OCTOBER 1984 VOL. 1C NO. 10 $2.25 MIL KODGE

, . Equalization

.3 REPORT. Revox PR99 2-Trac Recorder/Reproducer

S o MUSI N TEBO Pulsar Series 40 4". .r Matrix Mixing Console RECORDING TECHNIQUES:- Amplified lnstrumrDius

I 71896 47947

www.americanradiohistory.com Swiss Audio: Technical Evolution

VARIABLE SPEED

RESET TRANS

HR MIN SEC Z-LOC A-LOC RPT SET SEL STP

On adding time -saving production features to a proven audio recorder design.

The updated PR99 MKII, now offering vates play mode for a continuously re- To discover more about the world's a microprocessor controlled real time peating cycle. most versatile and dependable budget- counter, address locate, zero locate, Pick up the tempo? When acti- priced recorder, please contact: Studer auto repeat, and variable speed con- vated by a latching pushbutton, the Revox America, Inc., 1425 Elm Hill Pike, trol, can improve your audio produc- front -panel vari -speed control adjusts Nashville, TN 37210; (615) 254 -5651. tion efficiency. And, as before, it's built the nominal tape speed across a - 33% to meet strict Studer standards for to + 50% range. The adjustment po- long -term reliability. tentiometer is spread in the center range Welcome to real time. The PR99 for fine tuning of pitch. MKII's real time counter gives a plus Future perfect. The PR99 MKII also REVox or minus readout in hours, minutes offers a serial data port for direct ac- and seconds from - 9.59.59 to cess to all microprocessor controlled +29.59.59. Counter error is less than functions. 0.5 %, and the microprocessor auto- Much gained, nothing lost. The matically recomputes the time dis- new MKII version retains all features played on the LED counter when you of its highly regarded predecessor, in- change tape speeds. cluding a die -cast aluminum chassis Fast find modes. Press the ad- and headblock, balanced and floating dress locate button and the PR99 MKII " +4" inputs and outputs, self -sync, fast winds to your pre -selected ad- input mode switching, and front panel dress, which may be entered from the microphone inputs. keyboard or transferred from the European endurance. Designed counter reading. Press zero locate and and built in Switzerland and West Ger- it fast winds to the zero counter read- many, the PR99 MKII is a product of ing. In the repeat mode, the PR99 plays precision manufacturing and meticu- from the lower memory point (zero or lous assembly. Every part inside is made negative address) to the higher point, to last. PR99 MKII with optional carrying case and mon- rewinds to lower point, and re -acti- itor panel. Roll- around console also available.

Circle 10 on Reader Service Card

www.americanradiohistory.com OCTOBER 1984 VOL. 10 NO. 10 MODERN - - -IMAM -- -- r/i ---- 1p1"Ilm ` - - -_ --_t -`fr[ -_ ---__ _-- -- & music

PRACTICAL MUSIC 49 FEATURES VIDEO PRODUCTION by Denny Andersen In this second installment on Video Switcher Operation, Mr. Andersen 6 RECORDING TECHNIQUES takes us into the video production by Bruce Bartlett studio itself to take a look at the An update on the various methods of actual operation of the switcher gear. recording amplified instruments and drums is presented in this de- tailed report. SOUND IDEAS 22 NILE RODGERS: GOOD TIMES by Susan Borey Anyone who has produced the likes LAB REPORT 37 of David Bowie, Mick Jagger, Duran by Len Feldman Photo by John Bellissimo Duran and many others, master- The Revox PR99 2 -Track Recorder/ minded the innovative funk group Reproducer. Chic, and recorded brilliantly on his own, must be doing something MUSICIAN'S NOTEBOOK 42 right. Nile Rodgers, who also plays by Craig Anderton one mean guitar, seems to do every- The Pulsar Series 40 Mixer. thing right. In this exclusive inter- view, MR &M probes Rodgers about SOUND ADVICE 47 his magic touch in the studio on both by Susan Borey and Mark Oppat sides of the glass. In this "Declaration of Equaliza- tion," the Sound Advisors delve into 28 EBN -OZN: COMPUTER GAMES the history and various types of EQ by Larry Jaffee and describe the use of an EQ ana- The recent dance hit "AEIOU Some- lyzer in everyday EQing. times Y" and the followup album Feeling Cavalier only hinted at the HACKER'S DIGEST 52 computerized creativity at work by Ken Pohlmann behind the music of the dynamic duo Two microprocessor systems, the known only to the world as EBN- Intel 8085A and the Hitachi DA- OZN. MR &M went behind the 1000, are dissected by our chief boards with Messrs. EBN and OZN hacker, Ken Pohlmann, in this to examine their use of computers month's installment. in formulating state -of- the -art mu- sical madness. DEPARTMENTS 32 RANDY NEWMAN: AS A FILM SCORER, HE'S A NATURAL by Bill Milkowski Randy Newman has been one of the LETTERS TO THE EDITOR 2 most misunderstood artists in popu- lar music for over a decade. How- MARKETPLACE 54 ever, filmmakers understand that if they would like a superb musical '/a NOTES 57 score for their projects, Newman is New and noteworthy events in the the man to call. The composer/ recording industry. pianist's most recent soundtrack was for The Natural, the highly & MUSIC 58 successful Robert Redford vehicle. Reviews of albums by Bruce Spring- In this rare interview, Newman steen, Prince, Thelonious Monk, discusses his work for the silver Elton John, Tina Turner, Elvis screen. Costello, and others.

www.americanradiohistory.com MODERN pArmamli rib A IS 7 I %iii/ 1 V & MUSIC Letters

A Few More Words About JEFF TAMARKIN Editor Spoken Word LINDA CORTESE Technical Editor Bruce Bartlett's article "Recording The Spoken Word" RITA WOLCOTT (MR &M May '84) is indeed of value, especially to the smaller Editorial Assistant studio engineer ...yes, there are bucks to be made out there by JOHN EARGLE recording the spoken word. Technical Advisor Since I was probably the worst rock mixer in the Western DENNY ANDERSEN Hemisphere, my recording studio experience was primarily CRAIG ANDERTON in recording and editing radio commercials, slide films, and BRUCE BARTLETT film sound tracks. (Besides...oh heresy to admit it in MR &M's SUSAN BOREY pages...I enjoyed it more.) Anyhow, after years of making RICK CHINN slightly- tipsy- after -a- tee -martoonie -lunch executives sound LEN FELDMAN like I VICKI GREENLEAF Clarence Darrow, can offer a few more tricks for record- GENE KALBACHER ing VOX. KEN POHLMANN I always recorded "flat." There are enough variables with- JAMES RUPERT out worrying about duplicating EQ, since inserts might be Contributing Editors recorded days later. The humidity has changed and the air is MARTIN BASCH different -the announcer is slowly getting a head cold -and MICHAEL FISHMAN yes, your voice is lower in the morning than at the end of the ROB HOERBURGER day. (You're also taller in the AM, but that's another subject.) NORMAN WEINSTEIN With all these potential problems it really is easier to "fix it Music Reviewers in the mix." MERV KATZ When doing a retake, have the announcer go back to the National Advertising Director sentence before the flubbed sentence. There's usually a change KAREN COHN in inflection because of what has been previously said, so Advertising Coordinator have the announcer "read into it" and it will edit more naturally. Yes, it is easier to edit in the pauses, but a good editor will soon KATHI LIPPE Layout and Design learn to edit within the sound, too. The first time you make a singular into a plural or vice -versa, and the client doesn't have SUSAN MONAHAN to bring back the talent for another session, you will be called Circulation Wizard ...and have a very, very loyal client. SPARTAN PHOTOTYPE CO. It is valuable to record some room ambience at the end of Typographers the session. Later you may have to lengthen sections of narra- tion to fit visuals or music effects, and leader tape has no sound. Your studio has some characteristic ambience...unless you ELAINE ZIDE happen to have a real anechoic chamber. "Don't touch that Associate Publisher dial" and record a minute of silence (with the announcer still LARRY ZIDE sitting at the microphone) and you will have silence to splice Publisher in that matches the rest of the silence. This is especially impor- tant in film work. Popping is a problem, and I'm not just proffering a pun. Some people have a real problem with plosive sounds and a gale of wind comes out of their mouths with each and every P. A windscreen is standard operating procedure. In extreme cases, the announcer can read the sentence with two extended Modem Recording Si Music (ISSN 0273 -8511) is published monthly by MR &M Publishing Corp. 1120 Old Country Rd. Plainview. NY 11803. Design fingers held a couple of inches in front of the mouth. This can and contents are copyright 1984 by MR &M Publishing Corp, and must not be reproduced in any manner except by permission of the publisher Second help in "breaking the wind." (There's the pun.) Of course if the class postage paid at Plainview. New York. and at additional mailing offices copywriter has come up with like: "The Subscription rates $15.00 for 12 issues. $26 00 for 24 issues Add $3 00 be, things perennial year for subscriptions outside of U S Subscriptions must be paid in advance problems with the pear picking process prevented Paul's in US funds Postmaster Send Form 3579 to MR &M Publishing Corp. 1120 Old Country Rd. Plainview. NY 11803 parents from...." Well, then, you might want to sit down with

2 MODERN RECORDING & MUSIC

www.americanradiohistory.com Acoustic foam "pop" Three-layer mesh grille resists denting and moisture for better element protection and appearance. filter.

High-output moving-coil dynamic cardioid capsule.

Felt dust cover protects entire element.

All grille screens soldered (not glued) to brass retaining rings for maximum strength.

; Two integral shock mounts to reduce cable and handling noise.

Precision- machined body of materials 10 reasons selecte4 for perfect balance, shaped for why you can't buy comfort. Aluminum 11. a better vocal Zinc Alloy microphone!

8 *We have six more very colorful reasons to choose Rear acoustic an ATM41a: Red, White, Blue, Green, Black, and Gold! phasing Each custom-color ATM4la comes with matching- chambers for color 25-foot cable, complete with connectors. shaped low-end Lock as great as you sound! frequency response. There's one other reason why you'll put the ATM41a first in vocal microphones. Listen. Our sound blows them all away! Try it today at your Audio-Technica sound 9 specialist. Armorized finish* resists chipping. 10 Professional 3- pin balanced audio-technica output connector connects directly AUDIO-TECHNICA U S INC , 1221 Commerce Dr , Stow, OH 44224 216.,686-2600 to element with no heavy Going wireless? Write to Nady Systems, transformer. 1145 65th St., Oakland, CA 94608 for details on the ATM41a/Nady combination.

C;rcie 13 on Reader Service Card

www.americanradiohistory.com the producer for a rewrite. Back -timing is an essential trick, but there's an easier way to do it with PIANO STILL SOUND an alternative threading pattern that works on most all machines. Refer LESS THAN to the drawings which follow. No need to remove the reels ...just re- thread as the picture shows, punch GRAND? the PLAY button, and watch in rapt amazement as your machine plays backwards! (This even works with '/ -track machines where flipping the reels would only play the two un- recorded tracks.) rip) rw Studio Quality, Ambience -free Stereo Sound from your Piano, A. NORMAL TAPE- THREADING PATTERN Harpsicord or Celeste MODELS AVAILABLE FOR MOST ACOUSTIC STRINGED INSTRU in moments, at less MENTS DRUMS & SAX. than the cost of a pair of good conventional microphones. c -tope development/ Inc T.M. P.O. Box 1069 Palatine. IL 60078 Call Toll Free 1- 800 -562 -5872 c=duccrr TELEX 280 502 flexible tape microphones In IL AK. HI, CAN. Call 1- 312 -359 -9240 Circle 14 on Reader Service Card B. ALTERNATE THREADING FOR BACKWARDS PLAYBACK

In A/B tests, this tiny condenser microphone While recording the spoken word may not be as exciting as a 24 -track equals any world -class professional microphone. session with a major group, making Any size, any price. little mini -dramas with narration, Actual Size sound effects, and a music track can be a rewarding creative experience... Compare the Isomax II to any other and help pay the rent, too. microphone. Even though it mea- -Larry Gorjup sures only 5/15" x 5/8" and costs just Cleveland, OH $189.95,* it equals any world -class microphone in signal purity. And Isomax goes where other micro- phones cannot: Under guitar strings near the bridge, inside drums, inside pianos, clipped to horns and woodwinds, taped to amplifiers (up to 150 dB sound level!). Do- It- Yourself Isomax opens up a whole new world of Equipment Racks miking techniques - far too many to men- This is an answer to the "S.O.S. from tion here. We've prepared information Glenn Scott" in "Talkback" from the sheets on this subject which we will be July 1984 issue of MR &M: Very happy to send to you free upon request. inexpensive equipment racks may be We'll also send an Isomax brochure with built from metal shelving standards complete specifications. (metal angle brackets with holes Call or write today. every inch or so). With a drill and a hacksaw you can fabricate anything * Pro net price for Omnidirectional, Cardioid, Hypercardioid, and Bidirectional models. you want. One problem is that the holes are not always exactly where COUNTRYMAN ASSOCIATES INC. you may want them. Best of luck! 417 Stanford Ave., Redwood City, CA 94063 (415) 364 -9988 1! -Robert Noland Austin, TX

4 Circle 16 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com Congratulations4 to Clair Brothers and thanks for taking us along on the tour...

Circle 15 on Reader Service Card

CAR'v ODiZ POR AFION rd Avenue West L o<, l 4v'A`4ir"?.5t, POWERFUL MUSICAL. Aa_CII'\A www.americanradiohistory.com bruce bartlett

Amplified Instruments And Drums

The "Recording Techniques" Sept. '82- Vocals and Acoustic In- Feb. '84- Buyer's Guide to Low -Cost series has been running for struments Equipment 21/2 years now. We've amassed Oct. '82- Mixing Console Theory Mar. '84- Helpful Procedures and a lot of information in that time. If Nov. '82- Operating the Mixing Flowcharts you've missed some of the series and Console Apr. '84 -0n- Location Live Record- would like to get an early article, Dec. '82- Signal Processors ing write to MR &M for the appropriate Feb. '83 -Tape and Tape Recorders May '84- Recording the Spoken back issue. Mar. '83- Monitoring Part 1 Word Here's a list of the articles pub- May '83- Monitoring Part 2 June '84 -How to Tame Feedback lished so far: June '83- Session Procedures July '84 -dB or not dB Sept. '80- Stereo Mic'ing Techniques July /Aug. '83 -The All- Electronic Aug. '84 -AES Conference Part 1 Feb. '82 -The Recording- and -Re- Mini Studio Sept. '84 -AES Conference Part 2 production Chain Sept. '83- Creative Sonic Effects Oct. '84- Amplified Instruments Mar. '82- Studio Acoustics Oct. '83 -Hum Prevention and Drums, II May '82- Microphones Nov. '83 -What is Good Sound? July '82 -Mic Technique Funda- Dec. '83 -Mic Techniques for Real- Recording Electric Guitar mentals and Two -Mic Recording istic Reproduction Let's return to our topic: effective Aug. '82- Amplified Instruments Jan. '84 -The Pressure Zone Micro- methods for recording amplified and Drums phone instruments and drums. The electric

While others have introduced more expensive reverbs that don't sound like they're worth it, or It proves lower -cost units that don't deliver quality, Orban's 111B Dual Spring Reverb continues to prove its worth. its worth. Why? Because the Orban 111B offers good, clean sound that most studios and production rooms demand at a fair price. Our proprietary "floating threshold peak limiter" protects the springs from being overdriven on transients. So the 111B doesn't sound "twangy" -just bright and clean, with a sound that complements tracks instead of muddying them. And flexible EQ lets you contour the echo return for any application. So check out the 111B Dual Spring Reverb: A proven performer with the right sound at a fair price. Orban Associates, Inc. or ban 645 Bryant St. San Francisco, CA 94107 (415) 957 -1067 TLX: 17 -1480

Circle 18 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com Family Portrait

If you've got a growing family, new members in the planning sooner or later you need a process is larger than the picture with everybody in it. It's number in the picture. Since a a statement of family pride, and lot of our friends have only we humbly admit that we are used one or two models so far, pretty proud of this group. we thought we'd better introduce the family. The next There was a time when most time we may not be able to get people didn't recognize a Crown them all in one picture. PZM® as a microphone - even when they looked at one. Times Keep an eye on this family. have changed. Billboard Right now it's one of the newest Magazine reports in their most and best. It just might get to be recent brand usage survey that the biggest. 37.5% of U.S. recording studios from Crown. Call or use Crown PZMs. PZMs write for your family tree. This sort of demand, multiplied by many other applications, has crown, family grow, with new made the 1718 W. Mishawaka Rd. microphones tailored for new Elkhart, IN 46517 users. In fact, the number of (219) 294 -5571 Circle 17 on Reader Service Card

www.americanradiohistory.com guitar can be recorded in many ways: with a microphone in front of the guitar amp, with a direct box, both mic'ed and direct, or through a signal processor such as the Rockman (see RECORD HERE Figure 1). C(external speaker jack) Electric guitar,°P. The style of music you're recording bass, piano will suggest the appropriate method. r o- Mic'ing the amp is best when you RECORD HERE want a rough, raw sound, including Mic -. tube distortion and speaker colora- tion. Rock 'n' roll or heavy metal Effects (RECORD HERE usually sound best with a mic'ed amp. RECORD HERE Recording with a direct box, on the other hand, sounds clean and clear, Figure 1. Recording an amplified with extended highs and lows. It instrument system. might be the best method for quiet jazz or R &B. Use whatever sounds right for the particular song being recorded. The recorded guitar should sound full- range, so you have something to AWESOME work with later in the mixdown. The highs should be bright but not too bright; the lows should be warm but not muddy. First work on reducing any hum heard through the guitar amp. Set the guitar volume and treble controls up full for the best signal -to -noise ratio. Have the guitarist move around to find a null spot in the room where hum disappears. Flip the polarity switch on the amp to the lowest -hum position. You may want to try a noise gate to remove buzzes between guitar notes. Mic'ing The Amp Small practice amplifiers are genrally better for recording than large, noisy stage amplifiers. If you use a small amp, place it on a chair to avoid picking up reflections from the floor. The most popular microphone he goal is clear: evenn 2ss, Special Fea u choice for electric guitar is a cardioid brightness, naturalness, a long These special limiters rn dynamic type with a presence peak even sustain. Everyone can hear tor current, not voltage, in the frequency response (a boost it. Producing it is somethi ig else. side the transducercoils,effec- And producing it at the pr ce we do ively dealing with the "sproings around 5 kHz). The cardioid pattern is even harder. This is how we do it. And our NEW remote power reduces leakage; the dynamic trans- transformer reduces hum to an The Secret of a Great Sound ducer type withstands high sound - absolute minimum. pressure levels without distorting, Twelve springs, in six )airs. are mounted in But we do more than just sound great, we separate assemblies for each channel. The survive. And in the world of Rock and Roll, and the presence peak adds punch. three initial delay times they each provide that's saying something. Of course, you can use any mic that (33ms, 37ms, and 41 ms) p-oduce the extremely Want more? There are the great specs, the sounds good to you. A flat -response dense, even reflections of r reverbs are famous line and instrument level inputs, the condenser provides for. These are combined with constant current a natural sound stereo /mono switching capability... but for quieter drive amplifiers and sophisticated equalization enough said: Audition the RV -2, or any of our guitar parts. sections for each channel. Another secret is signal processing equipment. Find out f For starters, mic the amp about our current sense limiters. yourself. four inches to one foot away, with the FURMAN SOUND, INC. microphone aiming at the center of 30 Rich Street one of the speaker cones. The closer Greenhrae, CA 94904 the mic is placed to the amp, the (415) 927 -1, 'ty.Reliability.'3uaranteed! bassier the tone is, and the less ambience and leakage are picked up. Placement in front of the center of the speaker cone sounds bright; off-

8 Circle 20 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com GOOD NEWS Affordable signal processors by DOD Electronics. Our commitment to high quality, low cost signal processing equipment continues with our R -825 Compressor -Limiter, R -835 Crossover, R -845 Reverb and R -855 Mixer.

R -825 COMPRESSOR -LIMITER Independent dE -esser and side chain. Attack and release time controls. Up to 30 to 1 compression ratio. Gain reduction display (active at all times.!

R -835 CROSSOVER Stereo two -way, mono three -way. 18db /octave, state -variable butterworth filters. Crossover points, 100Hz to 10KHz continuous. Signal to Noise> 90db

R -845 REVERB Four band EQ with pre -limiting. Wide range input and output controls. Adjustable drive and mix controls. Produces a smooth and natural sound.

R -855 MIXER Four -input, stereo output mixer. Mono and stereo effects return. High output headphone amp. 5639 South Riley Lane Line /mic switch, 48db gain (max). Salt Lake City, Utah 84107 Telephone (801) 268 -8400

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Circle 19 on Reader Service Card

www.americanradiohistory.com MX1688 Recording Console

The CARVIN MX1688 is a full function recording mixer designed to serve as the control center for eight -track recording studios. Recording basic tracks, overdubbing sessions, and final mixdown are all handled with ease by the MX1688; signals are automatically MX1688 routed to the appropriate sections of the console for each recording operation. You will rarely (if ever!) need to reconnect any signal $2995 cables with the MX1688. One of the key features provided by the MX1688 but rarely found on PA "recording" mixers is an indepen- dent control room monitor mixer with buss /tape source selection. Working groups wil_ find this mixer perfect for the double duty re- quirements of recording and live sound mixing. The input channels of the MX1688 include sweepable three -band parametric equalization with defeat switch, four auxiliary mixing busses with pre/post switching and solo /mute functions. Quiet per- formance starts with an ultra low noise differential mic preamp and is preserved throughout the mixer by careful attention to gain struc- ture and use of the finest low -noise integrated circuits. Construction of the MX1688 is all modular with individual circuit cards for each channel and master strip. High quality connectors and ribbon cable permit easy field servicing. The same professional quality components as used in $100K consoles are featured in the MX1688 such as SwitchcraftTM connectors, ITT SchadowTM switches, and controls that are optimally damped for smooth operation and made for years of service. Efficient manufacturing, and direct marketing allow us to load the MX1688 with all the features required for multitrack recording and still offer a price that represents real value. Try it on the job for 10 days and if not cominced that it's better than consoles selling for twice the price, we'll refund your money! Send for your FREE CARVIN 84 pg catalog today or include $2 for 1st Class mail, $5 Foreign. For an extensive overview of the MX1688 or MX1644, send $7 ea for their 32 pg Operating /Service manuals. Refundable with purchase.

MX1644 Recording /Live Sound Mixer 16 x 4 x 2 with control room mixing The MX1644 shares many of the advanced features and constriction of the MX1688 but in MX1644 a less expensive 4 out configuration. The 16 input channels of the M!X1644 feature four band $1695 equalization, two monitor busses, two effects busses, 4 sub assign plus L & R assign, and a host of other features. The 4 main sub -outs can utilize the optional ($200) nine band graphic equalizers (4) which can also be patched into the channels. The MX1644 comes with a studio quality Hammond reverb system. Compare the quality and price of the MX1644 and discover its value!

