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301t1 tk) Vivela FirstMaison Two Maisonyears the ago, Rouge reputationRougeHelios For ofMobile, their supplied who excellencewhich the arenew has Mobile console itssuccessfulproudstudio,to throughoutsince for studio Maison the Thecompletion. andcontinue Europe.established theirRouge a new offer again now 32 their Of custom-builtconsoleis, associationchose -channel,to 24thelikeall withHelios controlparticular the congratulationsthis note -trackhighestHelios Allisonwith upon eightare:all console ofcontrolling has consoles, the programmer,separate specifications. built-in andchannels many The engineer. a Studio mastersunder special Dolbynoise cards wiredtoVCA features. withreductionthegroup all latest interface Distributed controlsin reach throughout the Accept our United 7037 States Laurelinvitation by- Canyon to Blvd., contactus North and Hollywood,discuss Californiayour 91605studio/ needs. 982-6200 Here's how useful adistortion analyzer canbe

Msrnf "Obit pc.. 41e7*1-S- No manual nulling controls required (the 1710A is al- Intermodulation Distortion Analyzer optionally available. Oscillator distortion is typ- ter** or dB raw ways in auto -null, reaches a null in less than 5 seconds). ically .001%.

beams geseator sigial at ±1 dB Vernier adds fine 17,0A .. TOR TIllf,1 P./WA4A...1E7NT 5,V4 tEN1 load edb Ike posit of a level control. bairn.

Internal oscillator adjustable from +26 dBm to -89.9 dBm in 0.1 dB steps. Selectable 11 dB per octave bass reject bum and tai tretbeby seise. \ Turn off oscillator for quick S/N measurement.

Fast peoliollon operabon 4111 Tuning indicators help Ids goo set leed. oeuvre measure distortion of an volbge or pow ben ma - external source. sere &brim

-1 1 1 Simultaneously select oscil- Mee:AP! nrazt 1 'ewer lator and analyzer frequency fres 10 Hz to 110 with fast -to -use pushbut- jd tons. 10 Hz to 110 kHz. 100 Balanced Ispot e e15 \to 15

Balanced and floating 1502 or 6002 Generator output. Vier input signal on a scope. Automatic Set Level is op- View distortion products on Measure distortion down to .002%, voltage or S/N ratios tionally available. a scope. with 100 dB dynamic range.

Two of the above features are so outstandingly balanced, unbalanced, off -ground or whatever. valuable that we especially invite your attention That's because the signal source output circuit is to them. fully isolated and balanced. One is the fast, easy measuring you get with There is no output transformer to introduce noise pushbutton -selected distortion -measuring circuits or distortion. (signal source and measuring circuits are simul- Besides these outstanding conveniences, you taneously selected with the same pushbuttons). can have the Sound Tech 1710A with an option that Pushbuttons make it so simple to measure quickly enables you to measure intermodulation distortion. and to repeat measurements. Call Mike Hogue/Larry Maguire to get full infor- Secondly, you can drive virtually any type of mation on an instrument recognized everywhere circuit from the signal source output - whether as the standard of the audio field.

® SOUND TECHNOLOGY 1400 DELL AVENUE CAMPBELL, CALIFORNIA 95008 (408) 378-6540 for additional information circle number 2 R-e/p 3 THE SIERRA AUDIO MONITOR The world standard in high power, low distortion and flat response monitor loudspeakers is now available separately and from stock. Al- though they can be finished in oiled walnut or oak for use in your home, office, or car, their primary application is as flushed -in control room monitor systems. In unfinished cabinets the price is only $1650 each. And, you don't have to buy four. We can supply not only the power amplifiers and ' octave voicing filters to feed them but also a design for a control room to build around them.

"Studio Design' is probably the most misused phrase in the studio supply business today. At Sierra, we have a few good people who would like to set you straight. Too many studios are just a collection of equip- rnent-and let's face it-anyone can buy the gear; what we sell is the expertise in its interface. $1650.

SIERRA STUDIO DESIGN AND CONSULTATION Studio design and consultation is Sierra's most distinguished product. Although we specialize in complete turnkey studio complexes. you may not be aware that we can also provide consulta- sieRRa tion in any area of studio operations, including site selection, acoustic design, business operation, equipment selection, and cash flow studies. We can spend only a day: or complete a full study awn of your operation. Our staff is composed of some 621 South Glenwood Place of the industry's most knowledgeable professionals and they can be yours simply by calling... Burbank California91506 Phone (213) 843-8115 Telex 69 11 38 We won't promise the World, but we will deliver what we promise! OCTOBER 1977 0? ECORDINIO VOLUME 8 - NUMBER 5 engineer/producer - the magazine toexclusively serve the - CONTENTS - Recording Studio market . . . all those whose work involves the recording of commercially marketable sound.

- the magazine produced torelate . . . production- Recording ART to Recording SCIENCE Producer/Engineer PHIL RAMONE to Recording EQUIPMENT. Bob Banks and Paul Laurence page 20 location recording- A MODIFIED 'MS' RECORDING TECHNIQUE Leon E. Weed page 44

Editor/Publisher . . . . MARTINGALLAY maintenance-

Associate Editor . . . GARY KLEINMAN ZEN AND THE ART OF Consulting Editor PETER BUTT TAPE DECK MAINTENANCE Assistant Editor . . O. KEITH LARKIN Peter Butt page 50 Business Manager V. L. GAFFNEY signal processing Circulation Manager . . TRICI VENOLA - WHERE, OH WHERE DID MY PRESENCE GO? (What every engineer should know about noise reduction.) William H. Hall page 68 construction project- CAN YOU USE A BUDGET CLIC-TRAC? "RECORDING engineer/producer"is pub- page 72 lished six times a year by RECORDING & Lewis Mark BROADCASTING PUBLICATIONS, 1850 concert sound WhitleyAvenue,Hollywood,California - 90028, and is sent to qualified recipients in IN SEARCH OF THE LOST CORD! the United States. One year (six issues) sub- (The state of the wireless microphone art.) scriptions for other than qualified individ- Chris Roe page 76 uals or companies may be purchased at the following rates: departments United States (surface mail) . . $9.00 United States (air mail) . . .$17.00 cover: another of 10 Letters and Late News Foreign (surface mail) . . . $9.50 TRICI VENOLA'S "Room Equalization" - Woody Smith TRAPing EMT's" - Michael Fraser Foreign (air mail) . . $19.00 acrylic originals. 82 New Products 102 Classified

=2== O THIS ISSUE OF R-e/p IS SPONSORED BY THE FOLLOWING LIST OF ADVERTISERS A&R Record Mfg 102 Harrison Systems 106-107 Shure Brothers 108 RECORDING engineer/producer is not Abadon/Sun, Inc 47 Image Formations 103 Sierra Audio 4-5 inovonics 63 Soundcraft 61 responsiblefor any claim made by any Accurate Sound 93 Allison Research 19 ivle Electronics 67 Soundcraftsmen 85 person based on the publication by RE- 3 Altec 55 K&L Pro Audio 94 Sound Technology CORDING engineer/producer of material Ampex 8-9 Kendon Recorders 105 Sound Workshop 12,45,83 submitted for publication. Audio & Design Recording .. 98 Rus Lang 78 Special Touch 68 7,86 Materialappearing in RECORDING Audio Concepts 11 Lexicon 30 Spectra Sonlcs engineer/producer may not be reproduced Audio Consultants 16 MCI 25 Sphere Electronics 97 without written permission of the publisher. Audio Distributors 78 MRL 48 Stanton Magnetics 72 Audio industries Corp 14 McIntosh Laboratories 95 Stevens Electronics 100 Audio Marketing 39,41 MicMix 32,105 Studer Revox America 51 da. Auditronics 73 Nashville Studio Systems... 89 Studio Supply Co. 79 Auratone 10 Rupert Neve, Inc 69 Sugarloaf View 23 104 BTX, Inc 90 Orban/Parasound 65 Symetrlx Rudy Bruer 50 Panasonic/Technics 53 Tangent Systems 84 Cetec 40 Peavey Electronics 27 TAPCO 77 Commco 102 OCA 101 TEAC/Tascam 87 76 Community Light & Sound ..81 Quad Eight 21 Telex Controlled Circulation Postage 42-43 Criteria Recording .. 35,36,37,38 Quantum Audio 74 3-M Magnetic Tape paid at 71,88 Crown, int'l . 31 Ramko Research 82 Unl-Sync Los Angeles, California dbx, Inc. 13 Recording Supply Co. 104 UREI 15,103 56-57 El -Tech 49 Rothchild instruments 99 Westlake Audio 34 Postmaster: Send form 3579 for Everything Audio 2 S.A.E 75 White instrument address correction to: Express Sound 29 Scully/Dictaphone 33 Windt Audio Engineering 104 Forsythe Audio 96 Yamaha International 59 RECORDING engineer/producer P.O. Box 2449 Hollywood, California 90028 (213) 467-1111 for additional information circle number 31111100 R-e/p 6 The Only Clean One!

SPECTRA SONICS audio control consolesare the cleanest in the world.

That fact, of course, is well known. How much cleaner, For example, for comparable output levels at1 kHz., however, is not so well known because of the current SPECTRA SONICS consoles now have 71/2 times less practice of some manufacturers to obscure, or even not distortion than Neve, and 10 times less distortion than MCI. specify complete system distortion performance. No direct comparison is possible with manufacturers, such For well in excess of 10 years, SPECTRA SONICS has led as Harrison, who do not publish system performance the industry, world-wide, in distortion performance and has specifications??? specified and guaranteed system distortion parameters. Ask the man who owns one about distortion and other SPECTRA SONICS consoles are not just a "little bit" lower system performance parameters. in distortion than the rest . . . typically over seven times Note: All distortion data taken from manufacturer's published specifications. Additional less distortion! distortion introduced by automation not included.

If it isn't SPECTRA SONICS it isn't "state of the art"! Dealer inquiries invited. 770 Wall Avenue 6430 Sunset Blvd., Suite 1117 Ogden, Utah 84404 Hollywood, California 90028 (801) 392-7531 (213) 461-4321 ONIES LEADER IN ADVANCED TECHNOLOG Y

The best audio recorder in theworld. Buy an Ampex ATR-100 foryour studio, The lift -out control panel has LED and you'll have the finest audio recorder indicators for status on every channel, and ever offered for sale. Use it for monaural, control is a matter of touching calculator- two -channel and four -channel work, and like buttons. Search -to -cuearms at a touch you'll produce recordings (and playbacks) and stops on a dime. Youeven get a choice that simply cannot be matched byany of 60 or 120 ips shuttle speed undercap- other machine. stan control plus a superfast rewind speed. The fully servoed transport with auto- Mechanical features of the ATR-100 matic tension control and dynamic braking are important, but don't overlook audio nails down tape speed for unprecedented performance. Many specs are a full order timing accuracy. By eliminating the pinch of magnitude better than anything elseon roller and employing a unique tape path the market, and every performancemeas- design. Ampex found a way to greatly urement is the world standard. ATR-100 extend tape life and reduce transient is what Ampex knows about sound stresses. Spin the capstan, and both reels recording. follow suit. Try to start the transport with Get the complete story on this ultimate the tape loose, and nothing happens. Kick performance recorder by requestinga free out the power cord during fast rewind, and brochure on the ATR-100. The best audio the machine slows gradually toa pro- recorder in the world. grammed stop.

AMPEX

Ampex Corporation, Audio -Video Systems Division, 401Broadway, Redwood City, California 94063, 415/367-2011. for additional information circle number 4 R-e/p 9 Quincy Jones... C C[5 demands quality e

- Cover Kudos - used to equalize the room for flat response. For that reason we like to emphasize the From:PAULF. MORROW sound of the room as well as proper design Electro Acoustic Concepts procedures to control that sound, rather Irving, Texas than approach the design with the feeling that we can "correct the problem later." The original acrylic painting done by you Secondly, we felt the article in the June issue [Trici Venola, who isalso the smiling was long enough without injecting additional reception voice on R-e/p's telephones, as complex concepts at that time. well as having recently been appointed However, since then we have not been Circulation Manager] for the August 1977 idle. After lengthy testing of our own, we issue of R-e/p is very interesting and have come to the conclusion that most unique. I was so impressed with your work people's first impressions (or expectations) Photographed at RECORD PLANT, Los Angeles, CA that I desire to display a rendering of it in my of the result of room equalization are far in ..I mix withAURATONE* 5C Super- office. excess of its true value. To review a bit: Sound-Cubes8 thelittle powerhouse Have you, or do you plan to make Mostearlyworkinequalizationwas speakers. They tell me exactly what available a large size print or poster? If so conducted by such people as Boner and will be in the grooves. You hear it all please advise accordingly. Davis*asattemptsatfeed -back with AURATONE®!" Keep up the good work. suppressionin sound reinforcement Join ''Q" and systems. Feed -back was found to occur other seasoned ed: R-e/p has received a fair number of such whenever one frequency (or a small range of music world complimentary comments regarding the frequencies) was higher in amplitude than pros, top record format change to original art for our covers, the surrounding frequencies and in proper company starting with the April 1977 issue. phasewiththesoundreinforcement Obviously, producing full color, poster system. From theirfindings came the executives, sized reprints of Trici's extraordinary talent narrow -band filtering technique (or narrow engineers, producers, and art- in small numbers would be economically band equalization technique) now ists who lay it on the line with impossible. commonly used in sound reinforcement AURATONE®. But, before answering reader Morrow systems, whereby suppression of these Durability, flat full -range re- negatively, perhaps we could take this feed -back prone frequencies could result in sponse, amazing power han- opportunity to ask whether many more ofan overall higher levelof sound being R-e/p's readers would purchase sets of dling, and delivered to the audience. The important these prints in full color, without the type thing hereisthatthis techniqueisa portability and headings which accompanied them suppressionapproachtoflattening have made when they were originally published as response strictly as a necessarily corrective AURATONE® covers. measure and not something based on 5C's the Record Setsof thefirstfour paintings, improvements possible in open loop sound Industry's reproduced on an excellent presentation systems, such as recording studio control favorite stock, if the demand approximates 250 sets, rooms, where there is no possibility of feed- would cost $25.00 per set. back. It is also oblivious to the very audible "mixdown monitors,"...for If you desire that an order blank be sent effects of decay time vs. frequency. ("The comparison and final mixes, au- to you, please circle number 120 on the EQ Myth", Alan Fierstein, R-e/p, June, ditioning, remotes, and reference reader service card. 1977.) standard speakers. But, once upon a time someone decided See your Dealer or order Factory that it would be a good idea to apply this Direct (30 -day return privilege, From: WOODY SMITH type of suppression approach to flatten out one year guarantee). $59.95 per Abadon/Sun, Inc. a studio control room. So, they proceeded pair. Shipping and handling add: San Antonio, TX to correct the room response. The major U.S.: $3.00 pair; Foreign: $7.50 discrepancy, we feel, was the application of pair. Calif. res. add sales tax. After the publication of our recent article narrow bandfilteringtocorrect entitled Control Room Design For the abnormalitiespresentinanacoustical Mail to: AURATONE Small Studio in the June 1977 issue of R- environment very different from that for P.O. Box 698-C12, Coronado, CA 92118 e/p (page 51) we had a number of inquiries which the technique and equipment had Ship pair 5 C's. Amount Enclosed $_ concerning our failure to mention room originally been intended. equalization. Our reason for avoiding the As we discussed in our earlier article, an Name (Please print) Job Title Date equalization question at that time was two- untreated room exhibits several resonant Shipping Address fold.First, we base all our preliminary control room design work on the premise *Dr. C. P. Boner, C. P. Boner & Associates, City State Zip that the room is a more significant factor in Austin, Texas. Don Davis, Syn-Aud-Com, 111 Please send additional information. sound than is the electronic paraphernalia Tustin, California.

R-e/p 10 Concept I: A major breakthrough in price and performance! Sure, we could charge and performance at the professional $25,000 for the new lowest price possible, no mixing console CONCEPT I mixing con- matter what the product. withstate of the sole-and it would be So when we set out to artperformance worth it. But we've always build our own mixing innovative fea- been concerned with console, our most impor- tures, rugged Want value in what we sell. That tant concern was value. construction and to know more? means offering you the And the result? an affordable Call or write and best combination of features CONCEPT I. A truly price! $12,800. we'll provide details. AILID110 CONCEPTS, INC. =FE maazmiy zCDCV -) 1118 Santa Monica Boulevard Hollywood,(alifornia 90046 (113) 851-7111

"The Professional Sound People" R-e/p 11 for additional information circle number 6 to the random level of pink noise and the the room the nulls would appear just as necessarilyslow response timeofthe before. A change of this null can only be recieve section required for analysis of pinkaccomplished by altering the room design, noise). The point here is that pink noise Fig 1A the monitor placement, or a change of the analysis does not eliminate the effects oflocation of the measurement. room resonances in the indicated response, In trying to correct room resonance by regardless of its random nature. The sine equalization we are merely changing the F 10 wave response is given in Figure 1B for magnitude of a band of frequencies, which comparison. It can be seen that the roomwill not correct the resonance problem. nulls are only a few Hertz wide, but very Boosting the 1/3rd octave control covering deep. This response anomily is strictly a the area where the major resonance occurs 40 80 160 roomdependentphenomenonwhich (for example 95 Hz) will simply boost the Figure 1A: Slow reponse pink noise, 20-200 Hz., cannot be corrected through the use ofskirts of the dip, actually resulting in a B.W. 1/10th octave. equalization. Were we to increase the level greater magnitude of deviation rather than a Figure 1B: Slow response sine wave 10 -second in this band we would simply increase the sweep of receive filter. Fast RMS, 20-200 Hz. lesser deviation. The equalization process magnitude of the signals prior to theircan also lead to severe taxation of the modes, particularly noticeable at the low interaction - but, when they interact with monitor system by attempts to drastically end of the frequency spectum. Figure 1B alter the acoustic output of the monitor shows the slow sine wave response of a systeminavery narrow band, small room in the range of 20-200 Hz., 5 dB overpoweringaspecificdriverinthe scaling. It can be seen that there is at least Fig. 2A WSW MEM system. one major room null resulting in a narrow 111111IN611MES The main advantage of room equalization and severe dip in the response at 95 Hz (and 111111111111M will be to correct for deficiencies in response a smaller one at about 150 Hz), as well as a due to excessive bass trapping in the room, rather broad dip in response in the 40 to 80 Fig. 2B -PEVENIES6111 monitor placement problems and response Hz range. Figure 1A is the same response irregularities in the monitor system itself. measurement made with a digitally derived Figures 3-A/B, 4-A/B and 5-A/B have pink noise source using a 10 second sweep been included for interest only. In the room of the recievefilterwith 1/3rd octave 20 40 80 160 under test we used a calibratred shot -gun window (slow RMS response). It is evident Figure 2A: 1/3rd octave, slow response as in mike to plot the measured response in the that the pink noise response is very similar Figure 1A. 20-200 Hz. longand short room modes (3A, 3B to the sine -wave response but with less Figure 2B: 1/3rd octave slow response as in respectively). Interestingly, there is quite a definition of the room nulls (in large part due Figure 1A. 20-200 Hz. after octave equalization. difference between the two and even a greater difference between them and the omni-pattern response shown in Figure 1A.

lbal A PINE ' MEV BRINGING TH Fig. 31 -!AMA Tv

Fig 38

20 40 80 160 TECHNOLOG Figure 3A: Long room mode response, 20-200 Hz., sine wave sweep "8". Figure 3B: Short room mode response, 20-200 Hz., sine wave sweep "8". Figure 4A is a 20-20 kHz, 1/3rd octave omni sweep of the room while Figure 4B is a 20-20 Y WITHIN EVE kHz, 1/10th octave omni sweep of the room. It is evidentthatthemorerefined measurement results in a more complex

1111.111its RYONE'S REA Fig. 4AEWEN iifinarir Fig. 40 -rar CH.SoundL\YJD9rRIA213 Sound Workshop Professional Audio Products, Inc. Figure4A:20-20 kHz sine wave sweep, 1/3rd octave. 1040 Northern Blvd., Roslyn, New York 11576 (516)-621-6710 Figure 4B: 20-20 kHz 1/10th octave sine wave.

R-e/p 12 for additional information circle number 7 dbx 158. IT'LL GROW ALONG WITH YOU.

dbx dbx dbx dbx 410 410 410 410 B B

8 CHANNEL "ISE REDUCTION SYSTEM

Introducing our first economical, expandable, modular, simultaneous tape noise reduction system.

Now you can have a tape noise reduction system that material without audible tape hiss. Each module will stay with you from high -end audiophile, through contains separate record and playback noise reduction semi -pro and into full professional equipment. electronics. Its simultaneous record/playback Our new dbx 158 system can start life in your capability permits the noise reduced, decoded tape place with the 158 main frame and as few as two to be monitored while recording without manual modules or as many as eight modules for its full eight switching or remote control. channel capacity. It also has storage space for a ninth Requiring only 51/4" of rack space, the 158's light spare module in its compact chassis. The rear panel weight (17 lbs.) makes it easily portable for location has phono and multi -pin connectors that will interface dates. And naturally, tapes recorded with this system directly to your cables. Additional 158's can be used are compatible with any other dbx professional tape for 16 or 24 track recording. noise reduction system as well as on board dbx tape The dbx 158 offers the semi -pro recordist or noise reduction in TEAC/TASCAM recorders. We'll be small studio all the advantages of dbx professional happy to send you further information and the name systems, including 30 dB of noise reduction, and of your nearest dbx dealer. Just write us. 10 dB additional recorder headroom. It's a dbx, Incorporated classic 2:1 mirror image compander which 71 Chapel Street preserves the full dynamic range of program Newton, Massachusetts 02195 617-964-3210 Here's a generous offer: buy all 8 channelsup front, and we'll throw in the ninth module free.

for additional information circle number 8 R-e/p 13 equalizationthatisdeemed absolutely what is found to be essential, not what is necessarytoinsurereasonably Fig. 5A - flat convenient, and realizing that other factors tgaiiiikmonsumm response.The recentintroductionof are of great significance in aetermining the renisaimmen equalizers such as the Crown EQ-2 (11 band sound of the control room. with variable octave centers) and Audio Fig. 5B - lammuurarou tair. Design Recording ParaGraphic (6 band with variable centers and bandwidth) allow a From: MICHAEL FRASER much finer tuning of the room response with Independent Engineer fewer bands than are common to 1/3rd & Consultant octave equalizers. We have found that such Hollywood, CA Figure 5A: 20-20 kHz octave wide sweep, equalizers are more than sufficient in a pink noise. majority of cases. Referring to Figure 2A, Manufacturersofequipmentusually Figure 5B: 20-20 kHz 1/3rd octave, pink noise. the major response deviation is a dip in the cover all real and imagined uses for their 40 - 80 Hz region which could be smoothly equipment for their sales techniques. This product to evaluate... frequently hopeless. compensated by octave wide equalization allows them to maximize the use of their Figure 5A is an octave analysis of the room with reasonably uniform phase response product, profit and, in all but this case, give which we use as the starting point for room deviation over that band. value received for their prices. It's more equalization. By comparing the octave and Any bounded room (i.e., any room with than unusual to find an application that a 1/3rd octave response plots (Figure 5B- walls, floor and ceiling) will exhibit an infinite manufacturer never dreamed of, 1/3rd octave)simultaneoulsy (using an set of response deviations characterized by particularly one with such wide appeal. Amber 4400 Test Set) we can determine the its size, shape and treatment. This leads to FRAP, i.e., Flat Response Audio Pick-up, desiredcenterfrequenciesfor the logical conclusion thatitis virtually has been gaining wide acceptance as a equalization(from the 1/3rd octave plot) and impossible to completely "flatten -out" a quality pick-up for acoustic instruments what levels of equalization to start withroom's response - and greater quantities such as guitars, etc. However, a new usage (from the octave plot). of electronic equalization cannot correct is to apply the FRAP contact on EMT The conclusion we have reached is that theproblem.Itmight be possible to reverberationunits,insteadof,orin sonic quality is not achieved by virtue of succeeed in flattening the response by one addition to, the ceramic pick-up already great quantities of equalization. Equalizers method, but a different or more refined existing in the EMT. are very limited corrective instruments measurement will usually indicate errors in EMT Reverberation Units have for quite which have their own inherent problems previous response measurements. We feel a some time rendered excellent service and including phase-shift/time anomolies and compromise is an absolute necessity to are therefore popular. There are several transientdistortionproducts. For that provide the best solution to the monitor generations of these devices - going from reason, we recommend only the amount of response question - specifically using only tube to transistor and mono to stereo -

The Difference is Satisfaction !

) ) .aw .411. 6 the People and the Products 4,I

MC has 'em both . .4 Vilit141 14:1b

just one call will convince you: 11,,, (213) 851-4111 *,

1419N. LA BREA AVENUE HOLLYWOOD, CALIF. 90028 (213) 851-4111 TELEX67-7363 AM 'Fir leaving a fair number of mono tube units available at reasonable prices on the used market. By adding the stereo model FS -200 (pictured) FRAP device to a tube mono EMT it has been found that performance can be upgraded to the point where the user hasviurtuallya new unit.Inaddition, because the FRAP pick-up is a flat device, it requires no compensating equalization in Lik-4 theamplification. The FS -200also has variable high pass filters for each channel. Additionally, the FRAP differs from the originally installed ceramic pick-ups in that it isthree-dimensional. The EMT ceramic pick-upsrespond onlytoinand out vibrations. The FRAP unit is up and down, Son right and left,in and out; allowingitto retrieve even the most subtle vibrations of the plate. Frequency response of the pick-up is from 5 to 100,000 Hz with no overload for even massive levels. of The actual application involves utilizing the original exciter driver section of the EMT and then attaching the FRAP pick-up to the plate. It is possible to experiment with any number of different sounds by placing the FRAP pick-ups anywhere on the plate temporarily,usingthe FRAP wax. Lk- 3k Permanent attachment should be done using a thin layer of epoxy. The FRAP may The LA -4 Compressor/Limiteris another great UREI performer. also be used in addition to the existing It offers advanced IC design, added features, and a lower price. ceramic pick-ups allowing multiple returns. The LA -4's new electroluminescent light source, the heart of its patented Electro-Optical attenuator,is an L.E.D. which will not change or deteriorate with age. Compression ratios are adjustable from a soft, smooth 2:1 compression through super tight sounding 20:1 limiting. The natural sounding RMS gain control action makes itideal for professional recording and re-recording. Half rack size. Priced under $350.00. Available from your UREI dealer.

The output of the FRAP is transformer isolated low impedance and at microphone griff LA -4 COMPRESSOR/LIMITER level, which necessitates returning at mike o RATIO 0 METER level or adding amplifiers which can be easily 5 IMPLI done with a number of good pre -amps 6 available. Or, because the FRAP utilizes integrated circuitry it is possible to change the feedback loop of the final stage and have a line output, although a price will be paid in noise. THRESHOLD OUTPUT LEVEL On those we have retrofitted, we have listened with some pretty knowledgeable UNIVERSAL AUDIO STEREO 0 ON POWER 0 ON

groups, and the concensusisthat the results are definitely superior to stock units.

More on page 105 - 8460 San Fernando Road, Sun Valley, California 91352 (213) 767-1000 Exclusive export agent: Gotham Export Corporation, New York

for additional information circle number 10 R-e/p 15 kOr maybe just a friendly ear. We have a reputation, too. As the exclusive sales and service representative for MCI in the Southeast and Southwest. And the most knowledgeable and experienced audio consultants in the industry. In Nash- ville alone, we've been MUSCIE6involved in nearly half of the city's 65 studios. It boils down to this: if you're serious about the way your studio 1111sounds; the way it looks, the way it feels

When America's most famous -you've gotto be particular- SH°recording studio decided to move Audio Consultants. and build anew, they were very Sound Businessmen. particular. Especially about their If you're at the A E S Show November 4-7 and the spirit moves you, come to the Audio Consultants Inc Suite consultants. 1083,Waldorf Astoria Their reputation depended on it 1200 Beecnwood Ave Nashville, Tenn 37212 615/256-6900 That's why they called Audio Con- 1903 Apollo Richardson, Dallas, Texas 75081 214/238-0605 Call Claude Hill or Dave Purple in Nashville, Don sultants. To build what we've Woerner in Dallas designed to be the most definitive recording environment in the AUDIO CONSULTANTS, INC. industry: two back-to-back studios on the river for Muscle Shoals Sound We're very excited about this, our latest project. It involves all of the expertise we've applied to building and consulting facilities all over the country-the same expertise we can apply to your next project. From turn -key to up -date.

R-e/p 16 for additional information circle number 11 thanks, Sphere, and congratulations. 0

NULL 15 10 Thanks for choosing the Allison Research 65K* programmer as the pulse of your new line of programmable consoles. As you are aware, we are dedicated to providing the industry a standard format for automation of the mixdown function. Your decision to employ the 65K* furthers this objective. So far this year, we have delivered around 60 systems, a number which clearly defines the 65K* as the only game in town. We might add that each of these systems has operated flawlessly, with essentially a zero failure rate, since initial turn -on. Congratulations, Sphere, for doing a top notch interface job. Your automation mode control circuitry is straightforward and understandable - no small achievement in view of today's trend toward confusing over - complexity. Surprisingly, in spite of its operational simplicity, your system offers an unrivaled degree of program accessibility, together with rock -steady accuracy. (We're happy to see that you achieved this accuracy via a well thought out control signal path, rather than a zillion trim pots). What more can we say? It's a great system. Congratulations and thanks. *Allison Research 65K Automation also available in consoles from: Harrison API SPHERE Helios Multi -track Programmable Trident & others allison Fader research, inc. 2817 Erica Place P.O. Box 40288 Nashville, Tennessee 37204 Dial (615) "ALLISON" or (615) 385-1760

for additional information circle number 12 R-e/p 19 There are those who think thata record is basically a reproduction of a live event.. . something that should be performableon stage ...something that could be done on stage? Phil Ramone: Right. Well, toanswer that honestly I think you have to deal with what kind of artist you're doing. I mean, if onewas producing Queen - an act like that-it's pretty hard for them to perform what they doon record. It's almost impossible. Or even 10 cc, and yet I've seen these acts, in person, and it's believable. I don't particularlygo for saying, "Ah-ha, time to shine and show new tricks of the trade". But if thesong deserves 12 voices on it, you're gonna put 12 voices on it, if that's the kind of backgroundit requires. I generally hold the line of not thinking about whether it's performablealthough I am considerate of that factor. For instance, in Billy Joel'snew album, you can listen to it and see that everything is performable. In other words, if stringswere needed to support something, or a horn line, then I used them, but I think of thesong first and what the artist is about, and I tend to try to stay away from clutter. In general, formy taste, when you listen to it back after five or six times it just doesn't wear well when you've got too much goingon. It tends to get boring if it's done- tofill a track. And I will refuse to do that.

