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RDING TECHNIQUES PORTS: RTA 1232 Real Time Analyzer E 27 Realtime Equalizer

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CIRCLE 10 ON READER SERVICE CARD b

www.americanradiohistory.com FEBRUARY 1983 /h ERN VOL. 8 NO. 5 CoDIING cke llW%IIC THE FEATURES THE STAPLES 3 V ,. , a,. . STUDIO NOTEBOOK #12 ti+ a.;# LETTERS TO THE EDITOR 2 By James F. Rupert 10 Back to the issue of borrowing money, ~Stik4ASti4 '. TALKBACK 6 44.44 --0." » this month's S.N. discusses the Small The technical Q&A scene. Business Administration's SCORE and ACE programs. It also tells you where to THE PRODUCT SCENE 20 obtain SBA catalogs and pamphlets. The notable and the new, with items from Banner, Phase Linear, and Nakamichi, among RECORDING TECHNIQUES -PART X others. By Bruce Bartlett The care and handling of your tape is a very HANDS -ON 42 delicate matter. Preventing hiss, dirty heads and Fostex's Model 250 Four Channel Cassette Re- misalignment, as well as improving your recorder-By John Mon forte cording tape's performance are the topics of Electro- Voice's Entertainer Model 100 Powered this month's Recording Techniques. A veritable Mixing System -By Chip Stern grooming and health care manual for tape. AMBIENT SOUND PROFILE: PETER TOSH By Len Feldman 48 By Jeff Tamarkin This month the subject is digital. Sansui's Tri - The reggae artist from Jamaica talked to MR &M's code PCM processor makes use of it, and dbx Jeff Tamarkin before his Felt Forum appearance introduces a digital audio processor. on his U.S. tour with Jimmy Cliff. They discussed his album, Mama Africa, among other LAB REPORTS issues. Yes, mon -an interesting time, indeed. By Len Feldman 50 Banner's RTA -1232 Real Time Analyzer GENESIS -"LIVE" Rane Corporation's RE 27 Realtime Equalizer By Rob Patterson 36 Genesis itself may have achieved a rebirth -as NOTES producers of an excellent new "live" sound. Rob By Rick Chinn 56 Patterson speaks to several of the people re- Using various effects wisely and well is the topic sponsible for this sound, including Genesis Phil this month. Collins, who really does still care. GROOVE VIEWS 61 Reviews of albums by Bananarama, Ronald COMING NEXT ISSUE! Shannon Jackson, Al Cohn and Count Basie, Recording with Spyro Gyra and The Psychedelic Furs. Recording Techniques -Part XI Profile: Philip Glass ADVERTISER'S INDEX 72

Modern Recording & Music I , Mhts-.l ..essiii 1;,,; 11,11 ul lin Flak, us. Ni 11b:.i Design s...., .i,y Iki.S Lr MHhM F'uU_,nq G,i{ r, unI nol br Cover Photo. Ebet Roberts u t_y I,r.mia.on I I bl.r.i Sec c;la. dl r'I, . 'Nc.. AOrr, n4dni:y ntl,Crs Genesis Color Photo Ebet Roberts u eU' f'.1LL c.. ai I, d,.!, i .i Sut rq,11,t1 I _ L,,1,1 I sn SZOU _. , a,.> ALM pt, Genesis B &W Photo' Courtesy of Atlantic Records I yo i Ior ut), FY 0111,1t {7t , n,r.t tr I,aU acr.dncu Genesis B &W Concert Photo Ebet Roberts r,tn a,t . Jra F, .i_, .L ., MH6ti, 4,b1e.1u17U

Tosh Photos. Larry Rossman 11,'l+ UIJ l.un;i, lill , 1 ityl,

FEBRUARY 1983 1

www.americanradiohistory.com /MODERN INCOMING ItT.Tt /nusiic y tJ

JOHN WORAM Editor A Hearty Calibration I have a small 4 -track home set -up and would like to find out GENE SCARAMELLINO how to adjust my machines (TEAC 3340's and TEAC 22 -4) for RICKI ZIDE bias and EQ, as well as other basic maintenance info. Does MARK WALDSTEIN TEAC publish any literature on the subject? Could you recom- Associate Editors mend any other literature on the subject? Could you recommend any other literature available to non -trained people who can follow instructions, but lack the know -how? LEONARD FELDMAN -Paul Lenart BRIAN ROTH Cambridge, Technical Editors MA We received the following response from Drew Daniels. CRAIG ANDERTON ROBERT ANGUS TEAC and Tascam service manuals assume the reader has VICKI GREENLEAF already acquired the basic skills, e.g., reading voltmeters and NAT HENTOFF oscilloscopes -not much more difficult than reading a gas STAN HYMAN FRED RIDDER gauge -and can of course, follow step -by -step procedures. The JAMES RUPERT more recent Tascam manuals are combined Owner /Mainte- Contributing Editors nance manuals which include some of the best non -technical writing for user maintenance and calibration I've seen. ELLEN ZOE GOLDEN Beyond the Tascam Owner's /Maintenance manuals, TEAC ROBERT HENSCHEN publishes only The Multitrack Primer, a basic entry -level JOE KLEE primer on the jargon and techniques of recording, sound, and ALLAN KOZINN signal producing and carrying elements of a recording system, STEVE ROW but the bibliography contained in the Primer serves well as a JEFF TAMARKIN Music Reviewers guide to a solid reading foundation in the subject. Books like Everest's "Acoustic Techniques For Home and Studio," and Woram's The Recording Studio Handbook advertised KAREN COHN here in Advertising/Production MR &M are books that should be among those in your library. As far as the actual calibration of the 3340S and 22 -4, you'll need the service manuals to locate the DAVID KRAMER adjustment trimmers Layout and Design and find the recommended voltage levels to check on your audio voltmeter, but beyond that, the setup procedure is the same for (analog) +3 SPARTAN PHOTOTYPE CO. any tape recorder, dB over peak bias at 10 kHz for a Typographers quarter -mil record head gap (like Tascam) and set the EQ for the flattest response. The necessary test gear can be pricy, BERNADETTE WEBER especially if you want to use a pink noise alignment tape in Circulation addition to your other gear, and you can look forward to a learning period of anywhere from a few hours to several dozen LARRY ZIDE hours, but you may save a substantial amount of time and Publisher money over the years not having to rely on repair shops who are not always as highly motivated as you are when your tape Editorial and Executive Offices MR &M Publishing Corp. equipment needs a tuneup. If you're making tapes for clients 1120 Old Country Road Plainview. NY 11803 to play on other recorders, you will definitely want to acquire 516 433 -6530 an oscilloscope to keep your head azimuth aligned to a standard Editorial contributions should be addressed to The test tape, and this procedure will require frequent checks Editor. Modern Recording & Music, 1120 Old Country to Road, Plainview, N.Y. 11803. Unsolicited manuscripts that make trips the service shop prohibitive. will be treated with care and must be accompanied Daniels by return postage. -Drew Applications Engineer Tascam Production Products TEAC Corporation of America

2 MODERN RECORDING & MUSIC

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There are other microphone When you need a rugged and You may not always need a alternatives when high versatile microphone, condenser microphone for sound pressure is a factor. consider the alternatives. "critical" recording applications. allamm

As Sennheiser claims, the MD 421 For over 10 years, engineers have Some engineers prefer condenser undoubtedly stands up to extremely used mics like Shure's SM57 for the microphones like the AKG C 414 high decibel levels and has other widest variety of applications in the to accurately capture the subtle features that have contributed to studio. And we feel that one of the nuances of a violin or acoustic piano. its popularity. But if you're already main reasons more engineers don't But should you have to deal with using the MD 421 to mike loud use the Beyer M 201 in this context the complexity of a condenser system instruments or voices, we suggest is simply because they don't know every time this kind of situation that you investigate the Beyer M 88. about it. Those who have tried comes up? The Beyer Dynamic M 88's it in the full gamut of recording The Beyer Dynamic M 160 frequency response (30 to 20,000 Hz) situations have discovered how it can features a double- ribbon element enhances your ability to capture the distinguish itself when miking for the unique transparency of true personality ( including exaggerated anything from vocals to acoustic sound image that ribbon mics are transients) of bass drums, amplified guitar to tom toms. known for. While its performance is instruments and self- indulgent lead The M 201's Hyper- Cardioid comparable to the finest condenser vocalists. pattern means that you get focussed, microphones, the M 160's compact The Beyer M 88 features a matte accurate reproduction. Its wide size and ingenious design offers black, chromium -plated brass and smooth frequency response significant practical advantages for case for the ultimate in structural (40 to 18,000 Hz) provides excellent critical applications. integrity. Beyer microphones are definition for the greatest number Beyer Dynamic microphones offer designed for specific recording and of possible recording and sound state -of- the -design technology and sound reinforcement applications. reinforcement situations. precision German craftsmanship for Each Beyer Dynamic microphone the full spectrum of recording and has its own custom -designed element sound reinforcement applications. to optimize the mic's performance for its intended use.

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FEBRUARY 1983 CIRCLE 13 ON READER SERVICE CARD 3

www.americanradiohistory.com You Can Always Use tioned. But I think you'll be able to get Them As Dishes what !ton need with the address above. In response to Drew Daniels' article Become a against "home tapers," which ap- The Pink and the White peared in the December, 1982 issue, Again, we are sorry to hare to run I would like to point out the fact that I another correction letter. This time, Recording purchase about 100 albums a year. If we owe our a pologies to Ba rarer. First Mr. Daniels knew how painful it is to of all, in our Product Scene column of click on my $6000.00 stereo system, the December, 1982 issue, we listed Engineer. clean my stylus, then crack the Banner as a division of Optics cellophane and pull out a warped, off - Corporation. Banner is actually a centered piece of garbage I just division of Optronics Corporation, excitedly had purchased an hour and their full address, which wef,iled before, I think he would understand to list in the column. is: why be in the record business might Opt cote irs Corporation trouble. I have about a fifty to sixty P.O. Drawer 1803 percent return ratio on all my Shelby. N.C. albums. But I still come back for 281 511 more punishment -even after two to three exchanges on the same album. The other error that was made in the What happened to the good old flat, paragraph about the Banner 1232 healthy, well- centered discs of yester- Real Time Analyzer was in the year that usually also came with lyric statement: "Both pink and white noise or photo booklets? I guess we've just are provided by any internal digital gotten "sloppy discs" in the computer noise generator." That sentence should age. read, "Both pink and white noise are -Jeff Perry provided by an internal digital noise Santa Clara, CA generator." Yon see, not just any We welcome any and all responses to internal digital noise generator can Learn in Mr. Perwy's impassioned letter. provide pink and white noise, but Control Room & Console Labs Banners internal digital noisegerrer- Uni -Sync: They Stayed ator does. Sorry, Banrrer,arrd sorry to Studio Synthesizer Lab Afloat I have a peculiar problem that I need you folks who became ronfnsed. We Audio Fundamentals Lab assistance in solving. For the last hope that's all cleared up now! Digital Logic Lab three years my electronic work has Disc Cutting Lab been in two -way radio and com- That Dog -Eared February Issue mercial TV, and I have lost touch I have been an avid reader of your Obtain your Diploma in with sound recording /reinforcement magazine for quite some time, and equipment manufacturers. When a Multi -track Recording was looking through old issues the local church approached me to assist other day. I was especially interested Technology with upgrading their reinforcement in one year, in an article in your February 1981 or credit toward a system I began seeking manufac- issue, written by Craig Anderton on B.S. Degree. turer's info. Beige] Sound Lab's Envelope Con- However, there is one company I trolled Filter. I was going to fill out Spring '83 Quarter starts cannot find a good address for -Uni- the reader service card, but was Thursday, March 24th. Sync, a BSR company of Westlake afraid that it might be out of date. Summer '83 Village. Ca. Since I used Uni -Sync Quarter starts Could you provide me with their Tuesday, July mixers five years ago, and was 5th. and possibly a with address telephone pleased the products, I would number? Call or write for 24 -pg illustrated brochure like to have up -to -date information. If Thanks for all the work it takes to you have a current address, please make a great magazine. 212/677 -7580 or print it! -R. Geoffrey Beckwith -Mitchell A. Hull 1- 800/847 -4187 Tucson, AZ (Toll -free outside of N Y. State) Tulsa, OK You can write to Beigel Sound Labs at: Uni -Sync is itou' a division of dbx, Institute Beigel Sound Lab and they're located at: of Audio 24 Main Street 71 Chapel St. Warwick. N.Y. 10990 Research Newton, Mass. 64 university Place 02195 Greenwich Village Their phone number is: (914) 986- New York, N.Y. 10003 The phone 1699. Established number there is (617) 1969 964 -3210. The people we spoke to at Licensed by N Y State Dept. of Education BSR didn't know anything about the Good lurk, and thanks for all the Approved for Veterans Training Westlake Village address you men- complimentary words. 4

4 CIRCLE 14 ON READER SERVICE CARD MODERN RECORDING & MUSIC

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CIRCLE 15 ON READER SERVICE CARD

www.americanradiohistory.com /TALK ÁCKiv

"Talkback" questions are answered biased to a point where the third - itself has a good bibliography of by professional engineers, many of harmonic distortion and modulation pertinent reading material inside. whose names you ham probably seen noise is at minimum. This corre- The initial investment in the basic listed on the credits of major pop al- sponds to about 1 dB over -bias for a items you need to calibrate your tape bums. Their techniques are their awn 25 um (1 mil) record head gap, 2.5 dB equipment comes as a shock to many and might eery well differfrom anoth- over -bias for a 12 um (Y2-mil) record people. You'll need a calibration tape erïs. Thus, an answer in "Talkback "is head gap. and 3 dB over -bias for a for play level and equalization certainly not necessarily the last word. 6 um (V-mil) record head gap. setting, and a good audio voltmeter to We welcome all questions on the sub- The 3340S and 22 -4 have 12 um read the results. Some sort of oscil- ject of recording, although the large record head gaps, and the service lator or test tone generator (not your volume of questions received precludes manuals for both machines also synthesizer) and if you want to save our being able to a nswer them all. If you recommend a 2.5 dB over -bias. Over - yourself a lot of time, a small feel that we are ski rtinqan!/ issues,fire bias means: starting at minimum, oscilloscope. All these things might a letter off to the editor right away. increase the bias until it peaks, then come to $500, but the investment can "Talkback" is the Modern Recording increase 2.5 dB more. This will make save you that much and more if you & Music readers technical forum. the peak drop back, and flatten out rely on service shops to calibrate and the high- frequency response to a tweak your equipment for each reasonable degree. If you're really change of tape brands or types, and a picky about frequency response, you pro studio checks its tape equipment can fudge the bias to flatten the each time a new reel of tape is used. frequency response some. If you are -Drew Daniels Bias Adjustment the type who is fussier about distor- Applications Engineer I have a small 4 track home set -up tion, you can adjust the bias for Teac Corporation of America and would like to find out how to minimum distortion, but you'll have adjust my machines (Teac 3340s to get a distortion analyzer and the and Teac 22 -4) for bias and EQ, as use of such an analyzer takes some Demagnetization well as other basic maintenance study if you're a non -technician (but Like many people these days, I info. Does Teac publish any litera- the results may be worth the effort). have learned about recording, not ture on the subject? Could you Tascam Owner's /Maintenance by being apprenticed to a profes- recommend any other literature manuals are some of the very best we sional engineer but by reading and available to non -trained people know of in terms of providing experimenting with my home who can follow instructions, but background and useful information studio. As a result, I have lots of lack the know -how? to people who read them, for the care questions and nobody to turn to for -Paul Lenart of the machines and the understand- answers, especially when it comes Cambridge, MA ing of recording basics. They provide to the arcane and mysterious very clear step -by -step guidance on process of demagnetizing. I have There really is no mystery in bias bias and equalization setting pro- never seen anybody else demag- adjustment. The tape manufacturers cedures and other maintenance netize a tape head, and the written publish an information sheet for each procedures, and general information instructions I've encountered are type of tape sold for professional use. on subjects like decibels, volts, far from comprehensive. I could These sheets describe the essential impedance matching, etc. even be doing something horribly parameters you need for proper The Teac "Multitrack Primer" is wrong that will destroy my tape adjustment of your tape recorder to still available, and in fact has just heads. So here are a few of the optimize performance with each been given an updating with some things that have been puzzling me. tape. new information on nanowebers and Basically, the rule of thumb is that system operating levels in addition to 1. When moving the head of the the record head's gap length de- the acoustical and other very useful demagnetizer back and forth over termines the amount of bias used. information it already had. (Give the the tape head (well, actually, Tape manufacturers recommend folks at Teac's sales department a call under the tape head) should I that professional tapes be over- (213) 726 -0303 to order.) The Primer move only in a direction parallel to

6 MODERN RECORDING & MUSIC

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FEBRUARY 1983 CIRCLE 16 ON READER SERVICE CARD 7

www.americanradiohistory.com the head gap, that is, perpen- 10. How often do I have to go field of reversing polarity (neutral) dicular to the face plate of the tape through this whole ritual, anyway? such as 50 or 60 cycle alternating head, or should I move from side to -Jim Aiken current circuits, then reducing this side, in a circular manner, or in Cupertino, CA intensity gradually by pulling the some other pattern? magnetic field away. This is called cyclical demagnetization and the actual demagnetization occurs only 2. Should I continue moving the O.K. Jim, let's start with your last during the reduction of intensity demagnetizer in this "scrubbing" question. There is only one way to (pulling away period). pattern as I draw it slowly away need for demagnetiza- determine the When starting demagnetization from the head, as one of my friends tion and that's with a magnetometer. the parts should be rotated or the recommends, or should I stop Now before you faint, let me say that demagnetizer waved to insure opti- scrubbing and draw it away in a is both inexpensive and this device mum neutralization. You should basically perpendicular line? simple to operate. It's like a VU always pull away to at least one to two meter except its zero is dead center. feet for each part demagnetized. 3. Will it harm the tape head if the An excellent version is made by R. B. Follow these simple guidelines and metal tip of my cheapo demag- Annis of Indianapolis. You just touch you'll never have to worry about netizer accidentally comes in edge (or its clip -on probe) its bottom going through this whole ritual contact with the head itself? to the suspect part and it'll read again. negative (left) or positive (right) 4. How close should the scrubbing magnetism in "gauss." A scale of no 1. To avoid occurrence of accidents motion be done, anyway? I have more than five gauss is necessary and do not keep demagnetizer in been doing it about y" from the as an explanatory note the earth's control room or anywhere else head. magnetism is about '/ a gauss. tapes are stored. In the studios I work out of, the 2. After cleaning deck, check parts 5. Does the tip of the demagnetizer machines are checked daily. This is with magnetometer. have to be square to the orientation due to the high volume of work done, 3. Check to insure no tapes are of the head, or is it okay to be as just running tapes can build up around the area before plugging angled slightly to the left owing to magnetic fields. Additional causes of in demagnetizer. the fact that I'm left- handed? magnetization are things like 4. Turn on at least one to two feet speakers or transistor radios placed away from deck. to 6. I know I'm supposed back the near the deck. Occasionally a meter 5. Approach to V, inch (do not touch demagnetizer off at least three or even the earth's field can cause heads). feet from the deck before turning problems. Recording tape is very 6. Wave slightly sideways or rotate it off. But do I have to back it away sensitive to extraneous magnetism. part. this far between demagnetizing Exposure can degrade the signal by 7. Don't hold in that position, but the record head and demagnetiz- limiting or decreasing its high slowly pull away at no more than ing the playback head, or can I just frequency content as well as increas- three to four inches per second back it off a foot or so, so that the ing background noise (hiss) several to a point at least one to two feet effective distance is roughly the dB. In other words, your signal to away. same to each head? noise ratio goes down the tubes. 8. Never interrupt the demagne- Your heads are made up of "soft" tizer's power during this cycle. 7. After I've demagnetized one metal. They are very permeable and 9. Continue demagnetizing where head and am bringing the de- therefore magnetize very easily. needed following the same steps. magnetizer in to demagnetize However, once the influence of a 10. Check all parts again with another, do I have to approach as magnetic force is removed, its reten- magnetometer. slowly as I drew back, or can I tion or memory of that source is 11. To clear any magnetic particles come in faster? How much faster? slight. Magnetism can build up, but out of the head gap, soak a lintless 8. Do I have to demagnetize the demagnetization is easily accom- tissue in head cleaning fluid (less little metal posts that the tape plished. All the metal parts along the than 10% water) and stick this to travels over between heads? If so, tape's path such as capstans, guides, head. Now when you approach should I demagnetize them before rollers and spring can not only pick the head, move the demagnetizer or after I demagnetize the heads? up magnetism but pass this on to the once down and once up the length Won't the magnetic field coming' tape. These are "hard" metals and of the gap, then demagnetize as out of the side of the demagne- their retention is such that they can usual. Any particles will adhere tizer's tip have some effect on a actually become magnets. If your to the tissue. nearby head even when I'm de- "cheepo" demagnetizer is rated at In any case, once you have a mag- magnetizing one of the adjacent less than 300 Oersteds it wouldn't be netometer, you'll be able to answer posts? of much use here. What's an Oersted? your own questions about the ade- It's simply a measurement of mag- quacy of demagnetizing methods. 9. Do I have to rotate the tape netic intensity and should be listed on -Mike Shea guides on the spring -loaded ten- your instrument's specification sheet. Chief Engineer - sion arms and demagnetize them The way that demagnetizers work Precision Measurement from all sides, or will just demag- is easily understood and understand- Chief Technical Consultant - netizing them from one side de- ing is the key to knowledgeable use. IM+RW magnetize the whole roller clear When you use a demagnetizer, you're Technical Consultant - through? exposing a metal part to a magnetic Planet Sound Studios

8 MODERN RECORDING & MUSIC

www.americanradiohistory.com POWER. PRECISION. CHOICE.

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FEBRUARY 17 READER 1983 CIRCLE ON SERVICE CARD 9

www.americanradiohistory.com 12

By James F. Rupert

ATTENTION READERS Who are not looking to the need. Any small business that is not dominant in its United States Small Business Administration field may apply for help. Counseling can be either for assistance in obtaining money for a new studio: this general or about a specific problem. SCORE can article is for both of you! review facilities, products, procedures, marketing, financing and a host of other subjects or problems. In the last episode, we talked about SBA participa- is on a strictly confiden- tion loans and financial assistance. Now let's explore All of SCORE's counseling sessions can take place in the potentially more important programs that SBA can tial basis. The counseling a recording job, in your offer the struggling young recording studio. Just your studio, on remote site, in your home or because Uncle Sam might have opened the doors to a unremodeled proposed studio make sense and give the best few dollars, is no reason to assume that the relation- anywhere else that would you would like to achieve with your new ship has to end. Business loans are just the beginning. picture of what recording business. SCORE can help you break bad Even prior to making your pitch to your banker, you business habits, prevent future problems from could do a lot worse than to pick up the phone and call occurring and sharpen your perhaps rusty, if not non- the closest field office of the SBA. One way, for existent, management skills. example, to do worse would be to seek the services of a Where it is possible, the counselor's experience and professional consulting firm that would give you the expertise is matched to the applicant's needs and type same excellent advice and counseling that the SBA will of business. If necessary, additional counselors and give you. The difference, however, is that the specialists can be called in, or used as a team for those consulting firm will charge you many sheckels for the real "stumper" problems. Since SCORE is staffed and same information the SBA will arrange for you to run by volunteers, you gain more than knowledge in receive for nothing. (Call me old -fashioned, but I'd your counselors, you gain people who care. If they rather get the same service for nothing anyday!) didn't give two hoots or were in business just for the The SBA will aid you in putting together a solid bucks, they would not be involved in the program in the business strategy in a logical step -by -step process. first place. Over 8000 of these good people are ready to me Now before anyone gets the wrong idea, let stress give you a hand, and they promise not to have their that the key word in that last sentence is "aid." SBA hand out in return. Can you ask for anything more than small business counselors work with you, not for you in that? establishing your studio's plan. Your job (should you Part of the specialty reserves that stand ready to decide to. accept it) is to provide them with hard facts, work with SCORE volunteers are the members of the educated conjecture and the wild speculation that ACE program. ACE stands for the Active Corps of goes into drawing up a small -business plan. Almost Executives, and is made up of volunteers who are still every aspect of recording studio organization that has active in business. The sole purpose of both ACE and been discussed in past "Studio Notebook" installments SCORE is to help you make it. Their only motive is to will be covered in the proper sequence to provide a lend you the value of their brains, their ideas, their solid base for your future business. know -how and their experience so that you might walk In some cases, the SBA will work with local out a winner from the arena that you are about to enter. universities and business colleges to provide real No fees, no surprise surcharges, no hidden costs. Any business counseling experience for the schools' top costs of both associations are paid for through the business administration majors. These students will sponsorship of the SBA. (Think about that the next have the full resources of their schools' faculty, time you grumble come income tax time.) materials and computers to work with in resource SBA also publishes an incredible series of booklets you lay the groundwork for a successful helping to help with almost any facet of your business that is Although some of them may be amateurs, take studio. imaginable. Some literature is free, some is available at it from me that as consultants, these students are a minimal cost. Catalogs of all SBA publications are but rookies. anything available through two addresses: The listing of free by If the possibility of students advising you still makes publications (ask for SBA -115A) is available Business Administration, P.O. Box you a title paranoid (shame, shame!) then consider the writing U.S. Small (toll free, SBA's SCORE program. SCORE is short for Service 15434, Fort Worth, Texas 76119 or by calling can call Corps Of Retired Executives and the name says it all. no less!) 800 -433 -7212. (Texas residents only the catalog of publications that SCORE is a non -profit association that provides free 800 - 792 -8901.) For the Superintendent of business counseling to the small businessperson in carry a small charge, write to

10 MODERN RECORDING & MUSIC

www.americanradiohistory.com Description n)ut: The DOD Dual Delay R -880 is in- 100-K ohm unt alan:ed. tended for echo and reverb effects. The Output:: R -880 is ideal for mono or stereo P.A. Channel= A and B are saparste and Special noise reduction techniques idenlical. Output irmeda-ice i3 600 make the R -880 quiet enough for even ohms ea. h clsnne unbaland. the highest gain preamps, and it incor- niicatc.rs: porates some features only available in All switches have LED lamps to digital systems. indicate when they are in. The power All this, combined with the DOD switch is illuminated when on and the The DELAY 1 reputation for quality and service makes and DELAY 2 switches clip lamp lights when a signal over 5 engage each of the R -880 an excellent choice for the delay lines; there- volts PP is present. fore, at least medium to long audio delay applications. one must be "in" to pro- Delay Range: duce a delayed The Dual Delay uses both compand- signal. The INPUT jack Delay 1: 12 ms to 125 ms. goes directly to the input ing and emphasis to achieve its remark- level pot, so Delay 2: 25 ms to 250 ms. there is no input stage ably quiet operation. to overload. The Delay 1 x 2: 25 ms to 250 ms. CLIP indicator begins to light Delay times of 12 ms through 500 ms at aoout Delay 2 x 2: 50 ms to 500 ms. one-half of the actual clip point are easily obtained by adjustment of the to allow Size: for more headroom in simple, straight forward controls. The the program Standard 13/4" x 6" x 19" rack. material. The A MIX B front panel is divided into three sections: and MIX controls Weight: are two identical the delay controls; the signal controls; mix circuits that go to 6 Ib. 7 oz. (3 kg.) and the signal jacks. separate output jacks. When using two amplifiers, the mix controls may be set differently for greater presence. Specifications Frequency Response: Dry 20Hz to 20KHz ± 1db. Delay 40Hz to 6KHz ± 1db. X2: 40Hz to 3KHz ± 1db. Signal to Noise Ratio: VO.1? Dry 95 db unweighted. Electronics Corporation Delay 90 db unweighted. 2953 South 300 West Salt Lake City, Utah 84115 (801) 485 -8534