Product Information TOLL FREE 800 -854-2235 Calif. 800 -542 -6070

DeptMR -58, 1155 Industrial Ave., Escondido, CA 92025

www.americanradiohistory.com MX1688 Recording Fee -rares Eight Track Stud. Control Center Input /Output Cihanrel Orgarization Independent 8 Ilk 2 Monibr Mixer Four Auxiliary Dames w/ FrelPost Three Band Parame7ic EC v./ Defeat Switch Mute and Solo or aL Input and Output Channels Two Effects Metros al/ Pas znd Solc Talkback w, BLitt it Mic aid Monitor Dimming Peak Warning Iudcators w1 Peak Sttetching Patch Points on al Channels Microphone Pharbn Power Cue and Effects ads from Output Channels Alternate Meter rra of Cue kind Two -T-ack Quick Tape Pla.tc-cL Througi Monibrs Independent Mic aid Line Frsamps Studio Feed w/ 5cs1u e SeLc :ion Totally Modilar lire -nal Ccn!tructior Input Noise yf -127 lBv 20 dB headroom at All Sta ;e: +4 dB or -10 dB Oreratin; Level T.H.D. less -.hat 15% "The flexibility of the effects and clecn layout P.A. Features of the MX1688 allows creative control, usually Eight Sub- Grouis -v: Solo and Mute found only in desks selling at over twice the price Four Independent Mc nitor Mimes Avalable very impressed!" Headphone Morncri-sg of Ma n or Monitor I'm Talkback to Peter Melon, Producer for Men at Work Mouise Circle 21 on Reader Service Card - 11 Step Gain Ccnt-os for Ears. Set-Up Channels Assigralleto L & E Stereo Output

www.americanradiohistory.com center placement sounds more place five feet away can be mixed the cue level moderate), and mic the mellow and reduces amplifier hiss. with Crown PZMs on the control -room amp. Monitor and record the micro- Some engineers like to place three window for ambience. phone signal. mics side -by -side in front of the amp, During overdubs, communica- plus a Crown PZM on the floor. Then tions are easier if the musician is Recording Direct they switch between mics while in the control room with the engineer. Now let's consider recording direct listening to the guitarist play, and You can still record the guitar amp (also known as "direct injection" or choose the best -sounding microphone. in the studio while the guitarist is "DI "). The electric guitar produces Others mic the speaker front -and- playing in the control room. Here's an electrical signal, so it can be back with two mics switched out -of- how: Plug the guitar directly into the plugged right into the mixing console; phase. mixing console or through a direct no microphone is needed. Since the If you're overdubbing a lead box into a console mic input. Then mic and guitar amp are bypassed, guitar played through a huge stack use that input's cue send to send the the sound is clean and clear. It lacks of speakers, you may want to mic the guitar signal to the headphone junc- the distortion and coloration of the amp at a distance in an acoustically tion box in the studio. Patch that box amp (but remember that amplifier live room. A dynamic microphone into the guitar amp input (keeping distortion is desirable in some songs). If you can use a short cable from guitar to mixer, and your mixer has a high- impedance unbalanced mic input, then you can plug directly into the mixer. If your mixer has 3 -pin balanced mic inputs, then you need a direct box. This converts the high - impedance unbalanced guitar signal to the low- impedance balanced signal required by the mixer. To record with a direct box, plug the electric guitar into the direct box, and plug the direct box into a micro- phone input. Some direct boxes let you record off the amplifier's exter- nal speaker jack to pick up distortion. These boxes often include a lowpass filter to simulate the frequency re- sponse of the guitar -amp speaker. If you want to record the guitarist's special effects, connect the output of the effects boxes into the direct -box input. The direct box should have aground lift switch to prevent ground loops and hum. Set it to the lowest -hum position (usually lifted). Some engineers like to record a combination of direct sound and mic'ed sound. These direct -recording methods apply to electric piano and electric AB Systems bass as well. Some electric pianos require two direct boxes because You ain't seen nothin' yet! they have dual (stereo) outputs. Electric Guitar Effects For years, AB Systems has quietly built a reputation based on Often a "thick" or "spacious" lead value. Our products are known to deliver reliable, state -of- the -art guitar sound is desired. One way to performance at an affordable price. This reputation has earned us a get it is to send the guitar signal substantial following of "true believers ". through a delay line set to a few milliseconds delay. Pan the direct For most companies, that would be enough. For us, it's only the signal left and the delayed signal beginning. You'll be hearing a lot more about AB Systems as we right. Or, send the guitar signal to a continue to refine and improve on our commitment to give you what harmonizer for a slight pitch change. you want - Excellence fora value! Delay the pitch -bended signal 15 to 20 msec., pan it to the right, and pan AB System Design, Inc. the direct signal to the left. Adjust / 11480 Sunrise Gold Circle the direct and delayed levels to Rancho Cordova, CA 95670 spread the guitar between your Isysrems (916) 635 -0890 monitor speakers.

12 Circle 22 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com Songwriters and engineers are not only equipped what I want it to do and lets me do it easily. The quality with very different kinds of talent, they need different of the sound is equal to expensive commercial studio kinds of equipment to bring those talents out. sessions, plus I've got the comfort and control of my No one is more aware of this fact than Steve home environment. After all, I'm a songwriter not an Kipner He's one of the most successful songwriters in engineer." the country You'll find his words and melodies behind It's easy to see why Steve chose the 400B. But of many of the industry's top recording artists. Like Olivia course, at Soundcraff we do more than build the kind Newton John's "Physical ", "Heart Attack" and her of consoles that bring out the best in recording artists newest hit "Twist of Fate" Other contributions include and songwriters. We also provide a full line of quality songs for Sheena Easton, Dolly Parton, America, and mixers to bring out the artist in the engineer. Laura Branigan. And behind Steve Kipner you'll find Soundcraft's 400B console. Because to create the sound that both Soundcraft audiences and artists respond to, Steve prefers the console that responds to him. The Songwriter's Choice Steve chose the 400B for reasons that are as solid Soundcraft Electronics 1517 20th Street, Santa tvtonlca, CA 90404 as gold. 'I spend long hours in my home studio, and I (213) 453 -4591 Telex: 664 -923 never know when the creative spirit is going to strike, Soundcraft Electronics Canada, Inc. 1444 Hymus Blvd., Dorval, even at 3 AM. I spend time at this console laying down Quebec, H9P1J6 (514) 685 -1610 Telex: 05-822582 tracks, not patching and repatching, or fooling around Soundcraft Electronics Limited 5 -8 Grand Sutton Street,London, with a lot of confusing controls. The Series 400B does EC1VOBX, England Telephone: 01- 251 -3631 Telex: 21198

www.americanradiohistory.com Still another way to thicken the output from each string. Also adjust The bass guitar should be fairly sound is to double the guitar. Have the intonation and tuning. constant in level (a dynamic range the player re- record the same part in The electric bass is almost always of about 6 dB) to be audible through- sync with the original part. Pan the recorded direct for the cleanest out the song, and to avoid saturating original part left and pan the doubled possible sound. A direct pickup pro- the tape on loud peaks. To achieve part right. Or, "Y" the guitar cord vides deeper lows than a mic'ed amp, this, the bass guitar signal is typically to feed the guitar amp (recorded on but the amp gives more midrange run through a compressor. The com- the left channel) and a Leslie organ punch. A combination of direct and pression ratio is set about 4:1; attack speaker (recorded on the right mic'ed sound is popular; the amp time is fairly slow (10 -20 msec) to channel). You'll hear a spacious, rounds out the sound while the direct preserve the attack transient, and swirling sound. Other popular effects signal provides clarity and a deep low release time is fairly fast ('/ to %2 are reverb, stereo chorus, and ex- end. The microphone can be a con- second). If the release time is too fast, treme compression. denser or dynamic with a good low - harmonic distortion occurs. The Rockman X100 by Tom Scholz frequency response, placed a few EQ can be used to increase the is a signal processor that adds many inches to one foot away from the clarity of the bass guitar. It often different effects to an electric guitar. ampl ifier/speaker. helps to cut at 125 to 400 Hz, and /or You simply plug the electric guitar When combining direct signals boost at 1500 to 2000 Hz. straight into the Rockman, adjust the and microphone signals, make sure Here are some tips on keeping the switches for the desired sound, and they are in-phase with each other. bass sound clean and well defined: record the signal direct from the To do this, set them to equal levels Use no reverb or echo in the bass. If Rockman. You wind up with a fully and reverse the polarity of the direct an amp is used in the studio, keep its produced sound with a minimum of signal or the microphone signal. The volume low to prevent muddy- sound- effort. Another processor worth polarity that gives the most bass is ing bass leakage into other mics; or checking into is the ESP Pocket correct. You may want to delay the monitor the bass with headphones Studio. Both sell for around $300. direct signal slightly to coincide with instead. A change to new strings or a the microphone signal. different guitar can help. Use the Electric Bass Once you're satisfied with the treble pickup near the bridge. Try Now let's turn to the electric bass basic pickup, have the musician play not to record a lot of extreme low guitar. As always, you first work on some scales from lowest to highest frequencies; they are difficult to put the sound of the instrument itself. notes to see if any notes are louder on a record and won't be heard on Put on new strings if the old ones than the rest. You may be able to set most systems. Mute the strings with have become dull- sounding. Adjust a parametric equalizer to reduce the the side of the hand and play with a the pickup screws (if any) for equal level of these notes. pick for extra definition.

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14 Circle 23 on Reader Service Card MODERN RECORDING & MUSIC

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www.americanradiohistory.com If the bass part is full and sustained, Drums rattling hardware in place with it' ?probably best to de- emphasize the gaffer's tape. pluck and let the kick drum define Now let's look at recording tech- Now you're ready to mic the set. the rhythmic pattern. But if the bass niques for the drum set. The first step For a tight sound, place the mies and kick drum both are rhythmic is to make the drums sound good very close to the edge of each drum and work independently, then plucks "live" in the studio. If the set itself head. For a more open, airy sound, should be audible. Listen to the song sounds bad, you'll have a hard time move the mies back a few inches, use first, and then get a bass sound making it sound good in the control fewer mies, or mix in some room mies appropriate for the music. room. (such as Crown PZMs or omni con- To make an electric bass sound The drum set is typically put on a densers) placed several feet away. like an acoustic, mic the amp for riser 11/2 feet tall to reduce bass Here's a detailed description of cabinet resonance, and use a noise leakage and to provide better eye con- typical mic'ing techniques for each gate or expander with a rapid decay. tact between the drummer and the element of the drum set: Tom Scholz has come up with a rest of the band. Gobos four feet tall Snare: Bring the mic in from the bass guitar signal processor called are often placed around the set to front of the set on a boom. Place it the `Bass Rockman." It has three - reduce drum leakage into other mies. about one inch above the rim, angled position switches for EQ, chorus, and Or the set is placed in a "drum booth" down to aim where the drummer hits sustain, as well as a high- frequency -a small padded room with large (see Figure 2). You may want to aim compressor and peak clipper. windows -for extra isolation. the snare mic partly toward the hi- When you're tuning the drums, hat to pick up both instruments on Leslie Organ Speaker adjust all lugs around the drum to one microphone. This device contains a rotating have equal tension. Tom toms have Either a cardioid condenser or horn on top for highs and a woofer on only a narrow range of effective cardioid dynamic microphone works the bottom for lows. A typical record- tuning, about 1/2 step up or down. If fine; use whatever sounds best for ing technique is to mic the top and the toms or snare drum ring exces- the tune being recorded. Most mies bottom separately, a few inches to a sively, tape some tissue paper or with a cardioid pattern have prox- foot away. Aim the top mic into the paper towel to the edge of the heads. imity effect, which boosts the bass up louvers. It's often effective to record To reduce excessive cymbal ringing, close and adds fullness to the snare the rotating horn in stereo with a apply masking tape in radial strips beat. microphone on either side, or with from bell to rim. Oil the kick -drum If you want to mic the snare and Crown PZMs inside the cabinet. pedal to prevent squeaks. Tape hi -hat separately, bring the boom in

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16 Circle 25 on Reader Service Card MODERN RECORDING & MUSIC

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www.americanradiohistory.com under the hi -hat, and aim the snare mic away from the hi -hat for better isolation. An alternative technique is to tape a miniature condenser mic to the side .-- of the snare drum so it "looks at" the _nA top head over the rim. Some engineers like to mic both the top and bottom heads of the snare GIP drum, with the microphones out of A. SNARE B HI HAT C. TOM TOM phase. A currently popular effect on the snare drum is gated reverb. There's a short splash of bright- sounding reverb, which is rapidly cut off by the noise gate or expander. Patch a noise gate into the reverb- return signal line. Hi -hat: Usually the snare mic or ambience mics pick up enough hi -hat. D. TOM TOM E. KICK DRUM But if you want to mic the hi -hat separately, try a cardioid condenser microphone about three to eight inches above the hi -hat, aiming away 1 from the snare drum for isolation. Aim the mic at the point where the drummer hits the cymbals, or aim it at the side farthest from the drummer F. OVERHEADS (see Figure 2B). If the hi -hat needs more sizzle, try 10 or 12 kHz. Figure 2. Typical microphone place- boosting a little at ments for a drum set. Toms: Tom toms can either be mic'ed individually, or with one mic PULSAR LABS, INC. "ON TRACK SERIES"

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18 Circle 27 on Reader Service Card MODERN RECORDING & MUSIC

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www.americanradiohistory.com allow some unusual opportunities for drum -set mic'ing. You can strap one on the drummer's chest, tape them to hard -surfaced gobos surrounding the drummer, or put them on the floor under the toms, near the kick drum. If you're limited in the number of microphones you can spare for the drums, the following setup uses only two miniature omni condenser mics and one kick -drum mic (see Figure 3). It works well on small drum sets. Tape one mini mic to the rim of the left rack tom near the snare drum. This mic picks up the left tom, snare, hi -hat, and cymbals. Experiment with placement to get a good balance between these instruments. Tape the other mini mic to the rim Figure 3. Mic'ing a small set with two of the right rack tom nearest the floor miniature omni condenser micro- tom. This mic picks up the right tom, phones. floor tom, and cymbals. The third between each pair of toms. One A miniature condenser mic or mic goes in the kick. With a little typical technique uses a cardioid PZM can be taped to the inside of the bass and treble boost, you'll be dynamic or condenser mic placed one shell on top, about halfway in. surprised at the good sound and even inch above the rim, angled down As for EQ, you can cut around 300 coverage you can achieve with this about 45 degrees toward the drum to 600 Hz to remove the "cardboard" simple setup. head (see Figure 2C). Again, the sound and boost around 2.5 kHz to After all the drum microphones cardioid's proximity effect gives a 5 kHz for extra click or snap. are set up, ask the drummer to play. full sound. An alternate setup is to How should the recorded kick Listen for rattles and leakage by tape mini condenser mies to the toms, drum sound? Well, they don't call it soloing each microphone. Try not to peeking over the top rim of each kick drum for nothing. Trunk. A spend more than 10 or 20 minutes drum. powerful low -end thump plus an getting a sound on the drums; other- Tom -tom mics often pick up too attack transient. wise you waste the musicians' time much leakage from the cymbals (this Overheads (cymbals): Place over- and wear them out. leakage is sometimes heard as a low head mics (cardioid condensers) at To keep the drum sound tight, turn tone). To reduce cymbal leakage and least one foot away from cymbals off mics not in use in a particular improve isolation, take the cardioid to reduce low- frequency ringing. Three tune, or use a noise gate on each drum tom -tom mics and aim their "dead" to five feet above the cymbals might mic. rear at the cymbals. Or remove the be Two mies overhead Electronic drums (such as Sim- bottom heads from the toms and mic better. can be angled for isolation (see mons) or drum machines (such as them inside a few inches from the apart better Figure 2F). Place them to pick up all LinnDrum) are recorded direct into head, off-center as in Figure 2D. This the cymbals equally. Usually not the console. If the drum machine also keeps the mics out of the drum- much gain is needed sounds too mechanical, you can make mer's way. on the overheads, since the cymbals leak into the drum the sound more interesting by com- If the sound is too resonant, you bining real drum sounds with the can dampen the head vibration with mics. with machine's signal. The machine can paper towel or tissue taped near the Cymbals can also be mic'ed mini condenser mics taped to cymbal play a steady background while the edge of each head. Or cut around 300 stands, the bell of the drummer does other things. to 400 Hz with your equalizers. just under cymbal. When mic'ing drums on stage for Kick drum: Place a blanket inside Recorded cymbals should sound sound reinforcement, you don't need the drum, pressing against the beater crisp and smooth, not sizzly, trashy, a forest of unsightly mic stands and head to dampen the vibration and or harsh. booms. You can use short mic holders tighten the beat. that clip onto drum rims and cymbal A microphone commonly used in Ambience: Ambience mics are stands. For club work, the cymbals the kick is a cardioid dynamic type microphones placed fairly distant usually cut through everything, so with an extended low- frequency from an instrument-about 20 feet - they need not be mic'ed. response. For starters, place it inside to pick up room reverberation. When We've covered some typical micro- the drum on a boom, a few inches to mixed with the close -up mics, they phone techniques for amplified one foot from the beater head, slightly give an open, loose, airy sound to the instruments and drums. These are off -center, as in Figure 2E. Mic drums. You can use an omni con- just suggestions to serve as a starting placement close to the beater picks denser microphone or a Crown PZM point. After trying them out, invent up a hard beater sound; off -center attached to the control room window. your own techniques, too! If you can placement picks up more skin tone; Sometimes ambience mics are heavily capture the power and excitement and farther away placement picks up compressed for a special effect. of these instruments, you've made a a boomier shell sound. Other techniques: Crown PZMs successful recording. -7- 20 MODERN RECORDING & MUSIC

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Circle 29 on Reader Service Card

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www.americanradiohistory.com Rising from the '70s swamp of thudding, formulaic disco and ultra - busy rock 'n' roll, Nile Rodgers pulled a crisp new sound into focus aria Chi:, the stylish mode - Francais ensemble that scored internationally with the hit single "Good Times. With partner Bernard Edwards, Rodgers then brought his influential reductionist approach to the studio, producing albums for Sister Sledge, Diana Ross and Debbie Harry. Last year Rodgers recorded hrs first solo album, Adventures In The Land Of The Good Groove (Atlantic), in the process spawning a reactionary debate over censorship with cne of its songs, "Yum Yum." With Chic officiaLy on vacation, Rodgers has recently found time to produce material for David Bowie, Mick Jagger, Duran Duran, Jeff Beck, Madonna and INXS, and will soon be working on another solo release. In this interview, Nile Rodgers, a guitarist, producer, performer and songwriter, discusses his broad career, the influental Chic sound, his home recording gear and techniques, and the infamcus Al and the Knife Wielding Punks.

www.americanradiohistory.com Modern Recording & Music: Nile, only a few people could be inter- viewed at length on their separate successes as musician, songwriter Electronic music is popular and producer. Let's run the bases of your broad career. How did you first because it's easy to play. Almost become interested in playing guitar? Nile Rodgers: When I moved back every child I know has some kind of to New York from California, in the late '60s, I met some kids who were Casio in their house. It's very friends of my uncle. They had a band, gratifying to pick up on an minus a guitar player. I thought these guys were really cool and I instrument and play it right away. wanted to belong with them, so I said, "Hey, no problem, I play guitar." But, you know, the cream always I didn't play guitar at all! They just happened to have a guitar there. rises to the top. They brought it out and of course I couldn't play anything. But because I played other instruments and was musically inclined I could figure out jazz; learning Wes Montgomery licks, and with classical music your inter- the musical symmetry that the Benson, Charlie Christian. And at pretation is minimal. You add a guitar has. It's easy to picture the the same time, because of my age and personal feel to classical music, but half- steps, and you can figure out the people I hung out with I adored you basically play just what's on the mathematically what the tones cor- Jeff Beck, Jimi Hendrix and many paper. With popular music, how- respond to. I was able to mock bass others. In the '60s and '70s there were ever, your feel is everything. They lines and play some sort of melody, so many instrumentalists. Today write out the charts, but they are but I was so embarrassed by this there's just a handful of people who hiring your powers of interpretation. initial encounter that I was then are really respected as serious guitar It gives you a lot of room. determined to play really well, just so players. MR &M: At some point you also I could show those guys. Of course, MR &M: It's been said that guitars had a gig with the house band on the they didn't hire me. are passe. Do you think it's indicative Sesame Street television show. MR &M: How old were you when of a trend, and do you think it has to NR: I worked with Sesame Street this happened? do with electronic music? for some time. The star of the show, NR: I was 16, and by the time I was NR: Electronic music is popular Loretta Long, was married to the 17, I was playing professionally. because it's easy to play. Almost manager of the Apollo and they loved MR &M: I guess you sort of caught every child I know has some kind of the way I played. I was only 17, but I on to it. Casio in their house. It's very gratify- was a very good reader, which is NR: (laughs) Boy, I sure did. I was ing to pick up on an instrument and exceptional for guitar players, who just so obsessed with it after I made play it right away. But, you know, the are notoriously bad at that. I didn't such a poor showing that first day. I cream always rises to the top. Any- really fit in politically, physically or kept practicing and practicing out of one can play those things and the only socially, but they really liked me. these songbooks, but nothing made thing that's clever about it is song - MR &M: At some point you played sense. I had all the finger positions writing, putting those sounds to- with an African juju hi -life band? rehearsed but the chords didn't gether and making something NR: With a couple. The main guy I sound right. That was because I unique. But I still know lots of guitar played with was a Nigerian prince, didn't have the guitar tuned properly. players that play amazingly well, Tony Bassman. He was an excep- As soon as I tuned it up it was like and that's the group I want to be tional guitarist, and like many of magic; everything fell into place. The considered part of, the real musicians. those guys, he was really into learn- first song I learned was "A Day In MR &M: You once played in the ing jazz. If I played a James Brown The Life." After that there was a house band at the Apollo Theatre in lick, they considered it jazz and snowball effect because once I could New York. wanted me to.show it to them. get through a song, I wanted to play NR: The Apollo was an amazing MR &M: How did you rise out of more and more. So I just kept going. R & B institution. There was a time the swamp of hard rock and busy MR &M: What was the early stuff when they had so many shows a night, jazz to come up with the reduction - you were listening to and jamming on? like four shows a night and five or six ist sound that characterizes Chic? NR: Well, I already played orches- shows a night on the weekends, that NR: When disco was really popu- tral music on various instruments. I instead of having different bands lar, everybody tried to make a disco was raised in an ostensibly beatnik set up between acts, there was a record and still retain their own household and modern jazz was a house band. We read from charts and style. They added this disco "feel" by very important part of my life. So we only had a couple of days to learn doing exactly what they had already was classical music. I probably the material. There was a different been doing and having the drummer started on the guitar, like most show every week. I really learned a go ta-shh ta-shh ta-shh and the bass people, jamming on blues because lot about music there, a lot about player go dum- dum -dum -dum -dum- it's a very simple format to improvise interpretation of pop charts. Up dum. -dum -dum. Everybody was able on. But early on I started getting into until then I'd been classically trained, to get a hit. So I did some arrange-

24 MODERN RECORDING & MUSIC

www.americanradiohistory.com MR &M: Let's talk about your guitar sound for a while. It's so bright and clean; sometimes it sounds like a bass being slapped. Do you have a special production technique for this sound? NR: No, it's just the way I play. My right hand hits the guitar very hard and that's where the brightness comes from. You're getting the sound of the pick actually hitting the strings, not just the sound of the strings vibrating. I rest my hand on the bridge or I'm right over the pick- ups. I'm making noise with the pick. It can be brittle and harsh or it can be pretty. When your basic sound is that harsh you can always soften it up. If you don't have that strength in the right hand, your control over dynamics is limited. MR &M: What amps and effects with your when you (I. to r.): Peter Gabriel, Adrian Belew, do you use guitar Rob Sabino (Chic keyboardist), Nile record? Rodgers. NR: I go direct into the board. I can't even remember the last time I ments of serious jazz songs by NR: Absolutely. When I used to used an amp. I control all the level Gershwin and Benny Goodman with study, my teacher would say that changes when I'm playing by the the disco "feel." We could have lots silence is a very important part of amount of force I use. When I was of fun, solo, keep playing jazz and music. A rest is just as important as playing in nightclubs I didn't have still be commercial. All of a sudden, a written note. Rhythm is the most effects. When that song "Shaft" by though, I felt really bad in my heart important part of music. It's much Isaac Hayes came out, the thing that because I felt I wasn't being true to more important than harmony or made it unique was the wah -wah this new art form. I didn't think it melody. You can make a song with pedal. One night when I was subbing was proper to rip off disco. I thought one note and rhythm. these guys asked me if I knew that there was something dreadfully MR &M: Are you aware of the song and I started playing it for wrong with us laughing at this type extent to which you've influenced them. They thought I was crazy be- of music and figuring out that all we modern music with your reworking cause I could play it without a wah - had to do to a song was put this slick of rhythm? wah pedal. I'm really into straight, beat to it and we'd have a hit record. NR: I can see it more as I get out clean guitar because it's so musical So I went home and wrote a song and meet people and they tell me. in and of itself if you play it with love. called "Everybody Dance." It was But our resources are quite limited. You can do all kinds of things using simple, with real cool jazz chord We have only a few notes to choose tricks. Don't get me wrong, tricks changes. I called up my friend from, and it's amazing how many are cool; I love all that stuff. Bernard Edwards, who I was in a similarities of style there are, espe- MR &M: Do you have some stock band with -I think it was called cially because when people are about guitars you use for recording? Allah and the Knife Wielding Punks the same age, they learn from the NR: I'm really into an old fashioned -and I asked him to write a bass line same people. Stratocaster sound. My favorite to it. I sang a really simple hook MR &M: You're very positive about guitars are a very old Strat that has (sings): "Everybody dance, clap your this. How do you feel about acts such been on almost every record I've ever hands..." We liked it and we were as Queen, which took your bass line played on, and recently I've gotten really proud that we created some- from "Good Times" and used it note into these Tokai Japanese guitars thing new. We had a new drum for note in "Another One Bites The which are copies of old Strats. They pattern that was still danceable and Dust ?" sound amazing, so brittle and bright. ended up with what we felt was an NR: We knew about that because I used them with Bowie and on every- original sound for dance music. Soon Queen's bass player was right in the thing I do now. I'm sorry to say that Bernard, Tony Thompson (Chic studio with us when we were record- the Strat has taken a back seat. drummer) and I had an album of this ing. Music is there for us all to learn MR &M: What studios do you like new music ready, but no company. from: you can't really own ideas. to work at? Eventually we came to the attention of the president of Atlantic Records, who thought it was the freshest thing he had heard in a while, and he If I knew drummers who could do signed us. MR &M: With your music, it seems what drum machines do, I'd hire them. that the spaces between the notes are just as important as the notes.

