Recording-1989-01.Pdf

"I AM ALWAYS DOUBTFUL, AT FIRST, OF NEW MICS, BUT THE 308/408 N /DYM`' SERIES OF EV MICS HAS PROVEN ITSELF TO ME. THE MICS SOUND GREAT AND CAN BE POSITIONED AROUND EVEN THE MOST COMPLEX DRUM KITS. EV'S GOT A WINNER. THEY'VE COMBINED HIGH QUALITY WITH RUGGEDNESS AND AFFORD- ABILITY. WE LOVE THEM."

Neil Stadtmiller /Sound Engineer SNRO GY

There aren't many jazz groups that carry the innovative reputation of Spyro Gyra. Maintaining that tradition takes great equipment as well as great music. That's why Neil Stadtmiller chose N /DYM microphones from Electro- Voice. The 308's and 408's effort- lessly reproduce the crisp high end of a snare drum or cymbal, as well as the floor -shaking reverbera- tions of a bass drum or tom tom. Neil stands by them. You will, too. For more information call or write Electro-Voice, Inc., 600 Cecil Street. Buchanan, MI 49107, (616) 695 -6831. In Canada: Electro -Voice Division, 345 Herbert Street, Gananoque, Ontario K7G2V1 (613) 382 -2141.

Elecfrol/oice

o MARK IV company ilr

Circle (1) on Rapid Facts Card www.americanradiohistory.com imagination.

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Circle (4) on Rapid Facts Card

www.americanradiohistory.com CONTENTS

Live Sound Departments Reinforcement Editorial 4 Electronically Controlled Letters 6 Speaker Systems News 8 -10 A look at the assets and liabilities of in- Managing MIDI 12 tegrated controller /speaker systems. SPARS On -Line 14 By David Scheirman 22 Understanding Computers 16 -18 For Your Information 21 Remote Recording: Chet Atkins Studio Update 65 -67 HBO /Cinemax "Sessions Series" The Cutting Edge 68 -69 Remote music recording for television New Products 71 -78 This presents some unique challenges. Classified 79 "Session Series" demanded a particular- Advertisers' Index 80 ly high level of audio quality. Engineer /Producer Index By Johnny Rosen 40 Reply Form 81 Tracks Reply Form 83 NOTE: TOP DECK OMITS 2 -INCH WEDGES AT REAR. Rapid Facts Cards 85 New Subscriber and Address Change Cards 87

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0.75 INCHESl20mm Coping with Wireless Microphone BALUM Systems Help is here for those who need to overcome wireless system difficulties. By Bill Mayhew 51 BOTTOM DECK STAGE WING 2 INCHES /50mm Where Have All the On the Cover Sprockets Gone? Iron Maiden headlines a As alternative methods heavy metal festival, Building the Biggest PA in the Galaxy of sound editing be- featuring a Turbosound- The biggest single- source PA system ever come accepted, more based system, said to be constructed, rated in excess of 500kW, has and more production the biggest single - won an entry in this year's Guinness companies are starting al...... source PA ever con- Book of Records. to integrate tape and structed. By Ben Duncan 46 electronic editing with Ì that of 35mm mag strip film. By Scott Gershin... 58

Sockhops to Woodstock: An Interview with Bill Hanley Volume 20, No. 1 Bill Hanley, a pioneer in the field of large scale sound reinforcement, including RECORDING ENGINEER /PRODUCER (ISSN 0034-1673) is published monthly for $24 to qualified readers, $30 to non - systems for the Beatles, the Filmore and qualified readers per year by Intertec Publishing Corporation, Woodstock, reflects on the early days of 9221 Quivira Road, Overland Park, KS 66215. Second -class postage paid at Shawnee Mission, KS and additional mailing rock and roll. offices. POSTMASTER: Send address changes to Recording By Barry McKinnon 61 Engineer/Producer, P.O. Box 12960, Overland Park, KS 66212.

2 Recording Engineer/Producer Jan uary 1989 www.americanradiohistory.com Artists' expectations, engineering limitations, and other myths of digital recording.

Igltal. The word itself conjures : may be the single most important to 8 tracks of data and still record up visions of a totally perfect : purchase you will ever make in your and play all 32 channels! So, if you recording process where anything is : business? Simple. It will solve prob- were to lay a cigarette down ... no. : possible. lems for you that no no, just kidding! : Nothing could be other system can solve. But there's a down side to digi- further from the truth. It can cut hours from tal, too. For one thing, there's no For example, if you session times. And it can friendly tape noise to cover up mis- treat your digital tape make your life as a takes, or to add that mysterious : as we've shown below professional magnitudes "something" to the mix. And the : you'll likely end up with easier and more reward- initial cost for a digital machine can : exactly what you'd ex- ing. Here's how. be scary. : pect. Useless tape. Just imagine a So what's the final mix, or the And how about session where after only bottomm line, if yyou p refer? The cost is : sound, that nebulous, a few takes you can send high, and even though the Otani very subjective quality the talent home. You got DTR -900B is a powerful client draw. that is, for each one of The DTR-9008 new Locator /Remote their best when they it's important to consider your return featurrsimprovedhardwareand us, the raison d'être? software that make fhe machine were fresh, and now you on investment.

After all, even though faster and easier In operat . can do your best when But then. a great sounding we build what we believe you're fresh, and ere- record is hard to put a price on. - to be the world's finest digital ma- alive. You use the DTR- 900B's ses- isn't it? : chine. the new 32 -track DTR -900B. : sion controller to electronically It's your decision. but we can some audio engineers would stack assemble the final master from the help. After all. Otani can offer you our analog multi -track machines up tracks with no- that's zero -sound the best in digital, and the best in against it in terms of sound quality degradation. (As one studio owner analog. Call Otani at (800) 338 -6077 any day. put it. "Often a record becomes what X900. for more information. (And if So why did we build the digital analog makes it -not so with digi- you own a DTR -900, ask us about DTR -900, and then follow it up with tal.") And no matter how intense the how the new features on the "B" can significant new features and im- mix -down, the PD format with its be added to your machine.) provements in the second generation powerful Reed -Solomon error correc- DTR -900B? And why do we believe it tion scheme means you could lose up ODGETI. immikagna The world standard Professional Digital (PD) format employs Reed -Solomon coding. mechanical dis- 11Imm persion. and cyclical redundancy in a virtually foolproof error correction scheme for data loss recovery. Circle (5) on Rapid Facts Card

www.americanradiohistory.com EDITORIAL

short- and long-term damage. involved would be through manufacturing We Are Too Loud! To my knowledge, no long -term scien- restrictions. That is, manufacturers may be tific studies have been done to examine forced to limit future developments in the effects of exposure to the high SPL power handling. It would be pretty levels that are prevalent in the professional cumbersome to configure a 50kW system audio industry. Experts in acoustics and with 250W amps. You're probably think- medicine can only speculate that con- ing, "They would never limit us to only tinuous exposure to high -power sound 250W amps :' Oh, wouldn't they? Take a systems will indeed cause detrimental ef- look at what the FCC did when they For the last 30 years or so, sound fects. Certainly, in heavy construction and allocated a new group of frequencies for systems have steadily increased their with airport ground crews, the conclusive the wireless mic guys! [See "Coping with capacity to deliver higher sound pressure evidence is that hearing impairment does Wireless Microphone Systems" on page levels. This evolution has continued to the occur after exposure to these industrial 52.] point that today SPLs are reaching 130dB noises. Just because music is usually less What, then, is the solution? The answer at the stage, 110dB in the audience and random than industrial noise does not is self -regulation. Stop and think -there is similar levels in control rooms. These are mean that it is any less dangerous. a real chance that OSHA or some other not peak levels, they are continuous pro- Over the years we have conditioned au- regulatory agency will step in and place gram levels. It is, no doubt, an impressive diences to expect, demand or maybe even restraints on the concert sound industry display of power and technology that crave more level. Is this the "bigger is bet- to control the levels. allows this much sound pressure to be ter" syndrome all over again? Where does Self -regulation is really quite simple. It delivered in a reasonably clean and unit all stop? If, indeed, we have slowly con- starts with an acceptance and understand- distorted manner. ditioned audiences to want louder con- ing of the problem. Of course, if you don't At issue here is not the system's capaci- certs, is it not possible slowly to condition think a problem (or potential problem) ex- ty to reproduce crushing levels, but one audiences, and ourselves, to want a little ists, maybe a hearing test is in order. Next, of responsibility. Who is in charge of the less painful -more listenable- levels in the get an SPL meter and check the levels at awesome program levels that accompany future? the stage, at the mix position and at many live concerts? Is it the house -sound Another factor that works into this en- various locations within the intended engineer, the artists, the promoters or tire equation is that a very low-distortion coverage area. Don't stop yet. Now go maybe even the artist's management? I program signal of 110dB SPL can be beyond the intended seating area 100 suggest that ultimately the house mixers tolerated for longer periods, with less ear yards, a quarter mile, even a mile in all have the control -it's at their finger tips. fatigue, than a highly distorted one. A directions. Plot the energy dispersion corn- Therefore, the health and well being of distorted 110dB program signal may con- ing from the PA. From this information, every person in the venue become an add- tain distortion peaks well into the not only will you be able to monitor the ed responsibility to consider. threshold of pain. 130dB of pristine sound levels at the mix position continuously, but We've all got a thrill from turning up the is not necessarily any less damaging, it is you'll also be able to do a reasonably good volume and immersing ourselves in the just more listenable. The acoustic - job of predicting the levels elsewhere. sound of our favorite act. But, we have concussion lows and the dental -drill highs Redesigned coverage patterns can also reached the point that we can now do still exist. help to concentrate higher levels serious, permanent, physical damage to I wrote this editorial to draw attention throughout the intended listening area ourselves and others. [See AES Journal, to the fact that something has to done to without having all the SPL coming from September 1988, Volume 36, Na 9, pp. temper the enthusiasm of house engineers the stage. Because of the inverse square 686 -691.] Some of the larger touring who operate systems that can actually law (attenuation of SPL vs. distance from systems are capable of sustained levels at harm us. If our industry cannot recognize loudspeaker or sound source), levels at the or near the threshold of discomfort this as an emerging issue, then we may stage are often pushed to the threshold of (120dB +). be faced with some unacceptable pain. This is necessary to deliver 100dB There are a few well -established alternatives. to 110dB levels only a few meters away. guidelines for evaluating loudness. The One solution, which no one wants to Maybe it makes sense to find ways of Fletcher- Munson or equal loudness curves think about, is government intervention. distributing the sound more evenly are familiar to most. They show that It's already happening in the U.K. The U.S. throughout the audience in order to main- average human hearing is flattest at 80dB government is imposing restrictions on the tain a lower, but more consistent, SPL? to 90dB SPL. This is useful because it tells levels that can be generated -at outdoor If you have specific examples or ex- us that, at these levels, the sound system concerts in particular. Individual states, periences of government interference of requires less EQ to deliver equal power cities and municipalities have considered this type, please write and share them across a given bandwith. Another familiar or are considering restrictions on noise with us. There's nothing like first -hand ex- table show us that the threshold of pain pollution that fall under OSHA's umbrella perience to convince the skeptics that this is 140dB SPL, and that the range between of health and safety standards. Using this is a real threat to the live sound industry 120dB and 140dB represents the sensation scenario, a regulatory agent will be look- today-and possibly the studio tomorrow. of feeling -the level at which sound waves ing over your shoulder, monitoring the RE/P physically move our bodies. In this region, sound levels and personally controlling the which many systems seem to be reaching output. Michael Fay and sustaining, the potential exists for Another way the government could get Editor

4 Recording Engineer /Producer January 1989

www.americanradiohistory.com AUDIO MEDIA RESEARCHT^^ A DIVISION OF PEAVEY ELECTRONICS CORPORATION 711 A Street /Meridian, MS 39302 -2898 ( 631 )483 -5372 /Telex:504115 /Fax: 48' -4278

Circle (6) on Rapid Facts Card

www.americanradiohistory.com LETTERS

Phase shift experience phase, and Don Davis told me that I didn't wave audio generators and set one to know what I was talking about and to 1,000Hz and one to 2,001Hz. If you put From: J. Russell Lemon, Carlsbad, CA. reverse my speaker terminals and listen one frequency into one ear and the other to the difference. I did and found that with frequency in to the other ear, no beats are Last week, I received my first copy of certain types of music, at a sufficient heard. But listening to both at the same RE /P, and the letters on phase shift playback level, that there was a difference. time produces beats. If the ear was not brought back many memories of the To further experiment, I connected my sensitive to the phase between a fun - studies I did on that subject in 1974 and headphones to my computer and pro- damental and its "second harmonic;' you 1975. The interesting thing is that there grammed several waveforms. As expected, would not hear beats. is some truth in both sides of the symmetrical waveforms and their inverse After these experiments, I realized that argument. sound the same. But a waveform with a my first tests lost their validity because of In the early 1970s, I had access to a large positive pulse is brighter than its in- the 8th order elliptic filters used on input digital audio system that was developed verse. Similarly, music from a solo instru- and output. These filters had a rolloff of for the purpose of testing real -time, digital ment with a large unidirectional impulse more than 500dB per octave and a large signal processing techniques (software). In- is also the most sensitive to 180- degree resulting relative phase shift. In other put was a digitally recorded source, and phase shift. That is, human voice, brass words, the test differential phase shift did output could be recorded or monitored and, of course, percussion sound brighter not significantly change the peak to RMS through a speaker. A high -speed computer when the leading impulse is positive ratio of the already scrambled signal. that could create any amplitude and phase (speaker moves out) as it is originally Before digital, commercial devices to add characteristic desired (within the limita- created. second harmonics to a mix were popular, tions of the FFT used for the complex con- With a negative impulse, the edge is to add the edge back into the music when volution), was used for the tests. gone and the sound becomes dull. The ef- recorded on systems that lost phase The results of those tests indicated that fect is level- dependent and obvious at information. the ear was relatively insensitive to phase, levels above 90dBA. The effect is masked Perhaps the best way to summarize the and that hundreds of degrees of phase if any component in the audio chain above observations is to say that the ear shift in mid -band (500Hz to 2,000Hz) were scrambles the phase. If the monitor system may be unable to sense phase, but it is required to be heard. Similar results were is phase linear, a microphone at the listen- sure sensitive to the phase relationships reported 12 years later by J.A. Deer and ing position will show a large positive im- between tones and that this sensitivity is P.J. Bloom in AES preprint 2197, called pulse when human voice, brass or percus- level-dependent. But then, this can be said "New Results for Perception of Phase sion are reproduced and the microphone of any other non -linear device. Distortion," which was presented in March output is displayed on an oscilloscope. If REip 1985 at the 77th AES Convention in Ham- headphones are used, the oscilloscope will burg, West Germany. also show the same large positive peak at Many years later, I made the comment the phone jack. that the ear was relatively insensitive to An interesting test is to use two sine

EDITORIAL CONSULTING EDITORS SUBSCRIPTIONS

Michael Fay, Editor Jeff Burger, Computers Qualified: Frederick J. Ampel, Editorial Director Paul D. Lehrman, Electronic Music United States (Domestic Only) 824.00 Dan Torchia, Staff Editor John Monforte, Technical Consultant Foreign $45.00 Tom Cook, Senior Managing Editor David Scheirman, Live Performance Non-qualified: Linda Stuckey, Associate Editor United States (Domestic Only) $30.00 Pamela S. Fleener, Editorial Assistant RECORDING ENGINEER /PRODUCER is edited to relate Foreign $60.00 Pat Blanton, Directory Issues Editor recording science to recording art to recording equipment, Optional airmail for non -qualified readers is also available for as these subjects, and their relationship to one another, may an additional $55.00 per year. Foreign subscriptions are ART be of value and interest to those working in the field of com- payable in U.S. funds only by bank check or money order. Ad- mercially marketable recordings and live audio presentation. justments necessitated by subscription termination at single Alecia Wright, Graphic Designer The editorial content includes: descriptions of sound record- copy rate. ing techniques, uses of sound recording equipment, audio en- Recording Engineer /Producer is not responsible for any BUSINESS vironment design, audio equipment maintenance, new claim by any person based on the publication by Recording products. Engineer /Producer of material submitted for publication. 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 Cynthia Baker, Marketing Coordinator libraries and others registered with Copyright Clearance Laurel Cash, Executive Consultant Advertising and Subscription: Center (CCC), provided the base fee of $2.00 per copy of arti- Dee Unger, Advertising Business Manager 9221 Quivira cle is paid directly to CCC, 21 Congress St., Salem, MA 01970. Tami Bartocci, Advertising Coordinator Overland Park, KS 66215 Special requests should be addressed to Cameron Bishop, Sales offices: See Advertisers' Index. 913-888-4664 group vice president. Telex: Intertec OLPK ISSN 0034 -1673 $4.00 + $0.00. 42:4156 AES ADMINISTRATION Fax: 913 -541 -6697 Member, Business VBPA R.J. Hancock, President Editorial: Publications Audit of Chuck Rash, Corporate Circulation Director Suite C Circulation eINTERTEC Jane .1. Powell, Circulation Director 8330 Allison Ave. pt.uajINa CORPORATION Jo Ann DeSmet, Circulation Fulfillment Manager La Mesa,CA 92041 Sustaining member of Acoustical Society of America Barbara Clare, Reader Correspondent 619-464-5577 Kevin Callahan, Creative Director Fax: 619.464 -2643 ©1989. All rights reserved.

6 Recording Engineer/Producer January 1989 www.americanradiohistory.com 1111110111111111111111111111111111111-

3 4

IF YOU WANT THE BEST PRODUCTION 16 TRACK, YOU'LL HAVE 10 SPEND A LITTLE LESS.

There's ro getting around it. No one beats the 60,16 on features. At any price. :heck it out. Two speeds without recal brating each time ycu switch. Pro - prie:ary head technology so accurate that final EQing decisions can De made right in syrc mode without rewind and repro verification. Gapiess/seamless punch in /out wit superio- transparency. And unlike otF-e- 16s, the 60/16 has bjiilt -in dbx professional Type -I. The compact, rugged 6C/16 also gives you ightninc fast lockup or use with syrchronizer, incredibly prec se spot erase, D -sub multi -connectors fcr faster setup with fewer cablesand, oh yes, brill ant sound.

There simply is no finer 16 track avail - abla Compa-e it with any other machine ou: there. Then compare :he price. If money is an ssue, you may have to settle for the best.

TASCAM z,1988 TEAC Corporation of America, 7733 Telegraph Road, Mc tebelb, CA 90640. ;13/726 -0303

Circle (7) on Ripld Facts Card

www.americanradiohistory.com NEWS

RE/P to debut new departments The lab will be used to evaluate com- warehouse and corporate offices to 13478 Beginning in the March issue, RE/P will petitive products as part of Ampex's Audit Beach Ave., Marina Del Ray, CA 90292; debut two new departments: the Program to obtain information about 213 -306 -4131; fax 213- 822 -2252. "Engineer /Producer Index" and "Tracks:' every format and brand of audio, video The "Engineer /Producer Index" is a and instrumentation tape. Digital Audio Research has moved its monthly listing of engineers /producers offices from the San Francisco area to and the commercially released projects Passport to support Hollywood. Lee Bartolomei has been pro- that they have worked on. It is open to NeXT system moted to regional sales manager. The engineers and producers involved in all Passport Designs has announced plans to company's new address is 6363 Sunset types of audio production. Listings will support Steve Job's NeXT computer Blvd., Suite 802, Hollywood, CA 90028; contain the engineer's name, address and system, which was unveiled in early Oc- 213 -466 -9151; fax 213- 466 -8793. phone number, the five most recent pro- tober and is said to be the first computer jects performed and codes classifying the capable of acting as an all -in -one music New England Digital has formed a new projects. workstation. dedicated sales and marketing group "Tracks" spotlights the studios and In addition to porting over the software within Harmon International, the Euro- facilities dealing in commercial production titles, the company will design new ap- pean NED distributor. The group is intend- and post -production, the two fastest - plications that take advantage of the ed to enhance the company's European growing business categories in the in- NeXT's multitasking and digital signal pro- market position as the continent moves dustry. Listings will contain the facility's cessing capabilities. to a unified marketplace in 1992. Mark name, the five most recent projects that The NeXT computer is capable of Terry, NED's director of marketing, will occurred at the facility, and the engineers generating a stereo digital audio signal at lead the group. who worked on the projects. the standard 44.1kHz playback rate. Also Beginning in this issue, postage -paid re- included is a built -in coprocessor, a digital MCA Records has purchased two Sonic ply cards for the "Engineer /Producer In- signal processor and a Motorola 6830 Systems with NoNOISE software from dex" and "Tracks" will appear in the back microprocessor running at 25MHz. Sonic Solutions, for use in mastering vin- of the issue. To be included in the depart- tage recordings for CD reissue. ments, respondents should fill out the Aurora Systems files petition cards and return them to RE/P. Aurora Systems has filed a voluntary peti- Imrex Financial Services, a financial tion in the U.S. Court in San Francisco, and services company geared toward the film, EV expands a plan of reorganization that provided in- video, broadcast and audio industries, has engineering facility terim financing, settlement of all outstan- opened a California office located at 5777 Electro -Voice has relocated its engineer- ding claims, warrants to purchase shares W. Century Blvd., Suite 265, Los Angeles, ing department to a new 28,000-square- in Chyron and acquisition of 100% of the CA 90045; 213 -670 -1009. foot building, providing working facilities new Aurora capital stock by Chyron. for more than 50 EV engineers, technical These events were the results of several At the AES convention, BASF honored assistants and support staff. A large pro- months of negotiations with Chyron, in two companies with its annual Inventors totype fabrication, assembly and testing which Aurora was unable to secure Award, given to companies deemed most area is located at the facility, which in- shareholder approval of offers by Chyron instrumental in enhancing the quality, cludes a metal shop a wood shop, and a to purchase a majority equity position in distribution and sale of music cassettes. listening room. The building is about four Aurora. This incorporation of Aurora into Receiving the award were Concept blocks from EV's parent facility in Chyron will provide the former with the Design, Burlington, NC, and WEA Buchanan, MI. necessary financial, technical and Manufacturing, Olyphant, WA. Alan Watson, EV's director of engineer- marketing opportunities to profitably ex- ing, said the facility would allow the com- ploit the opportunities open in the TV in- Neve has signed a contract with Full Sail pany to expand its facilities and develop dustry, as well as to market their newly Center of the Recording Arts to teach ap- a greater number of products. developed products. plications on the V Series Console and the Flying Faders automation system. Ampex opens test facility News notes Ampex's Magnetic Tape Division has ROR Audio Research is a new company Soundmaster USA has opened a New opened its new test facility in Opelika, AL, that manufactures close -field monitors. York technical support office, located at near the corporation's processing plant. Recording engineer Shimon Ron is the 120 W. 88th St., New York, NY 10024; The $2 million, 9,600- square -foot test company president; the company's ad- 212 -787 -5832; fax 212 -787 -8888. On the center has eight separate labs for 1 -inch dress is 161 -14 Union Turnpike, Flushing, West Coast, the company has installed a video, cassette video, audio, instrumenta- NY 11366; 718-969 -3660. second Integrated Audio Editing System tion, plastics, physicals and microscopy. at ABC-TV in Hollywood. State -of- the -art recorders and signal Audio Animation has relocated to 210 W. generating /processing equipment will be Magnolia Ave., Knoxville, TN 37917; used to analyze tape performance for a 615 -544 -0458. Manny's Music has acquired Audiotech- wide variety of formats and user niques, a pro audio dealer based in New conditions. J.L. Cooper Electronics has moved its York.

8 Recording Engineer/Producer January 1989

www.americanradiohistory.com W E C A R E AGFA

But he likes what he hears on playback. The sharp, clear rhythms of the cymbal and snare, the clean, warm bottom end on the bass, and the quiet background during a "bluesy" solo. The producer and engineer assure him that the next take will sound just as

good, and the next, and the next . They're using AGFA. When performers want to capture their sound on tape, producers and engineers know that AGFA studio mastering tape is the best choice. AGFA magnetic tape - from research and development, through manufacturing, to delivery and service - we care!

Agfa Corp., 100 Challenger Road, Ridgefield Park, NJ 07660. Telephone (201) 440-2500

AUDIO VIDEO PROFESSIONAL Circle (8) on Rapid Facts Card AG FA

www.americanradiohistory.com NEWS

People Phillip A. Phelon has been named ex- As part of Lexicon's expansion of the Opus The Society of Professional Audio Record- ecutive vice president of Telex service network, Russell Bivens has ing Services (SPARS) has elected new of- Communications. been named field service engineer ficers and board directors for the manager. Chip Gould has been named 1988 -1989. The officers are Bruce Merley, Edward Allen "Al" Rogers has been field service engineer, operating out of Clinton Sound, New York, president; awarded Ampex's Excellence in Manufac- Lexicon's Los Angeles office. David Porter, Music Annex, San Fran- turing Award. He is the supervisor of in- cisco, first vice president; Dick Trump, strumentation product engineering at the Osamu Tamura has been named vice Triad Productions, regional vice presi- magnetic tape division's center in Opelika, president of Sony's professional audio dent /treasurer; and Dwight Cook, Cook AL. division. Sound and Picture Works, Houston, regional vice president /secretary. Other Kelly Hannig has been named product Linda Frank has been named general regional vice presidents are John Rosen, line specialist at Gentner Electronics. manager for Martin America, the U.S. Fanta Professional Services, Nashville; distributor of Martin Audio. Charles Benanty, Sound Works, New John St. John has been named president York; Howard Schwartz, Howard of 27th Dimension. Fran Bell has been Will Lewis has been named national sales Schwartz Recording, New York; promoted to vice president /secretary- manager for Symetrix. Charles Comelli, Capitol Records, Los treasurer. Angeles; Pete Caldwell, Doppler Recor- Aphex Systems has announced two ap- ding, Atlanta; Tom Kobayashi, Sprocket Terence O'Kelly has been named direc- pointments. Arnie Christensen has been Systems Division of Lucasfilm, San Rafael, tor of national sales of audio /video pro- named sales manager. Michael Stewart CA; and John Fry, Ardent Recording, fessional products at BASE. has joined the newly formed Systems Memphis, TN. Design Group, which will develop a varie - Joseph Kempler has been named ty of MIDI- oriented control devices. Russell Palmer has been named presi- technical director at Sunkyong. RE/P dent of Alesis Studio Electronics.

NAMM INTRODUCES AN EVOLUTIONARY NEW CONCEPT IN 2/3/4 CHANNEL AMP FLEXIBILITY

covn/o14COIt 300 X 4 2/314 CHANNEL MOSFET POWER AMPLIFIER

OUTPUT MODE C D C D

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The new model 300X4 MOSFET power watts per channel (two- channel) at 8 ohms, channel for the high frequency drivers. amplifier from Soundcraftsmen featured at or wishing to bi -amp their monitors -210 The 300X4 has two completely indepen- NAMM is a multi -channel design allowing watts per channel (four- channel) at 8 ohms. dent power supplies and two separate the user to select either two -channel, three - Or tri -amping using two of the 300X4's power transformers, sharing only a com- channel or four -channel operation. It is (each in the three -channel mode) to provide mon power cord. ideal for the large recording studio needing 600 watts per channel for woofers, 210 watts It is completely protected against short very high power for their monitors-600 per channel for mid -range and 210 watts per circuits, open circuits and input overloads.

2200 SO. RITCHEY, SANTA ANA, CA 92705 TELEPHONE: 714 -556 -6191 FAX: 714 -662 -0750 TELEX: 910- 595 -2524 Circle (9) on Rapid Facts Card 10 Recording Engineer/Producer January 1989 www.americanradiohistory.com 10 c;

E-4

www.americanradiohistory.com MANAGING MIDI

By Paul D. Lehrman

a tempo of 120 beats per minute, this musically significant times, interpolation Gotta Resolution results in a resolution of about 21ms, is that much more important: If a se- which is adequate for some music, but not quencer couldn't interpolate, the music nearly all. Some sequencers developed in would sound very strange indeed, locked the early days of MIDI did not resolve ex- up to quarter-frame messages that bear no ternally synced music any closer than this relationship to the actual tempo. because nobody really thought about it So, to my concerned reader, this (and the hardware sequencer on which message: relax. The walls of MIDI are not the reader first encountered the problem going to come tumbling down. Replace dated from this period). your old hardware sequencer with a By the time the first professional soft- newer one, and you'll find your arpeggios Ireceived an interesting and somewhat ware sequencers came out, however, intact. If you already have a newer se- distressing letter from a reader recently many developers realized that this could quencer, it may have selectable about a problem he was wrestling with be a serious limitation, and so they incor- resolution -make sure it's set as high as that seemed to have dire consequences for porated interpolation into their programs. you need it. all MIDI users. He had approached various Today, most sequencers use interpola- figures in the MIDI world with his problem tion- including one of the programs my and had yet to get a satisfactory response, reader said he had tried the experiment Another item that arrived recently in so he tried me. with. the mail is a little book that I can recom- It seems that he was having difficulty Interpolation means simply that the se- mend to anyone involved in computers is Electronic getting his hardware sequencer, when run- quencer maintains its high internal resolu- and music, and that "The ning from an external sync source, to tion, and uses incoming timing pulses Musician's Dictionary:' by Craig Anderton, by Music resolve events any closer together than merely as a reference for its own timing published Sales Corporation. Craig is one of the best -known writers in 1 /24th of a quarter note. Although the se- circuits. So even though the incoming the field of electronic musical instruments, quencer was capable of much higher MIDI clocks are only running at 24ppq, resolution when it was using its internal the sequencer's (or computer's) internal and is editor -in -chief of Electronic clock, when it was clocked externally, any timing circuits are still working at full Musician. notes that were supposed to be spread out speed. The dictionary is a handy volume containing brief, but informative, definitions over 1 /24th of a beat sounded Say, for example, a sequencer has a of just about any term you are likely to simultaneously -in other words, fast runs resolution of 240 "ticks" per quarter note encounter as you wade through the became groups of chords. (or 10 ticks per clock), and an event is sup- morass jargon that is electronic music. His letter said he had experimented posed to take place seven ticks after a of In definition is with various sequencers, both hardware beat. The sequencer will measure the time fact, one particularly apt of the word "jargon :' and includes the and software, and had come up with the interval between the previous MIDI clocks sentence, "Jargon is sometimes used to in- same results, and was therefore convinced (call it t), and then output the event at a This is not an that this was an inalterable fact of MIDI time equal to beat + tx7/10. timidate beginners :' electronics dictionary, and you won't find life -that because MIDI clock pulses are "Ah:' you say, "what happens when the definitions of Butterworth filters or half - 1 /24th of a quarter -note apart, no se- tempo is changing ?" Well, yes, there could wave rectifiers, but you will learn that quencer, no matter what its internal be a problem then, but it would be "boot" (as in "boot the computer ") is short resolution, could hope to do better than minimal. If the tempo of a sequence were "bootstrap loading'; and that "k" as an that when it was being synced externally. to speed up drastically, and there were for 1,000, This came as something of a shock to high -resolution events immediately follow- abbreviation usually means while me, as I've been using external sync for ing the tempo change, those events might "K" means 1,024! You'll also find precise very useful years, and never noticed my arpeggios well come out late. But the sequence itself and clumping up or my carefully "lagged" would not slow down (any events on or definitions of synthesis terms like "hard snare drum hits catching up with the beat. after the next clock pulse would be right sync" and "FM :' as well as the origin of like DIP DIN. (But If this reader's hypothesis were true, MIDI on the money), and so the effect would be acronyms DRAM and is really for "rat's nest "? music would be even more mechanical - a "bunching up" of events that would last "kluge German it is, It ain't in my German dictionary.) Best of sounding than already and whole por- only for 1 /24th of a beat or so (depending tions of the music industry -like electronic on how tight the interpolation algorithm all, Craig has described the book as one he intends to work on "the rest of my life :' film scoring -would probably not exist. is). upgrades as the field When using MIDI Time Code, the ap- with additions and develops and expands, and he invites proach is approximately the same, is true that MIDI clocks are sent at the readers to contribute their ideas. It's a It although it provides much finer resolution: rate of 24 per quarter note, and they are for a great idea. There are 120 quarter -frame messages per great start timing reference an externally the only second, which translates into about 8ms clocked sequencer has to work with. At RE/P per message. (For standard MIDI clocks to achieve this resolution, the tempo would have to be 300bpm.) Despite the increas- Paul Lehrman is RE/P's electronic music consulting editor and is a Boston -based producer, electronic musician and ed resolution, since MIDI Time Code tim- free -lance writer. ing messages don't normally fall on

12 Recording Engineer /Producer January 1989 www.americanradiohistory.com LABL RS

SCOTT PAGE ON QSC. "Powerful sounds and dynamic images are what make a live performance great. On world tours with Supertramp, Toto, and Pink Floyd there are no second chances on the bandstand.

I depend on my equipment to work every night."

QSC Power Amplifiers... as reliable as the players who use them.