Printed in USA

FEBRUARY 1983 CIRCLE 18 ON READER SERVICE CARD

www.americanradiohistory.com Documents, U.S. Government Printing Office, Wash- nearest field office or write to the main SBA office for a ington, D.C. 20402 or write or call the national SBA Request For Counseling Application. (If you're re- office in Washington, D.C. questing the basic information packet, you'll find the These pamphlets and booklets are constantly being application enclosed anyhow.) Check off the type of updated to keep the SBA's clientele abreast of what's business you're shooting for on the form, pop it in the happening with business and management procedures mail, and before you know it you'll be on your way to all over the world. All language is kept simple enough to Entreprenuer City! be easily read by even the most novice entrant into the As long as you're writing or calling, ask about a respective subjects covered. A comprehensive business subscription to "Small Business Reporter." This is the encyclopedia can be assembled from this literature at entry level equivalent of the Wall Street Journal and is little or no cost to you. Once again, the government is (best of all) free, except for a small mailing charge. Or, offering this service to be used by anyone who needs it. you can pick this gem of a publication up at any Bank of So why not use it? America branch at no charge. Full details are available If paranoia has completely overtaken your life and through the SBA. you don't want any personal involvement with a There, in a very incomplete nutshell, are some of the government agency, then at least force yourself to call highlights of further services the SBA offers to the or write for a sample starter packet of information from American taxpayer. Until you can see for yourself just the SBA. This packet will contain outlines of all the how genuinely interested and helpful the good people programs the SBA is offering as well as several basic at the SBA are, it's tough to appreciate how much they booklets covering topics you might need some help can do for the new business initiate. So don't be para- with. As usual, the packet is free - without even a noid! Go ahead and put a few of those tax dollars postage or handling charge. you've shelled out back to work for you. You owe it to Please keep in mind that the SBA is there to help give yourself, your business and the clients you'll be serving you a step up, not to climb over the wall for you. That better. little responsibility still rests on your shoulders. The As for me, I've never had a problem with paranoia. bottom line validity and worth of your studio plan is up And take it from me, I'm surrounded by paranoid to you. SBA counseling can help point you in the right people and I don't trust any of them. (You know, the direction, but you'll have to be the one that will be lay- thing I really hate about paranoid people is the way ing down the shoe leather. The SBA can only recom- they spy on you!) Nosiree, I'm not paranoid. rest with you- know-who. mend; the final decisions See you next time. How does one go about getting help, you say? (... unless the little people I hear walking in my walls

Simple enough, Harvey! Just make that call to your at night get me!) Alb

When we introduced our 672A "dream equalizer" in 1979, we had an instant hit. Audio professionals loved its The Dream Equalizer: versatility and clean sound. Eight parametric EQ bands (with reciprocal curves) were combined with wide -range tunable 12 dB /octave highpass and lowpass filters. Now mono or stereo. The result: an amazingly powerful and useful machine. A cost -saving one too, because the outputs of both filters are available to perform a full electronic crossover function. The 672A now has a stereo twin -the new 674A, with all the power of two 672A's in a space- saving 51/4" rackmount package. Naturally, both equalizers are built to full Orban professional standards. That means industrial - quality construction and components, RFI suppression, a heavy -duty roadworthy chassis, and comprehensive backup support. or ban Orban Associates Inc. 645 Bryant St. San Francisco, CA 94107 Telex: 17 -1480, Cable: ORBANAUDIO MODERN RECORDING & MUSIC 1 2 CIRCLE 33 ON READER SERVICE CARD

www.americanradiohistory.com In demonstrating our micro- Our proto=ypes havedhne a Ict busses. _a short, very flexible, and phones throug_-rott the country, of traveling. Users were im- quite complete. we've found a serous limitaron pressed wit -a the features, the With Every moie`t invest - in mos: stage mixers. They Ere flexibiLty, and the saumI. They ment, ycn can do almost every- unable to handle wide range mi- likec the E -band EO on every input. thing the single -purpose boards crophones on state. And they And the 7-band stereo graphic can do.. _and do i= very well. And just can'tcut it when it comes to procra-m equalizers, plus another get the benefit of phantom- making demo tapes. Which means graphic equalizer for =he monitor powered recording mikes on t- at the music:ans need TWOS output. But most apprecsated stage as well as during recording. mixers and perhaps TWO sets of were the lariable high-pass fil- The more you learn about the microphones to get the sound ters for each outpu=. They permit ATC820 and ATC1230 the more tney wan: on state as well as on you to use wide-range recording impressed we think be. Ask tape. It's a luxury not everyone microphones on the stage, while your Aur io- Techrica sound spe- can affbrc! exactly limiting bass response to cialist far a hands-on tour of this So, to solve your problem - and suit acoustics and So keep from brand new breed of mixer. Or curs -we set out to create a overloading your speakers. Yet write for literature. iA1e may have "double threat' mover which during recording you can go all the :deal answer ro your mixer would be a great stage mixer, yet .the way down to 2C Hz if you wish. requirements. still give you the sound and an- There's a long list of very prac- trol you need while taping. A tical features. Phantom power is mixer designed tc take full advan- available at each cd the trans- tage of every mike you own lr- former-isolated mike ir-puts. Tw-a duding pnantcm- Dowered madels. 20 dB mike :nput pads plus an Our standards (like yours; were LEE tc warn of clipping on each high. Everything had to be rug - input. A SOLO button to check r-ed, reliaole, ar-d very clean- With any input with headphones wit -i- wide bas_c frequency response, out affect.ng the mix. "Stackable" plenty of headroom, and very low des:gn wren 8 or 12 in7uts aren't distortion and noise. And the enoigz. Even an assignable talk - mixer nad to be very natural to back input. And alithelogical use. Finaly, the price had to be con=rols far the transformer bal- right. We invite you to examine anced MONITOR, EFFECTS, the new Audio- Technica ATC820 SOLO, PEONES, and CJTPUT and ATC220 stereo mixing consoles no see hcw well we have accomplished cur goal.

J :.._..----s .A°

AUDIO- TECHMICA U.S., INC 1221 Commerce Drille, Stow, Ohio 44x224 (216) 686 -2600 CIRCLE 19 ON REAIDER SERVICE CARD

www.americanradiohistory.com rig IV

I uses position SYNTHESIZER EQUIPMENT laser- trimmed transducers mounted in the fingerboard; The latest from Buchla and As- along with the pickups, these trans- sociates is the 400 Series of electronic ducers produce all the gates, triggers, musical instruments. The 400 is and pitch and amplitude control essentially a computerized synthe- voltages to control a conventional sizer using architecturally advanced polyphonic synthesizer. An optional assumes a fairly traditional ap- hardware and specialized, high -level card adapts the quad outputs for use proach to musical while software to achieve a unique level of structure, with monophonic, lead synthesizers. PATCH V provides generalized performance characteristics. Three An unusual feature of the instrument facilities for translating input ges- computer processors are used within is the use of phase- locked -loop tech- ture into instrumental response in the system, each of which has been niques to constantly maintain tuning any complex, arbitrary relationship, optimized to its particular task. A between the vibrating string and the without any bias toward traditional host computer (which may reside in synthesizer according to the front musical structure. or out of the instrument proper) panel master and fine tuning controls. handles user communication, data CIRCLE 40 ON READER SERVICE CARD handling, and executive control, CIRCLE 41 ON READER SERVICE CARD while a second processor is responsible for processing temporal data; a third processor governs the genera- An interesting development in the GUITARS field of synthesizers is the VSC I tion of sound. Unusual performance Ibanez has introduced an inter- Violin Synthesizer Controller from features include dynamic wave - esting new series of electric, semi - shaping techniques, multiple com- Zeta Systems. The VSC I allows the acoustic guitars for the musician who violinist access to synthesizer tech- plex envelope generation and ad- wants the sound and feel of a semi - nology without his vanced instrument definition. Con- compromising acoustic but prefers a more compact trol devices include a specialized, playing style or limiting the expres- body style. The new Stagemaster touch -sensitive keyboard which can sive capabilities of a violin -family series has a body which is com- instrument. The instrument itself is be organized in traditional or non- parable in size to a solid -body traditional fashions (and may be crafted from choice hardwoods, and electric, while retaining the sound of its freedom from acoustical con- tuned to any imaginable scale), a semi -acoustic; actual body dimen- siderations has allowed for a unique pressure- sensitive joysticks and sions are 16%2 -in. in length and 14 -in. and design. has analog modifiers. The 400 Series is a striking Each string maximum width. Two models are a full -range mounted modular system built around plug -in separate, pickup currently available: the AM50 and in for - circuit cards. The latest addition to the bridge freedom from inter the top -of- the -line AM205. This the system is the model 404A. modulation effects. Rather than latter model has a burled mahogany Featuring an expanded memory pitch -to- voltage converters, the VSC top and back (finished in Antique capacity of 126 Kbytes, the unit is Violin) with an ash /mahogany/maple able to run sophisticated music center block. The neck is mahogany programming languages for real - with ebony fingerboard and abalone/ time interaction with moderately acrylic inlays, and has a 243/ -in. scale large data bases. At present, two length. On the hardware side, the such languages are available - AM205 has two Ibanez Super 58 MIDAS and PATCH V. MIDAS pickups with Alnico III magnets, and combines multiple instrument defi- gold -plated hardware including nitions, tunings and waveshapes with adjustable bridge, quick -change a comprehensive score editor which tailpiece, and 18 to 1 Velve -Tune

14 MODERN RECORDING & MUSIC

www.americanradiohistory.com tion of the new line is to provide a Gibson SG styling. The two basic high -quality instrument which bene- models are available in single- or fits from Gibson's experience and double -pickup models, the double - stringent quality control, and which pickup version having two volume is American -made -but at a price controls, a master tone control, and a which is competitive with the im- three -position pickup selector. ported mid -priced guitar models. CIRCLE 43 ON READER SERVICE CARD The Epiphone USA line is currently comprised of two models, the Spirit and the Special, both of which are New from Ibanez is the Musician double -cutaway, solid -body models. 924 bass guitar, a two -pickup model The Spirit is reminiscent in styling of with active equalization circuitry. the early Les Paul Special, but with The 924 has a maple and mahogany today's electronics and hardware, neck which runs the full length of the while the Special is similarly a contoured, solid ash body; the body contemporary interpretation of the has deep double cutaways to allow

"Now You Can Afford to Delay...

tuning maehines. The AM50 is a similarly configured instrument, but by Deltalab at a more moderate price. The brown The ADM 310 unit offers 310ms in 10ms increments at full power sunburst body of the AM50 has bandwidth (20Hz to2OKHz) with greater than 90dB dynamic range. maple top, back, and sides with a solid ash center block, while the A true digital delay product with exceptionally natural sound quality, mahogany neck has a rosewood for applications where one or even a dozen delays, via serial and parallel fingerboard and dot inlays. The coupling, are needed. Unobstrusive sound reinforcement in churches, hardware and electronics of the theatres, and function rooms; pre -reverb delay in studios, and special AM50 are identical to the AM205 effects such as simple doubling and echo. SUGGESTED RETAIL $599 except that they are chrome -plated For more information, rather than the fancier model's gold contact: plating. DeltaLab Research, Inc. 27 Industrial Ave. CIRCLE 42 ON READER SERVICE CARD DeltaLab Chelmsford, MA 01824 The Audible Difference! Gibson has announced a new series of modestly -priced guitars under the Epiphone USA banner. The inten-

FEBRUARY 1983 15

www.americanradiohistory.com MODULAR THE ONLY THING THAT DOESN'T CHANGE IS THE COLOR

INTRODUCING THE NEW MODULAR SYSTEM FROM SHOWCO Expandable, affordable, portable - 2 -way, 3 -way, 4 -way - the compact P.A. System that changes as your needs dictate. Designed and built with the technology and quality that only twelve years of road experience can provide. Available with or without components. Call or write today for complete detailed information. Sold and serviced by SOUND PRODUCTIONS 2711 ELECTRONIC LANE e DALLAS, TX. 75220 214/351 -5373 " 1110,e/ CIRCLE 20 ON READER SERVICE CARD

PUT YOUR full access to all 24 frets. An exclusive Ibanez feature is the use of steel tone bars embedded in the neck to eliminate dead spots. The instrument has two pickups, an Ibanez Super P5 and a J5, along with a new pickup TO WORK. balancer which allows any blending of the two pickups' sounds with a It only takes a few sessions to learn the board, but can take years to learn single knob. The Musician 924 bass how to listen. That's why the Critical Listening is the of Course choice serious features the EQB tone system, which professionals. They know that unless you learn to really listen, you're only just hearing the sound. And you can't mix great sound until you know what gives the player three boost /cut makes it great. controls in distinct frequency bands Five two -sided cassettes, along with a 106 -page illustrated manual, take for a wide range of tonal possibilities. you step -by -step from the basics to advanced listening techniques. Combined CIRCLE 44 ON READER SERVICE CARD with actual mixing experience, the Critical Listening Course can immediately increase your audio skills. And your value in the studio. Find out more about how you can put your ears to work. Call or write to: The latest member of the DAION guitar family from MCI, Inc. is the SIE Publishing Mark Jr. model. The Mark Jr. is the 1= 31121 Via Colinas, Westlake Village, CA 91362.213/706 -0303 least expensive member of the DAION flat -top acoustic lineup and is available as a standard acoustic or equip- Send me Critical Listening Courses at $129.95 each. Calif. residents add 6% sales tax. ped with a transducer system similar

I Enclosed is my check for $ I Charge my Visa or MasterCard (circle one) to that on the DAION 81 acoustic/ electric guitar. The Mark Jr. has a Account No. Expiration Date cedar top, mahogany back and sides, Name mahogany neck with 22 -fret rose- Address wood fingerboard, and enclosed, City State Zip geared tuning machines. CIRCLE 45 ON READER SERVICE CARD

16 CIRCLE 21 ON READER SERVICE CARD MODERN RECORDING & MUSIC

www.americanradiohistory.com ICROPHONES!

At long last, all the questions you ever asked... all the problems you ever grappled with ... are answered clearly and definitively! Mirophon Handbook M John HaMbo0k In 256 fact -filled pages, liberally sprinkled with over 500 illuminating photographs, drawings and diagrams, John Eargie covers virtually every practical aspect of microphone design and usage.

Completely up to date, this vital new handbook is a must for any professional whose work involves microphones. Here are just a few of the topi that are thoroughly covered: Directional characteristics -the basic patterns. Usi hg patterns effectively. $28.50 Microphone sensitivity ratings. Remote powering of capacitors. r Proximity and distance effects. Multi- microphone interference problems. ELAR PUBLISHING CO., INC. 1120 Old Country Road, Plainview, NY 11803 Stereo microphone techniques. Speech and music reinforcement. Yes! Please send copies of The Micro- phone Handbook (a $28.50 per copy. (New York Studio microphone techniques. State residents acid appropriate sales tax.) Microphone accessories. Payment enclosed. And much, much more! Or charge my MasterCard Visa THE MICROPHONE HANDBOOK. You'll find Acct. # Exp. Date yourself reaching for it every time a Name new or unusual problem crops up. Order (please print) your copy now! Address

City

JOHN EARGLE, State /Zip noted author, lecturer and audio expert, is vice- president, market planning for James B. Lansing Sound. He has also Signature served as chief engineer with Mercury Records, and is a member of SMPTE, IEEE and AES, for which tie served as Outside U.S.A. add $2.00 for postage. Checks must be president in 1974 -75. Listed in Engineers of Distinction, in U.S. funds on a U.S bank. he has over 30 published articles and record reviews to dawn his credit, and is the author of another important book, If you aren't completely satisfied, you may return your copy Sound Recording. in good condition within 15 days for full refund or credit.

www.americanradiohistory.com MUSICAL INSTRUMENT ACCESSORIES For the sophisticated user of electronic effects devices, the Boss Division of Roland Corporation offers the SCC -700 Sound Control Center, a computer -controlled effects pro- grammer. The SCC -700 is designed to be connected to up to seven effects devices of any type (rackmount, pedal, or rocker) which it will then access in any combination and, more uniquely, in any sequence. The unit stores up to 32 patch programs, organized in four banks of eight patches, each of which controls which effects are activated, the order of the effects in the system, and the levels of the main output and a sub -output. The effects combinations are programmed simply by touching the corresponding front -panel pushbut- tons in the sequence desired, and storing this is one of the memories; these patches are then recalled in the Monitor mode (which displays the patch without actually activating it) or in the Play mode. A Manual mode is also provided in which the unit's selector switches function in real time. The SCC -700 system is corn - prised of three components; the SCC - 700 itself, which has MUSICAL all of the INSTRUMENT AMPLIFIERS facilities described, the optional News comes from Mesa Engineer- and 6CA7s (for early Music Man SCC -700F Foot Controller, which ing of -would you believe -the Son of amps). Groove Tubes also offers allows convenient selection of the Boogie, also known as the S.O.B., or several rare, antique tube types for patch programs and which connects simply the Son (all three names are antique and classic amps such as the to the main unit via multi- conductor trademarks, by the way). The Son is tweed series of Fender amps; these cable, and the SCC -700B, which is a basically a re -issue of the famous, rare types include 12AY7, 12AZ7, pedal board designed to house and original Mark I Boogie amp, featur- 6SN7, 6SL7 and 6SC7. Also available power the seven effects controlled by ing that model's basic, straight- are original -type replacement parts the system and connect them to the forward format rather than the more such as ceramic tube sockets and main unit. sophisticated design of the Boogie tube shields. CIRCLE 49 ON READER SERVICE CARD Mark IIB. The Son isa 60 watt combo CIRCLE 47 ON READER SERVICE CARD amp with a single BlackShadow 150 Unicord has announced the watt avail- rated 12 -in. speaker. The Son Unicord, the new American dis- ability of the Dynacord VRS23 features a refined version of Boogie's tributor for Dynacord, has announced Vertical Reverberation System. This classic volume three control over- the availability of the Dynacord BS unit is a fully electronic echo /reverb drive system which allows easier 412 bass amplifier. This model is a system in a 19 -in. rack mount chassis. adjustment of the amp's sound from a compact combo amp with 200 watts The unit uses newly developed crisp rhythm sound to a blistering rms of solid -state power and sophis- "vertical reverberation character- sustained lead sound. ticated performance features includ- istics" which are said to prevent the CIRCLE 46 ON READER SERVICE CARD ing a switchable compressor for "tile bathroom type" of sound while Good news for tube amp aficionados distortion -free sustain, and a switch - still providing sizzling highs. Besides comes from Groove Tubes, who have able harmonic distortion circuit for echo up to 400 milliseconds and announced the expansion of their line the dirty sound. Other features reverb, the VRS23 is also capable of of selected preamp tubes and matched include high- and low- frequency producing a variety of spatial stereo shelving output tubes to include virtually all EQ plus a 7 -band graphic effects when used in a recording models required for domestic or equalizer, high and low sensitivity system or with two amplifiers on European tube amplifiers. Recent inputs and an effects insertion loop. stage. Also available from Dynacord is the additions to their lineup include CIRCLE 50 ON READER SERVICE CARD matched pairs, quartets, and sextets BS 414 extension cabinet and the BS 408 which is the same amplifier in a of EL34s (for Hi -Watt, Vox, and Also available in the Dynacord line rack -mount, head -only configuration. English Marshall), EL84s (for early is the TAM21 Stereophonic Studio Gibson amps), 7027As (for Ampegs), CIRCLE 48 ON READER SERVICE CARD Phaser /Flanger. This modulated

18 MODERN RECORDING & MUSIC

www.americanradiohistory.com delay line effect is designed to produce four basic effects: Flanging 1, an extreme jet -flanging effect; A professional, affordable Flanging 2, a stereo, mirror -image flanging/pitch shifting effect; Double wireless mic system... Track 1, a contrary left/right double tracking effect with short delay SAMSON times for chorus effects and Double or irs. time ever, it is pose Track 2, a synchronous left /right ïe ible or the vocalist to "go wireless" a double tracking effect with longer with professional quality system for Jnly delay times for echo effects. The TAM21 has a control voltage input $529 pro net and output, making it possible to The SMX -1 wireless system caries gang two or more units together for complete with microphone with bu It -in t-ansmit-er, receiver and battery. Check more complex synchronous or semi - synchronous effects. it out- you'll be amazed at the sound quality CIRCLE 51 ON READER SERVICE CARD and ease of opera ion. A most unusual electronic tuning device has been designed by an SMX -1 wireless mic system, Comes comjl=te w-th mic complete 41629 pro net electrical engineer who is also a (transmitter ceintaired within), French horn player at the Sydney. receiier, 1.5v tatter+ TR 1020M wireless diversity mic 24 bot range system, as above, with diersity Australia Opera House. The device. Ex eDtional saind quality! Nc receiver, extra antenna on stand, known as the Pitch -Pro Automatic high and loss due b cable 200 foot antenna cable caaa.itance $995 pro net Tuner, is manufactured and mar- Rugged & rca_worYry keted by the engineer's company. ESIS, Pty., Ltd. Unlike most tuners, which require the user to pre -select i..c...a__ 124 Fulton Ave., Hempstead, N' 11550 (516) 489-2203 the note to be tuned on a switch, John In Canada: Great West Imports, Ltd. Dobbie's Pitch -Pro gives an auto- titer sed under LS. Patert No. 4,215, 413 ßr1 Jacombs Rd., Richmond, B.C. 46V 126 matic, continuous readout of the note played and its intonation. Obviously, CIRCLE 22 ON READER SERVICE CARD this is most appropriate for single - note instruments such as the in- ventor's French horn, but it is also of value for any instrument, since it shows when individual notes or entire registers are out of tune in a given instrument and plus provides continuous feedback on the accuracy of a musician's intonation. The tuner's display is a vertical row of lights to show flatness, perfect pitch, or sharpness to within about a 1 /100 semitone accuracy; a note display model shows the name of each note as it is played. CIRCLE 52 ON READER SERVICE CARD

,.. ... «w ... w Metone has announced the intro- elf III r. duction of the Model 23F electronic metronone. The battery- operated device reliably and accurately pro- SOUNDCRAFT VALUE. duces any tempo from 40 to 220 beats - ABADON SUN RELIABILITY per- minute. Tempos are monitored Designed to perform to the max at a price that won't waste visibly via an LED, and audibly via a built -in speaker. The unit features a your pocketbook, Liats Soundcraft's new Producer Package. The 1600 reverse -side screened Lexan face- ccnsole and 3CM 762 -24 recordec The affordable alternative. Call us for more info. plate and a high- impact case, and since it has only one moving part, the reliability is said to be extremely good. BRDON SUN INC. CIRCLE 53 ON READER SERVICE CARD E O. Box 6520, San Antonio, TX 78209, (512) 324 -8781

CIRCLE 23 ON READER SERVICE CARD

FEBRUARY 1983 19

www.americanradiohistory.com PHASE LINEAR'S NEW BANNER'S MOSFET 900 GRAPHIC EQUALIZER

Phase Linear announces the introduction of the Model E27 single channel 27 band Graphic Equalizer for professional applications. According to the manufacturer, the E27 utilizes state variable filters to achieve amplitude change independent of bandwidth. The design ensures one - third octave equalization throughout the adjustment range, and eliminates broadened bandwidths at small adjustment settings. Other features of the E27 include: +12 dB / -15 dB control range; switchable 40 Hz high -pass filter; 12 dB available gain; signal /noise ratio of 111 dB below max output with sliders centered; passive bypass; and balanced input and output. The price of the E27 is $549.

DYNACORD'S THIRD OCTAVE The Banner MOSFET 900 features power output ratings of 300 watts GRAPHIC EQUALIZER RMS per channel into 8 ohms and 450 watts into 4 ohm loads. It utilizes power MOSFETs for increased reliability and improved transient response. In the mono bridging mode the rated power is 900 watts into 8 ohms. It has a dual - speed thermostatically -controlled fan, front panel level controls, LED meters, and a new stereo limiter. The meters can be front panel calibrated to a continuous range of output from 56 to 450 watts rms into 4 ohms. This calibration point provides the "0" Unicord announces the release of a new one -third reference point of the meter and is automatically the octave equalizer in 19 -inch standard design for use limiter threshold point. The limiter slope of the unit with P.A. systems of any kind, or for use as a multi - may be varied from soft to hard limiting action and is sound filter with high class instrumental systems. The fully defeatable. The limiters may be set for stereo resonant frequencies of the filters of the EQ 270 tracking to prevent image shift. All controls are front corresponds to ISO standards, so that one can work panel operated, including circuit breakers and input with usual AF analyzers without any problems. The impedance selection. Its active balanced inputs on unit includes electronically balanced XLR input and XLR and 'A-inch connectors are standard. The outputs output connectors; a bypass switch for electronic have full speaker protection, including DC fault switching, and an LED level chain (logarithmic sensing. The distortion typically ranges from 0.005 extended display range) which blinks when the input percent to 0.2 percent, depending on power and is overloaded. It also contains a specially designed frequency. The MOSFET devices provide positive safety power supply to prevent ground loops. temperature stability. The price is $1,195.

MODER

www.americanradiohistory.com AUDIO SWITCHER SHURE'S CONDENSER MIKE NOW WITH Modular Audio Products has announced that its eight - OMNIDIRECTIONAL CARTRIDGE circuit switching card is now available in two versions: the 4088 with buffer amplifier and the 4088 -1 as a Shure's SM81 Condenser Microphone is now available switcher alone. Both units are pin compatible. The with a built -in omnidirectional cartridge. 4088 -1 MOSFET switcher provides for individual The new model, called the SM80, has an omni- remote double-throw switching of eight line -level directional pickup pattern which eliminates problems inputs. A small jumper plug allows the user to vary the with proximity effect. The SM80 has a selector switch connections between four of the inputs and a group of which permits any of three low-frequency responses to four of the MOSFET switches without rewiring the be selected to match the application. frame connector. An optional BTA module (Balanced The microphone also has an adjustable 10 dB Transformerless Amplifier MAP Model 5008) can be attenuator pad to allow use with very high SPL used in the input circuit of two switches to serve as a signals. The SM80 features a backplate structure buffer amplifier to ensure isolation and non -loading of designed to maximize signal -to -noise ratio and insure the inputs. The 4088 also provides up to 14 dB of gain to long -term charge stability. It is capable of withstand- make up for fader setting loss when the card is used as ing extreme temperature change, high humidity and a channel routing switcher in console applications. A physicial punishment (as long as it is not too cruel or number of 4088 or 4088 -1 cards may be connected in unusual). It is available in two versions: SM80 -LC parallel permitting channel routing to an almost - (without cable) and SM80 -CN (with cable with 3-pin unlimited number of output buses or to an assembly of professional audio connector). User net prices are $327 large crossbar switching arrays. Many other custom for the SM80 -LC and $348 for the SM80 -CN. switching circuits can be devised by custom wiring the ACE's CROSSOVER jumper plug connections or the connector. Other features are crosstalk of -80 dB, off attenuation of 100 dB, distortion of 0.05 percent. The 4088 is designed for audio switching applications at peak levels of -10 dBm to 20 dBm. The switching logic is TTL compatible with permissible switching voltages from +4.5 Volts to +15 Volts. GRAPHIC EQUALIZER KIT

611APMIC EOUALI2EN E: m no mo xro it.