OCTOBER 1984 25

www.americanradiohistory.com from England and I saw a lot of live shows. At the ones that were over - lots guitar players technical, with tapes and synthe- I still know of sizers, people were very ho -hum, but that play amazingly well, and that' when a person came onstage and sang a song or really played, people the group I want to be considered were just freaking out. We need as much stimulation as possible, and I part of, the real musicians. don't care where it comes from. If somebody invents a machine that can make me think of better guitar parts, NR: The only studio I've ever used exactly like I do at home. I used to fine. I'll buy it first. I'm not worried for the past seven years is the Power record a guitar part three or four about a machine putting me out of a Station in New York City. I've worked times and I'd lose something. Now, job. The machines can be shortcuts at lots of other studios, usually on what I record at home can be on the to composition, and the easier it is to someone else's record, but the Power actual record. While I was writing compose, the more you can be creative. Station has always been my home it, it felt right, and I was involved MR &M: Let's talk about your solo base. They have a lot of stuff that with the emotion of that time. I don't album, Adventures In The Land Of other studios have, an SSL, EMT have to worry about re- creating that. The Good Groove. plate echoes and all. But the thing I I love having the choice of being able NR: I was very nervous because I really like is their live echo chamber. to keep my original ideas. I believe still felt responsible to Chic and Nothing sounds like that. Their in digital also because I believe it's couldn't get too crazy. rooms sound terrific, the maintenance very important for a musician to keep MR &M: But there was a heavy is great and it's always working. My his /her sound consistent from situa- censorship issue that concerned one ears can depend on the way a room tion to situation and historically. I song, "Yum Yum." You weren't sounds there. When I make a mix I think it's great to know that when I exactly being conservative with know exactly what it's going to sound go in there to record today, no matter "slept all night with my hand on it, like. I'm not gifted where I can judge how many times I bounce it or change gimme some of that yum yum before the acoustics of any room and tell it around, in the year 2050 it's going I sleep tonight." what parameters will be different. to sound like we just turned on the NR: When I wrote that, I intended MR &M: Do you have a home machine today and put it on tape. A it to be a very simple, funny thing. studio? lot of people argue that the noise Unfortunately, a lot of people are NR: I'll be honest with you, I've analog tape adds is part of the music. very narrow- minded and didn't see got lots of equipment, but my favorite That's fine for them, but all I want to it as my commentary on the fact that thing in the entire world right now is hear is what I play. I'm so crazy that so many records go ridiculously the cheap little Fostex X15 with the I'm having the people at New England overboard with sex. batteries. I take it everywhere I go Digital build me an interface that MR &M: How did you hook up with and make songs on the spot. It has goes direct from my synthesizers to Diana Ross to produce diana? forced me to get back to the old way my tape machines so there's no NR: Diana came to see Chic per- I made records, which is to get all of analog stage at all. I live with differ- form and she was impressed by the my sounds right and balanced out ent signal processors, Publisons, honesty and energy of our perfor- when I'm putting them on tape. AMS. Having the Synclavier has mance. She said that was what was When I'm using discipline like that, done a lot for me. The true -to -life missing in her music, and that's why it's amazing how good it can be. You sampling changed my life. I did that she'd like to do something with us. can get spoiled by having equipment Duran Duran record "Reflex" and It was a very emotional and easy that is so good you just have to get the the whole song changed because of process. music on tape and worry about bal- that instrument. Peter Gabriel turned MR &M: What about Debbie ancing it out later. With the Fostex I me on to the Quantec Room Simulator, Harry's solo album, Koo -Koo? use no EQ; everything is flat. For which I adore. NR: Debbie and I had been friends vocals, I use Sennheiser 421s. They're MR &M: Can technology get out of for a while, and since we were both really great all- around mics. When hand? into the same music, we decided to I'm in the studio I'll go out and rent NR: Everything can get out of do an album together. We had a lot 421s for the toms if they don't have hand. It's what we make of it. I of problems with the record. The them. At home I have a very ancient haven't seen too much technology yet. cover (which shows a close -up of Neumann U47 that I sometimes use I adore the space program... Harry's face seemingly skewered by for vocals. MR &M: What do you think about spikes) was the biggest problem. We MR &M: How have you embraced drum machines? couldn't get any coverage. Musically, or avoided quantum leaps in tech- NR: I think they're the greatest there were four personalities who nology with the other home equip- thing in the world. If I knew drum- were equally as strong. Any one of ment you have? mers who could do what drum ma- us could have done that record by NR: Since I've just spent thousands chines do, I'd hire them. himself. It was like having a basket- of dollars digitizing myself I can't say MR &M: Can technology make ball team with all power forwards. I've avoided it. I'm a total digital people take talent for granted? You MR &M: How did you come to freak. I own everything Sony makes. know, just push the button and you've produce Let's Dance, David Bowie's At home I have a 3324 digital multi- got the rhythm, another one for last album? track. I have the PCM 1610. Now, for chords... NR: David was another natural the first time in my life I can sound NR: Maybe. But I've just come accident. I met him at a club one

26 MODERN RECORDING & MUSIC

www.americanradiohistory.com Chic (I. to r.): Tony Thompson, Alfa Anderson, Bernard Edwards, Luci Martin, Nile Rodgers

that ultra -raunch edge that the Stones are famous for, either. MR &M: You once said that if Let's Dance was a black record, it never would have entered the charts with as high a position as it did. NR: It probably wouldn't have. MR &M: Do you think radio cross- over between black and white artists and formats has progressed since then? NR: It's changing a lot. I think everything is going to be fine. Prince and Michael Jackson are doing in- credibly well. But it's interesting that in America, if it's a black record night and told him about how Carlos MR &M: As a producer, you often it's not called "pop "; maybe we'll start Alomar was always one step ahead seem to be a collaborator or arranger to change our definition to "pop" of me in my career. He was at the as well. meaning popular, not just white. Apollo before me, he was with Sesame NR: I'm not an engineer -producer, MR &M: People on the street might Street before me, and of course he I'm a musician -producer. People hire do that, but it may take a while for played with David, which is some- me for the musical parts I can add radio stations to catch up. thing I always wanted to do. Maybe while I produce. NR: If the music continues the way he remembered the story, or some- MR &M: You are producing Mick it's been going, they're going to have thing. I really don't know why he Jagger's solo album. Will it reflect a to catch up to it or those stations are called me. David is a very enigmatic change of musical direction for him? going to fail. person. But I'm really glad he did NR: I can't say it's a new direction MR &M: You seem to be at the fore- call me; it worked out great. It was because maybe he was into it all front of a new crossover trend for a real meeting of minds. It was the along. You know, the Stones are the black producers. fastest, easiest record I've ever done Stones, but Jagger is Jagger. It's not NR: I've been one of the luckier in my life because we were on the like Weather Report or something ones because Chic did so well pop - perfect wavelength together. like that, but it's not going to have wise that when I started producing white traditional artists it wasn't really heavy. When I did David Bowie, it was probably one of the first times that a black producer was able to do a rock 'n' roll superstar, except for the early Dylan records. it was to rip off It seems really odd that there haven't I didn t think proper been more black producers in a disco. I thought there was country where the music comes from the same source. something dreadfully wrong with MR &M: What projects loom in your immediate future? us laughing at this type of music NR: I'm working on my album, Mick Jagger's solo album, and Sister and figuring out that all we had to Sledge. I really like working with women. All of the big hits I've written do to a song was put this slick in my life have been performed by beat to it and we'd have a hit record. female artists. When I write asa man it's heavy and critical, but when I write songs through a woman's eye I can make fun of myself and all theit other guys I know.

OCTOBER 1984 27

www.americanradiohistory.com larry jaffee 11E12% -ON c i ]FIt1E!

livhat happens when a computer music whiz who's been tinkering with recording studios ever since he was three meets a Broadway actor who sang with the Metropolitan Opera at 10 and now shares an equal passion for Gilbert & Sullivan and rap music? You get EBN -OZN, a funk duo conceived for the video age. Their mini soap -opera single, "AEIOU Sometimes Y," garnered much crossover airplay last year on rock, pop and black radio stations, as did the self -produced video of the same song. They proved that it was no one -shot wonder with the infectious followup rocker, "Bag Lady," released earlier this year along with the debut album, Feeling Cavalier (Elektra).

www.americanradiohistory.com At first glance, their partnership fiddled with wires, slightly predating EBN: When doing a song this way seems as unusual as the name (a his interest in playing guitar and you should have a basic understand- combination derived from their rock 'n' roll. By the time he was 16 he ing about the instruments you're given surnames, which they prefer owned his own 4 -track studio in working with, at least on a general not to divulge). EBN evokes a some- Greenwich Village that was fre- level. I play drums, guitar, bass and a what shy, brainy bookwormish -type quented by Jimi Hendrix. Three little keyboards, so it has helped me totally immersed in the infinite years later, he opened Sundragon, a lot in realizing my ideas using a possibilities of his computer music a 24 -track state -of- the -art studio that computer by having the part in my creations. OZN's classic blond rock has been used over the years by such head and knowing what will work. star looks and clear, full voice emit luminaries as Brian Eno, Talking Translating directly into the com- a cocky, outgoing persona who's Heads, Ravi Shankar, David Johan- puter saves a lot of time. perpetually feeling, well, cavalier. sen, and the Ramones. MR &M: You didn't pick up an Yet they meet on common ground as instrument or sit at the drums during lovers of rock 'n' roll, and both grew the making of Feeling Cavalier? up in the 1960s on the funkified New EBN: Well. on the album I did play York City streets. real bass and quite a bit of real Several years ago they were intro- ruitar because it sounds more natu- duced by an astute mutual musician ral to play analog and I don't like to friend who recognized the enormous program most of that stuff. potential if the two combined their MR &M: How do you develop and seemingly disparate styles. Each was compose a song? ecstatic about the rock video explo- EBN: Usually I start with the sion and had his own ideas about rhythm section and score different music visuals. parts -bar by bar. While I write and At the outset, the dynamic duo score the parts I can store and edit decided to make their partnership them in the computer. Individually, I as democratic as possible by capital- go through each part and arrange izing on each individual's talents and them into the song using the digital background. Multi -instrumentalist technology. EBN takes credit for producing the MR &M: Say you woke up with a recordings, while vocalist OZN is riff in your head. What would you do credited as producer of the videos. first? Both share secondary co- producer EBN: I would do a quick rough titles on the other's specialty. drum pattern to get a rhythm happen- Former Juilliard student OZN Supplementing his recording studio ing. Then I'd put the riff out or my regularly sang opera classics by business, EBN formed a hard rock brain and into the computer's memory Verdi, Schumann, Schubert and band in the late '70s called Riff Raff, and work a bassline around it. Then Puccini as a teenager. Several years which recorded two unsuccessful I'd start listening and see which way later he pursued theatre, appearing albums for Island and Atlantic. it goes. Using the computer is like in the Broadway productions A Undaunted by this bad experience, having a big, endless scratchpad that Funny Thing Happened On The Way he saw the EBN -OZN partnership you can erase, save, update. It's a To The Forum, Shenandoah, and fulfilling his wildest sound dreams. constant evolution to come up with a Marlowe, and co- starring in the road To further his experimentations finished track. show of The Pirates Of Penzance. His with technotoys like guitar synthe- MR &M: Can you describe how you acting in their two videos has sparked sizers and a Fairlight CMI, EBN mesh the channels and sounds? more offers for plays and films, OZN sold Sundragon and built a personal EBN: As I build the rhythm estimates, in the past year than he recording studio in his homey Soho pattern I put a sync -tone on the tape received in the last four years before loft, where the following interview which locks the machine into a that. took place. certain tempo. I can dump eight "Rock video is the one area in Modern Recording & Music: Can channels at a time with the Fairlight. which I get to write music, screen- you explain the concept behind So I do the first layer of 8- channel plays and act-everything I can do computer music? rhythm and then a second layer of in one medium," relays OZN, whose EBN: My Fairlight CMI (Com- chords and melodies. Then I dump creative adeptness at producing puter Musical Instrument) enables it to the 24- channel. Sometimes I do it videos is a story all of its own. me to create and sample sounds from in three layers. Often I'll group In this article, Modern Recording & real life and use those sounds as things together, combine notes into Music concentrates on EBN's forays music by writing parts. Musically, 4/4 four -note chords into one track. into computer music. EBN has this translates to creating events So in actual fact, it winds up being created one of the first pop albums using those sounds. In other words, 24 channels from three layers created to feature almost entirely digital I can create the sound of a guitar, by the computer. technology and playing. With the bass, drums, voice, or even sounds MR&M: Having your own studio exception of a few odd overdubs and like a toilet bowl without actually must have really helped you explore vocals, Feeling Cavalier was per- playing those instruments or making this way of creating music? formed without the use of actual those actual sounds. EBN: That's right, you can't do instruments. MR &M: So you really don't have computer music in a traditional Since EBN was very young he to be a musician? recording studio, unless you're Fleet-

OCTOBER 1984 29

www.americanradiohistory.com EBN: It certainly is one of the first pop albums to use such extensive Using the computer is like having computer technology in complete band tracks. There are certain a big, endless scratchpad that you tracks -"Kuchenga Pamoja" is a classic example -on which every can erase, save, update. sound with the exception of a 24 -bar It's a constant evolution to come guitar solo in the middle is computer - generated. Most people would use a up with a finished track. drum machine. But here we're talk- ing everything- drums, bass, per- cussion, all the strange sounds like pygmies chanting and Tibetan monks wood Mac. Then you can do it, but this first album. My aim was to go -were created by the digital ma- it'll take $800,000. To do this kind of heavy with the software and make chines. music, you need some place to experi- something dance /pop using minimal MR &M: How did "AEIOU Some- ment. You can't just go into the live playing and to maximize pro- times Y" evolve? Power Station and do computer gramming of different and simple EBN: That started with a bassline music on a normal budget. Besides, sounds using the computer. and expanded like a mushroom. The most studios aren't equipped for it, MR&M: During the making of the computer created all of the sounds. anyway. album did you constantly incorpo- All of the breathing is in time using MR &M: Can you describe your rate "new toys" that you were adding the program power of the computer, studio? to the studio? synced up exactly on the beats. OZN EBN: It's called MSP, which EBN: There were a couple of tid- wrote the two verses and all of the stands for Maximum Sequential bits like a Marshall time modulator, raps after the instrumental track Potential. It's located in my home and a synthbox vocoder that I picked was pretty much down. The vocals and is entirely dedicated to electronic up from Bob Moog. You can hear it on and everything else were filled in music, perfect for any kind of synthe- "Rockin' Robin" and "Stop Stop Give around the hooks and drums. sizer stuff. After I go crazy with the It Up." A lot of my digital stuff was MR &M: How far have you gotten electronics in my private production helped by playing the Oberheim on the second album? facility and finish the basic tracks, synthesizer analog. The computer EBN: It's in a rough stage. We have we mix them at an outside studio controls and drives all of the channels lots of ideas, bits and pieces stored because MSP doesn't have that kind so I have the best of both worlds. That in magnetic discs, floppy discs, tapes, of capability. way I can layer individual sounds or everything. MR&M: What kind of equipment whatever I want. For example, I'd MR &M: Have you had any prob- do you have? program a lot of the analog stuff, lems translating all of this into a EBN: The heart of the studio is the add colors, and stretch out with the live act? Fairlight CMI, which includes a capabilities of the digital stuff. Also, EBN: No, we do it with a combina- computer terminal and keyboard. my Avatar guitar synthesizer, which tion of live playing by three other The display terminal has the capa- was the first ever made, enables me musicians and computer playback. bility of creating graphics, which to do a lot of coloring. I can use it as Special percussion effects that would we've used in the videos. Then I have an instrument, or run the massive be impossible to play, like the toilet a Lexicon 224 Digital Reverb, a library of sounds -thousands and bowl flushing on "I Want Cash," can bunch of Studer two -tracks, a thousands of them -through the be retrieved live from the computer. Marshall Harmonizer and Time guitar. Things like that really add some- Modulator, and a lot of outboard stuff MR &M: Were there any break- thing zany and fun to the live act. for signal processing. Some of the through techniques on the first MR &M: Do you have any plans to stuff is custom built especially for album that really had not been done rent out MSP to other musicians the me. Most of it is pretty basic for com- before? way you did with Sundragon? puter music. Also I use an Oberheim synthesizer and expanded modular system, which is as antiquated as synthesizers go in terms of ease of It takes a commitment to learn operation. But to me, it's like one of You my old Les Paul '58 Gold Top Specials. how to use the machines. have It has a big, ballsy and fat sound. to really experiment and not be There's also a grand piano. MR &M: How long did the first afraid to make mistakes. It's a album take to record? EBN: In real time, it was a four - constant process of learning. Some month project constantly spent in the studio. musicians might get intimidated... MR &M: Was your fascination for computer music completely fulfilled it's all up to the talents of the with Feeling Cavalier? individual running it. EBN: I feel confident and good about what we accomplished with

30 MODERN RECORDING & MUSIC

www.americanradiohistory.com around the corner from a 4 -track you think he would be making today recording studio I had. A good friend with the technology available if he of mine was his prodigy; that's how I was alive? got to know him. In fact, I saw him EBN: Jimi would be doing way out record "Crosstown Traffic" at the stuff, boy. Crazy electronic stuff - Record Plant; they were great ses- synthesizer and guitars. I know he sions. One night I wound up mixing would be in the forefront. He was for Jimi at the Salvation Club. It was so talented. the first night he had broken up the MR &M: You worked with conven- Experience and came with his Band tional rock bands as a musician in a of Gypsies. It was a strange gig be- group. Compared to that, do you find cause the management was not computer music a little lonely? happy about the change at all. They EBN: Doing music like this for the wanted him to stay in the cross- last couple of years has shown me over white market. A lot of weird what it's like to be a writer. You're things were going on that night. really alone when you do this stuff, Actual wires and cables were cut. really inside yourself. It's very intro- There was a lot of tension and sabo- spective, which is good and difficult tage happening. It was a tough gig, in a lot of ways. But yes, it's definitely but he was a pleasure to work with. I a lot of man -hours spent in here alone. never worked with someone that For Feeling Cavalier, we're talking brilliant. He was a very nice and hundreds of hours. It was five full humble man. days just for the programming. Just MR &M: What kind of music do a man and his machines. EBN: No, the old studio was a business -a working taxi meter. It helped fund my insane addiction for these things. But I have no intention to turn MSP into a business again. When people use my facility now, they're using my talents and knowl- edge in a certain area, as opposed to just the hardware. That's a big difference. Phil Ramone and Arif Mardin are two producers who I have worked for as a consultant in the last year. HAVE A MR &M: How many other people are doing computer music? EBN: Thomas Dolby, Stevie RECORDING STUDIO Wonder and Geoff Downes each have a Fairlight CMI. Some people use it PROBLEM? as a conventional synthesizer and just play the keyboard. A lot of people haven't had the time to get into Call DataLjne it yet. It takes a commitment to learn how to use the machines. You have to really put yourself into it and (213) 651 -4944 experiment and not be afraid to make a mistakes. It's constant process of The Society of Professional Audio recording studio operations in- learning. Some musicians might get Recording Studios, a non- profit cluding business practices, audio intimidated. But I think more and organization, offers SPARS mem- engineering, and technical mainte- more are looking for an avenue to bers, and non -members referred nance will be answered by SPARS - supplement what they're doing, by a SPARS member, a national approved sources at no charge. though not to take the place of it. telephone 'hot -line.' Want a problem solved? Slowly, studios are getting into com- Call SPARS- SPARS puter music, but not many, because Questions regarding any area of (213) 651 -4944 they don't have the operators who SO0l:áa,` . know how to use the machines. It's SPARS Board of Directors and Consultants the musician behind it, not really the Murray R. Allen Larry Boden Mack Emerman Christopher Stone Universal Recording Cr Recording Record Plant. machine. It's all up to the talents of Corporation. Chicago Los Angeles Los Angeles Jerry Barnes Bruce Botnick Bob Ldtin Joseph D. Tarsia the individual running it. United Western Studios Digtal Magnecs Regent Sound Sigma Sound Studios MR &M: Is it true that you de- Los Angeles Las Angeles New York Philadelphia Charles Benanty Nick Colleran Lenard Pearlman David Teig veloped a friendship with Jimi Soundworks Digrtai Alpha Audio Editel- Chicago New York AudieNideo Swd,os Richmond John Rosen John Woram Hendrix? New York Fanta Professional Woram Audio Associates EBN: When I was 16 years old I Services, Nashville New York mixed a gig for him. He lived right

