MODERN sow rAaC =CC 'C WI. %ii ?Irvia &MUSIC MAY 1984 VOL. 10 NO 5 $1.95

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7 RECORDING TECHNIQUES HACKER'S DIGEST 14 by Bruce Bartlett by Ken Pohlmann Many recording engineers find work Whether you like it or not, sooner or at studios recording speech rather later the computer is going to become than music. This month, Recording part of your life. In this new column Techniques covers the most effective we introduce you to the many aspects way of recording the spoken word. of modern computing, especially how it relates to the recording industry. 18 MUSIC AND THE LAW by Eric M. Berman, Esq. SOUND ADVICE 41 Songwriters negotiating a deal by Susan Borey should be extremely careful to in- This month -a description of the sure that as many of their rights are types of cords, cables, and connectors, retained as possible. In his second plus various do- it- yourself methods article of this series, Mr. Berman to maintain a good quality collection. discusses the various performing rights organizations. MUSICIAN'S NOTEBOOK 43 by Craig Anclert00 20 HEART /KANSAS LIVE The Sequential Circuits Prophet -T8. by Sam Borgerson The recent Heart /Kansas show in AMBIENT SOUND 46 Nashville promised to be quite an by Len Feldman event -especially to recording en- In this installment Mr. Feldman ex- gineer Guy Charbonneau. For Mr. amines the impact of the Zenith sys- Charbonneau, owner of le Mobile re- tem of transmission and the dbx sys- mote truck, the double bill meant tem of companding on the recording working twice as hard to get a cus- industry. tomized mix for each band. LAB REPORT 48 30 DAVID SANBORN by Len Feldman by Gene Kalbacher The Carvin EQ2029 1/3 Octave David Sanborn has become perhaps Equalizer. the most in demand alto sax player in the business. He's played on al- bums by the Rolling Stones, James Taylor and David Bowie. He has also released numerous solo LPs, but it DEPARTMENTS wasn't until he began to feature his own compositions that his albums hit the top of the charts. LETTERS TO THE EDITOR 2

34 DON FELDER: FLYING SOLO TALKBACK 6 by Vicki Greenlee! The technical Q and A Scene. Former Eagle Don Felder recorded and produced his recent solo LP in a MARKET PLACE studio he had built in the guest house What's new in sound and music. of his Malibu estate. Working alone has been a worthwhile change for '/a NOTES 55 this ex- Eagle. Here, he talks freely New and Noteworthy events in the with MR &M about his past with the recording industry. Eagles, as well as his recent solo projects. & MUSIC 56 Reviews of albums by the Thompson Twins, Christine McVie, Sugar Minott, Dave McKenna and Sphere.

ADVERTISER'S INDEX 64

MODERN RECORDING & MUSIC 1

www.americanradiohistory.com MODERN piP7rIet.FT. rill NA Nivm 7 iia.w1 1111.0111 V & MUSIC Letters

Is This Stuff Tough? I have become interested in PAIA electronic kits. Could you MARK WALDSTEIN please tell me the degree of difficulty in building one of these Editor kits? I have a moderate knowledge of electronics but am RICKI ZIDE unable to follow schematic diagrams. Also, could you please Managing Editor tell me the address of PAIA and if there is a catalog of kits LINDA CORTESE available? Technical Editor -Robert Blaser Hales Corner, WI JOHN WORAM Technical Advisor The PAIA electronic kits come with a fairly comprehensive CRAIG ANDERTON manual. In theory, as long as you can follow BRUCE BARTLETT instruction We SUSAN BOREY instructions clearly, you shouldn't have much trouble. RICK CHINN do recommend keeping on hand a copy of Craig Anderton's LEN FELDMAN Electronic Projects for Musicians, published by Guitar Player VICKI GREENLEAF Books, a division of Music Sales. It should get you through some GENE KALBACHER of the more complicated construction problems. In addition, JAMES RUPERT PAIA has a technical services department that will troubleshoot JEFF TAMARKIN Contributing Editors over the phone or by mail. PAIA informs us that if you purchase the kit, read the manual and feel it's too complicated, you can MARTIN BASCH return the unbuilt kit. MICHAEL FISHMAN To receive a copy just ROB HOERBURGER There is a catalog of kits available. NORMAN WEINSTEIN write to: Music Reviewers PAIA Electronics, Inc. 1020 W. Wilshire KAREN COHN Advertising Coordinator Oklahoma City, OK 73116 KATHI LIPPE Layout and Design SUSAN MONAHAN A Cheesy Chorus Circulation I read with interest Bruce Bartlett's column on delay units in the to many people not SPARTAN PHOTOTYPE CO. February MR &M. It was informative Typographers familiar with working with time delay. I do, however, have one disagreement with the article. On page 13 he states (under the 15 -35 msec heading) that when regeneration is used with ELAINE ZIDE this delay, "the effect is called `chorus,' and sounds like many Associate Publisher voices." In effect, however, what happens when you add regen- LARRY ZIDE eration to these delay settings is a reverberation effect, and Publisher a rather cheesy reverb at that. In extreme settings, this is called "bathtub reverb" and especially happens at longer delay set- tings up into the slapback range. To achieve the chorus effect, there must be some frequency modulation in addition to the delay setting. This is because when a real chorus (of people) sing, they use vibrato in their voice. This makes the pitch waver (frequency modulation) and they don't say the words at exactly the same time, which accounts for the time delay. When this sound is simulated electronically, regeneration can be added to help add extra fullness but is not essential. The delay and the modulation are the key components for the chorus effect. -Vince Motel Modern Recording 8 Music (ISSN 0273 -85111 is published monthly by MR&M Publishing Corp 1120 Old Corintry Rd Plainview NY 11803 Design Audio Stuff and contents are copyright 1984 by MR &M Publishing Corp and must not be reproduced in any manner e*cept by permission of the publisher Second 12115A Woodruff Ave. class postage paid al Plainview New York and a( additional mailing othces Subscription aces 51500 Ior 12 issues $2600 loi 24 issues Add $300 per Downey, CA 90241 year Ior subscriptions outside of U S Subscription s must be paid in advance in US funds Postmaster. Send Form 3579 to MR &M Publishing Corp.

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2 MODERN RECORDING & MUSIC

www.americanradiohistory.com A peculiar look that eliminates a peculiar sound.

It's a matter of physics. Since phase interference is eliminated, music Whenever you place a microphone near a is reproduced with a naturalness never before hard reflective surface, sound from the experienced. source reflects off that surface into the microphone. Sometimes a microphone has to be "flat" to Conventional microphones receive direct and provide a flat response. reflected sounds at different times, causing phase interference - this colors the recorded tone quality. crown.. The Crown PZM captures direct and 1718 W. Mishawaka Rd. sound waves at the precise moment reflected Elkhart, IN 46517 they are in- phase; adding coherently and reinforcing each other. (219) 294 -5571

Circle 15 on Reader Service Card

www.americanradiohistory.com We received the following reply from Many readers should find it helpful. It Bruce Bartlett: is put out by LT Sound, P.O. Box 338, Thanks for the information, Vince. In Stone Mountain, Georgia 30086. my first article on signal processors (Dec. '82 issue), I said that, with doubling or chorus, "the delay should Thanks! be randomly varied for the most To The Editor: natural sound. " But even if the delay Just a note of thanks for the interview is varied, without regeneration you with me you recently published. Erin still hear only two voices (the direct Morris did an excellent job, and I sound and its delayed repetition). I'd believe her article will be helpful for call this "doubling" or "automatic Sound Emporium. double tracking" rather than "chorus." Jim Williamson A chorus is more than two voices. So, President to obtain a chorus effect, a little Sound Emporium, Inc. regenera tion -or a second delay tap- is needed. This is a minor technical distinction and is hard to hear anyway. What's used in chorusing is time Whoops! modulation (varying time delay). This It's happened again. We've (believe simulates the u'ay a group of people it or not) made an error. (We do this attack notes at different times. They to keep you on your toes and to make supply their own vibrato, so the delay sure you're reading the magazine.) device doesn't need to add it (unless The latest gaffe took place in Bruce desired). Bartlett's March Recording Tech- Time modulation causes frequency niques column (p. 11, Figure 2). Some modulation (pitch bending) as a side of the microphone categories on the effect. That's because frequency= cycles right -hand side were incorrectly per unit of time. If the unit of time identified. The correct diagram ,.(hies, so does the frequency. This appears below. produces a wavy or shimmering effect Our apologies for any confusion that many would call "chorus," this may have caused. Be assured, the whether or not regeneration is used. guilty party has been dealt with. There is at least one record avail- (Look forward to a feature on Record- able (at no cost) that demonstrates ing Studios in Outer Mongolia com- various delay and reverb effects. ing soon.) More people have survived cancer than now live in the City of Microphones for Los Angeles. recording Transducer type (operating principle/

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4 MODERN RECORDING & MUSIC

www.americanradiohistory.com JOE GOTTFRIED ON FOSTEX

Joe runs Sound City where groups such as Tom Petty and the Heartbreakers, Fleetwood Mac, the Beach Boys and Barry Manilow have recorded. Joe also runs Carman Productions and has managed artists such as Rick Springfield, Gus Hardin, William Katt, Jaye P Morgan and Theresa Brewer.

"As a studio owner, I we want the acts we repre- encourage artists to use our sent to go in there and waste Fostex equipped Rehearsal a lot of time and a lot of Studio to work out creative dollars. We like, and we like ideas -to compose and the people we represent, to arrange -as well as produc- make money. And you don't tion ideas -the sequence in make it if you spend it all in which the various parts will the studio. be recorded. "Fostex is great because it's so ' `It's getting a little scary with efficient. It's time, it's money, regard to the sound quality of these Fostex demos. I hear mixes through a very expen- sive studio playback system, and it's very difficult to fault "As a manager, just because the fidelity of the Fostex -made we also represent a major tapes. recording studio doesn't mean Fostex MULTITRA ,'K DIVISION FOSTEX CORP("ATEN OF AMERICA. 15431 Blackburn Air.. \o'walk, (A 90651)

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www.americanradiohistory.com Close That Gate ing to troubleshoot these kits. Can that can easily get lost in three years. About three years ago, I ordered you help? Hope this helps. Good luck with the four pairs of kits of audio devices -John Mayes noise gate. There are no known from Bill Godbout Electronics. I St. Albans, West Virginia design or production errors with the bought a copy of Craig Anderton's kit. book, Electronic Projects for Musi- We received the following response cians, and was looking forward to from Craig Anderton. Right Answer, some great effects. Several people have described the Wrong Question When it came time for testing the exact same problem you have. In In response to Craig Anderton's kits (prior to mounting them in every case, the solution was one of two reply to Mr. Montella, Jr.'s question enclosures), I came upon a prob- things: either the opto- isolator was in the January 1984 Talkback lem with two noise gates. The inserted or soldered incorrectly, or regarding translating between problem is they don't "gate." The the transistor was installed incor- " +4 and -10 levels," I would like to reduction control works but the rectly. Note that not all transistors quibble. threshold control has no effect. have identical lead bases -some of As the question was stated, They both stay in the open mode no the ones in the Godbout kits were Craig's answer was entirely cor- matter what the setting of the surplus, and often a small sheet of rect; however, the question was threshold. I've exhausted my paper was included in the kit giving not stated correctly. The levels knowledge of electronics attempt- the base diagram. Something like involved are +4 dBm and -10 dB V. To prevent confusion, these sub- scripts are essential when using dB levels. (To be totally accurate, In A/B tests, this tiny condenser the terminating resistances also need to be stated.) A +4 dBm signal microphone equals any world -class represents a level 4 dB above 1mW into 600 ohms (assumed, but should professional microphone. be stated), which translates to 1.23 volts; a -10 dBV signal represents Any size, any price. a level 10 dB below 1 volt (equal Actual size impedances assumed), which is .316 volts. Now, the ratio is 3.89, or Compare the Isomax II to any other a 11.8 dB level shift, not 14 dB as microphone. Even though it measures stated-a silly 2 dB difference. only 5/16" x 5/8" and costs just Does it matter? It depends. It is a $149.95,* it equals any world -class 2 dB loss in signal -to -noise ratio, microphone in signal purity. and 2 dB less headroom. To the And Isomax goes where other particular system involved, it may microphones cannot: Under guitar. strings not matter, but to the ongoing task near the bridge, inside drums, inside of audio eduction, it matters a pianos, clipped to horns and woodwinds, taped to amplifiers (up to 150 dB sound great deal. level!). Isomax opens up a whole new world To correct the figures given, of miking techniques -far too many to change the 2.7k resistor to 3.6k mention here. We've prepared information ohms (nearest 5 percent value, or sheets on this subject which we will be use 3.46k, 1 percent); for the active happy to send to you free upon request. We'll also send an Isomax brochure with circuit, change the 4.7k to 15k and complete specifications. Call or write today. the 22k to 43k ohms (nearest 5 percent value, or use 43.2k, 1 per- cent). Pro net price tor omnidirectional Cardoad. Hypercardioid and Bidirectional models $10995 -Dennis Bohn ASSOCIATES INC. V.P. Research & Development COUNTRYMAN Rane Corporation uti 417 Stanford Ave., Redwood City, CA 94063 - (415) 364 -9988

6 Circle 16 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com bruce bartlett

Recording the Spoken Word

Although Modern Recording & are edited back into the original 3. Ribbon microphones; Music is the name of this recording. If the sound of the inserts 4. "Multiple -D" dynamic micro- magazine, let's consider re- doesn't match the sound of the phones. cording sources other than music. original, the listener will hear The lavalier microphone is a Many studios record narration as jarring changes in the voice quality miniature unit (like the TV news- well -for documentary films, slide as the recording plays. So it's impor- casters use) that clips onto the shows, educational programs, radio tant to duplicate the recording set -up announcer's tie or shirt. Most of the dramas, commercials, and books on every time the announcer is recorded. major microphone manufacturers tape. Several factors can vary from one have excellent models in the $200 In fact, many recording engineers session to the next: recording levels, price range. Don't skimp on this find work at studios recording microphone choice, microphone microphone, or the sound quality will nothing but speech. Others start with placement, text position, announcer's suffer. Since the microphone is worn speech recording to learn the ropes, position, EQ and noise reduction, by the user, it remains a constant then move on to music. even the announcer's voice itself. We distance from the mouth, which aids In this month's installment we'll need to keep all these factors constant consistency. And there's no problem cover ways to record the spoken word by documenting the set -up. with breath "pops." most effectively. It's not as simple as Take notes on the microphone used, A cardioid condenser microphone it seems! its switch positions (if any), and its provides a luxurious, big- budget distance and position relative to the sound -one with full lows and de- Consistency announcer. Also note any equalization tailed highs. A ribbon microphone One of the most important qualities or noise reduction used (many studios offers a warm, smooth sound. of a speech recording is consistency. just record "flat" to reduce the Unfortunately, the bass response of The tone quality, average recording number of variables). You may want these microphones varies with the level, average pitch, and average to settle on a standard set-up so you announcer's distance from the mic. tempo of the voice should not change can record a predictable sound. The closer the talker is to the noticeably throughout the recording. microphone, the bassier the recording. Often a complete script is recorded Microphones Unless the announcer can remain a in a single session. Then a proof copy Let's start with the microphone. constant distance away, the voice of the tape is sent to the script's Four types of microphones are tone quality will vary. publisher to check for errors. After commonly used for voice recording: This close -up bass boost (called the corrections are received, the an- 1. Top -quality lavalier condenser proximity effect) occurs with single -D nouncer is called back into the studio microphones; directional microphones. Multiple -D to record inserts or corrected sen- 2. Flat- response cardioid micro- microphones are designed to com- tences and paragraphs. These inserts phones (condenser or dynamic); pensate for proximity effects -their

MAY 1984 7

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www.americanradiohistory.com In addition to the 12- Rc::JFï EVT channel EVT 5212, be sure FWM The Series 52 Mixers WAN to listen to the 8- channel JETT taker There's more to a quality mixer than a EVT 5208 and the 16 -chan- off price tag and spec sheet. That's why we were nel EVT 5216 (illustrated). tremendously pleased when well -known audio Each Series 52 mixer is writer and critic Len Feldman reviewed our designed and priced to give EVT 5212 mixer in Modern Recording & Music you the best value for your magazine. Len states: write fora free copy of "I was impressed not the entire Len Feldman article . only by its ease of N sound dollar. And use, but by the high beginning April 1, quality of sound 1984, you'll get reproduction which REVIEW even more value. it provided. The You can receive a board delivered clean, GREAT REBATE S 52 rebate* direct transparent sound... from Electro -Voice crisp highs and a totally realistic low end. on any Series 52 mixer purchased before Musicians size up a mixer in a variety of June 30, 1984. See your participating EVT ways -the price, how it's laid out, how the Electronics dealer for complete details. controls function, and most importantly -how For more information and our new elec- it sounds. Len agrees that hearing is the final tronics catalog, write: Greg Hockman, Director proof. "I strongly suggest that in evaluating the of Marketing /Music Products, Electro-Voice, Inc., 5212, you do some good hard listening as well. 600 Cecil St., ,, I think you'll be pleasantly surprised at what Buchanan, 'y Electra' Void you hear!" MI 49107. SOUND IN ACTION

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www.americanradiohistory.com bass response varies only slightly Figures 1 through 6 show several In Figure 3, a cardioid microphone with distance. right and wrong ways to position is improperly positioned because microphones. In Figure 1, a lavalier reflections off the script -stand enter Microphone Placement microphone is used. Sound reflects the microphone. But in Figure 4, the It helps to standardize on a distance off the script into the microphone, reflections approach the "dead" back between the microphone and the causing phase interference. But in side of the cardioid microphone, and announcer's mouth that provides the Figure 2, the script is angled flatter are rejected. Paper noise is reduced best sound quality. A typical distance so that reflections bounce away from as well. Figures .5 and 6 show other might be 8 to 12 inches. Too -distant the microphone. good methods. placement picks up excessive room If you record more than one acoustics. In general, little or no room announcer at the same time, seat sound should be audible in a narration them at least four feet apart to recording. Too -close placement em- prevent phase interference between phasizes lip and tongue noises, and microphones. allows the voice level to vary greatly with small changes in the announcer's position. Find a workable distance somewhere in the middle and stick with it. This applies to lavalier microphones, too. An exception to this rule might occur in recording drama. There, the / actors often vary mic'ing distance for special effects. Some studios set the mic'ing distance with a spacer or ruler. Figure 1. Sound reflects off script into Alternatively, announcers can set the microphone, causing phase inter- spacing with their hands. They ference. RIGHT spread their fingers, place their Figure 4. Sound reflects into "dead" thumb on their mouth, and place back side of cardioid microphone. their little finger on the microphone grille. Microphones should also be placed so as to avoid "popping." When a person says words starting with the letters p, t, or b, a turbulent puff of air is forced from the mouth. If this Lava lier mlc air puff hits a microphone grille, a Script little thump or explosion called a pop is heard in the microphone signal. Since a pop disturbance leaves the mouth within a narrow conical angle, you can prevent popping by placing RIGHT the microphone above, below, or to the side of the mouth. It also helps to Figure 2. Sdund reflects away from put a foam pop filter or windscreen on microphone. the microphone. Figure 5. Sound reflects off angled Mount the microphone on a boom script away from microphone. stand and place the base of the stand on the floor. This arrangement reduces pickup of table thumps. It also helps to use a shock -mounted mic stand- adapter (available from your microphone dealer). Many studios pad the announcer's table with cloth or foam to prevent noises. You should also place the micro- phone so as to avoid picking up sound reflections from the script or the announcer's table. When these re- flections combine at the microphone with direct sound from the announcer, phase interference occurs, resulting WRONG in a "filtered" tone quality. In Figure 3. Sound reflects off script addition, the tone quality changes stand into microphone, causing Figure 6. PZM on 2- foot -square script when the announcer moves. phase interference. stand.

10 MODERN RECORDING & MUSIC

www.americanradiohistory.com Controlling the Reducing Print -Through clean sound, you're ready to record a Announcer's Position A tape recording of narration may script. The announcer is seated the and Voice contain unwanted echoes or pre - proper distance from the microphone, To promote a consistent sitting echoes of speech during pauses with the script ready to read. Some position, provide the announcer with between words. These echoes are announcers fold up the bottom a comfortable, fixed -frame chair called print -through. In the tape reel, corners of their script pages to form a with a back. Advise the announcer to the magnetic signal transfers or handle for turning pages without move as little as possible and not to "prints" from one layer of tape to the noise. slump over the table. next. This causes a repetition of the The engineer or producer has an The announcer's head motion can program. identical script on which to mark edit change the recorded tone quality. Print -through is a major problem points -spots where the announcer Here's why: Low frequencies radiate with a narration recording because misreads a sentence. from the mouth in all directions, but speech contains many silent pauses After a level check, you start high frequencies radiate mostly where print- through can be heard. recording. The announcer reads the straight out. So, if an announcer Here are some ways to reduce print - script, and you or the producer follow moves his or her head while talking, through: along in your own script, marking the high frequencies ( "ss" sounds) Use 1.5 mil tape. edit points with a pen. You just leave may miss the microphone occasionally. Use dbx or Dolby A noise reduc- the tape rolling when mistakes occur. This occurs with lavalier micro- tion (they reduce print- through as If the announcer misreads a word phones also. Ask announcers to move well as tape hiss). or makes a paper noise, he or she goes only their eyes while reading, not Avoid recording levels above 0 VU. back to the beginning of the sentence their heads. Store tapes tail out and rewind where the error occurred, and starts Actually, we're asking the an- them before playing. over. The announcer should not nouncer to become a frozen robot. A Store tapes in moderate conditions attempt to correct the error in mid - head -worn microphone allows more of temperature and humidity. sentence and continue through the freedom of movement -it may be a sentence. That kind of correction is useful alternative if you are satisfied Recording Session too hard to edit. It's much easier to with the sound and can position the Procedures make an undetectable tape splice if microphone consistently. Now that you've taken all the you have a long pause between words The average pitch and speed of an precautions to assure consistent, (say, between sentences). announcer's voice can change from day to day. In fact, it even varies from the beginning to the end of a record- ing session. So, whenever you have to record inserts, play back some of the original tape to the announcer for The affordable voice matching. Also, let the an- nouncer warm up by reading for a few minutes while you set the record Neumann level. Reducing Sibilance Collection Another factor to keep under control is sibilance -the emphasis of You can now buy a genuine NEUMANN KM 84 Condenser Microphone for under "ss" and "sh" sounds. These sounds 0! That's what many electrets cost have strong high- frequency com- EUMANN is NOT an electret! 5 10 which And the NEUMANN KM 84 / ponents around to kHz, can saturate the recording tape and nely includes the features other distortion. You can reduce ufacturers substitute for quality, cause terchangeable capsules (omni, cardioid sibilance by using flat- response rdioid with roll -off), capsule extension microphones, mic'ing off -axis to the olored pop screens, elastic suspension mouth, or cutting around 5 kHz with e range of accessories. an equalizer. MANN, The Microphone Standard of the Weed, designs microphones for studios is to De- A better solution use a that eain their living recording today's major Esser. This is a signal processor that talent. But whether you're a recording pro- removes excessive sibilance without fessional, sound contractor, church group, affecting the tone quality. Actually, university or a serious home user, the KM 84 it's a compressor that boosts high brings you s s rb NEUMANN quality at a price. Write today for our frequencies before compression and a list of our franchised dealers. cuts them in a complementary way after compression. That way, only excessive high frequencies (sibilant sounds) are compressed. To work AUDIO CORPORATION effectively, a De -Esser should not be 741 Washington Street, New York, NY 10014 (212) 741 -7411 used in conjunction with another West Coast Sales Office: (213) 841.1111 compressor. GA 101

MAY 1984 Circle 19 on Reader Service Card 11

www.americanradiohistory.com require royalty payments for each EDITOR'S COPY use of material. Some sound -effects records found in the Schwann catalog For "Cosmic Film Script Order" can be ordered through record stores. Client: Impossible Productions, Inc. You can even record the sound effects yourself in some cases. A branch consists of two or more radiations from a common point. Its basic Sound effects can be pre- recorded shape is the letter "Y." on broadcast cartridges, which can Each branch has its own branches. For example, a tree trunk into branches be played and mixed in "live" as the large limbs. Each limb branches into smaller limbs. Each smaller limb branches narration is recorded. Alternatively, into sticks. Each stick branches into twigs. Each twig branches into leaf veins. /If a the record cuts can be cued up on tree were a symphony, you'd hear a basic melody repeated with ever -increasing turntables, and played back as refinement and complexity. needed. Each small branch is a variation on theme of branching. That is, each part Many productions require a musi- resembles the whole. /For example, the veins in a leaf resembles a tree in shape; cal introduction which is faded down capillaries resemble veins and arteries. when the announcer starts talking. / /Branches are also visible in tree roots, rivers, the circulatory system, the These productions usually have nervous system, the lungs, roads, audio systems, single -point grounding musical outros, too. An outro is music systems, organization of knowledge, distribution of knowledge, and more. that fades up near the end of the Figure 7. A typical script. Note the narration, then fades up and out to edit marks. provide a musical conclusion to the program.

