Is [)Rgit Future Cording? Mcnitors for Th , Recordist Profile: Gary Rton I Al-, Reports W Products Record', Eviews

FEB/MAR 1977 VOL. NO.3 DEAN $1.50 RDII(G SERVING TODAY'S MUSIC/RECORDING-CONSCIOUS SOCIETY

Is [)rgit Future cording? Mcnitors for th , Recordist Profile: Gary rton I_al-, Reports w Products Record', eviews

www.americanradiohistory.com A Choice: Disposable Records or The New D3

Cleaning ability that s chemically di 'ected" at fingerprints and continOn disc cortaminants. * * * * Chemical protection and buffed ig to protect critical vinyl additives * * * * A Chemisa "release system" that pL_ là contamirat-on away from micro -grcc es and into the patented Dis+cwasher fabric_ * * * * A non- adtEring static reduction system.

DIE SUPERIOR RECORD :LEANER [AUT104: Only from SEEP OJT OF REACH OF VILDREN Net Coitents 16 F1. Oz. Discwas er labs. MADE N USA Better per i r mance NE ìUERIOR RECORD CLEANS! CWIIOn without increased

I EP OlT OF PEACH OF CHILDREN HO Contants t n o:. 12! 7S co price. MADE IN U s A

1407 N PROVIDENCE COLUMBIA, MO 6E201

CIRCLE 53 ON READER SERVICE CARC

www.americanradiohistory.com Some5 blank cassettes have the nerve to tinker with Beethoven. We think it's outrageous.

B eethoven, even when he achieve maximum packing den- was deaf, knew exactly how a pic- sity and uniformity of coating. We colo sounded in relation to the rest use an exclusive chemically cross - of the orchestra. Some cassette man- linked polymer binding which ufacturers would just as soon forget. will never deteriorate and cause Their cassettes give the piccolo and head -related frictional noise or other high frequency sounds a dis- wow and flutter. torted prominence. They appear to We use a unique multi -stage do this deliberately, regarding polishing process, and our slitting absolutely natural sound as raw technique results in an edge that's material to be improved upon. clean even when viewed under At BASF, we think this is a microscope. Even our cassette an abomination. We're purists; we case is different, incorporating

stake everything on total accuracy n- a Special Mechanism, of sound reproduction. You wi11 .sure smooth tape never encounter artif-' A dependable hanced high freq cassettes. We beat 'y natural sound care enough to buy effort? To peo- audio system, the la iifference, it is. need is a cassette tha purists. We've its own dubious tastes otal accuracy sensitive ears. gnetic tape Faithful reproductì, no short- more than miracle ingrec ou knew fanciful initials on a casset tour own At BASF, we begin with th you no quality ferric oxide. We mill when it by a patented process to ssettes.

o BASF i Our Promise: the purest, most accurate sc

www.americanradiohistory.com The " and Fop" machine only by A

I.N.R. SYS. TAPE

A in I invert defeat TR,o.,..orl

out I normal

i I I hi I IIIï I'IIi 14faidedtirI I I SENSITIVITYI _ (

Ever since the invention of the recorded disc annoy- turntable combination, to the most sophisticated ing "clicks" and "pops" caused by scratches, static audiophile components. and imperfections have consistently disturbed the is to their broad line of listening pleasure of music lovers. SAE proud to add the 5000 Components for the Connoisseur. Now, SAE introduces the unique model 5000, an

Impulse Noise Reduction System which eliminates 1 those unwanted sounds with no adverse effect on I the quality of the recorded material. SCIENTIFIC AUDIO ELECTRONICS, INC. I P.C. Box 60271, Terminal Annex I Los Angeles, Cal. 90060 This breakthrough in electronic circuitry is so dem- I Please send more information on the 5000. onstrably effective that the SAE 5000 is destined to I I become an essential part of any sound system. Name I

I The SAE 5000 is compact and sleek, built to SAE's Address 1 to enhance the per- State- Zip exacting standards, and ready City 1 formance of any system, from the standard receiver/

CIRCLE 92 ON READER SERVICE CARD

www.americanradiohistory.com FEB /MAR 1977 ERN VOL. 2 NO. 3 RDIING SERVING TODAY'S MUSIC/RECORDING-CONSCIOUS SOCIETY

:::-.?:,:.; , .,, , lei w `i r; : f i.;,l,..,,+ . THE FEATURES ,6 THE STAPLES .,.M.. {;! PUBLISHER'S ,*,vo LETTER 4 THE FUTURE OF LETTERS TO THE RECORDING- 32 EDITOR 6 IS IT DIGITAL? rr" TALKBACK By Robert Angus The Technical Q & A Scene 10 Bob Angus, the man who gave MR the 6 part series on the History of Recording, THE PRODUCT SCENE takes a look at a revolutionary process that By Norman Eisenberg 26 may very well alter the entire recording in- The notable and the new, with a comment on dustry as we know it today. power and price.

MONITOR SPEAKERS MUSICAL NEWSICALS FOR THE RECORDIST 40 New products for the musician. 30 By Rob Lewis If you've wondered what to look for in select- AMBIENT SOUND ing monitors for your home studio, or semi- By Len Feldman 62 pro set -up, read this article first. Binaural Recording? What it is and how it works, but what's it for? MIXING THE BOSTON POPS - "LIVE" 48 LAB REPORT By Michael Consi By Norman Eisenberg 64 Maestro Arthur Fiedler and his Boston Pops and Len Feldman is every sound man's ultimate challenge or Sansui BA 5000 Power Amp nightmare. Sound mixer Mike Consi gives a MXR Digital Delay first hand account of his Nassau Coliseum Technics RS- 15000S Open -Reel bout with the `Pops'. Tape Recorder Crown EQ -2 Synergistic Equalizer PROFILE -Gary Burton By Gil Podolinsky 56 GROOVE VIEWS 74 Vibraphonist extraordinaire talks of his ses- Reviews of albums by Robin Tower, Jade sions with Chick Corea, his free flowing Warrior, Eagles, Ray Barretto, Elvin Bishop creative relationship with record company and Linda Hargrove. president, producer and friend Manfred Eicher, and his own position in today's ADVERTISER'S INDEX 95 Jazz /Pop marketplace.

Cover photo courtesy of Nassau Coliseum

Modern Recording is published bi- monthly by Cowan Publishing Corp., 14 COMING NEXT ISSUE! Vanderventer Ave., Port Washington, N.Y. 11050. Design and contents are copyright 1977 by Cowan Publishing Corp. and must not be reproduced in Equipment: What Should It Cost to any manner except by permission of the publisher. Second class postage paid at New York, N.Y. and at additional mailing offices. Subscription rates: Fix? $7.50 for one year; $13.50 for two years; $18.00 for three years. Add $3.00 per Mics by John M. Woram year for subscriptions outside of U.S.; subscriptions must be paid in American currency.

www.americanradiohistory.com U oar, letter RECORDIING SERVING TODAY'S MUSIC /RECORDING- CONSCIOUS SOCIETY From The

H.G. La TORRE Publishef Editor

ROBERT ANGUS NORMAN EISENBERG LEONARD FELDMAN Dear Reader, Audio Editorial Board Finally ... finally ... finally -Modern Recording, beginning with the next issue (April 1977), will be published monthly. FRED RIDDER It has been a long, tiring, exciting and proud year for the BOB WEIL staff and myself here at MR. A little over one year ago, with no JIM FORD prior publishing expertise, Modern Recording entered the pub- was a need BRIAN ROTH lishing field. We did so mainly because we felt there serviced the creative musician and active NAT HENTOFF for a publication that audio enthusiast. We were confident that there were many of Contributing Editors you out there -we just didn't know how many. recording is the creative vehicle for the serious STEFFON A. KACHOCKI We knew that musician, sound man and active audiophile, so we designed our Production Manager editorial to be entertaining while at all times informative. Articles like "P.A. Primer," "How to Build Your Own Record- MELANIE DEUTSCH ing Studio," "Recording Session Techniques" (both "live" and Production Assistant in- studio), Talkback, Artist Profile and Lab Reports became the examples of our intent. RICHARD FERTELL In the future we will maintain this editorial approach, while Advertising Director increasing our overall circulation in an effort to reach and service more of this growing semi- professional audience of which BILL SLAPIN & CO. you are a part. West Coast We at Modern Recording would like to take the credit for Advertising Representative having established in such a short period of time, such a well- respected publication. However, in all honesty, the credit is due BILL TRAVIS you, our readers. Without your support and input MR could Art Director not have survived today's overwhelming fatality rate for new publications. We would also like to thank those manufacturers SHERYL STERN who believed in your existence and in our ability to reach you. LIZ BEENER So keep reading, and learning, and at all times enjoy- HAROLD PERRY ing -twice as much! Write us once in awhile. Art Staff

Very truly yours, VINCENT P. TESTA Publisher

P. Editorial and Executive Offices Vincent Testa Modern Recording Publisher 14 Vanderventer Ave. Port Washington, N.Y. 11050 516-883-5705

Richard A. Cowan, President Cary L. Cowan, Controller

Editorial contributions should be addressed to The Editor, Modern Recording, 14 Vanderventer Ave., Port Washington, N.Y. 11050. Unsolicited manuscripts will be treated with care and must be accompanied by return postage.

4 MODERN RECORDING

www.americanradiohistory.com At first driver ported bass enclosure, fills a vari- glance our cabinets ety of functions. As the bottom end of a PA our full -range look a little different. stack it makes a dynamite low frequency super portable cabinet, incor- Which is understandable. They are. cabinet. Pre -amped and powered it be- porates bass, port and HF horn in one comes a bass guitar cabinet the likes of rugged enclosure. Perfect for club PA It's quite plain that these are not which you've never heard. The PBL, applications, this unparalleled (literally!) your usual assortment of little flake - cabinet is perfect for keyboards and other board boxes with holes. These are func- instruments and also happens to be a fan- tioning enclosures whose dimensions, tastic side fill stage monitor. And our determined by the laws of physics, have NC12? Only the loudest, cleanest moni- been precisely stated in hand -laminated tor around. And everything you need to fiberglass. hear is aimed right at your face. Write or All of our enclosures are of a solid call us for more information. It's time you round -backed design which frees them got the best. from the standing waves and out of phase diaphragmatic panels which plague "the HF DRIVER LF DRIVER boxes ". Our design not only cuts down on 1"-13/e" 12" unwanted resonances but also creates N2 unparalleled durability and the strength PBL 1"-13/s"-2"-2.8" 15" to survive extensive touring triumph and GGM n.a. TWO 15" over playful roadies. The GGM, our dual Here's Looking at ou Kid! aimu nr Community Light & Sound Inc., 5701 Grays Avenue, Phi adelphia PA 19143 (215) 727 -0900

CIRCLE 62 ON READER SERVICE CARD

www.americanradiohistory.com F E E NEW Heathkit Catalog

Brian and Jim -It's Your Move of biamping that justifies its use). It is Your June /July issue of Modern Record- not simple intermodulation but the clip- ing was very interesting, expecially the ping that occurs at low frequencies, thus History of Recording Part 5. I wish that generating a square wave with its result- I had saved the entire series. I also ap- ant harmonics. The clipping causes ex- preciated the interview with Gus Dud- treme levels of high frequency distor- geon. I had a feeling that I was "listen- tion due to the harmonics passing ._.\=ï ... ing" to a man that has two very good through the crossover network into the ears tied to the "gears between the ears," H.F. driver. This is a transient form of and knows what he is doing. IM distortion and is not included in the I wasn't so happy about the article, SMPTE IM measurement method. A low "P.A. Primer, A Guide to Sound Rein- IM rating on an amplifier is irrelevant if forcement, Part I," by Jim Ford and such clipping occurs. An audiophile's a -Don Davis describing Brian A.- Roth. It serves as good guide delight, President some of the finest hi -fi products you to some of the basics in sound reinforce- can buy -all with Heathkit build -it- yourself ment. It seems a shame, therefore that Synergetic Audio Concepts savings and satisfaction. Stereo components they perpetuate one of the myths of our Tustin, Ca. including the sensational Modulus'-the sys- business in their discussion of biamplifi- tem that defies obsolescence because it cation. In their discussion of biamplifica- Recording Broadcaster grows as your listening needs tion and its advantages they list one of

change. "Separates" in- the advantages as : "Decreased power - I only have had the pleasure of reading cluding a Stereo Pream- amplifier requirements since `biamplifi- your magazine for a couple of issues, and plifier with incredible cation' gives approximately twice the I would like to compliment you on every specifications and an effective power of full -range amplifica- aspect of your magazine!! It is great!! equally incredible low tion, and 'tri- amplification' can deliver One of the main reasons I am writing price, and a matching up to three times the effective power of is to ask your opinion on my current sit- equalizer that gives you far better tone control full -range amplification." uation. I am now attending the Ron than conventional bass and treble controls. A Figure. 12 illustrates the misconcep- Bailie School of Broadcast which is a complete line of speaker systems including the tion. If they had integrated the area very good school, and I am happy to be AS- 1373 -a three-way system I that sets an industry standard associated with the power developed by attending it. But have always been for mid -priced speakers. Other the combined signals, they would have interested in the recording field, and products include digital clocks found that the average power (often plan to make it my career if possible. and weather instruments, new mislabeled RMS power) was exactly the Don't get me wrong I would like to be audio service gear, Amateur same as the power required for the indi- an announcer also, but my question is, Radio equipment, auto and vidual signals. True, the voltage swing "Is there someway I can relate my marine accessories. Nearly requires a 200 -watt amplifier, if clipping knowledge of broadcasting to the record- 400 kits in all. is not to occur, to develop 50 average ing field ?" Hopefully, after I graduate Heath Co., Dept. 347 -2e, Benton Harbor, MI 490 watts. from R.B.S. of B., I will have my first - Actually, since one can't get something class FCC license and some know -how SEND FOR YOUR COPY TODAY for nothing, the authors should ponder about electronics. the case where a single organ pedal tone So if you could comment on the HEATH M=I =NM NNM situation I would appreciate your time. Heath Company, Dept. 347 -26 is reproduced on their proposed biamp Benton Harbor, Michigan system. They are now at a 6.02dB dis- -Don Gretton advantage if they really believed that 50 Denver, Colo. IPlease send me the new Heathkit Catalog. watts is the equivalent of 200 watts in a I am not on your mailing list. single amplifier. The authors failed to There are certainly a number of different consider Kirchoffs AC law in addition ways to relate broadcast knowledge to Name ; to the DC form used by the authors to the recording field. However, rather iAddress ' calculate power. than having to short -change you on an A further problem the authors express- answer in this small amount of space, ICity State ' ed in their article is a misconception of we suggest that speaking with the staff HF -310 Zip the type of intermodulation distortion at your broadcast school would be that biamping avoids (and it is this facet much more helpful. CIRCLE 87 ON READER SERVICE CARD

6 MODERN RECORDING

www.americanradiohistory.com LaTósca Music Center 7345 St. Subert St Montreal, Quebec, Canada,

Music Supply, Inc. TEXAS AUDIO now manufactures the P -800 Buffalo Pickup'" 405 N. Johnson El Cajon, Ca. 92020

Westwood Musical Instruments 1611 Westwood Blvd. Los Angeles, Ca. 90024 the complete transducer system for guitar, The Guitar Center 928 Van Ness bass, San Francisco, Ca. 94109 violin, viola, cello,

Marvin Kay's Music Center 7500 Beach Blvd. harmonica, piano, Jacksonville, Fla. 32216

Zeagler's Music 1830 Tower Dr. drums, and afro harp Monroe, La. 71201

Sound City 305 N. Carrollton Ave. New Orleans, La. 70119

Walker & Rodie 629 Milam Shreveport, La. 71101

Manny's Musical Instruments 156 W. 48th St. New York, N.Y. 10036

The Music Works 116 N. Caddo Clevurne., Tx. 76031

Melody Shop 1026 N. Park Ctr. Dallas, Tx. 75225

Melody Shop 1016 Redbird Mall Dallas, Tx. 75237

Melody Shop 122 Inwood Village e Dallas, Tx. 75709

McCord Music 1074 Valley View Mall Dallsa, Tx. 75240

Arnold & Morgan Music Co. 510 S. Garland Rd. Garland, Tx. 75040

Parker Music Bufalo products are now being designed and manufactured by 5005 Gulf Freeway Houston, Tx. 77023 TEXAS AUDIIO MANUFACTURING, INC. 2012 East Randol Mill #209 Musician's Shop Texas 76011 5301 Bissonnett Arlington, Houston, Tx. 77081

Musicville 1976 Texas Audio Manufacturing. Inc 12538 Memorial Dr. Houston, Tx. 77024 FOR INFORMATION ON OTHER BUFFALO PRODUCTS CONTACT OUR REPRESENTATIVE Jack T's Combo Place 2640 34th Jess Kahan Theodore Pappas & Associates Lubbock, Tx. 79410 183 Orchard Place 5218 W. Diversey Ave. McCarty Music Ridgewood, NJ 07450 Chicago, Ill. 60639 3829 Call Field Rd. Witchita Falls, Tx. 76302 Bob Clark Joseph Danielewicz Jade Sales Co. Ward -Brodt Music Co. 33 Strawberry Circle P.O. Box 526 Mill Valley, Ca. 94941 5345 Richardson Road Madison, Wisc. 53701 Sarasota, Fia. 33580 VVard-Brodt Music Mr. and Mrs. David Magagna Adrian Houston 315 N. Henry Box 121 1006 Zodiac Madison, Wisc. 53703 Drive Shelburne Falls,. MA 013450 Colorado Springs, Colo. 80906

CIRCLE 36 ON READER SERV,CE CARD

www.americanradiohistory.com Never -ending Neve Saga studio and sound reinforcement engin- I am upset with the way you allowed eer, I have noticed a marked imbalance That Mr. Nordahi to print a free ad for his in the amount of information available product under the guise of responding on the two with the majority being on Good Sound to criticism of the Neve Console (MR studio engineering. Your article was a Oct/Nov '76). step toward correcting that situation. The quality (or lack of same) of the Although the two fields are closely Neve Console is not the issue here. What related, the techniques, problems, pos- I am opposed to is magazine editors sible solutions to those problems and who cowtow to their advertisers. How much of the equipment are different. It in the world is an engineer supposed to would be helpful and appreciated by get useful information about a product "live" mixing engineers if you continued when you will allow so- called "letters" to include articles on sound reinforce- like this to appear as apparent responses. ment in your magazine. The three part -Alan Cagan series was an excellent generalization Studio Manager and provided a good solid background Harcourt Brace Jovanovich, Inc. of basic information. Future articles N.Y.C., N.Y. could single out specific areas and go into more detail. Also, the true life P.A. We assume Mr. Cagan is a new reader article was excellent in helping sound who has not given our magazine more men like myself to prepare for, and an- than a casual glance. Rupert Neue, Inc., ticipate on- the -job problems. Perhaps has never advertised in MR, so there was experiences of other sound men could no need to "cowtow" to them. We will be presented. print any letters that we feel would be -T.D. Sikes of interest to our readers. Besides, it is Jacksonville, Fla. so tiresome towing cows around to all your advertisers. Speakers and Microphones First I'd like to compliment your maga- We're Blushing zine, which in the short period that it's Your magazine is fantastic in every been out, has filled the void of subject respect. I enjoy its very educating and matters not covered by the other pro- conclusive articles. fessional and amateur audio mags. More and more groups Although I don't have your first three I'm writing mainly to request that you are insisting on mixers by editions, I feel it would be nice to collect consider testing and evaluating, along Interface Electronics because every issue. I would like to see you with the usual equipment, loudspeakers their rugged advanced de- come out with binders and a master in- and microphones. These seem to be ig- dex as your magazine could prove to be nored by all the audio mags and I would sign, high quality components, excellent reference material. be greatly aided in my search for new modular construction, im- For heavens sake, keep up this excel- and better equipment by your doing so. munity to stray fields, and lent work. You are one of a kind. -Thomas Young multiple options result in -Richard W. Haviland Thomastown, Ct. much and Glenwood, Ill. better performance PLEASE, More Syrup! a flexibility that allows you to I think, that as young as your mag is it This brief letter is intended both as praise have it your way, with every- surpasses every other level of (audio) and as an inquiry about Modern Record- thing in one frame including magazine. It is informative, not only for ing magazine. submasters, large lighted VU the person that has been involved in this First the praise. I want to state that I field and knows the wires, but also for have never found a good magazine that meters, equalizers and cross- we novices. The other magazines border dealt with tape recording -that is, until overs. Series 104/108 can on snobbery like: "we're the big guys Modern Recording. The staff -none handle up to 32 inputs and up and we write like this so you can't finer could be assembled; and let us not to 8 stereo submasters; and understand us." forget about the consulting writers and we make the only profes- Thanks again. the unique policy of consulting qualified -Bill Montello, Jr. professionals (with reader's write -ins no sional Stage Monitor mixer, Warwick, R.I. less). The products advertised, the gener- available complete with al literary qualities -truly a fine magazine. equalizers and intercom. More Sound Reinforcement Okay, enough syrup! I base these re- Write for more information. First, let me tell you how much I enjoy marks on two issues that I managed to your magazine. I look forward to each stumble into through local stereo shops issue, and I read it cover to cover. The (Apr /May '76 & June /July '76). Now INTERFACE ELECTRONICS three part series on P.A. systems was you won't guess that I can't find this 3810 Westheimer, Houston, Tx 77027 very interesting and informative and I magazine anywhere locally. So I'm writ- Telephone (713) 626 -1190 was sorry to see it end. As an aspiring (continued on page 95) CIRCLE 89 ON READER SERVICE CARD

8 MODERN RECORDING

www.americanradiohistory.com OUR SECOND BEST IS GETTER THAN MOST OTHERS' FIRST BEST. AUDUA is one of the world's finest cassette tapes. But it's not the best cassette tape made by TDK. Our SUPER AVILYN (TDK SA) has the edge. And that's only if you're using the special bias /equalization setting on your tape deck. However, if you're using the normal or standard setting, you'll have to settle for AUDUA- second best. Chances are you won't find anything better, or with more consistent sound quality, for decks with normal tape selector settings. In other words, even if you don't own extravagant equipment, with AUDUA you can still hear extravagant sound reproduction. You see, because of AUDUA's superior dynamic range at the critical high -end, you'll hear any music that features exciting "highs" with an amazing brilliance and clarity you won't get with any other tape. ( And when it comes to open -reel tape, you'll probably find nothing comes close to AUDUA open -reel for reproducing highs.) Whatever AUDUA you use -cassette or open -reel- you'll hear your system like you've never heard it before. But there is something else you should hear before you try AUDUA. The price. Unlike other so- called "super premium" cassettes, AUDUA's price is down to earth. (That should make AUDUA sound even better.) Compared to what others consider their best, there's just no comparison. So try the second -best cassette we've ever made. You won't find much better. TDK Electronics Corp., 755 Eastgate Boulevard, Garden City, New York 11530. Also available in Canada.

Wait till you hear what you've been missing.

CIRCLE 46 ON READER SERVICE CARD

www.americanradiohistory.com /TALK

"Talkback" questions are answered tion. Some instruments (like drums, With the turn of a knob or two, flanging by professional engineers, many of piano, etc.), have large level peaks that can be applied to any instrument or whose names you have probably seen are too fast for the meters to catch. tape without any of the problems assoc- listed on the credits of major pop Hence, that +2 on the snare meter iated with tape flanging. There is, of albums. Their techniques are their own might actually be exceeding the system's course, a difference in the sound of and might very well differ from anoth- headroom and causing distortion. As "electronic" flanging as compared to er's. Thus, an answer in "Talkback" is experience is gained, the recordist "tape" flanging, but both have use in certainly not necessarily the last word. learns which instruments produce these recording. We welcome all questions on the peaks, and how best to avoid the dis- -Andy Abrams subject of recording, although the tortion that occurs with them. Record Plant Studios large volume of questions received pre- It should be remembered that once N.Y.C., N.Y. cludes our being able to answer them the headroom is exceeded and distor- all. If you feel that we are skirting any tion is on tape, your problems have Mic Features issues, fire a letter off to the editor not ended. When the tape is mixed My Shure SM -58 mics can be wired for right away. "Talkback" is the Modern to two- track, the distortion will increase, three different low impedance levels. Recording reader's technical forum. and will again on every successive gen- What practical advantages does this eration that follows (at least five gener- feature offer? ations until it reaches the stores) until Is there any standard manner to wire Headroom and Flanging the passage becomes unintelligible. XLR connectors? On cords that came I would like to know the meaning of (2) Flanging is a special effect used to with my Shures, I noticed that the female two word -phrases constantly used in bring interest to an instrument or portion ends that connect to the mics split the your magazine; they are: of a tape. Its sound is hard to describe, unshielded wire to two terminals of the (1) "Headroom" but you might compare it to the sound connector. On others I have examined, (2) "Flanging." of a blow torch when it is moved back I've found this wire connected to only -Mr. Charles G. Burch, Sr. and forth in front of you. Sort of a one terminal. Does it make any Buffalo, N.Y. "whooshing" sound that changes fre- difference? quency with a sliding motion. The term -J.A. Stewart (1) Headroom can be defined in two flanging itself comes from the fact that Cleveland, Ohio ways. One, from a technical standpoint, the rate at which the sound changes and two, as it applies to the recordist. when you are using flanging can be The Shure SM58 has two taps on the Technically, the headroom of a sys- controlled in part, by touching the transformer -one rated at 38 ohms and tem is the amount of level that can be tape reel or flange on one of the tape one at 150 ohms (EIA Ratings). The applied without causing distortion. machines that is producing the effect. lower impedance tap has a 7 dB lower Measurements are made from the sys- Among the first records to use flanging output than the 150 ohm tap, and in tem's normal operating level, which var- was a song called "The Big Hurt" by applications where the microphone is ies from system to system, but is the Tony Fisher. Later it was popularized subjected to very high sound pressure level at which the system is designed by the Small Faces on "Itchycoo Park" levels, such as trumpets or loud vocals, to operate. If the system can put out a and was used extensively on Jimi Hen - the lower output tap may be used to signal 20 dB higher than its normal drix's Axis and Ladyland albums. minimize preamplifier overload in con- operating level before distortion, it is In recent months the effect has been soles or tape recorders. said to have a headroom of 20 dB. If used considerably with the advent of Three -pin professional audio connec- the system's headroom capabilities are "Black Box" Hangers, such as the one tors are usually wired as a balanced sig- exceeded, distortion will result. made by Eventide Clockworks which nal line with a non -signal shield around From the recordist's view, headroom have simplified the process to a point the two conductors. Pin 1 is the shield should mean two things: pay atten- where it no longer means hours of and pins 2 and 3 are the signal conduc- tion to the meters and listen for distor- aligning and matching tape machines. tors. Normally professional microphones

10 MODERN RECORDING

www.americanradiohistory.com are phased so that a positive pressure on the diaphragm of the microphone pro- Listen. duces a positive voltage on pin 2 of the Now there is a mixer that cuts the noise out of microphone connector. In certain appli- music. The new ARP Minus Noise Mixer. The first cations, such as in tape recorders, an mixer ever to apply advanced technology to unbalanced microphone input is used. audio signal processing. This normally is a '/a -inch phone jack. The Minus Noise Mixer features a patented In this case the shield wire and the sig- Dynamic Noise Filter nal lead from pin 2 (black wire) of the that virtually eliminates noise female connector on the microphone from any program signal. And, when you add end of the cable are connected together the many other professional features usually found and go to the case or sleeve of the 1/4-inch on only the most expensive studio consoles, phone plug, and the signal conductor the result is the kind of clean sound quality you've from pin 3 (white wire) goes to the tip always wanted but never could afford. of the 'A -inch phone plug. For details and specifications on the quietly priced, In some of the newer 3 -pin professional quietly revolutionary ARP Minus Noise Mixer, audio connectors there is an option of see your ARP dealer, or cut out the coupon below. being able to connect the shield not only to pin 1 but also to the shell of the 3 -pin professional audio connector. -Kenneth R. Reichel Shure CUTOUT Evanston, Ill. Studio Building Info THE NOISE. I enjoy your magazine very much, especially the Talkback section. I was also very interested in the article by Jeff Cooper on "Building Your Own Record- ing Studio" in the Dec /Jan 1976 issue. I hope you will continue to print this type of well -illustrated, easy-to- under- stand article. I am a musician and for the past four years have been building a very successful band in the Milwaukee area. We are very much into recording our own music, so much so that we want to set up our own small studio. We have a budget of approximately $5000 to $8000 to spend on this project. The problem arises from the fact that no one in the band is an electronics or stereo - buff. Our lack of technical knowledge leaves us at a loss on how to proceed Please send complete specifications on the ARP Minus with this undertaking. We thought per- Noise Mixer. haps you might have some suggestions. Any sources of information, reading Name materials or names of resource people that you could provide would be Address greatly appreciated. -Paul Barry City Cudahy, Wisc. State Zip_ In answer to your question regarding Return to: World's leading the purchase of recording equipment nufacturer of elettronic music synthesizer. costing between $5000 and $8000, I MINUS NOISE MIXER must answer in rather general terms. ARP Instruments, Inc. 320 The best advice I can give you is to seek Needham Street out a professional or semi -professional Newton, MA 02164 equipment dealer who specializes in sel- ling and servicing this type of equipment. You may find a completely equipped four -track studio using a larger selection ------CIRCLE 36 ON READER SERVICE CARD FEB/MAR 1977 11

www.americanradiohistory.com mix and patch like of microphones and accessories would be better than the added cost of a bare - bones eight -track setup. Whether you theprofessionals Russound's QT-1 audio con- plan to add additional equipment above trol center and patchbay permits the tape monitor loop of your audio system to conveniently accommodate the initial investment at a later time and up to four tape recorders of quad, stereo or mono format in any combination, plus outboard noise reduction, equalizers, compressor /limiters, and SQ, QS, RM, and CD -4 decoder /demodulators. All accessories plug further enlarge your studio is something into phono jacks on the QT -1 rear panel (72 available) and are programmed from the front panel. you did not say. for Use recording, playback, dubbing and mixing down from tapes at the flip of a switch. Patch There is such a wide variety of this cords (12 furnished) permit convenient sound -on- sound, sound -with -sound, channel interchanging, and in- of equipment now being made sertion of equalization, noise reduction, etc., anywhere in the audio chain and in any desired sequence. type The QT -1 is obsolescence -proof and provides professional studio type flexibility and convenience at available, that only by sitting down face an audiophile price of $249.95. to face with someone who can explain For complete product information and list of demonstrating dealers, contact and demonstrate what each piece of equipment can do for you will you be able to best determine the direction in which to proceed. One piece of reading material I can highly recommend, is a new book just released -The Recording' Studio Hand- book, by John M. Woram. The book is an excellent background telling you what a piece of equipment does, but again it cannot tell you if you should buy it.

I would like to be more specific, but I don't think I can do this satisfactorily without long discussion. -Sid Zimet Audio By Zimet, Inc. P, Inc. Roslyn, L.I., N.Y. Canal Street North Berwick, Maine 03906 CIRCLE 90 ON READER SERVICE CARD Mic Snake I am in the process of making a 150 ft. mic snake to be permanently installed in a church sanctuary. The plans call Hear for a 12 paired cable (10 in - 2 out). The lines will be all low impedance balanced lines, 150 -ohm input and yourself. 600 -ohm output from the mixer to the amplifier. I intend to use 22 gauge 2- You've already come to conductor, shielded cable. I need some know that the BOSE 800 is a great speaker for advice on the type of wire and connec- the house. But what tors to use. abouta speaker -Tommy Scrivano for you? San Antonio, Tx. This gentleman, playing at the 1976 Montreux Jazz It seems that your set -up is well thought Festival, heard out and professional. There should be himself just as no problem with the length of the snake, he is. Hecr your but since the installation will be perman- self just as you ent, take care to run the snake with pro- are too, with the tection from water and small animals. BOSE 800. Rats have been known to chew through mic lines. As far as the connectors are concerned, _19O.61E-BOO" the most reliable are XLR types at all connection points. The secret is to keep r all wiring in place. Take your time and I Please send Information on BOSE Pro Products to: be sure. Name I Address The 22 gauge wire will be fine because City /State /Zip of the low impedance balanced lines.

Telephone ( j I suggest using the braided aluminum

Return to: Dept. MR, BOSE, The Mountain, Framingham, MA 01701 I wire simply because it is easier to use L J and reliable.