U D I O

QSC Audio Products, Inc. 1926 Placentia Ave., Costa Mesa, CA 92627 714-645 -2540 Circle (11) on Rapid Facts Card

www.americanradiohistory.com SPARS ON -LINE

By Richard Trump

is best for them. A wrong move could Exploring Sound Do you have the knowledge and ex- seriously damage your overall reputation. perience necessary to tackle a sound rein- Are you desperate? You just had a ma- forcement job? Even if you know studio jor session cancel, the equipment payment Reinforcement of a acoustics quite well, the demands is due next week and a client wants to rent reverberant hall, noisy night club, outdoor a playback system. Saving your own hide Opportunities setting or large arena offer considerably may be reason enough to cross over into different challenges. Instead of facing the a new business. Just remember that the ex- studio problems of proper imaging, precedent is likely to create more requests the tending bass response or providing and will make refusals more difficult in the right outboard gear, you will need to deal future. with speech intelligibility, loudspeaker driver alignment, coverage and acoustic Annually, we provide the on -air mix for gain. a two -site, 21 -hour regional Variety Club sound Designing and installing a good telethon. It is necessary to supply house is an increasingly complex process. There is a tendency among the general system and stage mixes at both sites. At one public to see the audio industry as a venue, the room is small enough for us to whole, without fully understanding the handle all audio. At the larger facility, we specialty fields that we, as professionals, Sometimes, because of understand our limitations and subcon- have chosen to pursue. It's not unusual for market size or the lack of tract reinforcement mixing and someone on a church board to equate resources, you may reproduction. your recording business with being able other We keep a couple of small presentation to solve the audio problems of a highly be the only person for the playback systems available for client reverberant sanctuary. Or, a friend with job. demos. The equipment requirements for a bar might expect you to be able to solve the playback of tapes in a typical board- his sound system problems. Perhaps your room setting are similar to those found in best ad agency client has a presentation Increased industry knowledge, not a production studio. Since we often have to make and wants to rent the speakers changes in the laws of physics, has made future work at stake, it is appropriate that from your studio. Sometimes I feel like a system performance more predictable. we provide a system that properly displays doctor whose friends are always mention- Make sure that you have the knowledge our product. ing their mysterious aches and pains. necessary to meet the needs of your When confronted with such queries, the customer. most obvious and wisest response should Do you have the appropriate equip- Saving your own hide may be, "Sorry, can't help you. That's beyond ment? One reason that system perform- be reason enough to cross my expertise:' Unknown territory is best ance has become more predictable is the left unknown. On the other hand, such in- availability of new tools to measure and over into a new business. analyze the difference between "adequate" and "excellent." These tools are If a more qualified generally not part of a recording studio's My company certainly doesn't profess to organization is available, facilities, so your results are left to be fill the role of expert that some people judged subjectively. If the results are tru- assume we hold in our market, but we let that company handle ly good, you are probably safe, but when have found a niche that encourages us to the job. they are not, corrective measures can be continue expanding. Since our reputation difficult to prescribe. is always at stake, we refer more sound Do you have something special to offer? reinforcement work than we accept. We quiries usually trigger a different response: You may have unique equipment or also have learned the benefits of col- "Sure, let's give it a try:' There's nothing special qualifications for a particular job. laborating with other professionals when might like the temptation of extra cash to shift If a system's primary function is in your it is called for. A general guideline the direction of a business. Somewhere in area of expertise, you have good reason be: If a more qualified organization is available, let that company handle the job. between lies the indecision -"Gee, I hadn't to be involved. For example, a sound rein- really thought of doing that before. Let me forcement project may have some inciden- If not, be aware of your limitations, and think about it:' tal need for recording. consider carefully whether you are Having given all three responses in the Are you an "expert" by default? capable of satisfying the customer's needs. Then, proceed with cautious enthusiasm. past, I intend here to relate some Sometimes, because of market size or the background and reasoning that has lack of other resources, you may be the RE/P worked well for the long -range goals of only person for the job. If you are a my business. courageous soul and really can't think of someone better suited for the task, you may be the best person for the job. But Richard Trump is regional vice president/treasurer of SPARS and president of Triad Productions, Des Moines, IA. always weigh the customer's options carefully and try to make the decision that

14 Recording Engineer /Producer January 1989 www.americanradiohistory.com It's a iot easier to be done than to be satisfie

.bu've been there - locked in the battle between perfection and reality. There's always one more thing you'd like to try. And the last thing you need to worry about is the tape. So choose ours. Because, in our products and service, 3M is committed to one goal: We won't be satisfied until youai are. Circle (12) on Rapid Facts Card

www.americanradiohistory.com UNDERSTANDING COMPUTERS

By Jeff Burger

talking computers are a reality now. But the rap for inferior Computers often take two things have slowed the progress in A New Year's the hard- software designs. In other words, getting these features to the consumer: the has very little personality of its Resolution ware evolution of artificial intelligence and the own -the programs we feed them provide price of hardware. The technology for ar- the majority 'of the human interface tificial intelligence has come a long way dislike. A characteristics that we like or but still has quite a way to go. For scien- may make you bad sequencing package tists to understand it completely is to hate a given computer, while a good one understand the human brain completely. might turn you into a silicon evangelist! However, significant progress has been This is part of the GIGO principal - made in recent years, enough so that we'll Garbage In, Garbage Out. Humans still soon be seeing the practical reality of a Welcome to 1989! As Father Time takes determine the way computers respond. voice interface. Some programs are us from one chapter of history to another, And, yes, computers do force you to be already becoming pretty good at inter- at this time of year, we often make New accurate and somewhat detail- oriented- preting commands typed in plain English Year's resolutions. This year, I'd like to sug- which is another possible reason why peo- as opposed to verbatim commands. gest to those of you who haven't already: ple still avoid them. With hardware prices, RAM is the big Resolve to abolish your computerphobia. Catch-22. Chances are that the more I am constantly amazed at the number sophisticated a program is, the larger it is. of people who say, "I don't understand studio, That means more memory. For years, the computers;' and are seemingly content In a recording cost -to- function ratio has been plum- with that disclaimer as a justification for you're already dealing meting to offer about twice the memory not dealing with them. You don't have to with computers every day. for half the price of the previous year. The understand how cars operate to drive, nor Most of today's equipment catch is that programmers keep writing do you have to comprehend the inner larger, more sophisticated programs, thus complexities of a microwave oven to make incorporates some type of requiring more memory. My first com- a hot meal. They are just tools with little computer. puter (in 1980) was an Apple Il with 48K information overhead or learning curve of RAM. I thought I was going "big time" is to get the desired result; the caveat when I expanded to 64K. Today, having simply that the more you know about only 1Mbyte of RAM cramps many peo- these tools, the more you can coax out of Another way that manufacturers try to ple's style! them. overcome resistance to computers is The result is that entry -level computer Like the other aforementioned tools, to through development of improved inter- prices are still decreasing, while the be productive with a computer really face methods. As an example, the overall sophisticated "memory hogs" are remain- doesn't require that much agonizing. John subject of an evolved human interface is ing at about the same price -but gaining F. Kennedy's historic statement, "The only currently being addressed by both the sophistication. The memory required for thing we have to fear is fear itself;' is a hardware and software communities. In- artificial intelligence and speech syn- very valid concept when applied to terface options have already been thesis /recognition is formidable, but corn- computers. developed to allow the handicapped to use ing into monetary reach. When this is Why are people so fearful of them? computers. Hardware has been designed finally accomplished, one of the last fron- Perhaps because they see so much poten- to allow artists to draw with the computer tiers will be a brain -to- computer interface; tial power that the misconception of com- and for musicians to enter music with their we'll just have to think about a task and plexity is perpetuated. Perhaps it's because native instruments. it will be performed. And that doesn't ap- of horror stories that still linger from the As for generic human interfacing, the pear all that far off! primordial days of personal computing. mouse -driven point- and -click approach, Computers are not incomprehensible within a graphics- oriented on- screen en- alien creatures -they are incredible vironment, has taken over in most of the machines. We shouldn't lose sight of the personal computers on the market. Even fact that computers are also the product Big Blue (IBM) has gravitated this way. The If you are still a computerphobic, the of human minds. Further, human minds main reason for this shift seems to be that point of all this is two-fold: First, we all are continually working to reshape hard- it is a much more intuitive way of inter- have a fear of the unknown that is often ware and software to do our bidding with facing with the computer. Another reason easily conquered by familiarity. the least amount of effort. As an exten- is that the ability to type well has become Remember taking your first driving sion of the human mind, computers work less of a distinguishing factor in how com- lesson...how awkward and scared you in very logical ways. With each successive fortable we feel with computers. were backing out of your parents' generation, they are evolving to operate Simultaneously, the need to remember ar- driveway for the first time. Driving quick- in much the same way that our brains cane commands and syntaxes has ly became second nature -the same is allegedly function. lessened greatly with this popular true of computers. Second, the computer interface. of today is not the computer of 10 or even

Jeff Burger is RE/P's computer consulting editor and is presi- As always, the future is right around the five years ago. Hardware and software dent of Creative Technologies in Los Angeles. corner. As an example, speech input and developers have had to make their prod-

16 Recording Engineer/Producer January 1989 www.americanradiohistory.com 90 ways to depart fromthestr t and narrow

YAMAHA 4-PEQ , 6-NOTCH L BANN. = W@ Hz

Prepare to expand your hori- Since we're on the subject of out- zons. With the Yamaha DEQ7, the put, it's equally important to mention completely digital equalizer. With that, in the opinion of many critical not one but 30 different EQ and users, the DEQ7 produces an open, filter configurations, in stereo. natural -sounding EQ. Which means To be specific, it has 11 graphic that you can create extreme EQ EQs, four parametric, three tone settings without creating extreme configurations, five band pass /band anxiety. reject filters, six dynamic filters The Yamaha DEQ7 Digital and one multi -notch filter configu- Equalizer. ration, plus up to 738 ms of delay It'll throw you a few new curves. per channel. Catch one at your nearby Yamaha But, in theYamaha tradition of Professional Audio dealer. never leaving well enough alone, we Yamaha Music Corporation, Pro- did some expanding of our own. fessional Audio Division, P.O. Box Like memory. The DEQ7 has 6600, Buena Park, CA 90622. In sixty user -programmable memory Canada, Yamaha Canada Music Ltd., locations, so you can store and title 135 Milner Avenue, Scarborough, your favorite curves, and recall them Ontario M1S 3R1. any time manually or via MIDI. There are digital I /Os for direct connection to other digital components, as well YAMAHA as analog inputs and outputs. Engineering Imagination'" Circle (13) on Rapid Facts Card

www.americanradiohistory.com ucts more friendly, intuitive, reliable and cost -effective to reach the broadest possible market. When this column first started, I brought out a point that merits repeating. If you GOOD work in a recording studio, you're already dealing with computers every day. Most of today's consoles, tape decks, signal LISTENERS. processors and instruments have some If you're fanatical about the quality of ing arrangements, and scale lengths, too. type of computer incorporated in the your audio recording or reproduction, let How pleasant that these outstanding heart of the machine, if they aren't actual- Selco's superb VU Meters, PPM Indicators, instruments are priced as low as 36.88 ly full- fledged computers. Trident's Di-An and Audio Level Meters listen in. each in OEM quantities. console and the Emulator Ill, to mention No mistake, Selco's VU's and PPM's And if you have slightly less demand- just two, are really computers with are truly professional instruments. VU ing applications, Selco's reliable, well made specialized interfaces and additional hard- Meters meet the full requirements of Audio Level Meters may be your answer. ware. The Casio Data Bank on your wrist American National Standard ANS C16.5-1954. Same quality taut band meter movement, is a computer. Your programmable VCR PPM Indicators conform to specification BS similar handsome cases and scales. But and microwave...well, you get the picture. 4297:1968, with models available meeting prices as low as 15.50 each in quantity. European and BBC specs. Request Selco's full color - Several different styles in brochure on the entire line. The mouse- driven point each type of meter gives you Or give us a can. We're good and -click approach has a wide choice of sizes, mount- listeners, too. taken over as a more in- PRODUCTS CO. 7580 Stage Rd. Buena Park, CA 90621 Phone [2131921 -0681, [800) 25 -SELCO Telex 655457. tuitive way of interfacing with computers. Circle (14) on Rapid Facts Card

Computer technology is giving us the ability to tap instantly into the entire wealth of man's accumulated knowledge. CD -ROM and on -line databases allow us to access encyclopedias, dictionaries, reference materials and, indeed, entire specialized libraries that contain stagger- ing amounts of information. Modern audio and video technologies have blurred, resembling computer technology more and more with each day. The computer has become teacher, enter- tainer, business partner, muse, artist and much more. An emerging technology, of special interest to many people, is interactive education with the computer providing audio -visual tutorials tailored to each user. With the wealth of information available and the almost limitless learning capabilities of the human brain, this technology is pushing us head -over -heels into our future, whether we like it or not. If you still have a touch of unfounded computer fear, stay tuned to this column -it was developed to help demystify computer terminology and technology. Next month, we'll return to LEARN THE ART OF RECORDING our discussion of telecommunications. LEARN CREATIVE RECORDING SKILLS ON THE LATEST EQUIPMENT AT THE LEADING SCHOOL FOR SOUND ENGINEERS, PRODUCERS AND STUDIO MUSICIANS. WITH OR WITHOUT PREVIOUS EXPERIENCE, IF YOU'RE SERIOUS ABOUT A CAREER IN RECORDING, OUR 'HANDS -ON' TRAINING PROGRAMS CAN GET YOU STARTED AND PUT YOU AHEAD. FOR FREE BROCHURE, PLEASE CALL OR WRITE TODAY. THE THE RECORDING WORKSHOP RECORDING 455 -Y MASSIEVILLE ROAD, CHILLICOTHE, OHIO 45601 WORKSHOP (800) 848 -9900 (614) 663 -2544 OHIO STATE BOARD OF SCHOOL AND COLLEGE REGISTRATION #80-07 -0696T

Circle (15) on Rapid Facts Card 18 Recording Engineer /Producer January 1989 www.americanradiohistory.com DON'T GET STUCK WITH TIME ON YOUR HANDS.

J SMART IT. settings. Syncro is easily the most SYNC sophisticated and versatile synchronizer You have time to try to salvage a major don't yet so simple to use. There are project once you discover the sound transferred to your around, absolutely no manual adjustments. All 59.94 time master was locked to 60 Hz line fre- coded parameters are loaded by software. Why can quency. Or, when your client hands you the revised picture, we do the impossible with such simple 10 %, you to lock it with the original sped up expecting hardware and sophisticated software? multitrack. With our exclusive, patent pending, Smart Sync feature (SoundMaster Auto Restored Timebase IT'S THE SYSTEM. SYNChronization' "), set your varispeed by entering four Only the Soundmaster Integrated Editing System digits, establish your offset anywhere in the show, roll and offers you auto restored timebase synchronization. The record. Your Soundmaster- Integrated Editing System will PC based controller, the revolutionary Syncro, and our trea: that tape exactly as any other. How is the miracle miracles performed? highly sophisticated software combine to perform that are impossible with any other system available today. IT'S THE SOFTWARE. No, Soundmaster won't leave you stuck with downtime on your hands. It will be profitable That's right. As the time code is read from tape, time instead. Why not take a everything is handled for you automatically by some moment, right now, and give sophisticated software. Everything. Your machine is us a call. We'd love to while running off its standard speed. And, synchronized show you the true power Syncro here's the clincher. Even though the time code on your tapes is divergent, with the real world difference changing of the Soundmaster system. every frame, Smart Sync maintains a constant system offset. So you can start and stop anywhere in the show, and pick -up locked with confidence. How does Smart Sync do it? IT'S THE HARDWARE. Our Syncro`" machine controller can synchronize, not just chase, from a fraction of, to several times play speed. With Smart Sync, you control literally thousands of varispeed Circle (16) on Rapid Facts Card

ß+87 - Soundmaster International, Inc.

sounc mosCen usa Inc So a n-aser usa Inc 1124 stoneshead crt. westlake village, ca 120 w. 88th st. ny, ny 10024 tel. (805) 494 -4545 fax (805) 494 -4936 tel. (212) 787 -5836 fax (212) 787-8888 moser inrs,ernalona mc 500 alden rd. unit 11 markham, ontario L3R 5H5 tel. (416) 479 -8101 fax (416) 479 -8105 www.americanradiohistory.com Sound Thoughts on Live Performance John Meyer's involvement in the subjective loudspeaker design began in "Creating 1967 when, as a technician for a Berkeley, California Hi -Fi experience of live performance supplier, he set out to discover why a leading manufac- sound belongs to the artists and turer's drivers kept tearing themselves to pieces. Further investigations convinced him sound designers. Our creativity that the market sorely needed a class of rugged professional comes in building speakers and speakers that would maintain their characteristics over time.

systems that give the truest Research in Switzerland in the early seventies secured his possible account of what the knowledge base. In 1972, Meyer developed the JM3 all performers produce." horn loaded tri -amp system with rigging, which was the John Meyer, Founder and standard for Broadway shows President, Meyer Sound Laboratories until the introduction of the UPA in 1980. From 1973 to Meyer Sound has devoted itself to designing, "As expectations rise, our perfor- 1979, Meyer sought out the manufacturing, and refining components mance standards have to rise even best available parts and that deliver superb sonic reproduction and designed the first Ultra expand the artistic possibilities of professional higher. And the only way to increase Series'" reinforcement speak- sound reinforcement. performance is with increasingly ers. In the decade since, Meyer strives for professional sound quality John Meyer has established sophisticated measurement. Meyer Sound Laboratories at that is predictable and neutral over an extended the forefront of professional an extended range. Even "Which is how we found ourselves lifetime and across reinforcement technology. after extended use, Meyer Sound performance is also in the measurement business." never compromised. As a consequence, Meyer Sound products Meyer originally intended to be solely a manu- have earned a reputation for the highest relia- facturer of high -quality, rugged and reliable bility in the industry. All are guaranteed to meet loudspeakers, expecting others to pioneer and or exceed specified performance levels when perfect testing equipment. But the need to accu- properly installed. rately measure the performance of Meyer components individually and in arrays outgrew the "The general public's sophisti- quality and resolution limitations of available testing equipment. cation keeps growing. Soon, if we To make sound work in spaces, Meyer Sound have our way, the audience will Laboratories developed by necessity its own test- demand the same accuracy in live ing technology and methods. performance that they get from John Meyer, his engineers and his designers have authored several definitive works, and home recordings." research remains an integral, driving force behind all production. Instead of second -guessing the tastes of the SIMT" Equalization systems most market, Meyer produces sound that SIM'" equalization is the logical result of truly represent the character of the signal they Meyer's commitment to uncompromised sound receive, leaving artistic control where it quality through sophisticated measurement. The belongs -with the artists and sound designers. non -intrusive SIM technology uses real -world Meyer takes a conservative view of exotic program material (either voice or music) as the loudspeaker materials, preferring to use proven test signal. Working interactively with the sound Sound materials in new, more elegant ways. designer, a Meyer SIM engineer helps create supe- engineering Every part of every component undergoes rior clarity for every member of the audience. for the art rigorous, comprehensive testing. Meyer Sound Ask your distributor for more information on controls all aspects of the system design -if not SIM equalization, or call Meyer Sound Laborato- and science by manufacturing, then by modification and ries direct. of sound. refinement to Meyer's stringent standards.

Meyer Sound Laboratories, Inc. 2832 San Pablo Avenue Berkeley, CA 94702 (415) 486-1166 Circle (17) on Rapid Facts Card teuYrd. FAX (415) 486 -8356 www.americanradiohistory.com For Your Information... Clip and save for future reference

About RE/P readership. We also reserve the right to be considered for publication. Send letters RE/P is the applications magazine for edit releases for length and clarity. to the RE/P editorial office in La Mesa. audio professionals. Our goal every month Because we have separate editorial and is to present information that you im- production offices, we ask that you send Corrections mediately apply to your working life. releases to each office. We make every effort to make sure Please do not call to see if we've re- everything we print is accurate. However, Business office ceived your release. We receive hundreds we are human, and errors occasionally oc- Direct all subscription, advertising and cir- of releases each week, and it is impossi- cur. Corrections are published for the culation inquiries to Box 12901, Overland ble to track each one. Allow two months record in the news columns. Please let us Park, KS 66212; 913 -888 -4664; fax from the time you send the release in to know when something is incorrect. Con- 913-541-6697. when it appears in print. If it hasn't ap- tact the La Mesa office for more peared by then, resubmit the release. information. RE /P editorial office RE/Ps departments are: Direct all editorial inquiries to 8330 Allison "News": events or developments of in- Where did you hear Ave. Suite C, La Mesa, CA 92041; terest to the entire industry. about our product? 619 -464 -5577; fax 619- 464 -2643. "Studio News": the latest equipment pur- When asking dealers or manufacturers chases and personnel additions from about products, particularly when pur- Subscription information facilities, and manufacturer an- chasing products, please mention RE/P as RE/P is free to qualified professionals. nouncements of equipment sales to your information source. Advertisers run Other persons may subscribe to the facilities. We do not publish session news. their ads because they want to reach you, magazine for $24 a year. To subscribe to "Tracks ": making its debut in the March the readers. Help complete the circle by RE/P, fill out the subscription card, in- issue, "Tracks" focuses on post -production telling them you saw their ad or first read cluded in every issue of RE/P. For more for video and film facilities and the proj- about their product in RE/P. information, contact RE/Ps customer ects they produce. A form for facility service department in Overland Park. owners or managers to fill out is included Rapid Facts Card in each issue; these should be sent to the Please use the Rapid Facts Card, published Back issues RE/P production office in Overland Park. in every issue, for the most convenient A limited supply of back issues is available "Engineer /Producer Index ": another way to get more information concerning for $4 each. Contact RE/Ps customer feature to begin in March, the "Engineer/ an ad or a new product item. We process service department for more information. Producer Index" spotlights the latest work all inquiries three times a week, so there of engineers and producers. As with is a minimal delay in getting your inquiry Writing for RE /P "Tracks;' a blank form is included in every to the manufacturer. If you do have a pro- RE/P is your magazine, and we encourage issue, which should be filled out and blem in getting information, contact the you to write for it. It is best if you submit mailed to the Overland Park office. manufacturer directly. a written query before you submit an ar- "New Products ": the latest product in- ticle, as it saves time for everyone con- troductions, hardware and software up- Electronic Mail cerned. A copy of RE/Ps writers' dates, and publications available to the You can contact RE/P electronically guidelines is also available; direct all industry. through four services: queries to the La Mesa office. 1. IMC: (Michael Fay, RE/P editor); REP-US Letters 2. Performing Arts Network (PAN): News release guidelines We welcome letters to the editor on any REPMAG. RE/P welcomes news releases from all topic of importance to the industry. Let- 3. CompuServe: 73477,2467 (Dan Torcida, parties in the industry. However, we do ters must be signed, and we reserve the RE/P staff editor). reserve the right to make the final deter- right to edit for length and clarity. Unless 4. AV Sync: Dan Torchia. mination as to what is appropriate for the otherwise stated, all letters received will RE/P

January 1989 Recording Engineer/Producer 21

www.americanradiohistory.com www.americanradiohistory.com Electronically Controlled Speaker Systems

By David Scheirman

A look at the assets and liabilities of integrated controller /speaker systems.

In less than 10 years, an ever -expanding philosophy. What they all have in common group of commercially available elec- is that the user has more than just tronically controlled loudspeaker systems speakers and a box to deal with; a pro- has appeared in the sound reinforcement prietary active signal -processing device is industry. Ranging from lightweight, com- usually needed to make the speaker pact audio -visual boxes to large -scale system operational. (See Photo 1.) modular enclosures suitable for concert Some manufacturers use the term pro- sound use, this new breed of speaker cessor to describe their dedicated elec- systems is marketed as a cure -all in some tronics packages. While taken from the circles. The various system performance commonly used term signal processing, parameters and design philosophies differ this nomenclature also provides a conven- significantly, as a closer investigation will ient marketing "hook:' It links us with the reveal. technologically minded terms data pro- Ever since the development and in- cessing and microprocessor, both of which troduction of commercial sound systems have the subliminal implication that our for use with public address, live music and all- knowing and error -free friend, the com- playback reproduction in sound reinforce- puter, is hard at work on our team, ment applications, designers have although this is not necessarily the case. searched for the optimum way to package I will use the term controller to describe the loudspeaker components. these dedicated electronics packages. An incredible array of loudspeaker Whatever a manufacturer's name for a systems is available today, in every con- special signal processor, its purpose is to ceivable size and shape. The desire for control the performance of the speaker compact, high -performance systems has system, using predetermined operating led many manufacturers to concentrate on parameters and /or real -time sensed the development of integrated systems information. that not only match the transducer com- A number of functions are being as- po-rents to the box enclosure, but also re- signed to these different black boxes, but ly on dedicated electronic circuitry a careful, logical study of a system packages to wrestle every last ounce of manufacturer's literature should provide "woof" and "tweet" from the loud- a reasonably good idea of the design speakers. philosophy behind a particular system. 'These electronically controlled speaker Some are merely electronic crossovers systems vary somewhat in design with equalization enhancement. Others incorporate group signal delay, phase inver- Dac id Scheirman is REP's live sound consulting editor and sion, bandpass limiting, component pro- president of Concert Sound Consultants, Julian, CA. tection functions, and more. All, however,

January 1989 Recording Engineer /Producer 23

www.americanradiohistory.com are controllers in the sense that their pur- The controller's task is to integrate a set And, different loudspeakers respond in pose is to instruct the loudspeaker system of carefully selected speaker components varying ways to different input signals. For how it is to perform. The controller takes with a wide variety of input program example, drum rimshots, brass groups and an input signal, divides, filters, and cuts material. A combination of loudspeakers cymbal clashes can lead to problems with or boosts it, and offers the system user that is optimum for reproducing just the loudspeakers whose impedance drops to more optimum loudspeaker performance, human voice may have very different low values at high frequencies (as will hap- in most situations, than could be otherwise characteristics from those most suitable pen with low- frequency components obtained. for certain types of instrumental music. operating in the upper end of their response region).' The controller is called upon to deliver the best possible sound under all conditions automatically, with any program input. Users of such systems often include rental companies that provide sound equipment temporarily for public speak- ing, acoustical and symphonic music, or rock concerts. The ideal control electronics package will take it all in stride. Indeed, some of the systems detailed here are severely compromised in terms of design intention if the prescribed controller is not used. While it also may be possible to wire the output of any crossover to the power amplifier channels and drive a given speaker system in that manner, performance of the whole system Photo 1. Electronically controlled speaker systems are currently will suffer. Understanding in- available from many manufacturers. Shown here are a pair of com- a controller's pact enclosures with controller from Apogee Sound. tended functions helps up to realize its true value. Is there really a concerted effort on the part of system designers to find ways of making packaged loudspeaker systems smaller, more efficient and better - sounding -all in the interest of good audio? Or is a conspiracy under way to force end -users to purchase expensive, mysterious and unwanted black-box "controllers" with each different brand of speaker system, with the motive being higher profits for the manufacturers? You be the judge. Don't rely on this feature, alone, however. And don't rely solely on the makers' specification sheets and advertisements. Listen to these systems and use them in professional situations. Compare them with traditional systems and with each other. Keep the laws of physics in mind as you listen to the marketing claims, and make certain that a specific system will meet your needs in Photo 2. The UltraMonitor (now the UM-1A) is a compact two -way the real working world. floor monitor developed by Meyer Sound Laboratories and first released Speaker systems are available today that in 1979. This product proved to the industry that electronically con- definitely offer trolled speaker systems are marketable. higher average sound pressure levels, less mass and more intelligence than traditional, uncontrolled speaker systems. You alone must decide whether or not the intelligence, or signal- shaping ability, that's built into these electronic controllers is compatible with your requirements. History Early speaker systems were unavoid- ably bulky. The large two-way, horn- Photo 3. Some controllers, such as Meyer Sound Laboratories' M -3T, loaded bins such as those developed at offer signal delay for optimum high -frequency phase alignment. RCA and Western Electric in the 1930s (for

24 Recording Engineer /Producer January 1989

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www.americanradiohistory.com use in movie theaters) are a startling con- tion. While overly large, such speaker became more powerful, some designers trast to some of the compact speaker systems were relatively efficient, and were began to focus on an integrated systems systems available today. The system capable of producing respectable sound approach. With this design direction, the package for two cone -loudspeakers, a pressure levels with only a 10W or 20W optimized crossover frequency and slope single compression driver mounted on a power amplifier. configuration for specific loudspeakers multicelled horn and a passive, internal As packaged loudspeaker systems was sought out and provided. In the crossover would fill an 8-foot truck bed - became smaller, speaker components search for a good compromise between but was intended for permanent installa- became more durable and amplifiers transducer reliability and sonic fidelity, the causes of loudspeaker failure under stress were examined. Means of offering both fail -safe system operation through speaker protection, and enhanced performance through variable, level- sensitive equalization were sought. In the late 1960s, Bose Corporation pioneered the use of dedicated, active equalization for use with specific compact speaker enclosures. A low- frequency enhancement circuit packaged in a separate black box was available for use in conjunction with small-cone loudspeaker systems. Even in this electronically controlled age, Bose prefers to stick to this concept of active EQ with no motional -feedback or sensing circuits in its Acousti -Mass system. In the mid-1970s, McCune Sound (San Francisco) fielded the proprietary JM -3 system, perhaps the first integrated, full - bandwidth controller /speaker system to see professional use in sound reinforce- Photo 4. Celestion's SR speaker system includes compact enclosures ment. Developed by John Meyer for housing two 8-inch wide-range cone loudspeakers. Optional subwoofers McCune, the innovative system saw much and unique mounting hardware round out the line. use in Broadway musical productions and live concert applications. Meyer began independent development projects on sub - woofers and other speaker systems that required special signal processing. In 1979 his company, Meyer Sound Laboratories, introduced the UltraMonitor with its own control electronics unit. (See Photo 2.) Combining crossover, equalization and loudspeaker system protection functions in a single package, this system Photo S. This controller (Renkus-Heinz X31) has LED displays for temperature and excursion created quite a stir upon its introduction. protection circuitry activation in low, mid and high bandpasses. System users noticed that it offered relatively high average sound pressure levels for such a compact enclosure, along REAR PANEL: with seemingly extended low- and high - frequency response characteristics.

-WARNING- CO OUTPUTS A new standard was being set in both 00 NOT USE ELM TO PHONE ADAPTERS the high average sound pressure level and ON BALANCED OUTPUTS Z0 49 the extended response available from SERIAL NO. CONTROL INPUT LOW (T -WAY) TO HIAREO. LIMITER Sue W ,2 -WAY) compact speaker systems. A new standard was also being set in pricing for loudspeakers in a box. Accepted into the professional marketplace, the Meyer HIGH- Sound products established a reference FREQUENCY TOC-23 LIMITER INPUT point that other manufacturers began to notice. In the 10 CHANNEL FOR AMPLIFIER years or so that have followed, COMPRESSION the group of suppliers that offer elec- DRIVERS tronically controlled speaker systems for sound reinforcement use has expanded Figure 1. Controllers from PAS use sensing connections from the output of the high -frequency dramatically. Let's take a look at the power amplifier channel to trigger limiting function. various operating functions attributed to

26 Recording Engineer /Producer January 1989

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e 1988 -JBL Incorporated, A Harman International Company

www.americanradiohistory.com some of these controllers. Then let's examine some of the more commonly used systems, along with a few new introductions.

The crossover /equalizer As a system designer chooses the individual loudspeaker components, attention is paid to the crossover frequency, and the effect that a particular frequency choice will have on the power distribution to the various sections of the speaker system. A major purpose of the active filter is to confine the electrical energy that is sent to a given speaker to its own narrow operating bandwidth. Most electronic controllers also incorporate specially tailored EQ "shaping,' including narrowband filtering, to match the control circuitry to the specific speakers in use, and to offer an average frequency response that is nominally "flat" Narrow - band filtering should be used carefully in such situations, however, since any filter /equalizer operating in the analog electrical domain can introduce aberrations to system phase response and transient -signal integrity.' Photo 6. EAW's KF850 system. shown here in a central point-source array at Radio City Music At high operating levels, when speakers Hall in New York. are pushing up to their safe working limits,

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Cerwin -Vega! introduces the CVX Series. Using results of highly advanced measurement techniques, this line incorporates the configurations and componentry most requested by sound professionals.