Figure 7 shows a typical script publisher may notice reading errors Back -Timing Musical Outros with edit marks. Instead of marking that you missed during the recording You'll often want the outro to end the words that were flubbed, the session. They'll send back a marked - simultaneously with the narration. producer marked the beginning of up script showing the errors. The This can be achieved with a tech- the sentences containing the errors. next time the announcer is back in nique called back - timing. Here's how Those marks correspond to the edit your studio, have him or her re- it's done: points on tape. Two marks indicate a record the sentences or paragraphs First, find the spot in the script second re -take. needing correction. where you want the outro to start Be sure to match the recording fading up. Play the tape starting Editing levels, microphone position, etc. with from there, and time it to the end of After the recording is done, you're those of the original tape. Otherwise the narration. Let's say it's 30 seconds ready to edit out the mistakes. Play the inserts will sound like another from fade -up to end. the tape and follow along in the person has started talking. Play Now, put a tape recording of the marked -up script. When you come to some of the original tape to the outro on a tape deck, but reverse the an edit point, stop the tape. Put the announcer so he or she can duplicate reels so it plays backwards. Start recorder in "cue" or "edit" mode. the pitch and tempo. You may need to playing the tape at the end of the Rock the tape back and forth over the equalize the inserts to match the musical piece, run it 30 seconds (or playback head to find the exact original take. whatever), and stop. Then turn over beginning of the flubbed sentence. When the inserts are edited into the tape and replace the reels. You Mark the tape at the playback -head place, make and send another proof now have a musical outro tape cued gap with a grease pencil. Then, using tape to the publisher. If it's error - up 30 seconds from the end. a razor blade and splicing block, cut free, you can add sound effects or Next, put the narration tape on a 2-

the tape about %2 -in. to the right of the music as needed. track machine. Narration is recorded mark. on Track 1. Set up the tape machine Next, put the feed -reel tape back Sound Effects and Music to re- record the musical outro tape on into the tape -path slot, and pull the Many scripts require certain sound Track 2. tape past the heads. You'll hear the effects to accompany the narration. If Start playing the narration tape flubbed sentence. The announcer will you record the speech on Track 1 of a several seconds before the fade -up stop, then restart the sentence. Mark 2 -track tape recorder, you can record point. Then start playing the music and cut the tape at the beginning of the sound effects on Track 2 in the tape just before the fade -up point, the corrected sentence. spots where the script calls for them. and fade it up. If your timing is right, After removing the flubbed section After the effects are recorded, mix the music will end just after the of tape, splice the two remaining tape the 2 -track tape of narration and narration ends. This gives a tight, ends together. Play the edited portion effects to mono, and record the mix professional touch to the production. to check it. You should hear no double on another deck. Or you can use a 4- We've given some basic advice breaths between sentences. Also edit track machine for the master record- about recording the spoken word out paper noises and table thumps. ing, to record music or effects in with a consistent, clean sound, and Once the tape is edited, add leader stereo. we've briefly described how to add tape, label the reel and tape box, and Libraries of sound effects and sound effects and music. This type of store the tape tail out. mood music are available from studio work should not be neglected, You might want to make a proof several record companies, advertised since it is the major source of income cassette copy of the tape to send to the in recording industry magazines and for many studios. And it's another script publisher for approval. The audio -visual publications. Many skill to add to your resume.

12 MODERN RECORDING & MUSIC

www.americanradiohistory.com protection circuits. An adjustable Short -Term Speaker Pro- tection circuit adjusts dynamic headroom between 60 and 77 volts with a short term burst capability of 70 volts rms at 8 ohms, or 60 volts rms at 4 ohms. The circuit Front- panel- adjustable locks -in to the protection circuits. control setting after 0.5 seconds. An adjustable Long -Term Speaker Protection circuit matches the time constant of the output shutdown cir- cuit to your PA or monitor system. Finally, the Clipping Eliminator GUESS detects clipping lasting longer than WHO JUST PUT 30 milliseconds and attenuates 450 WATTS- PER -CHANNEL* the input signal just enough to pull the PM -1.5 out of clipping. IN A 21 -POUND As for sound quality, consider PACKAGE? this quote from The Audio Critic Magazine, "... the equal of any power amplifier in transparency, focus and smoothness. We especially Who else but Bob Carver. enjoy hearing spatial detail, instrumental Introducing the Carver PM -1.5 Profes- definition and completely natural dynamics. At this level of sonic perform- sional Low - Feedback High Headroom Magnetic Field Amplifier. ance, the astoundingly small size and The most power in the lightest weight cool operation become icing on package ever offered to the hard knocks, the cake..." no- compromise world of pro sound. Roy Clair and Ron Borthwick of Clair An amplifier that can run heavy metal Brothers said it this way, "We are amazed flat -out into any impedance down to 4 that Bob was able to put the same wattage ohms all day long. into one -fourth the volume of conventional When Bob first began working o amplifiers without sacrificing audio per - PM -1.5, he knew a great deal about formance. It's hard to believe that an amp fiers but not enough, he believed, about so small and lightweight can put out so the night -in night -out requirements (and wish much clean power. But it does!" dreams) of the pro sound world. And so he spent Whether you run a megawatt sound company, much time consulting with a large number of a struggling bar band, or a recording studio gear- sound reinforcement professionals, including ing up for digital, the PM -1.5 will pay you. In the "pros' pro," Clair Brothers. increased portability and reduced freight costs. Clair Brothers asked for lower input ac line In freedom from expensive blown drivers. In current, greater transformer thermal capacity, sheer sonic excellence. dual modes of precision balanced inputs with 1% Write for a detailed brochure today or give resistors, back -to -front cooling with a fully pro- your local pro store no peace until they order portional fan system that can just tick over at idle you 21 pounds of pure power. or blast 1000 ft /min. to keep output transistor *Power: 8 ohms. 450 watts/chan. 20 Hz -20 kHz both channels driven with less than Hz -20 kHz both channels driven with They wanted greater 0.1 % THD. 4 ohms. 600 watts/chan. rms 20 temperatures constant. less than 0.1 % THD. 16 ohms, 300 watts/than. 20 Hz -20 kHz both channels driven immunity and unbelievable long -term, with less than 0.1 %THD. 2 ohms. 525 watts/ chan. at clipping. I kHz, with less than noise 0.2% THD. Note: 2 -ohm specification for information purposes only. Operation at 2 high -power operation, as well as a 3/16" front ohms is permissible but not recommended. IM Distortion: Less than 0.1% SMPTE. Frequency Response: -3 dB at 3 Hz. -3 dB at 80 kHz. Damping: 200 at t kHz. panel with deep- recessed controls. Gain: 26 dB. Noise: Better than 115 dB below 450W A-weighted. Input: Balanced to ground. XLR or phone. Impedance: 15k-ohm each leg, balanced to ground. Others wanted rear rack - mounts, adjustable Bridging: 1200W into 8 ohms, 1000W into 16 ohms, accessed through rear -panel protection circuit thresholds, front panel select- recessed switch. Dimensions: 19 in wide, 3'/3 in high, l0'3hs in deep. Weight: 21 lbs. able clipping eliminator, and even a sequential, soft -start power -up mode. Now that the PM -1.5 has undergone thousands of lab test hours and seven months of hard road testing, Clair Brothers, Bob, and you get all that and more. The PM-1.5 is designed to run balls -to the - wall, even into 4 ohms day and night without compromising itself or your drivers. Because C VER the PM -1.5 has three special adjustable speaker (206) 775 -1202 P.O. Box 1237 Lynnwood, WA 98036

Circle 20 on Reader Service Card

www.americanradiohistory.com ken pohlmann

What's this? An article on drawer and thrust you in, head first. article every month or so can help, computers -in MR &M? A hundred thousand dollars of high but if some outside reading, or What's going on? Some kind technology confronts you; you swallow computing, will help, I'll tell you that of mistake, probably. Maybe you hard. Then the EPROM in the digital too. And what about audio? Of course picked up the wrong magazine -you reverberator falls out of its socket, I'll try to keep in touch with the check the front cover. No, it's MR &M the autolocator puts all of the tape reason you read this magazine in the all right. Maybe a mistake at the machines in fastforward, and the first place. But let's be blunt right printers- somebody inserted the console's faders are shooting up and from the beginning. If you're into wrong page in the magazine. You down. The entire studio is plunged audio, and you think you can pick up scrutinize the page carefully -no, it into mayhem, the session is a sudden a little computer stuff on the side and seems to be consistent. Probably disaster. The studio manager bursts be okay, you've just built yourself an some kind of joke -the editor's into the control room and grabs you obsolescence timebomb. The com- having some fun -the April fool's by the collar and drags you into the puter revolution is pervasive and issue... that's it! No -can't be, it's the office and dumps you down in front of fast -moving; the audio industry is May issue. It doesn't make any sense. the office computer and hands you an struggling to keep up. If you want to Why read about computers in a inventory program; clearly you have have a contemporary position in the recording magazine? I mean, how just been demoted from first engineer audio business, you'll have to struggle useless, and moreover, how irrelevant. to go -fer. You stare at the keyboard; even harder to keep ahead. Like a lot You put the magazine down -no, you don't even know how to type. of people in our society, please say actually you're a little steamed so you Meanwhile a guy shows up to apply hello to the technology which is throw the damn thing across the for your former position. He explains changing your life. room. It lands in the corner, with all that he has recorded nineteen gold All of the above may sound a little the dustballs. You flop on the bed, records, has a complete personal set frightening, and if you misconstrue exhausted from your anger, and soon of every model of Neumann micro- the impact computers are having, doze off. phone, can repair burned -out op and what your proper response amps with his portable micro- fabri- should be to that impact, you might Some Time Later... cation tool kit, and will be bringing indeed feel apprehensive. That's why You open the door and step into the twenty -eight major acts with him it's important to properly understand control room; a pair of 3M 32 track into the studio. Of course, the studio the computer phenomenon and see it machines and a Neve console greet manager says, but what we want to for what it is -an exciting, challeng- you; everyone runs up to you, relieved know is: Are you computer literate? ing, entertaining, and profitable that the engineer has arrived. At last, The guy hems and haws then answers endeavor offering itself to you. But as the session can begin. You're not too ...no. The manager throws him out, with any jet plane taking off, you sure about what's going on. Ap- looking disgusted. You wake up, run need a ticket, and that's where parently, someone took notice of those to the corner, and brush the dustballs education comes in. Right now the 2 track demos you made in your off that copy of MR &M. world is undergoing the biggest basement. A wildly gesticulating What's this? An article on com- social adjustment since the begin- producer leads you over to a key- puters-in Modern Recording & ning of the Industrial Age a hundred board, a Synclavier; they can't get the Music? That's right, and the editor years ago. Now we are leaving timbre they need. They want you to has even asked for a series of articles, behind that Industrial Age and program it for them. You take a look until computers go away ...or the entering the Age of Information. at the video screen full of commands magazine folds -whichever comes Workers everywhere are shifting and almost faint. Someone else pulls first. I'll try to cover as many aspects from jobs as builders to find new you backward and you land in the of modern computing, both theory work as data processors. We no chair behind the console. It's time for and applications, as I can, empha- longer need a large labor force to the automated remix; someone hands sizing the most current aspects of the manufacture automobiles; now we you the floppy disk for the Necam revolution as they appear. And, in need people to design manufacturing automation package. You stare at it between upheavals, I'll plug in robots. Of course, that sudden upward dumbly, but eventually perceive a information in terms of computer move in sophistication has been disk drive under the console with an fundamentals and product reviews. engineered by digital computers. To open door. You put the floppy in, but be a part of our technological society, nothing happens. As someone once It's a Brand New Day it is increasingly important to under- said, there are eight ways to insert a Ever get the feeling that a whole stand how to use the basic working disk in a drive, only one of which is new day is dawning, and you're being tool of our society -the computer. interesting. Suddenly there's some- left in 'the dark? Ever think that As I mentioned, the key word of our thing wrong with the digital tape you're moving ahead, but not nearly era is information. I challenge machine -the bit error concealment fast enough? I'll try to inform you, anyone to name an endeavor that light keeps blinking. They open the and include you as best I can. An could not be enhanced by furthering

14 MODERN RECORDING & MUSIC

www.americanradiohistory.com NAMM Expo '84 Is Now.

That's right. You can pre- register now for Expo '84 is your opportunity to meet the June 23 -26, 1984 NAMM Expo in one -on -one with your suppliers. You'll Chicago. Avoid on -site registration lines! also want to take advantage of educa- NAMM members pre- register themselves tional offerings including product and and their employees free before the May sales seminars, the NAMM Computer 31st pre- registration deadline. Resource Center and NAMM's new Cre- ative Merchandising Center highlighting innovative concepts in retail store de- Expo '84 promises to be the biggest and sign. most exciting show in NAMM's 83 -year history, featuring the new technology Make your plans now for NAMM Expo and product introductions that no com- '84, the most important event on any petitive music dealer can afford to miss. music dealer's calendar.

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www.americanradiohistory.com its information base. The truth of chore of revision was too great. Now nology. A console is essentially a that statement has been widely it's only my own muddled thinking, control surface used to balance input recognized, and has precipitated an and not laziness as well, that generates channels and process them individu- incredible acceleration, with infor- cryptic prose. (Believe me, that's ally and collectively. With 32 channel mation as both impetus and goal. more than enough -Ed.) Also, stor- inputs, there are probably over 300 Everybody wants access to informa- age is greatly facilitated. A few possible operating controls to be tion. Before a doctor diagnoses your floppy disks hold the million words manipulated by the mixing engineer ailment, he turns to his terminal to I've strung together over the years. in the course of a mixdown; that access the latest information on Moreover, all of that information is obviously exceeds his ability to disease and drugs. When a sales- accessible to me through a catalog comprehensively control the process. person prepares a marketing survey, program. Am I a believer? I have a I used to do it, with help from my he utilizes the information in the word processor downstairs, one friends -sometimes enlisting five corporation's data base. Before the upstairs, and a portable one for when other people to manipulate controls; government decides to build a new I go to the beach to relax. I've to accomplish that kind of operation highway linking two cities, it (hope- estimated that my prose output has successfully, let alone artistically, in fully) studies the census data to been at least tripled, thanks to real time, led to many, many, many prepare demographic projections. computers. takes. With automation, operating When an engineer designs an auto- A second example of my computer parameters are written and read as mobile body, he simulates the contour usage occurs in my role as a recording digital data. The mix is accomplished to make aerodynamic fluid measure- engineer. As our dreamer's sub- piecemeal, and the manipulations ments. When a bank makes a loan to a conscious revealed earlier, digital are stored each time as data and then foreign country, its financial com- electronics is proliferating through- played back to automatically control puters access thousands of records out the recording studio. As in every those parameters while the engineer and prepare recommendations. When other industry, to compete effectively moves on to something else. After his a wants student to learn, he asks a the production tools must be as last update, the engineer's job is video screen to teach him. It's all a contemporary as possible. In enter- finished, because all of his successive question of information and how best tainment revenue, the recording efforts have been saved and now the to access it. It's all there; you only industry formerly ranked number mix is controlled automatically. I have to know how to ask for it. two, second only to the motion picture have observed two results of this Computers make the asking a lot industry. Now it's number three, film production method: a much greater easier. is number two, and video games are degree of musical sophistication is number one in the entertainment possible, and attention to detail is Let's Get Real competition. The microprocessor facilitated; with automation, I've which Okay, so much for generalities and technology, suddenly created walked away feeling that I had gee -whiz stories. We've all heard that that new entertainment industry - achieved a perfect mix -something I computers will give us a two -hour and made it number one -is now had never felt after a complicated work week and lots of spending being applied to film and audio, as non -automated mixdown. Also, a money. What about reality? Well, I those industries attempt to rebuild to good mix may be achieved much can speak best about my own experi- today's technological specifications. more quickly, because the most ences with computers. I've designed It's a tremendous effort, but abso- complex part of the job can be broken computers and programmed them, lutely necessary. Those video quarters down into smaller tasks, each more but most important, I've used them in will only return to the record store if easily accomplished. my work. First, as a writer of 10,000 the recorded music begins to sound I think that both word processing words a month for sale, and another better, and is accessible through and console automation provide 10,000 words a month for pleasure, I more convenient (with less incentive similar examples of the computer need an efficient way to write down, for pirating) consumer formats. Of advantage. In both cases, a greater edit, and print out that torrential text course, digital technology is the degree of expertise is made possible, flow. As you might guess, I long ago answer, and everything from music and the job may be accomplished abandoned my Selectric and Ko -rec keyboards to tape machines, from more rapidly. The operator has fluid as inadequate tools- revisions consoles to Compact Discs have been become more efficient, but it's more required tedious correction or re- newly devised. All of analog audio is than that -his talent and skill have typing of the entire text. The modern being rewritten in terms of digital been extended. That, I think, is the alternative, compliments of corn - technology. It is already envisioned essence of the computer advantage, puters, is word processing. With a that all of the facets of the recording and it's available to anyone willing to computer and a program such as studio will eventually be consolidated pay the modest dues required to Wordstar, entry and storage is done into a central computer in which the become computer literate. electronically; a menu of a thousand digital microphones go in and the I hope you'll stay with this series of commands permits rapid corrections, digital music comes out. articles. I'll be explaining everything editing, saving, and printing of a text that's new in this new and powerful (such as this one). The software The Computer in the Studio technology. In fairy tales, the hero dictionary even checks my spelling, One example of how a little com- always has a magic ring, or sword, or correcting both typos and bad guesses. puter technology has changed studio seven league boots. In some way, his Aside from convenience is the very procedures is console automation. As courage is magnified by a special real fact that a word processing a recording engineer who had per- token he has won for himself. Today, system encourages you to write better. fected a mixing technique, then chose the hero uses a computer. I mean, do In the past, an awkward sentence to adapt it to automation, I can speak you want to be an ordinary guy, or do often remained, simply because the for the advantages of the new tech- you want to be awesome?

16 MODERN RECORDING & MUSIC

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www.americanradiohistory.com eric m. berman, esq.

the haw Performing Rights Organizations

Paul McCartney's worth was recently estimated that play it, clubs and other venues where music is at approximately four hundred million dollars. performed either live or "canned" (performing rights), The largest single source of this fortune is the and from producers who synchronize it with moving revenue generated from the sale and reproduction of pictures, i.e., motion pictures, videocassettes, etc. his original songs and those he co- authored with John (synchronization rights). The most important of these Lennon. rights have become the mechanical and performing Song writing revenues are derived from the sale of rights, though synchronization rights may come to be the right to reproduce or copy songs on tape, film, disk, predominate in the future. or in print, and the right to perform those songs Once a song is recorded, anyone may then make publicly. Such rights include the right of first use his /her own recording of the song (though duplication (usually the right to make the first commercial of the original record is prohibited) so long as permis- recording of the song), the right of subsequent use sion is obtained to do so- either by registering that use (mechanical licenses), performing rights, synchroni- with the copyright office and paying the statutory zation rights, and print rights. copyright fee or by obtaining a license from the These rights are the property of the copyright copyright holder or his agent. This license, which holder, initially the songwriter. In some instances the permits the reproduction of music by mechanical song may be written as a "work made for hire," which means (records, tapes), is called a "mechanical" means the writer is regularly employed to write for his license, and is usually arranged through the Harry employer or is commissioned to write the specific Fox Agency, Inc., in New York City. work, and the employer holds the copyrights to the The Harry Fox Agency, which represents several song. In most cases, however, the writer holds the thousand music publishers throughout the United copyrights and negotiates for their sale with a record States, was formed to meet the need of the publishers company or publisher. to determine how many recordings of their songs were being made and to ensure proper accountings of Know Your Rights those songs. Such tasks were too cumbersome and The writer should be very careful when dealing with costly for each publisher to perform, so the industry- the purchaser to insure that as many rights are wide organization, the National Music Publishers retained as is possible, or that he receives reasonable Association, Inc., created the Harry Fox Agency to compensation for each and every right that is sold. The issue licenses to, and supervise the collection of fees writer should also insist that some provision gives him from, record companies. One need only think of the and his accountant the right to audit the purchaser's many different recordings of a song such as books on a regular basis. "Yesterday" by Paul McCartney and John Lennon to The sale of these rights may be for a flat fee or for a appreciate the scope of the problem and the size of the royalty -a percentage of the sales of the work fixed in fees such licenses return to the publishers and song- some medium. Record royalties are usually based on writers. the statutory copyright rate of four cents per copy sold, Mechanical licenses are more commonly used than but they are subject to negotiation. Print royalties copyright licenses due to the stringent reporting and depend on the type of publication and arrangement. payment requirements of the Copyright Law. Under Standard rates are six cents per copy for regular piano this statute, the record company must issue a notice of copies sold in the United States and Canada, ten intention and make monthly accountings and percent of the wholesale selling price for orchestrations payments. All financial statements must be prepared and arrangements sold in the United States and and their contents sworn to by a certified public Canada, fifty percent of the proceeds received by the accountant. The statutory royalty rate is based on publisher in the United States from foreign licensees, formuli pertaining to length of the composition and the and fifty percent of the sums received by the publisher number of records manufactured and sold. from mechanical licenses. A mechanical license allows accountings and Fees are also received from radio and television payments to be made on a quarterly basis and permits stations that broadcast the song, jukebox operators the use of a royalty rate different from the statutory