12 MODERN RECORDING

www.americanradiohistory.com Be sure to check each connector and solder joint as you construct so you won't have to undo any wiring later to find a nick. =,Ç C rÌII -Chip Allen Fl 4990 massachusetts avenue indianapol s, indiana LeFevre Sound 46218 Atlanta, Ga. SUPPLIER OF SPECIALIZED AUDIO Mics and Distances EQUIPMENT Just want to tell you what a fine maga- RECORDING PRODUCTION AND zine you've got going and that the CONSULTATION amount of useful information, not to mention the fine insights provided in CREATIVE GRAPHIC ARTS the "Session" section of your publica- -Complete Album cover designs and layouts tion have won you a lifetime subscriber. -Creative T- Shirts The product line is great and your -Logo conception evaluations of new equipment are to date the most thorough I've seen. WORLDWIDE DISTRIBUTION OF : I have a Talkback question: would there be any advantage in miking, say, a vocal, by using more than two microphones at different levels and distances to obtain better ambience and spatial quality where signal processing equipment is not available? -Paul Nanna Boulder Creek, Ca. STAGESTIKadhesive tape

Two microphones generally are enough 317 - 545-2001 to pick up some room sound if one is close to the sound source and the 79 READER other is in the reverberant field (far CIRCLE ON SERVICE DARD away). One of the only possible advantages of using more than two microphones is to get stereo echo. Keep one microphone close and the others in two different locations in the reverberant field. The reverberant mics could be placed with one on the right and one on the left in the mix, and the close microphone mixed to the center. With no "signal processing equipment" you may not be able to mix three mies together easily, so you may have to use only two mies (if you have a stereo tape recorder). Echo chambers were designed to simulate real rooms, not the other way around, so using real room reverberation is a perfectly acceptable method of adding spatial quality to a close -miked sound source. Echo chambers do give real advantages such as the ability to control decay time (T60), but with an amplifier and speaker, you can even control T60 of a real room using the The professionalism of the new JVC 0.1% total harmonic distortion. You technique of "assisted resonance." Add S600 AM /FM stereo receiver offers you can monitor this power instantly with an equalizer into the feedback path and more to do more ... hear more. Its twin power meters. exclusive SEA graphic equalizer system Simple to operate with direct -action you can dramatically change the rever- with five tone -zone controls covers the pushbuttons and slide controls, the beration time curve of a real room complete music range. S600 has an unbelievably wide range by increasing the T60 in selected fre- The S600 has 110 watts of features and functions. per channel min. retail quency bands, making it sound like al- RMS, a' Approx. value: $750. 8 ohms, from 20 to 20,000 Call toll -free 800- 221 -7502 most any room you want. However, if I-1z, with no more than for nearest JVC dealer. the NC (ambient noise) level of your room is not low enough, you may start JVC America, Inc., 58 -75 Queens Midtown Expressway, Maspeth, N.Y. 11378 (212) 476 -8300 CIRCLE 85 ON READER SERVICE CARD

FEB/MAR 1977 13

www.americanradiohistory.com to degrade your signal -to -noise ratio as you move a microphone further from the sound source. dbx -Ted Rothstein little Bearsville Sound Bearsville, N.Y.

mother Tracks Thank you for a fine magazine! I am a "semi -pro" recordist with a fair amount of technical knowledge gained from practical experience as well as investing in many books on the subject. However, I have a couple of questions I wish you would answer, hopefully in the next issue, as I can't find specific information on these subjects. I am doing quite a lot of production and dubbing for radio stations. Most of my potential "clients" utilize full -track tape machines, especially the AM stations, and I have two, 2 -track stereo just had machines in my home studio. I have always assumed that, as far as head alignment, a two -track mono tape (re- Siamese twins corded from a mono source with this mono source fed equally to both channels of the two -track machine -thus no stereo phase problems) would reproduce that give you true stereo tracking compression/limiting at less than 1/6 faithfully on a full -track machine, of the price of that big mother. dbx 162 rms level detectors are coupled assuming both machines are in standard to respond to the energy sum of the two inputs to give you precise stereo alignment. A friend at a local radio sta- tracking you could never achieve with two separate compressor/limiters tion tells me this is not the case. He using their individual controls. claims that many production houses Like the dbx 160 little mother, the 162 Siamese twins let you dub two -track for full -track but they compress any stereo source by any ratio from 1:1 up to infinite compres- deliberately mis -align the two -track sion, and you can limit above any threshold from -38 to +12 dB. heads for better reproduction when The dbx 162 twins also inherited all the little mother's other played on full- track. Is this true? I am excellent features including: aware of the "fringing" effect that causes True rms level detection to most closely simulate human hearing a rise in low frequencies when a tape of response larger track width is played on heads Extremely low distortion even at high compression ratios with smaller track widths, but I have found no information concerning the input noise dBm to Hz) Equivalent -78 (20 20,000 heads, 60 dB meter range switchable to input, output, gain change and output playing of smaller widths on larger as as bead alignment is concerned. sum (A +B) far Output ground loop compensation and power turn-on, turn-off tran- Exactly what should be done to achieve sient protection satisfactory reproduction of a two -track mono too, for that matter) LED above and below threshold indicators (or stereo tape when it is to be played on full- Meter "0" VU adjustable from to +10 dBm -10 track machines? Also, another related For four or more channel operation, 162s are ganged with threshold, question comes to my mind -can a compression and gain for all channels controlled by the master unit to full -track alignment tape be used provide perfect multichannel tracking. to align the heads of a quarter -track For complete information or to arrange a demonstration of the machine? I know it is used for two -track dbx Siamese twins, contact your dbx dealer or circle reader service -if so, how? number or contact: -Allen Freeman Columbia, S.C.

Let me say right at the outset, that there is nothing better than using the right tools for the job. I suggest you in- dbx, Incorporated, 296 Newton Street vest in at least one mono full -track re- Waltham, Massachusetts 02154 (617) 899 -8090 corder. It will soon pay for itself, and CIRCLE 4C ON READER SERVICE CARD 14 MODERN RECORDING

www.americanradiohistory.com will haln vnn avnirl many nrnhlemc which would otherwise arise. However, in the meantime... a two - track machine can be used to record for . . full -track mono playback if extreme . . t . 1i: care is taken in the recorder's alignment. . . : , 11 #11 _ - . `.- I,.,,.... I Use a full -track alignment tape to adjust I" °I -.>. ï l'"-4.I r 1 Iiy,4'. the two -track playback calibrations. ot i -r Needless to say, the playback level of each individual track should be aligned for standard operating level across the entire frequency range of the recorder. The one you've been hearing about with all the Once this is done, combine the play- features you need. back of both channels so that you can 2258 South 2700 West Salt Lake City, Utah 84119 read their combined level on a single Steiner- Parker 801 972 -144 VU meter. Now, while playing back a CIRCLE 75 ON READER SERVICE CARD 15,000 cycle tone, adjust the playback head azimuth to achieve a maximum reading on the meter reading the corn - bined two -track output. To set the 14" record side of your two -track, feed a Anatomy of a tape recorder signal generator equally to both inputs of your two -track recorder. Adjust Hysteresis Eleotro- magnetic record level and equalization until the Automatic three -motor braking prevents tape most linear response isachievedat normal shut -off drive spillage operating level. Now, (and this is the important move) while recording 15,000 Rugged cycles adjust the record head azimuth 10" NAB until the combined playback reads max- Neoprene reels imum on your combined VU meter. head mount (or 5 " or 7'' You are now set to record properly for good standard) both mono and stereo. alignment 41 Only sever Another system commonly used is to moving record only on the left channel of a Heavy, parts two- track. While this causes the tape to 3/16" plate playback at slightly lower levels, many for good One -piece, 41/2 pounc of the phase problems encountered with alignment flywheel - two -track mono are eliminated. In fact, and-capsta i many radio stations have converted all Pressure their mono recorders to record full - brush Computer track, but playback half -track to avoid improves logic just such problems. contact permits Also, of course, always be sure your any command tape is completely blank before record- sequence ing on it. A poorly bulked tape might Plug -in cause an audible "whump - whump" electronics Remote record Remotabi sound when played on mono equipment, for no -thump recording since a two -track machine will only erase part of the tape. Two channel record /playback capability. (Other models with As for using full -track alignment tapes four, two or one channels; 1/4, 1/2 or full track; playback only. for multi -track machines, the answer is Extra performance options available.) yes. It is standard practice in the indus- Compare all the features of the Crown CX -824 with any other try to align 24- two -inch tape track, reel -to -reel recorder you may be considering. And then compare machines with a full -track tape. Twenty - the price. Crown represents the real value. four tracks on two -inch tape is pretty close to the quarter -track configuration of quarter -inch tapes. The only discrep- ancy will be in the low end, but this is Fast playback coupon Send directly to Crown for minimal and well within accepted stan- specifications on Crown tape recorders. dards of the industry. Name Lastly, if a two -track has to be mis- When listening becomes an art, aligned to achieve proper playback on Address full -track machines it is an indication City that there is probably a poorly con- crown State Zip structed two -track record head in which Box 1000, Elkhart IN 46514 MR-11 e CIRCLE 95 ON READER SERVICE CARD CEB/MAR 1077 15

www.americanradiohistory.com the two separate pole -pieces are not in 12 or 14 wire for a household circuit. in a high signal sensitivity area such as a true mechanical alignment within the This wire is too small to be used in a studio should be AWG 8. head itself. This was quite common in studio application, and because of its An alternative system which is the older two -track machines. The new ones higher resistance causes some noise best yet and used by laboratories is the don't have this problem. "Crows Foot" system. Here all of the -Fred Catero AC protective ground wires are gathered IAWG 81 Fred Catero Productions at a central point. It may be installed San Francisco, Ca. o o o o o o over an existing ground system and it o o o o o o has the advantage of using cheaper wire

Not too good. But better than normal service a.c. (AWG 10 or 12). (See Figure 1.) The Part 2 Ground Loop, protective ground using AWG 12 or 14 "Crows Foot" system collects the noise In the interest of safety, we should like currents at one common point and has to point out that the recommendations Existing system a resistance so low that any ground of Sami Uckan of Atlantic Studios IAWG 12 or 141 loops caused by signal connections are (Oct /Nov 1976) on the problems of negligible. ground loops is a "shade tree" solution, o o As a last note have an electrician check a very dangerous practice and would all of the studio AC outlets for proper definitely violate your local wiring AC phase connections. codes anywhere in the U.S.A. -Phil Coopy First, the removal of the ground pin Sounds Good would void the manufacturer's guar- Falls Church, Va. O antee, make a folly of the AC protec- o tive ground and probably fry the music- o foot ian at Crow's Combining Networks some unexpected moment, say IAWG 12 or 141 at an outdoor gig where the grounding I have several of the now popular high system is usually poor anyway (good for Excellent use AWG 12 on runs less than 25 feet, impedance output mixers which I have AWG 10 on longer runs. lawsuits if done by studio people). plugged together to form a production The root of the problem is in the Fig. 1 console. I bus these together by running studio grounding system. The AC the line outputs of one into the line in- ground bus from point A to B (see illus- currents to bypass it via the amp and puts of a following mixer, on down the tration in magazine) is normally AWG console. The AC protective ground wire line. However, for obvious reasons, I'd

IF YOU DON'T LIKE THE WAY YOUR SPEAKERS SOUND C R YOITR EARS. Nothing can improve the sound of a set of speakers better than a set of Sony ECR -500 electrostatic stereo headphones. Because unlike most headphones, ECR- 500's have an asymmetrical pentagon shaped diaphragm for wider and smoother frequency response, as well as greater bass response. They have a push -pull driver system for higher sensitivity and less distortion. They have a simple open -back design that lets you turn on music without shutting off the rest of the world. But best of all, they have a price tag of only $150. Which might be a little more than you'd want to spend for a set of headphones. But it's a lot less than you'd have to spend for a good set of speakers. SONY

Manufacturer's suggested list pace. si 1976 Sony Corp. of America. Sony, 9 W. 57th St., N.Y., N.Y. 10019. SONY is a trademark of Sony Corp.

CIRCLE 32 ON READER SERVICE CARD MODERN RECORDING

www.americanradiohistory.com WHY MOST CRITICS USE MAXELL TAPE TO EVALUATE TAPE RECORDERS. Any critic who wants to And a tape that doesn't do a complete'y fa r and sound consistently the impartial test of a tape re- same, from end to end, maxeli.35-90 SomdleCOWINTLIPP corder is very fussy about from tape to tape, In can ma xe11M.87-90 the tape he uses. make you question the a.. .m. :. Because a flawed tape stability of the electronics. 411111 rl can lead to some very m s- If a cassette or 8 -track maXeli uz C90 leading results. ions, it can suggest some A tape that can'- cover nasty, but erroneous com- the full audio spectrum ments about the drive can keep a recorder from mechanism. ever reaching its full And if a cassette or they dont have the prob- potential, 8 -track introduces wow lems that plague other A tape that's noisy and flutter, is apt tc pro - tapes. makes it hard to measure dJOe some test resul-s that So it's not surprising that how quiet the recorder is. anyone can argue with. most critics end up with our A tape that doesn't Fortunately, we test tape in their tape recorders. have a wide enough bics every inch of every Vaxell It's. one way to guaran- latitude can make 'iou cossette, 8 -track and reel- tee the equipment will get question the bias settings. to-reel tape to make sure a fair hearing, Maxell. The tape that's too good for most equipment. ./laxell Corporation of America. 1cO West Commercial Ave Moonachie. New Jersey 07074

fig

QRCLE 84 ON FEADER SERVICE CARD

www.americanradiohistory.com like to tie all of the outputs together to free all the inputs and to achieve maximum versatility from each individual mixer. How can I correctly build a combining network from resistors to accom- plish this without the use of an active combining amp? The outputs are from EIGHT OUT 10,000 to 100,000 ohms impedance depending on the type of mixer (I want THE SOUND WORKSHOP 1280 to combine several types). -Allen Freeman RECORDING CONSOLE... Columbia, S.C.

= -I

You are correct in trying to get away from stringing your mixers in series. The inputs of the first unit have to pass through two or three more mixers on the way to your recorder or P.A. (See Figure 1.) In addition to the noise and distortion this adds, you lose "several" inputs. If we assume that each mixer has four inputs and that you use four of them then the result is only thirteen -in and one out with a lot of extra amplification.

Mixer 1

i out

Now that 8 -track is the sensible way to go, Sound Workshop lets you do it right with its new 1280 Mixer 2 Recording Console. The 1280 stacks up like this: 12 inputs, 8 outputs; 8 x 2 stereo monitor system; 8 x 1 musicians cue Mixer 3 system with cue echo; 2 track mixdown buss; 3 band equalization; Solo; Mute; Panning; Pushbutton assign; Control room monitor switching, with track 7 ( slate, talkback, and cue; Dual echo returns with panning and EQ: pre and post fader patch points; Mixer 4 Total output level monitoring with Sound Workshop's unique TRI -LITE LED readouts that let you check recording levels on all 8 tracks at a glance. Fig. 1 All this plus more...and of course it's Sound Workshop quality. We guarantee it. For 2 years, It is also a problem matching imped- parts and labor. ances on the order of ten to one. Just to match the 100K outputs to the 10K the Sound Workshop 1280 recording would result in a loss of almost 16 dB. Why not build two combining networks instead: one for each impedance required? Each would result in a loss of h o only 6 dB between any two terminals. SoundPROFESSIONALun Wrks AUDIOor PRODUCTS o Each will require only five resistors or six if you don't need all three inputs. bringing the technology within everyones reach (Figure 2.) The value resistor required for the 10K network will be 5100, and 1038 Northern Blvd., Roslyn, L.I.,NY 11576 (516) 621 -6710 51,000 will do for the 100K network. If you do not use one of the terminals CIRCLE 34 ON READER SERVICE CARD

18 MODERN RECORDING

www.americanradiohistory.com 225,287 people already know listening is only half the fun capstan and was designed to allow A classic electrical, instead of mechanical, Three heads TEAC's A-2300SX is the latest speed change. No gears. No idlers. Each of the three basic functions - version of a classic. The most Just dependable, smootli erase, record and playback -is reliable tape deck ever made. As operation. assigned to a separate head. Each of April 1976, more than 225,287 head is designed to perform its have been purchased. And they specific assignment, and to keep have the lowest incidence of repair Fingertip control performing use after use. and maintenance of any deck on With three motor transport you These are some of the reasons the market today. get the flexibility of touch button so many TEAC tape recorders What is it about the A-2300SX control. You can switch instantly have been sold. Another reason that makes its performance and from mode to mode -play, fast is that so many people get tired of acceptance so remarkable? forward, rewind, pause and record. just listening to music. With our new cue lever control, Listening is fun, of course, but if Three motors editing is made easy. Instant you really want to enjoy your starts. No bounce. No click stereo system, try adding fun ... The A-2300SX features TEAC's With one touch of the EQ and try adding a TEAC A-2300SX. Just heavy -duty, 3-motor transport bias switch you adjust the machine remember, you won't be alone. system. Each reel has a motor to to different types of recording tape. assure proper tape tension at all Less noise. Less hiss. Better times. A third motor drives the response. TEAC® The leader. Always has been. TEAC Corporation of America, 773311'legraph Road, Montebello, CA. 90640 ©TEAC 1976 In Canada TEAC is distributed by White Electronic Development Corporation (1966) Ltd.

CIRCLE 44 ON READER SERVICE CARD

www.americanradiohistory.com of the network place either a 10K or cription of the tape to the disc medium? 100K resistor across it. Good practice -J.A. Stewart would suggest using a sturdy metal box Cleveland, Ohio and wiring it with short leads. Of course, always use shielded cable to and from There are two dbx tape noise reduction the mixers. The easiest use will be systems. The dbx professional system that is used in record companies and recording studios as well as in semi- professional applications, and the dbx II noise reduction system which is available for broadcast applications as well for the audiophile and home recordist. The professional system was optimized for high -quality, studio -grade recorders with excellent frequency response and high tape speeds. The dbx II system was developed for broadcast applications and audiophile recorders the system with no penalty. Be sure to having a more restricted frequency use your quietest mixers upstream. response and slower tape speeds. The -Ed Rehm dbx II system was also optimized for The Ken Nordine Group dbx encoded discs. Both systems pro- Chicago, Ill. vide the same 30 dB noise reduction, 10 dB additional headroom and 2:1 dbx Differences linear compression /expansion. The main Different dbx lines vary radically in difference between the two systems is in achieved if you use connectors which price, yet all purport to do pretty much the level detection circuitry and this match those on your mixers. the same thing, with the same quality of difference makes both systems incom- The result will be something like (Fig- effect. Realizing that they are incompat- patible with each other. ure 3) fifteen -in and one out with a min- ible, why choose the more expensive The professional systems are available imum of extra amplifying. In addition, line? Does it have something to do with in a wide variety including models with two extra mixers can be entered into the professional necessities, i.e., trans- various numbers and channels in switch-

Introducing the new dual channel Orban /Parasound Spring channel model. The only thing you give up is -he flexibility of Reverb. The new 111B retains all of the electrical features of its our dual- chassis construction - now the spring i; mounted with popular single -channel predecessor and augments them with a the electronics. new bass control and "quasi- parametric" midrange control. At $695 for two channels. the 111B provides the quality The new midrange equalizer permits stepless adjustment of its alternative to the cheaper, consumer - quality reverbs on the ±12 dB equalization range. as well as continuously variable market. With industrial -quality construction, line -level bal- center- frequency and bandwidth. This equalization flexibility is anced outputs. compact size. and smooth. four -spring (per -r with unparallelled in the low -cost reverb field and effectively corn - channel) sound. the 111B is the ideal choice fc the user plements the simple equalizers usually found on low -cost space and /or budget limitations. And as always, you can mixers and consoles. count on Orban /Parasound's reliability and prompt service. Included in the new package is our unique "floating For more information on the new 111B, see your local Orban/ threshold limiter" which minimizes "spring twang" and pro- Parasound distributor, or contact vides absolute protection from overload. And our highly -respected electronics provides a bright, super -clean sound with OfbOA/pafO/OYIId the best signal -to -noise in the spring reverb field. Most remarkably, the two -channel 111B costs exactly as much as our single 680 Beach St.. San Francisco. CA 94109 1415) 673 -4544

.. SERVICE CARD

20 MODERN RECORDING

www.americanradiohistory.com It's a new concept in sound effects pedals from you spin to the mood and tempo of your music. Maestro. Much more than just on- again, off -again, these With all these clever controls, where's the on /off pedals you can really play. With the sole of your foot. switch? Well, there's no little button to grope for. The The new Maestro Stage Phaser is one of them. It whole pedal is a switch ... just step on it anywhere. Even gives you the wild, gyrating, phase shifting sound of a on a dark stage, you can't miss it. rotating speaker. But with an incredible amount of play - More about the sound. Stage Phaser duplicates the ability and control. braking and accelerating effect of rotating speaker with- For starters, the Stage Phaser's got Balls. That's an out a trace of noise or cut in response. And, if you plug illuminated foot control wheel that lets you effortlessly it into a two channel setup, you get an eerie, spatial, adjust the intensity of your phasing effect...from a stereo -like sound that turns your axe into a whole new haunting whisper to a jet -hike growl. instrument. Stage Phaser also lets you toe instantly into three So why settle for some ordinary turn -on? Check out phaser speeds -two preset, one totally variable. In the Stage Phaser soon at your local Maestro dealer. And variable mode, an illuminated speed get yourself some real sole control. wheel lets you sole tune the speed of Speed wheel has large, easy to read calibrations, operates at the touch Balls wheel allows effortless of a toe. Illuminates when control of phaser effect PC Adapter used. intensity. Illuminates when AC Adapter used.

Status light glows when unit is on, easily visible on a dark stage.

Raised, three -position rotary speed selector lets you choose between fast and slow preset or a totally variable mode. Entire pedal acts as on /off control. Step on it anywhere Fuzz FJZZtain Phaser -the massive cast aluminum base holds its ground. MAESTRO 7373 N. Cicero Avenue, Lincolnwood, Illinois 60646 Another quality product from Norlin (Norlit0 51 Nantucket Boulevard. Scarborough, Ontario Canada CIRCLE 98 ON READER SERVICE CARD

www.americanradiohistory.com able or simultaneous formats. Some pro- levels and far less expensive packaging. output impedances, balanced or un- fessional models are modular with oper- The audiophile or consumer series balanced inputs and outputs, packaging ator removable modules, balanced inputs which are the 122, 124 and 128 operate and flexibility. and outputs, etc. The 150 series or semi- at even lower input and output levels -Larry Blakely pro systems utilize the professional for- than the 150 sereis. The 120 series does dbx, Inc. mat and are compatible with any pro- channel switching in channel pairs ver- Waltham, Ma. fessional system. The professional sys- sus individual channel switching on the Recorder Levels tem is also utilized by TEAC in their 150 series. The 150 series and profes- Tascam series machines. The main sional series will not decode dbx The concept of your Talkback column, reason for the price difference between encoded discs. wherein questions are answered by a the professional and 150 series is that As you can see by reading this, the wide spectrum of practicing audio pro- the professional series has higher output answer to your question is far more fessionals, is truly outstanding! The area levels and balanced inputs and outputs, involved than the question itself, but of recorder performance measurement, while the 150 series has unbalanced the difference in prices is reflected by however, has not been covered in great inputs and outputs, operates at lower the input and output levels, input and detail and may be the basis for an article(s) written by your staff. Two measurements in particular are frequency response and signal -to -noise ratio. Assuming that a deck is correctly BIASed and EQ'd for a specific tape, should frequency response tests be made by first: (a) Setting a reference tone (e.g. 1000 Hz) to 0 VU and then introducing 20dB input attenuation, or (b) Setting the reference tone to 0 VU, then adjusting the deck's record level to -20 VU and then recording 20 Hz to 20 kHz (or higher) tones with a constant input amplitude irregardless of how the deck's VU meters might vary at the frequency extremes, then play back the recorded tones looking into an AC voltmeter or dB meter noting the variance from the level of the reference tone which was (finally) recorded at -20dB or -20 VU? In addition, some "gray" areas are: (1) To what should a deck's output level control be set or is any arbitrarily Tangent presents: convenient level OK for a frequency response measurement? (2) How is a tape's output level spec- Pot vs. Cheapie Slider ified and measured? Advertisements, for example, may state that a particular Super -Fi Electronics throughout a mixing Round Three: Cost is the final area of tape's output level is 59dB, or 65dB, or system are not much help if the contention. Rotary Pots rarely need faders add noise. servicing, so Tangent uses the money whatever. Since any deck's output level saved in warranty cost for the Super -Fi In the bout between Rotary Pot and control is variable, what is the reference circuitry inside each Tangent Cheapie Slider, three rounds are fought: Mixing Console. standard? Cleanliness, Reliability, and Cost. (3) Is one VU equal to one dB or are A Unanimous Decision: Rotary Pot Round One: Sliders, by design, have a wins all three rounds that's why they different units? long opening through which foreign ... Tangent uses the rotary pot fader. a -to -noise matter can reach the conductive element And finally, how can signal and moving parts. Sliders are suscep- ratio test be made using equipment usu- table to dirt, dust, and any klutz ally owned or borrowed by a home that dumps his drink on the mixing board. recordist, such as signal generators, AC Rotaries, however, are protected by the front panel itself and the seal formed by voltmeters, dB meters, etc.? the tightened nuts on each side of the -Thaddeus P. Floryan front panel. No dirt, no noise. Los Altos, Ca. Round Two: Once a slider becomes noisy, it means a trip to the shop. tangent In order to answer Mr. Floryan's question Downtime. Hassle. Unreliability. musical engineering properly, it would require an article, No dirt, dust, or drinks can get at the a rotary pot. No down 2810 south 24th street instead of just part of a column. How- working end of phoenix, erixona 05034 time, No Hassle. Reliability, job after job. 602 -267 -0653 ever, my first suggestion is that he obtain a test cassette from a standard supplier such as Standard Tape Labs or

CIRCLE 93 ON READER SERVICE CARD

MODERN RECORDING

www.americanradiohistory.com For the audiophile who wants the finest matched stereo amplifiers and stereo control preamplifie-s, Sansu offers the answer - its Definition Series. Look at two o' hese outstandirg components. The Sansui BA 3030 is desigred with plenty of cower to handle those bursts of percussion and hose ctyramic fortissimos that give yoJ concert hall presence. The CA 3000 controls and features are a true joy 'or the creative pro and audiophile who warns to tailor the music to his own personal preferences. This extrao-dinay pair s des gned for the most demanding tasks; recording studios, sound reinforcement and audiophile home listening. The Definition Series offers the clearest, clecnest fidel ty available cnywhere. Top of the line Sansui BA 5000, called the "Monster, ' is one of the most poe-ful amplifiers availab e today: 300 watts per channel rain. RMS into 2, 4 and 8 ohms from 20 to 20,000 Hz wi-h no more than 0.1% TI-D. For comp ete information cn the entire Definition Series visit your local Sansui dealer soon or wri-e directly to us.

Tie CA 3000 phono preampli`ier within r C.2 cf RIAA ectualizctior curve. Offer:. everything oesi-able Ina preampliier and more. Tiple tore con - trDls Left and -ight input cnd output channel meters. Tape :ontrds for ,xpi and p ayback. Sen-

sitivity . Phono input - f,11.1,. r (ore Sw.ck control ., f wm capacitance selec-or.

Tie BA 3000 stereo cnplifier.17D watts per channel, min. RMS, Doti channels drvan into 8 c hms from 20 to 20,D00 Hz with no more than C.05% 11-ID. Safety abouncs: 4 jumbo heat sinks (Sansui patent pendi -ig); triole protection circuits for ample powe protection; cinc front parel LEC pow - eu protection indicator on the Tont pa-iel to show safe cpe-aflon. `pecially damped power mete.

Each Defini-ion Series componen' comes with a test data sheet, complete with all perfarmance chcracteris-ics. And Sa -1sui offers a Ilmi-ed 5 year warranty.

SANSUI ELECTRONICS CORP. Woodside, New York 11377 Gardena, Co ifornia 90247

SANSUI ELECTRIC CO , LTD.. Tokyo, Japan SANfUI AUDIO EUROPE S.A., Antwerp, Belgium Sansut In Canada: Electro-ric Distributors CIRCE I) ON READER SERVICE CARD

www.americanradiohistory.com Today's Equipment Ampex. With such a cassette and the Deserves Tomorrows' associated literature, he will be much Enclosures closer to aligning his particular machine. SYSTEM 700 by BSC. Also, most equipment manufacturers Priced from $500.00 can supply a service manual for any pro- made by them. There is a nominal Unit shown $750.00 duct charge for this book, but it is price- less when it comes down to service and Before You Buy .. . TEAC-TASCAM-REVOX- alignment procedures. as procedures, it is first SAE-MA RANTZ-TECH N I CS Just in studio -DBX- TAPPCO -AUDI O necessary to align the playback section PULSE- SHURE- BEYER- of the unit, then the record section is AKG- SONY -SUPERSCOPE aligned to the standardized playback 2532 RIVER ROAD RIVER GROVE, ILLINOIS $0111 INCORPORATED -SWITCHCRAFT PHONE NO. 312 -45E -5551 frequency curve, level, etc. In the first Consider BSC question, relative to input attenuation, either approach will produce the same CIRCLE 77 ON READER SERVICE CARD basic results. It is important that the test signals be supplied by a reliable audio frequency source with a constant Theres no point output, independent of frequency. Al- though most deck's VU meters are in having a separate tonearm satisfactory for recording level references, I do not recommend them as a reference for test procedures. Instead, a unless you can mount it reliable VTVM or other equivalent test gear should be used for both input and perfectly. output level measurements. In aligning the record section; you should use the same frequencies and level references found on the test tape. Following those references will result in a more accurate If your Involvement in audio has led you to consider a separate A refer- turntable and tonearm, you don't need much advice from us. So well just alignment of the deck. playback describe the Luxman PD -121 and let you decide if this is the kind of turntable ence level will have been established you've been hoping someone would make to mate with whatever tonearm through use of the test tape. Therefore, you may be considering. record levels are easy to set. Zero VU

To assure accurate tonearm mounting , precision pre -cut mounting for the STL standard cassette test tape plates are available for six different tonearms: Shure /SME, Denon, Fidelity represents a recorded signal of 100 Research, Grace, Ortofon, and Stax. (The Shure /SME plate and an uncut nanowebers per meter and a 120 micro- plate are provided with the PD -121, the others are accessories.) A rigid second EQ curve. This is a level approx- bayonet socket mount lets you interchange tonearms rapidly and as often imately 5 -1/3 dB below the zero VU as required with the assurance that the established tonearm /disc geometric reference level for a full -track 1/4 -inch maintained. relationship will be accurately tape. By the way, on a properly cali- The same attention to precision design is embodied in the platter and brated system, 1 VU is equal to 1dB. direct -drive system. The platter is die -cast, 11%8" diameter and weighs The reference by various manufacturers 5.3 pounds. Its direct drive brushless DC servo -controlled motor ensures is a the utmost in speed stability and vibration -free performance. A heavy die - to their tapes output level usually cast aluminum frame and compliant support feet help minimize spurious specification of the signal -to -noise ratio mechanical vibration and feedback. Rumble is better than 70 dB (DIN -B of the tape. Of course, this also repre- weighted), wow and flutter sents the maximum dynamic range of no more than 0.03% (WRMS). the tape under normal recording condi- An illuminated strobe pro- tions. vides direct numerical read- I do not recommend that the average ing for 33,A and 45 rpm, and audiophile run extensive tests on his /her speeds are variable over a own equipment, unless he /she has both 4% range. the knowledge and test gear to perform If you would like further information (including the these tests properly. Instead, I suggest location of your nearest LUX he /she locate a reliable service organi- dealer) you are invited to zation in the area, which is properly drop us a card or give us a equipped to do the more exacting tests call (phone 516- 822 -7070). for S/N ratio, IM distortion, harmonic distortion, etc. -Skip Frazee Sound Techniques, Inc. LUX Audio of America, Ltd. Dallas, Tx. 200 Aerial Way. Syosset, New York 11781 In Canada: White Electronics Development Corp.. Ontario 4

MODERN RECORDING

www.americanradiohistory.com WE'LL STACK OUR'S UP AGAINST ANYONE'S

If it's performance with reliability you're after - we have it! Quality Carvin products are available direct only - eliminating costly has been our objective for over 30 years, and one way we have retail mark -ups. But more important than big savings, the obtained that quality is by not mass-producing. While appearance is product itself must be superior in every respect - at Carvin one sign of quality, the real difference is what goes inside the product. we have such a product for the professional. Here are just a few highlights of CARVIN products: For complete information on CARVIN products Write or SM1800 STEREO MIXER - 18 Balanced Inputs, Stereo Panning, Phone for a FREE 1977 64 -page COLOR CATALOG - (2) Ten Band Graphic Equalizers, Adjustable Bi -Amp Crossovers, Vari- allow 3 weeks for postal system. Or send $1 for First Class able Line -Mic Atten up to -35 dB, Frequency Response 5 Hz to 26K Mail (allow 1 week'. CALL NOW! Area Code 714 747 -1712 Hz, Equivalent Input Noise -126 dBV, THD .05% typically, Main Out- for your catalog. Visit our Factory Show Rooms. puts 10 Volts RMS balanced into 600 Ohms. $1295. Other Carvin Mixers start at $349(6 Ch), $579(10 Ch), $949(12 Ch). HORN LOADED 1330 LO END SYSTEM - features the high efficiency JBL K130 in a folded port horn and front horn enclosure. $259. R520 RADIAL HORN - features the Electro -Voice Sentry IV Driver complete at $179 or with the popular JBL 2470 Driver complete at $299. BM700 BASS AMP - Ch to Ch Switching of Normal or Sustain SYSTEMS EIYGIC1EENUG Channels, 7 Band Graphic Equalization. 2 MagnaLab 15" silks - JBL DEPT. M R 23 1155 INDUSTRIAL AVE., ESCONDIDO, CA 92025 optional. $429. Please send complet. technical Information on CARVIN products VT1500 TUBE STACK - Ch to Ch Switching of Normal or Sustain Channels, 100/50 Watt Switching, a conservative rated 100 RMS from 4 EL34s, 7 Band Graph c Equalization, 8 MagnaLab 12" speakers NAME - JBL optional. $779. ADDRESS - - -- DC150 STEREO GUITAR -- Schaller M6 Machine Heads, Hard Rock Maple Body and Neck, Humbucking Pickups with phase and CITY STATE ZIP Dual -Single Coil Switching. $339.

CIRCLE 78 ON READER SERVICE CARD

www.americanradiohistory.com 1R 1 1,12 SCENE

By Norman Eisenberg

dbx LITERATURE LOW COST CASSETTE DECK PUTS IT ALL TOGETHER dbx Inc. has released a comprehensive set of in- A front -loading cassette deck with Dolby -B noise formational pieces describing its products which reduction and memory rewind, priced under $250, now include the model 142 for broadcast use; the has been announced by Bigston. The company also model 194 which is a combined noise -reducer and will release a lower -priced deck plus four portables five -channel input mixer for use with 4.2, 4L and which employ LEDs as indicators of battery 3 series Nagra recorders; the model 192, a two - strength and recording levels. channel system for the Nagra IV -S; the K9 -22, a CIRCLE 12 ON READER SERVICE CARD plug -in replacement for Dolby -A systems; the 157 two -channel r/p noise -reduction system; the 160 LOW -F HORNS and 161 variable compressor /limiters; the 154 four - NEW channel processor; the 216 sixteen -channel model; the 187 four -channel unit. In addition to detailed descriptions of these products, dbx also has general literature explaining its system and how it works.