R-e/p: Well, I find a busy rhythm section extremely irritating. Phil Ramone: Well, a lot of dates are cut with just a rhythm section. Almost everybody cuts a date that way, so they leave very little space, if any, to be filled in by a lot of other instruments. Very few tunes do you start off saying, "Ah-ha, that's a string tune," or, "It's a horn tune". I don't think you can make up your mind right away about that till you've at least done the vocals, and finished all the vocal ideas for the record. And then if it needs something, maybe I will

O .0 0

PHIL RAM enginoer/

by Bob Bank and Paul Laurence

R-e/p 20 1977. October, in available 662.446 Telex: 764.1516 (213) III Compumix with equipped Output Input/24 40 Coronado, *The 91605 CA Hollywood, No. St., Vose 11929 consoles. modular International Quad/Eight of line outstanding new a on information full for us Electronics Quad/Eight contact and favor a yourself do then work, your of quality the and console new a about serious really you're If max. 0.1% Distortion: I.M. Engineer Every in E.I.N, -129dBm Noise: Artist the For level output 28dBm + returns echo equalized fully Four switching power phantom Individual knobs aluminum -Coded Color Faders Giles & Penny controls rotary plastic conductive -quality High paths signal primary the in used amplifiers Discrete Module Mix Input/Master 7200M positional & monitor mixes, solo Two input each from busses mixing auxiliary Six Line & Mic to common Indication Peak equalization frequency overlapping 33 band, 3 performance: and features more with loaded they're ease, operational for engineering human best the having to addition In competition. best our as category same the in right priced they're is, Truth expensive. look consoles series modular new Our relax. Now, too. systems expensive most industry's the building for reputation a had also We've years. 10 over for at worked we've thing some- It's reliability. and quality for reputation enviable an has Quad/Eight system: console outstanding an in ested inter- really you're if seriously consider should you that fact of statement simple A to? up leading we are what So, price. reasonable a at performance and features the of all have Few compromises. are Others adequately. perform Many consoles. making companies of lot a are There years. for with live to have you'll that decision a - make you'll investments largest the of one it's professionals, most For decision. small no is console -track multi large a buying that know We

output Input/16 28 Pacifica Model

console? new a about serious really you Are put some chocolate sauce onit,butAre there any people whose recordings in always shoots the same. Though you can generally I would say no. I don't think of it as any way shaped your own values - the certainlyspottheeyeofcertain "this has got to be performed", although Iway you look at it. Do you have a "mentor", camera people. must admit that in Kenny Loggins' case, we say? did consider that a lot, and yet it has a great PR: Well, I would say that there are people A certain continuity, that's all. It's not to say deal of production in it. who have influenced me - I mean, in style. it doesn't change for them every album. But Tommy Dowd is certainly an influence, and a certain ... you know, underlying fabric, I R-e/p: Can you think of a specific instance a model of a lot of other things that I like. guess you could call it. It's just the way they where you did something different because Both from a producer point of view and his like to hear things. To please their own ears. you didn't think it would work on stage? technique of engineering, when he did PR: Yeah . . .if you didn't start with that, Ph l Ramone: No, I did something I knew engineer, or when he does, it doesn't matter somebody wouldn't come to you in the first mightnotwork onstagebyusing = you know what Tommy's doing to the place. Nor would you hire Richard Tee on mandolins. They are not exactly somethingrecord. piano or organ unless you liked the way he you carry on the street with you. However, I think Tommy considers the song and the played. And he does play different for a lot of inperformance Kenny's beenableto basic rhythm structure to be the meat -and - people. And I don't think, as a producer, you simulate it with a synthesizer and an electric potatoes of the record. And, after that, it's, should try to insert more of yourself,... just guitar so that it sounds enough like it. The taste. But he will fight for that and I sense it 'cause you like a glistening string sound, song called for it mandolins, there was noin all of his records. Rod Stewart, and Eric because it may not work on the next guy. reason not to use them. I don't think of theClapton they are individual people and he You may want a real dry, right present kind limits - I think you have to treat the art never inserts himself into it, which is the key of string sound and, if you limit yourself - form asitis.It'slike making a motionpoint. You can't put your ego into someone that's what I mean by ego. That's what I'm picture. You really can't put a motionelse's record. You can bring their ego saying. If you like brass with a ton of echo on picture on stage. forward, but you shouldn't take your own in it and the guy says, "Oh, I like Memphis kind Ithink that what happened for many there. of brass but no shine on it - I want it real years was a lot of people became afraid bristling, but I don't want any echo", and, if because many of the records that were To take it one step further... I guess you're you object toit because of your basic made were not performable. A lot of groups saying that you don't think there should be instinct of having recorded big bands with a just played with the toys of overdubbing, but any recognizable sound of a producer or an big sound . . . I've come through two eras when they got themselves in front of an engineer. like that. But I never stop thinking about audience, there they were, just four people. PR: Ah I think that's almost impossible to what it is that I want to do for that particular But you hear Fleetwood Mac - to me theydo. I mean, you can't help but bring certain song, and that's what keeps it fresh. sound as good in person as they do on things to your records. Certain players play record,even though there'salotof certain ways, and Ithink engineers andDo you findthat you canadjustto production there. producers do certain things. But I'm very something like that? To very dry brass, say, I think the performance level of acts, for conscious of not trying to do the same thing when you're used to wet? the first time, has reached a new peak, so on a record if I'm on another record. If I liked PR: Yeah, but then you make it more people are notthatworried aboutit. something I did on one record, I will never interesting - you're gonna do something to Nobody's hiding behind any frills unless they recommend it to another artist. I might have it to make it more interesting -sounding. can perform. liked it for that month! But taste is taste. I If you're mixing with the artist you've won't use a lot of the same arrangers, for gotta bring his taste to it, and then you've R-e/p: And also great strides have beeninstance, with the next album - it just gotta show your taste with it too, and if the made in that people are able to make these doesn't make sense. You get formularized, respect is there for you as a producer, he's more complexrecords,what withwhich is what happens to people. So your gonna give you your head. If he doesn't, synthesizers, and string synthesizers, andrecords, may have a "shine" or a "sound" to you'vegotastubbornsituationthat high-speed delays, etc. So they've met each them. But I assume that, when you were probably won't survive. So my answer to other halfway. talking about Glyn Johns or Bill Szymczyk that is you try it both ways. You have time to Phil Ramone: Right. But I think that the or any of the strong engineers that are also evaluate - nobody's perfect. You should wholeartformitselfhaschanged. producers . . . Roy Halee, they certainly give it a week to listen to both versions - if Producers and musicians are much more have a sound - I can recognize his records. you're adamant about the point. And I try to interested in eclectic ideas, but also areRoy Halee's bright, clean . .. expansive - keep that kind of open thinking with both more interested in the form - dealing with explosivesound,let'ssay - versus the artist's viewpoint and mine, because if the song. They're competing at much higher somebody who gets a tremendous "thump" you tell the artist straight to the point that levels thantheywerebefore.The kind of a groove going on a record. But, you this is something you'd really like to try, but marketplace is tighter, and there's moreknow, that has to do with the style of the he's closer to the forest than you are - selectivity in what people buy now. And the band, too. If you're doing the Stones, you're maybe he sees it that way 'cause he's always artist has to perform in order to promote his gonna get a certain sound. And you better heard the song that way - I've managed to records. I mean they gotta get out there. believe that if it's not their sound, you just influence writers or songwriters just by JamesTaylor'souttheretouring,blew the whole production. suggestion. If they have a feeling that you're everybody's out there working. And it's not out to do some damage to the song, and wonderful, actually, because I think it gives Yeah. Ever since Bill Schnee told me that that you say that the feeling of the tune was them a chance to write better, too. They Andy Johns went for a slightly zippier sound this way or, "Have you ever thought of doing bring home something after a long trip, even - i.e., more 10k and above - than Glyn, it another way?", it's a diplomatic way of though they're beat for a couple of months. I've really had my ears open for that and I'm saying, "Let's try something else". And - But there's something else that happens to starting to hear it. Say the drums, I'm being honest -a week later saying that the the performer. I see Billy Joel . .. I mean, I hearing an Andy sound - "Exile On Main song didn't work that way, we should try worked with him immediately after he justStreet", Led Zeppelin's fourth album- recording it again - is the way to get these finished his 101st concert, and we startedversus Glyn, who's got a darker sound. things done. So when it comes to a mix, the album. But he had a lot of things ready,PR: Right. But you know, I would say that's you'repretty much inagreement. My because of that, I think. almost as unpatriotic as saying a camerman attitude is, I keep mixing as we're going. As

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for additional information circlenumber 14 R-e/p 23 PHIL RAMONE on the transition You know, when I sat in the engineer's chair PR:Oh, yeah! For five years it was very foryearsandyears, to producer ... trying watchingotherdifficult to get any product. I'd get some jazz new things - producers - which was the learning tool for artists and some off-the-wall things . . . I me, I watched for diplomacy, and what I think it was Jerry Wexler at a party a few we add an element or change an element, sometimes saw was a bunch of guys who weeks ago who was very complimentary, that night I generally make a pretty good weren't treated very well. 'cause we were talking about those days and rough mix for both the artist and myself to times that went through the 60's, and he evaluate. That was back when the engineer was said, "If people understood how many times

There are no surprises at the end. I used considered as a more mechanical aspect, engineers ghosted records . . . Really to do the old thing of just letting it ride on the than artistic, I think. ghosted production." You know, he's talkin' tape without seeing much action until the PR:Yeah, if you contributed something inabout Tommy and myself and other people very end where I made a real nice mix. Or the early 60's to somebody it was done who just hung in there till 4:00 or 5:00 in the workedtowardsmakinganabsolute through somebody else so you didn't get... morning with the artists while some of the finished mix which was the shock from blasted for saying it. But if a guy was having other people went home. And that's a where it had been dry all the time with no trouble with a musician, I always found it difficult role to switch over to. It took Rock echo or gimmicks. I go the other way now. easier to talk to him than the producer & Roll and those kinds of big -name artists to At the end of the day, or the end of the basic sometimes did. Or they'd say, "Oh, he's anturnitaround forpeople likemyself. rhythm tracks, I put those rhythm tracks idiot". And meanwhile, they never realized Otherwise I would have been relegated to into shape. One, because I think it's easier how he might be scared, or he wasn't being being a Top 40 engineer - which doesn't to evaluate what you should add instead of told what they really wanted... You know, pay off, by the way. thinking, "Hey, maybe there's something the clarity with which people talk in the wrong with this thing 'cause there's not record business is as garbled as some of the So you don't think you have any sort of enoughfoot";ornotenough thump sounds you hear. It takes a lot to translate sound at all. Can you recognize anyone happening, and what happens is that you what you really want, and you have to have else's sound? Could you hear, if I told you didn't mix the original 2 -track as you were patience with people. It's inhuman the way this is a Glyn Johns record, the Glyn Johns- recording, and you only heard it after the records used to be made: Come in and cut ness in it? date. Or, you overdubbed a tom-tom to go three songs in "x" amount of hours. And not PR:I would say I used to. I don't know about with the foot, you know? Suddenly the only have they not seen the music, but they that anymore. I think that Glyn or anybody whole record isfull - you don't need don't even hear the song or the lyric! And I else is as conscious of not repeating himself anything. All you need is maybe a double - refuse to work that way. as I am. As I said to you, you can't take away tracked voice or something like that and I want the band involved, and I work very your style. then the record's finshed. Well, you would slowly. The performance isn't slow, but the You mix to the style, like when Guercio never know that until the end and then it's time it takes to get people familiar with the - Jimmy Guercio - called me to remix a too late - you probably have added strings, product sometimes is. By product I mean couple of Chicago albums. You know, horns, girls, for no reason. And I won't do the song, or the attitude of the song, or the there's a definite sound to that group. And I that. attitude of what we're trying to come up brought whatever I could toit, but it's It's a participation - you've got to be with. So that you get the contribution of the basically their sound. Maybe I gave the willing to give and take all the way down the musician. And I think that I grew into being a brass a more interesting sound than it had line, and if you do that, as I said, it's no great producer strictly becauseI had such a ever had or maybe the drums, but ... I never surprise at the end. The artist says, "Wow, it strong relationship as an engineer with the think of me having a particular sound. I'm doesn't sound too much better than the mix musician. very afraid of being static so I'm constantly we had two weeks ago". I say, "No, of course searching. I never go into the studio without not. But at least we knew where we were It sounds very similar to how Gus Dudgeon trying something new. and what we were after". And all we did was made that transition. perfect the EQ and the inner balances and PR:Yeah, certainly the record companies Like what kinds of major things will you try make 'em a little more refined. But that's didn't help. They didn't want to know about new at the outset of a project? All new what I was after. There are no arguments - it. And they wanted me to stay as an mikes? the final mix usually takes a lot less time than engineer. They didn't want to have to deal PR:At least that - at least one or two new most people's because of that. At least with royalties. 99% of them all said, "Oh, no, mikes - not all. You always have to give that's been my change of attitude over the he's a fine engineer but what does he know yourself a path to retreat on - you know, if last three years. about producing?" you don't like it you've got to be able to It wasn't until Paul Simon came along and change it. And in the old days you didn't

Are you an "idea man"; are you a "technical let me . . . have time. I can sit there and work on a genius"? How do other people you - snare drum and try three or four things with how are you seen by your peers, or those You sought him out in this case? it while somebody's just brought me a new who've worked with you? PR:No, he came to me. He found a working digital delay unit or some interesting toy that PR:I don't really know. You know, I don't relationship with me because he had had I'd like to play with for an hour and evaluate do that much product - I limit myself to the one with Roy Halee. And Roy got busy at it. And if I say, "Eh, another new Tinker Toy, amount of product I do a year. Somebody that particular time when Paul wanted to it doesn't work for me", at least I've had the says they like a Paul Simon album, they begin cutting,so we did one record together, chance to do it. Or I might try the drums in a come to me ... I'm sure they don't want me and then we started to do more sides and totally different part of the room.

to make another Paul Simon album for eventually . . . he decided that I was more them. than just an engineer to him - that I was So you systematically expose yourself to I think that the inner sleeve of this dialog is somebody who was co -producing with him. new ideas and products. To sum it up, that. .. my empathy and my emotions are And when he laid that title on me, it was that's very much part of your approach. with the musician, from the beginning to the more than just a title. PR:Yes, I'm reallyafraid of repetition end. I don't play the game of "He's only a except for the good things. You confine that musician", which is where I think a lot of I can't believe that they would put you to the normal basics of making a good - producers have made mistakes for years. through that. sounding record, - that's all I try to do.

R-e/p 24 The MasterSound, The MasterTouch

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for additional information circle number 15 R-e/p 25 PHIL RAMONE come with the package. pedantic, and yet I like delicate things, on his peers ... so when I do something delicate I still his beginnings... the sound - Withthe musicians as much as with want it to have some force. I don't like a anything else. You could bring them up to ballad to just fly by with nothing but frills your place and you're well on your way to a and super echo and a lot of high end- Well, who doyouthink is someone who's Muscle Shoals Sound" in New York. it doesn't do any good. And yet if you're been able to do that very successfully, PR: Yeah. As a matter of fact, if you cutting an aetist like Phoebe Snow, you either as an engineer, producer, or an listen to the song Still Crazy After Alldon't want a lot of...heaviness around artist? These Years, there is the same rhythm the top end of her voice, but you'd want PR: Oh, I think George Martin does it section, which we cut in New York, andit underneath her, and you've got room all the time. I think Gus Dudgeon has not in Muscle Shoals. to do it. doneit.There'scertainly Tommy Again, it's technique - it's a matter Dowd.TheheavyweightsinthisI'm not so sure that alot of the studio of knowledge of what the artist is about,

business always manage to maintain mystique isn't .. . mistaken. and how they see themselves and how something very steady, even thoughPR: Well, I think there's also a getting - you see them. the artists change all the time. You can used -to.I have a room that I remix in callthat a "sound" or "productionthat I'm used to. So I know, what the How did it all begin for you? value" if you like. Arif Mardin has avalues are that are coming in and out of PR: I grew up in New York City most of certain way of working. It's a little more it. Maybe you're able to bring the samemy teenage years. I was a musician and elusive, but at least I think I can spot it. echo chamber sounds to it. People have was interested in why sound was not

WorkingwiththeMuscleShoals asked me about these kinds of things.. doing what the music was doing. 'Cause rhythm section automatically gives you if you went to hear that stuff live and a certain kind of sound. Now there is a then you heard the records,they definite identity to that sound. Then That's certainly an important determinantweren't quite the same. And I don't you'retalkingabouta"Nashville of the sound of the records you make -think there's anyone to blame because Sound", a "New York Sound". .I stayyour echo. the technology was just coming about. away from that game - that doesn'tPR:That'sprobablyoneofthe Also, the start of indepedent studios work for me. I may go to Muscle Shoals identifiable sounds in some of the things was beginning around 1960. That's because of something, but I don't wantI do. And I also go for a very hard,about where I really got going. to go there just for that sound. Frankly,"thumping" kind of record on the I want to go there for the musicianship. bottom. I like a gut kick - I just happenHow did you happen to choose to be a But you do get a sound that happens toto likeit. Idon'tlike music that's recording engineer, and where did you start? PR: I started in a small demo studio with three other musicians who owned the

CEILING SLANTED studio. J.A.C. was a little studio on 58th Street, in an apartment! What they did, and what I ended up doing, was to learn LO how to be creative with demos, because BASS AMP GUITAR AMP GUITAR AMP Direct & at the time the business was getting 421 421 421

away from piano -and -voice demos. Neil

4004 eu740,1 °Ci Sedaka and Carole King and all these O T,L9 ry young people were starting to emerge. We were doing things with multiple overlays, putting production ideas into songs so that many times they sounded as exciting as the final product. What type of equipmemt was used at J.A.C.?

ACOUSTIC GUITAR PR:Basicallymono. We hada AKG 414 tremendously interesting echo ACOUSTIC chamber. Sometimes when you have GUITAR Sennheiser 435 no money, you find out that you can do more than when you have money. Live In Room Vocal Riser More creative. CUSTOM PIANO PR: Yeah, because you're stimulated to Baffle and Top Microphones Suspended try anything.

So how did you end up at A&R? PR: I realized that my life at a demo PHIL RAMONE BASIC RHYTHM TRACKS SET-UP studio was not going to go any further ROOM R-2 A&R RECORDING than that. I was jealous of the fact that

CONTROL ROOM new small studios were starting to open Ito contain screams of joy or pain) and that's where the guys went to make

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for additional information circle number 16 R 7) 21 PHIL RAMONE on the early days ... rebellion, of saying, perhaps, "I don'twho'sgonnabecomeyournext his relationship to relate to him because he wears a shirt producer. That's what I'm interested in, A&R Recording - and tie." I don't know. What I'm sure of, not just an engineer behind me, I'm though, is that the guy who could bringbreeding someone who'sreallya the record of the demo we'd just made. about the guitar sound for the artist, And a lot of times the demo was better companion to the product. If you look who would spend the hours trying toat the credits on the records I do, I play than the record! So, I got together withget that guitar sound, is the one who a small group of guys with no money, that up to be a very important point- became the artist's friend rather thanit's not a token credit. There's no tape we rented a space and that's wherethe guy saying, "Come on, come on, A&R started. We worked on the mere machine operator in my room. My let's go, let's go." And when you went inassistant is very deeply involved in the fact that the sound of our studio was and made an experimental record with more unique, or let's say the attention making of the record, his opinions are somebody, and then it was sold as anheard, he is learning the process of toward that sound was more unique.independent production - that was the We dedicated ourselves to try to make what the artist is going through. That start of a new era. I joined that group ofrelationship is vital to me. something sound more unusual than peopleveryslowlybecausemy the slick products that were coming out reputation was still in the sound field, Who have you trained or worked with so of the big studios at that time. and I got more calls to design things orfar? In the earlier 60's, people didn't dowork in the grandiose fashion with thePR: There are a lot of people that multiple -track in the way we do it now. mania kind of 50,000 -seat concerts. Butstarted early on with me - Shelly Everything was doneatonce.I realized I wasn't going to be satisfiedYakus, Roy Cicala. They all started Everythinghadtobequick and until I could make records my way, witharound A&R Recording,because everything had to be worked within the the help of the artist...Make a recordeverybody had the same concept. It budget. Within the confines of thatthat we both believed in. was the one freewheeling studio in New room, engineers had to be able to work York. with many arrangers and bands, with What was the first session you did as many things not written, to be in natural producer? What was freewheeling about it? What did balance. But then again, we didn't have PR: I don't remember offhand whichit do that the others didn't? that many "electronic toys" going - thespecific record it was, but there werePR: We did anything for a sound. At the Fender Bass was just emerging. Welittle records along the line. Some ofbeginning,that was my rule: "Do used to sit at night and do unusualthem became minorhits. My realanything you can to make a sound." things to make a record grow towardemergence came when Istarted toRoy made a sound one night Ill never the funk that was coming. The basswork with Paul Simon, then Phoebeforget - he dropped a Sparklett's drum was not an important sound in theSnow and artists like that. Paul's recordbottle down a seven story stairwell to record at the time, and you couldn'twas the first recognition I had as a co-get an effect for a group. You see that's really hear the bass. You never heardproducer and from there, a producer ininventive, it was not for fun. It was that the foot. So we used to stamp our feetothersituations.Sometimes teamthey really wanted the sound of a on wooden platforms to add more producing is far more interesting andcrashing window. The point is, nobody dimension to the record. Or double thebetter - more healthy - because youwould stop spending to make a sound acoustic bass with a six -string basscan't just sit and feed your ego, saying,for an artist. This was during the days guitar - anything to get more down-to-"I am the sole producer of this product,"from '65 through '69, and that era was earth sounds. because you're not. It has to do with awhen rockandrollrecords had lotof things - with your workingeverything but the kitchen sink. You What records were you involved with? Canknowledge of the studio and of studioknow, phasers, glazers - anything you give me a partial listing? techniques, what you can bring to thethey could come up with. PR: Well,I was working with Burtrecord in this area, whether you can be Bachrach and Hal David; there was aa stimulant to the artist and musicians Now that you are out of the front end of the wholeseriesofhitswith Dionneon the production level, and then to studio, wouldn't you like to have a room of Warwick...and Jerry Lieber and Mikebring the musicality out in a way other your own, even a little 8 track studio? Stoller,from The Driftersto Thethan just using tape delays and all the PR: I'm not interested. What I do have Coasters, Tom Dowd, the Ertegunother gimmicks that are available. are some personal microphones, some

Brothers. These producers really laid equalizers, a couple of limiters . . . thegroundworkfor me tolearnWhat is your relationship to A&R today? maybe a $20,000 investment. producing. It wasn't until the age of thePR:At A&R I started with two people, I haveabout 10microphones, independent record - not just thebutIbasically have removed myselfranging from Sennheiser 435's to Beyer

independent studio - that you couldfromthepicture,because,asa mikes . . . try something new, find someone whoproducer and engineer, I can't be would spend time experimenting. Asinvolved in the politics of the studio. I Beyer 260's? time went on, the relationship betweendon't have the time anymore. I did for PR: Yes, I like the Beyer 260. I buy a the engineer and the artist becameten years, but I don't any longer. pair of almost everything I like. closer even than the one between the I've brought along a lot of nice people artist and the producer from the recordwho have become great engineers, and How about M -49's? company, because the producer wastrained a lot of tremendous assistants.PR: No, I don't have them. I wish I did. more of a representative. He was notAnd that's vital to me. I think one of theActually, the sudio had a lot of old necessarily in the style of the traditionalmostunderplayedpeople in the Telefunkens, and I had two of them A&R man. The rock 'n roll groupsrecording industry is the strong, non- rebuilt, which I keep in the studio. I have resented company reps. It was an era ofcomic -reading assitant - the man an old 251 Telefunken, which is a rare

R-e/p 28 Helpingyouwithyour business isourbusiness. From ground zero, we can help you sell And when you're operational our service your banker with the necessary pro forma contract delivers 24 -hour back-up. facts and figures, blueprints, equipment Now - how can we help you? specifications, and total costs. 1833 Newport Blvd., Costa Mesa, CA 92627 If you want to up -grade, we'll show you (714) 645-8501 exactly what your options are. We've designed, constructed, equipped, interfaced, and fine-tuned professional sound rooms by the score for recording studios, discos, clubs and homes. We'll do it all - or any part - on time, .0D1711W within budget. for additional information circle number 17 R-e/p 29 PHIL RAMONE on microphones, People are just not that careful aboutinto a studio it doesn't mean they are equipment in the studio. going to work. I've learned the hard acoustic guitar ... musicians - I look at it this way: There are certain way: Bring a few of your own tools. tools of the trade I need. The two basic Also, I carry my own little demo tape of microphone nowadays. I have an oldthings are that the tape machine be instuff that I know, so that when I walk Sony tube mike that just happens to beshape, and in alignment. And two, thatinto a room, if I don't like the monitor fine for one or two instances. But the with the console I'm working on, I know system, at least I know how to handle it, studio has bought that over the years.that what I'm gettingiswhat I'mor change it. I have a set of equalizers to Even so, I've managed to put some ofhearing. There's a third point; I carryuse when I go to a strange studio for a them in closets where people don't findmaybe four or six microphones withmonth, or I'll ask for a certain set of them. The battering and things peopleme, so that when I take them off thespeakers I know I can use. After that it's do to a microphone is horrendous.boom, I've taken them off, and if there'sup to me to get what you want, and I've When you look at it, it's very sad. It'ssomething wrong with them I'll knowhad to do that. That's why I feel that like looking at your piano with theabout it. Just because someone givesstudios don't really matter that much. drinks spilled on it, the cigarette burns.you a list of microphones when you go But I do care about a few instruments being nice, the obvious ones.

Drums .. . Piano . . . Acoustic Guitar? PR: Yes, that's up to the artist. You know, you can't rent the good ones. You hope that he has a good sounding Martin, or something like it. But then again it's the player.

Do youoftenruninto bad sounding instruments? PR: No. Not really. But there are times when something has happened and you have to borrow one or something's gone wrong. Butgenerallythere's nothing so bad that I can't get around it. I've heard Paul Simon play about 10 guitars, certainly his own sound better than most, but we have played around

with some others. ..like when one of the manufacturers presented him with one of their first acoustics. Actually it didn't have a great sound, but he played it so nicely that I was able to record it well. The level on which he plays, on which he picks, and the way he plays gives you a certain kind of sound so regardless, you're automatically ahead Meet Crown DC -300 amp, of the game. serial number 2131. It's owned by Fanfare, who puts together sound systems. Speaking of Acoustic Guitar, do you have any sort of basic approach towards it? A Since 2131wasbuilt, it has moreyears of trouble -free, pro- way you like to hear it, perhaps? or some worked hard professionally, most fessional service. things you dont like to hear, or . . . of the time on the road. In and out Almost every sound engineer PR: Well I think there is a truism to of trucks, in and out of racks, in has his own favorite "Crown -can - recording a 6 -string or a nylon. If you and out of dust, wind, rain and sun. take -it" story. Each one is a testi- really want to do something that sounds Once it was in a truck that monial to the rugged, reliable, good, you should use fresh strings. rolled over three times returning distortion -free performance built There is no question about it. They just from a tour. 2131 went right into each Crown amp. through the roof and landed in a Build that same performance sound good for about an hour. And puddle where Fanfare found it into your next sound system. after two hours, if your playing a hard hours later. Specify Crown. song - a tune that's really pulling - That was five years ago. After Write us today for a copy of our those strings will go dead. cleaning and adjustment, it went latest spec sheets. right back to work, to provide Does Paul change every two hours? PR: Yes, if we are doing something that's critical. It depends on the song. crown What I'm saying is,if you're doing BOXinternational 1000, ell -than in 16514 something that really requires a strong solo, if you are doing Kodachrome, for

R-e/p 30 for additional information circle number 18 instance, if you did that for three hours, at the end of the third hour, ifyou listen to the tape, you can tell the difference with the same microphone in thesame position.

Your talking about that littleriff guitar there? PR: Yeah, the acoustic lick.

It is very bright. . . PR: Yes. But that'sa specific thing though. You know, thatwas done a specific way. There'sno formula for that either. You know nylon tendsto get boomy on the low strings. Nylon is one of the tougher ones to record. The fret noises and stuff are strictlya matter of the bridge height, and theguy that's moving his hands. Some peopleuse spray and stuff to get the strings more smoother. But the thing is howare you going to record it. If youare going to be three inches away from theguy, you're going to pick up those noises. Ifyou are rdabe going to go for the ambience of the instrument then you should try to place it where you can get backa few feet, using a quality microphone. Obviously, if you are troubled by leakagein the room, then you're forced to go in close. smite.° Which is the case, when he playsout there Wank with the rest of the musicians? CORAYSYSII* PR: In Paul's case,as with almost everybody I work with, Iuse the studio for the lighter instruments. And, Ihave large booths, they are not the typical teeny, tiny booths. They are really nice size rooms. The drum booth is not what If you're after a bigger share of the recordingbusi- you see in most studios, which is what I ness, we've just made things a lot easier for you. consider a tiny room. Ifa guy plays a Our new lower price tag significantly lowers thecost drum that loud why shouldyou put him of our Delta -T 102 Series Digital Delaysputting them in in a corner, with blankets around him? reach of those studios, that up tillnow, hove found this equip- With rock and roll,you are defeating ment beyond their budgets. what you are trying to do. MaybeI You get a lot for your money. Our 102-S is the clean- shouldn't use just rock and rool,you est -sounding unit made. The most versatile. Themost excit- are defeating what you are trying to do ing to work with.. You get two independent delay linesin with drums. Why not let theguy play at a single chassis. Couple them with our new VCO module and his level. you get special effects like you never had before: vibrato, With the guitar or the acoustic piano, doubling with time delay and pitch shift, time delaypan- I'd rather get theroom sound around ning, doppler shift, and a whole lotmore. the instruments. You can't recordan You can start with the basics, ifyou wish, and build acoustic piano with tons of blankets all as you go-thanks to Delta -T's cost -saving modular design. over it, on gobos. Suddenly the piano Our 102-S bulletin has the whole story. We'll sendyou our sounds like its in a tiny box. I much new prices, application brochure, and a demo record. A note prefer to have room for the soundto on your letterhead brings you all four. Write today. expand. It's just a theory of mine, andit seems to work well for me. The other thing about the drum booth is it is locatedso that you can put Paul on a stool in front of itso he has eye contact, so there isn't any leakage. The biggest problem is exicon a live vocal 60 Turner Street, Waltham, with an acoustic guitar, whereyou may Massachusetts 02154 want to change the vocal later. (617) 891-6790 Export agent: Gotham Export Corporation, 741 WashingtonStreet, New York, New York 10014

for additional information circle number lq R-o/n .31 PR: Well the way he andI workdifferent feel than you do if you just togetheristhatthe musicianssit shove himinabooth,feedthe around and tap pieces of paper, blocksearphones hot, and nobody knows of wood, anything around. You live with why.There'snorelationshipto the song for a couple of hours before anything. youactuallystarttoplayit.So It's different with a group that plays everybody just kind of gets motivated together every day, a band, for example by being around the person that's Billy Joel's basic rhythm section is just a performing it. There is no substitute forbass, a drummer, and a saxophone that kind of contact. If everyone wentplayer. But the guitarist has always into their own little room, you might as been an outsider. The way I have found well phone the parts in; there wouldn'tto record them was to work them be any starting point. So that's how wetogether as close as possible, in about get started. the same proximity as they work on PHIL RAMONE We work pretty much on a six hour stage. Where they can hear each other, day - straight. And the guys know that and feelit.So when they put the on recording methods .. . acoustic guitars - if we don't like it, so what, it isn't aearphones on there's no major change. reflection on their abilities. If we don't Just a little more detail, and a little more get it today, well get it tomorrow. Just clarity, so they can hear each other Most of the time you couldn't avoid redoing as often it is our inabilities to make the better.Thethingaboutworking both of the parts? right decision, or make the right groove physically close is that you play to the PR: Well, you can't recut the guitarhappen. level of what you're hearing. That's not part, it's impossible. What we will do... A drummer, say,is automaticallyto say the drummercannotplay soft Paul and I will talk, and if he feels he'sgonna go to his book of tricks when he when somebody's playing an acoustic vocally not in shape, or the guitar part is comes into a strange session. Whereasguitar. When the beat of the song is that that complicated, he'll just sing the keya Steve Gadd or any of these guys we heavy, why should he play ridiculously lines, where he knows he will be in tune. use will sit there, and use their hands on light? He just can't do that. What that does is still give me a chancetheir knees until they find a pattern, all Steve Gadd, for instance, has been to have the room. If it gets to be reallythe while listening carfully to what he's on the road with Paul. We took that difficult, then he'll go into the booth. playing. When you're listening to him whole band on the road with the last sing and play with no amplification, tour. So we had to find the level at But, he starts out in theroom? yoursitting on topofit.You get a much which he could play on stage and yet

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R-e/p 32 for additional information circle number 20 still not ruin his style ...and the same for Paul. A lot of that has to do with the knowledge of what you're doing in the Recording quality that studio, letting the people around him really feel what he's trying to say. speaks for itself Going back to recording different strings, what are the differences between the way Two things make Scully's Scully speaks for itself through you record a steel string and a nylon string acoustic guitar? 284B-8 unique. First, it's the more than 200 Scully sales and PR: With the nylon string, the bottom is only master recorder/reproducer service dealers worldwide. usually boomier, depending on the axe of its class that handles For the Scully dealer nearest itself. I tend not to try to eliminate the 14" reels at speeds up to 30 ips. you, contact Scully Recording low end untilI've found the right The second unique feature is Instruments, Division of position for the mike, and I'm careful the fact that it's made by the Dictaphone Corp., 475 Ellis Street, about where I put the instrument in the leading supplier of professional Mountain View, California 94043 room. If your room is crummy then recorders...Scully. (415) 968-8389 TLX 34-5524 you've got a real problem. Some people like to put those nylon strings in a very dead area, and they don't speak, so you ()Scully end up going in for more detail from the Recording Instruments microphone, whichisgonna exaggerate all the imperfections in the instrument. In other words, if you have a chance for it to have some air around it, then you can get back. For every six inches that you can get back, you know you are going to get a more rounded *Shown with Varisync sound and probably less action out of accessory. one string or, one more than another. The tighter you get, the thicker the fundamental you are going to get. Some of the overtones are gonna be missing, you'r goona get the fundamental so thick. The instrument is designed to be heard at least a foot or two away. When you are back and you hear a nylon string, your sitting, maybe, in the first row, you start to hear the overtones of the instrument. And that's the beauty of it.It' the same thing as, "How tight do mike the piano?" It all depends, do you want to hear every hammer and every string.If you can go back about six inches or a foot, you get another sound out of it.