OCTOBER 1984 31

www.americanradiohistory.com bill milkowski

AS A FILM SCORER, HE'S A NATURAL

To the vast majority of American record buyers, Randy Newman will always be remembered as "the guy who wrote that controversial song about midgets." That's the price he's had to pay for the huge success he scored with "Short People," a tongue -in -cheek poke at bigotry that was widely misinterpreted as a nasty slur against diminutive folk. Die -hard Newrnanites, of course, understand their man. They take his wry wit with a grain of salt. They understand that when Newman suggests that we ought to "drop the big one and see what happens" in Sail Away's "Political Science," puts forward the view that homosexuality is contagious in Born Again's "Half A Man," or points out that "short people got no reason to live" in Little Criminals -Short People," that the composer is not giving personal testimony. Since the vast majority

32 MODERN RECORDING & MUSIC

www.americanradiohistory.com of his songs are sung by "narrators" with Randy Newman in his Man- Basinger and Glenn Close were a lot who rarely share the viewpoint of hattan hotel room, just prior to an easier to deal with. Redford was their creator, Randy Newman may in appearance on The David Letterman alright with the farm scenes, where fact be one of the most misunder- Show. Normally a shy person, he you pull out the woodwinds and do stood songwriters in the annals of seemed unusually eager and enthu- the Copeland Americana stuff. But American music. siastic to talk about his work on The his more neutral, held -in, manly kind Newman's influences range from Natural. of stuff made it much harder for me the popular classics of Stephen Modern Recording & Music: to work with. Foster, Cole Porter and Hoagy What was your working relationship MR &M: Was there much trial - Carmichael to R &B greats like Fats with director Barry Levinson? and -error involved in this film? Domino, Chuck Berry and Ray Randy Newman: Close. We were RN: No. Once I had the musical Charles, mixed in with classical in the same building. I did the writing ideas sketched out, we did it. I did composers like Aaron Copeland, at an office in Venice, California, change some things on stage where I Beethoven, and Verdi. And his dry, where they were working on the needed more weight, where I may biting wit recalls such great Ameri- picture, and I did the recording at have misgauged how much noise can humorists as Mark Twain, Will MGM. I'd write everyday. I'd play something would make. That's where Rogers and W. C. Fields. He's a com- something on the piano, Barry would Jack Hayes (the film's orchestrator) plex, multi- faceted man, and to be strolling by, he'd hear it, come in came in. He helped immensely on suggest that "Short People" is what and listen. But he didn't tell me what things like where I may have scored Randy Newman is all about is a grave to write. After I'd do a piece, he'd for an oboe and he knew that it was injustice. make some comments, some sugges- really too low for an oboe, that an With the recent release of The tions. We talked a little bit. We'd English horn would do better. I en- Natural, a summer box office smash disagree about some things. He won joyed very much that aspect of talk- starring Robert Redford, perhaps some and I won some. It was a com- ing to Jack about music. And I learned more people will begin to realize the promise. a lot from him. full scope of Newman's talents. That MR &M: What were some of your MR &M: Tell me about some of the film, based on the Bernard Malamud biggest challenges in this film? disagreements you had with Barry. novel about an aging baseball player RN: What scared me the most was RN: There's a scene where the attempting to make a comeback into the final scene. I don't know if I can team goes bad, and Barry wanted to the major leagues after a fateful talk about it 'cause I don't want to play against it. He wanted to go like a accident, is actually the fourth film give away the plot, but his final at bat ballad, which I didn't want to do. But that Randy Newman has worked on. is three and a half minutes of nothing, I did it. And it worked alright. I In 1970 he composed the blistering then the lightning comes; he breaks mean, he was sort of right, I think. "Gone Dead Train" for Nicholas his bat. Basically, it was difficult to But I would've done it differently, I Roeg's Performance, which starred play off of Redford and this final believe. I won more than I lost. It's Mick Jagger. That same year he scene is entirely him at bat. You tough. Barry's not a musician but he's scored Norman Lear's Cold Turkey, could start cues off the reactions on a good director and he made a lot of starring Dick Van Dyke, though no the girls' faces, but it was a lot harder good choices about other things in album was ever released. with him. You know, he's not very the picture that I wouldn't have Newman's first triumph in the demonstrative. The character he thought would work. And they did. realm of scoring came in 1981 with played and tends to play is not a MR &M: Like the ending? his wonderful work on Milos Fore- musical character, you know what I RN: Oh, you mean in terms of the man's Ragtime, based on the E. L. mean? It's not emotional. And a lot book? He had to do that. Have you Doctorow novel. Newman's extensive of times there would be a shot of him read the book lately? To criticize the research into 1900 -era balladry and and it would feel like the whole thing movie on the basis of the book is popular song forms helped him pro- would stop dead. absolutely ludicrous. I mean, the duce a score that is superbly inte- MR &M: He struck me as a Gary book ends with a strikeout, the good grated with the film. It also garnered Cooper figure in this film. girl gets hit with a foul ball, he over- him an Oscar nomination and the Los RN: Very much so. It's an un- eats like Babe Ruth did. The book is Angeles Film Critics Award for best musical character to deal with, nasty. It would've been suicidal to score. which only made my job harder. make a movie the way the book was. And now Newman has further in- Music is supposed to move you and The book is good and Malamud is a creased his stock as a film scorer with he's a fairly stoic character. Kim good writer. But the book is not cine- his impressive work on The Natural, which he feels is his best to date. In spite of his recent successes with So many people are saying, `Well, scoring, Newman isn't about to put his pop songwriting career on the gee, the picture's great!" And back shelf. The two are extremely different disciplines, he points out, I keep waiting to hear someone say, and he enjoys the variety. And be- sides, there will always be plenty of "The music was wonderful!" It's things around to bug Newman and spur him into some kind of can- a lot different than making an tankerous commentary. album. You're not the head guy. Modern Recording &Music spoke

OCTOBER 1984 33

www.americanradiohistory.com matic, without drastic changes. There's just no way. It would've been suicidal. And now, instead, they have a hit picture. MR &M: Did you have any prob- lems with how the film, and specifi- cally your music, came out? RN: Well, I thought it could've been louder at times. Everytime we had disagreements it was about level, and I always liked it louder than they had it. I think musicians always have that trouble. Well, for instance, I don't like the scene where the bad girl comes in the hotel room and takes her fur coat off and she's naked. There's no reason why that music couldn't have been louder in there because there was nothing else going on, really. But it wasn't my choice, and that's hard getting used to. It's a you have a deadline ahead of you. people look real debonair and 40 feet subsidiary job. You're like a servant But then it's great when you solve tall and smooth. They're great. to the picture, and that's hard for me those problems and it works, or you MR &M: You used some synthe- to get used to. So many people are think it does. And the other thing I sizers on this film. saying, "Well, gee, the picture's like about scoring is it's nice to RN: Yes. I don't love synthesizers, great!" And I keep waiting to hear collaborate once in a while...you but I'm good at using them. I've used someone say, "The music was wonder- know, not being the head guy. It's less them on my last two albums, which I ful!" It's a lot different than making pressure in that respect. It isn't like thought were the best pop albums I an album. You're not the head guy. going out on stage and having people ever made. I guess I'm interested in MR &M: Were you involved in the review you or doing an album and synthesizers because I have to be. mixing process? having some critic pan it. But it's a The way things have gone and the RN: Oh yeah, very much...fight- tough job and I think it's a dying art. way time has gone, orchestras sound ing the whole way. But they listened There are fewer and fewer people left a little bit old fashioned now. So you to me too. Very much so. But you win who do it well, because the directors have to keep abreast of all this tech- some, you lose some. There was one and studios don't want it anymore. A nology. Of course, I'm never going to scene in the clubhouse after Pop lot of them want tie -ins with MTV have the facility that Thomas Dolby finished shaving and he came back and they're not thinking about what has, but I can get the sounds that I and talked to one of the coaches about it does for their picture. want. I like the Fairlight for some how his father wanted him to be a MR &M: I just saw Taxi Driver for things, although it didn't come in too baseball player. Anyway, I worked the first time, with the Bernard handy for us on this picture. They do up some music for that scene to play Hermann score. great bass sounds, great effects behind Pop's little speech, and RN: Tremendous! All those horns. sounds, good high tinkling sounds, Redford didn't want it. But I did Another guy is Hugo Freidhofer. I good bells, they can play a solo horn want it. I think it worked and I still just saw his work in The Young Lions. very well. But I'll tell you, they sound do. But he took it out. It was only Boy, was that great! You know, you like they're coming out of a box to me. about 20 seconds of music...so I lost can make people look real clumsy on I just can't get over that fact. I like that one. And I'm not used to losing screen if you don't do the music right, some of the straight synthesizer at all 'cause I make records and do but these guys had a way of making records ...you know, some of the whatever I want. English bands. I like synthesized MR &M: So, do you enjoy the horn solos but they don't do sections process, in spite of these frustrations? that well. It just isn't the same thing, RN: Yeah, it's worth it for getting it isn't as big- sounding. And we tried. on the stage with the musicians. There We did it every which way but it just are terrible mornings where you go didn't sound like a bunch of horns. in and you have two minutes ahead It's not supposed to. But I wanted it of you and you just don't know what to in this case. It's an old- fashioned to do. And everybody has these days - picture and it's an old- fashioned John Williams, Jerry Goldsmith, the score and I wanted to preserve that best of 'em. It happens all the time. feeling. And I certainly wouldn't You just don't think you can do it. have used a Fairlight instead of a What are you gonna do? Some guy real string section. I like synthesizers running around the bases...what alright, but I don't feel the same way does that suggest to you? And then about them as I do about an orchestra. it cuts to these drastic changes in I love an orchestra. mood. How are you gonna make it? MR &M: What type of preparation And there are some bad days when did you do for this film in terms of

34 MODERN RECORDING & MUSIC

www.americanradiohistory.com researching the music of the period? RN: Maybe another album. I also point is .00, at .12 Robert Redford RN: I listened to some records - have an idea for an Off- Broadway picks up his bat, at .23 Redford goes Glenn Miller, Duke Ellington, Count musical based on "Faust," where to the plate. Some of this is not signif- Basie. It was supposed to be 1939. I Faust is a kid at Notre Dame and God icant, some of it is very significant in prefer the music a little earlier, when and the devil are vying for his soul. terms of things to catch and play off they had the tuba and the banjo in the But this Faust is a very bad kid. He's of. So you're working from both the band: But this period was the be- kind of disinterested in the whole video and from the cue sheets. As a ginning of the trumpet- oriented thing and doesn't believe in making matter of fact, you're almost better swing era. Clarinets started dis- those kinds of deals anymore. So I'll off working just with the cue sheet appearing, the banjo was already work on that. And I might do another rather than looking at the video all gone, the tuba was gone. In general, picture. I enjoy working on pictures. the time. You know where you are the music started to get a little A lot. It's very hard work, but it's a better with the cue sheet. whiter. I prefer Fletcher Henderson pleasure going in with an orchestra. MR &M: So in many cases you and stuff like that, about 10 years MR &M: At what point in the film's would be isolating on individual earlier. I also looked at some scores production did you enter on this one? movements? I liked -"Appalachian Spring" by RN: The end. It wasn't entirely RN: Sometimes. Sometimes a little Beethoven, "Falstaff" by Verdi. edited, though, and that made it a move of the head will be of signifi- What Verdi did with that is what I good deal more difficult. They kept cance. Of course, you don't want to really can't do: this unbelievably changing things, and as they cut film overplay it with some real dramatic light, transparent stuff that I have it affected what I had already done. burst of music- to accompany that a difficult time with. It's my weak- So I would have to revise and cut and slight movement. You just have to ness in terms of orchestration. But change things. They could cut four- have the knack of choosing the right I looked at his stuff and it was of tenths of a second and it could be sound to fit that movement. And it some help. You know, real fast, light, crucial to you. I've talked to people works. It really enhances a film. And amazing stuff. who have done hundreds of films and as I've done more of it (scoring) I've MR &M: Did The Natural present they say sometimes there will be a found that it's easier to work off more of a challenge to you than reel that isn't quite set, so they'll tell movements than off words. It's the Ragtime? you to write loose. But this was cut picture that counts. The turn of a RN: Yes, it did, because there was many times... little fragments out door knob, the clink of some keys; it's crucial dramatic stuff to do in this here and there. And that makes your the little stuff. All the old masters one. There's more diversity and job a lot harder. Really. Ideally, the at this game really understand this. nuance, too. And Ragtime... God, he film should be completely done be- It's a subtle art. really cut me up, you know? They cut fore my work begins. MR &M: Who do you consider to be 38 minutes out of the picture after I MR &M: Talk about the process a the masters at this craft? did the music. Milos would take a little bit. RN: I think my uncle Alfred New- chunk of music and use it here and RN: I worked with a video of the man was about the best, actually. He there. I know I got nominated for an film and with cue sheets. The music did Song of Bernadette, How Green Oscar and all, but I wasn't happy editor will make up sheets with cues Was My Valley, The King And I, with what he did. Some scenes were and numbers ...say, it's reel number Wuthering Heights, How The West good. The album of Ragtime was four and the fifth piece of music in Was Won, Airport. The first things really good. And I think this one is that reel; that'll be logged as M -4 -5, he did were those old Eddie Cantor too. I know it's a better score. which stands for Music -Reel 4, Piece pictures like Roman Scandals. He MR &M: Any future projects up- 5. Let's say it will be a minute and also did pictures like All About Ere, coming? twenty seconds long...your starting Alexander's Ragtime Band... lots of 'em. Another of my uncles, Lionel, did the score for Best Years Of Our Lires. And my other uncle Emil was I guess I'm interested in synthesizers also a composer- conductor. MR &M: So your interest in this because I have to be. The way process goes back to your childhood? RN: Yeah, it was what I thought things have gone and the way time I'd do for a living, when I was a kid. When I was five, six years old I'd go has gone, orchestras sound a little on stage with my uncles and just watch. I remember seeing my uncle old fashioned now. So you have to Alfred work on All About Eve at Fox of all this technology. Studios when I was six. I also watched keep abreast him work on The Greatest Story Ever Of course, I'm never going to Told and The Robe when I was just a little kid. And I'd go see my uncle have the facility that Thomas Dolby Lionel conduct. MR &M: So, it's all in the family. has, but I can get the sounds Did you have any formal training? RN: Yeah, I've done a fair amount that I want. of orchestration. I studied with Tedesco and Trombley. At UCLA I majored in music and I've always OCTOBER 1984 35

www.americanradiohistory.com CONNECTORS AND - MICROPHONE CABLES listened to a lot of classical music. But all that doesn't necessarily pre- 05-7 pare you adequately to score a film. Until you do it, you don't realize some of the difficulties presented by it. (...... - r \ BLANK-LOADED AUDIO CASSETTES 011 C) It's the kind of job that is very de- EMPTY REELS manding and time -consuming. It's AND BOXES nine -to -five, eight -to-four, everyday, or you don't finish. TAPES & CASSETTES from MR &M: What was your job, then, AMPEX MAXELL with this film? BASF TDK BASF 3M RN: What I thought I could do was warm up the romantic aspects of it. I thought it needed it. His (Redford's CASSETTE BOXES. character, Roy Hobbs) relationship LABELS, ALBUMS NAB with the bad girl (Kim Basinger) and BROADCAST CARTRIDGES the good girl (Glenn Close) needed it. ACCESSORIES The action sequences certainly needed it. Without music they didn't work. scene at the party when he gets sick. kl They weren't designed to. You know The bad girl gives him something ...a guy runs around the bases for and he becomes ill and everybody in Ask for our two minutes and nothing's happen- the movie house starts to hiss and boo 44 PAGE CATALOG ing. So the music was vital there. at her. I had a cue there that ended of And it was also important to help with a flurry of electric flute, but I PROFESSIONAL establish the period, which they didn't want to land on it. And I didn't. SOUND RECORDING didn't really pay a great deal of But maybe I should've, now that I've & DUPLICATING SUPPLIES attention to in the picture. You didn't seen the picture again. But at the always know it was 1939, so my music time I though it just would've been I it. Recording Supply Div. of Polyline Corp had to remind you of that at times. too much. didn't want to do Now 1233 Rand Road, Des Plaines IL 60016 And the music helped to establish I'm not sure whether I should've or

(312) 298 - 5300 that mystical element, the fact that not. I didn't want it to be that cute, 5 it wasn't quite real life. It was a little have it land on this nasty, evil - Circle 28 on Reader Service Card beyond, you know? I mean, he did sounding theme for the bad girl. things that no human has ever done: MR &M: Borderline camp? knocking the cover off the ball, RN: Maybe. But they're really out SAVE BY BUILDING smashing the clock with a home run, there anyway with this picture. It's all these feats of epic proportion. It like Superman or Star Wars or OUR RACK MOUNT was like a Greek tragedy in a sense. something. It's the antithesis of what STUDIO Like Homer's Illiad and Odyssey. I do in my own work, but I didn't It wasn't literal. It wasn't real. That's mind. Otherwise, I'd have never EQUIPMENT what I thought of the movie on a written any of this stuff on my own. philosophical level. But when you get So I was glad I had the opportunity to QUADRAFUZZ - four separate fre- down to working on it, you can't deal have a vehicle to do it, because I enjoy quency bands of distortion are mixed with the philosophical anymore. working with the big orchestra. I not for the smoothest fuzz you've ever MR &M: Did you assign particular only like an orchestra for the sound, heard. no.6720 $ 39.88 chordal passages or musical motifs to I like the musicians. And if they HYPERFLANGE/CHORUS - the each of the characters? compliment you and say that they cleanest, widest range, most versatile RN: Well, the stuff for Redford and like your music...that thrills me. flanger anywhere at any price. that theme for his bat was mostly And in this particular picture I was no. 6750 $149.95 based on a fourth ...kind of triadic dealing with the big horns. It was VOCODER - unmatched perfor- to go along with the heroism of his hero music, and I liked that because mance in a versatile, low cost rack character. But other than that it was I never write about heroes in my package. no.6710 $99.95 a particular instrument more often own music. HOT SPRINGS - user's agree, short than specific chordal passages: of studio plate systems, you won't saxophones for the bad girl, clarinets find a better reverb at any price. for the good girl. It's amazing... no. 6740 $59.95 things that you would think would ADD $3 SHIPPING be too obvious, like using a sax for FOR EACH KIT ORDERED the bad girl, actually worked. It's a Innovative, cost effective designs by subtle business in a way in you subscribe today to Craig Anderton in easy to assemble that kits from: don't want people to notice your MODERN music, necessarily, yet it still has to M.% rrA,, A.. .r IIMElectronics, Inc. do the job. So in a way it's pretty Direct mail orders and inquiries to: Dept.11D Ì Ibl.WV/Ì %ÌÌ V & MUSIC 1020 W. Wilshire. Oklahoma City, OK 73116 í805ì8a3.9626 simplistic. And it works. There are THE Ask for your free catalog. some things I didn't do that I might TECHNOLOGY MAGAZINE FOR THE MUSIC INDUSTRY CHARGE TO VISA OR MC TOLL-FREE have done. For instance, there's a 1- 800-654 -8657 9AM to 5PM CST MON-FRI

36 Circle 30 on Reader Service Card MODERN RECORDING & MUSIC

www.americanradiohistory.com wPIEMwlen feldman iiiriiliWdirhirrF= ;_: -r:

Revox PR99 2 -Track Recorder /Reproducer

General Description: The Revox PR99 is a receptacles, and, of course, an empty 101/2-inch take -up rugged, yet precision -built tape deck designed for the reel. A block diagram of the PR99 electronics, signal needs of the broadcast studio or for demanding non- flow, and switching facilities is reproduced in Figure 1. professional or semi -professional use. It employs a 3 -motor direct drive tape transport system. Tape Control Layout: The model of the PR99 that we tension is switchable to match hub diameters of the tested is equipped with a tape counter that shows real - reels. A hardened aluminum front plate is used for time indications for both its operating speeds. This mounting the tape transport components and the counter, located below the supply reel, has several amplifier electronics of the deck. The headblock pushbuttons associated with it. A reset button resets assembly is mounted on the same plane as the operat- the counter to zero. A "Transfer" button transfers ing controls. Among the many operating features and current counter reading into the address memory of enhancements of this deck are edit and dump editing, the system. Pressing the Z -LOC button automatically synchronous operation (in the record mode, one fast -winds the tape (in whatever direction is necessary) channel can be switched to play back via the recording to a 00:00 counter reading. Pressing the button labeled head), balanced inputs and outputs, externally acces- "A -LOC" winds the tape automatically to any pre- sible audio and bias adjustments, headphone monitor- viously defined "Address." The Address refers to ing which is adjustable in level, and level metering playing time (positive or negative) relative to a 00:00 using two illuminated VU meters equipped with peak counter reading. When the SET button is pressed, the level -indicating LEDs. address currently stored in memory will be displayed. A remote control attachment as well as balanced Pressing the SEL (select) button changes the digits to microphone inputs are available as options. Acces- be used in the SET mode. Digits are addressed from sories supplied with the unit as standard equipment left to right. A button labeled STP (step) is used to include the detachable power cord, an operating increment the digit that is flashing. Finally, a RPT instructions manual, a set of circuit diagrams, a set of (repeat) button is used to continuously replay a pre- spare fuses, one connector each for remote capstan defined tape segment. control, remote tape drive, fader start and monitor Channel select buttons for synchronized (SYNC) OCTOBER 1984 37

www.americanradiohistory.com PEAK INDICATOR

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Figure 1. Block diagram of the Revox PR99.