CIRCLE 9 ON READER SERVICE CARD

MXR OFFERS COMPANDER

MXR Innovations, Inc. has just brought out a corn - pander to serve as a noise -reduction device. Accord- ing to MXR, the new device can double the dynamic range of most open -reel and cassette decks. Its operation basically is that of compressing the dynamic range of signals during recording, and expanding them on playback. All frequencies are processed at Specially designed horn structures housing rugged all levels in the same manner, thus eliminating the drivers, for use where substantial bass power is need for critical level adjustments, says the manu- required, have been announced by Forsythe Audio facturer. The MXR device is compatible with dbx - Systems, up to recently a regional producer (New encoded material. Packaged in anodized aluminum England area) but now expanding its operations. with walnut side panels, the unit retails for $129.95. There are two models, the SR -215 priced at $375, and the SR -115 at $280. The SR -215 holds two woofers with usable response down to 38 Hz; output at four feet with a 200 -watt input is 135.8 dB SPL. The SR -115 with one woofer has usable response to 40 Hz with an output of 133.5 dB SPL for the same output. The enclosures are made of 11 -ply laminated birch with 2 x 4 bracing. The SR -215 is 42 inches high, 36 inches wide and 27%2 inches deep; weight (less drivers) is 149 lbs. The SR-115 is 26'/ inches high, 36 inches wide and 30 inches deep; it weighs 127 lbs.

CIRCLE 14 ON READER SERVICE CARD

www.americanradiohistory.com DOLBY DESCRIBES FULL PRODUCT LINE NEW BASS -REFLEX SPEAKER

Dolby Laboratories, Inc., recently moved to San From Acousti - phase, Francisco from its former New York headquarters, Vermont-based manu- has released descriptions and prices on its entire facturer, comes news of line which now includes A -type noise reduction the "Phase- Monitor," a units in the 360 series and MH series of which the two -way speaker system most elaborate model is the M24H -a 24 -track incorporating a 12 -inch package priced at $15,000; A -type noise -reducers woofer and a mylar- for cinema use; a separate series for motion picture dome tweeter. The woofer studio applications; various optional accessories is loaded by a port for for the above; and the B -type devices in the 330 bass -reflex operation. series which include a duplication processor and and the tweeter has a another model for broadcasting, both stereo models level control. Size of the and each costing $1,350. For full details, contact the system is 25 by 15 by 14 manufacturer. inches. Priced at $159.95, it is said to be efficient CIRCLE 10 ON READER SERVICE CARD enough to be driven with as little as 10 watts. Maxi- mum power handling capability is listed as 70 watts, ADVENT UPDATES CASSETTE DECK and response is given as 32 Hz to 20 kHz. The woofer uses a double foam surround claimed to eliminate Advent, the company that first introduced a quality subsonic flutter. cassette deck -the 201 -which combined Dolby -B CIRCLE 2 ON READER SERVICE CARD noise reduction and the EQ and bias for using chrome cassette tapes, has word of an updated ver- TANDBERG OFFERS sion of this device, the 201A. The new model uses a NOVEL SPEAKER new r/p head made of Sendust alloy, said to be the first head material to combine the preferred per- Known as the "Fasett" and already enjoying a vogue formance characteristics of permalloy with the in Europe where it was first introduced is a new durability associated speaker system from the Norwegian manufacturer with ferrite. Tandberg. Shaped like a hexagon and available in black, antique white or orange, the Fasett is a compact bass -reflex system with a rated response of 50 Hz to 20 kHz. It houses a 5 -inch bass driver and a 21/ -inch tweeter. Rated power handling capability is 25 watts (maximum continuous) or 40 watts (music power rating). The speakers may be positioned virtually anywhere, and also can be sus- pended from the ceiling or attached to the walls.

In addition, the new model has a built -in headphone amplifier, a useful feature missing on the earlier version. Specs of the 201A include wow and flutter of less than 0.08 %, frequency response from 28 Hz to 15 kHz within ± 2 dB input sensitivity of 35 mV for 0 dB and maximum output level of 1 volt. Distortion, said to be tape- dependent, is rated to be typically less than 0.1% up to and beyond tape sat- uration. With the Dolby system on, signal -to -noise ratio is listed as better than 60 dB with chrome tape, and better than 57 dB with regular tape. CIRCLE 6 ON READER SERVICE CARD

www.americanradiohistory.com CARRY YOUR YAMAHA TELEFUNKEN OFFERS NEW COMPANDER

There's now an attache -styled carrying case for a Gotham Audio, which handles AEG-Telefunken Yamaha -the cassette tape recorder, that is (not the products in the U.S., has released information bike). Called the TCC -1 and priced at about $50, the about the Telcom C4D, a signal compander made by case holds the model TC -800GL deck which can be AEG -Telefunken. In addition to its main purpose operated on batteries. In addition to nestling the in improving the dynamic range of tape recording, TC- 800GL, the case also has compartments for mi- the C4D has additional applications in telephohe crophones, headphones and spare cassettes. line transmissions which need level- adjustments due to the great number of amplifiers connected in series on such lines. The signal compander also may be used to improve the dynamic range of optical sound recordings. The Telcom device divides the frequency range from 30 Hz to 20 kHz into four bands, each with an independent control system. This arrangement is claimed to suppress tape noise "breathing" and also assures proper management of the system's transient response. It is dB- linear and has the advantage that a shift in reference level has no effect on frequency response or on transients (which is what makes it useful for the telephone line function). Rated THD is less than 0.2 %, and the device may also be used in Dolby -A models. CIRCLE 13 ON READER SERVICE CARD

"STRESSOR" STRESSES VERSATILITY

CIRCLE 19 ON READER SERVICE CARD

_ M y soesio DYNACO OFFERS EQUALIZER /IF From a firm called - Dynaco, a company well -known to audio buffs for its Chateau Seven Group Ltd. products in kit form, has announced its entry into based in North Dakota comes word of the model the rapidly growing field of octave equalizers. The OCA VS -1 Stressor which apparently combines the new Dynaco model has ten sliders per channel on a functions of a compressor -limiter- expander and a stereo unit, each slider with a specified range of parametric equalizer. The VS -1 is said to be useful ± 12 dB at octave intervals from 30 Hz to 15 kHz. in production or mixdown work, to process the out- Complete frequency range of the device runs from put of the program chain prior to feeding onto a mi- 10 Hz to 35 kHz within ± 1 dB. Maximum output crowave or telco line, as a final limiter just ahead is 8 volts. With sliders set at zero, output is 2 volts of a transmitter at the transmitter site or as an (rms) into a 10K -ohm load paralleled with 1000 - enhancement device for DJ or studio microphones. pf capacitance. THD is given as not more than A "routing" switch may be used to place the equal- 0.04 %; IM at 0.02 %. Hum and noise are claimed to be izer before or after the compressor -limiter- expander; 85 dB below rated output. Front panel source/tape another position inserts the equalizer into the con- and EQ in/defeat switches are provided. trol circuitry of the compressor section to create a The Equalizer can be used for altering tonal char- frequency- sensitive compressor or, alternately, a acteristics of program material (for listening and "four -band dynamic equalizer." According to the for recording) as well as to compensate for room manufacturer, this format creates a very powerful, acoustic conditions. Designated model SE -10, it bright and "punch" signal. Full specs on this and sells in kit form for $249; factory -built price is $349. related audio devices are available from the manu- A wood cabinet is optional. facturer at Box 312, Pembina, N. Dakota 58271.

3 ON READER SERVICE CARD CIRCLE 5 ON READER SERVICE CARD CIRCLE

www.americanradiohistory.com NEW SONY MIXER OF POWER AND PRICES

The model MX -510 is a new portable, stereo/mono Two items currently in the news may be of vary- mixer featuring a variable pan pot. Manufactured ing interest to the audio-minded. One concerns a by Sony it is distributed in the U.S. by Superscope, change in the procedures used for measuring Inc. An active -type mixer, the MX -510 can combine amplifiers in accordance with the FTC trade regu- up to five channels of input while providing two lation rule. Apparently, some technicians- trying channels of output. The pan pot can be used to as- to measure THD at the low power level of 0.25 -watt sign channel 5 signals to either left or right channel -have been getting analyzer readings that consist outputs. Each of the five input channels has a -20 primarily of noise, rather than of actual harmonic dB mic attenuator. distortion. Thus, a single- number harmonic distortion reading might seem to be greater than rated THD. To correct this misleading impression (which could "downgrade" a perfectly good product), low - power THD may now be measured with a spectrum analyzer, which will not confuse residual noise with true distortion content. Also, when there is a separate input to the power amp, it may be used instead of the formerly prescribed "auxiliary" input -again in the interest of keeping irrevelant noise -content out of the actual distortion measurement. So, congrats to the FTC for recognizing and correcting what could have proven a source of annoyance and confusion to both manufacturers and consumers. The device features straight -line level sliders Item 2 concerns a certain coyness that has charac- with reference indicators, a sliding master level terized the pricing of some audio equipment of late, control, five phone jacks for mic inputs, two VU following in the wake of the doing away with "fair - meters, line input phono jacks, output phone plugs, trade." Instead of stating a retail price, some stereo headphone jack and a button to check bat- companies are using uncertain phrases like `less teries if the unit is used with them. It also can be than $500," or "approximate nationally advertised used on AC via an optional adapter, model AC -12. value" -and often price is not given at all. In the CIRCLE 4 ON READER SERVICE CARD case of the first phrase the obvious question is "How much less ?" In the case of the second phrase, A.E.S. CAREER GUIDE one might ask: "How approximate, and which way -over or under the figure quoted ?" And what the hell does "value" mean vis -a -vis dollars ?" The Finally, for the audio professional there's a budding problem it seems is that no one wants to be accused new "A Guide to Careers in Audio booklet titled of "price- fixing" yet at the same time very few Engineering" published by the Audio Engineering firms want to acknowledge that audio components 60 East 42nd Street, New York, N.Y. 10017. Society, may be significantly discounted by dealers, de- Amply and well -written it is aimed at the illustrated pending on the kind of equipment, the area, the various phases of work in newcomer and discusses specific amount of a given purchase at a given in professional sound, including audio entertain- time. Keep in mind too that although price- fixing and education, noise control, ment, communications is out, some manufacturers are said to be limiting in medicine and science, etc. A section on ed- audio their supplies to dealers who are known to discount is included. The book also ucational requirements "excessively." outlines the scope and membership rankings of the A. E. S. Its chief weakness is an avoidance of such practical matters as how to get one's first job and how much to expect in the way of salaries. But some information is better than none, and maybe the A. E. S. will publish a sequel that digs more into the nitty -gritty of, for instance, just how does one get hired to work the knobs at a recording studio.

www.americanradiohistory.com _ i 1111-"A 111 I ii rn7/ A 1.r-i 1-I A V1u V 11 y r%6/ll t l/ hl L\

SOUND REINFORCEMENT ... fader monitor sends, pan pot and fader and individual channel and master Yamaha has rounded out their line of on each input channel. Also included in channel level controls. The model 2180 professional mixers with the introduc- the PM -430 are auxiliary inputs to the ($500) is a mono mixer with 3 -knob EQ tion of four new models. The PM -170 mix buses, master program faders, on each input while the 2380 ($600) is a ($495) and PM -180 ($595) are both 6 -in, master monitor faders and two lighted mono model with 2 -knob EQ and ef- 2-out mixers which mount in seven in- VU meters which are switchable be- fects send on each input and an effects ches of rack space, and which were tween main and monitor outputs. The return on the master. Models 2280 designed for use as companion submix- PM -700 is a 12 -input stereo mixer ($550) and 2480 ($650) are both stereo ers with other Yamaha mixers, or as which has a 5- position plus "off" input mixers; the 2280 has 3 -knob EQ on independent mixers. The PM -170's in- sensitivity switch, low -, mid- and each input while the 2480 has a 2 -knob puts and outputs are unbalanced and high- frequency equalization with EQ and effects send. are connected via phone jacks for con- ±15dB range, conductive plastic fader venient interface with Yamaha's EM- and cue button on each input channel series integrated mixer /amplifiers, in addition to the other features found while the PM -180 has balanced inputs on the PM -430. Also featured on the PM -700 are four lighted VU meters, talkback circuit and a plug -in goose- neck lamp. Both models use transformer- isolated inputs and XLR connectors, boast excellent frequency

On the speaker side, Sunn has a new and outputs with XLR connectors for PA speaker, the Model 10 ($450), and a use with PM- series or other profes- new monitor speaker, the Concert sional mixers. Both the PM -170 and Monitor ($200). The Model 10 is a PM -180 feature two lighted VU three -way speaker system rated at 100 meters, headphone output, auxiliary watts RMS power handling which was inputs to left and right channels and a designed for PA or keyboard amplifi- 600 ohm +24 dBm output capability. cation use. Bass is produced by two Each input channel on these two special design Sunn 12 -inch speakers models includes a 3- position input response, total harmonic distortion of in a front -loading exponential cabinet. level switch for mic or line inputs, a less than 0.1% at +20 dBm output Midrange comes from a Sunn/Magna two- frequency bass rolloff switch, low and an equivalent input noise of -123 compression driver mounted on a un- frequency and high frequency EQ con- dBm. (Yamaha International Corp., ique Sunn wooden radial horn, and the trols with ±15 dB range and a pan pot P.O. Box 6600, Buena Vista, Ca., tweeter is a piezo -electric unit. The plus the channel volume control. The 90620). crossover is a two -way circuit since the model PM -430 ($1095) and PM -700 piezoelectric tweeter is self- crossing- ($2695) were designed to fill the gap over, and connections are provided for between the small EM- and PM- series The Sunn /Magna 2000 Series com- biamplification. The Concert Monitor mixers and the large PM -1000 series of prises four models of eight- input, is a compact, 2-way system designed modular consoles. The PM -430 is an 8- rack -mountable mixers. All four for maximum versatility as a "front input stereo mixer featuring a 3- posi- models feature Auto -Match sensitivity fill" monitor speaker. Two Sunn 10- tion input sensitivity switch, low- fre- control, XLR and phone jack inputs, inch speakers are mounted in a ported quency and high- frequency EQ with phone jack outputs, equalization and bass reflex enclosure along with a ±15 dB range, pre -fader and post- monitor send on each input channel tweeter for good efficiency and high

MODERN RECORDING

www.americanradiohistory.com accuracy. The cabinet itself is a special has full touch control over expression has a control voltage input for foot - multi -angle design which permits a and dynamics even though the note is pedal controlled sweep or for interfac- choice of several different placement generated electronically rather than ing with a synthesizer. Controls are angles. Each Concert Monitor has its mechanically. The action has been provided for sweep span, sweep center, own volume control and is rated at 50 carefully designed with respect to key speed, accent and the mix of delayed watts RMS power handling. (Sunn length, mass and pivot point to give and non -delayed signals (equal mix of Musical Equipment Co., Amburn In- true grand piano feel. The intervals normal and delayed signal gives the dustrial Park, Tualatin, Ore., 97062). between the notes are permanently deepest notch filter effect, and using pre- tuned, but the overall tuning of the the delayed signal unmixed with nor- piano is variable with a single knob. mal signal gives a true vibrato). (PAIA INSTRUMENTS ... Yamaha Musical The Yamaha Electronic Piano is a true Electronics, 1020 W. Wilshire Blvd., Instruments recently introduced two stereo instrument, and both output Oklahoma City, Ok., 73116). keyboard instruments which take dif- channels have a choice of piano, harp- ferent approaches to producing the sichord, honky -tonk piano or guitar Another flanger, introduced by sound and feel of an acoustic piano in sounds. Additional controls are pro- MXR Innovations, is the first model an electric or electronic instrument. vided for volume, bass, treble, balance specifically designed for "live" per- The Electric Grand Combo Piano is (panpot), sustain, tremelo rate and formance use. The MXR Flanger basically a specially designed acoustic tremelo depth. (Yamaha Musical In- ($199.95) is an AC- powered unit piano with built -in pickups and struments, P.O. Box 6600, Buena housed in a typical MXR cast preamps. The Electric Grand's action Park, Ca. 90620). aluminum housing. The circuitry is almost identical to that used in generates a maximum delay of 16 Yamaha's conventional grand pianos One of the most popular electronic miliseconds which produces over 150 except that it has been ruggedized for pianos, the Univox Compac Piano, is harmonically- related notches in the now offered in an improved version, audio spectrum starting at 63 Hz. Con- the CP115B ($550). The new model trols include sweep width, sweep utilizes a steel -reinforced keyboard spread, regeneration and a manual chassis plus a new timbre control to sweep control knob in addition to the vary the sound texture. (Unicord, Inc., bypass footswitch. Also new from 75 Frost St., Westbury, N.Y. 11590). MXR is the Envelope Filter ($79.95), which produces wah -wah effects in The new Ibanez Artist 5- string ban- response to the envelope of the input jo, Model 593, is a more decorative ver- signal and is thus touch -sensitive. The sion of the popular Ibanez Artist ban- circuit is basically a voltage-controlled jo. The new model has a 12 -ply maple low -pass filter whose cutoff frequency touring use, and has somewhat faster shell with a dark - stained gloss finish is determined by the output of an action thanks to improved dampers and mother -of -pearl inlay. The hand - envelope follower. A threshold control and buckskin hammers. Since the in- shaped neck is also dark maple and has varies the sensitivity of the envelope strument uses electric pickups, the a steel truss rod for rigidity. Mother - follower and thus adjusts the touch- sound board has been eliminated, and of -pearl inlays adorn the peghead and sensitivity or the signal level at which this, combined with a unique the aged ebony fingerboard. All five the filter is activated, while an attack "Humidiseal" pin block, gives the tuning pegs are geared and all hard- Electric Grand excellent tuning ware is hard chrome plated. (Eiger Co., stability. Specially developed bass P.O. Box 469, Cornwells Heights, Pa. strings are used to retain grand piano 19020). tonality in a physically much smaller instrument. The instrument is built in two separately encased sections for ACCESSORIES ... Phase shifters greater ease in transporting. The lower have been popular accessories for section, which contains the action, and several years, producing that familiar control varies the attack time or initial the upper section housing the strings sweeping, swooshing effect. However, response time of the filter. (MXR In- and the electronics fasten together for in the last year or so a number of novations, P.O. Box 722, Rochester, use via recessed quick -release latches. devices have appeared which use N.Y., 14603). The electronics of the Electric Grand "analog shift registers," "analog delay feature bass, middle and treble tone lines," or "bucket brigades" to pro- New from Musitronics Corp. is the controls and a tremelo circuit which duce a true comb -filter effect which the Mu -tron Micro V ($49.95)- basically a pans the signal between two outputs phase shifters can only simulate. lower -cost, simplified version of their for spatial effects with two or more These devices are commonly known as new Mu -tron III, which was the first amplifiers. The other new Yamaha in- "flangers" after the original commercially available, envelope - strument is the Electronic Piano, a mechanical method of producing the controlled filter. The new unit boasts purely electronic instrument which effect with two tape machines. One of simplified operation with a combina- was designed to sound and feel like an the latest additions to the flanger tion sensitivity /filter frequency con- acoustic piano without any of the lineup is the Phlanger Kit from PAIA trol and a high -low filter range switch disadvantages of an acoustic instru- Electronics ($59.95). This model has a for use with bass or keyboard as well ment. Unlike most other electronic built -in low- frequency oscillator for as guitar. (Musitronics Corp., P.O. pianos, the Yamaha Electronic Piano automatically swept effects, but also Box 57, Rosemont, N.J. 08556). "Q17

FEB/MAR 1977 31

www.americanradiohistory.com Exactly 100 years ago, Thomas Alva magnetic cards, but to render obsolete terns, you could follow the music in the Edison invented the phonograph -not most of the noise reduction systems same way a musician reads a score. the one we know today, but the and high fidelity tape formulations in- The same magnetic pattern or high fre- cylinder machine which carries on troduced in the past few years. quency excursion on the record de- today as the dictaphone. Ten years notes each appearance of a piccolo, the later, Emile Berliner invented the flat Questions and Answers same wide bass excursions and magne- record, spelling the eventual doom of Just what is digital recording, and tic patterns represent rhythm bass, Edison's cylinder as a home entertain- what can it do? Like scientists at the and one is directly analagous to the ment medium. Actually, it was to take dawn of the atomic age, digital's other. another forty years before the cylinder developers don't know all the answers To record the same music digitally, a finally bit the dust and the flat disc to the second question. Among the computer breaks each musical reigned supreme. Meanwhile, in 1899, things digital technology already has waveform up into hundreds of Valdemar Poulsen invented the mag- done are to restore some semblance of thousands of tiny particles and netic recorder. Nothing much was to modern sound to acoustic recordings translates them into bits of informa- happen to it for thirty -five years, until made by Enrico Caruso and, more tion. These digital bits contain either a a group of German engineers switched routinely, to record music at a signal or no signal. Together, they from piano wire to tape. And Berlin - dynamic range of 85 dB -well in ex- represent a musical tone. To give you er's flat record was to continue virtual- cess of analog capability. some idea of just how many bits there ly unchanged until 1948, when CBS Digital recording is a technique for are and how tiny they are, let's sup- Laboratories introduced the long - converting the notes on a printed score pose we have a 20,000 -cycle tone. That playing microgroove record. or the sounds in a recording studio into signal will last exactly 0.00005 Now the recording industry is con- a series of numbers, storing the seconds -the time it takes the sine fronted with a technological innova- numbers on tape, disc or magnetic wave to go from zero to its peak in one tion at least as revolutionary as card, then, when required, converting direction, down to zero again, then to Berliner's flat record and CBS's LP- them back into musical sounds. its maximum negative amplitude and an innovation which represents a The type of recording developed by back to zero once more. In order to change as fundamental as that caused Edison and Poulsen is analog record- give a proper electronic representation by Edison or Poulsen. It's called ing-in which the musical score or the of that tone, however, we must sample digital recording, and it's an offshoot "live" performance translates rather it at several points along its path of digital computer technology. It neatly into a continuous record groove because we must know its amplitude. threatens not only to alter the format or series of magnetic patterns. If you The number of sample impulses and in which we store and reproduce music were skilled enough at reading micro- their duration tell us its frequency. in the home from conventional discs scopic squiggles which make up the Anyway, back to our 20,000 -cycle and tapes to helical scan tape or record groove or those magnetic pat- tone. Let's assume that ten samplings

MODERN RECORDING

www.americanradiohistory.com will give us a pretty good representa- range may be as great as 80 to 85 dB. the absence of any audible background tion of it. That would mean that we In the case of recorded or broadcast noise as well. would have to sample such a waveform sound signals, it's much more likely to And there's the rub. If digital re- 200,000 times in each second. Each of be 60 dB or so, (or about seventy-five cording supplants analog techniques, those 200,000 samples might actually per cent of that possible with digital what need will there be for Dolby and consist of ten dots or pulses, meaning recording), forcing recording engineers dbx noise reduction systems, for that we actually have about two mil- to compress the music so that it fits in- JVC's Super ANRS and Toshiba's lion bits of information to represent ac- to that restricted dynamic range. It is, ADRES, systems which attack the curately each second's worth of con- in fact, the restricted dynamic range dynamic range issue as well as noise tinuous waveform information. and the residual noise which tells the reduction and are being groomed to How do you record and store that listener that he's hearing canned run Dolby out of Japan for once and much of that kind of information? The music rather than "live" music. Since for all? What need for the precision key to the problem is bandwidth -the we're dealing only with the presence tape oxide formulations so lovingly ability of storage media to record fre- and absence of pulses, not with their developed by Maxell and TDK, BASF quencies from the very lowest to the shape or sound, the scanning device and Philips, 3M and Memorex? very highest. A very good stereo re- simply ignores residual background While there's some gain in fidelity, cording has a bandwidth of perhaps noise, which is still present in the tape dynamic range and reduction of tape 20,000 cycles. Open -reel tape operat- or disc. Any noise introduced during hiss when digital techniques are used ing at the professional recording speed storage is much lower than either of to record the master tape, the major of 15 inches per second raises that to the pulse levels so that the reproduc- advantage of the process lies in keep- about 30,000 cps, while CD -4 four - ing system won't reproduce it. That ing the information in digital form channel records contain information means that instead of using a high - from the time sound enters the digital up to 45,000 cps. With those limits, quality chromium dioxide tape, any processor from the microphone until it's clearly impossible to cram two ferric oxide coating will do- provided it's reproduced in the home. That, of million bits of information onto con- there are no dropouts which might course, requires not only a new record- ventional records or tape. eliminate a pulse that's supposed to be ing medium, but a complete set of new But color television utilizes a band- there. This results in not only full playback equipment for the home. The width of more than four million cycles dynamic range in the recording, but in translation of audio signals into digital per second, and even home video recorders like Sony's Betamax have little trouble coping with a mere two million. In fact, at the recent Japan Audio Fair in Tokyo, Sony showed how its Betamax deck could be used to record audio in true digital form. Since the two videodisc systems now under development for the U.S. market (RCA and Philips -MCA) both record pictures and sound digitally on records, their conversion to pure audio use would seem to be simplicity itself. Why bother? After all, a bandwidth many times that encompassed by the human ear is vastly wasteful of tape or disc storage space, when compared to the conventional cassette tape or audio disc. One reason is that digital recording gives us full fidelity automatically as part of the process. An impulse is either there or it isn't. Since the amplitude and frequency of each pulse is essentially the same, it's a simple matter to fit them between the noise parameters of any storage medium. The pulse must be louder than background tape hiss or record surface noise, but not loud enough to saturate the recording medium and distort. Farewell to Dolby? More to the point is what digital recording can do to reduce noise and offer virtually full dynamic range. In the case of "live" music, the dynamic Dr. Stockholm: revitalizing the great Caruso

FEB/MAR 1977 33

www.americanradiohistory.com pulses and back again requires an in- waiting in the wings; and Panasonic recorded master tapes, you're not go- credible density of electronic parts. and Toshiba -Sanyo both have tape ing to be in any hurry to start issuing Microprocessors, the latest form of systems designed to compete with recordings in digital form for home miniaturized component to appear Sony's Betamax, but not compatible playback. You may adopt digital from solid -state research laboratories, with it. Smart money in the industry is techniques to prepare master tapes in will play an important role during the betting that out of it all will come one the future, but since the results aren't transition period, which may be much disc and one tape system, each readily readily apparent in the conventional closer at hand than most of the record- adaptable to digital audio recording. finished product, there really isn't ing industry establishment realizes. The playback equipment, in fact, much incentive. Since the millions of may become available long before turntables and tape decks abroad in Future Choices there are digital recordings by name the land are crying for new analog The public very shortly will be asked artists to play on it. If you're RCA or recordings, not digital ones, there isn't to choose among several systems for Columbia or Warner Brothers, with even any commercial incentive -and enjoying color pictures as well as millions of dollars worth of conven- even if video players are adapted to sound from recordings. There are at tional analog inventory, not to men- digital audio use, it'll be years before least two disc systems with a third tion thousands of conventionally there are enough of them in people's hands to make digital recordings commercially practicable. Stockham and Caruso Not that the major record companies are altogether unaware of SENNHEISER. digital's potential. At RCA, for example, a digitally- processed recording released initially as a curiosity has become a sleeper best -seller. Instead of YOUR WAY. using digital technology to come up with a sonic blockbuster by John Denver or the Philadelphia Orchestra, the company turned instead to its vault full of acoustic recordings by Enrico Caruso. Thomas Stockham Jr., a professor of Computer Science and Electrical Engineering at the Universi- ty of Utah, using a computer and digital recording techniques, had Now, you don't have to found a way of restoring a good deal of give up the ultra-low- presence and dynamic range to noise, wide -range response, Caruso's acoustic recordings. linearity, precise superior As Dr. Stockham describes the pro- and easy -to- position directionality process, compactness of Sennheiser RF con- cess, "during the restoration denser microphones...to get the the computer must determine the par- convenience and compatibility of ticular resonant and reverberant col- SENNHEISER CONDENSER 48V central studio supplies. oration effects for the recording at PERFORMANCE HERE Due to popular demand, our hand. This task is made additionally MKH condenser microphone series - difficult because the computer must cardioid, ultra- cardioid, shotgun... the 48V CENTRAL POWER also be able to distinguish between SUPPLY HERE even our lavalier - is now available resonances and reverberation of the in "P" versions, directly compatible recording horn and those that repre- with all standard 48V sources. As an sent and characterize Caruso's voice present A -B ver- alternative to our itself. The required discrimination is which can be powered from a sion, made possible by the fact that while built -in battery supply, or directly from low -voltage devices, such as the reverberations and resonances of Nagra tape recorders, mixers and the recording horn remain fixed other field equipment. throughout the entire performance, For more information, please those of the voice are constantly write or call us...or better yet, changing as the singing progresses. contact your Sennheiser dealer for By means of an averaging process the a demonstration. characteristics of the recording horn Sennheiser Electronic Corp., are isolated from those of the voice 10 West 37th Street, New York, with remarkable accuracy. All of this N.Y. 10018 (212) 239-0190 is accomplished by comparing the Manufacturing Plant: Bissendorf, sound volume of over 1000 different Hannover, West Germany musical tones in the original recording with those contained in a similar

34 MODERN RECORDING

www.americanradiohistory.com If You Don't Have A Fortune To Spend On Your Studio, We Can Help You.

For two years, THE EXPRESS SOUND CO. We're waiting to hear from you...with a has special zed in turnkey studio systems quErter million dollar inventory, a com- for people just Ike you. Wool( ng intimately ple_e technical services department and a with our cl ents we have con =ronted and committed and conscientious crew of pro- solved the complex problems relating dol- fessional people just like you. lars to performance. More that ever before, your success and profit will 7e born of hard Even if you a work and : alert. Mega -budgets are no have fortune to spend, we can longer the requisite ingrec iEnt in the studio still help you. formula.

1833 W./MORT BLVD. COSTA. MESA, CA. 92627 714/645 -8501

G RCLE 64 ON READER SERVICE CARD

www.americanradiohistory.com system which would utilize something like a 3" X 5" file card, magnetically coated, to replace the conventional record. Cards could be inserted into a digital playback unit which would connect to a high fidelity component system. Lest Dr. Stockham be written off as merely a starry-eyed dreamer, it should be noted that two of his backers are Dr. Amar Bose, the MIT professor who heads the Bose Corpora- tion, and Malcolm Low, one of the founders of KLH. The same digital process used to restore the Carusos has also been used to remove blur caused by motion of the subjects and the camera in photographs taken during the assassination of John F. Ken- nedy. The results appeared in the modern recording. Once the com- album as a novelty release. The December 1976 issue of Esquire. parison has been made the computer reviews and, more importantly, the alters the volume of the musical tones sales figures were so impressive that Availability in the original to match those in the RCA reportedly is considering other The recording industry in the United modern recording." digital restorations of its archive States may be in no great hurry to em- Dr. Stockham processed the first material. brace digital recording, but in Japan four Caruso recordings simply to While the restorations constitute an the first manifestation appears to be a demonstrate what could be done with impressive tour de force, they're not technique called PCM (Pulse Code the process, for a paper he presented what Dr. Stockham is spending most Modulation) recording. PCM involves before the Audio Engineering Society. of his time on these days. As president the use of digital techniques to encode The results were so impressive that of Soundstream, Inc., he proposes a part of the audio signal on the outside RCA considered the idea of a Caruso digital home recording and playback edges of standard recording tape,

The Morley EVO -1 Echo can add a new dimension to THE ECHO OF TOMORRIAW. your sound. Free flowing Echo. Notes cascading and falling through time and space without beginning or end. On a background of velvet black silence. The sounds of multiple guitars THE EVO-1 where only one is playing. Echo without tape makes it all possible. And only Mor- ley has it. The unique memory system in the EVO -1 holds every note un- altered from the deepest bass to all the highest highs of a piano. Vocals sing in unison and harmony without the least trace of distortion. When you con- For a sider the EVO -1 is priced free less than any other "pro" catalog, and a free Morley it echo available, doesn't Bumper Sticker, write make sense to find out if Morley, Department R2 , the EVO -1 is right for you 2301 West Victory Boulevard, before you buy an Echo? Burbank, California 91506

CIRCLE 30 ON READER SERVICE CARD

RECORDING 36 MODERN

www.americanradiohistory.com Some of our customers'orders drive us completely round the bend.

There are very few limits to what we can do with our Series 2 mixer. Usually we can modify it to suit almost any studio, and any customer's requirement. We can make it bigger, build in patch bays, LED VU/PPM metering, sweepable equalisation, remote switching, cr anything else you ask for. And even without modifications, the Series 2 is a highly versatile mixer with impeccable specifications. (Each model is made individually and by hand to make sure that the specifications stay that way.) The Series 2 comes in six standard versions: 12/4; 12/8; 16/4; 16/8; 24/4; 24/8. In every model, each group output has dual track switching so, for example, an 8- output console can be hooked up to a 16 track recorder without any repatching. And there are direct line outputs from each input channel, either pre- or post -fade, so that you can use a recorder with as many tracks as the mixer has inputs. Used together, these two features let you make multitrack recordings with simultaneous stereo reduction. And what's more, all this versatility won't cost you the earth.

The straight Series 2 mixer. It's portable, and can be supplied with an aluminium flight case.

For more details, contact: Soundcraft Electronics Limited, 5 -8 Great Sutton St, London EC1V OBX. England Telephone: 01- 2513631. Telegrams: Soundcraft LDN EC1.