18 MODERN RECORDING & MUSIC

www.americanradiohistory.com rate. Payments pertain to records sold. This license Many writers are now forming their own publishing requires a simpler method of compliance than the houses (at least in name) to sell their music. These Copyright Law and is much easier for a record organizations then sign contracts with the major company to work within. The Harry Fox Agency keeps publishers. No matter if a writer establishes a business a small percentage of the gross receipts for its fee and entity or sells songs in his own name, it is mandatory passes the rest to the copyright owners. The license that he join one of the performing rights organizations. provides Harry Fox with powers of enforcement, ASCAP is number one in regard to collection of total including the right to inspect the record company's revenues whereas BMI has the largest membership. books and to sue for breach of the license. SESAC is sometimes said to provide the most personal Performing rights pertain to the public performance approach. Most publishers have divisions with of protected compositions, whether live or broadcast, membership in each organization for the benefit of played on jukeboxes, radios, tape machines, record their writers. Each writer should investigate all three players or televisions, and presented in clubs, concert organizations to determine which will serve him best. halls, schools, or other public places. The licensee of Another organization that composers should be these rights is required to pay a fee for each use of each familiar with is the American Guild of Authors and protected work. The monitoring problems facing Composers (AGAC). This organization provides its copyright holders in this area are even greater than members with model contracts to be used with those involved in the case of mechanical licenses. publishers, legal assistance, audit services, and Alphabet Soup educational seminars and newsletters. It also collects songwriting royalties for a small percentage of the Performing rights licensing and monitoring are gross revenues. provided by three major organizations: the American AGAC is located at 40 W. 57th Street, Society of Composers, Authors and Publishers New York, NY, 10019, telephone number (212) 757 -8833. ( ASCAP); Broadcast Music Incorporated (BMI), and ASCAP is located at 1 Lincoln Plaza, New York, NY SESAC. ASCAP and BMI are not-for -profit organi- 10023, telephone number (212) 595 -3050. zations; SESAC is privately owned. The membership BMI is located at 320 W. 57th Street, New York, NY of all three consists of writers and publishers. 10019, telephone number (212) 586 -2000. The purpose of each of these organizations is to SE SAC is located at 10 Columbus Circle, New York, collect royalties for every public performance of works NY 10019, telephone number (212) 586 -3450. in its respective catalogue. All three require that a The Harry Fox Agency, Inc., is located at 110 E. writer's work must be published or be recorded before 59th Street, New York, NY 10022, telephone number accepting him for membership. ASCAP accepts (212) 751 -1930. writers of commercials. BMI and SESAC do not. At one time, they enticed artists to their rosters with 4 monetary advances. Because of the current state of the music business, such advances are no longer available. A recent article in Billboard (Kip Kirby, "Performing Rights: No Slowdown," January 21, 1984, pp. 37 -8) discussed the new methods the organizations are using to increase their membership in Nashville. Both ASCAP and BMI provide their members with references and projected earning statements to help secure startup funding and credit from banks, and are placing additional emphasis on education and participation in industry projects and events. ASCAP also puts on writer workshops. SESAC reported that it is primarily interested in working with young, developing talent, teaching and preparing them for their first publishing contract. Performing rights collection procedures are TALK TO A currently in a state of flux. "Blanket licensing" has been challenged in several courts and, in 1982, a PROFESSIONAL federal court found that blanket licensing in conjunction with independent television stations When you call Sam Ash, you talk to a professional violated the anti -trust laws. (This decision is presently - someone who knows his equipment and understands your being challenged.) Each performing rights organi- needs: and you're dealing with the biggest in the business - a sixty year old company with a seven million dollar inven- zation issues a "blanket license" to broadcasters and tory. Get the best selection of factory - fresh quality brands other purchasers of its music which is based on a small at competitive prices. percentage of the purchaser's gross revenues. The So call Sam Ash and talk to the mail order professionals major purchasers of music obtain licenses from all about your needs in instruments, amplifiers, sound and recor- three organizations. Each performing rights ding equipment. organi- 800 -645 -3518 zation then monitors each purchaser to determine the IN NEW YORK CITY: (212) 347 -7757 amount of airplay each song in its catalogue is getting, IN NY STATE: (800) 632 -2322 and then divides the revenues accordingly. BMI, for ON LONG ISLAND: (516) 485 -2122 instance, it TWX 510- 222 -1630 SAM ASH HEMP advertises that monitors "13,698 hours a MUSIC STORES day." ASCAP also monitors broadcasts, but SESAC 124 Fulton Avenue, Hempstead, New York 11550 makes its determinations through the study of reported playlists and industry charts. MAY 1984 Circle 22 on Reader Service Card 19

www.americanradiohistory.com www.americanradiohistory.com sam borgerson

For thousands of eager Heart and Kansas fans streaming into Nashville's Municipal Auditorium, the dual headliners on the marquee promised, "double your pleasure, double your fun." For the tour's sound contractor, two headline acts meant doubling the "front end" -the mixing boards and effects racks-in order to allow optimum mixing for both bands. To Guy Charbonneau, recording engineer and owner of the fabulous le Mobile remote truck, the twin bill meant working double time. You see, he also had to customize mixes for each of the tvwro bands, but nobocy provided him with a second Neve console to set and forget during the sound check. He d just have to move rather quickly during intermission. In a moment of calm before the concert, Charbonneau reflects on the unique problems involved in recording two headline acts in one evening. "We're recording two entirely different bands, and both have fairly complicated sets," says the Montreal -born Charbonneau, his English rounded by a strong French Canadian accent. "Between sets everything has to be reset on the console, including all the levels and EQ. I didn't want to make one group the 'opening act' and the other the main act. I hats to treat them both equally and proceed as if I were concentrating on only one group tonight. It makes my job doubly difficult." Despite the heavy work load, Charbonneau tackles his technical chores with a boyish enthusiasm. Although he approaches everything with a meticulous attention to detail, he doesn't let that diminish the enjoyment he gets from recording great rock'n'roll,

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www.americanradiohistory.com Rock'n'roll has occupied most of Charbonneau's time over the past eight years. His le Mobile truck lavishly equipped and immaculate inside and out -is the only Neve/ Studer studio rolling on rubber in North America. As such, he is constantly in demand by major artists and producers who want top quality live tapes, and by those who would rather do their "studio" recording and mixing at home. Projects credited to le Mobile include Journey, Peter Frampton, The Police, Lena Horne on Broadway, Billy Joel, Foreigner, Pat Benatar, Genesis, The Doobie Brothers, Kansas (including their latest LP, Drastic Measures), Toto and Rush -to name just a few. However, Charbonneau was not about to take it easy and rest on his laurels for the Heart /Kansas project in Nashville. As always, he arrives on the scene at mid- morning, ready to wheeler. begin the long day of careful, precise This ain't no ordinary 18- preparations that are essential to first -rate recording. "You have to take the time before- hand," he says as a knowing grin spreads across his face. "Otherwise you go crazy, and you might forget to "I find using this mic gives me a keep the same instruments assigned patch something when you should consistent drum sound, and it really to the same track of the recorder. because you are too busy just keeping has very little effect on the PA sound. That way it would minimize any it all together. You don't want to have But if you try to change a vocal mic, chance of mistakes, especially when to fix things later in the mix. So we then everything will change for the it involved patching in limiters." will have everything ready." band. You might get a slightly better The approach for recording the The first order of business for the quality recording, but it will change drums differed markedly between truck crew is working with the PA the sound in the monitors and you the two groups. Because Kansas has a company to eliminate any possible might end up with a different vast array of keyboards and tape AC hum problems. Whenever pos- performance because the singer effects, only four tracks could be sible, Charbonneau tries to get on the won't be sure about what he is doing. assigned to drums. But because same circuit as the PA, or at least get So on stage I will deal with what they Heart has a shorter instrument the same mechanical ground. If that normally use, even if I think it is roster, 11 tracks could be allowed for doesn't work, he has an AC isolation technically not the best. But once the drums, including five tracks for the transformer inside the truck, and the signal gets in my truck, then I will Roto -toms alone. Charbonneau's whole system can always be me- compromise on nothing!" reasoning: "They have a Simmons chanically grounded. Le Mobile's input snake has 64 (electronic drum) setup, and they use Charbonneau usually stays in the inputs. The first 32 go directly into the Roto -toms to key the Simmons for truck during most of the setup, sound the Neve console, and the next 12 go special effects. But instead of putting check, and performance. All on -stage to an auxiliary mixer permanently the Simmons on the tracks during the duties are handled by Cliff Bonnell, installed in the equipment rack. If show, we used more tracks for the who works with the PA crew to more inputs are needed, a second drums, which allows the option of determine best mic placement, opti- auxiliary mixer can be brought in. keying a Simmons during re -mix and mum signal routing, and set change In mixing this "double date," working for the exact effect you procedures. During the performance Charbonneau relies heavily on in- want, to recreate it or even enhance he's in charge of on -stage trouble- formation from the bands' PA mixers it. That's why it is crucial to talk to shooting. in determining his console channel the PA engineers before I start doing Unless they have strong feelings to assignments: "After I got the PA any track assignments. I have to the contrary, le Mobile's engineers input lists from Kansas and Heart, I know what they are doing in the show will leave microphone selection up to looked at them closely to find a way so I know what options I have in the PA mixers, even though le Mobile that would work with a minimum of recording, and what I want to leave has over 90 of the best studio mies on changes. For example, I wanted to open for them to change in final board. "I don't try to talk them into keep kick and snare on the same mixing of the tapes." using my mies, except in the case of input, even though I knew all the tom During recording, Charbonneau the drum overheads, where I prefer configurations would have to change. watches his two video monitors and to use AKG 414s," says Charbonneau. Also, as much as possible, I wanted to follows cue sheets for guidance. The

MAY 1984 23

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www.americanradiohistory.com them too aware of the recording, they will analyze everything they do instead of going for the feel. That's what I don't want. For me, it's like being a race car driver. You don't try to tune the engine when you are out on the track. You do that beforehand. When you get out there, you just want to go as fast as possible." C'est ca!

Needless to say, the live sound emerging from le Mobile's custom JBL monitors was stunning. But what about the throngs of fans inside? What did they hear? Well, considering the questionable acoustics of the Municipal Audi- torium -your standard steel -domed sports arena -the crowd was treated sa amasam. to sound easily a cut above what you'd expect in this venue. Considerable Hilt, i1 j1 ¡;I i!iÌ! IÌIÌ11t111!»i\\.\\: credit for the superb sound must be . , " r,.... given to Delicate Productions' mag- ú'tií. nificent PA system. Based in Canoga Park, California, Inside le Mobile (we told you it wasn't ordinary). Delicate Productions is an offshoot of handwritten cue sheets, supplied by Charbonneau is assigned to the final the Supertramp organization. Deli - the two house mixers, indicate mixing, he finds it helpful to watch cate's current owner/engineers came instrument changes, lead and back- the videotape while he's working. over as band employees for the 1979 ground vocals, pre- recorded tape Sometimes a quirk in the sound will Breakfast in America tour. When the effects, and instrumental solos. (A turn out to be a changed instrument group suspended touring shortly note to aspiring concert mixers: good setting or an unplanned movement of thereafter, the Supertramp engi- handwriting can be important!) a microphone. He will also switch neers decided to have a go at it on Even though the final version of back and forth between the final mix their own. Their lofty reputation - the night's performances will be and his "real time" monitor mix to for both equipment and expertise - mixed weeks -or even months - make sure he's keeping the feel of the has kept them busy ever since, with later, Charbonneau always concen- live show. no need to even advertise their trates on getting a monitor mix as A perfectionist by nature, Char - services. close to perfection as possible. "I try bonneau does his best to deal with the Depending on how you look at it, to make it sound like a final mix," he small compromises often encountered the Delicate PA is either a throwback says. "I feed the monitor mix to my in live remotes. A case in point: the to a former era or simply bucking a six cassette decks, so the bands can wireless microphones used by Kan- trend. Whereas most other major PA take a cassette back to the hotel and sas. "You can get a great wireless companies are going with all -in -one hear what they did in a way that's sound," he admits, then adds, "but it's bins (bass- mid- and high- frequency close to a finished album. So for the rare. If you listen to the vocal track drivers in one enclosure), Delicate is monitor mix I usually add some alone, soloed out of the mix, you can sticking with a tried -and -true Martin reverb from the EMT 250, and hear compression. But you can't hear modular 4 -way component system. sometimes a Harmonizer or digital it in the PA mix, and you can't really The bass cabinets each house 2 JBL delay of some kind. Also, I've dis- hear it in the recording mix either. K140 units, and the low -mid boxes covered that if your monitor mix That's why, at least for a radio show each hold 2 ATC PA -75 drivers. sounds good, it will sound good on recording, I wouldn't ask them not to High -mid frequencies are handled tape." use it. If a singer has been using by Renkus Heinz 3300 and Emilar The signal routed into the Studer wireless for a month and you try to tie EH500 combinations, while the top A800 24- tracks is always dry -no him down with a cable, it could end goes to Emilar EA- 175 /EH -500 added reverb or effects. When re- change his whole performance." units. For this tour, Delicate pro- cording for radio shows the Studers Allowing the performance to take vided 48 bass cabinets and 36 each of run at 15 ips with Dolby noise its natural course is a fundamental the three other boxes. Racks of AB reduction. For album projects, 30 ips part of le Mobile's operating style. Systems and H &H amplifiers -62 in tape speed is usually preferred. The unspoken motto seems to be, all- poured 48,160 watts of power The stereo monitor mix is also "Perfection in the truck, laissez faire into the audience, assuming uniform routed to a Sony BVU800 video on the stage." For example, Char - 4 ohm loads and all equipment up to recorder. A fixed color camera on bonneau rarely asks for extra sound spec. In any case, we shan't be picky: stage provides the video portion, and check time to set up his board. "You it was plenty loud. a SMPTE time code track is also don't want the band to start thinking Of course, it's easy to be loud. It's recorded for future reference. If about it," he maintains. "If you make not always easy to sound good in an

MAY 1984 25

www.americanradiohistory.com HEART /KANSAS EQUIPMENT LIST PA. SPECS Flown: (per platform) 8 Martin 215 Bass Cabinets (each with 2 JBL K -140) 6 Martin 212 Lo -Mid Cabinets (each with 2 ATC PA -75) 6 Renkus Heinz 3300 /Emilar EH500 Hi -Mid Drivers 6 Emilar EA- 175/EH -500 Hi Frequency Drivers Stacked On Wings: (Per side) 3 ft. High Maximum 4 Martin 215 Bass Cabinets (each with 2 JBL K -140) 3 Martin 212 Lo -Mid Cabinets (each with 2 ATC PA -75) 3 Renkus Heinz 3300/Emilar EH500 Hi -Mid Drivers 3 Emilar EA- 175 /EH -500 Hi Frequency Drivers These small front fill stacks can be suspended from the underside of the platforms if artist requires. (e.g. Supertramp) Rear Fill /Side Fill: Same specs as P.A., stacked on P.A. wings. Total: 48 Martin 215 Bass Cabinets 36 Martin 212 Lo-Mid Cabinets 36 Renkus Heinz 3300 /Emilar EH -500 Hi -Mid Drivers 36 Emilar EA- 175 /EH -500 Hi Frequency Drivers AMPLIFICATION Bass: 24 AB Systems 1200; 540 watts per side into 4 ohms Lo -Mid: 18 H &H 5500D; 340 watts per side into 4 ohms Hi -Mid: 10 AB Systems 1210; 250 watts per side 4 ohms Highs: 10 AB Systems 1210; 250 watts per side into 4 ohms HOUSE Output /Drive Rack Consists of: 2 dbx 160X 2 Klark Teknik DN27s Brooke -Siren 4 -Way Stereo Crossover Technics RSM -85 Cassette Player/Recorder Inovonics 500 Spectrum Analyzer HEART Main Console: Midas 36 channel. DA01 Modules Auxiliary Console: Yamaha 15/24 House Mixer: Brian Foraker carries own effects D.P.C. provide: Lexicon 224 and 3 dbx 160s KANSAS Main Console: Soundcraft Series IV, 40 inputs /16 subgroups D.P.C. provide: Lexicon Prime Time, Lexicon PCM 41, Lexicon 224 with remote Eventide H949 Harmonizer, 2 dbx 160s MONITOR SYSTEM Soundcraft Series IV 40 input /16 output 9 Klark Teknik DN30 /30s providing 18'/s octave Graphic Equalizers White 140 Spectrum Analyzer 11 Brooke -Siren 2-Way Crossovers 3 Yamaha F1040 4 -Way Crossovers (Flown Monitors) 15 AB Systems 1210 Amplifiers 3 Custom Flown Monitors 12 Martin LE -200 Floor Monitors 4 DPC /Wells Side Fill /Drum Monitors Separate microphones, D.I. Boxes, stands, cables and sub -boxes for each act to expedite changeover between acts. DELICATE PRODUCTION System Engineer: Mick Berg Monitor Engineer: Brendan Higgs (Heart) Assistant Engineers: Ian Ferguson, Buck Rawls, Bill Reid BAND CREW Kansas House Engineer: Davey Moire Kansas Monitor Engineer: Rob Colby Heart Engineer: Brian Foraker 26 MODERN RECORDING & MUSIC

www.americanradiohistory.com overgrown teapot. In this respect, section. Could this signal the reversal Working with two boards left Delicate's system was a marvel to this of a trend? Roadies would hope not: plenty of inputs after the drums were writer's ears. The bands' PA mixers the separate driver systems like taken care of, allowing double mic'ing seem to agree. Delicate's are more difficult to for some instruments. On Howard "The thing I like about the Delicate assemble and dismantle. Leese's lead guitar cabinets, for system is the transparency of the Although Brian Foraker has been example, Foraker used a Senn - highs, the crispness you can get out of mixing for Heart on the road inter- heiser 421 and a Shure SM57, then it," says Davey Moire, house engineer mittently since 1980, he has held the blended the two for the best sound. for Kansas. "It was that open, spatial job steadily for only a year and a half. For vocals, Foraker used Shure sound. The difference between it and After he'd gained some experience as SM85 microphones, all on cables some other systems I've used is an engineer in a small St. Louis because of the night's recording. almost the difference you get by studio, he started at the bottom with "When we're taping, I even try to talk adding an (Aphex) Aural Exciter to Heart back in 1976, driving the the guitarists into using cables the mix. It gives it an added depth truck, taking care of the drums and instead of wireless," he says. "Then and transparency. It's hard to say handling other equally glamorous you don't have to worry about fading why. Maybe it's the drivers or the jobs. He polished his skills by assist- or RF leaking in. If that happens, the enclosures, but in any case there does ing on the house mixes over the years, whole track is lost, and trying to seem to be an advantage to separat- and finally ascended to the post of recreate the same sound in the studio ing and grouping the drivers as they primary PA engineer. is always a pain." do, instead of going to a 3- or 4 -way For this tour, Foraker's main Stacked to the right of the Midas bin." mixing board is a custom 36 channel was an effects rack that would be the Brian Foraker, the mixer for Midas, built originally to specifica- envy of many good -sized recording Heart, concurs: "It's the most consis- tions supplied by Russell Pope, studios. Delicate provided Foraker tent sounding system I've used. It's Supertramp's chief sound engineer. with a Lexicon 224 digital reverb and natural sounding, and it's very An auxiliary Yamaha console was three dbx 160 limiters. He then musical. For one thing, I think it added as a submix unit, primarily for augmented these basics with a helps to have different drivers in drums and Simmons electronic selection from Heart's own collection different cabinets." drums. A total of 28 channels were of outboard gear: two ADR vocal Dissenting opinions are welcomed dedicated to Heart drums and drum stressors (for the Wilson sisters' (I assume) in the Letters to the Editor effects. vocals), an MXR digital delay,

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MAY 1984 Circle 23 on Reader Service Card 27

www.americanradiohistory.com le Mobile Equipment

CONSOLE Neve 8058, 32 inputs, 16 groups, 2 Eventide harmonizer H910 Powered by: 24TK monitors (ready for Necam 1 Eventide harmonizer H949 6 Crown D75 computer system) 1 Eventide flanger F1201 With a special feature which allows 1 Marshall time modulator 5002 the performer to adjust his TAPE DECKS 1 Lexicon Prime Time headphone level to add-on and 2 Studer A800, 24TK, 15/30 ips 1 Lexicon PC41 digital delay pan his own instrument to the 1 Studer Autolocator 20 preset 8 Kepex original feed. 2 B67, Studer 2TK, 15/30 ips 4 Dyna -Mite exp. gate (varispeed) 1 Ashley SC66 parametric MICROPHONES 6 Technic M85 MK2 cassette equalizer decks Choice of up to 90 microphones 1 Stereo Helios parametric (Neumann, AKG, Sennheiser, TAPE LOCK SYSTEM equalizer Electro/Voice, Shure, Schoeps, 1 Studer 2000 tape lock system Sony, Beyer, etc.). MAIN MONITORS Plus a complete NOISE REDUCTION range of direct boxes, cables 2 JBL custom designed and adaptors. 24TK Dolby tri- amplified 2TK Dolby Powered by: VIDEO EQUIPMENT ECHO CHAMBERS 2 Crown D150A (bass) 1 Panasonic color TV camera 1 1 EMT 250 digital echo 1 Crown DC300A (mid) Panasonic B &W TV camera 2 1 EMT 244 digital echo 1 Crown D75 (high) Panasonic B &W TV monitors, 9" Equalized by: 1 Sony color TV monitor, 19" LIMITERS/COMPRESSORS 2 UREI 529 1 Sony BVU800 video cassette, 3/4" 2 UREI La 3A limiter /compressor 1 Leigh Gen Lock SPG 120N 2 UREI 1176 LN limiter/ EXTRA MONITORS compressor 2 Auratone MULTICABLES 6 dbx 160 limiter/compressor 2 AR 18 2 special multicables which 4 Neve 32264A limiter /compressor 2 JBL 4401 can take up to 64 pairs of micro- phone 1 Orange County vocal stressor Powered by: lines from an elaborate custom mic 1 Orban 516 EC DeEsser 1 Crown D150 built -splitter. 1 extra multicable for up to 40 OUTBOARD GEAR FOLDBACK pairs of microphones or tie lines. 1 Roland digital delay SD2000 10 AKG K240 1 high level multicable for inter- 1 Eventide digital delay 1745M 8 Sony DR6M com, video, foldback, tie lines, etc.