Ace Audio Company announces the new model 5000 -6 crossover, designed to operate with any subwoofer to extend bass response into the 20 -35 Hz region. The 5000 -6 features a 100 Hz crossover (other frequencies are optional) and can be used with one or The Symmetric Scund Systems of Santa Rosa, two subwoofers in mono connection. A bridging California has introduced a relatively inexpensive amplifier is built in, as are a bypass switch for the graphic equalizer kit. The Model EQ -3 Graphic subwoofer and level control; the level control allows Equalizer features 24 bands per channel, evenly boosting the subwoofer level by up to 10 dB over the spaced over the three decade range. Odd numbered main speakers. By using active filter circuits, the bands are in an independent circuit from the even distortion is kept in the 0.002 percent region at 2V bands, eliminating interaction between adjacent output level. controls for easier high- resolution room and speaker The 5000 -6 also features 1 percent metal film equalization. The range of the EQ -3 is ±10 dB nominal. resistors, and polystyrene capacitors for an accurate The distortion is under 0.02 percent at 1 kHz, and the crossover frequency (within 3 percent). Two different S/N ratio exceeds 88 dB at the 2V rated output. The slopes are used: for the subwoofer-18 dB octave; for the maximum output is 8.5V rms. It has solid walnut end main speakers-6 dB octave. This gives a smooth panels, standard on each channel. A monaural unit transition between speakers, and allows use of an measures only 10 inches - 33/16 inches - 4% inches. Kit existing full -range speaker with a subwoofer add -on. prices are $125 for mono, and $225 stereo. The units The rice of the 5000 -6 is $161, wired and tested. area also available assembled.

Y 1983

www.americanradiohistory.com NEW BASS BIAMP SE -10 SUBSONIC FILTER

Nakamichi has announced the introduction of a new SF -10 Subsonic Filter which has been designed to minimize subsonic interference when making cassette recordings. The SF -10 consists of a pair of passive subsonic filters that plug directly into the left and right channel line -input terminals of a cassette deck or The Gallien- Krueger 800R bass biamp contains a into the corresponding record -output terminals of a preamp, electronic crossover, and dual power amps all preamplifier, integrated amplifier, or receiver. in one package. It is 51/4 -inch rack mountable, and The SF -10 Subsonic Filter can improve recording weighs 20 pounds. The low end power amp is rated at quality when taping from a source that contains 300 watts rms into 4 ohms, while the high end is rated substantial amounts of infrasonic energy. Such at 100 watts rms, into 8 ohms. Each power amp has its infrasonic energy can emphasize the low- frequency own level control for precise balance of low and high effect and cause a wow -like sound in frequency power. The internal electronic crossover modulation extreme conditions, it can even cause has a crossover point that's continuously variable playback. Under tape overload. The SF -10 is compact, economical, and between 100 and 1000 Hz. The preamp controls are: simple to use, while providing 10 dB attenuation at 10 input attenuation (10 dB), volume, voicing filters for kHz and progressively greater attenuation at lower low, midrange, and high frequencies, four bands of frequencies, thus eliminating all infrasonic energy active equalization, and footswitchable boost. A low - prior to recording. impedance direct out (XLR) and effects loop are included on the rear panel. The price of the 800RB is $899. PURE CHROMIUM DIOXIDE BULK CASSETTE TAPE

Agfa- Gevaert introduced a new chrome cassette tape TWO -TRACK TAPE HEADS at the AES Convention in October. The new tape, PE 627 for C -60, and PE 827 for C -90, combines a high -

Complete %z -inch 2 -track head assemblies for MCI frequency response (generally associated with JH110A tape machines have been announced by JRF chromium dioxide) with mechanical precision. It uses Company, Inc. of Hopatcong, N.J. Designed by JRF for a pure chromium formulation, instead of a gamma - retrofit applications, the new heads are claimed to ferric equivalent. The PE 627 and PE 827 were provide substantial improvement over standard 1/ -inch developed in response to the growing demands for a 2 -track performance specifications. In addition to MCI, higher level of reproduction from standard cassettes. y_ inch 2 -track heads are also availabe for Ampex and Applications of the new tape include cassette for Scully tape machines. JRF, a company engaged in broadcasting and pre- recorded audiophile cassettes. precision head relapping and assembly alignment PE 627/827 is wound onto the Agfa- Gevaert patented services, also offers direct replacement heads for most stack hub, in lengths of 8,200 feet for C -60, and 11,500 studio, mastering and tape duplicating equipment. feet for C -90.

MODERN RECORDING & M

www.americanradiohistory.com TWO AND FOUR HITACHI DECKS EIGHT TRACK TAPE RECORDER /REPRODUCERS Among four new cassette recorders from Hitachi is the model D1100M, $600, a solenoid- operated three -head Teac's TASCAM Division has just introduced two new unit with computer -controlled bias and EQ known as audio tape recorder /reproducers: the two track % -inch ATRS (automatic tape response system). A two- motor, Model 52 and eight track '/z -inch Model 58. These double-capstan deck, the D1100M uses a 24 -LED peak - production machines can accommodate up to 101/2 -inch hold signal metering system. Specs include frequency reels and operate at 15 ips; the 52 also operates at 7.5 response (with metal tape) of 30 Hz to 19 kHz; S/N ips with NAB or IEC equalization. Full sync recording (with Dolby on) of 69 dB; wow -and- flutter of 0.038 is standard on both machines, and there is a choice of percent. optional remote controllers. Separate R and P heads also are offered in the DE95. The 52 and 58 both have an extremely heavy duty This $430 deck has features and specs similar to those industrial transport to help it survive tough broadcast of the D1100M but it lacks the automatic tape response and recording studio environments. The 52 and 58 system. have rear panel accessory connectors which are compatible with most popular SMPTE controller/ synchronizers. All three of the Series 50 motors - supply, takeup reel and capstan- support remote controller/synchronizer commands. Manual cueing is therefore not necessary in order to remain locked -up during rapid winding and searching. All transport functions are governed by a micro- NEW DISTRIBUTION AMPLIFIER processor which detects tape motion by means of five different photo -interruptors. These non -contacting sensors eliminate flutter- causing friction and wear, and continuously inform the computer of the tape direction, speed, tension, and stop or end -of-tape condition. The transport is programmed to protect master tapes. A bipolar, 8- output power supply provides ample headroom while isolating logic, motor, solenoid and audio functions. AC power interruption results in orderly transport shutdown. A fluorescent tape counter displays positive and negative real time. Coarse and fine speed control sliders are provided for Vari -Pitch mode wherein percentage of speed can be displayed. The Zero Search The Protech Audio Corporation announces the button rapidly moves tape forward or in reverse to 00 min 00 sec. addition of a new distribution amplifier to their All audio and transport trimmers are accessible product line. Designated the Model DA1528, it is from the front, even when the is designed to fill the requirement and demand for a machine rack mounted. The high -quality, cost -effective audio distribution system. meter panel swings down to reveal the audio trimmers, which on The unit features eight balanced, 600 -ohm trans- are the front edge of plug -in PC boards (one per channel), and the former- isolated outputs; a balanced bridging trans- transport cover plate is easily removed for access to former- coupled input; a user programmable VU the sérvo adjustments. Both Series 50 TASCAM's meter; selectable metering of input and output; front transports use long -life panel mounted circuit breaker, and output level own high- density permalloy heads that typically deliver 40 Hz to 22 kHz response in control. Another feature of the DA1528 is that the sync or repro mode; a high -beta entire electronics unplugs from the front, eliminating staggered -core erase head eliminates the need for bulk the need to go behind the rack after the initial erasure prior to initial recording. Hand -lapped heads and low frequency installation. Spare boards are available for multi - station installations. compensation keep head bumps under 1 dB.

Y 1983

www.americanradiohistory.com ecord i ng

Bruce

After spending time and effort available from any sound dealer. Es- The technique of using a demagne- creating a beautiful mix, the last sentially an electromagnet with a tizer is critical. Touching it to the thing you want is to lose its quality probe tip, the demagnetizer produces heads and quickly removing it may when committing it to tape. Unfortu- a 60 Hz oscillating magnetic field. magnetize the heads worse than nately. the sound you crafted during By touching the probe tip to the heads when you started. Plug in the de- recording can be degraded by tape and tape guides, you magnetize magnetizer at least 3' from the hiss. dirty heads, misaligned tape them; and by slowly pulling the tip machine and bring it up slowly to the machines and mishandled tape. But away, you diminish the induced part to be demagnetized. After these problems can be prevented. In magnetization until no magnetic touching the part with the probe tip. this article, we'll tell how to optimize field is left. remove the demagnetizer slowly to 3' the performance of recording tape The probe tip should be covered away so that the induced magnetic and analog tape machines. We'll also with tape, if necessary, to avoid field gradually diminishes to zero. describe how to edit recordings into a scratching the heads. Generally, only Demagnetize each tape head and tight, professional package. the gapped types are strong enough tape guide one at a time in this to be effective. manner, then turn off the demagne- Cleaning Here's a tape -related problem Noise we've all encountered: oxide shedded Reduction Bus Encode Multi-Track from the tape accumulates on the Outputs Sections Recorder recorder heads. This layer of deposits separates the tape from the heads, Unit 1 Track 1 causing high- frequency loss and

dropouts. In addition, buildup of Unit 2 HTrack 2 oxide on the tape guides, capstan and idler wheel can cause flutter. So it's Console

very important to clean the entire Unit 3 Track 3 tape path frequently. Use the cleaning agent recommended by the tape recorder manu- Track 4 facturer. Denatured alcohol and a Q -tip are often used, although head - Recording cleaning fluid containing silicon oil is preferred. Avoid tolvene and Noise Reduction Line carbon tetrachloride. Clean your Multi -Track Decode Inputs Sections machines after every eight hours of Recorder Noise intermittent use, after every four Reduction Track 1 Unit 1 >-- Encode 2 -TR hours of continuous use, before align- Sections Recorder ment and before every recording session. Allow a few minutes drying Track 2 ^ Unit 2 Unit 5 CH 1 time. Console

Demagnetizing Track 3 Unit 3 Unit 6 CH 2 Tape heads and tape guides also H 1± F- can accumulate residual magnetism I which can partially erase high fre- Track4 Unit 4 H quencies, add tape hiss and cause H clicks at splices. This residual mag- Mixdown netism can be eliminated with a tape - head demagnetizer or degausser. Figure 1: Noise reduction applied to multi -track master tape and to 2 -track tape master. 24 MODERN RECORDING & MUSIC

www.americanradiohistory.com 3. Play the 700 Hz or 1,000 Hz tone recorded at standard operating level and set the playback level to read 0 VU, -3 VU or -6 VU as recommended by the recording tape manufacturer. 4. Using the desired blank tape, record a 15 kHz tone and adjust record -head azimuth for maximum playback output, or for best phase match between channels. 5. While recording a 1 kHz tone, set the bias to achieve maximum playback level. Or turn up the bias past that point (overbias) until the output drops %p to 1 dB. Overbiasing reduces dropouts and modulation noise. Consult the tape manufacturer's directions for alternative overbias settings. 6. While recording tones of 10 kHz, 100 Hz and 700 Hz, adjust the high - frequency record EQ and low -frequency playback EQ to achieve the same playback output level at all Figure 2: Handling tape reels. frequencies. Or use many tones to achieve the flattest overall response. Record the tones at 0 VU for 15 ips, -10 VU for 7/2 ips and -20 VU for tizer only when it's at least 3' from the To perform a complete alignment, cassettes. machine. Demagnetize your ma- you'll need a small screwdriver, an 7. Feed a tone at 0 VU from the chines after every 20 hours of use and audio -frequency generator and a console to the recorder. Set the record before playing an alignment tape. standard playback alignment tape. level so the recorder meter also reads The same precautions about slow Information about such tapes is 0 VU on playback. operation and 3' turn -off apply to available from: (1) Ampex, 2201 Lunt 8. Set the "record cal" so the meter bulk tape erasers as well. Avenue, Elk Grove Village, IL 60007; reads 0 VU on "input" or "source." (2) Audiotex, 400 South Wyman, After calibration, your tape ma- Alignment Rockford, IL 61101; (3) Magnetic chine will operate as well as possible Alignment or calibration is the Reference Laboratory, 999 Commer- with the particular type of tape adjustment of tape- recorder cir- cial Street, Palo Alto, CA 94303; (4) you're using. The playback signal cuitry and tape -head azimuth for Magnetic Research Laboratories, 229 should sound identical to the input optimum performance from the Polaris Avenue, Suite 4, Mountain signal (except for some added tape particular type of tape being used. View, CA 94043; (5) Nortronics, 8101 hiss). It's a complicated procedure not West 10th Avenue North, Minneapolis, recommended for beginners. Profes- MN 55427; (6) Standard Tape Labs, Reducing Print -Through sional recording engineers align their Inc., 26120 Eden Landing Road, Print -through is the transfer of a machines before every session to Hayward, CA 94545; and (7) Taber magnetic signal from one layer of ensure flat frequency response, Manufacturing and Engineering, tape to the next, causing an echo or maximum signal -to -noise ratio and 2081 Edison Avenue, San Leandro, pre -echo. It is especially audible in lowest distortion. CA 94577. recordings with many silent pas- Some home and semi -pro recorders Follow the tape recorder instruc- sages, such as narration. To mini- are not designed for easy alignment. tions regarding calibration. Basi- mize print-through: The internal pots to be adjusted may cally, you'll perform the following Demagnetize the tape path not be easily accessible. In that case, operations: (because stray magnetic fields in- the alignment is usually left alone, 1. Using the alignment tape, play crease print- through). and you use the brand of tape for the 15 kHz tone and adjust play- Use 1% -mil tape (thinner tape which the machine was adjusted. back -head azimuth for maximum increase print- through). Some decks have switches for setting output or for best phase match be- Use noise -reduction devices the bias and EQ. The bias switch is tween channels (using a scope). (discussed in the next section). set according to the manufacturer's 2. Adjust the high- frequency play- Store tapes at temperatures directions, usually for maximum back EQ to achieve the same output under 80 °F, and don't leave tapes on playback output of a 700 Hz tone level at 700 Hz and 10 kHz. Or try for a hot machine (because heat in- recorded on the machine. Then the the flattest overall response if several creases print- through). EQ switch is set for flattest high - tones are on the tape. Don't adjust Store tapes tail out. That is, after frequency response. the low- frequency EQ yet. playing or recording a tape, leave it

FEBRUARY 1983 25

www.americanradiohistory.com on the take -up reel. Rewinding a tape 30 dB and increases headroom by in between the two machines; just be about 15 minutes before playing 10 dB. The dbx circuit also includes sure to copy the Dolby tone if the helps to reduce print- through that pre -emphasis (treble boost) of 12 dB master tape has one. may have occurred during storage. during recording and complementary (This measure becomes less effective de -emphasis (treble cut) during play- as the storage time increases.) In back to reduce modulation noise. Tape Handling and Storage addition, tail -out storage results The Dolby A system divides the Careful handling and storage of mainly in post -echo, which is less audible spectrum into four separate tape reels is essential to avoid damag- audible than the pre -echo empha- frequency bands which are coming the tape and the signals recorded sized in tapes stored rewound. pressed and expanded independently. on it. Rewind tapes in storage at least In addition, Dolby operates only on If you examine a reel of used once a year to allow print- through quiet passages -those below about recording tape, you may see some to decay. -10 VU. High -level passages do not edges or layers of tape sticking out of need noise reduction since the pro- the tape pack. These edges can be gram masks the noises. This system damaged by pressure from the reel Noise Reduction yields a 10 dB improvement in signal - flanges, causing dropouts and high - frequency loss. For this reason, never The recording process also adds to -noise below 5 kHz and up to 15 dB hold a reel of tape by squeezing the undesirable tape hiss to the recorded improvement at 15 kHz. Dolby B, a flanges together. Instead, hold the signal, degrading the clarity of the lower cost system, operates only at reel in one hand by putting your mix. Tape hiss becomes especially high frequencies to reduce tape hiss to 10 dB. Dolby C works over fingers in the hub and your thumb audible during a multi -track mix - by up on the flange edges (as in Figure 2). down because every track mixed in a slightly wider range and reduces Or hold a reel in two hands with ex- adds to the overall noise level. noise up to 20 dB. tended fingers on the flange edges. Fortunately, noise -reduction de- When using Dolby, you must re- To prevent edge damage during vices such as Dolby or dbx are avail- cord a calibration signal called a storage, leave tapes tail out after able to reduce noise and print- through Dolby tone on tape before the regular playing or recording to ensure a added by the tape recorder. Note that program. During playback, the Dolby smooth tape pack. Repair or discard they don't remove noises in the orig- input level is set so that the Dolby reels with a bent flange. Reels left out inal signal from the console. One tone recorded on tape lines up with in the open can collect dust, so keep channel of noise reduction is needed the "Dolby level" mark on the Dolby them in boxes. Store tape boxes per tape track. These units connect meter. Then the expander circuitry vertically stacked. The pre- between the console bus outputs and will track the recording properly. If -not ferred storage conditions are 60 °- the appropriate tape -track inputs, the level is improperly set, the fre- 75°F, 35 % -50% relative humidity. and also between the tape -track out- quency response and dynamic range puts and the appropriate console line are altered slightly. Fortunately, inputs (as in Figure 1). there is some room for error since These noise -reduction devices work these alterations occur in low -level Mark for beginning of song. by compressing the signal during signals and are, consequently, hard recording and expanding it in a com- to hear. plementary fashion during playback, Both Dolby and dbx have advan- reducing tape noises in the process. tages and disadvantages. Compared The compressor part of the circuit to Dolby, dbx provides more noise boosts the recorded level of quiet reduction and requires no calibration musical passages. The expander part tone or careful level setting. On the works in a complementary way on other hand, dbx seems to exaggerate playback, turning down the volume dropouts more than Dolby does. during quiet passages, thereby re- Dolbyized recordings are relatively ducing noise added by the tape. Dur- free of noise "breathing," which is ing loud passages (when noise is sometimes audible on a dbx'd tape masked by the program), the gain as fuzziness accompanying bass- or returns to normal. bass -drum solos. Mark for end of song. A compressed tape is described as Dolby- and dbx -encoded tapes are encoded; the expanded tape is called not compatible with each other, and decoded. If an encoded tape is played cannot be played properly without Figure 3: Aligning edit marks without decoding, the dynamic range decoding through the appropriate with cutting slot. and frequency response will sound unit. So, if you plan to send your altered. master tapes to another studio, check Editing With dbx, the compression ratio is that the studio has the same type of Another subject related to tape 2:1. That is, a program with a 90 dB noise reduction you want to use. handling is editing. Editing is the dynamic range is compressed to When using noise reduction, avoid cutting and rejoining of magnetic 45 dB, which is easily handled by a saturating the tape while recording. tape to delete unwanted material, to tape recorder with a 60 dB signal -to- Otherwise the attack transients may insert leader tape or to rearrange noise ratio. Then during playback, be altered during playback through material into the desired sequence. the dynamic range is expanded back the noise -reduction unit. Encoded This process requires the following to the original 90 dB. Use of dbx tapes can be copied directly from one materials: demagnetized single -edge improves signal -to -noise ratio by recorder to another without decoding razor blades, a felt -tip pen or yellow 26 MODERN RECORDING & MUSIC

www.americanradiohistory.com TASCAM. DESIGNED POPULAR COMPLAINT.

Because we know that a complaint is ofter an expression of a real need, we listen and respond. By listening to the complaints voiced in the working environments of today, we can then convert them into the professional recording tools of tomorrow. Creative attitudes and ambitions change rapidly. Consequently, so do the demands on equipment. 13 By listening to what you're saying, product development at TASCAM will continue to give you what you need to get the job done. With TASCAM Production Products, you can buy only what you need and expand its use as your requirements change. At TASCAM, we believe that listening to your complaints, then going to work, is the only system that makes sense for both of us. TASCAM Copyright 1982, TEAC Corporation of America, 7733 Telegraph Rd.. Monteoello, CA 90640 TEAC Production Products

CIRCLE 24 ON READER SERVICE CARD

www.americanradiohistory.com crayon, splicing tape, leader tape and an editing block. Leader tape is plastic or paper tape without an oxide coating, used for a spacer between takes (i.e., silence between recorded songs). Paper leader is preferred over plastic because plastic can cause static -elec- tricity pops. An editing block holds the tape during the splicing operation. It's easier to use than a tape splicer with hold -down tabs and gives more precise cuts. Before editing, wash your hands to avoid getting oily spots on the tape. Cut several 1" pieces of splicing tape and stick them on the edge of the tape Figure 4: Applying splicing tape. deck or table. Also cut several sections of leader at the 45° slot in the blade toward you. Don't use the 90° previously laid aside. Splice it to the editing block. A typical leader length slot since such an abrupt cut can rest of the master tape. between songs is four seconds, which cause a "pop" noise at the splice. Next, locate the beginning of the is 60" long for 15 ips or 30" long for Remove the unwanted tape to the next good take you want in the pro- ips. While editing, try to hold the 71/2 right of the cut and put the take -up gram. Mark it and cut the tape. Put magnetic tape lightly by the edges. reel aside. Slide the cut end of the the reel containing the first song on tape to the right of the editing -block the take -up spindle. Splice the tail end of the leader onto the beginning slot (as in Figure 4). Put on the take - Leadering up reel containing the turns of leader of the second song, and then wind the Suppose you've recorded a reel full tape, and insert the end of the leader second song onto the take -up reel. You now have two songs joined by of takes, and you want to remove the into the right half of the block. Shove out -takes, count -offs and noises be- together the ends of the leader tape leader tape. tween the good takes. You also want to and magnetic tape so that they butt Repeat this process until all the insert leader between each song. This or touch together with no overlap. good takes are joined by leader. Then process, called leadering, can be done Now, take a piece of splicing tape you will have a reel of tape with as follows: and stick a corner of it onto a hand- several songs separated by white leader, which makes it easy to find First, wind several turns of leader held razor blade. Align the splicing - onto an empty take -up reel and cut tape piece parallel to the recording the desired selection. the leader at the 45° slot. Remove tape (Figure 4). Apply the piece over this take -up reel, put on an empty one, the cut onto the non -oxide side, and Joining Different Takes and play the tape to be edited. stick it down by rubbing with your What if you want to join the verse of Locate the beginning of the first fingernails. Take 1 to the chorus of Take 2? You'll song's best take. Stop the tape there. Slide the splice out of the block. have to cut into both takes at the exact Put the machine in "cue" or "edit" Gently pop the tape out of the block same point in the song, then join them. mode so the tape presses against the by pulling up on the ends of the tape It takes practice to make an inaudible heads. While monitoring the tape extending from both sides of the splice in this manner, but it's done recorder output, rock the tape back block. Twist the tape toward you every day in professional studios. and forth over the heads by rotating while pulling. Check that there is no The two takes must match in tempo, both reels by hand, first rapidly, gap or overlap at the splice. balance and level for the edit to be then more and more slowly. You'll Now wind the first song onto the undetectable. To mask any clicks hear the music slowed way down and take -up reel and locate the ending of occurring at the splice, cut the tape low in pitch. Find the exact point on the first song. As it ends, turn up the just before a beat -say, at the begin- tape where the song starts -that is, monitors and listen for the point ning of a drum attack. An alternative where it passes over the playback - where the reverberant "tail" of the is to cut into a silent pause. If you cut head gap. Align the beginning sound music fades into tape hiss. Stop the into a continuous sound such as a with the gap. Using the pen or crayon, tape there and mark it at the play- steady chord, a cymbal ring or remark the tape about 1/2" to the right back -head gap (at the center line of verberation, the splice will be of the gap (that is, at a point on tape the head). noticeable. just before the song starts). After pressing the tape into the Let's run through the procedure. Next, loosen or "dump" the tape by block, cut the tape at the mark as in First play Take 1 and locate the point simultaneously rotating the supply Figure 3 bottom. Remove the tape to where you want Take 1 to stop and reel counterclockwise and the take -up the left of the cut. Splice the end of Take 2 to start -say, at the begin- reel clockwise. Remove the tape from the first song to a four -second length ning of the chorus. Stop the tape the tape path and press it into the of leader and again check the splice. there. Then put the recorder in "cue" splicing block oxide side down. Align Wind the first song and the leader or "edit" mode, rock the tape and try the mark with the 45 °- angled slot (as onto the take -up reel and remove it. to identify a beat or attack transient. in Figure 3 top). Slice through the Then put on the take -up reel con- At the point on tape where this beat tape with a razor blade, drawing the taining unwanted material you just starts to cross the playback -head

28 MODERN RECORDING & MUSIC

www.americanradiohistory.com gap, mark the tape. Cut the tape at between them. Use longer leader if another studio, be sure to make a the mark and remove the take -up reel you want the listener get out of the safety copy of the master before send- containing to the verse of Take 1. mood of the piece he justheard before ing the master tape, in case it is lost Next, put on an empty take -up reel, going on to the next. Use shorter or damaged. When copying the thread the master tape and fast -wind leader either to change the mood master, set the 0 VU tone from the to Take 2. Find the same spot in Take2 abruptly or to make similar songs playback machine to read 0 VU on that you marked in Take 1. Mark and flow together. Or, using two 2 -track the recording machine. There's no cut it. Using splicing tape, join Take 2 machines, you can crossfade between need to reset the program levels since (in the supply reel) to Take 1 (in the two final mixes, copy the result on a you already set them while record- take -up reel you just laid aside). third machine and edit the copy into ing the master tape. Again, check that there is no gap and the rest of the program. no overlap at the splice. Calibration tones should be re- Play the spliced to see if Tape Tricks area the corded on the /,"1 master tape just edit is detectable. If not, congratu- before recording the mixes. First As long as we're on the subject of lations! It should sound like a single record 30 seconds of Dolby tone (if the tape and tape recorders, be sure to take. If Take 2 comes in a little late, tape is Dolby encoded) at 0 VU on read Craig Anderton's excellent carefully remove the splice and cut both channels simultaneously. Then three -part series, "Multi -Track out just a little tape surrounding the record the following 20 second tones Magic," which appeared in the May, cut. Re- splice and listen again. on both channels, without noise re- July and August, 1981, issues of duction, at 0 VU for 15 ips or -10 VU Modern Recording & Music. Craig for 71/2 ips: 15 kHz (for azimuth tells how to create special effects and More Editing Tips adjustment), 700 Hz, 10 kHz and how to record nine tracks or more a 4 In Suppose you've recorded most of a 100 Hz. Finally, record 1 kHz at 0 VU. using -track recorder. the July, good take, but then the musicians If you don't have access to a multi - 1982, issue, Marc William Fallon made a mistake and stop playing. frequency generator, just put on a tells in a letter how to make the best Rather than repeating the entire 1 kHz tone or a sine wave synthesizer use of 8 -track recorders. We'll de- song, the musicians can start playing note (2 octaves above middle C) at scribe two more special effects here: a little before the point where they 0 VU, both channels. Reverse echo or preverb: With stopped, and then finish the song. this effect, you can make echo or To assemble the master tape, wind You can then splice together the two reverberation precede the attack of onto the take -up reel the following segments into a complete and perfect each note. On your multi -track ma- material in this order: take. Editing is also useful for inter- chine, reverse the tape reels so that jecting comments or sound effects in 1. Tones the tape plays backwards. That is, the middle of a song, or for making 2. At least ten seconds of leader. put the take -up reel where the supply tape loops. You can even record a 3. First song reel was, and vice versa. Play the difficult mixdown in segments, then 4. Leader tape in sync mode. You'll hear the edit the segments together. 5. Second song tracks playing backwards. Add 6. Leader, etc. reverb or echo to the desired track Assembling the Master Tape 7. Last song on Side 1 of album. and record the result on an open Let's say you've mixed several 8. At least ten seconds of leader. track. Again reverse the reels and play the newly recorded track. songs onto a /,"'' master tape. Now Then rewind the tape. Play it and you're ready to assemble the tape into time it from the beginning of the Backwards tracks: You can a finished format for tape duplication first song to the end of the last song make an instrument or voice play or record cutting. It will contain the (including the leaders between songs). backwards in the mix. This effect is songs in the desired order, plus leader This is the "running time." useful for overdubbing lead guitar for banding the record. In addition, Using a piece of masking tape, solos or for adding secret messages it will have calibration tones for the fasten the leader tail to the reel and (e.g., "Paul is dead "). To do this, record -cutting engineer to align his print "TAIL OUT" on the masking reverse the reels as described above, playback machine for flat response tape. Type or print a neat label for then record the new part on an open from your tape. the tape reel including title, artist, track. The musician should monitor First, decide in what sequence you "Side 1" and running time. Label the the other tracks playing backwards want the songs on the record. For the tape box similarly. in the sync mode. Then reverse the first song on Side 1, use a strong, Using another take -up reel, as- reels, play the tape and mix the accessible, up -tempo tune. Follow it semble Side 2 of the album (but with- tracks as desired. with something quieter. Alternate out tones). Time Side 2; label the reel keys or tempos from song to song. The and box. Conclusion last tune on each side should be as On the tape log inside the box for You can ensure that your tape will good as or better than the first one, Side 1, print or type the following: be a faithful copy of your mix by (1) to leave a good final impression. (1) label information; (2) tape speed, cleaning and demagnetizing the tape Try to keep the total time per side track format and type of noise reduc- path; (2) handling and storing tape under 18 minutes for maximum level, tion used; (3) maximum VU level the properly; (3) calibrating the tape maximum bass and lowest distortion program was recorded at; (4) tone machine; and (4) using noise- reduc- on the record. A maximum of 24 frequencies and levels as they appear tion units. In addition, editing and minutes per side is recommended. on tape; and (5) song titles and times. leadering your master tapes into a The length of leader between songs There are your finished master professional format will aid other depends on how long a pause you want tapes. If you plan to send them to studios using your tapes. V/

