January 1987 Narrow Gauge Page 24

T.M. ENGINEER/PRODUCER The Technical Journal for Audio Professionals $4.00

AM- Why Leadin from Tape

Finally the true potential of the digital studio can be realized. No longer are you limited to stor- ...... ing and retrieving digital data on O media designed for outdated tape The Tapeless Studio - ,...... technology. The Direct-to -Disk is available today! ,.\...... \ ,.,..,,.., \\ Multi -Track Recording System .....r.... Start with the industry-proven Synclavier Digital ...... by New England System. Now available with a 32 track digital ...... uses multiple, high capa- sequence recorder, 32 megabytes of high -speed RAM ....,..,...... "" city, winchester hard and on -line storage support for up to 2000 megabytes of ....,...... sampled sounds. ....r"`"...... : disk drives for data ..... %% storage. The Direct -to -Disk System can be added at any time. %%%%%%%%%%...... %.. Operation is simple! The system is controlled by the """`::.."`. Synclavier's keyboard control panel. The easy -to -use inter- `;::::....:...... face provides all standard tape recorder functions, and .":.".`` ..`" . more! ...... :.:. The finest quality 16 -bit A D conversion processes and output filtering technology available are combined with vari- able "stereo" sampling rates of up to 100kHz to offer audio When ;;N:%%;;;; %%%%%%%%%%% fidelity unequalled by any other system. comparing %%%%% .4. The Direct -to -Disk System stores large volumes of digital- the Direct -to -Disk `..;..`.`;;. System with standard ` ..` , ly coded information on formatted winchester hard disks. .`" .. %. .. ` .. Once stored, this information can be accessed randomly at tape -based digital record- ...... any point in the recorded program material. This random ing there is a dramatic differ- `...... --_ .` ' - access technology provides virtually instant rewind and ence. For example. the Direct ....4 ` .- sophisticated editing features that would be impossible using to -Disk System does not need `.`'.--' conventional technology. error correction. Its negligible error rate contrasts sharply with tape -based digital recorders which require error correc- tion software to compensate for error rates of up to 180.000 bits per hour. This dramatic differ- ence in data integrity illustrates 's commitment to quality and audio fidelity. Expanding the system is simple. Start with as few as 4 i tracks for overdubbing vocals or live instruments onto your Synclavier sequences, add on more tracks and recording time as needed. With configurations of up to 16 tracks and almost half an hour of recording time large multi -track projects can be easily completed. With the Synclavier 's advanced hardware and software architecture. you always have the option to expand. .4* We invite you to stop by any one of our offices, worldwide. for a complete demonstration of this amazing product.

New England Digital White River Jct., V7' 802 295 -5800 N.Y.: 212 977-4510 L.A.: 213 651 -4016 Authorized Distributors - Atlanta: 404 351 -5955 Nashville: 615 327 -434 tudios Have Changed to Direct-to-Disk

The fidelity, speed, and fexibi;- "The Synclavier, combined with the new Direct - ity of tais system make the Synclavier Direct-tao -Disk Multi.- to -Disk tm Multi -Track Recording System, provides Track Rexrding System truly the us with the most compact, reliable, upgrade - most powerful digital audio sys- able, and high fidelity recording environment tem ava'able today. For a complete .nlorrrotion pack- available today. For video -post, Foley, or music age, incnuding an audio cassette recording, it's a product which offers us tremen- demonstrating 'he Synclavier and dous benefits, both sonically and financially." the Direct-to-Cisk System, send $5.09 to New England Digital Murray Allen, President. Universal Recording Corporation Corporation, Box 5Q6, White River Juiction, Vermont 05001. Using today's advanced com- simultaneously onto as many as puter technology, the Synclavier 16 separate tracks. Dialogue, ef- Tapeless Studio now offers more 'ects. vocals, and or music tracks than just the ability to synthesize .-;an be SMPTE synchronized and and create music. Now you edited with word processing -like can record "live audio' control at a single workstation.

Synclavier is a registered trademark of New England Digital Direct -to -Disk and The Tapeless Studio are trademarks of New England Digital 1986 New England Digital All specifications are subject fo change without notice.

Circle (1) on Rapid Facts Card

Seattle: 206 623 -7860 London. 202-4366 Tokyo: 416 866 -0528 contents

ENGINEER /PRODUCER January 1987 Volume 18 Number I

Page 24 Page 40 Page 64 Recording Alternatives measurements you need to make Equipping an Electronic on recording and production Music Production Facility equipment and what type of test With production Narrow-Gauge equipment should a facility look assuming more importance, what Multitrack Applications for? hardware and services should a The use of cost -effective narrow - By Richard C. Cabot 50 studio look for to provide? gauge multitracks using l/4 -, 1/2-and By Paul D. Lehrman 74 1 -inch tape has matured from Concert Sound System semi -pro applications to offer a Development RE /P Annual 1986 Index 80 viable alternative to conventional The continuing emphasis on high - Departments track formats. quality sound and rugged con- By Adrian Zarin 24 struction will result in some radical Editorial 4 reorientation for sound system News 6-7 rental firms and equipment Letters 8 The Evolution of MIDI -based manufacturers. Managing MIDI 10 Narrow -Gauge Studios By David Scheirman 46 Sound on the Road 12 A profile of Jeff Siegel's Musitech. Film Sound Today 16 By Rob Tuffly 32 AES Replay: Living With Technology 18 Digital Developments SPARS On -Line 22 82 By Mel Lambert 54 Studio Update Other Features New Products 86 Understanding the Final Stage 94 New Tax Laws Amplifier to Loudspeaker Classified 95 How will the new provisions of Connections Ad Index 96 A new design might be worth con- TRA 86 affect the pro-audio in- On the Cover: dustry? sidering for studio and live sound theme of By Kathleen White 36 applications. In keeping with the editorial By Bob Hodas 60 "Recording Alternatives," our January Sound for Liberty Weekend front cover shows the headstack layout MX 1 -inch 16 -track [top] Providing live and pre -recorded Digital Audio Post -Production of an Otani -70 a MX -5050 1/2-inch 8- track. Photo by audio for this 4 -day multi -media The philosophy behind the crea- and and courtesy of Otani Cor- event was not without its own set tion of an all- digital DAPP facility Bruce Ashley of unique problems. for disc and CD mastering. poration. By Rosanne Soifer 40 By Bill Foster 64 RECORDING ENGINEER/PRODUCER -Volume 18. No 1 -(ISSN 1)034 -1673) is published monthly by Interlec l'uhlishing Corporation. 9221 Quivira Road, P.O. Box 12901. Test and Measurement Hands On: Overland Park. KS 66212 -9981. Second -class postage paid at Shawnee Mission. KS and additional mailing offices. Equipment Aphex Studio Dominator limiter POSTMASTER: Send address changes to Interlec Publishing What are the important audio By Steve Keating 70 Corporation. P.U. Box 12901. Overland Park. KS 66212 -9981.

2 Recording Engineer/Producer January 1987 ThUTH... OR CONSEQUENCES. If you haven't heard ]BL's new generation of Studio Monitors, you haven't heard the "truth" about your sound.

TRUTH: A lot of monitors "color" their an extended high frequency response distortion. and is key in producing the sound. They don't deliver truly flat that remains effortlessly smooth through 4400's deep, powerful, clean bass. response. Their technology is full of the critical 3,000 to 20.000 Hz range. CONSEQUENCES: Conventional mag- compromises. Their components are And even extends beyond audibility to netic structures utilize non-symmetrical from a variety of sources, and not 27 kHz. reducing phase shift within the magnetic fields, which add significantly designed to precisely integrate with audible band for a more open and natu- to distortion due to a nonlinear pull on each other. ral sound. The 4400 Series' incompara- the voice coil. CONSEQUENCES: mixes. Re- mixes. ble high end clarity is the result of JBL's 4400 Series monitors also Having to "trash" an entire session. Or use of pure titanium for its unique TRUTH: feature special low diffraction grill frame worst of all, no mixes because clients ribbed -dome tweeter and diamond which reduce time delay distor- simply don't come back. surround, capable of withstanding forces designs, surpassing a phenomenal 1000 G's. tion. Extra -large voice coils and ultra - TRUTH: JBL eliminates these conse- CONSEQUENCES: When pushed hard. rigid cast frames result in both quences by achieving a new "truth" most tweeters simply fail. Transient mechanical and thermal stability under in sound: JBL's remarkable new 4400 detail blurs, and the material itself heavy professional use. Series. The design, size, and materials deforms and breaks down. Other materi- CONSEQUENCES: For reasons of eco- have been specifically tailored to each als can't take the stress, and crack under nomics, monitors will often use stamped monitor's function. For example, the pressure. rather than cast frames. resulting in both 2 -way 4406 6" Monitor is ideally mechanical distortion and power com- designed for console or close-in listening. TRUTH: The Frequency Dividing Net- pression. While the 2 -way 8" 4408 is ideal for work in each 4400 Series monitor allows The JBL 4400 Studio Monitor broadcast applications. The 3 -way 10" optimum transitions between drivers in TRUTH: 4410 Monitor captures maximum spatial both amplitude and phase. The precisely Series captures the full dynamic range. detail at greater listening distances. And calibrated reference controls let you extended high frequency, and precise your as no other the 3 -way 12" 4412 Monitor is mounted adjust for personal preferences. room character of sound Experience the with a tight -duster arrangement for variations, and specific equalization. monitors in the business. your JBL close -in monitoring. CONSEQUENCES: When the interaction 4400 Series Studio Monitors at dealer's today. CONSEQUENCES: "Universal" monitors, between drivers is not carefully orches- those not specifically designed for a trated, the results can be edgy, indistinct- CONSEQUENCES: You'll never know precise application or environment, ive, or simply "false" sound. the "truth" until you do. invariably compromise technology, with inferior sound the result. TRUTH: All 4400 Studio Monitors fea- ture JBL's exdusive Symmetrical Field IBL Professional 8500 Balboa Boulevard TRUTH: JBL's 4400 Series Studio Moni- Geometry magnetic structure, which JBL Northridge. CA 91329 tors achieve a new "truth" in sound with dramatically reduces second harmonic

Circle (4) on Rapid Facts Card January 1987 Recording EngineerProducer 3 E dîtorîal Paralleling recent advances in digital be coming up with the necessary short- tape machines, signal processors, con- hand definitions and concepts to be able Audio soles and random -access editing systems, to drive it. we have seen changes in the way record- In terms of our interfacing with such Concepts ing and production engineers need to systems, I would predict that a familiarity conceptualize the functionality of latest- with CRT and liquid -crystal screen dis- generation hardware. plays, mouse-driven "windowing" soft- In the past, we could use circuit ware and an appreciation of adaptive diagrams and schematics to gain an functionality would be of a high priority. understanding of an analog console's in- Not only will such familiarity with the ner workings. Want to know where the underlying potential of such systems stereo effects returns are routed to the enable us to be up and running from the 2 -mix bus? Easy. Follow the analog get go, it will also enable us to provide signal flow around the circuit diagram valuable feedback to manufacturers provided in the owner's manual, and it's when the time comes to draw up a list of not too difficult to find what you're after. necessary enhancements. Or, suppose you need to interface a It is often said that any recording or new outboard to an existing production engineer worth their salt can console, and are concerned about level walk into just about any facility or live - and impedance matching? As long as performance situation and get audio you have a basic understanding of Ohm's from the desk and peripherals within a Law, an appreciation of signal bandwith, couple of minutes. With analog tech- and are familiar with the definitions of nology, this is usually the case. dBV, dBu and so on (not to mention the Substitute an assignable or all- digital correct polarity for XLR -type con- console, add a couple of MIDI -based pro- nectors), you should encounter few prob- cessors, a random -access editing con- lems in extracting and using the relevant troller, a digital multitrack with time- data. code, AES /EBU I /Os and video-sync re- But digital consoles, editing systems quirements, and the situation becomes a and processors are entirely different shade more tricky. animals. How do we need to conceive of And it is not necessarily because the all the latest microprocessor -based toys control surfaces bear little resemblance that are finding their way into our to what engineers are used to with con- studios? Would you understand what a ventional designs. (Few manfacturers certain manufacturer friend of mine can hope to interest potential users in meant when he described his latest their latest -generation systems if users are assignable console design as "an ex- going to be forced to work in a way that tremely compact, multitasking local -area seems unnatural.) Instead, a ready accep- network ?" Maybe not. tance of such systems only comes when I'll concede that this example of we can get a handle on the critical design "jargonspeak" may be an extreme one. concepts; and not just treat the device in But it is, I would suggest, indicative of question as a very sophisticated "black the way we need to sneak up on the box." problem of defining a workable under- It could be argued that audio engineers standing of such hardware. do not need to worry about bits and As I have said before in these bytes, let alone parallel processing archi- editorials, the pro-audio industry is tecture, software shells, LANs, etc., to becoming increasingly dependent upon operate the digital studio of the future. the industry to supply the What you will need, however, is a clear building blocks from which our new and precise way of translating what you technologies will be fabricated. If we are want to achieve in response to the sound to be able to make the most of the you hear over the control-room moni- enhanced mode of operation and effi- tors, into an action effected by the con- ciency such microprocessor -based sys- sole, editing system, or effects processor. tems are going to mean to use in the To do that, every engineer must begin studio of tomorrow, high on anybody's to cultivate a basic familiarity with the list of priorities, is a basic understanding newer examples of pro-audio jargon. of, and a ready familiarity with, the ter- minology used to describe them. Obviously, design engineers and pro- grammers will be very much more au fait with system topographies and data flow throughout the myriad arithmetic and storage processors of which future all- digital systems will be fabricated. Our Mel Lambert problem, as users of such hardware, will Editor

4 Recording Engineer/Producer January 1987 Why your next console should be as difficult to hear as it is easy to operate.

The studio is more complex to a group, ar thirty six. So you can split configuration. Master Input Status and less forgiving. concentrate on the music without dis- switches select mic inputs or line tractions from the mixer, even on returns on all input channels simultane- Electronic production techniques digital multitrack. ously. In its mixdown configuration, the using MIDI and SMPTE sync require AMR 24 will handle up to 60 tracks, more control than a "wire with gain" Features shouldn't degrade because the 24 Track Select switch can provide. But as functions and com- audio performance. changes the monitor returns to line ponents accumulate, the console's signal Automation widens creative possibili- returns normalled to your second 24 path has grown more complex, and its ties - and narrows the margin for con- track (or to synchronised "virtual audio performance has suffered. On sole error. For example, FET mute tracks" from synthesisers and samplers). analog recordings, higher levels of switches that are "silent" individually The monitor returns have aux buses, crosstalk, noise and intermodulation can produce audible glitches when solo and mute, plus four bands of EQ were an acceptable price for additional grouped. The AMR 24's carefully con- and long throw faders, so this flexibility control. On digital multitrack, however, trolled switching time constants elimi- is achieved with no loss of audio quality. these flaws become glaringly obvious. nate this problem. For additional effects returns, the Crosstalk blurs the stereo Every circuit in the AMR 24 has been Fader Reverse function creates an addi- calculated with equally close attention. tional 24 patch points through the cue image. Each stage has at least 22 dB of head- send faders. virtu- Now that digital recorders have room; total dynamic range is over 100 Imaginative design and uncompromis- is an espe- ally eliminated crosstalk, this dB. Even so, unused stages are bypassed ing construction give the AMR 24 flexi- cially annoying problem. The AMR 24 to produce the shortest effective signal bility and sonic transparency that matches the channel separation per- path in every operating mode. represent clear achievements: especially formance of digital multitracks because Perhaps the AMR 24 is a product of clear on digital recordings. For all the it employs balanced buses that eliminate extremist engineering. But as we see it, facts on this innovative console, send crosstalk the same way mic inputs do. optimum audio performance, not sim- your business card or letterhead to: takes full This radical design approach ply a revised layout, is what makes a advantage of digital's more coherent console automation- and digital- ready. mues stereo imaging. AMR 24 =s= Balanced buses also eliminate the The feel is familiar, the func- ID IDA intermodulation that plagues the sound tions are unprecedented. Klark- Teknik Electronics Inc., 30B Banfi Plaza North Farmingdale, NY 11735 (516) 249-3660 of conventional "virtual ground" mix The AMR 24 facilitates innovative pro- amps. The AMR 24's noise floor is con- duction techniques within a classically Unit #1, Irwood Business Pk., Whitton Rd. stant whether you route one input Hounslow, Middlesex, UK TW3 2EB Circle (5) on Rapid Facts Card News

SPARS Studio Business Conference Universal Recording, Chicago. because it met our key performance cri- As revealed in last month's issue, the Getting into the rental business -a teria -print level and distortion -which Society of Professional Audio Recording diversification business plan, by Chris are intended to ensure optimum audio Studios will host a 2 -day conference en- Stone, Record Plant, Los Angeles. quality is achieved with our equipment," titled "Business Plans for the Studio" on Summary and Review: says Manfred Klemme, Nagrá s vice March 28th and 29th, at the UCLA A summary of approaches, review of president of sales. "The product offers Graduate School of Management, Los books, software and other materials the lowest print characteristics that Angeles. Attendance is limited to 75 in- available to help construct business we've seen, as well as low distortion dividuals. plans, by Guy Costa. qualities." Topics and speakers are as follows: The cost of the conference for SPARS Overview: step by step construction of members is $130 for registration before The American Comedy Network adds a business plan, by Guy Costa, Motown - March 9, and $180 afterward; for non- duplicaton system Hitsville Studios, Los Angeles. members the cost is $230 before March Described as the only East Coast facili- Opening a new studio -a start-up 9, and $280 afterward. For further infor- ty utilizing a dedicated high- speed, reel - business plan, by Bruce Merly, Clinton mation, contact the SPARS national of- to-reel system, ACN's Bridgeport, CT, Recording, New York. fice at: 818 -999 -0566. facility includes a customized Electro- Entry into video -a diversification Sound Model 5000. ACN is a major syn- business plan, by Fred Jones, Fred Jones 3M and Nagra announce dicator of radio comedy with 25 million Recording, Los Angeles. new standardization agreement listeners and 151 affiliate stations. Evolution of the multi- studio opera - All newly produced Nagra tape According to ACN executive producer tion-an expansion business plan, by machines for sale in the United States David Lawrence, "We took state- of -the- Wilbur Caldwell, Doppler Studios, and Canada will be aligned with 3M 808 art cassette duplication technology and Atlanta. mastering tape. The two companies have built the perfect reel -to-reel system that Adding a new location -a diversifica- also agreed to intiate a "pack out" combines speed [a 32:1 duplication ratio) tion business plan, by Dave Porter, Music agreeement in which 3M product tape with broadcast -quality sound. Annex, San Francisco. will be included with each new machine "The system's speed allows us the op- Adding a room -a diversi- shipped to these countries. portunity to satirize late breaking na- fication business plan, by Murray Allen, "We decided to standardize on 3M 808 tional news items.

TECHNICAL CONSULTANTS SUBSCRIPTIONS Douglas Howland, Broadcast Production Qualified: Larry ENGINEER /PRODUCER Blake, Film Sound United States (Domestic Only) $24.00 Roman Olearczuk, Technical Operations Foreign $45.00 David Scheirman, Live Performance Non -qualified: EDITORIAL Bob Hodas, Evaluations and Practices United States (Domestic Only) $30.00 Mel Lambert, Editor Stephen St. Croix, Technology Developments Foreign $60.00 Dan Torchia, Managing Editor Optional airmail for non -qualified readers is RECORDING ENGINEER /PRODUCER is Sarah Stephenson, Associate Editor also available for an additional $75.00 per edited to relate recording science to record- Alisa Carter, Editorial Assistant year. Foreign subscriptions are payable in ing art to recording equipment, as these sub- Irma Allread, Editorial Assistant U.S. funds only by bank check or money jects, and their relationship to one another, order. Adjustments necessitated by subscrip- may be of value and interest to those working tion termination at single copy rate. ART in the Field of commercially marketable recordings and live audio presentation. The Kevin Callahan, Art Director Recording Engineer /Producer is not editorial content includes: descriptions of for any claim by any person Noelle Kaplan. Graphic Designer responsible sound recording techniques, uses of sound based on the publication by Recording recording equipment, audio environment Engineer/Producer of material submitted design, audio equipment maintenance, new for publication. BUSINESS products. Cameron Bishop, Group Vice President and Publisher CORRESPONDENCE Photocopy rights: Permission to photocopy Stephanie Fagan, Promotions Manager Advertising and Subscription: for internal or personal use is granted by Cynthia Sedler, Marketing Coordinator 9221 Quivira Intertec Publishing Corporation for libaries Dee Unger, Advertising Supervisor Overland Park, KS 66215 and others registered with Copyright Gloria Shanahan, Advertising Coordinator 913- 888-4664 Clearance Center (CCC), provided the base Telex: 42:4156 Intertec OLPK fee of $2.00 per copy of article is paid directly to CCC, 21 Congress St., Salem, MA 01970. Sales offices: see page 96 Fax: 913-888-7243 Special requests should be addressed to Editorial: ADMINISTRATION Cameron Bishop, group vice president. Suite 220 ISSN 0034 -1673 $4.00 +$0.00. R.J. Hancock, President 1850 N. Whitley Ave. John C. Arnst, Circulation Director Hollywood, CA 90028 JoAnne DeSmet, Circulation Manager 213 -467 -1111 OINTERTEC Dee Manies, Reader Correspondent Fax: 213- 856 -4895 PUBLISHING CORPORATION Martin Gallay, Publisher Emeritus IMC EMail: REP -US -. 1986. All rights reserved.

6 Recording EngineerProducer January 1987 News

Dolby ST used on audio products. Digital Magnetics, Hollywood, recently 70mm "Star Trek IV" prints According to Tore Nordahl, MPAG received the first Lynx -compatible Boss Star Trek IV: The Voyage Home, re- president, "To my knowledge there is no system. leased on Nov. 26, was the first Dolby publicly advertised program by a major Stereo film to use Dolby Spectral Record- manufacturer to offer internal financing Benchmark adds architectural ing on 70mm release prints. Although on a scale as large as this. Any of the ma- and construction services sound for the film was edited and pre- jor pro-audio companies that expect to Benchmark Associates, designers of mixed onto 35mm mag, the final stems see strong growth in the marketplace recording studios, control rooms and per- and the 6 -track printing master were would have to have a good leasing com- formance stages, recently joined forces recorded on a Sony PCM -3324 digital pany connection. with architects Downtown Design to multitrack at Todd -AO Glen Glenn Stage "Although you can't sell equipment form a new company that will specialize One. The digital 6 -track printing master with a good leasing plan alone, once in designing and building complete was then copied to an SR- encoded 35mm you've established yourself in the facilities. mag printing master for use in the market, a good in -house leasing plan can "We've had great success as studio sounding of over 150 standard 70mm be of enormous benefit to both your designers," says Vin Gizzi, of Benchmark prints that employ Dolby A -type noise clients and your own sales growth." Associates, "but we realize that it's the reduction. Traditional bank financing generally end product -the studio itself-that our Later, two SR-encoded 70mm prints offers better lending rates, Nordahl con- clients are investing their money in. Now were sounded directly from the 6 -track tinues, but getting the loan approved Benchmark- Downtown Design can pro- digital printing master. These prints quickly and easily can pose problems. duce that studio for them and maintain played in Los Angeles at the Village "As a result, many of today's studio tight control over the economic, Theater, Westwood, and the Cinerama owners wind up arranging lease financ- technical and aesthetic aspects. Dome, Hollywood. During a presenta- ing for their larger equipment purchases, "Most projects include reception areas, tion on Dec. 15 at the Academy of Mo- but spend a great deal of time shopping offices and the customary support tion Picture Arts & Sciences, Beverly for the best rate of interest," he said. facilities for a studio. It's far more con- Hills, the film sound industry had the op- "These two factors were a big part of Mit- venient and more efficient to have the portunity to compare a 70mm Dolby A subishi's decision to offer in -house leas- job handled by one company, rather print of Star Trek IV with one of the SR- ing services. than an architect plus a studio designer encoded 70mm prints. In addition, the "We know the studio business, the peo- plus a contractor." work- 35mm mag SR- encoded printing master ple, the equipment and its inherent The new company is currently was A /B'd with the 6 -track master run- resale value, so we can make a decision ing on expansion projects for Greene ning in interlock with a digital quickly, and provide the best possible Street Recording and Power Play Studios multitrack. lease rate." in New York. Also under consideration This fall, Dolby Laboratories an- Typical lease periods for the X -850 are studios for Andre Perry Video, Don nounced the release of the 1,000th film to digital multitrack, larger Westar consoles One Recording, Sound on Sound, and use the Dolby Stereo film process, Clint and packages of Westrex film -sound London By Night Productions. Eastwood's Heartbreak Ridge. Since the systems are up to 60 months. Smaller For more details, contact Vin Gizzi at introduction of Dolby Stereo optical in equipment packages, such as the new 212- 688 -6262. 1975 for Lisztomania, use of the process X-400 16- track, can be financed for up to has grown from 12 stereo optical films in 48 months, and the new X -86 2 -track for Sony to sponsor 1977 to more than 225 worldwide in up to 36 months. CD mastering seminars 1986. Additionally, over 6,000 theaters For more information about the Dia- Intended for music and recording in- in North America and 4,000 theaters mond Leasing Plan, contact Cary Fischer dustry personnel interested in Compact overseas are equipped with Dolby at 818 -898 -2341. Disc mastering, dates of the 2-day Cinema Processors. -By Larry Blake, seminars are Jan. 13 -14, 15 -16 and 19 -20 RE /P's film -sound consulting editor. Lynx compatibility in Los Angeles, and Jan. 27 -28, 29 -30 and for Boss editor Feb. 2 -3 in New York. Mitsubishi announces Interfaced via the TimeLine Lynx VSI The seminars are designed to in- new leasing plan synchronizer's RS-422 ports in a daisy - troduce the company's mastering In these days of capital- intensive chain configuration, the Alpha Audio system, and will cover 2- channel and production equipment, Boss system will now handle audio recording and playback systems, CD CD the cost of purchasing a new digital editing using the Lynx as a lock -up mastering systems, digital editing, multitrack or console sometimes causes device. The microprocessor -based subcode editing and CD cutting. problems for facility owners interested in editing system also supports Adams - offering current-generation technology. Smith 2600 and Cipher Digital 4700 Neutrik connectors now available To offer a potential solution, Mitsubishi Shadow synchronizers. in U.S. from HHSmith connectors in- Pro-Audio Group is offering financing According to David Walker, Alpha's The line of Swiss -made sockets, through its new Diamond Leasing Plan, a director of marketing, "We've come a cludes XLR -type plugs and service of RediVision Leasing. long way in trying to be all things to all goosenecks, speaker connectors and Established several years ago to meet people by including the Lynx in our audio accessories. the leasing demand for Mitsubishi's system's functional orientation. We Of special interest are said to be various video display systems and other eventually hope to support mixed racks Neutrik's X Series of XLR -type connec- capital electronics equipment, RediVi- of synchronizers to accommodate a tors, which consist of only four parts setscrews or sion is now also offering "one -stop leas- user's preference for any combination of and eliminate the need for ing" services for the company's pro- Shadow, Lynx or AS -2600 units." crimping. RE/p

January 1987 Recording EngineerProducer 7 Letters

Advancement of the Byte [Editor's note: Differences between the studio at 20 -bit resolution mean that, in encoding and error -detection schemes the long run, R -DAT (and CD ?) will be From: Susan J. Alvaro, administrative used for CD and R -DAT would not affect relegated to the consumer market? director, Digidesign, Inc., Palo Alto, CA. the direct digital transfer of audio from To give you some background on With reference to Stephen St. Croix's Compact Disc to an R -DAT recorder, where these ideas are coming from, I've October "Living with Technology" col- simply because the 16- bit /44.1kHz data been using the Nagra IVS for eight years umn, please sign me up immediately as a stream would be accessed after the to make music and documentary record- charter subscriber to his "Synth- Of -The- replay circuitry. It remains to be seen, ings for NPR. For the past three years, Month- Club." It is an idea whose time is however, whether standardized I've also been using a digital system long past due. AES /EBU or similar digital input and based on the PCM -70I ES to record near- As the producers of some of the more output ports are provided on all profes- ly 100 concerts for radio and tape /disc advanced "little blue squares" available, sional R -DAT machines, and whether release, mostly in the field of traditional we at Digidesign have excitedly ac- this feature is offered on CD players for music. I'm also involved in getting public cepted the challenge of transforming the use in video and film post -production radio stations to use digital recorders for Apple Macintosh into as many "some- facilities.) time -shifting of programs from the NPR things new" as possible, and we're Now, on to the wish list: satellite services. Many is the time when pleased at the response we're getting 1. Off-tape monitoring is a must but, in I've wished that manufacturers would from users. addition, some kind of data comparison bring out R -DAT in a pro-audio format Since introducing that "small, blue circuit should be feasible. to check the first, so that we can prove the waters for 16 -bit synth" Stephen refers to in his Oc- digital data coming back off the tape them. tober column, we have had a number of against the data going in. This circuit Please keep up your attention to this calls from synthesists who were amazed could activate some kind of icon, similar pending basic advance in the tools of our that they were holding more power in to the Nagra's speed sensor. craft. the palms of their hands than they had 2. Metering should have some kind of on their studio racks. And, because this peak- storage capability, similar to the Reply from Larry Blake, RE /Ps film power was portable to no less than six Sony PCM -F1 system. If a moving -coil sound consulting editor: different existing samplers, they didn't meter is used, I like the twin -needle for- I agree with you on most of your ideas, need to go out and buy new hardware to mat used on the Nagra. especially M/S decoding on the head- run the program. 3. The recorder should have flying phone output, and the use of a "flag" like As to his suggestion of standardized erase heads, and circuits suitable for in- that on the Nagra to verify the data com- communication protocol and faster ports sert and assembly editing. ing off tape. implementation (like SCSI), we're all for 4. Digital -in and -out should be pro- Deadlines prevented obtaining an- it. The thought of what software writers vided, as well as analog connections. swers to your more technical questions, could do, if they weren't continually hav- 5. A real -time counter. but I'll he looking into them. ing to write new ports to accept newer 6. Some kind of reasonable peak My first sight of a professional, por- synths, is mind -boggling. limiters (optional and switchable). table R -DAT machine occurred at the Although I seldom use the ones on a AES Convention last fall, where Sony Portable R -DAT Nagra, they've saved a few situations. was showing a prototype unit. I'd like to 7. Mic -in connections on XLR -type recall one of the specifications listed in From: Flacon Williams, production female connectors, with optional 48V my October column, regarding my ideas engineer, National Public Radio, phantom power, and phase -reverse, as for the design of R -DAT location Chicago. on the Nagra; plus switchable pads, to recorders. I spoke of the need for a "rug- I was pleased to read Larry Blake's ensure compatibility with current mics ged, one- hand" (read: manual) function "Film Sound Today" column in the Oc- and the new generation of hotter, control knob. What I perhaps should tober issue of RE /P, where he discussed almost-line -level mics. The ability to have requested is the ability to go into the requirements of a "digital Nagra" in have one mic -level and one line -level in- record mode by pressing one switch; also the R -DAT format. I've been putting a lot put would help. needed is the ability to lock out, on a of thought into that same topic, an- 8. The Nagra's headphone monitor separate switch, the record function. ticipating (for what seems like years system is great, and should be emulated. I have to admit that there are many now) the consumer and eventual profes- I'd also like to see an M/S decode func- uses in the field for some type of semi - sional versions of a portable R -DAT tion on the headphone output. automated controls that would not be recorder. 9. Will there be room in R -DAT's possible with a manual knob. One exam- I agree with virtually everything Larry digital format for any kind of subcode ple is the "search" function, which allows specified for the theoretical machine, "tab marker?" This would come in very the head of takes to be found using the and have many other ideas I'd like to see handy for broadcast production work. "ID marker." considered. First though, a comment on 10. Finally, what about the fabled Since the October issue was published, one of your assertions that, to ensure capability for 4- channel recording at the idea arose of distributing a question- compatibility, R -DAT should record at a 32kHz sampling? Or does this get naire regarding the design of portable sampling frequency of 44.1 kHz. I've seen relegated to the same shelf of esoterica R -DAT machines. The results would be a in at least one published reference that as the idea of taking the audio-only for- "wish list" reflecting the desires and ex- the data structure of R -DAT is different mat or an 8mm video system, stacking perience of perhaps dozens of working from that of Compact Disc. So, even if up a bunch of A/D circuits, and making a professionals. Anyone interested in par- the sampling rates are the same, some 12- channel field recorder out of it? ticipating should contact me at the ad- kind of data conversion would be re- Does the recent admission by Sony dress given at the end of this month's quired, right? that it is working on developing a digital "Film Sound Today" column, page 16.

8 Recording Engineer/Producer January 1987 0 -120 in 3.6 seconds

Synthesizer

8 -voice polyphonic and polytimbral 32 synthesized and sampled waveforms 40 internal. 80 cartridge programs 80- character lighted display Each voice features: 3 digital oscillators 3 multi- waveform LF0's If you're interested in a high -performance synth, it's time to test drive an Ensoniq 4 -pole analog filters ESQ -1 Digital Wave Synthesizer. It puts 120 sounds at your fingertips as fast as you 15 routable modulation sources can switch it on and plug in a cartridge. But that's only the beginning. 4 complex envelope generators In addition to standard synthesizer waveforms, the ESQ -1 features complex multi - sampled waves for a total of 32 waveforms on board. Each of the ESQ -l's 8 voices Sequencer waveform to each uses 3 digital oscillators with the ability to assign a different 8 polyphonic tracks oscillator. That's thousands of distinct sonic possibilities. Auto correct. auto-locate. step edit it lets you see what's really going on inside. Internal storage -2400 notes The ESQ -1 is simple to program because Expandable to 10.000 notes Its 80- character lighted display shows ten programs or parameters simultaneously. So you'll spend less time writing down numbers and more time laying down music. A built -in 8 -track polyphonic sequencer makes the ESQ -1 an ideal MIDI studio. MIDI Each track can play internal voices, external MIDI instruments, or a combination of Poly. omni. multi and mono modes both. And each track can be assigned a separate program and MIDI channel. Like MIDI Overflow Mode for slaving units simultaneous polyphonic channels -1 auto -correct timing, auto-locate passages and balance 8 any good studio, the ESQ can MIDI remote programming individual tracks during mixdown. MIDI guitar controller compatible You can build songs made up of 30 different sequences and store them internally, externally on tape or on 3.5" diskettes using the Mirage Sampling Keyboard or Multi- Sampler. If controlling other MIDI instruments is on your list of priorities, the ESQ-1 puts you in the driver's seat. It supports poly, omni and mono modes along with Ensoniq's multi and overflow modes that extend the MIDI capability of the ESQ -1 far beyond ordinary synths. You won't ever have to leave the comfort of its 61 -note weighted, velocity sensitive keyboard to play any MIDI instrument in your setup. Comparable high performance digital waveform and MIDI sequencers can easily exceed the legal limits of your cash on hand. But the good news is that the ESQ-1 comes from Ensoniq -at a sane price of just $1395. For a glimpse of technology that's earned the name "advanced ", put an ESQ -1 through its paces at your authorized Ensoniq dealer today.