Lexicon Prime Time and PCM 42, mixing and LP engineering (includ- electronic keyboards, plus guitar, two Eventide Harmonizers. and a ing Orchestral Favorites and Zappa bass, drums, and vocals, it can be Yamaha analog delay. in New York), he hooked up with tough keeping it all straight. Of The Lexicon 224 serves as the Kansas in 1978. Since then he's course, after working with Zappa, primary reverb unit, and Foraker mixed most of their concerts, and he I'm used to mixing big bands. I'm so adjusts it to the requirements of each has also earned engineering credits used to it that sometimes I think I concert. "During the sound check I'll on three Kansas albums. Although might have trouble mixing a band start out with a basic program, then basically under contract to Kansas - like Bad Company. And other times I fine tune it to the room. Sometimes he'll do over 70 shows this year -he think I could do it in my sleep!" I'll have to make the chamber sound a also does some studio work when at In concert, the band relies almost bit brighter if the room is boomy, or, home in Atlanta. With any time left exclusively on Electro -Voice micro- if the room is already bright, I'll dull over, he moonlights with other artists phones. For vocals, Moire uses the it down a bit. I use two outputs (Peabo Bryson most recently) as HME wireless system with E -V without gates for acoustic guitar and concert sound mixer. PL80 capsules, a recent switch from piano, then I use the two gated What is it like to mix for Kansas? his old choice, the PL77. "The 80 has a outputs for snare and toms, so I can "It gets so layered sometimes that it bit more of a hump in the presence get that 'Phil Collins /Genesis' effect drives me nuts," Moire concedes with range," according to Moire, "so it in a big room." a laugh. "It's obvious that the more adds a bit more snap to the vocals. Whereas Foraker got his top job by pieces you have in a group, the more The 77s were warmer, but duller." working his way up with one band, thought you have to give to each For instruments, Moire likes the Davey Moire ended up as Kansas' top frequency band and what instru- PL11 on guitar amps and the PL95 mixer through a series of lateral ments fall in there, so you don't for most drum mic'ing. "I know a lot moves. After starting out as a studio overload and lose separation of of studio engineers who use the PL95 engineer in Los Angeles, he was individual instrument sounds. With on toms. It has a flat, warm sound to hired by Frank Zappa in the mid - Kansas, where sometimes you have 3 it, so when you close mic, you get a lot 1970s. After three years of concert keyboard players on a total of five of the low of the tom -tom, butyou still

28 MODERN RECORDING & MUSIC

www.americanradiohistory.com 200 milliseconds -so I'll use the Lexicon Prime Time. I also use the Lexicon PCM 42 sometimes, but only for extremely long delays. There are a couple of half- second repeats in "Everybody's My Friend," and there's a % second repeat in "Point of Know Return," where it goes `how far... how far...' where I use that effect. And occasionally I will throw a half second delay on a guitar solo, if it's something the guitar player can't get out of his rack to his satisfaction." After almost nine years of work on the road, Davey Moire does look forward to a time when he can do more work in the studio. But it's not likely he'll be able to replace the excitement that can only be found when mixing for a live audience of thousands. "When you engineer a studio album, your gratification is stretched out over the long term," he explains. "You have to wait and watch the House mix setup for Kansas (foreground) and Heart (background). charts. You have to see how it sells, read the reviews, and see how much get a lot of stick attack, a lot of contrast. I don't like using effects just airplay it gets. You wait four or five `whack.' With a band like Kansas, because they are in the rack. I use an months to see how they liked your with a thickly layered sound, you effect as an effect. In certain songs work. But with concert sound mixing, need that attack to hear the roll - from the new album I need a really your gratification is instantaneous. arounds on the toms." steep delay- something like 175 to You know immediately if they liked After more than a year of using the your work." Soundcraft IIIB console, Moire has moved up to the Series IV -and he's loving it. "The thing I liked about the IIIB was the way it sounded," he says. "It has a musical sound to the E Q, not an `electronic' sound. Well, the IV has that same property -it sounds just as good -and it also has much more Going Up sophisticated signal routing. It's all digitally assigned, it has eight auxiliary sends, and eight returns on (Slightly) faders in a return section, and all of those returns can be assigned to any submaster. There are eight program- mable mutes, so you can have a mute set up for virtually every song. You have 16 mono submasters or eight stereo, and -oh yes! -it has a studio quality patch bay." Because of all the effects Kansas has at its disposal on stage, Moire keeps his use of effects to a minimum. He used the Lexicon 224 reverb Effective July, '84, MR &M's primarily for vocals, although some- times he will also use it for drums - newsstand price will be especially on solo parts. As a general $2.25 and a year's sub- rule, he will also keep some reverb on scription will cost $18.00. the snare drum at all times. So subscribe before July 1 "At the Nashville concert, the hall was pretty dry (not very reverberant) and save $3.00 on Modern after it filled up," says Moire, "so I Recording & Music -the used what I generally use on a dry magazine for people who night. I reverb mostly on vocals, used create music. though some I left dry just for MAY 1984 29

www.americanradiohistory.com gene kalbacher avid Sanborn

have sax will travel

fter recording eight albums as a leader, not to mention countless solos on hit records for the likes of Linda Ronstadt, David Bowie and, most recently, the Rolling Stones and Pink Floyd's Roger Waters, saxophonist David Sanborn has earned himself a reputation worthy of his singularly recognizable sound. That reputation -for unerring time, rhapsodic swing and a sweet yet masculine tone -has been won in a variety of situations, ranging from unbridled rhythm and blues to lilting country -rock to big -band jazz to pure pop. In short, Sanborn's metier is instant empathy: When called into the recording studio to enhance someone else's music, he responds quickly, emphatically and, most of all, sympathetically. Sanborn, who primarily plays a Yamaha alto but doubles equally well on soprano, shrugs off his session plaudits with an all- in -a -day's-work attitude; his versatility, he readily admits, derives partly from luck and has been abetted by what he calls the "rabbit's foot syndrome." Since leaving St. Louis, where he played "teen town" dances with bluesmen Albert King and Little Milton, Sanborn has become perhaps the most in- demand, oft -copied altoist in the business. After spending five years in Woodstock, N.Y. (where he performed with the Paul Butterfield Blues Band and arranger - bandleader Gil Evans), Sanborn moved to New York City in 1974. Wasting little time, he made his mark-on the road or in the studio-with Stevie Wonder ( Talking Book), James Taylor ( "How Sweet It Is "), David Bowie (Young Americans), Paul

30 MODERN RECORDING & MUSIC

www.americanradiohistory.com Simon ( "Still Crazy After All These Wood were the only people there. It recorded parts for other people's Years ") and the Eagles ( "The Sad was surprisingly low -key. There was albums that were ultimately dis- Cafe "), among others. In the unlikely no major insanity, carrying on or carded? event you haven't heard his work craziness. DS: That happened once or twice. I with these artists, you've surely MR &M: Had you heard the mate- did something once for a Quincy heard him play the theme song on the rial before you entered the studio? Jones record. I don't remember what original Saturday Night Live tele- DS: They sent me a cassette earlier the tune was. They dumped it. I think vision program. in the day. I was probably out of tune. Sanborn, who credits Hank Craw- MR &M: How often do you go into MR &M: Of course, there's nothing ford, former altoist for Ray Charles, the studio cold, without having heard unethical about that. as a major influence, recorded his the tune on which you're expected to DS: No, there's nothing unethical first solo album for Warner Bros. in solo? about it. It's always a little kind of ego 1975. Although his early solo efforts DS: More often than not. I usually thing. But, hey, in that respect it's a sold respectively, it wasn't until 1980 go in cold. Sometimes people will business. People are entitled to do and the release of Hideaway that send me a tape. whatever they want with their music. Sanborn hit his stride. Clearly his MR &M: Do you prefer having the Whatever serves the music best is watershed, Hideaway, featured his tape in advance? what they should use. own compositions for the first time DS: It's funny, I always ask for it, MR &M: Backstreet is a very and matched him with keyboardist but when I get the tape, I tend not to different -sounding album. Did you Michael Colina and engineer Ray listen to it. Or I listen to it once or set out consciously to alter your Bardani. The three worked together twice and I get an idea. I very seldom approach? again on Voyeur, which not only find myself working on something DS: It's a little different than any topped the jazz charts but also earned before the fact. I'll just maybe sit other albums. It's more kind of the altoist a Grammy Award for best down and listen to it and figure out "inside" pop. We used the LinnDrum r &b instrumental. the key it's in. It usually doesn't seem machine quite a bit on it.... It's hard His eighth and most recent album, to help. I can't think of a situation for me to evaluate [the album] Backstreet, was co- produced by where it's been any great benefit, because I'm so close to it. I think it has Colina, Bardani and fast -rising where it's facilitated things. Most of more of a pop sound than my other bassist -composer Marcus Miller. the stuff I'm asked to do is pretty albums. I think I'll take a different Backstreet found Sanborn's tone simple. I don't have much difficulty direction the next album. unchanged. However, his studio with it. It's pretty much straight Marcus Miller programmed the approach (and the technology em- ahead, like rock and roll, r &b. LinnDrum, played bass, most of the ployed) signalled a departure. For MR &M: The Stones tunes, being guitar, and synthesizers. Hiram the first time he used the Linn Drum r &b at root, didn't pose any problems Bullock played guitar on one of the (programmed by Miller) and re- for you? tunes. Steve Gadd and Ralph Mac- corded his saxophone apart from the DS: One of them [ "Too Much Donald overdubbed drums and per- rhythm section. Blood "] was just one [chord] change. cussion [respectively] on a couple of The thin, dark -haired saxophonist Actually, it was kind of hard for that the tunes. But it's pretty much just is playing in more jazz contexts these reason. It was in a weird key, and I Marcus and myself. days, but while his playing often got into this repetitive thing. I MR &M: That approach marks involves improvisation, he considers couldn't really break out of it; it was quite a departure from your previous himself more of an r &b and pop - in D flat. I kind of went in and out solo albums. In the past you recorded styled player than a jazz musician. "I throughout the tune. The other one in the presence of the musicians, at never got fluent in the bebop vocabu- [ "Pretty Beat Up "] was a solo, on a least the rhythm section. lary," he notes, "because I didn't have backbeat, blues thing. That was a DS: Yes. I'll tell ya, I kind of miss the practical experience of playing little more structured. I played fills playing with other people. Not that it." at one point; then I did a solo, then I I'm dissatisfied with Backstreet, but I Interviewed in his apartment on played a fill, then I played the end. I think this is probably the last album Central Park West in Manhattan, did maybe two takes on that. I'll do that way. I like the interaction Sanborn described his latest album MR &M: How much direction did of other musicians; I think I need and noted that his participation on the band members give you about the that. the Roger Waters' disk (on which he tunes? MR &M: Why, then, did you do the and guitarist Eric Clapton are the DS: They were pretty clear about album without a "band "? As an principal soloists, a juxtaposition he what they wanted. Yet, at the same experiment? called "anomalous" but successful) time, they were very loose about DS: It was an experiment to see represented the fulfillment of a allowing me to do what I wanted. how it would work out. There are longtime "dream." They said, "We think you ought to hit positive and negative things about Modern Recording & Music: Was right here. I'd like you to catch this using the Linn machine. The positive recording with the Rolling Stones [on accent here." They gave me the thing is that you know exactly what Undercover] different than you had places more or less to play, but they you're getting. You can program very expected? let me work around the mood and specific things, things you can't get a David Sanborn: It was pretty framework of the tunes. I'd do drummer to play. But the negative professional. It was very straight- something and they'd say, "We like side is that a machine doesn't breathe. forward, just like, "How are you? that. Why don't you try to develop A machine is not a human being. Here are the tunes. This is what we that idea ?" As difficult as it is to overdub to have in mind." Mick Jagger and Ron MR &M: How often have you drums prerecorded, it's that much

MAY 1984 31

www.americanradiohistory.com more difficult to overdub to a pre- DS: There's a twofold answer to sound] is essential to whatever I have recorded drum machine. Improvis- that. Things are changing at such a to give. I don't have great gifts as an ing is very difficult. It tends to lock rapid rate that sometimes it's hard to improviser. I have a certain lyrical things in. We laid down the drum keep up with all the latest develop- sense, and I have a certain sound, and tracks first. Then we overdubbed the ments in technology. And I think I have a certain rhythmic sense bass, then we overdubbed the key- sometimes it's easy to get enamored which has a certain immediacy. And boards, then I [recorded the sax]. of certain kinds of technical develop- I think that is best communicated I prefer to have real live drums ments at the expense of the music. It's acoustically. there. Most of the As We Speak album easy to get caught up in, "Gee, look MR &M: Although electronic mod- we did live, with Omar Hakim on what we can do," rather than re- ifications are incidental to your drums. He's a wonderful drummer. membering that what those things sound, what effects besides wah -wah And I played most of my solos live in are there for is to help you com- have you used? the studio in the presence of the municate the music as directly as DS: I've used flangers, phase rhythm section. There are a few possible to the listener. shifters of various sorts ...post- things that I "fixed "; in a few places I Sometimes the more options you performance. I can't think of one punched in a couple of phrases. have, the more confusing it is. When instance where I've used something MR &M: The kinetic quality of you have 1500 choices instead of just [attached to the horn] as I've played. your sax work seems to stem from the one, you can sometimes lose the flow, I've always used these things after personal, shared mood you create because you hesitate at every juncture. the fact, and always to add some with your sidemen in the studio. Did I was talking to [saxophonist] Mike nuance or to bring out a quality that the absence of such a scene inhibit Brecker about this one time. He was was already there, rather than to your playing? saying, "I wish I could play as simple change it -to bring out something DS: It did a little bit. It's funny, I as you play on some of those rock that maybe was too subtle or wasn't didn't realize until I was pretty deep records." I said, "That's because you audible enough. But never, or very into the project what a problem that know too much! You come to a chord seldom, to mess with the sound. was. For that reason, I will limit my change and you can think of 15 things MR &M: What microphones do use of rhythm machines. to do, whereas I only know one thing you favor? MR &M: When last we spoke, you to do, and I go ahead and do it." DS: I use the Sennheiser 441 and mentioned that you get your best At the beginning of recording 421 for live performances. The 441 I musical ideas when you are around [Backstreet], we made a conscious tend to use for small -to- medium the means to express them -a nearby decision to give it a certain sound, places, and the 421 I use for larger piano or saxophone -but under no and I think we stuck with that idea halls. I use them almost exclusively. I obligation to do so. throughout the album. Not having find those to be very satisfactory DS: Absolutely. When I just free - had experience with the machine mics. In the studio I use Neumann. I associate, and have a minimum prior to this album, I learned as I particularly like the U47, the old amount of pressure to come up with went along about some of the advan- tube U47. I like the Sony C37. The songs for an album, it's a lot easier for tages and disadvantages of using the Neumann or Telefunken U47 has a me. drum machine. On previous albums, beautiful, warm riff sound. The MR &M: Yet you obviously work Hideaway for example, I've played Neumanns are just good, standard, well under pressure when you're in piano to a click track, and then we'd you- know- they're -always -going- to -be- the studio cutting a solo for someone overdub drums. So I was not un- there microphones. else's record. familiar with working to a metro- MR &M: Very dependable. DS: Somehow it's easier to do that nome, to a click. But I was unfamiliar DS: Very dependable mics. I because there doesn't seem to be as with working to a synthesized drum sometimes use ambient mics for much at stake. The parameters are a sound, a very sophisticated metro- room sound. I've used Crown PZMs lot narrower. You kind of have to nome. taped to the glass to pick up sound. sublimate yourself and your own MR &M: Sophisticated, yet to these I've used Electro- Voice, but primarily musical ideas to someone else's ears, mechanical. And rhythm is I use the Neumanns, the U47 being musical ideas. So you have to operate your forte -you have a rhythm sound my favorite. within a fairly restricted framework; all your own. MR &M: What room requirements whereas when you're making your DS: That's one of the nicest things do you set? own music, the options are unlimited Gil Evans ever said about me. He said DS: Generally, I like to play in a and the doors are open for you to go I had great time.... One of the room with a good live sound to it, wherever you want rhythmically, problems I had with the album was where I can get some good room harmonically, whatever. playing to a drum machine which, to sound that I can hear back. Although You need some kinds of restrictions me, still simulates a real drum. As Minot [in White Plains, N.Y., where on you to do your best work. When sophisticated as it is, I was unable to Backstreet was recorded] is not a you know you can't do something, really get into it for its own sake. particularly big room, it does have a that makes it clear that you have to do MR&M: You've never used many good live room sound. something else. electronic effects on your saxophone, MR &M: Over the course of your MR &M: Now that you've recorded either. eight solo albums, you've used a your eighth album as a leader, are DS: No, I haven't. Sometimes I've variety of producers, among them you feeling more comfortable in the added wah -wah. John Simon, Phil Ramone, George recording studio, or are [the studios] MR &M: From the board? Massenburg and, now, Marcus Miller. so dynamic and ever -changing that DS: From the board. I actually Do you envision producing your own each time out is a totally new play with my hand. But I've kept that albums in the future? experience? to a minimum because [the acoustic DS: I've been involved in the 32 MODERN RECORDING & MUSIC

www.americanradiohistory.com production, but not credited. I tend not to like that aspect of the work. I took probably my most active [pro- David anborn Discography duction] role in Hideaway. I tend to lose interest at a certain point in the process. It gets a little tedious and I tend to drop out, and I would not want to take credit for something I didn't feel I fully participated in. Even As a. Leader though I am active in all stages of Taking Off. Warner -2873 recording, down to the mastering, I Bros. BS hesitate to take on the role id Sanborn. Warner Bros. BS -2957 Promise Me The Moon. Warner Bros. BS-3051 function of producer. It's not [ ole] I Heart To can do and keep my pers . .tive. Heart. Warner Bros. BSK-3189 MR &M: You're taki your band Hideaway. Warner Bros. BSK -3379 to Japan in Januar' and you have Voyeur. Warner Bros. BSK -3546 scattered U.S. ates in between, As We Speak. Warner Bros. 9- 23650 -1 Backstreet. Warner Bros. 9- 23906 -1 including a co-- cert at Carnegie Hall. Do you err loy a soundman for live perfor eiances? I;: Absolutely. Ron Lorman is meone I use. And also Mark Wissing, who's excellent. MR &M: You mentioned that you're active in all stages of recording. Do you have comparable involvement in the staging of your live dates? DS: I pretty much just up and do the soundche are plenty of people I'd be willing to The Long Run, which has turned MR& since you're obviously record for in a minute. Miles Davis is out to be their last record. That y in demand [as a session one. I don't think that will ever was a combination of knowing the player], what criteria must a date happen because I'm just not in that producer, Bill Szymczyk, and also and the leader of that date have for circle of people. I'm not that kind of knowing a few guys in the Eagles. you to accept the assignment? player. MR &M: When you screen the DS: If it's somebody I wanted to MR &M: Who are some of the offers, what are some of the dead play with for a long time, the Rolling others? giveaways that the project isn't Stones for example, I would take it in DS: If Paul McCartney asked me to worthwhile? a minute. Or if someone I know is play on his record, I would. Certainly. DS: If they say, "This will only take producing an album. For example, I But I haven't really had to go out and an hour." If they say "trust me" or "no did a session for Roger Waters of solicit work too much. And, also, I problem." Those are three dead Pink Floyd. I did it for a couple of would be very bad at that because I'm giveaways. reasons: Number one, I wanted to not good at hustling. I've been very MR &M: During the weeks or play with Roger Waters; the other lucky in that people have come to me; months that you are writing or reason is that a friend of mine, they've heard me on other records. recording one of your own albums, do Michael Kamen, was co- producing MR &M: And it's been that way, you also do work for other artists? the album and asked me to do it. I has it not, almost since you arrived in DS: I tend to be much more said, "Well, if you're producing, I'll do New York 10 years ago? selective. Maybe if I'm getting too it." So if I know the producer and he DS: Yeah...since I played with obsessive about one of my tunes, I shows me that it's a good thing, I'll do David Bowie and James Taylor. might take a date from somebody it. Arif Mardin I'll always work for, Those were some of the early things I that musically will free me up, take Bill Szymczyk I'll always work for... did in 1973, 74. my mind off what I'm doing. Phil Ramone. MR &M: Would it be fair to say MR &M: What temptations do you MR &M: So, in other words, the that, besides your unique rhythm try to resist in the studio? producer can be as important a sound as a saxophonist, some of your DS: Doing things too many times. criterion as the artist. success can be attributed to timely The opportunity to keep on recording DS: Yes. Phil will call me up and referrals, to being in the right place and do takes and to lose the excite- say, "Listen, there's something I'd with the right person at the right ment is one of the greatest tempta- really like you to do." And I'll do it as time? tions in the studio and one that has to a combination of a favor and also DS: Absolutely, there's no question be most assiduously avoided. By because I trust his judgement. about it. There's also the rabbit's -foot doing things to death, wearing things MR &M: Do you ever take the syndrome -people thinking, "Gee, he out and overdubbing too much, you initiative and call people up to was on this hit record. If I put him on can lose the spark that is the music. volunteer your services, saying, "I'd my record, maybe mine will be a hit, When you correct a solo just because love to work with you." too!" And a lot of it is respect for my you didn't like one or two notes you DS: I can't think of any situation playing, which I appreciate a great played, you can lose the flow and real where I've done that, although there deal. The Eagles asked me to play on character of what it is.

MAY 1984 33

www.americanradiohistory.com `

www.americanradiohistory.com vicki greenleaf

man c7Feldet cnyttlf Sala

Former lead guitarist for the Eagles, Don Felder -who added a harder rock edge to that group's country tone when he joined in '74- strides into the offices of his Los Angeles -based management firm soaked from the torrential downpour outside. Although only 10 minutes or so late, he is apologetic. Shaking the rain from his jacket, he glances around for a thermostat in the chilly room, asks for a cup of coffee to warm up with- southern Californians abhor any kind of cold -and settles into a chair to discuss his premiere solo LP, Airborne (no grounding this Eagle outside the context 01 the group). Although unavoidably "Eagle- esque" in some regards, the album is more lighthearted than any of his counterparts solo efforts. However, each of the band members have lightened up from their days with the socio- politically outspoken Eagles. Felder recorded the LP in a studio recently constructed in the guest house of his Malibu estate, a project he attempted to convince fellow Eagles band members to undertake years ago. This luxury, he says, allows him time to eat dinner with his family and watch his children -ages 1 through 10- growing up. Boasting his own production credits, Felder approached his initial solo project as if it were an electronic jam session, inviting a number of well -known musician friends and session players. Here, Felder talks about his time with the Eagles, recording with and without the group, the construction of his new studio, the tone of Airborne (Asylum) and his family.

www.americanradiohistory.com r Modern Recording & Music: having to put something together in the Eagles. So, I think there's still Airborne is your first recording that equaled or surpassed the last some of that element in some of my effort apart from the Eagles. Are you effort. I don't think anyone in the songs. Although, some of them were pleased with the results? band is capable of doing that indi- so diverse that the Eagles would have Don Felder: I'm real happy with vidually. And I don't think the public never been identified with that kind the way it turned out. Three of the particularly expects any individual of music. It was everybody's collective songs on this record were songs that I band member to be able to do that. I and individual input that really had written for The Long Run and let all the pressures go and went made the Eagles. And if you listen to that the Eagles had attempted to skiing when it got tense. Or when the any of the band members' solo record. We made several attempts wind was blowing, I'd take off and go work -from Walsh to Henley to Frey at writing arrangements, but it to the beach and go windsurfing. I to me -it's completely different. It's never quite fit the material. I shelved took it on a real casual basis, but I still anybody's individual input and their them until I had the opportunity to do concentrated on the final product and character that makes that Eagles' it myself. I wanted to control the way making it good. Ijust refused to make sound. It can't help but be different things came out and I enjoyed that. records in the same way I had in the when one guy goes out by himself. (Joe) Walsh did the same thing, as a past. It takes too much out of you. MR &M: Can you describe your matter of fact. He wrote "Life's Been MR &M: What were some of the playing style? Good" for Hotel California or The sideline projects you spoke of earlier? DF: I don't know how to describe it. Long Run or something. Everyone DF: I wrote a song with Kenny I've never been asked that question said, "Well, I don't know..." He Loggins for the soundtrack of Fast before. I'd say it's pretty sloppy recorded it himself and it was a Times at Ridgemont High called sometimes. pretty successful record. "Never Surrender," which is also on MR &M: What are your weaknesses MR&M: It seems that you enjoy [Airborne]. The soundtrack was and your strengths as a musician? recording on your own, away from packaged as a double album and DF: My weakness is women and the grueling schedule and recording retailed at almost $15. It came out in my strength is being able to stay up boundaries imposed by the Eagles. a period when the record industry for two or three days in a row! DF: It was really nice to work was going through a major crunch (laughs) I'm just kidding. I guess my when I felt like allocating the time and very few kids were willing to go weakness is probably my engineering to do it. I didn't have to remain within out and plop down that much money. experience, 'cause I really don't know the structure of so many other people So, although the record did receive that much about it. The way an and their schedules or have to work some airplay, I really wanted to engineer treats a record has a great such long hours on a consistent basis. include that song on my album. I also deal to do with the final product. He It was real comfortable to be able to did a song for a movie called Heavy can make it sound great, but it do it at my leisure and not feel that I Metal. That was also a double album, depends on how he interprets the had to crank it out in six months or but it sold 1,200,000, or something record. That's probably my weakest whatever. I recorded some of the like that. I did two songs for Nice point. I think my real strength is the songs as many as three times. My Dreams for Cheech of Cheech and ability to take a kernel of an idea and record took over a year to do, but I Chong, who is a good friend of mine. I develop it. I can arrange it and build really broke it up with other projects. also did some stuff for another friend it from just rhythm guitar into a I did songs for three movie sound- of mine in Malibu who is a producer/ finished product that sounds like a tracks and did a lot of skiing in the director. I enjoyed making music record. I don't follow any kind of set winter. I have my own 24 -track that you kind of experience in a visual pattern to do that. I can just hear studio, and if I did something I really scene as opposed to making a record things happening and do it. That's didn't like, my eraser head on the that has to have a hook melody or what I really enjoyed about bearing tape recorder worked great; it just lyric. It's just a way to step outside of the responsibilities of producer -the went away into the unknown. When I what I normally do and work on creative aspects. I was able to explore did stuff I liked, I kept it. I re -did projects with friends that were fun. things myself as opposed to some some of the songs three different MR &M: Do you feel that you other guy sitting there and saying, times with different players; redoing attempted to retain or avoid an "Well, I hear horns here. Let's hire basic tracks or vocals until I got "Eagle -esque" sound in your solo this stranger to play horns. Let's something I really liked, and that work? arrange this and that and do this, was the finished product. DF: A lot of people who heard the that and the other." I did it how I MR &M: It's been well -publicized record said there are two or three cuts wanted it. That's a strength that I that the Eagles were under tremen- that really sound like what the Eagles enjoy and that I do well. dous pressure to "top" the multi - would have recorded in the '80s. I MR &M: Wasn't it difficult to platinum success of Hotel California, really tried not to do that. I didn't undertake your own production taking the group to the breaking want people to say, "This guy was an responsibilities? Didn't you miss the point during the year -long recording Eagle and here he is trying to make a kind of objectivity that Bill Szymcyzk of The Long Run. So it becomes quite record that sounds like the Eagles to provided for the Eagles? apparent from the conversation, that claim that fame." I tried desperately DF: I wasn't ready to have another now you're out for fun. to not do that. But if a guy writes a producer step into my creative DF: There's no point to being novel and then he writes two or three process and dictate to me the way it under pressure in my career now. more novels, you'll recognize his style should be done. I don't feel that That's what felt really great about even though it's another story. It's Szymcyk knows any more or less making this record. I wasn't under just the way the guy creates or writes. about making successful records the pressure I was coming off Hotel I participated in a lot of the writing than I do. (laughs) At the same time, I California or The Long Run and and arranging- mostly guitar parts- don't know if you can keep your 36 MODERN RECORDING & MUSIC

