Edgar Winter

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_.NO.2 OVEMBER 1980 session Edgar Winter

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,\\ I /. /O\ / \B Get the Message? S M.,,, i ` ' / O We are the makers of Studiomixer and the message is We think you will be surprised to find that beside / \« Totally Modular. Before you ask, we'll answer. Totally being the most versatile mixer on the market through Pan 0 Modular is a concept ... our concept of how a mixing our Totally Modular 2oncept, Studiomixer truly offers Pre console should be built. the best performance specifications of any mixer in its Post First, get our mainframe. Add to it as many input class . and, at the lowest price. How does $4,750 5 cue. channels as you need, each one including such features as sound for a 16X8? That's right, 16 mic channels, 8 tape an overload input light, phantom powering, semi-para- channels, 4 monitor and two effects sends, and 2 master lo I

met-ic equalization, 2 effects and four monitor sends, a channels. Unbelievable? Not any more! z 100mm fader and many others. Then add as many output To get the message, write to us for a free, illustrated channels as you require for your application (up to 8 in- brochure explaining our Totally Modular concept. We 15 3 will alsò dependent tape, 4 monitors, 2 effects and 2 master ou=- provide you with the name of your closest 4 puts), choose a VU meter section to meter the output Studiomixer dealer. And, if you are as excited about 20 sectorryou select, and go for it! Totally Modular as we are, then send us $4, your size and , If you want to start out small, we welcome you. Stu - sex, and we'll send you postpaid.a brochure and a Studio - 6 dionixer can come in a version as small as 2x2x2. But mixer Totally Modular T -shirt like we're wearing. Either 30 from that small mixer can be built a 32X8X4X2X2! way, you'll get the message. as write to 1ha:'s right, Studiomixer's output stage as well its For information- crl our products.roducts, please 40 input is expandable. Which really makes us Totall National Sales Manager, Amerimex Co., P.O. Box a -m 8 ,%hxl'ela'. Atwood, California. 9601 ... or phone 714) 528- 336U. CIRCLE EB ON READER SERVICE CARD' www.americanradiohistory.com Silence. The Step Beyond.

Even more important than what an effect BOSS effects have been designed dif- You'll find a BOSS pedal to fit any need - adds to your performance is what it ferently. We incorporate what is called from phasers to flangers, to equalizers to doesn't add. Noise -pops, clicks, and FE.T switching. This means that there compressors to the new CE -2 Chorus hiss can make a good effect virtually un- are no mechanical contacts in the signal Ensemble, a compact version of our usable in a performance. That's where system, so it won't make an audible click legendary CE -1. BOSS effects are different, and it's a dif- -and it can't make a pop. The switching None of the BOSS pedals make noise. ference you'll notice from the moment is done totally electronically and cleanly. No cl cks, no pops, no hiss. And that's you turn them on. But that's only the beginning of the beauty pretty important. Cause if you're serious You see, all the different effects on the of BOSS pedals. You'll find a host of other about your music you know that what market share the same noisy problem - features the competition has yet to catch you leave out is as important as what they all use the same kind of mechanical up with. Features like battery eliminator you put in. footswitch, and no matter who makes it, jacks on every pedal, skid pads that work, BOSS products are designed and manu- it still has the same problem -it makes an and a unique design that allows you to factured by Roland, 2401 Saybrook Ave., audible "click: That can be a pain in the change the battery without exposing the Los Angeles, CA 90040. (213) 685 -5141. studio where you have live mikes, but circuit board. And, back on the subject even worse is that a mechanical switch is of silence, you'll find BOSS pedals to be prone to make popping noises in the the quietest pedals on the market with signal when it's engaged, and that's a real signal to noise ratio consistently better problem no matter where you are. than 80 dB. DI BOSS CIRCLE 71 ON READER SERVICE CARD www.americanradiohistory.com NOVEMBER 1980 /10 ERN VOL. 6 NO. 2 AEC RIDIING fc, music

;.- - ,r.e ,- ' THE FEATURES i.%`..:'.>.P11rt':'%.ry : áC THE STAPLES ss+lè`si `,P`'` Áa4 aaay44%l i''#:i;; i,ryb4ti ,.;,' THE ELECTRIC PRIMER .,,II; LETTERS TO THE EDITOR 4 .y hq4ti , -Part IX p .`i': r, By Peter Weiss 38 TALKBACK While Mr. Weiss is in Hollywood rene- The technical Q & A scene. 8 gotiating the screenplay rights to this epic saga of passion and romance THE PRODUCT SCENE under the square root sign, we present By Norman Eisenberg 28 you with Part IX of the "Electric Primer." The notable and the new, with a comment on strange occurrences in the recording A SESSION WITH EDGAR WINTER world. By Peter Weiss 44 Edgar Winter, as his fans know, is an ex- MUSICAL NEWSICALS tremely talented and versatile musician. By Fred Ridder 32 Now he has added the talents of producing New products for the musician. and engineering to his latest effort: Standing On Rock. Modern Recording & Music was NOTES there to bring you the news. By Craig Anderton 60 Boss DR -55 "Dr. Rhythm" Programmable RICK MAROTTA & WADDY WACHTEL Rhythm Device. OF RONIN By Marty Basch 54 AMBIENT SOUND Session standouts Waddy Wachtel and Rick By Len Feldman 66 Marotta have joined guitarist Dan Dugmore Introducing some new testing techniques in and bassist Stanley Sheldon to form a new our pages which should make readers of our group, Ronin. An interesting look at what "Lab Report" section very happy. happens when successful session musicians begin playing on their own. LAB REPORT By Norman Eisenberg 68 and Len Feldman Akai GX -625 Open -Reel Recorder Carver M -400 Power Amplifier COMING NEXT ISSUE! Technics RS -M95 Cassette Recorder A Session with Jack Bruce, Billy Cobham & Friends HANDS -ON REPORT and much, much more! By Jim Ford and John Murphy 80 Phase Linear X20 Crossover Unit GROOVE VIEWS 86 Cover Photo: Doug Hanewinckel Reviews of albums by The Robbin Thompson Ronin Photo: Courtesy Mercury Records Band, "Primer" Art: Peter Weiss Tasty Licks, The Heath Brothers and Cal Collins.

Modern Recording & Music (ISSN 0361 -0004) is published monthly by Cowan Publishing Corp., 14 Vanderventer Ave., Port Washington, N.Y. ADVERTISER'S INDEX 98 11050. Design and contents are copyright 1980 by Cowan Publishing Corp., and must not be reproduced in any manner except by permission of the publisher. Second class postage paid at Port Washington, New York, and at additional mailing offices. Subscription rates: $14.00 for 12 issues; $26.00 for 24 issues. Add $3.00 per year for subscriptions outside of U.S. Subscrip- tions must be paid in American currency. Postmaster: Send Form 3579 to Modern Recording & Music, Cowan Publishing Corp., 14 Vanderventer Ave., Port Washington, N.Y. 11050.

www.americanradiohistory.com m oODC(2N RCC oORDIING ItTTE4Z Er music 70 7112 LEL)070G4 i H.G. La TORRE Editor /Publisher Who's Against The Wall? PAM HIGHTON I would like to address this letter to Jim Farber, in particular. Managing Editor In reference to his recent record review of July 1980, Vol. 5, No. GENE SCARAMELLINO 10, page 90 -Pink Floyd, The Wall. I would like to take his Assistant Editor review step by step if I may. NORMAN EISENBERG Before starting, let me first state that I've been an avid fan of LEONARD FELDMAN The Floyd since 1967 and I have developed an appreciation for JIM FORD JOHN MURPHY the many changes that have taken place over the years within BRIAN ROTH their music. Technical Editors Now on to Mr. Farber's review: CRAIG ANDERTON First: Performance: Desperately in need of visual or men- ROBERT ANGUS tal /drug accompaniment. First, I feel that one has to have a NAT HENTOFF listen, write, record, per- DAVID MOYSSIADIS vivid imagination in the first place to FRED RIDDER form, produce and /or engineer music of any kind- conveying PETER WEISS one's thoughts, ideas and dreams to the masses, whether it be Contributing Editors the silly little love songs of a Paul McCartney or the MIKE DEREVLANY nightmarish experiences of being on the road year after year ROBERT HENSCHEN performing night after night, putting up with the general crap JOE KLEE ALLAN KOZINN from the public and the music business as per P.F.'s The Wail STEVE ROW expresses. I feel these experiences are viewed with a keen eye by RUSSELL SHAW the group and put down on vinyl to express the group's feelings. JEFF TAMARKIN some- Music Reviewers If it offends someone, then too bad. But if it enlightens one, then great. After all, we must express ourselves from LORI RESSA Production Supervisor our own experiences. We are, after all, just products of our en- SUSAN L. KRUPP vironment, aren't we? Production Assistant Secondly, I too have heard Pink Floyd's music referred to as BILL TRAVIS Acid music at its best. However, does one really have to take Art Director drugs to appreciate the music of any band? To appreciate the KAREN JENSEN -RICHARDS genius that goes into the writing, performing and producing of a Associate Art Director record such as The Wall? I, for one, think not! ELIZABETH BAILE The next stab: Recording: Too Sanitized. What the hell does Designer that mean? If it's a personal opinion of Mr. Farber's, well, then JANET KURTZ I'd like equal time to give my opinion. I only wish all of my Circulation Manager records were as clean and noiseless as all of Pink Floyd's are. I, EILEEN NOFI personally, have not heard a mix as nice as the Floyd's records Advertising Assistant since Jimi Hendrix's Electric Lady Land album. (But I suppose BILL SLAPIN in Mr. Farber's opinion that album should have a toilet seat West Coast Advertising Representative wrapper around it also.) As far as the rest of his review goes I feel that a reviewer MYLES GROSSMAN Associate Publisher should give an unbiased review of a record pointing out both the Advertising Director positive and negative sides of a record. All Mr. Farber showed us was that he is very narrow minded and opinionated when it comes to most, if not all, of Pink Floyd's music. If you don't like Editorial and Executive Offices Modern Recording & Music the group, Mr. Farber, why don't you state that fact in the 14 Vanderventer Ave. Port Washington, N.Y. 11050 beginning of your review so we may all know where you stand? I 516 -883 -5705 can't fault you for your opinions and dislikes, but I can strongly Cowan Publishing Corp.. Richard A. Cowan, Chairman of (and a lot of other people's, ac- the Board & President: Cary L. Cowen, Vice President. disagree with you. In my opinion Jack N. Schneider, Vice President, Marketing, Marc L. has once again Gilman, Credit Manager; Amy C. Gilman, Secretary/ cording to recent record sales figures,) the group Treasurer; Sanford R. Cowan, Founder A. President itself) Emeritus. taken the dark side of the music business (if not life and Editorial contributions should be addressed to presented it to the world for its approval (or in Mr. Farber's The Editor, Modern Recording & Music, 14 Mr. Farber, do yourself a favor -go see P.F. Vanderventer Ave., Port Washington, N.Y. 11050. case, disapproval). Unsolicited manuscripts will be treated with care in concert. Maybe you'll understand where they're coming and must be accompanied by return postage. from. And in the future try to listen to all music with an open

MODERN RECORDING & MUSIC 4 www.americanradiohistory.com The continuing story of TDK sound achievement. Parts Five and Six.

and wear down the spindle. Tape is assured safe passage witF vir- The guide roller and spindle tually no flutter or channel loss. pin are the turning point in a TDK In a TDK cassette, the parts cassette. It's there the tape takes are much like the instruments of on a sudden surge of tension. molded plastic, it's created in one an orchestra. All equally impor- The winding angle changes sharp- piece through an expensive tant. Music is an outcome of the ly to 75 °, causing great stress. forced -injection mold technique. perfect interplay between them. The slightest imperfection, even a Its flared edges provide perfect In the end, that's what's so distinc- microscopic speck, will cause seri- tape guidance while its six spokes tive about TDK. ous output fluctuations in sound. maintain rigidity and perfect cir- Music is the sum of its parts. TDK engineers began by cularity. The tape flows analyzing through the mechanism and existing past the head gap in true ver- molding tical alignment. There's techniques. virtually no tracking varia- They knew tion or loss of high frequen- many manu- cies. Sixty checkpoints dur- facturers ing the manufacturing pro- TDK guide roller and used a low cess guarantee it. spindle pin in cassette. cost, inferior For Part Six, the TDK split -die process. This turned out spindle pin, our engineers rollers with seams, which disturb chose stainless steel. tape travel. Spindle pins were no Machined to size and better. Merely convenient mold aligned to à perfect 90°, it's extensions with pullout tapers designed without a taper. which allowed rollers to slip up, Micro -polishing and a wear out and wrench the tape off silicone coating cut down the track. friction. The TDK spindle Part Five, the TDK guide roller, pin is far more resistant to is flared and absolutely seamless. heat and cold than plastic. Made from a low- friction precision It won't bend out of shape TDK. © 1980 TDK Electronics Corp., Garden City, N.Y. 11530 The Amazing Music Machine.

CIRCLE 67 ON READER SERVICE CARD www.americanradiohistory.com mind and open ears and just enjoy lyrics, which are (in your own words) could contact and set up an appoint- music for what it's intended to be, a about "being on the road year after ment with Genya Ravan or her communication between an artist and year, performing night after night .. . business secretary. Thank you. his audience. putting up with the general crap from -Charles Redman In closing I would just like to say on the public." For your information, Stroudsburg, Pa. behalf of the Pink Floyd, their fans and Pink Floyd's last U.S. tour involved myself, "All and all, Mr. Farber, you're exactly two cities. What's more inter- Sorry, but we're unable to print home just another brick in the wall." esting, though, is your correct or personal addresses. But her record -Sincerely, understanding of how some of The company, Polish Records, furnishes Gordon McAlister Wall's lyrics regard the band's fans as the following address and phone Ridgewood, N.J. nothing more than foolish leeches. number: 250 W. 57th Street, New York Perhaps the band is right about this in City 10019, (212) 974 -0906. We hope you Jim Farber replies: at least one case. are successful in getting in touch with -Jim Farber her, and we wish you good luck with It is unfortunate that you didn't read New York, N.Y. those projects. my review more carefully. If you had, you'd have noticed that I clearly stated Getting in Touch with Genya Down Tubes that the reason I object to the ultra - Up and the clean recording is because it doesn't In your June 1980 issue there was an After reading Craig Anderton's re- adequately reflect the brooding con- article by Jeff Tamarkin about Genya sponse in Talk Back (July 1980), I ceptual thrust of the record. As for the Ravan producing Ronnie Spector. I would like to put in a few good words drug accompaniment argument, I have been a long time fan of Genya and about tubes. merely meant to suggest that the disc her work. I myself am involved with a Everyone seems to think that the on- is simply too boring to get through production company as a staff writer ly reason that a musician uses a tube straight (a problem their past albums and assistant engineer. I would like to amplifier is for distortion. It's true have usually not encountered). What is contact Genya Ravan about some that when a tube amp is cranked up it most ironic about your letter, though, future projects. Could you please send starts to sustain more and it has a bet- is your acceptance of Pink Floyd's me an address or phone number that I ter type of distortion than solid state The Orban 672A A Dream Equalizer at a Practical Price w ;. o a _a, _:-._ _- + _._ .- -..i ' I. = _--. . ... , - roo.. fw . :. : , - - IMM au,LvvA

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CIRCLE 140 ON READER SERVICE CARD www.americanradiohistory.com but there were no other gold vinyl pres- ASHLY HAS AN EQUALIZER FOR YOU sings done after that. The only gold copy left was the sample copy for their files, if you're feeling up to pilfering it, but other than that, there are no SC-63 more available. 369 List

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SC-66A While the Lab Report on premium 599 List open -reel tapes was very well-done, there was one sentence in Norman Eisenberg's comments that I wish had been expanded considerably. He said We've been building Parametric equalizers for over six years now and our new ` ... the serious open -reel recordist is SC -63 (mono) and SC -66A (stereo) reflect our experience. Our basic design has expected to adjust his or her deck to evolved to include the latest technology and a host of new features. You'll find that our clean. logical front panel layout takes the mystery out of Parametric suit a particular tape ... ". equalization and you'll have more power to control real world sound problems What the Lab Report does not say is than you believed possible. Equalize at just the right frequency and bandwidth that there are likely to be differences to get precisely the sound you want, not just a close approximation. You'll also between any two tape machines of a which is unique in appreciate our heavy -duty construction and attention to detail given number, the industry. When you think about tone controls, think Ashly Parametrics, the model or between any world's most powerful equalization tools ... designed and built by people who two reels of a given brand of tape still care about quality and reliability. drawn from different production lots For more information see your Ashly dealer or that are just as great numerically as Call or the differences between different ASHLYI Ashly Audio Inc. brands of tape and tape recorders. Customer Service The recordist who consults the 100 Fernwood Ave. Rochester, N.Y. 14621 (716) 544 -5191 Toll Free (800) 828-6308 (except N.Y.S.) charts and buys a particular brand of tape, believing that in that decision he has solved his CIRCLE 84 ON READER SERVICE CARD recorder /tape compati- bility problems is only deluding himself in most cases, and won't achieve the optimum result. The Others Don't This is why the ReVox people suggest that the recordist buy a year's Come Up To supply of tape (of whatever brand) from the same production lot, and have Level their machine's bias and equalization settings optimized for that particular formulation. If this is done, I believe it can be shown that any of the tapes tested can produce an excellent quality recording on either of the two tape machines tested. I think Messrs. Feldman and Eisen- berg would likely concur in these obser- vations, and I would invite a response. - Richard Lewis, Jr. Stoneham, MA

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CIRCLE 148 ON READER SERVICE CARD MODERN RECORDING & MUSIC

www.americanradiohistory.com The Revox B77 records much more than music.

If you think of the Revox B77 as an extraordinarily well -made tape machine, with a great reputation among musicians and recordists, you're right. But you're only partly right. Because the B77 is now available with so many options and in so many configurations that it can be almost any kind of tape machine you want it to be. Whether you need a deck for broadcasting. mastering, duplicating, security, education, medicine, lab research, sound effects, municipal services, A/V presentations, transportation, or cinema, we have a B77,ju.t right for you. With the same quality that made Revox a legend in the music business. Look at all the possibilities: FULL RANGE OF SPEEDS; any two from 15 IPS for mastering to 15/16 IPS for logging or surveillance. QUARTER OR HALF TRACK operation is available. OPTIONAL DOLBY B removes high frequency noise. RACK -MOUNTED OR PORTABLE. All B77's have ity, and tape- protecting features like a motion -sensing folding handles and available rack- mounting flanges. logic -controlled switching system, the B77 is perfect for VOICE- ACTIVATED CONTROL saves tape in broad- anyone who needs to record anything. cast logging, surveillance, courtrooms, forensic pathology, Visit your Studer Revox professional distributor and tell municipal services, etc. him what you need. TIMER CONTROL permits recording or playback at pre -selected times. AND MUCH MORE: Remote control Special narrow REVOX bandwidth third track Self-Sync Stereo slide sync Studer Revox America, Inc. TN 37210, (615) 254 -5651 Variable pitch High and low -z mic and line inputs. 1425 Elm Hill Pike Nashville, Offices: LA (213) 780 -4234; NY (212) 255 -4462 With all that flexibility, plus the legendary Studer qual- In Canada: Studer Revox Carada, Ltd.

CIRCLE 91 ON READER SERVICE CARD www.americanradiohistory.com One of a Series is one of those sweeping generaliza- my main man, the late Chuck Berry." The Apt 1 Amplifier tions that cannot be proven or disprov- Well, that's what was printed. What 1 en. It would take the next hundred should have been printed was "the late In this series we will discuss various aspects of design which vitally affect years to really document his idea one Chu Berry, " the tenor sax player who the versatility and sound quality of was a completely separate individual power amplifiers. way or the other. The rest of his letter is based on this unprovable statement. from the still alive Chuck Berry, the As for his third paragraph, what ap- rock 'n' roll pioneer. Our apologies to pears here is a gratuitous statement at our readers, and to Joe Klee, whose jazz best. It is, in any event, exactly the review was slightly stained by this reason for the validity of my initial mix -up of Berrys. statement which he criticizes in paragraph 1. Paragraph 4 is simply a plug for an Dokorder Forum individual tape- recorder manufacturer. I am writing in regard to the letters in What is the ideal studio power amp- There is no a your 1980 to the lifier? If your thinking goes like ours, guarantee that "year's January "Letters an amplifier combines demonstrably supply" will indeed contain all the Editor" column concerning Dokorder better sound with high reliability and same identical tapes. What is a "year's tape decks. I own a Dokorder 7140 ruggedness. Until now, such char- supply" anyway? Ten reels? One hun- which has made some excellent tapes, acteristics seemed mutually exclu- dred? One thousand? Five thousand? but has also had some excellent break- sive: "reliable" amplifiers often did Who's kidding whom here? downs. I would like to exchange any not sound right because their elab- -Norman Eisenberg information on techniques, service, orate protection circuits degraded Technical Editor and modification. performance when driving real -world Modern & Music loudspeaker loads. Recording -Dan Thibault Liverpool, N.Y. Apt research found one reason for this was the often overlooked inter- We've Got Your Number You can send letters to MR &M or write action between volt- ampere limiters directly to Mr. Thibault P.O. Box and loudspeakers. For example, say Could you please tell me what type of at that current is flowing out of the transistor is used in the schematic of 173, Liverpool, NY 13088. If a amplifier into an inductive loud- the correlation (phase) meter in the Dokorder in your home has suffered a speaker load. Further, that the amp- Talkback letter, "Taking the Pressure breakdown, then you can understand lifier's limiter circuit is triggered by Off Musicians," Volume 5, No. 5, page and sympathize -it's toughest on the the combination of voltage and 28, by David Kalmbach. Thank you family of the owner. Share your ex- current across the output stage. and, by the way, thanks for a terrific periences and help someone. Such a limiter circuit then robs the magazine without which many of us output stage of drive, putting the wouldn't be so well informed. amplifier up against a law of nature: Malone An August Controversy the current into an inductor must - Gerald continue to flow, and the limiter is Lincoln Park, MI In reference to the August 1980 issue, trying to prevent that. The result is I would first like to say to Mr. Hank large, tweeter-destroying voltage David Kalmbach himself answered Strasser that in reality, production of a spikes. your question for us. He told us that record is irrelevant. If a performance is in good, records will sell. If a performance The Apt 1 Amplifier has newly the number of the transistor used designed protection circuits to the metering device which appeared in is poor, records will still sell. If you totally prevent such interactions. In the schematic was: 2N2712. If you still have semi -pro equipment or its equiva- addition, the Apt 1 has design have any questions to ask David, write lent, watch your meters, the rest is up features for professional use such as again or write directly to him at Atlan- to the musicians. That's what it takes. a mode bridging for double -power tic Sound Productions, 130 W. Market Being in the studio business for mono operation, unique load St., Marietta, Pa. 17547. twenty -five years, I should know. impedance matching capability, light Thank you. weight, and many others. For more information, write: - Roland Mills Apt Corporation Messing Up-11/2 Feet of Klee Bent Studios Box 512 It's time for another apology. In prin- Morgantown, W. Va. Cambridge, Massachusetts 02139 ting Joe Klee's review of The New York All Stars' New York, Sound of While we certainly agree that in order For a technical brochure. the Apple album on pages 92 through for a tune to be a hit, "it's got to be in For a set of reviews. 94 of the October 1980 issue of MR &M, the grooves, " we feel that perhaps Mr. For an Owner's Manual, please we made a small but powerful error. Mills is overstating his case. Creative $4 ($5 foreign). send In the next to last paragraph of production can most certainly make a For a set of power amp papers, review, he good song a record. But in please send $2 ($3 foreign). Klee's writes about Phil great Bodner, the tenor saxophonist, who general, if the material isn't potentially Name plays with "the drive and the verve good, and if musicians are not properly Address and the booting sound that I've heard prepared, etc., nothing is going to come om few tenor saxophone players since from the recording sessions. 47 apt 1 MR 11 /80 MODERN RECORDING & MUSIC CIRCLE 158 ON READER SERVICE CARD www.americanradiohistory.com Only Custom- Tailored Sound meets your taping needs.

If tape is the only sound that's right for you, to over the years. maximize your taping requirements, an ADC The entire ADC Sound Shaper line is Sound Shaper® Two MK II frequency equalizer is impressive. The basic Sound Shaper One is a a must. great introduction to frequency equalizers. And When they designed the Sound Shaper Two, the top -of- the -line Sound Shaper Three, the they had you in mind. Because, aside from Paragraphic TM equalizer, combines the ease being a superb all- around equalizer, it lets you and control of a graphic equalizer with the work with tape the way you want. For example, precision and versatility of a parametric. And, all now you have two -way tape- dubbing capability, Sound Shaper equalizers, except the Sound a feature many receivers don't offer. You can Shaper One, feature LED -lit slide controls, "custom- tailor" a record and then record it the allowing for visual plotting of the equalization way you would have engineered it. And that curve. includes your golden oldies because, with the With the Sound Shaper Two MK II, you can Sound Shaper Two, you can virtually eliminate appreciate the difference custom -tailored sound the surface noise which has accumulated makes -over and over again. Custom-Tailored Sound I

A D C 400 A BSR COMPANY RS BSR (USA) Ltd., Blauvelt, NY 10913. ®Sound Shaper is a registered trademark of Audio Dynamics Corporation, BSR (Canada) Ltd., Rexdale, Ontano.

CIRCLE 155 ON READER SERVICE CARD www.americanradiohistory.com AM

www.americanradiohistory.com The best professional sound equipment in the world is made by Community. Listen to a demonstration at your professional sound equipment dealer. eeJmLi milty Community Light & Sound, Inc. CIRCLE 53 ON READER SERVICE CARD 5701 Grays Avenue, Philadelphia, PA 19143 215/727-0900 Telex:: 834649 www.americanradiohistory.com "Talk back" questions are answered analog has a 9-watt preamp). How is a solve part of your problem. Before we by professional engineers, many of pad put together? My knowledge in get involved with the construction of whose names you haue probably seen this area is a bit limited, although I pads, I have two things I would like listed on the credits of major pop understand some type of resistor may you to try first. albums. Their techniques are their own be enough. Try running a "Y" cord from your ef- and might very well differ from anoth- -Mike Jones fects out to each of your effects. You er's. Thus, an answer in "Talkback" is Indianapolis, Ind. will have only one send but you will be certainly not necessarily the last word. able to adjust the input level to each We welcome all questions on the sub- Padding down the combined output of separately. This will offer you better ject of recording, although the large your effects units may help you to control of the proportion of each effect. volume of questions received precludes

our being able to answer them all. If you Ra feel that we are skirting any issues, fire a letter off to the editor right away. is Modern Recording Z=600R Z=6001: Z=600R "Talk back" the R & Music reader's technical forum. In b Out In Ra Ra

Unbalanced Balanced An "Effective" Solution Loss in dB Ra Rb Loss in dB Ra Rb I mix sound for a local band. I use an 18- channel Trouper board, a 10 -band 0.5 18 10,000 0.5 8.2 10,000 1 5,100 Biamp EQ, the Eventide "Baby" Har- 1 33 5,100 18 2 68 2,700 2 33 2,700 monizer, and a Yamaha analog delay. I 3 100 1,600 3 51 1,600 won't go into the rest of the system 4 130 1,200 4 68 1,200 since it really has nothing to do with 5 160 1,000 5 82 1,000 my problem, although I will add I am 6 200 820 6 100 820 7 220 680 7 110 680 a -way system with all running three 8 240 560 8 130 560 Crown power. 9 270 470 9 150 470 My problem is in the effects. I just 10 300 430 10 150 430 recently purchased the "Baby" Har- 12 360 330 12 180 330 240 monizer to go along with the analog 14 390 240 14 200 16 430 200 16 220 200 delay. Since I have only one effects out 18 470 150 18 220 150 on the board, I am running the units in 20 510 120 20 240 120 line. Between the two units I can have 22 510 100 22 240 100 almost any effect imaginable, but 24 510 75 24 270 75 26 560 62 26 270 62 I a or whenever try to flange guitar 28 560 47 28 270 47 double a voice, or whatever the effect 30 560 39 30 270 39 might be, I get a large volume increase 32 560 30 32 270 30 along with the effect. I've tried every 34 560 24 34 270 24 18 possible input and output combination 36 560 18 36 270 38 560 15 38 270 15 and yet that still doesn't seem to be 40 560 12 40 300 12 the answer. I believe the only answer may be to Values used are 5% For loudspeaker circuits If Z # 600 Q divide all pad the effects. My question is how to EIA Values. use adjustable wire wounds. values by 600 properly pad the effects and how much Z padding should be used (the Har- monizer has a 2 -watt preamp and the Table used by permission Don Davis, Syn -Aud -Con

18 MODERN RECORDING & MUSIC www.americanradiohistory.com Also, running the units in line may be part of your level problem. With the inputs "Y " -ed, take the outputs separately into two return or channel The cleanest signal inputs. If your console has only one return, "Y" the outputs and control two the level of each unit with its input. between points You may have to spend some time adjusting the various outputs and sensi- is a Short Cord. tivities to obtain the proper mix. Secondly, the special effects units should be run so as to produce the max- When using multiple effects, more noise can be imum amount of "effect" and the introduced into the signal by the cables than by minimum amount of dry or direct the circuitry within the devices themselves. And if you're working with high quality signal. For instance, on the Yamaha instruments and processors, it's senseless to there is a control labeled "mixing." use inferior or unnecessarily long cables; a Run this to the delay side. In this way maze of wires between effects s as when you bring up your return chan- difficult to manage as it is unpleasant to look at. nel, you will then receive only the "ef- We've been manufacturing patch cord which only a fect" should add small connectors for years. They're row amount of gain to the system. Let your available in Snake;" UltraSnake, and console mix the direct signal from the Viper series. Whirlwind patch channel with the "effect" output. cords allow you to pass a clear In a pad, the impedance signal through a number of constructing effects. And they let you of the input and output is of prime im- operate those effects with portance. This subject is covered in ease while they give you an great detail by Don Davis in his article organized, professional "Impedance Matching for the Sound appearance. Whirlwind patch cords come in Engineer," which was originally standard lengths printed in db magazine April and May starting at one foot. The UltraSnake of 1974 and is also available in Don's textbook, Syn -Aud -Con. For the purpose of pad construction in this article we will assume equal in- The Viper Like all Whirlwind put and output impedances of 600 products, our patch ohms. There are basically two types of cord connectors are They of the highest quality. pads -unbalanced and balanced. They are reliable, are constructed as in the diagram. versatile, and will From this table, we see that for a 10 dB withstand the demands loss in a 600 to 600 ohm unbalanced of the studio and stage. line, we would use two 300 ohm, 10% And we back our tough quality control with a two - resistors for Ra and one 430 ohm, 10% year guarantee. So clean up resistor for Rb. For a 10 dB loss in a your performance with a 600 to 600 ohm balanced line, you will Whirlwind Short Cord. see that Ra equals 150 ohms and Rb equals 430 ohms. 10% carbon resistors rM -Snake is a registered trademark will work fine in this application. of Whirlwind Music Inc. -Will Parry General Manager Maryland Sound Industries, Inc. Baltimore, Md.

In the Pink? I use a Tapco 2200 Graphic Equalizer. I have heard that the best way to set the whirlwind for room is - equalization a to use a pink Whirlwind Music Inc. noise generator. Do you agree that this P.O. Box 1075 is the best way to do it? How is it Rochester, New York 14603 done? I have a synthesizer that has a 716-663 -8820 pink -noise generator in it; would this serve the purpose?

