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ANDYATM INACTION JOHNS 10 H11 Interview 9 770144 594024 LIBRA POST harnesses the power and functionality of AMS Neve's flagship DIGITAL FILM CONSOLE (DFC) for the wider world of video post production.

KEY FEATURES INCLUDE: 12 -48 faders, up to 192 inputs

Surround sound mixing to any format

Multiple stem outputs up to 8 channels wide

Dedicated 8- channel surround monitor panel with matrix/ processing inserts

Encore' Total Dynamic Automation - shared with DFC

Automated joystick panning

96kHz -ready processing platform

Optional multi- machine control

Optional 24 -bit hard disk recording/editing,_

Digital First__

HEAD OFFICE - AMS Neve plc Billington Road Burnley Lancs BB11 SUB . England . Tel: +44 (0) 1282'45701 AMS Fax: +44 (0) 1282 41 '282 LONDON - Tel: 0171 916 2828 Fax: 0171 916 2827 GERMANY - Tel: 61 1 9 42 520 Fax: 61 31 9 42 5210 . NEW YORK - Tel: (212) 965 1400 Fax: (212) 965 3739 NEVEHOLLYWOOD - Tel: (818) 753 8789 Fax: (818) 623 4839 TORONTO - Tel: (416) 365 3363 Fax: (416) 365 1044

e -mail: enquiry @am -neve.com - http://www.ams-neve.com Solid State Logic

The digital multi -trac

The SuperAn

New custom mobile ve

Digital console proves perfect for post The success of the Axlóm =M` , vvi h over 30 orders since its launch at the May 1998 AES in Amsterdam, is an overwhelming endorsement of SSL's strategy of combining proven, stable digital technology with a familiar control surface. With its superb- sounding EQ, dynamics and converters, and a stunning automation system, the MT is proving to be the digital music console that the industry has been waiting for.

SSL's strategy, however, is not restricted to digital technology. Solid State Logic is the only mixer manufacturer offering a choice between analogue and digital at the very highest level. For those customers who are not yet ready for the transition to digital, the SL 9000 J SuperAnalogue°° console, with its latest V4 software, is the analogue console of choice for most of the world's top studios, several of whom have recently ordered their third SL 9000 J.

If you're wondering whether to stay with analogue MG Sound in or make the transition to digital, the choice is clear. Ultimate Analogue or Definitive Digital - it's an SSL! pole position John Andrews, Marketing Director MG Sound Studios of Vienna has installed a 96- channel MT digital multi -track console

to complement the studio's existing SL 9000 J Series console fitted with Total Recall' and Ultimation'. Front cover: Skip and Lynn Saylor, co- owners, Skip Saylor Recording. Located in the heart of historic Vienna, this leading four -studio complex frequently plays host to chart -topping international artists from both the pop and classical genres. Additionally, the experienced production team is regularly involved in complex multi- contents media, film scoring and commercials work.

A relaxing atmosphere is assured as MG Sound's residential facility boasts a penthouse Axiom -MT 3 and roof garden. Nearby are some of Europe's finest hotels, restaurants and concert halls. Digital multi -track is a smash hit According to MG Sound's Eva Böhm," We are all impressed with the sonic quality of the MT and its ease of operation. The new console will ensure that MG Sound maintains its Aysis Air 4 pole position as one of the world's premier recording and mixing studios." Broadcast consoles for ORF

SL 9000 1 Series 7 MG Sound, Sting's 'Brand New Day' album completed 111 Vienna. (left to right) Avant 7 Martin Böhm, Eva Böhm Digital console posts perfect results and Stevie Coss

Solid State Logic 111111110111111111 IIIMT digital multi -track 3- console surges,. ahead in U.S.

With over thirty MT consoles either installed or on order the transition into this domain. The MT will keep us at the throughout the world to date, sales continue to surge in the cutting edge of the industry." U.S. as high -end studios prepare for all- digital work Also in New York, Kampo Audio/Video, a four -room facility environments. and part of downtown Manhattan's growing studio presence, In Los Angeles, Skip Saylor Recording has installed the first is installing an MT in Studio C this fall. The facility is MT on the West Coast. In addition, Avatar Studios and Kampo responsible for tracking the blockbuster motion picture Audio/Video in New York and Transcontinental Studios of "Austin Powers: The Spy Who Shagged Me" and music tracks Orlando, Florida all recently ordered an MT, following the first for the upcoming film "Mission: Impossible II." console which went to New York's Quad Recording. "We see the MT as bringing our current client base into the As a part of the Hollywood music recording scene for more digital domain by offering them the advantage of state -of- than 20 years, Skip Saylor explains his decision to move into the -art digital workflow with the familiar and trusted digital. 'The installation of Axiom -MT separates us from the interface of an analogue board," says Alex Abrash, studio pack by being the first on the West Coast to offer high -level manager for Kampo. "While the interface of the other large digital mixing capabilities for music," says Saylor. "I have been frame digital consoles became less and less appealing to us, waiting 20 years for a console like the MT. SSL is the first to every time we sat down in front of the MT we liked it more combine the great sound and ease of operation from the and more." analogue world with the capabilities of the digital world. In Orlando, Fla, premier recording facility Transcontinental The MT is tremendous." A Studios is set to install a 48-fader, 96- channel MT as the Skip Saylor Legendary Avatar Studios of New York is set to install an MT centrepiece of its expansion. The all -new fourth room housing Recording. console in its re- designed Digital 1 room. This leading four - the MT will be 5.1 ready to address increasing market needs

room music recording facility recently installed an SL 9000 J for surround mixing. 'The way everything is going in the

Series SuperAnalogue°" console, and now wants to lead the industry, it's just a matter of time before everything goes industry into the digital domain with a superior digital digital, so we wanted to make the move to the MT now to console. "In the high -end studio business, it is necessary that be at the very forefront of the business," says Joe Smith, vice a facility should not merely service its client base, but also president of Transcontinental Studios. 'The MT is the only offer them new technology as it becomes available," says Zoe digital console that will make engineers feel at ease because Thrall, president and general manager of Avatar Studios. the intrinsic design of the board replicates the familiar SSL "Working in an all- digital environment allows incredible new analogue model. Any engineer who has worked on a 9000 freedoms, especially with mixes. SSL has made the MT very will be immediately comfortable behind the MT." user -friendly and familiar to help artists and engineers make

Another recent MT installation: Y The new MT equipped studio for Mutt Lange. Hot console for Hot Line_Studios

When Hot Line Studios of France relocated from Courbevoie to Levallois, their primary concern was to create a larger and more prestigious facility - adding a second studio and editing suite. They also wanted to offer their clients more illl' performance using the latest technology and consequently examined the IIIIIIIIIIIIINIIIIIII_, range of digital consoles on offer.

As recording engineer Louis Limpalaer explains, "We wanted a digital console capable of surround sound and 5.1 monitoring. As we offer music recording and mixing in addition to post -production, the MT attracted our attention."

Hot Line Studios' activity includes sound -track, music creation and post - production, in addition to work for longer format TV and feature films. opens fifth SSL room

Studio 3 at Larrabee North (left to right) Kevin Mills, owner with Kevin "KD" Davis, engineer.

Larrabee Sound of Los Angeles recently opened a fifth room based around an 80- channel Solid State Logic

SL 9000 J Series console. Built from the ground up, Studio 3's total surround -sound capability is assured with the comprehensive facilities provided by the SL 959 Surround Sound Monitor Panel. The console joins two

other SL 9080 J Series in Larrabee Sound North and two

SSL 4000 E/G Series in Larrabee Sound West.

"We built our fifth studio room at Larrabee Sound North to serve our clients because we are fully booked all the time," says Kevin Mills, owner of Larrabee Sound. "We have always been an all -SSL facility. Couple that The best gets with our clients' love of the 9000 and its ease -of-use, making the decision to go with a third SL 9000 J was an easy one." better Larrabee Sound has been catering for the needs of top musicians, producers and engineers for more than 30 years. Larrabee Sound North recently expanded with over 16,000 square feet of studios and lounges and is over twice its original size. New Version 4 software has been introduced for the landmark Studio 3 has been built for surround to meet the growing demand for 5.1 mixing SL 9000 J SeriesSuperAnalogue'" console and according to SSL's and features five identical Augspurger monitors each with double 15 -inch drivers. Analogue Product Manager, Bruce Davies, 'The best just got 3 has enjoyed a schedule. better." Since its recent grand opening, Studio full booking

"The surround sound capabilities of Studio 3 make us ready for the future, as we 'The SL 9000 J has been in service with many of the world's most prestigious music recording and film scoring facilities for see demand for 5.1 mixing on the rise," explains Mills. "Though we have done five years now and we have an ongoing dialogue with many projects with the likes of Michael Jackson and Madonna, we specialize in customers to ensure they get the very best from our consoles. new pop, REtB and alternative modern rock groups that will be on the top of the Consequently, software releases are provided from time to time charts in five or six months. There is a great demand for the SL 9000 J Series with new features that further enhance console operation." because it is simply the analogue console of choice."

Aysis airs in Austria

Aysis Air at ORF's Vienna studio. >

SI 9000 J Series in SSL's It was recently announced that Osterreicher Rundfunk (ORF) the Austrian State Product Demonstration Area. Broadcaster, is to re -equip its TV production studios in eight regional facilities with Aysis Air, the digital broadcast console from SSL Among the new features in V4 software is extended machine control, with revisions to parallel machine control and Over a three year period the new consoles are to be installed at the broadcaster's Eisenstadt, Dornbirn, St. Polton and Vienna. automatic identification and configuration for controlling serial stations in Linz, Graz, Innsbruck, Salzburg, ORF first console in May. machines. took delivery of their

has also already been installed by ORF at the broadcaster's Vienna Additional project management tools are incorporated, A further Aysis Air sports studio, which has seen a recent extension of channel capability. including automatic file version handling and a simplified user interface. According to Peter Ganner, Head of the Audio Projects Group at ORF, "We have Aysis Air in our new production facility for sporting events. We had considered Other useful operational features incorporated in the new installed several consoles after careful evaluation we discovered that Aysis Air met all our software release include additional automation functions, but live productions and offered the best value for our purposes." timecode masking and offsetting, and increased grouping requirements for flexibility, which enhances 4- channel panning - extending the creative control of 5.1 mixes. Avant proves eYfe t for pöst

Christopher Sound and Vision - David Pichè, chief engineer /audio post (seated) with Chris Cadieux, president. r

A Crawford Communications visit SSL's NAB booth. (left to right) Eric Stark, chief engineer; Steve Davis, director of Crawford Audio; Jesse C Crawford, president and Paul Hansil, executive vice president.

Sales of Solid State Logic's Avant digital console for film and post continue to sound for DVD. In addition, "Chillicothe ", shown at the Sundance Film Festival, grow with nearly 40 units installed worldwide. In an era of audio -critical is being transferred to DVD and will be remixed in 5.1 surround sound. audiences, the Avant delivers state -of- the -art digital sound, from mono to 7.1 Complete Sound, the premiere post production sound facility operated by surround, and addresses a wide range of post production needs. Recent U.S. parent company Complete Post in Hollywood, Calif. has installed two Solid installations of the Avant include Christopher Sound and Vision, Inc. in Tulsa, State Logic Avant Digital Film consoles. Avant's two- operator capabilities Okla; Complete Sound in Hollywood, Calif.; Crawford Post in Atlanta; and provide Complete Sound with greater flexibility, allowing the studio to Soundtrack in Boston. address larger post production demands and to expand its business. Christopher Sound and Vision, Inc. (CSEtV), a Midwest facility specializing in "The technological advance of Avant, with its 192 input channels and the music and post production for television, film and DVD, recently installed a built -in monitoring system, gives us all the power we need to address film and 48 fader, 96 -input SSL Avant as part of a major studio upgrade. any other surround sound applications," says Jeff Minnich, director of "We love the automation power and the flexibility for instant resets that the engineering for Complete Sound. "The Avant can be set up as either a two - Avant offers. We can now address any configuration from mono to 7.1 with man or single operator console. This allows us to straddle the line between the push of a button. It is easy, reliable and user friendly. The Avant is short-form sitcoms, long -form TV dramas and feature films. Complete's other absolutely the best purchase we've ever made and confirms us as a state -of- reason for buying the Avant is that it sounds great" the -art facility," says David Pichè, chief engineer, audio post at CSEtV. Atlanta's premier audio post production facility, Crawford Communications, CSEtV is currently remixing a made for TV movie, "Resurrection" in 5.1 surround has installed a 24-fader Avant as part of a new 350,000- square -foot facility. Crawford's audio strategy includes large -scale networking and system integration with additional SSL consoles to take Crawford into the new millennium.

Steve Davis, director of audio for Crawford Communications, explains, We chose the SSL Avant as the centrepiece console for the facility because of the system integration SSL has designed into all of its A Series consoles. The SSL gear allows us to have shared resources between studios, eliminating the necessity of purchasing redundant equipment and wiring."

Since the Avant's installation, Crawford Post has used it for projects including CNN's "Fantasy Football" and "My CNN," television ads for Bell South Mobility as well as corporate projects for Coca Cola.

Soundtrack Recording Studios, which has locations in New York and Boston, --.-_..... - recently purchased two SSL Avant Digital Film consoles to meet the booming post production needs at its Boston location. The decision to go with the Avants was based not only on growing demand for surround sound mixing, but also on Soundtrack's considerable experience with SSL equipment and the excellent service provided.

We wanted consoles that are able to handle today's format as well as take us into the future. Avant was the only choice," says Rob Cavicchio, owner of Soundtrack Recording Studios. in particular, requests are coming in for surround mixes in various formats. We wanted to be ready to provide a digital system that not only sounds great, but can expand to meet the needs of future formats." techno In analogue technology, customising can be done on a per console basis, with - 'as installed' documentation for maintenance. Custom modifications to digital consoles are viewed with horror by almost all manufacturers, as software support is only viable if all customers are using precisely the same version of operating software.

The classic response to requests for new features or questions about operational facilities is 'It's purely a matter of software, Sir!, which usually means that the requested changes might appear in the next update, but only if enough customers are happy to have them as standard features.

In contrast, SSL's Aysis Air Mobile is 'purely a matter of hardware' - this compact new version uses precisely the same software as the standard Aysis Air, and the changes have been achieved by a combination of a revised top MT gets panel layout and some internal repackaging. The result is an extremely useful option involving absolutely no additional software and with no software support implications. mobile SSL's MT digital multi -track console is proving popular for mobiles, having been recently installed by Manor Mobiles of Oxford, UK and Le Voyageur of Paris, Mall Feldman, Marketing Development Manager. France. Manor Mobiles is part of one of the UK's most distinguished studio groups including Olympic, Townhouse and Abbey Road. As part of a major refurbishment and expansion, Manor Mobiles has converted one of its fleet - "El Camion" - into an all digital OB vehicle and installed a 64- channel Axiom -MT with 72 remote mic amps. The digital truck will play a key role in the recording, mixing and live broadcasting of major events and popular TV shows.

In addition to its regular broadcast commitments the Manor Mobiles vehicle was recently used to cover Capital Radio's 'Party in the Park', an open -air event in London's Hyde Park where more than 30 bands on two stages played to 100,000 people. The truck provided the audio feed for the live bands -The Corrs, Mike and the Mechanics, Eurythmics, Blondie, Boyzone and Catatonia.

According to Senior Recording Engineer Will Shapland, "The instant reset on the Mees MT is a tremendous advantage. The familiarity of the SSL control surface makes Amon for a much gentler learning curve and, of course, the sonic quality is a given. MN a "Meanwhile in Paris, leading French mobile recording operation Le Voyageur : Mr o recently completed the installation of an MT digital multi -track console at the heart of its new state -of- the -art digital mobile, Le Voyageur 1. Solid State 1"Rx o A 96- channel MT with 96 mic preamps is fitted in the truck and the console AN on o0 00 00 no rotates to dominate a large 21' x 14' (6.5m x 4.4m) control room, designed for 5.1 monitoring and with all the facilities and outboard gear associated with a fixed studio. Engineer Yves Jaget of Le Voyageur Mobiles had experienced the MT digital multi -track at Mega Studio in Paris where he had worked on the recording of French artist Zazie. Although a number of consoles were considered for this prestigious project, Yves Jaget concludes, We finally picked the MT because it

was very similar in its way to the SL 9000 J Series, which all engineers around the world know very well already." A Aysis Air Mobile Centre Section Brand New

Laura and John King - Chung King < Sting with engineer Simon Osborne Studios. at Mega Studio in Paris.

The final mix for Sting's latest album, "Brand New Day," due for release in the autumn, has been completed at Mega Studio in Paris.

The majority of the recording for the album was completed in Tuscany using Sting's portable SL 4064 G+ console which was designed to be easily dismantled and flight- cased. The console has been used on all Sting's albums since "Ten Summoner's Tales" in 1993.

The final mix was completed in Paris using Mega Studio's from coast to SL 9000 J Series consoles with engineer Simon Osborne who

has worked with Sting over the last nine years and is very familiar with SSL consoles. "They're great tools," he coast- maintains, "and while features like the automation are very useful, the technology doesn't impede the creative process the SL 9000 J Series so you're free to concentrate on the music."

Major U.S. recording facilities continue to install the SSL 9000 J Series, the most requested analogue recording console at leading facilities across the country. With new rooms being added to existing facilities, many are coming back for second and third consoles, strengthening SSL's position as the leader in SuperAnalogue' console technology.

New York's premiere Chung King Studios is installing its first SSL 9000 in the all -new Gold Suite, a 100 -musician, state -of- the -art tracking studio. We felt a room of this capacity is ideally suited for the 9000," says John King, owner of Chung King. New York also boasts The Hit Factory, one of the city's finest, which now has three SL 9000s with the recent upgrade of surround sound ready Studio 2. "Our experience has been so

notable that a third J Series was the only way to go," says Troy Germano, studio VP.

NYC is also home to Sony Music Studios, which recently upgraded Studio A with a third

SL 9000. This prestigious facility also has SL 9000 is in both Studios C and D.

Down in the southeastern U.S., Full Sail Center for the Recording Arts in Winter Park, Fla., finds that a second SL 9000 console does the trick for training audio engineers of the future. This installation was born out of necessity after an overwhelming demand by students for training on an SL 9000. A Brandon's Way- (left to right) Paul Cox, technical Atlanta's Patchwerk Studios, owned by Atlanta Falcons' first string tackle Bob Whitfield, is engineer; Jon Gass, mixing engineer; Kyle Bess, installing its first J Series in an all -new facility. "We want to keep our high -end mixing engineer; and Paul Boutin, engineer. completely in- house, so the 9000 is the only way to go," says Josh Butler, chief engineer.

In Hollywood, Calif., Brandon's Way is a three -room facility owned by the renowned REtB V Le Voyageur. producer/composer Kenny "Babyface" Edmonds. When it was time to upgrade Studio A, the facility's premiere recording room, a 96- channel SL 9000 J Series was the console of choice.

Pacifique Studios in North Hollywood recently upgraded its Studio B with the facility's second SL 9000. The new room is 5.1 ready to meet the growing demand for surround mixing.

Le Voyageur. !r Avan ore consoles Fifth digital econd Aysis Air gir for Finland or China Proms season for Italy's for BBC VideoTime

The University of Art and Design in National broadcaster China Central For the fifth year running, the BBC is VideoTime, the Italian commercial TV Helsinki, Finland has ordered SSL's Television (CCTV) has purchased a 96- using its Digital Sound Vehicle (DSV) network and member of the channel Solid State Logic Aysis Air digital Avant digital film console for a new to transmit the Promenade Concerts Berlusconi Media Group, has broadcast console for its first digital film mixing facility due to open in from London's Albert Hall in digital. installed a second Aysis Air digital studio, due to be on air by the end of an SSL 96- broadcast console from SSL. September this year. September. Aysis Air will be used to The DSV is equipped with The 64- channel Avant is to be record events commemorating 50 years channel digital console, for mixing With its original Aysis Air installed installed in a THX approved all - of communism and for live and recorded music live to air. variety shows thereafter. less than a year ago, the broadcaster digital facility - the first of its kind in The season of Promenade Concerts Chang Chun Film Studio, in the rural has been favourably impressed with the country. The principal perceived presents one of the world's greatest north of China, has ordered an SL 8032 the console's reliability, citing this advantage of the console for this challenges to Outside Broadcast film console with film monitor matrix and familiarity of operation as the educational application was ease of and joystick panning. One of the oldest operation. With more than 70 chief reasons for purchase. use - achieved through an extremely film establishments in China, Chang Chun concerts broadcast live on Radio 3 ergonomic control surface with knob is being refurbished with a combination over an eight -week period, the

of private and gover : +: investment. per function operation. ;t intensity of the schedule is unrivalled.

o MTs for anadá s TVA

Michael Descoteau has joined the SSL NA Group, the highly successful Japanese post production company team in New York as VP Broadcast Sales. privately held Canadian television lmagica has ordered a 64 channel MT digital multi -track console for video He brings with him 20 years of pro -audio network, has installed two MT digital experience and an extensive background sweetening work in their Shinagawa consoles in Montreal. The eight in the broadcast arena, where he will studios. Imagica already have an Avant room facility is handle sales to the networks, owned and studio, six control digital film /post console in their Akasaka operated stations, affiliates and broadcast using the MT consoles for live -to -air complex. mobiles. and live -to -tape production as part of a valuable resource to Other Japanese orders include an Aysis 24 "Michael will be a movement to make the network all our current and potential broadcast and an Aysis Air 24 for Osaka Art digital. customers," says Rick Plushner, president University, and several SL 9000 J "We manage our operations with of SSL USA. "His professional sales and SuperAnalogue"" consoles, including a client support experience will play a leading -edge technology in all areas 64- channel console for mix engineer tremendous role in expanding 551's of production," says Jean -Luc training school, Visual Arts. position in the broadcast industry." Sauvageau, senior audio technician for TVA Group. "The addition of the two MT consoles is giving us the power and flexibility to move aggressively into digital broadcasting'

ARGENTINA a URUGUAY, CZECH REPUBLIC. Audiosal, , SOUTHERN AFRICA. SOLID STATE LOGIC WORLDWIDE M.A.S International Tel: +420 2 232 6003 Queelek Marketing CC Tel. -'54 114 752 0418 Fax: +420 2 232 5880 Tel: + 27 11 706 0405 International Headquarters Fax: + 54 114 755 2594 email: asales9bbs infima.,: Fax + 27 I 1 706 0308 email: [email protected] email: queOekUquestekwsa DENMARK Begbroke, Oxford OX5 1 RU England AUSTRALIA a NEW ZEALAND 585 (Studio 8 Broadcast Systems) ISRAEL, SPAIN. Lexon SA Syntec erternauonal Pty Ltd Tel. +454,647800 A.T.G. G 87,1:7edr Ud Tel + 34 93 203 4804 Tel: +44 1865 842300 Tel: + Si 2 9417 47W Fax: +45 43 64 09 55 tel: + 972 3 562 2361 Fax: 34 93 280 4029 Fax: +44 1865 842118 Fax: + 61 2 9417 6136 email: tsj @s-b -s dk. Fax: + 972 3 683 6494 email: intol4lexon.net email: audiotecAlshani.net AUSTRIA Audi05ales FINLAND, Studiotec SWITZERLAND, Or W A Günther Email: sales @solid -state- logic.com Tel + 43 22 36 26 123 tel: +358 9 512 35 30 SOUTH KOREA, Tel: u a1 1 910 0505 Fax + 43 22 36 43 223 Fax: + 358 9 512 35 355 Han Seo International Fax: + 41 1 910 3544 www.solid- state -logic.com email: sales@studiotecfi /service@ Tel: + 82 2 3142 9471 mail: [email protected] TAIWAN, Advancetek Intl Co Ltd http: / /www.audiosalesat studiotecfi Fax + 82 2 3142 9475 Tel + 886 2 2719 2388 email: leoshin0netsgo.com USA: JAPAN: CANADA: BELGIUM a LUXEMBOURG, GERMANY, Fax: + 886 2 2716 0043 email: advlktpe®ms7.hinetnet 320 West 46th Street, 3 -55 -14 Sendagaya, 702 Brimorton Drive, Trans European Music Audio Export GmbH NETHERLANDS, Tel: 32 2 466 5010 Tel: + 49 71 31 26 36 0 TM Audio 81/ 2nd Floor, New York, Shibuya -ku, Tokyo 151 Scarborough, Ontario THAILAND. Digital Equipment Fax: + 32 2 466 3082 Fax: + 49 71 31 26 36 100 Tel: + 31 30 291 4070 8 Transducer NY 10036 Tel: +81 3 5474 1144 MIG 2k9 emall mailv`tem.be email: AudioExpoRVsiegmann6 + 31 30 241 0002 Tel: +66 2 276 8141 Tel: +1 212 315 1111 Fax: +81 3 5474 1147 Tel: +1 416 431 9131 http: /wvwv.tem.be Fanhne.de email: tmaudio@knowarenl / Fm: + 66 2 276 8149 +1 Fax: +1 416 431 4424 hilp: / /sww .xudioexpve de Fax: 212 315 0251 comunicacoes Lida NORWAY, 51V LNG 8enum FRANCE: BRAZIL Savana TURRET, Genpa tel: + 55 21 512 98W HONG KONG, Digital Media Tel: +47 221 399 00 USA: I rue Michael Faraday, ASIA: Tel: 090 212 272 1055 511 0190 Technology Co Ltd Fax 0 47 221 482 59 78180 Montigny 150 South Bridge Road, Fax: + 55 21 Fag +90 212 266 4186 6255 Sunset Boulevard, emag [email protected] /- savana Tel: + 852 272 10343 email, post[ benum.no le Bretonneux 02 -22 Fook Hai Building, email: [email protected] Suite 1026, Los Angeles, http : /www.iiscnm.br savana Fax + 852 236 66883 / /- SLOVAIIIA Audiosales CA 90028 Tel: +33 I 3460 4666 Singapore 058727 email. dmt9dlnDoom.hk CHINA, Tel: + 421 7 654 22249 +33 1 9522 Tel: +65 438 2272 Tel: +1 323 463 4444 Fax: 3460 Digrtal Media Technology Co Ud HUNGARY, Fax + 421 7 654 26609 Fax: +1 323 463 6568 Fax: +65 438 2252 Audiosales Hungary GET email: audiosales@rainsidesk ITALY: Tel: + 86 10 6310 1190 Fax: + 86 10 6310 1367 Td: + 36 1 214 9549 via Pirandello 17, 20099 enuil:[email protected],n Fax + 36 1 214 9549 Sesto San Giovanni, Milan email. [email protected] COLOMBIA Datanex Ltda Tel: +39 2 2622 4956 Tel: + 57 1313 0538/0506/0542/ INDIA Topaz Terhnovision Fax: +39 2 2622 4938 0561 Tel: +91 22 437 7340 Fax. + 57 1313 0578 Fax: +9I 22 432 8573 email: [email protected] 82S6INEW AEditorial SPL Goldmike On tomorrow's support 44 German audiophile dual and tomorrow's world microphone preamp ¿ Soundings / Fairlight Merlin Professional audio, post - 4 °Preview: Nonlinear music production and broadcast news recording system Letters 8 Readers' right to write FEATURES Interview: I Events ()WorldUpdating the professional's 4 Andy Johns personal events calendar The foundations of rock 'n' roll Competition Postproduction: Ruby release CEDAR Dl-IX 6 Yellow Submarine Dehisser and Genelec 1029A Revitalising a Beatles classic REVIEWS Broadcast: 6 NRK mobile /) Tascam TM -D4000 Broadway in the arctic `I- Exclusive: Affordable digital mixing console Soft Focus: Cakewalk 8Amek 9098i Walking. talking and sequencing Large scale in -line analogue mixing console 76Broadcast: ATM Soundtracs DSM Bringing ATM to broadcast 2 Exclusive: Hybrid digital mixing and recording console Celebrating 40 years The tape recorder CEDAR NR -3 80 28 Exclusive: Noise reduction Facility: for CEDAR's Windows system Sound on Sound Product Launches Recording in midtown Manhattan 3 3AESExclusive: From Euphonix, Yamaha, Mackie and more COMMENT óADAM S2A

The definitive loudspeaker 1 02CommentFrom our UK and US-based review correspondents 3Q Jünger Audio Accent Broadcast Above: o Exclusive: Digital dynamics 103 Separating art from digits some of the many processing from Germany brand new products previewed Open in this issue from the AES NewYork. 0147 See page 33 Joemeek 1 06 advice on taking 64 4 I Meekrophone care of your hearing Exclusive: British side -fire cardioid condenser mie TECHNOLOGY 42EAR- Yoshino 660 Exclusive: Esoteric British ()Apr compressor limiter `T I he value of valid research

