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.,

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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 recorder, 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 precision 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 performance that'll stand even the most critical audio professionals on their ears. For a demonstration of the recorder 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. The speaker channels. thus completing the 1977. only news that I possibly omitted from encode decode 4 -2 -4 process, is the'l'ate As stated in my February 19211 R -e p the new article is that, as stated in Mr. System. 'l'ate Audio, the technology article titled Mixing Dolby Stereo Film Reber's last sentence, Tate Audio and company who developed the full -logic Sound, the first:35mm Dolby Stereo film Dolby Laboratories did indeed recently directional enhancement matrix decod- with surround decoding was A Star Is undergo a change in their business rela- ing circuitry, licensed its proprietary Born, released in late 1976. All of the tionship - Dolby is no longer using surround stereo technology to Dolby Dolby Stereo films released in 1977 and Tate components in their theater Laboratories in 1977 for exclusive pro- 19723 - including Star Wars. Close equipment. fessional motion picture soundtrack Encounters of the Third Kind. Saturday production and theatre exhibition. Night Feuer. Grease and Superman - CARE AND REPAIR OF THE The Tate System, as configured in the were exhibited with the original Cat. STUDIO PATCH BAY Dolby Cat.150 card is presently in use in 116A B cinema decoder card employing the vast majority of the current 6,20( Sansui QS matrix decoding. from: Ian Eales, chief engineer, theatres worldwide equipped with Dolby The Cat.150 cinema decoder card Garden Rake Music, Cinema Processors. It is the Tate Sys- using Tate ICs was not in theaters until and Phil Mendelson, tem tchnology which has provided the Spring 1979; again, this was already mx Audio Services excellent separation and other perfor- stated in my 1981 article. As is my One of the most potentially trouble- some items in the studio is the patch bay, but it really needn't be if a little maintenance and common sense is applied. Before we blame the patch bay totally, we should point out that most of the problems we see can be attributed UNDfq instead to the patch cords themselves. The air of our cities is not the best, to say the least; a multitude of pollutants are present in the air from automobiles and industrial sources. These react with the metal on the patch cords and jacks to form a tough oxide, which degrades the quality of the signal passing through them. What is required is a method to .c> remove the oxide that has built up on the OM low alb NW metal. Any cleaner which does this 11=9111111M without leaving behind any waxy 421110 residue can be used to clean patch cords. 4e7X,f A metal polish such as Mother's Mag ï Polish does a great job. Take a clean, lint -free cloth, put some cleaner on it, and rub the connector tip. With another clean, lint -free cloth, rub the cleaner off and, presto, you have a shiny, better- than -new connector. i C.t : t! t'r 11111111111 Another quick way to clean patch w"Ma i" -Ir i aN + tif id cords is possible more expensive, but takes much less time and may be more dí-/- economical if you have a great many to .. !¡.: ¡:: clean. Find a machine shop with a buf- r - - f f AIWA 1111MA fing wheel, and ask if you can use it or Ino rent time on it for about a hour. Either use a cleaner like Mother's, or a com- NEW WORLD AUDIO Over Professional Audio Sales mercial buffing compound that they 4877 Mercury Street 100 1- 800 -854 -2005 probably have at the machine shop. San Diego, CA 92111 lines except California (619) 569 -1944 Apply a small amount of compound to the buffing wheel, and then buff the tip of the patch cord. A little practice will R -e/ p 6 August 1985 An age old question that can now be Tech'" 1000 power amplifier The performance of the new MT -1000 answered in literal terms; the people dramatically illustrates the value of further strengthens the dependability are Showco, the answer is Crown. this relationship. of Crown amplifiers. The only reason Consider the major tour. Each move Showco has had to touch their new Innovative Crown technology shaped amps is to move them. And move a major task. Truckload after by advice from Showco has produced truckload of sound and they have, 78 shows in 52 cities lighting a more powerful, lighter and smaller must be without a failure of any kind. Not equipment put up and torn amplifier ideal for the touring down, more often than not, overnight. surprising for a Crown product but professional. Higher power, less unheard of in any product fresh from In most cases the awesome weight and less rack space translate responsibility for a successful the assembly line. Months of into critically needed efficiency on the Showco's heavy duty field testing has technical performance rests squarely road. on the shoulders of Showco. established the MT- 1000's reliability even before it hit the market. A tour company with a client list that Currently on tour with the largest reads like Billboard's Top 100, system ever designed for indoor At your next concert take a look Showco has been at the forefront of arenas, Showco once again relies on beyond the performers; chances are this highly specialized field for years. the power and dependability of the you will find Showco and the driving Their reputation stems from a finely Crown product. 134 Crown PSA -2s force of Crown. tuned marriage of technology and and 28 new Micro-Tech 1000s supply International, Inc., 1718 West We are the power -- in excess of 200,000 Crown sweat. proud of the many Mishawaka Road., Elkhart, Indiana years we have been involved in watts to drive over 16 tons of 294 -8000 Showco's efforts and our new Micro- loudspeakers. 46517. (219) crown®

August 1985 R -e /p 7 For additional information circle #5 See the first console specifically built for 64 track digital recording at the Newyork AE S

Designed for the world's largest 64 MIXING BUSSES individual computers handling dedi- and most sophisticated recording The SUPERSTAR has 64 mixing cated functions at different levels of the studios, the SUPERSTAR is a 20 -bit busses controlled from a central assign system architecture. 64 analog console with the performance, panel and readout. The 72 by output INTELLIGENT DIGITAL FADER specifications, and functions necessary matrix uses logic- controlled With its own microprocessor, the for digital recording. The SUPERSTAR summing bus switching, providing 64 IDF can operate standing alone or is totally modular and totally expand- instantly selectable output busses. coupled to the automation system. able, and features 64 mixing busses for Using its own memory for five complete Using a monolithic direct digital 8 -bit recording to two 32 -track tape presets, it also allows automation con- encoder /fader and a membrane touch recorders. trol via a serial communication port. panel inputing the 10 -bit internal pro- DESIGNED FOR DIGITAL COMPUMIX IV AUTOMATION cessor, exact dB values are calculated Through critical analysis of design, A 32 -bit master processing com- using 14 -bit arithmetic, displayed, and and testing and re- testing of compo- puter records data on an 80 megabyte converted to DC using a 12 -bit D /A. All nents, the signal path and sound qual- Winchester hard disk in real time for functions are at 10 times scanning rate ity of this console is optimized for digi- unprecedented accuracy in an automa- for Vio frame mute accuracy, and fader tal recording. Quad Eight, as a part tion system. This fourth -generation smoothing algorithm. There are 16 of the Mitsubishi Pro Audio Group, design stores four instantly accessible nested groups, and any module can b developed this console as the perfect real time mixes plus eight compressed assigned master without changing i companion to digital multitracks such mixes on the hard disk simultaneously, individual function. as Mitsubishi's new X -850 32- channel and transfers compressed mixes to and The VCA circuitry is on a sep e recorder. from floppy disk. A distributed multi- PC card that plugs onto the mai processing system, Compumix IV has ule PC board. Different VCAs be easily substituted. PLUG -IN EQUALIZER Finally, there's a choice! The SUPERSTAR equalizer plugs in on each input module. Normally delivered with a four -band parametric equalizer with variable frequency dwidth, and peak/dip level; o are available. Each module as a variable concentric high pass, low pass filter with individual in/out buttons. AUTOMATED EQUALIZER Each channel module has been designed to accept an automated equalizer, making the SUPERSTAR the most advanced console available. PLUG -IN PREAMPLIFIER Each module's microphone preamplifier is also of top panel plug-in design. Transformers -or transformerless differential, the choice is Mitsubishi X -850 yours. And new technology can be in- 32- Channel Digital Audio Recorders stantly added to your console. AES Booths 717 -724

SMPTE, Los Angeles Booth 1320

FOR WORLD -CLASS STUDIOS The Super by Quad e.qh[

MODULE FEATURES be connected to the indicator with only Each module is a dual in -line design the peak signal shown, without addition shielded ribbon cable. This feature, with separate channels for recording from the other samples. along with the modular frame, makes this the only truly field- expandable and monitor /mixdown. Main fader (or METER BAR GRAPH console. VCA), equalizer, filter, auxiliary sends, Above each module is a 60- segment and line trim can be switched to either LED vertical bar level meter. The OPTIONAL OVERBRIDGE channel. Each input module has eight metering system is switchable to VU or An overbridge is available for auxiliary sends configured as four mon- peak ballistics with changeable electro- mounting above the primary meter aural and two stereo sends, with pan- luminescent scales for each, VCA level bridge to house additional accessories. ning. They are switchable as pairs to indication, or two sets of spectrum ana- monitor. LIMITER/COMPRESSOR/GATE either recording channel or lyzers in VI octave increments. Monitor /mixdown channel is selectable This is a plug -in option for the meter to two stereo outputs for simulta- TOTALLY MODULAR FRAME overbridge. It is wired directly in -line neously making two different mixes. The SUPERSTAR console is con- with each channel, or as a peripheral All output busses are differential bal- structed of individual housing sections patchable processor. More than just an anced with optional transformers. For of eight modules each. The console is accessory to the module, it is a full - added overall control, each module has not limited to just a few standard frame function studio -quality leveling a switch (AGM) which allows it to sizes, but may be ordered with any amplifier. become an audio sub -master for a group number of inputs. Interwiring of con- AFFORDABLE DIGITAL A presence/ sole sections and input /output connec- of input modules. signal The SUPERSTAR costs less than tions is all with shielded plug-in ribbon peak dual LED circuit on each module other world -class consoles. And a cable. High quality bantam jacks are on indicates peak overload at microphone digital package with a Mitsubishi out, or PC boards, arranged module by mod- preamplifier out, or equalizer multitrack can save you even more. fader out. Unique circuitry allows all to ule, and plug into the mother boards by

NEVE. SSL. SUPERSTAR. at MITSUBISHI PRO AUDIO GROUP See them all before you decide. DIGITAL ENTERTAINMENT CORPORATION Headquarters: 225 Parkside Drive, San Fernando, CA 91340 Phone (818) 898 -2341 Telex 311786 New York: Suite 1530, 555 W. 57th Street, New York, NY 10019 Phone (212) 713 -1600 Telex 703547 Nashville: 2200 Hillsboro Road, Nashville, TN 37212 Phone (615) 298 -6613 Canada: 363 Adelaide Street E., Toronto, ONT. M5A 1N3 Phone (416) 865 -1899 United Kingdom: 1 Fairway Drive, Greenford, MIDDX UB6 8PW Phone (01) 578 -0957 Telex 923003 August 1985 El R -e /p 9 For additional information circle #6 The greatest innovation in audio mixing has just gotten better: Necam 96.

Picture courtesy Atlantic Studios, N.Y.

The challenge: Take a technological triumph. Necam II, a Unique Intel Ilback: With or without updates. computer- assisted audio tni:in, system, and nuke it better The faders move to whek they need to be automatically - by making it faster. more infor -native, more intelligent and no PEC/Direct comparison needed. Sophisticated effects loaded with exciting features. build up a snap. The result: Necam -96 Smart Keys: Our human- engineered software is the fastest Incredible speed: Feather- tolh sensitive faders eliminate ever developed to eliminate repetitive keystrokes. hundreds of intermediate steps 5 r lightning -fast operation. Technological Sophistication: Necam 96 will interface 'total Information ColorII'idc ) Display: Our with any synchronizer as master or slave; read high -resolution display tells where von ire at a SMIYTE time code, foot /frame counts, or even glance, including time code nlc names. event tacho pulses. times, scene changes and more: all labels. mutes. r 1 -I 7àke the next step. For further information call stores and events can he ra1idl changed. I Neve at (203) 744 -6230 or write:

RI 'PERT NEVI: INCORPORATED: IlLrlshire itdustrial 'ark. Bethel. ('l' 06801(203)744-6B° Telex 969638.7533 Sunset Blvd.. Hollywood. ('A 90046 (213) 874-8124 RUPERT NEVE OF CPS IDA. Ill). repn-aettled by: Sonotechnique. 2585 Bates. Suite 304. Montreal. P.Q. H35 1A9 Canada (514) 739 -3368 -62171 racy 055 NINE. ELEctiu:NIC$ INTFRT4 I ION.l.. I:rI). Cambridge House. Mebourn. Royston. Hertfordshire. S686AU England Phone (1)763) 60776 RU 'I:1 -U NEVE ! imhI1: 6100 Darmstadt Bismarckstrasse 114. West German Phone (06151) 81764. tell how much compound to apply. ally removes enough metal that proper passage of audio signals, due to the pos- When it starts taking too long to clean a contact loading is no longer possible; sible creation of a metal -oxide diode. connector, apply more compound. With this is especially true with relay con- It should be noted that most patch bay this method you can clean about WO tacts with small contact areas. In the problems are a result of foreign substan- patch cords in an hour. When done, case of contacts that have been plated or ces. If steps are taken to prevent these check to make sure there isn't any flashed with a conductive surface, the contaminants from entering the bay, excess cleaner on any of the connectors consequences of burnishing are obvious. problems will be kept to a minimum. For that could recontaminate the patch hay. One further consequence of burnishing example, a simple plexiglass cover over Once these steps have been taken, it is (or using any foreign metal in a jack), is a horizontal patch bay can make a big likely that most of the patch bay prob- the depositing of a dissimilar metal onto difference. especially if smokers put lems will already have disappeared. If the original contact surface. This is a their ash trays nearby. problems are still being encountered, potentially serious hindrance to the Again, it must he stated that the patch then the patch jacks themselves need cord is responsible for the vast majority attention. The environment in a record- Editor's Note: R -e' p welcomes short of problems. If the cleaning process is ing studio is very dry, due to heat pro- "Hits and Tips" itenis such as this repeated every three months or so, you duced by the equipment and air condi- Technical note from Ian Eales and Phil will have better sound for years. and the tioning. This makes for an environment Mendelson. Send them c/o The Editor to patch bay will last a very long time. prone to generating high static particles the address given on the Contents page. which, in turn, attracts small airborne particles of dust into the studio. Invari- ably, some of this dust settles into the patch hay causing the familiar crac- kling when a patch is made. Particles of dust in the patch hay can best be removed with high- pressure compressed air. The patch bay should be removed from its mounting and be freely blasted with the compressed air. If phantom powering is employed on the t rg microphone hay, the voltage supply ``V should be turned off to avoid any danger of shorting the supply to ground while dup removing the hay. After the dust has S ory been removed, a very small amount of o

necessary to insert patch cards to open um. the normals to remove the contami- d nants caught between the points. It must be stressed that only small amounts of Cramolin should be used, and infrequently. Because it is impractical to use Cramolin in bottled form on patch jacks, great care should he taken with the spray, as this often leads to over -use; the use of the R2 (diluted) for- mulation is acceptable. One common misconception is that an abrasive is required to remove oxide and contact: the action of inserting the plug wipes contaminants when, in fact, the patch jack with its mating plug is designed as a self-cleaning contact: the When you work hard to make the very best original tape possible you deserve the very best duplicate. The trouble with most duplicators is that the copies are never as action of inserting the plug wipes the good as the original. With the Sony CCP -13B Duplicating system you get copies vir- contact area. Experience shows that tually indistinguishable from the original - whether your masters are mono or burnishing with an abrasive might stereo. open reel or cassette. show an immediate improvement in performance, but only insofar as it has Only Sony Duplicators offer the unique ferrite and ferrite heads. These remarkable heads not only produce crisper, cleaner. more precise sound, but are guaranteed removed the contaminants. Burnishing against wear for two years. Equally unique. only Sony Duplicators are expandable to can compromise the original com- 43 positions. patibility of the mating surfaces. Furth- ermore, continued burnishing eventu- But then, with Sony's years of experience in the field of audio, these features are hardly surprising. Contact us for the name of your local authorized dealer. COMMUNICATION WITH R -E /P Readers and advertisers wishing to com- municated with the R -e /p offices can now use FAX transmissions, as well as Telex via our AV PRODUCTS IMC EMailbox. SON Y NATIONAL DISTRIBUTOR The FAX Number is: (213) 469 -0513; our machine will handshake with Group Il and educational electronics corporation Group III equipment. 213 NORTH CEDAR INGLEWOOD. CALIFCRNIA 90301 1213) 671 -2636 The ITT Telex Number is: 4900001117 (REP), the message being automatically routed to our IMC EMail ID, REP -US.

August 1985 R-e p 11 YOUR WORLD

. t.lv=. I}IIÌÌffii

gsstered trademark of 3M. Photographed at Soundworks Digital Audio' Video Studios. Ltd.. NYC. For you, it's the sixth session of the day. For them, it's the biggest session of the year. So you push yourself and your board one more time To find the perfect mix between four singers, 14 musicians, and at least as many opinions. To get all the music you heard on to the one thing '3 . they'll keep. The tape. We know that the tape is the one constant you have to be able to count on. So we make mastering tapes of truly world -class quality. Like Scotch 226, a mix of Scotch virtuosity and the versatil'ty to meet your LOW FREQUENCY NOISE many master- 60 MODULATION ing needs - m music, voices, ef- Z 70 - fects. And Scotch -

250 -with the great- 3 BRAND r est dynamic range 80 4- `, and lowest noise of Scotch 250t- 8 any tape, it is simply 0.7 1.7 2.7 FREQUENCY (KHZ) the best music master- of 4C Hz signal recd ded at 370 n'P m ing tape in the world. and at 15 ips NAB Equalization. Both offer a clearer, cleaner sound than any other tape. Gett'ng you closer to your original source. Pius. they're both backed by our own engineers a call away. They are just two of the tapes that make us ... number one in the world

MASTERS OF CLARITY.

A U D I O i l V l l I F A T A P E S NUMBER ONE IN THL u.Oha.s yr i rl rlrvv,

llR ist 19,.:, It ;. CHRISTINE McVIE ON FOSTEX

Christine is a singer, songwriter and, of course, a member of Fleetwood Mac.

"Fostex is wonderful for experimenting with ideas quickly, and under my own roof."

I ` `As a singer /songwriter, "If record something I'm I hadn't previously known really satisfied with, I then a lot about recording have the option of techniques and studio transferring tracks to a technology. So my 24 -track machine, and newfound relationship with continuing. my Fostex B -16 will teach me a most important dimension of a musician's career - engineering. "Not that I'm becoming a studio engineer. Fostex is relatively simple to use; for me, having this equipment at home enables me to produce really superior demos. The sound quality is comparable to many 24 -track studios. Foste.X PERSONAL MULTITRACK FOSTEX CORPORATION OF AMERICA 15431 Blackburn Ave., Norwalk, CA 90650 (213) 921 -1112

R-e p 14 7_, August 1985 For additional information circle #10 exhibited a 20 -dB difference. Another subtlety to using PSRR is EXPOSING AUDIO MYTHOLOGY understanding that the specified rejection is referenced to the input. There- fore, the op -amp's closed -loop gain must he subtracted from the PSRR to reference it to the output signal. Forexample, Laying to Rest Some of the Pro -Audio an op -amp with 30 dB of PSRR operat- More Wives' ing at a closed -loop gain of 40 dB will Industry's Obvious "Old Tales" actually boost any signal present on the power supply rail Ill dB! The final piece of information that is by John H. Roberts important for putting a consideration of PSRR into perspective is: What kind of This month we will look into the kHz, and found PSR Rs in the 30 to 60 (IR signal will be present on the power - audible significance of power - range. I t is also worth noting that op- supply rails under normal operation? I supply parameters. In part two, I will amps v"ill often have a different PSRR will further break down this power - move on to consider some more aspects at their pius and minus power- supply supply signal down to two types: power- of subjective listening tests. rails: ore amplifier that I measured supply induced: and signal induced. .lust Listen to That Power Supply Will You! ... ('an You? 'l'he majority of respondents to our . . October 1983 "(olden Ears" question- the new naire felt that power supplies could audibly affect the sound quality of signal processing gear. Some others have gone as far as to claim the ability to hear different decoupling capacitors in equipment power supplies. TRI :ENT 'I'he principle specification used to describe a given circuit's sensitivity to SERIES 65 supply interaction (and this month's 4, 8 or 16 Bus routing "vocabulary word is PSRR, or Power 8 or 16 track Monitor w /EQ Supply Rejection Ratio. As you might guess from the word "ratio," PSRR is 4 -bard EQ with dual swept Mid's usually specified in decibels; popular op- Cont neously variable Hi Pass Fil =er amps typically specify PSRR in the 8 Aux. Sends, switchable Pre /Post range of 90 to 1(10 (IB. Discrete circuits can he much better, or much worse. with Programmable "Auto Mute" bus the simple one- transistor (or one -tube) Each channel w /Direct Outs & Inserts gain stage having zero dB, or no rejec- Stereo ''In Place" Solo tion at all of power- supply interference. As with other specifications we've .. Four Echo Returns discussed in this series, there are subtle- Fully Modular construction ties to the correct interpretation of Expandable mainframe to 56 inmuts! PSRR. To keep this discussion manage- - able, I would like to limit it to high - performance audio circuits using op-amps. The first subtlety to proper interpretation of PSRR is understanding that the number commonly quoted only represents performance at a spot frequency of say 60 or 120 Hz. As is true of most op- amp characteristics that are improved - by negative feedback, the falling open - ' loop gain required for stability will -- - 11 cause a commensurate performance -- -_- z'j.J- degradation with increasing frequency. .' -__ - 1 .J . I measured a few popular op -amps at 20 ! 321t TRIDENT takes . . _ - -iì ,ÿ _. anotzer step forward.

PROFESSIONAL MUSIC ANALYSIS - _ - _; 111. 'Lei' Readers interested in taking advantage of - { , The new, cost -effective a. the services of Professional Music a ut; Analysis, s\, ; TRIDENT Series 65 console company offering evaluation programs for engineers, producers and musicians intending maintains the tradition of to break into the music business (see: Jim perfomance, value and Riordan's article on PMA published on page 32 of the February issue) can reach PMA at the reliabiity that has kept following address: TRIDENT a leader in recording Professional Music Analysis, 8761 Katella systems for the hast two decades. Avenue, Anaheim, CA 92804. (714) 527 -4636. Toll free: (800) 328 -8660. Contact: Jan Olson or Mike Wachner. We did not include address details in the February article because, at the time of its TRIDENT USA, INC. preparation, PMA was planning to relocate to 308 N. Stanley Ave., Los Angeles, CA 90036 new offices in Anaheim - Editor. 213 -933 -7555 TLX: 5106000019 TRIDENT USA Professional audio from the number one supplier Professional Westlake Sales Audio Group

Sales: Demonstration Facilities: Westlake's sales staff is ready Unequaled in the industry are to supply you with up- to -date Westlake's demonstration information regarding facilities -from Audio /Video new equipment, sweetening to demo produc- its features, tion, broadcast to world class availability and studio equipment. competitive prices. Service: Before and after the sale, Westlake's technical staff is at work to assure a professional interface of the equipment to your system. Our staff is familiar with all of the various technologies in use today.

Ampex, 3M, MCI /Sony, Otari, Soundcraft, JBL, U.R.E.I., Westlake Audio, Aphex, AKG, Neumann, Sennheiser, Shure, White, Eventide, Lexicon, Crown, BGW, A.D.R., Yamaha, BTX, from acoustic design Valley People, DBX, Bryston, Studer /ReVox to down beat_ and many other professional lines. WestlakeProfessional Audio Sales Group H -e p 16 August l9 f 7265 Santa Monica Boulevard AudioLos Angeles, California 90046 (213) 851 -9800 Telex: 698645 Power -supply induced noise would be the ripple in a typical unregulated supply, or the hiss and much lower -level ripple present in a typical regulated W supply. The signal -induced component U of power -supply noise would be the pro- c duct of power supply impedance, and á changing load current being drawn. Today, very few high -performance audio circuits use unregulated power supplies, since three -terminal regulators are not very expensive Iless than $1. However, the fact the open -loop gain and thus PSRR is maximum near ripple frequency means that a low FREQUENCY -y closed -loop gain circuit could possibly Figure 2: Output impedance of unregulated power supply. squeak by without one. It is disappoint- ing to note that some consumer phono is making R2 too small for the op -amp to A case where capacitance can and has pre -amps with their RIAA -dictated 60 drive to appropriate levels. caused problems is when it is connected dB of closed -loop gain at 60 Hz still use unregulated supplies. No matter how well they are shielded, power- supply ripple will appear in the output. Inexpensive three -terminal regulators the new attenuate the ripple an additional 70 dB, making it a non -issue for most op -amp circuits. Since such regulators are based on low -performance op -amp technology, their outputs contain notable wideband noise. This noise reduced, but still TRI and ]ENT present, ripple can be audible in simple discrete or hybrid circuits that exhibit SERIES 75 poor PSRR. 24 Bus outputs w /Metering Signal- induced power supply noises are a bit more complex to analyze; they 24 track Monitor w /EQ and Fader Reverse are typically induced by the amplifier Comprehensive 364 point Patchbay delivering current to a load. In some 4 -band EQ with dual swept Mid's cases driving feedback networks can variable draw significant current. I have seen Continuously Hi Pass Filter several analyses incorrectly blame capa- 8 Aux. Sends, switchable Pre /Post citors used in equalizer or frequency - Programmable "Auto Mute" bus shaping feedback networks for drawing unlimited charging currents under Each channel w /Direct Outs & Inserts transient conditions. In all cases the _' Stereo "In Place" Solo maximum current will be defined and Four Echo Returns limited by a resistance. As can bee seen from Figure 1A, the current that must be supplied by the op- amp output is a simple function of the input voltage divided by R2. In Figure 1B, the output current will be equal to the input current, which will also equal the input voltage divided by R2. In both cases the current will be completely independent of the value of Cl. Where some designers have gotten into trouble

Figures IA and 1B

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I VN/R2 performance continues. The new TRIDENT Series 75 has the same sonic qualities that have made TRIDENT a legend among world -class recording studios. Affordable versatility is the hallmark of this innovative system. VIN Aitti, TRIDENT USA, INC. 308 N. Stanley Ave., Los Angeles, CA 90036 213 -933-7555 TLX: 5106000019 TRIDENT USA between an op-amp's output and ground. No designer would (should ?) ever do this 1 000 Micro Farad on purpose, but connecting even several 35 Volt Aluminum E letirolybc feet of trusty old shielded wire (at 30 pF Capacitor per foot) has much the same effect. For it this reason is a good practice to use THREE TERMINAL build -out resistors (50 to 500 ohms) in REGULATOR IApArm AT IS mA series with cables to decouple this cap- \ 2 ohmt acitance from the op -amp. 1 ohm THREE TERMINAL .".<1" Porno]. For the sake of perspective, I should REGULATOR I ohml note that power-supply interaction is AT30mp not the dominant consequence of not decoupling your cables. All op -amps 0.1 ohm have some internal series -output resistance, which will form an RC with the IAPproa Ir003 ohml cable capacitance, delaying (phase SUPER REGULATED 1 000 MPd AND 30 mA shifting) the feedback signal. This THREE TERMINAL REGULATOR phase shift eats up valuable stability IN PARALLEL phase margin (see my April 1984 I 0.01 ohm I Nt 100 H7 I kHz 10 column), often causing spurious oscilla- kHz 30 kHz Figure 3: Power supply output impedance variations for single capacitor and three - tion. ( "Gee Beaver, how come it doesn't terminal regulators, separately and in parallel combination. oscillate on the bench ? ") In fact, it is not that uncommon to encounter marginal occurs when the non -ideal resistance unregulated circuit at low frequencies. circuits that break into oscillation when and inductance terms (see my February However, the popular three- terminal the capacitance of a 'scope probe is con- 1984 column) of a capacitor limit its regulators rely upon negative feedback nected to the output. minimum impedance. Beyond reson- to keep their output impedance low. Use We have already determined that op- ance, the inductance will dominate for of low- performance op -amp technology amps have a PSRR that deteriorates an increasing impedance with rising within causes output impedance to rise with rising frequency. Since an op -amp frequency, as shown in Figure 2. at higher frequency, as shown in Figure called on to drive cable capacitance will Many large electrolytic capacitors 3. be pulling more current with rising fre- will reach resonance before 20 kHz, but It appears that we have a convergence quency, let's take a look at how the still have acceptably low impedance of several unfavorable trends. A capaci- power supply will perform. over the audio band. (Note: newer tive load such as shielded wire will draw The simple unregulated power supply capacitors designed for use in HF - 20 increasing current just as the power will have a predominantly capacitive to 200 kHz - DC-DC switching regula- supply is less willing to supply it. To output impedance, falling with increas- tors have higher resonance frequencies, make matters worse, op -amp PSRR is ing frequency until reaching resonance and lower ESRs). also falling. Which explains one of the and then rising again. Resonance (this The output of a regulated supply will more common causes of interchannel month's second "vocabulary word ") have much lower impedance than an crosstalk, and explains why it is usually

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R -e /p 18 August 1985 For additional information circle 014 much worse at higher frequencies. dynamics ... suddenly returned. The follow a second or third voice or instru- A secondary problem caused by rising soundstage widened and deepened, and ment with fidelity." And so on. power- supply impedance is its effect on a wealth of musical detail and energy I personally bench tested the review signal purity (distortion). I had diffi- emerged. Particularly remarkable was unit that was the object of so much culty in reliably measuring distortion the clarity of the midrange and sweet- scorn. and found it working to spec. The caused by inserting even 10 -ohm resis- ness of the high end ..." subject of the fay irable review hasn't tors in series with the power leads of a However, the second reviewer had a found its way hack to the factory yet few different op-amps. On the tests I slightly different opinion: . The funny how that works.) tried, distortion was dominated by the ambience sounds ... were muddled and I do not have e good ( printable) op-amp output stages trying to drive the distorted on the test unit, suggesting explanation for how two presumably lower load resistances needed to gener- indistinctness rather than depth ... the skilled listeners can listen to two identi- ate significant voltages at the power flute sounded hooded rather than reces- cal units, and draw such diametrically rails. sed ...The dryness Of the sound made opposed conclusions. This would be An even more subtle mechanism that string instruments sound somewhat funny if it wasn't fur the fact that some I didn't even try to measure ( my trusty wiry ... The voices sounded shallow, people out there actually read and old test bench only measures distortion without body or support. I Itl also lacked believe those reviews' products down to -90 dB or so) is the the ability to handle complex sounds I have presented this example because premise that non -linear power -supply without mushing them together into a it is dramatic. MmKt of us in this busi- impedances or, for that matter. non- composite sound ... r and was unable to ness are routinely i ;filled upon to mnk- linear loads into linear power -supply impedances will generate non- linear signals on the power -supply rails. This is worth considering, since simple Zener Ati the new .. shunt -type power supplies or even three - terminal regulators at low current drain will not he particularily linear. While the whole concept of PSRR predicts that these non- linearities will find their way back into the signal. the relative differ- TRI :ENT ence between power- supply and load impedance ensures that they will he SERIES BOB very small. Conclusion: It is my opinion that 24 separate switchable Bus outputs power -supply design typically will not 4 -band State Variable EQ w /selectable affect sound quality. However. as is frequencies often the case, poor design practices can always prove the exception. Also, sim- 5 Aux. Sends, each switchable Pre /Post ple topologies, such as tube designs. can Programmable "Auto Mute" bus be much more susceptible to power c Stereo "In Place" Solo supply irregularities. Split Monitor section, each w/3 -band EQ, Recommendations: e. Use high -performance op -amps and, Fader Reverse and assignment to Remix whenever possible. operate them at low 4 Echo Returns with EQ (20 dB or less) closed -loop gains. Use adequate capacitance in parallel Full Master Status switching with three -terminal regulators. A 1,000 Automation compatible with ARMS IIce, microFarad capacitor will usually he MASTERM ©, OPTIMIX®, and MASSENBERG® enough to ensure less than 0.1 ohm impedance across the audio hand. If you can, band -limit the signal early on. It is easier to roll -off out -of-hand- transients. than brute force them out of your power supply once they get in there. It should be noted that three -terminal regulators exhibit a lower output impedance as they deliver more current - it is a good idea to pull at least 25 or30 mA from them. For any reader interested in Trul) a World-Class brute -force solutions, see Reference =1 reccrding system. for a power supply designed around The new TRIDENT high performance op -amps that delivers less than 0.04 ohms across the audio Series EOB with added hand with very low noise. features and expanded capabilities, continues its Do You Hear What I Hear? In past columns I have offered var- radition as an Incustry Standard. ious cautions and criticisms of subjective or uncontrolled listening As a . . . tests. Experience a Legend u circuit designer I learned long ago that things can sound good or bad for all the wrong reasons. The unreliability of Before you commit to yoir next console such listening tests was recently driven 0,5 system, consult your local TRIDENT dealer, home to be by an experience I had while wearing my other hat as a designer of audio products. Our brand -new phono pre -amp was TRIDENT USA, INC. reviewed by two different. low - 308 N. Stanley Ave., Los Angeles, CA 90036 circulation Iunderground?) audio jour- 213-933 -7555 TLX: 5106000019 TRIDENT USA nals. To quote reviewer =1: "Exciting August 19ä5 R -e p l9 tearooni

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R-e/p 22 August 1985 For additional information circle e17 - continued from page 19.. Important decisions based upon what state -of- the -art analog and digital con- organization, at the new Mozart Center we hear. How confident are you in your sole systems." in Cologne. Representatives from WDR chops? When was the last time you had At the end of July, The National paid a visit to the Cambridge, England, your hearing checked? Sound Archive, London, was scheduled factory in mid -.July to view the DSP at Avoid the trap of getting to comforta- to take delivery of a Digital Signal Pro- its 5(r, build- point, and were reported to ble with one listening room. or one cessor) I )SP) console that will he used to be extremely impressed with the digital sound system. brain a The has funny process catalog recordings prior to direct consoles topography and operational way of compensating for a system's digital re- recording. deficiencies and, before you know it. a Future plans call flexibility. in addition, Neve recently flatter system than yours may sound for the addition of a custom designed played host to two separate technical wrong to you. ('heck out the competi- Sound Restoration System to the I)Sl', delegations from a leading North Amer - tion. If their room sounds different than which will be used to remove surface ican broadcast network, and The Turner yours. check it out and find our which noise from vintage vinyl and cylinder Network. Visits to ('TS Studios. Lon- one is wrong - don't automatically recordings. don, were also arranged, to allow the assume that theirs is wrong. Meanwhile, work is progressing on delegations to gain hands -on experience I expect my reviewer friends have the construction of a full -size I)SI' con- with the facility's 18 -input 32 -group som what different sounding reference sole scheduled for installation early I)S1' console. systems, and very likely different ideas next year by West Deutsche Rund l'un k, Besides success in the digital- console of what a good sound is. If they were the West Gentian state broadcasting market. sales of Neve analog consoles both record producers. one of them would he in trouble (maybe both). Reading for Extra Credit As usual. i have referenced a few of my earlier columns for more details on "Gauss. capacitor non -ideal performance, and op -amp feedback circuit's non -ideal parameters. The Best #1: Reference The power- supply design These comments were unsdicittd and is actually part of a phono pre -amp design article entitled "Pre-eminent l're- Unknown made by Mr. Skitindale who pun'lxrscd the Gauss speakers he uses in an elaborate sound amp, published in the =:3 -$5 issue of The Audio Amateur magazine. OM Speakers system which supports Cincmascopc monies. %ES Ili -Fi video, compact discs, stereo TV and in The World' "normal" stereo. News There's a Gauss loudspeaker to fit even' professional need from 1(1" to an 18" that handles ..Most people don't teen know Gauss speak- 400 watts and a range of high power compres- NEVE'S FUTURE LOOKING ers exist :' says Jim Martilkde, Engineering sion drivers with response to 20 kHz. For POSITIVE FOLLOWING Manager of Aphex Systems Ltd. "I live with intimation on the entire Gauss line. see RECENT TAKE -OVER OF soul at work anti at home. Al Aphev, we your authorized Gauss dealer or write PARENT COMPANY specialize in products that make sound heuer. In late -June Neve's parent company, Cetec Gauss, 9130 Glenoaks Boulevard, So. I'm really critical of sound qualitm and Energy Services & Electronics PLC Sun Valley. CA 91352. (213) 8'5 -1910, demand dependability. That's w1i I like and (ESE) was purchased by the Brammer Telex: 194 CFTEC. use Gauss speakers: 989 Group, a diverse multinational company with numerous subsidiaries "With Gauss, you always know you're getting Choice of lite Pros around the world. However, as predicted a professional loudspeaker:. Martindale con- by various reports that have appeared tinued, "with XXX (the three letter company). in the finacial press during the last sev- you never know whether the speaker was de- eral months, Brammer subsequently an- veloped for hi -fi or pro use. The quality just nounced that it plans to sell off Neve varies all over the place. For n» nmoney. Gauss

Electronic Holdings, Ltd., the group of speakers are by far the Ix-st speakers I can companies that includes Neve Electron- use.. ics International, Ltd., Rupert Neve, Inc., Rupert Neve of Canada, Inc., and Rupert Neve, GmbH. Earlier this year, ESE was the subject of an unsuccessful takeover hid by Peek Holdings, which failed to secure the necessary majority of approval from ESE stockholders. Peek also intended to sell control of the Neve Group following purchase of its parent company. According to Barry Roche, president of Rupert Neve, inc., "Now that Brammer has confirmed its intention to sell the Neve Group - and the number of companies interested in buying us is substantial, including many that are highly visible in the pro -audio industry - our intention following the sale of the Group will be to secure Neve's leading position within the recording and production studio market. The purchase will further assist Neve in continuing its extensive devlopment plans, and supporting the pro -audio industry with

August 1985 O R -e /p 2:3 Australia. producer for Polydor, EMI and WEA, In addition. the BBC's Bristol Net- and who has served as an SSi, consul- News work Production ('entre has ordered a tant in the region for the last two years, customized Series 511(1 that will be explains that a primary reason for open- and automation systems are reported to installed at St. George's Church, Bristol ing the office is the emerging Chinese be very healthy. in excess of $1.4 million for both live broadcasts and recording recording industry. Three SSI, SL411(11) worth of NECAM 9ti servo -controlled work. E- Series Master Studio Systems were fader automation systems have been Finally. the company recently sup- installed at the China Record Company sold in the first six months of this year, plied eight. Iti- channel Series 200 porta- recording studios in Beijing. Guangz- Roche says. ble consoles - including flight cases - hou and Shanghai last year, and a "The future of the company's activi- for use by I11í(' Radio outside broadcast fourth Si.4111)(I console is currently on ties in North America is extremely buo- units in London and throughout order by CRC. yant." Roche added. "Merging with a F :ngl:uul. Solid State Logic Far East is head- company that has our type of products quartered at Austin Tower, Suite :iO1, 22 in its mainstream of business cannot SOLID STATE JACK' Austin Avenue, Tsimshatsui, Kowloon, but help to increase Neve's presence in OPENS FAR EAST OFFICE Hong Kong. Telephone: 0452.31 î21- t he pro -audio marketplace. We expect to According to Stil, founder and man- 2162: FAX: (852 -3l 72 :1 -546: Telex: see continuing and substantial growth aging director, Colin Sanders, "Our 4 580 (SSI.FE). in the future. studio and broadcast systems have At press time there was no final word become very popular in this part of the CIRCUIT RESEARCH LABS on the purchaser of the Neve Group. world, and ive forecast considerable ACQUIRES ASSETS OF MI('MIX additional growth throughout the Circuit Research Labs. Inc. has pur- SOUND('RAF "l' WINS SEVF :RAL region. SS!. Far East will provide these chased certain assets of Michlix Audio CONTRACTS FROM BB(' clients with the kind of technical sup- Products. Inc. These assets consist of Sounduraft Electronics Limited has port and information exchange enjoyed inventory, patents, licenses, contract sectored three separate orders from the by SSi, owners and users in the world's rights and business naine. British Broadcasting Corporation. major production centers." According to Bernard M. Van Ben- including a contract to supply the III1(' The new Hong Kong office will serve t Item, president of ('R l.1. "'Phis acquisi- with four consoles that will be used for 551, clients in China. Singapore. the tion marks our entry into the profes- television applications during the ISti(i Philippines, Malaysia, Indonesia and sional recording marketplace. an im- Commonwealth Games, to he held in Thailand. Currently six staff members portant new market for the Company. Edinburgh. Scotland. next -July. The are based at the new location - all of Furthermore. we are confident we %vill four customized Series 7)00 c msides will whom are multi-lingual - operating be able to develop and market addi- be installed at the purpose -built Broad- under the direction of Solid State Logic tional new products based upon Mic- cast Centre in Edinburgh - currently Fe- East's managing director. Bingo Mix's patented audio devices, thus plac- under construction - for use by both the 'l'so. ing us in a much stronger competitive BB('. as host broadcaster. and Ali(' Tso, a former 'long Kong-based record position overall."

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R -e' p 24 August 19$ For additional information circle #20 Circuit Research manufactures and markets elect t onjc audio -processing and signal -generating equipment used tu enhance the quality and range olbroad- cast signals transmitted by radio and KWrththe 6120 television stations in the U.S. and abroad. I have control GOTHAM AUDIO CORPORATION PURCHASED BY GROUP HEADED BY RUSSELL O. HAMM Stephen F.'l'enumer, company founder over 1l1 quality' and president has announced the sale of Gothant's business and name to a group Dameon Higgins founded Delta Sounds and quality, Dameon decided to install his own high of investors hearted by Russell O. Video in 1976 after 10 years in broadcasting. speed duplicating equipment. He looked care- Hamm. long-time \'P. The transaction. This radio experience and his uncompromising fully at every product on the market and finally which involved an undisclosed amount audio standards quickly established Delta as a selected the Telex 6120, seven slave, 1/2 track very successful recording studio and entertain- cassette -to-cassette model. He knows that he of stoney, was effective April 1, 1983. ment sound service in the Orange County /LA can add on to his system as his business 'remitter will retain ownership of the area. Although the company specialized in sup- grows, but for now his 6120 can copy up to 280 Gotham Building in New York: Quan- plying complete custom sound programs and C -30s in one hour, ani is easily operated by tum Audio I.:tbs. Inc.: a substantial systems for school dance DJs and Discos, it one non- technical employee because of its interest in Gotham A.G., of Regensdurt, wasn't long before Dameon found himself turn- compact size, single bLtton operation, jammed ing down a lot of tape duplicating requests. The or short tape warninç lights and automatic Switzerland: and'I'horens- Franz A(: of high quantities were not practical for "real master rewind. Dameon hasn't regretted his \\'ettingen, Switzerland. manufacturers time" duplicating, and the jobs that he "farmed decision for one moment because he now has Ill l'horens turntables. out" to high speed duplicating companies often a thriving additional business of duplicating Russell O. II :mint. president of the came back to hurt his image. voice and DJ audition tapes, seminars and syn- dicated radio programs. Now he reports a zero new company. which retains the Eventually, because of missed profit oppor- reject rate and his quality image is under his Gotham name. has announced several tunities and a frustrating lack of control over control where it belongs. immediate changes to holster the company's relationship with customers and For over twenty years row, Telex has been the suppliers. While product Tines from choice of those who, litre Dameon Higgins, are fussy about the quality of their duplicate tapes. Neumann. EMT, N'I'P and Klein & Control module To learn more about wiat the 6120 can do for Hummel will continue to he the founda- and a cassette you, write to Telex Communications, Inc., 9600 tion ofGothant's business. Hamm states master /slave module Aldrich Avenue South, Minneapolis, MN 55420. that he will step up sales and promo- Well send you complete specifications and pro- tional activities in an effort to reach a duction capabilities. Iwoucier customer base. '\\'e plan to For quick information, call Toll Free maintain a higher profile in the future. 800-828-6107 not only making more people aware of or in Minnesota call (672) 887.5531. the high quality products coating out of

L ?erupt. but particularly to make them aware that these products are at- fordable..' Jerry (wham has returned to Gotham Control module as eastern sales manager alter an wat cassette absence of several years. and has been master, eleven %vnrking with Ilantm on a new EMT slaves and reel dealer program. Juergen Wahl. master t ;otham's newly appointed west coast sales manager. has just returned from an intensive training seminar with Neumann engineers in Berlin. Juergen has also re- opened the I Ms Angeles office, which was closed when Hugh Allen..lr. retired more than a year ago.

- NEWS NOTES - Nine pro -audio manufacturers have donated the use of nearly $200,(100 in equipment to the ASSOCIATION FOR MULTI -IMAGE INTERNATIONAL (AMI) to provide sound for its festival to be held in Dallas. Texas, August 12 thru 17, 1983. The contributing companies include OTARI CORPORATION, QSC AUDIO PRODUCTS, APHEX, COMMUNITY LIGHT & SOUND, PRO CO, SOUNDCRAFT ELEC- TRONICS,WHITE INSTRUMENTS, AUDIO -TECHNICA U.S. and TECHNICAL PROJECTS. This year's festival marks the fifth year of an on -going effort to raise the audio sights TELEX. of multi -image producers and staging companies. In addition to the equip-

August I R-e p 25 Recording Studio Management. Further TORIES. According to AID president,

details of Expo '65 are available from Rick Plushner. "The design I of the 8:13I News KBA Enterprises. Inc. 110 Schiller is perfect for professional studios, espe- ment donations. the SOCIETY OF' Street. Elmhurst. IL 60126. (312) cially in close -field monitoring applica- PROFESSIONAL RECORDING 979-839:1. tions. which also makes it the ideal STUDIOS (SPARS) will conduct two AUDIO INTERVISU AL DESIGN, speaker in the smaller. privately -owned seminars concerning planning. bud- the LA -based pro -audio equipment studio. The Meyer speaker produces geting and producing original music systems company. has been appointed maximum linearity at both high and tracks for multi -image shows. According Southern California dealer for the new low levels, and has a degree of accuracy to Emory Straus of White Instruments. Model S:1:1 Studio Reference Monitor and realism that is phenomenal." In great improvements have been made in from MEYER SOUND LABORA- addition to the t; :13. AID is marketing the production and reproduction quality the Meyer Model 63-I subwoofer and CP- of multi -image audio since the project STOP PRESS: 10 Complementary Phase stereo 10- began four years ago. ATC to Distribute Telefunken band parametric system equalizer. KBA ENTERPRISES and Products in North America To expand system production to meet FLANNERS PRO AUDIO has an- Ranier Zopfy, sales manager of AEG Tele- increased demand. EASTERN nounced the 1965 CHICAGO MUSIC funken Corporation, has announced that ACOUSTIC WORKS has added 2,500 EXPO. to he held at the Hotel Contin- ATC will import and distribute the Telefunken square feet of assembly space at its ental. Chicago. September 20 thru 22. line of tape machines and products through- Framingham. llA. location. Along with Planned as the largest consumer music out North America. the increase in space. EÁ11' has remo- "AEG has made a long -term commitment to show in the Midwest. Expo 'S5 will fea- delled all assembly facilities to create this market," Zopfy says. "We have developed separate production for small sys- ture exhibits. talent showcases. semin- audio recorders designed specifically to meet areas MS:10 FR -15:1 ars and an industry awards banquet. the needs of the market and have maintained tems - thru - and larger The exhibits. sponsored by Planners. our own personal commitment to manufactur- systems- FR22 thru KF:;..50. In August. will feature the latest in pro -audio ing only the finest equipment that German the company's Customer Service will equipment and musical instruments, all engineering can design. We have already become a separate department with new of which will be available to the pulic for committed to the large inventory and techni- personnel to improve turn -around time sale at the show. Expo organizers say cians necessary to support a market as large on repairs. that currently there is no other show as the United States. We will be naming our THE WESTWOOD ONE RADIO that allows manufacturers to "come East and West Coast representatives shortly. NETWORKS has acquired STAR - into such direct. positive contact with and establishing regional inventories and ser- FLEET COMMUNICATIONS. one of their customers. The seminar program vice. By importing and distributing our own the nation's leading producers of live comprises panels of regional and equipment. we are now very competitively radio concert programming. Following national experts that will address such priced." the acquisition. Sam Kooper, founder subjects as Producing Music Videos. The new company address is: AEG Tele- and president of Starfleet. and now Direct Marketing Techniques for Inde- funken Corporation, Route 22- Oor Drive, serving as 11'estwood One's director of Sommerville, NJ 08876; (201) 722 -9800. pendent Records. Music forJingles, and . continued on page Iii -

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R-e p 26 - August l9s- For additional information circle =21 THE NEW 252: Introducing the Affordable Reverb Unit with EMT performance.

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I 1'1III r PRODUCTION VIEWPOINT Few engineer producers are fortunate enough to experience the kind of meteoric rise that has marked the career of Daniel Lazerus. Originally a drummer and keyboard player for a number of small bands, the native Californian drifted to the other side of the glass in 1977. During five years as a second engineer - first at the Wally Heider Hollywood facility, then at The Village Recorder - Lazerus got his training on album projects for Stevie Wonder (Ilutiiquarium. Part I), Tom Waits (Foreign Affair), the Rolling Stones (Emo- tional Rescue), and Fleetwood Mac ( Fleetwood Mae Lire), as well as two soundtrack albums ( The Wiz and Grease). The big break came, however, when Lazerus was seconding for Roger Nichols on the Eye to Eye album project with producer Gary Katz: when Nichols' schedule forced him to leave in mid- project, Lazerus stepped in to take over as principal recordist, and complete the album. Subsequently hired to record Donald Fagen's The .'s'ight f/y. Lazerus promptly earned himself a 1983 Grammy nomination as Best Engineer for his work on the Fagen project. As one might expect, the succeeding three years have been very busy for Daniel Lazerus. His engineering credits now include projects for John Denver (Seasons of the Heart and Dreamland Express), Diana Ross (Ross). Jean- Michel Jarre (Zoolook), Eddie Murphy's debut musical album (How Could It Be ?), and "'l'he Finer Things" from the King of Comedy soundtrack album. His production credits span work with Joe Cocker ( Ciei /iced Man), the original cast album of The Gospel At ('olonus, and "5 Minutes / Bonzo Goes to

Washington" 1 a rap street dance single with Jerry Harrison of the Talking Heads). When we caught up with the busy young engineer, he was tracking basics with producer Gary Katz at i.A's The Village Recorder for an album project with Rosie Vela. R -e p (Ralph Jones): In looking at your biography. I'm struck by the variety of artists you've worked with - from Joe Cocker to Diana Ross, John Denver to Donald Paget'. I assume that such a broad range of music would implya sim- ilarly broad range of engineering and production styles. How do you accommodate such differences? Daniel Lazerus: Basically, it just comes down to relating to the individual ;irtist - genuinely understanding what they really desire. Take, for instance, an artist like John Denver: he could be recorded and produced with drum machines, MiDI- interfaced keyboards, and so on, but it wouldn't be what he's about. By the same token, you cannot record him in the way that he's been recorded before, because that's not what people are listening to these days. So, what's needed is a creative and sensitive balance, and it often comes from an engineering standpoint: how you can "stretch" the sounds. The album that I did with John [Dreamland Express], which really is marvellous, has a lot of interesting sounds: some strong and unusual drums, and interesting guitar parts. It's about balance. You can only go so far - you can't be obvious, but you need to be new and strong. One thing that helps me to achieve that balance is that I'm extremely inquisitive and experimental. When I'm handling a basic tracking date, I'll try and use a different miking configuration than I've used before - if only to continue to test myself and be sure that I'm not just relying on something that has worked before. Both with other producers, and when I'm working in a production capacity myself, I've been able to experiment and yet maintain a sense of the artist's integrity - of course, that's the ultimate aspect of any production.

R -e /p /Ralph Jones): There must be a set of basic principles that guide your

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' 1984

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For additional information circle 24 I also had some ideas of my own: I Daniel thought of using Adrian Belew and Yogi Horton. I put the session together while Lazerus he was in France, and it really fell experiments. besides your own desire to together beautifully. try out something new. After all. the technique has to he appropriate to the R -e p: You're worked in a number of material that you're recording. Are you studios. both here in L.A. and in Neu' guided in any sense by the artist's past York. Presumably. each studio has dif- work? ferent characteristics - a different Daniel Lazerus: For me, it's an room. console. monitors, tape machines. extremely instinctive process: although Note do you cope with the differences I'm certainly aware of the artist's among facilities. and still maintain recording history, I don't actually think some kind of continuity in your work? about it a lot, because what's important DL: 'l'hat's a difficulty that every inde- is not the past, but the moment in which pendent engineer faces. It's a matter of we're working. Usually, I'll spend time knowing what you want, and being able listening to demos before we begin to understand a room quickly. Most tracking basics, and really get a sense of studios that you're been working in engineers grew up seconding, and get- the project. Then, I spend a lot of time isn't all that cheap! ting to know certain rooms. It's a big diagramming the miking concepts that DL: Sometimes it's a bit of a fight: usu- step when you begin engineering on I'd like to try: basically, I have those ally, you can only get so experimental in your own and start working in a lot of things set up beforehand. the time you're given. Even so, I try to different studios, yet still want to have a experiment as much as I can. Jean central kind of sound -a "heartbeat." R -e p (Ralph Jones ): Do you tend to he Michel Jarre's new album, Zoo look. was I think that I've been able to keep a influenced by the sonics of the demo. or a great opportunity to be experimental, "center" about most of the records that do you listen more for song values. and just because of the nature of his artistry. I've done, even while working in very then try to create new sonies to enhance I used things like [Crown' PZM mikes different studios. it isn't always easy. those values? on glass baffles that were about eight and sometimes I'm not so sure that there Daniel Lazerus: I definitely would like feet high and four feet wide. Laurie hasn't been something lost in trying to to create new sonies. But, these days, Anderson performed on the album, and keep that center. Maybe I didn't know demos are so sophisticated that they I recorded her inbetween three baffles how to simply cut loose, because I was often can serve as an incredibly accu- with PZMs on each baffle - it really driving towards a sound that I wanted, rate guideline to the way that a song is worked out great. I used the same tech- and didn't always understand what the to be recorded. I'm even impressed by nique to record Yogi Horton, who played room was offering. the quality of Portastudio song demos drums, and was able to capture some It's certainly much more comfortable that i hear these days - really, I'm very "microscopic" drumming sounds. to have a room that you know and love. serious - recorded, for example, by The toms, particularly, worked out very But if you are in a situation where someone who lives in a one -room apart- well with these glass baffles around you've agreed to work on a particular ment in Manhattan, plays all the parts, them holding PZMs. project in a particular studio, there's and also sings. really no excuse for complaining: it's a One musician like that is Joy Askew, R -e p: Your biography says that you matter of seeing what the room is and a very different and talented keyboard "designed" the Neu' York sessions for dealing with it, even if it's just a shoe - player who works with Laurie Ander- Jean- Michel Jarre's Zoolook album. box. Obviously, the optimum situation son..Joy gave me some amazing demos, That terns intrigues me. What does it for any engineer or engineer- producer made when she was living in a very mean? would be a room that they know to be small space. She had a mike mounted in I)i.: It is a very juicy term, isn't it? consistent: one that they can experi- a bookcase, and she would walk back "Designed" - it sounds like inventing ment with and stretch themselves a lit- into the kitchen to sing, so that she got tofutti or something! Well, Jean- Michel tle further. It's difficult to go into radi- this kind of "echo -y" kitchen sound. In had never done a studio album with cally different rooms, but it's also a real general, there hasn't been a lot of re- musicians: he's primarily an instru- test of your capabilities, and I enjoy the arranging involved when we work from mentalist. He has had huge, wonderful - challenge. And there's a way to have demos, but certainly I work to make the sounding albums with widespread suc- continuity, also. sonics much more sophisticated. Even if cess in Europe and elsewhere, but it's a very live, raw sound that we're everything has been keyboardoriented. Re p: What do you look for when you after, I try to stretch that to make it more He was a fan of The Nightfly, which first go into a new studio? live, more raw. After all, the artist put won the Grand Prix du Disque in France DL: Initially. I think about how the that demo together to represent what - the top album award - for that year. drums will sound. Drums are your foun- they heard. It's their song - it's what So he looked me up when i was in New dation: that's really the basis on which they want. If you can expand on that, York, and we met and talked about the everything's going to be structured. If a then that's a good thing to try for. project, which was going to utilize real room seems inappropriate for drums, I musicians - not just his machines. It won't cut them there. K e p: Giren your emphasis on experi- was quite a risk for him. "Designed" mentation. I would bet that you some- simply means that here was someone in R -e, p: What do you look for to get a good times are frustrated by budgetary lim- France who had some ideas; I was in the drum sound? itations. After all. recording time in the U.S., and I helped him realize them. But DL: An ability to have a strong, close.

If it's a very live, raw sound that we're after, I try to stretch that to make it more live, more raw. After all, the artists put that demo together to represent what they heard. It's their song - it's what they want. If you can expand on that, then that's a good thing to try for.

August 1985 R -e' p 33 ANNOTATED DISCOGRAPHY Daniel An Inside View to Track Production: Lazerus tight drum sound, and a live sound as A Conversation with Engineer Daniel Lazerus well. By way of an introduction, Daniel Lazerus played for R -e/p a variety of recordings, drawn from past and recent projects, that he considered representative of his best mixing R -e /p: Hou' do you tell whether a room is and engineering techniques. During the listening session, Lazerus offered comments on capable of delivering that kind of live aspects of each selection: sound? DL: It usually seems to depend on the size of the room, although I've been sur- John Denver title track from Dreamland Express album. - prised I've been in situations where "This may give you an idea of the change that we perpetrated, compared to John's - I've been able to get strong drum sounds previous recordings. We did this album in a very short period of time: we cut 16 tracks in from pretty small, boxey rooms. But I three days, and mixed very quickly. Even so, we spent some time dealing with the kick tend to like a larger room. In the Village drum and snare on this cut, because they were somewhat difficult to record. The drums Recorder [Los Angeles], for example, were played with brushes, and the kick drum was played very lightly to draw out a Studio I) has a walk -in echo chamber. semi -contemporary sound. It's a great room that was developed "I miked the kick with a Sennheiser MD -421 placed about midway inside the body of the during the recording of the Fleetwood drum, and added some damping on the head. Then I processed it through a couple of Mac Tusk album. To be honest, I'm not stages of API EQ, and 1 used a dbx limiter to keep it consistent - because it was just being certain why it works or what the design tapped. Quite honestly, it was a real obstacle, because it was being hit so lightly: I had to is, but it's an incredible live chamber work to get it to be linear, and balanced in the track. that you can set drums in front of, and "The compression helped to draw it into the line. Then, using a couple stages of good do some interesting kinds of miking. A quality, older EQ, I lost quite a lot in the region around 350 Hz; that makes an interesting very large room like that allows the kind of 'black hole' in the kick sound, though it's still got the lower -end. l also like to add two opportunity to do a lot with basic drum to four dB at 50 or 60 Hz: I like to have that 'ultra -low -end' cranked a bit, since I know that tracks. It allows you to cut the basic they're going to roll off some in the mastering, anyway. Of course, EQ won't do much if you drums strong - I mean, those have to be pure but also to recording don't have the proper drum set or a good mike position. So, during the recording session, l - think of live -sounding tracks. was constantly running out and adjusting the mike an inch to the right or left from where it was, tweaking the positioning to get the best sound. R -e /p: "The snare was played with Another thing that must be a a brush, and miked with a Shure SM57 going through a concern when mooing from one studio couple of different EQ stages an API and a Pultec which 1 - - used to draw out the to another is the whole question of dif- qualities that seemed best for the track. What I'll say about the snare here is that it lacks as ferent monitoring systems and "house much of the hi -hat as possible, while still retaining a I good snare sound. really count on curves ": the interaction between the proper miking technique to isolate the snare: I detest gating tracks, because I hate to monitors and the control room. Hou. do commit to gating in the tracking stage, and then have to deal with it in the final mix." you maintain any degree of trust in the result, when these aspects can vary so John Denver: "Gimme Your Love Forever" from Dreamland Express widely? "This album was an interesting challenge for me, because we were working on an old DL: When I did The Nightfly with console, and had no computer assistance; all these mixes were entirely manual. This song, Donald Fagen, I became familiar with in particular, was challenging because it is a fairly complex arrangement: the band was David Visonik 9000 speakers. Donald, supplemented with a full horn section, with Paulinho da Costa on percussion. Initially, Walter[ Becker] and Gary Katz had been Paulinho played only the conga track; then I thought that it might be great to have timbales mixing on the 9000s, and I really fell in and a whistle - because the song has a Brazilian feel to it - so he added those parts in the love with the speakers. For every single overdub stage." album, and every studio in which I've We were particularly struck by a background vocal breakdown that occurs at the end of worked, I've taken those speakers with the tune. How did that come about, we queried? me. They're marvellous monitors: they're what "That was actually my idea. It seemed that, at that point in the song, there was an Aja, Gaucho, and The Nightfly were mixed on. The 9000s have a hump awkward feel to the timing and phrasing of the track. So 1 decided that, in order to improve around 60 cycles but, once you under- Daniel Lazerus at the SSL 4000 console, Amigo Studios, North Hollywood. stand that, they're "home "; you're taking "home" with you wherever you go, and I think that's really important. I think the Visoniks are a fabulous "heartbeat" - a great center monitor- No 111111111N ing system.

-e /p: IllIllIllIllIllI t R This "bump " at 60 - do you find IIII yourself tending to compensate in some way for that, or do you just take them as being representative of an average "real- world" consumer speaker? DL: That's a good question [pauses reflectively]. The bump at 60 is just something that I understand. I deal with it by knowing the speakers; they're just very familiar to me. It's not about compensating: it's just about good recording. What we're talking about is a "masking" kind of effect: you don't hear the bass in the area around 60 to 100

R -e /p 34 August 1985 Stereo prop ram The BF&BSYSTEMS' nutria] with IMAGESCOPEn' disp_ays good separation graphically and balarte. This the comp -ex stereo audio signal, showing you material will ranger _hE- dispersion of energy as it will sourd in the typical well b menaJral. _i- tening environment. I-, gives you an irstant indication of L +R phase er_rws which lead to "flat" and "mc_hy'" Singl3 r put, ri :no playback and transmissions. IMAGESC0PE" with tone, panned mid -'ight at 75% s used to pos:tior, precisely, any track Jr tracks vrithir- modulation. =he stereo :mage. Stereo phase errors are now easily Avoided.