So you would not use a different mike on a nylon relative to a steel? PR: There are times when I've gone for a dynamic mike on a steel string, and gone for a strong condenser on a nylon. That's versus just saying "Okay, I'm gonna stay pat on one or another". I think the instrument is the key to it. If the guy's instrument is a particularly bottomy instrument and yet it has a smooth top end, but not enough of it, you have a choice of whether to use a super high -ended kind of mike where the low end is'nt that critical. Or, if the cardioid pattern of the microphone is such that it gets boomier and boomier, you know you are asking for it. People don'trealizethateach condenser microphone that's made, or any mike

for additional information circle number 21 R-e/p 33 PHIL RAMONE on recording steel vs. nylon ... But, if you have to go in close, yourecord the acoustic guitar? strings, miking - want to make sure you aren't doing it PR: Well, I try to use two mikes, and that says cardioidon itis a totallywith a brittle mike. To discuss thenot get into a phase thing, or get cute different creature by its own cardiod individualcharacteristics ofeach with stereo. What I'm trying to do is get pattern, That same microphone, whichmicrophone is boring, I think. A U-87 one that can give me some distance. blows up really fat and big when theydefinitely has its characteristics versus Then I can choose between the two or are right on it, and then you push thema Sennheiser. But you can't win in that marry them at the same time to the back from it, three inches, you won't game, because thereistoo much same track. Or, if I think it's something I hear any low end. Again, it's critical todisagreement.It'slike,choosing might want to play with later, I'll use two the instrument and the player. between a Mercedes, a Jaguar, a BMW. tracks at that point, so that I can finesse it in the mix. I don't think that you get All things being equal, would you approach How great is the influence of the individual too much of a left and right from a the steel string and the nylon string with the acoustic player, his dynamics, and all . . . guitar. Stereo guitar is kind of a joke. same mike to start off with? PR:. . .That's vital! That has to be as Again, if I've made a decision that I PR: Okay,I'llgive you thebestvital as, say, somebody who plays the might want to change - say, the song approach for me, andit works onpiano in a certain style. I mean, an Elton has become such a hard, funky thing almost everything Ido:I go out andJohn plays it with a tremendously hard that the nylon is not speaking well, I am listen to it, where it is happening. Mytechnique, somebody else might play it better off using the close-miked signal decision is made from that viewpoint. Iwith a very soft technique, and the since it marries well to the whole track. know basically what three or fourinstrument will speak totally differently. I'vegot the option right from the microphones will do for me. My ear tells The same as a drum, any acoustic beginning. me immediately what I'm in for. Byinstrument. Like Dave Sanborn gets a sitting out near the instrument, notsound on an alto sax that's totally You use one mike over the hole and one listening in the control room, I candifferent than anybody else's, and yet over the left hand, or one over the hole and immediately say: "Uh-huh, this is a dull it'sstill an alto sax. Somebody else over the back? instrument" or "it's bright". If it's bright Ipicks it up, it's not gonna sound like PR: . . . One out at least two to three can go for a more rounded microphone,DaveSanborn.It'sdefinitelythe feet, faced cross -angle to the hole. if it's dull, I'm gonna go for a more high - player's technique and his approach to Looking at it from the front, it is aimed a ended mike. But regardless, I may bethe instrument. little bit more toward the fingerboard looking for a totally unnatural sound, and across it, rather than trying to get a anyway. You mentionedyouused two mikes to direct shot from the hole because you can do that with the close mike. In other words, if you're the player and you are looking at the two microphones, one OCTAVE BAND ANALYZER will be directly in front of you somewhat THE NEW MODEL 150 away from the hole, but in line with it - a little lower than the higher strings. Simultaneous display - TEN one octave bands -31.5 Hz to 16 kHz The other one will be aimed at the FEATURES Light Emitting Diode readout Meets ANSI 1.11, ClassIIfor Octave Band Filter Sets Fully calibrated in dBspl Broadband player's fingerboard, almost parallel to dBspl Line Input-calibrated in dBm Flat or A -weighted measure- it but maybe turned in ten degrees to ments Hand held-battery operated (rechargeable nickel -cadmium the fingerboard.

cells) Precision microphone, carrying case,noise generator, battery charger included What microphones do you lean toward? PR: Well, in that case I would use a 435 Sennheiser for the outside mike, then try to find a good dynamic or ribbon mike forthe close one, depending again if it's nylon or steel. I seldom use two APPLICATIONS condensers - it just doesn't seem to Sound system set-up Noise surveys work for me. Octave equalizer adjustment Do you ever put one mike around the back? Speaker checkout PR: Sometimes, when I have the room. Horn alignment When I am doing a straight overdub, I Room surveys and might put the mike up in the air about speaker placement six feet to see what it sounds like. Again, when you are tryingfor a particular effect,if you stand around ALSO: Active and passive the instrument placed in a specific spot equalizers Other real time analyzers in the room, you should know what it is Dealer inquiries invited going to sound like. Then you can pick a spot for the microphone. I do the same with electric guitar - all kinds of crazy Call or write today: WHITE INSTRUMENTS, INC. things with the electric guitar for a P.O. BOX 698 512/892-0752 Austin, Texas 78767 particular sound. But with an acoustic

R-e/p 34 for additional information circle number 23 Wetoldyou Who&Where in1973 Criteriain Mia We've gotthe awardsto prove it. We haven't had time to Duane Allman "Anthology", "AWB", Eagles "Hotel compare them, but we'll put "Best of Eric Clapton", California", BeeGees "Main our stack of Gold and Derek and the Dominoes Platinum Records Course", Crosby Stills & up against "Layla", Aretha Franklin Nash "CSN", Grand Funk anyone else's.. . anywhere. "Young, Gifted and Black", "We're An American The list (and this is only Steven Stills "Manassas", Band", Brook Benton partial) is impressive: Average White Band "Rainy Night in Georgia", Continued on backpage

STUDIO A (Expandable to 50'x75')

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1.51P... ".": 41_ ?"6 ssitsessistvi is stillthe Best How dowe do it OK. Get ready for the regular best in everyone. Call it relaxed atmosphere helps keep line of bull that everyone what you will, it works for things together throughout else gives you. You know. us and it can work for you. your stay. Our modern facilities. Newest Right now we're going If you're into films equipment. Expert personnel. through a hell of a mess. for your own promotionor All that. Well, yes we do have that, We're building a new studio. whatever, our sistercompany, but some other studios have It's our fourth one and Tel -Air Interestscan handle it too. If they don't, fully automated. It will be your entire production. they'll catch up prettysoon. finished in a matter of days From the initial shooting to But there's something and when you see it. .. the finished print. else here. And to be honest, it'll knock you right out of Our recording studioscan we don't know what to call it. your socks. accommodate any Some of our clients call it Our affiliation with size group. Or we'll provide "Vibes". Some call it magic. Home At Last is another big plus.a fully equipped mobile We know it's a combination They will houseyour group rig for location work. So, of a lot of ingredients. The in a great Bayside mansion give us a shot at your next relaxed pace of Miami. The where you get a place to session. A little advance weather. Our attitude. Anda unwind between sessions. The notice is all it takes. blend that brings out the home cooked meals, privacy and

STUDIO C

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4 4 Continued frompage 2 Joe Walsh "Rocky Mountain Way", Elvin Bishop "Fooled Around and Fell in Mind ifwe boast a little Love", Lynyrd Skynyrd "One More For The Road", James Brown aboutour new studio "I Got You". Jackie Moore "Precious We just barely mentioned it. Monitoring is through Precious", and a lot Mack Emerman, in consultation 4 separate systems. Custom fullrz r. more biggies we don't with Robert Hansen, has created have room for. electrostatic speakers by Acustat a truly unique acoustical surrounding. plus a triamp speakersystem This is a partial list Convoluted surfaces, geometric shapes. of our design with Cetec and of producerswe Pecky Cypress and stained glass JBL componentsare available number among our have been combined to producean at the touch of a switch. satisfied customers. unusual room filled withsweetness, On your way upstairs to the openness and a perfect balance of lounge and roof garden you'llsee Steve Alaimo, Howard uncolored sound. our fully automatic Ortofon Scully Albert, Ron Albert, The control room is dominated discmastering lathe. Bruce Botnick, Chris by our custom built MCI 532 If you were here in the last Blackwell, Denny automated console, with 23 years (Yes, we've been herethat Cordell, Dave 32 channels in and out. long) you really don't knowus. Crawford, Tom Dowd, We have a full complement of We've kept pace, and sometimes Ahmet Ertegun, Albhy special effects equalizers, led the way, in the newest recording Galuten, Bill harmonizers and digital delay lines. industry innovations. So get ready Halverson, Geoff Our EMT 250 can simulate the sound for a pleasant surprise Haslam, Murry reverberations of any hall and come on down and letus tell yc_ Krugman, Arif Marden, in the world. about our package plan. Van Dyke Parks, Norbert Putnam, Phil Ramone, Johnny Sandlin, Bob Shad, Criteria RecordingStudios Brad Shapiro and 1755 N. E. 149 Street, Miami, Florida 33161. Paul Rothchild. And Telephone (305) 947-5611. many others we simply don't have room to list. Concept, Copy, Design, Photography by Bill Murr Johnson.Miami, Fla. with special thanks to Jaybo Labs, Harvey Typesetting, Airborne Express, and The Graceof God. Phil Ramone . continued from page 34 ... you are somewhat limited. Only so much sound is going to come out of it and the musician's body is blocking a lot of it. As a matter of fact the difference in getting a different sound out of it has more to do with putting the player on a piece of wood, or putting a wooden

chair in there instead of a metal one.. . you get a totally different sound. What have been the most often used microphones on the acoustic over the years? PR: Starting back 20 years ago, the U- 47 was the basic. In its original form it was pretty much a distance mike. Then the U-67 was followed by the U-87, and these are favorites. Those who still own the original 67's swear by them for their difference in color from the 87. They were tube models. FIRST AID FOR YOUR P.A. S500 -D POWER AMPLIFIER Which has more high end now? PR: Well, they claim the 87 does but I This new 500 watt per channel amplifier gives fast relief to your still question it. There is the tube mike over -worked P.A. Its high damping factor helps extend speaker versus what it's looking into.Ifitis life by reducing over -shoot and doubling. Increased efficiency looking into a transistorized board it's and FORCED COOLED DISSIPATORS keep the 500 cool going to give you a different sound. Get even with 2% ohm loads. This compact, light weight Amp also hold of some of the original older mikes features a modular output section which can be replaced in before they have been re -padded to minutes. Get better sound with less trouble for under $1000.00. American standards. The European standard was to actually use the mike as its own pre -amp, which is the logical Imazummilsommiataiml thing to do. It has so much gain in it anyhow. Why we knocked it down I have no idea. That was because we came from broadcast standards to recording.Strangelyenough, broadcastingwaswhatinfluenced recording rather than the other way around. And now it's ludicrous to see the returnofpeopletryingtousea 11 microphone in the most direct form, pouumummmmmmmmmnt directly into the tape machine. Why not! Putting the signal through the NO COMPROMISES consoles we have today which are so STEREO -12 MIXER PLUS ECHO EFFECTS MODULE complicated that the signal is destroyed This new console has been designed and built to the most de- and distressed - the microphone manding professional standards. The 12 low impedance and may not mean anything, as far as I balanced inputs are switchable to line input level, no more am concerned. matching pads. And continuously variable gain controls match input levels perfectly. The equalizer has 4 frequency bands. What mikes did you use for acoustics on Foldback or stage monitoring is separately controllable from "Rhymin' Simon"? PR: Mostly 87's. In some cases a 47. It each input. Foldback, echo and all main outputs are fully bal- depended on the studio, too, to be anced at +4 dBm into 600 ohms. Maximum output level +25 honest with you. But I have used a Sony dBm. A switchable headphone monitor and facilities for a C-37 with Paul, and had tremendous unique CCD Echo Effects Module complete this mixer. luck with it.Generally, we switched between the C-37 and the 87 during that period. marketing ltd. What is your terminology for talking about 142 Hamilton Ave., Stamford, CT 06902 TEL: 203 359 2315 TELEX: 99 6519 sound qualities with the artists? SEE US IN ROOM 10E AT THE AES CONVENTION. for additional information circle number 24 R-e/p 39 - PHIL RAMONE

on terminology .. .drums . ..

equalization . .. limiting - hours go by and the high -endgoes drums, has glass and slanted walls,a down, fatigue sets in, you don't want totilted ceiling, wood as well as a variable PR: The word shimmering is one Ilose perspective. Also I love to be ablein the wall so that you can deaden it or happen tolike. I alsolike punchto change my mind later. make it livelier. describing the low end of the six string, the lowest two strings that giveyou What microphones do you use on Paul Drum mikes? most of the total bass line. Simon's vocals? PR: I have two mikes for the snare that I The intensity of the song will createPT: Well, I have changed Paul several like. If I am doing a fat rock kind of thing. the amount of shimmer that is in thetimes in four albums. I started with theI'll use a Sony C-37, close-miked and guitar. U-87, then I went to the Sennheiser 435padded down a lot at the pre -amp, so it for a while. On certain tunes weuse adoesn't overload. It's dangerous to use I guess I am talking in terms of equalization Beyer Dynamic, the 260, and on othera condenser in that proximity but it more than anything else. tunes it doesn't work so well. I'm usingdoes have a unique sound when the PR: We never talk in those words. Wean AKG 414 at the moment. If it's apre -amp is good. It hits you right in the talk in coloration of the sound. I don't particularly harsh song, then you havelower gut. The other mike I use for the like people to just simply say, "I needto be careful that the microphone yousnare is the 441 Sennheiser. more at 8k and a little more at 3." Ichoose doesn't get the sibilance ora For the Kick I have an old EV-666 prefer people to say, "It feels too thick.Itlack of low end, depending on thethat's been around, but it's in gooc needs more punch.It'snot bright 1 energy level of the song. Paul's vocalsshape. Or a D-19 AKG, or a 414 enough."That's I what mean byare very sensitive, so you need a pretty Sennheiser, or E -V's RE -20. coloration. good gain mike. At the same time, you I've seen guys equalize an acoustic at need one that doesn't have a tight . . the High -Hat? 12,000 cycles and said to myself,"I pattern because he tends to movePR: Depending on what is being usec wonder if they really know where thearound the mike a lot, as he's working.on the snare, I use a Sennheiser 441 or overtones end", and on a piano, too. Shure SM-57. Overheads are a pair o: I've taken all of the markings off ofan How about drums? 435 Sennheisers. equalizer and asked the guy to use hisPR: Ilike air around the drums. As I On the tom-toms, Beyer 160's. Iuse ear - which is better in the first place.said before,I have a room that thethemreasonablyclose.From the The important thing is that you aredrums are in. It's not a booth, it's a largedrummer's viewpoint looking out at the not committing yourself to a graveroom. It's built somewhat like a controldrums, not the other way. amount of EQ. . . you don't want to doroom. It is set up to have resonance and The cymbals are being done by the anything you'd resent later. As thehelp the drums to sound like a set of 435's, really. That gives you the spreac GREAT GAUSS. . . 121.5 db AT 4 FEET!

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R-e/p 40 for additional information circle number 25 as you open the pair up, and they're really a stereo pair... aimed in a stereo cross cardioid pattern. There are a lot of times when I don't even bother with it, though. To me the fact that you have control for the remix by having the snare well isolated is more important than the stereo effect. Once you get the tom-toms balanced you can sometimes use just one mike for the overhead- you can get just as much spread. As a matter of fact, you get less phase cancellation and you don't have those hollow holes you hear in records where the musician went across the drums,or it sounds like he's in a tub. However, it is really a matter of the drummer; the more balanced the drummer is, the easier he is to record. I take the attidude that if the drums sound right where he is, then I'd better stand and listen, then go into the control room and capture them that way.

Do you ever use limiting on drums? PR: No! Never ALLEN AND HEATH SD 12-2 The only time I'll use a limiter in the No other mixer delivers so many features for so littlemoney initial recording is when it's set for peak 12 Mic and line inputs 12 direct outputs and patch points and not compression. I'll use a dbx,or I Pan pots 4 band EQ on each input Fold back (stage moni- have an old stereo tube Fairchild unit tor), echo send and PFL (solo) on each input Built-inpower which is pretty good for catching peaks supply Input metering Stereo echo return Headphone on the vocal. But I set it very minimally. monitor with stereo tape monitor and metering 600 ohm line Again, I stressthepoint,the level on outputs Only $950 microphone has to be in condition and the pre -amp and the board had better be the best. But, basicallyyour hands should do the job. If you want to just protect the tape from a sudden jagged peak, you keep the limiter ata minimal peak. You can always compressor limit on the way back on the remix. On a live date I do set the limiters ahead of time. Since the live concert is going on,I know that at any given moment if the bass player suddenly turns up, he isliable to flood the audience or he will flood me! I have two or three settings pre -marked ahead of time, so that I don't have to search and blow 10 seconds.Then, in your hurry, if ALLEN AND HEATH S6-2 you over -compress you suddenly dump A complete broadcast production console the bass. Then you have troubles in the An incredible disco console remix. I always carry a tone oscillator with me, and feed it from the bassamp 2 stereo tape inputs with EQ 2 Mic inputs with EQ 2 stereo output direct or the bass direct from the RIAA phono inputs with EQ Gain control on each input guitar itself. I set it in advance because I Input and output patch points Broadcast cue Automatic know what 5 or 10 dB of limiting looks "voice over" circuit 80db signal to noise/.05THD TTL logic like coming from the stage; I know it'sa machine starts Stereo main and monitor output Only $1095 given number and I can protect myself. Every job, every date- I don't care how prepared you are- there will be surprises, and you rapidly realize you marketing ltd. are only as good as the crew around 142 Hamilton Ave., Stamford, CT 06902 TEL: 203 359 2315 TELEX: 99 6519 you. SEE US IN ROOM 10E AT THE AES CONVENTION.

for additional information circle number 26 R-e/p 41 A COUPLE dB OF TAPE HISS al PROBABLY WON'T MAKE A BOMB OUT OF A HIT. BUT SOONER OR LATER YOU'RE GONNA HAVE TO CLEAN UP YOUR ACT.

WHY LIMIT YOURSELF But it would also be worthless, THERE WERE SOME WITH MASTERING TAPE? if everything wasn't above- WHO COULD NOT You won't catch a board. That's why we chose BELIEVE THEIR EARS. professional racedriver putting Tom Jung of Sound 80, "Play that bass track cheap gas into his Lotus. Minneapolis, to put it together. again',' they'd say. And we'd It's just dumb. You may have heard of him. play it. And the same holds "Are you sure both true in the studio. With all that THE TEST PROGRAM tapes were recorded at the heavy machinery and expensive WAS RECORDED-ON same level?" We assured them talent, it makes no sense to TWIN MACHINES. they were. compromise on your mastering Jung, as we expected, "Lemme hear the tape. left nothing to chance. On strings with the horns:" April 18, 1977 he recorded an In three days close to TODAY'S SCOTCH 250 IS original music program 600 people heard our 20 -minute THE STATE OF THE ART. simultaneously on two 24- demo. track MCI's fed by one console. With 250 you get far less tape noise. Considerably One recorder was carefully AND THE TRUTH IS... optimized for 250. The other, more high end clarity. Our We didn't find one' just as carefully, for the engineer who didn't hear the exclusive oxide formulation and competitor's tape. application reduces Mod difference in L.A. Ditto in Jung used NAB Nashville, where the demo was noise. And when you add all equalization at 15 ips. He really that to dbx or Dolby it's positively repeated July 13 and 14. the cleanest sound around. packed both tapes at 6db You can simply pack (370 nWb/m) over standard more sound on Scotch 250 and SINCE WORDS ARE operating level-without a shred still stay clean. CHEAP, WE PUT 250 TO of noise reduction. So the bottom line A ROUGH TEST. is this. Scotch 250 is cleaner THE TRUTH CAME OUT tape. Whatever the numbers FIRST AT THE AES SHOW. or the meters say. it's your ears you should listen to. So we It was May 10, 1977 DON'T TAKE OUR WORD went to a very fussy, very fine at the LA Hilton. For playback FOR IT. BRING YOUR engineer and asked him to we set up identical machines EARS TO NEW YORK. devise a test to demonstrate the (our own M79 24 -tracks, this We'll repeat this difference between 250 and time) with Altec 19 speakers. "head -to -head confrontation of our nearest competitor. Then we opened our doors. mastering tapes" at the AES The guy first thought For each group of Show on November 4 and 5. we were nuts. engineers we played not only Hear for yourself that "You're serious?" the full mix, but individual heavy sounds don't he asked. "I use 250. What if my tracks, first on one machine, have to be muddy. test proves the other tape is then the other. 3mCOMPANY cleaner?" We gulped a little, and told him to go ahead. This CLEAN UP YOUR ACT test was bound to be expensive. WITH "SCOTCH" 250.

"Scotch" is a registered trademark of 3M Company, St. Paul, Mn. 55101, © 1977, 3M Co. for additional information circle number 27 A MODIFIED 'MS' RECORDING TECHNIQUE FOR LOCATION RECORDING by Leon E. Weed

Thefineartof MS (mid -side) throughfirst-handexperiencesof results of a modified approach to Mid- recording is a relative newcomer to the recording companies that offer little or Side recording of which any serious semi-professional in the recording field. no information on their techniques.recordist, broadcaster, or professional Very few papers have dealt with this This author has bridged this gap bymay take advantage. subject, as most information is gainedreporting on some very interesting Early stereo recordings as far back as the50'spioneeredsomeofthe MID-SIDE (M-S) LEFT-RIGHT(X -Y) developments inthis technique but found little use for them in studios as theacoustics in theseanechoic M environments produced few A,/ advantages.Multi -trackingbecame almost universally adopted as the prime medium to capture all the various rich tones and harmonics produced by an

orchestra. Location recording companies almost invariably use the -TimeDomain"methodusinga X multiplearray of microphones and to achieve the re-creation of the natural tonal balance initsoriginal acoustic environment. Until recently not much was known of how this MS technique could be utilized. Mathematically an array of formulas is needed using phase angles,

quadrants, and square root functions to S. betterunderstand how this

S, phenomenon occurs. However, it is not in the scope of this paper to delve into the myriad of mathematics, but to show how a modified system can be used with y your existing equipment by using a little Yankee ingenuity. The ability to hear and discriminate sounds is one of the most remarkable attributes of the human body. An individualcanheardistanceand direction at almost all wavelengths in a near perfect 360 degree radius. The sensors are only a few centimeters apart which is proof in itself that the ""

phase oensitivity of the human brain is quiteremarkable. The MS-XY technique is closer than any recording system yet devised that attempts to duplicatethehuman auditory y perception. In the XY system, the microphones Figure 1. Polar diagrams for a pair of coincident microphones, with various are placed in such a manner as to directional characteristics, showing MS to XY transformation due to the matrixing of a sum and difference circuit. simulatethe human auditory perception. An MS microphone pair,

R-e/p 44 Whichever halfinch 8 track machineyouchoose. the Sound Workshop 1280 remains the most together recordiv console in its field.

The 1280B -8E0 with optional Meter Bridge

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the Sound Workshop 1280 recording console Sound Workshop It sounds better. PROFESSIONAL AUDIO PRODUCTS - 1040 Northern Blvd., Roslyn, New York 11576(516)-621-6710 R-e/p 45 for additional information circle number 28 properly adjusted, will provide the samequality condenser microphones is a left -right signals, after matrixing, equalmust for best results. Cable lengths are tothatdeliveredbytwo XYfairly critical and should be measured microphones set approximately at ±45and cut to the same length. The tape degrees from the source of sound. Inrecorder has to be checked and if principle, both techniques of MS andpossible, adjusted or compensated, for XY recordings are equivalent and each phase and amplitude shifts throughout signal can be transformed to the other its entire range. by means of matrixing. The MS system In conventional MS recording the has an advantage in that the scale ofsignals are matrixed before the signals width of left -right can be varied byentertherecordingmedium.As attenuating either the mid or side signal describedearlierthisresultant XY MS (mid -side) microphone assembly showing the before matrixing. This means that there signal can be altered again even though extreme close tolerances between the is less equipment in the recording chain itis in a left -right format. The main microphone outer cases, as well as the crossarm, and hence less distortion. (See Figuredisadvantage is that there must be two counterbalance and adjustable clamp assembly. 1.) matrices to produce the same widthapproximate center and, adjustment Intheauthor'sModified MS control of a single MS system. for height and angles. At this point his recording technique, the "raw" MS Inmostinstancesthelocationwork has been cut in half. All now that signal is recorded directly on the tape. recording engineer has had very littleremains to do is adjust the input levels This preserves all the original mid andtime, or even choice in selecting thefor proper modulation, and the job is sidesignalspicked upatthe bestpositionforhismicrophones. done. A word of caution here - performance for later mixing through a Sometimes, even after several attemptsLEAVE THE SETTINGS ALONE! sum and difference matrix. Certain to record in the same environment the Once back at the studio, "mix down" precautions must be taken in order to resultsarestillunsatisfactory. The the MS master tape in an environment achieve the proper XY equivalent from Modified MS Recording Technique that allows sufficient time, solitude, and thistapeduring playback.Proper solves all these problems, by savingaccess to appropriate equipment to phasing of all components in the raw time and allowing freedom to choosemake the precise adjustments. One chainisof the utmost importancetherightlocation.Sincethegood hint is to have a test tone at the including the microphones, cables, and microphones are all on one stand, onlybeginning of the tape on both channels, tape recorder. A pair of matched high two steps are necessary: location of the adjusted for 0 VU, for logging in your finalsetting.Inaddition, have the channel number and location of the mid and side signals written on the master tape. MID -SIGNAL MICROPHONE One of the most visible aspects of this T SIDE system that can be seen by reviewing the block diagram (Figure 2) is the simplicity by which the components can be constructed. The microphone supports and the matrix are the only two items to be considered. Several commercially available systems offer a completepackage.However,few SIDE studios and semi-professionals have the capacity toinvestin one binaural system. The likelihood of having two MID (sum of all) microphones such as the RCA 77DX or similar in your facility will increase the chances for experimentation in this area.If the microphones have been committedtoother needs,the Left output Sum & Difference investment in a binaural system would MATRIX Right output probably pay for itself in the long run. Thereareseveraladvantages, however,inusingtwoseparate

Mid Input 0 0 0 0 microphones. One, of course, is that 0 CI I ' o they can be split and used for the Side Input 0 0 0 0 0 CI L I 0 universal 'Time Domain" recordings or other jobs such as small groups and announce jobs.With the two microphone approach, the flexibility of theinvestmentincreasestremen- dously. Another plus for this type of Figure 2: A simplified block diagram of a modified MS/XY recording system using two separate phase and amplitude matched microphones. The mid signal is picked up using a true cardioid pattern, and the side(s) split system is the ability to rotate the by using a figure -of -eight pattern. By varying the controls the width of the sound source can be varied capsules to an unlimited number of through a 0 to 65 degree arc.

R-e/p 46 kiipsch

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for additional information circle number 29 R -e/p 47 angles and patterns to achieve a varietyPhotograph 2, the support system was definite resonance which can be set off of direct XY techniques suitable to yourdesigned around an Atlas SS -2 speaker by structureborne noise from the floor acoustic environment. stand. A 10 -foot extension pipe can be causing severe low frequency blocking. As seen in Photograph 1, the author'spurchased from an electrical supply Constructionofthesumand microphone system consisted of twohouse. It is advisable to shock mountdifference matrix is relatively simple. Neuman U-87 microphones on the Z-48the microphones, since the tubing has aDetails of the transformer type are in shock mounts. A tripod stand was used tosupportthe crossarm and the speciallydesigned supporting Figure 3: A Typical Transformer Coupled Sum & Difference Matrix members. The matched pair of input GRN cables are fed through the clamps of the BLU assembly and secured several places on IBLURED BLK the 1 -inch pipe when it is extended to -WH GRN-OR M >>2 RED-WH it's full 18 -foot height. Custom mounts BLK-WH such as thisoneare relatively MID TRIAD A -67-J inexpensiveto build.Shown in sHl >I R

G D3F (2) GRN OUTPUT BLU 61HA5F 12CL5M -F >>3 RED BLK GRN-OR >>3 RED-WH' S >2 BLK-WH SIDE -4> SHIELD >>1 >>5 /77 TO CHASSIS

TABLE 1 TRANSFORMER SELECTION GUIDE FOR MS/XY MATRIX* Maximum Frequency Tape Recorder Input Circuit Transformer Level Response Hz. Output Impedance Impedance Type dBm +1- 2 dB 600 ohm 600 ohm UTC-A-43 . 15 20-30,000 Balanced Balanced Triad A -67J . 10 30-15,000 600 ohms 10K -100K UTC-A-34 Balanced Unbalanced (Reversed) +15 20-20,000 10K ohm 600 ohm Unbalanced Balanced UTC-A-34 1w 30-20,000 10K ohm 10K -100K Unbalanced Unbalanced UTC-A-16 +15 20-20,000 'In practice, any transformer can be used as long as they are of high quality and are matched to within .5 dB or less, and Drawing replaces photo- has one or two (2) split secondaries of equal impedance. In all cases. refer to the wiring diagram supplied with each transformer paying close attention to the phasing of each of the split secondaries. To calculate the minimum load impedance, multiply the graph of the complete MS impedance of one split secondary by four (4), i.e., 150 ohms X 4 = 600 ohms. For best results, the load impedance should be microphone system showing the within 1% of the calculated value and be matched to each other by no more than 1%. tripod supporting members and The output circuit can be balanced (floating) with no apparent losses in frequency response or distortion. For the adjustable telescopic 1 inch piping. unbalanced circuits, ground the two negative (-) L and R output leads to one common. (See Figure 3.)

