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Studio-Sound-1976-06 www.americanradiohistory.com Where Technology and Artistry meet With higher and more stringent technological requirements for audio applications, so the greater need for an exact understanding of systems operational facilities for engineers, producers, artists. Cadac have available a wide range of products to suit these needs from consoles, portable to large quadrophonic, automation, monitor systems, limiters compressors, equalisers and effects devices to total installations. The most versatile recording equipment in the world. Interested? For more information 'phone, write, telex. r a,w w a. e s tt rt u u g_ g- IC y t 'r e,_ tl a. _ L. t:. sì... t:% si. a,. a a.f .t" . Ñ. 41 Ut:.IL416tbA-y4a$Wll,-1Y,-i-+i.--.dL... - - Af The leaders in music recording consoles and techniques. Cadac (London) Ltd. 141, Lower Luton Road Harpenden Herts. AL5 5EL cuduc c^. Harpenden (STD 05827) 64351 Telex 826323 www.americanradiohistory.com Intioductïon to the inteinotionol issue or indeed to other Communist countries. Conversely Sweden and Japan, while subscribing to a similar fundamental economic system, still show huge contrasts with the American way of life. MICHAEL THORNE Incidentally, one thing which we ought to concede is the impossibility of doing justice to a single recording studio in three pages of article, let alone the whole music and recording activity of a country. You will all probably read about your own area first, but it's really the others that are for your benefit or whatever. Three pages isn't going to tell you anything you didn't already STUDIO SOUND'S main aim over the last two years or so has been know about the country you work in, nor is it going to provide to develop its international coverage. It was obvious a while room for the escape clauses or qualifications that are needed in a back that we should square up to the scale of the industry as it is long treatment. We're a magazine, not an encyclopaedia, and the rather than covering the scene in one particular, albeit prominent aim here is not to provide academic source material but to try country. As a result, we have now a fair -ranging international and give something to think about. series of writers, and the editorial has for some time been It's probably worth summarising the article description that we constructed with a mental picture of an international reader, gave to the writers here. Each of the articles is a reaction to a whatever he may actually look like. In practice this means writing request for: so that the subject matter is understandable by someone -A discussion of the present state of the record and recording working in England, America, Japan or wherever. Our English industry, covering both their present development and the way accent remains, certainly in preference to mid -Atlantic nondescript, in which they are changing locally. since we live here; but the broad service is on an internationally -Aspects of music and recording particular to the country, conscious front. Whether we've achieved any part of this aim including economic and social needs. is up to you to decide. -Techniques and equipment used in recording studios, perhaps Thus, the international issue here, with summaries of the state reflecting specific musical needs. of the recording industry from 12 people. The form has changed and -The growth and development of the recording industry as a evolved, but the idea of collecting articles from informed and reflection of the record market in that country and in others. active people in various parts of the world and putting them side -The relationship of the recording industry in that country with by side with no individual editorial comment was crystallised those of other countries. last year. Finding suitable authors took rather longer: the -Possible future developments and trends, in relation to the combination of someone who is close to recording and who is also country. prepared to write is not common, a fact which has obviously been The patience and cooperation of the writers here needs more than on our minds during preparation of every publication. However, the usual polite thanks. Most are involved full time in things other although each writer for this issue comes from a corner of the than writing, usually tackling the project as a combination of recording business in his area, and will have differing emphases interest for its own sake and favour to us. We were particularly in his writing, we hope that the collection goes some way to glad of their cooperation because of the difficulty of the showing contrasts and similarities. assignment, and contact was made through the usual processes of Normally, we acknowledge company affiliation of the feature friends, acquaintances and all the rest. Thank you, again. writers in the magazine, but here it seems more of a hindrance Which leads us on to the people we write for (and who write than a help. It's not as if there are overt political or business for us the two sets of people are similar). The last few years has pressures involved in writing here. Also, the business being what it seen the maturity of Studio Sound into a magazine fully for is, it's quite hard to define what people do. Two writers here are operational sound engineers and producers, the international specialist journalists, but the spread embraces musician, composer, nature underlined by this issue. Obviously, it's useful to and is recording engineer, hardware engineer, record producer, a &r man, read by many others, musicians, record company people and so tv and radio producer, studio manager and more. Also, the forth, but the studio operation remains central. Our own reasons spread of people's capabilities in the business tends to be wider for choosing material is whether it will be of interest to people than a particular job entails, a reflection of the involvement that in their studio activities. We've had some criticism on points such is normal. as the dropping of constructional articles; here, the reason was that There was, of course, a common brief to all people concerned. generally the coverage can be found elsewhere if required, and However, with the aim of bringing out national and local in any case the engineer at the console is not really concerned with differences of recording worldwide, it would have been wrong to building ppm circuits. Equipment designers are, but we aren't pin writers down to a shape conceived from a desk in London. writing for them. That's been another source of aggravation: a While we couldn't be fully aware of local social and economic manufacturer who is in close contact with the magazine would factors, we could at least be sympathetic towards them. The often like to see a discussion of design techniques relating to his obvious divergences from a conventional Western bloc recording product or even to other people's. The recording engineer and industry are the USSR and Czechoslovakia who, while relating to producer, however, isn't that bothered. Our presentation of the rest of the world, serve very different establishment cultural and equipment, which is aimed to be expressed at a high technical economic ends. In the extreme, the situation in the People's level, belongs to straightforward news notes aimed at the studio, Republic of China bears little resemblance to anything in the West, or a dissection from the potential user's point of view in the 5 0. 3 www.americanradiohistory.com ALLISON RESEARCH INC. Addressable Automated Mixdown Systems AMBER ELECTRO- DESIGN LTD. Audio Test Equipment APSI Equalisers DBX INC. Noise Reduction Systems,Compressor/ Limiters and Voltage Controlled Amplifiers EASTLAKE AUDIO S.A. Studio Consultancy, Design and Construction Services, Monitoring Systems MAYER ELECTRONICS INC. Noise Gates MICMIX INC. Master-Room Reverberation Units ORBAN /PARASOUND Equalisers and Signal Processors SCHOEPS Condensor Microphones WHITE INSTRUMENTS INC. Real Time Accoustical Analysis and Filter Equipment SCENIC SOUNDS EQUIPMENT 27 -31 BRYANSTON STREET, LONDON W1H 7AB TEL 0141 Fine products and services for professional recording and related fields. 4 STUDIO SOUND, JUNE 1976 www.americanradiohistory.com reviews. There's no secret that in a magazine of this nature the can expect that there's something there which isn't baby talk hardware advertising pays the bills -for the market that in an area of recording close to your interest. This approach seems manufacturers want to hit is the operational studio -but that has the best approach to the subject for us, otherwise we're just never influenced the content. Nor the bias. feeding you stuff you know already. For relaxation give The January issue us went to more than 10000 audited subscribers, Captain Marvel and the Hulk any time. for the first time ever. Since then, circulation has risen a bit more, to the point that we'll be printing over 12 000 June copies, with the delivery outside the UK approaching 50% of the total. This is the last issue for which I carry the blame. Good luck to This begins to reach a sizeable number, but in itself is not of Ray Carter. I've spent the last two years learning a lot and I hope concern. The main thing that matters is that the bulk of these, the process continues, both for myself and for Ray. The particularly those abroad, go to professional engineers and accidental coincidence between this special issue and my departure producers. We've specialised to a high degree, but that means that is the nicest leaving present I could hope for. Thank you, we can write without having to pause to explain what Lias or everybody, for the help and encouragement over the last two years.
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