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Is %11V ECLECTIC ENGINEERING $4.00 August 1985 NEE Volume 16 - Numb W LIKPERFORMANCE VIDEO BROADCAST a li ..;;.wz,z/PW477/757/7/ilionnumoHHIIHftmff-7---WZ., r..t ,Z;fiara7j161"! 17. '"41"1.4t' 1:1161TALA: 0 0 nnnnnnnn MI a' 0 10010.00 o Do SO OM 0 0 1110.13 on on ma." :No OOOOO On OOOOOOOO nfl OOOOOOOOOOOOOO OOOO e_o eam. ' ileCi AN NAlxu 9 is %11v A0631410d 9100 6666 2215i0 t1211 1336 ECLECTIC ENGINEERING - page 30 FROM OSTRHAIRPINAIN W THE SPEED_ OF BEEN For years, sloppy tape transportation and handling have made the audio engineer's day much harder than it had to be. This tormenting state has come to an end with the introduction of Sony's APR-5000 2 -track analog re- corder, available in a center-track time code version. 1 The APR- 5000's precise handling and numerous advanced features make the audio engineer's day run much smoother. For example, the APR- 5000's 16 -bit microprocessor manages audio alignment with a pre- cision that's humanly impossible. And the additional 8 -bit microprocessor opens the way for extremely sophisticated serial communications. In tandem, they reach a truly unique level of intelligence. Not only does the APR -5000 do its job well; it does it consistently. The die-cast deck plate and Sony's long- standing commitment to quality control maintain that the APR-5000 will hardly need time off. All of which results In a consistent sonic perform- ance that'll stand even the most critical audio profes- sionals on their ears. For a demonstration of the re- corder that transports analog audio to a new fidelity high, contact your nearest Sony office: Eastern Region (201) 368 -5000; 40. Southern Region (615) 366 -0333; Central Region (312) 773 -6000; Western Region (2l3) 537 -4300; Headquarters (201) 930 -6145. SONY For additional information circle #1 Professional Audio (. 1485 Som Corp. of America. Sony is a registered trademark of Sony Corp. 'p 2 August 1985 THE SP11 EXR SPII PNOIIC ION R660 C M 11 N N I O N E C N /1 N N I l I W O NODI NII IN _ I C O SOLO O11I1 PtOC1II LIYiI r,vo wry pleasant things happen vvhe^ 'though the SPII is the perfect compliment for just about SP/I p; olector I mixing or recording application it is also ideal fo; live I. You hear uns, Used on solo instruments or vocals it wiil rA vocals - instruments ónn.n frequency ri.lyP von the subtlest passage or whí_pe 2 Hearing fatigue lax) distortion cadse d by 'per reaches of the human a+rd excessive high -eni fD is practica4 cessity of increasing The technical term for die DOD SPII '-ence is "psyrhoacoL- t. It Ls staf tic audio orocessor. ' Yes, the SPII is a very sophistcated ; ricce of electronic hanehwork It is net a Triter, egralizer er : mrnpressor. The SPtI s unique ore-Herr is designed to DOD Bet-oohs Corporation. 563.9 South Vey Lane SO Lake C re Uran 81107.410 For add tional circle o3 The AMEK M -2500 can be configured for applications in stereo video teleproduction and music recording. All AMEK consoles are built with the finest components and are entirely hard- wired- even the patch bay. By avoiding high- AMEK M -2500 SVT speed manufacturing techniques and other 56 \ 48 Paramount Pictures short cuts, you're assured of superior Hollywood, California performance and that consistently unbeatable AMEK transparent sound. 36 to 56 VCA Inputs 36 to 56 In -line Monitors 24 to 48 Outputs 4 Band Variable Q Parametric EQ Variable Hi Pass /Low Pass Filtering ß EFX Sends VU or40 segment PPM /VU LED Metering Patching to over 1000 points 10 VCA Subgroups Call or write for more information about Solo in place AMEK's complete line of consoles. Two Line Inputs per channel Differential or Transformer Balancing In the US: AMEK CONSOLES, INC. Full Master Status Switching 10815 Burbank Boulevard, North Hollywood, California 91601 Automation compatible with Phone (818) 508 -9788 Telex 662526 MasterMix, Massenburg, Arms, In Canada: AUDIO CONCEPT and Optimix 3400 Losch Blvd., Unit 14, St- Hubert, Québec, Canada J3Y 5T6 Phone (514) 445 -2662 Telex 05- 268728 In the UK: AMEK SYSTEMS & CONTROLS, LTD. Islington Mill, James Street, Salford M3 5HW, England Phone (061) 834 -6747 Telex 668127 For additional information circle .116 PRODUCING AUDIO FOR TAPE RECORDS FILM LIVE PERFORMANCE VIDEO & BROADCAST - August 1985 Contents - Volume 16 - Number 4 ENGINEER PRODUCER' - Production Viewpoint - - the magazine to exclusively serve the Making the transition from musician to second engineer, to receiving the big break ... RECORDING STUDIO and CONCERT SOUND Daniel sliding The industries ... those whose work involves the Lazerus... into the "hot seat" for Nightfly project with producer engineering and production of commercially Gary Katz, and subsequent sessions with John Denver, Diana Ross, Eddie Murphy, marketable product for: and the original cast album of The Gospel at Colonus. - Records and Tape Interviewed by Ralph Jones page 30 - Film - Live Performance - Live- Performance Sound - - Video and Broadcast TOTO WORLD TOUR: SOUND SYSTEM - the magazine produced to relate recording DESIGN BY SCHUBERT SYSTEMS GROUP ART ... to recording SCIENCE ... to recording A Virtual "Recording Studio on the Road," with two EQUIPMENT. on -stage keyboard mixers and myriad signal processing ZZEZ by David Scheirman page 16 o Illa - Visual Music Scene - The Growing Influence of Music Video Production on Today's Recording Studio Industry Publisher MARTIN GALLAY Editor MEL LAMBERT by Adrian Zarin page 62 - Consulting Editors - - Digital Production - ROMAN OLEARCZUK ... Technical Operations DOUGLAS HOWLAND ... Broadcast SYNCHRONIZING DIGITAL MASTERING AND LARRY BLAKE ... Film MULTITRACK SYSTEMS WITH ANALOG TAPE, DAVID SCHEIRMAN .. Live Performance FILM AND VIDEO TRANSPORTS Digital Transports: Why are they SO Different from Analog Machines? Art Director HOLLY FERGUSON an introduction by Rodney Pearson page 70 Production Editor ROB TUFFLY Advertising Manager LAUREL CASH Synchronization and Editing Functions of the Studer D820X -2 Digital Advertising /Sales RHONDA KOHLER Recorder Business Manager V L. GAFFNEY by David t4'alstra page 73 Circulation /Subscription Synchronizing 3M Digital Multitrucks with Film and Video Transports Manager BONI WISH by Frank R. Dickinson page 76 Synchronizing Sony PCM- 1610, P('M- 3120/3202 and PCM -3324 Digital Systems by Curtis ('hair page 78 Synchronization of Mitsubishi X-800/850 and X -811 Digital Transports by Cary Fischer page 83 "RECORDING -Engineer. Producer (ISSN 0034- 1673) is published bimonthly for yearly The EIAJ- Format Digital Processor Comes of Age: A Review of Available subscription rates detailed below by Gallay Hardware, Transfer and Editing Systems Communications, Inc., 1850 Whitley Suite 220, by David Smith page 86 Hollywood, CA 90028. Second -class postage Digital Re- Recording and Remix of Vintage Jimi Hendrix Tapes Using 3M paid at Los Angeles, CA and additional mailing DMS and JVC DAS -900 offices POSTMASTER: Send address changes by Joe Gastwirt page 87 to RECORDING- Engineer /Producer P.O. Box 2449, Hollywood, CA 90078." United States (Surface Mail) $24.00 - Musical Creativity United States (First Class) $30.00 - Canada $24.00 SYNTHESIZERS IN THE STUDIO: Foreign 545.00 New Technology and a New Production Philosophy (Foreign subscriptions payable in U.S. funds by Quint B. Randle page 92 only by bank check or money order.) MIDI Update Report from Summer NAMM Exhibition amt: by Bobby Nathan page 101 0 B - The Directory - Time -Domain Processors and Special Effects Units, including Reverb Systems, Delay RECORDING Engineer Producer is not Lines, Phasers, Flangers and Pitch Shifters page 116 responsible for any claim by any person based on the publication by RECORDING Engineer/ Producer of material submitted for publication. - Equipment Assessment - Material appearing in RECORDING Engineer, Producer may not be reproduced without the SONY APR -5002 ANALOG TWO -TRACK RECORDER written consent of the publisher. Reviewed by Peter Butt page 132 a. - Departments - i Letters to the Editor - page 6 Exposing Audio Mythology, by John H. Roberts - page /.5 News and Industry Developments - page 23 To contact RECORDING-Engineer /Producer Studio Update - page /04 O Final Stage - page 110 Write: P.O Box 2449, Hollywood, CA 90078, New Products - page 144 Classified - page 154 Telephone: (213) 467 -1111, Advertiser's Index - page 158 FAX: (213) 469 -0513 IMC EMail: REP -US August 1985 0 R -e /p 5 Dews Letters Views DOLBY STEREO mance attributes of matrix decoding in understanding, no theater decoder prior ENCODING TECHNOLOGY the Dolby Stereo cinema system. to that time contained Tate ICs. As of last year, Tate Audio modified Therefore, I do not understand how from: Gary Reber, VP its position with respect to Dolby Labora- Mr. Reber could possibly state that the Tate Audio tories and, as such. Dolby Laboratories "Dolby Stereo matrix decoding circuitry Los Angeles, CA no longer has an exclusive license with ... I is I ... the Tate System,- since Dolby This letter is to call attention to an Tate Audio. had licensed stereo motion pictures for omission referenced to the June 1985 over two years prior to their involve- article by Larry Blake, entitled "Mixing Larry Blake replies: ment with Tate Audio. Techniques for Dolby Stereo Film and I take issue with Mr. Reber's implica- My 1981 article had already outlined Video Releases." 'l'he Dolby Stereo tion that Tate Audio "developed the full - the history of the Dolby Stereo, and I matrix decoding circuitry utilized in the logic directional enhancement matrix thought it more important in June 1985 Dolby Cat.150 card that converts the decoding circuitry" used in Dolby SVA to concentrate on the practical aspects two :35mm optical film tracks into four surround sound techniques used since of mixing for Dolby Stereo release.
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