The MRL Calibration Graph is your proof of the quality control that goes into every MRL Reproducer Calibration Tape. We guarantee What each one to exceed the performance requirements of IEC, NAB, AES, and E IA Standards. yop seeMRL Calibration Tapes are designed and supported by experts in magnetic recording and audio standardization ... we helped write iswhat the standards. Each tape comes with detailed instructions and application notes. The MRL catalog includes tapes for aft studio you applications. In addition to the usual spot - frequency tapes, we make single -tone tapes, rapid -swept frequency tapes, wideband or 1 /3rd octave -band pink random noise tapes, and difference -method azimuth -setup tapes. Tim a catalog and a list of over 60 Most are available from stock. dealers in the USA and Canada, contact \ dB \ J. G. (Jay) McKnight at: 105 bte Magnetic Reference Laboratory, Inc. vats,'. 1 \ re 229 Polaris Ave., Suite 4 Mountain View, CA 94043 tapeFt xtv` 1415) 965-8187 1 Exclusive Export Agent: Gotham Export Corp, o New York, NY a1 R-e/p 48 for additional information circle number 30 The author's portable MS/XY matrix system showing

separate output module featuring a bypass switch. Figure 3, with a photograph of a very compact portable unit. Layout of the wiring should be in a neat and orderly fashion and enclosed in a good quality housing. If the recording equipment is not of the broadcast type, 600 ohm impedance, then different matching transformers should be used. (See Table 1.) After the system is complete and checked for all possible bugs you are then ready for the road. This author contacted several schools and colleges which were all more than willing to have theirorchestra recorded, especially when there was no fee. The Modified MS Technique was tried out on a large symphony orchestra in a nearby college concert hall with a seating capacity of approximately 1,000 people. One hour was allowedforpreparation. The Can you use a remote readout, orchestra's chairs were set up allowing remotely programmable, the experienced recordist to visualize the center of the sound source. Most electro-optically triggered, standard set ups group the front chairs acutely sensitive, highly accurate for the strings and woodwinds in a semi- circle facing the conductor. This set up tape location system is almost "studio perfect" for the MS- for about $400? XY system. The microphones when placed on the boom extended to a If you're a recording studio, height of 14 -feet above the orchestra. broadcast studio, audio-visual As seeninthephotographs,the production facility, jingles house, microphones angled slightly downward demo studio or multi -media company, about 30 degrees. The cables were run to a nearby lighting room and the rest of you know you can. the equipment was set up. Within 30 minutesall was ready. During the orchestra's tune up the levels were adjusted and remained at that position until the end of the concert. The matrix was brought along, but not needed, to monitor the playback. As was expected the results were much improved over the formerly used direct XY and "Time Domain" systems. The final excitement came when this author had a chance to play back the master MS tape through his own home THE TAKE -FINDER BY system.Thesurprisewasthe extraordinary number of mixing possibilities that could be obtained from the recording, in fact it was very hard EL -TECH Ell even then to decide on a final mix. 16 Music Circle So.Nashville, TN 37203 (615) 256-1651 See us in Booth #2 at the A.E.S. Show. CIRCLE NO. 31 ON READER SERVICE CARD and the ART of TAPE DECK

For the very best Studio ALIGNMENT Construction available ... by Peter Butt usually wears nail bags - Heider-Filmways Recording carries hammer and tape Los Angeles - drives crew very hard and smiles all the while !! Lest anyone assume that this is isinfrequently undertakeninthe another one of those articles treating course of recording studio mainten- Occasionally, he's caught routine biasing and level setting of a ance. The job takes about three to four looking at plans.Is also multitrack tape machine, let us declare man -days, barring interruptions, parts known for doing work all that the subject under discussion here shortages, and loss of interest. The over North America, giving concerns the type of deck alignment subsequent utility of the tape machine firm estimates, exacting thatinvolves verification andhinges entirely upon the care and dates of completion and adjustmentof the tape deck thoroughness with which the task is mechanismitself.Weareabout performed. Experience has shown that No BULL !! mechanics firstly, and electronics as defects in the deck mechanics cannot they may affect that primary subject. be surmounted by bandaids applied He pleads guilty of con- The past year has brought me in elsehwere after the fact. structing the following intimate contact with two-inch tape The similarities between rebuilding studios : machinesofseveralspecies:The of the tape deck mechanism and Ampex MM -1100 and MM -1200, the 3M overhaul of an automotive engine are Record Plant, Los Angeles Studio C M-56 and M-79, and the Studer A-80. patently obvious. Those who have Let it be known that I am fully aware of donevery muchofeitherhave Century 21, Winnipeg, a 4k Canada, new studio the existence of such things as MCI's, regrettedtemporaryexpediencies,

Sound interchange Stephens, Telefunkens, and Lyrecs. taken in the interest of minutes saved, Toronto, Canada new studio Those makes of machines, and any afterthe job has become only a Superscope, San Fernando othersnotspecificallymentioned, memory. The time and care taken to California, new studio have not yet crossed my path. They are insure that each detail of the task is Chicago Recording Company excluded here only because I have not performed yieldsdividendsin the Chicago, Illinois, Studios 1, 2 and 3 had the opportunity to perform anfuture experience of that task, even Bill Szymczyk's Bayshore overhaul on even one of them, let alone though the nearest term benefit of such Recording Studios, Inc., four or five. pains at the time they are taken is Coconut Grove, Florida, The information and techniques to obscure, if perceptable at all. This, .0 new studio

Group Four, Hollywood, Calif. be shared with my fellow tape deck then, is about as far as we will delve

KBK Earth City Studios therapists will not be comprehensive intothe teachingsof Zen. Those St. Louis, Missouri with respect to any specific machine. I familiar with the fictional work by U Another addition for Village Recorders, Los Angeles, Calif. have noticed that over the time in Robert M. Persig,* after which this 2 which I have overhauled no less than article is facetiously entitled, may be five M-56' s, numerous M -23's and AG - moved to read deeper meaning into the E He leaves a trail of 'Happy 0 440's, four MM -1100's, two MM -1200's following text. Customers', and is easy to and four A -80's, that there are certain What followshas beenderived follow ... and his prices are s - methodsgivenintheapplicable pragmaticallyintheinterestof 0 fantastic !!! service manuals that can be improved expediency. Employment of the upon with practice. information willcontribute toward Comprehensive tape deck overhaul achievement of tape deck performance 00 Call for information and details resembling that of a new machine. RUDOLF A. BREUER Let us now proceed to the nuts -and - 805 / 273-3792 * "Zen and the Art of Motorcyclebolts portion of this presentation. The Maintenance", R. M. Persig, William first operation to be considered is the Lic. No. 238315 Morrow & Company, 1974. orderlydisassemblyofthedeck

R-e/p 50 Studer introduces the A80/RC the quality defies comparison... the price invites it

From now on you don't have to pay more money to get Studer quality. The new Studer A80/RC two -channel recorder costs the same as or less than two of the other three popular names. It sounds unbelievable. And it is the most perfect machine you can buy for any two -channel application you can think of. Because nothing but a machine created by Willi Studer records, plays, handles, and lasts like a machine created by Willi Studer. Now you have a choice: you can pay less for an A80/RC and get more tape recorder, or pay more for another brand and get less tape recorder. Visit Studer for a hands-on experience with the A80/RC or for full information, call: _J R EVOX

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for additional information circle number 33 R-e/p 51 mechanism.Beforethisiseven casethecauseappearedtobe determined band clearance that has attempted,preparationshouldbe permanentmagnetizationofthe worked well in practice is 0.010 to 0.007 made for the orderly storage of the solenoid slug. The remedy for this is toinches (0.25 mm to 0.18 mm) with the parts removed. Styrofoam cups make replace the entire solenoid and slug. solenoid bottomed. This dimension can fairly adequate containers for small Binding due to the accumulation of dirt be measured with a common feeler hardwaresuchasscrews,nuts, within the solenoid itself and withingauge. Figure 2 shows the technique washers, springs, etc. They may be the moving joints of the spring lever used to determine this clearance. Any sealed with masking tape and writtenarm pivot and the brake housing canadjustments necessary can be upon easily with ballpoint pen. be corrected by thorough cleaning. accomplished loosening and re- It has been my habit to return screws Lubricationshouldbereservedtightening the two socket head cap to their original positions, with their solelyforthespringlever/brakescrews that retain the brake band at accompanying hardware, if any, as ahousingpivot.Under nocircum- the solenoid end of the band. In the reminder of how things came apart. stances should the brake solenoid be case of the installation of a new band, Service manual illustrations are notlubricated. If a simple cleaning of the take care to see that the band has been always very explicit in the precisesolenoid parts does not result in an formed into an arc that conforms to the orientation of assemblies relative tounmarred, smooth slug surface,brake drum at all points of contact. oneanother. The 3M manualis replace the entire assembly. Even if theOtherwise the band will drag at one particularly austere in this respect. slug is polished it will quickly revert topoint while showing acceptable Memory joggers in the form of grease -its damaged condition after a short clearance at another. The result will be pencilindexmarksandwritten time of service. a periodic wow due to non -uniform reel identification can be invaluable when Because of the relative inaccessibil-tension. Remember; if it isn't right the time comes to put itall back ity of the Ampex reel motor assemblies when it is installed in the deck, it won't together again. when installed in the machine itself,get better after use. Hopes and dreams preliminary adjustment of the brakegive cause for contined progress, but Reel Motor Assemblies mechanism on the bench is highly this is one whose fulfillment should not The first assembly that presents desirable. We are primarily concernedbe counted upon. itself for convenient removal is the reel with the amount of solenoid slug travel motor and brake assembly. In the case required for proper brake operation of the MM -1100/1200, an index mark and release and the amount of should be made showing the relation ofclearance between the brake drum the assembly mounting flange and the circumference and the brake band. deck plate. As the motor is removed, its asbestos surface itself. The dimension identification as to supply or take-upfor setting of the solenoid slug travel, functionshould benoted, andfrom bottom to maximum extension, inscribed on the side of the motor should be about 0.75 inch,±0.02 (19 mm casing. The accumulated dust should±0.5). Figure 1 shows this dimension be removed and the entire assembly being measured and adjusted. moved to a clean bench area for The clearance between the brake inspection. band and drum,initsreleased The primary area for attention, ascondition,isvery important in far as the Ampex reel motor assembly insuring that the brake can indeed be Ampex brake band released completely. If the clearance is clearance check. is concerned, is the brake mechanism. Figure 2. Wear and/or hardening of the asbestos too great, it will not be possible to brake band surface material will make develop sufficient braking torque when While we've got this assembly out on itdifficulttoachieve theproper the brakes are applied. An empirically the bench, we may as well check into braking torques necessary for reliable some other aspects of its performance. deck operation. The eccentricity of the motor shafts At this time,it has been found here is not as critical as it is in the case valuabletothoroughlyclean the of the capstan motor, butitdoes surface of the brake drum cylinder and matter. Removal of the brake housing to remove any evidence of hardened permits measurement of the brake lubricant present about the moving drumeccentricity.Use ofadial joints of the solenoid/brake spring indicatorthat readsintenthsof lever mechanism. Removal of the link thousandths of an inch (0.0025 mm) pin that retains the spring lever to the willpermit direct measurement of brake housing casting will facilitate eccentricity. A peak -to -peak this cleaning and permit inspection of eccentricity of 0.002 inch (0.05 mm) is any wear occurringat thispoint. tolerablehere.The hub platform Application of a small amount of a eccentricity can be as great as 0.010 moderately heavy grease such as inch (0.25 mm) peak -to -peak without Lubriplate willcontribute to more causing trouble. Eccentricities greater reliableoperationof the brake than this should be investigated as to mechanism. their source. A bent motor shaft pretty Thistypeofbrakehasbeen much precludes repair at this level of susceptible to failure in the form of maintenance. The entire motor mechanical binding that prevents the Ampex brake solenoid assembly should be returned to Ampex application of the braking torque upon travel adjustment for repair in this event. release of the brake solenoids. In one Figure 1. Once again, concerning this,

R-e/p 52 Introducinc all the features youd expect from a graphic and a parametric equalizer. At a price you don't Under$450

A radical departure in circuit principles, Technics narrow any frequency band. Independently or both at SH-9010 stereo universal frequency equalizer offers the same time. Which means you can balance an the experienced technician and demanding entire string section or eliminate an annoying little hum. audiophile the flexibility of both a graphic and a Technics SH-9010. Compare specifications. parametric equalizer. Compare prices. And you'll agree there's no The five bands of each stereo channel have a comparison. center frequency that's independently variable. THD: 0.02%. FREQUENCY RESPONSE: 10 Hz -20 By turning the control knob below each slide pot, the kHz ( +0, -0.2 dB). 10 Hz -70 kHz (+0, -3 dB). center frequency can be varied up or down by as GAIN: 0 ±1 dB. S/N: 90 dB (IHF: A). BAND LEVEL much as 1.6 octaves. So, unlike conventional CONTROL: +12 dB to -12 dB (5 elements x 2). equalizers with a fixed -center frequency, the SH-9010 CENTER FREQUENCY CONTROL: +1.6 oct. to -1.6 oct. has no frequency blind spots:' What's more, each BANDWIDTH (Q) CONTROL. 0.7 to 7.0. CENTER band of the SH-9010 can adjust to overlap the FREQUENCIES: 60 Hz (Variable 20 Hz '\-r180 Hz), 240 adjacent band to further boost or attenuate a selected Hz (Variable 80 Hz --720 Hz),1 kHz (Variable 333 frequency width. Hz' ,3 kHz), 4 kHz (Variable 1.3 kHz' -J2 kHz) and 16 Incredible for the price? You're right. But what's kHz (Variable 5.3 kHz'\ --48 kHz). SUGGESTED RETAIL even more incredible is that variable center frequency PRICE: $449.95, is lust one of the SH-9010's advantages. Variable -CY Technics SH-9010. A rare combination of audio or bandwidth is another. With it you can broaden or technology. A new standard of audio excellence. *Technics recommended price, but actual retail price will be set by dealers.

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for additional information circle number 34 R :p 53 indicators are available having travel shaft after reel motor installation. that the settings are shown in the ranges of 0.008 inch (0.20 mm) or more Removal of the direction sensing Studer manual implies use of a special are readily available in the $50 to $70 mechanism requires onlya gauge device for the purpose as use of a range. This has been found to be more screwdriverandsocket -headhex dial caliper is awkward for setting an than adequateforservicingtape wrench. Replacement of the motioninside dimension. The travel between equipment normally encountered. sense flag bearing is done easily with a the brake lever and the lift pin, shown Another problem that sometimes small arbor press and is not much more in the manual Figure 4.1.-1, dimension crops up is a change in the elevation ofdifficult using a drill press and a 9/16" no. 1, should be 1.0 to 1.5 mm (0.039" to the hub platform assembly relative to wrench socket as a driving tool. Motor 0.059"). This dimension is much more theassemblyflangeplate.This shaft eccentricities are not very critical easily set if the thickness of the lift pin, problemiscaused by dropping ofand can be tolerated to as much as 0.156" (3.96 mm) and the thickness of heavy reelsof tape onto the hub 0.005 inch (0.13 mm) peak -to -peak with the brake band at the point of contact, platform, resulting in slippage of the no trouble.Ihave never actually0.055" (1.40 mm) are added to the entire motor shaft downward. There attempted repair of the motor itself, as directly given dimension as shown in have been several cases of this in my Los Angeles has a very reliable factory Figure 4. The required clearance is experience. The short term remedy is to repair center for the Bodine motors correct when the distance from the fashionashimof appropriate used in the 3M machines. No Mincom outside surface of the pin and the thickness, to make up for the slippage, reelmotors have failedin my outside surface of the band is 0.260" and place it on the rubber or corkexperience. The cost of Bodine motor ±0.010(6.60 mm ±0.25),with the turntable platform pad. repair has been about $30 per unit and solenoid slug fully extended. Positive evidence of shaft slippage turn -around times have been running The lift pin travel is checked by can be obtained by measurement of the about three days, typically. There isdepressing the solenoid slug to its distance from the bottom surface of the clearly no great incentive to undertake bottom and moving the solenoid until assembly mounting flange to the upper motor repair personally in this case. the brake band is released sufficiently surface of the turntable platform pad. The flag arm bearing should be to permit free turntable rotation. Check Figure 3 shows this measurement. The inspected to determine if it showsfor reliabilityof the brake release cogging due to internal wear and/or action and re -adjust if necessary. This high resistance to motor shaft rotation.entire operation can be performed Looseness of the outer bearing race outside of the machine if desired. that permits movement of the plane of Theconditionofthefrictional flag arm rotationishighlymaterial on the circumference of the undesirable. This sort of thing makes brake drum itself may be inspected by the proximity of the arm magnet to the removal of the reel platform from the sensing reed switches an uncertain assembly. Cleaning can be done with a proposition and results in deck control cotton swab soaked in alcohol solution. problems. Many noisy brake and fluctuating These motorassembliesareso brake tension problems can be cured by Ampex reel platform simple that there is very little more to simply cleaning the frictional surface. height measurement. say about them. The exact positions ofIf replacement is necessary, the entire Figure 3. the mounting plates can be recorded by drum must be ordered. dimension,accordingtoAmpex, marking the edges of the plates on the should be 0.896 inch ±0.003 (22.75 mm, main casting surface prior to theirTape Guiding ±0.08) for the MM -1200 and 0.912 inch removal for convenience in All tape decks are designed to handle ±0.003 (23.16 mm, ±0.08) for the MM - repositioning upon installation. Eventape at some specific distance above 1100. that is a relatively minor matter. some reference surface. Knowledge of Shaft slippage cannot easily be The Studer A-80 reel motor assembly what the designers had in mind in this remediedwithouttheaidof the is a bit more complicated than the 3M. regard is a great help in bringing appropriate pulling tool for removal of Studer does provide suggested brakeguiding tolerances back within the hub assembly from the motor shaft. band setting dimensions for brakeoriginal limits. Any attempt to pry the hub from the band and solenoid travels. The way The Ampex MM -1200 and MM -1100 shaft will result in a bent shaft that willcertainly make the motor unusable. Makeshift shimming is the only remedy for sinking reel platforms, -10.260"(6.60mm) short of return to the factory. If the lift pin clearance, platform should sink far enough to solenoid relaxed. interfere with the mounting flange, there is no real alternative. Reel motor assemblies used on the 3M M-56 and M-79 transports are considerably more simple than they are in the case of the MM -1200 and 0.103" (4.01mm) MM -1100 machines. The hub solenoid bottomed. assemblies are easily removed using appropriate socket -head hex wrenches. Reel height can be determined easily FIGURE 4. byraisingorloweringthe hub Top view of Studer reel motor and brake assembly showing critical dimensions. assembly to the proper height on its Figure 4.

R-e/p 54 If listening isyourprofession...

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for additional information circle number 36 R-e/p 57 ... continued from page 54: decks are designed to carry the bottom guides on the head assembly are at the edge of the tape at a height of 1.000 proper height. The milled lands on the inches above the aluminum deck plate. undersideof the head assemly Since the deck plate itself is onlymounting plate should measure accessible after removal of the head 0.6400" (16.25 mm) to the top surface of assembly,reelmotors,tensioning the plate. Removal of each of the transducer, tape guides, tape metering stationary guides, in turn, will permit mechanism,capstanmotor,pinch measurement of the base heights. roller assembly, and tape -break arm These should measure 0.3600" (9.14 assembly,itisnot generallymm). The sum of these two convenient to have access to the entire measurements should be 1.000" ±0.001 deckplate.Allof the necessary (25.400 mm ±0.025). Again, except for 3M M-79 guide height measurement. measurements can be made indirectly. the need for replacement, shimming Figure 7. Removal of the two rotating guideshould not be necessary. Figure 6removed, observe that there is no assemblies and the head assembly will shows these dimensions relative to one eccentricityevidentastheyare expose the reference surfaces of the another. removed from their respective threads. deck plate. Since warpage of the plate The 3M deck was designed for aAny eccentricity apparent to the eye itselfisfairlyunlikely, we shall lower edge tape height of 0.8125" (20.64 indicates a bent retaining stud which presume that the plate is flat and mm) above the milled surface of the must be replaced with a straight one. smooth over its entire surface, exposed deck casting. This dimension may be No cheating here, please. A bent guide orotherwise. Disassemblyof the verified in the same way as for the MM- will cause bowing of the tape and rotating guides will permit1200. Removal of the tape guide possiblecreasing. The tape path measurement of the combined heightretainingstuds permits the entirethrough theIsoloopwillfluctuate of the idler base and the spacer below guide assembly to be removed from the causinganexcessiveamountof it. The combined heights of these twodeck. Measurement of the guide base dynamic skewing. A bent guide cannot pieces, measured from the guidingheight is done as shown in Figure 7. be adequately corrected for with pinch surface that contacts the bottom tape The M-79 models seem to have guides roller adjustments later on. edge, to the surface of the milled that are within 0.001" (0.025 mm) of the Tape height for the Studer A-80 circular surface on the bottom of thespecifiedvalue. M-56 machines seems to follow just naturally. There is spacer, should be 1.000 inches. Figure 5 frequently require some shimming. no publishedspecificationfor the shows this measurement. The base height for the incomingheight of the tape relative to any I have always found this dimension and exit guides is the same. The reference on the deck. Measurements of tobecorrectasinstalled. Repair clearance between the lower and upper several head assemblies show that the actions necessary have been limited to guidingsurfacesis2.000"+0.001, lower tape edge rides about 1.616" replacement of the idler base or simply the plane defined by rotation of it to expose an unworn case of the incoming guides. The exit the three milled bosses at the head guiding surface to the tape. guides have wider clearance of 2.015" assembly mounting screw holes. There The same indirect method can be (51.18 mm) typically. is a gauge block available from Studer used to establish that the stationary As the guide retaining studs arefor setting the head height, however, there aren't many of those around. The only time it has been necessary to be concerned with head height is in case of head replacement. This is not an everyday occurrence. Studer, Nashville seems to be agreeable to providingloaner headassemblies while the owner's heads are being replaced. That is probably the best route to take if head replacement does Ampex rotating guide height measurement. appear necessary. Figure 5. The heights of the rotating guiding surfaces all along the tape path are determined by the shimming of each individual assembly. A shim kit is available from Studer as an aid to the user. 3M likewise will provide a kit of shims for a fee. The last resort (or is it first resort?) for shims is your local machinist's supplier. They should be obtained in thicknesses of 1, 2, 5, 10, and 20 thousandths of an inch. I'm not surewhattheequivalentmetric increments would be, but they should workouttobe aboutthe same increments. Since the height specifications for Front elevation view of Ampex head plate and fixed guides. each of the Studer guiding components Figure 6. is not available, and hard to measure

R-e/p 58 q/amaha geideA. 4Anirxeit ,frnaidt jo4.

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for additional information circle number 37 R-e/p 59 AdjustmentoftheStuderedit solenoid position presents somewhat of a conflict on some of the A -80's of my experience. At times thesolenoid plunger -connecting rod coupling pin clearancespecification and the subsequent pinch roller/capstan clearanceinedit mode may not compliment one another. Adherence to the plunger -connecting rod pin

3M pinch roller tilt adjustment. Figure 10. because the feeler gauge tends to not fit process is shown in Figure 11. well into the low contact valleys of the Setting of the clearance between the capstan. Studer pinch roller arm and the pinch The effecacy of this method may be roller tensioning arm is an important checked by slipping a piece of onion as well as awkward operation. The skin paper backed with a piece of fresh difficultyliesinmeasuringthe carbon paper through the energizedclearance as it is being adjusted. A capstan -pinchrollerinterface.A spark plug wire gauge works out nicely uniform print indicates uniformfor this task. The use of the gauge is pressure over the width of the pinchshown in Figure 12. A clearance of roller. As an added bonus, this method 0.022" (0.56 mm) is most convenient as results in less breakage of the upperthatisthe smallest dimension pinch roller shaft support bracket. represented in the set of wires in my The Studer A-80 pinch roller gauge. It is reasonably close to the 0.5 mechanism is the most complicated ofmm maximum value given in the all. The procedure given in the manualmanual. is generally fairly adequate with some The Studer pinch roller tension Studer pinch roller tension minor variations. The relaxed pinch specification of 2.6 to 3.3 lbf (1.2 to 1.5 arm clearance adjustment. roller/ capstan clearance adjustment is kgf) works fine. I tend to favor the Figure 12. easier if the tires are removed from thehigher limit for 2 -inch transports. clearance specification can result in an pinch roller assembly and the relaxed Vertical end play clearances for theedit mode pinch roller clearance such clearance between the exposed drumpinch roller and compliance rollerthat the moving capstan will contact and the capstan shaft is set to 1.325" assemblies is typically less than 0.002"the oxide of the tape. i0.010(33.65 mm ±0.25). This(0.05 mm). This value seems to be The Studer manual calls for an edit dimension is arrived at by taking theconsistent with acceptable tapemode capstan -pinch roller clearance of tirethicknessintoaccount.This tracking tolerances. about0.157"(4.0mm).Thisis consistent with my intuitive tendency toavoidtapeabrasion wherever possible as this clearance does not cause the tape to contact the capstan. An acceptable compromise that has stood the test of a short time is to adjust the edit solenoid so that the tape is brought to a distance of about 0.015" (0.4 mm) from the capstan in edit mode. Pay careful attention to the adjustment of the Studer pinch roller assembly. Take care, also, to avoid exertingexcessive torques on the solenoid retaining screws. Aluminum threads are not tolerant of macho adjustment techniques. Tape Tension Transducers The Ampex MM-1000/MM-1200 tape tension sensorisa spring -loaded, cantilevered arm which is deflected by the action of the tape under tension. Studer pinch roller -capstan clearance adjustment. The movement of the arm causes the Figure 11. distribution of light from an

R-e/p 62 Better ideas forbetter

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for additional information circle number 39 R-e/p 63 incandescent lamp to change between disc. This is because the contact points nut is then tightened and the wiper two photo detectors. The procedure for of the armature with its solenoid occur voltage is then checked again. Not only alignment of this mechanism is given along the periphery of the disc, andis this method easier and faster, it in the Ampex manual and works well. therefore this is the place to measure it. contributes to one's mental hygiene in Take care to verify that the tape guide Also, the three studs that are adjusted a positive way. post that contacts the tape is verticalto determine the armature clearance (i.e., parallel with other tape guidesprotrude slightly on the underside of that are supposed to be perpendicular). the armature. Contact of the feeler See that the cap screws that secure thegauge with the protruding studs will sensing bar are tight enough to prevent yield a false indication of armature drift of the guide. clearance. Also, see that the cylindrical sleeve The clutch clearance adjustment is that slips over the tension sensing armvery important in the proper operation vertical post does not easily slip up onof the reel motor servo system. Any the post. Secure the sleeve to the shaftinterference with the free rotation of with a drop of Loctite compound to the tape tension sensors will obviously prevent mis-alignment of the sleevecauseunreliableservo system that could cause creasing of the tape on operation. the lower edge of the sleeve. The tension sensor damping element The procedure for calibrating thereturn spring should now be set for tension sensing mechanism given insufficient force to gently return the theAmpex manualisotherwisesensor mechanism turntable fully to its adequate. Sensor calibration should atrest position after being deflected to its least be checked to verify that the reelmaximum tension position. Check this servo system will be operating close torepeatedly to verify that the return the center of its dynamic range. actuation is reliable. Studer tension sensing The 3M machines have no tape The electrical part of the Studer tape potentiometer adjustment. tension servo system and thereforetension sensor is located at the bottom Figure 14. tape tension sensing is a moot point. of the assembly central shaft. It is a The Studer A-80 uses a spring -precision potentiometer whose outputTape Lifters loaded,viscous damped,turntablevoltage is proportional to the amount The Ampex MM -1100 and MM -1200 mechanism to determine tape tension.of tape tension sensor deflection. tape lifter mechanism has been known Within the turntable assembly is a The Studer manual presents us with to cause some trouble if not carefully solenoid operated clutch that holds thea minor case of cart -before -the -horse - installed and adjusted. Removal of the assembly in a static position whenism at this point in the deck alignment head assembly is necessary for access energized by the edit logic. procedure. We are instructed to checkto the "C" clips that retain the two The reliability of clutch operation is for the presence of a 20 Volt drop across mechanism pivot shafts to the deck affectedbythegeometryof thethe potentiometer body terminals priorplate. The lifter assemblyisalso armaturedisc.Studer'sarmatureto the adjustment of the 20 Volt retained by two socket head cap screws adjustment method can be verified byregulator that supplies this voltage.that are accessible under the tape use of a 0.007" (0.18 mm) feeler gauge. Clearly,thereareadvantagesto tension sensor photo sensor cover. The The relaxed armature - solenoidsetting the proper power supply railentire assembly can be dropped down clearance is given as 0.0059" to 0.0079" voltagespriorto making otherfromitsnormal position and (0.15 mm to 0.2 mm). The adjustment is adjustments that are dependent onwithdrawn through one of the access shown in Figure 13. Note that the feelerthem. ports at the left side of the deck. The gaugebladeisheld towardthe As far as the calibration of the zero MM -1100 tape lifter assembly will have circumference of the clutch armaturetension potentiometer reference to have the solenoid leads unsoldered positionisconcerned, the methodfor complete removal. The MM -1200 given in all the Studer manuals I've has a connector at this point. seen has another disadvantage: that Disassembly and cleaning of the method doesnot appear tobe solenoiditselfisjustabouta physicallypossible.Accesstothe mandatory ritual at this point. The potentiometer coupling arm set screw normal rules apply for determining the is difficult at best and impossible in the needforsolenoidreplacement. A remaining cases, without disassembly modest application of Lubriplate to the of the lower portion of the tape tension moving pivot pins is not a bad idea sensor mechanism. If that were not after the old lubricant has been cleaned enough, the potentiometer shaft is too away with alcohol. shorttopermit anycontrollable If the solenoid slug travel is set to rotation of it relative to the coupling 0.95" ±0.02 (24.1 mm ±0.5), the lifters arm even if one successfully loosens will move enough to clear the tape from the coupling arm set screw. heads and notimpactthelifter A more workable method is to loosen clearance slots in the deck plate. Figure the potentiometer bushing retaining 15 shows this adjustment. nut, as shown in Figure 14, and rotate The latest MM -1200 has a Studer tension sensor brake the entire body of the control until thethumbscrew adjustment for modifica- armature clearance adjustment. Figure 13. specified wiper voltage of 2.6 Volts is tion of the lifter linkage travel after achieved. The potentiometer bushing installation in the deck. It's a good idea

R-e/p 64 down and the sleeves have slipped installed in two different ways thatare either way, on occasion. While the apparently correct at first glance. The mechanism is out where itcan be beveled side of the lever must be facing worked with easily, it might bea good the solenoid coil if binding is to be idea to remove the lifter posts and their avoided. sleeves and re -install the posts with Theliftershaftrotatesintwo Loctitebearingorstudretainer extended inner race, flanged bearings, compound. The sleeves can be retained one located at the top surface of the with a drop of the non -hardening type deck casting and the other below. The of Loctite used earlier to secure the tape shaft is retained by a crown lock nut. tension sensor post sleeve. This lock nut should not be tightened Reassemble the tapelifterany more than is necessary to leave mechanism after the Loctite has set about 0.002" (0.05 mm) vertical end and re -installitin the deck fromplay of the shaft. This precaution whence it came. Energize the deck and preventsaxialoverloading of the verifytheproperoperationand bearings, which are suited more for reliability of the lifters. radial loads. This same clearance is The 3M M-79 and M-56 lifters Ampex tape lifter mechanism are permissable in regard to the pinch solenoid travel adjustment. considerably more simple than those of roller arm shafts which are retained in Figure 15. the Ampex. A solenoidactuation the same way. causes rotation of a single shaft that The reason that freedom of tape lifter to mark the original position of thiscauses the lifter posts to be extendedmovement is of such interest is that a thumbscrew prior to disassemblyas beyond the tape path as it passesover lifterthat binds adjustments within the confines of the in the extended the heads. positionevenslightlycancause MM -1100 and MM -1200 chassisare Adjustment of the mechanism iscreasing of a master if the deck is less convenient than doing it ina substantially a cut -and -try procedure. normal work area. placed in the play mode directly froma The plane of the solenoid slug travel fast forward or rewind mode. The extra One problem has plagued both themust lie within the plane of the lifter MM -1100 and MM -1200 length of tape within the capstan loop lifter mechanism shaft lever. The shaft lever upon the appliction of the pinch rollers mechanism. That is that the lifteritself must be installed in theproper posts and their sleeves are assembled will take a few seconds to pass by the positiontoprevent mechanical capstan during which time there will using only a press frictionfitfor binding of the lifters in the extended be no tension within the loop. retention. The lifter posts have slipped position. Note that the levercan be Many tape operators findit