NOVEMBER 1980 CIRCLE 110 ON READER SERVICE CARO 19 www.americanradiohistory.com Just in case I can't utilize this by using your ears much like you ad- mend that you do not buy a graphic source, can you also supply me with just your stereo. equalizer to compensate for room the names of some pink -noise 2) To make adjustments to the fre- acoustics unless you also can buy the generator manufacturers? quency spectrum of the sound system necessary test equipment to make the -Bill Madigan in order to compensate for the peaks correct measurements. Even after you Middleboro, Mass. and dips caused by the acoustics of a have the right test equipment, it re- room (concert halls, clubs, etc.). This quires a great deal of practical ex- There are basically two reasons for us- requires the use of some kind of a perience to use the equipment and ob- ing an equalizer: sound analyzer that will identify the tain consistent and meaningful results. 1) To make tonal changes to the volume of the peaks and dips and their A thorough knowledge of the whole sound of the music (i.e., add more bass frequency. This cannot be done by ear sound system and its components is or high frequencies, etc.). This is done too successfully, therefore, I recom- also important so that electronic problems can be solved first. In order to perform the test, a flat sound source is needed. Pink noise consists of equal sound energy per octave. That means all the frequencies from 20 Hz to 20 kHz are produced at the same time, and each octave of frequencies is the same volume. Because this is a flat sound source, it can be used to play through the sound system and then measured by a calibrated mic and Nix sound analyzer. The easiest way is to use a "real time analyzer." This is an instrument that divides the sound up into octave or third octave bands (or Noise 1/6- or 1 /10- octave) and then displays the volume of each band of frequencies on a screen so that you can see the relative volumes. This is done 90 db simultaneously so that you can see what is happening right now in "real time." The bands of frequencies should The remarkable circuit of the coincide with the frequency bands on Ultima IV`M Noise Reducer. the graphic equalizer that is being It knocks out noise on both the record and used. The bands that show too high on reproduce mode simultaneously, on 4- tracks, the analyzer can be adjusted lower on with up to 90 db s/n ratio and up to 30 db the graphic equalizer. This process can improvement in dynamic range over 50 Hz to 125 kHz. And with less be repeated until the sound in the room than 2° phase shift. All without any adjustments required. appears flat on the screen of the The Ultima IV. For $499. analyzer. Please note that you are More remarkable, this hybrid integrated circuit, co- designed with a measuring the combination of direct national telephone utility provides a price breakthrough for home studio sound from the speakers and reflected systems. Yet it has all the features for top quality reproduction without sound (reverberation) from bounding sound coloration, breathing or pumping. around the room. The result sometimes No Risk. Call Free. is not what you expect. Make sure your ears the equalized sound To order, call collect our Hotline number, ask for Operator 28. Use your confirm that Master Charge or Visa card. Or write. Every Ultima IV Noise Reducer is is better than the non -equalized sound. guaranteed to perform as specified, or money back within 60 days. The first rule of equalization is not to use any equalization unless the sound Dealer Inquiries Invited system is of a very high quality. This Hotline: 408/727 -1849 means using professional speakers, horns, amps, crossovers, etc., that are correctly assembled and wired. Also Elec -Tec Inc. this means that the speakers are posi- 2324 Walsh Avenue tioned in the room in the proper rela- CA 95051 Santa Clara, tionship to the performers and audience. Adding an equalizer to a poor system will not 'solve any problems. As for the pink -noise generator in your synthesizer, check it out with a CIRCLE 157 ON READER SERVICE CARD 20 MODERN RECORDING & MUSIC www.americanradiohistory.com If lately your favorite recordings sound like they're gradually unrecording, it could be the tape they're on. You see the oxide particles on some tapes just aren't bound on very well. And when the oxide particles come off, your music could come off sounding faded and weak. Maxell, however, has developed a unique binding process that helps stop those oxide particles from taking a hike. We also polish our tape to a mirror finish to reduce friction, the major cause of oxide shedding. So with Maxell, even if you play a tape over and over, the music won't disappear before your very ears. ITS WORTH IT

CIRCLE 79 ON READER SERVICE CARD

www.americanradiohistory.com real time analyzer to see if (a) it is flat, If we'd introduced the new (b) it has the proper bandwidth, and (c) it is long term stable. If it is, then use it. ARP8 Performance Series Mixer There are many manufacturers that make audio test gear. Here are a few five years ago, names: B & K Instruments, Inc., 5111 West 164th St., Cleveland, Ohio 44142; you probably couldn't have Communications Co., Inc., 3490 Noell it. St., San Diego, Ca. 92110; Inovonics, afforded Inc., 503 -B Vandell Way, Campbell, Ca. 95008; Ivie Electronics, Inc., 500 West Two 7 -band graphic equalizers; meters; 2 for and 1 for either 1200 South, Orem, Utah 84057; Nep- 3 program one stereo EQ for the monitor, effects or cued inputs. graphic program L & R, one mono tune Electronics, Inc., 934 N.E. 25th, graphic EQ for the monitor submix. Portland, Oregon 97232; UREI, 8460 3 bands of EQ per San Fernando Rd., Sun Valley, Ca. channel. Built -in BBD delay line 91352; and White Instruments, Inc., r echo unit P.O. Box 698, Austin, Texas 78767. .Y or -James A. Ford ,RP Technical Editor e ;, ,

H . Modern Recording & Music s Y v i . rl e , ' y .' ~. J v ° s o' s.°' s .a V I'm Just a Singer vs ;. ' in a Rock 'n' Roll Band .. . I am a singer in a rock band and we have a problem: My voice is very strong and sometimes it overdrives our Monitor and P.A. I own a dbx 160 compressor/ Auxiliary inputs, effects direct bus inputs. submix. limiter and when we hooked it up (in effects send /receive and stacking inputs. the effects buss, I recall), the snare drum was setting it off and squashing Headphone and talkback. the whole band sound. We then put it into the individual effects send /receive buss in my channel, and it worked fine through the main P.A., but it greatly Today you probably can. muffled my monitor while everyone else's monitors remained fine. The It's strange, but true. balanced sound from board we are using is a Tapco 6100 The more sophisticated each instrument. Two 7- technology becomes, band equalizers - one RB /EB. Do you have any suggestions the cheaper it gets. That's stereo for program left for solving this problem? why ARP can now intro- and right, one mono for If I build a patch bay for a small duce a better mixer at, the monitor submix- for recording studio, can it be mounted in believe it or not, a better the balance you like a wooden case as long as the front price. among all the instru- The ARP8 Perfor- ments you play. panel with the jacks is grounded? mance Series Mixer is All for a price that's -David Bruno designed for profes- more than up- to-date. Belmont, Mass. sional musicians. It has About two-thirds what all the live- performance you'd pay for a competi- features you need to tor's comparable mixer. Your problem is essentially one of con- make your music sound You can try out the trolling vocal levels. You were right the way you want, no new ARP8 Performance when you said that your vocal caused matter where you play. Series Mixer now at overload problems. The human voice Built -in analog delay for selected ARP dealers. of the echo effect you want. has the widest dynamic range of any the sounds that have to go through 3 -bands of equalizers on For further information and the names each channel for a of selected ARP Mixer dealers in your P.A. When we mix records, the in your area, write: vocal is often the only thing that is ARP Mixer 45 Hartwell Avenue compressed or limited. As you Lexington, MA02173 discovered, a compressor used in the Or call: (617) 861 -6000 overall mix has to work on everything. It's better to compress only what ©1980 ARP Instruments, Inc. needs help. This way, the band can then be brought up to the vocal. CIRCLE 143 ON READER SERVICE CARD Your Tapco 6100 RB /EB board could

22 MODERN RECORDING & MUSIC www.americanradiohistory.com OMPOSERS/PRODUCERS...

For the composer or the producer, for the owner of the strings, brass, harpsichord, flutes, organs, other largest state -of- the -art 24 track automated studio or keyboard and orchestral sounds, as well as sound the owner of the smallest home studio, the Prophet 5 effects such as wind, helicopters, bells, etc., etc., etc. synthesizer from Sequential Circuits is an excellent Any of these sounds can be slightly changed (longer instrumental investment, for both total sound attacks, brighter, less bright) to match your personal capability and creativity. Nearly every major keyboard tastes and needs. Or, a completely original and player (not to mention guitarists, bass guitarists, sax- different sound of your own creation can be program- ophonists, etc.) has discovered the incredible range med easily into the Prophet 5. The choice is yours. and quality of sounds produced by the Prophet 5. It The ability to play 5 notes simultaneously sets the has replaced dozens of other keyboards and Prophet apart from most other synthesizers. For instruments in the studio and on stage, and does so example, you can play a whole brass section in one with amazing ease of use; you don't have to be a take, rather than hassling with tedious overcubbing. technician to use it. This is why, for many musicians, You can compare how a straight melody fine will the Prophet 5 was their first synthesizer. sound against various chord structures or bass lines. Up to 40 different sounds can be programmed for There are dozens of additional reasons why you or instant recall at the simple touch of a buttc.n. The your studio should own a Prophet 5. Check it out - Prophet 5 comes pre -programmed with superb Play one. Then you'll know what we mean.

SEQUENTIAL CIRCUITS, INC., 3051 North First Street, San Jose, CA 95134 (408) 946 -5240 CIFC LE 156 ON READER SERVICE CARD www.americanradiohistory.com be causing the overload problem before and the input. Several companies make work -if you are careful and under- you can do anything about it. If you a pad that will plug into the mic cable stand the signal flow in the 6100. As to will look at the block diagram of the at the console. how to set it all up, look at the circuit 6100, note that the mic pad and The best place for you to compress function diagram for the Tapco 6100. variable gain are after the input would be after the mic preamp and Starting at the low -Z mic input, note transformer and mic preamplifier. If before the level control for that input. that just after the input transformer you use a high output mic, and sing The problem with the 6100 is that the and preamp, a feed is tapped off to the loudly and very close, it's possible to channel patching is after everything in monitor mix section. This means that overload either, or both, the input the input channel. Don't give up the sound to the monitor send will: transformer and preamp. The fix for in- though. If the compressor is patched 1) not be effected by the mic pad or gain put overload is a pad between the mic into the channel patching point, it will control, 2) not be EQ'ed, and 3) not be compressed. If the stage monitors are being fed by the monitor send, then the vocal will not be compressed and you will be able to work your mic to control dynamics. The main P.A. feed will be compressed, EQ'ed, echo'ed, etc. Make up a special cable for the com- The Affordable Pro -Mixer pressor. The channel patching jack is a stereo type. The tip is connected to the by Carvin compressor's input; the ring to its output. The shield is grounded to the case. When the compressor's cable is ready, don't plug it in just yet. Set the mic level to read "0 VU" or the maximum level used. Now plug in the compressor. Adjust the controls on the compressor for an average of no more than 3 to 6 dB of gain reduction on your loudest vocal peaks. Then set the compressor's output level to give the same "0 VU" level you had without the compressor in the circuit. No one can Remember, use as little compression match the quality as you can. Too much will squash the and features now off - ered in the new CARVIN sound, and when you aren't singing the MX Series Pro Board at our mic level will go up and cause feed- low price! Features like - back. If there is too much compression, Professional V.U. Meters with Talkback System the echo will get louder but the vocal on board calibration controls 3 Band active channel 5 Balanced Outputs for, A-13 Stereo, equalizers won't. The same thing will happen in Monitors 1 & 2, and Mono A + B Optional 9 Band Graphic EQ the stage monitors. Large 90 mm recording type Faders for main outputs or reassignment Direct Channel Outputs and Interrupt to channels As for your question concerning the Jacks for recording and channel patching Available in 12 or 16 channel models patch bay you're building, the jacks Selectable"Control Room "monitoring of all 5 buses can be mounted in any kind of case you On-board Phantom Power + 48V for condenser mics Independent channel "Soloing" with noiseless JFet switching want. But!!!! If the system is un- Dual reading LED Channel Peak Indicators that read both channel overloading and EQ overloading. balanced, as it is in the Tapco 6100 and More important than features, you are buying quality! All wiring is done with a military type wiring most semi -pro equipment, the shields harness. The steel chassis is precision formed and assembled in a modular fashion designed to eliminate cannot be connected together at the strong RF fields. All P.C. Boards are super strong G -10 epoxy fiberglass. All components are securely an- patch bay. If they are, ground loops chored. If the board is dropped, it's still going to work. All components used are of the highest quality obtainable like - Switchcraft connectors, Centralab will cause hum problems. It would pro- switches, CTS sealed controls, low noise high slew rate Op -Amps and Discrete amplifiers. Even the sides bably be best to mount the jacks on a are 1" thick solid Walnut. The entire board is backed by a 1 YEAR Warranty. The MX board has proven itself on numerous concert tours. It's been put to the test by professionals and plastic plate to insulate the grounds they are raving about its performance. from each other. Only when a patch The best part are the factory prices that won't leave you broke. We currently sell the 12 Ch MX1202 for cord is plugged in will the ground be $1095 and the 16 Ch MX1602 for $1495. (Add $250 for the optional Four9 Band EQ). Road cases by Anvi l' are available at $195 and $215 respectively. made between the input and output of You are probably asking "How do we do it for the price ?" It's simple. We build and sell direct to you these two pieces of equipment. without any retail markup or commission. Remember that ground loops are Write for your FREE 64 page Color Catalog or Call TOLL-FREE 800-854. 2235 (714-747.1710 in CA) for more always the biggest problem with un- information or to place your order. Use your Master Charge or VISA as a deposit and the balance will be shipped C.O.D. As always, if within 10 days you are not 100% satisfied, your money will be refunded. balanced equipment. Carvin Dept MR-32, 1155 Industrial Ave., Escondido, CA 92025 -Ron Malo The Total Concept Sound CIRCLE85ON READER SERVICE CARD Burbank,4 Ca. 24 MODERN RECORDING & MUSIC

www.americanradiohistory.com '58 was a very good year...

The'80's will be even better!

The PLBC is going to oe the hottest PL80 is a performing vocalist's micro- material resists the dents and knocks cocal microphone of the '80's. It is the phone that has been called the best common to otl-er microphones.This will microphone every vocalist wants be- new microphone design In year3. keep the PL80 looking like new for years cause it has the sound every vocalist The Electra -Voice PL80 not only gives while other mikes look old afte' cne or wants.The sound of the PL80 results not you the exact sound you want, it does a two accidental drops. only frcm extensive user field testing whole lot more. The PL80 tops the com- Use the PL.80 at your Electro -Voice PL with rock superstars like Steve Perry petition in just abcut every performance Microphone Dealer. Test it against any of .;oumey, but also from side -by -side category. Its style sets it apart from any other mike. If you want your sound to product comparisons and interviews other mike. Its sensitivity is higher than be the sound of the '80's, the PL80 -the with many of the most highly respected the cLrrent best -selling microphcne; "Sound of the '60's"- is the only mike sound men in the business. Most of all, and when it comes to gain before feed- you'll buy. the PL80 is the result of an entirely new back, the monitor speakers are likely to application of computer- design tech- give out before the PL80 will. nology called "fast Fourier transform" Electrol/äcë Even the 'feel" of the PL80 is impres- Ey that allows the design engineer to pre- a_puhtin company sive! It has the weight and the "heft" to dict, as it's being designed, precisely give you confidence. Tne new snow - 600 Cecil Street, Buchanan, Michican 49107 how a microphone will sound in use, not gray finish and contrasting charcoal gray jus: in a sterile test environment. The In Canada: grille screen make a striking impres- Electro- Voice, Div. of Gulton Industries (Canada) Ltd., sion on s :age, but the colors are subtle 345 Herbert St., Gananoque, Ontario K713 2V1. enough rot to detract from your perform ance. E -V s exclusive Memraflex grille CIRCLE 82 ON READER SERVICE CARD

www.americanradiohistory.com THE MACHINE THAT HOLDS THE WORLD TRACK RECORD.

www.americanradiohistory.com The Tascam Series 80 -8 The 80 -8 proved that perfor- has become the most popular mance and versatility could be 8 -track multichannel recorder affordable. Signal -to- noise is in the world. Its reliability has better than 95 dB (weighted) been proven in basements, with our integral dbx unit (Model garages, and recording DX -8). Once installed, it's totally studios every- automatic. And our new where. Variable Speed Control* *lets you adjust 15 ips ±20% to solve tough cueing and timing problems or add creative effects. The 80 -8 is proving that in professional recording, results The results are all that count. Because to us, produced on pro means results. On demand. the 80 -8 are a matter of record. For payment. Sometimes gold. If you The 80 -8 proved a new agree, standard was needed. Eight see tracks on half-inch tape. 15 ips your only. This new format allowed Tascam us to create a combined record/ Series reproduce head, with full dealer for frequency response in the sync the machine mode. that can prove ít. Because The 80 -8 proved multi- it makes sense to do business channel recorders could be with the people who have the relatively easy to operate. Our track record. 'Registered trade mark of dbx. Inc. Function Select buttons deter - "Installation required; a new DC servo- controlled motor is included. mine the record, monitoring and dbx* status. One button TASCAM SERIES for each track. TEAC Professional Products

CIRCLE 125 ON READER SERVICE CARD www.americanradiohistory.com By Norman Eisenberg

E -V OFFERINGS NEW PRO LINE FROM TUA TOA Electronics offers a variety of equipment for various commercial and professional applications. Included are mixers, amplifiers, drivers and sectoral horns for speaker systems, etc. Two recent mixing UV Ulf consoles are the RX -5 and the RX -6. The RX -5 is an 8- channel input, 2 x4614 program output and 2 monitor output mixer. Each channel input is transformer - isolated and will accept a low- impedance microphone. Each channel has an input level selector and gain control, which also provides an additional 20 dB range of gain adjustment. Channels 7 and 8 also function as balanced, high-impedance inputs for high-level sources. Two meters may be switched to show program or monitor output levels. Among the products from Electro -Voice is a new Sub -input and sub -output jacks enable cascade con- dynamic cardioid vocal microphone, the PL80. nection with additional mixers to expand the mic in- Designed specifically for the professional vocalist, puts. Outputs to and from echo are provided, and the PL80 features a shock mount to reduce handling echo return volume is adjustable. Both the program noise plus a built -in Acoustifoam blast filter to and monitor outputs may be heard via headphones, reduce "P- popping." Says E -V, the mic was corn - and each input channel has a cue switch for audition puter designed so that E -V engineers could predict of pre -fader signals through headphones. how it would sound in a "live" environment. The RX -6 is generally similar, but provides 12 in- E -V also is offering the model PL91A dynamic put channels. This console also has a rear panel cardioid mic, a refined version of the former PL91, switch for each input channel's phantom powering for hand -held vocal applications. Two condenser car - 48 VDC circuit to enable the use of a condenser dioid vocal miss also have been announced. The microphone. In the RX -6, channels 11 and 12 may PL76A and the PL77A have virtually identical be used as the balanced, high -Z inputs. The RX -6 specs except for the bass -contour switch included in also features four LED peak meters. the latter. The model XEQ -1A is an electronic crossover for single -channel applications. Crossover range, deter- mined by module, is from 100 Hz to 8 kHz. Two XEQ -1As may be stacked for tri- amping. In speakers, E -V is offering, among others, its Model LF215 low -frequency system and a series of encased high-frequency horn /driver systems -the RC40A, RC60A, RC90A and RC120A.

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28 www.americanradiohistory.com FOUR MODE BGW'S BIGGEST AMPLIFIER ELECTRONIC CROSSOVER Described as "its largest amplifier ever" is the Four panel selectable operating modes are featured Model 1250 from BGW Systems. It is rated to in the UREI model 525 electronic crossover: stereo deliver 400 watts RMS into 8 ohms in stereo service 2 -way or 3 -way, and mono 4 -way or 5 -way. Cross- with no more than 0.03 percent distortion, or 1200 over frequencies are continuously adjustable from watts mono at no more than 0.05 percent distortion. 50 Hz to 10 kHz, with the actual frequency Using only full complementary circuitry, the amp measured and displayed on a digital counter. A sub- employs a total of forty -eight power transistors and sonic filter is switchable from the rear panel. Inputs is cooled with a three -speed fan. A multi -colored and outputs are XLR /QG connectors or they are ter- LED metering system shows clipping, temperature minal strips. and mode. Gain controls are step -attenuator knobs UREI also is offering two new direct boxes, a calibrated directly in decibels. Both XLR -type and passive model 315 and an active model 325. y,inch phone input connectors are provided. Con- struction is modular, and speaker protection is assured by arc -interrupting techniques. The amplifier's all -steel package is credited with lending both strength and RFI shielding to the unit. CIRCLE 5 ON READER SERVICE CARD

DELTALAB MEMORY MODULE From DeltaLab Research comes word of its new "Memory Module," offered as a companion product to the company's DL -2 Acousticomputer and its newIMIIIIMil DL -4 Time Line. When interfaced with them, CIRCLE 3 ON READER SERVICE CARD the Memory Module allows the operator an additional two full seconds of delay with reportedly no degradation in performance. Memory Modules may be cascaded to obtain additional seconds of delay COMPUTERIZED EQ /ANALYZER beyond that. The new unit is claimed to be capable From dbx comes news of the model 20/20, a com- of bringing another dimension of effects for studios puterized combination equalizer /analyzer. The and performing artists. device can analyze up to ten locations and then CIRCLE 6 ON READER SERVICE CARD automatically adjust equalization for flat response. Digitally controlled, the 20/20 includes a companion microphone and a built -in pink noise generator. It also will store and recall the various EQ settings. Its EDEN SPEAKERS real -time analyzer function also serves as a sound - A comprehensive line of pro speaker systems for level meter and provides continuous information on concert and stage monitor applications is offered by the amplitude for each frequency band via a display Eden Electronics of Minneapolis, Minn. Over a utilizing 300 LEDs. The given EQ curve stored in dozen models are listed with varying size, power and its memory also can be displayed at any time. Price response characteristics. Individual components as is $1295. well as full systems are available.

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www.americanradiohistory.com COMPUTER CONTROLLED METERS AND TEST GEAR EQ SYSTEM Detailed information on the Mura line of multitest- A computer- controlled multi -channel equalization ers and panel meters is included in an 8 -page system, known as Param, has been announced by a catalogue available free from Mura Corporation. new firm, Redwood Research Inc. based in Nash- CIRCLE 10 ON READER SERVICE CARD ville. Param consists of a computer that controls up to 128 individual equalizer channel modules. All operator input is via a single nine-by -six inch control panel. System operation is monitored by graphic NEW ITEMS FROM PEAVEY display on a 12 -inch video monitor which shows ex- From Peavey Electronics comes word of several new act frequency response curves of each equalizer, and items. In powered mixing consoles, there are the also displays data in table form as to the status of XR -800 (8 channel) and the SR -1200 (12 channel). each equalizer, system memories and system status. Both versions feature balanced low impedance as Changes in EQ are made by drawing or altering the well as unbalanced high impedance inputs, and in- displayed response curve. The computer then op- dividual pre in/out jacks on each channel. There are timizes the six filter sections, and sets the equalizer two independent pre -monitor sends, a post effects and displays the curve. All operations are in real send, a PFL /cue button and active 3 -band EQ on time. System memories retain up to sixty -four set- each channel. The master section has headphone tings for each equalizer, and thirty -two "standard" monitoring, ten -position LED ladder displays for curves that the operator has previously stored. The mains and monitors, dual nine -band graphic system can advance from one memory setting to equalizers and a control that allows mixing the another in twenty milliseconds. An individual chan- reverb and effects back into the monitor buss. nel is set in 300 milliseconds. Interfaces to existing Peavey also has its Mark I Series 801 and 1201 console level control automation are available. stereo mixing consoles. In addition to the usual CIRCLE 8 ON READER SERVICE CARD facilities and patch points, the master section of these units contains several unique features such as a "sum" output, the reverb and/or echo effects mix back into the monitor buses and PLF buttons McCAULEY SPEAKER ELEMENTS on the main outs. Display is via four ten -segment A comprehensive line of elements for speaker LED arrays. systems has been announced, and is described in a The EQ -27 is a 27 -band equalizer with center fre- booklet by McCauley Sound Inc. of E. Puyallup, quencies spaced y, octave apart across the audio Wash. Included are radial horns, acoustical lens range. Each band has its own slider with center de- horns, exponential horns, frequency dividing net- tent. Since the selected frequencies conform to ISO works, and speaker enclosures. standards, the EQ -27 is compatible with real-time analyzers and associated equipment. A stereo graphic equalizer also is available, featuring two independent ten -band sections with 15 dB cut or boost at ten center frequencies. Inputs can be matched to a wide range of signal levels by means of gain/attenuator level controls. This device, because of a high -level transformer balanced output circuit, can provide greater than ±16 dBm into 600 ohms which makes it, says Peavey, "an excellent high - quality line amplifier." Finally, there's the new ECM (electronic crossover mainframe) which enables the use of Peavey's own electronic crossover modules with other brands of power amps.

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30 www.americanradiohistory.com J

FOSTER PRO PRODUCTS oxide coating, would contact the heads. Tane saw A series of pro audio products from Foster Electric of this and said: "The heat's got you." Mike was too Tokyo is described in a company booklet. Included polite to say anything, but he looked on sadly and are speakers for musical instrument and P.A. applica- murmured something about "that beautiful slow tions, microphones for vocal and musical instru- song at the beginning of side 2 . " ments; two power amplifiers; and a powered mixer We ran the tape -and hoorah -everything sound- (six channels). The amps include the A -5, 75 watts per ed right! But apparently the sound was coming off channel; and the A -6, a 150 -watt mono unit. the backing rather than off the oxide coating. This CIRCLE 12 ON READER SERVICE CARD didn't bother Mike, who left in a state of bliss with his reclaimed musical creation, but Tane and I were left with a mystery. Had the sound actually been HAVE YOU EVER RUN recorded onto the backing? Could a tape be recorded that way? And in any event, can sound come off INTO THIS ONE? both sides of a tape? The only clue we had seemed to Now and then a puzzlement comes up in audio work mock us: The leader had been attached cor- that confounds even the experienced and rectly -that is to say, the printed side of the leader knowledgeable. Here's one that occurred recently matched the shiny brown side. and had us guessing. "Worst case of print- through that I ever saw," A young composer, Michael Krawitz, had an old said Tane. recorded tape of a musical show -singers, in- "It can't be print-through," I said. strumentals, dialogue -he had written some years "Well then what is it ?" Tane countered. back. The tape -quarter -inch and on a 7 -inch reel - We decided to put the mystery on "hold." had been recorded in the standard consumer Two days later that vague nagging persisted, and quarter -track format, with stereo in both directions. I telephoned Mike. I learned that the tape had been Trouble was, when he tried to play the tape on his made in 1973. The vagueness began clearing. own auto -reverse deck, the sound was backwards. "What brand tape is it ?" I asked. He had brought the tape and his deck to the audio He replied: "I don't know; it's in a white box that shop "Sounds of Music" in Lenox, Ma. where I rent says 1 mil." work space from owner Ross Tane. Big insight at this point. Around 1973, 3M in- When I came into the place that morning, Tane troduced "Posi -Trak" tape. It had an uncalendered and Mike Krawitz had already checked for the ob- backing whose dull black finish could easily fool you vious (tails -out wind) and were into examining the into assuming it was the oxide coated side. The heads on the deck and some other possibilities. same tape had a calendered shiny brown signal Whatever they -and I, getting into the act -did, the coating which could fool you into thinking it was the sound was backwards. backing. Reportedly this tape (which since has been Other quarter -track stereo tapes played on Mike's discontinued, thank you) did find its way into deck sounded right. And Mike's mystery tape, "white box" versions, one of which must have been played on another deck, still sounded backwards. our mystery tape. The recordist at the time obvious- At this point, Tane got involved with another cus- ly did record correctly, but then must have fooled tomer. Mike and I went over the thing, step by step. I himself and attached the leader to the wrong side. diagrammed the four tape tracks as they should be As for getting the sound from the wrong side, yes - for this format. Counting down from the top edge of it is not unknown for this to happen with 1 -mil or the tape, track 1 was left channel, and track 3 was thinner white -box tapes. right channel for normal forward (left to right) direc- When I told this to Tane he feigned a mock- injury tion; track 2 was right channel, and track 4 was left pose: "There goes my molecular derangement channel for the reverse direction. The longer I stared theory." at this diagram the more puzzled I was. Anyway, the mystery is solved, and Mike can But something long forgotten was nagging inside. hear his own show and maybe interest someone in it On a sudden inspiration I put a twist in the tape so via the tape. that the brown shiny backing, rather than the dull Next problem?

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range of available sounds than the con- The Humanizer is the name of a uni- SYNTHESIZERS AND ACCESSORIES ventional oscillator /filter configura- que new synthesizer controller from tion. A unique feature of the system is Computone, Inc. The Humanizer gives Oberheim Electronics has introduced Polyphonic Timbre Modulation which the synthesist an alternative to con- two new polyphonic synthesizer means that each note played will have ventional keyboard, joystick or lever models, a four -voice model and a six- independent, complex variations in its controller, or gives him the ability to voice model designated the OB -SX(4) timbre throughout the envelope of the control additional parameters sponta- and OB- SX(6), respectively. Both note. This feature gives.each note clari- neously while playing a keyboard in a models use the same sound -generating ty and individuality even during chor- conventional fashion. The Humanizer circuitry as the popular OB -X synthe- dal playing. comprises a control unit which looks sizer and thus feature the same "fat" CIRCLE 14 ON READER SERVICE CARD rather like a kazoo and an electronics Oberheim sound. The OB -SX series is unit. The musician uses the controller considerably smaller and easier to use A polyphonic synthesizer plus string in his mouth to control envelope than the OB -X series since it does not synthesizer in one unit is the latest ad- parameters with wind pressure and have the user programmability of the dition to the Korg line from Unicord. pitch and timbre parameters with lip OB -X. In design philosophy, the OB- The new instrument is called the Korg pressure. The controller may be hand- SX is a polyphonic synthesizer for key - DL -50 Delta, and features a four - held or mounted on a microphone boardists whereas the OB -X was de- octave keyboard with octave switch- stand to leave both hands free, and the signed for musicians who are primarily ing. The string section of the unit electronics unit will interface to vir- synthesists. The OB -SX(4) may be up- features two octaves of mixable voices, tually any synthesizer. dated to full six-voice polyphony by variable attack and release and bass CIRCLE 16 ON READER SERVICE CARD the user at any time simply by adding and treble EQ to control the full, rich two more voice circuit boards. Among orchestral sounds available. The string Wavemakers has announced the the features of the OB -SX series is a section may be played separately or Wavemaker 6 series of synthesizers four -octave keyboard, 24/48 program simultaneously with the synthesizer and the Wavemaker 600 series of sub- option, pitch bend and modulation section, in mono or stereo. Controls on systems and accessories which are levers, portamento, transpose and at- the synthesizer section include a 4 -way used to make up the various Wave - tack and release controls. Rear panel joystick controller, ADSR envelope maker 6 configurations ranging from interface connections are provided for generator, waveform mixing, multi - two to eight voices. The basic sub- filter and modulation panels, sustain mode 24 dB /octave VCF and jacks system is the model 652 Dual -Voice footswitch, control voltage and gate in- have been provided for external filter Sub -system which contains all func- puts and outputs and Oberheim com- control and interface. tions needed to generate and shape a puter interface. CIRCLE 150N READER SERVICE CARD sound. The unit includes two VCOs CIRCLE 13 ON READER SERVICE CARD The latest instrument from Rocky Mount Industries, Inc. (RMI) is the DK -20, a digital combo keyboard which produces a wide variety of sounds including guitar, piano, lute and clay, plus custom factory voicings and presets. Twelve presets are available to the musician, plus sounds can be created with the digital envelope and timbre controls and pushbutton vibrato. The unit uses digital tone generation for a wider

32 MODERN RECORDING & MUSIC www.americanradiohistory.com each with two voltage -controlled Additionally, a unique Sync Load tone generation and keying scheme is waveform mixes, two multi -mode VC feature allows several CSQ -600s to be used to duplicate the decay character- filter -amps, two ASR envelope genera- connected in parallel and run syn- istics of a natural piano, and the tuning tors with self -triggering and a wide - chronously to control multiple syn- of the second tone generator may be range FM modulator. The 654 Control thesizers or a polyphonic synthesizer. tuned exactly the same as the first Array is a multi-function module which CIRCLE 18 ON READER SERVICE CARD generator, detuned slightly for a includes an eight -step analog se- warmer sound or detuned further, up quencer, sample and hold, two delayed ARP Instruments, Inc. recently in- to a quarter of a semitone, for honky - ADSR envelope generators, a lag pro- troduced three new instruments. Top- tonk effects. The entire instrument cessor, a four -quadrant joystick which ping their new line -up is the computer- may be tuned sharp or flat from con- will attenuate external control based Chroma, which we will cover in cert tuning with the master tune con- voltages as well as generating four DC detail next month. The ARP Solus is a trol to bring the instrument in tune control voltages and four control new, low -cost, lead -line synthesizer with other instruments or pre- recorded busses for routing systems controls. Other 600 series sub -systems include the 658 Digital Sequencer with non- volatile memory of up to thirty -two sequences, and various keyboard con- trollers in two -, four -, six- and eight - voice configurations.