playback are also located in the region below the left - found at the end of this report. Tests were conducted hand supply reel, while a reel -size selector button for all of the relevant operating parameters listed, at and a TAPE DUMP button for dump editing are both operating speeds. Record /Play frequency re- located in the corresponding location beneath the sponse at 15 ips was flat to beyond 20 kHz, both at take -up reel. Tape speed selector buttons and the main 0 dB recording levels (250 nWb/m) and at -20 dB power On/Off switch are located near the left end of levels. Response was down only 2.2 dB at 24 kHz for the the front panel, as are the Tape /Source monitor 0 record level tests and 2.0 dB at that same frequency switch, the dual playback level controls (concentrically for a -20 dB record level. At 7% ips, response was mounted), a mode selector switch, the headphone jack, down 1.5 dB at 24 kHz for a -20 dB record level but, and a changeover switch for output level (from CALI- as might be expected, tape saturation resulted in a BRATED to ADJUSTABLE). roll -off at the 0 dB record level, so that response at Positioned directly below the headblock assembly 24 kHz was down some 8.7 dB at that high frequency, are input level controls for each channel, input selector for 0 dB record level, using the slower tape speed. switches for each channel, record indicator lamps, Results of our frequency response tests are shown in record preselector switches, unbalanced microphone the graphic plots of Figures 2A and 2B. Playback via input jacks, and an input level changeover switch the record head (in the SYNC mode) was also checked; (from CALIBRATED to ADJUSTABLE). response in this case (at -20 dB record level) extended The two illuminated VU meters are located at the out beyond 15 kHz for the -3 dB roll -off point. lower right of the front panel, and below them are the Figures 3A and 3B illustrate the amount of third - tape transport pushbutton switches. Included are order harmonic distortion as a function of record level. buttons for PAUSE, FAST REWIND, FAST FORWARD, PLAY, At 0 dB (where the double vertical line is shown) STOP, and RECORD. third -order distortion measured only 0.07 percent at All connections to and from the PR99 are made via the 15 ips speed; 0.25 percent at 7% ips. A full 13 dB of connectors located along the top surface of the unit. headroom above 0 dB record level was available at Here we find female 3 -pin XLR connectors for Chan- the 15 ips speed before the 3 percent distortion level nel 1 and Channel 2 line inputs, as well as for the was reached, and in the 7%2 ips mode, 10 dB of head- balanced MIC inputs, male XLR connectors for line room above 0 dB reference level was available for the outputs, and various DIN connectors for the remote same 3 percent level of third -order harmonic dis- control attachments and the monitoring cable. A line tortion. voltage selector and a fuse post are located at the rear A- weighted signal -to -noise referred to 0 dB record of the deck, as is a connector for the separately sup- level measured 61.8 dB at 15 ips and 63.3 dB at 7% ips plied power line cord. (see Figures 4A and 4B). To these figures must be added the available headroom before reaching the Test Results: Results of our laboratory measure- 3 percent saturation level, so that overall signal -to- ments are tabulated in the VITAL STATISTICS chart noise figures are actually 74.8 dB for the 15 ips speed

38 MODERN RECORDING & MUSIC

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and 73.3 dB for the slower tape speed. Revox quotes +8.4 dB -a deviation at +10 dB of only 1.6 dB). How- S/N referred to 500 nWb /m, or a record level which is ever, for a 10 kHz signal, tape saturation began to take 6 dB above 0 dB on the meters. Based upon that refer- its toll and, at +10 dB record level, output was only ence, the signal -to -noise figures we measured were +4.5 dB. Bear in mind, however, that we are talking 67.8 dB at 15 ips and 69.3 dB at 7%2 ips, both well above about +10 dB above 250 nWb/meter. At 0 dB, even at the 66 dB claimed by Revox in their spec sheet. this slow speed, linearity was nearly perfect even Figures 5A and 5B illustrate the output -vs. -input at 10 kHz. linearity of the recorder. In Figure 5A, a 315 Hz Wow- and -flutter measured a very low 0.011 percent signal is recorded at steadily increasing amplitude. (WRMS) at 15 ips, increasing to 0.031 percent at is The 0 dB record level is represented by the double 7%2 ips. Analysis of the wow and flutter content vertical line. At +10 dB, that signal is reproduced shown in the graphs of Figures 6A (15 ips) and 6B at a level of +10.1 dB. A second reading, this time at a (71/2 ips). Input and output levels as well as other speci- frequency of 10 kHz, was made in the same way, and fied electrical and mechanical characteristics of the at +10 dB the output during playback measured PR99 conformed perfectly with Revox's published +11.1 dB. The deviation, however, was not because specifications. Speed accuracy was better than 0.1 of any non -linearity since, as you can see from the percent at both speeds. Fast rewind for a reel of 2,500 two curves, the 10 kHz output was consistently a bit feet of tape took only one minute and 30 seconds. higher than the mid -frequency playback level, even at lower recording levels. This was due to the slight Comments: To my way of thinking, there seems to peak in the response at 10 kHz using the tape sample be very little difference in performance between the that we chose (Scotch 250 as opposed to Scotch 206, PR99 (which is sold under the "non -professional" for which the machine had been factory -calibrated). Revox trade name) and some of the professional Studer Figure 5B shows the results of the same tests made machines which are, of course, made by the same Willi Loffingen, at a tape speed of 7%2 ips. This time, linearity was good Studer AG, in Regensdorf, Switzerland and for the 315 Hz signal (output for a +10 dB input was Germany. Having had the rare opportunity to visit the

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OCTOBER 1984 39

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10dB/D L-78.5dB 1. 00k Hz 10dB D L-83.5dB 1.00kHz

Ii i

Figure 4. A- weighted signal -to -noise analysis, at 15 ips (A) and at 71/, ips (B). Reference level is 0 dB, to which should be added available headroom (see Figure 3).

ML L315Hz R10.0kHz C40.0kHz ML L315Hz R10.0kHz C40.0kHz

m o

-10

-15

20

5dBiD L+10.1dß R+11.1dB +10dB 5dB/D L+ 8.4dB R+ 4.5dB +10dB

Figure 5. Linearity (output vs. input) measured at 315 Hz and 10 kHz, for 15 ips (A) and 71h ips (B).

Willi Studer factories in Europe I can personally you might ever want to adjust and calibrate for this attest to the care and quality control that goes into machine. There's never any need to "go inside" the every tape deck, be it a Revox or a Studer machine. unit. Even the VU meters and the peak LED indicators I have also visited the Studer -Revox facilities in can be calibrated in this way. Azimuth adjustment of Nashville, Tennessee, where further quality control both the record and reproduce heads is also made easy; checks are performed after the machines reach this only a single screw needs to be turned and it is acces- country. After you have had a chance to see what pains sible as soon as the head block cover is removed. the company goes through to achieve absolute "round- Using this Revox tape recorder I got the feeling that I ness" on capstans and other critical machined parts was dealing with a well engineered product, designed which go into the transport mechanism of decks such and built in the land most famous for its precision as this, you begin to appreciate why Revox machines manufacturing of quality timepieces. Willi Studer, are not the most inexpensive in their class. On the the founder of the company, is still very much in other hand, I personally know of Revox units (and, for command of operations, I'm told, and the PR99 is, to that matter, Studer pro units) that have been perform- my mind, another example in the long line of products ing steadily for several years, eight to 12 hours per that have resulted from his insistence on absolute day, year in and year out, at radio stations and record- reliability, rugged durable construction, and the ing studios, with only routine maintenance and cali- ultimate in precision machining and fabrication of bration needed to keep them in top shape. the critical parts that go into a product such as this. There are few tape deck manufacturers today who As is usual with Revox products, the layout of the build their own motors, for example. Willi Studer does. PR99's front panel was intelligent. I failed to mention I could go on and on about the quality of this product, earlier that on the right side panel of the unit there but you would be better off sampling it for yourself. are no fewer than 22 small access holes which allow Once you do, the price may not seem all that high you to adjust and calibrate just about every item that after all.

40 MODERN RECORDING & MUSIC

www.americanradiohistory.com FL WD L0.011% FSO.030i FL WD L0.031% FS0.10°/, LO

MIA NMI 0.8 UM11111111111111111 lull 01 11111111111111

0.G

010i/D L+0.010% 10. 0 Hz 010%fD L+0.023% 6.30Hz (13

Figure 6. Wow- and -flutter analysis, at 15 ips (A) and at 71/2 ips (B). Results printed above each graph are in % WRMS.

REVOX PR 99 2 -TRACK RECORDER /REPRODUCER: Vital Statistics

SPECIFICATIONS MANUFACTURER'S CLAIM MR &M MEASURED ±0.1 %) Tape Speeds 15 & 71/2 ips Confirmed (Comment: (Comments: +0.1 ° %o) Reel Capacity 101/2 inch Confirmed Wow /Flutter, 15 ips 0.06 ° /o 0.011% Wow /Flutter, 71/2 ips 0.08% 0.031% 3rd Order HD at 0 dB- 15/71/2 ips 0.6 /0.6 °/o 0.07/0.25% +10 Level for 3 °%o HD (15/71/2 ips) N/A +13 dB / dB Frequency Response: 15 ips (Hz -kHz) 30-22, +2/-3 dB 25-24, +2/-3 dB 71/2 ips (Hz -kHz) 30-20, +2/-3 dB 30-24, +2/-3 dB Signal -to -Noise Ratio (Referred to 500 nWb /m, A- weighted) 74.8 (re 3% HD)] 15 ips More than 66 dB 67.8 dB [(Comment: 73.3 (re 3°/o HD)] 71/2 ips More than 66 dB 69.3 dB ((Comment: Crosstalk: Stereo Above 45 dB 52 dB Mono Above 60 dB Confirmed Erase Depth 75 dB, 1 kHz Confirmed Line Input (0 dB) 0.775 V Confirmed Line Output (0 dB) 0.775 V Confirmed Phones Output 5.6 V N/A Power Consumption 90 watts max 83 W. Weight 40 Ib. 12 oz. Confirmed Dimensions (W x H x D) inches 19 x 15.72 x 9.21 (incl. reel hubs) Centimeters 48.3 x 39.9 x 23.4 (incl. reel hubs) Mic /Line Mixing No Confirmed Sound -on -Sound Yes Confirmed Number of Heads 3 Confirmed Number of Motors 3 Confirmed Price:

Circle 35 on Reader Service Card

OCTOBER 1984 41

www.americanradiohistory.com Craig anderton

Pulsar Series 40 Mixer

ii1; :;::.:;.....- -- 1 !. 4 K Y , s . . . m . . . . . 41 i n : . u . a . ' \- 1- . k t . a A rt . R IA_ . / t 4- t . R'. 9 k 4 . tï ai fl R a r 4 i t` m i '% ' 1 1 1 9 1 i i i i i 1' ' i rr .1 o t. f. . . . I ! 1 . t . .t i t. t: t: . : . f 4. r I. I I. I. I. I i .t. 4...... _ ...... iiiiiiii!ïiiiiiiiit.` ...... 4 A 4 1{ 4 14 11 i # i l i # f M' III 1:+s w s w r r r + r s r s r Y w r rr +r rr s r r w r r s r r t y

eviewing equipment is great fun ...most of the this jack does not interrupt the signal chain. (This time. This time, though, the Pulsar 40 mixer latter feature is particularly useful if you want to J arrived late one Friday evening and I had to bridge one input to two channels so that, say, the have the unit evaluated, and the review written and same signal can appear in different channels with proofed, within 48 hours in order to meet MR &M's different EQ; simply patch the ACC Out to the second deadline. Talk about a whirlwind tour! I mention this channel's input.) An ACC In jack re- introduces the not as a complaint, but as an explanation to those signal into the signal chain between the preamp and who are expecting the column to reflect my usual EQ. (Since this jack does break the signal path, if you applications -oriented approach -simply stated, there have something plugged into the main channel input was no time to get heavily into applications. What we but want to quickly plug a temporary signal into the can do, though, is cover the Pulsar 40's features, and same channel, you could simply plug this temporary explain some of its more interesting aspects. signal into the ACC In jack.) The final input module connector is a % -inch phone, What is It? The Pulsar 40 is a moderately- priced low impedance, post -EQ and post -fader Direct Out mixer intended for PA work, but which would also jack. This jack can also be useful for bridging an seem at home in any 4 -track studio. Therefore, bands input across two channels if you want to add, say, delay that need a mixer for road use and also have a 4 -track to the equalized signal and then pan this delayed recorder in their rehearsal studio could easily make signal elsewhere in the stereo field without using the Pulsar do double -duty. the effects bus. Since the Direct Out is post- fader, Like most mixers, the Pulsar can be broken down both channels will track the input module fader so that into smaller functional blocks. The model I reviewed fading out on one channel will cause the other channel had eight input modules, two effects return /monitor to fade out as well. modules, four output modules, and a single talkback Now let's move over to the input module front panel, module, thus making it your basic 8 -in, 4 -out mixer. as shown in Figure 1. The top control is a panpot that Let's look at each of these functional blocks in detail. pans between the odd and even buses (pan left for 1 and 3, pan right for 2 and 4). The signal goes to both Input Modules. There are five connectors on the odd and even buses when panned to the center. Four back of each input module. An XLR connector is SEND pushbuttons located below the panpot work optimized to handle low impedance (150 to 600 ohms) independently of each other and let you send the signal signal with pin 1 = ground, pin 2 = in- phase, and pin 3 to any, if all, of the four output buses (also called = out -of- phase. A 1/, -inch phone jack handles high or "groups "). low impedance line level signals (for balanced signals, Next comes a group of three switches, the first of use a stereo plug with tip = in -phase and ring = out -of- which is a PHASE REVERSAL switch. Thankfully, this phase; plugging in a mono jack automatically converts affects line as well as mic signals; for those of us who the input to unbalanced mono). There are two 1/ -inch are into using special effects, especially effects which phone jacks for patching in Accessories (compressor, invert phase, this switch can come in quite handy. flanger, DDL, etc.); the ACC Out is a low impedance, A LINE /MIC switch sets the channel up for either unbalanced, post -preamp (but pre -EQ) jack that can line -level high impedance signals or low -level low also serve as a channel output, since plugging into impedance signals, and a LO -CUT switch attenuates

42 MODERN RECORDING & MUSIC

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MODERN RECORDING & MUSIC 43

www.americanradiohistory.com signals below 100 Hz at 12 dB /octave to reduce room signals. The monitoring occurs post- accessory loop, rumble, hum, and other low frequency garbage. and therefore reflects any level changes caused by The next two controls send pre -EQ, pre -fader patching in additional processors. signals to the two monitor buses (MON 1 and MON 2). Next come two monitor controls, MONITOR OUT(sets Additionally, MON 2 includes a switch so that you the amount of monitor signal appearing at the rear can change this signal from pre -EQ to post- fader. panel output jack) and MONITOR BUS (sets the monitor Right below this switch, there are two EFFECTS SEND signal going to the headphone bus on the talkback controls that route the input signal to two effects buses module). Since there are two effects/monitor modules, (EFF 1 and EFF 2). These are post -EQ, post -fader each module handles the functions for one channel signals. of the stereo pair. A five -band equalizer (which does not use inductors, These controls are followed by an EFFECT IN /OUT so it will not pick up hum) boosts or cuts at 80 Hz, switch. With this switch out, the pre -EQ, pre -fader 300 Hz, 1 kHz, 3 kHz, and 10 kHz. All five knobs have mix appearing at the Effect Out jack is determined a center detent so that it's easy to find the flat response solely by the input module EFFECT SEND control point. Although there are no provisions for altering settings and includes no processing. When in, which- these frequencies or changing the Q (resonance), for ever effect is patched into the effects bus will now most applications this EQ will be more than sufficient. affect the effects mix. If no effect is patched into the For problem cases, you could always patch a para- effects bus accessory jacks, then flipping the EFFECT metric or other EQ into the accessory jacks. The EQ switch to IN will mute the effects bus signal. section also includes an IN /OUT switch, although it is Next there's another five -band EQ, which is identical not entirely clickless -if you're going to switch EQ in to the one used for the input module except that it has or out, do so on the beat. no IN/OUT switch. EQ can really tighten up a reverb Enabling the MUTE switch located right below the sound by attenuating the very lowest frequencies EQ mutes the signal going to the four main output (where "muddiness" occurs) and the treble frequencies buses and the effects buses, but does not affect any (where noise is most noticeable). Also like the input sends going to the monitor buses or cue bus. Thus, module, there is a master slide fader and below each you could monitor a signal without having this go out fader, there is a CUE button which feeds a post -EQ, over the main buses, and when appropriate, release pre -fader signal to the cue bus and also switches this MUTE to add the signal into the main mix. cue signal into the headphones. The fader controls the We're almost finished with the input module. An amount of EFFECTS RETURN being sent to the matrix INPUT GAIN control sets the preamp gain from 6 to mix (described next). 50 dB, and includes three LEDs ( -15 dB, O dB, and +15 dB) to aid in level- setting. These LEDs are con- Output Module. The output stage is somewhat nected post -preamp, post -EQ, and post -fader so that unusual in that it includes two submixing functions, even if your mic preamp is not distorting, if there's one called group and the other matrix. Each has its an overload elsewhere in the input module (say, from own rear panel XLR output jack (with group output boosting an EQ band too heavily), this will show up controlled by the module's main fader, and matrix by on the LEDs. Note that you must add about 24 dB of the matrix master level control). Each also has 1V -inch gain when feeding in line level signals, as the line phone accessory jacks (unbalanced, low impedance). signal is attenuated before hitting the mic preamp The main way these two submixes differ is in the way and the input gain brings it back up to its initial level. signals are sent to them via the front panel controls. I prefer bypassing the mic preamp when using line Looking at the output module front panel (see Figure level signals. However, Pulsar's approach does let you 3), the first feature you encounter is a 10 -LED meter compensate for line signals with varying nominal which can monitor either the group or matrix output. levels. Next comes two monitor controls (MON REC 1 and Finally, there's a linear slide fader and CUE button. MON REC 2); these set the amount of the monitor 1 and 2 The fader sends the signal into the main output buses bus signals (sent from the monitor bus controls on the selected with the four SEND pushbuttons and panpot. effect 1 and 2 modules) to be added to the mix. Two Pushing the CUE button sends a post -EQ, pre -fader more controls (EFFECT REC 1 and EFFECT REC 2) per- cue signal to a mixer in the talkback module (described form a similar function for the two effects bus outputs, later), and switches the cue bus signal into the head- as sent by the effects module master faders. phone output (also located in the talkback module). Below these four controls is a GROUP /MATRIX switch which determines whether the monitor and effects Effects/monitor Modules. Each back panel signals will be summed into the group or matrix effects /monitor section includes a 600-ohm, balanced output. With GROUP selected, the monitor and effects XLR output controlled by the main effects fader, signal will be controlled by this module's main group along with two accessory jacks if you want to add fader. With MATRIX selected, the monitor and effects processing to the overall effects bus signal (for signals will be controlled by a separate MATRIX MASTER example, if the effects bus is set up for reverb you control (located just above the three -LED meter, could patch in a digital delay line to create pre -delay which in turn is located above the main group fader). effects). An additional XLR connector carries the Next we encounter four more controls, GROUP REC 1 -4. monitor bus signal and is controlled by the monitor These send variable amounts of the four group mixes level master. The monitor signal path also includes a (from the four main group faders on the four output pair of accessory jacks. modules) to the matrix mix. Finally, there's the MATRIX Looking at this section's front panel (see Figure 2), MASTER control (mentioned in the previous paragraph) at the top there is a 10 -LED VU meter which can that varies the level of the matrix mix signal, a three - monitor either the MONITOR OUT or EFFECTS RETURN LED meter that monitors this signal (remember, the

44 MODERN RECORDING & MUSIC

www.americanradiohistory.com LED meter at the top of each output module can also X8 X2 monitor this signal), and a main group fader. This INPUT EFFECT

fader drives the back panel Group Output jack as well ., as the GROUP REC 1 -4 controls (for all four output modules) mentioned above. The key to getting the most out of this mixer is the matrix mix, which can contain quite a bit of audio information. For example, channel l's matrix output will contain a mono mix of each of the four group outputs, and if the GROUP /MATRIX switch is in the MATRIX position, any desired amount of the monitor MONITOR EFFECT and effect bus signals. Channels 2, 3, and 4 can also contain a mix of the group outputs and, if desired, r monitor and effects bus signals. Although it seems that Pulsar sees the major advantage of matrix mixing 7* as a way to separate subgroups of instruments live, I should add that for small studios, this kind of arrange- MONITOR - MONITOR OUT ment makes it easy to add creative stereo processing effects to the overall sound. (For example, the effects MONITOR BUSS bus outputs, as well as the group outputs, could be POST mixed through a matrix output, re- processed through additional delay, and sent back into a spare channel.) SUB EFFECT Talkback Module. All that's left now is the EFFECTS, talkback module. The back panel has only one con- nector, which accepts power from a remote power supply; unfortunately, this supply uses a ventilation -. EQ IN QUALIZATION fan which is by no means whisper -quiet. I was sorely tempted to disconnect it (I like low ambient noise 4. levels) but the manual specifically warned against HI this.

Moving along to the front panel (Figure 4), there's .

a 10 -LED meter to indicate the cue bus level. Right HI MID HI MID, below this, a PHANTOM POWER switch, when on, sends +48V through two resistors to pins 2 and 3 of the input °. module XLR connectors. MID MID Next, an XLR connector accepts a mic output that can be mixed into the monitor bus for talkback pur- .4. .. poses. Remember that the monitor signals can be LOW MID LOW MID mixed into the monitor, group, or matrix outputs; therefore, the operator can talkback through any or . °LOW' all of these outputs. Two associated controls, MON 1 LOW -.MUTED- SEND and MON 2 SEND, control the talkback signal level . being sent to the two monitor buses. The next switch 70 below these two controls provides the PUSH -TO -TALK SO function. INPUT GAIN EFFECT GAIN

Five more pushbutton switches send different 1,177 outputs into the headphones. The first button sends EFFECT RETURN GROUP 1 and GROUP 2 signals to the left and right headphones respectively; the second button acts similarly for GROUP 3 and GROUP 4: the third button ú° acts similarly for MATRIX 1 and MATRIX 2; the fourth

button affects MATRIX 3 and MATRIX 4; the fifth button o affects the MON 1 and MON 2 outputs. A sixth and final button selects MONO or STEREO for the headphones. This multiple button approach makes it easy to instantly monitor individual bus outputs or combina- tions of buses.

The next control, PAN, is used with the various 70 buttons to select mono or stereo versions of various bus outputs in the phones. For example, if you wanted

to listen to MON 1 only, you would press the fifth push- CUE CUE button, rotate the panpot to the left so that you heard only the MON 1 signal, then set the STEREO /MONOswitch o o to MONO so that you would hear the signal equally in both headphones. Figure 1. Figure 2.