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for additional information circle number 40 R-e/p 65 convenient to manually depress theof normal service. Figure 16 shows an drum should be less than 0.0003" tape lifters of 3M machines for the M-79 capstan being checked. It's a little (0.00762 mm) peak -to -peak. The purpose of reviewing the tape as iteasier if this is done with the pinch measurement is shown in Figure 17. slews at high speed. Less stress is roller arms and guides removed. The appliedtothelifterpostsandpeak -to -peak eccentricities observed in mechanism if the lifter solenoid slug is factory -new capstans runs about 50 not quite able to bottom when themicroinches (0.00127 mm) for Ampex lifters are extended to their limits. This machines, about 25 microinches is a cut -and -try adjustment also. It is(0.00635 mm) for 3M and Studer worth doing, though, as it tends tocapstans.Rejectionofacapstan promote a more kindly attitude of the should be considered when operator toward the machine and its eccentricitiesof100 microinches operating mannerisms. (0.0025 mm) are observed. That brings us to the Studer tape Capstan wear is another factor in the lifter mechanism. Because there aren'tdecision to replace a drive assembly or any, we can move on to the remainder continue it in service. Ampex MM- of our discussion. 1100/MM-1200 capstans measure very closeto 0.07625" (19.3675 mm). Capstan Drives Mincomcapstansleevesmeasure A capstan ought to be parallel with 1.9085"(48.4759 mm) and 1.9028" the other surfaces that contact the (48.3311 mm) on their large and small tape. The way that the Ampex, 3M, and diameters,respectively.The most Studer two-inch transports arecritical factor concerning 3M capstan constructed, it is hard to change what wear is the condition of the edges of the has been wrought by the manufactur-ridges and whether any rounding of er. Any machine that has been inthe ridge edge corners has occurred. satisfactory service for some time, andThe ultimate testis whether tape has not been dropped from an airplane squirm can be eliminated within the or stored in salt water, should still have limitsof pinchrollertension itscapstan ina reasonably goodadjustment. 3M reversing idler geometry. The difficultiesof a The Studer capstan diameters eccentricity measurement. perpendicularity measurment in a fieldmeasure 0.3564" (9.05256 mm). The Figure 17. situation leave little alternative but toamount of wear on any capstan can be Removal of the idler drum top cap presume that all is well enough to getgauged by measuring the diameter ofprovides access to the two bearings. by with. the worn portion and comparing that The perpendicularity of the assembly Eccentricityisanothermatter.dimension with the diameter of a part shaft can be verified by resting the Motor bearings eventually do wear andthat does not contact the tape. assembly on its top drum surface, motor shafts can be damaged. The In all cases where eccentricity hasinverted with top cap removed, and easiest way to pass a judgement on thegrown toexcessive values,it's measuring the eccentricity of the shaft acceptabilityof any capstan driveprobably easiest to return the entirebase. A bent shaft will be indicated by system is to determine the eccentricitycapstan assembly to the manufacturereccentricity in excess of the tolerance using a dial indicator and stand. foroverhaul.Theselectionand given for the drum. The only remedy is I have found that this is most readilyinstallation of bearings for exactingreplacement. Attempts to slip shim done with the capstan mounted in itsrequirements such as these is a rather stock under one edge of the base are not deck. The 3M capstan should have itsspecializedmatter.Manufacturers likely to be fruitful endeavors. A bent drive belt installed and adjusted to theseem to be receptive to exchange idler shaft will cause the tape to walk proper tensiontoinsure that thearrangements at reasonable cost. up or down within the Isoloop and measurement is taken under bearing cannot be corrected for. load conditions that are close to thoseOdds and Ends Studer rotating idler eccentricities There are a few remaining items inare acceptable at 0.0003" (0.00762 mm) the tape path that are peculiar to the or less. Deviations from perpendicular- individual make and model ofity can be determined by checking the machine. The Ampex machines have peak -to -peak vertical deviation of the the tape metering and tachometerroller guide with a dial indicator. assembly.Theverticalityofthe Anything more than 0.001" (0.025 mm) rotating drum is less critical than for is cause for corrective measures. other components in the tape path because it occurs after rather thanParting Comments before the capstan. Tape transport machanisms are The two bearings in the tape timerdelicate entities of a highly precise tachometer assembly should benature. Their cost certainly warrants replaced if they show any resistance to the exercise of great care in inspection free rotation of the drum. and repair. Anyone contemplating the The 3M reversing idler assembly is a extensive overhaul of any tape deck matter of great importance both in should give himself every possible 3M capstan eccentricity permitting stable tape tracking and in advantage that could influence the measurement. achieving acceptable flutter success of the project. Figure 16. performance. Eccentricity of the idler Acquisitionof the necessary l?-e/p 66 measurement toolsshould not be overlooked as a frivolous luxury. A TABLE 1 BEARINGS COMMON TO AMPEX, good quality dial indicator, stand, dial MINCOM and STUDER TAPE DECKS caliper, one or two micrometers of 1 Quantity and 2 inch capacity having tenths of per Bearing thousandths resolution, and a set of Application Assembly Number feeler gauges can be had for under Ampex MM -1200 Rotating Guides 2 Barden #SFR4SSZZ3B3-1352-2C $200. It is to be emphasized that the job Ampex Tape Tachometer Drum 2 MPB #S38RHH7P28L01 Ampex Pinch Roller 2 Ampex #164834-03 cannot be done without these items. 3M Pinch Roller Failure to make an expenditure of this 2 MPB #S814FRHH7P28L01 magnitude in the course of restoring 3M Pinch Roller Arm Shaft a 3M Tape Lifter Shaft 2 Fafnir #AMF5DD C1 capital asset costing $25,000 to $40,000 Studer, All Applications* GMN #SS61900-2ZWA7NX12F2 is not an economy. `See Studer mechanical Anticipate the parts needed. Kit parts listing for quantities for each assembly. those parts prior to starting work. Table 1 is a compilation of the bearings found in the machines discussed here. The common bearing numbersare and/or those having special light oil those that will be adequate to the given here is not comprehensive. A lubricants may have tobe backcomplete overhaul manual for each of appliction. Experience has shown that ordered.Itistherarebearing these machines would be a lot thicker a bearing ordered by the numbers salespersonwhoappreciatesthe than this issue of R -e/ p. This data has listed will result in a bearing that is necessityofthehighestquality been born of repetition and experience, manufactured in the real world and standards for an audio application. Do both sad and gratifying. It is offered will satisfy the appliction noted. Some not be dissuaded from pursuit of thefor what value it may have to the of the items may be over -specified to part needed rather than the part thatindividual whose tape machine is not quality levels that the manufacturer happens to be available for immediate may notfeel what it used to be. isjustified. The delivery. Remember: keep yourself aware of philosophy supporting this practice is Once again, let us recall that thiswhat you are doing at all times. Take "bettersafe thansorry."Bearing discussion of tape deck maintenancetime to think about what you're doing vendors will be able to cross reference techniques is intended as a guide to the the and to observe the way things are. Try part numbers giventoother deck therapist where the manufactur- not to substitute wishful thinking or manufacturers as availability may ers service manual and/or commonpreconceptions for reality and you'll dictate. Higher classes of bearings sense seem to fail. The informationprobably come out all right. Unplug it with !vie The built-in calibration microphone is equalized to The IE-10A. the IE-10A case to ensure flatness. An external input is provided for on-line signal monitoring and use with a complete audio analysis other types of microphones. system in the palm of your hand. From the equalization of rooms, speakers and tape recorders to noise analysis and sound pressure Ivie just eliminated the power line cord on profes-level testing, the IE-10A is an audio pro. Using inex- sional audio test equipment. Our state-of-the-art de-pensive accessories the IE-10A will also measure signs are going portable. You can leave those heavyamplifier power, voltage and total harmonic distor- boxes and their extension cords in the office, be-tion. If you think our specifications are impressive cause the new IE-10A Audio Spectrum Analyzer . . puts audio analysis in the palm of your hand. you should check out the prices! So get "unplugged" The IE-10Aisan extremelyversatileaudiowith an IE-10A. Ask us for a brochure, or see your analyzer combin ing the power of a sound level local Ivie dealer for a demonstration. meter with that of an octave bandwidth Spec Briefs spectrum analyzer. Calibrated in bo h dB SPL and dBm, the unit measures a broad Frequency Range 22Hz - 22KHz. variety of signals quickly and accurately. 45 dB "on -screen" display range. Ten octave channels w/160 LEDS. Selectable 1, 2 or 3 dB resolution. Calibrated 45 to 140 dB SPL (A or C). Calibrated - 116 to +9 dBm. Rechargeable Nickel - Cadmium batteries. Weight is 15 ozs. (430 gms).

For free literature and data, contact: eIVIE ELECTRONICS, INC. 500 West 1200 South Orem, Utah 84057 (801) 224-1800 Or return the reader service card.

for additional information circle number 41 R-e/p 67 WHERE, OH WHERE DID MY PRESENCE GO? by William H. Hall (What every engineer should know about noise reduction.)

Awhile ago I had the opportunity to During development of the Timeget very technical about the different hear adirect -to -discrecordingWarp and our other digital wonders totypes of noise reduction systems, and reproduced on a very good systemcome, we have become quite familiarcertainly not into the merits of each while visiting a local company here inwith most ofthe advantages andtype.Thereare,however, several Dallas. I was very impressed by what I disadvantagesofnoisereductioncharacteristics of most systems which heard. The presence and realism of thesystems.Almosteveryform of need to be explained, and which can program material was mind boggling. transmission system requires someimprove the sound quality derived from These days, about the only time I hearform of dynamic range improvement,multi -track recording equipment. First that type of transient audio response is and with the continued drive for everof all, all noise reduction systems utilize on live, two track recordings, and at the and ever greater dynamic range, nowsomeformofcompressionand studio on a trial mixdown from the 16approaching 100 dB, noise reductionexpansion to achieve a signal-to-noise trackmachine,withoutsignalsystems are a definite requirement. improvement in a primary transmission processing. It is not the purpose of this article tochannel. This device can be a multiband unit or utilize a simple dynamic ratio of compression/expansion. Both designs are capable of extremely good

performance...provided the dynamics CLEARLY TANNOY° of the storage or transmission system 01 are not exceeded. Good tidings Pilgrim! The Problem The monitor speaker loved by most All of our transmission and recording British recording engineers has landed mediumsarenon-linear, and found freedom in a system especially engineered by today's acoustical when close to the extreme limits of the standards. dynamicrange.Clipping,mushing, In an enclosure tuned maximally splattering, and TIM are all there, as flat down to 37 Hz, a special version of the 15" Tannoy Dual Concentric they are so well described in all sorts of SPL/TANNOY 4437A Monitor Speaker develops 122 dB, literature. The compression system is maintains phase coherency throughout often used with the idea that it is to be a all angles of dispersion, and sings so sweetly. buffer against these over -modulation problems.. . and, they could be, with PURELY BASSIC the exception of one basic little flaw. For spacious studios and par- Gain reduction machines areafter the ticular bassists, SPL unites fact machines.It takes a finite amount the excellence of a Cerwin-Vega 18" woofer with some popular oftimeforthecompressionor Australian technology for a expansion system to react. monitor bass system that is Figure 1, is a good illustration of the flat to 25 Hz and handles 300 watts! overshoot problem. The compandor is Now, just because these systems being subjected to a 25 cycle burst of 1 sound great does not mean their kHz sine wave, and the differentiating prices will land you in debtor's prison. action of the compressor could cause The Colonies have come of age! SPL INFRASONIC 3118A bad overmodulation in a recording or transmission channel. For specs, dealer info, and a good time, contact: The long negative spike as shown in the photograph is a transient generated bpd bythecompressor,andisa Studio Professional Loudspeaker Co. characteristic of the design used for this 2454 N. Beverly Glen Blvd. Los Angeles, CA 90024 illustration. 213/274-8607 Continued overleaf -

L.A. Area Dealers: Audio Industries/Hollywood Coast Recording Equipment Supply/Los Angeles Creative Audio/Santa Monica Sound Chamber Audio/North Hollywood William H. Hallis vice-president of engineeringfor MICMIX Audio Products in Dallas, Texas.

R-e/p 68 for additional information circle number 42 AirStudios-London selected theNeve/NECAMcomputer console as the only approach to automation.

Air Recording Studios, one of the most prestigious Why is NECAM superior to other systems?Firstly, it's music studios in the world, was the first to installthe the instinctive update of the mixprogram, without the revolutionary NECAM computer aided mixingsystem need to do anything but tomove the fader. No update in December, 1976. Since that time, the studio has or write buttons to press. No coincident lightsor virtually been booked around the clock, withthe meters to null out. No flashing LEDs to consider. Just NECAM console receiving unbelievable praisefrom listen, move the fader and it's memorized! leading artists, producers and engineers in the music Secondly, it's the integration of the tape machine world. A great commercialsuccess for Air Studios. A technological triumph for Neve. controls with the NECAM system. Asyou go along, NECAM remembers your starting and stoppingpoints There is no other system even approachingthe on the tape. You give simple instructions to the performance of NECAM. It can store and recallas NECAM control panel and the tape locates to theexact many mixes as you like, instantly. The "Merge" bar or take, automatically! function lets you combine different sections from each Sounds incredible? Believeus, it does. Mixes of a of 24 tracks with different mixes-all withouttouching greater complexity than ever before can be achieved the master tape or losing the original "memorized" with NECAM-and in less time. It doesn't doyour job information. And it does these things instantly, for you-it simply creates more time foryou to be simply and perfectly... at the touch of a button on the creative. small NECAM control panel. NECAM even runs your Please contact us for all the details. NECAM isin your multi -track tape machine foryou. future. Air Studios accepts bookings. Call England 01-637-2758

Rupert Neve Incorporated, Berkshire Industrial Park, Bethel, Connecticut 06801 Tel: (203) 744-6230, Telex: 969638 Rupert Neve Incorporated, Suite 609, 6255 Sunset Blvd., Hollywood, California 90028 Tel: (213) 465-4822 Rupert Neve of Canada, Ltd., 2717 Rena Road, Malton, Ontario L4T 3K1, Canada Tel: (416) 677-6611 Rupert Neve & Company Ltd., Cambridge House, Melbourn, Royston, Hertfordshire, SGB 6AU England, Tel: (0763) 60776 Rupert Neve GmbH, 6100 Darmstadt Bismarckstrasse 114 West Germany, Tel: (06151) 81764

for additional informatiorveircle number 43 R-e/p 69 drums, or cymbals had been transmitted through the channel some of the presence would have been lost.

The integrating action of the expander is shown in Figure 2, and is a typical response of this design, to a 25 cycle burst of 1 kHz sine wave. The compression and expansion curves of the compandor are reciprocals of each other and can The Cure complement each other without noticeable distortion when Very simple. Reduce the gain!! Going back to our connected by a wide band linear transmission system. demonstration system, the next photograph illustrates the same system with the same tone burst, only reduced in volume by 6 dB. This reduction allows headroom for the spike, and reconstruction is close to the original tone burst as shown in Figure 5.

giii1112111111111MMMMIIIP iiIiI11111111111111111111MP

The next photograph (Figure 3) illustrates the action of a fully saturated transmission system which clips off the 41111111111111111111=111111111111H1 leading edge of the sharp wavefront. As we explained, in the demonstration system the long spike is definitely a part of the wave train, and is necessary to reconstruct the burst.

If you question that the sharp edge in your recording system is not quite what you think it should be, it might be worthwile to borrow a function generator and scope and evaluate your noise reduction system. By applying a burst signal into the input of your console, you can easily check the overshoot spikes generated by the noise reduction system. If you check before and after the tape recorder with the scope, it is not difficult to estimate if the leading edge of the pulse has been cut off by either the line amplifiers, or the tape system. The little discussion presented here is, of course, no cure- all for what ails you, but it might help to restore some of the presence which is easily lost by heavy signal processing which is normal in today's multi -track studios. Direct -to- disc recording, which is the rage at this moment, does have Figure 4 is a close view of the input to the compressor and a different sound indeed, but would be difficult for many output after the expander when the leading edge is clipped types of recording which require multi -track facilities. With by the transmission medium. Without the steep wavefront a little care, and an understanding of the recording process, transmitted to the expander there is no way to recreate the as well as the equipment involved, the difference between original tone burst. If any transient sound such as piano, the two techniques can be very small, indeed.

R-e/p 70 8 to18 from 749...

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R-e/p 71 for additional information circle number 44 CAN YOU USE A BUDGETCLIC-TRAC? by Lewis Mark

The recording industry needed it... so Stanton developeda new stylus system for playing back stamper: Stanton Magnetics is proud to introduce the How many times have world's first and only stylus system Model 681 you found More often than not the onlyway into a BPS*: capable of playing and repairing metal yourself in a session witha rhythm board is a microphone inputor direct stampers and matrices. section that kept time toa dripping Up until now, it was impossible to check the water box anyway so this way might be best, quality of the matrix until the metal mother was faucet,staticelectrical especially if you don't want to hardwire made, or the plating quality in the stamper, discharges in the monitor speakersand it in or you use more thanone studio. A until actual records were pressed. By intro-every single man marching in the movie ducing this new special stylus system, Stanton male Cannon connector would also is offering to the record industry the tool which "Bridge Over the work fine, but the will save precious time, improve the quality of River Kwai", all at the records, and offer a new way to evaluate the same time? 1/4 -inchjackhas the quality of the pressing by comparing it to some otherad- the first generation copy of the master matrix. Keeping the beat vantages which I'll Because this new 681 BPS stylus system isisn'tall that easy designed around the famous Stanton 681 even describe later. Calibration series, its performance is recog- though nizably superior, and matches that of a 681 some drummers Construction Triple -E Calibration Standard cartridge. and bassists TheClic-Trac Stampers and matrices being negatives ofmight the record require a counter -clockwise rota- disagree can be built into tion of the turntable** and a custom mounted withme.What any old box you tonearm, or a special arm with head shell off-can you do to help set in the opposite direction. have handy, such The new stylus system has two models: the them? Or should as one of those BPSR, which tracks at 3 to 7 grams, for mak- you just hope for ing minor repairs on stampers; and the BPSM, the best and find plasticRadio which tracks at 1 to 11/2 grams, for stamper Shack boxes for a outduring and matrix evaluation. the buck.Also,the Audiophiles, who think highly of the profes- piano overdubs sional quality of Stanton products and usethat parts layout isn't them for home entertainment purposes, will the sixteen critical so you can find it difficult to use this new system . . . un- bar countdown by the drummeris make it as small as youcan comfor- less the distribution of metal stampers heads VSO'd 21/2 times slower than the this new system Stanton maintains its position rest of tably squeeze it.I built mine on an old as a prime innovator and supplier to the re-the tune. (Believeme, it happens!) Can terminal strip out of my junk box, Refer cording industry. you stand the suspense? No? Well, to the schematic for wiring detail and For further information write to: then, it's probably easier to buildthis don't forget to use spaghetti tubingon Stanton Magnetics budget Clic-Trac. This device will plug wires which are exposed too close to Terminal Drive directly into your board and provideall Plainview, N.Y. 11803 each other. Also, use mylar capacitors the clicks you'll need in perfectmetro- when you build this device. UJT's just nome time. don't like to see leakage, andany other type of capacitor will have too much. I When I built mine, I installeda 1/4 -inch chose 9 Volts arbitrarily and found itto phone jack for the outputso I can plug produce a good, clean output. Since into a direct box and assign it toa track. voltage output is directly proportional sTamun Lewis Mark is an independent engineer/producer working in the *Patent applied for. Los Angeles area. -Stanton is even making special turntables for this purpose. R-e/p 72 Recording

The MoneyMachines The top performer inany With A Money Machine known as The Money business is the topmoney you'll find you've got quality Machines. While theysave maker. And it's no different that lasts. From the groundup you money, they make you whether your business isau- every Money Machine is bet- money. But don't just take our tomobiles or race horses. You ter designed and better built word for it. Talk with our cus- know that total performance to handle your most demand- tomers. You'll find out why is the key to a solid black bot- ing requirements. And when more audio professionals are tom line. And that's whymore Auditronics has the leading selecting the top performer and more recording studios, role, you'll get less down- year after profitable year broadcast studios, andper- time, superior quality; ...The Money Machine. forming arts centersare turn- affordable prices- the ing to the total performer in best total performance audio consoles: Auditronics That's why Audi- - The Money Machines. tronics consoles are 3750 Old Getwell Rd. Memphis, Tn. 38118 901/362-1350 for additional information circle number 46 See us in Demonstration Room 1077 at the AES-EAST to input with the UJT oscillator, using characteristics and containing a singleComments more power supply voltage will yield junction. In fact, that's where the name The Budget Clic-Trac turns out to be more output and consequently, more comesfrom:onejunction,multi - a stable electronic metronome with volume. Concerning R2, Iarrived at terminal = uni-junction. In this circuit,some very desirable features. Before I 25.8K ohms by putting a 27K and 560K the UJT emitter is reverse biased by Clbegan to use this device, nusances such resistor in parallel. Anything close will which initially acts like a short circuit.as re-creating a click intro in tempo to work. As Cl charges through R1, the voltagethe existing tracks involved turning the at their junction rises and when this2 -inch tape over and playing it to the Parts List voltage is high enough (just over half ofbeginning while recording a drum stick R1 - 100K ohm 1/4 -watt potentio- the voltage across junction B2 B1) thehitting a book, in beat with the snare. meter, linear taper. emitter becomes forward -biased andWell, these days Istill turn the tape R2 - 25.8K ohm 1/4 -watt resistor. theresistance between E and B1over, but firstI establish the existing R3 - 100 ohm 1/4 -watt resistor. becomes very low. A large current flowbeat with the Clic-Trac, wait 'til I feel the R4 - 10K ohm 1/4 -watt potentio- takes place, discharging across R3 andsnare and simply turn it on. It will click meter, audio taper. subsequently across potentiometer R4,with the snare close enough for a UJT - Uni-junction transistor, Hep a simple voltage divider. As soon as thismusician to use. (Practice this one a few 310 or equivalent. occurs the capacitor voltage falls belowtimes since the metronome isn't instant Cl 4.7mfd.25Voltmylar the value needed for the forward -bias of turn -on, i.e.: the capacitor takes a finite capacitor. the emitter, the UJT becomes reverse- amount of time to charge, the first SW1 - SPST toggle or slide switch. biased, the capacitor begins to charge'click' is emitted.) I say close instead of Also needed: Nine Volt transistor again and the cycle repeats itself. Noteperfect only because there are usually battery; box (see text); battery clip; that through the proper selection of R1, very slight tempo changes within say 8 knobs;1/4 -inch phone jack or female R2 and Cl the oscillator range can bebars of music, except with extremely Cannon connector (see text). varied. Values given here equal orgood drummers. better the tempo of most standard If you have separate cue sends, this Theory of Operation piano metronomes. Waveforms aredevice can be used in real time, or put Refering to the schematic, we find a alsonoteworthy. The capacitoronto the track of the tape, and sent to simple UJT relaxation oscillator. The supplies a sawtooth waveform to thethe drummer only. Sometimes I've UJT (uni-junction transistor)is not emitter input and the output resemblesfound myself in situations with only one really a transistor at all, but a three - a cut off square wave, starting verticalcue send,or even more often,a terminal devicehaving diode and sloping downward. drummer wanting control of the Clic- Trac's volume and speed. What then? Easy. Borrow someone's small guitar amp and feed into it the cue mix and the Clic-Trac. Most of today's amps have Best of the 8 -Buss Boards twoinputs, ifnot two completely separate channels. Plug your for Quality, Specs &Value headphones into the speaker output and hand the drummer the Clic-Trac. The QM -128 (12 inputs) and 168 Not only can he adjust the speed (16 inputs) are compact consoles however he likes it, he also has control built to professional standards. ofthe Clic-Trac volume, cue mix They can be used for multi -track 0, , volume, andoverallheadphone recording, overdubbing, and mix - volume! Talk about drummers being down as well as simultaneous mix - appreciative . . down and overdubbing. A com- . you should see them bination of the latest in elec- smile when I explain the little box and Li ee eve so to w I. ix iit ' tronic technology, innovative /is is 66 66 6*ii 66isus isis 611 how they have total headphone control. design and highest quality com- They love it - if they like metronomes ponents, lets Quantum offer at all. And what a sales pitch you can you performance and value give:Mr. Drummer, with thislittle at a surprisingly modest price. device you can keep perfect time, 12 or 16 input channels; 1 Mic & 1 Line In per channel supply the bassist with great kick drum, SPECIFICATIONS 8 -track monitor mix (16 -track optional, QM -168) Input Level (nominal): arid have everyone love you. Great, 6 -frequency, 3 -knob EQ 2 echo send & 2 cue busses -50dBm mm, 44d8m line huh? Solo & Mute buttons on each input Output Level: +4dBm nominal, +18dBm max. The Clic-Trac is also great for bands Patch point for accessories Talkback mic Overall Gain: 67dB max. who want to practice tempo. Have you Panning between odd & even numbered output chans. Frequency Response: ±1dB 20Hz to 20kHz ever tried to hear a piano metronome Options: Phantom power & Walnut cabinet Distortion: <0.1% THD, +18dBm, 20Hz to 20kHz when a band is rehearsing? Plug this QM -128 (shown above): $4,700 QM -168: $5,900 Noise: -127dBm EIN 20Hz little devil in somebody's amp and you to 20kHz Equalization: LOW ±12dB at can match levels with any hydraulic um 100Hz (S)* or 300Hz (P)* construction drill. Now you see why I ClunnAUDIO LABS, INC. MID ±12dB at 800Hz (P) or 1.8kHz (P1 opted for the 1/4 -inch phone jack. 1905 Riverside Drive, Glendale, California 91201 HIGH ±12dB at 4kHz (P1 Telephone (213) 841-0970 or 12kHz IS) Don't let tempo be anybody's game. Quantum Audio Labs is an independent manufacturer *(S=shelving, P=peaking) Build yourself a Clic-Trac and be a star. and is not affiliated with any retail stores.

R-e/p 74 for additional information circle number 47 for additional information circle number 48 Para -Power (Parametric Equalizers by SAE)

SAE has long been involved in the field of With this unique flexibility, any problem tone equalization. From our pioneering can be overcome precisely, and any effect efforts in variable turn over tone controls to created precisely. our more recent advancements in graphic With either of these equalizers, you have the equalizers, we have continually searched for power to correct any listening environment and developed more flexible and responsive or overcome any listening problems that tone networks. From these efforts comes you are faced with. Whether you need a a new powerful tool in tone equalization - third octave notch filter, tailored bandwidth the Parametric Equalizer. Now you have to resurrect a vocalist, or a tailored cut to the power of precise control. bury an overbearing bass, the control Our 2800 Dual Four -Band and 1800 Dual flexibility of Parametric Equalizers can fill Two -Band Parametrics offer you controls these needs and many more. And of course, that not only cut and boost, but also vary the as with all SAE products, they offer the bandwidth and tune the center frequency highest in sonic performance and quality of any segment of the audio range. of construction.

A, 106

141/-4i.

.411.149.1

....touroacrr

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For Complete Information Write:

Scientific Audio Electronics, Inc. P.O. Box 60271 Terminal Annex, Los Angeles, CA 90060 In tape duplicating, if you need high speed, economy, versatility IN SEARCH OF and room to grow... THE LOST CORD! Telex by Chris Roe of The Ken Schaffer Group isthe answer.

High-speed, heavy-duty Telex 300 duplicators are for the pros...for It'shalfway through The Beachboys' systems hadtobestripped and mass production of quality tapes. Summer Tour, and Brian Wilson sits stage reconstructed: RF(radiofrequency) Modestly priced, the basic system right behind a grand piano running through systems of the past had been weak links, lets you start with what you need a complicated solo. Guitarist Al Jardine and the price for the dual advantages, now, then lets you expand later with appears next to Brian, and gives a dervish freedomof movement, and protection any combination of cassette or open reel master and slave transports. whirl. Brian cocks his eyes in a cherubic against shock provided by these systems Available in all head configurations. stare, raising his right arm high above the resultedinheavily compromised audio, It's so simple to use that even non- keyboard to point incredulously at Al, who along with qiiestionable reliability. Within technical operators can produce top is now dancing all around Brian's piano. therockconcertindustry,concensus quality tapes efficiently. For short "Your guitar ... Al! Your guitar -its squinted its eyes at the thought of an RF production runs try our fast cassette not plugged in!" Jardine doubles over and system being anything but exasperating in copiers. Your Telex dealer can show spits loose a series of scales for a Brian who you why Telex is a world leader in the distance between its promise and its tape duplicating and why Telex is is now standing atop his piano bench in an performance. the answer. impossible half -frightened pose. It is, Brian thinks,impossible . . .Al is not plugged in, Marconi Roll Over! PRODUCTS OF SOUND RESEARCH yethisguitariscoming through the Early last summer a defiant new wireless monitors asthougheverythingwere system was introduced which established normal! new standards for wireless audio links. It TELEX® Laterthatevening,Kissplays L.A.. proved that an RF system could deliver all of COMMUNICATIONS INC Simmons,FrehleyandStanley make itsadvantages without imposing unique 9600 ALDRICH AVE. SO., MINNEAPOLIS, MN 55420 U.S.A. EUROPE: 22 rue de la Legion-d'Honneur, 93200 impossibemulti -dimensionalmoves, problems or sacrifices. Bands, ranging from St. Denis, France. CANADA: Telak Electronics, Ltd., Scarborough, Ontario. running across their million dollar concertKiss and HearttoPeter Frampton, Stephen stage, quickly making evident the fact that Stills, TheCommodores, Foreigner,Ted they,too,arenotpluggedin;their Nugent, Mahagony Rush, Earth Wind & Mail To: TELEX COMMUNICATIONS, INC. 9600 Aldrich Ave. So. instuments are cordless. Fire, Steve Miller, Peter Gabriel, Nektar, Minneapolis, MN 55420 AC/DC, America, and The Beachboys Please call me for a demonstration. SinceJuneof thisyearwireless puchased the new system known as the Please send information on: instruments have become a fact for more Schaffer -Vega Diversity System" Model 300 Tape Duplicators than forty major bands. The guitar, it seems, (SVDS).During this past concert season, Cassette Copiers Tape Recorders has been successfully liberated from the during thousands of hours of demanding restraints of all cords. use the SVDS has shown remarkable Name The idea of removing the wire from a reliability, and produced audio quality which Title microphone is not new. The extension - most of its users proclaim sounds better Organization removingthewirefromanelectric than that of a cord. Address_ instrument - may be. But before a system The SVDS overcomes eachofthe City could be developed for instant acceptance problemswhichpreviouslyprecluded onto the professional rock stage, many of wireless equipment from having a place on State Zip the traditional design values of wireless the highly demanding professional rock Telephone. Telex products are made in U.S.A. L J

R-e/p 76 Power amplifiers have been the stepchildren of theelectronic revolution for too long. Many so-called "power amps"are nothing more than redesigned hi-fi amplifiers. Others sacrifice sound quality to attain high volume levels. Still others risk blowingout expensive speakers every time the volume is turnedup. Tapco meets the challenge with two new stereopower amplifiers. Both are designed from the ground up. Both employ Tapco's CP120 exclusive Power Sentryto control clipping distortion and help protect expensive horn drivers. Both are designed to reproduce Rated at 61 watts per channel in stereo, 122 watts mono. Each distortion -free sound at the volume levels demanded bytoday's output is capable of 500 watts total stage dissipation for only 61 professional musicians. And both are engineered and builtby the watts of rated output power. Sophisticated protection circuitry most respected name in sound reproduction. guards against gross fault conditions without ever affecting sound quality. Power Sentry R protects against clipping distortion, and advanced -design convection cooled heat sinks keep the CP-120 running cool even at full power CP-120 $339. Tapco power ratings are in accordance with the Federal Trade Commission rulings concerning power output claims. Nis IPSendme full information and specifications on 91 Tapco Power Amps. Yes, I'd also like this ad reproduced on a T-shirt. CP 500/ CP 50014 I am enclosing $3 95 for each shirt ordered. Designed for full -range sound amplification, or for bi-ampsetups Size: small medium large ex. large with its counterpart, the CP-120, this fan -cooled stereoamp is Make checks and money orders payable to TAPCO rated at 255 watts per channel in stereo, 510 wattsmono. Tapco's NAME exclusive Power Sentry R protects against prolongedclipping distortion, and consequent loss of tonal quality and dangerto ADDRESS speakers. Output protection circuitry is safe and confident. Each CITY STATE ZIP of the 8 output devices per channel is rated at 250watts, providing a total output stage dissipation of 2000 watts. An optional readout Send to: Ahmet Akimbo, Tapco, 3810 148th Avenue package is available (CP-500M). CP-500 $649 lb Northeast, Redmond, WA 98052.