www.americanradiohistory.com money playing in bands at fraternity At parties and making records when I one point in my career I really was 14, but I really wanted to be a thought that I wanted to do respected artist and instrumentalist. MR &M: How did you come to join something more artistic; art for the Eagles? DF: When I was in Gainesville, art's sake. Something over and Stephen Stills and I had a band called the Continentals for about a year and above rock'n'roll. I was making a half. Then he split for California. in Bernie Leadon moved from San great money playing bands at Diego to Gainesville because his fraternity parties and making father is a nuclear physicist and there is a large nuclear research records when I was 14, but I really division at the University of Florida. Bernie was this little banjo player wanted to be a respected artist and who played flat -picking bluegrass and a little mandolin. He came to instrumentalist. town, went into the music store and asked who was hot in town. He wanted to meet me, and picked me up at a bus station one day after I had objectivity in the middle of all that. studio that he used as his frame team, been up in Lake City playing at a The whole process is subjective when where he could take people in that little junior prom by myself. I was you're the writer, the performer, and area -from the Berklee School of about 15 years old. We got to be real the producer, all at the same time. I Music -bring them in, and let them good friends and he filled Stephen's did hire quite a few different engi- do tapes. He found new acts and slot in the Continentals. We fired a neers on the project to try and players that way. So I sat up there couple of guys and hired new guys, separate sounds: drums, overdubs and learned how to make records and renamed the band and worked and whatnot. I really relied on the produce. I was staff engineer, guitar together for about two and a half engineering techniques and form of player and arranger. I did every- years until he got out of high school. other people to obtain certain sounds thing. (laughs) At that point, I He bummed around Gainesville for for me. But as far as the way things learned a great deal about making about a year and then went back to went down -the arrangements and records. I really wanted to study California. He wanted me to go along, the ears that were put to it -that was more. So I went over to Berklee and but I said, "Well goodness, I'm a little all me. I just felt like they were my met with the guy who was head of the Gainesville boy and I can't just leave songs, my project and my album and guitar department. I sat there and everything I know and go off into the I wanted to jump in and get my feel. played for him and he offered me a world." I wasn't ready. He kept MR&M: Did you have any formal teaching job. I didn't want to teach calling me from California and training? freshman. (laughs) I wanted to study. coaxing me to come out, telling me DF: Yes and no. I grew up in He thought that I should just pick up about the work everywhere, gigs, Gainesville, Florida, and sort of took a few textbooks on the side and go clubs, people on the road and making a few lessons there. Then a guy who through them, rather than waste my records. He joined the Flying Burrito had just returned from Berklee time and money in class. He told me Brothers and every time they came School of Music -where he studied there was little to teach me. through Jacksonville, I'd go over and composition, theory and arranging MR&M: Who were your influences? see them. Finally -after I had gone to for six years-opened up a school DF: The first people who influenced New York and Boston -the Eagles teaching guitar composition, big me were guys like James Burton, had put out their first album and band writing, piano and theory. I was who played with Elvis Presley, and were appearing in Boston. I didn't hired by him to teach guitar to 12- the guys who worked with the Everly know those guys from Joe Schmoe, year-olds who got their K guitar for Brothers. All of the '50s and early '60s but I went to see Bernie, went Christmas in exchange for personal guitar players. That's where every- backstage and jammed in the dressing instruction. He taught me theory, one kind of got their framework. room with them. Frey and Henley composition and sight reading. I Then everybody learned from the told me I should move [to California]. studied with him for about two years. wonderful invention of the Ventures' I was doing okay, but I finally Then I went to New York and was on twang bar, playing it at fraternity gathered up about 700 bucks, rented Creed Taylor's label [CTI] with a parties, etc. When Clapton came out, a U -Haul trailer and drove out. I was jazz /rock fusion group in the late he was obviously a big influence. working a job with Crosby and Nash '60s. After beating the bushes in New Then I began listening to a lot of jazz as their guitar player and backup York for about a year and a half- players, like Wes Montgomery, people singer, filling in Stephen Still's doing sessions, playing the Village playing jazz guitar. At one point in parts. I came off a tour and the Gate and doing that whole scene -I my career I really thought that I Eagles asked me to play on the record didn't want to live there any longer. wanted to do something more artistic; On The Border. I went down and So, I moved to Boston where Creed art for art's sake. Something over and played a slag guitar part. They called Taylor got me a job working in a above rock'n'roll. I was making great me the next day and asked me to join

MAY 1984 37

www.americanradiohistory.com I the band. I was about 21 or 22 and whoever the guy was playing that process and select what coverage said, "Hey, okay." day who played really well in the they want for the master. MR &M: How do you approach particular group and sounded right MR &M: Did you use a lot of special recording in the studio? for that tape. Then I would erase the effects? DF: Having my own studio enabled LinnDrum, because I had a real DF: I did a lot of backwards-stuff me to try anything I wanted; I tried to drummer in the lineup. Then I would with multi- tracking. I did backwards do things in completely the opposite have bass players come in on succes- effects on guitars, as on "Who way the Eagles made records. The sive days until I found the guy who Tonight." There are backwards Eagles would start writing a basic just played spotlight bass. When I synthesizer effects on "Still Alive," song, the start of an idea. We would had a drummer and a bass player and I did a little while synching parts rehearse it and get it to the point who were happening, I'd bring in that were recorded from different where it was a nice arrangement. keyboard players. We would sit there slaves of different arrangements of Then we would go into the studio and and write synthesizer parts. Finally, the same song. That was possible start recording and overdubbing when I got keyboards, bass and because they were in the same key strictly on 24 tracks. We limited the drums, I would sit down and do the and had the same tempo. I could take overdubs, to a certain extent, within guitar stuff myself. When I got something that was great and synch the framework of 24 tracks. As an through that, I had literally assimi- it into the master. There were a lot of individual artist, I deliberately lated -piece by piece -what sounded unorthodox approaches to things. didn't put a band together and write, like a band playing together. But, in MR&M: Why did you decide to rehearse and cut the songs in the fact, it was done track by track. build your own studio, Radical Records? DF: I have two and a half acres in Malibu. Originally, it was a large guest house where the Eagles used to rehearse. I used to have a little eight - Bernie (Leadon) was this little track Otari and we would wheel this banjo player who played little Tascam model five console into the master bedroom, which served as flat picking bluegrass and a little a control room. We'd move all the stuff out of this other huge room that mandolin. He came to town, went was about 25 by 40 feet-I bought the house from Tommy Chong and he had into the music store and asked who made this room into a living room or pool room or barn or something -and was hot in town. that's where we would set up the band. We would write songs and rough through them and make our same way. I know how the final MR &M: So basically, it was an tapes. Those little half -inch eight product ends up through that process. electronic jam session. track tapes sounded good, because I guess I kind of did things back- DF: Yeah, right. It enables you to the room we were recording in wards. I spent a lot of time around a do a lot. Say you have a slave of a basic sounded good. As a matter of fact, I producer named Albhy Galuten, who track. When you get toward the end tried to get the Eagles to build this produces the Bee Gees. He gave me of building your instrumentals, you studio about five years ago, right the idea of taking a basic drum have four basic tracks and one track after we had finished Hotel California. machine or a basic click track and for SMPTE to lock your machine up. I saw the bottom -dollar budget cost building an arrangement for a song That leaves you like 19 tracks to do on that album, which was well over by yourself, step by step. So I would background vocals on. So, one day I one and a half million dollars. I take a rhythm section like a Linn - had Timmy Schmit come out and he thought it was ridiculous that for half Drum and record it on a sequencer. I would sing 14 background parts, of the price of one album, we could would sit there and write a basic bass three primary parts, three harmony buy a building, equip it, and use it as line and keyboard part and then play parts and three parts of the third much as we wanted, and rent it out a couple of real rough rhythm harmony above that. Then he took when we weren't using it. Well, the sketches and put a rough vocal on it. another 12 tracks and sang 0000s band members said, "We don't want Eventually, I had a demo on one tape. against it. I would have Kenny to go into the studio business, so we'll Then I would take it and make Loggins come in and sing the same make another album and have it cost slaves- transfers -of that tape parts. So I would take two of Timmy's another million and a half dollars." master onto a 24 -track slave and voices and two of Loggins' voices and So, I decided to put a studio into my stripe it with SMPTE (time code), so two of my voices and mix them into a place. It was primarily built by Rudy that the two tapes would lock up group of two to four tracks that Brewer's construction company, together. I would make four or five sounded like Timmy, Kenny and I which built the Record Plant in Los copies of that same song. Then I had gone out there and just sang this Angeles and Bayshore down in would bring in maybe four or five incredible performance that blended Miami, where the Eagles used to different drummers, set up and play together perfectly. It's sort of the way record. He also built Rumbo Record- drum parts against that track until I that people make films. They shoot ing out in the valley for the Captain found whether it was (Russ) Kunkel certain scenes and camera angles and Tenille. I felt if I was going to or Tris Imboden or Carlos Vega or and then they go into an editing build a room, I might as well have the

38 MODERN RECORDING & MUSIC

www.americanradiohistory.com same guy who had built the studios I take a guess that I used about 30 going to turn out to be such a neat had been living in. That way I different guitars on this record. If instrument. wouldn't walk into a control room you use the same Stratocaster or MR&M: Are you planning to tour? and have it take me a year to get Telecaster for rhythm guitar parts DF: I'm not really crazy about acclimated. He did a wonderful job. and then for solo parts, pretty soon touring. For one thing, we spent a We moved a few walls here and there everything on the record starts good 10 years with the Eagles out of and basically converted this master sounding the same. The one element town on the road and in the studio. bedroom -which is about 20 by 30 that existed on Eagles' records was I've seen every steel -doored Holiday feet -into the control room. We that every time we played another Inn in America at least three times. changed a few walls in the studio song, everybody played a different MR &M: And been thrown out of part, floated the floor and whatnot instrument -even on stage. On stage, most of them at least once. and made it into a basic studio. It everyone got a new guitar and a DF: Yeah, right. (laughs) It's just works out great. It's about a 100 -yard different amp -and consequently a that I'm not wild about touring, but I walk across the lawn and it's close different sound -on each song. That really like to make records. It's enough that I can stop for a break and helps a record sound unique from cut exciting and it's creative. It's not just eat dinner with my family and come to cut. Even though it may be the walking out and doing the same show back to work. I spent a lot of time out same people playing with the same over and over and playing all that of town recording with the Eagles. I expressions, the total characters are crap -although I do enjoy playing for have four children and they were different. live audiences and seeing the enthu- basically growing up without me MR &M: Do you have any favorites siasm. But I just prefer to go back around. They were spending a lot of that you use most often? into the studio. I'll do it if I have to, time traveling to see me on the road. I DF: I have a couple of Fender but only if I have to. just felt that I needed to be around my Stratocasters that I like a lot and a MR &M: You mention that you family. Also, I really wasn't looking couple of '59 Les Pauls that I also use would like to stay off the road to forward to getting into a car and a lot. I have a guitar that some guy spend more time with your children. driving into Los Angeles every day gave me when we played Japan the Are they musically inclined? and then back out. last time. I was leaving the airport MR &M: Can you detail the equip- and this Japanese guy came up and ment in the studio? handed me this cardboard box and DF: I made my contacts with MCI said, "I made this guitar for you in my when the Eagles were down in Miami garage and I really hope that you like and I began negotiating with them to it." So, I thanked him graciously and have the Eagles endorse their adver- came back to the U.S. and threw it in tising campaign in exchange for my locker at SIR (Recording Studios). reasonable purchase prices. When I was down there one day, cleaning DF: I think they all are. I have a we decided not to build the studio, I out my locker and just looking little boy who is almost 10, a little girl told them I might decide to do it through all this stuff piled around who is almost eight, a little boy who myself and they said they would give there and I thought, "Well, I wonder just turned five and a little girl who is me the same deal. It was right about what this thing looks like." I got a almost a year old. I haven't given any the same time that Sony was pur- razor blade and opened up the case of them formal lessons or pushed it. chasing the company and I ended up and took it out. It really looked like But they all come over to the studio getting a very, very reasonable price somebody was looking in a mirror and they like the synthesizer. I from the MCI people. That was the when they designed it. Everything showed them how to turn it on and equipment that I learned to make was kind of upside down and back- they love to make sounds and noise records on and I knew the way that wards and just looked very bizarre. I and figure out little songs. I think things sounded on that gear. I threw it in my car, took it home and that's the way I learned, through my figured with the same equipment the plugged it in to see what it sounded own desire rather than being forced Eagles had used and the same type of like. It sounds and plays really great. to take piano lessons and practice. It room that Rudy Brewer built, I I couldn't believe it. The guy who just seems like more fun and less couldn't go wrong. So I bought MCI. I made it is named Mooney. But it work until they really get to the point bought a JH536D console and a JH- doesn't have anything written on it. where they want formal training. 24 -track tape recorder. I have UREI It's just a garage guitar. It has two MR &M: Would you be sorry to see 813A time aligned studio monitors. I pickups and it sounds like something any of them follow in your footsteps? bought a whole slew of outboard stuff between a humbucking Les Paul and DF: No, I don't think that any of in the way of Lexicons and echoplates a single -coil Stratocaster. It fits right them should ever assume the dream and that sort of thing. I also bought in the middle. So, if you use a Strato- that they will become rich and some UREI limiters. I have some caster for the rhythm parts and that famous. After years and years of George Massenburg stereo equalizers thing to fill in- alternating parts struggle, some people still end up that I use a lot. against it -and the Les Paul for lead, playing in a club or just doing gigs MR &M: What guitars are you it really gives you three separate here and there. But if [my children] playing? characters. You can't get that with- want to, and they're happy with what DF: I have about 76. Through the out using some other type of guitar. they're doing, I certainly won't course of the Eagles, I collected tons It's really neat sounding. I haven't discourage them from it. As long as of instruments; antique instruments been back to Japan, but when I go, they're well aware of what the and instruments that have been I'm going to take him a special gift. I lifestyle entails on a normal basis for converted with different wiring, had no idea when he said he had made what most people get out of it. But, if pickups and active preamps. I would it in his garage (laughs) that it was they want to do it, that's fine. MAY 1984 39

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This is the next best thing to being there, the largest music convention in the United States. How are we taking you? With a one -hour video, hosted by noted author Craig Anderton, featuring demonstrations of the latest gear and interviews with industry leaders. See and hear the E -mu Emulator II, Kurzweil 250, Yamaha DX7, Moog Liberation, 360 Systems, Sequential Circuits' Six -Trak, and many other keyboards. Check out the latest in music software programs for computers, from a cartridge for the Commodore 64 to an IBM PC- compatible scoring and sequencing program. See the under $1000 SMPTE -based SMPL tape time code reader in action. Hear Seymoi.r Duncan and Hartley Peavey talk about their new amps. Listen to Tom Coster jam with a computer - controlled back -up band, and Emmett Chapman play solo "Stick" (you won't believe your ears). There are also drum machines, digital reverbs, MIDI, signal processors...and much more. If you want to know about the latest in music gear, this is a must -see video! The 1984 Winter NAMM Show" one -hour Video is available in VHS format for $49.95 plus $1.53 postage. Or, rent the tape for only $15.00 per seven -day week. (If you want to rent, submit the full $49.95 plus postage, and we will promptly refund any differences. Please be sure to tell us you are renting.) Use Visa or Master Charge, or U.S. funds check.

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Cords, Cables, and Connectors

ables and connectors, carry- can also connect signal processing come in a variety of configurations. ing power and signals be- equipment. Manufactured by Switch - In sound work, they are most com- tween various components, craft, Neutrik and others, it is monly used on snake boxes where are the lifelines of your sound system. compatible with most shielded cable you'd want to be able to disconnect It's been said that any chain is only as and speaker wire up to 16 gauge. the box from the snake cable or have strong as its weakest link, and this With many levels of quality on the the option of adding extra cable. certainly is true in regard to your market, we've found that the best /-1' Manufactured by Cinch, AMP, cables and connectors. Cords are in. connectors are reasonably durable. Cannon, Switchcraft, Amphenol and simple and relatively inexpensive RCA or Phono Plug: Originally others, it is compatible with a variety components, yet a faulty one can developed for use with home stereos, of cables, depending on its applica- often prove to be the Achilles' heel of the primary advantage of RCA tion. Its durability varies. your sound system. It's like having a connectors is their compactness. There are many good cords on the car with fantastic wheels and less Manufactured by many companies, market today, but constructing your than ideal lug nuts that won't hold they are compatible with small own will provide an alternative that them on. It just doesn't make sense to shielded cable. A 2- conductor con- allows you to customize your cords by invest a small fortune in sound nector of limited durability, the combining different attributes of equipment that cuts in and out or phono plug is sometimes found on cables and connectors. Many con- buzzes unnecessarily. So, this month mixing boards where their size nectors come with instructions on we are going to address the subject of permits a larger number of con- how to wire them to cable, but we'd cords, cables and connectors in the nectors in tight quarters. like to discuss some basic aspects of hope that you may be able to improve Tu'istlock: Originally (and primarily cord construction, one of which is your collection of "lifelines" and the still) used for carrying AC power, soldering, the process often used to way you use them. sound equipment manufacturers join a cable to a connector. We will begin with a brief descrip- have recently discovered the twist - tion of the connectors commonly used lock's excellent application as a Soldering in audio work. speaker connector. It mounts nicely, Basically, wires from the cable are XLR, Mic, or Cannon: Most com- accepts large -gauge wires, is very connected to pins, inside the connector monly used with microphones and for durable, and is easy to wire without by fusing them with heated solder, connecting them to snake boxes, solder. Manufactured by companies which acts as a conductor and these connectors can also be used like Hubbell and Arrow -Hart, it is binding agent. We can't stress how with patch cords and for carrying compatible with 12 to 16 gauge SO important it is to solder correctly. line level signals between mixing and SJO cables. Twistlock connectors You won't want to end up with boards and signal processing equip- come in 2 -, 3- and 4- conductor connections that fall apart from cold ment. Manufactured by Switchcraft, configurations. solder joints or cracked solder. Cannon, Neutrik and others, they are Banana Plug or Binding Post: One of the most important pre- compatible with cable that is up to 1/,- Usually used on the output section of requisites for good soldering is to in. in diameter. A 3- conductor con- power amps, this connector is com- have the right tools. The type of nector, the XLR is the only signal - monly wired to a twistlock connector solder used almost exclusively in carrying connector that locks, and is on the outside shell of an amp rack. sound equipment is 60 -40. Solder considered to be very durable in PA Manufactured by Pomona, H.H. comes in different gauges; .05 works applications. Smith, and others, it is compatible well for electronic work. We recom- /<'' -in. or Phone Plug: Most commonly with 16- or 18 -gauge speaker wire. mend using a 40 -watt pencil -type used with instruments and speakers Fairly durable, it is usually applied soldering iron. It heats up quickly, is (where it's a 3- conductor connector) in situations where it isn't discon- easy to handle, and allows you to get and headphones (where it's a 2- nected often. into small spaces. A 25 -watt iron will conductor connector), the phone plug Multi -conductor: These connectors work, but with less heat -generating

MAY 1984 41

www.americanradiohistory.com capability, it works more slowly. must use shielded cable, which has a And, the longer it takes to melt the metal layer under the outer casing solder, the greater the chance is of that completely surrounds the wire damaging the insulation on the cable. (or conductor) inside the cable. These HAVE A It's better to get on and off your wires inside the shield are usually connection quickly. It's advisable to called the "center conductors" or RECORDING have a damp sponge on hand to "inner conductors." The shield pro- frequently wipe the tip of the iron to tects against hum or buzz that might STUDIO keep it clean and in ideal condition to be induced into the inner conductor. make good connections. When con- The more the shielding, the better the PROBLEM? necting cables, be careful with the protection against unwanted noise. A amount of insulation you strip back. foil shield is one of the best; braided Remove just enough to make your shield is also common, especially in connection; to much bare cable is microphone cords, because of its Call DataLîne liable to short out when flexed. We durability. However, braided shield- don't recommend insulating your ing must be unbraided to solder it to A service provided by connections with any kind of tape; it connectors, and this can be time SPARS generally won't hold very long, and consuming. Spiral shield is all right A Non -profit Organization will inside of your connector for patch cords (which carry line Dedicated To Excellence Through turn the Innovation Education Communication into a gummy mess. Most connectors level, not mic level signals) and is come with an insulating sleeve; just very easy to work with. * The Society of Profession- make sure to position it correctly. We It's important to retain as many al Audio Recording Studios also recommend using thread lock, a strands of actual shield wire when offers SPARS members, and solution available at hardware stores, soldering connectors or you might non -members referred by a on any retaining screws that hold the end up with a noisy cord. Make sure SPARS member, a national connector together. These tiny screws the strain relief (outside casing of the telephone `hot-line.' have a tendency to work themselves plug) grips the outer casing tightly, loose, and the thread lock will help so that when the cord gets pulled, the Questions regarding any area keep them intact. strain relief will bear the brunt of the of recording studio operations Another useful accessory to have stress. including business, audio en- on hand is heatshrink, a strange gineering and technical main- substance that strengthens and Maintenance tenance will be answered by insulates connections. In the form of a As far as handling these lifelines of your sound system, the care they SPARS - approved sources at tube, it can be cut to the proper the outside of receive will help determine their no charge. length and slipped over the connector and wire. When heat longevity. Speaker wire and AC cords, which are durable and strong, Want a problem solved? ... call (as from a hair dryer) is applied to the in diameter, can withstand being wrapped around SPARS (305) 443 -0686 material, it shrinks - tightening over your connector and your forearm in straightforward cable, adding extra strength to the loops. Microphone cords, on the other s p,ans total assembly. If you use ID tags on hand, are a bit more fragile and your cords, you can use clear heat - deserve more care in handling. The shrink over them on the outsides of fold- and -tie method (where 4- or 5- foot of cord are laid out on the SOCIETY OF PROFESSIONAL your connectors. lengths AUDIO RECORDING STUDIOS ground, gathered and tied in a loose Wiring knot), and the inverted coil method When wiring cords, it's essential (where shorter loops of cord are made SPARS that you connect the proper wire to on the arm with a half twist put into Board of Directors and Consultants each pin. Test cables right after you each loop) are both recommended. These methods of storage put less Murray R. Allen Lenard Pearlman wire them to check for continuity and Universal Recording Editel- Chicago correct polarity. There are standard strain on your mic cords by distrib- Corporation, Chicago John Rosen uting the stress more evenly. It's not Jerry Barnes Fanta Professional color codes for electrical wiring. In United Western Studios Services, Nashville microphone wiring, for instance, pin recommended that you use duct or Los Angeles Malcolm Pierce Rosenberg any other kind of tape to secure coiled Charles Benanty Wolov & Rosenberg 1 on the connector is always the shield Sound works Digital Philadelphia (a bare silver wire), pin 2 is always cords; eventually the sticky residue Audio /Video Studios Christopher Stone from it will help dissolve the casing. New York Record Plant, Inc. black, and pin 3 is always white. Nick Colleran Los Angeles When wires are not dissimilar in Soft cotton clothesline, cut in appro- Alpha Audio Joseph D. Tarsia Richmond 2- priate lengths, serves the purpose Sigma Sound Studios color, as with conductor speaker Guy Costa Philadelphia wire, there should be a tracer ridge better. Motown /Hitsville USA David reig so We welcome your questions on any Los Angeles New York running down the edge of one wire Mack Emerman John Woram you can identify the hot and ground. facet of club -style audio engineering. Criteria Recording Woram Audio Associates them to: Miami New York Be careful to choose the right type Please send Leroy Friedman of cable when constructing micro- Sound Advice Columbia Recording Studios, New York phone cords, patchcords, or speaker c/o Modern Recording & Music wires. All microphone and patch 1120 Old Country Road. cords, as well as instrument cords, Plainview, NY 11803