In one affordable, simple, self contained package, Single input, IMAGE SCOPE" gives you a true visual representation, with tone, panned mid -left at 75% in real time, of the balance, separation, and level of the modulation. stereo signal. Creative toots for stereo audio. B & B SYSTEMS, INC. 28111 AVENUE STANFORD VALENCIA, CA 91355 (805) 257 -4853 August 1985 D R-e/p 35 For additional information cycle #25 ANNOTATED DISCOGRAPHY - continued .. . Daniel it, we might try to do an odd vocal breakdown with percussion. "First, I set up a tape slap that was musically timed with the meter of the hi -hat. I panned Lazerus the background vocals left and right with an echo that made them three -dimensional, put cycles. Sr, it can seem that you have a lot the tape slap down the center, and also sent the tape slap return to echo. At the of hass, and then you realize that you breakdown, I dropped most of the tracks with a manual mute; the effect serves to smooth it may have more than you thought. But out so that it's not so extreme. It seemed to jazz up the track and, in the vein that we're it's an instinctive thing, too. I engineer, talking about, it's something appropriately new for John. A breakdown in a John Denver really, from the heart - as silly as that song is an unusual idea, and doing it with the background vocals seemed like an interesting sounds I laughter'. I'm always putting way to go about it!" myself on the edge with each new project; I don't want to stop learning. Rosie Vela: "Zazu" from untitled debut album, projected for release in late 1985. R -e p: Do you a "Rosie is a model, probably one of the top ten on the Planet Earth. She has written a lot of have preference in mixing console's? marvellous songs that are sort of eccentric -a little like a Kate Bush or a Peter Gabriel. I)L: Very much. I love the older Neve really believe this is going to be a strong record; certainly I can suggest that she's written consoles - pre -Eighties, early Seven- some very interesting songs. I think she'll have a real strong possibility as an arriving new ties. They have incredibly musical EQ: artist. in the earlier Neves, the engineers just "I'm particularly proud of the drum sound on this cut. The kick is very strong and deep, seem to have chosen very musical posi- and it hits you, but it's not boomy. It's a matter of using enough of the actual kick sound tions - it's step, not sweep, EQ. When I --which was a strong, bottomy, straight -ahead kick drum - and mixing it into a live work on other boards, and maybe have acoustic chamber [at the Village Recorder, Los Angeles]. To get the chamber sound, I was the opportunity to have access to an rolling mikes around the whole time, to everybody's chagrin! outboard rack with Neve EQ, I'll run "I used Neumann U87 mikes in the chamber, and they were highly compressed, so drum sounds and things like that they're 'sucking' in that room -- which also helps to 'snap up' the delay time that can occur. through it. The return from the chamber was then gated. When I got the sound that I wanted, I put it into an AMS DMX 15.80, which then was triggered by a Linn drum machine. I treated the R -e p: I'm also interested in your snare in a similar fashion. thoughts on digital audio. Do you have a "Setting the gate for a sound like this is a difficult thing. The point is committing to the preference in digital multitrack and close -down - really listening to the drum -machine sound, and making sure that the gate is mastering machines? closing musically. Once you put it on tape, you're committed: if the sound is great and huge DL: To be honest, I'm not all that familiar with the but the gate is a little off, it can ruin the track. I prepare for that by sampling sounds and currently available digital recorders. I've spent a year working on putting them away, in case I've missed it." . continued - the :3M ] MS] 32 -track machine and, ROOM AND MICROPHONE LAYOUT TO ACHIEVE probably because it's the machine that AMBIENT DRUM SOUNDS DURING BASIC TRACKING. I'm most familiar with, that's the one Studio: The Village Recorder Studio D, Los Angeles that I've worked on most. Soundworks Engineer: Daniel Lazerus New York] has that machine, and I've Note the use of an echo chamber for mikina of live room ambience. done several albums there. I like how I can punch -in, roll back, record, overdub, and bounce tracks on the 3M. LIVE I 'Door CHAMBER have done a lot of work in the digital SEMIISOCATEO MAIN ROOM open around domain, however The AREA - Nightfly is two IIO 6 10 entirely digital [3M multitrack; mix to leed DRUM MIKING: Sony PCM -1610] - and I've found that kick: MD421 KEYBOARDS there's something missing in recording snare: SM57 U47 cymbal: C4I4 U47 purely digital. It's almost like you can Hi Hal: C451 w /pad have too pure, C414 something too clean. You Toms: C414 and C451 w /pad listen to Sergeant Pepper, or "My Gen- eration" by The Who - those sessions were done on analog two -tracks, or four - tracks, or coupled four- tracks. And

U87 there's something wonderful about the "analog sound" of those records. GUITAR C414 AMP You see, there's a way that I like to ISO record, if I can. What I like to do is use an SM57 C451 SEMI ISOLATED I BOOTH older Neve console, record on an A -800 AREA VOCALS ISO Studer, use [Scotch] 226 tape at +6 ele- NEVE CONSOLE ROOM vated level, hit the tape very hard, and CONTROL ROOM cut my basic tracks that way. Any chance I can get, I try and steer toward I that approach. There's a tape -corn- pression effect that happens particu- Lazerus says that the room diagrammed above was used during the recording of basics - larly with drums and, recorded prop- for the forthcoming Rosie Vela album Zazu, produced by Gary Katz. Two Neumann - erly, it's so clean and strong. Then, I U87s and a single AKG C414 were mounted inside the live chamber, with the door open about two feet. The were immediately transfer those tracks to 87s positioned two and five feet from the floor of the chamber digital. near the door, while the C414 was located eight feet inside the room and eight feet off For me, the digital domain works bet- the floor. He also points out that because of low -end build -up, a little compression of the ter in the overdub and mix stage. I still chamber mikes may be necessary, or the outputs from a few distant mikes mounted in prefer using analog to track the basics, the tracking room blended in with the chamber sound. but I like to do all the overdubs on digital For guitar-amp miking, Lazerus uses a SM57 two inches from the speaker at a slight which is a great way to do all that angle to the cone; an AKG C451 mounted two feet away at the same height; a C414 - bouncing, vocal combinations, and so mounted three feet away, and a foot or so higher; plus a U87 mounted five feet away.

R -e p:t6 August 1985 Mg.

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For additional rnlorrTution circle u26 \u,n l t'l The TS24 is the first in -line signal paths automatically by use of the console from Soundcraft. master status switches. `Soft' switches And it represents a may locally move EQ and AUX sends major breakthrough in inbetween the two signal paths but are line technology, because it now makes also automatically reset. the console far easier to understand and When mixing, the Channel sections operate. become available as additional inputs Believe us, this is no hollow promise. or effects sends without the limitations Our argument is built around two rock imposed by more conventional designs. solid foundations. Firstly, a new concept in console layout so logical, engineers used to DROP-IN. BOUNCE. split or in -line consoles can start work from Drop -ins are made easy by the day one. And secondly, a set of master use of the TAPE and GROUP button conditions so advanced they'll amaze you. (T & G). Tape and Group enables you and the musician to monitor the original STATUS. track and the overdub simultaneously. One touch of the status button will The Bounce button facility configure the whole console for each enables you to take any combin ation particular stage of recording, mixing, of channels with their fader and broadcasting and video post production pan settings directly to the routing without sacrificing any flexibility whatso- matrix giving you instant bounce down. ever. In other words, one touch and you're off and running. SOUND AND VISION. To create perfect sound, you also NEW DESIGN. need perfect vision. With the TS24, that's Conventional in -line consoles suffer exactly what you get. Separate scribble from the limitations of one long travel fader strips are provided instead of the usual and one equaliser being shared by two confusing double one, and the Mix and signal paths. With the engineer fader Channel controls are in clearly defined reversing and moving the equaliser back areas for easier use. and forth throughout the recording, overdubbing and mixing process to AUTOMATION. optimise the situation. Soundcraft have developed a unique The TS24 eliminates these short- interface to the disc based MASTER MIX comings, thanks to its logical design. automation system, which enhances its The long travel fader is in the section operational flexibility by totally integrating called MIX, which is the signal path for the full extent of the console muting. both monitoring and mixing. The equaliser One feature of this system enables moves between the MIX and CHANNEL you to by -pass the Channel VCAs, thereby optimising the original recording quality. the button in the most up -to-date mixing Surprisingly enough, all this practical console design available, contact us. technology, combined with sleek good looks doesn't carry a huge price tag. So our Soundcraft TS24 Soundcraft Electronics Ltd., 5 -8 Great Sutton St. London EC1 V OBX. doors are open to practically everybody. T1: 01 -253 6988. New 21198 SCRAFT G. Soundcraft Electronics USA, 1517 20th. St Santa Monica, Which only leaves us with one thing California 90404. 761: (213) 453 4591. 7èlex: 664923. Soundcraft Canada Inc. 1444 Hymus Blvd., Dorval, Quebec, to say: if you want to keep your finger on Canada H9P 1J6. 761: (514) 685 1610. T1ex: 05 822582. -WM9 INSTANT

i August 1985 0 R -e /p 39 -- continued from page 36 ...

Daniel was one of the purest digital recordings DL: With an artist like Donald, it really that has ever been done. It was never in is a matter of - every single day -a Lazerus the analog world - the album was meticulous concern for how things on. You end up with basic tracks which, purely digital, and painstakingly so. sound. If something wasn't sounding when you solo them, you hear a kick And it sounds good: if you go to any HiFi right, there could be several days spent drum recorded hot and strong in an store, that's what they usually demo on continually trying to achieve a par- analog sense, and transferred - with- with. it's almost a joke! Yet, with all that ticular sound. The Nightfly represents a out generation loss - onto digital. The in mind, we've cut a few tracks for very strong, perfect recording: if you sound is unbelievably clean: you could Donald's new album, and done it in the were able to solo the tracks, you'd find never tell that it wasn't just recorded on analog- tracking -to- digital mode. The that they're very clean, and very pure: the digital machine, but it has the qual- reason Donald is recording that way - And having an objective mixer just ity of the things i love about analog. I rather than purely digital - is because helped the whole process: The Nightfly mean, when I mix, I'll even rent up to of things that i've done since The was mixed by Elliot Scheiner, and the six, two -track slap machines - rather Nightfly; he heard the difference. mixing process was unbelievably than using digital delays or digital slap involved. - because I just love that sound: there's R -e p: Donald Pagers :s work is notor- I recorded the hulk of the album and, just something great about genuine iously a ell- engineered and well -produced throughout the entire recording process, analog tape slap. - eery snappy. eery clean. It seems to it was all about subtleties, like removing me Ihat this level of quality has to he the an "s" from the end of a word. Or - R -e /p: So you're using each technology result of an attitude that runs through literally, this is the truth - punching in - analog and digital - for the best of the whole recording process: miking, on one syllable and getting out before what it can do for you. pre -amps. the type of console used, cho- the next one! Of course, the great thing DL: Very much so. See, in working with ice of outboard equipment, and so on. about digital is that it allows that degree ... [Pauses, then smiles wryly' Okay, How did you achieve that level of sonic of precision in punches. So, for someone Donald I Fagen I, here I go. The Night fly purity on The Nightfly? like Donald, who would want, "Uh, can you get in before the 'er' and out before . ANNOTATED DISCOGRAPHY - concluded .. the 'th'. . . " or whatever, digital is Various Artists: The Gospel at Colonus. perfect. "This is a gospel show, composed by a guy named Bob Tilson. It's certainly experimental Donald is just a purist beyond your theatre; a sort of Oedipus set to gospel. Donald Fagen gave me tickets to a performance of and my imagining. Which works for the show at the Brooklyn Academy of Music, and I was so struck by it that I sought out the him, certainly, hut in some ways I'm composer and talked to him afterwards. It turned out that nobody had made plans to sure it also works against him. it's record it. I approached Donald about the idea, and we took it to Warner Brothers. really just i)onald: that's how he hears it, and he cannot do other way. "It's not necessarily the kind of music that's 'hit- bound,' but it is amazing. I mean, the it any I've worked on crowd at BAM went nuts! There's this group, the Five Blind Boys From Alabama, and their Certainly, records that have cost much less and sounded very lead singer, Clarence Fountain, who's blind, plays Oedipus in the show. Oedipus, as you good. And i also like things that are raw know, blinded himself. Clarence can turn on the stage like nobody's business, and he sings recorded very his ass off! and live. But this is the way he works, and he's paying the bill. "The music involves a soloist, a band, and a huge choir. Miking the choir was an And he's right: you cannot listen to his intriguing situation. When we came to doing the choir overdubs, which involved about 45 records and not hear great music, and people, we were working in a studio in New York [Soundworks) that was extremely dead: brilliance, and groove. low ceilings, and kind of crowded. But this music was about the church! So, we had the full I'm very proud of having worked on choir in a semi -circle in this space, and I miked them in three sections from in front and from that album. I sang on it; i did a lot of behind with overhead mikes: Neumann U87s behind, and AKG 414s in front. I set up an EQ experimental miking ideas; and i that seemed to work, blended the mikes, and recorded them in stereo. in the mix, I added a stretched quite a hit. It was difficult, but concert hall effect from an Eventide SP2016 digital echo system. rewarding. i could probably talk about it more if it wasn't so good. Lazerus and Harrison: "5 Minutes/Bonzo Goes To Washington." R -e /p: How did you come to he involved "This is a thing I did with Jerry Harrison of the Talking Heads, recorded in a basement in with sessions for The Nightfly? Was it Milwaukee about a half a year ago. It's like a street kind of dance thing. i play drums and through your work with producer Gary keyboards, Jerry plays keyboards, and Bootsie Collins plays bass. Ronald Reagan does the Katz? rest: it's based on his famous 'blooper' speech in which he announced that he was DL: I was working at the Village 'outlawing Russia forever', and that 'we begin bombing in five minutes.' Recorder, and had already worked at "Reagan's voice, taken directly from a recording that we got from the Mondale cam- several other studios: I started at Wally paign, was sampled into an E -Mu Systems Emulator iI. The keyboard was split so that Heider I Hollywood). When I began at different portions of the sample were in different registers of the keyboard, and Jerry the Village I was a second and, within a played it. This recording was done extremely quickly, and put out before the election. It year, I was put on a project with Gary made it to number 38 on the dance charts here, and was very successful in Europe." Katz and Roger Nichols - it was the debut album of a group called Eye to John Denver. "African Sunrise," from Dreamland Express. Eye. Roger had a lot of prior commit- "This is John Denver at his sincerest; as we all know him. i love this track: it's very much ments, and after about two weeks he a'John Denver' song. John has been involved with the World Hunger Project for about 12 said, "You should just use this guy. I years, and I can attest that it's a very real thing with him. He wrote this song in Africa can't do it." He pointed to me, and I took over I -about a year before USA For Africa when he was in Ethiopia and living with those the helm. finished the album, and - was asked to work on The people. I did cricket overdubs on this track, and Roger Nichols does bird calls. Nightfly, which was kind of a coup: nobody else "This whole album was done with one band: two guitarists, an acoustic piano player, a had penetrated that world before, and I sax player, and a drummer in a small booth. I'd generally been working in large rooms, with wound up being the basic recordist. So, areas to displace everything, this and was a small room. Nonetheless, I attempted to get a it came about from Roger Nichols' live drum sound by putting two Neumann U87s in the booth, facing the glass. This was the insight about me, his generosity, and only track on the whole album in which I could use those 'ambient' mikes. In the beginning his lack of insecurity about involving of the song, the toms, played with brushes, are from the stereo room mikes." DOD someone new. ... continued overleaf - Quality in equals Quality out!

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For more information, including George Augspurger's comments, see your dealer, phone (619) 297-2820, or write Dept. QSM AURATONE CORPORATION P.O. BOX 698 CORONADO CALIFORNIA 92118 U.S.A. R -e, p: Can you describe that technique Daniel for us? DL: The way I like to do it is to use two Lazerus mikes in the vents on top. I use two dif- I was born and raised in Southern ferent mikes, instead of the same kind, California - in the city of Orange, in because it gives a different coloration Orange County - and all of a sudden I and sonic quality. I use a Shure SM56 or not only found myself doing a Steely 57, and an AKG C451 or 452 with a 10- Dan album as my first album, but also dB pad. On the bottom, I use a [Neu- found myself in Manhattan. It was just mann] U47 or an [Electro -Voice] RE -20 a whole new world -a lonely proposi- - or even a [Sennheiser] MD -421 would tion in a lot of ways, but it was reward- do. I pan the top mikes left and right, ing, and I got a Grammy nomination for and blend the bottom mike into both it. channels. It's a great sound.

R -e /p: Let's talk about tracking. Do you R -e /p: Let's turn to the mixdown pro- tend to go for a specific sound that you cess. Do you conceive of the final mix in want to hear in the final mix, or do you visual terms? try simply to record strong tracks that R -e /p: Do you cut many effects during DL: Very much so. I really see mixes you may refine later with EQ, effects, tracking? like paintings framed between the two and so on? DL: No, hopefully none - except for speakers. What I try to do is get the left - DL: When I'm cutting basic tracks, I try live drum tracking, and maybe a bass to-right panorama of that painting, but to make sure that what's on tape is rock effect. I want to have the control that also create a three -dimensional feeling solid, and has all the qualities that are comes from having a good- sounding - as though you could almost walk into necessary. And I drive myself crazy kick with no snare drum coming through the mix, and grasp a specific sound. It's about that: I change instruments and it, a snare track where you can barely a matter of utilizing a lot of properly - amps around a lot, or rent other kinds of hear the hi -hat - that's all a matter of controlled echo and delay: those are the drums, because if the sound isn't there good miking technique - and then two elements that allow a lot of dimension- with the drums or the instrument amp, faders with live, huge, stereo panned ality, like a guitar that's here, with its you can't fix it with radical EQ. drums. echo over here [begins pointing in var- But I definitely go for a very specific ious directions]. A vocal that has its sound. And it's difficult sometimes, R -e /p: What miking configuration do echo here, plus a delay that's sitting because performance is so important as you use for the ambient tracks? over here, and another delay that may well. Nonetheless, I have a very strong, DL: In the case of the last project I be spiralling even further away, barely innate sense of what I'm going for, and I worked on, it was nine different mikes: heard. Or a saxophone that's got an do have a style: there are some strong room mikes, some mikes that were in a echo and a delay that are going this similarities that I drive towards from live echo chamber, and some of the way; a shaker that's off here, but has an record to record, and from studio to stu- direct mikes as well. A live drum sound echo that's sending it off here. Things dio. Yet, I want to understand the sense that you can put on two tracks needs to like that make the mix "breathe." of performance. sound good: it can't be off balance, or too So, in the tracking and overdub "spikey," or have too much snare or R -e /p: At what point in the remix do you phases, I try to set myself up so that cymbals. That takes technique. start to bring in these various echo and what I'm going to be mixing sounds delay elements? great - so that it's right there at the end R -e /p: Do you normally mix the basics DL: Well, I build all of the foreground of the fader, and I'm not going to have to that you track? elements first. The kinds of things that fool with it too much. The things that I DL: Yes. have spins and spirals are built on after worry about ... [shakes his head] Some- the foreground parts, and they shouldn't times, when I hear albums that I've fin- R -e /p: If you were not to be involved in be washed out or lost - bass guitar, in ished, it's excruciatingly painful - if the mixing, would you still provide a particular, is something that can read- something doesn't seem too loud, then stereo ambience track like that? ily be lost as the mix builds. there's a shaker that wasn't loud enough DL: If it would be an added bonus for in a certain section! I have to fight that, the person who was mixing, I suppose R -e /p: When do you first begin conceiv- too, because these days cutting basic so. It's rare that I know beforehand that ing of this "painting" of a mix? Is it tracks is practically getting to be like someone else is going to mix a project when you first hear a demo, during mixing: you almost want to be able to that I've tracked. And even if I was sure tracking, or when you really become cut your basic tracks and hear them like that was to be the case, I wouldn't be involved with the mix phase? a final mix. That is quite difficult to able to pre -guess their style. How could DL: I concentrate on the basic tracks achieve. you know what they might want, unless when I'm doing those, and take time to you had spent years seconding for think about mixing before mix time. As R -e /p: Especially since, at the outset, them? I just need to go with my instincts far as the recording process goes, I do you don't really know what the texture and, really - I have to say this again try to think about mixing in the sense of of the final mix is going to be, since the -a lot of what I do is instinctive. bouncing tracks properly; opening up whole sonic reality is unfolding before tracks; keeping certain things open for your ears as you work. R -e /p: Yet someone else mixed The mixing - things like that. DL: Right. It's just the sophistication of Nightfly. How did you deal with that I don't always have the opportunity to the business that has caused it to be that situation? hear a demo. When I do, an idea might way. But in the projects that I've done, if DL: I just tried to do my own quality spring to mind. But the concept of a mix you put up the basic tracks, what you'll recording. There's a lot of my personal- really comes to me after the tracking hear will sound like final -mix sounds. ity in that album, just in the basics - sessions, when I spend time before the At times, I've almost degenerated my things that I'm sure Elliot [Scheiner] actual mixing begins, thinking about basic track sounds by re- EQ'ing things. wouldn't necessarily do. Recording the what I want to achieve. I make pages They had been so well thought out to Hammond organ in stereo, for example, and pages of drawings of experiments start with, that they didn't really need so that you can actually feel the Leslie that I want to try in order to make a that! speakers going around. ... continued overleaf -

R -e/ p 42 August 1985 We the undersigned ask only one thing of a piano.

L.,,4LÌ2, 762e-g Leonard Bernstein André Previn

I.nllanw l'av;imtli Aaron Copland

John uill' un> Mickey Gille

That it be a Baldwin. Baldwin' Without equal.

Augu,t I p I,i For additional information circle e29 That's important. I can't tell you all the Daniel great "mistakes" that have been on the records I've worked on. Just wonderful Lazerus - mm mistakes! Even on my by mm part - mis- drum go this way. or make a voice go punching, or something like that. that way: or make it bigger or smaller. R -e p: I've always felt that the engineer R -e/ p: You said that, when you build a - be it in the studio or in concert - mix. you start with the foreground ele- formed an integral part of the musical ments. Can you describe the process in ensemble. From what you say about more detail? your work, i suspect that you may feel DL: To be honest, I really start by pre- the sanie way. You appear to have an paring all of the effects that I'm going to intuitive approach to the recording pro- use. i generally use a snare drum to cess; you think of what you're doing in check my effects, because it's a regular, musical terms. strong beat. I like to use three EMT DL: Well, the musician's approach has plates - left, right, and center - and I . . ` ' i been a useful tool for me in engineering, make sure that they are balanced, . ` / which I never really thought I would be decaying in the same time, and sound %,' doing. I was drawn into it. One example similar. of how my musical background helps is i check all the centers of my effects that I can read charts. The artist or pro- sends, then forget about all that. I start ducer can say, "Go back to bar #34," and going for my drums dry - EQ'ing them I can roll the machine back to that point. in solo mode; same with the bass, guitar r Certainly, some very technical people and keyboards. Then I'll put up a mix 1III"' are good engineers, but I think it proba- with drums and bass, and start to add bly works better if they have a musical the echo. Drums and bass are the foun- ace at programming drum machines. background. dation; I build from there, adding key- Jim studied all the demos, set up all his boards, guitar, and so on. drum machine programs for each song, R -e/ p: But in crafting the sound of a Even the drums might have certain and we laid down the drum machine track, you also are greatly influencing effects, but I add those before I continue. parts first. Then I worked with Jim the emotional impact of the song. And as far as setting delays and echo Keltner - who played live drums on the DL: Well, I feel that about mixing, in decays, to me that all depends on the album - on things like kick -drum particular. As a rule, when I mix, I'm left drum sound. I'll solo whatever is the sounds, using the live chamber at the alone - and that's when I need to have smallest increment of time on the track Village Studio D. With Jimmy Bralower the overview. And I feel that it is an - usually, it's the hi -hat rhythm - and and an AMS [ I)M X -1 580S J, we were able incredibly important role: you really use that in setting delays. I'll listen to to sample those live sounds and trigger affect the musical result, unless you the return of the delay of the lead vocal, them from the drum machine. have a producer who says, "I want this, and make sure that it's just disappear- That sort of thing is almost becoming I want this, and I want this!" It's a diffi- ing perfectly with that hi -hat. I love the norm. And i thought it was funny, cult position, because you're coming up, using tape -slap machines with VSOs so because there was all this talk about, "Is and you also have working relation- that you can hear a beautiful delay, but SteveGadd in Wendell? Is Jim Keltner's ships with various producers to consider. it just melts and disappears into the kick in Wendell ?" Well, these days Jim Yet a brilliant engineer can add so track. On a lot of my mixes, there are as Keltner will come to a date, and he's got much to a track. I believe in the many as seven or eight very different all these weird drum sounds, noises, his engineer/producer -to- artist relationship, delays. Simmons toms, his Linn chips, the a11d1 by that I mean in the sense of how whole thing. He's beyond Wendell now! Hugh Padgham or Bob Clearmountain R -e /p: Have you had occasion to use It's ironic. are working. As a rule, an artist knows sampling and replacement techniques? what they want, and sometimes produc- DL: Oh, sure. While I was doing The R -e /p: You had a background as a musi- tion seems to be a matter of the extent to Nightfly, I became familiar with Roger cian before you began engineering, and which you can get out of the way of their Nichols' computer, Wendell, which is on a lot of your projects you're credited vision. I believe that a lot of artists the most sophisticated computerized as arranger. background singer, that desire a working relationship with sampling device that exists on the sort of thing. How do you think your someone who bridges the creative gap in planet! Donald utilized Wendell to music-al background comes into play the studio: a person that can capture the replace sounds on The Nightfly, and it during your engineering and producing? sound that the artist can only describe. was fascinating. Most of the time that DL: If I hear something that sounds If I were to be producing exclusively, I we were working on that album, Roger wrong, i'll point it out. Or I might sug- would still want to handle the engineer- was designing Wendell II, which was gest a harmony part. On the last Joe ing side, because of the sense of control miles ahead as far as increased sam- Cocker album [ Civilized Ma n [ I arranged you have, plus the immediate communi- pling rate, no loss of high -end, and so the percussion parts, and on Diana cation with the artist and what they're on. Then, Roger produced the John Ross' album [Ross[ I arranged the vocal working toward. i feel it's a valuable Denver album [Dreamland Express[ parts - by which I mean that I worked function, and I think that there are a lot that I just recorded and mixed, and we them out with the musicians. of engineers who are very much involved used Wendell a few times on that album, I don't know that there are any rules in the records that we hear, yet they replacing the snare. about those things, but I don't want don't receive any credit or reciprocation. Now, on the album that I'm currently there to be any misunderstanding about It's kind of like being a taxi driver: working on [June 1985] - which is an terms: I wasn't the "music arranger." you're serving as the link between the artist on A &M records named Rosie Any musician is usually free to develop passengers and their destination. I Vela - Gary Katz, who is producing, his own parts, unless you're doing a jin- believe that the relationship between hired a guy named Jim Bralower. He's gle or something like that; it's rarely the artist and the engineer /producer, a been doing Nile Rogers' drum machine quite that strict. Even with someone like co- production situation, is healthy for programming, as well as for Hall and Donald Fagen, who knows very specifi- record -making. It's certainly what I Oates and Cindy Lauper; he's just an cally what he wants, there's still room. desire for my career. EE

R -e' p 44 O August 1985 w ...,a4rc . vr. IN [email protected] - .I 1'- ' `.. ` i r\.'.. ' ".r\lIr \. .K\ WT.-.. \IP\ .. ..r. \' - \ .rr.- \`06,1 L. -v \- .4F Announcing '_ ` ." . \t t "'"\. the new -a..-- y4 " 44.4 ` -I

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Ar 114 __For additional information circle #30 -- WWW LIVE -PERFORMANCE SOUND

AClockwise from above: David Bowers. Dirk Schubert. and Ed Simeone TOTO World Tour SOUND SYSTEM DESIGN BY SCHUBERT SYSTEMS GROUP by David Scheirman

Take one of the music world's dens, CA. Several of the band members oper- best -known, Grammy Award - On March 19, 1985, Toto's U.S. tour ate personal -use re- winning pop rock groups, a began at the Arizona State Univer- cording studios, custom -tailored concert sound sys- sity Activity Center in Tempe, Ariz- which are stripped tem, 136 stage inputs, computer- ona. This writer journeyed to the site of gear when the controlled stage instrumentation, a for a first-hand look at the group's ad- group does one of new concept in monitoring, six (6!!) vanced audio system, which features its infrequent tours. veteran live soundmixers, and several multiple mixing consoles with six Shep Lonsdale, a re- months' worth of international tour- operators. cording engineer re v ing ... and the recipe exists for one of and audio mixer the most complex concert sound pro- The Band who has collabo- jects to be out on the road this year. Toto is a notable group, comprised rated with the goup Starting in February of this year, of some of America's busiest working on such recent ven- The Toto Entourage kicked off its studio session musicians. The group's tures as the film soundtrack for Dune, 1985 World Tour in Japan. A complete albums have often featured innova- is involved in all aspects of Toto's stage -monitoring system, and a house - tive recording techniques and instrumen- sound. mixing package equipped with a regu- tation. Collectively, members of Toto "Having been involved with the lated power distribution system, were - David Paich, Steve Lukather, plus actual recording to Toto's music in the shipped to all international dates. For Jeff, Steve and Mike Porcaro - have studio gives me a much different the Japanese portion of the tour, a probably participated in the playing, perspective on doing the live shows house reinforcement system was con- arranging and recording of more re- than many concert mixers might tracted through Hibino Sound. All cent, American popular rock music have," explains Lonsdale (pictured North American dates were handled than any other similar group of left). "Traditionally, a gap has existed by Schubert Systems Group, of Gar- musician /technicians. between live and recorded sound.

R-e /p 46 0 August 1985 OUR NEW BABY Announcing the arrival of the MTR -90's li tie brother: Otari's one inch, 16 channel MX -70. A multitrack mastering recorder that lets you do virtually anything you want to do in audio. affordably. r-

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Otari 1984 TOTO WORLD TOUR Figure 1: Stage Diagram

STEREO KEYBOARD MONITORS of Toto 1985 World Tour. 113 That gap is starting to narrow, as the VOCAL MIKE technology becomes available to re- COMPUTER create the sound of an album in a live - performance setting. Stage technol- VOCAL MONITOR ogy is improving, and concert -sound BAND MIX MONITOR systems are now beginning to offer AUDIO CONSOLE the fidelity that has been lacking in ELECTRONIC KEYBOARDS the past. The sound of the recorded GEODE music and the sound of the live show OVERHEAD SIDEFILL MONITOR CABINET are important to the members of Toto." [STAGE POWERI The Live Concept 437* Dirk Schubert, of Schubert Systems SAX [I GUITAR ISTI ®DRUMS PERCUSSION PROCESSING Group, was actively e EQUIPMENT KEYBOARD MIXER %e 4 1 involved in assem- [OFFSTAGE RIGHT[ bling Toto' s cus- BASS tom studio monitoring system and °i performance hard- YIP PIANO ware. When the VOCAL, DRUM KEYBOARD MIXER MIX ,, MONITOR r- 1. [OFFSTAGE LEFTI band chose SSG to POSITION L provide full sound [WIRELESS] reinforcement ser- SUBWOOFERS CENIERFILL CENTERFILL SUBWOOFERS vices as well for the PA P A. group's live tour, 'AUDIENCE! Schubert went along as a monitor mix engineer. his several years of wide variety of electronic instrument "One of the most important things touring with Elec- voicings, and using MIDI -switching to understand here is that these guys tric Light Orches- technology to keep stage clutter at a know what they want," states Schu- tra. Simeone mixed minimum," Simeone explains (pic- bert (pictured above right). "They on a Gamble SC24- tured left). craft their musical packages in the 24-II board. De- Several primary keyboards are lo- studio, and they are used to a certain signed and built by cated on stage at Steve Porcaro's posi- way of hearing everything ... stereo Jim Gamble Asso- tion, including a Yamaha DX -7. In- keyboard monitors, special vocal ciates, the trans - terface cabling connects the stage monitors, and instrument submixers. formerless console area with Simeoné s setup, and those It was up to us to figure out how to features 24 inputs performance keyboards can access take the whole thing on the road in an and 24 outputs, and the additional instruments, including easily -transportable package. seemed to be ideally suited for use as a a pair of E -mu Systems Emulator Its "Our touring accounts get some- stage instrument mixer (Figure 2). and an Oberheim X- Pander. thing that other sound companies are "Basically, what we are doing here "Some of the latest electronic key- not often able to address: if the gear is giving the musician access to a board gear now available is being doesn't exist to give them the sound or the operational functions that they Figure 2: Stage -left keyboard mix position - Gamble SC- 24 -24 -11 console, want, we build it for them." manned by Ed Simeone. To make Toto's live show happen, 136 stage inputs were funneled down to house and stage monitor mixing positions, each with two Gamble consoles (and two board operators) by using separate, manned stereo keyboard submix positions (Figure 1). Hidden offstage, these two consoles gave both keyboardists David Paich and Steve Porcaro an individual audio mixer for submixing the multiple stage rigs (with banks of MIDI - connected keyboards), as well as a "private" stage monitor man for each musician's own musical program material. Personal computers assisted in the MIDI -switching of the two rigs. Keyboards; Stage Left The instrument submix for Steve Porcaro was handled by Ed Simeone, who gained a great deal of experience with complex keyboard setups during

R -e /p 48 August 1985 VERSATILE. V-43

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For more ir'tormatior, please write or call: Cerwin -Vega! 12250 Montague St. Arleta, CA 91331 (818) 896-0777 Telex: 662250 circle #32 1985 li p n) , Figure 3 (left): A Compaq personal computer located at the stage left submix position. Each song in the show has a "menu" showing which instruments are in use, as well as MIDI patches. Figure 4 (right): The Compaq display screen, showing an informational display designed by keyboard expert Ralph Dyck.

Leslie rotor effect. did have a hangup once or twice dur- TOTO WORLD TOUR The entire keyboard mixing rig was ing the shows in Japan, but a quick streamlined, and seemingly well - tap of the panic button sent out a used with this show, and the factory designed as a synergistic package. All burst of signal pulses in about 30 mil- support from companies such as inputs and outputs to and from the liseconds, and that cleared it up. The Yamaha, Oberheim and Emulator VCAs are patched, and a 42 -pair button interrupts the signal bus, and has been tremendous," Simeone con- multicable connects the synth rack gives the circuits a chance to clear." fides. "Things could get pretty com- and console. For fail -safe operation, a plicated with this many keyboard 16- channel manual switching panel Keyboards; Stage Right units." Having the auxiliary key- can take over in case of MIDI "hang - David Bowers, who has worked board racks off-stage gave the stage a up." Additionally, a MIDI "Panic But- with the Doobie Brothers and Kenny much cleaner appearance, he offers. ton" is supplied just in case a glitch in Loggins, among others, mixed David To help the complex setup work the complex control -signal path line Paich's stage -right keyboard rig. smoothly, Simeone uses a Compaq causes the system to disregard a com- Bowers also commanded a Gamble personal computer placed next to his puter instruction to change over to the SC24 -24 -II desk that was located off- mixing desk (Figure 3). The screen next song's settings. stage right (Figure 5). Here, a bank of editor displays a "menu" for each "On this side of the stage, Steve MIDI -connected keyboards was dir- musical arrangement, showing what likes to wait until I do the changes, ectly controlled with an IBM personal keyboard device is patched through and then he kicks it over himself with computer (Figures 6 and 7). which MIDI switch for each tune an on -stage switch," explains An Oberheim DSX synthesizer with (Figure 4). In addition, the computer Simeone. "On stage right, I think they Digital Polyphonic Sequencer, Ober- program (arranged by keyboard expert Ralph Dyck) sends a pulse to a 24 -24 -1I JL Cooper MS -II MIDI match -box Figure 5 : Stage -right keyboard mix position - Gamble SC- console, device, when authorized by the engi- stereo monitor loudspeakers, and an IBM personal computer. (This position neer. Yamaha MIDI rack panel manned by David Bowers.) modules are hooked up to the various keyboard devices. A customized voltage-controlled attenuator module was designed by Jonathon Little of Village Recorder, Los Angeles, to provide a direct interface for lever - changing of the keyboard instruments. "This is a very high -quality way to control levels," noted Simeone. "It would be counterproductive to put a very clean signal from a $50,000 console through a $1.50 volume pot! Steve Porcaro uses the VCA to control his whole rig, while David Paich uses his to fade different synthesizers in and out of the piano mix." Effects devices available to Simeone included a Yamaha REV -1 digital reverberator, a DL -1500 digital delay unit, a Roland Super Jupiter, and a Lexicon Prime Time II digital delay. In addition, a Dynacord CLS -222 was available for an electronically- created

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AuRutit I SfH:) G R-e p 51 For additional information circle #33 Figure 6: Stage -right auxiliary keyboard Figure 7: David Bowers' IBM computer Figure 8: A Yamaha DX -7 synthesizer rack, where MIDI- connected instruments handles MIDI switching for each tune has been neatly fit into the top of a for David Paich include an Oberheim during the show. Yamaha concert grand piano. The DX -7 DSX, Oberheim X- Pander, and an E -mu this stage- monitoring system was the and piano each access the off -stage key- Systems Emulator II. concept that the performers wanted board rack. heim 013 -8, Oberheim X- Pander and small, bright- sounding boxes placed formers. For console monitoring, both Emulator II were all controlled by up at ear level," explains designer David Bowers (stage- right) and Ed either a Yamaha DX -7 or Paich's con- Dirk Schubert. "Also, nobody in this Simeone (stage -left) used a pair of cert grand piano. A cut was made into band wants to hear much of anything cabinets that were identical to those the piano frame, and the DX -7 nested below 150 Hz on the vocals coming placed on stage. snugly on top (Figure 8). from these boxes. It is like a 'close- The miniature loudspeaker columns "The computer, the keyboard audio field' mini -monitor approach. What each house two JBI. Model 2118H mixer, and MIDI we basically had to come up with was eight -inch speakers with a passive technology make the Yamaha NS -10 or JBI. 4401 contour network on each, and a 2404- things a lot easier speaker concept that could put out 11 tweeter. The eight -inch speaker's on stage than they concert sound pressure levels, and be frequency response is essentially flat used to be," states ,ye able to hold up on the road." from 150 Hz to 4 kHz, at which point Bowers (pictured Sets of compact, custom -built stereo the tweeter is brought in with a pas- right). "Instead of keyboard monitors and interface elec- sive crossover network. The boxes are mountains of key- tronics were designed and assembled trapezoidal in shape, and fitted into board instruments by Schubert Systems Group to pres- the stage set with small metal support and miles of spa- ent the complex mixes to the per- stands (Figure 10). Yamaha PC -2002 ghetti -like cables, you just see a man Figure 9: David Paich's stage monitors: the small enclosure next to the piano up there -with his keyboard carries a vocal mix only. A stereo keyboard mix is also available from piano. But, you are hearing many of the mini -columns. the exact voicings and synth parts that appeared on such classic tunes as `Africa' and `Hold The Line'. The grand piano keyboard can trigger sounds that have been stored in the Emulator, which were taken directly from the album masters." Bowers used a Lexicon PCM60, Roland MKS -80 Super Jupiter, two Yamaha D1500 digital delays, two Roland SRE -555 Chorus Echos, and a Lexicon 224 digital reverb for special - effects processing. In addition, an Aphex Compellor compressor- limiter and an Eventide H949 Harmonizer were available in the equipment racks. As on stage -left, a JL Cooper MIDI Match -Box and a custom VCA panel formed part of the setup, along with a Yamaha MIDI Rack. Keyboard Monitors "An important part of assembling R -e /p 52 August 19H:, /BLs unique titanium diaphragm and Diamond Surround" bring new purity and consistency to high frequency response. IT TOOK JBL SCIENCE, A NITROGEN EXPLOSION, AND PURE TITANIUM TÓ GIVE YOU PERFECTED HIGH FREQUENCY SOUND.

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August 1985 0 R -e /p 53 For additional information circle #34 STEREO KEYBOARDS 150Hz AND UP

KEYBOARD SUBWOOFERS PLUS FULL -RANGE MONITOR MIX: DRUMS.PERCUSSION. BASS.ETC.

JBL E140

HP 150Hz MUTE SWITCH (SPEAKERSI LEFT Figure 10: Small loudspeaker columns, each housing two JBL Model 2118 -H LEFT SPEAKER eight -inch monitors for Steve Porcaro KEYBOARD 1 V FEED HP 150Hz AMPLIFIER on stage-left. M RIGHT TOTO WORLD TOUR (l RIGHT SPEAKER r V AMPLIFIER the keyboard rigs, PHASE amplifiers power LP 100Hz REVERSE while Metron A -400 amps drive the - vocal monitors. The small keyboard columns proved so popular during rehearsals that HORN M were HP 1500Hz PHASE other performance areas also MUTE SWITCH supplied with them, including the (MONITOR) sax /background vocal riser. "The MONITOR MI HORN really makes sense," ex- FEED concept X AMPLIFIER plained sideman Scott Page. "The lit- LP 1500Hz

reference in- 1 tle boxes give us bright SUM formation to sing with, right there in y I front of us. The kick and bass sound, WOOFERS the main rhythm section mix, comes AMPLIFIER in the i from a little farther away bigger slant, instead of blasting me in the face like a lot of stage speaker sys- Top: Schubert Systems Group Stereo keyboard Monitor Rig. Block Diagram of Keyboard Monitor Signal Flow. tems do. It works great." Above: Critical keyboard, vocal and solo - cover latches into place for travel, and REV -1 digital reverb, Lexicon Prime instrument program information is wheels make moving the package Time, Eventide H949 Harmonizer, fed through the compact speakers. very easy (Figure 12). and a Roland SDE -2000 digital delay Additional rhythm section material unit were available for processing use requiring better low- frequency pre- Monitor Mixers on vocals, drums, keyboards and sax- sentation is fed to the various per- The main monitor mixing area ophone. dbx Model 160 and 160X formers through separate larger floor - (down -stage right) was handled by compressor -limiters were chan nel- slant monitors that house JBL K -140 Dirk Schubert and Alan Bonomo(Fig- inserted for lead vocals, background 15 -inch speakers, 2441 drivers with ure 13). A Gamble SC40 -16 served as vocal mix, piano and kick drum. 2445 diaphragms, and 2405 tweeters. the primary board, while an SC32 -16 Flying overhead stereo, tri -amped Where floor monitors are required was used as a drum and percussion sidefill cabinets flanked both sides of for vocals, including Steve Lukather submixer. (The latter also served the the downstage area. Lead singer and Mike Porcaro, SSG's low- profile opening act). What started as 136 dis- "Fergie" Fredricson, using a Nady vocal slant monitors were used (Fig- crete stage inputs ended up as 58 701 wireless microphone, does not ure 11). These tiny boxes pack a pair combined channels at the house and rely on any floor slants. The cluttered of JBL 2118 -J eight -inch speakers and stage monitor positions, plus various look of a half dozen slants along the a 2425 one -inch compression driver effects returns. front of the stage is changed here to a mounted on a modified JBL 2344 Bi- Yamaha Q -1027 third -octave gra- completely wide-open performance Radial horn. Actively crossed over at phic equalizers were available for area. 1.5 kHz, the cabinets sit hardly 12 some of the 16 monitor mixes, "We have been using one of our PA inches high, and offer an extremely although the Gamble boards feature cabinets as a side -fill box on each side, smooth, yet bright, vocal reference on -board parametric equalizers across hanging from the lighting truss," mix; they also have a power contour each output mix. A Lexicon 224X notes Schubert. "The stage -sound network on the horn. A protective reverb with LARC remote, Yamaha level on this tour is much lower than it R -e /p 54 August 1985 ..tf--' %- r

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For additional information circle #36 R -e p 56 D August 1985 Figure 11 (left): SSG °s cus-om low- profile vocal monitors each house two JBL 2118 -J eight -inch speakers, and a 2425 one -inch compression driver on a modified Bi- Radial horn. Figure 12 (right): A protective cover latches onto the mini -monitors for travel protection. has ever been: it is about 6 to 10 dB used as effects sends for the vocals cording studio,.. notes Alan Bottom° down from when we used a traditional and drums, while a (pictured left). "Since this whole com- loud monitor system. With less sound headphone mix was plex setup has been created around up here on stage, we are finding that sent to the piano the keyboard submixers and the dif- everyone hears more clearly." area, and stereo ferent types of monitor cabinets, we Of Schubert's 16 monitor mixes, sidefïlls completed are duplicating that on the road so the two went to the tiny floor slants; three the monitor hoard's performers have the same system mixes fed the miniature keyboard output assignments. that has worked well for recording." speakers; and five went to full-sized "Toto has been "It is important to note that a moni- 15 -inch slant monitors as rhythm mix- using the Gamble tor system designed around the needs es. Additionally, three mixes were boards in the re- ... continued overleaf - 0 It's a jungle out there! On stage you've got to sound better than good, so you need the best sounding loudspeakers in the business. You get just that with the Wildcats live performance loudspeaker system from Tannoy, the makers of the world renowned Dual Concentric recording studio monitors. ' A truly modular system, Wildcats offer the flexibility to cater for every artistes individual requirements. One Lynx may provide all the musical power needed by a single performer, while a complete multi- enclosure, high power rig can be easily assemolec from the Wildcats range to give really high sounc levels wh le still retaining the ' Tanncy character of smooth, natural sound. 1 f8_9 The Wildcats system is so flexible that whatever your act, and 'er wherever you aopear...

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August 1985 R -e /p57 For additional information circle #37 nets, the lack of floor slants for the front singer ... it has all helped to cut down the stage noise tremendously. Things sound very clean up here." Vocal microphones comprised Shure SM78, Beyer M88 and a Nady 701 (fitted with an SM87 capsule). The drum kit featured a host of Sennheiser MD -421s, while Countryman Isomax II miniature condenser mikes picked up the congas, bongos and timbales. A hybrid Fender /Yamaha wireless body pack unit was installed on the saxophone to allow freedom of movement. International Tour Package The North American concert dates posed no particular logistical problems for Schubert Systems Group, since the firm regularly handles na-

tionwide touring assignments for a Figure 13: The monitor mixing area, variety of clients, including the Tubes, Figure 14: A regulated power distribu- downstage right: Gamble SC40 -16 and Willie Nelson, Michael McDonald tion system offers each mix and stage Gamble SC32 -16, handled by Dirk Schu- and Jefferson Starship. However, equipment area two 20 -amp legs of AC bert and Alan Bonomo. much thought was given to the many power. concert dates to be performed in Eur- ope and Asia. racks be standardized, while travel- TOTO WORLD TOUR "Toto wanted the entire stage in- ling as compactly as possible." strument package and monitor sys- The standard -sized electronics racks tem to be self-contained and consis- were fabricated by Flag Systems of of a recording studio seems to be tent," recalls SSG's David Morgan. thick birch plywood, and covered with working well in a live performance "Due to the great number of signal a tough charcoal -gray exterior nylon situation," Schubert explains. "The processors, crossovers and amplifi- carpet material. An inner, foam - rolled -off low -end, the smaller cabi- ers, it was important that all of the surrounded birch frame protects the delicate electronic equipment. The racks measure 30 by 24 inches, and fit either three across in a 90 -inch truck, or four across in the new 99 -inch trucks. Due to the microprocessor -based Soúñd functions of many electronics devices, !!¡ a clean, consistent source of AC power was considered essential. A compact you don't think you regulated power supply was designed and fabricated by SSG (Figure 14). "This distro serves the stage area, can the monitor system and the house mix afford Meyer sound? area," explains Schubert. "Each performer and console area has two 20- amp legs of clean, regulated electrical power. Every man is on his own YOUR COMPETITION CAN. breakers. If the AC starts to drop or surge, the regulators automatically compensate, and can be set to allow REINFORCEMENT TOURING Figure 15: House mix engineer Clive Franks at the Gamble HC40 -24 console. STUDIO MONITORS A Yamaha M1516 -A submixer handled STAGE, DISCO, RELIGIOUS drum and percussion inputs.': Jti tt:.'.':.. Call Mike Harris or Barry Ober at I e HARRIS AUDIO SYSTEMS. Inc. r 4 _ °1 1962 N.E. 149 St., N. Miami, Florida 33181 a. (305) 944 -4448

I p August 1985 Like Shep Lonsdale, Franks felt ing about what it takes to do the job that sound systems for live- concert right." use have been improving over the years. "We seem to be getting more House System sound from a fewer number of cabinets Schubert Systems Group's loud- than what you would have seen sev- speaker arrays comprise multiples of eral years ago," he notes. "Improved a three -way rectangular "column" array design and increased amplifier cabinet, each of which houses two performance are all part of it." JBL Model 2220 15 -inch speakers, a Lonsdale concurs: "Years ago, we Bi- Radial horn with a two -inch com- made the best out of whatever we had. pression driver, and four JBL 2402 If you were good at what you did, you tweeters. The cabinets are easily as- Figure 16: A separate Soundcraft Series learned how to get the best sound out sembled into hanging arrays (Figure 400 desk was provided for use by open- of anything, because so many of the 18). ing acts. available systems were poor in qual- Large subwoofer cabinets, each ity. It's pretty easy to find good sys- housing four JBL Model 2245 18 -inch up to a 12 percent `window' for the tems these days, as we all keep learn- loudspeakers in a ported rectangular optimum voltage lever." A custom -designed stage input pan - el/splitter system was assembled for the group, with separate record /broadcast capabilities for taking 96 lines on -stage into two 48 -pair snakes. A variety of unexpected difficulties can arise when taking such a complex live show to other countries. "We got to Japan, and were not even able to use our new Nady 701 wireless system because it turned out to be right in the middle of a Japanese television station frequency," Schubert recalls "Over there, however, products are available for use which cannot be purchased here in the States." House Mixing Shep Lonsdale and Clive Franks share mixing duties for Toto. The primary mixing console was a Gam- ble HC40 -24, and a Yamaha M1516 -A submixer was set up to receive drum and percussion inputs (Figure 15). A separate Soundcraft Series 400 desk was provided for use by the opening act (Figure 16). Effects processing devices included a Lexicon Prime Time II, AMS 15 -80S PE 15 PARAMETRIC EQUALIZER and RMX -16 delay units, Yamaha REV -1, Lexicon 224X digital reverb, AND FILTER and an Eventide H949 Harmonizer. NOTCH Ten Valley People Kepex II noise were The PE 15 brings an unprecedented degree of performan ::e cipabili-yto the gates channel- inserted for drum single-space parametric equalizer format and percussion inputs. Channel -inserted compressor -limiting for vocal -Five complete bands with four- octave frequency sweeps microphones was assigned to dbx - Bandwidth range from 1.5 down to 0.03 (1/30) octave model 160 and 165 devices. Four -+15dB boost and -20dB cut for notch filter capability Yamaha C200 stereo cassete decks -Bands 1 and 5 switchable to shelving mode also were supplied for taping the sh -1/4" and three -pin balanced/unbalanced inputs and outputs (Figure 17). -Up to 20dB input gain for low level E61 such as electric guiar or bass "This is my first time using this Backed with low- noise /low distortion particular circuitry and rehab a Pane con- sound system," explains struction, the PE 15 would be a studio, sound reinforcement or broadcast mixer Clive Franks, known for many 'mast have at any reasonable pr ce. With a suggested Its- price of only $389, years of touring with Elton John. "It's however I See, hear and cove- a PE 15 for yourself at your nearest Rane pretty exciting. One can get better live dealer. sound results from a custom -tailored and correctly- engineered system such as this one. It's good to have the ANSI6510 216th SW. designer out here with . Mountlake Terrace, WA98043 (206) 774 -7309 us, though .. C O R P O R A T I O N [Dirk Schubert] makes - that things CANADA Head go more smoothly, since some of the -water Ind., 635 Caron Ave., Windsor, ONT. (519) 256 -5665 devices such as the crossovers are not off-the- shelf, familiar products." August 1985 0 R-e/p 59 Figure 17 (left): House equipment racks held a variety of signal processing devices, including a Lexicon Prime Time Il, AMS 15 -80s and RMX -16 delay units, and dbx compressor -limiters. Four Yamaha C200 stereo cassette decks were available for making reference recordings of each concert. Figure 18 (right): A total of 36 three -way loudspeaker enclosures, each housing two JBL 2220 loudspeakers, a Bi- Radial horn with 2441 driver, and four 2402 compression tweeters, were supplied to the tour.

units each. Three 1,200 -watt, one 800 - speaker system and the reserve to TOTO WORLD TOUR watt and one 400-watt specially - respond to transient peaks is very modified Cerwin -Vega amps are cur- important to us," observes SSG tech- box, provide low- frequency reinforce- rently employed, a combination that nician Mike Ferrara. ment below 100 Hz. Stacked on the yields 300 -watts to each 18- and 15- A 200 -amp, three -phase power dis- floor next to the stage, ramps also inch speaker, 150 watts to each 2441 tribution system drove the C/M Lode- allowed these boxes to serve as an driver, and 25 watts to each 2402 star hoists used to "hang" the sound additional performance area for the tweeter (Figure 20). system, and supplied the main ampli- acrobatic lead singer (Figure 19). "Having enough amplifier head- fier racks. A neat, modular I -beam Amplifier racks house five stereo room to adequately drive the loud- system with heavy nylon straps sus- pended the speaker arrays; one rigging point with a one -ton motor sus- pended a single beam and four speaker cabinets. For venues averaging 10,000 seats, SSG supplied Toto with 36 three -way cabinets and eight sub - woofers, giving a total of 32 18 -inch

Figure 19: Large subwoofer cabinets, each containing four JBL 2245 18 -inch HUSH! speakers, provide low- frequency reinforcement below 100 Hz. Stacked next ®rwua7,Qn IN © OOf to the stage, the top surface of the - cabinets offered an additional performance area for the acrobatic lead singer.

There is only one HUSH. But there are three models. and all three come from Rocktron. We call them the HUSH II Series. If you aren't using a HUSH II, you aren't getting peace and QUIET! Ask the pros. They're already using HUSH Its to quiet their guitars, and their guitar effects, and keyboards, and keyboard effects, and amplifier pre -amps, and p.a. systems, and monitors, and studio tracks, and tapes, and records, and single -coil pickups, and to eliminate unwanted feedback, and to quiet mixdowns, recording systems, compressors, digital delays and anywhere else they have a noise problem. With an effective single-ended noise reduction of greater than 30dB, nothing can compare to a HUSH II, or a HUSH IIB, or a HUSH IIC.