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Studio Sound October 1999 Sealed for life THERE IS A FEELING OF UNREST in the classic car world. Tightening emissions control, government legislation and active scrapping policies have been construed as positive discrimination against those who chose to tend modes of transport that Studio they deem of classic importance. While it may seem like the reactionary persecu- tion -driven whimperings of chaps with beards and polishing rags, or chaps with far too much money who spend their weekends ripping around in cars belching part- burned oil, or holding up perfectly normal travellers on their Sunday spins, there noun Incorporating Broadcast Engineering is a a subclause in their protests that makes lot of sense. October 1999. Vol 41. No 10. ISSN 0144 5944 Modern cars are sophisticated and the days of the DIY service have now largely been reduced to emptying the ashtray, opening the bonnet and perhaps risking a Miller Freeman Entertainment Group, quick rub of the rocker cover. The advent of 'sealed for life' engines and transmis- A division of Miller Freeman UK Ltd, sions bodes well for a trouble-free life of motoring, but how long is life? When the 4th Floor, 8 Montague Close, London items in question fail they will be replaced by the manufacturer. No friendly local Bridge, London SE 19UR, UK. mechanic nurtured on the whims of the SU carburettor or armed with a fuel injec- Tel: +44 171 940 8500 tion diagnostics computer is going to be able to sort you out an affordable fix or Fax: +44 171 407 7 102 rebuild. We are at the mercy of the manufacturer and when that manufacturer decides Email: [email protected] that engineering has moved on, and for sure it will, then the item in question will Net: www.prostudio.com /studiosound be struck off the stock list and we're back to the active scrapping policy. I love progress. It captivates and fascinates me. But I can appreciate the sound of an Aston Editorial Martin under load, the classless simplicity of a Morris Minor, and the pure engi- Executive Edit or' Zenon Schoepe neering excellence of a vintage Rolls Royce which can be kept on the road using Email: [email protected] rudimentary and regular maintenance and overhaul. I also appreciate being able to Direct line: +44 171 940 8513 get an obscure analogue tape recorder fixed. Editor: Tim Goodyer I know of many individuals and companies who can recondition an MTR90 to Email: [email protected] as -new spec, who can overhaul an old compressor, find the right and elusive valve Direct line: +44 171 940 8578 for that mic and make sure that the PSU is correct for the job, or simply repair an Production Editor: Peter Stanbury old guitar amp. But for how much longer? I don't know very many individuals, out- Email: pstanbury @unmf.com side of the manufacturers, involved who can fix a digital desk's software and cus- Direct line: +44 171 940 8523 tomise it to my requirements, blow new algorithms into a multi- effects processor, Secretary: Eileen Sullivan or instruct me on how to manage and maintain the hard disk on a DAW. So much Email: esullivan @unmf.com of what we see today shows signs of the 'sealed for life' ethic. If that is the price of Direct line: +44 171 940 8524 progress then I am comfortable with it. What I cannot entertain is the thought that Consultants: Francis Rumsey; one day no -one will want or be able to sort an old Ampex. John Watkinson Next time you're stuck behind some 'classic' vehicle, turn off the radio, open the Columnists: Dan Daley; Barry Fox; windows and breathe deeply. Zenon Schoepe, executive editor Kevin Hilton Design Consultant: Ben Mallalieu F utu recasti ng Regular Contributors: Jim Betteridge; I HAVE SEEN THE FUTURE. Not all of it, you understand, but enough to have stirred Richard Buskin; Simon Croft; Ben just enough enthusiasm for tomorrow's television. In fact, all I saw was a piece of Duncan; Dave Foister; Bill Foster; the action from the Italian Grand Prix, but as I say, it was enough. Tim Frost;Yasmin Hashmi; Neil Hillman; Languishing on the third day of IBC, I sought shelter in a crowd of broadcasters Keith Holland; Rob James; Caroline Moss; surrounding the Canal+ Technologies stand -and found myself watching the Grand Philip Newell;Terry Nelson; Stella Prix on six television channels. Not only that, but I was in front of a couple of senior Plumbridge; Martin Polon; George BBC chaps using the broadcast as the basis of an enlightening discussion of the Cor- Shilling; Patrick Stapley; Simon Trask poration's own activities. Curiously, this was the second time I had eavesdropped on what I would have thought were sensitive issues of BBC policy-the first was Advertisement Sales sight of a policy document being prepared for the attention of Alan Yentob. My dis- Group Sales Manager: Chris Baillie cretion dictates I say nothing of its content, but composing it on a laptop on a busy Email: cbaillie @unmf.com train suggests its author had rather less. The standard of English was, however, most Direct line: +44 171 940 8517 impressive... Deputy Ad Manager: Phil Bourne On six television channels I found many of the regular frustrations of watching Email: pbourne @unmf.com a Grand Prix lifted. It was, for example, possible to monitor various of the track skir- Direct line: +44 171 940 8542 mishes simultaneously, ignore slow -mo replays of incidents that failed to pique US Representative: Bill Ford greater interest, keep an eye on the pit lane and stay in touch with who was where Email: bford @coastside.net on the track at any time. Classified Sales: Andrew Lynn Very interesting, all of it. And quite a different experience from following the Email: Glynn @unmf.com whims of a foreign director with an agenda at odds with my own. Direct line: +44 171 940 8518 Every time the issue of television channels comes up the discussion seems to Advertisement Production, Denise Walshe why become one of quantity against quality. It's easy to see -finite resources mean Email: dwalshe @unmf.com at cost ones. every expensive production comes the of numerous cheaper Direct line: +44 171 940 8539 Yet intelligent coverage of a Grand Prix, for example, can surely combine with genuine economies of scale quality. Publishing Editor: Joe Hosken Obviously, not everybody wants six channels of motor racing in their home, and Direct line: +44 171 940 8602 here came my revelation. Stupid numbers of channels will allow intelligent cover- Circulation Manager: Caroline Chamberlain age of a variety of subjects beyond that of sport. And with them go as many chan- Direct line: +44 I 7 I 940 8579 nels of audio... PA to the Publisher: Lianne Davey Underestimate the potential of abundant television at your own risk. Fill it with Managing Director: Doug Shuard rubbish at our collective peril. Tim Goodyer, editor Publisher: Steve Haysom 4 October 1999 Studio Sound CLASSIC PERFORMANCE, ROCK STEADY RELIABILITY

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I 1 I I +I (212) 315 + 1 ( 1 )323 463 .:444 +31 (0)3 5474 1144 +33 (0)1 "460 4666 +35 02 2622 4956 +1 ( )416 431 9131 +65 (0)438 2272 American operation, Skip Saylor AMS Neve, US. Recording has installed the country's Tel: +l 212 965 1400. second SSL Axiom -MT, and the first Polish radio station RMF -FM has on the West Coast. Based in LA, the installed six 360 Systems DigiCart/II facility has been in operation for over Plus hard -disk recorders. One of the 20 years, and is using the MT as largest commercial operations in its move into digital working. Poland, RMF -FM carries a variety of Skip Saylor Recording, US. programme material from news and Tel: +I 323 467 3515. talk shows to rock music to a diverse SSL, UK.TeI: +44 186 584 2300. audience.The station's use of Digi- Berlin's UFO Studios has taken 1101111 ÍIII,ÍII Cart dates back to 1 992 at the main the firstTL Audio VTC production station in Krakow since when it has console.The 32- channel desk will been the principle storage and facility its serve the as part of music playout system. production,TV-film postproduction, 360 Systems Europe. sound design and mastering Tel: +3 1 299 437250. operation alongside a 32 -track BBC Resources Scotland has 24 -bit ProTools system. installed two Calrec C2 analogue UFO Studios, Germany. production consoles at its Glasgow Tel: +49 30 428 02405. and Edinburgh studios while London TLAudio, UK. Germany -UK: Paramusic, a recording facility based in -based BBC Resources has placed a Tel: +44 1462 680888. Bensheim, Germany, has installed a 64 -fader Soundtracs DPC -II £50k order for Denon CD, MD, Norway's Norsk FilmStudio has console for owners and producers Roberto Rosan and Heiko cassette and radio systems for installed 10 networked DAR OMR8 Schmidt to ply their trade in hits with the likes of Sweetbox itsYalding House offices.The systems, complementing the Sound - and DPC -II has been installed in Berlin's 24- channel Glasgow C2 console Fuzion.A further Station installation dating back some has gone into Studio N news and Sound 'n Picture film and TV post facility.The 48 -fader console nine years.The system is based in the is part of a major refit adding a 24 -track Augan workstation post machine room with patching to current affairs room responsible and incorporating surround working. Recent projects include the dubbing theatre, Foley studio and for Reporting Scotland and the 28- channel Glasgow desk is Der Havelkaiser and various Disney productions. Meanwhile all five edit suites. One of Scandi- for the navia's principal production studios, newTV Studio P in Broadcasting White Lightning Limited, owners of prestigious London post the facility dates back to the thirties House to carry live programming houses The Bridge, Silk Sound and Space have bought seven and is home to Norway's only including Holyrood Live. Soundtracs DPC -II digital desks as a part of the largest single rerecording stage. World Radio Network, a major refit project in the capital in recent years. Paramusic, Germany. DAR, UK.Tel: +44 13 72 74 2848. London -based international broad- Tel: +49 62 51 2535. Sound 'n Picture, Germany. Bristol -based British radio broad- caster, recently installed a complete Tel: +49 30 628 9280. Soundtracs, UK.Tel: +44 208 388 5000. caster, GWR, has replaced its SADiE Sonifex Solutions 2 radio studio system with three Fairlight MFX3 Plus package.The studio consisted of workstations to serve its network of U- shaped technical furniture with stations linked with Fairlight's Media - split desk consoles and rackmount Link server system. Europe's largest CD equipment.The installation independent radio broadcasting marks the expansion ofWRN's group, GWR's stable of 40 stations is operations and follows the purchase still growing and a collaboration over of a HDX2000 hard -disk automa- a digital radio network is planned. tion system from Sonifex to handle Fairlight, UK. station inserts, jingles, trails and Tel: +44 171 267 3323. announcements earlier in the year. Germany's 2 radio On -Air WDR Calrec, UK.Tel: +44 1 422 842159. Centre has installed three 20-fader Sonifex, UK. Lawo Diamond -series on -air consoles Tel: +44 1 933 650 700. with a central programme matrix Vienna's MG Sound Studios has and system control facilities in the installed a 96- channel SSL Axiom -MT control room, presenter, editor and digital multitrack console. Located in arena areas.The installation involved the heart of the historic city, the many facilities including custom 4- studio complex hosts international integration oftheVCS radio artists from as well as multimedia, automation system and crosspoint film scoring and commercials. the panel control of programme MG Sound,Austria. matrix from MTXCON software. Tel: +43 535 6404. Lawo, Germany. SSL, UK.Tel: +44 1 865 842300. Tel: +49 7222 10020. London's Whitfield Street Studios Detroit -based audio post facility has purchased two 16 -track 24 -96 Ron Rose productions, has pur- SADiE workstation systems and chased an AMS Neve Logic 2 Dolby DP 569/562 codex for its new console, upgraded all three of its

5. I mastering suite. Equipped to Logic I consoles and upgraded nine handle new delivery formats such as of its AudioFile editors.The Logic 2 is DVD, the facility has also taken a the heart of an audio post room also US: Already home to the world's largest AMS Neve 8078, featuring D5 and D2 digital video SADiE Artemis 8 workstation with Ocean Way Nashville has added moved its Sony Oxford console machines located inside the Postique- all CEDAR plug -ins including the new to Studio C to make way for a 96- channel AMS Neve VR with Griot facility in Southfield. Ron Rose DeThump. The sale follows a GML automation.The new VR 96 resides in Studio B and is Productions has 14 studios in three 32 -track SADiE 24- 96 system to 5.1 and film work. Pictured Detroit locations and two more in Classic Sound which was first used intended for music mixing feature Tampa, Florida locations and posts to edit two recordings of La Boheme (left to right) with studio owner Gary Belz, and producers audio for major radio and television for the Decca classical label. Steve Marcantonio, Chuck Ainlay,Tony Brown, and Ed Cherney, advertisers, industrial and educational Whitfield Street, UK. the desk has an 8- channel film monitoring section is also 5.1 films, and custom music mixes. Tel:+44 171 636 3434. compatible. It also sports additional modifications by Mad Lab's Current clients include: Jeep, K -Mart, Classic Sound, UK. John Musgrove. Both Studios A and B have customised Blockbuster, and White Castle. Tel: +44 171 624 5432. monitoring systems, designed and installed by Allen Sides, Ron Rose Productions, US. StudioAudio &Video, UK. owner of Ocean Way, Los Angeles and Record One in Sherman +l +44 Tel: 810 424 8400. Tel: 1353 648888. Oaks, California.AMS Neve, LA.Tel: +l 818 753 8789.

6 October 1999 Studio Sound Lucent -Orban on IBOC DAB US: Lucent Digital Radio and Back to Menu Orhan have announced a joint Modify Search testing agreement to optimise the audio quality for In -Band On- Channel (IBOC) Digital Audio General Broadcast. The Lucent Digital Radio IBOC DAB system, which Equipment has passed successful field tests, Production facilities will he tested with Orban's Opti- 'Audio. type & size mod processors, which are Travel s. access installed in more than 25,000 broadcast locations around the Recreation world. Lucent's Perceptual Audio Support features Coder (used in the Lucent IBOC DAB system) will be tested with Orhan audio processors. Lucent recently conducted tests of its IBOC FM system on National Pub- lic Radio member station WBJB- FM marking the first time that an IBOC system successfully passed an analogue- digital hybrid signal over a radio station's antenna and transmitter without affecting the A Web: Finalising its Web -based studio listing system,The Studio EncycloMedia now allows studios host analogue signal. to enter and update their listings on -line. Using a password -protected system, a new studio can Lucent's IBOC system is an subscribe on -line and all studios have ready access their equipment lists and facility information, with enhancement to current analogue the ability to amend information held on the on -line cIatabase.Additionally, studios are included in AM and FM radio broadcasting The Studio EncycloMedia Newsletter, which is automatically emailed to the Pro -audio newsgroup systems intended to provide where new equipment acquisitions are immediately profiled.The site also has a new area dedicated enhanced sound quality for AM to pro-audio manufacturers and service providers called the Information Forum.This is intended to radio, CD -like quality for FM encourage discourse between the recording studio and the manufactures supporting it. Having radio, interference -free reception already attracted Digidesign as sponsor for the Hard -Disk Recording section, it is hoped the and new data services. The IBOC initiative will provide a platform discussion customer support and product information. approach will allow broadcast- After the death of IT director Harry Railing,The Studio EncycloMedia has announced Paul ers to introduce digital audio pro- Hanson as his successor. Hanson had previously collaborated with Railing on The Studio gramming to listeners on their EncycloMedia, in addition to work on Internet, intranet and e- commerce sites for blue chip current frequencies, transmitters companies in the oil, banking and insurance industries. www.encyclornedia.co.uk and aerials. IBOC DAB is both Quantegy's stock ordering sys- backward and forward- compati- tem. It will allow tape products ble: current AM -FM receivers will to he scanned and provide still be able to receive the exist- detailed biographical information ing analogue signaLs in the new including dubbing, correcting system. When a station elects to and time -coding information. turn off the analogue signal in the Quantegy Europa. future, IBOC DAB -compatible Tel: +31 24 3727400. receivers will operate with the remaining all- digital signal. Fairlight Web: www.orban.com; www.lucent.com Broadcast news Australia: Fairlight has expanded Quantegy's in to the radio broadcast market new media with the acquisition of Nether- ...... lands -based Vamos Media Solu- . and software tions following its acquisition of US: Quantegy is to sell and dis- Ogenic On Air Systems based in I/Iltllll 11'11.. ., '°- tribute Ambition data storage Australia earlier this year. US -UK: Monitoring systems are increasingly big business in media products world wide as The result of both acquisitions recording with LA -based producer David Rideau (above) part of a move that will allow the is the formation of a new divi- choosing the Westlake Lc8. t system for his tracking and mixing company to offer its customers sion called Fairlight On Air Sys- work. In Portland, Oregon, Downstream Sound, has installed what it claims is one of the most tems headquartered in the Quested 5.I monitoring systems as part of its redesign.The complete media offerings any- Netherlands under Vamos exec- work of the Russ Berger Design Group, the facility offers three where in the world.' The news utive Hendrik Noorderhaven studios with live rooms, and a music composition suite. coincides with the announce- who will work closely with his Studio A now has a Quested 4I 2d active system, Studio B a ment that Quantegy and Xytech, counterpart Quentin Grihble in Q2I0c active 3 -way LCR system with VS1 115 subs and H1108 a supplier of facility management Australia. The company launched surrounds, and Studio C has a Q21 0c active 3 -way system. software, has entered into a part- Fairlight CoSTAR at IBC as a total Across the Atlantic, London's Sarm West has installed a nership in which Xytech's soft- software solution for automated Quested 5.1 monitoring system as part of the refurbishment of ware will he the standard radio that handles the digital Studio 3 while new Soho post house Plus 8 Digital Post has inventory application for Quant- recording, distribution, editing, opted forTannoy surround systems for its two dubbing suites. egy products. Xytech will modify planning and broadcasting of Westlake Audio, US.Tel: +I 805 499 3686. Q USA Inc, US. its Enterprise 3.0 facility software a.ldio in a LAN -WAN networked Tel: +t 608 251 2500.Tannoy, UK.Tel: +44 1236 420199. to interface seamlessly with environment.

Studio Sound October 1999 7 Hearing is believing consideration if he hasn't? t.c. electronic FURTHER TO your articles in the Actually, I thought the style amusing, Technology section of Studio Sound, but seriously, while penning his novella, '20 -20 Vision' (Philip Newell, June Neil has missed several key benefits of 1999) and 'Topping 20k' (John Watkin- the unit. In fact, the features missed MAIN OFFICE: son, August 1999). appear to he the most important ones. TC ELECTRONIC A/S SINDALSVEJ 34 In 1988 I was working at Focusrite as The very ones which are widely DK -8240 RISSKOV DENMARK a project engineer on the Electric Lady - believed to set this product head and land console and was given the brief shoulders above its competition. PHONE: + 45 8621 7599 FAX: + 45 8621 7598 by Rupert Neve (then chairman of The Timeshift facility provides the EMAIL. [email protected] Focusrite) that every signal path on the correspondent (once switched on) with console must he flat to at least 100kHz. a buffer of between 5s and 20s, mean- USA: When questioned about this figure he ing that in the event of something hap- TC ELECTRONIC INC. 790 -H HAMPSHIRE ROAD demonstrated a square wave of a few pening suddenly, the user does not miss WESTLAKE VILLAGE CA 91361 kHz with a switchable 40kHz low -pass the start while fumbling for the record PHONE: (805) 373 1828 FAX: (805) 379 2648 filter in the circuit. The colouration intro- switch. The Easycorder also features duced by limiting the bandwidth was password protected configuration per- EMAIL: [email protected] obvious even on a modest close -field mitting the issuing engineers or techni- monitor speaker used for the demon- cians to prevent hamfisted users from GERMANY: stration. altering the preferred settings. TC ELECTRONIC GMBH FLUGHAFENSTRASSE 52 B I believe that I understand the reason The memory options are not clear at D - 22335 HAMBURG for the colouration, but cannot under- all from the article. Firstly it should be stand what a square wave has to do with PHONE: +49(0)40 5310 8399 FAX: +49(0)40 5310 8398 pointed out that Easycorder does not well recorded and mastered audio. EMAIL: I N FOD@TCE LECTRO N IC.COM Nicholas Butt, Engineer, Mentorn use an internal hard disk, rather it uses a solid -state Flash Disk. The unit comes Barraclough Carey Facilities, UK. AUSTRIA: as standard with several sizes of inter- Tim Goodyer replies TC nal storage-40Mb, 60Mb, 80Mb and ELECTRONIC POSTFACH 20 A -1124 WIEN You may like to peruse this month's Dr 140Mb- upgradable using widely avail- PHONE: 0800 20 16 52 FAX: 0800 20 16 53 John column before considering your EMAIL: TCA @TCELECTRONIC.COM problem further. Then again... able industry standard Flash Disks. External memory can be via PCMCIA Flash Cards in 20Mb, 40Mb and 80Mb SWITZERLAND:

Easy as ABC as standard, higher capacities are eas- TC ELECTRONIC POSTFACH CH-8030 ZÜRICH AT THE AUSTRIAN Broadcast Corpo- ily available. A PCMCIA hard 520Mb PHONE: 0800 89 89 01 (CH /uK) 0800 89 89 02 (I /F) ration we are planning to digitise most disk is also available. important parts of our archive. Download has been covered, but the FAX: 0800 89 89 03 Our plan is to establish three differ- parallel port has not been mentioned at EMAIL. [email protected] ent file formats: linear, uncompressed, all. The variety of data file types Easy- 16 -bit 48kHz for high -quality storage; corder can use, can he downloaded onto ASIA: MPEG Layer 128kBit) for a brows- 3 (64- a PC via its parallel port at very high TC ELECTRONIC ASIA YOSHIDA BUILDING ing area; and an MPEG Layer 2 (256kBit) transfer rates using the Easycollector NO. 201. 26-8 MARUYAMA -CHO area supporting broadcast quality. software. The other option is transfer via As far as our project group has dis- SHIBUYA-KU TOKYO 150 JAPAN ISDN from location, which is mentioned, cussed the project, our conclusion is that PHONE: +81 3 5456 -4071 FAX: +81 3 5456 -4072 but obtusely. With the nearest compet- according to EBU information it is pos- EMAIL: I N FOAS IA@TCELECTRON IC.COM itive product you need a PCMCIA adap- sible to cover them all by using the BWF- Format. tor card. The cheapest (and slowest) ones costing 1200 or more. UK: The question that arose was if it also is is TC ELECTRONIC UK P.O. BOX 25767 is possible to convert a BWF MP3 file An NiMH battery used, and as hack into a linear, uncompressed, 16 -bit well documented, this type is less LONDON SW19 6WE 48kHz signal. Theoretically this appears prone to the `memory effect'. However, PHONE: 0800 917 8926 FAX: 0800 917 6510 no problem but maybe we don't know the fact that it is a Smart Batterypack EMAIL: [email protected] the whole story. Is there anyone out there has been missed. It has a built -in chip who does? Furthermore we would need that prevents overcharging or damage TWO 0800 NUMBERS ARE AT YOUR DISPOSAL the software necessary for producing a to the cells. TO MAKE THAT TC compressed MPEG1L2 BWF -File from an We feel that with this many features SURE YOU RECEIVE ELECTRONIC'S uncompressed linear file with taking omitted from the review, the unit can- RENOWNED CUSTOMER SUPPORT: over all the chunks containing metadata. not be evaluated fairly against its com- PHONE: 0800 917 8926 FAX: 0800 917 6510 So soft and hardware is needed which petitors. Despite this, we do of course THESE LINES ARE OPEN FROM MONDAY can handle these kind of files an convert recognise that Neil was complementary TO FRIDAY FROM 8AM TO 5PM. then all. I would welcome any about the Easycorder and its abilities. recommendations. We hope you will he able to address TC ELECTRONIC HAS APPOINTED Philipp Ridwald, the points raised and are waiting CIMPLE SOLUTIONS PRO LTD. philipp.ridwald @orf.at patiently with Trilby and long Mac at the ready. AS UK SERVICE CENTRE. Richard Kelley, Sales Director, CONTACT CIMPLE ON 0181 9044141. Mayday Canford Group, UK HAS NEIL HILLMAN sent off his entry for the Sam Spade Literary Award? Tim Goodyer Replies WWW:TCELECTRON IC:COM I would he delighted to push his Operational revic\\ in the making... review of the Maycom Easycorder Meet me at the docks after midnight: (Studio Sound, September 1999) for Password 'donna'. 8 Icon - /'aiknn/ n 1 [An object acting as mediator TC (ON between man and the ideal] 2 [A symbol having cultural significance and the capacity to excite or objectify a response]

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TC ELECTRONIC A/S SINDALSVEJ 34 8240 RISSKOV DENMARK PHONE: + 45 8742 7000 FAX:+ 45 8742 7010 TC ELECTRONIC UK P.O. BOX 25767 LONDON SW13 6WE PHONE: 0800 917 8926 FAX: 0800 917 6510 TCUK @TCELECTRONIC.COM WWW.TSELECTRONIC.COM October Tel: +44 1398 323 700. Palais des Congres, Email: [email protected] Paris, France. 8 -17 Net: www.sbes.com Contact Hermann A O Wilms. Telecom 99 18-21 Tel: +32 2 345 7971. tois-1-rifou+0 rs Palexpo, Geneva, Switzerland. Reproduced Sound 15 Email: [email protected] Tel: +41 22 730 5969. Australia Syncrotech Systems Design Pry. Ltd. Residential Weekend, Stratford Net:www.aes.org Tel. (02) 98 79 08 00 Fax (02) 98 '79 08 99 I2--13 Victoria Hotel, Stratford upon Austria C. Grothusen OHG Avon, Warwickshire , UK. DVD Conference March Tel. (0662) 4 33 68 80 Fax (0662) 43 60 04 Europe 99 Contact: Institute of Acoustics. +44 Alfa Lisboa Hotel, Tel: 1727 848195. 5 -7 Belgium + Luxembourg A. Prévost S.A. +44 Tel. (02) 2 16 80 25 Fax (02) 2 16 70 64 Lisbon, Portugal. Fax: 1727 850553. Entech 2000

Email: acoustics@clus I .ulc.ac.uk Contact: Understanding The Dome, Sydney Show - Canada T.C. Electronics Canada & Solutions. 19 -22 ground & Exhibition Centre, Tel. (514) 457 -4044 Fax (514) 457 -5524 Tel: +44 1582 607744. SMPTE Conference Homebush,Sydney,Australia. Croatia cat audio d.o.o. Email: DVD99 @undansol.co.uk. and exhibition Contact: Caroline Fitzmaurice, Tel./Fax (01) 230 -3962 Fax (01) 601 -632 Net: www.undansol.co.uk. NewYork Marriott Marquis, Connections Publishing. Czech + Slovak Republic AUDIOSALES S.R.O York, US. 14-18 New Tel: +61 2 9876 3530. Tel. (02) 2 32 60 03 Fax (02) 2 32 58 88 Contact: Bryan Nella. IBTS 99 Fax: +61 2 9876 5715. Denmark Audio V suelt Centrum A/S Tel: + l 914 761 1 100. Milan Fair, Pavilions 9/1 Email: [email protected] Tel. (75 62) 45 77 Fax (75 61) 46 99 9/2, Milan, Italy. Net: www.smpte.org and N et:www.conpub.com.au Contact: General Secretariat 22 -24 Egypt Decibel Audio Equipment & Installations +39 Tel. (304) 79 90 Fax (304) 85 10 Tel: 02 481 5541. Messe Frankfurt Email: [email protected]. April Trade exhibition and France beyerdynamic france S.A. Net: www.assoexpo.com. Tél. (01) 44.09.93.93 Fax (01) 44.09.82.33 convention for audiovisual 12 -14 15 -17 system installation Optical Disc Germany beyerdynamic GmbH. MusicBiz 2005 CMF, Ludwig -Erhard -Anlege Production 2000 Tel. (07131) 617 -0 Fax (07131) 604 59

1 60327 Frankfurt Expression Centre for New Tokyo Big Sight,Tokyo Interna- Greece Bon Studio Contact: Metin Ergül Media, Emeryville, California, US. Tel. (01) 3 80 96 05 Fax (01) 3 84 57 55 Tel: +49 7575 6 130. tional Exhibition Centre, Japan. Contact: Keith Hatschek. 69 Email: metin.ergul@ Contact: Mesago. Hungary AUDIOSALES Hungary KFT Tel: + 1 415 227 0894. Tel. (01) 214-9549 Fax (01) 214-9549 messefrankfurtcom Tel: +81 3 3359 0894. Email: info@hatschekcom. Fax: +81 3 3359 9328. Italy Audium S.R.L. 21-23 December Email: kunimoto @message -jp .com Tel. (02) 27 30 42 42 Fax (02) 27 30 90 18 Broadcast India 99 8 -I0 Netwww.mesago-jp.com/cdp Japan MTC Japan Ltd. World Trade Centre, Mumbai Tel. (03) 5413 -4611 Fax (03) 5413 -4619 (Bombay), India. Convergence India 99 Contact Kavita Meer, Saicom. Pragati Maidan, New Delhi, India. June Korea Young Nak So Ri Sa Tel. (02) 5 14 45 67 Fax (02) 5 14 01 93 Tel: +91 22 215 2721. Contact: Exhibitions India. 6 Email: [email protected]. Tel: +9 I I 1 463 8680. -9 Broadcast Asia 2000, Mexico Vari S.A. Net: www.saicom.com Fax: +91 1 1 462 3320. Tel. (5) 6 04 69 46 Fax (5) 6 04 16 14 /broadcastindia Email: [email protected] Cablesat 2000 and Net www.exhibitionsindia.com Professional Audio New Zealand South Pacific Music Distrib. Tel. (09) 4 43 12 33 Fax (09) 4 43 25 29 20 -23 Technology 2000 LLB 99 January 2000 Suntec Centre, Singapore. Netherlands Electric Sound B.V. Sollentunamässan, Stockholm, Tel. (036) 5 36 65 55 Fax (036) 5 36 87 42 Contad: Singapore Malmvägen 2, S -19123 24 -27 Norway audiotron Sollentuna, Sweden. Broadcast, Film and Exhibition Services. +65 Tel. (047) 22 87 15 50 Fax (047) 22 38 41 28 Tel: +46 8 92 59 00. Audio, BFA 2000 Tel: 338 4747.

Net: www.solfairse /Ilb/ Bombay Exhibition Centre, Fax: +65 339 565 I . Portugal Auvid Cientifico Tel, (01) 4767360 Fax (01) 47543 73 Mumbai, India. Email: [email protected] Ruvina Tel. (02) 3394868 Fax (02) 33948 79 November Contact: Jasubhai Media. N et:www.sesmontnet.com Tel: +91 22 6542363. UK contact Overseas PR China, Hong Kong Dah Chong Hong Ltd. Tel. (852) 28 08 61 11 Fax (852) 28 73 39 11 2 -3 N et:www. ex i com i nd i a.com. 24th Sound Exhibition Services. Tel: +44 171 862 2080. Russia, MS MAX Broadcasting February Tel. (095) 234 -0006 Fax (095) 249 -8034 Equipment Show Fax: +44 862 2088.

NEC, Birmingham I 9-22 E -mail: [email protected]. Saudi Arabia Jeddah 21495 Tel. (02) 6 69 12 52 Fax (02) 660 08 50 Contact: Point Promotions. 1 08th AES Net: www.montnetcom South Africa EMS Africa (Pty) Ltd.

© Miller Freeman UK Ltd. I 999.A11 rights reserved. No part of this publication may be reproduced Tel. (011) 4 82 44 70 Fax (011) 7 26 25 52 or transmitted in any form or by any means, electronic or mechanical including photocopying, ABC Spain Media -Sys S.L. recording or any information storage or retrieval system without the express prior written consent AUDIT BUREAU OF CIRCU.A1I0N5 Tel. (93) 4 26 65 00 Fax (93) 4 24 73 37 Engineering are subject to reproduction of the publisherThe contents of Studio Sound and Broadcast BUSINESS PRESS in information storage and retrieval systems. Studio Sound and Broadcast Engineering incorporates Sweden KB Luthman Scandinavia Sound and is International Beat Instrumental. Studo Soundand Broadcast Engineering published monthly. Tel. (08) 6 40 42 42 - Fax (08) 6 40 73 35 The magazine is available on a rigidly controlled requested basis, only to qualified personnel.The publisher may pass suitable reader addresses to other relevant suppliers. If you do not wish to Switzerland Go Wild AG receive sales information from other companies, please write to Circulation and subscription a' Tel. (041) 7 20 05 20 - Fax (041) 7 20 05 25 the address below. Subscription Rates. UK annual: E48.00. Europe: E65.00. Rest of the Turkey ATEMPO Ltd. World: US$ 1 24.00. Refunds on cancelled subscriptions will only be provided at the publishers BPA Tel. (312) 4 35 31 31 Fax (312) 4 34 47 27 discretion, unless specifically guaranteed within the terms of the subscription offer. Circulation and address changes. UK: Miller Freeman UK Ltd, 109 Station Road, Sidcup, Kent subscription and ótal average USA beyerdynamic Inc. +44 +44 DA I5 7ET, UK Controlled Circulation:Tel: 181 309 3617. Fax: 181 309 3681. Paid , ,ternatonal circuhtorr Tel. (516) 293 -3200 Fax (516) 293 -3288 Subscriptions.Tel: +44 181 309 3842. Fax: +44 181 309 3661. US: Studio Sound and Broadcast 21,648 Engineering Magazine, 2 ParkAvenue, 18th Floor, NewYork NY I00I6.US second class periodicals Iv Dec 1998 postage paid at Rahway, NJ. Origination by F E Burman Ltd, Crimscott Street London SE I 5TF. vr'A audited /Mf.9Twty /0/1 in Colchester Road, Heybridge, Maldon, Essex far more t Printed the UK by ET Heron,The Bentall Complex, Tel. (01444) 258258 CM9 4NW, UK. Newstrade Distribution (UK) Seymour Burgess Hill, RH15 9TN Distribution, 86 Newman Street, London W I P 3LD, UK. Miller Freeman e -mail: [email protected] Tel: +44 171 396 8000. Fax: +44 171 396 8002. in A United News & Media publication freephone 0800 374 994 10 beyerdynamicn P1100- st THE FIRST NAME IN

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More hit records and sound tracks harv+e been mixed and monitored on beyerdynarnic's range of studio headphones than any other headphones in the world. Our range of headphones, specifically the DT 100, are acknowlecged by h t making musicians and by recording engineers for their accuracy and fidelity. The first name in stadio heacphones - beyerdynamic... f%.drß/.'tóf b 741-1diO, Tnn '-.._

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Tel. (01444) 258258 Burgess Hill, RH15 9TN e -mail: sales ©beyerdynamic.co.uk beyerdynamîc)))) freephone 0800 374994 D ou B LE RU B Y Genelec's 1029A is a 2 -way bi- amplified monitor system able to deliver I I0dB SPL at 1m (for a pair) for close -field and surround sound work. It uses Genelec's DCW and is shielded against magnetic fields, has overload protection circuitry, room response controls and sufficient LF ALTHOUGH THERE ARE extension ( -3dB at 68Hz) for most applications two sets of questions to although the 109 I A subwoofer is available to extend match the two prizes, you the system to deliver -3dB at 40Hz. may enter either one or both sections of the com- petition as you see fit. All Q I Where is Genelec based? you have to do is to cor-

Q2 Which subwoofer complements the 1029A? rectly answer the ques- tions below and co -ordi-

Q3 What is DCW? nate your studio's colour scheme to embrace the CLOSING DATE: 5th JANUARY 2000 Studio Sound Ruby theme.