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One of the hottest topics of debate in large collections of sounds to help them Furthermore, sounds have a finite life synthesizer and sampler circles these sell hardware. span. As a sound becomes more days is: Who owns the sounds? Once The fact of the matter is that, ultimate- widespread, it becomes cliched and less upon a time, if an electronic music com- ly, the faceless hordes will win. They will valuable. (How many patches do you poser found his sounds being "quoted" get their sounds, and the people who have named "Jump," and when was the by another composer, he'd be flattered. produce them will stop getting paid for last time you used any of them ?) These days, he's more likely to sue. them. The reason for this is simply that, Even if a programmer finds someone The standardization of the way sounds unlike software programs on disk, there doing something illegal with his sounds, are defined, which began with the first is no way to copyright sounds, or even what is there to be done about it? Cer- digitally controlled synthesizers and is tainly someone who steals your RAM now universal thanks to MIDI, has led to cartridge, makes 100 copies of it, and this problem. Because a modern synthe- then hawks it on the street with your sizer's sounds are determined by discrete There must be a way to name on the label is breaking the law. numerical values, making a perfect copy reward good But most offenses are going to be less of someone else's patch is a cinch. With programmers blatant than that. the appearance of standard formats for and recognize the value Let's say you hear one of your sounds sample storage (which can now not only of good patches and on a new hit album. How can you be sure handle sounds destined for one type of it's yours? Okay, maybe you manage (by machine, but even transport them be- samples. court order) to get the patch parameters tween devices of different manufac- from the offending party. If the patch turers), the same can be said for samples. name is different, is it your patch? If The issue is not whether a patch or a to tag them with any information as to three parameters have been changed, sample can be copyrighted. I'm no their origin. Considering how much com- does that make it different? How about lawyer, but common sense says that it is, puter software is pirated, even among seven parameters, or 50? Where do you just the way a song on paper or a collec- people who consider an overdue library draw the line? tion of numbers on disc can be book to be a mortal sin, it's foolish to And, if there really is an infringement, copyrighted. The real issue is whether think that we can keep track of a sound who's the guilty party? The artist, the such a copyright is enforceable, and how once it leaves its owner. producer, the session player, or the guy that enforcement should be handled by Many of those who make money sell- from the previous session who left his the recording community. ing sounds, of course, deny this. One disk lying around the control room -or First off, let's consider who are the sup- theory goes that if people are forced to maybe swapped some sounds with the pliers and consumers of sounds. Far to pay for sounds, they will consider them studio's resident synth programmer? one side, there are those specialist pro- valuable enough that they won't give Surely there must be a way to reward grammers who maintain that program- them away to their friends. But this falls good programmers, and to recognize the ming has become such an esoteric art down when you consider that someone value of good patches and samples. It that the few who have mastered it should who pays $50 for a patch bank might sell does take artistry, skill and patience to benefit greatly -at the expense of those it to two friends for $25 each, who then create sounds that are both useful and who can't get the hang of it. Also on that sell it to their friends for $10, and pretty original. By discouraging blatant piracy, side are those who think that if a celebri- soon you're down to the cost of a disk. and by giving credit where it is due ty has come up with a sound, it is a When sounds are swapped, they lose (maybe on the album cover), we in the valuable commodity, and therefore not value even faster than when they're paid professional recording field can both to be distributed carelessly. for in cash. And, unlike computer maintain our integrity and keep the art At the opposite end of the spectrum, "shareware," where at least the author's of programming alive. we have the faceless hordes of synth name and address follows the thing Granted, if someone comes up to us owners, professionals and amateurs, who around, once a patch gets into the public with a free disk of the latest super sounds are slavering for the latest hot patch and domain (i.e., the first time it changes from Hollywood, we're not necessarily aren't particular about where or how hands for free), it stays there. going to turn him into the police. But if they get it. we end up using them on a multi - Squarely in the center are working platinum project, we should at least try musicians who do much of their own Squarely in the center are to find out where they came from and programming and like to sell off or swap acknowledge the source. some of their patches, at the same time working musicians who do much Good programmers know that selling collecting others. These folks are con- of their own sounds out of the back of a magazine can cerned with both ends of the pipeline, as programming and like to be a quick way to make a few bucks. If are music stores, who like to build up sell off or swap some of they're in it for the long term. however, Paul D. Lehrman is a free lance writer, electronic musi- their patches. session credits and the career continuity cian, synthesist, producer and a regular REIP con- they provide are much more valuable. tributor. RLP

10 Recording Engineer/Producer January 1987 greater Of course, Bruel & Kjaer 4000 series microphones' performance curves demonstrate that has accuracy than anybody else's, regardless of price. You'd expect that from the company produced the world's standard reference microphones for over a quarter of a century. mcsical What may surprise you is thal our series 4000 microphones also capture your original listen event more faithfully than any others, including those you're probably using now. But don't you near. to us: listen to our microphones on your sounds in your space. We think you'll like what

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Circle (7) on Rapid Facts Card January 1987 Recording Engineer Producer 11 sound on the Road By David Scheirman

The concert sound business has together for a performance: creative As rock concert touring evolved undergone many changes within the past musicianship, technical excellence, prop- throughout the Sixties, early suppliers of decade. The growing field of live sound er choice and use of hardware, and ad- live -sound systems were often commer- to serve the entertainment industry and vantageous acoustics. cial rental companies located in major public events has helped cottage in- Individuals and service companies that cities, including companies that stocked dustries grow into international corpora- learn to properly combine these various vocal reinforcement systems for use at tions; it has enabled certain fledgling aspects of live sound into a consistent fairs and other public events. The early manufacturing firms to experience rapid product that pleases performers and au- touring rock acts helped define a need growth and turn small private partner- dience members alike usually will find a for more powerful sound systems ships into publicly held companies. And ready market for their skills. capable of providing full- bandwidth this unique blend of art and science that In future issues, this column will focus musical reinforcement. comprises live sound is now helping to on those live sound mixers, concert Existing sound equipment manufac- develop its own new educational pro- sound companies and professional sound turers responded to this new market de- grams and job opportunities. equipment manufacturers that are help- mand in different ways. Some companies Any discussion of "live sound" usually ing to advance live sound's state of the felt that it was a passing fad, and made contains a certain subjective element, for art. The concert sound community is a little effort to carry out research and we all experience sound in different diverse one, and those individuals and development in what was then a new ways. There are certain parameters, companies that serve it do so for a varie- field. Some of today's major touring however, that help to interpret or define ty of reasons. While seeking to improve sound companies grew to take a lion's what most people (whether performer, live sound hardware and operating share of their own industry by being the technician or audience member) call techniques may be a noble ambition, a first to realize potential solutions to the "good" live sound. sense of economic realism is also a fun- challenges presented by the touring Good sound is typically a unique syn- damental characteristic of the concert- musical groups. thesis of many different things that come sound company able to survive the Other equipment firms realized that David Scheirman is president of Concert Sound Con- uncertain trends that have helped to the new market demands being placed sultants. Julian. CA. and RE/P's live performance con- shape the live sound industry during the on sound equipment, and the novel uses suiting editor. last few years. of some of their products by early tour- ing sound companies, were helping to create a new industry altogether. Not quite sound recording or radio broad- casting or commercial PA, this new in- api -a reputation of quality- dustry required products and operating techniques that did not exist at the time. distribution amplifiers Many parts of today's standard concert custom products sound systems were created from microphone pre -amps equalizers scratch, often borrowing from the technology and parts industries. Contem- replacement parts the 2520 OP -AMP porary multiple -mix stage monitoring systems, portable electrical power distribution set-ups and dedicated, porta- 'lus these new products: ble mainframe mixing consoles were Rack EQ not in evidence 20 years ago. 5502 Dual Four Band Mount 550A Today's pro-sound equipment industry has come into being through the help of the touring sound business. As the hard- ware being used becomes more com- plex, many live sound service companies have chosen to focus their energies on concert sound itself, and have left the 940M Motorized Servo Fader development and manufacturing of new 318a distribution amplifier products to established equipment corn - panies. Changes affecting touring sound corn - panies will also affect the audio equip- api audio products, inc. ment firms that serve this industry, along with those persons who have chosen live 7953 Twist Lane, Springfield, VA 22153 sound as a career. (703) 455 -8188 tlx: 510 -6001 -898 Those individuals and companies that are providing consistently good live wr stern representative eastern representative sound, helping to improve their industry, and operating at a profit, have some 16055 Ventura Blvd , Suite 1001 studio consultants. inc. 71í1p® Encino, California 91436 321 West 44111 Street. New York, NY 10036 valuable and interesting stories to share. (213) 276-1414 (212) 586 7376 "Sound On The Road" exists for this reason. Circle (31) on Rapid Facts Card

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Curcio :111 an Rap d Facts Card Firm sound Today By Larry Blake

In recent years, the process of using as MIDI allows musicians to link syn- straightforward matter that shouldn't be computer -based systems to edit sound thesizers. (Other examples of standardi- too hard to agree upon. for films and video has come to the zation include the Association of Amer- Regardless of whether the guidelines forefront of sound engineering tech- ican Publishers manuscript project, are followed completely, they will give a nology. One obvious fault of almost all of designed to standardize typesetting head start to programmers writing the the systems that this writer has seen is codes, and the Library of Congress' re- user interface, and to users starting the the lack of a sensible database organiza- cent guidelines for optical storage.) enormous task of entering a sound tion. Discussions with manufacturers Standardization would take place in database into a computer. reveal that this is something they will be two areas: the descriptions used in cross Because the recommended standards taking a hard look at...eventually. referencing sound effects, and the would be defined by a group of ex- This omission is somewhat surprising. database field structure used to define perienced professionals, both the lexicon because sounds will be all but inaccessi- what the sound is, where it came from and database field layout should be close ble without a well thought out user inter- and how it will be used. (The field struc- to what the sound editor would design, face. In the old days (i.e., today), one ture has to take into account the dialogue given the chance. All too frequently the could shuffle through whatever cross - software for such systems is written by referencing and organization the sound computer people, whose knowledge of librarians have done on paper. If that One obvious fault of what is required comes from a talk or failed, then the editor could simply two with a working professional. We will thread up 1/4-inch tapes or 35mm library computer -based editing be better off if we can head off these well - masters until the right sound was found. systems is the lack of meaning computer experts at the pass. Even when a library is stored on con- Despite the grand wishes of the various ventional magnetic media, such as sensible database manufacturers, no one system will 1/4-inch tape, a computer database is still organization. automatically become the standard. This a great help not only in finding sounds is one race that is going to be tough to quickly, but also in organizing the call, and there will undoubtedly be many massive amount of paperwork generated and music elements that will be stored casualties. It should be clear that the in film sound post- production. (I know of and edited.) standards would not in any way impede only two serious database programs that The first issue is a tricky one because competition between different systems. answer this need. Are there any others no two people describe the same sound From this writer's point of view, the for sale out there ?) in the same way. To one it's a "car," to two biggest challenges faced by Today, usually the only person who the other it's an "auto." Driving in the designers of digital editors are how to comes in contact with the computer in vehicle is described as a "steady" to one store the sound library (including film sound is the supervising sound person, and a "constant" to another. dialogue and music); and how to get the editor, who will "spot" the show and Having worked in a sound library, I have edited sound elements to the re- record- create reel -by -reel lists of what effects no illusions that a set of cross references ing stage. It is both a blessing and a curse the sound editors should cut in. Similar could be created that would please that the choice of mass -storage options is paperwork can be printed out to assist everyone. People will describe effects by so wide: hard disks, optical discs (CD, the transfer person. whatever words they choose. laserdisc, WORM, etc.), R -DAT, analog The point to be made here is that the However, because there are so few and digital multitracks, etc. work is still the same: Transfers are digital editing systems in the field today, In any event, these challenges will be made from t/, -inch to 35mm mag, and there is still time for the industry to compounded by the variety of storage they are cut on Moviolas and film syn- create a recommended standard for media and it will be a long time before chronizers. However, random -access cross -referencing descriptions. Probably one can edit on one system and mix on digital editing will change this situation. the most sensible approach would be to another on a hardware level. The transfer stage as we know it today recommend one term, for example However, a database is much more will be virtually eliminated, and will "auto," while listing synonyms such as malleable (software, right ?) and become more of a mastering process to "automobile" and "car." everybody- manufacturers and the transfer the unedited field tapes to If the various digital sound editing public -will benefit if the user interface whatever storage medium the editing systems also employ a similar database truly bridges people and machines in a system uses. Most importantly, sound structure, then editors will not have to be sensible manner. The battle for the sur- editors will use the computer for the act "multilingual" in order to move back and vival of the fittest will be fought on the of editing itself, and will have to be as forth between competing systems. In field of hardware, I believe, and there's comfortable with the system's database contrast to sound effects cross referenc- no reason not to make certain aspects of structure as they are today with mag film ing, the method of defining the format of the software a DMZ. and Moviolas. the recording at hand (mono, stereo; We must seize this opportunity now, Thus there is the need for companies number of tracks; analog, digital), its before everything gets to be locked manufacturing and proposing digital function (original recording, cut element, down and de facto standards are arrived editing systems to agree upon some stan- pre -mix, printing master), the type of at by default. I would like to open up a dards concerning database organization. recording (production track, multitrack dialogue between manufacturers and This standardization would, I hope, allow music master, effects recording), source users. Anyone wishing to participate is editors to use different systems as easily (prefixes for both commercial and well - invited to write to me directly at P.O. known private sound effects libraries), Box 288, Hollywood, CA 90078. Larry Blake Is REIP's film sound consulting editor. date and place of recording, etc., is a Cal

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Circle (10) on Rapid Facts Card diving with Technology By Stephen St. Croix

The way I see it (and I see it a lot, the idiosyncrasies of each amp within the Not so with analog. If the engineers

because I open up almost everything that real working environment, and just haven't figured out the optimum circuit, comes onto the pro-audio market), most about the worst environment that man- you don't have the optimum sound. of the big boys in the digital audio game kind can provide is inside a chassis The same digital chip made by two dif- have come to the same conclusions where high -speed digital circuitry is slic- ferent manufacturers may have different about the best way to get in and out of ing up the dc rails and broadcasting RF propagation delays (speeds). This makes their RAM. The same 16 -bit DACs and directly to every analog device within. no difference as long as they fall within low -pass filters show up in most digital Ultra- high -speed op -amps love to the timing window. If the same analog toys we buy today -literally inter- become unstable. High speed means chip made by two different manufac- changeable parts in competing products! shorter wavelengths which means that turers have different speeds, however, The way I hear it (and I hear the stuff you can't put a bypass capacitor two they may sound very different in a high - 12 hours a day, 4 days a week), they inches away and expect it to work like it performance audio circuit. don't sound the same at all. I'm not talk- did in 1979. It won't. Today, the cap has Different brands of any given op-amp ing about features, bandwidth or even to be almost touching the chip, with the may also have differing noise floors, software. I'm talking about the fact that power -supply noise rejection figures, and these devices sound extremely different so on. Many of these specs change as the from each other, even when used as sim- The new hyper-fast parts become warm, and each brand ple delay lines. changes in a different way. As 16 -bit units with 20kHz bandwidth op -amps can definitely The new hyper -fast op -amps can become more popular, the design of the sound good, but only in definitely sound good, but only in the sample -and -hold circuitry becomes more hands of well -versed design engineers. the well - versed critical. Such things as settling time, buf- hands of Console manufacturers are taking all this fer impedances and capacitor character- design engineers. quite seriously, and are spending a lot of istics greatly influence the final sound. time learning how to get the most out of This has been taken seriously, and these devices without losing control today's circuits show it. leads cut short; and then the cap itself (short duration instabilities, audio Yes, digital technology actually works may be too slow. modulated by dc supply hash, rectifica- now. We are all impressed. But now that The type of capacitors and resistor tion of RF to noise, and more). we are recovering from the shock of all compounds, and the length, thickness, Digital toys do not always demonstrate this, we should be aware of the sonic location and termination impedance of an understanding of this. I have seen shortcomings that are not part of the the traces, can all influence the sound of high- frequency oscillations present in the conversion process, but simply of the a circuit. In fact, there are so many soft analog circuitry within at least three of unit's analog sections. Don't forget that variables involved in analog design that today's devices. within every digital device there lurks it qualifies as an art. Let's hope it won't What does all this really mean to you, two important areas of analog circuitry: go down in history as a lost art. the user? Don't assume that the slightly input and output. Digital hardware design is logical. It is edgy or muddy sound of your new 16-bit The analog IC designers have not been sort of like building with Lego blocks; processor is inherent to digital tech- on vacation while the digital chip guys it's...well...sort of...digital. If you follow nology. It may simply be instabilities in have been doubling our power each the rules in the spec book, hook up the the audio path. year. There are now better, cleaner, stuff in a semi -logical fashion, watch tim- If you doubt that the answer to this faster and higher bandwidth op -amps, ing and keep your rails clean, all the little problem can be this simple, listen to some of which are amazingly close to ones and zeros will go just where you several CD players from various manu- theoretical optimum. Wonderful. Just want them to. If they don't, the design is facturers using identical DACs and like a car-more speed and more danger wrong, and you have to find the mistake sampling schemes. Any audio dif- of losing control. and fix it. No real mystery. ferences will then, of course, be due While it was impossible to get high per- Furthermore, there may be a dozen largely to the design of the few analog formance out of the old 741, almost no completely different ways to do a given components inside each machine. one could design a really bad circuit with thing digitally, like print the word A few years ago a friend said an in- it; a circuit that had hidden quirks. With "reverb" on your display. Any one of teresting thing to me: "As digital resolu- today's newest high- speed, high - these approaches will work, and look ex- tion becomes higher and higher, it ap- impedance, high- bandwidth op -amps, actly the same. The only differences proaches the ultimate goal -analog." however, extremely impressive designs would be in how much PCB real estate, wish I had said that. are possible. On the other hand, almost power, CPU time or money it actually I feel that 16 -bit digitization is every designer can now create a really took to get that word on screen. In fact, borderline, at best. Eighteen -bit is just bad circuit the first try. of the 12 possible designs, only one around the corner, and there are several A race is on to use the newest high - would actually be right or truly optimum. companies working feverishly on 20 -bit performance analog chips. It's often im- The others would be wrong, but might DACs. I know of one significant company possible for circuit designers to learn all make no difference to you as the user, currently designing a very comprehen- Stephen St. Croix, RE/P's technology developments only adding a bit to the unit's parts cost sive 36-bit system. consulting editor, is president of Lightning Studios or size. The visual and audio results are Let's hope the analog circuit designs and Marshall Electronic, Baltimore. the same. are ready when it happens. Rt,p

18 Recording Engineer/Producer January 1987 ,,t , ß e\,ab n cy ad`° 5 ta: . ot ons\-te;Zec' r ed p t2a oA 1cs e VP!e 0 i at Po°U t e ' nJ6re nonatdc stoa` soond d ° osES teeyer soands s a t o`t Me ,No-Yon9 l be nee oot s,ntrendptto,reSn,Pt4es. taU so , oc otte< < 2e ed e l stry d ca e eaKgße. st 6e ne ò 5°2°6 meas eYg o Milne, best an P02. Ga3fo( a D UJ ri® International TOGETTHE COMLESTORY I E O G THROUGH CHANNELS A superior amplifier has to be experienced firsthand. All the overplayed adjectives used to relate sonic quality of audio equipment in print become moot once the truth leaves the speaker. Your nearest Crown dealer has the coniplete story at the flip of a switch.

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Circle (12) on Rapid Fic:s Card SPARS On-Lîne By Gary Helmers

Although the state of the U.S. economy ment to enhance a line of business (a la 57 %. Yet the price adjustments for is not a usual topic of conversation the mothership scenario) and makes that foreign studio equipment have not even among studio owners and operators, it purchase after Jan. 1, 1987, there will be begun to approach those levels. The formed a dominant focus at the recent far less of the old incentives. same can be said for studio equipment SPARS business conference in New York. The investment tax credit will be gone, from England, West Germany and Swit- Our economy is a crucial facet of the accelerated depreciation will be replaced zerland, where the dollar has also sagged type of realities that studio management with a longer time frame, and some of in value. must analyze and comprehend in the the tax -saving schemes for financing the Japanese manufacturers have been the ongoing quest for profitable operation. purchase will no longer be acceptable. most aggressive in absorbing some of the Such factors as changes in the tax laws, While at first glance the future appears differential to retain market share. Their problems with the low value of the dollar darker, the profit engendered by the perception is that they can afford on an against foreign currencies and sluggish new purchases will be taxed at the rate item -by -item basis to adjust the prices of advertising revenue at the television net- of 34 %, which is the new corporate ceil- their studio-equipment lines. This adjust- works, have become part of our daily ing. The investment will produce a ment can be a very complex matter in- business lives. greater after-tax profit. Under the old deed, involving U.S. subsidiaries that do At the SPARS conference, the nothing but manage the flow of monies economic and technical future of studio for domestic manufacturing facilities in operations was analyzed by a panel of in- the U.S. distribution and service facilities dustry authorities. Our moderator was The new law says, in effect: in the United States, and so on. industry forecaster and SPARS consul- "It's OK to make a profit In effect, studios have been getting a tant Martin Polon, of Polon Research In- break -and it should continue. It appears ternational, who provided invaluable in- but not OK to make a loss. that a "discrete" agreement on United sights and illuminated all of us to the States /Japanese economic issues has hard facts of 1987. been worked out, with dollar stabiliza- We focused on several new directions tion in the 160 to 165 yen range. We will that will affect the bottom line for law, that profit would end up being taxed keep our fingers crossed on that one, studios. What follows are some projec- at nearly 50 %. however. It would appear that 1987 will tions for the future: By way of an example, a new post-pro- be a year with positive indications for the Many feel that the "mothership" duction room coming on line in 1987, or economics of studio operations, but also scenario will continue to develop, with later, that yields $1 million in gross prof - a year in which mere attention will have some studios diversifying and acting as itablility will produce $660,000 in after - to be given to economic factors than central switching points, while others tax profits. That is for U.S. taxes, of ever before. will evolve as satellites with more course. Under the old law, there would The regular series of SPARS studio bus- specialized services. This direction will have been only $500,000 available after iness conferences serves as a forum for continue through the rest of the decade, taxes. examining business and economic issues but we foresee dramatic changes in the The new law says, in effect: "It's OK to that affect the day -to-day operation of a modes of profitability. make a profit, but not OK to make a successful studio. Recent conference In the past, studios could achieve loss." topics have included insurance, leasing, technological parity or dominance with Proper perception of the new law is the banking, employee benefits and public the competition by "writing off" large key to profitable survival. If the studios relations. The next business conference equipment purchases against before -tax see this change as replacing incentives to will cover using the business plan as a profits, thus shielding significant purchase equipment with incentives to tool to evaluate the components of a suc- amounts of after -tax income. The old tax enjoy a greater profit, then we come out cessful studio operation. Various guest law allowed -virtually mandated -"neg- about even. But it may take some time speakers will address new venture plans, ative profitability" via capital equipment for this understanding to reach the continuing operation plans and plans for purchases. The new tax code will not street. expansion. allow this. Loss of any kind is frowned The issue of foreign exchange has As discussed in the December "SPARS upon as a deduction. entered the relationship among studios, On- line" column, a carefully constructed This does not mean that new equip- foreign equipment manufacturers and business plan is the first step toward a ment purchases under the new tax law sales subsidiaries /dealers. Stabilization successful studio. For a step -by -step ex- will cease to be attractive for studio of this relationship is a function of the amination of several business plans, owners and operators. It is almost as if unmeasurable factor of perception. successful and not so successful, you the federal government has codified the It is important to remember that the might consider attending the next studio old saying, "It takes money to make dollar has dropped in 18 months from business conference, which will be held money." If a studio owner needs equip- 265 yen to the dollar to about 150 yen. at UCLA on March 28 and 29. For more Although it has bounced back to about details, contact the SPARS national of- 160 yen at the time of writing (early fice, Box 11333, Gary Helmers is the executive director of SPARS. Beverly Hills, CA 90213; December), it is still a change of about 818 -999 -0566. R'E/P

22 Recording Engineer/Producer January 1987 -** - .. -

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To stay number one, you've got to make the best even better Which :s whr for ten years Ampex has continued advancing the performance of mastering tape. Through a decade of increased performance and reliability Grand Master' 456 remains the tape behind the sound of success. Which is why more top albums are recorded on Ampex tape than any other tape in the world. For Grand Master 456, the beat goes on. AMPEX Signal Compamex Ampex Corporation. Magnetic Tape 0s4uson '01 Broadway Redwood City. CA 94063, 415,3673809 Ampex Corporaeon One of The

Circle (13) on Rapid Facts Card Visual Eyes audio -for video post - production room. Narrow-Gauge Multitrack Applications

By Adrian Zarin

The use of cost -effective narrow -gauge multitracks has matured from using 1/4-, '/z- and 1 -inch semi -pro applications to a viable alternative to conventional track formats.

Historically, narrow -gauge multitracks tion -whether for the visual media or narrow -gauge multitrack represents an have long been considered the province album release- sophisticated MIDI syn- ideal format for assembling music, of hobbyists and musicians with chronizers have taken over much of the dialogue and effects sources in a way personal -use studios in their basements tracking functions once handled by tape that satisfies both their own operating or garages. Today, however, such tech- machines. Consequently, 1/2- or 1/4- budgets and the new "audio con- nology has a matured to stage where it is inch 8- tracks and 1/2- or 1 -inch 16- tracks sciousness" in the visual media. playing an increasingly vital role in can provide a cost-effective means of Narrow -gauge formats first emerged many full -scale professional applications. recording the few non -electronic sound during the Seventies, in the form of In the area of electronic music produc- sources (such as vocals or acoustic in- 1/4 -inch 4- tracks; the doubling and struments) that may be integrated into a quadrupling of track formats brought Adrian Zarin is a Los Angeles -based electronic syn- synthesizer -based production. about the advent of 1/2-inch 8 -track and thesis, composer and free lance writer. and a regular contributor to RE/P. And in the post -production environ- 1 -inch 16- track. Concurrently with the ment, many facilities have found that a increasing number of tracks being of-

24 Recording Engineer/Producer January 1987 fered by narrow -gauge transports, the The TAC board really worked out well, marketplace has also witnessed a pro- because it has direct outputs on every in- gressive reduction in scale, giving rise to put module, which we send to our audio- 1/4-inch 8- track, 1/2-inch 16 -track and, follow-video switcher. perhaps even more dramatically, multi- "Instead of going directly out of the track cassette formats. stereo bus, we have the outputs of dif- The most formidable, and obvious. ferent machines come into the console's design problem confronting developers input modules and then straight through of narrow -gauge multitracks is the fact those direct outs to the switches. These that a smaller tape track produces re- signals come back into the board duced frequency response, lower signal - through the echo returns, are routed to to-noise ratios and greater crosstalk. The the stereo output bus and then sent to twin liabilities of higher noise and limited the mastering machine. frequency response mean that some "As a result, we have some flexibility form of noise reduction is practically depending on the mode we're operating essential, along with higher tape speed. in -we can send the source machine Consequently, the optimal use of narrow - directly into the stereo bus, or route gauge technology begins with selecting a them through the audio -follow design that best suits the particular ap- switches." plications at hand. Visual Eyes is also equipped with a A good way of coming to terms with Sony PCM -F1 processor, which encodes -gauge digital signals onto the facility's BVU -800 the potential of narrow techniques The three co-owners of Visual Eyes Produc- U- matic. is to examine the operational procedures tions comprise (left- to-right): Sandra Hay, of commercial facilities that use such director, Alan Kozlowski, technical director "A lot of times, we record in the field technology on a day -to-day basis. Ac- and Doug Rosen, financial director. with the Fl," Kozlowski says, "and cordingly, the remainder of this article transfer those digitally recorded tracks will consider three different types of onto the MS-16. On a lot of projects, narrow -gauge facilities: a combination "To the editor's , the MS-16 we're also working with MIDI scores audio post -production and video editing looks like just another videotape from music composers. These too are room; a 16 -track electronic scoring machine," Kozlowski says. "lt locks up in usually recorded directly from the syn- studio; and an 8 -track electronic scoring a 5s pre -roll with all the other machines. thesizers onto videotape via an FI at the studio operating in tandem with a voice - We can roll it along with the video scoring studio. over post -production facility. machines and record the audio tracks "We receive an FI music master with directly onto the 16 -track while we're time code, which we can transfer onto Narrow -gauge video recording the video on the 1 -inch the 16 -track along with the dialogue and post- production mastering machine. In other words, we effects. We build the whole show and Alan Kozlowski of Visual Eyes Produc- can build all the audio tracks while we're then go back and sort out just the audio tions, Santa Monica, CA, describes his doing the video editing, sweeten and mix edits. We have a program that will take studio as a crossover room. "It's a video them, and then lay down the final mix an entire edit decision list and pull out editing suite, but the audio facilities were back onto the video master." just the audio edits, which we then designed for full -scale music projects." Acoustic design was handled by Brett rebuild directly onto the 16 -track from This broad -based design is reflected in Thoeny of Bolo Design, and includes the Fl tapes (in a series of transfers). We Visual Eyes' varied client roster. Recent- Westlake monitors, Crown power amps add music, sound effects and other audio ly, the facility provided audio post and and an iso booth for voice -overs and sources, then do the final mix to picture." sweetening for Lionel Ritchie's HBO single instrument overdubs. The audio While transferring audio sources Special, The Making of Dancing on the console is a 16 -in /8 -bus TAC Scorpion. (whether digital or analog) to the MS-16, Ceiling, and it regularly performs the According to Kozlowski, a lot of thought Kozlowski tends to be sparing in his use same services for broadcast television's went into finding the right cost -effective of noise reduction. NFL Sports Trivia Show. The studio has console to interface with the facility's "I think everyone knows there are in also handled audio post- production on 1 -inch 16- track. some limitations to (noise reduction) several Richard Simmons home exercise "We definitely needed 16 -track terms of what it does to the sound; it video tapes, industrials for La Costa skin monitoring. But, because we're never tends to compound any frequency care products and a number of TV com- really laying down more than a couple of response errors that might be in the mercials, including political ads for Los tracks at a time, we didn't really need signal." Angeles mayor Tom Bradley. more than eight output buses. We can As an alternative, he has developed a A Grass Valley model 100 component just repatch and reassign to different technique for improving signal -to-noise video switcher and model 41 edit con- tape tracks. For mixdown, a 16 -input ratio on the multitrack without recourse trolling system coordinate the room's board is more than adequate; it provides to noise reduction. complement of VCRs and VTRs, which all the effects returns and everything else "On shows where I have plenty of include Sony BVW -10, BVW -15 and we need." tracks to spare, I'll turn off the noise BVW -40 Betacam machines, a Sony The need to interface the 16 -track with reduction and just record the same signal BVU -800 U -matic and a BVH -2000 Visual Eyes' video editing operations im- on multiple tracks. This way, you double track information, and pick up an C- format 1 -inch mastering machine. posed yet another set of console re- your The video editor also controls the quirements. extra 3dB signal -to-noise ratio. It doesn't studio's miltitrack machine, a Tascam "For video editing," the engineer con- sound quite as 'mushy.' On high -quality I can get a little cleaner MS-16 1 -inch 16- track, which is inter- tinues, "you need to be able to switch music projects, faced with the editing system via a audio tracks between the preview front -end transients with this technique." Calloway Electronics synchronizer. switcher and various other functions. As the above comments indicate, the

January 1987 Recording Engineer/Producer 25 n o

C c An outboard rack located behind the video and audio mixing position houses a collection of 8 Sony BVW-10, -15 and -40 Beacom videocassette decks, plus a BVU-800 í -inch U-matic VCR. Audio processors (left) include a dbx series 900 rack a w and Lexicon PCM -60. To the right is a Sony PCM -Fl digital audio processor for field recording and replay of digitally encoded music o masters. ó ac synths, which A Tascam MS-16 1 -inch 16-track is available means I'm doing every- returns for Donahue's Roland SRV -2000 for preassembly of music, effects and dialogue thing in real time onto tape. I'm often us- and Yamaha REV7 digital reverbs. tracks, prior to remix to picture. ing all my synths for each pass, rather For each part that goes down to tape, than using one or two synths for each the relevant synthesizer outputs (as trig- part and having a sequencer play it all." gered by the Matrix 12's keyboard) are schemes: On Lis. for example. I went Because Donahue's work involves a mixed to stereo and printed on two in and looked at the picture on a flat bed large number of simultaneous audio out- tracks of the B -16. But even though he (editing table) and used click loops on the puts from his various synthesizers, he uses two tracks for each part, Donahue mag film to put against the picture. So needs a console with substantial input generally finds he has enough tracks to there I was dealing with the reality of capabilities. After some careful research, record his entire score without having to sprockets against sprockets. he settled on a 20- input /8 -bus Panasonic bounce down tracks. The B -16's built -in "To maintain sync once I was in the Ramsa WRT820 console. Apart from Dolby C. noise reduction would make studio, I used a UREI digital metronome plenty of inputs, Donahue also needed a track bouncing a problem anyway, he and a 60Hz sync tone for playback pur- board that would suit his one -man style observes. poses, which worked really well. The of working. "Dolby C doesn't really like to be used film has some long, 5- minute chase cues "The Ramsa is good for this," he says, more than once. If you double it (by in it, and things were syncing up very "because you can leave your input at- bouncing two Dolby- encoded tracks onto nicely." tenuation where it is and have a second a single track), you can get breathing Apart from the occasional flute, sax, trim control for tape playback levels. problems. It's most noticeable on guitar or bass part, (all of which are You don't have to upset your input levels rhythmic parts, such a hi -hat or other usually played by Donahue) most of the just to hear a quick playback of a percussion." sounds on the composer's scores are multitrack take." Donahue's principal mixdown generated by his collection of syn- Donahue has evolved a more -or -less machine is a Fostex model 20 2 -track thesizers. An Oberheim Matrix 12 acts as standard configuration of input channel with center -track time code. master MIDI keyboard controller, driv- assignments for his electronic equip- Not all of Donahue's projects call for

ing an E -mu Systems Emulator II, PPG ment. Input channels 1 through 4 are stereo mixdown, but when they do he Wave 2.2, Roland MKS-30 module, devoted to the LinnDrum: separate out- likes to provide two different 2- channel Yamaha DX -7 and a TX -7 rack. A Linn - puts for kick and snare, plus a composite mixes. One is standard left -right stereo Drum modified to output 24 ppq sync stereo output for all the other drum mix, whereas the other has all of the code triggers the arpeggiator of a Roland voices. Channels 5 and 6 accommodate melodic parts on one channel and all of Jupiter 8 [a non -MIDI synth]. In contrast the Wave 2.2's stereo outputs; channels 7 the percussive elements on the other. to what is rapidly becoming standard and 8 the Jupiter 8's stereo outs; chan- "When they do the final mix," he ex- practice, the conservatory- trained com- nels 9 and 10 the DX -7 and TX -7; chan- plains, " the main musical elements they poser and musician prefers not to use a nels 11 and 12 the MKS'30's stereo unit; might want to bring down are those that sequencer. and channels 13 and 14 the Matrix 12's get in the way of dialogue. Because, "I really use MIDI quite basically," he stereo outs. Channel 15 is left open, more often than not that means per- says, "I can obtain sound textures by channel 16 handles the Ell, while chan- cussive sounds, I provide those on a combining the output from several nels 17 through 20 are used as effects separate channel. This way, if anything

28 Recording Engineer/Producer January 1987 A TOUR THROUGH THE UNIQUE 11111 i: -- -z- -- 10,000 HOUR LIFE TRANSPORT = (N) 1- .