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KEYBOARDS

A new electronic piano, an 8 -voice polyphonic synthesizer and a computer- controlled digital sequencer are among the new products by Roland - Corp US. The electronic piano is designated the EP -09, and uses digital generation to provide two piano and two harpsichord tones from its which uses many of the same circuits music. The ARP 4 -voice piano also fea- 5- octave, 61 -note keyboard. The as the well-known ARP Axxe and tures a control pedal which can be used keyboard itself uses a microprocessor Odyssey synthesizers in a lower priced to control vibrato, sustain or both. to assign one of the eight tone unit. Unlike many other synthesizers CIRCLE 190N READER SERVICE CARD generator circuits to each key as it is in this price category, the ARP Solus touched regardless of how fast the has a full three -octave keyboard which Rhodes Keyboard Instruments has musician cares to play. The unit can additionally be transposed up or announced the introduction of a new features a sustain section which offers down one octave. Two VCOs are pro- instrument which combines a tradi- nine distinct variations on piano sus- vided, each with mixable sawtooth and tional Rhodes electric piano with two tain for new expressive possibilities. variable width pulse wave outputs, and electronic piano voices. The Rhodes Roland's new polyphonic synthesizer they may be phase synchronized for ef- Mark III EK -10 retains the same is the Jupiter 8, an 8- voice, 16- oscillator fects. Filters are probably the single mechanical touch dynamics as the con- model with an advanced, computer -as- most important element in determin- ventional Rhodes piano for both of its signed keyboard which allows exten- ing the sound of a synthesizer, and to electronic voices as well as the regular sive flexibility in the assignment of produce a satisfyingly "fat" sound electric piano voice, and offers the voices to keys. The 5- octave keyboard ARP uses four -pole filters in the Solus. musician the ability to combine the may be operated in one of three Key The third new instrument from ARP is three voices in any proportion or to use Modes: Whole (one patch for the entire a scaled -down, four -voice version of the them individually. Each electronic keyboard); Split (different patches for remarkable 16 -voice electronic piano voice is generated from a fundamental the lower two and upper three octaves); they introduced last year. The new, waveform plus second and fourth har- or Dual (two patches simultaneously). four -voice model retains many of the monics which are controlled by three The Jupiter 8 also has 64 user -pro- features of the larger model, but at a selector switches for seven different grammable memories to store all syn- price which brings the instrument selections of single or combined output thesizer functions including volume. within the reach of many more musi- waveforms. Each electronic voice has Roland's new CSQ -600 Digital Se- cians. The 73 -note keyboard uses a continuously variable filters for timbre quencer is a computer-controlled unit weighted wood keyboard mechanism shaping and a continuously variable with four memories, each capable of to actuate sealed membrane switches tuning control with a range of plus or holding a 150 -note sequence. The four with full touch -sensitivity over a wide minus one octave relative to the tuning sequences may be played back in- dynamic range. The four voices of the of the Rhodes piano allowing the musi- dividually or in any combination one instrument are acoustic piano, vibes, cian to play the electronic voices in har- after another for extended sequences. electric piano and harpsichord. A dual mony to the basic Rhodes sound. Addi-

NOVEMBER 1980 33

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tionally, the keyboard may be split for volume control. The four modes of a different mix of electronic and operation for the Model 46 are Stand- Rhodes sounds in the treble and bass by, Bass -rich humbucker, Balanced - sections of the keyboard. Physically, tone humbucker and Brilliant single - the Rhodes E K-10 resembles the Stage coil (non -humbucker) offering the musi- Model 73 piano complete with music cian a full range of electronic sounds to rack and flat topped cover for instru- complement his acoustic sound. ment stacking. All controls are CIRCLE 22 ON READER SERVICE CARD mounted on the name-plate rail for maximum convenience. Whirlwind Music, renowned among CIRCLE 20 ON READER SERVICE CARD guitarists for its Cobra model coiled guitar cord and its Snake model GUITARS AND BASSES straight cord, has announced the introduction of a new reptile, the Con- The Fender division of CBS Musical strictor, which is a hybrid straight/ Instruments recently introduced up- coiled cord. The Constrictor combines dated versions of two well -known in- ten feet of straight cord with a 20 -inch struments and a new Lead Bass guitar. section of coiled cord for an overall The famous Fender Stratocaster has length of over 20 feet when fully ex- been updated and given a new name - tended, and gives the musician the it shall henceforth officially be known freedom of movement of a straight as the Fender Strat. Along with cord with the neatness and long reach several other changes the new Strat of- of a retractile cord. The cable used in fers four new, thicker sounds thanks to the Constrictor is made by Belden as in the use of a hot X -1 pickup in the all Whirlwind cables, while the termi- bridge position in addition to the two nations are a Whirlwind Ultra Snake high- output Stratocaster pickups. All 1/4 -inch plug on the straight end and a three pickups are adjustable and are Switchcraft right -angle 1/4 -inch plug on connected to a new, shielded, two - the coiled end to reduce the possibility position mode selector switch and tronically, the Lead Bass has two wide - of accidental disconnections. shielded volume and tone controls. The range, wide -field humbucking pickups CIRCLE 23 ON READER SERVICE CARD Fender Strat is available in Candy Ap- with eight adjustable pole pieces each, ple red and Lake Placid blue with pickup selector switch, pickup phasing New from Silver Eagle Designs is the either maple or rosewood used for the switch and master tone and volume Doctor Song guitar strap which uses curved fingerboard. The Fender Preci- controls, all of which have been electro- both top -grain cowhide and synthetic sion Bass also has been updated in the statically shielded. leather to provide a strong, comfort- form of a new model, the Precision CIRCLE 21 ON READER SERVICE CARD able strap at an affordable price. Bass Special. The P -Bass Special Leather is used at each attachment end features active electronics on board for MUSICAL INSTRUMENT ACCESSORIES for strength while the rest of the strap a wide range of tonal colorations; the is man -made to keep the cost down. instrument has bass and treble con- Shadow of America has expanded its Doctor Song straps have no exposed trols with a ± 15 dB range, a volume line of acoustic and electric guitar pick- metal parts to scratch valuable instru- control and a tone defeat switch. The ups with the introduction of their new ments, and feature an exclusive "pick- electronics are assembled on a single Buckeroo Acoustic Humbucker line of pocket" on each strap to hold picks, PC board, and were designed for low magnetic type pickups for acoustic slides, etc. The straps are available in noise and low current drain resulting in guitars. These new models are de- four widths from 2 -inch to 31/2-inch in battery life averaging some 1200 signed to mount easily in guitar sound black, tan and brown finishes. hours. The neck of the P -Bass Special holes via a spring clamp mount CIRCLE 24 ON READER SERVICE CARD has been subtly re- designed for faster system, and produce a bold, powerful action and greater comfort; the neck is humbucker sound with superior fre- News comes from Zeta -Systems of a based on the 1961 B -neck, and is the quency range without the need for ac- marvel of electronic miniaturization standard width of all Precision Basses cessory preamps. The Buckeroo line called the little FEANC (pronounced but is about 1/16" thinner. The all -new comprises three models starting with "fink ") which combines Fuzztone, model from Fender is the Lead Bass the basic Buckeroo 43 which has ad- Equalizer, Amplifier, Noisegate and which was designed for fast action and justable pole pieces on the pickup but Compressor into a single 11/2" x 2" a wide tonal range to complement to- which does not have volume or tone package designed to mount directly in day's style of rock bass playing. The controls, and the Buckeroo 44 which is a guitar in place of the guitar's conven- body of the Lead Bass is a new, com- identical to the 43 except that it has tional controls. The compressor part of pact, double- cutaway design and is volume and bass /treble controls. At the circuitry in the Little FEANC uses - made from solid ash, while the full - the top of the line is the Buckeroo 46 FET technology for wide- range, low scale neck is narrow and light in weight Triple Threat unit which offers a four - noise operation with infinitely variable to complement the lighter body. Elec- position mode switch in addition to a compression, while the switchable

34 MODERN RECORDING & MUSIC www.americanradiohistory.com Peavey's extensive inpu :s feature virtually mixers. A complete patch experience in electronic infin to dynamic range and panel features transformer design, packaging, and inclLde switchable 48 -volt balanced line outputs on reliability studies along phantom power for both mains, both monitors, with the utilization of the capacitor microphones. and sum. very latest semiconductor Two independent pre We've listed just a few of technology have created monitor sends, 4 -band EQ, the Mark Ill's many the Mark Ill Series sixteen two post effects sends and features to illustrate its channel mixer,...just the PFL /cue button performance,...to get the right combination of compliment each channel. complete picture, you'll superb performance aid The Mark Ill's master want a "hands on" useful features in a highly sect on includes all the demonstration at your mobile and durable sound usual professional facilities Peavey dealer. You'll see reinforcement console. along with many features again why incredible The Mark Ill's previously unavailable in values are still a reality at - transformer balanced, sound reinforcement Peavey.

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www.americanradiohistory.com noisegate silences the output when no jack which automatically disconnects use an 8 -inch drum head which is signal is present. A 2 -band equalizer the main speakers. The four models in- responsive to the stick and all are provides tonal control over the normal clude the L120 single channel lead amp housed in a matte black steel enclosure guitar sound or the fuzzed guitar and the SL120 switchable channel lead and AC powered. All four models have sound before the master volume con- amp, both featuring 12 -inch speakers, Decay, Sensitivity and Volume control and low- impedance output ampli- the B120 single channel bass amp with trols to control the loudness and fier stage. Integrating these five popu- a heavy -duty 12 -inch bass speaker, and dynamics of the output signal and a lar effects in one one on -board unit has the SB120 switchable -channel bass Tune control to vary the basic tuning given the musician high quality signal amp with a 15 -inch speaker. Also new of the sound. The Synare Bass has only processing with the controls where he from Road is a unique speaker protec- one additional control, a switch to needs them -at his fingertips. tion kit for use with any amplifier or select short, medium or long bass drum CIRCLE 25 ON READER SERVICE CARD speaker cabinet. The kit comprises the sounds or to select double, triple or die cast aluminum speaker retaining repeated strike sounds from a single Another reptilian product for ring, heavy gauge steel mesh, speaker stick or beater hit. The Synare Bass guitarists is the King Cobra guitar mounting gaskets and necessary hard- may be mounted vertically with a con- stand from The Music People. The ware to mount speakers in the same ventional bass drum beater on a King Cobra is a striking design, made way that Road mounts its speakers. Synare BD -2 stand, or mounted as a from clear lucite plastic (1/2-inch thick) CIRCLE 28 ON READER SERVICE CARD tom -tom stand for stick playing. The in the general shape of a cobra's head. Lo -Tom and Hi -Tom Synare models are The King Cobra breaks down into two DRUMS AND ACCESSORIES identical except for the tuning range; pieces for easy transportation and uses the Lo -Tom simulates drums of ap- two nylon pins for vertical stability A company called Tonga has in- proximately 14 -inch to 18 -inch in dia- when assembled. The guitar is protec- troduced an intresting drum accessory meter while the Hi -Tom tunes to cover ted by neoprene rubber bumpers where product called TongaRings. Tonga - the range of 51/2-inch to 16 -inch it makes contact with the stand. Rings are made from mirror- finish acoustic tom -toms. In addition to the CIRCLE 26 ON READER SERVICE CARD Mylar plastic and are attached to the basic four controls the Synare Tom drum heads in a drummer's kit with models include three controls for MUSICAL INSTRUMENT AMPLIFIERS pressure sensitive adhesive. The rings Range, Speed and Direction of are said to produce more tone and less automatic tuning runs which vary the Unicord has announced a new line of bang from the drums without the use tuning of the Synare continuously with amplifiers to be known as Westbury of bottom heads, complicated tunings, each successive strike. The Synare Amplifiers which are designed to offer or trial and error damping of the head. Tympani can be tuned via an optional uncompromised sound value. Con- Additionally, with proper tuning foot pedal as well as the control panel struction is extra rugged with TongaRings allow the popular knob for tympani sounds without the 18 -gauge rolled steel chassis, oversized modulated pitch or downward- sliding temperature and humidity sensitivities heat sinks, current-limiting short cir- pitch to be achieved acoustically rather and large bulk of acoustic tympani. cuit protection and modular PC board than with synthesized drums. The Additionally, the Synare Tympani has construction. The Model 1000 is the rings leave the center of the drum head up -sweep and down -sweep controls for current flagship of the line, and is a 2" open for playing while damping out un- automatic pitch sweeps, and these ef- x 12" dual -channel reverb amp with wanted vibrations around the cir- fects can be further modified or "bent" two completely independent FET cumference of the head. TongaRings by the footpedal. preamp input stages which can be in- are available in diameters from 6 -inch CIRCLE 30 ON READER SERVICE CARD stantly switched for two different to 24 -inch to accommodate the majori- preset sounds. ty of drums commonly used. With the prices of labor and brass be- CIRCLE 27 ON READER SERVICE CARD CIRCLE 29 ON READER SERVICE CARD ing what they are, it is not surprising that cymbals can actually be the big- Road Electronics has introduced a Star Instruments, Inc. has been one gest investment a drummer will make. new line of self- contained amplifiers of the leaders in the synthesized drum Drums Unlimited, Inc. has just intro- which feature advanced electronic field with its Synare electronic drum duced a new line of cymbals which are technology and construction techni- line, and with the introduction of four student priced but professional soun- ques to achieve a high level of versatili- specialized new models the Synare line ding. The Studio 200 line of cymbals is ty at an affordable price. Two of the is certainly a contender for the most manufactured in virtually the same models are single -channel units with complete line -up of non -acoustic way as the world's leading professional remote switching via an optional drums. The four new models are the cymbals except for a small amount of footswitch and LED channel indica- Synare Bass, the Synare Lo -Tom, the hand finishing. The result is said to be tion. All four models include three - Synare Hi -Tom and the Synare Tym- a cymbal which has the same crisp, ex- band active EQ with Road's parascan pani, and as their names imply they are plosive sound and feel of expensive, sweep midrange EQ which is variable each designed to simulate a particular professional cymbals with only a small from 400 Hz to 3 kHz, reverb with type of drum rather than being a sacrifice in ultimate volume potential, remote footswitch jack and accessory general-purpose or full -range synthetic but at a price that is approximately send /receive jacks. All four are rated at drum like the company's Synare 4 or half of the pro brands. 60 watts RMS, and have a headphone S3X Preset models. All four models CIRCLE 31 ON READER SERVICE CARD

36 MODERN RECORDING a MUSIC www.americanradiohistory.com fact: "I listened to them all... and nine times out of ten, with our artists, the best microphone was the SM81" Criteria Recording Studios, Miami, Florida

Dennis Hetzendorfer, Staff Engineer "The true sign of a really excellent microphone is that it can maintain its high performance, session after session after session. Here at Criteria, when the situation permits, several different microphones are set-up at each instrument,with - out the engineer knowing which mike is exactly where. We then fade from mike to mike and let our ears find out which is best for each application. Nine times out of ten, with our artists, the best microphone has been the SM81. The switchable bass rolloff and pad (a built -in 10 dB attenuator) gives the SM81 incredible versatility. We can use it with bass drums and cymbals, as well as with acoustic guitars. In fact, all the acoustic guitar segments on the Bee Gees' Spirits Having Flown album were recorded with the SM81. "The SM81 really changed our minds about the ruggedness of condenser microphones. It's a precision piece of equipment, but it's durable. You don't always think about a studio microphone needing durability... after all, we don't have the rough handling problems encountered in concert recording. But, when you have a reputation as one of the most technically exacting studios in the country, you appreciate how many little things can subtly affect the sound of a delicate condenser microphone. The SM81 sounds good every time we use it...and, at Criteria, as in any good studio, we just can't afford to have a microphone we can't depend on. "We've used the SM81 on recording sessions with the Bee Gees and Kenny Loggins and you can be sure there will be more. "It's one great mike!"

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CIRCLE 118 ON READER SERVICE CARD www.americanradiohistory.com The e.....111 11 11111 e 11 11 1 11 . t f f f fttt a***444* **fernt f f t4 ta f a t a see a a e s t t*****.lip a t stttf 101,44.414o t- a ata rtfa f a s t a***me *of* t ta fa f a s t a f

By Peter Weiss

In this installment we will continue vector sum of the voltage drops around magnitude (length) of the (X, - X, I our discussion of A.C. circuits and ex- the circuit must equal the applied vector is simply: pand on this information to cover some voltage. With this information and a practical aspects of electrical circuits. set of values for f (1.00 x 10' Hz), X,.-X, So far, we have discussed simple L (2.00 x 10 -' henrys), C (8.00 x 10 -" or A.C. circuits containing either farads) and R (7.34 x 102 S2), we can do 1990 - 1256 resistance and capacitance ( "RC" cir- an analysis of the circuit of Fig. 1. cuits), or resistance and inductance First, let's calculate the inductive reac- or ("RL" circuits). Now, with the aid of tance X. the vector methods developed earlier, 734 S2 X,= 2r X f X L we will tackle circuits containing If XL turned out to be greater resistance, capacitance and inductance X, = 6.28 X 1.0 X 10' X 2.0 X 10-' (NOTE: than X,., the combined vector would ( "LCR" circuits). An example of an X, = 1.256 X 10' or 1256 S2 then be (XL Xe), pointing in the X, LCR circuit is shown in Fig. 1, with the - direction.) elements in a simple series configura- Now for the capacitive reactance, Xe., tion. The same general rules apply to We can calculate Z from the relation- the analysis of this circuit as to that of X,- ship previously discussed A.C. series cir- 2aXfXC cuits; the current is the same at all X,- 1 Z= ./IX,.- X,1' +R2 points, and in -phase with itself, and the 6.28 X 1.0 X 10' X 8.0 X 10-" Z = ./7342 + 7342 X,. = 1.990 X 10' or 1990 S2 Z = 0,077,512 To find the total impedance of this circuit, Z, we can draw the vectors X,., X, X = 1.038 X 10' or 1038 S2 and R as shown in Fig. 2. In past A.C. circuit analyses we have only had two The phase angle, e , can be found from vectors at a time, not three. However, (X, XL) tan e - we can reduce the three vectors in Fig. 2 R to only two by noting that the X, and 7.34 X 102 Xe vectors are "pointing" in opposite tan e C directions. Taking advantage of this, 7.34 X 10' we can redraw Fig. 2 (as Fig. 3) with the Figure 1 vectors (X, - X,) and R. The tan e = 1

38 MODERN RECORDING & MUSIC www.americanradiohistory.com ing the (X, - XL) vector zero, e will be zero and the circuit will "appear" to be 0 a pure resistance. The frequency at which this condition occurs is called 0 0 0 X the "resonant frequency" of the circuit. The symbol for resonant frequen- fo. t_-uis R cy is We can find the value of frequercy for a given circuit by setting the formulas for X. and XL equal to each other, since this is the circuit condition at the resonant frequency. Figure 4 1 2rXf XC= 2rXfXL henrys. C = 1.59 x 10-6 farads, R = 100 O. The formulas for capacitive and in- Figure 2 1= 4r2Xf!XLXC ductive reactance are the same. regardless of circuit configuration, we will 1 Using a calculator or "trig" tables 47°XLXC just state the results of computing we find that the angle whose tangent is these values: XL = 50 fl, = 100 Cl. 1 is 45 °. This angle represents the 1 f. = phase difference between the current 2wXV..L>CC through the circuit and the applied voltage. The phase angle, and, more Substituting the values given earlier, The rules for analysis of parallel LCI-t specifically, whether the angle ends up circuits are based on infmation f. = being above or below the R axis, in- 6.28 X 2.0 X 10-'"X 8.0 X 10 developed earlier in our discussions of dicates the nature (either capacitive, D.C. parallel circuits and on the vector methods we have used in prev_ous A.C. inductive or purely resistive) of the cir- f" = 1.259 X BY or 1259 Hz cuit at a specific frequency as 'aseen" circuit analyses. To begin, we can say by the applied signal. In our example Readers can confirm this by calcu_at- that the voltage across each c_rcuit ele- case, at 1000 Hz, X,_ is greater than XL ing X, and X, at 1259 Hz to see if the ments equal to the applied voltage. and the position of the (X, - XL) vector reactances are in fact equal. Es, and is in phase with it. However. indicates that the net result of the ad- Since the length of the (X,- - XL) vec- we know that capacitancesdänd induc- dition of these two opposing vectors is tor is zero at the resonant frequency, tances introduce phase differences be- a vector laid out in the X, direction. the phase angle e is zero and the Z tween the currents through them and This indicates that, at the signal fre- vector coincides with the R vector. the voltages or voltage drops across quency given, the capacitance is con- These conditions indicate, mathemati- them. Thus, the voltage and current in tributing more to the "character" of cally, that at the resonant frequency the branch containing the capacitance, the circuit than is the inductance. The the capacitive and inductive reac- C, are 90° out-of- phase, with the cur- final resolution of the (X,- - XL) and R tances effectively cancel each other rent "leading" the voltage. In the vectors into the Z vector at 45 ° in the and the circuit "behaves" as if it con- branch containing the inductance, L, a X, and R quadrant shows that the tained only a pure resistance. If there 90° phase shift also occurs, but here whole circuit has a somewhat capaci- is no resistance in the circuit, then Z the current "lags behind" the voltage. tive character when the signal frequen- will be zero. There will be nothing to In the resistive branch, of coarse, the cy is 100 Hz. If the signal frequency is impede the flow of current. voltage and current are in -phase with increased, e will approach zero, and at When the signal frequency is in- each other. It is important to note the frequency for which X, = XL, mak- creased above f,,, the inductive reac- again that all of the voltages just men- tance becomes greater than Are tioned are actually the same voltage. capacitive reactance. The length of the and that they are all in -phase with each XL vector becomes greater than the other. The currents are not in -phase length of the X,, vector, and we must with each other, and by determining draw a vector, pointing in the XL direc- the phase relationships of these cur- tion, whose length is (XL - Xe -). At fre- rents, we can arrive at a simple way of quencies above fo the circuit will determining the total impedance, Z, of "behave" more inductively. the example circuit. V We can now go on to examine anoth- First, let us establish the signal er simple A.C. circuit configuration, voltage as the phase reference. Then, X XL the parallel LCR circuit. An example of the current in the resistive bunch, I, , this type of circuit is shown in Fig. 4. is in-piase with this voltage. the cur- We have to establish a new set of rent in the capacitive branch, Imo, is 90' values for this example 'so our final "ahead," and the current in the induc- numbers come out nice and neat; E. = tive branch, IL, is 90° "behind." Thus. Figure 3 100 V. f = 1000 Hz, L = 8.0 x H0-' we car see that I,. and IL are actually

NOVEMBER 1980 39 www.americanradiohistory.com 180°, or completely out -of -phase with between IL and I .. The (IL - Ic), IR and each other. Before going any further, IT vectors are shown in Fig. 6. We can we should calculate the magnitudes of calculate the length of the IT vector, each of the three currents. IT=JIIL-4)2+IRZ c r E,_S IR R IT = J P+ 12 120 d IR = 100 I,=\,/2

IR = 1.0 amps I, = 1.41

We now calculate Z from Ohm's Law, E,3 Z = - IT 100 Figure 6 Z = = 1.0 amp 1.41 set of conditions arises if we remove ES Z=70.91/ the resistive branch altogether, letting IL XL R = 0, and IR = 0. At f,,, the capacitive Since, in this case, the inductive cur- current and the inductive current will 100 IL rent is greater than the capacitive cur- cancel each other, but since there is no 50 rent, this circuit (at 1000 Hz) "be- resistive branch, the net effect will be a zero flow through the circuit. IL = 2.0 amps haves" more or less inductively, with current resistive component. The phase angle, This does not mean that if we remove The individual branch currents com- e , is 45°, as can be seen from the fact the resistive branch IL and IC will no bine to form the total current in the cir- that (IL - Imo) =IR. longer exist. They do exist, individual- cuit, IT, but they do so vectorially. We It will be instructive to point out ly, and are real, measureable currents, can draw a vector diagram, Fig. 5, to that there is a frequency at which IL = but the result of their combination is represent the relationships between IC, making the length of the (IL - Imo) total cancellation. From the "point of the three currents. Note that the Ic and vector zero. At this same frequency, XL view" of the source voltage, a parallel IL vectors are opposing each other. = X, The value of this frequency can LC circuit at the resonant frequency This is a graphical representation of be computed in a way identical to that represents an "infinite" impedance. the fact that these two currents are used for the resonant frequency of a 180° out -of -phase with each other. The series LCR circuit. The symbol f,, is us- IR vector is laid out along the 0 ° axis to ed here also, except that there is some indicate that the current in the resist- confusion of terms. A parallel LCR cir- At this point, we must examine ive branch is in -phase with the applied cuit is sometimes called an "anti -reso- another important quantity in A.C. cir- voltage. As we did with the X,. and XL nant circuit," but the frequency at cuits, power. The unit for A.C. power is vectors in the series LCR circuit, we which IL =I, is called the "resonant the watt, as in D.C. circuits, but the can resolve the and IL vectors into a frequency." Another name for a paral- formula for finding the power by a in an A.C. single vector with length (IL - Imo, lel LCR circuit is "tank" circuit. We dissipated component pointing in the IL direction (since IL is will use the terms "resonant fre- circuit or by an entire A.C. circuit, is greater than Ia). The length of this new quency" and "parallel LCR." The for- not quite as simple as the D.C. version. vector is 1, representing the difference mula for fo, the resonant frequency of a Fig. 7 shows the circuit of Fig. 1 parallel LCR circuit, is identical to the drawn with voltmeters (VL, VC, VR, VT) formula for fo of a series LCR circuit, and an ammeter (IT) in place. We since the conditions required are the already know that in this circuit, for a same, namely that at f,, XL = X,. Let's compute fo for the example parallel LCR circuit.

1 fo 27rXJLX C 1 fo = 6.28 X J 8.0 X 10-3 X 1.59 X 10-6 10402$

fo = 1.411 X 103 or 1411 Hz

At f,,, our example parallel LCR circuit will behave as if it contained only a pure resistance of 50 0, since XL = IL = IC and the two reactive currents Figure 5 are 180° out -of-phase. An interesting Figure 7

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CIRCLE 47 ON READER SERVICE CARD www.americanradiohistory.com signal frequency of 1000 Hz, Z = 1038 SI energy that goes into establishing the power. Using the cos e form of the and e = 45. We can compute IT from electrical field between the plates is power factor, we can develop formulas Ohm's Law, returned to the circuit when the source for true power dissipated in A.C. cir- ES voltage alternates and the field col- cuits that look like the D.C. power formulas some Ir Z lapses in preparation for a new field to with modifications: If we choose a convenient value for be established in the opposite direc- True Power = VT X IT X cos e Es, 103.8 volts, we can get a neat tion. In this repeating process, the net = Ii X Z X cos e answer for I T, namely, loss of energy in the (ideal) capacitance is zero. Therefore, the power (energy - Note that cos 0° = 1, and cos 90 ° = 0. lost in is mathematically sup- IT =103.8 per- unit -time) the capacitance These statements 1038 zero. Pc is equal to zero at all times. port the formulas for true power by in- A similar argument can be made for dicating that for a purely resistive cir- IT = 1.0 X 10 -' or 0.10 amps the inductance (also an ideal, zero -re- cuit ( e = 0 0) the power factor is 1 and sistance component), where all the the true and apparent powers are Clearly, as we have set up the situa- energy required to establish the mag- equal, and for a purely reactive circuit tion, the source is delivering 103.8 netic field is returned to the circuit ( e = 90 0) the power factor is zero, no volts and a current of 0.10 amps. If we when the source voltage alternates and power being dissipated. use one of the D.C. formulas for total the field collapses. So, It is important to remember that im- power dissipation, pedance, individual reactances, true PT =O Pr=IrXE,s power and power factor are all fre- If no power is dissipated in either the quency- dependent. capacitance or the inductance, how do In practical applications, particular- Pr = 1.0X10"'X103.8 we reconcile ly in audio, we are concerned about we will get PT = 10.38 watts how much work we can extract from an A.C. signal. Work is equivalent to Pr = 10.38 watts. and energy, so what we are really talking PR = 7.34 watts? about is useful power. An alternating But is this value really correct? To voltage applied to a given pure resist- answer this, we must examine how We can resolve this question by poin- ance will heat the resistance and power power is dissipated in each individual ting out that PT and PR represent two will be dissipated in the resistance. component in the circuit. Looking at different sets of measurements. PT is However, a direct voltage equal to only the resistance first, we see that the cur- the product of the ammeter and 70.7% of the peak value of the alter- rent through the resistance, IT, and the voltmeter readings IT and VT, while PR nating voltage will perform the same voltage drop across the resistance, VR, is the product IT x R. The product of heating job. Therefore, none of the ex- are in- phase. This fact allows us to use the total voltage and total current in pressions we have seen so far indicate the formula for power dissipation in- an A.C. circuit is called the "apparent the actual working ability of an A.C. volving current and resistance, power." The total power dissipated in signal. We can correct this by applying PR=ITXR all of the resistive elements of an A.C. a factor of 0.707 (70 %) to the peak circuit is called the "true power." The values of voltage and current. Using PR=I1.0X10-')X(1.0X10-') ratio of the true power to the apparent the values from the series LCR exam- X 7.34 X 102 power is called the "power factor" of ple circuit, and calling the available or the circuit. The power factor is also effective power PE, PR = 7.34 watts equal to the cosine (cos) of the phase Now for the power dissipated in the angle between the applied voltage and PE= 0.707 X Es X 0.707 X IT capacitance. Since this is a theoretical the total current. PE=73.39X0.071 discussion, the capacitance in this cir- Setting up the ratio for the power fac- cuit, taken by itself, is a pure capacitor, PF, PE = 5.19 watts tance, having no resistive component at PF _ PR (true) This value for PE is exactly half the all. Thus, if we try to apply the formula PT (apparent) value of the apparent power. 7.34 In all future discussions, it will be P = IT XR PF = 10.38 assumed that voltages and currents to the capacitance alone, since R = 0, are given as RMS values, and powers PF = 7.07 X 10-' or .707 Pc must equal zero. Right? But how as effective values. can the power dissipation be zero if The phase angle in our example is 45 ° As for what these future discussions there is a voltage drop across, and a for a signal frequency of 1000 Hz, so will cover, Part X of the "Electric current through, the capacitance? PF = cos e Primer" will include some information There is a clincher on this discussion. and de-mystification of two very impor- PF = cos 45° Remember, that when we initially tant areas, namely "grounding" and the discussed power dissipation, back in Finding cos 45 ° from a calculator or deciBel (dB). With those two topics out our D.C. circuit analyses, we stated from the tables, of the way, we will then proceed to talk that power dissipation was the result PF = .707 about transformers, filters (like speaker of energy being lost in a component or which agrees with our answer derived system crossovers) and balanced and circuit. In a pure capacitance, all the from the ratio of true to apparent unbalanced lines and equipment.

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www.americanradiohistory.com www.americanradiohistory.com Edgar Winter's music has under- perfectionist in the recording studio. Douglaston, New York with engineers gone a continuous evolutionary This writer has had first -hand ex- Kevin Kelly and Rob Bengston. The process since his first Epic perience with this facet of Edgar project has been physically taxing for Records album was released about ten Winter's musical personality, having everyone involved, as Edgar's sessions years ago. In that time Edgar has gain- engineered two of his albums and part typically run fifteen to sixteen hours a ed a well- deserved reputation as a of a th_rd. day. However, the professional rapport gifted, all- around musician (sax- Edgar's current album project, Stun - between Edgar, Kevin and Snob, and ophones, synthesizer, keyboards and ding Gn Rock (to be released on :he the atmosphere of mutual respect have drums among other instruments. Blue Sky label) was recorded and is be- eased some of the hardships of working Equally well- deserved is his reputa- ing mixed (at press time) at The Wcrk- long hours. tion as a hard -hitting, hard -driving shoppe Recording Studios in The following is a portion of an inter-

www.americanradiohistory.com view /discussion that took place in the worked with multi -room set -ups have anyway. But in recording all you need control room at The Workshoppe, one you found inconsistencies in sound is a good board, a good clean board, afternoon before an overdub session. from room to room? good mikes, good tape machine and Present were Edgar Winter, Monique EW: Oh definitely. Even though the you can record. Winter, Kevin Kelly and this writer. studios try to make their rooms MR &M: Okay, speaking of good, Modern Recording & Music: How similar. They never are. There are clean boards. Do you like the [Sound was it that you first found out about always differences that show up. Workshop] Series 30? Workshoppe Studios? MR &M: What kinds of differences? EW: Yes. Edgar Winter: I found out through EW: A lot of times they have dif- MR &M: Can you do what you want our keyboard player, Ronnie Lawson. ferent boards. Completely different with it? He had done some work here, knew equipment from room to room. I've EW: Yeah, I think it's a great board. Kevin, the engineer, and he suggested never been in a studio that had, say, KK: I like it very much. The Workshoppe. I was checking out three rooms all set up exactly the EW: When I came here to check out various studios in the New York area same. They usually have the same the studio, the first thing I asked was and this was about the third or fourth monitors but the dimensions of the the various functions of the board. To one that I came to. I liked it as soon as rooms are never the same. Some check out the flexibility, to make sure I came here, so we decided to record monitors are closer, and aimed dif- that it would be able to do everything here. I liked it primarily because it ferently. It never is consistent. that I needed. The main thing was to sounds good. I liked it also because it is MR &M: Did you plan to do this en- have more than two cue mixes. I've not like some of the studios in the city tire project here? worked in a lot of studios in the city that have two, three or four rooms and EW: I had originally thought of and they say, "You can only have two lots of people. It feels a lot more com- recording here and mixing the album cue mixes." That doesn't work a lot of fortable in one room with the same peo- somewhere else, in Manhattan. But times, for basic recordings, because ple all the time so you don't have to I've gotten so used to this room and everybody wants to hear something keep changing engineers. And it's these particular monitors that I would different. I like this board a lot; the EQ relatively close to Manhattan. It's only not feel as confident if I were mixing is relatively smooth; it's not synthetic about 20 minutes. anywhere else. sounding. That's one of the things that MR &M: So it has a lot to offer over MR &M: Kevin, do you feel yourself I always listen for because I like to EQ the mid -town studios? on a technologically competitive basis a lot and if the EQ sounds unnatural, EW: Yes, I feel so. with mid -town studios? then I can't do that. MR &M: You find it advantageous to Kevin Kelly: I think the situation is MR &M: You say you like to EQ a lot. work in a one -room operation? that in terms of console, tape machine, In the recording or mixing process? EW: Yeah! A lot of times if you're monitor system and mic complement EW: In recording. working at a place in the city, you can't you couldn't ask for any better. We continue in the same room that you've have our Harmonizers and digital been working in. That's always a disad- delay lines and stuff like everyone else, vantage, to have to change rooms even but we might need five of them and we MR &M: About the recording, I for overdubs or for mixing. I'd much wouldn't have that many. But that can understand that there are some other prefer to get used to one room and stay all be rented. unusual facts connected with the with that all the way through. EW: Those things are usually only drummer, Gregg Carter and the drum MR &M: In the past when you've necessary in the mixing process set. I understand his drum set is sort of

www.americanradiohistory.com unusual for a recording drum set. that anybody would think kind of was coming off the overheads. We just EW: Yeah it is. We had fifteen mics strange is an RE -55 (which is a pretty kind of rounded them out by putting a on the drums. Double kicks, snare is colorless omni- directional Electro- couple of mics inside them; but the rest three, hi -hat is four, left and right Voice mic) on the hi -hat. The reason I all had to be miked from the top overhead, six and nine toms. Nine and did that was because Edgar liked to because they were two-headed drums. six is fifteen. So each time we set up we equalize quite a bit and I found that by Which of course added to the tuning had to adjust all of those drums. Kevin using a condenser like just about problems and make it that much miked them and I would go in and take everybody uses -real tight on the hi- harder for Edgar to get the rings out. the toms and try to get all the ring out hat -when it started to take on a lot of MR &M: Was it a lot of work getting of them to make them sound good. equalization it started to sound very the drum sound together? That would usually take four to six synthesized. And I found that the KK: We did a lot of playing around - hours, just to do that. Before we even RE -55 was able to take a lot of the +10 turning the drums around so areas that started recording. at 8K or whatever it was that Edgar sounded better were nearer the micro- MR &M: That is a lot of time. About wanted to put in there without really phone. And just physically getting miking the drums. What kinds of mics sounding that it was about to blow up. that many microphones in on a drum did you use? So that's what we wound up using and set without hampering the player is a KK: Pretty standard set -up in the it was nice and smooth even though it technique that is kind of mind-blowing sense that we used condensers for was very equalized. to start with, never mind making it heads with some bottom rolled off. A MR &M: That is an interesting choice sound good. Beyer M500 on the snare. We wanted for that spot in the drum set. MR&M: Did Gregg Carter feel in- it to be nice and fat -considering all KK: My partner still thinks I'm timidated by all those microphones? the possible leakage problems we'd crazy for doing it. But it did work out. EW: He never said anything about have with all the open tom mics. Sen- MR &M: How far away from the hi- it. Once in a while he would say a mic nheiser 421s all around on the toms hat did you put the RE -55? was too close, getting in the way, and because we found that they have a real KK: Because of the fact that there Kevin would come out and readjust it. right cardioid pattern and they leaked were so many other mics, things had to I really feel if you get a drum to sound less than other mics did. We tried one be tighter than you wanted them to be good, if it sounds good acoustically of the set -ups using RE -20s, but they just to maintain stereo imaging and when you put a mic over it, it will tended not to be as directional and to stuff like that. So it was three or four sound good when it is recorded. But I be a little bit more of a problem in inches away. If it was any further you always go around all the lugs, and tap terms of hearing other drums in them. would have heard more hi -hat in the close to the rim to find out if one is We wound up using RE -20s on the snare mic than you had heard in the hi- higher or lower, try to even them all kicks because Gregg's kicks, instead of hat mic. out and then just put tape where it's needing a lot of "flap" added, needed a MR &M: How did you mic the toms? needed. Basically that's all we used nice round bottom added to them, From underneath? was tape. Sometimes we have to use which was a surprise because they're KK: No, they actually were double - some padding of some sort. But I think pretty big. headed drums. the only place we had to do that was on EW: They are 28 inches each. MR &M: All nine tom -toms had both the snare. KK: But that was the reality of it. So heads on them? KK: I think there's one thing you we wound up with 20s on the kicks and KK: With the exception of the first have to understand. It may sound to 421s around all the toms. The only mic two melodies. All their top -end crack some people like Edgar was going for a

www.americanradiohistory.com very dead drum sound which was real- CBS wanted to hear that song im- tage in terms of leakage. On the other ly not the case at all. It's just that mediately, if not sooner. So I said, hand, I think Edgar will also admit Gregg always likes his drums pitched "Okay so I'll do it." I went in and I that "Tomorrow Land," which is one of up higher. So when Edgar said he played the piano, and I played the the ballads on the record, really bene- taped up all the drums it doesn't mean drums and then I brought in the bass fitted from the fact that we did a basic that he took all the ring out altogether player, Scott Spray and the guitar track with the piano, and we did have a so that they sounded like blocks of player, Al Ferrante, and they put their certain amount of leakage from one in- wood. Actually, they sounded "live." parts on. And we built it, in other strument to the next. It was a nice, big, words, from scratch. Which, in a way, warm sounding basic track because of was better because since each thing what we were getting from the rest of was put on separately, there was better the band in the mics, and a lot of other MR &M: What was the instrumenta- separation in every pan than there things that might be considered disad- tion as you did the basics? What did would have been if everybody was vantages by some people. But it cer- you consider a basic track? playing at the same time. tainly worked to our advantage in that EW: The basic tracks were mainly Also, on that song I did not use particular case. keyboard, which was for the most part Gregg's drum set; I used the studio's MR &M: Well, as long as you've got clavinet because I didn't want to use set which has only three toms. Gregg it under control. the piano. That would have created a used the same snare drum all the time. EW: Yeah, the room sound here is leakage problem. And guitar, bass and We decided that the one that was here good. I like room sound. For that par- drums. So, four people in the studio and I was here in the control room producing. I had to watch over all of that and make sure that the drums were correct and that the bass sound was correct. And the drum sounds vary from song to song. Some of the songs have tighter snare drums, and some of them are tuned down to sound bigger. I tried to use the sound that I thought would fit the particular song. I had pretty much an overall concept of each song and how I thought it should sound when it was finished. So it would have been impossible for me to be out there playing and still make sure that that was occurring as I thought it should be. MR &M: So for those basic tracks you feel you're much better off in the control room than out in the room with the musicians? EW: The only exception was the one track which happens to be the title track from the album, "Standing On Rock." We did that completely differ- ently. I started out playing piano to a (Seated left to right) Monique Winter, Edgar Winter, engineer Rob Bengston; "click track." Gregg the drummer was (standing left to right) engineer and co-owner of The Workshoppe Kevin Kelly, on vacation so I decided to play drums Gregg Carter, Scott Spray, Al Ferrante, Jeff Kracke, co -owner of The on it myself. Workshoppe, and Ronnie Lawson. MR &M: Do you really give your musicians vacations? ... most studios have a set of drums ticular sound, "Standing On Rock," I EW: Yeah, sure. Well ... he asked that the engineer is used to recording felt separation was good because it had for one quite a few months ago and I and knows the sound of, and knows really a distinct kind of piano part that said okay. I didn't realize that it was how to make sound good. That's what had to be heard. And it had clavinet going to run into the recording time. I decided, rather than try to use also. I think that worked out well for Otherwise I would have had him here. I Gregg's customized drum set which is what it was. But I really prefer recor- thought at that particular period I was very difficult to play. Some of the toms ding the way we did all of the other going to be doing overdubs and are at different heights. It's a very uni- basic tracks with the room sound. I wouldn't need him for any basic tracks. que set -up. think in a lot of cases it does help the But when I decided on the title of the KK: One thing that's interesting, drums in particular. album and the title song, the people though, as Edgar said, "Standing On MR &M: On the ballad in particular, that we've got back at Blue Sky and Rock" kind of worked to our advan- the drum sound was much more open