for additional information circle number 50 R-e/p 77 concert stage. The two traditional RFshort wavelengths that very small move- 616-452-1596 problems have been eliminated entirely, and ments between the transmitter and receiver the signal handling capability of the system sites can result in a wildly varying cumulative Your Direct Line To has been expanded to a point where signal-signal strength, moving peak to null within PROFESSIONAL AUDIO to-noise ratio and dynamic range are high inches. EQUIPMENT enough to allow SVDS to eliminate the cord The common wireless receiver is a single for even the most finicky performers. ended system which receives the transmitted signal at a single point in space. We represent, stock, sell and ser- Previous Bugaboos The integrity of the signal may vary widelyas vice only the best and Their Solutions to movement; when a null is encountered - such names as - Previouslimitationscommon toall the resulting drop -out will not only cause wireless systems include two in the RF loss of audio information, but loss of the Auditronics Nortronics section Ampex Pulse Dynamics (signalloss,ordropout, and constant RF carrier as well. In practice, this Beyer Ramko interference possibility) and one in the audio may also permit a stray signal to enter the Cetec Revox section (extremely limited S/N and dynamic receiver and be delivered through the audio Crown Russco range). output. DBX Scully Taking these bugaboos in order: SVDS overcomes the drop -out problem Edcor Sennheiser by stealing, in a sense, from the Navy. Back Electro-Voice Shure in Editall Sony 1. DROP -OUTS: At VHF frequencies 1922, when the Armed Forces were Fidelipac Soundcraftsman (typically 170-216 mHz.) radio signals reactmarvelling at the possibilities of long-range LPB Spotmaster with the environment (obstructions, reflec- radio systems,it was realized that the Marti Switchcraft tions, etc.) in a manner very similar to the shortwave band offered only limited short- Micro -Track TEAC way in which audio signals are affected by term reliability because of constant random Nagra Tascam their own acoustical environment: i.e., RFand periodic changes in the altitude of the Neumann UREI will bounce off walls and large metal objects. ionosphere, the atmospheric radio mirror. It will be absorbed by various obstructions.As the sun moves through its day, the With audio wavelengths, bounces arriving at AUDIO DISTRIBUTORS, INC. ionosphere moves up or down relative to RF 2342 S. Division Avenue the ear (receiver) may cause phase varia-signals striking it at a constant angle from Grand Rapids, Michigan 49507 tions or discrete echoes. At VHF frequen- the earth. Since the angle of reflection is cies however, a slightly delayed signal mayidentical to the angle of incidence, a higher Trades Welcome cause a complete cancellation at the receiv-mirror bounces signals a greater distance; a Anything That Doesn't Eat ing antenna, causing a dropout. This is due signal bouncing usefully from point 'A' to Lease Plans Available to the fact that we are dealing now with such point 'B' would now be bounced further and possibly skip the original receiving point. (Contrariwise, previously undetectible signals might fade in.) In an effort to increase reliability despite aneverchangingionosphere,a very primitive Diversity System was devised by an imaginitive Navy engineer who reasoned that by placing two antennas in separate radio environments - i.e., as far apart as possible - one of the antennas would be likely to receive a useful signal at a given moment, eveniftheotherone was momentarily in a radio shadow. The fellow (a Lt. Bulah Binkin) was onto something. Although early Diversity Systems utilized nothing more than two distant antennas and an antenna selection switch, to be activated manually by the operator at the time of short-term fadeout, it was found that locating two antennas only a few wavelengths apart could offer dramatic improvements in reliability. Applying a much more sophisticated Diversity principle to modern VHF wireless systems pays even greater dividends. At our A MATTER OF INCHES frequencies, where thetotalsignal Whatever your tape transport size,we offer a beautifully con- wavelengthislessthantwometers, structed and finished console. The RL 500, 600 or 700 (left to antennas placed only 15 feet apart offer right) accepts MCI, Scully, Otari, Tascam, Ampex, etc. You completely separate radio environments; name it and there's an RL console for it. And each incorporates the latest design features, including front panel access in both reflections nulling out at one antenna will horizontal and vertical positions. Ask for details and pricing. not be nulled at the other. It is extremely unlikelythatdrop -outcould occur simultaneously at both. Further, offering the RUS LANG CORP. transmitted signal two distinct radio paths 247 Ash Street, Bridgeport, CT 06605 Telephone: 203 384 1266 into the receiving system also increases chances for ideal, unobstructed, line -of-

R e/p 78 for additional information circle number 52 for additional information circlenumber 53 sight paths to be open. feed is, indeed, the best. If the signal arriving Inactualperformanceusagethis WiththeSchaffer -Vega Diversity at one RF stage is 6 dB better than the other Diversity system guarantees a minimum 100 System two fully independent receivers are AND if the signal currently selected to feed yard (typically 500 feet) fade -proof range, incorporated into a single box. The RF the audio stages is within a given area of the with the ultimate system audio specs the sectionsof each ofthe system's two weakthreshold, the Diversity receiver will same anywhere within this area. (The actual receivers are continuously scanned by a switch to the stronger signal.In SVDS distance measurement might be the locus of Diversity sensor which determines if one switching,phaseandamplitudeare the two antennas - which are dipole type signal is arriving in better shape than the precisely maintained - this, of course, antennas, normally taped to the top of a other, and if the currently selected audio being crucial to an invisible, silent switch. guitar amp, either side of the stage.) The SVDS Diversity system has been put toseverelydemandingtasks,without apparently reaching its limit, by such groups asAC/DCandPeter Gabriel,who run their instruments to the back of large halls during their sets. Gabriel, in fact, was one of the first artists equipped with an SVDS system, direct signal antenna and remained on wireless the eventful evening his Roxy (L.A.) performance was . broadcast liveviasatelliteto 40 cities (thoughtotheconsternationofthe skeptical remote truck engineer who began p, )0/ quivering when Gabriel's road crew started settingupthewireless - repeated experience of disaster creates miserable transmitter expectations!) reflective surface standard The RF sections of the SVDS are quite single ended similar to the Diversity System introduced + DIRECT receiver in 1976 by Vega (Division of Cetec Corp.), (DROPS OUT) the manufacturer with whom The Ken DROP- ,,F., 0 Schaffer Group has contracted to produce OUT STANDARD the SVDS equipment. REFLECTED Caveat Emptor RECEIVER To further clarify, it is atrue (or coherent) Diversity System, in that it goes all the way and contains two discrete receivers in a single case, and that, after some complexity, it switches audio, not RF. Possible misconstructions of thespiritof Diversity may appear on the marketif wireless grows appreciably in popularity. antenna A There are several ways to fudge the public in building such a system. One is to merely switch to the strongest signal at the RF input ofasingle -endedreceiver.This may eliminate drop -outs to some extent, but at the cost of spurious noises and pops each direct time a switch is made. Also, RF phase may si - _ pnai 63ex be altered during the switching, resulting in x-10 740, receiver additionalaudiochanges. (It is not transmitter uncommon for a Diversity System to switch \CI %SY a dozen times in a few seconds ifthe \ Ph antenna B performer is movingthroughthree dimensions.) reflective surface A second fudge system which would legallypermit the use of the sexy term 'Diversity' would be a system which parallels A two or more antennas leading to the receiver's RF input. With this abbreviation, drop -outs will continue to occur because the signal at an individual antenna is as likely to be a null as a peak; adding two antennas together may merely displace the location of + SVDS the dropout from one part of the stage to B another. Caveat Emptor - only a true DIVERSITY DiversitySystemisinsurancethata performance will be free of these little spots RECEIVER of nil.

R-e/p 80 LEVIATHAN BASS HORN This is the legendary Leviathan, our f iber- able, and built tolast.That's reason What does efficiency mean? Because of glass bass horn for two 15" loudspeakers. enough to make Community bass horns our design criteria any Com- It comes in three sections as pictured be- the foundation of some of the best touring munity bass horn's output is low: the back pod which houses the loud- typically 4-6 dB above its wood- speakers, the 48 Hz flare horn itself, en competitor's. To you, the pro- and the optional extension for in- fessional sound person,this creased frequency range, projec- means that you need fewer bass tion and efficiency. horns to fulfill your requirements and, consequently, less drivers and electronics to pow- Not shown are our other bass er them. In addition, our bass horns: the FRC/B, designed to horns weigh thirty to forty per- provide true horn performance cent less than the old wooden in the smallest possible package, horns meaning an additional and the aptly named BLT, or savings in reduced installation Bass Long Throw, which does exact- and freight charges. ly that over several hundred yards with the closest attention to transients. systems around, but add to that their un- beatable efficiency and you've got the Need a couple of bass horns? Like everything else that we make, our bottom line for a full spectrum of profes- See your Community dealer. You might Levi, FRC/B and BLT are rock solid, port - sional applications. only need one.

SPECIFICATIONS EXTENDED LEVIATHAN BLT FRC/B Flare Rate 48 Hz 52 Hz 66 Hz Operating Range from 50 Hz from 60 Hz from 75 Hz Driver Two 15" One 15" One 15" Size (HEIGHT/WIDTH/DEPTH) 431/4"/691/4"/64" 44"/44"/56" 301/2"/40"/44" Weight (less drivers) 175 LB 90 LB 65 LB

161111111F

COMMUNITY LIGHT & SOUND, INCORPORATED o 5701 GRAYS AVENUE, PHILA, PA 19143 0 (215) 727-0900 for additional information circle number 54 R-e/p 81 Diversity allows confidence in the RF from front-end overload caused by high output. Unlike AM,where several signals continuity of the transmitted signal. This is powered localradiation(evenwelloff can cohabit on warm summer nights, particularly crucial in rock (and all touring) frequency) to actual pick-up of coherent creating all sorts of whistles and bells, FM applications, where the system is to be set signals from both the fundamental (and systems are specified as to capture ratio. In up and broken down nearly every night: it harmonics) and intermod products of other essence, it means that FM is normally an all - must work perfectly as a matter of course. spectrum inhabitants: CB'ers, police, hams, or -none affair: you have the signal, or you In fixed -location applications, the cost of TV stations, FM stations or even walkie- don't; if two signals show up on the same Diversity may not be necessary. Given a fair talkies. frequency,thestrongestwillnormally amount of time, a traditional (single -ended) Interference must be dealt with when capture it completely. Owing to the Inverse receiver can be used satisfactorily if care is using any radio system, and there are Square Law governing signal strength vs. excercised in the placement of the singlevolumes written on how to increase thedistance from transmitter,it would take antenna.Wireless microphone systems ultimate selectivity of a receiver. both extreme power and down -the -neck have been used for years in Las Vegas, for The front end of each of the two sides ofcloseness for a stray signal to be awarded instance; whatisrequiredisthat the the SVDS receiverincorporatesboth the frequency. Additional encoding of the antenna be placed, and the entire stage electrically tuned circuits and four stages oftransmitted signal may also improve its (and/or additional performing areas) be a type of VHF mechanical filter known as integrity in battle. Overall, excellent design walk -tested for drop -outs. The antenna is Helical Resonator Cavities. The HRC's are practiceand ignoranceofcost moved a few inches at a time, and the walk- tuned to the exact frequency at which the considerationscan producea wireless testis repeated. Finally, the antenna is system willoperate by means of their system for which interference is virtually a installed in a position which results in the mechanical dimensions; thus acting to block dead issue. fewest (or the most convenient) drop -outs. orshuntoff -frequencysignalstoan State-of-the-art design can eliminate the If necessary, the stage is marked with red extremelyhigh(andeffective)degree. most distinctive problems that have, over tape to indicate to the performer that a Other forms of selectivity are built into the the years, driven professional audio people particular position is a dead -spot, to be Intermediate Frequency (IF) stages of each to the wire. One set of problems need still to avoided. A true Diversity System puts these receiver section, and the end result is an be licked to get a system which transmits thoughts and needs to rest. extremely tightselectivitycurve, which the signal invisibly, and these, alas, manifest could only be invaded by monsters. themselves in the audio section, though Interference Working along with theseselectivity they too are derived from traditional limits The radio spectrum is a very densely designsisthe natureofthe system'sin RF systems which were broken through populatedturf.Unless extreme care is modulationitself. A well designed FM proprietary circuitry in the SVDS. exercised and cost-consciousness is system offers monagamous modulation - abandoned, the wireless receiver is prey to a which is to say that only one signal, theGone With The Noise number of interference sources, ranging strongest, can make its way through to the RF problems solved, interference and dropout no longerbeing operating considerations for the tortured user, the final barrier of the RF system remains in view, like the droppings that follow the CO19 ALL NEW Technics parade:thereisactuallyaphysical, theoretical limit as to how much dynamic range/signal-to-noiseratiocan be professional audio products transmitted through a system. Actually, it is relatively simple to design a transmitter capable of S/N exceeding 90 in stock at RAMKO RESEARCH! dB. However, thelimitoccursinthe units a run for their money. Power amplifiers, discriminator stage of the receiver, the parametric equalizers and a series of studio sectionofthedecodingchainwhich monitor speakers that will astound you with their amazingly faithful reproduction. separatesfrequency modulated Panasonic pulled out all stops on their components of the RF signal from amplitude research and development program for this modulated components. It is to this stage of series. Undoubtably, with the performance, the receiver that we owe our thanks for quality, and reasonable prices exhibited by this audio gear the "Technics" name will be a static -free reception. But it is also within this major consideration in your future stage that the S/N limits occur. And that CEMIRIPM111111 purchasing decisions, limit works out to be just better than 60 dB; Whatever your needs, RAMKO RESEARCH offers a full line of the' highest quality audio not near good enough to feed a stack of 10 Just introduced! Turntables, reel to equipment available. Turntables, Tape Marshall heads. reel recorders, portable and fixed Cartridge machines, a wide variety of Again, it a question of application: as a distribution, mic, line, power and turntable cassette R/ P units, power amps, preamps. Cassette record/play units & reel fixed -location Las Vegas operator can get parametric equalizers, tuners to reel recorders. And of course the most byreasonablywithcarefulantenna and speakers. 'advanced broadcast consoles in the industry. The RS1500 reel to reel recorder that If it's for the studio we have it. placement and a single -ended receiver, that outperforms anything in its class. A new Write or call collect today for our newest same man can probably get by with a wireles turntable, SL -1500 MK2, designed specifically catalog and further information on the all new microphone (instruments such as guitars for the broadcaster. A new portable cassette Technics "Professional series" audio equip- unit that gives the best portable reel to reel ment. You'll be dollars and performance ahead. are much more demanding) that offers a 60 dB S/N. - because ultimately the SPL in a club or showroom will never get as high as RAMKO RESEARCH the normal SPL of, say, a Ted Nugent 11355 "A" Folsom Blvd. performance at the Garden. A typical club Rancho Cordova, Calif. 95670 volume might approach 100 dB SPL; 60 dB (916) 635-3600 below, we find the noise floor of a normal

R-e/p 82 for additional information circle number 55 wireless system. The result is 40 dB of hiss. mustbecarefullymatchedbetween and rhythm guitarist Mark Cunningham With a microphone, much of this hiss will be transmitter and receiverforallaudio face off at opposite ends of the stage, squat, masked by instruments and room noise. specifications to be realized. count down, and toss their screaming Yes, you can mask 40 dB. The final SVDS system, as lauded by guitars in an arc across the stage. Assuming But assume we connect the same currentusersoffersa measured S/N they make the catch they will finish off the transmitter to Nugent's guitar. Coming out exceeding 85 dB. Compared to a cord set with each other's instruments. of his stacks is, let's say, 138 dB at 4 feet. 60 feeding the same amp this works out to dB below thatis78 dB of hiss. Very invisibility; better in somerespects, It's A Very Expensive Replacement unacceptable. Even loud coughing won't considering that stray cable noises (ground For A Cord, Isn't It? hide it. buzzes, RF pick-up) are eliminated entirely. English musicians can be predicted to The objective, then, is to increase the Further, the signal delivered to the amp joke about the fact that the system is an system S/N to over 85 dB underall will benefit in another sense, which has expensive way to replace a crackling cord. conditions of interface and operation to lately been expounded upon by, and among Why bother? remove the system from the gimmick wireless users: because the long cord is Obviously, the musician is free to move category and rival the cord in signal transfer eliminated, so are the capacitive high and about, anywhere in the hall. Roger Fisher of capability. The guitar amp (typically 70 dB mid -frequency losses. The guitar signal, as Heart was so elated the first night he used S/N) must be fed by a receiver which is input to the amplifier,is sharper, more his system that he nearly broke an ankle as

silent not only between songs, but between present and more cutting. The frequency he tripped on Ann Wilson's mike cord... notes. Because of musician demands we response of the overall wireless system is Electric Light Orchestra's cello and violin cannot cheat and roll off at 12 kHz., because flat; because of the elimination of capacitive players slide off the stage to catch 5 and itwill change the ambience of the man's losses,it isno longernecessaryfor forget that they're still on-stage even though $15,000 amp stack. Further, we can't use musicians such as Rick Derringer and Steve theyarehorsingaroundwiththeir noise gates of any sort because they will Miller to crank up their amp treble boosts all instruments in a dressing room 200 feet affect the sustain of the instrument. the way up to '10' to cut through. The signal away. Freedom of movement does bring a An exceptionally high dynamic range is being delivered to the amp is much closer to change in posture; you're free. offered by the SVDS system. Over 30 dBthe actual signal being produced by the It might not occur to engineers whose improvementinS/Nratioisrealized instrument in this respect. (Derringer insists experienceismostlyinwell designed throughanelaboratecombinationof Schaffer's marketing effort is mis-directed: studios, but the possibility of stage shock transmitter signal encoding and receiver "The thing should be sold as a box which hazards are appreciable. More than one decoding. Both frequency and amplitude makes your guitar sound better... and, by musician has been fried by getting his body pre- and de -emphasis must be employed. the way,italso makes you wireless!") between, say, a guitar and a microphone. It Transmitted signal bandwidth, frequency Derringer's entire band has been wireless has been lethal, though it's more often deviation, and audio pre- and de -emphasis since July; the highlight of his set is when he frightening and annoying.

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for additional information circle number 56 R-e/p 83 With a fifteen minute sound check and 25,000 people filing into the hall half an hour later, with as many as a dozen AC sources being used to feed everything from amps to 164)1,6 mixerstolights,thepossibilityofa potentially damaging grounding problem is high. Needing to set up and break down five trailers of equipment (about as much as NASA needs for a space launch) every night on a two month tour, time just isn't left for each component to be leveled to a uniform 47,950! ground potential. Even more so with English musicians, whose bodies must endure 240 volts instead of our 120; and who are more 00' likely to be using tube (valve) amps. Getting -- zapped can be a terminal note. - Wireless operation guarantees against "4"0111111111, 15 RIGHT shock resulting from anything but the most transmitting antenna; it is run up the strap, unforgivable carelessness. It is possible to across the back of the instrument, or simply play in the rain on outdoor dates that left to dangle down the performer's leg. Two previously would have had to fold due to dipole antennas are supplied with each safety considerations. Safety, apparently, is receiver, each one supplying a unique signal no small consideration from the performing to the appropriate side of the Diversity end. Shocks of all magnitudes occur much System. The antennas must be placed at more often than the audience realizes. least one wavelength (6 feet) apart to benefit For America's largest grossing group, from the Diversity function. Fifteen feet is Kiss, the safety feature was the first impetus recommended. The onlycautions for them to go wireless. Two days after necessary are that the antennas be at least guitarist Ace Frehley survived an almost 18 inches from large metal objects(to lethal interface with a stage railing, Kiss was prevent de -tuning), and at least 3 feet off the up to New York to check out the first of the floor. A 25 -foot coaxial cable (RG-58/U) is SVDS prototypes; they ultimately became, run from the junction box of each dipole to along with ELO, the first bands to go fully the receiver's rear panel. wireless, and recently completed three Because the radiation (dispersion) of the months on the road with a complex multiple transmitted signal normally contains mostly SVDS array. verticalpolarizationcomponents,the To Kiss,the SVDS system permits receivingantennasarealsomounted elaborate staging and choreography that vertically. Though the SVDS manual is would not be possible with cords. To quote extremely thorough in dealing with antenna tangent rhythm guitarist Paul Stanley (before the placement, the point is made that because tour), "The whole stage is designed around of the design of the system, nearly all of the what you can do with the thing.If the antenna instructions are tongue-in-cheek to 3216 Schaffers don't work, the stage is a $750,000 the extent that they are the theoretical 16 Submaster Assigns scrap heap." optimums; because of fail-safe circuitry and redundancy, there is little an operator can 22 LED Metering Arrays System Configuration inadvertently do to degrade the system in 3 -Band Parametric EQ Any wireless system will consist of a normal concert applications. Antennas can 2 Echo Sends transmitter,a receiver and appropriate be mangled (even forgotten, ask Derringer!) antennas. With the SVDS system, the and the set will go normally. 2 Cue Sends transmitter is slightly larger that a pack of A built-in direct box on the rear of the FET Switching cigarettes and can be taped behind the receiver may be used to supply a direct Phase Reverse instrument, taped to the instrument strap, console feed, 600 ohms balanced, at either built into the instrument (for completely mike or line level. The primary audio output Phantom Microphone invisible operation), or simply worn in the to the amp or effects can be set to match the Powering performer's pocket. instrument'snormallevel,orprovide Balanced In, Out, Return The receiver is normally placed atop the considerableboost,including overdrive Gain (Mic Pre -Amp) instrument amp, with a variable level phone distortion, if desired. Several SVDS users jack output being used to feed the amp itself, utilize the receiver's output level pot as a LED Peak Indicators or the effects chain which may precede it. substitute for the amp volume control. This Write for complete infor- Neither the amp nor the effects chain need is permissable, although experience with mation on specifications and to know that their signal is being fed not the system usually defines a balance on features! from an instrument, but from a receiver. when to vary levels by means of which The amps and effects are kind of dumb. All device; some improvement in amplifier S/N 0 they know is what kind of signal they want can be expected with proper levels. angen to see. The SVDS receiver supplies this. It is Once in place on the instrument, the X-10 musical engineering connected to the chain as ifit were the transmitter is adjusted one time only. A 2810 south 24th street phoenix, arizone 85034 instrument. good 9 Volt battery drives the transmitter 602-267-0653 A19"flexiblewireservesasthe meter extreme white; the instrument's level

R-e/p 84 contols are opened up full and the musician switching system for a tape transport, so bizarre occurrences will, no doubt, come to sets the transmitter level control so that that the artist could walk around his garden pass. hard peaks will drive the meter just into the searching for his muse and get it all down on red. This setting defines optimum S/N ratio taperightthen,justas any new lick Who's Wireless without modification of the instrument's possessed his fingers. More common, of Without a complete recital of names, it signal. Further advancing of the transmitter course, is the sight of the entire band leaving can reasonably be expected that systems level control will allow the instrument to the stage to go out in the hall and harrass the such as SVDS will (or already have) become generate more sustain through a mix engineer during sound check. The accepted as standard stage equipment for proprietary compressor system. Users are drummer gets lonely. Already legend is the most major bands within the near future. In split, about half-and-half, as to whether the story of the night Keith Richards and Ron additionto the 40 odd bands already transmitter is best adjusted technically or Wood departed Atlantic Studios in New equipped, another score are waiting for adjusted to activate the compressor for this York at 3 AM to go down on Broadway and delivery. additional sustain. play for the hookers, the rest of the crew The Ken Schaffer Group is located at Battery life with the X-10 is between 4 and drankbeerandchampagnelistening 10 East 49th Street, New York, N.Y. 10017. 6 hours, continuous. Unless battery shelf - through the amps in the studio. Other Telephone: (212) 371-2335. life is actually known, this translates into two sound checks and two shows. Most bands, however,uselastnight'sbatteryfor tomorrow's sound check and then put a freshone in place fortheactual performance.

Using More Than One Instrument If several musicians in a band are wireless, they will each be on a different frequency. This is no problem. Dozens of frequencies are available. But, if a single musician utilizes several instruments during the set, does he require separate systems for each? No, and there are several waysin which a musician can use several instruments with an SVDS system. Since most of the cost of the system is in the receiver, an individual musician can obtain several transmitters, one to be used with each instrument. It is only necessary toinsure that no two TWIN -GRAPHIC OCTAVE EQUAUZER transmitters on a single frequency are TG -2209-600 BALANCED IN/OUT activated ('On')at the same time. This ensurance is automatic if the transmitters are installed inside the instruments, owing to a switching circuit installed at the guitar jack: plugging in a cord kills the transmitter SWITCHABLE HI or LO IMPEDANCE and restores the instument to cord mode. SWITCHABLE BALANCED or UNBALANCED INPUTS Removing the cord or dummy plug puts the SWITCHABLE BALANCED or UNBALANCED OUTPUTS axe on the air. Special provisions allow for a TWO SEPARATE MONO SECTIONS, IDENTICAL CONTROLS member of the road crew to tune the L.E.D.'S FOR VISUAL INPUT/OUTPUT BALANCING instrument with a strobe tuner without putting it on the air. SWITCHABLE HI and/or LO SHELVING But, the easiest way to deal with multiple SEPARATE ZERO -GAIN SPECTRUM CONTROLS instruments is employed by Stephen Stills. GOLD-PLATED CONTACTS ON ALL SWITCHES He just loads a single transmitter into his pocket and plugs into whichever instrument ZERO -GAIN: Unity ±0.5 dB, controllable 20- is next up. This is straightforward and least FILTER TYPE: Toroidal and Ferrite -core. 20, 480 HZ + 6 dB, --12 dB. POWER REQUIREMENTS: 120 7:15% VAC 50/ expensive. Stills uses this method most FREQUENCY RESPONSE: -1.0.5 dB 20 Hz to 60 Hz less than 10 Watts or 240 ± 15% VAC effectively in dealing with the near dozen 20,480 Hz at zero setting. 50/60 Hz less than 10 Watts. DISTORTION: Less than 0.05% THD @ 2 volts. instruments he plays during each set. FULL -SPECTRUM LEVEL: Front panel 18 dB, RATED OUTPUT (600 -OHM BALANCED): H 20 variable master level controls. dBm into 600 ohms. OCTAVE -EQUALIZATION:10 Verticalcontrols Recording Wireless OUTPUT CIRCUIT: FET Op -Amps (Balanced or each channel, 12 dB per octave. Several SVDS equipped artists have Unbalanced). E.Q. IN -OUT: Front panel pushbutton switch for MAXIMUM INPUT LEVEL: H 20 dBm. each channel. remained wireless for recordings of their live EQUIVALENT INPUT NOISE: Below 90 dBm with TERMINATIONS: 3 -pin XLR's for inputs and albums. Studio applications will, no doubt, E.Q. switched in. Below 110 dB at max. output. outputs. crop up by themselves as the bands who EQUALIZATION FREQUENCIES: Each octave cen- WEIGHT: 18 pounds. tered at 30, 60, 120, 240, 480, 960, 1920, SHIPPING WEIGHT: 23 pounds. toured wireless last summer begin to file into 3840, 7680 and 15,360 Hz. FINISH: Front panel horizontally brushed, black the studio this fall. BOOST/CUT RANGE: ±12 dB at center fre- anodized aluminum. Chassis cadmium plated Some of the more tangential applications quencies. steel, with black textured finish. to which these these systems have been put include interface with a signal actuated (,,,garilerfretefe 1721 Newport Circle, Santa Ana, California 92705 toe MOOR OFT,I o O,1[0.1.10, CIRCO f READER CARD

for additional information circle number 58 R-e/p 85 1 TELEFUNKEN MULTI-TRACK be accomodated in the electronics drawers. RECORDERS ANNOUNCED An auto locator using microprocessor Identified as the M -15AMagnetephon control and having nine position memories, multi -track master recorder, the newly a variable speed capstan controller with introduced units are available in the United LED read-outof speedinpercentof States from Gotham Audio Corporation. nominal, and a mechanical editing scissor The machines are available in 8, 16, 24, and arrangement which cuts the tape directly in 32 track configurations and feature clocked front of the playback head gap are a few of CMOS logic with Hall effect push buttons the accessories offered. and solid state switching throughout for GOTHAM AUDIO CORPORATION reliable, click -free operation coupled with 741WASHINGTON STREET minimum maintenance. NEW YORK, NY10014 (212) 741-7411 Theindirectcapstandrivesystem incorporates a brushless dc motor whose for additional information circle number 59 speed is referenced to a quartz crystal CONSULTRONICS oscillator.An easythreadingpathof AUDIO ANALYZER outstanding stabilityisassured by the Consultronics has announced that the ruggeddeckcastingwhichsupports 300 Audio Analyzer system, an accepted precisionaligned heads and guides. A 15/30 ips speed configurations and have a standardforaudiomeasurementsin unique mechanical servo system provides tape capacity of 111/2", equivalent to 3300 Canada, is now available to U.S. users. constant tape tension inall modes offeet of standard tape. Shown is the 16 track operation,yetaffordseditingflexibility version (there is room for up to 32 tracks) which is not possible on electronic servo with all electronics cards easily accessible in machines.Fastwind speedsarethe two file draws beneath. To the right of continuously speed variable, while a slip- the top plate are shown capstan speed free LED timer accurately counts in minutes control and switching for the telcom c4 and seconds on both sides of zero. noise reduction system by TELEFUNKEN The machines are available in 71/2/15 or which, for up to 24 track configurations, can POWER AMPLIFIER

A Tektronix 5111 mainframe houses a series of modular plug -ins including the 301 Generatorsupplyingsweptandfixed signals, the 302 Receiver (mono) which digitally displays frequency, level distortion Model 700 and noise (also controls the storage scope Maximum Continuous Power display), and the 306 Stereo Receiver which Output: 60 Watts.Total Harmonic Distortion: identifiesphaseandleveldifferences Unmeasurable-less than 1/100th of 1%, DC to 20 kHz between two channels. at full output. InterrnodulationDistortion:(60 Hz & 7 kHz, 4:1) A remotecontrolledfreestanding Less than .1% at full output. (Typically .05%.)Signal -To -Noise Ratio: Better than 120 dB below full output, unweighted, 20 Hz to 20 kHz. generator has a dial -up feature and program Overload Recovery: interrupt (mono and stereo). Lessthan 1 microsecondforupto1000% overload.DampeningFactor: 500 - Typically 800. CONSULTRONICS 500 Some of the professionals whoappreciate this dataare:CAESAR'S PALACE, HARRAHS' UNION BOULEVARD CLUB, PAUL ANKA,theSALT LAKE CITY TABERNACLEandthe TOTOWA, NJ07512 CARPENTERS. (201) 278-6456 Model 700's are in stock for immediate delivery! Ordernow from: for additional information circle number 61 SYMETRIX ANNOUNCES NEW SIGNAL GATE PENH TONICS TheSignalGate'scontrolsinclude independently adjustable attack, release, LEADER IN ADVANCED TECHNOLOGY range, and threshold, an in/out switch, and 770 Wall Street, Ogden, Utah 84404 (801) 392-7531 an external control input jack (mounted on the front panel) which accepts any audio or

R-e/p 86 for additional information circle number 60 THIS IS WHERE TOMORROW'S GREAT MUSIC IS COMING FROM. We think musical So while musical For every kind of has the same goal styles change styles may change, music, for every as everything you because musical the interdependencekind of need, at make-be the best. talents change. of musician, recordist,home and on and the instrumentsthe road, by price Because it still takes There is hardly a they use will not. and application, great talent to make musician making And that is the everything we makegreat music. money today who reason for the doesn't know as TASCAM Series by much about TEAC. TASCAM SERIESBYTEAC, recording music as A new generation of recording instruments he does about For not very much for a new generation of recording artists. playing it.And money TASCAM recordists know as lets both musician TEAC Corporation of America 7733 Telegraph Road much about playingand recordist get Montebello, California 90640 music as they do their hands on In Canada TEAC is distributed by White Electronic Development Corporation about recording it. mixers and recorder/ (1966) Ltd. reproducers that let Because both knowboth tailor their the equipment that music their way. captures music can also be used to The Model 5 -EX shown with four improve it. Model 201 input modules. Model 5 shown with Model 204 talk back/slate modules.