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ft-e PRO D August I 9S5 and is far beyond the average system on the road today in terms of its complexity. However, the extra care taken to assemble the audio tools required to achieve live duplication of recorded music deserves more than a few com- pliments. The concert that this writer attended at the Arizona State Univer- sity Activity Center featured an extremely well -crafted mix, with subtle nuances and effects not often heard in live rock concert settings, particularly of the one -nighter variety. The stage -area submixers were perhaps instrumental in achieving the excellent end resu ".t. The SSG system presented the detailed mix to a lively college -age crowd with power to spare. Full- frequency coverage was well - distributed throughout the listening area. Twenty years ago, a "rock and roll" show had one soundman, perhaps 12 stage Figure 20: microphone inputs, and SSG amplifier racks housed three 1,200 -watt, one 800 -watt one 400 - whatever house -sound cluster was watt specially- modified Cerwin -Vega power amps; 300 watts of power is available available that night. As I sat and lis- to 18- 15 each and -inch speaker. tened to six experienced board operators mixing down 136 inputs on speakers, 72 15-inch speakers, 36 two- signal processing gear in this one $300,000 worth of consoles and effects inch drivers and 144 compression touring system to fill a couple of audio into high -fidelity hanging speaker tweeters. rental supply houses, one begins to arrays, the distance that the concert wonder where the trend towards ex- sound industry has traveled in those Conclusions tensive hardware for live -performance two decades was remarkable to Performance Sound use will stop. A concert sound setup behold. Now, if we can only "fix" With enough conso:es and digital such as this one is extremely costly, those sporting -arena acoustics! ONO

The task of sound reinforce- men: is never simple- -the choice of equipment complex. AKG has taken the guesswork out of microphone selection with low noise, reliable condenser microphones for distinct applications: The C -535 is both durable and dependable. Practical features such as output and of response attenuation make it + ideal for both stage and pulpit, _ and chorus. iTtiolls C -567 lavalier is a small which reproduces speechpe or . music with M fullness and clarity. The C -568 short shot -gun 1` microphone is only 10 ruches long, yet has O+ ` extended area dif tc **1"""\\\\\ ose difficult

77 Select( Street Stan- .. CT 06 1934 ® Akustische (Íd Karo -Gean C-rt 203/ ' : 2121 VISUAL MUSIC SCENE The Growing Impact of the New Medium on Today's Recording and Production Studio Industry Adrian Zarin revi nt Audio- for -Video Developments

Heart.. Vacs' "Rum ReStless Turn Tugger"V V john Wa'té

I)avia Bowie's `-plue Jean Lcoking back over recent Music ing these extra aural elements into Video developments, it's hard the soundtrack without encroaching to avoid the conclusion that in on the music. And in both the broad- several areas this infant industry has cast and home markets, audio quality grown tremendously. On the artistic became a hot issue. Complaints were front, we've witnessed Music Video's heard from programmers and viewers evolution as a narrative genre through alike regarding the poor audio quality the incorporation of dialog, sound of the video clips broadcast on net- effects, and an overall directorial work TV and, occasionally, those sold approach that is much indebted to for home use. The advent of Stereo feature films. Aesthetically, it's clear Television has made the need for that video clips still have a long way high- quality broadcast audio all the to go. In particular, directors need to more dramatic. solve the problems of integrating two Meanwhile, one of the newer 24- distinct art forms: music and story- A.4 hour music channels, the Discovery telling. But, by incorporating basic Network, which planned to begin narrative structures into their clips, MUSIC TELEVISION' a broadcasting June 1, will utilize audio directors have brought Visual Music as a leading selling point. Its organiz- into a new era of sophistication. For ers are eagerly publicizing plans to confirmation of this new era's arrival, And while all this was taking place, transmit the three -dimensional effect one need only consider the impact of Visual Music was becoming more and of H olophonic sound on UHF. (See the such productions as David Bowie's more of a big seller on the home video- December 1984 "Visual Music Scene. ") 20- minute video Jazzin' for Blue Jean; cassette market, via concert tapes, MTV, for its part, began distributing as an especially effective blend of clips collections from leading artists, digital stereo audio to affiliates on music and narrative, Blue Jean stands and rock -related feature -film releases. January 1, via Dolby's new Adaptive as a promise of good things to come. So while directors and their creative Delta Modulation system. And on the In many respects, however, Music teams pushed Music Video forward as home front, LaserDisc players, Beta Video's dramatic growth on the busi- a valid entertainment form (with Hi -Fi, and the new VHS Hi -Fi format ness front has all but overshadowed value outside the promotional realm), have created a demand for home the artistic strides made during the business forces in the industry were cassettes with audio quality compar- last year or so. In broadcast, the past hard at work creating more and better able to, if not better than, records and year brought many new Music Video ways to bring Music Video to the pub- audio tapes. outlets to both cable and the net- lic. Interestingly, both of these devel- As a result of all these develop- works. We even saw several contend- opments posed new challenges for the ments, audio professionals working ers rise up and challenge MTV's audio side of Music Video production, in the Music Video field have seen a autonomy as our only 24 -hour source that oft -neglected dimension that has gradual, but undeniable, increase in of Music Video. While the most for- been the special concern of R -e /p's audio awareness and sophistication midable of the challengers - Turner regular "Visual Music Scene" on the part of their colleagues. The Broadcasting's projected 24 -hour columns. audio concerns of the contemporary cable Music Video network - never The narrative use of dialog and Visual Music scene have affected eve- made it past the first round, it still effects posed new problems for audio ryone from record company video seems that MTV's title as video's sole engineers in terms of synchronizing executives to producers, directors and tastemaker has passed into history. sound and picture, while incorporat- costume designers. At the same time, Studer Audio: Production Versatility

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The new Studer TLS 4000 syn- the TLS 4000 is available in two Suit Yourself. Modular design chronizer system offers ex- different versions: the basic ver- lets you tailor a TLS 4000 system traordinary flexibility across a sion (type B) for many common to fit your particular needs - pres- broad range of audio /audio, au- applications, and the extended ent and future. For more infor- dio /video and audio /film syn- version (type A) which offers en- mation on Studer synchronizing chronizing applications. And, hanced display capabilities as systems, please write or call: thanks to its modular design, the well as WAIT LOCK, SLEW MODE, Studer Revox America, 1425 Elm TLS 4000 system can expand LOOP, and CUE + GO -TO op- Hill Pike, Nashville, TN 37210: along with your growing facility. erating features. The compact (615) 254 -5651. Lock in a Box. The TLS 4000 Local Control Units fit in stan- "black box" unit functions as an dard 19" racks as well as in the extremely accurate chase lock extended console overbridge on synchronizer for one tape trans- Studer A810 recorders. STUDER port. It resolves two SMPTE time codes of any standard, and it will also accept pilot frequencies, video frame pulses, film bi -phase

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August 1985 O R -e /p 63 For additional information circle #42 careful and thorough audio prepara- Which brings us to the topic of dig- tions have become essential in every 11111171 ital music masters for Music Video phase of producing Music Videos - projects. As the practice of mixing to from the delivery of the master audio CM:=11 digital two -track grows, the record tape to the production company, to nates, a low- quality master can com- labels are beginning to furnish digital the final phases of post -production. promise the effectiveness of a clip masters to video production compan- At every step along the way, however, before the first day of shooting beg- ies. In addition to improving audio it is still common for audio problems ins. The less- than -ideal scenario that quality, PCM masters recorded on to arise. While awareness of the audio Skene lays out is confirmed by another videotape help out with some common engineer's requirements has grown, it audio engineer in the music video sync problems as well. This aspect is clear the further education is still in field, George Johnsen, proprietor of was pointed out in a follow -up inter- order. EFX Systems in Burbank. Johnsen view with Tom Davis, whose contri- first appeared in "Visual Music bution to Philip Bailey's I Know (one Audio Masters for Music Video Scene" in connection with his re- of the first Music Videos to incorpo- Among the discussions held at last sourceful sound effects work on rate dialog and sound effects) and Fall's Billboard Video Music Confer- Michael Sembello's "Automatic Man" Van Halen's Jump, a video on which ence - perhaps the industry's largest (see April 1984 issue of R -e /p). Over he tackled the problems of a final year -end gathering of Music Video the past year, Johnsen has had the music mix that differed from the mix professionals - was one panel de- chance to witness his share of prob- used in shooting the clip, were detailed voted to various activities of "The lems with audio masters that have in the April 1984 "Visual Music Behind- the-Scenes Team." The panel come through EFX. Scene." included representatives of virtually "We sometimes have a problem "You don't run into as many sync every technical craft involved in the with the label sending out a third- or problems with digital masters," Davis production of music videos - includ- fourth -generation copy of the song," explains, "because they have their ing audio engineering. Representing he relates. "In post production, we own control track and sync track. the audio perspective was Gordon have to go down at least two more Also, because of the very nature of Skene, a veteran film and television generations to get the music back to digital audio, you can't play a digital sound engineer whose Music Video the video master, so the audio quality tape off reference. It only takes one credits include Michael Jackson's Bil- gets pretty poor. There are now a reference frequency - which is 59.94 lie Jean, plus clips by Toto, Fleetwood number of video production houses Hz [the NTSC video field rate] - and Mac, Pat Benatar and countless though, that are requesting either the that's that." others. original master of the song or a safety Davis, Skene, and Johnsen all "Sound appears to be the thing that copy of the master from which to report that they've worked on several most people take for granted as just make their transfers. projects in recent months for which 'being there' in a Music Video," Skene "So, in many respects, things are the record company furnished a dig- commented in his opening remarks. getting better; in other respects they're ital master, commenting that those "But the quality of the sound that getting a little worse. The labels are projects went more smoothly and ends up on a video clip pretty much starting to be aware of the fact that a sounded better than projects based on depends on the record company and sync tone and timecode are needed on analog masters. As the popularity of the master tape of the song that it the master, but they're not always digital recording and mastering provides." putting them on correctly. We some- spreads, audio engineers specializing Elaborating on his remarks after times get half-inch copies that, sup- in Music Video will no doubt be work- the conference, Skene explained that posedly, have sync and timecode on ing with more and more digital mas- "the problem with a lot of record com- them, but, unfortunately, the sync ter material. For the time being, they panies is that the people in the video [timebase] is not always referenced to are doing the best they can with what departments, who make a lot of the timecode." they are given. .. continued overleaf - important decisions on a production, are not always aware of how crucial a Location production of a video for "No Way Out," from Jefferson Starship's recent album, first- generation sound source is. We've Nuclear Furniture, directed by Iry Goodnov. Pictured: David Freiberg and Paul Kantner. gotten master tapes that would drive you nuts - 7'/2 ips quarter- track, highly questionable stock, that sort of thing. "The other problem I have is with different versions of the song. Say there's a four-minute version and a five- minute version. Maybe the New York office only has a master of the five- minute version, and we're shooting to the four -minute version. We sometimes get stuck with a situation where somebody makes quick dub of something, and that's what we use as our audio master. I did a Tyrone Bronson video for CBS where the New York office accidentally sent us the wrong tape. The artist's management was freaking out. The only available recording of the piece was on disc. So we ended up having to transfer from the record!" No matter where or how it origi-

R -eip 64 O August 1985 CREATIVE CONCEPTS PRODUCES CATS MUSIC VIDEO Creative Concepts, a new Music Video production company, earlier this year con pleted a five- minute video of "Rum Turn Tugger" from the Broadway production of Andrew Lloyd Weber's musical Cats. Principals in the production company are Lou and Richie Vetter, co- owners of New York's Blank Tapes Studios, who have joined forces with Jeff Lee, production stage manager, and T. Michael Reed, Cats' dance supervisor. Featuring actor/singer Terrence V. Mann, who performed the song in the original Broadway cast, and just finished filming a lead roll in the film version of A Chorus Line, the $250,000 Cats Music Video is described as the first to be produced for a Broadway musical. "Music Videos of feature film and recording artists have already proved their worth as promotional tools, but this is the first time a theatrical production has tapped the medium," says Richie Vetter. Cats recently launched a national touring company, and a third production played in Los Angeles earlier this year. The Shubert Organization expects our Music Video to become a powerful asset in spreading awareness for the show." In addition to its distinction as the first Broadway musical Music Video, "Rum Tug Tugger" is also said to be one of the first videos recorded digitally. Blank Tapes Studios owns a Sony PCM -3324 multitrack, and Vetter considers that digital recording was crucial to maintain the integrity of the original music. "The original cast recording features a large orchestra of more than 20 pieces," he explains. "We felt that a cleaner, more open sound would work better for the video, and incorporated synthesizers and a drum machine when we re-recorded the song at our studio with Terry Mann. We then added guitar and horn our digital recorder we were able to eliminate loss of quality due to multiple tracks. With Remix of digital multitrack tapes of the a sound that was far superior to traditional analog transfers, and we came out with Cats' "Rum Turn Tugger" at Blank Tapes technology." Studios. New York. L -to -R: Jeff Lee, Lou "As Stereo TV becomes more widely entrenched in the marketplace, the recording and Richie Vetter, of Creative Concepts. techniques for Music Videos are going to have to become far more sophisticated," offers company principal Richie Vetter. "If Broadway musicals and touring shows find that our Cats video is having a positive effect on the box office, we expect to see a real flow of production work from that quarter. With our combination of recording expertise and musical background, we hope to carve a solid nitch for Creative Concepts in this [MOE Broadway Skene newly emerging area." After some bad experiences, companies I The Cats video was filmed over a six -day shooting schedule, with three days on stage at reports, "the production a more -or- New York's Longacre Theatre where a special set was constructed. "It was impossible to work with have adopted less policy for working with shoot at the Winter Garden Theatre where the show was based," Vetter recalls, "because standard we get our lighting, sound, and time requirements would have played havoc with the show's audio masters. Whatever - hopefully it's the best possible master, performance schedule." case goes Director of photography was Michael Negrin, cameraman for many Billy Joel videos. but that's not always the - Glen Sound [Holly- David Seeger of Today Video served as editor, cutting feature film -style to pre- recorded over to Glenn 15 producer Lou Vetter credits Willie Austin of Glen Glenn Sound, L.A., wood], where it is transferred to a music tracks. Co- one David Smith of Editel, NY, and Sid Zimet of Audio Force, NY, with providing solid advice ips half-inch tape. Channels and for the video. "The technology is still quite new," Vetter two have stereo audio; channels three on digital recording aspects SMPTE explains. "Sid Zimet was particularly helpful in synching the digital audio track to the rough and four, respectively, have underscore and mix. There weren't many of these Sony digital timecode and 60 Hz sync tone. That cut picture for the final master tape for recorders in the field at the time, and it was very helpful to have experts like these available tape then becomes the questions based on their hands-on experience. the project, from which they they to answer for in "We came to terms with the evolution of the recording industry," he continues, "and strike a Nagra copy playback to continue to maintain an active part in the business we have to the field and all other copies that they decided that if we are going uni- with it. Our purchase of the Sony PCM -3324 digital recorder, our new Studio D, need. This helps to keep things change form, but by the time you lay your designed for audio- for -film and -video, and our entrance into Music which was especially video Video production with Creative Concepts are all major steps designed to place us in the final audio back to your master, front ranks of the music and Music Video production scene." OOO you're ostensibly three generations down, no matter which way you look at it." 4 Cast of Andrew Lloyd Weber's Cats during production of a five - Audio on the Set minute video for "Rum As a specialist in on- location audio, Turn Tugger," which Gordon Skene has seen his responsi- is probably the first Music Video to be bilities increase over the past year recorded digitally from simply playing back the music using a Sony PCM - track on the set to recording dialog 3324 multitrack. A and effects and, on occasion, juggling special stage set was constructed for the the problems of recording audio dur- shoot at New York's ing playback. Although it is a fairly Longacre Theatre. straightforward operation, playback of a track on the set can entail a few difficulties. Because of budgetary considerations, or simple misunderstanding of what is required, Skene explains, the production company will often request a playback PA sys-

August 1985 R -e p (i5 tern that is woefully inadequate for using some Schoeps microphones the task at hand. Although the play- lately, and find they have a very nat- back sound does not turn up on the ural sound that is good for this kind of final videotape, it can, says Skene, be r work." crucial to an effective performance on mixing board as well, just to have a As in film-sound recording, radio a music video. little more control over the playback. mikes are planted on actors and "Musicians are often incredibly What I use for monitors depends on musicians that have lines to speak, apprehensive about performing in a the band and the situation - it can be and are used in long shots where it video, especially if it's their first; they anything from two small stage moni- would be difficult to keep a micro- like to hide behind their music a bit. tors to four large cabinets like the phone boom out of the frame. They want a substantial volume level Klipsch La Scala." Although this approach works well in in their playback. American bands, in Most dialog recording for Music most cases, as Skene relates, minor particular, like to work with perform- Videos takes place on the set; looping difficulties sometimes arise. ance -level playback and will play live is generally reserved for big- budget "This is an area where the ward- at a level to match that - if they're productions. Also, when the lines are robe department gets involved. For doing a performance clip. The artist's to be spoken by the musical artist(i.e., example, I recently did a video with attitude often is: 'I want to be able to not by professional actors who are Apollonia [Prince's sultry musical really feel the track so I can give out familiar with looping procedures), cohort] where we decided to use radio the kind of intense emotion you want many directors feel they can capture a mikes. We found, though, that it was on this film.' If the producer isn't wil- better performance on the set. The physically impossible to use a radio ling to give the band this, chances are fact that there are usually only a few mike on this girl because she wasn't he is going to get a lousy performance. lines involved makes this approach a wearing enough clothes to conceal "What I generally use in a situation practical one. one! We were shooting exteriors in a like that is a standard BGW 750 power "The techniques used to record dia- park and had to do the best we could amp. I'll also use a graphic equalizer log for a Music Video are no different with a shotgun mike. Luckily, it ended on occasion. A lot of people think that than what they would be for a film," up working out fine." is going too far for just a playback Skene offers, "as far as microphones, In the majority of cases, there is no system, but it enables me to get differ- mike placement and the aural per- need to have the music track playing ent settings for the two output chan- spectives involved. Engineers coming back while dialog or effects are being nels of the BGW. On one channel, for from a video or recording studio recorded on the set. Once in a while example, I can emphasize high -end background might think about it dif- though, it becomes necessary for for the drummer, and then equalize ferently, but I just draw on my film some or all of the people on the set to the second channel to suit the other background. Generally, I will use a hear the track while recording is tak- members of the band. I will some- Sennheiser 815 or 816 on a boom, and ing place - in order to mime instru- times go through a small Yamaha hire a boom operator. I've also been mental or vocal parts, for example, move in time to the music, show a reaction to the music, etc. In such cases, the people who need to hear the track are outfitted with earpieces containing miniature receivers. For performance videos, audience reaction scenes that require audio recording on the set are often handled with the aid of a "boom box." "It's a low- frequency tone generator that functions as a metronome," Skene explains. "We figure out the tempo of the song, and the tone generator will put out regular pulses at about 30 or 35 Hz. It's barely audible. During the mix, we can just EQ it out." Post -Production Audio The problems of incorporating dialog and effects into Music Videos also THE HIGH COST OF VHF extend to post production. Facilities WIRELESS IS NOW HISTORY like George Johnsen's EFX, which combine record experience with post - Samson VHF wireless systems have established a reputation production work for film and TV, for superior performance, innovative design and proven reliabil- have emerged as problem solvers for ity in a wide variety of commercial sound applications. We offer directors working in this new genre. a full line of VHF wireless systems from 1475 to *$1474 to fit the Over the past year, EFX has provided most cost -conscious budget. More proof that professional VHF transfer and sweetening services wireless doesn't have to cost what (including dialog and effects work) for it used to. video clips by Molly Hatchett, Earth, ® WE TOOK THE WORRY OUT OF WIRELESS SAMSoN Wind and Fire, Los Lobos, Ratt, Samson Music Products, 124 Fulton Avenue, Hempstead. New York 11550 (5161489-2203 TLX 510 222 1630 Chaka Khan, and Diana Ross, among In Canada: Omnimedia Corporation, Ltd., 9653 Côte de Liesse, Dorval, Québec H9P 1A3 514- 636 -9971 others. According to Johnsen, the 'U.S Suggested Retail ability to integrate record -quality audio technology with film /TV techniques is what has made EFX a popu-

p 66 D August 1985 quency that allows you to have that shift from 60 Hz to 59.94 Hz. We there- machine resolve in playback. In other fore have to speed correct our half- words, it plays back at exactly the inch, four -track audio master so that same speed at which it was operating its 60 Hz reference conforms with the when it recorded [the guide music 59.94 Hz reference of the Rank Cintel. track]. The film cameras are also "We start with the 60 Hz that was crystal controlled to a reference of 60 on our half-inch and reference that to Hz, or a subdivision of 60 Hz, so that 59.94 Hz, so that the audio is slowed they are running at exactly 24 fps or down [by a corresonding amount]. 30 fps. Then we lock up our half-inch machine "When you go to post," he con- to a one -inch, C- format VTR and tinues, "99 times out of 100 you're transfer the audio tracks over to transferring [film to videotape] on a videotape. This means that we now Rank Cintel [telecinel, which is refer- have a one -inch, C- format editing enced to 59.94 Hz. Since your shooting master that is speed corrected to reference was the equivalent of 60 Hz match the Rank Cintel master." [which corresponds to a film rate of The speed- conversion problem can either 24 or 30 fps] there is a speed be worked out in a number of ways, lar post -production house for music videos. "What you need is a facility with TV /film experience, but which is Incomparable geared to music," he comments. "Obviously, you can't have a Music Video with dialog that sounds like standard television fare; it wouldn't go over on a high -fidelity music clip. You have to match up your music, dialog and effects, making sure that the I ° t 6 9 dialog is clean and that you don't have nasal- sounding dialog tracks encroaching on lead vocals. The Cipher Digital's Model 735CD tricky part of it was making sure that the dialog that was recorded [on loca- Time -Code Reader /Event tion] matches the environment ,seated in the visual part of the program." But by far the most frequently cited Controller audio /video integration problem encountered - and one that has cropped The Model 735CD full function. up a good many -a full speed Time Code Reader times in these pages with eight -channel event controller /coincidence incor- is detector - - the problem of effectively syn- features find chronizing sound with picture. In porates you won't anywhere - at any price. most cases, the difficulties have Easily programmed from the front panel or optional RS- 232/422 their serial port. the 735CD provides frame accurate. contact closure origin in the more-or -less standard control of remotely activated devices. practice of shooting music clips on film (be it 35mm or 16mm) and then transferring to videotape either for TYPICAL APPLICATIONS editing or audio layback. Problems Video Production: Machine Control: arise from the fact that film equip- Character Generators Activating ment runs a speed which is refer- VTR's, Film Chains, etc. at Animation Stands Multiple ATR Sequencing enced to a resolve frequency of 60 Hz, while video Switchers Time -of -Day Events equipment is referenced to Special Effect Generators 59.94. Alarms Johnsen explains how problems of this nature can arise, and details Invaluable. Incomparable. EFX's procedure for making the In stock at $2,160. necessary speed conversions: "We start by making a half-inch, For detailed information or demonstration of the innovative Model 735CD. four -track transfer of the song, which contact our Sales Department: is provided by the record company. The four -track has timecode and a 60 Hz reference tone printed on it to provide us with a constant sync reference cipher cigital - the original audio master goes back to the record company and is never CDSales /Marketing Headquarters: used again. 215 First Street Cambridge, MA 02142 "We then make Nagra field copies Tel: (617) 491 -8300 Telex: 928166 from our half -inch four -track. The -- an SMI group company -- Nagra has a feature called `pilot tone,' which is the 60 Hz crystal -generated - or crystal injected - pilot fre- August 1985 0 R -e.'p 67 according to Tom Davis, who also "A lot of times we'll deliver a four - reports seeing film /tape problems track audio tape master with Dolby - plague a good many Music Video pro- encoded stereo tracks and the same jects. "An audio tape can have either (WM timecode as the video master. A four - 60 Hz or 59.94 Hz [sync /resolve tone] video, that means you have to speed - track audio tape machine will give on it. It can have just timecode, or correct the 24 -track master. Usually, you much better quality than a one - timecode plus one of the two reference you don't find a 24 -track master with inch video machine. But delivering frequencies. The main thing is to be enough open tracks to accommodate digital audio is better still. That's true consistent in what you do throughout the necessary reference code and even if all prior stages of the project the project. That is why I strongly timecode." were analog. If you digitize the final recommend that a qualified audio audio mixdown, the resulting audio supervisor should be hired - either by Digital Technology tracks will be extremely quiet, and the record company or the video pro- The practice of digitizing the final you won't suffer generation loss." duction company - to oversee the audio mix that is laid back to the Davis feels that the popularity of project. I've seen too many producers video master is one that has gained digitizing the final audio for Music and production companies try to popularity during post production on Videos will continue to grow. Many handle it themselves. They will have Music Videos. engineers, he explains, are still a little a rental company supply the audio "I'm seeing a lot more digital audio unsure of the correct procedures for equipment, a different company do going on," Tom Davis observes. "I digitizing audio tracks, but these the transfers ... too many unrelated won't say it's being used on every clip, doubts are likely to diminish with people get involved. No one knows but it is happening on a regular basis. time. what the others did, so you end up On a number of projects I've done that "A lot of people are getting hip to with a tangle of different formats in were specifically designed for home the fact that there's no big trick to post production." video distribution on LaserDisc or doing a digital master," says Davis, According to George Johnsen, film/ Beta Hi -Fi, we delivered audio on "as long as your engineering staff is tape speed conversion problems have either a one -inch or 3/4-inch videotape used to it. The 1610 format [for exam- also served in the past year to inhibit master that had a soundtrack dig- ple] will work on any helical video- the practice of remixing the music to itally encoded with a Sony PCM -1610. tape machine. Typically, we use the suit the visual perspectives of the fin- There are still high -quality audio pro- :%a -inch Sony BVU -800 U -Matic Series ished picture. jects where we don't use digital, of at Pacific Video [the facility at which "Only a couple of clips have been course. What we often do in those Davis is based], but you can even go to remixed that way this year," he cases is lay back the audio to the one - the one -inch format. You basically reports. "Artistically, remixing for inch videotape master with Dolby A just lock up two machines and decode the video is definitely the way to go, noise reduction, and then they will the audio from the playback machine, but if you remix the song to match the decode it in the mastering process. through the 1610, onto the record machine." The process does demand careful attention to a few details, however. For one thing, Davis stresses, it is Faster, Easier, Superior important to remember to reference the digital sampling rate of the 1610 SOUNDMASTER to 59.94 Hz. suss i usras "Plus," the engineer adds, "you have to remember that the 1610 essen- Audio RFC n tially becomes the timebase corrector Editing for the [video] machine that is recording, which means that you have to System 1111L141ar disconnect the [VCR's] timebase corrector, if it has one. Typically, if you 1B llilltII rent a 1610 from a rental house, they send you the 1610 with a :'/ -inch videotape machine. You plug them together and it all works. In an editing house SOUNDMASTER offers computer assisted audio post production capabilities you have to be careful though, since previously available only to videotape editors! all the machines are usually set up for Highlights editing, and have their own timebase Four machine control from one color coded keyboard. correctors, which are interfaced into Real time status monitoring of all tape transports at a glance. the facility's computer system. So you to down - 2500 event edit list memory which basically have strip the time can be easily manipulated and stored on to disk. base corrector whatever machine you are using, and let the 1610 become Unmatched speed, ease of operation and flexibility. the timebase corrector." Let SOUNDMASTER save you the time, money and frustrations which outdated audio editing systems presently cost you. Looking Ahead Digital Tom Davis points SOUNDMASTER is marketed audio, as Amtel Systems, Inc. no will exclusively by: out, doubt play a role in solv- 400 W. Cummings Park ing the two most glaring audio prob- Suite 4750 lems that still face Music Video - Ausrlro_ Systems Woburn, MA 01801 those of overall audio quality, and Inc. (617) 938 -8551 synchronization between the various visual and aural elements of a program. But the real key to solving both N -e p 68 D August 1985 problems lies with the people involved problem you would have is an attitude we're able to deal with specific exam- in Music Video as much as the tech- of 'This is my magic way of doing it, ples and do the sort of things that nology. Improved lines of communi- and I'm not going to change it for would be impractical at a larger cation between those responsible for you.' Secondly, a lot of people involved industry gathering. We're dealing every phase of a Music Video project in the industry are far too busy to par- with a new medium, and we think we is the only real means of achieving ticipate in this kind of organization. can help people get a little hipper to the type of consistency that insures Thirdly, Music Video is just not an what's involved." high -quality audio and freedom from organizable type of industry right Education is also what the "Visual sync problems. now, because of the type of creative Music Scene" has been all about. At the present time, Music Video people who are involved in it." Throughout recent columns, I've provduction is still very much a On a more grass roots level, several attempted to focus on the most signif- haphazard business. The popularity facilities, including EFX, have begun icant aspects of Audio- for -Music of the genre has exploded much too holding informal, free seminars for Video, and will continue to do so in the rapidly and unpredictably, it can be Music Video professionals that want future. The coming year promises to argued, for the industry to form a to learn more about the audio aspects be a pivotal, "stand -or- fall" period for detailed and uniform approach to of the craft. visual music - aesthetically, com- creating visual music. This facet, "Our seminars are usually about 20 mercially, and technologically. Stay however, is the very thing that has people strong," says Johnsen, "so tuned. made Music Video so fascinating to watch in the past few years - both on THE BEST! the screen and behind the scenes. It SIMPLY shares this quality with all the Big Simon Systems is setting a new standard of excellence Moments in pop music: the birth of in professional audio signal processing equipment. It rock in the Fifties; the British Inva- began with the DB -1 A Active Direct Box. Boldly designed sion of the Sixties; the Punk /New and independently powered *, the DB -1A delivers Wave onslaught of the Seventies - performance that blows every other DI away. The been terribles, they've all enfants unique design of the DB -1A is based on totally active whose alarming rate of growth far insertion loss. And outstripped parental control. (transformerless) circuit with no But, having made it out of infancy, with features like line level output, rechargable Music Video must necessarily face the battery capability, and automatic power system organizational strictures of adult life. check circuitry, it's easy to understand why so many Last year the first steps were made professionals refer to it as simply the best direct box toward unionizing the Music Video money can buy! industry. It's too early to say how -4 Headphone Cue Box. With four unionization would affect the audio Then came the CB by conductive aspects of the genre - or, for that outputs independently controlled matter, its overall artistic content and plastic stereo power controls, the CB -4 allows up to quality. Meanwhile, audio engineers four headphones to be driven from the same amplifier. A themselves have felt a need for better three position switch selects left mono, right mono, or organization of their craft within the stereo mix, and XLR input /output connectors are provided Music Video industry, and have come for paralleling additional cue boxes. It's no wonder why up with several suggestions of their the CB -4 has become a standard in the industry. own. "Maybe there needs to be an RIAA- And the tradition of excellence continues with the RDB -400 type of organization for Music Video," Integrated Direct Box. Based on the same design technique Gordon Skene offers. "An organiza- which made the DB -1A the premier direct box of the tion which insures that everyone is industry, the AC powered RDB -400 is four direct boxes in given a certain set of guidelines for one. It can be rack or floor mounted and has countless tape formats, procedures, and things uses. It features a totally transformerless audio circuit of that nature. Or maybe it could take design, line level output mode with infinitely variable trim, attenuation ser- the form of an AES pamphlet (or mode with stepped variable trim, input overload LED, speaker level input ies of pamphlets) explaining the with front and rear XLR technology, such as Nagra sync and pad, balanced and unbalanced buffered outputs other film procedures, to AES connectors, ground isolation switch, and a toroidal power transformer members. Sound for films is definitely an area for which audio engineering schools should offer a few classes." A central organizing body responsible for technical standards is an idea that holds a lot of appeal for many audio engineers working in the The RDB -400 is a dream in the control room as well as on stage. Its Music Video field. Visual music, versatility makes it useful as a pre -amp. buffer, line driver, level converter, though, may be still too much of a distribution amp, and many other applications. maverick industry to accept this type So the next time you think signal processing equipment, think like a pro: of organization. Simon Systems - Simply the Best! "You have a lot of real individuals who are doing Music Video," com- Thanks for setting the trend: PAUL ANKA SNOWGLENN CAMPBELLFLEETW00D MAC.KENNY LOGGINSJEAN -LUC PONTY ments George Johnsen, "and they're JEFF PORCAROREO STUDIOSTITO JACKSON coming to it from all different kinds of SPEEDWAGONUNIVERSAL backgrounds. In putting together any SSIMON SYSTEMS kind of central organization, the first 14201 Foothill #29, Sylmar, CA 91342. (818) 362 -4000.

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SYNCHRONIZING DIGITAL MASTERING AND MULTITRACK SYSTEMS WITH ANALOG TAPE, FILM AND VIDEO TRANSPORTS An Overview of the Interface Capabilities of Sony, Mitsubishi, Studer, 3M, JVC and EIAJ- Format Systems tine another. If digital data is to be transferred DIGITAL TRANSPORTS: between machines it is essential, of course, that all tapes are recorded in Why are they so Different the same data and track format, and at the same sampling frequency. from Analog Machines? There are several important differences in synchronizing digital record- an introductory article by Rodney Pearson, ers, compared to analog machines. service coordinator, Solid State Logic, Inc. For example, the system clock runs at a frequency of 4 or 5 MHz, and supplies timing information not only to the ust when you thought it was data stream be timed by a system digital processors, but also to the Fife to go into the studio, hav- clock to which all digital processors, transport capstan and reel motors (or ing learnt all there was to know such as analog -to- digital (A /D) con- drum servo in the case of VTR -based about synchronizers, SMPTE time - verters, must by synchronized. This machines). So, it is not sufficient to code, and even the dreaded Drop system clock offers several advan- simply input a 9,600 Hz waveform to Frame, along came digital tape ma- tages: it allows, for example, absolute the capstan motor and thus control its chines with new buzz words such as synchronization of audio tracks with speed until sync is achieved. Several Sampling Frequencies, Error Correc- other audio or video transports, while synchronizers actually replace the tion and Word Clocks. This article simultaneously eliminating speed system clock with a voltage -controlled will present an overview of the variations and wow and flutter. oscillator (VCO), and thus vary both methods of synchronizing digital Digital audio is similar in many the processor and capstan speeds to audio recorders to analog recorders, respects to video; in fact, several sys- maintain sync. Because of the preci- video recorders and film transports, tems actually record the digital data sion of these timing circuits, analog with particular reference to new tech- on conventional video recorders. Even recorders should always be "resolved" niques for film and video production. when synchronizing machines with if they are to be used as a master Now that the major audible advan- SMPTE timecode, a timing signal at transport for slaving to digital or tages of digital recording have been the Sampling Frequency - known as video recorders. ( "Resolving" simply ( more or less) accepted, some of the the Word Clock - must be transferred means that a machine's timecode is secondary advantages can be ad- from the master machine, so that not itself locked to a stable time base dressed. The manner in which digital only will the tapes run in sync, but all before additional machines are slaved audio is recorded requires the 16 -bit the processors will be synchronized to to it.) ... continued overleaf - K -c p 70 August 1985 JVC Digital The artist's editing system. Digi-al audio edit nc takes on new speed, simplicity, and flexi- sive feature.f exibility runs a c ose second; for rot only will the bility vvth JVC's 90C Mastering System. Anyone with a trained 900 operate with but wish VHS cassettes, too, with ea- can learn to cperate it in minutes and be assured of pro- total sitety a -ic conficencc, making it ideal for maste-ing digi- fessional results of outstanding fidelity, accuracy, and clarity. tal audio disc and the increasingly popular ni -ï video discs. And w nile sonic excellence is surely the 900's most pe-sua- The DPS -00 cons sts et four pri ncipa com :onents.

VP -900 Digital Audio Processor. Audio Edi:or Control Unit. Two -channel oulse count mode Electronic governo-'or rout ng processcr. Several 16 -bit micro - coord natirg, and euecutinc al processcrs make it compatible - ._-...... If edit functions, ooth aJtoma-ic anc with other prcfessional produtctron manual. Al ccmmarxis, from cigi- equ pment such as cutting lathes, tal dutbIng of original to master synchorizers, and encoders for cortinucus procrams, tc Dynamic range of more than 90 repeti=ve poix -to -pcint manual dB. Frequency response from 1 cueinç are regulated here. MS= to 20.0JC Hz I ' 0.5 dB), and bw recc rd ng bit rate of 3.087 Mb ts's at 44.1 kHz. Transformer -less ana- TC -901y T me Code Unit. bg FOcircuits further improve Actuaiytwo tore code units in sound acality and the analoc -to- one, tris un t reads and gererates digital,di.]ital -to- analog converter SMP -E standard tine code and reduces distcrtion to less than synch-onizes the JvC exclusive 0.02 per cent. while an emphas s BP (b -party) time code. Thus the circuit irrtoroves signal -to -noise DAS -500 will 3perat' effec-ive ly ratic. Logic circuit uses CMOS LSI with both ti-te codes: a necessity chips for high reliability, compact- when-he Sistem is to be syn-

ness, Igtt weight (48.6lbs) chronized with videc equipment . and low power consumption.

AE -900V Digital Audio Editor. Simplicity itself to operate, this little between crici.ial and master-ape. Shirt function forchanging edi nume- puts editing r ght in the hands of the artist, if need be. pointsbacicwward or forward it 2 -ms steps for super-1 ne acjust- Precise to within microsecond accuracy, edit searchcan be carried ment. Anc varable-gracient :ross -faing function f x smooth out :y nanual cue ng automatic scan, or direct actiress. It wil continatyat -he edit point. variable in C. 10, 20, and 43 mic-oseconc confirm cut -in, cut -pu- paints independently by recaling signals steps. AJt) tape locate Unction enables the user tobcatethe stored i n memory. Digital face control for adjJsting relative levels desired address on the original tape, automatically.

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For a demonstration of the JVC COMPANY OF AMERICA. DAS -900 Digital Audio ProfeEs onal Video System, a Spec Sheet. or Communicaticns Division. 41 Slater Drive, JVC s complete catalogue. Elmwood Park. N.J. 07407 call. toll -free JVC CCMFANY OF AJERICA Pro}ession314de- ComT.1nicatiois 1- 800 -JVC -5825 c 1985. VC Company of Amenca Div ston For .. n Ri + .,i cücre -cT DIGITAL INPUT

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FIGURE 1: SIMPLIFIED BLOCK DIAGRAM OF A "TYPICAL" DIGITAL RECORDER D IGITAL PRODUCTION less. (Assuming, of course, that you sprocket hole (a quarter of a 24 fps have a console with 360 inputs and frame, or about 10 milliseconds). The nature of digital audio, with the budget for almost $2 million worth Using digital multitrack recorders, this precise timing and lack of gener- of tape machines!) however, two methods of slipping ation loss, means that a great deal of But seriously, this ability to tracks are available. Individual tracks manipulation of tracks is possible - "bounce" tracks without degradation may be retarded with millisecond for example, there are systems in is one of the major reasons for using resolution by simply inserting a dig- which it is possible to synchronize up digital audio instead of analog in film ital delay line in the audio path. to 15 digital multitracks through their or video recording. Another method, if time permits, is to respective remote control units. Since One of the reasons often cited by copy the required track or tracks to this adds up to a total of :360 digital film -sound engineers for continuing another machine that is synchron- audio tracks, any number of which to use large numbers of mag film ized to the master via timecode. Then, may be transferred without degrada- machines, instead of analog multi - by manipulating timecode offsets, tion from one tape to another, the pos- tracks, for dubbing is the simplicity tracks may be advanced or retarded. sibilities for those who are consider- with which individual tracks may be If tracks are transferred digitally, ing joining the Procrastinator's As- "slipped" - that is advanced or re- there will be no audible degradation sociation (I know several producers tarded to maintain sync with the vis- or generation loss. The recent unveil- who are seriously thinking about be- ual action. Working with mag, tracks ing of digital effects processors and coming members!) are literally end- may he slipped by as little as one Winchester - or Hard Disk -based edit-

SYNCHRONIZATION AND EDITING FUNCTIONS VSTUDER D820X-2 OF THE STUDER D820X -2 DIGITAL RECORDER .11.6-31 bE Datvid Walstra, product specialist, PCM Systems, Studer International ,yy, » The extensive synchronizing and editing Remote Control and Synchronizing capabilities of the D820X -2 Twin-DASH- Following the DASH format, the D820X -2 format digital two -track are made possible in provides a separate timecode channel; all ver- large part by an advanced transport- control sions of the machine will have a timecode system. The transport's spooling and DC cap- reader located in the deck with meter bridge stan motors are all under software control, display. The deck provides both serial and allowing microprocessors to calculate and parallel remote control facilities. Parallel control tape movement in the fastest and most remotes allow for simple remote connections, efficient manner. Spooling speeds as high as and also provide required signals from the 15 meters per second (590 ips) permit very tape deck to the remote, while the serial rapid access to cue points. Acceleration and (RS232, RS422) bus allows for easy interfacing deceleration is smooth and positive, even with to synchronizers, such as the Studer TLS4000. 14 -inch tape reels. (The 14 -inch reel capacity (Both the D820X -2 and TLS4000 will be com- allows the D820X -2 to record over two hours patible with the forthcoming SMPTE /EBU at 15 ips.) serial bus format.) The D820X -2 has extensive locate control facilities for fast access to the audio program. Editing Capabilities Locate keys are also under software control, The D820X -2 is designed to facilitate both thus allowing individual units to be pro- tape -cut and electronic editing. Tape -cut edit- grammed for specific customer requirements. ing is possible with complete confidence The transport may be locked to external time because of the DASH -Twin implementation, references, such as word clock, sector clock, which offers data redundancy and "smart" or composite video sync signals. data protection. Electronic digital audio edit- The varispeed control allows for a deviation ing will be accommodated with a system to be adjusted in the digital domain during copying, of ±12.5 %. Of course, the digital output signals introduced by Studer following final market and the timecode channel ensures accurate will vary accordingly, but a Studer SFC -16 introduction of the recorder. starting and stopping times. sampling rate converter can be utilized to pro- Even without an electronic system, the Cue channels are provided for monitoring in vide automatic correction during transfer to D820X -2 permits compilation of master tapes the spooling and cueing modes. another digital recorder. by digital -to- digital transfer. Levels can be

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For additional information circle a48 August 1985 R-e p 7:1

LOS ANGELES TOKYO

i one: Q -Lock by Audio Kinetics. It's the same all over the world. The tuLi BdB .J a1 simple, uncluttered controls. The custom interfaces that suit your machines. The remarkable software capability. The integrated BEI system with built -in expansion possibilities. It all R®M adds up to accuracy and ease of use, and that : 11® means speed and creative flexibility. It means Q- Lock. If you're looking for an international standard, you've found it. Now, more than ever, you need to keep in sync with the times. Lock around the The ability to synchronise video and clock - with Q -Lock. audio recorders is an increasingly vital facility

required in studios 3 I tuer the world. As much as three- quarters of taca4's audio recordings involve a visual aspect and recording is more Audio Kinetics Inc., international than eye- befo-e. Basic tracks in 4721 Laurel Canyon Boulevard, New York, string and brass overdubs in London, Suite 209, North Hollywood, dubbing in Los Angelle ... modern international California 91607, USA productions need an international standard for Tel: (818) 980 5717 machine synchronisation, and there's really only Telex 230 194 781. AUDIO KINETICS - continued from page 7:0 . . . DIGITAL PRODUCTION On playback, the signal is ampli- staggering (i00 megabytes - more fied and equalized before passing to than :1,500 times that of a floppy disk ing systems, such as the Compuson- the sync separator, which performs used on a Commodore64! A single Cl) ics DSP -20(0 and AMS Audio File - data extraction, demodulation and ROM, as they will be called, would be both of which are expected to offer Cyclic Redundancy Checking, mark- capable of storing the entire Encyclo- direct digital inputs and outputs coming any errors with "flags.- The serial pedia Britannica or over 1,000 hooks, patible with current recording for- data is then converted to parallel each with 300 pages containing 300 mats - will allow such devices to be data, and any jitter in the playback words; and still have space available used without any loss of signal signal absorbed by the Time Base for graphics to be displayed on a TV quality. Corrector, before the Word Data and screen. Error Correction flags pass from the Digital Multitrack Operation 'l'BC to the Decoder, which De-Inter- Towards the Future At this point, a brief description of leaves word data and performs error The long and often complicated how a typical digital multitrack re- correction. 'l'he Cross Fader is used process of transferring sound from corder works might help to dispel any during Punch -In and Punch -Out se- location recording to theatrical re- fears you may have about this new quences, crossfading between input lease may involve at least five or six technology. So, if you pay attention, and playback signals. Following the generations, including' i -inch analog we'll learn about sampling frequen- I n put Playback switch. Parallel data and :?í mm formats. The resulting loss cies, bit rates and error correction, but is converted to Serial data which, in of transient response and degrada- I promise we won 't get involved in turn, is then converted from digital to tion of signal -to -noise ratio has been Nyquist Theorems or Sampling Algo- analog, lowpass filtered, de- empha- endured by anyone that has paid good rithms, or any such advanced theory. sized (if required) and passed to the money to enjoy superb visual images As shown in Figure 1, the analog output amplifier. accompanied by dubious audio repro- input signal is fed to the line amp and As can be seen from the above duction. level control, after which optional pre - explanation, data is being moved and The transfer of audio to videodisc, emphasis may be added to optimize processed at extremely high speed; Beta or VHS Hi -Fi for replay in a the signal -to -noise ratio. The 20 kHz our present sampling frequencies of high -quality home video /audio sys- lowpass filter prevents Aliasing by 14.1 or 48 kHz are only the starting tem may involve two more genera- eliminating frequencies greater than point. Thus it is imperative that all tions of one -inch Type -C video before half the Sampling Frequency. The processors are locked to a- common reproduction on a system with audio analog signal is converted to digital, clock. specifications superior to those of any and the resultant Serial Data stream To see a practical example of the single link in the transfer process. In converted to Parallel Data. It is then amount of data required to accurately every one of the transfer stages ( other encoded (in which data is Interleaved reproduce a piece of music, consider than copying to Beta or VHS Hi -Fi), and Parity Bits added) and recorded the following example: a Compact the audio quality suffers much more by the record head. (See the accom- Disc has a capacity of 70 minutes of than that of the picture. panying Glossary for a detailed defi- music, yet if the same disc is used to Since it is now possible to record nition of these concepts.) store computer data, its capacity is a digital audio on location using porta

SYNCHRONIZING 3M DIGITAL MULTITRACKS WITH FILM AND VIDEO TRANSPORTS by Frank R. Dickinson, president, Digital by Dickinson

During the past few years, there has been considerable interest in the locking of digital audio transports with video and film chains. As this interest slowly grew, this writer began conversations with several of the controller and synchronizer manufacturers in the hope that we would be able to buy a complete system. Since we could not find such a system, we set out to develop one that could do the job. A A pair of 3M DMS 32 -track machines We felt that for frame- accurate editing, there were two basic considerations: aboard the Record Plant Mobile during an one, to find a controller that would allow the most flexibility, ease of operation, audio /video shoot for the Stevie Wonder and a system configuration that would be friendly to operate; and, secondly, to Comes Home Showtime special. devise a means of interfacing the 3M Digital Mastering System with each other, to allow the transfer of digital data under control of a SMPTE timecode editor. And it was only after considerable investigation that this design philosophy was & ..t...... , developed. I felt that the controller should synchronize the two machines, lock G them together and transfer the data digitally. The controller would be used to 0 4 ..1ii., coordinate the master and slave machines and find the correct in /out record points, thereby creating the ability to generate a digitally transferred tape equivalent to the Edit Decision List (EDL) supplied by a video editor. r The controller selected to handle this task was the Audio Kinetics Q.Lock, since A -K was the first company to develop an interface for 3M DMS digital _ - t.. rimmiessNo mi sp os omti system. At this point, with sketch pad and trusty wire-wrap tool in hand, an - interface was constructed that allowed the Q.Lock to bring the two machines Ili No ti fiti. into synchronization at the correct SMPTE timecode location, and then to To provide a more accurate indication transfer the data digitally from the slave machine to the master machine ac- of recording levels during the Stevie Wonder cording to the EDI, supplied. Since the 3M machine is presently configured to Comes Home shoot, the DMS remote con- allow the transfer of just one or all of the 32 available tracks, this same control trol and level- display unit was mounted on capability is passed on to the timecode editing system. Such a fine degree of top of the Record Plant's API console meter bridge, in view of the engineer.

R-e p 76 August 1985 A recording studio's reputation rests on two qualities. The first is its ability to help each artist deliver the performance of a lifetime. The second is the ability to help each producer capture those performances in exact detail, and to share them at will. The truly great studios are distinguished by their uncanny knack for making this kind of magic happen time and again. They are staffed by people who have mastered their art and know how to bring out the best. Because of their creativity, each of these top studios is successful in its own unique way. Which makes it all the more remarkable that out of all the possible choices, the world's leading studios have independently selected a common standard of excellence for their mixing consoles and computers -the Solid State Logic SL 4000 E Series. If you're searching :or a first class studio anywhere in the world, we'd like you to have the latest SSL Network Directory. It lists over 200 data -compatible SSL rooms :n 72 cities and 24 counties, complete with hooking information. And if you're a studio owner woruder :ng why your phone doesn't ring as often as it used to, we'd like to send you complete details on the SL 4000 E. Just give us a call. We're here to help. Solid State Logic Oxford New York Los Angeles Hong -Kong

Stomestield Oxford, England OX7 2PQ (099 389) 8282 200 West 57íI-. Street New York. New York 10019 (212) 315 -1111 6255 Sunset Boulevard Los Angeles, California 90028 (213) 463 -4444

22 .Austin Avenue. Suite 301 T simshatsui, Kowloon. Hong Kong (3) 721 -2162

y -.. h h ... s .`' a_ . 4 k ti 1.'6 . 64 5' m. ., ... ,. D.. ..' i, ß . 43. 4. .. , .y cr,a , .40+ .,o ..., /D ....^ a r,. *va . , /0 it;t o >,... V.z. - ... r 4,r Ni ki , ® ri /? DIGITAL PRODUCTION tage of digital recording without dis- by an editing system to duplicate the rupting established postproduction 35mm edits. routines, digital audio may be recorded As the techniques used in recording hle processors and video recorders, on location and transferred to analog studios merge with those of video and then to transfer and edit this audio in 35mm mag film for conventional edit- film Post -Production, new capabili- the digital domain without any gen- ing by film editors. If this film is ties will be developed. As each of these eration loss, the inherent advantages encoded with SMPTE timecode, an disciplines learns from the others, the of digital over traditional techniques Edit Decision List (EDL) can then he full potential of digital audio synchro- are obvious. generated, allowing the original dig- nized to other media will be realized. For those wishing to take advan- ital audio material to be "conformed"

unit linked to one, two or more slaves SYNCHRONIZING SONY PCM - via a timecode synchronizer. When using a Sony PCM -3324 digital multi- 1610, PCM -3102/3202 AND track as the master recording unit, and a Sony PCM- 3102/3202 digital PMC -3324 DIGITAL SYSTEMS two -track for the slave, the slave recorders are phased locked by using by Curtis Chan, senior engineering manager, external word -clock connections. Also, Sony Corporation of America the sampling rate of the slave recorder should he set to the same frequency as The increasing prevalence of tures a six -channel, digitally mas the master unit. The same synchroni- digital equipment in recording tered soundtrack. And Metropolis zation technique applies on occasions and post production studios Fritz Lang's 1926 classic film, has for which PCM -3324 is set -up as the makes it critical for today's engineers been enhanced by a new digital sound- slave unit; refer to Figures lA and 1 B to possess a thorough understanding track produced by Giorgio Moroder. for additional details. of new interfacing and synchroniza- While digital technology formed the The PCM -3324 can also be expanded tion techniques available today. And common bond for these diverse pro- to synchronize with video recorders. there can be little doubt that digital jects, the actual recording procedure An optional accessory board, the technology is having a growing impact was as different as their respective DABK -3000, enables the recorder to on production techniques. Recently, subject matter. lock to an NTSC monochrome signal Neil Young completed a Music Video at :30 Hz, NTSC color at 29.97 Hz, and using two 24 -track digital recorders. Synchronized Recording even PAL at 25 Hz. Additionally, 24- Glen Glenn Sound has produced a 30- The basic analog recording config- 50 -and 60 -Hz reference signals can be minute, demonstration film that fea- uration includes a master recording selected. Use of the DABK -3000 Video Clock Board allows audio and video editing to be synchronized through SYNCHRONIZING 3M SYSTEMS - continued .. . the use of a common sync source control at times provides the ability to carry notes or small sections of material (composite video). The versatility of across edit points, allowing smoother edit transitions than are possible by using a videotape recorder as the conventional butt editing. master can also be realized, composite The first major use of this in -house system came during the postproduction sync being fed to the synchronizer as editing of "Stevie Wonder Comes Home" special for Showtime. [See feature well as to the VTR, PCM -3324 multi- article in October 1984 issue of R -e /p for further details -Editor.] By the time the track and PCM -3102/3202 digital show was aired via satellite, the audio tracks had been assembled using the 3M two -tracks. (The configuration is digital editing system, mixed via analog transfer to another two -track digital shown in Figures 2A and 2B.) system, sweetened using audience tracks from a second digital machine, and The use of several multitracks in then transferred to a video -based PCM digital system for broadcast. (This same sync makes it mandatory to incorpo- system is currently being used to assemble the audio for a soon to be released rate a master remote control unit. The Ricky Scaggs' live show that was recorded in London.) Sony RM -3310 Remote Controller The 3M digital 32 -track is also presently in use in Nashville with a JVC VP -900 enables up to three PCM -3324s to be two -track PCM processor to strip and replace the audio for a video promo. In this operated in perfect synchronization. particular application, the only requirements are that the loss of audio quality be The controller also features an instant halted through the use of digital recording to remove and process the audio. Such and precise autolocator with offset an approach would prevent further loss of audio quality while the video is being capability, plus simple, single -cable edited into the format required by the video clip service. The introduction of connections to the recorders. In order digital processing has greatly increased the quality of the video's audio, and has to set up a 72- channel system, three become quite useful in the light of the fact that an increasing number of videos RM -3310 controllers must be used are actually being released in VHS and Betamax HiFi formats, both of which with three PCM -3324 24- tracks. can take advantage of high quality audio masters. When hooking up recorders in tan- During the time it has taken to develop our system, the increased need for dem, synchronization accuracy is automation has made it necessary to design interfaces for both Solid State Logic always a prime concern. The use of and Neve consoles. In the case of SSL, interface design was relatively simple, one IF -3310 interface with the RM- requiring some minor buffering of the data lines. In the case of Neve consoles 3310 and two IF -3311 mixing console equipped with NECAM fader automation, the problems became more interest- interfaces with their respective RM- ing, however. The solution was to use an Adams Smith timecode reader and 3310, guarantees that the three ma- linear translator. This approach allowed the system to generate timecode syn- chines will lock -up to within a one -bit thetically from tach pulses derived from the 3M transport, thereby providing the synchronization accuracy. Up to 72 NECAM system with continuous timecode positions that it requires for match- channels of console Rec /Ready con- ing its data to that of the tape. trol will also be possible, as shown in Figure 3. The SRIF -1 is a parallel R -e, p 78 D August 1985 Figure lA: Sony PCM33 -24 and PCM- 3102/3202 slaved to 3324 master. (VCIock boards not installed in transports.) COMPOSITE VIDEO SYNC 44.1/48 kHz 4

WORD CLOCK WORD CLOCK (WORD CLOCK VIDEO PCM 3324 PCM 3102'3202 OUT IN { IN MASTER SLAVE SLAV:

PCM 3324 PCM 3324 I PCM 3102 320? 1 iT CONTROL TIMECODE MASTER SLAVE SLAVE

TIMECODE TIMECOOE' CONTROLt #TIMECOOE ISE ECT EXTERNAL î SYNCI TIMECOOE TIME 1 SYNCHRONIZER 4 CONTROL CONTROL SYNCHRONIZER CONTROL CONTROL

Figure 2A (above): Conventional Digital Audio 'Video synchroni- Figure 1B: As Figure lA, but with VClock boards fitted to PCM - zation setup. 3324 multitrack transports. Figure 2B (below) Digital Audio /Video synchronization using COMPOSITE VIDEO SYNC PCM -1610 to provide sync reference for PCM -3324.

PCM 3324 PCM 33 ?4 RIDEO COMPOSITE SYNC PCM 1610 WORD CLOCK PCM 3324 MASTER SLAVE MASTER 144.056 kHz1 [EXTERNAL SYNCI

COMPOSITE SYNC CONTROL ITIMECODE IWITH DARK -30001 TIMECOOE TIMECOOE TIMECOOE

SYNCHR011ZER SYNCHRONIZER CONTROL CONTROL 1 CONTR3L interface with standard command/ Produced before the introduction of DAE -1100 Digital Audio Editor, a tallies common to all synchronizers. the digital PCM -3324 recorder, the technique that allowed imperceptible The SRIF -4 applies to the Rec /Ready Loggins project made use of an edited audio transitions between sections, control on each channel of a multi- video master striped with timecode, even when the production called for channel recorder performed by a mix- which served as a visual post - songs to be added from different ing console, and includes tallies for production reference while the 24- performances. Rec /Ready /Safe status and Rec On/ track analog master was mixed down First -generation audio for video Rec Off Status. to two -track digital via a PCM -1610 and videodisc masters was accom- Under certain circumstances fast processor. Crossfade audio editing plished by synchronizing the two - lock -up time must be achieved and, as was accomplished with the Sony channel digital mix with the video shown in Figure 4, the analog source is the master. The resolver is fed composite video sync and receives time - code reference from the PCM -3324. During play modes, the resolver locks to incoming sync and outputs a corresponding reference signal to the phase input of the multitrack. The advantage of utilizing a resolver in this set up is that lock -up time is minimized, so that sound output occurs almost instantly. In addition, an Digital analog recorder can be used as a mas- Services ter, which is quite useful during sweetening sessions. 2 to 48 track Sony Digital Recording Digital Production for Film and Video Complete Remote Services Today, many projects are being Post Production shot on film, edited on video, and then finally assembled on film, a method that offers the improved speed and ease of video editing. During post production of Kenny Loggins Alive, a cable television project and later videodisk release, a PCM -3324 and PCM -1610 were used for optimum sound recording, editing and mastering. So successful was the sound of the final videotape, the production has been used to demonstrate the powerful effect that could be obtained John Moran David Hewitt by a dub made using digital from an Houston, Texas New York City analog master. [See feature interview with engineer /producer Bruce Bot- (713) 520 -0201 (914) 425 -8569 nick, published in the February 1983 issue of R -e /p for further details -Editor.] August 1985 0 R -e p 79 DIGITAL PRODUCTION MIXING AUX SYNCHRONIZER MIXING AUX MIXING AUX CONSOLE CONSOLE CONSOLE

I ISRIF master. and dubbing both audio and I IISRIF 11 SRIF 41 -41 video simultaneously. I TACH Kenny LdggJins Alive was shown at IF 3310 111--- t, IF 3311 IF-3311 a recent NAB Convention by using a 21- track digital dub made from the analog master. To provide a quality comparison between analog and dig- AUDIO PURPOSE INTERFACE BUS:IEEE 488 -1978 ital sweetening, for the presentation the one -inch video master was locked to a PCM- 3:324, a Sony analog 24- RM -3310 SECTOR SECTOR RM -3310 track, a PCM -1610 and a Sony two - channel video playback recorder, via CONTROLLER ADDRESS ADDRESS CONTROLLER an Audio Kinetics Q.Lock synchronization system, as shown in Figure 4B. 'l'he transfer of images from film to PCM -3324 videotape can be done in either of two MASTER ways: using Telecine or a pre -striped dummy timecode reel that is sprocket 1 locked to the film chain - see Figures SYNCHRONIZER ANALOG IN ANALOG IN -24 24 5 and 6 for further details. When using EXTERNAL SERVO ANALOG OUT ANALOG OUT REFERENCE a converter, such as a Rank -Cintel 24 -24 flying -spot scanner Telecine and an ANALOG IN external timecode generator, both the -24 converter and the V'I'R are locked to ANALOG OUT the same composite videosync refer- 24 ence being fed to the timecode generator. For the second method, the time- Figure 3: Synchronizing three PCM -3324 multitracks to provide 72 -track capability. code dummy reel must have its start mark matched to that of the optical either the digital multitrack's time- before re- dubbing. print, and started simultaneously to code or one of its analog tracks. When Synchronizing a film projector to a achieve sprocket interlock. While scenes are edited, the 24 -track tape separate digital multitrack recorder video and audio are dubbed over by can be offset the required amount, for playback in a theatre, or for final the converter, timecode is recorded on and then the timecode resynchronized dubbing on the re- recording stage, can be readily accomplished, as de- picted in Figures 7 and 8. Since the GLOSSARY OF DIGITAL AUDIO TERMS PCM- 3324's DARK-3000 board can lock to 60 Hz reference, both the pro- Sampling is the rate at the Analog Voltage audio is Frequency which produced by jector and the multitrack can receive Sampled for conversion to Digital bits or numbers. Common frequencies are: 48 kHz for the same reference frequency. The professional multitracks; 44.1 video -based 44.056 kHz for Compact Disc and systems; and film projector is interlocked with the for video referenced to a 59.95 -Hz timebase. dummy timecode reel, and the PCM - This sampling frequency must be at least double the highest audio frequency to be 3324 will have the same reference recorded; otherwise Aliasing will occur. (In other words, any waveform must be sampled at time as of the dummy. A Magna - least twice per that cycle; otherwise it cannot be accurately re- constructed upon playback.) Tech 9F, a unit that converts film footage and frames into standard Anti -Aliasing Filters are very steep Iowpass filters operating above 20 kHz that elimi- timecode information, can also be nate any frequencies within the input signal that could cause Aliasing problems, as used. If the digital multitrack cannot described above. be locked to an external sync source, Serial Data is a method of transferring data in which digital bits "march in single file," as then a PCM -1610 can be used, the opposed to Parallel Data in which they "march" side by side eight or 16 bits at a time. (Note that parallel data requires a separate address line for each of the eight or 16 bits, hence we Sony PCM -3324 digital 24 -track get 8- or 16 -bit microprocessors at the heart of most computer systems.) Word Clock is the timing reference for recording data. Digital bits are grouped to form digital words, which in turn are synchronized by the word clock running at the sampling frequency. *Interleaving is a method by which adjacent digital words are shuffled before recording so that, should any drop -outs occur or data be lost, the Error Correction circuiting will be able to reconstruct the missing data and De- Interleave it. (A modern -day example of not putting all your eggs in one basket!) I l l ltli laiiI I III;i ltl-I I II:' I: Parity Bits are added to the data so that the total number of bits in a particular group or Digital Word always add up to either an odd or even number - determined by whether Odd or Even Parity is being used. CRC or Cyclic Redundancy Checking is the most powerful form of Error Correction, and is performed by adding extra bits to the data following certain rules. If these same rules are observed and checked on playback, any errors caused by dropouts and other system nasties can be detected and corrected. (In a 16 -bit system, for example, the detection probability using CRC is 99.9985%.) p R-ei p 80 August 1985 1 CONTROL C0+ NTROI COMPOSITE PCM 3324 VIDEO SYNCHRONIZER VIDEO SYNC MASTER SLAVE TIMECODE EXTERNAL TIMECOOE SPEED REFERENCE

ADVANTAGE: FAST LOCK UP TIME SO RES3LVER OPTICAL TO VIDEO SOUND OUTPUT OCCURS INSTANTLY. PROJECTOR VIDEO CONVERTER MASTER ANO PCM 3324 CAN ACT AS MASTER. IRANK CINTELI 1 COMPOSITE Figure 4A (above): Digital Audio /Video synchronization configuration utiliz- VIDEO SYNC ing a resolver to provide improved system lock -up times. 1 TIMECODE Figure 4B (below): Audio/ Video layback and sweetening configuration, with GENERATOR video master slaving an analog video -layback transport, a PCM -1610 processor, and a PCM -3324 digital multitrack.

COMPOSITE SYNC Figure 5 (above): System configuration for film -to- video transfer, with timecode generation. VIDEO VIDEO PCM 3324 _y Figure 6(below): Alternate system configuration for MASTER MONITOR film -to -video transfer, using a sprocket- interlocked 35mm dummy loaded with pre- recorded timecode. TIMECOOE TIME CODE

N--- VIDEO - SYNCHRONIZEF PROJECTOR TELECINE I LAYRACK ATR MASTER TIMECODI L 4 ¡MATCH START MARKSI 24 CHANNEL OUT

TIMECODE DUMMY CONSOLE PCM 1610 Oti BVU-80006 144.056 kHzl COMPOSITE SYNC AFTER EDITED VIDEO MASTER AND 24 -TRACK ARE LOCKED VIA TIMECOOE. THE MIX OR SWEETENED OUTPUT CAN BE LAID BACK TO THE SONY PCM 1610 TWO -TRACK SYSTEM.OR LAYBACK ATR. HIGH FIDELITY AUDIO IS THEN POSSIBLE FOR MUSIC VIDEOS.OR PLAYBACK FOR STEREO TELEVISION BROADCAST. tracks being routed via a console for the final mixdown to a Dolby Stereo matrixed, Lt -Rt mix. Last year, Glen Glenn Sound dramatically demonstrated the numerous FEEDBACK benefits that digital recording holds for the film industry. Digital Dream proved that even a digitally -recorded PROTECTION. master, when transferred to analog for distribution, provides superior sound quality. A digital six -channel WITHOUT soundtrack was prepared during re- recording of the 30- minute film, and then mixed to Lt -Rt for transfer to SACRIFICING 35mm Dolby Stereo prints. During music scoring, two Sony PCM -3324 digital multitracks were synchron- RESPONSE. ized with a BTX (now Cipher Digital) unit to provide 48 -track capability at Glen Glenn /Record Plant Studio M. Dialog and sound effects from the field were recorded on a Sony PCM -F1 system and laid back to digital multitrack in the studio. Sony PCM -3324s Our remarkable MD 431 lets were then interlocked to picture via performers work with amplification the Glen Glenn PAP (Post Audio Pro- as loud as they wish -up to cessing) system of computerized syn- 6 dB over other microphones -without chronization. In this way, pre -mixes feedback. And without sacrificing of hundreds of separate tracks were the clarity of full, rich response. recorded on the digital multitracks, SENKHEISER" preventing generation loss during the Sennheiser Electronic Corporation (N.Y.) multiple transfer stages. Later, pre - WITH 2 48 West 38th Street New York. NY 10018 (212) 944 -94.0 NOW -YEAR Manufacturing Plant: D -3002 Wedermark. West Germany dubs were combined for the final six - LIMITED WARRANTY o 985 Sennne ter Electronic Corporation IN Y l track digital mix, and then dubbed directly to the 70mm print for distribution. ... continued overleaf- August 1985 R -e, p 81 PROJECTOR

ANALOG OUT CONTROL TIMECODE TIMECODE 24 SYNCHRONIZER PCM 33'24 CONSOLE OOIRYENCOOE GUMMY -+ TIMECOOE New! 60Hz t t2

Figure 7 (above): Film interlock using DABK -3000 video clock board and 60 Hz refer- GT4A ence during re- recording of Dolby Stereo Lt -Rt mix to PCM -3324.

NOISE PROJECTOR GATE ANALOG OUT COMPOSITE SYNC MAGN TECH COMPOSITE SYNC PCM 1610 PCM 3324 24 9f New - Range OR WORD CLOCK Control TIMECOOE t Case and TIMECOOE New - CONSOLE Graphics SYNCHRONIZOR CONTROL New - Low Price 4_- $395.00 oOLDYENCODE Old Noise & D stor- - Figure 8: Film interlock system using the PCM -1610 processor to provide composite bon ... NONE sync signal and word clock for PCM -3324. Dealer inquiries invited. The marriage of digital audio and soundtrack. 'l'hree PCM-3324s were NAMM visual programming has a great cascaded, and the 1.1 -track music Booth #3028 future, thanks to the dual -impact of masters mixed over to four tracks of Music Video productions and the alternate PCM- 3324s. 'l'hese mixes introduction of Stereo Television. were then ruin in sync with a video Dramatic improvements in sound work print of the film until the music OMM CRAFT, INC. reproduction were brought P.O. Box 1069 recently to exactly fitted the film's newly edited Palatine, IL 60078 life by several Music Videos. The final version. A PCM -1610 provided word 800 562 -5872 Dolby Stereo two -track master of The sync to the digital multitrack, plus 312 359 -9240 Talking Heads' Stop Making Sense video sync to the BVU -800 used for was transferred directly to the optical video playback. An Audio Kinetics negative from a final Lt -Rt mix re- (.Lock synchronizer was locked to corded on a PCM -3324 digital multi- the video sync output of the PCM - track. A pristine signal quality was I610, with timecode running at the maintained throughout the re- video rate. For theatrical distribution, Rc,1 recording and mixing of the program music was crossfaded from the dual by the use of digital equipment. multitracks and recorded directly to Test Tapes Stevie Wonder Cones Home was a the four -track Dolby Stereo film recent Showtime television special master. that used two -track digital audio from The re- premiere of .'Metropolis was a PCM -1610. The simulcast produc- shown to audiences at the Academy of tion was synchronized and uplinked Motion Picture Arts and Sciences, Los via a Scientific Atlanta converter sys- Angeles, with audio being replayed tem, and transmitted to Showtime from twin PCM -3324s interlocked via affiliates in digital form via the Sat - SMPTE timecode to the film. com 1R satellite. I See the October 1984 From this first project, audio pro- M issue of R -e /p for full details of audio fessionals quickly recognized that post production of the Stop Making digital is now quickly replacing the Sense and Stevie Wonder Comes traditional methods of 35mm film Home presentations - Editor.] recording; for example, it is very easy Cassettes Still another post-production method to synchronize two PCM -1610 proces- was used for Neil Young's Music sors to replace the familiar four -track Open Reel up to 1" Video, directed by Hal Ashby, with mag -film recording methods. 'l'he Elliot Mazer producing audio. The music scores of E.T., Poltergeist. Custom Formats original multitrack masters were Indiana Jones and the Temple of mixed using two PCM -3324s running Doom. plus Explorers, recorded by in sync with the picture, and a PCM - Bruce Botnick, were all digitally mas- 1610 two -channel system used to tered using this method, with the For a catalogue of standard test tapes or receive the mix prior to final layback soundtrack albums being tnastered further information contact: to the video master. from a four -channel mix. Movie audiences as well as televi- 'l'he use of digital is not limited to RCA TEST TAPES sion viewers are now enjoying dig- studio use either. Frank Zappa re- DEPT R itally recorded sound. Giorgio Morod- cently videotaped and digitally re- 6550 E. 30th St. er's remake of Fritz Lang's 1926 corded a live concert in New York City Indianapolis, IN 46219 (317) 542 -6427 classic film, Metropolis, was one of with his personal -use PCM -3324 syn- the first major motion picture released chronized to VTRs via composite to rely on digital technology for the sync. Tracks were then mixed directly h 1) 8:2 \ugust ISh:, onto the P('M -3324 by combining and The young world of digital record- of digital technology. bouncing the composites onto two free ing is quickly uniting with the video Unlimited possibilities exist because tracks for the stereo mix. Final mixes and film worlds to provide dramatic of the flexibility digital technology for Zappers Does humor Belong in sensatii ins never before possible. .M1Mel- possesses. And recording profession- Music were t hen t insferred through ro Ind is more than typifies this prog- als will continue to find innovative the P('M -1610 t11.(66 kHz sampling ress; an innovative movie in 1926, the ways to increase the pleasure we re-

frequency) at I';i ci tir Video, Holly- film i again a unique production ed Ve from sound produced digitally. wood. rim years later than ks iii the use

standard interface information sim- SYNCHRONIZATION OF ilar to that found on any professional tape machine.) MITSUBISHI X- 800/850 AND One large advantage that the end user gains from utilizing Mitsubishi X -80 DIGITAL TRANSPORTS digital machines is the supply of addi- by Cary B. Fischer, operations manager, tional tracks for the purpose of data storage. Both the 32 -track and two- Mitsubishi Pro -Audio Group track are provided with an additional SMPTE timecode track, which alle- viates the problem of using up a valu- of the Mitsubi- or 60) Hz, 59.94, or composite video - able tape track for code. In addition to shi digital :32-Track and X -80 the X -850 will automatically sense the the timecode track, the 32 -track has synchronizationdigital two -track machines is external reference, and then lock to it. an additional two tracks for analog both standard and common, as corn- T.) design and build an interface recording, and two digital tracks for pared with the interface of the analog synchronizer cable, computer inter- the encoding of automation informa- tape machines presently in use in stu- face for console automation, or film tion, or for any other data that you dios today. Both units are supplied chain interface, you need to under- might need to store in real time. The with a parallel interface for external stand what the two prospective pieces two -track has an additional analog control of all transport and electronic of hardware will supply in the way of track, as well as the SMPTE code functions. The "universal" RS -422 control outputs and inputs, tally com- track, the former being used to cue the (RS -232C) differential serial port also mands, servo information, power, tape prior to razor -blade editing. is provided on the new X -850 cut -and- ground configuration, tach informa- Setting the damping factor is one splice digital 32- track; this additional tion, and direction. (Again, this is overlooked function that's usually an interface will accommodate the requirements of video editing suites, television studios, and any other operations that base their tape - machine control protocol through serial interface. Other features available on the new X -850 include the addition of improved external clock interface capabilities, which can be set to either 9.6 or 8 kHz. The user can lock to external reference, such as 50 Mitsubishi X -80 digital two -track, with optional VCO -80 synchronizer interface, and DDl - -1 disk -mastering delay unit.