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www.americanradiohistory.com than it was on the uptempo tunes that more to add or something that didn't What I did originally was try to com- I heard. sound quite the way that I expected it municate the ideas that I had to KK: In the uptemp things, a lot of to. It generally changes and I think whomever was engineering, but as I the guitar sounds have to be recorded that it's better to be able to get away started to learn more I realized that very, very loud and a lot of them have from the songs for a while and be able there was no way. Like a lot of the to be overdubbed. The way we did to listen to them. Then you can come times I would hear a snare drum and "Tomorrow Land," was that the rela- back with a more objective point of say, "No, that's not big enough, add tive volume level in the room with all view to finish them. some three or four hundred," and the the instruments made the leakage MR &M: Do you have any facilities at engineer would do that. But it never listenable. Whereas the leakage on all home to do any pre -production work? achieved exactly what I wanted so I the other tracks we had was 90% EW: No. What we did before we just decided I might as well start to do guitar, cranked to ten in the room, and came in was to record the songs before- it myself. I really do have a definite everything else was kind of in its own hand at a rehearsal studio -Star Sound idea of what I want to hear and it's little area. in N.Y.C. -and I used a four -track Teac almost impossible to communicate and we miked everything as much as that to somebody and have them do it. we could similar to what you would do When I hear a sound in my head I can't in the studio. We recorded all of the make that other person hear the same MR &M: I want to get back to the songs so that we were entirely ready as sound. I just feel the easiest thing is to point you made before about having a far as the concepts of those songs that play around with the EQ myself until I concept of a finished whole as you're we came in to record. Then after that find what I want to hear. putting that whole together. There are first batch of rhythm tracks that we MR &M: Do you ever want to have different approaches to working in the did I was still writing songs. So we had full -blown professional facilities of studio. Some people come in and say, to change in the middle of the album your own? "Let's use the studio and experiment" from rehearsing new material to corn- EW: Yes, That's my basic dream and other people have an idea, up front, ing into the studio. Then I would have right now. I really feel that is the most of what they want to do at every parti- to show the whole group the song. In comfortable situation that you can cular stage in the process. Which ap- other words, after we did all the drums, work in when you have your own equip- proach do you favor and which ap- tuning and taping and all of that stuff, ment and you know what it does. To proach did you use in putting this I would show them the song and then me, working here is the next best thing album together? we would record that song. And those to that. Yes, hopefully I would eventu- EW: Well, I actually favor having a were situations where we would get ally like to get my own studio. complete concept, at least what the just one track per day because the KK: I think what makes Edgar really rhythm section should sound like. But group was not at all familiar with the easy to work with, from an engineer's when it comes to doing the overdubs song beforehand. point of view is, like you say, that he and the finishing touches, I like to stop At home I have lots of speakers, my crosses over the line. What makes it and evaluate the basic tracks first. favorites are Allisons, and I've got really workable and easy is that he has When we started, we were recording JBLs- 4511s. And we have some a working vocabulary of all the things like three or four days and then having speakers in the bedroom but I'm not he wants to hear and do in technical a day off. Then the band would work. sure what they are. But I listen to terms. You work with some producers We would play somewhere, locally, for them also. I've got at home what and they say things like "I want to a couple of days and have a day off and works for me because I listen to hear more blue." You get these re- then come back into the studio. So that records and I know how to compensate quests that can't be related to a each time we came back we had to reset between records and cassettes. This is technical resolution very easily. Edgar the drums. But the advantage of that really important because most of the knows when he says he wants more 10 to me was the fact that I could listen to rough mixes I would take home were K and more this and more that. He the rhythm tracks that we had re- on cassettes. That was because my knows what it sounds like. He knows corded. I did rough mixes of those. We four track is not in our apartment. But what he means when he says broaden took them home and then decided what when we start doing the real mixes I'm the band of the EQ, or when he says he would best complement them. But I going to bring the four track home; the wants to hear 30 milliseconds of delay. feel that you at least should have an reproduction is so much more accurate. He knows what 30 milliseconds is go- overall concept when you put down the ing to sound like. Things got smoother basic track -what the drums should and easier to do as time went on. When sound like; what the bass should sound Edgar starts equalizing I just have to like; what the guitar should sound like. MR &M: Edgar, you seem to cross be very conscious of the gain staging In most cases on this album there are over the traditional line from produc- and what that's doing to the tape chain two or three guitars on each cut. I find tion into what we used to call engineer- and to the compression, if there is any, that even when I do have an overall ing, actually working at the board and and that type of thing. concept, that once I hear the rhythm getting sounds with EQ, mic place- And Edgar is taking care of the ar- track, the concept changes. Even ment and so forth. Have you always tistic end in terms of what tone colors though I think I hear the finished worked this way? he wants to use. It's actually a thing in my mind, after I hear what EW: I would say over the past two or pleasure. Some engineers would look at goes down on tape, usually I find either three years I started to work that way. it like somebody encroaching on their

NOVEMBER 1980 49

www.americanradiohistory.com territory, but I think it's just a more MW: Edgar is the director and here struments to make out their notes from exacting way of getting the record is the producer. the other guy's notes. done the way it's supposed to be. EW: Yeah, I produce it and then she EW: You can separate yourself and MR &M: It certainly keeps engineers is my producer. hear what you're really playing as op- on their toes, too, working with some- MR &M: That's a good partnership. posed to what somebody else is play- body who knows what he is doing in MW: Yes, wives are sources, I ing. That's really important because technical areas. It seems that more ar- believe, and husbands have power. The you can hear yourself better, and it tists and producers are interested in husbands are in the front, but without allows you to play your part better. educating themselves. the wife, without the source there is no KK: I think it specifically helps with KK: That's exactly it. The more pro- power. Power always has a source, and stuff in the midrange area that gets ducers know about the music and the someone else is always the source. So I real loud and honky in a pair of head- technical end the less reason there is give all the credit to the wives. phones. No matter how good the set of for an engineer to say, "Well your re- phones is, when there is a little space quest is ridiculous." Years ago I'm involved you can hear the notes better. sure that there were a lot of producers MR &M: How many cuts are com- who wanted to hear things that were MR &M: Kevin mentioned the cue pletely finished [as of August 1980]? kind of impossible to do and people systems in the console. and the fact EW: Four completely done and five who wouldn't take no for an answer that there are more than two available, more that are in various stages of com- often had to be tricked. which you commented on earlier. Do pletion. All of the basic tracks are done. You asked Edgar earlier about using you find it easier to give each musician So what we are going to have to do, I the studio as a tool. One interesting a separate mix? think, because of the time situation .. . note is that yesterday he was doing a EW: Yes, I think it is essential for we're only going to have enough room synthesizer overdub that easily could the musicians to hear exactly what [on the album] for eight. We're going to have been divided into two tracks and they need to hear. record nine, finish nine completely, and the synthesizer retuned to get this par- MR &M: And they have different re- after they're mixed I'll give all the ticular thing that he wanted to play. quirements, each one ... finished mixes to Blue Sky and let But Edgar's feeling was that he EW: If you only have two cue mixes them play those for various people at wouldn't be able to play it "live," and and you have four people out there then CBS and see what their feelings are. he wants to be true to his audience in two people have to be on the same mix. See which ones they like the best. I terms of his performance. To be able to What we generally did was to use the really feel I'm open to their sugges- reproduce the record on stage he decid- two cue mixes for the drums and the tions. That's why I've been doing ed to go for something that was maybe bass in mono, because they really only rough mixes. We've already played less spectacular, so that he knows need to hear bass and drums and to some of the rough mixes that you heard when he goes out and does the gig he'll hear what they're playing. But as far as yesterday for some of those people. be able to reproduce it. I think that is a the guitar and the keyboard, we used And if there is anything in them that real good attitude. On the other hand, the stereo mix so that the guitar player they have to criticize then I will be able when using a studio as a tool for could hear himself in one side and the to change that before the album is com- spatial or ambience things that make piano in the other and vice versa. We pletely finished. Rather than handing it the record particularly big sounding, could then adjust the levels between in and saying, "Here it is." Everybody Edgar really likes to get into that type those two elements. will have some opinion to offer. If I feel of stuff. For example, he had me turn- MR &M: All this cue mixing was that it's constructive then I'll act on it. ing tapes upside down and running available in this console without any If I feel it's wrong, I'll ignore it. things through Harmonizers external gear? MR &M: About the recording of the backwards and then turning them back KK: We have one external stereo tracks. Now you have four tunes nearly over. All through it I'm trying to mix. But the point is that had we finished and all the basic tracks done. figure what he wants, and when it gets wanted four monos they would have On the four songs that are done, how done it sounds incredible. been available on the board. But it just many tracks were taken up with in- Monique Winter: That was five so happens that we have an additional struments as opposed to vocals? o'clock in the morning. 24x2 mixer that we sometimes use for a KK: I'd say in general we filled up MR &M: Long session. These have producer to get his own monitor mix to- about twenty -four tracks by the time been on the order of twelve hours, fif- gether and in Edgar's situation we us- we were done. teen hours... ed it as a fourth cue mixer. EW: Yes, we filled up everything. EW: Yes. At least thirteen hours. What is interesting is that a lot of KK: I would not call this album a Because we come in at two P.M. and people consider stereo headphones heavy vocal background record. There hardly ever leave before three A.M. overkill because the basic function is are a few tunes where multiple vocals Monique, my wife, has been my inspi- that the musicians should hear are used really nicely, but they're cer- ration through the whole album. She themselves and know what they're tainly not on everything without fail. I has been here in the studio and we take playing. But my feeling, and I think think we averaged maybe four vocal the songs home and study all the stuff Edgar's gotten to like it too, is that a tracks or something like that after we together and work on the lyrics. She's little bit of subtle positioning inside of had sub-mixed. really just like an additional member of the headphone makes it much easier for MR &M: Eighteen to twenty in- the group. people playing midrange-oriented instrumental tracks. Now on the vocal

50 MODERN RECORDING & MUSIC

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Worldwide: Gotham Export Corporation, New York. Canada: E.S. Gould Marketing, Montreal dealer for fu I technical nformation. www.americanradiohistory.com tracks, did you find yourself doing a lot MR &M: How do you go about set- mix" is what they usually say. And I of punching in on Edgar's lead vocals? ting up that stereo? say, "No, let's fix it now, so we don't KK: That's one of the things that KK: Each song is different. have to fix it later." goes fairly quickly. Everything is very EW: Yeah, it's different. In fact, it's MR &M: Well, fixing it, if something painstaking with Edgar. But the lead always different. sounds wrong or if the sound is inade- vocals are a pleasure because they tend KK: A lot of times there is some Har- quate, that's one thing. But sometimes to get done real quickly. Edgar bases a monizing involved and the use of a cou- effects are irrevocable. You put an ef- lot of his criticism about vocals on ple of digital returns. And very often fect on a track and that's it. energy level, as opposed to this and when we sub -mix all the backgrounds EW: That's right. Once you put it that little pitch difference. Very often they get sub -mixed to a stereo pair. So down, it's there. So you have to make there are no pitch problems when there's delay effects that differ from sure you're putting down what you Edgar sings. As far as backgrounds go, one side to the other that create the want to hear. that's more critical: "let's punch in at spatial effect Edgar is looking for. MR &M: That requires a lot of con- that line "; "we'll keep the first two MR &M: You do that on the multi- fidence and a lot of preparation. And words and do the second word and out track. Then you don't save that stuff that requires having listened to the on the fourth word "; etc., etc. The lead for the mix? music. I don't know of a whole lot of people that are willing to work like Basic track set -up. that, that like to work like that. Drums: Two bass drums EW: I don't think that there really One snare are very many. Nine tom -toms Six cymbals MR &M: Except in the classical field, One hi -hat where they get everything sounding right first. Putting it down on four tracks not twenty -four, they must get everything sounding right first and then they just leave the recording pretty much to itself.

Platform edge ..- EW: Well, that's the way recording used to be. You had one time to do it, and everybody had to do it right. There wasn't any second chance before you Guitar Amp: Marshall 100 had all these tracks to work with. It Clavinet amp: or Ampeg was a question of everybody play- Pre -CBS B12XT just Fender Vibralux ing good. Getting it down.

ubsequent to this interview, pro- Bass amp: Kevin Kelly discussed the Yamaha C -7 Ampeg V4B with gress of the final mixes, which at Grand Plano 2 Altec 421's In that point were about halfway through. B -18 cabinets Edgar Winter did all of the console work, with Kevin and Rob Bengston lending extra hands when necessary. Extra hands were not needed all that often, according to Kevin, because of the way the multi -track tape was put together, as described towards the end of the interview. Stereo pairs of saxophone Control room window tracks, background vocal tracks and vocals are a lot of rock 'n' roll energy, KK: Not all of it. Some of it is done other elements were pre-mixed. and if they sound right, then they on the multi- track. Kevin rented an Echoplate II and sound right. EW: I like to try to make it sound Eventide 949 Harmonizer for the mix- MR &M: Who is comprising the like what I think it should sound like. I ing sessions, but only the Echoplate background group? prefer to save having to do that in the saw any action. All of the special effects EW: The backgrounds are myself mixing process. had been recorded on the multi- track. and Ronnie Lawson. Usually I sing two MR &M: You'd rather that the mix Standing On Rock will be released parts and he sings one. And those are be straightforward. sometime in the fall or early winter. generally doubled so it's like six. Two EW: I'd rather it sound like I think it This is Edgar's first "solo" performing/ of myself on top, two of him in the mid- should in the beginning. So we do put producing effort, and the results in- dle and two of myself on the bottom. effects on as we're recording. Which a dicate that this method of operation And then those get bounced down to lot of engineers don't agree with. suits Edgar's requirements, musically two stereo tracks. "That's real flat and we'll fix it in the and technically.

52 MODERN RECORDING & MUSIC www.americanradiohistory.com How serious are you about a synthesizer? Even if you don't have an unlimited budget, you still want virtually unlimited expression from your synthesizer. Yamaha knows this. We also know what kinds of features and functions give you this expression. t. The musicians who evaluated our prototypes told us. And we listened. The result is a new line of affordable synthesizers from Yamaha built especially for live performances. They are capable of many of the sounds of our larger, costlier models, and have all of the quality and reliability. w < CS -40M. Duophonic, programmable and highly portable describes . this top model in the new line. It has four VCO's, two VCF's and two r VCA's plus a Ring Modulator, an Attack /Decay EG for the LFO and Ring Modulator, and a unison mode which converts the unit to mono operation by doubling up the VCO's for richer sound. The keyboard has 44 keys. The CS -40M can store and recall, at the push of a button, up to 20 sounds that you've created, even after the power is shut off. Interface with a tape recorder requires just two patch cords. CS -20M. Up to 8 voices can be stored and recalled in this model. The CS -20M has two VCO's, an LFO, a noise generator, a mixer (for the VCO's and the noise), a 3 -way VCF and a VCA. It is a monophonic instrument with a 37 -note keyboard. Both models have keyboard trigger in /out jacks and control voltage in /out jacks for convenient use with a sequencer. Rear panel jacks are provided for ON -OFF foot switching of Sustain and Portamento/ Glissando effects, and for foot -pedal control of the filter and volume. CS -15. This compact, very affordable synthesizer has DIGITAL two VCO's, two VCF's, two VCA's, two EG's and one LFO. MODEL KEYS VCO VCF EG NOTES MEMORIES CS 1 1 1 One -touch knobs and switches free you from complicated -5 37 1 NSA CS -15 37 2 2 2 1 N A patch work. Sawtooth wave, square wave, white noise, and CS -20M 37 2 1 2 I 8 triangle wave give unique tonal characteristics. CS -40M 44 4 2 2 2 20

CS -5. This is our most compact monophonic synthesizer. It has 37 keys, but with the 6- setting Feet selector switch, the instrument's range is extended to a full 8 octaves. A Sample and Hold circuit allows you to automatically play a continuous random pattern. There are many other features that make this model's very affordable price even more attractive. For more information on the full line, write: Yamaha, Box 6600, Buena Park, CA 90622. (In Canada, write: 135 Milner Ave., Scarb., Ont. M1S 3R1.) Or better yet, visit your Yamaha dealer for a demonstration of the synthesizers that take both your creative desires and your budget considerations seriously. Because you're serious. *YAMAHA

CIRCLE 99 ON READER SERVICE CARD

www.americanradiohistory.com PROFILE: 'kJ\ 1

Dan Dugmore Rick Marotta Waddy Wachtel Stanley Sheldon

by Marty Basch

Both Waddy Wachtel and Rick Marotta have been estab- Wachtel is also a noted producer, having lent his talents to lished musicians for some time doing session work with artists Warren Zevon's Excitable Boy album. Modern Recording & Linda Ronstadt, James Taylor and Jackson Browne. They've Music spoke with Wachtel and Marotta to find out about formed Ronin, their own band with Dan Dugmore and Stanley their past session work and the recording of their "live" Sheldon, and have a debut album on the Mercury label studio record.

Modern Recording & Music: Waddy, about it until he bought me one. He started me and that's why I had those what first got you interested in playing bought me a little Kumica guitar. It drums. They were a blue Gretsch set. the guitar? was the most beautiful thing I ever saw. Junk. They had calfskin heads on them Waddy Wachtel: When I was real MR &M: Rick, why did you choose that must have been ten or fifteen young I just happened to see one on the drums? years old. The guy never changed the television. That's what started it. I'm Rick Marotta: I didn't start playing heads in his life and you couldn't have talking real young. That's when I was 'til I had gone to college for about a broken them unless you had run a 5 years old. I started playing when year. A friend of mine went away to the truck into the drumset. I was 9. army and he left me his drums to hold MR &M: Did you have anything to do From age 6 to 9 I badgered my father on to until he got out. That's what with music before that?

54 MODERN RECORDING & MUSIC

www.americanradiohistory.com RM: No. My father was a dancer, my way it sounds in the studio." So Rick AM: We wanted to get the Marines. mother was a dancer. [As he starts to went out there and played straight WW: Yeah, when Peter said a choir, do a Johnny Cash imitation] and "my time and we A /B'd what was on the we said let's get the Marine Choir; but boy's gonna be a dancer too," God digital tape to the "live" Rick playing we didn't think that they were about to damn it. in the studio at the same time. There come and play for a bunch of little MR &M: What were your first ex- was no difference. guys. So Peter suggested U.C.L.A. periences like in the recording studio? RM: It really ended up with, "If you MR &M: How big was the chorus? RM: Mine were pretty weird because could do that with the drums, it might WW: Eleven. I had just started playing. David be worthwhile." MR &M: So it was no problem fitting Spinozza, whom I was playing with at MR &M: What kind of drums do you them all in the studio. the time, had actually got me started use now? WW: No. It was a pretty big session, playing. David brought me to these RM: I just got a new set of Yamaha's a funny night. It was an overdub. They sessions where I think Clyde Otis was from Japan. Took them out of the box weren't there when we cut the basics. the producer. They were R &B sessions. today. The bass drum head is missing. RM: That's one of the only overdubs. The first sessions I did were on the I can't find it. I've got two different MR &M: The album took seventeen radio. I remember going home and snare drums and two bass drums. I'm days to record. Why did you prefer to listening to WLIB about 3 weeks later using Yamaha drums. do it "live" versus laying down in- and the song was on the radio. So I The drums I've been using all these dividual tracks? right away got this feeling like, I've years. until now, have been two Pearl WW: 'Cause it's better to sound like got to go and do this again. What a concert toms, an 8" and a 10 ". You can a band if you're a band. We wanted it feeling jogging down the street and only get them with one head. to sound just like we do on stage. hearing yourself play the drums on the MR &M: What kind of heads are they? MR &M: Rick, what kind of mics do radio. So that was it. It was all R&B RM: Well, I put Remo Ambassadors you use for the drums? stuff the first year or two. Black on top, but I drilled holes in the side RM: Now this is where you've got rhythm and blues records. and put Castors in the bottom heads so me. I have an [Sony] ECM -50 inside my MR &M: Waddy, how did you go I have top and bottom heads on the snare which we mix with the mic on the from your first guitar at age 9 to Linda small drums. Now Yamaha does that, outside of the drum. It seems to be Ronstadt's Simple Dreams? and I did that with all my small working very well. The one on the out- WW: Briefly, from age 9 to 20, I liv- drums- put all the heads on the bot- side, which I like the most is a Shure ed in New York. Then I moved to Los tom. I put Diplomats on the bottoms of 57, I think. Angeles and started trying to get into the 8" and the 10 ". Then I have a 13" MR &M: What about the studio? studio work. I was with these country and a 16" floor tom. So I only use the RM: Every studio is different. For kind of things and "folk people." four and a 22" bass drum with Am- our record we changed sometimes for Things just started leading around un- bassadors. Once in a while I'll put on a different songs. That, Val [Garay, the til I met Lou Adler who liked my play- hydraulic head. engineer] would know. I paid very little ing. Adler played with Carol King and attention to that. turned me on to meeting Linda and WW: We used a couple of Neumann Peter Asher. 67s up in the sky for overheads on his MR &M: Peter Asher. Why did you MR &M: Rick, you do some of the kit. I don't know what we were using choose him as your producer for background vocals. How do you place on the kick. Ronin's album? the vocal mics so the sound from the MR &M: What guitars do you now WW: He is the best producer I've drums doesn't leak into the vocals? own, Waddy? ever worked for. RM: On stage, I've never given that WW: I own a J -200 Gibson acoustic MR &M: What makes him the best? a second thought. I haven't done that which travels in my room with me. I WW: He facilitates a [form of] com- much background singing- except in use a '58 Les Paul, a '55 Telecaster, a munication that is very necessary to this band. The more it [the drum '56 Stratocaster and I also use a '63 make a record happen: conversation. sound] leaks into that [vocal] mic, as Strat, but Dugmore [Dan Dugmore, Peter makes a session happen or takes far as I'm concerned, the better it who plays guitar and pedal steel for it away. He's real fine at com- would be. Ronin] uses it. municating with the musicians, with WW: We like that leakage. You see, MR &M: Tell me about the pick -ups

the engineers and with the artists. we cut our album "live" and .. . and amps. MR &M: Did you use any special RM: I leaked into Waddy's vocal mic WW: Straight stock. All my in- techniques for his album? so much that we had to figure out a struments are completely stock. I WW: We recorded it digitally; way in which his voice could be heard don't f - -- with them. They're all just the 32 -track 3M digital. over the drums. way they came. MR &M: Why digital over analog? WW: At one point on one song, we MR &M: Could we talk about your WW: Because we A /B'd them by had to Keypex the leakage out because sound system? playing a number of bars on both and it was too much. That was on WW: We're at the mercy of clubs. then comparing. In comparison, the "America, The Beautiful." RM: At this point we don't have our digital was amazingly brighter. MR &M: Whose idea was it to use the own sound system, so we have to go However, I said I liked the warmth of U.C.L.A. Men's Chorus on it? with what they give us every night. If the analog. Peter said, "Yeah, but I WW: It was Peter's idea to get a we did our own tour the way Linda think the digital sounds exactly the choir on that album. Ronstadt and James Taylor do, we

NOVEMBER 1980 55

www.americanradiohistory.com got to be kidding me. You don't even SELECTED DISCOGRAPHY - Rick Marotta know me." He says "Yes I do, and I Walking Man, James Taylor (1974) Warner Bros. W 2794 want you to help me." That was how I Royal Scam, Steely Dan (1976) MCA AB 931 became a producer. Little Criminals, Randy Newman (1978) Warner Bros. BSK 3079 It took a little while for the three of Simple Dreams, Linda Ronstadt (1978) Asylum 6E 104 us to settle into each other, but it was Aja, Steely Dan (1978) MCA AA 1006 great. Jackson could stay in the booth Excitable Boy, Warren Zevon (1978) Asylum 6E 118 and I would be out there with the Restless Nights, Karla Bonoff (1979) Columbia JC 35799 Bad Luck Streak at Dancing School, band making sure the tracks sounded Warren Zevon (1979) Asylum 5E 509 the way I wanted them to. Jackson Hold Out, Jackson Browne (1980) Asylum 5E 511 could hear them in the booth. My function in the Zevon sessions was to fill the space and perpetuate the would know. there is a certain thing that the effect communication. Communication, MR &M: Is that a hassle for you? is more in here [Rick points to his left that's the ticket. Me and Jackson, it RM: It would be except for the fact wrist] that makes the sound unique. was up to us. that our sound man Graham Holmes MR &M: Going back to what you has proved to be amazingly good. said before about Asher and com- WW: He rewires systems. 'KK munication, why do you think he is MR &M: It's basically his show with MR &M: Waddy, you co- produced able to communicate so well? What is the sound? Warren Zevon's Excitable Boy album. it that's there? RM: Yup. He really makes me worry Was he an easy guy to work with? WW: Just experience, just a relaxed very little. WW: It was an interesting project. nature and knowledge. Knowing. WW: He's got everything covered. It was tough and took about a year. You've got to know what you want. I MR &M: Both of you have been in the MR&M: How did you land that job? know what I want to play, Rick knows studios for most of your careers, a WW: I got into that job because one what he wants to play and Peter knows technical environment. How does the time when I was in Europe, someone what he wants to hear. studio compare to "live" performances? was interviewing me about Warren's I remember one morning we sat WW: We really like to play on first album, and I went ahead and said around eating for like three hours - stages. I mean ... we like them both. I thought Jackson Browne had his eating. Just eating and going crazy. RM: I think it's more stimulating to hands a little too full and didn't really Nobody could stop eating. Then we play on stage. You're feeding off the know what he was doing. When I went out and did "Here Comes the people visually. When they like it, you returned home, I get this phone call Runner" in one take. put out more. In the studio it's very . . . from Jackson. He said, "So, I didn't MR &M: You really did that in only WW: Clinical. know what I was doing, huh ?" I said, one take? RM: Yes. And it's a call to perform. "What ?" He said, "I had my hands too WW: Oh yeah. Most of the songs are It's like doing a porn film. O.K., per- full." I said, "Well yeah." He says, one take. But it went like this: Three form. But, on stage if you're having a "Do you want to produce the next one hours of eating, we went in, did one real hard night, you just really can't with me ?" I said, "Hey man, you've take, and Peter said, "Thank you. get it up, can't get it going. We've had a couple of those. MR &M: Do either of you feel you SELECTED DISCOGRAPHY - Waddy Wachtel have any individualized techniques Buckingham Nicks, that stick out? Buckingham Nicks (1973) Polydor PD 5058 WW: I make a helluva cheeseburger. Hasten Down the Wind, (1976) Asylum 7E 1072 Like I said, I run a chord into an amp Linda Ronstadt Black Rose, J. D. Souther (1976) Asylum 7E 1059 and play stock. I don't use effects. A Night on the Town, Rod Stewart (1976) Warner Bros. BSK 3116 RM: I think my drums sound a little Warren Zevon, Warren Zevon (1976) Asylum 7E 1060 different than most. Considering the Karla Bonoff, Karla Bonoff (1977) Columbia JC 34672 smallness of my drums, they sould real Rumours, Fleetwood Mac (1977) Warner Bros. BSK 3010 big. That's because of the head com- Little Criminals, Randy Newman (1977) Reprise BSK 3079 bination I told you about, and tuning Simple Dreams, Linda Ronstadt (1977) Asylum 6E 104 them real loose. The Bride Stripped Bare, Bryan Ferry (1978) Atlantic SD 19205 WW: And I crank the hell out of the Living in the USA, Linda Ronstadt (1978) Asylum 6E 155 volume so it sounds real loud. Excitable Boy, Warren Zevon (1978) Asylum 6E 118 Restless Nights, Karla Bonoff (1979) Columbia JC 35799 RM: I think the sounds are real uni- Again, Randy Newman (1979) Reprise HS 3346 que, but a lot of it is touch. Guitarist Born The Glow, Bonnie Raitt (1979) Warner Bros. HS 3369 Hugh McCracken has a certain touch When You're Only Lonely, a that you can't duplicate. Waddy has J. D. Souther (1979) Columbia JC 36093 certain touch. They could switch Flag, James Taylor (1979) Columbia FC 36058 guitars; Waddy's guitar would sound Bad Luck Streak at Dancing School like Hughie's; Hughie's guitar would Warren Zevon (1979) Asylum 5E 509 sound like Waddy's. When they play,

56 MODERN RECORDING & MUSIC

www.americanradiohistory.com CHORUS Chorus / kör -as / n Something sung or uttered simultaneously by a number of persons or instruments.