ELECTRONICS LIMITED

CIRCLE 94 ON READER SERVICE CARD

www.americanradiohistory.com ket- although close investigation along with conventional analog in- recorders, which helps to explain reveals them to be conventional analog formation in the middle. Since the tape Sony's PCM adapter for its Betamax recordings, which have been cut from equipment can read the digital in- deck. The video recorder sells in Japan PCM -processed tapes. formation above the audio specturm, it for approximately $1,200, and the Already, digital audio equipment is beginning to appear on the U.S. audiophile and professional market, including Audio Pulse's time delay unit and Eventide Clock Work's "Har- monizer." Both of these units work on conventional audio signals -the Audio Pulse using analog-digital and digital - analog converters to help recreate the ambience of the concert hall, Even- tide's black box to speed up or slow down signals before converting them back into analog information. Even- tide's device allows you to change the pitch of music by as much as an octave said to be com- either way. When you couple that with can reproduce these signals with vir- PCM adapter was a speed -controllable tape deck, it's tually no background noise. The main parable in price. Sony's possible to compress speech so that an reason for including analog informa- The main difference between demon- hour -long Inaugural Address can be tion at all, according to represen- PCM converter and the units Denon, telescoped into forty minutes or less tatives of Denon and Mitsubishi, the strated by Mitsubishi and is intended without loss of intelligibility. companies which introduced the idea however, is that the former Digital recording obviously is an at last year's Japan Audio Fair, is that for the home, while the latter was idea whose time has come, whether the given current technology, the tape developed for recording studio use. recording industry is ready for it or would have to travel almost one foot Barely in its infancy, PCM apparent- of not. what forms it will take and per second if all of the information ly is catching the imagination Just how it will develop during the next few were digital. Record and playback Japanese audiophiles. Already there will be interesting to watch. heads are similar to those on video are several PCM records on the mar- years 4 cus r aGINEERED FOrA 71.E roil Cables and connectors as flawlessly silent as the components they feed. All cable is custom designed for the music industry by Whirlwind and manufactured to strict specifications by Belden; the connectors are the finest available from Switchcraft and others. Our catalog has a full showing of all of our standard and custom products, including Medusa "Snakes," Microphone replacement cords, impedance transformers, custom -designed bulk wire and connectors. Everything you need to interface and connect. From Whirlwind. Write or call. whirlwind Box 1075, Rochester, M.Y. 14603, 716/254 -2275

CIRCLE 22 ON READER SERVICE CARD MODERN RECORDING 38

www.americanradiohistory.com OTARI MX-5050 the original (and still the best) compact professional recorder

Just over two years ago, Otari Production Features: Creative Operating Features: Bias is introduced a unique new product production is simplified with: front -panel continuously adjustable -the first truly professional Front panel edit to spill tape. (not limited to fixed positions). recorder in a compact package - Lift-up head cover to mark splices With built-in test oscillator (not the MX -5050. Since then, the and clean heads. Built -in splicing available on other compact performance and reliability of this block on head cover. Adjustable professional recorders) bias can innovative new machine have been cue to defeat head lifters. Selec- be optimized in seconds when tested and proven in over a tive reproduce to add new tracks changing tape. Record EQ and thousand critical professional in perfect time synchronization. standard reference level are also applications -by broadcasters, Two speed operation, 15 and 7V2 front adjustable. Straight -line tape recording studios, A/V departments, or 7V2 and 33/4 ips (field change- path simplifies threading. Capstan musicians, and semipro recordists able in dc servo versions). is located on back side of tape worldwide. Universal acceptance for improved tape life. An extra and repeat orders by these Performance Features: Headroom reproduce head is standard on satisfied customers tell this is 19 dBm, a full 15 dBm over the all versions to allow playback remarkable recorder's success switch selectable fixed output of tapes in different formats. story better than we can. of +4 dBm. This standard reference For pitch control and freedom from level output can be rear panel power line variations, an optional switched to 10 dBm to drive a PA dc capstan servo is available system or power amplifier. with ±10% correction range. S/N ratio is NAB weighted 69 dB full track, 68 dB half track, and 65 dB quarter track. Crosstalk Bias can be re- optimized in seconds. is greater than 60 dB half track. Outputs are 600 ohm balanced As you compare the MX -5050 (standard on half track) or with other recorders, keep this in unbalanced. Line input and output Easy threading; mind. The MX -5050 is not a hi -fi connectors are XLR. capstan on back side. machine with a few professional Versatility: Available in full -track features added later as an (with half -track reproduce capability afterthought. It was designed from standard), two- track, and quarter- the ground up based on Otari's track versions. Walnut case 10 year experience as Japan's (standard), rugged portable road leading manufacturer of profes- case, rack mounting adaptor, sional recorders and high speed or floor console. Universal power duplicators. It is a full professional supply standard. Low impedance machine with the performance, input and output transformers and features, and field proven reliability remote control also optional that you expect to find only in accessories. the larger professional recorders. See your nearest Otari dealer Here are some of the key for the full story or contact Otari. reasons why the MX -5050 is the And, if it's multichannel you need, best compact recorder available ask about the standard -setting today. four and eight channel versions of the MX -5050.

Otari Corporation Otari Electric Co., Ltd. 981 Industrial Road 4 -29 -18 Minami Ogikubo DIEM San Carlos, Calif. 94070 Suginami -ku, Tokyo 167, Japan (415) 593 -1648 TWX: 910-376 -4890 (03) 333-9631 Telex: J26604

CIRCLE 88 ON READER SERVICE CARD

www.americanradiohistory.com MONITORS '?I RECORdIST By Rob Lewis

Not so many years ago, you could word that could sell speakers of almost "monitor" was its most literal one: have counted on the fingers of one any size or description. Merely calling something used to keep watch. Thus, a hand the speaker manufacturers who a new model the XYZ "Monitor" monitor speaker was a speaker -any ever used the term "monitor" in talk- seemed somehow to lend it instant speaker -used to listen to a recording ing about any of their products. In prestige and respectability. In their as it went onto wax, or a radio broad- those days, studio monitor speakers rush to buy this new crop of profes- cast as it went out over the air. The came in large, unwieldy gray boxes sional and quasi -professional speakers, rest of the signal chain had such and were sold exclusively to audio few consumers thought to ask how limited fidelity that the question of engineers involved in the making of these monitors differed from last speaker accuracy was almost moot; records and films. Compact size and year's non -monitor models. Often, the radio texts from the 1930's talk about cosmetic appeal were of minimal im- new models didn't differ at all. a high quality speaker as being one portance; the engineers simply needed Like all such marketing ploys, the with smooth response from 200 to a familiar, reliable tool to help them monitor craze has a predictable en- 5,000 Hz! Indeed, in those days the turn out a consistent product. ding, known in business as "satura- main impetus for improving speaker Then, half a dozen years ago, when tion" and in folklore as "killing the quality came from the booming film in- large numbers of stereo hobbyists and goose that laid the golden egg." The dustry, with its need to fill ever larger amateur musicians started getting in- monitor mystique has been mined so movie palaces with decent sound using terested in the processes and equip- thoroughly by now, with monitors tall vacuum tube amplifiers of relatively ment used to produce commercial and short, efficient and inefficient, puny power output in comparison to recordings, somebody at JBL had the unidrectional and omnidirectional today's standards. inspiration to package the company's flooding the market, that the thought- To help their sound men mix and smallest studio monitor in a pretty ful audio hobbyist might well ask, "If equalize the film sound tracks for op- box and sell it to home users. The ads these vastly different speakers are all timum results in the theater, the that went with this bold marketing monitors, just what do they have in Hollywood studios built "dubbing move stressed that if you wanted to common that makes them live up to rooms " - actually scaled -down thea- hear the same sound the producer the name ?" ters designed to approximate the movie heard in the studio, you'd better use the acoustic properties of a typical using same speakers. Which, after all, isn't So What's a Monitor? house. Naturally, this included so the bad logic least on the face of it. In the early years of audio, this ques- the same speakers, giant -at Altec) With the success of the JBL L -100, tion wouldn't have even come ùp. - Western Electric (and later, "monitor" quickly became a magic Then, the operative meaning of horns were installed, becoming in ef-

RECORDING 40 MODERN

www.americanradiohistory.com fect the first relatively high quality sponse are at least partly intention- above 12 or 13 kHz may be falling off "studio monitors." al- designed in by the manufacturer! fast, and on the bottom end, few Soon record engineers, desiring the As an example, one well -known builder models have a cut off point lower than wide response and high efficiency of of monitors has a reputation for 40 or 45 Hz. It can be argued that the theater systems but not finding always giving their systems an accen- these aren't serious shortcomings: at space for them in their studio control tuated upper mid -range. They do not, the top end, musical information above rooms, began adapting the designs to in fact, deny this; one of their chief 12 or 13 kHz consists virtually entirely their own needs. Using the same driver speaker engineers explains it by say- of random "noise" like cymbals or components (almost without excep- ing, "our speakers aren't designed to wind noise, or very high overtones of tion, 15 -inch woofers and horn /driver be kind to bad program material." He lower frequency notes -not the sort of high frequency units) they built is, of course, right, since peaking stuff that normally has a great in- smaller bass reflex enclosures that response in the range where the ear is fluence on creative decisions. Similar- could be hung on the walls of their most sensitive and the pain threshold ly, on the low end of the spectrum, it is studios. With this step, the con- is lowest will accentuate any har- an unfortunate fact that exceedingly figuration to be used in virtually all shness in the program to the point of few stereos could reproduce an honest monitors until recent times was causing fatigue or even discomfort 30 Hz note if it were present in the established, and even today the ma- after a short time. This same manufac- final recording. It very often isn't, hav- jority of studio monitors continue to turer has traditionally tuned their ing been filtered out during record use this design. It remains popular bass -reflex enclosures for a slight rise mastering to get more playing time on today for essentially the same reasons in response around 50 Hz. When they the disc or to make the mastering it was popular in the 1940's and 50's: recently introduced a new model engineer's job easier. Thus, trading design simplicity, relatively high effi- designed for critically damped, max- those last few Hertz on the bottom end ciency and output capability, and adequate performance (though the weight of tradition probably cannot be dis- Fig. 1. Desired dispersion patterns in the Control Room counted as a further reason). Of course, during their long history the demands on these "classic" Monitor 2 systems have steadily increased, as MOnitor 3 improvements in microphones, studio 1 \ / M°n/to electronics, tape technology, disc cut- ont0t t l /( r ting and manufacturing, and home `\/ / \ \ / 4 playback equipment have all shar- I. / \ \\ / pened the engineer's need to know / \\ / // \ precisely what he has captured on i \ ` // \v// \\ tape. A long series of evolutionary improvements has helped these most basic of monitors keep pace with ad- \\ / /\\` /// \\ I vancing technology so that today they / \ / \ hold their own in many respects with far more complex designs.

With 1 this bit of background out of I / / / \ \ \ the way, we come back to our original / 7 / \ \ \ / / / \ \ \ question, which we will rephrase as, \ "What I / /I / / \ \ are the defining characteristics / ' \ of a monitor speaker that distinguish / / \ \\ \ it from a 'non- I / / console \ \ \ monitor' speaker ?" And, . too, we may ask, "What do the dif- I I , / / , \ \ ferences mean to the recordist ?" I //// \\\I 1 /%/ engineer's producer's \\ The Criteria I chair chair In attempting to answer these questions, we can focus on two kinds of criteria: performance (i.e., the measurable electroacoustic properties of the speaker) and "miscellaneous" (size, driver configuration, etc.). Let's imally flat bass, users- complained so for a considerable- gain in speaker effi- first look at some of the performance much about the "missing bottom end" ciency seems to many to be a fair parameters. that the design had to be changed to bargain. Frequency Response. If it comes as a make it more like the older, non -flat Of course, if extremely flat response shock to some that many popular designs! is desired, there remains the expedient monitors aren't especially flat in fre- Many popular monitors aren't of 1/3- octave equalization, which can quency response, it may be even more among the widest bandwidth speakers take most of the peaks and dips out of of a shock to learn that these devia- to be found, either. Particularly in the just about any speaker. tions from the ideal "ruler -flat" re- case of two -way design, response Efficiency. Monitor speakers have

FEB/MAR 1977 41

www.americanradiohistory.com traditionally been high in efficiency. may hear two very different versions an important factor in monitor per- At first, this was a necessity, to allow of the program. formance. Perhaps someday it will be. playback at realistic sound levels with Output Capability. Clearly, the Turning now to the "miscellaneous" the 20 and 30 watt amplifiers that trend in monitoring (especially during criteria mentioned earlier, we should were the norm. With the advent of mixdown sessions) is LOUD, at least first note that some of these factors do high power amplifiers, most engineers for pop music. Naturally, different affect the performance of the system; seem to have used the extra output people have different preferences, but however, their effects can often be capability simply to monitor louder it isn't uncommon to find 110 dB levels "juggled" by the designer in such a and preserve more "headroom," so the way that two very different systems requirement for efficiency hasn't been may have similar performance when measured. relaxed much. However, as watts have by Fig. 2 Response errors caused As was pointed out become cheaper and space in the con- interaction between speaker Size and Shape. trol room tighter, there has been a and wall. earlier, there has been a downward trend toward smaller (and therefore trend in the physical size of monitors, less efficient) monitors. Even these are wall motivated by the need to put more of considerably more efficient than the them in the limited space of the control typical acoustic suspension home room, and made possible by the devel- speaker 1 loudspeaker, though. 1/2 opment of more powerful amplifiers Dispersion. Unlike the situation in wavelength and more rugged speaker mechanisms, the home stereo market, where the bat- which make up for the efficiency lost in tle between front -radiating and omni- going to a smaller enclosure. directional speakers rages unchecked, 1 There have been decidedly few in- the dispersion requirements of studio novations in the area of shape, with speakers are quite well defined. Very the rectangular box still the norm. simply stated, one would like a There is, however, a noticeable trend monitor's dispersion to be just wide toward building monitors into the con- enough to let one or two persons trol room wall so the baffle board is seated behind the console hear an ac- direct reflected flush with the wall surface. This pro- curate reproduction of the program, sound sound vides smoother lower- midrange and no wider. To see why, consider the response, which can be explained by referring to Fig. 2. layout in a typical control room (Fig. ti 1). The monitors, whether there are At low and mid frequencies, sound two, four or more, will almost always waves emanating from the speaker dif- be found directly above and in front of Direct and reflected sound waves are in fract around the edges of the cabinet the console, aimed down on an axis in- phase at this frequency, thus producing a and propagate backward toward the tersecting the engineer's ear level. response peak. wall. At the wall, they are reflected for- With this setup, it takes only a narrow ward again, and a short time later beam of sound to cover the desired At '/z this frequency, the reflected sound meet the direct sound waves from the area, and any extra dispersion can only is delayed only half as many wavelengths, driver. If the wavelength of the sound cause problems by bouncing sound off so it arrives out of phase with the direct is such that the reflections arrive in the walls, ceiling, and objects in the sound causing a response dip. phase with the direct sound, response room to blur the sharpness of the is reinforced, while if they arrive out of sound image and possibly interact phase, a partial cancellation occurs. with the direct sound from the in the control room. High levels are Since wavelength varies inversely with speaker, creating peaks and dips in good for making sure that nothing on frequency, it can be seen that some fre- response. the tape goes by unnoticed, but can quencies will be reinforced and others Of course, all speakers are om- quickly lead to ear fatigue unless the attenuated, causing peaks and dips in nidirectional at low frequencies, a fact reproduction is very clean. This need response. Building a speaker in flush that is handled in the control room by for high output capability is another with the wall eliminates this problem. constructing bass "traps" in the walls point in favor of efficient speakers, Driver Configuration. The two -way, or ceiling to absorb unwanted reflec- since the power required to get 110 dB 15 -inch woofer /horn high frequency tions, but the important fact is that from an inefficient speaker can easily configuration has already been de- the diffuse, spacious (some would say overheat and even destroy the voice scribed in some detail, and it remains vague) sound touted by omnidirec- coils. This is a major reason why exotic one of the most popular to this day. tional fans would be disastrous in a speakers such as electrostatics have Most systems of this type are bass - studio, where pinpoint sound localiza- never become popular as monitors - reflex, but in the last few years a tion and razor -edge definition are of they simply cannot attain the levels number of less efficient designs in supreme importance. Thus, it can only that a moving coil dynamic transducer smaller, sealed enclosures have been be called amusing when a hi -fi can attain. introduced (again, the size vs. effi- manufacturer puts an omnidirectional Phase Response. Despite all the at- ciency tradeoff). tweeter in one of their "monitors!" tention being paid to loudspeaker These two -way systems tend to suf- Clearly, then, a monitor's dispersion phase response in the hi -fi industry, fer from two problems, which a must be controlled. It must not, how- and some experiments indicating that number of more recent designs have ever, be too narrow; otherwise two per- phase can be heard (contrary to older attempted to correct. One is a lack of sons seated side by side at the console theories), it hasn't yet been considered extreme high- frequency response

42 MODERN RECORDING

www.americanradiohistory.com Introducing the studio condenser built for the road!

Model 177G by ElectroVoice.

Getting that "big recording studio" sound extends from 60 to 18,000 Hz, does - and how it does it - you'll find sound out in the field can be tough. and its Single -D cardioid pattern offers nothing else comes close to matching its Because studios often depend on condens- the advantage of increasing bass as you unique design. Take studio quality er microphones that are elaborate, move in ultra close. You can use this wherever you go. Pick up a 1776 and hear delicate, and expensive. proximity effect to boost bass, or provide the difference. Today. What's needed is a new type of greater feedback reduction and performer microphone that's strong, smooth, isolation, or both. and moderately priced. Which exactly The 1776 can work into balanced describes the new E -V 1776. A remark- low impedance, or unbalanced low or Model 1776 Single -D able electret condenser cardioid uniquely medium impedance inputs, with plenty Cardioid Electret Condenser suited to on- location recording and Microphone $99.00 suggested of output. Which means it matches user net. Slightly higher professional sound reinforcement. all professional gear and most semi -pro n the West. Take a look. The no- nonsense and home recorder inputs. Its large diecast case fully protects the low -mass built -in windscreen includes a blast filter electret element and FET impedance needed for close -working vocalists. matching circuit. Even temperatures as And, the exceedingly low mass of the low as 0° or as high as 130 °F don't electret element reduces output from Elecirol/olceÿ bother the 1776. Afid, the 1776 shrugs external shocks and handling noise. A a QUItDfl company off high humidity. quiet- acting switch extends life of the Yet the 1776 doesn't trade per- 4.5V battery in the handle. Dept. 272K, 687 Cecil Street Buchanan, Michigan 49107 formance to gain strength. Its clean, open When you add up what the 1776 CIRCLE 74 ON READER SERVICE CARD www.americanradiohistory.com and/or dispersion, a problem which is easily solved by the addition of a small ..perhaps ultra -high frequency driver and a modified crossover network. The second problem is midrange inter - the best modulation distortion at high sound levels, especially when there is heavy bass in the program. The difficulty straight arises when a woofer undergoing large low- frequency excursions attempts to reproduce midrange at the same time. If the bass excursions are driving the ahead guitar woofer cone outside of its relatively small region of linear travel, then the midrange information will be "modu- ever built lated" by the lows, producing both IM and FM (or "Doppler ") distortion. This problem is dealt with by adding The only thing special about the a separate driver to handle the upper bass /lower midrange frequencies (say, new Ibanez Artist is that it's the best. 300 to 1200 Hz). This driver is usually No frills, no gimmicks - just the finest a small cone unit designed for low basic electric guitar we can build. distortion and smooth reproduction within its relatively narrow operating Here's what we mean: frequency range. With this arrange-

Solid mahogany body with a carved solid maple top for ment, the entire system can play unsurpassed sustain and solid weight. somewhat louder without objec- Rock maple neck reinforced with an adjustable steel truss rod. Wide ebony fingerboard with 11" radius arch. 24 jumbo frets tionable distortion. abalone dot position markers. and genuine So, in addition to the classic two - Smooth neck heel for comfort in any playing position. Two incredibly clean and powerful Ibanez Super 70 pickups. way systems, there are now a number New Ibanez double -worm tuning machines for precise and of three and four -way systems on the stable tuning. Even have their disad- Distinctive antique violin finish accented with cream binding market. these and pickup mounts. vantages, though. Besides their higher Backed by the Ibanez Lifetime Warranty. cost, they cannot achieve the ideal And in the Ibanez tradition, the best doesn't have to cost "point source" sound localization sim- the most. ply because all four drivers cannot be mounted in the same spot. Indeed, one of the most popular monitors of all time, the Altec 604, is a coaxial design which achieves this point source effect better than any system using separately mounted drivers. Crossovers. Crossover networks in monitor systems share many features with those in home speakers. Usually, separate level controls for all in- CV dividual drivers except the woofer are provided, and are usually calibrated so C1 a particular setting can be recorded o and repeated at a later date. a Often, the crossover controls are vi placed on the system's front baffle F board, eliminating fumbling behind (D the speaker to make adjustments.

(f)

14.1 Using a Monitor z If nothing else, the preceding discus- o U sions should have convinced you that ciIKTIsr.aER?Es the subject of monitors is far from cut and dried, and there is a good deal of o room for personal taste and judgment in selecting one. But no matter which a you end up choosing, there are some guidelines you should follow to make For a full -color catalog of the Ibanez Artist Series send $1.00 to: IBANEZ, CIRCLE 38 ON READER SERVICE CARO 44 MODERN RECORDING

www.americanradiohistory.com At last a stereo power amp with professional performance for less than $1.00 per watt! THE CS'OOO The latest high speed, high voltage, discrete the CS -800 with balanced inputs and even a technology combines with unique packaging two -way electronic crossover. The amp's twenty - and exclusive features to create the Peavey CS -800, four high voltage output transistors are mounted a new stereo power amplifier that is unrivaled on massive, fan cooled heat sinks for ultimate by anything on the market at its price. reliability even under the most demanding The CS -800 produces 400 watts RMS of operating conditions. Protection circuits are pure, undistorted (0.05% THD) power per built into each channel to protect speaker systems channel. Overall, that's 800 watts of solid, high from any sudden abnormally high DC voltages. fidelity (5 Hz to 30 kHz) amplification retailing A steel reinforced die cast front panel in a 19" for only $649,50 *. At about 81 cents a watt, rack mountable chassis add to the system's that's an incredible value for a stereo power appearance and versatility. amp with the CS -800's performance and The Peavey CS -800 is a highly professional versatility. amp with honest performance at a very Features such as LED's on each channel reasonable price. Drop by your Peavey Dealer give precise indication of any possible overload for a demonstration of what the CS -800 can do or clipping. A back panel patching facility or write us and we'll send you complete specs. incorporates small plug -in modules that provide We think you'll be impressed.

lectrohics Box 2 398 ridian, 'vs, 39301

*manufacturer's suggested list price CIRCLE 52 ON READER SERVICE CARD

www.americanradiohistory.com sure you get the best service from this that you should keep firmly in mind described in earlier issues of MR. important creative tool. when monitoring or mixing your own Once you've gotten the room/ First and most important, get to music. speaker situation as good as possible, know your speakers. You can do a lot A factor that can't be overlooked note exactly how things are set up, and with even a highly imperfect speaker, when evaluating speakers and record- keep them this way for all critical if you know its imperfections intimate- ings is the room acoustics, for the work. Remember that moving furni- ly. With enough practice, you can even "right" room can make a deficient ture around, opening or closing drapes reach a point where you "automatical- speaker sound good, just as the and doors or moving a speaker even a ly" correct your hearing for the effects "wrong" room can make even the best few inches, all have an effect on what of the speaker. speaker sound absolutely horrible. you will hear. Just as with fine wines, the best way For monitoring purposes, the ideal Lastly, don't overlook equalization to sharpen your perceptions of the room should be fairly dead acoustical- as a remedy for particular problems "personalities" of different speakers is ly, so that reflections don't interfere with your system. While the hi -fi type through direct comparison. Whenever with the direct sound from the speak- octave equalizers aren't usually selec- you get a chance, you should "A -B" ers. However, if it's too dead, the tive enough to fix serious room reson- your speakers with other, known sound will be unnatural and you'll pro- ances, they can be quite effective on models and carefully note the dif- bably end up adding too much arti- other types of response errors. Of ferences. Does, for example, one ficial echo to the mix in an attempt to course, if you can afford it, half or speaker sound "warmer" than the liven up the sound. third octave equalization is the best, other? Does one have more "sizzle" on Be especially wary of standing but it takes a rather expensive real - the extreme top end? Does a kick -drum waves in the room (caused by parallel time analyzer to take full advantage of sound "thuddy" on one and "tight" on reflecting surfaces), since a bad case of the tuning capabilities of a narrow - the other? Can you detect any mid- them can turn the cleanest bottom end band equalizer. range coloration? Does one begin to into a boomy, muddy blur. If you have This is about where the monitor sound strained at high volume levels this problem (which can be pinpointed speaker situation stands for both the that the other handles comfortably? by slowly sweeping your system, one home and professional recordist. To As you have a chance to critically speaker at a time, with a sine -wave condense it all down to one statement: compare your speakers with more and oscillator between 30 and about 200 no monitor is perfect, so buy the best different systems, you will begin to Hz), you can experiment with different one you can afford and learn to live develop a picture of the unique sonic speaker locations, or build sound - with its imperfections. characteristics of yours -a picture absorbing baffles and traps as Happy listening!

PARAMETRIC PRICE -PERFORMANCE 6eaktI'wa$

$599 SUGGESTED LIST PRICE

true narrow -band (.05 oct.) through broad- At Ashly, we're definitely into Parametric band (3.3 oct.) equalization Eq. We've used it extensively in our big SE 50:1 frequency range, each band series consoles for years. The SC -66 rep- years of ± 15 dB eq. range, precise center "flat" resents the culmination of these position design, listening, and field testing. You can all equalization separate IN -OUT switch for each band now have infinite control of characteristics at your fingertips with & quiet ( dBV noise, < .05% ultra clean -87 con- THD) accuracy and resolution previously sidered impossible. Check out an SC -66 internal power supply at your pro -audio dealer. INC. ASHLY AUDIO Dealer inquiries invited 1099 JAY ST. ROCHESTER, N.Y. 14611 (716) 328 -9560

CIRCLE 28 ON READER SERVICE CARD MODERN RECORDING

www.americanradiohistory.com It's all in your hands now. These essential music -making tools let you get in, around, and behind your music. One part, one track at a time. Then when all the elements are the best they can be, you blend them together and generate the finished product. A process that involves your innermost sensitivities and perceptions. A personal statement. The 3340 has undoubtedly helped more people make more demos and masters than any other tape recorder. Our new model, A- 33405, has extended high end frequency response in the sync mode, plus manual cueing. The Model 2 is about the best value going in small mixers -6 -in, 4 -out with full panning and multiple patch points. Plug in a few high quality TEAC ME- Series electret condenser mics, and you could be quite literally in business. When you have the right tools, the work is more prcductive. TEAC `.

TEAC® TFAC =31

The :eader. Always has been. TEAC Corporation of America 7733 Telegraph Road, Montebello, Calif. ;0640 ©TEAC 1975

CIRCLE 97 ON READER SERVICE CARD

www.americanradiohistory.com In the past, there has been minimal Leonard Bernstein -with flying col - opportunity for orchestras like the ors. At that performance Gregg Raffa Boston Pops and the New York asked if I might be available, as a Philharmonic to play to very large - mixer, for any future sound reinforce - audiences. Normally these orchestras ment dates. Since I had spent many play for 1,500 -2000 people in metro- years as a mixer for a New York politan halls specifically designed to studio, I jumped at the chance to get enhance and reinforce the sounds -my hands back at the controls. My emanating from the stage. Recently, - chance came at a concert given by the however, more and more of the new Boston Pops orchestra conducted by sports coliseums springing up all over the Maestro Arthur Fiedler. the country are becoming aware of the need to replace or restructure their Different Techniques existing sound systems in order to- I was very aware that sound rein- attract Philharmonic orchestras-and forcement was vastly different from thereby bring their music to the many studio recording. For one thing, I had people living outside the major metro - -never mixed anything for more than politan areas. three or four people at a time. At this The Nassau Veterans Memorial -concert the Nassau Coliseum was sold Coliseum in Hempstead, New York -out. There also was time, in a studio was one of the first to recognize the mix situation, to try different ap- suburban demand for Philharmonic proaches, do re -takes and edit the final orchestras, but their first attempts at mix. For sound reinforcement it is one satisfying the demand produced less take in real time -and watch out for than desirable results. Therefore, feedback! Gregg Raffa, Sr., the Director of Sound Studio microphone technique also satisfying the demand produced less would be different. I would not be able than desirable results. Therefore,-moo "tight" mic every instrument and I Gregg Raffs, Sr., the Director of Sound also would not be looking for the best and Lighting for the Coliseum, began -possible separation between instru- thinking about a restructuring of thements. On the contrary, Philharmonic sound system. He was the primemover orchestras desire less than full separa- in getting the Coliseum to install an tion to help create the total sound with Automated Processes 24 -track record- the natural ambience of the surround- ing console modified for sound rein- ing environment. Finally, the audi- forcement, a 3M M79 two -track re- _ences drawn by these orchestras are corder, Sony cassette and eight -track critical listeners. They come to these decks and a Thorens turntable with -concerts to hear every nuance, tonal Automated Processes pre -amps. With inflection and natural balance set by this system the Coliseum would not the conductor for the various orchestra only be able to do their normal sports _,Sections. Totally foreign to this experi- events, but Also the sound reinforce- ence would be electronic hums and ment for orchestras and pop groups.-buzzes and emphasis where it should There would also be the additional not be. Therefore, my major objective ability to bring in a 16 -track or 24- was simply to reinforce the natural track recorder for "live" tracking. sound coming from the stage while The system was delivered and proof making that objective as unobtrusive tested by API at the Coliseum. It -as possible. passed its first performance -the New A couple of days before the concert I York Philharmonic, conducted by was notified that there would be no

www.americanradiohistory.com By Michael Consi

www.americanradiohistory.com rehearsal. This created a slightly tense shells and is located at the northern about 12,000 people. situation because I was not really passageway. Above and about twenty The stage was already set up when I familiar with the entire program and feet in front of the stage is the speaker arrived. The first order of business there would be no time available to me cluster that is used for this type of was mie placement and selection. The to hear those "natural balances" which performance. The coliseum also has a catwalks of the Coliseum super struc- I was planning to reinforce. Fortu- center speaker cluster above the four ture are an ideal place from which to nately, Gregg Raffa, a former orches- sided scoreboard. This cluster is raised drop hanging microphones. With the tra musician, assured me that he was high enough so as not to be in the aide of the staff electricians we totally familiar with the program ma- radiation pattern of the active speaker positioned four hanging microphones. terial for the Boston Pops orchestra cluster. The console is adjacent to the One Electro -Voice RE20 was centered and would A &R the entire concert. southern passageway, about one hun- above the first violins at a distance of Layout and Placement dred feet from the stage, on a rugged other RE20's were placed above the platform behind the first of seats. violas and second On the evening of the concert the tier strings. For the celli Coliseum was the hub of activity a Folding chairs are placed in neat rows I chose a hanging AKG D224E. The couple of hours prior to the first down starting from the stage area and rest of the eleven mie setup were all beat. For those of you not familiar with ending before the first tier where the floor -boom mounted. I placed mies on the Nassau Coliseum, it has a large console is located. Behind the band all solo instruments -first violin and elliptical shaped floor area ringed by shells at the rear of the stage is a green English horn. The remaining wood- approximately 14,000 seats in several velour curtain. The estimated crowd winds and contrabasses also were tiers. The stage is set up with band for the evenings performance was miked. To capture the sound of the

(Left to right) Stage managerJohn Lala, Gregg Raffa, electrical foreman Kevin Costello and Mike Consi check mic levels and console settings.

50 MODERN RECORDING

www.americanradiohistory.com Some people will do just about anything for the right sound.

á¡... .,.

At MXR we realize that every amoJnt of the delayed signal back place you perorm will not ha'.e to the input to be delayed again, the ideal acoustical environment. thus providing multiple echoes The sounds you have been sxarci- with varying decay times. Special ing for in tape echoes and sprig circL itry within the Analoc Delay reverb units have not been pcssi- allows the optimum delay -band- ble until now. At Iasi there is a width to be selected. When a delay reliable, professional quality die ay, time is increased and the bandw dth designed for tle live performance reduced, an and ble effect closely musician who wants the "right sound". simulating the natural reverberation character- The MXR Analog Delay is the firs:, completely istics of a range of room sizes is created. electronic means o1 simulatirg echa and reverber- The MXR Analog Delay represents another addi- ation in severe environments where curability and tion to the growing line of signal processing equip- immediate control by the periorme-is important. ment for the professional musician. If you're still The MXR Anaog Delay provides continuously searching for the right sound see your MXR dealer variable delay times from 25 to 5C0 milliseconds. MXR Innovations Inc., 277 N. Gcodman Street, A mix control provic es adjustmer t of the ratio Rod-ester, New York 14607 (716) 442 -5320. between original and delayed signals A regeneration control allows the user to return Professional a selected MXR Products Group

Check No. 86 on Reader Service Card

www.americanradiohistory.com celeste and harp I used an RE15. The neously used to feed a multi -track and balance once the first selection, "Pre - electric guitar and electric bass would two -track tape recorder. But for this cission Bacchus" by Delibes, com- only be used in the "Stephen Foster performance I decided strictly to use menced. From then on Gregg would be Medley." I therefore miked both of the input section of the console and mix cueing me as to solos, etc. The mixing those instruments with RE15's and the mics inputs to the stereo bus. The problem would be to create the directed them (angled them) toward stereo output of the console is nor - impression, to the people seated half the percussion and trumpet sections malled to a 3M M79 two -track re- the distance to the stage and beyond, respectively. I felt that these mics corder. I used the derived mono bus that the sound they really heard radi- would capture- enough of the percus- (sum of the left and right stereo bus) ated from the orchestra uniformly in sion and trumpet sound, both direct to feed the active speaker cluster. It all directions. This was accomplished and reflected (off the arched top of the had been decided to record the per- as we eased into the mix, taking note of band shells), thereby saving two mics formance for the Coliseum archives on the natural balance, and reinforcing in the setup. the M79. Therefore, after sound check- what we heard. Under ideal conditions By this time all the folding floor ing and noting where the feedback this process would have been unnec- would have chairs were in place and I started point was I assigned each of the eleven essary since the balances mentally counting, multiplying and mics to the stereo bus and split them been predetermined at a rehearsal. finally estimating their number as I according to their position on the Once we arrived at the balance during made by way back to the southern stage. As a way of keeping a running the first selection we used it as a basis passageway. The console was already check on each mic input I also as- for the remaining selections of the fired up when I reached it. This API signed them to one of the sixteen program that included -"Suite From console is a modified Model 2488. It multi -track metered outputs. Although Water Music" by Handel, "Overture contains 24 inputs with Model 550A I was not going to use any of these out- Russlan and Ludmilla" by Glinka, equalizers, Model 528 input modules puts, the meters would allow me to see if "Capriccio Italien" by Tchaikovsky, and illuminated Model 440 faders, any mic dropped out; because, mic 1 in- "Stephen Foster Medley," "Waltzes" eight submaster buses and stereo and put appeared on meter 1, mic 2 input by Richard Rogers, "Fiddle Faddle" from Girl mono buses as well as a 16 -track multi - on meter 2 and so forth up to eleven. by Anderson and "Selections monitor section. As a modification API The Concert Crazy" by George Gershwin. At each put in twenty -four Model 475 faders At this point, I was operationally new selection adjustments to the basic which derive their multed feed from ready for the performance. The Coli- mix were made based on Gregg's the EQ output. Above each of these seum was beginning to fill with peo- knowledge of the arrangements. We faders is a toggle switch that routes the ple. It was time to talk with Gregg began to feel confident, sensing the fader output to either of another set of about the program selections. We audience silence followed by resound- buses called the "House Feed Buses 1 agreed that the best way to handle ing applause. That which seemed a few and 2." These buses can be used to the no rehearsal situation was to minutes to us turned out to be one hour feed the house system when the other set the faders about halfway in a and twenty minutes to the intermission. buses of the console are being simulta- straight line mix and then ease into a With the intermission over, Arthur

52 MODERN RECORDING

www.americanradiohistory.com Inside every Revox it's all Studer Cap %an rrotor serwc control board using advanced IC desigr tc Separate spoo ing maintain speed accura- motors pf 'nigh Sealed crains_ input cy tc better than 0.2% tc-q_le and ow section and cabinet incocporati ig electron- weignf cons- ruc- safety li-ik socket. Fuller electronica ly ic speed change. Wm. - stab lized powers_p- plÿ circuit. Cap5ta, motor speed pick -up head. Plu9-ín powec a r- plifiers (optional).

