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Recording-1987-07.Pdf July 1987 Scheduling & Booking Page 52 T.hA. ENGINEER /PRODUCER The Technical Journal for Audio Professionals $4.00 AN NTERTEC PUBLICATION IIt alum Digital Technolog t :.,r:;° Gait 1 100 1S1411°S ''' ' If all these Fairlights look the same it's has made Fairlight the world's leading digi- because they are. tal audio production system. Each one is designed and hand -built to Eight voices provide the versatility the same exacting standards, with the same required for most session work. And, if 16 bit sound quality, as our much -praised required, Fairlight's multi -port MIDI capa- 16 voice, 14 megabyte Series III. bility allows the control of up to 64 exter- The difference is, now there's a Fair- nal, sampled or synthesized voices. light to suit your exact need and budget. We call them e- x- p- a- n- d- a -b -1 -e Advanced software. Fairlights. Not a set model range, instead This is sampling in its purest form it's a series of compatible options that from the people who invented it. allow you to choose any configuration and Stereo sampling, Page R and CAPS expand its capabilities. Sequencers, Waveform Editing, FFT analy- Right on up to an 80 voice, 140Mb RAM sis and resynthesis, and an extensive sound Series III with Gigabytes of Hard Disc and library are all included. Optical WORM Disc Storage. SMPTE chase /lock provides the ideal setting for structuring musical scores, laying - in sound effects, and synchronizing to multi- track tape and disks. A time -code trigger/ How much event generator also lets you program com- plex SMPTE cue lists Fairlight for film and video post - production. Real -time effects do you need? allow complete control of attack, decay and vibrato for a realistic acoustic feel. You have at your command every major There are no limitations. You don't pay section of the orchestra, and just about any for features you don't need. But you do get synthetic and composite sound you could the exact Fairlight for the job. ever have reason to use. Just decide what you require for your composition, arrangement or production Design your own Fairlight. role and we'll build the Fairlight to suit. For full details and a demonstration of the new e- x-p- a- n- d- a -b -1 -e Fairlights, Even our basic Fairlight call your nearest Fairlight office. is far from basic. Los Angeles (213) 470 6280, New York For $39,950' you will start with a rack - (212) 219 2656, Toronto (416) 964 1885. mounted or portable Fairlight, that is Fairlight dealers - Chicago: Gand unchallenged by anything near its price. Music and Sound (312) 446 4263. Miami: 16 bit Digital audio quality with over - Limelite Video (305) 593 6969. San Francisco: sampling capability ensures the sound that AIC (415) 686 6493. 'Prices and specifications are subject t0 change without notice Systems above 16 voice require external rack mount units (not shown). delivery late 1987 $39.950 system does not include music keyboard Circle (1) on Rapid Facts Card $39,950 K VOICE /4Mb RAM DIAL 20Mb FLOPPY .4..L,t 12.1,AILA.IJL,i.JLL.SJL,CJL.,i,iJLi.JL.ü..._..- $75,000` It, VOICE'14Mb RAM I 511Mh I)IS(', 60Mb TAPE - - .LS.J../fL1.41114L1JáIJLSlJLiJLáiJLi.aL.i.i... _ - --. -- 'Pr $175,000' 1 40 VOICE 50111) RAM 600Mh I)Iti(', 400Mh 11ORM SGJ.J.LA-L /Ld-aL"d,L:Jai.J/Ci,i,J` , i.1_.... m t- o nt ents RecENGINEER /PRODUCER July 1987 Volume 18 \um her 7 Digital Technology Session Report: The Audibility of Electronics A Transcontinental Listening tests can be useful in Digital Overdub evaluation of pro-audio equipment, As the audio-production industry recog- A recent digital overdub session including monitor amplifiers. nizes the sonic and operational advan- involving Stevie Wonder, Nile By John Eargle 68 tages of digital recording and processing, Rodgers and Quincy Jones linked RE /P considers some of the diverse East and West Coasts studios via a Departments elements involved in this blossoming transcontinental satellite link. technology. By Paul D. Lehrman 44 Editorial 4 News Future Directions in Digital Scheduling 6 -8 and Bookings Letters Signal Processing Policies Recording 10 -11 for and Managing MIDI Technology Production Studios 12 Sound on the Road 14 What technical and operational How facilities can establish, and Film Sound Today 16 developments can we expect in then implement, a viable policy Living with Technology 20 the growing field of digital special toward scheduling sessions and SPARS On -Line 22 effects and signal processing units? ensuring that clients understand its Studio Update 72 By Charles Bagnaschi 24 bookings procedures? New Products 74 By Charles R. Mills 52 Hands On: Classified 79 AMS AudioFile Facility Spotlight: Advertiser's Index 80 By John Binder Genesis' Personal 30 -Use On the Cover. Fisher Lane Studio An All -Digital Nutcracker: The conversion of a farm milking Adapting Digital Technology parlor into a versatile recording fa- An Event Processor Screen display from for 3- Machine