OUT /'- 1---...._ OUT ! IN

WIDTH SPEEL. SPEEü CHORUS nap - POWER -

SPEED EFFECT

DOD has redefined the chorus quietly. There are two switch - for musicians. The 21 milli- able speed controls that can second delay gives effective speed up and slow down like a doubling and the internal os- rotating speaker. However, the cillators bend the pitch just most dramatic feature is the enough to provide realistic synthesized stereo outputs. Go multiple voices. We have in- to your DOD dealer, plug in cluded a compandor for whis- two amplifiers, a guitar and per quiet operation even at line listen to the fullest stereo levels, and the effect foot guitar sound you've ever heard. switch is active so it switches

L Electronics 242 Salt Cityorp,Utah 841W.15295T , elephoS (801) 485 -8534 CIRCLE 106 ON READER SERVICE CARD

www.americanradiohistory.com Lunch break." MR &M: How's it feel to be produced instead of producing? UNCOMPROMISED. WW: It feels great. We were thinking of producing the album ourselves, Three new products from Browning and Rice one day we were at a meeting and Peter said, "If you need a producer, I'm MATCHBOX: an audio interface circuit featuring high impedance input, available." We thought about it. balanced and unbalanced low im- It took a lot of weight off of us to be pedance outputs, and high slew rate, able to just go in as artists, instead of wide bandwidth direct- coupled trans- going in, telling the engineer it has to formerless performance. A superior sound right, getting all that stuff replacement for the traditional direct box. straight and then going out and pre- DUAL COMPRESSOR two high quality tending you're relaxed enough to play. t, compressor /limiters with stereo link, «. variable response times, and selec- a . O I* IS äx table compression ratios. Ideal for sound reinforcement and recording errata= EF applications. MR &M: How did the group Ronin EXPRESSOR: a unique microcomputer get together? based digital signal processing instru- RM: Well, I worked with Stanley ment utilizing programmed modulation Sheldon [bass] on the Frampton tour related to achieve various amplitude several years ago. It was a good feeling effects. The expanding software library playing with Stanley, and subsequent- For more information, includes automatic level control, expansion /compression, envelope, and ly we worked with Ronstadt. Waddy call or write: waveshaping functions. and Dugmore talked a lot about putting a band together. Waddy and I had first talked about it, but Dan was .. . 3934 Trade Center Drive WW: The most obvious choice for Ann Arbor, Michigan 48104 guitar player. BROWNING rtAND RICE 313 -971 -0110 RM: Yeah, so I suggested we try Dealer inquiries invited Stanley Sheldon. CIRCLE 156 ON READER SERVICE CARD WW: We flew to Switzerland to do a three week tour with Warren Zevon, WHEN YOU'RE READY and we had no bass player. Rick said, "I know this guy." TO LISTEN TO YOURSELF .. . RM: We called him and then he flew in the next morning and we were off. It really was a helluva tour. That's how we got together. MR &M: Do you think with this tour [June 1980] you'll be able to break away from the stereotype of studio musicians that's been applied to you? WW: This will give the people the chance to decide whether they want to SM-150 SM-120 stereotype us as studio musicians or whether they'll accept a new band. So this is a chance for us to be an entity YOU'RE READY that performs and entertains. MR &M: Could you predict what is in FOR EAW STAGE MONITORS. the future for Ronin? WW: Lots of stages and lots of per- Hearing yourself is what stage monitors are all about. The forming. We're gonna keep going, keep EAW SM- Series are designed and built to be the finest available. writing songs, recording them and Quality drivers combined with our advanced third order cross- playing for people. And make lots of over networks offer smoother mid -band response allowing you money, somehow. to put the rhythm section through the monitors in addition to RM: Yeah. We're gonna stick with the vocals. this. We'll do studio work again if we ever want to do somebody's record nearest Call or write us for the name of your that we like. I do jingles in New York how to dealer. He can show you how to listen to yourself. and I like that and don't want to kiss that stuff goodbye. We just want to tmil Eastern Acoustic Works , Inc. tour this band and sell a lot of records, 59 Fountain Street. Box 111, Framingham. Massachusetts 01701/(617) 6201476 become millionaires and take it easy. See Us At The AES Show - Demo Room 627 - CIRCLE 42 ON READER SERVICE CARD 58 MODERN RECORDING & MUSIC

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C RCLE 48 ON READER SERVICE CARD www.americanradiohistory.com Boss DR -55 "Dr. Rhythm" Programmable Rhythm Device By Craig Anderton

Rhythm units have made great strides in the past few block is the "programming" section, which allows you to years. Go into a music store, and you'll see that the "Fox- program various drum patterns into the unit's memory. trot" and "Bossa Nova" presets are slowly being replaced The audio section is easy to discuss, so let's give it an by "Funk," "Reggae," "Disco" and other patterns that are overview. There are four drum sounds: snare drum, bass more in touch with current musical trends. Some units now drum, high -hat and rim shot (although clave would be a have programmed accents, variation switches and similar much more accurate description). There are no individual features to add some variety to the normally monotonous mix controls for these drums, but there is a master volume rhythm unit sound; musicians are even adding processing control to control the overall output level and a tone control to these boxes to further extend the sonic boundaries. Still, to vary the high frequency content. The tone control allows there is something restrictive about using someone else's you to change the snare and high-hat sounds from sizzling canned rhythm program ... wouldn't it be nice if you could to muted, and is more effective than, say, the tone control program your own patterns, and maybe even play the unit on a guitar. A single output jack connects the audio output like an actual instrument instead of just pressing a button to your amplification system. and letting the pattern drone on in the background? Before we discuss the controls associated with the pro- Apparently someone at Roland's Boss division felt that gramming section, we need to take a quick course on exact- way, and the result is a tiny (20.5 x 11 x 3.5 cm or 8 x 4.5 x ly what programmable drums are all about. 1.5 inches), attractive and functional black and orange box that goes by the name of "Dr. Rhythm." Don't let the Doc- The Concept of Programmability tor's small size fool you; this is a versatile and creatively All drum units have some kind of master clock that sets designed drum unit whose sonic possibilities should hold the tempo for a given rhythm pattern. In conventional your interest for quite some time. If you think that all com- drum boxes, this master clock generates a constant stream mercially available drum units are the same, read on. of pulses. A decoder section then selects certain pulses to drive certain drums. For example, if each pulse corresponds to a quarter note, then four pulses would make up a measure; the decoder might take the first pulse of each WHAT IS IT? Dr. Rhythm is a battery -powered unit measure and send it to the bass drum, ignore the second that consists of two basic functional blocks: one block is the pulse, and send the third and fourth pulses to the snare "audio" section, which contains the drum sounds; the other drum to create a "rock" beat. Another option would be to

6O MODERN RECORDING & MUSIC www.americanradiohistory.com feed the first and second pulses to the bass drum, the third Doctor exactly where you want the accents to occur in a pulse to the snare drum, and ignore the fourth pulse to give given rhythm pattern. an alternative rock pattern. Most rhythm units will have There are some more advanced playback techniques you approximately four to thirty -two patterns to choose from. can use to spiff up the drum sound even more, which we'll While this provides a certain amount of variety, it's usually get into later. In the meantime, while playing some of the not enough to prevent terminal boredom after a few hours pre -programmed rhythms will give you an idea of what Dr. -and sometimes even minutes -of play. A programmable drum, on the other hand, uses semiconductor memory ICs that allow you to program your own custom rhythm patterns, and modify them at will. Luckily for musicians, this programming process is very similar to multi -track recording, so don't feel you have to be a computer whiz in order to have fun with a device like the Dr. Rhythm. You do, however, have to put more effort into learn- ing how to use a programmable device, since it is essentially "stupid" and as a result you have to tell it exactly what you want it to do. How well you tell it what to do will determine, to a large extent, the effectiveness of the final sound. For example, it took me over an hour to program all the patterns for a particular song I was working on -but it was a highly educational hour that produced a pretty complex drum track. So, while using Dr. Rhythm takes some effort, you do get rewarded for that effort. I'd love to carry on about what makes programmable drums tick from an electronic standpoint, since the prin- Rhythm can do, the real fun is in programming your own ciples are really quite intriguing. However, we do have a patterns. So let's first examine the programming controls, test report to get to here, so let's leave the technology for and then how to actually enter your own programs. another time. PROGRAMMING CONTROLS. The rhythm select PRE -FLIGHT for the DOCTOR. Patch the output jack switch mentioned earlier selects which pattern we're going to an amplifier, turn the Volume control clockwise so that to program. Six of these are 16 step rhythms for making 4/4 the power switch clicks on, and then set this knob at about patterns, while two of the selects are 12 step rhythms that the halfway point. Make sure that the Mode switch is on work with 3/4 material. Play, then set the Rhythm Select switch in the upper right - To the left of this knob is a variation switch, which adds a hand corner to one of the six 4/4 patterns or one of the two tremendous amount of power to the unit. It has three posi- 3/4 patterns. Note that this switch has a large knob that tions, labelled "A," "B" and "AB." Let's say that you've makes it very easy to switch between the various program- selected pattern 1 with the rhythm select knob. Variation A med patterns. Press the orange Start button; since the will give you one 16 -step pattern, while variation B will give DR -55 is pre -programmed with several rhythm patterns at you a different 16 -step pattern. You can program both of the factory, you'll start to hear drum sounds coming out of these to give completely different rhythms, if desired; or, your amplifier. you can just add a few variations so that by manually This is a good time to get acquainted with the non -pro- switching back and forth between A and B you can keep gramming- oriented controls. As you vary the volume con- changing the overall pattern. In the AB position, Dr. trol, the drums get louder and softer. Vary the tone, and Rhythm first steps through the 16 steps programmed into you'll change the character of the snare and high -hat variation A, and then the 16 steps programmed into varia- sounds. The tempo control sets the overall speed. The high - tion B for a total of a 32 -step pattern. It's also important to hat comes into play through a 3- position switch; the emphasize that you can switch over from one variation to positions are "Off," "8" (which gives one high -hat strike another any time during a measure; there will be no lost per quarter note) and "12, 16" (which gives two strikes per beats or timing problems. quarter note). The high -hat sound is not a programmable So far, with two controls we can choose one of eight dif- function, but one which you "play" by fooling around with ferent master patterns to program, plus two different varia- the switch. For example, you might want to bring this tions for each pattern. However, we now need some means sound in for a few minutes, and then switch it out again. to tell the Doctor whether we want to program new sounds Dr. Rhythm also has an accent control. Turning this up or play back previously programmed material, and that's adds an accept by increasing the level on certain selected where the mode switch comes in. In the play position, the beats. At the full counterclockwise position, there is no add- DR -55 plays back whatever pattern you've programmed in. ed accent. At mid- position, the accent is noticeable but still In the write position, you can program in new patterns. relatively subtle. Cranked up all the way, the accent is very There are three other controls involved in programming. obvious and makes certain beats "jump out" at you. This The Sound switch selects which sound you're about to pro- accent feature is programmable so that you can tell the gram, and gives you a choice between bass drum, snare

NOVEMBER 1980 61 www.americanradiohistory.com drum, "rim shot" and accent. Finally, during programming stop three more times, hit start again to put a bass drum the Start control and Stop control assume different func- beat at the beginning of the fourth measure, and then hit tions. How these three controls work will become clear as stop three more times. At this point, the LED will come on we discuss how to program the unit. to tell you you're back at the beginning of the pattern again and have programmed all sixteen steps. I should point out that the sixteen steps do not necessarily have to make up four measures. If you wanted to, you PROGRAMMING the DOCTOR. First, set the rhythm could treat each step as an eighth note and end up with two select to one of the eight patterns to be programmed, say measures of eighth notes instead of four measures of pattern 1. Then, set the variation switch so that you're pro- quarter notes. Or, you could go for one measure of sixteenth gramming either the sixteen steps of variation A or the six- notes if you like drum rolls. teen steps of variation B. If you want to program thirty - OK, the bass drum part has now been programmed for two steps, set the variation switch to AB. variation A of pattern 1. At this point, you can either With the mode switch in the play position, hit the start switch over to variation B and program some more bass button. You'll hear whatever was previously programmed drum, or stick with variation A and program some different for this pattern. Now, punch the stop button; the drums sounds ... let's do that [the latter]. will become silent. Change the mode switch over to write. By switching the sound switch over to SD (for snare Note that this illuminates a little red LED next to the tem- drum), you are now ready to program the snare drum infor- po control, which is the Doctor's way of saying, "I'm at the mation in the same way. Suppose you wanted to add the first step of the pattern and await your programming following snare part over the bass drum pattern: data." As soon as you program the first step, the LED shuts off and doesn't come on again you've pro- until SD SD SD SD SD SD SD SD grammed all sixteen steps.

Next, select the drum sound you want to program with I I I I I I I I I I I I I I I the sound switch. Think of this as being very much like a track select switch on a 4- channel tape recorder, since you program each sound in a multi -track fashion. I generally 16 Steps start by programming the bass drum, then the snare, then the rim shot and finally add the accents. So begin by put- Press stop twice, then hit start once to deposit the snare ting the sound switch in the BD (bass drum) position. trigger, and hit stop again; you've programmed the first Let's program variation A, which is a 16 -step pattern. measure. Continue onward until all sixteen steps are pro- Suppose you think of these sixteen steps as being quarter grammed. As in the case of the bass drum, after you've pro- notes; this gives you a total of four measures of quarter grammed all sixteen steps the LED will illuminate to tell notes. Then you can program the bass drum to trigger on you that the Doctor is ready for the next barrage of pro- any one of these notes, but we'll assume for now that you gramming information. only want the bass drum to trigger on the first note of Move the sound switch over to RS (rim shot), and pro- each measure. gram the various clave sounds in a similar manner, then As mentioned earlier, in the program mode the start and switch over to AC (accent) and program where you want the stop switches change their identity. Pushing the start but- various accents to occur. ton programs a drum beat into a step and advances you to Finally! The programming is complete for variation A of the next step, while pushing the stop button advances you pattern 1. See what I mean about multi -tracking? Build up to the next step without programming any sound. Getting the pattern a drum at a time -just like playing with tape. back to our example, here's where we want the bass drum to occur in the pattern:

BD BD BD BD After all that work, it's time to collect your reward before doing any additional programming. Set the mode switch to

I I I I I 1 I I I 1 play, you I I I I 1 push start and whatever programmed into the drum will come back at you. What happens if you find out that you made a program- 16 Steps = 4 Measures ming mistake with, say, the snare drum? No problem. Push stop, go back into the write mode, re -enter the correct snare To enter this, we hit the start button, depositing a bass drum data, return to the play mode, and press start. Do this drum beat in the first beat (or step) of the first measure. We as many times as it takes to get it right. Note, however, then hit the stop button three times to get us to the begin- that you must re- program the entire snare drum "track "; ning of the next measure, whereupon we hit the start but- you cannot simply erase one wrong sound and then add the ton again to deposit another bass drum trigger. Hit the right one where required. stop three times to get to the next measure, hit start, hit As the rhythm plays back, it's always fun to fool around

62 MODERN RECORDING & MUSIC www.americanradiohistory.com "GOOD SOUNDS" from DeltaLab Strawberry South Speaks Out!

Eric Stewart STAIP of 10 c.c.

2TTJ 3 3 OT Strawberry Recording Studios South, 61 South Street, Dorking, Surrey. Tel: STD (0306) 87852/3

J. Camacho, Esq., Deltalab Inc., 27 Industrial Avenue, Chelmsford, Mass. 01824. U.S.A. 24th March 1980

Dear Jim,

Congratulations; youOve certainly come up with a winner with your Acousticomputer. It is one of the few genuinely new audio signal processors to appear for a long time, as it affords the engineer a precise yet very versatile control on ambience through the entire range from a single repeat to a very smooth and full sounding reverberation; and after six weeks we're still finding new sounds and effects from the unit.

Its nice to find people who share our feelings for quality and innovative approach.

Eric Ste and Tony Spath

Tony Spath Head Engineer & Studio Manager

Strawberry Recording Studios South is owned and operated by 10 c.c.

DeltaLab DeltaLab Research, Inc.

27 Industrial Ave.. Chelmsford. MA 01824 (617) 256 -9034 - Telex # 951205

CIRCLE 114 ON READER SERVICE CARD

www.americanradiohistory.com with the high -hat switch, tone control, volume and accent Now for some additional compliments. Although battery control to add additional variations to the basic sound. powered from four "AA" (penlight) cells, the current drain is only 5.5 mA and the batteries last a long time. An added APPLICATIONS. One very attractive feature of the advantage of using batteries is that even when the unit is DR -55 is that you can switch between patterns or varia- turned off, the memories still retain their programmed tions at any time. Thus, you can program a number of fills data. The amount of current drained by the memories in the and alternate patterns and switch between them standby mode is so small (a few microwatts) that this does throughout a song. For example, with one piece I program- not affect the battery life significantly. What's more, the med separate patterns for the first verse, second verse, programmed patterns will be retained in memory even chorus and instrumental section, as well as a number of fills when you change the batteries! The only stipulation is that (one pattern just triggered the snare drum continuously, the unit cannot be without batteries for more than about and I would switch to that whenever a snare roll was re- three minutes, but believe me, it doesn't take anywhere quired). Between these program switching options, the near that long to make the changeover. ability to bring the high -hat in and out, and the various There are two additional output jacks that deserve men- games that you can play with the volume, tone and accent tion. One of these allows for synchronization with certain controls, Dr. Rhythm becomes very playable and much other Roland products (such as sequencers and the like) by more musically useful than non -programmable drum units. putting out a pulse for each step in the rhythm pattern. The The result is a far more interesting drum sound than you other one provides a 4 V, 10 ms output pulse for driving ex- could ever get with a conventional "set- and -forget" type ternal drum units or triggering synthesizer envelope drum box. Dr. Rhythm is also ideal for multi -track oriented generators. The only catch here is that plugging into this musicians who play all the instruments in a composition jack disables the accent effect, since we're using the pro- themselves, since you can now back up your guitars, grammed accent information to provide this trigger. keyboards, voices, or whatever with some interesting -and However, it is often worth giving up the accent feature in non -repetitive -drum parts, even if you're a lousy drummer order to program an additional drum voice when needed. with a terrible sense of time. Oh yes, there's still one more jack (they really do pack a For practicing to a beat, the extra work required to pro- lot into this thing). Plug a footswitch in here, and you can gram Dr. Rhythm makes it a little harder to work with than control the stop /start function remotely. a conventional box. However, if you want to you can always program the Doctor with a number of standard patterns OVERALL EVALUATION. As mentioned in the begin- specifically for practicing. ning, Dr. Rhythm requires some effort to learn and use; but Dr. Rhythm is a versatile enough box so that I could easi- this is effort well spent, since you'll end up with some really ly see some of the more electronically oriented groups (Gary interesting, useful and above all playable rhythm patterns. Numan, Ultravox, John Foxx, et al) having a drummer who The drum sounds aren't mind- boggling, but the bass drum only plays a Dr. Rhythm -like device and perhaps a drum/ is solid and convincing, the snare drum does its job, and the cymbal synthesizer or two for adding manual accents. The high -hat does, in fact, sound like a high -hat but with a little fact that the DR -55 is truly playable, that you can endlessly extra sizzle. I still think that the rim shot sound is a loser; a adjust the controls and construct drum parts is what tom sound would be a much better option. Maybe in the makes this box so useful. next generation .. . Once you get the hang of it, the DR -55 is not difficult to COMPLIMENTS and COMPLAINTS. While the above program. I would, however, recommend working up some gives you an idea of how Doctor Rhythm works, there are sort of notation system for programs so that you have a still many other important points that need to be covered. permanent record of your favorite drum patterns. Any One of these points is a complaint: I really don't care for snythesizer player will tell you the value of writing down the sound of the "rim shot." Dr. Rhythm is so intelligently patches in a notebook -do the same with the patterns that designed, I really can't understand how they let this one go you create for Doctor Rhythm. by- unless it's a concession to the cocktail lounge players For multi- trackers, the DR -55 is a dream come true. If who can't conceive of a drum box without a clave sound. In you've been trying to get along with one of those "Foxtrot/ fact, for rock and electronic music applications I seldom, if Bossa Nova /Polka" preset drum units, do yourself a favor ever, use the rim shot sound. (Incidentally, I wrote up a and give Dr. Rhythm an audition. I might also add that if modification on Doctor Rhythm for the Device newsletter, you're not a drummer, playing with this little box can be 1085 Broadmoore Dr., Napa, Ca. 94558 that describes how very educational. Since you need to break down drum parts to convert the clave sound to a tom sound and how to bring in order to program the right drum sounds on the right out the drum outputs and pulses for stereo applications. If beats, you start becoming much more conscious of how you're interested in this, send $1.50 to the above address drum parts are constructed. This makes it just that much and request the "Surgery for Dr. Rhythm" article.) easier to play along with these parts. That's it for complaints. Considering the relatively low Overall, I'd have to say that despite rumors to the con- cost (approximately $200 list), Dr. Rhythm gives you a lot trary, there is still at least one Doctor who makes house for your bucks. Any added features, such as more drum calls. And considering the treatment you get, the price is sounds or additional program storage, would precipitate a reasonable. Who knows? He might even be able to cure the hefty price increase. rockin' pneumonia and the boogie -woogie flu. -47

64 MODERN RECORDING & MUSIC www.americanradiohistory.com FINALLY! THE PHASE LINEAR PROFESSIONAL SERIES Phase Linear's dedication to audio excellence has just taken another leap forward. Introducing the Phase Linear Professional Series, designed specifically for the professional. Despite our objections in the past, many of our audio components designed solely for consumer use were repeatedly (and successfully) used by professional performers of all sizes, complexity and notoriety. Now, after years of exhaustive field testing, Phase Linear has developed an unprecendented line of components representing the optimum in reliability and performance for the most demanding applications. Contact your Phase Linear distributor or write: Phase Linear Professional Series, 20121 48th Avenue West, Lynnwood, Washington, 98036. PHASE LINEAR PROFESSIONAL SERIES Optimum performance for the professional.

CIRCLE 153 ON READER SERVICE CARD

www.americanradiohistory.com BY LEN FELDMAN

A Major Improvement in Tape Equipment Testing If you read the test reports concerning the Akai reel - appearing in this issue with explanations of how I used to -reel tape deck and the Technics cassette recorder ap- this instrument to completely and rapidly measure the pearing in this issue you will immediately recognize the performance of the deck, I decided to devote this "Am- fact that our approach to tape equipment testing has bient Sound" column to an explanation of the various changed since the last time we evaluated a piece of tape video displays that are obtained using the new Sound hardware. The difference arises from the fact that our Technology 1500A. I should point out, too, that the laboratory is now equipped with a new instrument figures which appear in the tape deck report were not designed and produced by Sound Technology, an audio obtained by means of photography (though, of course, test equipment company based in Campbell, Califor- the video screen could have been photographed for nia. Known as a Tape Recorder Test Set, Model 1500A, each display). Instead, we also invested in a video this new unit, pictured here, has a self contained video printer. Since the Sound Technology unit has a com- display screen which not only presents graphic infor- posite video output jack, we were able to simply con- mation such as frequency response plots, speed error nect from this jack to our video printer. A push of a plots, distortion, channel separation and more, but also button then results in a clear 4" x 5" printout of has alpha- numeric display capability which provides whatever happens to be stored on the video display. the answers in written form, right on the video display Printout, in this case, is on electrosensitive paper sup- screen. Perhaps the most outstanding feature of this plied with our particular printer. unit is an electronically displayed "cursor" which may be moved to the left or right on the screen. If the cursor Frequency Response is moved, say, to 15 kHz after a frequency response has In the frequency response curves associated with our been registered graphically on the screen, the video tape machine test reports this month you will note that display reads out the dB level of the output at 15 kHz both channels can be plotted sequentially. The nota- (with respect to a previously established 0 dB tion "FR" at the upper right tells us that we are look- reference level.) ing at a frequency response plot, while the notation at Rather than interrupt the text of the recorder reports the lower left, "10 dB /D," tells us that vertical sensitivity of the display is 10 dB per division. Had we wanted to, we could have expanded the vertical sensitivity to 2 dB /division as well. The cursor has been moved to the point where we have an approximate roll - off of 3 dB at the high end and the level readings appear automatically, for that frequency, for both the channel outputs. Distortion Measurements Second and third order harmonic distortion measurements are made automatically on the 1500A. A series of tones, at decreasing levels of 1 dB per step, are

66 MODERN RECORDING & MUSIC www.americanradiohistory.com recorded and analyzed by the instrument. The range of correspond with the flutter reading being measured. levels used in this test is from +10 dB (relative to that An average value of flutter appears as a percentage previously assigned 0 dB reference) down to -20 dB. next to the letters "FL" which tell the user that the That ever-present electronic "cursor" can then be mov- machine is in its flutter measurement mode. ed to determine the distortion level at any of the test levels recorded onto the tape. It is obviously no trouble Speed Accuracy and Speed Drift at all to determine the available headroom (3% third Using the same pre- recorded test tape that was used order distortion level) for any machine with any tape for making flutter measurements, the instrument is being tested. Again, if you check out the corresponding capable of measuring speed accuracy of a tape as well figure in our test report, you will see that results are ex- as long term speed drift. When this function is desired pressed not only in percent ( %), but in dB below the and the appropriate button is pushed, the instrument reference level. analyzes the speed of the tape transport (using 3000 Hz as a reference frequency) and displays the error Channel Separation Tests graphically for a maximum time period of just over 10 Channel separation measurements are also minutes. Once the run is completed (or stopped at any automatically performed by the new test instrument. time before completion), the electronic cursor can be For these tests, some thirty -one different frequencies moved to any point in the time graph and the instru- are supplied as input signals by the instrument, in the ment will instantly display, in percent, the speed error range from 20 kHz down to 20 Hz. As a result, the test that was true at that time. does not take quite as long as a full frequency response test, during which the instrument supplies and Azimuth Alignment measures 123 different discrete frequencies! Channel The final test which the 1500A is able to perform has separation at any of the test frequencies can then be to do with tape head alignment. In the case of three - read, in dB, by moving the electronic "cursor" to the head tape decks, a special tape containing four test fre- appropriate point on the graphic display. quencies (2.8 kHz, 5.7 kHz, 11.8 kHz and 15.8 kHz) must first be run in the machine under test. Pressing Signal -to -Noise Measurements the "Azimuth" button brings up a new form of display A readout of signal -to -noise takes just a matter of which tells the user how many degrees of error are pre- seconds and requires only the push of a button marked sent at each of the above-named test frequencies. The "Noise" plus selection of the desired form of idea, then, is for the tester to adjust playback head weighting, if any. Available weighting curves includes azimuth until these errors (shown as vertical bars) are NAB, ANSI and CCIR /ARM favored by Dolby at a minimum. Laboratories and others. Noise readings, in dB, are The azimuth alignment of the record head can then displayed in seconds while bar graphs simultaneously be adjusted directly using the 1500A, since it supplies show the instantaneous noise level, all relative to that 0 the same four test frequencies automatically as a new dB reference which was punched into the machine at recording is made on blank tape and analyzed. the start of the measurements. If overall dynamic range relative to the 3% THD point is desired, the user Possible Applications must add the headroom previously measured to the As you may have guessed by now, the cost of this S/N figure obtained in the S/N tests. amazing test instrument is probably too high for the average audio or non -professional tape recording en- Flutter Measurements thusiast to even consider. At $5,500, the instrument is Measuring flutter with the new Sound Technology far costlier than most high fidelity systems or than 1500A Test System requires that the user have a pre- most home recording facilities. Still, for recording recorded test tape, either at 3.0 kHz or 3.15 kHz. Of studios that must constantly check the performance of course, you can make your own test tape if you own a their mastering and duplicating tape decks, for design signal generator, but if you do you would then read laboratories involved with tape deck design, repair and some combination of flutter introduced during the servicing, or testing, the high price of this instrument making of the tape plus the flutter introduced during will eventually be offset by the time saved in making playback, and there would be no way of isolating the repetitive measurements such as the ones that I have two components of flutter. Once the test tape is run- described and that will, beginning with this issue of ning, it is only necessary to push the button marked Modern Recording & Music, be found in the test "Flutter" and the appropriate weighting curve button. reports that Norman Eisenberg and I prepare. From a In a few seconds, a display appears. A bar graph at the purely technical point of view, Sound Technology's right shows instantaneous (and constantly varying) new 1500A test set represents, to my mind, a brilliant flutter. The vertical scale of this bar-graph has auto - combination of audio, video and computer/micropro- ranging capability, so that full -scale will adjust itself to cessor technologies and applications.

www.americanradiohistory.com /60DD E(R(1 f2CCOO f2DD IING G music

NORMAN EISENBERG AND LEN FELDMAN

Carver M -400 Magnetic Field Amplifier Carver

General Description: The Carver M -400 is known slider that is normally placed in its downward position as a "Magnetic Field" amplifier whose circuit design for loads of 4, 8 or 16 ohms. For mono operation, or for differs markedly from that of conventional amplifiers. impedances below 4 ohms, the switch must be moved A full explanation is available from the manufacturer, to its alternate position. In mono use, both of the but briefly, the magnetic -field amplifier has no need for amplifier's input jacks must be fed with identical massive heat sinks, heavy power transformers or large signals via a "Y" connector. electrolytic capacitors. Instead, the new amplifier steps -down voltage and stores the energy in a relative- Test Results: The M -400 was bench -tested for its ly small, lightweight and low-cost magnetic field coil. published specifications and additionally for the usual As a result, the amplifier produces very little heat, does characteristics that were not spec'd. Except for the not require the usual thickness of chassis, and its 1 -watt frequency response results, all tests confirmed overall size and weight can be greatly reduced. The or exceeded the manufacturer's claims. The 1 -watt fre- M -400 weighs less than 10 pounds, yet it is rated for an quency response- measured from 1 Hz to 45 kHz -was output of 200 watts per channel in stereo mode, or 500 still considered very good, specs notwithstanding. watts in mono operation. More important, the amplifier produced higher than its The unit presents an extremely compact appearance. rated power, and distortion that was lower than spec'd. The front panel contains a two -channel LED metering The S/N ratio also was slightly better than spec'd. display with dB steps marked for 0, -5, -10, -20, Speaking of bench -testing, if you ever have occasion -40 and "infinity." The last -named LEDs light up to perform them on this amplifier you may as well when power is applied, even if no signal is being know in advance that the M -400 does not lend itself to amplified. They also serve another function -the "easy" measurement. To begin with, there is the mat- display will blink or "strobe" approximately twice per ter of terminal color -coding and polarity. One set of second with diminished brightness to indicate a possi- channel output terminals is color -coded with the black ble short circuit in a speaker connection or severe terminal connected to chassis ground, while for the overloading. Depending on the fault, the blinking will other channel's outputs a red terminal is designated as continue for a period of a few seconds to several chassis ground. This arrangement presents no problem minutes. When proper operation is restored, the at all when you connect the amp to a pair of display returns to its power indication status. loudspeakers. The signals coming from each channel The rear panel of the M -400 contains a recessed pair are, in fact, reversed in phase with respect to each of phono -tip jacks for inputs, four color -coded speaker other, so that if you follow normal connection pro- terminals, an impedance switch and a fuseholder with a cedures (red terminal to "hot" speaker terminal for 15 -amp fuse. The impedance switch is a two -position each channel), everything works out fine. In bench-

68 MODERN RECORDING & MUSIC

www.americanradiohistory.com testing, however, chassis ground must relate to instru- occasions I was just beyond the clipping point for ment grounds. Consequently, you will find that the left short time periods. I had to constantly remind myself and right channel outputs will be out of phase when that I was dealing with a whole new kind of amplifier viewed on a dual -trace oscilloscope, for example. No here, especially when I glanced at that small cube con- great worry -just something to be aware of. figuration and realized that all that power was being If you bench -test the unit you also will find it dif- developed within those small confines. ficult, if not impossible, to measure the 20 kHz power Carver prints a warning on his little amplifier telling output of the amplifier, as well as distortion levels at us that it is not intended for industrial or pro -audio use. that frequency. That's because the protection circuits That's probably because so many so- called "pros" will shut down the amp in a few seconds when you try push their amps to beyond clipping almost as a matter to pump rated power out of it at 20 kHz. Again, this of course, and the M -400 won't stand for that for very presents no problem when handling any kind of music long (it will simply shut down -not break down). Still, I programming in which the frequency distribution ver- suspect that the incredible portability and small size of sus energy is such that 20 -kHz signals never produce this amazing amplifier will tempt many a pro user to very much power at the output terminals. Actually, the disregard the warning and use it on the road as well as amplifier does run remarkably cool at normal listening in "live" performances. I suspect, too, that despite the levels, and gets only moderately warm when pushed to warnings, it will stand up reasonably well even under near -clipping levels. such "illegal" use, and even if occasional shut-down occurs, there won't be any permanent damage. General Info: Dimensions are 7 by 7 by 7 inches. Weight is 9.5 pounds. Price is $349. Individual Comment by N.E.: The Carver M -400 amplifier, by definition, demands serious atten- Individual Comment by L.F.: I first learned tion as both a product and a possible harbinger of about the Carver M -400 Magnetic Field Amplifier things to come in amplifier design generally. The fact more than two years ago, when I saw and heard a pro- is, it is much smaller and lighter in weight and -very totype of the little amp at a Consumer Electronic important -lower in cost than one would normally ex- Show. The claims then (and, for that matter, even now) pect of a similar- performing amplifier of conventional made for the device seemed incredible in view of its circuit design. The M -400, to be sure, has gone through small size and weight. How could a little cube, measur- some design refinements since its initial debut about ing no more than 7" on a side and weighing less than 10 two years ago, and the units have not been in very lbs possibly deliver more than 200 watts per channel in great supply. stereo and upwards of 500 watts per channel when But I have this incredibly small prodigy sitting in a strapped for mono operation? rack, hooked up to a high -class stereo system playing Well, the amplifier does do that and pretty well commercially recorded releases and some tapes I have meets its other claims as well. I'm not going to get into made myself and with whose sound I am very familiar. the circuit theory here, but suffice it to say that Carver Lab measurements aside, the Carver M -400 is doing and I have spent many hours together discussing the one fine job as an amplifier of musical sound, and those circuitry and I am convinced that it does work and is LEDs on the panel tell me I am pushing well over nor- reliable. In fact, in many ways, the amplifier is more mal playback wattage levels into my speakers with reliable than conventional ones. It has about six levels nary a hint of strain of distortion. The highs are spar- of circuit protection, including overcurrent trip, low - kiing, with good transient bite; the middles are smooth frequency trip, voice -coil over -temperature trip, over and well -aired; the lows are firm and well defined. Por- voltage trip and D.C. fault trip. The amp can be made tions of one tape that I deliberately "doctored" in the to shut down under a variety of circumstances, but making do come through as I intended, so all told, as none of these will cause permanent damage to the far as I can judge, the M -400 is doing nothing to the device, at least as far as we could determine during the signal but -amplifying it. A final point: the manufac- bench testing. turer explains, in his literature, that the output of this Music reproduction from the Carver amp was totally amplifier is really the output of the power supply being clean and transparent, with good bass reproduction as switched on and off at a rate directly related to the in- well as clean reproduction of any high frequency tran- coming audio frequency. Lest you fear that the term sients I was able to come up with from selected tape "switching" involves some kind of audible switch - and record program sources. I used medium -efficiency noise, be reassured that it does not. Perhaps the term reference speakers and drove the amplifier rather hard "inaudible transfer" would be more appropriate, since just to see how much it could safely take. At no time the changes in music from soft to loud as reproduced during my tests did the amplifier shut down, even by this amplifier happen quite naturally and smoothly, though the monitoring scope indicated that on several with no audible "switching" or "breathing" at all.