FEBRUARY 1983 29

www.americanradiohistory.com Profile: dio

F))\

Jeff Tamarkin

THE HEAVIEST THUNDER storm of the summer of '82 Peter Tosh began life as Peter Macintosh in Jamaica. Is pouring down on New York. Peter Tosh is nestled He first reached prominence in the late '6Os with the comfortably in an armchair in the sparsely furnished Wailers, a group which began in 1964 and included, apartment of an associate. Still wearing his shades, he among its other members, Bob Marley and Bunny stares blankly ahead. Although the rain falls in buckets, Livingston. As the group gained in popularity and began the window overlooking Central Park is open wide. The to gain acclaim outside of Jamaica, where they were thunder and lightning inspires him more than sitting already #1, it became apparent that Marley was through yet another interview does. becoming the acknowledged group leader. Tosh split in He walks over to the open window, thrusts his hand - 1974 for a solo career. carved walking stick towards the heavens, and, Tosh, who has been a musician since age three, and disregarding the rain, shouts to the sky: "Yes, mon, even had written or co- written some of the Wailers' best songs, the heavens know when a saint comes to town!" had no trouble landing a record contract in the U.S. His While Tosh may not be recognized as a saint in the 1976 solo debut, Legalize It (dedicated, of course, to the U.S., he is certainly a king -a king of reggae music. And Rasta's sacred herb, ganja), was highly received. The although he'll adamantly tell you that he's not follow -up, Equal Rights, contained some of Tosh's most interested in stepping into the late Bob Marley's shoes poignant songs, including "Get Up, Stand Up" (also (Tosh even skipped Marley's state funeral in Jamaica), popularized by Marley), "Stepping Razor," and the title he's arguably reggae's top name in America, and has track. been since his highly publicized opening act stint on the The big turning point, however, came in 1978 when Rolling Stones tour of 1978. Tosh signed with the Rolling Stones label and released Tosh is an unlikely candidate for superstardom, and Bush Doctor. Tosh's duet with Mick Jagger on the old even if his records do begin to sell as well as Marley's did, Temptations' song "Don't Look Back" was the first one gets the feeling Tosh will never become a media reggae song to receive a large amount of airplay on rock darling. The reason for this is that Tosh speaks his mind, stations. That hit, coupled with Tosh's subsequent tour unafraid of offending anyone, especially those in with the Stones, established him as a hero. Reggae and control of the media and what he calls the "shitstem." Peter Tosh had arrived. Tosh is an outspoken advocate of equal rights and justice -both in his music and in interviews -and he's The following year Tosh recorded Mystic Man, unafraid to point a finger. At times, his attitude has followed by 1981's Wanted Dread And Alive. His brought him trouble, like the time in 1975 when he was already- widespread popularity was bolstered last badly beaten in the streets of Jamaica and almost died. summer when Tosh and reggae's other reigning leader, The incident only made Tosh more committed to his Jimmy Cliff, toured the U.S. as one dynamite double bill. cause. By the time the tour hit New York in September, the show was the hottest ticket in Another reason that Tosh will probably never be a town. And Tosh lived up to the media superstar is that he refuses to place himself above billing, following Cliff with a powerful set that had other reggae performers. He's the music's greatest the entire Felt Forum auditorium on its feet. supporter, and considers the whole of reggae more Prior to the tour, Peter Tosh stopped off in Manhattan important than its individual artists, himself included. To to talk to MR &M's Jeff Tamarkin about his recently - Tosh, the message of reggae and the music of reggae is completed album, Mama Africa (still without a label at what's important, not its individual practitioners... the time of the interview), and to expound on his living or dead. philosophies regarding reggae and life.

30 MODERN RECORDING & MUSIC

www.americanradiohistory.com Modern Recording & Music: We haven't heard your new album yet, so can you tell us how it differs from your last one, Wanted, Dread And Aline? Peter Tosh: It's very different, very good. The best is always yet to come. When you hear it, you'll be surprised. It's called Mama Africa. MR &M: Who plays on it? Do you have Sly and Robbie again? PT: Yes, the same band. MR&M: You're not on a label yet, although the album is completed. What happened to the deal with EMI and Rolling Stones Records? PT: We're negotiating now. EMI is still in the picture, but Rolling Stones is out. We're also talking to CBS. MR &M: Is it important to you to keep selling more records and to reach a larger audience, or do you feel that the people who have to hear your music will hear it? PT: Yes, mon, it works both ways. I want to reach everyone, but the people who must hear it will hear it. MR &M: Do you feel that your music, and reggae in general, can only appeal to a segment of the people, or that everyone can enjoy it? PT: It's the universal music, for every nation -Europe, Asia, everywhere. MR &M: Why did you and Jimmy Cliff decide to tour together last summer? Your ideologies and music are very different. PT: With each new season, reggae MR &M: Do you think things are PT: I did not decide nothin'. I'm music affect more people. It even getting better or worse? just workin'. Yeah, mon. Managers affect the thunder outside. PT: Well, it must get worse before and promoters came up wit' the idea, MR &M: All Rastas, of course, it can get better. 'cause it was better to reach a large long to go to Africa. Have you ever MR &M: Reggae still doesn't get crowd dat way. toured there? played on the radio in the U.S. or sell MR &M: Do you feel that your PT: Never toured, no, but I been many records. Whose fault is it that it music and Jimmy's have a lot in there recently. Africa is the greatest hasn't caught on? common -they're both reggae, true, place on the Earth, but y'know PT: It's not that it hasn't caught but he's not a Rasta and his sound is there's a lot of exploitation and on; it's not the fault of the people. more like a soul -pop reggae than punishments there. A lot of bad Don't blame it on the people, blame it yours. shitstems down there. on the medias. It's the bureaucrats PT: They have a lot in common; MR &M: Is it worse there than in behind it; they're a part of the they're all called reggae music. Jamaica or the United States? shitstem. Reggae music is branded MR &M: Do you still have a lot of PT No, it's the same everywhere; political; it's the message. You can't people to conquer in America? the same demons and the same devils. listen to the charts; the charts are a

FEBRUARY 1983 31

www.americanradiohistory.com PT: Yes, we get good play on the college stations, because they're the youths. The youths know the truth. MR &M: Is there any other kind of music that you think spreads a positive message? PT: Reggae music is the only music right now speaking the truth. There are other musics where one or two times a person may sing a message, but it's not a continual thing. They just want to try a thing to see if it will work. MR &M: Do you like what some of the British reggae acts like Steel Pulse and Linton Kwesi Johnson do? PT: Yes, mon, me has to like what they do. Because reggae is a flower, and the flower is very beautiful, and it takes more than one flower to make the garden.

MR &M: Reggae singers always sing against oppression, but as the governments of the world get more conservative, how does that affect what you sing about? Are you afraid of what they might do to you? PT: Well, we all know that the wicked get wickeder, but the righteous is going to get more righteous. MR &M: All reggae artists are trying to spread the same good message, but is there competition among you to be the most popular? For instance, do you feel that you competed with Jimmy Cliff when you toured together? PT: No, mon, I don't compete against no man. I have the positive message and so does Jimmy Cliff. My music is the music that breaks down barriers. And when it breaks down these large barriers, then the other artists can walk through the open walls. MR &M: How did Bob Marley's death affect reggae? Especially in fantasy. Those people aren't living a PT: Yeah mon, because it makes Jamaica. life of reality, and reggae is the music more people aware that there's a PT: No, mon, didn't change nothin'. of reality. music in the world called reggae. Bob Marley was not the culmination MR&M: Why are the people in MR &M: But they're making all of reggae music. Bob Marley was just charge so afraid of reggae's message? the money by playing a diluted a branch on the tree of reggae music. PT: Because they are taught lies. version, and you're playing the roots MR &M: How do your fellow coun- (At this point, a huge thunder blast reggae and not selling as many trymen see you in Jamaica? After all, rocks the windows of the room we're records. Don't you feel they're ex- they are mostly very poor and you've in). I bet this is the first interview you ploiting you? made some money with your records. ever did with thunder and lightning. PT: No, they're not exploiting me Are you considered an upperclass- That shows you how powerful it is! because, if they sing my song, I get man? Yeah, mon, yeah, mon. the royalties. PT: My Father owns the world, so MR &M: Do you think it's a good MR &M: Reggae gets a lot of how should I be seen, see? That means thing that white rock groups like the airplay on college stations in Amer- that either all the world is mine or Police and the Clash and Blondie ica. Why do you think they're not half the world is mine. Materialistic have used reggae? afraid of it? people can judge me by what I earn,

32 MODERN RECORDING & MUSIC

www.americanradiohistory.com STEVE GADD. HOT ON ZILDJIAN. The man is hot! And he a rack that I built. I'd use - should be. No less than . ,.. them for the free sec Chick Corea put it this tions in the music." way: "Every drummer On K's. "Art Blakey wants to play like Steve gave me my first set of Gadd because he plays K. Zildjian's a long time great. He plays every- ago. I love the feel of thing well. He could them. There's some - very well go on to thing about the way the become one of the stick reacts to the sur- greatest drummers the i face...it almost becomes world has ever seen." part of the cymbal. As you can imagine, They're not cold or between his touring and edgy. They have a very recording, Steve's not warm and deep feeling. the easiest guy in the They've got real charac- world to pin down. ter. I use a 20" Ride and But he did stop for a an 18" Crash Ride with breather the other day 14" Hi Hats for recording and we got a chance to and live sessions." talk with him. On A's. "I love to use On Practice. "I've \% A. Zildjian's when I play been playing since I rock 'n roll. When I want was a kid. As long as I play louder, I add a keep my muscles loose, 16" Thin Crash and an I don't have to practice 18" Crash Ride for a full a lot every day. When I crash sound. The bells do practice, I just sort of on the A's really project let things happen natu- the sound in a clear nat- rally and then later on Steve Gadd, one of the world's most innovative musicians, has ural tone." techniques for today's drummers. try to work it into my paved the way toward new playing On Zildjian. "Zildjian playing. Like on '50 Ways to Leave Your Lover... to me is the foundation. I play Zildjians because that's I used my left hand on the high hat for the whole what's in my heart. I love the sound, the feel, the his - section-it was a little thing I'd been practicing tory...I love the qual_ty and the status of a Zildjian" and it just worked out." If you're a serious drummer, chances are that On Control. "Sometimes I use light, medium and you, like Steve, are already playing Zildjians. For heavy sticks to do the same drills because the 360 years, they have been the overwhelming favor - sticks affect my muscles in different ways. You ite of drummers worldwide. have to use your hand and arm muscles differently Î 7 w to control your playing. It's a For your copy of the Zildjian Cymbals and Accessories Catalog, subtle thing but it helps along with a Steve Gadd poster, send $3.00 to Dept. 16. Avedis Zildjian Company, Cymbal Makers Since 1623. me tremendously."y' Longwater Drive, Norwell. M .ss. 02061, USA On Effects. "After I gradu- ated from Eastman, I played Name roll in a rock 'n band. It was Street keyboard, bass, drums and a lot of homemade stuff. I City- State _Zip bought 6 big artillery shells, sawed them into different lengths and hung them on

Zihiíó he onlyt seriaserious choice. CIRCLE 25 ON READER SERVICE CARD MRM 2-83

www.americanradiohistory.com but there shall be no limit put on since the early '60s when you were destroy the world, he makes a sad what I earn, because when I earn with the Wailers. You've seen the mistake. And if Russia thinks the even diamonds and pearls, no one change in technology in the record- same thing, they make a sad mistake, should want that. ing studios. How has that affected too. Every time I hear thunder and reggae? lightning, I know that is true. (More PT: It has affected it a great deal. thunder). Yes, Jah! It is only mind When you hear my new album you'll vibrations that create these things. MR&M: You've been beaten up realize this is not an album that could This music that I have on my new and almost killed a few times in Ja- have been made 10 years ago. In the album is as powerful as the thunder maica. Are you still brutalized today? early days I could just go in the studio out there. The way this thunder rolls, PT: I am always wanted, but as my and sing and everything had to be that is the way this music comes. father says, all the after ugliness, balanced perfect, because it was just (More thunder). Yes, Jah lightnin'! there shall be honor, power and maj- one track. Now we can do more with MR &M: Peter, you've often said esty. That is my protector. When the the technology. that your music deals with truth and thunder roll and the rain fall, then MR &M: Do your first solo albums, rights and not politics, but don't they shall be there justice. like Equal Rights and Legalize It, have a lot to do with each other? MR &M: Do you think we'll see sound outdated to you? PT: Well, according to the shit - justice in our lifetime? PT: No, mon, my music never stem and grammatical rules, men PT: Yes, mon! See the justice there grow old. It is timeless. It is always put form to words to make them (points to rain outside)! If America new. Every time I hear new sounds. soothe the earth. But politricks is the hear the sound of this thunder and MR &M: Do you prefer recording betrayal of the people, and a violation lightnin' and earthquakes, for half an or playing live? of people's rights. I don't get involved I don't mean this hour straight -and PT: Playing to the audiences, with politricks. My music deals with ones 10 times as little one, but because then they can dance. equal rights and justice for the much see even God give justice. -they MR &M: What do you do if you people: people who are being victim- Yeah, mon. find yourself playing to an audience ized and discriminated against. Do write your music MR &M: you that doesn't like reggae? Because every man, whether he is at home or on the road? PT: I can use psychological power white, black, blue, pink or green, has PT: Anywhere. Anywhere I get over them, to change their minds -to the right to live. And I see no reason the inspiration. baptize them. why any man must think he has that come to MR &M: When does MR &M: There are still some power to violate another man's you? areas of the U.S. where reggae is still rights. So because these things have PT: Anytime, anywhere. I don't not liked by the majority. Maybe it's a been going on for all these years and I'm going to try to make a have to say racist thing. all these periods of time, the rulers song. A song is always there; I just PT: Yeah, mon, I know that. But and leaders of the world act as if they have to open my mouth and a song my music has hypnotic powers. I'm don't care. Because they have been comes out. always prepared for those kind of doing so much dangerous things and When you record, do you MR &M: getting away with it, they forget that it people. rehearse and work out songs or is thunder rolls and lightning flashes. all spontaneous? One earthquake in the next 10 I I have PT: When go to studio, all seconds and America was; they don't to do is call my musicians, because MR &M: What was it like to tour like that. inside the picture is already perfect with the Rolling Stones in 1978 and MR &M: But haven't people also Jah Rastafari- of me. (More thunder) play to 50,000 rock fans at a time? used religion to gain power through- hi-hi! PT: Greatèst experience. I can out history? own MR &M: You produce your program my music for 500 people or PT: Religion is another betrayal of do it records. Why do you like to 10,000 people or 125,000 people. The the people's rights. That's selling the yourself? problem is that many of those people name of God in many denominations, PT: Yeah, mon. Because I realize are not easily hypnotized because and calling it the truth; that's much producers that there aren't they are only programmed to rock 'n religion. I -and -I concept is a way of They can't that can do it efficiently. roll. life -the way Christ used to live, until make a perfect music. There are not MR &M: A lot of them are too Satan came. producers who can materialize the closed -minded to turn on to some- MR &M: When did it all start pictures from another man's mind. thing different. going wrong? MR &M: Doesn't your mind ever PT: Yeah, mon, I can tell you that. PT: When Satan came. And that's become clouded when you have to . MR &M: Is it any different with a whole long time, 6,000 years ago. keep it on the technical things and the the black American audience? A lot Satan's work has been for a period of music at the same time? of them are close- minded, too, and time, but the reign of Satan is going PT: My mind cannot be clouded. they just listen to the R&B they hear down. Babylon is falling. Soon the When a mind is polluted, it is easily on the radio and in discos. people shall know the truth, and it clouded. I always have my mind PT: They are not slow; it's the shall set them free. clear. I can focus on one thing or two medias, the people that control the MR &M: And where do you fit in? things. music they hear. (More thunder What's in the future? MR &M: Do you get involved tech- crashing). Jah Rastafari! Not a stone PT: Progress; prosperity and life; nically with the engineering? shall be left standing upon the island. continual praises of the almighty PT: Yeah, mon, all of it. And if Reagan thinks that his mis- MR &M: Thank you. MR &M: You've been recording siles and all his ballistic bullshit can PT: Yes, this was a great one.

34 MODERN RECORDING & MUSIC

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www.americanradiohistory.com Ienes

www.americanradiohistory.com VE9 by rob patterson

Genesis may best be known for the incredibly rich yet direct studio sound it achieves, but its current "live" show rivals Genesis's albums for clarity and depth. Known as one of the guiding lights of the progressive rock movement, Genesis has grown ever -more pop while building a "live" sound that is precise and technologically advanced. At Forest Hills Tennis Stadium [New York] in the late summer of 1982, Genesis played a two -night stand that was stunning for its sound quality, especially when one considers all that happens onstage -a singer who also drums; a second drummer; two guitarists who play a variety offour- and six- string instruments (including double -neck guitars); as well as a keyboardist who plays a variety of 88s. Add to that the horn players from Earth, Wind and Fire, and you have the potential for either a cacophony of conflicting signals or one hell of a layered and complex sound. Through the creative efforts of the three members of Genesis -Phil Collins, Tony Banks and Mike Rutherford -Showco Sound, from Dallas, Texas and their mixer Craig Schertz; HHB Hire and Sales in London; and Noel Mawer, the band has conquered many of the pitfalls of "live" sound with a specially- designed monitor mix and an intelligent approach to amplification.

www.americanradiohistory.com Modern Recording & Music: stereo controls on a box for the "The Farm" in Surrey. The system How did you come to have such a monitor headphones. With three of was designed by Noel Mower, whose well -planned and easily workable us, we had each of us on one channel company first started working with "live" sound set -up? and the other channel for echo. And Collins when he was in Brand X, and Tony Banks: It sort of evolved over the technology is such that you can also later worked with Peter Gabriel. the years, really. When you start out also do it onstage. "We just kept cutting in with them," and you first play "live," you don't PC: You basically have total says Mawer, adding, as everyone we have any [stage] monitors. Then you control. Chester has his mixes in talked to stressed, "I really enjoy hook up an extension speaker from stereo. Noel [Mawer] basically does working for them. They treat you good the other guy right across the stage, my mix when I sing. What I hear out - and look after you." and you have no control on that. Then, front is Chester's bass and snare, even when you have monitors, it's just because it helps to have that coming Noel Mawer: In 1980, the band too much for one guy to do -mix right at me. Tony, Mike and Darryl I approached myself and the company everyone's sound. We used to try and hear enough of right on the stage. I I jointly run back in London -HHB keep it very simple. For example, I used to have my voice on an ADT Hire and Sales, Ltd.- because they just had Mike and Steve [Hackett] [Automatic Double Tracking] -I wanted to purchase a monitor system come through a speaker with a couple was losing my voice, so I figured I'd that was part of the band gear rather of knobs, and just forget about every- spread it out with a slow repeat. Back than part of the P.A. system. One of thing else and just go with that. Now at the drums, I have everyone the requirements was that they could we have a monitor system with 10 basically up, with a little more of control their own monitor mix, which channels, which means we each can Chester. is fairly logical. So this is what I put totally mix our own monitor sound. MR &M: What about the wonder- together: a 24 by 12 Amek board, But a lot of it is still very simple. If ful sound you get out front? slightly modified to give pre -fade you look at Mike's box, usually he has TB: Craig [Schertz] has basically outputs as well as post -fade, The pre - just me up, because that's all he can't worked with us a lot, so credit does go fade outputs go out on a multi -core hear from where he stands in the to him for that. I feed him a stereo distribution system to these little middle. On my side, I need a lot of mix from one of every keyboard, plus boxes [mixers] -this one here's for Darryl [Stuermer, the band's second a single channel, so if my mix isn't the horn players tonight. Basically guitarist "live "], a lot of Chester good, he can push me up. Because you group down. Instead of having [Thompson, their concert drummer], we've got such a good monitor each group as a mix point on a and some of Mike. system, to some extent the sound conventional monitor system, you What it means is that if some night mixes itself. treat them as sub -groups on an something does go wrong, and all of a MR: I think that basically the ordinary board. They come up on sudden the bass comes booming band's got a good internal balance. In these little mixers and return down through, you can just turn it down, fact, Craig reckons a good evening is the same multi -core there into the rather than trying to shout at the when he doesn't do anything. I used to amps or effects rack. And that's it. monitor mixer: "I can't stand it send everything to him DI'd [direct All I really do here is look after Phil anymore!" input], which was crazy. Now I've got when he's singing, because I obvi- Mike Rutherford: To me, it's all the guitars -the bass is still ously don't want to give him control incredibly stupid the way monitoring DI'd -one little amp with a 12 -inch over it. What he's hearing, that's dan- is usually done. Just one monitor speaker with a mic in front, and gerous stuff. Chester has a stereo box mixer for all five guys in the band... that's it. for his mix there, because he needs who are all trying to catch his atten- TB: He [Craig] really doesn't have the separation. Tony has his monitor tion. How can it be any good? What to do much EQ either, because we do mixer built into his keyboard mixer, sparked us off in getting our own almost all of it. and that's basically it. monitors was playing some festivals MR &M: What about the monitor in Europe with Frank Zappa. The The key component in all this is the speakers? way he had it, the monitor system hand's specially- designed monitor NM: The speakers in these moni- was part of the band's gear, not the system, which also does double duty as tors are all ATC, with JBL horns. The P.A. That's what inspired us to do the a studio monitor set -up at Genesis's drum fills, the top parts are essen- same. Phil Collins: The design for our system came when we did Duke at Abba's studio, Polar, in Stockholm. Usually in the studio, it's terrible "Genesis Ps) a joy to when the engineer is trying, say, to get the bass right, and you're trying to get his attention: "Excuse me, can I work for -not only have a bit more of me and a bit less keyboards ?" "Yes, in a minute." Then it never gets done and you have to live with this awful noise in your head. So as performers, we came to Polar and found they had individual headphone mixes, and thought it was great. but as people, too." TB: It was the first studio we ever went to where they had 4- channel

38 MODERN RECORDING & MUSIC

www.americanradiohistory.com tially the same as the floor monitors, and nothing but the mid. It's chopped and large, a bit here and there on the with slightly different mid -speakers. off on the bottom, and I try to squeeze bass, that's about it. The bass units below are basically the as much high in as I can. With the mic MR &M: What are the mixes each same as Darryl's using for bass in that proximity to the speaker member likes to hear? guitar. cabinets, you're in for a lot of NM: When Phil's singing, basically MR &M: And the power amps? feedback. On peaks, I can get about he likes to hear himself, and Chester's NM: Crown PSA2 amplifiers, and 141 dB at the microphone, and I've kick drum and snare drum...and a bunch of jizz in here to make it all given up trying to get any better than that's it. Darryl and Chester pretty happen. The way I use the EQ on it is that, because it's the threshold of much have blended mixes like you not actually principle [Laughs], pain, isn't it? [Laughs]. It averages hear out front, with the absence of because it's too off-the -wall! about 128, which is cool. themselves, as does Tony as well. I MR &M: How is that? MR &M: Mike and Darryl's moni- know Mike doesn't use his mix much NM: Say for Phil's front pair of tor speakers are a little different, -a bit of keyboards and a bit of wedges, I put pink noise through aren't they? drums, that's it. But I usually don't them and use the vocal mic as a NM: I don't know; I never listen to listen unless I think something's measuring instrument for the an- their mixes. Chester and Darryl are wrong. Otherwise, I'm too busy listen- alyzer, and I've got it basically flat. I constantly changing their mix very ing to Phil. Phil likes echo on his voice don't really touch that. Phil has three slightly before each number. So if -about 30 milliseconds. vocal positions. They are sent on there's anything wrong with their Much of the system is run on multi - group 12 into the echo machine, and mixes it's not my problem. Chester core. This one here runs all the drums returned via a notch filter to the says it's the best thing that's ever fills, that's all the amplifiers on the graphic, because it's mainly the front happened. Before they got this sys- right, and the returns from the mix I'm interested in...The notch filter tem, there was another guy over system. Makes it quick to plug up. has some very, very, very deep there just doing Chester's mix, notches in it, approaching 40 dB in which meant they had a three -way some places, coupled with thegraphic. split on the mixes -and all sorts of Soundm i.rer Craig Schertz of Shouro In rehearsal before the tour, we just problems. lias worked a number of Genesis tours. use the graphic to boost the level up MR&M: Basically it seems your and on th is one he's working with a P.A. on the fader here, which controls the EQ on the board itself is fairly flat. that came directly from the Rolling monitors, to notch it out. It looks NM: Apart from the vocals and the Stones tour of Europe. Sehertz isespe- ragged, and in real terms it probably drums. We put a bit of heavy top boost ciallt/ fond of the band's monitoring. doesn't sound very nice, but it's what on the bass drum because they both for it provides him with a clear mix he Phil wants to hear, which is the mid, like to hear the snap sound. But by has to do i'ery little to. He also finds

FEBRUARY 1983 39

www.americanradiohistory.com Genesis a joy to work for -not only as MR &M: What kind of overall mix Phil likes a little harder sound which performers, but as people. too. do you go for? we tried to get on this trip. I'm still CS: This is more of a keyboard trying to get the same wallop with a me in on MR &M: Can you fill the band than a guitar band. so you tend little more attack on it. if you will. board you use? to emphasize the keyboards more. Especially on his kick, because when Craig Schertz: This is the stan- Both Phil and Chester are both real Phil's not singing and on the drums, dard Showco "Superboard." This is good drummers, so I just let them get he tends to play on the real fast songs which 30 channels in, 8 submasters, their drums tuned up to where they with quick kick drum parts, so it could be quad -panned. Although, feel comfortable on stage, and that's needs to be a little harder to cut we've only done two shows that ever usually pretty close. Chester has through the rest of the mix. On this needed quad panning -David Bowie eight toms, so I have to make sure in particular tour, it's taken us three or in 1974, and a thing called Starship the soundcheck that there's a good four gigs to get a clean signal and where Encounters with orchestras balance on the four mies as he goes all enough level to represent what he they had some quad. To do a stereo the way around: same with Phil. I does on stage. mix, you have to use two submasters. personally like a pretty fat kick bass Mike, with his basses and guitars, far as go with As the electronics sound -a lot of low wallop -while has two basses and bass pedals, all this band, a guy called Jim Bornhorst and two of Showco's owners were responAible for the design. It was one of the first road boards with parametric EQ on it -three band, fully parametric, including a shelving function on both the low band and the high band. A surprising number of boards don't have that, but I find the shelving function very useful. They're three sends, all identical. standard pre -EQ, post -EQ. pre -fade and post -fade. The last two of these boards built also have a mic -line position, so you get 30 dB more padding in the line position, since you get so many more line inputs these days. The only effects I'm doing are on Phil's voice, basically. They have so many effects on their instruments themselves, all my stuff is post -fade. They create the sound they want on stage, and I'm blending that with the voices, mostly. MR &M: What do you do on the voices? CS: Phil's really into what the English call ADT, sort of automatic double- tracking type thing. What I do is use a short delay. about 30 milliseconds or so, then do some flanging effect with the [Delta Lab] DL -2. They're a couple of reverb cues during the set, echo cues, and then they use a pitch transposer for an octave -lower effect on one line of one song. MR &M: What about your out- board equipment? CS: We've got the dbx 900 power rack, but I don't use any limiters, just three noise gates on Phil's tom mies, because they have a tendency to ring a bit, and you can cut off that last little ring so you can get the wallop without it ringing for twenty seconds or so. The limiters.are real easy to use; the gates aren't as easy. They're CCetec Gauss trickier and not as fast to set, but Hear them. Write for your nearest dealer. 9130 Glenoaks Blvd. they're real good. Sun Valley, CA 91352