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(j) (K) (C,D) (A) (B) and 2X timtime f a series - in read No. KABA, the ut limate why SomeSo reasons to those users) DUPLICKTIONcustomers USERS (and 94947 Novato, 8, 94941 CASSETTESO CommercialiBlCA ATTRA call IS ATTRACTING 24 (415)

J -3 -point head mount plate keeps heads firmly locked after setting but allows easy front adjustment or replacement without removing E - Massive flywheel armature of printed transport. circuit brushless DC motor and the A -Extra large diameter capstan results capstan are one direct -drive assembly. K - Modular transport comes out easily in a stiffer beam, less deflection. by removing 4 screws and Larger circumference means better F - Cassette interlock switch stops capstan disconnecting 4 connectors. traction, less tape slippage. motor when there is no cassette in the transport. L - Head cable assembly detaches with B -Ball bearing capstan results in less 4 color-coded connectors. wear, longer life. G - Stainless steel reference points assure precision alignment of cassette shell. M - Direct drive, brushless DC printed C - Dedicated record -only head eliminates circuit motors provide take -up, compromises made in multi -purpose H - Locking guides grip cassette firmly hold -back and rewind torque. head designs. against lower alignment surfaces. N -All transport function electronics D - Sendust head is rated at 3000 -5C00 I -Erase head is programmable to are contained in the transport hrs. life. erase side A, B or both. module assembly.

Circle (15) on Rapid Facts Card January 1987 Recording Engineer/Producer 29 Jeffrey Hedquist, of Hedquist Productions (left) and Paul Fauerso of Amber Waves Music Pro- ductions. Studio hardware includes a Sound- Donahue's production equipment includes craft series 4008 console, Calibration In- (from left -to- right): A PPG Wave 2.2, struments MDM TA2 monitors, an Otani Oberheim Matrix 12, LinnDrum, Yamaha MX -5050 MkI11 1 -inch 8- track, Yamaha DX -7 TX -7 rack, Roland Jupiter 8 and an KX-88, DX -7 and DX -21 synths, Roland MKS-20 synth module; 20 -input Panasonic Jupiter 8 with MIDI interface, Yamaha SPX-90 RAMSA WRT820 console; E -mu Systems and Roland SRV-2000 digital effects. Music Emulator 11 sampling synthesizer; and a sequences are controlled from an Apple Fostex B-16 /e -inch 16 track with built -in Composer /synthesist Mark Donahue in his Mac+ running Southworth Total Music MIDI Dolby C-type noise reduction. personal -use, 16-track narrow-gauge facility. software.

comes down, it's likely to be the drums, TX -7 synths, a Roland JX10, Prophet puter with the multitrack and have rather than something more critical, 2000 and a LinnDrum. Apart from ad- enough inputs on the board so that such as the level of the strings in relation ding MIDI capability, the LinnDrum has could do separate EQ and processing on to the brass." been further modified by the installation 'all the drum and synth parts. of several DrumWar voice chips. "Although I'd like to have another 16 Amber Waves Outboard gear includes a Yamaha console inputs, I don't really need more Located in Fairfield, IA, Amber Waves SPX -90, Roland SRV -2000, DeltaLab Ef- than eight tape tracks. More and more is a music production company that ser- fectron and Lexicon PCM -60. The studio I'm going to be running parts live during vices local clients as well as clients from recenty acquired an Apple Macintosh mixdown, using Total Music and MIDI the East and West Coasts. Proprietor Plus with a 20Mbyte hard disk on which controls." Paul Fauerso composes music for a varie- Fauerso runs Squthworth Total Music se- Like many synthesists, Fauerso's in- ty of outlets -including television quencing software. troduction to this kind of "virtual track- specials for the Broadcast Group in For the Knights In While Satin film ing" came in the form of retriggering Washington, DC, as well as TV and radio score, which was Fauerso's first project LinnDrum sequences during mixdown, jingles for a number of Connecticut agen- with the Mac, the MIDI sequencer's using a prerecorded sync code track on cies such as Decker, Guertin, Cheyne and "tracks" took over the role usually per- tape. It's a technique the composer has Clement, McCabe. He recently com- formed by the 8- track. Outputs from the long been using during jingle work, in pleted scoring for a film project, Knights various synthesizers, when triggered by order to minimize generation loss and In White Satin. the Total , were sent other tape -based signal degradation. Much of Fauerso's ad work is done in through the console and mixed directly "I usually print the Linn sync tone on conjunction with another producer, Jef- down to the MX -5050 2- track. On future track 8 of the MX -5050. I'll always print frey Hedquist, who has a 4 -track Otani projects, however, Fauerso anticipates the drum part itself on another track - and Nedtek- equipped voice -over studio synchronizing MIDI tracks with acoustic just to use a reference while I'm overdub- in Fairfield. Fauerso's own studio is instrument parts recorded onto the bing. It's a lot more covenient than hav- based on an Otani MX -5050 MK Ill 8- track. ing to start from the top on every pass, as 1/2-inch 8 -track and an MX -5050B "Now that I'm starting to move into you have to do when you're syncing the 2 -track mastering machine, linked to a more sophisticated MIDI sequencing ap- LinnDrum to tape." 16- inch /4 -bus Soundcraft series 400B plications," he says, "I'm starting to feel Toward the end of the project, this console. the need for more channels on my con- reference drum track is usually replaced The composer has a wide range of syn- sole. What I plan to do in the future is to with a permanent part. To avoid adja- thesizers at his disposal, including a get a larger board, or else a second board cent track bleed either from or onto the Roland Jupiter 8, Yamaha KX -88 master to supplement the one I have. Linn sync track, Fauerso tries to leave MIDI keyboard with DX -7, DX -21 and "I'd like to be able to sync the corn- track 7 blank whenever possible. Unlike

30 Recording Engineer/Producer January 1987 the 16 -track narrow -gauge studios discussed previously tape tracks are usually at a premium at Amber Waves, and often track 7 must be used. "When that happens, I try to put something on track 7 that's not going to STUDIO be at a very high level in the final mix. CONDENSER Or maybe something like a high- pitched MICROPHONES bell part. This way, I can EQ out the bot- tom and lower midrange, which is where that sync tone tends to dwell. "Also, if you put a rhythmic part on track 7 that is very much in contrast to Professional Boundary the beat of the Linn, you shouldn't record it at too high a level. Because if you do, it can disturb the sync tone track Layer Microphone ... and all of a sudden your drum part will be off." Judicious track management enters in- to all aspects of work at a narrow -gauge 8 -track facility such as Amber Waves. Fauerso carefully plans where and when 40k each track will be recorded. "I try not to put any important parts on outside tracks 1 or 8, and I leave myself room to bounce tracks down. For exam- ple, if I'm going to double or triple a vocal, I'll put those vocal tracks on before all my tracks get filled up. I might record a drum program, a bass part and one keyboard part, and then bounce the tracks that need to be combined. Then I'll add strings, horns or any other _ ra, -r sweetening I need. . -..:- ..-r- "I'm not using noise reduction, so I try to run everything at as hot a level as I can, in order to achieve the best signal - to-noise ratio. But, at the same time, I -- listen very carefully to make sure I'm not losing any high -end because of over- saturating the tape. For the most part, noise isn't really a problem because there's usually fairly active program sik material on most of the jingles- there's 11: 41: ir 4 lots of signal on the tape. When I mix down, I just leader the tape right up to family where the cue starts. This way, the client an addition to our Colette- doesn't sit around listening to hiss before the cue starts." Depending on the requirements of a - Contact - Fauerso will make particular project, Rus (anon Enterprises Pty Ltd P 0 Box 379 South Melbourne Vi 'Iona 3!O5 Tel P)31 6 3:41 either a mono or stereo mix of his tracks. Studer Revo Wien Grs m h H Ludwrggasse 4 1180 Wren Te 10222p 473309 Tel 011 -211 0 06 In many cases, this is then brought over E Heynen B V .Bedrglstraat 2 3500 Hasselt. 20561 Rrj de Jar 01f0 R J let 0211 268 -7946 to Jeffrey Hedquist's facility, where ER Centelec Equrpamentos r Sistemas Electromcos Ltda CDN Studer Revo Canada Ltd 14 Ban gan Drive. Toronto. Ontario. £.44H 1E9 Tel 416 -473 -?93 voice -overs and other audio elements Tel SF Lnunamaa Electronics Ely. Urmarinpolku 27A 00330 HeISmki 32. 9(.- 488566 95100 Argenteuil. Te 111 3982 29 73 can be added. F ELNO S A . 18 -20. rue du Val Notre -Dame. 3 ;1252f 1 In facilities such as Amber Waves, HK Audio Consultants Co Ltd 58 Pak Tai Street Tokwaan. Kowoon Hong Kc no E C C -el Tel 46 9'1105 I S r I Piazza Cnvellone. 5 20148 M. Inu sophisticated MIDI sequencers have TDS - Tecniche del Suono IL Kolmo, Ltd . 18 Ha'arba a Street Tel -Aviv. Tel 03 763298 usurped some of the cost-effective J !ma'&Company Ltd 1 -6 Tomihisacho. Sninptku Toky -i. Tel 1034 357.04)1 multitracking functions traditionally sup- hl Heynen B V P 0 Boit 10. 6590 AA Gennep. Tel 08851-96111 plied by narrow -gauge tape machines. A Sly Ing Benum A S. Boks 145 Vmderen. Oslo 3. Tel () ?) 1454 E0 F G E R Av Estados Unrdus da America. 51 -5 Dto 1700 Lisboa- Tel 881071 But as long as the human voice, acoustic -3 23J 70)60 E Singleton Productions Via Augusta 59 Desp 804 UV Mercurio. Barcelona 're instruments and natural sounds continue S NATAB Akustik AB. P 0 Box 6016 55006 Jonkoping. 036 -142480

1111 Te 021 - 72 24 21 to figure in audio production for all CH PAJAC - Jaques Zeller Morges I? Echichens. 1. . 1O Road. London NW Tel 01- 3871?64' media, narrow -gauge equipment seems C B Scenic Sounds Equipment Marketing Ltd William 171 ?1 142 76th Street 10th Floc r New V- ik City N V 1)001 lei 242 3737 to have an important role to perform. LSA Posthorn Recordings West ESE Schalltechnik Dr. -Ing. Schoeps GmhH, Postbox 410970 D -7500 Karlsruhe. Telex 78269C2. Tel (0:21; 42J16 42011

Circle (16) on Rapid Facts Card January 1987 Recording EngineeryProducer 31 Owner Jeff Siegel working at Musitech, a particularly well- equipped narrow-gauge, MIDI- capable facility. The Evolution of MIDI-Based Narrow- Gauge Studios

By Rob Tally

Jeff Siegel's Musitech personal -use facility.

Although only a year old, Jeff Siegel's City, CA. "That means working a few drum machines, sequencers and key - 8 -track studio has evolved into more lengthy sessions, like the film score I'm hoards, another type of 8 -track than a demo outpost. Through the bene- working on now." studio -geared for electronic -music pro- fits of MIDI, the studio can offer advan- Musitech is primarily a narrow -gauge duction-is quickly becoming a viable tages over strictly tape -based studios. facility for record -demo production, pre- option. "With my equipment, I can turn out a production and composition work, film A studio offering electronic and tape good demo -one where I create, write scoring and jingle production. It's also capabilities has advantages over tradi- and record a song-in a maximum of Siegel s personal -use studio, where he tional tape -based studios, including: three days," says Siegel, musician/ can play out his musical ideas. -pre -production and composition capa- engineer and owner of Musitech, Culver In the past, the majority of 8 -track bilities; facilities were tape -based studios, where -speed and accuracy in obtaining a Rob Tuffly is the former staff editor for REIP and now a inexpensive demo productions were pro- completed sound and /or demo; free lance writer for the pro-audio industry. duced. However, with MIDI -capable -the capability to replay, manipulate and

32 Recording EngineegProducer January 1987 sequencer forms the heart of many MIDI - expensive way of introducing the user to capable facilities. the computer world. From here, deci- Currently, two forms of sequencers ex- sions can be made to continue exploring ist: hardware- and software-oriented more complex computer -based equip- devices. The first type, which includes the ment, or to progress at a rate that might Linn 9000 and the Yamaha QX -1, com- be more related to a user's ability to prises a dedicated sequencer that houses assimilate the technology. custom software (usually on an EPROM chip). Using an integral storage Software- based: unit -such as a 3.5 -inch floppy disk After the initial investment, a drive -an integrated sequencer offers computer -based MIDI system (with MIDI -In, -Out and -Thru connectors, plus appropriate controlling software) has the sync options via click -track inputs and capability not only to control synthesizers outputs. and drum machines, but also to perform The second type A sequencer, a soft- account financing, word processing, ware- oriented unit, requires more ex- digital sampling and conventional com- planation. Unlike the Linn 9000, for ex- puter capabilities unavailable with ample, a software -based system includes dedicated hardware sequencers. such a system is aimed at the Figure 1. Schematic of Musitech's MIDI- a full -scale computer with disk drive, Although interconnect scheme between a Linn 9000, video monitor and, usually, a special computer -literate musician and Yamaha DX -7, E-mu Systems Emulator II, MIDI- interface box. (Should the master engineer, its MIDI editing, routing, and Oberheim 08-R and Xpander, in which computer be equipped with built -in MIDI storage and other functions are limited the DX -7 functions as a master keyboard con- ports, such as the Atari ST520 or Com- primarily by software intelligence and troller. modore Amiga, this latter device can be on -board memory or disk capacity. To omitted from the MIDI network.) For update a software-based system, the user modify live, first -generation sequencer controlling MIDI- equipped synthesizers simply obtains a revised sequencer pro- tracks, resulting in a high -quality sound and drum machines, a variety of soft- gram, thus reconfiguring the computer at low cost; and ware programs are available from third - with enhanced options. -the capability to merge the musician, party vendors. [MIDI data recorders and Screen display is important. engineer and producer into one sequencer software programs are dis- Although a user can become accustomed technically proficient role. cussed in the October 1985 issue of to working with, for example, a small Because the idea of owning a studio RE /P- Editor.] LED window, the ease of operation of- appealed to Siegel as a musician, Musi- Before purchasing either type of con- fered by a full -size, 40- or 80- character tech was constructed around his array of trolling sequencer, however, users monitor screen is greatly enhanced. synthesizers, which includes a Yamaha should reference their existing MIDI - DX -7, an E -mu Systems Emulator I1 with capable equipment to decide what is Learning to specialize 17.6 seconds of digital sampling, plus an specifically required to equip a studio Because Siegel uses a Linn 9000 as a Oberheim OB-8 and Xpander. All of with MIDI functions. and sequencer, Musitech these units are MIDI -capable, and are The advantages and disadvantages of represents a good example of a hard- linked together via a Linn 9000 32 -track the two sequencer types can be sum- ware- oriented facility. drum machine /sequencer, with the DX -7 marized as follows: "Right now, for the money I had to serving as master keyboard controller. spend, I've got what sequencing gear I The console is a 24 -input Soundcraft Hardware- based: need," he says. "I don't need computer Series 200 working with an Otani MX- With a dedicated sequencer, portability printouts of scores, or to change a lot of 5050B 8 -track with autolocator, and is greatly increased: just unplug your synth patch points. Because of the Ell a second MX-5050B half -track mastering cables and power cord and you're off to and the Linn, I am basically computer lit- machine. Siegel's outboard gear array another gig. erate. If I did have an Apple Macintosh, would impress any narrow-gauge studio Because the unit requires no external I'd store my Ell samples, plus patches for owner: a Yamaha REV -7 digital reverb programming, it can be argued that my DX -7, and also do my accounts on it. and signal processor; a dbx model 160 hardware -based sequencers are geared But I'm just not in a dire need for one. I'd compressor /limiter; an Aphex Aural Ex- more toward the musician than the rather purchase more outboard gear, like citer; a Roland SDE -1000 digital delay; studio engineer. Through the use of and a Yamaha model 1000 digital re- dedicated keys and simplified visual verb. Studio monitoring is provided by readouts, such a unit is easy to learn and Electro-Voice Sentry 100As, with a pair often becomes more like a musical in- of ubiquitous Yamaha NS -10Ms resting strument that its software -based counter- on the console meterbridge. part. By using fewer commands and less technology, the user is writing music Hardware vs. software rather than programming MIDI. Conse- As is well known, MIDI -capable se- quently, user -friendliness is high and quencers are microprocessor-based units learning time greatly decreased. that record, sequence and playback MIDI On some units the sequencer doubles data. In addition to overdubbing, mode/ as a synthesizer or drum machine, allow- track selection, tempo changes and ing users to add to their instrument ar- copy/paste functions, MIDI sequencers rays, as well as controling existing MIDI Mixing and recording hardware at Musitech can store note on /off data, start /stop/ equipment. includes a Soundcraft series 200 console, and Electro- continue commands, MIDI -clock and It is often said that purchasing this type Otani MX-50508 8- and 2- tracks, Voice Sentry I00A monitors. chase-lock data. In short, a sophisticated of equipment represents a relatively in-

January 1987 Recording Engineer/Producer 33 parametric EQs, so that I can get a better His synthesizer configuration also al- processing. Although the Series 200 has sound with what equipment I have." lows a musician to access up to 26 dif- 16 available inputs, with a bit of perser- Siegel forsees basically two ways in ferent synth voices, all playing different verence he can use the board's tape which an eight -track can survive in the lines simultaneously. With such a capa- returns for additional effects loops. professional recording field. One way is bility, Siegel considers that booking ex- "Before I can mix the drums," Siegel to go 16 -track as soon as possible, pro- pensive time to a 24 -track studio is says, "I first have to figure out how many viding clients with more versatility. The unecessary for demo productions. tracks will be taken up by synthesizers. I second avenue is to implement electron- "I don't think producers really care if then dedicate the remaining channels to ic tracking, allowing synthesizer tracks they have album -caliber material for a drums and percussion. Basically, I mix to be built and MIDI data stored in a com- demo tape. They just want to have a real backwards compared to most engineers. puter for subsequent processing and good sound and find out exactly where Because there are so many drums out- remix. the song is going, along with a good taste puts on the 9000, I would need 20 inputs Moreover, with a narrow-gauge studio of the musician. You can do that on to mix them on a complex tune with mul- and a limited budget, to remain techni- eight- track. tiple drum patches. cally proficient, Siegel argues that cer- "However, if I had 16 tracks, I could "When I begin a drum mix, normally I tain economic values must be kept in certainly think of things to do with them. like to isolate the 9000's snare and kick proper perspective. The way I see it, you work to the capaci- to separate inputs on the board. If I have "Since I constructed this studio for ty of your studio. It's sort of like your enough inputs free, I also isolate congo- myself, to pay for the gear and to keep salary; if you suddenly double your take - high and -low, cowbell and the crash money coming in, I opened my doors to home pay, you'll find ways to spend it cymbal. Then, the last two channels on outside clients. When I think of purchas- pretty quickly." the board will have the inputs from the ing any gear now, I have to consider: Do From a specialization standpoint, Linn's main stereo outs -whatever I need a new piece of processing equip- Siegel forsees his studio maintaining drums aren't assigned to their individual ment to bring in more clients, or would it both an electronic -music and pre- produc- channel will be summed as left and right be nice to have for myself? Or would it tion direction. Musitech can benefit a stereo on the board. This configuration be just real neat to have ?" musician or group that eventually will works well because the Linn lets you pan Via an in -house synthesizer array, record at a larger facility. and adjust volume on individual drum MIDI -based facilities allow more adven- "Basically, if I were a hot band, I would sounds from its front -panel sliders. turous musical textures to be obtained. do all my sequencing at a place like "When I get the drum /synth sound Because of limited tracks, however, this mine -live to eight -track with the Linn that I want, I lay it in stereo on track No.

option was previously unavailable for sync tone striped on one track, and keep 1 and No. 2 of the eight- track. Then I go conventional tape -based eight -track that as a reference tape. Then move back later and start overdubbing guitars, studios. By implementing an Emulator either my entire keyboard setup, or just vocals, bass or whatever else the client Il's digital sampling function, a floppy - the disks and cartridges, to a 24 -track wants." disk sound library, and /or various DX -7 studio. There, I'd play it all back live, and Other mixing and recording options ROM sound cartridges, Musitech clients put every sound on its own fader for real are available to the producer via the can build multi- instrument tracks on a se- versatility during mixdown." Linn 9000's sync output. quencer that sound as if a studio full of "I usually lay a sync tone onto the musicians had played on the production. A typical Musitech session eight -track before I start recording," he In addition, because Siegel also makes For Siegel, the key to using a MIDI - says. "Then, I play back the tone through his equipment available to outside ses- capable studio lies in the speed and ac- a 50ms delay on its way to the 9000, and sions, he can use past musical ideas and curacy with which he can obtain a record the completed sequences onto newfound engineering /producing tech- client's desired sound. tape. Having the song offest 50ms behind niques during client productions. This "If I want to try something, I can try it the sync tone allows me to move [future] benefit promotes a more confident, com- fast. Because the 9000 records and plays overdubbed sequences around the origi- fortable and direct form of communica- back looped sequences, you don't have nal beat, by changing the delay time on tion within his studio. Vocalists rarely to hear the Whole track for just one or the sequence tracks. This is very handy have a strong musical idea in mind when two bars; and you can insert or copy bars for obtaining a human feel, or for fixing a they enter his facility, he says, but they anywhere within a sequence." The Linn keyboard part with a slow attack." can benefit especially from this type of 9000 also enables rehearsal of synthe- But what of the Emulator 11's timecode- studio. sizer lead lines and drum patterns. generating option? Within the control room, Siegel beings "SMPTE is great for film or video when ../.././../.,,.... by laying a basic drum pattern from the you have to punch -in at a certain frame, Linn. Then, switching to the unit's synth or if you're going to sync to another option, he uses the DX -7 as a controller machine. The Linn doesn't recognize to start laying keyboard tracks. As can timecode yet and, basically, it isn't that be seen from the block diagram, in necessary for the tunes I do here." Figure 1, the 9000 and DX -7 are finked According to Siegel, Musitech will con- together via MIDI, as are the Oberheim tinue to focus on its current pre- and OB-8, Xpander and Emulator II. This demo-production direction. consistent setup provides a dependable "Opening my studio, and moving more keyboard configuration for Siegel, which toward the engineer and producer roles, in turn promotes speed during the has introduced me to a lot of people I Siegel's synthesizer array comprises of recording and mixing stages. might not have met if I were still per- (clockwise from top left): an E -mu Systems After the various drum and keyboard forming live shows. Studio work is a dif- Emulator II, Oberheim 08-8, Linndrum 9(88) parts are layed into the 9000, Siegel ferent kind of life for me; I miss the live MIDI sequencer/drum machine. Yamaha replays the sound via a Soundcraft Series gigs. But, for right now, I'm open to any- DX -7 and Oberheim Xpander. 200 console for equalization and signal thing." R.F p

34 Recording Engineer/Producer January 1987

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After a tortuous passage through Congress, the Tax Reform Act of 1986 (TRA 86) made its way to the White Understanding House to be signed into law on October 22, 1986. The bill represents the most ex- tensive overhaul of the federal tax code since the early Forties, when tax rates shot up to fund World War II activities. It comes in the wake of 12 major tax bills the New enacted over the past 25 years. The most striking feature of this latest effort is that it will affect all Americans, regardless of their income level. In general, TRA 86 provides tax cuts Tax Laws for both individuals and businesses, and simplifies the existing tax -rate structure. It also repeals many deductions, exemp- By Kathleen White tions and tax preference items, more commonly known as loopholes. If all How will the new provisions of TRA 86 goes as planned, many Americans will see their tax bills cut an average of 6.1 %. affect the pro -audio industry - Meanwhile, corporations will pick up and what can recording and production the slack to the tune of $120 billion. For facilities do to minimize its effects? the first time in tax history, the corporate tax rate will be higher than the in- dividual rate. As accountants pore over copies of the 925 -page code, intense speculation and debate has already begun: What will this "revolution in taxes" do for (or to) in- dividuals, businesses and the economy? And how will the pro-audio industry fare under the new system?

Kathleen White is a Boston -based free lance writer, musician and composer with a background in busi- ness management She is a regular contributor to RE/P.

36 Recording Engineer Producer January 1987 icon explains: "It's too early to tell what the effect will be on our high-end equip- ment sales. It may possibly give more credence to leasing as a financing tool, especially with the interest rates coming down. We're in the process of analyzing the effects. We could bear the cost by Checklist of Taxation Changes possibly reducing our prices." To add a note of confusion to the whole issue, rumors are already afoot deductions. If the issues discussed in the accom- expense that the ITC will return in some form some confusion A revamped tax rate structure for panying article cause within the next year or two. or raise serious questions about your both individuals and businesses. tax situation in particular, you're not Keep in mind that TRA 86 is a very alone. The following checklist individualized tax system. In other Depreciation schedules highlights the main changes you words, its effects on businesses can on- TRA 86 also changes the depreciation should be aware of: ly be determined within the context of rules. Under the old system, a certain The elimination of the investment how each company operates and percentage of the cost of capital in- tax credit (ITC) and most types of tax copes with taxes. Whatever your situa- vestments (including real estate) could be recommend that you shelters. tion, we strongly written off over a set period of years. with an accountant or tax at- Changes in the depreciation laws consult One depreciation method, the ac- the capital gains tax. torney for a complete explanation of and celerated cost recovery system (ACRS), Modification of the R&D tax credit. the new code and its effects. more depreciation to be taken in Increased restrictions on business allowed the first couple of years following a capital purchase. The new tax code extends the recovery period to seven, 10 or 15 years, depending on the item; for commercial real estate, the period is extended from 19 to 311/2 years; it also modifies the ACRS in ways too complicated to go into here. The new rules apply to any proper- It would be impossible to interpret the According to Peter Scharff of A/T ty placed in service after the end of 1986. new code in its entirety and predict its ef- Scharff Rentals, New York, "The bottom Happily, companies can elect to use fects at this time; such a task will keep ac- line is that it will be more expensive to straight -line, double -declining balance, countants and lawyers busy for years. buy equipment without the ITC-and our or 150% declining balance methods. Nonetheless, certain provisions in the business is to buy equipment." Opinion is mixed regarding the effect new code have already caught the atten- Scharff hopes that studios will decide of such changes, primarily because it's tion of facility owners, equipment to rent rather than purchase, and that too early to predict how depreciation manufacturers and rental companies. the increased business for his company schedules will balance out relative to These provisions, described here in a will compensate for the loss. other factors. general way and outside the overall tax Chris Stone, president of the Record "We'll want to purchase longer lasting picture, could change the ways in which Plant, Los Angeles, feels that high -end equipment," Allen says, "and it may be our industry does business. studios in particular will be affected. cheaper to lease equipment. We're going "We buy all the latest, state-of- the -art to wait until it all shakes out." Investment tax credit repeal equipment," he says. "TRA 86 is taking "We've been using double -declining It is generally agreed that the repeal of away some of the best incentives for 7 -year life method all along," Stone ex- the investment tax credit (ITC) will have small, capital -intensive businesses like plains, "so there's no big change for us. an immediate, industry -wide impact. In studios. It will really impact manufac- Also, when we purchase major pieces of fact, the impact is already being felt, turers' high -end equipment business. equipment, we set up lease- purchase because ITC was repealed retroactive to Mid -level studios attempting to upgrade agreements, and we can write off the January 1, 1986. The ITC provision will suffer, too." cost of the lease." allowed companies to deduct 10% of the Marsh Williams of Morningstar, a divi- cost of any capital investment (i.e., any sion of Discovery Systems, says he knew Tax shelters is the personal property used in a business, ex- last year that ITC would be repealed. A big change under TRA 86 cluding real estate) from their taxes. If a "Although it is a big loss, we make our elimination of most kinds of tax shelters. studio bought a $300,000 console, for ex- purchase decisions from several stand- Under the old system, investments could ample, it received a $30,000 tax credit. points, only one of which is taxes. I'm not be made in various kinds of projects, and then The repeal of ITC is not good news for too worried about it; we have to go any losses from these projects could capital- intensive industries, such as the ahead with our upgrades." be written off against regular income. pro -audio business; since 1962 it has Murray Allen, president of Universal Under the new code, "passive" losses, served as an incentive for businesses to Recording, Chicago, echoes Williams' such as those from limited partnerships, invest in equipment. Companies that view: "You buy hardware for business can no longer be written off against have relied heavily on this credit in mak- reasons, not just tax reasons. One thing "active" income, such as salaries, earn- ing purchasing decisions will be most af- we know for sure -we must make our ings and portfolio income. If you are in- fected, and manufacturers may find a equipment purchases more carefully." volved in a limited partnership, we sug- much changed marketplace for their pro- Most equipment manufacturers are still gest that you consult with your accoun- ducts, particularly in the area of high -end unclear how the loss of the ITC will affect tant, pronto. equipment. their business. As Harvey Schein of Lex- Clearly, this provision was intended to

January 1987 Recording EngineerProducer 37 encourage people to invest in economi- include business expenses. There are takeovers, mergers, liquidations and cally sound projects, rather than ones new limitations on deductions for ex- restructurings as corporate America designed to lose money for tax purposes. penses relating to the business use of a rushed to take advantage of soon -to-be- Although many private investors may be home. In brief, deductions are now extinct tax breaks. Individuals, too, have unhappy about this provision, it may limited to the net income from the been treated to a host of year -end tax - have a positive effect within the pro- business, rather than the gross income. saving strategies. audio industry. Steve Parris of Morris J. In other words, you can only use deduc- Obviously, we are all going to have to Cohen & Co., CPAs for Sigma Sound tions if you make a profit. In addition, the wait and see what happens. It's worth Studios, New York, explains: "People will "hobby- loss" rules have been tightened. noting that tax bills are created to be be looking for passive investments that For people with side-line incomes, this amended; there may be many changes are making money; recording studios means that the income will be taxable if made in the code over the next few making a profit could be very attractive. a profit is shown in three years out of years. There is also the question of the "For instance, a limited partnership five, as opposed to two years out of five massive budget deficit, and how the could be set up; the shareholders would under the old system. government plans to reduce that. At this be able to use any passive income Travel and entertainment deductions point, a few murmurs are being heard generated against any other passive have also been curtailed. Deductions are within the pro -audio industry. losses they may have." now limited to 80 %, of the actual cost of As Peter Scharff points out, "There're expenses such as business meals and so many nuances to the code, no one has Capital gains night -club admissions. Employees with really read them. It was supposed to be Yet another TRA 86 provision unreimbursed business expenses will be tax simplifications, but it isn't." eliminates any benefit from long -term especially hard hit. The new code re- Bobby Nathan, owner of Unique capital gains. Previously, capital gains quires that several conditions be met Recording Studios, New York, comments tax was applied to the sale of any before deductions can be used. The that, "In general, we'll have to see how it asset -equipment, stocks and bonds, real employee must itemize expenses, and all balances out and we can't do that estate, for instance -owned for longer this requires that expenses exceed a cer- yet -the best time to ask about this will than six months. Sixty percent of any tain limit -about $3,000 for single tax- be on April 15, 1987." gain made on the sale of an asset was ex- payers. Beyond this, expenses must ex- The tax rate cut may not mean much empt from taxes, and the remaining 40% ceed 2% of the employee's adjusted gross for those who have paid very low taxes was taxed at a top rate of 20 %. income for the year; otherwise, no courtesy of the old system's many Under the new system, however, long- deduction can be made. loopholes. term capital gains are taxed at the same Performing artists do get a break on "We will probably have to pay more rate as ordinary income, although capital this, but again only if certain conditions because so many loopholes have been losses still fully offset capital gains. This are met. One, that the artist works for at closed," says Record Plant owner, Chris is unlikely to affect the pro-audio in- least two employers in a year; two, that Stone. "It will cause us to reach deeper dustry in a big way, because companies expenses exceed 10% of wages from per- into our pockets to pay our tax bill." are not heavily involved in selling off forming; and, three, that the artist's ad- Some businesses might find it advan- assets. However, for those planning to justed gross income is not more than tageous to restructure under the new sell an asset -a business, equipment or $16,000. This provision is best dubbed system. property -taxes will be higher on the the "starving artist" tax break. "TRA 86 may encourage a lot of gain from the sale. studios to convert to an S corporation, in The bottom line which the shareholders are taxed at the R &D credit Having summarized here just a few of lower individual tax rate, rather than the On a more positive note, TRA 86 the new code's provisions, the big ques- corporate rate," says Joseph Ariana of revives the research and development tion is whether or not the loss of credits Morris J. Cohen and Co., CPAs. tax credit, which expired at the end of and deductions will balance out overall. Doug Dickey, communications direc- 1985. The credit has been modified and TRA 86 does replace the 5 -step gradu- tor for Solid State Logic says, "The U.S. extended to the end of 1988. ated corporate rate structure, which pro-audio market is very buoyant, and I The new code allows 20% (down from ranged from 15 to 46 %, with a 3 -step think the positive aspects of the bill will 25 %) of R &D costs to be written off. It structure of 15, 25 and 34 %. However, outweigh any negatives." also restricts the credit to R &D of a this new tax rate structure will be phased Marsh Williams responds in the same technological nature that will result in a in over two years, with 1987 being a vein: "We're in a great position -our new item for sale or use within a transition year in which, as of January 1, cash flow, net operating income, and business. All of which is certainly good 1987, there may be a temporary tax hike return on investment have been great news for any organization involved in for some peoplé this year. this past year. R &D. In drafting TRA 86, legislators hoped "And we have the advantage of an ex- According to Lexicon's Harvey Schein, to dispense with the existing labyrinthian cellent management staff in making "This will have a very positive effect for code and create a simpler. fairer system. business decisions. TRA 86 will have the companies such as ours. The audio indus- Implicit in the code's provision is the biggest impact in companies that are try is technology- driven -the technology recognition that too many people, for too less -well situated." is constantly evolving. As an engineering long, have been able to cheat the system. Murray Allen, owner of Universal company, all expenses we incur from Also, legislators would like to see taxes Recording, offers perhaps the best ap- R &D are subject to this credit. And, become a much less important consider- praisal of how TRA 86 will impact the in- although the credit has been reduced, ation in business decisions. dustry. "I'm going to live with it and try we're happy that it was extended -20% Whether or not the new code will to manipulate my life around it; the big is still a lot better than 25% of nothing!" divert Americans From their favorite purpose is not to pay taxes. Besides, the pastime of cheating the feds remains to audio business is strictly a religious ex- Business expenses be seen. Ironically, the bill's passage ini- perience, and shouldn't be taxed at all." Other deductions affected by TRA 86 tially spurred a veritable frenzy of Rt:,u

38 Recording Engineer/Producer January 1987 MX -80 32- CHANNEL TAPE RECORDER

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Providing live and pre- recorded audio for this 4 -day multi -media event was not without its own set of unique problems.