Mixing cility presented some unique chal- the newly developed AudioFrame digital and Editing lenges to architect John Flynn and audio workstation, which illustrates one Conventional digital editing sys- acoustic designer Sam Toyoshima. of the potential ways in which MIDI per- tems are normally configured to By Richard Elen 58 formance data might be incorporated handle a single master and slave with the recording and editing of digi- VCR. It represents a technical chal- SPARS Business Conference tized audio signals. Photo courtesy of lenge to modify such a system to Replay WaveFrame Corporation, Boulder, CO. accommodate a pair of replay A report of a 2 -day conference RECORDING ENGINEER /PRODUCER -Volume 18. No. VCRs working with a master deck that provided ideas for developing 7 -(ISSN 0034 -1673) is published monthly by Intertec Publishing Corporation. 9221 Quivira Road. P.O. Box 12901, in a 3- machine mix and editing and implementing business for re- Overland Park. KS 66212 -9981. Second -class postage paid at session. cording and production studios. Shawnee Mission. KS. and additional mailing offices. POSTMASTER: By Bob Send address changes to Intertec Publishing Katz 38 By Lee Murphy 64 Corporation. P.O. Box 12901. Overland Park. KS 66212 -9981. 2 Recording Engineer/Producer July 1987 DTR -900 32- CHANNEL DIGITAL TAPE RECORDER Illill IIIIIIII IIIIIIII 11111111 Professional Digital standard recording format 32 tracks Peak- reading LED meter bridge The incomparable ballistics of Otari's renowned pinchrollerless transport U. SMPTE - EBU time -code synchronizaton. When you are ready to create the ultimate recording studio, the Otari DTR -900 awaits. _ Otari, Technology You Can Trust Otari Corporation, 2 Davis Drive, Belmont, California 94002 . (415) 592 -8311 TWX 9103764890. am/ Circle (4) on Rapid Facts Card Editorial Given that, by its very nature, our in- time dealing with specific computer dustry is strongly based upon the com- topics: munication of musical ideas and con- What microprocessors and support cepts, I should possibly be less surprised chips were the new system built around? at the ways in which industry profession- Did any particular micro seem to out- als explain their particular visions of the shine the rest? future. Not so much with regard to what Did the choice of micro and /or operat- Increasing Your they are telling me, but rather the chang- ing system affect the system's long-term ing language and vocabulary we now expansion capabilities? seem to be using to explain our individu- What did we know about the software Options al view of technological developments. that was expected to spin through this Not so long ago, the major flavors of device? (Or vaporware, if hardware corn - "technological alternatives" were con- mitments were still a ways off -either to fined, in the main, to By Mel Lambert, Editor developments in allow the company to play chip -gazing analog consoles, tape machines and out- games, or because of possible /eventual board sound benders, studio techniques VLSI decisions.) being pretty much based on these ma- What did we know of the people cur- ture technologies. These days, however, rently writing or being recruited to write the future of the recording and produc- the software? Or, to put it another way: tion industries -not to mention its asso- What could we expect in the way of sen- ciated manufacturing base -is tightly sible man /machine interface? linked with digital technology. Will we be facing boring 4 -color high - The bottom line in all of this is that we definition VDUs, or has anybody really are all learning to conceive of the future been spending some time thinking about potential of audio facilities in terms of display technologies and ergonomics computers, operating systems and theory? Has anyone come up with a software. more appropriate technique for inform- By way of a tangible example, I am re- ing the user of what he or she needs to minded of a recent conversation with a know about system status and control well -known producer and sound design- options than flat- screen displays? er. He and I were catching up on current What did we know (or could make in- technology -an endeavor 1 find myself telligent guestimates) about the system's doing on a regular basis these days -and projected lifetime in the studio? (Or, to were comparing notes on random -access put it more prosaically: How long would editing systems and hard -disk recording it take the opposition to fathom out the systems. unit's inner workings and release their The conversation ranged far and wide own "enhanced" version once they have that morning, before we started to trade a better understanding of the market's opinions on what we knew about poten- reaction to the Mkt?) tial manufacturers of digital storage sys- How would the existence of a digital tems, and what thoughts we had about interface standard or sampling frequen- control and display topographies.
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