TO ENTER, you can either email your answers to ruby.competition ©unmf.com, fax them (to +44 171 407 7102) or send them on a postcard to Ruby Competition, Studio

Sound, Miller Freeman Entertainment, 8 Montague Close, London SE I 9UR, UK. As long as you are a registered Studio Sound reader, you may enter any number of installments of the competition as long as you do so separately (multiple entries will be collected and used as fuel for Studio Sound's millennium cookout season), and include your Unique Reader Identification Number. ...include your Unique Reader Identification Number. The Unique Reader Identification Number is the 9 -digit number located in the middle of the top row of your Studio Sound address label. 12 October 1999 Studio Sound REWAR D s

STUDIO SOUND'S ANNIVERSARY GIVE -AWAY continues with an opportunity to win not only a CEDAR Series -X DHX Dehisser but also a pair of Genelec I 029A monitor speakers. In common with the other prizes in this series, these are custom editions of current models finished in ruby red livery. In every remaining issue of the magazine until the end of the year, you will have the opportunity to win two items from the Studio Sound Ruby series listed below. CEDAR's DHX Dehisser (Studio Sound, August 1998) takes the power and flexibility of the company's computer - based processing and packs it into a powerful but easy to use rack unit employing just three controls rather than pages of computer screens. Optimised for removing tape hiss and other broadband artefacts encountered when restoring for CD and movie soundtracks, the DHX is part of the REWARDING Series X /X+ range that includes the DCX RUBY PRIZES Declicker, CRX Decrackler, BRX+ Debuzzer and 53 5 stage condenser, C 1 000, AZX+ Azimuth Corrector. It now packs v1.02 software and C3000 microphones making it better equipped than ever for all types of speech and music restoration duties. 32- channel GS3000 console Series -X DHX Dehisser THE CEDAR D DS20I dual gate

E520 Single DI box; E445 cable Q I Which CEDAR -processed soundtrack hit the Billboard Top 200 for the first time in tester; E325 3 -way mic splitter history in 1997? 1029 monitors

VC I compressor Which did CEDAR Audio Q2 significant birthday DN -360 graphic enjoy earlier this year? Maran - CDR640 CD recorder

Q3 From which series do CEDAR's recent film and TL Audi C I Classic compressor video soundtrack restoration products come? Purple Audi MC76 compressor .

On -going thanks are due to all those who have so readily contributed equipment, time and advice in the preparation of this competition. Studio Sound October 1999 13 Tascam TM-D4000

As the affordable end of the digital mixing console becomes more crowded, the requirement for genuine development grows Rob James evaluatesTascam's latest offering for post work (pre- fader) and there are none on the buses. They also seem to be prone to pumping even with rela- tively modest attack and release times. The overall sound of the console is excellent whether digital or analogue interfaces are used, a fact that only serves to emphasise one snag that the 4000 shares with several other con- z` if i It t lt soles -there are not enough steps on , :. the faders. This makes it difficult to r 1L 1 achieve long slow `fades to black'. -.711111a-c The stereo effects unit is not the most -.... comprehensive in the world, but the 0 4'®1. basic algorithms are more than accept- 1 _ .. - -- _:.. ti able. The reverb in particular is clean 111`titi and useful and more than adequate for % a lot of work. The rest of the repertoire , covers the usual time -domain stuff, delays pitch changing, flanging, chorus and phase plus dynamics. The effects unit is fed from either Aux 1 & 2 or Aux INTERFACE CARDS IF -TD 4000

BY NO MEANS a novice in the dig- The familiar ingredients are all pre- Provides eight channels of digital I -O ital console field, Tascam's track sent on the control surface, but the pre- in the Tascam TDIF -I format. record takes in the innovative sentation is a little different from the Audio connection via a 25 -pin D -sub TM -D 8000 and the diminutive TM -D norm. The digression is the case design and remote out via a 15 pin D -sub. 1000. Where the former was compro- -instead of the usual gentle slope con- IF- AE4000 mised by the absence of moving -fader taining most of the controls followed Provides eight channels of digital I -O automation, the latter is a clever con- by an almost vertical upstand, the 4000 in 1992 -3 AES -EBU format. fection of broad connectivity and solid has a fairly steep rake beyond the fader Connection via a 25 pin D -sub. IF- LP4000 performance at a keen price which also and control section followed by a hor- manages to sound good. The TM -D izontal plateau with sockets and trims Provides eight channels of digital 1 -O in theADAT lightpipe format. 4000, then, is the latest in this series. The which also provides a base for the meter Audio connections via two optical TOSlink new desk has arrived in a market dom- bridge. This design serves to bring com- connectors, sync out via a 9-pin D -sub. inated by the Yamaha 02R which despite monly to used controls closer hand and IF-AD4000 several recent contenders remains the reduces the overall depth of the con- Provides eight channels of balanced analogue one to beat. sole at the expense of increasing its 1 -O at +4dBu. Convertors are 24 bit and The formula, at least superficially, fol- height. This approach is often useful in connection is via a 25 -pin D -sub lows the Yamaha paradigm: a compact, small studios and other applications moving -fader 8 -bus console using a where space is at a premium. The data combination of layering and assigna- entry and machine control section is REAR PANEL bility to keep the size and costs down. where the Tascam starts to shine. With Power in is an IEC socket with That said, I would expect anyone with this type of console and the applications on -off push switch adjacent. a nodding acquaintance with the 02R it will be used for, this is an area where Stereo digital l -O, Digital In I or 03D to be able to operate the 4000 clarity is vital. Each channel has 4-band isAES -EBU via XLR. at a basic level without opening the EQ and a dynamics processor. The EQ Digital In 2 is SPDIF on a phono manual. The 4000 repays closer inves- is fully parametric ±15dB of boost and Digital outputs are AES -EBU via XLR tigation and this is where the differences cut with a Q range of 0.27 to 8.65. The and SPDIF on a phono start to become apparent. For openers top and bottom bands are also usable Word -clock sync in and out are BNCs with 7552 it has proper machine control. The as shelves. When cut is set at over 15dB switchable termination on the input. automation requires the use of a sepa- the filter becomes a notch or in Shelf RS422 (P2) and To Host (PC) are 9 -pin D -sub connectors. rate PC but is solid and intuitive. mode a steep low -pass or high -pass fil- Cascade in and out connect multiple The review console was fitted with ter. The sound is sweet and clean; not consoles via 25 -pin D -subs. TDIF and AES -EBU options. Unfortu- as clinical as some but not an analogue A 37 -pin D -sub caters for the nately, as so often happens in real ses- simulacrum either. I think it is perhaps optional meter bridge. sions, I only had an ADAT machine at the most usable I have encountered on Three DIN sockets deal with the time and the only multichannel PC a console in this price range even with MIDI In Out andThru. interface I had installed also uses light - large amounts of `correction'. Unfortu- LTC input is an unbalanced phono pipe. However, I did have a Tascam nately, the same cannot be said for the Three proprietary expansion slots IF-TAD format convertor to hand. The dynamics. As with the other consoles accept a variety of interface cards combination worked perfectly. in this class they are in the wrong place

14 October 1999 Studio Sound TOP PANEL 5 & 6 and returns via Stereo In 2. This supplier. On the other hand, the soft- Channels I to 8 are equipped with MIC level is a slight limitation since the routeing ware and its operation are simple. Four XLR connectors (Nominal -50dBu, ad- for the digital inputs are some- modes-Write, Read, Update and Man- choices justable with the trim control from -67dBU what restricted. Digital In 1 to Channels ual -along with the parameters to be to -20dBu a switchable pad reduces this by 5 13 -14, or Stereo In 1 and Digital In automated can be quickly enabled -6, 20dBu).A LINE switch selects the alternative 2 15 or Stereo In 2. either on the console or on screen. to Channels 7 -8, -16 line level, balanced '/4 -inch TRS Jacks (Nom- is no true touch sense, but the Effects settings are stored in a library There inal +4dBu adjustable with trim from -39dBu react to a fader with 51 factory presets and a further software may be set to to +8dBu).Analogue inserts are unbalanced be move in two ways, either putting it into 77 user -memories which may with a nominal level of -2dBu and follow the Write - named. EQ and dynamics are similarly Write or Manual. Read and are self tip send, ring return convention. An over- is a little less equipped with 20 factory presets and explanatory, but Update load LED lights when the output of the ana- 80 user- memories. obvious. In Update any fader moves on logue input section exceeds -3dBFS.Phantom The 4000's surround facilities are not armed channels are added to the pre- powering ( +48V) is independently switch - offsets. The automation had and can be set for 2 +2 (LR,LS,RS), vious moves as able for MIC inputs I -4 and 5 -8. Four unbal- 3 +1(LCRS) and 5.1 (LCR,LS,RS and Sub) moves are initially recorded into the anced '/. -inch jacks are used for L (mono) modes. A variety of busing patterns are PC's RAM. Mixes can be saved to disk and R inputs to the two stereo in faders. provided from each option to suit the and recalled for further work. There is Nominal level is +4dBu and trim pots are operators preferred method of working. no sequencer-style on- screen editing, provided.The six aux buses appear on unbal- Bus delays are available to compensate but most people find it quicker to use anced '/4 -inch jacks. for speaker placement and so on. The the controls to change a mix. The things There are two stereo outputs and two 2TR first problem comes, as usual, when you I missed were the lack of a 'keep pass' return inputs for a mastering recorder,stereo consider monitoring. The 4000 is better facility and an 'undo' for the last pass. outs (balanced) and 2TR return (balanced) are served than some in this respect since The other missing element is automa- on XLRs.Nominal level is +4dBU.Stereo outs with the right option cards it is possible tion of the surround functions. Apart (unbalanced) and 2TR return (unbalanced) are to obtain multiple bus outputs and the from this the automation is simple and on phonos. Nominal level, - I OdBu. CR (con- meter bridge lets you look at all the bus highly effective. trol room) and studio monitor outputs are send levels. However there is no obvi- The digital console sector of the con- on '/. -inch balanced jacks nominal level +4dBu. ous way to introduce a multitrack return sole market is becoming crowded. I am Level may be adjusted by the cR LEVEL pot and for monitoring purposes other than by sure the criticisms common to all the STUDIOPHONES level pot. Stereo headphone using the switching on the recorder. The current 8 -bus consoles could be output is a' /4 -inch jack. better answer to this, as with others, is addressed at this price point. The wish to use a dedicated surround monitoring list is actually fairly short: proper touch CONTROL SURFACE controller. Surround panning has diver- sense automation, more fader steps, at The surface is divided graphically and phys- gence, but only diagonal vectors and least two stereo effects, proper machine ically into logical sections. On the 'flat' part no dynamic automation. control and surround monitoring. You of the surface the first block consists of 16 moving Not only does the 4000 generate and can see from this list the Tascam comes identical channel strips.The I00mm faders are followed by two LEDS which indi- slave to LTC but it has onboard control closer than most. The 4000 is very acces- cate automation Write and Update respec- of a single RS422 (Sony P2) protocol sible, especially to anyone who has tively.When both are lit the strip is in Read. device. In addition to control over Tas- used a similar console. Despite this it is These LEDS are also used as null indicators cam DTRS machines and an assortment less of a 'me too' than other pretenders when the fader motors are switched off.Four Sony models, which might be to the Yamaha throne. It offers a gen- of square keys with associated indicator LEDs is also control for var- uine alternative by providing different expected, there give Cut, Solo, Select and Record Arm func- ADAT. A welcome ergonomics and more emphasis on ious flavours of most tions. The two stereo strips are the same a manufact u rer, oth- machine control. The interface options inclusion from rival but omit the REC arm keys.The Stereo Out note. Up to ten machine are ersatile, particularly when com- ers please take strip just has a SELECT key.This fader differs he stored bined with some of the excellent little setups for different tasks can from the others in that it is purely an atten- stand -alone interfaces and format con- and recalled, useful since only one uator -with the fader full up the gain is unity. vertors from Tascam. The build quality machine can be controlled at a time. The ALL SAFE key might be assumed to be is is overall sound is clean Simple snapshot automation built strong and the a global solo defeat, but in fact it turns off into the console. Apart from Me factory and uncoloured. track arming and recording on any external setting, a total of 60 machines under console control. snapshots can be stored The data entry wheel -jog shuttle control and recalled at will. is chunky and would not disgrace a video There is no means of editing console. There are only two adja- cross -fading between cent keys, ENTER below and the JOG- SHUTTLE snapshots. Along with toggle above. To the right are four cursor the other libraries snap- keys and above these a row of transport keys shots can be dumped which are big enough to hit instinctively and and reloaded to and inspire confidence. from MIDI devices The autolocator has ten memories which allowing effectively can be programmed manually or grabbed 'on unlimited storage. the fly'.A clear numeric keypad is used for The dynamic auto- entering time code values directly. mation uses an indus- The dominant feature on the sharply angled trial Moxa PC serial section is the LCD screen.Along the bottom interface card. This is a of this are four rotary encoder knobs, each legacy ISA device and with two associated keys. In Tascam parlance installation is definitely these are known as PODS.I have been unable not for the faint- to discover why.The PODS are used to set hearted. Unless you continuously variable parameters on the really know what you screen such as aux send level and the keys are doing with PCs are used for on- offfunctions.Where a screen contains several rows of parameters the > I would leave it to the

Studio Sound October 1999 15 two screens EQ- Dynamics and EQ- Aux -Pan. To the right of the screen a vertical row of Module control keys allow quick and easy routeing to buses and switching of EQ and dynamics on the selected channel. For users of DTRS machines such as the ubiquitousTas- cam DA -88, au: opunch is available on dedi- cated REHEARSA_, IN -OUT and CLEAR keys. On the far let are sampling rate and clock source indicates LEDS.Three keys switch the fader layers between channels 1-16, 17 -32 and MASTER and six farther keys control the global automation functions.On the far right the mon- itor section has a stereo bar graph and moni- tor select keys =or each of the six Aux buses. the two digital stereo inputs, Main Stereo out and 2TR return.lndicators for solo in place and PFL and a couple of talkback keys for slate and

To Aux 1 -2 complete the panel.

METER BRIDGE The meter bridge is a bonus. Sixteen bar - graphs in the usual Tascam orange and red show input levels pre or post dynamics with a further three pairs for the stereo ins and out.A switch changes what the first 16 dis- play in the same way as the fader layers.

I would have like to have seen an option for the meters to automatically follow the fader layers as well. Contact < ROW CURSOR keys are used to determine Mixing.There is a shift key giving two functions Tascam, UK. Tel: +44 1923 819630. whicF row the PODs will affect.Which group to some keys but I am glad to say this only Fax: +44 1923 236290. of functions the screen displays is determined applies to configuration options.Where other Tascam, US. Tel: +1 213 726 0303. by a Mock of keys on the left.This is divided keys have multiple screens these are selected Fax: +1 213 727 7641. into three sections, Library, Configuration and by pressing the key agair -the MODULE key has

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16 October 1999 Studio Sound POST PRODUCTION

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See us at SIES Birmingham 2nd -3rd November, 1999 Star d No 83

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When Johnnie Burn and Warren Hamilton decided to create their own facility "Wave". in London's Soho distric', the derision to go fully digital was immeiiate. However, their se'ection o` equipment took a little longer They knew that in orear to satisfy their Client's demands hey had to optimise not oily their award winning talents but also th air speed of operatnn. Tha evaleacion of the DPC -II was conclusive. The consoles demoes!rated the highest (Neel of audio performance

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Soundtracs USA Inc. 200 Sea Lane . Farmingdale . New York 1 735 . USA

Tel: 1+1) 516 249 1234 . Fax:1 +1) 516 249 485L ,zall1=1111111111= email: [email protected] web: http: / /wrw.sounitracs.00m Amek 9098i

Proving that there is still interest in big analogue boards, Amek's 9098i injects the inline concept into the 9098 line. Dave Foister decides whether big is indeed still beautiful SINCE AMEK ACQUIRED the services notch filter, with fully sweepable frequency, gentle rising contours to the ends of the spec- of Rupert Neve the company has been cut as extreme as 25dB and Q all the way up trum and at the same time broaden the slopes quietly and meticulously building up to about 40. This is surgery at an unexpected of the shelves; the unlikely poetic descrip- to its new flagship in -line console. Circuit ele- level. and as it is separately switched on the tions perhaps suggest that these are meant to ments have been presented as outboard two mid bands the variety of treatments emulate the characteristics of classic Neve EQ. devices, linked by the 9098 designation and available is huge. I find it interesting that normally staid man- Rupert's signature, whetting the appetite of The HF and LF sections both have an extra ufacturers (Studer has done it too) find it nec- the world for the mixer to follow. How suc- switch, again exclusive to 9098 EQ; at the essary to resort to terminology like this when cessful this angle has been is shown by the top there is a SHEEN switch while the bottom they run out of conventional technical words background to Europe's first 9098i installa- has a corresponding GLOW switch. These add to describe what they are trying to do; at > tion at Booya Music in Hamburg. Booya is a production, management, and record company specialising in the Euro dance market, an area that despite making little impact in the UK is evidently huge vir- tually everywhere else. Successful involve- ment in acts like Fun Factory and others led to the installation of the first in -house studio in the present building, and after the usual console research the chosen board was an Amek Rembrandt. More hits followed with artists such as Nana and rapper Pappa Bear, financing the leap to the new studio, still to be effectively a private room for Booya, and in particular partner and producer, program- mer and engineer Buelent Aris. The close rela- tionship with Amek had led to the trial and purchase of several 9098 outboards, and the proven capabilities of the mic pres, EQ and compression made the 9098 console in its new in -line configuration an obvious candi- date as the centrepiece of a new top -flight room. Indeed it says a lot for the console that this is a private studio, so that the practical and musical needs of the Booya team were more important than the ability to attract clients with a big -name big -bucks console. The compliment to the sonic qualities of the board is further enhanced by the fact that Booya's needs are relatively simple, and that some of the 90981's power may never he used here. The power is undeniably there, how- ever, and the combination of Neve's leg- endary circuit design and the flexibility of the features and automation make this a spec- tacularly uncompromising desk. In most respects the 9098i is a classic in -line desk, with channel facilities splittable between two paths. Those facilities are nat- urally impressively comprehensive, so much so as to risk suggesting that this is being sold on features rather than sound -until you remember whose signature adorns it. That signature is represented as much as anything in the equalisers. Each channel has 4 -band EQ with dedicated bands for top, bot- tom and upper and lower mid. All the con- trols you could possibly want are on there, plus some specials that lift the EQ into another league. The top and bottom bands can be configured as having either shelf or bell fil- ter characteristics, and the two mids have a Notch mode rarely seen anywhere else. With this engaged, the band becomes a cut-only 18 October 1999 Studio Sound If you need industrial-strength software for music and sound production, then we have your number.

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Game Deveicpe/ New *th Futme Infm / if axeme Post !Anew° MUSIC and Boot Magazine's Awesome Award TE Preitts4inmn s Gtr Awam Sound Award KichiAss Mend Platinum Awnne the recall facility. < each devouring half a dozen units of rack views on how he wants things to sound that makes virtually no use of I'll it all again rather space. For on -air applications backup sup- may be surprising. Finished mixes of a typi- if I don't like a mix do with changes way ply systems are available. cal Booya product contain massive, founda- than fiddle around -that concept and I'd rather start Unlikely as it may seem to be using a con- tion-challenging amounts of bass, and Aris is you can lose the sole like this on the air, this is one of a selec- adamant that this must remain as clean as pos- from the beginning.' are not a reason tion of master modes for the desk that sible, and that this is helped by a similarly Again, the VFX features buy the Amek when your recording configure it for a variety of tasks including clear top end. He believes that the Rupert to is Pro Tools with an arsenal of plug - broadcast (allowing for a live stereo mix and Neve designs deliver this better than anything medium ins and you can already remote control most a separate multitrack recording), tracking, mix- else he has heard. in the studio studio's out - ing, film work and full surround mixing with While the EQ must surely be one of the of the gear -this mostly in the machine a choice of panning configurations. For sur- top selling -points of the 9098 series gener- boards are already It is a useful alternative option, round work there is an optional joystick panel ally, Aris is surprisingly minimalist in his use room. still and is getting a certain amount of use. carrying two 5- output joysticks with simple of EQ, preferring the classical approach of The point of all this is that Booya is not automation. An interesting twist is a LINK switch delivering the right sound to the console to prospective purchaser that allows one of the channels to follow the begin with and choosing a console that will perhaps the obvious If you are investing that panning of the other, but with an adjustable preserve it as closely as possible through to for an Amek 9098i. it would seem likely that you delay in its movement to chase it around. Even the final master. Having said that, when EQ kind of money, the facilities you need without this, surround panning modes are is needed then the 9098 EQ would be the would be focusing on out for a powerhouse with available and use LR and CS master faders; choice anyway, as it is in other Booya rooms, and not paying in it whose surface you are only just these, like all the subgroup faders, can have so having it right there on the console is ideal. systems The only conclusion is that dynamic processing assigned to them. Similarly with the dynamics, which appear going to scratch. the console is worth the asking The picture is completed by more moni- to get rather more use than the EQ. Some Aris believes on the basis of its sound alone, toring controls than you can shake a stick at, desks have dynamics as quick -fix basic solu- price almost elements the icing on the cake. and lots of metering options. As standard it tions to the easy problems, assuming some- with the other By extension, if you are in the market for the comes with a new design of 100 -segment bar thing more elaborate will be called on for and whistles that are graph, but mechanical meters and a wide more critical situations. This is bells going to cost you this sort of range of OEM meters can be chosen as clearly not the case with the money anyway, the 9098i options. Booya decided to have Studer bar - 9098 Virtual Dynamics, which UK, N ew Islingtor gives you a sonic quality many graph meters installed in their console, which Aris is happy to use as the pri- Amek regard as the ultimate currently otherwise is pretty much a standard desk. mary processors throughout, Mill, Oldfield Road, Salforc. available thrown in for free. Booya's choice of the 9098i in the first place apart from work within Pro Tel: +44 161 834 6747. Whatever your position on is an interesting one, and one that throws light Tools when convenience Fax: +44 161 834 0593. analogue versus digital mix- on the console's qualities. Buelent Aris, the makes it easier to use the ing, few would argue with the virtually exclusive user of the 9098i room, Focusrite plug -ins. notion that Mr Rupert Neve's designs con- chose what is undoubtedly a very expensive, Basic mix automation is of course a require- tinue to represent the state -of -the-analogue very powerful console almost entirely ment for this kind of work, and the dynami- more art, and the 9098i manages to combine that because of its sound. As an engineer heavily cally automated aspects of the Amek are with everything high-end mixing demands, involved in the club market and the very dis- than enough to make life simple in this Aris apparently without compromise. tinctive European dance styles, he has strong respect, but another surprise is that October 1999 Studio Sound 22 I Couldn't Have Done It Without My KT Mie Splitter And V.1.

Mild Mannered David Wiggins Was transfornied Into WIGMAN.

KLARK TEKNIK GROUP, WALTER NASH ROAD, KIDDERMINSTER, WORCESTERSHIRE. DY11 7HJ. ENGLAND. TEL: +44 (0)1562 741515 FAX: +44 (0)1562 745371 KLARK TEKNIK GROUP (USA),600 CECIL STREET, BUCHANAN, MI 49107. USA. TEL +1 616 695 4750 Toll Free: +1 (800) 695 1010 FAX +1 616 695 0470 www.midasconsoles.com www,klarkteknik.conì Soundtracs DS-M

Co- operation with SADiE has endowed Soundtracs with an integrated digital mixer, recorder and editor with nonlinear video. Zenon Schoepe investigates the nature of the sum of the parts The DS -M gets an additional control panel for the hard -disk system placed between the input sections and the mas- ter section which contains a large screen to show you what is happening on the editor, a set of dedicated edit controls and keyboard all located close to the jog and shuttle wheel. The hard -disk system is available in 24 and 32 -track versions and either are available with random -access video. This is based on SADiE's Portia system which represents integrated random - access video within the SADiE edit list. It is the name given to a JPEG card that can be installed into any SADiE system. Using JPEG video compression, video can be recorded into an edit list and accessed alongside the audio. Features include video cut, copy, delete and duplicate, along with complete audio - video sync even when scrubbing at speeds greater than real -time. Internally the software and hardware of the hard -disk recorder is based on the SADiE system and has been adapted in a number of ways for Soundtracs' own purposes with all the programming performed by SADiE for Soundtracs. Soundtracs is at pains to point out that this is a Soundtracs product and will be sold and supported by Soundtracs only and does not amount to the same as buying a SADiE 24 -96 SADiE and strap- ping it on to a DS -3. Even so you can transfer projects between SADiE systems and the DS -M and also benefits from SADiE's activity in interchange formats. Consequently, Soundtracs assures that any develop- ment work conducted on SADiE prod- SOUNDTRACS showed its entry into that the DS -3 has also been tweaked, as ucts will potentially also be available for combined digital mixing and hard - intended and expected, since its first air- the DS -M, although Soundtracs will con- disk recording editing at IBC with ings as a working prototype at the spring trol these and make releases according the DS -M. It is a product that has been shows in response to potential customer to its own chosen direction and user expected for some time following the feedback. It has been rejigged cosmet- base. Thus SADiE upgrades and tweaks announcement late last year of a co -oper- ically and in terms of panel layout and to its CD mastering capabilities, for ative agreement between the British controller count, but perhaps the most example, will be judged nonessential digital desk manufacturer and DAW spe- significant change has been the fact for the sound -to- picture work inclina- cialists Studio Audio & Video. The fruit that it will now ship as a 64- channel tions of DS -M users. of the work will ship in December. console rather than the 96 channels The benefits of combining digital mix- Some confusion may exist about the originally suggested. ing with nonlinear recording include the precise nature of the beast as it was orig- According to Soundtracs this is fact that the business of interfacing the inally, but briefly, named Digitracs before because the smaller size seems better two systems has been simplified with a swift change in title to DS -M. The prod- suited and more interesting to the sort regard to clocking, as the two are locked uct is intrinsically linked to the DS -3 (Stu- of market it is targeted at. A by- product together, and with regard to time -code dio Sound, April 1999, p26) and it is of this move is that the price has also synchronisation. The system offers sub - important to understand the distinction dropped slightly. frame scrubbing of video, audio and and similarities between the DS -3 and While the desk aspects of the two automation data simultaneously. the DS -M. The DS -3 is the stand -alone products are identical the hard -disk The SADiE's routeing matrix and digital mixer and the DS -M is essentially recorder section cannot be retrofitted to mixer have been removed from the DS- a DS -3, but with the hard disk recorder a standard DS -3. However both share the M as they are duplicated on the desk. editor inserted and integrated. same sorts of options for I -Os with ana- In terms of arrangement, channels 1 to It is also important to acknowledge logue, AES -EBU, TDIF, ADAT and MADI. 8 on the mixer equate to the same > 24 October 1999 Studio Sound 1

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ea r ,-- AP Q1 J J J N / r/).i / JIÌJ/ r .J t)I". !!. 5000 been realised. The automation data can be represented by a set of curves super- imposed on top of the audio waveforms in the editor display. The package impresses with its cohesiveness and togetherness even though it is still a way from being finished. If I have one reservation then it is the layout of the editor section. The screen is placed top of the panel with its asso- ciated editing keys directly below it, but a fixed QWERTY keyboard inserts itself between the operator and the all impor- tant sharp end. You can still reach every- thing, but anyone using the editor hard will want to have it as close as possible. < tracks on the hard -disk system as a They have also addressed the bugbear default, but can, of course, be recon- of saving data, an issue that causes con- figured. Soundtracs has tied the automa- siderable problems when disparate sys- tion and editor screens together to give tems are forced to cohabit. On the DS -M a simple and clear representation of it is a simple matter of single step filing what is going on and if you switch the and restoring of entire projects and this view or zoom on one screen the other can be performed from the editor or the follows and reflects its associated data. automation portions of the system. For This aspect works extremely well. archival purposes, crucial in post where The editing functionality and appear- jobs frequently return, the SADiE soft- ance of the DS -M's editor will be famil- ware bundles data together in projects iar to existing SADiE users. The DS -M and this has enabled the desk automa- has all the same editing features with tion data to be inserted along with it. the same options of using the pointer Price then. For a 48kHz DS -M with or hardware keys for the routines. On 24- tracks of audio, the 64- channel desk hardware controls you can hit Stream but no video they are asking £80,000 or Clip to identify a segment and hop (UK). Video is expected to add perhaps along them with PREVIOUS and NEXT but- another £10,000. tons and then use IN and OUT buttons to It amounts to something of a master adjust the portion to be processed. Addi- move. After its first initial move to dig- tionally there's a Trim Editor to take two ital, the DS -M is probably the most clips of audio into a dedicated place for important product for Soundtracs as it resolving a join and Region Editing for represents the missing piece in its con- wiping across a section of audio for trolled and deliberate progress into selection and moving it around. postproduction. The addition of an inte- There's also razor editing, scissors, grated editor assures the company's lock and slip. Clips can also be ability to provide systems across the snapped to timeline, original position board and at all levels and puts it in the or hot point. But if you are familiar position to equip an entire postpro- with SADiE then you will be duction facility. Comparisons will be acquainted with these already. made to Fairlight's FAME, but the DS -M The desk quotient will be available probably has more in common with with a 48kHz or 96kHz engine (both AMS Neve's Logic /AudioFile combos in 64- channel) while the editor operates at terms of genesis and direction. 48kHz in 24 -track and 32 -track versions It is a also a smart move for SADiE as with half the number of tracks available it buys them a good foot in the door into at 96kHz. Potential purchasers would postproduction and gives them inte- therefore be protected for the future. grated access to a large hardware mix- Default storage size is to a 9Gb drive ing console while also opening up a with bigger sizes available route to supplying its sys- and back -up is to exabyte tems in a supporting role or other media. There is Soundtracs UK, in preparation suites feed- also the potential for ATM - Blenheim Roa d, Longmead ing DS -M rooms.

based networking in the Industrial Park , Epsom, There is a popular line future for a multiple system Surrey KT 19 9 XN. of thought that suggests complex supported per- Tel: +44 181 388 5000. that the potential growth haps by stand -alone SADiE Fax: +44 181 388 5050. in post as a result of editors, although remov- Soundtracs USA increased broadcast pro- able media would be most Tel: +1 5162 49 1234. gramming brought about

immediately convenient Fax: + 1 516 2 49 4854. by new channels and for- and, as already mentioned, mats will manifest itself in SADiE has not been lax in expanding work for the B rooms rather than its import-export portfolio. the flagship big -buck rooms. The There is much to commend the DS -M. DS -M would seem to be sensibly poised The tightness of the integration between to take advantage of this. It is the recorder and desk means that essen- certainly worth investigating by any- tial audio segment -based automation has one who agrees. 26 October 1999 Studio Sound In an ocean of digital consoles the latest competitor is analogue.