42 MODERN RECORDING & MUSIC

www.americanradiohistory.com craig anderton

Sequential Circuits' Prophet -T8

nlike guitar or piano, where playing more $5,895 -well beyond the means of most musicians. forcefully alters both the amplitude and And that's a shame, because the T8 has the kind of timbre of the notes being played, most synthe- keyboard action many synthesizer players have longed sizers offer little -if any- dynamic response. While at for since the advent of the synthesizer. (An assignment least a few parameters are usually placed under the for the engineers at Sequential: Now that you've player's "real- time" control (e.g., pitch via a pitch bend figured out how to make a sensuous keyboard, figure control, or vibrato via an LFO depth control), with few out how to make it inexpensively.) exceptions, the only way to vary overall dynamics is So much for an introduction; let's examine the with a volume foot pedal or master volume control. synthesizer section. Being originally trained on guitar, where there is constant dynamic interaction between player and The Synthesizer. Since Sequential has set such a instrument, traditional keyboard synthesizers always high standard for their keyboard, you can't help but felt somewhat "distant" to me. (Of course, Donald measure the synthesizer against those standards. Buchla, Robert Moog, and many others have produced Basically, the T8 is a Prophet -5 with a few extras. As a variety of touch -sensitive instruments; as a rule, such, it seems strange to couple a quantum leap in though, these instruments have not been widely keyboard technology with a considerably more available.) But now there's the T8, an eight -voice ordinary polyphonic synthesizer, but the T8 does have polyphonic programmable synthesizer whose key- the virtue of familiarity. Don't misunderstand -the T8 board offers smooth, natural, realistic touch response. is a very capable synthesizer with extremely good For starters, you have 76 keys to work with -so you are fidelity (this is the most hiss -free synthesizer I have not restricted to a cramped little keyboard. Second, the played), but if you're looking for something that keys are made of wood and carefully weighted for a extends the boundaries of synthesizer signal - good feel. Third, and most importantly, the T8's generating technology, look elsewhere. keyboard uses optical technology to sense velocity (how The T8 includes two oscillators (A and B), each of hard you strike the keys), pressure (how hard you press which can select any combination of sawtooth, down on the keys once a note or chord is held down), triangle, and variable pulse waves. Both include and release (how fast you release the keys). It converts frequency (quantized in half-note steps) and pulse this information into control voltages which can width controls. Osc A also has a sync switch to lock it to influence such parameters as pitch, pulse width, Osc B's fundamental. Osc B includes three controls not volume, filter cutoff, and the like. I cannot emphasize found on Osc A: a fine tune control for detuning effects how great it is to be able to play the keyboard; we're not (such as chorusing), a keyboard track switch (when on, talking about a series of simplistic on -off switches (as Osc B follows the keyboard; when off, Osc B remains at found on most synthesizers), but rather, a keyboard the frequency set by the frequency control), and a low that provides a means of physically interacting with frequency select switch. If you turn on the latter marry of the most important parameters a synthesizer switch, Osc B can become another LFO for modulation has to offer. purposes (described later). That's the good news. The bad news is the list price: The two oscillator outputs, along with a white noise

MAY 1984 43

www.americanradiohistory.com output, feed three independent mixer level controls. modulation selected with the initial amount control The mixer output proceeds to a standard lowpass filter (see above). section with cutoff, resonance, envelope amount (i.e., The T8 also includes a master tune control, "A" 440 how much the filter envelope influences the filter Hz tuning standard tone, tune switch for automatic cutoff), and keyboard amount controls. The latter lets tuning of the instrument (which must be done you scale the filter to the keyboard, so that, for periodically, say, every 15 minutes or so), master instance, the higher notes can have a lower cutoff volume control, programmable volume control (for frequency than the lower notes. The filter has an balancing the level of different patches), cassette associated ADSR generator. interface controls, and a sequencer. The latter features The filter output then goes to a VCA that also has an a 670 -note capacity (shared by up to eight sequences), ADSR generator. However, there are two options rate control, and start/stop switch. While there is no unique to the T8's envelope generators. First is a arpeggiator and no provision for an external switch that lets you select an "ADR" response. When sequencer clock, the T8 does have a MIDI interface, on, the envelope bypasses the sustain portion of the which presumably lets you tie the synthesizer into cycle, proceeding directly from initial decay to release. drum machines and the like if you have the necessary Also, there is a programmable "second release" time accessories. (Note to just intonation fans: You can also that is footswitch -selectable. When you press the change the temperament by sending commands footswitch, the release time changes to a second, pre- through the MIDI port.) programmed release time. If the second release is set Think we're finished yet? Not by a long shot. How for a longer decay than the first release, pressing down about... on the footswitch gives an effect similar to a piano's sustain pedal. Programming Functions. The T8 stores 128 There are several modulation options. One is a patches, but with a somewhat unusual protocol. There standard LFO with triangle, sawtooth, and square are two banks ( "left" and "right ") that store 64 waveforms. You cannot select more than one different patches. Two LED displays show the selected waveform at a time. The LFO also includes a wide - patch for each bank. There are also two switches ( "left" range frequency control, switches for selecting any and "right") that let you select the bank whose patch is combination of four destinations (Osc A frequency, Osc to be edited or recalled, and eight additional switches B frequency, Ose A + B pulse width, and filter cutoff that select the desired bank patch number. Note that frequency), and an initial amount control which sets each bank can have similar- numbered patches that the amount of modulation being sent to the above sound different -for example, patch #36 left and #36 destinations. right are two different patches. Another modulation option is Poly -Mod. This rather With this approach you have several ways to play esoteric feature adds a great deal of potential to the with the patches, depending on the setting of three instrument by letting you use the Osc B output and /or "keyboard" and three "mode" switches. The keyboard the filter envelope (each has its own amount control) to switches let you choose between single (the entire modulate one of three switch -selectable destinations keyboard plays the patch selected with the left or right (Ose A frequency, Ose A pulse width, or filter cutoff switch), split (the left half of the keyboard plays the left frequency). The Osc B amount control is set up like a bank patch and the right half of the keyboard plays the standard attenuator; when fully modulating Osc A's right bank patch, with the split -point programmable frequency with Ose B in the audio range, you can get a for each split patch), and double (the left and right variety of buzzy, clangy, and fuzzy sounds. But patches are combined to make a thicker sound). With remember, you can also switch Ose B into the sub - single, you can play eight voices simultaneously. With audio (LFO) range. When you do, it sounds like Ose A is split, each half of the keyboard can play up to four being modulated by an LFO; but upon closer listening, voices. With double, you can play four doubled voices you'll note that each key you play has a slightly simultaneously. Note that double lets you double different LFO rate. This is because playing notes not different patches -you are not limited to doubling the only varies the frequency of Osc A, but of Ose B as well same patch. (assuming, of course, that Ose B is tracking the Then there are the mode switches, including a keyboard). This "polyphonic LFO" effect can be very mysterious "link" switch. With the T8, whenever you useful. store a patch in one bank, whatever patch is showing in The amount control for the filter envelope control the LED display for the other bank gets stored along (which, like Ose B, can be routed to any combination of with the first patch. Therefore, if you have some three different destinations) works in a somewhat particular combination of sounds you particularly like different manner from the Ose B output amount for a split patch, you can "link" them together so that control. At center position there is no modulation from upon recalling the patch you stored in one bank, the the filter. Turning clockwise modulates positively (i.e., linked patch will appear in the other bank's display. as the filter envelope rises and falls, the destination Another feature of link is that it operates inde- parameter rises and falls), while turning counter- pendently for the two banks. For example, suppose you clockwise modulates negatively (i.e., as the filter link patch #62 to patch #35, and then store #35 in the envelope rises and falls, the destination parameter left bank. Whenever you recall patch #35 from the falls and rises). programmer, patch #62 will appear in the right bank. There are also two modulation wheels, one for pitch However, you can also switch over to the right bank bend and one for modulation. The pitch bend is fixed to and link a different left bank patch to patch #62. In a pitch bend interval of about plus -or-minus four other words, just because #62 right is linked to #35 left semitones. The modulation wheel adds to any LFO doesn't necessarily mean that #35 left is linked to #62

44 MODERN RECORDING & MUSIC

www.americanradiohistory.com right. You can also store a patch in more than one bank only, or both banks. The cassette interface has location to get multiple linked pairs and generally some nice features too, like letting you save /load the have a good time tying patches together in various entire batch of 128 programs (note, however, that this combinations. takes about a minute and a half) or individual groups Yes, I know the above sounds strange and compli- of eight programs. And let's not forget the jacks on the cated, but after playing with the T8 for a few minutes back, namely separate mono and stereo outputs; everything seems to fall into place. In fact, I went from footswitch jacks for 2nd release, unison /track, and thinking that this way of dealing with patches was sequencer start /stop; cassette interface "to tape" and cumbersome, to thinking it was okay, to thinking that "from tape" jacks, and MIDI in/out jacks. There's also it's really quite clever and gives you a lot of options you a memory protect switch, power on /off switch, and wouldn't otherwise have. 110/220V voltage selector switch. Let's see, what have I left out...? Well, there's a That takes care of the important points, although, of preset switch. When on, you can recall presets, and course, much more could be said about the subtleties of when off, you're in "manual" mode where the controls this instrument. But the name of the magazine is act like those of a standard, non -programmable Modern Recording & Music, not T8 Review, so without synthesizer. And there's unison /track, which lets you further ado let's proceed to the... stack all eight oscillators on one note, or stack a chord onto one note ...and a record button when you want to Conclusion: While the synthesizer section of the store a patch. There's even a portamento (glide) T8 is certainly more than adequate, and is capable of control, although like most polyphonic synthesizers, its some fine sounds when properly tweaked, it's the action is not all that predictable. keyboard itself that is the star of this show -and frankly, the keyboard is a masterpiece. Additionally, Keyboard Modulation Options. This is what the action is so natural that you should have no trouble makes the T8 so responsive, and, best of all, these adapting to the velocity and pressure sensitivity. controls are all individually programmable for each There's nothing awkward about the response, such as patch. There are two velocity- sensing controls - dead spots or sudden jumps in sensitivity. attack /decay and release. These determine how the In fact, I can really fault the T8 on only one thing: keyboard reacts to your touch. With attack/decay up, if price. It's somewhat depressing to wait 17 years for a you hit the keys hard the attack and decay cycles synthesizer with a keyboard like this, only to not be behave accordingly; hitting the keys softly extends the able to afford it when it finally arrives. But that's life, I attack and decay times. With release up, the longer it suppose. And for those with six grand of disposable takes you to release your fingers from the keyboard, income, enjoy your T8 -it's quite a machine. the longer the release time. There are also two amount controls, one for the filter and one for the VCA, which determine how the filter cutoff and VCA amplitude parameters react to the keyboard. At center, the filter and VCA are not affected by the keyboard. When turned clockwise, hitting the keys harder raises the filter cutoff and VCA level. When turned counter -clockwise, hitting the keys harder lowers the filter cutoff and VCA level. Having these different options is useful if two patches are set up to respond differently to the keyboard. You can even do such things as change the mix of two patches by changing the velocity with which you hit the keys. (The total dynamic range of the keyboard response is about 30 dB.) So much for velocity sensing, and, believe me, it's a lot. The pressure sensing part offers an amount control (again set up as above, so that you can increase or There are decrease a parameter with increased pressure), along more than with seven destination switches. You can affect any 2,000 kinds combination of Osc A frequency, Osc B frequency, Osc of birth defects. A + B pulse width, filter cutoff, VCA level, LFO amount, or LFO frequency. Best of all, the pressure Call your local sensing is polyphonic. Therefore, if you're holding chapter for the down a chord and press one key out of that chord, only free booklet: that one key will be affected by the pressure sensing circuitry. This gives you fantastic control over the keyboard, and the response is totally natural once you "Be Good to Your Baby Before it is Born" have the controls tweaked up for your style of playing.

Details. There are also some minor points, such as the fact that the pitch bend and modulation wheels can March of Dimes BIRTH DEFECTS FOUNDATION be enabled for each patch. Thus, if you have a split or double patch, you can bend the left bank only, the right

MAY 1984 45

www.americanradiohistory.com len feldman

The Stereo N Decision And The Recording Industry

On December 22, 1983, several representatives of suppressed carrier amplitude modulation of a sub - the electronics industry got together to vote for a carrier at twice the horizontal line rate frequency. preferred multi -channel TV sound system. Actually, Audio bandwidth of each signal extends to 15 kHz, and two votes were involved. First, the voters had to choose the main channel pre -emphasis remains at 75 one of three basic transmission systems that had been microseconds, as in the past. Pre -emphasis of the tested and under consideration for the better part of stereo sub -channel is a part of the companding system, five years. Having chosen one of these transmission which will be described shortly. systems, the participants in the voting procedure then The combined peak deviation of the main channel had to choose one of three noise reduction systems, and stereophonic sub -channel is 50 kHz, due to the popularly referred to as companding systems. (The interleaving property that occurs when L and R are term companding is derived from the two -part statistically independent. Under this condition, the encoding and decoding process, which involves peak deviation due to the stereophonic sub -channel is compressing at the transmission end and expanding at also 50 kHz. When L and R signals are not statistically the receiving end of the two -part system.) independent, or when (L +R) and (L -R) do not have The three transmission systems that had been matched pre- emphasis characteristics, the combined studied were those proposed by the EIAJ (Electronic deviation of main channel and stereophonic sub - Industries Association of Japan), Telesonics Corpora- channel is constrained to 50 kHz and the separate tion, and Zenith Corporation. The EIAJ system components assume their respective natural levels proposal was similar, but not identical, to the stereo dictated by the acoustic scene. TV sound system in use for the past five years in Japan. A CW (continuous wave) pilot signal, having a For stereo TV sound, it employs an FM- modulated frequency of the horizontal line rate, is transmitted sub -carrier, whose center -frequency is twice the TV with a main carrier deviation of 5.0 kHz. The sub - horizontal line rate, or 31,468 Hz. The two remaining carrier for the Second Program Channel is five times transmission systems both employ AM- modulated, the horizontal line rate (or 78.67 kHz) and is frequency suppressed sub -carriers. The Telesonics system locked to that frequency in the absence of modulation. proposed a sub -carrier frequency of 2.5 times the The S.A.P. channel is FM- modulated to a peak horizontal line rate (39,335 Hz), while the Zenith deviation of 10 kHz by a signal that is band -limited to system positioned the AM- modulated suppressed sub - 10 kHz, and its pre- emphasis is, again, part of the carrier at twice the horizontal line rate. Additional chosen companding system. Main carrier deviation by subcarriers, for other uses (such as the broadcasting of this sub -carrier is 15 kHz. a second language or even a totally different audio A third sub -carrier, known as the Professional program) were also included in all three system Subchannel (which intended for voice or data proposals, but as tests went forward, all three transmission), is located at approximately 6.5 times transmission system proponents agreed upon a single the horizontal line rate. This last sub -carrier causes standard for these additional subcarriers. The 3 kHz deviation of the main carrier. additional sub -carrier designed to be used for second language or other audio programming has come to be How The dbx Companding System Works known as the Separate Audio Program, or S.A.P. Although the companding system chosen by the Channel. After years of testing and re- testing, the industry for noise reduction bears the name dbx, and industry voted for the Zenith system of transmission was proposed by dbx, Inc., its operation is more and for a modified dbx system of companding. This sophisticated than that of the familiar dbx noise combined system will be submitted to the FCC as the reduction system found in consumer tape recorder basis for their rule- making; the FCC is expected to products. The compander works in two stages. First, it move quickly in this matter. provides wide -band amplitude compansion to reduce Before we examine the possible impact of this dynamic range in the transmission channel at all audio decision on the recording industry, let's take a quick frequencies. This section utilizes a 1:2:1 linear dB look at the technical details of the chosen system. In the compander, similar to dbx's approach to noise Zenith transmission system, main channel modulation reduction, for tape recording. In addition, the consists of an (L +R) audio signal. An (L -R) stereo compander provides variable pre- emphasis de- difference audio signal causes double -sideband, emphasis, which adapts itself to the spectral

46 MODERN RECORDING & MUSIC

www.americanradiohistory.com distribution of the program material to take full shows or- perhaps most important of all- made -for- advantage of the limited channel headroom available. TV motion pictures whose sound tracks will now have The spectral compressor is able to boost or reduce high to take stereo into consideration? frequency levels, depending upon the input signal In such cases, recording engineers can profit by the spectrum. experience gained in Japan and Germany, where RMS detectors are used to control both the stereo TV has been a reality for several years. In amplitude and spectral companders, thereby provid- drama, for example, dialogue between characters has ing minimum sensitivity to impulse noise while been kept tightly "locked" on center -channel, so that maintaining appropriate reaction times for music the spoken words continue to emanate from the actors' signals. A clipper is provided within the compressor lips, on screen, rather than drift around as the actors control loop for preventing channel overload without move around the stage set. This has been true even inducing compressor/expander tracking errors. when long shots offered a view of an entire room or an Band -limiting filters are also included in the expanse of space. That being the case, what benefits compressor design. Compensation for the phase errors can stereo TV offer in terms of program enhancement? caused by band -limiting throughout the system is For dramatic programs or other programs involving provided in the form of a complementary sum (L +R) people speaking on- camera, stereo has been used in channel filter. Japan for background music, sound effects, and the What has all this to do with recording? (We were like. In other words, it has been put to good use in much beginning to wonder -Ed.) Quite a bit, as I will now the same way that Stereo motion pictures have used explain. Ever since 1958 or so, the recording industry stereo sound -to enhance the drama without creating has been learning how to mix sounds and position unreal sound fields in relation to what the actors are microphones for what was regarded as good stereo- doing on screen. phonic imaging. With no visual clues to guide the Some years ago, I was in Japan during the time listener, we attempted to create a sort of "sound stage" when Sumo championship wrestling matches were that aurally positioned instruments and vocalists being held. Of course, these were covered on TV -and across an imaginary stage, extending from well to the in stereo at that! In the case of this widely followed left of the listener to his or her extreme right. During sporting event, the announcer's voice and even the the early years of stereo recording, the results of those "grunts" of the contenders were confined to "stage efforts very often sounded like two separate and center," and therefore seemed to emanate from the TV distinct musical aggregations -one playing near the screen. Stereo was used to advantage by allowing the left loudspeaker, the other positioned just behind the crowd noises and applause to come from everywhere. right speaker. In time, we learned how to "pan" and The overall effect was very exciting in that the viewer thereby how to create a smooth spread of instruments became part of the excited crowd -in fact, surrounded picked up by the many microphones typically used in a by it. multi -channel recording. The best efforts along these Several audio experts have suggested that what we lines have resulted in recordings that provide very really should be doing with stereo TV is to employ a much the same spatial illusion one would get at a live three- channel arrangement rather than a two -channel performance. Poorer efforts have been described as setup. In such an arrangement, the TV set would still "multi- channel mono" rather than effective stereo, but be equipped with its own internal speaker system. This all of these recordings have emphasized fairly wide speaker would be fed with a mono mix (L +R), while the separation. It has even been fairly common practice in separate L and R signals would be fed to flanking recordings using vocals to offset the vocalist from speakers or to the widely separated speakers of an dead -center simply to lend interest and variety to a associated stereo system in the viewing room. A strong performance. proponent of such an arrangement has been Mr. Emil Now let's consider what the situation is going to be Torick of CBS Technology Center, who has demon- when stereo TV hits the airwaves. Suddenly, the strated such a three channel system to me. With the viewer /listener is going to be confronted by a small availability of a separate audio program channel in the screen and a wide sound field. Let's face it, even those selected stereo TV system, it might even be possible to listeners who own projection TV systems (and they are transmit dialogue or other center- channel material on relatively few in number) will still have a much wider the S.A.P. channel while "pure" stereo material could sound field relative to their picture width than would be broadcast via the regular main channel and sub - be true in a motion picture theater. Many psycho- channel components of the transmitted signal. acousticians have questioned the value of having such Compatibility for owners of older TV sets need not be a widely spread sound image associated with a small sacrificed, since the L +R signal would also be received "dead -ahead" video presentation. In the case of strictly by such sets. musical presentations, most of us have had some Clearly, the recording engineers of the world are experience with "stereo TV" already, thanks to the going to have to re -think their recording techniques as many years of simulcasts, largely produced and we enter the world of stereo TV in earnest. Since TV supported by Public Television. In such simulcasts, the has a voracious appetite for more and more material, I public apparently has not objected to seeing video suspect that, in the next few years, recording studios closeups of a single instrumentalist followed by long are going to be mighty busy turning out new sound shots of the entire orchestra followed, in turn, by tracks and perhaps remixing old ones to suit the needs views of the conductor waving his baton, with the of this latest -but different -stereo medium. Fortu- sound field remaining fixed (and nicely spread out nately, the transition to stereo will not take place all at between the loudspeakers) during all these scene once, so those of us involved in audio recording will changes. But what will happen when stereo is used for have sufficient time in which to learn these new video drama, or sporting events, or comedy /variety approaches to sound recording. 47 MAY 1984

www.americanradiohistory.com PUwMrrwMlen feldman i`iiI`iirfiriF=1 ,_.-rT:` Carvin EQ2029 1/3- Octave Graphic Equalizer

Wevatien _ _ m _ ... / 4 1 t 4 1 4 4 t t ! R t !

