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Amplified Lnstrumrdius 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.
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  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 74 GOOD TIMES, Chic Written and produced by Nile Rodgers and Bernard Edwards Atlantic 3584 1979 Billboard: #1 (1 week) Little Richard once threatened to call his autobiography "I Got What I Wanted But I Lost What I Had." Chic's story is quite the opposite. Guitarist Nile Rodgers and bassist Bernard Edwards began playing together in various New York-based soul and funk groups in 1970. By 1976, they'd met Tony Thompson. a like-minded drummer, and formed the Big Apple Band to play metalloid fusion-rock. But nobody in the record industry wanted to know about black guys bashing such heavy grooves. So they changed their name to Chic (Walter Murphy had already appropriated Big Apple for "A Fifth of Beethoven" anyway), added vocalists Norma Jean Thompson and Alfa Anderson and concocted a semiserious disco confection, "Dance Dance Dance (Yowsah Yowsah Yowsah) ," which several labels rejected before Atlantic agreed to give it a shot. It sold a million copies in less than a month and established Chic - as the Edwards-Rodgers production team would be forever known - as one of the most creative and influential entities of the seventies. "Good Times", which cost about five times as much to make, paid off in even greater sales success. ---- not only for Chic but for the Sugar Hill Gang, which used the track as the basis for "Rapper's Delight," the first rap hit, and for Queen, whose "Another One Bites the Dust" completely ripped it off, right down to Edwards's imponderably liquid bass line.
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