Capstan motor of patented corst-Lc- tion, cool runrirg, Pluç -in relays with self - low current con- cleaning contacts, con - sumption and wow trol in all functions and flutter battle, andelininatingdamage than i1-ernatioral fron inadvertent mis- broadcast requica handlirg. ments. Tape :ransport logic Unique -multi -tank control circuit board. micro- switcY Iret, providing or -cif, Specie ly designed speed & spocl are/ low distortion 120 tension variat owls KHz bias oscillator on one control. obviates multiplex interference.

Professional g ass - epoxy ci-cu it bca-d with integral gold - plated switch ccrt- 11- o"_ tacts. _..111111111/411111.211111111111111111111111111111111111 Plr: -in audio irsput; Plug- n record re ay. output amplifiers

Every Rlevox reach ine is Studer and Fevax products without tv th a wcw and flutter eve designed aid built try Studer equzl in their respective fields. below broadcast standarc re- factories i-i Switzer and anc Coisider the Revox A77 - a at.irementi plus a linear re- Germany t3 Studer s_andares studic quality machiie, com- sponse from 20- 20,000 1-I¢ a- From conceplticn tocompon- pactly presented and offering -71e ips. (t 2 dBl and an ultra ents the Reax disp ays the fea:ures inique in its price km noise level, t-te Revox 7' same meticulous atteitior :o class, vvit-t total indifference continues to set the standard detail ¿nd ert- acrdinary pre- to minor tluctuatio'ls in mains by which :he rest are judged. cision :hat has macle StudV- supply idtage or pe-iodicity.

Write o- cal for further informations R OX 155 Michael Drive, E.yosset, N.Y. 11791 (516) 364-'900; West Coast Office (213) 846 -0500. For other countries: Revox I n-errational, F.egensdorf 8105 ZH, Althardstrasse 146, Switzerland. ç ndma-k - ntymatü -nal

CIRCLE 72 ON READER SERVICE CARD

www.americanradiohistory.com Fiedler opened the second half with the "Stephen Foster Medley." Up to [_-__J I I BAND SHELLJ) I this point the mics I had placed for the electric bass and guitar had worked PERCUSSION out as planned. We had plenty of percussion and trumpets. I was BASS GUITAR AMP AMP slightly concerned that when the bass and guitar started playing I would E-V RE15 dr E-V RE15 have to reduce their mic gain, thereby or ENG. not getting enough percussion WOODWINDS trumpets. As it turned out the only HORN c change was for the E V RE20 die E-V RE20 significant gain O guitar whose mic doubled as trumpet N T pickup. But the guitar was in for a few R bars only and then out for good, during B which time the trumpets were silent. I ! E V RE20 A E V E-V RE20 RE20 S then returned the mic gain to the posi- S tion originally set for the trumpets and 2nd VIOLA'S E STRINGS S was over that hurdle. Equalization FIRST throughout the concert changed very VIOLINS little from the initial settings made CONDUCTOR BE"ER during the first selection. The E-V RE20 M'00 ARTHUR remainder of the concert went as fast SOLO FIEDLER as the first half, and we encountered STAGE LEFT STAGE RIGHT no stumbling blocks. When the last selection of the program was over the INSTRUMENT AND MIC STAGE LAYOUT,OF FLOOR AND OVERHEAD MICS audience would not let Arthur Fiedler exit, instead they urged him on and he followed with "Yesterday" by Lennon and McCartney and "Boogie Woogie Bugle Boy." Maestro Fiedler was

whisked away upon the conclusion of the two encore selections although the audience remained- hoping for his reappearance. Unlike after a successful studio mix, there is (for all concerned) after a successful sound reinforcement date such as this one, an immediate feeling of pride. One knows as soon as the last selection is over whether or not what you have attempted to do has either been accepted or rejected. It is something that I look forward to doing again. Working for Automated Processes I get involved in many different console systems for our many customers, but seldom get the chance to operate one in this type of situation. There is nothing like first hand (operational) knowledge of a console's assets or drawbacks. I was happy to relate to my colleagues at API that this console was as straightforward to operate as previously had been touted. The Nassau Veterans Memorial Coliseum, and Gregg Raffa, must also be congratulated for having the foresight to budget a sound system restructuring. This type of thinking can only lead to better musical productions for many people in suburban areas. I think the time has come for large sports complexes to follow the lead of the Nassau Coliseum. J MODERN RECORDING

www.americanradiohistory.com and you'll drop all the others.

There is a new cassette on the market. The FUJI FX, a Pure Ferrix cassette that soon will be the standard of FUJI FILM excellence for top quality, truly high fidelity reproduction. It already is in many parts of the world. Pure-Ferrix FUJI FX gives you the music you want, the way you Excellent Music Performance want your music. Clear, crisp sound over the entire audio frequency range without perceptible distortion. A signal - to -noise ratio of better than 58 db. No hiss. Virtually failure -proof. The finest music at your fingertips without ¶91\v/ the need for any special bias. Drop in at your FUJI dealer today; then drop in a FUJI and hear music as you have never heard it before. ,\s FUJI FX cassettes come in lengths of 46, 60 and 90. Also available, afull line of FUJI FL Low Noise cassettes in lengths of 30, 60, 90 and 120 míinutes. FUJI Photo Film U.S.A., Inc. The Empire State Building, New York, New York 10001. THE TAPE MATS HEARD AROUND THE WORLD

CIRCLE 82 ON READER SERVICE CARD

www.americanradiohistory.com ARTISTS'

By Gil Podilinsky

Vibraphonist Gary Burton has b. 'n a major jazz recording endary. In this interview, conducted in Seattle during his artist for the past twelve years. His early quartet, featuring group's tour with the progressive music group Oregon, Gary Larry Coryell and Steve Swallow, pioneered progressive discussed his recording career which has culminated in a jazz, creating an energy which influenced both jazz and rock. strong, personal relationship with producer Manfred Eicher His duet works with Keith Jarrett and Chick Corea are leg- and E.C.M. (Editions of Contemporary Music).

Modern Recording: Would you give nel. Atlantic's theory was that every- the time I'd joined, he'd left. Anyway, me a chronological history of your thing started at the top, in terms of Manfred kept suggesting we record career and how you came to be on the promo and ad money, and worked this project and since I was at the end ECM record label? down. So, whomever had the latest hit of my contract with Atlantic I Gary Burton: Right. I was first on got the first crack, and so on down to thought, "What have I got to lose ?" RCA. In many ways I was satisfied the lesser -attracting groups. I would We did the whole thing in one after- with that label. RCA was totally have stayed on after my three -year noon. It went very well. It was easy to cooperative - offering unlimited ar- contract expired since my artistic do, a good time -one of the most tistic scope. They backed us to the hilt desires weren't hindered, but the label natural I've ever done. Such a success on some extremely progressive proj- didn't have the right feel. By that tempted me to do more and avoid a ects, giving us good financial assist- time, I had done an album for ECM, large label. ance in advertising the group. Overall, but I was skeptical of ECM, fearing MR: Is this what prompted you to they did a good job. The problem with loss of prestige being on a small, join ECM? RCA is that their attitude towards us unknown label. People never take GB: Well, I had always figured that was one of tokenism -they really those labels or their artists seriously. working with a large label was un- didn't take us that seriously. Since MR: How were you able to be on two avoidable -you needed their finances, they considered us to be a one -of -a- labels at the same time? sales and worldwide distribution net- kind attraction, we were destined to GB: The attitude at the time was work. Although there was the in- have limited success because that's that this was some small German label fluence of the others having done it how they saw us. We were clean, and that the record would never see [Keith Jarrett and Corea both left reliable, friendly, got good reviews the light of day, so they (Atlantic) had large labels to join ECM], I changed which made the label look good and at nothing to fear. Other labels allowed because of the rapport with Manfred. the same time satisfied the need for a their artists this freedom, too, and are He promised U.S. distribution. jazz group on the catalog. Then, after now regretting it. MR: Who was on the label at the eight years, my contract expired. At MR: Which ECM album are you time? that time, due to the death of one of speaking of and how did it come GB: Well, we were about it. Manfred the vice -presidents, RCA had a major about? never really signed artists, he just did change in administration, which GB: The album was the duet with one LP at a time. Keith had one. For resulted in my not knowing anyone. I Chick [Corea] Crystal Silence. It was the first few years the only ones he didn't get on with the new staff, so I either in 1971 or '72, I forget. It came recorded more than once were Keith, opted for Atlantic because I knew about because Chick was already on Chick and me. Later he started with some of the people there. Atlantic was that label and we were doing concerts the Europeans. With the money made equally good in terms of artistic together. Manfred Eicher, the pro- from each successful project Manfred freedom up to a point where it had to ducer, was excited to record the duet would record two or three albums. conform to and be consistent with concerts. At first I was not at all in- MR: You seem to be very content their image. For example, they trigued because it was a small, non- im- with your recording situation. Could wouldn't be up for a project with a ported German label, which at that you give me your impressions of how it symphony. They didn't go to the ex- time had only a few releases out, and is to work with Manfred and how you treme of dictating songs or sidemen, could hardly be called a label. Chick evaluate the success of ECM? but I was lost in the shuffle amongst was excited, but with Chick you never GB: Ok. Well, for me, my records are too many artists and too few person- know what that means. Ironically, by successful because I'm very good

56 MODERN RECORDING

www.americanradiohistory.com BGW PRIME

BGW is about to whet your appetite with their new Model loo Stereo Power Amp.

The Model ioo will drive the most On the inputs, you can get optional difficult loads you can throw at it. Electro- Cannon XLR's and plug -in transformers , , ,and static headphones and reactive speakers are into 8 ohms you get 33 watts per channel, or driven flawlessly due to the ioo's unique 8o watts mono. Into 4 you get a meaty 44. design. No form of current- limiting is used The I M distortion is an incredibly low .off, whatsoever, A precision monitor amp It's about time somebody like BGW for any application , the modular construc- would mete with the competition. Check tion of the >oo means one integrated amplifier out the Model ioo, It's just one of six circuit board with the biggest heat -sink we professional prime cuts.. , of course all above could package in 1-3/4" of vertical rack space: the rest. 340 square inches of efficient sink, No more thermal shutdowns. There's a sophisticated "loss- of-feedback" circuit with front panel LED's. Also unique to the ioo, the L,E,D's are driven by a one -shot circuit for precise clipping indication. SYSTEMS Instantaneous peaks, which BCW Systems 13130 South Yukon Ave., Hawthorne, G go250 (n3) u73-fago get by most amps, are stretched out in our In Canada: Omnimedia Corp., ro245Cote de Lime. Dorval, Quebec Hry' rA3 (514) 636-99P Worldwide Export Agents: Telesco International Corp.. Onc Dupont Street South. L.E.D. circuit so you can see them. Plainview, L.I., New York. (516) 433ß25o

CIRCLE 50 ON READER SERVICE CARD

www.americanradiohistory.com friends with my producer, Manfred hardest thing in recording is to keep more consistently. Eicher. That's the first contrast with a your perspective. After hours of doing MR: Since Manfred is so involved in large company. With a large label, the same piece, it's hard to stand back each project, do you find that as ECM you're lucky if you can be friendly with and get an overall view. I can ask for a grows, this becomes a hinderance, hav- your producer, let alone the president musical opinion from Manfred and get ing to wait to record, Manfred having of the company. Usually they're twen- an answer I can trust, which wasn't less time for you, etc.? ty years older than you and have a dif- the case before. It's as though he's a GB: No, you'd expect that to be the ferent approach to life. The high level member of the group. case, but no. Actually since I've been of success of ECM product results MR: To what extent do you con- on ECM I've made more records in the from the fact that Manfred stays per- tribute to the production /engineering? same amount of time than I did at sonally involved with every record GB: As far as I'm concerned, I don't RCA or Atlantic. With a large com- from beginning to end. He personally believe that a musician ever wants to pany like RCA or Atlantic, it takes six produces each one, so there is a con- get too involved in that. For me, it months to a year to get around to my sistency from record to record, and gets in the way of playing. Manfred turn again what with studio line -up that's his identity- consistent prod- will ask me if I like a certain part, or and producer's schedules. I've made uct. Further, the consistency in prod- he'll ask another musician in the group eight records to date for ECM, I uct is achieved by Manfred's selection if it concerns him, but that's about it. believe, including the new one of Carla of engineers and studios. Since audio But each artist is involved to the end. Bley material. That's too many. I'm equipment is more or less equal the You're involved in the mixing and going to take six months to a year world over, the great variable is the Manfred will fly you to Oslo or Stutt- before I record another. You see, engineer and his ability to use the gart for the final mixing. He is con- Manfred is very involved with the equipment. Manfred has an excellent cerned with every minute detail and I project ideas. For example, the duets rapport with three engineers and their think that that's the way it should be. with Chick were his idea. One of us will respective studios: Martin Wieland at As a result, I'm so relaxed and confi- come up with an idea and approach the Studio Bauer, Ludwigsburg, Ger- dent that I can play to my potential other with it. If he doesn't think the many, Tony May at Generation Sound Studios, N.Y.C., N.Y., and Jan Erik Kongshaug at Studio Arne Bendiksen in Oslo, Norway. All mastering is done either by Kongshaug in Oslo or Wieland in Stuttgart because Manfred feels he communicates best with those two engineers. MR: With your years of experience in the studio, why do you feel that you need a producer? GB: Well, one doesn't necessarily need a producer. I more or less produced my records at RCA and Atlan- tic. I was assigned a producer but I thought they served the purpose of being a link between me, my product and the label. I saw this as their main job, communicating to the label what we had done so they'd know how to mer- chandise it. MR: Did they play a part in what material was selected? GB: No, I decided what would be recorded, they had no influence in that regard. MR: So, how does Manfred function differently? GB: Well, to start with, all the other producers didn't know what I was playing. Manfred is more informed. At best, my other producers only partial- ly understood my overall goal on each album, whereas Manfred plays an active part. He comes to hear me in concert, which is something my other producers never did. Also, being a musician, he understands what you want out of a piece. That is his strength and greatest asset for me because the

MODERN RECORDING

www.americanradiohistory.com FINALLY! PROFESSIONAL AUDIO PRODUCTS MADE FOR THE MUSICIAN.

idrange'r as the treble is turned uo Compound this p-oblem by six or eight channels and the PA. Professional audio products have, unti now, sounds like the world's largest car radio. offered features that work excellently in the All Sunn/ Magna 2000 Series mixers are studio, but somehow fall short in live sound rack mountable with modular channels for reinforcement. Often, they're too expensive, easy service, or too limited, or just too complicated. Write us for more information, a, better Our new Sunn /Magna 2000 Series mixers yet, see your local Sunn/ Magna dealer for have been developed to fill the void left a free demonstration. by conventional professional audio products combining extraordinary features, simple sunn operation, and a price that is truly CONiAGNK reasonable. SUNN MUSICAL EQUIPMENT COMPANY 011.02.7705.MR In addition to electronics that lend them- A HARTZELL CORPORATION COMPANY selves beautifully to recording, we've in- AMBURN INDUSTRIAL PARK ° TUALATIN, OREGON 97062 cluded features to improve their capability Name in live concert applications. Address For example, our new Phase -Synco tone control circuitry eliminates the all too aY which common phase cancellation causes State Lio most sound systems to sound honkey and

CIRCLE 68 ON READER SERVICE CARD

www.americanradiohistory.com concept is feasible, we don't do it. He efficient in Stuttgart. I'd guess that there with an audience and that's what has a way of arranging things that's about two-thirds of the projects we've the real experience is about- commu- unique. His traditional idea of getting done have been tied in with a Euro- nicating to them and getting them people to play together is to book a pean tour. Manfred wanted Steve caught up in it. The least of your wor- concert for them in Austria. That's Swallow to do an album, and it was ries is a slight mistake. In fact, if it how I met Ralph Towner and how only natural that I do it with him. We lends a certain charm to what you're Matchbook came about. Manfred will recorded it at a local studio in doing then more power to you for line you up with a good paying concert, Massachusetts because we wanted to understanding the subtleties. fly you over and things have a way of use some of our own instruments With recording, an entirely different working into an album -which was which were too cumbersome to take to situation exists where most musicians Manfred's plan at the outset. Anyway, Germany. will approach the same piece quite dif- Manfred now has some sixty -five MR: How much rehearsing do you ferently. In the end you want the same records done and he plans to cut down. do before you record? result with the listener, but realize the This past year almost cost him his GB: It depends on the situation. difference in experiences. On the one health. Some of the material we do is very hand, you [the audience] hear it once MR: Do you write out your ar- complex, some simple. Some of the and see the artist playing it and in a rangements? easier material can be worked out in sense he's talking to you. On the other GB: It's about half and half. Some five minutes in the studio. Some re- hand, with recording it's the removed are written out, some are just a loose quire four or five rehearsals before we person looking at the picture on the sketch. Momentum for writing and go for a take. It's hard to rehearse on wall and trying to get the same need for material starts to build as a the road. message. They are two totally dif- recording date approaches. MR: Is it correct to say, then, that ferent mediums. MR: What's your approach once you go for feel and allow for mistakes? MR: Have you always been con- you're in the studio? GB: No, wrong. I go for feel rather cerned with this? GB: We record as "live" as possible, than worrying about the recorded GB: It has always been incredibly but it depends on the project. If it's a sound. The technician is concerned obvious to me and, I think, to any difficult project, I don't mind overdub- with achieving the highest quality in recording musician who plays "live" bing if it's the easiest way to ac- recording, and so am I, but not to the as well, and has had the experience of complish our goal. However, jazz is im- extreme of recording each instrument hearing your record six months later provisation and so you're going for in a separate booth, unable to hear and noticing all the things you don't spontaneity, playing off each other's each other. I won't make that com- like about it. When you first start inspiration. You lose this if you record promise just to be one nth degree bet- recording, your first few albums usual- one instrument at a time. We recorded ter. We won't worry about trying to ly contain all sorts of mistakes and the new album of Carla Bley material get it on the first take. I won't keep the flaws that years later you learn how to totally "live." first take just because it had the feel. eliminate. So, almost at the beginning MR: Why do you record in Europe I don't want to keep mistakes; you learn that it's an entirely different when you could use the New York because on record mistakes have a ballgame than playing "live" before a studio? completely different character and role few people. As a result, I have been GB: If we're doing a tour of Europe, than they do "live." Take everyday aware all along. ECM helps because which we do every year around conversation, for example. We all the feeling of striving for quality is Christmas time, it's nice to record makes mistakes in grammar. If we there. Every record has some com- there because there are no interrup- wrote them down we'd have to re -write promises in it. It's like an author who tions. It's hard to make the transition them, but in conversation they roll on keeps making revisions. Eventually in the States from playing to recording by. It's the communication that's go- you get tired and figure that's good because when you're home there are ing on that's important. If you enough. A record has that quality to always phone calls to return, business recorded it to study what was said, the some extent. If you go too far you lose to be transacted, etc. Whereas in mistakes would get in the way of the the spontaneity. Stuttgart, you concentrate on record- flow. That's the problem created for MR: So then you view all your ing only -with no outside interfer- music because recording is an un- records in terms of progressing, rather ences. We have a good feel for the natural phenomenon. Music was than in terms of trying to reach a peak studio. Plus, we've played so many dif- originally intended to be played into period of performance like most clas- ferent rooms that you stop noticing the air. It was very ethereal with peo- sical musicians. the difference. My only concerns are to ple retaining whatever they could. GB: Yes. We have a consistent direc- keep my mood and to stay totally in- This granted vast freedom to the musi- tion in mind. When we first founded volved with the music. One of the big- cian because he wasn't held responsi- the quartet it was on the concept of an gest problems is that you're always be- ble; having each note held up to him ensemble featuring improvisation of ing interrupted by technical problems for criticism. Recording, however, interacting musicians on an equal so that everything moves at an in- freezes that moment in time like a basis, rather than a rhythm section credibly slow pace. It comes from rock painting and in the process holds the featuring a lone soloist. dates, I think, where it's common to musician far more responsible for MR: Is this consistent with the pre- take three weeks to do a single. It every detail as opposed to the overall sent line-up? makes it more complicated than it real- statement. The musician in the past, GB: It's been the ideology with any ly is. So it's hard for a concert group as well as the present, has always gone group I've ever had since the first such as ourselves to keep a steady flow for the overall message, especially the quartet in the late '60's. We didn't sit and variety going. They're extremely improvising musician because he's down and form a credo or anything,

60 MODERN RECORDING

www.americanradiohistory.com but we wanted to break away from the records in a week of studio time where friend Steve Swallow- someone I've traditional jazz concepts that existed we'd record for four days and mix for played with for ten years. I under- then. Essentially I think we've discon- two days and ended up with two fin- stand his music quite well, and he my tinued doing that. We haven't changed ished albums in six days. We did the playing. It was destined to have more drastically to any other approach. Bley album and Pat Metheeny did a personal identity for me. Also, I think Chick Corea for example, has changed trio LP. Two summers ago we did some of my best playing and soloing is drastically several times in the last ten Matchbook and Ring at the same time. on that record. It was well designed to years. We haven't. Our tunes tend to That's average for us. my strengths. lead to other tunes. There's a progres- MR: You don't become disoriented MR: Of all your projects, any which sion to it all. There's an evolution hap- doing two at once? really didn't happen? pening as to how our style is develop- GB: No, more than two maybe, but GB: A number of them. Most ing and what kinds of tunes we do and two is workable. records don't happen at least part of who we play with, etc. Even our special MR: Prior to ECM, which do you feel the time. I can only think of a few I've projects fit our overall design as to ex- was your best album? made that were consistently on from ploiting what we can do as impro- GB: It would be hard to say. The beginning to end. I can almost say, visers. Even though we haven't run album with Keith Jarrett [Atlantic] "Well, that's the strongest" or out of possibilities we haven't dras- would be one. Tong Funeral another. "That's the weakest track on the tically altered our style. All the way One is a group project and one a record." through I've kept the same type of in- special project, so it would be hard to MR: Is that in retrospect, or do you strument line -up and similar type of pick just one. realize it at the time. tune structure. We didn't decide that MR: One overall? GB: Usually you realize it to some at the outset, it just hasn't died. GB: Yeah, one which was instrumen- extent at the time. In retrospect MR: How long does it take you to tal in focusing our direction was you're usually kinder to the record in complete an LP? Duster [RCA]. It served as a turning that it's a year past and your most re- GB: A couple of days, afternoons or point. cent product is most representative of evenings unless it's a complicated MR: Any on ECM? your playing at the present. Even if project. GB: Certainly Hotel Hello was the your past works are terrible, if you MR: So from the beginning to the most successful from my point of view. have a good new one you feel as though final mastering in which you're in- MR: Why? you have a clean slate because it's volved, it takes about a week? GB: Well, the music, naturally. It what you're doing now that counts. GB: Well, twice now we've done two was an album made with my best

TheeAb, SUI4fl VAL (I FiCeS cl rum parts tw eme ryprwy rapeirs

When it's 50 miles to the nearest drum shop, it's nice to know the Fibes Survival Kit is around. This nifty little kit contains over 110 parts that may save you from embarrassment and frustration. Nuts, bolts, washers. gaskets, springs and lots more. Attractively packaged in a sturdy metal box. yet compact and lightweight. All parts original factory replacements. Another interesting idea from the drum innovators. See your dealer. films The CF Martin Organisation Nazareth, Pennsylvania 18064

CIRCLE 24 ON READER SERVICE CARD

FEB/MAR 1977 61

www.americanradiohistory.com BY LEN FELDMAN

Back to Basic Binaural Multi -Miking

Ic is now more than 40 years since Bell Laboratories From that early, classical recording technique (rare- and A.T.& T. first demonstrated binaural sound to en- ly used today, even in "live" concert hall recording), it thralled visitors of the Chicago World's Fair (1933 -34). was only a short hop and a jump to the multi -mic, That earliest demonstration was repeated at the New multi -track techniques that are in general use today in York World's Fair of 1939 -40 and is, even today, occa- recording studios around the world. Certainly, the sionally resurrected at various science museums in modern recording studio with its 16 -, 24- or 32- channel this country and abroad. mixing capability offers a degree of flexibility that was The premise of binaural sound (and for that matter, never dreamed of when stereo first appeared upon the binaural recording) is that two pickup microphones, scene. But with that flexibility comes a departure from corresponding in location to the two ears of a human sonic realism that to some still represents the avowed being, should be capable of picking up a complete goal of high fidelity and recording. It was a desire on sound field with all its spatial and localization informa- the part of some purists to capture the "true" sound tion. If the mics substitute for our own presence at a field of the "live" listening experience that probably concert hall, then two -channel recordings of what the prompted earliest experiments in four -channel recor- mics "hear," when played back via two transducers ding. We will not dwell upon the reasons why four - directed at our own two ears (ordinary stereo head- channel sound systems were not eagerly gobbled up by phones will do) should place us (psychoacoustically at consumers. That sad story with all its confusing least) in the exact spot that was previously occupied elements has been well documented in print many by those two microphones. Earliest experiments in times in the last couple of years. But we do believe that binaural recording and reproduction were of scientific there are still those among us who maintain a purist's interest, but nothing more. After all, people in the desire for reproduced music that is not the electronic 1930's (and 1940's and 1950's) listened to music via creation of a recording engineer working with often loudspeakers -not via headphones. That was all before unrelated multi- tracks. the stereophone became a staple item in the compo- Nakamichi, the well known maker of top -quality nent hi -fi category. cassette tape decks, has been championing a three -mic As everyone knows, once you reproduce music via "live " -recording technique which they maintain is two loudspeakers, each of the listener's two ears hears ideal for in- the -field "live" recording. In addition to program material from each of the two speakers. For the left and right stereo mics, a third blend mic is used this reason, attempting to make a "live" stereo recor- for vocalist and center -image fill. Of course, the ding by placing a pair of miss just six inches or so reproduced results are still definitely stereophonic, apart (depending upon how fat -headed or thin- headed with no semblance of a 360- degree sound field. All of we are) will result in practically no audible stereo which brings us to the subject of binaural, its possible separation when such recordings are played back over re- birth, and some interesting work that has been go- widely separated loudspeaker systems. It was this ing on behind the scenes at JVC (Japan Victor Com- realization that created the shift from binaural recor- pany). That company has been re-examining the vir- ding to true stereo recording, in which two tues and limitations of binaural recording and microphones were widely separated during the "live" reproduction and their studies have already resulted in recording session, so that sounds picked up by each the creation of one novel product, a combination microphone would be vastly different from those binaural headphone-microphone system, designated as picked up by its opposite number. model HM -200E. Although similar in size and weight

62 MODERN RECORDING

www.americanradiohistory.com to conventional headphones, the product also includes at the recently held Audio Engineering Society con- a pair of matched electret condenser microphones posi- vention in New York, and most recently at a press con- tioned near a simulated auricle (outer ear shape) in ference held by JVC during which they demonstrated a each earpiece. Recordings can be made either by wear- variety of new research and engineering projects which ing the phones normally and facing the "live" program have been going on at their research center in Japan. source to be recorded, or by mounting the phone /mic First, the good part. One of the problems with combination on a supplied "dummy head." binaural (or, for that matter, stereophonic) headphone The resultant recording (and we auditioned several listening is the inability to perceive sounds as coming of them) is completely three -dimensional -as though from "up- front." Headphone listeners have always you were re- living the recorded event in person from complained about that "sound inside the head" feel- the vantage point of where the phones were placed ing. Listening to "processed" binaural sound, via a when making the recording. What is particularly un- pair of speakers using JVC's processor, there is of canny about binaural recording and reproduction is course no problem with front imaging, as the speakers that, unlike stereo, it is possible to sense distance from are located up front just as in a stereo array. Unlike a sound source as well as angular direction. stereo, we were actually able to hear sounds coming The introduction of this product comes at an op- from our extreme right or left and even from slightly portune time, for, both here and abroad, there is a behind us -this with only a single pair of front- posi- growing interest in "live" or "in- the -field" recording. tioned speakers, mind you. The effect is uncanny and Where once the portable cassette was considered to be totally overwhelming. Also, on the positive side, as an anything but a high quality recording instrument, added benefit, the processor has a circuit (with a there is now a growing number of high fidelity, wide - special switch position) which permits you to "ex- response, portable cassette machines which can pro- pand" the sound field using ordinary stereophonic produce every bit as good a stereo recording as is possible gram material. It's as if closely- spaced speakers are with the more conventional home -bound, AC powered, suddenly moved further and further apart and sounds stereo cassette decks. definitely emanate (or seem to emanate) from beyond A few experimental binaural disc recordings do ex- the speaker's actual locations. ist, but it is unlikely that major record companies Now, for the not -so -good part. Listener positioning would make a firm commitment to recording binaural - is extremely critical -especially so in the left -right ly because of the headphone listening limitations im- sense. The binaural- stereophonic listening experience posed by this recording and reproduction method. All is best enjoyed if you sit in a chair at a precisely pre- of which brings us to a second level of research which determined "X marks the spot" point in the sound has been going on at JVC. field. Also, relatively dead rooms work better than reverberant ones. Nevertheless, the binaural processor used to play binaurally recorded programs over con- Binaural Reproduction Via Speakers? ventional stereo speaker systems offers a kind of ambience and spatial realism that we never experienced when listening to any stereo material, however well One of the main reasons why binaural sound has engineered or produced. In many ways, the overall ef- never reached the popularity level which it rightly fect is somewhat like what everyone hoped deserves is the requirement that such programming be quadraphonic sound would be able to deliver but never listened to via headphones. The nation of hi -fi en- quite did. I have the feeling, too, that JVC, having thusiasts and ordinary record -listening folks is not committed itself by the introduction of those novel about to abandon those stereo speakers. With that in headphones- microphones (there are no present plans to mind, JVC has done some exploratory work in deter- offer the electronic processor in this country, though mining how a binaurally recorded program needs to be that may change) to the promotion of binaural recor- processed so that it can be reproduced over a pair of ding and reproduction, is not likely to stop there. Con- loudspeakers and still retain the illusion of precise ceivably, their study of the relationship of human hear- localization. As we noted earlier, part of the problem ing to perception of sound localization, ambience and with attempts to reproduce binaural sound via more may well lead to improvements in the translation speakers is the fact that both ears are now subjected of binaural -to- stereo. After all, when we first started to sounds from both speakers, instead of one speaker listening to stereo everyone thought we had to be per ear. To offset that effect, a processor was glued to one spot in the listening room! developed which applies some out -of -phase left channel Multi -track recording has enjoyed phenomenal information into the right reproducing channel and growth, and I am not suggesting its eventual demise. some out -of -phase right channel information into the What I am saying is that it may not be the only way to left reproducing channel. A moderate amount of time create artistically and musically satisfying reproduc- delay is applied to these cross-fed out -of -phase signals, tion for home music listening. I would also suggest as well as a carefully researched amount of frequency that if you've never heard binaural sound (even over response tailoring. JVC is temporarily calling this headphones) you try to get hold of a disc recorded in scheme a binaural -stereophonic system. We had an op- that manner and listen to it through headphones. You portunity to audition it during a recent trip to Japan, may just be pleasantly surprised. -17