All large scale events normally require ment agencies as the Coast Guard and The weekend's events were planned an enormous amount of planning. But the Secret Service. on a self-financing basis, using television for the Liberty Weekend, which Despite the potential for what could rights, ticket sales and proceeds from the celebrated the 100th anniversary of the have proved to he a logistical nightmare, July 3 fund -raising opening ceremonies. dedication of the Statue of Liberty, the the 4 -day extravaganza occurred with- The Statue's restoration funds, however, technical scope was unprecedented. out major technical problems. were kept separate from the proceeds of Consider the following factors: four Planning for the 4 -day Liberty the weekend events. days of events, many occurring simultan- Weekend, which took place from July Up to 17 different performance and eously; 17 staging areas in two states; a 3rd through July 6th, began during the staging areas were involved in the 4-day worldwide TV broadcast and a radio summer of 1985. In late October 1985, extravaganza, according to Laurence H. simulcast; planning between officials Statue of Liberty /Ellis Island Foundation Estrin, who was in charge of coor- from Liberty Weekend, the states of New president Lee Iacocca announced plans dinating and interfacing all the diverse York and New Jersey and such govern- for Liberty Weekend, with David L. production elements. Estrin is no Wolper as executive producer. Wolper, stranger to large-scale events, having who won an Emmy for "Roots ", Rosanne Soifer is a New York -based free lance had also served as audio director or consultant for technical writer. produced the opening and closing the Los Angeles Olympics, the 1984 ceremonies of the 1984 Olympics. Democratic Convention, Superbowl,

40 Recording Engineer/Producer January 1987 PHOTO PRESS TUNNEL ENTRANCE

PA MIX POSITION ACCESS UNDER TUNNEL ENTRANCE LINEIMIC MULTICABLE FROM SPLITTER TO PA MIX POSITION +32' PROD. LEVEL

PODIUMS ACCESS UNDER 20 HOT SPOTS IN AMONG CHOIR

/ POS -..t° j t GOVERNOR'S ISLAND \ \\ DIAMOND VISION `Ot.\.FOJ ß 3 PGE NEW YORK HARBOR 1.700 YARDS TO STATUE V \

in orchestra and aimed at mid -point of 16° + 50° sound towers include: 2 TL 1. Monitor mix position the bleachers 5050 LF cabinets and 3 HR 4020 horns 2. Four subwoofers built under 6. Multicable splitter to house -mix with DH 2 drivers stacked and splayed. stage 3. Audio electrical distribution panel position with grilles 4. Two pop -up floor monitors 7. Pop-up monitors Choir area 2 5. Seven cabinets built under stairs 8. Cameras I and In Orchestra area; 80 headphones

Figure 1. Sketch of Governor's Island layout showing major PA system components. Estrin ex- various Emmy Award ceremonies, and place at that venue. expensive sound system," took our chances that more than 150 Hollywood film premiers. "The show was originally supposed to plains. "We really way the stage was Pre -event planning began in Novem- happen aboard the aircraft carrier USS night. Because of the the water the ber 1985, Estrin recalls. His respon- Kennedy, and planning got underway situated -right near -if worsened, the sibilities involved not only audio and for that eventuality," says Greg Watkins, usual 20 -mph wind gusts part of the video for the live shows, but setting up telecommunications director for Open- sea could have engulfed extent the TV air show the complex telephone and intercom ing Ceremonies and Op -Sail. "But then stage. To some wind was blowing the systems needed for rehearsal, production someone realized the carrier might be suffered because wrong way." and press sites, as well as audio press needed for a national emergency, so the sound the wind and weather af- feeds. As Liberty Weekend drew closer, venue was changed to Governor's The concerns for also applied to Jim Seiter, documentation chief, contin- Island." fecting sound coverage live musical performances. Accord- ually updated the audio, video and corn - The location change presented the the of the many sound munications blueprints for each venue. planners with built -in problems, namely ing to Bob Wolff, one high winds and bad weather and their engineers involved on the project, "The Opening ceremonies possible effects on audio quality. orchestra played live to a pre -recorded wearing The July 3rd Opening Ceremonies on "Money wasn't allocated for such items tape as planned, with everyone wind's effect on the Governor's Island almost didn't take as plexiglass for wind screens or a more headphones. If the

January 1987 Recording Engineer/Producer 41 companiment were pre -recorded." All audio mixing for Opening Ceremonies, including the live an- nouncements, was handled by the New York Record Plant mobile truck. "We had no problems or sudden script changes during the Ceremonies," says !Coaster McAllister, Record Plant's direc- tor of remote operations. "We received our audio tape playback cues from the director (Dwight Hemion, of Smith /He- mion Productions) who was in the Unitel video truck parked behind us near the bleacher . "We also supplied feeds for the on- stage mix. and fed a mono primary. a hack -up mono and a stereo mix to the Unitel truck. The mono mix was record-

ed on a 1 -inch videotape machine for viewing three hours later in the Pacific time zone. A separate stereo feed also went to ABC Radio for their coverage." "The 'master clock' for us was really ABC Television." Estrin adds. "The time standard was TV -1, and everything had Interior of the Record Plant mobile during the four day Liberty Weekend, showing numerous outboard audio and video equipment necessary to handle this multi-media event. to coincide with ABC's on -air time." "The bulk of the production work was done in California," McAllister recalls, "and Record Plant only knew 10 days MIN before the Opening Ceremonies what the YAMAHA audio requirements would be, other than PA TCH 406 BAY the fact that we'd need 15(1 UREI mic and live 00 00 inputs. 813 MONITOR "This event was more complicated AMPEX 1200 AMPEX1200 logistically than Live Aid, where Record Plant's truck served as the main produc- tion area for mixing live feeds. because CO O of the numerous venues m z VIDEO and transporta- MONITOR tion problems. mr°c ó "The only major concern for us, par- ticularly with the intercom system, was wind noise and interference. During YAMAHA the 16X8 Opening Ceremony we had to put wind- MIXER 8 -CH. UREI screens on the Sennheiser shotgun mics, DOLBY 813 because of the heavy winds." 316 MONITOR DOOR Live -sound mixing The live -sound console for the Open - Figure 2. Equipment layout in the Record Plant truck. ing Ceremonies on Governor's Island was located on top of the grandstand with a monitor console being sited al the hack mics became too bad, just the tape would the Opening and ('losing ('eremonie.. of the orchestra's top section. Podium have been used. The majority of the According to Fred Chapin. a New York - and production nuies were split beneath music was taped, 's selec- based musician who played guitar, man- the stage to supply both the Record Plant tion being an exception. dolin, banjo and miscellaneous percus- truck monitor and house consoles. "The orchestras' play -ons and play -offs sion in the Liberty Orchestra for Opening Orchestra mics went directly to the were also scheduled to he played live. Ceremonies, "\lost of the time we were truck where they were submixed and However, if it had rained that night, sidelining -the show for us went fine. bussed out to the PA console. Submixes these also would have been played out We had a bit of a hard time understand- and production miss, in turn. were com- from tape, using a pre- recorded 4 -track ing French President Mitterand, and bined at the Trident console located in master." coordinating the final live drum roll with the truck. Outputs from a pair of Ampex Almost all the music cues were pre- the end of his speech. MM- 12(1(1 24- tracks (Dolby A- encoded recorded on 21 -track at RCA Studio A, "Conductor Ian Frases wore a headset master and backup reels) went to a New York, initially For weather in- so he could receive audio cues; he was Yamaha console in the hack of the truck. surance. Dennis Ferrant engineered the the only one who could hear the pre- Micing President Reagan during the music tracks used during the July 4th recorded click track. Opening Ceremonies posed some fireworks display, while Rick Rowe and "Larry Gatlin was the only act whose creative audio challenges to engineer Frank Rodrigues tracked the music for vocals, as well as his instrumental ac- Doug Nelson. audio stage manager .I. B.

42 Recording Engineer/Producer January 1987 Matteotti, and technical enginee . Ed RECORD HOUSE Ciletti, all of whom formed part of the PLANT CONSOLE Record Plant crew. To help reduce feed- REMOTE TRUCK NO designed for $ZPR back problems, the podium 4 STAGEIORCH. the show used AKG C452 mies with VR -1 SPLITTER NO 1 extension tubes and CK -3 capsules. In NO 2 21 PR STAGEIORCH contrast to the main podium. which was SPLITTER NO 2 lightweight and constructed of clear NO 3 2) PR plexiglas~, the President's personal ORCHESTRA MONITOR SPLITTER podium. weighed approximately 385 I CONSOLE NO pounds and was lined with armor. A 12PR 12 PR trio of microphones covered the Presi- NIGH,LEVEL one connected to his per- 3. Schematic flow chart of audio dent's speech: NO 5 Figure one as a backup: NIGH LEVEL SPLIT routing between the remote truck and live sonal tape recorder: ORCH SUS RETURN and the third. which also contained a kill sound consoles. button. fed the Record Plant truck. Pre -recorded music and cues Your Tired, Your Poor," from Emma at Giant Stadium was complicated by the order and The Record Plant truck also functioned Lazarus' The New Colossus, as used in fact that much of the running continued to vary. as a sound source for the July 4 the 1949 Irving Berlin show Miss Liberty. stage presentations Dave Reynolds. MSI Fireworks Ceremony. A pre -recorded III contrast to the majority of the According to was first time that 24 -track tape contained all the music. an- Weekend's musical selections, which, house mixer, "This the a stage show nouncements and fireworks cues. which with the exception of the July 5 classical a proscenium show and in the same arena at the were mixed live in the truck and music in Central Park. were pre-recorded have been done As a result. we had to come distributed to ABC Television and radio at RCA Studio A. the choir and orchestra same time. of with sonie unusual sound solutions at station WPI..I for simulcast throughout session took place on the second floor up Giant Stadium. the Tri -state area. the New York Coliseum. A temporary a "Because of the two dancing waterfalls "The last 15 seconds of President recording and rehearsal studio house by FM Productions. the usual Reagan's speech. broadcast live from the Yamaha M512 console. ()tari MTR-111 designed RE mies stacks of equipment we'd normally use in USS Kennedy, functioned as the count- 2- track, nine Electro -Voice -18 this sort of venue had to be hidden. Pro- down for the fireworks tape." says and JRI. monitor speakers. Wolper told us that 'good engineer Bob Wolff. Word to start the At first the two choirs were asked to ducer David sound should be heard and not seen' and fireworks portion came from the ABC stand about 6 feet apart. After three in case it's especially true " truck on Governor's Island to Tommy takes, however, they were intermingled this construction period. it was Walker, pyrotechnical director, and the at the request of their respective music During the erect a central speaker remote truck. directors. decided to on -stage cabinets and 22 "There was no problem with syn- According to Wolff, who engineered cluster. located around the stadium to chronization because all the audio was these sessions, "We had two interesting speakers provide foldback for performers. on tape; it started and just kept rolling." noise problems: first, the Coliseum's outdoor show, rain was The fireworks team actually began fluorescent lights buzzed, but without As with any a threat. During set up. work after the Americana Music concert them the orchestra couldn't see its always potential front the ceil- special waterproof coverings were made in Liberty State Park. N.I, as the stage chart , and secondly. noise large-scale equipment. was being dismantled following a con- ing fans was also picked up by the mies. for all of the being forced to move cert by the Boston Pops Esplanade The fans had to stay on. however. rather than everything inside the stadium at night Orchestra. A special computer program because caf the high humidity." (The Col- synchronized the detonation of iseum's second floor is win(IowIcss and should it rain. of several vehicles posed one fireworks on 42 barges surrounding without central air conditioning.) The use problems prior to the July ti Clos- lower Manhattan and the Statue. "Therefore. the tapes needed a lot of or two ing Ceremonies. These included micing In the Record Plant truck, which by EQ work to remove this unwanted "lead" motorcycle and now had moved across Governor's Island noise." the the "oldies" group, comprised of Bobby to the Castle Williams beat ion. Estrin All of the session tapes were eventual- Rydell. Fabian and Frankie Avalon. who and his associates were able to follow the ly mixed and transferred to NAB car- was rode to the performance area on the music sequences of specially arranged tridge. The National Emblem March centerfield stage in three antique cars. American and ethnic selections that cor- used as a taped filler for 5s intervals dur- According to Reynolds, "We were wor- responded to the fireworks cues. The ing the July 5th ribbon cutting ceremony ried that the vehicles' ignitions would music had been pre- recorded by the on Liberty Island. cause interference with the TV sound, Marine Band, which, in 1886, played live but the radio mies worked well." at the original fireworks honoring Ms. Outdoor sound reinforcement monitoring system pro- Liberty, led by John Philip Sousa. Maryland Sound Industries was award- A ground level ed contracts to provide sound reinforce- vided the performers with audio cues. Musical presentations ment systems for shows that took place The dark areas on stage that were slight- which Selected to represent youthful musical at Giant Stadium. Central Park and Liber- ly visible to the live audience (but the TV audience) talents of both America and France were ty State Park. A total of 24 sound were undetectable to monitors the Boy's ('hoir of Harlem and the Paris engineers an(i auxiliary crew were were comprised of built-in enough for Boy's Choit. accoulp;ulied by the employed. with stage construction at covered by grills substantial 55 -piece Young Artist's Philharmonic Or- Giant Stadium beginning in mid -.tune. performers to stand on them. for the Clos- chestra of Stamford. ('T. The choirs and Providing ad((ivale coverage for an Again, most of the music was performed live to a orchestra joined forces for "Give Me event the size of the Closing Ceremonies ing Ceremonies

January 1987 Recording Engineer/Producer 43 pre- recorded tape being replayed from the Greene /Crowe mobile truck parked Audio Notes from inside the stadium. As with the other large Weekend Liberty Weekend's Closing Ceremonies venues, Giant Stadium was provided with a complex system of intercoms and an in- stadium telephone system. By Edward Greene "The Greene /Crowe staff helped make a job this size easier than it might have The closing ceremonies of the 4-day In case of a power or audio-cable been," says Bob Tourkow, production Liberty Weekend celebrations were an failure, six additional wireless communications designer for entertainment spectacular rivaling the receivers on the same frequency served the Giant Stadium, "because memorable shows from the 1984 as backup on the main stage. To the they have one of the Olympics, with preparation starting credit of the engineering and opera- most sophisticated intercom systems of almost a year in advance. tional people involved, no failures or any TV mobile unit around. The skill of The first technical meeting took problems occurred. their audio communications engii eer, place in Los Angeles in the early fall of To cover the event's live aspects - Keith Hall, makes it easy to integrar' 1985 to discuss the general parameters marching bands, horse guards, their system with the massive external of the proposed show and to try to trumpeters, bell ringers, choir, system I was responsible for." develop the equipment and crew re- fireworks, podiums, and audience- Tourkow's communication setup, quirements to handle the event. The 36 mics, mostly in pairs, were scattered based upon RTS and Clear -Com units, show was to take place in the Giants throughout the stadium. Although us- not only had to football stadium in East. Rutherford, ing three dozen mics in a studio is not interface with the audio NJ, and would be attended by approx- uncommon, covering a stadium this and video production areas, but also with imately 75,000 people. My assignment size took a truckload of cable and the movable stage, dancing waters was to direct and operate the television many long arduous hours to set up display and lighting crews. audio feed; Larry Estrin of Best Audio and test. "The magnitude of the Closing Cere- was responsible for stadium sound and Pre- recording sessions took almost a monies was such that it was difficult to communications. Maryland Sound month to finish at Regent Sound on confirm anything until all the people in- provided the house sound system. multiple 24-tracks running at 30ips. volved were on site," Tourkow says, ABC Television leased the Additional recording took place in "since communications had to be Greene/Crowe mobile audio /video other studios around the country, to de- truck to serve as the site's master con- accommodate the artists' busy. signed with junction points everywhere." trol, and 1 was hired as free lance schedules. All sessions were mixed "Even though the July 4th Americana audio mixer. down to 4-track, ii-inch masters, Music concert in Liberty State Park and Immediately after that first meeting I which were played out from the the Giant Stadium Closing Ceremonies placed key personnel and equipment remote truck. included some rock music," continues on hold for the projected weeks of The entire show was recorded and Larry Estrin, production coordinator, "it rehearsal Six key field audio engineers mixed in stereo, but for radio au- just couldn't sound like a rock concert, and 12 RF diversity wireless mic diences only. Because ABC Television even though we used 'rock- concert' systems were among the items of declined to broadcast the event in amounts and types priority. With all the shows projected stereo, great care had to be taken that of audio equipment. for Liberty Weekend, there were likely the mono television feed was fully com- The concerts at Liberty State Park usual- to be shortages of people and equip- patible. All in all, no major technical ly have two speaker stacks -we had five. ment for anyone waiting too long to problems occurred either during "We had to use electric delay to ap- book them. rehearsal or the live telecast. proximate the sound of a symphony or- It was soon decided that, because of Probably the most serious problem chestra, and also lower the overall the problems of weather and rehearsal during rehearsal resulted from a per- acoustic level. For this reason the stage time, the show orchestra would be en- former putting a radio mic down and used diamond -shaped acoustic panels to tirely pre-recorded. Elliot Lawrence leaving the area. Fortunately, the mic accommodate a symphony 'band-shell' was chosen as music director, and we was still on, so one of the field sound, mutually decided on Regent Sound, engineers traveled the entire stage like the one in Central Park. New York, to be the pre-record studio. shouting until we could hear him close "An average concert -goer at any rock The choir of 1,200 would sing live, but to the mic, and finally located it. concert might be about 500 -feet from a would have limited rehearsal time. As My intention in mixing the show for speaker tower. Yet here, they were only a result, 20 studio singers were over- broadcast was to provide the right 150- to 200-feet away. Conversely, at dubbed five times to provide a solid combination of pre-recorded and live Giant Stadium, most rock acts don't use a base for the choir. sound; to make the event sound real rolling stage, although Patti LaBelle did, Almost all of the principal vocals both for the stadium audience and the with a sound system located on and in- were performed live using wireless listeners at home. No attempt was side it. Patti performed the stage moved hand mics. More than 37 frequencies made to compromise either audience. out for the various vocal and communica- Ambience mics were grouped by loca- to center field." tions channels were used in or near the tion in the stadium, so that appropriate Even though planning for Liberty Meadowlands venue. mics would be operating for different Weekend began in the fall of 1985, a The main area for wireless mic scenes. number of technical components weren't receivers would be just behind the con- The technical "secret" in this kind of finalized up until, in some cases, the very ductor's podium on center stage. A multimedia production lies in prepara- last minute. There were absolutely no smaller sub -stage traveled tion and from the proper personnel, along with major catastrophes during the 4 -day front of the mainstage to two marks sufficient redundancies to cover an- celebration, which, for an event this size, close to center field. Six receivers ticipated failures. says a lot for the audio professionals in- traveled under the sub -stage, which the volved. R e/P crew nicknamed "The Death Star" Edward Greene is a TV sound mixer, with (because at night it looked like a Greene /Crowe an audio/video mobile truck The author thanks Henry Neiger of the Statue of Liber. Lucasfilm creation). company, based in North Hollywood, CA. ty /Ellis Island Foundation. and Kathy Stahlman of FM Productions for their help in obtaining photos.

44 Recording EngineerProducer January 1987 New Carver Amps for permanent installation, studio, and concert use. PM -175 and PM-350. is NOW THAT THE CARVER PM -1.5 IS PROFESSIONALLY SUCCESSFUL, ing modules. Soon to be availaple an electronic, program- IT'S STARTED A FAMILY. INTRODUCING THE NEW CARVER PM -175 mable 2 -way stereo crossover, with 24 dB per octave Linkwitz- -end AND PM -350. Reilly phase -aligned circuitry, a built -in adjustable high limiter and balanced outputs. And more modules will be avail- Month after month on demanding tours like Bruce Spring - able in the near future to further help you streamline your system. steen's and Michael Jacksor's, night after night in sweltering bars and clubs, the Carver PM -1.5 has proven itself. Now there PRO FROM CONCEPTION. The PM -175 and PM -350 inherited their to are two more Carver Professional Amplifiers which deliver father's best features. Including slow startup and input muting equally high performance and sound quality - plus some re- eliminate turn on current surge, 11-detent level controls, phone markable new features that can make your life even easier. jacks, power, signal, clipping and protection indicators as well as balanced XLR input connectors. In a bridged mode, both OUTPUT. The new PM -175 delivers 250 watts RMS per SERIOUS amplifiers will drive 70 -volt lines without the need for external channel into 4 ohms. As much as 500 watts RMS into 8 ohms transformers. bridged mode. The larger PM -350 is rated at 450 watts per Carver channel into 4 ohms. Up to a whopping 900 watts in 8 ohm MEET THE FAMILY AT YOUR CARVER DEALER. All remarkable bridged mode. Both with less than 0.5% THD full bandwdth at Professiona Amplifiers await your own unique applications. Hear any level right up to clipping. Plus 2 ohm capability as well. their accuracy and appreciate -.heir performance soon. driven SPECIFICATIONS: CARVER PM -175 Power 8 ohms. 175 w, - hannel 20 -20kHz loth channels SERIOUS PROTECTION. Like the PM -1.5, both new amplifiers have no rnore that 0.5% THD. 4 ohms. 250 w,channe 20 -20kHz both channels driven with no more with THD. than 0..`it. THD. 2 ohms 300 w /channel 20-20k Hzz both channels driven with no more than 0.5% no less than five special protection circuits including sophisti- Bridging 500 watts Into 8 ohms: 400 watts into 16 ohms THD-less than 0.5 %at any power level from Gain: 29 20 mW to dipping - IM Distortion less than 0.1% SMPTE. Frequency Bandwidth: 5Hz-80kHz. cated fault interruption against dead shorts, non -musical high dB. Input Sensitivity: 1 5 V rems. Damping: 200 at 1 kHz. Slew rate: 25V: micro second. frequency, and DC offset Noise Better than 115 dB below 175 watts, A- weighted. Inputs: Balanced to ground, XLR protection, as well as low or TRS phone lacks. Input Impedance: 15k ohm each leg. Compatible with 25V and 70V level internal power supply systems. 19'Wx 3 5 "H x11.56 "D SPECIFICATIONS: CARVER PM -350 Power. fault and thermal overload 8 ohms, 350 w /channel 20.20kHz both channels driven with no more than 0.5% safeguards. The result is an THD. 4 ohms, 450 wzchannel 20 -20kHz both channels driven with no more than amplifier which is kind to 0.5% THO. 2 ohms 450 w: channel 20 -20kHz both channels driven with no more than 0.5% your expensive drivers-as THD. Bridging: 900 watts onto 8 ohms: 750 watts into 16 ohms. THD -less than 0.5% at well as to itself. any power level from 20 mW to clipping. IM Distortion less than 0.1% SMPTE. Frequency OUTBOARD GOES INBOARD. Bandwidth: 5Hz- 80kHz. Gam: 31 dB Input Sensitivity: 1.5 V rms. Damping: 200 at Each PM -175 and PM -350 1kHz. Slew rate: 25V.'micro second. Noise. Better than 115 dB below 350 watts. has an internal circuit card A- weighted. Inputs: Balanced to ground. XLR or TRS phone lacks. Input Impedance: 15k bay which accepts Carver's ohm each legg Compatible with 25V and 70V new plug -in signal process- .v-ctems. 19' Wx 3.5 "Hx11.56 "D

Powerful Reliable Versatile Stackable Rugged Easy to Install Compact Lightweight Cool Operation Bridgeable Quiet Affordable Multi- Function Protection Superb Sound

G\RVER PO Box 1237. Lynnwood. WA 98046 POWERFUL MUSICAL_ ACCURATE etvkfhon Circle (18) on Rapid Facts Carc Distributed in Canada by technology Concert Sound System

Figure 1: Early rock concert events were served by component speaker systems using available hardware. Development By David Scheirman

The continuing emphasis on high- quality sound and rugged construction will result in some radical reorientation for both sound system rental companies and equipment manufacturers.

Professional concert sound reinforce- able sound systems were once usually major sport arenas And performing art ment systems for touring and permanent seen only at rock concerts. Rock music facilities report that popular music installations have undergone noticeable was a "counter-cultural" phenomenon, events are actually contributing more changes during the past five years. These appealing to the younger generations of revenue to facility operations than the changes have involved not only the the Fifties and Sixties. Sound system dance, symphonic or sporting events for equipment used in such systems, but the design grew up with rock and roll and its which the buildings were originally companies that design and operate them audiences (Figure 1). designed. Amplified music has been spill- and the events where they are used. Today's decision -makers in civic and ing over into mainstream cultural ac- Today's live performance events are political groups, as well as administrators tivities as well; for example, the Liberty served by sound systems that feature on campuses and in public buildings, Weekend celebrations in New York this multiple-mix consoles, digital signal grew up with what is still today's popular past summer showcased nationally processing units, compact amplifiers and musical style. Perhaps remembering the known rock acts along with other types modular loudspeaker systems hung from poor sound system used at their own of talent. the rafters of large arenas. Commercial high- school prom, many of these people The wide range of performance events manufacturers are taking more of an ac- are now the ones authorizing extensive available today may lead to the following tive part in the design of such systems production budgets for fairs and major industry development patterns: which formerly were the province of civic events. Which means that the More regional civic events requiring touring sound companies. sound companies serving such events concert sound Contemporary systems. concert events, are expected to provide quality sound. An increasing number of "World whether an indoor heavy-metal rock Rock concerts are still with us; many Class" media events involving massive concert or outdoor ethnic music festival, feature better quality audio with a more even audience coverage than ever before. Trying to examine the systems that serve such events can be an ex- haustive study. Trying to predict the future direction that the format of such systems will take is risky. Nevertheless, let's take a look at some current trends and possible future directions. Then we'll examine a typical regional sound firm serving a large public event and see how our predicted trends match up to reality.

Establishing the requirement for quality sound Truly effective, full- bandwidth port-

David Scheirman is president of Concert Sound Con- sultants. Julian, CA. and RE/P's live performance con- Figure 2: Large 1 -box, full -range enclosures (Clair C-4), as supplied to Tina Turner's 1985 North sulting editor. American tour.

46 Recording Engineer/Producer January 1987 most interesting developments in stage availability of commercial units that offer microphone technology are in wireless integral limiter circuits for loudspeaker systems and the new breed of miniature protection and output phase adjustment. condenser mics available for special - Some units now make a provision for application instrument use. time -compensation adjustments with A look into the future of consoles, variable delays or preset delay circuits processing and microphones might show for each bandpass tailored to a specific us the following: loudspeaker system. Forty inputs will be the standard input Some companies are beginning to in- configuration for concert sound systems. tegrate the crossover and power Additional consoles for mixing opening amplifier into a single package. Other acts and keyboard /percussion submixes firms have developed dedicated proces- will be carried. sors (including crossover, limiter and Figure 3: Trapezoidal loudspeaker Advanced manufacturers will develop thermal -protection devices) to accom- enclosures allow the assembly of compact, a virtual console for live performance pany their proprietary speaker systems curved arrays. Shown here: Sundown Sound's use, digitizing every control on the con- with the processors designed to be COI 2 -box system supplied to the Coliseum, sole surface. Console automation and in- located in the power- amplifier racks. Portand, OR. formation control devices now in record- Amplifiers are becoming increasingly more wattage is also re- sound systems along with broadcast in- ing studios also will become available. smaller; yet - The challenge here is to combine terface. American, British and Japanese signal quired. and reliable circuitry New sound companies dedicated to processing device manufacturers will compact packaging with accurate sonic reproduction serving such events. make an increasingly better use of digital design manufacturers are ex- Commercially available specialized technology to produce cheaper and flexi- capabilities. Some different technology applica- hardware, providing efficient assembly ble effects devices. amining while others concentrate on con- of large systems. Input devices available for the concert tions, stage will include direct -input units with ventional design methods optimized for Consoles, signal processing active electronics and greater signal con- the touring-sound industry. and microphones trol, and smaller higher fidelity A few patterns emerging in crossover/ and use: Mixing console design is evolving microphones. amplifier design rapidly. While analog -to- digital Commercially available frequency- networks are evolving into technology and computer automation Crossovers and amplifiers dividing sophisticated system control units. has invaded the do- The system drive and power com- As processors are main, the vast majority of mixing con- ponents available today are becoming improved more sound system operators used today for live performance are more integrated. As manufacturers developed, soles having the traditional analog devices that have become aware of what professional will feel comfortable functions located in the power followed a line of development set out sound companies require, the burden of crossover racks. over the past decade by several research, development and prototype amplifier manufacturers, recognizing manufacturers. buildup is shifted away from the touring Amplifier need for quality crossovers, will As features such as solo /mute func- sound companies. Some of the newer the begin to develop their own control prod- tions, auxiliary output sends and sub - equipment manufacturing companies got master /matrix mix buses become uni- their start in that very business. ucts. somewhere will versally recognized, the list of commer- New crossover technology includes the By 1991, sombody cially available consoles has expanded. While 16 or 24 inputs used to be stand- ard, today's configurations are 32, 40 or more. Today's electronics racks house a wide variety of components, centered mainly on system -drive units, channel -insertable audio controllers and digital special - effects devices. Sophisticated test and measuring devices, including real -time analyzers microprocessor controlled fast Fourier transform (FFT) units, are be- coming more common. Although units such as compressor - limiters, graphic equalizers and delay units, manufactured by early sound com- panies for concert use, were once seen only in the recording studio or high - fidelity realms. However, complete ma- jor systems are now put together from off -the -shelf commercial products. Certain microphones have achieved many classic status on concert stages; Figure 4: Visual appearance of loudspeaker arrays is becoming increasingly important. Shown sound companies offer rental micro- here: Audio Techniques' 2 -box speaker system featuring natural wood finish, as supplied to the phone kits that resemble similar kits in group Chicago. systems across the country. Perhaps the

January 1987 Recording EngineerProducer 47 Stage monitors Monitoring systems for on -stage per- formers are becoming increasingly powerful and complex, although certain standard design trends are evident. Although major manufacturers are beginning to discover what is required on the concert stage, many concert sound companies are still developing in- teresting proprietary monitor enclosures for specific applications (Figure 6). Stage monitor Figure 6: Custom floor slant monitor speaker consoles are becoming increasingly versatile. Output configura- enclosure developed by M.D. Systems for Step - penwolf. tions of 12 to 16 mixes are becoming common, with many monitor desks systems in the air; today several housing the same number of input specialized rigging companies offer their modules as a given system's house desk. services for hire. Regional sound com- Some consoles feature onboard panies are developing their own unique parametric EQ for each output mix, in an proprietary hanging hardware using attempt to simplify the signal path by do- traditional chain -motor hoists (Figure 5). ing away with outboard equalization. One -box modular systems have led to Major sound companies have worked the development of 2 -box systems, and together with console manufacturers to dedicated subwoofer enclosures are now develop specialized monitor desks. Some available from several manufacturers for smaller companies, including Compact Figure 5: An aluminum -truss hanging system use with 1 -box systems. Enclosures hous- Monitor Systems and Modular Sound developed by Speedo Sound for use with EAW ing drive units from 15 to 24 inches in Reinforcement, have been specializing in KF-550 enclosures. diameter offer supplemental low - the rental of stage monitor systems for frequency information to both small and new acts on the showcase club circuit, have perfected a power amplifier the size large concert systems. major tour opening acts and rock video of a cigar box with integral speaker pro- Present directions might indicate some production. tection systems that develops in excess of the following future development These directions will continue into the of 2,500W rms. trends for concert sound loudspeaker future, as onstage sound becomes more systems: critical: Speaker systems Commercial manufacturers will con- The monitor mix position will con- Modular loudspeaker systems tinue to offer speaker systems that are tinue to evolve into "control central," dominate today's professional concert acceptable even to veteran touring firms. with full patching facilities, full com- sound rigs. Having first appeared ap- Both rectangular and trapezoidal munications and production monitoring. proximately 15 years ago, through the enclosures will be popular. The increas- Console manufacturers will reduce the early work of such companies as Clair ing use of subwoofers with 1 -box price of complex products that feature Bros. Audio, McCune Sound Systems, modular systems will give concert -goers VCA grouping, programmable muting Northwest Sound and Tychobrahe, some a true extended -range listening ex- and output matrix switching. of the first "1 -box" systems are still with perience. Off -the -shelf, high-fidelity monitor us. The practical size limits of "1 -box" Loudspeaker components handling speaker enclosures will be available, modular systems have probably been frequencies below 100Hz will remain on perhaps even in designer colors. reached (Figure 2). the ground; components handling fre- Today's speaker systems are often quencies above 100Hz will be flown Reality meets prediction trapezoidal or "wedge -cut" in shape, above the stage area whenever possible. Stage Audio & Lighting Productions, allowing the construction of tighter, Enclosures will become lighter and Charleston, WV, is a relatively new more compact modular arrays. Frequent- stronger due to improved transducers regional sound-system rental company. ly, loosely knit "networks" of companies and the use of composite building Stage Audio caters to a wide variety of that use the same type of speaker materials. touring musical groups and single- enclosure develop to help ease logistical problems, having nothing in common with each other except the type of hard- ware purchased (Figure 3). As the visual aspects of the hardware used for large performance events becomes more important, sound com- panies are paying more attention to _- ._.;.,ir' speaker system cosmetics. Today's systems are visually pleasing, and many refuse to play second fiddle to elegant i lighting hardware (Figure 4). The hanging and rigging of speaker Figure 7: One of the country's largest civic Figure 8: Stage Audio's house mixing posi- systems is becoming increasingly com- events held on an annual basis, the Sternwheel tion for the Charleston Sternwheel Regatta, Regatta in plex. At one time only a handful of major Charleston, WV, features rock con- featuring a Soundcraft 8008 40 -input console. certs and paddlewheel touring firms could suspend speaker steamboat races.