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A proliferation of cheaper ways into CEDAR's universe of sound restoration has perhaps detracted from its best attempts at the top end. Dave Foister rediscovers the state of the art VERTHE PAST FEW YEARS you tion of the noise alone into the process, hard on the perceived problem it will could be forgiven for thinking so that it knows exactly what it is try- be working equally hard on the parts c) that CEDAR's efforts had gone ing to remove. But that is not the end whose presence is less objectionable entirely into making its products ever of it. Being CEDAR, the algorithm is not or noticeable. There is scope for mak- simpler and more affordable. You may a dumb automated process but allows ing the process quite seamless, with a even have thought that the company the user to fine tune the way it works bit of manual intervention, and NR -3 has felt that it had achieved all that could and to help it achieve the best results. more scope for this than ever before. be achieved in the way of removing Much of what is new about NR-3 lies in To begin with, the captured curve can noise, that its algorithms had reached a the increased power the user has over be manipulated in a variety of ways. It peak of sophistication where further what it is doing, usually with the inten- may be that the grabbing procedure has improvement was pointless. In both tion of minimising the work the process captured some wanted signal and this is respects you would be wrong. Along- has to do in order to reduce the already often obvious from the display. A range side the most recent additions to the negligible side- effects even further. of drawing tools is provided to redraw Series X range of 1U-high processors With characteristic honesty and in parts of the curve or to smooth jagged the company released NR -3, its most stark contrast to many of its would -be peaks, besides which the armoury of EQ powerful and flexible noise removal competitors, CEDAR begins the instruc- options can be applied to it. NR -3 offers system yet. tion manual by pointing out: `It is four types of EQ hand, known as nodes, NR -3 is a package that runs on the impossible to remove all the noise from comprising high and low shelves, a para- CEDAR for Windows system, explored a signal and leave the desired signal metric called a Q node, and a notch fil- here in July 96. This, it will be recalled, completely unaffected.' The fact that ter. Any combination of these can be is a real -time hardware and software CEDAR intends to get as close as pos- used to modify any of the curves that sible to it is demonstrated appear in the system, including the NRC. ' f !- fHl.Ft NH N,.to12 by what follows, where the The manual points out that in the case most experienced and of the NRC the drawing tools are a more powerful algorithm in the appropriate approach, hut the EQ option c.o.s. INC ¡ H.g!I. I business is joined by new is included to provide continuity to users Per nec tools to help it get better of earlier CEDAR systems. The final still. At the heart of it is still adjustment of the NRC is its overall level the noise fingerprint, in relation to the complete signal; get- known in CEDARspeak as ting this right makes the crucial differ- - -120a9 3179 the Noise Reduction Curve ence between over -processing and Signal EQ and Nob. Attenuation Di.piay or NRC. Obviously the under -processing, with the unavoidable it? MC Da. ...Wv1 process of taking this fin- side -effects both produce. MCC4e, gerprint is easiest when But at this stage no actual noise MC C.Pe+e 2 is is taking place. The lower win- Mc CyAV e 3 there a portion of the removal recording with no wanted dow of the display shows two lines, one signal present, but when representing the frequency response of F9MàC - things have been tightly the wanted signal (Signal EQ), and the Lll®®!_I edited there is often no other the amount and shape of noise platform using CEDAR's powerful PC opportunity to do this, and part of the removal based on the NRC (Noise EQ). DSP cards and a console /plug -in front improvement in NR -3 is its enhanced Only when this second line is below the end to allow any or all of the various ability to analyse the noise even with first is any work being done, and the algorithms to be purchased as required small amounts of signal present and in fact that both these lines can be shaped and used simultaneously according to a very short space of time. Indepen- with the EQ bands is the key to con- how much hardware processing power dent curves can be taken for the two trolling and monitoring what NR -3 does. has been fitted. The modules include channels, to allow for differences in the Advancing the Attenuation control de- click, de- crackle, de -buzz, azimuth groove walls of a disc or inconsistent will make the Noise EQ line move correction and noise removal, and it is tape machine line -up. downwards and introduce across -the- this last that has now been uprated to The `shape' of the noise the process board noise removal based solely on the NR -3 process here. has found is displayed as a spectrum the NRC in the upper window. Apply- One of the things that has always dis- line in the upper window of the screen ing one or more EQ nodes to the Noise tinguished the computer- hosted noise along with a continuous live display of EQ allows it to be shaped, determining removal processes from the hardware the input signal spectrum. This shape where the process will work hardest and equivalents is the use of noise finger- is the NRC, and forms the basis of the where it will do less. For example, with prints. While it was hailed as a consid- noise -reduction process that follows in the overall attenuation set at zero but a erable achievement for the hardware that it is this spectrum of low -level infor- parametric band dipping the line boxes to be able to deal with any kind mation that NR -3 will try to remove with- around the mid -frequency area, that of broad -band noise without having to out damaging the wanted signal. The area alone will he treated, using the rel- be fed a sample of it first, no -one has simplest thing to do at this stage is sim- evant portion of the NRC as its guide, ever disputed the notion that the finger- ply to adjust the Attenuation of the noise and the parts of the spectrum above and print remains the most powerful appro- on the basis of this NRC alone, and in below this band will have no noise ach and the one most likely to be able many cases this does an excellent job. removal carried out on them at all. to deal with the problem without side - But this assumes that all the noise it has This allows the processing to be tar- effects. The idea is to play a short sec- found is equally intrusive, and if it works geted very precisely at the specific > 28 October 1999 Studio Sound If you are journeying into sound... P4,6 (u3.re ErrhRstra i ...you can now afford to Travel First Class

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United Stales as Inmcemd by and m numerous omm ounlnes worldwide At other trademarks a e -oçely of therrespectrve owners. < problem being addressed while min- noise up with it- Noise -free EQ as the point where widening it made no dif- imising the introduction of side-effects CEDAR calls it. None of this should be ference, and then I felt I had identified in parts of the spectrum where it is not confused with the Brightness setting, the problem quite precisely. This EQ set- felt that there is a problem. The overall which has nothing to do with altering ting could then be transferred to the EQ Attenuation control is still active, but the EQ of the sound; as CEDAR fol- curve and used to cut instead of boost, now it moves the whole curve up and lowers will know, this is a parameter and the noise disappeared immediately down, retaining the chosen emphasis. that advises the algorithm how much with only a few dB of attenuation. The drawing tools are also available brightness is contained in the wanted One of the problems a restoration on these EQ curves, and to help with signal to help it distinguish between specialist has to deal with is the fact their use the display can be zoomed in wanted HF and noise. that the nature of the noise can change and out to show more or less detail. In One of the most impressive aspects in the course of a reel of tape or a side this case, however, the familiar EQ con- of CEDAR's hardware processors has of a record, and in the past this has been trols would appear to be the more intu- been how simple they are to operate, difficult to accommodate. NR -3 now has itive way of going about it. and by contrast NR -3 can appear daunt- a Morph feature, allowing two inde- As a convenient short cut, three pre- ing at first sight. But it soon becomes pendent treatments-A and B-to be set profiles are provided based on clear that it is in fact very easy to use set up so that a smooth transition from CEDAR's research into how the ear per- and adjust, and that there are usually one to the other can be executed. More- ceives noise, loosely based on the several ways to tackle a particular job. over, complete settings can be filed Fletcher- Munson curves. These can be For instance, the standard CEDAR pro- away and loaded into the A memory applied to the Noise EQ and then cedure for adjusting the Noise EQ is to while B is in use and vice versa, so a manipulated using all the other tools. work directly on it, pulling it around continuous sequence of treatments can An important aspect of what is going until it has dealt with the problem with- be set up for dealing with inconsisten- on here is that the EQ controls can be out doing any more than necessary, but cies between tracks. applied independently to the wanted I tried another approach on some tape - While CEDAR's opening remarks signal and the noise component, or to hiss -type noise and was about the impossibility of the two simultaneously. While EQ on equally happy with that. In removing noise without the main signal is not intended to be a the same way that a para- CEDAR Audio UK, side- effects are technically substitute for dedicated outboard EQ, metric EQ can be used to 9 Clifton Court, correct, for all practical subtle use can compensate for any per- deal with a problematic res- Cambridge. purposes NR -3 proves ceived tonal changes brought about by onance by first turning it up Tel: +44 1223 464 117. them wrong. With this the processing. If a frequency range is and sweeping to pinpoint Fax: +44 1223 464 1 1 8. much power available, it to be cut, obviously it makes sense to the problem, then cutting it, really is simpler than ever cut both signal and noise; if on the other I applied the EQ first to the signal, boost- to get at noise problems with surgical hand it is to be boosted, the arrange- ing a parametric hand to find where the precision and without any perceivable ment makes it possible to boost the noise was most obnoxious. effect on the wanted signal. The best wanted signal without bringing the It was easy to adjust the bandwidth to just got better.

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30 October 1999 Studio Sound Forget everything you thought you knew about digital mastering boxes.

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Yamaha DME32 AES NewYork Review

AES NewYork was a corker of a show. Zenon Schoepe reports from an exhibition that witnessed the largest batch of new product introductions for a good many years. Yamaha confirmed long standing and graphic parameter read -out. Up to 1,000 duced as part of the system are the AD824 rumours with the unveiling of the scene memories can be stored and in the and DA824 convertors (incorporating Apogee digital PM1D live -sound production event of a control -surface crash the system Convertors), which can be located up to 200m console. Most significant is the price which will continue to pass audio. from the DME32 via AES -EBU cards. starts at $110,000 and rises to around Channel features include remote control tc electronic launched a new flag- $140,000 for the largest configuration as it of head amp gain from the control surface ship processor optimised for 5.1 multichannel represents the most anyone has ever been with recall, 4 -band fully parametric EQ, applications and two boxes in a new asked to spend on an item of Yamaha equip- dynamics processing, and a user-definable affordable line. ment. This would seem to give a wide area number of aux sends, effects processors and The System 6000 sports an expandable and of price scope for any future 'supporting' graphic EQs. updatable mainframe, remote CPU and Icon desk products. Multiple control surfaces can share I -Os and hardware controller. Algorithms are focused By definition the all -digital desk will stack the main DSP- 2000DSP1D mix and process- specifically on the areas of music produc- up against the existing leading analogue ing engine can be configured to select which tion, mastering and postproduction. breeds, but will no doubt also impact on control surface can adjust head amp gain. Three ADA24/96 2- channel analogue I -O manufacturers serving OB truck applications. Revealed alongside the new desk and cards can be added in the Mainframe 6000 An important observation is the first appear- described as a programmable DSP engine,. along with the DSP -card fitted with four pairs ance of a separate processing rack from Yamaha's DME32 is a 32- input, 32- output of AES -EBU and word-clock input for a total Yamaha which would suggest that the mech- processor expandable to 128 inputs and of 14 channels of I -O. All are 24 -hit and can anism with which to tag on, perhaps, alter- 128 outputs with 32 mix cascade buses. run at 96kHz. The CPU 6000 incorporates the native discipline worksurfaces is now in Intended primarily for installed systems it also CPU, power supply and all control -I -O con- place. Good. has obvious applications as a matrix- route- nections, while the Icon remote has a large Processing is 32 -hit with the CS1D control ing and multi- effects unit (it has eight on touchscreen and six motor -faders. surface operating the DSP1D digital audio hoard multi- effects processors). Parameter Internally the system operates with a struc- engine. Configurable in 48- channel and adjustments, scene changes and other func- ture of four engines and holds 1,000 factory 96- channel versions with 48 mix buses, a tions can be accessed from the front panel of presets and many user settings. Engine, route - 24 -way matrix and 12 DCAs, the board has the 3U -high rackmount that can house a vari- ing and scene preset banks permit recall of 28 -hit A -D and 27 -bit D-A conversion. Dual ety of card options. Programming can be per- single effects presets to complete 4- engine inputs on each channel provide 96 inputs for formed using proprietary software and an reconfigurations. Algorithms include Sur- the 48- channel system and 128 -192 inputs outboard computer. round 5.1 reverb, which has a stereo input on the 96- channel version. An assortment of DSP components includes and five channels output with two Early All console -to -stage audio and control sig- mixing consoles, parametric and graphic EQs, Reflection patterns and five totally uncorre- nals are carried via one 68 -pin cable and three dynamics processors (compressor, noise gate, lated reverb -tails. It is the first in a range that Ethernet -type cables. expander, compander, ducker), delays, will be developed for multichannel. The Features include recall, undo, off -line pro- crossovers, automatic mic mixers, matrix mix- MD -5.1 algorithm is a 5- channel, 3 -band exp- grammability, central control, and graphic ers and 10 multi- effects processors. Intro- comp-lim dynamics plus one full range> Studio Sound October 1999 33 For methodology see Studio Sound,April 1998, page 14. See it on the Internet net -site: ADAM S2A www. prostudio .com /studiosound /aprl98 /r_tannoy.html

Studio Sound's 'bench test' loudspeaker reviews continue with the S2A. Keith Holland reports ADAM S2A is 2 -way tion performance is good a good performer. The only Note on Terminology active loudspeaker with the second harmonic obvious drawback of the Some confusion exists in the audio industry as consisting of a 185mm below -40dB (1 %) above design is the amount of to the use of the term 'acoustic centre. with woofer with a composite 80Hz and the third above nonlinear distortion at high some using it to describe the centre of rota- cone, and a rectangular `air- 65Hz. The high frequency frequencies, although it tion of a loudspeaker for directivity purposes motion transformer' tweeter performance is less good is not clear whether this and others (including myself) to specify phase- with diaphragm dimensions however, with the second is much of a problem in related delays.The AES has clarified the situa- of approximately 30mm harmonic distortion rising to practice. The loudspeaker tion by stating that the preferred term for wide by 35mm high, -30dB (3%) at 9kHz. The should suit a wide variety of phase -related delays should become 'acoustic mounted vertically above audibility or otherwise of acoustic environments, due source' and that 'acoustic centre' should refer the woofer. The power amp- these levels of high fre- to good directivity control to the centre of rotation. In this, and all subse- lifiers and crossover circuitry quency distortion is open to and the provision of useful quent reviews in this series. the phase -related are built into the cabinet debate, hut many other high equalisation controls. delay will be termed 'acoustic source'. that has dimensions of frequency drive -units exhibit 220mm wide by 370mm much lower harmonic dis- high by 320mm deep. The tortion than this example, 10 front panel of the cabinet without any other obvious has a bass reflex drawbacks. Figs 5 and 6 0 port, an ON- chart the off-axis frequency STANDBY switch, responses in the horizontal dip switches for and vertical planes respec- -10 input gain (four tively. High frequency direc- dB positions from tivity is well controlled with -20 +6dB to -10dB) no evidence of side -lobing and high gain and a response that falls off -30 (five positions smoothly with increasing from +4dB to frequency at all angles. -40 -4dB) and two There is little mid -range nar- I 1,1,1,6LIJ,1 I I t I,L1,6ia,1 miniature, screw- rowing in the horizontal 20 100 1000 10000 driver- operated plane, except for a narrow Frequency (Hz) potentiometers dip in the off -axis responses for room equali- at 1.5kHz, hut the character- Fig.S: Horizontal directivity sation ( ±3dB) istic interference notch is be low 150Hz and ±3dB evident in the vertical plane above 6kHz). The review at 2kHz. The time- domain measurements were made performance of the S2A is with all equalisation con- shown in Figs 3, 4, 2 and 7, trols set to OdB. The rear which chart the step panel contains a mains response, power cepstrum, socket and ON switch and a acoustic source (see note) switchable choice of RCA and waterfall charts respec- phono unbalanced, or XLR- tively. The step response, type balanced inputs. No Fig.3, is fairly accurate, with amplifier power ratings or the high frequency `spike' maximum output levels leading the mid -range by were supplied with the only about 0.5ms, indicating review example. good crossover design and Fig.1 charts the on -axis driver time -alignment. The frequency response and har- power cepstrum, Fig.4, shows monic distortion for the S2A. evidence of a significant Fig.6:Vertical directivity The response lies between `echo' after a very short time ±3dB limits from 47Hz to (about 0.05ms), but is other- 15kHz, with a rising top -end wise fairly clean. The above 6Khz which could be acoustic source chart, Fig.2, tamed using the equalisation shows that the low fre- control if necessary. Low - quency components of tran- frequency roll-off appears to sient signals appear to be approximately 5th order, emanate from a position indicating the use of a mild some 3.5m behind the loud- high -pass protection filter, speaker; this is characteristic with -10dB at 38Hz. Low of a fairly rapid low-fre- frequency harmonic distor- quency roll -off due to bass

+,!, -é rt: reflex loading and the use of a high -pass protection filter. ADAM Audio, Mansfelder Stn The waterfall chart, Fig.7, is 16, Berlin, Germany. clean except for some mild Tel: +49 30 8630 0973. 600Hz. ringing at Fig.7: Waterfall chart Fax: +49 30 8630 0977. Overall, the ADAM S2A is

36 October 1999 Studio Sound 10

o

-10

Axial Response -20 2nd Harmonic dB Std Harmonic -30 4th Harmonic 5th Harmonic

-40

-50

-60 ..:.....:......

I I,I1,IthIJJ I I IJ,1161J I , I I,I,IhI,IJ I 20 100 1000 10000 Frequency (Hz)

Fig. I:On -axis response and distortion

Wave Studies

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The latest Jünger digital dynamics processor comes in two flavours and combines operational flexibility with sonic clarity. Rob James enjoys the mix ACCENT2 is the latest digital audio, clocked with the original sam- circuits'. This approach is different to a dynamics unit from Berlin - ple rate. I was delighted by the inclu- conventional multiband device where based Jünger Audio. Available sion of the AES31D type BNC connec- the spectrum is split and parallel pro- in two versions the Accenti has digital tors in addition to XLRs since I have cessing takes place with the signals I -O only, Accent2 adds 24 -bit, 96kHz always found this method of connec- summed before the output. What all of A D and D A convertors. Like other tion more robust. this is aimed at is achieving transparent outboard, the unit is a 1U-high 19 -inch Sample -rate conversion is available control. The control circuits adapt to the rackmount. Like other Jünger machines, on Digital Output 1. Output 2 always incoming signal and vary attack and due to its depth (251mm) and weight, follows the system clock. Versatile release times to suit. This enables the it really needs some rear support in the configuration options allow various use of long attack times with steady state rack. The neat and clearly labelled rear permutations for the reference source. signals while still achieving very fast panel sports two pairs of XLRs and BNCs Dither to 20 bits or 16 bits is provided. attack on short duration transients, actu- for AES I -O with a further two pairs of All internal processing is 32 -bit. ally zero. Due to this adaptive process- XLRs for analogue. Two more BNCs The programmable GPIs provide for ing there are no conventional attack and deal with sync in and out and a 1/, -inch remote selection of Presets 1 to 4, release times to set. Instead, for the lim- jack allows for a remote fader such as remote switching of the individual iting and compression functions their a tc electronic Master Fader, although processor blocks and reset clip indica- is simply a choice of nine ranges of pro- any 50kS2 pot will do. Two female 9 -pin tion. Four tally programmable outputs cessing time parameters. These vary sub -Ds permit RS232 remote connec- indicate selection of Presets 1 to 4, sync from PRO1 (2ms to O.$) up to PRO9 tion and GPI connections. OK or limiter Active. (250ms to 10.0s). The brushed aluminium front panel The main processing blocks are con- Since there is no such thing as a free is anodised in a subdued green. Two figured in logical order-expander, lunch, transparent brickwall limiting can black keys select either Gain adjust- compressor, gain, limiter. The filter sec- only be achieved by a look -ahead func- ments or Configuration of the audio tion may be placed before or after the tion. This means the signal is subject to path. The first window has sample rate expander or used to control the side a certain amount of delay. Jünger has kept this down to a commendable lms at 88.2kHz /96kHz and 2ms at 44.1kHz /48kHz sampling rates, although this must obviously be borne in mind when indicators and the main Edit display, chain of the expander or compressor considering mixing direct signals with which is a back -lit LCD. Four internally elements which allows for de- essing the output of the Accent2. lit keys select the Compressor, and other effects. The insert may be In practice, the Accent2 performs Expander, Limiter or Filter for editing. placed between the Expander (or Fil- exactly as I would expect from a Jünger. The LEDs light when the processes are ter) and Compressor. Setting up and parameter adjustment are switched on. The SELECT -EDIT knob is the Limiter threshold is adjustable down not completely intuitive, but the only rotary control. Pressing this selects, to -20dBFS to accommodate headroom Accent2 seems better in this respect than and turning adjusts, processing and requirements. The Compressor is some- some earlier Jünger models. As with setup parameters. Two further keys, what unusual in that it can boost the many dynamics processors, it will take SETUP and PRESET, select the setup -utility low-level signals as well as reducing the time to experiment with the many vari- and preset menus respectively. All gain of material louder than the thresh- ables in order to derive maximum ben- metering takes place in the multiview old. Where this would be undesirable efit. The multiple simultaneous pro- display which has separate horizontal because of the effect on unwanted back- cesses allow highly complex dynamic bar graphs for limiter reduction, com- ground noise, the maximum gain of the manipulation to be achieved. Time pression gain, expander reduction, Compressor can be restricted, inde- spent setting up and saving presets will dynamic filter activity, left and right pendently of the compression ratio, be repaid by near instant solutions to input, and left and right output plus a anywhere from 1dB to 15dB. In effect, many day -to -day problems. There are group of three indicators for stereo, SRC the Compressor can be 99 stores for the purpose. and dither, and a group of two for insert set up as a leveller. To my ears, the sound is send and return overload. All levels are somewhat reminiscent Jünger Audio, Studiotechnik impeccable whether using referenced to OdBFS. Despite the of an Aphex Compellor. GmbH, Rudower Chaussee 5, digital or analogue inter- amount of information presented in a but rather more subtle. D- 12489, Berlin, Germany. faces. The emphasis is on small area, in operation the display is The Filter 'can be shelv- Tel: +49 30 6392 6145. clean, clinical control. If easy to read. The final two keys reset ing or peaking with Fax: +49 30 6392 6146. you need raucous or peak indications and bypass the unit. ±15dB of boost or cut Email: Info @junger-audio.com bouncy you will need to A mains switch completes the panel. and variable Q from 0.5 look elsewhere. The algo- Interfacing 88.2kHz and 96kHz is to 9.9. The filter can also be used in rithms are well chosen for a wide vari- achieved in one of two ways. Two -wire dynamic mode where only signals ety of `serious' applications from uses two AES -EBU lines, one for each above the threshold are affected. dynamic range compression through channel, clocked with half the original Jünger makes much of its `multiloop broadcast limiting to de- essing and sample rate and `high speed' uses one principle' of dynamics control coupled problem solving. A worthy addition to AES -EBU line with two channels of with `multiple frequency linear control the range. 38 October 1999 Studio Sound As radio enters the digital age, Soundcraft delivers a powerful, flexible and affordable digital mixing solution that's equally at home in self- operator and large broadcast studios alike.

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8 buss routing architecture

24 and 32 channel frames

52 and 68 inputs to the mix

2 SVT (symmetrical valve technology) valve preamps

Wide ranging mic preamp

In -line twin fader input format

4 band EC) with fully parametric mids

2 dual stereo inputs with automation as standard

6 aux sends with 2 automated master mutes

MIDI mute automation 4 mute groups MIDI machine control

Tape send and return on every channel

Group /direct switching Oscillator for signal setup Talkback facility

2 studio feeds

Solo in place and PFL on both fader paths

Channel status indicator LED

Optional 21 segment input bargraph meterbridge

Interface for three 2-track recorders

GS3000's 2 valve preamps can be patched to Most modern recordings sound OK - but few sound really individual channel inserts, groups or LR. The valve preamps incorporate Symmetrical Valve

Technology, allowing them to be used in balanced outstanding. The new GS3000 gives you truly great sounding mixes, mode for regular inputs or in single-ended 'guitar' mode. which drives the the valve to give the type with all the analogue warmth, sparkle and power that set the best of pleasing harmonic distortion much sought after by guitarists. Other valve preamp features include apart from the rest. The new GS3000 - sounds glorious. valve drive control, pre -valve swept frequency EO, hi -cut filter and output level trim.

ALLEN & HEATH Kernick Industrial Estate, ALLEN Penryn, Cornwall TRIO 9LU, UK. tt) Tel: +44 (0)1326 372070 Fax: 377097 P E +44 (0)1326 *1995 ., http: / /www.allen- heath.com II *1 H A Harman International Company email:sales @allen- heath.com HEATH Joemeek JM47 Meekrophone m Wireless evolution Sennheiser has introduced the Evolution wireless UHF series with prices starting at Adding a front end to its series of processing has completed a few hundred pounds and includ ng a fre- Dave mics up quency agile IEM. All items offe- ragged Joemeek's range. Foister nuuu quaury wttn metal nana -relu ana IT SEEMS TO BE all about shape just now. two switches for adjustment. All that's on offer If you want your latest offering to be taken here is a pad (10dB) and a high -pass filter at seriously as a studio vocal microphone it an unspecified frequency. The solid brass has to he a certain shape. Not just the generic body feels substantial and the whole thing is shape of a Neumann, but a particular flared reasonably well constructed, with clear version of it, preferably with a grille made of engraving and a good finish. perforated sheet metal rather than woven Inside the electronics follow the traditional meshy stuff. So common has this become that pattern, with an FET preamplifier and a trans- I had to go and look up some pictures to make former output -the transformer itself is dou- sure Joemeek's first venture into microphone ble screened for additional hum protection. land was not just a rebadged or re- engraved The capsule is a centre electrode type with a version of something we've 1 -inch mylar membrane seen before, and to he diaphragm, and uses dyn- hodypack transmitters, frequency switch- honest I'm still not sure. amic feedback at the capac- able operation, true diversity receiver tech- Rather than paint it itor element to reduce high nology, a new HDX compander system, green, Joemeek has level distortion. While some simple operation and a wide choice of mic decided to give this major other manufacturers are capsules and configurations. The 100 series departure from anything it going to great lengths to is the entry-level price system with optional has previously done a assure us that electret need hand -held and bodypack transmission sets. clever name. Thus we have not necessarily mean sec- a 4-channel preset switchable operation the JM47 Meekrophone, ond best, Joemeek is equally and a miniature plug -in transmitter set to presented as an ideal part- keen to make it quite clear convert a wired mic for wireless transmis- ner for various Joemeek that the JM47 is not an elec- sion. The 300 Series has more advanced products, but particularly tret microphone. control and operation with eight preset fre- offered as a package with That's all there is with the quencies with a range of hand -held and the VC3 ProChannel as the kit -the microphone and hodypack transmitter sets. Audio out on JM47 TrakPak. the elastic mount. The the fixed receiver are balanced XLRs. The The whole kit is neatly instructions advise against 500 series has 16 switchable frequencies assembled in its own flight the use of a foam wind and a full complement of Evolution trans- case, with compartments shield because of its effects mitter and receiver options including a clip- for the microphone, the standard shock - on the sound, hut recommend a nylon -type on attachment for cameras. A soundcheck mount, the VC3 and the wall -wart VC3 power wind screen; neither appears to be available mode permits accurate on -stage level supply, and comes complete with a 5m from Joemeek. On the other hand, a thread check. There's a choice of two dynamic and microphone cable. For this review I had just adaptor for the mount is supplied as standard. one condenser capsule, and hodvpacks can the microphone itself, in a much simpler, but A microphone is proclaiming certain aspi- have an omni or cardioid lavalier or a head- still sturdy box, and including the shock - rations by being shaped like this, and usually set. The IEM provides eight preset switch- mount as standard. the sound it produces reflects those aspira- able channels with stereo earphones, The JM47's instruction leaflet goes into tions in some way or another. In the case of a safety mode for volume control can be some detail about the microphone's heritage. the Meekrophone what we get is a notice- overridden while a Focus function splits As is not uncommon, there are links to Gefell ably present sound, not too hard at the top stereo to dual mono operation. and Neumann capsule design, together with hut capable of providing a useful edge in a

Sennheiser, UK.Tel: +44 1 494 551531. co- operation with far Eastern manufacturers. mix. Much of the emphasis in the instruc- There is talk of specialist Chinese companies tions is on vocal recording, and there can be Yamaha CD -R sharing in the East German Gefell technology little doubt that this is what it will do best. Its Handling CD -R and CD -RW, Yamaha's and producing high -quality microphones in sound is big enough to provide the cutting CDR1000 CD -R machine uses Apogee their own right, and it is elements of these quality without getting thin, and unless a UV22 for processing high -hit resolutions. together with extensive in -house testing that singer is particularly bright or sibilant to begin Other features include a SRC, word -clock has produced the Meekrophone, claimed to with it could well be just what the situation input, and I -Os on coax, AES -EBU and possess the sound of `the finest microphones demands. At the same time, its high level han- balanced analogue. The machine has in the world'. dling capacity invites its use on musical instru- 16- segment meters with peak hold, sync In operation it is a straightforward side fir- ment amplifiers. At the other end of the recording, quad speed finalise, selectable ing cardioid, with a readily identifiable front dynamic range, its noise floor becomes a hit copy protection, parallel port for external indicated by a huge JM47 of a problem with quiet control, record start footswitch and a engraving. It fits into the speech work, but this is an wireless remote. same kind of shock mount- Fletcher Electro acoustics, UK. extreme case that does not Yamaha, UK.TeI: +44 1908 369269. ing that everybody seems to Tel: +44 1626 333 948. reflect badly on its musical be using lately, only in this Fax: +44 1626 33 157. usefulness. AT895 case the big bulldog clip Ted Fletcher's forté at AT's AT895 adaptive -array microphone sys- levers are at the side of the microphone. This Joemeek has been to give us something a lit- tem aims to outshoot shotguns and is a good solid mount (although I did man- tle different, always with an ear on the sonic employs a software algorithm, an acousti- age to snap the elastic on one once without character of the past, and always at a bargain cally tuned element microphone array and too much effort) with a helpful lever for lock- price. As a result the bright green processors special analogue circuitry to provide adap- ing off the swivel angle. The microphone is have found their way into a variety of studios, tive directional acquisition of sound no lightweight, as its size would suggest, hut their character suiting the big ones and their sources. The output of the array is manip- the mount holds it firmly without swinging price the small ones. There is every reason to ulated and filtered by acoustical, analogue about. Above the edge of the holder, easily suppose that the JM47 Meekrophone will and digital means to enhance the pick > accessible and in plain sight for once, are the enjoy the same broad success. Studio Sound October 1999 41 EAR -Yoshino 660