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: 6051W/1111111rt. api audio products, inc. 7953 Twist Lane, Springfield, VA 22153 703-455 -8188 tlx 510- 6001-898 eastern representation studio consultants, ifnc. 321 West 44th Street. New York. NV 10036 (212) 586 -7376

August 1985 0 R -e 1) 83 option provided for you by various synchronizer manufacturers. The term SIIí'aAL PIAh1E PINIiUTS SIGN AL l'lAME FINíiUTS SIGNAL NAME F'INOUTs "damping," in this context, refers to the use of a synchronizer's capabili- INPUT ties to control the speed, direction, and acceleration of a tape transport. Ext. Sig 34 EDIT 38 02 1 0 What this means is that you can _;L''r Wind 35 EXT 1 C.-REO 1 1 match the internal control of the transport, via synchronizer control, STP 19 CNT F.3T FF 12 by adjusting the rate at which the FT 36 PL AY 3 GND (+30Y) 17 synchronizer changes states to ensure REV' 20 REC 4 +3C IV 33 proper tape handling. If proper con- C-REC 37 F''D 5 CI 50 trol of the tape transport is over- BACK 21 ERASE 6 looked, you could damage the tape. F'-ED IT 22 SPEED 1/2 7 The X -800 has a software program T .ST ART 39 stored in ROM (read -only memory) OUTPUT that ensures proper tape handling, EXT.I°t!.MUTE 23 and which will prevent the tape from SPEED 1/4 40 C:NT-INH 43 being thrashed around the transport SPEED 1 /8 24 UP /DWN 27 by external control of the unit's servo The X -80 two -track also features a standard interface to the outside world for master control. If the X -80 P0637 needs to be slaved to a second (Sharp) 47'' machine, the DEC -VCO (voltage- controlled oscillator) interface will be required. The VCO is an interactive ) control unit that allows for various synchronizers to control the X -80 1 ) servo -control circuitry, and allows for SN74ii7 ( T 1 three modes: a) Internal Calibration; b) synchronizer control; and c) Varis- peed Operation. The unit's readout í'1 displays varispeed information (in percentage), and sampling frequency. Shown in Figure 1 are the pin outs X -80's remote for the control interface. Receive Interfacing the Mitsubishi line of FI= 637 Drive digital recorders currently in use at X-801:ti-80 A X-80 /X-80 A various types of facilities around the Ratinq_ : IF = 1 On-1A world was accomplished with great VF = 1 .6V ease. As Figure 1 shows, there are no special considerations to the interface or synchronizing the machines. Figure 1: Pinouts for Mitsubishi X -80 digital two -track's remote control interface. Outside of the familiar use of tape Key: CNT = Counter Reste; C REC = Code Record Control; BACK = Set back-speed mode for reverese machines interlocked for video scor- spooling; P-EDIT = Output dubbing data to lineout; 02 = Counter roller output for play mode. ing, dual -machine operation, and automation machine control, there is an

The restyled Mitsubishi X -850 digital 32- Figure 2: Schematic of film -to- digital -audio synchronization for scoring sessions. track now provides cut -and-spice editing and improved external clock interface. Dubbing Console

Music Effects. Dialog A

AUDIO

1"1aCfilne RIJOni

35rrlrn Dubber. Master Film 35rnrn Recorders Control Hrd ,.rr -,:+ítíl 7,2 Track: Slancronizer

R -e /p 84 0 August 1985 interesting application now in pro- The Burbank Studios, Los Angeles, TBS is also using another X -800 in gress utilizing the 32 -track recorder. has interfaced an X -800 in one of its its scoring stage. Apart from scoring dubbing rooms, where music directly TIMECODE: THE KEY TO the unit is tracks to this machine, being used as a dubbing machine. The TBS is also adding additional infor- AUDIO AND FILM /VIDEO X -800 is synchronized using a BTX mation to the tracks in the form of SYNCHRONIZATION - (now Cipher Digital) Shadow Soft - pre -dubs - for use when the tape is The key ingredients to successful inter- touch to follow film pulse information brought across to the dubbing stage. facing and synchronization in video, supplied from a master film con- This mode of operation using the X- film or record projects is timecode, which troller. The X -800 chase locks to the 800 is now starting to take hold. Fan- provides a common "language" that ena- film transport operation, and acts as tasy Studios, San Francisco, also is bles various recording equipment to com- though it were a conventional 35mm using the X -800 for film scoring, and a municate with one another, and gives audio film dubber - the only difference project is underway that will give professionals more freedom to create even being the supply of 32 digital audio them the same type of flexibility the most complex recordings. The SMPTE/ tracks! The TBS technical depart- achieved by TBS, and diagrammed in EBU timecode format adopted in the late ment has manufactured its own ver- Figure 2. Sixties serves as the basis for today's sion of the autolocator, which is being It must be kept in mind, however, sophisticated video and audio editing and integrated into the console for ease of that slaving a digital recorder to synchronization systems. Two versions of machine control. analog, video and film transports, is the code currently exist; of thé pair - Lon- gitudinal Time Code (LTC) and Vertical WNW Interval Time Code (VITC) - we are concerned with the former. With Longitudinal From initial tracking ... to the finished CD Time Code, the following relationships apply: ... or any step between. NTSC 2,400 bits per second: 30 frames per second = 80 bits per frame. PAL and SECAM 2,000 bits per second: 25 THE CHOICE IS YOURS, frames per second = 80 bits per frame. While each bit has a specific value, of special interest here are the 10th and 11th PICK SIX FROM bits. The 10th bit is the drop-frame bit, and indicates a drop or non -drop frame timecode condition. The reason for this indica- CMS DIGITAL RENTALS tor bit being necessary is that NTSC color signals have an actual frequency of approx- Whether it's JVC, Sony, 3M, dbx, Audio +Design imately 29.97 frames per second, which 701's, or Soundstream, CMS is the ONLY rental means that a generator counting at the 30- source to give you all these choices. And that's frame rate would produce an increasing not all - CMS can also convert from any one error of 3.6 seconds per hour. To compen- format to another! sate for this error, 108 frames are eliminated from the timecode each hour, or two 3M 32 -track frames each minute with the exception of Sony 24 -track the 10th minute. Bit 11 is the color -frame NC DAS VP 900 bit, and only applies to color recordings. In Sony 1610 NTSC video, the color frame is divided into Audio +Design 701ES four fields, each being 1 /15th of a second in with interface tray duration. Fields 1 and 3 are defined as color frame A, while fields 2 and 4 are defined as color frame B. Color -frame ^ 201 o identification - Format conversions indicates that even-frame numbers coin- Lr Electronic Editing cide with color frame A, while odd frame tt numbers coincide with O (word accurate) color frame B, an identification that assists video -editing sys- Digital Layback onto tems in maintaining the correct video signal Video Masters color -burst phase relationship across the Compact Disc edit points. 000 dbx 700 Preparation 18 -BIT PCM TECHNOLOGY Soundstream CD reference disc BEING DEVELOPED BY dbx JVC VP 101 CD manufacturing While the main emphasis of these articles is on synchronizing PCM (pulse-code modulation) trans and much, much more! ports, it should not be overlooked that dbx has avail able the Model 700 two channel digital processor based on Companded Predictive Delta Modulation So, whatever your (CPDM)technolgy, for use with '_ and',inchVCRs. needs, CMS DIGITAL While the company has yet to release a purpose -built editor, existing timecode based video editors can be IS THE RIGHT CHOICE used for frame-accurate digital edits. Also under development is a series of 18 bit PCM ICs that the company plans to offer on an OEM basis to manufacturers of tape transports and digital processors. According to Bob Adams, dbx director of research, the new chips make use of a hybrid front - end topography that samples at 6 MHz, followed by a DIGITAL (818) 797 -3046 switchable 16, 18-bit stage clocked at 48 kHz. The ICs should be available next year. OO August 1985 R-e p t;L A3_ n]n SIGNAL NAHE HOT ü4[ INPUT Transport Mitsubishi 4'. :r 1: -N: Control x STOP 13 CO -800 ! FIte Ir101, HOT --: (BTX) PL AY i rrnr REC __ 11 2:? T FF play tally play tally Pe'C 11.I 27 COLO 410---J LIFTER 12 29 -- ff tallu ff tally 7 4 I CUE I Altl. SPEED 14 3 p¡ r;,1 iF' MI 1F' RELU i[ +1n.: 14 e SP() SIG 15 32 ff (corn) ff switch 17 11 HOT I E. dir ( -) fwd /rev EXTC'ih 1 c. k, 27 7 I :,n:r cab r I rec (no) rec switch =1!?`. _02..- -. ' l's. ! ri:iiirn 28 9 stop tally stop tally 31 6 rew tally rew tally 32 3 lifter (no) lifter defeat -.r741-1711 n CIUTF'UT 37 /c _ L:.... ic,,.:'r stop (no) stop switch HUT 40 13 STOP 6 3 rev (no) rew switch 43 10 PL A'r' I i8 -'

I 7805 REC. 1? ¡ 2 FF 4 21 COLD 4.-- control sply +5 20 34 (24v) Writ. ' 20 LIFTER 44 stop (corn) grd =.N74p::[! 17 17, i 15 50 LIF'i[ wl! .4 F;.r:: ard H F....r -. . II C NF' P ----. i 36 37 33 1- t.anter PIse tach (+) II:.I:IH: nQYr6ilII tach (-) tach 1 /10 26 36 _` i I CA ma,. 330 ohm +24'r' 34 45 33 1 /2w 58 bypass (corn) ext clock GNG 17 ' 1 35 16 1 INTERCONNECTS BETWEEN MITSUBISHI X -800 AND CIPHER BTX SHADOW not the easiest task to accomplish track of the tape) comparing its tim- the data has to be decoded at a varia- from the manufacturer's point of ing to the machine's internal clock, ble sampling frequency that matches view. Because the PCM code is time and then being buffered to eliminate the external sync perturbations. Des- based, it takes quite a lot of number wow and flutter, you are really taking pite these admittedly minor limita- crunching in order to reproduce a a perfect environment - digital data tions, there is little doubt that digital PCM signal while the transport is recorded at a crystal -controlled sam- interlock is becoming an increasingly responding to external sync control. pling frequency - and turning it into important technique in audio production. With the sync signal (located on each an imperfect environment, in which

THE EIAJ- FORMAT DIGITAL dustry. Except, that is, to comment that a recently divulged "legend" has PROCESSOR COMES OF AGE it that the PCM -F1 was never seriously considered as a viable pro - A Review of Available Hardware, audio product; merely a demonstration of Sony's technological prowess. Transfer and Editing Systems The unit's commercial success and by David Smith, Editel /New York the implications of that success so surprised its creators, the legend goes, that Sony's response has been mired In early 1983, the Sony EIAJ- Format developed well beyond recording your by intercorporate strife and a long PCM -F1 digital audio processor home baby grand piano. history of confusing disinformation. was introduced to the world via a ser- During the last three years much Not to mention the fact that the com- ies of black and white advertisements water has flowed beneath the digital pany also markets a fully -professional that centered around a photograph of bridge regarding the eventual fate of 16 -bit audio processor, the PCM -1610, a man recording a baby grand piano EIAJ- Format processors - in addi- and DAE -1100 editing system.) in his home with a pair of micro- tion to the introduction of a virtual To date, several major manufactur- phones plugged into a small grey box. plethora of accessories, a disussion of ers, including Sony, Nakamichi, San - With a domestic videocassette re- which will form the basis for this arti- sui, JVC, and Technics, have mar- corder, the ad explained, the promise cle. (However, I will refrain from keted EIAJ- Format digital audio of high -quality digital audio in the commenting on the future availabil- processors. All these units are basi- home could become a reality. And ity of any of these units, since it would cally similar, in that a digital record- indeed it did, although the popularity tend only to do a further disservice to ing made on one will definitely play of such digital processors quickly an information -hungry recording in- back on another; trivial differences R -e /p 86 August 1985 between processors from different companies simply reflect the varied DIGITAL RE- RECORDING AND REMIX OF VINTAGE approaches that each manufacturer HENDRIX TAPES USING 3M DMS AND JVC DAS -900 takes toward the marketplace re- by Joe Gastwirt, JVC Cutting Center, Hollywood quirements. According to Alan Douglas, founder of Are You Experienced Productions, and Sony, due in no small part to its Hendrix' last producer, our goal in the reconstruction of Jimi Hendrix Live At The reputation as a high -end audio com- Monterey Pop Festival soundtrack was to produce a master tape to be used for a new film ponent manufacturer, currently has soundtrack, plus video, LP and Compact Disc release. Douglas, who has been working to three processors in its collection - the keep Hendrix' music alive since his death, stated that his philosophy on this project was to PCM -F1, PCM -501 and PCM -701 - recreate the live, raw, imperfect original sound of this concert. There were to be no all of which are the only devices cap- overdubbed instruments or drum machines; we were simply to work with what we had. able of 16 -bit quantization, a factor We decided to mix down to a digital two -track tape machine, since it was agreed that if that endows them, many users con- any advantages existed to analog they had already been embossed on the original multi- sider, with superior audio capability. track tapes. We also did not want to compound any noise problems with additional analog (It should be remembered that the tape hiss. Our overall goal was to use 1985 digital technology to restore and preserve the EIAJ -Format only defines a stereo 1967 live sound. The two -track digital format we chose was a JVC DAS -900 processor, processor design for 14 -bit quantiza- rented from CMS Digital, Altadena, CA. tion at a sampling freqency of 44.1 Upon inspecting the original 1967 eight -track tapes, I knew we ran the risk of the tape kHz, and the data format used to falling apart after one or two good passes. Parts of the tape were already shredding, and the record the signal on videotape; the oxide was missing in a number of spots. In order to eliminate any further deterioration, I Sony processors feature both 14 -bit decided to transfer the original multitrack tape to one of Frank Dickinson's modified 3M sampling, and a switchable 16 -bit DMS 32 -track digital recorders. I chose this machine because of its superior sonic qualities, mode that "steals" two bits from the and Dickinson agreed to help with the different sync situations necessary to effect the error- detection data stream.) audio transfers. The PCM -F1 is a portable unit that Mark Linett, who had already worked on the overall preparation of the Kiss The Sky can be operated either from AC power album, and had mixed two of the songs, was asked to mix the Monterey Pop project at or batteries, and contains integral Sunset Sound's Studio, Hollywood. Sunset has a more than adequate monitoring system, mike pre -amps; it was originally as well as a custom control board equipped with Neve NECAM console automation, which introduced with a companion porta- quickly interfaced with the 3M digital multitrack. The studio was conveniently stocked with ble VCR, the SL -2000. The PCM -701 is plenty of outboard gear, including GML parametric equalizers, several types of digital delay a non -portable version of the PCM -F1, lines, and a live echo chamber. The relaxed feeling and the extremely helpful staff made for without mike pre -amps, and is a good work atmosphere. designed to blend in with a compo- Analog -to- Digital Transfer nent hi -fi system. The unit is very sim- After spending about four hours hooking ilar to the F1 in most respects, up resolvers, timecode generators, aligning the with digital 32- track, and the minor exception of some subtle adjusting the eight -track head assembly to match the alignment of the changes in the digital -to- analog conversion circuitry. Both the F1 and the 701 make use of two analog -to- digital converters, and a single digital -to- analog converter that is time -shared MIDCOM between the left and right channels. Sony's most recent introduction, known in the Southwest the PCM -501, incorporates new, dedicated integrated circuits that have by the companies we keep substantially reduced the electronic complexity. The 501 uses one new And by the companies who high -speed A -to -D converter and a keep us. Only by meeting a wide range new high -speed D -to -A converter, of equipment needs has Midcom, Inc. both grown as of which are time-shared between the pre- eminent supplier of prestige audio equipment in the channels. The Southwest. Exclusive dealer for prestige lines like the Otari MTR 90 analog circuitry uses 24 -track recorder different reconstruction filters and and NEVE consoles. Studios and broadcasters all hi her quality audio over the southwest depend on Midcom for expert consulting, components, engineering and installation. while t e vi eo circuitry incorporates Midcom's inventory features Otari, an "optimum video Soundcraft, JBL, Lexicon, Neumann, Auditronics and Sound condition" control Workshop. to optimize the unit for poor video The wide variety of high quality audio equipment is why, in the recordings, as well as those made at Southwest, demanding audio professionals depend on Midcom. slow tape speeds (Beta III or VHS SLP). 'the 501 is capable of playing ,.-t,a..L.--p t, e&LE J Will causean nr711 gm,tP ooh Mi Sony also manufactures the Nakamichi DMP -100 processor, which essentially is a carbon copy of the F1. The primary differences PRODUCTION AUDIO EQUIPMENT AND FACILITIES FOR THE SOUTHWEST include polypropylene audio input and output coupling capacitors that Midcom, Inc. cost several times those of the F1 's (214) 869 -2144 mylar capacitors, and sound notica- Three Dallas Communications Complex bly sweeter. Suite 108 /LB 50/631 I N. O'Connor/Irving, TX 75039 -3510 The Sansui X -1 Tricode processor has been in existence almost as long August 1985 O R-e/p 87 DIGITAL PRODUCTION HENDRIX DIGITAL RE- RECORDING -contined... original multitrack tape, we were ready to start the transfer. Because many extra tracks as the Sony units. A dedicated 14 -bit were available on the DMS, we bounced each of the original eight analog tracks to two processor, the X -1 is the first device to digital tracks. The breakdown was as follows: two tracks each of audience, guitar, Jimi's with the slowest VHS and Beta and 60 -Hz deal vocal, bassist Noel Redding's background vocal, bass, drum, overhead drum, videotape speeds. The Tricode circui- sync tone, for a total of 16 digital tracks, plus one for SMPTE timecode (to provide for X -1 multitrack to the try utilized in the effortlessly future synchronization with video, as well as for interfacing the 3M digital handles the poor video replay quality NECAM automation). of slow -speed formats, and is the basis recording was put through a resolver, and used to The 60 -Hz sync tone from the original of the optimum video condition circui- accurate speed matching during subsequent playback. This same 60 -Hz sync tone ensure in the PCM -501. To date, I is necessary for try found was also recorded on the five- camera live film shoot from the concert, and have seen only two of these units, and synchronizing the audio tracks to film. surprised a more agressive with 45 minutes am that Since the 3M DMS only holds 30 minutes of tape, and we were working stance not been taken into two parts. Convenient edit point marketing has of original taped music, we had to divide the transfer by Sansui. with plenty of overlap time had to be found, in order to reconstruct the transfer into one JVC has always shown a great continuous performance with consistent timecode throughout. deal of response to market input, and During the transfer stage, l was not surprised to find that, in spite of distortion, the vocals VP -101 of the its VP -100 and processors fading in and out, a drum mike disappearing and then breaking up while the sounds reflect the growing trends discussed faded up a truly remarkable performance, and audience and down, the tapes represented later in this article, as well as poten- one that also was a piece of history! tial applications beyond the original intended scope of the EIAJ- Format. A Remix Sessions more rugged and "professional" After taking several notes during this first listening, we were ready to set up the JVC model, the VP -101 is also a dedicated DAS -900 two -track digital processor for mixing. The DAS -900 is a video -based system that 14 not been sync (sampling rate 44.056 -bit processor, but has works off either a preset internal sync, or a composite -video designed for used at slow VCR speeds the composite - kHz). Composite sync was taken from the 3M multitrack and plugged into be used routed the 60 -Hz sync tone and - nor is the unit designed to sync input of the digital processor. At the same time, we less VCRs. JVC also two the video recorder being used to record with expensive SMPTE timecode to analog tracks one and of manufactures a professional digital the digital information. system, the DAS -900. With was now time the intro and the first song, "Killing Floor." mastering It to begin mix of the concert of a JVC interface, it is trying types of EQ, limiting, compression, the addition We spent a lot of time on each track, different possible to digitally transfer from the digital delay and echo. After many painful hours, we finally came up with a mix that we all EIAJ- Format VP -101 to the VP -900 agreed upon. Linett and I took home cassette copies to listen to the mixes under familiar 16 -bit processor, a feature currently conditions. After listening again the next morning, we both decided that the first mix was a offered by no other Japanese manu- a This opinion also made us aware that the first good try, but sounded little "overdone." facturer of professional digital mas- song was not a good place to start the mixing, since the sound was still changing on stage, systems. The VP -101 has swit- the flow of the concert had not yet been established. tering and chable pre- emphasis and a sync moved on to the second "Foxy Lady," to try a different technique. First we We song, to control the speed of the figure layout stage which, of course, was a very important output jack attempted to out the of the VCR However, this in relating to the film, and in keeping during playback. consideration terms of the placement of instruments does not accept external sync for as as we minimal EQ to keep the sound natural; jack the audio visual possible. On this mix used video limits the selection the processing, were used more to enhance the original sound shoots, and signal digital delay and echo of VCRs to higher quality units capa- SCHEMATIC OF 32 -TRACK TO TWO -TRACK DIGITAL REMIX ble of accepting external sync. For those of us wishing to enter the fray at minimum cost, the recently introduced Technics SV -100 EIAJ- IIIIIIlI1l111I111111111I11ItIW T Format processor presents us with a UNE IN OUT IN 14 -bit unit similar to the Sony F1, but STEREO 16 -bit BUSS without the resolution. The unit SIMPTE TIME has microphone pre -amps and can be CODE READER used with a battery pack. Although SUNSET SOUND CUSTOM theSV -100 is small and lightweight, a recent product review faulted the MIXING CONSOLE device for its lack of robust construction. Even though I have yet to see one, the combination of features and TRCCKS 1 31 m.-TRACK 32 price makes this a most attractive unit.

SIMPTE Material TIME CODE Editing EIAJ- Format One of the great bones of contention with respect to the potential use of LINE OUT TRACK2 DIG. OUT ANALOG EIAJ- Format processors in film - TRACK I DIG IN L5( 'HZ SYN( TCN sound, audio -for -video and Compact 3M 32 TRACK JVC DAS 900 Disc production, is the fact that all of DI.,ITAL them require that recordings be edited DIGITAL and transferred to professional dig- RECORDER 2 TRACK ital formats, such as the Sony PCM- RECORDER 1610 or JVC VP -900. At present, two commercially available products exist R-e/p88 August 1985 to facilitate the video editing of EIAJ- Format digital audio without the need HENDRIX DIGITAL RE- RECORDING -- to confined... convert it to a more expensive for- of the tape, mat for editing. rather than to hide, mask or alter the sound. Next we used the NECAM automation to mute any electrical clicks and pops, As R -e/ p stage many readers may already noises, intermittent be aware, the buzzes and any other disturbing noises inherent in the live recording. electrical and mechani- Our next task was cal limitations of consumer VCRs to recreate the audience track between songs. Unfortunately, the original audience track had been faded up and down at the wrong necessitated the development of a times. and the applause cut off too quickly. We searched through other concert tapes more robust error -correction format to to find applause that could be with used to blend with the original applause track. We ended up with eight to 10 tracks of extra deal increased random and burst applause, mixed errors. The encoded format speads these together and melded them with the song. On each mix we allowed the applause to fade out and continue to the first few notes of the next tune, thereby blocks of data over more than one providing plenty video of overlap time to ensure smooth, easy transitions for the editing process. field with the result that, when We completed "Like fields of video A Rolling Stone," "Rock Me Baby" and, my favorite, "Hey Joe," using are edited, dissimilar the same method. data blocks are joined to each other, On the third causing data discontinuities and morning we mixed "Can You See Me," "The Wind Cries Mary," and "Purple Haze"; in the afternoon we went on to "Wild Thing," and the burning -guitar resultant glitches. segment. Electric Valve Communications, As many of you may remember, there was a massive amount of distortion on this last tune, which Linett I were New York, manufactures an Editing and determined to eliminate. After some extensive detective work, we discovered that most of the distortion was a Co- Processor (ECOP) that senses the caused by tube drum mike that had crapped out in the middle of the show, but which nobody noticed. (Or, if they did, they did data discontinuity, and removes it by nothing to repair or change digitally crossfading the incoming it!) After muting the bad track, we were left with only one usable drum track. The next few hours were spent trying such tricks as and outgoing material for a smooth sending the sound back into a speaker in the studio, miking the speaker, and then mixing this with the existing drum audio transition. The device is a sin- to create additional ambiance. gle circuit board that can be added to After we felt secure any EIAJ- Format processor via that the drums sounded as good as possible, we fixed a few more dealer noise problems and finished "Wild Thing." We then modification. By went back to the opening tune, "Killing correcting data Floor" and, following the same format glitches in the digital and energy level as "Foxy Lady," ended up with a domain, ECOP sparkling -hot mix. The session was complete. enables edited tapes to be copied using the processor's digital copy fea- Digital Editing ture; duped tapes will be free of audi- After a good night's I ble glitches and data discontinuities. sleep, spent the rest of the day listening to the digital tape of each song, realizing 1 would not be able to rest until I heard the complete The device is "transparent" to any performance edited together as one, 45- minute show. Arriving at the CMS digital editing suite in Altadena video editor, which might range in at 11:00 that night, the first step was to hook up the DAS -900 digital editor so that it would complexity from a simple control- retain the identical SMPTE timecode used in the original session. CMS matched the JVC

Not all equalizers are created equal. You know that from experience. So do we. Our years of parametric The unequalled design experience let us build so much performance and versatility into our 672A (mono) and 674A (stereo) graphic /parametric equalizers that Modern Recording & Music (October, 1981) described the equalizer. 674A as "...the most powerful equalizing tool for pro audio work that I have yet to come across ". They clearly appreciated the versatility and func- tionality of eight bands of EQ with fully adjustable center frequency and bandwidth, plus the availability of 12dB /octave highpass and lowpass filters to limit signal bandwidth or to serve as a full electronic crossover. No matter what your application -production, program shaping, room tuning, reinforcement work, or clean -up chores -you can count on Orban's heavy - duty professional construction and equally professional documentation and service. Find out why the Orban 672A/674A's are truly the "unequalled equalizers.' OrbanOrban Associates Inc. 645 Bryant Street San Francisco, CA 94107 (415) 957 -1067 TLX: 17 -1480

For additional information circle a58 August 1985 O Ri.' p 89 ally by humping the tape forwards HENDRIX DIGITAL RE- RECORDING -- contined... and backwards one frame at a time. can he timecode to the original timecode, by using the JVC TC -900 interlocking unit. Next, I had Then the resultant edit point the original 60 -Hz sync tone was being transferred correctly to the new previewed before actually committing to be sure that EIAJ- Format U -Matic master tape that would be the final production master. The actual editing process to it. While editing in went very smoothly, because of the precautions and care taken during mixdown. The level material, data glitches are removed inser- of the introduction needed to be raised, in order to match the level of the first tune; the the analog domain through the fader provided on the DAS -900 editing system made this a simple task to rehearse and tion of a lowpass filter at the edit point of the other edits used to join the show together were made during silence, to smooth over the anomaly. (For execute. Most edit crowd noise or Hendrix speaking. improved deglitching at the Electric Valve ECOP is most other music editing sessions, I had to concern myself with keeping the points, the Unlike CLUE.) timecode consistent, rather than concentrating solely upon the music. For example, if the available as an option for can be determined from "Killing Floor" ended at exactly 06:07;29, I had to find that exact timecode on Tape locations applause or via the applause before "Foxy Lady" started, and match the two together perfectly. After from the VCR's control track, spending some time level matching between applause tracks, making sure that each tune an optional timecode reader board, stored to came in loud enough, and checking to see that all sync information was transferred and the edit decision lists 51.1 floppy disk. correctly, I ended up with a tape that was ready to be mastered for LP, CD and to be -inch for synchronized with the film and video. CLUE is particularly useful EIAJ- Format material that I do believe that there is an integral part of the human spirit that always strives for arranging something good to be even better not just for one's own satisfaction, but for everyone the user plans to transfer and then - By else as well. It was this desire that enabled Douglas, Linett and myself to find the energy and edit in 1610- format, for example. resources to keep the sounds of the great "Jimi Hendrix Experience" alive and audibly up working out the relevant edit points to date. ODD before the audio is transferred, you can greatly reduce the amount of rently, CLUE is the only dedicated (expensive) time spent editing in the DIGITAL PRODUCTION EIAJ- Format editing system, and is latter format. based on the use of half -inch Betamax track model to a fully equipped CMX VCRs controlled by a microcomputer EIA.1 -to -1610 Format system, and has an editing accuracy running custom software. A full key- Conversions of 16 or33 milliseconds, depending on board and VDU comprise the opera- In the event that greater edit resolu- your choice of recording VCR. tor interface, with a PCM -701 replay- tion is necessary, or for Compact Disc HHB Hire and Sales, the London - ing audio in real time. Edit points to a mastering, a conversion from EIAJ- based pro -audio supply and rental resolution of 33 milliseconds can be to -1610 format must be executed in the company, has developed a Computer- captured on the "fly," entered from digital domain. Utilizing the Sony ized Logging Unit and Editor. Cur- the keyboard, or determined manu- DAE -1100 digital editing system,

VP 900

OA ITOA ICOLOR SYNC ^- AIII IllIli GENERATOR PROCESSOR m ! 11 SYNC E IC 900V TIME II COGE PO UNIT

IP CM AUDIO IPCM AUDIO ORIGINALI MASTERI AEC rr CR 8250U AE 900V CA 8250V or BR 8600 DIGITAL AUDIO or BR 8600V VCR E DITOR s- VCR imommilsor PB PB -f- L ,-VW-.1 SMPTE TIME CODE li L./L.1 L'L-a = ISYNCHRONIZER SMPTE Clockwise from above: 1111LLLLLLJ TIME C00E VP -900 processor and CR 8250V MONITOR TC -900V timecode or BR 86000 t unit; AE -900V editor; VIDEO POST -PRODUCTION VCR and editing controller. AUDIO MASTERING SYSTEM SIAVEI The JVC Digital Audio Mastering System (DAMS) comprises two main components: the VP -900 16 -bit, two -channel pulse -code modulation (PCM) digital audio processor, and the AE -900V digital audio editor. Because the processor incorporates a unique bi- parity (BP) recording format, and new error detection circuits, less expensive half -inch, VHS video recorders can be used to provide a two -hour recording capability, in addition to conventional áá -inch U -Matic VCRs. Sampling frequency can be switched between 44.1 and 44.056 kHz. The AE -900V electronic audio editor has a quoted accuracy within 180 microseconds, and searching for an exact edit point can be achieved in one of three ways: manual cuing, automatic scanning, or direct address input. The unit confirms cut -in and -out points by recalling the signals stored in memory; a variable -gradient, crossfading function permits smooth continuity of program at the edit point. Other components to the digital audio system include the RM -900 remote control, which operates both the audio processor and the companion VCRs; and the TC -900V timecode unit, which reads and generates SMPTE timecode and synchronizes it to JVC's own bi- parity timecode recorded digitally -a process essential for proper synchronization between the audio system and video equipment. The Digital Audio Mastering System is fully compatible with earlier JVC audio systems.

R -e, p 90 August 1985 1610- format material can be edited installed at the mastering console. tion and poor edits that result from down to the data -block level (1 /7th of The most recent, and impressive, the presence of excessive DC levels in a video field, or 4.5 milliseconds), and accessory for converting EIAJ- A -to -D converters during recording, is the accepted format for Compact Format material to 1610- and the or generally improper recording tech- Disc master tapes received by the AES /EBU- format is the BW -102 Pro- niques. Future modules include a dig- majority of CD manufacturing plants. fessional Digital Audio Interface from ital equalizer, a digital limiter /com- Currently, three manufacturers are Harmonia Mundi, of West Germany, pressor, and supplying a limited sampling devices for EIAJ -to -1610 and currently distributed in the U.S. frequency converter (44.1 kHz to 48 conversion, a market that was created by Audiotechniques, New York, kHz, and back). originally by RTW, whose products and Audio Intervisual Design, Los My personal interest in and expe- are distributed in the U.S. by Audi - Angeles. Developed by Daniel Weiss, rience with EIAJ- Format digital audio tronics, of Memphis, Tennessee. the gentleman that designed the is based on two factors, neither of RTW began format conversions in hardware contained within the Studer which have been addressed by the 1983 with the introduction of its orig- SFC Sampling Frequency Converter, Japanese manufacturers: cost and inal Studio Processor Set. As well as the BW -102 interface covers every portability. While EIAJ -Format pro- providing format transfer from Fl to possible combination of format cessors are not built to professional 1610, the unit also featurés line -level transfers conceivable, in addition to a standards, a factor that accounts for analog interfacing, calibrated input host of corrective measures. Based on their low cost, with a little extra care attenuators, control of pre- emphasis a Eurocard mainframe construction, and precaution they have turned out and copy prohibition, and an ex- the unit allows the user to select input to be as reliable - if not more so - panded display showing the opera- and output formats by installing than professional processors, espe- tion of the error -correction and con- appropriate modules in the cardframe. cially in their ability to play back cealment circuitry. Modules are available for EIAJ -, tapes that are out of format specifica- Recently, the PCM Set 2 and Set 3 1610 -, and AES /EBU- format input tion. No portable professional proces- have appeared, replacing the original and output signals, as well as correc- sor exists and, at the present rate of standard bearer with new improved tive modules that connect between the development, we are unlikely to see models offering expanded capability. input and output modules to provide one for several years; several EIAJ- PCM Set 2 allows format conversion the capability of changing levels with Format units are fully portable, how- from F1 to 1610, including all the a fader, interchannel phase reverse, ever, and the only way to record dig- aforementioned options featured on right /left reverse, digital removal of itally in the field. the original Studio Processor Set, plus pre- emphasis, or 11.34- microsecond All of which argues strongly for the switchable NTSC /PAL video stand- interchannel delay. Also, and possi- continued existence of the EIAJ For- ard, and RTW peak program meters. bly the most useful feature of all, a mat, at least until some form of small, PCM Set 3 adds the capability for digital highpass filter module is reasonably priced professional pro- bidirectional format conversions: Fl - available for eliminating the distor- cessor becomes available. 000 to-1610 and 1610- to -Fl. Audio +Design /Calrec, of Brem- erton, Washington, offers a very 4eeoro V1onl clever modification package for PCM - 701 processors that can be purchased as add -ons, or contained within a ni ¡run 11171-11I1í 11i11 1I1-1=1í ll 1 1 11_111 I I I I /1 l _111 "ll I modified processor. Starting with the / I\ 1/ I _ll 11_ ll basic 701, an internal electronics PRESENTS package is added, along with new metalwork for the front and back panels that contain precision input BY TIMELINE attenuators, analog line -level inter- LYNX facing, a choice of PAL or NTSC video standards, pre- emphasis and copy - prohibition control, full bidirectional format conversion, expanded error - correction indication, and (something lacking in the RTW units) Coincident A THIRD GENERATION SYNCHRONIZER Time Correction (CTC). When transferring material from Fl- to 1610 - format, the fact that a single D -to -A Up to 32 machine capability converter is time -shared (switched No internal adjustments necessary back and forth) between both left and Built -in software most transports right channels requires that an 11.34 - for microsecond delay be built into the Chase Lock to play in seconds F1. This delay should be corrected during digital -to- digital transfers to Built -in time code generator, reader, resolver preserve monaural compatibility. Reads code from I /20 to 60x speed (Since it utilizes separate converters for each channel, the PCM -1610 has And much more.... contact no built -in time delay.) Future developments by A +D /C JEFF EVANS include ADD -MIX, a digital fader and mixing system that allows the user to digitally mix two Fl sources, and also (213) 653 -0240 vary their levels during mastering, 8456 WEST THIRD STREET LOS ANGELES, CA 90048 with a remote-controlled fader unit August 1985 0 R -e /p 91 MUSICAL CREATIVITY ket, and he or she will probably say that you need at least one keyboard from the following three categories: analog -based (or subtractive synthesis); digital FM -based (or additive synthesis); and sample -based (digital PCM sampling). The Analog synthesizer has been around the longest, but is well worth re- defining for our purposes. Marcus Ryle, a session player /programmer and former technician at Oberheim, describes basic analog synthesis as "circuitry that oscillates at a parti- SYNTHESIZERS cular pitch. A voltage -controlled oscillator [VCO] is usually employed to allow varying voltages to change the pitch of the produced sound. Before IN THE STUDIO reaching our ears, the signal passes through a [voltage -controlled] analog filter, and an analog amplifier." Generally, this mode of operation is NEW TECHNOLOGY referred to as subtractive synthesis: a sawtooth wave passes through an AND A NEW analog filter, and whatever the programmer doesn't want included in the PRODUCTION finished audio is subtracted from the initial waveform to produce the PHILOSOPHY required timbre. The rest of the circuitry in an by Quint B. Randle analog keyboard, Ryle continues, depends at what point in the history of analog synthesis the unit was developed. "Basically, all analog synthesizers on the market nowadays are controlled digitally. For example, in /rzi,'of the subject of keyboards - the case of the Oberheim Xpander or In the last year or two, a number approach advancements have drastically synthesizers, and hopefully clear up Matrix 12, the audio section is all changed the way in which engi- some of the new, as well as old, prob- that's analog; everything else is dig- neers, producers, and players perceive lems and myths that have developed. ital - all the factors which modify the synthesizers and keyboard instru- Part one will re- define some of the old original analog -produced wave are ments in general. It was just a short terminology, and define and examine controlled via a microprocessor." time ago that session players and some of the new variables that affect The fact that these variable com- studios alike were waiting for back- the engineer /producer /player in a mands are encoded digitally means ordered Yamaha DX7s; and we now multikeyboard situation. The second they can be memorized and stored by sometimes wonder how we ever got installment will delve into some of the the synthesizer's microprocessor. along without them. Another exam- deeper, more complex hands -on prob- Also, depending on how sophisti- ple of just how quickly this new lems one faces when as many as eight cated the digital controls are on an synthesizer technology has been keyboards are connected via MIDI, or analog synthesizer, it could mean creeping upon the studio world is Chi- synchronized to tape - hopefully that all of the circuitry can be cago's 17 album. Most might consider providing some solutions. automatically calibrated by the built- that this 1985 Grammy- award -winner in microprocessor; you don't have to utilized MIDI to the extreme. But, Types of worry about the keyboard going out of while discussing the project with ses- Keyboard Synthesizers tune in the middle of a take, for exam- sion engineer Humberto Gatica, we Ask any session player or synthe- ple, or waiting for it to tune up. In discovered that producer David Fos- sizer programmer what it takes, equip- addition to this, and again depending ter recorded several keyboard-bass ment -wise, to survive in today's mar- upon sophistication, Ryle continues, parts in two or more passes. "At the - Player /programmer "Digital technology allows a great time we started [May 1983] we could Marcus Ryle deal of flexibility in terms of modula- not MIDI the DX7 and Minimoog; we - tion that might not have been possi- didn't have the software to do it," the ble previously. Modulation can be engineer confides. created through software control, Realizing that the dawning of a rather than hardware itself. new era in keyboard technology has "On the Xpander and the Matrix 12, been somewhat overwhelming to the there are five envelope generators and recording industry, it may be useful to five LFOs [low- frequency oscillators] step back, take a deep breath, and per voice that don't really exist in the approach the subject anew - erase hardware; they've been created in the the blackboard, in a sense, and pull software by the computor." out a new piece of chalk. In this two - Ryle also points out that there are a part series, with the help of engineers, number of synthesizers employing technicians and session players, I will digital oscillators, which create the R-e, p 92 August 1985 ...... ,...... im......

, ...... , ...... c o t' -No ..

The Linn 9000 is con:eived for every artist, A glance at t_ a control panel tells you tha every songwriter .vhose creati.ity demands wren ins ) ira -ion arrives, the 9000 makes it tk_ finest in techrclan. effortless t ) capture, arrange and edit your Designed for musicians by mu ;icians, the mt sic. Vk hat you can't see are its user sound Linn 9000 incorporates the world's most sampling capabilities and the extensive Linn sophisticated touch sensitive digital drum lib -ary of professional quality sounds. machine with the most advanced 32 track Isn't it about tine you visited your Li MIDI sequencer. There is v:rtn-ally no dealer and experienced the Linn 9000 scengwriting style tha: it cannot accommo- yourself? date, instantly. There is no mariner of per- fa -mance or personal expression that it ennot precisely cuplicate.

The inventors of the digital drum machine now offer you the most sophisticated compositional tool ever created. The Linn 9000. Inn Linn Electronics, Inc. 18270 Oxnard Street, Tarzana, CA 91356 (818) 708 -8131 TELEX #298949 LINN UR For additional information circle #60 Atgust 1985 0 R -e, p 93 PPG WAVE 2.2 SEQUENTIAL PROHET 600

NED SYNCLAVIER II E -MU SYSTEMS EMULATOR II Bier! continues, "that tells the compu- SYNTHESIZERS ter which of these six operators are IN THE STUDIO 'Modulators,' and which are 'Carri- initial audio signal, but the signal is ers': a Carrier is what you hear, a then sent through analog filters and Modulator is what you don't hear - analog amplifiers. For instance, al- you can only hear the Carrier, and the though the Roland JX -3P and the JX- imprint the Modulator(s) add to the 8P utilize such digital oscillators, the Carrier." finished audio is created by passing Using such algorithms, the pro- the initial wave through subtractive grammer sets the parameters, and analog filters. The main difference is thereby develops waveform character- that the device creating the initial istics: different ratios between Modu- waveform digital as opposed to ana- lators and Carriers; frequency of mod- MIRAGE ENSONIQ log; subtractive synthesis is still the ulation; how powerful an operator modus operandi. will be; envelope variables; in what Fairlight CMI, Emulator II, New "Whether a subtractive synthesizer order the operators will be used; etc. England Digital Synclavier, Kurz- uses analog or digital sound -pro- "For example, we use a ratio of two weil 250, PPG Wave, and Ensoniq ducing capabilities is really just going to one - the Carrier is twice the fre- Mirage. Although each of the manu- to give you different types of sounds," quency of the Modulator - to come up facturers varies somewhat in its the consultant concludes. with what is a basic square wave- method, Alpert provides a flow -chart Digital FM: Stated simply, a purely form, which is good for a reed -like explanation of user sampling: digital synthesizer generates a sound." "The sound enters the device in "sound" with numbers, so to speak, But all the while, Bierl explains, analog form from a microphone or by adding different sinewave values "it's still numbers to the computer. line -lever source, or directly from an- together to obtain desired sonic char- Finally, at the very end of the process, other instrument. It is then fed acteristics. Towards the end of the the numbers are fed into a DAC and through an analog -to- digital conver- creation process, these numbers are the new analog sound is amplified." ter (ADC), which measures the incom- fed into a digital -to- analog converter Digital Sampling: The basic tech- ing voltage a prescribed number of (DAC) so that, when amplified, our nical distinction between synthesis 'times a second; for example, the Emu- audio sensors can make some sense and sampling is that the former tech- lator II samples 27,500 times a second. out of it. nique creates a sound from scratch, as "Each time the ADC measures the Yamaha's series of digital FM syn- it were, using the previously described voltage, it checks to see at what level thesizers, including the DX1, DX7 methods. Sampling, on the other the voltage is, gives that level a num- and DX9, probably represents the hand, uses a computer to digitize and ber value, and stores it away in mem- most widespread implementation store a sound introduced to it from an ory. It then repeats the process, stores additive synthesis in use today. external source; and then, in its the level numerically, and so on. It Kevin Bierl, a Yamaha technician, simplest form, plays the recording does that for as long as the sound explains how the DX7 works: back at various pitches. lasts, or until the available memory is "The digital sound source, or oper- "As far as the development of samp- depleted." ator, is itself a sinewave," he says, ling is concerned," says Marco At this point, the keyboard/com- "but there are six of them on the DX7 Alpert of E -mu Systems, "it really puter has a string of 12 -, 14- or 16 -bit (four on the DX9). At this point, de- began to become known about five or numbers representing levels of the pending on what kind of sound the six years ago, with the first Fairlight initial incoming voltage taken at 36- programmer is trying to attain, the CMI, more than anything else. And microseconds intervals (in the case of six operators are digitally program- then we [E -mu Systems] like to think the Emulator II), that can also be med to affect one another via the that the original Emulator I was the stored on cassette tape or floppy disk. unit's 32 algorithms [software -con- first instrument designed to provide To play back the original sample, trolled processing steps] - in essence, [cost- effective] user sampling." the synthesizer's microprocessor how they will be added together. On the market today are a range of transfers a 12-, 14-, 16-bit number into "Depending on the algorithm," sampling synthesizers, including the a DAC which, after filtering, returns R -e /p 94 August 1985 We did it right.

It's no surprise that when tie key For stage reinforcement, podiums, PCC -160 features an exclusive engineers of our PZN' microphone news desks, or for hiding in sets, three -way "bass tilt" switch which technology set their sights on com- the PCC -160 offers superior allows you to tai'or, up or down, the bining the benefits o' the boundary performance. low -end response for special ap- effect with unidirectioiality the fruits And because the microphone is plications or unusual boundary of their efforts would D9 nothing less mounted on a boundary, direct and sizes. than superior. reflected sounds arrive at the Due to its low profile and "go After all, Crown has been leading diaphragm in- phase. The away gray" finish, the PCC -160 the way in boundary technology result...wide, smooth frequency microphone becomes nearly invisible longer than anyone it :he industry. response free of tonal coloration or in use, making it ideal for the stage, And, like the PZM project, our com- unnatural sound which can occur newsroom or lectern top. mitment to developing the with conventional microphones. But beneath its cloak of dark gray, "premiere" unidirect onal, surface - Self- contained electronics the PCC -160 is protected by a mounted microphone rings true. eliminate the need for a sometimes heavy -gauge, all -steel body, tough Introducing the PCC -160 Phase awkward in -line preamp box. The enough to stand up to even the Coherent Cardioid1M from Crown. PCC -160 can be powered directly most severe abuse. Designed for easy mounting on a from the console or other remote The PCC -160. A microphone boundary surface, the PCC -- 60 power source. Or if battery power is meeting the needs of today's sound utilizes a subminiature supercardioid convenient, a battery supply unit professional with tocay's most ad- mic capsule to create a directional can be inserted anywhere in the vanced technology. pattern which improves gain- before- mike line...right up to the console or We did it right. feedback, reduces uni,antec room mixer. Call or write for more information noise and rejects sou ids from the For maximum flexibility, the and complete specifications. rear. crown®

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For additional information circle #61 August 19M5 U i e, p 95 FAIRLIGHT CMI SERIES III KURZWEIL 250 now has an almost unlimited number are interface standards that allow SYNTHESIZERS of variables available while creating systems to communicate [with them- IN THE STUDIO a particular sound. Instead of dealing selves and external devices] virtually it to an original voltage wave. with only one synthesizer at a time, anywhere in the world, the most When it comes to reproducing a the player can now mix and match common of these standards being sound at a pitch other than the origi- different keyboards, using the RS232. MIDI is basically the same nal, there are several methods avail- strengths of each to invent his or her thing, but for musical instruments; it able. The most common according to own unique sound. And, as stated in allows electronic music synthesizers Alpert, is that of speeding up or slow- its proper name, MIDI is not just to communicate with one another. ing down the clock rate. "If you want intended for keyboards only, but for "It's essentially just four wires: two the pitch to be higher, instead of read- virtually all electronic musical instru- in each direction - a bidirectional, ing the stored numbers 27,500 times a ments. Non -keyboard devices, such as serial communication of MIDI In and second during playback, the compu- sequencers, drum machines and, most MIDI Out information. In other ter reads at a rate of, perhaps, 30,000 recently, reverb units, can now be words, a keyboard can receive infor- per second. Or, if an octave higher is interfaced with a keyboard(s) in real mation and, at the same time, it can desired, the reading rate is then dou- time to create a multidimensional, put out [eight-bit digital] information bled to 55,000 times a second. The fas- multifunctional musical incarnation. [at a transfer rate of 31.25 kbits per ter the numbers are spit out of The unique audio combination of second]." memory, the higher the pitch; a several synthesizers is, of course, the MIDI can transmit all kinds of data slower rate of reading the memory most common end result to all this, between synthesizers and other MIDI - produces a lower pitch." but MIDI is the all- important means equipped devices, including corn - Technicalities aside, Alpert says to that end. Part two of this article, to mands for selecting a new voice, pitch that an important consideration with be published in a subsequent issue of change, modulation change, breath any sampling keyboard is its sam- R -e /p, will examine a few of MIDI's control, sustain control, after -touch, pling rate - how many times a operational imperfections, but for clocking information, various sequen- second the device measures incoming now a brief description of this com- cer commands, plus a variety of voltage. munications standard and its capa- system -exclusive commands that are "Sampling rate defines the fre- bilities as related to synthesizers (or up to the manufacturer to define. quency response of the system; the those purported to be offered by By far the most common command highest frequency that can be repro- manufacturers) is in order. sent from a master keyboard to slaved duced accurately is one half the Bob Moore, president of Hybrid units is Note On and Note Off. "Be- sampling -rate frequency. In other Arts, a company that produces, cause of the MIDI standard," Moore words, if a system has a 30 kHz sam- among other musical software, a offers, "even though the oscillators pling rate, then the highest frequency MIDI sequencer for use on personal are different, and the way another you can reproduce is 15 kHz." computers, draws this analogy when keyboard might generate its sound, While some sampling keyboards definning MIDI: "In computers there Note On and Note Off are standard allow the user to increase the sam- communication commands. For the pling time (length) by reducing the - Hybrid Arts' Bob Moore - most part, Note On and Off are three sampling rate, this causes a reduction bytes of information each: a Note -On- in frequency response, he concludes. and- Note-Off event - that is, a single stroke of the keyboard - is a six -byte MIDI Takes Control event. "Note On is three bytes long; While a continual perfection of the first byte communicates the these three synthesizer types during [MIDI] channel code; the second byte the past decade has had a tremendous is the key value of the note; and the effect on the new keyboard philo- third byte is its velocity." [For a com- sophy, nothing has changed the way plete description of the various hex- we view synthesizers more than Mus- adecimal codes for MIDI commands, ical Instrument Digital Interface. refer to page 125 of the December 1983 With MIDI, a synthesizer programmer issue of R -e/p- Editor.] R -e /p 96 August 1985 CLIEli to the F3EFiT The original Doctor Click has been price of the original. Twice the DIN sync formats, and MIDI. Click used to create countless innovative machine at half the price! and trigger outputs also. hit records, TV film and scores, and A "Doctor Click facility" enabling special effects, has and spawned a sync to click tracks, live tracks, whole new generation of imitators MASTER BEAT - The Ultimate Studio MIDI, and all tape sync codes for (the sincerest form of flattery, you total compatability. knows. Interface. High resolution programmable Now, you can get more of the good At the request of many studios and "timing map" allowing any beat Doctor's medicine for a lot less. top musicians, Garfield Electronics interval sequence to be stored,

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DOCTOR CLICK 2 More - has developed the only true open - edited, arul offset under SMPTE of the Doctor, for half ended code interface system, control for complete adjustment the price. MASTER BEAT, a studio system so of rhythmic "feel." versatile that the only limit is your Six multi -programmable SMPTE IX)CtOR CLICK 2 -This new Studio imagination. This features list gives controlled event gates, each with Quality synchronization system a glimpse of the performance con- 5 -volt and contact closure outputs trYmi Garfield Electronics has -.he trol horizons possiblewith MASTER for synchronized sound effects features and performance that BEAT. and control triggering! made the original Doctor Click the The Only SMPTE Synchronizer Live tracking mode creates sync standard of the industry, and more. With All These Features: from pulse information in real time DOCTOR CLICK 2 synchronizes to for live performance! click tracks, live tracks, the 5 sync - Sync generation in beats per min- Advanced production features to- tape codes, both DIN Sync for- ute, 24, 25, or 30 FPS film /video cali- include: RS -232 computer interface, mats, and MIDI clocks for unsur- brated tempos from ALL SMPTE/ code regenerate and conversion, passed adaptability. From any of EBU formats: 24 and 25 frame, 30DF jam sync, SMPTE from neopilot, these sources, DOCTOR CLICK 2 and NDF. Produces all 4 codes as remote control inputs, non- volatile generates, simultaneously, 6 time- well. memory, and save -to -tape! base clocks, the 5 sync -to -tape Simultaneous production of all Now third generation sync technol- DIN Syncs, MIDI 1 codes, the clocks, sync formats: 6 fixed clocks, vari- ogy is yours. Total compatability .. . click and trigger outputs. Addi- able arpeggiator/step sequencer total versatility ... total creativity ... tionally, a variable clock channel clock the 5 sync -to -tape codes, 2 MASTER BEAT. provides 22 triggering rates including syncopated rhythms for step For a demonstration of the amazing capabilities of DOCTOR CLICK 2 and sequencers and arpeggiators. MASTER BEAT, call or write for the location of your nearest dealer. Best of all, DOCTOR CLICK 2 incorporates new technology Garfield Electronics that enbles us to give you the The /ionic of DOCTOR CLICK DOCTOR CLICK 2 for half the P.O. Box 1941, Burbank CA 91507 (818) 840 -8939

s 1983. Garfield Electronics. Inc. Our Only Business Is Getting YourAct Together. August 1985 R -1. p 9 For additional information circle #62 ROLAND JUPITER -6 MOOG MEMORY MOOG SYNTHESIZERS IN THE STUDIO The MIDI standard provides 16 independent channels over which to accomplish the transmission of data. Each MIDI synthesizer only recog- nizes which MIDI channel (1 thru 16) it has been assigned to recognize, or to receive on. "For instance," Moore explains, "when a sequencing computer puts out 16 channels of MIDI information, a keyboard will only pay attention to whatever information is communi- cated over the particular channel it is assigned to; it won't do anything until it sees something within the byte YAMAHA DX7 FM SYNTHESIZER stream it is 'told' to recognize." /DIGITAL When sequencing from an external system on -line that allows the trans- direct effect on keyboards, is the abil- computer, the master keyboard on a mission of musical parts as MIDI ity to synchronize different devices in certain channel is patched to the com- information via telephone modem. real -time, or to a timecode track on puter's MIDI In and MIDI Out. Then "We're also trying to help Motown put tape. Some synthesizers provide on- the computer, in effect, disperses that together a network of computers so board sequencers, while others allow information to other keyboards on that their publishing group can com- sequencing and triggering externally varying channels. municate throughout the city with all via MIDI or CV trigger inputs. The Some sequencing systems can be of their musicians and composers," use of sync codes is generally referred connected via MIDI Clock to, in a Moore explains. to as "clocking ": a master clock on sense, sequence one another, thereby one device is used to drive the clock(s) increasing the number of available Sync Codes on another device(s) to communicate tracks by multiples of 16 or 32. And Another important advancement, tempo, start points, etc. In approach- Hybrid Arts, for example, now has a and one that has more recently had a ing the more complicated MIDI and

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For additional information circle .63 R-e/p9t4August ; different clock rates was to create system exclusivity. Frequency Shift Key. After the development of PPQN clocking, a technology called Frequency Shifted Key (FSK) was devised specifically for tape synchronization. "FSK is very similar to PPQN clock pulses," offers Mothersbaugh," in that there's a rapid succession of pulses. But, in this case, rather than using on- again /off-again voltage spikes, two frequencies are being modulated against one another at 1.2 and 2.1 kHz. The result is a smoother, less fluctuating signal that can be recorded at a lower volume on audio tape, reducing the chance of crosstalk to adjacent tracks on the machine." Although not as widespread on electronic instruments as PPQN clocks, PASSPORT SOUNDCHASER FSK is still used on some devices The problem with [PPQN, FSK, and today. MIDI] clocks at this level, is that they MIDI Clocking. This form of are a "dumb" tempo indicator; they clocking is similar to the PPQN me- can do nothing more that specify thod - on /off pulses - but operates tempo. For example, they can't tell using MIDI specifications and MIDI - devices when or where to start up and controlled hardware. The main draw- stop again; they can't tell what beat RHODES CHROMA back with MIDI clocking, according and what measure they are at, etc. to Mothersbaugh, is that "MIDI oper- The key is the ability to go one step sync problems to be described in part ates at a frequency of 31.5 kHz, which further, and be able to sync and punch two of this article, it is important to is obviously too high for a tape main the middle of a song. With the understand the various sync codes in chine to handle." As a result, MIDI dumb -clock methods, you have no re- use today, and why some are more clock commands need to be effected in liable way - other than starting at reliable than others. real time. the beginning of a song [and have the "This whole business of syncing started with the film industry," says Jim Mothersbaugh, technical ad- ministrator at Roland, "While recording a film soundtrack, a conductor RECORDING STUDIOS AUDIO & VIDEO needed some way to keep track of, and LOWEST PRICES ON remain in time with, the film. At first, AMPEX AUDIO & VIDEO TAPE SPECIAL a simple metronomic beat was used; and, after some time, a visual cue for Ampex 456 Grand Master AMPEX Videocassettes the conductor was developed called a 'streamer.' Studio Mastering Tape Catalog CTS. SUGG. Number QTY. LIST (1 Carton) "Today, after three decades of elec- Metal Reel 97G111 2" $108.65 tronic improvements, the music in- Metal Reel 573111 1" 50.17 197 BCA -10 10 $26.25 $11.20 dustry has adopted, in one way or Metal Reel 273111 1 /2" 28.98 197 BCA -20 10 30.86 12.60 another, most of the timing /sync Metal Reel 17311J 1/4" 16.40 197 BCA -60 10 46.97 18.95 codes that were developed along the 187 KCA -60 10 45.29 16.20 All AMPEX prices F O B . Waco. TX way by the film and TV industries." 187 KCA -30 10 31.69 11.50 All AMPEX Tape Products 196 -1630 CA 5 73.10 43.95 Pulses- Per -Quarter -Note. The COD or Company Check most common forms of clocks found on keyboard sequencers and related devices are 24, 48, and 96 PPQN. Lowest Prices on ALL AMPEX Audio & Video Tape! Mothersbaugh explains that on- again/ off-again voltage -spike pulses are sent every quarter -note [or beat] from * Video Cassette Duplication the master clock to the slave. This, in Stereo Cassette Duplication turn, allows the devices to be syn- AMPEX 466 Digital Audio Tape, 1/4 " -1" chronized together, the slave follow- * Custom Loading of VHS 1 /2" Video Cassettes ing the master. ' AMPEX 187 & 197 3/4" U -MATIC Videocassettes Logically, a 48 PPQN clock is send- AMPEX Broadcast Video Tape 1" Helical ing or receiving 48 pulses, rather than ' "Custom" Loading of BASF Pure Chrome Hix Recording Co.,Inc. 24, each quarter note, and so on. While Audio Cassettes (Price Example 5M C -30 @.69C) Hix Recording Co. , Inc. the higher pulse rates provide a 1611 Herring slightly tighter resolution, Mothers - Waco, -exas 76708 baugh claims that there is little dif- Limited Time Offer Special Expires 10/31/85 (817- 756-5303 ference in overall reliability; the reason various manufacturers (mainly Roland, Oberheim, and Linn) used August I'6,._ R-e p99 - continued from page 55 .. SYNTHESIZERS That's ancient history now. For 90% IN THE STUDIO of the time on sessions these days, Fox uses more than one synthesizer to slaved device count pulses from the create a sound before going to tape. downbeat] - to have everything link "It's like `MIDI- mania.' You have to up. be open to saying to yourself, `Okay, is SMPTE Code: The first "smart" this too much ?' With just about every- code was devised by the Society of thing, I use component synthesizers. Motion Picture and Television Engi- Recently, I did a horn sound with neers in the Sixties as a standard of seven or eight different synthesizers: synchronization for the film and I had two horn samples; I had six DX7 video industry; timecode is now a patches [from the new TX -816] -some standard within the recording indus- of them were duplicates, but were de- try as well. In essence, SMPTE time - - Player /programmer tuned a bit." code is just a linear number sequence Paul Fox - From a sonic perspective, MIDI - opposed to an on /off code. When lay- mania has presented two obvious pro- ing SMPTE code to tape, the slaved with the Pointer Sisters, Commo- blems: How many tracks are there device is counting out, in a very fast dores, Natalie Cole, Thelma Houston available on the tape? And should the and fine revolution, minutes, seconds, and Cock Robin. "Before, you were balance betweeen the different com- frames, and bits (1/80 of a frame). dealing with each individual axe as ponents of the finished sound be com- With the advent of SMPTE timecode its own sound, and Combining the mitted to tape? Some studios are deal- synchronization, start, stop, punch - sounds [on tape]. Nowadays, I seldom ing with these questions by providing in, punch -out points, etc., can be refer- put my system together without first in the control room sub -mixer espec- enced anywhere in a tune, not just figuring out the best way to create ially for keyboards. This additional relative to the beginning. total sound." mixer provides a stereo feed to the The problem is that most electronic A few years back, Fox says, he console exclusively for synthesizers, musical devices (virtually all conven- would bring along two, maybe three, and gives the engineer and producer tional synthesizers) do not provide on- synthesizers at the most. "You used to more control, as well as confidence, in board SMPTE timecode- reading cap- come in and put your Prophet up on committing a particular balance to abilities. To alleviate this problem, a the producer's desk, and that was tape. number of companies are manufac- that; you basically fed the engineer "A lot of guys, especially TV and turing dumb clock /SMPTE interface your audio signal, and that's basi- film players," Fox adds, "are bring- units that translate SMPTE timecode cally where you lost control - unless ing along their own mixers to ses- into PPQN codes, etc. you developed a rapport with the sions. So what he or she is sending to "In a musical setting," says Mothers - engineer." the board is basically a left and a baugh, "it takes an interface box like the Roland SBX -80, Friend Chip SRC and Garfield Electronics Master Beat, to do this advanced type of synchronization. These devices read timecode See and Evaluate the Valley People Model off tape, and mathematically convert that to clock /tempo information in- 440 Limiter /Compressor /Dynamic Sibilance struments can read." (For a detailed Processor at the following locations: explanation of the timecode to MIDI and sync clock process, see Bob Kin - kel's article on the Roland SBX-80 Allied Broadcast Equipment Eastcoast Sound Southwest Pro Audio and Friend Chip SRC in the April Richmond, IN Danbury, CT Austin, TX 3I7-962 -8596 203 -748 -2799 512- 443 -4567 issue of R -e /p.) MIDI Song Pointer: Another Alex Musical Instruments Everything Audio Studio Supply Company MIDI specification on the horizon, New York, NY Encino, CA Nashville, TN deserves a mention. The Song Pointer 212 -819 -0070 818 -995 -4175 615 -366 -1890 function provides many of the lux- uries previously available only Audio Engineering Associates Harris Audio Systems Tekcom Corporation Pasadena, CA Miami, FL Philadelphia, PA through SMPTE timecode. "With 818- 798 -9127 305- 944 -4448 215- 627 -6700 Song Pointer, we can send not only clock and tempo information through Audio Industries IRC Audio Valley Audio MIDI, but it can say, `Okay, you Hollywood, CA Indianapolis, IN Nashville, TN sequencers and drum machines, 213 -851 -4111 317- 849 -6887 615- 383 -4732 you're starting up at measure 32, beat Boynton Studios J -Mar Electronics Victors House of Music two, at 120 beats- per -minute'," Mothers - Morris, NY Toronto, Ontario, Cananda Ridgewood, NJ baugh reveals. 607 -263 -5695 416 -421 -9080 201-652 -5802

The Audio Signals Coast Recording Supply Martin Audio Washington Music Center The net result of these new technol- Hollywood, CA New York, NY Wheaton, MD ogies is generally the engineer deal- 213 -462 -6058 212 -541 -5900 301 -946 -8808 ing with multiple audio signals from a DJ's Pro Audio Professional Audio Services Westlake Audio "Keyboard System," rather than from Berwyn, IL and Supply Los Angeles, CA one synthesizer at a time. 312- 795 -4050 Burbank, CA 213 -851 -9800 "It almost changes your philosophy 818- 843 -6320 on what you consider a synthesizer to be," says player/programmer Paul Fox, whose credits include projects R -e /p 100 0 August 1985 right output. And, depending on how building ground problems, Fox says triggering. Unlike analog and digital much gear the guy has, this may the best way to combat this is by delays utilizing A /I) converters, the include his own effects rack. A setup using a ground lifter (three- prong -to- bandwidth of the Midi Delay is the same like this enables the synthesist to twoprong adaptors). "I would suggest as the MIDI device being triggered by really go for the sound he or she hears every synthesist always carry five or the unit. The plus and minus amplitude in his or her head; they can treat the ten with them, because you're always programming makes for repetitions of entire setup as one synthesizer a losing them." the same amplitude, ascending ampli- - tude, or the standard descending ampli- `studio within a studio'." In a subsequent issue of R -e /p, I'll Another simple move on tude that we know so well from standard problem that can to examine the idiosyncra- analog and digital delays. occur in a multiple- synthesizer setup sies and set -up problem encountered Another innovative first was Korg's is the noise factor. Some models put by several studios and session players DW -8000 eight -voice velocity /pressure out a ridiculous amount of ground in creating and maintaining their sensitive keyboard with built -in digital noise when surrounded by other units. own unique multiple- component syn- delay. The provision of a built -in delay Over and above any serious in- thesizer system. ONE unit might very well start a new standard in including outboard gear into synthesizers. The need to add delay, reverb MIDI UPDATE and ambience to synthesized sounds is already a well -known practice in studio synthesis. The DW -8000 keyboard also MIDI- Equipped Synthesizers, features 64 presets, each having its own' Sequencers and Software at the Summer individual programmable delay settings. Parameters include delay amount, feed- NAMM Exhibition, New Orleans. back, delay level, and an independent LFO section with rate depth and wave- by Bobby Nathan form. There are also two digitally - controlled oscillators (DCOs) that can or me, one of the more striking Apple Ile. A total of 16 programmable produce 16 digital waveforms, including MIDI innovations on show at the presets are featured for delay parame- the standard sine, square and sawtooth recentF Summer NAMM Exhibition, held ters, including feedback (which is really waves. For live performance and /or in early June at the New Orleans Con- the number of repetitions); amplitude studio sessions, the self-contained dig- vention Center, was the Music Data's (the actual level in amplitude of each ital delay adds all the right dimensions Midi Delay - not the time delay inher- repetition in relation to the previous one to complement each of the contained ent to most MIDI -equipped sequencers measured in a plus and minus range); presets. In the near future, Korg will and synthesizers, but one that can be pitch change (the interval of pitch also release the EX -8000, a rack -mounted programmed! Midi Delay is a software between each repetition); and the MIDI version that encompasses all cf the package created by Lance Ono for the Channel that the repetitions will be same features as the DW -8000, except

Compression with the Model 440 is as easy as 1, 2, 3.