NOVEMBER 1980 www.americanradiohistory.com CARVER M -400 AMPLIFIER: Vital Statistics

PERFORMANCE CHARACTERISTIC MANUFACTURER'S SPEC LAB MEASUREMENT

Continuous power for rated THD, 8 ohms, 1 kHz 201 watts 240 watts FTC rated power (20 Hz to 20 kHz) 201 watts 210 watts THD at rated output, 1 kHz, 8 ohms 0.05% 0.02% THD at rated output, 20 Hz, 8 ohms 0.05% 0.03% THD at rated output, 20 kHz, 8 ohms 0.05% 0.05% IM distortion, rated output, SMPTE 0.05% 0.02% IM distortion, rated output, CCIF NA <0.03% IM distortion, rated output, IHF NA <0.03% Frequency response C 1 watt (for - 3B) 1 Hz to 250 Hz 1 Hz to 45 kHz S/N ratio re: 1 W, "A" wtd, IHF NA 81 dB S/N ratio re: rated output, "A" wtd 100 dB 104 dB Dynamic headroom, IHF NA 1.6 dB Damping factor @ 50 Hz NA 170 IHF input sensitivity NA 0.07 volt Input sensitivity re: rated output NA 1.0 volt Slew rate (volts /microseconds) 40 40 Power consumption, idling /maximum NA/NA 26 watts /835 watts CIRCLE 32 ON READER SERVICE CARD

Technics Model RS -M95 Cassette Recorder

General Description: A three -head cassette deck, of a built -in test -signal generator, selectable from the the Technics RS -M95 has its record and play heads front panel, while observing readouts on the deck's sharing a common housing thus obviating the need for meters. The meters themselves are switchable between periodic azimuth alignment. Its transport uses two peak and VU levels, and there is a peak -hold option. motors: capstan drive is handled by a quartz -con- The deck has a "dual" memory rewind system with trolled, phase -locked DC brushless direct -drive motor; which it is possible not only to get the recorder to stop the reel tables are driven by a DC coreless motor. The or play when the counter reaches "000," but to do so transport system is IC logic- controlled and uses from any predetermined counter setting. With the use "feather touch" buttons that permit complete fast -but- of an external timer, it also is possible to get the deck toning, including the option of going directly into the to play or to record when unattended. A remote -control record mode from any other mode, including playback accessory also is available. (run -in recording or overdubbing). The cassette compartment toward the left of the The RS -M95 is metal -tape capable. Tape selection is panel is covered by a swing -down door fronted with a worked out between four separate selectors (for nor- removable glass section. The eject button and the AC mal, ferrichrome, chromium- dioxide and metal) plus power off /on switch are to the left. Below them is a four corresponding front -panel bias adjustments. Also stereo headphone output jack, and below that are the offered on the front panel are recording calibration ad- left- and right -channel microphone input jacks. The justments. All adjustments may be made with the aid record calibrate screwdriver adjustments are below the2 70 MODERN RECORDING & MUSIC

www.americanradiohistory.com cassette compartment. To the upper right of the cassette compartment is a FR fluorescent display that includes the digital tape counter and the indications for the double memory system. The counter itself uses three numbers plus four small bars that come on in succession; after the fourth bar lights up, the third digit advances to the next number. Next to this display is an LED that functions as a strobe; controlled by a quartz crystal, it 111 II 1111111nli flashes about once each second, and it is suggested for

use in calculating record -muting time. ill i Ill IIIIIIIIII The generously proportioned signal meters consist of two horizontal fluorescent bar graphs, calibrated from -40 to +8. The peak /VU and peak -hold switches are to the right of the meters. II III Under the counter and meter area is a long row of controls. First in this row are the memory 1 and IBdBiD L -17. edB ß -23. tdB 17.5kHz memory 2 switches. Next come the transport buttons for record, rewind, stop, play, fast -forward and pause. Fig. 1: Technics RS -M95: Frequency response using The record -mute button is next, followed by the four Maxell XL -I tape at 0 dB (L) and -20 dB (R) record tape -select buttons, the tape /source monitor button level. and a dual- concentric input level control. All the buttons in this row, except the rewind, stop and fast - were not terribly great, which is to say the deck can do forward buttons, have their own indicator lights. The a very creditable job with any of them. record -mute button must be held down for as long as Testing this deck gave us an opportunity to use our required to record silence onto a tape. If the pause but- new Sound Technology Tape Test System for a ton is used to stop tape motion during a recording, the cassette model as well as for the open -reel Akai also tape may be restarted (still in the record mode) by reviewed in this issue, and to formulate procedures for touching the play button. The input level knobs may be such tests on future decks. So, a brief discussion of used to adjust recording level on each channel in- Figs. 1 through 8 seems in order. dividually or on both channels simultaneously. Fig. 1 shows a frequency response plot (record /play) The bottom row of controls includes the separate at 0 dB and at -20 dB record level, using Maxell XL -1 bias adjustment knobs for each of the four classes of (normal bias) tape. Note that the test system machine tape corresponding to those on the tape selectors can display only two response curves if one is "left above; the external timer switch; the Dolby NR switch channel" and the other "right channel." In fact, both with a position for MPX filter; the input selector (with traces were made for the same (left) channel. We simply positions for microphone, line, 400 Hz and 400 Hz/ reversed inputs between runs. So disregard the L and 8 kHz -the last two referring to the deck's test oscilla- R notations. Since the reference level for the "R" trace tor); a meter light dimmer control; and the output level control which adjusts both output channels on line and on headphone simultaneously. There is no on- the -panel D3 R 2.1% input mixing provision. The rear of the deck contains the usual line -in and line -out signal jacks, a socket for use with the optional remote -control accessory and the AC line cord. The i n. Technics RS -M95 comes in a metal case finished in _, black matte, and it may be EIA rack -mounted with a --- pair of rack angles supplied. Also furnished with the -- deck is a cover plate __ that may be fastened , to hide the - lower row of front -panel controls. r

Y :

Test Results: Allowing for normal variations in 1 test setups, the Technics RS -M95 came in "on spec" in MR &M's lab tests. It also is, so far anyway, one of the : relatively few cassette decks we have tested in which the use of metal tape does produce better results in 10dBa R -33.5d3 +10dB most or all of the tested parameters (response, distortion, S /N, headroom). At that, the differences we Fig. 2: Technics RS -M95: Third order distortion at measured among three tapes tested on this machine various record levels. Maxell XLI tape.

NOVEMBER 1980 71 www.americanradiohistory.com (lower one) was -20 dB, we moved the dotted line "cursor" higher and higher in frequency until we got a FR readout of -23.1 dB at 17.5 kHz. In effect, that tells us that the -3.1 dB point (close enough to -3 dB) relative to 20 dB occurs at 17.5 kHz. That, therefore, is the upper frequency limit reported in our "Vital Statistics" table for this tape. Before allowing our associated video printer to present us with the hard copy appearing as Fig. 1, we moved the cursor downward in frequency only to discover that at 20 Hz, response still was well within the -3 dB margin. Thus we report a lower limit of 20 Hz. In Fig. 2, we display 400 -Hz tones for this same tape at various record levels up to +10 dB. At that level, 3rd order distortion had still not reached the MOL level of 3 percent. (It reads 2.1 percent at that level, as shown in Fig. 2, or an equivalent value of -33.5 dB 10dB/D LNO DATA R-21. 2dB 20. 0kHz below the reference level). To arrive at the +12 dB limit for this tape we had to re-set our reference and deter- Fig. 4: Technics RS -M95: Frequency response using mine the 3- percent point manually. Technics "XA" high bias tape at 0 dB (L) and - 20 dB All of which leads to one criticism of the meter cali- (R) record level. bration of this deck. Zero dB corresponds to around 160 nWb /M. That's about 2 dB below Dolby reference ty. Note that the cursor is at 1 kHz, and so a single level, which makes the deck's "headroom" appear to be printed reading of separation at that frequency ap- enormous ( +12 dB for the ferric -oxide tape used). Of pears below the display (39.8 dB). But one could easily course, headroom was good -it just wasn't as good as a interpret other separation values at other frequencies +12 dB number might lead one to believe. A figure of by realizing that if the "blip" for 1 kHz is at about +12 dB above 160 nWb /M adds up to an absolute -40, then the top of the display represents -10 dB, record level of nearly 640 nWb /M! In any event, to and distances between divisions are 10 dB as indicated. establish the signal -to -noise levels shown in our "Vital Double vertical lines appear for frequencies of 100 Hz, Statistics," we used the Sound Technology tester to 1 kHz and 10 kHz; and the furthest vertical line to the read the S/N value referred to the decks's 0-dB level, right of the display represents 20 kHz in all frequency and then added the 12 dB of headroom relative to the plots made by this instrument. 3- percent THD point. We used the widely accepted Figs. 4 and 5 present information similar to that CCIR /ARM weighting method endorsed by Dolby shown in Figs. 1 and 2, but this time we are using Laboratories for all S/N measurements of this product. Technics XA high -bias tape as our test sample. At 20 Fig. 3 shows the deck's channel separation capabili- kHz, response for the -20 dB trace was at -21.2 dB, or not yet down by 3 dB, so we had to interpolate the -3 dB point as occurring at around 20.8 kHz. Similar- LS ly, for the 3- percent distortion level, we had to manually increase levels beyond the +9 dB test point offered automatically in Fig. 5 to arrive at a record level of +11 dB for 3- percent third -order distortion. Figs. 6 and 7 represent the same sort of response and distortion data as the previous figures, but this time the sample tape was Technics MX (metal) with bias settings selected and optimized by the controls on the RS- M95. Response at -20 dB extended no further than it did for the high bias tape (20.8 kHz for the -3 dB point), but when you compare the response at 0 dB for both tapes (upper curves in Figs. 6 and 4), the earlier high -end rolloff in response of the ferric -oxide high -bias (chrome equivalent) tape is clearly evident. It becomes even more apparent if you examine the upper curve (0 10dB/D L-99.8dB 1.00kHz dB record level) of Fig. 1 (for normal bias tape), where high- frequency tape saturation at this high recording Fig. 3: Technics RS-M95: Channel separation level is more evident. measured 39.8 dB (i 1 kHz. Finally, in Fig. 8, we plotted the playback -onlyJ re- 72 MODERN RECORDING & MUSIC www.americanradiohistory.com sponse for left and right channels, using a special test tape developed for use with the Sound Technology in- FR strument. The rather early rolloff suggests that the azimuth positioning of the heads of this deck was not ' identical to that of the machine that produced the test - -- -- g r ' tape. when - . , Needless to say, using the deck for both 1 record and play, this will have no bearing at all on --. reproduction results. v - .-i General Info: Dimensions: 17%, inches wide; 5% inches high; 13% inches deep. May be standard rack - - mounted with angles supplied. Weight: 26 pounds, 8 . ounces. Price: $1300. ;-

Individual Comment by L.F.: This is the sort of - ' cassette deck that appeals to me. It has many sophisticated features, but it is not so laden with useless gim- 10dB/D L-12.9dB R-23.9dB 21.0kHz micks as to make operation overly complex and need- lessly confusing. The fine bias adjust for each of the Fig. 6: Technics RS -M95: Frequency response at 0 dB basic tape formulations is fast becoming a must on bet- (L) and 20 dB (R) using Technics MX (metal) tape. ter decks, as is the record calibration facility. Both of these wanted features are readily accessible on the be set to any number on the digit counter, the combina- front panel of this deck. Its designers have rightfully tion can become mighty useful. presumed that anyone interested enough to purchase a The transport system, with its light-touch solenoid - deck costing more than $1000 will take the time and operated logic controls, operated flawlessly and hand- have the intelligence to use these adjustments as they led tape most gently. The three -head system used here were meant to be used leven if that means reading the includes a combination record/play head in a single owner's manual!). They concluded, correctly I believe, shell. That, of course, is more sophisticated than a that those fine vernier controls should be up front single head that does double duty for both record and where they can be conveniently used most. play. There really are two electrically separate heads in The two- memory system associated with the digital the single shell, one for record and the other for play- readout counter is also a worthwhile feature. I never back, but because they are both mounted permanently cared too much for the memory rewind systems that in the single housing, that means you need not trouble merely bring things back to a predetermined zero on yourself with any azimuth alignment procedure when the counter, and I have always suspected that most using this deck. The record and play sections will cassette deck users seldom use that feature. But when always "track" each other properly if they were cor- that option is coupled with a second memory that can rectly assembled into the single shell in the first place.

D3 R 2.0% D3 R 1.9%

, , , _ 1

_. - ' .

- I . _ : . , ;

10dB/D R -33.7dB + 9dB 10dB /D R -34.1dB +10dB

Fig. 5: Technics RS -M95: Third order distortion at Fig. 7: Technics RS -M95: Third order distortion at various record levels- Technics XA tape. various levels, Technics MX (metal) tape.

NOVEMBER 1980 73 www.americanradiohistory.com Ours seem to have been. FR In summary, I like what Technics has done here, and I consider the Technics RS -M95 to be a good example of what the serious recordist would be looking for in a top -grade stereo cassette deck. I'll take this kind of II El MI performance any day over poorer basic performance machines that offer me clocks, timers, ability to locate 111111111111111-11111 any number of pauses in tape and you- name -it. MEN Individual Comment by N.E.: With the RS- M95 cassette deck, Technics has reaffirmed -for the cassette tape format -its original "mission" as the high -quality branch of the Panasonic organization. Per- formance, features and general "product personality" all place this deck in an enviable and competitive posi- :siii tion vis -a -vis other recent top -quality decks. While the i RS -M95 certainly will appeal to the well -heeled home 10dB/D L-19. 7dB R-18. QdB 1. 0OkHz stereo enthusiast it also has more than a touch of professionalism about it that should really interest the ad- Fig. 8: Technics RS -M95: Playback -only frequency re- vanced or serious recordist. It has true metal -tape sponse, 120 usec EQ, left (upper) and right (lower) capability; it has a really "sweet" transport system channels, at - 20 dB reference level. with unrestricted fast-button options; its three -head operation permits off -the -tape monitoring while recor- present model is about as compact as the second ver- ding; it has enough, but not too much, adjustments for sion and it actually outperforms either of its two prede- optimizing recording level and bias tuning; it boasts cessors. It also costs less than the earlier two -piece the twin -memory system that may be used for return- system which itself is something remarkable in this ing a tape to any preselected (by the operator) point as day of rising costs. Apparently Technics has got it all well as to repeat a portion of the tape. together in one well -designed, superbly crafted machine. Speaking of "memory," by the way, if my memory I also like the implied product direction suggested by serves, this is actually the third Technics cassette deck this unit. Technics obviously has eschewed the "auto- we have tested for MR &M. The first top -of- the -line mation for automation's sake" approach and instead model was that big two -piece affair in which the has concentrated on basic performance combined with transport and the electronics were separately housed those features deemed requisite for optimum cassette - (RS9900US, March 1978). The next one was a much deck operation within a definite price range. Given a more compact version (RS -M85, January 1979). This choice, I'll take the Technics approach any day.

TECHNICS RS -M95 CASSETTE RECORDER: Vital Statistics

PERFORMANCE CHARACTERISTIC MANUFACTURER'S SPEC LAB MEASUREMENT

Frequency response, normal tape ±3 dB, 20 Hz to 17 kHz ± 3 dB, 20 Hz to 17.5 kHz high -bias tape ±3 dB, 20 Hz to 19 kHz ± 3 dB, 20 Hz to 20.8 kHz metal tape ±3 dB, 20 Hz to 20 kHz ± 3 dB, 21 Hz to 20.8 kHz 3rd order HD at 0 dB record level normal; high -bias; metal tape NA; NA; NA 0.23%; 0.18%;0.19% Record level for 3% THD normal; high -bias; metal tape NA; NA; NA +12; +11; +12 SIN ratio, Dolby off normal; high-bias; metal tape NA; 60 dB; NA 56.1; 59.4; 60.2 dB (CCIR/ARM wtd) SIN ratio, Dolby on normal; high -bias; metal tape NA; 70 dB; NA 63.4; 68.3; 68.7 dB (CCIRIARM wtd) Wow -and- flutter (WRMS) 0.03% 0.037% (JIS wtd) Speed accuracy NA +0.16% Mic input sensitivity 0.25 mV 0.23 mV Line input sensitivity 60 mV 55 mV Line output level 650 mV 650 mV Headphone output level, 8 ohms 88 mV 85 mV Fast -wind time, C -60 80 seconds 70 seconds Power consumption 50 watts 42 watts CIRCLE 33 ON READER SERVICE CARD

74 MODERN RECORDING & MUSIC www.americanradiohistory.com AKAI lhv

i Akai GX -625 Open -Reel Recorder 414t

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General Description: The Akai GX -625 is an tension lever and onto the takeup reel. At the left is the open -reel deck with two -speed (7 /2 and 3% ips) opera- switch for use with an external timer. tion and up to 10'/2 inch reel capability. Head configura- The row of items just below includes the AC power tion is quarter- track, two -channel stereo with also, of switch, the reel -size selector, a pair of VU meters cali- course, the mono option. brated from -20 to +5 and the transport keys marked The erase, record and play heads are all separate, and for pause, record, rewind, stop, play and fast -forward. the last two are identified as GX types which Akai has The bottom row of controls and features includes a been promoting in recent years. Three motors are stereo headphone output jack; the output level control employed: an AC servo motor drives the capstan, while (which handles playback volume for both line outputs two AC eddy current motors power the tape reels. The and the headphone jack simultaneously); the tape/ transport keys are "feather touch" and logic controlled; source monitor selector; two track selectors (left /mono, fast -buttoning is possible, including direct recording right /mono or press both for stereo); a tape selector from the playback mode (run -in recording or over- (wide -range or low- noise); the tape -speed selector; a re- dubbing). The reels are fitted with built -in spring- loaded cord -mute button; the microphone input level controls; retainers and are supplied with adapters for handling the line input level controls; and, finally, the left- and the pro-size (NAB) 10y2 inch reels, one of which is sup- right -channel mic jacks. Each of the input controls is a plied with the deck. Although designed primarily for dual- concentric pair permitting channel adjustment in- normal AC line voltage, the Akai GX -625 also may be operated on 12 volts DC (as in a vehicle) for which a special voltage adapter is supplied with the deck. FR The tape counter can be switched to show real time elapsed in minutes and seconds. Associated with the counter is an automatic system that functions like a memory- rewind (to get the tape to play or to stop) when or the counter reaches "0," to repeat from any desired . portion selected by the operator. Remote control also is

; ( possible with the use of an optional accessory, and .-- _-. = - ---- ' -- - _ ------_ unattended record or playback is feasible with the aid of a separate external timer. The deck is laid out in familiar fashion, with all con- _ 'L trols readily accessible and clearly labeled. Just above ,

the head cover is a pitch control that may be used to . ±6 .- vary tape speed (on playback only) by percent. The . tape counter and its associated controls for the LED digital readout the rewind options are on and mounted IN B/D L-2. 3d B RNO DATA 28. 0k Hz the cover. Coming off the supply reel, the tape goes through a tension lever and roller, past the guides and heads under the head-cover, up between the drive - Fig. 1: Akai GX -625: Frequency response at 0 dB (up- capstan and pinch-roller, past an automatic stop /tape per trace) and - 10 dB record level. 7'2 ips.

NOVEMBER 1980 75

www.americanradiohistory.com tered in our lab tests. At the 7''/ ips speed the deck's FR response went well beyond the claimed high -end and low-end frequencies and with distortion that was lower, and signal -to -noise that was higher, than claimed. __, Response at the slower speed fell short of the claimed 19 -kHz top but did make it to 17 kHz. On the other hand, the slow -speed response did much better than claimed at the low end. Be that as it may, however, the distortion and S/N at the slow speed were again better - I r_ I than spec'd. Tape handling at either speed, and in the fast -wind modes, was excellent. Doubtless the deck's electronic braking action (controlled by a microprocessor which slows the speed before the tape comes to a full stop) contributes to this desiderata. Incidentally, the tape we used for testing the Akai was Maxell UD -XL. Quite possibly, another tape 16.5kHz 10dB/D L-02 .5dB might have maintained the response out to 19 kHz claimed for the 3% ips speed. This of course points up Fig. 2: Akai GX -625: Frequency response at - 20 dB, the desirability of having some sort of vernier bias ad- 33/4 ¡Ps. just on an open-reel machine. The Akai GX-625 does have two fixed bias settings; we chose the one that dividually or simultaneously. The mic controls also yielded flattest response at the higher speed for the handle an optional DIN input (at the rear). The control Maxell tape. arrangement permits input mixing of mic and line. Regarding the graphic presentation of our test data, Both sets of controls are friction-coupled so that once a detailed explanation is given in Leonard Feldman's individual channel levels are set, both channels (for mic "Ambient Sound" column elsewhere in this issue of or for line) may be faded in and out readily. MR &M. To relate that discussion to the data shown The rear of the deck contains the normal line in and here, however, consider the data shown in Figs. 1 out jacks, the DIN receptacle, the remote control con- through 8. nector, the AC- to -12- volt -DC adapter jack and the AC Fig. 1 shows record /play frequency response at two line cord. The Akai GX -625 is intended nominally for different record levels (0 dB and -10 dB) for the 7% ips vertical installation, although it could be installed "on speed. The upper trace is the 0 dB response. The lower its back" if necessary (there are four feet that would curve is for -10 dB, and is the one used to establish raise it from the under -surface in such positioning). the -3 dB points listed in the "Vital Statistics" chart. Note that the "cursor" (vertical dotted line) has been Test Results: Published specifications for the Akai moved way out to 29 kHz in Fig. 2, and at that frequen- GX -625 were -for the most part- confirmed or bet- cy the "L" curve (really the -10 dB curve) registers

D3L2.4% D3 L 2.6%

I I ,- 1 - ,_ T

- i

I \ 1 - - 1 __ 1 - - \ _- _ -1 1 - _ `

- - 1 - - 1

10dB/D L -33.3dB +11dB 10dB/D L -31.5dB + 8dB

Fig. 3: Akai GX -625: Third -order distortion, at 7y2 ips. Fig. 4: Akai GX -625: Third -order distortion, at 334 ips.

76 MODERN RECORDING & MUSIC

www.americanradiohistory.com of the words "FL WHTD L" are averaged readings. NS VD L -53.4dB 10dB/D Note, too, that in the case of 7'/, ips operation (Fig. 7) where flutter turned out to be less than 0.3% (NAB weighted), the bar graph scale "auto- ranged" so that 0.03% is full scale, while for the slower speed, where flutter was 0.036 %, the bar graph automatically adjusted its scale so that full -scale was now 0.1 %.

General Info: Dimensions are 17.3 inches wide; 17.6 inches high; 9.5 inches deep. Weight is 38.9 pounds. Price: $749.95

Individual Comment by L.F.: Akai has managed to cram a number of useful features and some excellent performance into this relatively low -cost open -reel deck. I know of no other deck of this type that provides real - Fig. 5: Akai GX -625: Signal -to -noise ratio, NAB time tape usage indication (using a digital display, no weighted, at 7'/, ips, re: 0 dB reference level. less). The deck's illuminated full -logic controls, standby indicator, sound -on -sound capability, dual monitoring -2.3 dB. The "L" and "R" notations, in this instance, and variable pitch control (during playback) are all do not have their usual meanings of left and right, but features usually found on more expensive machines. The are used to designate the two curves taken on the same same applies to the 10 -inch reel capacity. channel but at different reference levels. Note that at One slightly confusing front -panel treatment is the the slower 3% ips speed (Fig. 2), we had to move the cur- line shown between the output level control knob and sor back down to 16.5 kHz, at which frequency the re- the nearby headphone jack. My first thought was that sponse was down 2.5 dB. The next available discrete fre- this control varied level at the headphone jack only. In quency to which the cursor might have been moved was fact, it controls line -level output levels too. I am not 17.5 kHz, at which frequency the response was down by against that (it is a plus feature), but I feel that the far more than 3 dB. So, in our "Vital Statistics" we in- deck's graphics should therefore not have tied the phone terpolated the -3 dB point as being at 17.0 kHz. jack to that control. In Figs. 3 and 4 (third -order distortion tests) we have A dynamic range capability of nearly 65 dB in stereo moved the "cursor" to that "blip" or level which pro- for a quarter-track machine operating at 7.5 ips (with duced nearly 3% THD, so as to establish the mid - no electronic noise reduction) is pretty darn im- frequency MOL (maximum output level). For 7'/, ips pressive, especially when the machine sells for around operation, that occurs at +11 dB (relative to 0 dB $750. Personally, I am glad to see that the tradeoffs record level which is always used as a reference level on that must necessarily be incorporated to meet such a the test instrument). At the slower speed of 3% ips, we price involved front panel frills rather than down -to- reached MOL at approximately +8 dB (Fig. 4). Since earth basic performance. actual third -order distortion levels were not quite 3% in both instances, we again interpolated and called the 3% level +11.5 dB for the higher speed and +8.5 for the slow speed. These maximum levels must be kept in mind when examining the signal -to -noise results shown in Fig. 5 (for 7'/, ips) and Fig. 6 (for 3% ips). From these latter figures it would seem that S/N is almost iden-

tical for both speeds ( -53.4 dB at 7'/, ips and -53 dB at 3% ips). In fact, that is not true, for to these figures must be added +11.5 dB in the case of the 7'/, ips tests, and +8.5 dB for the lower speed tests. That is why the S/N numbers appearing in our "Vital Statistics" show up at 64.9 dB at the 7'/, ips speed (53.4 plus 11.5), and 61.5 for the slower speed (53 plus 8.5). We used NAB weighting for these noise measurements. Finally, Figs. 7 and 8 provide a direct reading flutter at 7y, and 3% ips for this tape deck. Note that the bar- graphs at the right of each figure display instantaneous Fig. 6: Akai GX -625: Signal -to-noise ratio at 3% ips, re: values of flutter, while the number displayed to the right 0 dB record level. J NOVEMBER 1980 77

www.americanradiohistory.com FL WHTD L 0.038%

Fig. 7: Akai GX -625: Flutter, NAB weighted, at 7% ips, Fig. 8: Akai GX -625: Flutter, NAB weighted, at 3% ips, recordlplay. record /play.

Individual Comment by N.E.: Now here's a those "2001- inspired" cassette machines. If this keeps switch -there are all those fancy microprocessor -auto- up, then the cassette deck and the open -reel deck may mated cassette decks that do everything but mix wind up interchanging the roles that have been drinks (and the way they are going I shouldn't be sur- "assigned" to each -the cassette deck may eventually prised if we get one delivered that has logic -controlled become the plaything of the well -heeled specialist, and buttons marked "rye," "bourbon," "Scotch," "wine - the open -reel deck may become the no- fooling- around red," "wine- white" and "wine- rose "), with prices soar- recording "tool" of the masses. ing to and beyond the $1500 level -and the best they Whatever you make of this sociologically or culturally can do in strictly audio terms is come close to what a or psychologically, there is the fact of this new Akai good open -reel deck priced at half that amount can do. model GX -625 which offers wide -range response at low Somewhere along the line this bit of intelligence distortion and with fine S/N characteristics, and it does must have seeped into the thinking and planning of at so without the aid of noise -reduction or metal tape, and least a few tape- recorder manufacturers (e.g., Pioneer, at about half the price of some of the newest cassette Teac and now Akai), because we are obviously begin- decks. Aside from the obvious appeal of such a deck to ning to get really good open -reel decks that are relative- the serious, creative recordist, one can only wonder ly compact, offer splendid response, operate flawlessly about the effect such a product will have on the "mass" in all modes, boast a good measure of "professionalism" recorder market which may suddenly wake up to the in terms of transport options, metering and so on and - fact that it is possible to buy superior performance at wonder of wonders -actually cost significantly less than lower cost. Heavens to Betsy!

AKAI GX -625 OPEN -REEL TAPE DECK: Vital Statistics

PERFORMANCE CHARACTERISTIC MANUFACTURER'S SPEC LAB MEASUREMENT

Tape speeds 71/2; 3% ips Confirmed Reel capacity 101/2 inches Confirmed Wow /flutter 0.03%; 0.04% 0.022 %; 0.036% THD at 0 VU, 7'/3; 3% >0.5% 0.14 %; 0.33% (3rd order) Record level for 3% THD, 7'/2; 3% NA +11.5 dB; +8.5dB Frequency response, 71/2 ± 3 dB, 30 Hz to 26 kHz 3 dB, 26 Hz to 29.2 kHz (at -19 dB) 3'/ ± 3 dB, 30 Hz to 19 kHz ±3 dB, 20Hzto17 kHz (at -20 dB) Best SIN ratio, std tape; 71/2; 3% 62 dB; 60 dB 64.9 dB; 61.5 dB Fast -wind time, 2400 -ft 130 seconds 120 seconds Mic input sensitivity 0.25 mV 0.23 mV Line input sensitivity 70 mV 66.1 mV Line output level 775 mV 700 mV Headphone output level 100 mV 84 mV Erase ratio NA 105 dB Speed accuracy, 7'1/2 ± 0.8% ±0.4%

CIRCLE 34 ON READER SERVICE CARD

78 MODERN RECORDING & MUSIC www.americanradiohistory.com Britain's AIIen&Heath Introduce a new dimension to mixers with The A &H 16 -4 -2

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CIRCLE 141 ON READER SERVICE CARD www.americanradiohistory.com Phase Linear X20 Active Crossover

By John Murphy and Jim Ford

We continue to direct our attention to loudspeaker crossover systems this month as we review the X20 active crossover from Phase Linear. The X20 features 18 -dB- per -octave Butterworth filter pairs (for an accurate summed amplitude response) along with front i panel control over input and output levels and crossover frequency. Packaged in a single space (1% inch) rack mount chassis, the unit is primarily intended for stereo two-way operation but can easily be used as a three -way mono crossover. Special features of the unit include delayed turn -on and an overload indicator with a user adjustable threshold. The price of the X20 is $349.