OCTOBER 1984 45

www.americanradiohistory.com X4 TALKBACK There are two headphone jacks available on the front OUTPUT panel, as well as a headphone gain control. If you press any of the input module CUE buttons, that ., signal will override any signals already being sent to the headphones. Thus, if you want to audition each CUE LEVEL channel to check on EQ, distortion, etc., simply press ° - the appropriate CUE buttons. To hear the channel in 2 the context of the mix, simply release the button. - Overall Evaluation. Okay, so you've got a GROUP MATR X pretty quiet mixer, a bunch of LEDs to monitor what's going on, lots of patch points, and a variety of ways to do sub -mixes. For live use, mixer PHANTOM this can provide a number of monitor mixes to different musicians as MONITOR REC TALK BACK well as a mix to the house and maybe even some direct tracks if you're recording the event live. Of course, an 8 -in, 4 -out mixer might not be enough, but Pulsar does make models with more channels if you need something bigger. Concerning reliability, the Pulsar 40 generally seems well -made. Unlike most review units I receive that are shipped brand -new off the assembly line, the 34,//* MONITOR SENDS mixer I checked out had reputedly travelled thousands

of miles and had even been sitting in 1/4 inch of water at one point. Perhaps that explains why there were some seemingly random transients that created popping sounds strong enough to register on the out- put LED meters; my guess is MATRIX GROUP that this problem was not related to the mixer itself, but rather, to an inter- mittent connection in the power supply (however, I .rt Si- was unable to confirm this). These clicks were only 23* TiB audible with the master group faders up a fair amount. MX1 MX2 GROUP REC The only other problem I encountered was a scratchy MX3 MX4 pot or two. MX5 MX6 The manual is reasonably helpful in describing MX7MX8 functions, but somewhat deficient in telling you how MON1 MON2 to apply these functions in a real -world context. STEREO MONO Although examples are supplied of how to use the GROUP REC matrix mixing function to separate instruments into -.- numerous sub -mixes, it never quite explains why you °, would want all these sub -mixes in the first place. Sure, ..c.. most of the people who are in the market for a mixer 'PAN will probably be familiar with general mixing tech- niques, but I always feel companies are much better off if they assume minimal knowledge on the part of MATRIX MASTER HEADPHONE GAIN the user. Also, there is no block diagram of the mixer, although there are complete schematics. I greatly GROUP OSCI LLATOR appreciated seeing the schematics; they helped settle several questions I had that were not fully answered by the text. However, many musicians are intimidated by schematics, and I think that a block LEVEL diagram -perhaps a fold -out or tear -out sheet that could be referred to while reading the manual -would o be most helpful. ON One more thing: If you've got a 4 -track studio, there's a lot you can do with the Pulsar with respect to sweetening and adding ambience via the various submixes. Again, this is something which is barely 20 touched on in the manual, but if you have a creative HEADPHONES bent there are enough patch points and controls to accommodate you. All in all, the Pulsar 40 offers flexibility in a reason- ably small package. If you'd like a good mixer for the road that also allows for experimentation in a small studio, the Pulsar 40 just might be the mixer that you've been seeking. Figure 3. Figure 4.

www.americanradiohistory.com susan borey and mark oppat Sd Ad7i

The Declaration of Equalizatióni

Today, multiband equalization tions of sound frequency octaves main advantage to the parametric is a standard unit in any sound being controlled. It's important to EQ is the ability to make adjustments system. The concept goes back remember that each time a fre- at any exact frequency; the draw- to the 1950s, when switchable fre- quency is doubled, it constitutes an back is that you are limited to two or quency controls appeared on some octave. The frequency mark on an three sections of the EQ to work with, pre -amps used in high fidelity equip- octave EQ will be approximately 31, whereas a graphic gives you 10, 15, ment for consumer use. In the '60s, 63, 125, 250, 500, 1K (1 kHz), 2K, 4K, or 31. Shure brought out the M -67 preamp, 8K, and 16K. That works out to 10 There are also some paragraphic an affordable unit with sweepable frequency bands. A 2/3- octave unit EQs on the market that combine the frequency controls. It wasn't until has 15 bands and a 1/3- octave unit advantages of multiband and sweep - solid -state technology revolutionized has 31, marked at 20, 25, 31.5, 40, able frequency, but their use in club - the pro sound industry in the late '60s 50, 63, 80, 100, 125, 160, 200, 250, 315, style PA work is by no means exten- and early '70s that graphic equalizers 400, 500, 630, 800, 1K, 1.25K, 1.6K, sive at present. became affordable and available. 2K, 2.5K, 3.15K, 4K, 5K, 6.3K, 8K, A 31 -band EQ divides the audio Multiband equalization provides 10K, 12.5K, 16K, and 20K. spectrum so finely that it is very many important capabilities to sound You can see that the audio spec- unlikely that you would have a prob- technicians. It allows you to clean up trum can be divided into rather small lem making a correction anywhere, uneven response of the speaker sys- segments, the levels of which can be and that is why it is the most popu- tem, eliminate or minimize feedback, controlled plus or minus 10, 12, or lar for sound systems. The graphic roll off high -end hiss or low -end hiss 15 dB, depending on how the unit is EQ is so named because the controls or low -end rumble, and create specific designed. Obviously it is to your slide up and down and, when set, tonalities for special effects. advantage to have as much boost or form a visual graph of what the EQ In club PA systems, the most cut as possible, so most professional unit is doing to the input signal. If common application of equalizers EQ manufacturers design for 15 dB. you set your graphic EQ to make the deals with smoothing out the fre- sound system output signal look like quency response of the main system There is another kind of EQ we the input (ideally they should match and monitors. While even the best should mention, the parametric equally), you will see a graph that is equalizer cannot save a poor sound equalizer. This type divides the audio the inverse of your system's. system, a good equalizer, used prop- spectrum only two or three times, but The idea, of course, is that every erly, can do wonders for a mediocre it allows you to move the point of boost or cut of the EQ counteracts a one. Mismatched components or a control to an exact frequency via a dip or peak in your system or the mismatched crossover in a speaker frequency sweep control. Let's say effects of the facility in which you're system can cause an imbalance be- you need a level boost of 720 Hz. No set up. There is usually a basic EQ tween the highs, mids and lows, and graphic EQ has a control at that spot, curve for a given set -up that makes an equalizer can help correct this. but with a parametric EQ you can corrections for that system's inherent Sensitive equalization will also con- move the point of adjustment to that flaws, and also a house curve that is trol the smaller aberrations, those exact frequency and boost or cut as superimposed for each venue you little "bumps," "nodes," or peaks in needed. The parametric also has a work in. It is impossible to know the response of any component or the "width" control which varies the exactly what the house curve is, but complete system. distance the adjustment point spreads. you can make educated guesses based Equalization is available in several For instance, if you are boosting at on your knowledge of acoustics and forms and from many manufacturers. 720 Hz, you will always be boosting how shapes and surfaces create The most common form is the graphic adjacent frequencies on a graphic effects with sound. EQ, available in different band EQ. How far above or below 720 Hz Most of you are probably familiar numbers, usually 10, 15, or 31. The do you really need to go? The width with equalization analyzers and number of bands relates to the frac- control allows you to choose. The know that they are one of the best

OCTOBER 1984 47

www.americanradiohistory.com tools for setting an EQ unit. An EQ playing music and trying to hear the sponse (check the response curve analyzer is really two calibrated unevenness in various locations in the supplied by the manufacturer), posi- units: a noise generator and a micro- room. It is a valuable tool. However, tion it in the audience area and turn phone /analyzer unit. The noise gen- an audio analyzer can be as expensive its channel up to the point where erator creates either "white noise" or as a good used Buick. There are feedback begins. Usually one fre- "pink noise," which are equal genera- several manufacturers marketing quency will begin to feed back first. tions of all the frequencies in the them, including Ivie, Shure, Gold Find that frequency on your EQ and audio spectrum. Pink noise is most Line, and Crown. Some are battery - back it down slightly. Bring the level commonly used with audio ana- powered and portable (preferred); up some more on the test mic's lyzation since it resembles music others are rack -mounted and you channel until feedback begins again. more closely. If you plug the generator must use a mic on a cord, which may Find that frequency on your EQ directly into the analyzer you would limit your range of test area. once again and back it down. Con- see a flat line on the LED display, What if an EQ analyzer is out of tinue this several times and you will indicating that there are equal levels your budget? How do you set up your get to the point where several fre- of all frequencies coming from the EQ unit? One of the most common quencies are feeding back simulta- generator. The analyzer's LED read- methods is to use a test tape of music neously and it is impossible to make out is calibrated the same as an that you are familiar with and have corrections any further. Your system octave or 1/3- octave EQ unit so that heard on a good stereo several times. will be fairly tuned for that mic loca- the frequencies match on both units. The music should contain many tion and you can test it in some other This way, if the analyzer indicates a sounds and have good dynamic range. locations. This process can be time peak level at a certain frequency, it is You can use whatever you like, but consuming; it is necessary to have easy to adjust the EQ by using the it is worthwhile to use music that relative silence when you use this matching control. challenges the tonal response of your method, because other sounds can The first step in using the EQ system. Once you have memorized induce feedback. You want the analyzer would be to plug the gener- the sound of that tape, you can play system itself to generate the feed- ator into your mixing board input it through the system and adjust your back levels that are peaks in your (any channel), making sure the EQ to get close to the sound you response. channel's own EQ controls are set remember. Obviously, your hearing Whether you can afford an analyzer flat, and that your main EQ is flat as and your memory are not always or must use one of the alternative well. Bring the level up and you will perfect. methods we have outlined, careful hear the pink noise; it will sound like Another method involves using setting of a good EQ unit will do any Niagara Falls. The analyzer's mic feedback. Using a mic with flat re- sound system a world of good. will pick up the sound and display it. You will want this to end up close to being flat, like when the generator was plugged directly into the analyzer. The difference is that your sound system and the room acoustics are now inserted in the signal path from generator to analyzer. Ideally, neither should have any effect on any signal entering the system. In reality, of course, there are lots of effects, and these will show up on the analyzer's display. You can then set your graphic EQ to counteract whatever "colora- tion" occurs between the sound enter- ing the system and the audience's ears. When taking a reading, you will want to be in typical listening loca- tions in the venue; there's no sense in tuning a system to sound good in a location no one will be occupying. Many analyzers have memory storage Why General Motors, Ford and Chrysler which enables you to check two thousands every year toward the development of new ideas. locations and compare readings. If put your two readings have very differ- By giving to the United Negro College Fund, all kinds of businesses throughout America and universities. on help provide education at 42 private, predominantly black colleges ent shapes the readout, you have More than 25% of these students earn degrees in business administration, marketing, an unevenness which could be caused engineering and computer science. And companies like General Motors, Ford and Chrysler by several factors; poor directivity realize that the development of these students is an invaluable idea. For a brochure on how to contribute, write on your company letterhead to the United of speaker system, bad driver or Negro College Fund, Director of Corporations, 500 East 62nd Street, NY., N.Y. 10021. speaker, poor aiming of speakers, effects of the house, or some other Give to the United Negro College Fund. factors. A mind is a terrible thing to waste. The analyzer noise and pink allow Fri A Public Service of This Publication & The Advertising Council you to find abnormalities easier than CIDU 1984 United Negro College Fund. Inc

48 MODERN RECORDING & MUSIC

www.americanradiohistory.com denny andersen

Practical Music Video Production Part 2: viaeo Switcher Operation

In the control room, the prominent feature is a bank of television monitors Fader bars Preview bus BLK Cam 1 Cam 2 Cam 3 Film VTR Mix arrayed over a console which houses the video switcher. There will be

Mix bus B BLK Cam 1 Cam 2 Cam 3 Film VTR some kind of audio mixer available, along with an audio monitor system.

Mix bus A BLK Cam 1 Cam 2 Cam 3 Film VTR The videotape machines and equip- ment racks will either be in the

Program bus BLK Cam 1 Cam 2 Cam 3 Film VTR Mix control room or in an adjoining "engineering" bay. The switcher console is the main control center in the video studio, Figure 1. A simple production switcher. much like the audio mixer is the main control center in a recording studio. Just as an audio mixer lets you combine signals from several differ- JJast month we took you through room and a larger, open soundstage ent sources, add effects, and send the the technical fundamentals where the shooting itself takes place. output to your tape recorder, the of video recording. This month As with audio recording studios, the video switcher lets you take signals we'll go into the studio and begin exact layout and room design will from several different cameras or covering the actual hands -on opera- vary from studio to studio, but the VTRs, select one individually or tion of the gear. basic features remain standard. combine them together for special You can figure the soundstage will effects, and then send the output to a The Video have a lighting system overhead, videotape recorder. Production Studio room for the cameras to move around In practical operation, then, the A typical video production studio freely on a hard, smooth floor, and a switcher allows you to set up several consists of a small, isolated control cyclorama or backdrop of some kind. cameras and switch back and forth

OCTOBER 1984 49

www.americanradiohistory.com between them at will as you're record- ing up.) Just in front of them, to your Okay, let's roll some tape and cut ing. You get a variety of camera left, Camera 1 is getting framed up this turkey. We make sure the "Black" angles without having to continually on a wide shot of the entire group. To button on the switcher is depressed stop the action, move the camera, and your right, Camera 2 is zeroing in on (in order to start out with a blank resume shooting. The shot changes a close -up of the lead singer. screen) and fire up the videotape you make on the switcher are sent In front of you, above the switcher, recorder. Once the machine is rolling "live," as they happen, directly to the you have three TV screens, or moni- and up to speed, we cue the band and tape. Because of this, multiple - tors. The first, labeled "Cam 1," punch up "Camera 1." The wide shot camera switching is faster and shows you whatever Camera 1 is of the band appears on the program usually cheaper in the long run than "seeing "-in this case, the wide shot monitor, and the musicians kick into shooting with a single camera and of the whole band. The monitor their song. So far, so good. As the editing a string of isolated shots labeled "Cam 2" shows the close -up singer grabs the mic to start singing, together in post -production. of the lead singer, just like Camera 2 we push "Camera 2," and the picture is seeing it out in the studio. The third on the program monitor (and on the The Switching Principle monitor is labeled "Program." This tape) switches instantly to the close- To illustrate how the switcher is screen shows you which signal you're up. When you want to switch back to used in production, let's imagine sending to the videotape recorder. the wide shot, you simply push you're sitting at the controls in a Push the button marked "Camera "Camera 1" again. simple two- camera studio. In front of 1." Bingo- Camera l's wide shot Notice that while one camera is "on you on the console there are three appears on the program monitor. If the air," the other is free to move buttons: one marked "Camera 1," you push the button marked "Camera around and change its shot. Thus another marked "Camera 2," and a 2," Camera 2's shot appears on the while we're recording Camera l's third labeled "Black." (Real switchers program monitor. If you push the wide shot, Camera 2 might be getting are considerably more complicated button marked `Black," the program set up on a shot of the guitar player than this, but we'll stick with an monitor screen goes blank. Note that for his upcoming solo. When the imaginary three -button model for only the program monitor picture guitar solo begins, we switch back to now.) changes when you switch back and "Camera 2" and presto, there's the Out on the soundstage we have a forth between cameras; the camera guitar player, right on cue. You can rock band about to run through its monitors remain constant, each see that in order to do this, the video paces for the cameras. (You can see showing you only what its camera is production crew always has to work them through the control room win- seeing, whether you've selected it one step ahead of the action. Camera 2 dow, getting into position and warm- or not. has to know in advance that the don't be left out in the COLD Subscribe Now, Modern Recording & Music can help you develop your talent. r J 1120 Old Country Rd. I wish to subscribe -$18.00 for 12 issues -Save $9.00. Plainview, NY 11803 $31.00 for 24 issues -Save $23.00. (516) 433 -6530 $45.00 for 36 issues -Save $36.00 Check Money Order enclosed for the amount of $ My account number is: D Visa D Mastercharge III11111111111 Exp. Date Name

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50 MODERN RECORDING & MUSIC

www.americanradiohistory.com guitar solo is coming in order to get Pushing the camera buttons will Let's fade to black. Should you his shot set up and be ready on cue send the selected camera output to punch BLACK on mix bus A, or on mix when the solo begins. the tape, as before. The VTR button bus B? It depends on which bus is For this reason the director and his will send the output of a playback currently activated by the fader bars. crew are in constant communication VTR to the tape (perhaps a pre- If you punch BLACK on the activated via intercom headsets. If you were recorded backstage interview seg- bus, the picture will instantly cut to to listen in during a shoot, you'd hear ment, or a clip from an old episode black, just as if you'd punched BLACK a running stream of camera direc- of Mister Ed). The FILM button will on the program bus. This is handy if tions and switching cues from the send the output of the film chain we want an instant cut, but we don't director: "Ready to take 1, and... (slides? 8mm movies ?) to tape. The want that; we want to fade out gradu- take 1. Camera 2, I need a close -up of MIX button sends the output of the ally. To set up the fade, punch up the guitar player. A little tighter, mix buses to the tape. Let's go ahead BLACK on the deactivated bus. (The Camera 2. That's good. Hold your and punch up MIx on the program picture from the activated bus will shot, 1. Standby, here comes the solo. bus, so we can see what the mix remain unaffected until you move the Ready 2, and ...take 2. Great. Cam- buses do. fader bars.) Then when you're ready era 1, get me a medium shot of the for the fade -out, pulling the bars will keyboards ... " And soon. (We'll cover The Mix Buses gradually deactivate the bus with the camera directions and director's The A and B mix buses allow you picture,and activate the bus punched commands in future installments.) to combine images from two sources BLACK. The result is a nice smooth We'll assume you've managed to to create fades, dissolves, and supers. fade -out. juggle your two cameras well enough In a fade, the picture either appears Note that you can do fades, dis- to cover the action and that the band gradually on the screen from black solves, or supers with any of your is coming to the end of their song. (a fade -in) or darkens gradually into video sources, not just cameras. You When they finish, you push "Black" black (a fade -out). A dissolve is a could fade in on a cheesy Japanese in order to wind up with a blank smooth transition between shots horror movie, for example, cut to a screen again, then shut off the wherein one picture gradually blends pre- recorded videotape segment of recorder. into the other. In a super (as in "super- the band fleeing through the streets, That's the way switching works, imposed"), both shots appear at the super a title slide as they duck into in a simplified nutshell. Real video same time, like a double exposure. the studio to escape the monster, then switchers can do a lot more for you, All of these effects can be accom- dissolve to live action cameras for as we'll see. plished on the mix buses with their their performance, complete with accompanying fader bars. camera -jarring footsteps and chunks Basic Switcher Operation The fader bars gradually activate of falling plaster. (Hey, where else Figure 1 shows the layout for a either bus A or bus B, depending on can a band survive the destruction simple production switcher like the how far you move them toward the of Tokyo for $27.50 ?) ones you're likely to encounter in a A or B position. With the fader bars Note also that you must have MIx small- format studio. Switchers vary in the A position, you get whatever punched up on the program bus in greatly in complexity and configura- is punched up on mix bus A; with the order to be sending the mix bus out- tion, but this is a typical arrange- fader bars in the B position, you get put to the tape. Any other selection ment. Note that there are four rows whatever is punched up on mix bus B. on the program bus will override the of buttons, called "buses." There's With the faders in the middle, be- mix bus output and go to the tape the program bus, two mix buses tween A and B, you get a blend of instead. Why this extra complication? (with fader bars), and a preview bus. both. Because it allows you to pull the mix To do a fade -in from black to buses off-line and use them to set up The Program Bus camera 1, you punch up BLACK on effects in advance while something The program bus works exactly mix bus A and CAMERA 1 on mix bus else is going to the tape. That's where like our imaginary three -button B. As you push the fader bars from the preview bus comes into play. switcher did -whichever button we position A to position B, the screen select on the program bus will deter- gradually changes from black into The Preview Bus mine which signal is sent to the tape. the picture from camera 1. The preview bus works exactly like The only difference is that now we Now let's try a dissolve from the program bus, except that its have more video sources to choose camera 1 to camera 2. Camera 1 is output goes only to the "preview" from: three cameras, a VTR, and a already "on the air," punched up on monitor -not to the tape. You can "film chain" (a special projection mix bus B, so we'll punch up CAMERA2 punch up Mixon the preview bus and system which allows us to transfer on mix bus A. (Since the fader bars use the preview monitor to set up a movies or slides onto videotape). are still in B position, bus A is de- super (or some other effect) without Each video source has its own activated; any changes we make on A having all your set -up adjustments monitor, as before. Thus we have will not affect our tape until we move going onto the tape. Then at the right separate monitors for cameras 1, 2, the fader.) Now as you pull the fader moment, you simply punch MIX on and 3, plus monitors labeled "VTR" bars from position B to position A, the program bus, and the super is and "Film." We have a "Program the picture gradually changes from right there, pre- arranged and ready. monitor, as before, which shows us camera 1 to camera 2. If you stop in As we get into more complex special the signal we're sending to tape, and the middle, both camera's shots effects, the preview bus will become finally a monitor labeled "Preview." appear, overlapped, and you have a increasingly useful in this regard. (No wonder video control consoles super. If you push the bars back into Next month we'll head out onto the resemble a showroom for Bob's TV the B position, the picture gradually soundstage and show you how to Heaven!) changes back to camera 1 again. operate the big studio cameras.

OCTOBER 1984 51

www.americanradiohistory.com ken pohlmann

Two months ago we examined The internal architecture of the to our example last month; the bus some of the design features 8085A is shown in Figure 1; the four which brings in the instructions inherent in most microproces- microprocessor subsystems (arith- first encounters the instruction sors, concentrating mainly on a metic logic unit, working registers, register and the decoder which inter- hypothetical description of their control unit, and internal data bus) prets the instructions. The decoder functioning subsystems and the are clearly represented. The wide output coordinates the control unit's micro-programming which manipu- variety of registers is especially operation, which in turn activates lates them. That architecture over- important; this greatly expands the the registers, ALU, and data and view illustrated the microprocessor's microprocessor's ability to handle address bus. Many of the status lines role as a programmable logic unit, data efficiently. The 8085A has a such as READYand RESET OUTappear able to process information accord- register array with both dedicated at the chip's output pins. ing to its instructions. This month I and general purpose registers. The There are other features of the would like to bring that conceptual dedicated registers are already 8085A such as memory- mapping discussion down to earth with two spoken for by the microprocessor, and multiplexed data /address lines microprocessor examples. First we but the general purpose registers which further enhance its utility, but will take a look at the Intel 8085A, are available for programming. the point is that the chip is a very one of the most powerful and popular There are six addressable, 8 -bit nicely configured package. Speaking microprocessor chips on the market. general purpose registers which are of packages, the user sees the 8085A Secondly, we will briefly check out grouped as three 16 -bit pairs: BC, in its standard dual -in -line 40-pin an applications example: the micro- DE, and HL. An instruction such as package; the chip's footprint is shown processor system commonly found `ADD M' takes the contents of the in Figure 2. Since there is an on -board in Compact Disc players, as ex- memory location whose address is clock, only a crystal connected across emplified by the Hitachi DA -1000.