©TEAC 1977

for additional information circle number 62 R o 0 87 tape deck on request. IMAGE FORMATIONS P. 0. BOX 4227 BURBANK, CA. 91503 for additional information circle number 65 dbx ADD-ON NOISE REDUCTION SYSTEM FOR NAGRA IV -S Custom designed for Nagra IV -S portable DC control signal. Also mounted on the TAPE SPEED INDICATOR FROM stereo recorders the dbx 193 requires no front panel are two LED's which give a visual IMAGE FORMATIONS power supply of its own, and provides not indication of theaboveorbelow threshold Designed for use with 3M Series 79only two channels of simultaneous noise status of the program or external control magnetic recorders the newly introducedreduction but a two -channel audio amplifier inputs. unit allows the user to measure in inches perthat can be used to drive small field monitor Accordingtothemanufacturer,the second, Hertz (with 60 Hz. representingspeakers. It weighs only 5 pounds. Gate's unique voltage controlled amplifier nominal speed), and percent of change. Four separate signal processing circuits, circuitry offers superior noise and distortion two for record and two for playback, permit specifications over previous gate design the noise reduced normalized signal to be which have used FET's as the gain control monitored while recording. The system elements. RMS signal detection, fast turn - uses a mirror image 2:1/1:2 compression/ on time, and an IC regulated power supply expansion circuit, linear in decibels over a are some of the additional features. 100 dB dynamic range. No level matching is The Gate is designed to fulfill the need for requiredforaccuraterecord/playback a program or externally controlled audio tracking. RMS levelsensorseliminate gate in music and film recording, as well as compressor/expander tracking errors due sound reinforcement and broadcast The bright four place LED readout allowsto phase changes added by the recorder. applications. It comes in a 19" by 1-3/4" rack the measurement of speed changes down toThe dbx 193 tape noise reduction system mount enclosure, and sells for $249. one, one hundreth of an inch per secondfurtherreducestheeffectsofnoise SYMETRIX, INC. change. A crystal controlled time basemodulation withoutsacrificinghigh 109 BELL STREET assures accurate readings. frequency headroom through use of high SEATTLE, WASHINGTON 98121 The Tape Speed Indicator is completelyfrequency pre -emphasis in record and de - (206) 682-3076 self contained, and draws its power from theemphasis in playback. for additional information circle number 63 tape deck. It can be remoted up to 50 feet from the machine. It can be built into the Get your signal processed The 193 provides the Nagra with an

additional 10 dB headroom, and in excess of 30 dB noise reduction. A flexible switching system permits comparison of the non -

si processed input signal with the processed 111if1lll I 11 I 611

signal appearing at the 193's output section.

Tapes recorded with the dbx 193 equipped THE TROUPER SOP -1 OUTPUT SIGNAL PROCESSOR Nagra are fully interchangeable with, and may be played back on any other dbx NINE BAND GRAPHIC Interaction Control determines professional noise reduction system. EQUALIZER amount of cross limiting Price: $850.00 ±10 dB adjustment at one May be used to limit high and dbx, INCORPORATED octave frequencies low frequency outputs of the 71 CHAPEL STREET NEWTON, MA 02195 Peak Indicator crossover separately. (617) 964-3210 In/Out Switch ADDITIONAL TROUPER SERIES for additional information circle number 66 ELECTRONIC CROSSOVER ACCESSORIES METER LINE AMP PACKAGE 16 Individually selectable QUAD LIMITER SIERRA AUDIO frequencies DUAL 9 -BAND GRAPHIC EQUALIZER MONITOR SYSTEM High Frequency Level Control DUAL ELECTRONIC CROSSOVER Available for the first time as a separate Peak Indicator 9 -BAND EQUALIZER/CROSSOVER system, the Sierra Audio Monitor is a two- COMBINATION way, four -speaker system employing high DUAL LIMITER See your local dealer or quality transducers throughout. Designed Two Independent Peak Limiters write for our free catalog: to offer the audio professional a high -power, On Cross -Over Outputs UNI-SYNC low -distortion,accurate sourceof Input/Threshold Level Controls reference, the Sierra Monitor has achieved Solid State LED Output and a unique distinction among the world's Gain Reduction VU A 6SR COMPANY finest studios. Indicators 742 HAMPSHIRE ROAD A successor to a world famous system WESTLAKE VILLAGE, CA 91361 installed in over two hundred studios, the

R -e 88 for additional information circle number 64 Is This AnWay to Buildatudio?

When Dick Cameron, Bob Foster and Troy Shondell of Starfox That's why Starfox called on El -Tech and us to execute their new Productions in Fort Woyne, Indiana, asked us to build their rooms. Nashville Studio Systems history of providing new 16 track facility, they didn't ask us for the newest voodoo price/performance packages of unexcelled quality, coupled magic in acoustics theories or the latest whizz -bang gadgetry with the kind of after -sale support a mother would be proud of, in gear. Rather, they wanted sublimely comfortable rooms that let these clients know they need look no further than us for their would demonstrate time and project -proven performance. And turnkey contractor. When we suggested the El -Tech master they wonted the kind of equipment that had a proud track record console as their primary gear expenditure, they knew record in other successful studios. our concern for their future financial success was a prime design parameter.

When your budget tells you it's not a bottomless well, but to get the very best you can afford, you'll want to call on us like so many other studio owners have. We know how to talk to you (and your budget). AIUK nAgivus That's the Way to Build a Studio! STUDIO SYSTEMS 16 Music Circle South Nashville, TN. 37203 (615) 256-1650 EL -TECH R-e/p 89 for additional infnrmatinn nornhor 67 RTS MODEL 1400 IN -LINE MICROPHONE PREAMPLIFIER/LIMITER Called a unique and versatile adapter, the unit's gain is continuously variable so that it canbeusedtoboostlow -output microphones for driving low -gain mixers, to boost mike outputs to line level, or to buffer medium level lines. Also, because of its high quality built in limiterit can be used to prevent overdrive of individual microphone orlineinputs,whilemaintaininghigh average levels. The 1400 has a fast rise time with no overshoot, even with 20 dB of limiting applied.Itissaid to be capable of no oscillation or ring despite highly capacitive loads.Additionally,itslow output impedance enables it to drive microphone cables of 1,000 feet or longer with no significant loss of high frequencies, thus SierraMonitor,employingaunique unfinished forbuild -inapplications, the effectively improving S/N ratio by keeping hardwood hornthatcontributes Sierra Monitor is priced at $1,650, f.o.b., the signal well above the noise level. To substantially to its lack of coloration, has a Burbank. It may also be obtained in several enhancecommon -moderejectionand horizontal dispersion of 120° and a vertical finishesfor free-standing applications at further improve S/N the 1400's input and dispersion of 45°. The system frequency prices starting at about $200 higher. output transformer are isolated with two- response in free air is ±2.5 dB from 31 Hz to SIERRA AUDIO way Faraday shielding. 16 kHz and will produce 126 dB at four feet 621 S. GLENWOOD PLACE Broadband. BURBANK, CA 91506 The 44"x30"x 20"enclosureis (213) 843-8115 constructedof1"stockand weighs for additional information circle number 68 approximately 300pounds.Available

04 Ail e (6. 51 ft .GEcot) 0. - ,.____0(0 . 0 i Because the 1400 is battery operated, it r'",c` 1,'"' ,0 r, avoids a major source of potential hum and 45001, '°' 9 g `ipg,') ground loops. One pair of 9V batteries form .-, (7... a bipolar supply with an operating life of (...-ipchreinizes ,-, ,,,, approximately 100 hours. recorders for $3,85a Price: $185.00 ,,,f, ' wti RTS SYSTEMS 4167 FAIR AVENUE NO. HOLLYWOOD, CA 91602 (213) 980-0511

BTX new 4500 SMPTE edit code syn- for additional information circle number 70 chronizer will bring into sync, and hold in FURMAN SOUND INTRODUCES sync, any two video or multi -track audio recorders us- STUDIO QUALITY, LOW COST ingsensible SMPTE time code. Use this TUNABLE CROSSOVER completely self-contained system to sync your VTR Known as the TX -2 the unit is tuneable to your audio recorder, or to expand the number of audio tracks with two multi -track recorders in tandem. from 20 to 20,000 Hz., and is switchable for For complete information call The BTX Corporation, 438 Boston both stereo bi-amp and mono tri-amp Post Road, Weston, Massachusetts 02193 (617) 891-1239. systems.Controls on thefrontpanel provide up to 8 dB gain, sufficient, it is said, to drive power amps directly. The TX -2'sdesignusesactive Butterworth filters with 12 dB per octave roll -offs for smoother frequency handling

R-e/p 90 for additional information circle number 69 WHATEVER YOUR RECORD PROBLEMS, ACCURATE SOUND HAS THE ANSWERS!

ASCO 1= INOVONICS

CASSETTE RECORDER

ASCO 2400 DUPLICATOR

ASCO MODEL 445-M

(44%

ASCO 2600 't", TRANSPORT " "" a FOUR CHANNEL EQUAL.

...Whatever your problems: new equipment, rebuilt equipment, reconditioning or updating. ASCO's "Total Systems" capability can solve your problem.

RECORDER/REPRODUCE SYSTEMS ASCO MODEL 445-M sizes. Availablein1/4, 1/2 and 1" tape widths. The Accurate Sound recorder/reproduce systems Two channel reproduce only electronics,using Price as shown: $1495.00. provide complete recording using Inovonics, standard 440 style cards. Available with or with- three speed electronics, AG -440, Ampex 351, MCI out front panel meters,in a 31/2"rack mount ASCO 2400 DUPLICATOR JH5 or other electronics. The transports feature chassis. Features a built-in power supply and Designed especially for quality, high-speed our new tape motion control box that eliminates two speed/ EQ settings. Provision is made for reproduction of programming for automation. The the tape handling deficiencies typicalof most remote EQ selection. Transport power is derived ASCO 2400 now allows 60/120 ips duplicating older tape transports.Contact us about your from a rear panel jack. Output level +4 or +8 speedsatcomparable qualitypreviouslyonly needs and the system components you would dBm balanced.Price:$495.00 without meters/ attainable at real time speeds. Speed and phase like to use.Price:Systems shown...ASCO $595.00 with meters. accuracy demanded by stereo formats can now Inovonics 2600-$5480.00, ASCO/MCI 2600-2c- be achieved through our new technology. $3595.00. Features include:Automatic cue...following ASCO 2600 TRANSPORT duplicating run, the master stops the slaves and The ASCO 2600 Transport features solidstate recues itself for the next duplicating run. During CASSETTE RECORDER "CMOS" techniquesto provide the following: the recue cycle, the operator reloads the slaves in This ASCO CRP -4T cassette recorder is designed fastmotion dynamic braking(i.e.braking is preparation for the next duplicator run-all primarilyasanon-lineloggingrecorderfor accomplished by reverse motor torque until reel transportsfeatureplug-in head assembliesto broadcast use.Itisafour channel recorder/ stoppage, then normal brakes are engaged)-tape facilitate rapid format changes-reproduce head reproducer with many transportfunctionsin- motion sensing that eliminates tape breakage by assemblies include all playback amplifiers with cluding:skip -forward, skip -back (i.e.automatic locking out theplayfunctionuntiltapehas equalization andleveladjustments.Allrecord fast motion to play mode)-automatic play with stopped-edit function-constant tension hold- head assemblies include bias and recordlevel either continuous run or BOT/EOT sense- back with optional constant tension takeup- adjustments-hot-pressed ferrite heads are used optionalbi-directionalplay-optionalcapstan optional constant torque holdback and takeup- throughout. Writefor complete specifications. engage for search and cue-digital readout tape access is provided for search and cue equipment Price: Four Channel System as shown-$8500.00 position indicator-any speed available between interface-provisionfor tapeliftfunction-de- .5 and 20 ips withvariable speed option-all layed stop for "pop free" bias turn off-torque FOUR CHANNEL EQUALIZER functions remote controllable. boost to accommodate high speed fast start- By slightly modifying your present 440 play card, The system is packaged in a two module bay logic design provides access from any transport this new plug-in equalizer will accommodate four with provisionfor module to module dub mode to any other transport mode-provision is different EQ settings with level adjust.Built-in function. The package size is 7" high x 19" wide made for logic level remote controlofall binary logic allows simple remote selection of x 12" deep. functions-optional slow start capstan-capable desiredequalization.le.You can now select Model shown is the ASCO AS4000-24RP of three speed operation-switch selectable ten- betweentwomultibandheadstacksattwo Price: $4800.00 sionsettingstoaccommodate differenttape different speeds in one compact package.

n ACCURATE SOUND CORPORATION 114 5th Avenue Send for our illustrated catalog with Redwood City, California 94063 new and used equipment listings. 415/365-2843

R-e/p 93 for additional information circle number 71 300A and D -150A amplifiers. The IOC acts in conjunction with existing amplifiercircuitrytomonitormusical waveforms, then analyzing the amplifier's input and output waveforms noting the difference. Whenever rated distortion levels and minimal phase displacement. The high X30 around the areas to be served and tap are approached (0.05% THD, IMD), IOC is and low-pass outputs of each crossover off this line at any place desired. triggered and the listener is notified through point track each other automatically as the Frequency response is plus or minus 0.75 a red LED on the amplifier's front panel. frequency is changed. dB from 10 Hz. to 20 kHz. The output level InkeepingwithCrown'spolicyof Principal uses are as a variable frequency is plus 27 dBm. There are three versions to avoidingcontinualmodel changes and splitter for P.A. and sound reinforcement planned obsolescence, existing DC-300A's loudspeaker reinforcement systems, studio and D-150A's may be updated with IOC for monitor systems,componentmusical $60.00.Units must be returned to the instrument amp systems, and as a bandpass factory for retrofit, the cost including a filter. laboratory check-out after IOC is installed. Furman Sound products are distributed All DC -300A and D -150A amplifiers with exclusively by: IOC will carry a S/N ratio of 115 dB ROTHCHILD MUSICAL referencedtoratedoutput.This INSTRUMENTS choose from: a table top or a 31/2" rack specification improvement in hum and noise 300 WINDSOR ROAD mount mono unit, and a 31/2" rack mount ENGLEWOOD, NJ 07631 stereo unit. Prices range from $145 to 240. (201) 871-3366 RAMKO RESEARCH, INC. for additional information circle number 72 11355-A FOLSOM BOULEVARD RANCHO CORDOVA, CA 95670 RAMKO RESEARCH MASS FEED (916) 635-3600 AUDIO DISTRIBUTION AMPLIFIER The new model DA -X30 Audio for additional information circle number 74 Distribution Amplifier will feed up to thirty CROWN IOC' MUSIC (20 Hz. to 20 kHz.) from 110 to 115 dB is in 600 ohm loads simultaneously with DISTORTION INDICATOR keeping with Crown's policyofvalue complete isolation. The stereo version will ANNOUNCED improvement with minimal technicalor handle up to 60 loads. The main feature of Called IOC (Input-Output-Comparitor) model obsolescence. this unit is the ease of installation. Simply theunique musicdistortionindication CROWN INTERNATIONAL run the single balanced output of the DA- system will be incorporated in Crown DC - 1718 WEST MISHAWAKA ROAD 46514 (219) 294-5571 for additional information circle number 75 MEDIAMIX JOYSTICK MODIFICATION KIT FOR SYNTHESIZERS Originally developed for use with the Oberheim Two -VoiceSynthesizer,the Joystick is offered in kit form as well as on a turnkey modification basis for Oberheims, ett Arps, and Moogs. forpro 31major audio inventorylines systems New for tock England a WeekdaYs an service times 10 With to9; at New For nearly York $1 rent Sat UrCla Drices, million Vs 10to call S. (617)courteous 926-6100

Modification of the sound is realized as the joystick is moved in any direction on a 360 degree horizontal plane. The X axis or 75North'gua° Waterto,Beacon left/right of center movement controls pitch wn Street bend. The axis or forward/backward movementisassigned to filter sweep. 02772 Switches are included to allow the player to

a 94 for additional information circle number 73 CONGRATULATIONS "Mack" Emerman on the expansion of your recording studio!

"Mack" has turned out a lot of gold records using advanced acoustical facilities and equipment. Particularly notable is the obvious appearance of McIntosh amplifiers in the Criteria Recording Studios. According to "Mack," "McIntosh are the

only trouble free amplifiers... having tried most others they are the only reliable ones that stand again."

11101110S ti IS the LEADER in -tong Trouble -Free Equipment LIFE

-Listening Quality Delivers 200 Shown watts average power in optional output minimum, per channel walnut veneer continuous across 1, 2,4, or 8 ohms cabinet with no more than 0.1% harmonic distortion. -Performance

The McIntosh MC2205Power Amplifier always "Sounds Clean". . . .

Conventional amplifiers when driven to clipping are tion without the use of fans. The MC 2205 has 1100 capable of delivering up to twice their rated power with square inches (7.64 square feet) of radiating heat sink more than 40% harmonic distortion. The extra energy surface.In addition, the chassis has been designed to content of the clipped signal will damage most speakers. permit the maximum amount of air to flow over the McIntosh leadership in engineering has developed a new heat sinks to conduct away the life limiting heat. circuit that. . . (1) dynamically prevents power ampli- Bipolar eptaxial output transistors and the McIntosh fiers from being overdriven into hard clipping. . . (2) output circuit allows the amplifier to operate as cool as which protects speakers by preventing clipping. . . (3) possible. When there is limited program demand of the assures that the amplifier will produce its maximum amplifier, only the optimum number of output devices output without increased distortion. That new circuit is operate.Conservative McIntosh engineering keeps "POWER GUARD". operating temperatures low assuring long life. Cool operation is essential to achieve long trouble free Ifyou wouldlike more information on McIntosh lifein an amplifier. Cool operation results from the amplifiers or electronics please write or call us: careful design of the output circuit, proper matching of the output circuits to the loudspeakers with an auto - McINTOSH LABORATORY INC. transformer and a mechanical design that permits the 2CHAMBERS ST., BINGHAMTON, N. Y.13903 use of generous sized heat sinks with adequate ventila- 607-723-3512 R-e/p 95 for additional information circle number 76 takes its place in the Nakamichi lineup between the top -of -the -line CM -1000 Studio Condenserandthe CM -300Electret 111115Rolassbral %arias Condenser microphones. It utilizes a highly advanced electret element measuring only 16 mm in diameter. The element's small diameter and low mass are said to ensure extended high frequency response, excellenttransientcharacteristicsand switch either or both of the modification chorus,pitchshifting,double tracking, extremely low coloration.Built into the modes into use. The amount of modification Leslie speaker simulation and cardboard housing of the CM -700isa low noise is controlled by rotary pots. tube echo. Delay times of more than 20 ms preamplificationcircuit which utilizesa Typical applications have been to more will create flanging effects of over 6 octaves. hand -selected FET for high sensitivity and realistically recreate brass, by bending up to The unit is claimed to have the lowest wide dynamic range. The microphone is a note, then adding some edge or brightness noise and distortion of any similar device powered by an internal, user -replaceable 6 (filter) plus some manual vibrato to the tail of now available. Special filters are said to Voltsilveroxide battery. Two the note. Beautiful violin, harmonica, horn, eliminate inputaliasing and output interchangeable element capsules provide as well as other very musical sounds can be quantization noise. choice of cardioid or omnidirectional polar made, enabling the keyboard player to add The Flanger 900-A is designed for both patterns. Also provided is a "pad" which the human touch and expression that studio and live performance use, and is attenuates the signal by 15 dB to prevent heretofore only horn and string players powered by a dual IC regulated power overload in high sound pressure situations. could achieve. supply which is built-in; requires 117 VAC, The power switchprovidesaspecial MEDIAMIX 60 Hz. position for"lo -cut"proximityeffect 4060 STANFORD Options include: Balance input/output, attenuation. DALLAS, TX 75225 foot pedal, road case. (214) 368-6846 WASATCH MUSIC SYSTEMS for additional information circle number 77 BOX 9175 SALT LAKE CITY, UT 84109

WASATCH MUSIC SYSTEMS AN- (801) 467-4722 CM -700 NOUNCES DELAY DEVICE Studio Electret Microphone Known as the Flanger 900-A the new unit for additional information circle number 78 is aprofessionaldevicecapableof FOUR NEW MICROPHONES producing effects such as positive and FROM NAKAMICHI negativeflanging,doppler,vibrato and The CM -700 Studio Electret Microphone the DM -500 better Moving Coil Dynamic Microphone The DM -500Moving CoilDynamic Microphone is a reduced -cost version of Nakamichi's premier dynamic model, the bass DM -1000, which was introduced one year ago. Like the DM -1000, the DM -500 is a studioqualitydynamicfeaturingwide frquency range, fast transient response and driver wide dynamic range. The built-in from ATC/Forsythe excels its US made competi- windscreen effectively minimizes pop, blast tors in several important respects you'll never find listed in data sheet specs. and wind noises, making the microphone Our PA -75 series of 12" drivers is a unique blend of American brute force ideal for close-up vocal applications. Shock - mounting of the moving coil element plus ruggedness with the finesse of British cone technology. The result is an audi- special casing construction makes the DM - ble quality equal to the finest audiophile speaker combined with power 500 virtually impervious to mechanical noise handling capacity and service life unexcelled by either of the other two transmitted through the cable or mike popular commercial drivers. Before you buy anything new or replace what stand, or generated by hand -holding. The you've got, try an ATC/Forsythe PA -75 in your application. For on evaluation DM -500 exhibits a superior cardioid polar unit, call or write: pattern with high rear sound rejection. The popularity of Nakamichi's CM -300 Forsythe AudioSystems, 28 Acton Street, interchangeable capsule electret system has Watertown, MA 02172 /617-926-2574 prompted the firm to introduce a budget - pricedversion,the CM -100Electret AUDIO SYSTEMS Condenser Microphone. The CM -100 is

R-e/p 96 for additional information circle number 79 There isan alternative.

If you're ready to buy a TRULY PROFESSIONAL console, We're ready to deliver it. The console that doesn't have a "sound", no built-in coloration. The console that's like a piece of wire YOU can shape to achieve the sound you're after.

BEE JAY RECORDING will soon receive delivery of the first Eclipse C for their new automated 32 track studio in Orlando, Florida. Studios across the country have taken the alternative and have chosen SPHERE. Among them are BANG RECORDS in Atlanta and ALPHA AUDIO in Richmond, both taking delivery of the all new automated Eclipse type C. If you're really serious about a truly professional console, you owe it to yourself to call one of our area reps. PhateEL_CTRONICS, INC.

FACTORY MIDWEST and SOUTHEAST NORTHEAST SPHERE ELECTRONICS, INC. SPHERE AUDIO SALES SPHERE ASSOCIATES 20201 A Prairie Ave. 478 Devens Drive 11250-7 Roger Bacon Dr. Chatsworth, Calif. 91311 Brentwood, Tennessee 37027 Reston, Virginia 22090 (213) 349-4747 (615) 794-0155 (703) 471-7887

R-e/p 97 for additional information circle number 80 physically quite similar to the CM -300; all of The newly introduced C-40 is a dual the CM -300's optional capsules, in fact, can channel tunable, 2 -way electronic crossover be used with the CM -100. The cardioid designed for use in professional sound capsule provided on the CM -100, therefore, reinforcement andstereoanddisco can be replaced with the optional CP-3, systems. super -omnidirectional or CP-4 "shotgun" element.Insteadofa 9 Volt mercury battery, however, the CM -100 is powered CM -50 by a standard 1.5 Volt penlight cell. Except Miniature Electret Microphone for a slight loss of dynamic range, the CM- 100's performance quite closely resembles The unit is constructed in an enclosure that of the popular CM -300 system. which is suitable for mounting in a standard The CM -50isa MiniatureElectret 19 -inch rack. All controls are located on the Microphone designed for those applications front panel. where conventional microphones would not Price: $276. be practical. It offers a unique combination MUSIMATIC INC. ofsuperiorperformance and compact 4187 GLENWOOD RD. dimensions. The entire head of the CM -50 CM -100 DECATUR, GA 30032 measures 13 mm (1/2 -inch) in diameter and Electret Condenser Microphone (404) 289-5159 34 mm (1 -%-inch) in length. The head is for additional information circle number 82 connected via a thincabletothe connector/battery housing, which can be "dummy head" recordings. INOVONICS AUDIO OPTIMIZER easily hidden from view. The head weighs a Suggested retail prices are as follows: INCORPORATES THREE mere 20 grams (0.7 oz.). Design features CM -700, $150.00; DM -500, $70.00; CM -100, PROCESSING FUNCTIONS include a tiny high performance FET pre- $70.00, CM -50, $110.00 The gated gain -riding AGC amplifier in amplifier built into the head; and battery NAKAMICHI RESEARCH (U.S.A.) the Model 221 Audio Level Optimizer II powered operation via a user-replacable 6 220 WESTBURY AVENUE compensates for long-term variations in Voltsilveroxidecellhousedinthe CARLE PLACE, NY 11514 program input levels over a plus or minus 10 connector section. A "tie -clasp" holder clip (516) 333-5440 dB range at a correction rate of 0.5 dB per is supplied for easy attachment to clothing, for additional information circle number 81 second. Contol over program dynamics is and a foam windscreen is provided for provided by a gated open -loop compressor. outdoor use. The minute dimensions of the MUSIMATIC C-40 DUAL A fast peak limiter prevents overmodulation CM -50also makeitidealforbinaural ELECTRONIC CROSSOVER with program controlled phase inversion

Over the past six years, the Audio Er Design COMPEX-LIMITER has been put into operation by an impressive number of studios - discerning hard- working studios, that have studied the market carefully and realise that when it comes to well designed, cost effective equipment, they don't have any alternative.

Chosen by more professionals than any comparable system, the F760X- COMPEX-LIMITER is a combination multi -ratio compressor with separate overall peak limiter and low level noise expander -gate. It offers true stereo, or dual mono capabilities and has performance characteristics so designed to preserve essential wave -front information - yet keep overshoot and distortion to a minimum. COMPEX-LIMITERS are compressing, expanding and limiting good sounds just about everywhere good sound is recorded.

audio Et design recording inc., P.O. Box 23047, Honolulu 96822, Hawaii. Tel: (808) 845 7226

R-e/p 98 for additional information circle number 83 and adjustable limiting symmetry for AM; a separate 25/75 microsecond high frequency limiter is provided for FM. The Model 221 is within 1 dB flat from 20 Hz. to 20 kHz. Noise is less than 70 dB below the 100% modulation output level with distortion below 1% THD (10 dB compression and 10dBlimiting of steady state signal).

-="1.i.171.1111111"111-L-4

Although primarily designed for radio broadcast applications the Model 221 is applicable to TV audio, and can also be used fordialogrecordingorsound reinforcement. INOVONICS, INC. 503-B VANDELL WAY CAMPBELL, CA 95008 configurations. The series also includes a Master controls include two sub mixes (408) 374-8300 special 7 channel 19" rackmount and a master mix which is the sum of sub for additional information circle number 84 configuration. mixes. The Mark 2seriesfeaturesinclude Suggestedretailprice(for MV -12 PEAVEY MARK 2 MIXING transformer balanced inputs and outputs; pictured): $999.50. CONSOLES LED ladder displays on Main and Sum. Each PEAVEY ELECTRONICS Designed for portable or fixed installation channel features LED overload indicator, MERIDIAN, MS 39301 sound reinforcement and recording pre -monitorsend,4 -bandequalization, (601) 483-5365 applications theMark 2series mixers are stereopan,variableinputattenuation, offeredin8,12, 16,and 24 channel effects send, and level slider. for additional information circle number 85 ottAAN Everything you expect ...in a Parametric Equalizer/Preamp ...in a TUnable Crossover/Bandpass Filter Broadly overlapping frequency bands: Bass 25-500Hz; Applications: stereo bi-amp, mono tri-amp,oras a tunable bandpassfilter Mid 150-2500Hz; Treble 600-10,000Hz Active filter circuits provide 2 -pole Butterworth response with 12dB Equalization: + 20dB boost to over -40dB cut In all ranges per octave roll -off Bandwidth: variable from 1/10th to over 4 octaves In all bands TWOcrossover points: each accessible via frequency range Variable gain preamp with self -regulated power supply pushbutton and continuously tunable from 20 Hz to 20 KHz High and low level Inputs and outputs with 1/4" phone jacks standard Input: 100K ohms unbalanced, with maximum Input before clipping at 1 KHz. 4.9 Vrms for high level Input; 430 mVrms for low level Input Output: 10 ohms unbalanced, with maximum output level of 8.3 Vrms 1+21 dBml into minimum terminating Impedance of 600 ohms Input: 100K ohms unbalanced. with maximum input before clipping Total available gain: 26 dB (low level input); 6 dB (high level input) with gain set to unity, 8.7 Vrms 121 dBml Output: 100 ohms unbalanced with maximum output of 8.7 Vrms 1+21 dBml into minimum terminating impedance of 10K ohms Output level controls: for mid and high outputs with phase reversal switches

111111110 Input level controls: adjustable from unity to +8 dB Frequency response: =1/2 dB in bypass or with all equalization Sum signal response:the sum of the high -and low-pass outputs maybe controls set to O. from 20Hz to 20Ki-tz adjusted to be flat +2. -0 dB 20 Hz to 20 KHz Signal to noise ratio:109dB in trypass:99 dB with equalization engaged Signal to noise ratio: 101 dB Distortion: .015% in bypass: _025% with equalization in and set flat Distortion: .01% T.H.D. At far less than you expect the best to be... 5300.00 At far less than you expect the best to be... $250.00 And, standard with both devices... 115 VAC and 230 VAC versions Dimensions: 19" wide, 13/4" high, 8" deep. Weight 5 lbs. Construction: steel chasis. 1/8" aluminum front panel, etched and paint -filled Full year warranty on parts and labor

300 Windsor Road, Englewood, New Jersey 07631 OTHCLO WINKAL /NMI 'MEWS I

for additional information circle number 86 R-e/p 99 SPECK SP800C MIXING CONSOLES stereocontrol room and studiolevel The newly introduced model is a 16 input controls, cue 1 and cue 2 level controls each 16/8 output, stereo out console which can of which can be soloed, slate and talk be easily expanded to 24 track operation buttons with level control, 2 cue prompts, 2 with the addition of the 01 or 02 options. the cue returns, 2 two -track playback controls, 800C is designed to operate with all models 2 echoreturns, andself contained of professional multi -track recorders, and microphone. willalsoworkverywellwithsemi- Specifications: Microphone input professional multi -track tape machines. impedance 150 Ohms balanced, line input impedance 10k Ohms, S/N -72 dB, output level(normal)+4 dBm above 0VU, maximum output level +20 dBm, headroom +16 dBm, equivalent input noise -127 dBm. Price: $6,500. fob factory. SPECK ELECTRONICS The roll around tape console will fit any 5642 LANKERSHIM BLVD. reel-to-reel tape machine up to 19" wide and NO. HOLLYWOOD, CA 91601 (213) 21"long. The console has heavy duty 769-7090 casters and a storage shelf for tape and for additional information circle number 87 accessories. All units are finished with scuff and stain RACK -IT EQUIPMENT SYSTEMS resistant dark walnut formica with black Theinputmodulesfeature a 41/2" Untilnow it frequently hasbeen accents. conductive plastic slide fader; 6 knob, 3 necessary to pile and stack expensive audio RACK -IT EQUIPMENT SYSTEMS band parametric equalization; 8/16 track equipment on shelving units that were MIDWEST SOUND COMPANY assignmentbuttons;postechosend; designedtofit everythingbutaudio 4346 WEST 63RD STREET monitor send control; 2 cue sends; solo equipment. Rack -It has designed cabinetry CHICAGO, IL 60629 button which allows stereo panning when specially for audio components. 312/767-7272 engaged; a mic/lineswitch;and an Both equipment racks being offered are for additional information circle number 88 attenuation switch of -10 or -20 dB. 51" tall x 17" inches deep and come with 21/2" The output section contains everything ball casters for mobility even on rugs. Style NEW MMX-1700 MIXING CONSOLE needed to do a professional recording "A" is for 19" rack mountable equipment. FROM MUSIMATIC session, from the stereo master fader to the Style "B" has four adjustable shelves and will The MMX-1700 is a professional sound 8 submaster level controls. It also includes accommodate equipment up to 231/2" wide. reinforcement and recording mixing 321trt? We had it FIRST. We have it NOW. We will have it TOMORROW.

32 & 40 Tracks on 2" tape Total weight less than 150 lbs. 40 Tr. Signal to Noise -64 db. Over 7 years of 40 track experience Flutter-.03% weighted Transport virtually eliminates tape wear. No Capstan or Pinch Roller 10 Memory microprocessor auto locator.

CONTACT US FOR DETAILS ABOUT OUR 32 TRACK 2" RECORDERS Professional 4,8,16,24,32, & 40 Track recorders by Stephens Electronics, Inc.