General Description: As an active crossover, the X20 is designed to divide a full spectrum audio signal the case of the X20 and similar units, about the only into frequency bands that will be reproduced separate- way to guard the tuning controls would be for the user ly by different loudspeaker drivers. That is, the in- to fashion a custom security cover for the front panel dividual "high" and "low" output signals for each or to place the unit in an equipment rack with a channel of the X20 would be routed to separate power lockable cover. amplifiers with the output of each amplifier connected Now let's examine the X20 in more detail, starting directly to the appropriate loudspeaker driver (or with the front panel. The controls for each of the two drivers) for that frequency range. channels are identical, with those for channel A occu- The initial design of any multiamplified loudspeaker pying the left half of the front panel and those for chan- system includes the selection of one or more crossover nel B, the right half. Since the basic format of the X20 frequencies. The selection of crossover frequency is is "two -way stereo," there is one crossover point and made with knowledge of the frequency response and therefore two output signals ( "high" and "low ") for power handling characteristics of the individual each channel. loudspeaker drivers used in the system. (See the Located at the far left of the front panel is a push- Hands -On Reports in the August and September 1980 button power on/off switch. Above this switch is a MR&M for a discussion of crossovers and multiampli- green LED labeled "Ready" which indicates the status fication). Like many crossover units currently on the of the output muting relay (rather than serving as a market, the X20 provides front panel controls for simple pilot light.) Because of the unit's delayed turn - establishing the crossover frequency. These controls on feature, no signal appears at the output for about make it very easy to set the proper crossover frequency the first five seconds after the power switch is ac- when the loudspeaker system is initially put tuated. This insures that any "pops" or "thumps" together. We see this convenience as a double edged associated with power -up do not appear at the output sword, however, since those knobs almost beg to be where they could be passed on and heard through the twiddled by the eager soundman! At the mere push of a loudspeakers. The "ready" LED follows the status of button the crossover point of a high- powered sound the output relay and therefore illuminates only after a system can be changed from 1500 Hz to 150 Hz -at short delay. which time the treble horn drivers smoke and flame Just to the right of the power switch is a rotary -type their way to a quick death. The point is that a readily input level control for Channel A. The settings of this "tunable" crossover can pose a threat to the well -being control are clearly indicated in steps from 1 to 10. of a loudspeaker system unless the tuning controls are Because this attenuator is located before the first ac- somehow guarded from the fiendish knob twiddlers. In tive stage it is virtually impossible to overload the in-

80 MODERN RECORDING & MUSIC www.americanradiohistory.com adjusting the levels of the high and low output signals. These controls are normally used to set the final balance between the low- and high- frequency signals. The last control for the channel is a pushbutton switch labeled "Invert" which reverses the polarity of the high- frequency output signal. The set of controls just described for channel A are duplicated on the right half of the panel for channel B. Located on the rear panel of the X20 are all of the signal input /output connectors as well as a socket for the detachable line cord. Signal connections are all made by way of '/4--inch phone jacks with both the inputs and outputs designed for unbalanced (single sid- ed) signals. Also, for each channel there is a small screwdriver access hole which allows adjustment of the put; the input level control is simply backed off until threshold for the overload indicator described the signal is reduced below the overload threshold. Full above. All connections and adjustments are clearly clockwise rotation of this control results in a total identified by the rear panel graphics. signal gain of 12 dB so that weak signals may be boosted in level. Unity gain occurs at a setting of about Listening Test: In order to evaluate the audio 6y, (with the output attenuators at full level). Above quality of the X20 we interfaced it with our monitoring and to the right of the input level control is a red LED system and performed our usual listening tests. The overload indicator. This LED illuminates whenever the high- and low- output signals were combined using a channel signal exceeds a threshold level. This summing amplifier specially designed for crossover threshold level can be set by the user (by way of a rear evaluations. The signal from our preamp's "tape out" panel adjustment) as high as 7.6 volts rms (about 1.5 was patched to the input of the crossover; the outputs dB below clipping) or as low as 0.4 volts rms. With the from the crossover were connected to two inputs of the threshold set to maximum the LED functions as a nor- summing amplifier; then the output of the summing mal overload indicator. However, turning the threshold amplifier was returned to the preamp's tape monitor in- adjustment fully counterclockwise lowers the put. By punching the tape monitor switch in and out, threshold to the extent that the LED serves as a we could then alternately insert the crossover (and "signal preset" indicator. Phase Linear also gives in- summing amp) into our listening chain or bypass it in structions for calibrating the overload indicator's an A/B fashion. We were careful to set the input level threshold so that it can serve as a remote clipping indi- control so that there was no detectable change in cator for the power amps that follow the crossover. loudness when the unit was switched in and out of the Continuing to the right across the front panel, the chain. We carefully listened to several different album next pair of controls for channel A is used to select the cuts that we were well acquainted with and varied the crossover frequency. These controls consist of an crossover frequency over the full range of settings. The eleven -position rotary switch that is labeled with fre- result of our listening was that we could not detect any quencies from 150 Hz to 1.2 kHz, and a push button significant degradation of audio quality when listening labeled "X10" which switches the action of the fre- through the X20. It was quite transparent as long as quency control to the range 1.5 kHz to 12 kHz. The use signal levels were kept below the overload point. of a rotary switch to select sets of precision tuning resistors results in accurate and repeatable crossover Lab Test: When we took the X20 to the lab, we put frequency selection. it through our test routine paying special attention to Next are a pair of rotary output level attenuators for the response characteristics when the high and low out-

NOVEMBER 1980 81 www.americanradiohistory.com °__w IIi Eam_-_m mI= --_-_- - =e-_--_waffiffi==mnimmu;__mm. P, Me mam Emiiiil'E ai1i22 _ m===ga_===_mm®mom;mIlaml11==__ __m=wa=aa=o;m_mammEmmai - 3em mo==aGmommr.mossmemmonmel 11 3isl weEm6Sssmgsism====__ -E°$=é' ?IllieMeNlCE s°o ele?'p-a?g IA 13__m=1m==- 3á EIBIZsMàNEmmmmmmaáá Mew--I-$8sm- gEEá_ ommg==rfflsá.-_=3g= s.'feg E_E-mE EE INN áÉ==--massmI®il-=---ppggEsg t0====0I3MIlmmm-.T.-NE2ME:vi.i,.. geg=g=mgÉE.s-. _$$s¢s ®affl?I'áseEplpeMeMsIIIçEEE-ERás.i®ácllÇsvllrs°EmáEáME SEMEIÉEiÉiEMEMIL!B?ÇRWAMmN =s=W=-s_ mi@- gsE°?=?=EIROMEsáMB°sléEIME'ill EME_ ]0 WE=teea«u.. x__g_=_ _ 20M=gmfflTIEMELIEMIMENIEMIIIM I80° EE - amx nw,. N=.00.-==mzmgmn. EvP.MINEa:z --Effla3arTeá=MvsMEIril MELPAIsE ®N MIEMMEEME-á E?-éME-=s=`- E m E'EIlllim;EMMM_I_EERiáLM® EME IMEg=ME. -=-=-=sms = il'E=__--- iáMEW9ssEMEs- ásá.Ms mENEENIMIEMINE .áEa-m)á-=ä-ff-mg g EffiE__ In=ámmwama-ommEmasEm:f3C`mmERENIENEEN zaoo -_Nz==g IlimmamE---s-áasa=ácv msIssim EmmIIom --ENI-MEgEN'Agg--MmE?IMzgg3E--g-g-mm-°.gEMMEMEM _ MEEEN' EmI`momgoálcamÍ.-? evolel°oommimmx MIemE-EvEEagsFl===g=== _s=il.i-MI sEIR MEINIMEN-MiNEáirI3EileMlEli aoEME'`s=I!VIZE>iga-a== =--áEll?IE ;NIEM`ma EmM?INEEN$ BNIIM'. E.iivliEiEMlí4MEsiáEEEEv-=á== á:===vv Ir.CEMEN1111ll1lEel8gmilglEr_°i$_Eá;vrr - EiliEieái13Ná3-xslisÉ a==13=3=ElE EIMMEiME=E9E.iïii.yE IE iiEirléllé

Milliill!?11E1E1EN c,°:oee m==mvE= EMEIIEállSEEMEIlEE;NNllilllNiMl- f med®immA;mmffl A i8>= =m=mmmó= m®9mmiI3issismopmmoll9ma.m!- oRmIss®3m

Fig. 1: Phase Linear X20: Amplitude response of the Fig. 3: Phase Linear X20: Amplitude and phase high and low outputs of the unit for a crossover point response of the summed output (polarity invert of 800 Hz. switch in).

puts were summed. The specific results of our tests are ditions as Figure 2 except that the "invert" switch on provided in the "Lab Test Summary" below. the front panel of the X20 was depressed. Again the We are pleased to report that due to its use of 18 -dB- amplitude response is quite flat, but now the phase per- octave Butterworth filter pairs, the X20 exhibits a response varies from about 0° to -360°. This is twice flat amplitude response when the high and low outputs the phase shift of the case with the "invert" switch are accurately summed as they would be in a well- "out." Based on this observation, we would recom- designed loudspeaker system employing high- quality mend operating the X20 with the "invert" switch in drivers. The frequency response curves for the in- the "out" position. In the event that the loudspeaker dividual high and low outputs are shown in Figure 1 for system is wired with the polarity of the low- and high - the case of an 800 -Hz crossover frequency. The curves frequency drivers reversed then it would be ap- show a good wide range response and the sharp cutoff propriate to depress the "invert" switch so that the that is characteristic of Butterworth-type filters. least phase shift ( -180 °) characteristic can be obtain- Figure 2 shows both the amplitude and phase ed. It's nice to know that regardless of the relative response that result when the high and low outputs are polarities of the drivers or the status of the "invert" summed with the units "invert" switch in the "out" switch, the summed amplitude response will always be position. Note that the amplitude response is quite flat flat. This is one of the benefits of using 18- dB -per- and that the phase response changes smoothly from octave Butterworth filters. about 0 ° to -180 ° with increasing frequency. The The X20 also did well with regard to other perfor- response curves shown in Figure 3 are for the same con- mance characteristics. The maximum output level of +20 dBV is enough to drive any normal power amp to m__m_m_m_m _ ___ full output. At about -85 dBV, the noise at the out- MEg;cNNE==_ -m maaElla iiÉ== puts was quite low. Total harmonic distortion (THD) --. - - MsMgwm-0i=-_ms 1E=EE_E w mmmEMEEsmm;l®M;N®--- m+ts° was also very low. MME==I=EME :MM MM_N; We observed that the X20 could be driven into slew M N EMENN;=MM__ = m __E MEN _ anWiuE.ç=3=g3IIEE=+g0o®= all@EMé=áá$áE=Em_====iSE===MEM limiting with a full- power, high-frequency sine wave. OIQiIMENP,EMmmmo1I3I EEII= --ffimME;M_=E.ffi3e Above 22 kHz (the full power bandwidth) a full-power i,4111EIlBlEllNEg-m = --R-==_a====g i a triangle wave- ° 3g=maEMEM______sine wave was quickly transformed into IME'ft=äz==__= s=-==°a_==- -- P .K form exhibiting a slew rate limit of 3.0 volts per micro- ...0___mmEmmEáiM_°_--- =. __-- _=-_-_= -_-___- =-=g second. Dividing this number by the peak output ownEmEmm=Immnaig.mamC=_gas - --s -_= 6W mEIIEIEmg=Emm___3'=-- _==-===g==MIEIR --- -ig_ voltage (12 volts) gives a normalized slew rate limit of EEEMMI'IgIZE-m-=áá==- ==s_==mi_ME111 0.25 volts per microsecond per volt. As we've mentioned .all<11I1E=I"EgEMo;$mEmEm=ä===g=asE10 ,za iNEElMMlE=:áMlssNEE;Em=mr«0=1=o1n1 t _ m-_E before, the minimum recommended value for normalized e®IIIlmclom?IoI>2onwvsI°1`'sonmlm slew rate limit is from 0.5 to 1.0. Limits in this range or ,eo 5 m!®ilmummEmmmammamgwmémmagiÿgsm higher assure freedom from slewing induced distortion. The preliminary owner's manual that we received Fig. 2: Phase Linear X20: Amplitude and phase with the X20 provided adequate information on the response of the summed output (polarity invert unit's controls and signal connections. The manual also switch out). showed how to configure the unit for mono three -way

82 MODERN RECORDING & MUSIC www.americanradiohistory.com THE KIEW 900 6 ERI xJ MODULAR SIGNAL PROCESSING SYSTEM. IT'S. COMPACt IT'S FLEXThLE. IT'S dbx.

With rack space at a premium, you want to save space anywhere you ccm. That's why dbx is introducing the new 900 Series Modular Signal Processing System. You start with a single, easy -to- install 51/4" x 19" rack with built -in power supply. Then just slip in the modules you need. Up to 8 dbx signal processors, with storage for a ninth. But the modules themselves are the real stars. Our Model 902 is the only de -esser that continuously analyzes the input signal spectrum, providing the exact amount of de- essing you want regardless of signal level. And the 902 can be used broadband or on high frequencies only. The 903 Compressor offers a special negative compression feature. In use, it actually begins to attentuate at the threshold, which gives the signal a new sense of punch. Of course the 903 also features our Over Easy compression as well as true RMS level detection. Our 904 Noise Gate features adjustable attack and release rates, Over Easy downward expansion, a special key input that allows you to gate one instrument by another, and a unique "gate" mode which eliminates the need to gain ride solos during multi -track mixdown. The 900 frame accommodates dbx noise reduction modules as well. And this is just the beginning of our signal -processing system. Soon we'll be offering an equalizer, a flanger, and more. So now you've got a signal processing system that's everything you want. It's compact. It's flexible. Best of all, it's dbx. dbx, Incorporated, 71 Chapel St., Newton, MA 02195.617/964 -3210.

CIRCLE 92 ON READER SERVICE CARD

www.americanradiohistory.com use along with several other unusual configurations for delivering a flat amplitude response when the outputs obtaining 36 dB /octave cutoff slopes. are accurately summed. We must admit that the lack of any guarding of the front panel crossover frequency Conclusion: All things considered, we found Phase controls bothers us somewhat. Despite this, we recom- Linear's X20 active crossover to be a fine unit. Unlike mend the X20 as an excellent general purpose elec- many crossovers in current use, the X20 is capable of tronic crossover.

LAB TEST SUMMARY (Note: 0 dBV is referenced to .775 vrms) Input /Output Levels THD Performance Maximum input level before clipping: Depends on (+ 10 dBV output level) setting of input level control Frequency THD & Noise Maximum output level before clipping: +20.7 dBV 100 kHz .0023% (at "Low" output) 500 kHz .0024% (at "Low" output) 2 kHz .0057% (at "High" output) 10 kHz .022% (at "High" output) Noise Performance 20 kHz .047% (at "High" output) (20 kHz filter, unweighted; crossover point at 800 Hz; Small signal bandwidth: 10 Hz to 72 kHz, ±3 dB all level controls at maximum; Power Bandwidth: 22 kHz 600 -ohm source impedance) Slew Rate Limit: 3.0 Volts per microsecond Noise at "High" output: 87.5 dBV Normalized slew rate limit (see text): 0.25 volts per Noise at "Low" output: 84.4 dBV microsecond per volt

CIRCLE 35 ON READER SERVICE CARD

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84 CIRCLE 62 ON READER SERVICE CARD MODERN RECORDING & MUSIC www.americanradiohistory.com Introducing the Crown PZM; the second major advance in microphones in 100 years.

In 1876, Bell invented the first Singers and speakers can move microphone. more freely around the PZM. Gain Crown now announces the second related to distance will change, but microphone - the PZMTM not tonal quality. During the last century, microphones The PZM responds accurately to SPL have been much improved, but they up to 150dB. You can put it right still employ Bell's basic concept: a inside a drum, a bass fiddle, or a piano. movable diaphragm connected to a The PZM hears whispered conversa- transducer, the whole assembly tions in an ordinary room at thirty feet. intended to be stuck out in the air In certain situations where undesired somewhere near the sound source. ambient noise can't be eliminated, Comb filtering is a side effect of that or in halls with poor acoustics, the design that cannot be eliminated. PZM probably should not be used- it Every Bell- design microphone dem- will pick up everything. onstrates frequency response anom- Singers, orchestra conductors, pia- alies because of an inability to satis- nists, percussionists, broadcasters factorily combine direct and reflected have all tried- and praised- the PZM. signals. Phase -induced amplitude Recording engineers find that the cancellation and reinforcement are PZM suggests new miking tech- the inevitable result. niques. For small groups it now Crown PZM microphones eliminate seems that the best place for a PZM comb filtering from the primary boun- is on the floor! Recording and rein- dary because they detect sound forcement may well require fewer according to a new principle, the PZM mikes. Pressure Recording ProcessTM As a Several PZM models are now avail- sound wave approaches a boundary able, including a clip -on and recessed (wall, table, floor) a pressure field four model for permanent installation. or five millimeters deep forms at The PZM is changing ideas about the boundary, within which the direct how a microphone ought to sound, signal and its reflection from the look and be used. Find out for your- boundary add coherently and remain self how it might improve your own in phase. recording or reinforcement systems. The Crown PZMTM places a small Write for information on the PZM. pressure transducer into the primary Or call us at 219/294 -5571. boundary pressure zone, eliminating the possibility of phase- induced interference. The PZM concept thus provides a significant improvement in signal quality. Its small profile also improves microphone aesthetics. The PZM pickup pattern is hemi- Crown International. 1980 spheric, with no "off- axis" position.

MR11 CROWN INTERNATIONAL 1718 W. Mishawaka Road, Elkhart, IN 46517 (Mail this coupon to Crown.) Send PZM info. Hurry! crown Name Company 1718 W. Mishawaka Road, Elkhart, Indiana 46517 Innovation. High Technology. American. That's Crown. Address PZM, PZMicrophone and Pressure Zone Microphone City - - - State. Zip are trademarks of Crown International. Phone

CIRCLE 104 ON READER SERVICE CARD www.americanradiohistory.com Reviewed By: NAT HENTOFF GRO VF JOE KLEE STEVE ROW r

for little more than a place to record Burrito Brothers and Firefall to back local radio jingles. him up vocally, and a few members of But if this recording is any indica- the Richmond Symphony to back him tion, there is a wealth of production up instrumentally, and the end result talent and equipment out in the is really fine. The Robbin Thompson THE ROBBIN THOMPSON BAND: "boonies" that could be used to a much Band consists of Michael Lanning on Two "B's" Please. [Ken Brown, pro- greater extent than is the case at pre- bass, Velpo Robertson on guitar, Bob ducer; Joe Hroner, engineer; Bobby sent. And big name artists would not Antonelli on drums and Eric Heiberg Tulloh and Carlos Chafin, assistant turn out an inferior product if they on keyboards, and together with engineers; recorded at Alpha Audio chose to record in the hinterlands. Thompson and his guitar, they pro- Studio, Richmond, Va.] Ovation Robbin Thompson's third album was duce a tight, spirited ensemble sound. Records OV 17590. produced in his hometown, and the re- All but one of the nine tracks are sult is a finely done, slick, professional - Thompson originals; the ninth is Performance: Spirited, good -time sounding effort in the area of up- "Rock 'n' Roll Singer," an earlier song sounds tempo, Southern California rock. by Ace. One of the titles will seem Recording: Would make a New York Thompson, a past winner in the familiar -"Even Cowgirls Get the studio proud American Song Festival, doesn't have Blues -" but this is not the song of the the strongest voice in the world, but he same name recorded recently by Em- Hundreds, maybe even thousands, of is an engaging entertainer, accomplish- mylou Harris. In some respects, partic- them exist around the country, but you ed songwriter and smart enough to sur- ularly the lyrics, this is better than the probably never heard of them. Per- round himself with some top -flight Harris song. formers tend to gravitate toward New musical talent. Two cuts are particularly notewor- York or Los Angeles (country per- This time out, he has called on the thy for their ability to blend good formers toward Nashville), and as a re- talents of Timothy Schmit of the lyrics, catchy melody and outstanding sult, the local recording studio is used Eagles and Rick Roberts of the Flying production techniques. "Brite Eyes" is

a folk = flavored soft rock song that features a catchy chorus and good instrumental backup. "Candy Apple Red" is a classic late 1960s rock song out of Southern California with a witty chorus enhanced by Antonelli's bass voice growl and a great evocation of surf -and -cars- and -girls that was part of growing up a decade and a half ago. One of the lines is a zinger: "Lookin' for a home run /gettin' thrown out at the plate." The separation of instruments is good throughout the album, and they don't tend to rumble together; each maintains its own distinct voice. The vocals are clear, even when several voices are added to choruses. Thomp- son's voice needs to be out front as THE ROBBIN THOMPSON BAND: A local blend of universal talents. much as possible, and the engineers

86 MODERN RECORDING & MUSIC www.americanradiohistory.com Carvîn The "GUITARIST" SUPER MARKET These top musicians use Carvin M22 PICKUPS and PARTS for their superior performance. RODGER WATERS (PINK FLOYD) LARRY CORYELL THE KNACK SNOWY WHITE (THIN LIZZY) DEEP PURPLE GREY STAR JOHN CIPOLLINA WA WA WATSON PETER TOSH

CARVIN M22 HUMBUCKER

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1 lb. er" er1 1224 12" MagnaLab 80W Guitar Spk $39 $65 Orders will be accepted for Guitar E Hardware Parts Only (10 NW, 1588 15" MagnaLab 100W Bass Spk $49 $85 max.) Canada & Foreign orders must be paid in full In US dollars. 1 1 G12 12" Celestion 30W Guitar $59 $89 SHIPPING INFORMATION & RATES m t a um =mtw 4224 12" Super Duty Eminence 125W 569 $95 All merchandise will be shipped as soon as possible by UPS 4828 15" Super Duty Eminence 150W $79 $110 E120 12" JBL 150W (Full Range) $139 $159 (United Parcel Service) to your door. For HANDLING &SHIPPING The N6 CARVIN Tail Piece is made from heavy solid brass and E130 15" JBL 150W (Full Range) $145 $165 add the below charges to your order. For Foreign orders, add $10 features milled precision slots designed to stop uncontrolled E140 15" JBL 200W (Bass) $149 $168 to the below shipping charge. resonants caused by poor string coupling to the guitar body. 440 800Hz Hepner 40W Hom ORDER AMOUNT ADD SHIPPING CHARGE NE-Chrome Your Price$14.95 list$29.95 16KHz) 1 $49 $79 $10.00 MinimumOrder N6Gold $19.95 $39.95 fí016 Piezo Super Tweeter 100w $11 $19 $10.00to$50.00 $2.00 2461 JBL 16 Ohm 50W Horn Driver 1 $199 $222 $50.00to$99.00 $3.00 SSD1800-16 Renkus-Heinz 40W Driver 1 $159 $195 $100.tto$200.00 $4.00 XC1200 Fused 2-Way 1200 Hz Crossover 100W $65 $37 $200.00 &over $5.00 XC806 Fused 2-Way 800 Hz Crossover 150W $59 $90 for & Mks. add the R500 Professional 900 Fiberglass DO NOT USE THE ABOVE CHART Speakers dust following amounts for Shipping & Handling. For speakers add$3.50ea (ex- Radial Horn for JBL E Renkus. cept6016plezo). ForJBL, Eminence Speakers& Radial Horr, add 57.00 ea Heinz Drivers. 22" W x 8" H x 16" D $129 $210 For all Mics. add $2.50 ea. For 820M System add $10 & for840M System All spks include 1 yr warranty against factory defects (5 yrs on JBL add $15 ea. Speakers & MicS. not shipped to Foreign Countries. spks.) ONLY California residents add current state tax to their orders. The TB8 CARVIN Bass Tall Piece & Bridge is made from heavy 4 SPEAKER ENCLOSURE PLANS AVAILABLE. Entire Set y4.00 solid brass which eliminates bridge flexing and adds to the overall FOR YOUR FREE CATALOG OR TO MAIL YOUR ORDER rich tone quality of the guitar. Precision milled slots couple the CABINET HARDWARE & GRILL CLOTH SEND TO CARVIN PARTS, Dept. MR50, 1155 IndustNal Ave., Escondido, CA 92025 strings securely to the body. Precision string saddles are fully adjustable for both height & intonation. Fits guitars with 21/6" space IAJ Rap -around corner (set of 4) $3.50 between saddles centers. (B`Tri Comer (set of 4) $3.50 (C) Edge Corner (set of 4) TBBChrome Your Price list$79.95 $3.50 $34.96 Heavy Duty Cover Latch (set of 4) $8.00 TB8 -Gold $49.95 $98.95 Steel Bumper Feet (set of 4) $2.50 Rubber Bumper Feet (set of 4) $2.50 B1 - (I'; Cabinet Handle(Chrome strap type) $3.95 SCHALLER, the world's finest Machine Heads. M6, Cabinet Hand le(large recessed type) $10.00 Black Vinyl Grill Cloth 48" x 58" $19.50 ,71.` M8441ni, MBLMinI, M4S.Bass, M4SL.Bass. All Models 44 54" 72" In CHROME at Your Price of $35.96 ea set. USI $64.95 BlackTOLEX Covering x $21.50 3M Spray Adhesive for CARVIN GOLD also available In M6 model at Your Price of above A4.. $49.95. USt $94.95. TOLD(size $5.95

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www.americanradiohistory.com have kept it out front. Despite all the Vortec musical things that happen on some of For Those Who Care the cuts, Thompson is never smothered. Before being picked up by Ovation, this record was available from a local label, Richmond Records, and sold a respectable 20,000 copies, mostly up and down the East Coast. What the album represents, however, is what really is important -a polished effort by local musicians, recording their own material at a local studio, sounding as good as albums coming out of the better known studios (where the wait for studio time can be quite lengthy). S.R.

Integrated Sound Systems' Vortec Sound distortion or break -up. These high -quality TASTY LICKS: Anchored To the Shore. Reinforcement Series has been developed enclosures are vented, Theile- aligned, and to provide touring bands with the insur- constructed of heavy -duty plywood. They [Producer not listed; Paul Muffson ance they so desperately need to protect can be employed individually or in multi- and John Nagy, engineers; recorded themselves against inevitable speaker mis- ple speaker configurations. at The Mixing Lab, Newton, Mass.] road. efficient All high- frequency components in the haps on the These highly Rounder 0120. enclosures have been specially designed Vortec Sound Reinforcement Series are to offer cool- operating, high- definition field replaceable. performance at the highest output. Performance: Tasty Licks, indeed ORTEC GC Vortec Sound Reinforcement Series Recording: Tasty as well speaker enclosures are equipped with rugged Vortec Industrial Series drivers. Inno- vative speaker cone and ring diaphragm INTEGRATED SOUND SYSTEMS. INC. Never before has a group been so Sound designs allow long linear excursions and 2950 Nortnrn 9oulowrd Reinforcement aptly named. Taste is just what these Long Island City, NY 11101 U.S.A. Series ultra -high frequency extensions without 1212)729.8400 four country singers and musicians are all about. It may not be as spectacular

CIRCLE 134 ON READER SERVICE CARD as some of the more electrified fusion bluegrass players but it's a lot more listenable and, at least in my opinion, enjoyable. There are many delights mikes by mall? here none the least of which is Jack Tottle's sensitive mandolin work. for less? Liner annotator Frank Godbey calls up why not!TM the names of Bill Monroe and Jessie more. McReynolds for comparison's sake. and much Frankly, I haven't heard Monroe play this tasty in many years and Now, because you've asked us, McReynolds, while he may out -flash we're offering mixers, reverbs, amps, and out -spangle Tottle, lacks his sound reinforcement systems'", DDL's lyricism and versatility. Versatility is and much more, in addition to mikes unusual in a bluegrass combo. Usually and microphone accessories. they do what they do well but that's all meet with And, because we maintain a mail - they do and any tune they - a breakdown, a order only policy, we haven't the whether it's Scruggsy rock tune or a jazz standard forced high overhead, no storefront, -is into the configurations and patterns of no salesmen...that means three -fingered banjo picking and fast - lower prices to you. fingered mandolin work. It takes musi- Write or call us with your cians with imagination and restraint to requirements, for a prompt price come down for a ballad the way Tasty quote or for our current price sheet. Licks does on "A Fool Such As I." The Mike ShopTM...mikes and Some of this versatility comes from audio equipment by mail, for less... one of the new kids on the band, Pat Why not! Enright, whose high lonesome tenor singing can call to mind images of the The Mike ShopTM last yodelin' brakeman, Jimmie PO Box 366K, Elmont, NY 11003 Rodgers. Unfortunately, Pat throws in 516/437 -7925 an attempt to capture Rodgers' A Division of Omnisound Ltd. yodelin' which falls short of the mark CIRCLE 136 ON READER SERVICE CARD

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Information: 203 - 748 -2799 Orders only: 800 -243 -1054 242 Main St. Danbur Conn. 06810 New England's Largest Pro Music Store =mast[ 45 A just minutes from NYC. MILLION DOLLAR INVENTORY `sound specialties www.americanradiohistory.com N but then so did Cisco Houston's and ode everyone else's. A yodeler like Jimmie Gt Rodgers comes along only once in a millenium and while Enright doesn't vr°f aSSk°0 make it the way Jimmie did, it's a warm heartfelt tribute and "The Last 2CO1a Blue Yodel" is one of the best cuts on this LP. tracks that I enjoy especially *WeS hipment Other are Jack Tottle's tune "Leavin'," the lmmedlate VOW" Ztor traditional sounding (if not quite tradi- 14 » & tional) "Slow Train Through Georgia," 1/2 Hank Williams' "Weary Blues From REVERB Waitin"' and Tottle's mandolin Peak limiter in front end Audio feature, "East Tennessee Rag." Tasty Licks, Quasi -parametric Tape When done up by equalization AMPEX bluegrass can be an enjoyable and in- ALL Wet and dry mix controls 3M TYPES fectious music that makes you tap TDK your foot and smile. I hope this is not Foot switch operation just a small taste because I look for- Quality construction, ward to more of this kind of music. It's dependable, easily serviceable a good antidote for the kind of amplified, whining, maudlin lamenta- For use in studio, PA or instrument applications tions that pass for country music much ASK FOR OUR CATALOG of the time these days. The right price! OF PROFESSIONAL RECORDING SUPPLIES If there are complaints, they are Model RV -1 minor ones. Some of Tottle's originals FURMAN SOUND Poly don't sound all that original. "Ain't Corp. Nobody Cryin' But Me," for example, 616 Canal Street 1233 Rand Rd. Des Plaines, IL 60016 San Rafael, California 94901 smacks of "Railroad Bill" and a couple (415) 456-6766 312/298 -5300 25 of other old tunes but that's the folk process for you. Also, in a band with CIRCLE 74 ON READER SERVICE CARD CIRCLE 1260N READER SERVICE CARD two tenors like Tottle and Enright, it would be nice if the liner notes would identify who sings lead on what song. ALL PROFESSIONAL You can just about guess once you've heard Enright, who obviously takes AUDIO NEEDS the lead on "The Last Blue Yodel" and "A Fool Such As I," but there are ANVIL AKG ATLAS AUDIOTECHNICA times like those on "Weary Blues From Waitin' " when it's hard to tell. AMPEX BEYER BGW CREST It sounds like Tottle to me, but it could CLEAR COM DBX DELTA LAB EDCOR be Enright. J.K. EV FURMAN IVIE INTERFACE KLIPSCH N.E.I. SOUND WORKSHOP SOUNDCRAFT SHURE RENKUS HEINZ OTARI TECHNICS TAPCO TOA

QSC WHITE WHIRLWIND UREI THE HEATH BROTHERS: Live at the Public Theater. [George Butler and M'Tume, producers; Stan Tonkel, Call TOLL FREE For Your 1981 Pro -Audio Catalog engineer; recorded in 1979 at the or for Information and Prices on Nationally Public Theater and at CBS Studios, New York, N.Y.] Columbia FC 36374. Known Professional Audio Equipment Performance: Alive and Heathy my PHONE ORDERS ACCEPTED Recording: Better in the studio, but satisfactory throughout

1- 800 -638 -6050 The Heath Brothers have always SOUND BOX, P.O. Box 2094 Rockville, Md. 20852 played a good boppish brand of contemporary non -fusion music. Now that CIRCLE 59 ON READER SERVICE CARD 90 MODERN RECORDING & MUSIC www.americanradiohistory.com drummer Albert has formed his own IMPROVE YOUR COST /PERFORMANCE RATIO 3 DB* combo, it's an even more straight - PUT YOUR MONEY WHERE IT REALLY COUNTS, IN QUALITY now have ahead trip. Percy and Jimmy COMPONENTS AND A HIGH PERFORMANCE DE; IGN. firm control of the music and with Jim- BUY A PHOENIX SYSTEMS KIT. my's ability to write and arrange and FOR SALE: PF ICE INCLUDES SHIPPING Percy's supreme artistry (both on full - KIT P -94 -S $ 99.0C size bass violin and baby bass) it PARAMETRIC EQUALIZER LINE KIT (MONO) P -25 -DL $150.0( mix. The icing ANALOG DELAY makes for a marvelous (STEREO) P- 25 -SDL $250.00 of on the cake is the funky guitar work TAPE NOISE REDUCTION KIT P- 518 -S $ 65.00 if Tony Purrone and the inventive, HP /LPF (- 12db /OCT) P- 91 -S $ 15.00 sometimes a bit out in left field, SAD -4096 ASR P-4096 $ 45.00 keyboard playing of Stanley Cowell. SEND FOR SPECS /CATALOG The drumming of Akira Tana is, in its ROAD,' MONROE, CONN. 06468 own way, every bit as vital and ex- PHOENIX SYSTEMS/375 SPRINGHILL (203) 261 -4904 citing as Albert Heath's and is more in '308 FIGURE BASED ON APPROXIMATE DOUBLING OF DB$ (DOLLAR POWER) line with the directions that the other GIHCLE 63 ON READER SERVICE CARD brothers have taken their music. Two further percussionists have been added but they aren't needed; in fact, I think they get in the way of the straight - aheadness of the music more than they help it along. This album shows both of the remaining Heath Brothers off in their best light. Jimmy, one of the better composers and arrangers on the current New York bebop scene, has two fine new charts, "A Sassy Samba" and the incredibly gutsy "For The Public" in addition to a reworking of one of his classics, "Cloak And Dagger." On both soprano saxophone and tenor saxophone, as well as flute, Jimmy still shows the influence of Charlie Parker. His nickname of Little Bird was well earned and he shows it here with much playing that originated in Bird, including the famous quotation from Carmen that Bird liked to throw into just about every spot he could. What it INSIlI Allilliks was about that little snatch of the Habanera from Carmen that so at- transit Cases from ANVIL® tracted Charlie Parker eludes me, but The next time your instruments and sound gear he used it whenever and wherever hit the road, protect them with The SHOCK BACK BY POPULAR possible and the surprise is that it ABSORBERS" from ANVIL" To give your gear the DEMAND! extra protection it needs when it's on the road, Our famous 'FLY ANVIL" always worked. If it works less well for ANVIL °'s SHOCK ABSORBERS' Transit Cases are built T-Shirt, silkscreened in Jimmy Heath, well, it's a generation to exceed rigid specifications established by the color on a heavy- weight, im- Airline Transport Association to assure safe transport bright yellow shirt. removed. Besides, Jimmy's major of delicate equipment. Graphic also screened portance is as a writer rather than as a in 1 -color on front. of sturdy, Outside, your gear gets the protection Send check or money player. The same can be said of with gouge top -grade plywood sidewalls covered order for $5.95 to: -resistant ABS plastic. Plus a strong, Thelonius Monk, Tad Dameron and and scuff ANVIL T- SHIRT, lightweight aluminum outer frame. And ANVIL' Duke Ellington so Jimmy is definitely P.O. Box 888, machine -driven, split -steel rivets and steel hardware. in good company. Rosemead, CA 91770 S XL MR-11/E:l Inside, your gear is cushioned with a custom -fit M L With Percy Heath it's another thing. if your protective layer of foam padding. So even NAME The quiet one in The Modern Jazz SHOCK ABSORBERS" shake, rattle and roll on their Quartet has blossomed into a very ex- way to the gig, your gear inside won't. ADDRESS citing bass soloist who plays swinging- The SHOCK ABSORBERS" Because when it comes CITY STATE ZIP ly and with a sense of humor that has down to cases, nobody builds them like ANVIL. been lacking in jazz of late. His tour de force is a feature for the Baby Bass (a

cello body with a wider fingerboard s and tuned like a regular string bass) If it doesn't have an ANVILx... you don't have a ase. called "Watergate Blues." It's a funny CIRCLE 45 ON READER SERVICE CARD