That's all there is to it. If this process appears to 1. Turn the unit on. be oversimplified, it's only because during the design of the Model 440 Limiter /Compressor /Dynamic 2. Select Auto mode. Sibilance Processor great pains were taken to ensure that we delivered a highly sophisticated signal processor, capable of unsurpassed performance while 3. Adjust the compressor remaining very straightforward and easy to use. threshold control for the Prove to yourself how easy it is to operate a Valley People Model 440. You'll find them in stock at one sound you want. of the locations listed on the adjacent page.

Valley People International VALLEY PEOPLE, INC. GO Gotham AG, Regendorf Switzerland P.O. Box 40306.2817 Erica Place, Nashville, TN 37204 Telex 59222 gothm ch, Tele 0041 -1 -840 -0144 (615) 383 -4737 TELEX 3785899 NASH AUDIO

For additional information circle 065 August 1985 0 R -e/ p 101 GR700 Guitar Synth in appearance, but analog kick, and three analog toms. The NAMM MIDI UPDATE has improved tracking. Unlike the snare channel actually has three differ- GR700, the GR77B features a separate ent digital samples - one for the center for the keyboard. microprocessor for each string, making of the head, and two for the rimshot - Also in the keyboard corner, Yamaha for the much improved tracking. Because thus making for a dynamic, real sound- added the I)X -5 synthesizer to its FM of the lower frequency range of a bass ing snare. Different tunings, release Series of keyboards. The DX-5 is, in guitar, the triggering should in reality times and noise balances can be pre- actuality, two DX-7s in one convenient be slower. The unit includes a synthes- programmed into 20 memories. The package. The keyboard features the izer section based on a JX -8P with 64 SDS -9 also featured a first in electronic same action as found on the DX -7; two presets, a cartridge slot and MIDI Out drums: MIDI -In and -Out jacks that cartridge slots and the ability to pro- and In. enable the device to trigger and be trig- gram function controls has been added. On the MIDI guitar scene, Octave gered thru MIDI, various sequencers, Balanced line outputs for left, right and Plateau unveiled its long awaited gui- synthesizers, and other MIDI drum

mix are available on both XLR and ' C- tar controller, which features a fret - machines. inch phone jacks. The DX -5 has basi- board wired for fast and accurate Speaking of drum machines, E -Mu cally all the features of Yamaha's super response. The guitar itself features a Systems introduced the SP -12 sam- DX -1, but for a much more affordable Voyetra -style keypad (telephone type) pling percussion, a 12 -bit sampling price. The company also introduced the to call up program and parameter velocity MIDI drum machine. The SP -12 KX -88 Master MIDI Controller Key- changes for whatever synthesizer is is 99- segment /99 -song machine with 24 board, which features programmable being controlled. The guitar comes with internal sounds stored on EPROM splits with separate MIDI channels. a phanthom -powered box that provides chips, and which can also store eight There are also four programmable slid- life for its active electronics and MIDI - sampled sounds in non-volatile memory. ers that can be set to your favorite per- Out jack. There are also three pro- Two different models are planned for formance parameters of any of the DX grammable levers that can be set to market release: the basic unit with 1.2 and TX Series synthesizers. The KX -88 favorite performance parameters. seconds of sampling time divided among has a 88 -note, wooden -key velocity key- I V L Technology introduced its your eight samples; or the Turbo ver- board, and could very well be perfect for Pitchrider 7000, a MIDI guitar inter- sion, which has its memory beefed up to the player who wants true piano touch face, which comprises a hex pickup that five seconds of sampling time, and the and response. The synth is the perfect can be mounted on almost any guitar, segment/ song memory expanded from complement to playing and program- and an electronic "brain" housing six 16 to 64 Kbytes. In many ways the SP -12 ming the TX -816 rack, which houses individual Pitchriders. Each string has has incorporated many of the Emulator eight DX -7 modules in rackmount unit its own converter,making for quite II's features into its front -control panel; with programmable function controls. accurate triggering. there are eight velocity tap pads with up A new entry into the MIDI scene was In the electronic drum department, to 32 levels of velocity that can be Roland's GR77B MIDI Bass Guitar Simmons introduced the analog /digi- assigned to any of the internal or Controller and Synthesizer. The GR77B tal SI)S -9 drum set, a five -piece kit feat- sampled sounds. Any sound can also be resembles the already standardized uring digital samples for the snare, assigned to all eight pads, as in the case of a tom sample. MIDI In and Out capability will allow the SP -12 to control and 1 be controlled by many various MIDI - equipped devices. The unit stores sequences and sampled data via its cassette or optional Commodore disk - drive. Having trouble learning FM technol- AD_ ogy to program your Yamaha DX -7? YSTEM Well, Jellinghous Music Systems just might have an answer for you. JMS has taken every parameter of the DX -7 and represented it by either a switch or knob 1 on a cleverly laid out analog -style panel. Freedom in the studio wi th cordless headphones: Even if you've already learned to master I)X -7 editing, theJMS DX -7 programmer the Nady Infrared Studio Monitor System. can probably spawn new and interest-

1I11 'S IR Studio Monitor System gioes y ou total freedo m Standard SI Inrludr, one I K1 201I 51 Vaster Transmitter ing patches. N in the studio.TTbrk without the restriction of headphone and 'Iii RI! 'I0At Headphone In the MIDI -equipped outboard gear Retenerw Standard AC IX: cord,. The extra mobility assures the natural expressive move- Adapter tu poser %taster corner, Yamaha introduced the REV -7 ment that enhances every perkirmance. and one Slag digital reverb, which has stereo inputs Ilere's how it works. $ 169 and outputs, a three -band, non - Audio is transmitted on FM modulated infrared light by a Headphone /Receiver Model1RS -210 M programmable, quasi -parametric EQ mister or master awl skill, combination of Nady infrared Any number of the Ilcadphune Receivers can 30 presets (including halls, transmitters. each covering 1401 square feet. The master trans- be used with the ss steno Powered by single section, mitter connects to a nixing hoard or amplifier headphone feed. 'iv batters rooms, flanging, chorusing, reverse This signal is picked up by the Nady infrared headphone/ $90 effects, and a number of presets designed receiver And crisp. clear audio is delivered to the wearer, SfareTransmitter Model 1RT -200 S for specific musical instrument applica- with volume adjustable as needed - even at the highest Link up to ten in series w Ilasi rTransmitter tions), and 60 user -defined variations of studio noise levels. Powered by Master. If more than one ordered. high power AC IX: the30 original presets. Program changes The Nady Monitor System is an invaluable tool for recording adapter must be ordered. can be controlled via MIDI; there is also studios of all sizes. Call us today with your order - and get rid $50 of those cords! We guarantee your satisfaction with the system a hand -held remote that includes some High Power AC IN: Adapter you return it within IS days for your money back. of the more important programming - can nn,ersane lits -r and up tu ten Slamiransmiten $19 controls. The REV -7 has basically all Mail k or 111.1, WJ5'iNi per order. Caliktmia residents add sales tas Or call us /0i/ free to order ir(raciest sorter NATIONWIDE: the same features of the REV -1 - I played with both units in the Yamaha Z; VS4 800-222-8228 booth at NAMM, and found that I could Innovation Specialties IN CAI.IFOR\IA: basically duplicate reverb patches from raam.., 190(1 Powell St., Suite 1135. Emeryville, CA 94608 800-624-1784 the REV -1 on the REV -7. Europa Technology introduced the R -e /p 102 0 August 1985 Window Recorder, a 16 -bit sampler with program can store any MIDI system's The Sound Designer menus resemble MIDI triggering capabilities, available Exclusive data onto one disk. Synthes- Macpaint, and all editing is controlled in three -, six -, 12- and 24- second sam- izers supported by the Midi Mac soft- via a mouse. Cut and Paste features pling time versions. After a sample has ware include the Yamaha DX-7, Ober - allow the attack of a trumpet to be been recorded into the Window Recorder, heim OB -8, Casio CZ -101, CZ 1000, pasted onto the envelope of a piano, for it can then be truncated - that is the CZ -5000. plus the Roland Juno 106 and example. Via various menus, every front and rear of the sample removed to JX -8P. Opcode has also introduced a function of the Emulator I I's front panel correct for slow attack and /or unwanted custom- designed MIDI interface that is displayed graphically and numeri- parts of the sample. The WR also has the can be used for both the Midi Mac cally, for a quick status of where the ability to play a sample backwards. Sequencer and Patch Librarian. filter, AI)SR, and all the other parame- Another innovative feature is the unit's Digidesign's Sound Designer soft- ters are set. When editing a waveform. overdub mode that enables infinite ware for the E -mu Systems Emulator 11 you can make good use of the zoom overdub on top of the original sample. digital keyboard provides gives the magnification functions for precise edit- (The only catch is that if you're not EMU II with capabilities beyond many ing. Waveforms, filter curves, and enve- happy with the final balance you're of the higher priced computer systems. lopes can also be hand drawn via a stuck.) The overdub feature can be most Complex looping and truncation start mouse - a feature that can virtually useful in stacking up snare drums to and end points can be displayed, greatly eliminate glitches caused during looping. produce a really fat snare sound. Sam- simplifying editing on the Emulator II. ples can also be tuned from the pitch at which they were sampled; a loop function will play back the sample continuously -a feature useful with percussion riffs, etc. J.L.Cooper introduced an interface Bo Tomlyn's for the Quantec Room Simulators that adds MIDI program -change capabili- KEY CLIQUE ties, etc. The new interface is a most useful feature for live applications, and Announces The in the studio, with a MIDI sequencer, can add automated reverb capability to your mix. ADVANCED DX.1 UBRARY In the software corner, the Apple Macintosh finally has received of Bo Tomlyn, well known for synthesizer programming in studio and in -store some clinics, now offers his NEW ADVANCED DX -7 LIBRARY to you! The highest quality the software development it deserves. sounds at a price everyone can afford! Bo Tomlyn has programmed for: Toto. The Of all the Mac programs at NAMM, Jacksons, Bruce Springsteen, Lionel Richie. and others. Total Music by Southworth Music The KEY CLIQUE Floppy DOS" (Disk of Sounds) contains 128 new sounds for , a 99- 16 -MIDI Systems track, channel your DX -7 every month. New banks of orchestral, analog, piano, strings, lead line, per track MIDI recorder, was the most split keyboard foot- controlled programs, and more expand your DX -7 capabilities complete integrated package available. to levels never before experienced. Each month's DOS Directory features valuable Total Music allows the individual edit- playing and programming hints. KEY CLIQUE's Newsletter and Question Ear' will ing of each MIDI channel, either with allow you to share your ideas with members worldwide and participate in the graphics (a graphic representation of a development of future KEY CLIQUE products. (ä50.00 per month or $240.00 for track's note durations, velocity, and 6 -month subscription.) etc.), or as notes on staves. Music can be SYS I EX ": recorded via a MIDI keyboard, or by The first software which allows you to store synth and drum programs on placing notes on staves Macpaint- style. one floppy disk. SYS/EX eliminates the need for separate software programs for each piece of equipment you own. SYS /EX is excellent for saving and After notes have been written on the loading your KEY CLIQUE library. (Note: SYS/EX only compatible with MIDI staves, they can be instantly played systems -exclusive equipped gear.) Priced al $85.00 (Non -members $125.00) back on your MIDI keyboard. The recorder features many different quan- What you need to "Get On Board" with KEY CUOUEI: tization values, and can also be pro- The Floppy DOS is a voice library for the DX -7. You'll need a DX -7! The Floppy DOS is available for Apple, grammed to record in step mode. The Atan, Commodore, IBM, Macintosh, Yamaha OX -1 and CX -5 (Cassette). You'll need one of those! software includes a score -printing driver If your computer isn't already MIDIED. you'll need the KEY CLIQUE MIDI Interface Card (or another manufactura's routine that can accommodate Apple's card designed for your specific computer). Imagewriter or Epson printers with the Finally, you'll need software to enter the KEY CLIQUE library into your synthesizer. KEY CLIQUE is compatible with the following software: KEY CLIQUE's SYS/EX, DX -Pro, DX- Heaven, Mimetics, Hybrid Mac -Epson connection; many other Arts MIDI Patch, Personal Composer and Music Works printers can be interfaced as well. All the menus are self explanatory, making ------How To Subscribe: -- Phase -- fili the wdh -(- out subscription coupon the need for a manual almost non exist- -- ent. Southworth has also developed its 1 your check or money order and seni Io own Macintosh MIDI interface, which 1 4noRESs includes two MIDI Ins. With the two MIDI Ins, a drum machine's MIDI clock ITY/STAIE can simultaneously control Total Music, , aIOPE 3960 Laurel Canyon Blvd Suite 3/4 while MIDI data is recorded from a MIXER 1 1 , MIDI -equipped keyboard. Studio City California 91604 IPlease Check the Following. Pious Send Me. , PIS) $45.7116 Opcode introduced the Midi Mac ser- í 50 (xi 16M 1 e 240 00 1 ies of software for the Macintosh. The Dx , Cx 5 ICassenei KEY CLIQUE dedicated to musicians S S/XlinrIlion $'roc 8500 mane pu currentry ase at a time when equipment is company's sequencer software includes CA nesUenh AEd 6'x44 Saks to , S,S4X Mimetcs DX P'o DX leaven becoming hank, to understarr. TOTAL AMOUNT e.cwue 26 sequences of 10 tracks each; features Orsona! Compose, H,prw Arts MIDI Pato 14kave aura 6 ,reeks for amincit ID! interface Cara your curremry uvho , such as loop, transpose and track mute Max check or rro"r war ro 1 xi, CL QUE MID! inter,. Cara Mrmetres are included. Tracks can be edited sim- Pawn] IT Passport Despnsfarnaha KEY CUQUE, INC. 3960 Laurel Blvd Diner Canyon Suite 374 ilar to autolocating on a conventional Studw City Calaorma 91604 , multitrack, and songs are created by i joining sequences together to form new sequences. A separate Patch Librarian August 1985 R -e/ p 103 P ikCtU T NO -. UIPMENT II ,!; ;," 1 t_Di Northeast: -tPEpPL TROD NOSSEL RECORDING STUDIOS (W-Wallingford, CT) has installed an Aphex Compellor compressor limiter, a Loft Model 410 compressor, API 554 parametric equalizers. a Pearl electronic drum set, plus Yamaha NS-10s monitor speakers and a DX -7 FM synthesizer. Available for rental is a Yamaha QX -1 with TX -816 system. P.O Box 57. Wallingford, CT06492. (203) 269 -4465. BROCCOLI RABE RECORDING COMPLEX (Fairfield, NJ) has installed a new Time Line Lynx timecode synchronization system to its 48 -track facility. In addition, two staff engineers have been added to the studio's staff - Bill Berends and Ed Dougerty. 15 Gloria Avenue, Fairfield, NJ 07006. (201) 575 -7460. DREAMLAND RECORDING (Kingston, NY) is a new 24 -track complex built by Acoustic Spaces and Bija Productions. Constructed in a "historic- church. the 800 -square -foot control room studio incorporates lead shielding in all walls, an "acoustically coherent" isolation booth. and video and telecommunication capabilities via computer control, plus a 40- by 45 -foot ambient room with a 34-foot high ceiling. The control room features an automated 40 -input API console with patchbay. Valley People 65k mixdown computer (containing 36 Fadex modules). Sony /MCI 24 -track and Studer A800 multitracks linked to a Cipher Digital BTX Shadow synchronizing system. The following monitors are supplied within the facility's control room: UREI, Ed Long TA -3, Yamaha NS -10, Auratone, and JBL models. Outboard gear comprises Lexicon 224 and PCM -60 digital reverbs. dbx noise reduction, Tektronix and Pultec tube equipment, and Studio Technologies Echo Plate III reverb. Company spokesman Phil Miller says that the new complex offers audio video duplication services, rehearsal space, indoor outdoor lounges. and video production capabilities. Road =3, Box 288, Route 28A, Kingston. NY 12401. (914) 338 -7151. COUNTERPOINT RECORDING STUDIOS (New York City) has completed a major upgrade with the acquisition of two Solid State Logic 6000E consoles. each with Total Recall automation, a pair of Otari MTR -90 Mk II 24- tracks, four Otari MTR 12 two- tracks. and an assortment of signal processing gear from AMS. Eventide, Lexicon, and Marshall Electronic. Aside from the SSL boards. all equipment was supplied by Martin Audio. In addition, Studio B has been enlarged. and a variety of cosmetic and acoustical improvements have been built into both studios, says the facilty's owner Jerry Ragovoy. 723 7th Avenue, New York, NY 10019 (212) 398-9550. SYNTONE (Boston) expanded its synthesizer capabilities with the acquisition of a 32- voice, stereo New England Digital Synclavier Digital Music System with guitar and sampling options. a Fostex B -16D with autolocator, an Allen and Heath CMC -24 semi- automated conole, and an Otari two -track machine. Outboard gear includes a Yamaha digital reverb, and a Lexicon PCM -42 digital delay line. In addition. the facility has also built an isolation booth. 1108 Boylston Street. f302. Boston, MA 02115. (617) 267-4137. MIXMASTERS (San Diego) is a 24 -track facility geared for film scoring. video post production. and album sessions. According to owner Charles Defazio, studio equipment comprises: a Neotek Series Mc 36 -in 32 -out console; various Otari tape machines, includ- SYNTONE New NEO Synclavier System - ing an MTR -90 16 24- track. Mk ILIA half -inch eight -track, MTR -12 and MTR -10 two -track mastering machines: and outboard gear that includes Lexicon Model 224 and Model 200 reverbs, plus Prime Time and Model 95 Prime Time II effects processors. Eventide Harmonizer, and Aphex Aural Exciter. In addition. Louie Stevens and Alan Harper have been appointed as general manager chief engineer and studio manager engineer. respectively. 4877 Mercury Street, San Diego. CA 92I1I. (619) 569 -7367. ESPN (Bristol. CT) has acquired a second 24- channel Neve 5114 with 12 stereo and 12 mono busses. Mike Negri, director of engineering and maintenance. reports that the desk was purchased primarily for use on the network's Sportscenter program, which profiles highlights from professional and college sports. In addition, a Sony 5000 video editor was added to the newly completed timecode editing suite. ESPN Plaza. 936 Middle Street. Bristol. CT 06010. (203) 584-8477.

Midwest. JOR -DAN STUDIO (Wheaton. IL) has added a complete AMS RMX -16 reverberation system. and microphones from Neumann. AKG, and Beyer. Also completed is a 600 -foot musician's lounge with monitoring facilities. The facility was originally designed by John Edward and George Augspurger. 100 Wheaton Oaks Court. Wheaton. IL 60187-3043. (3121 653 -1919. --wwwwww-- CHARLES BROWN MUSIC I Cincinatti has opened two new studios. The Palm Room is a SMPTE interlock facility that features an Allen and Heath Syncon B console. Otari MX -5050 eight -track. MTR -12 two -track (with SMPTE timecode center -track). and a specially modified MTR -12 four -track for audio -visual work. The second studio, a MIDI - controlled Synth Room. boasts a Yamaha DX7, QX1, and TX816 system with a Roland SBX -80 Sync Box for SMPTE timecode interlock. Other equipment includes two Oberheim Xpanders, LinnDrum, Chroma Polaris synthesizer. and J.L. Cooper MIDI patch bay. Recently added to the 24 -track Crimson Room and to both new rooms was a video -switching network linking the entire complex to an in -house one-inch video editing suite. 1349 East McMillan Avenue. Cincinnati. OH 45206. (513) 281-5212. JOR -DAN - AMS reverb acquisition POGO RECORDS RECORDING STUDIO, IChampaigne. IL) is a new 16 -track recording facility featuring a Studiomaster 24-by -eight mixing console. a UREI tube console. a 3M 16-track. a Lexicon digital reverb, and Altec 604E monitors. The studio. designed by Combo Audio. measures 500 square feet, with a 270 square -foot control room. The facility is an independent recording studio. and was designed by Mark Rubel (pictured here) within 75- year -old brick building. 37 East Taylor Street. Champaiane. IL 61820. (217) 351-8155.

Southeast: AIRSHOW, INC., (Arlington. VA) has added the following equipment to enhance its new production studio and on- location remote recording capabilities: an Ampex ATR -102 two- track; a Bryston 2B-LP amplifier; Yamaha NS -10 close -field speakers; two Lang PEQ equalizers: Trompeter WE- style coaxial patchbays for digital audio and video signal routing; and a Panasonic video monitor with pulse cross and underscan display. 5727 25th Road North, Arlington, VA 22207. (703) 237 -8312.

Re p lot - August EASTERN ACOUSTIC WORKS!

FIRST PRIZE WINNER OF THE JAPAN AUDIO CONSULTANT SOCIETY COMPETITION

IT REALLY REALLY it works in the industrial within everybody's reach. There's the testing: A random WORKS! installation in Tokyo -where There are important reasons for sample of every driver production the testing took place that resulted the extraordinary quality of the FR run is tested for a full hundred hours. in Nippon Onkyoka Kyokai naming Series. There's the crossover, for Further, each completed system is the EAW -based Unicus System the example -the most sophisticated tested individually, as well. So, no best- performing high -level sound you can get in a compact system. It chances are taken with anything system in the world. comes as close as you can get to going out that isn't up to EAW's full And it works in EAW's new FR absolutely flat power response. quality standards. Series, shown above: R222, FR102, It all began with Kenton Forsythe And along with everything else, FR253, FR122, FR153. calculating the design parameters there are the real wood enclosures The FR Series is our third - with mathematical precision -and of cabinet -maker quality. We use generation professional full -range then adjusting them flawlessly in cross -grain,18 -plies -to- the -inch, loudspeaker system. It shares in the extensive and painstaking listening laminated European birch plywood same advanced technology that evaluations. that doesn't flex -and stands up even helped win the international prize. Exact acoustic measurement under the most rigorous travel And it now brings that technology followed -based on a third order conditions. (18dB per octave) filter that achieves But the real prize -the one that precise phase and response counts most to us -is knowing that EASTERN coherence. Then, special response - we've built into our product the kind ACOUSTIC compensation equalizes the drivers. of science and craftsmanship and integrity that makes our sound as WORKS close to perfect cs it can sound. 59 Fountain Street /Box 111 And at prices that don't come Framingham, Massachusetts 07101 (617) 620 -1478 close to the quality they buy.

August l'.is. -> -R -e p lil.; For additional information circle #68 WE LEA VE OUT YOU DON'TNEED:

What makes our digital delay systems sound so clean? ADM: Adaptive Delta Modulation. When PCM -based delay systems hit their cut -off frequencies, they unfortunately hit an electronic "brick wall." Frequency response falls

INPUT MODULATOR OUTPUT ew.L I , i

I oEa,ub) ' ' I- I - ADM \ 1020 10 -M{ WAKE 4,000 11 II 4 -1E -.uT -' -EwWI LEVEL. FEEDBACK( DIGITAL DELAYImA/ DELAY LWIOTH SPEED MIX The ADM 1020 gives you all the popular special effects at an affordable price. Over one second maximum delay time. Perfect for the first time user or for the multiple effects user who needs a second unit. Bolt this one into your rack and flex your creative muscles.

,Pt el E\\ 11/ MODULATOR DIGITAL DELAY Inn) ' I I 2. _ 1 ADM 10 24 J d.r WIDTH SELLD V e L_ /1 MK."' IO2E1l FACTOR J D(NIALE LEC!lDJ... DELAY DELAY MIX Go beyond the standard effects with the ADM 1024. Comb filtering, tuned resonance, vocorder effects and much more. With a little experimentation you can create effects we've never heard of. This is the unit that built the DeltaLab reputation for quality and reliability. =lECT-RON malt _ I _ _ I I 17 e

.; .. NEM NMI( EOM URI RIMED wr 01.1, 0I'9 ADM 1030. The performance tool. User programmable version of the ADM 1024. Up to four effects 01985 ANALOG & 0101IAL SYSTEMS INC. addressable on command. Programs the complete effect -not an approximation like some other units. Use it with the optional ADM -STL footswitch. It's like a ton of stomp boxes in one little rack mount. THE ONEEFFECT "BRICK WALL" flat on its back. Phase distortion goes wild. Natu- rally, the sound suffers. DeltaLab delays are more sensitive to the dynamic characteristics of musical sound. Our patented ADM circuitry eliminates the "brick wall." The result? Clean, sharp effects: flanges that really rip; slapback that knocks you silly; doubling, chorusing and thickening that never slide into the mud. Audition one today at your DeltaLab dealer. Listen and compare. DeltaLab delays really cut.

DeltaLab

August 1985 k-e p 107 :V._ as .. n n.. - -'1A I.11 NM I 1 N . MI r 1 111 ti11 1 ` ` tltl ^^ I .--. .-. .- _._ r 1 _l' ' E_- 1 .01 l V 1 -. -.

C SOUNDSCAPE STUDIOS ( Atlanta) is a new 24track facility comprising a custom Neotek Series Ilk _'S , . ; with stereo submasters and group muting; various Studer tape machines, including an A80 MkIII 24-track. A80 `..:.i ::. A810 quarter inch and A710 cassette deck: FM Acoustics 800A and 300A. and Haller 500 monitors amps: plus Tannez speakers. Outboard gear includes a Lexicon 224X digital reverb with LARC. Super Prime Time digital delay, and a PC M -4I 1)1)1.. Eventide H910 and H949 Harmonizers, dbx Model 165A limiters: Valley People Kepex II noise gates; and ail Audio Arts 1100 equa.irer. 677 Antone Street NW. Atlanta, GA 30318. (4041 351.1003.

Southern Cuiiiurniu: C KDISC tHuliy.wood) has purc hased a Sony digital editing and disk -mastering audio system consisting of a PCM -1610 pn wessur. DDI.J -120 digital delay. a pair of BVU -800 db recorders, and a DAE -1100 editing system. Pictured here at Ken Perry, iett1 and John Golden with the new system. Currently, the facility claims to offer a full range of in -house analog and d!gual disk-mastering services to analog disk, digital and or analog tape, music editing and assembly tor Compact Disc release. The Sony system augments Studio As exisittng tandem Neumann VMS 80 analog disk-cutting lathes. and Zuma computer equipped Neumann VMS 70 lathe with Technics quartz drive motor located in Studio B. 6550 Sunset. Hollywood, CA 90028. (213) 466.1323. O TIM JORDAN RENTALS (Los Angeles) has purchased six Timeline Lynx nmecode modules, and says it is the first company to be offering the synchronization units for rent on the West Coast. The Lynx modules consist of individual timecode generator reader resolver units easily connected to virtually all digital and analog video, audio, and film transports. In addition. the modules can be linked together for up to a 32- machine synchronization. Accord- ing to facility owner Tim Jordan: "I no longer have to stock a variety of interface circuit boards KDISC Sony digital editing system - and EPROM sets for the many different recorders, and t here is no prior set up time necessary at :in. ,` ,; I..,!i-:. ier.,:!.y the LynxJ." 8474 West Third Street, Los Angeles. CA 90048 (213) 653 -0240. G OCLAN1d Al RECORDERS (Hollywood) has installed a second GML Moving Fader Automation System onto a custom 32 -input Delcorl console, which is linked to a portable 16-input API board, resulting in a total of 48 channels of automation for Studio B. The dual console system, which tailors mainly to album projects and film scores, was designed by Jay Kaufman of Oceanway. The facility's first GML system was installed a year ago onto an API desk. A 40 -input GML system was also delivered to Mama Joe's. in North Hollywood. and installed onto a Trident Series 80 board. With these two systems, there now are reported to have been six GML systems installed this year. 6050 Sunset, Hollywood, CA 90028. 1213) 467 -9375.

Why do Jensen Transformers have Clearer Midrange and Top End? The high frequency rolloff of a Jensen Transformer is optimized, by computer analysis, to fit the Bessel Low Pass Filter F OTHER response. This means minimum overshoot and ringing and flat group delay for best time f- JE-11P-1 alignment of all spectral components of the musical waveform. In other words, the harmonics arrive at the same time as the fundamental STEP WAVEFORM frequency. The result is a clear midrange and top end without the harsh, edgy sound which has been one of the most objectionable sonic complaints about transformers. There's no "midrange smear." 1E -11 P -1 /- Only Jensen has this benefit of hi -tech OTHER it computer optimization. GROUP DELAY Visitors by appointment only Closed Fridays. 10735 BURBANK BOULEVARD NORTH HOLLYWOOD, CA 91601 (213) 876-0059 jensen transformers INCORPORATED

Ii r( I!,` .\ugii,i For additional information circle a71 THE TASCAM MS -16: FOR THOSE WHO'VE HEARD IT ALL BEFORE.

We designed our new 1" 16 -track especially go back and listen a second time. You get THE TASCAM MS -I6 SIXTEEN TRACK for the skeptics. Those who have heard all what you want sooner and with fewer the other 16 tracks...and all the other headaches. claims. Hearing is believing, and the MS -16 Record /Function switches for each track delivers enough audio quality to convince allow effortless, one -button punch -ins. the most critical ears. But that's just part Input Enable allows instant talkback dur- of the story. The fact is, the closer you look ing rewinds. With the MS -16, you're free into the MS -16, the better it gets. to concentrate on the project at hand... The MS -16's superlative performance rather than on your tape machine. begins with our new micro -radii heads. The MS -16 takes the grief out of locking They virtually eliminate "head bumps" and up with other audio and video machines ensure flat frequency response. Put this as well. The 38 -pin standard SMPTE /EBU together with direct- coupled amplifiers interface affords speedy, single -cable con- throughout, plus ultra -quiet FETs, and you nection with most popular synchronizers get exceptional transient and low fre- and editing systems. And the MS -16's new quency response with extremely low Omega Drive transport stands up to con- distortion. tinual shuttling while handling tape with Unlike most tape machines, the record/ kid -glove kindness. sync and playback heads on the MS -16 are Take a closer look at the MS -16. See your identical in performance, so you can make TASCAM dealer for a demo, or write us for critical EQ and processing decisions en more information at 7733 Telegraph Road, overdubs or punch -ins without having to Montebello, CA 90640.

Northeast: The R -e /p Buyer's Guide FORGE RECORDING STUDIOS. INC. P.0 Box 861 AAA RECORDING STUDIO of Cutting and Valley Forge. PA 19481 130W 42nd St.Rm 552 1215) 644- 3266.935 -1422 TD New York. NY 10036 12121 221 -6626 DM. PL. PR. PK Mechanical Services

ANGEL SOUND GEORGE NEID 1576 Broadway MASTERING PRESSING PRODUCTIONS New York. NY 10036 1212) 765 -7460 TD TAPE DUPLICATION 14121 561 -3399 Otan Mastering and Bin Loop APON RECORD CO . INC AGFA P 0 Box 3082 Steinway Station PACKAGING duplication. 611, 612. Long Island City, NY 11103 Magnetite and 627 True II 1718) 721 -5599 DM. TD. PL. PR, PK R -e /p's Unique Directory Listing of BASF Chrome Pro Were dedicated to the finest Disk Cutting and Tape Duplicating ASR RECORDING SERVICES stereo duplication at truly 21 Harristown Rd Glen Rock. NJ 07452 Services - the kind of services all competitive prices 1201) 652 -5600 TD. PI< recording and production facilities

AUDIO DIGITAL INC require as the "Final Stage" in the HUB -SERVALL RECORD MFG 12 Long Island Ave. preparation of marketable audio Cranbury Rd. Holtsville, NY 11742 product. Cranbury. NJ 08512 1516) 289-3033 TD 16091655 -2166 PL. PR AUDIO VISUAL COMMUNICATIONS Key to Services: IAN COMMUNICATIONS GROUP. INC. 435 Crooked Lane 10 Upton Drive King of Prussia, PA 19406 DM = Disk Mastering Wilmington. MA 01887 12151272 -8500 TD 16171658-3700 TD TD = Tape Duplication BEE -VEE SOUND. INC MARK CUSTOM RECORDING SERVICE PL = Plating 211 East 43rd St . #603 10815 Bodine Rd New York. NY 10017 PR = Pressing Clarence, NY 14031 12121949 -9170 TD 1716) 659 -2600 DM. TO PR. PL. PK PK = Packaging BESTWAY PRODUCTS. INC MASTER CUTTING ROOM 1105 CD = Globe Ave CD Preparation 321 W 44th St. Mountainside. NJ 07092 New York, NY 10036 1201) 232-8383 PR. PK 12121581 -6505 DM To be included in the next edition of BURLINGTON AUDIO TAPES. INC The Final Stage" send details to Rhonda MASTERDISK CORPORATION 106 Mott St 16 West 61st St Oceanside. NY 11572 Kohler. RECORDING Engineer/ New York. NY 10023 1516) 678 -4414 TD 1212) 541 -5022 DM Producer, P.O. Box 2449, Hollywood, DICK CHARLES RECORDING PRC RECORDING COMPANY 130 W 42nd St #1106 CA 90078. (213) 467 -1111. 422 Madison Ave New York, NY 10036 New York. NY 10017 1212) 819 -0920 DM. TD 12121 308 -2300 DM. PL. PR. PK

COOK LABORATORIES. INC. PETER PAN INDUSTRIES 375 Ely Ave 145 Kormorn St Norwalk. CT 06854 Newark. NJ 07105 1203) 853 -3641 DM. TD. PL. PR, PK ABSOLUTELY the BEST 12011 344 -4214 DM. PR. PL QUALITY and SERVICE at CREST RECORDS. INC. OUIK CASSETTE CORP 220 Broadway ABSOLUTELY the BEST PRICES 250 W 57th St . Rm 1400 Huntington Station. NY 11747 FREE BOXES with arty order New York. NY 10019 1800) 645 -5318 DM. TD. PL. PR. PK -4411 TD Real Time Cassette Duplication 12121977 CRYSTAL CITY TAPE DUPLICATORS, INC. Printing and Packaging RESOLUTION. INC. 48 Stewart Ave 26 Baxter Street 1 Mill SL - The Chace Mill Huntington. NY 11743 Burlington. VT 05401 TD Buffalo, NY 14207 (716)876 -1454 15161421 -0222 1802) 862 -8881 TD. PK

CUE RECORDINGS. INC SOUND TECHNIQUE. INC 1156 Ave. of Americas 130 W 42nd St New York. NY 10036 New York. NY 10036 12121921 -9221 TO EURÖPÄDISK;L°TD:; 1212) 869 -1323 DM Ewopaarik LIa 'S VarKR Street New VOIR Nt í00U THE CUTTING EDGE SOUNDTEK INC P.O Box 217 1780 Broadway Ferndale, NY 12734 Audiophile pressing New York. NY 10019 1914) 292 -5965 DM. TD, PL. PR. PK 12121489 -0806 DM. TD. PL. PR. PK. CO Exclusively on imported DIGITAL BY DICKINSON TELDEC vinyl SOUNDWAVE RECORDING STUDIOS. INC Box 547. 9 Westinghouse Plaza 2 West 45th St #903 Bloomfield. NJ 07003 Licensed for DMM Central New York. NY 10036 12011429 -8996 CD Plating and Pressing 12121730 -7360 DISKMAKERS 925 N 3rd St. Philedelphia. PA 19123 SPECTRUM MAGNETICS, INC. 1800) 468-9353 TD. PR PHILADELPHIA 1770 Lincoln Highway, DYNAMIC RECORDING East 2846 Dewey St. NEW YORK P.O. Box 218 Rochester. NY 14616 MUA 17161621 -6270 TD. PR FRANKFORD/ WAYNE Lancaster. PA 17603 (717) 296 -9275 TD. EXECUTIVE RECORDING. LTD MASTERING LABS PK 300 W 55th St Toll -Free 800 -441 -8854 New York. NY 10019 BASF CHROME 12121247 -7434 DM Computerized Disc Mastering a specialty Your audio cassette (215)561 -1794 (212)582 -5473 company!

N -e p 110 August 1985 Steve Gilbard /Conee-t Sound Engineer Tasco Sound Ltd. Credits: Madonna

At every concert Tasco does, why do 20,000 screaming fans experience the same sound and light spectacle? Steve Gilbard. He strips sound and light down to the basics, then puts it back together again in just the right measure. No matter whose sound. No matter what sight. No matter where. That's Gilbard's talent, and the innovative use of technology. Nikko Audio has been making substantive contributions to technology +imp_ for 50 years. We were first with MOS FETs, first with circuit breaker protection. And now, for the first time, Nikko's LABO Series of commercial 1 -2-7 = ':, audio components. Like all Nikko components, they're built to last. As a primary manufacturer with demanding double QC aerospace a tolerances, it's no wonder Nikko Audio offers a fully transferable, un- conditional 3 year warranty. Nikko Audio and Steve Gilbard. Stretching the power of technology to every seat in the house ... and beyond. _ 11=r1=11 _ Mr 1M _ _ ttr__ _ _ NIKKO ar. _ _.1M The power of technology. 5830 South Triangle Drive, Commerce, CA 90040 Nikko Audio systems and components are available exclusively through Authorized Nikko Audio Dealers. For additional information circle #74 August 1985 R -e p 111 1H111 IHNh/',`L1F/', r

SUNSHINE SOUND. INC. MIAMI TAPE. INC. 1650 Broadway 8180 N.W. 103 St. New York, NY 10019 Hialeah Gardens, FL 33016 (2121 582 -6227 DM. PL (305) 558 -9211 TD, DM, PR, PL, PK

TRACY -VAL CORPORATION MUSIC PEOPLE STUDIOS 201 Linden Ave. 932 Woodlawn Rd. L Somerdale. NJ 08083 Charlotte, NC 28209 (609) 627-3000 PL (704) 527 -7359 Td, PK

NATIONAL CASSETTE SERVICES 613 N. Commerce Ave. /P.O. Box 99 PRECISION Front Royal, VA 22630 TRUTONE RECORDS (703) 635 -4181 TD. PK 163 Terrace St. PROGRESSIVE MUSIC STUDIOS Haworth, NJ 07641 2116 Southview Ave. MAGNETIC Tampa, FL 33606 1201) 385 -0940 (813) 251 -8093 TD, PK State of the art Neumann or Wes - trex disk mastering labs, featuring SMITH 8 SMITH SOUND STUDIOS TEST TAPES 214 Doverwood Rd. creative engineering, outstanding Fern Park, FL 32730 Introducing two NEW SERIES service, competitive pricing. Top qual- (305) 331-6380 Td. PK of test tapes manufactured ity record production packages also to IEC and NAB equalization available. South Central: standards with extended A8R RECORD 8 TAPE MANUFACTURING frequency range and using 902 N. Industrial Blvd. VARIETY RECORDING STUDIO Dallas, TX 75207 frequencies. 130 W. 42nd St., Rm. 551 international test (214) 741 -2027 DM, TD, PL. PR, PK New York, NY 10036 (212) 221 -6625 DM, PL. PR, PK ARDENT MASTERING. INC. Hz SEC. 2000 Madison Ave. VIRTUE RECORDING STUDIOS Memphis, TN 38104 1/4" 1 /2" 1" & 2" 1618 N. Broad St. (901) 725-0855 DM Philadelphia, PA 9121 1000 30 40 60 (215) 763-2825 DM. TD. PL, PR CASSETTE CONNECTION 4000 10 12 20 41 Music Square East East /Southeast: Nashville. TN 37203 8000 15 20 30 (615) 248-3131 TD 20 25 40 ALPHA RECORDS 16000 1400 N.W. 65th Ave., Plantation CREATIVE SOUND PRODUCTIONS 1000 10 12 20 Fort Lauderdale. FL 9000 Southwest Freeway. Suite 320 305 -587 -6011 PL. PR, PK Houston, TX 77074 31.5 10 12 20 (713) 777 -9975 TO AMERICAN MULTIMEDIA 40 10 12 20 DISC MASTERING. INC. Route 8. Box 215 -A 30 Music Square West 12 20 Burlington, NC 27215 63 10 Nashville, TN 37203 (919) 229 -5559 TD 100 10 12 20 (615) 254 -8825 DM PAT APPLESON STUDIOS INC. 125 10 12 20 DUPLI- TAPES. INC. 1000 N.W. 159th Drive. 4545 Bissonnet. Suite 104 Miami. FL 33169 250 10 12 20 Bellaire, TX 77401 (305) 625-4435 DM. TD. PL, PR. PK 500 10 12 20 (713) 432 -0435 TD COMMERCIAL AUDIO 12 20 HIX RECORDING CO.. INC. 1000 10 77 S. Witchduck Rd. 1611 Herring Ave. Virginia Beach. VA 23462 2000 10 12 20 Waco, TX 76708 (8041 497-6506 TD 4000 10 12 20 (817) 756-5303 CUSTOM RECORDING AND SOUND. INC 8000 10 12 20 1225 Pendleton St. 10000 10 12 20 P.O. Box 7647 MASTERCRAFT RECORDING CORP. Greenville. SC 29610 437 N. Cleveland 12500 12 15 25 (3021 269-5018 TO Memphis, TN 38104 (901) 274 -2100 DM 16000 12 15 25 15 25 MASTERFONICS 20000 12 28 Music Square East 1000 12 15 25 ourmi 4üí 'rent! Nashville, TN 37203 (615) 327 -4533 DM, CD 10rít .-freak. MUSIC SQUARE MFG. CO. I lC \ible Soundsheets \tIi,re hard Program used on new series of g 50 Music Square West. Suite 205 test tapes at 71/2, 15 & 30 IPS. records can't. In n1a ^_alines. in the Nashville. TN 37203 mail. Great for promu samplers: (6151 242-1427 CD. DM. TD. PR, PL, PK Send for free catalog. AUDIO CASSETTE DUPLICATION Send for our tree "Cassette Talk- NASHVILLE RECORD PRODUCTIONS newsletter with details and prices. 469 Chestnut St TOLL FREE 1.800.EVA.TONE Nashville, TN 37203 STANDARD TAPE EVA-TONE INCORPORATED (615) 259-4200 TD. DM. PK. PL, PR P.O. Box 7020 /Clearwater, FL 33518 LABORATORY, INC. TRUSTY TUNESHOP RECORDING STUDIO Rt. 1. Box 100 26120 Eden Landing GEORGIA RECORD PRESSING Nebo. KY 42441 262 Rio Circle (502) 249 -3194 TD Road #5, Decatur. GA 30030 (404) 373-2673 PR. PK Hayward, California Midwest: 94545 U.S.A. MAGNETIX CORPORATION A&F MUSIC SERVICES 770 West Bay St. 2834 Otego (415) 786-3546 Winter Garden. FL 32787 Pontiac. MI 48054 i 1305) 656 -4494 TD, PK (313) 682 -9025 TD

IZ-e p 112 August 1985 Hh1E-frINN/',`LAC1 t_

AARD -VARK RECORDING. INC. 335 S. Jefferson Springfield. MO 65806 (417) 866 -4104 TD. PK RITE RECORD PRODUCTIONS. INC. ROCKY MOUNTAIN RECORDING 9745 Mangham Drive 8305 Christensen Rd ACME RECORDING STUDIOS Cincinnati. OH 45215 Cheyenne. WY 82009 3821 N Southport (513) 733 -5533 DM. TD. PL. PR. PK 13071 638 -8733 DM. PL. PR Chicago. IL 60613 (3121477 -7333 TD. PK RON ROSE PRODUCTIONS SOUNDMARK, LTD. 29277 Southfield Rd. 4950 -C Nome St ARC ELECTRONIC SERVICES Southfield. MI 48076 Denver. CO 80239 2557 Knapp N E 1313) 424-8400 TD (303) 371 -3076 TC Grand Rapids. MI 49505 (616) 364 -0022 TD SOLID SOUND. INC. PO Box7611 TALKING MACHINE AUDIO ACCESSORIES CO Ann Arbor, MI 48107 38W515 Deerpath Rd (313) 662 -0669 TD 6733 N. Black Canyon Highway Batavia. IL 60510 1312) 879 -5998 TD. PK SONIC SCULPTURES Phoenix. AZ 85015 636 Northland Blvd (602J 246 -4238 DM. PK AUDIO GRAPHICS Cincinatti. OH 45240 13801 E 35th St 15131851 -0055 PM Ortofon Cutting System Independence, MO 64055 Zuma Computer -Controlled Lathe 18161254 -0400 TD, PK STANG RECORDS MANAGEMENT P 0 Box 256577 Consumer Digital Formats BODDIE RECORD MFG 8 RECORDING Chicago. IL 60625 Transferred Direct to Disk 12202 Union Ave (312) 399 -5535 CD. TD. DM. PL. PR. PK VHS. Beta. U Video Cleveland OH 44105 -Matic (216) 752 -3440 DM. TO. PL. PR STORER PROMOTIONS P.O Box 1511 DIGITAL AUDIO DISC Cincinnati. OH 45202 UNIVERSAL AUDIO SALES CORP 1800 N. Fruitridge (513) 621 -6389 DM. TD. PR, PL, PK 6540 East Lafayette Blvd. Terre Haute. IN 47804 Scottsdale. AZ 85251 (812) 466-6821 CD STUDIO PRESSING SERVICE (602) 994 -5528 TD. PM, PK 320 Mill St ELEPHANT RECORDING STUDIOS Lockland. OH 45215 Southern California: 21206 Gratiot Ave (513) 793 -4944 TD. DM. PR. PL East Detroit. MI 48021 ABBEY TAPE DUPLICATORS. INC 1313) 773-9386 TD SUMA RECORDING STUDIO 9525 Vassar Ave. 5706 Vrooman Rd Chatsworth, CA 91311 HANF RECORDING STUDIOS. INC Cleveland. OH 44077 (818) 882-5210 TD. PK 1825 Sylvania Ave (216) 951 -3955 DM. TD, PL. PR, PK Toledo. OH 43613 ALLIED RECORD CO . WEA MEG (419) 474-5793 TD TRIAD PRODUCTIONS 6110 Peachtree St 1910 Ingersoll Ave. Los Angeles. CA 90040 INDUSTRIAL AUDIO. INC Des Moines. IA 50309 (213) 725 -6900 6228 Oakton 1515) 243 -2125 TO Morton Grove. IL 60053 1312) 965 -8400 TD Mountain:

JRC ALBUM PRODUCTIONS BONNEVILLE MEDIA COMMUNICATIONS 1594 Kinney Ave 130 Social Hall Ave Cincinnati, OH 45231 Salt Lake City, UT 84111 1513) 522-9336 DM. PR. PK 1801) 237 -2677 TD DON'T KIDERIAN RECORDS PROD CHRISTIAN AUDIO TAPES 4926 W. Gunnison 3005 W Glendale Ave Chicago. IL 60630 Phoenix. AZ 85021 (312) 399-5535 DM. TD. PL. PR. PK (602) 246 -4976 TD MAGNETIC STUDIOS. INC READ 4784 N High St Columbus. OH 43214 1614) 262 -8607 TD DIGITAL AND MEDIA INTERNATIONAL. INC REAL -TIME CASSETTE 247 E Ontario THIS!!!! Chicago. IL 60611 DUPLICATION BY 1312) 467-5430 TD. PK GRD UNLESS YOU WANT THE BEST MIDWEST CUSTOM RECORD PRESSING CO ALBUMS FOR TRUE REALISM AND TAPES AT THE P 0 Box 92 Arnold. MO 63010 AND PURITY PHONE BEST STUDIO PRICES 1314) 464 -3013 TD. PL. PR. PK 602 -252 -0077 AVAILABLE. COMPLETE P O BOX 13054 MOSES SOUND ENTERPRISES ALBUM AND TAPE PACKAGE. \ PHOENIX. ARIZONA85002 270 S. Highway Dr, to 4 Valley Park. MO 63088 -1 color U.V. Coated Jackets - (314) 225 -5778 TD -Stock Jackets - -7" Records and printed sleeves- MUSICOL. INC MIRROR IMAGE 780 Oakland Park Ave 10288 E Jewell Ave.. #45 -Cassettes and 1 to 4 color inserts - Columbus. OH 43224 Denver. CO 80231 Call STORER PROMOTIONS (614) 267 -3133 DM. TO, PR. PK 3031751 -2268 TD Collect (513) 621 -6389 for FREE information and NORWEST COMMUNICATIONS MOONVALLEY CASSETTE quotations:'If you want more than good 123 South Hough St 10802 N 23rd Ave Barrington. IL 60010 Phoenix, AZ 85029 you want the BEST!" (312) 381 -3271 TD 1602) 864 -1980 TD. PK PRECISION RECORD LABS. LTD RAINBOW CASSETTE STUDIO Surer t-)rcmcticris 932 West 38 Place P 0 Box 472 Chicago. IL 60609 Taos. NM 87571 312) 247 -3033 DM. TD. PR. PL. Ph 505) 776 -2268 TD 2149 W Clifton Ave. RO. BOX 1511 Cinti.. OH 45219 Cinti., OH 45201 0 C A CUSTOM PRESSING RAINBOW VENTURES STUDIO 2832 Spring Grove Ave 2219 W 32nd Ave (513) 621 -6389 Cincinnati. OH 45225 Denver. CO 80211 5131 681 -8400 DM. TD PL. PR, PK 303) 433 -7231 DM. TD, PL. PR, PK

August I))?i:i !t-e p 113 1Hlit- INALE.F/ WORLD RECORDS_

ALSHIRE INTERNATIONAL. INC

1015 Isabel St . P 0. Box 7107 Burbank, CA 91510 (213) 849 -4671 DM. TD. PL. PR. PK

ARTISAN SOUND RECORDERS 1600 N Wilcox Ave Hollywood. CA 90028 12131461 -2751 DM 6550 Sunset Boulevard AUDIO CASSETTE DUPLICATORS Hollywood, California 90028 5816 Lankershim Blvd. 7 (213) 466 -1323 North Hollywood. CA 91601 (818) 762 -2232 TD K DISC Fully illustrated. The essential pric- AUDIO VIDEO CRAFT. INC 26000 Spring Brook Ave for all YOUR 7000 Santa Monica Blvd Saugus. CA 91350 ing and planning guide Los Angeles. CA 90038 18051259 -2360 DM PL PR.PK custom record and tape needs. 12131466 -6475 TD Albums, 45's, EP's, 12" Singles. K M RECORDS Cr02 Cassettes, Jackets. All com- AWARD RECORD MFG INC 2980 N Ontario St 5200 W 83rd St Burbank. CA 91504 pletely described and package Los Angeles. CA 90045 (818) 841 -3400 DM. PL PR PK priced, fully guaranteed to give (2131 645 -2281 DM. TD. PL. PR. PK 10000 satisfaction. Our 16th year of LIGHTNING CORP. fast, com- BAMCO RECORDS 7854 Ronson Rd providing dependable, 1400 S Citrus Ave San Diego. CA 92111 petitively priced service. Fullerton. CA 92633 1619) 565 -6494 TD. PK (714) 738-4257 PR LOCATION RECORDING 3 CALL BUZZY'S RECORDING SERVICES 2201 W Burbank Blvd NOW 6900 Melrose Ave Burband. CA 91506 Los Angeles. CA 90038 (8181 849 -1321 DM. PK. PR. PL (213) 931-1867 TD 1 -800 MCA WHITNEY RECORDING STUDIO CMS DIGITAL RENTALS. INC 1516 W Glenoaks Blvd 263 -7798 453 -E Wapello St Glendale. CA 91201 Altadena. CA 91001 12131 245 -6801 DM. TD TOLL (818) 797 -3046 CD ML TAPE DUPLICATING FREE CAPITOL RECORDS STUDIOS 6935 Valican 1750 N. Vine St Van Nuys. CA 91406 WORLD RECORDS Hollywood. CA 90028 18181988 -2737 TD (213( 462 -6252 DM. TD Baseline Rd W Bawmannlle. Onl. 1.1 C 323 MASTER DIGITAL INC CASSETTE PRODUCTIONS UNLIMITED 1749 14th St 46 S DeLacey St Suite 24 Santa Monica. CA 90404 Pasadena CA 91105 (213) 452 -1511 TD (8181 449-0893

CUSTOM DUPLICATING. INC 3404 Century Blvd THE MASTERING LAB Ingelwood CA 90303 12131 670 -5575 TD. PK

DYNASTY STUDIO 1614 Cabrillo Ave Torrance. CA 90501 O d (213) 328-6836 TD o FILAM NATIONAL PLASTICS INC 13984 S Orange Ave Paramount. CA 90723 213- 466 -8589 12131630 -2500 PK LOS ANGELES mirror -imago

3 CASSETTE COPIES FUTURE DISC Highest Quality Fast Delivery SYSTEMS Real Time People Who Care COMPLETE ANALOGUE & DIGITAL High Speed Personal Service MASTERING SERVICES FOR COMPACT DISC, 6605 W. Sunset Blvd. RECORD & CASSETTE MANUFACTURING P Los Angeles. CA 90028 3475 CAHUENGA BLVD WEST )213) 466 -1630 HOLLYWOOD CA 90068 (213) 876 -8733

BERNIE GRUNDMAN MASTERING MOBILE FIDELITY SOUND LAB 6054 Sunset Blvd P.0 Box 4285 Hollywood. CA 90028 Chatsworth. CA 91313 -4285 (213) 465-6264 CD. DM 18181 709 -8440 CD. TO DM

HITSVILLE STUDIOS MONARCH RECORD PRESSING 7317 Romaine St 9545 San Fernando Rd. Los Angeles. CA 90046 Sun Valley. CA 91352 (213) 850-1510 DM. CD 18181 767 -8833 TO. PR. PL. PK

JVC CUTTING CENTER OPHARION RECORDINGS P 0 Box i3 6363 Sunset Blvd .a500 91209 Hollywood. CA 90028 Long Beach. CA 90809 (213) 467 -1166 DM. CD (213) 438 -4271 TD I III :1ugu-i HI1 tir INrkih',551-H/, GE CAPITOL CITY STUDIOS AUDIODYNE 911 East 4th Ave. CASSETTE O. Box 825 Olympia. WA 98506 an Jose. CA 95106 2061352 -9097 TD. DM. PR, PL. PK '4081287 -3520 TO DUPLICATION CASSETTE TECHNOLOGIES STEREO MONO KENNETH BACON ASSOC . INC 5722 Swan Creek Drive. E. 24 Commercial Blvd . Suite E Tacoma. WA 98404 COMPLETE PACKAGE Novato, CA 94947 ;2061472.2740 TD. PK PROFESSIONAL QUALITY 115) 883-5041 TD. PK NORTHWEST. INC. DAVKORE COMPANY 1224 S.W. Broadway PHYLCO AUDIO 1300-D Space Park Way Portland. OR 97205 4709 BROOKS, MONTCLAIR, CA 91763 Mountain View. CA 94043 (5031226 -0170 TD (714) 621 -9561 14151969 -3030 TO. PK FANTASY STUDIOS Canada: PRECISION LACQUER 10th and Parker 1008 North Cole Ave Berkeley. CA 94710 McCLEAR PLACE MASTERING STUDIOS Hollywood, CA 90038 14151549 -2500 DM 225 Mutual St. 12131464 -1008 DM ' nto. Ontario M5B 2B4 BILL RASE PRODUCTIONS. INC. 977 -9740 DM PRESENT TIME RECORDERS 955 Venture Court 5154 Vineland Ave. Sacramento. CA 95825 WORLD RECORDS North Hollywood. CA 91601 19161929.9181 TD. PR P 0. Box 2000 Baseline Road West 18181 762-5474 TO Bowmanville, Ontario L1C 3Z3 SHUR -SOUND 8 SIGHT. INC. 1(8001263.7798 DM. TD. PL. PR. PK QUAD TECK STUDIOS AND F.D S. LABS 3350 Scott Blvd. #5 4007 West 6th St. Santa Clara. CA 95054 Los Angeles. CA 90020 (4081 727-7620 TD Foreign: 12131383 -2155 TD. DM SONIC ARTS /MASTERING ROOM RAINBO RECORD MFG. CORP. 665 Harrison St. 1738 Berkeley St. San Francisco. CA 94107 Santa Monica. CA 90404 (4151 781 -6306 TD. CD. TM. DM. PR. PL. PK (2131 829-0355 DM. TD. PL. PR. PK BRITAIN'S LEADING DIGITAL AUDIO RECORD TECHNOLOGY, INC. Northwest: POST PRODUCT FACILITY 486 Dawson Drive Camarillo. CA 93010 AMERICAN TAPE DUPLICATING Neve DSP Consoles (8051 484-2747 TD. PL. PR 7017 15th Ave N.W. CD master preparation with PO codina Seattle. WA 98117 VMS 80 disc mastering SHEFFIELD LAB MATRIX 12061 789 -8273 ID. PK Reel to Reel copying 1830 Olympic Blvd. 1610. X -80 F1 all analogue formats Santa Monica. CA 90404 AUDIO PRODUCTION STUDIO Tape One Studios. 29130 Windmill St . 12131 829 -7825 PL 7404 Sand Lake Road W1P 1HG. Anchorage, AK 99502 LONDON England Tel -441 580 0444. TLX 298531. SOUND MASTER AUDIO /VIDEO 19071243 -4115 TO PR PK 10747 Magnolia Blvd. North Hollywood. CA 91601 (2131 650-8000 DM

STUDIO MASTERS The GOLDLINE Model 30 8312 Beverly Blvd. The Affordable Digital, Real -Time, Spectrum Los Angeles. CA 90048 Analyzer is - 12131653 -1988 DM the affordable and easy Way to to -use instrument that takes the TAKEDA RECORD SERVICE guesswork out of audio system 11542 Burbank Blvd. #2 Eliminate North Hollywood. CA 91601 calibration including frequency (818) 760-6644 TD. DM. PR. PL. PK Audio System response measurement of consoles TAPE SPECIALTY. INC. and tape machines, as well as 13411 Saticoy St North Hollywood. CA 91605 and Room Drift monitor system calibration (8181 786-6111 TD. PK

TAPEL0G 10511 Keokuk Ave. Chatsworth. CA 91311 18181882 -4433 TD

TRAC MARKETINC 2015 BRUNDAGE BAKERSFIELD. CA 93304 Affordable at just: 81895.00. Now available with (805) 323 -0713 the Option 020 Printer Interface Board to provide hard We duplicate the spoken WORD copy of all test parameters used during RTA measurements. in sermon and in song The Model 30 is the ultimate studio and audio system "tweaking machine" Christian Music Duplicating Full 30 Bands Six Memories Quartz Controlled Switched Capacitive Filtering to Eliminate Blank Tapes and Supplies Drift Ruggedized for Road Use Microprocessor Controlled Built -in Pink Noise Source Real Time Duplicating "Flat." "A." or "User Defined" Weighted Curves may be employed ROM User Curves Avai able Learn how easy the Model 30 is to use. Return the coupon below, or circle the reader service number to receive the Goldline catalog of products. VIRCO RECORDING. INC. 700 S. Date Ave. NAME Alhambra, CA 91803 (2131 283-1888 DM. TO, PL. PR GOLD LINE COMPANY P.O. Box 115 West Redding, CT 06896 STREET Northern California: (203) 938 -2588 CITY ARCAL 2732 Bay Road STATE ZIP Redwood City. CA 94063 (4151 369-7348 TD

August 1985 R-r p I IA The Directory

R -e /p's Product Listing of TIME DOMAIN PROCESSORS and SPECIAL EFFECTS UNITS Coming in the next issue: Frequency and Dynamics Processors.