LaAll_,I,,, if. CVX employs our two most field -proven compression drivers, the M -161 and TI -1. Cerwin -Vega's high performance NIP woofers complete the systems, utilizing the same midrange and The M -161 is a 1á0Y/ (EIA) 2" throat compression drive wth a 4.5" nodally high- frequency drivers. Each driven phenolic done. The unit model varies only in maximum features a moderats (z:1) transforma- tion ratio, stepped _3ole piece and front acoustic output. plate, and Mu-nitwit flux stabilizing Voice fundamentals and ring. This design mutts in high efficiency, wide Da idwidth and 20dB harmonics are seamlessly repro- lower distortion than any comparable duced by the M -161 without 2' throat driver. crossovers in its bandpass.

www.americanradiohistory.com crossover point selection and slope are functions like the loudness contour but- is maintained at the mid to higher frequen- critical. For this reason, some system ton on a home stereo pre -amplifier. cies of the speakers' rated operating designers choose to work with variable, Also incorporated in the crossover/ range.° or floating, crossover points. This type of equalizer section of some controllers is Controllers can use electronic circuitry processor allows a system to get louder by signal delay. (We can't delay time, but we to limit input voltage by gain reduction. shifting a greater portion of the power can delay the audio signal.) High -level To avoid voice coil failure caused by ther- response away from fragile compression multiway systems often use signal delay mal overload, compression can be used to drivers and down to more -rugged cone to improve the system's coverage pattern prevent the temperature from rising too loudspeakers. This spectral shift can also at or near the crossover point by providing quickly in the component. Some con- affect both the system's coverage -angle electronic compensation for driver phas- trollers use "sensor" circuits to monitor the characteristics and aural fidelity. For this ing aberrations or mounting location. (See power amplifier's output voltage, and to reason, it may not be desirable in some Photo 3.) limit the signal going to the particular situations. This is particularly critical in loudspeaker components that are begin- systems that use combinations of multiple Loudspeaker protection circuitry ning to show signs of thermal stress. (See loudspeakers, where the dispersion Different methods have been developed Photo 5.) characteristics of the loudspeaker com- to protect loudspeaker components as Frequency -dependent limiting based on bination is different from that of the in- packaged systems have become more impedance-characteristic measurements is dividual units.' (See Photo 3.) compact. Loudspeakers fail either from one of the more sophisticated methods Level- sensitive, active equalization can thermal damage caused by excessive used to guarantee the highest possible be used to compensate for this voltage input or from over-excursion, average sound levels without component phenomenon. It can also be used to take which can lead to rubbing and voice coil failure. Both low -cut and high-cut filtering advantage of the Fletcher- Munson curves, misalignment. Protection methods are reduce the voltage input to the loud- based on the average human ear's sen- based on sensing impending voltage speaker system. They also narrow the sitivity to particular frequencies, to pro- overload or modeling voice coil system's audible frequency bandwidth as vide more impressive bass and treble out- temperature from the measured im- the sound pressure level increases. put when the system is working at lower pedance readings of the speaker. Most controllers rely on sensed informa- levels. Thus, some listeners judge the A single loud pulse, or transient, can tion from the power amplifier's output ter- system to be more "hi -fi" (or perhaps tear a speaker apart, leaving us with minals. Products from Apogee Sound, "disco" ?) even when it is receiving a very mechanical failure. Heat damage tends to Celestion, Electro-Voice, Meyer Sound low input signal. This form of equalization occur when a high average power level Laboratories, PAS (Professional Audio

Special attention is also paid to 1" throat aluminum dome, construction, durability, appearance titanium -former high frequency and portability. Only the highest compression driver. quality void -free multi -laminate hardwoods are used. All units are Mid /high frequency unit used in dado joined and heavily braced. all models adds to structural integrity of enclosure.

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555 E. Easy Street, Simi Valley, CA 93065 805-584 -9332 See us at the NAMM Show, Booth #1002 Circle (18) on Rapid Facts Card

www.americanradiohistory.com Photo 10. A pair of Meyer UPA -1A enclosures Photo 8. The new KP-600 series system from are easily suspended from simple hanging hard- Photo 7. E/V's new Delto -Max two-way bi- Klipsch features modular loudspeaker ware in a low -ceiling ballroom. The UPA -1A is amped speaker systems come in 12-inch and enclosures with identical exterior cabinet typical of the single 12 -inch box with 15-inch versions. Dedicated controllers are measurements. The tri -amped four -way system horn /driver components in a trapezoidal available, and the manufacturer discourages its has a controller with user-selectable crossover package, available from several manufacturers. use with other crossovers and/or controllers. parameters. Systems), and Renkus-Heinz all include back -panel sensing-circuit line connectors, providing an information loop that enables the controller to function automatically in response to the amplifier/speaker system. Most units use both a low- frequency and high-frequency sensing signal path; the PAS unit senses high- frequency amplifier output level Photo 9. The PM31-15 circuit module plugs only. (See Figure 1.) into the front panel of the Renkus-Heinz system "We are not really big on limiters, controller. Different modules are available for because we feel that's a large part of what various speaker systems. users refer to when they object to a 'pro- cessed' sound,' explained John Kirkland, product manager for PAS. "However, Table 1. Size, weight and cost comparison of four compact trapezoidal speaker systems, each with one 12 -inch speaker and a compression driver with horn. when the limiter's input is tied directly to the output of the high-frequency power amp, you only get limiting when the Apogee Sound Electro -Voice Meyer Sound Renkus-Heinz in danger of being harmed. In AE -5 DML-1122 UPA-1A SR -121A drivers are effect, the limiter tracks the output of the weight HF power amplifier, using opto- couplers. (pounds) 78 68 66 52 So, the protect function is only engaged when high levels of certain types of pro- size (HxWxD) 23x14x14 23x14.6x14 22.5 x14.5 x14.5 24x15.5x14 gram material are encountered:' (inches) In most protection systems, the goal is to maximize the output of the speaker peak output components without destroying them. (decibels)' 130 129 132 132 But, there is usually some sacrifice in retail price, 2,045 1,860 2,390 1,530 signal integrity. Several different methods single box (with fittings) (add 348 (add 100 (add 296 can be used to increase the average at- (dollars) for fittings) for fittings) for fittings) tainable sound pressure level of a speaker system.s retail price, 1,850 1,632 1,312 1,650 Controllers may use one or more of the controller (A -5) (DMC 1122) (M -1A) (X22, add 250 following functions searching for the ideal (dollars) for module) combination of equalization and speaker protection: 3,726 total 3,895 3,840 3,802 -Low (and (dollars) Loudness Compensation sometimes high) frequencies are boosted Notes: *The peak output is taken from manufacturers' specifications sheets. All figures are when the system is operated at lower reportedly measured at a distance of 1 meter on axis. An independent verification under levels, and the effect is removed as the controlled conditions is recommended. level is increased. Variable High -Pass Filtering-While The total price for a single compact enclosure and necessary controller includes rigging fit- often audible as a loss of bass response tings, top and bottom, which are optional on three of the examples. The Renkus -Heinz X22 when the program material changes, this Thus, the total cost in all four controller requires the additional plug -in module for operation. function will reduce both thermal and is for single enclosure with rigging fitting and a functional controller. examples a mechanical stress. The four examples are listed alphabetically by manufacturer. The fact that the total list prices Variable Crossover Frequency The are in descending order is coincidental. The model of the appropriate controller is in paren- floating crossover point can protect high - theses in the controller retail price column. frequency components from damage at

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www.americanradiohistory.com high operating levels, but off-axis frequen- INr cy response can vary considerably. *Soft Clipping-Gently attenuates tran- A . 4 and allows protection from - sient peaks, ';.::.: ;, ,; over -excursion without dropping the til °., overall gain. ..142114 *Compression and Limiting- Overall gain reduction is an effective way to prevent thermal overload that leads to speaker failure. Variable ratio compression circuits can work well. High compression ratios in limiting circuits can be very audible. Controller comparisons In searching for ways to evaluate one in relation to another, Photo 11. After proving that electronically controlled speaker systems system controller could be accepted in the marketplace, system manufacturers worked the most obvious direction to take first is on development projects for larger, arrayable components for sound what each sounds like. If we have the lux- reinforcement use. Shown here, the first outdoor field test of the Renkus- ury of auditioning several different Heinz MR-1 /LR -2M system (on stage at Irvine Meadows Amphitheater systems in the same listening environ- in Southern California). ment, with the same program material, it is relatively easy to develop a working knowledge of each system's characteristics. Since this is often not possible, an awareness of the audible characteristics of the previously mentioned signal - processing methods can still give us valuable information. By recognizing the methods used in a particular controller, we can gain some general knowledge prior to hearing it in use. Apogee- Apogee Sound's controller is a crossover/equalizer with fixed crossover points and corrective equalization. Apogee has labeled its sensing circuitry PAF (positive amplifier feedback). A limiter circuit is used for driver protection. Photo 12. Manufacturers intent on producing large -scale systems for The models are keyed to different the professional market must offer enclosures that are easy to use in loudspeaker systems (such as the 3X3, the arrays in hanging situations. Shown here, Apogee Sound's 3X3 and AE -1, the AE -5 and the AE-10 subwoofer). AE-5 enclosures in an array by Burns Audio at the 1988 Democratic RV designates road version for touring; PV National Convention. designates permanent version for installations. Thus, a model A-1 RV would be dedicated for use with the compact AE -1 enclosure, with input and output connec- While electronically controlled selectable equalization for low - tors on the front panel for easy access dur- speaker systems have been pro- frequency alignments. These ing setup and testing. liferating in recent years, some com- features allow the crossover to Celestion -Celestion offers a panies have decided not to jump operate in a fashion similar to more crossover/equalizer, with a fixed -point aboard this trend too quickly. JBL expensive "electronic controllers." 150Hz second -order filter for low - Professional, for example, has of- To this manufacturer, "smart" frequency (subwoofer) enclosure opera- fered a card- programmable elec- electronics means something entire- tion. Low- frequency protection is through tronic crossover since 1973. Models ly different from what has been compression, adjusted by power amplifier 5231 and 5232, introduced in 1973, brought to market so far. JBL sys- output monitoring. A three -stage thermal evolved into the present model tem designers maintain that they protection circuit for the extended -range 5235, which features equalization would never use electronics as a speakers is based on voice -coil for specific systems, including substitute for a larger power class temperature modeling. choice of crossover slope, power in transducer selection, or use them This device is named the SRC1 Elec- response correction and selectable in a manner that grossly altered the tronic Controller. It features a back -panel high-pass filtering for low- frequency artistic intent of the performing bi -amp switch and phase reversal for the driver protection. Switchable musicians. The following statements subwoofer section. It is designed for use monaural summing for subwoofers from JBL establish that company's with the SR speaker system. (See Photo 4.) can be internally preset, along with position (page 34). Eastern Acoustic Works -EAW offers -David Scheirman a crossover /equalizer with signal delay and loudness compensation (low-

32 Recording Engineer/Producer January 1989 www.americanradiohistory.com We don't show you the lifestyles of the rich and famous.

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Sometimes, it's fun to peek at need to get that production "how the other half lives" in the done right. On time. On budget. world of audio production. And And better than anyone else could there are several publications have done it. which give you that diversion. And, if RE /P can help you But most other times, you produce an exciting, marketable need to concentrate on your own sound product, you're one step project. You know, the one with closer to a rich and famous the last -week deadline and the lifestyle of your own. last- century budget? Or at least a raise. Those are the times you're glad there's RE /P. RE /P gives you the solid, helpful ENGINEER /PRODUCER information you Where audio inspiration becomes sound reality.

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www.americanradiohistory.com Electronically Controlled Speaker Systems: A JBL Viewpoint

By John Eargle, Mark Gander and Garry Margolis

"Electronically controlled speaker overdriving or stressing those driven at higher and higher output systems" is one of the catch phrases components. levels. in current pro sound. The term Another premise is that the refers to electronics that are packaged speaker -plus -electronics Examining one model dedicated to a given loudspeaker should sound good at moderate to We have measured a number of and that process the sound for low levels when auditioned on the such systems to determine how enhanced presentation over that sales floor, since that is where sales they typically operate. Figure 1 loudspeaker. are generally made. Therefore, a lit- shows the electrical drive to a One of the stated premises of tle loudness compensation (bass woofer in one such two-way system. such systems is that they are boost) may help make the system The lowest curve in the graph basically pre- adjusted and ready to stand up better in competitive com- shows a mild bass boost around work, with little in the way of user parisons. Also, some degree of 40Hz, providing some degree of adjustment. power response correction in the loudness compensation for Often, the underlying premise is compression driver circuitry will moderate acoustical levels. The that these systems have marginal help the overall balance. curves were all incremented up- transducers, and the real purpose of As we see it, the big problem with ward in 1dB steps. the "smart" electronics is to prevent these systems is that most of the Note that the boost is quickly correction, beneficial as it may be, removed, and in its place, at an in- John Eargle, Mark Gander and Garry Margolis is dynamic in nature, and it is put level 16dB higher, there is ac- are with JBL, Northridge, CA. gradually removed as the system is tually a bass roll -off below 80Hz. Note further that the actual drive 40 level at 40Hz never varies more than 2dB over the entire input range of 16dB. Note also that the 30 bass low -pass crossover frequency m -o moves from about 1kHz up to 1.6kHz over the total input range 20 shown. o a. Figure 2 shows what happens in d the same system at high frequen- cc ,; 10 cies. Beginning at the bottom curve, ii\,, note the generous 9dB power response boost above 4kHz. 0 0 8 V (Amp Output) However, over a total input range 20 Hz 50 100 200 500IL 1 kHz 2 5 10 20 II incremented upward 16dB, the Frequency in Hz power response boost is reduced to Figure 1. Low- frequency output of processor, 16dB input range. only 3.5dB. Furthermore, the high - pass crossover point moves from 40 1kHz at low levels to about 1.6kHz at the highest input level shown here. Benefits and liabilities The system we have described exhibits three major departures from normal signal linearity: 1. The bass content at 40Hz re- 10 mains virtually the same (1dB) over a program input range of 16dB. Music thus loses some important o 0 8 V (Amp Output) dynamic information. 20 Hz 50 100 200 500 1 kHz 2 5 10 20 2. The acoustical crossover point

Frequency in Hz shifts from about 1kHz at low input levels up to 1.6kHz at the highest Figure 2. Nigh- frequency output of processor, 16dB input range. input levels shown here. There will

34 Recording Engineer/Producer January 1989 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, TV, 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 lust 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.

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www.americanradiohistory.com frequency enhancement). The overload failure. A time correction circuit is circuitry offers distortion protection switchable in and out. This controller is through level- sensitive bandpass limiting. for use with the MSL-3. The unit is called the MX800 CCEP (close- Professional Audio Systems -PAS ly coupled electronic processor). features crossover/equalizers with EQ A plug-in module allows the system to compensation for constant -directivity be used with the KF850 loudspeaker horn designs and a subsonic filter. TOC system, for which the MX800 is optimized. (time offset correction) is employed as The KF850 system does not require this signal delay. specific controller for operation. The High -frequency component protection be a change in system coloration manufacturer advises that electronic is achieved through a fixed -ratio soft -knee- and directional characteristics in the crossovers from other manufacturers can type limiter circuit. Sensing lines are con- mid -band as the woofer is required be used with excellent results. (See Photo nected from the HF amplifier output to the to work at higher frequencies. In 6.) controller's limiter input. this case, the woofer is 380mm (15 Electro- Voice -E /V's Delta -Max The units are designed to be used with inches) in diameter, and such systems use a crossover /equalizer with PAS's Modular Reinforcement Systems drivers should normally not be signal delay circuitry. Crossover points are (MRS-1, MRS -2). crossed over higher than 1kHz fixed, and high -pass filtering does not shift. Renkus-Heinz -Renkus- Heinz's Smart because of the inevitable response Optimized equalization, including low - Systems use crossover /equalizers with and directional anomalies above frequency enhancement ( +8dB boost at automatic loudness (bass- boost) compen- 1kHz in drivers this size. 50Hz) is included. Speaker protection is sation. This changes to bass -cut equaliza- 3. The overall change in high- achieved through an automatically ratio - tion at very high levels to maximize frequency balance of about 5.5dB variable compression circuit. Speaker average sound pressure levels. can rob music of brilliance as the modeling circuits provide thermal High- frequency protection relies on program level goes from soft to overload protection and amplifier anti -clip variable crossover frequency points and loud. limiting. There is independent LF and HF over -easy -type compressor circuitry. Low - In addition, there may be audible soft-clipping for excursion protection. frequency protection includes variable pumping in the dynamic control of Named the DMC -1122 and DMC -1152, high -pass filters and overall level compres- the system as higher levels are the pair of controllers are intended for use sion. The manufacturer calls this process reached. with the respective 12 -inch and 15 -inch SPT (spectrum power transfer). On the positive side, such systems loaded Delta -Max systems. (See Photo 7.) The Model X-31 controller is adaptable sound good at lower levels, and that Klipsch- Klipsch has recently intro- to different speaker systems. It includes is probably where they will be used duced a crossover/equalizer with user - front -panel plug -in modules, so that a con- much of the time. It is difficult for selectable high -pass filtering in three troller can be quickly changed for use with the system to go into gross distor- bands. Automatic bandpass gain compen- a compact two-way system to a large tion because of the overall compres- sation is based on individual driver sen- three -way system. Three different modules sion activity in the processor. The sitivities. High- frequency equalization for are available. The PM31 -15 is for use with systems are, in fact, relatively flat response is incorporated. SR -1, W -1 and SR-2 speaker systems. (See foolproof and quite easy for the Designated the KP- 600 -EC, the manufac- Photo 9.) novice user to set up. While some turer calls this an electronic crossover/pro- operators may prefer the relatively cessor. Features include mute and phase Compact loudspeaker system dense, compressed sound of the reversal switches. It is designed for use packages system, many musicians will not. with Klipsch's new KP -600 modular In examining the various con- As an overall philosophy, if the loudspeaker system. (See Photo 8.) troller/speaker systems that are available, system has inadequate high- and Meyer Sound Laboratories -Meyer accurate, fair A-B comparisons can be dif- low- frequency drivers, the money Sound offers crossover /equalizers that use ficult since such a wide variety of spent on the processor might be separate limiters for LF and HF outputs. loudspeaker enclosures is available for better spent on more robust inter- The low -frequency component is pro- many different uses. nal componentry. Transducers with tected by a variable high -pass filter. Meyer We can, however, focus on just one type smaller diaphragms and smaller terms this circuitry Speaker Sense. Fre- of speaker enclosure and check out a few voice coils than might otherwise be quency and phase response alignment cir- vital statistics. Let's look at four examples chosen will suffer from dynamic cuitry for specific loudspeaker systems is of a compact trapezoidal enclosure, each non -linearities such as increased prealigned by the manufacturer. housing a single 12 -inch speaker and a harmonic and intermodulation Meyer calls its controllers "Control Elec- compression driver with horn. distortion, and greater power com- tronics Units" and offers several versions, This style of speaker system is extreme- pression. While electronics can try dependent on the loudspeaker system in ly popular with a wide variety of users. to prevent these overtaxed units use. These range from the P -1A (for the It is compact enough to be placed on small from breaking and allow them to small UPM -1 column loudspeaker) to the stages and light enough to be tripod - generate maximum output, the M -1A (for UPA -1A and UM -1A mounted. It lends itself easily to use as a result is often not maximum fidelity. UltraMonitor). The B -2A is designed for suspended speaker in low -ceiling meeting use with the USW-1 subwoofer. It features rooms and hotel ballrooms. Found in most a Bass Extender circuit, offering transient - rental sound company inventories today, dependent "fuller bass" effects. this style of speaker is quite versatile. (See The M -3T incorporates logic circuits in Photo 10.) the sense lines that monitor amplifier gain, Since we'll need a controller even if we providing automatic speaker output are only using a single speaker enclosure, disconnect in case of overload or amplifier we'll take a look at the current retail price

36 Recording Engineer /Producer January 1989 www.americanradiohistory.com (as of October 1988) of one box and one controller. (See Table 1.) Large -scale applications With electronically controlled speaker systems firmly established in the smaller rental system market, manufacturers have begun to expand those technologies into larger system formats. Attempts have been made to develop integrated, full -scale speaker systems for use in bigger venues. (See Photo 11.) Many of these same controllers are used with arena -sized, full -range systems for STAT audio -visual, public address and live concert applications. To be successful in this part of the industry, speaker system manufacturers must offer products that are easy to use in arrays. (See Photo 12.) Many companies include built -in hanging fittings and even loose rigging parts OF TH or flying bars with their product lines. Those manufacturers that are serious about the professional marketplace often work closely with touring sound firms in concert situations to develop products that are acceptable for this field, including ROAD. high -powered subwoofer enclosures. (See Photo 13.) The most powerful ultra -lightweight amplifier in the world. The Carver PM -2.0t delivers 1,200 watts, A glimpse into the future Power amplifiers can vary a great deal yet weighs under 11 pounds! in their operating characteristics, and elec- Magnetic Field Amplifier Technology, he choice tronically controlled speaker systems can be very sensitive to the input signal as of touring professionals they work right up against their safe operating limits. Some speaker manufacturers prefer to see their customers use one design type, or specific brand of CARVER power amplifier with their controlled P R O F E S S I O N A L speaker systems. Other firms claim that any amplifier meeting the suggested power ratings will work fine. Perhaps one of the next steps in the development of electronically controlled loudspeaker systems will be the integrated controller /amplifier /speaker system, in which the power amplifier is ideally matched to the signal processing and loudspeaker components. Perhaps the front -end circuitry will be included in plug - in modules that are easily inserted into power amplifier frames for use with different speaker systems. Several manufacturers are presently involved in development projects of this type. Along this line, Yamaha Corporation of America has recently introduced the AST- Carver Corporation, P.O. Box 1237, Lynnwood, WA 98046 P2602 power amplifier, which contains integral signal processing circuitry. A plug - in cartridge gives optimized equalization for the AST-S30 loudspeaker system, which comprises a trapezoidal enclosure Circle (20) an Rapid Facts Card housing a single 15 -inch speaker, a compression /driver and horn mid -range section, and a ring -type compression tweeter. Yamaha says its Active Servo Technology

January 1989 Recording Engineer /Producer 37 www.americanradiohistory.com allows the loudspeaker port to become an manufacturers in an attempt to become simplest setups will require more technical independently adjustable source of low - a one-stop supply source for professionals. expertise to hook up-but once the system frequency energy, thus providing im- The value of dedicated signal process- is wired and in place, many more opera- proved bass response from a compact ing in the form of electronic controllers tional variables will be in the hands of the loudspeaker, system. The new AST will become more evident as technically sound system, not the human operator. amplifier does not require an extra sens- advanced manufacturers begin to provide How does all of this affect the major ing wire connection, however. (See Figure computer- interface data ports, coupling touring sound industry? A few of the big- 2.) When the AST cartridge with its 800Hz their signal processing to a central control ger concert- system rental companies stock crossover is removed, the AST-P2602 microprocessor with VCA circuits. (A large inventories of electronically con- reverts to operation as a standard power system manufactured in the Netherlands trolled speaker systems, and these are in amplifier. by Stage Accompany already offers two - use with live musical concerts as much as We can also expect to see an ever- way, full-range speaker enclosures with they are for industrial and trade show expanding range of tripods, clamps, fly- built -in microprocessor control and the events. Other firms refuse to bring this ing fittings and portable accessories such ability to link these boxes to a master con- type of system into their operations. Most as cable -sets to be developed and trol computer.) of the larger firms still field proprietary marketed by various speaker system One day soon, perhaps even the speaker systems. Traditional electronic- crossover, multiway systems (with optimized equalization and bandpass limiting) will continue to be employed in applications where complete control of the operating parameters must be kept in the hands of musically oriented technicians at the mixing position. This is evidenced by most major touring concert systems in use today. However, electronically controlled speaker systems have definitely found their niche in other parts of the professional sound reinforcement industry. Understanding the signal processing functions available within specific controllers is a must for any user needing to make certain that a given system will be appropriate for use in different applications. Rii This feature is written with reader interest and education In mind. The mention of specific brand names and products does not Imply an endorsement by the author, REIR or Intertec Publishing. Photo 13. Large-scale concert use requires speaker system components that can fill huge performance spaces. Shown here, Meyer Sound Laboratories' 650-R2 subwoofers as fielded by Ultra- Sound at Meadowlands Arena in New Jersey. References 'P.J. Baxandall, `A Technique for

AST CARTRIDGE (AST K -30) Displaying the Current and Voltage Out- HF POWER AMP put Capability of Amplifiers and Relating (EXTERNAL) This to the Demands of Loudspeakers," AST (AES Presented Paper, 82nd Convention, EQ COMPEN SATOR 1987). 2Mark E. Engebretson, "Electrical and Signal Processing o- Requirements for Loudspeakers," (Presented Paper, NSCA Contractors' Expo, 1985). YAMAHA AST-P2602 BALANCED 3B. Kok, G. Rosenboom and E. Wijinker, OUTPUT AMP "Active Loudspeaker System for Sound Reinforcement Applications," (AES HF 1 BALANCED SUBSONIC LINE Presented Paper, 84th Convention, 1988). INPUT AMP FILTER OUT 'Gary Davis & Associates, "White Paper: A Comparison of Several Manufacturers' Speaker Components for Sound Reinforce- ATT + SPEAKER ment Loudspeaker Systems," (Yamaha FLAT O OUT (LEVEL) LF Corp., 1981). f -O t .. POWER 5Michael Miles, "Electronic Control of AMP LF Loudspeaker Systems," (Presented Paper, All Technical Engineered Sound Con- Figure 2. Detailed block diagram of an AST amplifier/loudspeaker system. ference, 1988).

38 Recording Engineer /Producer January 1989 www.americanradiohistory.com INNOVATORS IN DIGITAL AUDIO DEDICATE THE FUTURE TO YOU.

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Circle (21) on Rapid Facts Card

www.americanradiohistory.com Chet Atkins HBOlCinemax "Sessions Series" By Johnny Rosen

Remote music recording for television presents some unique challenges. This "Session Series" demanded a particularly high level of audio quality.

Chet Atkins is not just another guitar else would have a chance to win. He won video technology. What these technical player. He's also a song writer, producer another anyway, as a backup player on standards cannot cover is the artists' feel- and former record company executive. someone else's country album. ings and the emotional level of every Segovia thinks he is wonderful; Mark Susan Hackney and Associates, a TV performance. Knopler thinks of him as a hero; Earl production company in Nashville, started It's easy to capture that "special magic" Klugh makes jazz records with him; and putting together a "Sessions Series" show when you can record 10 or 15 different just about every guitar player from Eddy for HBO/Cinemax. This series provides a shows on a tour. The odds are that out of Van Halen to Bill Monroe has something close -up look at an artist from a perform- several performances, you can find what good to say about him. When winning one ance point of view. Obviously, Chet you're after. TV shows don't have that of his many Grammy awards he said, "I'd presented a special criterion. He de- latitude. Production costs are just too high like to thank RCA for letting me make my manded sound that was both artistically to warrant that kind of approach. To meet records at home:' He won so many Coun- and technically of high quality. HBO also all these technical and artistic re- try Music Association awards that they has a definite set of technical guidelines quirements, a special crew of technicians redesigned the rules so that somebody that are listed in a standards book. The was assembled for what the audience and criteria are well defined and easy to follow the artists perceived as an effortless day Johnny Rosen is owner of Fanta Professional Services in because they are based on common sense of great music in an intimate environment. Nashville. and the use of readily available audio and The venue was Neely Auditorium at

40 Recording Engineer /Producer January 1989 www.americanradiohistory.com Miss DARRYL D KEYS 3 LARRY LONDIN DAVID PACK KICK DI VOCAL AND Vanderbilt University in Nashville. This SNARE MIC ACOUSTIC RHYTHM SNARE DI small, black -box, multiform, theater was TOMS L DI MICHAEL perfect. The acoustics were pretty dead TOMS R DI MCDONALD OVER L MIC KEYS 2 and the audience could be placed OVER R MIC anywhere. No seat was more than 30 feet stage. That meant the sound rein- WILLIE NELSON from the 3UIT AMP forcement system would not have to be BASS oil DAVID HUNGATE large and that the sound of the in- WAYLON JENNINGS 3UIT AMP struments from the stage would seem a PERCUSSION EVERLY BROS. little more natural. The importance of the TERRY DI house and monitor mixer was paramount. MCMILLIAN 'WHET ATKINS CONGA 3UIT AMP AND DI The mobile audio facility was Fanta Pro- TIMBALES fessional Services, and the video facility CHEST ECM-50 was The Nashville Network, Unit 1. The MARK KNOPLER main audio crew consisted of Mark Repp, CLAYTON 3UIT AMP Johnny Rosen, David Palmer, Robin Vic- IVEY tor, and PIANO Shipley Landis, Jamie Shankland DX-7

KEYS 1 Billy Saurel. Here is how the jobs broke PAUL YANDELL out. RHYTHM ßU17 AMP EMMY LOU HARRIS Mark Repp: In charge of the audio in- ACOUSTIC MIC ON P -1 side the Nashville Network Unit 1 truck and the recording of all audience and ef- P -# = PRODUCTION MIC FOR DIALOGUE AND SINGING (USUALLY PLACED UP fects microphones. Remember that the au- FRONT) dience was very visible in this show, and V -# = VOCAL SINGING MIC their reactions were important to the BV -# = BACK -UP VOCAL overall feel. The live stereo mix had to be KEYS -# = KEYBOARD (USUALLY A DI) A -# AMP available for production personnel and = ON STAGE PERC -# = PERCUSSION to all had to he shipped the recorders. DI -# = UTILITY DI (USUALLY MOVES) All video machines had three audio Figure 1. Generic stage plot. tracks; the same mix was not sent to every

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IAN Circle (22) on Rapid Facts Card January 1989 Recording Engineer/Producer 41 www.americanradiohistory.com sent a simultaneous stereo mix to the INPUT SUB TRACKS REC PA SNAKE DESCRIPTION MSTR TYPE video truck for distribution to all the

1 1 KICK LARRY LONDIN DI 1 2 various video machines. That ranged from 2 SNARE SUB-MIX C12-1 KICK SNARE 1 -inch C format to 8mm home video 3 LEFT DRUMS SUB-MIX C12 -2 3 LEFT 4 RIGHT format. DRUMS 4 RIGHT DRUMS SUB-MIX C12-3 DRUMS David Palmer: David had previously 5 6 5 5 BASS DAVID HUNGATE DI mixed an Earl Klugh -Chet Atkins album BASS PERCUSSION 6 PERCUSSION SUB-MIX C12-4 421 7 PAUL 8 KNOPLER that was very successful. After listening 7 6 RHYTHM GUIT AMP PAUL YANDELL 421 RHYTHM GUIT to the album, we were sure that he would B 7 GUIT AMP MARK KNOPLER 421 9 CHET 10 CHET be an asset, but didn't know how to use 9 8 GUIT DIRECT CHET ATKINS DI DI AMP him. Though he was not a regular with 10 9 GUIT AMP CHET ATKINS 421 11 12 the Nashville crew, he was willing to fit in 11 10 V-1 TERRY MCMIWAN SM -58 V-1 V-2 and find a special niche that wasn't being 12 11 V-2 M. MCDONALD SM58 13 14 covered by of the 13 12 V-3 DAVID PACK SM -58 V-3 V-4 other members audio 14 13 V-4 BACKGROUND VOCALS SM -58 15 16 team. 15 14 V -5 BACKGROUND VOCALS SM -58 V-5 V-6 When he arrived in Nashville, he started 16 15 V -6 BACKGROUND VOCALS SM -58 17 18 by hanging out with the musicians. He had P-1 P-2 17 16 P-1 PRODUCTION 1 SM -58 worked with several of them but never all 19 20 RHYTHM 18 17 P-2 PRODUCTION 2 SM -58 of them as one group. Starting with the P-3 DAVID 19 18 P-3 PRODUCTION 3 SM -58 rehearsals at Studio Instrument Rentals, 21KEYS -1 22 KEYS -2 20 19 ACOUSTIC RHYTHM DAVID PACK ECM -50 & PIANO MCDONALD Nashville, David made elaborate notes 21 20 KEYS 1 CLAYTON IVEY DX-7 DI 23KEYS-3 24 TIME about every song, from both the technical 22 21 KEYS 2 M. MCDONALD DI DARRYL CODE and artistic angles. Eventually these notes 23 22 KEYS 3 DARRYL DYBKA DI 25 26 would help the rest of the audio crew the 24 23 ACOUSTIC MIC ON P -1 time to concentrate on their individual 25 24 GUIT AMP WAYLON JENNINGS 421 27 28 chores for the show. 25 25 GUIT AMP WILLIE NELSON 421 The job that David finally filled was 27 26 ACOUSTIC GUIT EVERLY DI 29 30 28 27 PIANO MIC CLAYTON IVEY remixing the show for the final post - 29 31 32 production audio mix. He had followed 30 28 SPARE MIC CAMERA LEFT SM57 the music from the beginning of the 31 29 SPARE MIC CAMERA RIGHT SM -57 rehearsals through to the live recording. 32 TONE GENERATOR Because he did not have to mix the live 33 2 SNARE MIC 421 012.1 FANTA recording, he could concentrate on the ar- PROFESSIONAL SERVICES 34 3 SNARE DI C12 -1 1213 10TH AVE. SOUTH tistic, rather than technical, qualities, NASHVILLE, TN 37212 35 TOMS LEFT DI C12.2ß 015327-1731 JOHNNY ROSEN which allowed him to emulate the live feel 36 TOMS RIGHT DI 012 -213 SUSAN HACKNEY better in the final remix. Sometimes, when 37 OVERHEAD LEFT SCHOEPS CARDIOID C12 -2/3 CINEMAXAIBO you are tracking a live show, it is very dif- 38 OVERHEAD RIGHT SCHOEPS CARDIOID C12.2ß CHET ATKINS ficult to listen for the musicality of the 39 CONGA 421 C12-4 52/87 Es FN5308 songs overall in 40 TIMBALES or the energy the perform- 421 C12-4 JOHNNY ROSEN DMPE ance. David could concentrate on the CHEST ECM -50 C12-4 f°1°E BILLY SAUREL ROBIN VICTOR Alt music while Johnny made sure that the

WE TYPE MS WM RETURN LINES TO THE STAGE 458 25011Wb +3 tracks and the live mix were cut correctly. R 8 PA SNAKE LEVEL Robin Victor: Coordinated all of the 44 4 DRUM MIX FROM FANTA TO PA +4 audio people and made sure that all of the 52 FANTA TALKBACK 10 SPKR -AMP Al of OM AND TIN n logistical efforts flowed in the same direc- 6n/87 7:47 AO tion. She kept track of all the audio team members by phone, pager, mobile phone and walkie- talkie. She documented every audio change in the production. As each TIE LINES TO REAR PATCH PANEL deviation from the original plan occurred, JACK SNAKE JACK SNAKE JACK SNAKE she evaluated who needed to know and LEFT MAIN 3 3 LEFT SPARE 5 L RETURN

2 2 RIGHT MAIN 4 RIGHT SPARE R. RETURN what people were affected. The notes that Johnny, David and Robin Figure Track 2 layout sheet. made were all complied into an Audio- Master notebook. Various parts of the notebook would later be distributed to the machine. Some got stereo, some got just audio plan, mixes the show and everyone crew for use during the show and in post - the audience or just the wireless lavalier follows along. The crew on this show production. If a problem affected other on Chet. Mark also had to place and didn't require that much supervision. In- parts of the crew, Johnny would work out record all the audience microphones used stead, the Fanta office became the com- the details with each group. That way, for the original stereo mix onto the munications hub for all the audio people. other production members only had to videotapes. A 24 -track recorder was used, Having a single person for all other artistic deal with one person if problems arose. and each of the 18 microphones was and technical teams to communicate with We wanted to avoid multiple answers to recorded on a separate track for later use simplified the process and avoided redun- the same questions. in post-production sweetening. dant and frustrating meetings. Johnny As the show was being rehearsed, Robin Johnny Rosen: The audio engineer in mixed the live recording, which was called cues to the audio team via a headset charge (A -1). Usually an A -1 develops the recorded on two analog 24- tracks, and intercom system. Usually changes during

42 Recording Engineer/Producer January 1989 www.americanradiohistory.com the show happened out on the stage and Equipment setup from the Nashville Network truck was a were supervised by the audio stage The audio technical setup consisted of stereo signal that could come from many manager. All changes were logged in her three main parts: the sound reinforcement sources in the Nashville Network truck. book. Having a person at the location, system, the audio recording system and The controller for that crossbar switcher, dedicated to handling communications the audio tracks on the video recorders. that fed audio and video back to the audio and documentation proved essential. The only part of the video system that truck, was located in the Fanta truck and Working from her updated Audio- Master matters here is how the sound was shipped the signal that controlled it traveled on a notebook, she called the audio cues dur- to the video truck for its recorders and single coax cable into the Nashville Net- ing the live recording. The version of the monitors. work truck. The following were the chan- Audio-Master that was used on the set was All music and dialogue mixing was done nel assignments for the Fanta to TNN called "a short run -down." in the Fanta truck and sent to the TV truck Snake A: Billy Saurel: As audio stage manager, he via a single audio snake. Coming back Line 1-left stereo mix interfaced directly with the talent, sound reinforcement team, TV stage manager, stage hands and camera team. He handled all the microphone placement and audio - cable patching in the stage area. A major part of his job was to communicate the needs of the musicians to the monitor mixer. The audio stage manager needs to understand exactly how the multitrack audio and video recording is done. Feed Eight Sometimes he has to make fast changes in the plan; unless he understands every monitor mix and audio track, his decisions Ears at Once could prove disastrous. Improper tracking makes remixing nearly impossible, im- The Stewa -t Electronics HDA -4 is a powered four - proper microphone technique yields horri- ble quality, and choosing an improper in- channel headphone distribution amplifier specifically designed put could make mixing the monitors very for professional applications recording studios, broadcast difficult. Basically, if the talent doesn't ... have to think about the audio system, the facilities, or virtually anywhere multiple headphones are overall quality of the show will be much greater. required from a single feed. was to Jamie Shankland: Jamie's job Each of the individually controlled outputs delivers up supply and mix the stage monitors and the house system. He was picked because of to 1 watt of power, providing more than enough power to his experience doing TV shows and his leakage when -air ability to cope with an unusual mixing en- override any acoustic ... even using open vironment. His monitor system was small, type headphones. A master level control is provided for loud and of high quality. He would listen to requests carefully and only act when simultaneous control of all outputs. A Stereo/Mono switch Before he any changes, necessary. made sends a mono output to both channels of the headset. The he checked in with Johnny or Robin so that everybody was aware of any critical stereo signal thru jack allows multiple HDA-4's to be driven changes. Shipley Landis: Past experience has from a single signal source. shown that on every complex job, it is Like all Stewart Electronics products, the HDA-4 is essential to have a utility person who can fill in for any of the other workers. His reliable. Less than 0.2% of Stewart products have ever to include mixing, production skills need required servicing. When you need to feed eight ears, the knowledge, electronics, audio/video interfacing and, especially, the ability to think HDA -4 is the easy, economical way. fast and maintain a sense of humor while under fire. While interfacing three different communication systems, Shipley Stewart had to spot problems and alert the correct E L E C T R O N I C S people. This job requires a jack of all trades, a master of all trades and a can- 11460 Sunrise Gold Circle didate for the "Henry Kissinger" diplomat Rancho Cordova, CA 95742 award. We follow the philosophy that all (916) 635 -3011 of the equipment will break at a critical moment, and when that moment arrives, we need to know how to get around the problem rather than through it.