General Description: The EQ2029 is a profes- that switch are low- and high -cut filters. The low -cut sional 1/3- octave graphic equalizer suitable for use in filter has a nominal -3 dB point set at 20 Hz, while the remote broadcasts, recording, or sound reinforcement. high -cut filter's cut -off point is set at 20 kHz. With the It is a single -channel equalizer, and therefore two high -cut filter activated, roll -off above 20 kHz is at a units would be required to equalize a pair of stereo rate of 18 dB per octave. The power On /off switch, channels or for a high -fidelity stereo system. Despite located at the lower right hand corner of the panel, its obvious professional construction and design, illuminates when power is turned on. Carvin Corporation stresses the fact that the unit The input connectors to the EQ2029 are located at would do well in a home hi -fi application or in an the far right of the rear panel. There are four input advanced home recording setup. Indeed, our measure- connectors in all: a female 3 -pin XLR connector, a male ments of the performance of this unit clearly 3 -pin XLR connector, and two %-inch phone jacks. The illustrated why equal emphasis was given to pro as XLR connectors are wired in parallel, as are the two well as domestic use of the equalizer. It had the lowest phone jacks to facilitate distribution of the input signal distortion and the most extended frequency response to other equipment. The XLR connectors will accept of any graphic equalizer we can remember testing in either balanced or unbalanced input signals, since the recent years. EQ2029 employs an active differential input stage. Physically, the chassis and panel design of the The '/ -inch phone jacks accept only unbalanced input EQ2029 are intended for standard 19 -inch rack signals. mounting. The twenty -nine slider controls which The output connectors are located just to the left of control the 1/3- octave bandpass filters of the equalizer the input connectors and consist of a single male 3 -pin are all equipped with center -position detents, making XLR connector and a '/ -inch phone jack. The XLR it simple to reestablish flat overall response when output connector provides an active -balanced output starting to equalize a system in a new environment. signal, while the phone jack offers an unbalanced Only active -bandpass filters are used in the circuitry; signal. Output signals have the same polarity as input there are no inductors or gyrators used. signals.

Controls and Switches: In addition to the 29 frequency slider controls already mentioned, the Test Results: A summary of our measured test EQ2029 is equipped with a slider -type gain control results is compared with Carvin Corporation's which is located at the extreme left of the panel. The published specifications in our usual table of VITAL gain control is calibrated from "minus infinity" (input STATISTICS. Figure 1 is a plot of frequency response, turned completely off) to +6 dB, with the "0 dB" (unity made using our Sound Technology Model 1500A audio gain) point occurring dead center on the slider, tester. The sweep extends from 20 Hz (at the left) to 40 parallel to the "flat response" settings of the individual kHz (double vertical lines denote 100 Hz, 1 kHz and third -octave slider controls. Thus, when all the white - 10 kHz points), and the vertical scale is 10 dB per tipped slider controls are set to their mid -points, division. Two sweeps were made: one with the high and response is flat and gain is 0 dB. low cut filters "off," the other with these filters turned At the extreme right end of the panel are four "on." The cursor has been set to indicate the response, switches. The first of these is an EQ bypass switch, in each case, at 20 kHz. Response was -0.4 dB at that handy for making instant A/B comparisons between frequency (well within the ±1 dB tolerance claimed by equalized and unequalized system sound. Just below the manufacturer), while with the high -cut filter 48

www.americanradiohistory.com FR

______

FREQUENCY ILO,. 10dB/D L- 2.5dB R- 0. 4dB 20, 0kHz Figure 1. Frequency response for the Carvin EQ2029 Figure 3. Detailed plot of boost and cut characteristics equalizer with and without low- and high -cut filters of a single filter (center frequency: 1 kHz) of the activated. EQ2029.

activated, response was down -2.5 dB at 20 kHz, close Hz to 20 kHz, log sweep) with all filter controls set to enough to the -3 dB cut -off point. Separate measure- their mid -points (middle plot), with all filter controls ment of the frequency response of the equalizer, using set for maximum attenuation (lower plot), and with all instrumentation that extends beyond the end points of controls set for maximum boost (upper plot). our automatic sweep system, led us to the fact that the Harmonic distortion measured for this equalizer -3 dB points for the equalizer (with no high or low cut was lower than we have ever measured for a similar filters activated) occurred at frequencies of 4 Hz and product. At mid -frequencies (at an input level of 82 kHz. +10 dB), THD measured only 0.004 percent, increasing

FR

10dB/D L+13, 2dB R-14. BdB 1.00kHz

Figure 2. Multiple sweeps show boost and cut range of Figure 4. Overall response of the EQ2029 with all filter each band pass filter of the E02029. controls set to maximum (top curve), mid -points (center curve) and minimum (lower curve).

Figure 2 shows a 'scope photo taken of the face of our minimally to 0.005 percent at 20 Hz and to 0.0075 audio spectrum analyzer /storage scope, on which we percent at 20 kHz. What's more, the distortion had plotted successive sweeps showing the boost and remained almost as low as input levels were increased cut range of each of the 29 third -octave controls of this until just before actual overload occurred (at around equalizer. A detailed plot of the boost and cut range +20 dBV). I M distortion was equally impressively low, and bandwidth of a single filter (1 kHz) is shown in with readings of 0.009 percent at +10 dB input. Figure 3. Maximum boost for this particular filter was Figure .5 is a 1/3- octave plot of signal -to -noise for this +13.2 dB, while maximum cut was -14.3 dB. Figure 4 equalizer. The plot was made using a reference level of shows the response obtained (over the range from 20 0 dBm (0.775 volts across 600 ohms). Overall S /N, MAY 1984 49

www.americanradiohistory.com where there is a nominal "line level" signal. In NS WD L-84.4dB 10dB/D recording studio applications, an appropriate point at which to insert the equalizer in the listening chain is between the mixer's control room outputs and the inputs to the power amps. Of course, two EQ2029s would be required for stereo operation or monitoring. In most applications, we found that the high- and low -cut filters did not color or alter overall sound quality at all, and therefore left them on since they do afford protection from sub -sonic transients (which might damage woofers) and from ultrasonic oscil- lations in system components ahead of the equalizer, which might damage high frequency horns or tweeters. Only the super -hi -fi purist would object to _I - such filtering outside the actual audio spectrum, and such purists, of course, have the option of turning the 10dB/D L-98.3dB I .00kHz filters off at any time, for "critical" listening Figure 5. Signal -to -noise ratio analysis of the EQ2029 requirements. (referenced to 0 dBm output). The owner's manual supplied with the EQ2029 goes into some detail regarding the use of a pink noise generator and an audio spectrum analyzer in attempting to use any equalizer. The manual points out that while a loudspeaker's "worst" problems can be corrected -to some degree -by ear, only such shown at the top of the plot, was -84.4 dB. If the 20 dB instrumentation, properly used, can provide precise of headroom is added to this figure, we come up with an correction no matter how good the equalizer is. We overall S/N ratio of 104.4 dB, an excellent figure and couldn't agree more. In fact, it is the very high quality one that corresponds almost exactly to the manu- of the Carvin EQ2029 that demands suitable related facturer's claims. equipment if the full benefits of this equalizer are to be obtained. The makers of this product have proven, Comments: We found the Carvin EQ2029 to be once again, that high fidelity performance and everything its manufacturers claim for it. It fits into professional audio requirements can be found in the the audio signal path at almost any convenient point same piece of equipment.

CARVIN EQ2029 1/3-GRAPHIC EQUALIZER: Vital Statistics

SPECIFICATION MANUFACTURER'S CLAIM LAB MEASUREMENT Input Impedance 20K ohm, balanced Confirmed 10K ohm, unbalanced Confirmed Maximum Input Level +20 dBv +21.3 dBv Output Impedance 150 ohms, unbalanced 300 ohms, balanced Confirmed Maximum Output Level +20 dBv into 600 ohms, +21.0 dBv unbalanced; +26 dBv into 1200 ohms, balanced +26.5 dBv Boost /Cut +15 dB +13.5 dB (typ.) Frequency Response 20 Hz- 20kHz, +1 dB Confirmed -3 dB Bandwidth 7 Hz to 85 kHz 4 Hz to 82 kHz

THD Below .01 °/0, 20Hz -20kHz 0.004% at 1 kHz 0.005% at 20 Hz 0.0075% at 20 kHz IMD N/A 0.009 °/o Noise 104 dB below max. output 104.4 dB (84.4 dB below 0 dB reference level) Power Requirements 120/240 VAC, 560/60 Hz Confirmed Dimensions (W x H x D) inches 19 x 31/2x 7 Confirmed Weight 83/4 lbs. Confirmed Price: $279.00

Circle 50 on Reader Service Card

50 MODERN RECORDING & MUSIC

www.americanradiohistory.com wGat s mew sw;,*taC akd ou4sic

ORBALA COMPRESSOR/ LIMITERS

Orban Associates new Model 412A (mono) and 414A (dual channel/ stereo) Compressor /Limiters are streamlined versions of Orban's popular 422A/424A Gated Com- pressor/Limiter /De- Esser. The new units feature user -adjustable Com- pression Ratio, Attack Time, Release Time, and Threshold controls in addition to Input and Output atten- circuitry adapted from the Orban fier clipping and overload of the uators. Peak-limiting and compressor Optimod ® -FM Model 8100A broad- control circuitry. Suggested retail functions are cross -coupled to elimi- cast processor. The result is a straight- price of the 412A (mono) is $425.00; it nate potential pumping and modula- forward level control device that mounts in a single rack space. tion effects. The Threshold control provides 25 dB gain reduction range Suggested retail price of the 414A with 20 dB range allows the user to with minimal audible side effects; (dual channel/stereo) is $799.00; it determine the level at which gain however, control range is adequate to mounts in a double rack space. reduction first occurs, without produce desired special effects in Active -balanced, floating inputs and changing below -threshold gain or production. An illuminated, peak - outputs are standard on both units. compromising headroom or signal - reading Gain Reduction meter pro- to -noise ratio. The new units use vides metering of total gain reduction. Circle 51 on Reader Service Card exclusive Orban feedback control Two LEDs indicate program ampli-

ELECTRO -VOICE CARDIOID CONDENSER MIC Electro- Voice's model BK -1 micro- proximity effect that tailors low phone has recently been added to its frequency response with changes in product line. The new microphone the working distance. The mic's high departs from EV tradition in a sensitivity, smooth, peak -free fre- number of respects, including its quency response, and cardioid pickup unique physical profile and hand- pattern assure excellent rejection of some black design, while combining unwanted off -axis and reflected popular features from other mics in sounds that cause feedback in a live the EV product line. Dubbed the entertainment situation. This elec- . "Black Knight" by EV, the BK -1 is a tret condenser -type mic can be cardioid condenser mic especially powered by either a battery or suited to the needs of vocalists, phantom power. The mic is fitted though it is also excellent for other with an On /Off switch to greatly applications. The Black Knight's prolong battery life. notable mix of features offers the Circle 52 on Reader Service Card performer usable bass -boosting

MAY 1984 51

www.americanradiohistory.com ROLAND DIGITAL KEYBOARD RECORDER Roland's new MSQ -700 Digital of data. Data can also be stored on Keyboard Recorder is a 16 -voice cassette via the sequencer's Tape polyphonic sequencer with powerful Interface. Loading programs on the memory capabilities and many user - MSQ -700 is easy. They can be entered friendly features. Built -in computer in real time or by using the Step Load hardware and software make the function. Whichever method is chosen MSQ -700 fully compatible with any for data input, the Step Load function MIDI -equipped instrument. The comes in especially handy for editing MSQ -700 has an extensive memory programs. LED displays facilitate capacity of 6,500 notes, spread out easy location of the passage to be over eight fully polyphonic tracks. It edited. Pitch, time value, and dura- is designed to automatically make tion of each note are readily modified. the most efficient use of its memory The playback facilities are also facilities. Rather than assign a set highly flexible. Tracks can be played amount of memory to each track, back serially in any order desired, or Roland has made it so that each track multiple tracks can be played back uses only the amount of memory it simultaneously. It is even possible to needs, leaving the rest free for the copy several tracks onto one track for during multitrack recording. It remaining tracks. (Not a note of greater ease in playback and in- allows numerous instruments to be memory is wasted.) At any point creased programming potential. recorded onto a single track of tape, during programming, the user can Thanks to the MSQ -700's DIN /Sync without the generation loss associated check how much memory he has used facilities, it can also be used with with ping- ponging tracks. The Roland up and how much he has left by drum machines, such as the Roland MSQ -700 measures 14/56 -in. wide by means of an LED display. Roland has TR -808 and TR -606. There is also a 13.12 -in. deep by 4.32 -in. high, and given the MSQ -700 a battery backup Tape Sync function, which generates weighs 11 lbs. It carries a suggested system that allows long -term storage its own synchronized code for use retail price of $1,195.00. Circle 53 on Reader Service Card

TOA SPEAKER SYSTEMS TOA's new SD Series consists of four professional speaker systems for high -quality, live performance ap- plications or permanent installations. The three -way SD Speaker System incoporates a moving -coil tweeter. The speaker features a high -fre- quency attenuator for tailoring its output to performance requirements and room acoustics. Other features include bi -amp and bridging connec- tors, recessed handles, interlocking corners, a stand -mounting adapter, and a compact, extra -rugged en- closure. The SD design ensures ultra- low distortion throughout the tonal spectrum over a wide range of sound pressure levels. The system incorpo- rates a Thiele -Small aligned bass reflex design to provide a greater bass range, greater efficiency, and use of its front panel slotting func- tions as an acoustic low -pass filter. Overall, the SD Speaker is designed to provide extended frequency re- sponse (50 Hz to 20 kHz, model 38SD), high power capacity (360 watts continuous program), and a sensitive efficiency rating. Circle 54 on Reader Service Card

52 MODERN RECORDING & MUSIC

www.americanradiohistory.com INDUSTRIAL RESEARCH MICROPHONE MIXER The Industrial Research Voice - Matic Microphone Mixer Model DE- 4016 is an automatic four -channel microphone mixer with a Remote Control feature. The electronic cir- cuitry that provides the remote control capability is contained within the chassis of the mixer. The Remote Control function is provided by the DE -207 control box, which passes only dc voltage signals. Channel sensitivity, master level, and Stan- dard /Automatic mode are passed to the DE -207 when it's connected to the to its four -channel predecessor, the this automatic microphone mixer to DE -4016 chassis, and are returned to DE -4014, and to its modularly con- provide the gain, stability, and low the DE -4016 when the DE -207 is structed 12- channel predecessor, the background noise and reverberation disconnected. The DE -4016 has DE -4013. The potential principle of pickup of a single microphone system. identical performance specifications Dynamic Threshold Sensing allows Circle 55 on Reader Service Card

NEW FENDER MIXERS Fender's all new line of powered portable mixers offers configurations from six to sixteen inputs and dual channel, built-in 200 -watt -plus power amplifiers. Features common to the line include high -impedance and active, balanced low- impedance in- puts, three -band five -frequency equalizers, built -in phantom position, and LEDs that show signal present and /or peak on each input. The four models include two 200 -watt power amps, two independent monitor mixes, four patchable graphic equalizers, plus built -in program limiters and effects patching on each input (except model 3206). Models and suggested retail prices are: 3206 (6 -input stereo, 200 watts -per- channel): $1195.00; 3208 (8 -input stereo, 200 watts -per- channel): $1495.00; 3212 (12 -input stereo, 200 watts -per- channel): $1795.00; 3216 (16 -input stereo, 200 watts -per- channel): $2095.00. Circle 56 on Reader Service Card

NEW LINE OF DEAN MARKLEY SPEAKERS

Dean Markley Electronics' "Mag- 12 -inch sizes, including 40 -, 80 -, and num Power" speakers are now avail- 125 -watt capacities. A 10 -inch, 50- able exclusively in the Dean Markley watt model is also offered, the same Signature Series ampifiers. Utiliz- speaker used in the popular 410 ing high -temperature epoxies, heavy - cabinet in the series. gauge steel baskets and integral dust Circle 57 on Reader covers, the speakers incorporate Service Card magnets ranging from 20 to 100 ounces. Three models are available in

MAY 1984 53

www.americanradiohistory.com SAMSON MIC STANDS Samson Music Products' new line of microphone stands consists of all - metal tripod stands containing no plastic parts in either the boom arm tilting clutches or the height adjust- ment clutch. The stands are all triple chrome -plated and have both U.S. and metric threads permanently attached. Cable retainers are also included to provide a neat and organized appearance on stage. If you already own a mic stand and wish to convert it to a boom type, the Samson MBA -1 boom attachment fits all U.S. made stands. The DM -1 double mic stand is ideal for holding a mini -monitor and a microphone. Circle 58 on Reader Service Card

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54 MODERN RECORDING & MUSIC

www.americanradiohistory.com MAKING TRACKS Jimmy Miller, producer of the Rolling Stones, Spencer Davis Group, Blind Faith and Traffic, is back in NY to produce a new band called Face The World ... New from Fantasy, Milestone and Prestige: saxophonist Steve Douglas with his second album for Fantasy Records. Guest artists include Duane Eddy and Ry Cooder. Sonny Rollins is due to release his new Milestone album this spring... Recently at SoundShop Recording Studios: Lee Greenwood recording for MCA Records with producer Jerry Crutchfield and engineer Ernie Winfrey. CBS artist Tammy Wynette also recording with producer Jerry Crutchfield and engineer Ernie Winfrey... Long Island based rock group Industry has completed their debut LP for Capitol Records at Boogie Hotel Studios. Vinnie Poncia produced with Bob Schaper engineering...Columbia recording artist Johnny Mathis is moving in a new direction with his recent LPA Special Part of Me. Produced by Denny Dianteand arranged by Michel Colombier, this album features duets with Deniece Williams and Angela Bofill, and has one cut co- written by Paul Anka and Michael Jackson ...At Trod Nossel Record- ing Studios, Tommy Dorsey Blues Band cut basic tracks and completed some mixing fora new LP... Pumpkin and The Fresh MC's were at Quadrasonic Sound Systems in NY recording a 12 inch for Profile Records. The single was produced by Kurtis Blow and engineered by Dave Ogrin ... Talk Show is the new album by the Go -Go's for I.R.S. Records. The 10 song album was recorded and produced by Martin Rushent at Genetic Sound outside London ...Rick Springfield has released Hard to Hold, the soundtrack from the movie by the same title. Springfield was joined on the album by Peter Gabriel, Graham Parker, Nona Hendryx and Randy Crawford... At Sound Emporium Studios: Country artist Gene Watson along with co- producer Russ Reeder began work on a new album for MCA Records. Jim Williamson engineered with Cathy Potts assisting. Don Williams was also in working on a new album for MCA. He is co- producing the album with Garth Fundis. Gary Laney engineered ...Randy Kling of Disc Mastering Inc. recently mastered Charly McClain and Mickey Gilley's forthcoming Epic duet album, It Takes Believers. The album was produced by Norro Wilson... Bee Gee Robin Gibb was at Criteria Record- ing Studios working on his second solo album. The album is being co- produced by Robin and his brother Maurice. Dennis Hetzendorferengineeredwith RichardAchorassisting... Percy Jones, former leader of Brand X has formed a new band, Stone Tiger. Bill Frisell (guitar) and Dougie Bowne (drums), make up the rest of Stone Tiger. The group is prepar- ing to record their first LP...

ON THE ROAD Eurythmics have begun a North American tour that will run through May 1984. Opening for Eurythmics is Australian recording group Real Life... Rocklympics, Inc. announced that San Diego and Santa Ana Stadiums have reserved dates for the purpose of co- hosting the 1984 Rocklympics Music Festival this August 6 -10. The festival will feature 20 top acts and will coincide with the summer Olympic Games. Television coverage of the event is being planned ...The Romantics are presently touring with Adam Ant. The tour will continue through the end of April, after which the Romantics will headline their own tour of the West and Southwest...Westwood One's mobile studio recently recorded Genesis in concert at the Forum near L.A. The concert will be broadcast on Westwood One's Superstar Concert Series...Sly Dunbar and Robbie Shakespeare celebrated their 10th anniversary as a duo on March third with a five hour show at the Arena in Kingston, Jamaica. The event which was filmed, featured such performers as Gregory Isaacs, Black Uhuru, and Sugar Minott. Sly and Robbie will be backing Black Uhuru on their upcoming world tour...The Go -Go's will begin an extensive North American tour the last week of April. The tour will start out in Florida and will continue throughout the U.S. until the Fall ... On the video scene: The Storytellers, Inc. has produced a four minute animated rock video featuring Alan Parsons Projects' latest release, "Don't Answer Me." The video has already premiered on MTV, but will be seen in many other outlets, including movie theaters... Jazztime '84, an all star jazz music event, was presented and videotaped at the Beacon Theatre, Saturday March 17. The intention of Jazztime was to create a jazz event especially for video... MAY 1984 55

www.americanradiohistory.com &MUSIC...

THOMPSON TWINS: Into The Gap. [Produced by Alex Sadkin with Tom Bailey; recorded at Compass Point Studios, Nassau by Phil Thornalley.] Arista AL8 -8200.