< up of a sound source from a desired direct on relative to unwanted backgrzund Taking the legendary Fairchild compressor-limiter on is a brave move noise or interference providing can:ella- for any manufacturer. George Shilling finds EAR brave enough tion o: up to an impressive 80dB. Claimed ESOTERIC lesoter'ik], adjective inner; ish, and features a large, conventional vu meter benef is include imprzved sensitivity pick secret; mysterious; taught to a select showing gain reduction. The controls are pre- up di--tance and gar. before feed»ack, few-this is the dictionary definition sented in a row of odd, small switches and pots, 'unprettedcntcd' off-z xis rejection, 'out- of the `E' of EAR. that says much about the with certainly more boffin- appeal than sex - philosophy behind the company and its appeal. The push -button power switch lights. designs. Tim de Parivicini's company, which There are lock nuts on preset pots for meter employs six people, has been producing its balance (to adjust tubes' current matching) and 660 valve compressor since 1984, yet total meter zero, so I did not touch those. In asso- production totals only the low hundreds. ciation with these is a 3- position switch for bal- So this is no upstart, cashing in on the recent ancing each half of the tubes -you can check valve technology boom that has mirrored the all is well by making sure the meter reads zero digital onslaught. Paravicini has long been a in all three positions. Like a Fairchild, com- champion of analogue and valve technology, pression adjustment is done with the INPUT his outspoken views springing forth to chal- ATTENUATION pot and the THRESHOLD. The INPUT lenge the motivation and wisdom of high vol- knob is perversely as tiny as the Fairchild's is ume manufacturers. Meanwhile, his Cam- huge. There is no legending or calibration, and bridgeshire -based company quietly builds the tiny knob is undamped. As a bonus corn- standitg' low frequen y directionality (up small quantities of EQs, compressors, tape pared to the Fairchild, there are two different to 78c3 rejection at 2(80Hz), marked reduc- threshold knobs on the EAR. DC THRESHOLD :ion &proximity effect and greatly reduced varies the slope: at full anticlockwise the unit susce tibility to me:hanical noise The will gently compress, and at the opposite end AT40 7SV features a transformer -coupled it will hard limit at a 10:1 ratio. However, turn- output and uses dual, sold- plated anc aged ing this control clockwise also has the appar- large diaphragms for extended frequency ent effect of raising the threshold, so in fact response, low self- roise, w =de dynamic turning this control alone will give you less gain range and high SPL handling. A switd_able reduction as you turn it clockwise. This con- 80Hz high -pass filer and 10dB pad trol is stepped with 11 positions. There is a soft are included.

high -frequency `ping' on the outputs when you Audi. -Technica,UK.Tel: +44 I 13 277144I . change this. The AC THRESHOLD is a more con- ventional threshold control, which can he Amek Pure Path adjusted in conjunction for the desired amount Designed by Rupert N tee, Amek's Pure Path recorders and such like. They are coveted by of gain reduction. Attack and Release times are processors include t e Channel-in--a-Box those in the know. variable by a 6- position rotary switch, which (CIB) Driver -in -a -Bob (DIB) and the Stem The 660 is a typical example of Paravicini's will be familiar to Fairchild fans. Four different Comçessor. The Sten Compressor offers theory and practice. He designs equipment attack and release settings are available, while eight channels of di gitally controlled ana- to sound good, and all other aspects take a positions 5 and 6 give auto program depen- logue compression aid limiting for ase in hack seat. Hence the unashamed duplica- dent release times. The manual recommends multi f annel mixing. A 5.1 mix together tion of the revered Fairchild 660's model position 6 for classical music, with a very fast number and design features. Paravicini has release for short peaks, and a very slow release taken what he feels to he the best aspects for sustained high levels. Release times are help- of this design, improving and changing only fully listed on the front panel. where necessary. The manual is a fairly elementary affair, For a mono unit, the rack space seems with charming hand -drawn circuit diagrams excessive at 3U -high, and this height makes and a few misprints. the 10 -inch or so depth seem shallow. Six In use the 660 is smooth and warm, hav- with a separate stereo mix, or two different valves are mounted on the back in a recessed ing a clarity not associated with Fairchild LCRS mixes can be processed. Rotary cubbyhole. This makes servicing easy and units -and Paravicini boasts that his units are encoders provide direct access to thresh- keeps them away from other circuitry, but better than Fairchilds. They have input and old, attack, release and ratio and these they are not completely safe here, as I found output transformers of his own design, for encoders can be selected to control the com- when someone tried to helpfully remove a great bandwidth, and PCC189 triodes which pressor or the limiter. An internal crosspoint unit from its box with their are true vari -mu tubes that are matrix controls the linking of channels and hand inside the recess. No long lasting and more easily access to side chains. The CIB combines major damage, thankfully. EAR-Yoshin o, Rectory obtainable than those found in mic pre, line pre, high -pass and low -pass Inside, there is transistor cir- Farm, Cambri dge Road, Fairchilds. He is right, of filters, 4 -hand EQ and a compressor. The cuitry for non -audio circuits Godmanchest er, course. But the grunge and mic filters and EQ are virtually identical with such as power supply. Cambridge PE 18 8BP, UK. magic glow of a Fairchild is yet those of the Amek 9098i. The DIB comprises As well as XLR audio con- Tel: +44 1480 453791. to be convincingly replicated, eight separate Line -In /Line -Out trans- nectors, there is a jack socket Fax: +44 148 0 432006. so the real thing will still be former- coupled line amps and is capable to link two units for stereo coveted. But the EAR is a very of matching equipment to long lines. operation, which was successfully used, worthy performer, magically and unobtru- Amek, UK.TeI: +44 ' 51 868 2400. thanks to the availability of a second unit. This sively smoothing vocals, guitars, pianos and is activated by a front panel toggle switch. As so on. For drums, I sometimes prefer some- Westlake LC5.75 well as an IEC mains input, there is a useful thing faster, (in which case I would plug some- Westlake's LC5.75 is the smallest monitor ever IEC mains output, enabling the feeding of one thing else in). But mostly, where compression built by the company. The 2 -way monitor unit from the other with the correct cable is required, all the niggles and foibles are employs a 5 -inch woofer and `/i -inch tweeter -a terrific idea for keeping things tidy. Why quickly forgotten, as this is a slick and charm- in a single port enclosure with a claimed fre- does nobody else do this? ing performer, second to none. Okay, except quenoy response of 60Hz to 18kHz. The front panel sports a black anodised fin- perhaps a Fairchild. Wesc°ake, US.TeI:+I 805 499 3686.. 42 October 1999 Studio Sound The Dialog4 MusicTAXI range is one of the most comprehensive codec Choosing the right audio Codec. packages on the market today. 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Fax -49- 7141 -22667 http: / /www.dialog4.com email: info @dialog4.com. w SPL Gold Mike > JBL LSR 2SP w JBL's LSR25P monitors feature many of the A high -quality mic pre with only one small concession to SPL -ism. technologies of the LSR Series including metal -domed HF driver and low frequency Dave Foister is impressed for all the right reasons transducer and are targeted at multimedia, WilLE IT MAY BE TRUE that every LED that goes out when the valve has reached audio- for -video and edit -room monitoring. company nowadays has to have its correct operating temperature -the out- Themonitor claims virtually distortion -free its own microphone amplifier, put is muted until the light goes out. you would think that any exceptions to the The final switch is marked HAIR, and intro- rule might include SPL Electronics. Over the duces the one departure from straight ampli- years this enterprising German company has fication that we might have expected from taken great delight in offering us off- the -wall SPL. In familiar style, SPL is just vague enough signal processing, giving us psychoacoustic as to what this does to leave us guessing, enhancement, digital emulation of tape satu- although it does give some details. A gentle ration, clever dynamic control and EQ with a boost is applied to the frequency range from bit of fairy dust; what it has never done is 1.5kHz to 20kHz, with its centre at 6kHz attempt to deliver a signal untouched and boosted by 2.5dB. Besides this, the Flair cir- without effects. Unless, of course, you count cuitry is described as 'a timebase -shifting the joint venture with Brauner to produce the (phase) device that enhances a sound's har- control electronics for the 5- microphone monic content. The close relation between Atmos surround array, where SPL's ability to frequency and amplitude timebase and the deliver high -quality amplification without any source signal's dynamics remains intact.' Make of that what you will; the important points are (a) that it is a subtle and pleasing effect, softly lifting a signal operation even at highest operating levels and bringing its detail forward a lit- with a frequency response from 60Hz to tle, and (b) that if you don't like it 20kHz ±2dB, a low frequency extension of you can just switch it off. What you 55kHz at -10dB, and a 2.3kHz 4th order are left with is a clean high -quality Linkwitz -Riley crossover. Tl-ey retail at signal path. under $400 (US) each In fact SPL has gone to consider- JBL, US. Net: www.jblpro.com. able lengths to provide such a path. The Gold Mike is as far as possible More Alesis nuts a dual mono block design, although Alesis has added three condensers to the fancy tricks is clearly in evidence. it stops short of providing two independent GT Electronics AM series line. The AM30 Yet it is still something of a surprise to power supplies as a true dual -mono power and AM40 are both slim front address mics encounter the Gold Mike. As I got it out of its amp would have to do. Instead it has a heavy - for instruments and guitar amps while the box I searched for the features and frills, but duty central power supply with a big toroidal AMI 1 is a large diaphragm model for apart from one switch the search was fruit- transformer and a star-ground wiring scheme vocals. The valveAN140 costs $799 (US) and less. What we have here is a 2- channel micro- designed to minimise the effects of the its mid-size diaphragm cardioid is inter- phone preamplifier pure and simple, with the demands of one channel modulating the other. changahle with hypercardioid and omni emphasis on audiophile quality. It suggests that as a result it is possible to put units. The AM30 at $400 (US) is similar, but Electronically it is a hybrid design, with a snare through one channel and vocal through uses a Class A FET preamp. The AM 11 costs transformerless input, a solid-state first stage the other, which might indeed stretch the capa- $399 (US) includes a switchahle 75Hz roll - and a valve second stage. In case the words bilities of some preamps. It does however only f : nd a pad switch. Vacuum Tube printed on the front panel are have one ground -lift switch on the back to Alesis, US. Net: www.gtelectronics.com not enough to alert you to this, the valves deal with both channels. themselves are visible through two windows Also on the back are the input and output SC2.2v4 `dark' in the middle of the panel. This is just as well, connectors, with the unusual addition of unbal- Joemeek has redeveloped the SC2.2 stereo as apart from this the 2U -high gold panel is anced outputs on '/4 -inch jacks. There is no compressor to incorporate `dark sound' fairly featureless, with buttons and indicators separate provision for line or instrument inputs. -an audible by- product of `floating ground that look as though they were chosen to save A nice touch, seen before on SPL gear, but reference for the feedback control for the space. With the one exception referred to ear- rarely anywhere else, is the double labelling lier, the facilities they provide are standard and of the connectors, with the printing upside comprehensive. down above the sockets so that it can be read The biggest things on the panel are the when you're peering over the top of the box. gain knobs and corresponding output level In use this is a fine preamplifier: quiet, optical servo amplifier' according to com- meters, the meters again being smaller than clean and with a smooth, flat, extended fre- pany. The `dark mode' can be selected on they need to he and suffering a quency response (specs go up a switch. Other enhancements include little from being set back from the to 100kHz and down to 10Hz dynamic image control circuiiry to cancel panel, making them hard to see SPL, Germa ny. ±0.5áB). It is important to out image shifts, and a hard wire bypass. off axis. The gain is continuously emphasise this, as there may he Fletdler Electroacoustics,UK. Tel: +49 216 3 983414. adjustable, with its effective those who would imagine that Tel: 1-44 1626 333948. Fax: +49 21 63 983 420. range modified by a switched SPL's priorities might lie else- 30dB pad. This is one of a hank UK: Stirling. where, and that the main selling Soundcraft SeriesTwo Tel: +44 171 624 6000. of five push- buttons, whose sta- point of the Gold Mike must be Sounderaft's Series Tv% o is a compact live tus is confirmed by a row of tiny the enigmatic Flair circuitry. This sound console available in 24, 32 and 40 coloured LDS spaced puzzlingly some dis- is certainly not the case; as a straightforward mono channel frame sizes with two fully tance above them. Others cover the expected preamp it can hold its head up in exalted featured stereo line inputs. Features include functions of phantom power switching, phase company, and the Flair adds an extra touch phantom power, phase reverse, variable- reverse and high -pass filter, rolling off 12dB that can he very helpful when a little extra frequency HPF and 4 -hand EQ with two per octave below 50Hz. Nearby is a warm -up subtle presence is called for. sweepable mids. Fight mono auxes are > 44 October 1999 Studio Sound ... with the ultimate 6 -band 24 -bit mastering processor ULTRA-DYNE® PRO DSP9024 from BEHRINGER®.

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Claiming a core of classic rock credits, Andy Johns by then his career was in full swing. Indeed, what stands out is how quickly is one of the engineers who shaped the genre. things got going for him. Having hung around the studio as a kid while older Richard Buskin goes rock climbing brother Glyn was already turning pots HE "FLAVOUR OF THE MONTH" albums, four more by The Rolling and pushing faders, Andy started as a thing never really affected me Stones, three by Ten Years After, and tape op at Olympic studios in 1967 and until grunge came along.' So others with Blind Faith, Joe Cocker, quickly made the transition to engi- says Andy Johns referring to the attitude Humble Pie, Jethro Tull, Free, Traffic, neering on some very big sessions. whereby in -vogue producers are Mott the Hoople, Cat Stevens and `Back then there wasn't any compe- deemed requisite for the creation of a Rod Stewart. tition,' he explains. `There were two or hit record. 'At that point it got really `Just because of the work that I've three blokes in London who knew what tough, because I guess everyone done over the years, people associate they were doing when it came to loud thought, "Andy Johns? He must be too me with a certain type of music,' Johns rock `n' roll, and that was it. My brother old to get this ". That's ridiculous. I get says. `That's a bit unfair, actually, was an independent engineer -pro- everything as long as it's good -except because I've done all kinds of things. ducer-the only independent engineer for rap music, in which case there is I mean, I'll do anything as long as I like in England -and so if you booked a stu- nothing to get -but I know that there the songs. I don't care what it is, and it dio they presented you with an engi- were certain acts who I wanted to work doesn't even have to be anything to do neer. Of course there were guys who with, and who, when they'd look at my with rock 'n' roll. were popular at the various studios and resumé and see that it goes back to the `That having been said, when I was who would be asked for, but the idea sixties, would think, "He's too f- old," very young some of the bands that of going out on your own and billing and so I wouldn't get the gig. That dis- I worked with would come into the stu- people just didn't exist. At the same appointed me and I'm only becoming dio with songs that they had already time, in those days we'd be working on reconciled to it now.' been playing on the road for a while, at least three projects at the same time Wouldn't the situation have been the and so things would be much more -you'd work with one artist from same during the sixties, had a producer finely honed than in the case of a bunch maybe ten until six, until midnight with shown up with a resumé going back to of people who'd come in and say, "Well, another and then start a third session > the early- forties ? 'Well, yeah,' comes the what shall we do now?" and make things reply, `but at least now we're still deal- up as they went along. That can work ing with the same bloody art form, too, but if somebody's been playing live whereas The Beatles had absolutely that will help them to find out what nothing to do with Max Bygraves.' works and what doesn't. That's why Point taken. Andy Johns, you see, has bands like Free were good, because always worked in the rock vein, and as they were always touring and they for his resumé; well, given the quality would play the stuff live. I haven't and variety of the acts that it lists, you worked on a project for ages where the would hardly want to hide or even trun- artist has been out and played live for cate it in order to give the impression two months to get ready for the studio. that AJ's career began during the punk It's never like that.' era. From his earliest days as an engi- Andy Johns worked on Free's neer he was working on some landmark Highway, Free Live and Heartbreaker projects. A quartet of Led Zeppelin albums between 1970 and 1973, and 48 October 1999 Studio Sound MASSIVE PASSIVE STEREO TUBE EQ

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TEL: (909 ) 627 -4256 FAX: (909) 628 -2482 emanlev @manleylabs.com http: / /www.manleylabs.corn < Not only could they take ages to and the sound was so amazing and the turn up in the studio,' he says, `but then, apparent level on them was so loud that when they did, they would spend a lot it left room in the mix for the other of time getting a song right if that's what instruments to be loud. You could have they thought it needed. That was espe- the three guitars turned right down and cially true with `Exile On Main Street'. they'd still be wailing. They would try lots and lots of different 'We used to do physical things as well, ways to do something if it didn't work because it wasn't all at the touch of a the first time, and they had no com- button. I would take an M160 mic off its punction. "Oh, well, let's give it a calypso stand and, using it like a reverse- Leslie, feel," or, if that didn't work out, "Well, swing it by the amp in true Daltrey fash- how about reggae ?" and although they'd ion just as the guitarist was playing some maybe come back to where they'd big chords in order to get a Doppler started they would never give up.' effect. In fact, I remember using that Even taking into account the talent quite effectively with Jethro Tull on one and material with which they were of the tracks on the Stand Up album, working, how could the producer and n't working and just lose it.' and I don't know why I have never done engineer discern between worthwhile Maybe, yet Johns also points out that, that since. It's a pretty good sound.' effort and a complete waste of time? given the calibre of artists with whom Andy Johns' first excursion into record `With a band like that there is nothing he was working with during his production was on the 1969 album you can do,' comes the reply. `They're formative studio years, the quality of Ahead Rings Out by Blodwyn Pig. going to do what they bloody want any- material and standard of musicianship However, what that hit project con- way, and, what with all of the squab- would often be taken for granted. firmed to the 19- year -old newcomer bling every now and again, it's just a case `A band like Zeppelin, for example, was that he was not yet ready to don of having to wait it out. At a certain point were such fantastic players that you the role of producer. it clicks. Back then the Stones could play knew the tracks were going to be amaz- `I didn't really know what I was doing very, very badly -you could sit there ing,' he says. Pagie [Jimmy Pagel always then,' he admits. `I remember Mick for two days and they would sound like had pretty good knowledge of instru- Abrahams was going to do a vocal, and absolute rubbish; like a bunch of ama- mentation, so he'd invariably have inter- I thought, "Well, I am the producer, I'd teurs who'd just learned to play two esting ideas about the sounds, but then better do something." So I went out into weeks ago -but it would turn from this it really was down to his writing and the studio and said, "Mick, you know it garbage into magic. That was worth the them just playing it. It wasn't that exotic would be great if you sang really well. wait. When they were good they were to record. Those records would go quite Okay? All right, man, just sing really f -ing amazing. quickly, and even something like well." That's how I knew I wasn't really `There also wouldn't be huge panics `Stairway To Heaven' had very little to equipped to do this.' within the Stones when they were going it. There are the recorder parts at the Wisely, throughout the next decade around in circles, and that taught me beginning and the end, but the rest of Johns stuck to what he knew best; engi- something. Beforehand I used to panic it is just piano, hass, drums and a cou- neering. `I only worked with one pro- a bit, but now, after many years, I pretty ple of guitars. ducer for any length of time, and that much know what's going on. If there's 'At that time we were always push- was Jimmy Miller,' he recalls. 'I learned a problem with a song I know what to ing the equipment to its limits. You'd a lot from him about grooves, and he do to fix it or at least help it to make go home, go to bed, and as you were also had a good imagination for bizarre sense, but hack then it was still a new going to sleep you'd be trying to come little sounds and things. There again, game. Don't forget, even when I first up with new ideas. As we said, there I did work with Paul Samwell- Smith, started working with the Stones in 1969 wasn't any outboard gear, so to come who was like a producer's producer and they'd only been doing it for six or seven up with a new sound you really had to very clever actually, and also with Guy years, whereas now if I meet people who think quite hard. For instance, take the Stevens, although Guy didn't really do have been doing it for six or seven years Zeppelin song `Black Dog': Those heavy anything. He would just shout and they're just beginners. So, I liked the fact electric guitars are direct, and I was scream and throw things and create a that the Stones didn't panic, as opposed using the mic amp in the hoard and vibe. He understood absolutely noth- to a lot of other artists hack then who some compressors to make them dis- ing about music or sound. Guy would would get this look in their eyes if it was- tort like that. They were triple -tracked, simply influence the course of events>

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(0)1999 Summit Audi), N. flit Nhts reserved Element and Bema 78 me -ailemw of Summ 1t Alido, Inc. Dgidesign Rio Tools and Fr tmdenm (of Awl e hnolcç Inc. of ih subsBiones a drvisons. 07R is a rtodunak of YunHw (ovation. H.U.I. is a tsciemdk of Matte De gns, Inc `It's one thing to have he should garner the production assign- them the wrong f -ing thing. That can ments to try them out. Which is what drive talent, but it also helps you absolutely around the wall. I he has since done -while keeping his mean, how can you just stand there and if you've got some own fingers on the faders -to the not say, "No, look, please don't do that "? mutual benefit of himself and artists You can't let something wrong go down. experience too, especially such as Gary Moore, Cinderella, Bon `On the other hand, I'm being proved lovi, Ozzy Osbourne, Van Halen and wrong and having my mind changed if you're supposed to be Joe Satriani. for the better all of the time. The more `It's one thing to have talent, but it also I do it, the more I realise how easy it is in charge.That way you helps if you've got some experience too, to be wrong. That's why I'll never say, especially if you're supposed to be in "Look, you are absolutely and com- can spot problems as charge,' he says. `That way you can spot pletely out of order here ". Usually I try soon as they come up.' problems pretty much as soon as they to keep a very open mind, but there are come up. You don't have to go around also certain times when something's and around and around to fix them, and going on and you know it's completely also if I make a suggestion and it does- bloody wrong. For instance, I remem- n't work then I can tell right away that ber Alex Van Halen once wanting to try it doesn't work. I'm the first person to something that looks like a good idea say, "No, we're not doing that, but on paper: He wanted to run his drums thanks for trying." Getting performances through some speakers and close -mic out of people is half the game.' the speakers to get a sound that he had Currently producing a variety of in his head -he was trying to get a cer- emerging talent- including an Epic tain snare sound, and Alex describes Records band named Honky Toast that things a little strangely. He wanted it to he likens to `New York street punk be more wooden, but this wasn't the < more in terms of how people would meets Rolling Stones and Led Zep- way that it was going to work because feel on a certain day as opposed to any- pelin' -Andy Johns doesn't necessarily I've tried that avenue many, many times thing else. Nevertheless, I enjoyed work- differentiate between new and estab- just because it seems like it might be ing with him. Guy was a very good friend lished artists when trying to gauge the useful. However, I wasn't going to tell of mine and we did some very crazy enjoyability factor. him that. I said, "All right, Alex, let's give things, but I didn't learn anything from 'I have worked with some people that a try," because the only way he's him. There wasn't anything to learn.' who think that they know a lot when going to find out is if I set it up and give In 1977 Andy Johns produced they don't, and that has been major it my very best shot. After all, my effort Television's Marquee Moon a nd Detec- artists and people who have just been shouldn't be just half-arsed, because tive's Swan Song, but it wasn't until 1980 starting out,' he says. `That ranges from one thing about this business is that you that he felt ready to assume this role in those who have listened to a lot of music never know...' a full -time capacity. at home and think that they have got it `I worked for Tom Dowd on records dicked, to those who have sold millions HEARTBREAKER with Rod Stewart and Eddie Money, and and millions of records and don't know FREE I found myself coming up with a fair what the hell they're talking about half amount of the arranging ideas,' he the time. That can be very frustrating, recalls. 'I would be very cool about it especially if it's not the kind of person l and not try to make him look bad, talk- with whom you can have a little shout ing to him first about what I thought, and a scream for ten minutes and then but of course after a while I'd have got it's all over. That's really horrible. fed up with it had I been dealing with They're convinced that they know, yet some bloody kid on the same basis, and they are doing the wrong thing, or in the end he did. It got a hit funny and they're trying to tell someone else what we had a few fights, and then I thought, they ought to do and, one, they're not "What's the bloody point of this ? "' explaining it properly because they The point was that if Johns had some haven't figured out how to communi- musical ideas of his own then perhaps cate in English and, two, they're telling