Designed and manufactured in the U.S.A. s` 1988 Stewart Electronics.

Circle (23) on Rapid Facts Card January 1989 Recording Engineer/Producer 43 www.americanradiohistory.com response with the smaller diaphragms. STAGE FANTA NASHVILLE Larry mixed his own headphones and did CHET AUDIO NETWORK not want a big loudspeaker for his drum ATKINS VIDEO monitor. He takes a special mix-minus TRUCK from the PA system that has everything, CINEMAX TRUCK including talkback from the audio and BAND MICS CROSSBAR SWITCHED 24 TR K video trucks, minus his own drums. That RECORDING RETURN FEED AUDIS CE special mix -minus from the PA was CONSOLE ON __ SPLITTER brought into an input of his mixer where r i he could balance his drums and a click PROD. STEREO TV AUDIO track. MICS MUSIC CONSOLE MIX TO We were lucky that he would do it this TV AUDIO MONITOR way. Because there was no monitor CONSOLE CONSOLE 24 TRACK speaker near him, we could vary the level MUSIC STEREO of the over -heads without changing the ONLY MIX apparent stereo perspective. It also helped i.. VIDEO us on snare because we could use a Senn - I/ AUDIENCE MICS TO TV AUDIO CONSOLE R CORD RS heiser 421 instead of a Shure SM -58. The 421 is not as directional as the SM -58, and we could get by without a hi -hat mic. He Figure 3. Audio path for hue recording. played a lot of very soft cymbal parts and used his brushes often -the choice of microphones really made a difference. Terry McMillian, the percussionist, is an Line 2 -right stereo mix the audio truck was accomplished with enthusiastic and animated player. It was Line 3 -left back up our 54 -input x 108-output splitter box. We apparent from the rehearsal notes that he Line 4-right back up use Jensen transformers with three wind- plays lots of different instruments with lots Line 5-TNN RTS intercom channel 1 = ings, one microphone input and two of different physical contortions. His con- director, channel 2 = audio microphone level outputs. It is built into gas and timbales were covered by 421s. All Line 6-spare a steel Haliburton suitcase. Individual his other hand percussion toys were Channel assignments for TNN to Fanta grounding switches are available for the covered by an ECM -50 that he wore on his snake B (made of individual cables) were: recording and PA feeds. 48Vdc phantom shirt. Having him wear the microphone Line 1 -left return line power is always "on" for each input. There provided us with one in -phase input that Line 2 -right return line is also a master ground switch that can lift was always in the correct place. Terry Line 3 -spare the entire splitter system from the truck's understood how this worked and used Line 4- output from return line crossbar audio ground. good playing technique for the switch controlled in Fanta truck (BNC microphone he was wearing. His har- coax) Microphone technique monica and vocals were handled with one Line 5- crossbar switcher control signal Good microphone technique is the most SM -58 on a boom. All the percussion (BNC coax) important part of multitrack recording. microphones were mixed to one track. Line 6 -SMPTE timecode Microphone technique for recording and The vocal microphone was assigned to a The stereo mix from audio truck was PA is almost always slightly different. For separate track. Again, the rehearsal notes sent to the TV truck where it was this particular show, we leaned toward the came in handy. distributed, along with the audience mix, needs of the recording, but usually the PA to the various audio tracks of the video company has the most say when it comes Limiters and compressors recorders. Obviously, we had to rely on to selecting and positioning microphones. Limiters and compressors can ruin a live Mark in the TNN truck to sweeten the live The attitude of the audio crew was that recording fast. We were careful not to do mix flawlessly because it really affected we needed to cater to the talent. If we did anything in the live recording that would the way we cut the 24 -track tapes. In this that, all the other pieces would fall in line. prevent us from remixing and sweetening case, sweetening means the adding of au- It turned out that there were only a few the audio. All the main production dience and effects sounds to the stereo special or unusual problems. microphones were recorded through ADR mix. We could hear the dry mix without The microphone and monitor system for Vocal Stressors. They have been our stan- audience by listening to the feed that left drums was a hybrid of Larry Londin's dard lead -vocal processor for years. This the audio truck, the sweetened mix by equipment and the regular system. Larry's was necessary to avoid harshness from the listening to the return feed from the TNN drum kit can be configured in many ways. monitors and provide good presence in truck, or we could listen to just the au- He used D -drums for kick and toms while the TV mix. Using the vocal stressor as dience mix by selecting the correct signal using his Drum Workshop 7 "x15" snare a frequency- dependent limiter makes it on the crossbar switcher. The advantage to trigger an electronic snare, as well as appear to roll off the high end when it has of doing it this way is that we had 23 other sounds. All this is mixed through a to limit a lot. The monitors usually get tracks for audience alone that were 8x4x2 Soundcraft mixer. He sent us, via harsh during loud passages; the vocal recorded on a third 24 -track and a mixer Countryman direct boxes, a stereo drum stressor makes that less apparent. All who could babysit them. Also, Mark was mix minus kick and snare, a separate kick other vocals were compressed with the engineer who would later have to mix and a separate snare mix. dbx -160 units set at just under 1.5:1 ratio sweeten the show when the final remixed The cymbals were miced using two and almost no meter movement. tracks were laid back to the final edited Schoeps SICM -541 cardioids overhead. We The bass was not limited in the record- video tapes. rarely use large diaphragm condensers in ing chain. David Hungate has an elaborate Splitting the signal between the PA and live recording because we get better phase rig, and we figured that he would set it up

44 Recording Engineer/Producer January 1989 www.americanradiohistory.com we COMBINED AUDIO AND AUDIENCE REMIX better than could. MIXED TO PICTURE AT TNN STEREO REMIXED MUSIC All the electronic keyboards were peak - 3 PRODUCTION MICS limited with a Valley International SMPTE TIMECODE Dynamites just to protect against runaway MIXED TO PICTURE AT FANTA short-term levels. The acoustic piano mic 24 TRACK I was limited with a UREI 1176 -LN set at 4:1 LIVE MUSIC 1 -INCH with the meter swinging 6dB to 12dB. The ONLY VTR meters are very slow, so we weren't real sure how much limiting that was. If it sounded OK, we left it alone. 24 TRACK The kick DI was also limited using a REMIX MASTER 1176 -LN. Larry often plays very fast parts on kick drum, so it was set for peak limiting with the fastest release time. It STEREO REMIXED helped contain the beginning of a note AUDIENCE MICS MIXED TO PICTURE without losing its body or the next note. AT TNN FINAL EDITED VIDEO The left and right toms from the on stage + COMPLETED STEREO MIX drum mixer were compressed with DOLBY ENCODED dbx -160s set on 6:1, with about 3dB to 5dB Figure 4. Remix audio path. of meter movement.

Effects because we didn't want to see the various options, we finally decided to run The effects used during the live record- engineer and his setup on camera, yet he a guy wire through the trees that the ing were very simple: two Yamaha had to be able to hear both the house and cables could be attached to. SPX-9011s, one for vocals, set on preset pro- the monitor mixes. He got stashed at the The power capacity of the building was gram 1, and the other for drums, set on edge of the stage area with a direct view quickly used up by the band's equipment, a preset random gate. An Eventide Har- of everything. the lights and sound system. The audio monizer was used to get a delay of 30ms He was a little too far away for quick ac- truck, the main video truck and the ex- and 70ms from a mono electric guitar cess to the microphones, so that put extra tape machine truck were powered signal, just to open up the sound. tra pressure on the audio stage manager. from a silenced, portable generator sup- After the audience and effects We tried to keep motion around the stage plied by Citation Film /Tape Support. The microphones were added in the TV truck, and chatter on the intercom minimal. We unit had an operator with it whenever it the overall mix was run through an Aphex were trying to use the KISS method, which was on and was available to us 24 hours Compeller to smooth out the mix and stands for "keep it simple, stupid:' We a day if necessary. It had a crystal - make it easier for the editors. This allowed never identified microphones by their in- controlled governor and very high current them to hear the soft passages more easi- put channel numbers. This avoided any capacity, so the small changes in the load ly without having to deal with distorted confusion about what we were working didn't affect the voltage or frequency. The loud passages. on because the monitor and recording in- only problem that we might have run into puts were different. On the track layout was a possible ground difference between The live mix sheet (see Figure 2), notice that Chet's the generator -powered equipment and the The mix of the live recording was the guitar amp mic is input #10 in the record- house -powered equipment. Fortunately, all first thing that anyone would hear in post - ing system and #9 in the monitor system. the power and technical systems were production. If it was bad, it would affect By just calling it "Guit Amp Chet," we all wired correctly, so we had no problems. the judgment of the editors. There was no knew what we had to find. We used Fan- We attributed the lack of interfacing prob- time to remix before the editing began. ta's layout sheets for everyone because it lems to detailed pre -production work and After the show was edited, the new, re- has spaces for both system inputs and the good communication. mixed sound was added to the final video on -stage sub -snake assignments. If the PA Remixing this show was different from tape. Smoothness and simplicity got us people understood what we were doing, most TV shows. The show was planned through the original live mix. To avoid we could all work together better. A group around the audio, so there were great ex- burning out the musicians, we decided to of us that have worked together over the pectations. Chet lives in Nashville and forego a long sound check. There was years have settled into this system of label- would drop in from time to time to check enough time during camera blocking to ing because it is simple and functional. on the progress. The producers and direc- hear everybody play. tors were editing all day, every day at Post Each musician had played on stage The site Masters with Terry Climer. The producers/ many times, but they had never played The show was taped about one week directors rarely made visual edits that together as a complete band. To en- before graduation, at Vanderbilt Univer- would have an adverse affect on the courage that mood, we felt strongly that sity, which caused some special logistical music. The remix method was simple and all technical services should be as invisi- problems. The university is particularly easy to use. The original live tracks were ble as possible. The stage monitor system proud of its grounds and buildings. The cut on an Ampex 1200 24-track, and they had to be physically unobtrusive, loud and theater we were using is in the middle of were remixed to another Ampex 1200. very full- fidelity. The monitor mixing the campus, surrounded by large magnolia The original tracks were locked to a Sony system would also have to supply the trees and manicured lawns. The problem 5400 3/4 -inch VCR with a BTX 4600 house sound. That worked fine in this case was how to pull the audio cables into the synchronizer, so that David Palmer could because the stage was at least as big as building without damaging the landscap- mix the show while looking at the the audience area. (See Figure 1.) Finding ing. The audio cable run was about 500 pictures. a place to put the large monitor console, feet and needed to cross walkways, flower amps and peripheral equipment was hard beds and lawns. After considering our Continued on page 70

January 1989 Recording Engineer/Producer 45 www.americanradiohistory.com Building the Biggest P in the Galaxy

By Ben Duncan

46 Recording Engineer /Producer January 1989 www.americanradiohistory.com The motorsport racetrack at Castle Don - paid off because over the past six years, ington in the English midlands has been the band has averaged seven out of every the location for a nine -year series of an- 12 months on the road -including one nual Heavy Metal, one -day outdoor con- two -year period in which they toured concerts. At the last festival, on August 20th, tinuously for 13 months! Since then, the 1988, eight bands played, headlined by original PA has grown substantially to in- Iron Maiden. They used the biggest single - clude 100 TMS -3s and 24 TSW-124 source PA system ever constructed. Rated subwoofers. in excess of 500kW, it's won an entry in Doug Hall, Iron Maiden's house engi- this year's "Guinness Book of Records." neer, saw at Donington the opportunity to Throughout the 1980s, UK touring use their PA for the whole event, but knew bands have had to weather (for diverse they'd need more equipment. "I like a reasons) tough economics. Most of the system to exhibit comfortable headroom, 1970s headline bands that owned their about three -quarters of its total output :' he own PA systems have long ago "realized explained. their assets :' Iron Maiden is an exception. In 1983, Logistics after two years of successful touring with Dick Bell, Iron Maiden's production Turbosound's own PA rental company, manager, then contacted Mike Low at they decided to buy the rig they were then Britannia Row, a major UK PA rental com- using, including 24 TMS-3 boxes for the pany, who was coordinating the sound at main house system. Donington. Mike set about arranging a fur- At the time, the idea of investing in such ther 400kW array with the help of a huge (and partly "second owner ") PA Samuelson's Concert Productions (another would have looked outrageous to record UK rental company that, incidentally, was company accountants. However, Iron bought by Britannia Row the week after Maiden's management had some massive the concert). world tours planned. Their decision has Extra cabinets and amplifier racks were brought in from Regiscène in France and Ampco in Holland. Meanwhile, in Brit Ben Duncan is a London -based free -lance writer. Row's warehouse, a section of the planned

January 1989 Recording Engineer/Producer 47 www.americanradiohistory.com BSS MCS200 array was evaluated to simulate the intended coverage two months beforehand.

The setup

BSS LINE LEMO SPLITTER BSS LINE DRIVER On -site setup took five days. Monday was spent erecting the main speaker ar- I IL H 1 \ ray. The consoles, stage monitoring and x the single delay tower array were rigged on Tuesday. Wednesday was "tech day ": The system was fired up, hums were ex- orcised, the polarity of more than 1,700 individual components was checked, and the cabinet array in the PA wings' upper tier was adjusted. Thursday and Friday were reserved for sound checking for Iron Maiden and the support bands. This meant the instrument backline could be left in EAA place backstage, positioned in order of SUBBASS appearance. C -AUDIO Gsc Before 1986, Iron Maiden guitarists Dave Murray and Adrian Smith had used the

x traditional Marshall amp stack (the kind C -AUDIO EAA that's permanently cranked up to max- BASS MIDS HIGHS imum), together with daisy- chained FX pedals. The sound was neither clean nor TMA 23 quiet enough, so Hall generally used a BASS MIDS HIGHS clean feed from the two guitarists by mic- Figure 1. General interconnect scheme. ing individual cabinets backstage. At Don - ington, however, stacks of Galen- Kruger amps and a rack of TC Electronics guitar FX cleaned up the sound sufficiently for Table 1. House PA amplifier checklist. Hall to mic the on -stage amps directly. The mics used for Iron Maiden included Quantity Model Source a Shure SM -7 on bass guitar; Shure SM57s 72 OSC 3800 Iron Maiden for the two guitars; an SM98 on the hi -hat 102 C-Audio SR-707' Samuelsons and another on the tubular bells; AKG 6 Turbosound TMA-23" Samuelsons D -112 on the kick drum; Neumann KM -84s 18 EM 1000 Regiscène over the kit, together with SM57s for the 6 Carver PM 1.5 Regiscène remainder. Sony diversity wireless mics 14 HH V800 Ampco were used for the vocals. All the mic lines were fed into BSS MSR -604 active micro- * modified SR -606s phone splitters, which provided buffered Each tri -amp has three stereo channels. feeds for the three house and three stage total = 460 amplifier channels in use. monitor consoles, as well as an isolated feed for the BBC's recording truck. A multicore was also laid from the house consoles to provide effects returns for the BBC. From the splitter rack to the house consoles were three snakes apiece, each with 19 pairs, supplying 3x40 -channel capability, with spare pairs. As usual, the aim was to keep show downtime to a minimum, with each successive instrument /amp array and drum - riser fully miced and waiting behind the backdrop. In theory, it was only necessary to plug the multicore into the next stage box. The actual duration of the seven changeovers ranged between 20 and 25 minutes. To achieve the rapid changeover while keeping Iron Maiden's own control gear intact required an on -stage crew of 24 and three substantially independent monitor systems. The support bands' monitoring alternated between a pair of Soundcraft series 4, 40/16 consoles (supplied by Samuelson's), with their own EQ

48 Recording Engineer/Producer January 1989 www.americanradiohistory.com racks, and Carver PM 1.5 amps. John technician, now working for Britannia companies, it also presented a nasty inter- Shearman and Ed Wilson from Samuel - Row) spent an evening religiously check- face headache. Any failure would silence son's did alternate duty on the support ing and correcting sensitivities and nor- the main PA outright. Stress on the bands' monitor mix. Alongside was malizing the polarity of every amplifier. crossover outputs was avoided by using Maiden's own 24/10 Midas, with a third set Five more hours were spent adjusting the BSS's newly developed high -power line - of control gear. Their power amplifiers system grounding to reducing residual driver "booster" package, made to plug in- were mostly QSC 3800 (lo + mid), with hum and noise. to the MCS series crossover "mainframe:' a few Turbosound Fan Amps, and Turner At Hall's insistence, the 400+ amplifier It was first devised in association with Con- B502s (on the vocal wedges). inputs were driven from a single BSS MCS cert Sound to drive 200+ amplifier chan- The support bands "A-B"ed between two series crossover. This approach promised nels at the Nelson Mandela birthday bash. sets of custom stage monitor wedges, sonic coherence, but with incompatible At Donington, two line drivers were designed by Pete Brotzman when he amplifier racks supplied by four different placed at the stage -end of the returns worked at Turbosound Rentals. They all used TMS -3 side- and drum -fills from Iron Maiden's 40kW monitor system. Maiden used their Turbosound vocal wedges along with vocalist Bruce Dickinson's sidef ills, which are rated at 12kW and combine a pair of Martin 215 bins with Community's M4, a 4-inch exit mid -range compression driver noted for its ability to deliver crushing SPL. BREATH- TAKING AUDIO House control recreates what was on your final mix down In the mix tower were three consoles, the way you want it heard each with its own outboard gear. Iron every time your cassette is replayed. Maiden used its own Amek M1000 48/8/2, with custom modifications and a 16 -input add -on stretch -frame for the drums. The Your music can now be economically reproduced support bands alternated between two with audiophile quality by a studio Soundcraft Series 4, 40/16/2. or cassette duplicator using the KABA 4 -TRACK Hall's extensive FX racks contained Eventide SP2016 (used on the drums); REAL TIME & 2X DUPLICATION SYSTEM Eventide 949 and 969 Harmonizers; dbx 160 and 165 compressors; two ADR Com- pex limiters; two UREI 1176 compressor - limiters; an Aphex C; an AMS RMX-16; an ADR vocal -stresser and dbx's RTA-1 analyzer. Hall also used a Revox B -77 for intro sequences and voice -overs. He says, "Iron Maiden does a lot of their own FX on stage. Being outdoors, I'm using some general 'small room' ambience to add some lushness. I compress the bass with the UREI 1176, followed by the ADR Com- r Od u pex and some post EQ. I compress the producers and Central vocals by 5dB, so when Bruce goes cati fr om quality-conscioused s atesCanascìous a. berserk on the mic, he doesn't kill people!" Available the Caribbean After 8 years of touring, Hall America knows the throughout Sou h cues well enough to mute all the unused mics in a flash. This minimizes spillage from Maiden's enormous monitoring and on -stage amp array.

The main PA Table 1 shows the 460 amplifier channels in use on the two PA wings. These were divided between stereo amps, half - WRITE OR CALL FOR THE NAMES OF PRODUCERS used stereo amps and some TMA -23 stereo IN YOUR AREA THAT CAN OFFER THE QUALITY & tri -amp units (a Turbosound market ECONOMY POSSIBLE WITH THE KABA SYSTEM research product no longer manufactured). Owing to their diverse sourcing and the differences in rental companies' interconnect standards, the amplifiers needed very, very careful matching. m s Toll -Free From California John Newsham from Turbosound and KABA 800-231 -TAPE (415) 883 -5041 Julian Tether (then Samuelson's chief R&D ® G" KABA Research & Development 24 Commercial Blvd., Suite E, Novato. CA 94949

Circle (24) on Rapid Facts Card January 1989 Recording Engineer/Producer 49 www.americanradiohistory.com NOTE: TOP DECK OMITS 2 -INCH WEDGES AT REAR

MID /HIGH

multicore. Figure 1 shows the general in- acting as "acoustic compensators:' Smaller terconnect scheme. wedges at the front fine -tuned the cou- VERTICAL The main house system comprised 304 pling between adjacent mids. 18 in of BASS Turbosound TMS -3 enclosures. Each Each tier was built inches front MIDDLE DECK 72 -foot stage wing (see Photo I) had three the next, while the enclosures in each

} I tiers. Each tier had 48 Turbosound wing were arrayed in an arc, receding 10 2 INCHES /50mm enclosures in two rows, totaling 144 per feet at each "wing tip;' to produce a pair BASS wing. The remaining 16 were placed of phase- coherent, virtual point sources. under the front of the stage, with a This allowed a relatively constant SPL to separate vocals -only mix to balance the plainly audible instrument amp stacks and side- and drum -fill monitors. In the wings, "With this system, you can the enclosures were stacked vertically: FRONT get the level without MID/HIGH first, to gain the longest throw from the I-IF horn, and second, to close- couple the distortion that hurts your 10 MIDMIGH -inch mid drivers. On the ground, under ears." f 0.75 INCHES /20mm the wings, were 60 Turbosound TSW -124 subwoofers, all arrayed for maximum coupling. be maintained over the 60 -meter span, The TMS -3 is normally configured as a back to the mix tower. medium -throw "box:' Nevertheless, the The small delayed PA, located im- capabilities of this giant array were clear- mediately behind the mix tower, was rated BASS at 50kW. Because of the more -than- _ 1 ly proved during initial sound- checking- BOTTOM DECK bass and subbass projection STAGE WING by the PA's clarity in a large village 2 miles adequate 2 INCHES /50min away. from the main system, the delay tower's At Donington, flying the PA with the low end was barely "ticking over:' and it Figure 2. Every cabinet was tilted down with available scaffolding would have left a big needed no subwoofers. John Newsham lumber wedges acting as 'acoustic compen- gap between cabinets, ruining the cou- said, "It's not there to start the sound all sators. " Smaller wedges at the front fine -tuned pling. Instead, every cabinet was tilted over again, it's there to give a gentle lift the coupling between adjacent mids. down (see Figure 2), with lumber wedges to the mids and highs:' A look at the site

Mike Line Phono Mixing Matching Metering Monitoring Processing Distribution Rack Mounting AUDIO TECHNOLOGIES, INC. rari 328 W. Maple Ave., Horsham, PA 19044 (215) 443 -0330 FAX (215) 443 -0394

Circle (25) on Rapid Facts Card

50 Recording Engineer/Producer January 1989 www.americanradiohistory.com STAGE AND PA WINGS BACK -STAGE AREA RACE CIRCUIT

ARENA 'Illlllll,

00--MIX TOWER

DELAY TOWER

UNDERPASS

n L.-DUNLOP BRIDGE

Figure 3. Castle Donington site plan.

plan (see Figure 3) shows why: The land delay line. Stereo balance, horn aiming about 125kW), the remaining headroom rolls away from stage -left into bowl -shaped and delay times were first estimated; the was more than comfortable. Under these dip, then up into the main bowl and goes delay was Ims /foot. With sound crew conditions, the short -term rms SPL, on rising gently to a ridge well beyond. radioing back the results from a golf -cart, monitored at the mixing tower, was 118dB. Donington's infamous "dog leg" means a the fine -tuning was accomplished fairly It was 108dB at the Dunlop bridge, 185 major part of the audience is well off -axis easily. meters (more than 606 feet) from the from the stage. stage, and nearly on -axis. The delay array consisted of 30 MSI The event During Iron Maiden's set, the short -term (Maryland Sound Industries) HF and 16 LF The warm day began with hazy skies rms SPL was similar, but there were more cabinets. In addition, eight JBL long-throw and later clouded over. By 6 p.m., atten- dynamics; instantaneous peaks reached horns at the top of the tower provided ad- dance had reached 107,000. The in- 124dB at the mix tower, compared to ditional reach for the HF material. This ar- evitable rain came after nightfall, during 119dB during KISS's set. 124dB cor- ray used the stage -right mix to "fill out" Maiden's set. The good side is that wet air responds to the system being driven brief- the stereo image 500 yards from stage -left. seems to improve the transmission of ly to within 0.5dB of full power. sound. What was achieved? Well, I believe that After six years on the road and literally this is the first time a group of Heavy Metal thousands of gigs to his credit, Doug Hall bands have played (in the open air to more During Iron Maiden's set, (who's been with Iron Maiden since their than 100,000 people) with enough power the instantaneous peaks first UK tour in 1980) said, "I don't want headroom to play loud and develop a reached 124dB at the mix a PA to sound like 'big speakers: For me, peak -to -mean ratio (i.e. "dynamics ") of tower. it should be an extension of the stage, like more than 10dB- without stunning the it's coming straight from the band. The PA limiters. should disappear. With this system, you RE/P can get the level without distortion that This is a technique first applied by hurts your ears:' The philosophy is also Malcolm Hill, a UK PA rental company supported by Motley Crue's engineer Mark that has provided sound at Donington on Dowdell. past occasions. The delay tower com- Since the support bands' sound peaked ponents were driven off their own at between 6dB and 8dB below full out- crossover, through a KlarkTeknik DN -700 put (which means one -fourth power, or

January 1989 Recording Engineer/Producer 51 www.americanradiohistory.com Coping with Wireless Microphone Systems

By B 11 Mayhew

Help is here for those who need to overcome wireless system difficulties.

Wireless microphones have become a a wireless that was set on the frequencies terference. With this information, you or convenient way to deal with many difficult for 8, 10 or 12 to San Diego, it would not your service tech will be able to tell if you production situations involving actors and work because the San Diego area has TV have a fault with the wireless or if you are, musical artists who need freedom of stations broadcasting on channels 8, 10 in fact, on the wrong frequency for a given movement or concealed audio pickup. Set- and 12. area. ting up a single wireless mic is a relative- Happily, the FCC has opened up a new Most of the "outside" interference in ly easy task. Yet behind the scenes, in the group of frequencies that allow for clear - wireless microphone receivers comes invisible world of RF, trouble lurks. channel operation within the United blasting through -usually causing the States: 169.445MHz, 169.505MHz, receiver's VU meter to peg. It's usually a Outside interference 170.245MHz, 170.305MHz, 171.045MHz, commercial TV broadcast station (and to To start, let's talk about interference that 171.105MHz, 171.845MHz and a lesser degree, FM radio) that causes the is not caused by other wireless 171.905MHz. (At least, I think that was the interference. Since they use FM modula- microphones being used at the same time intent of the group that convinced the FCC tion with a deviation of 75kHz, you can and at the same location. For lack of a bet- that clear -channel wireless mic frequen- see why the wireless mic receiver (12 to ter term, let's call it outside interference. cies are really needed. The truth is that 15kHz of deviation) really grabs on to the Most people would say that you should the FCC took the list of frequencies sub- outside signal. have no trouble if you have taken the mitted and changed it a bit.) To see if you are going to have outside usual precautions in selecting the transmit At first glance, we all yelled, "Eureka!" interference, a good on -site test is to turn frequencies (for the given area) of the But then we realized that the spacing was on the receivers and open the squelch. wireless mics you are going to use. The far too close. In fact, you can only get Now listen to the spectrum noise. If you real trouble is in the use of the word usual. three of the above frequencies to work hear a carrier, you might want to drag out Most manufacturers design their wireless together at the same time. The rest of the that old mic cable. mics to operate in the frequency group bad news is that in some areas of the coun- If you suspect outside interference and between 154MHz and 216MHz. Of course, try, wireless users have had interference you enjoy playing Russian Roulette with within this group of frequencies are on these frequencies, too. So far, in the Los a shotgun, there are a couple of things you walkie- talkies and the VHF TV channels. Angeles area, I have found the following can do. First look at the receiver's meter. Table 1 shows the relationship between frequencies to be free from interference: If the interfering carrier signal reads VHF channels 7A through 13F and the 169.445MHz and 171.105MHz. The reason higher than -20VU in the RF position licensable wireless frequencies. these new frequencies don't work out as (meters vary by brand), you will probably The unused TV channels within a given planned is that the spacing between fre- have trouble. Even though FM wireless area are a good place to start when select- quencies is for walkie- talkies, which is too mics work on the capture principle, (the ing a workable frequency. I've found that close. The FCC didn't take the wireless mic strongest signal is captured by the if you are further than 75 air -miles from deviation of 15kHz into account. receiver), this is not much help because a station's transmitter, you should be able your transmitter is moving about the per- to use wireless within that channel's band- What interference sounds like formance area. How strong must a signal width. For instance, in the Los Angeles If you are lucky, the interference will be be to interfere? I found that a 21V area, the unused channels are 8, 10 and "understandable" in your wireless (0.000002V) can cause interference 12. The problem is that if you were to take receiver; you will be able to hear the sta- problems. tion clearly enough to get the call letters With movement, the transmitted signal Bill Mayhew Is owner of Mayhew & Company, Burbank, CA. of the station that is causing the in- is being received at varying strengths by

,jL {^{w= Ciz° i 1p r i;- "Tr; gg;51 0 ,`-i ,,{s. ,;,j ¡" 1,11.-_ilt.i.A-li:v :19lR:ltlíC 3i!'4. ?put`_'!.y49!t !;:- :can`B + 7.714Ra.;11».11,1111g411.I{ r 52 Recording Engineer /Producer January 1989 www.americanradiohistory.com the receiver. During a period of weak switching diversity system. Table 1. VHF TV channels and the correspond- reception, the interfering signal could be In a single switching diversity receiver ing wireless frequencies. received by the wireless receiver. If the in- there are two antennas. The RF signal - terference is -20VU or less at the receiver, strength from each IF amp controls the try moving the receiver a few feet. This audio switch. When one side of the switch- Channel Frequency (MHz) could make all the difference in the world. ing diversity receiver senses a weak RF 7A 174.8 The idea is to find a location with the signal, the switch switches to the other 7B 175.4 least amount interference. You might also side of the receiver, which, at that instant 7C 175.8 try different antenna polarizations. in time, should be receiving a strong 7D 177.0 Sometimes a 45° angle works well. signal. (See Figure 2.) While switching 7E 178.0 7F 178.8 Remember that the wireless transmitter diversity systems have a convenience ad- 8A 80.8 and receiver antennas must be polarized vantage, they are generally more costly 8B 181.4 in the same direction (See Figure 1.) There and slightly less reliable than a carefully 8C 181.8 are no hard and fast rules for polarizing installed antenna diversity system. 8D 183.4 a hand -held system. Typically, a 45° angle Another obvious (but often overlooked) 8E 184.0 works best. With an antenna diversity key to successful wireless operation is 8F 184.8 system or a switching diversity system, maintaining a minimum distance between 9A 186.8 one antenna should be aligned vertically, the transmitter and receiver. This helps en- 9B 187.4 9C 187.8 and the other at 45 °. sure that the receiver will only "capture" 9D 189.4 its transmitter and not the interference. 9E 190.0 Antenna diversity and One last point, make sure that the receiver 9F 190.8 switching diversity systems is turned off when the transmitter is not 10A 192.8 To capture the strongest possible signal in use. This prevents unwanted transmis- 10B 193.4 and minimize dropouts, two reception sions from getting into the receiver and 10C 193.8 techniques are available: antenna diver- possibly leaking through the audio system. 10D 195.4 sity and switching diversity. In an anten- A very common misuse of wireless 10E 196.0 na diversity system, typically two or three systems occurs when the engineer thinks 10F 196.8 antennas are employed, each positioned the receiver should be at the console. 11A 198.8 in a different dimensional plane. The While this may or may not be important, 11B 199.4 11C 199.8 in antennas are combined an antenna the antenna most certainly should not be 11D 201.4 combining box /splitter, which feeds up to there. The antenna and receiver should be 11E 202.0 four standard radio receivers. As the as close to the performing area as possi- 11F 202.8 transmitter moves about the performance ble. This means there will be either anten- 12A 204.8 area, the presence of a strong signal is na coaxial cable or audio lines going to 12B 205.4 reasonably assured at one of the antennas. the stage. "Wireless" refers only to the 12C 205.8 With antenna diversity, the signals are signal path between the performer's mic 12D 207.4 not switched as they are in a switching and the antenna. 12E 208.0 diversity system. With careful antenna 12F 208.8 placement, 13A 210.8 the antenna diversity method Frequency selection 13B 211.4 can provide the best possible coverage, no If all you need is one or two wireless 13C 211.8 switching noise and a minimum of poten- microphones, then the frequency selection 13D 213.4 tial phase cancellation problems. Also, this process is quite simple. The problem 13E 214.0 method generally has no limitations as to becomes more complex when you require 13F 214.8 brand type and is less expensive than a many more channels. They have some

VERTICAL HORIZONTAL 45° NOT POLARIZED

Figure 1. Antenna polarization options.