40 CIRCLE 27 ON READER SERVICE CARD MODERN RECORDING & MUSIC

www.americanradiohistory.com going into one rig. That's unacceptable for Noel and me, because we have to have separate control. If he's up there playing bass, and hits the bass pedals, it's like an explosion. So we had to jizz around, and come up with a separate feed for the basses and the bass pedals. Darryl has a different set -up, but plays the same things -guitar, bass and bass pedals. I don't really do anything on the instruments, because they've really got it on stage. Tony, we take the stereo keyboard mix that he does on stage, and we also take individual channels (mono) from each keyboard just for boosters, in case he's not level. But he's probably one of the most consistent players I've ever worked with. He's always there, so 95% of the time we go with the stereo mix coming off his keyboard mixer. It's all interrelated with the monitor system they have. The basic idea was to get a sound on stage that they were all comfortable with and try to go with that. It's worked out pretty well. MR &M: What special things do you do with Phil's voice? CS: His voice is real hard to get. Tony Banks Mike Rutherford Phil Collins He's not a real powerful singer, but he's got a real consistent level. He's one of the few guys I've seen who's and then the keyboards, which is a CS: They're real good, because they improved his technique over the pretty full sound there. The guitars don't play real loudly on stage, which years. are pretty straightahead. There're a helps a lot. Both drummers tune their He's got kind of a pretty thick couple of pans on some of the songs, kits well. Tony is very consistent on accent, and a voice that doesn't really but nothing too exotic. the keyboards. But I swear that 85- cut through, if you've heard him talk. MR &M: How is this system 90% of any sound [mix] is what the I think the vocal would, just by itself, amplified? group is putting out anyway. cut through without the effects on it, CS: Well, as you can see, we have a MR &M: What other interesting but he's real into having the ADT, so bass cabinet and a high cabinet. aspects can you point out on the we have to find a compromise point. There are four JBL E140s in the bass system? Then you have the problem most cabinets; the high cabinet has two CS: Well, the intercom module and mixers have in that you get to know JBL K120s facing the rear -a folded solo module let me call any channel, the song so well they tend to forget horn design -and a JBL 2482 and a or any send or any output, or the tape about the vocals. I try to concentrate 2441 in each cabinet that are on a feeds. And I can put it in this on keeping his vocals out there. passive crossover. And two Yamaha headphone so the guy on stage can Sometimes I succeed, sometimes I tweeters. Each amp rack has two hear what's going on, so if he has to don't. pairs -a Crown PSA2 on the low troubleshoot, he knows what to look MR &M: What about your stereo cabinets, then a PSA2 in stereo that for. But the amp in that thing isn't set -up? runs the low mids and the highs, and very big, so it's not really great CS: This little mixer down here has then there's a Crown mono DC300A fidelity. What I do is take the solo all the toms and overheads in stereo, on the mid drivers. I think we may be output, and then the left and right and that returns directly into the going to a bigger amp on the mids. front outputs are on a switch there, so stereo master. Then I have a sub - That's what we have in mind as a I can have the solo which goes master that has Chester's kick and winter project. Each of the amp through a [Crown] D -75 down here. snare and Phil's kick and snare. racks has a transformer in each one Consequently I either hear the stereo Tonight we have the horns as extra, with an English connector on it, so in mix in the left -front /right -front but they're playing when Phil sings, Europe, we use an English distribu- position or in the solo. It puts the solo so I put them on the same sub. Then tion system, and you can literally go signal into both earpieces. I use that we have a vocal sub, an effects sub, overnight from the U.S. to Europe quite a bit to work on particular then all of Darryl's and Mike's stuff, with no real problems. instruments. I think we'll put a beefy and Tony's keyboards. So basically MR &M: The richness of Genesis's solo amp in the board for that you've got the drums stereo -panned sound must make for an enjoyable job purpose if we build another. And to make them sound a little bigger, of mixing. that's basically it.

FEBRUARY 1983 41

www.americanradiohistory.com John Monforte

The Fostex Model 250 General Description The Fostex Model 250 is a four- channel cassette recorder with a self- contained four -channed mixer designed to be operated as a small multi -track recording studio. Internal switching allows the user to perform the standard operations of recording, overdubbing and mixdown with no patching required, although several points in the signal path are accessible for use with auxiliary signal processing gear or whatever else a user might dream up. The system is basically intended to be a "personal studio," analogous to the personal computers now proliferating in peoples' homes. Just as Neil Arm- strong enjoys playing "Lunar Lander" at home, any musician- seasoned studio session sideman or otherwise -might use the Model 250 to compose, perform, or simply experiment without having the enormous expense of studio time limiting his creativity. On the other hand, when it comes time to make that giant leap for mankind, or at least for an LP, it might be advisable to seek the help of something more elaborate. Still, the Model 250 can be useful for practicing parts and rehearsing special effects, and the studio time saved by being practiced and volt 60 Hz operation, but a universal 120 /240 volt 50/60 rehearsed will save enough money to pay for the 250 Hz model is also available. fairly quickly. Just a few items are necessary to build a complete The Recorder recording studio system around the Fostex 250. Tape, The recording section consists of what, at first a few microphones, mic stands and cables will glance, appears to be a conventional cassette recorder. complete a very rudimentary studio. Most bands will It is, however, not your standard cassette format. The already have these, as well as a few other items that, machine moves tape at twice the normal cassette speed while not essential, should prove to be useful. These (33/ ips) and will record on up to four tracks at once, in would include a hi -fi system for monitoring the which case cassette records on one side only. The high cassette, a reel -to -reel tape recorder used for speed extends the high frequency response and mixdown, and some special effects devices such as increases the signal -to -noise ratio. Dynamic range is reverb units or an assortment of those little effects further increased by the built -in Dolby Type C noise boxes. The Model 250 is designed so that the levels are reduction. The Dolby is switched in and out by a compatible, and the items mentioned above will recessed switch on the system's underbelly, making it interface neatly. Weighing in at 19 lbs. (8.5 Kg), this almost invisible to the user. The 70 microsecond unit could be considered portable save the need for a equalization is wired in, requiring the use of a quality handle and A.C. power. Our unit was equipped for 120- high -bias tape. Fostex recommends using TDK SA or

42 MODERN RECORDING & MUSIC

www.americanradiohistory.com functions. Its range is only ±10 percent, which is less than a whole -tone, thereby limiting its use in making tuning changes. As useful as this control might be, a wider range would be necessary to facilitate fast riffing. The Mixer The left half of the Model 250 is a four -channel mixer with a stereo output, two auxiliary mixes and a stereo line level return. Input signals enter the mixer through four 1% -inch phone jacks on the front of the unit. A preamp trim control adjusts the gain to accommodate low- or high - impedance microphones, instrument pickups, effects boxes, guitar amps, or whatever. The signal then proceeds to a switch that selects either the input or the corresponding previously-recorded tape track. This allows the same channels to be used for both recording and mixdown. Next, the signal level is controlled by a linear slide fader that sets the channel level. After this, the signal passes through a two -band equalizer that can boost or cut 10 dB at 300 Hz or 4 kHz. Center detents on these two controls give flat response. From here the signal gets assigned via a stereo bus -selector switch and a pan pot, then proceeds to the recorder (or to an external recorder in the case of a mixdown). Signals assigned to channels 1 and 2 pass through one more linear slide fader for use in mixdown where a Maxell UDXL -II tape for best results. (For its reel -to- stereo level control may be necessary. reel machines, Fostex recommends Ampex 457.) The Each channel feeds two other mixes that are use of metal or chrome tape is not recommended. The essential to multi -track recording. First, a monitor resulting performance can be equivalent to an open - mix control feeds a signal from the preamp before the reel machine, while using a tape format that can be linear fader. This allows a separate mix for the purchased even at the Bazaar in Baghdad. It should be musicians' headphones without affecting, or being noted that the cassette format makes editing almost affected by, the levels of the tape tracks. The second impossible, but this should not be a deterrent for most mix is called the AUX BUS. which takes its signal after people. the equalizer and sends it back out the back panel The controls on the recording section appear spartan through a jack where it is available for signal compared to more pedestrian cassette recorders, yet processing; this is typically used for reverb. The functions are included to assist in the multi -track processed signal can be returned to the stereo mix via recording process without adding unnecessary the Auxiliary Receive control. This input is stereo and complexity. First, the standard transport functions is found on the back panel. are included without a pause control -which actually In addition to the previously- mentioned signals, the would be unnecessary. Four separate record track - back panel includes patch points that allow direct selector buttons arm selected tracks for recording or connection to the input and output of each tape track, erasure. Above each button is an LED that blinks to and a direct output from the equalizer before the pan - warn of the imminent fate of the corresponding track. pot on each mixer channel. This means that external Once the tape is rolling and the RECORD button is equalizers and other signal processors can be inserted pressed, the LEDs turn full -on to indicate which in the signal path so the system can have maximum tracks are erasing and recording. flexibility. All signals found on the back panel It is also possible to go into the record mode using a interface through RCA jacks and the level found here footswitch (not provided by Fostex) plugged into the are fully compatible with consumer hi -fi equipment. rear of the Model 250. This is usually used to insert or Fostex has also included four fairly large VU meters "punch in" a portion of a previously recorded track. Of with peak overload lights. These meters can be switch - course, this powerful studio technique is usually selected between the recorder and the mixer. They are performed by the recording engineer, but the one -man illuminated and are legible even at a distance. studio must be able to get into record mode while his hands are occupied making music. In our opinion, a The Manual footswitch is essential to a personal studio, and while For a product as unique as this a very detailed Fostex does not include one with the Model 250, it is no manual is essential, and Fostex has included an problem to make one yourself. excellent one. Printed on heavy paper with holes A very sophisticated electronic tape counter has punched in it so it can be kept in a binder, Fostex been included in the Model 250, along with a return -to- correctly assumed that many copies will get dog -eared zero button. It is very accurate, and should prove to be quickly. To borrow a term from the personal computer useful in multi -track recording where it is necessary to field, the manual makes the Model 250 "friendly," or repeatedly go back to the beginning of a tune. easy, to understand and use, even for the neophyte. A variable -speed control completes the transport The first page includes the obligatory "safety

FEBRUARY 1983 43

www.americanradiohistory.com Not all Wireless Microphones Rear Panel are Created Equal - ", -I _:i 8- d 7. 6 tS:=. .rte 10 a

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Main Panel 13 14 15 16 17 18

1. Input Fader 2. Line /Mic Control 3. Input Selector Switch 4. Equalizer 5. Bus Pan Pot 6. Bus Selector Switch 7. Aux Bus Control 8. MonMix Control 9. VU Meters This One Is A 10. Meter Function Switch I1. Aux. Receive Level Telex 12. Headphone Level Recommendations by performers, as well as engineers, have 13. Master 1, 2 Fader made Telex the fastest growing wireless mic system in 14. Record Track Selector the industry. 15. Tape Index Counter & Reset 16. & Performers tell us they prefer Telex wireless mics because of Record Button Indicator the rich, full- bodied sound. And because the mics feel and look 17. Stop like conventional microphones. 18. Play To quote performers:...the Telex wireless mic sounds superior 19. Fast Forward to any I've used for vocals -wired or wireless... 20. Rewind ...the freedom it gave our group sold me on the concept, and 21. Zero Return the sound sold me on Telex... 22. Pitch Control Audio and broadcast engineers stated that they prefer Telex 23. Cassette Well & Cover because with just the addition of a second antenna, they have the most reliable diversity* wireless mic receiver available, instructions" that warn against recording yourself in indoors or out. And because the compander circuitry provides dynamic range from a whisper to full fortissimo. the shower or letting your puppy chew on the power To quote engineers:...the Telex wireless is the best we've cord. Once past this, however, there are detailed tested, and we've checked them all... descriptions of how to operate the controls and a very ...from a quarter mile, the signal was still crisp and clear...... for the money Telex outperformed all others we tried... complete section describes the basic fundamentals of When you're ready for wireless mics, Telex offers you a choice recording, overdubbing, and mixdown. Also included of three VHF frequency groups, hand held or belt -pack trans- are discussions on how to bounce tracks and punch in mitters, dynamic or electret microphones and a host of musical sections. There is even a section on interfacing accessories. Compare our specs against any others, and by all means, compare the price. We're quite certain you'll also prefer with other gear which includes discussions of decibels Telex. Made in USA. Please write for full details. and impedance. The manual winds up with a short bit *US Patent No. 4293955. Other patents applied for. on how to keep a track sheet and includes a blank one Quality Products for the Audio Professional ready for photocopying. In all, the manual goes a long way towards de- mystifying the sorcery involved in engineering a recording. Any musician familiar with these fundamentals would be at a great advantage in a professional recording environment. Conclusion 44114111111410 It almost goes without saying that the Model 250 is an extremely versatile device. When used with the sound equipment that most bands have, it can record a TELEX demo tape either in performance or in the shed. It can be to presentations, TELEX COMMUNICATIONS, INC. also used record slide -show allowing several projectors to be controlled thanks to 9600 Aldnch Ave. So.. Minneapolis. MN 55420 U S A Europe Le Bonaparte - Office 711, Centre Affaires Pans -Nord. 93153 Le Blanc- Mesnd, France its four -track capability. Composers will find it useful CIRCLE 28 ON READER SERVICE CARD 44 MODERN RECORDING & MUSIC

www.americanradiohistory.com for writing parts and experimenting with voicing or spare no expense when it comes to equipping them- orchestration. Also, as mentioned before, it can be a selves with an arsenal of guitars, pedals and signal valuable rehearsal tool before a professional recording processors -all with the goal of finding the most studio session. Although a standard -speed ( ±?R ips) personal and most pleasurable dimensions of timbre version is also available, we hope Fostex will consider and color to forge a sound signature. And, of course, making a dual -speed version available. With this it we're all familiar with the "My band's bigger than would be possible to obtain a rough mix of basic tracks your band" syndrome, wherein professionalism at the studio, using a conventional cassette recorder (status) is somehow synonymous with the number of and then bring the tape home to practice lead and solo instruments and cabinets you can cram on a stage, parts on the remaining tracks. Also, the Model 250 and where music is measured in sound pressure levels. could double as a hi -fi cassette machine and, with Naturally, everyone wants to have impact and another standard cassette machine, would allow you to presence, but musicians are so used to being inside the make copies of your demo tapes. This objection, sound, they're often unaware of how muddled and however, is relatively minor and may not be of any unbalanced it can be when dispersed out into the importance to some users. Overall, the Fostex 250 is listening field. The end result: thousands of dollars very successful in making multi -track studio worth of gear and no gigs. After all, no one wants to be technology readily available, giving musicians the subjected to bad sound. creative tools for developing and refining their talent. Sensible sound men have been trying to get musicians to turn the volume down for years, a war of CIRCLE 54 ON READER SERVICE CARD attitudes they usually lose. Too bad. A few years back, we got to hear both Par_iament/Funkadelic and Bob Marley at Madison Square Garden within a very short span of time, and the disparity in sound quality was The Entertainer striking. P /Funk went for the wall -of -amp gusto and decibel assault, yet it all merged into a muddy woof as Chip Stern the sound ricocheted around the cavernous arena. Marley's Wailers employed almost as many singers IT'S RATHER FRUSTRATING to consider the priorities and instruments as P/Funk, yet their stage set -up of working musicians searching for the ultimate humble "club" gear like the Ampeg B -15 and Fender presentation of their sound. It seems that they'll Pro Reverb was much more downscale. However, they

FEBRUARY 1983 45

www.americanradiohistory.com filled the Garden with clean, spacious sound; without is as high an accolade as we can imagine for any sacrificing the electronic intensity of reggae, they speaker system. To further tailor the response of this managed to make a hockey rink sound intimate. system, a four -position high frequency control on the response in 3 dB Simply put, the last link between your music and the back panel allows you to attenuate inserts allow audience is the sound reinforcement system. Those steps from flat to -9 dB; molded -in musicians and bands who are serious about their craft horizontal or vertical mounting of the 100S on the would do well to consider buying a few less cabinets optional 480A telescoping stand. and guitars and investing in good instrument mics and Performance Features one of the new generation of self -powered, portable The performance features of the Entertainer are mixing systems like the Electro- Voice /Tapco Enter- what you'd expect from a high quality P.A. system. is a simple, versatile sound tainer. The Entertainer There are 10 input channels, two of which (channels 9 are its lightweight system whose main attributes and 10) are high impedance/line inputs with both a'/- 28 lbs. for the portability (at 36 lbs. for the mixer, and in. phone jack and isolated RCA phono jack (the 1005 speakers) and its ability to disperse uncolored, isolation allows both jacks to be used simultaneously) -sized clubs and musical sound into small -to- medium designed to accept tape machine playback; turntables; theatres. While it is certainly not designed to handle effects returns; electronic drums and keyboards; the the melt -down levels of hard rock, the Entertainer has output signal from a movie projector; another mixer's in any number of studio and live applications, excelled output signal and line level inputs. Channels 1 through electric. both acoustic and 8 offer XLR mic input jacks to accept balanced low It's the superb balance between the Entertainer's impedance sources from microphones, direct boxes power output and its transducers that allows this and instruments, and 1/ -in. phone jacks for high system to deliver such clean, spacious, uncolored impedance line inputs from instruments, audio sound. The Entertainer employs dual MOS -FET equipment and unbalanced sources (with an output power amplifiers (EV/Tapco uses the same Hitachi level from -40 to +26 dBu or 0.01 to 15 volts). MOS -FETs as Hafler) that deliver 100 watts into 8 Channels 1 through 8 are equipped with a ohms (such as the matching 100S Constant Directivity Sensitivity control, which adjusts the gain of the input Speakers). In addition to MOS -FET circuitry's amplifier to maximize the headroom of the various the of inherent stability and cool operation, onset input sources, optimizes signal -to -noise ratio, and clipping is much more gradual than with conventional minimizes the possibility of overload distortion. By bi -polar transistors; this in part, accounts for both the carefully monitoring the red Peak overload LED for smooth sound and light weight of this compact board. clipping, and by achieving the proper balance between the Channel Fader and the Sensitivity control, one can Vital Statistics produce a clean signal in the overall mix. By backing With their luggage -type handles, the 100S speakers off on the Sensitivity and compensating with the gain (at 24 -in. H x 15 -in. W x 8.5 -in. D) are also of the Channel Fader, clipping may be avoided. To exceptionally easy to transport. The molded plastic further balance the sound, rotary EQ Controls provide design of the 100S' vented enclosure contributes to critical cut and boost of High (10 kHz Shelving Type sound quality as well as portability. EV/Tapco says ±18 dB), Mid (3 kHz Peak/Dip ±12 dB), and Lo (100 Hz that the enclosure is constructed of a "dual layer Shelving Type ± 18 dB) frequencies. In addition, each sandwich with a foam cell structure for the internal channel contains a Monitor Send (independent of all wall layer," and claim that "this yields a wall thickness channel controls except Sensitivity), a Pan control and similar to wood cabinets." Well, the proof is in the an Effects /Reverb send control to determine the sound anyway, and this cabinet contains a 1 %2 -in. EV amount of coloration for each input (the internal Super -Dome tweeter with a 1.6 lb. magnet structure reverb and external effects loop share a common send, coupled to a high frequency director that is molded as so one cannot have separate reverb and effects sends an integral part of the cabinet, as well as a 12 -in. direct for each input -it's one, the other or both). radiator woofer with a 10 Ib. magnet. In construction of these components, care was taken to use materials The Output Section that are resistant to environmental influences, with a In the output section of the Entertainer, the EFX metal screen to protect the woofer assembly. The Master control adjusts the level of the signal appearing integral crossover network is a 12 dB /octave dual - at the Effects /Send output jacks on the back panel section -type, occurring at 1.5 kHz, and the screen (independent of the signal sent to the internal reverb), yields a respectable 96 dB SPL at 1 watt /1 meter. with independent control set on each channel's Without getting into the technical rationale behind the EFX/Rev send; the EFX Return control sets the concept of a Constant Directivity System, EV /Tapco loudness of externally generated effects signals in the claims 100 degree wide horizontal and vertical main mix. Each channel's EFX /Rev send also coverage in midband frequencies from 500 to 10,000 switches in spring reverb, determined by the Rev Level Hz- eliminating dead zones, hot spots, and providing control. The accompanying Rev Color control is a flat, uniform response. What our ears heard was an particularly useful feature, allowing the user to effortless dispersion of sound, with tight, flat bass, determine the reverb timbre that best suits one's crisp, defined high end (up to 18,000 Hz ±3 dB), and a individual taste or that complements the acoustical remarkably open midrange. The sense of stereo characteristics of a particular room. Rotating the knob imaging and spatial depth is impressive and in the to the left yields a Warm sound (which emphasizes the course of our testing we were also impressed by the lower frequencies), while rotating it to the right offers fact that there was no real sense of speaker location; a Bright sound (emphasizing the higher frequencies); the 100Ss didn't even sound like they were there, which in situations where a room was excessively pingy or

& MUSIC 46 MODERN RECORDING

www.americanradiohistory.com muffled, the Rev Color control proved very effective Conclusion for mellowing the overall mix or adding presence. As you may have already gathered, we were quite Rounding out the output section are Left & Right favorably impressed by the Entertainer as a self - Submaster, Mono Master and a Monitor Mix (a mix of contained package. Though it is not inexpensive the individual channel monitor sends; Dual 8-Band ($2,818.00 for the system), it offers no- compromise Graphic Equalizers ( ±12 dB at 63, 125, 250, 500, 1000, performance and isa real workhorse. While EV /Tapco 2000, 4000 and 8000 Hz), and a meter section shies away from recommending it for rock applica- employing a Dual Channel Fluorescent Bargraph tions, we found it to be a perfectly adequate performer Display for monitoring the output from the internal for your basic lounge rock gig. To wit, on a Ho -Jo's gig power amplifiers coming through the graphic (Howard Johnson to you) it held its own with a guitar, equalizers. As the amplifiers may be set for stereo or bass, keyboards, drums, and vocal line -up. Placing mono operation by a Mode switch on the back panel, mics off -axis on the instrument amps and using an the bar graphs can indicate left and right submaster aerial mic and floor mic on the drums, we basically output (in stereo) or the output of the Monitor Master panned the instruments left and right in the mix, using (left bargraph) and the Mono Master output (right). only enough gain to bring out their presence in the room, and centered the vocalist right in the middle, Powerlock bringing her out enough so that she didn't have to To the right of the meter section, EV /Tapco's holler to be heard. She was extremely pleased by the patented Powerlock LEDs monitor each individual quality of her voice in the mix -her singing came out amplifier channel for the onset of clipping (automati- fast, full and warm, testament both to the dynamic cally, the company asserts), reducing the gain just headroom of the dual power supply and the speakers' enough to prevent clipping. "Occasional blinking of smooth midrange response. When we tried to pump too the LEDs is normal," states the manual. "Sustained much instrument gain through the system, the operation of the LEDs, while not harmful in itself, is an Powerlock LEDs started blinking, so rather than get indication of amplifier overdrive (operating the the band to turn down, we just backed up on the P.A. system beyond its limits) and should be dealt with...." and EQ'd things to favor the vocalist. Remember, the Powerlock LEDs do not indicate We also found that, in a pinch, the Entertainer made amplifier clipping. Rather, they indicate the activa- an acceptable instrument amp for guitar or bass tion of the Powerlock circuitry, and in essence are (plugging a guitar in through a Scholz Rockman, we saying: "If it weren't for Powerlock, the signal at this were able to create a remarkable stereo effect), and as instant would've been clipped, causing distortion." a multi- keyboard set -up it was exceptional. Based upon our experience with this unit, we're not But where the Entertainer really shines is in sure if this is entirely accurate, though it may very well acoustic application. In a studio rehearsal of the World be a matter of semantics. What we heard and saw Saxophone Quartet, the musicians (who normally play mirrored in the pulses of the Powerlock LEDs was without any amplification) were surprised at how indeed clipping and distortion; although we could little the Entertainer altered the basic parameters of audibly detect the strain and breakup of a signal, their sound. Saxophonist /composer Julius Hemphill clearly some sort of automatic soft clipping, or limiting was so impressed by the unit that he took it on a gig to was taking place, preventing this clipped output from New York's Public Theatre, with the hope of bypassing reaching the speakers and preventing the overall the questionable input of the Cabaret Theatre's sound volume from rising significantly. In other words, crew. The theatre seats 300 people, and as its main use though the signal was degraded, there was no violent is for plays, it has very high ceilings, a large stage, and spike of sound to tear the tweeter's heart out or a fairly long distance for sound to travel to the back. dropkick the woofer into your lap. Using Hemphill's clip -on Sony microphone and a In addition to the rear panel functions we've already Roland FET Pre -Amp plugged into one input, and described, there are a pair of left and right amplifier poet Curtis Lyle in another, we faded Hemphill's outputs which can accept any combination of speakers saxophones to the left and Lyle to the right, placing the with a total impedance of no less than 4 ohms and speakers on chairs approximately 10 feet from the speaker fuses for both channels; stereo and mono back of the stage (20 ft. behind the musicians), angled mixer outputs; hi level and lo level effects sends (the up and slightly to the middle to achieve good spread to former for studio -type effects, the latter for guitar type the top rows. The sound was bell -like and transparent, pedals and effects boxes), and an effects return input; a and surprisingly enough, filled the whole theatre monitor send output (that functions also as a line level without strain; we then close -miked the 100S speakers output capable of driving power amplifiers or other and used the house P.A. simply to provide some line level inputs); amplifier and equalizer patching ambience for the listeners in the back. We also made a jacks; headphone jack and reverb footswitch jack; a first rate two -track recording going direct from the mode switch that assigns the Entertainer's internal mixer outputs. Finally, on a test we didn't control, we graphic equalizers and power amplifiers, and a heard the Entertainer in a jazz club called Lush Life Phantom Power Switch, which controls the internal work wonders with a piano trio and vocalist at a press 48V (nominal) power supply that allows dynamic or party staged by EV /Tapco. Being familiar with the ribbon microphones to be used alongside phantom peculiar amplification problems of this long, rectan- powered condenser microphones. In addition, the gular room, we were impressed again by the Entertainer may be used for recording via the stereo Entertainer's uncolored projection of the music - outputs, mono outputs, equalizer outputs or monitor nothing more, nothing less. and effects sends (the monitor output being indepen- In concluding, the Entertainer has clearly reached a dent of nearly all the mixer's controls, while the effects new level of P.A. performance in a compact package of send is affected by nearly all of them). unprecedented size and sound. FEBRUARY 1983 CIRCLE 55 ON READER SERVICE CARD 47

www.americanradiohistory.com lmbíent .ffsmir

By Len Feldman

The Emphasis At AES Was On Digital Of the many scholarly engineering papers presented products on display at the aforementioned AES. A at the most recently held Audio Engineering Society couple of these were sufficiently innovative to warrant Convention, I counted at least eight that had the word more than casual mention in this column. "Digital" in their titles. In addition, there were a great many exhibitors at the Disneyland Hotel in Anaheim, Sansui Cleans Up The Digital Code California (yes, that's where the AES Convention was By now, there are quite a few digital audio held this past October) who had digital, or digitally - processors available for consumer use. Not sur- related products to introduce and display. Walking prisingly, because these 14 -bit processors are all about the exhibit floors and sitting in on some of the formulated to work with the EIAJ (Electronic papers, it became abundantly clear that in profes- Industries Association of Japan) Standards on PCM sional audio, at least, there was no longer any debate recording with a video tape recorder interface, many about where audio was going...It was going digital! small recording studios and broadcasters have latched Of course, there were still some objectors and on to one or another of these lightweight processors detractors. The debate about sampling rates goes on, and have tied them into either 3/ -inch video tape as does the question of the audible effect (if any) of anti - transports (such as U- matic) or, in cases of real aliasing sharp- cut -off filters which introduce radical economy, to half -inch consumer -format VCRs, such as phase shifts at high audible frequencies. The effect of those which use the VHS or Beta systems. Some small such filters (which are a basic requirement of any studios have even discovered, to their great surprise, PCM system that uses a sampling rate that's barely that these inexpensive PCM processors, working with twice the highest frequency to be recorded) on low -price VCRs, can be interfaced with professional transient response remains a subject for debate as digital editors. Often, the professional editors end up well. If you have ever tried to record and reproduce a costing more than the processor -plus -VCR combina- square wave of even low frequencies using a 14 -bit or tion itself, but that's beside the point. even a 16 -bit PCM system with a sampling rate of 44.1 To get to the point, Sansui, along with anyone else kHz or thereabouts, you know only too well that the who has tried to skimp on tape, discovered that the "ringing" you will observe in the reproduced square processor -plus -VCR digital approach works only if wave would be enough to discourage any true you operate the VCR at its fastest speed (Beta II in the audiophile from venturing near any digital recording Beta format machines; SP in the VHS decks). Try to or playback equipment. operate at the slowest EP speed on a VHS machine But when all of that has been said, the truth is, that to using any existing PCM processor and when you play my ears at least, digitally recorded and reproduced back the tape, the dropouts and sound breakup are so audio sounds far better, overall, than even the best bad that you're tempted to rush quickly to the power - analog master tapes I have ever heard. I suspect that off switch. Sansui lists four reasons why this is so in a most of the manufacturers involved in digital audio technical paper which they wrote as part of their must agree with me, judging by the raft of digital introduction to a new PCM system called Tricode PCM:

48 MODERN RECORDING & MUSIC

www.americanradiohistory.com L A VCR scans video tracks of a video tape as it reduction signal processing. Recognizing this, dbx has records and plays back digital data. At normal speed, boldly stepped into the digital arena with the track width is 58 microns. At one -third speed on a VHS introduction of their own version of a digital audio machine, the track width is only 19 microns. This processor intended for professional studios that can't reduction in width leads to a threefold increase in afford the "pro" versions of PCM processors that sell in noise. In addition, the head tends to trace not only the the five -figure dollar ranges. desired track but adjacent tracks. dbx calls their system 2. Any misalignment in a VCR transport is likely CPDM (instead of PCM) to which for show up more prominently at slow speed than at the stands Companded Predictive Delta Modulation (whew!). faster SP speed. If the mechanism is not precisely Delta modulation has been known for years be aligned, jitter or vibrational shifts in the time base can to a low cost means of analog -to- digital data conversion. In occur. During playback, data must be read on a this digital process, the numbers produced regular time base. Therefore, any shifts in data time by the A/D converter represent base can lead to reading errors. differences between successive sampled voltages, rather than the instantaneous voltage 3. Since frequency response of the system is of the audio signal at each of is narrower at slower tape speeds, variations in instant time, as the case with conventional PCM processors. amplitude of the digital data are more likely to occur, Ordinary Delta Modulation, however, produces sound with causing the digital patterns to close in from top to a dynamic range of 55 bottom; there is not as much amplitude difference only dB -a less -than -acceptable range for between a "0" and a "1" in the digital data stream. any music reproducing system. A modified version of Delta Modulation known 4. VCR manufacturers, conscious of the degraded as Adaptive Delta Modula- tion (in which video picture quality at slower speeds caused by the digital numbers produced by the A/D problems cited, usually incorporate special circuitry converter represent varying differences between successive to compensate for such picture deterioration. While audio amplitude samples) offers as much as such circuitry often achieves its intended 90 dB of dynamic range, yet is also considered to be purpose unacceptable. insofar as picture quality is concerned, when the VCR It suffers from noise modulation problems and exhibits a noise floor is used for digital audio data storage, that data is often that has a distinct damaged beyond recognition. tonal character. One form of video compensation circuitry mixes dbx engineers came up with two major technical innovations which made adjacent pairs of horizontal lines in the video picture. the use of a Delta Modulation system practical for Since adjacent lines are quite similar in content, their new processor: Linear such mixing tends to reinforce the image Prediction and Precision Companding. The Linear and improve Prediction the video signal -to -noise ratio. In digital PCM audio, Circuit estimates a signal's future by monitoring its however, adjacent lines are not interrelated, and such recent past history. It does this 700,000 times second. mixing of lines is likely to produce pulses of data which per This portion of the circuit is responsible for are neither distinct "Os" nor "ls." Such non -standard increasing the dynamic range of the basic Delta Modulator 55 pulses are illegible to an ordinary digital PCM from dB to 70 dB. processor. The remainder of the dynamic range increase in the CPDM system Sansui's Tricode PCM processor allows the user to results from a Companding Circuit. make and play back digital audio recordings using any The compander is a direct link between encoder and VCR at its slowest speed. In simple terms, the system decoder and therefore there is no possibility of mis- reads and corrects data by extrapolating future data tracking, as might be the case were there an intermediate link such in from past data. The special circuitry, incorporated in a as an analog companding system that employs single chip, operates only during the playback or a tape recorder. This technology increases overall dynamic digital data reading process. Thus, it in no way affects range of the system to 110 considerably more is recording procedures which remain standard and in dB- than offered by most accordance with previously agreed -upon EIAJ professional PCM processors now in use. recommendations for PCM recording. While the dbx digital audio processor is intended to work with professional quality VCRs, it too will work with Beta or VHS type machines as well, putting digital recording within the reach of small studios that dbx Goes Its Own Way simply couldn't afford higher -priced professional With the imminent arrival of digital audio and its PCM processors. Of course, as of this writing, there is potential for a lifelike dynamic range, it's become no digital editor available for this new machine. fashionable to predict the demise of all noise reduction Neither is the CPDM system compatible with other techniques, not to mention analog tape recorders, existing PCM systems now in use in other studios. Still, phonograph turntables, phono cartridges and a host of for use as a two- channel final mix -down system in a other products whose very survival is analog -audio small studio (where outputs from this processor can based. I confess that I've been guilty of the same sort of feed cutting -head amplifiers for disc mastering, for doom -and -gloom predictions. However, such proph- example), the dbx digital system may well enable ecies do not take into account the inventive genius of studios to turn out a lot more digitally- mastered music the companies involved in these various product than they might otherwise, and that bodes well for the technologies. A good example is dbx, whose very future of digital audio in whatever format it ultimately existence had, until now, been largely based upon noise reaches the listening public.

FEBRUARY 1983 49

www.americanradiohistory.com /nODDE(RN REC oOf2DD IING . , **sic REPORT

LEN FELDMAN i Banner RTA 1232 1/3- Octave Real Time Analyzer

General Description: The Banner (division of jack on the front panel delivers either of these test Optronics Corporation) RTA 1232 is so new that its signals. Standard XLR connectors are used to connect makers didn't have time to supply us with an owner's one or two microphones which may be phantom - manual. Of course, by the time you read this the powered (15- volts) directly from the RTA 1232 itself. manual will have been printed. So why bring up the Two line level inputs are located on the rear panel of absence of a manual? Simply because the layout of the the instrument and utilize standard 1/4-inch phone RTA 1232 is so logical and well thought through that jacks. we were able to operate this real -time audio spectrum rear analyzer just by examining the front panel and Test Results: Perhaps the most important feature of panel nomenclature. That speaks very well for any the RTA 1232, and the one that distinguishes it from well for an piece of electronic test gear, and especially other low -cost analyzers, is its double -tuned filter RTA that offers as much flexibility and precision as circuitry. The importance of this feature is best this one. understood by examining Figure 1. In this diagram The left section of the front panel of this analyzer you can see that the normal 1/3 octave single -tuned contains 31 vertical columns of LEDs (12 indicators shape has a rather broad "skirt." This response per column), each corresponding to ISO center frequencies that are one -third octave apart. A separate removed from the third - column of LEDs, somewhat OdB

octave indicator columns, serves as an overall SPL 3 meter. Both the analyzer columns and the SPL column in with a switch selecting the are calibrated dB, rotary 10 "0 dB reference" level in 5 dB steps ranging from 120 dB down to 65 dB. Since sensitivity is selectable 1, 2 or 3 dB (by means of a 3- position toggle switch) at 20 SIÑGLE TUNED per LED step, maximum visible dynamic range can be ss

as great as 33 dB (from +6 dB to -27 dB with respect to i SINGLE 11 dB (from +2 dB to HIGH Q "0 dB reference ") or as little as 30 -9 dB). Additional toggle switches select either or both DOUBLE T,NED microphone inputs, rate of decay of the SPL- indicating f/2 f 2F section of the instrument, white or pink noise test Fig. 1. Comparison of single- tuned, High Q, and power on /off. A standard 1/ -inch phone signals and Double -Tuned filters used in RTAs. Banner RTA 1232 uses double -tuned filters.

MODERN RECORDING & MUSIC

www.americanradiohistory.com Fig. 2. Pink -noise output of Banner RTA 1232 had Fig. 3. White noise output of RTA 1232 has essentially typical 3 dB per octave slope, for equal energy per flat amplitude response, measured from 20 Hz to 20 frequency band. kHz, in this 'scope photo taken from spectrum analyzer display.

characteristic tends to mask out frequencies that fall seconds. With the decay switch set to medium, the beneath the skirt. To get around the problem, some same amount of decay took 3.3 seconds, while in the designers simply increase the Q, or selectivity, of the fast mode, decay was virtually as rapid as attack time, filter. While this helps somewhat, it also introduces and too fast to be timed with a manually -operated another problem. The sharpness of a high -Q single - stopwatch. tuned filter may leave gaps between adjacent filters This type of instrument does not lend itself to very such that you can't see the amplitude response of much laboratory measurement and analysis, but as interband frequencies. What then appears to be "flat you can see from our Vital Statistics chart at the end of response" may not be flat at all. The unobserved this report, all of the specifications and features listed frequencies between bands may be just the ones that by the manufacturer were confirmed, and a minimal need equalizing because they are causing feedback, amount of additional data concerning the instrument amplifier clipping, etc. is provided. The double -tuned shape of the RTA 1232 filters have fairly steep sides which hide very little of nearby General Info: Panel dimensions of the RTA 1232

frequencies, but at the same time they exhibit a are 19 -in. by 3 %2 -in.; the chassis is 9 -in. deep. Our somewhat flat -top shape that catches interband sample was wired for 120 volt operation but the unit frequencies. Certainly, double -tuned filters for RTAs can be obtained for 240 VAC, optionally. Price: are not exclusively a Banner idea, but accomplishing $1250.00. this design at approximately half the price of other double -tuned RTAs makes this a rather unique Individual Comment by L.F.: At its suggested instrument. Of course, there are RTA refinements retail price of $1250.00, the Banner RTA 1232 Real which can be found on more expensive units which do Time Analyzer/SPL Meter offers straightforward, not appear on the RTA 1232 (such as memory storage precise operation with no gimmicks. It is ruggedly of response curves and battery operation or porta- built and utilizes high -grade components that should bility). But as with all testequipment(orequipmentas give long and trouble -free service. Banner's one -year a whole), you get what you pay for, and in the case of the warranty (as opposed to the usual 90 days) covering RTA 1232, that's quite a bit. repairs, replacement and labor suggests that they Figures 2 and 3 are 'scope photos of a spectrum have every confidence in the longevity of the product, analysis of the built -in pink -noise and white -noise too. generator outputs. Signal amplitudes of these random One addition which might make sense would be a noise signals were 86 millivolts for each, measured on level control for adjusting the white or pink noise an average -responding meter calibrated in volts, RMS. output. Keeping it at a fixed level often forces the user In the slow decay mode, with sensitivity set to 1 dB- to operate other level controls (such as on the mixing per -step, a decay of 10 dB took approximately 19 console or power amplifier) at inconvenient settings.

FEBRUARY 1983

www.americanradiohistory.com Of course, if this proves to be a problem in your describing this analyzer, there are many things this installation, you could, I suppose, always add your own unit can't do. If you need an analyzer that can be held in external attenuator between the noise -output jack and the palm of your hand or whose filters are computer the input to the system being analyzed or equalized. controlled, these are available and cost several The three rates of decay for the SPL meter (which thousands of dollars. Having examined and used them,

operates completely independently of the 1/3- octave as well as this Banner entry, I can honestly state that LED displays) were ideally regulated. Banner has managed to give the user about all that As Banner honestly states in their brochure could be incorporated in an RTA at this price.

Vital Statistics: BANNER RTA 1232 1 /3- Octave Real Time Spectrum Analyzer

SPECIFICATION MANUFACTURER'S CLAIM LAB MEASURED Number of bands Thirty -one (ISO) Confirmed Meter Reference Range 65 to 120 db Confirmed Usable range (SPL) N/A 38 to 126 dB SPL LED Display Matrix 12 x 32 Confirmed Number of SPL Decay Rates Three Confirmed Sensitivity, per LED 1,2or3dB Confirmed Bandpass characteristics See Fig. 1 10 dB /3rd octave Pink Noise Level N/A 86 mV White Noise Level N/A 86 mV No. mic. inputs 2 2 (phantom powered) No. Line inputs 2 Confirmed Panel Dimensions 19" x 31/2" high Confirmed Suggested Retail Price: 51250.00

CIRCLE 34 ON READER SERVICE CARD

Rane RE -27 Realtime Equalizer

REAL TIME EOUALIIER RE27 ' -o 500 !J0 M10 IF 1.250 1bF 20 25X 3151 X J0 SX

General Description: The Rane RE -27 is, first and The Rane equalizer -analyzer (to call it by its foremost, a well- designed third -octave equalizer with appropriate name) is rack -mountable, but can just as 27 separate band filters set at ISO center frequencies, easily be positioned on a table top or on the rear apron each capable of providing approximately 12 dB of of many mixing consoles. Despite its relatively low boost or cut. In addition, the RE -27 combines profile, the 27 sliders offer sufficient throw above or everything necessary to perform accurate on -site below their detented center positions to give the equalization of a sound system. Specifically, it operator precise control of adjustment. Calibration of provides a source of random pink- noise, a calibrated the sliders is in 3dB increments and the bank of sliders microphone, and a clever but inexpensive system of is divided into three groups of nine sliders, correspond- LED indicators that give a clear indication of system ing essentially to the bass, mid -range, and treble response and correct EQ settings. regions of the audio spectrum.

52 MODERN RECORDING & MUSIC

www.americanradiohistory.com FR

10dB/D L+11.7dB R+ 4.7dB 1.00kHz Fig. 1. Rane RE -27: Filters maintain constant Fig. 2. Rane RE -27: Multiple sweep on spectrum bandwidth at all settings of slider controls. analyzer was used to plot boost and cut characteristics of each of the 27 third -octave filter bands.

An equalization level control at the left of the panel lights up when response is too high in that band; green controls volume of signal through the equalizer section LEDs light when response is within 3 dB or 1 dB and can be adjusted for up to +12 dB of gain. Nearby (depending upon the setting of a window select switch), are an equalizer bypass switch, a power on/off switch while a yellow LED comes on when response for that and a pink noise on/off switch. Three indicator lights band is too low. An RTA level control is used to adjust in this area are used to denote activation of the bypass microphone level (or line level when no mic is plugged switch, presence of an audio signal (any input above in) to properly drive the display. This control is -20 dBm) and overload levels (anything above 4 dB accurately calibrated in dB SPL so that any display below clipping). The right end of the front panel band whose LED is green has the sound pressure level contains a curve -select switch (normal for flat indicated by this rotary calibrated knob, with either a response or house curve with a mid -range dip in + / -1 dB or +/ -3 dB accuracy, depending upon the response), a microphone input jack and a switch and setting of the window select switch described above. control which are associated with the LED analyzer The rear panel of the Rane RE -27 unit has standard

display. `% -inch phone jacks for EQ input, EQ output and pink - The LED display consists of three LEDs per filter noise output. A small hole just above the pink noise band, located directly above each slider. A red LED output jack permits the user to adjust the pink noise

Fig. 3. Rane RE -27: Spectrum analysis of pink -noise Fig. 4. Rane RE -27: "House Curve" built into the output. analyzer section.

FEBRUARY 1983 53

www.americanradiohistory.com output level from 0 to 1.2 volts ( +4 dBm) to match input Individual Comment: Rane has come up with a level requirements of any mixer, amplifier or other truly unique approach to visual displays for a real - equipment being driven by the pink noise generator. time analyzer. Instead of the usual multiple -LED Incidentally, the pink noise produced by the RE -27, matrix array commonly found on real -time analyzers, while actually pseudo- random rather than truly their simple, color -coded three -LEDs -per filter system random, is CMOS digitally synthesized using a 30 -bit is not only easy to use but has saved a bundle of money, word length. It has a repetition rate of 2.5 hours and which results in a price for the equipment that is may therefore be regarded as random. tempting even to the smallest sound system user or technician. I was actually able to equalize my own Test Results: Rane makes a big point of the fact that listening system to within 1 dB of "flat" (as verified by their filters maintain a more constant third -octave my much more elaborate and expensive third -octave bandwidth at all slider positions, unlike other analyzer that has the familiar array of some 250 equalizers, which tend to vary bandwidth as slider separate LEDs). I prefer the rather high -Q charac- position is changed. The principle is illustrated in Fig. teristics of the filters provided on the RE -27 to the 1, where we sequentially plotted maximum boost and broader, low -Q characteristics found on some approximately one -third maximum boost of the 1 kHz competing equalizer products. I find it easier to cancel filter band. Notice that for the lower amount of boost, specific feedback frequencies with this type of filter the total range of frequencies affected is reduced and, in doing so, a minimum of general coloration is compared with the range of frequencies affected when added to the overall sound of the system. maximum boost is called for. This does make for more The owner's manual is well written, and assumes no precision in setting up a desired response curve. previous experience with equalizers or with real -time Figure 2 is our usual multiple spectrum analyzer analyzers. I particularly liked the three diagrams plot of all 27 filter bands of the RE -27, showing which illustrate how and where to hook in the RE -27 maximum boost and maximum cut for each slider. We with typical sound systems. All too often, I've found detected a defect in our particular sample during this equalizers inserted at points in the signal chain of sequence of plots. Notice that the fifth band from the complex sound systems where they don't belong or low -end (the one which has a frequency center near where they are likely to be overloaded or fed with too 100 Hz) has a broader- l000king shape than all of the little signal level to work properly. other bands, both in the maximum boost and the One word of caution regarding the use of the maximum cut positions. In other words, the Q of this microphone in conducting the pink -noise test and particular filter band was not as sharp as all of the analysis: do not attempt to plug in any other mic but others and we suspect that this was caused by some the one supplied with the RE -27. Not only might the component defect in our sample. As usual, this calibration of your microphone be different from that spectrum analyzer plot (as well as those of Figs. 3 and of the mic supplied, but it might actually be damaged 4) is from 20 Hz (at the left) to 20 kHz, with frequencies because the mic -jack is used to power the microphone calibrated logarithmically across the face of the CRT. with a DC voltage that your microphone might not Vertical sensitivity in these spectrum analyzer appreciate. This warning is, of course, found in the displays is 10 dB per division. owner's manual -but we all know how few of us bother Figure 3 shows the spectral makeup of the pink noise to read except as a last resort. A printed tag or even a output of the RE -27. As usual, the output exhibits a warning inscribed right on the panel near the mic jack downward slope of approximately 3 dB per octave, might be a good idea for Rane to consider in future indicating equal- energy per frequency spectrum production. segment, as it should. It goes without saying (but I'll mention it anyway) Figure 4 is a response plot of the Rane "house curve." that the RE -27 can easily be stored in a stereo sound This response is achieved when the house curve switch system, simply by adding another equalizer. The is depressed and the equalizer sliders are adjusted so analyzer section, being completely independent of the that all analyzer displays illuminate the green LED. equalizer section of the RE -27, can be used to analyze Rane suggests that this particular curve will produce a the second channel (the one containing a separate "warmer," more natural sound for the acoustic equalizer) just as easily as it is used to analyze the environment of smaller clubs and lounges, particu- channel in which its equalizer section is incorporated. larly at lower sound pressure levels. Essentially, their I should mention, too, that although the input and house curve is simply a slight dip in the mid -frequency output jacks of the RE -27 are of the phone -jack type, response of the system, which corresponds, to some they do have ring- tip -sleeve contacts. Therefore, if you degree, with Fletcher- Munson loudness compensation. are working with a balanced line input you can wire up Our table of Vital Statistics confirmed most of the your input and output cables from and to three -pin published performance claims for the RE -27 equalizer - XLR connectors so as to maintain balanced line analyzer. While THD and IM distortion measured for operation. As you can see, there isn't much that Rane our sample were somewhat higher than claimed by has overlooked in the design and implementation of Rane, they were nevertheless at such low level as to be this multi -purpose instrument. Given its very completely inaudible under program listening reasonable asking price, the Rane RE -27 is definitely conditions. worth looking into.

54 MODERN RECORDING & MUSIC

www.americanradiohistory.com RANE RE -27 REALTIME EQUALIZER: Vital Statistics

SPECIFICATIONS MANUFACTURER'S CLAIM MR &M MEASURED Number of filters /frequency range 27/40 Hz to 16 kHz Confirmed Frequency Response 31.5 Hz to 20 kHz, +0/ -3 dB 34 Hz to 31.5 kHz Signal -to -Noise Ratio: Re: +20 dBm, unweighted 103 dB 101 dB Re: +20 dBm, A- unweighted 107 dB 107 dB Re: + dBm, A- weighted 87 dB 87 dB Maximum Output into 600 ohms +20 dBm Confirmed THD + Noise @ +4 dBm Output 0.005 ° /o 0.015% SMPTE -IM Distortion 0.008 ° /° 0.017% Slew Rate Above 10V /ysec Confirmed Maximum Gain (sliders centered) +12 dB +12.5 dB Input /Output impedance 20K ohms /56 ohms Confirmed Sunsonic Filter 18 dB /octave below 31.5 Hz Confirmed Ultrasonic Filter 18 dB /octave above 20 kHz Confirmed Display Range +/ -3 dB or +/ -1 dB Confirmed Measurement Range 70 dB to 120 dB SPL Confirmed House Curve -3 dB from 400 Hz to 1.6 kHz (See Fig. 4) Microphone Characteristics Sensitivity -65 dB Response 20 Hz to 16 kHz, +/-0.5 dB Maximum SPL 140 dB Dimensions 19" w. x 3.5" h. x 8.5" d. Confirmed Weight 11 lbs. Confirmed Power Consumption N/A 17 watts Suggested List Price $799.00

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FEBRUARY 1983 55

www.americanradiohistory.com Getting The Most From Your Effects

Like the old saying "Clothes make the man how to hook them up to get the best out of them. I'm also (woman)," effects make the modern musical sound going to get up on my soapbox and preach a bit about system. Flanging, reverb, echo, automatic double matching. tracking, phasing, chorus, envelope filtering, deliber- First: What is an effect? For the purposes of this ate distortion, time delay, and many others are tools column, an effect is a device that does something to an available to the modern effects maniac. Unfortunately, input signal. I am not going to include signal their operation within the complete sound system is processors like equalizers and compressors. What we sometimes poorly understood. are talking about are things like echo, phasing, For example: I have an MXR Phase 90. Where is the flanging, pitch shifting, reverb and others. best place in my sound system to connect it? Should I However, equalization or compression could become use the patching jacks on my mixer's input channels, an effect, if used in the extreme. For instance, you or should I use the effects send /return system, or might use some rather extreme settings of an should I put it between the input source and the input equalizer to make a "megaphone voice," or some jack? What about the impedance match? My mixer bizarre settings on a compressor to deliberately cause says that the output impedance is 60 ohms. Won't that distortion in a bass guitar. Ordinarily though, both of cause a mismatch? these devices are used more as tools whose presence This month, we will explore the world of effects, enhances (improves), rather than drastically changes, what makes them tick (kinda non -technically), and the signal passing through them.

56 MODERN RECORDING & MUSIC

www.americanradiohistory.com Guitar

Effect pedal

Amp

Figure 1.