FEB/MAR 1977 63

www.americanradiohistory.com mOcrN RECORDING REPORT

NORMAN EISENBERG AND LEN FELDMAN

Technics RS- 15000S Open -Reel Tape Recorder

General Description: The Technics (by Panasonic) rollers, contacts two of the heads, wraps around a model RS- 1500US is an open -reel three -speed (15, 71/4 large bottom roller and continues up the "U" past two and 33/4 ips) stereo recorder of unusual mechanical more heads, and a similar arrangement of guides, design and very high performance. Its head configura- pinch- roller, and tension roller, and then winds onto tion includes separate heads for two -track erase, the takeup reel. Despite the seeming complexity of the record and play, plus a fourth head for four -track tape path, threading tape is very simple and involves (quarter- track) play. It accepts reels up to the little more than allowing the tape to descend down one 10'/cinch (NAB) diameter. side, fit around the bottom roller and come up the The most striking visual aspect of the 1500 is its other side. One of the guides, on the ascending side tape -drive arrangement which is quite unlike anything just below the take -up tension roller, serves also as a we have yet encountered. The tape, from supply to "tape position marker." The bottom roller works in takeup reels, describes a "U" path through and around conjunction with an illuminated tape- strobe indicator, a novel arrangement of guides, capstans and heads and there is a vernier adjustment elsewhere on the that makes for very close coupling of the tape to the deck to vary tape speed by ±6 percent. The bottom heads and also helps to isolate the tape's motion from roller -assembly also has a portion that, fitted with unwanted outside influences. This "isolated loop" tape markers, can be used to locate a desired point on a tape path is achieved as a result of the use of a direct -drive for editing /splicing work without the need to mark or capstan motor -a very slow- moving DC motor which cut the tape at the head. The head -cover is fitted with a is locked to a quartz- controlled servo circuit. switch to select either the two -track or the four -track The motor drives an oversize capstan which is en- playback head. gaged by two pinch- rollers at the "tops" of the "U." Below the supply reel and to the left of the head The complete tape path extends over identical mem- assembly are two VU meters, calibrated from -20 to a bers on both sides of the "U" so that it is symmetric. bit over +3. Their ranges can be extended to +6 by a The tape coming off the supply reel goes around a ten- switch elsewhere on the deck. Below each meter is a sion roller, then passes over a series of guides and calibration screw adjustment. Below the pair of meters

64 MODERN RECORDING

www.americanradiohistory.com are four controls for power off /on; tape speed vernier or knobs are six lever switches. The first two are for "pitch;" tape speed selection; and timer -start. The tape /source monitor selection on each channel. The pitch control must be pulled to become operative; next two handle EQ and bias in three steps each. The when speed is set (on the nose as per the strobe or last pair are left- and right -channel recording mode deliberately under or over as desired) the switch may (on /oft) switches. be pushed in to "lock" the adjusted speed. The rear of the deck contains phono jacks for line in Below the takeup reel and to the right of the head and out signals (there are two sets each for in and out), assembly are a cue (edit) lever and a real-time tape a socket for use with an optional remote -control ac- counter and its reset button. The counter is referenced cessory, a power selector for AC or DC (the 1500 can be in minutes and seconds to the fastest speed (15 ips). operated on 24 volts DC if required), a grounding post, For 71/2 ips, the time shown is half true time; for 33/4 ips the power connector and cord and an unswitched AC it is one - fourth true time. convenience outlet. There also are several supporting Below these items are the pushbuttons for transport feet that permit installing the deck horizontally. action. Operating literally at finger -touch pressure, "Spill" recording is possible (i.e., running the tape at they provide the usual functions of record, pause, re- normal speed without using a takeup reel) if you hold wind, stop, play and fast forward. Complete fast - down the upper tension roller for an instant to "fool" it buttoning is possible, from any mode to any other as you press the start button. mode. Speed also may be changed during record or play without stopping the transport, and a kind of Test Results: After some experimenting with the "punch -in" recording is available in that if the play tape deck's EQ and bias switches (increasing numbers button has been activated, the operator may touch it correspond to higher values, apparently), we settled on

Double Pinch Rollere VU Meters (felt /night) Ultra Large (30 mm) Diameter Capstan Timer Start Switch Cue (Edit) Leer Pitch Control Real Tima Tape Counter Power Switch (on /dt) 2 Track /1 -Track Playback Head Switch Tape Speed Selector Stroboscope Lamp and Marker,

Meter Scale Selector Reversing R Iler Mic Switch Attenator Equalizer Selector

Headphone Jack

Microphone Jacke Monitor Switches (len /right) Output Level Control glen /right) Edit Dial Line In Level Control (len /right) Pre -Set Markers Mk Level Control (len /right)

and the record button simultaneously to put the deck a "2 -2" setting which seemed to work best for the into recording mode. TDK -Audua tape we used for measuring performance. Electronic controls are grouped across the lower por- On all counts, the Technics RS- 1500US was either "on tion of the deck. At one end are the meter-scale selec- spec" or it did better than spec'd. For instance, tor previously mentioned, a microphone attenuator, a response was consistently a little better than claimed; stereo headphone jack and left- and right -channel distortion lower; signal -to- noise, more favorable. microphone jacks. To their right are three knob groups Audio performance, in short, was at least as good as for microphone level, line input level and output level. that encountered so far on any high -performing open - These all are dual -concentric knobs for separate con- reel deck. Mechanical performance was exceptional, trol on each channel. The input knobs also have mov- with outstandingly low figures for wow and flutter, ex- able outer rings which may be rotated against num- tremely high speed accuracy and a general smoothness bered scales that serve as reference markers. Mixing of of tape handling that was exemplary. One operating mic and line inputs is possible. To the right of these aspect that we deemed notable (and which we had not

FEB/MAR 1977 65

www.americanradiohistory.com seen before) was the almost constant speed of the tape Technics has come up with a huge (3.4 cm diameter) during either of the fast -wind modes, with none of the capstan which is a direct extension of the motor shaft, terrific acceleration of a tape reel as the end of the but which has a pinch wheel on either side to provide wind approaches. Yet, with all that control, fast wind the desired "isolated loop." The resultant low wow - of a 3,600 -foot, 101/2-inch reel took only 145 seconds. and- flutter figures speak for themselves. So does speed accuracy which is absolutely perfect. It is independent General Info: Housed in a matte -black metal case of line- frequency changes since the strobe- marked with wooden sides. Supplied with two 101/2-inch reel wheel rotated by tape motion is illuminated by a lamp adapters; one empty 101/2-inch reel; plastic slip -on flashing not at the usual power -line frequency but cover; two pairs of signal cables. Dimensions are 18 under the control of the same quartz oscillator that inches wide; 17% inches high; 9 inches deep. Weight drives the capstan motor. I liked being able to alter is 51 pounds. Advertised price is $1500.00. pitch during recording as well as during playback; I also liked the general quality of construction of this Individual Comment by N.E.: Ingenuity of deck which seems to me capable of providing the kind design can be fascinating for its own sake, but when it of continuous long- hours-per -day service demanded of results in a product of demonstrable excellence, as machines in professional or studio applications. It is with this tape recorder, one can only applaud -and my guess that this deck would find a welcome place in perhaps wonder too why someone had not thought of such use as well as in the listening rooms of dedicated doing it this way before, and, concomitantly, whether audiophiles who can appreciate its superb performance this is the way more and more tape -deck manufac- and brilliant engineering. turers may be doing it in the future. The tape -drive system here is utterly sensible and effective in moving the tape smoothly and silently, and it is obvious -from o studying and using the machine -that Technics engineers also have taken advantage of the overall design 10 1'h ips a. i to enhance it with some very useful ancillary benefits, 31/ ips such as the speed -or- pitch- adjustment during record ° 20 and play; the readily accessible head block; the clever means for locating a point on the tape for splicing; and 30 more. It is easy, when contemplating all this, to over- sonic performance of the RS- 1500US, look the purely 20 100 10K 20K - but without doubt, its excellence (in terms of wide FREQUENCY -Hz range response, very low distortion, very good signal - to- noise) is in great measure related to the super- Technics RS- 15000S: Record /playback response, sophisticated transport action in addition to some 71/2 and 33/4 fps. - 10 dB record level using TDK - very canny circuit electronics. Audua tape (Bias: "2;" EQ: "2 ").

0 TECHNICS RS- 150005 TAPE RECORDER: Vital Statistics

PERFORMANCE CHARACTERISTIC LAB MEASUREMENT o,! 10 Record /play frequency response' 15 fps ±3 dB, 28 Hz to 38 kHz ±3 20 Hz to 28 kHz 0 71/2 fps dB, 20 33/4 fps ±3 dB, 20 Hz to 16 kHz Harmonic distortion 0 VU, std tape 15 ips 0.55% -30 71/2 fps 0.50% 334 ips 1.6% +3 VU, std tape 15 ips 0.85% 71/2 ips 0.87% 20 100 1K 10K 20K 31/4 ips 1.6% FREQUENCY-Hz Recording level for man 3% THD 15 ips +8 dB RS- 1500ÚS: Record/playback response, 15 71/2 ips +8dB Technics 31 ips +5.5 dB ips. 0 dB record level using TDK -Audua tape (Bias: Best S/N ratio 15 ips 62 dB "2;" EQ: "2"). 71/2 ips 63.5 dB 31/4 ips 60.5 dB Input sensitivity, mic 0.28 mV Individual Comment by L.F.: It should be line 62 mV Output level, line 620 mV pointed out that in the RS- 1500US not only is the headphone 95 mV at 8 ohms capstan motor a quartz -oscillator controlled direct - Bias frequency 125 kHz drive unit, but the reel motors also are direct drive. Speed accuracy ±0.1% Wow and flutter (WRMS) 15 ips 0.01% There are, in short, no belts or other linkages in this 71/2 ips 0.015% transport; instead its three motors are totally elec- 31 ips 0.04% tronically controlled. And instead of a double- capstan "Using TDK Audua tape; deck EQ and bias switches set to no. 2 positions. arrangement to achieve closed -loop tape drive, CIRCLE 7 ON READER SERVICE CARD

66 MODERN RECORDING

www.americanradiohistory.com MXR DIGITAL DELAY SYSTEM

General Description: The Digital Delay device delay time knob. The sweep width control determines from MXR Innovations, Inc. is essentially a self - the effect of an internal sweep oscillator on the delay contained audio delay line. An input signal is pro- time, from inoperative (delay time may be manually cessed through the unit's circuitry so that it is delayed controlled) to maximum automatic; the sweep frequen- by a specific (and controllable) amount of time. The cy knob may be used to vary the rate of the sweep over delayed signal then is mixed back with the undelayed a range from 0.1 Hz to 10 Hz. Pulling out this control ( ") signal "dry at the device's output. By varying the provides a second range of 10 Hz to 1 kHz. amount of delay time chosen the user can create a The output mix control varies relative levels of the variety of "basic effects" such as discrete echoes, dry and delayed signals; it too may be pulled out if one vocal doubling and hard reverb. Additional circuitry wishes to reverse the phase of the delayed signal and controls, however, broaden the functions of the before mixing it with the dry signal, which could prove device to achieve additional effects which include useful for such effects as flanging. The regeneration flanging, pitch alteration (vibrato, pitch- bending), fre- control permits a variable amount of the delayed quency modulating and infinite (non -deteriorating) signal to be fed back to the input and delayed again, repeat -hold. which enables (depending on the length of the delay The time-delayed signal is produced in this device by time) such effects as multiple repeating echoes or a a digital random access memory, a method derived simpler reverb effect. The level control lets the user ad- from computer technology which differs considerably just input and output circuitry for an optimum match from previous shift -register methods. In the MXR between the input signal and various operating levels device, the analogue input signal is converted to of the device's internal circuitry. Associated with this digital form, stored in the memory circuit and removed control is limiting circuitry to prevent overdriving the at some designated later time. It then is converted input, and an LED indicator labeled "overload" will back to analogue form and fed to the output. light up when limiting occurs. Externally controlled The device, of rack -mount proportions, is controlled functions also are available. The front-panel delay - from its front panel on which all controls are logically bypass jack allows the delay circuitry to be removed grouped. These include: the power on /off switch; a from the signal path by means of an external switch. series of ten pushbuttons for selecting the time -delay The rear -panel delay jack may be used to disable the range; a delay time control knob; sweep width and fre- front -panel delay time control and thus allows external quency knobs; a mixing knob; a regeneration knob; control of the delay time. The repeat hold jack allows and a level control. In addition, the front panel con- an external switch to be used for activating the tains three phone jacks for delay bypass and for signal repeat -hold function, thereby enabling the user to input and output. The rear apron contains additional simulate sequencer effects. jacks for external delay hold and for repeat hold, and An optional accessory is a foot switch for controlling the unit's AC power cord. the delay bypass or repeat -hold functions. In the delay range button group, each switch selects The input to the Digital Delay uses a high- imped- a 4:1 (two- octave) range of delay. Amounts are in- ance balanced line; the output is low- impedance, dicated above each pushbutton (X 1 msec.) and range unbalanced. from 1.3 to 640, in steps of double values (except for the first two which jump from 1.3 to 2.5). The actual Test Results: The MXR Digital Delay device im- delay time within any given range is adjustable via the pressed MR's testing panel as a versatile professional

FEB/MAR 1977 67 www.americanradiohistory.com performance, its list price of just under $1,000 represents very good value.

General Info: In black metal case with dark blue front panel. Dimensions: 19 inches wide (including standard rack -mount ends); 31/2 inches high; 7 inches deep (6.13 inches behind mounting surface). Weight is 9 pounds. Price is $999.95. Additional memory circuits, $150; road case, $39. Joint Comment by L.F. and N.E.: Intrigued by the prospect of sonic miracles promised by this device we reversed our usual procedure for evaluating equipment, and decided to use it before measuring it. It would be impossible to detail all the effects achieved, but to summarize briefly: Single, discrete echoes were created. By choosing about a 40- millisecond delay and adding a little of sweep width, we recorded one person MXR Digital Delay: The upper scope trace in each photo is the input signal -a tone burst. In the photo above, the mix control has been set so that output contains only a delayed version of the input signal, displaced in time on the scope face -to the right of the input, as seen in the lower (output) trace.

MXR Digital Delay: By setting the mix control to a mid point, both "dry" and delayed signal are combined at the output.

MXR Digital Delay: Turning up the regeneration control, we produce a delayed signal at the output which also has successive repetitions at a decaying rate to produce a reverb effect. tool, capable of a variety of effects useful for studio and stage applications. Lab measurements and some 'scope patterns confirmed the unit's specifications, and its action in producing signal effects. Within the bandwidth selected, the device maintains flat frequency response, and very low distortion (harmonic and IM), plus a better than 80 -dB dynamic range, and a noise -level low enough so as not to intrude on the many effects it is capable of producing. In use -tests, the MXR was put through several of its paces and it "did its thing(s)" responsively, and with none of the distor- the dry signal is added to tion, twanginess or raggedy quality of traditional MXR Digital Delay: Finally, signal to produce the overall spring -reverb (mechanical) devices. MR feels that in the delayed- reverberant in the lower trace. view of the device's versatility and generally sterling output signal shown

MODERN RECORDING 68 www.americanradiohistory.com singing; the playback sounded like two persons MXR DIGITAL DELAY: Vital Statistics PERFORMANCE CHARACTERISTIC LAB MEASUREMENT singing. In fact, the effect was so realistic, we double - Frequency response, dry +0, -1 dB, 20 Hz to 28 kHz checked the tape to make sure it did not actually con- Frequency response, selected bandwidths tain separate tracks recorded at different times. Later, 20 kHz +1, -3 dB, 20 Hz to 18 kHz by 10 kHz +1, -3 dB, 20 Hz to 10 kHz means of the generation control we created reverb 5 kHz +1, -3 dB, 20 Hz to 5 kHz effects that suggested a room that was acoustically 2.5 kHz +1, -3 dB, 20 Hz to 2.5 kHz much "harder" or "more `live' " than we knew the Input impedance 200k ohms, balanced C.M.R.R. room in which we were in 36 dB actually was. We also piped a Output impedance 100 ohms rhythm sequence, using percussives, into the device Maximum input level +20 dBM and operated the repeat hold feature which made it Maximum output level +20 dBM available as accompaniment for as long as someone Residual noise -82 dB THD (at 1 kHz, near overload level) 0.09% held his foot down on the external footswitch. (40 Hz to 7 kHz) 0.6% Our conclusion, in short, is that this unit can do IM (60 Hz /7 kHz, 1:1) 0.13% more and do it better and more economically -for the (60 Hz /7 kHz, 4:1) 0.6% Level matching range - 20 dBm to +15 dBm performing musician and/or the recording engineer- Regeneration range 0 to 100% than the complex mechanical and tape -loop delay Variable delay range 4:1 (continuous) setups (most of which needed constant servicing or Sweep frequency range 0.1 Hz to 1 kHz (in two ranges) replacement) that were found in studios some years Sweep width 0 to 100% (4:1) ago. CIRCLE 18 ON READER SERVICE CARD

Crown EQ -2 Synergistic Equalizer

General Description: The Crown EQ -2 Equalizer channel, and their respective hinge -point (the fre- is a stereo (two- channel) "graphic equalizer" designed quency at which tone-control action takes place) to enhance the general fidelity and enjoyment of knobs. The main knobs are marked -20 and +20 dB playback by providing the listener with a flexible at either extreme of rotation. The hinge knobs for the means of modifying the signal to compensate for treble controls are marked at 1, 5 and 10 kHz; the amplitute deficiencies in room acoustics, reproducing hinge knobs for the bass controls are marked at 180, equipment and program material. The description 900 and 1800 Hz. "synergistic" derives from the fact that in addition to Additional controls include pushbuttons for flat/ the equalizer per se, the device also includes a hinge - equalizer and flat /tone on each channel, and the unit's point (shelving) tone -control system. Both the power on/off switch. Visual indicators include a pilot equalizer and the tone -control systems are completely lamp for power on, and overload warning lights for independent on each channel, with all controls and ad- each channel. justments duplicated for each channel. Signal connections are made at the rear.. All connec- The equalizer (on either channel) is divided among tors are standard phone -jacks. One stereo pair is for eleven sliders, each with a range from +15 to -15 dB balanced inputs and has an associated level switch (0 and with detents at 0, 1, 2, 3, 4, 5, 6, 8, 12 and 15 in or +10 dB gain). Another pair is unbalanced and each each direction. Nominal center frequencies run from has a screwdriver level adjustment. There are two sets 20 Hz, in octave values, to 20 kHz. Under each slide is of outputs, one normal and the other inverted. The a knob for adjusting the center frequency "around" its EQ-2 is intended for patching into a playback system indicated nomihal value. between a preamplifier and a power amplifier. It also Centered between the left- and right- channel sliders may be connected into the tape -monitor facility of an is the stereo tone -control system with eight knobs: integrated amplifier or receiver via the tape -in and out four to handle treble and bass individually on each jacks of such a unit.

FEB/MAR 1977 69

www.americanradiohistory.com An additional option for using the EQ -2 is cascading Test Results: To begin with, MR either confirmed EQ -2. its two stereo sections for a mono full 1 /2- octave or bettered all of Crown's specifications for the from equalizer with 22 bands. The device may be rack - Within plus or minus 0.1 dB, response was flat mounted, installed in an accessory cabinet or placed 20 Hz to 20kHz; within a 0.2 dB tolerance, response directly on any convenient surface. Its line cord is ter- ran from 10 Hz to 100 kHz. The EQ -2 handled 12 volts minated in a three -prong plug but Crown supplies a RMS before clipping. At rated output of 2.5 volts two -prong socket adapter with the unit. The EQ-2 is RMS, hum and noise were 90 dB down, and IM was ex- supplied for use on prevailing power in a given locale, tremely low at a measured value of only 0.0045 %. All but an internal jumper arrangement permits modify- controls and adjustments operated over the ranges ing the AC supply to operate on 100, 120, 200, 220 and claimed. During operation, the EQ -2 consumed 10 240 volts AC. watts of line power. Input impedances are 25K [unbalanced, and 20K Beyond measurements, however, MR's panel was balanced (transformerless)]. The normal and inverted impressed with the effectiveness of the EQ -2 in achiev- outputs may be bridged for 600 -ohm balanced output. ing its intended aural results in various playback Normal output impedance is 300 ohms. systems and in different rooms (see individual corn - ments below). MR also was impressed with the very sophisticated tone-control system included in the device. The use of the tone controls as the first step in the equalization process affords a degree of flexibility considerably greater than what might be obtained from the equalizer alone. That is to say, the tone - controls can introduce relatively broad changes over large portions of the audio spectrum, while the equalizer bands themselves may be used to compensate for very specific (and often narrow) bumps and valleys in the room's response. Although some degree of compensation can be accomplished by ear, the EQ -2 is best used with additional equipment - specifically a pink -noise record (supplied with the EQ -2) and an SPL meter- micro- phone which is planned to be made available from Crown dealers on a loan basis to purchasers of the EQ -2. -2 workmanship and Crown EQ -2: Composite 'scope photo shows boost Examination of the EQ revealed -epoxy cir- and cut range of each of the eleven equalizer bands. layout of the highest order. Identical glass All frequency -centering controls were set to their cuit boards are used for each channel's circuitry. own com- mid -points for this display. Power supply parts are fully shielded in their partment, well removed from the signal- circuit boards. All twenty -two IC's are mounted in sockets. Active RC filters employing negative feedback are used to achieve the now -popular "inductorless L" for each filter band. Each equalizer band is actually a separate amplifier, and the outputs of all bands are added in a " summing amplifier" which results in the least amount of interaction between adjacent bands. Sliders are step attenuators using precision resistors rather than potentiometers.

General Info: EQ -2 dimensions are 19 inches wide (including standard rack -mount ends); 71/2 inches high; 141/2 inches deep. Weight is 16 pounds. Supplied with signal case with brushed aluminum front panel. Supplied with signal cables and mounting hardware. List price is $899. by L.F.: There is much Crown EQ -2: Extremes and center hinge -points of Individual Comment EQ-2 "eleven sliders per chan- bass and treble tone controls were used to trace more to the Crown than of these extras that these twelve response curves (plus flat response nel" and it is the inclusion equalizers. A reference). Hinge points are continuously variable distinguishes this unit from the other above. In addi- between extremes shown, as are amplitudes of good deal of this has been explained on the unit's ability to "move" boost or cut. tion, I might comment

MODERN RECORDING 70 www.americanradiohistory.com the center of each equalizer band's frequency range by ings or of ineptly limited FM signals: the other was the41411 nearly half an octave, a feature that makes the overly beefed -up limited range kind of sound often equalizer extremely powerful. The more I experi- heard in some newer recordings or, again, on FM. The mented with, and investigated the performance poten- EQ -2 comes mighty close to disproving the old adage tial of, the EQ -2 the more impressed I became with it. of making a silk purse from a sow's ear. Using a pink -noise source and a sound -level meter, I was able to equalize a listening room so that its end response closely resembled the "ideal curve" published in the EQ -2 owner's manual. This curve, by the way, is far from a ruler -flat line; rather it goes after flat response from 20 Hz to about 8 kHz, and then introduces a 6- to 8 -dB rolloff above that frequency. If you are accustomed to listening to a playback system in a room that characteristically boosts certain low frequencies, and /or cuts highs, the experience of hearing "middle voices" with correct presence, clean bass and smooth but still -crisp highs -after that room has been 1 correctly equalized -can be a thrilling rediscovery of what "hi -fi" is all about.

Individual Comment by N.E.: The pink -noise source and SPL meter technique is of course the preferred way to make best use of the EQ -2, but this device is so effective that even the most rudimentary compensation -by -ear can yield results that are audibly and demonstrably an improvement over one's previous acoustic environment. An approximation in one Crown EQ -2: Bottom view (above) and top view of in- room of a low- frequency resonant mode prompted a ternal wiring and layout. lowering of that resonance via the appropriate slider channel (this happened to be for the right -hand channel), and suddenly the articulation of a massed chorus became startlingly clear where it had been blurred and indistinct before. In another test, a gross imbalance between two very dissimilar speaker systems was corrected to a greater extent than had been possible hitherto using conventional controls. There were two types of inferior source material that proved suscepti- ble to improvement thanks to the EQ -2 -one was the kind of "washed out" or "pale" sound of older record-

CROWN EQ-2 SYNERGISTIC EQUALIZER: Vital Statistics

PERFORMANCE CHARACTERISTICS LAB MEASUREMENT Frequency response ±0.2 dB, 10 Hz to 100 kHz ±0.1 dB, 20 Hz to 20 kHz Clipping level (before overload) 12 volts RMS

Hum and noise (below 2.5 a rated output -90 dB IM (at rated output) 0.0045% Equalizer range ±15 dB Tone control range ±20 dB; adjustable bass turnover, 180 Hz to 1800 Hz; adjustable treble

turnover, 1 kHz to 10 kHz

Input impedance 25K unbalanced; 2011 balanced Crown EQ -2: Each octave equalizer band is Gain unbalanced: unity; "tunable" over approximately one -half octave above balanced: unity or 10 dB switched r below its nominal center frequency. CIRCLE 20 ON READER SERVICE CARD

FEB/MAR 1977 71

www.americanradiohistory.com Sansui BA -5000 Power Amplifier

General Description: The Sansui BA -5000 is a switched and rated for 150 watts maximum. Dominat- stereo basic or power amplifier for use with a separate ing a large portion of the rear is a fan which is intended preamp, or with any other device delivering a line -level to come on automatically should the heat -sink temper- or "high level" signal (rated input sensitivity for full atures reach 70 degrees (C). output is 700 millivolts). The BA -5000 has its own in- The topside of the amplifier contains diagrams show- put level controls, one for each channel. A switch at ing the wiring layout of the transformers, plus a block the rear may be used to convert the BA -5000 from diagram of the amplifier circuitry. stereo to mono, with a doubling of the output power The BA -5000 uses auto -transformers in each chan- available. The unit is housed in a rugged metal case. nel's output stage, which is how it can be spec'd to pro- The front panel has handles for sliding in and out of a vide identical power outputs for different load im- rack -mount or shelf. The rear also has handles which, pedances. since they are fitted with hard rubber "feet," also permit the amplifier to be rested vertically with the front Test Results: In all of MR's tests, the Sansui panel facing up. BA -5000 exceeded its published specifications, in- The front panel contains two meters that monitor dicating that not only is the unit "conservatively the output. Each meter is calibrated in both watts rated," but splendidly crafted, with ample margin for (from below 0.02 to a bit over 300) and in decibels (from performance beyond its rated values which are very below -40 to +5), with zero dB corresponding to 300 high to begin with. Power output exceeded the rated watts which is the rated output per channel, both 300 watts by at least 25 watts before reaching the channels driven, from 20 Hz to 20 kHz with no more rated THD of 0.1 %. In our tests (including the con- than 0.1% total harmonic distortion. The channel level tinuous rated power output measurements, and the controls are under their respective meters. Also on the FTC pre -conditioning test at 1/3 rated output), the front are a power on /off switch, and a power /protector cooling fan never had to come on, suggesting of course indicator lamp which glows green when the amplifier is that the amplifier never reached 70 degrees (C). As for running normally, or turns red should the built -in pro- the protection circuits, the only way we could get them tection circuits become activated. The panel is finished to trigger was by briefly shorting the outputs while in semi -gloss black; the handles are heavy gauge the amp was delivering rated power. The program bright metal, as are the end -strips that run across the stopped instantly, and it returned just as quickly when top of the unit. the short was removed; there was no evidence of audi- Inputs at the rear consist of a pair of phono jacks for ble or physical damage. right and left channels. To their left is a grounding A question was raised about the relatively low post; at their right is the two- channel/mono mode damping factor (10) which results from the use of switch. For speaker outputs on each channel there are auto -transformers in the output, but it is worth noting four binding posts; in each group one is "ground" or that the figure of 10 applies to 8 -ohm loads (where the "negative" and the other three are marked in values of entire transformer winding is in the circuit, in series output impedance: 2, 4 and 8 ohms. Between the with the load). In this type of circuit, the damping fac- ground and 2 -ohm terminal on each channel the legend tor actually goes up as lower impedances are tapped on "25 V" appears. Between the two 4 -ohm terminals the transformer, reaching about 15 for 4 -ohm loads, (across the two channels) the legend "70 V" appears. and over 20 with 2 -ohm loads (e.g., four 8 -ohm These designations apply to the use of the BA -5000 in speakers in parallel). Normally, only an amplifier with certain professional applications (as in multiple an output transformer tapped this way will accept speaker sound -distribution systems) although no in- such a load while delivering its full rated power output; structions on this subject are included in the owner's transformerless amplifiers will invariably have their manual. Multiple speaker hookups are covered in protection circuits triggered under such loads. terms of combining impedances for the optional 2, 4 or In listening tests, the BA -5000 performed in ex- 8-ohm outputs (e.g., four 8 -ohm speakers in parallel cellent fashion, providing good solid bass, an open present a 2 -ohm load; and so on). midrange and adequate recovery from transients. Cir- Also at the rear is a convenience AC outlet, un- cuit construction and layout were first -rate, with over -

72 MODERN RECORDING www.americanradiohistory.com size parts and careful detailing. The chassis uses 2 mono), and the CA -3000, a control preamplifier with a mm -thick steel plates. Low -level circuits, such as input fairly sophisticated tone -control arrangement and and driver stages, are energized from an independent front -panel meters, among other features. dual power supply. The output transformer functions as a subsonic filter to block spurious signals (turntable rumble, or those produced by warped records, etc.) which otherwise could cause extreme speaker -cone excursion that could result in an increase in IM distortion or even in speaker damage.

General Info: BA -5000 is 19 inches wide; 83/4 inches high; 18`ya2 inches deep. Weight is 108 pounds. May be rack -mounted. Owner's manual is thorough and well - illustrated; (printed in three languages: French, Ger- man and English). List price: $1,300.