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January 1989 Recording Engineer /Producer 53 www.americanradiohistory.com degree of compatibility, but as I said the most sensitive receiver. Further, it does na 10 feet closer to the signal source. before, the problem can get quite not allow the operator to disable the Figure 4 shows a graph of what we found. complex. squelch, if desired. Also, with a user This exercise shows that coax cable is If you consider IF frequencies, band- adjustable squelch, it is possible, at times, better than air. It was quite surprising how width, spurious emissions and image re- to squelch out faint interference. little loss the cable had in this real -world jection, the problem becomes apparent. One additional thought. You should application. What this means is that if you The sidebar "Frequency Selection" on readjust the squelch whenever a unit has can improve your line of sight by page xx shows a formula that allows up been in for repair, when you change loca- relocating your receiver antenna, by all to 22 wireless channels to be used at the tions or if you have reason to believe that means, do it! As the data points out, a same time, in the same location. To do the someone has changed the control. small distance closer to the transmitter math long hand involves thousands of ad- more than makes up for the loss caused dition, subtraction and comparison prob- The antenna system by additional cable length. lems. Of course, with the aid of a com- Quite often I am asked how much coax- Now before everybody goes out to in- puter, the tedious task is reduced to just ial cable can be connected to a wireless stall coax, there are some finer points to entering the parameters you wish to use. receiver to extend the antenna. I usually consider. First, you should use a dipole If you are not up to doing the calculations suggest 50 feet of RG -58 or 100 feet of antenna. If you just try to remote the whip yourself, the answer for frequency selec- RG -8. It seems that everybody has a dif- antenna that came with your receiver, it tion can usually be found with the dealers ferent idea when it comes to coax length. usually will not have a good ground plane. and /or manufacturers of the wireless In trying to find the standard losses of Next, be very careful about the type of equipment. coax cable, I looked into a number of coax used. Appearance itself is no publications, all of which gave me a dif- guarantee. Using an ohmmeter, you Squelch ferent answer. So I decided to try some should read close to Oft center to center The purpose of squelch is to mute the measurements in the real world. I set up and also from shield to shield. You should spectrum noise received when no carrier the test at home, in an open area to help read an open between the shield and the is present (similar to a noise gate). There reduce reflections. center conductor. seem to be two schools of thought when First I connected a dipole antenna to our If you suspect trouble with the anten- it comes to squelch controls in wireless spectrum monitor using 3 feet of RG -58, na, check the coax first -it may save time microphones. The first is that the end -user which allowed me to polarize the anten- and money at the repair bench. Last but should not have to adjust the squelch on na for maximum reception. Figure 3 not least, select the location of your the receiver, so the manufacturer puts the shows a typical dipole antenna. The signal remote antenna carefully. It should be at squelch control inside the receiver, away was measured with the transmitter placed least 2 feet from any metal, the coax from the end -user. This is done to avoid 40 feet from the spectrum monitor. Then leading to the dipole should not parallel potential misadjustment of the squelch by we disconnected the 3 -foot section and in the antenna elements and finally the the end -user. its place connected 25 feet of RG -58. To antenna should be polarized to match the The second approach suggests that a compensate for the loss in the additional polarization of the transmitter antenna. preset squelch control does not allow for cable, we had to move our dipole anten- With all of the wireless microphone ad-

ANTENNA

PRE IF AMP AND AUDIO AUDIO SWITCH SELECTOR MIXER H DEMODULATOR PROCESSOR OUT

SWITCH CONTROL

LOCAL OSCILLATOR

10.7MHz BELOW CARRIER

PRE IF AMP AND SELECTOR MIXER DEMODULATOR

ANTENNA

Figure 2. A typical switching diversity receiver.

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54 Recording Engineer/Producer January 1989 www.americanradiohistory.com Table A. 174.0MHz, 184.8MHz and Table B. Harmonics show that 195.4MHz should not be used together 180.8MHz, 181.8MHz and 184.8MHz are Frequency Selection in a wireless microphone system. A compatible in a three-mic wireless calculation of their harmonics shows system. The frequency selection formula there will be interference. reads as follows: IFI (intermediate frequency interference) equals f (fre- 216.8 227.6 238.2 (f + 41F) 223.6 224.6 227.6 (f + 41F) quency of the wireless) minus the 206.1 216.9 227.5 (1 + 31F) 212.9 213.9 216.9 (f + 31F) IF, which is 10.7MHz, and products *195.4 '206.2 '216.8 (f + 21F) 202.2 203.2 206.2 (f + 2IF) of the IF. Subtract multiples of the 184.7 195.5 206.1 (f + IF) 191.5 192.5 195.5 (f + IF) IF from the original frequency a 174.0 184.8 195.4 (f) 180.8 181.8 184.8 (f) 163.3 174.1 184.7 (f - IF) 170.1 171.1 174.1 (f - IF) total of four times ( -IF, -21F, -31F '152.6 '163.4 `174.0 (f - 21F) 159.4 160.4 163.4 (f - 2IF) and -41F). Then add multiples of 141.9 152.7 163.3 (f - 31F) 148.7 149.7 152.7 (f - 31F) IF (10.7MHz) to fre- the the original 131.2 142.0 152.6 (f - 41F) 138.0 139.0 142.0 (f - 41F) quency four times (IF, 21F, 31F and 41F). r I have chosen three regular frequencies to work with in this example. There is a column for each frequency (174.0MHz, 184.8MHz and 195.4MHz). (See Table A.) The next step is to see if any of the frequencies in any of the columns are within 0.7MHz of each other. If they are, then you will have some problems. The wireless system will be unusable if the numbers fall within 0.7MHz of the frequencies marked with an asterisk ( *), that are below the carrier frequencies marked with an f In other words, the numbers in the three columns will all generate some interference; those marked with an asterisk definitely will. It is important to understand that this formula only tells you the frequencies that will cause problems; it doesn't calculate the workable choices. As you can see, 174.0MHz and 195.4MHz will not work together, nor will 184.8MHz and 174.0MHz or 184.8MHz and 195.4MHz. The only variable in this is the amount of tolerance you are willing to put up with. 0.7MHz seems to work very well- however, I'm sure you can lower that number and still have some degree of suc- The NR system cess. In this example, it will be necessary to change two of the car- you just set and forget. rier frequencies to have three usable mics. A product of ANT Telecommunications, Inc. This method only takes into account the local oscillator and the No wasting time lining up - not even for tape exchanges. harmonics of same. In doing so, though, it happens to take into ac- Up to 118dB dynamic range - the widest dynamic range count other methods and computa- available in any noise reduction system today. tions. This is a very conservative Over 15,000 channels in No pre or post echo. method of frequency selection - that happens to work. use worldwide. Table B shows three frequencies No breathing or pumping. that will work well together, pro- telcom c4 viding there aren't other outside in- No overshooting. Silence by Design terferences to contend with. Notice that more than 0.7MHz separates Distributed by the frequencies in this example. RAM BROADCAST SYSTEMS INC. I.-,,-.-,,.-,; ;--.,.,., 346 W. Colfax Street, Palatine, IL. 60067 ; !ci!4;i_r.;+ ix: New York (516) 832 -8080 Chicago (312) 358 -3330 Tennessee (615) 689 -3030 Circle (26) on Rapid Facts Card January 1989 Recording Engineer/Producer 55 www.americanradiohistory.com The Ten Commandments vances that have taken place in recent by the cable, tie the cable in a snug half of Wireless Microphone times, a new gremlin has raised its ugly hitch. In effect, this dressing system causes head to unforeseen heights. The gremlin the microphone to become part of the Use is clothing noise. Yes, that's right; finally clothing. The clothing noise is greatly a gremlin that is not the wireless reduced because the microphone now 1. Keep the distance between the microphone's fault. A number of times moves transmitter and the receiver's anten- with the clothing instead of against have had A is (video's terminology for first it. One word of caution: This system works na to a minimum. audio engineers) call me and complain well on most fabrics, but is a real mess 2. Maintain a direct, unobstructed on about drop-outs. After investigation, more some synthetics. Use a small piece of gaf- line of sight between the transmitter and the receiver's antenna. times than not, the problem proved to be fer's tape and test delicate or expensive clothing noise. fabrics before installing this system. The 3. Keep the antenna and mic Ironically, with clothing noise, the prime adhesive cables on the transmitter separated. may cause irreparable damage. cause is usually inexperience. Consider 4. Place the transmitter body pack as high up on the body as this: In both TV and motion picture pro- Neon interference the -1 mixer is usual- I possible. duction, A and /or the really can't think of any other word ly the most experienced person on the that strikes as much fear into the hearts 5. Have both the receiver and transmitter antennas polarized. audio crew. In most production situations, of knowledgeable users as neon. the A -1 is removed from actually "dress- I 6. Place the receiver at least 4 feet Some time ago, was given the task of high. ing" the talent, i.e. attaching, placing and making a number of wireless mics work the transmitter and anten- 7. Keep the receiver a minimum of concealing mic, in the presence of lots of neon. The neon na in the talent's clothing. Therefore, person managed to enclose the pro- 3 feet from any other receiver or antenna. dressing the talent is usually left to the scenium of a theater completely with A -2 a wardrobe whose I 8. Keep the receiver a minimum of -or even person, neon tubes. As remember, there may main concerns are not audio quality. have been three 3 feet from any metal. different-colored tubes 5 shows a "dressing" mic in parallel 9. Use only fresh batteries. Figure placement running around the proscenium method that has proved useful. 10. Contact the manufacturer or a quite arch. Take a 2 piece of gaffer's tape. As I recall, I didn't find qualified consultant if you have trou- "xl /2" out about the ble determining the usable This forms the cross arm of the T. A se- neon until I arrived at the theater. I sup- frequencies. cond 1/2 "x3" or 1/2 "x4" piece of gaffer's pose the producers didn't want to hear any tape forms the staff of the T. Then place negative thoughts, especially since they the omnidirectional mic onto the sticky had spent big bucks on the set. side of the tape. The top of the mic should Originally, I set the receivers up on the reach just to the top of the cross arm and stage and connected them to an antenna TWO POLES WITH align with the staff of the T. The mic cable diversity system using three dipoles, HORIZONTAL POLARIZATION should be dressed down the staff of the located stage left, stage right and center T. Then slip this entire mass of tape, stage in the footlights. I arranged them COAX microphone and cable under the talent's thus to take advantage of the capture ef- shirt, blouse or coat with the sticky side fect of using three receivers. If properly BALUM of the tape toward the outside of the placed, using three antennas removes 97% garment. of the dropouts. To help eliminate microphonics caused Remember the old Frankenstein movies Figure 3. A typical dipole antenna. with the "Jacobs ladders" in the background? They consist of two wires set vertically. At the bottom of the ladder, the space between the two wires is rather CABLE DISTANCE FROM ANTENNA LENGTH TO TRANSMITTER close, and at the top, the space between (FEET) (FEET) them is wider. When a high voltage is applied to the two wires, 3 40 the arc starts at the 25 30 bottom and "climbs" to the top, where it 50 25 finally cannot bridge the gap any longer, 100 20 125 10 and the spark is squelched, usually with _ a loud snapping sound. The whole process c3 continues to repeat itself until the power SPECTRUM ANALYZER z J is turned off. This adequately describes the sound a TRANSMITTER that was coming from the wireless chan- U nels. It was not in the background; when it was heard it usually competed with the program audio. Also, the interference 1-0-DISTANCE FROM - seemed to be greater when the wireless TRANSMITTER transmitter was close to the neon. Of course, the director wanted the MC to be Figure 4. Relative distance from transmitter to antenna vs. coax cable length /feet. next to the neon when he introduced the :. F..ltio1j#:. i .

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56 Recording Engineer /Producer January 1989 www.americanradiohistory.com various acts or when going to a would be impossible to calculate. Sure commercial. GAFFEn'S enough, it did improve the operation. Up rTAPE I went back to the office to pick up the to this point, I was just working on remov- spectrum analyzer. When I hooked it up ing the RFI that was getting into the on site I found that the effective radiated receivers. What about the transmitters?

RF signal from the neon tubes was, at STICKY SIDE The transmitters had metal cases with worst, equal to the wireless transmitters'. TO MIC additional metal shields built into the In addition, the neon bandwidth was full - cases. The interference was most apparent spectrum. It went from 5MHz to 1GHz. I when the MC stood right next to the ver- am sure it was wider, but the spectrum tical neon tubes located stage right and analyzer only measures from 5MHz left. The RFI was getting into the transmit- through 1GHz. By connecting a whip ter through the transmitter's antenna. I mic to the talent's Figure 5. Attaching a wireless found that by having the transmit anten- antenna to the spectrum analyzer with a clothing. piece of coaxial cable, I could see standing na positioned horizontally on the MC, I waves along the tubes, as well as from the again could gain marked improvement. I high- voltage leads feeding the tubes. The also rotated the receiver antennas to strength of the neon signal was equal horizontal, but found that they worked throughout the entire bandwidth. best at a 45° angle. 4kV TO 15kV I also found that the neon RF field was One additional point of RFI intrusion SECONDARY also being coupled to the entire building's would be the microphone cable and head 110Vac line through the primary side of that plugs into the transmitter. Since I was the high- voltage neon transformers. I using ECM -30 mics and the transmitters noticed that the high -voltage wires were had all of the latest RFI modifications on just twisted together at the splice points 'IH/ 117Vac RH. the microphone jack, there was not much and not shielded. Nor were the / PRIMARY \ I could do. However, I would like to have transformers grounded. In effect, I had a 0.01µf 0.01 Nf tried a dynamic mic. I have a feeling that very broadband (dc to light), high -level 500V 500V the electret has some real problems reject- signal source that was using the entire pro- ing a strong RFI field. scenium arch, plus the high- voltage feed Did it work? Most of the time, it did. On lines, as an antenna. Couple this with the a scale of 10, we started with dismal 3, and Figure 6. By -pass capacitors used to buffer the fact that the broadband signal was also after all the troubleshooting and tweak- ac line. traveling down the ac lines, and I think ing, it was a tolerable 7. you can see why I started to think about Here are two more suggestions that moving to Hawaii and opening a reef -shoe should help in the event you are faced rental business. receivers have good RFI (radio frequency with a neon nightmare: First I met with the neon person. He interference) filters built into the ac circuit. 1. Enclose all of the neon tubes in seemed to become quite excited and hap- However, the filters only remove the RFI 1/4 -inch hardware cloth. (Nobody said it py when I showed him the field that his from the ac line after it gains entrance to would be easy or cheap.) Ground the hard- neon was radiating. He started to jump up the receiver. If the RFI is strong enough, ware cloth to an earth ground, not the U- and down and mutter utterances similar it can radiate from the ac line just outside ground of the ac system. to "Far out, man!" I suggested that he the receiver and cause big problems. 2. Use shielded high -voltage cables to ground the cases of his eight transformers. So, I decided to run the receivers on dc. feed the tubes. Since the highest voltage This actually started to have a positive ef- This seemed to help. I have since learned used for most neon is 15kV, this can also fect because he started the grounding that a high -quality power strip /surge pro- be difficult. The cable's shield should also process by screwing a rather long sheet - tector/noise filter (the type you would use be connected to the earth ground. metal screw into the transformer case and to protect your PC) helps clean up the ac It wasn't that long ago that most wireless then connecting it to the ac ground. After line radiation. Come to think of it, if you users were more concerned about the a very short time, the transformers would added these surge protectors on the system "just working at all;' even if it did short out, the neon would stop working primary side of the neon transformers, you have a very limited dynamic range, fre- and the wireless system would start could reduce the ac line radiation even fur- quency response, noise floor and so on. working. ther. If the surge protectors are not In recent years, however, this has all It took him a couple of hours to replace available, you can use some bypass changed. Now, some systems have over the transformers. When he grounded the capacitors hooked up as shown in Figure 115dB of dynamic range and an overall new ones, he attached the ground by us- 6. The value of the caps should be 0.014 frequency response ±3dB from 100Hz to ing a nut and a bolt through the and at least 500V. This is not as good as 15kHz. This is more than the dynamic transformers' mounting ears. I also sug- the off -the -shelf protectors, as they also range of the input channels on most mix- gested that he solder all splices. have in -line inductors to shunt the RF. ers. And, the use of switching diversity With all the interference, I decided to I also ended up removing the antenna receivers has eliminated all but the most move the receivers and the antenna diver- diversity system and running the receivers stubborn drop -out problems. RE/P sity off of the stage and into the balcony. off of their own whip antennas. With all I also hoped that I would be on a different of the RFI in the air from the neon, I was Acknowledgments: Special thanks to Ken Mclaughlin tor his ac circuit. sure that it was mixing with the transmit- tips on dressing the talent. Almost all professional wireless ter carriers and producing products that ...- 1- ti 4_ii .: 't i I ! ND PAP. r 1 'r` b 911 9 5í ltrt;i3.?:i;Fñ'9'' }..iií~iä:; ,t. ,.11::ft!Mi+?i .i! I.

January 1989 Recording Engineer /Producer 57

www.americanradiohistory.com Where Have All The Sprockets Gone?

By Scott Gershm

As alternative methods of sound editing become accepted, more and more production companies are starting to integrate tape and electronic editing with that of 35mm mag strip film.

Alternative methods of sound editing on tape consists of myriad synchronizers, 16- track, 32 -track digital or 2 -inch 32 -track are becoming accepted in the broadcast tape machines, mixers and other analog. and film community, with more and more peripheral devices that have their own As for synchronizers, it's still an open companies starting to integrate tape style operating languages and user interfaces. market, with everyone either praising and electronic editing with that of 35mm Fortunately, those in the electronic editing their own units or creating a new mag strip film. In television, the trend industry are trying to work with manufac- vocabulary to describe them. seems to be that a majority of broadcast turers to create some kind of consistency shows are having their post -production and standardization, but this can be dif- Tape editing done on tape, while film companies/ ficult when technology advances faster Tape editing was the first of the three studios (theatrical releases) are still reluc- than the industry. non-film styles to evolve. Borrowing tant to embrace tape -based editing So far three styles of non -film editing technology from the record and video in- because of a lack of standardized hard- have evolved: 1/4 -inch or 1/2 -inch tape, dustries, editing rooms were created, us- ware, operating procedures and RAM -based sampling, and editing using ing a multitrack machine locked to picture terminology. direct -to- hard -disk recording. with the use of a synchronizer reading The two most common editing devices All three styles compile the edited in- time code from a video playback unit. For for 35mm mag strip film are the moviola formation on a multitrack format that can video playback, a 3/4 -inch cassette and the flatbed (see Photo 1), while editing easily be brought to the dubbing or mix- machine, with time code printed on its

Scott Gershin is an electronic sound editor in Los Angeles ing stage. While most mixing facilities use audio track (Channel 2) and a window and a free -lance writer. a 2 -inch 24 -track format, other formats in- burn (character insertion displaying time clude 1/2 -inch 8- or 16- track, 1 -inch code information) corresponding with the printed time code is considered the video master unit. The 24 -track is thought of as the audio master and is slaved to the video master with a zero offset. At this point, all other machines are slaved to the video master with an offset corresponding to the particular effect and the desired edit point. Many facilities have their effects library stored on 1/4 -inch tape. A technique for laying in effects from that format (as well as other formats, such as 1/2 -inch 4-track, carts, CD) is to use trigger starts to "fly- in" the effect. When doing this, the 1/4 -inch machine is not in hard lock. For short effects, most tape machines will stay in sync. When an effect is triggered, the editor can also take advantage of the VSO and half -speed tricks that are not possible without transferring between several tape machines -creating considerable generation loss. It is advisable to trigger the 1/4 -inch source machine slightly before the desired cut -time, enabling the machine to get up Photo 1. A moviola, used for editing 35mm mag strip film. to speed. The effect, as well, has to be off-

58 Recording Engineer/Producer January 1989

www.americanradiohistory.com set (back- timed) one second. The best way repetition, such as crickets, a shorter cart example, to lay -in a car effect, the editor to do this is to mark the 1/4 -inch machine will work sufficiently. Many electronic only has to press three keys: one key to permanently at a one-second preroll point editing rooms have three cart machines start the car, a second to activate the idle for both 7.5ips and 15ips, as this is the and a wall full of carts. (which is looped and can last indefinite- speed of most SFX libraries. Then just line ly) and the third that starts the car -out. up the one -second mark on the machine Dialogue editing Each sample can be programmed to fade with the mark on the tape and fly the ef- In the realm of dialogue editing, it is in and out, creating smooth transitions fect in. common for the editor to use the 1/4 -inch between each effect. Compared to editing Another technique is to store the SFX dailies and trigger in sections of dialogue tape, this process can take just a few library on 1/2 -inch 4 -track (or 1/4 -inch that are phased against a 0 track. The 0 minutes. With tape, you have to lay -in 2 -track with center track time code) with track is usually the audio track that has each effect on a separate track and effects on Tracks 1 through 3, leaving been edited by the picture editor. If the smooth out the transitions, creating loops Track 4 for time code. Note: To avoid time production audio sounds OK, then the by checkerboarding from one track to code crosstalk onto Track 3, print the time editor will bounce the track to a dialogue another. code at 7VU instead of OVU. With this track, but when a problem occurs, such technique, the effect will always be in hard as a transfer problem or a piece of Sequencers lock. dialogue clipped at the end of a sentence, Sequencers in conjunction with A drawback to this is that your syn- the sound editor must go back to the samplers make a very powerful combina- chronizer setup may take time to ac- dailies and recut the line into the dialogue tion. Sequencing -in effects is the "Foley by complish a three -machine, or more, lock- track. fingers" style of laying in effects. The up, and with deadlines, the trigger method It is important for the dialogue editor to editor triggers the effect manually, using might be quicker. An advantage to the smooth out the dynamics and background a keyboard (or any other MIDI controller). 4 -track lock -up method is that BGs ambiences in the production audio. This That information is recorded in a com- (background SFX) can be laid in three at can be very time -consuming if each of the puter, including the volume and pitch a time instead of one or two at a time with actors' lines were shot at different times changes that might have occurred during 1/4 -inch machine. For example: You may of the day and /or in different en- the "playing -in" of that effect. When you have to lay in typewriters, phones and off- vironments. Since it is impossible to get roll back the video, the computer will ex- stage traffic effects that can't be married rid of the environmental sounds entirely, actly reproduce all the moves that you to each other. By using the 4 -track the editor may well steal a couple seconds played. (Note: The sequencer must be able technique, the BGs for a whole scene can of background fill and lay it under the to read all the formats of time code and be laid in simultaneously. other actors' lines, creating a smooth tran- to edit using those time code numbers.) Many facilities are currently taking ad- sition between the dialogue of each actor. When sequencing -in the sample, the vantage of both methods of laying in ef- editor can contour the effect by using the fects and use multiple 1/4-inch and Samplers pitch wheel, velocity control or other MIDI 1/2 -inch machines. For quick access to ef- The second form of non -film editing in- data controllers. An example is in the TV fects, time code can be printed on the en- volves the use of samplers. They can series "Beauty and the Beast;' with pipe tire SFX tape, which then can be shuttled either be used by themselves as an on -line to a desired location within seconds. This system or in conjunction with a tape setup. is done by placing a go -to command into An editor using a sampler still needs to the synchronizer for that machine. transfer his edits to a 24 -track machine, MIA A common procedure, which is becom- so the product can be brought to the dub- ing a standard, is to print time code on bing stage for final mixing. Track 24 and a 60Hz neo -pilot tone on 23. A disadvantage of using RAM -based This leaves Track 22 as a buffer track, samplers is the lack of sampling time. A which can also contain the production 4Mbyte sampler holds approximately 40 MINN MN NINO audio -for reference only. Printing a 60Hz seconds of effects (10 seconds to each meg MN tone on Track 23 aids the synchronizer in of RAM). That works great on effects that MI MOM _d'aolow resolving to other formats and, in case of are short, such as door slams and gun time code drop outs, it is available as a shots, but when accessing effects that are *AN secondary guide track for jam sync. long, such as several car moves, the One of the major complaints that film sampler can dedicate itself only to one S' editors have with tape is that each of the sound or subject matter at a time. In those 24 tracks are physically joined in sync with instances, using a sampler in conjunction each other, creating a problem when on- with tape machines makes a more ver- ly a single track needs to be offset. One satile and powerful editing setup. solution for this problem would be to strip off the effects to a precoded roll of tape, Patches then synchronize the tape with the desired A patch consists of numerous sampled offset and lay it into the mix as another effects. A patch named Mustang might slave unit. consist of samples such as: car -in, idle, car - Another solution is to use cart machines. out, car -start, brakes and doors. This is us- Carts can be timed to be just about any ed to build the sound elements of the vehi- .M...... length before the loop occurs. Common cle. The editor can audition any combina- cart lengths are 40 seconds, 1.5 minutes tion of sounds by downloading the and 2.5 minutes. Carts use a 1/4 -inch necessary patch. Photos 2 and 3. Many samplers are offering of the samples to make lubed stock and can be recorded in stereo When using a musical keyboard, the visual representations cut-and -paste techniques more accurate. or mono. For effects that have a natural editor can manually play -in the sound. For

January 1989 Recording Engineer /Producer 59

www.americanradiohistory.com effects constantly occurring in the own sequenced track. Most sequencers niques more accurate. (See Photos 2 and background during the underground have between 40 and 200 tracks that the 3.) This technique allows the creation of scenes. Velocity control aided the editor editor can preassemble and then transfer new, unique sounds that, if done on tape when laying-in sampled pipe effects, tak- the edits to one track on the 24 track alone, would be quite time-consuming. ing care not to clash with the dialogue. machine. This saves track space; instead The editor can listen to the completed This was done by sequencing -in the effects of car moves taking up three tracks (car - edits while laying down new ones. When to play louder in between lines and lower in, idle, car -out,) they can be preassembled the editor can monitor all his tracks, it during the actual dialogue. to one track. The dubbing mixer will enables the effects to be balanced to the Changing the pitch also helped when thank you. picture, as well as to each other. trying not to clash with the tone of an actor's voice. For example, if the voice has EDL Hard disk a low -end presence with a whisper, the Another way of preassembling edits on The third form of non -film sound editing editor uses a high -end bright sound to cut a sampler is to use an edit decision list uses hard disk recording systems. This through between lines, and then a duller, (EDL). This list lets the editor choose the technology is still in its infancy, but it holds lower -pitched version of the effect when desired effect and type into the computer great promise for the future. Hard disk concerned about clashing with the actor's terminal a start, end, duration and pitch recording is the most similar to the lines. number. The list can read time code from moviola style of editing in that you place The same technique holds true for the video master, and at the specified a prerecorded effect to time code. Foley -style effects, such as grabs, falls, and mark, the EDL will trigger the sampled Some of the newest workstation systems punches. The editor can often play -in the effect. have DSP cards that allow reel -rocking Foley effects manually, creating a more At that point, the assembled edits from techniques. Since effects are stored on natural feel to the scene while saving the sequencer or EDL can be recorded on hard disk and play directly from the disk, time -relative to entering the time code tape. This frees the RAM in the sampler the editor has easy access to the full locations for each effect. When laying -in to load another patch or EDL, such as tire memory capacity of the hard disk. Foley effects, it is important to have a large squeaks and skids. This is the process of Many systems can store between two variety of sounds to simulate the random off -line editing. Each element or and four hours of linear recording time. nature in which living creatures make real - preassembled element has to be laid on- This gives the editor a well containing time sounds. Samplers are helpful because to a different tape track. thousands of effects that can be called of their audition features. A 4Mbyte patch When designing an effect for picture, the upon within seconds. (See Photo 4.) Each can store 20 punches, a dozen body falls use of envelopes are handy to create wipe - effect is assigned to a track output. For ex- and various grabs on dirt, cement, wood, ins and wipe -outs. A neat trick is to lay - ample, on the AMS AudioFile, when an ef- and grass. All of a sudden, you have a full in a gun sound at the natural pitch and fect is recorded, it is called a cue, and fight- sequence library at your finger tips. then, on another track, lay -in the same when it is placed on one of the 8-track out- To audition these effects, the download sample pitched down -with a slower at- puts, it turns into an event. An event can time can be 20 to 40 seconds. This is con- tack time. Then tell the mixer to pan the be digitally manipulated without effecting siderably faster than calling the transfer slower track slightly to one side. The ef- the cue. Currently, most hard disk recor- department or shuttling through several fect is a gun with more bottom end that ding systems come with eight tracks, so reels of effects -before finding the right rings out and decays off to one side. for most projects, the hard disk recorder combination of sounds. In the realm of sound designing, the will have to download its edits to a Once the effect is played into the se- sampler offers a quick, easy way to cut, multitrack to allow for more tracks to be quencer, the editor can fine -tune the sync paste, reverse and loop effects. Many digitally edited. The style of editing that of the performance by adjusting the start samplers offer visual representations of most hard disk systems are supporting is time of each effect, as each effect has its the samples to make cut -and -paste tech- the EDL. Unfortunately, the hard disk recording system is not designed with as much precision for audio manipulation as the sampler. However, when both systems are combined, the editor can have a full, on- line editing system with all the versatility of digital editing. Transferring from R -DAT or Sony F-1 to a hard disk system (through the use of the AES/EBU ports) is becoming possible. So, the effects will never have to leave the digital domain, and productions can be edited without discernible generation loss. Most facilities are creating hybrids of the different technologies to meet the needs of their clients and budgets. As hardware, software, operating procedures and terminology standards are established, the popularity of the three non -film editing methods will probably replace the "industry standard" film -style editing techniques of the past. Photo 4. An audio-for -video-post suite at Soundelux in Hollywood. Notice that the AMS AudioFile RE/P is built into the mixing console. Photos by Cindy L. Manekofsky

60 Recording Engineer/Producer January 1989

www.americanradiohistory.com Sockhops to Woodstock: An Interview with Bí11 Hanley

By Barry McKinnon

Bill Hanley, a pioneer in the field of large -scale sound reinforcement, including systems for the Beatles, the Filmore and Woodstock, reflects on the early years of rock and roll.