How an Effect Does Its Magic The mixing console provides the dry signal path via normal output assignments and the effects device Let's talk in very general terms about the treatment creates the wet signal path. (Figure 2.) If one of the of the input signal when passing through a typical parallel signal paths (wet or dry) quits, there is still effects device. some output signal. The acoustic reverb chamber or an There are two basic generic effects devices: series ordinary three -head tape machine used for slapback and parallel. A series device may be as simple as a are good examples of parallel effects devices. pedal -type device intended for use with a guitar. The A special case of the parallel effects device is a unit parallel device is slightly more complicated, but for like the MXR Phase 90. Such a device is parallel - the purpose of this example, an acoustic reverb structured internally, but is designed to operate chamber will do. There are also effects devices that within an effects system. Additional examples would may operate in either series or parallel. These devices include most guitar "pedal" type effects. (Figure 3A.) are typified by the presence of a "blend" control or its Other series /parallel type devices may operate equivalent. properly in either mode, depending on a control A series effects device is connected by breaking the setting. The presence of a "blend" control is usually a signal path at an appropriate point, and inserting the dead giveaway to the identity of such a series /parallel device. When equalization or compression is used device. A good example is the TAPCO 4400A Reverb (either normally, or as an effect), the equalizer or System. (Figure 3B.) compressor is inserted in series with the signal, For the remainder of this discussion, I will refer to perhaps at an insert point within the input channel of series devices as Type I, parallel devices as Type II, the board, wah -wah pedal is another example of a series/parallel pedal devices (like the Phase 90) as series type device. For those of you who can't separate Type IIIA, and other series /parallel devices as Type series from parallel, remember that if you remove a IIIB. Table 1 shows some popular effects and their component from a series circuit, nothing works (like classifications. See if you can figure out why they are some Christmas tree light strings). (Figure 1.) classified as they are. A parallel effects device is usually connected to a A good many of these devices let you control the mixing board via the effects send and return system. strength or intensity of their effect. In a Type I device, Here, there are parallel signal paths: one for the dry, such as an equalizer, the control is one or more of the noneffects signal and one for the wet, effects signal. boost /cut controls. In a Type II device, the intensity

MIXER Channel insert SEND RETURN

Master

Source a (line or Equalizer { Parallel paths Mix bus microphone)

SEND RETURN

Reverberation chamber (or other effect)

Figure 2. FEBRUARY 1983 57

www.americanradiohistory.com Output

Input NOTE: Switch in = Parallel operation Switch out = Series operation

Speed, color, etc. (Al

DRY" NOTES: Dry only Series operation Wet only SET BLEND CONTROL HERE FOR DRY.ONLY SIGNAL Wet /Dry blend = Parallel operation Input Output

SET BLEND CONTROL HERE FOR WET -ONLY SIGNAL N

WET O OFF

Speed, etc. color, Bl

Figure 3. control might be the effects return knob on the mixing mixing the reverb signal back into the dry signal, the console. For a Type IIIA, it might be just on /off, or reverb effect may be "watered down" to a tasteful there may be an actual control, and for Type IIIB, level. there is a blend control. The Type IIIA device boils down to nothing more Let's look at what actually happens in a Type II than a glorified Type I or Type II device with a fixed - effects box. For those of you who are rusty at reading gain mixer. To connect it, you must break the signal block diagrams, refer to Larry Blakely's article: line at the appropriate point and insert the device. "Interfacing Auxiliary Equipment -Where and Why" Now, examine the Type IIIB effect. (Figure 4B.) MR &M, April and May, 1979. If not, try reading along Close scrutiny should tell you that this amounts to and watching the diagrams. It wit/ make sense, nothing more than a Type II effect with its own mixer. eventually. That's all it is- nothing more, nothing less. Label the For our Type II effect, let's use an acoustic mixer knob that has the wet signal on it "blend" or reverberation chamber. Nice and simple. (Figure 4A.) "intensity" (or other suitable name). Most of the time, The signal that is to be "reverbed" is applied to a the "blend" control is actually a type of cross -fader powerful amplifier, which drives a loudspeaker (sort of like a reverse panpot). At one extreme of its located inside the chamber. The chamber is a rotation, the dry signal is heard, while at the other moderately sized room with hard plaster or tile walls extreme of rotation, only the wet signal is heard. In (kinda like a tile shower). There is, however, one catch: between rotational extremes, both signals are heard, Ideally, for best results, neither the floor nor the walls in a proportion determined by the setting of the knob. should be parallel. Finally, a microphone (or microphones) picks up the signal bouncing around Connecting Into a System inside the room. The microphone's output feeds a With an understanding of what happens inside the preamplifier that finally brings it back to line level. effects box, the actual interface with an instrument Note that the signal here at the preamp output is pure amplifier or PA system should be getting clearer. 100 percent unadulterated reverb. INSTRUMENT AMPLIFICATION SYSTEMS. To use a Type II effect, you must use a mixer. The Let's use a typical guitar amplifier (like the Fender mixer's job is to combine the dry signal with the wet or Twin Reverb) and a standard electric guitar for this reverb signal. Remember that the output of a reverb example. As previously mentioned, Type I and III chamber microphone preamp is pure reverb and used boxes are simply put in series with the guitar signal alone would be far too strong an effect for most uses. By line, at the appropriate point. The appropriate point is

Highly- reverberant room

Amp Reverb send input Microphone(s)

% Output(s)

Figure 4. 58 MODERN RECORDING & MUSIC

www.americanradiohistory.com that point where the signal level matches the signal main signal and they will cancel! (Half the effects level requirements of the effects device. More on that devices available in the world invert phase!) This will subject later. If the guitar amplifier has preamp not happen if no dry signal is present in the effects loop. can connect line - out /power amplifier in jacks, you This problem is especially prevalent when attempt- I and III devices here. level Type ing to use "guitar pedal" (Type I and IIIA) devices in an mixer of one sort or A Type II box must use a effects send/return loop. They can be modified to work, another. Another problem is that of getting levels to but they really are better off not being used in this match. (More on that later, also.) If you use an external situation, or being donated to the Needy Guitar input mixer, the guitar will simultaneously drive one Players Fund. If you really want to use them, the dry of'the mixer and the input of the Type II effect box. The signal path within the effect must be defeated (for an input of the output of the effect box then feeds another example: see "Talkback," MR &M June '82, pages 20 is fed to input channel mixer. The mixer output either and 22). Your service tech will have to do the job for you wet level controls on the of the amp. The and dry signal if you are not electronically skilled. If you use them mixer are then adjusted for the desired effect. unmodified, don't expect optimum results. Another possibility here is to have the guitar drive one input of the amplifier and the input to the effect in Matching parallel. Now the output of the effect drives the other Next to connecting up effects devices, matching has input on the amp. Remember that we are using a got to be the second most -misunderstood aspect of a Fender Twin Reverb, which has two input channels modern audio system. Part of this comes from the old (normal and vibrato). By doing this, the effect may also days of tube amplifiers (yes, I know that some of you have different tonal characteristics for additional still use these antiques). Most tube amps wanted to see sonic variety. (have connected) a load (like a loudspeaker) of a To use a Type IIIB box in this situation, connect it as specific impedance in order to work properly. a Type I series -connected device. (Break the signal line Everyone pounded on you to always "Match the at the appropriate place and insert the device). Set the Impedance." In most modern audio systems today, "blend" control on the device for the desired intensity impedance matching has gone by the wayside. What is of the effect. Be sure that you observe the level important, is level matching. (Time to climb onto the matching discussed later on in this article. soapbox.) EFFECTS CONNECTION INTO A MIXER. The SIGNAL LEVELS. Signals exist at many levels or mixer specified for this example has a single effects - strengths. In audio, weak sihnals are generally re- send bus and one effects return channel. The input ferred to as being at mic level. Not -so -weak signals are channels have both line and microphone input considered to be line level, and strong signals are capability, some form of equalization, a single monitor called speaker level. To give you an idea of what the send and channel insert jacks. actual levels are: mic levels are generally considered to Type I and III devices are best connected into the range from around -60 dBm to -20 dBm (roughly system at the channel insert jacks of the appropriate 0.001V to 0.1V), line levels range from approx. -20 input channel. They can also be connected between the dBm to +30 dBm (0.1V to 24.5V) and speaker levels mixer output and power amplifier inputs, providing from +30 dBm or 1 watt and up. Bear in mind that the level matching requirement is met. these numbers are approximations and it is possible Type II devices interface directly with the mixer. for a microphone to put out line level signals. The effects send drives the effects device input and the In the strictest sense, a line -level signal is usually one device output drives the mixer effects return. As an that is strong enough (around +4 dBm or 1.23V) to alternative, an extra input channel may be used, drive a basic power amplifier (like a BGW or Crown) to giving the advantage of being able to send the effect to full output. Most synthesizers and other musical the monitors by simply turning up the monitor send electronic instruments do not fall into this strict control on the channel driven by the effects device. The category. For the purposes of this article they will be effect signal may also be equalized with the channel considered as "instrument level" devices. In reality, EQ. their output level would be classified as "strong mic Type IIIB devices may also interface in the same level." Pedal -type effects that use a 9V power source manner as Type II devices. The "blend" control must fall into this classification. be set at full effect, or maximum wet signal. Again, the Both inputs and outputs have specific maximum and extra input channel may be used, with the same minimum signal operating levels, and outputs usually benefits. have a specified minimum impedance into which they THE BLEND CONTROL PROBLEM. When a will work. The minimum signal operating level, for Type IIIB effects device is used in the console's effects outputs as well as inputs, is related to one thing: noise; send and return loop, the controls on the console are because all electrical circuits generate some unchang- used to set the wet /dry ratio because the effects ing amount of noise when they operate. send /return system is designed for parallel operation When audio circuits are forced to handle signals that of the effects generators. Thus, the mix or blend are too weak, their inherent noise becomes evident and controls on the effects unit must be set for maximum you hear hiss. This hiss is at a level usually referred to effects, allowing no dry signal to be returned to the as the noise floor of the circuit. When signals are kept mixer. If any dry signal is present in the effects signal, well above the noise floor the hiss is masked by the the loudness of the entire signal will be increased when desired signal, and the circuit is operating well within the effect is used. But if the effects unit just happens to its normal range of signal levels. When you try to cause a phase reversal, then there will be a point at exceed the maximum level, distortion results. which the signals from the effects unit will match the What does all this mean? Simple. If you attempt to

FEBRUARY 1983 59

www.americanradiohistory.com use a pedal type, 9V battery- operated effect at line such as an equalizer or filter is used and depends upon level, expect distortion. If you attempt to use an effect "seeing" its characteristic impedance (the one it was designed to operate directly from a guitar at line designed for) at its input and /or output terminals. A levels, you can also expect distortion. If you attempt to high -level crossover network is a good example of this use a line level device at instrument level, expect noise. type of matching. If the crossover is used in a situation, LEVEL MATCHING (OR, WHY WE DO BOTHER). like an 8 -ohm network with 16 -ohm transducers, the It is far more important to worry about level matching characteristics of the crossover will not be what was than impedance matching. Most modern sound originally intended. equipment has the impedance problem solved ahead of In a sound system, the loudspeaker and the wall time (there isn't one to begin with). All that level socket (120 volts AC) are the only places where matching amounts to is trying to match the signal electrical power is important. With modern transistor requirements of the source to the input that it is amplifiers, the impedance is not matched. For that feeding. This means that a -10 dB instrument level matter, neither is the connection to the wall socket. source won't drive a typical power amplifier to As a general rule, if the input impedance of a device anywhere near full output. On the other hand, it also is greater than the output impedance of the preceding means that you can't plug a device with a +4 dBm device, the two may be interconnected. But how much output into a -50 dBm mixer input and expect it to greater is a matter of some debate. As a rule of thumb, I work well. It can also mean that if you try to use a line - would say anything greater than 5 to 10 times the The level equalizer ( +4 dBm level) at instrument level ( -20 actual source impedance. actual source imped- dBm), you can expect it to be noisy. ance is the impedance looking into the output terminals. It is not the same as the load impedance. The Musical instruments with no amplification built into load impedance, it specified, is a minimum specifica- them can generally be treated like high- impedance tion. In other words, don't go below it. An active microphones. This means that they will require some equalizer with a 60 ohm output impedance will operate sort of preamplification before driving a power properly with a power amplifier having a 25,000 ohm amplifier. This should also be done before operating input impedance. line -level effects devices, as most of these are designed It is not permissible to interconnect two devices if the to be operated at true line level ( +4 dBm or 1.23 volts). input impedance of the receiving device is lower than If you don't preamplify the signal first, the effects the minimum load impedance of the sending device. A device will probably appear noisy. Many newer effects guitar pickup having a 50k ohm output impedance devices are designed with this problem in mind. In any should not be connected to an input with a 10k ohm event, it pays to read the manual or at least check the input impedance. spec sheet to make sure that you are operating the Do not terminate a device with a load resistance device at the correct level before you accuse it of being its "noisy." equal to actual output impedance unless it is specifically required for proper operation. Do not Effects devices using 9 -volt batteries or power confuse actual output impedance with minimum converters for operation should be considered load impedance. instrument level or high impedance microphone level. Passive (passive means no battery or AC line power This means that they will not work at true line level without overload. required for operation) filters, crossovers or equalizers must be operated with their input and output IMPEDANCE MATCHING (OR WHY WE DON'T impedances matched for proper operation. BOTHER). There are only two instances where The subject of level and impedance matching is impedances must be matched in the absolute sense of complex, to say the least. While the preceding discus- the word. One is where you want to transfer maximum sion is somewhat sketchy in places, the basic rules are power (remember that power is measured in watts) to there. A more complete discussion is a subject for a a load. The other instance occurs when a passive device future column.

Tape loop

Record head Playback head

Input Record level (insert pad Footswitch here if jack required) (line level)

WET- Normal output Repeat (instrument control oar level)

33K2 Input Output

3.3KS2 20dB pad, if line -level signal is used to drive Echoplex (or other instrument -level device)

Figure 5. 60 MODERN RECORDING & MUSIC

www.americanradiohistory.com Putting It All Together Listen to the signal coming from the echo footswitch With all this new knowledge under your belt, I'm jack. It should be reasonably undistorted. If not, try going to diagram a couple of extremely unusual adjusting the record level control. The record level patches. One involves the Echoplex, an ancient tape control is the screwdriver adjustment near the input echo unit, the other involves psychoacoustic en- jacks. With normal levels coming from your mixer, hancement. adjust the record level control for undistorted output from the echo footswitch jack. THE ECHOPLEX. This is very definitely a Type IV instrument level device. If you attempt to connect it THE PSYCHOACOUSTIC ENHANCER. There directly into a mixer's effects send /return system, are several products on the market that claim to distortion and /or insufficient return level is the usual stimulate or excite various aspects of our hearing result. processes beyond simple vibration of our eardrums. To Refer to the diagram. (Figure 5.) The first problem is get an idea of the effect, patch a spare 18 dB /octave level matching to the input circuit. If your mixer has electronic crossover into the effects send /return loop line -level and instrument -level effects -send jacks, (the on your mixer. In this patch, the crossover becomes a TAPCO mixers do), use the instrument (or LO level) Type II parallel effects device. Of course, while this send. If not, you will need to make an external 20 -dB setup is not an exact copy of the circuitry used in any of pad. If you are clever, you can build it into the phone the commercial devices, audibly it is remarkably plug. If you aren't, you can use a minibox. similar. The second problem is the output. The Echoplex has Set the crossover's frequency to 1 kHz or higher and will a passive mixer for its output. I would really like to see use its high- frequency output. The actual setting a tube guitar amplifier as the next thing in the chain. be determined in use. Set all level controls at "normal "; Connecting a typical solid -state mixer input to the create a mix on the mixer's effects bus of the inputs you output jack compounds the problem by causing wish to "enhance "; try the vocals or drums for starters; additional loading, lowering the already low output be sure that the effects master is turned up sufficiently signal. to drive the crossover at its normal levels. Now, bring In order to remotely kill the echo effect, the up the effects return control on the mixer. Adjust the Echoplex has a footswitch jack. Electrically, the jack return control for the desired amount of enhancement. is connected to the output of the playback amplifier. Be subtle. The increase in brightness is the result of the Remember that the Echoplex is nothing more than a enhancement process. Try various crossover fre- glorified tape recorder. The signal at the footswitch quencies; the range of 1 kHz to 8 kHz seems to work (echo, not sound -on- sound) jack is line level. Glory be! well. Just connect the echo footswitch jack to the mixer's That's it for this month. If you have a pet subject of effects return or to a channel line input. If you still general interest, drop me a line care of MR &M. In the need a footswitch, use a "wye" cord on the footswitch meantime: "Gimme more guitar in the monitors -and jack. put some echo on it while you're at it."

TABLE 1 Name Effect Type Signal Level MXK I'1tzpe !I() Phase IIIa Instrument MXK D:titu,tiun + Fuzz I Instrument MXK Analog Dek, y Delay IIIa Instrument + (1) MXI? Diyiha( Lkk,tl Delay IIIb Instrument & Line MXI? Ste,tr, Chorus Chorus Ilib Instrument + (1) l:ih,>ulea Tape Echo IIIb Instrument Iwkraxl Spam Ktlau Tape Echo IIIb Instrument (2) AKG BX lo Reverb II Line Lexicon ti24 Reverb II Line Piane Time Delay (3) IIIb Line Ltvlka Ilah DL 1 Delay II Line AconUStivwnEauler Delay (3) IIIb Line 14a.1 With-Wah Wah I Instrument 1 á nKda`, Analog Delay Delay Illb Instrument

hiyr.r. Gate I Line (;,aia, Brair, Compressor I Line

Type I = Series only devices Type II = Parallel only devices Type IIIa = Pedal -type effect with internal parallel structure Type IIIb = Series /Parallel effect with blend control

Nuns: (1) Level approaches line level. (2) Older space echo units were instrument -level only, even at the "H" setting of the level switch. (3) Complex delay processor.

FEBRUARY 1983 61

www.americanradiohistory.com JEFF TAMARKIN NORMAN WEINSTEIN GENE KALBACHER MICHAEL ROBERTS ROBERT HENSCHEN JOE KLEE

filled with hopelessness ( "Nebraska "), House." where a shadow of guitar, unemployment ( "Johnny 99 ") and sustained keyboard notes and tam- family trouble ( "Highway Patrol- bourine jingles gently peak behind man"). Even non -death -related stories Bruce's singing and harmonica nurture negative themes like loneli- playing. BRUCE SPRINGSTEEN: Nebraska. ness ( "State Trooper ") and misguided Behind the subtle acoustic guitar [Recorded in New Jersey by Mike faith ( "Reason to Believe ") to their picking of "Mansion On the Hill," one Batlin on a Teac Tascam Series 1444 - fullest. can often hear a tasteful harmonica track cassette recorder; mastered at Because of the clean mix accom- melody lingering to give the string - Atlantic Studios by Dennis King. plished on this homegrown collection, tapping a little color. And "Atlantic Mastering consultants were Bob one can clearly hear the musical City's" backup vocal is so cleverly Ludwig (Masterdisk) and Steve Mar - puzzles Springsteen has pieced to- laid into the recording that the voice cussen (Precision Lacquer).] Co- gether. The fact that he throws his sounds as if it were coming from a lumbia TC 38358. gruff voice out in front of the mix is band shell on the other side of town. Performance: All by himself not as important as the other little An effect this simple fills the music Recording: Pretty damn good for a tricks of vocal and instrumental with enough character to run along- homemade job placement that make these songs side the storylines. work. Something as common as Thankfully, the uptempo guitar - To put it simply, Bruce Spring - a steen's Nebraska is a very heavy rotating his singing with rugged only rocker "Open All Night" has album. From the minute the needle guitar strum on "Open All Night" been included on Nebraska. While it drops into the title cut, our heart works wonderfully, but his composi- doesn't have the E Street Band strings are tugged -no, pulled -by tional structuring works best on the behind it, for real full- bodied punch, the man's ten slices of blue collar soft numbers like "My Father's the song does remind us that there frustrations. These one -act plays are created by our storyteller, and listeners feelings are drawn to the surface by little more than that man, his guitar, a harmonica and a random keyboard note or two. The slow, greatly spaced measures of many of these songs can be as draining to a soul as the tales themselves. Springsteen produced Nebraska at his New Jersey home on a four -track cassette recorder and the resultant "folk" album is truly "the Boss" stripped bare. He's in despair and wants to tell us why; from the shores of Atlantic City straight across this land of ours, we've got troubles in the Backlands, and that's just the way things are. Live with it. Nebraska is basically a lyrically depressing collection. There are numerous accounts of murders, yet the sadness comes from the revela- tion that the protagonists kill because of feelings that many people seem to be expressing today. This country is

62 MODERN RECORDING & MUSIC

www.americanradiohistory.com PROTEUS ITU the lead synthesizer that has Jazz, the Fountain of Youth: it all Al Cohn and Count Basie

By Nat Hentoff NOW $100 OFF! You'vel always had a lot of options. You could have the convenience and easy operatior of a non malized synthesizer if you were willing to give up the versatility of modular equipment. AL COHN: Overtones. [Carl E. Nobody has ever dared accuse Or the unlimited spectrum of tone colors and timbres of producer; Edward Count Basie of a fading jazz spirit, modules if yo.i didn't mind the cumbersome patch cords and Jefferson, time required to set up or change a patch. Trabanco,, engineer.] Concord but various editions of his bands - You could have programmable presets if you could raise the bucks. or low -cost equipment if you could stand the snap CJ -194. particularly in the 60's and 70's- crackle -pop. have been charged with being You could even have such technically innovative features as COUNT BASIE: Farmers Market computer control of voice and sequence f you had the rather mechanical, of lacking the technical savy to design it all and make it work. Barbecue. [Norman Granz, pro- suppleness and resilient energy Now you have another option. YOU CAN HAVE IT ALL. Wide ducer; Dennis Sands, Greg Orloff, range, precise. low-noise, presets. meaningful patch bay and of bands led by a younger Basie. an easy-to -use computer interface. engineers.] Pablo 2310 -874. During the last couple of years, All at a price that's nothing but unbelievable. the easy -to- assemble Proteus I Kit. was)4rI now $399 however, Basie's sidemen have Jazz, according to the myths of taken on more of their leader's ORDER TOLL-FREE WITH its beginnings, was primarily a evident delight in music -making, VISA OR MASTER CARD young man's game. The Beider- and so a collective youthfulness 1 -800- 654 -8657 beckes, the Berigans, the Charlie of temperament has returned to Similar savings on other Fl4i4 kits, Parkers -all soared briefly and the orchestra. ask for our free brochure. brilliantly, and then burned them- A particularly relaxed and yet Want to know more? Proteus is Using /Assembly manual which includes a demo tape will answer all of your questions. selves out. But for a long time, marvelously invigorating illustra- The price. Sto. 00 is refundable upon purchase of the kit there has been bountiful evidence tion of this resurgence is Farmers Direct mail orders and inquiries to: Dept12M of exuberant long -term survivors Market Barbecue on Pablo. There 1111iA Electronics, Inc

1020 W. Wilshire . Oklahoma City. OK 73116 - x:405)843.9626 -jazz elders who stay young in are passages when the band is so CIRCLE 30 ON READER SERVICE CARD spirit because of the very music buoyant that it has the feel of a that nourishes them. The need to small combo. And there is an continually improvise; to tell how imaginativeness in the scoring - you feel, how you really feel, which leads to new challenges for adQ through your instrument -this is the players -that makes even "St. QSSpoG: a way of life that leaves no time Louis Blues" sound quite sur- o for thinking old. prising. A resounding case in point is Furthermore, this Basie band tenor saxophonist Al Cohn who feels the blues more deeply and WIC910% has never sounded more per- easily than some of its predeces- hiPment sonal, more inventive, and more sors in recent years -"Blues for IGVZS in joyful than his most recent the Barbecue," for example. On all or Immediate recordings, the newest of which kinds of tunes, there are pungent is Overtones on Through Concord. solos by, among others, tenor 1/4 99 & 1/2 " the decades, Cohn has always been saxophonists Kenny Hing and a dependable swinger, but now his Eric Dixon, trombonist "Booty" ideas, his tone, and his beat are Wood, and trumpeter Sonny Cohn. Audio deeper, fresher, more compelling. But the most masterful soloist by Tape Keeping the legacy going in this far is, of course, Mr. Basie, whose AMPEX set is Al's son, guitarist Joe Cohn; every single note is so satisfyingly 3M ALL TYPES the just about peerless rhythm inevitable. TDK section consists of bassist George The recorded sound is so true Duvivier, pianist Hank Jones, and that I'd like to know how many CASSETTES ACCESSORIES drummer Akira Tana. microphones were used. My guess Although Concord has, from its is the engineers were as judi- beginnings, been exceptionally ciously economical as is Basie. ASK FOR OUR CATALOG high in its engineering standards, This set is a tribute, by the way, OF PROFESSIONAL this recording -so bracingly clear to Norman Granz, without whom RECORDING SUPPLIES and crisp -sets new highs even for Basie would not be recording this label. It would be illuminating nearly so often. Nor would he be Poly Corp. to see a piece by engineer Edward recording, as he does with Granz, 1233 Rand Rd. Des Plaines, IL 60016 Trabanko on how he prepares for whenever he feels the expressive this kind of session. need. 3121298 -5300 25

CIRCLE 31 ON READER SERVICE CARD FEBRUARY 1983 63

www.americanradiohistory.com always knew a catchy rhythm when they heard one. A booming bass drum echoes throughout the mix, along with guitars mimicking some kind of animal or another. An extended break in the middle bounds with a Tarzan ambience, to the point that one expects to see someone come swinging on a rope across the living room. The Banana bunch, meanwhile, do their part admirably enough, although all that's really required of them is to sing in tune and in harmony and to "bop- bop- shoo -be- doo -wah" as cutely as they can without arousing suspicions that they may be the Go -Go's under a nom, de 1)lunie. A quick flip to the other side ( "Aie A Mwana ") will erase those thoughts within a few seconds. The beat is just a bit too pronounced to be the L.A. girls, with an accent toward ethnicity Bananarama that you just aren't gonna find on Hollywood Blvd. Producers Cook and Martin again add a south- of -the- may be better days ahead -for this If you read any article about (European) border touch (the Ba- country and on forthcoming Bruce Bananarama, you'll see that they in- nanaramas apparently don't play Springsteen rock 'n' roll albums. sist that, although they're a group their own instruments), and after the Everybody back to Asbury Park; it's of three women playing a '60s in- extremely hooky chorus that could've too cold in Nebraska! E.Z.G. spired brand of pop, they're not try- come from any Shirelles record, a ing to be like the girl groups of the percussion feast ensues, making one 1960s. That's all well and good, but wonder if perhaps Santana wasn't it's hard to break away from that recruited for the sessions. comparison when one of the two So, O.K., if they wanna insist that BANANARAMA: Bananarama. [ "He songs on this 12" EP record is a re- they don't take their cue from their Was Really Sayin' Somethin "' pro- make of a'60s Motown tune (originally '60s counterparts, fine. But the two duced by Fun Boy Three and Dave by the Velvelettes, without a signifi- sides of this debut single show an Jordan; "Aie A Mwana" produced by cantly altered arrangement. enormous potential for development Paul Cook and John Martin; no engi- Giving them the benefit of the of more than just an image. Ba- neer listed; all tunes remixed by John doubt, though, the trio -Keren, nanarama's music is addictive, dance- Luongo; no recording location given.] Siobhan and Sarah (no last names able, hearty and fun. And anyway, London LLD 101. available)-do bring an '80s sensi- people are still listening to records bility to "He Was Really Sayin' made by the Supremes, Shangri -las, Performance The Shirelles go Somethin'." Heavy jungle percussion Ronettes. Chiffons, etc., 20 years to Africa is provided by producers Fun Boy after they were released. Do you Recording: Alive and well Three, those former Specials who think Bananarama would mind if their records were still popular in 2003? J. T. We've Put SIZZLE Into Echo and Reverb -Al an Affordable Price- RONALD SHANNON JACKSON AND THE DECODING SOCIETY: Man Dance. [David Breskin and Ronald Shannon Jackson, producers; Neal Teeman and Akili Walker, engineers; The main problem with most echo and reverb units is that they don't have the high frequency response it takes to "cut" through the mix and add the type of clarity and depth recorded live at Electric Lady Studios, that vocals in particular need. Our Echo Control Center provides over twice the frequency New York, N.Y.; Ron Saint Germaine, response of units costing almost twice as much as ours. The reverb section is the quietest, crispest, and least boomy portable unit we have seen. "decoder. "] Antilles AN 1008. Capabilities include: Straight Delay Echo and Reverb Doubling Slapback Chorus and Vibrato Over 95 dB Delay Dynamic Range. Price: 8595.00 Performance. Polyrhythmic Write for a 24 page brochure on our full product line and a demo record. jazz rock Send $1 to: LT Sound, Dept MRE, PO Box 338, Recording: live -in- the -studio Stone Mountain, GA 30086 Phone 404 493 -1258 crispness and clarity