48 Recording EngineerProducer January 1987 performance events. Stage Audio recent- ly supplied complete production services for one of the nation's largest annual civic events, the Charleston Sternwheel Regatta (Figure 7). Crowds in excess of 100,000 a night were attracted to the city's downtown area to witness paddlewheel steamboat I races and to enjoy concerts by such acts as the Commodores, Quarterflash and Tanya Tucker. Figure 10: Subwoofers supplied by Stage Figure 12: Singer/saxophonist Rindy Ross of an increase in the pro- "We have seen Audio comprised EAW SB550L enclosures, Quarterflash on stage at the Charleston Stern - duction budgets available for sound and each housing four RCF L15/P200 drivers. wheel Regatta. Stage Audio supplied EAW lighting at civic events in the past few SM-222 monitor wedges. years," says Phil Kovacevich, Stage wheel Regatta, with five rows per side Audio owner. "That translates into better stacked three high (Figure 9). Additional each box road-ready. system in sound for more people. Based in part on rear -area delay tower stacks were used "We've tried to assemble this the increased activity in this part of our to reach the far -flung urban audience. such a manner that it can easily do both ease," business, we decided to put together a Subwoofer enclosures used to enhance large and small shown with new sound system this year." the system's bass presence comprised the Kovacevich says. "We need to spend our out and doing Kovacevich, a former professional new EAW SB550L, each of which housed available time getting musician who studied at Berkelee Col- four 15 -inch RCF L16 /P200 shows. It's been good to find components been lege of Music, Boston, began to examine loudspeakers, offering up to 9mm peak - for this system that had already by available hardware before making major to-peak maximum linear displacement road -proven, and were developed It gives us a purchases. (Figure 10). reputable manufacturers. for the new system." "Putting together a large concert Crest model 4000 power amplifiers good selling point system from scratch doesn't make sense drove the loudspeaker system (Figure in today's economy," he says. "In the old 11). Each 15 -inch loudspeaker in the Regional companies to grow Productions days, sound companies used to build system was set up on a separate Stage Audio & Lighting time, their own boxes and crossover. Reliable, 13 -gauge speaker wire, with four 15 -inch has assembled, in a relatively short sound system that road -tested hardware is available from drivers to a channel (700W to 211, a roadworthy concert touring stock that can be put together into ex- stereo). The amplifiers were bridged to was acceptable to national of the cellent packaged systems." mono for subwoofer operation. Crest groups performing at one annual civic events. Stage Audio chose a 40 -input Sound- model 3000 amplifiers drove the country's largest from a craft 800B console for the main deck midrange and high- frequency com- Sound- system components were used to of- (Figure 8). ponents (12 -inch RCF loudspeakers and variety of manufacturers "We felt it was important to offer con- JBL model 2445 2 -inch compression fer a system that would please touring groups. The soles that visiting soundmixers would be drivers on an EAW horn). soundmixers for national familiar with," Kovacevich explains. Stage Audio's monitor system compris- system can be stacked or hung in venues The system's graphic equalizers are ed a dozen of the new EAW SM -222 floor of all sizes. Klark -Teknik model DN300s, and the slants, powered by Crest model 3000 This particular sound system, and the is typical of new Brooke-Siren FDS -360 crossovers amplifiers with Klark-Teknik DN360 event for which it was used, systems that were chosen. graphic equalizers and Brooke -Siren many recently built concert the na- "It's the handiest crossover we've seen Systems FDS -320 2- channel bi- amplified have appeared in public across years. yet," he says. "The phase -trim feature crossovers (Figure 12). tion in the past several firms had a allows the user to optimize the phase While the main speaker system used at The major concert sound relied on relationship of the lows, mids and highs; this event was stacked at stage level, busy 1986 season and many and speaker it gives you something else to fine -tune." each EAW KF -550 enclosure was equip- proprietary electronics are The firm selected Eastern Acoustic ped with Aeroquip track-type hanging systems. Not all sound companies na- Works' KF-550 modular loudspeaker hardware. A rear compartment for cable aimed toward the highly competitive are enclosures. A total of 30 boxes were used storage and black steel front grilles, tional touring market. Many more on for the 52 -foot wide stage at the Stern- along with handles and castors, made coming into existence, concentrating providing quality service to their region of the country. r These are the companies that perhaps 11 _ - represent the major portion of market I. .s...m al share for many pro-sound manufac- tr 1. .1 "_---- i .. tuiers. Major touring sound companies 3E >r i++rrr+.t.±ol10 may be the racing teams, but regional CI II it t sound companies are the dependable sc --- - transportation fleet. ata I - s l 1 7t 3i 1 i I There will be more growth in this field J. lariev' r11 within the next five years as develop- 8 ment trends in concert sound system will [rJ c --- inspire these companies as commercial Figure 9: iiie Sternwheel Regatta's main Figure 11: Stage Audio uses Crest Model manufacturers fine tune their product stage used 30 EAW KF-550 full range 3000 power amplifiers to drive midrange and lines to meet market demands. all enclosures. ' high -frequency components. Photos by David Scheirman

January 1987 Recording Engineer-Producer 49 turers have put both analog and digital displays on the same instrument to offer the best of both worlds. Typically, the analog scale does not have very fine graduations, and is intended only for ap- proximate measurements of rapidly Test changing signals. and Most meters a of few years ago were of the average responding /rms calibrated - type, in which the ac signal was rectified and averaged. The reading was adjusted Measurement to make the display give the rms value for a sinewave input. For other signals, the response is somewhat hard to define. Newer meters, however, actually measure the rms value of the waveform Equipment using special integrated circuits, which allow accurate measurements of voltage for all signals, not just sinewaves. By Richard C. Cabot, Ph.D. Rms voltage measurements accurately reflect the heating power of the waveform in a resistor or loudspeaker, a What are the important audio measurements you need measurement critical to the correct to make on recording and production equipment and specification of power in amplifiers. what type of test equipment should a facility look for? Many noise specifications, however, were developed in the days of average - responding meters and to verify such measurements requires an average - Let's begin by reviewing the principal of verifying specified performance, or as responding unit. Some new devices types of audio measurements and how a way of comparing several pieces of allow selection between these two they are performed. The most common equipment. When these measurements responses, giving compatibility with old audio measurements are frequency are performed periodically on studio and new techniques. response, level gain/loss, harmonic equipment, they are a good way to iden- A voltmeter's bandwidth can have a distortion, SMPTE intermodulation tify equipment in need of adjustment or significant effect on the accuracy of a distortion, noise level, signal -to-noise repair. Whatever the application, audio reading. Consider a distorted sinewave ratio, phase, wow and flutter, and tran- measurements are an important part of a being measured by two meters with dif- sient response. This article explains well- maintained studio. ferent bandwidths. The meter with the some of the finer points of making such narrower bandwidth does not respond to measurements and the type of features Level measurements all of the harmonics, and provides a to watch for when selecting equipment The simplest description of a level lower reading. The severity of this effect to perform them in the studio. measurement is the ac voltage at a par- varies with the frequency being The measurement of level is funda- ticular point in a system or signal path, measured and the meter's bandwidth, mental to most audio specifications. and can be made with any one of several which can be especially severe when Level can be measured either in absolute different types of meters. Let's look at measuring wideband noise. Most audio or in relative terms. Power output is an some of their features and requirements. requirements are adequately served by a example of an absolute level measure- The most obvious difference between meter with a 300kHz bandwidth, which ment; it does not require any reference. various audio voltmeters is the type of allows accurate measurement of signals Signal -to-noise ratio and gain /loss are display, analog or digital. Each has its ad- to about 100kHz. examples of relative measurements; the vantages. Analog meters are not easy to Accuracy is a measure of how well a result is expressed as a ratio of two use for exact measurements, because of meter measures a signal at a midband measurements. Frequency response is their multiple scales and the need to in- frequency, usually i kHz. This sets a basic also a relative measurement, expressing terpolate numbers from the printed limit on the meter's performance in the gain of the device under test as a scale. In contrast, a digital meter pro- establishing the absolute amplitude of a function of frequency relative to the mid - vides a direct readout of the value to signal. It is also important to look at the band gain (usually at !kHz). more digits of precision than could ever flatness specification to see how well this Distortion measurements are a way of be read from an analog meter scale. performance is maintained with changes specifying the amount of unwanted However, nothing is perfect; a digital in frequency, a parameter that describes anomalies added to a signal by a piece of meter is only suited for measuring how well the measurements at any other equipment. The most common technique relatively stable signals. While monitor- frequency will track those at 1kHz. If a is total harmonic distortion (THD), but ing program level to determine system meter has an accuracy of 1% at 1kHz, others exist. Distortion is also a level operating levels under actual use, it and a flatness of 1dB (10 %) from 20Hz to ratio measurement, expressing the becomes extremely difficult to extract a 20kHz, the accuracy can be as bad as amount of unwanted signal relative to single number from the mass of flashing 11% at 20kHz. the desired signal. LED numerals. An analog meter can Meters often have a specification on Measurements are performed as a way handle this job with ease. accuracy for each voltage range, being Another application for analog meters most accurate only in the range in which Richard Cabot is vice president and principal engineer is monitoring the results of an adjust- they were calibrated. A meter with a 1% at Audio Precision, Beaverton, OR. ment for a peak or a null. Some manufac- accuracy on the 2V range, and a 1% per

50 Recording EngineerProducer January 1987 step accuracy, would be 3% accurate on .15 the 200V scale. Using the flatness . 10 specification given earlier, the overall ac- ,. ti curacy for a 100V 20kHz sinewave is 5 % J ..,...* 13 %. In many meters an additional ac- oaa curacy deration is given for readings as a '.\ yj 5 % ¡; °q percentage of full scale, making readings /r below full scale less accurate. 10 /' , /o ¡'' i..r The accuracy specification is not nor- 15 `\ mally as important as the flatness. When lS y? 20 ` /// \ performing frequency- response or gain ? ! l P% measurements, the results are relative 25 r / / and not affected by the absolute voltage 30 ^` used. When measuring gain, however, o// / the instrument's attenuator accuracy is a 35 direct error source. - 40 ac- Similar comments apply to the / 1 - 45 P dJ curacy and flatness specifications for signal generators. Most are specified in - 50 Si the same manner as voltmeters, with the - 55 inaccuracies adding in much the same - 60 way. Caveat emptor is the byline when interpreting most of these specs. - 65

70 / 20 30 50 100Hz 200 300 500 1 kHz 2 5 10kHz 20 30 50 100kHz Decibel measurements 10Hz Audio measurements are often ex- pressed in decibels, which may be de- minated voltage-based dB measurement Figure 1. Frequency response of various filters commonly used to make fined as the logarithmic ratio of two referenced to IV. weighting measurements. power measurements or (if the im- audio noise pedances are equal) as the ratio of two Noise measurements voltages. The defining equations are Noise measurements are really a use a filter that duplicates electrically this given below for both power and voltage special case of voltage measurements. It non -linear behavior. measurements: has long been recognized that the ear's Various attempts have been made to sensitivity to low -level signals varies with mimic the ear's response, resulting in dB = 20 log (Voltage *1 /Voltage *2) frequency, an effect that was studied in several noise measurement standards. = 10 log (Power '1/Power "2) detail by Fletcher and Munson, and Some of these "weighting" filters are others. The ear is most sensitive in the shown in Figure 1. The most common There is no difference between dB 2kHz region, with rolloffs above and filter in the United .States is the values from power measurements and below this value. To predict how noisy A-weighting curve, which is placed in dB values from voltage measurements, if something will sound it is necessary to front of a high- sensitivity voltmeter and the circuit is loaded in the reference im- pedance. The reference for decibel measure- ments may be predefined, as in the case of dBm (reference: 1 mW), or it may be Output the result of another measurement, as in gain or frequency response. When measuring dBm the reference im- pedance must be specified; both 600f1 and 15051 are common reference im- pedances in audio applications. The equations assume that the circuit f being measured is terminated in the reference impedance used in dB calcula- - tion. However, most voltmeters are high Input impedance devices and are calibrated in decibels relative to the voltage required to reach 1mW in the reference im- pedance. This voltage is 0.775V in the 60011 case. Termination of the line with a 60011 load is left up to the user. If this is not done, however, it is incorrect to speak of a dBm measurement. The case of a decibel in an unloaded line is referred to as dBu (or sometimes dBv) to denote that it is referenced to a 0.775V level. This should not be con- Figure 2. /Mal harmonic distortion test of transfer characteristics. fused with dBV, which is an unter-

January 1987 Recording Engineer/Producer 51 the noise amplitude is measured. An average-responding meter is normally used for A- weighted noise measure- THD + N (Total Harmonic Distortion plus Noise) ments, although rms is beginning to be seen. Some equipment manufacturers specify noise with a 20Hz to 20kHz band- l Notch Filter Response of Analyzer width filter and a rms -responding meter. European equipment is usually specified with a CCIR filter, and a special ac /dc converter called a quasi -peak detector. This latter technique is sup- 2f, 3f, 4f, 5f0 posed to correlate better with the subjec- tive level of noise than A- weighted, aver- age- response measurements. SMPTE IMD (Intermodulation Distortion) About a dozen different weighting - filter /voltmeter combinations have been Effective Measurement Bandwidth of Analyzer proposed for measuring noise. Each / r technique has its group of supporters; they are usually the people whose equip- ment look best with that particular measurement. 1 Noise may be expressed as an absolute level (usually in dBm or dBu) simply by measuring the weighted voltage assum- ing proper termination) at the desired point in the system. This is not very meaningful, however. A I mV noise spec Harmonic distortion measurements ex- Figure 3. Frequency spectra of THD and at the output of a power amplifier may cite the device under test with a SMPTE IM measurement signals. be quite good; a I mV noise spec at the sinewave and measure the output spec- output of a microphone, on the other trum. Due to the non -linearity of the the output of which is then displayed on hand, would render it useless for transfer characteristic, the output is not an ac voltmeter. Additional circuitry (not anything but recording jet planes. sinusoidal. Using Fourier series analysis, shown) is required to enable setting of A better way to express noise perform- it can be shown that the output the correct input level for calibrated ance is the signal -to-noise ratio. S/N is a waveform consists of the original input measurements. dB measure of the noise voltage using sinewave, plus sinewaves at integer Because of the notch -filter response, the signal level measured at the same multiples (harmonics) of the input fre- any signal other than the fundamental point for a reference, which makes quency. The spectrum of the distorted will influence the results -not just har- numbers at different points in the system signal is shown in Figure 3. The har- monics. Any practical signal contains directly comparable. A signal with a monic amplitudes are proportional to the some hum and noise, which the distor- given S/N ratio can be amplified with a amount of distortion in the device under tion analyzer will include in the reading. perfect amplifier, or attenuated with no test. The correct term for this measurement is change in the noise. Any degradation in A distortion analyzer removes the fun- then: "Total harmonic distortion and S/N ratio at later points in the system is damental of the signal to be investigated, noise" (THD+ N). due to limitations of the equipment that and measures the 'remainder. A block Additional filters are included on most follows. diagram of a typical harmonic distortion distortion analyzers to reduce unwanted analyzer is shown in Figure 4. The fun- hum and noise. They usually consists of a Understanding distortion damental is removed with a notch filter, 400Hz high -pass filter and a pair of low- Distortion is a measure of signal im- purity, and is usually expressed as a percentage or dB ratio of the undesired components to the desired components Fundamental A of the signal. Distortion of a device is Fundamental A Fundamental A ellminated measured by feeding it one or more sinewaves of various amplitudes and fre- llilt 1II 1 quencies. Any frequencies at the output / t

De. ce i t that were not present at the input are Oscillator under Filler AC'DC termed distortion. te Y Let's first take the case of harmonic Radout distortion measurement. The transfer characteristic of a typical device is i shown in Figure 2, which represents the output voltage at any point in the signal waveform for a given input voltage -ideally this is a straight line. Because the actual transfer characteristic is non -linear, a distorted version of the input waveshape appears at the output. Figure 4. Simplified block diagram of a typical total harmonic distortion analyzer.

52 Recording EngineerProducer January 1987 are rapidly becoming outdated. With most practical distortion measurements Transfer (Input- output) cheractenstics of the rms response will read about 2dB teal device higher than the average response. Accuracy of most distortion analyzers is specified at 1dB, but this can be misleading. As was explained above for voltmeters, separate specifications are often put on the bandwidth and ranges. A more important specification for distortion is the measurement system's residual distortion. Manufacturers of distortion analyzers often specify the oscillator and analyzer section separate- ly. A device for which the oscillator and analyzer are each specified at 0.002% THD can have a system residual distor- tion of 0.004%. If the noise of the analyzer and /or the oscillator is specified separately, this value must be added to the residual specification to find the system's residual THD +N. (It is not uncommon to find this Figure S. SMPTE IM test of transfer characteristiscs. limited system residuals at most input voltages.) pass filters at 20kHz or 30kHz: Used in tude changes. The result is an LF ampli- Many commercial units specify the conjunction with a good differential in- tude modulation of the HF tone, and is residual distortion at only one input put, such filters can solve most practical apparent in the frequency domain as voltage, or at the full -scale of one range; measurement problems. sidebands around the HF component. the performance usually degrades by as Another distortion measurement is the The power in these sidebands represents much as 10dB when the signal is at the interaction or intermodulation of two or the nonlinearity in the tested device. bottom of an input range. It is best to more signals as they pass through a The signal is measured by filtering off look for a spec on total system residual device simultaneously. Of the many tests the LF tone, as shown in Figure 6. The THD +N that includes all error sources that have been devised to measure this HF tone is then demodulated as an AM combined, and holds for all input interaction, the most common is SMPTE radio signal and low -pass filtered to voltages and frequencies. Otherwise you IM, which uses a low- frequency tone remove any remaining HF energy. The have got a lot of calculator work ahead. (usually 60Hz) and a HF tone (usually resulting demodulated low- frequency Manually operated distortion analyzers 7kHz) mixed in a 4:1 amplitude ratio. signal is the distortion, and is displayed of just a few years ago required exten- The amount that the LF tone modulates as a percentage of the HF tone's sive adjustment of notch -filter frequency the HF tone indicates the degree of amplitude. and depth to ensure adequate rejection nonlinearity. To make the reading represent the of the fundamental. In addition, the As shown in Figure 5, when this com- true power in the distortion, measure- 100% reference level had to be set to posite signal is applied to the test device, ments ahould be performed with an enable calibrated ratio measurements. the output waveform is distorted. As the rms -responding meter in the distor- Later units ganged together the oscillator HF tone is moved along the transfer tion analyzer. Older instruments used and analyzer frequency controls, so that characteristic by the LF tone, its ampli- average -responding meters, but these the user did not have to hunt for the cor- rect frequency to make a distortion measurement. Such semi- automatic units

A are relatively easy to operate when the source can be sighted near the analyzer. I I .tljlt 1111. ill. However, many measurements do not allow access to the signal source-put-

Low Frequency ting the user right back to knob twisting osoulalor and time wasting. Typical of these ap- plications is tape -machine testing using a High Low prerecorded test tape. The better distor- De ice Pass Demodulator 1--e. Pass AC DC Filler Filler tion analyzers on the market today are O H fully automatic in both frequency tuning Mater and amplitude setting. Such automation High Frequency Oscillator makes distortion measurements as easy as pressing buttons, whether the generator is two inches or a roll of tape - away. R.t: t) IIIIIIIII Editor's note: Part 2 of this article, to be published in IIIIPi the February issue, will consider the important 1'I01 features of performing phase, frequency and wow and flutter measurements, along with a discussion of balanced and unbalanced connections to test and Figure 6. Simplified diagram of a typical SMPTE IM analyzer. measurement equipment.

January 1987 Recording Engineer Producer 53 Digital Developments at the 81st AES Convention

By Mel Lambert, editor

Given the size and scope of the recent on an X-850 and a DTR- 900-'32 -just to users look for us to provide in terms of Audio Engineering Society Convention show that the tapes contained PCM -en- customer support and our reputation in and Exhibition, at the Los Angeles Hilton coded digital audio -the reels were the marketplace." Hotel and Convention, Nov. 12 -16, it swapped with predictable results for According to Cary Fischer, Mitsubishi's would be impossible for me to provide replay of both digital data and auxiliary director of U.S. sales and technical serv- details of every new product and de- tracks. ices, the X -86 prints 20 bits of digital velopment announced by the 180 -plus John Carey, Otari's marketing director, audio to tape. Although currently exhibitors. tells me that four DTR-900-32 multitracks available A/D converters are only Instead, as has become my customary have now been sold to Nashville -based capable of 16-bit resolution, he explains, policy for reporting AES conventions, I studios. In late August Masterfonics took the company's engineering staff is now have decided to spotlight some of the delivery of the first machine delivered in evaluating an 18 +2 converter that digi- more important developments in digital the United States, while Ronnie Milsap's tizes 18-bit audio and produces a pair of technology, including tape machines, GroundStar studio *ill be installing a pair "high -frequency" ranging bits. outboard processors, editing systems and of machines in the near future. The name "By the end of March," he says, "we consoles. of the third customer was not made will have the capability of recording Details of new hardware and tech- available during the convention. In addi- 18 +2 digital audio on the X-86 at a niques that fall into other categories of tion, orders are currently pending from sampling frequency of 96kHz using the recording and production equipment can studios in Los Angeles and New York, as new DAC chips." be found in this issue's "New Products" well as several European facilities. Fischer also stated that four X -850s had section, beginning on page 86, and in Questioned as to the possible availabili- been sold during the course of the con- subsequent issues of RE /P. ty of an Otani PD- format 2- track, Carey vention, and that interest in the 16 -track says that "it is indeed under considera- X -400 was coming in the main from Digital tape machines tion, but in response to customer de- broadcasters and post -production DASH- and PD- format transports con- mand." In all likelihood, I understand, facilities, while the 32 -track usually was tinue to penetrate just about every facet the machine would consist of a repack- being selected by recording studios. of the recording and post -production in- aged Mitsubishi X -86 transport bearing New for the show was the XE -2 digital dustries. On the PD front, Otani the Otani brand name. (As many readers editor for electronic assembly and demonstrated the 32 -track on 1 -inch may already be aware, the X -850 editing, using a pair of X -86 2- tracks, DTR-900, while Mitsubishi showed the transport is manufactured on an OEM which will be made available in produc- 32 -track X-850, 16 -track X -400 and basis by Otani for Mitsubishi, which ex- tion quantities by next summer. The 2 -track X-86. During a specially organ- plains why the former's deck layout XE -2's integral bit-lock synchronizer will ized press conference, representatives bears a more than passing resemblance also be offered as an optional upgrade from both companies gave a practical to that used in the MTR -90 analog multi- for the X-850, to provide single -cable demonstration of format compatibility track.) time code interlock. between their respective machines. Hav- "Whether or not we offer a PD- format In the DASH corner, Sony announced ing replayed material originally recorded 2- track," Carey says, "depends on what delivery of the 300th PCM -3324 24-track,

54 Recording Engineer/Producer January 1987 using the opportunity to present a com- memorative plaque to the first U.S. pur- chaser, John Moran, president and chief engineer of Digital Services, Houston. I understand that Sony also has plans to unveil a DASH -format 48 -track in the not too distant future (PCM- 3348 ?), once it has had the opportunity to evaluate a series of prototype thin -film heads cur- rently under development in Japan. New for the show was the 2 -speed PCM-3404, which enables recording and replay in both 7.5ips DASH -S and 15ips Twin -DASH formats. Also included are built -in electronic editing features, in- cluding a Its memory for locating and rehearsing edit points. Sampling frequen- cy can be set to 44.1kHz or 48kHz, with 12.5% varispeed selectable from the front panel or remote ports. A time code generator /reader, chase synchronizer, AES /EBU and SDF-2 (PCM- 1610/30- compatible) digital I /Os are also featured. New accessories from Sony for digital post -production facilities include the DFX -2400 2- channel sampling frequency converter, which accepts 32kHz, 44.056kHz, 44.1kHz and 48kHz sampl- ing frequencies via AES /EBU and 1610/30 digital formats. Also unveiled was the VSU -3310 Vari -Sync controller The Sanken CMS -7 which the cardioid (or CMS -71- for the PCM -3324, allows hyper -cardioid) micrD- multitrack's tape speed to be varied by phone. the first MS stereo up to 12.5% at a switchable sampling fre- mic that accurately repro- quency of 44.056kHz, 44.1kHz or 48kHz. duces a natural stereo image in environment. Meanwhile, Studer was showing first any production units of its Twin -DASH D820X 2- track, with deliveries now scheduled to begin by early spring; no word, however, on a planned DASH - TRUE STEREO IN A format multitrack transport. According to Dave Oren, TEAC direc- PORTABLE MICROPHONE! tor of marketing, the third DASH signatory plans to release a Tascam Sanken. maker of the world -acclaimed CU -41 CD- recording DASH -format multitrack by early 1988, microphone. is pleased to announce the new CMS -7, the first portable with a stereo machine to follow soon. MS stereo condenser mic that accurate;y captures a natural stereo As is well known, there has been a cer- perspective in any environment. Ideal for TV and radio broadcasting, tain amount of controversy regarding motion picture making and studio recording. Its corrosion -free titanium the design of anti -aliasing filters for PCM diaphragm is immune to temperature and tumidity changes, and per- digital recorders and processors. Having forms superbly in adverse conditions. Battery power supply /switchable selected a viable sampling frequency matrix box, which clips to your belt, carres an aperture control for (usually 44.056/44.1kHz, 48kHz or focusing the stereo pe-spective. For more information, please contact: 50kHz), steep low -pass filters must be in- LOS ANGELES Audio Intervisual Design NEW YORK Martin Audio Video Corp serted ahead of the A/D encode circuits teL (213) 469 -4773 Tel (212) 541 -5900 to remove all frequencies above half the NASHVILLE Studio Supply Co . Inc CANADA Gould Marketing. Inc sampling frequency. And, on replay, the Tel (615) 366 -1890 Tel (514) 342 -4441 reconstituted analog waveform must be filtered to remove residual sampling - frequency components. Designing such filters, however, is not without its own inherent problems, such as maintaining sanken linear phase response over the passband Japans most original microphone maker and reducing square -wave ringing. In an attempt to provide a possible Inc. alternative, Apogee Electronics Cor- Sae expo-t agent Pan Communications, 5 -72 -6 Asakusa, Taito -ku, Tokyo 111, Japan poration unveiled a pair of low -pass filters for direct replacement of Murata Telex 2423934 KNMPCM /Telephcne 03- 505 -5463 Telefax 03 -505- 5464 /Cable Address PANCOMMJPN

C rcle (19) on Rapid Facts Card January 1987 Recording Engineer/Producer 55 with the capability of ganging together a t maximum of four units via a dedicated lbels digital I/O port for a 32 -by-2 configura- - t tion. All I/O digital processing is to 16 -bit resolution at a sampling frequency of \\~\\ \ 44.1kHz. ,\` , Eft. Each channel offers a 3 -band a : t.. digital 6 EQ section, three effects /cue sends, 00 d` stereo pan and a motorized fader. Each of the three effects /cue buses has a dedicated DSP for generating special - V OZ effect programs. Buses 1 and 2 provide 15 digital effects each, while effects bus 3 offers five digital effects, an external ef- fects send and stereo effects returns. The main output buses also feature digital dynamic-range control, external con- trollable levels, and balanced and un- balanced analog outputs. Neve TDC-1 digital tape transfer console. All mix and processing settings can be memorized in a total of 32 "snapshots" stored in on -board memory. An addi- tional 67 can be downloaded to an exter- nal RAM cartridge. Each snapshot is ac- and Soshin units used in present DASH - balanced analog I/O and full time code cessible in real time, and all mix and and PD- format recorders, and which are capability. Also being shown were pro- processing parameters can be controlled said to exhibit improved linear -phase totypes of various R -DAT duplication externally via a MIDI interface. and ripple response. systems, error -rate counters, data An LCD window and keypad section According to Bruce Jackson, Apogee's generators and other peripherals used controls the recall of processor settings, director of engineering, the model 944 -G with Sony's designs and evaluations. and the increase and decrease of level is an inverse Chebyshev input filter According to Larry Blake, RE /P's film and parameter values via sets of cursor designed to provide a "gentle" rolloff sound consulting editor, (also see: "Let- control and nudge buttons. First between 20kHz and 30kHz. ters," page 8) the proposed wish list for a shipments of the new DMP7 are ex- "The assumption being," Jackson says, "digital Nagra" described in his October pected to begin in May. "that a recording engineer can make an "Film Sound Today" column bears a Of a modular design, the Digital intelligent assumption about the frequen- close likeness to the features incor- Tonmeister from Harmonia Mundi now cy content of the input signal, and at- porated in the DAT -X2. Production ver- features digital EQ, dynamics control and tenuate at the console frequencies that sions are expected to be made available level adjustment functions in a separate could cause aliasing problems during by mid -spring, at prices described as "control surface" that connects to the PCM encoding. As a result, the rolloff being "competitive" with currently familiar bw102 rack -mounted units. A curve can be less 'demanding,' with a available analog portables. programming module provides recall of resultant improvement in sonic quality." parameter settings and a MIDI interface, The model 944-S elliptical design is in- Digital consoles while the parametric EQ controller tended for use as either an input or out- In the past I have reported on all - module features LCD windows and con- put low -pass filter, and exhibits a tighter digital designs from Neve, Denon, Sony, trol knobs for LF, two MF and HF sec- rolloff response to the Nyquist Frequen- JVC and Enertec -Schlumberger. New for tions on third -octave centers. cy (Fc /2). the AES Convention were three products A remote level controller can be used Jackson says that both filters exhibit a by Neve, Yamaha and Harmonia Mundi. in several modes to provide manual and ±5 degree deviation from linear phase The Neve TDC-I digital transfer con- various degrees of automatic fade response in the 20Hz to 20kHz band, sole, intended for CD pre- mastering and in /outs. Disc mastering preview can also with 0.005% distortion; stopband at- related duties, has a pair of stereo digital be achieved via a dedicated module that tenuation for the 994 -S is a quoted -80dB, inputs (AES /EBU or PCM- 1610/30- provides up to 2.7s of delay, with op- and -60dB for the 994-G. compatible) and one stereo analog input. tional 16 -bit D/A conversion. A Village Recorders, West Los Angeles, Manual or auto crossfades can be made dynamics control section is expected to is reported to be the company's first to analog and digital outputs. be made available by early spring. customer, having replaced the 48 I/O All digital EQ and dynamic -range con- Digital I/O can be selected for com- filters in a PCM -3324 with Apogee units. trol settings can be memorized and patibility with AES /EBU, PCM -1610/ Professional R -DAT technology recalled under time code supervision. 1630, EIAJ, Mitsubishi PD and other for- (rotary- head /digital audio tape) also Servo -controlled faders (one for each in- mats. Sampling frequency conversion is made a major appearance at the AES put) handle left and right balance, stereo available between 44.1kHz and 48kHz. Convention. Sony was demonstrating balance and stereo level. Systems have Although Solid State Logic has shown "show samples" (a quaint euphemism been ordered by Sterling Sound and a natural reluctance to tell the pro-audio that I had not come across before) of its Master Disk, New York, Disk Mastering, industry too much about its continuing DAT -X2 portable R -DAT recorder. The Nashville, and Precision Lacquer, Los development of an all- digital console, hand -built prototypes on display featured Angeles. three technical papers presented by SSL a 2 -hour record time at a 48kHz sam- The Yamaha DMP7 features eight staff provided an interesting insight into pling frequency, AES /EBU digital I /O, analog inputs and two analog outputs, the general areas of R &D that the corn-

56 Recording Engineer Producer January 1987 pany is currently exploring. Reported to made available in the near future). In ad- client's location, which will let them represent more than 30,000 hours of dition, a "ripple" command now allows have hands -on experience with the research, development and program- relative time code offsets to be made system in a real -world post -production ming, the three papers confirm the ex- automatically to an exisiting audio deci- environment. AMS is also considering istence at SSL of proprietary 24 -bit linear sion /replay list, simply by marking the the development of an all- digital mixer digital circuitry capable of very high- files to be advanced or retarded, and the for AudioFile, and is evaluating customer speed computation and processing. number of time code frames required. requirements." One paper in particular, "Digital Audio Several Los Angeles- and Chicago- The Lexicon Opus integrated digital Processing on a Grand Scale," written by based facilities are showing interest in mixer, recorder and editing system was Peter Eastty, SSL's digital project leader, the system, Harris says. being demonstrated throughout the AES explains that the company has taken an "By January [1987] we expect four or Convention. (A full description of the almost entirely hardware -independent five systems to have been installed. We system's design appeared in the approach to the design process. are now providing in -house demos at a December issue.) Although the company As he explained, "Software- controlled audio processing provides a level of flex- ibility and a capacity that simply cannot be achieved by consoles whose capabilities are primarily determined by hardware considerations." Eastty also showed a prototype digital processing board said to be capable of executing 40 million instructions per sec- ond, with a 25ns cycle time for arith- metic and data storage being done to 24 -bit precision, these parameters lead to a memory bandwidth of 240 Mbytes /sec- ond for program, and 360 Mbytes /sec- ond for data access. During a second technical presenta- tion, titled "An Automated Approach to Digital Console Software Design," SSL's William Kentish and David Bell de- scribed a method whereby individual consoles are defined solely by two large software programs and a control- surface layout. Summarizing these ongoing develop- ments, Colin Sanders, SSL chairman and managing director, said that a product announcement would be made some- time in 1987, and that the "large -scale SSL Digital Studio System we anticipate offering in 1989 or 1990 should cost roughly the same as assignable analog WE'VE MOVED consoles that will be available [in 1987]." New England's largest professional supplier for Random-access editing systems recording equipment, broadcast, video and sound reinforcement. Both AMS and Lexicon were maintain- ing a high degree of visibility with their Adams -Smith Calzone Fostex Ntntek S ninduratt disk -based recording and random -access ADM Convergence Grass Valley Neumann Somali nu :s editing systems. AGFA CRL Harrison Systems Otani Sound Workshop The Advanced Music System Audio- Crown IIIE Ortlau Studer/Revox AKG dbx .IBL Orhan Opt Mimi t.c. electronics File now offers control of external audio- AMS Dolby Lexicon QSC Timeline and videotape transports from the unit's Aphex Drawmer :IM /So uch Kamsa Thun front panel via RS -422 serial ports. For ATI Electn1 -Voice Mousier Cable Serunheiser Trident U-matic VCRs, the familiar jog, shuttle, Beyer Emu Systems MRI, Shure PREI fast -forward, reverse and play con- Bmadcasl Electronics Eventide Nagra Sony Valley People trollers have been provided, enabling Bryston Fidelipac Nakamichi Sony Broadcast wit h over 250 more... still -frame time code locations to be cap- tured via VITC. Competitive prices with professional service all over the world. According to Harry Harris, president of Harris Sound, the U.S. distributors for AudioFile, the system's software has been enhanced to provide replay while LAKE in record mode, and simultaneous replay THE AUDIO COMPANY of five mono or three stereo channels 287 Grove Street Newton. MA 02166, U.S.A. (with simultaneous replay from all of the (617) 244-6881 system's eight available channels to be in N.E., PA, NJ and NY 1- 800 -848 -4890

Circle (20) on Rapid Facts Card January 1987 Recording EngineerProducer 57 expected to be made by next spring, ac- cording to Lance Korthals, director of marketing and sales. Digital Synthesizers Both NED and Fairlight announced enhanced features to their respective digital synthesizers and sampling systems. The New England Digital Synclavier I1 system was demonstrated in three pro- audio applications: music recording, as the centerpiece of a "tapeless studio" with direct-to-disk recording, and in post - production. The system now features up to 32Mbytes of on -board memory storage, 16 -bit precision and a 100kHz sampling frequency. Up to 76 simultaneous sounds- either musical timbres or sound effects -can be split across the keyboard controller, with velocity and pressure sensitivity. Stereo sound sampling also is now available. Yamaha DMP7 8-input digital mixer. For post -production applications, the 76 sampled sounds can be panned and processed with pitch bend for Doppler ef- fects, etc. Lock -up time to video is within was the first to concede that not all of eight of the 28 available analog /digital 500µs, with sync being maintained down

Opus' functions are yet fully operational, outputs. Digital I/O is currently re- to 1 /5th play speed for spotting visual most of the critical capabilities were be- stricted to PCM- 1610/30 format, al- cues. A new mouse -driven feature allows ing demonstrated, including digital though others will be made available in "rock- and -roll" editing over the selected recording to hard disk, full bandwidth the future. Sampling frequencies of the sound sample, with the capability of "rock- and -roll" edit -point location and 16-bit input A/D and four times over - deleting certain segments. non -destructive editing, mixing and pan- sampled 16 -bit D/A output converters A separate direct -to-disk sampling op- ning, plus real -time connecton to exter- can be set to 44.056kHz, 44.1 kHz or tion provides 16 tracks of data storage, nal signal processors via digital I/O (in 48kHz. with random access to any sound ele- this case a model 480L digital effects For real -time control, the system will ment and editing capability via the unit). follow 24fps, 25fps, 30fps and drop-frame 'mouse interface. A total of 13.5 minutes Up to 480 "track minutes" of record EBU and SMPTE time codes, NTSC and per track of digital audio storage is now time is available in a fully loaded system, PAL video sync, or 60Hz tone. available at a sampling frequency of with simultaneous replay from up to Installation of the first Opus system is 50kHz. According to Bradley J. Naples, NED president, a free-standing direct-to- disk sampling system will be offered in the future; currently it must be used in conjunction with a Synclavier 11. Fairlight Instruments had also laid on a series of demonstrations during the AES Convention, featuring Jan Hammer, Chicago-based jingle /commercials pro- ducer Terry Fryer and Australian com- poser Mars Lasar. New features for the CMI Series III include time code chase /lock and full bandwidth stereo sampling. Engineer /producer Roger Nichols also presented the company with a CMI -compatible floppy disk containing digitally sampled drum and percussion sounds downloaded directly from Wen- del, Nichols' sampling drum computer.