ACOUSTICLOG, INC. Inputs: Four. Outputs: I vs u. 19 Mercer Street Outputs: Four (standard model). Effects Type(s): Digital reverb system. Effects Type(s): Digital delay. New York, NY 10013 Delay Ranges: N /A. Delay Ranges: 0 to 299 ms, extendable in 800 ms Reverb /Echo Parameters: Sever:. Phone: (212) 925 -1365 per module. Operational Controls: Room type: pre -delay: Phase 5A Reverb /Echo Parameters: N /A. HF damping: blend: decay time: and diffusion. Inputs: One. Operational Controls: Adjustable inputoutput Selected Standard Features: Remote control. Outputs: Orte. levels: and delay thumbwheels. MIDI: stereo it ;: stereo out: and 100 presets. Effects Type(s): Phase shitting. Selected Standard Features: Input arid output Frequency Response (input /output): 10 Hz to 1 a Delay Ranges: N 'A. modules configurable and expandable: optional kHz. Reverb /Echo Parameters: N'A. effects module. Distortion: Less that 0.1 "... Operational Controls: Manual sweep: sweep frequency Response (input /output): 20 Hz to 16 S/N Ratio (input /output): Better than -84 dB. speed: intensity: regeneration,: and envelope kHz. Pro -User Price Range: $1.695 Distortion: Less than 0.2 for 20 Hz to 6 kHz. follower level. Model 01A -191 Selected Standard Features: Built -it, regen- S/N Ratio (input /output): Better than -93 dB, A weighted. Inputs: One. eration ar:d envelope follower. LA input and Pro -User Price Range: For standard ur;it: $15,000 Outputs: Two. envelope follower output fur conceruon to Effects Type(s): Digital reverb system. other devices. Model BX25E Delay Ranges: N/A. Frequency Response (input /output): N/ A. Inputs: Two. Reverb/Echo Parameters: Seven. Distortion: N /A. Outputs: Two (standard model). Operational Controls: Room type: pre-delay S/N Ratio (input /output): N A. Effects Type(s): Spring reverb. HI' damping: blend; decay time: arid diffusion. Pro -User Price Range: N/A Delay Ranges: N /A. Selected Standard Features: 49 presets: nine For additional information circle e170 Reverb /Echo Parameters: 1.5 to 3.5 seconds. room types: balanced mono in: atid stereo out Operational Controls: Remote control mix of Frequency Response (input/output): 20 Hz to 10 ADVANCED MUSIC SYSTEMS echo and reverb. as well as reverb types. Selected Standard Features: Input and output Distortion: Less that 0.025"4.. U.S. Distributor: Harris Sound, Inc. levels adjustable. with optional M250 echo unit S/N Ratio (input/output): Better than -72 dB. 6640 Sunset Blvd. Suite #110 at 60 ms selectable ;two per channel). Pro-User Price Range: $1,395 Hollywood, CA 90028 Frequency Response (input /output): 50 Hz to 8 Model DR2-230 Phone: (213) 469 -3500 kHz. Distortion: N /A. Inputs: One. AMS DMX 15-80S S/N Ratio (input /output): Better that: -76 dB. A Outputs: Three. Inputs: Two. eighted. Effects Type(s): Digital reverb system. Outputs: Two. Pro -User Price Range: For standard unit: $5.500 Delay Ranges: N /A. Effects Type(s): Delay. pitch -charge. For additional information circle #172 Reverb /Echo Parameters: Six. sampling. Operational Controls: Room type; pre -delay. Delay Ranges: 0 to 13 seconds (full bandwidth). HF damping; blend: decay time: arid diffusion. Reverb /Echo Parameters: N /A. ALESIS CORP. Selected Standard Features: Nine room types, Operational Controls: Two -channel input - P.O. Box 3908 three presets; bypass; balanced mono in /stereo output; regeneration: VCO (speed and depth): Los Angeles, CA 90078 or mixed mono out: and Hi /Lo level. Frequency Response (input 20 Hz to 10 nudge buttons: and keypad for adding delay. Phone: (213) 467 -8000 /output): Selected Standard Features: Channel A has 3.2 kHz. seconds with pitch -change and sampling: chan- Model XT Distortion: Less that 0.025%. nel B has 1.6 seconds ar;d pitch -c hange. Inputs: One. S/N Ratio (input /output): Better than; -72 dB. Frequency Response (input/output): 20 Hz to 18 Outputs: Two. Pro -User Price Range: $995 kHz, -3/ +0 dB. Effects Type(s): Digital reverberation. Model 1500 Distortion: THD less than 0.03 ".. at 1 kHz full Delay Ranges: Dents time range is 0.15 to 10 Inputs: One. output. ..er Wads. Outputs: One. S/N Ratio (input /output): 90 dB dynamic r.1;11, Effects Type(s): Digital delay. Pro -User Price Range: $8.995 Delay Ranges: 0.15 ms to 1.5 seconds in four AMS RMX -16 ranges. Inputs: One. Reverb /Echo Parameters: N /A. Outputs: Two. Operational Controls: Manual; width; speed. Effects Type(s): Digital reverb with special mix; and regeneration.. effects. Selected Standard Features: Repeat hold; irn /out. Delay Ranges: Delay program: 0 to 1.2 second, and Hi /Lo level. Reverb /Echo Parameters: Pre -delay: decay time Frequency Response (input /output): 20 Hz to 70 decay filters (low and high). Reverb /Echo Parameters: Pre -delay: slap back: kHz. Operational Controls: Nudge buttons and key diffusion; size; decay time; arid filters. Distortion: Less that 0.2 ., ,,. pad for changing reverb parameters and pro Operational Controls: Input /output level; mix: S/N Ratio (input /output): Better than -90 dB. grams; store control (save and recall): nits defeat: external defeat. Pro -User Price Range: $500 stores; arid input /output pots. Selected Standard Features: 16 -bit audio. Models 129/130/131 Selected Standard Features: 12 factory pro- Frequency Response (input /output): 20 kHz Inputs: One. grams: three programs erasable and repro - dry: 14 kHz reverb. Outputs: One. grammable via optional remote with barcode Distortion: Less than 0.1'... Effects Type(s): Pitch transpose, display. and foot reader. S/N Ratio (input /output): Dynamic range is less pedal in, one unit. Frequency Response (input /output): 20 Hz to 18 than or equal to -85 dB: typical is less than or Delay Ranges: N /A. kHz, -3/ +0 dB. equal to -92 dB. Reverb /Echo Parameters: N /A. Distortion: THD less than 0.03' at 1 kHz full Pro -User Price Range: $795 and up Operational Controls: Pitch shift: octave up. output. For additional information circle #173 octave down: remote foot control; pitch display S/N Ratio (input /output): 90 dB dynamic range. readout; arid bypass. Pro -User Price Range: $7,450 APPLIED RESEARCH Selected Standard Features: Four presets: mix: For additional information circle #171 regeneration: instrument /line inputs; and auxil- AND TECHNOLOGIES, INC. iary loops. 215 Tremont Street AKG ACOUSTICS, INC. Frequency Response (input /output): 15 Hz to 11 Rochester, NY 14608 kHz. 77 Selleck Street Phone: (216) 436 -2220 Distortion: 0.25'tß. Stamford, CT 06902 S/N Ratio (input /output): Better than -80 dB. Phone: (203) 348 -2121 Model DR1 -240 Pro -User Price Range: $1,200 Inputs: Two. For additional information circle #174 Model TDU7000

R -e, p 116 August 1985 HARRY, THERE HAS TO BE AN EASIER WAY. MEMO: Listen, Harry, I know you keep saying we of controls. The reverb programs all sound need "creative sound processing" to stay absolutely professional (this is an Ursa Ma- competitive. I loved the way you hung the jor unit, after all) -but the 626 goes way be- mikes inside a 24- gallon aquarium for the yond straight reverb. There's mono and Fred's Fish Food jingle (too bad Fred's sing- stereo delay lines, for example, an effect ing goldfish dropped dead, though). And called "reverse reverb," a stereoized dual your reverse hyperspatial time -delay effects echo, and the brightest plate simulation I've for the "H.G. Wells Concerto" were incred- ever heard. Plus a lot more -16 pre -tuned ibly brilliant. Real award -winning stuff. "rooms" in all, with 256 possible variations But I gotta tell you: these complicated set- on each effect. ups of yours are driving me crazy. First I Anyway, Harry, I want you to cancel ev- spend all day rigging equipment. Then I go erything on your calendar tomorrow morn- all night de- bugging the effects so they ing. I'm taking you to hear a live demo of the sound right. 626. Don't forget the checkbook, either. We Harry, there just has to be an easier need this thing -and the sooner the better. way to produce interesting acoustic envi- ronments. Regards, And I think I found it: Ursa Major's new StarGate 626. The 626 puts just about every effect we need - digital reverb, delays, and special effects- inside one box with one set THE STARGATE 626

Box 28, Boston, MA 02258 USA Telephone (617) 924 -7697 URSA MAJOR, Inc. Thlex: 921405 URSAMAJORBELM August 1985 R -e /p 117 For additional information circle #79 r.orm.tl revere indicators. r ontrolled: easily programmed: saves several Frequency Response (input /output): 20 Hz to 20 delay configurations in memory: and security The L)irec tort' kHz. ±0.05 dB. Io,ck -out. Distortion: Less that; 0.05",.. Frequency Response (input /output): 20 Hz to 20 S/N Ratio (input /output): Better than -103 dB. .kHz. reference +8 ciBm. Distortion: 0.05 " THD plus noise at 1 kHz. AUDIO +DESIGN CALREC, INC. Pro -User Price Range: $450 S/N Ratio (input /output): Better than -105 dB. P.O. Box 786 Pro -User Price Range: For one -in /four -out SCAMP 524 Bremerton, WA 98310 model: $3.500 Inputs: Two. For additional information circle #176 Phone: (206) 275 -5009 Outputs: Two. Effects Type(s): ADT /flange. Panscan Delay Ranges: Two ranges: 1.2 to 11 ms: 11 to 45 ADA SIGNAL PROCESSORS Inputs: Three. ms. Outputs: Two. 7303D Edgewater Drive Reverb /Echo Parameters: N /A. Oakland, CA 94621 -3095 Effects Type(s): Auto panning and beat counter. Operational Controls: Positive /negative flang- Delay Ranges: N /A. ing: envelope follower: oscillator frequencyand Phone: (415) 632 -1323 Reverb /Echo Parameters: N /A. modulation; and spin (feedback). Operational Controls: speed; Digitizerg 4 Selected Standard Features: Front -end limiting Inputs: One. s: P t; trigger; depth. allows controlled "100 ".,.. feedback: stereo image; manual trigger: beat count; and beat Outputs: Two. reverb by cross coupling two units: and alai- Effects Type(s): Programmable digital delay. r oust threshold. tional delay with two or more units. Delay Ranges: 1 to 1.024 seconds. Frequency Response (input /output): 20 Hz to 17 kHz, ±0.05 dB. ,. m,.,,,,.. Distortion: Less than 0.03 "... n e - S/N Ratio (input /output): Better than -80 dB, -

I reference +8 dBm. 4 I._ Pro -User Price Range: $650 For additional information circle #175 T r li i side( ted Standard Features: Beat counter from 1 J to 10 beats; and rapid vibrato for soft shift. AUDIO /DIGITAL, INC. Reverb /Echo Parameters: N /A. Frequency Response (input 20 Hz to 20 Operational Controls: Full programming of all /output): 1000 S. Bertelsen Road, Suite #4 kHz. +0/ -1 dB. decay functions. S/N Ratio (input/output): Better than -88 dB. Eugene, OR 97402 Selected Standard Features: 16 user -programs: reference +8 dBm. Phone: (503) 687 -8412 stereo outputs: 16 factory shadow programs; Pro -User Price Range: $890 .01f-diagnostics: and LED readout. ADX 2000 Frequency Response (input /output): Decay: 20 SCAMP Six. S23 Inputs: Iii to 16 kHz. Inputs: Two. Outputs: 64. Distortion: 0.02";, maximum at 0 dBv. wet. Outputs: Two. Effects Type(s): Cluster alignment: speaker S/N Ratio (input /output): Better than -90 dB. Effects Type(s): Auto panning. alignment: theme parks: and touring sound. Pro -User Price Range: $699.95 Delay Ranges: N /A. Delay Ranges: 10 microseconds to 1.048seconds. Reverb /Echo Parameters: N /A. Reverb /Echo Parameters: Delay: gain;: and 2FX Digital Multi- Effects Operational Controls: Par: speed; par, pattern: on /off control. Inputs: One. rate of hold off (delay) between pans. Operational Controls: RS232 port: user memory; Outputs: Two. Selected Standard Features: External trigger and front -panel keypad. Effects Type(s): Delay /effects. ikevl input, triggered or continuous pan: and Selected Standard Features: Microprocessor Delay Ranges: N '4.

e ontrol at its best.

525 Dual Gated Compressor /Limit Simultaneous compress/limit and expand /gate. CL150 Fast RMST9 Compressor /Limiter A highly cost -effective single channel automatic gain controller. 501 Peak-RMS Compressor /Limiter Symetrix Simultaneous peak and RMS detection. An indispensable tool for PA. 522 Compressor /Limiter /Expander /Gate /Ducker Versatile multi- function processing for studio, stage, or production. 109 Bell Street Seattle, Washington 98121, USA 511 Noise Reduction System Telephone (206) 624 -5012 Removes noise from any source, pre- recorded or live, mono or stereo. Telex 703282 Symetrix products are sold and supported world -wide. When you specify Symetrix you specify quality, performance, and reliability.

R-e p 118 August 1985 For additional information circle e80 MANNY'S PROFESSIONAL AUDIO DIVISION

NEW YORK CITY'S LARGEST MUSIC DEALER HAS EXPANDED TO INCLUDE A FULLY OPERATIONAL PRO AUDIO DIVISION. COMPLETE WITH DEMONSTRATION FACILITIES AND OUR SPECIALIZED SALES STAFF, WE CAN ASSIST YOU IN SELECTING ANYTHING FROM MICROPHONES TO A COMPLETE MULTI -TRACK RECORDING STUDIO. WE SHIP WORLDWIDE. WE'RE JUST A PHONE CALL AWAY.

MANNY'S MUSIC 156 WEST 48th STREET NYC, NY 10036 212 819 -0576

C For additional information circle #81 August 1985 R -e /p 119 delay rate LED. modulation .peed LEDs; and BARCUS -BERRY ELECTRONICS four -step LED headroom indicator. 5381 Production Drive Response (input /output): Wet: 20 Hz The Directory Frequency Huntington Beach. CA 92649 to 17 kHz. Distortion: 0.5% maximum at 0 dBv, wet. Phone: (714) 898 -9211 Reverb /Echo Parameters: 10 to 1 modulation: Better than -90 dB. S/N Ratio (input /output): Model BBE 202 depth. Pro -User Price Range: 64i: $499.95: 1.28i: Controls: Separate controls tor Inputs: Otte. Operational $699.95: 2.56i: $799.95 One. flange, chorus and echo. Outputs: Model STD -1 Effects Type(s): Phase and amplitude distortion Inputs: Orte. eliminator. Outputs: Two. Delay Ranges: N /A. Effects Type(s): Multi -tap delay line. Reverb /Echo Parameters: N /A. Delay Ranges: 1.3 to 55.5 ms. Operational Controls: Stereo /mono; process - Reverb /Echo Parameters: Six, non-harmonically bypass; amplitude /gain; 50 Hz adjustable; ar ;d related delay taps for stereo and psycho- acoustic level. processing. Selected Standard Features: XLR input and Selected Standard Features: User car; run two Operational Controls: N /A. output. delays at once: patch reverse switch: delay rate Selected Standard Features: True stereo out- Frequency Response (input /output): 5 Hz to 20 LED: and optional foot controller. puts; six assignable delay taps; and full modula- kHz, t0.1 dB. Frequency Response (input /output): Wet: 20 Hz tion section for multi -voice chorus. Distortion: Less than 0.1'7, at 1 kHz. to 17 kHz. Frequency Response (input /output): Dry: 10 Hz S/N Ratio (input /output): N /A. Distortion: 0.5 ".. maximum at 0 dBv, wet. to 20 kHz; delay: 20 Hz to 13.5 kHz. Pro -User Price Range: $1,495 S/N Ratio (input /output): Better than -90 dB. Distortion: 0.55'7, maximum at 0 dBv, wet. For additional information circle #178 Pro -User Price Range: $599.95 S/N Ratio (input /output): Better than; -93 dB unweighted. BEL ELECTRONICS 64i/1.28i/2.56i Digital Delay Pro -User Price Range: $799.95 Inputs: One. UK Distribution: Studio Outputs: Two. Model S1000 Digital Delay Equipment Distributors One. Effects Type(s): Full -function digital delay. Inputs: 29th Floor Outputs: Two. 29 Guilford Street, Effects Type(s): Full- function digital delay. Luton, Bedfordshire Delay Ranges: N /A. LU1 2NQ, England Reverb /Echo Parameters: N /A. Phone: (0582) 452495 Operational Controls: Input /output levels; delay /dry mix: full modulation section; phase Models BD80/240/320 invert; and repeat hold. Inputs: Orte. Delay Ranges: 0.31 to 640 ms; 0.15 to 1.280 Selected Standard Features: Four -step LED Outputs: Three. .econds: 0.31 to 2.560 seconds, respectively. headroom indicator; and 8 -to -1 modulation Effects Type(s): Digital delay processors. Reverb /Echo Parameters: 8 -to -1 modulation depth. Delay Ranges: 80: Four seconds maximum depth. Frequency Response (input /output): Delay: 20 delay: 240: 12 seconds maximum delay; 320: 16 Operational Controls: Input and output levels; Hz to 10 kHz. . econds maximum delay. delay /dry mix: full modulation section: phase Distortion: 0.5 maximum at 0 dBv, wet. Reverb/Echo Parameters: N /A. invert; and repeat hold. S/N Ratio (input /output): Better than -90 dB. Operational Controls: Feedback control with Selected Standard Features: Variable hi -cut for Pro -User Price Range: $299.95 phase invert switch and filter switch; audio regeneration: modulation waveform control; For additional information circle x+177 trigger; repeat hold; truncation; and two operating modes: manual (via up /down keypad witches) and oscillator (via speed /depth controls). Selected Standard Features: LED headroom indicator; LED indicated infinite repeat switch; output mix control; stereo input and mono outputs on jacks; XLR connectors optional. Frequency Response (input /output): (For manual mode) 80: 20 Hz to 15 kHz; 240: 20 Hz to 18 GET CARRIED kHz; 320: 20 Hz to 15 kHz. Distortion: 0.2% maximum at 1 kHz. AWAY - S/N Ratio (input /output): Dynamic range: 85 dB typical. Pro -User Price Range: N/A WITH SECK For additional information circle #179

PORTABILITY BIAMP SYSTEMS 3 band EQ with sweep midrange P.O Box 2160 - on each balanced mic /line input. Portland, OR 97208 Phone: (503) 641 -6767 2 monitor and 2 effects sends - 4 sends on each input. MR140 /SR340 Inputs: One. Full throw faders for complete Outputs: Orte. control. Effects Type(s): Spring reverb system. Insert points on all inputs - Delay Ranges: N /A. Reverb /Echo Parameters: N /A. for extra control of your music. Operational Controls: Input and output levels, Rugged wire -less design for wet dry, and four bands of EQ. Selected Standard Features: Footswitch jack; road dependability. plus two pre -spring limiters. Solos on all inputs and Frequency Response (input /output): N /A. auxiliary returns. Distortion: THD less than 0.01% 5/N Ratio (input /output): Better than -80 dB. Powerful headphone monitor Pro -User Price Range: MR140: $349; SR340: $495 amplifier. For additional information circle #180 All metal construction - rugged and quiet. BOSS Ask for it at your local dealer - U.S. Distributor: Roland Corp. 7200 Dominion Circle or call (203) 324 -2889 for further Los Angeles, CA 90040 information. Then, let the music Phone: (213) 685 -5141 carry you away! RDD -10 DDL CONNECTRONICS CORPORATION Inputs: Two. COnnQCfronÍCS 652 Glenbrook Road Stamford CT. 06906 U.S.A. Outputs: Two. Telephone (203)324 2889 Telex 643678 Effects Type(s): Digital delay.

R -e /p 120 August 1985 Delay Ranges: 0 to 400 ms. Frequency Response (input output): 100 It/ to Accessit and GBS Reverbs Reverb /Echo Parameters: N/A. 20 kHz, t4 dB. Inputs: One and two respectively. Operational Controls: Delay range; fine rate/ - Outputs: Two. depth modulation (±0.5 to 1.5); feedback: and Effects Type(s): Spring Reverb. delay tone /level. Delay Ranges: N, A. Selected Standard Features: RCA inputs /out- Reverb /Echo Parameters: 2.5 seconds. puts: stereo modulation capabilites. Operational Controls: Accessit: Mix: input frequency Response (input /output): 40 Hz to 16 mat< h: and sweep EQ: GBS: input match. kHz. Selected Standard Features: Accessit: Outboard Distortion: N /A. spring tank. S/N Ratio (input /output): Better that; -85 dB. Frequency Response (input /output): N. A. Pro -User Price Range: $275 Distortion: N /A. CE -300 Super Chorus S/N Ratio (input /output): N /A. Inputs: One. Pro -User Price Range: A(cesit: $349: GBS: $715 Outputs: Two. For additional information circle #183 Effects Type(s): Stereo chorus. Distortion: N /A. Delay Ranges: N /A. S/N Ratio (input/output): Better than -80 dB. DELTA LAB /ADS Reverb /Echo Parameters: N /A. Pro -User Price Range: $995 and up One Progress Way Operational Controls: Input gain; modulation; For additional information circle #182 Irate and depth): tone; output: bypass; and Wilmington, MA 01887 direct mute. Phone: (617) 658 -5100 Selected Standard Features: +12 dB input level; CONNECTRONICS CORP. and two separate stereo choruses. 652 Glenbrook Road CE 1700 NVM Compu Effectron Inputs: One. Frequency Response (input /output): N /A. Stamford, CT 06906 Distortion: N /A. Outputs: One. Phone: (203) 324 -2889 Effects S/N Ratio (input /output): Better that; -85 dB. Type(s): Programmable digital delay Pro -User Price Range: $299 RX -100 Reverb Box Inputs: Three. Outputs: Four. Effects Type(s): Reverb unit. Delay Ranges: 20 to 400 ms. Reverb /Echo Parameters: N /A. Operational Controls: Input gain switch; channel A and B volume: reverb volume; panpot; and mode switch. "PART OF Selected Standard Features: Stereo capability; mode one allows phase cance latiot, of 180 degrees. THE OVERALL Frequency Response (input /output): N /A. Distortion: N /A. S/N Ratio (input /output): N /A. DIMENSION Pro -User OF Price Range: $230 RBF -10 Flanger Inputs: Two. MY COMPACT Outputs: Two. Effects Type(s): Flanger. Delay Ranges: 1 to 13 ms. Reverb /Echo Parameters: 100 ms to 16 secoi.d. DISC PROJECTS LFO. Operational Controls: Manual: rate: depth: level; balance; and effect on /off. HAS BEEN THE Selected Standard Features: RCA or jack con - nection; stereo capability. Frequency Response (input /output): N /A. Distortion: N /A. RESULT OF THE S/N Ratio (input /output): N /A. Pro -User Price Range: $160 RPH -10 Phaser AN -2" Inputs: Two. Outputs: Two. Tom Jung, President Effects Type(s): Phase shifter. Producer/Engineer Delay Ranges: LFO rate. 100 ms to 14 secur,ri Digital Music Products, Inc. Reverb /Echo Parameters: N /A. Operational Controls: Mode I. II. Ill; manual. rate; depth; and resonance. "Recently, I did a project, that has a synthesizer rack Selected Standard Features: Two -stage hasing; Music for Christmas by Keith should have an AN -2. RCA or jack connection; stereo capable. Frequency Response (input /output): N /A. Foley, with 9 synthesizers all I have also used the AN -2 Distortion: N /A. MIDI -interfaced together and on a lot of guitars -makes S/N Ratio (input /output): Better that; -80 dB. fed into the console. The them sound great! It's as Pro -User Price Range: $160 For additional information circle #181 AN -2 really opened up the useful as reverb itself!" sound and spread it out ... it For the name of your local BRICK AUDIO sounded three dimensional dealer call Studio Technolo- 102 South Porter and very interesting. Anybody gies, Inc. at 312/676 -9177. Elgin, IL 60120 Phone: (312) 742 -7425 Plate Controller Inputs: One. Outputs: Two. Effects Type(s): Plate reverb. Delay Ranges: N /A. Reverb /Echo Parameters: 0.5 to 7 seconds, depending on size ordered. STUDIO Operational Controls: N/A. Selected Standard Features: "Brilliance" on TECHNOLOGIES send; three -band EQ on each return; plate co' INC. troller is a rack mounting, plate chamber is it inches deep. 7250 NORTH CICERO AVENUE LINCOLNWOOD. ILLINOIS 60646

August 1985 R -e'p 121 Pro -User Price Range: 1030: $699: 1024: $499: S/N (input /output): Better than. -85 d8 wet. and 1020: $329 -90 dB (Irv. The Direc tory For additional information circle #184 Pro -User Price Range: 900: 5295.95: 1900: $299.95 Model RDS -3600 processor. DOD ELECTRONICS. INC. Inputs: One. Delay Ranges: 0 to 1.724 se( ands 5639 Riley Lane Outputs: Three. Reverb /Echo Parameters: N 4. Salt Lake City, UT 84107 Effects Type(s): Digital flanging. chorus. dou- Operational Controls: Phase: input: tedhac k: Phone: (801) 268 -8400 delay: sweep: ratio: mis: output: store: recall: bling. and e( ho. Delay Ranges: 1.5 to 14 ms: 6 to 55 ms: 50 to 450 setup: repeat: ;et end: plie : by pass: and numeric Model R -848 ms: 200 nn to 1.800 seconds. 400 ms to 3.600 k 's pad. Inputs: Ore. seconds: and 800 ms to 7.200 seconds. Selected Standard Features: Built n; libran of Outputs: One. Reverb /Echo Parameters: N- A. effect, sample and trigger mode: "glitz h -tree Effects Type(s): Res erberation. Operational Controls: Speed: width: delay opera!, to trom one eftec I to the nest ": real time Delay Ranges: Pr -delay: 20 to 60 ms. time: repeat: hold: feedback: mis: output level: Insu r ..Ir.t;; 219 user locations: remote c,rpahili- Reverb /Echo Parameters: Resell) time: 2 input level: and effect or, /oft. it.. \111)I interface: and touch control tror;t seconds. Features: Footswitc h c or;rrol- panel. Operational Controls: Pre -delis: (drive level: Selected Standard label delan : kill ar;d repeat hold tune Lions: \ CO Frequency Response (input 2011/ to 20 reverb time: tour contour presets: two -band /output): control input: and do output. kHz. all delay settings. quasi- parametric EQ: ar,d nuv ou1pu1 Ieyel. Frequency Response (input /output): 40 to 15 Distortion: 0.2 "... maximum at 1 kHz. Selected Standard Features: Va iiable pre -delay: kHz. at 1.800 sot onds: 40 Hz to 7.5 k I Iz and 40 Hz S/N Ratio (input /output): Dynamic range 90 dB. frequency contour presets: footsw itch control- to 3.7 kHz at extended delay ranges. Pro -User Price Range: $999 lable: and reverb kill swill h. Frequency Response (input /output): Wet: 5.6 Distortion: N A. 1030/ 5 Better that; -85 dB Effectron Ill ADM kHz: dry: 20 kHz. N Ratio (input/output): Effectron II ADM 1024/ ,.set: and -90 Distortion: N A. dn. Effectron I ADM 1020 S/N Ratio (input /output): Better that; -72 dli. Pro -User Price Range: $399.95 For information circle #185 Inputs: One. Pro -User Price Range: $399.95 additional Outputs: One. I ffects Type(s): Programmable digital delay Model RDS- 900/1900 EMT -FRANZ processor. Inputs: One. Delay Ranges: 1030: 0.25 to 1.024 seconds: 1024: Outputs: Three. U.S. Distributor: Gotham Audio Corp. 0.22 to 1.024 sec onds: 1020: 4 to 1.024 seconds. Effects Type(s): Digital tlanging. chorus: dou- 741 Washington Street Reeerh /Echo Parameters: N bling: and oc ho. New York. NY 10014 6 55 50 to 470 Controls: Units include: input. Delay Ranges: 1.5 to 14 ms: to ms: Phone: (212) 741 -7511 positiye'i egause leedhack.delay range. modu- ms: and 100 to 900 ros. lator. width. speed: 1030 includes: envelope. Reverb /Echo Parameters: N /A. EMT 251/252 postie. negative mix, and write hanks A /D. Operational Controls: Speed: width: (delay Inputs: One. Selected Standard Features: Programmable: 17 time: repeat: hold: feedback: mix: output level: Outputs: Two. kHz bandwidth on all settings: all steel chassis: input Icy el: and efte( t ott Effects Type(s): Reverb: echo: chorus: and mutated stereo: optional footswit( h for 1030 Selected Standard Features: f ootswitch c outrol- deLrg and 1024. label delay: kill and repeat hold functions: VCO Delay Ranges: 0 to 440 ms. Frequency Response (input /output): 20 Hz to 17 control input: and dry output. Reverb /Echo Parameters: Variable. 0.4 to 18 kHz: 1020: 20 to 15 kHz. Frequency Response (input /output): Wet: 5.6 onds. Distortion: 0.2 maximum. kHz; dry: 20 kHz. Operational Controls: Reeerh time: reflectim; S' N Ratio (input output): Ds r.amit r,n:eo 90 tlf3 Distortion: N 1. amplitude and time delay: and high. mid. and low reverb contour. Selected Standard Features: 251: floor standing vital reverb with LCD parameter display: 252: kniount processor with remote control panel .u.d 128 memories. I requency Response (input /output): 30 Hz to 15 kllz. Distortion: N A. S N Ratio (input /output): 252: heuer that; -75: 21 better than -73 dB. Model PC 80 Pro -User Price Range: 251'252: 516.5000: 252: $16.5000 EMT 245 Inputs: One. Outputs: Two. The SCV PC 80-the Effects Type(s): Digital reverb. Delay Ranges: 0 to 84 ms. audio tool for the 80's. Reverb /Echo Parameters: Variable. 0.4 to 4. r owls.

Two small battery- powered operational Controls: Deals : reflection ampli- units test phase integrity tude: reverb time: El 'HF reverb contour: art) optional 10 -memos remote control. in any portion of an audio Selected Standard Features: Rackmow;t edigit.il chain. res erh. Frequency Response (input /output): 30 Hz to tr The transmitter unit generates a special "wideband" 1 Hz tone. This signal kHz. is available at the XLR output as an electrical signal, controllable from Distortion: N A. S N ratio (input /output): Better than -68 (113 infinity to one volt. This allows testing of any system or unit, anywhere Pro -User Price Range: $10.145 from the mic to the speaker. The signal also drives a built -in speaker for EMT 240 simple via the acoustical path. Inputs: Two. testing Outputs: Two. The discriminator unit has both a built -in microphone and an input Effects Type(s): Gold foil reverb unit. Delay Ranges: N /A. connector; phase integrity is indicated as either "In Phase" or "Reverse" Reverb /Echo Parameters: Variable, 0.8 to 5 on two LED's. seconds. Operational Controls: Reverb time and lo- Simple, reliable and inexpensive, the S.V.C. has become the true time saver treduenry roll -off. Selected Standard Features: Gold foil driver. for the audio engineer. with two (Iris ers and two pick -ups. frequency Response (input /output): 50 Hz to 15 kHz. Distortion: N /A. SCV Inc. S/N ratio (input /output): Better that; -65 dB 414 North Sparks Street Burbank, CA 91506 818-843 -7567 Pro -User Price Range: $8.815 For additional information circle #186

E{ r p 122 O August 1985 EVENTIDE. INC. One Alsan Way Little Ferry. NJ 07643 Phone: (201) 641 -1200

Model SP2016 Inputs: Two. Outputs: Two. Effects Type(s): Digital signal processor/ reverb. Delay Ranges: 0 to 3.2 seconds to 1.6 seconds at toll handwidthl.

Reverb /Echo Parametr ,: Lero to "hr,, of decay time room posit.,,;: wall texture: ir,om size; hi and low EQ controls: pre -delay: and feedback all are program dependent). Operational Controls: Dual input /output and dry /effect mix faders: status mode indicators: ontrol modes: select /adjust sliders: optional user- development system (SPUD) allows user to rlesign custom programs with external compu- 'er; optional hand -held remote control. Selected Standard Features: 65 presets for cus- utm setting: loop edit: Hanger; multitap delay: simulated plate and room reverbs - all with adjustable parameters: alphanumeric display and self test. Frequency Response (input /output): 20 Hz to 10( kHz. Distortion: THD at 1 kHz, less than 0.1 ",.; 0

s s. Ratio (input /output): Dynamic range is rte 8. Pro -User Price Range: $6.895 Model H949 Harmonizer Inputs: One. Outputs: Two.

Effects Type(s): h. cr ; deli'. and flange

Delay Ranges: 0 to .393.75 ms in 6.25 -ms step. Reverb /Echo Parameters: Feedback and delay c ontrol. in the last year I've done projects Operational Controls: Input level control: repeat and hold button; feedback control for in LA. and Detroit. Currently, I'm both main and delay outputs only; and pitch ontrol. working in the bay area for Selected Standard Features: Pitch change of one CBS Records"Yemans." On every ctave up. or two octaves down; frequency outputs for controlir;g tape machine motors; and occasion, I've needed to rent lime compression. gear from Digital Dispatch and I requency Response (input /output): 20 Hz to 15 h Hz. t1 dB. the equipment arrived on time... Distortion: Less than 0.15 at 1 kHz. in S/N Ratio (input /output): 96 dB dynamic range. and working order...A Pro -User Price Range: $3.500 very professional service..:' Model H910 Harmonizer Inputs: Or;e. Outputs: Two. I ffects Type(s): Pitch change; delay; and echo. Chris Minto /Recording Engineer Delay Ranges: 0 to 112.5 ms it; 7.5 -ms steps. Credits Pat Benotar Santana Reverb /Echo Parameters: feedback and delay Currently wnrkrn9 on Lemons for n;trol. CBS Re,-: . the Bay area Operational Controls: Input. feedback. anti- feedback ,and pitch change controls: delay; line /out. "We can help you Service your Accounts" Selected Standard Features: Second delay -only nrtput to 82.5 ms). JOHN MOLINO - General Manager MICHAEL MAY - Operations Manager I requency Response (input /output): 20 Hz to 12 Hz, 11 dB. Distortion: Less than 0.2 ".. at 1 kHz. S/N Ratio (input /output): 90 dB dynamic range. Pro -User Price Range: $1.500 Model FL201 Instant Hanger Inputs: Or;e. Outputs: Two. (213) 664 -FAST (818) 952 -FAST (714) 662 -FAST Effects Type(s): Hanger. Delay Ranges: 200 microseconds to 10 ms (f,+ OUTSIDE CALIFORNIA (800) 446 -FAST try sell. Reverb/Echo Parameters: N/ A. DIGITAL DISPATCH 3917 Riverside Drive, Suite 101, Burbank, CA91505

August 1985 R -e /p 123 Delay Ranges: 24 ms pre -delay. Inputs: One. Reverb /Echo Parameters: RT of three seconds Outputs: One. Spring reverb. The Direc tory referenced at 1 kHz. Effects Type(s): Operational Controls: Separate it ;put, dry and Delay Ranges: N /A. reverb for each channel: input mix switch. Reverb /Echo Parameters: Pre -delay ranges of Operational Controls: Line in/out switch: depth: Selected Standard Features: Two channels with 33. 37. and 41 ms. oscillator; phase shill and envelope follower. stereo out for each channel: input limiters: over- Selected Standard Features: Remote control load indicators: delay matrix provides pre -delay capabilits : and dual outputs for pseudo stereo for six -sprit ;g system. effect. Frequency Response (input /output): 20 Hz to 20 Frequency Response (input /output): 50 Hz to 15 kHz. kHz. t1 dB. Distortion: N /A. Distortion: Direct channel: less than 0.05 %, 5/N Ratio (input /output): Dry: better than -80 delayed channel: less than 1 "... dB ur:weighted: reverb: better than -58 dB S/N Ratio (input /output): 85 dB dynamic range. ut ;weighted . Pro -User Price Range: $700 Pro -User Price Range: $400 Models 11193/CD254 Model 3050 Inputs: Me. Inputs: One. Outputs: Two and four. respectively. Outputs: One. Lffects Type(s): Delay lines. Effects Type(s): Digital delay. Delay Ranges: 11193: 510 ms standard. optional Delay Ranges: 0.13 to 270 ms. Operational Controls: Semi -parametric 11, 1, one- or two -second versions: CD254: 254 ms. Reverb /Echo Parameters: N /A. EQ: shelving treble EQ: two output level cut. (Both units adjustable in 2 -ms steps.) Operational Controls: Input level: delay range trots (wet /dry): ground lift: and input level Reverb /Echo Parameters: N /A. multiplier (10 steps); speed arid depth modula- control. Operational Controls: 11193 has front -panel DIP tion controls; separate dry and reverb send; Selected Standard Features: Input limiter: loss - switches: CD254 has internal switch selector. output control; delay phase reverse switch. and high -level inputs; and footswitch jack. Selected Standard Features: N A. Selected Standard Features: Eight -bit encode - Frequency Response (input /output): Direct: 21) Frequency Response (input /output): 50 Hz to 11 decode with compander circuitry to minimize Hz to 20 kHz, -0.5/ +O dB: reverb: 45 Hz to7 kH/ kHz. +0.5 dB. flange sweep noise; parallel foldback and auxil- with closely spaced peaks and dips. Distortion: Less that: 0.15"... iary output connections; voltage control input Distortion: Direct: less than 0.01'... S/N Ratio (input /output): 90 dB dynamic range. for VC delay; limit/normal /present indicator. S/N Ratio (input /output): Direct: better that. Pro -User Price Range: 1(193: $1.195 to $1.495: Frequency Response (input /output): 20 Hz to 20 -109 dB; reverb: -85 dB. CD254: $895 kHz. Pro -User Price Range: Mono: $321: Stereo: $53', For additional information circle #187 Distortion: Delay THD 0.5 "... For additional information circle #189 S/N Ratio (input /output): Better than -80 dB. Pro -User Price Range: $400 IBANEZ FOSTEX RECORDING CORP. For additional information circle #188 15431 Blackburn Avenue U.S. Distributors: Hoshino USA and Chesebro Music Co. Norwalk, CA 90650 FURMAN SOUND, INC. (213) 921 -1112 1716 Winchester Road Phone: 30 Rich Street Bensalem, PA 19020 CA 94904 Model 3180 Greenbrea, Phone: (215) 638 -8670 Inputs: Two. Phone: (415) 927 -1225 Outputs: Four. DM1100 Digital Delay Effects Type(s): Two -channel reverb. Model RV -1 Inputs: Two. Outputs: Two. Effects Type(s): Time delay effects (modulated and unmodulated).

7 ?7 1'1'x,

Delay Ranges: 7 ms to 3.600 seconds. Reverb /Echo Parameters: N /A. Operational Controls: Input level; delay- tone. delay time; modulation width and speed: feedback; dry and delay levels. Selected Standard Features: Mike /line level switching: normal and inserted outputs; and repeat -hold capabilities. frequency Response (input /output): Delay: 30 Hz to 8 kHz, - 3/ +0.5 dB. Y Distortion: THD less than 1% on all ranges. S/N Ratio (input /output): EIN: -95 dB (IHF -A). W ICE Pro -User Price Range: $329 E Ep SERV ES DM2000 Digital Delay N AvHORIZ NEK RENIAIS Inputs: Two. Outputs: Four. Effects Type(s): Time delay effects (modulated FAGR D I and unmodulated). y Delay Ranges: 0.1 ms to 2.047 seconds. N /A. HNEINA ACCESSORIESA Reverb /Echo Parameters: EGA Operational Controls: Input level; delay EQ: TECHSEßVI IIBAI1ERIES1 delay time; modulation speed and width: feedback; dry and delay levels; and preset select. SoNy i pRA110N PE1E CA Selected Standard Features: Eight presets; WAv remote switching; normal arid inverted outputs; cow repeat -hold capabilities. CELLULAR Frequency Response (input /output): Delay: 10 GOAS Hz to 20 kHz, - 3/ +0.5 dB. TER Distortion: THD less than 0.2 on all ranges. 1N ANDY ST CHIN S/N Ratio (input /output): EIN: -95 dBv (IHF -A). GALL JOE2121516-1662NY Pro -User Price Range: $449 1Fo3M HD1500 Harmonics /Delay BROADWAY 10 Mae. 1841 .y.tereeesa-us Inputs: Two. Outputs: Three. Effects Type(s): Pitch shift arid time delay. Delay Ranges: 0 to 504 ms; shift range: +1300 to -1300 cents.

R-e /p 124 D August 1985 Reverb /Echo Parameters: N /A. unweighted. I requenc+ Resprmse (inputs output): 20 Hz to 12 Operational Controls: Input level; delay EQ; Pro -User Price Range: $1.500 to $3.000 LIst delay, Distortion: u O i time; modulation speed and width; feed- For additional information circle #191 back; dry and delay levels. S/N Ratio (input /output): Better than -85 dB. Pro -User Price Range: $5.500 KLARK -TEKNIK, INC. For additional information circle #192 262a Eastern Parkway Farmingdale, NY e ty e e e e e r, 11735 LEXICON, INC Phone: (516) 249 -3660 60 Turner Street Models DN700/701 Waltham, MA 02154 Selected Standard Features: Mike /line level Inputs: One. Phone: (617) 891 -6790 switching; dry and mix outputs; three preset Outputs: Three. shifts; with optional remote (ootswitch. Effects Type(s): N /A. Model PCM -41 Frequency Response Inputs: One (input/output): Delay: 30 Delay Ranges: 0 to 434 ms: and 0 to 1.7 seconds, Hz to 8 kHz. referenced at land 4 kHz; harmon- respectively. Outputs: One. ics: 30 Hz to 8 Effects kHz. Reverb /Echo Parameters: N /A. Type(s): Digital delay. Distortion: THD less than 1'X, on all ranges. Operational Controls: Input level; indepertdern Delay Ranges: Delay #1 range: normal delay of S/N Ratio (input /output): EQ input noise: -93 delay control per channel. to 200 ms at f ull bandwidth, double delay, 400 re dBv (IHF -A). ,tt 6kHz: delay, #2 range: Selected Standard Features: Electronic safe normal delay o 400 in Pro -User Price Range: $559 switch; LED readout; and headroom indicator. lull bands+ulth. double delay 800 ms at 6 kHi. For additional information circle #190 frequency Response (input /output): 20 Hz to 15 C kHz. _.. _. INDUSTRIAL RESEARCH Distortion: 0.01",,. _ CO s 3 S/N Ratio (input PRODUCTS, INC. /output): Better than -85 dB. Pro -User Price Range: 700: $1.295; 701: $1.795 321 Bond Street _TT?7Ta# 3- Elk Grove Village, IL 60007 Models DN780 ." Inputs: Phone: One. (312) 439 -3600 Outputs: Two. Operational Controls: Input: feedback: output nix; delay multiply; Effects Type(s): Digital VCO depth. waveform. and Model DF -4015 reverb -hall: plate: rate; delay select and range; chamber: room; and gated. feedback filters and Inputs:P One. invert: infinite repeat. Outputs: Up to four. Delay Ranges: Pre -delay 0 to 99 ms; RT zero to 99 Frequency Response seconds. (input /output): 20 Hz to 15 Effects Type(s): Digital decay. kHz. +0 -1 dB in #1 delay mode. Reverb /Echo Parameters: Delay Ranges: Zero to 192 ms. in 3 -ms Pre-delay; early Distortion: 0.17.. typical reflections- pattern: over bandpass 20 Hz to increments. and level. 15 kHz. Operational Reverb /Echo Parameters: N /A. Controls: HF and LF equalization: S/N Ratio (input /output): Dynamic range better Operational Controls: Input level; and thumb- _ than, 90 dB, 20 Hz to 20 kHz. wheel switches. vss.3 a zs.r3 ss MAW Price Range: $715 Selected Standard Features: Red and green clip- e Maul 1 Model ping LEDs; transformer balanced in and out; .. .. r MI MD LnJ PCM -42 " Inputs: One. security panel. Outputs: One. Frequencyq Responsep (input/output): 12 Hz to 15 decay: room size; input; and reverb time. kHz, y y' tffects Type(s): Digital delay line. ±2 dB. Selected Standard Features: Remote control; 16 Delay Ranges: Standard memory 16 kHz mode: Distortion: Less that 0.012 "s. at 1 kHz, +4 dBm. program sequencing; 50 user memories; and ti 5 is 400 ms and 1.5 is 1.2 seconds: 6 S/N Ratio (input /output): Better than -90 dB five special effects. kHz mode: THE EDGE0.5 is 800 m. and 1.5 is 2.4 seconds.

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August 1985 R.e'p 125 For additional information circle #87 Inputs: Two. Reverb /Echo Parameters: Three tape speeds Outputs: Two. with VSO: internal adjustment of HF EQ curve The Directory Effects Type(s): Digital reverb. and bias; choice (blend) of even or odd har- Delay Ranges: 0.1 to 99 seconds. plus infinite monic dominance at tape saturation for each reverb. tape speed. Operational Tape speed and VSO. /Echo Parameters: N /A. Reverb /Echo Parameters: Room size: reverb Controls: Reverb for Operational Controls: Input: feedback; high time: pre delay: and frequency contour. Selected Standard Features: Tape slap cut: output mix: modulation;; VCO sweep, Operational Controls: Input levels; output mix: "golden ears" effect. Frequency Response (input 15 Hz to 15 depth. waveform. and rate: clock indicator; 6 input and output mute. /output): kHz. kHz bandwidth indicator: and infinite repeat. Selected Standard Features: Six standard proper settings. Selected Standard Features: Slap echo: ambient grams with 54 variations. plus 10 user storage Distortion: As over -bias and flux echo: long echo: doubling; flanging: reson- registers. S/N Ratio (input /output): Better than -102 dB. ance: vibrato: pitch shifting: and clock output. Frequency Response (input /output): 20 Hz to 10 Pro -User Price Range: $1,295 kHz. dB. Frequency Response (input /output): 20 Hz to 16 i1 5402 Time Modulator Distortion: 0.07".,. maximum at 1 kHz. k Hz. +0.5 -3 dB in: first delay mode. Inputs: One. Distortion: 0.2.. typical over Bandpass 20 Hz to S/N Ratio (input /output): Better than -84 dB. 20 Outputs: One Hz to 20 kHz. 15 kHz. One. Pro -User Price Range: $4.800 N Ratio (input /output): Dynamic range better Effects Type(s): Positive /negative flange; ADT: I. 90 dB. 20 Hz to 20 kHz. Model 224X1 vibrato: pitch detune: echo; delay: vocoder Pro -User Price Range: 2.4 second delay: $1.000: Inputs: Two. effects: resonant drum tuning: plus combina- 4.8 second delay: $1.235 Outputs: Four. tions of above. Delay Ranges: 150 microseconds to 400 ms. Model 95 Prime Time I1 Effects Type(s): Digital reverb /effects processor. delay ranges in Inputs: One (plus one auxiliary). Delay Ranges: 0.1 ms to 1.96 seconds effects pro- Reverb /Echo Parameters: Six Outputs: Two. gram; 0.1 to 70 seconds plus infinite reverb on combination with mix -sweepable time, with no Effects Type(s): Digital delay processor. reverb programs. quantization steps. Delay Ranges: Standard memory 960 ms; double Operational Controls: Dry feed: three positive 1.92 seconds: full memory option in: normal and negative output taps; level control: feed- mode 3.8 seconds; in double mode 7.68 seconds. back: time, depth, and speed modulation: Reverb /Echo Parameters: N /A. waveform. Operational Controls: Two separate dry con- Selected Standard Features: Modulation input: trols: delay modulation depth. shape. and rate: full multi -tap output mixing; 2000 to 1 delay infinite repeat; dynamic recirculation: input range sweep continue: total analog signal path for no level; A and B feedback; feedback filter output digital distortion. mix: master output. Frequency Response (input /output): Bandwidth Selected Standard Features: Dynamic recircula- 20 Hz to 15 kHz. tion: doubling: tripling: chorus; flanging: Distortion: N /A. resonance: clock output; slap echo: long echo. S/N Ratio (input /output): Better than -90 dB. Price Frequency Response (input /output): 20 Hz to 16 Pro -User Range: $1,995 kHz. +0.5/ -2 dB. For additional information circle #194 Distortion: 0.1'2, maximum, 20 Hz to 10 kHz. S/N Ratio (input /output): Better than -90 typi- Reverb /Echo Parameters: Over 32 user adjusta- NEPTUNE ELECTRONICS, INC. al. 20 Hz to 20 kHz. ble parameters. 934 N.E. 25th Street Pro -User Price Range: $1.980 Operational Controls: LARC (Lexicon Alpha- Portland, OR 97232 Model 97 Super Prime Time numeric Remote Control). fully programmable. Phone: (503) 232 -4445 Inputs: One (plus one auxiliary). Selected Standard Features: Alphanumeric list- Outputs: Two. ing more than 60 reverb and effects variations. Model 351 Effects Type(s): Digital delay processor. Frequency Response (input /output): 20 Hz to 15 Inputs: One. Delay Ranges: Standard memory: 0.2 to 640 ms. kHz. t1.5 dB. Outputs: One. Reverb /Echo Parameters: N 4 Distortion: 0.07 ".., maximum for all reverb times Effects Type(s): Spring reverb. between 0 and 35 seconds. Delay Ranges: Variable. S/N Ratio (input /output): Better than -84 dB. 20 Reverb /Echo Parameters: N /A. Hz to 20 kHz for all reverb times between 0 and Operational Controls: Input gain; output level; 10 seconds. five -band graphic EQ: in /out switching: mute: Pro -User Price Range: $12.500 ar:d signal activated reverb. For additional information circle #193 Selected Standard Features: Signal activated reverb helps eliminate howling and spring slap MARSHALL ELECTRONIC due to external vibrations. Frequency Response (input /output): Direct: 20 P.O. Box 438 Hz to 14 kHz. Brooklandville, MD 21022 Operational Controls: Delay modulation depth. S/N Ratio (input /output): Better than -80 dB. shape, and rate; main and auxiliary levels; delay Phone: (301) 484 -2220 Pro -User Price Range: $375 output mix: recirculation controls with filter. For additional information circle #195 Model AES -357 Selected Standard Features: Flanging: resonant Inputs: Two. Clanging; doubling: tripling; chorus; slap echo: Outputs: Four. ORBAN ASSOCIATES, INC. short echo; long echo; and 32 user registers. Effects Type(s): Ambience effects system: room 645 Bryant Street Frequency Response 20 Hz to 20 (input /output): simulation. stereo synthesis. and reverb pro- kHz. +1/ -2 dB. San Francisco, CA 94107 cessing. Distortion: 0.05'%. maximum at 1 kHz. Phone: (415) 957 -1067 Delay Ranges: 35 microseconds to "several S/N -85 20 Ratio (input /output): Better than dB, seconds." Hz to 20 kHz. Model 1118 Reverb Parameters: 3.000 program loca- Pro -User Price Range: $3.170 /Echo Inputs: Two. tions; 132 output taps: up to 1,200 initial Outputs: Two. Model PCM -60 reflections. Effects Type(s): Spring revert). Inputs: One. Operational Controls: Room size; room shape: Delay Ranges: N /A. Outputs: Tyo ambience; stereo spread: width: depth: echo Reverb /Echo Parameters: N /A. Effects Type(s): Digital reverb. density; "image type." Delay Ranges: Room program 0.3 to 3.8 seconds: Selected Standard Features: 100 types of stereo plate program 0.2 to 4.5 seconds. image generation with 1,000 programs: 100 Reverb /Echo Parameters: Two programs: four room -shape size combinations of room simula- sizes: four reverb times; frequency contours. tion and ambience generation; 100 post- reverb and Operational Controls: Input /output attenuators; Operational Controls: Input level: mix control; processor images; RS232 interface. bass and midrange; EQ controls; and floating/ - output control; input and output level range Frequency Response (input /output): 20 Hz to 20 fixed threshold peak limiter. select; and bypass. kHz. Standard Features: Two independent Selected Standard Features: Plate pro- Distortion: N /A. Selected /room peak limiter to protect springs from grams with various sizes and reverb times. S/N Ratio (input /output): Better than -95 dB. channels; transients; EQ controls to tailor frequency Frequency Response 20 Hz to 10 Pro -User Price Range: $2.995 (input /output): response. kHz, ±1 dB. AR -300 Tape Frequency Response (input /output): 25 Hz to 16 Distortion: Better than or equal to 0.05'2,, maxi- Eliminator Inputs: One. kHz. mum at 1 kHz. One. Distortion: N /A. S/N Ratio (input /output): Better than -80 dB, 20 Outputs: Effects Type(s): "Replicates the sound of a quaity S/N Ratio (input /output): Better than -76 dB. Hz to 20 kHz. tape without the noise." Pro -User Price Range: $899 Pro-User Price Range: $1.500 recorder Delay Ranges: Interhead delay 20 to 75 ms at 30 For additional information circle #196 Model 200 ips: 40 to 150 at 15 ips; and 80 to 300msat 7.5 ips.

H -e p 126 August 1985 PHOENIX AUDIO LAB, ANC. 91 Elm Street Manchester, CT 06040 Phone: (203) 649 -1199 Loft Model 450 Inputs: One. Outputs: Two. Effects Type(s): Delay /flanker. Delay Ranges: 160 to 360 ms. CetelmatiOh* Reverb /Echo Parameters: N /A. Operational Controls: Reverb iclnti. output: regeneration (EQ shift l: ar id LID indicators. - Selected Standard Features: Muscial instrument pre -amp: fear -panel foot pedal lack: lark and XLR connectors or: inputs and outputs: rack mountable. Frequency Response (input /output): N /A. Distortion: Flange is 0.2'..: delay 0.8 "... mm, S/N Ratio (input /output): Better than -80 dB. gam 4- weighted. Pro -User Price Range: $399 to $549. mow For additional information circle #198 moliw}___

PUBLISON AMERICA, INC. 6464 Sunset Blvd. Suite #980 Hollywood, CA 90028 Phone: (213) 460 -6355 Infernal Machine 90 Inputs: Two Outputs: Four. 2àcIiet Effects Type(s): Reverberation.: pitch change: .i rd time compression on two separate channels. Delay Ranges: 0.04 ms to 200 seconds. n1984 AMS was honoured to receive England's I highest award to industry - Her Majesty the Queen's Award for Export Achievement. To be one of the handful of companies to win this award is a great honour. To win the Award again Reverb /Echo Parameters: Volume: bass; dual in 1985 is exceptional. treble coefficients: three primary reflections it; delay and gain,. Operational Controls: Controlled by digital To celebrate this fact , each of the next 100 AMS keyboard. Selected Standard Features: Two entirely inde- digital audio processors shipped to America (serial pendent stereo reserber charn.eis: two pit( h numbers 3500 to 3600) will come complete with a changes: two 20- second memory : 200 memories for parameters: MIDI interface. celebration "Leading the World" quilted satin tour Frequency Response (input /output): 20 Hz to 20 kHz. jacket bearing both AMS and the dual Queen's Award Distortion: THD less that: 0.03 "... S/N Ratio (input /output): Dvr:amic range: 96 logos. dB. Pro -User Price Range: $10.900 For additional information circle #199 Check with your local dealer now.

QUANTEC U.S. U.S. Distributor: Europa Technologies cftt 'Jacket! 1638 West Washington Blvd. the Venice, CA 90291 Phone: (213) 392 -4985

Models QRS & QRS /L Inputs: Two and one. respectively. Outputs: Four and two. respectisely. ADVANCED MUSIC DEALER Effects Type(s): Digital Room Simulator. SYSTEMS ... INFORMATION Delay Ranges: 0.1 to 100 second' (up to 400 (A division of HARRIS SOUND seconds at 40 Hz I. AMS Industries plc) SERVICES Reverb /Echo Parameters: Room site: 1 separate HF and LE RT 60 times: to one million cubic Wallstreams Lane. 6640 Sunset Blvd.. meters. Worsthorne. Burnley. Seite 110. Hollywood. Operational Controls: Room size: level and Lancs. BB103PP CA 90028 U.S.A. delay for first reflection.: and enhance and England 1984 1985 Tek (800) 233 1580 freeze program (loop). Tel: (0282) 57011 or Selected Standard Features: LED bargraph: XLR Telex: 63108 AMSG Tel (213)469 -3500 connectors: infinite rotary control pot: 64 programmable memories: optional infrared remote controller and IL Cooper MIDI interface. Frequency Response (input /output): 20 Hz to 8 Jackets offered on a first come, first served basis and subject to kHz. +1/ -3 dB. availability. Distortion: N /A. S/N Ratio (input /output): Better than -88 dB.