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Telephone: +44 1 753 686080 Fax: +441753 686020 Inernet: www.marEntz.com What started life as a contractual 'get out' became one of Solutions Workstation where they were NoNoised and copied with the original the most strident images of the sixties. Tim Goodyer and tracks onto a Sony 3348HR DASH. Richard Buskin cover the bases on the rerelease 'Being great experimenters, George Martin, Geoff Emerick and the Beatles Jr 1TE BE rrJ$ ' Anthology 1968. Inevitably, there was the oppor- themselves would often change the series was intended to explore tunity to use alternative takes to those speed of a machine during mixing,' the wealth of alternative and originally released, but the charter was Cobbin explains. 'It was most important unreleased material left by the to get as close to the original mix as that we replicated the transfer at exactly world's most influential pop possible- regardless of listening in 5.1 the same speed as the masters so the group, the rerelease of the Yellow Sub- or folded down to stereo. This was the first thing myself and Allan would do marine album is something different. challenge presented to the remix team. was to lay up the original mono master For where Anthology further exposed The prevailing format of the Beatles and the original stereo master not only the Beatles' songs, Yellow Submarine recording career was 1 -inch, 4 -track tape for listening reference later on but to reckons to bring their legendary tech- except for the first two albums which provide the bottom line reference for nical vision into the next century. were 2 -track and 8 -track towards the what we had to sync to. The Studer has Originally the vinyl complement to end of their career,' recalls Peter Cobbin, a card that enables precise changes of Al Brodax' and Heinz Edelmann's ani- the man responsible for primary mix- speed and once we had found the speed mated fantasy, the album presented the ing duties and now seated at the desk of the song we used a Q -lock system to six new songs in the film along with at Abbey Road Studio 3 -where the event -fire the machine to start at a spe- some orchestrated material from George remixing as well as original mixing took cific time-code point. This is what Allan Martin. The 1999 release redresses that, place. `So this collection of songs was is particularly expert in. That would give presenting all the songs from the all 1 -inch, 4 -track recorded on EMI tape. us our first pass. film including `All You Need Is Love', The tape itself is immaculate to look at 'For a straight 4-track, that was it,' he 'Sgt Pepper' and `Eleanor Rigby'. And it with not the slightest sign of any shed- continues, 'but many of the songs were goes further in using ding. EMI made a lot of equipment and more adventurous and required an 5.1 surround as ancillary things like tape to provide for understanding of just how the record- opposed to the their numerous studios around the ings were made. On songs where they film's mono or world and the tape that was used wanted to overdub beyond four tracks vinyl's stereo. It through this period was just known as they would bounce those four tracks might have been a "Emitape ". It was good tape then, and onto one track of a second machine simple matter of obviously, 30 years later it's proved to leaving three more tracks to play with. making surround be good tape now. It sounds fantastic For more adventurous songs they mixes from the coming off the machine today.' would do that again. And for the really original multitrack Also involved in the project was Allan adventurous songs they might have a tapes had the Rouse in whose care the Beatles archive fourth tape. But they could only mix off group not pushed is trusted. But it was his thorough knowl- the last tape, and we were separating recording tech- edge of the original sessions that smo- all the tracks from all the tapes.' nology to the othed the transfers off a Studer A80 Mk.I The obvious problem with the St limits back in via Prism AD124 convertors into a Sonic process is that of ensuring sync between 56 October 1999 Studio Sound the later tracks and earlier ones on Studio 2's echo chamber, and valve another tape. `There was always some- KM56 mics that gave the short-echo thing to reference to,' Cobbin assures. sound used on much of the Beatles `On track one of the first tape might be material, Fairchild compressors, valve a bounce of guitar, bass and drums, for equalisers... The last thing on any- instance. The second tape might have body's mind was a digital processor. the guitar on one track, the bass on one `There really wasn't much I didn't track and the drums on one track, so have,' Cobbin admits, `even the delays it's exactly the same information but and ADTs I made using tape machine split. So we could always sync the sec- even though I didn't use the BTRs that ond tape to the first tape. were originally used. It made it much `Once the tracks were in sync on the easier to replicate the precise quality of 3348, there was further work I could do the original sounds. The sort of pro- on some of the songs. The Beatles were cessing that they used relied very heav- great in using the space on the multi - ily on tape machines which they could tracks very efficiently. And even with use for standard tape delay, regen, tape the process of reduction -bouncing echo, ADT, phasing, flanging_ so that from one 4 -track to another -they one tool opened up a whole lot of would still cram up space. Unlike today things. The Fairchild compressors were where we might give a whole track to sometimes used as an effect to create a a guitar solo, they would have a back- pumping sound. So beyond the console ing vocal for the choruses, a guitar solo that they used, there really wasn't much and a piano part later in the song all on I couldn't do. one track. So I would split off that one The degree of difficulty changed particular track into say three tracks from song to song and the more that enabling me to have better control in I did, the more my ears became tuned the processing and panning of each to what was going on. Some things were part. Then it was time to begin mixing a challenge, perhaps because of inter- -and that was the fun hit. action between processes. If there was The general starting point was to an overall compressor on the mix, it ensure the arrangement was exactly the might be reducing the level of some- arrangement that the world knows,' he thing rather than it being a volume continues. `There was a lot of listening change in the mix. Things like that took to the originals, constant referencing to the originals to make sure that what we Right: the submarine remixing crew. had were actually the right components At the back, left to right: Mirek Stiles, because even though we'd found the Guy Massey, Allan Rouse. In front, left right take, within that take there might to right: Peter Cobbin and Paul Hicks be a number of vocal tracks and when they were mixing, even though there a little time and experimentation. Again was no automation, they might have there was a lot of listening -the mono chosen different lines from each of mix as well as the stereo mix sometimes those tracks. There might also be a gui- gave clues as to why things were done. tar track from top to bottom, but they Nothing actually defeated us, we sorted might only have used it in certain places. everything out. And because it's the So to make that a little bit easier, on material it is, we wanted to make sure spare tracks I would clone only the parts everything was done properly.' of that track that were used. In a sense Cobbin likens the work to archaeol- I was building up a set of open faders ogy, rediscovering the events of the past. that were playing just the arrangement Had the track sheets helped in the chase? of the song. That then made it much `The track sheets aren't like today easier to determine the original pro- where there's a sheet inside the box,' cessing of the song.' He opens a series he explains. `They are hand- written on of faders on the desk as he speaks as if the back of the tape boxes -bearing in to illustrate the point. mind that there are only four tracks > Having constructed the multitrack tape that George Martin had only imag- ined, Cobbin faced the prospect of recre- ating the processing used on both individual tracks and over the entire mix. `Often they recorded effects to tape -particularly things like vocal delays and things that were unusual,' Cobbin says of the Beatles' working methods. `They committed wholeheartedly particular sounds to tape, but, as we do today, reverbs and echoes, the use of the cham- ber or perhaps additional compression were done in the actual mixdown process and I had to replicate them.' Thankfully, Abbey Road retains a lot of the outboard equipment used during the sixties -valve EMT plates, Studio Sound October 1999 < and there might only be one or two tapes were laid up ready for mixing in through much of the sixties stereo was songs, there was always something doc- October 1997. But where it wouldn't a requirement that had to be met in case umenting what was on those tracks. have been unusual to have three songs it took off one day. It was really only Good records were kept about the mixed in a 3 -hour session at the time towards the end of the decade it started. Beatles sessions, even by the sixties YellowSubmarinewas made, these were The Abbey Road album was the only Abbey Road had been functioning for just about finished by Christmas 97. Beatles album specifically mixed for a 30 -odd years so there was a good sys- 'As any engineer will tell you, it's often stereo. Often they would do the mono tem in place for detailing what went on a more arduous task to replicate one of mixes and then it could be days, weeks, there. We had access to those work your own mixes without the aid of months, in fact it was sometimes years sheets and there were often notes there automation than the original mix,' later when the stereo mix was done. So about what went on in the mixdown or Cobbin concedes, and he was faced often there were differences between adding certain EQ. It was good fun; a with the prospect of turning Beatles the stereo and mono mixes. I came bit of detective work and there was a classics into 5.1... across one-Only a Northern Song' - lot to learn.' 'Stereo was by no means the accepted that was never mixed for stereo. Instead The transfers from the 4 -track piasters format at that time,' he begins. 'Mono a duo -phonic or "mock stereo" version had taken a couple of weeks and the was the accepted format. But even was made when it was released on a > h3LIE PETER C01313IR took were missing on that original sound- picture. / y next job was to therefore care of remixing the songs at track because of a time constraint, but varispeed them digitally so that they fit, Abbey Road in London, 6,000 you'd have a shot where you'd hear and I also made a couple of music edits miles away, in Santa Monica, California, footsteps and then the next shot you on some of the songs that were on the Ted Hall revamped the dialogue and wouldn't hear any. So the way original soundtrack. Some were actu- sound effects at POP Sound, together I approached it was that first I created ally varispeeded quite a lot; "Only A with the George Martin's score that had a sound library of about 300 effects that Northern Song" is a lot slower than the featured so heavily on the original had been used in the movie. The edit- version that is on the album. They must Yellow Submarine album. ing back then was very linear-there have purposely done that when they 'I had total creative freedom,' says wasn't much overlapping or composit- were mixing it, just to make it sound Hall. 'I was working with a 3 -track mono ing-and so I was able to cut each effect heavier.' 35mm mag soundtrack- comprising which was then reused.' When it came to George Martin's separate dialogue, music and effects Thinking in more spatial terms thanks score, Hall took every opportunity to stems -and so I had some ability to to the modern -day benefits of in -house replace the mono soundtrack recording manipulate things. The idea was to surround setups, Ted Hall also created with the stereo album version and make the mix as exciting as mixes are new effects and did plenty of looping spread that into 5.1. today, but without going and adding and doubling in order to produce big- 'That [stereo] score was not from the new sounds. No breaking out the CDs ger sounds that he could pan around original scoring date,' he explains. of effects and adding new explosions the theatre. A case in point is the Flying 'George Martin rerecorded it several or redoing footsteps. Whatever I used Glove, which terrorises the much - months later, so the arrangements were was from the original soundtrack.' maligned inhabitants of Pepperland, as slightly different, but it did sound good Nevertheless, complicating matters well as the missiles fired by those unre- and so, being that the only element I had was the fact that, on that original sound- lenting Blue Meanies. was the funky mono music stem, I tried track, certain elements were missing; no 'I cut everything on a non -linear to use the stereo as much as possible. hand -claps in a scene where The Beatles 24- channel system,' Hall continues, 'and As a result there's a constant change- can be seen applauding, a lack of sound I'd take individual sounds and put them over -eight bars in stereo, eight bars in in another where a Blue Meanie lets on different tracks so that I could do mono -and I had to edit that together out a burp. Hall and MGM /UA's vice pans and different EQs and have them and make it seamless. It was hard, but president of feature postproduction, start overlapping. You see, the original absolutely worth it. Bruce Markoe, therefore recorded the track sounded really thin. It was old and 'Still, for me the main challenge was effects themselves. it had no body to it, so I put more EQ to avoid people accusing us of 'Bruce wanted a modern -sounding on everything, I processed sounds and "colourising" things, and so I never 5.1 digital 6 -track mix,' says Hall, but in certain instances I dropped them strayed too far from the original con- that was pretty difficult coming from a down an octave to give more harmonic cept. That meant keeping the original mono soundtrack that was fairly noisy, depth. This applied to the effects mostly, balances when I was mixing the music hissy, clicky and poppy. Anyway, first as well as the voices in some places. into the soundtrack, and so, although we ran it through Sonic Solutions, and The dialogue track was the dialogue some songs dip down into the dialogue that's a pretty nifty system. It takes a track -that didn't need much EQ-so and then back up, in general I wanted sample of hiss, reinverts it back in and the primary stuff was the effects. the film to be the way it sounded back washes it away. That was one problem 'When it came to assembling every- in 1968. In fact, at first I'd thought that taken care of, but then the other prob- thing Peter Cobbin sent the mixes from the little mono soundtrack was pretty lem was the missing stuff that needed England over here, but the problem was cool, but now I'm happy with what to be filled in. I don't know if things that they didn't run in sync with the we've done.' RB 58 October 1999 Studio Sound WE THOUGHT OF EVERYTHING

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< stereo album later. speakers to effect. I found I was not just `From a technical point of view, when using them as a pair in isolation, but using we embarked on the 5.1 mixes it was them to extend the front soundfield very much a new thing. Being the mate- -like if George's guitar had an ADT, rial that this is, I wasn't interested in I could use that twice with a slightly dif- doing something that sounds great for ferent delay coming from the side. It's ten minutes, but you live to regret. But the sort of thing that when you listen to it is amazing how, used in the right pro- it, you could be forgiven that there's noth- portions, it makes a great sense of space. ing coming from the rears, but if you There were some songs that lent turn them off it sounds dramatically dif- themselves very easily to using them in ferent. But the songs are different and an adventurous way -and it is a film some lend themselves to naturally being soundtrack, remember -hut the songs more adventurous. `Yellow Submarine', have to sound strong. the title song itself, has all sorts of sound `First and foremost it was about creat- effects that can he used to make it more ing a very strong front soundfield and 3- dimensional than a straight 4 -track then finding ways of using the re.ir that's rocking from the front.' > surround control SOUNDWARE for 02R, 03D, ProTools and more... O$ITAL SURROUND PANEL MULTIPLE SYSTEMS dsp7 can be used with the digital production systems most widely used for surround control and automation. Check our web -site for an up- todate list. EFFECT

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66 October 1999 Studio Sound who investigated that the board had obvious and immediate applications to OB use given the compact nature of the worksurface and the flexibility of its routeing and I -O arrangement. For example, a 40- channel audio rack can he controlled conveniently from a 20 -fader worksurface operating on two layers with a total of eight layers avail- able and accessed by a single button - push. It will stretch to 160 audio channels and the worksurface can be expanded or contracted according to requirement, space or cash. A sophisti- cated Cue system permits desk snap- shots and configurations to be recalled. Three separate PFL buses enable three different operators to balance different chunks of a production on separate, although integrated, fader sections. In the context of live sound this would allow FOH and monitors to be balanced on the same system by allocating the desk's 32 outputs (Soundcraft was first to call these 'grauxes' because it chose not to make a distinction between groups and auxes) and five main out- puts intelligently. effective. It's still out on its own in terms The arrangement represents some- of price and performance.' thing of an ideal for multiband festival The Tromso 60 -input console is used configurations, but the suitability to for local programme generation and comparable broadcast situations is clear. everything else from purely providing But then the requirements of theatre a stereo feed for rehearsals or single mic sound and broadcast overlap heavily on news. Its communications panel has the immediacy of the tasks in hand and been modified to Tromso's taste with the need for bombproof reliability. source selectors and additional meter- NRK was quick to spot this potential ing options that allow the station out- and commissioned the truck more than put, which is always processed through two years ago and has housed the elec- an Aphex Compellor and Dominator, tronics racks towards the rear of the to be metered before and after pro- van with the worksurface arranged cessing. Talkback facilities have also comfortably widthways. been expanded along with surround 'NRK had got in quite early with the monitoring options and switching. The AMS Calrec assignable and that has been desk is always run split for 2 -man oper- used inside and outside and its very ation with the assignability allowing convenient,' says Drier. We started each operator to have his own physi- planning for our own truck perhaps four cal space and hardware control. years ago and there was nothing else As one of the first customers for the around like the Broadway then and Broadway, Drier states that while the desk I don't know of any other assignable has not been without early problems digitally controlled analogue desk that there have been no critical breakdowns we would consider now that is as cost- and adds that they have been pleased >

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Studio Sound October 1999 67 Edition at $479 including a Musician's Toolbox CD -ROM of audio and MIDI files, tools and tutorials. At the same time, Cakewalk Professional, more modestly priced at $249, provided an Walk] MIDI + entry-level introduction to Audio with four tracks of digital audio. the in Cakewalk Pro Audio 6.0 shipped May 1997, with a Deluxe version fol- lowing in July -this time including Musi- cian's Toolbox II, a two -CD -ROM set offering over a gigabyte of data includ- ing audio loops and MIDI files covering a range of musical styles from funk to classical. With version 6.0 Cakewalk While the Mac comes first for its fellow US MIDI + Audio introduced support for Microsoft DirectX audio plug -ins along with its companies,TwelveTone Systems has always championed own line of CFX DirectX plug -ins which the PC.The company's product range, centred around its provided core effects in the form of reverb, chorus, echo -delay and Hanger. Cakewalk line, continues to grow in sophistication and The company was also quick to pick up angle, developing tunes in on the third -party diversity. Simon Trask sales partnerships with other DirectX LIKE THE OTHER COMPANIES in file support, and a generic SysEx librar- plug -in manufacturers such as QSound this series, Twelve Tone Systems ian, and also spawned a Professional (QTools /AX 3D audio processing tools), began life in the eighties produc- version that added SMPTE sync and Tracer Technologies (DART DeClick), ing MIDI -only sequencing software. multiple MIDI Out support (with appro- Waves (Native Power Pack) and Arbore- Unlike them, however, its software roots priate hardware) and the Cakewalk tum (Hyperprism). In the case of are not in the Atari ST or the Apple Mac Application Language, a programming QSound, Cakewalk Music Software, as but the PC-or the IBM -compatible PC language for creating MIDI data pro- the company had become known by as it was more commonly known in those cessing routines that can be integrated then, became the exclusive international days. The US company, which like into Cakewalk as keyboard macros. distributor for the QTools plug -ins. MOTU is located in Cambridge, Massa- Showing an early propensity to offer Another significant development chusetts (also home to the famous Mass- supporting material, the company also with v6.0 was the introduction of Stu - achusetts Institute of Technology), introduced the Romeo Music Cakewalk dioWare functionality, which enabled debuted in 1987 with Cakewalk 1.0, a Series, featuring three disks of MIDI integration and automation of any 256 -track MIDI sequencer written by pro- songfiles in a variety of musical styles MIDI -controllable studio equipment grammer and company founder (and for $25.95. from within the program using Stu - nowadays its President and CEO) Greg With the advent of Microsoft's Win- dioWare panels, that is virtual control > Hendershott. Although it offered drop - dows OS, Twelve Tone Systems intro- ®....- ,,. , r ° w \11, 1/101111111111111a, down menus and pop -up dialogue duced Cakewalk and Cakewalk wrN pzz wr.,c t iiv JiJr boxes like the graphical editing enviro- Professional for Windows, and the pro- S -i ( /'' ,-Li- ments of the ST and the Mac, the pro- gram began to take on a much more -`,a.... gram's black -and -white screen layouts graphical orientation. By version 3.0 in JJ tJJ were still essentially rather basic DOS - 1995 the Windows software had a :sits ::dí3i style alphanumeric affairs. Designed graphical on- screen mixer complete GiniSP'..` around three main screens-track, event, with 96 assignable faders and support -_-----_-=-_ and measure -Cakewalk combined for the Mackie OTTO 1604 MIDI accessibility with flexible, in -depth automation package, a drum and per- regional and event editing and filtering cussion editing grid, built -in score - capabilities. At the time it was consid- writing with lyrics capability, groove ered to offer a lot of sequencing power quantising, MIDI Machine Control, and for its relatively modest $150 asking support for digital audio wave file play- price. This combination of power and back on Windows-compatible sound - flexibility with affordability has remained cards. By this time the price tag had risen a characteristic of the company's prod- to $349, but in a move that has become uct range down through the years. characteristic of the company it also s ; e t Cakewalk has remained the core prod- released Cakewalk Home Studio, a still _"-y° uct for Twelve Tone Systems to this day, well -specified version that removed the its equivalent of Opcode's Vision or pro -level features and cost only $129. MOTU's Performer. In the mid nineties The inevitable move into full -blown l Walk-_ kea + the company even started calling itself MIDI Audio functionality followed. Yo ve d sooverod sP.J Cakewalk, Cakewalk rather than Twelve Tone Sys- Cakewalk Pro Audio offered unlimited the a w.i&n Ong, al -,em rJ- tems (understandably, you might say); tracks of digital audio, graphic and para- n 2 FRC family of sornvan, -Y Products for recording nowadays, on its website, its packaging metric EQ, Audio -to -MIDI groove quan- editin -.oµrn music P sound on Q,e desktop. and its advertising, the only mention tising, and support for PC- compatible â:-Zt1 gR We intito you 8Ntlz.LyO} to join mure thy, Digidesign _?50,000 you're likely to see of the original name and Soundscape hardware, taxt1 2n_ ,nen WotldWide !?NCB-tl39_ n learning why is in small print, something along the in addition to Cakewalk's familiar Cakewalk tools are the hottest available lines of 'Cakewalk is a registered trade- 256 MIDI tracks and associated MIDI .msic for; mark of Twelve Tone Systems.' functionality. The program came in Post- Production s tmdtncks for In 1990 Cakewalk reached version Windows 3.1 and native Windows 95 TV,fihn, andvdeo Products for a download 3.0, complete with 'piano -roll' editing, versions on a single CD -ROM for sug- . computer -gauws Q , web enhanced step recording, MIDI song- gested retail price of $399, with a Deluxe sites and tRry 70 October 1999 Studio Sound Powerfil tools which capture all of the sound with the sensation of Being There still intact.

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Studio Sound October 1999 71

F'uo115neQ UecelTlpef lyyy ut Miller Freeman up Who bassist John Entwistle playing plug -ins and other software via the at NAMM with percussionist Pedro Var- online eStore at its website (www.cake- gas at the Media Lab, used a combina- walk.com). For instance, as at writing, tion of conferencing technology and Cakewalk 8.0 owners and potential Cakewalk's software, and was also upgraders can purchase Antares' Auto - broadcast live over the Internet in Tune plug -in and Seer Systems' SurReal Rant An¡iir. frwrn. t c¡.frc....r} , Q711 1 d2l1

< companies to support the Yamaha Opcode product. Only in this case the panel, a staff notation display together DSP Factory's DS2416 card, for 16 chan- company went on to ship the program with the ability to create lead sheets nels of integrated digital recording and in both Mac and Windows versions in complete with guitar chord grids and mixing and combined use of Cakewalk Summer 1998. Commented Cakewalk's lyrics, an on- screen guitar tuner, and a effects plug -ins and the 2416's own Overture product manager, Jim Rippie: Song Wizard for creation of backing onboard effects. In advance of the sec- Our goal is to provide all composers tracks from a library of preset material. ond- quarter shipping, Cakewalk also with professional music notation soft- Cakewalk also formed the Guitar announced the Cakewalk Purchase Pro- ware that's as easy to use as a word Technology Alliance with Fender and tection program, which guaranteed free processor. The original Overture for the Roland in support of the new soft- 7.0 upgrades to anyone purchasing Macintosh solved the ease -of-use objec- ware, producing a combined pack- version 6 softw ire. tive. The new Overture for Windows age consisting of the Guitar Studio and Mac OS makes this of use avail- software, Roland GR -30 Syn- 2. .f.P.P.. ease Guitar 3 h \ ® --- U22 able to nearly everyone with a personal thesiser and Fender Roland -Ready ®!NNIV computer.' Later in the year, the com- Strat (a classic Stratocaster with a built - pany also released a cut -down version in Roland pickup). =---__--.-- - of Overture, called Score Writer, for just In addition, the company released its 4.14 OA-44W) $69 -in this case just for Windows second collection of 32 -hit real -time 95/98. Today, Scorewriter is one of two effects plug -ins providing amplifier and Li[0. >- programs available for download sale analogue tape simulations. The recently ,- at Cakewalk's website, the other being introduced Guitar Studio 2, at a new Cakewalk Express 8, which at a mere $249 price tag, doubles the number of $19 is the company's cheapest program digital audio tracks to 16 and quadru- n (ex< n yet, but still provides two tracks of dig- ples the number of simultaneous effects Jrm ital 16, introduces AmpSim Lite miV audio plus MIDI sequencing and to and the realtime audio and MIDI effects. effect plug -in-a customised version of ±=E- In July of last year Cakewalk the Cakewalk Audio FX 2 package announced a new addition to the Cake- -and the Session Drummer MIDI plug - walk software family, in the form of in, which allows users to arrange and iJd Cakewalk Guitar Studio. The $149 pro- play back drum tracks from preset drum sar gram provided eight tracks of digital patterns. In addition, a Tablature dis- audio and the usual 256 tracks of MIDI, play has been added, and improve- Adopting the same approach it plus realtime effects support, a familiar ments made to the Fretboard and had with Metro, in April Cakewalk cassette multitracker -type display. a Vir- chromatic tuner features. acquired the Macintosh -based profes- tual Fretboard for step -time entry of The beginning of this year saw the sional notation software package Over- chords and melodies, an on- screen introduction of the Cakewalk 8.0 range, ture, which had previously been an Roland GR -30 guitar synth control with prices staying the same despite

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74 October 1999 Studio Sound some significant developments. Perhaps the company has become the exclusive dows Media Technologies 4.0 in Cake- most notably, the Pro Audio version US distributor for the popular Groove - walk Pro Audio, Professional, and introduced 24- bit /96kHz audio support. Maker `DJ mixing' loop -based music cre- Home Studio, with support in other pro- Another important development was ation software from Italian company IK grams to follow. Users will be able to digital video support, with the ability to Multimedia Production, available for export their projects directly as Win- import AVI, QuickTime and MPEG both Mac and PC. Groovemaker allows dows Media files. Chris Albano, execu- video, plus sample- accurate audio and users to build tracks in a variety of dance tive vice president of Cakewalk, video synchronisation, scrubbing of music styles by mixing preset and user - explains: `Our users recognise that the both audio and video tracks in sync, imported (WAV and AIFF) samples and Internet is the future of music distribu- looping of video along with audio and loops and playing along using the Vir- tion and have been looking for a high MIDI tracks, and the ability to export tual Synth Arpeggiator. Finished Groove - quality solution with content protection. the finished project as a new AVI file. maker projects can imported into the We feel that Windows Media Tech- Commented Cakewalk product man- Cakewalk range and Metro. Groove - nologies 4.0 is an ideal tool for Internet ager Morton Saether: `With the advent maker at $59 comes with a single sam- delivery of music and that it will easily of affordable digital video hardware and ple CD -ROM, while a MAX version at $99 satisfy our users' expectations.' The software, many of our users are mak- has two additional sample discs. company also plans to creat and dis- ing the leap to desktop video produc- Erik Tarkiainen, Cakewalk's director tribute a stand -alone Windows Media tion for a wide range of multimedia and of product management, commented: Technologies 4.0 player that will incor-

Internet -based projects. Professional 8 ` GrooveMaker is a dynamic addition to porate Windows Media Rights Man- now provides users with an affordable, Cakewalk's set of media creation tools. agement capabilities, and identifies the efficient way to create and edit sound- Now users have an easy way to create player as a key component of what it tracks for these projects.' different styles of loop -based electronic calls its Internet content strategy. Also on the audio front, Pro Audio music instantly.' From a one -man company with a sin- 8.0 introduced `vector-based' audio Continuing to push the technology gle product and a shoestring budget, mixing, which allowed users to mix envelope, Cakewalk developed and is Cakewalk has grown into a world -wide graphically by drawing volume and pan the driving force behind AudioX, an operation with more than 50 employ- envelopes onto audio waveforms, and open driver specification for the Win- ees, a multimillion dollar turnover and increased the maximum number of dows platform introduced towards the a strong and diverse range of market - simultaneous real -time audio effects end of last year, which has garnered leading products which are used by from four to eight. Digital video, graph- support from many leading audio soft- more than 750,000 professional and ical mixing and real -time effects sup- ware and hardware companies. AudioX home users. The company, which is pri- port were also included in the less is designed to enable standardised soft- vately funded, has always been in profit, expensive versions (with up to four ware- hardware communication support and is steadily growing., has been able simultaneous effects in Home Studio). for the more sophisticated feature sets to cater to professionals at the top end Cakewalk also released the third, and of today's digital audio cards with their of its product range while also suc- perhaps most ambitious, of its Audio FX built -in mixing, effects and synchroni- cessfully reaching beyond the purely 32 -bit DirectX real -time effects. Sound - sation capabilities. professional market into the broader Stage lets users create reverb effects by More recently, still tuned into Inter- commercial arena. A company which designing room environments, with up net developments, the company has has indeed been able to have its cake to seven walls plus ceiling and floor, announced support for Microsoft's Win- and eat it... and placing virtual microphones and other sound sources anywhere in the environment using a 3D graphical inter- face. Characteristics such as absorption and high- frequency damping can also audio be set. Its sophistication perhaps explains why it costs half the price of The Amazing DSP Powered, Multi- Function, Acoustical Analysis, the full Pro Audio 8 package, on cur- Test, Calibration and Troubleshooting Tool. rent UK prices. Another Cakewalk audio develop- Inputs: Outputs: ment in the first half of this year was the Built -in microphone Built-in speaker Stereo balanced XLR Balanced XLR introduction StudioMix, an $899 mul- of Stereo 1/4" TRS 1/4" TRS titrack digital audio recording system Stereo RCA phono RCA phono resulting from a joint venture between MIDI - 1/4" stereo Cakewalk and Peavey. The product headphone jack integrates Cakewalk's new StudioMix Plus: MIDI

software, that supports up to eight Graphical backlit Acoustic Analysis Tools: Real Time simultaneous digital audio tracks, LCD display Analyzer, SPL, LEQ, ETC. RT6(). Speaker & Mic Polarity DirectX realtime audio effects, and Battery or AC power Session Helpers: Tuner, Tempo SMPTE -MTC tape synchronisation, with Computer, MIDI Data Monitor / Transmit. SMPTE Read/gen/re-gen, the StudioMix hardware control surface Hum Cancellation from Peavey, which features nine new! Test Functions: Signal Generator. Impedance Meter, dB/Frequency motorised faders, 14 `soft' buttons and Meter, SM, Frequency Response. 18 rotary controls. VERSION 2 Sample Scope. Distortion Meter Utilities: Headphone Amp w /guitar Along with the aforementioned Gui- Ix, Cable Tester, Phantom Power tar Studio 2, recent developments Checker. PC / Mac Interface, and more... include the release of Metro 5.0, with among other new features support for TerraSonde U.S. Office: TerraSonde U.K. Distributor: ASIO -compatible audio cards, auto- 303 -545 -5848 Rocky Road Distribution Ltd. mated real -time effects processing, up 303 -545 -6066 Fax 44 (0) 1494 535333 Tel to eight stereo auxilliary effects buses, Makers of The Toolbox www.terrasonde.com 44 (0) 1494 535357 Fax audio scrubbing, and improved drag - and -drop editing of audio. In addition, Studio Sound October 1999 75 vice and application in the studio and For a long time a buzz word, ATM's influence is finally broadcast sector on one platform. ATM being realised. Wolfgang Huber of Lawo looks at the is already used successfully as a back- bone in networks and as the transfer distribution and transfer of audio signals and other services medium in WANs. In the mid -eighties, in the broadcast sector with reference to Lawo's DSN the International Telecommunication Union (ITU) and other committees laid On the 14th August SAT.1 prime essential for the live coverage of events. the theoretical foundations for the TV sports programme 'ran' For the above mentioned applica- Asynchronous Transfer Mode (ATM). At went on the air in Berlin with tions various synchronous and asyn- that time, the required technologies for a new complete Lawo installation using chronous procedures are used. further distribution, especially in the ATM to transfer linear audio and con- Centralised or decentralised digital dis- audio sector, were not yet available. trol signals in real -time as part of Lawo's tributing systems- mostly time -slot Thus, in contrast to conventional Distributed Studio Network (DSN). matrices -are installed in the radio computer networks, its application was The first of two mc282 mixing con- house. No predominant standards exist not practicable, predominantly because soles and one mc2 master control room aside from particular formats such as of the costs. During the past few years have been installed. The control room analogue, AES -EBU and MADI. The ATM use has boomed and the reason is Regie i includes a desk with 48 faders, presently applied network topologies, because of its distinguishing features 72 DSP channels and a new -look like Ethernet, Token Ring and Novelle, compared to other networks. Channel Display with extended desk do not have sufficient bandwidth for ATM is based on point -to -point con- functions. the large data streams generated in a nections, it permits the assignment of The audio control room is a combi- radio house and therefore cannot ful- defined bandwidths with clearly de- nation of ATM switch (ATM Switch 8265- fill the essential real -time requirements. fined qualities, to each participant for 17 by IBM) and an mc282. GUI (Graphic The connection points to the WAN every single connection. And now fast User Interface) and control panels are provider require expensive format con- transfer modes and switches are appear- available in parallel for matrix control vertors. Any future standard must there- ing on the market at a good price. and the areas of picture, light, camera, fore at least meet guaranteed real -time These qualities have made ATM a OFF, interpreter and decentralised VTR performance for the audio data with its leading choice for applications -wide- and 30 Lawo Interface Units are used control information; offer compatibil- band ISDN in the telecommunications for the integration of peripherals. ity through interfaces with currently sector and the backbone for computer The master control room is fitted with used network topologies and formats networks and Wide Area Networks (for four operating consoles and manages that can be upgraded; have problem - example the Internet). ATM connections its tasks via two ATM -Switches with fully free and world -wide clock supply and are preferred because they can offer redundant control systems. synchronisation; extendable cabling to diverse services simultaneously via one The distribution and transfer of a central place, such as the master con- line and this is made possible by decod- diverse information, such as audio, trol room; have LAN and WAN quali- ing the input into data of different 'trans- video and control within, and also ties; offer high reliability and possible fer qualities' and diverse `connection between, broadcast houses is gaining redundancy; and support AES -EBU for- modes'. With the definition of the credibility as a concept. The network- mat digital audio. In addition the sys- Quality-Of- Service parameters (QOS) of ing and shared use of peripherals and tem must be open ended enough to ATM, the functionality of parallel data rooms save on costs, while fast access allow further hardware and software transfer has been an integral part of the to archives and buffer memories development and have low running specification from the beginning. increases productivity. The rapid trans- costs. These demands can be met Modern ATM networks support up to fer of radio programme elements through ATM. five different and clearly separated between radio houses has become a The basic idea of the Lawo Distributed transfer qualities. The lowest category matter of course, it saves money and is Studio Network is to integrate every ser- applies to conventional computer > 76 October 1999 Studio Sound web a c-k&