Individual Comment by L.F.: The use of output transformers (auto- or otherwise) may be arguable, but one thing is certain. By tapping into the auto winding to provide a perfect match between the output transistors (a total of eight per channel in the BA -5000- four in each half of the DC- coupled, complementary Sansui BA -5000: At rated output. (300W, 1 kHz), 2nd PNP -NPN circuit) and the auto -transformer winding harmonic is down 70 dB, while 3rd harmonic is down (in this case, at the 2 -ohm tap), an optimum impedance approximately 65 dB, compared to fundamental. match is maintained between the outputs and the speaker load, be it 2, 4 or 8 ohms. And because the auto -transformer involves no high- impedance pri- maries (as with tube amplifiers), the usual objections to transformers -such as leakage inductance, loss of high- frequency power response, undue phase -shift and so on -do not apply here. If there is one obvious disadvantage to this design approach it is the extra weight imposed by the two huge output transformers. On the other hand, the added poundage might not matter very much to anyone purchasing an ultra -reliable power amplifier that's intended for continued use day after day. Personally, in any event, with sound -reinforcement speaker quality being what it is, I'd hate to see anyone go to the ex- pense of using this amplifier for that less- than -hi -fi application. The BA -5000 belongs in a recording studio, where its power capability and fail -safe reliability make it ideal for driving monitor speakers to the kind Sansui BA -5000: When driven beyond clipping, out- of distortion-free SPL levels that studio personnel and put includes decreasing amounts of higher order recording artists prefer. It also would do very well, of odd harmonics (primarily). "Pips" at left are hum course, in a super home -installation. components which develop when power supply is To avoid possible damage (to the amplifier or to the driven beyond its normal capacity. user), I suggest that no individual try to unpack and install it alone. Get a fellow enthusiast to help lift that SANSUI BA-5000 POWER AMPLIFIER: Vital Statistics concentrated 108 pounds. PERFORMANCE CHARACTERISTIC LAB MEASUREMENT Power output per channel (continuous, 1 kHz; 2, 4 or 8 ohms) 355 watts Individual Comment by N.E.: The only feature Continuous power per channel left out of the BA -5000 might be a set of wheels (20 Hz to 20 kHz; 2, 4 or 8 ohms) 325 watts to Power bandwidth move it about. Anyone 18 Hz to 31 kHz have a block -and- tackle? Frequency response +0, -2 dB, 8 Hz to 45 kHz It might be pointed out, seriously speaking, that the Damping factor (8 ohms) 10 BA -5000 is the flagship (and in view of its weight and THD, rated output 0.02% IM, rated output 0.09% bulk, this might be more than a metaphor) of the San - Hum & noise below sui "Definition Series" of high -performing rated output -102 dB electronics Input sensitivity 620 mV which so far includes, in addition to this monster, a Power consumption 1,350 watts, max. smaller powerhouse (the model BA 3000 rated for 170 watts per channel in stereo, or 340 watts strapped for CIRCLE 17 ON READER SERVICE CARD

FEB/MAR 1977 73 www.americanradiohistory.com Reviewed by: SEDGWICK CLARK CHAS FARREL -KIMBRELL NAT HENTOFF H.G. LA TORRE STEPHEN PEEPLES GIL PODOLINSKY nn RUSSELL SHAW

used to record the band- they call it a "trade secret" -but the chemistry is in the grooves, and when all is said, what they came up with is more important than how they did it. In any case, it's a good formula. In ROBIN TROWER: Long Misty Days. this album we are witnessing the slow [Robin Trower, Geoff Emerick, pro- but steady development of a guitarist ducers; Geoff Emerick, engineer; still years away from his peak. Mean- recorded at Air London, London, while, this reviewer values every step England.] Chrysalis CHR -1107. along the way -steps that further his limits a little more each time. S.P. Performance: Guts with taste Recording: Electric RAY BARRETTO: Tomorrow: Barretto It seems as though Robin Trower Live. [Ray Barretto, producer; Jon has been working toward this album Fausty, engineer; recorded "live" at for years. He's never lost the gritty The Beacon Theatre, N.Y.C., N.Y.] style he learned from American blues Atlantic SD2 -509. and R &B men like Muddy Waters and James Brown, but it's taken him Performance: Honest awhile to begin defining his own style ROBIN TROWER: Ethereal Hendrix Recording: "Live" or Memorex? after a pronounced middle -period influence by the immortal Stratocaster but in others Trower's identity begins Unfortunately, no credit is given as guitar dreamer -Jimi Hendrix. to take on a more personal approach to which mobile or recording studio for the Trower's derivation of the ethereal ( "Caledonia," "Long Misty Days"). was involved in this recording, Hendrix style has been characterized Though he's been relatively slow to overall presence of the performance is by more than one jaded critic as overt develop his own distinctive style, quite exceptional. Ray Barretto is a plagiarism, but as one (not so jaded) Trower's latest effort shows he's made Latin percussionist whose blend of critic fortunate to have seen Jimi Hen- a lot of progress. contemporary and latin music (salsa) drix three times (each at a different All but one tune, "Sailing," written has made him one of the most sought phase of his abbreviated career), it's by Gavin Sutherland and first record- after percussionists in today's music. clear to me -and I daresay to Trower ed by Rod Stewart on Atlantic Cross- This double "live" record set incor- -that his incorporation of Hendrix ing were written by Trower and com- porates several of his newer ideas. styles is done out of a vast respect. It's pany. More significantly, Long Misty Forming a sixteen piece band all of not uncommon for a musician to idol- Days is Trower's first co- production. whom, with the exception of the gui- ize his teacher, and Trower learned his With new co- producer /engineer Geoff tarist, are Latinos, Barretto experi- lessons well; what he lacks in imagina- Emerick at the board (Matthew Fisher ments with jazz and rock while using tion he makes up for with technique. produced the three previous Trower salsa as a base. Musically, most of this In some instances, Trower and his studio albums), the album has more of attempt at cross-breeding is success- band James Dewar (bass and vocals), a "live" presence than any previous ful. Obviously, having a band corn- Bill Lordan (drums) still sound studio effort, especially on "Cale- prised of Latinos helps to create the something like an evolution of the donia." Neither Trower or Emerick ethnic authenticity of the salsa -based say, early San- Band of Gypsys ( "Same Rain Falls"), will talk about the "special technique" approach, contrary to

74 MODERN RECORDING www.americanradiohistory.com thick that you'd swear everyone hud- Tom Scott, David Foster et al play on dled around one microphone. Balance, every record. Consequently, every- from all instruments and the vocals, is thing sounds the same. They're here even. The other major trumpet record- too, but surprise! For once their in- ing problem is that of capturing the fluence doesn't take over. The secret, horn as it cuts in and out within the ar- as they say, is in the mix. Doheny has rangement. This can be especially glar- such a wide vocal range that the names ing in the precise rhythms of latin singing background are shaded by his music. Usually the initial note(s) is lead, creating a beautiful call and lost, effectively killing the emphasis of response effect. the written part. Quite often it is pur- Instrumentally, Cropper has some posely done, for there is a tendency for nice things going too. "Get It Up for the horn to come in sharp. This does Love," the lead -off tune, is a perfect occur on this record, but it is captured example. It starts with a synthesizer -adding further credence as to its introduction that fades in and out un- "live" conception. Overall, quite an til Ned's acoustic guitar takes center honest reproduction. G.P. stage, while the synthesizer gives way to bells and percussive instruments being slowly panned from right to left. NED DOHENY: Hard Candy. [Steve RAY BARRETTO: Cropper, producer; Austin Godsey, engineer; recorded An honest reproduction at Clover Studios, Hollywood, Ca., The Record Plant, tana, where only three of the six musi- Sausalito, Ca.] Columbia PC 34259. cians had the "feel." Further, latin music seems to lend itself more easily Performance: New star on the horizon to jazz than to rock, or at least for Recording: Quite unexpected, what's experimented with here, for the actually guitar, when featured, sounds totally out of place. Recording wise, this This album, in many respects, is a album succeeds where "live," big band pleasant surprise. First and foremost, type albums usually fall down. The Ned Doheny is gangbusters. Secondly, trumpet sound seems to be a problem Steve Cropper did a damn good job in most "live" recordings, especially in producing Hard Candy, whereas in the conjunction with brass and reeds. Nor- past Cropper has often left me with the mally the section mix is so spread out impression that he works at cross pur- that you're left with the impression poses with the artist. that everyone was in a different city - The production problem we're get- effectively canceling out the claims ting out of L.A. these days is that, that the album was recorded "live." In other than on group albums, Linda this instance the sound is so warm and Ronstadt, Eagles Frey and Henly,

We believe it's the single most useful and exciting piece of outboard processing ever packaged! It's the latest - and lowest - cost- Digital Delay Line, From Eventide, the Standard of over 500 top studios and live performers throughout the world. now the fabulous Eventide °° -4L,` HarmonizerTM

The HarmonizerTM features 0 -112.5 milliseconds delay, plus a radical new capability -musically-valid pitch changing over a two octave range. Use it for Automatic Double Tracking fixing sharp /flat notes, changing tape speed with no pitch change and Automatic Harmony. Use it for controlled -length slap- backs, acoustically -natural echo and multiple -repeats. Live or in the studio. It's $1500. (Options include a 2nd fully- independent delay channel, digital pitch ratio readout and Phase -locked keyboard for enhanced harmony capability; $240, $125 And $500, respectively.) We specialize in Delay: we've designed, modified and installed more Digital Delay systems - for The Ken Schaffer Group more top studios and bands - than anyone. 21 West 58th Street It's all we do. And we'll use that unmatched New York, New York 10019 experience in working with you. (212) 371-2335

Exciting manuals for the Eventide DDL, Harmonizer, Flanger & Omnipressor available at $5 each, refundable with order.

FEB/MAR 1977 75

www.americanradiohistory.com Add the ever -present Rhodes electric piano with vibrato and volume pedal, Check Audiotechniques First in quick, sweeping pans throughout, criss- crossing a growling low syn- ...FOR SWITCHCRAFT thesizer line. Doheny's searing vocal, Off-the -shelf delivery of very crisp, very hot, is in the dead Switchcraft plugs, jacks, center of the mix -on top of the guitar. connectors, adaptors .. . Directly behind is the snare drum with and all at factory prices. echo sounding almost like a mechani- Write for Switchcraft's cal substitute. The bottom of the mix new '76 short form catalog. is a combination of instruments. The kick drum and bass guitar are a muf- fled background, almost inseparable. audiotechniques,inc. The synthesizer line mentioned adds finally 142 Hamilton Avenue, Stamford,CT 06902 Telephone: 203 359 2312 body while an acoustic piano emerges at the end to expose the de- CIRCLE 67 ON READER SERVICE CARD ceptively hidden remaining midrange line. To cap it all off, Cropper places synthesized strings under the vocal at the chorus and ending fade-out. Rou- tine musical cliches which normally run amuck on albums with session musicians are pleasantly absent. It's obvious that great care goes into each Two arrangement, as is befitting the For The Price talents of Ned Doheny. G.P. Of One JESSE WINCHESTER: Let the Rough Side Drag. [Jesse Winchester, Marty Harris, Chuck Gray, producers; Chuck Gray, engineer; recorded at Studio Six, Montreal, Canada.] Bearsville BR 6964.

Performance: Not his finest hour Recording: Solidly simple

Although pleasant enough, Let the Rough Side Drag will not be remembered as Jesse Winchester's finest hour. It's a bluesy, C &W tinged collection in which, I'm afraid, more With one dual purpose TAPCO 6200 Check our specs: than the rough side drags. mixer you can cover both Equivalent input noise: - 128dBV series stereo (150, 20Hz-20KHz) The basic and straightforward ar- your PA and recording needs. Signal to noise ratio: 76dB rangements have been gloved in For sound reinforcement work the (ref. -50dBm input) 06% produc- distortion free 6200 performs in the Total harmonic distortion: smoothly fitting recording and (THD) No cavil with the most demanding situations. AutoPad® The features: tion techniques. volume controls, bass and treble Stackable sonics here; they are solid and quite equalization, pan, and effects send 18áB Bass and Treble on every channel good. But unusual in these days of controls allow precise adjustment Effects send on every channel experimentation is the of each individual channel. Pan pot on every channel electronic the pan pots AutoPae controls throughout simplicity of presentation. Nearly all For stereo recording use Channel patching -for external processing on each channel to create a perfectly and 4 -track recording vocals and instrumentals emanate You place balanced stereo image. can Low -Z mike inputs from dead center, and these rarely each sound wherever you want it- center, inputs for 4 -track mixdown Aux. (line) -defined front -, mid- and extreme right, extreme left or anywhere Calibrated Meters shift from well in between. With the 6200 you can and that's not all, either! background areas. When such a rarity even do reinforcement and recording The prices you'd expect from TAPCO: does occur as in the title song, it shines simultaneously. 6200A (unbalanced inputs) . . $349.00 distinction. In The TAPCO 6200 series mixers are 6200B (balanced inputs) $454.00 out with unmerited built by the people who always find a way Sugge,ted pro net "Rough Side," backup stretch notes to give you that little bit extra -extra on the pedal steel guitar become a quality, extra reliability, extra value. notes biding Two high quality mixers series of short, silvery for one low price! their time until the foreground vocal pauses and the instrument is subtly For more information write Larry Parypa, TAPCO. 405 Howell Way, Edmonds, Wa 98020 brought up to midground for its solo. A very fine, beautifully handled piece of electronics, but hardly as unusual as CIRCLE 20 ON READER SERVICE CARD 76 MODERN RECORDING

www.americanradiohistory.com DiMarzio pickups.

DiMarzio manufactures the most complete and the hottest pickup on the market) to our line of pickups and guitar hardware on the mar- vintage PAF to our new Acoustic Model. ket. So, it's no wonder that when today's lead- Aside from our great sound, you'll also like ing musicians use a pickup, they use a DiMarzio. our 5 year warranty with options for second There are many reasons why you should be owner transferral. Plus the ease with which any using a DiMarzio. Our unmatched Dynamic DiMarzio is installed. Range. An exclusive Tailored Frequency Re- So, check out our high output long sustain- sponse for optimum sound. Pickups for the ing pickups, the hottest sourd around. You'll music you're into, from see why DiMarzio our Super Distortion is really on stage, model (the original - everywhere. Di Marzio Musical Instrument Pickups, Inc.

Dept. MC, 643 Bay Street, Staten Island, N.Y. 10304 (212) 981 -9286

Write for a free color catalog on our full dine of pickups: SS:per Distortion, PAF, Dual Sound, Fat Strat, Pre -BS Telie, Bass and Acoustic. On stage, everywhere.

CIRCLE 48 ON READER SERVICE CARD

www.americanradiohistory.com it appears in the context of this recor- There really are some good cuts here, LINDA HARGROVE: Just Like You. ding. This no spice, no exotic ingre- which unfortunately tend to get lost in [Pete Drake, producer; Linda Hargrove, dient technical approach can probably the overall soporific tone of the album. Pam Rose, Jimmy Stroud, Pete Drake, be credited to the artist himself who, Too many weak songs drain the Rex Collier and Lee Peterzell, engi- along with bassist Marty Harris and strengths of those such as the bluesy neers; recorded at Pete's Place, engineer Chuck Gray, cooked the disc "Step By Step" and "It Takes More Nashville, Tenn.] Capitol ST-1 1564. up in the cool studio of Montreal. Than a Hammer and Nails," both con- One truly outstanding bit of taining Paul Butterfield's sexy har- Performance: Much progress technical artistry is the combination of monica licks, "Brand New Tennessee Recording: Good Winchester's warm, easy foreground Waltz" reprise, and "Blow On Chilly vocal with the harmonies provided by Wind." Hargrove has been a Drake appren- Marty Harris. The vocal blend level is A fair album, better than many on tice at Pete's for more than a few perfect, the electronically subdued the market, but I repeat, not Win- years, singing backups and laying voice of Harris becoming a delicate chester's cathedral. down rhythm guitar tracks on many of reinforcing underline to Winchester's. P. W. the studio's productions. On her solo albums she often sounded too much like a session musician on her own project. Never did the true qualities of her tough/warm songs and vocals come out. Though Pete Drake again had a If you write songs large part in her latest effort, he has this time taken some pains to provide (But aren't sure what to do) a more credible forum for her songs by arranging them with more imagination than in the past. Still, the backing vocals and sweet- ening are enough to keep Just Like You an arm's length from a true Linda How Much You Earn With A What Is A Copyright? The Hargrove album. The Top -10 Record? A de- top music attorneys tell you Jordanaires may tailed account of writer's how to protect your creative be a veteran bunch of back -up singers, earnings from a big hit song ideas and what rights you but everybody in Nashville uses -and - How much you can expect really "own." Recognizing Song Sharks and the sources of income. overuses -their talents. Smokey Robinson An An in depth view of the crooks - The basic tracks are very well put Interview A frank dialogue who want to rip you off Songwriter Contracts - Royalties, with one of the early pioneers together. Both Nashville vets and How they do it, and what you Conditions and of contemporary black music can do to protect yourself. Safeguards. Terms you should Drake up-and-corners are used, and the ask for and what the norm is. - his attitudes and advice to you. blend of energy and expertise shine on Jimmy Webb An Inter- - Neil Sedaka An Inter- tracks like "Old Fashioned Love" and view A rare, face -to -face - view Neil details his begin- encounter with the brilliant "20 -20 Hindsight." nings, his "brand new" writer of such hits as, "By The career, how he works with his Hargrove's writing has become more Time I Get To Phoenix,' "Up, lyricists, and how he goes Up And Away," "Didn't We," consistent on this album, but more im- "MacArthur Park," and about composing melodies. portant is her development of greater others. How To Approach A Pub- Breaking Into The Coun- vocal confidence and control, as shown ASCAP, BMI, or SESAC? A lisher Learn how to try Market An inside dis- on "We've Gone As Far As We Can behind -the -scene look at the maximize your contact with cussion of the country music performance rights societies publishers and minimize market including the three Go." She hits clear and dynamic notes in the U.S. - How they negative responses - Read themes most often used in in her upper ranges, and a comparison operate, their good and bad about publisher's preferences country song hits. to very early Emmylou Harris points and how it all relates to and what they expect of a you. songwriter. Let's Go To The Movies A wouldn't be out of the ball park. look at composing a song for Just Like You contains the seeds of Starting_ Own Pub - a movie soundtrack, scoring a lishing Company The setup, film, and the major mistakes an independent future. Without knock- organizational form, paper- of songwriters writing for ing Drake, who is one of the best in motion pictures. work and legal complexities. Nashville and a mentor to many aspiring artists there, every step Hargrove takes toward fully advancing her 326 Songwriter Magazine P.O. Box 3510, Hollywood,i CA 90028 musical identity will be a wise one. S.P. 111 1 year $12 (12 issues) 2 years $22 (24 issues) Payment encl. Bill me

I've enclosed $1 for sample issue Outside USA add $2 per year. Allow up to 6 weeks tor 1st issue. JADE WARRIOR: Kites. [Tony Duhig Name (please print) and Jon Field, producers; Tom Newman and George Chkiantz, engineers; Address recorded at Argonaut Studios, London, England and Island Studios, State Zip . City Hammersmith, England] Island ILPS NMI int. 9393.

MODERN RECORDING

www.americanradiohistory.com When you're onstage trying b Lp against feedback. The 860 gives you your own personal b end of ¡curd,ycu big board flexibility or each channel. want a mixing system that gums ycu LED overload indicators, low imped- maximum control. That's whe-e tfe ance balance inputs, 16 dB cut and Acoustic 860 really delivers The boost on channel equa ization and line better you can mon tor your DeYfcrm- level effects inputs adc up to the kind ance, the better it's going to of control onstage that you usually sound. That's why each of expect to find cnly in a studio. the 860's eight input chan- The 86C Mix - Master, nels has two level ccntrols, backed by )urunique Pro - so that you can sLbmix the tectioi Department service, monitor and the rrair inde- is on its way to your author- pendently. And toth the ized Acojstio dealer. We monitor anc the main think it's going towhip up have 9 banc graphic a lot of excitement. equalizers tc protect

For more information about the 880 alease write to Department MR, Acoustic Control Corp., 7949 Wooblay Ave., Van Nuys, CA 91406

CIRCLE 76 ON READER SERVICE CARD

www.americanradiohistory.com For the Sound... Specs... Features... Price...

}*'ia:,¡= .:::.:: ......

JADE WARRIOR: A sensuous piece of craft

QA -3000 20 in x 16 out $17,000.00 (from 8x8 to 40x16) Performance: Euphoric infinitesimal. Yet a reading indicates Recording: Dreamy that, indeed, the composition is divided into five parts, but due to the After sitting through more than for- interwoven transitions, it becomes im- ty minutes of these exquisite in- possible to separate and identify them. terweavings of pleasantries, the mind All this may just be fussy nitpick- searches for similes to describe what it ing; why quarrel with an enrapturing, has just experienced. Generically, sensuous piece of craft such as this? parts of Jade Warrior's music recall With a treatise of such complexity, the QM -8A some of the early Soft Machine record- slightest recording intemperance could 8 in x 4 out ings, but Soft Machine utilized syn- easily ruin the effect, but with the 8 ch. monitor $2,595.00 thesizer effects more than Jade. smooth integration of the various in- Basically though, the aesthetics were struments and sounds, the engineers the same; a tendency towards pro- have shown marked fealty to the com- ...... eeear r tracted sub -dominant notes, often in plicated requirements and characteris- it t , minor -key, with a major theme waver- tics inherent in this intricate work. ing in and out, often played on an airy R.S. ., ° a - i instrument such as synthesizer or )r R 1 11r flute. Basically, the plan of attack here QM -12A 12 in x 4 out follows that basic construct. Passing STUFF: Stuff. [Herb Lovelle and Tom- 8 ch. monitor $3,295.00 fleets of flutes, acoustic guitars and my LiPuma, producers; Jesse Hender- keyboards are enlisted to provide the son, Al Schmitt, Gil Markle, engineers; Look at our full line of high basic melodic line, which, as befits the recorded and mixed at Longview Farm; quality, professional mixers and Oriental theme of this work, tends at mastered at Sterling Sound by George consoles. Write or call for details. times to emulate Eastern scales. Marino.] Warner Bros. BS 2968. Fortunately, enjoyment of this work ..._ is quite possible for those who do not Performance OK, who's the featured MINN care to read and interpret the soloist here? DODDLIr7EItic[Ihp -MN philosophical encyclical on the album Recording: Clean El"g0"DE3[aïtD In jacket -the verbiage is quite in- comprehensible. Threads of truth do There's an old adage in the record Quantum Audio Labs is an independent manufacturer, and is not affili- emerge, though; it seems as though business that session musicians make ated with any retail stores although companies bearing a similar name Side two is a tone poem dedicated to terrible solo albums. What happens may appear on Q.A.L's authorized dealer list. the dealings between warlords, when you take six well-known session peasants, monks, and other assorted musicians (Eric Gale, Cornell Dupree, heavies. The cuts are similarly named. Richard Tee, Steve Gadd, Gordon Ed- Side one, however, is a spacy ana- wards and Christopher Parker) and in- unnuum gram describing the flight of kites. For corporate them into a group? You get AUDIO LABS, INC. the sake of continuity, the work is Stuff. Originally formed as a back-up 1905 Riverside Dr., Glendale, Ca.91201 be- Telephone (213) 841 -0970 played without interruption, the band for Joe Cocker, here they are separation between the grooves being ing featured. The result is that they're CIRCLE 91 ON READER SERVICE CARD 80 MODERN RECORDING

www.americanradiohistory.com THE COST/PERFORMANCE EQUATION HOW MUCH TAPE RECORDER IS ENOUGH? Essentially, a tape recorder is a machine you can gram Memory automatically brings you back to the use to capture your talent and faithfully reproduce beginning of material and either stops or plays it it. Practically, the more you make demands on a tape again: depending on what you tell it. recorder, the more demands it can make on you. The transport controls on the 1140 are digital Put another way, a tape recorder can be your logic-operated so you can go from one mode to wings or an anchor. It can work for you or it can another directly except in Record and there is a work against you. motion sensing system which lets you go into play At $1,299.95 the investment you make in the from fast forward or rewind when the reels stop. Dokorder 1140 gets you a partner instead of a handi- Bias controls are up -front on the transport and cap. Compare what it does to what it costs and you there is a built -in pink noise generator which sup- won't find a better tape recorder anywhere. plies a test signal to each channel. This unusual The 1140 lets you concentrate on your music as device makes biasing simple but extremely accurate. art. Much of the concern you have about your music There is a lot more hardware to the 1140: peak as signal is handed for you automatically. level indicators, discrete playback and record ampli- The 1140 has logic circuitry that takes care of get- fiers, 62 -Volt record drive circuit, wide band sync ting you in and out of Sync and in and out of Source response, etc. automatically. It makes knowing where you are in All to make it easier to put music on tape. multi -track recording a whole lot easier. The 1140 also has an automatic cue-up function, DOKORDER 1140 called Program Memory. Once it's set up, the Pro- 5430 Rcsecrans Avenue Lawndale, CA 90260

CIRCLE 60 ON READER SERVICE CARD

www.americanradiohistory.com INTRODUCING'

Three Masters of Improvisation and More By Nat Hentoff

Musicians, like the rest of us, age at Pass, guitar, Tommy Flanagan, piano, different rhythms and then, some- Mickey Roker, drums, and Al McKib- Phil Spector s original "Big Hurt" times, don't seem to be their age at all. bon, bass. The recorded sound is in- is EXACTLY duplicated using sound Benny Carter, for instance, had an though lively, but I would sug- PAIA' a new constant time delay timate PHLANGER. This unit features a authority way beyond his years before gest you bring the volume up for max- 1024 stage Charge Coupled Device he was thirty. Other musicians looked imum collective excitement. analog shift register that exactly up to him, came to him with their Although Benny Carter and Dizzy duplicates the effect of 2 tape recorders running out of synchronization. musical problems, and considered it a Gillespie acquired a sizable jazz follow- Multiple user controle allow effects distinct achievement if he selected ing fairly early in their careers, Jimmy ranging from chorusing, voice doubling them for the bands, small combos and Rowles was known mainly among and reverb to full "Jet Plane" effects. he And of ac- Optional foot pedals provide hands recording dates commanded. musicians and lay devotees vocal free control of internal oscillator sweep Benny's playing, from the early 1930's companists until he left the west coast speed or manual spectrum sweeping. on, was always marked by an uncom- studios a few years ago. Ben Webster #1500 PHLANGER Kit $59.95 mon maturity and fullness of concep- had told me about Rowles in the 1940's (plus shipping for 4 lbs. ) tion. He played what can now be called ( "there is a tasty pianist"), and then I him myself playing FREE CATALOG - a classical jazz alto -elegant, aristo- heard behind ELECTRONICS DEPT M cratic lines; a clear, singing tone; and a Peggy Lee, Tony Bennett, Sarah 1020 W. WILSHIRE BLVD. soaring beat which nonetheless cut Vaughan and Carmen McRae, among OKLAHOMA CITY, OK 73116 clean and deep. Around the late others. It wasn't until Rowles began to CIRCLE 73 ON READER SERVICE CARD 1940's, Benny disappeared into the play the New York club scene in 1974, Hollywood studios for a long time; and however, that I realized what an ex- when he re- emerged a couple of years traordinarily subtle imagination, beat ago -first with singer Maria Muldaur and color -sense he is able to orches- and then on his own in some New York trate as a soloist. When, I wondered, club dates -he was still crisp, lithely would there be an album to fully reveal lyrical, and although just as authorita- Rowles' inner scope? It now exists - Create the sounds of tive, somehow spiritually younger in Grandpaws, with Rowles' favorite PETER FRAMPTON his late sixties than he had been for bassist, Buster Williams, and Billy many years before. Hart on drums. The label is the aptly JOE WALSH On the other hand, Dizzy Gillespie, named Choice (245 Tilley Place, Sea *JEFF BECK while irrepressibly brilliant during the Cliff, New Jersey 11579), and the dawning years of "bop," was still so engineering is marvelously and crisply full of pranks and chronic irreverence balanced. This is the kind of set you'll in the years after that he seemed be playing indefinitely because so younger than his age until well into the much is so quietly going on. I would 1960's when it became overwhelmingly advise, for instance, that the second or clear that Dizzy had become the most third time around, you focus just on consistently accomplished and crea- the big- toned, big -eared Buster tive trumpet player in jazz since Louis Williams. Armstrong. The fire is still high, the wit still pungent, but the conception is now magisterial. Accordingly, hearing BENNY CARTER, DIZZY GILLESPIE: Carter, Gillespie, Inc. on Norman Carter, Gillespie, Inc. [Norman Granz, Granz's Pablo label is an historic producer; Grover Helsley, engineer; event -these two classic jazzmen per- recorded at RCA, Los Angeles, CA.] forming with such sustained inven- Pablo 2310 -781. Send $3.50 for incisive clarity of design, and "Tommy Talk Box" tiveness, comes of so JIMMY ROWLES: Grandpaws. [Gerry T -Shirt the easeful power that engineer; SpecifyS - M - L many decades of the most demanding Macdonald, producer and to experience. The attentive accompan- recorded at Macdonald Studios, Sea TOMMY Box 68 Marissa, III 62257 ists for this master jazz class are Joe Cliff, N.J.]. Choice CRS 1014.

CIRCLE 71 ON READER SERVICE CARD 82 MODERN RECORDING

www.americanradiohistory.com STUFF: Leaderless and suffering

leaderless, and the music suffers ac- To be charitable, the first album by It'll probably take another album (or cordingly. Paris (guitarist Robert Welch, bassist two) for Paris to more fully develop This is not a busy album. and keyboardist Glenn Cornick, drum- this album's few successful ideas. Production -wise there is little with mer Thom Mooney) was lousy. Pro- Welch, for example, could write less which to work. There are no vocals, no duced and engineered by Jimmy and play more. Producer /engineer effects of any kind, and it's hard to Robertson, the midranges were miss- Hughes should continue to pull the imagine that any overdubbing was ing, the top end sounded like flattened sound out of its concrete tunnel; done (or two drummers used, for that tin and the bottom seemed to have perhaps he should stick to one chair or matter), for in each case the mix been dredged from what was left of the the other -or neither -next time sounds so hollow and empty. It's even L.A. River. The lyrics were around. S.P. harder to imagine that six guys are sophomoric and the arrangements playing on each track. Also, the pro- smacked of Led Zeppelin II, not what duction team should have made most would expect from one of the ELVIN BISHOP: Hometown Boy stronger choices in their use of original most imaginative writer /guitarists to Makes Good. [Allan Blazek, producer material. Using originals is nice when graduate from the Fleetwood Mac and engineer; Bill Szymczyk, executive you have someone who can write, but School of Music. producer; recorded at Criteria Studios, when you don't, material should be Side one of Big Town, Paris's second Miami, Fla., and the Record Plant, selected to showcase the strengths - album, is little better than their first Sausalito, Ca.] Capricorn CP 0176. not the weaknesses -of the artist. The on the above-mentioned levels. impression I have is that the recorded Original drummer Thom Mooney was Performance. Tight and confident material is the final result of endless, replaced by Hunt Sales (one of Soupy's Recording: Clean; true to the band low key jams, where it's hard to tell progeny), which tightens the bottom where one tune ends and another somewhat, but the producer/engineer Hometown Boy has no producer's begins. Finally, the only thing that can switch made little difference. stamp on it -the album is a total Elvin be said about the engineering- either Interestingly, Big Town's second Bishop Band effort, and a piece of in defense or in favor of -is that it's side shows a good deal of improve- work that everyone involved should be clean. G.P. ment, and some of the experimenta- proud of. Each track has been crafted tions in their search for an identity with a lot of care and affection, leaving work pretty well. There's a more a warmth and fullness that puts the PARIS: Big Town 2061. [Bob Hughes, economic approach to echo on cuts like album a good distance from a too -slick producer and engineer; recorded at "Money Love," and "Slave Trader" production. Total Experience Studios, Hollywood, has the most thoughtful lyric message Bishop, with about fifteen years as a Ca.] Capitol ST- 11560. of anything Welch wrote for the player /performer behind him, has a album. The band's musicianship is well of experience from which he can Performance: Lacks identity more confidently displayed, but still draw for years. The Oklahoma native Recording: Poor they continue to grope. learned well his lessons during time

FEB/MAR 1977 83

www.americanradiohistory.com 1ODCN RECORDING

win bB poblìshefl ifioflibly starting with the April issue ELVIN BISHOP: A cure for vinyl boredom Subscribe Now! spent with Paul Butterfield's historic of which work. No cereal filler -all Renew Now! honkie blues band and the Muscle meat. Dumplin' " is country $22.00 for 24 issues Shoals bunch when Boz Scaggs Cases: "Sugar Shout" is reg- -Save $14.00 (among many others) played the new funk. "Twist and southern blues. Even his brain -fry gae /disco /funk. "Yes, Sir" is a coun- $12.00 for 12 issues days in the Bay Area taught him try /jazz /blues shuffle. "Spend Some -Save $6.00 something. Time" is a gospel/slow -blues ballad. is Oakland Funk. check Q money order D But it wasn't until a couple of years "Give It Up" enclosed for ago that Elvin decided to quit party- "Graveyard Blues" is rip -snortin', the amount of $ ing twenty -four hours a day, put chicken -fried rock and roll. "D.C. together a band that would lead to Strut" is a little of everything. Tower NAME something and got serious about his of Power's horn section blows on three fiery but inconsistent guitar playing. tracks, and they have no trouble adap- ADDRESS Hometown Boy is the third release ting their style to the charts. by the EBB, which hasn't had to en- Best of all, Bishop plays more. Aside CITY dure constant personnel changes. Juke from his status as one of America's STATE ZIP Joint Jump and Struttin' My Stuff, best slide players, his frequent but EBB's first two, were merely clues to economic use of effects like echo, wah- New Subscription Hometown Boy. The band (five wah, phasing and tone changes gives LI Renewal players, two lead/backing vocalists) is each passage on the album a different (Foreign subscribers add $3.00 flavor. for each year Foreign sub- now a well- organized and versatile scriptions payable ONLY in bunch with diverse but now well - Blazek's mix is near -perfect. Top, U.S. funds by International draft or money order) blended backgrounds and styles. Each mid -range and bottom are crisp, and track shifts focus to different ideas, all there is no sense of confusion even

84 MODERN RECORDING

www.americanradiohistory.com TYCOBRAH E REVO LUTION IZES FLANGING. AGAIN. In 1976 Tycobrahe moved the Flanger out of the studio and onto the stage. This created a sound revolution. Some recent Tycobrahe developments have resulted in what we believe is the most versatile high -quality flanger you can find outsde of a recording studio. Just feast your eyes on this revolutionary new list of features; then make it on down to your Authorized Tycobrahe Dealer and feast your ears on the PedaflangerTM It's the only pedal on the market (You can actually play it!) Input Compressor (Accepts any input level!) Noise Gate (You'll love it!) Feedback Limiter Circuit (You can turn the "Intensity" contro full -up with controlled feedback, for an even deeper flanging effect!) Extremely linear sweep rate (Provides even flanging!) Wide Automatic speed Range (1 Hz to 100 Hz!) Twice the tonal flanging range (Covers four full octaves!) Voltage Regulator (Provides 40 hours of continuous -or 60 hours of intermittent -operation on one 9 -volt battery'`!) "Eveready 216 supplied. AC Adapter (Eliminates the battery!) Note: Tycobrahe Model PS -9 Power Supply most be used. Optional at extra cost. List Price $10. Ordinary 9 -volt AC adapters will not operate the Pedalflanger. If you purchased a Tycobrahe PedalflangerTM during 1576 (without the AC adapter jack), and you would like it updated at no cost to Tycobrahe P5-9 Power Supply you, see your authorized Tycobrahe dealer.

TYCOBRAHE ENGINEERING COMPANY, INC. 725 CYPRESS AVE HERMOSA BEACH CA 90254 213 376 -8801 DEALER INQUIRIES INVITED

CIRCLE 96 ON READER SERVICE CARD

www.americanradiohistory.com with so many tracks in use. MODEL 4100 STEREO EQUALISER It's been a while since this reviewer has heard such a strong balance of Mfr nodized Aluminum Finish quality on so many levels. Some may Solid Walnut Trim, Security Cover find such diversity a little hard to Rack Mounting Available digest at one sitting, but for most, Hometown Boy offers a viable cure for vinyl boredom. S.P.

OSCAR PETERSON & JOE PASS: Suggested Retail Price: $59 Porgy and Bess. [Norman Granz, producer; no engineer credited; recorded at RCA Studios, L.A., Ca.] Pablo 2310 -779. Ten one -octave bands per chan- Sealed Mil -spec rotary controls nel, 31.5 Hz to 16 kHz for low noise operation Performance: Outdone themselves t 10 dB boost /cut on continuous Low noise circuitry, wide dy- control namic range: -92 dBm to Recording: Unique Variable low-cut control from 20 +18dBm Hz to 160 Hz, 12 dB /octave roll -off Magnetically- shielded, precisión- This is a rare recording in concept, Optional low -level crossover for tuned inductors What bi -amp systems High linearity, low distortion production and performance. of Porgy & Call or write today makes this interpretation Bess stand out above the rest (apart Instruments, incorporated (Dealer inquiries PHONE AREA 512/892 -0752 invited) from the mastery of Peterson and P.O. Box 698 AUSTIN TEXAS 78767 Pass), is their instrument selection. CIRCLE 83 ON READER SERVICE CARD Approaching this basically blues - oriented work with the classical instruments of clavichord and classical guitar -while playing in a jazz vein -is System ice novel and unexpectedly marvelous. the o,,'trodd,y Equally up to the task are the P r engineers, who unfortunately on all vie MODULAR DEVICES SERIES 440 Pablo releases remain nameless. Both the classical guitar and the clavichord are by nature difficult instruments to ANALOG DELAY LINE /FLANGER record; each presents a totally dif- At last an analog delay system that gives you the best of two worlds. It has the long ferent problem. The clavichord has a delays, greater bandwidth and higher S/N of the better digital units, without digital step treblish, brittle sound with fainting level of analog noise). Delays error or quantizing noise (more objectionable than same projection, while the classical guitar is are continuously variable from .5msec right up to 160msec. The bandwidth is still 18K at 40msec and a very respectable 6K at 120msec. A sophisticated noise reduction system boomy, bass heavy and an instrument preserves dynamic range while lowering noise and avoiding input limitations common to from which it is nearly impossible to most delay units. Impressive? We think so, but we've built in much more. The voltage eliminate the sound of fingers fretting Mix and Regenerate controlled time -sweepable function combined with the unique Clock sliding up the fingerboard when unlimited variety of new and exciting effects. True and controls provide the potential for an The engineer did a doubling, slap -back, vibrato, and of course a wide range of flanging, to name a few, can all it's being recorded. be derived from the unit. remarkable job in balancing the two instruments with respect to gain, while CLOP MI% AUTO SWEEP REGENERATE SIENNA MN 0 achieving true tone by leaving each in- a CD strument in its proper register. ö Cà oó 1- 1- EN` . BANDWIDTH Although I applaud the Pablo phil- RACK MOUNT 19' osophy of capturing jazz in one take, leaving mistakes and not overdubbing, featuring also I do have a complaint for Pablo presi- PRO MODULAR MIXING CONSOLES studio spec's; on the road reliability; dent /producer, Norman Granz. The three mainframes; up to 24 inputs w /six band e.g. & shelving; 2 to 16 outputs highest -priced single album on the DUAL CHANNEL ACTIVE CROSSOVER dual biamping or mono tri -amping rack today is Pablo's at $7.98 list. Although the music is some of the best LOFT MODULAR DEVICES jazz recorded today, that in no way ex- 91 Elm Street/Manchester, Ct. 06040/203- 646 -7806 cuses the terrible product and packag-

CIRCLE 81 ON READER SERVICE CARD MODERN RECORDING 86 www.americanradiohistory.com r The Art of !ecordi

(11100... LEARN HOW THE PRO'S DO IT! THE RECORDING INSTITUTE OF AMERICA OFFERS ON- LOCATION CLASSES IN THE LATEST MULTI -TRACK RECORDING TECHNIQUES AT A 16 -TRACK STUDIO IN YOUR CITY.

