hollywood, CA 91601 WANTED TO BUY: Multitrack tape recorders, Otani, Studer FAX (818) 763 Ampex, 3M and MCI. Dan Alexander Audio, 2944, San -4574 Phone (213) 876 -0059 Pablo Avenue, Berkeley, CA 94702. (415) 644-2363. TLX. fa TELEX 6502919207 MCI UW (650) 291 -8567 UCI. 8 -88-1t THE PERSON1GS SYSTEM Circle (55) on Rapid Facts Card VIDEO SUPPLIES Use the CABLES CONNECTORS GANARE BELOEN SWITCHCRAFT D A s TIES CREATIVE RECORDING, INC. EATERIES NEUTRIK 60 INTERFACE BOXES TAPE 500 DIFF TAPE LABEL S GAFFERS 'APE CASES PATCH BAYS LIGHTS ACOUSTIC FOAM 2806 Azalea Place 'T!RMS MICROPHONES SONEX STANDS MOUNTS Rapid Facts Card AND SCREENS ZEPPELINS FIBRE OPTICS RACES Nashville, TN 37204 (615) 385 -0670 DUCT REELS TESTERS FILTERS. CHEMICALS TOOLS ON.AIR LIGHTS DEGAUSSERS INTERFACE DEVICES HEADPHONES CUPSSWITCHES - CAM B S VHS CABLE in the back A 24 Track Recording Studio MARKERTEK VIDEO SUPPLY of this issue! 145 Ulster Ave., Saugenies, NY 12477 U.SA "THE MOUNTAIN ROOM" git 1- 800 -522 -2025 In NY: 914-246 -3036 Circle (52) on Rapid Facts Card Circle (56) on Rapid Facts Card August 1988 Recording Engineer/Producer 95 www.americanradiohistory.com ADVERTISERS' INDEX SALES OFFICES

Rapid Page Facts Advertiser Number Number Hotline Aerco 62 37 512/451 -5874 AKG Acoustics, Inc. 51 203/348 -2121 OVERLAND PARK, KS Alesis Corp 9 8 Mary Tracy Alpha Audio 89 48 804/358 -3852 913-541 -6637 or Ampex Corp. 37 20 415/367 -3809 913-888 -4664 Applied Research & P.O. Box 12901 Overland Park, KS 66212 Technology IFC 1 716/436 -2720 Telex: 42 -4256 lntertec OLPK Cable, Inc. 87 46 818/840 -0993 Canare Telefax: 913- 888 -6697 Carpenter's Home Church 69 39 813/859 -1477 The Castle 42 23 615/791 -0810 SANTA MONICA, CA Cetec Gauss 78 44 213/875-1900 Herbert A. Schiff Countryman Associates 93 51 415/364 -9988 213 -393 -9285 Creative Recording 95 52 615/385 -0670 Jason Perlman Dimension Music Library 91 50 800/634 -0091 213 -458 -9987 Dolby 53 32 415/558 -0200 Chris Woodbury Leonard 213 -451 -8695 Emerald Sound Studio 35 19 615/321 -0511 501 Santa Monica Blvd. Europadisk, Ltd. 87,95 47,54.... 212/226 -4401 Santa Monica, CA 90401 Everything Audio 27 16 818/842 -4175 Telefax: 213-393-2381 F.I. R.S T 45 29 615/794 -3660 Fairlight Instruments US 40 22 212/219 -2656 NEW YORK, NY Fostex Corp. of America 11 9 213/921 -1112 Stan Kashine Industrial Strength 212 -702 -3401 Industries 30 -31 17 800/537-5199 29th Floor JBL Professional IBC 2 866 Third Ave. Jensen Transformers 95 55 213/876 -0059 New York, NY 10022 Telefax: 212 -702 -7802 Kaba Research & Development .. 77 43 800 /231 -TAPE Klark -Teknik Electronics, Inc. 1 4 516/249 -3660 OXFORD, ENGLAND Kurzweil Music Systems, Inc 55 33 617/893-5900 Nicholas McGeachin Leitch Video of America, Inc 57 42 416/445 -9640 Roseleigh House Magnetic Reference Laboratory, New Street Inc 90 45 415/965 -8187 Deddington, Oxford Markertek Video Supply 95 56 800/522 -2025 0X5 45P England The Nashville Hotline 47 27 615/255 -0011 Telefax: (0869) 38040 38794 The Nashville Network 47 26 615/889 -6840 Telephone: (0869) Telex: 837469 BES G Neve, Inc. 38 21 615/329-9584 Panasonic (Ramsa Div.) 64-65 38 714/895 -7278 FREWVILLE, SOUTH Polyline Corp. 71 40 312/298 -5300 AUSTRALIA Pro Sound 89 49 213/770 -2330 John Williamson Pulizzi Engineering, Inc 71 41 714/540 -4229 Hastwell, Williamson, Rep. QSC Audio Products 25 15 714/645 -2540 Pry. Ltd. Ram Broadcast Systems, Inc. ...58 34 312/358 -3330 109 Conyngham Street Rane Corporation 17 12 206/774-7309 Frewville 5063 South Australia Saki Magnetics, Inc 62 36 818/880 -4054 Phone: 799 -522 34 212/315 -1111 Solid State Logic Telefax: 08 79 9735 Sony Broadcast Products Co. ...13 10 800 /635 -SONY Telex: AA87113 HANDM Sound Emporium 43 24 615/383 -1982 Soundcraft USA 5 818/893-4351 TOKYO, JAPAN Soundshop 45 30 615/244 -4149 Mashy Yoshikawa Spotland Productions 46 28 615/385 -2957 Orient Echo, Inc. Standard Tape Laboratory, Inc. ..95 53 415/786 -3546 1101 Grand Maison Studer Revox/America 48,BC 31,3 615/254 -5651 Shimomiyabi-Cho, 2-18 Shinjuku -ku, Tokyo 162, Japan Switchcraft 23 14 Telephone: 03- 235 -5961 TASCAM Div./Teac Corp. 7 7 213/726 -0303 Telex: J -33376 MYORIENT Technical Audio Devices 19 13 213/420 -5700 Telex Communications, Inc. 15 11 612/887 -5531 Woodland Studios 44 25 615/227 -5027 Yamaha Intl. Corp. 3 5

~~96 Recording Engineer/Producer August 1988 www.americanradiohistory.com QUALITY~~

~~the process begins here...~~

~~, 111:saer ping,~~

~~. s^fe5" c.. conception 1:5;100_09" -A.V er5 our customers .141- needs and delivering the 16. y have come to expect. lt is crfj.f,,:SS " eg and giving them the resources to t> ,"~~

~~Circle (3) on Rapid Facts Card www.americanradiohistory.com~~