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TV broadcasts. Even on the Web, the 6200's evolving. New encoding schemes may develop. OPTIMOD - 6200 sounds multi -band processing greatly enhances better in the real intelligibility, and delivers a clean, consistent orban. world where it counts. H A Harman International Company another great product from HA/ZR/5 Tel +44 1223 415459 Fax +44 1223 210441 www.harris.com < data transfer without defined delay backplane. With this basic unit, periph- times and bandwidths. The variety also erals and operational modules such as includes the transfer of real -time data mixing consoles, multitrack machines, ADVANCED MEDIA PRODUCTS with defined bandwidths and delays. and interface units are linked via MADI. A fundamental factor for the rapid dis- Additional interfaces cover analogue, INTERNATIONAL DISTRIBUTORS tribution of ATM has been the avail- AES -EBU, TDIF -1, GPIO, and serial. AUSTRALIA: AWA LTD ability of interfaces to existing LAN The DSN ATM Switch offers an effec- Tel: 02 9669 3477 Fax: 02 9578 0140 Contact: Michael Guest topologies meaning that these could still tive data transfer rate of 25 Gbit/s, a fully AUSTRIA: STUDER AUSTRIA GMBH managed. redundant design in all components, sup- Tel: 01 8651676 Fax: 01 865 167699 be used and Contact: Reinhold Flied! The DSN now uses ATM for real -time port of all transfer qualities, powerful man- BELGIUM: EML N.V. Tel: 011 23 2355 Fax: 011 23 2172 transfer of linear digital audio signals. agement software and a variety of Contact: Erik Gysen This means not only the transfer of audio common ATM I -O boards. It has 17 slots, CANADA: HHB COMMUNICATIONS CANADA LTD Tel: 416 867 9000 Fax: 416 8671080 signals in the matrix, but also the inte- 14 of them for user -specified boards. Contact: Dave Dysart grated signal processing and the pro- The interface between ATM and the CZECH REPUBLIC: AUDIOPOLIS Tel: 02 3332 2132 Fax: 02 3332 4172 cessing and distribution related control. broadcaster is the Lawo -developed MADI Contact: Jan Adam Interfaces are provided by special ATM - board, which is plugged onto the back - DENMARK: INTERSTAGE Tel: 39 46 0000 Fax: 39 46 0040 MADI boards as well as other associated plane of the IBM switch. The board has Contact: Finn Juul interfaces and the DSP channel boards 4 MADI interfaces that may be used for FINLAND: HEDCOM Tel: 358 9 682 866 Fax: 358 9 682 8489 are also completely integrated into the 56 channels (56- channel audio), 56 chan- Contact: Jarmo Roivas ATM network. The structure of ATM nels (52- channel audio and 4 control FRANCE: MILLE ET UN SONS Tel: 1 46 67 0210 Fax: 1 47 89 8171 offers the possibility to transfer other ser- channels), 64 channels (64- channel Contact: Didier Rupin video or computer net- audio) and 64 channels (60- channel FRANCE: TRM vices like digital Tel: 1 41 18 9003 Fax: 1 41 18 7965 work data via the same network. audio and 4 control channels). Contact: Henri -Dominique Saumon GERMANY: TRIUS VERTRIEB GMBH Sacrificing four audio channels allows Tel: 05451 940810 Fax: 05451 940819 the supply of free frames with control Contact: Hubert Dierselhuis GREECE: KEM ELECTRONICS data for peripherals. This control data Tel: 01 674 8514 Fax: 01 674 6384 is marked by setting the `Non- Audio- Contact: Thimios Kolikotsis HOLLAND: TM AUDIO HOLLAND BV Bit'. Communication is bidirectional and Tel: 030 241 4070 Fax: 030 241 0002 of ATM cells in an Contact: Peter de Fouw permits generation HONG KONG: DIGITAL MEDIA TECHNOLOGY interface unit and in this way return sig- Tel: 2 721 0343 Fax: 2 366 6883 Contact: Wilson Choi nals from connected interface units are IRELAND: BIG BEAR SOUND LTD transferred into the ATM network. The Tel: 01 662 3411 Fax: 01 668 5253 Contact: Julian Douglas control data remains in the ATM -cell for- ISRAEL: BAND -PRO FIM/VIDEO INC mat all the time. Tel: 03 6731891 Fax: 03 673 1894 Contact: Ofer Menashe The DSP applications required in such ITALY: AUDIO EQUIPMENT a boards that Tel: 039 212 221 Fax: 039 214 0011 network are realised by Contact: Donatella Ouadrio can be directly plugged into the ATM JAPAN: SOUND HOUSE INC Tel: 0476 22 9333 Fax: 0476 22 9334 switch. It is possible to calculate 24 DSP Contact: Rick Nakajima channels- either for 24 input channels MALDIVES: ISLAND ACOUSTICS PTE LTD Tel: 960 31 0032 Fax: 960 31 8264 or 24 summing channels per DSP Contact: Mohamed Habib board -and 144 summing buses. The MEXICO: LOLA DE MEXICO Tel: 525 250 6038 Fax: 525 250 6038 maximum -sized system manages a mix- Contact: Carmen Juarez ing console with 192 -input (DSP) chan- NEW ZEALAND: SOUND TECHNIQUES Tel: 09 846 3349 Fax: 09 846 3347 As the development of semiconduc- nels and 144 direct outputs with 8 DSP Contact: Stephen Backland tor technology has been so rapid, there boards. The remaining slots of the ATM NORWAY: LYDROMMET AS Tel: 22 80 94 50 Fax: 22 80 94 60 are presently semiconductor devices switch may be used for I -O links or the Contact: Christian Wille its If all the POLAND: DAVE S.C. available that predestine ATM for interconnection of switches. Tel: 22 826 4912 Fax: 01 418 8093 application in the broadcast sector. DSP boards are not needed for an appli- Contact: Bogdan Wojciechowski may be PORTUGAL: ELECTROSOUND PORTUGESA Reliable and problem -free performance cation, free DSP capacity used Tel: 01 417 0004 Fax: 01 418 8093 is already possible for audio, control for other applications, for example, for Contact: Carols Cunha RUSSIA: A &T TRADE INC and all services with lower requirements another operational console. Alternat- Tel: 7 095 796 92 62 Fax: 7 095 796 92 64 and priorities. ively to using the DSP boards as a mix- Contact: Alexei Gorsky SINGAPORE/ASIA: SENNHEISER ELECTRONIC ASIA Our DSN has been developed as a ing console they may be configured for Tel: 065 273 5202 Fax: 065 2735038 common platform for data transfer via the processing of other audio channels. Contact: Donn Ho SOUTH AFRICA: E.M.S. LTD LANs and WANs, with definite classifi- Links of control or operating systems Tel: 011 482 4470 Fax: 011 726 2552 cation of bandwidth and priority of the within the ATM network are established Contact: Dennis Feldman SPAIN: LEXON transferred services, integrated pro- via standard ATM interface boards. Tel: 93 203 4804 Fax: 93 280 4029 The Sat.1 installation has the Contact: Robert Serrat cessing (DSP) of audio data and the dis- permitted SWEDEN: POL TEKNIK AB tribution of audio data and assignment removal of most of the existing external Tel: 46 8 449 4440 Fax: 46 8 88 4533 Contact: Jarmo Masko 1 control of the sources and the targets. matrices and allowed studio areas -3, SWITZERLAND: DR. W.A. GUNTHER AG It also converts ATM into the central equipment room Tel: 01 910 4141 Fax: 01 910 3544 Contact: Roland Bricchi common broadcast formats. for these studio areas, the SYRIA: HAMZEH & PARTNERS CO This has achieved by Lawo, audio postproduction suites 1- Tel: 11 333 3753 Fax: 11 373 1573 been Contact: Khaled Hamzeh the DSN being based on a core Am Oberwald 8, 3 in the master control room, TAIWAN: DMT TAIWAN D -76437 Rasta tt. suites, Tel: 02 516 4318 Fax: 02 515 9881 ATM Switch in which audio graphics and editing Contact: Honton Sze components are integrated. Tel: +49 7222 100 20 postproduction, and VTR to be TURKEY: SF DIS TICARET AS Tel: 0212 227 9625 Fax: 0212 227 9654 Fax: 100 The ATM `cloud' includes +49 7222 224. integrated into the DSN. Contact: Samim Mutleer interlinked ATM switches. The broadcasting operations USA: HHB COMMUNICATIONS USA Tel: 310 319 1111 Fax: 310 3191311 Integrated in these components are the department has moved from Hamburg Contact: David Beesley power supply and the actual switch- to Berlin with the addition of its ATM board. Several Lawo- developed signal system. More recently 300 journalists processing boards (DSP) and ATM -MADI have relocated to Berlin. ATM has made interfaces are plugged directly into the a difference for SAT.1. 78 HHB Communications Limited

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Tel: 416 867 9000 Fax: 416 867 1080 E -Mai : [email protected] FIRST WE LISTEN http: / /www.hhb.co.uk The Talking Machines The history of the tape recorder is littered with anecdotes of questionable historical accuracy. Studer's Karl Otto Bader traces the factual development of recording THERE IS AN OFT -TOLD TALE tion, substantial research was taking that tape recording was invented place within the US. Notably Ampex, by accident. It says that when founded by Alexander M Poniatoff in Weber and von Braunmuhl experi- 1944, was heavily involved in tape mented in 1938 in Baden- Baden, Ger- recorder development.. As movies many, an amplifier started oscillating played an important role, tape machines and the HF generated dramatically with 35mm sprocket hole tapes (Mag- improved the SN compared with the natech and others) also came onto the DC bias technique then in use, paving market. At the same time, tape machines the way for the next 50 years' technol- slowly moved into the private domain ogy. The story is not entirely true. and became a toy for the wealthy. In 1938 tape recording was already a Immediately after the War, steel wire couple of years old. Fritz Pfleumer made machines were imported into Europe, the first magnetic tape in Dresden that followed by tape -based devices. In 1949 year and in 1932, Fritz Schueller made a young man in Zurich, Willi Studer, had the first magnetic ring -type head. In the task of checking imported Sound - 1934, AEG Telefunken developed the mirror units. That was the point at which first tape recorder called the Magne- he decided to develop his own tape tophon, which was presented at the recorder. Berlin Funkausstellung in 1935. In the AEG Telefunken in Germany started same year, a joint venture between AEG again after the War with the develop- and IG Farben resulted in the first mag- ment and refinement of professional netic tape with an acetate base and an tape recorders. With the models T8, T9, iron oxide layer. So Weber and von M5 and later M10 AEG gained a strong Braunmuhl had already a base when position in almost all European broad- they made their experiments in 1938. cast organisations. For reasons difficult Whether the HF bias invention was the to understand, Telefunken and the rest result of a structured design or coinci- of the world could not agree on one dence, is relatively unimportant. What main point of their technical specifica- is important is that they understood the tions -Telefunken machines ran oxide impact of their discovery. on the outside of the reel, all others ran On the other side of the ocean there oxide inside the reel. Even if it was unin- was a parallel development, but the tentional this became a strong market- medium preferred was wire, not tape. ing factor-with the rapidly growing In 1939, SJ Begun presented Sound - archives in European broadcasting it mirror, a device for the recording of was difficult to introduce machines with speech. In the same year, Western Elec- different standards. This was one of the tric produced the Mirrorphone, a unit main reasons that Telefunken kept a with a similar principle. dominant role for such a long time. Another story has it that US intelli- Eventually, companies such as Otari gence during World War II was sur- and Studer produced models to cope prised to hear Nazi officials broadcast with this European standard. The excep- from places they could not have been. tion was the UK. The BBC and, to some Of course, their voices were tape extend, the French radio corporations recorded, but the quality of the record- followed the international standard. ings made listeners believe that the Hence, first EMI recorders and later transmissions were live. So Colonel Studer machines became the important Ranger from the US Army issued a spe- suppliers for those organisations. cial order to capture this technology; in Almost unnoticed in the West, the the last days of the War he and a small Soviet Union and the allied countries special unit were able to bring one of developed a great need for broadcast the AEG Telefunken machines to the studio equipment. In the Soviet Union United States for examination. alone broadcasting had to be done in low Even without this valuable acquisi- 81 different, mostly internal languages. > October 1999 Studio Sound Neil Karsh is the Vice President of Auck Services for New York Medie Group. Recently, Karsh selected LSE monitoring systems for two o` his Mar hattan facilities, Lower East Side and East Side Audio.

66 We've installed the first of ou- LSE 5.1 sLrround systems at East Side Pudic and it's a great addition. The sound is The world's mcst noted recording extremely clear ancc is enjoyed by our professionals discuss the world's most mixers and our clients. Everyone is very advanced mcniitoring systems. pleased with he result", NO.1: New York / Los Angeles

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-- ,---..__- 1999 JBL Professional -. < As production in the socialist system Gauss, Otani and Lyrec specialised in was planned, Hungaria took responsi- high -speed duplicating, King was the bility for the studio equipment. The leading brand for winders, and Studer MechLab company in Budapest (ML) supplied most of the master recorders. became one of the largest manufactur- With the growing importance of tele- ers of studio tape recorders in the world. vision, video recording became a hot However, due to insufficient marketing topic. It was clear from the very begin- and the difficulty of having equivalent ning that the standard audio tape tech- stock of spare parts, few machines could nology used so far could not handle the be exported to western countries. But bandwidth required for video signals. there was not only radio. A growing part The differential speed between tape and of the business was the recording stu- head gap had to be increased. Ampex dios, and -like the pop music after the pioneered the quadruplex principle war -the technology of pop recording with four rotating heads contained in a was clearly driven by the American way. head drum with a 2 -inch tape format. Companies like MCI, which were This principle was later replaced by already supplying mixing consoles for the helical drive, also a rotating head this market, found themselves well drum, but with the tape following the placed to move into tape recorders. contour of the drum almost full circle. Until the introduction of the CD, cas- This principle proved to be revolution- sette duplicating was a very important ary because the transport became much part of the business. Companies like lighter, the tape narrower, with the ben-

efit that the recording density could be driven to the technological limit. The idea of the helical drive survives today and is the core part of R-DAT, most video recorders, and VHS -based audio recorders like ADAT. Companies like Sony, BTS, and other Japanese video manufacturers specialised in devices using this drive mechanism. For quite some time television and film on BASF followed different paths in the way of handling audio. Until around 1980, film tape tape machines were equipped with film drives, using between 16mm and 35mm wide tape. Interestingly, two Swiss com- panies, Perfectone from Biel and Sondor tape. from Zurich together with Albrecht from "I expect a lot from my analog SM 900 maxima Is a high- output analog tape designed Berlin became the major players together Warmth, good tape handling, and hearing back exactly specifically for mum.tmck cording and mastering. with with a few US -based companies. what went on it...that's why I use BASF SM 900 maxima. extra wide dynamic range. low noise and low pont through. As these machines were too heavy It delivers all that and more. and too clumsy for on -site recordings the standard audio tape principle Al Schmitt's achievements include seven Grammy' awards for engineering became popular, because the devices and over 140 gold and platinum recordings for artists such as Natalie Cole, Willie Nelson, Madonna, Steely Dan, Vanessa Williams, Toto, were smaller, light in weight and very Dolly Parton and Frank Sinatra. easy to use. Nagra Kudelski, another Swiss company, gained the world lead- ership in this very special area. Further Information from EMTEC Magnetics U.K. Ltd Phone 01295/227832 The use of conventional tape recorder EMTEC Magnetics or In the Internet: www.emtec.magnetics.com BAS principles, however, posed a problem: how to link the medium to film. This > 82 October 1999 Studio Sound The Leading Edge in Digital: now with Surround

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Studer Professional Audio AG, Althardstrasse 30, CH -8105 Regendorf- Zurich Switzerland, Tel. +41 1 870 75 11, Fax: +41 1 840 47 37 Direct -Subsidiaries: Austria: +43 1 865 16 76 0, France: +33 1 45 14 47 80, Germany: +49 621 7 77 08-0, U.K.: +44 181 953 67 19 Canada: +1 416 510 13 47, Japan: +81 3 34 65 22 11, Singapore: +65 225 51 15. USA: +1 510 297 27 11 http: / /www.studer.ch < lead to the development of a sync recordings even changed the life of signal, called pilottone. Variations like politicians (most of us still do remem- Rangertone -a development from the ber the White House tapes). This mar- same Colonel mentioned earlier ket required high quality, but not always -had a relative short life. The pilot - the operational features of professional tone idea finally was replaced by the products. Tascam, Fostex and others time -code system that is in use today. responded with streamlined machines. It contains not only a synchronous infor- Revox, a trade name of Studer for semi- mation (as did pilottone) but also pro products, sold several hundred address information allowing the auto- thousands of the successful A/B77. matic cueing of different machines. From 1960 the idea of using multi - Between 1950 and 1980 there was an miking became a hot topic. The first enormous market for tape recorders for large desks were developed; and as a semi -pro applications. Musicians want- consequence multitrack tape recorders ed to record their music; schools used appeared on the market. In June 1966 tape recorders for language labs and the Beatles produced the Sgt Pepper general education; police and fire album on one of the first 4 -track brigades needed recordings of emer- machines, the Studer J37. The age of gency calls and other evidence; con- multitrack machines had started. followed in due course. MCI (Fort Laud- ference halls required high -quality In 1970 the first Studer 8 -track erdale), Lyrec (Copenhagen), 3M and audio systems; libraries wanted to save recorder appeared, running 1 -inch tape. Scully (US) along with Telefunken were speech and music; and sometimes Two -inch versions with 16 and 24 tracks among the companies producing multi- track machines. The use of multitracks became very popular especially in recording and, consequently, in video postproduction studios. It is estimated that more than 20,000 analogue units are in use world wide. Analogue recording was always sub- ject to certain limitations given by the tape parameters and the physical prin- ciple. Nevertheless, some attempts have been made to improve the technical specifications. A rather old idea (HG Scott, 1938) involving a compander sys- tem to improve S N was taken up by W Franz in 1963 (NoisEx) and shortly > Influence on the home

1 97 1 Tascam launches 'quadrophonic' A3340 dual -speed 7. -inch

1 973 Tascam A33405 with sync switches fitted released

1976 80.8 8 -track 72 -inch aimed at smaller commercial facilities

I978 The original 144 Portastudio is launched and personal home recording is never the same. 4-track recorders will emerge from Fostex, Yamaha and even Studiomaster.

1982 Greatly improved 244 Portastudio ships. 8 -track 'is-inch 38 ships.

1988 238 8 -track cassette recorder launched

1989 Tascam answers Fostex' B I 6 (later

E 16 and G 16) with MR-16 'Is -inch

I 6-track and follows up with MSR -24

24 -track I -inch. Fostex counters One name for all formats with G24S with Dolby S which Tascam also adopts.

1 990s Remembered as the turning point for analogue with the arrival of QUANTEGY MDMs from Alesis,Tascam Quantegy Europa limited Unit 3 Commerce Park Theale Berkshire RG7 4AB Tel. 0118 - 930 2240 Fax 0118 - 930 2235 Professional Media and Fostex 84 Octcltimir 1999 Studio Sound "I've got the pure sound bug"

I can't help it. Ever since I choice of pas.icc. or self heard Quested's new FII powered ih Hilt-in 150 W speakers, nothing else comes rms amplifiers, it sets new close. Clear, unadulterated standards in small speaker sound like you've never heard systems. I knew Quested made from a compact speaker before. superb large systems for people It's all down to their specially like Abbey Road, Crescent developed casing. It uses an aecoustically neutral material that's 50% more dense and over twice as rigid as traditional MDF. Together with a unique compression brace to hold the tweeter and bass driver, it increases the effective mass and minimises resonance. The result is a stunning bass performance with incredible dynamic range and sustained heavy -duty Moon., Whitney Houston's musical throughput. With full Studio and Sarm, but this is magnetic shielding and built-in something else. And I think it mountings as standard and a might be coataeious.

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Quested Monitoringure Systems Ltd., Unit .2a, West Ealing Businesssound Centre, Alexandria Road, London W13 ONJ, United Kingdom. Tel: +44 ((i) 2O h566 2488, Fax: +44 (0) 20 8566 2484. E -Mail: [email protected] www.quested.com < after perfected by Ray Dolby. Dolby Otari made the important step of operating 1965 Otani is founded inTokyo.The first the compander in multiband thus min- product introduced is a high -speed imising noise pumping effects. The pro- 8 -track cartridge audio duplication fessional system was called Dolby A and system worked with four subbands; Dolby B and later Dolby C were used in semi- 1966 Development of high -speed audio pro and consumer applications. The cassette duplicators audible improvement in S-N enhance- ment became almost a must in 24 -track 1967 Introduction of video cassette recording where the narrow width of a loaders and data recorders single track provided insufficient dynamic range without the compander.

1 968 ()Earl's first professional audio tape Another attempt to improve S-N was recorder, the MTR-60 to work with a higher bias frequency. Whereas a higher erase head frequency 1 970 Start of the US operation often led to temperature problems, this problem was easier to handle at the 1974 Introduction of the famous MX -5050 record heads; however, the improve- tape recorder series ment was worth only a few dBs. An important step was the introduc- 1 976 Own manufacturing of motors tion of a OS2 load for the playback head and heads (Studer A80, 1970). The voltage of a playback head is a function of fre- tion. After a time of diverging standards 1978 Beginning of the European operation quency, the current is not. Using the in the beginning the technique was now voltage requires frequency -dependent mature: Anyone could walk into any 1979 Birth of Otari's world famous equalisation that in turn produces all professional studio in the world with a MTR -90 2 -inch 24 -track kinds of phase and group delay prob- tape under their arm and could have the lems. (This was the state of the art before tape played. There were only three pro- 1982 The DP -80 high -speed audio 1970). By using the current instead of fessional tape speeds and two pancake cassette duplication different the voltage these problems are com- equalisations, and every professional series is introduced pletely avoided. For the first time the recorder had the ability to be switched tape was as good as the vinyl disc in 1985 First DTR -900 32- channel digital to operate at any of these. Recording reel -to -reel, in the same year terms of pulse reproduction. The most patterns were identical or at least com- important MTR -90 sales exceed 2000 progress for practical work, patible, the physical format of tapes was however, came through standardisa- standardised: all open questions had >

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20 I -652 -7878 =ax: 201 -652 -7776 Web Site: http:/ /www.zaxcom.com DO DISK NOT DAT AP specifications subject to change without notice. Otari < been answered. Life was easy. This all changed very suddenly when the 1986 Introduction ofTMD (Thermo digital age began. From 1980, Magnetic High -Speed Duplication the idea of using a digi- tal format became more and more pop- System) first R and -DAT loader ular. In spite of improvements, the quality of analogue recordings was 1989 Otani introduces its first DAT regarded as no longer satisfying, so Recorder, DTR -90, a 2 -track engineers started to look for better alter- time -code machine natives. They found the promising land of digital recording.

1993 Otani joins the MiniDisc Format as As helical scan video recorders with 3rd manufacturer and announces FM recording already were on the mar- the new MR -10 series. ket, the first step was the introduction of additional boxes including A D con- version allowing digital data to be stored 1994 Otani signs an exclusive agreement in a FM recordable format. After early with CTI in Canada and launches attempts with limited S/N performance the first RADAR 24- track. (F1) Sony brought out the 1630 family which -in connection with the U -matic 1997 Otani introduces a magneto optical recorder- became the standard in recorder series designed around CD mastering. the 3.5 -inch MO. PD -80 an 8 -track 3M was the first company to open the led to the development of stereo MO- recorder is available for the first field for digital multitracks. In those days machines with stationary head using convertor still time, since 1999 also with 51, -inch, stability was one of the '/2-inch tape and later also to multitrack major problems, and a lot of time had units with a maximum of 48 tracks on followed by PD -20 a 2 -track time - to be invested in adjusting. '/2 -inch tape. code machine and DX -5050 the The next generation of digital multi - Today tape recording is an endan- portable successor of the MX -5050, tracks had a much improved stability, gered species. Magnetic and optical designed for radio broadcast. but followed different recording pat- media in disc form have found many Announcement of CDR-I8 a terns which led to the fact that the sys- applications due to their nonlinear oper- professional compact disc recorder tems were not compatible. On one side ation and near instantaneous retrieval Mitsubishi featured the PD format with times. The media are presently expen- a maximum 1 1 998 RADAR II the 24 -bit hard -disk of 32 tracks on -inch tape; sive for mass storage, however, with the recorder successor is introduced on the other side Sony and Studer result that there is still room for tape - agreed 1980 on the DASH format; this based systems.

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Studio Sound October 1999 89 The enthusiasm that fuelled the recording studio industry in more prosperous times has largely been sacrificed to commercial success. Tim Goodyer discovers what happens when your project studio takes over your life IT IS IMPOSSIBLE to meet Dave Amlen and not be infected by his enthusiasm. It is easy to see in him the kind of character that once domi- nated the recording studio business - before economic reality made them an endangered species. And yet Amlen is not simply surviving, his Sound on Sound studio is thriving in central Man- hattan. More than this, his evident grasp of business and politics at the core of the Big Apple's recording scene has more in common with university grad- uates than musos. Born out of earlier musical aspira- tions, Sound on Sound first shared Amlen's living space in 1985 as a fore- runner of what's now called the project studio and it's immediate growth proved to be as problematic as it was unex- pected. `I was a musician but the pas- sion of making my own stuff led me to become more interested in the studio than in performing,' he confirms. `It became very obvious to me that if I wanted to keep my sanity I had to he smiles. `I went into this with the tra- MCIs -there were lots of alternatives. separate my living and my professional ditional "big studio" approach,' he con- We went with a Neotek console, some- environments, so I scoped around and tinues. 'Even though I hadn't appren- thing that sonically we were very happy found this raw space and dived in with- ticed in a big studio a lot of the people with but, as it turned out, probably was- out really knowing what was before me. who helped me put this together in the n't the best choice, but it didn't kill us. I thought it would be fun to build a stu- early days had. The large commercial I'm not going to say anything bad about dio, that it shouldn't cost too much studio model was what I had -doing the company, but if they'd made the money and it shouldn't take too long. the corporate stuff during the day and desk better, it wouldn't have left so Well, I'm not the first person to discover the more free -spirited stuff at night. That early. At the time I could have bought that that's hardly the case. But it's been was definitely the model here in New a used Neve for the $50,000 but I did- steady growth ever since... York. Up until maybe ten years ago n't know that it would be a better choice. `One of the things I did to kind of advertising was a huge part of the One thing that was good about the ensure some built -in business from the marketplace, but as project studios and Neotek was that it wasn't forgiving in word go was hire a real acoustics home recording have taken over so terms of engineering mistakes so if you designer- Francis Daniel, one of the much, most of the advertising agencies weren't good you knew about it pretty unsung heroes of the recording indus- don't really have to go out of house any quickly. Those of us who cut our teeth try- rather than presupposing I knew more. Why spend big dollars when you here were forced to really develop something about acoustics when I did don't have to? But that was our model.' sound engineering practices, and in that not. I think it's a mistake a lot of up- The original Neotek- equipped regard it was a blessing.' and- coming studios make is to look 24 -track overdub and recording room Sound on Sound's ascendancy was pretty but to sound real awful. The state- grew to cater for mixing with an SSL 4000 built only partly on technical merit, ment "you get what you pay for" is all G- series console, the second to appear however, as Amlen's business sense was too true in the recording industry. So in New York. A Neve VR was installed maturing rapidly. I hired a top -notch designer in order to in 1990 and the facility grew to 48 -track `Within about a year of opening we help design this place and we also had a couple of years later, the earlier SSL realised that without an automated con- a lot of input from the other people being replaced by a 9000j- series con- sole we weren't going to do any seri- involved who had come from other sole. This August he opened a Capricorn ous work here,' he recalls. `It took me places. We'd say, "Okay, this is what mixing room, making Sound on Sound about a year to work out the dynamics we really want to be able to do with the after a bust July spent wiring. of the industry. Let's say that in certain room..." and he'd alter the design to `It's funny but when this was all areas there is an exponential return on accommodate that.' pieced together late in '86, it wasn't so linear investment, so you can start at a Work on the commercial studio began much that you had to have a Neve or certain point with a few dollars and get in 1986, but the fact that its doors did an SSL or something similar in order to low dollars back. You put in a little more not open until the following year was be considered serious,' he recalls of the and you get bigger dollars back; you put an early part of Amlen's education. `The early days. `You could go with other in a little more still and you start getting opening coincided very nicely with the brands - Trident was very respected, really income generated in a studio. market crash a couple of months later,' people were still making records on I know that seems like an oxymoron > 90 October 1999 Studio Sound Otari's HDR Series represen :s

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Otari Corporation, USA Tel 800/877 -0577 +1/818/594 -5908 Email: sales ©otari.com Otan, Irc., Japan Tel: +81/424 -31 -8626 Email: [email protected]

Otaritec Corp., Japan LI. +81/3 -3332 -3211 Email: sales ©otaritec.co.jp Atari Sirgapore Pte. Ltd , Tel: +65/284 -7211 Email: [email protected] sg Ot3ri Europe GmJH Ter: +49/2159 -50861 Email: euro©otari.de R&[ in msperatón wi h Sanyo Kogyo, a member of the Otan Group < with what everybody writes about the industry, but it really is true. Everybody is fixated on saving a couple of dollars here, a couple of dollars there, but what I have learned is that the more you try to save the more you end up spending very quickly. There is a rule of thumb in PR where every bit of bad press you get, you need ten bits of good press to make up for it and this industry is no exception to that rule. `What precipitated our move up to a Neve VR was that I was looking around at the industry and I started to see that, just like in other industries, people in the middle were disappearing. It was becoming the case that either you were low-end and it was all about price and nothing else, or you were high -end and it was all about quality and price was a been, l e been able to loot; just three secondary consideration. So it was a very hours on that board since I put it in. deliberate choice to head into the higher And in order to do that I had to come end where there seemed to be a little in early in the morning or at the week- bit more of a safety margin. We actually end before a session began. went into it in stages -we started with `When the 9000 went into Studio B it a short- loaded console, larger frame but raised the profile of the studio several with only 48 modules, and then within notches. The term "world class" is such a year it grew to 60 modules and this a BS term, but in this case... So I brought year it's grown to 72. Left to right: David Amlen, Jason Standard in a manager who is better equipped to 'Then last year we got the 9k. I guess and Harvey Goldberg deal with the higher grade of clientele there's no mystery that the 9k in its early saying, "It's amazing, once you hear this -not to say that our older clients aren't incarnation had some serious software you're gonna have to have one ". So I great, but in terms of market recogni- bugs so I sat on the sidelines waiting waited until the software was fixed and tion a lot of the people we're dealing for those be ironed out before I went I had enough equity in my other con- with now are a lot better known. We with it. But universally, from the word sole and then I made my move. To give had our stars, but by and large the bulk go, all the engineers I respected were you an idea how busy the room has of our clients were people who were >

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92 October 1999 Studio Sound IT. THE W 'kW OS KM A { SNE tpac AS t()11(758 AA{p íï1C ACOügl-tG CvViFACT/ PAH % Má srsW:

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Fax : +32 42 59 74 10 www.far- audio. corn liyV 1)PiWI0- room 2D14 < successful enough to pay for quality, but the average man in the street prob- ably hadn't heard of-people like Dave l+itAr1a, Valentine. There is a little bit of hype ü involved in building the profile of a stu- 1111111101141, ; t INhr! dio and there's also what I said before about a little more money.' The choice of the Fill II Capricorn for Sound ar !i on Sound's newest room is based on - _.'` Amlen's current appraisal of his mar- - . ket, as he explains: 'We're regarding the Capricorn pretty much as a mixing desk :idro group at this time,' he begins. 'As with all the digital consoles that are out there, there Voted best studios b is something of a phobia that engineers David Amlen

Musk Week 1994 - 1 have of doing a live session on them. I looked at Roger Quested's, I looked at I think that maybe that will change in a Genelecs. The problem is that with most T +44 (0)181 932 320 couple of years or so, but I don't know. of my clients here, it would be quieter F +44 (0)181 932 3207 'We evaluated the other contenders to sit on the main runway at JFK and www.townhousestudios.co.uk and we felt that at this time it is the fur- I need speakers that can do that with- thest developed product. There were out dying every other day. We I had an The Ibwm loiui se other factors too. Right now the land- experience with the Ureis we had that 1_,o do lords in the Times Square area are high were being re -coned once a week. It's on the biggest market boom they've not just here, I heard the Hit Factory had ever seen, so we didn't want to take on 20 sets of speakers out being re-coned any more space- according to the at one time. R &B and related music is Times and Wall Street Journal that boom what drives the pulse in New York. It ended earlier this year, but if you're provides 80% of the business in town, looking for space that's not reflected in so if you want to be in business... the asking price. 'If you look at dance music, some- 'I'd previously been letting about thing that has a drum and bass feel to 1000ftz of space including some to a guy it then dance music, R &B, jazz and called Shane Faber who's doing trip hop advertising are the basis of what drives music on a 56- channel Mackie and a guy New York music economy. If you want called Elliott Fetterman who was run- the glamourous side of pop, you go out ning two mastering rooms upstairs. to la -la land, 'cos that's where it's done, As they were both leaving, I looked at along with all the Hollywood stuff.' the space, rented some more within Amlen's immediate aim is to complete this building and hired his current programme of in John Storyk-who had improvements without dis- ound on d designed my B room -to Soun Recordi rupting the work going on 22 West 45th S treet, get Studio C ready. in Studios A and B. Asked 'The room is being Jew York, NY IO 036, + about future develop- el: 1 212 757 5300. designed from the word ments, his answer is typi- s....ß:57 58 go as a surround room but cally pragmatic: 'We will we've installed a movable Genelec 1031- open more rooms if that's where the 1092 system until we get some sort of business dictates we go.' consensus on positioning.' And wherever the business wants Tel: +358 (17) 813 311Fax: +3íï8 (17) 812 267 For main stereo monitoring, Amlen Dave Amlen to go, it can be assured he Genelec OyOlvitie 5 Fin- 74100lisalmiFINLAND favours George Augspurger monitors. will do it with his old enthusiasm and 'I looked at Neil Grant's speakers, a keen sense of survival. 94 October 1999 Studio Sound B ROACj CAST SIA 4/ The 6th Asia- Pacific Scund, Film & Video Exhibition and Conference

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I am interested in visiting. Please send me details closer to the event. Country I am interested in exhibiting at BroadCastAsia2000 / Tel Fax: AudioTectlnology2000 / CableSat2000 *. Please reserve sqm (min space reservation is 9 sqm). E -mail

I am interested in participating in the conference. Our products : *delete as appropriate or attach your business card The world's first independent analysis of the international professional audio business...