Every industry has its pioneers, those in- being exposed to the mass audience of the ting a lot of complaints about bad audio, dividuals who took the first stab at a field film. Soon afterward, he purchased an- and we came in and fixed that;' said no one else considered or wanted to try, other system from an electrical engineer Hanley. He had a lot of problems dealing and the sound reinforcement industry is in New York. He had been mixing the live with the IBEW local at that time because no different. Bill Hanley has been in the sound at Newport since 1960 and then he felt that they didn't understand the mobile sound reinforcement business for took over the live recording in 1962 -1963 show-business nature of this scale of sound more than 30 years and has been involved to help alleviate the forest of microphones work and were slow setting up and tear- with major artists and events such as the that had been growing on the stage. ing down the systems. The promoters Beatles and Woodstock. He began all of were getting mad at Hanley because his this when off -the -shelf products for large - The early 1960s more -elaborate systems took longer to set scale sound reinforcement were not avail- In the early 1960s, Hanley began pro- up. "It took a long time to make sure there able, and innovation and adaptation were viding the house sound for Madison was a squawker pointed at every ear in necessities. Square Garden as well. "They were get- the house. Hanley's interest in audio began in high school, oddly enough, through his interest in roller skating. The roller rink where he spent so much time had an incredible organ sound system and great acoustics. In his early teens, he studied radio, television and electronics, which led to his interest in the hardware being used in the rink. The 400W sound system, combined with the energetic playing style of the organist, contributed to the enjoyment that the patrons of the rink felt. "I fell in love with big high- fidelity sound, on a big scale for concerts; I found a lot of joy and happiness in it" Hanley said. In 1952, he started doing school record hops, and then in 1954, started Hanley Sound with his brother Terry. Bill and Terry did some work for the Boston Arts Festival and ended up buying a system from them. His next project was to get that system into the Newport Jazz Festival when the film "High Society" came out, as the festival became a bigger event after

in sound reinforcement. Barry McKinnon is sales manager at BSE Production Equip- Hanley considers his work on the Beatles' sound system to be a turning point ment and Services Ltd., Calgary, Alberta. (Photo: The Bettman Archives)

January 1989 Recording Engineer/Producer 61

www.americanradiohistory.com "The road shows would come in and AM16 pre -amps and featuring EQ on every there was no sound. I walked a little fur- throw up a system on stage, and that input. This fed the system through LA2A ther and there was sound again. It was go- would be it:" The promoter was paying limiters into passive low -level crossovers ing on and off with phase cancellation. thousands of dollars in labor for the elec- and then into Macintosh MI -200 amplifiers. You beat your head on getting everything tricians, and Hanley was getting $500 to "In 1965 or 1966, we began bi- amping flat and then you find out it depends $800 per night. "They didn't have a great because we started to use so much power where you stand whether you hear it or

foreman, and 1 wasn't a great foreman that we blew up the capacitors in the not. I will never forget that day when I either, so that was part of the problem. passive networks. They'd begin making walked across the stage. I knew about They just didn't understand the business:' some real strange sounds, then- Bang!- phase cancellation indoors, but I never He continued for three or four years until nothing. thought about it in an outdoor situation:' he was putting so much gear in there, he "A great deal of the joy and happiness was losing money. His drive to put up the that happens for people at concerts is in Supporting the separation of church and state best sound system possible, no matter the intensity and the fidelity. I was one of Hanley was not doing ex- what, led to some philosophical shocks. the first guys to really go bananas with it concerts and try to bring it outside to the masses:' clusively, however. In addition to college The Beatles years Hanley's views were shaken up by two ex- and university commencements, he provided Bill was traveling with George Wiens' periences, the first being exposure to sound for the presidential inaugura- Jazz Festival, bringing high- fidelity sound Grand Funk Railroad. They had a sound tion in 1968. In doing so, he introduced to high- to stadiums and fields in Chicago, Cincinat- man out of Detroit who had assembled a the Whitehouse fidelity sound and ti and Cleveland, when his search for system using Electro-Voice full -range Shure microphones. larger shows led to his involvement with speaker systems assembled into boxes, "They had a whole bunch of those University -aluminum the Beatles. "I got to the Beatles when augmented by bass speakers. spun speakers with the 12 in electricity became an extension of the "Grand Funk shows up at Randall Island, -inch woofer and the tweeter the center, up on scaffolding towers. They musician, I had learned about and put with this kid and his boxes and a pile of were awful. I put up six 210s, three on together an enormous amount of gear. I DC300 Crowns and associated stuff and each side, away. had four RCA 600W amps that came off sets up beside my system. We didn't 'A-B' and blew them They had of a battleship. They weighed two or three them, he just set up and when the band taken pictures at Kennedy's inauguration, and the head sound hundred pounds each and didn't have came out he turned it on. Christ, was it man for the Catholic churches wrote the specs for the sound great high- frequency response. You had to loud- distorted, but loud. Here I was, drive the inputs with 100W, but it was not system from looking at the pictures. They enough. When those boys came out on had lights marked down as speakers and all stage, it was absolute pandemonium: you kinds of things. They threw the Mor- couldn't hear the sound system, you "I stood in the audience mon Tabernacle Choir at me at the last couldn't hear yourself think, 46,000 and listened to it and minute. This was a great opportunity to bring in my 210s. We teenage girls screaming at the top of their realized it was a valid set up two systems lungs, 120 +dB ambient noise:' experience- distortion!" and `A-B'ed them, and never listened to his The Beatles' system consisted of 12 system again. That was the last time I did Altec 210 low -frequency enclosures and an inauguration; he never let me come Altec 203B two -cell multicells with 290 back:' proud of my fidelity, but I stood in the au- Hanley did not jump on new technology drivers. The 288 drivers had better high - frequency response but "a 288 didn't last dience and listened to it and realized it just because it was new. Other than the night. We were using the 290s, even was a valid experience- distortion! equalization in the channel strips, Hanley though the 40 voice coils were an inconve- "It was valid for what the band wanted had not yet found any pressing need for nience :' said Hanley. The mixing console for their audience. Up to that time I had more elaborate equalization, such as the been in was a custom -built unit, using 16 channels successful promoting fidelity, but Altec Acousta -Voice process introduced by of Langevin modules. who was I to superimpose my values on Don Davis. "I had talked to him a couple The Beatles marked a turning point in their music? I really had to scratch my of times out in Anaheim, but it looked like sound reinforcement in Hanley's view. head and wonder how much money to something more for voice systems, not "Sound changed from being high- fidelity spend on fidelity. Here was this kid with music. I wasn't having any feedback prob- (faithfulness of reproduction); since the his system full of $28.50 EV horns, and lems. I maximized the front -to-back ratios of I Beatles, it's become a battle of levels. With piles them, two or three hundred of and tight -miced everything. never got in- the Beatles, the on -stage levels were get- them. He got heavy bass out of his bass to EQs; I never learned to use them until ting higher and higher, and the supporting cabinets and had incredibly efficient out- later. Then I used them in ways not sound system had the grow just to keep put, and it was a valid experience. originally intended, more for artistic pur- up:' "The bands weren't hiring me, they were poses:' It's not surprising then that booting me out of jobs because it wasn't Hanley's favorite feedback story doesn't in- The psychedelic 1960s what they wanted. They were getting in- volve feedback at all. Hanley was doing permanent gigs for to this distortion thing; everybody was lov- "I was doing Satchmo's birthday party three years at the Filmore in San Fran- ing it. Grand Funk was the top group in at the Sugarbowl. It was a rush job, and cisco, from its opening in 1967, again us- the country at the time. If they didn't want I had just built a new console, checked it ing the Altec 210s and 203 and 1003 to hire me, I had to alter my thinking. out on the bench, and it looked OK. In the multicells with 290 drivers, set up with left "One of the other things that drove me middle of the introductions, all of a sud- and right stacks downstairs and a counter- bananas happened in Newport. I remem- den, it squealed like crazy. Here we are, weighted center cluster, with four of the ber having a constant tone on the system. in front of 20,000 people, and George 210s in it, hung 4 or 5 feet out in front of It was four or five 210s on each side with Wiens is on stage, screaming at me, 'Don't the proscenium. He used a custom 20- some two -cells and 10 -cells for inside you know what you're doing after all these input console, again made up of Langevin close, and I walked across the stage and years?!' He's standing on stage, all but call-

62 Recording Engineer /Producer January 1989

www.americanradiohistory.com KEYBOARD

(DRUMS

HiAMPS AMPS ñ EJ TURNTABLE

AMP AMP f AMP DRUMS 00PERCUSSION KEYBOARD

VOCAL MICA

Figure 1. Woodstock stage (before the turntables broke).

ing me a f - - - -- a - --- in front of these peo- "We had done a lot of tests and had a one got out to you through the audience ple. I didn't know if there was a problem lot of failures with JBLs on the high fre- with the microphone list, they were with the console I had never heard before. quencies, and they wanted a fortune to already playing:' Hanley credits mix It sounded like it was going into oscilla- rediaphragm them for us. We got into the engineer Lee Osborne for much of the suc- tion: It wouldn't snap on, it kind of rose 290s because they would stay together cess in these difficult circumstances, citing up in level. Here I am, banging on the con- longer. Then we used 288s turned around his quick grasp of problems under sole. Someone spotted this guy standing with the back covers off as direct radiator pressure, and his knowledge and ex- up by the mic box. Here was this jerk from HF because that's all there was. I wasn't perience in live sound work. a recording studio, plugging his signal into speaker design:' The system was Despite the well -publicized problems at generator into the mic inputs. Luckily, so- passively bi-amped and driven with a Woodstock, the torrential rain and the meone caught this guy. Was I embarrass- combination of Macintosh MI200 and financial problems of the promoters, it ed!" MI350 amplifiers and the then -new Crown went well for Hanley. "The only things DC300 for a total power of more than that didn't fail were the sound system, the Woodstock 10,000W. water supply and the stage security. We'd Hanley's experience with large outdoor Stage monitoring was done with a pair have been OK if the turntables had stayed festivals such as the Miami, Atlanta and of side -wash monitors, each consisting of together. There were three half -moons Dallas pop festivals and the Randall Island a JBL 4530 LF enclosure with a JBL driver, that could be set up and hooked to the festival had established the reputation that and an Altec 311 -60 horn with 290E driver turntable. They used these cheap 8 -inch led the promoters of Woodstock to him. for highs. These were driven by DC300s. casters, and the plates eventually tore out Michael Lang, the executive producer, The console that he had planned to use of the platform:' Hanley had no equip- wanted a sound system with no screwups, for live sound had to be diverted to record- ment failures, having been prepared for regardless of cost. At that time, there were ing at the last minute. Hanley had char- the worst that Mother Nature and rock no precedents for a venue as large as the tered a plane to bring a console up at the music could muster. "We'd done lots of out- one contemplated on Yasgur's 700 -acre last minute. Typical of his consoles, they door shows; we were prepared. It was a field. After some inquiries, several sources used Langevin pre -amps and EQ. The 20- matter of good planning. recommended Hanley, because of his in- input house sound console was aug- "Woodstock didn't feel like a historic volvement in the other festivals. mented by Shure M67 mixers as required moment. I never thought about it in those Because of the scale of Woodstock, and fed the system through LA2A limiters. terms from an intellectual, historical point Hanley built custom speakers for the These limiters were also used on the vocal of view. You're busy making everything event. The low- frequency systems were tracks that were layed down on the 8 -track work, making it sound good. It wasn't as similar to Altec 210s, but contained four Scully recorder. dramatic for me as it was for everyone Above those were boxes that each con- The stage featured a turntable to allow else, it was old hat. Being a technocrat as tained eight direct-radiator JBL 15 -inch quick changeovers of the acts. Two 19 -pair I am, I was shut out of the political and drivers. There were two of each system snakes, custom -built by Bill and Terry, historical significance:' per side on the lower tier of scaffolding were fed into a custom switchover box That's not to suggest that he was un- and four each per side on the highest tier. that allowed fast changeover at the con- moved by the experience. "All those peo- Multidriver 10 -cell Altec multicells with sole. "We were mixing blind. We were way ple, the joy of the people that were there, 290 drivers provided highs. out from the stage, and by the time some- the idealism of all those people -it was a

January 1989 Recording Engineer/Producer 63

www.americanradiohistory.com your ideals, you get overconfident. It's still the musicians that call the shots on who gets the jobs. "Arthur Fiedler used to get mad at me because I wanted to put up lots of microphones, get as much direct sound as I could get, and then add reverb artificially. That way, everyone would hear what's going on in context. When you have a solo flute playing, you drop 30dB in level, and the people 300 feet away are now in the ambient noise. I used to think that was poor. The conductors at commencements would ask for one mic for a 35- or 40 -piece orchestra, but now they often go along with multiple- microphone techniques:' In the early days of touring sound, the manufacturers did not look at it as a serious market. "I had a good relationship with Macintosh, but other manufacturers

weren't as cooperative. I had talked to JBL about getting into it, but they thought it Constructing the stage at Woodstock. was stupid:' Now, of course, portable sound reinforcement markets likely make up a significant portion of professional culmination of that kind of thing. A lot of This was the same guy who did 'Jesus audio sales. At that time, it wasn't seen as high idealism was why I got into it in the Christ Superstar.' They had to close the a growth market or a good test bed for first place:' show for three weeks because the sound new products. The needs and demands of The console Hanley had built was was so bad. One night it sounded terrible, touring sound were not yet a concern. curved, with inputs in groups of 10. Multi- and their manager, Albert Grossman, was ple planes allowed the mix engineer to see screaming at me, 'None of my acts will Current projects and feel every knob. The work with this ever use your system! I'll send letters! Hanley's current project is an automated console led him to start work on an even - You'll never work again!' It was just luck stage, a folding structure that would con- more- elaborate console. "Right after that I had a Nagra on the limiter input tain a stage prewired for mics, monitors Woodstock, I had started to build a con- from their feed that night, and it came to and ac. It would include ac distribution, sole in the round, a semicircular shape me distorted. Garbage in, garbage out. So, monitor power and light dimming equip- that had three planes, two two -band EQs I'm saying, 'Wait a minute, wait a minute: ment in it. In conjunction with that, lift per channel, and presets. No one's figured "Back in those days at the festivals, you systems to hoist sound systems into place, out yet that what's important in a sound never really got a chance to do a sound prewired and configured. "I've wanted to reinforcement console is speed. Get check. The pressure was really intense. I mechanize this for 13 or 14 years. It's in- everything into the audio engineer's field guess that's what I liked about doing it live sane: you hump all the stuff into and out of vision; you've got to be able to touch instead of in the studio:' of the truck; you do the same thing all the and feel everything. This thing where it Hanley has many memories of the time. All these men doing all this work, takes two or three guys to mix or you need developing concert sound business. His two -day marathons to set up a stadium roller skates is crazy." The console remains position as one of the earliest participants system. I just wanted to push buttons and three -quarters built, a victim of the cash gives him a unique perspective. "We were make it happen :' It's an ambitious project crunch Hanley encountered after the first people who were temporary that has been consuming a lot of time and Woodstock. sound reinforcement engineers. I had to capital, but it gets closer all the time. "It 'After Woodstock, the festival markets learn the hard way that in dealing with would be nice to go to the store and buy dried up. I lost a quarter of a million bucks live performance, I was dealing with one," Hanley said. worth of business in three weeks, and I sound reinforcement instead of sound Bill Hanley, now 50, still does a few com- was already three or four hundred thou- reproduction. It's a different school of mencements, such as MIT's, and in- sand dollars in debt:' Competition was thought. other teresting sound jobs, operating from starting to heat up; other people like the "There wasn't anyone else when I Hanley Sound, in Peabody, MA. His Claire brothers were getting into the started. I started with six, eight, 10, and brother Terry operates Terry Hanley Audio market. "I was believing my own bull---, finally something like 30 Altec 210s in run- in Cambridge, MA. I wasn't countering the competition:' ning inventory. That took some serious The history of the concert sound rein- trucking:' It took quite some time before forcement business has never been as The 1970s Hanley was forced to think about the need well- documented as the movie sound Hanley was still doing touring work in to make money at it, and not do it just for business, but it is every bit as interesting, 1970. He was involved in Festival Express, satisfaction. "I got so much positive feed- and, in some ways, more relevant to many probably the only major rock tour to travel back from what I was doing that I never of us, amplifying, as it did, the soundtrack by train. "That was a lot of fun. It was a came to terms with the need to make of our lives. really great time:' He recalls an incident money at it:' REP with Peter, Paul and Mary: "They had a For Hanley, strong idealism often led really sharpy sound man, they had to mix him into conflicts with his employers. their own thing and just send me a feed. "When you take the laws of physics as

64 Recording Engineer /Producer January 1989

www.americanradiohistory.com STUDIO UPDATE

Northeast Dag Hammarskjold Plaza, New York, NY DAE-3000 editor, PCM 1630 processor, two 10017; 212 -759-0822. DMR 4000 recorders, DTA -2000 digital tape analyzer, DAL-1000 digital limiter and Hit Factory (New York) has purchased Island Media Studios (W. Babylon, NY) a PCM -2500 R -DAT recorder. According to four ANT Telecommunications E- 413/24 has purchased two Valley 430 Dynamites the studio, the additions make it the telcom noise reduction systems, providing and one Gatex from Manny's Music. 841 Philadelphia area's only recording and CD the studio with 96 channels of noise reduc- Sunrise Highway, W. Babylon, NY 11704; mastering studio. 119 Great Valley tion. 237 W 54th St., New York, NY 10019; 516 -669 -1872. Parkway, Malvern, PA, 19355; 215- 212- 664-1000; fax 212 -246-2252. 935 -1422. Eastern Standard Productions (Buffalo, Blank Productions (Stamford, CT) has NY) has expanded its real -time duplication Times Square Studios (New York) has purchased three Sony R-DAT machines. and tape loading facility. Duplication pro- named Jorge Silva chief engineer. He will Other recent additions include a Roland duction has been expanded by a factor of also continue his current responsibilities D -550 with Opcode Librarian software, an more than two, and loading capability has as director of audio. 1481 Broadway, New MKS8 patcher and a 16-bit upgrade of the been tripled. Direct on- cassette printing York, NY 10036. facility's Akai S -900 sampler. 1597 Hope has been added, allowing cassettes to be (New St., Stamford, CT 06907;; 203-968 -2420; fax produced with a variety of colors and foils. New York Audio Productions 203 -329 -7193. New real -time equipment includes Denon York) has completed a three -month DRM -44HX units, modified by ESP with a renovation with the installation of a Editel /NY Sound Suite (New York) has proprietary record system to improve 16 -input TAC Scorpion console. The addi- installed five Magnatech film recorder/ recording accuracy. 26 Baxter St., Buffalo, tion will enlarge the studio's music produc- reproducers for synchronization with NY 14207; 716- 876 -1454. tion and voice-over capabilities. Other new Editel's 24 -track system. equipment includes Drawmer DS 201 Forge Recording Studios (Malvern, PA) gates and Yamaha Q 2031 equalizers. 140 LRP Video (New York City) has appointed has added Sony's line of pre -mastering and W 22nd St., New York, NY 10011; Marjorie Myers as account supervisor. 3 digital editing equipment, including the 212-243 -6826.

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Circle (27) on Rapid Facts Card January 1989 Recording Engineer/Producer 65

www.americanradiohistory.com STUDIO UPDATE

Sound Logic Studios (Silver Spring, MD) category at the 1988 International Film & Sean McMahon, engineer at Smith /Lee is the Washington, DC, area's newest TV Festival of New York, for its documen- Productions (St. Louis) has recently pur- recording studio. Designed by John Wesley tary production of "Wasted Dreams:' The chased new outboard equipment, in- Gardner, the facility has 15'x18' and 10'x7' documentary deals with six Detroit -area cluding an Eventide H -3000 Ultra - studios with variable acoustics and a young people who have been injured by Harmonizer, Lexicon LXP -1 digital effects 15'x25' control room. The console is a gunshots. 400 Renaissance Center, Suite processor, Lexicon MRC MIDI reverb con- 32x8x24 Soundcraft Series 600 console. 660, Detroit, MI 48243; 313 -567-2985. troller, a software update for a Yamaha Tape machines are a Sony /MCI JH 24 SPX -90, and a Valley International PR -2 24-track, and Studer A810 and Teac 35 -2 Minnesota Public Radio (St. Paul, MN) mainframe with two Commander 2- tracks. the heart of the studio is a Kurz- recently recorded the 200th show of "St. modules. weil K250 interfaced with a SMPTE-locked Paul Sunday Morning" in the facility's Apple Macintosh Plus running Mark of the Studio M. The show was broadcast on Ron Rose Productions (Royal Oak, MI) Unicorn Performer software. A variety of Christmas Day. 45 E. Seventh St., St. Paul, has named Anita Lanning as studio outboard gear is available. Hank Bartlett MN 55101; 612 - 290 -1500; fax 612-290 -1243. manager. 25885 York Road, Royal Oak, MI is the owner; studio manager is Mark 48070; 313 -545-1696. Greenhouse. 3209 Birchtree Lane, Silver TRC Studios (Indianapolis) has upgraded Spring, MD 20906; 301 -871 -0200. Studio B to a fully functional film-video Mountain mix room. New equipment includes an Roar Productions and Musical Ser- MCI JH110 1 -inch video layback machine Coupe Studios (Boulder, CO) has up- vices (Columbia, MD) has added Larry with Dolby SR; a center -track time code graded to 24 tracks with the installation Adler to the staff. During the fall, the facili- update for the JH110B; a Wide Range Elec- of an Otari MX -80 recorder. The facility ty offered special seminars in live sound, tronics 16/35mm mag transfer machine; specializes in radio and television broad- video production techniques, MIDI and an Adams-Smith 2600 synchronizer with cast commercials and album production. careers as a voice -over talent. In conjunc- remote control; an automation upgrade to 2888 Bluff St., Suite 115, Boulder, CO tion with the Gerard Co., Roar was a its Digital Creations Diskmix automation; 80301; 303 -447-0551. finalist for its first entry in the Telly Awards a Valley People rack with two Gaingrain competition. The entry was a TV PSA for Ils, two MaxiQs, four Kapex Ils, and two Southwest the Federal Aviation Administration titled de- essers; a KlarkTeknik DN780; a It "Discover Today's FAA." 6655 -H Dobbin Electronic 2290 sampler and 2240 stereo Production Masters (Phoenix, AZ) has Road, Columbia, MD 21045; 301-596-2600. parametric EQ; and the Sound Ideas com- named Bruce E. Reid as general manager. pact disc sound effects library. 5761 Park 834 N. Seventh Ave., Phoenix, AZ 85007; Southeast Plaza Court, Indianapolis, IN 46220; 602-254 -1600; fax 602-495 -9949. 317-845 -1980. Woodland Sound Studios (Nashville) has Southern California made several additions to the staff. Katie DRC Studio (Springfield, IL) has Dungan is studio manager. Barbara Smith expanded its inventory. Additions include is assistant manager. Suzi Ragsdale has the Tascam MS-16 recorder with dbx noise Todd -AO Glen Glenn Studios been appointed secretary /receptionist. reduction, MegaMix automation, Atari (Hollywood) has entered an agreement Tim Farmer continues as chief engineer, Mega ST2 computer, Yamaha REV-5, dbx with Comlogic to supply six custom and is also acting in a consulting manage- 160X compressor /limiters, BBE 822 Sonic designed Neotek Essence consoles. ment capacity. 1011 Woodland St., Maximizer, AKG 414 B -ULS microphones, Nashville, TN 37206; 615 -227-5027. Sound Ideas sound effects on CD series Northern California 1000 and 2000, Simmons SDS1000 MIDI Reelsound Recording Co. East drum kit and an E -mu Systems EIII with The Saul Zaentz Film Center (Berkeley) (Nashville) is a 24-track remote unit more than 200Mbytes of sounds on hard has acquired an 8Mbyte version of E -mu housed in a 1948 Flxible road bus. The disk. 2416 S Walnut St., Springfield, IL Systems' Emulator Three digital sound unit is equipped with an MCI 428LM con- 62704; 217-753 -0409. production system. The system was pur- sole and a JH 24 24 -track recorder. Out- chased from Audio Images Corp., San board gear includes units from Valley Peo- Paisley Park Studios (Minneapolis) Francisco. ple, dbx, AMS, Yamaha, Teletronix, UREI hosted the first Sound Stage 88 in early and RTS. Producer Dave Perkins manages October, featuring two days of music, pro - North west the bus for studio and live projects. 1701 audio and video equipment exhibits, Green Hills Drive, Nashville, TN 37215; seminars and instruction. The studio's Spectrum Sound Studios (Portland, OR) 615- 385 -0220. 12,000- square -foot sound stage housed has added several staff members and ex- representatives from more than 70 expanded its equipment. New to the staff is hibitors, including Lexicon, Grass Valley, Dick Starr, system design sales represen- Midwest 3M and Ampex. Paisley's three studios tative, Matthew Tonjes, maintenance were used for instruction and public view- technician, and Kellie Hager, part -time Covideo, a subsidiary of Anthony M. Fran- ing. About 2,000 people attended, and assistant. Spectrum's SSL console has been co, Inc. (Detroit) has been selected as a plans are underway to host the event in expanded to 40 channels, and a Total finalist in the "Guidance and Counseling" 1989. Recall computer has been added. Apogee

66 Recording Engineer/Producer January 1989

www.americanradiohistory.com STUDIO UPDATE YOUR OWN filters have been added to its Mitsubishi Manufacturer X-86 recorder. Also purchased were TimeLine Lynx synchronizers and a announcements Yamaha G7 grand piano. 1634 SW Alder St., Portland, OR 97205; 503- 248-0248. Tascam has sold a DAT recorder /player to Showco Sound, Carrollton, TX; and a Hawaii T2640 recording duplicator to Humming- bird Recordings, Melbourne, FL. Audio Resource Honolulu (Honolulu) has opened just outside Waikiki. The Amek has sold a G2520 master recording 24 -track facility contains an automated console to The Church, London, owned by Harrison MR-4 console, Sony/MCI tape Dave Stewart and Annie Lennox of the machines, a Macintosh -based Eurythmics. MIDI /SMPTE sequencing system, Westlake and Yamaha monitors, and out- New England Digital has sold a 32Mbyte, board gear by Eventide, UREI, Orban, 64 -voice Synclavier to Flyte Tyme, Min- Pultec, Drawmer and Yamaha. The studio neapolis, owned by Jimmy Jam and Terry offers music recording and audio-for-video Lewis. post -production. Tony Hugar is the studio manager, and Milan Bertosa is the chief Otari has announced the following tape engineer. Audio Resource is affiliated with machines sales: Dave Stewart, two The Audio Lock Up, a Chicago facility. MTR -90s for his personal -use studio in Century Center, 1750 Kalakaua, Honolulu, Southern California; George Tobin Studios, HI 96826; 808 -944-9400. North Hollywood, DTR -900; Design FX Audio, Los Angeles, MTR-90; Sunset Sound Canada Factory, Hollywood, DTR -900; LA Studios, Los Angeles, 12 MTR -12 2- and 4- tracks; Comfort Sound (Toronto) has renovated Front Page Recorders, Costa Mesa, CA, its mobile unit to improve monitoring. DTR -900; Turner Broadcasting, MTR-12CT; Changes have also been occuring in the Curtis Mayfield, an MX-80 for his personal studio, including the installation of a wall use studio; Edit Works, MX -55TM, the first in the recording room, which created a unit delivered in the U.S.; NBC Sports, New more intimate voice -over area and York, 16 MKIII 8 -track 1/2-inch machines, facilitated better isolation for music bed - used at the Summer Olympics; Howard track sessions. An Eventide Ultra - Schwartz Recording, New York, two Harmonizer has also been purchased. 26 MTR- 901Is; Island Media Services, West Soho St., Suite 390, Toronto, Ontario, Babylon, NY, MX-80; If Walls Could Talk With The Canada M5T 1Z7; 416 -593-7992. Studio, North Caldwell, NJ, MX-80; com- poser /musician Bob Telson, MX -80; STUDIO Metalworks Studios (Mississauga, On- guitarist Jimmy Ryan, MX -80; Manhattan tario) has opened a second studio, Center Studios, New York, DTR -900; PSYCHOLOGIST SongLab. The facility is a MIDI room with Superdupe Creations, MX-80; Wild Twin up to 48 -track capability. 3611 Mavis Road, Recording, New York, MTR -9011; Backer Unit 5, Mississauga, Ontario, Canada L5C and Spielvogel Advertising, two MTR-10s; Remote Control Headphones 1T7; 416- 279-4008. Nutmeg Music, New York; MX-80; and the Or Stage Mixing Systems Hit Factory, New York, two MTR -90s. Pathe Sound and Post -Production Cen- tre (Toronto) has named Ted Rouse as vice Alpha Audio has sold 2,000 square feet president and general manager. The facili- of Sonex acoustical foam to Will Vinton ty has also added a Magnatch High Speed Studios, Portland, OR. Dubber System and a THX-Lucas Monitor- ing System. Sony has sold a PCM -3324 recorder to Professional Media Services, Gainesville, Seacoast Sound (Victoria, British Colum- FL, owned by Grammy -winning engineer bia) has appointed Geoffrey Bate as Mark Pinske. It is the first 3324 in Florida. general manager. 825 Broughton St., Vic- TIA toria, British Columbia, Canada V8W 1E5; RE/P intelix 604 -386-1131; fax 604-386 -5775. INTELLIGENT ELECTRONICS 800-356-5844 6729 Seybold Rd., Madison, WI 53719 608-273-3333 - IN WISC - 800-362-5445 Circle (28) on Rapid Facts Card

January 1989 Recording Engineer/Producer 67

www.americanradiohistory.com THE CUTTING EDGE

By Laurel Cash Advances in Tape Machine Technology

Otani announces first of B Mitsubishi -designed, Murata- manufactured 60Hz) and house sync, "burst" time code series digital multitracks and are said to be similar to those of output during fast -wind modes and "bit shipped Apogee Electronics. Mitsubishi has elected bump" with subframe offset accuracy. to use Burr -Brown monolithic A/D and On the remote control are edit keys that Otani shipped the multiple units of its D/A converters. This is also said to in- allow the actuation of rehearsed and ex- new DTR-900B series digital multitrack crease reliability and further improve the ternally programmed "punch in" and recorder last month. According to John sound quality. "punch out" operations. Sony is said to be Carey, marketing manager for Otani Cor- The company has also redesigned the targeting the APR -24 to video post - poration, "The B series includes all of the auxiliary analog track circuitry for a production houses, film audio production changes developed since our earliest higher S/N ratio and lower distortion. A and music recording studios. As of press machines were delivered and offers the master safe switch has been added to pre- time, the suggested retail price is reported user higher performance, greater reliabili- vent accidental erasure during mixing ses- to be $45,500. ty and an enhanced ease of use The new sions. The transport enhancements in- Circle (172) on Rapid Facts Card IYTR-900B features entirely redesigned clude faster winding modes and a motor Auto -Locator /Remote software and hard- driver that has been redesigned both elec- 48- channel DASH recorder ware, new proprietary VLSI technology, in- tronically and mechanically for higher launched by Sony house manufactured heads, and upgraded performance and reliability. The AES convention in November was power supplies to accommodate the use The X -880 comes prewired for the op- the first glimpse most of the industry had of optional Apogee Electronics low -pass tional plug -in CS-1 chase synchronizer. The of Sony's new 48-channel, DASH -format filters in the A/D and D/A sections. Otani CS-1 resolves to a digital sample frequen- digital multitrack recorder, the PCM -3348. has also announced the availability of two cy that is equivalent to 20,s. According to This unit is reported to be upwardly and new accessories for its DTR -900 machines: Mitsubishi, absolute phase- accurate downwardly compatible with Sony's the EC -104 plug -in chase synchronizer 64-track lock -up or intermachine editing PCM -3324 and 3324A. It is said that you module and the CB -503 PD (PRODIGI )-to - is assured when using the CS-1. It is can record on channels 1 through 24 on DASH format converter. The format con- claimed that when the transport is under the PCM -3348 and play that master back verter allows bidirectional digital transfers synchronizer control, a varispeed resolu- on a 3324/3324A. 96kHz oversampled between the DTR-900 and any DASH tion to 0.01% eliminates audible pitch electronics are featured on the inputs and multitrack machine. No price increase is changes. Also, redesigned transport con- outputs. Other features include newly expected for the new model, and most of trol circuitry includes switches and trim designed digital filtering, real -time ping - the new features of the B series can be pots, allowing you to optimize the pong (with no time delay) and variable retrofitted to the earlier models of the transport for 7 -inch, 10.5-inch and 14 -inch crossfade times. DTR -900 machines, according to Carey. reels. The advanced digital output allows for Circle (170) on Rapid Facts Card The X -880 is available now, and has a up to 250 words of digital audio (about suggested retail price of $180,000. Mitsubishi introduces X-880 Circle (171) on Rapid Facts Card digital multitrack recorder Mitsubishi Professional Audio has an- Sony introduces analog 24 -track nounced the new X -880 digital multitrack Sony Professional Audio has introduced recorder, an upgraded version of the the APR -24 multitrack recorder, which is X-850. Circuitry enhancements include a said to be available for shipment im- new, convenient pull -down front panel mediately. It is reported that many of the that provides easy access to audio monitor, APR -24's features, which are included as ping -pong jacks, emphasis /de-emphasis standard equipment, are optional ac- switches and status switches. The design cessories on machines available from also adds a comprehensive system status other manufacturers. Some of the features display on the front panel. This display that come standard with this machine in- provides visual confirmation of external clude an on -board time code generator, sync, sampling frequency, playback servo reader and synchronizer. As a result, the and other system status requirements. remote unit provides audio, transport, Other circuitry improvements include locator and synchronizer control in a newly designed linear -phase active analog single package requiring only one filters, which are reported to improve the connecting cable. sound quality substantially. These are The synchronization facilities allow you to synchronize to longitudinal time code Laurel Cash is RE/Ps executive consultant and a free -lance and VITC in various formats. You can writer based in Los Angeles. Mitsubishi X-800 digital resolve to time code, tone (59.94Hz or 32- track.