Performance: Another success Recording: State of the art

The Thompson Twins have never had a love affair with the more traditional rock staples in modern pop (i.e., the electric guitar, bass and lavish drum sets). The trio is more concerned with the rhythm in rock'n'roll, opting to stay with synthesizers and percussion (not drums, but congas, marimbas, xylophones, etc.) as the main instru- ments in their music. Tom Bailey, Alannah Currie and Joe Leeway are a modern band and, as the tiresome cliche goes, a band of -and for -the eighties. But that is the only platitude that can be written about the Thompson Twins. Their music is never trite, but bold, flavorful and daring -a cele- bration. They are constantly looking to find new ways to play their instruments, searching for new ous thing: they divorced the tradi- more attention to how the instru- sounds and, with each passing al- tional instruments and only used ments sound and what they can do. bum, achieve a mastery and clever- electronic devices like the synthe- They also look to fuse together all ness which surpasses the previous sizer and drum machine. This in- their influences in music, and they do effort. trepid attitude paid off with another have many. Leeway is half -Irish, The single, "In The Name of Love," success for the band. half- Nigerian -that's what he told from the album of the same name, On "Into The Gap," the group me anyway -while Bailey has always brought popularity to the Twins in reenlists a few castaways -the guitar, been interested in the Eastern 1982. It's lively and festive beat was a harmonica, etc. -and uses them as cultures and religions; Currie is a smash on the dance floor. Then came irresistible compliments in their lass from Britain. So what we have "Side Kicks" a year later and the music. Another twist is that the here is a meeting between East and single "Lies," which again proved Twins have designed this album for West. that the Twins knew how to make the ear and not for the feet. Gone are This fusion is evident on "The Gap." people dance. On that record the the celebrated numbers urging the Here, the synthesizer is programmed band did a most curious and danger- feet to boogie. Instead, the Twins pay like a flute, twirling out a melody

56 MODERN RECORDING & MUSIC

www.americanradiohistory.com reminiscent of the days of Ali Baba is filled with images, shock and gets. Often a staple in his live and his 40 thieves. On the other side drama, parallel to his experiences performances, Carroll has finally of the map, "You Take Me Up" is the growing up. recorded Lou Reed's "Sweet Jane." prime example of a reggae influence. The tall, red -haired Carroll was (Reed is a Manhattanite with a tragic The way Currie plays the xylophone raised on the streets of New York. past that Carroll can identify with.) makes it sound like a steel drum, He's an Irish -Catholic who played Carroll's version lacks the guts of the while Bailey's brief harmonica inter- schoolyard hoops with the likes of original but does have a streetwise ludes give the song a rough edge. Kareem Abdul Jabbar and Nate feel to it. When the group uses the tradi- (Tiny) Archibald, became a heroin Over on side 2, Carroll gives us tional instruments, they are used addict by the time he was 14, and more insight into his talent with a sparingly and magically. On "Who wrote about it in "Basketball Diaries," few fastfire numbers. "Freddy's Can Stop the Rain," Bailey's electric a book heralded by novelist Jack Store" is crowded with images of guitar meanders sweetly between Kerouac. The singer has also authored streetlife so picturesque that one drops of synthesizer. During the a collection of poetry called "Life At feels as though he /she is in the store. introduction of "Day After Day," a The Movies." Clearly, these are not Lenny Kaye and Paul Sanchez lay trashy, garage -rockin' guitar sets the the achievements of your average down a syndicate of guitar that only pace and holds the rhythm of the rocker. adds and widens the dimension of the song. Somewhere along the line he got song. `Black Romance" tells the story It seems the Thompson Twins the idea to try his talents at rock'n'roll. of a discreet romance in a hotel as the thrive on the thick, juicy, rubbery In 1980 he debuted with "Catholic bass line and drums provide a steady, base sound they have used in the past Boy," a stark assortment of songs crawling beat. Carroll uses a bit of a on "Bouncing" and "Love On Your ringing with anger and rage, fea- Jerry Lewis- staccato keyboard sound Side." The bass line just bounces turing the poignant "People Who on "I Write Your Name" to make it along on "Hold Me Now," as the Died. "Whereas his ability as a singer swing. There is a slight heavy metal marimbas and congas add an extra was questionable, his hard -edged flavor to "Low Rider," a top heavy dimension of aural pleasure. "Sister tales of sex, death and drugs were creep -along number with powerful of Mercy," a piece about a bored mesmerizing. Two years later he crunching chords and tingling guitar housewife who stabs her husband to released "Dry Dreams," which solos. death, has that same heavy, rubbery showed Carroll in a state of dreami- Carroll's third album does prove bass, but this time paired with an ness and bewilderment. A mediocre that he can handle rock'n'roll as xylophone. followup, it was no where near as another means of expression. He Because of the care the Twins put powerful as the debut. doesn't stick to cliched song objects in into the percussion and rhythm of With "I Write Your Name," Carroll his pieces, and that is what distin- their songs, the pieces easily sway confirms two things: 1) he can't sing, guishes him from the mundane. His you whether fast or slow (i.e., "Doctor, but 2) his songwriting is as provoca- voice is memorable only because it is Doctor "). Their flair for adventure tive as ever. His style of singing is unusual and rough. But he is able to and experimentation makes each more of a half sing/half chant street convey a sense of excitement in his new album that much more special. rap. He's not as fast as the rappers, music which, while it might not make Like Joe Jackson, who has featured a nor does he want to be, but he twists him a star, will give him a following different musical approach on each and squeezes his voice for a harsh, that will look forward to each album. of his records, the Twins approach poetic aural effect. He vocalizes like And, with each record, more stories each effort differently. Whether its he not only wants you to hear the of passion and pain. musically or mechanically, the words, but taste them, see them and martin Basch Thompson Twins always seem tó fill become a part of them. But for the the gap splendidly. most part, he comes across as a raspy martin basch crooner. This is most evident on the album's only ballad (highly un- CHRISTINE McVIE: Christine McVie. characteristic of Carroll), "Dance the [Produced by Russ Titelman; engi- Night Away." Here he sounds like a neered by David Richards; mixed by frog with a cold, yet the background Elliot Scheiner; recorded at Mountain THE JIM CARROLL BAND: I Write harmonies of his hired help guide Recording Studio, Montreux, Switzer- Your Name. [Produced by Earl him through. land, and Lower Dean Manor, McGrath; engineered by Gene Paul Carroll is more of an unpolished, Gloucestershire, England.] Warner and Dan Nash; recorded at Atlantic loose, backstreet rocker. His music is Bros. 25059 -1. Studios, New York, New York.] simplistic, straightforward and Atlantic 7 80123 -1. pierced with a high energy level. Performance: Vocally strong Sometimes in the production the Recording: Safe Performance: Uneven, but raw and instruments wash right over his rousing vocals, like in "Voices," which gives As the silent backbone of Fleetwood Recording: Nothing to write home the piece a lackluster tone. It could be Mac, Christine McVie, with her about that his voice is just not strong breezy, beatific pop, balances the enough to carry itself. shopping -mall mysticism of Stevie You must understand one thing The album starts out with a couple Nicks and the sometimes pompous about Jim Carroll: He's a writer. of punchless tunes in "Love Crimes" eccentricities of Lindsey Bucking- Above his singing and songs, Carroll's and "(No More) Luxuries" but the ham. Sadly, the first chance she has forte stands in poetry. It is prose that longer the record spins, the better it to apply her marvelously brooding

MAY 1984 57

www.americanradiohistory.com voice to a solo Fleetwood A SINGER'S DREAM! album since make mediocre songs and production Mac's rise in the late Seventies sound better than they are, but un- suffers from a lack of strong material fortunately, on Christine McVie, it's and the predictably crystalline pro- not enough. duction of Russ Titelman. rob hoerburger The strength of McVie's voice lies in its subtlety -midly interesting after the first listen, intriguing after the fifth, irresistible after the tenth. Her creamy soulfulness stands some- REMOVES VOCALS FROM RECORDS! where in between Nicks's raggedness Our VOCAL ELIMINATOR can remove most or and Ronstadt's cold polish, and she virtually all of a lead vocal from a standard stereo - record and leave most of the background untouched! sounds a bit darker and more blues Record with your voice or perform live with the oriented on this album, even as she KIP HANRAHAN: Desire Develops backgrounds. Used in Professional Performance yet love connects easily to a home component stereo sings the most optimistic songs. An Edge. [Kip Hanrahan, producer; system. Not an equalizer! We can prove it works over It's the songs themselves that disap- David Rodriguez, Jon Fausty, engi- the phone. Write or call for a free brochure and demo record. point. "Love Will Show Us How" neers; recorded at Latin / Eurosound AZisteilmit moves at a faster pace than usual for Studios, New York City.] American McVie, and she handles the vocal in a Clave 1009LP /1008EP. single breath; but just as the guitars get a little jagged or furious, they Performance: Sincere, sensuous, recede in the mix. In spite of McVie's sizzling Before You Buy! building anger on "I'm The One," the Recording: Perfectly precise Time Delay Compressor/Limiters storyline about a stray lover is cliche - Reverberation Expanders Crossovers Spectrum Analyzers ridden and the Cars -like hooks - Latin rhythms have long flavored Noise Reduction Parametric EQ which begin with an inkling of American jazz and rock. Carlos Don't have regrets about paying too much for a lesser product. In demos and comparisons, we'll force-never quite catch on. Santana established the commercial show you why we're Better! Our Factory Direct One of the major problems is the sales allow us to produce a Superior product and viability of grafting Latin rhythms offer it to you at a Lower price. Call or write for a lack of a discernible instrument to onto San rock free full length Demo Album and 24 page brochure. Francisco nearly two Write to: LT Sound, Dept. MR, PO Box 338 accompany McVie's voice; neither decades ago. Eddie Palmeiri has Stone Mountain, GA 30086 her own keyboards, or the guitar of experimented with Afro -Cuban In Georgia Call (404)493.1258 Todd of TOLL FREE: 1. 800.241.3005 - Ext. OA Sharp, nor any the guest rhythms within a jazz context utiliz- playing by the likes of Buckingham, ing a big band format. As partisan Eric Clapton and Steve Winwood fill as I have always been to Latin the bill. Everyone continuously percussion, for some years I have compliments everyone else -an in- been waiting for a recording that spired half-solo here, and catchy half - would represent an imaginative riff there. Titelman's production is so advance in the genre of Latin rock homogenized (digitally, no less), that and jazz. FPE' to get any kind of presence in the bass Kip Hanrahan's new album repre- or drums you have to turn the bass sents that startling and revolutionary control all the way up, which in turn new form. He has composed a unified diminishes the power of the lead and daring song cycle that makes an vocal -the main reason for listening intensely personal and idiosyncratic in the first place. new form of Latin polyrhythms. There also seems to have been an Desire Develops An Edge is not attempt to keep the Fleetwood Mac simply a rock or jazz record with sound intact, a move that has limited Latin underpinnings; it is a glorious McVie's songwriting. A cut like "Got fusion of all genres. A Hold On Me," with its seamless Hanrahan's genius (and the over- 198 4 Pro -Line Guide harmonies, would make a good used term "genius" is not inappro- * if you're a pro sound user or contractor, get the FREE 84 page CARVIN catalog. See top fourth single form Mirage or Tusk, priate in this context) was to gather groups like Missing Persons, Alabama, Roy but fails as a keynote first single here. an unlikely band of highly diverse Clark, and Jefferson Starship play CARVIN. Only once with "Ask Anybody," a * Choose from hi -end recording consoles with and creative musicians and to allow parametric EQ, 800 watt amps, 1/3 octave McVie /Winwood collaboration with them to improvise around open - equalizers, bi & tri amp crossovers, pro a melody, monitor & concert speaker systems with lilting sharp but unas- ended song structures. Outstanding Electro-Voice, Renkus Heinz, & MagnaLab suming piano fills, and a vocal that and little known Third World musi- drivers. Over 25 sound systems with further reduced prices. Also, a complete line of guitars alternates between consternation cians like Haitian guitarist Ti'Plume and amps. and confidence does McVie the Ricardo Franck and Cuban per- * Compare Carvin's exceptional values and ser- songwriter and arranger measure up cussionist Puntilla Orlando Rios play vice. Buy DIRECT at Pro -Net prices - saving you hundreds of dollars. to McVie the singer. The rest of the dynamically and dramatically with Write: CARVIN, Dept. MR84, 1155 Industrial Ave. bright spots, such as the opening of the cream of New York's jazz artists Escondido, CA 92025. PH 619-747-1710 mml "The Smile I Live For," in which like bassists Jamaaladeen Tacuma FREE CARVIN CATALOG - - Free Catalog $2 for Rush 1st Class Mail McVie sings alone with just piano, and Steve Swallow. Jack Bruce, Name are sporadic and short -lived. Christine formerly of the seminal English rock I Address McVie has a enough voice to sings with the most II City great band Cream, !State _ Zip M R84J MODERN RECORDING 58 Circle 25 on Reader Service Card & MUSIC

www.americanradiohistory.com and I Never have I heard Latin percussion CONNECTOFS AND aching sincerity sensuality MICROPHONE CABLES have heard from any male singer in recorded with such depth and lucidity. rock or jazz in years. He is, at the In spite of this record being same moment, diffident and cool musically and sonically superior to while being roaringly engaged and 99 percent of what the major record 0 I BLANK -LOADED passionate. labels grind out every year, it might AUDIO CASSETTES not be 0 Hanrahan supplies Bruce with easy to locate in your town. It is ,... ENPTY REELS exceedingly complex lyrics, full of on the tiny American Clave label, AND BOXES stream -of- consciousness mouthfuls which is handled by New Music of "this -is- Soho -don't -you- know" Distribution Service. Their mail TAPES 6 CASSETTES .."4"1111 from . poetry. That Bruce makes such order catalog is available free by AMPEX MAXELL AGFA TDK ironic, ponderous, and sometimes writing to 500 Broadway, New York, BASF 3M downright pretentious lyrics sound N.Y. 10012. so natural and convincing is a The uncannily odd title of this triumph of considerable merit. Han - album first brought it to my attention. `iii11 CASSETTE BOXES. LABELS, ALBUMS rahan's lyrics throughout this two The superior musicianship, inventive HAS 'd__ record set involve seeing through amalgam of form, and gnomic lyri- BROADCAST CARTRIDGES knotty moments of life filled with cism will keep bringing it back into ACCESSORIES sexual and political tension. This is the field of my attention for many very existential stuff that treads a years to come. Would that more of our _I _i fine line between corniness and real rock and jazz reveal such deep felt profundity. The accompanying musi- stirrings of desire. ASK fo- our cians make the message profound to norman weinstein 44 PAGE CATALOG the utmost. of There is not one cut among the PROFESSIONAL seventeen that isn't musically note- SOUND RECORDING worthy. I'm particularly fond of the & DUPLICATING SUPPLIES sardonic lyrics sung by Bruce on "All SUGAR MINOTT: Sufferer's Choice. Us Working Class Boys," a song [Peter Thompson and Sugar Minott, buttressed by Ricky Ford's exqui- producers; Soljie Hamilton, engi- Recording Supp y Div. of Poly'ine Corp 1233 Rand sitely driving yet cooly mannered neer; recorded at Channel One Roac', Des Plaines IL 60016 (312) 29e - 5300 tenor sax. "Sara Wade" opens with Studio, Kingston, Jamaica and 35 Aquarius Studio, Kingston, Jamaica.] some fancy clave beating by Jerry Circle 26 on Reader Service Card Gonzalez that is strikingly chic and Heartbeat Records 21. exact. Steve Swallow's bass line on "Trust Me Yet ?" is an amazement Performance: Seductively smooth INVEST IN A and should be an inspiration to the crooning about the SOUND FUTURE generations of electric bass players to body politic YOUR CAREER IN THE come. The drummers on every cut Recording: Channel One Studio MUSIC INDUSTRY give every song a romantic buoyancy earns its number one and fervor that is fetching. Hanrahan status often speaks of his music tonally, TREBA$ ' jE OF RECOf In; ARTS using the metaphoric language of "Lover's Rock" is a style of reggae WILL PUI YL)U film. The collective impact of these music that has never received the ON TH6FIGHT TRACK musicians is to create a soundtrack to public notice in this country that it perfectly accompany a grainy, mono- has in Jamaica. Two of the best chromatic old French film about known singers operating in this lovers about to end -or about to genre who have won acclaim in the begin? -the affair of their lifetimes. States are Dennis Brown and Gregory This album is my nomination for Isaacs. Both possess voices of re- the most mature and daring jazz markable sweetness and suavity; it composition of the year. would not be a disservice to call them In a 2 year professional training program in the Kudos should also go to the pro- the Jamaican reincarnations of ducer and engineers for capturing Johnny Mathis. Yet their original RECORDING such a crisp and bright sound. Kip songs shatter such a comparison ARTS AND SCIENCES Hanrahan, in the press kit accom- immediately. Brown and Isaacs 80 courses in RECORD PRODUCING panying this album, warmly thanks write about male sexual prowess SOUND ENGINEERING engineers Jon Fausty and David with sweet young things, MANAGEMENT and are BO% of graduates placed. Rodriguez; and well he should. The lyricists of macho and (some femi- Limited internships available. balance that they provided in the nists would claim) sexist posturings. For courses starting Oct /84 recording of extremely complex Neither Brown nor Isaacs have APPLY NOW! percussionists often playing in exclusively recorded "how- big -is- counter -rhythm to each other is that -male- ego-in- the -window" songs. 225 Mutual Sheet Toronto, Ontario fantastically established. Bruce's Both have composed and recorded Canada M58 284 soulful vocals are never lost in the stridently political statements pro- Phone : 14161 9'7-9797 (9) teaming jungle of percussionists, testing poverty in Jamaica. But 11 TRErjR3 1115T1'UTE OF RECOROIr1G ARTS guitarists, bassists and sax players. "Lover's Rock," for all of its political Circle 27 on Reader Service Card MAY 1984 59

www.americanradiohistory.com sidetracks, is essentially a seduc- fact, I find an analog to Minott's promisingly maintains its musical tively male telegram to any and all singing in Marvin Gaye's recent identity as an ethnic force in the Tex - female fans with erotic inclinations. work. Minott has the same proud and Mex community -while attracting a Sugar Minott (his real name is cooly detached sensuality; an angel wide multiracial audience. Lincoln; he claims the nickname ripe with libido. The most outstand- The Chicago impact on main- refers to a youthful hankering for ing song on this side is "Keep On stream American rock music is not a candy. Believe him ?) has released a Loving You," which is built upon a tale that could fill volumes. The best large number of albums over the terrifyingly eerie bass riff recorded known names that come to mind years that belong squarely in the with perfect clarity. It sounds like a when speaking about that impact are "Lover's Rock genre. None of his lover's lament mixed with the de- Ritchie Valens (whose classic "Come releases sounded as polished as the termination of "We Shall Overcome." On, Let's Go" is given a revitalized productions of Brown and Isaacs to Sufferer's Choice was mainly re- and emotionally urgent treatment on me -until this. Sufferer's Choice corded at the legendary Channel One this record) and Carlos Santana. marks a mature advancement over Studio in Kingston, Jamaica. The There is no doubt in my mind after his earlier works. It might even mark number of international reggae hits repeated listenings to...And A Time the maturing of a hitherto immature that have emerged from this studio To Dance that Los Lobos has the and shallow category of reggae. simply boggles the imagination. potential to join those ranks. Minott has struck a perfect balance Heartbeat Records has recently Several factors contribute to the on this album between erotic come - released a compilation called The power of this band. There is a ons and political sermons. Side one Best of Studio One, and it is a worthy remarkable sense of group cohesive- is largely social protest and opens tribute to the great music taped ness evident from the opening notes with Minott gruffly and urgently there. This album has that charac- of this seven song EP. With over a complaining about the "rough ole teristic Channel One sound: snappy decade of playing together and two life" in the ghetto. Not only is the rhythm tracks sparkling through- self -produced albums behind them, song lyrically concise and convincing, out the mix, brightly mic'ed vocals, Los Lobos has evolved from an all but the rhythm tracks by the ubiquit- a tonal balance that embraces the acoustic band playing Mexican folk ous Sly Dunbar and Robbie Shakes- hard metallic sound of electric music to an American rock unit with peare are catchy and hypnotic. guitars, as well as the soft colors of a Mexican musical vocabulary and "Uptown Ghetto" has an ominous an acoustic piano. "feel." refrain of "They're taking the ghetto Reggae production nearly always The EP opens with "Let's Say uptown /they're tired of being on the favors bass and drums over the other Goodnight," which establishes the ground," which makes perfect sense elements in the mix. To do so with- tone for the collection. The song in terms of New York as well as out reducing the vocals and guitars furiously rocks -with an accordian Jamaica. "The Half" has Minott to sludge requires exceptional care. (!) being the lead voice. David assuming the moral rectitude one Minott and Thompson have obviously Hidalgo's whirling accordian leads would expect from Bunny Wailer as exercised that quality in spades. are met by Louis Perez's powerhouse he rails against the sin of vanity. In spite of having a title suggest- drumming. The cut is saucy, terse, These are elegantly written songs ing suffering, this album will intro- tense, comic, nasty, and a musical with a rhythmic spine as unyield- duce songs of honey- smooth passion gem. The unexpected sound of Los ingly tough as finished iron girders. into your days. Lobos is also dramatized by "Walking The two most widely abused studio norman weinstein Song," which showcases a very tricks in reggae recording -echo Charlie Christian- sounding guitar and reverb -are utilized with re- section. "Anselma" is one of two markable taste and restrait through- Mexican songs sung in Spanish out. (translations are included on the Side two would not be a hit if inner sleeve) which manage to rock in played at the offices of Ms. magazine. terms of American rock while main- "Lover's Race" has Minott com- LOS LOBOS: ...And A Time To taining a "roots" feeling connected to plaining (!) about the difficulty of Dance. [T -Bone Burnett and Steve Latin America. "Why Do You Do" having two lovers simultaneously Berlin, producers; Mark Linett, engi- adds the frenetic tenor sax of co- and suggests, apparently without neer; recorded at Warner Bros. producer Steve Berlin. Yet the irony, that if the two ladies refrain Recording Studios, N. Hollywood number would probably succeed just from jealousy, "everything will turn and Enactron, Burbank.] Slash 29963 -1. as well without Berlin's wails. There's out just fine." Good luck. "Have You not a weak cut on the record. Criti- Ever Found a Love" has Minott Performance: Uncompromisingly cisms? Why an EP when a band this bragging about what a good lover he rousing and robust dynamic is worthy of a full LP? was to an unappreciative female. Recording: Uncluttered Berlin and Burnett were recently For all of the blatant sexism running interviewed in a New York music rampant through side two, there is This reviewer has a positive bias magazine about their roles as pro- also a curious paradox. There is a toward ethnicity in everything from ducers of Los Lobos. Said Berlin: quality of awe and appreciation for restaurants to music. At a time when "There wasn't a whole lot for me to do the female implicit in the crooning, so much top -40 radio consists of bland but stay out of the way." Said lifting tone of Minott. This is a voice pap devoid of ethnic signature, the Burnett: "Mostly I was just listening." obviously schooled in all of the success of a group like Los Lobos The album was recorded live and nuances of American r & b and warms my cynical soul. Here is a rock there is an electric and spontaneous gospel. The breathy eroticism is quartet from East Los Angeles (the tone to this EP that I found immedi- infused with a churchy fervor. In Chicano part of town) that uncom- ately appealing. The guitars of David 60 MODERN RECORDING & MUSIC

www.americanradiohistory.com Hidalgo and Cesar Rosas are brightly captured in their metallic clamor. Conrad Lozano's bass and Louie hentoff Perez's drums are tightly tracked. nat This is a very uncluttered album of dance music to make you click your heels on the most cluttered of dance Finding The Melody, And Then Some: floors. norman weinstein Dave McKenna and Sphere The employees at AT &T It's commonplace among jazz ist Charlie Rouse, who was with future musicians to say that Dave Mc- Thelonious for a very long stretch. keep their Kenna is nonpareil, one of a kind. The rhythm section is one of the plans on target He's made a number of pleasurable most enliveningly and incisively albums and yet, I've been waiting swinging in jazz -pianist Kenny when they rely on for that one set which would Barron, drummer Ben Riley, and the Payroll preserve the very best of McKenna Buster Williams, who may have -when he's really rolling in a jazz the most envelopingly warm sound Savings Plan. club, really getting it all together sound on bass of all his contempo- with that momentum that could raries. knock down trees which got in the The first album by Sphere way of his music. consisted entirely of Monk compo- That album has finally arrived- sitions. This time, wisely, there's "A Celebration of Hoagy Car- only one by Monk. The others michael" on Concord, recorded encompass a standard ("If I Should last year in Bloomington, Indiana, Lose You ") and originals by Rouse, Hoagy's birthplace (McKenna Barron, and Williams. This way, went there to play during the in- while continuing to keep its ties augural weekend of The Hoagy Car- with Monk, Sphere can also make michael Jazz Society). On the its own musical identity clear. album, McKenna is all by himself, In addition to the solo strengths which is how he likes it, and of all involved, this combo has everything works: that use of really become a unit in the past space which gives so much breath- year. As Kenny Barron says, ing room to his improvisations, the "When performing in a quartet building of climax upon climax, setting, it is very easy to come the depth and ease of the beat, the across sounding like a jam session wit, a tenderness, and delight in band. One of the things we've been the rides you can take with this striving for with this band is to music. sound like a band -a tightly knit, James Rodgers - "I've been buying bonds for 13 is. years and think that Savings Bonds are an excellent Along with "Stardust," of course, cohesive group." And so it way to save. My eldest daughter will be starting college and "Lazy River," there are such Cohesive, but also flowing and full very soon and the bonds I've saved will help finance her education." rediscoveries as "One Morning in of surprises. May" and "Come Easy, Go Easy The engineering is sensitive to Irene Butryn - "I have five grandchildren and I between solo and have been purchasing six bonds per month, one for Love." Carmichael once said: "You the fine balance each grandchild and one for myself, since 1974." don't write melodies, you find ensemble priorities, and the sound them. They lie there on the keys throughout has the mellow im- Peter Cirillo - "I find that Savings Bonds are a convenient kind of savings and they build up very waiting for you to find them." And mediacy that is the essence of quickly and, when I need extra money they're there." that's how his songs sound. What Sphere. McKenna does is to find the Take melodies inside the melodies, and DAVE McKENNA: "A Celebration stocke then the melodies inside those. The of Hoagy Carmichael." [Harvey _____1fAmerica. recorded sound, as I have come to Phillips and Carl E. Jefferson, Director of Sales 7 expect from Concord, is clean and producers; Wayne Gunn, engi- U.S. Savings Bonds Division Department of the Treasury vivid without being in the least neer.] CONCORD RECORDS CJ- Washington, D.C. 20226 tricked -up. 227. Yes, please send me Free information about the Payroll Savings Plan. Sphere, now in its second year, Name began as a continuation of the SPHERE: Flight Path. [Damu

Position musical heritage of Thelonious Productions, Ltd., producer; Rudy Van Gelder, engineer.] ELEKTRA/ Company Monk. Most closely identified with Monk is Sphere's tenor saxophon- MUSICIAN 60313 -1. Address Litt' State Zip J

MAY 1984 61

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