Studio Sound has now published two market's growth areas and forecasts to volumes of invaluable analysis covering the make informed decisions for the future. key trends and issues affecting pro audio Both volumes are clearly sectioned and manufacturers and facilities across the illustrated with graphs and charts, allowing globe - essential reading for all industry quick and easy reference to the information professionals with a need to know their you need.

Volume I - Pro Audio World Report

Over 300 pages of detailed analysis of the international pro audio market's major issues Overview of end -user markets - sound recording, post -production, radio stations, broadcast Overview of the world studio market split by region and type Objective evaluations of the latest key trends and issues affecting broadcast and facilities 30 company profiles of key facilities and equipment manufacturers Outlook - short, medium and long -term forecasts for the audio facilities market, and much more...

"...38% of studios plan to open new facilities in the next two years, while 68% intend to upgrade their existing facilities."

Volume II - Pro Audio Facility Survey

The results of the first major 1998 Studio Sound survey of facilities worldwide, broken down by major world region and area of activity. Analysis is illustrated with tables and graphs for quick use. waNI* st,wio fanJ Surny ¡trgln¡L..r-tlmal auno mamas. . r,aP. tit ,...,c.r ana,.. Key areas of growth and decline cf..* rr...l' The current operating environment - turnover, profit growth, daily rates & capacity utilisation Equipment manufacturers' market shares, by type of equipment Facility managers' views on investment opportunities, the impact of digital technology, factors that will impact on the industry in the next five years, and more.

"Profit margins were at their highest in the Asia -Pacific region (54.4 %) and at their lowest in Eastern Europe (12.1%)."

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indos LINDOS ELECTRONICS e -mail: Saddlemakers Lane, Melton, Woodbridge Suffolk IP12 1PP UK Tel: +44 1394 380307 Fax: +44 01 394 335156 alynn @unmf.com email: info @lindos.co.uk (okay, we are -if it ain't nailed down, we'll US: Rates of change buy it); its just that there are more things necessary to life in these times than ever before, from cell phones to microwave ovens to Playstations. So when an American Gauging the health of the recording studio market as it approaches boasts about his or her income, what he or a next millennium is harder than it s eems writes Dan Daley she is often not telling you is what's left at STUDIO RATES is a nasty subject that your perceived level of success in life then the end of the day after all the good stuff tends to bring out the worst in some becomes a barometer of your very being. has been bought. otherwise very nice people. Rate dis- Frankly, it is a lousy way to live your life The same goes for studios, which now cussions -the ones that are held on the but it is a more deeply held model than have more stuff to buy than ever before, record, for journalistic purposes -tend to many of us care to admit. But the result, most of it quite necessary to remain com- be defensive exercises in the States, and a when applied to the issue of studio rates, petitive. Even if the price of it comes down bit of cultural background is useful to frame is that getting a clear picture is impossible fairly steadily, which digital equipment is that observation. Though politically incor- -no one wants to be perceived as doing wont to do, sheer volume eats away any rect to note, America's motivating geist is badly, because who wants their place in is the Protestant Work Ethic, a model that Heaven called into question? The real point that rates dates back to colonial times and, despite Measuring studio rates is like those num- a waves of immigration from shores other bers the government puts out every quar- are poor indicator of the than those of Western Europe in the ter that tell us how we are doing econom- overall health of the studio 200 -some -odd years since then, is still a ically: GDP is up so much, productivity has strong force throughout the psychology of increased; thousands of new jobs have been advantage that that brings. At the end of the American economic infrastructure. Ever created, and so on. And the indicator of the day, as with every other Joe Six -Pack notice how many corporate CEOs are white average American incomes never fails to in America, there's less left after the bills Christian males in this country? And the increase at each of these pronouncements. have been paid. ownership of studio business tend to be At least, it seems to. Another indicator The surveys sent out by the magazines overwhelmingly white males of similar -sneakily clubbed 'real' income -is tell us that operating revenues are up, and backgrounds. (Both are changing, but it will slipped in at the end and it often seems at that many facilities have been able to raise take a while for true multiculturalism to odds with the first number, since it's been rates. The hidden conclusion in these seem- make itself manifest in these destinies.) going steadily down for most years. That's ingly sanguine reports, however, is that the One of the basic tenets of this heritage because, even though we've been in a vir- bottom lines continue to drop. And that's is the notion that if you are a good person, tually no- inflation /low- interest -rate envi- borne out in the off- the -record conversa- God smiles upon you. The implication of ronment for eight years, things still cost tions that take place after the telephone tape this, of course, is that if you are doing well, more and- here's the kicker -there's sim- recorder has stopped running and in bars God must be smiling upon you. This makes ply more stuff to buy. It's not that Americans at the end of trade show days. It's also for a mry competitive way (d( life. because arc ridiculously conspicuous consumers reflected in a published survey in Nash -

say who 4C's `internationally recognised Europe: High water marks golden ears' were. Are they worried about losing face if MusiCode is discredited? Music from the Internet, which has been heavily compressed using MP3 and The tides of the watermarking debacle continue to turn, threatening similar systems, is of necessity low on the fidelity scale. But in choosing MusicCode to drown out musical quality writes Barry Fox for DVD- Audio, 4C has exposed it to a THE IFPI NEVER released the principle. The RIAA and IFPI said it was bandwidth of 100kHz (compared to results of its EU- funded Muse inaudible, but even cloth ears could hear 20kHz for CD and less for Internet audio) audio watermarking tests. But the it. CRL, the Central Research Laboratories and a 24 -bit dynamic range of up to 144dB SDMI, Secure Digital Music Initiative, has that spun off from EMI, has improved on (compared to 96dB for CD and much less done. And the winner is Aris Tech- notching by making the system dynamic; for the Internet). Aris has always been nologies of Cambridge. Mass, with Musi- it continually analyses the music and only secretive about its technology, and is now Code. Paul Jessop, the IFPI's Technical sucks a notch where it is likely to be even more so, perhaps for fear of pro- Director, is `delighted', so you can take masked by the musical content. viding ammunition to critics who feel in that as a pretty fair indicator of what the The RIAA subsequently backed a new their bones that you cannot mess with a Muse results were. The SDMI chose system called BBN (developed by US pure audio signal without introducing MusiCode to control music downloads acoustic consultants Boult, Beranek and audible artefacts. from the Internet onto solid -state porta- Newman). BBN tracks the original sound A barrage of Aris press releases say bles like the Diamond Multimedia Rio. and adds modulated noise which is always nothing about how the system works. The The same system has been adopted for 19dB below the music. Like CopyCode, company's Web site, www.aristech.com, DVD- Audio. And this is where the story BBN was promoted by David Stebbings. just contains a wish list of cotton -wool will really begin... The SDMI testing was organised by 4C puff, with no hard facts on how MusiCode The mark has to be robust and with- Entity, a consortium of IBM, Intel, Mat- works. The company's spokespeople stand transmission, to-and -fro conversion sushita (Panasonic) and Toshiba, with ducked and dived, took me for a fool and between the analogue and digital `golden ear' panels listening for audible wasted my time when I asked for a sim- domains, recording and playback. It must artefacts with methodology from the IFPI- ple description of how MusiCode works. he indelible, so that hackers cannot strip Muse project. All the major record corn- Fortunately there is a source of solid it out. But it should not degrade the sound. panics played music in their studios to information. Thanks to quirks in interna- This is a tall order, and there have been audio experts listening to marked and tional patent law, descriptions of the tech- many competing proposals. Some spread unmarked music without knowing which nology which inventors Rade Petrovic, a thin layer of modulated noise under the was which. Kanaan Jemili, Joseph Winograd, Jack audio; others suck notches from the music In publicity dated 1997 Aris refers to a Wolosewicz and Eric Metois filed with and add modulated noise to the gaps. David Moulton, producer of training Patent Offices outside the US in 1997 and The awful CopyCode system once pro- series for recording engineers assuring 1998 (WO 98/53565 and 97/37448) are posed by the RIAA and IFPI to control that `we were unable to detect any open for anyone to read, if they can find copying onto DAT worked on the notch colouration or artefacts'. But no-one will them and hack through the jungle of

102 October 1999 Studio Sound ville's Music Row magazine, which in August showed a full 10% drop in profits Dog and Bone TV in that city. It has become clear that while the numbers in the rate game have con- tinued to climb, the value of those num- Telcos embrace new technologies and spread their tentacles into bers has continued to decline. There are solutions, some of which have broadcast and virtual reality. Kevin Hilton phones in from the IBC been discussed in this space over the ARTHUR C CLARKE once said that tor when it was bought by the Canadian years, including the benefits of paying off virtual reality would not merely conglomerate CableTel. While a spokes - equipment and opting out of the tech- replace TV, it would eat it alive. person emphasised to me that broadcast - nology arms race which, like the real one Much as it pains me to disagree with the ing is still the company's primary focus, it of the Cold war, bankrupted several of its world's most famous resident of Sri has undertaken an expensive advertising participants and brought others to the Lanka -after all, I am not the one who campaign in the UK, selling itself as a brink of it. (It was, after all, paying for all conceived the geo- stationary satellite or solver of problems in the new technology those SS -20s and MiGs that turned the wrote 2001: A Space Odyssey -but I think age. If the acquisition goes through, NTL nible into rubble.) The most promising that the great man got carried away. It is will become one of the largest telecoms avenue for studios out of this spiral seems too much of a sound -bite -hardly sur- providers in Britain and Ireland. And tele- to be diversification. Internet -based mar- prising as the comment appeared as part corns covers everything from 'phone lines kets all need audio, and some studios are of the blurb on a book cover. to television. Michel Bon, chairman and rising to the task of addressing them. In Virtual reality is just one of the many chief executive of France Telecom, my opinion, that's the strongest strategy new technologies that can, will or might explained FT's involvement by saying, of them all at this point. be merged with what already exists to cre- 'Our investment in NTL is consistent with The real point is that rates are a poor ate new forms. Interactivity is exactly the France Telecom's international strategy, indicator of the overall health of the stu- same; it is also probably a more realistic within which Europe is the main priority. dio business at this point in time. I am add -on than VR. The front -end of televi- It is a unique opportunity for France loathe to report them as a useful baro- sion-and broadcasting media in general- Telecom to participate in the development meter in articles since I find them increas- is beginning to change irrevocably. Despite of innovative and convergent services ingly misleading, partially because, as the impact and importance of this, the real combining telephony, digital TV and the I mentioned before, there is a natural, cul- changes are happening elsewhere. The real Internet with one of the largest alterna- turally induced tendency to bull heavily. aggressor in all this is the telecommunica- tive telecom companies in the UK.' But more because they are increasingly tions industry. While the word 'broadcast- Another telco that has positioned itself irrelevant to how things are actually going. ing' implies that it is a big within the broadcast mar - The only real rate I find myself concerned market, in real terms it is Telstar and Early Bird ket is Kingston, the Hull - with is the rate of change. And that is one merely wide. Telecoms is showed that satellite based company that was indicator that is never going to stop mov- a huge industry and makes for many years the only ing upwards. broadcasting look small by communications would competitor (albeit in its comparison. A business own area) to BT and its techno -legal jargon. does not grow without be crucial as the world predecessors. At the end The MusiCode encoder starts with a recognising the potential of grew bigger and faster of last year, Kingston took library of symbols (digitally coded let- other markets and expand- over TLI, the former ters of the alphabet, numbers and so on) ing into them. Which is exactly what telco uplink, studios and broadcast systems divi- that are represented by predetermined operators have done. sion of the Services Sound and Vision patterns of a musical waveform, such The relationship was always there: the Corporation (better known as BFBS). The as transient peaks. The encoder then post office -which later became the PTI'- general feeling was that the telco only analyses the music, looking for patterns provided the landlines used as programme wanted the satellite services, something that are similar to the library patterns. or contribution feeds. As ISDN became that was confirmed when staff were made When a close match is found for a sym- more widespread, broadcasters came to redundant from the installation depart- bol that is to be buried in the music, the question the expense and administration ment and the outside contracts operation encoder modifies the music peaks so that land -lines involved, but telcos already was seemingly set to run down. that they exactly match the library sym- had a new toy with which to tempt their There is still doubt as to Kingston TLI's bol. On playback, a decoder looks for old customers. intentions regarding systems and studios peak patterns in the music and uses In the early days, Telstar and Early Bird but it appears that commercial tenders are them to display symbols that build up showed that satellite communications still being made, while the head of the a copyright message. The symbol data would be crucial as the world grew big- studios division was seen talking to all the rate varies depending on the music con- ger and faster. The uplink- whether fixed major automation companies at IBC. This tent, but is typically between 10 and or mobile, fly -away or in a van -is now a implies that there is still support for the 100 bits per second. So it takes a few fundamental broadcaster weapon as nondistribution departments, but the sit- seconds for the decoder to recognise broadcasters tussle to get pictures and uation raises an important question: just all the symbols needed for a copyright sound on the air more quickly than their how interested are telecoms companies in message or copy- control signal. rivals. Telecoms providers saw the poten- broadcasting itself? US mastering and recording engineer tial, some earlier than others. The dichotomy between the production Bob Ludwig, of Gateway Mastering in France Telecom, which owns already and technical aspects of broadcasting has Maine, warned earlier this year that GlobeCast, is behind a recent deal that sees always existed but there was an under- although watermarking might be a further consolidation between broad- standing. Engineers knew that they were inaudible on to -fi Internet music, its casting and telecoms. The French telco has working in a creative environment; tele- effect on super hi -fi DVD -Audio would become the largest shareholder in NTL, the coms staff just deal with the transfer of be noticeable. He said he was wary of UK TV/radio transmission and satellite data and the more that digital systems any reassurances from the RIAA which uplink provider that was once merely the make audio and video just two more data had argued in the 1980s that the dusty technical division of the old streams, there is the danger that broad- CopyCode notch system was inaudible. Independent Broadcasting Authority. The casting could shift too far from its roots. Ludwig now says 'my fervent hope is deal has enabled NTL to move towards To regard something as merely a data that digital signal processing has acquiring the consumer cable telephone, stream is to dehumanise it. Virtual reality improved to the point where water- Internet and television operations of Cable has a dehumanising effect, which means marking can be totally inaudible under & Wireless Communications. that, in a way, Arthur C Clarke could be all reasonable circumstances'. NU expanded into the consumer sec- right after all.

Studio Sound October 1999 103 _ Research o

When used properly, the most essential scientific tool available is experimentation. John Watkinson traces the line between valid research and false conclusions IF WE WANT to make things, for `proved' the inaudibility of the coding. published of how the speakers were example useful audio equipment, it Fig.2 shows the experimental setup. Var- tested to avoid this. is always useful to know the princi- ious types of programme material were It is actually a relatively straightfor- ples or to have some model of the played through a codec into loud- ward matter to test the information process. If the principles are understood, speakers. The assumption was that any capacity of loudspeakers. One approach it is possible to predict what will hap- quality loss in the codec would be heard is the straightforward speech intelligi- pen in given circumstances, and this by the listeners. Unfortunately that bility test used by acousticians. No co- avoids wasting time building things that assumption is not true because it incidence, then, that speakers which don't work. Although anyone can pro- requires the loudspeakers to be ideal. score highly in intelligibility tests are pose a model of a process, it has to be Audio compressors work by exploit- more revealing of compression artefacts. proven by repeatable experiment. Once ing auditory masking to prevent the ear On such speakers the artefacts of MPEG that proof exists, the model can be relied detecting the noises caused by reduc- and AC -3 audio coding are obvious even upon within the conditions under which ing the bit rate. If the noises were too at the highest bit rates. it was proved. So it comes down to the validity of the experiment. Most often experiments are performed to see if one thing does oTIO.11: CRUSES o s rttE, or does not cause another. More formally THE E FF Et T IMQIiMeryt we want to know if the outcome is a result only of the stimulus. The design E.t.a P+oni4TE 4 ? fZF.,76. TA of the experiment has to be such that the probability of the outcome arising for some other reason or even by chance CRvsGS *.N is insignificant. If this is not the case the ac experiment is invalid. In serious re- 0444.r search, the results of an experiment will ßiaS always be accompanied by a discussion ws i'}( ) of the design of the experiment and a description of the steps that were taken to prevent bias or chance. Fig.1 shows Coito v re s The. some of the factors involved in experi- CtESvtT 6 mental design. E(rZUI rMewl" The avoidance of bias is particularly OVe..TV evag important, as people participating in an ¡Wow The, experiment can often subconsciously GLtq /*Art? Ei.PECr 'M6E give the decisions they are expected to give rather than what they would have DisT11V` VUi14iD chosen freely. For this reason it is impor- tant that test subjects don't know the pur- pose of the experiment. It is also possible for the operator of the experiment to Fig. I: If all these factors are not covered, experimental results are meaningless introduce bias, and so the operator should not know the purpose of the great, they would not be masked but Another classic experimental error is experiment either. would become audible. However, con- to discover an effect and then to attribute Test subjects may tire as the experi- ventional loudspeakers also cause mask- it to what the experimenter wants with- ment progresses and this can cause later ing. In the time domain, transients are out eliminating other causes. The expec- results to vary with respect to early extended by ringing and delayed reso- tation of the experimenter should not be ones. This can be overcome by ran- nances. In the spatial domain, stereo- allowed to bias the results. Dave Black- domising the order of stimuli from one phonic images are extended by smear. mer committed this sin in this hallowed run to the next. Thus a poor speaker adds to the mask- journal in January. On testing some loud- While few industries have squeaky ing effect of the ear. speakers, one with a resonance at 30kHz clean research, the audio industry in gen- In Fig.2, codec and speakers are in was found to sound different. Blackmer eral has difficulty with experimental series and clearly either could cause loss then concludes that we can hear 30kHz. design and the hi -fi industry cannot even of quality. How then do we know Unfortunately he can't be sure because spell it. In fact one definition of hi -fi may whether the speakers are testing the he failed to eliminate other causes which be that it is a branch of audio in which codec or whether the codec is testing the do not require bat -like hearing. scientific reasoning is positively unwel- speakers? If the loss of quality due to the The nonlinearity of loudspeakers is come. There is no shortage of examples speakers is not negligibly small, losses well known and ordinary boring inter - where only the results are published and due to the codec will be covered up. modulation is quite capable of mixing we are expected to assume that the These experiments were flawed a 30kHz resonance with the rest of the experiment was well designed, when we because steps were not taken to ensure spectrum to give products within the should assume the reverse. that the information capacity of the loud- 20Hz-20kHz band. There is nothing The adoption of MPEG audio coding speakers was high enough to reveal the new here. When analogue tape re- was aided by experiments which compression artefacts. No details are corders were common it was well 104 October 1999 Studio Sound Fig.3. This takes a 96kHz source and allows mon- LIfTdViR soma Meat SPEArs itoring of the source '"" cuoG.c directly or through a AliveltíseiS decimation to 48kHz fol- lowed by an inter- T - polation back to 96kHz. Index QWIt1Ty LOSî This is supposed to test KE.014.. M A4.1 whether the difference Altai 25 Alice Souindtech 34 1d o T ßE between 48kHz and OST ECTiO pvE To MACIW4 KfIE 96kHz is audible. Actu- Allen & Heath 40 ally all it proves is that AIMS Neve IFC the more stages a signal Aphex Systems OBC Fig.2: Is the codec testing the speaker or the speaker goes through the worse testing the coded Arbiter BI 67 it gets. The decimation Audio Ltd 65 and interpolation pro- Audio Technica 47 will cesses cause degra- Au.iionics 67 dation of the signal nringer 45 within the 20kHz band, Be Beyer Dynamic 11 so it is no wonder that the subjects prefer the Cakewalk ... 19 96kHz path. CD Cyclone 16 What the experiment D&R Electionica 66 should have done was to Delon .....0 89 replicate the degradation Dialog 4..._. 43 of the decimate- interpo- Digidesign 61 late path. In other words DK Audio 86 the elevated noise floor Fig.3: Flawed test 'proves' 96kHz is preferable to 48kHz DPA Mics 35 due to two arithmetic Drawmer ._.. 31 known that the bias generator had to roundoffs in series and the phase Earthworks 71 have very low distortion to prevent the response of filters also the should have Emtec 82 same problem. The difference is that been present in the 96kHz path. Tests back then concluding that the bias fre- should have been made to ensure that EMU 29 quency of an audio recorder was audi- both paths were identical in all respects Expotus .._ 27 ble would result in mirth. up to 20kHz. Unfortunately they were Fanlight .._ 59 Another possibility is that resonances not and the conclusions are meaning- Funky Junk 30 can cause phase shifts at frequencies less because the experiment was not Genelec .._ 20/21 octaves away from the fundamental. properly designed so that the only Harris Systems 77 A poor microphone might use resonance difference between the two stimuli was HHB ._. 51,69,79 to boost its failing output at 20kHz. A the bandwidth. JBIL 81 microphone flat to 40kHz would have a Another cardinal sin is to confuse mar- Klark Technik 23 better phase response at 20kHz and keting with science. This is the argument Mackie Designs 107 might sound better, but that does not that some characteristic must be essen- Magellan _ 88 mean we can hear 40kHz. Did Black- tial because it is present in a commer- Manley Labs 49 mer eliminate these possibilities by corn- cially available product. Sorry, but it Marantz 55 paring the outputs up to 20kHz? How simply does not follow. Manufacturers many of the criteria of Fig. l did he meet? will make what they believe they can Mediaforrn 74 The most famous bandwidth red her- sell, however over -specified, and the Metrik ...... 71 ring is the fact that it is possible to hear uninformed make wonderful targets. Otani 91 the difference between a 10kHz sine Ben Duncan seeks in the March issue Preco BI 67 wave and a 10kHz square wave when of Studio Sound to justify an extension Protape BI 35 the difference between the two starts of audio bandwidth by relating that Quantegy 84 with the third harmonic at 30kHz. If we Japanese speaker manufacturers have Quested ._ 85 could only hear 20kHz it would not be been making super -tweeter drivers for Raycom .._ 106 audible, but it is. The reason again is many years, some with responses that Richmond Film Services 86 nonlinearity in practical equipment. start above 20kHz. I am sure they have, Sascom . _ 26 Even if signal system, the speakers and but it does not prove anything about SC1/ 52, 54 air were perfectly linear, so we could human hearing. Does the existence of Sennheiser BI 35 inject a 10kHz acoustic square wave into DC coupled amplifiers mean we can Scnorus .ß_ 89 the ear, we would still hear the differ- hear DC? Does the existence of 24 -bit Scundcraft 39 ence because the ear itself isn't linear. audio mean our threshold of hearing is The ossicles in the ear are a mechani- 144dB down? Soundtracs .. 17 cal lever system and have limitations. Finally, it is important to assess the Scundware .. 60 Of course if we neglect the alterna- power of coincidence. Correlation Spendor .._ 37 tive explanations, we can prove any- between two occurences does not prove SSL _ 5 thing. I myself must be able to hear that one caused the other. In the year Studer ...._ 83 470kHz, because if I change the posi- 664 there was a total eclipse in England Summit Audio 53 tion of a slug in the IF can of an AM and an outbreak of bubonic plague. TC Electroeiics 9 radio I can hear the difference. As it says Many Studio Sound readers living in the Terra Sonde 75 in the text books, the student will be path of the recent eclipse could be at TL Audio _, 63 able to show that this is tosh. risk. Have you bought your anti -plague Townhouse 94 Another classic I've come across pills yet? These are available from any Zaxxcom _ 87 recently is the experiment shown in hi -fi shop. Studio Sound October 1999 105 U Sound advice E z W Are you certain there's no problem with your hearing? Adam Shulberg, managing O director of leading independent hearing aid audiologists, Cubex, raises his voice IN TODAY'S SOCIETY we are all at by adjusting or controlling sound levels quick and straightforward. risk from over exposure to noise. But in the studio or on stage, noise damage If damage has already been done, it while most of us know that our hear- can he prevented. Sadly this is not need not necessarily mean the end of ing may be damaged by regular visits to always the case. a career in the sound industry. Hearing rock concerts, clubs or even a personal While most musicians generally aid technology has come along way stereo, RNID research reveals that a stag- appreciate that their profession or since the ear trumpet. There are now gering 1.3m employees in the UK are hobby exposes them to potentially haz- over 500 different hearing aids on the exposed to clinically dangerous levels ardous noise levels, it is often difficult market. Some, of the latest are so small of noise (85dB and over). This is because for them to tell if damage has already they can hardly be seen and yet have hearing loss not only depends on the been done. The only certain way is to as much processing power as a desk- loudness or intensity of the sound but have a hearing assessment -and top computer. also length of exposure to it. Conse- I believe that if you work in the sound Hearing devices can be inserted deep quently those of us working in the sound industry it is advisable to have a hear- into the ear canal, or placed behind the industry are in a high-risk category. ing assessment at least once a year ear and toned to the colour of the skin or Hearing loss is actually caused by the -but there are a few simple questions hair type. And for the fashion conscious nerves in the sensitive inner ear being you can ask yourself to establish they come in vibrant colours, bright red, damaged by continuous noise. Once whether an assessment is necessary: yellow, green and even purple. In -built damaged these nerves are irreparable. digital software can be individually pro- In my experience, a large number of I.3m employees in the UK grammed to adjust to different noise envi- sound engineers and musicians simply ronments. Loud sounds can be softened, are exposed to clinic-311\ refuse to wear ear protection-either and quieter sounds amplified, while because they find such devices cum- cangerous levels of noise unwanted background noise can be bersome, uncomfortable or unsuited to significantly reduced. the environment in which they work - Have you noticed a ringing in your Here again, independent and quali- studios, clubs, large auditoria and so on. ears hours, even 24 hours, after being fied help is essential. Some hearing aid Hearing protection can be as sophis- exposed to loud sounds? Do you need consultants may be tied to a particular ticated as some of the hearing aids we to raise your voice significantly to be manufacturer and offer only a limited prescribe when damage has occurred. heard during studio work? Does music, range of aids. An independent hearing At the Cubex Hearing Centre we see sound slightly distorted by the end of a aid audiologist will have access to many patients from musical back- busy day? Do you sometimes feel as a comprehensive selection. grounds for whom we design and fit though you are hearing through cotton One final astounding fact is that tailor -made hearing protection. These wool? Do voices sound muffled after around 8.7m adults in the UK are either include custom -moulded earplugs, that you have been playing or listening to deaf or hard of hearing. With only 2m can be integrated with a special filter to music for any length of time? hearing aid wearers, this leaves a stag- attenuate all sounds by 15dB. If the answer is `yes' to any of these gering 6.7m who either do not realise Often, because people who work in questions, you would be well advised they have a problem or choose to do the music industry understand sound, to seek advice from an independent nothing about it -and this is bound they can prove to be their own worst hearing specialist, who will give you a to include a significant percentage enemies. They sometimes think that, hearing assessment that is relatively of you.

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106 October 1999 Studio Sound The first sound reinforcement speaker accurate enough to be called a studio monitor: SRM450 from Mackie Designs.

Wide dispersion. Extreme output. High resolution. We started out to make the best active, composite speaker on the market. We ended up with a design that has sich amazingly -flat frequency response and wide dispersion that it can be cal ed a studio monitor. The SRM450'.,, high end is crisp and airy. Midrange is detailed and natural without a trace of harshne3s. And the SRM450's tight,

The stiffest, s :rongest, steel fisted bass simply blows away anything most elefant composite remotely dose to its size or price range. enclosure on tie market. Unique a!ymmetricad Monitor-quality wide dispersion. Small trapezoidal design elimi- nates internal stand ng PA loudspeakers tend to beam mid and high waves - and lets the frequencies ou: in a narrow "spotlight" of SRM450 recline comfort- ably when used as a stage sound that "drills a hole" in the heads of monitor. landes on both sides ANC top. listeners sitting directly iz front of the speakers...but sounds dull and indistinct to listener.; at the edges and back of the room. SRM450'5 even dispersion means you hear t±ie same sound whether you're 2 -way optimized azttive in front cf the monitor - system with 400 In a:ts of FR. Series or far to one side or the other. high- current amps ficatioi :uilt in The SRM450 employs a damped Damped titaniu -n -IF transducer titanium compression driver that Finned, e>tponertiat horn Servo- :ontrolled LE transit.:er has extremely linear response out Bal. /unbal. mica li.e inputs to 20,000Hz. We couple it to a unique Level -setting coitroi witt LED logarithmic multi -cell aperture with Contour EQ & irtfrzsonic filter dispersion fins that distribute high Pole mount on SR51!00a far more evenly active subwoofer c r tripod SRM450s couple frequencies than Flypoi.ts on all site: their damped titaniun "Constant Directiv_ty" horns found in compressicn driers Sideways reclinabla as a with the nom via the other compact PA speakers -up to 90° high -defirition floe mortitcr same kind of multi -cell on the hor_zontal axis and 45° on the vertical aperture used in the finest big- .tudi horn:. axis. That -neaps far better audibility. This combiiation achieves wore eien To hear is to believe. If you're a horizontal and vertical fcr brochure dispersion than any technoid, call a detailed other comparab.y-sized or log onto our w b site for more details. SR speaker If you re the impatient "show me" type, visit your Mackie dealer and audition the remarkable SRM450 SR monitor. It will ®1999 Mackie Deigns. Ml rights resered. "Mackie'. forever change your opinion of active OK: 0.1268.571.212 the "Runnir4 Man' figure FRANCE 0.3.85.46.91.63 are registered traeemarks composite ¡peaters. of Mackie D -signs Inc. FA GERMANY 0.2572 96042.0 Series is a trademark of *MADE IN WIDOINYILIE WA US & Mackie Desilus Inc. REGGIO EMILIA ITALY iY GENUINE MACNOIDS www.mackie.cola r h.. ::.,J1tar j

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... how quick set up would be if your preamps had an auto learn function. 7 ... how easy scene changes would be if they were fully automated

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