A Very Popular Chip Interrupt Control Serial 1/0 control

The first 8 -bit microprocessor was INTERNAL DATA BUS the Intel 8008, introduced way back in 1971 (the Dark Ages of Digital). Accumalator Temporary register Instruction register C By today's standards it was a pretty E miserable chip, but it was the fore- ALU INN Flag Instruction decoder runner of the Intel 8080, introduced Stack pointer Program counter in 1973, which went on to become the Timing and control unit single most popular microprocessor, Address latch ! 1 1 1 used in more applications than all Clock Ready Hold Reut Reset other microprocessors combined. Its out in out offsprings, the Z -80A and the 8085A, Address buffer Data /Address buffer are two thoroughbreds in their own AB -A75 AD -A7 right. The 8085A is especially notable Address bus Data/Address bus in its faster memory access times, and more total consolidations of Figure 1. Functional block diagram system parts inside the chip itself. It of the 8085A CPU. is thus faster and needs fewer exter- nal components, things that every contained in the H and L registers pins X1 and X2 is needed to set the design engineer dreams of. The engi- and adds it to the contents of the chip's oscillator going. A 6.25 MHz neer's opinion is important in the accumulator; this pairing of registers crystal would typically be used to world of microprocessor marketing. makes for very efficient program- yield an internal 3.125 MHz clock Design engineers are the people who ming. Other registers are those we pulse. CLK (OUT) is derived from one design products, and they are anxious discussed last month -a 16 bit pro- phase of the clock and is used to run to make the design as simple as pos- gram counter (PC), a 16 -bit stack synchronous external devices. Eight sible both to lower manufacturing pointer (SP), an 8 -bit accumulator, of the chip's 16 address lines appear costs, and save themselves a little and a flag register. The accumulator on address pins A8 -A15. The other work (I speak from experience). Thus and flag registers are actually eight, as I mentioned, are shared they're attracted to parts which located inside the ALU to speed up with eight data bits on ADO -AD7. automatically carry much of the load. processing. Other chip pins provide control Believe me, the 8085A is a popular The control unit, with its flock of signals for operations such as system chip. status lines, is also closely configured bus control, READ, WRITE, and mem-

52 MODERN RECORDING & MUSIC

www.americanradiohistory.com under the cover are revealed, the focus and compensates if necessary, system becomes even more impres- activates the laser diode, checks and X1 40 Vcc sive. We owe much of that sophistica- compensates for tracking, makes X2 2 39 Hold tion to the fact that all CD players jump forward and reverse, accom-

Reset out 4 3 38 HLD A have one or more microprocessors in plishes digital and audio muting, SOD 4 37 Clock out. command of the situation. Consider regulates the digital -to- analog con- SID 5 36 Reset in some of the aspects of a player's verter, controls the drive motor, Trap 6 35 Ready operation: the laser beam must be reads disc table of contents, monitors RST 7.5 4 7 34 10/M automatically focused on the disc the error flag status, etc. RST 6.5 4 8 33 S1 surface; the beam must maintain The third microcomputer, the gain RST 5.5 9 32 RD of the pit control chip, has 28 pins; it is slaved 8025A optical tracking track; INTR 10 31 WR errors must be detected and cor- exclusively to the system and access INTR 4 11 30 ALE rected; the pick -up and disc drive computers. It independently receives ADO 12 29 SO motors must be regulated; User - error flags, gain control signals, and AD1 13 28 A15 programmable features and features jump commands. With this micro- AD2 14 27 A14 such as jump- forward and jump - computer, during the initial read, AD3 1 15 26 A13 reverse must be provided for, and, the tracking gain may be varied to AD4 4 16 25 Al2 of course, the entire flow of digital correspond to various disc character- AD5 17 24 A11 audio data must be governed. Micro- istics; this is important because disc AD6 18 23 A10 processors can manage all of this. reflectivity differs, so the amount AD7 / 19 22 A9 Without microprocessors, a Compact of laser light reflected varies too. Vss 20 21 A8 Disc player would probably be the Each player must automatically size of a Samsonite suitcase and cost adjust its circuitry to provide the as much as a month's vacation in best signal for each disc. In particu- Figure 2. Pinout diagram of the 8085A- "footprint." Tahiti. lar, the gain control microprocessor The Hitachi DA -1000 Compact sets the best voltage level for the Disc player has three microprocessor tracking actuator to keep the laser ory or I/O port selection. chips, each managing part of the beam precisely aligned with the pit The 8085A thus satisfies several player's operation; a block diagram track as the disc is played. important criteria; for example, it of the microprocessor system is Working together, these chips runs at a faster rate than its predeces- shown in Figure 3. The system micro- control most of the operation of the sors, and the use of multiplexed computer (HD44820A75) is a 54 -pin Compact Disc player. They provide a address /data lines frees seven lines chip which is master control for the prime example of the cost- effective- ness of using microprogrammable chips. One of the great advantages Gain control System microcomputer microcomputer of digital audio (aside from its great sound) is the opportunity it provides for employing microprocessors in the Lid drin er circuit design. While analog audio equipment might use digital control

Signal processing of transport and display in a hybrid microcomputer Access circuit fashion, only digital audio equip- ment can fully realize the potential aC aC 1C 1C IC of a system con- Mechanism Focus Tracking Slide motor Rotation Data slice microcomputer control control control control control control trolling all aspects of both the control data and audio data. The bottom line, as we have seen, is higher technology Figure 3. Microprocessor control of at a lower cost. the Hitachi DA -1000 Compact Disc There you have it. These micro- player. processor discussions have taken you from inside the chip itself, through per 40 -pin package so that other other micros, and controls all signals the pin -outs to the real world, and features such as an internal clock and such as lid opening or closing and finally to the interconnections com- may be included on the chip. When pickup location, as well as all input prising an entire system. I hope this you include more on the chip, the and output to the human user such as has helped you to better understand total parts count of a system is fluorescent and LED displays and the nature of microprocessors, and smaller. And that means lower cost user control inputs. The access be able to deal with the many applica- and a more compact package. Speak- microcomputer (HD44801A95) is a tions in which they'll be appearing. ing of compact things... 42 -pin chip controlled by the system As audio and other technologies go computer that in turn handles all of digital, you'll be seeing more and The CD Secret the logic signal processing used for more of the microprocessor. A final Even at first glance, a Compact error detection and correction, and word: The price of all that high tech- Disc player is a pretty amazing controls all of the servo systems in nology crammed on a tiny chip is device. The sonic fidelity delivered the player. The focus actuator coil, about as tiny as the chip itself. A by a player can be remarkable, and tracking actuator coil, slide motor, microprocessor typically sells for less the longevity of the discs is astound- and disc motor are all controlled by than 10 bucks. Is that a good deal? ing. When the engineering feats the access computer; it checks for You better believe it is.

OCTOBER 1984 53

www.americanradiohistory.com wG>a s Flew ift 6(mo-a caid knu,s:c

CARVIN STUDIO GUITAR AMPS The new Carvin X -30 and X -60 watt RMS model, these amps in- compact studio guitar amps evolved corporate state -of- the -art FET chan- from their widely acclaimed 100 - nel switching, active bass, mid, watt X -amps. The new tube amps treble, and presence controls, and the deliver the same rich sustaining Hammond reverb system. The 30- qualities and versatility at an even watt X -30 sells for $329.00; the 60- more affordable price. Their 18 -inch watt X -60 for $399.00. width by 18 -inch height offers easy portability while enclosing a powerful 12 -inch Celestion G12M -70 or EVM- Circle 37 on Reader Service Card 12L speaker. Featured in a 30- or 60-

BYTER RHYTHM CONTROLLER

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s Qa,r SAe KOS .,A."` START O EDCOR POWER AMPLIFIER m x i t AUTO START 1211 es M

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1 /_' B IOW _P O L Y S Y N C= 'Ma IMP

Edcor's new GLA 60B is a 60 watt Byter's new Polysync rhythm con- a beat meter with LED display, and booster (power) amplifier with auxil- toiler makes it possible to synchro- complete portability. In addition, it iary level input. The outputs are 4 -, nize the various clock rates of the has six fixed clock outputs, dual 8 -, and 16-ohm voice coil, and 25/70- different manufacturers' synthe- polarity variable clock outputs, auto volt constant voltage line. The GLA sizers, sequencers, arpeggiators, and reset, two external clock modes, and 60B has an effective logic protection drum machines. It is a valuable tool a foot pedal switch. Dimensions of the circuit to assure long and reliable in performing, recording, and com- unit are 11 by 6 by 2 inches; it comes performance. Frequency response is positional and orchestrational work. with a one -year warranty, and costs 30 Hz to 20 Hz ±1 dB, and THD is The unit operates as both a master $595.00. less than 1 percent at full rated power. clock and a clock processor, has a pulse shaper, and can sync to tape. Circle 38 on Reader Service Card Its features include an internal clock. Circle 39 on Reader Service Card

54 MODERN RECORDING & MUSIC

www.americanradiohistory.com FURMAN QUAD NOISE GATE

which allows the user to set the slope of the muting action -from a fast drop off to a gentle unobtrusive fade -to suit the program material. The device also contains extremely wide range threshold controls that enable it to function in a wide variety of applications and with almost any audio source. The unit carries a Furman Sound's newest product, extremely low noise and superb fre- suggested retail price of $395.00. the QN -4 Quad Noise Gate, employs quency response specifications. The sophisticated variable pulse -width QN -4 features a fade time control for modulation technology, providing each of its four independent channels, Circle 40 on Reader Service Card

SLM'S NEW ELECTRA PEDALS The Omni Division of St. Louis plete with its own durable, padded JOE'S SOUND & Music Supply Company is now offer- storage pouch to protect the unit SALAMI CO.'S NEW ing its new second generation line of when not in use. Initially, seven MINI -MONITOR Electra Professional Effects Pedals. models are available including a These new pedals contain improved, Stereo Chorus (Model #604CH), ultra quiet electronics for studio Stereo Flanger (Model #605F), and quality sound processing. Other Distortion /Overdrive pedal (Model notable features include an enlarged #600D). Suggested retail prices start switch /trigger plate, easy access at $80.00. battery compartment, and a slightly larger base for improved stability. In addition, each pedal comes corn- Circle 41 on Reader Service Card

Joe's Sound & Salami Co.'s new Mini -monitor is a compact, highly efficient PA Monitor that combines precise acoustical alignment, re- markably small size, and the lowest cost in the company's line of monitors. The 12 -MM can be retrofitted with the same components as the ac- claimed 12SE Stage Eliminator. When you are ready to upgrade, cabinet replacement costs can be avoided with no sacrifice in quality.

Circle 42 on Reader Service Card

OCTOBER 1984 55

www.americanradiohistory.com DIGITAL KEYBOARDS' NEW SYNTHESIZER Digital Keyboards' new Synergy II Plus /GDS uses the same panel of controls as Synergy I, but has an additional set of hardware and soft- ware changes that provides the follow- ing new features: complete program- mability and generation of sounds with the voicing software from the GDS and a recommended computer using CPM 2.2 operating systems; cartridge- arranging from the 600 the front panel, using a computer. System, brought into an expanded sounds provided on disk; voice docu- Additionally, hundreds of musical system for under $7,500, including mentation software; RS -232C and features have been added, such as the computer, a Kaypro II. Owners of programmable outputs to other de- ability to record both digital and earlier Synergy products can up- vices like digital drum machines, analog information into the Synergy grade their instruments, as promised light switches, etc.; MIDI In, Out, sequencer, multiple forms of com- by the company, for appropriate and Through; and Extended Pro- pound transposition, and musician - costs. Cartridges are still available, grammer, which allows for on -stage oriented manipulation of the synthe- along with other options. call -up of 12 sets of four combined sis programs from the front panel. programs, and 12 4 -track sequences. The Synergy II Plus/GDS is now the All are called up in real time from once $30,000 General Development Circle 43 on Reader Service Card

ULTIMATE SUPPORT STANDS PIGNOSE LEGENDARY ARIA EFFECTS UNIT

Aria's new APE -1 is a program- mable effects unit incorporating Compressor, Distortion, Delay, and Ultimate Support Systems' Pro - Pignose Industries' battery - Chorus. Unlike conventional multi - Line'" is a new series of black anodized operated Legendary is the first effects units, the APE -1 is equipped aluminum support stands which in- Pignose product available to the with three program channels that cludes tripods, keyboard stands, music and pro -sound industries. The provide you with easy, one -touch tables, and lighting trees for music Legendary is a practice amp, a studio selection. Each of the program and stage equipment. The black Pro - amp, and a performing amp. Any channels contains an output level Line provides professional musicians instrument that can be amplified can control. The APE -1 is equipped with with an attractive alternate to be played through a Pignose, includ- an external effects loop that enables Ultimate Support Systems' popular ing your voice. This re- introduced you to add existing effects to the silver stands. Like all Ultimate Legendary Amp is as good as its APE -1 system. The Delay and Chorus Support stands, ProLine products ever been. Its looks and electronics are both enhanced with stereo out- are constructed of aluminum alloy (a thoroughly tested combination) puts. Stable operation is achieved tubing with glass- reinforced poly - have not been changed, and the through an AC power source. Its carbonate parts for strong, light- cabinet is covered with the famous compact size (13.4 -in. wide by 2.8 in. weight support. Unique design fea- brown pigskin vinyl. Best of all, the high by 7.1 -in. deep) and 5.1 lb. tures allow stands to be broken down original pig's nose is still used as the weight make it a valuable tool for the and assembled quickly for true On /Off and Volume knob. The sug- working musician. The unit carries a portability; adapters and options gested retail price of the Legendary suggested retail price of $369.00. enable the same stand to accom- Pignose is $99.95. modate a variety of equipment, for unmatched versatility. Circle 44 on Reader Service Card Circle 45 on Reader Service Card Circle 46 on Reader Service Card

56 MODERN RECORDING & MUSIC

www.americanradiohistory.com G1 /7 rl-__ rt

MAKING TRACKS George Benson was recently at Grandslam laying tracks for his next Warner Brothers LP, with Russ Titelman producing and Elliot Scheiner at the board ...Let's Active has finished their first full length LP, Cypress, for IRS at Mitch Easter's Drive -In Studios. Easter co- produced the album with Faye Hunter, Sara Romweber, and Don Dixon ... Roy Ayers was at Unique Recording in New York laying tracks with Grover Washington, Jr. and Tom Browne, and mixing his debut album for CBS. Stanley Clarke produced the project with Jerry Solomon at the board. Steve Griffin and Kennan Keating assisted ...At TNA Studios: Cub Koda, formerly of Brownsville Station, was in with his band recording three songs live onto two -track for his video presentation... Plan 9 remixed several cuts and recorded a new song for their LP to be released on the New Rose label ...Teena Marie was in laying down tracks and producing her next Epic record at Mad Hatter with Bobby Brooks co- producing and Gary Wagner at the board ...Steve Miller was recently at Capitol Studios doing overdubs for his next record...George Duke and David Wolinski are producing Shalamar's next album for Solar... Madam X has been laying tracks at Cherokee with Rick Derringer producing and George Tutko engineering...Triumph was in working on their next RCA project at Metal Works in Toronto with co- producer Eddie Kramer and engineer Ed Stone...Michael Urbaniak recently recorded an LP at Dimensional Sound with Don Doyle producing...The Reddings were in recording at Bearsville Studios. Hubert Eaves produced the project with Mark McKenna at the board and Caryl Wheeler assisting... Shelly Palmer has completed a musical production for Pan Am's Europe /London cam - paign...At Bullet Recording in Nashville: Shelley West and David Frizzel have teamed up on a project for Warner Brothers. Anne Murray was in working on overdubs for her next album. Jim Ed Norman produced both projects with Scott Hendricks at the board. Gail Davies co- produced her upcoming album with Lee Sklar. Bill Schnee and Bob Sullock were at the board... Barry Manilow recently produced Dionne Warwick's next album for Artista Records at Sunset Sound in Los Angeles...The Nails were at Long Island's Boogie Hotel recording for RCA Records with Greg Winter producing and Michael Frondelli at the board ...Don Covay recorded and produced his solo LP with Horace Ott. Steven Bramberg and Jeffrey Kawalek were associate producers of the project with Jim Sparling at the board ...John Robie was recently at Greene Street producing a cut for Laura Branigan ... Joe South finished mixing his latest album at Quadrasonic Sound in New York. Producers were John Hanti, Sandy Brown, and Matthew Kasha...John Cale mixed his new single at Planet Sound with Andy Heermans at the board and Tom Durack assisting...Tina B of Rockers Revenge has released the final tracks of her first LP for Elektra Records... Pro- ducer Ivan Ivan was recently at Unique remixing Wire Train's "Chamber Of Hellos" for CBS with Jay Burnett and Steve Pecorella engineering...

ON THE ROAD Let's Active left in early September with Echo and the Bunnymen for their fall tour of England and Scotland. When the two bands return, they will embark upon the first leg of their American tour...Elton John is currently in the midst of his "Breaking Hearts Tour" which covers 44 major cities in the U.S. and Canada ...Lee Ritenour recently went on tour to promote his Banded Together album. His equipment for the stage monitor set -up is almost exclusively Fender Pro Sound...

MISCELLANY The National Down Home Blues Festival is scheduled for October 19 to 21 at the Moon Shadow Saloon in Atlanta, Georgia. The show will feature 25 acts, making it the largest country blues festival ever staged... "Rock In Rio," a 10 day musical festival featuring 14 major music groups, is to take place in January '85 in Rio De Janeiro...Guild Musical Instruments recently announced their newly formed association with Queen guitarist Brian May. The Brian May model #BHM -1 was introduced at the NAMM (National Associa- tion of Music Merchants) Show in Chicago...

OCTOBER 1984 57

www.americanradiohistory.com &MUS/C...

BRUCE SPRINGSTEEN: Born In The On Fire," the percussion is the prop- neer fails to understand and under- U.S.A. [Produced by Bruce Spring - erty of one side of the mix, the finger - scores the singer's strengths. For all steen, Jon Landau, Chuck Plotkin picked guitar belongs to the other. of the factors to click, a recording and Steve Van Zandt; recorded by The synthesized strings of "My demands an extreme amount of focus Toby Scott; mixed by Bob Clear - Hometown" come up verse by verse from all involved. mountain; recorded at the Power and gradually change from an em- Focus is the last thing to be ex- Station and The Hit Factory; mixed bellishment to an entreating demand pected from Private Dancer. There at the Power Station; assistant engi- for contemplation. The strings finally are five producers, 18 songwriters, neers, John Davenport, Jeff Hendrick- rush up to cover the husband and and a conglomeration of musical son, Bruce Lampcov, Billy Straus, wife who lay in bed and, like many styles. To top that off, Turner's voice and Zoe Yanakas; mastered by Bob of the characters of Born In The cracks and wavers throughout much Ludwig at Masterdisk.] Columbia U.S.A., half heartedly scheme to of the LP. Yet, Private Dancer is still QC 38653. escape. a first -class singer's album because susan borey of its sheer intelligence -in selec- Performance: Indelible tion of material and producers-and Recording: Welded together in a new vocal display that alleviates any musical shortcomings. After an acclaimed sojourn with a Though Turner wants to emphasize 4 -track that produced the darkly TINA TURNER: Private Dancer. rock 'n' roll at this point in her career, introspective Nebraska, Bruce [Various producers, engineers, it was a cover of Al Green's soul Springsteen returns to a larger studios.] Capitol ST 12330. classic, "Let's Stay Together," that sound without really relaxing into brought her back to the charts and the comforts of a lusher one. The dark Performance: Seasoned made this album possible; vocally cloud has lightened, but the tension Recording: Smart that tune is still the focal point of the that obscures a lighter- hearted sunniness with a lyric tone that ranges between grim nostalgia and despair takes the reins in simple arrangements and sparse instru- mentation sporting only a few glim- mering ornaments. Reportedly gleaned from over 90 cuts, the 12 songs on Born In The U.S.A. reflect a purist's Americana- a "hey, baby" machismo that can't strut too far without revealing a potentially crippling vulnerability. The music, stalwart and straight- ahead rock 'n' roll, is for the most part subservient to Springsteen's semi -hoarse voice. The title cut is the most spacious, with a panoramic key- board riff that doesn't let up and a thunderously full drum sound. The other accompaniments quickly slip into the background, are appropri- ately rollicking or delicate when necessary, and during breaks seem content to cover an open space with- Sometimes singers' albums are the album. Turner sings it exactly the out solos. most difficult to make. If the voice way Green did, only when she hits The two ballads are soft but hard - is in shape, then the material doesn't some of the high notes a bit beyond edged, portraying personal despera- challenge it enough. The producer her range, the engineer saves her by tion and economic depression amid doesn't always provide enough distancing her voice in the mix, then sweeter images, and yield the most support, or he smothers the singer brings it back again to regain the unusual mixing techniques. In "I'm with support. Or possibly the engi- intimacy of her lower range. Even

58 MODERN RECORDING & MUSIC

www.americanradiohistory.com more infectious is the old Ann documentation of the artist's matura- ELVIS COSTELLO: Goodbye Cruel Peebles hit, "I Can't Stand The Rain," tion- personally, musically and at World. [Produced by Clive Langer which sounds more modern, with the controls of the studio. and Alan Winstanley; recorded at synthesizers layered in short riffs. Perhaps with a film score in mind, Sarm West, London; mixed at Genetic But when Turner warms to the infal- Prince has pursued his most spacious Studios, Streatley.] Columbia FC lible lyric and melody, she sings with musical scenescape to date. With 39429. just as much passion as Peebles did danceable beats, oh- so- catchy hooks on the original. Turner deserves and giddy energy, the territory he's Performance: Peerless credit just for recording this song, won as pop -funk royalty hasn't Recording: Shiny which never got the attention it shrunk; the view has just been broad- deserved when it came out in 1973. ened by more complex chord struc- With saucy sax and syncopation, Turner displays the same level- tures, drawn out endings, clever Goodbye Cruel World is off to a mis- headedness in her choice and inter- segues that insure continuity and a leading start, threatening to present pretation of rock material, which quantum leap in his skill at arrang- more of the musically disjointed includes Bowie's "1984" and Chap- ing strings. moodiness that offended Costello's man and Chinn's "Better Be Good To The staple sound that holds most last two releases. It changes key with Me." Many of her previous rock out- movie music together, strings, have the next cut, however, and returns to ings have been marred by a manic become, in Prince's hand, tools the kind of adulterated pop that pace that emphasized her hot -to-trot wielded with a new confidence that elevated Elvis to his cynical yet persona. Now Turner's voice is still as permits a recessed, and thus more sapient cloud above the other con- stinging, only producers Rupert powerful position. On "Take Me With tenders. Hine and Martyn Ware integrate it U," the strings are pulled back to The melodies are relentlessly more into the rhythm tracks. On "I atmospherocity to give the tam- persuasive here; their fluidity is Might Have Been Queen," for ex- bourine and acoustic guitar the aural accentuated by a usually dry treat- ample, she cuts into some tough, fast limelight, but their smooth counter ment of Costello's voice that allows hooks, while just below the surface melody leaves the stronger impres- every nuance of genuine sweetness the bass sustains the momentum. sion. Complex melodies and dynam- as well as the sung sneer to poke Then, on the album's biggest surprise, ics characterize Prince's grasp on through the mix. On "Worthless Mark Knopfler's smoky, seven - strings; he uses them as coy acces- Thing," the last phrase is delivered minute title cut, Turner exposes sories, as in the strange tale of up close to the mic in a final sarcastic some wistful, cynical phrasing, with "Darling Nikki," and as heavy main intimacy, like a signature on hate the ripeness of a jazz singer who's material, as in the darkly pensive mail. Pushed by a crisp high hat, this sung in every cheap pub and cabaret recessional that closes the album. song also is punctuated by an oc- on both sides of the Atlantic. With guitar parts that have de- casional dash of clean tambourine. Turner scores points on every cut of veloped past flashy spritz into orches- Costello calmly runs a gauntlet of Private Dancer because each one is trated, harmonizing melodic breaks, emotions and musical styles, rocking contemporary and yet uncompromis- Prince's musical development is also back to the roots in "Sour Milk Cow ing. More importantly, her well - evident in his voice. The falsetto Blues," doing rhythmic double -takes fought victory provides a lesson for scream can still peel paint, but the in the eerie reggae of "Room With No the other great voices floundering of voice is more controlled and lets the Number," spewing a calculated late, because she proves that the ma- ornaments out of the bag more stutter in the barreling "Deportee's terial, the producers and the engi- sparingly with heightened effect. Club," and crooning with mournful neers, are still there if you look hard Recognition of techno -gimmickry sweetness through the droning "Love enough. is given little more than a nod. Loads Field." rob hoerburger of delay on "Computer Blue" turns Costello always seems concerned the lead vocal into a duet, and back- with making his view fit into neat PRINCE AND THE REVOLUTION: wards vocals appear un- Satanically packages; excessive breaks and Purple Rain. [Produced by Prince; on three songs. drawn out endings are rare. The man assisted by David Leonard and Susan A most interesting development wants to get onstage, shoot the laser Rogers at the Warehouse, and by on Purple Rain shows in Prince's tongue through the velvet lips and Peggy Mac and David Leonard at attitude toward his trademark theme jump out of the spotlight unscathed Sunset Sound; some cuts recorded of sexuality. Of course there's the by vagrant vamps. A curious (and live at 1st Avenue by David Rivkin, scandalous episode with a castle - sole) exception on the album is found David Leonard and Record Plant, couched queen of lust, Nikki, but on "Room With No Number "'s bouncy New York; originally mastered by generally the songs seem to delve into extended ending. Snatches of frantic Bernie Grundman.] Warner Bros. the pitfalls of love more than the pits silent movie piano run through the 25110 -1. of sensuality. "The beautiful ones chorus with no less than 30 bars. hurt you every time," Prince has Taking aim at everything from the Performance: Sizzling discovered; he entertains notions of dirty politics of romance ( "The Only Recording: Well done marriage while dissecting unhappy Flame In Town," "Home Truth ") to unions into crying doves. the dirty romance of politics ( "Peace The soundtrack to Prince's ambi- Known in his film as "The Kid," it In Our Time "), this series of concise tious venture into the rock movie looks as if Prince has grown enough musical and moral statements is field provides a convincing musical to wear the title for the stylings of surely one of Costello's most appre- backdrop to the cinematic fleshing plot, not for the evidences of im- ciable efforts to date. out of his psyche, and also offers maturity. susan borey susan borey

OCTOBER 1984 59

www.americanradiohistory.com ELTON JOHN: Breaking Hearts. [Produced by Chris Thomas; engi- neered by Renate; mastered by Tim Young; recorded at Air Studios, Montserrat; 301 Studios, Sydney, Australia; and Air Studios, London, England.] Geffen 24031.