Other developments Other items of interest unveiled during the AES Convention included: The DAP -1 digital effects processor from DCS Audio Products, which features 5s of storage at the maximum New England Digital Synclavier II direct -to -disk recording system. sampling frequency (software variable

58 Recording Engineer/Producer January 1987 between 12kHz and 48kHz); optional Studer D820X 2 -track 109 Lexicon Opus 117 memory upgrades to provide almost Apogee Electronics New England Digital 360s of full bandwidth storage; up to 944 -series filters 110 Synclavie, II 118 1,000 preset effects; a basic configuration Sony DAT -X2 portable Fairlight CMI Series III 119 of four analog or digital (AES /EBU- R -DAT recorder 111 DCS Audio Products DAP -1 format) I /Os, expandable to eight I /Os, Neve DTC-1 transfer console 112 effects unit 120 with different processing on each of the Yamaha DMP7 8 -input mixer 113 AKG Acoustics DSP -610 eight channels; external MIDI control; Harmonia Mundi Digital stereo processor 121 and dedicated effects development soft- Tonmeister 114 360 Systems Permanent Playback ware for an external Apple Macintosh. Solid State Logic system 122 The AKG Acoustics DSP-610 Delta digital articles 115 Teldec DMM-CD system 123 Stereo Processor, which comprises a Advanced Music System multichannel programmable delay unit AudioFile 116 R-1 n with integral signal processing for "enhanced localization, greater apparent depth of the sound stage, and improved spatial reproduction of sound sources" during live- performance applications. Up to 6 -input channels are PCM- encoded to a 16 +3 -bit format for automatic routing to 10- output channels with different delay settings. External control of con- trol parameters is achieved from an IBM - AT or compatible PC via and RS-232 serial port. The 360 Systems Permanent Playback digital audio message system, which allows up to 84s of 10kHz band- width voice IDs, sound effects, laugh tracks, etc., recorded on internal EPROMs to be triggered to within a ImS accuracy during post -production and sweetening. Units can be cascaded to provide longer sound sample times. A separate programming unit enables pre- recorded sounds to be transferred to EPROM for use in the system. The Teldec Direct Metal Mastering Start the New Year system for Compact Disc, which enables CD masters to be produced without the need of a clean room, using a with a New Room conventional -style lathe and a custom - designed cutter head. Because the metal master can be used to produce mothers and pressing stampers, fewer production stages are required in CD manufacture, Teldec says, resulting in lower costs. A complete DMM -CD system is reported to cost less than one -third that of laser- 56 I/o SSL based mastering systems. Rapid Facts Card Numbers 48I /0SSL Studer Tape Equipment For more information on products mentioned in this AES Convention AMS /Lexicon/Yamaha report, circle the following numbers on the Rapid Facts Card to be found in the back of this month's issue:

Otari DTR-900 32 -track 100 Mitsubishi X -850 32 -track 101 Mitsubishi X -400 16 -track 102 Mitsubishi X -86 2 -track 103 Mitsubishi XE -2 digital editor 104 Sony PCM -3324 24 -track 105 Sony PCM -3404 2 -track 106 Sony DFX -2400 converter 107 Sony VSU -3310 Vari -Sync 723 7th Ave., N.Y.C. (212) 730 -1035 controller 108

Circle (21) on Rapid Facts Gerd January 19:37 Record ng EngineerProaucer 59 Amplifier to Loudspeaker Connections

By Bob Hodas

A new design might be worth considering for studio and live sound applications.

Banana plugs, XLRs, termjnal strips, preventing bridging with one's finger. phone jacks and other types of connec- Male connectors will be used at the tors continue to battle for the primary receiving end (speaker cabinet). position as the pro-audio speaker cable The design is based on the familiar connector. Various speaker manufac- XLR -style shell, a configuration that has turers have their favorites, yet on many proven itself. Its use also will allow installations one may run into a variety manufacturers to work with existing of non -compatible connections. No stan- castings, cutting down on manufacturing dard has prevailed and until now there and adaptation costs. Some users may has been no method that appeared to question whether the connector pins are offer a distinctly superior alternative. sufficiently large to carry enough ITT-Cannon of Australia recently in- amperage, but as will be shown, the con- troduced a connector that offers what ap- figuration is actually overkill for our pur- pears to be a safe, roadworthy solution poses. capable of meeting high -level specifica- The PDN part of the connector iden- tions. I would like to take this opportuni- tification stands for positive, drain and ty to introduce this connector to RE/P negative, which represent the polarity readers, and solicit your response configuration. (However, don't confuse concerning its possible adoption as a the drain with "common," because this is standard. meant to be a true energy drain; more on The connectors, shown in Figure 1, are this later.) the AXR- PDN -11 and AXR-PDN -12 A flat section on the connector housing straight-cord plugs (a right -angle version provides a place for circuit identification, will also be available), the AXR - and 10 resistor-code boot colors are PDN-31 (female) for mounting on the available. ITT-Cannon is proposing two amplifier output and the AXR -PDN-32 different boot and insulator colors for (male) for mounting on the speaker. (Cir- channel identification: blue for right and cular mounts also will be produced.) white for left. Notice that the normal male- out /fe- A large, D- shaped cable entry will pass male -in configuration for low -level lines circular cable up to 0.4 inches (10mm) in is reversed for safety reasons. With the diameter, or figure eight of 0.3 (7mm) by large, high -wattage amplifiers available 0.5 inches (12mm). This entry is large today, it is often possible to encounter enough to handle even giant "audio- 80V rails. For this reason, any connector phile" cables, and I had no problem using that carries voltage will be female, the extra large -sized Monster Cable Bob Hodas is RE/P's evaluations and practices con- Powerline 2. Two lengths of clamping sulting editor. screws are supplied to facilitate a variety

60 Recording EngineerProducer January 1987 AXR-PDN-11 AXR-PDN-12

STRAIGHT CORD PLUG STRAIGHT CORD PLUG 2 SOCKET CONTACTS 2 PIN CONTACTS

t DRAIN PIN CONTACT 1 DRAIN SOCKET CONTACT - 1--_ -7I11 t 7 0 :PM

AXR-PDN-31 AXR-PDN-32

WALL MOUNTING RECEPTACLE WALL MOUNTING RECEPTACLE 2 SOCKET CONTACTS 2 PIN CONTACTS 1 DRAIN PIN CONTACT 1 DRAIN SOCKET CONTACT Figure 1. Clockwise from top left: AXR - PDN-11 straight cord plug: AXR-PDN- 12 straight cord plug; AXR-PDN -31 wall- mounting receptacle; and AAR- P11N -32 a lura+oal mounting 4e receptacle

THE "PARACROSSALIZER:'

A one -of -a -kind problem solver. Orban's 672A (Mono)/ 674A (Stereo) Graphic Parametric Equalizer is an indispensible tool that performs a wide variety of corrective and creative EQ chores. It features: 8 bands (with reciprocal curves) with continuously variable frequency, bandwidth, and boost /cut (± 16dB) Tunable HP and LP filters (12dB /octave) with separate output from main EQ so that the filter section can perform an electronic crossover function Minimum phase shift and ringing (it can be used more effectively than V3 octave graphic EQ's for room and system tuning) The flexibility of a parametric with the 'Sfr simplicity of a graphic EQ Orban Associates Inc. 645 Bryant St., San Francisco, CA 94107 (415) 967-1067 Telex: 17 -1480 Circle (25) on Rapid Facts Card January 1987 Recording Engineer/Producer 61 of cable diameters, for which Cannon than adequate. Using a local supply ensure that the cable could be soldered claims provide maximum force with authority's specification to ensure com- into place without loosening the minimum cable damage. The entry is pliance, the tested results are shown in contacts. covered with an elastomer boot that may Table 2. Voltage was applied between Basing part of the contact design on be trimmed to accommodate larger the specified contacts and, as can be the experience gained from Cannon's cables. seen, the connector far surpassed the line -voltage connector (LNE), the com- requirements. pany is able to easily pass safety -finger Power rating These stringent specifications must be probe tests as required in some specifica- The connector is designed for a con- met not only to ensure safety but to tions. To prevent confusion, the con- tinuous rating of 200V rms and 25A rms, allow sufficient insulation between pins figuration is reversed from the LNE ver- a value that was established after survey- for soldering large wire. Pin buckets are sion (see Figure 1). ing pro-audio needs. The values, as large enough to hold 12AWG cable, and In addition, to fulfill the requirements shown in Table I, appear to be more the insulation bad to be strong enough to sometimes needed when using shielded

Item Material Finish

Shell: Diecast zinc alloy Satin nickel

Contacts: Copper alloy. Bright tin machined

Insulator: Socket: UL94V -0 Color: blue /white polyester Pin: UL94V -0 Color: blue /white polyester

Cable boot: UL94-HB elastomer Color: blue /white

Maximum ratings 200 volts rms and 25 amps rms.

/able I. Material specification for AXR connectors

Advancing technologies can move at such a rate a new product may blur by without offering the true explana- tion of why it was developed in the first place. Quite simply the new GLM is a superior studio quality microphone that incorporates all the benefits of its larger more conventional predecessors. Crown technology has always ignored the conventions of new product development and recognized no limits in achieving the ultimate in professional quality. See your nearest Crown dealer. Find out how this incredibly small micro- phone achieves such a high level of performance. Crown International, Inc.. (219) 294 -8000 1718W. Mishawaka Rd., Elkhart, IN 46517 @crown

Circle (23) on Rapid Facts Card 62 Recording EngineerProducer January 1987 speaker cable, the drain contact is con- derate the current capability. terested in establishing a new standard, nected to the shell. (Drain contacts and At the time of writing, only one U.S. and support for the connector seems to shielded cables are necessary in situa- manufacturer, Meyer Sound Labora- be growing. R-E:; P tions such as munitions assembly, where tories, is using the connector. MSL has in- Editors note: REIP is interested in your reaction to the static discharge could have disastrous corporated the AXR series into the new possibility of standardizing a commercial loudspeaker results; the drain pin is always the first to 500 series loudspeakers. Orders also connector, and would be happy to forward questions and comments to ITT-Cannon. Address correspon- make contact with this connector.) have been placed by the U.K. -based dence to Bob Hodas, cio RE/P, Suite 220, 1850 Whitley Contacts themselves are machined out Theater Technicians Group. Ave., Hollywood, CA 90028, or through IMC E -mail to of high -conductive copper alloy and ITT- Cannon has begun introducing the REP -US or Hodas -US. coated with bright tin plating. Gold con- new connector to companies and asso- This article is presented as an informational service to tacts are also available for audiophile ciations throughout Europe and the our readers. No endorsement of the technology or users. Remember that although gold is United States. It is reported that the product is given or implied by RE/P or Intertec more resistant to corrosion it will slightly British Broadcasting Corporation is in- Publishing.

Spec voltage Actual voltage applied for applied for Breakdown Contacts one minute one minute voltage

P-N 1,000V 4,000V 4,400V P -N -D 1,000V 2,000V 3,400V P -N shell 3,500V 4,000V 4.400V

Table 2. Electrical performance of connectors

Real Sound Investments Third Octave SPECTRUM ANALYZER With Printout Option Full 30 Bands l'rinter Option with 30 Memories via Parallel ECH Centronics Interface Quarti Controlled Switched Capacitive Filtering Built in Pink Noise Plus Weighted Curves. TS-1 AUDIO The Model 30 represents a groird- breaking step forward in the TEST SET design of acoustic measurement systems. The basic Model 30, Three Audio Test Instruments Combined in One Unit. without options, features 6 memories, line level and microphone inputs, a pink noise generator, summing and averaging ability Levi distortion audio oscillator with a frequency range from plus all the other features you would expect from a top of 10Hz to 30KHz of the line instrument. With the addition of the printer option, the Frequency counter with frequency response of 1Hz to 99.99KHi Model 30 offers 30 non volatile memories, plus the ability to DB meter with a range of -50 to 24dB from 20Hz to 20KHz document jobs or supply response curves with sales presentations. List Price '299 Model 30. s2150 Model 30 I with printer option.... S 2VW CONTRACTOR PRICES AVAILABLE Write: f uit P.O. BOX 115 (203) 938.2588 WEST REDDING, CT 06896 GOLD LINE

Circle (24) on Rapid Facts Card January 1987 Recording Engineer Producer 63 Tape One's Disc I mastering room features a Neve DSP all- digital console. Digital Audio Post - Production

By Bill Foster

The philosophy behind the creation of an all -digital DAPP facility for disc and CD mastering.

Perhaps I should begin by stating, sur- 1/2-inch stereo machines capable of nology since the launch of Compact Disc prisingly you may think, that I don't respectable response to 30kHz and makes this inevitable. The real question necessarily advocate digital recording as beyond, in many ways they outperform is: When will the change take place? the only way to make records. Analog their digital counterparts. A year ago I would have put my still has a long way to run and, with Having said this, however, there is no money on 1988 or 1989. Now, with the question that ultimately all recording introduction of assignable analog con- Bill Foster is co -owner of Tape One Studios, London, a DAPP facility equipped with a pair of all- digital and production consoles will be digital. soles, enhanced noise-reduction systems consoles. The movement toward digital tech- and a new generation of analog tape

64 Recording EngineerProducer January 1987 -V- r

r1 A

I

I NAINIC 7 1161 ' _ _----

111

Closeup of the DSP disc -mastering console in Disc 1, which enables all front -panel settings to be stored and recalled for subsequent reculs NA from digital master tapes.

machines, the switch may be delayed un- of how long it would take to eliminate A separate machine room had already til the early or even mid -Nineties. The the bugs. been planned, but the air condilioning diehard analog camp will continue to Since being installed, our two sys- system was subsequently modified to en- transfer direct -to-disc for years to come; tems -one intended primarily for CD sure that the temperature in that room and I for one hope they do. But for CD master tape preparation, and the other did not exceed 64 °F. mastering, there will have to be an for conventional disc mastering from It seems that all digital hardware needs analog -to-digital converter somewhere, digital master tapes -have proven to be to be kept cool, and even our PCM digital so why not early in the chain? incredibly reliable. processors and editing system have been The obvious advantages of digital The first, and smaller, digital console more reliable under these conditions. recording include freedom from tape was commissioned in May 1984, and has noise, print- through and generation loss; suffered only a couple of faults since Console topographies the disadvantage, when using conven- then. By far the biggest problem we en- Why is our disc- mastering console so tional analog desks, is the repeated use countered was sporadic clicks on the large if there's little circuitry in it? This is of A/D and D/A converters. Minimize audio, which we traced to the electronics where the man /machine interface comes the number of conversions in the system, operating temperature. Because the sys- into play. We didn't feel that mastering and you greatly reduce the risk of com- tem is compact, the electronics are engineers could yet relate to miniaturiza- promising audio quality. housed in a rack under the control sur- tion at the control surface. Our guys are face. During sessions involving four or good, but to ask them to change their en- Digital options more people, as the temperature of the tire approach to the operation of cutting Back in 1982, this sequence of reason- room climbed toward 70 °F the clicks a vinyl record, and then present them ing prompted Tape One to look seriously began. We solved the problem by mov- with a totally alien board would not be at digital consoles and, in 1983, to order ing the electronics rack out of the room. conducive to good mastering. two all- digital audio post -production con- This proved to be a far from trivial task, It is for the same reason that we have soles. What we have learned from the because it required the building of an ad- included conventional analog metering experience is that today no new item of ditional remote power supply for the on the desk. An experienced mastering digital -based equipment is ever ready control console. engineer will know the shape of a record when the manufacturer estimates it to Solving the problem also made us re- groove by watching the response of be. The delays we faced were largely due think the design of an air conditioning moving -coil VU and /or PPM meters - to the enormously complex software in- system planned a new area that was to which is not so easy to achieve with un- volved, and everyone's underestimation house the larger disc -mastering console. familiar digital bargraph type displays.

January 1987 Recording Engineer/Pr ducer 65 A second CD preparation area, Digit 2, features an analog DDA console, a Harmonia Mundi bw102 digital processor, a Philips PQ And it's not only the mastering engineers code editor, a Sony DAE-1100 editor, hope the master tape already has con- PCM-701 digital audio processor and com- who we had in mind; many producers trolled peak levels. Digital is very un- panion VCR recorder. are also engineers, and they don't like forgiving -peaks must be 100% modula- working with equipment they can't tion because, at 101 %, there can be an relate to. awful lot of distortion. Detail of DAE 1100 and portion of DDA con- The next generation of consoles will sole area. Our smaller CD mastering and transfer very likely be smaller than current console has very basic facilities. It was designs, a trend that has already started designed to operate at a fixed 44.1 kHz with some assignable analog desks. sampling frequency, have PCM- 1610/30 Students who are now taking their compatible inputs and outputs, and offer degrees on Macs will probably have no EQ, limiting/compression and gain con- problem with handling a 48 -track mix - trol. The desk does this very effectively, down on a QWERTY keyboard. For us and allows final correction and "tidying "geriatrics" from the Sixties and Seven- up" of digital masters, usually for CD pro- ties, however, it's got to be knobs and duction. The board has no fader automa- switches. tion or snapshot storage facilities, the Perhaps one of the biggest difficulties operating software being restricted to facing Tape One back in 1983 was draft- just real-time signal processing tasks. ing a suitable specification for our two The larger disc -mastering console is a consoles. Technically, of course, we all completely different animal. Heavily know that digital equipment is flat from software- based, it is capable of up to 40 20Hz to 20kHz, with a noise floor of different control- surface set -ups, with all 90dB or better. Well, as it turns out, the EQ, level, signal routing and lathe set- situation isn't quite like that. tings being stored on floppy disk. We There are such matters as headroom to didn't get the specification exactly right be considered. If you want 12dB of at the start, however, which is one of the headroom, you can only have a noise key problems with digital consoles. floor of around 78dB, and so on. If you want to add, for example, an in- Fortunately, in post- production you sertion point to an analog desk, you take don't need much headroom because you a jack socket, some cable and a soldering

66 Recording EngineerProducer January 1987 A custom -designed 2- channel DSP console in Digit 1 enables PCM- 1610/30- encoded tapes to be re-equalized and processed prior to CD manufacture. Tape One engineers worked closely with Neue on the development of the currently available DTC-1 digital transfer con- sole, which features two digital and one analog pairs of stereo channels for real-time crossfading; it is also compatible with 1610/30 and AES/EBU direct digital input and output formats.

iron, and hand wire the extras onto the custom -built mastering desk. By sharing now order a 'CM -1610 production copy PC board. Not so with a digital console. Studer DAD -16 digital delay unit to pro- to enable easier CD mastering. These As well as the hardware involved, the vide preview outputs, both rooms had production "masters" are then also used software has to be modified, which may the facility to master from Sony for export copying. Even if the end result involve more than just a couple of lines PCM -1610 or -Fl encoded videocassettes is to be analog, because the source is of code and new master EPROMS. and Mitsubishi X -80 format, but not digital an elevated rate is charged - Luckily, we got most of it right at the simultaneously. usually 50% more. start and, after consultation with the When the suite was commissioned, we None of the rates we charge in the manufacturers, have left the required closed one of our existing rooms, mated United Kingdom are as high as those modifications until now so they can all the VMS-80 with the all -digital console, levied by our U.S. equivalents. This situa- be done at the same time. The mods will and coupled the VMS-70 to the SP-79. tion will be hard to change until more mean taking the room out of service for Although our overall capacity has not in- mastering rooms and studios become a week, which, with the current booking creased as a result of these changes, both aware that the long term effect of charg- level, is a pain in the neck! rooms can now handle digital master ing too little for their services will be a tapes at the same time, the digital desk lack cf finances to invest in the increas- Cost -effectiveness having its own built -in preview system. ingly sophisti:ated and expensive tech- On the subject of bookings, it would be The digital console generates revenue nology that will soon be mandatory for predictable for me to say that the new in two ways. In addition to increasing every studio wanting to survive into the Disc Mastering Suite is at capacity and our client base by attracting producers next decade. they're cuing 3 -deep at the door. In who have not used the facility before, we At Tape One we're fully aware of hav- fact, although the new room is being are also able to achieve higher earnings ing effectively bought 1983 technology heavily used, some analysis of our from selling the same quantity of studio that's likely to be superseded within a overall capacity and usage pattern has to time. At present, rates are 100% up on fairly short time span. Because our new be made to obtain a true picture of the analog and approximately 40% above consoles are basic on a 24 -bit bus ar- digital console's values to our facility. what we charge for digital mastering via chitecture, we hope it will be possible to Before the new digital suite opened, an analog cutting desk. increase the resolution of the A/D con- we were already operating two conven- One direct result of mastering via the verters when the technology is ready. tional disc -mastering rooms. One housed digital console has been a substantial in- It is still likely, however, that another a Neumann VMS-80 lathe with an SP -79 crease in revenue from tape copying. digital console will be required for the console; the other a VMS-70 and a Almost all producers using Tape One will disc mastering suite before the cost of the

January 1987 Pecordieg EngineerProducer 67 A central machine room houses the elec- tronics racks for the two digital consoles (right), PCM processors and U -matic VCRs.

existing one has been written off. For- change in sound when you deviate from time in the future. In the mastering field tunately, there are plenty of other pro- unity gain. Of course, that unit uses 8-bit this capability is invaluable. duction areas, such as copy rooms, control of a 16 -bit signal, whereas our The main reason why full automation where it can be "pensioned off." The digital consoles have a 24 -bit operating wasn't included on our consoles is due to console is, in effect, a standard 2- channel system (up to 28-bit at critical places). both cost considerations and because, mastering desk; only the preview-signal Whatever the system being used, as soon with the exception of VCR -based delay would become redundant. as gain adjustments are made in the systems, time code is not usually digital domain all kinds of things start available on stereo master tapes to drive Commitment to digital happening: LSBs get truncated, digital the automation system. However, with In the field of digital audio post - dither may be applied and so on. Fading the additional data storage capacity of production we make the assumption out a signal to infinite attenuation is, in the new digital 2 -track tape machines, that, by supplying a digital master tape, fact, one of the most critical tests of any second -generation consoles are likely to the producer or artist has made the com- digital processing system. be fully automated. mitment to digital. We would not nor- But don't let these horror stories put mally convert an analog tape for process- you off. A/D converters, in my opinion, Cost considerations ing if the end product is to be analog. do far worse damage to the signal, and One of the questions I'm most fre- Digital signal processing offers some should be avoided at all cost. Unfor- quently asked is: "How much did it all very significant advantages, the primary tunately, no manufacturer has yet come cost ?" Well, I've never given a straight one being that if you dial up, say, a +6dB up with an echo or reverb device answer yet (and I don't intend to do so boost at 8kHz, you'll get exactly that, on equipped with AES/EBU digital inputs now!) but the formula goes a little like both channels, in -phase and without any and outputs so, for the time being at this: ringing or other side effects. Set the com- least, the processed signal must pass into A digital console will probably cost, at pressor section to 10dB of limiting and, the analog domain. the outset, two and a half times that of its depending on the selected attack time, Digital consoles have one great advan- analog equivalent. Actually, that is what will happen -no overshoot, tage over their analog counterparts: the "equivalent" is totally the wrong term to no pumping. ability to memorize and store all setup in- use here. Although a digital console will One area requiring a degree of caution formation on floppy disk or a similar have all the regular features of a conven- is that of level changes. Many engineers storage medium. Because digital process- tional desk, it will also offer a great deal who have used a well -known digital ors are effectively drift -free, it is possi- more at no additional cost. Total assign- editing system claim that there's a ble to recreate a particular setup at any ability and recall come free with the

68 Recording Engineer/Producer January 1987 Hands -on

Aphex Studio Dominator By Steve Keating ® 111116111116------

For the recording, audio production Aphex claims that its Transient include a respectable maximum total and broadcast industries, successfully Enhancement Circuit (TEC) increases the harmonic distortion of 0.1% at 15dB of controlling transient audio signals is a perception of transients, while maintain- limiting of a 20Hz sinewave. Noise, challenging task. Equipment designers ing absolute peak limiting. This capabili- unweighted 20Hz to 30kHz, is listed at and manufacturers have long been strug- ty is most important for users who need 80dB below peak output, with a frequen- gling to produce devices that would limit to ensure that levels do not exceed a cy response below threshold of 20Hz to peak waveforms without audible altera- maximum level, including such applica- 50kHz, +0.2dB. tion of the original program -material tions as disc mastering, microwave links, Compression ratio is specified as being dynamics. tape duplication, digital recording and "infinite above threshold." Wide- ranging The approach taken by the Aphex broadcast. input signals can be accommodated via Systems in its Studio Dominator is In addition to offering tri -band peak the use of a 2- position internal slide revolutionary, efficient and more than control, the Dominator can also be con- switch that selects either high or low sen- satisfactory. The unit is promoted as an figured through installation of ap- sitivity. The overall input level range is a "intelligent" 3 -band peak processor with propriate, plug -in option cards to serve maximum of 20dB above a normal pro- a proprietary circuit that varies the as a primary peak limiter for FM and TV gram level of nominal - 10dBm (low), or threshold for limiting, a technique that stations requiring pre- and de- emphasis a +4dBm (high). differs from traditional designs that are protocol, and a special output card that Output level is front -panel adjustable in dormant past the input threshold level. produces a matrixed output for use in ldB increments from -3dBu to +20dBu. AM stereo. Both input and output circuitry use Steve Keating is chief engineer of KMET, Los Angeles. Published performance specifications differential -balanced, high-performance

70 Recording EngineerProducer January 1987 package, fader automation being the on- cause this conversion can be done at turers find it cheap to build their players ly extra. In fact, by the time you had add- the CD mastering stage -and the number that way. ed all the operational features provided of bits should be increased, in my opin- OK, one or two studio equipment by an all- digital design to an analog con- ion, to at least 20. Having achieved this, manufacturers may go to the wall, and sole, the price would be getting up with the increased signal -to-noise ratio with them some studios who pick the around the same level. thus gained, perhaps pre- emphasis can wrong standard. So be it. One of the main drawbacks of a digital be done away with once and for all. With a little bit of care in purchasing desk, especially a multichannel one, can It is not my intention to dwell at length and the charging of realistic rates, be summarized in two words: sampling on digital standards, since this is a subject thereby writing off a piece of equipment rate. It's all very well having a console worthy of volumes in its own right. The before advancing technology writes it off that will accept a direct digital input from plethora of different digital formats, anyway, most studios should be able to your 24- or 32- track, but what do you do sampling frequencies and. shortly I ex- survive the transition to digital. if the tape to be remixed was recorded at pect, bit rates, make the capital invest- Of course, not every studio will be able 44.1kHz with pre- emphasis on some ment required to operate a good DAPP to afford each new piece of equipment tracks only? The answer is either buy facility similar to that of a multiroom that appears on the market, and this is 24 channels of sampling rate conversion studio complex. It's no wonder, where the DAPP facilities will come into and emphasis switching, or go via analog therefore, that it can often be more cost- their own, by offering conversions be- through 24 D/A and 24 A/D converters. ly to book an hour at a DAPP room than tween PD, DASH, PCM video-based and To be realistic, it is almost impossible at a 24 -track studio. any other fancy format that the to distinguish between a signal that has backroom boys dream up. Such facilities gone directly from one digital device to Format standardization are already available for 2 -track record - another, with one that has been con- It is unlikely that we will see any ings, and multitrack standards conver- verted. But, repeat the exercise a few serious moves toward standardization sion must surely follow. Switching digital times via record, track -bounce, remix before the end of this decade. In fact, I'm formats will soon be as easy as changing and mastering stages, and you may not sure that it's even desirable. Stan- NTSC video to PAL or SECAM, but begin to hear strange things, especially dardization is often only a euphemism without the quality loss problems of the during low -level passages. for stagnation. There is no way that I for latter. To make the all- digital studio totally one, want to see the recording industry All things considered, the future for viable, we need one standard sampling locked into 44.1kHz, 16 -bit for the next DAPP is beginning to look very promis- rate -which needn't be 44.1kHz, be- 20 years just because the CD manufac- ing indeed. Rt: 1)

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Circle (26) on Rapid Facts Card January 1987 Recording Engineer/Producer 69 Additional User Comments

Because of the unit's potential ap- 'sparkle' or 'openess' nor does it dull ing, Hollywood, CA, and whose recent plication on a wide variety of audio the signal. Compared to the other credits include Janet Jackson's Con- production sessions -specifically limiters, it offers lower distortion, bet- trol, 's In Square Circle, where absolute peak limiting is ter signal-to-noise ratio, and more and Barry Manilow's Searching For necessary-RE /P gathered additional 'openess,' which means less smearing Love: "The Dominator doesn't destroy comments from users working in from distortion and excessive phase transients, yet at the same time it still music recording, commercial produc- shift." gives a compressed, solid sound. tion, tape duplication film sound re-re- "I especially like the crossover cording, audio -for -video and disc Richard Portman, independent re-re- feature. With selections of certain limit mastering. cording mixer: "I use two units and ranges, many times all that is required split the stereo pairs into four mono is limiting an out- of-control vocal-not Russ Terrana, chief recording channels for use during final layback so much the low- or midrange frequen- engineer for Hitsville Recording, West onto a 4 -track recorder. At Disney cies. Hollywood, CA: "Because I can't really Studios I recently mixed a show using "Currently, we place the unit be- hear it in the signal path, the the Dominator -a rap music film from tween the tape machine and the con- Dominator is unique for mixing ses- Jamaica, with music mixer Rob sole. A lot of times, I'm reluctant to use sions. It is a 'transparent' piece of Fraboni. Rob likes things loud! The any limiting at all on an out -of- control equipment, and doesn't make the problem with loud program material is vocal. The Dominator allows you to resulting signal sound processed or that I'm always asked to exceed what I stop the signal against a brick wall. squashed. know I can lay back onto mag film. "It seems to work best when used "Because it can control the amount Consequently, I am always looking for subtlely. I use it mostly to compress a of limiting and compression used on a limiter that will let me have the frequency into a range that vinyl can low frequencies, the unit adds a lot of signal loud, yet 'crunch' it so that it handle. Plus, it sometimes tightens the 'punch' to the kick drum; previously, I goes down on film without sounding drums, and better places bass frequen- had to punch in a lot of level to get that 'muddy' or 'trashy,' as if heavy limiting cies in a phantom center." same kind of effect. Because I can ad- was used, thus losing sound clarity. just the limiter functions to limit a "In my opinion, the Dominator ac- Jerry Clemens, Modern Videofilm's signal to an exact point, and let the re- complishes this: It crunches the sound manager of sound services, maining signals pass unaltered, I can without it appearing to be crunched, Hollywood, CA, and whose recent ses- eliminate any pumping effects." even at 20dB to 30dB [gain reductionJ. sions included audio- for -video It can knock the hell out of overall sweetening for a Patti Labelle TV Andy Morris, chief engineer of Buz - level and hold it within a limit, yet not special, a Ford Theatre HBO special zy's Recording Services, Hollywood, really alter the signal's dynamics. and Solid Gold. "I work on soundtrack CA, and whose credits include 10 years "The unit also allows me to keep preparation for home videos and in- experience in commercial and audio overall recording energies within a flight movies. For the latter, because of post- production: "With the Dominator, predefined spectrum -levels I know I the high ambient noise levels in air- i! looks as if you could optimize can get through an optical camera [to craft, I need to reduce the dynamic headroom per storage format. Because print mono Academy or Dolby Stereo range on a given track. But I have to there are' different rise constants and optical soundtracks/- particularly in accomplish this without a pumping ef- speeds for various formats like audio that peak area that shows up on really fect, or flattening the sound too much. cassette, 35mm single- stripe mag, or 30 fast- acting meters, but which the ear "With the Dominator and [Aphex/ ips ,4-inch, these formats have unique can't hear. Compellor combination, I can bring high -frequency limitations before the "In essence, the optical- camera to the track down to 8dB or 9dB of program mcterial sounds 'splashy.' film relationship is directly analogous dynamic range, which is all you can "For an audio cassette master, you to a disc -cutting lathe/lacquer relation- hear on an aircraft. Plus, the noise have to consider transients that can ship. Sometimes, there is so much floor doesn't fluctuate. Sure it flattens saturate the tape and cause distortion. signal range that you can't print or cut out some sounds, but that's to be ex- With the Dominator you can maintain that signal onto a respective format. pected from such high limiting and headroom and sound quality, and But the Dominator enables me to make compression ratios. whatever coloration that will occur. the program material as loud as the "My only objection about the unit, And, because control of release time is producer wants, without being and this applies to both the Dominator afforded, I can perform frequency - hampered by the camera." and the Compellor, is the lack of con- discriminating limiting. trast between the lettering and its "In our post- production transfer Brian Gardner, a disc -cutting background color. The legends are room, the unit doesn't induce a lack of engineer at Bernie Grundman Master- hard to read in lower light levels."