August 198 R -e p 127 Inputs: Three. kit Is phase: delay output: rate: depth: time. Outputs: I fight. Selected Standard Features: Feedback effect The Directory I fleets Type(s): MIDI programmable digital loop: "playmate ": modulation CV it.: remote .telay. delay swltt hir:g. Delay Ranges: 0 to 750 ms. Frequency Response (input /output): 10 Hz to 17 Reverb /Echo Parameters: 15 hit A. D/A cor.- kHz. Pro -User Price Range: $7.995: I QRS: QRS seater. Distortion: 0.008 ". $4.495 Operational Controls: Input gain: delay: modo- S/N Ratio (input /output): Better than: -88 dB. For additional information circle #200 Iation irate 'depth): memory; delay time write- Pro -User Price Range: $1.095 copy: program char:tWI. SDE1000 RANE CORP. Selected Standard Features: 64 programs: 128 MIDI positions. Inputs: Two. 6510 216th 5W Street Outputs: Sis. Frequency Response (input /output): 10 Hz to 17 Mountlake Terrace, WA 98043 kHz Effects Type(s): Digital delas. (206) 774 -7309 Delay Ranges: 0 ms to 1.125 seconds. Phone: Distortion: Direct: 0.008 ", : delay: 0.05 ".. Four S,'N Ratio (input/output): Better than -96 dB. Reverb /Echo Parameters: programs. 48 teedback: Model CD Pro -User Price Range: $795 Operational Controls: Input gain: Inputs: Iuur. delay out: modulation: time ( lelas phase: Outputs: Four. SRV2000 memory. Effects Type(s): Analog delay. Inputs: Two. Selected Standard Features: User program - Delay Ranges: 0 to 8 ms. continuously sariable. Outputs: Three. citable: " playmate- and hold features: modula - Effects Type(s): MIDI programmable digital riot; tes t input. a _ resell). Frequency Response (input /output): 10 Hz to 17 ` ' .. Delay Ranges: Reverb tinte: 0.1 to 99.9 seconds: kHz. pre-delay 0 to 300 ms. Distortion: 0.08 "., Reverb /Echo Parameters: First initial response S/N Ratio (input /output): Better than -80 dB. IFIRI: pre -delay. Pro -User Price Range: $499 Reverb /Echo Parameters: N/A. Operational Controls: Input gain: MIDI: Operational Controls: Each channel has a 0 to 2 SPE1000 memory cumber. EQ: manual [Q: pre-delay - Ins control and three pushbuttons for +2 ms Inputs: Three. revert) time: HF damp: copy ss r iu: room size. each Outputs: Se ua.v Selected Standard Features: I IR: 32 programs: delay. Selected Standard Features: For phase aIiginierrt MIDI bar :relselectable :.rr.dMIDIir that. Effects Type(s): Digital of multissay speaker ,,stem. Delay Ranges: 0 to 640 ms. Frequency Response ( input/output): N. A. Frequency Response (input /output): 20 Hz to 20 Distortion: N'A. Reverb /Echo Parameters: 0 to 10 ms in 0.10 -ms kHz, ±1 dB. S/N Ratio (input /output): Better than -80 dB. teps: abose 10 ms ira 1 ms steps. kaput Distortion: Less that, 0.09 ", at +4 dßm. Pro -User Price Range: $1.495 Operational Controls: gain: feedback: S/N Ratio (input /output): 106 dB at +20 ((Bill. single repeat switch: delay out: phase invert: Pro -User Price Range: $349 SDE3000 delay x2: and modulation. For additional information circle #201 Inputs: Four. Selected Standard Features: Rack mour :t: +12dB Outputs: I ight. input gain: features for doubling delay time. Effects Type(s): MIDI programmable digital Frequency Response (input /output): 10 Hz to 16 ROLAND CORP. delay. kHz. 7200 Dominion Circle Delay Ranges: 0 ins to 4.5 seconds. Distortion: 0.05 " Los Angeles, CA 90040 Reverb /Echo Parameters: All front -panel c01:- S/N Ratio (input /output): Better than: -112 dB. Phone: (213) 685 -5141 trots programmable. Pro -User Price Range: $1.295 Operational Controls: Input gain: MIDI: For additional information circle #202 SDE2500 memory x8: filter: x2: phase: modulation: feed- The Aphex Compellor: Invisible Compression in Stereo or Mono.

The Aphex Compellor is the most stereo versions. Or write us for the name acclaimed compressor /leveler /peak of your nearest dealer and more infor- limiter ever made. With good reason... mation on the full line of innovative Aphex you simply can't hear it work. It doesn't products. add any color or other sonic effects. Best of all, the Compellor is easy to use. Set it once and it goes to work automatically.. inaudibly controlling your dynamics. Ask your professional sound dealer for a demonstration of the remarkable Aphex Compellor. Available in monaural and

Aphex Systems Ltd. 13340 Saticoy St., N. Hollywood, California 91605 ice Compellor is a trademark Aphex Ltd. c 1985 Aphex Systems Ltd (818) 765 -2212 TWX: 910 -321 -5762 of Systems

R-e p 12r+ August 1985 For additional information circle #89 Distortion: N A. SCV, INC. dr'ri Iy," rir'l'' Delay Ranges: Mode 1: ( Ii ii 'I ore and two has r N Ratio (input /output): Better that; -65 dB. 414 No SC Sparks Street P 0 to 999 nt. n; I -nts steps: mode 2: channel one Pro-User Price Range: $1.695 Burbank, CA 91506 has 0 to 999 nn it 1 ms steps: channel two has ° to AN-2 StereoSimulator Phone: (818) 843 -7567 499 Ins it; 1 -ms steps. Reverb /Echo Parameters: REVERB: 0 to 9.9 Inputs: Two. Model RBS2 seconds. in O.1- second steps: earl reflection; Outputs: Two. f ffocts Inputs: l yvrr. level of 0.1 to 0.9 in 0.1- steps: pre -delay 0 to 255 Type(s): Stereo synthesizer. Delay Ranges: N, A. Outputs: I\\u ms in 1 -ms steps; sub- reverb level 0.1 to 0.9 in; /Echo Parameters: N. A. Effects Type(s): Spring rover:. 0.1- steps. delay 0 to 255 ms it; 1 -ms steps: ECHO: Reverb Stereo Delay Ranges: Ni A. e( ho -1 teedbac k factor 0 to 1.9 it 0.1 -steps for Operational Controls: width and depth: t.;,111:: and modulation. Reverb /Echo Parameters: Delay time 3.5 a hannels land 2: echo -20 to 999 ms it; 1 -ms steps Selected Standard Features: N A. seconds; first reflection: 30 ms. for channel one. and 0 to 499 ms to 1 -ms steps for channel two. I requency Response (input /output): 20 Fit to 1'; Operational Controls: Touch keys: direct access klli. t2 dB. with numeric al keypad: LED displays: and head- Distortion: 0.2'. THD. L S N Ratio (input /output): Better than -70 dB. 7 - '] '17 : . 77.-i ` room indicator. Selected Standard Features: Non -volatile user Pro -User Price Range: $650 memory tor 10 programs: one parameter For additional information circle p205 R, memory, tor each master program: and eight lac tun presets. SYCHRONOUS TECHNOLOGIES Frequency 30 13 Response (input /output): Hz to 1020 West Wilshire Blvd. kHz. -3 +1 d6. Oklahoma City, OK 73116 Operational Controls: Reverb input. amount Distortion: Less than 0.3 "/ THD at 1 kHz. y output; spin (regeneration:: low filter: bass. S/N Ratio (input /output): Better than -78 dB or. Phone: (405) 843 -9626 treble: and single /stereo input switch. reverb and echo: -81 dB for delay. Selected Standard Features: Six sprit:g chait:tk Pro -User Price Range: $9.500 Hot Springs left and right drive level VU LEDs: two -pie( r For additional information circle +x204 Inputs: Ore. package )electronics. plus sprit:g reverbi. Outputs: One. Effects Type(s): Springs myrrh with equalizer. Frequency Response (input /output): 20 Hi to 20 kHz STUDIO TECHNOLOGIES Delay Ranges: N/ A Distortion: THD less than 0.1 ",.: IMD 0.01 "... 7250 N. Cicero Avenue S/N Ratio (input /output): Better t-tar. -70 d8. Lincolnwood, IL 60646 Pro -User Price Range: $925 Phone: (312) 676 -9177 For additional information circle +x203 - - Ecoplate Ill -- _, Inputs: Ti., o. - ,E 4 SONY CORP. O 11- .. o- Outputs: Two. One Sony Drive Effects Type(s): Plate reverb. Park Ridge, NJ 07656 Delay Ranges: N /A. Reverb /Echo Parameters: Frequency select. Phone: (201) 930 -1000 Reverb /Echo Parameters: RT 60 troni 0.5 to 5 resonance: and boost /( ut. seconds. Operational Controls: N. A. DRE2000A Digital Reverb Operational Controls: High and low EQ. Selected Standard Features: Paraunteric EQ and

Inputs: Two. Selected Standard Features: N A. r ry erload I Q. Outputs: Two. Frequency Response (input /output): 80 Hi to 20 I requency Response (input /output): 20 Hi to 8 Effects Type(s): Modes: four revel b: two echo: kHz. kHz.

We were pleased, but not surprised, when our distributors and dealers told us that buyers of LESS THAN Meyer Sound equipment reported less than a one percent failure rate in the new gear they purchased.* ONE PERCENT At Meyer Sound we take extraordinary precautions to ensure that all the components used in our systems are of the highest quality FAILURE! obtainable. All the parts in each piece of Meyer equipment are 100 percent tested to guarantee reliability and consistent performance. Each assembled unit is thoroughly tested again before leaving our factory.

At Meyer Sound reliability isn't just a word to sell loudspeakers -it's the philosophy on which our reputation is built. If you've heard about Meyer, but you haven't heard Meyer, call or write us. We'll give you the name of a dealer who can arrange a demonstration.

'Figure includes warranty and non -warranty repairs on an annual basis. Meyer Sound Laboratories 2832 San Pablo Avenue Meyer Berkeley, CA 94702 Meyer UPA -1 Loudspeaker System, U.S. Patent 271967 2 Sound (415) 486-1166

For additional information circle #90 \ul;u.t 1985 O R-e 'p 129 LI. MI .11F FQ: direct output level: reverb level: delay time. incremental control for all delay parameters: Operational Controls: Knobs and push butto; The Directory input attenuator with unity gait; control. controls throughout: audition delay mixer fo Selected Standard Features: Integral gate section taps 1 thru 8: pushbutton control for room selci pre -se; Distortion: N 1. allows setting of dents time: EQ section. lion one thru four: comb filters: S/N Ratio (input /output): Better that: -66 dB. Frequency Response (input /output): 200 Hz to programs. Pro -User Price Range: $499 4.5 kHz. Selected Standard Features: N s. For additional information circle x206 Distortion: N /A. Frequency Response (input /output): 20 I 1,, S/N Ratio (input /output): Better than -60dB, for kHz. Total distortion ai;d noise 0.1 ",.. UNICORD effect: -8 for direr I. Distortion: Pro -User Price Range: $295 typical. 89 Frost Street S/N Ratio (input /output): Better that; -80 dB. Westbury. NY 11590 Korg SDD2000 Pro -User Price Range: $2.195 Phone: (516) 333-9100 Inputs: One. Outputs: Three. Stargate 626/323 Korg SDD1000 Effects Type(s): MIDI programmable digital Inputs: Two. Inputs: Orne. delay. Outputs: Two. Outputs: Three. Delay Ranges: 0 me to 4.368 seconds. Effects Type(s): Digital reverb/effects . Effects Type(s): Digital delay. Reverb /Echo Parameters: Delay time: frequency Delay Ranges: Pre-delas : 0 to 320 ms. Parameters: 323: 0 to 10 second Delay Ranges: 1 nn to 2.048 seconds. and intensity modulation.: effect level: feedback. Reverb /Echo Reverb /Echo Parameters: Delay time: Operational Controls: Input level: direct output decay time in eight room programs: 626: 0 to 21i second decay in eight effects programs. frequency and intensity modulation: effet t level: ira( rernentaI ( ontrol for all delay parame- LF decal. HE d. level: feedback: high -c ut fecdbac k filters. ters: input attenuator with unit gain control. Operational Controls: Operational Controls: Input les el: direct output Selected Standard Features: Sampling up to direct and reverb mix controls: room selcc dry rest.; I,,yel: effect ley el: delay time: factor: feed bac k: 4.368 seconds: MIDI program change: 64 pro- pre -delay control: input mode: only: hi -cut: and trequer.cs input attenuator with grammable settings: MIDI play hack of sample. t lear. lIr:ity gai;: control. Frequency Response (input /output): 30 Hz to 18 Selected Standard Features: LED level and kHz at 1.092 seconds: 30 Hz to 4.5 kHz at 4.368 numeric displays. Selected Standard Features: Sampling up to ., 2.048 seconds: infinite hold: external setting of seconds. Frequency Response (input /output): 15 kti. lelas time. Distortion: 0.05 ''.. dire( t: 0.1".. effect. all rooms at all decay times: sampling rate Frequency Response (input /output): 30 Hi to 10 S/N Ratio (input /output): Better that; -80 dB. kHz. Total distortion and noise 11 Hz at 1.024 seconds: 30 Hi to 5 kHz at 2.048 Pro -User Price Range: $695 Distortion: ,econds. For additional information circle x+208 is pical. do namic range Distortion: 0.05 dire( t: 0.1 ",. effect. S/N Ratio (input /output): 80 dB S/N -80 Pro -User Price Range: 626: $2.500: 623: $2.000 Ratio (input /output): Better than dB. URSA MAJOR, INC. Pro -User Price Range: $395 P.O. Box 28 Model MSP -126 Inputs: Two. Korg GR1 Boston. MA 02258 Inputs: Two. Outputs: Two. Phone: (617) 924 -7697 Outputs: Two. Effects Type(s): Multi -tap stereo processor: comb-stereo processing: room early reflections: Effects Type(s): Spring reverb. Space Station SST -282 Delay Ranges: N'A. delay ( lusters: pat; mode: digital delay: repeats: Inputs: One. and musical scale in steps. Reverb /Echo Parameters: Gate threshold and Two. Outputs: Delay Ranges: 100 to 360 ms. decay time: three -hand EQ. Effects Type(s): Digital reverb /effects. Reverb /Echo Parameters: N. A. Operational Controls: Input level: direct output Delay Ranges: h ho delay time: 0 to 256 ms. Operational Controls: 16 -c haracter alphat;u- lrsel: gate on 'off sw itch: threshold: decay time: Reverb /Echo Parameters: 0 to 3.5 seconds of

The second is simplicity. The 111B's circuitry is vastly simpler than the circuitry used in the digitals. This can be important in any application where a failure can cost you money or downtime. Old faithful. Most importantly, the 1116 offers the best price/ In a time of changing technology, "newest" often performance value in the industry. Where else can seems "best ". While fancy, expensive digital reverbs you get quasi -parametric SO and a protection peak are popping up right and left, "old faithful" -the limiter in a two -channel unit for $899? So, if you Orban 111B Dual Spring Reverb -still offers some don't want to spend four figures for a mono digital unexpected advantages. reverb, check out "old faithful ": a proven performer The first is cleanliness. The 111B offers a decay with the right sound at the right price. which is smooth and clean, without buildup of irri- Ofltian Associates Inc.1, 645 Bryant St. tating noise and "granular" distortion found in many urban San Francisco, CA 9407 low -cost digital reverbs. (415) 957 -1067 Telex: 17 -1480

For additional information circle .91 Re p 1:10 August 1985 merit display shows knobbed control of recall of presets: 10 presets: 60 user memories: quercy Response (input 'output 1: Input: 20 Hz parameter one: 16 delay variations of each amd remote control. to 20 kHz. mode parameter two: 16 amplitude variations. Frequency Response (input /output): Input: 20 Distortion: N'A. Selected Standard Features: I.ED level display Hz to 20 kHz. econds/N Ratio (input 'output I: Better than -60 and bypass control. dB. Frequency Response (input /output): Bandwidth Pro -User Price Range: $795 20 kHz, 44.1 kHz sampling rate. Model YDD -2600 Distortion: Total distortion: ar:d noise 0.1 ''.., Inputs: Four. tspica . Eight. S/N Ratio (input /output): 80 dB dynamic range. Outputs: Pro -User Price Range: $2.000 Effects Type(s): Digital delay. Delay Ranges: 0 to 2.660 seconds (one input): 0 For additional information circle =209 Distortion: Less that: 0.03 ''... S/N Ratio (input Better than -66 dBm. to 1.333 seconds Itwo inputs): and 0 to 655 ms 14 /output): inputs). Pro -User Price Range: N A YAMAHA INTERNATIONAL CORP. Reverb /Echo Parameters: N A. 6600 Orangethorpe Model R1000 Operational Controls: Les el: memory: delay Buena Park. CA 90620 Inputs: One. time entered it: ms or distance. Phone: (714) 522 -9011 Outputs: Ore. Standard Features: Various in out configura- Effects Type(s): Digital reserherator. tions available: remote control: 12 memories: Model D1500 Delay Ranges: Resell) tinte: 1.5. 1.6, 2.3, ara ;d 2.4 LCD display. Inputs: Orte. sec onds. Frequency Response (input /output): 20 Hz to 20 Outputs: Two. Reverb /Echo Parameters: N. \. kHz. Effects Type(s): Digital delay. Operational Controls: Input: output: mix cor, Distortion: Less than 0.03 "... Delay Ranges: 0 to 1.023 seconds. trots; and bypass. S/N Ratio (input /output): Better that; -90 dB. Reverb /Echo Parameters: Delay time and LFO Selected Standard Features: Semi -parameteric Pro -User Price Range: $7.700 EQ with bypass. -20 or +4 dB output f or additional information circle #207

Operational Controls: Delay time lowpass filter: Ir vel: signal invert: LFO rat': wave and depth mix: recall memorized for each preset. INTRODUCING Selected Standard Features: 1;., memories: MIDI recall of presets: bypass and repeat hold by front panel or footswitch: jack and XLR connection: input and output levels. Frequency Response (input /outpc t): Input: 20 Hz to 20 kHz: delay: 20 Hz to 18 kHz. MARSHALLS NEW Distorion: Input: 0.008 ").: delay 0.08".,. S/N Ratio (input /output): Better )Fart -90 dB. Pro -User Price Range: $895 Model REV -1 Inputs: Otte. Outputs: Two. Effects Type(s): Digital reverb 357. Delay Ranges: Early reflection;: O tc 255 ms: sub Sequent reverb: 0 to 600 ms.

Reverb /Echo Parameters: Up to 4C early reflec - tions, and up to 99.9 seconds of re -erb. Operational Controls: Low and high pass filters: early reflection (mode, nu -fiber of early reflections.and room liver;ess): r =verb (mode, level in four frequency ranges). Selected Standard Features: 99 total memories. with 30 pre -programmed, 50 uer- program- mable,artd mine in remote controller; edit- recall function: RCR -1 remote control with LCD readout arid eight screen menus. Frequency Response (input / outpct): Input: 20 + Hz to 18 kHz. Distortion: Less than 0.3 ",,. '+ S/N Ratio (input /output): Better tF art -85 dB. Pro -User Price Range: 511.900 Model REV -7 Inputs: Two. Outputs: Two. Effects Type(s): Digital reverb. Delay Ranges: Up to 100 ms: up to 10 seconds of reverberation. It will blow away the myth that high quality ambience generation Reverb /Echo Parameters: Ear y reflections: sub- have be expensive ani complicated. sequent reverberation: pre -early reflection: and and room simulation to pre- reverb delays. See Marshall's new Ambience Effects System 357 Operational Controls: N /A. Selected Standard Features: Mono /stereo modes; three -band semi -parameteric EQ; MIDI Well make your day.

Marshall Electronic /Box 438 /Brooklandville, MD 21022/301 184.2220 EQUIPMENT ASSESSMENT

be available on APR -5003 two -track models within a few months. The exact nature of this feature remains obscure, although it is to include an internal SMPTE generator and the capability for "chase'' mode operation. No mention is made of timecode SONY offset accommodation capability, an important feature for real -life synchronization applications. The preli- APR -5002 minary service manual accompany- ing the machine refers to a "special- ANALOG ti mecode track equalization used with record play functions provided by a fourth head situated between the TWO -TRACK erase and record heads. No further description of the timecode recording RECORDER process is given, although one would infer that it is based on linear analog Ret'iewed by recording reproduction. rather than a modulated carrier to permit data Peter But scanning at high tape shuttle speeds. 'l'he machine is configured to facilitate synchronized applications with all deck and audio. data channel status control functions accessible through parallel and RS -422 serial ports at the rear of the deck assembly. Flux- frequency references for time- Frhe APR -5002 is the first new geometry. to two -track' -inch format code track alignment have not been product to emerge from the in two speed configurations, covering indicated thus far. former MCI Fort- Lauderdale the range from :3.75 to 30 ips. Equali- The APR -500( is microprocessor facility since that firm was sold to zation characteristics are IEC, NAB, controlled: evidently, the CPU is time- Sony more than two years ago. At and AES selectable. The model tested shared between deck -control duties only 91 pounds, the APR -5002 is is the one featuring the higher three and signal- channel functions. All smaller and lighter than other profes- common analog tape speeds: 7.5, 15 signal -channel functions, except sional quality mastering recorders and 30 ips with NAB geometry. manually uncalibrated input and have ever been. The machine accom- The machine is small enough to be output gain adjustments, are con- modates reels of up to 12'2 inches used as a table -top unit or as console trolled by the CPU. All audio control diameter. and quarter- or half-inch mounted in the optional SU -14 stand, settings are indicated in a two -digit tape widths. The APR -500(1 is supp- allowing deck orientation to be horiz- hexadecimal code, giving 256 discrete lied in a number of configurations, ontal or 15- degree tilt. values for input- monitor level, record from monophonic, full -track ' -inch, A tertiary central tape track level, record -HF boost, record -bias to two -track NAB -or DIN -track intended for timecode purposes is to drive, reproduce and sync gain, LF

Figure 1: Input impedance magnitude versus frequency for Figure 2: Input port common -mode response. Top trace is input port 1, typical. the normal -mode response of channels 1 and 2 overlaid; top graticule reference is +4 dBv. Common mode responses for channels 1 and 2 are shown as the center and SONY RPR -5002 LUC IrF 1? PQT IIMCdbCC bottom traces, respectively. Scale factors are 10 dB/divi- CWNCI l TYPICIL sion, vertical, and log frequency, horizontal, as graduated I 1 PM I N1 III Ì 1 I 11IIII1aüiiii IRE I

.. ri

it- p 1 :3 r] August ISttt5 first the bad news

Your present 24 -track console is obsolete. It was designed for music recording, but today that's only the beginning. Now you've got synthesizer dates needing MIDI interface, audio for video with computer editor control, and a forest of external processors. Throw in a mix minus requirement and a few stereo lines that need EQ: now the producer wants to compress the vocal subgroup. If you're running out of patience it's because you're running out of console. What you need is something completely different. and now the good news

The new Elite consoles were designed specifically for contemporary multipurpose studios. They are a major step ahead of split monitoring and inline monitoring consoles, no matter how many contrivances or computers have been tacked on. The Elite I/O strip has two signal paths with linear faders. Each path has independent input selection and output assignment and its own solo, mute, phase reverse, and peak indication. The patch point, highpass filter, equalizer, and each auxiliary send can be assigned to either path: each path can become the input to the other. Signal paths can be Y -ed at five points, allowing simultaneous control of different mixes on two main stereo buses as well as the 24 multitrack outputs. Full- featured I/O modules with stereo sends, filters, patch, and four -band stereo EQ are available for stereo line inputs and subgroup masters.

The result is the most flexible operating system offered in a multitrack console. There are over 75 simultaneously useable line inputs and 72 effects sends on a typical Elite, yet intelligent layout, clearly labeled switches, and calibrated controls keep this power smoothly under control and make the console quick to reset. The Elite logic mute system offers direct digital interface to video editors, MIDI controllers, and computer data lines. An Elite with full- featured Audio Kinetics automation offers an incredibly powerful disk -based SMPTE - locked system. With factory installed Massenberg Labs moving fader automation the Elite delivers power and flexibility second to none, but without the sonic shortcomings of comparable computer controlled consoles.

Elite consoles meet the challenges of contemporary studios. They will change the way you think about multitrack recording.

Join the Elite. Let others compromise. NEOTEKg(0 ;..°LXCU °, A OnM 1154 West Belmont Avenue Chicago, Illinois 60657 U.S.A. 312 -929 -6699 SONY RPR -5002 TRRTfER FUNCTIONS TEST PORT ORS LIN( INPUT MONITOR

2 3 a 5 100 2 3. 5 I4 2 3 4 5 2 3 S 1004 FREQUENCY (Hz) Figure 4: Input monitor transfer functions for main audio channels and Calibration Input /Output ports. Main audio Figure 3: Output impedance magnitude versus frequency channels phase contours are rotated -180 degrees for for output port 1, typical. clarity. and HI: equalization. (Oddly, the hex tional visibility, and can therefore be only. Head suspension is substan- code for maximum setting values is clearly seen in low ambient lighting. tially identical to that of the JH -110 "00," while minimum values are indi- I.CDs don't serve well in the dark. machines, with ISO metric hardware. cated by "FF." The numerical weight Provision is made for the retention The head assembly is rotated approx- of the indication is inversely related of data for up to three audio electron- imately 45 degrees counter- clockwise to the magnitude of the indicated ics alignment settings, for each of the from the customary parallel -front variable.) three tape speeds. The alignment - position. Mercifully, the sheet of ( /,- The unit's service manual gives the data memory is kept alive during inch aluminum that served as the use of each of the control and align- power interruptions by an internal deck chassis for MCI tape machines ment functions in a step -by -step battery: tape counter and the 30- has been replaced with a true alumi- sequence, where proper CPU responses address program cue point data are num casting. Although still in use by are indicated, as well as the precise not retained during power interrup- at least one tape- machine manufac- stimulus sequences required. The tions, however. This oversight would turer, the single -slab approach to deck sequential and conditional precision seem to be minor, as all sections of design has been proven inadequate, demanded by semi -smart devices is random- access memory could be eas- and should have been universally difficult to convey by general discus- ily serviced by the same stand -by abandoned by the industry years ago. sion. The hand -holding instructional power source. A spooling function is provided approach taken by the writers of the The mechanics of the APR .5000 through use of the MVC control in APR 5000 manual is appreciated, and show vestiges of the MCI heritage. shuttle mode. Winds are smooth and should be emulated by other manu- The MVC control is still a deck fea- clean, although they do tend toward facturers as well. All visual annun- ture, although it mechanically re- the uneven at the higher of the MVC ciators or indicators are either LEDs sembles the Sony videodeck counter- speed range. Spooling does not engage or electroluminescent devices that part, relying on body capacitance the capstan. need no external lighting for func- sensing for activation in shuttle modes Head -shield activation and tape-

Figure 5: Input monitor high- frequency group delay Figure 6: Input monitor low- frequency group delay response. Curves are derived from the phase curves of response. Calibration Input /Output curve deleted. Curves Figure 4. are derived from Figure 4. SONT 5002 SONY RPR -5002

I IN,: IN,,, NON1T0R LINE I MONITOR NIGH-.REOULNCI GROUP oE'_+T LO- IREOICNCT GROUP octal

1 i tit 766 I4 6 7 6 S 164 FREQUENCY (Hz)

R-e p 13.1 August 19s5 In the early evening of Sept. 17, 1973, Jay Jay miraculously escaped injury; the Barth was at the wheel of a 22 ft. utility amplifiers apparently had not. with equip- truck that was loaded sound Unbelievably, after a short time under a ment. Just south of Benton Harbor, MI an blow -dryer all the amps worked perfectly car the center -line; oncoming crossed and are still going strong. fortunately Jay steered clear of the impending head -on collision. Unfortu- nately, a soft shoulder caused the truck to The rest - and the truck, is history. roll two and one half times. Exit several Crown DC- 300A's through the metal roof of the truck's cargo area. The airborne 300A's finally came to rest crown 1718 W. Mishawaka Road, Elkhart, IN 46517 - scattered about in a muddy field, (219) 294-5571 where they remained partially submerged for four and a half hours.

For additional information circle #94 August 1985 R-e p 135 SONY RPR -5002 15 IPS 0CCORO/REPRODIICC RESPONSE He ArCOAO EQUALIZATION IIMITO SMONM

MR9 [ Oui1i 1 [MT l O. NMS EQUALIZATION

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1 i . I i i 1 l 111- 111 1 10 2 3 4 5 100 2 345 14 2 3 4 5 104 2 3 I 504 FREQUENCY (Hz) Figure 7: Record /reproduce transfer functions at 7.5 ips. Tracks #1 and #2 magnitudes are shown separated by 1 dB Figure 8: Record /reproduce transfer functions at 15 ips. for clarity. The effects of maximum and minimum record The effects of maximum and minimum record HF boost are HF boost are shown for track #1. Note that phase advan- shown for track #1. Note that phase advances with ces with frequency. frequency. lifter functions can be defeated with none of their business, this is a detail ises are being made at this time; the toggling deck buttons. Changing the that can make a difference in conven- relevant SMPTE documents govern- head -shield status does introduce a ience and efficiency of operations. ing the protocols are referenced, and "thump" in the main audio channels, It is stated that local control of the that is all. The reluctance of most and should be avoided during play deck is impossible in the Network synchronizer and editing- system operation of the machine. Command mode. If this is absolutely true it could manufacturers to offer usable inter- of the machine can be transferred to prove inconvenient, should a manual facing and control software for non - an external controller and back by use Stop command be necessary during video devices is disheartening. It of Network and Local command but- external -control operations. Good would be refreshing to encounter use tons. One should be able to safely pre- sense dictates that the Stop com- of a standard data transfer and con- sume that there is no interferance mand, from whatever source, should trol system, such as the IEEE -488 with Local manual operation of the be able to override any other tape standard, that would serve everyone's deck from any external controller machine function, and that the user needs even though the overkill in when the machine is set for Local con- must never be denied his manual Stop using it would be extensive. It would trol, and that the external controller is option. seem that the tendency for equipment sheltered from deck status signals, The RS -422 control port protocols manufacturers to strive for new, uni- which should be ignoring anyway and data timing schemes are not que and unfamiliar control interfaces, when the APR -5000 is being manu- given in the manual. Attention is compatible only with a specific con- ally controlled. Inasmuch as some drawn to the possibility of the Sony troller, is not in the long -term interest machine controllers are not imper- Sync Master and BVE -5000 serving of anyone. I think it is time for the vious to information that may be as machine controllers, but no prom- audio video hardware industry to

Figure 9: Record /reproduce transfer functions at 30 ips. Figure 10: Time domain response at 7.5, 15, and 30 ips. The The effects of maximum and minimum record HF boost are traces are displaced vertically and shifted in time for shown for track #1. Note that phase advances with clarity. frequency.

TIME INTERVAL- 5.00 u TIME DOMAIN WRVEPORM IMAX1 VRLUE 3.30 TIME WINDOW- 0 TO 5.12 A pose ORTO POINT 1 125 257 305 513 641 769 697 1024

SONY RPR -5002 155.3125 Mx SO. WOVE .S 7.5, 15, 30 IPS RECORD.REPRODUCE

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30 :es W ] '.5 IPS

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1.20 m 1.52 . 2.5ì o IIME (fe:

R -e- p 136 D August 1985 stop reinventing the wheel, and use cation at the Calibration Output port dual up -amp, quasi-balanced push - technology that has served the rest of In the case of inclusion of a time pull drive. Single -ended output con- the electronics industry for over 111 code option, it is not clew- that a nections may cause significant, non- years, and which has the capability of squared timecode signal would not be destructive ground currents in the meeting its every possible need. present also in the reproduce vector grounded audio lead. and may cause Spot erasure capability for either or sum. Nor is it clear how the timecode difficulties in some applications; cau- both ol'the audio tracks. and perhaps bias, level, and equaliza :ion adjust- tion is. advised. Inclusion of' trans - for the timecode track, has been ments could be done without use of the formers in the audio input and or included as standard deck function. extender card. Timecode and output output ports is optional. n this mode only the selected sections will evidently be available as a retrig- The main audio input ports look of the erase head are driven. so that gered, squared binary -level signal as into a single op -amp differential manually- swept erasures can be ac- seen at the timecode output connector. input. Impedance versus frequency complished without interference from characteristics between audio con- any bias chive to the record head. I f Performance Assessment nector pins 1 and 2,1 and: 3, and 2 and the timecode option does include this The machine provided for testing 3 are shown in Figure 1. The differen- capability for the timecode channel. it featured transformerless audiusignaI tial load measured 22.:3 kuhms at 2110 should he used with great discretion paths. Audio -port inputs are of the Hz, greater than the 10 kohms claimed. since discontinuities in the timecode single op -amp, differential amplifier - The impedances between each side of channel can render an otherwise per- type. while the audio output ports are the audio input pair and ground were fect !mister unusable in synchronized applications. ,1PcJRAf:Y COUNTRY BIG BAND The audio channels may be option- )SPEL AiOR ALBUM ORIENTED FA , ally muted during lifter Defeat or _ , EASY LIS-ENING URBAMI other non -play operation by trans- .PORARY QOUNTRY BIG 3A mission of a Fl /It Start Enable com- )SPEL AOR ALBUM ORIENTE mand via the parallel control port or, FUL M,.SIC EASY LISTENIN presumably. the RS -422 port as well. ' '- 'DNTEMPORARYC Triggering of external noise - ANISH ACR reduction devices is possible by use of ' ifTh UT FUL MUSIC - optically-coupled conductances between pins of a rear -panel connector provided for this purpose. These conductances are rated at 24 V I )(' in their "off" condition. and 100 n;A in their "on" state. Cue monitoring of the audio channels is provided through a small speaker located to the right of'the VU- meter panel. Acoustic level should be adequate for most applications. and a

' 1 -inch stereo headphone jack is available. Rear -panel IiNC coaxial connectors provide access to the audio channels for a test generator and measuring instrument. Activation of the audio - channel alignment function connects the signal appearing at the Calibra- tion Input RNC, so that it is added to the normal audio channel inputs to provide calibration drive to the record electronics. The output signal of the channel selected to 1w controlled by the computer is routed to the Calibra- F-om AOR to CHR, Country to Jazz- tion Output I3NC for observation. I'm Vnatev r the format, -his cart's for not entirely sure that this feature is of yDJ. For outstanding high frequency great value for a one -, two - or four - sensi-ivity and headroom, com- channel tape machine, such although -- patibility witF all cari machines, the a feature can be extremely helpful in multitrack checks and alignments. multi- format AA -4 deli,rers the sourd Phase ( not polarity) relationships - that audiences turn on. between channel outputs cannot be observed directly through the Cali - Ls 41. bration facilities, because only one RJAll'of.'.. AUDIOPAK AA -4. output is observable at a time - RADIO A/C AD-_; r although the vector sum of the two /BLACK('-'(" SPANI`r For stations who care channel outputs should be available if BAND CHR BEA,, "All" channel adjustment mode is IENTE A/C how they sound. selected while in Sync or Reproduce URBAN /BLACK SP. mode. Optimal azimuth alignment TRY BIG CHR CAPITOL MAGNETICS PRODUCTS 6932 Su set Blvd could then be determined by adjust- LBUM ' - Los Angees, CA90023 ing for LISTET`::' . URBAN /BLA& a maximum magnitude indi- (213 )451 -2701 COUNTRY CI- i< SONA HPR- 5002 '.5 :PS ACCORO. S NC RESPONSE

RRN COURT IZAUIOR

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Figure 12: Record /sync transfer functions at 7.5 ips. Tracks tt1 and tr2 magnitudes are shown separated by 1 dB Figure 11: Record /reproduce relative group delay for clarity. The gap -loss null is readily observable in the response. Group delays derived form Figures 7, 8, and 9 magnitude null and phase reversal circa 15 kHz. Note that are shown overlaid. phase advances with frequency. measured at 12.5 and 9.17 kohms. an same frequency. response. Channel 1 and 2 CMRR is imbalance of about 4:3. Inclusion of Input port common -mode perfor- seen to be about 45 and 62 dB, respec- R -C lowpass filtering and cable cap- mance is shown in the photograph of tively. Input port interfacing should acitance is likely responsible for the Figure 2 as observed at the respective present no problems. drop in impedance magnitude at fre- main audio channel output ports. The Figure 3 shows the output -port quencies above about 2 kHz. Normal top trace is the normal mode response impedance magnitudes for channel 1 mode impedance magnitude declines at +4 dBv, channels 1 and 2 overlaid. output typical. Normal mode source to about 10 kohms at about 60 kHz, The center trace is channel 1 common - impedance measured 128 ohms at 200 while the imbalance side impedances mode response, and the bottom trace Hz, remaining constant to about 90 bottom out at about 3.8 kohms at the is the channel 2 common -mode kHz. Line imbalance is about 3.62/3.23 or 9:8 for a perfectly floating load. I would like to see an output balance ratio closer to 1:1 for balanced outputs, although this condition seems to serve well enough. In situations where an active -balanced output is driving an imbalanced differential input (the most common condition), the resulting degree of line balance is determined by the parallel combination of side impedances of each port from signal pair to ground. If the output port has a fairly low impedance magnitude of side impedance, and is A SIGHT FOR SORE EARS. closely balanced, the condition of the It ears could talk, they'd scream for SONEX. entire circuit will tend to be in balance, even though the differential The only patented acoustic foam with a specially sculptured anechoic design can replace input load is imbalanced when traditional studio materials for a fraction of the cost. SONEX absorbs sound, controls observed by itself. This can be a sig- waves. is true sound. revert, eliminates stray reflections, and kills standing What's left nificant matter in the case of high - Your ears know. Listen to them. Simple to apply and economical to buy, SONEX blends intensity RF and magnetic fields with almost any decor and looks clean, sharp, profession;tl. Call or write us for all the where transmission line imbalance is facts and prices. . most apparent. A common -mode rejection ratio of about 18 dB could be SONEX is manufactured by Illbruck and distributed Olph a OV d 10 exclu.ively to the pro sound industry by Alpha Audio. 2049 West Broad Street expected for a line imbalance of this Richmond. Virginia 23220 (804) 358 -3852 magnitude. Acoustic Products for the Audio Industry Input -monitor transfer functions for the APR -5002, surprisingly, were -`:\v- found to be inverting for the normal -- - audio channels. The Calibration Input . proved to be the exception, having an : ( : erect polarity not phase) response as observed at the Calibration Output port and at the main audio channel output connectors, pin :3 taken as "HI." Audio -connector pin 3 was taken as the "HI" signal terminal for

R-e p 138 0 August 1985 SUMMARY OF SONY APR -5002 SPECIFICATIONS Specification Quoted Observed 20 Hz to 20 kHz UNWTI); Ref: Power 102 120 1:38; Yes Require- 204 '240 276 51(1 nW m. ments: VA('; 48 to 60 Hz. Recorded Power 300W max. Not checked. Distortion: Consump- (1 kHz: 510 tion: nW m) :3rd Harmonic 30 ips less than 0.:35 " ;.; 30 ips0.16 Fuse 5A(102V),4A(120V) Yes l5 ips less than 0.52%; 15 ips 0.5(r. Rating: 2A (240V); normal or 7.5 ips less than 1.6'':.. 7.5 ips fast blow. 2nd Harmonic 3(1 ips less 0.10 "6; :30 Reel Size: 3 to 12.5 inches; Yes than ips: Unreadable at NAB or EIA hubs; 15 ips less than 0.1(r.: I:5 ips: 30 Hz; analyzer DIN hubs optional. 7.5 ips less than 0.11r';,. 7.5 ips: resolution. Tape Format: 0.25 -inch, two -track As tested. :3"; 3rd 30 ips: 1.0111 Not measured. NAB track -standard: Harmonic n11' m. 0.25 inch, two -track Fluxivity 15 ips: DIN track standard; Level: 1.020 nW. m; 0.25 inch, 3 -track 7.5 ips: 1.000 center -track timecode. nW m. (0.5 inch, two -track timecode feature Bias optional.) Frequency: 400 kHz. Not measured. Tape Speed: Standard (high- As tested. speed) 7.5. 15 Erase and 100 kHz. 30 ips; optional (low Frequency: Not measured. speed) 3.75, 7.5 and Depth 15 ips: ±50% variable. of Erasure: Greater than 76 Erasure below I kHz Speed Better than 0.02 %. ±0.017% head to tail; dB below I kHz at52(1nW-'m: Stability: 2,490 feet. at 250 nW m: all :30ips78:82 dB; Tk I '. speeds and track 15ips80:84dB;TkI 2. Start -Up :30 ips 900 mS; Not checked. 7.T) 83,'8:3 dB; 'l'ime 15 ips 500 mS; formats. ips 7.5 ips: 500 mS. Ck 1'2. Audio Amplifier Electronics: Fast -Wind 2,400 feet 110 sec; 2,490 feet 114 sec; Input Time: 4,800 feet 170 sec; Not checked. Impedance 1(1 kohms, balanced. 22.3 kohms, imbalanced Spool -Wind 2,400 feet 370 sec; 2,490 feet :387 sec. differential input. Time: Output Impedance 12(1 ohms, balanced. 128 ohms, imbalanced MVC 0 to 1.9 meters Not checked. active differential. Velocity: per sec. Maximum Wow and :30 ips less than 0.025% 30 ips: ±0.017'.q. Audio Flutter: 15 ips less than 0.035% 15 ips: ±0.027% Output level Not quoted. +22.4 dliv (600 ohms): 7.5 ips less than 0.055' i 7.5 ips: ±0.037% l H F' load. 3.75 ips less than 0.10% 3.75 ips: Not Tested Weight ( ±peak, DIN -weighted). W +F, peak, DIN - weighted. Table Top 91 pounds; 46.26 kg. Not measured. Stand type 110 pounds; 49.89 kg. Not measured. Frequency Response: 30 ips: 30 ips: ADDITIONAL OBSERVED: Record Play 40 Hz to 28 kHz: 53 Hz to 20.9 kHz; +0.75/ -2 Polarity dB. +0.8/ -2 dB. Response: Audio port pin #3 15 ips: 15 ips: taken as "HI ": 30 Hz to 24 kHz; 29 Hz to 30.0 kHz; Record play Negative +0.75/-2 dB. +0.1 -2 dB. Record Sync Negative Line In Out Inverting 7.5 ips: 7.5 ips: Generator In :30 Hz 14 to 20 kHz; Hz to5.27 kHz; .(Meter Out Non -inverting +0.75/ -1.5 dB. +1.3r' -1.5 dB. Generator In Frequency Line Out Inverting Response: 30 ips: 30 ips: Line In Record Sync 50 Hz to 16 kHz: 42 Hz to 25.6 kHz; Meter Out Non -inverting +0.75/-2 dB. +1.4;' -2 dB. Repro' Meter Out Inverting 15 ips: 15 ips: Sync :30Hzto10kHz; 27 Hz to 21.3 kHz; .steter Out +0.75/-2 dB. +0/-2 dB. Inverting Hardware: ISO Metric: Hex socket - 7.5 ips: 7.5 ips: head; Totsu head 30 Hz 4 to kHz; 15 Hz to 6.8 kHz; ("slot 'n' clot ") +0.75/-2 dB. +0: -1.5 dB. Testing Recorded :30 ips 66 dB. 30 ips 66.5 dB. tape stock: :3M (S +N) /N Ratio: 15 ips 64 dB. 15 ips 62 dB. Flux - Record/ 7.5 ips 63 dB. 7.5 ips 57.5 dB. Frequency Reproduce References: MRI.211.221, 21J205, 21T204. Suggested End -User Price: APR -5001 (Mono) $6,800; 5002 (DIN /NAB ste reo) $7,500; 5003 (DIN stereo plus IEC timecode) $9,000; SU -14 stand $500. Manufacturer: Sony Corporation of America, Sony Drive, Park Ridge, NJ 07656. (201) 930 -6137.

August 1985 R -e p 1:33 Sor., SONY RPR -5002 15 :+s +lcOrtt, S.!.0 R[S.Y.NS. 34 (PS RECORD'SVDC RESPONSE

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Ill DE Ill 2 24 5 100 2 3 1 5 lk 2 3 0 2 3 4 00 2 3 4 5 I 2 3 1Bk 3 4 50k FREOUENCY (Hz) FREQUENCY (Hz) Figure 13: Record /sync transfer functions at 15 ips. Tracks #1 and #2 magnitudes are shown separated by 1 dB for clarity. The gap loss null is readily observable in the magni- Figure 14: Record sync transfer functions at 30 ips. Tracks tude null and phase reversal circa 33 kHz. Note that phase #1 and #2 magnitudes are shown separated by 1 dB for advances with frequency. clarity. Note that phase advances with frequency. all measurements given here, which channels' group delay becomes fairly leaving only the electrical responses conforms with the conventions fol- flat above about 60 Hz, and oscillates of the various electronic stages lowed by both Sony and MCI in the about the zero -second abscissa above involved to be contended with. The past. that frequency -a remarkably good reproducer phase response is largely The input -monitor transfer func- performance for any AC- coupled audio dictated by the time constants of the tions are shown in Figure 4. Phase signal device. reproducing characteristic to be used, (not polarity) curves for main audio The APR -5002 attends to its prime leaving only the record phase response channels 1 and 2 are displaced -180 task of recording and reproduction as the major variable in the system. degrees so that they will tend to rotate very well indeed, as witnessed by the Time- domain plots of track #1's about the central abscissa of the curves of Figures 7, 8 and 9. The low - 195.3125 -Hz squarewave response are graph. The line -input magnitude frequency contour irregularities are shown in Figure 10. Each of the dis- functions are remarkably flat at low restricted to a band +1.5 -1 dB about placed squarewave traces shows a frequencies, showing only about 10 the magnitude reference. Record'rep- pre -transition spike, which is fairly degrees of lead at 6 Hz. By contrast, roduce magnitude response was small at the 7.5 ips speed, growing the Calibration Input Output adjusted to be flat at 1 and 1(1 kHz somewhat at 15 ips and becoming response is down about 3.5 dB at 6 Hz against the calibrated reproducer quite large at 30 ips. The 7.5 ips wave- with a phase lead of around 53 using the CW sinewave signal. Flat- form shows a post -transition spike, degrees, and down about 0.5 dB at 20 ness was observed to be within -1 dB implying that as great as the induced Hz. It should be possible to improve of that reference line between the two corrective phase lead may be at that this performance to match the main frequencies. The data shown is the speed, it is still not adequate to min- audio channel response. At the high - result of a deconvoluted Fourier trans- imize the overshoot due to the phase end of the band, the main audio form of a 195.3125 -Hz squarewave, rotation caused by the radical HF channel 1 magnitude tends to roll off and therefore represents a more dense boost required to overcome the tape - a bit faster than the channel 2 or Cal- signal spectrum than would a sine - wavelength response for flat magni- ibration Input Output does. All three wave sweep. The magnitude response tude response at that speed. At 15 ips, channels were found to exhibit very limits given in the Summary of the phase correction would appear to linear lagging phase response with observed performance were deter- be about the correct value for minimal increasing frequency. mined from these curves. overshoot, while the phase correction Group -delay response for the APR - A seasoned reader of these equip- for the :30 ips case appears to be more 5002 main audio and Calibration ment assessments will note the unus- than required. The absence of any Input /Output channels is shown in ual signal phase-function behavior ringing in the region of the square- Figures 5 and 6. Figure 5 shows that, shown in all of these record /repro- wave transitions of Figure 10 indi- in all cases, the curves flatten out and duce graphs. In this case, the signal cates very accurate reproducer head are approximately horizontal to 50 phase leads rather than lags with termination. kHz, indicating equal propagation increasing frequency - as is more The APR -5002 record /reproduce, delay at all frequencies in that range. often encountered for electronic sig- relative group -delay curves for tracks The notable exception is the delay nal paths in general - due to the #1 and #2 are shown in Figure 11. The curve labeled "Test" which rises inclusion of a variable, single -pole conclusions drawn from examination steeply below frequencies below about allpass filter network in the record of the character of the time -domain 800 Hz - is a consequence of the low electronics signal path. The frequency traces of Figure 10 are confirmed for frequency magnitude rolloff in the of the allpass pole is adjusted by the the cases of the 7.5 and 15 ips speeds. Calibration channel noted above. computer to track the phase response The slight drop in the 7.5 ips delay in Low -frequency group delay is shown of the record pre -emphasis filter. This the region 6 to 30 kHz does look like in Figure6 with the Calibration delay can be done with reliability, because the delay compensation could profit- curve deleted, as it is off -scale through there is no phase contribution to the ably be increased in this region. The most of this region. The main audio analog record /reproduce processes, 30 ips curve is close to optimal, with a

R -e p 1.11) 0 August 1985 slight droop above about 10 kHz. The and parts lists show the same com- if intangible, one. choice of delay compensation as pleteness that Sony has given to its The machine is small, light and eas- shown here is very close to optimal. video equipment. Once one is intro- ily moved. All major electronic as- and likely could not be improved very duced to the documentation philo- semblies are accessible from the front, much to yield truly flat group -delay sophy and the nomenclature, it is or by removal of the rear panels. The response. fairly easy to find the relevant section audio mother board is more than just The flux -loop sweeps of Figure l:) of the manual that applies to a given a carrier of interconnects and hoard show the linearity of the pre -equalized situation. receptacles; it contains a couple of reproduce head response versus fre- 'l'he Totsu (slot 'n' dot) hardware data demultiplexers, LED drivers and quency, while Figure 16 shows the may present problems in tooling for the cue -speaker drive amplifiers. The same kind of data for the sync head. the technician accustomed to dealing placement of significant active com- The lack of any deviation from linear- with slot, hex -socket. Phillips and ponents on relatively inaccessible ity about the peak due to undamped Posidrive hardware. Yielding to the mother boards is, I think, a poor cho- head resonance is clearly indicated. temptation to make do with careful ice of configuration from a tech sup- showing careful attention to critical application of a common slot -blade port viewpoint. The obvious difficulty termination of the respective track screwdriver rather than the proper in observing a circuit contained on a cores. The two channels are very Totsu tools will result in unnecessary mother board assembly can be frus- closely matched in all cases. mayhem. 'l'he investment in proper tratingly since installation of the The flatness of the APR- :)002 meter- quality tooling is always a rewarding, daughter boards is often required to ing is quite good; Table 1 gives the observed meter response for a constant main audio input level. Exami- t nation of the magnitude curve for track 41 given in Figure 4 shows that the meter follows the channel magni- SYSTEM tude response closely over the range measured. Analysis Summary 'l'he APR-5002 is easily the hest analog tape machine to emerge from any manufacturer over the past sev- y.l!! ! eral years. The quality of perfor- !!!!!!: mance exhibited in these tests indi- .tl.aa..'.lLa .14.!!!!! cate that there may 1w hope for high +'t ! .;

August 1985 It-i. 1, I I I Figure 15: Reproduce head flux -loop response. The upper Figure 16: Sync head flux -loop response. The upper trace trace is track #1 response, track #2 is the lower trace. Scale is track #1 response, track #2 is the lower trace. Scale factors are 10 dB, /division, vertical, and log frequency, factors are 10 dB /division, vertical, and log frequency, horizontal, as graduated. horizontal, as graduated. place the system in a configuration four -track channel capacity would be to comment further without consulting permitting intelligent fault isolation a worthy entry for the pro audio vi- the author on his test procedure and and observation of dynamic signals. deo market. Four -track is still widely problems encountered. I We under- The mechanical design is rugged, used, since the central timecode track stand that Peter Butt used a 195 -Hz and the many exploded assembly convention is not yet widespread, and squarewave excitation signal to drawings clear and uncluttered. new equipment capable of format provide frequency response measure- Printed -circuit assemblies show the compatibility with existing program ments, which are available by Sony influence, and bear white silk - libraries is still needed. examining the time -domain traces screened component designations over thus produced - Editor.] a solder -resist coating. (There are a MANUFACTURER'S REPLY 2. Timecode Processing: couple of "Oh yeahs" evident as com- Hiro Konno and 'Takeshi Yazawa, As this evaluation was intended to ponents tacked onto foil runs in pla- of the Product Management depart- be on an APR :5002, we chose to ces they were obviously not originally ment, Professional Audio Division, provide no description of our timecode intended - these problems will un- Sony Corporation of America, reply processing methods, or any actual doubtedly be corrected as serial as follows: operational specifications. The APR - numbers advance.) We appreciate the author's thorough 5003 is uniquely different from the The polarity -inversion problem is evaluation and his report on our new APR 5002, and trying to lump them just one of those things that some- product, the APR -5002. We have found together in an evaluation based on times slip through the engineering it to be quite detailed, and our the APR -5002 alone would not be design review process and, though consensus is that the author did an appropriate in our opinion. We are mundane, needs to be corrected im- excellent job. very pleased to supply an APR -5003 mediately. The most advantageous However, there are some discrep- at a later date for a complete solution to this problem would seem to ancies in his findings, some mis- evaluation on its own. be reversal of the audio pairs at the interpretations of design goals, and 3. Memory Mapping and Data main audio -input connectors, which general differences of opinion. We Back -Up: would bring all signal ports into gratefully acknowledge the author's The APR -5000 Series retains all polarity agreement and result in erect pointing out the polarity reversal in Audio Alignment, Search Cue points recording and reproduction in both the audio path in production units. and Timecode status information in a sync and play modes. This problem has since been resolved by battery backed -up memory system. The matter of the inverse hexade- Engineering. Each specific type of data is mapped cimal parameter indications is more a The areas requiring clarification into its own unique locations, and is matter of preference on my part than are as follows: only written over by an operator a deficiency. The hex values are uni- 1. Published versus Measured performing a detailed alignment que to any parameter magnitude, and Specifications Discrepancies: procedure. This data back -up also serve their intended purpose. In this particular area, it appears as allows for each of the 12 possible head The phase ( not polarity) correction though the author's measured speci- assemblies to have its own data for network seems to be designed very fications were based on criteria other call -up at any time in the future. This close to optimum for the speeds and than those used by Sony engineering. data is also supported in the case of equalizations observed. The ability of Therefore his data is slightly different. the power supply being reviewed for the microprocessor to track the record Some of our specifications have service. We do not understand why equalization delay as closely as it recently been ammended (S /N ratio, the author may have had a problem in does is a compliment to its designers. 30 ips 65 dB; 15 ips 62 dB; 7.5 ips 62 this area. Removing responsibility for proper dB), actually eliminating some dis- 4. Serial Control Protocols: delay compensation from the back of crepancies. This is an area of conjecture by the maintenance technician is a defi- We do find a large variance, however, almost everybody today. We have nite technical step forward. in his measured 7.5 ips frequency chosen to support two protocols in the In closing, I should think that a response and S 'N and our factory APR -5000 Series, both of which can deck having 14 -inch reel capacity and measurement. We are not in a position only be practically realized in the R-e p 142 August 1985 APR -5003, using a Time Referencing System ( i.e. Timecode SM PTE 'EBU). They are the Sync Master specific, RS -422A and specific sub -set of the Sony BV -type, emulating a BVU -800 for Transport Motion Control Com- mands. We refer to the work of SMPTE EBU and the published documents to date in the manual. This is meant to give the readers some insight as to the work going on for the future implementation. In respect to protocol listings, Sony has a policy of supplying them on a controlled basis to qualified users, but not publishing them outright. T. Line Input Differential Cou- pling Imbalance: We do not agree with the author in his evaluation of this section at all. We use a hybrid Diff Amp for this section and, upon examination of the actual circuit, one can see that his results are not possible. We feel that he may have incorrectly connected his test equipment to the Input Amp and unbalanced it improperly, resulting in the results mentioned. 6. Author's Comments on Signal Processing Performance: We feel that these are based upon personal opinion and, although valid on a strictly theoretical basis, are not achievable with the technology that is available today. As always, we will continue to endeavor in achieving absolutely "perfect" audio performance, as technology allows. 7. Audio Mother Board Servicing: Is the Sanken CU -41 The author comments on the lack of serviceability of this particular PCB. In actuality, this is not the Audio really worth the price? Mother Board, but the Audio Control Mother Board, located in the Meter The Sanken CU -41 is the most expensive microphone of its kind. housing. This PCB is easily accessed Its breakthrough double- condenser design gives you textbook and serviced by anyone. In addition, performance: a flat frequency response from 20Hz to 20kHz; an the real Audio Mother Board is a pas- inherent less sive backplane, which can be removed no se level than 15dB; and a dynamic range o' 125dB. and repaired with the same relative But specs alone aren't reason enough to invest in the CU -41. ease. Meitner is the fact that leading sound engineers from LA to London, 8. Polarity Reversal: including Doug Perry, Eric Prestidge, Steve Levine and Tory Faulk- The description of the reversal in ner, are using the CU -41 to record the likes of Dolly Parton, Anne Mur- polarity of the Audio Signal Path is ray, Culture Club, and the London Symphony Orchestra. correct and incorrect. He assumes To really evaluate and appreciate one of the world's first micro - that we use pin #3 as "HI," and pro- phones able to capture the full potential cf digital recording, you must ceeds to describe the reversal in terms try the CU-41 yourself. Call the Sanken dealer nearest you to arrange of input coupling problem. In actual- a free trial. ity, we conform to I EC Standard #286, The CU -41 by Sanken. which calls for pin #2 to be the" HI" in Discover the new standard. XLR connectors. The conclusion that sanken we came to is that the coupling problem is actually in the output path Japan's most original micropnore maker it (where was later actually found and Exclusive CU -41 Dealers corrected). As time does not permit consulta- Martin Audio Video Corp. 423 W. 55th St , New York, NY 100'9 (212) 541 -5900 tion with the author prior to publica- Studio Supply Company, Inc. tion, we are confident that R -e p will 1717 Elm Hill Pike, Suite B -9. Nashville, Tern. 37210 (615) 356 -!890 afford us the opportunity to reply in greater depth following our dialog. 000 Sole agent Par. COrrrrurnmtions, Inc 5.72.6 Asakusa Taiio-ku. Tokyo 11S Japer Telex J27803 Hied" Phone 03-871 -1370

August 1985 R-e/p 143 New Proc ucts MODEL 246 PORTASTUDIO punch -in and insert recording, one- button AURATONE MODEL 5MC COMBINED MIXER /CASSETTE meter and 'phones switching, and tape- signal RACK MOUNTABLE THREE- RECORDER FROM TASCAM routing for remix, also are featured. CHANNEL MONITORS A portable, completely self-contained, Two -speed operation and a dbx defeat Designed specifically as an ultra- compact, four -track production system the 246 Porta- switch allow tapes made on other Tascam three -channel monitor for the video /broad- studio is said to successfully meet the record- multitrack cassette machines to be played on cast industry, the Model 5MC is equivalent to ing needs of artists involved in music, elec- the 246, and vice- versa. Memory transport three, side -by -side 5C Super -Sound -Cubes tronic music, multi -image, and non -sync functions and a Zero -Return allow sections of contained in a single enclosure measuring video. As a complete system, the 246 com- the tape to be repeated automatically for only 51.2 by 1612 by 81/1 inches. The unit will

bines a full function 6x4x2 mixer, and a two - rehearsing punch -ins, overdubs or remixes. provide separate audio feeds for functions speed, four -track recorder with dbx noise The Portastudio may also be controlled by such as cue, program, emergency channel, reduction. the RC -71 Remote Transport Controller or talkback, news, sports, etc., and can be used the RC -30P controlled by the RC -71 Remote for A -B comparisons of stereo -mono quality Transport Controller or the RC -30P Remote for both broadcast program material, and in Punch -in Footswitch. recording production. In this latter applica- Any of the six mixer channels may be tion, the two outside channels are used for recorded by any or all of the four tracks of the stereo. with the center for mono. . + - recorder at any time, via a combination of ^ L- y .y bus. Assign and Record Function switches. A stereo effects system and stereo monitor

" 1 =. mixer system are also provided. In addition to the four meters that are automatically switched to display the signal level in the four busses or four recorder tracks, the 246 also has a pair of meters that can be switched to read the stereo bus, monitor outputs, or the In addition to portability, the 246's all -in- effects outputs. one packaging provides automatic switching The Model 246 Portastudio has a sug- and single -step switching, virtually eliminat- gested retail price of $1,300.

ing time consuming and confusing patching TASCAM Quoted frequency response for the full - necessary on many multitrack recorders and For additional information circle #100 range close -field monitors is ±3.5 dB on -axis, mixers. Automatic monitor switching during (anechoic from 150 Hz to 12.5 kHz). Each five -inch round driver has a specially shielded magnet structure for preventing distortion of the TV image on adjacent CRTs due to flux leakage. Impedance is 8 ohms, and power handling 30 watts per channel. YOU DESIREILDa SYSTEMS DESIGNS Optional metal rack ears simplify mounting in standard 19 -inch relay racks. Protective plastic bumpers are provided for use on con- YOU REQUIREILDU PROVIDES SYSTEMS sole meter bridges or desk tops and nylon hangers are included for wall mounting. Our showroom has recently been enlarged Adams -Smith Agfa Suggested pro -net price for the Model to accommodate a constantly increasing AKO 5MC Multi -Channel Monitor is $150; an Amek range of pro -audio and lighting products. 19 -inch rack -mounting kit is $10. Ampex optional Our sales staff, designers and technical Ashiv AURATONE CORPORATION Audio -Technica support people are field and factory- trained Community For additional information circle #101 professionals. L.D. Systems will design, Crest Crown GARFIELD ELECTRONICS MASTER construct and install the best system for dbx BEAT FOR TIMECODE/MIDI Deltalab tudi to stage. Electrevoice SYNCHRONIZATION Eventide The new unit provides sync generation in EXR beats per minute, 24, 25, or 30 fps film /video HME all OU.EXP I.ID, SYSTEM R Interlace calibrated tempos from SMPTE /EBU Ivie formats: 24- and 25- frame, 30 DF and NDF, Jal and simultaneous production of 16 musical - Klark-Teknik Lexicon instrument sync formats. In addition, a "Doc- L D SYSTEMS, INC. Micmix tor Click" facility enables syric to click tracks, 467 W 38TH HOUSTON, TEXAS 77018 (713) 695 -9400 MXR live tracks, MIDI, and all tape sync codes. Orban Olen DSC Rem sa audio and lighting sales, service and rentals Scotch Shure Soandcratt A high -resolution, programmable "timing Tescam map" allows any beat -interval sequence to be Turbosound urgi stored, edited, and offset under SMPTE con- Ursa trol, for adjustment of rhythmic "feel." Also available are six multi -programmable SMPTE controlled -event gates, each with five -volt and contact -closure outputs for synchronized sound effects and control triggering. R -l' p 114 August 1985 Other production features include RS -232 serial interface; code regenerate and conver- Your Recordings Can Only Sound as Good sion; jam sync; SMPTE from Neopilot; as the Cables Used to Record Them remote control- inputs; and non- volatile memory. Recommended list price of the Master Beat is $1,995. GARFIELD ELECTRONICS For additional information circle #102 HOQUE ELECTRONICS UNVEILS MATRIX M -250 POWER AMP The Matrix M -250 stereo power amplifier will provide 100 watts rms into 8 ohms and 180 Watts rms into 4 ohms, with less than 0.05',. distortion, and features extensive Introducing Prolink High Performance amplifier and load protection plus has preci- Studio Cables by Monster Cable: sion peak -power LED meters with clip Many people in the record- of transients, and the "nat- prise the most critical and indicators. ing business used to think uralness" and "presence" skeptical of engineers, sim- that cables were just cables. of voices and instruments, ply by switching from your And in fact, many of us are all lost through conven- current connecting cables still do. tional cables. to Prolink by Monster Cable.