Performance: Polished Recording: Crisp

Following Too Low For Zero, his first album since his most successful band reunited, Elton John's latest effort, Breaking Hearts, finds the artist contributing 10 new songs that prove he and Bernie Taupin still possess the chemistry to be tastefully innovative. With Davey Johnstone on guitar, Dee Murray on bass and Nigel Olsson on drums, John per- forms with the confidence and en- thusiasm that was apparent on earlier efforts such as Madman Across The Water and Captain Fantastic (And The Brown Dirt Cowboy). Although the album lacks a great deal of orchestration and is far from being overproduced, it is not two - dimensional; many textures are audible under the production of quately explored in the rockers that through one song and grunts through Chris Thomas. In places where occupy the remainder of the album. another, and Jermaine, who sings strings or organ would be used, the The driving rhythms of Dee Murray lead on half of one, the Jacksons back -up vocals of Dee Murray, Davey and Nigel Olsson help achieve this, individually are very average musi- Johnstone and Nigel Olsson add although in some spots the drums cians. Gone from this album are the depth and a gospel feel, exemplified seem too laid back and lack the power cohesive group harmonies, the play- on the cuts "Burning Buildings," achieved on earlier John recordings ful exchange of leads, and the matur- "Breaking Hearts" and the hit "Sad such as "Saturday Night's Alright ing songwriting that marked the Songs." John's lead vocals are placed For Fighting." Breaking Hearts is group's work through Triumph. up front throughout the album, with ample indication that the captain is The biggest waste on the album, a slight delay and very little reverb still fantastic. musically and technically, is Michael's added, keeping them clean and un- daniel schnatter amorphous duet with Mick Jagger, crowded. "State Of Shock." The drums, which As a dominant instrument, the are meant to give the song its rock piano takes the spotlight at some JACKSONS: Victory. [Produced by pulse, have neither a rim -shot edge point in about half the songs on this the Jacksons, David Paich and Steve nor an ambient snare sound; instead, album. Where it appears as a solo Porcaro; various engineers and they just lay there, with no sponta- instrument, it is used to its fullest studios.] Epic QE 38946. neity, and probably could have been dynamic capabilities and recorded recorded in several different parts with a bright yet full timbre. Where Performance: Fragmented and edited together. The two clashing the piano is not the main instrument, Recording: Sterile voices eventually lead to a cacoph- it blends well with the others but onous mix. Michael's other song, "Be lacks depth. Throughout the rest of The Jacksons as a group probably Not Always," is a treacly sermon that the album the guitar is John's main ceased to exist sometime after the does have one brilliant engineering accompaniment. Here Davey John - Triumph album and tour in 1980 -81. moment: the long silence toward the stone's licks are clearly audible, with That was supposed to be the grand end that makes the song seem over any added effects accenting his leads finale, before Michael went off on his before it actually is. and harmonies. Besides electric own for good. But in the wake of On "Torture," the bass takes the guitar, a very expressive, clearly Thriller, the brothers, including lead part, but it's just as languid as recorded acoustic guitar cuts through Michael and Jermaine, decided to get the drums on "State Of Shock." the mix in "Slow Down Georgie (She's together one more time. Michael and Jermaine share lead Poison)." Except that the group never really vocals, but the separatism of the Although the concept suggested comes together on Victory, whose album again takes precedence, as by the title Breaking Hearts seems eight songs each emphasize the sing- there is no vocal interplay between best expressed in the ballads on this ing and /or songwriting talents of a the two, and the harmonies are far disc, the cruelty and anger that single brother. The problem is that too uniform. The bass bubbles a bit accompany this theme are ade- beyond Michael, who whimpers more on "Wait," with those famed

60 MODERN RECORDING & MUSIC

www.americanradiohistory.com R &B veterans Toto chipping in, The engineers who specialize in enough to make for a good Hall & making dub recordings are stars in Oates imitation. That Hall and Oates their own right, and none is held in INSTITUTE OF usually imitate groups like the Jack - higher regard than Scientist, a.k.a. sons only makes "Wait" seem to be Overton Brown. On these two record- AUDIO/VIDEO third generation soul. ings, Scientist's craft is presented at ENGINEERING The Jacksons sound like the old its best. Jacksons only once -on Marlon's The Heartbeat album, 1999 Dub, OFFERING DIPLOMA PROGRAMS IN: "Body," in which the call -and- pits Scientist vs. newcomer Peter RECORDING ENGINEERING response harmonies inject some Chemist, but there is truly no contest. (AUDIO & VIDEO) spunk into the slightly tentative lead. While Chemist (Peter Thompson) But the song is just a musical rehash creates an enjoyable and mellow mix, Also Forming: of "Wanna Be Startin' Somethin "' his talent at this stage is rudimentary 4 WEEK INTENSIVE without the urgency. "One More compared to Scientist's. The latter Chance," a lightweight ballad by artist's mixes here are vibrant and WORKSHOPS IN Randy, reveals some unpretentious melodic. Double- tracked drums and RECORDING ENGINEERING charm, but overall Victory is just an pulsating bass (courtesy of riddim expensive indulgence of six egos. masters Sly and Robbie) anchor the Two In -House State -Of- The -Art There's probably no way the Jack - entire project, with occasional booms 24 -Track Recording Studios sons could have lived up to the hype and buildups so powerful that one Faculty Members Are Leading after the ridiculous success of Thriller. can literally be jolted by their Recording Industry Professionals But once before they followed a arrival. Scientist knows enough monster album by Michael (Off The about dub to avoid repetition (a Internship /Placement Assistance Wall) with a superlative album of common pitfall of this style), and their own (Triumph). That's the where other dubmasters might allow Professional Working Environment album that defines the Jacksons' the bass and drums to go on unaided Write orCall for Brochure sound of the '80s. Victory is just a for too long, Scientist always jumps reunion of name and album covers to the rescue with a biting rhythm INSTITUTE OF AUDIO /VIDEO ENGINEERING only. guitar passage or intensified percus- Dept. K, 1831 Hyperion Ave. rob hoerburger sion. The only unfortunate aspect of Hollywood, California, U.S.A. 90027 this recording is a disturbing amount (213) 666-3003 PETER of surface noise that detracts from CHEMIST VS. SCIENTIST: Circle 31 on Reader Service Card 1999 Dub. [ Producad by Lincoln the purity of the production. "Sugar" Minott and Peter Chemist; Such is not the problem on the engineered by Soljie Hamilton; Greensleeves album (a division of recorded at Channel One, Kingston, Shanachie Records), which, like MUSIC Jamaica.] Heartbeat 27. many other Scientist records, sup- posedly places the engineer in a ELECTRONICS SCIENTIST: Scientist Encounters mythical, comic -book -like battle SPOKEN HERE Pac -Man. [Produced by Linval against some other icon of the engineered by Scientist; age, in this case Pac -Man. Thompson; computer POLYPHONY Magazine recorded at Channel One, Kingston, What that all has to do with the featured in the last 6 issues: Jamaica.] Greensleeves GREL 46. tracks themselves is debatable, COMPLETE SCHEMATICS FOR: because other than the occasional Computer -Controlled Drum Synthesizer. Bass Pedals. Gated Sample & Hold, Bi -Amp Performance: Both LPs glide along Pac- Man -like electronic noises Compressor, " Barberpole" Function Generator Dynamic Touch Controller, Electronic smoothly Scientist throws in, this is reggae in Footswitch, Voltage- Controlled Exponential World -class reggae its most organic state, with every LFO, AMS -100 Gate Output, One -Chip ADSR Recording: Envelope Generator. engineering little tick of the hi -hat and chunka- TUTORIALS ON: chunka of the guitar bouncing from Simulated Stereo, MIDI Fundamentals (Hardware /Applications), Synthesizing Choirs. Very basically, dub is a process left to right, recorded as crisply and Recording on a Budget, Understanding the Commodore -64 Sound Chip, Transversal used in reggae music whereby the fully as one could hope for. There are Filters, Orchestral Voicings, Film Scoring Math recorded tracks are stripped to truly exciting moments on both of Exploring Just Intonation. basics, often leaving just the bass and these records, and even non -fans of INTERVIEWS WITH: Donald Buchla, Larry Fast. John Foxx, drums, and then restructured with vocal reggae will want to give a listen Vangelis. lots of reverb, additional rhythms to these largely instrumental works PLUS: Over 185 Record /Cassette Reviews, Current and bits of voice, guitar, keyboards, to check in on the advanced produc- Events, On Location, Equipment Modifications and whatever. Admittedly, one must tion and engineering techniques that Book Reviews, and much more. be totally enamored of reggae to are utilized every day in Kingston. enjoy intensive listening to dub jeff tamarkin Edited by Craig Anderton recordings, but they also serve as fine dance music and harmless back- LEARN THE LANGUAGE! ground music -those who don't SONNY ROLLI NS: SunnyDays Starry particularly care for reggae's mes- Nights. [Produced by Sonny and Polyphony sage might even prefer dub. Lucille Rollins; engineered by Richard Box 20305. Oklahoma City OK 73156 1 year (6 issues): $12 USA, $14 Foreign. More importantly, dub is the art of Corsello; recorded at Fantasy Studios Sample issue: $2.50 reggae engineering taken to its limit. in Berkeley, CA.] Milestone M -9122.

OCTOBER 1984 Circle 33 on Reader Service Card 61

www.americanradiohistory.com nat hentoff The Infinite Varieties of Thelonious Monk

In all of jazz history, there has he never invited any musician uninteresting Monk performance. never been a tribute to a departed twice. If the first response was not Some may have been rather legend like That's The Way I Feel an immediate yes, Willner did not opaque, but none were dull. Now (A &M). Assembled by Hal call back because he wanted every- As the music in this album Willner, the two -LP set includes one involved in this tribute to be makes clear, Monk, firmly rooted singular versions of Thelonious delighted to be part of it. Includ- in stride piano and the blues, was Monk's originals not only by jazz ing the engineer. And it all sounds one of the truly original jazz players but also by an enthusiastic just like that. All the colors -and composers, building a body of range of rock musicians who have there is an abundance of them - work that was so unmistakably been influenced by Monk. come through with equal clarity. his own that for a long time, most The result is a wondrously Meanwhile, as Willner's and musicians were afraid to try to put heterogeneous, high- energy mo- other tributes to Monk are re- themselves into his tunes because saic. Among the jazz contributors leased, more and more of his own they seemed so elusive, except to are such Monk friends and alumni previously unissued performances Monk. But now, younger players as Steve Lacy, Charlie Rouse and are being made available. On see his originals as among the Randy Weston, while, from the Milestone, for instance, there is universal classics of jazz, along rock perspective, there are equally now Thelonious Monk /Blues Five with Ellington's and those of respectful and rollicking contri- Spot, eight previously unreleased Charles Mingus. But Monk always butions by Dr. John, Todd Rund- club, studio, and concert per- knew his work was classic. The gren, Donald Fagen, Peter Framp- formances. recorded sound throughout is good, ton and Chris Spedding. The Five Spot was a club on sometimes better than that. The instrumentations are in- New York's East Side where triguingly assorted -five French Monk flourished in the late 1950s. horns on one track; NRBQ and the In addition to performances from Whole Wheat Horns on another; there, there are two tracks from a just a soprano and a tenor saxo- Paris concert in 1961, and two CARLA BLEY, STEVE LACY, JOE phone on yet another. The rock studio sessions ( "Coming On The JACKSON, PETER FRAMPTON,

players here clearly understood Hudson" and "Played Twice "). It's et. al.: That's The Way 1 Feel Now/ what Monk was about because all very much worth having. I A Tribute to Thelonious Monk. they clearly know how to play his have heard just about everything [Hal Willner, producer; engineer, tunes, and the jazz players extend released by Monk; I spent many Doug Epstein.] A &M SP -6600. themselves because that's what nights listening to him at the Monk's music does to you. Five Spot; I worked with him THELONIOUS MONK: Blues Five Hal Willner, who merits much during the rehearsals of the Spot. [Orrin Keepnews, producer; credit for getting all these dis- CBS -TV program The Sound Of various engineers.] Milestone tinctive spirits together, says that Jazz. And I have never heard an M -9124, distributed by Fantasy.

Performance: The Sound Of Joy has relied on for some time. In the Demonstrating his seemingly in- Recording: Muscular course of dishing out his catalog of exhaustible store of ideas and his trills, scalar runs, deep honks, slips, wide range of expression, Rollins Saxophone colossus Sonny Rollins slides and squeals, the tenor man also moves into a straight -ahead affair has had an ongoing love affair with serves up some irresistible good -time on "I'll See You Again," overdubbing Caribbean rhythms. Spirited, catchy party music, making it both admi- a second sax to create effective har- calypso -flavored romps such as "St. rable and accessible. What comes mony lines. "I'm Old Fashioned" is Thomas," "Coconut Bread," "Little across besides the sheer command another straight -ahead number fea- Lu" and "Don't Stop The Carnival" of technique is a feeling of joy and an turing Sonny riding high over an have become staples in the Rollins undeniable sense of humor in his uptempo groove supplied by drummer repertoire. playing. That is Sonny Rollins' Tommy Campbell and bassist Russel On his last Milestone album, Reel legacy, not the lexicon of idiosyncratic Blake. Life, recorded in 1982, Rollins con- sax tricks he has cultivated over the Rollins has shown that he's even at tinued that tradition with "Rosita's years. home with rock music, having played Best Friend," another islands -in- The lovely ballad "Wynton," no some fiery signature lines over the fluenced number. In this latest Mile- doubt a tribute to the young trumpet Rolling Stones' Tattoo You album. stone release, the preeminent tenor sensation with whom Rollins toured But whether it's rock, reggae, calypso, voice of our time goes further into last year, has a memorable melodic funk, ballad or an uptempo cooker, that idiom, lending his lusty, rough - signature somewhat reminiscent of Rollins' fierceness and muscular edged sax sound to three more upbeat "I Can't Get Started." This gentle determination cuts through, giving calypso numbers. tune shows Rollins in a subdued him perhaps the most distinctive and "Maya Maya," "Kilauea" and "Tell mood, blowing sighs that blend immediately recognizable voices in Me You Love Me" all carry the same beautifully with Clifton Anderson's jazz today. buoyant, sprightly power of "Carni- melancholy trombone and Mark val," a classic set closer that Rollins Soskin's tinkling celeste. bill milkowski

62 MODERN RECORDING & MUSIC

www.americanradiohistory.com PRODUCTS EQUIPMENT SERVICES

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OCTOBER 1984 63

www.americanradiohistory.com ELECTRONIC ENGINEER: AUDIO CONSOLE HIGH -SPEED TAPE DUPLICATION TEST /SERVICE TECHNICIAN BONNEVILLE MEDIA COMMUNICA- SEND RESUME TO: Advertiser's Index TIONS has an immediate opening for an WHEATSTONE CORPORATION /AUDIO- Electronic Engineer for our High -Speed ARTS ENGINEERING DIVISION, 5 Collins Tape Duplication facility. This is a new Road, Bethany, CT 06525. position. We are expanding our staff in the pursuit of excellence in tape duplica- tion. This position requiresa BSEEdegree or equivalent technical background plus 3 -5 years experience with professional SONGWRITERS RESOURCES and audio equipment and /or high -speed tape SERVICES is a non -profit organization duplication equipment. Experience with dedicated to the education and protec- Gauss or other loop -bin duplicator tion of songwriters. For free informa- systems is very desirable. Excellent self - tion, write or call SRS, 6772 Hollywood motivation and self- management skills Blvd., Hollywood, CA 90028; (213) are required as is an ability to work well 463 -7178. with people. The ability to demonstrate a AB Systems 12 professional track record of accomplish- Audio Technica 3 ment is required. A very complete resume which details specific areas of expertise and interest is expected. Prospective Carver 5 candidates please note that all engineer- GUITARS /FREE DISCOUNT CATALOG Carvin 10 ing and production areas are designated Martin, Ovation, Guild, Dobro, Fostex Countryman 4 NO SMOKING." Multitrack. mandolins, banjos, accessor- ies Mandolin Bros., 629 -MR Forest, Crown 7 Please reply to Ellen Richardson, Director of Human Resources, Media Staten Island, NY 10310 (212) 981 -3226. C -Tape Developments 4 Bonneville Communications, 130 Social Hall Ave., Visit our showroom. Salt Lake City, UT 84111. Delta Lab 19 "AN EQUAL OPPORTUNITY EMPLOYER" DOD 9

Fostex 21 AUDIOPHILE record company wants REAL TIME CASSETTE DUPLICATION Furman Sound 8 exceptional "New Acoustic," "New age," from analog or digital masters. We're the & Jazz artists for recording or distribu- finest most elaborate facility in the world, tion Demo Inst. of Audio /Video 61 contracts. to: Mirror Image and will give the ultimate cassette copy at Sound Labs, 7040 3rd. #111C, Scottsdale, a modest cost. MIRROR IMAGE (303) AZ 85251. 751 -2268. JBL Cover III

LT Sound Cover IV AUDIO CASSETTE & PCM digital (VHS/ BETA) duplication. Ultra -high quality LEARN RECORDING ENGINEERING by top instructors. with Orban 6 real time only. Best prices, Superduper, pro Check us before deciding. Send for free 7040 3rd. #c111, Scottsdale, AZ 85251. brochure. JTM Workshop of Recording Arts, Box 686, PAIA 36 Knox, PA 16232. (814) 797 -5883. Peavey 17 Polyline 29 Polyphony 61 Eric M. Berman, entertainment attorney. PROFESSIONAL PRINTED Pulsar 18 TRACK Serving the professional and personal SHEETS. 2 songs per sheet. 100 sheets - needs of the entertainment industry. $5.95 plus $1.00 shipping. Specify number Available for consultations at (516) 666- Recording Workshop 16 of tracks. DRC STUDIO, 2416 South 2356, 300 Windsor Avenue, Brightwaters, Walnut Street, Springfield, IL 62704. NY 11718. Soundcraft 13 Studer Cover II

Yamaha 15 SUBSCRIBER SERVICE CHANGE OF ADDRESS v Planning to move? Please let us J know six weeks in advance so I you won't miss a single issue of MODERN RECORDING. New Address Herr Attach old label and print new Plrasr print address in space provided. Also include your mailing label Name whenever you write concerning your subscription to insure Address prompt service on your inquiry. Gty MOM .R.N RI( Ott DIN(, State

1 120 Old ( ounir) Road Date Zip l'laim few, \ 1 1 1803

64 MODERN RECORDING & MUSIC

www.americanradiohistory.com Oul pm,ntunmg ra, umn und,nl n iadnig t, rlul, !o,gy vin.a>r. ì tfi,lo,l, arld1oII,,,I,latF, Iia/ ! il_, OUR SCIENTISTS HAD TO OPERATE IN A VACUUM To GIVE You A NEW QUALITY OF SOUND.

The quality of any sound system begins at its source. Precision in the power supply is vital to cap- turing and maintaining the fullness and subtlety of amplified sound. The need for that exactness is why we insist on operating in a vacuum rather than depending on outside sources. A vacuum tank, to be precise. An environment in which our transformer is created with an air expulsion process. Where air pockets are purged from multi -layers of the transformer's high grade core laminations, and the core made airtight with a special impregnating sealant. This process gives us impeccable control of transformer function and quality. Which gives you the assurance of the most efficient transfer of power possible, and an end to the acoustical "buzz" that so often fights sound purity. To a lot of manufacturers the lowly transformer is far down on the list of priorities. For us, every element in the sound system relies on the exacting performance of every other element, and must be painstakingly attended to. Whether you're driving your studio monitors in a demanding final mix, or powering a massive sound reinforcement array, you'll find our technology giving outstanding clarity to your work in products from our new Model 6230 and 6260 amplifiers to our broad line of signal processing equipment. To find out which system is designed to meet your needs, contact your authorized JBL /UREI professional products dealer today.

IBL Incorporated, 8500 Balboa Boulevard. UREI P.O. Box 2200. ELECTRONIC Northridge. CA 91329 PRODUCTS USA. JBL narrnan intemahonai JBL INCORPORATED 1984

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www.americanradiohistory.com Everyone Says They're Better -it We Prove Itt _ _ :-e-=r---t - -r, ¡«: -. . - ` _-r'`i: ÿ fc,. ._.r_. _t .'r.: ,t_° i".¡ ,- : a. s -111414 ;lr:

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Time Delay -- Compressor / Lim ers Reverberation Ex P anders Crossovers Spectrum Analyzers Tape Noise Reduction Parametric EQ Before you purchase another piece of signal processing gear for Studio or Performance use, you would be Wise to listen to our Demo Album. Instead of merely "Saying" we're Better, we Prove it in side by side comparisons with the competition. You really can pay Less and get a Better product through our factory direct sales! We're out to set new standards for Quality and Performance as well as dollar value. We want you to choose us for our Quality more than our Prices. Our 15 day Satisfaction Guarantee and Two Year Warranty on our Crossovers, Time Delays, Reverberation, Compressor /Limiters, Expanders, Parametric EQ, and Tape Noise Reduction, allow you to purchase with Confidence. The Demo Album is both fun and Educational. Examples are drawn from the master tapes of Top 40 Hits and show some of the most sophisticated effects ever devised. You will hear our phenomenal MICROPLATE® Reverb with over 18 KHz bandwidth in side by side comparisons with the $7,000 EMT( Plate on percussion and vocals. No other spring reverb would dare attempt such a comparison! The cost Is incredible too, under $600 mono and $1,200 in stereo! Write or call for a free 24 page Brochure. and Demo Album. LT Sound, Dept. M -2, P.O. Box 338, Stone Mountain, GA 30086 TOLL FREE: 1-800-241-3005- Ext. 6 In Georgia : (404) 493 -1258 LT Sound We Make A Better Product www.americanradiohistory.com