January 1987 Recording Engineer/Producer 71 ing units that control the amplitude of energy contained within the audio spec- trum exhibit different performance characteristics when dynamically alter- ing complex waveforms generated within the bandwidth of 20Hz to 20kHz. It is difficult to accurately measure the Technical Specifications performance parameters of processing amplifiers when they are acting on pro- gram material, especially music contain- Frequency response: below 80dB below peak output level. ing extended fundamental threshold: 20Hz to 50kHz, ±0.2dB; Maximum output level: 20dB above and harmonic above threshold: 20Hz to 50kHz, normalized input setting of -10 or +4. waveforms that may be symmetrical, or ±0.5dB. Peak output level: adjustable in ldB quite asymmetrical, as well as substan- Total harmonic distortion: below steps from -3dBu to +20dBu. tially dynamic in energy content and threshold: typically 0.1% or less, 20Hz Compression ratio: infinite above duration. A high quality monitoring to 20kHz; above threshold (15dB threshold. system and a good pair of ears are the limiting): 20Hz, 0.1 %, 1kHz, 0.04 %; best final reference. 15kHz, 0.017 %. Feeding contemporary music into the Noise (unweighted, 20Hz to 30kHz): Circle (164) on Rapid Facts Card Dominator with control settings recom- mended in the instruction manual's con- densed set -up procedure produced noticeable results when the input and output signals were compared from a directly connected monitoring system. operational amplifiers. Balanced bridg- function is done with the process switch. The density expected from the action ing input impedance is 160k11, and Setting the process to its off position does of the unit was evident, but the often balanced output source impedance is not disable the unit's equalization sec- audible manipulation of the signal 20í1; the latter is capable of driving tions, only the amplitude control cir- amplitude was minimal, even with the almost any type of conventional load. cuitry. A 6dB boost or cut of the low or controls adjusted for above-average Primary power is through a standard high bands is possible regardless of the processing levels. IEC 3 -prong receptacle with accompany- process switch position, so long as the Installation of the unit into a primary ing fuse holder. Voltage range is either program material level is below the on -air chain to evaluate its performance 100V to 120V ac, or 220V to 240V ac; threshold of limiting; above threshold, in the real world was simplified through power consumption is expectedly and EQ boost will be reduced as each the provision of a second processing minimal. A note of caution: Due to the band approaches maximum limiting. loop, identical to the primary chain with unit's 1N -inch, single -rack height Much like conventional limiters, the regard to incoming signal and output package, a fair amount of heat is release time control sets the release time loading. After careful adjustment of the generated during operation. As a result, of the limiting section from moderate to operating controls, the Dominator was sufficient ventilation around the top and extremely fast. put on -line and evaluated as an active bottom within a rack is recommended. A stereo tracking switch links together element of the total processing scheme Front -panel controls are minimal, but the control sections of the left and right by listening for extended periods on a effective in shaping the final product. audio channels, resulting in equal gain variety of receiver types. The input drive control adjusts the reduction for both channels regardless of Minor Control adjustments were made degree to which limiting will occur for a the channel with a greater signal level throughout the 24 -hour evaluation given input level. Increasing the control present. period, and several individuals with keen increases the amount of limiting, but The transient enhancement circuit is aural sensitivity around the station were doesn't alter the peak output level. Most claimed to "restore articulation to the asked their opinion of the overall sound. limiters use input threshold controls to audio by manipulating the below - All were favorably impressed with the set the degree of limiting activity, and threshold audio envelope, without "texture," "density," and substantial subsequently decrease the overall output changing the average power content or loudness of the air sound, with few com- amplitude when greater amounts of peak amplitude of the audio waveform. It ments regarding the presence of any limiting are desired. can be used to bring out more 'punch' in undesirable "foot- prints," or processing The LF EQ control varies the amount an audio source, or to improve the "by- products ". of low- frequency drive to the low -band dimension and imaging qualities of the The front -panel capability of switching limiter. The LF crossover switch deter- audio. A noticeable increase in the the limiting activity on- and off -line mines the highest frequency this circuit perceived loudness of the audio is an ad- allowed for instantaneous comparison will act on: one setting is 80Hz, the other ditional benefit of the TEC process. between the effect the unit had on the is 160Hz. Depending on audio source type and program material versus the unproc- The HF EQ control provides the same quality, the effect of the TEC may be sub- essed signal. Apparent loudness without function as its low- frequency counter- tle or quite noticeable." any "graininess" or "coarseness" was part, except the HF crossover switch primarily noticeable, as well as the determines the lowest frequency at Evaluation procedure maintenance of consistently high -quality which this circuit will operate: 1.7kHz or After receipt of a stock unit for evalua- reproduction of program dynamics. 4.5kHz. tion, I bench -tested the unit for basic per- I would recommend the Dominator in The mid -band frequencies are auto- formance. Frequency response was any application requiring consistent, matically controlled by the content of found to be well within the published high -quality peak -level control of wide - the input program material. parameters, as was harmonic distortion range audio program material. RF P Switching on -line the unit's limiting and noise floor. However, most process-

72 Recording Engineer/Producer January 1987 Vega PRO wireless at an affordable price. T PRO Hand -Held Cetec Vega's famous high - R -31A PRO Receiver -36 quality "PRO" wireless micro- The R -31A PRO receiver Transmitter phones are now available in features two easy -to -read LED I he I -36 PRO hand -held new, highly affordable versions. bargraph displays -one for RF transmitter uses the popular Enhance your sound installation signal level and the other for Electro -Voice BK -1 ( "Black is Knight ") condenser element with the new PRO 1 -B and PRO audio level. The receiver with an attractive black wind- 1 -H systems. Ideal for all of ycur extremely sensitive, highly professional audio applications, selective, and very stable. Either screen. Housed in an attract- these systems are great for line -level or mic -level outputs ively contoured black case, it broadcasting and entertainment may be selected through the has Cetec Vega's patented applications, as well as for use in rear -panel XLR connector. Line - internal dipole antenna. An audio audio -visual systems for indus- level output is also available gain control and power and trial seminars, church and from the rear -panel terminal strip. audio on /off switches are con- school sound systems, etc. The receiver can be powered veniently located on the bottom. by either AC or external DC. The PRO 1 -B system consists Shouldn't you design your of the Model T -37 bodypack T -37 PRO Bodypack sound system around the transmitter and Model R -31A Transmitter high quality and reliability for 1 -H Vega is famous? receiver. The PRO system I he 1 -31 PRO bodypacktrans- which Cetec consists of the Model T -36 mitter accepts all positive- biased Contact Cetec Vega today to hand -held transmitter and R -31A and most negative- biased electret arrange for a demonstration receiver. lavalier rrics via an easy -to -use of the PRO 1 -8 bodypack or Both systems feature DYNEX mini 4 -pin XLR connector. Conven- PRO 1 -H hand -held wireless Cetec Vega's advanced audio tional panel- mounted mic on /off microphone system. processor for the highest signal - and recessed power on /off toggle to -noise ratio, widest dynamic switches are featured. The ultra - range, and most natural sound. rugged case stands up to hard use. C Cetec Vega the professional's wireless Division of Cetec Corporation 9900 Baldwin Place El Monte, California 91731 (818) 442 -0782 TWX: 910 -587 -3539

Circle (40) on Rapid Facts Card Equipping an Electronic Music Production Facility

By Paul D. Lehrman

With electronic music production assuming greater importance, what features and functions should a recording or production studio look for in MIDI -equipped synthesizers, sequencers and outboard effects equipment?

been It's only three years since MIDI MIDI, there is still plenty of confusion as down, this idea may end up being more was introduced, but already one would to how best to go about it. This writer expensive than it's worth. Knocking out be hard -pressed to find a commercial gets daily calls from large and small the walls to the control room to make it recording or production studio anywhere studios that are wondering about the bigger can seem even less attractive, but in the world that doesn't use the standard best synthesizer, the best computer, the there is an alternative. in one form or another. best software and how the heck are they For most sessions, MIDI programming MIDI sequencers offer greater ac- going to learn all of this stuff fast enough can be handled by one or two people. curacy and control than multitrack tape, and well enough to make it pay off. Another room, which can be quite small and MIDI hardware is beginning to (like your current tape library), can be assume many of the mixing and process- Finding the space dedicated to nothing but MIDI equip- ing chores traditionally handled by The first concern a studio should have ment, with audio and MIDI tie lines con- discrete equipment. All of these func- is where it's going to put everything. In- necting it to the control room. A large tions allow studios to work faster, more stalling as many of the MIDI toys -key- console is not necessary -synth pro- efficiently and more cheaply. boards and computers -into the control grammers generally have little use for How involved a facility becomes with room as possible will considerably im- 6 -band parametric EQ, or four separate MIDI depends primarily on the type of prove communication and speed. The cue mixes -nor are tape machines and music it produces. A studio that concen- engineer's mix will be the same as the long -throw monitors. Because most MIDI trates on classical or acoustic music will musicians', and headphones, intercoms equipment is now rack-mountable, it's have minimal use for MIDI equipment, and talkback problems can become a possible to squeeze a lot of equipment in- while one that works primarily in music thing of the past. to a minimum amount of space. for visuals or dance rock can take great If your control room is small, a more An added bonus to this plan is that the advantage of MIDI computers and syn- radical solution may be called for. Some small room can be rented out by itself as thesizers. Determining how it can help studios find they need to reverse their a "pre- programming" room. The cost to your studio requires a hard look at your floor plan completely, by putting all of the client can be significantly lower than methods and clientele, and deciding the electronic gear in the big room, that of the main room, and if it's set up what the investment of time, money and where the mics and the Steinway used to correctly, you can handle two separate energy required to get involved with be, and leaving what was the control sessions simultaneously -just like is MIDI worth. room empty for recording vocals and building a second studio, but at a fraction Even when a studio has gotten past the those occasional acoustic instruments. of the expense. question of whether to get involved with Of course, live recording areas and Paul D. Lehrman Is a free -lance writer, electronic control rooms are designed for very dif- Wiring and routing musician, synthesist, producer and regular RE!P con- ferent purposes. If the acoustics of the In the past, a typical studio tributor. keyboard larger room cannot easily be toned setup would include a stand or two laden

74 Recording Engineer/Producer January 1987 Control Room A at Dallas Sound Lab, frying, TX, features (from left to right). a host of MIDI- capable keyboards from Kurzweil, Yamaha, Oberheim and : a 48-voice NED Synclavier with time code /MIDI interface; Linn 9000 and Akai S6I2 MIDI sampler; and Apple II personal computer running Yamaha DX -Pro software. All MIDI equipment is centered around a fully automated Solid State Logic S16056 console, linked to a Sony DASH-format PCM-3324 digital multitrack on an Otani MTR -90, with time code interlock provided by an Audio Kinetics Q.Lock 3.10 synchronizer.

with instruments, connected by a rat's Boxes, because they reprocess the data, devices as master controllers, and even be used nest of cabels and direct boxes. This was can introduce delays, as can chaining though some synths may never want to load patch- useful when keyboards were optional (or MIDI lines through one synth to another. as controllers, if you need a 2 -way extra -cost) on a session, or when they The best solution is a star network, in es into them, you will were constantly going in and out of the which the path to every MIDI device is (MIDI In and Out) path. You can build studio. When you're using MIDI, not necessarily as short as possible, but your own patch panel, using either DIN however, keyboards are the mainstays. instead is the same effective length. On connectors or something more robust You wouldn't let your console wiring the other hand, MIDI paths going to a (just remember that you cannot mutt a hang all over your control room floor; recording device should be kept delay- MIDI line simply by wiring a few jacks in keyboards should be afforded the same parallel), or you can purchase one of the respect. several switch boxes available. Permanently wiring and mounting DI boxes is one step. When keyboards have MIDI patch panels are an Having the right controllers already know, have to be taken in and out (which will still not Musicians, as you idea whose time has Some will be happen), use short cables to connect very individual tastes. on them to the permanent fixtures. Likewise come, possibly because perfectly happy playing everything must with MIDI cables: fixed MIDI receptacles those 5 -pin DIN connectors "old faithful," while others simply or a true on the wall will do much to alleviate clut- do not tolerate constant have a weighted keyboard, ter and possible disaster. Also be sure to piano action, or will even like the You keep plenty of slots open for client's pulling in and out as well miniature keys of certain models. equipment. as 1/4-inch jacks. should have as many of these devices MIDI cables should be kept relatively available as you can afford, along with as breath short. They are essentially unbalanced many controller toys (foot pedals, who and run at high transfer speeds (of the controllers) as possible. For clients order of 31kHz). At the same time, free, to avoid timing problems while lay- will only touch a real acoustic piano, you however, because MIDI lines carry ing down tracks. will have to invest in either a MIDI - digital data they are relatively resistant MIDI patch panels are an idea whose modified piano, or once of the new ones to noise and hum, meaning that runs of time has not yet come, possibly because with built-in MIDI sensors. 50 feet are possible in a pinch. For longer those 5 -pin DIN connectors do not Other types of MIDI controllers are runs, Thru Boxes can be employed at tolerate constant pulling in and out as now becoming common (read: not too regular intervals. well as 1/4-inch jacks. But having some expensive). If your clients are not all The layout of the wiring should allow kind of MIDI routing network is essential. keyboard whizzes, a set of MIDI drum for as few MIDI delays as possible. Thru Clients will want to be able to use various pads, a pitch -to-MIDI converter, a univer-

January 1987 Recording EngineerProducer 75 sal guitar converter, or even one of the however, a client can find something new MIDI mallet controllers can be close, and it can then be tweaked to worthwhile. make it work. T Also useful are some of the new real - Remember also that synthesizers, S L time MIDI processors and "mappers," unlike some studio equipment, are which can add to a player's arsenal of eminently portable. If clients need a par- controllable functions, or change one ticular synth that you don't have (and PRECISION type of function into another, like using a don't want to buy), they can bring it in foot pedal to control pitchbend. (The themselves, or you can rent it for the ses- more elaborate, dedicated master sion. You may encounter a client who is keyboards have many of these functions inseparable from a pre-MIDI synth. MAGNETIC built -in.) Devices that convert MIDI signals to a Programming MIDI tracks does not form that the antique can deal with (and always have to be a solo activity -some vice versa) can help out in such situa- TEST TAPES sequencers are now capable of recording tions. simultaneous input from several MIDI MIDI -controlled Introducing two NEW SERIES processors, including sources. If you have one of these devices, delays, reverbs of test tapes manufactured and mixers, can help a MIDI mixer (not to be confused with a speed to IEC and NAB equalization up production by automating the MIDI -controlled audio mixer) standards with can allow mixing process to a certain degree. If a extended you to record a complete frequency range ensemble of song demands a gated reverb for two and using players in one pass. international test frequencies. notes in bar 82, it is far easier to program that information into a sequencer (as a Synthesizers and processors MIDI program change) than to worry Hz SEC. Popularity, price, usefulness and flex- about getting it right each time you mix.

1 1 1" & 2' ibility are the determining factors in MIDI -controlled audio mixers are still in which synthesizers a studio will 1000 30 40 60 choose. their infancy, but even automating the The sword of popularity, however, cuts channel mutes can save a lot of time fur- 4000 10 12 20 two ways. Synthesizers that are extreme- ther down the road. For programmable 8000 15 20 30 ly well -known to clients can be a good processing gear, again, having access to 16000 20 25 40 choice, but so can those that are not as a variety of effects on cartridge or disc 1000 10 12 20 common. will make your clients very happy. Although the latter 31.5 10 12 20 may be beyond the price and complexity level that most Synchronizers 40 10 12 20 clients can afford for their own collec- Unless you're producing totally in- 63 10 12 20 tions, there's no reason why your studio strumental music, and your synthesizers 100 10 12 20 cannot support them. A few exotic, high - can produce any sound you may possibly 125 10 12 20 end synths in a studio's arsenal (if you or want, somewhere along the way you will your staff know 250 10 12 20 their way around them) have to marry your MIDI sequences to can attract clients just as effectively as a tape. There are a number of syn- 500 10 12 20 set of rare tube mics, or the latest digital chronization methods now in use, none 1000 10 12 20 reverb. of them perfect (see my "Managing 2000 10 12 20 Your synth collection must be ver- MIDI" column on page 10 in this issue) 4000 10 12 20 satile: analog, FM, sampling and other but all uséful in the electronic production types 8000 10 12 20 of synthesis should all be well studio. represented. Synthesizers are sounding A facility whose work is primarily in- 10000 10 12 20 better and more realistic all the time- house projects can usually get away with 12500 12 15 25 with a little thought, you can assemble a using just one method of sync. An 8 -track 16000 12 15 25 synth collection that can replace 99% of commercials production house, for ex- 20000 12 15 25 what formerly had to be recorded ample, can record FSK sync to drive a se- 1000 12 15 25 acoustically. Because few of them are quencer (which handles all the in- very programmable, the more drum syn- struments and processing) on track 1, thesizers you can supply the better; leaving six tracks (don't forget the guard Program used on new series of clients will also want as large a pallette of track) for vocals, acoustic guitars, etc. test tapes at T2, 15 & 30 IPS. drum sounds to choose from as possible. However, if clients bring in their own Whichever types of synthesizer you pre -striped tapes, or want to Send for free catalog. use se- select, a wide variety of sounds should be quencers or drum machines that respond on hand for all of them, in the form of to other forms of sync, it's important to STANDARD TAPE RAM cartridges, disks or computer have devices on hand that can read and LABORATORY, INC. systems with librarian software. Clients translate many forms of time code. don't want to spend all their time (and These devices are getting cheaper almost 26120 Eden Landing money) programming your studio's by the week; a good selection should not synths, so if they don't have sound be Road #5, the at beyond the means of any studio. hand that they want, you should. If they Of course, these days everyone wants Hayward, California have it on a disk, you should have the time code synchronization. Properly 94545 U.S.A. software that will let them load it. Of used, time code can significantly im- course, it's common to be in a situation prove the efficiency of a MIDI studio. It (41 5) 786 -3546 where no pre -programmed sound seems can provide instant autolocation and to fit. If your library is broad enough, allow multiple devices, both mechanical

Circle (27) on Rapid Facts Card

76 Recording Engineer,Producer January 1987 and digital, to be locked together and trig- vs. dedicated machines, for a studio Your choice of software will be depen- gered with unerring accuracy. Time (where portability and roadworthiness is dent on the type of music you produce. If code readers and generators, like other not a concern) the decision is easy. Com- 90% of your work is dance tracks, a sim- sync devices, are rapidly coming down puters can display large amounts of data ple recording program with limited in price, but they vary widely in quality on the screen at one time, as opposed to editing will do fine. If, on the other hand, and flexibility. Software-based time code the typical 2 -line LCD in a dedicated se- you're doing orchestral film scores with devices will soon be coming to market, quencer, making editing far easier and multiple patch and tempo changes, loops and offer the best hope. They can be more intuitive. Because one computer and transposed repeats, you might want made more user -friendly and flexible something more sophisticated. Should than hardware -based units, and are far clients want to program tracks and then easier to upgrade. print them out for live musicians to play, In the meantime, look carefully before then music -notation software is called selecting any time code equipment to en- Also useful are some of for. sure that it does what you need it to and However, none of the notation soft - the new real-time MIDI is very is compatible with your other equip- ware currently on the market ment. Pay particular attention to the processors and fast; you should examine closely what's quality of the code being generated; how "mappers, " which can add available to make sure that it will really more time than it uses up. Finally, if tolerant the device is of less-than -ideal to of save code; the processing speed (sync delays a pplayer's y arsenal half of your clients already have a copy produced by some units can make life controllable functions... of a particular program, you'll be doing very difficult); and, if you do a lot of tern- them a service by having one too. po changes, how easy those are to pro- If you already have a computer, and gram. don't want to invest in another one, then your choice of which machine to use is Sequencers, computers and software can be used for many different types of already made in large part. But if you're the The sequencer is at the heart of a MIDI- programs, having on hand several dif- buying your first computer, follow equipped studio. It functions as ferent sequencers, as will as patch cardinal rule of computer purchasing: multitrack tape recorder, editor, or- editors and librarians, click -track Check out the software first, and when a com- chestrator and even mixer. Although calculators, and even word processors you find a program you like, buy performing musicians continue to debate and spreadsheets can be accomplished puter that will run it. The Commodore II family are the merits of computer -based sequencer with a minimum of investment. C64 and C128 and the Apple

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Circle (28) on Rapid Facts Card January 1987 Recording Engineer Producer 77 relatively cheap and very well sup- nal hardware, graphics cards, extra the person choosing from it -what patch - ported in terms of sequencers and patch memory boards, etc. es are available, and how appropriate Because editors. of their comparatively Installing a MIDI studio is more than each of them may be to a given situation. small memories and slow processing just putting in all the right equipment- Samplers can do great things, but only if speed, however, they are not ap- it's also a matter of finding the right peo- whoever is loading and editing the propriate for very large projects, and pie to run it. Unless there's someone on samples knows what he is doing. tend to be a little cumbersome to work every session who knows how to use all Likewise, the equipment limitations with. that technology to save the client's time, must be well- known. Lush string pads The Apple Macintosh and the IBM PC are hard to produce on an FM syn- family (plus its many clones) are the big thesizer; the programmer who knows boys in the field, and offer features such that will not waste time trying to coax as advanced graphics, better interactivity, one out, but will instead use an analog larger memories (which not only mean Installing a MIDI studio is synth. If a sync track on a tape is dam - that more notes can be crammed into aged, an engineer should know whether them, more than just putting in but also that editing functions are it's recoverable and, if not, then the best handled much faster), and higher speed. all the right equipment- way to get around the problem. If you're heavily involved with sound it's also a matter Good MIDI programmers are made, sampling, Macintosh of finding the right not born. be an programs th Y s, because mosthof the corn- people to mer, one must be intimate with all forms panies developing sample editors are run it. of music, from folk to ; have a putting them on the Mac. (it's still too conservatory -level background in early to tell about the Commodore classical theory; be able to recite MIDI Amiga and the Atari ST1040, because codes as fast as you can your children's very little software is available for them names; and have the patience of an yet.) it will just make things more complicated elementary -school band director. This Be careful, when comparing features and slower. A sequencer is fast only if combination of skills does not come and prices, of hidden costs. With some the person running it knows it well, and easy, and the ability to make neat sounds computers you can just hook up a MIDI can make it jump through all its hoops from a synthesizer does not necessarily interface (the Atari ST520/1040 even without having to dig into the manual make for an effective studio program - has one built in), put in your disc and fly. every five minutes. A huge library of mer. Others require both internal and exter- synthesizer patches is only as useful as But there are ways that you and your

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Circle (29) on Rapid Facts Card 78 Recording Engineer Producer January 1987 of a sudden, everything locks staff can learn about MIDI. if it's just a flocking to your door because of the con- when, all reason, many manufacturers question of getting used to a new piece of sultant, in which case you might do well up. For this boards, which hardware, taking it home for a couple of to work out a more long -term arrange- offer computer bulletin with questions or prob- days can help. Talking to other users of ment.) users can call services like IMC- the same device can also help you pick Support is also available from other lems. Public database PAN and The Source up hint, tricks and potential pitfalls. Stud- sources. Because of the complexity of Easi, CompuServe, with hundreds ying manuals can sometimes work, but MIDI hardware and software, and the can put a studio in touch than willing they vary dramatically in quality -the pressure on manufacturers to get prod- of other users who are more experiences and opinions. best ones can teach you a lot, even if you to share their help yourself by haven't got the unit in front of you, Furthermore, you can dealer while the worst ones can send you buying equipment from a local for support; a few screaming into the night. with a good reputation from a no-frills dis- If more help is needed, many music The most important thing bucks saved buying end up turn- schools and studios give instruction in count mail -order house may is to keep ahead of your trying to the care and feeding of MIDI, and some ing into many expensive hours dealers and manufacturers provide clients. Some of them will get help. thing is to keep clinics. Some of these clinics are de- The most importare know more about a of them will signed solely to sell equipment (especial- ahead of your clients. Some than gear ly if they're free), but others are intended specific piece of gear know more about a specific piece of it's your for more advanced users that are dying to you do. than you do. But, because know how they can get more bang out of studio, you should know best how things what they've already got. work together, and the best way to get If you need personalized help, there your studio as a whole to respond to are a few good consultants who will clients' needs. come into your facility and show you all uct out the door before their com- Like any new technology, MIDI has to the neat tricks they've learned. petitors do, most -if not all -of the be respected, learned and mastered. will Sometimes it's a good idea to hire a con- devices out there have some bugs that Once you've done that, your studio world. sultant to handle all your programming cannot be fixed with a little judicious ap- be a part of a very brave, new for the first couple of weeks or so, while plication of a soldering iron. Invariably, R'E/P you and your staff watch and learn how the worst of these bugs will show up just it's done. (You may find that clients are as you're finishing a 2 -month project

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Circle (30) on Rapid Facts Card January 1987 Recording EngineerProducer 79 ENGINEER /PRODUCER Annual Index

Compiled by Irma Ailread

Category Index

RECORDING & PRODUCTION TECHNIQUES Month/Page

Recording and Production Techniques for the Boston Symphony Orchestra 2/62 The Scandinavian Connection: Recording Miles Davis' Aura at Easy Sound, Denmark 2/116 The Audio /Video World of 6/26 A User's Guide to MIDI 6/40 Digital Sound for 's Home of the Brave, Part 1 8/24 (Modern Videofilm) 4/78 Update Motion Recording Joe Jackson Live to on Picture Sound Word of Faith's New Audio Production Digital 8/40 Systems 2/89 Studio 4/86 An Engineer's Guide to Compression Misrepresentation of Digital Synergistic Studio Operations: in and Limiting 10/56 Sound Films 2/98 Image Recording & Digital Interconnecting Audio Equipment 10/146 Recording and Random -Access Composer's Services Digital Sound for Laurie Anderson's 6/50 Editing Techniques. Upgrading Vintage Technology (Modern Videofilm) 4/78 Home of the Brave, Part 2 10/64 (Cherokee Studios) 6/82 Developments in Assignable Console Mastering Feature Films for Video Design and Construction Release Designs 12/24 6/66 of Puk Studios 8/86 Design Considerations for an Integrated Digital Sound for Laurie Anderson's Multifunction Studio Design and 1 All- Digital Audio Storage, Editing Home of the Brave, Part 8/24 Construction (Record Plant) ..10/30 Digital and Processing System 12/30 Audio for Videocassette Production Viewpoint: Duplication 8/32 LIVE PERFORMANCE Digital Russ Titelman 12/44 Sound for Laurie Anderson's SOUND Future Directions of Studio Home of the Brave, Part 2 ....10/64 Surround Monitor Designs 12/56 Month/Page Sound for Video 12/64 Digital Recording Formats 12/82 High Technology on the Road, EQUIPMENT REVIEW PRODUCER PROFILES The Grateful Dead 2/38 Month/Page Recording and Production Techniques Month/Page for the Boston Symphony Ensoniq Mirage DSK -8 Sampling Orchestra The Specialist Art of 2/62 Keyboard 2/122 Neil Diamond Arena Tour Sennheiser MKH4O-P48 Dance -Single Remix 2/22 (Stanal Sound) 4/46 Microphone Louil Silas, Jr. 2/128 Stress -Testing Speaker Systems, Synchronous Technology A Conversation with Session Engineer SMPL Osborne Laboratories 4/60 System, Tascam model 388, Taavi Moté 2/30 Electronics and the Symphony Lexicon PCM -70, Southworth Producing a String of Country Hits, Orchestra 6/58 Total Music and Opcode MIDI Marshall Morgan 4/30 Field Testing New Concert Sound Mac sequencers. 4/98 The Audio /Video World of Technology 8/74 Fairlight CMI Series III Digital Thomas Dolby 6/26 Jimmy Buffett's "Floridays" Tour /80 Production Viewpoint: ..10 Synthesizer 6/88 Sound Design for Outdoor Arenas .12/72 A User's Guide to MIDI 6/40 Russ Titelman 12/44 Fostex B -16D 16 -track model E -2 AUDIO FOR VIDEO 2- track, model 4050 MIDI FACILITY SPOTLIGHTS AND FILM synchronizer, model 4030/ Month/Page Month /Page 4035 time code synchronization system, Yamaha SPX -90 and Digital Recording and Random -Access Digital Sound for Motion Pictures, AHB CMC -24 console 8/50 Editing Techniques. Part Two 2/86 Pearl TL -4 Microphone 10/90

80 Recording Engineer/Producer January 1987 Compusonics DSP -2002 digital April 1986 Hands On: Fostex Autolocator, recording and editing system .12/98 Producing a String of Country MIDI and Time Code Syn- Hits, Marshall Morgan, chronization System. AUDIO TECHNOLOGY By Bruce Borgerson 30 By Bob Hodes 50 Building a Bipolar Power Supply. Month/Page Neil Diamond Arena Tour. Stanal Sound on the Road with the By Jon Gaines 68 Concert Series Speaker Field Testing New Concert Sound, CD in the Studio 2/76 -ROM System. featuring Fort Worth, TX, A Sneak Preview of the New Otari By David Scheirman 46 Blues Festival Technology. -900 PD- Format Digital DTR -Testing Speaker By David Scheirman 74 Multitrack 2/144 Stress Systems 60 Design and Construction of Puk Building a Bipolar Power Supply ...8/68 "The Tact Factor." Keeping Your Studios. Dynamic Range Modification: Limiters, Cool While All Those Around By David Rideau 86 Compressors and Expanders 10/44 You are Losing Theirs. Our An Engineer's Guide to Compression Saga Continues: Time Is and Limiting 10/56 Money. Interconnecting Audio Equipment 10/146 October 1986 By David Brody 62 Developments in Assignable Multifunction Studio Design and Digital Recording and Random - Designs 12/24 Construction, featuring the Console Access Editing Techniques. A Design Considerations for an Record Plant complex. Spotlight on Modern Video - Integrated, All- Digital Audio By Adrian Zarin 30 film's New Facility, and a Editing and Processing Dynamic Range Modification: Storage, with Pro- 12/30 Conversation Limiters, Compressors and System duction Mixing Engineer Future Directions of Studio Expanders. Jerry Clemens. Monitor Designs 12/56 By Richard C. Cabot 44 By Ralph Jones 78 Digital Recording Formats 12/82 An Engineer's Guide to Corn - Facility Spotlight: World of Faith's pression and Limiting. New Audio Production Studio. STUDIO BUSINESS AND By Denis Degher 56 By Rick Shaw 86 MANAGEMENT Digital Sound for Laurie Ander- Hands On: Collective Equipment son's Home of the Brave, Month/Page Assessments in an Electronic - Part 2: Spotlights digital Music Production Facility. multitrack recording and Automating Recording Studio By Bob Hodas and Denis 12/38 post -production. Operations Hannigan 98 By Larry Blake 64 Jimmy Buffett's "Floridays" Tour. Issue Index By David Scheirman 80 TL -4 Microphone. June 1986 Hands On: Pearl Cross 90 1986 Page The Audio /Video World of By Lowell February 81st Louil Silas, Thomas Dolby. Audio Engineering Society Single -Dance Remixing. Sessions, By Alan diPerna 26 Convention: AES Jr. Exhibitor and Demonstration By Ralph Jones 22 A User's Guide to MIDI. Room Maps, Exhibitor List- Including: A Conversation with By Mark Lewer 40 Product Directory 96 Session engineer Taavi Moté .30 Synergistic Studio Operations: ings, Interconnecting Audio Equipment. High Technology on the Road. Image Recording & By Allen Burdick 146 The Grateful Dead in Perfor- Composer's Services. mance, By Adrian Zarin 50 By David Scheirman 38 Electronics and the Symphony Recording and Production Tech- Orchestra. Consultants Ken- December 1986 niques for the Boston Sym- ton Forsythe, Eastern Acou- Developments in Assignable Con- phony Orchestra. stic Works and Louis sole Designs. By Paul D. Lehrman 62 Maresca, TekCom. By Malcolm Toft 24 CD -ROM in the Studio. By David Scheirman 58 Design Considerations for an By Rob Burr 76 Mastering Feature Films for Integrated, All- Digital Storage, Digital Sound for Motion Pictures, Video Release. Editing and Processing Sys- Part Two. Post Production and By Robert Bradford 66 tem. Theatrical Playback. Upgrading Vintage Technology. By Charles Bagnaschi 30 By Larry Blake 86 By Denis Degher 82 Automating Recording Studio Including: Update on Motion Hands On: Fairlight CM! Series III Operations. Picture Sound Systems 89 . By Robert Carr 38 Misrepresentation of By Terry Fryer 88 Production Viewpoint: Russ Digital Sound in Films 98 Titelman. The Scandinavian Connection: Re- By Ralph Jones 44 cording Miles Davis' Aura at Future Directions of Studio Easy Sound. August 1986 Monitor Designs. By David Rideau 116 Digital Sound for Laurie Ander- By John Eargle 56 Hands On: Ensoniq Mirage DSK -8 son's Home of the Brave, Surround Sound for Video. Sampling Keyboard Part I: Spotlights digital By David Moore 64 By Terry Fryer 122 preproduction planning and Sound Design for Outdoor Arenas Hands On: Sennheiser MKH40 -P48 shooting. By Ralph Jones 72 Microphone By Larry Blake 24 Digital Recording Formats By Lowell Cross 128 Digital Audio for Videocassette By John Monforte 82 Industry Intelligence. A Sneak Duplication. Hands On: Compusonics DSP -2002 Preview of the New Otari DTR- By Everett M. Carroll Ill 32 recording and editing system. 900 PD- Format Digital Multi- Recording Joe Jackson Live to By Carl Kaller 98 Digital. track R-E,u By John Carey 144 By Lauren Block 40

January 1987 Recording Engineer/Producer 81 Studio update

Northeast rophone, Neumann KM -84 mic- Sigma Sound Studios (Philadelphia) has rophones, Sennheiser MD -441 named Corey Kissinger as manager of Giant Sound (New York) has added a microphones, Aphex Aural Exciter its technical services department. His New England Digital Synclavier digital Type C and Nakamichi cassette duplica- responsibilities will include studio synthesizer, for use in a dedicated pre- tion system. 5 W. Pittsburgh St., Del- remodeling, maintenance of all studio production room, the main control room, mont, PA 15626; 412-468-6661. equipment and the supervision of two or at a client's own facility. support staff members. Previously, Kiss- Currently available with 8Mbytes of Sheffield Audio -Video Productions inger was technical manager at Alpha In- memory. sampling capabilities range (Phoenix, MD) recently took delivery of ternational Recording Studios, from 20.9s at a 100kHz sampling fre- its new Sony PCM -3202 twin -DASH Philadelphia, and chief engineer at AV quency, 94.9s to at 44.1 kHz. digital 2- track. Sheffield is one of the first Studios, Reading, PA. 212 N. 12th St., The Synclavier also features a 75,000 10 studios in the country to receive the Philadelphia, PA 19107; 215-561 -3660. note. 200 -track sequencer, a MIDI patch unit. 13816 Sunnybrook Road, Phoenix, bay and time code lockup from half to MD 21131; 301 -628-7260. double speed in both forward and Southeast backward directions. 1776 Broadway, Normandy Sound (Warren, RI) has in- Sixteenth Avenue Sound (Nashville) New York. NY 10019; 212 -247-1160. stalled a Solid State Logic 4000E has taken delivery of the Solid State series mixing console with Total Recall Logic SL4000 -E 48 -input console, a Mit- PhotoMag Recording Studios (New automation. subishi X -850 PD- format 32 -track and York) has added Dominick Tavella to its "This update was essential," says X -86 2- track. Also features are Lexicon staff as recording engineer. Ogden Fell, general manager. "The 480L digital effects, an AMS DMX -15 Tavella started in the industry as a Boston and New England record com- digital delay and a Studer A820 2- track, transfer engineer at New York's Du -Art panies, producers and artists are now 3524 West End Ave., Nashville, TN Film Laboratories. During his 10 -year seeking out the ability to record and mix 37205; 61.5-269- 5296. tenure there, he designed and built his on the computerized consoles." 25 own studio, and expanded the com- Market St., Warren, RI 02885; Hayes Recording Studio (Tampa, Fl.) pany's audio business from recording stu- 401 -247 -0218. has installed an Audio -Kinetics Q.Lock dent films to mixing theatrical features. 3 -10 time code interface system, a Studer 300 E. 34th St., New York, 10016: NY Forge Recording Studios (Malvern, A -8ORC Mkll 30 ips 1/2 -inch 2- track, and a 212 -683-9672. PA) has opened a new 24 -track audio Lexicon model 200 digital reverb. 2406 facility, featuring a Sony PCM -3324 S. MacDill Ave.. Tampa, Fí..3.360.9; 8/3- Highland Studio (Delmont, PA) has DASH format 24 -track digital machine, 837- 6.384. added the following equipment to its Neotek Elite console and Audio 16 -track facility: UREI 809 studio Kinetics Master Mix automation. 119 monitors, Lexicon 200 digital Great Valley Parkway, Malvern, PA South Central reverberation, Neumann U -89 mic- 19355; 215- 935 -1422. Omega Audio & Productions (Dallas)

has taken delivery of the CMX Cass 1 Audio post -production editing system. The Cass I allows up to 5- machine audio editing, including an on -line access to two different analog 24- tracks as well as a Mitsubishi X -80 digital recorder. All standard CMX functions, such as preview. list management and dedicated key strokes. are available. 8036 Aviation Place. Dallas. TX 75235; 214 -350- 9066.