Today's music conscious society has The Recording Institute of America, is made recording "the new art of self the only national institute of its kind, expression." striving to provide a higher standard of The Recording Institute of America artistry within the recording industry offers a ten week course in the art of and its related fields. multi -track recording. The course, en- titled MODERN RECORDING TECH- NIQUES, is unique in that all sessions are held on location in professional 16 Track RIA affiliated recording stu- Call Toll FREE: dios in order that the students may see, (800) 421 -0550* hear, and apply the techniques of modern recording. Under the guidance IN: NEW YORK, MONTREAL & TORONTO, of qualified, professional recording en- Call Collect (212) 5820400 gineers as instructors, the student will OR CALL OUR LOCAL REPRESENTATIVES become familiar with modern state of IN THE the art equipment. FOLLOWING CITIES: BOSTON, MASS. INDIANAPOLIS, IND. Selected sampling of topics covered are: Intermedia Sound TapeMasters (6171 267-2440 1317) 849.0905 'mono, Stereo, Multi -Track (4, 8, 16 is RIA looked to as the f rst credible NEW HAVEN, CT. RICHMOND, VA. Track) Magnetic Tape Recorders and informative Trod Nossel Productions Alpha Audio - link between 12031 269 -4465 18041358.3852 Theory and Operation. t1111111111 L BALTIMORE, MD. DETROIT, MICH *Microphones-Basic Theory and Oper- MISI Sheffield Rec's Ltd., Inc. Pro Sound Studios ation. (301) 252-2226 (313) 779 -1380 DENVER, COLO. DALLAS, TEXAS *Control Console- Function and Oper- Applewood Sound Studios Sound Techniques Inc. tf.. (303) 279 -2500 1214) 638.3256 ation- Record and Mixdown Princi- ples CHARLOTTE. N. C. TULSA & OKLA. CITY, OKLA Reflection Studio Ford Audio and Acoustics Over- dubbing Principles. (7041377.4596 (4051525.3343

*Echo Techniques. COLUMBUS, OHIO PHOENIX & TUCSON, ARIZ Mus-I -Col Rec'g Lee Furr Studios (614) *Equalization and Limiting Principles. 267 -3133 (6021 792-3470 *Multi-Track ' Mixdown" Principles ATLANTA, GA. OTTAWA, ONT. LeFevre Sound Corp. MARC Productions (16 Track to 2 Track Stereo) pi (404) 355 -8680 (613) 746 -7523 Tape Editing Techniques. CHICAGO, ILL. WASHINGTON, D.C. RIA - Chicago United Recording Co. musicians, artists, recording enthusiasts (312) 383 -7494 (301) 588-9090 The course includes live 16 Track re- (301) 565-3090 and future producer/engineers of our SEATTLE, WASH. cording sessions offering the student an industry. Holden, Hamilton & Roberts Recording opportunity to apply the related tech- (206) 632 -8300 niques learned. rimRECORDING INSTITUTE OF AMERICA, INC. 15 Columbus Circle New York, N.Y. 10023

CIRCLE 69 ON READER SERVICE CAPD

www.americanradiohistory.com ing. The vinyl quality is the worst, musical forms in terms of material, but tle and the usual rap and applause with every record warped to some ex- there was never any discussion of the tracks, you could never convince me tent; and the record sleeves are made merging of recording methods in jazz, that this is a "live" recording. The from the lowest grade paper and de- rock, etc. Achieving the perfect, acoustics of Buddy's Place as por- sign available. It's unfortunate that medium between the lively but flat or trayed by this recording are so flat and Mr. Granz doesn't take the same pride distant jazz recording and the hot, ex- dull that you could convince me that in product that Manfred Eicher does plosive, rock effect, this recording cap- all the engineers did was turn on the with ECM. G.P. tures all the nuances and feelings of machines and head for the bar. I'm not the music. The modern jazz violinist, suggesting that the record be mixed Ponty and company inspire each other "hot" like in rock where there is a split impact JEAN -LUC PONTY: Imaginary to create excitement on this album of second delay between initial music to give Voyage. [Jean -Luc Ponty, producer; original Ponty material. Each tune and the actual recorded the music jump Larry Hirsch, Burt Szerlip, engineers; flows logically and consistently into the effect of having there be some recorded at Kendun Studios, Burbank, the next, gaining momentum and out at you, but just that other than from Ca.] Atlantic SD 18195. showing diversity as it plays on. Prac- life to this recording tically without exception this album is the audience mic. The most obvious ir- Hot jazz one of the most creative, in all ritation is when the horn section joins Performance: the Recording: Caught the feeling respects, of the year. G.P. in on the refrain, contrasting preceding solo by drowning it out with The volume This is one of those albums that one a piercing blast. shrieking - VU meters. Not all listens to and is then tempted to utter CLARK TERRY: Clark Terry's Big easily pinned the that engineering isn't all that difficult. B -a -d -Band Live! at Buddy's Place. fault should lie with the engineering, and playing- This is a very smooth recording with [Ed Bland producer; Charles Repka, Ben however, for production on the level of presence being one of the Taylor, engineers; recorded "live" at wise, there is little energy expended best I've heard this year. It's so good Buddy's Place, N.Y.] Vanguard VSD this outing. Everything is very polite, band tend to take it for granted. There 79373. planned and routine, with both you the are no peaks, clips or dips, no over- and audience simply going through have had shadowing of instruments, even when Performance Both named after the motions. The engineers may a couple of solos are exchanged. Recording: producer -BLAND the right idea. Maybe after We've been saturated over the last drinks the album does come alive. G.P. few years with talk of combining If it weren't for the lengthy album ti-

CLARK TERRY: Heading for the bar

88 MODERN RECORDING

www.americanradiohistory.com HAITINK AND THE LPO: Serving Beethoven well

Ordinarily, I would have criticized than the timeworn Beethovenian in Haitink's recorded sound from an a search of a conductor's personal il- priori standpoint for being too lumination of this or that detail. homogenized and lacking impact due Haitink may rarely storm the heavens, to the distant miking. But I heard the but neither does he introduce any BEETHOVEN: Symphonies 1.9. Lon- records soon after a pair of Carnegie irksome eccentricities between listener don Philharmonic Orchestra, Bernard Hall concerts with Haitink conducting and composer. Of the supposed Haitink cond. [Volker Strauss, producer the LPO, and although there was no "Beethoven's Beethoven" approach, recorded at Watford, London.] Philips Beethoven on the program, I can state Haitink is a strong recommendation. 6747.307 (Seven discs). with certainty that the sound quality The set is offered at seven records (i.e., timbre, instrumental balances for the price of five. A further incen- Performances Beethoven's and dynamics), heard from mid- and tive is Philips' customarily impeccable Beethoven rear -orchestra seats, which Haitink surfaces. When was the last time you Recordings: Natural drew from his players is mirrored on played a seven -record set with not a these Philips discs. So even if I prefer pop, tick, scratch or thump to be Recording quality is like Clairol: no the more detailed balance on the Davis heard? S.C. one but the producer and engineers Beethoven Fourth, I must admit that know for sure. For instance, Haitink's Haitink's producer has served him new Beethoven symphony set from faithfully. MACDOWELL: Sonata eroica, Op. SO: Philips sounds rich and warm, but How has Haitink served Beethoven? Woodland Sketches, Op '21 GRIF- seems miked a trifle too distantly for Very well, indeed. No conductor could FES: Sonata; IVES: Three page details to properly emerge. Philips' re- reasonably be expected to give com- Sonata; DETT: In the Bottoms. Clive cent Beethoven Fourth with Colin pletely successful performances of all Lythgoe, piano. [Werner Hellweg, pro- Davis and a different production team these works, but Haitink is ducer; recorded in Holland.] Philips is another story -crisp and gutsy, remarkably consistent ow a high level 9500.095 and 9500.096. with the mics close eaough that throughout. The set should be par- Beethoven's deliberately rough edges ticularly valuable to listeners coming Performances: Affectionate are given their full due. to these works for the first time, rather Recordings: State of the Art

FEB/MAR 1977 89

www.americanradiohistory.com If you can see yourself in this picture... Then MODEM RECORDING Buyer's Guide is a MUST for sou!

,{AL - /tislvt' tt+. tti tri tti tti ti ttttt tri tli tti ti ti ttr. tti ti tti tti ttti tti tti tfi ffti tfi tfi ta ti tfi tfi ti ffi tti tti tfi tti MODERN for copy(s) of RECORDING Magazine I am also enclosing $ 14 Vanderventer Ave., Port Washington, N.V. 11050 Modern Recording's "Buyers Guide" 50 each. special new subscriber's offer) Subscriber Offer (at $1 Offer: I am a current subscriber to Modern Recording Magazine Non- Subscriber's Enclosed please find $ _ for copy(s) of I am enclosing $ for copy(s) "Buyers Guide" of Modern Recording's Modern Recording's "Buyers Guide" at $2 50 each ($1 50 each - subscriber s price) check / money order enclosed New Subscriber offer: for the amount of $ Please Print

I would like to begin receiving Modern Recording magazine Name $18 00 for 1Hissues-- a savings of $t) (H) $13 50 for 12 issues -a savings of $4 50 Address $ 7 50 for 6 issues -a savings of $1.50 City State Zip rForeign subscribers ade'. S3 Iln or each year Forsnyn suhccnpnr n'. L payable onlç in U S funds hç International draft or moat' order J Date / / M-9

www.americanradiohistory.com /Amami C@1IINCs pß0 SHOP He' A &uth To floe ftexL EuAineii fay The P4!

Compiled from Recording Institute of America's interviews with key executives and "hit - makers', plus Reference Directory and Dialogue's Viewpoints of industry "stars ". Listen to the industry "pros" describe the Plus . . . RIA Reference Directory, including workings of the Music Business. Hear the sample songwriter affiliation forms, sample most respected attorneys of the entertain- artist contracts, writer contracts, etc., in ment field define and discuss the legal addition to a Directory of Record Manufac- terminology of Recording Contracts, Song- turers, Music Publishers, Personal Managers, writer Contracts, Professional Management Producers and Booking Agents. Also Record Contracts. Over 31/2 hours of professional World's "Dialogues" with over 50 candid reference ... could be the most important interviews from Record World magazine, and 200 minutes of your life! a cross -section of "star" personality interviews.

Yell not all }ha ahnva (regularly $49.95) for only $39.95 for MR readers. Nome -a must or every creative tape recorder owner! ORDER FORM - MAIL TODAY HOME RECORDING TECHNIQUES is three hours on two 7 -inch, 71/2 ips, 4- track tapes, including a booklet of RCCORDDIIINlC Magazine diagrams on: 14 Vanderventer Ave., Port Washington, N.Y. 11050 sample mi-

Please send I crophone I copies of 'Music Industry placement Cassette Library" at $39.95 each Please send [ I copies of "Home Recording instrument Techniques" at $15.95 set -up Please Prin t console and Name machine patching for Signature special ef- Address 4%.4,41,4, fects and MUCH City State Zip MORE! Check/ Total Amount Money Order for $ _ ONLY $15.95

L10 Day Money Back Guarantee DATE / / J

www.americanradiohistory.com These two records are representative Bishop's piano - apparently in an at- Dowell piano concerti now, Philips - of the finest piano sound on disc. A tempt to make his tone appear larger with Colin Davis conducting, perhaps? noticeable trend in solo piano recor- than it is onstage -the singing, humm- S.C. dings of recent years has been to posi- ing and grunting that he does in con- tion the mies so close that the action of cert miraculously escapes the grooves. the instrument and the sound of the Now, here is another instance of a pianist's fingers striking the keys - pianist being well- served by Philips. RIMSKY- KORSAKOFF: Schehera- not to mention the sniffing, grunting Clive Lythgoe is an Englishman who zade. Royal Philharmonic Orchestra, and humming of such artists as Rudolf specializes in American music, and Leopold Stokowski cond. [Richard Mohr, Serkin, Maurizio Pollini, Abby Simon these are his first recordings. producer; Christopher Parker, engineer; and Glenn Gould -have been extreme- "Although originally trained as a Anthony Salvatore, remastering engin- ly obtrusive. Columbia and the Elite singer," as the liner informs us, he lets eer.] RCA ARL 1 -1 182. Recording team of Marc Aubort and his piano make the sounds. And what Hoanna Nickrenz on Nonesuch and marvelous sound! Rich, warm, full of Performance: Sensual Vox are perhaps most culpable in this vibrancy, life and presence, but never Recording: Fine regard. London's engineers usually so close that any extraneous noise ob- avoid these latter problems, but in trudes, the perspective is that of an Stokowski first recorded Rimsky- their efforts to achieve large piano "ideal" seat in an acoustically perfect Korsakoff's popular masterpiece for tone the instrument frequently seems hall. RCA with The Philadelphia Orchestra so ludicrously larger- than -life that the Mr. Lythgoe undoubtedly loves the in 1927. His 1964 Phase -4 recording on stereo imaging clearly presents bass music on these discs and technical dif- London has dominated all others in the notes in the left channel and trebles in ficulties are no problem for him. It is catalogue since its release, and now, the right. possible that more straightforward twelve years later, here is yet another Phillips somehow avoids these pit- less affectionate phrasing might be Scheherazade from the 94- year -old falls. Claudio Arrau, an inveterate snif- more appropriate for a first encounter, maestro. fer when playing loud notes, has long especially in the sonatas, but lovers of The new performance differs in received beautiful recordings from American music may be confident in many details from the 1964 reading, Philips which preserve his gorgeous their purchase of these records. yet still retains Stokowski's uniquely tone with nary a snort. And although Philips' surfaces were mostly fine, and succulent, ultra -sensual view of this Philips has occasionally revealed the Lythgoe contributes the informative crusty warhorse, bringing it to life as thumping mechanism of Stephen liner notes. How about the two Mac- no other conductor today seems either willing or able to do. Haitink's musi- cianly "symphonic suite" approach on 5ourjç! Philips, generally considered the best c.9ppa/acttia younger -generation performance in the Builds REcoRdiNq STudios & catalogue, sounds like a different piece of music after Stoky's juicy wide - SEILS PRofEssioNAl Audio GEAR screen interpretation. This time around, Rimsky's score is - - - - Ampex - Tascam - MXR - 3M /Mincom Otari Sphere DBX more closely adhered to, especially in Quantum - E/V - Neumann - Orban /Parasound - AKG - Sony - regard to quiet string dynamics, Revox - BGW - Stephenson - Many Others Special: although he still adds cymbals, tam - for sale tams, harp glissandos, xylophones and "We can help you with your recording the like to the composer's already THE equipment needs from 2 tracks to 24 luminous orchestration. The phrasing, ALL NEW tracks "...Call or write for fantastic quite different than in 1964, is always TASCAM LINE. package prices... spontaneous and within the bounds of acceptability although it would never Rt. 8, Box 525; Chillicothe, Ohio 45601 - do for a Brahms symphony. Phone (614) 663 -2544 - .;. If pressed, I would opt for London's `. 7.->f c.::. rich Phase-4 sonics; the 20- channel h r .;310:,r. pick -up unearths more instrumental detail and color than any other recording, and Stokowski at 82 could under- standably get more precise playing from an orchestra. But the RCA recording is still worth owning, and Audio Recording Classes Begin in April! might have been indespensable if the 1927 Philadelphia recording had been Learn Audio Engineering in a Professional 16 track studio...This "Recording Engineer Apprentice Program" allows you active "hands -on" experience...upon completion, you released as well -a follow -up to the will have recorded or mixed at least 6 master tapes of your own. company's inspired pairing of APPALACHIA SOUND STUDIOS, a 16 track studio, has done recording sessions for Stokowski's 1927 and 1973 recordings Columbia, Atlantic, RCA, and'Pure Prarie League. of Dvorak's "New World" Symphony. FOR INFORMATION /REGISTRATION FOR CLASSES, write or call S.C. APPALACHIA SOUND STUDIOS (614) 663 -2544; Ht. 8, Box 525; Chillicothe, Ohio 45601

CIRCLE 21 ON READER SERVICE CARD 92 MODERN RECORDING

www.americanradiohistory.com while, the lighthearted and often zany combination of instruments produce enough minor chords and truncated rhythms to add the required input of tonal goof to the verbal inanities. Despite the frequent prevalance of FRANK ZAPPA: Zoot Ai lures. [Frank funnier numbers, listeners are for- Zappa, producer; Michael Braunstein tunate in having here two tracks which and Davey Moire, engineers; recorded are vintage Frank Zappa, guitar at the Record Plant, L.A., Ca., except for player. The most representative of "Black Napkins," "Live" in Osaka, these is without doubt "Black Japan.] Warner Brothers BS 2970. ing of sarcasm with instrumenta Napkins," a bluesy number recorded finesse. This record is most assuredly a "live" in Osaka, Japan about a year Performance: Definitively irreverent workable merging of Zappa's two main ago. Frank's ride, a string -bending Recording: Captures the essence strengths - socio- literary and definite- cruise up the frets, is captured with ly individualistic philosophy of arrang- fidelity, and with the absence of post - It is good to hear Mr. Zappa playing ing. The result is a package of high track applause, could pass as a studio music again. Not that there hasn't quality. cut. been and will always be a market for Zappa's acid pen spares us no mercy The other material, recorded at the Frank's gauche barbs on society's throughout. On various cuts, we are Record Plant, is virtually flawless. As foibles, but those efforts which accen- treated to encyclicals describing the with most Zappa epics, the narrative is tuated his satirical wit rather than his advantages of those $69.95 mechanical occasionally undermixed, and tinker - considerable musical virtuosity left love dolls, told how to stimulate a toy gimmicks, such as the Mickey one with the inescapable feeling that woman to ecstasy, treated to a view of Mouse -sounding vocal, rear their head. the performer was goofing off. shallow values prevalent among the Yet before such antics are attacked as Zappa's best work, however, has disco culture, and given a looksee into juvenile, one must consider the always been the symbiotic interweav- the world of a barfing wino. Mean- source -the zany Mr. Zappa. R.S.

FRANK ZAPPA: Sparing us '10 mercy

FEB/MAR 1977 93

www.americanradiohistory.com NOW NEW YORK'S By Popular Demand! MUSICAL DEPT STORE THE JUST A FREE CALL AWAY! HISTORY You can buy at NYC prices direct from SAM ASH MUSIC STORES' OF'RECORDING 6 huge stores and warehouse. All musical instruments, amplifiers, Scully 280 add -ons .. . electronic keyboards, discos, PA's. By Robert Angus Accepts a pair of Dolby any 19" Call for prices or mail your list of 361s or questions. NYC area residents, x 31/2" electronic panel. Only $49.95 please visit us in person. NY state FOB Bridgeport. Send check with order. phone 212 347 -7757. Since 1924. 800-645 -3518 Rus Lang Corporation SAM ASH MUSIC STORES 247 Ash St., Bridgeport, CT 06605 301 Peninsula Blvd Hempstead, NY 11550 Telephone: 203 384 1266

The entire six -part series from Modern Recording Magazine. CLASSIFIEI) A1)S)

Reprinted . as a specially bound book for only ... $3.50 FOR SALE: 3M Series 400 M -23 8 -track 9 WEST RECORDING STUDIO: Professional recorder, 6 years old, replaced heads 16 track recording. For rates and info call Send for this edition today! (minimal wear), just completely recondi- (201) 429 -8996. Bloomfield, N.J. tioned, very good condition, specifications & pictures available upon request. $6,500.00. 4 NEW YORK'S LEADING dealer specializing in Send check or money order to: Dolby 361 -A noise reduction units, excellent semi -pro and professional recording and P.A. condition. $550.00 ea. Call (512) 478 -9294. equipment. Teac, Tascam, Sound Workshop, Modern Recording Magazine Nakamichi, dbx, MXR, Dynaco, Ads, Frazier, 14 Vanderventer Ave. If you have an 8 or 16 track studio, and are in- Eventide, Electro- Voice, Shure, Scotch, Max - Port Washington, N.Y. 11050 terested in becoming a licensed represen- ell, and more. We go both ways: lowest prices tative for R.I.A.'s Modern Recording Techni- in sealed factory cartons, or complete ques courses, call or write: Mr. P. Gallo, laboratory check -out and installation. All R.I.A., 15 Columbus Circle, New York, N.Y. equipment on display. AUDIO BY ZIMET, DON'T MISS OUT 10023 (212) 582-3680. A Large profit poten- 1038 Northern Blvd., Roslyn, L.I., New York on back issues tial with low operating costs. 11576. (516) 621 -0138. Albums, singles, film soundtracks, demo A 140 -page comprehensive directory listing of MR! tapes, advertisements, sales presentations, names, addresses, and phone numbers of press -kits, pressing, printing, fabrication, every major record company, publishers, shipping, warehousing. We do it all. Cal! us booking agents, managers and independent today to discuss your next project. EARTH record producers. Also, sample contract AUDIO TECHNIQUES, (802) 425 -2111. forms for each. All for $4.95. R.I.A., 15 Colum- bus Circle, New York, N.Y. 10023. COLLECTORS RECORDS 50,000 LPs, sold at auction, international service since 1971, specify category or artists, lists from: Ray RECORDING STUDIO MIXER CAREER? Send Macknic (or) Theo's, P.O. Box 7511, Van two 13c stamps fast to Attainment, Box Nuys, Ca. 91406. 45333MR, Dallas, Tx. 75254.

fier, TEAC Tascam model 80 -8 re- TEAC TEAC model PB -64 Just send $1.50 plus $.25 for corder /reproducer, 161 com- postage and handling per issue patchbay, dbx model Studio Winner pressor /limiter, MXR digital delay, to: Modern Recording graphic equalizer, Back Issues Dept. UREI model 530 TEAC has an- AKG model BX -10 reverb unit, ARP 14 Vanderventer Avenue The Corporation nounced the winner of its "Win a model 2600 synthesizer and two Port Washington, N.Y. 11050 $20,000 Recording Studio" contest. JBL -4315 monitor speakers. Check Box: W. of will be presented with Vol. 1, No. 5 D Vol. 1, No. 6 The winner, Robert Skrotsky Mr. Skrotsky 10, LI Vol. 2, No. 1 Vol. 2, No. 2 San Jose, Ca., was chosen from nearly the "studio" "on or about January Sorry! All other back issues are out of print. twenty thousand entries and is now 1977." Word has it that lucky Skrot- Name the proud owner of the following equip- sky doesn't read Modern Recording, ment: a TEAC Tascam model 1 line- but perhaps we can send him a sub- Address level mixer, model 25 -2 master re- scription free of charge so that he'll be corder, six TEAC model ME -120 mies, able to tame all those goodies he now City TEAC Tascam model 10B mixing con- owns. sole, Accuphase P -300 monitor ampli- Good Luck Robert W. Skrotsky! State Zip

94 FEB/MAR 1977

www.americanradiohistory.com ! (continued Advertiser's Index from page 8) SUBSCRIBER SERVICE Reader Service p Adverting' Pop q ing to you to find out if it is being printed. And can I obtain the Aug /Sept '76 CHANGE OF ADDRESS 76 Acoustic Control 79 & Oct /Nov '76 issues from you as I Planning to move? Please let us know six 21 Appalachia Sound 92 subscribe? Please help me get this fine weeks in advance so you won't miss a single issue of MODERD RECORDING. Attach old 36 Arp 11 journal! label and print new address in space provided. No h Sam Ash 94 -K. Matthew Victor Also include your mailing label whenever you 28 Ashly 46 Chicago, Ill. write concerning your subscription to insure 67 Audio Techniques 76 prompt service on your inquiry.

No BASF N 1 Back copies of the Aug/Sept. '76 and v 50 BGW d 57 Oct/Nov. '76 issues are still available. Ä 77 BSC 24 A v No M Bose 12 Simply write to our subscription depart - ment and request them ($1.75 per issue). 78 Carvin 25 Thanks for your interest. 62 Community Light & Sound 5 95 Crown 15 We Stand Corrected 40 DBX 14 48 DiMarzio 77 Thank you for the nice review of "Turn- Attach 58 Discwasher Coy. II ing Toward the Morning" which we Label 60 Dokorder 81 received the other day (MR Aug /Sept. 4 Here 74 Electro Voice 43 '76). Looks as though Modern Recording 64 Express Sound 35 is a magazine we ought to subscribe to. Not that they matter very much, but 82 Fuji 55 there were a few bits of misinformation N 87 Heath 6 in the article. I probably wouldn't even 71 Heil 82 mention them, but for the fact that the

38 Ibanez 44 magazine is devoted to recording infor- 79 Infitheatre 13 mation. So -just for the record (no pun 89 Interface 8 intended): We did not move the barn. The entire 85 JVC 13 house was a barn for a hundred years 81 Loft 86 before it was remodeled by a man named MODERN RECORDING Magazine Nod Lux 24 14 Vanderventer Ave. Port Washington. N Y 1105() Metz in 1939. He made it into a short -

86 MXR 51 lived music school as a sort of personal 24 Martin 61 philanthropy. 84 Maxell 17 I've never a MODERN RECORDING 30 Morley 36 owned Tandberg, and have never used a four -track machine. Our 98 Norlin 21 earliest field recordings were made on a Magnecord 728 (which weighed about a 26 Orban/Parasound 20 aft 88 Otari 39 ton and a half). Most of our recordings BUY SELL TRADE 1 were made on a Revox Professional HS- 73 PAIA 82 PRODUCTS 52 Peavey 45 77 (two -track with 15 ips). Last Spring, we invested in a brand new and very EQUIPMENT 91 Quantum 80 beautiful Studer A -67 with European SERVICES 69 RIA 87 head configuration. Our most recent No h Recordist Pro Shop 91 recordings (FSI -60, FSS -61, FSC -62 and Classified Rates 72 Revox 53 most of FSI -63) were made with this No ry Ruslang 94 60c per word 90 Russound 12 machine, which is also a two -track. Also for the record: I use two (and Minimum 10 words. Copy 92 SAE 2 sometimes four) Cambridge micro- 80 San sui 23 must be received at Modern No k Senn heiser 34 phones, Model C -4, which I dearly love. Recording, 14 Vander - No H Shaeffer 75 They are built by Charles Fisher of No h Songwriter 78 vent er Avenue, Port Wash- Cambridge Records, and I am convinced 32 Sony America 16 ington, N.Y. 11050 by the 34 Sound Workshop 18 that anyone who records vocal folk mu- 1st day of the 2nd month 94 Sou ndcraft 37 sic ought to have a pair of them. They 75 Steiner/Parker prior to cover date (for 15 treat the human voice 68 Sunn 59 with great tender- example, the Dec /Jan issue 54 Superscope 96 & Cov. III ness and love, as well as with excellent closes October 1st). Pay- 4.4 fidelity. 46 TDK 9 ment must accompany or- Again, thanks for the good review, 93 Tangent 22 and der. Phone numbers count 20 Tapco 76 please look at all of the above technical as 1 word. Zip codes are 44 Teac 19 info as nothing more than a plug for 97 Teac 47 free. 70 Technics Cov. IV Studer and Charlie Fisher. DISPLAY ADVERTISING 66 Texas Audio 7 -Sandy Paton 416J 96 Tycobrahe 85 Folk- Legacy Records, Inc. $80.00 per column inch

22 Whirlwind 38 Sharon, Ct. 83 White 86 4 w FEB/MAR 1977 95

www.americanradiohistory.com SONY 8802 THE WORLD'S BEST.

DIRECT DRIVE SERVOCONTROL SYSTEM. PEAK READING VU METERS. The name may be long -Close -Loop Dual They're versatile. Accurate. And incredibly Capstan Tape Drive -but the concept is informative. 1. You can set for standard VU simple: one capstan is just an extension of the operation to determine recording level. 2. Set motor shaft itself (the other connects through to display transient peaks only (up to +15 dB). a belt -drive inertia fly -wheel). Gone are the 3. A third display, Peak Hold, retains transient intervening gears that can often impair opti- reading, letting you accurately measure mum operating reliability as well as speed audio input and adjusts accordingly with accuracy The result - almost nonexistent 2dB Stepped Record Level Attenuators. wow and flutter -a mere 0.02% @ 15 ips. SYNCRO -TRAK. PHASE COMPENSATOR CIRCUIT. This means you can lay down two individually recorded tracks in perfect synchronization with each other. Record head has playback -monitor function in record mode. This eliminates time lag that occurs when monitoring through playback head. Thus both tracks can be first generation, keeping Original Source ' Source Source Through After Recording' Phase Compensator' noise levels at minimum. Flashing Standby Signal alerts you that the unrecorded chan- Ideally, you want on recorded tape what nel is record - ready. And Punch -In Record is a "mirror image" of the original signal. No puts you into record mode instantly, without more. No less. Problem: the very nature of the stopping tape. recording process causes phase distortion. Solution: during playback, Sony's exclusive Phase Compensator Circuit compensates for phase distortion. Result: sound quality SONY® Ask anyone. that's virtually identical to the original source. Brought to you by SUPERSCOPE. (REFER TO OSCILLOSCOPE READINGS.)

SYMPHASE RECORDING. - a . Thanks to the durability of Sony's Ferrite and Ferrite Heads and incredible precision . f.ì fabrication and alignment of the head gap, you can record any matrix 4- channel signal (like SQ** or FM), play it back through a 4- channel decoder /amplifier, and retain the exact positioning of signal throughout the TC-880-2 360° 4- channel field. What started out in right front channel stays there. What began TC -756 -2

in left rear doesn't wander over to right rear. Other Distinguished Sony Decks. TC -788 -4 There's no phase shift whatsoever.

'1000 Hz @ 0 dB. 15 ips. "TM CBS. Inc. (Side panels of these units are constructed of plywood. Pages for your nearest Superscope dealer. finished in genuine walnut veneer) ®1976 Superscope. Inc.. 20525 Nordhoff St., Chatsworth. CA 91311 Prices and models subject to change without notice. Consult the Yellow

CIRCLE 54 ON READER SERVICE CARD

www.americanradiohistory.com I1f11111;1111111111111111111111111N1111k111111!a' '41111111111i1111111tIII11t111It1111111''F'` 1111111ti11111111111111111111` SON Y '11111111111111III1111110 SONY

17 u a Pt 11A MANE IN JAPAN

41.

(144

tit .T_ ... ^¡ = 4-1)

www.americanradiohistory.com You're going to spend X300 fora receiver? And you never heard of PPR?

Total Harmonic Stereo Sugg. Ret.t Min. RMS Power Distortion at FM Sensitivity Receivers Price Per Channel into 8 Ohms Rated Power (Max.) IHF '58 Stereo -50cB*

SA -5760 $799.95 165 watts from 20Hz -20kHz 0.08% 1.8µV 35.7dBf

SA -5560 499.95 85 watts from 20Hz -20kHz 0.1 1.8µV 36.2dBf

SA -5460 399.95 65 watts from 20Hz -20kHz 0.1 1.80 36.2dBf

SA-5360 299.95 38 watts from 20Hz -20kHz 0.3 1.90 37.2dBf

SA.5160 229.95 25 watts from 30Hz -20kHz 0.5 1.9µV 37.2dBf

SA-5060 ' 169.95 12 watts from 40Hz -20kHz 0.9 2.00 38.2dBf tTechncs recommended price, but actual retail price will be set by dealers. *New IHF '75 staidard

PPR is price performance relationship. And we feel it's a meaningful way of judging a receiver because it can tell you how much power, technology and performance you're getting for your money. And when you look at our price performance relationship it's easy to see why your next receiver should be a Technics. Of course, we want you to listen to our receivers. Especially since all six have the reserve power tofloat through complex musical passages with a minimum of distortion and clipping. And they all have rugged transformers. Bridged rectifiers. As well as sigh- capacitance filtering. ,

Play a record. You'll hear it the way it was recorded. Quietly - .... -- ..._ and with greater dynamic range. Because we use an overload- r ,; resistant 3 -stage IC in the phono equalizer sections. r Tune in an FM station. Even a weak one. In additiop,io hearing all the music. you'll also get increased stereo separation. Negligible distortion. And a minimum of noise. Thanks to flat group Jelay filters and Phase Locked Loop IC's in the tuner sections. So if you'd like to know a simple way to discover just some of the reasons why a Technics receiver is so good ... it's as easy as 'PPR. A ,cabinetry simulated wood.` Thchnics by Panasonic

i'5":71"."7).,Wiffelfflilalwww.americanradiohistory.com