STEPHENS EXCLUSIVE EASTERN REPRESENTATION: ELECTRONICS, INC dadia J'ew-ira 3513 Pacific Avenue Burbank, Calif. 91505 DIVISION OF TODRANK TECHNICAL SYSTEMS INC Phone: (213) 842-5116 P.O. Box 40743 2821 Erica Place Nashville. Term. 37204 (615) 383-4732

See our 32 Track 2" recorder in session at Bee Jay Recording; Orlando, Florida

R-e/p 100 for additional information circle number 89 console with 8 to 24 input channels, stereo or quad output channels for 4 channel or stereo submix capability. The standard MMX-1700 is a 16 channel stereo mixer. are your fingers tired of walking

A few of the features include transformer through balanced inputs, auxiliary inputs, 50 dB of input attenuation, pre -distortion red LED's in each input, 3 band equalization in each the yellow pages? input and output. Also, pan -pots, monitor channel which is pre -volume control and One phone call is all it takesto check on all phases of pre -input equalization, reverb channel and production on your record albums from mastering to solo (headphone)channelandmute plating, typesetting, color separations, printing, pressing switches. and packaging. We do everything under one roof in Modularconstruction,solidstate "Record Time". circuitry, walnut cabinet, portability and economy are a few other features. QCA Custom Pressing Dept. RE Price: $3,100. - $3,900. MUSIMATIC INC. 2832 Spring Grove Ave. 4187 GLENWOOD RD. C Cincinnati, Ohio 45225 DECATUR, GA 30032 (QC10CUSTOM PRESSING 1-513-681-8400 (404) 289-5159

for additional information circle number 90 ..THE PYRAMID ACTIVE DIRECT BOX Inannouncing the new active direct box/microphone substitution device, Pyramid says that the unit accepts direct inputs from guitar, bass, crystal pick up, amplifier speaker output, or other line level signal and translates that signal into two balanced microphone level outputs, and an unbalanced output for consoles, monitor amps, or remote feeds.

The Universal Hot Box features inputs for instrument level outputs, amplifier speaker level outputs, and line on phone or phono

R-e/p 101 connectors. The unit provides five separate BOOKS outputs. First, an inverted output for driving O r presents... auxiliary effects units at low impedance; second, a boosted output for headphone SOUND RECORDING monitoring of the processed signal, or for by John Eargle "THE additionalgain when plugging intoan JME Associates amplifier; third, an unbalanced output for "The best book on the

musicalinstrumentorhigh impedance technical side of recording. . . PACKAGE" monitor system inputs; and two isolated thoroughly recommended."

1000 Pure Vinyl 45 RPM Records. 'Cannon type' balanced line outputs for -Studio Sound Labels feeding mixing or monitor consoles. 338 Pages,illustratedwith232tables, The unit operates from two nine Volt curves,schematicdiagrams,photographs All Metal Parts & Processing. transistor radio batteries forfull output and cutaway views of equipment. Mastering by Dick McGrew using swing. Distortion is guaranteed to be less $16.95 each Neumann VMS 70 Lathe and SX than 0.05% from 20 to 20,000 Hz with a mike R-e/p BOOKS 74 Cutter. level output of a hot -10 dBm. P. 0. BOX2449 PYRAMID ELECTRONICS HOLLYWOOD, CA 90028 COMPLETE P. 0. BOX 6171 PACKAGE ..249 .0 SAN RAFAEL, CA 94903 MICROPHONES: DESIGN 415/479-4206 and APPLICATION (FOB DALLAS) for additional information circle number 94 by Lou Burroughs A practical, non -theoretical reference manual for those involved in the "The Package" consists of1 -step HARRISON TO INTRODUCE application of microphones for recording, processing. Re -ordersarenot MICROCOMPUTER AUTOMATION possible without re -mastering TV, motion pictures, sound Employing a multiprocessor approach for reinforcement. Call Toll Free for more Information. optimized execution time and an expanded Hardcover - $20.00 range of available features the new Harrison 800-527-3260 R-e/p Books automation systemwillbecalled 864 P.O. Box 2449 Hollywood, CA 90028 AUTO -SET. The unitisa full process a*record control microcomputer designed HANDBOOK OF manufacturing corp. specifically for the audio industry. Complete MULTICHANNEL 902 N. Industrial Blvd. data management is included as part of the RECORDING Dallas,Texas 75207 (214) 741-2027 system, minimizing mixing time and effort. by F. A/ton Everest Under parallel development are many 320 pages - 201 illustrations The book that covers it all ... software packages for application to live a comprehensive guide to all facets of performances, television production and multi -track recording ... acoustics... mastercontrol,aswellasmulti -track construction ... studio design... MEASURE recording. equipment ... techniques ... and much, much more. REVERB TIME Also about to be shown are Harrison's Hardbound $10.95 - Paperback $7.95 new second edition automated consoles. IN REAL TIME. These include R-e/p Books the 4032B witha new P.O. Box 2449 Hollywood, CA 90028 exclusivehighresolution(36 segment) Instantly! VU/PPMmetersystem, and an "Affordable Model 3624". EQUIPMENT HARRISON SYSTEMS P.O. BOX 22964 ONE STOP FOR ALL YOUR NASHVILLE, TN 37202 PROFESSIONAL AUDIO REQUIREMENTS (615) 834-1184 BOTTOM LINE ORIENTED F. T. C. BREWER COMPANY for additional information circle number 95 P.O.Box 8057Pensacola, Florida 32505 CLASSIFIED ADVERTISING FOR SALE: Ampex AG -440-B,8-tk., RT-60. RATES $7,195.00; dbx 124, $299.00; TEAC Model This easy -to -use - $40.00 Per Column Inch - 1 Mixer, $119.00. instrument delivers pre- BRAD SLOCUM cise reverb time measurement in instant real time digital read- (211" x 1") out. No more chart recorder or time-consuming chart re- 236-D Red Oak Drive, East corder analysis. The RT-60's integrated circuitry incorpor- One inch minimum, four inches max- Sunnyvale, CA 94086 408/732-3949 ates a one-third octave hand pass filter system with fre- imum. Space over four inches will be quency centers on 250,500,1000,2,000, and 4,000 Hz.It operates on self-contained ni-cad batteries. Mounted in a charged for at regular display advertising FOR SALE rugged carrying case, the RT-60 weighs only 3.5 pounds. rates. EMT -140TMono plate, mintcondition. The dealer net cost. FOB San Diego, is just $2,200.00 Write for your free technical $460. bulletin on the RT-60 - instantly! SCULLY 100 16 -track recorder with 8-tr. stack, good condition. $10,500.00 SOUNDSYSTEM ENGINEERING SCULLY 280 8 -track recorder, priced to COMMUllialTi0115 move fast. .6 by Don & Carolyn Davis -o C MCI 24 -track recorder, like new. COMP= Almilmih 296 pages 81/2x11 Miniature high output studio monitors, 0 inc MINIIP:111 Norr.:31 Hardbound $19.95 $110.00 per pair. 3490 Noell Street Elm it cm R-e/p BOOKS SOUNDESIGNS San CA 92110=Nmummyieo, P.O. Box 2449 313 W. 57th St. New York, NY 10019 TelephoneD (714)g297-3261 I HOLLYWOOD, CA 90028 212/765-7790

R-e/p 102 Our New Math: EQUIPMENT EQUIPMENT

FREE CATALOG & AUDIO APPLICATIONS FOR SALE:Scully 280-8recorder/ CONSOLES 530 KITS & WIRED reproducer with Syncmaster. Excellent AMPLIFIERS condition. New Spec SP800C 16x8 mixing MIC , E0 ACN,LINE, 532 TAPE, DISC, POWER console with 240 point Bantam patch bay OSCILLATORS and producer's desk. 50 reels of 1" Scotch AUDIO, TAPE BIAS tape. $14,900.00, (U.S.) Telephone: 2 POWER SUPPLIES (604) 987-0685 or 733-3146 1033 N. SYCAMORE AVE. LOS ANGELES, CA. 90038 Model 532 is a single channel version of 0ql:,,IP (213) 934-3566 UREI's 530 Dual Graphic Equalizer, offering STUDIO GOING 24 TRACK: real economy for recording, sound reinforcement, radio and TV, and monaural music for additional information circle number 96 Auditronics Console Model 501 "Son of 36 Grand", 20x 16 consisting of two cues and systems. The nine equalizers are centered at stereo monitor, 4 echo sends, Quad out- each octave from 50 Hz to 12.5 kHz. Input may be operatedbalancedor unbalanced STAGE/STUDIO/BROADCAST put buss and Quad panning. 16 Buss and the transformer -coupled output amplifier AUDIO SYSTEMS metering with Quad and stereo meter- is capable of delivering +20 dBm into a 600 ing. Many extras including remotes. $20K. ohm load. Signal-to-noise ratio at maximum AKG, Allison Research, Amber, AMCO, 3M 79 16 -Track w/8 track stack, VSO and outputis 110 dB, distortionis below 0.5%. API, Auditronics, Beyer, Cannon, dbx, E -V 30' remote. $20K. Heads recently relaped. Half racksize.Available from your UREI Edit -All,El -Tech, Eventide Clockworks, All modules meet new specs. Like new dealer. IVIE, JBL, Lexicon, MicMix, MRL, MXR condition. Selling individually or package Negra,Neotek,Neumann,Nortronics, both pieces. Contact: Orban/Parasound, Orange County, Otari, SPECTRUM Pultec, Ramko, Robins, Russco, Scully, Sennheiser, Sescom, Shure, Sony, 213/392-2663 Soundcraft, Speck, Switchcraft, Spectra TRACKS! Sonics, 3-M, Tascam, Technics, White, Total recording systems, specializing in the GRAPHIC EONALIZER model 532 and UREI. Plus many more. semi -prostudio. Tascam, TEAC, Neotek, FOR FURTHER INFORMATION ON BGW, dbx, MicMix, Sennheiser, TAPCO, THESE AND OTHER SPECIALTY ITEMS MXR, Shure,S.A.E., and many others. FROM OUR FACTORY OPERATIONS COMPLETE STUDIO PACKAGES CONTACT: AVAILABLE MIDWEST SOUND COMPANY TRACKS 9520 - 47th Street 4346 W. 63rd Street Brookfield, IL 60513 (312) 485-0020 8460 San Fernando Road, Sun Valley, Calif. 91352 Chicago, IL 60629 312/767-7272 (2131 767-1000 Exclusive export agent: FOR SALE: QUANTUM AUDIO LABS Gotham Export Corporation, New York TASCAM 80-8's IN STOCK! QM -8 (8X4) MIXER FACTORY CERTI- Model 5's and 5 -EX. Crown, 3M, AKG, FIED TO MEET SPECS. Each input in- Shure, E -V, Sentry III, and IVB's. cludes: Duncanfaders, push-button track assign to any one or combination of Ask for Ben! the four outputs, Pan Pot, mike/line/15 dB HOW FAST IS YOUR 3M.79RUNNING? ROWTON PROFESSIONAL AUDIO pad/off switch, 4 point EQ on 2 knobs, (502) 898-6203 echo send and return, independent headphone cue mix, and stereo/quad monitoring.Recently overhauled at factory to SCULLY/WESTREX stereo cutting sys- meet specs. Specs available on request. tem, $9,850.00. Also nearly new com- Looks brand new. $1,650 / best offer. plete automation system NOW CUTTING. FOR SALE: AMPEX AG440-B 4 -TRACK, $19,500.00. Will consider trades. Contact: operated only by owner on part time basis. JOHN MICHAELSON YOU CAN TELL HOW FAST WITH 6540 E. La Fayette Boulevard New jewel tape guides and pinch roller. Scottsdale, AZ 85251 $3,950 / best offer. AN IMAGE FORMATIONS TAPE FOR SALE: REVOX HS -77inportable SPEED INDICATOR WITH FEA- FOR SALE: API Console w/65K Automa- carrying case, 71/2-15 ips, Sel-Sync, Vari- speed. List price $1,484. Asking price $995 TURES LIKE: tion 28/24. Four years old and in prime /best offer. CRYSTAL STABILITY. condition. Reason for sale: Growth - Contact Pete at 803/577-7398, or going 32track.Availableforin -use P.O. Box 308 Charleston, SC 29402 EASY TO READ L.E.D. DISPLAY. inspection.Call802/763-7714 and ONE HUNDREDTH I.P.S. RESOLU- ask for Jonathan. PIEZO SUPER TWEETERS TION. PRO EQUIPMENT Goodquantitiesinstock. Specifications 3 READOUT MODES( I.P.S., Hz, & sent if requested. $4.62 - $9.50 depending LOWEST PRICES ANYWHERE on quantity. PERCENT.) TASCAM, TEAC, JBL & OTHERS. WRITE: MUSIMATIC, INC. IT'S EASY TO HOOKUP AND EASIER D.B. DISTRIBUTORS, INC. 4187 Glenwood Road TO USE. A BARGAIN AT $750. 107 Hurstbourne Lane Decatur, GA 30032 Louisville, KY 40222 (404) 289-5159 ALSO AVAILABLE FROM IMAGE FORMATIONS: FOR SALE:BankruptStudio TEAC/TASCAM BUYERS BEWARE RECORD & PLAYBACK KNOBS We have TEAC/Tascam 80-8 Recorders in Assets recording (Echo Sound) stock, in quantity. Lowest possible prices WHICH MOUNT ONTHE PCB Equipment for sale about to be on fully checked -out units with full back- FOR EASY ADJUSTMENT WHEN disconnected. Speakers plus up service. "Sealed container" prices to YOU DON "THAVE AN ALIGN- beat the best: office equipment. 212 247-6013 MENT TOOL. 80-8 RECORDERS $2,350.00 MODEL 5 MIXERS $1,500.00 SIX DIGIT TIME CLOCK WITH EVENTIDE DIGITAL DELAY LINE ME120 CONDENSER MIKES $ 100.00 UP, DOWN & PRESET CAPA- 2 outputs with variable pitch controller. For these and all other studio gear Demo unit - one time used - list was requirements - call Jim Loyd. BILITIES. $4,950. Sell at $4,200. Contact: FILM FOOTAGE COUNTER. TRACK AUDIO, INC. NASHVILLE STUDIO SYSTEMS Call Collect 206/941-2233 16 Music Circle South CONTACT US AT P.O. BOX 4227 Nashville, TN 37203 615/256-1650 BURBANK, CA. 91503. (213)994.2430

R-e/p 103 EQUIPMENT EQUIPMENT EQUIPMENT

FOR SALE: WISCONSIN'S RECORDING STUDIO, P.A. CUSTOM SPECTRA SONICS CONSOLE 3M Model 310 2-Tk. Recorder $2.700.00 Ampex 350 2-Tk. Recorder w/MCI JH-5 AND SHOW STAGE BUYERS 16 in,8 out, 16 track. Monitor mix, 4 Electronics, custom wood cabinet $1,75000 ONE STOP SHOPPING Complimiters. $10,000. Ampex 300 2-Tk. Player only, w/MCI for JH-5 Electronics. Deck modified by Tascam, JBL, Altec, S.A.E., Maxell Tape, STUDIO ONE lnovonics Constant Tape Tension $1.350.00 Creatronics Stereo Limiter Scotch Tape,Quad8,StrongAltman, Atlanta *404/447-9492 Model CL -4002 $12500 Capitol Lighting 4 -MCI Portable Equalizers w/power TURNKEY -TECH SUPPORT supply. wood cabinet $375 00 FOR SALE: DISC CUTTING LATHE Eventide Compressor $40000 FOR THE LINES WE SELL Neumann computer helium head 5x68 Two Pultec HLF 3C Filters $16000 HARRY MELCHER ENTERPRISES lathe with Neumann (Telefunken) master Eico Scope $75 00 (414) 442-5020 RC A Volt-Ohmyst Meter WV97A $25 00 playback console. Stereo and mono cut- Heathkit Audio VTVM AV -3 $25 00 2 White Model 3000 Voicing Systems $100.00 ting heads, full EQ, EMT PDM (151) loud- Countryman Phase Shifter Type 967 $7500 Tascam, TEA C, Sound Workshop, Otari, ness limiter. Located in Los Angeles, CA Countryman Phase Shifter Type 968 $100.00 dbx, Nakamictri, MXR, Dynaco, ADS, E -V, Box NTC - c/o R-e/p Whatnot Producut Generator $450.00 Eventide, Shure, Maxell, Ampex, AKG Pro, CRITERIA RECORDING COMPANY Beyer, Urei, Stax, Sennheiser, Tapco, BGW, P.O. Box 2449 Hollywood, CA 90028 1755 N.E. 149th St. Miami, FL 33161 and more! SEND FOR PRICE QUOTES USED RECORDING EQUIPMENT ZIMET PRO AUDIO CLEARANCE SALE Dept. REP Tape recorders, consoles, monitors, 1038 Northern Blvd. Roslyn, NY 11576 limiters. etc. Hundreds of clearance bargains. Write or phone for NOW YOU CAN TRADE UP TO A complete list! QUANTUM AUDIO LABS MIXING MCI JH-8 -6-Track, Play only $3,900 00 Scully 8 -Track. 1", Syncmaster $6,950.00 CONSOLE. We are a franchised dealer. Ampex MM -1000-16. extra 8 -track QM -168 (16X18) on display, in use in our heads, remote $12,250.00 studio/display room. We will consider Ampex MM -100, 16 -Track $10,750.00 your trade-in offer, Write or call Vanguard Ampex MM -1000-5, Play only $4,100.00 Sound, P.O. Box 308, Charleston, SC Neumann 16,24 Console. 32 monitor 29402. Phone: 803/577-7398. Ask for Pete. mix, rack patch bay, extras. Cost over $70,000.00. $14,150.00 Kongsberg 16x16 deluxe console. PRO AUDIO EQUIPMENT rebuilt summer 77. Cost over AND SERVICES $46.000,00_ $12,970.00 Allen & Heath 16x8 Mod II Console P.A. and custom touring sound systems, with patch bay. $3,985.00 studio equipment and turn -key install- JBL 4433 Monitors. pair $895.00 ations, theatre and disco sound. Repre- Many other recorder& consoles. mikes, reverba, etc. senting over 100 audio lines including: Call or write for deMlls.

AKG, Allen & Heath, Alembic, Altec, A sa'es ' -a.7:15^ :' :er! ' ed check only. 10% deposit Ampex, B&W, Beyer, BGW, Cetec, : :5 3.-'t, - '.-:"'4 cars Deposit refunded if inspec- Cerwin-Vega,Celestion, Community 7 :"'5 not satisfactory. Light & Sound, dbx, Denon, Dokorder, AUDIOTECHNIQUES, INC. Dynaco, Emilar, ESS-Pro, E -V, For- 142 Hamilton Ave. Stamford, CT 06902 sythe Audio, Fons, Furman, Gallien- 203/359-2312 Kruger, Gale, Gauss, GoldrIng, Grace, J&H Formula 4, Kelsey, Koss, Lamb, ECHO-MicMix Super "C" Langevin, 3M, 3A, Marantz, Meteor, New unit. We are overstocked and you Mitsubishi,Maxell, Malatchy, MXR- take advantage. One only. Sell at $1,700, Pro, Otari, Russound, Revox, SAEC, down from suggested price of $2,095. Orders processed same day Sennheiser,Scotch,Shure,Sonab, Sound Craftsman, Soundcraft, Sound MICROPHONES-We are overstocked COD's accepted Workshop, Sony, Switchcraft, Sescom, and you can take advantage. E -V 365A, Stax, Supex, Tapco, TDK, Tascam, $42.57; RE -16, $125.93; RE -55, $140.58. 0 Write for free catalog and price list, with fullinformation onother assorted Technics, TEAC, Thorens, Uher, West Neumann U-87, $574.77, usually sells for Penn. $782.00. Quantities are limited! First come -c goodies in little black boxes. ALL EQUIPMENT ON DISPLAY IN A first served - these are new! 0 WORKING ENVIRONMENT. COMPETI- TRACK AUDIO, INC. Windt Audio Inc. TIVEPRICING & COMPREHENSIVE 33753 - 9th Avenue, South 1207 N. Western Ave. SERVICE. FederalWay, WA 206/838-4460 Los Angeles, CA 90029 K & L SOUND ATI(213) 466-1271 75 N. Beacon St.Watertown, MASS 02172 FOR SALE: 16/35 MAGNA TECH double (617) 926-6100 (Attn: Ken Berger) du bbers (3), extra parts; Norelco projector parts and pulsators; synchronizers, re- winds, splicers, loop boxes. UNITED RECORDING LABS the Setrix Signal Gate... 681 Fifth Avenue, NYC 212/751-4665 URIE, Sennheiser, Crown, Emilar, Cetec, Yamaha, Otarl, Shure, AKG, etc.

Our Signal Gate features variable and fully independent attack, release, range, and threshold controls. We've got an external control input, LED threshold indicators, a self-contained regulated power supply, and a space saving 13/4" x 19" rack mount package. ( You can use our gate to eliminate hum, tape hiss, effects pedal noises, electro-acoustic microphone leakage, or any other unwanted signals. The external control input accepts any audio or DC control voltage for creating systems J unique VCA effects. Our price is only $249.00. If you need more information, please contact us. l ,0r2=6Sts.2S3eaot7tele,WA 98121 P.O. Drawer 1923 150 N. Hull St. PROFESSIONAL AUDIO PRODUCTS Athens. Ga. 30601 (404) 353-1283 EQUIPMENT **** The move to a larger facility now provides an opportunity for the company to increase MICROPHONES to expandits KENDON SHURE SM57CN - $76.00 itsemployeeforce and SHURE SM58CN - $98.00 successfulproductlineofmixers, RECORDERS E -V 1776 - $83.00 reverberation units, and equalizers to new BURBANK C M G SOUND, INC. 12266-L Wilkins Avenue products. New products will be announced To staff this agressive, growing Rockville, MD 20852 301/881-2660 at a later date. studio we need three or four/ people who want to grow and/ be agressive with us. EMPLOYMENT 1 - Disc cutter with consid- eable chops. TEACHING POSITION 2 - Bright and very exper- available in Audio and Recording. Send resume and salary requirement to: lencedseniortechfor BERKLEE COLLEGE OF MUSIC maintenance. 1101 Boylston Street 3 - Marketing person to Boston, MA 02215 plan and handle advertising Aft Richard BobbItt, Dean and related planning. BAY AREA Engineer seeks position in San Francisco Please - only experienced area. 16-24 track experience in U.S. and Radio Tape people who want to work in U.K. Indiana University grad in pro rec'g. for professionals Burbank and who can write to Resume on request. Please contact: David Huber KentDuncan and express 502 W. 6th Street, #9 themselves on paper. if Bloomington, IN 47401 No phone calls please. RECORDING ENGINEER 619 SOUTH GLENWOOD PLACE Audio electronics training and experience required, production work in broadcast, BURBANK, CALIFORNIA 91506 A -V,film sound, and 16 -track music. Salary open. Send resume to: SPECW.TRUMSt. STUDOS, IN. 972C05 KENDUN 905 S. Alder PortlaId,OR El>RECORDERS Continued from Page 15 - ************** REEL TO REEL TAPE Late news Ampex, 3M. All grades, NATIONAL On reels or hubs. SALES MANAGER TAPCO IN NEW HOME CASSETTES, C-10 - C-90, Technical Audio Products Corporation, with Agfa, Ampex, 3M Tape Responsibleforsalesof (TAPCO), a leading manufacturer of sound signal processing equipment reinforcement equipment, has moved to a LEADER & SPLICING TAPE large new plant in Redmond, Washington. intheUnitedStates and EMPTY REELS & BOXES only three years, TAPCO has Canada. After All widths, sizes. from a small-town, two -man evolved -- COMPETITIVE FROM STOCK --- Requiresthe ability to operation based in Edmonds, Washington, inthe sound manage, sell,directand toanestablishedleader Recording Supply Co. systemsindustry,serving markets 1233 Rand Road motivate dealers and throughout the U.S.A. and Canada and with Des Plaines, IL 60016 Div. of representitives. plans to enter the European market during Polyline Corp. 312/297-0955 1977. Some recordingstudio backgroundessentialwith actualengineeringexp- perience highly desirable. MASTER AUDIO METER" so - +5 - Ise Toward the development of excellence -+3- _ - Excellence is achievable if it can be measured. Master off -0 - 100 Submit resume in _ _ confidence, including salary Audio Meter isa precision dual -channel panel instru- .-3_ ment that can display those important PEAK program history to 5 evels as well as RMS (VU) values, selectably in stereo or - - SO vs John Saul multaneously in mono. 3 0 Master Audio Meters combine exceptional resolution 10 d accuracy over a wide dynamic range with easy -to- ad light bars providing the precision measurement apabilityso necessaryin the development of audio MICMIX Audio Products, Inc. xcellence. 2995 Ladybird, Dallas, TX 75220 MICMIX Audio Products, Inc. (214) 352-3811 2995 Ladybird, Dallas, TX 75220 (214) 352-3811 Harrison Master Recording Consoles Are Available Through the Following Professional Audio Distributors

AUSTRIA, SWITZERLAND Studer International AG and EASTERN EUROPE: Althardstrasse 150 CH -8105 Regensdorf, ,Switzerland Tel: (01) 840 29 60. Telex 58 489 BENELUX (BELGIUM, Heijnen B. V. THE NETHERLANDS Steendalerstraat 56 and LUXEMBOURG): NL-6940 Gennep, Netherlands Tel: (08851) 1956. Telex 48039 BRAZIL: Larex Electronica LTDA Avenida Princesa Isabel, 7 grupos 915 Rio de Janeiro 20.000 Brasil Tel: 275-1695. Telex 2121616 CANADA: J -MAR Electronics Limited 6 Banigan Drive Toronto, Ontario M4H 1E9 Canada Tel: (416) 421-9080 COLOMBIA, EOUADOR, Division Internacional Spica CA PARAGUAY, VENEZUELA Avenida Sanz - Edificio Oscar and CUBA: Local B - El Marques P.O. Box 75442 El Marques Caracas 107, Venezuela Tel: 35.14.19. Telex 25547 DENMARK: Ouall-fi A/S Strandvejen 730 DK-2930 Klampenborg, Denmark Tel: (01) 631711. Telex 16527 FAR EAST Studer-Revox Hong Kong Limited (Except Japan): 108 Asian House 1 Hennessy Road Wanchai, Hong Kong B.C.C. Tel: 5-278571. Telex 84640 FINLAND: Into OY Lepolantie 16 SF -00660 Helsinki 66, Finland Tel: (90) 742133. Telex 121836 FRANCE: Studer France 12-14, rue Desnouettes 75015 Paris, France Tel: 533 58 58. Telex 204744 GERMANY: Franz Vertriebsgesellschaft mbH. (EMT) Elektronik, Mess- and Tonstudiotechnik Postfach 1520 RECORD PLANT, N.Y., TO BUILD higher frequencies. D-763 Lahr 1, West Germany Tel: (07825) 512. Telex 754319 `PYRAMID' STUDIOS IN MALIBU The architect for Malibu Sound is Charles GREECE: Electronica 0. E. Roy Cicala, President of Record Plant, Moore,headof 9, Valaoritou Street theArchitectural Athens 134, Greece N.Y.,recently announced plansto Department of U.C.L.A. Tel: 3619096. Telex 214888 construct Malibu Sound Pyramids in the ITALY: Audio Products International Via Gaspare Spontini 3 prestigeous California beach city. 20131 Milan, Italy Construction will begin in early 1978, with Tel: (02) 27 38 96. Telex 32402 COMMUNITY LIGHT & SOUND JAPAN: Shindenshi Manufacturing Corp. completion scheduled later in the year. CATALOG NOW AVAILABLE 1-47 Sasazuka, Shibuya-Ku Tokyo, Japan According to Cicala, who conceived of Available from their dealers as well as Tel: (03) 460-6052. Telex 2425108 the imaginative project, "The innovative directlyfrom the company,the MEXICO: Accurate Sound Corporation 114 5th Avenue design is based upon the premise that in comprehensivecatalogofprofessional Redwood City, California 94063 order to achieve the best possible recorded products also contains exstensive design Tel: (415) 365-2843. Telex 348327 SPAIN: Neotecnica, s.a.e. sound, no two opposite walls should be the and application data calculated to be of Marques de Urquijo, 44 Madrid 8, Spain same." invaluableassistancetoaudiosystem Tel: 242-0900. Telex 22099 The Malibu Sound complex will consist of designers, architects and engineers. SWEDEN: ELFA Radio & Television AB Industrivaegen 23 one giant pyramid housing three smaller Besidescompletespecificationson S-171 17 Solna, Sweden pyramids inside, each to be a recording CL&S products there is an extensively Tel: (08) 730 07 00. Telex 104 79 studio, with each studio measuring 2,500 UNITED KINGDOM: Scenic Sounds Equipment illustrated chapter on sound system design 97/99 Dean Street squarefeet.The second pyramidwill andaveryinformativesectiontitled Soho, London W1, England studio and mastering Tel: (01) 734-2812. Telex 27939 contain a future "Comparitive Measurements". Designed to U.S.A. Westlake Audio facility, and the third pyramid a residence. eliminate the confusion caused by the 6311 Wilshire Boulevard Los Angeles, California 90048 The interior wall construction of Malibu variables in measurementtechniques Tel: (213) 655-0303. Telex 698645 Soundwillconsistofa checkerboard commonly used in sound reinforcement this Studio Supply Company P.O. Box 280 pattern of alternating fiberglass pyramids, chapter details the results of a long period of Nashville, Tennessee 37202 16" square. The pyramid surfaceswill testing of most of the horns, cabinets and Tel: (615) 327-3075 PRO Sound, Inc. diffuse the sound, while the flat surfaces will loudspeakers manufactured in the U.S. Seven Wynnewood Road Wynnewood, Pennsylvania 19096 absorb the undesireable low frequencies, Community notes that all equipment was Tel: (215) 642-2744 according to Cicala. Each pyramid square measuredunder identical repeatable Willi Studer America, Inc. 1819 Broadway will be moveable, enabling the room to be conditionsinatruefreefield.Data Nashville, Tennessee 37203 tuned and the best possible sound attained. published includes response, "Q", "Di", and Tel: (615) 329-9576. Telex 554453 EXPORT AGENT: Audio Systems International Additionally, fiberglass draperies that are coverage angles. 146 North Orange Drive impregnated with lead will be on motorized Price of the catalog is $3.00. Los Angeles, California 90036 Tel: (213) 933-2210. Telex 686101 tracks, to be operated from the control COMMUNITY LIGHT & SOUND FACTORY: Harrison International Corp. room, allowing both the producer and the 5701 GRAYS AVENUE Post Office Box 22964 Nashville, Tennessee 37202 engineertomechanicallychangethe PHILADELPHIA, PA 19143 Tel: (615) 834-1184. Telex 555133 frequency response of the studio, according (215) 727-0900 "Still No Compromise" to taste, by changing the wall surface while the sessionisinprogress. The special for additional information circle number 105 Harrison draperies will allow further absorption of Harrison Systems, Inc. P.O.Box 22964 Nashville. Tennessee 37202

R-e/p 106 Progress from HARRISON Second Edition Models 4032+ 3232 Automated Master Recording Consoles

ot.

In response toyour suggestions, 1 Harrison's Second Edition consoles offer youmany new features and functions. Programmable and Manual Muting. Group Muting.

Fader Automation Null Lights.

2 Stereo Foldback Systems With Extensive Source Selection.

Optional High Resolution Phase Meter.

2 Phase Meter Source Selection Matrices.

Pink Noise Generator. 48 Volt Phantom Power On/Off Switch.

Improved Parametric Equalizer Range.

Optional Step -Type Equalizer.

Stereo and Quad Meter Source SelectionSwitches Optional 36 Segment, High ResolutionLight 40- Meter With Front Panel VU and PPM Characteristic Selection. Master VU/PPM Characteristic SelectionSwitches Optional NTP Meter Overbridge.

"Still No Compromise"Harrisonai Harrison Systems, Inc. for additional information circle number P.O. Box 22964 Nashville, Tennessee 37202 106 R-e/p 107 Gold prospecting withChips Davis.

Chips Davis has gold fever as badly as any 49'er. The gold he's looking for is in the recording industry's gold records-and he prospects for itelec- tronically in his Las Vegas recording studio. Because he works withtop recording and performing stars like Paul Anka and Wayne Newton, Chips knows the importance of using the right gear for either recordingor sound reinforcement work. And he knows that for this kind of prospecting, Shure microphones, audio control components, accessories, and disc reproducers represent the ultimate in quality. Their superb performance characteristics and versatility make them among the most popular and consistent choices of the most demanding professionals. Settling for anything less thanthe best would be like wasting time on fool's gold. For dataon Shure studio equipment, write: Shure Brothers Inc. 222 Hartrey Ave., Evanston, IL 60204 In Canada: A. C. Simmonds & Sons Limited FlSHIJREE Manufacturers of high fidelity compompihirpriqr9Rtnpsi§jrspundsystems and related circuitry.