NOVEMBER 1980 93

www.americanradiohistory.com TULSA and funky cut with the audience catch- ing the spirit in unison hand -clapping. AUDIO PRODUCTS Although Gary Giddens complains You probably can't find a higher about the audience rhythm section in quality, more reasonably priced piece his liner notes, I maintain of Audio Equipment designed to solve that they're your patching problems than the more on target than your average au- Model T -1 Patch Bay. dience of hand clappers and finger pop- Features Include: pers and it shows that everybody's Professional -Grade Phono Connectors Shielded Construction having a good time ... that's impor- Rack Mountable - 3y2 x 19" tant, too. 64 Patch Points In A 32 x 2 Configuration Never having been inside the Public Six -Month Warranty Against Defects In Materials And Workmanship Theater I cannot The T -1 is attractively finished in black and aluminum and is suited for studio, home HI-Fi and P.A. vouch for the system applications. Please send check or money order for $89.95 To: TULSA AUDIO PRODUCTS, P.O. acoustics of same. There are always in- Box 3687 Tulsa, Okla. 74101 Cables not included. Please allow 6-8 weeks delivery. herent problems in recording a "live" 160 READER CIRCLE ON SERVICE CARD jazz concert and I can only point out that Stan Tonkel has done a fine job of REAL TIME ANALYZER- ASA-10 getting a good recorded sound down on this LP whatever he may have had to Quickly analyze and balance any room work with -or against -in the process. 'r+i@rat.. Reduce feedback while increasing the gain "For The Public" was recorded in the Improve sound quality for P.A. systems CBS studios a few weeks later and Position speakers for maximum effect while the sound is clearer and more With REALTIME ANALYSIS your equalizer will distinct in the studio under more easily deliver its full potential controlled conditions, there's nothing wrong with any of the sound on this Suggested ASA -10 resale $239.95 disc ... and there's nothing wrong Pink/White Noise Generator ... $59.95 with the music either for that matter. J.K. WRITE: BOX 115, WEST REDDING, CONN. 06896 TELEPHONE: (203) 938 -2588 GARY LAWRENCE AND HIS SIZZLING CIRCLE 87 ON READER SERVICE CARD SYNCOPATORS: Gary Lawrence and His Sizzling Syncopators. [Steven Epstein, producer; Bud Graham and -73 Milt Cherin, engineers; recorded at toOO DC(2N Columbia's 30th SI Street Studios, New ACC REDING York, N.Y.] Columbia CBS M 35824. Performance: Keepin' the music alive G /USIIC Recording: Another wonderful 30th Because you are... creatively involved in Street sound how sound is produced and reproduced, and Band one, side two, of this LP sums up serious about creating & recreating music are the Gary Lawrence philosophy, "Stayin' both live & recorded. Modern Recording Alive." It's a twenties dance band ver- & Music can help you develop your ssi sion of a seventies disco hit and that has talent. Subscribe Now. been the Gary Lawrence success formula since he started the Sizzling Syn- AMUR copaters back in the mid '70s. Their first f2ECOO R2DIIN G recording for Blue Goose included a «A", twenties version of "The Hustle" and G music 1a wne.,wm.. Are Pori wshinylon NV 11050 this latest LP by 151618835705 the band includes the Beatles' "Honey Pie," the Bee Gees' I wish to subscribe 0 as "Staying' Alive," "You're Never Really == .-155, ;. ['renew today and save up to $16.00 $14.00 for 12 issues -Save $7.00 Dressed Without A Smile" from Annie, Glenn Miller's (or more accurately check money order $26.00 for 24 issues -Save $16.00 Gray's) "Pennsylvania 6- 5000" enclosed for the amount of $ My account number is: Jerry and Lawrence's (Foreign subscribers add $3.00 for each ['VISA DMASTERCHARGE own "Charleston at the year Foreign subscriptions payable ONLY in Disco," well U.S. funds by international draft or money order) as as such bonafide twen- IIIIIIIIIIIIII ties material as "Crazy Rhythm," Exp. Date -- / - -/ -- NAME "Hello, Aloha! How are you ?" and "The ADDRESS Varsity Drag." CITY And this, for me, is the crux of the STATE ZIP problem with the band. If they wanted o11C to be a twenties band, they'd be a fine

94 MODERN RECORDING & MUSIC

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THE CONCORD SCENE:

HOT, LYRICAL, MAINSTREAMING THE '-NEXUS" This unit is fully self- contained and rack mountable. It may be installed in your 'studio with -ABSOLUTELY NO SOLDERING -and has enough circuits for any eight track system. Made to be used with 11EAC/TASCAM. SOUND WORKSHOP. dbx, Otani. etc. the "NEXUS" is ideal for any studio using unbalanced lines. There are no commor shields. every circuit is isolated from each other and the chassis elim- By Nat Hentoff inating the possibility of ground loops. There are designation strips on the front panel so you can label what's what. Carl Jefferson does reasonably is to put out a solo guitar set by a WHAT MAKES IT UNIQUE musician who is not, how- 96 '1. jacks on the front panel are wired to 96 well financially with his Concord wondrous RCA jacks on the rear panel with high ivality Jazz label, but profits were not his ever, a household name by any shielded cable. The ;front panel convections (two double rows of twenty four) are double primary motive for setting up his means. By Myself is all Cal Collins, "normalled You may hook it up in any con- own company. A long -time jazz originally a midwesterner, and in re- figuration you wish. however. we supply'instruc- tions for a standard 8 track studio. (cut them in buff, with bread from other sources, cent years, a sideman with the half for four. double them for sixteen). Let's mainly wanted to record demanding Benny Goodman. explain double "normalling" with some ex- Jefferson amples. Everything in your control room is the music and the musicians he Collins was first shaped by hooked up through the -'NEXUS" rear panel con- pianists Tatum and Fats nectors in the configuration you most "nor- likes. Practically all of them happen (Art mally" operate under. The front panel stays clear to be what Stanley Dance has term- Waller) and then by masters of his until you wish to change something around. Irv- Then you just use a standard ' patchcord and ed "mainstream " -improvisers who own instrument (Freddie Green, plug in (a guitar cord will do). Suppose you have swing deep and easy, are fond of ing Ashby, John Collins, Wes Mont- only one Model 5 and an 30 -8. You would connect the four output busses of the Model 5 to melodic variations, and are not in gomery, and, from countryland, the first four input channels of the 80 -8. 1 to 1. 2 to follow. In sum, jazz Merle Travis). Though his technical to 2. and so on. Now you have filled up these first the least hard four channels with music so you want 'to patch for pleasure in the tradition of resources are extraordinary, Cal from an output buss of the board to one of the Collins is not in the least flashy. His remaining tape recorder channels. Dowole "nor- Basie, Bobby Hackett, et al. mailing " allows you to break in at either of two A particularly satisfying illustra- approach is to truly regenerate each points in what is -normally" (by means of internal connections in ,'he patchbay) a closed cir- tion of Jefferson indulging his en- song, finding new emotional dimen- cuit. in this case either the board output buss or thusiasms is the two -volume Con- sions through subtle harmonic and the machine input. Electrically they are the same place. but from a recording engineer's stand- cord Super Band II in a "live" rhythmic designs that do not, how- point they are vastly different. Take another the basic melodic simple example. yow have a 12808 and an Otan 8 Tokyo session. Present, from the ever, distort track and you wish to put a compressor on a label's basic repertory company, are thrust. (As, for instance, on "Stair- singer's voice. Just patch from the correct mod- The ule interrupt points to the compressor and tenor saxophonist Scott Hamilton way to the Stars" and "All you've got it. You nay have a Model 15 and an (the very spirit of the swing era Things You Are. ") And his sound is 85 -16. the possibilities for patching here are endless. Or maybe you are a synthesizer nut with despite his youth) and trumpeter a constant, airy delight. 20 keyboards. devices and gadgets in your is, along In the notes, Jim Crockett tells control room. The "normalling" of this patchbay Warren Vache. The latter allows you to put them all together with your with Ruby Braff, the most luminous how that sound was so superbly board and machine for instantaneous recording by engineer Phil Edwards. flexibility.'-Normalling" is where its ai and that's and lyrical of all contemporary captured what makes this will fit with any system. trumpeters. His tone is both full Cal's Benedetto Cremona guitar is MISCELLANEOUS DETAILS and crisp and the horn practically electric, "But it has a large, hollow There are nearly 500 hand soldered connections in this puppy. It takes up 3'/.' of standard sings in its disciplined ardor. The body to give it an acoustic sound as 19 rack space. Like Henry Ford's cars they limber, enlivening rhythm section is well. Phil utilized the guitar's amp, come in any color you want as long as its black. They have a five year transferrable warranty. We composed of drummer Jake Hanna, while also placing a highly sensitive use only the finest SWITCHCRAFT parts in a so to very sturdy enclosed metal box. (No RF prob- bassist Phil Flanigan, guitarist Cal microphone near the guitar as lems here!) Collins, and pianist Dave McKenna record both the electric and acoustic To keep the cost of the product down. we are not answering regwests for more literature by (who often gives the illusion of hav- sounds simultaneously." mail. We will answer any questions yo, may ing three hands). The result, in audio and musical have by phone. if you are destitute well call you back. The price or a "NEXUS" is 5350. If you A pleasurable surprise is terms, is the very model of a solo divide the price by how many times you plug into who is guitar deep in improvisation. and out of this unit, you will find that it pays for Japanese singer Anli Sugano itself during the first session in lack of ac- a persuasive, horn -like swinger and cumulated aggravation and a secure sense of WARREN professionalism while you record. Your clients ought to have an album of her own SCOTT HAMILTON, will like the money they save too. since they released here. In keeping with Carl VACHE, ETC.: Concord Super won't have to watch you dive behind your board to rewire it every itime you want to patch. Besides Jefferson's sonic standards, the Band 11. [Carl Jefferson, producer; the parts alone would run you a cot pre hundred sound is as natural as can be -full of Yoichi Namekata, engineer.] Con- bucks. Quantities are limited so arder one for your place today. undoctored presence. cord Jazz CJ -120. One of the things you can do if CAL COLLINS: By Myself. [Frank you have your own label and are not Dorrities, producer; Phil Edwards, 1rcxus irc. for the charts all the time engineer.] Concord Jazz CJ -119. shooting 50 Chuckanutt Drive. Oakland. N.J. 07436 201- 337 -0707

CIRCLE 159ON READER SERVICE CARD

NOVEMBER 1980 95

www.americanradiohistory.com You've already purchased twenties band. These guys the equipment .. . have a good during "Hello, Aloha! How Are You ?" feel for the twenties dance bands such I've finally become complacent Now, how are you going about as George Olsen's Music or Coon - the wonders of CBS' former church to mount it? Sanders Original Nighthawks. I im- studios on 30th Street ...especially agine that if they wanted to be a rock when Buddy Graham is on the board. and disco band they could do that too. Anything less than superb sound from Most of these players are club date 30th Street is not to be tolerated. .. and musicians and they'd better know how the sound here is superb. J.K. to play the latest hits because that's what club dates are all about. But Gary Lawrence keeps trying to mix the two idioms and it is not the most felicitous match one could think of. If I prefer the band's twenties material to their up to date book I guess I'm giving away my age ...different strokes for different RICHARD MORRIS AND THE ATLAN- generations. What the twenties and TA BRASS ENSEMBLE: Sonic Fire- seventies mix does is convince people to works, Music for Organ, Brass and Per- buy a twenties LP that they might not cussion, Vol. 1. [Ed Wodenjak, pro- buy if it didn't include "Stayin' Alive." ducer; Pat Maloney, engineer; record- Conversely, if Donna Summer came out ed March 19 -21, 1979 at the Cathedral with an LP of standards 11 such as "Body of Christ the King, Atlanta, Ga.] Crystal Contact: HSC, And Soul," I'd probably be too curious Clear CCS 7010. to be able to resist buying one. we are the only manufacturer The material from RICHARD MORRIS AND THE ATLAN- and distributor of custom the twenties are mounts mostly stock TA BRASS ENSEMBLE: Sonic Fire- we offer, in stock, mounting hardware arrangements or doctored works, Music for Organ, Brass and Per- for all audio and video equipment stocks (with special introductions or cussion, Vol. even special choruses written in by ar- 2. [Same production cred- ranger Lawrence to differentiate them its as above.] Crystal Clear CCS 7011. from other recordings of the stock Performances: Startling, without arrangements). This is an old trick becoming unmusical which even Paul Whiteman's Orchestra Recordings: Startling, if a bit unreal was known to employ. As an arranger at times Gary Lawrence has a good grasp of the sound of the idiom and the band plays Back in the early days of hi -fi, there the charts with spirit and a noble were records that were made solely to Special! authenticity. Vocalist Frank Scafuri, delight those who took delight in show- Teac and aided on one cut by his Melody Men, ing off their expensive hi -fi rigs and Tascam rack pulls off the sound nicely. Occasionally what they could do. Then came stereo he still sounds like the star singer who and everything was ping -ponged: mounts $35.00 expects 41 the band to accompany him, but . . and this is on the left and that is on a pair this month he's made giant strides towards over- the right." In both cases, the gimmick coming that since the band's first record- was what mattered and not the music. ing. His vocals certainly add to the suc- We seem to have grown up a bit since cess of such favorites of mine here as then. There's no doubt that Crystal "Crazy Rhythm" and "The Ghost Of The Clear has intended these two discs by Saxophone." What the band lacks most- organist Richard Morris to show off ly is hot jazz soloists - nearly every their new direct -to-disc techniques. Yet dance band had at least a couple and the they are doing so with genuine music - best bands, such as Whiteman's, had a music by Brahms, Bach, Strauss and good half dozen hot men. Trombonist Now tnat you've purchased Aaron Copland. I'm sorry to have to Dennis Drury is an acceptable jazz report, the ecuipment... however, that Richard Morris stylist, although I've heard him play and/or Ed Wodenjak have not been con- contact HSC to mount it! better when there are more jazz players tent to leave well enough alone. Things around to prod him on. The surprise so- that were written for solo organ such as loist, however, is tuba player, Mark the "Toccata" from Widor's Fifth Organ Heter. Mark is always a good man in the Symphony or keyboard music like Cou- rhythm section but he comes through as perin's Chaconne end up with blasts of a solo voice on "St. James Infirmary" brass and tympani rolls - thank God and "Pennsylvania 6- 5000." Gary Law- they left Bach's Toccata and Fugue In D rence also plays some fine piano solos on Minor alone. (But then they couldn't the LP and as a bonus we even get a have damaged that piece any more than chorus from Joey Adinolfi on accordion Leopold Stokowski already did when he CIRCLE 41 ON READER SERVICE CARD

96 MODERN RECORDING & MUSIC

www.americanradiohistory.com arranged it for the Philadelphia Sym- NOISE the original micro- synthesi?er phony Orchestra.) Also there seems to PA1'.'s be a of Every day more people discover that great deal abridgement here. GATE GNOME is he most versatile, cost effective Strauss' Also Sprach Zarathustra is special effec:e device on the market todt.'. reduced to the opening pages of the John Simonton's time -proven design GT -4 provides two envelope generators. VCA, V..10 work and that made into a brass, percus- and VCF in a low cost, easy to use package. Use alone wth its built in ribbon controller or sion and organ concerto by omitting the The remarkably simple r modify to Ise with guitar, electronic piano. string parts and woodwinds. Although optical noise gate that polytonic k-yboards, etc. the liner notes state that "no one would contributes no raise or The perfect introduction to electronic n -asic distortion to yJur and best of all, the Gnome is only $59.S4 in ever know," that statement is quite signal. occupies easy to aseamble kit form. Is it any wonder y we've sold thousands'? simply ridiculous. Anyone who knows e only I '1" sI rack the music of Strauss' tone poem prior to v space and costs its popularization in Stanley Kubrick's only_ $395.00 for 2001 would know especially if they had four channels. the superior recording by Fritz Reiner and the Chicago Symphony Orchestra (RCA). I will admit to agreeing with the liner notes as far as Reiner's recording is concerned. The organ on the Reiner is To get the out of tune. It is not out of tune on this full story and new a list of deal abridged recording by Morris and ers call or write the Atlanta Brass Ensemble. There is a OMNI CRAFT INC. Send GNOME MICRO - SYNTHESIZER Kit plus $2.00 postage perfectly satisfactory recording by RT. 4 BOX 40 IS59.95 LOCKPORT. IL. 1 GNOME MICRO -SYNTHESIZER Herbert Von Karajan and the Berlin Assembled) plus S2 postage 60441 (Fully $100.00 Philharmonic on which the organ is in 815 -838 -1285 1 Send FREE CATALOG tune but sounds strangely as though it r name were spliced on as an afterthought. Mor- address ris and his Atlantans seem to have the city StltP 7iF best Zarathustra as far as sonics go and OMNI CRAFT visa _ mF card no as far as the instrument being in tune - 405'843 -9626 Oklahoma Cif?. OK 73116 with the rest of the orchestra. Now if `EVA 1020 W Wilshire Blvd. they'd only added the strings and wood- CIRCLE 64 ON READER SERVICE CARD CIRCLE 60 ON READER SERVICE CARD winds and if they'd only done the whole work... In fact, there's not much on these two records that is not fragmented or re- orchestrated in some way or other. Call The Sam Ash To truly get the measure of the abilities of Richard Morris, it is best to consider that work which he has chosen to give HOT LINERS! us unadorned, J.S. Bach's Toccata and Fugue In D Minor. This is a work which, as I've mentioned previously, has sur- vived any number of transcriptions for sESz. symphony orchestra or piano as well as such radically different and opposed players as Virgil Fox and Albert : Schweitzer. I find Richard Morris' inter- pretation a bit quick for my taste yet it works better than either Schweitzer's The Sarr Ash -lot Line is your direct line to the professional advice and low oiscount prices that you'll get only from Sam Ash, extremely slow version or Virgil Fox's NewYork't Musc Department Store. Call our He t Liners on our toll free num- electrified high jinks. If you can get hold ber and you'lll urderstand why musicians all over the world depend anthem for of the Victor 78 recorded by E. Power informatim, price quotes or lust plain advice. Biggs it is, in my opinion, unsurpassed There's ro mystery we're the biggest in the business, with six Sam Ash store` in the Nev. York area plus a huge warehouse.Vle've got a 55 year-old reputation and I wish I still had the record. In the that proves we know what our customers net d. So when you need musical meanwhile Richard Morris does the equipmert and .rant to deal with a firm that you can trust with your hard work justice and if he moves too quickly, earned money, tise the toll free Sam Ash Hot Line. We're waiting to help you. for my taste at least, that says some- GUITARS AMPS SOUND REINFORCEMENT EQUIP thing about his manual -and pedal - KE \BOARDS DRUMS ALL INSTRLMENTS 6 ACCESSORIES dexterity. Old "D Minor" is a tough v\NE CALL TOLL FREE $ 1924 piece and Morris pulls it off, if a bit acrobatically, at least cleanly. In fact, 800 -645 -3518 etat I'd say that's the measure of the whole NEW 535v STALE CALL 2'.' 14- -'S' MUSIC STORES of both of these recordings. It's good 301 PENINSULA BOULEVARD HEMPSTEAD NEW YORK 11550

CIRCLE 124 ON READER SERVICE CARD NOVEMBER 1980 97 www.americanradiohistory.com clean playing, a bit too athletic for my taste, but certainly evidence of the artist's ability and the considerable abilities of the recording engineers and their Advertiser's Index equipment. It will, by the way, test your R.S. # Page # equipment too and if your speakers can 68 .... Abadon Sun 99 handle Richard Morris' version of Zara- 148 ...Agfa- Gevaert 12 114 Different Types! thustra they can handle anything. And 141 ...Allen & Heath 79 45 ....Anvil Cases 93 In Stock! if you want to drive your neighbors mad, 158 ...APT 14 try playing the opening percussion sec- 143 ...Arp Instruments 22 And Priced Right Tool tion of Copland's Fanfare For The 84 .... Ashly Audio 12 Common Man. 47 .... Audioarts Engineering 41 62 ....Audio Light & Musical 84 All in all, it's certainly a better way to off No #... Bose 99 show your equipment than "Ping 156 ... Browning & Rice 58 Pong Percussion" or "Sounds of Steam 155 ... BSR (USA) Ltd 15 Locomotives." Yet I wish that Richard 85 ....Carvin 24 Morris and the Crystal Clear engineer- 123 ...Garvin 87 ing team, having proven what they can 53 ....Community Light & Sound 16, 17 do with these hors d'oeuvres would set- 61 ....Countryman 99 u tle down to some meat and potatoes and 104 ...Crown 85

World Famous Sescom - MI-Series - give us, perhaps, Cesar Franck's Three 92 ....dbx 83 Transformers Chorales for Organ or Olivier 114 ... DeltaLab 63 106 ... DOD Electronics 57 for Professional Audio Applications Messiaen's Nativite du Seigneur and then get the entire Atlantic No #... East Coast Sound 89 Symphony 42 .... Eastern Acoustic Works 58 Send for your FREE 1980 Catalog Orchestra to join them for a rousing ver- 157 ...ELEC -TEC 20 sion of Saint -Saens' Symphony No. 3 in 82 .... Electro -Voice 25 SESCOM, INC. 702)384 -099' C Minor for Organ and Orchestra. Until 74 .... Furman 90 5E5 6671esswnal Sound DIri1., 8001 634-34, I I Les Vegas Bbd. Norte wx 910- 397 -6'. OEM that happens, though, I guess we will 87 ....Gold Line 94 Las Vegas, NV 89101 U.S.A. just have to make do with Jean Joseph 41 ....HSC 96 CIRCLE 11EOÑ READER SERVICE CARD Mouret's Rondeau, which was a perfect 140 ...JBL 11 example of 18th- century French music No #...LT Sound 98 A SINGER'S DREAM! long before it became popular as the theme of Masterpiece Theatre. J.K. 79 .... Maxell 21 48 .... MicMix 59 136 ... Mike Shop 88 No #... MXR Cover 2 REMOVES VOCAL FROM MOST STEREO DISCS JOHANN STRAUSS: Waltzes Trans- 159 ...Nexus 95 The Thompson Vaca Eliminator can actually remove most or virtually all of a solo vocalist from a standard cribed for Chamber Orchestra By Ar- 64 ....Omni Craft 97 stereo record and et leave most of the background 100 ...Orban 6 music untouched! Not an equalizer! We can prove it nold Schoenberg, Alban Berg and An- 154 . Otani Cover 3 works over the phone. Write for a brochure and demo ton Webern. [Rainer Brock, producer; record below. COST: $249.00 Klaus Hiemann, engineer; date and 60 ....PAIA 97 YOU SEE US 89 ....Peavey 35 SHOULD place of recording not given.] Deutsche 153 ... Phase Linear 65 Studio Echo /Reverb Grammaphon 2530 977. 63 .... Phoenix Systems 93 126 ... Polyline 90 Tape Noise Reduction For: Parametric Equalization Performance: The Boston Chamber 91 ....Revox 13 Players at their most 56 ....Rhodes 7 Electroiic Crossovers 71 .... RolandCorp US 2 charming Comp/Limiters 124 ...Sam Ash 97 Recording: Too good for its own good 156 ...Sequential Circuits 23 116 ...Sescom 98 There's no need to repeat the story of 118 ...Shure 37 59 ....Soundbox 90 _ ..:: .: _ how those three scions of - .. the avant No #... Sound Workshop 8 ------garde (Schoenberg, Berg and Webern) 91 .... Studer Revox 13 . 83 ....Studiomixer 1 _ happened to orchestrate of } several the 76 ....Sunn 43 "î'' .:. waltzes composed by Johann Strauss, 67 ....TDK 5 Jr. or "The Waltz King," as he was call- 125 ... TEAC 26, 27 ''. ed. It's all there in the liner notes and it 98 ....Technics Cover4 ii 160 Audio Products 94 ' :i i.cS_c:l. makes an interesting and human story. ...Tulsa ,-... l.-t ,'.. !_!:t What is important is that these three 96 ....UREI 51 avant music 134 ...Vortec 88 We mar ufacture a lull live of high quality audio and -garde composers, whose recording equipment. You will probably have to pay one would not tend to think of as twice as much elsewhere to obtain comparable quality. 110 ...Whirlwind 19 Only Direct Sales make cur prices and quality possible. melodic, did transcribe a number of Send S1 for a 20 page brochure and 20 minute 99 ....Yamaha 53 demonstration record. these popular dance tunes of the day for chamber orchestra and managed to do Write to. LT Sound, Dept. MR, P.O. Bon 729. Decatur, GA 30031. (404) 284 -5155 so without doing any violence to the

98 MODERN RECORDING & MUSIC

www.americanradiohistory.com magnificent melodies of Herr Strauss while contributing some new textures GUARANTEED and harmonies to Strauss' music. To be sure, these are virtuoso trans- FIVE YEARS criptions, taxing even the abilities of today's players, whose capabilities extend far beyond those of the average salon TYPE 85 FET DIRECT BOX_ orchestra of the day. One must remem- AMP. INST. PICKUP ber, however, that the players at the first performance in 1921 included the three orchestrators as well as others SPEAKER with enough technique to play both the new music of the day and the traditional MIC OUTPUT melodies as orchestrated by the big OPEN three for string quartet, piano, har- 0 PINT monium (reed organ) and, occasionally, flute and clarinet. The Boston Chamber Players, composed primarily of first chair players with the Boston Sym- phony Orchestra, is certainly a suffi- AKG ADR For Information on TYPE 85 FET ciently virtuoso ensemble to deal with AMBER AMPEX The Products of These DIRECT BOX the technical and musical demands of BEYER Companies - Write or COUNTRYMAN Call (512) 824 -8781 Strauss, Schoenberg, Berg and Webern. CROWN If it fails or you manage to Amid such uniform excellence it is DBX break it within five years of EVENTIDE of original pur- ridiculous to play favorites but, consis- CLOCKWORKS the date JBL chase, we will fix or replace tent with their original compositions, I LEXICON MARSHALL it no questions asked. That find Alban Berg the most melodic of ORBAN says a lot about the way we that terrible trio of modernists who so OTARI build them. SOUNDCRAFT RBRDON SUN, INC. shocked the sensibilities of the old TASCAM UREI P.O. Box 6520 UUCOUNTRYMANpASSOCIATES INC. school of music lovers. Yet there is also WHITE San Antonio, Tx 78209

much of the romantic in early Schoen- CIRCLE 68 ON READER SERVICE CARD CIRCLE 61 ON READER SERVICE CARD berg such as Verklarte Nacht and much of his Wagnerian inheritance carried through even into his avant -garde works with tunes bubbling beneath the surface of the twelve tone rows. Berg, on the other hand, used the various disciplines of the modern school as tools of PRODUCT LINE the trade, not as ends in themselves. MANAGER With Berg, melody was always first and foremost. If it happened to conform to Further expansion of our professional marketing team has created an the avant garde dictum, so much the immediate opening for a Product Line Manager. Responsibilities include identifying and exploring new product ideas, evaluating product need better for progress. and monitoring product introduction and development. The position As for recording quality, it's not even involves continuous interaction with a variety of functional areas and necessary to discuss that sort of thing disciplines and demands constant attention to existing products and markets. when discussing DG. The label has been synonymous with clean recording and The ideal candidate will possess a solid technical background and working knowledge of high fidelity with significant experience in the field of quiet surfaces since it first appeared on product management and /or marketing preferred. You must have de- the American market. This LP is no ex- monstrable understanding of market conditions, retail opportunities, the ception; in fact, so wide range is the re- constraints of design and manufacture, and the managerial talent and energy to thrive in an industrial environment committed to excellence. cording that the microphone picked up the low frequency hum of the bellows We offer an attractive package of salary and extensive personal benefits used to pump air into the harmonium in a convenient location 30 minutes west of Boston. and it comes through on the quieter For confidential consideration, please send resume with salary history parts of the record. It's certainly not a and requirements, to Gary LaFave, (Dept. MR), Bose Corporation, 100 Mountain Road, Framingham, MA 01701. part of the music but as part of the an- tique charm of a recreation of that even- ing in 1921 when Les Enfants Terrible came to grips with Johann Strauss' Waltzes, it clearly belongs. Just as this music belongs, especially if you've be- An Equal Opportunity Employer come jaded with the way symphony or- chestras tend to overdo it. J.K.

NOVEMBER 1980 99 www.americanradiohistory.com I [CLASSIFIED ADS,

AMPEX 440C 8- track -very little use, ex- ECOPLATE 11, the most innovative plate JBL AND GAUSS SPEAKER WARRANTY cellent condition $6500.00. Ampex 440B reverb breakthrough for the semi -pro CENTER. Fast emergency service. Speaker 1/2-track record and play and 1/4 -track play- studio. Enhancing the music not cluttering Reconing and Repair. Compression driver back. Good condition $2000.00 Allen & it. In stock for immediate shipment. Trade diaphragms for immediate shipment. Heath Mod II console, 16x8, with 16 -track in's welcome. We buy used semi -pro gear. NEWCOME SOUND, 4684 Indianola monitor, patchbay. Good condition Audio House, 4675 S. Yosemite Unit 203, Avenue, Columbus, OH 43214. (614) $2200.00. (201) 825 -5359 bus. hours, (212) Denver CO 80237. (303) 741 -4746. 268 -5605. 962 -3570 evenings & weekends. SPEAKER BUILDER, the new quarterly can For Sale New: JBL 2482's $250, JBL 2220J 's ELECTRONIC MUSIC and home recording save you one -third on your audio system: $110, JBL 2203A's $100, JBL 4602 Stage in Polyphony magazine. Advanced applica- build ribbon tweeters, Thiele aligned monitors $350, Ashly crossovers: SC -22 tions, interviews, projects, computer reflexes, a wall of electrostatics, update $190, SC-77 $260, SC-80 $215, SC-66A music. Sample, $1.50. Subscription (6 cheap bookshelves, giant sub woofers. stereo parametric $365, TAPCO C -201 issues), $8 US /$10 foreign. POLYPHONY, You'll find it all in Speaker Builder. $10 /four stereo equalizer $230, dbx 500 $175, dbx Box M20305, Okla. City, OK 73156. issues, $18 for eight. Box 494M2, Peter- 505 $329. Barney O'Kelly (614) 268 -5643. borough, NH 03458. MCNisa orders (603) LEARN MUSIC THEORY AT HOME with a 924 -6526. Tascam 80-8 with or without DX8. Tascam correspondence course. Send for free in- 70 -4 in console 1/2" tape. 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Free mail order year. $15/12 issues (USA); sample $1.50. shop, Box 804, Cooper Station, NY 10003. discount catalog. Write or call SONIX CO., DEVICE, Dept. MR, 1085 Broadmoor, Napa, Dept. R, P.O. Box 58, Indian Head, MD CA 94558. Use 20640. (301) 753 -6432. RECONING SERVICE: Fast speaker FOR SALE NEW: Sescom direct boxes, rebuilding on JBL, Altec, EV, Gauss and RECORDING SM1A $48 (3ea), SM2 $46 (4ea); JBL PAS. Send your defective speakers to speakers, E140 $115 (8 ea); E120 $110 (6ea), DIMENSION FIVE, 24 N. Third St., to J Dc 2402 Bullett tweeters $85 (6ea); Shure SM57 Womalsdorf, PA 19567. Ship UPS insured Classified Ads - mikes $89 (12ea); dbx 164 $310 (2ea). and prepaid. Warranty work supplied on all MORE. Call Barney O'Kelly (614) 268 -5643. above brands. Non -warranty work returned They Get UPS COD service amount. (215) 589 -2546. HOW TO PROFIT USING YOUR OWN home Questions -Call John. Results! equipment for part time recording business. FREE Information. HSC, P.O. 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Box 340, Cary, NC 27511. 4400 reverb $350. Dbx 110 boom box new Voice, Box No. 112, 600 Cecil Street, 1 -800- 334 -2483 (NC 919 -467- 8462). $150. Dbx 162 compressor /limiter $500. Buchanan, MI 49107. Dbx 155 2 ea $450. EV RE 16 $120. Beyer A MUSICIAN'S GUIDE TO FOUR TRACK M500 new $150. Teac ME 120 new $90. FOR SALE: EV /Tapco C -12 12x4 mixing RECORDING contains 64 pages of prac- Crown D150A $450. (303) 741 -4746. console with Anvil 'case /light $1800.00; tical, specific techniques for home record- C- 12/C -8E 20x4 console with case/light ing. Covers miking, patching, effects (com- FOR SALE: Large equipment flight case. $2900.00; JBL 4350 Studio Monitors pression, EQ, reverb, delay), acoustics, 49 "x27 "x14 ", used once. Phone (713) $1275.00 each. Barney O'Kelly (614) bouncing tracks. $5.00 includes postage. 723 -7109. 268-5643. STARSONG STUDIOS, Recording Book, 3218 E. LaSalle, Colorado Springs, CO PROFESSIONAL AUDIO EQUIPMENT. FREE LIST! Musical merchandise close- 80909. 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This Technics direct-drive tape deck records with the accuracy that made our turntables famous.

Everyone knows what Technics direct drive does for per- Equally impressive are the RS -M45's solenoid controls. formance end accuracy in our turntables. That's why 73 of They not only rake switching from one mode to another the top 100 radio stations that use turntables use Technics simple and accirate, they also put minimal strain on the direct drive. Now, for only $330 (Technics suggested- tape -transport system. retail priced you can record your cassettes with the ac- Just as spe_ial are tie RS -M45's FL VU meters with euracy of Technics direct drive. auto-peak- hoktreset. They're fast, electronic and highly ac- r That says a lot about the RS-M45. So do its FG- cuwt$. And wim our SX record and playback heads, you'll "-lrvo DC direct -drive capstan motor, 0.035% wow and hear the increased frequency response (20 Hz - 20 kHz) flutter, and the workl's only cassette deck with a limited and extended dynamic range of metal tape. three-year nrarrantyron the motor (Limited two -year The RS -M45 isn'tycLr typical S330 cassette deck. In warranty on deck: parts & labor -with carry-in service fact, when you consider Performance, features and war- =a kind. And that's very typical of Technics. & proof of purchase. See the warranty card' forTechnics details.) ranty, it's one o Te science of sound CIR E 98 ON READER SERVICE CARD