A Sound of their Own. A Monster New Tech- Come Hear the Monster. Many engineers have found nology in Cable Design. We invite you to hear our A highspeed, non -switching design is said that the opposite is true. Monster Cable has shown entire line of microphone, to provide an accurate wide -band response They are discovering that music listeners worldwide speaker, and studio hookup of 5 Hz to 100 kHz, with less than 120 dB ordinary cables have "a that the sound of their play- cables. Put them through signal -to -noise ratio. sound of their own" and back systems could be sig- your most critical listening Two toroidally -wound transformers permit distort music recording nificantly improved simply and durability testing. the amplifier to be housed in a 312-inch rack and reproduction in ways by changing their cables to You'll discover just how mounting steel cabinet, and be powered by that we were never even the Monster. Now you can good your recordings can aware of. Critical areas obtain an improvement in really 115 or 230 line voltage. sound. such as clarity, depth of the sound of both recording Suggested pro -user price for the Matrix bass response, quickness and playback that will sur- 2se¡,..E M -250 amp is $458. HOQUE ELECTRONICS For your free brochure please call or Monster Cable' Products. Inc. write Paul Stubblehine, Professional 101 Townsend. San Francisco CA 94107 For additional information circle #103 Products Division Manager. 415 777-13.55 Telex: 470584 M('SY tJ I SHURE ANNOUNCES TWO NEW BOUNDARY- EFFECT CONDENSER MICROPHONES The two new additions to the company's line of boundary -effect (surface) microphones When Your Reputation Depends On It, are the Model 819 Unidirectional and the Model 809 Omnidirectional condenser mod- There's Only One Choice ... . els. Both mikes, according to Sandy Schroeder, Shure's marketing manager /professional entertainment and general audio IAN COMMUNICATIONS GROUP, INC. products, "These two new microphones will offer sound contractors and music dealers Cassette, Open Reel, & Video Tape Duplications improved performance, durability, and flexibility in those applications where a boundary - effect microphone is required, but where budget is limited. Otari MTR- I 0 Mastering, Dolby HX -Pro, Digital Mastering! Otari DP -7000 Duplication In -House Printing & Packaging Full Line of Studio Supplies * Agfa & 3M Audio /Video Tapes Both microphones are priced below that of the professional Shure SM90 /SM91 models Call us. You should hear what and should prove to be very attractive to the general sound and semi - professional markets, you're missing! because of their superior reproduction quality and long -term reliability." Both the 819 Unidirectional and the 809 Omnidirectional Condenser Surface Micro- phones have a user net price of $200. Communications Group, Inc. SHURE BROTHERS, INC. 10 Upton Dove Wlrnington MA 6583700 For additional information circle #104 ion 01887 16171

August 141íi5 . ] R -e p 1 1a printer interface is supported for graphic 2,500 editing events. Three different video screen print -outs. An IBM version is pres- display screens are generated that furnish the New Products ently in development. user with: real -time transport status display, Computer -Aided Speaker Design has a an edit decision list with list management SCIENTIFIC DESIGN suggested retail price of $99.95. functions; and a system parameter set -up ANNOUNCES NEW COMPUTER - SCIENTIFIC DESIGN SOFTWARE screen. [See a feature article in the June issue AIDED SPEAKER DESIGN SOFTWARE For additional information circle #109 of R -e p for a full description of operational The Computer -Aided Speaker Design, for features in -use at The Master's Workshop use on an Apple II computer, was developed SOUNDMASTER AUDIO EDITING - Editor. [ for contractors, sound companies, consul- SYSTEM FROM AMTEL SYSTEMS List price of the Sound Master system is tants and manufacturers. This package SoundMaster is a SMPTE timecode- $9,995, which includes the IBM computer. allows complete modelling of loudspeaker based, computer- assisted editing control sys- Users who already own the necessary com- for systems, and accurately predicts system tem. designed for audio -for -video and audio - puter hardware may purchase the system response before any prototypes are built. for -film post production, and is described as $8,195. Version 2.0 now comes as a two -disk set. offering the speed, ease of operation and flex- AMTEL SYSTEMS, INC. Besides the main program disk. a file disk ibility previously available only in videotape For additional information circle #110 allows data storage on up to 800 speaker editing systems. drivers, and is shipped loaded with data on E -MU SYSTEMS ANNOUNCE 111 EMULATOR SP -12 SAMPLING over 120 drivers from various manufacturers. IIMtT 1 III l 1M The program calculates and graphically plots PERCUSSION SYSTEM tr -14 PL Sr REC the response and displacement limited func- Emr The new unit uses 12 -hit data sampling,

- a full corn - tions for both sealed and vented systems. WM MI/ and comes pre programmed with The inclusion of an electronic filter can also MO= me WIN plement of acoustic and electronic drum and be incorporated in the design chain. The user percussion sounds. Additional sounds can be has full control over graph scales and loaded from cassette, an optional disk drive, resolution. or custom sounds recorded with the SP -12's A complete crossover design program built -in user sampling facility. Because the allows 6, 12, 18 and 24 dB per octave cross- SP -12 samples into battery- backed memory. overs to he designed complete with impe- sounds are always available instantly the SP- dance correction circuits. Nine utility pro- The system can simultaneously control up 12 is turned on. grams calculate various often -used functions, to four tape machines (typically three audio Tuning, decay, mix level and tempo including reference efficiency from Thiele and one video transport), using tape syn- (including gradual accelerados and de- Small parameters, vent tunings, passive chronizers as intelligent interfaces to the accelerados) are totally programmable, while radiator mass, etc. transports. An IBM microcomputer acts as a touch -sensitive play buttons provide control Computer requirements are an Apple II host for SoundMaster's custom hardware over dynamics and expression. And with the computer with 64K memory; Applesoft ROM and software. SP -12's multiparameter modes. any sound and two disk drives. The Grappler parallel The system can store and execute over can be assigned to all eight play buttons

LaSalle stocks over 250 knowledge and service are product lines, giving you expert, supporting you the widest choice. both before and after your Il,, LaSalle's prices are the purchase. : L,>.: lowest, offering you the best values. Their product

Call: inside MA (617) 924-7767 Nationwide (800) 533 -3388 or Visit: 75 North Beacon Street Watertown, MA 02172 1116 Boylston Street Boston, MA 02115 22 LaSalle Road West Hartford, CT 06107 Professional Audioalle & Musical Instruments

For additional information circle #108 R-e p l-16 August 1985 simultaneously with a different tuning or level setting for each button. Flexible repeat and subsong functions ° 1 L greatly simplify the creation of complex sound structures. A step programming mode lets the user create intricate rhythm patterns, as well as examine and edit patterns originally programmed in real time.

Bryston's 2B -LP

Bryston has been known and respected for years as the manufacturer of a line of amplifiers which combine the transparency and near -perfect musical accuracy of the finest audiophile equipment, with the ruggedness, reliability and useful features of the best professional gear. Thus, Bryston amplifiers land preamplifiers) can be considered a statement of purpose to represent the best of both worlds - musical accuracy and professional reliability to the absolute best of our more than 20 years' experience in the manufacture of high-quality electronics. The 2B -LP is the newest model in Bryston's line. and delivers 50 watts of continuous power per channel from a package designed to save space in such applications as broadcast monitor. mobile sound trucks, headphone feed, For use in professional film, video, and cue. and any installation where quality must not be limited by size constraints. As with all Bryston amplifiers. recording applications the SP. 12 includes a heatsinkiag is substantial, eliminating the requirement for forced -air cooling in the great majority of installations. This built -in SMPTE code reader generator, as is backec up by very high peak current capability (24 amperes per channel) and low distortion without limiting, regardless of type and phase angle of load. In short, the 28-LP is more than the functional equivalent of our original 28 well as a standard 24 pulse - per -quarter clock. in spite of the fact that it occupies only half the volume, and will fit into a single 1.75" rack -space. A full MIDI implementation allows control The usefulness of the 2B -LP is extended by a long list of standard features. including: Balanced inputs: female XLR from MIDI keyboards, sequencers, and input jacks: dual level- controls: isolated headphone jack; and individual two-colour pilot -light /clipping indicator LEDs computers. for each channel. In addition. the channels maybe withdrawn from the front of the amplifier while it is in the rack. vastly facilitating any requirement for field- service. including fuse -replacement. Suggested list price for the Emulator SP -12 Of course, in keeping with Bryston's tradition of providing for special requirements, the 2B-LP can be modified or is $2.745. adapted to your wishes on reasonably short notice, and at nomiral cost. E -MU SYSTEMS. INC. Best of all, however, the 2B-LP is a Bryston. Thus the sonic quality is unsurpassed. The difference is immediately obvious. even to the uninitiated. For additional information circle #111 Other amplifiers in Brystons line include the model 3B. at 100 watts per channel, and The model 4B. SENNHEISER ELECTRONIC at 200 watts per channel All ratings continuous power at 8 ohms at leCs than 01% IM or THD INTRODUCES EM 2103 -9 NARROWBAND VHF RECEIVER IN THE UNITED STATES IN CANADA Utilizing true diversity circuitry, the new [__i fIVERMONT It t MARKETING LTD receiver is said to offer consistent, noise -free RFD °4, F., 1. Montpelier, Vermont 06602 S/ Vsk ,e < 1». R,adale Ontor o, Canodn M9V 31'6 performance. Available for use with carrier frequencies ranging from 150 to 216 MHz, the

EM 2003 -9 offers uninterrupted, broadcast -

quality audio, and employs the same front - end helical filters as the company's larger multi -channel diversity receivers, which result in extremely high selectivity of RF, and the By Popular Demand... elimination of intermodulation from other stray carriers. Now, there's a Gatex module for your dbx F -900 frame. And, as you would expect, the unit incorporates all of the important features that made the four -channel version an overwhelming success. In its noise gating mode, Gatex employs Pro- 1., gram Dependent Attack to eliminate turn -on MODE trt "pop ", while maintaining attack times sufficiently

Gale Ell, E rl! short to accommodate all percussion instruments. Program Controlled Sustain automatically lengthens the release time as dictated by program content. This means freedom from dis- The unit may be rack -mounted or stacked, tortion when using shorter release times. and has an integral antenna splitter for effi- As an added bonus, Gatex offers two expan- cient use of antennas and installation simplic- sion modes. Users of the original Gatex have ity. LED instrumentation displays both audio found them unsurpassed for reducing noise on modulation and RF strength, as well as the THRESHOLD instruments, vocals, and mixed program material. selection of the strongest RF signal at the two antennas. Adjustable squelch guarantees The Gatex 904, just what you'd expect from... positive muting of unwanted signal. Two discrete outputs - balanced and unbalanced --are available, each with a separate level control for applications requiring both moni- _Audio tor mix and live mix without the use of line splitters. USAudio Inc. SENNHEISER ELECTRONIC P.O. Box 40878 /NASHVILLE, TN 37204 CORPORATION (615) 297 -1098 For additional information circle 11112

August 1985 0 R -e p 147 tion of an outboard equalizer (such as the THE BEST SPECS future RLA Q5000 rotary program equalizer) New Products or any special effects equipment. COST LESS. The X3000A has a suggested retail price of RLA INTERNATIONAL INTRODUCES $550. X3000A ELECTRONIC CROSSOVER RLA INTERNATIONAL, LTD. The two -channel, three -way unit provides For additional information circle #117 a variety of outputs: a sub -bass output with a bandwidth of 30 to 100 Hz; a full output with a TANNOY SR840 POWER AMPLIFIER bandwidth of 30 Hz to 65 kHz; and a tweeter The SR840 is a 250W per channel stereo output with a bandwidth of 7 to 65 kHz. The amplifier designed for use in high -level studio sub -bass and tweeter outputs have front - monitoring, professional sound reinforce- panel level controls allowing 16 dB of boost or ment systems and high quality public address cut, while the full output has a level control work. The new amp is described to be the Frequency response: 20 Hr. to 20 kHz allowing 6 dB of boost or 40 dB of cut. The ±.5dB input signal is thus divided into a buffered and .5m'. to 6 volt R\lS capacity without subsonic -filtered, full- spectrum output that is clipping or distortion available to feed the main system crossover, .05% THD as well as two special purpose low- and high - Whirlwind "l'RSP -1 transformer for signal end drive signals that can be used to feed isolation and splitting with uniform response additional power amplifiers connected to (single secondary). sub -bass bins and tweeter arrays. Whirlwind TRSP-2 transformer for signal isolation and splitting with uniform response (dual secondary). result of "no- compromise" design and manu- Whirlwind TRHL -M transformer for Hi to facturing standards: before dispatch each Lo signal conversions and signal isolation. completed unit receives a full test on every The best specs in the business... for half specified parameter. the price. From The Interface Specialists Quoted technical specifications include The sub -bass and tweeter filters are 24 dB max RMS output power at clip point ( +0, -0.5 per octave, Linkwitz -Riley slopes, and the dB) with both channels driven into 8 ohms of whirlwind subsonic filter is 24 dB per octave Butter- 250W, 440W into 4 ohms, 645W into 20 worth at 30 Hz. All outputs are balanced line ohms, and 860W bridged mono into 8 ohms; THE INTERFACE SPECIALISTS drivers with a maximum output level of +26 THD and noise of less than 0.05 at any 600 ohms; input is active differential, power over band 20 Hz to 20 kHz (typically Whirlwind Music, Inc., P.O. Box 1075 dB into In an EQ 0.01% at into 8 ohms); intermodulation Rochester, New York 14603 (716)663 -8820 transformerless -balanced. addition, 200W loop in the sub -bass circuitry enables inser- distortion less than 0.03% (50 Hz and 7 kHz,

CHICAGO MUSIC EXPO

CHICAGO HOTEL CONTINENTAL SEPT. 20 21 22

Presented by g(Eaq EntEZa:ises, Jrnc. Call or write: CHICAGO MUSIC EXPO Sponsored by FLANNER'S 110 Schiller, Suite 205 PROAUDIO,INC. Elmhurst, IL 60126 Se...ng tre B,oaaroo 312- 279 -8323 Seminars 'by CENTER "Finding your n a ra s and FOR place in the MUSIC music business." BUSINESS 279-8323 STUDIES

R -e /p 148 August 1985 4:1 -12 dB); Unweighted noise ref 250W into and 8 -bit waveform modes can be inter- the previous lightpen, providing greater 8 ohms -105 dB (A-weighted 116 dB); full mixed. and up to 120 independent sounds accuracy, ability to draw on black areas of the power bandwidth +0, -0.5 dB 15 Hz to 40 accessed for each "Voice" (e.g. multisam- screen, and elimination of operator fatigue. kHz; and crosstalk at reference rated output pling over split keyboard); FAIRLIGHT INSTRUMENTS at 1 kHz better than -75 dB. Output indica- *Stereo sampling to WRAM at 50 kHz, mono For additional information circle #119 tors have a rise time of 10 milliseconds, a fall sampling to 100 kHz; time of 1 second- and }2 of indicated level. *Playback sample rate to 200 kHz; TASCAM SERIES 200 SOUND TANNOY NORTH AMERICA, INC. *External control via MIDIíSMPTE and REINFORCEMENT AND For additional information circle #118 click- track; RECORDING MIXERS Control of external equipment via MIDI, The M -208 (eight Inputs) and M -216 (16 FAIRLIGHT UNVEILS CMI SMPTE in out and TTL clock signals; inputs) rack- mountable mixers feature four SERIES III DIGITAL SYNTHESIZER A Real -time Composer sequencer can con- program busses, each with its own pan and Technical features of the new Series Ill trol up to 80 instruments simultaneously 16 fader, and a stereo bus also with separate include: internally, and up to 64 via Fairlight's 16-voice faders. The program bus faders allow multi- Digital sound quality using 16 -bit, random - slave racks or the four MIDI output sockets; ple input-channel signals to be grouped on a access waveform storage and converters; and single fader for quick and accurate control A total 16 audio output channels, each with during live performances, or recording. their own 16-bit DAC, VCF, VCA and output connector; Ability to route any of 16 voices to any of the 16 output channels; Massive common Waveform RAM to allow multiple samples across the keyboard, different waveform samples per keyboard section selectable or blended from performance dynamics; Several methods of off -line synthesis, including full Fourier analysis and resynthesis, FM and comprehensive sound manipulation and The Series 200 also provides eight tape sustain techniques; "Mega- sampling" capability to and from 60 inputs with corresponding switches in the Up to seven Megawords of Waveform RAM Mbyte hard disk. channel strips, so that an eight -track recorder may be installed, providing 140 seconds of The main physical changes from Series IIX can be left connected and brought into the 16-bit sound when sampled at 50 kHz. (This are an expanded motherboard, to hold the mixer for playback monitoring. can :ime be split as needed between instru- extra waveform memories, a 500 -watt, switch - Each channel strip provides: pad, trim, ments.) The sample time is more than mode power supply and a 150 -watt analog channel insert, overload indicator, two tape - doubled if WRAM is used in 8 -bit mode (at supply. A small high -resolution X -Y graphics selector switches, three -band shelving and 44.1 kHz sample rate: 5.2 minutes) Sixteen tahltet has also been introduced, in place of sweep -type parametric EQ, effect and fold-

Bruce Swedien -1984 Grammy Award winning engineer of Michael Jackson's "Thriller" album; and engineer for Quincy Jones, James Ingram, Sergio Mendez, Missing Persons...on the DI -100 Direct Box:

"The DI -100 has a very warm sound... very rich. It sounds just great to me!" "I like to use it with synthesizers. What I do is take an output from the synthesizer, and because the DI -100 is capable of Line Level, I run it right into the tape machine... straight through... by -pass the console totally! It works great! Oh... and you know what else I really like about it ?... that little gain control...that's handy!" The DI- 100... "it stays right with me, I won't give it up!!!" We appreciate the support of our users...thanks again to: BRUCE SWEDIEN EFX STUDIOS -LOS ANGELES SWEDISH RADIO 8 TELEVISION WAYNE NEWTON SHOW DAN WALLIN WONDERLAND STUDIOS -LOS ANGELES CENTRE CULTURAL -MANITOBA. CANADA ENGELBERT HUMPERDINK SHOW GLEN GLEN SOUND, RECORD PLANT-LOS ANGELES ANN - MARGRET SHOW CAESAR'S PALACE -LAS VEGAS PARAMOUNT PICTURES-LOS ANGELES ABC -TV SHIRLEY MacLAINE SHOW HARRAH'S- ATLANTIC CITY NJ DISNEY STUDIOS-LOS ANGELES CLAIRE BROS.- MANHEIM, PA CALL US AND ASK ABOUT OUR NEW RACKMOUNT DIRECT BOXES'! ALASKA MASSACHUSETTS OREGON Anchorage Alaska Stage Craft Boston E.0 WUlhtzer, Inc. Portland Portland Music ARIZONA Brockton Scorpio Sound Portland RMS Sound Dalton Berkshire Pro-Audio Phoenix Ear Audio PENNSYLVANIA Watertown La Salle Music CALIFORNIA Philadelphia Tekcom Corp Burbank MICHIGAN Studiobudders SOUTH CAROLINA San Francisco Saginaw Watermelon Sugar Sound Genesis Charleston Fox Music Whittier Whittier Music MINNESOTA CONNECTICUT Savage LaVonne Wegener Music TENNESSEE NEVADA Nashville Valley Audio New Haven . Goldie Libro Music Las Vegas Celestial Sound /Light Stamford Audiotechniques TEXAS NEW HAMPSHIRE W Hartford Austin Xeno Sound. Inc. La Salle Music Hempstead NEAT FLORIDA Dallas Avrom NEW YORK Dallas Gemini Sound Jacksonville New Hope Sound New York Audiofechni ues WASHINGTON Miami Harris Audio New York Martin Audio Video Tampa Paragon Music New York Night Owl Music Supply Bellevue Guitars Etc GEORGIA NORTH CAROLINA Seattle RMS Sound Smyrna The Music Mart Grant Falls Fantasy Music WEST VIRGINIA INDIANA OHIO Charleston Appalachian Sound Evansville Dallas Music Pro Shop Cleveland Central Music Exchange WISCONSIN Indianapolis Indy Pro-Audio Dayton Hauer Music Waukesha Flanners Pro -Audio

August 15785 R-e/p 149 For additional information circle #120 New Products In Al tests, this tiny condenser microphone back level controls. bus design switches, and equals any world -class professional microphone. pre -fader listen (solo) switch. Balanced and unbalanced inputs are available for all input Any channels, as are balanced and unbalanced size, any price. busses and stereo Actual Size outputs for the program bus. Sub -buss inputs allow the Mixer to accept signals from another mixer, to Compare the Isomax II to any other increase the available signal sources. Even though it mea- microphone. The Master Section includes, in addition to sures only 5/15" X 5/e" and costs just the program faders, pan controls and the $189.95,* it equals any world -class stereo faders; effect return level and pan con- microphone in signal purity. trols; master level controls for effect and And Isomax goes where other micro- foldback mixes; solo master level; and switch- phones cannot: Under guitar strings near ing matrixes for the monitor and meters. M-208 carries a suggested retail price the bridge, inside drums, inside pianos, The of $995, while the M -216 is priced at `51,495. clipped to horns and woodwinds, taped to TASCAM amplifiers (up to 150 dB sound level!). For additional information circle s123 Isomax opens up a whole new world of miking techniques far too many to men- IMAGESCOPE tion here. We've prepared information STEREO PHASE DISPLAY UNIT FROM B &B SYSTEMS sheets on this subject which we will be The new unit displays the complex stereo happy to send to you free upon request. audio signal graphically showing the actual We'll also send an Isomax brochure with dispersion pattern of the sound energy as it complete specifications. will appear in a typical listening environnent. Call or write today. The Imagescope provides a true visual real - time representation of the balance, separa- * Pro net price for Omnidirectional, Cardioid, Hypercardioid, and Bidirectional models. tion and level of the stereo signal, and is intended for use in recording studio and COUNTRYMAN ASSOCIATES INC. audio production postproduction facilities, 417 Stanford Ave., Redwood City, CA 94063 (415) 364 -9988 in addition to the TV and AM broadcaster looking to stereo.

In recording and production, Imagescope is used to position exactly any track or tracks in the stereo image, in real -time, thus avoid- 990 ing stereo phase errors. The unit is also used at transmission sites to verify separation Discrete and or mono compatihilitç B &B SYSTEMS, INC. Op -Amp For additional information circle 5124

SENNHEISER MKH- 40 -P48 STUDIO CONDENSER MICROPHONE Electronic Design by Deane Jensen The combination of symmetrical capsule Packaging & Production Design by John Hardy with optimal resistive loading is said to result in a highly linear frequency response, and in Fast: 18V /µS @ 150 Ohms, 16V /µS @ 75 Ohms inherent noise level that is virtually imper- Quiet: -133.7 dBv E.I.N. (20- 20kHz, shorted input, unweighted)

Powerful: +24 dBv @ 75 Ohms (Ref: OdBv = .775 V)

AND IT SOUNDS GREAT ! THESE USERS AGREE: Sunset Sound, JVC Cutting center, Mobile Fidelity, K -Disc Mastering, Sony (Digital Audio Div.), Capitol Records, Inc., WFMT Chicago, Jensen ABC Transformers, Bonneville Productions, DeMedio Engineering, -TV, ceiveable by modern digital recording equip- 20th Century Fox, Armin Steiner, and many more ! ment. The MKH -40 is described as handling both high and low sound -pressure levels with THE HARDY CO. Box AA631, Evanston, IL 60204 (312) 864 -8060 ease and accuracy, and is capable of recording the most subtle sonic nuance to the loud-

R -e- p 150 August 19s:> est boom without - coloration, noise, or inter designed to meet rigid European electronic LED matrix to locate room acoustic anomo- modulation distortion. and heat dissipation specifications. lies. Through the use of an internal pink -noise Featuring a cardiod directional pat tern. the The power amp has two separate chan- generator and sensing microphone, the DAX MKH -40 has a quoted frequency response of nels, and its two massive power supplies are 2800 will perform computer -controlled 40 Hz to 20 kHz, and a sensitivity of 25 complemented by a large number of rugged automatic equalization and quickly EQ a sys- mV Pa (8 mV Pa), ±1 dB. Nominal source silicon output transistors in a unique "tunnel- tem to any memory setting. impedance is 150 ohms, balanced, and min- like" dissipation tube that maximizes heat The unit also provides instantaneous, imum load impedance 1 kohm. Equivalent dissipation: it is rated 600 watts RMS contin- automatic EQ and RTA curve averaging of up RMS SPL (DIN 45500) is 12 dBa (16 dBa), and uous per channel into 4 ohms, and 1,200 into to eight curves, and can be weighted as much equivalent peak SPL (CCIR 468) 21 dBa (26 8 ohms in bridge mode. as 7:1. Sensitivity of EQ or RTA settings can dBa). Maximum SPL for less than 0.5 As well as " THD Peavey's patented DDT com- be changed from 3 dB to 1 dB. at 1kHz is quoted 134 dB (142 dB). pression. the CS -1200 features the com- SENNHEISER ELECTRONIC pany's new "back porch" accessory plug -in CORPORATION patch panel for balanced input transformers, For additional information circle #125 and crossover special function modules. Suggested retail price of the CS -1200 is CS -1200 POWER AMPLIFIER $1,199.50. FROM PEAVEY PEAVEY ELECTRONICS For the sound contractor, the DAX 2800 Peavey begins shipment of a new "power For additional information circle #126 acts as the "master" computer to download house" amp, the CST"-1200. This unit is into the DAX EQ POD any prescribed room larger than their extremely popular CS.400TM NEI LAUNCHES DAX equalization curve, the latter unit is a blank - and CS.800TM models that have been ac- 2800 THIRD- OCTAVE panelled, third -octave equalizer for perman- claimed as the industry standard in power ANALYZER /EQUALIZER ent sound system installations, and cannot be amplification. The DAX 2800 combines the functions of a adjusted by unauthorized personnel without third -octave, real -time analyzer with a dig- the DAX 2800. itally controlled third-octave graphic equal- NEPTUNE ELECTRONICS, INC. izer, and adds a computer for measurement For additional information circle #'27 and control functions. Under the control of the on -board computer, gain settings on each NEW UREI MODEL 809 of 28 ISO -centered filtering bands can be TIME ALIGN MONITOR FOR stored and instantly recalled from 16 memory SMALLER CONTROL ROOMS locations: specific requirements for EQ can The 809 Studio Monitor features an all -new The new CS -1200 is described as a "brute" be recalled on demand by the push of a 12 -inch coaxial driver that is said to deliver a of an amplifier, built for ruggedness, reliability button. true, one -point sound source, tight bass and and superior performance. Large continuous Additionally, the unit incorporates a dig- superior stereo imaging. The new coaxial duty power transformers are of a new itally controlled RTA that can display the driver incorporates a titanium diaphragm semitoroidal -type, and the entire unit is spectrum of an audit) source on the 28 -band compression driver in the HF section that PRESTIGE EQUIPMENT FROM A WORLD CLASS SOURCE Neve 8038. VG. 36/16/24. Ex Crescent Studio U K. _75k CLASSIC AUDIO CONSOLES UNIQUE PROCESSING GEAR Neve 8038. VG. 38/16/24, 1074 ED. Ex CTS. __ SSL 4040E, MINT. London 85k Neve 8068. EX. 32/16/32. 4 Returns. 2 Limiters 70k AOR Vocal Si .0769XR -Limit /Expand /Gat /EO I Ik 40/32/40. Recall Ready w/Computer 150k Neve 8068. MINT, 32/16/32. Refurbished 85k Dolby M24H 13k API Oemedlo. VG. 24/16/24. 550 Eq's Ilk lleve 8078. VG. 36/16/24. Necam, 2 1081 E0. 8 ret Oolby 361. MINT 850 API. VG _145k 28/16/24. 550A. 4 ref w /EO 35k Sounderaft 1624. EX. 24/8/24. 4 Band EO ______15k EMT 140 ST. Tube Stereo 5 5k API. VG 32/16/24. 550A. 4 ref. Auto_ 35k Soundcreft 38. EX. 32/24/24. 8 Returns_- 22k EMT 250 18k AMEK 3000. EX. 36/32/36. Automated 55k Seundworkshop 30. EX. 28/24/24. 8 para _. 15k Eventide 1745M. with Pitch /Shift ___ .. 800 Auditranics 501. G. 26/16/26. 5534. Cs __. 12k Trident 808. MINT. 32/24/24. 7 Months ofd 28k Fairchild 870. Tube limiter_ 2k Audilronics 501. VG. 26/16/26. Jensen Tx 15k Trident Series 70. NEW. Lexicon 224 XL 8 5k Harr son MR2. EX. 48/32/48. Auto 60k 28/16/24. Auto Ready. Para. 8 Ret _ 20k Lang PEQ-I 500 MCI JH VG. 5288 28/24/28. LM /JH -50 . 35k Trident TSM, EX, 40/24/40. Returb. Ex Vineyard. U.K 55k Lang PEO -4 500 MCI JH 536C. EX. 36/32/36. LM /JH -50 65k Necam II 40 Channel. Retrofit Neve. Trident. API .. 48k MCI JH 5560. EX. 56/32/56, LM /JH -50. 8 Returns 00k TAPE TRANSPORTS Neve EQ 4 Band. 1091 I 2k MCI JH 636 VU. EX. 32/24/32. 8 Para. JH -50 30k 3M Digital System. 32T. 41. Editor Neve EQ 3 Band. 1064. 1073. EC 750 MCI JH 636 VU. EX. 28/24/28. Auto 28 param 90k 32k Ampex URIE 1176 LN 450 I ATR 102 __ 6.5k Neve 6108. X 48/48/48, Necam I I50k Ampex ATR 104. 7.5k Ampex MM 1200. New Head. 24T. All Mods 22k TUBE MICROPHONES MCI JH 100'24T. Loc I 12.5k 3 -AKG C -24. EX 2.2k MCI JH 100:241. Loc II. New Heads . 14k _ 2 -AKG C -12. MINT 2k MCI JH 110 8 2T 4.2k I -AK6 CI 2A. MINT Ik MCI JH 1108 4T _ 7k 2- Neumann U- 471st. VG 600 MCI JH 16/247. Loc III 17k 4- Neumann M -49. VG I.6k MCI JH 114/247. Loc III _ 17k 10- Neumann KM -54. VG_ 200 MCI 167. New Heads 3k 4- Neumann U -67. VG I.2k Olari MTR-90 Mark 2. 24T. w /Locator _ 27k 3- Neumann SM -69. VG. Stereo Tube I.6k Studer A80RC. 2 -Track 8k 5-Neumann U-87. G 650 Studer 4800 Mk III/24T. 2-Neumann M -250. EX 2k Locator. 2 remotes. 1 TLS 4000 46k 10- Neumann KM -254. EX 170 Tascam 85/16. 16 Channels. DBX 8.5k 5- Sennheiser 421. NEW 170 Ask about our unique Console Rent /Purchase Plan Looking for something special? Call us! r OCEAN AUDIO INTERNATIONAL, INC. v G cSóy nl,- r- 9t1'.\ 1_.__-.(213) 454 -6043 TELEX (316706) IMC (OCEANAUDIO -US) / T w . t

August 1985 O Reip 151 -For additional information circle #128 STEWART ELECTRONICS EXPANDABLE PHANTOM New Products POWER SUPPLY SYSTEM The new expandable system is designed to extends response envelope to beyond 17.5 be used with most microphones and acces- kHz. sories requiring 48 VDC. When high- and low -frequency portions of sound do not reach the ear at the same time, the result is "time smear" which, UREI explains, can be fatiguing after hours of critical listening. The Time Align" technique util ized by the 809 solves "time smear" by considering driver placement and adjusting Starting with the basic single -channel crossover group delay parameters to achieve supply, the system is expandable to a full 12 simultaneous arrival of sound from the voice channels, features full 48 VDC supply. coils of the two transducers. Because of individual channel regulation, each channel is said to feature very low crosstalk, hum and noise. Low hum, coupled with We have the necessary top isolation from input to output, permits the quality hardware: option of unbalanced operation, as well as of Corners, handles, catches, providing protection for the inputs equip- not have its own isolation. extrusions, cables, ment that does aluminum, The system also features short -circuit pro- connectors, vinyl and speakers. tection, which allows adjacent channels to Write for free 60 page remain unaffected in the event of a short. brochure and price -list. The unit utilizes the patented UREI HF STEWART ELECTRONICS Please send 2 $ for postage. horn with its diffraction buffer for correct For additional information circle #132 acoustic impedance matching and smooth out -of -band response. Shadow slots elimi- SIMON SYSTEMS RDB -400 nate the midrange shadowing common to FOUR -WAY DI BOX rcc conventional coaxial loudspeaker horns, The new unit is a four- channel version of features and capa- FCC -Fittings while ceramic magnet structures are said to the DB -1A DI with added ensure that the system's sensitivity will not bility. The AC- powered RDB -400 is based on NJ 07506 Hawthorne, degrade with time or continual use. a totally active circuit design there are no Postbox 356 e JBL PROFESSIONAL transformers in the audio path. level switch pro- Phone: 201 423 4405 For additional information circle #131 A three -position output vides a "normal" output which, unlike other - ADVERTISEMENT -

LAKE EXPANDS CAPABILITIES

What's new at LAKE? Besides the influx of new people ... A host of new computer systems. Computers that assist in the design, engineering, drafting, and service of audio /video systems. One of the most exciting new computer systems is the audio departments Tecron TEF System 10. A portable audio spectrum analyzer that can be used in the field and the data brought back to the office for further analysis. LAKE is involved in the design and building of television stations, recording studios, post production editing systems, and sound reinforcement systems worldwide. A computer system that could quickly analyze the acoustic parameters of any space was very important to the engineering department. They are currently using the TEF 10 to help expedite the engineering requirements of an expanding customer base. LAKE'S audio systems engineers Dennis Smyers (foreground) An example of its value was recently dis- and Steve Blake analyze data on the TEF System 10 cussed at a meeting I attended. It seems that microphones placed at a specific area on stage were experiencing excessive feed- glance seemed insignificant, a steam pipe Without a doubt, this type of commit- back. The client had tried a number of cor- located near the speaker cluster was causing ment on the part of LAKE in R & D, positions rective measures to no avail. LAKE's en- a strong reflection into the problem area. them as the systems company of choice in gineers, using the TEF 10 were able to pin- Covering the pipe with absorbent material, the audio field. Contact them at (617) point the problem, something that at first eliminated the problem. 244 -6881.

For additional information circle #130 Dls, has no insertion loss; "attenuation" of worst -case calculations by computer from 1:1 to de mode with variable attenuation trim; and automation, the GE -30 is described as provid- on the program. Output level is adju "line level" output mode with line trim for ing the highest levels of reliability and free- over a 25 dB range. direct connection to a line input or tape deck, dom from environmental stresses associated Two different modes of operation are bypassing the console completely. with the sometimes abusive requirements of selectable via the front panel: compression Because the unit is independently powered, commercial -audio installations. and leveling. In leveling mode, attack and design techniques are said to have been util- Features include 30 -band second -gen- release times are slow enough to have a ized that are not - possible with a phantom eration, state -variable constant -bandwidth minimal effect on program transients and powered DI. filters; boost /cut ( +12 dB boost and -15 dB short -term changes in dynamics. cut) or cut -only ( -18 dB) capability with LED The Model 310 also features a 10- segment indicator; switchable, active -balanced or gain reduction meter for monitoring the transformer -balanced output; sweepable amount of gain reduction taking place. ultrasonic and sweepable subsonic filters; ROCKTRON CORP. plus overload indicator and automatic "fail - For additional information circle 135 The RDB -400 can be floor-or rack -mounted, safe" hard wire bypass with LED indicator. and has front and rear XLR, balanced out- RANE CORPORATION TANNOY FSM "TWIN 15 -INCH puts, and front -panel unbalanced buffered For additional information circle 134 STUDIO MONITOR outputs. Suggested retail price of the RDB- The new FSM is an addition to the com- 400 is 8895. MODEL 310 COMPRESSOR pany's dual- concentric SRM Series of moni- SIMON SYSTEMS LIMITER, LEVELER tors. Improvements in specifications are said For additional information circle 4133 FROM ROCKTRON to have resulted in a high power, high sensitiv- The Model 310 is a fully automatic ity, studio monitor capable of resolving fine RANE MODEL GE -30 compressor leveler that offers program - detail at extremely high SPL. THIRD -OCTAVE GRAPHIC dependent ratio, attack and release with The cabinet constructed of 1.25 -inch EQUALIZER selectable compression or leveling modes. medite (a very dense. hard, manufactured of Every aspect the GE -30's design is said The unit employs Rocktron's unique log- timber product) is divided into two totally to have been fully optimized by computer arithmic compression for smooth com- separate internal chambers. The bass reflex analysis for maximum accuracy, minimum pression, the company says. system employs one 15 -inch dual -concentric phase shift, minimum noise contribution, the The input gain switch allows the musician for mid high frequencies, and one 15 -inch to plug his instrument directly into the Model transducer for bass. 310 for use in live applications; when used in The system also utilizes an all -new Low this mode, the musician may also use the 310 Frequency Window for bass equalization and as a pre -amp. Hard Wire crossover technology. greatest flexibility, and total freedom from The compression control simultaneously Suggested Retail of the FSM is $4,:98. imprecise filter bandwidth vatiations com- adjusts the threshold of compression and the TANNOY NORTH AMERICA, INC. mon to other brands of graphic equalizers. input level to the compression circuit. For additional information circle 4136 Having been subjected to a thorough series Compression ratio automatically changes

QUIET... PROGRAM EQUALIZATION ....T,.T.,T..;..;. ; ;...;..

L -C ACTIVE THE WHITE INSTRUMENTS ADVANTAGE - 2 Channel Octave Band CRAFTSMANSHIP Graphic Equalizer Hand Tuned Filters Brushed, Painted Alurrinum Chassis 4100A Captive, Threaded Fasteners -No Sheet Metal Screws The model 4100A features Active. Inductor -Capacitor Integrated (L -C) Tuned Fi to -s. Tie resonant frequency of each Circuits in Sockets filter is derived PASSIVELY by a Tuned L -C Pair. This Glass Epoxy Circuit Boards -Well Supported drastically reduces the number of active devices nec- High Grade Components essary to build a Ten Band Graphic Equalizer. Only seven operational amp ifiers are in each channel's sig- Highest degree of Calibration in the ndustry nal path: THREE in the differential amplifier input: 100 °%o Quality Control Throughout th3 Manufactur- TWO for filter summat on: ONE for input level control: ing Process ONE for the output buter. The result ... the LOWEST "Worst Case" NOISE Jf any graphic equalizer in the Instant Above and Beyond the Call of Duty Re- industry ... -90dBv or better. sponse to Field Problems.

, t:srtm ----- instruments, inc. 222222 ^...- P.O. Box 698 Austin, Texas 78767 512/892 -0752 TELEX 776 409 WHITE INST AUS

For additional information circle x+137 :\u,ust I li e p l.i:i YRE NOT Pir- - SELL IT ! Classifies THE ORGANIZATION - RATES $82 Per Column Inch (21h" x 11 - YOUR NATIONAL One -inch minimum, payable in advance. Four inches CLEARINGHOUSE maximum. Space over four inches will be charged FOR FINE USED for at regular display advertising rates. AUDIO & VIDEO FREE 32pq Catalog 8 50 Audio Video Appiic. Our mailers reach EQUIPMENT for SALE s 1.14,, ,0 . . - als every Yono ' si,.o iM( OSC month. We'll list your us EQUIPMENT FOR SALE equipment free of charge- - Used & New Mixers. Amps, Effects. a Aga,. D,ri Ample TV Audio 8 Rcd Prod Contain Mics., Etc. YAMAHA, JBL. BGW, SHURE, help you find that rare i eOPAMP LABS INC (213) 934 -3566 ETC. Low Prices. eg: BGW 750B's, $700. 1033 N Sycamore Av LOS ANGELES CA, 90038 Ye. e n e Or. Lexicon 224, $4.950 Quantity discounts. For additional information circle #141 A -1 AUDIO, 6322 DeLongpre Ave.. Hol- THE lywood, Calif. 90028. (213) 465 -1101. ORGANIZATION FOR SALE BERTECH MCI JH -532C Console. Plasma Meters, Automation, Producers Desk, Center AUTOLOCATORS Distributors, brokers and custom Grouping Masters. Reverb Returns with CM50full function microprocessor based EO. Excellent condition. asking $53.5K. fabricators of quality audio and autolocator and SMPTE reader available Call Alan (312) 822 -9127. video equipment. for 20 different multitracks, typically: M79, MM1100, A80. 6804 FOOTHILL BLVD. You've seen it on the 616 and X80! Call FOR SALE TUJUNGA, CA 91042 us now if your multitrack needs a little help finding its way around. Prices MCI JH542B console with 28 I/O (818) 352 -3181 around $1100. modules. Automated Plasma Meters Applied Microsystems Ltd., SACRAFICE $25,000.00 or B O call

LL THINK BERTECH FIRST ! (213) 854 -5098. Bobby (212) 921 -1711. AM PEX REPLACEMENT HEADS RECORDER PARTS REFURBISHMENT

BASE PLATE REPAIRS 800 -553 -8712 800 -325 -4243 N CA Arts of SoundHollywood SPRAGUE University I íííÁ1:N1: I II,S Offering 5 wk / 10 wk / 6 month IN1:. RECORDING ENGINEERING IN STOCK WORKSHOPS IMMEDIATE For the last nine ye. The University of Sound Arts r. Ueeri producing tomorrow s recording engineers and vide( SHIPMENT We use the finest and the most modern state of ihr art equipment in the world. thus producing engineers that are most effe(tivf' and current in their approach 818 -994 -6602 Also available: 1 yr. program In Audlo-Video Technology 15759 STRATHERN STREET CALL COLLECT in California 213- 467 -5256 or 1- 800 -228-2095 or write to VAN NUYS, CA 91406 University of Sound Arts. 6363 Sunset Bi., RCA Bldg., Hollywood, CA 90028 TELEX 754239 FOR SALE Amek 2500 console 36 input. plus MICS - (4)Countryman DI: (4)Shure 57; 24 6 out. near mint (1)AKG D124: (2)EV shotguns: (1)PZM condition. full parametric EO continuously variable w 3 dB detents. supply; (2)Pzm mies; (1)AKG 451: (2) extra patch points: 6 aux sends Shure 53: (1)Senn. 421; (4)Shure 58; (1) and FAIRLIGHT CMI returns: automation ready; 10 Beyer 500: (4)EV DS35: (2)EVCS15 sup- grouping busses: XLR plies: (2)Sony ECM377; (2)Sony ECM50: snakes available. (213) FOR SALE 462 -0000. (2)Shure 59. (1)Senn. TM2002. (6)U87 mies: used by Package: S5000 Sphere Eclipse B Console 20 channel. ATA R I CONSOLE - (1)MCI 24.24 JI-1416 8 with graphic EQ in good shape. 360 Package: S6000 System Digital Sample keyboard - audio lab excellent condition and priced to sell. OUTBOARD - (1)UREI 527: (4)gain- 408/747 -2870 Allen & Heath System 8 console 16 n 8. brains, (4)kepex's 1 )Allison main: Call Jim R at 614 (1)Ashley 66 Param: (2)UREI LA3A -663 -2544. (2)UREI 1176: (1 )Eventide 1745m:

(1)AKG BX2O echo: 1 1) EMT 162 echo - Package $9000

Call - Dale at Dale Ashby & Father 201 -658 -3026.

"TVU" PUTS STEREO LEVEL

BARRAPH ON VIDEO MONITOR

Accurate ni -res drS01ah iS V6 PPM Swachable Scale naS fu annotation peak flasher 005, tlOnable on screen Tvt.' accepts balanced Imes ano Semedr0 inputs Six new things Available NOw 5500." Inovonics 14081458 0552 TPA 325, from NEI: NEOTEK CONSOLES Mint Series II. 20.16. 40 -TT patch cords. spare module. pedestal. $10.5K. Series I. 16.4.2, rec module. flight case. S5 2K Call days 802 -658 -6475 30 -day warranty by seller.

CLEAN

PATCH The DAX 2800. A digitally controlled 28 -band third - octave BAYS graphic equalizer. The DAX 2800. A digitally controlled 28 -band third- octave NO DOWN real time analyzer. The DAX 2800. Storage and immediate recall of 16 digital TIME EQ or RTA memory settings. The DAX 2800. Instantaneous automatic EQ and RTA averaging! A real time -saver when equalizing acoustically complex rooms. The DAX2800. Automatic equalization to any RTA memory setting! The DAX 2800 will actually measure the room and quickly EQ your system to any desired memory setting! The DAX 2800. The master programmer for NEI's new DAX EQ POD, a blank -panelled, dedicated third - octave VERTIGO BURNISHER AND VERTIGO equalizer for permanent sound system installations. INJECTOR RESTORE ORIGINAL PERFORMANCE TO YOUR PATCH BAYS VERTIGO 1.4 TRS AND 77 BURNISHERS: The DAX 2800. Truly a remarkable integration of high - Each eliminates na al quality audio engineering and digital technology.

VERTIGO 14 TRS AND TT INJECTORS: Lid) .rgct,r tIwnuly ìuivenl l einttk?le rnlemiillents See our complete line in breaking contacts (normals) when patch cord has of professional audio equipment. been removed

ONLY $29.95 EA. Please write for 934 N E uld!hnn:,l mh,nrld!r r' -'''d ,r,iPr rim, ha-), ?v 25th Avenue Portland. Oregon 97232 Telephone 1503) 232 -4445 Telex 364412 INTR VERTIGO RECORDING SERVICES 12115 Magnolia Blvd. #116 North Hollywood. CA 9160/

August 19,5 It -t p 15.ì For additional information circle .145

Public Auction Sale EQUIPMENT for SALE r I- Thurs.. Sept. 12 1 at 11 A.M. oaQUALlTY9 BALOWIN at 220 Broadway IBM PC /XT COMPATIBLE Huntington Station. AVATAR SYSTEMS offers a PC /XT Long Island, New York compatible that is better than IBM's and Well maintained. top of the costs less too. 640K Ram. dual drives. °%o Par Ports. Battery -Time- of complete TAC KAVA 50 faster Ser line equipment clock. w /Amber monitor = S1400. Color = 1.000 pure vinyl records in paper sleeves S1625. Add: 20 meg Hard Disk $700. mastering & Other systems & software available. (AV One color printed labels related products coming). (IBM is a reg TM of IBM). All metal parts and processing recording AVATAR SYSTEMS 1- 213 -559 -5350 studio Mastering with Neumann VMS70 lathe & SX14 cutter (equipped for cassette 4S RPM 12 Album Package RI'c.,ru Parkdy., Records and Printed Givors FOR SALE tapes & record discs( Soundcraft 3B Console 32x24c24 -$22K: $399. I $1372. (FOB Dallas) MCI JH114 -24 w Locate III - $19.5K: UREI and mobile I To mere this special price. This ad ansi accompany order ) Lexicon Prime Time 93 - $.5K: Digital Metronome - $.2K: 2 Valley 12" 33 -1/3 Album Package Includes full color 4 rack Even- recording stock jackets or custom Kepex II's w card - $.8K: black and white jackets. tide Harmonizer 949 w/ ALG -3 - $2.8K: Package includes full processing 2 UREI 1176 Limiters $.2k ea.: Aphex equipmen . Re- orders available at reduced cost. Compellor Limiter - S850: Scamp Noise Ampex AG440 w/ 2tk We make full 4 -color Custom Albums, too' Gates - S150: -4tk Studio Equipment: heads - $2.7K: Ampex AG440 2tk Deck Tape recorders by: Ampex. Nakamichi. For full ordering Information call - S1.4K: Lexicon 224 - S5K: Eventide Stellavox. Telefunken. TEAC. Kenwood. DICK McGREW at 1- 800 -527 -3472 Flanger - $.5K: Orban 6228 stereo EQ Microphones: Over 400 Neumann Mikes - $450: Klark Teknik Stereo EQ - S.4k: incl: U47 tube. KM87. & KM89. & many AKG C -24 Tube Mic -S1.8K: Neumann others by: RCA. EV. Shure. Capps Crown KM54 Tube Mic $450: JBL 4313 PZM. Beyer. Mike Stands by: Neumann. speakers - S.4K:calf 818- 763 -0130. Atlas. Keith Monk: Mike Accessories such c1+p record manufacturing corp. as: Holders. Cables. Wind Screens: Speaker 902 Industnal Boulevard, Dallas Texas 75201 12141 741 -2027 Monitors by: UREI. Altec. EV: Amps Tubes & Components by: Fairchild. UREI. Macintosh FOR SALE RCA: Headphones by: Koss. Beyer: Yamaha Sound Workshop Series 30: ARMS auto- Mixers: Scotch 206& 207 Blank Tape: Noise mation with Super- Group. Full 336 pt. TT Reduction Equip. by: dbx. Dolby A & B. patch bay. 28 Main Frame, 25 I /Os. Telecom. Advent. and many other items too IMMACULATE CONDITION! Must sell. numerous to mention. 514K. Contact: Michael Creamer (305) 298 -3917. Mastering Equip: Neumann Lathe. Westrex Heads. Pultec Stereo Panner. UREI Equalizer. Gotham Delay Units. Scamp DeEssers. EMT Limiters. EQUIPMENT for RENT UREI Notch-Peak Filters. EMT Reverbs. e Westrex Amps.

Tape Duplicating Systems by Ampex & E lectrosound. NEW YORK NASHVILLE scrtEts-ff Digital Equip: C -Zeros "The Audio Rental People" Sony PCM1. Digital Encoders. Sony DIGITAL RECORDERS CONSOLES Recorders & BTX Editors. You Can Trust! TIMECODE WIRELESS MIKES Mobile Equip: SYNTHESIZERS EFFECTS Our shells are engineered 1619 Broadway, NY NY (212) 582 -7360 Telefunken & Nakamichi Tape Recorders. Yamaha PM 700 & PM 100 Mixing Boards. to give you: Klein & Hammel Monitor Speakers. * Perfect azimuth control Stellavox Bile Special Effects Recorder. All MISCELLANEOUS of the preceding are equipped w /Anvil * Smooth and uniform loading Cases. at ultra high speeds

* Easy, direct on- cassette 5 album. of IRO cnm llUlr/ Misc. Equip: printing or labelling stereo sound el Iccts Quadrophonic by: Sony. CVS & Neumann: grouped hg catcgor). VCRS by: Sylvania & Sanyo: Sony PVM * The most competitive pricing Under 50 cent. a cui. . M Monitor & VCR. Also available are pancake and (;er your free demo of' e S. CALL OR WRITE FOR bulk loaded cassettes \\ Hie I f\. 2125 Guard premium IIIIIIC,IIry,ll, \I\ BROCHURE FREE Call Us For Free Samples! PRODUCTION ERE LIBRARY BALDWIN INDUSTRIAL By For additional information circle n149 LIQUIDATORS INC. Jordax California Inc. AUCTIONEERS AS AGENTS 1513 Sixth St., Suite 204 PO Box 920 Wantagh L.I.. N.Y. 11793 please mention ... Auctioneers Telephone: (516] 826 -4700 Santa Monica, CA 90401 Phone: (213) 393 -1572 YOU SAW IT IN R -E /P

IZ-e p 1+16 August I'I,ti:, For additional information circle .146 News

- continued from page . . . special projects, will handle the production of live concerts on the East Coast. utilizing his own custom- designed mobile recording facility. Startleet's mobile will join Westwood One mobile studios based in Los Angeles and Cleve- land. Most recently, Starfleet produced a worldwide radio broadcast of the Lire Aid concerts from Philadelphia's.1.F.K. Stadium. PEAVEY ELECTRONICS COR- PORATION recently was presented with the Presidential "E Star" Award for continued excellence in export achievements. In accepting the award at a special ceremony ir. Meridian, Mis- sissippi, company founder and president Hartley Peavey said: "1 want to personally thank all of our loyal distributors in the 92 countries around the world for making this possible. Without their support, we would not be able to accomplish this major goal." Eligibility for the award in exporting requires that a company be selected previously for the Presidential "E'' Award, which the company received in 1978. EMI MUSIC has announced plans to build a Compact Disc mastering and manufacturing facility in the U.K., to lw located at Swindon, Wiltshire.'I'he new plant is scheduled to begin initial production early next year, with annual capacity gradually increasing to between eight and 10 million CI)s. The new capability will significantly Do you have equipment increase the company's Compact Disc any... for sale? supplies. which currently are being met ... employment opportunities? by manufacturing services in Europe and Japan. At present. Nimbus Records ... studios for sale? is reported to be the only company to be services manufacturing Compact Discs in the ... to render? U.K. According to GOTHAM AUDIO ser- If so, then place your vice laboratory manager, Joe Leung, parts for restoring NEUMANN tí47 and U48 microphones are now availa- R -e/p CLASSIFIED AD TODAY! ble from the company. Metal parts for U47 48 mikes have been unavailable since the early Seventies. Leung Dollar for dollar R -e explains, but now Neumann has begun /p classifieds reach more re- manufacture of a limited supply of people PROFESSIONALLY employed in housing tubes, head grilles, output transformers and other items. Further Audio Production details of restoration service costs are available from Leung at: 1!1'2'1 741 -7411. It's $82.00 an inch one inch minimum THE PLANT STUDIOS, Sausalito. - ('A, has introduced a mobile mainte- Type or print your ad clearly nance service for the San Francisco Hay Area. Complete with mobile van, radio There are 8 lines to an inch and dispatch, and utilizing a Sound'l'echn- 35 characters to a line nology Model 1510 Tape Recorder Au- dio test System, The Plant's maintenace Send check or money order with copy to: team will be on -call 24 hours a day to service recording and production studios. As part of the new service, the R -e /p Classifieds facility also is offering a Preventative Maintenance Program that will provide P.O. Box 2449, Hollywood, checkups of studio equipment on a regu- CA 90078 lar basis. "Maintenance is a mutual (213) 467 -1111 ... continued overleaf - August 19r R -e" p 157 feet. The address of the new location is distributors will be chosen within the (i19 South Glenwood Place. Burbank. next few months. the company says. VVs CA 915O6: the company's telephone OCEAN AUDIO, the Los Angeles - based used pro -audio equipment dealer, studios share number rentalnsi 4lß:813- tí321). problem that all recording has pur- has rented a Solid State Logic SL4000E Stan WOLFF ASSOCIATES in this industry." says Plant owner entire API product line of console to AMIGO STUDIOS, North Area. chased the Jacox. "Now it's time, in the Bay recording and production consoles, plus Hollywood. The SSI, board previously to make it a mutual asset." More details modular signal processors. The final was in service at Ridge Farm Studios, of the new service are available from transfer of ownership, which took place England, and features a 40 -input main - The Plant Services: 1415) 332- 6101. in late June, means that the company frame with full automation capabilities. PROFESSIONAL AUDIO SER- will now be manufacturing the API con- According to Ocean Audio president 'ICES h as relocated to larger premises sole line once again, as well as develop- David Radler, Amigo is renting the con- in Burbank. ('A. According to owner ing a new range of products that is sole on a three -month renewable lease, Bob Ila'ken, the company is now based expected to include retrofits for older at a rate of 6% of the SL4000's resale in the former site of Kendun Recorders, consoles and a moving -fader system. To value per month; the studio also has the whose 5,000-squire-f()ot facility features date, one authorized dealer for the new option of purchasing the board at the an "acoustically- correct" demonstration product line has been appointed: Studio end of each lease period. The Amigo room measuring in excess of 5011 square Consultants. New York; a network of lease is Ocean Audio's first in the console rental market, and may indeed represent the first such rental deal of a THIS ISSUE OF R -E /P IS SPONSORED BY Solid State Logic board in the U.S. "There's a substantial number of stu- THE FOLLOWING LIST OF ADVERTISERS dios that would like to seriously work A &R Record Manufacturing Co 156 La Salle Music 146 with the SSI, consoles," Radler offers, Advanced Music Systems 127 LD Systems 144 "but not all can afford the luxury of Agfa Gevaert 22 Lexicon, Inc 45 placing an order for a six- figure piece of AKG Acoustics 61 Linn Electronics 93 hardware. We've put together a very Alesis 55 Magnetic Reference Labs 98 reasonable and affordable rental /pur- Allen & Heath Brennel 141 Manny's Music 119 chase program for high -end consoles Alpha Audio 138 Marshall Electronic 131 that puts them within easy grasp of just AMEK 4 Meyer Sound Labs 129 about anyone who's serious about the Ampex Corporation 37 Midcom 87 kind of business boards like these could Amtet Systems 68 Mitsubishi Pro -Audio Group 8 -9 studios." The com- 145 generate for their Analog & Digital Systems 106 -107 Monster Cable pany also is reported to be arranging for Aphex Systems, Ltd 128 NEI 155 SL6000 133 the delivery of several additional Applied Research and Technólogy 125 NEOTEK U.S. rental Rupert Neve, Inc 10 Series consoles for the Audio Intervisual Design 91 More is available Audio Kinetics 74 -75 New World Audio 6 market. information on 121:3) 454.6043. Audio Productive, Inc 152 Nikko Audio 111 from !)avid Hadler Audio -Technica US 18 Ocean Audio 151 STOP PRESS: 82 Auratone Corp 41 Omni Craft, Inc Mitsubishi Pro Audio Group Associates 89,130 AXE 149 Orban Established in UK B &B Systems 35 Otari Corporation 47 Digital Entertainment Corporation, a subsi- Baldwin Piano Co 43 Peavey Electronics 31 of Mitsubishi Electric Sales America, Baldwin Liquidators 156 Polyline Corp 114 diary the start of full sales and Bertech Organization 154 Pro Audio Services 24 Inc., has announced Bryston 147 Rane Corporation 59 service operations in the United Kingdom, Capitol Magnetics 137 RCA Records 82 under its recently acquired subsidiary, Quad - Cerwin Vega 49 Rocktron Corp 60 Eight/Westrex, Ltd. Formation of Digital Cetec Gauss 23 Samson 66 Entertainment Corporation, Ltd., is currently Chicago Music Expo 148 Sanken Microphones 143 in process, which company will act as the Cipher Digital 67 SCV Audio 122 overall UK subsidiary headquarters. The CMS Digital 85 Sennheiser Electronics 81 primary trading name to be used in the UK is Connectronics 120 Shure Brothers, Inc 162 Mitsubishi Pro Audio Group, which means Countryman Associates 150 Simon Systems 69 that both the North American and the UK Crown International 7,95,135 Solid State Logic 77 operations will be integrated under one com- 2 C -Tape Development 26 Sony mon control. 38 -39 dbx, Inc 51 Soundcraft Peter Sidey has been appointed special Soundtracs, Inc 56 Delta Lab 106 -107 executive consultant with full responsibilities 123 Sprague Magnetics, Inc 154 Digital Dispatch for Mitsubishi Pro Audio Group UK opera- Digital Entertainment Corp 8 -9 Standard Tape Labs 112 tions; he previously served as managing direc- Digital Services 79 Storer Promotions 113 tor with Neve during the Seventies. DOD Electronics 3 Studer Revox /America 63,161 appointed man- Eastern Acoustic Works 105 Studio Technologies 121 Adrian Bailey has been Marketing, Manufacturing Educational Electronics 11 Summit Audio 157 ager of Pro Audio Everything Audio 32 Symetrix 118 and Technical Services at the UK headquar- FCC Fittings 152 Tannoy 57 ters; he joins the company with 15 years exper- Fostex 14 TASCAM Division /TEAC Corp 109 ience at Neve Electronics. Garfield Electronics 97 Telex Communications 25 Barry Motton will continue in his position Goldline 115 3 -M Companies 12 -13 as managing director of Quad Eight / Westrex, Gotham Audio Corp. 27 Trident U.S A 15,17,19 Ltd. Hardy Company 150 University of Sound Arts 154 "We have been working a long time to get to Harris Audio Systems 58 URSA MAJOR 117 this point," says Mitsubishi Pro Audio Group HRC Magnetics 99 U.S. Audio 147 president Tore Nordahl. "With the resources 100 -101 IAN Communications Group, Inc. 145 Valley People of our $8 billion -strong Mitsubishi Electric par- Recording Services 155 Innovation Specialties 102 Vertigo ent company, our commitments to the UK Westec Audio /Video 73,124 JBL, Inc. 53 market are substantial and long term. We are 108 Westlake Audio 16 Jensen Tranformers putting our energies into key pro -audio pro- Jordax Inc 156 Whirlwind Audio 148 ducts in the major markets around the world. JVC Company of America 71 White Instruments 153 three -year plan is to be the leader in digital Key Clique, Inc 103 Wolff Associates 83 Our and in digital /analog Klark -Teknik 28-29 World Records 114 recording, film recording, Lake Systems 152 Yamaha 20 -21 consoles."

I) 15tí August 1985 Studer Audio: Advanced Recording;

The hardware is typically Studer. The software is simply astounding.

ransport mechanics in our new loop servo system monitors tape gets more jobs cone in less time, Analog Master Recorder are tension and reel inertia to provide and produces sonically super:or re- stable, and precision- crafted optimum acceleration and braking. sults. That's tie bottom line in any Swiss tradition. That's all typ- Both tape tension and tape winding upgrading programs.

' Studer. What's new is an in- speeds are user programmable. Fc r more information on the new ous networ_c of software - The Wheel Thing. The A820's A820 Analog Master Recorder, please oiled operating sys:ems. dual thumbwheel shuttle /edit con- contact: Studer Revox Arrerica, 1425 uture Perfect. The A820 is de- trol makes tape -cut editing a breeze. Elm I- ill Pike. NLshville, TN 37210; d to meet the demands of to- One wheel fast winds tape in either (615) 254 -5651. m's computer -controlled audio direction at increasing speeds while fiction facilities. Multiple on- the other precisely positions tape for STUDER

1 microprocessors control all the edit. Sting sub -systems, including Also Noteworthy. The A820 in- an drive, spooling motors, and corporates Studer's new generation parameter settings. Most op- of phase compensated audio elec- ig features are user program- tronics, available with either trans-

, allowing you to tailor an A820 former or active balanced inputs and ur exact needs in a matter of outputs. In sound quality, the A820 tes. If your needs change, you takes a quantum leap ahead of rely re- program your features. corders made just a few years ago. virtually every operating fea- Options for the A820 include a cen- ture of the A820 may be accessed ter -track SMPTE time code channel and controlled through an optional and test generator. RS232/RS422 serial data port. The Payback. The "hardware" in Gentle on the Wind. The A820 the Studer A820 is made to give you handles your valuable tapes with kid dependable service for years to gloves. The DC capstan motor starts, come. That's the Studer tradition. following a defined ramp, only after Plus, with its advanced software, the the pinch roller is engaged. A closed A820 also does more different jobs,

August 1985 R -e /p 161 For additional information circle #150 MIN

Great performers have one thing in common.

Mick Jagger, Pete Townshend, Tina Turner, Ronnie Milsap, Eddie Rabbitt, Randy Owen -great performers know their legendary stature depends on the quality of their voices. That makes the purity of vocal reproduction critical. That makes rugged, reliable Shure mics essential. Shure mics have been the number one choice of top professionals for many years from the legendary SM58 dynamic to Shure's newest trailblazer, the SM87 condenser. Whether you're on your way up, or you've already made it, don't trust your great performances to anything less than the best - Shure mics. SHUE ® BREAKING SOUND BARRIERS

For additional information circle #152