64 MODERN RECORDING & MUSIC

www.americanradiohistory.com Just as drummer -composer Ronald them a bit further. Single note runs Shannon Jackson braids his hair led (imperceptibly) to surprising (yet with nuts, bolts, seashells and sub- lyrical) chord and octave passages. way tokens, so he laces his music with All within the tonal framework of the rudiments of free jazz, funk, bittersweet blues during his most rhythm and blues, polkas and even creative (and least commercial) bluegrass. Some may call Man period of recording. Dance, the first major -label LP from Ulmer's relation to this Christian/ Jackson and his quintet, the Decod- Montgomery tradition is both re- ing Society, an exercise in free jazz. spectful and revisionist. The rhyth- Others may call it punk -funk or mically charged riffs invented by avant -funk. It's al I of these things and Christian are complexified into wild it's none of these things. What it is, pol?trhythms filled with unexpected certainly, is new music -new music starts and stops. The single note runs that is stretching the boundaries of go haywire. Chords and octaves are jazz. sounded -then shattered beyond In Jackson's music, which bears recognition. The best analogy for the imprint (and no doubt the im- what Ulmer does to the Christian/ primatur) of his mentors -Cecil Montgomery tradition can be found Taylor, Ornette Coleman, Charles in the visual arts. Compare a land- Mingus and Albert Ayler -the scape of Constable with one of Picasso rhythms determine the melodies. James Blood Ulmer during his cubist period. (Funny how Unlike conventional jazz, in which uninformed museum goers STILL Performance: Volcanic the rhythm derives from the chord look at Picasso and say to themselves, changes or melody, Recording: Dynamic Jackson's music "My kid can paint better than that! ") doesn't keep the beat is the beat -it A recent issue of an esteemed jazz Black Rock, Ulmer's second release (rather beats). The distinction be- magazine featured a blindfold test on Columbia, is probably the most tween soloist and accompanist is involving Joe Pass. The editors blind- accessible Ulmer record to date. It is blurred, if not obliterated, as befits folded the popular jazz guitarist and surely the recording that most Coleman's harmolodic approach. The then exposed his critical ears to successfully bridges the gap between Decoding Society (Henry Scott, releases by half a dozen jazz gui- avant -garde rock guitar (a la Hen- trumpet /flugelhorn; Zane Massey, tarists. Pass's comments were drix) and free jazz. Ulmer mixes tenor /alto /soprano saxophones; tran- Ver- scribed and published sans editing. non Reid, electric guitar /steel gui- Now Mr. Pass had something tar /Roland guitar synthesizer /banjo; nice to say about nearly every guitarist he INTERESTED SOUND CAREER Melvin Gibbs, electric bass; Reverend IN A heard. About IN THE Bruce Johnson, fretless electric James Blood Ulmer's first release on Columbia, Mr. Pass bass/electric bass) is aptly named: lost his studied cool: "My son is 13 The music is decoded, as in distilled, years old and he plays the guitar; he refined; and societal, as in public, has two amplifiers, and he doesn't heterogeneous. TREB(1S Ir1STITUTE OF RECORDIfG r4RT5 know one thing that he's doing, andhe will put you The music on Man Dance distills can do a lot of that stuff." the essence of Jackson's native Texas ON THE RIGHT TRACK My intention is not to mock Pass's ( "Iola "), the Middle East ( "Giraffe ") inability to hear the structure and and Africa ( "Alice in the Congo "), depth of Ulmer's playing. I cite Pass's among other places, real and imag- response to indicate just how ined. Jackson revolu- calls his sound heavy tionary Ulmer's playing swing: his band members is. How a call it fine (though musically conservative) heavy metal world music, and this older player can totally miss the point listener, in keeping with the name of Ulmer's achievement. And yet game, dubs it rural and urbane funk. -I am surprised by Pass's lack of If you are what you eat, or more historical perception here -Ulmer's in a 2 year professional training program in the precisely, if you are what you wear, playing finds its roots in the earliest then Ronald Shannon Jackson is a primitive jazz (as well as rock and blues) technocrat or a techno- guitarists. RECORDING cratic primitive. Either way, he's A very quick history of two of the ARTS AND SCIENCES arrived with a joyful noise. G.K. 70 courses In major jazz innovators will help to RECORD PRODUCING SOUND ENGINEERING create a context for comprehending MANAGEMENT Ulmer's experimentation. To Charlie For courses starting October 1983 Christian jazz owes an enormous APPLY NOW! For appbcat on and FREE brocnure desceeInq cor,w debt. He created a style of guitar pnon' (416) 977 -9797 Or send Coupon IMMEDIATEL y ADMISSIONS DIRECTOR JAMES BLOOD ULMER: Black Rock. playing ideally suited MR 02 83 for bebop. TREBRS I(1STITUTE [James Blood Ulmer, producer; Bill Rhythmically 225 Mutual Street charged riffs. Stun- Toronto. Ontario, Canada M513 2B4 Scheniman, engineer; recorded at ning single note runs. Complex chord Name Phone No the Power Station, New York, Address N.Y.] transitions. Wes Montgomery took CIY SOIT Zn Columbia ARC 38285. Christian's inventions and carried TREBAS IASTITUTE l J OF RECORDIr1G ARTS CIRCLE 32 ON READER SERVICE CARD FEBRUARY 1983 65

www.americanradiohistory.com A SINGER'S DREAM! ,f: .ö-.3:= -- ti'r:r REMOVES VOCAL FROM MOST" STEREO DISCS The Thompson Vocal Eliminator can actually remove most or virtually all of a solo vocalist from a standard stereo record and yet leave most of the background music untouched! Not an equalizer! We can prove it works over the phone. Write for a brochure and demo record below. YOU SHOULD SEE US Studio Echo /Reverb Tape Noise Reduction For: Parametric Equalization Electronic Crossovers Comp /Limiters

The Psychedelic Furs several vocals into his heady pro- System, so there's plenty of bom- gram of instrumentals. His basic trio bastic sonics abounding. Lots of is augmented by a rhythm guitarist sheen and satin and high -tech gloss. and tenor sax player. But the trio Every nuance of Ulmer's guitar is sound -propelled by Grant Calvin beautifully captured, as is every timed free -form- of Weston's cymbals. A better We manufacture a full line of high quality audio Weston's flawlessly crash and recording equipment. You will probably have funk drumming and Amin Ali's production would be hard to conceive. to pay twice as much elsewhere to obtain comparable quality. Only Direct Sales make our spitfire bass -is dominant. "Open And I have a message for Joe Pass. prices and quality possible. Send Si for a 24 page well brochure and 20 minute demonstration record. House," the album's rousing opener, If your kid can really play as as Write to: LT Sound, Dept. MR, P.O. Box 338, is typical of the delights the intrepid Blood Ulmer, ask him to mail me a Stone Mountain, GA 30086 (404) 493 -1258 listener will discover. Ulmer plays a cassette, care of this magazine. I'll stinging shower of riffs and runs that make him a star. N.W. are unexpected and emotionally vibrant. Weston and Ali provide a PSYCHEDELIC FURS: Forever Now. pmpecv backdrop of jerkily asymmetrical [Todd Rundgren, producer; Todd booms and barns. The music is Rundgren and Chris Andersen, engi- wonderfully sophisticated -yet ap- neers; recorded at Utopia Sound pealing to the simple minded among Studios, Bearsville, N.Y., 1982.] Co- The PROFESSIONAL MOTION PIC- us who want to boogie. "Moonbeam" lumbia ARC 38261. TURE EQUIPMENT ASSOCIATION and "We Bop" feature more of the has developed a computer compi- same sound. Performance: 'Out -weirding the lation of stolen, missing and mis- weirdos' appropriated motion picture pro- "Family Affair" and "Love Has duction equipment. This computer Two Faces" have Ulmer's truly Recording: Fast food sizzle listing reflects an accurate and excretable vocals. I suppose that he continually updated reference of thinks that his gruff and harsh Quite honestly, I'm not overly equipment of questionable origin, vocalizing blend with his acerbic impressed by this, the third album including serial number, manufac- guitar stylings. If so, I don't share his from England's Psychedelic Furs. I turer and product category. conclusion. The songs are only saved might go so far as to say that I was not by his inventive playing and some impressed at all, but that would not These listings will protect film- perfectly lovely singing by Irene be altogether true. Let's leave it makers from inadvertently pur- Datcher, his wife. Vocals are defi- somewhere around highly unim- chasing lost or stolen equipment, nitely the Achilles heel of this release. pressed. On the surface, this Co- and can aid in the recovery of lumbia would appear to equipment. One may also report The "rap" given by bassist Ali on recording lost or stolen equipment to be in- "Fun House" is trite and as dated as have a lot in its favor, having been cluded in these reports at no charge. old psychedelic poster art. produced and co- engineered by the But these are small flaws on a Todd Rundgren of minor "Utopian" To receive a free copy of the miss- major work. No one involved with the fame. And there definitely are some ing equipment listings or to report future of guitar playing at the good aspects of Forever Now. They lost equipment, contact your near- cutting -edge can afford to be without just seem to be overwhelmed by the est PMPEA member, or respond Black Rock. preponderance of the bad. directly to the International PMPEA Columbia has lavished upon Ulmer This album has left me confused. Office, Ten Thousand Riverside a sound every bit as soaring as his Richard Butler, lead singer of the Drive, Suite 6, Toluca Lake, Cali- radical solos. Black Rock was mas- Furs, said I would be ... He was right. fornia 91602, USA (213)761 -6690. tered on the CBS DisComputer My confusion stems mostly from why

66 MODERN RECORDING & MUSIC

www.americanradiohistory.com this self -fulfilling prophecy is of such resembles a frequency traffic jam LP, it would still have just as much importance, as opposed to delivering much closer to the sound of "french - life. He's soft and pleasing on the slow a notable finished product. frying." There is, however, consist- blues ( "Night Life ") and he belts 'em The group has been together ency in the drums and some rather out on the uptempo ones ( "Love The twelve years, all told. Forever Now, creative production, including heavy Life I'm Living ") as if he was as I mentioned, is their third album. use of synthesizer runs. auditioning for his first gig. It promised a more mature Furs, Should there be a ray of hope But, of course, this would hardly be attaining untouched regions of com- springing hence, it may be in an a B. B. King album without the mercial endeavor. (Untouched by awakening of attitudes of the Furs trademark fluid fretwork that made who, and where ?) Note: "Love My that rebellious, sarcastic and odious the master "the King of the Blues." Way" is the group's biggest single attitudes in music must be tempered And does he ever show off here! The thus far. But by the Furs' own and directed toward some semblance encore, a blues jam with the Cru- admission it is a "peverse cabaret of commercial, if not social, appeal to saders, shows King to be swifter and crooner." It may also speak probe of redeeming value. After twelve more imaginative than most of the foundly of a group whose sole purpose years and three albums, they are upstarts who've stolen the spotlight is to "out -weird the weirdos." The where they are now. Will Columbia from him: he inspires his players... refrain in "Love My Way" goes like keep them around the necessary who return the favor...and what this: "In Love my way, It's a new road. length of time to let them fulfill their emerges is a blues bash that is I follow where, My mind goes." That maturing process? Thankfully, it consistently marvelous from top to may be just nifty -keen for these boys, won't be my decision. M. R. bottom. King runs through the but we are the ones incited to buy gamut of his styles at this London gig, their record and thereby solve the and by its conclusion, one is awe- mystery of where their minds are B. B. KING: Live In London. [Steve struck at the continued vitality of this going. (That can be an expensive Goldman, producer; Galen Senogles, legend. voyage into Esoterica.) As Butler engineer; recorded at Royal Festival Equal time must be given, how- puts it, "I think the best thing you can Hall, London; Doug Hopkins, Tim ever, to the audiophile pressing that do is prompt people to think for Summerhayes, Rob Taylor, remote houses the performance. Usingthe themselves and work things out in engineers; Bruce Leek, mastering best virgin vinyl, digital mastering, their own way. The only thing that engineer.] Crusaders CRP -16013. etc., producer Steve Goldman and musicians do is open people's eyes up engineer Galen Senogles have given a bit- that's what I've enjoyed about Performance: B. B. is still the King King a product worthy of his talents. rock music." Recording: Unbelievable for a live The sound quality is simply stun- The Psychedelic Furs have been recording ning- noiseless, sharp, and clear as a noted for their bizarre stage per- bell -so that every nuance played by formance. That can get you a lot of B. B. King's recorded output is just King, his drummer, his keyboardist, attention in pubs and bars and - so huge that one would be hard - the brilliant horn section, etc., is undoubtedly-a reputation, but it pressed to know where to begin heard for what it is. This just goes to doesn't make you good. Unless you analyzing the individual albums this show that the right combination of are able to translate your talent to the great blues guitarist has made. A music and technology can produce a disc, you can't sell enough records to large percentage of that output is magnificent listening experience keep your employers happy. The devoted to live albums, not the least of even if the songs and the artist are as thing that allows the bizarre groups which is King's Line At The Regal, a familiar to us as an old friend's voice. to attain and /or maintain success has set recorded in Chicago over 20 years J. T. been the ability to appeal com- ago that has had a tremendous mercially on record. Look at the influence on both blues and rock Rolling Stones, Alice Cooper, and to a players over the years. lesser extent maybe, Ozzy Osbourne Surprisingly, perhaps, given the JANIS SIEGEL: Experiment In White. and Elvis Costello, who have an passage of time, the warmth and [Joel Dorn, producer; Gene Paul, appeal to a broader audience than gusto that characterized Regal sur- engineer; recorded at Atlantic Stu- just those who have seen them faces again on Line In London, dios and The Hit Factory, New York.] perform. The reason is, they sound recorded in September of 1981 at the Atlantic 80007 -1. good on record. Royal Festival Hall. Not only is King Butler's voice is so grating and the musician /singer still in tip -top Performance: More trial than error unpleasant that he must already be form, but his band is scorching as Recording: Lab spotless using the flip side of a set of second well. The horns jump from the hand vocal cords. The passages of grooves in unison, and the rhythm There is more than one side to Janis quality instrumental riffs are too section keeps time like its life depends Siegel, and you get at least two of few, especially in light of the distract- on it. This is one vibrant performance. them on Experiment In White. Side ing "quality" of the vocals on Forever But when it comes right down to it, one is in a pop chanteuse pose, Now. this is Riley B. King's show. Even covering Leon Russell remakes and There seems to be a greal deal of though he's sung some of this ma- contrived -but -rollicking gospel re- pride, on the part of the band at the terial every night for three decades, makes. Side two is contrastingly addition of brass and string ac- he puts every ounce of talent and adventuresome and jazz- oriented. companiment. The purpose (so they feeling into his delivery. King is Make that an experiment in black & say) was to broaden the scope and primarily praised as a guitarist, but white. aural effect. What actually happens even if he never played a note on this As the first of, hopefully, more solo

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www.americanradiohistory.com Ross fame) and things get interesting. and turns even average faire into a This one bops along recklessly, with gourmet feast for the ears. The title Janis singing the original Getz solo, cut to this LP is a perfect example - Hendricks singing another instru- it's the same old filet of soul but when mental part, and musicians includ- cradled in a simmering butter of a ing Kenny Barron, Ron Carter, and voice, it makes your neck hairs stand Frank Foster all contributing greatly. on end. The lyrics are a scream, Hendricks is Vandross grew up in New York in rare form, and the excitement with three R &B divas as his greatest level picks up dramatically atop childhood idols - Aretha, Diana, and Slide Hampton's chart. Speaking of Dionne. While Luther's velvet touch drama, Siegel follows with a fairly obviously owes much to his studious straight job of that classic torcher observation of such ladies, this record "Guess Who I Saw Today ?," accom- also demonstrates his acute aware- panied by the classy trio of Tommy ness of great male vocalists as well, Flanagan, Ron Carter, and Grady Sam Cooke ( "Bad Boy /Having A Tate. Party ") and David Ruffin of the early "To Be With You" is a nice, slow Temptations ( "Since I Lost My Janis Siegel Latin reprieve, with a good flute solo Baby "). Given time, and more re- Van - projects by Manhattan Transfer by Pacquito D'Rivera (of Irakere corded successes like this one, will same members, Siegel's album fulfills a fame) and an interesting bed of dross be joining this pantheon. certain obligation to hip esoterica overdubbed background chorus. But While softer of the while also making some obvious "Jackie," a relatively obscure song the textures attempts at creating broader waves penned by the late Hampton Hawes, man's remarkable voice casta golden spell over excellent ballads such as on the radio front. Leon Russell's caps this LP off with its best jazz cut. "Promise Me" and "Once You Know "Back To The Islands" opens the This zany monologue is a great slice How," you typecast Vandross as album with a rendition that starts off of life from the bebop era, and proves can't a soul torcher. By far the hottest and great in a kind of bluesy Bonnie Raitt to be a splendid vehicle for Siegel at on this disc is style (with Dr. John and The Meters her best. most infectious track "She Loves Me Back," a fast pop -soul in support). Unfortunately, doubling While the jazz side of Janis Siegel up her vocals and soaking this here outweighs the rather meager original that is guaranteed to get up and off their duff. Credit a treatment in horns and strings only attempts at commerciality, there anyone serves to average out any impact. may still be a stronger pop side to this Another remake, "All The Love In fine singer that we're not hearing The World," is fair to mellow, helped here. The problem is more with the by David "Fathead" Newman's use of uninteresting material. Given biting tenor sax solo and more an oven -fresh, original rock tune, backing by The Meters. there's little doubt that Janis could But "Lovin' Eyes," another all too give it more flavor. R.N. familiar and too recent recycling, lacks any kind of distinguishing marks on the singer's part. Even the LUTHER VANDROSS: Forever, For side -ending "Hammer And Nails," Always, For Love. [Vandross, pro- done in a gutsy gospel spirit, fails to ducer; Michael Brauer, engineer; bring out anything new from Siegel - recorded at Mediasound in New York, this is perfect material for her, but Village Recorder and Record Plant in she has regularly covered similar Los Angeles.] Epic FE 38235. ground with the Transfer. Luther Vandross Up to this point, you've got big Performance: Gourmet vocals names like Joel Dorn, Ralph Mac- Recording: Hot buttered soul Donald, William Eaton, and the strong support crew for some of the legendary Les Paul involved on In the space of one year and two fire, especially arrangers Leon Pen - either the production or arranging albums, Luther Vandross has risen darvis and Nat Adderly, Jr., plus end -and little to show for it. But side through the ranks to establish him- regular supporters Marcus Miller two changes all that, even with such a self as composer, producer, per- (bass), Yogi Horton (drums), Doc dubious retread as "How High The former extraordinaire. As a member Powell (guitar), Adderly on key- Moon," which opens the side. Lit by of "the ranks," Vandross found boards, and some of the best percus- just simple accompaniment from Les himself to be a hotly pursued backup sionists to be had: Paulinho da Costa, Paul's famous guitar (and a bit of his singer, studionik, and even a featured Sammy Figueroa, and Ralph Mac- brushwork too), Siegel begins to voice for 7 -Up, Burger King, the U.S. Donald. shine, multi- tracking her vocal parts Army, Juicy Fruit, and Kentucky This entire production unit has the and achieving a fast -paced, shim- Fried Chicken. kind of smoldering cohesiveness that, mering effect. But if it's finger -lickin' good soul when they're really on, is reminiscent Next comes "Don't Get Scared" by music you seek, just let this man loose of the Hi Records rhythm section that Stan Getz, with lyrics by Jon Hen- in the kitchen. He's got the kind of Al Green used to hang his hat on. dricks (of Lambert, Hendricks & voice that sautes a song just nicely, Attention to detail and profession-

68 MODERN RECORDING & MUSIC

www.americanradiohistory.com alism creates a launch pad for fine lently forty years later with the recordings, which this one is without legacy. question. As for great recordings - If there is cause to complain, it's which this one is more often than minimal. Mike Peters, for all his fine not -only an inspired singer like rhythm work on guitar and banjo, as Luther Vandross has the power to a soloist has listened more closely and make those happen. R.H. frequently to modernists than to Teddy Bunn and others of the generation of Bechet -and it shows in his playing. Wilber also has settled into a very comfortable groove. He doesn't skate out on the thin ice just to see how far he can go the way he used to -but then he doesn't have Eddie BOB WILBER AND THE BECHET Hubble and Kenny Davern hurling The Road. [Joanne LEGACY: On challenges at him anymore. If Bob & A. Sordoni, producers; Horton J. has gotten milder and mellower he's recording engineer not listed; re- Bob Wilber and the Bechet Legacy gotten more professional too. I guess November 24, 1981 at Straw- corded seasoned professionals don't feel the berry Studios, Stockport, England.] need to take the chances they did Bodeswell BW 105. "Santa Claus Blues" are admirably when they were feeling their way. It really doesn't matter. Whenever Bob Part of the legacy suited to her highly personal style. Performance: Wilber feels moved to play it will be Recording: Clean, comfortable and Also I'm pleased that she didn't attempt the same breakneck tempo worthwhile listening regardless of unspectacular whether it's safely near the shore or on "Santa Claus" that Eva Taylor did out in deeper waters. found the right name for for the recording with Clarence They sure If your local record store doesn't this band. The dictionary definition Williams's Blue Five. stock Bodeswell records -shame on of a legacy as anything handed down This band plays the music of Sidney Bechet-the music he wrote them. You'll just have to mail order from an ancestor to a descendant this wonderful LP from Bodeswell certainly applies here. Bob Wilber and the music of others which he Record Distribution, Box 624, Brew- served his apprenticeship at Bechet's played. Bechet was not a purist. Not ster, Mass. 02631. .1.K. side, (see the photo on the back of the everything he played came out of the album), and players like Glenn New Orleans repertoire. He was not Zottola have been immersed in the above playing show tunes like "Lady PETR KOTIK: Many Many Women. heritage of Red Allen, Louis Arm- Be Good," "Summertime" and "Love The S.E.M. Ensemble. [Heiner strong and many others who were out For Sale." Whether I like these tunes Stadler, producer; Allan Tucker, of their time frame. This is a function played by a traditional jazz band or engineer; recorded at Vanguard that Bob Wilber serves better than not (P.S., I especially don't like "Lady Recording Studio, New York City, any musician of my acquaintance. Be Good" played by a pre -Benny N.Y. March 1980.] Labor Records Who but Bob Wilber could take a bop Goodman Trio type organization) LAB -6/10. oriented pianist suffering from doesn't matter. Bechet did. They nearly total disuse of the left hand, as were and are part of his legacy, and Performance: Austere and Mark Shane was when he joined the as such they belong in this band's enchanting legacy, and in a few short months of repertoire -like it or not. Recording: Uneven tutelage and influence end up with a I do take issue with the label credit two handed pianist surely acquainted on "Egyptian Fantasy." I know that Many decades ago the American with, if not quite fully under the spell Bechet and J.D. Reid did take credit composer Virgil Thomson created of, Jelly Roll Morton and Dick for this tune on the famous Victor musical settings for works by the Wellstood. We also have Bob Wilber recording by the New Orleans Feet - great literary revolutionary Gertrude to thank for the expansion of former warmers, but unless I'm mistaken Stein. Thomson's music was any- Count Basie big band drummer, "Egyptian Fantasy" was played in thing but revolutionary. His orches- Butch Miles, into a musician who can vaudeville by the Original Creole tration for the Stein opera Four comfortably fit in with a revival band Band which would indicate author- Saints in Three Arts was a rambling playing dixieland. I know that Bob ship to some combination of Bill collage of quotations from various Wilber hates those words "revival" Johnson, Freddie Keppard, George Romantic composers with touches of and "Dixieland" and yet I find it hard Bacquet and /or Jimmie Palao. Still American folk melodies. RCA has to think of two words more fit to more probable is the story given to long ago let its recording of snippets describe a band that goes into the me by Bob Wilber which came from from the opera go out of print. 1980s playing tunes like "Polka Dot Martin Williams of the Smithsonian Thomson's music for The Mother of its Stomp" and "Santa Claus Blues." Institution. "Egyptian Fantasy" is All is still in print and is not much Vocalist Pug Horton (it says Joanne actually a close paraphrase on a tune more of a challenge for listeners on the record but I know that's a called "Egyptia" which the Creole interested in tracking the history of psuedonym for Pug Horton Wilber,) band usurped and adapted for their Thomson /Stein collaborations. has chosen her material more care- own purposes. Bechet played it I've been puzzled as to why more fully than in the past and it shows. wonderfully in 1941 with his feet - serious attempts haven't been made Both "Ghost Of The Blues" and warmers- Wilber plays it excel- to musically counterpoint Gertrude

FEBRUARY 1983 69

www.americanradiohistory.com Stein's texts. After all, no writer in Dora Ohrenstein and Lois Winter One the advantages or disadvan- our time has so successfully experi- particularly shine in their difficult tages of the synthesizer, I haven't mented with the musicality inherent roles as sopranos. The composer joins quite decided which it is yet, is that it in our native tongue like Stein. Try Susan Speri on flute and plays with gives the composer/performer /engi- speaking aloud her "A rose is a rose is captivating exactness and clarity. neer complete control over his com- a rose" without an unintentional lilt It's hard to single out individual position/performance /engineering. It entering your voice. She possessed a musicians for kudos. Everyone per- is possible for Eric Ross to put out a genius for discovering in the every- forming deserves a rose (and a rose, record of music he composed, played day syntactic patterns of English and a...). and engineered by himself. Like most the seeds of song. I do have a few complaints about modern classical music (and much of Petr Kotik understands what Stein the package. Labor Records has modern jazz) it is free form and like is about. He is also a composer of rare packaged this in an attractive box much modern classical music and inventiveness. His Many Many holding the five record set plus pro- much modern jazz, I find free form is Women is the most original and gram notes. Problem number one: no frequently a euphemism for formless. sweeping marriage of Stein's lan- libretto (and the Stein book is out of Eric Ross has set his goals at guage with music I could ever print). Problem number two: three of composition within imagine. Kotik accomplishes this the records have excessive surface the special re- lationships between real, processed miraculous marriage of literature noise. Numerous snaps, crackles, and and synthetic instruments and sounds. and song by juxtaposing some of the pops do not contribute to an otherwise oddest and least likely stylistic otherworldly listening experience. We therefore have combinations including clarinet, bassoon, cymbal, elements possible. Odd to have a session so cleanly pro- piano, voice, Balinese and Javanese First, Kotik's work is aleatoric in duced and engineered only to have a percussion instruments and harpsi- design. This means that the composer poor pressing flaw the sound. The chord mixed and matched with syn- has left to the performers decisions sides without excessive surface static thesizers of numerous varieties. regarding instrumentation, trans- sound crisp and full. position (all vocals harmonize in These reservations aside, Labor I find the composing most success- fifths, fourths and octaves), and Records deserves considerable credit ful in opus 18 particularly the "Etude entrances. This incorporation of for recording a project of such quality Quartet for Synthesizer." The "Songs chance elements in the composition and magnitude. If you can't locate for a Synthesized Soprano" are too might have been inspired by Kotik's this set easily, it can be ordered for detached from words and form to be study in the 1960's with the most $25 from Labor Records, P.O. Box entirely successful as a piece -an notorious of our chance -oriented 1262, Peter Stuyvesant Station, New experiment perhaps but not a finished composers, John Cage. But -and York, N.Y. 10009. Consider the work with an opus number. here's the real shocker for anyone purchase of this provocative music a The engineering of the record is no expecting a composition replete with tribute to the mother of us all. N.W. longer a question for debate. The avant garde crash -squeal- screech composer combines his tapes the way mannerisms -Kotik's music sounds he wishes- overdubbing -echoing- like Gregorian chant. Mighty odd recording directly from the synthe- ERIC ROSS...Electronics Etudes Gregorian chant, granted. A sizer onto the tape- whatever means (Opus 18) & Songs For Synthesized Gregorian chant filled with eerie suits him. Therefore, the engineering Soprano (Opus 19). [Eric Ross and moments of dissonance. A chant sung of the recording becomes part of the Dr. J. R. Mitchell, producers; Eric with solemnity and precision by two composition process. It eliminates Ross, engineer; recording location sopranos, a countertenor, a tenor, a the need for a producer or an and date not listed.) Doria ER -103. baritone and á bass. The singers are engineer but it also eliminates an- backed by two flutes, two clarinets, other set of ears which can sometimes and two trombones. The given Performance: Free form electronics efforts offer a view or suggestion from a the musicians Engineering: Partoftheperformance by can best be de- different perspective. By the time the scribed as promethean. master tape has been composed/ A promethean effort is required to performed /engineered by the corn - perform Many Many Women for it poser /performer /engineer it's prob- goes on (at least in this recorded ably too late for any substantial version) for over three hours. Yet change in the finished recording. there is an uncanny sense of timeless- ness that permeates the music, a To be sure this is interesting, and at quality of sacred time one associates times enjoyable, experimental music. with Gregorian song. A quality, also, Considering the limited performance that Stein sought to infuse her facilities and the even more limited writing with. Stein's text (written in audience for free form electronic 1910) which Kotik chose to musically music, that is very well what it may mine is about how certain of our psy- remain. If someone were to truly chological characteristics tend to integrate the music of the synthe- change and yet seem not to change in sizer with traditional forms of music time. This music embodies that then there would be an opportunity paradox of seeming always to mi- for electronic music to become part of the concert repertoire. Free form nutely permutate while remaining Eric Ross essentially the same. experimentalism like this won't do it. J.K.

70 MODERN RECORDING & MUSIC -

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CIRCLE 12 ON READER SERVICE CARD DIJEY&71® 'T cknofogy )'ou Can ¶buck. Otani Corporation, 2 Davis Drive, Belmont, CA 94002 Tel: (415) 592 -8311 Telex: 910- 376 -4890 © 1982 Otani Corporation www.americanradiohistory.com