68 Recording Engineer/Producer January 1989

www.americanradiohistory.com 5ms) to be output from the recorder AES in November. This is the first (before the analog output) with one -word multitrack addition to its A820 line since resolution, allowing for compensation the A820 -24 and is based on the A820 ' s, -4.1. through other digital devices, thereby transport. assuring absolute phase on the tape. The Like its top -of- the -line brother, the PCM -3348 also has 20 seconds of solid- A820 -24, the A827 offers many of the -- state RAM on board with 16-bit resolution. features possible with microprocessor I ' - to store 20 seconds of technology. Some of its more notable ,_: This allows you >c swe audio from the tape into RAM and re- features include a 14 inch reel capability, ,, insert the RAM data elsewhere on tape. three tape speeds with integrated It can be triggered externally either by varispeed controller, two tape types MIDI, by a gate or manually from the storable for each speed, phase - Auto- locator. You can select any two chan- compensated MDAC -controlled amplifiers nels to be AES /EBU I /Os. There are a with switchable Dolby FIX Pro and an op- remote channel arming interface and a tional internal synchronizer. Also included remote 48- channel multifunction meter are parallel and serial RS- 232/422 control system. As of press time, the suggested ports for easy system integration. retail price is reported to be $240,000, and Priced beneath the A820 -24, the A827 the PCM -3348 should be available for ship- is said to incorporate the latest technology ment this month. and efficient production techniques to Circle (173) on Rapid Facts Card reduce construction costs. Formal introduction of this product is planned for Studer previews new multitrack the AES in Hamburg, with the first at AES deliveries expected in May 1989. Studer Revox previewed its new Circle (174) on Rapid Facts Card multitrack recorder, the Studer A827, at IZE/P Sorry APR -24 analog 24- track.

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Circle (29) on Rapid Facts Card Circle (30) on Rapid Facts Card January 1989 Recording Engineer/Producer 69

www.americanradiohistory.com Continued from page 45 dialogue to the applause sound. Basical- original audience -only 24 -track tape. As ly, David Palmer had to concentrate on they watched the video, they mixed the The 2 -inch remix master track -format making the music remix as pretty as possi- appropriate audience sound on to the was: ble. A normal axiom for mixing TV sound 24 -track remix master. When they were Track 3 -left audience to be inserted is if you can see it, you had better be able finished, they had a 24 -track remix master later to hear it -loud! David did not subscribe that had the proper music remix, the cor- Track 4 -right audience to be inserted to that philosophy. He normally mixed rect applause and audience sounds, and later albums, not TV shows. any other special elements that were Track 5 -next pair left audience to be The show was mixed in the Fanta truck, necessary to complete the audio (possibly inserted later which has a permanent setup for mixing an announcer or special effect). Track 6-next pair right audience to be to picture. Since we recorded there, we The 24 -track remix master, which now inserted later thought there would be less of a learning had every song and every piece of Track 7 -left stereo music remix curve when mixing. Also, David could dialogue, was then conformed or trans- Track 8 -right stereo music remix concentrate on the job, but still be near ferred to the edited master videotape. The Track 9-mono music remix enough to the Fanta studio crew to get audio was recorded, Dolby encoded, on Track 17-P -1 production microphone help, if needed. Instead of making the mix tracks 1 and 2 of the edited 1 -inch video Track 18-P -2 production microphone jump up and down to match the picture, master tape. Track 19 -P -3 production microphone we discovered that the smooth playing Some aspects of this show were special. Track 23- timecode (copied from live allowed subtle changes in the mix. If you The editor was consulted from the first original 24-track) saw a guitar player soloing, you could hear pre -production meeting to the final cuts. Track 24- timecode (reshaped and the solo as well as the other music that The music remix engineer was involved copied from live original 24 -track fit around it. from the first rehearsal to the final The three production microphones were sweetening. And all the team members included to support the sweetening pro- Sweetening were truly dedicated and honored to be cess. If a dialogue part needed to be pulled Sweetening this show was in the hands working on "A session with Chet Atkins, up over the applause, it could be done at of Mark Repp and editor Tom Edwards at C.G.P." the very last minute. We never recorded TNN. To put the final version of the show RE4) the applause and effects microphones on together, they synchronized the 24 -track the original live -music multitrack, so it was remixed master with the final video edit difficult to judge the proper ratio of of the show. They also synced up the

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Circle (35) on Rapid Facts Card 70 Recording Engineer/Producer January 1989 www.americanradiohistory.com NEW PRODUCTS

As reported in the October issue, the Mitsubishi CS -1 and button control panel, the Digital recently completed AES Convention in chase synchronizer Guitar interface, a remote con- Los Angeles was a bonanza of new prod- Designed to facilitate Mitsubishi troller /editor/locator, or any other MIDI ucts. In compiling the show preview, many 32- tracks in sound -for -image projects, the device. Open architecture allows for future expansion and upgrades. companies gave us advance information CS -1 allows two machines to be locked up on their product introductions. Product for 64 -track capability. Resolution is ac- Circle (102) on Rapid Facts Card Preview showcased these products. Other curate within the digital audio "word" companies, however, chose to wait until ( ±20 microseconds) with two X -880s. It Sanken CU -44X mic the show opened to announce their new can be interfaced to VCRs, VTRs and Available from Audio Intervisual Design, products. This month's "New Products" is ATRs, and can also be programmed with the Sanken CU -44X is the first expanded and contains products intro- other master machine parameters. The transformerless model that features dual - duced at the show but not included in unit consists of a plug -in circuit card for capsule condenser design in a mono October's "Product Preview :' More prod- the new X-880 transport and a remote microphone. The cardioid pattern uses ucts will be featured in the February issue. control; an optional card rack allows the 1- micron titanium diaphragms, which are CS-1 to be used with the X-800 and X-850. corrosion -free and impervious to AMS /Calrec Edit 1 mixer Circle (103) on Rapid Facts Card temperature and humidity changes. The The Edit 1 mixer uses digital signal proc- dual-capsule design provides handling of essing and consists primarily of eight in- Lexicon MRC both low and high frequencies, 20Hz to put faders plus two group or output faders. MIDI remote controller 20kHz within +1dB. Self -noise is inaudi- (18dB or less) and maximum SPL is There are four outputs, two stereo or two The MRC is an intelligent MIDI remote ble it is possible to mix two 140dB. double mono; the designed to be used with Lexicon's LXP -1 Rapid Facts Card output faders together. Any reasonable and PCM 70 effects processors. With the Circle (105) on number of inputs can be accommodated LXP -1, the MRC takes uses beyond the because the input matrix system front panel to six "hidden" parameters in Soundcraft MIDI computer eliminates the need for a patchfield. The each of the LXP's 16 programs. The For use with the Soundcraft 6000 con- mixer also features four assignable parameters can be altered in real time, and sole, the computer is a mute control Logicator (rotary) controls, each with an personal setups can be stored in memory. system with a non -volatile RAM memory arc of LEDs projected through light-guides, With the PCM 70, the MRC's faders can that stores up to eight songs, each contain- and an associated four -character be used for real -time MIDI System Ex- ing 100 patches of complete mute settings. alphanumeric display showing the func- clusive control of 12 key parameters for By using the keypad and 10 numeric but- tion of the control. each algorithm, allowing users to tailor tons, each song and patch can be in- Circle (100) on Rapid Facts Card factory presets or user registers. The unit dividually named. The supertwist backlit can also be used with Yamaha's DX -7s, LCD allows information to be viewed from Tascam DA 800/24 TX -816 or TX-802 as a patch modifier. a variety of angles and in varied lighting Tascam's first DASH machine incor- Circle (104) on Rapid Facts Card conditions. When used in a MIDI studio, porates proprietary ZD circuits in the opto- the computer records mute settings as isolated A /D, D/A converters, along with they are made, at the correct moment 2x oversampling in the record and within the sequence. playback. A special pinch -roller drive Circle (106) on Rapid Facts Card system provides precise tape -handling and Turbosound TXD -520 stability. With two digital format I /Os for For small venues or areas that cannot S DIF -2 PCM equipment and AES /EBU systems, the machine allows digital be directly reached by the main to transfers to various digital devices. The loudspeakers, the TXD -520 is designed meter bridge also accommodates remote handle high power and provide coherent mount- installation, and a second meter bridge sound over a side area. Universal allow for easy in- may be added for remote use. Suggested ing and fixing hardware orientation. Com- retail price is $99,000. stallation and enclosure ponents used are one 10 -inch drive and Circle (101) on Rapid Facts Card one soft dome tweeter. Frequency response is 100Hz to 18kHz, and average NED Synclavier 9600 dispersion is 90 °x60 °. New England Digital's largest system, Circle (107) on Rapid Facts Card the 9600 features 96Mbytes of RAM, 96 polyphonic stereo voices, nearly 3Gbytes dbx RT-60 option chip set of on -line sound storage, SMPTE and VITC An option for the RTA-1 analyzer, ver- synchronization, and a 76 -note veloci- sion 2.0 of the RT-60 option chip set allows ty /pressure keyboard and button control measuring the reverberation time of a panel. The system supports multiple user space in each of the RTA -1's 31 bands. In interfaces, such as the customized Macin- addition, it provides enhanced room - tosh II graphics workstation, the keyboard response curve capabilities, and adds a

January 1989 Recording Engineer/Producer 71

www.americanradiohistory.com NEW PRODUCTS

microphone calibration with database for noise. The basic configuration of the A/D round LF, 25Hz -20kHz ±3dB frequency 10 microphone sensitivity memories, ab- converter delivers greater than 105dB response and a three -way passive /active solute SPL measurements capabilities and signal -to -noise ratio; less than 0.005% crossover. a custom printout feature. In the room THD at maximum input, 0.01% maximum Circle (113) on Rapid Facts Card response curve mode, 15- and 30- second THD (untrimmed) at 20dB and 40dB functions have been added. Retail price for input; and 0.000000076% differential Soundtracs In Line series version 2.0 is $499. linearity. Price is $130 in quantities of 100. This console series, initially available in Circle (108) on Rapid Facts Card Circle (112) on Rapid Facts Card 36- and 48-input mainframes, is now available in a 32 -bus format. A number of Tascam ATR -80/32 multitrack Symetrix "Half- Rack" options, including stereo inputs and effects The 32- track, 2 -inch machine accom- SX200 series return modules, are available. Analog modates 14 -inch reels and has reel and All of the products in the SX200 Series specification matches or exceeds the ERIC PPL capstan motors that use Samarium feature high headroom, balanced inputs, console without the digital control. Cobalt, which reduces mass and produces low noise, wide dynamic range, low distor- Circle (114) on Rapid Facts Card higher torque than in conventional tion, studio -quality circuitry, and low - motors. The result is a fast -wind speed of impedance, high-current balanced and un- Steinberg tape up to 280ips, more responsiveness and balanced output line drivers. The SX201 controller TC 1 more reliable lockup. A rehearse feature parametric EQ /pre -amp includes +15dB The TC 1 can remotely control all func- enables users to preview edits without af- boost and 30dB notch filter capability, tions of the Fostex A and B series fecting the master. Also included is a with unbalanced pre -amp input, bal- recorders, except the built -in auto -locator. backup memory for tape time, pitch con- anced/ nbalanced line -level input and It positions the tape with an accuracy of trol and amplifier mode settings. Retail balanced line driver output. Retail price '/ -frame for up to 255 programmable price is $45,000. is $239. punch -in /out points. The control time Circle (109) on Rapid Facts Card The SX202 dual microphone pre- code can be either SMPTE or MIDI; amplifier features two microphone pre- switching between the two is automatic. Aphex 612 expander /gate amplifiers with variable gain, 15dB pad, Circle (115) on Rapid Facts Card In addition to gating functions, the 612 +48V phantom power, and left, right, and also features downward expansion with a left + right outputs. Retail price is $219. FM Acoustics Forcelines variable ratio, allowing a wide variety of The SX204 headphone amplifier in- Forcelines are high- energy transfer dynamics control. The unit is also a cludes a one -in, four -out amplifier with cables designed for lowest loss of wide - "ducker;" allowing a key input to lower the proprietary high- voltage converter band power transfer between amplifiers level of the audio input. The 612 is the first technology to drive high-impedance head- and loudspeakers. They feature AWG 5 product to incorporate the Aphex VCA phones like a big power amp, while pro- size, are rated for a current of 200A rms 1001. Suggested retail price is $795. viding ample power for low- impedance continuous and 1,200A peak, and have a Circle (110) on Rapid Facts Card phones. Retail price is $269. minimal resistance of 1.90 /km throughout Circle (119) on Rapid Facts Card the audio band. They are recommended DAR SoundStation II for smaller monitors and close -field configurations monitor systems, and for wiring mid- and The two- and eight -channel configura- :40 high- frequency drivers in multiway St It `Ii tions of the SoundStation Il feature stereo ` systems. Circle (116) on Rapid Facts Card time -warp, fully animated playback . display, punch -in record, long crossfades, t: 0. : ProCo Patchmaster patchbay and full chase synchronization. Combined -- with SoundStation H's sound segment cut- ...._á The Patchmaster Series model PM -148 ting and trimming, slip- *.,?:* is a single- space, 48- point, unbalanced edit sliding, track .: -10'" ping and reel -rocking editing, these ---- patchbay designed for use in recording features make the systems the most studios, A/V production facilities, com- powerful multichannel digital audio sound Court Signature Series mercial sound installations and portable editing and processing systems available, loudspeakers audio systems. The Selectapatch Switch the company says. The soft dome studio monitor provides easy user modification of the Circle (111) on Rapid Facts Card loudspeakers include three models. All signal flow. Setting the switch determines whether a set of jacks is full -normalled; feature a 1 "x8" homopolymer mid and half -normalled; parallel or open; and no CTI /dbx A/D chip set 1 "xl" ferro fluid soft dome HF. In addition, The F410 /D2OC10 /A1520 chip set, an the 150W SN20 features 40Hz-20kHz soldering or change in wiring is necessary. 18/19/20 -bit analog -to- digital converter, ±3dB frequency response, two -way Retail prices is $375. uses noise -shaped oversampling at 6MHz passive crossover. The 250W SN30 in- Circle (117) on Rapid Facts Card and flash four -bit conversion. A two -stage cludes a 1 "x15" roll surround LF, digital filter/decimator reduces the sam- 30Hz -20kHz ±3dB frequency response Soundtracs FM range console pling rate to 48kHz, increases resolution and a three-way passive crossover. The This broadcast version of the FM range to 20 bits and eliminates high- frequency 400W SN60 features a 2 "x15" roll sur- can be configured to double as a small pro-

72 Recording Engineer /Producer January 1989

www.americanradiohistory.com duction console for program editing. equipment, the unit provides a tube sound digital audio. Also included are an input Available with mono, stereo and telco in- and level matching. The interface features buffer, an RF filter, a linear phase filter, pre - put modules, the FMB features clean feeds, two channels, electronically balanced in- and de- emphasis, dc servo and an output signal ducking, a program timer and com- put/ output, +25dBm maximum output, buffer. prehensive monitoring within a choice of input design to work with -10dB or +4dB Circle (121) on Rapid Facts Card two frame sizes. An AFW feature is also systems, screwdriver trim gain adjustment available for post applications. from the front panel, maximum gain of ProCo Multiface series Circle (118) on Rapid Facts Card 20dB, maximum input of +24dBm, switchers dynamic range of 110dB, harmonic distor- Two new additions to the Multiface tion of less than 0.1%, and frequency Klark-Teknik DN726 delay series are the RMS -1 and RMS -2 Remote response of 3Hz to 90kHz. Suggested list The stereo delay line accepts two inputs Monitor Switchers, designed to switch price is $950. power and provides stereo, in -phase outputs. The amplifier outputs to alternate Circle (123) on Rapid Facts Card frequency response is 20Hz- 20kHz. speaker systems. The RMS-1 uses one Specifications on the range of delay for the stereo pair of inputs with switches for unit is 0 to 1.3 seconds, adjustable in 20s .AINIMINIIIIII6, ' main /alt and alt A /alt B. The RMS -2 operates in an identical manner, but ac- increments, accomplished with 16-bit ®- o linear processing for superior perform- , . commodates two stereo pairs. Suggested -417 - price is ance in demanding situations. A backup $275 for the RMS -1, and $389 for RMS -2. battery for memory retention is featured. the Circle (122) on Rapid Facts Card Retail price is $3,900. Apogee 924 analog filter/ Circle (120) on Rapid Facts Card signal processing module The 924 analog filter /signal processing NED Synclavier 3200 Summit Audio Warm Interface module features programming pins that The 3200 is a modular compact Used as an interface between CD enables the formation of complete analog workstation aimed at customers that could players, R -DAT recorders and analog processing in the front or rear end for not afford a regular Synclavier system.

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Circle (31) on Rapid Facts Card Circle (32) on Rapid Facts Card January 1989 Recording Engineer/Producer 73 www.americanradiohistory.com NEW PRODUCTS

The 3200 provides up to 32Mbytes of ferential Material Technology. Using a Milab D -37 mic RAM, 32 mono voices and 720Mbytes of deep drawn duralumin diaphragm and The D -37 is a dynamic cardioid mic hard disk sound storage capacity. The skirt with a separate silicone -based designed for rugged use while maintain- customized Macintosh II graphic worksta- suspension gives the piston rigidity ing high performance standards. The mic tion, which is standard, controls the associated with titanium but without HF is constructed of solid brass and includes system. Other figures include 16 -bit, breakup modes in the passband. The coil such features as a heavily shock -mounted 100kHz multirate sampling, 200 -track is ferro fluid- cooled and the driver uses a moving coil element for minimum han- sequencing and SMPTE /VITC synchroni- sculptured asymmetrical phase plate. Both dling noise and built -in pop protection. zation. are knitted together with a hardwired Frequency response is 50Hz to 20kHz, Circle (126) on Rapid Facts Card crossover. with a favorable boost in the Circle (128) on Rapid Facts Card vocal /presence range. Otani MX -50 two -track recorder Circle (132) on Rapid Facts Card Available in both 15/7.5ips and API 525B compressor /limiter 7.5/3.75ips versions, the MX-50 features Based upon the 525C design, the 525B built -in tape timer displays with search -to- has an added motorized gain- reduction cue and search -to-zero, front panel ±7% device. Three modes can be selected: the varispeed, 10.5 -inch reel capacity, head- standard 525C configuration, a passive ele- phone amplifiers, electronic lifter control ment with an adjustable output stage for and a dump edit function. An optional additional gain, and a completely passive Voice Editing Module (VEM) is available, element with no electronics in the circuit. which provides 2X playback without pitch According to the company, the passive shift. Price is $2,495. mode allows for compressing and limiting Circle (124) on Rapid Facts Card with no distortion or coloration. Circle (129) on Rapid Facts Card

Tannoy SGM -15B monitors Technics SL-P1300 CD player users The SGM -15B is designed for The pro unit incorporates 8x oversam- needing a small, yet powerful monitoring pling, four A/D converters -two for each The monitor contains a 15 -inch system. channel -and 18 -bit technology. Using K -3809 dual- concentric in a cabinet four A/D converters allows using one for 261/2 "x193/4"x181/2". The measuring each half of the analog waveform, improv- con- crossover uses the same hard -wire ing the digital processing of low -level struction and a high- current EQ used in signals that are difficult to capture. the Super Gold Monitor series. Features include two -speed search dial cu- Facts Card Circle (152) on Rapid ing, a rocker control that moves the laser by one pit track, cue point memory and Alpha Audio Boss /2 a numeric 10- keypad. Suggested retail automated audio editor price is $1,800. The successor to the Boss 8400, the Circle (130) on Rapid Facts Card Boss /2 features digital waveform editing and concurrent multiprotocol communica- ASC Quick Sound Field Midas XL2 mixing console tion using RS -422, RS -232, SMPTE and Acoustic Science's Quick Sound Field For touring sound, theater and broad- MIDI. The unit can talk directly to any consists of 1/2 -round Tube Traps on the cast applications, the XL2 comes in frame machine that speaks Sony, Ampex, ES- walls or ceiling of a studio or voice -over sizes of 24, 32 and 40 inputs. A 16 -input BUS or other serial protocols. Users can booth. The effect is a fast decay rate that channel expander section couples to the also select whatever combinations of syn- is consistent with all frequencies and very existing frame via a single, multipin con- chronizers are best for their system. diffuse at high frequencies. Additionally, nector. In addition to eight subgroups, Circle (125) on Rapid Facts Card the company says, there is no loss in the there are eight aux sends with full upper frequencies and no bass boom pre /post switching, which enables the associated with smaller rooms. The QSF console to provide both main or monitor is available as a retrofit for existing spaces. mixes without requiring a separate, Retail price is $22 per square foot. Custom dedicated monitor console. Two matrix free -standing booths are also available, outputs can receive a submix from any or and a 3'x4' QSF baffle for portable use is all of the eight subgroups. also available at $375. Circle (127) on Rapid Facts Card Circle (131) on Rapid Facts Card Tannoy TPI reference monitor The TPI features a high- frequency unit developed as a result of the company's Dif-

74 Recording Engineer/Producer January 1989 www.americanradiohistory.com Hardware and software updates

NED PostPro enhancements EQ option for Lexicon Opus the A/D and D/A sections. No price in- The 8 -track Direct -to -Disk multitrack The EQ /filter option allows the Opus to crease is expected, and the new features recording and editing system now features provide 12 channels of digital equalization. can be retrofitted to earlier models. Two a dedicated remote controller /editor /lo- The option is comprised of three basic accessories have also been introduced: the cator, which features programmable but- elements. The DSP modules are installed EC -104 plug-in chase synchronizer tons that can define command functions. in the host card cage. The EQ control strip module, and the CB -504, a PD -to -DASH Software enhancements include time com- is installed in the workstation. EQ applica- format converter. pression, direct digital transfer, tion software drives the system. Each of Circle (166) on Rapid Facts Card VITC /SMPTE synchronization and CMX the 12 channels contains four independent edit list conversion. filter section, each covering 20Hz to Improvements to Circle (161) on Rapid Facts Card 20kHz. Each of the channels can be Agfa tape and reels assigned to one of six different filter Agfá s PEM 469 mastering tape has a Sony upgrade characteristics, allowing flexibility and new backcoat, base film and oxide im- to APR -5003 recorder control over the program material. provements, enabling the tape to with- The upgraded version of the two - Circle (165) on Rapid Facts Card stand more tape passes. The PEM 291D channel recorder, called the APR- 5003V, digital audio master tape has a new for- features a nine -pin serial cable interface, Updated version of mulation designed for the current genera- allowing the recorder to be connected to Otani DTR -900 tion of digital recorders and ensures low Sony BVE- 900/9000 video editors. The The 900B features a redesigned error rates. Also, the company has synchronizer features the ability to exter- autolocator /remote software and hard- redesigned the flange on the reels of the nally reference a video signal of 50Hz and ware, proprietary VLSI technology, in- 468 and 469 tape lines, making it easier 60Hz tone, and both LTC and VITC and house manufactured heads and upgraded for users to thread and load the tape. also accepted. The "bit bump" feature power supplies to accommodate the use Circle (167) on Rapid Facts Card allows for bit-accurate manual adjustment of Apogee Electronics low -pass filters in in synchronous mode. List price is $11,950. Circle (162) on Rapid Facts Card Impedance alternative for JBL 2204, 2123 Previously available only in 8U versions, the 2204 12 -inch LF loudspeaker and the HOLDS 10 UP 2123 -inch midrange transducer are now available in 160 versions, allowing more flexibility in the design and installation of ON THE ROAD sound systems. The 8f2 version is designated by H (as in 2204H); J refers to the 1652 impedance. Circle (163) on Rapid Facts Card New software for Lexicon 2400 Version 2.20 expands the 2400 audio time compressor /expander's interfacing capability to include several new TYPE 85 FET DIRECT BOX videotape machines, including the Ampex AMP. INST. VPR -6 /VPR -80, Sony BVH -3000 and PICKUP Panasonic AU -660. A Bypass Play command issues a servo -locked play command 1 from the front panel. Software -assignable INPUT relays and inputs provide remote control of this feature, as well as remote control of the 2400's machine control capability. SPEAKER Version 3.0 software provides all of the machine interfaces in V 2.20, as well as dc servo capability for controlling the Panasonic AU -650 MII VCR. Price for V 2.20 is $125. V 3.0 is priced at $250. Circle (164) on Rapid Facts Card COUNTRYMAN ASSOCIATES INC. 424 STANFORD AVE.- REDWOOD CITY, CA. -94063 -PHONE 415- 364 -998U

Circle (33) on Rapid Facts Card January 1989 Recording Engineer /Producer 75 www.americanradiohistory.com NEW PRODUCTS

Martin Audio F2 quire coverage over a wide area from one type. Optional SR -only or A- type -only ver- The F2 is a two -box touring sound source, such as an under -balcony fill. Com- sions can be ordered. system that features full horn loading. The ponents used are two 10 -inch drivers and Circle (139) on Rapid Facts Card top is configured as a rack -mount shell one slot tweeter. Dispersion is 120 °x50 °, that can accept different horn and driver with a frequency response of 100Hz to Hard disk version of combinations, depending on the applica- 18kHz. Publison Infernal Machine tion. A rack can be made up of only mid Circle (136) on Rapid Facts Card The Infernal Machine's hard disk version or high horns, for long-throw use, or can allows one hour and 48 minutes of record- be configured as a mid /high pack for Intelix Studio Psychologist ing in mono mode, and 54 minutes in other applications. A rigging system The remote- controllable matrix mixer/ stereo mode. Sampling rate is 50kHz, with enables arrays to be built with extended router system allows individuals to mix 16-bit linear A/D conversion. When used columns of bass, mid and high horns, their own headphone mix. Actual mixing with the IM80 color editing software, the which can provide clean, high -level music takes place in a modular rack -mounted Infernal Machine is connected to an AT to all audience areas, while using a unit. Each module has 16 mixer nodes us- computer via RS-232 for the creation of minimum number of cabinets and ing digital attenuators with 85dB control editing lists, non -destructive editing and amplifiers. range and a 1.5dB resolution. Inputs and real -time chains. The optional DAB -3 rack Circle (133) on Rapid Facts Card outputs are TRS- balanced. The mixer may allows up to six hours of digital sound to also be controlled by a computer with an be recorded on a high- speed, high- RS-232 interface. Applications include capacity digital cassette. recording studios, broadcast routing, Circle (140) on Rapid Facts Card sound contracting and theatrical sound. Circle (137) on Rapid Facts Card JBL 12SR loudspeaker system Featuring a 12 -inch LF transducer and HME additions to 700 series a 1 -inch exit compression driver on a Flat The RP743 and -753 four-channel power Front Bi- Radial horn, the Control 12SR is stations are the newest additions to the designed for high sound quality at high 700 series cabled intercom line. With the sound -pressure levels. The LF transducer 742, two headsets can have communica- features a 3 -inch, diameter edgewound tion access to any of the four independent aluminum voice coil for clean response channels. The 753 is a four -channel mix and high power handling. Using the Bi- matrix power station with a panel of Radial horn allows HF energy to be matrix switches that assign 12 stations or dispersed in a 90 °x40° pattern. groups to one of four independent inter- Circle (134) on Rapid Facts Card com channels or two private lines. Both are compatible with 700 series line, as well as most three -wire intercom systems. Circle (138) on Rapid Facts Card

Audio Precision DSP -1 For use with the System One, the DSP -1 provides signal generation and analysis in the digital domain, as well as providing feature enhancements for the System One's analog measurement capabilities. For digital applications, the DSP -1 provides digital waveform generation and digital analysis capable of different functions via downloadable software. Direct digital I/O Dolby 363 two -channel ports are optional. Additional analog noise reduction measurements for the System One include The 363 allows Dolby Spectral Record- FFT-spectrum analysis, individual har- ing and A-type noise reduction to be monic distortion and total harmonic switchable. The unit contains two chan- distortion without noise. nels in a 1U frame. Both channels are Circle (135) on Rapid Facts Card equipped with a built -in record /playback Chrystal Semiconductor changeover capability, allowing a single A/D converter Turbosound TXD -530 unit to be used in stereo applications. The The CSZ5126 is a low -cost A/D con- The 530 is designed to provide extra - 363 is normally supplied with two Cat. 300 verter designed for a variety of applica- wide dispersion in applications that re- modules, which contain both SR and A- tions such as DAT decks and digital audio

76 Recording Engineer/Producer January 1989 www.americanradiohistory.com EQ systems. Manufactured in low -power button dialing for each station, allowing complex waveforms and upper -end har- CMOS, the chip features a patented self- users to make the required connection by monics accurately. The 770 features a calibration circuitry, which results in im- pushing one button. Any station may be large, but low -mass, diaphragm embedded proved performance, according to the used as a beltpack or table- mounted unit, in a bass -reflex system. The 990 is iden- company. Dynamic range is more than and stations are connected with standard tical but features a circumaural, semi - 92dB in stereo mode and more than 95dB three -core mic cables. The automatic cen- open -air design. in 2x oversampling mode. The converter tral unit can handle 11 simultaneous con- Circle (146) on Rapid Facts Card is initially available in 28 -pin DIPs. Lots of nections, and no line is ever busy. A 1,000 are $27.20. special remote station is also available ADx -22 synchronizer Circle (141) on Rapid Facts Card with four public address outputs. The synchronizer offers synchronization Circle (144) on Rapid Facts Card and emulation as a menu selection in the Sonic Solutions same unit. The unit will lock to a single Desktop Audio system time code bit in less than five seconds, The workstation is designed to allow making it possible for unmodified pre -roll users to prepare master recordings with times. Other features include two indepen- a computer and applications software in dent time code readers, one time code the same way as a desktop publishing generator, an RS-422 data port, an optical- system works for writers. The system in- ly coupled parallel port, four DPI relays, cludes a Macintosh I1, one or more hard an external audio triggered mark function drives and a Sonic Signal Processor circuit and multiple time code memory card. Software used is CD PreMastering scratchpad. Desktop, which provides all- digital editing, Circle (147) on Rapid Facts Card mixing, EQ, dynamics and project management functions for mastering. A Beyer DT 770/990 headsets ProCo junction boxes new version of NoNOISE software is Both headsets feature a frequency The model HJ-6 allows splitting of a available as an option. Basic system cost response of 5Hz to 35kHz to reproduce mono or stereo amplifier output to feed with the premastering software is $44,100. Circle (142) on Rapid Facts Card Turnkey systems from Offbeat Systems The turnkey systems for computer - based music scoring include the computer, circuit boards, and Offbeat's Streamline or Clickstation software. Three configurations are available: the Transportable Streamer - ing System, Laptop Clickstation and Starter Station. Also available is the MIDI Synthesizer Drive, an optional PCB plus software that allows MIDI -based sequencers and devices to be directly controlled by the Streamline or clickstation systems. Circle (143) on Rapid Facts Card Tom Hannaford, Dixieland Productions, Atlanta, GA Agfa -Gevaert SONEX kills PE 647 -947 tape background noise beautifully. The chrome bulk tape is designed for SONEX is a special acoustic foam that absorbs noise four users who need a high -performance, Bias times better than acoustic tile or carpeting. It makes you II cassette formulation. Features include superior electroacoustic specifications, sound like a pro - inexpensively - because your voice comes durability, consistency and slitting across clear, clean, and intelligible. Use SONEX for video, characteristics, according to the company. remote conferencing, voice -overs, radio communications, The tape is available in 8,200 -foot lengths audio production, or anywhere else you need to sound for C -60s and 11,500 -foot pancakes for crystal clear. Kill background noise beautifully - and save C -90s. the true sound - with SONEX. Send for all the facts. Circle (145) on Rapid Facts Card SONEX is manufactured by Illbruck and distributed Diless ProCom intercom exclusively to the pro sound market by Alpha Audio. The full- duplex intercom features push- AlphaAudio. Richmond, Virginia 23220 USA (804) 358-3852 Telex: 469037 (ALPHAAUD Cl) FAX: (804) 358 -9496 Acoustic Products for the Audio Industry Circle (34) on Rapid Facts Card January 1989 Recording Engineer/Producer 77

www.americanradiohistory.com NEW PRODUCTS

six sets of 15052 -60051 headphones. It may servo -balanced inputs and outputs for ex- delays and choruses. Stereo inputs and be used in conjunction with the RMS -1 tended frequency response and exacting outputs are available. Using a two -level through a special output jack provided on transient response. Suggested retail price control system gives users access to more the switcher. The HJ -4P splits the output is $219. than 4,000 sounds. Also available are 16 of a stereo amplifier to four sets of Circle (150) on Rapid Facts Card factory presets and 128 user registers for 15052 -60052 headphones, but uses XLR- storing personal setups. type connectors on the input and master Synergy One from Circle (155) on Rapid Facts Card left and right level controls. Retail prices Analog Digital Synergy are $89 for the HJ-6 and $149 for the The Synergy One is an in -line, modular Beyer MCE 86 shotgun mic HJ-4P. digital mixing console available in frame Weighing 95 grams, the MCE 86 is one Circle (157) on Rapid Facts Card sizes from four to 64 channels. Standard of the lightest shotgun mics available. Fre- features include digital four -band EQ, high - quency response is 50Hz to 18kHz, with Teac LV210A videodisc recorder and low -pass filter, 1Hz offset filter, de- a maximum SPL of 148dB. The unit can The unit is the first 12 -inch two -sided emphasis, remaining headroom indicator, be powered by any phantom power source laser videodisc recorder for less than digital bar graph metering for each chan- generating 12V to 48V. Two suspensions $20,000, according to the company. The nel and group faders. Each module is are available, one for all purpose use and unit retains most of the interactive features equipped with a true 16 -bit fader, pro- another for use with a video camera. of the LV200 recorder, eliminating the CLV viding 65,536 level steps. Available options Circle (156) on Rapid Facts Card mode, and has the same external com- include time code -based full- function puter protocol. Also available is the automation, total automation data reset Gentner Electronics EasyTerm LV210P videodisc player, which is compati- and format conversions. The rack -mount wiring termination ble with the LV200, minus the CLV mode. Circle (151) on Rapid Facts Card system allows users to open the termina- Price for the LV210A recorder is $17,995; tion like a door to gain access to equip- price for the VL210P player is $4,995. Sony DAU series ment inside the rack. Wires are run from Circle (148) on Rapid Facts Card 3A -inch tape inside the rack and are connected using The DAU series 3/4 -inch digital audio an impact punch tool. An optional master cassettes feature the company's "kickbar" holds the unit open while run- Vivax magnetic particles for clear digital ning and punching cables. Two configura- sound production. Carbon mirror tions are available. EasyTerm /66 uses a backcoating reduces the error rate to a 66 -style punch block, for use with solid minimum. The tape is available in 30 -, 60- wire only. EasyTerm /FB uses Gentner's and 75- minute lengths. The tape comes in Flexiblock, and is designed for stranded an anti -static shell to eliminate static and solid wire. electricity. Circle (158) on Rapid Facts Card Circle (153) on Rapid Facts Card Sony TCD -D10 81è1i1rtèttVìittfl\:1t1U114411U\:'.11iìl; PRO DAT recorder Real World ltlïiltiF,'i;iltii;CtituiuñZOVtiuue A scaled -down version of Sony's Research Audio Tablet PCM -2000 DAT recorder, the TCD -D10's The Audio Tablet is a random -access design criteria is based on the TCD -DP audio editor designed for various applica- PRO analog cassette recorder. Recording tions, including dialogue and music Soundtracs Tracmix is at 48kHz, with playback at 44.1kHz. editing, and CD and 12-inch mastering. The centrally controlled, stand-alone Also included are XLR I/O connectors, in- The tablet is a two -channel system that en- fader and mute automation system ternal clock for tape location, AES /EBU codes audio signals in a linear 16 -bit for- operates via a remote keyboard and col- digital UP and 2x oversampled digital A/D mat at 48kHz, 44.1kHz or 32kHz. Both or monitor. The automation allows for up and D/A converters. The recorder can analog and digital I /Os are available. The to 64 channels of fader and mute automa- operate up to two hours in the field with system consists of three components: the tion using dbx VCAs for low noise and an internal rechargeable battery. interface, the processor rack and a distortion. Mix data is held in RAM to Circle (149) on Rapid Facts Card peripheral rack. The rack components oc- eliminate unnecessary disk storage, but it cupy 8U of space, and the tablet interface may be saved along with grouping infor- Aphex 124 is an ASCII keyboard and touchscreen. mation, tack listings and MIDI song data audio level interface Circle (154) on Rapid Facts Card onto a 3.5 -inch disk. A time code The-124 is designed to combine -10dBV generator is also built -in. consumer IHF audio equipment with Lexicon LXP -1 Circle (160) on Rapid Facts Card +4dBm or +8dBm professional /industrial The unit is a multi -effects processing audio equipment, allowing both systems module that provides a variety of digital to operate at optimum performance levels, reverberation and effects in a cost - matching impedances and operating effective format. Its 16 programs include levels. The unit features transformerless, halls, rooms, plates, gates, inverse reverbs,

78 Recording Engineer/Producer January 1989 www.americanradiohistory.com CLASSIFIED

HELP WANTED FOR SALE OUR 10TH ANNIVERSARY

RADIO ENGINEER. Applications and nominations are being accept- FOSTEX RECORDING EQUIPMENT ed for Radio Engineer position. Will maintain Western Kentucky MACINTOSH & IBM Computers University's public radio station & compatibles WKYU -FM (100kw), repeater sta- MUSIC SOFTWARE tion WDCL -FM (100kw), and stu- Monitors & Printers dent laboratory station WWHR (100 watts). Duties include planning and DISCOUNT PRICES DATAWARE INC. construction of an additional re- IF YOU ARE LOOKING FOR A peater station. Repeater stations (we ship world wide) RELIABLE ENDLESS CASSETTE. are routinely maintained by con- PO. Box 1122 YOU'VE FOUND IT YOUR tract engineers. Equipment mod- Hollywood, Ca 90078 -1122 ENDLESS SEARCH IS OVER ern and in excellent In- (213) 465 -9750 condition. UP TO 120,000 PASSES. HEAVY DUTY cludes excellent vacation and ben- SELF -CLEANING TAPE SOUNDS BETTER efits with a salary in low to mid 20s LONGER depending on qualifications. ap- PLAYS VERTICALLY OR HORIZONTALLY plicants should have a minimum of MISCELLANEOUS IDEAL FOR ON HOLD TELEPHONE MUSIC three years experience in FM TALKING HOUSE RADIO TRANSMITTERS. studio and transmitter mainte- POINT OF PURCHASE DISPLAYS, ETC nance and electronic training. FCC General Radiotelephone or SBE WANTED: PULTEC EQ's ALSO SPECIAL ENDLESS TAPE PLAYER AVAILABLE -CALL OR WRITE FOR is certification desirable. Send let- PRICING INFORMATION ter of application, vita, and names We will pay $1,000 for almost any MANN ENDLESS CASSETTE INDUSTRIES of three references to Office of Pultec program EQ models. Also P 0 Box 1347 San Fancisco, CA 94101 14151 221 2000 EXT. 9 Academic Affairs, Radio Engineer wanted: Fairchild 670's and 660's any Search, Western Kentucky Univer- tube or ribbon microphones and Circle (38) on Rapid Facts Card sity, Bowling Green, KY 42101. limiting amps. Please call or write to: Women and minorities are encour- aged to apply. An Affirmative Ac- Dan Alexander Audio tion, 51 P Equal Opportunity Employer. 2944 San Pablo Ave. Berkeley, CA 94702 (415) 644 -2363 EASTERN STANDARD PRODUCTIONS FAX: (415) 644 -1848 FOR SALE 26 BAXTER ST., BUFFALO, NY 14207

AUDIO CASSETTE DUPLICATION SOUND WORKSHOP SERIES 34 CONSOLE 50 INPUT, 48 AUTOMATED EUROPADISK!L°TD. High Quality Real Time ARMS AUTOMATION VIDEO CASSETTE DUPLICATION PEAKING - SHELVING SWITCHES ON HIGH AND AUDIOPHILE QUALITY LOW BAND EO All Formats HARD LEFT, HARD RIGHT, CENTER PAN SWITCH DMM MASTERING /PRESSING FOR ASSIGNS ALL MODULES CUSTOM PRINTING & PACKAGING FADER FLIP ON ALL MODULES CASSETTE DUPLICATION BAR GRAPH METERING (24- METERS -24 ASSIGNS) On Finest European Labels - Inserts - Shrink Wrap STEREO BAR GRAPH PLUS TWO VU METERS FOR MIXDOWN HX-Pro Equipment DIRECT ON CASSETTE PRINTING DERIVED MONO SEND AND VU METER CD & GRAPHICS PACKAGES AUXILIARY VU METER CUSTOM LOADED BLANK DIGITAL TRANSFER STUDIO 2 EXTRA 96 POINT PATCH BAYS MATCHING SOLID OAK SHELF ADDED FOR NEAR CD Master Tapes CASSETTES FIELD MONITORS - EXTENDS ENTIRE WIDTH OF CONSOLE Neve Digital Console 6 AUX SENDS Sony Digital Editing CALL TOLL FREE 31/2 YRS. OLD, MINT CONDITION PRICE: $35,000.00 Europadisk, Ltd. 76 Vorick Street, New York, NY 10013 1- 800 -527 -9225 (212) 226-4401 Circle (39) on Rapid Facts Card Circle (36) on Rapid Facts Card TAC/Matchless console for sale. 24 Twin Servo" in /24 output, P &G faders, Oak Pro- ACOUSTIC FOAM Jensen ducer's desk, LED level display. $9500 GIANT Mic Preamp obo. Call David (213) 466 -6141. 54 "x 54" The world's clearest preamp - you've heard of it. $19.99 Now hear it at Audio Rents (LA), The Rental Per Sheet!! KILL NOISE QUICK! Soundproof studios, vans. rooms Company (NY) or at your competitor's studio. with super -effective. 62 mount, 2" thick studio gray Marker - foam. Immediate shipping. Add $3.50. sheet shipping. NYS "RECORDING STUDIO STATE OF residents add 7% tax MC Visa Amex' COD'Check, Terms. 3" sheets also available at $29.99. ART FACILITY. NORTH JERSEY jensen transformers 800 -522 -2025 America's most unique INCORPORATED POISED FOR TREMENDOUS (In NY 914- 246 -3036) catalog for the professional! GROWTH PRICED TO SELL SELLER 10735 Burbank Blvd. North Hollywood, CA 91601 FINANCING AVAILABLE CALL V R MARKERTEK FAX (818) 763 -4574 Phone (213) 876-0059 201 -808 -1515" 1451, LerAve .saugemes New York 12477 L' S A VIDEO SUPPLY (Mon -Thurs. 9am -5pm Pacific time)

Circle (37) on Rapid Facts Card Circle (40) on Rapid Facts Card January 1989 Recording Engineer /Producer 79 www.americanradiohistory.com ADVERTISERS' INDEX SALES OFFICES

OVERLAND PARK, KS Mary Tracy 913 -541 -6637 P.O. Box 12901 Rapid Overland Park, KS 66212 Page Facts Advertiser Telephone: 913 -888-4664 Number Number Hotline Telex: 42 -4256 Intertec OLPK Telefax: 913 -888 -6697

AGFA Gevaert 9 8 201/288-4100 SANTA MONICA, CA AKG Acoustics, Inc 35 ...., 203/348 -2121 Herbert A. Schiff Alesis Corp. 1 4 213 -393 -9285 Alpha Audio 77 34 804/358 -3852 Jason Perlman Audio Technologies, Inc 50 25 215/443 -0330 213 -458 -9987 Carver 37 20 818/442 -0782 Chris Woodbury Leonard 213- 451 -8695 Cerwin Vega 28 -29 18 805/584 -9332 501 Santa Monica Blvd. Community Light & Sound 70 35 215/876-3400 Santa Monica, CA 90401 75 33 415/364 -9988 Countryman Associates Telefax: 213 -393 -2381 D & R USA 31 19 409/588 -3411 DIC Digital Supply Corp IBC 2 201/487-4605 NEW YORK, NY Eastern Standard Productions 79 39 800/527 -9225 Stan Kashine Electro- Voice, Inc. IFC 1 212 -702 -3401 Europadisk, Ltd 79 36 212/226 -4401 29th Floor Full Compass Systems 67 28 608/271 -1100 866 Third Ave. NY 10022 Intersonics 73 32 312/272 -1772 New York, Telefax: 212 -702 -7802 JBL Professional BC 3 213/876-0059 Jensen Transformers 79 40 OXFORD, ENGLAND JVC Professional Products Co 39 21 800/JVC-5825 Nicholas McGeachin Kaba Research & Development 49 24 800/231-TAPE Roseleigh House Mann Endless Cassette Ind 79 38 415/221-2000 New Street Markertek Video Supply 79 37 800/522-2025 Deddington, Oxford Meyer Sound Labs 20 17 415/486-1166 OX5 45P England Otani Corp. 3 5 415/341-5900 Telefax: (0869) 38040 Telephone: (0869) 38794 Panasonic (Ramsa Div.) 11 10 714/895-7278 Telex: 837469 BES G Peavey Electronics Corp. 5 6 601/483-5365 312/298-5300 Polyline Corp 65 27 FREWVILLE, SOUTH Pro Sound 69 29 213/770-2330 AUSTRALIA Pulizzi Engineering, Inc. 69 30 714/540-4229 John Williamson QSC Audio Products 13 11 714/645-2540 Hastwell, Williamson, Rep. Radian Audio Engineering, Inc. 73 31 714/961-1213 Pty. Ltd. Ram Broadcast Systems, Inc 55 26 312/358-3330 109 Conyngham Street The Recording Workshop 18 15 800/848-9900 Frewville 5063 Australia Renkus- Heinz, Inc 41 22 714/250-0166 South Phone: 799 -522 Selco Products Co. 18 14 213/921-0681 Telefax: 08 79 9735 25 800/635-SONY Sony Broadcast Products Co Telex: AA87113 HANDM Soundcraft USA 27 818/893-4351 Soundcraftsmen, Inc 10 9 714/556-6191 TOKYO, JAPAN Soundmaster U.S.A., Inc. 19 16 805/494-4545 Mashy Yoshikawa Stewart Electronics 43 23 916/635-3011 Orient Echo, Inc. Tascam Div./Teac Corp. 7 7 213/726-0303 1101 Grand Maison Yamaha Intl. Corp 17 13 Shimomiyabi -Cho, 2 -18 -ku, Tokyo 162, Japan 3M /Magnetic Media Division 15 12 Shinjuku Telephone: 03- 235 -5961 Telex: J -33376 MYORIENT

80 Recording Engineer/Producer January 1989 www.americanradiohistory.com ENGINEER /PRODUCER INDEX January 1989 REPLY CARD Title Codes This is a FREE editorial listing. E (Engineer) P (Producer) E/P (Engineer /Producer) This card is for individual engineers and producers. Facilities Credit Codes should fill out the Tracks Reply Form. CP (Commercial /Advertising Production) Subcodes: R (Radio) TV (Television) MP (Music Production) 1. Fill out your name address. Include and the appropriate Subcodes: S (Single) A (Album) AT (Album Track) title code. AR (Album Remix) SR (Single Remix) PP (Post- Production) Name Title Code [ Subcodes: F (Film) MV (Music Video) Address CI (Corporate /Industrial)

Credit code [ ] Subcode [ City /State /ZIP ] Phone Project title Studio(s) used

2. List your most recent project credits, using the appropriate credit code and subcode. You may include up to five. 4. Client /artist

1. Client /artist Credit code [ ] Subcode [ ] Project title Credit code [ ] Subcode [ ] Project title Studio(s) used Studio(s) used 5. Client /artist

2. Client /artist Credit code [ ] Subcode [ Pruject title [ ] [ Credit code Subcode ] Project title Studio(s) used Studio(s) used 3. Mail this form to Engineer /Producer Index, RE /P, Box 12901, Overland Park, KS 66212. Allow two months from the time you send your entry in until the time it appears 3. Client /artist in print.

ENGINEER /PRODUCER INDEX January 1989 REPLY CARD

This is a FREE editorial listing. Title Codes E !Engineer) P (Producer) E/P (Engineer /Producer) This card is for individual engineers and producers. Facilities Credit Codes should fill out the Tracks Reply Form. Cr (Commercial /Advertising Production) Subcodes: R (Radio) TV (Television) 1. Fill out your name and address. Include the appropriate MP (Music Production) Subcodes: S (Single) A (Album) AT (Album Track) title code. AR (Album Remix) SR (Single Remix) PP (Post- Production) Name Title Code [ Subcodes: F (Film) MV (Music Video) Address CI (Corporate /Industrial)

City /State /ZIP Credit code [ ] Subcode [ ] Phone Project title Studio(s) used 2. List your most recent project credits, using the appropriate credit code and subcode. You may include up to five. 4. Client /artist

1. Client /artist Credit code [ ] Subcode [ ] Project title Credit code [ ] Subcode [ ] Project title Studio(s) used Studio(s) used 5. Client /artist

[ 2. Client /artist Credit code ] Subcode [ ] Project title Credit code [ ] Subcode [ Project title Studio(s) used Studio(s) used 3. Mail this form to Engineer /Producer Index, RE /P, Box 12901, Overland Park, KS 66212. Allow two months from the time you send your entry in until the time it appears 3. Client /artist in print. www.americanradiohistory.com No Postage Necessary If Mailed In The United States

BUSINESS REPLY MAIL First Class Permit No. 3445 Shawnee Mission, KS

Postage Will Be Paid By Addressee

ENGINEER /PRODUCER STAFF EDITOR Box 12901 Overland Park, KS 66212 -9942

I,I11II,,,,I,I,I,III,I,II.II,III,,,,II,III

No Postage Necessary If Mailed In The United States

BUSINESS REPLY MAIL First Class Permit No. 3445 Shawnee Mission, KS

Postage Will Be Paid By Addressee

ENGINEER /PRODUCER STAFF EDITOR Box 12901 Overland Park, KS 66212 -9942

www.americanradiohistory.com ENGINEER/PRODUCER TRACKS REPLY CARD This is a FREE editorial listing. Assistant engineer(s) This card should be filled out by managers or owners of facilities offering post -production for audio and video. Individual engineers and producers should fill out the Engineer /Producer Index reply card. 3. Client

Credit Codes Credit code [ ] Subcode [ ] CP (Commercial /Advertising Production) Subcodes: R (Radio) TV (Television) Project title Recording engineer(s) PP (Post -Production) Subcodes: F (Film) MV (Music Video) CI (Corporate /Industrial) Mixdown Engineer(s)

1. Fill out your name and address. Include the appropriate title code. Assistant engineer(s) Facility Name

Address

City /State /ZIP 4. Client Phone Credit code [ I Subcode [ ]

Your name /title Project title

2. List your facility's most recent project credits, using the Recording engineer(s) appropriate primary code and subcode. You may include up to five.

1. Client Mixdown Engineer(s)

Credit code [ ] Subcode [

Project title Assistant engineer(s)

Recording engineer(s)

5. Client Mixdown Engineer(s)

[ Credit code ] Subcode [ ] Project title Assistant engineer(s) Recording engineer(s)

2. Client Mixdown Engineer(s)

Credit code [ ] Subcode [

Project title Assistant engineer(s) Recording engineer(s)

Mixdown Engineer(s) 3. Mail this form in to Tracks, RE /P, Box 12901, Overland Park, KS 66212. Allow two months from when you mail this form in to until it appears in print. www.americanradiohistory.com No Postage Necessary It Mailed In The United States

BUSINESS REPLY MAIL First Class Permit No. 3445 Shawnee Mission, KS

Postage Will Be Paid By Addressee

ENGINEER /PRODUCER STAFF EDITOR Box 12901 Overland Park, KS 66212 -9942

I'II...II...WII I IIII1 II1 IIIII,..II,II..I

www.americanradiohistory.com For Issue of January 1989 RAPID FACTS Use until May 1989

co 3 Piease check below the ONE category that best describes your primary job function. 06LAudlo Engineer /Producer: Audio producer, sound engineer, mixer. post- production engineer, mastering engineer, staff /independent sound engineer. producer, editor following OR provide address label from cover: or other audio engineering titles. Complete the engineering manager or other YOUR NAME AND TITLE MUST BE IN- 07OTechnical Management: Maintenance engineer, TO ENSURE SERVICE. technical titles. CLUDED. 08Corporate and Operation Management: President, owner, partner, vice president, director, general manager, studio manager and other corporate and financial Please print or type: officials, as well as consultant, professor or instructor. 090Musiclan /artist Name 10 Other (please specify)- Title your business Company 4. Please check the ONE type of facility or operation that best describes classification: Address 25ORscording studio: (commercial fixed location and mobile recording trucks, sys- City State Zip tems and studios) 26LSound reinforcement: (installers, operators and designers of concert and other Phone No. ( temporary sound systems) 27ORadio broadcast production: (including non air -chain station -based and Recording Engineer /Producer? Yes No Do you wish to continue to receive independent radio production facilities) 28JTV broadcast audio production: (including non air -chain station -based and 1. Signature independent television audio production facilities) 29[7lndependent engineer /producer: (free -lance audio producer. engineer, technician. 2 Date director, musician/artist) 30OVIdeo sweetening /post -production facility: (independent audio for video for please see the (If you are not a current subscriber and wish to apply a subscription, production and post -production service companies) in issue.) NEW SUBSCRIBER APPLICATION elsewhere this 31L.FIIm re- recording: (in -house and independent film sound production and post - production companies and facilities) FOR FASTER ACTION!!! 321-:Disk/CD mastering 33( -Audio /acoustic /technical consultant: (system and equipment consultant. studio I have an immediate interest and production facilities designer) in the items I've indicated 34, Corporate, educational, government: (audio recording facilities in manufacturing here. Please have a sales and service companies. and other businesses, schools. universities, governmental person call me. facilities) 35LAudio equipment retailer /dealer /distributor /rental company: (sates and /or Please send me information about the following items. service of professional audio product lines) 121 131 t41 t51 161 171 181 191 1 11 21 31 4t 51 61 71 81 91 101 111 36LOther (please specify) 192 2 12 22 32 42 52 62 72 82 92 102 112 122 132 142 152 162 172 182 153 163 173 183 193 3 13 23 33 43 53 63 73 83 93 103 113 123 133 143 5 What statement best describes your role in purchasing professional audio recording 154 164 174 184 194 4 14 24 34 44 54 64 74 84 94 104 114 124 134 144 equipment, systems and software", 165 175 185 195 5 15 25 35 45 55 65 75 85 95 105 115 125 135 145 t55 AL Make final decision to buy specific makes. models, services or programs. 136 146 156 166 176 186 196 6 16 26 36 46 56 66 76 86 96 106 116 126 BL_I Specify or make recommendations on makes, models, services or programs 137 147 157 167 177 187 197 7 17 27 37 47 57 67 77 87 97 107 117 127 CLI Have no part in buying or specifying 198 8 18 28 38 48 58 68 78 88 98 108 118 128 138 148 158 168 t78 188 9 19 29 39 49 59 69 79 89 99 109 119 129 139 149 159 169 179 189 199 10 20 30 40 50 60 70 80 90 100 110 120 130 140 150 160 170 180 190 200 RJ9

RAPID FACTS For Issue of January 1989 ReCording Use until May 1989 3. Please check below the ONE category that best describes your primary job function. ENGINEER/PRODUCER 06Audlo Engineer /Producer: Audio producer, sound engineer, mixer. post -production engineer, mastering engineer, staff /independent sound engineer. producer, editor Complete the following OR provide address label from cover: or other audio engineering titles. TO ENSURE SERVICE, YOUR NAME AND TITLE MUST BE IN- 07 Technical Management: Maintenance engineer, engineering manager or other CLUDED. technical titles. 08GCorporate and Operation Management: President, owner. partner, vice president, director, general manager, studio manager and other corporate and financial Please print or type: officials. as well as consultant, professor or instructor. Name 09- Musician /artist Title 10: _Other (please specify)

Company 4 Please check the ONE type of facility or operation that best describes your business Address classification: fixed location and mobile recording trucks, sys- State Zip 25ORecording studio: (commercial City tems and studios) Phone No ( 260Sound reinforcement: (installers, operators and designers of concert and other temporary sound systems) Do you wish to continue to receive Recording Engineer /Producer? Yes O No 27 0Radio broadcast production: (including non air -chain station -based and independent radio production facilities) 1. Signature 28OTV broadcast audio production: (including non air-chain station -based and independent television audio production facilities) 2. Date 29E Independent engineer/producer: (free -lance audio producer, engineer. technician. director, musician /artist) (If you are not a current subscriber and wish to apply for a subscription, please see the 30 Video sweetening /post -production facility: (independent audio for video NEW SUBSCRIBER APPLICATION elsewhere in this issue.) production and post- production service companies) 310FIIm re- recording: (in -house and independent film sound production and post - production companies and facilities) FOR FASTER ACTION!!! 32ODIsk/CD mastering I have an immediate interest 33OAudlo /acoustic /technical consultant: (system and equipment consultant, studio in the items I've indicated and production facilities designer) here. Please have a sales 34 0Corporate, educational, government: (audio recording facilities in manufacturing person call me. and service companies, and other businesses. schools, universities, governmental facilities) Please send me information about the following items. 35Audlo equipment retailer /dealer /distributor /rental company: (sales and /or service of professional audio product lines) 1 11 21 31 41 51 61 71 81 91 101 111 121 131 141 151 161 171 181 191 (please specify) 2 12 22 32 42 52 62 72 82 92 102 112 122 132 142 152 162 172 182 192 36OOther 3 13 23 33 43 53 63 73 83 93 103 113 123 133 143 153 163 173 183 193 4 14 24 34 44 54 64 74 84 94 104 114 124 134 144 154 164 174 184 194 5. What statement best describes your role in purchasing professional audio recording 5 15 25 35 45 55 65 75 85 95 105 115 125 135 145 155 165 175 185 195 equipment, systems and software? 6 16 26 36 46 56 66 76 86 96 106 116 126 136 146 156 166 176 186 196 A Make final decision to buy specific makes, models. services or programs. 7 17 27 37 47 57 67 77 87 97 107 117 127 137 147 157 167 177 187 197 B Specify or make recommendations on makes, models, services or programs. 8 18 28 38 48 58 68 78 88 98 108 118 128 138 148 158 168 178 188 198 CO Have no part in buying or specifying. 9 19 29 39 49 59 69 79 89 99 109 119 129 139 149 159 169 179 189 199 10 20 30 40 50 60 70 80 90 100 110 120 130 140 150 160 170 180 190 200 RJ9

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www.americanradiohistory.com NEW SUBSCRIBER APPLICATION

ENGINEER/PRODUCER 3. Please check below the ONE category that best describes your primary job function: O60Audlo Engineer/Producer: Audio producer, sound engineer, mixer, post- production engineer, mastering engineer, staff /independent sound engineer, producer. editor other audio engineering titles. a 1 -year to or Receive subscription 070Technlcal Management: Maintenance engineer, engineering manager or other Recording Engineer /Producer. technical titles. O8Corporate and Operation Management: President, owner, partner, vice president, director, general manager, studio manager and other corporate and financial officials, as well as consultant, professor or instructor. 09CMuslclan /artist Please enter my subscription 101 Other (please specify) to Recording Engineer/Producer Yes! 4. Please check the ONE type of facility or operation that best describes your business classification: 25URecording studio: (commercial fixed location and mobile recording trucks, sys- 1 year for $24 (Domestic only) tems and studios) 260Sound reinforcement: (installers, operators and designers of concert and other Foreign: 1 year $45 (Allow 6-8 weeks for delivery of first issue) temporary sound systems) 270Radio broadcast production: (including non air -chain station -based and III Check enclosed. Independent radio production facilities) 280TV broadcast audio production: (including non air-chain station -based and Please print or type: independent television audio production facilities) Name 290Independent engineer/producer: (free -lance audio producer, engineer, technician, director, musician /artist) Title . 300VIdeo sweetening /poet- production facility: (independent audio for video Company production and post- production service companies) Address 310Fllm re- recording: (in -house and independent film sound production and post - production companies and facilities) City State Zip 320DIak/CD mastering /technical (system and equipment consultant, studio Phone No.( ) 330Audlo/acoustic consultant: and production facilities designer) in manufacturing SERVICE, YOUR NAME AND TITLE MUST BE IN- 34UCorporate, educational, government: (audio recording facilities TO ENSURE and service companies, and other businesses, schools, universities, governmental CLUDED. facilities) 35DAudio equipment retailer/dealer /distributor /rental company: (sales and/or Special Instructions: service of professional audio product lines). 360Other (please specify) You must answer all questions in order to qualify to receive Recording Engineer/ Producer. 5. What statement best describes your role in purchasing professional audio recording You must sign and date the card. equipment, systems and software? Make final decision to buy specific makes, models, services or programs. Do you wish to receive Recording Engineer /Producer? Yes it No [; A BD Specify or make recommendations on makes, models, services or programs. CO Have no part in buying or specifying. 1. Signature

2. Date SJ9

ADDRESS CHANGE CARD ENGINEER/PRODUCER

3 Please check below the ONE category that best describes your primary job function: 06GAudlo Engineer/Producer: Audio producer, sound engineer, mixer, post- production PEEL OFF MAILING LABEL engineer, mastering engineer, staff /independent sound engineer, producer, editor or other audio engineering titles. AND ATTACH IT HERE 07E Technical Management: Maintenance engineer, engineering manager or other technical For an address change, write titles. 08CCorporate and Operation Management: President, owner, partner, vice presi- new your address below, complete the form dent, director, general manager, studio manager and other corporate and financial and attach your current mailing label here. officials, as well as consultant, professor or instructor. 09 U Musician /artist 10lOther (please specify) TO ENSURE SERVICE, YOUR NAME AND TITLE MUST BE IN- 4. Please check the ONE type of facility or operation that best describes your business CLUDED. classification: 250Recording studio: (commercial fixed location and mobile recording trucks, systems and studios) Please or type: 26ESound reinforcement: (installers, operators and designers of concert and other print temporary sound systems) Name 270Radlo broadcast production: (including non air-chain station -based and Title independent radio production facilities) 280TV broadcast audio production: (including non air-chain station -based and Company independent television audio production facilities) Address 29 Independent engineer /producer: (free -lance audio producer, engineer, technician, director, musician /artist) City State Zip 300Video sweetening /post -production facility: (independent audio for video Phone No. production and post- production service companies) 310Fitm re- recording: (in -house and independent film sound production and post - production companies and facilities) Special Instruct ions: 320DIsk/CD mastering 330Audlo/acoustic/technical (system consultant, studio You must answer all questions in order to qualify to receive Recording Engineer/ consultant: and equipment Producer. and production facilities designer) You must sign and date the card. 34Corporate, educational, government: (audio recording facilities in manufacturing and service companies, and other businesses, schools, universities, governmental facilities) Do you wish to continue to receive Recoraing Engineer/Producer? Yes (J No 350Audio equipment retailer /dealer /distributor /rental company: (sales and/or service of professional audio product lines) 1. Signature 3600ther (please specify) 2. Date 5. What statement best describes your role in purchasing professional audio recording equipment, systems and software? AO Make final decision to buy specific makes, models, services or programs. B Specify or make recommendations on makes, models, services or programs. CO Have no part in buying or specifying. AJ9

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www.americanradiohistory.com JEFF BAXTER AND DIC/I DA T TAKE MUSIC TO THE Nth DEGREE THE DIC // /DAT Musician's Musicians Series #

l'HOTOGRAPH: KOPITCHINSKI LOCATION: SOUNDTRACK NY.

The title on the album read "Can't Buy a Thrill." But the music inside proved just the opposite. Steely Dan gave the world a thrill for the price of a record. And the guitar player that gave Steely Dan its thrills through three gold albums was Jeff "Skunk" Baxter. Behind the console or in front of the mike, Skunk Baxter lets nothing get between him and his music. That's why his trademark clear plexi guitar synthesizer clearly isn't just for show. Its thermoplastic body means virtually zero resonance. Which means virtually zero interference. The purest sound. Music to the Nth Degree. Like DIC ///DAT The definitive digital audio tape. The surface: Ultra -high density metal particles. The dispersion: Ultra - uniform. The result: Unsurpassed digital signal receptivity. û/Lì7RT And an unbelievable range and clarity way beyond vinyl. TAKING MUSIC TO THE Nth DEGREE. Beyond analog cassette. Beyond any way you've ever heard recorded music before. 2 University Plaza, Hackensack, NJ 07601 e DIC DIGITAL SUPPLY The sound of the future. Available now to discerning pros. I -800 -DAT- I -DIC CORPORATION, 1989 O/C Jíyla/ DgieG Tape

Circle (2) on Rapid Facts Card www.americanradiohistory.com It Takes More Than A Little Neodymium To Change The Face Of Driver Technology.

Hailed as the catalyst for a new generation of high performance compression drivers, the rare earth compound neodymium showed up in our R &D lab shortly after it was first formulated. But its extremely high cost and sensitivity to heat had to be overcome before neodymium could live up to its full potential. availability of this highly magnetic, extremely lightweight material coincided perfectly with our development of the Coherent Wave'" phasing plug. The 2450's smaller size translates to tighter spacing of horr} arc arrays, more even and precise 2450) Neodymium Compression coverage and greatly reduced requirements Driver with Coherent Wavé" phasing plug provides in -phase combining of for delay. Plus, the 2450 nets out at a mere sound waves for extended high fre- 4.8 kg (10.5 lb) . The benefits of this dramatic quency performance.. JBL s patented weight reduction include lower shipping costs dian pnd surround titanium diaphragm to the site or on the road and significantly less QL'swith ñew embossed dome great{yreduces load bearing requirements for both structures distortion and damage at high SPL! and rigging. With built -in mounting points, the 2450 will take much less time to install. This new design, a phasing plug with annular apertures of constant path length, uniformly directs Yes, it took more than a little neodymium to sound through to the throat providing in -phase change the face of driver technology. But we're combining of sound waves for extended high fre- confident you will find the breakthrough results quency performance. This new technology is were certainly well worth the wait and the effort. combined with our patented diamond surround 1- titanium diaphragm, incorporating a new embossed dome, to reduce the póssibilitif of dístortion or damage at high SPL. JBL