Goodnight Dallas (Dallas). recently in- stalled the following equipment: Yamaha REV -7 and SPX -90 digital signal proces- sors, two Nakamichi MR -I cassette decks, a Sony PCM -501 digital processor, Neumann TLM -170s, Sennheiser MKH- 40s, and Beyer M160s mics. 11260 Goodnight Lane, Dallas, TX 75229; 214- 241 -5182. Midwest ARS Recording Studio (Alsip. IL) has completed a major rebuild of its main studio. The room now includes RPG Dif- fusors and angled mirrors in the rear. Forge Recording Studio. and rough -cut cedar with removable bat-

82 Recording EngineeriProducer January 1987 studio Update

fies that are absorbent on one side and ed to the outboard rack, and a Studer JBL Biradial monitors. 2119 Fidler Ave., reflective on the other. 116285. Pulaski, A725 CD player in the control room. Long Beach. ('A 90815: 213-498 -6492. Alsip. 11. 60658: 312 371-8424. 3401 W. Burbank Blvd., Burbank, CA 91505; 818 -842-0800. Conway Recording Studio (Hollywood) has opened Studio B. which Southern California Marvin's Place (Hollywood) has an- now features Mitsubishi X -850 digital Cannon Films (Hollywood) has added nounced the re- opening of the personal - 32- tracks PD- format, and a 56 -input Neve four Lexicon PCM -70 digital effects use studio formerly owned by the late V- series desk. 655 N St. Andreas Place. processors, three model 224XL digital Marvin Gaye. The studio is managed by Hollywood,vrod. CA 90004: 21.3-463- 217.5. reverbs, two model 97 Super Prime Time chief engineer. Richard Barcellona, ad- programmable digital delays, a model ministrator. Jeanette Acosta - Image Recording, (Hollywood) has in- 200 digital reverb and two model 480L Hunziker, and engineer Michael stalled a Solid State Logic 514056 -E con- digital effects systems. Monarch. Equipment includes a Neve sole in Studio A. The console features a According to Corey Bailey, head of 8108 52 -input console, MCI HM -24 60 -input mainframe. computer automa- Cannon's sound department, "We didn't 24- track, Studer A -80 1/2-inch 2- track, tion with Total Recall, an integrated have room for live chambers or plates, JBL /Augsburger monitors, and Sony video switcher and plasma metering with because we built three studios in a very PCM -1610 digital processor. 6553 Sunset spectral display. small area. So we're relying on three Blnd., ¡.os Angeles. CA 90028: The control room was rewired with products for all of our ambience, as well 213- 462 -5818. Neumann cable, and a Sony video as for external effects processing with monitor also was added. 1020 N. 90038: the PCM -70s and the Super Prime Magnetic Media Productions (Los Sycamore Ave.. Hollywood. CA Times." 640 S. San Vicente, Los Angeles, Angeles) has added a Tascam MS -16 213-850.1030. CA 90048; 213- 658 -2100. 1 -inch 16- track, a Sony PCM -501 digital processor, Lexicon PCM -70 and PCM -42 Northern California Master Control (Burbank) has recently effects, plus Studio Master 16/B/2 con- (San Francisco) has ap- added a pair of JBL 4406 speakers to its sole. 7250 Hillside Ave.. Los Angeles. CA Music Annex of selection of monitor loudspeakers. A 90046: 213 -850- 5268. pointed Randy Bobo as chief engineer Haller P500 power amp has been ac- the new San Francisco division. "What president) wanted quired for use with the facility's Yamaha Cantrax Recorders (Long Beach) has David ¡Porter. studio San NS -10M close -field speakers. In addition, added a Studer A820 2-track, Valley Peo- to accomplish in developing the new what I had in a Lexicon 224XL reverb has been add- ple stereo dynamite compressors. and Francisco facility is exactly

Michael Smith, director /producer of KP1X Creative Services working with Randy Bobo, chief engineer, in Music Annex's Studio One.

January 1987 Recording Engineer,Producer 83 You want lt. YOU need lt. Youve got k!

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T.M. ENGINEER /PRODUCER

84 Recording Engineer/Producer January 1987 studio Update

mind," Bobo says. "We selected state -of- Russian Hill Recording (San Francisco) and an Apple Macintosh, providing a the -art equipment for the studios, but we has added a Solid State Logic SL4000 -E total of 216 MIDI tracks controlling a were always aware that it's not just the console in Studio A. variety of synthesizers and samplers. In gear that makes a good facility: it's the The console will incorporate modifica- addition to independent operation in people who insure it's a success." tions developed by technicians at SSL, Studio 5, the entire system can be used The studio features an Amek 2500 Russian Hill Recording and Lucasfilm, so under remote control from any of the 28x24x28 console, MCI JM -16/24 enable the facility to re- orientate its four existing control rooms. multitrack, Otani MTR -12 2 -track with direction from music sessions to film Also, Air Monserrate has added a time code, Audio Kinetics Q.Lock syn- work. Studio A's control room will also 60- channel solid state logic SL4000 -E SSL and 12 chronizer, and a Sony BVH -100 1 -inch undergo remodeling to accommodate that features 48 modules VTR with TBC. the new console and its peripheral equip- Focusrite modules. Also available are "I think this is one of the most modern ment. two Mitsubishi X -850 digital multitracks. and sophisticated sound studios in town," The studio is also adding a new syn- 214 Oxford St., London; WIN 9DF,' said Jon Kroll, of the band Grey Direct, thesizer/media room that will house a 01- 637 -2758. "and they've outfitted the studio with up- 16- track, E -mu Systems Emulator II, to-date equipment that helped me do my Yamaha DX -7 and an Apple Macintosh. Black Barn Studios (Ripley /Surrey, job." 69 Green St., San Francisco, CA 1520 Pacific Ave., San Francisco, CA England) has a new 24 -track studio that 94111; 415 -421 -6622. 94109; 415- 474 -4520. features 48- channel Soundcralt TS24 in- line console with Audio Kinetics Master - Sound Recording Organization (San England Mix fader automation, a Soundcraft Francisco) has added Jan Cohn to its Saturn 24 -track with Total Remote, two staff as business manager. Cohn comes Air Studios (London) has opened Studio Soundcraft Series 20 stereo tape from Broadway Video, where she work- 5 to serve as the MIDI programming machines and four Soundcraft SA Series ed in the scheduling department. 1338 facility. power amplifiers. 3 The Green, Mission St., San Francisco, CA 94103; The new room is based around a Dunsborough Cottages, Ripley, Surrey, 415-863-0400. Fairlight CMI Series 3 digital synthesizer England GU23 6AL; 0483 -222-600.

A SINGER'S DREAM! At what point do you get serious about f sixteen track recording? The breakthroughs in multitrack are all from 4. ±'t,' ' ÿ the makers of tape machines. Now we see narrow gauge eight and six teen track accepted for mastering. The full potential of multitrack within reach. These recorders offer all the facilities of REMOVES VOCALS FROM RECORDS! major studio machines, yet on a much more compact, more affordable scale. Our VOCAL ELININATOR can remove most or virtually all of a leas vocal from a standard stereo SECK 1882 brings the studio console into record and leave most of the background untouched! the same scale. The features, the quality, the Record with your voice or perform live with the capabilities, truly compact and affordable. backgrounds. Used in Professional Performance yet Often the engineer is performing and connects easily to a home component stereo mixing at once. Access is crucial. Logical system. Not an equalizer! We can prove it works over of controls, high profile knobs, and the phone. Write or call for a free brochure and demo grouping record. sight of signal connections. And a sense of L-istene e- precision when you mix. Eighteen accomodating inputs. Three band EQ, six aux busses at mixdown and four equalised, pannable returns Effects efE, capability equal to major studio consoles. Eight subgroups, stereo master buss, in placé solo and bargraph monitoring. SECK 1882 includes in -line monitoring. It accepts Before You Buy! recorder's outputs which provide the line or Time Delay Compressor /Limiters Reverberation Expanders tape signal- simply by setting track status - Crossovers Spectrum Analyzers operational confusion is avoided. Noise Reduction Parametric EQ First and foremost SECK 1882 matches Doi't have regrets about paying too much for a the new multitracks. Yet unique features lesse product. In demos and comparisons, we'll show you why we're Better! Our Factory Direct make it suited to a wide range of applica- sales allow us to produce a Superior product and tions in recording and reinforcement. offer t to you at a Lower price. Call or write for a Call toll -free for our free f ill length Demo Album and 24 page brochure. full colour brochure Write to: LT Sound. Dept. R P, PO Box 338 and test report reprint. Stone Mountain, GA 30086 SECK In Georgia Call (404)493.1258 Connectronics Corp. 652 Glenbrook Rd. 2S 322 2537 TOLL FREE: 1. 800.241.3005 - Ext. 1 -A Stamford CT06906 (800) SEE US AT NAMM BOOTH #2903 Circle (32) on Rapid Facts Card January 1987 Recording Engineer" roducer 85 410 New Products

Studer A820 Amek announces junction with digital grouping and fader multichannel recorder Classic and G2520 consoles automation systems. The A820, with integrated Dolby SR, Available in 32 -, 48- or 64 -input con- The G2520 multitrack console is accepts 14 -inch reels and is convertible figurations, Classic features 12 available with 40 or 56 input channels. between 1 -and 2 -inch tape widths. group /meter modules and a standard Additional features include bargraph The capstan motor has its own 19 -inch jackfield. Also provided are eight metering, separate input fader blocks dedicated microprocessor control with mono buses, two stereo buses, eight aux- allowing options for fader automation, three standard tape speeds. All transport iliary sends and a 4 -band sweepable digital grouping and dual -input capability operating keys are user -programmable, equalizer per channel. allowing each module to have two inputs with a choice of more than 40 functions This production console features two during mixdown. assignable from an internal software fader options that can he used in con- Circle (158) on Rapid Facts Card library. Audio alignment parameters may be set for all 24 channels simultaneously and automatically. Digital memories L - store alignment parameters for two tape formulations as well as for .8-, 16- and 24 -track headblocks. To optimize erase current on each track, metal heads, Dolby HX Pro, phase compensation circuits and special D/A IIIIII11111 Yt converters are included. Noise reduction cards (Dolby SR, Dolby A or Telcom) may be integrated into the A820, with NR alignment levels set and stored digitally with the other internal align- ment parameters. All communication between the over - Audio -Technica features Yamaha PD2500 bridge and the transport deck is via serial AT 4462 ENG mixer power amplifier data exchange, which allows remote The portable mixer offers two The dual -channel unit is said to deliver placement of the and overbridge display monaural inputs which may be panned up to 500W rms per channel into 2f1, or functions up to 300 feet away from the left or right, and two standard stereo in- 1kW in bridged mono operation into a deck with a connection by single puts. All inputs and the two 600f1 out- 4E1 load. A special power -supply design 4- conductor cable. puts are transformer coupled and reduces the weight to 25.5 pounds; it oc- Circle (124) on Rapid Facts Card operated at microphone or line level. cupies 31/2 inches of 19 -inch rack space. Pre -fader "cue" is provided for each in- The forced -air cooling system reduces put. A special circuit allows program the required heat sink areas and the air audio or any external source, such as a flow system is designed so that close satellite feed, to be delivered as a rack -mounting of several amplifiers will monitor feed to the talent over conven- not affect cooling efficiency. tional microphone cables connected to Circle (153) on Rapid Facts Card input channels 1 and 2, with no in- terference presented to the microphone signal. An audible tone can also be sent to the mixer headphones whenever peaking or limiting occurs. Tascam ATR -80 Others features include 12V phantom analog 24 -track power with provision for A -B power Multi- microprocessor technology pro- modification, VU meters, stereo /mono vides a "rehearse" feature that enables output switching, slate tone and internal an engineer to preview drop -in edits slate mike, a 3- frequency oscillator, without affecting the master. A 4 -bit 2 -color LEDs to indicate potential microprocessor and 8 -bit D/A converter overload or limiter operation and a control system are said to provide stereo limiter that may be switched to seamless punch in /out and accurate provide separate channel limiting. edits. Circle (131) on Rapid Facts Card The unit accommodates 14 -inch reels and offers fast wind speeds of up to 375 ips. Both the reel motors and the PLL UREI model In high -resolution mode, audio delay capstan motors utilize Samarium Cobalt 7922 delay line can be controlled in 10µS steps to reduce mass, yet produce higher The unit features two independently equivalent to about .125 inch resolution. torque. adjustable outputs that enable alignment Maximum delay is 327µS. Also featured are contourless synch of acoustic centers of separate drivers Circle (161) on Rapid Facts Card and repro heads. within a single loudspeaker array. Circle (128) on Rapid Facts Card

86 Recording Engineer/Producer January 1987 TM New Products Mega Mix Soundcraft Series 8000 FINALLY! live -sound console A High Quality, Designed for concert -sound applica- Professional tions, the series 8000 features a 4 -band AUTOMATION parametric E(1 section per input, eight in- System at an dividual auxiliary sends and individual AFFORDABLE 8 -bus routing with separate LED in- Price. dicators. Easily interfaces The console is available in both front - to your exist- of -house and stage monitor configura- ing console. tions, in 24 -, 32- and 40 -input frame sizes. Full fader automation Circle (162) on Rapid Facts Card Mute and solo 8 Subgroups Real time and step edit UREI introduces Mix merge C series monitors Copy, bounce, All three models in the series feature a delete fades claimed frequency response envelop to SMPTE compatible Runs on IBM and 17.5kHz. And uses a 801C coax- beyond compatibles and ial loudspeaker combined with a Macintosh 512 8 titanium -diaphragm compression driver Plus to provide a single -point sound source. PATENT PENDING The Time Align feature UREI says solves time smear by considering driver MIDI BASED MIXING BOARD placement and adjusting crossover group delay parameters to achieve AUTOMATION ON YOUR PC simultaneous arrival of sound from the Musically Intelligent Devices voice coils of the two transducers. 3 Brian Street, Commack, NY 11725 516 864 -1683 Circle (130) on Rapid Facts Card Circle (33) on Rapid Facts Card

Yamaha THE MOST FREQUENTLY MV802 mount mixer The 8x2 unit includes channels for mic- OVERLOOKED PROBLEM level input, two independent auxiliary submix sends with stereo returns for IN ELECTRONICS: compatibility with effects units, and VCA control of master levels via an optional foot control. Other features include a clip level in- dicator. two aux sends, two aux returns, stereo master control, stereo level meter. and head phone output. ELECTRICITY. Circle (160) on Rapid Facts Card If you like , Madonna, Prince, Journey. Starship, The Jacksons, Mr Mister and the US Navy Music Program - rely on keyboards, amplifiers, sound reinforcement or lighting equipment, depend on Juice Goose. They Klark Teknik introduces do! If your amp sounds fine at rehearsal but dies on the gig, when your JADE loudspeaker system synthesizer drives you crazy with random detunings, memory losses and line is Based on a compact 2 -way bass reflex MIDI miscommunications, there's a good chance that the power caus- acoustic system with integrated elec- ing the problem. was tronic filtering and amplification, the Juice Goose maintains input voltage at the level your equipment for, while isolating your electronics from voltage dips, spikes and JADE I is said to provide 110dB peak out- designed perform to design specs through put at 1m, and 105dB continuous output hum. The Juice Goose lets equipment electrical conditions. at 1m. all kinds of adverse Write or call us for information on the Juice Goose and the name of your With a quoted frequency response of authorized dealer. He'll show you how well the Juice Goose does what it 55Hz to 1 7kHz, +3dB, the electronically does and help you find the model that's right for your power requirements. balanced system has an input impedance of 20kí2 balanced and 10kí2 unbalanced. Whitenton Industries, Inc Input sensitivity level for maximum out- 10830 Kinghurst put is +4dBu. Houston, 1X 77099 Circle (157) on Rapid Facts Card (713) 933 -5121

Circle (34) on Rapid Facts Card January 1987 Recording Engineer/Producer 87 New Products

Shure FP42 Otani MX -80 Stereo field production Mixer analog 24/32 track Designed for remote broadcast and Featuring a microprocessor controlled, field production applications, the FP42 constant tension tape transport with dc provides stereo outputs and four input servoed reel motors, the unit is user- channels, all switchable for mic- or line - convertible between 30/15 and 15/7.5 level operation. Each input channel in- ips speed pairs. cludes a level control, center -detented A built -in mini -autolocator with three stereo pan -pot, and a pull -pot cuing cue -point memories, repeat function and feature for cuing or checking each input return to zero is provided. Other features via headphones. The unit also features a include tape speed referenced seamless stereo master level control. punch -in /gapless punch -out, Dolby HX- Other features include a tone oscillator Pro bias optimization as standard and a for line and level checks, a direct mix full- function remote session controller. bus/output and phantom power for con- The unit is available in a 2 -inch, denser microphone operation. Also in- 32-channel, 24- channel and a 24- channel cluded are dual VU meters, which are prewired for 32. calibrated for +4dBm and +8dBm. Built - Circle (129) on Rapid Facts Card in stereo peak limiters are equipped with LED overload indicators. Circle (127) on Rapid Facts Card Studer A807 analog 2 -track Panasonic WS -A240 Digital Creations Built on a rigid, die -cast aluminum sub -woofer system ARMS -ll console alloy chassis, the new unit is said to be Designed to operate over the bottom automation system suited to applications in remote record- two octaves for sound reinforcement and The second -generation system, now ing, studio recording, broadcast produc- playback applications that require available with moving faders, provides tion and industrial audio /video. precise, low- frequency reproduction, the complete tape-based automated mix - The two AC spooling motors are modular system delivers output from down facilities plus mix -data storage on driven by 3 -phase switched motor drive 30Hz to 80Hz. hard or floppy disks. Also provided are amplifiers for low heat dissipation, and It has a power capacity of 200W, a complete off -line editing, including splice optimum torque. nominal impedance to 8i1 and offers a and merge features. One track of the Tape -locator functions include locate - quoted amplitude response of +3dB, multitrack tape is required for time code. to-zero address locate, locate start 35Hz to 100Hz and a sensitivity of 92dB Also featured is an independent and loop play. Other features include at 1 w/ l m. solo /mute system and VCA fader backspace, library wind, reverse play, The WS -A240 sub -woofer measures modules incorporating the Valley Inter- and variable speed. 16 "x22 "x11" and features a molded national TA -101 gain cell. Circle (155) on Rapid Facts Card enclosure with external interlocking ribs Circle (156) on Rapid Facts Card to permit stacking of multiple units. Circle (125) on Rapid Facts Card

Soundcarft TS12 in -line console The console features 12 group buses Yamaha with separate input faders configured for PM -1800 console 24 -track recording and mixing and six Available in four configurations of 16-, stereo subgroups. 24 -, 32- or 40 -input channels, the console The input /output module incorporates also features four stereo auxiliary re- 4 -band equalization including two turns, eight group mixing buses, master switchable frequencies for high and low. stereo bus, an 8x4 mix matrix configura- The two mid -bands are swept with tion and eight master mute groups. All switchable bandwidth. Also provided are auxiliary and group buses may be two sets of Mute Group facilities. operated independently, resulting in a During remix, the 12 main mix buses total of 14 discrete output mix buses. can be used as additional auxiliary sends. Each input channel includes a 4 -band When the fader and bounce features are sweep EQ section with in /out switch. A used together during remix, the result is 12dB per octave high -pass filter on each four stereo groups plus ten auxiliary input channel has its own in /out switch sends -four of which can be used as two and can be swept in cutoff frequency stereo pairs. from 20Hz to 400Hz. Circle (126) on Rapid Facts Card Circle (159) on Rapid Facts Card

88 Recording EngineerProducer January 1987 New Products The art of

Neve V Series shaping sound. analog console The V series is a 48 -bus multitrack SONEX is a high -performance analog music recording console available in 36- 48- or 60- channel frame sizes, acoustical foam that upgrades which can be fitted with NECAM 96, computer assisted mixdown automation your studio inexpensively. system. Ideal for a temporary iso- The console has 8 mono /4 stereo aux- iliaries to give more effects paths for mix - lation booth, it can also down. A centrally positioned monitor path eliminate slap echo and status indication enables rapid console harsh resonances in the status checks. Other features include: a choice of main room or silence noisy metering options, an independently assignable patch section allowing flex- tape equipment in the con- ibility of insertion points, and a modular trol booth .Write for our color design enabling simple breakdown. The desk includes integrated brochure today. 12- channel sections, an 8- channel monitor unit, Master Status controls for input /output and an integral bantam patch field. The central monitor panel in- Adhp aeudio. cludes cue mix controls and up to four Richmond, Virginia 23220 USA (804) 358 -3852 optional dedicated stereo effects returns. Telex 469037 (ALPHAAUD CI) Circle (132) on Rapid Facts Card Acoustic Products for the Audio Industry

Circle (35) on Rapid Facts Card Electronic Patch Panels

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oENTA ------e Sony MXP -29 production mixer Offering eight channels with +4dR balanced inputs, the mixer incorporates mic and :ine switching as well as 3 -band EQ, two aux sends, pan and PFL on each input. Individually selected 48V phantom Gentner switchers are as reliable as patch panels when it power supply can be controlled from the comes to routing audio signals because the switching process front panel. is passive (using magnetically latching relays). And like a The mixer's output section features bargraph stereo LED metering, master patch panel, our stereo and mono switchers p-'ovide instan- and aux outputs faders, monitoring via taneous selection of sources. headphones and talkback to master and aux outputs. Additional features include a pair of sub inputs with panning and GEIVTIVER Call us today at (801) 268 -1117 ENGINEERING COMPANY, INC. level, monitor inputs and an oscillator. for Circle (139) on Rapid Facts Card ordering information. 540 West 3560 South Salt Lake C ty, UT 84115 The Clear Choice. (801) 268 -1117

Circle (38) on Rapid Facts Card January 1987 Recording Engineer/Producer 89 New Products

Community Light & Sound Otani CTM -10 Samson Concert TD CS70 loudspeaker NAB cart machine wireless mic system Using four, 12 -inch low- frequency The unit features record -phase com- The TD System consists of the rack - drivers, a pair of midrange drivers with pensation and Dolby HX -Pro bias cir- mount, crystal -controlled CR -2 receiver 2 -inch throats, and a focused array high - cuits. It can handle both A and AA-size (up to 10 channels can be used simultan- frequency section, the speaker is said to NAB cartridges. Replay and record/ eously) and the CH -2 handheld transmit- deliver a response from 45Hz to 18kHz. replay versions can be operated stand- ter. With a broad-band sensitivity of 105dB at alone or interconnected. Optional mic capsules are available, in- 1W, 1m, the CS70 is capable of produc- Also featured are transformerless, cluding the Electro-Voice N/D 757. ing continuous SPL levels in excess of balanced inputs and outputs, an LED The CT -2 belt pack transmitter can be 130dB at 1m and peak levels above tape timer with auto-reset and a built -in used with a wide range of electret con- 140dB, the company says. headphone amplifier. denser lavalier mics. The 3 -way passively crossed system The HX -Pro circuit alters the amount Circle (152) on Rapid Facts Card will handle input levels of ti00rms and of bias current applied during recording 1.5kW program. by monitoring the amount of high - Circle (146) on Rapid Facts Card frequency information contained within the audio signal. This action counteracts the "self- biasing" effect of high -level Ultimate Support signals with HF content. Apache /Comanche keyboard stands Circle (151) on Rapid Facts Card The Apache, a multiple keyboard stand, and the Comanche, a single key- board stand, offer the following options: D &R Electronica multi-gate number of tiers, tier lengths, tier height, The unit incorporates a dual -band, individual support bar tilt, number of sweepable key filter, and conventional support bars per tier, and leg angle ad- control parameters. The multigate attack justment. delay and hold controls allow the user to Pivot fittings at the top of the frame- create and modify the entire amplitude work allow lower braces to make adjust- envelope of any signal independent of its ments for leg angles and the ability to dynamic structure. straddle objects when necessary. In addition, the multigaté s attach cir- Each frame can be equipped with cuit allows tracking of extreme tran- another tier up to 60 inches in length and sients such as drums and piano without are infinitely adjustable along the height Furman Sound announces distortion, the company claims. of the leg system. QN -4A quad noise gate Circle (147) on Rapid Facts Card Circle (148) on Rapid Facts Card The 4- channel noise gate features three wide range controls on each chan- nel: a threshold control (adjustable from Beyer introduces dB) condenser microphone which -80 to +20 dBv), release rate control (ad- percussion mies delivers "detailed sound" for overhead justable from 5mS to 5s) and a depth con- Including four moving coil dynamic micing in live and studio applications. trol allowing the user to adjust the action mics, the M 420, M 422, M 380, M 201, Circle (136) on Rapid Facts Card of the gate, from gentle level reduction and an MC 713 condenser, the new series to total off. provides for the integration of elec- The unit also features front panel tronics into the drum set. calibrations (in dBV) for adjustments, The frequency response of the M 422 is threshold indicators and key inputs (for tailored for reproduction of snare drums special effects such as "ducking ") on and hi hats, with low -end rolloff that each channel and a ground lift switch to isolates unwanted frequencies produced eliminate ground loops. by the bass drum or floor tom. Circle (133) on Rapid Facts Card The low -end rolloff and hypercardioid polar pattern of the M 420 are optimized for reproduction of rack toms. The small size allows close placement without Rane GE 30 restricting the drummer's technique. graphic equalizer The M 380 is said to withstand SPLs of

The 1/a- octave equalizer, features ac- up to 140dB without overload or distor- curate bandpass control of frequencies tion, and provides a frequency response on and between the iso points. of 15Hz to 20kHz. Level adjustments of any two adjacent For floor tom micing, The M 201 low - control sliders allow alignment of the mass moving coil transducer produces a filter center frequency with that of a "wide uncolored frequency response and feedback or absorption node. transient response." Circle (137) on Rapid Facts Card The MC 713 is a high- sensitivity ( -39

90 Recording Engineer,Producer January 1987 New Products

First Order Effects releases Shure allows selection of a 60Hz or 160Hz software for Eventide SP2016 SM89 shotgun mic rolloff frequency. Included in the release are a variety of Designed for location film /TV produc- Other features include phantom volt- split programs that allow the SP2016 to tion, and theater sound reinforcement, age range of 11V to 52V and, a built-in simultaneously execute two independent the mic features a quoted on -axis fre- windscreen. mono or stereo effects. Available pro- quency range of 60Hz to 20kHz. The optional A89SM shock mount al- grams include various combinations of Below 60Hz, a low- frequency rolloff is lows the mic to be attached to a boom, hall and plate reverbs, as well as reverbs employed for minimum pickup of wind, fishpole, stand, or other fitting with a paired with chorusers, stereo panners, mechanical vibration, ambient noise and 5/8 ", 3/8 ", or 5/16" external thread. delay lines and digital samplers. Some rumble without affecting voice frequen- Circle (150) on Rapid Facts Card combinations feature internal effects cies, the company says. A built -in switch chaining. As well as general -purpose programs, the new release also contains a number Jamo Aka' introduces MG 14D of special effects including Stereo Shim- loudspeaker series rack mount recorder mer, Random Ambience, Psycho-Panner, The three -model series features a bass- The time code rack -mountable Dynamic Reverb and Sub -Base Synth. reflex design and maximum sound 14 -track recorder features a GX glass fer- In addition, a new program ROM, pressure levels of between 116dB - 121 dB rite head. The 12 segment LED Studio Toolkit, includes a pink /white A treble array of multiple horn- mounted bargraphs display signal level on each noise source, sweepable sine wave tweeters enables amplification loads of recording track. oscillator filter/reshaper, phase meter, as much as 400W continuous without The recorder section includes a sync - and mono to stereo synthesizer. All pro- breakup in the soundfield the manufac- track and an internal time control track grams are compatible with MIDI interfac- turer claims. with 12 tracks devoted to audio. ing; upcoming programs include a MIDI Each system has standard XLR connec- A 10 -key program pad allows tape pitch- tracker split effects combination tors sockets and screwed terminals to ac- locations to be entered into several and special effects. commodate cables as large as 6mm. memories. Circle (312) on Rapid Facts Card Circle (142) on Rapid Facts Card Circle (135) on Rapid Facts Card HDLDB up ON THE ROAD

TYPE 85 FET DIRECT BOX

For fast, accurate service, please remove the peel off label r,. used to address your magazine, AI - and attach it to the Reader - Service Card, the Address Change Card or to any correspondence you send us COUNTRYMAN ASSOCIATES INC. regarding your subscription. 424 STANFORD AVE.- REOW000 CITY, CA.- 94063 -PHONE 41E- 364 -9988

Circle (37) on Rapid Facts Card

January 1987 Recordi.ig Engineer Producer 91 New Products

Software for Apogee Sound AE -6 loudspeaker/ Techron TEF systems A -5 floor monitor The Polar software provides polar-re- The AE -6 loundspeaker and A -5 dual - sponse plots for loudspeakers and micro- channel signal processor provide a ENGINEER /PRODUCER phones measured with the company's 2 -way, biamped stage monitor speaker TEF systems 10 and 12 analyzers. system. From the data collected, the program The cabinet houses a 12 -inch high

can generate a polar display for up to power cone driver and a 1 -inch throat 400 different frequencies. Output SPL high frequency horn /driver combina- can be plotted at various angles on- and tion. The design incorporates ferrofluid Coming off-axis, measured at one frequency or a for low distortion short term impedance band. handling. Displays can be viewed singly, in The A -5 dual -channel processor cir- in multiple curves one at a time, or in a cuitry includes two channels of active range of curves in frequency sequence, balanced inputs (transformer inputs op- to enable review of performance trends tional), active crossovers, time -domain February.' and polar response at different frequen- alignment circuitry, low- and high - cies. frequency corrective equalization, and Circle (321) on Rapid Facts Card separate low- frequency and high - frequency limiters. Circle (145) on Rapid Facts Card Revert) and Delay Effects

Fostex model 160 multitrack mixer An Engineer's Guide to Digital The unit is a multiple input /output SONUS releases Delay and Reverb Processors 4x2x2 mixer with an integral MIDI interface for Macintosh 4- track /stereo cassette recorder with 33/4 For use with the Apple Mac and any MIDI Control of Outboard Delay ips tape speed and Dolby C noise reduc- MIDI -equipped synthesizer, the MacFace and Reverb Units tion. Multi- purpose inputs for the 160 ac- interface offers two MIDI Ins and six cessory send /receive processing are in- Out /Thrus. It can also be used as a con- cluded, as is a dedicated sync input to ventional Thru box. track 4 for use in MIDI applications. The interface attaches to either the Other features include a dedicated Mac's modem or printer port and can Additional feature articles will stereo bus with metering, pitch control, switch between MIDI and peripheral con- spotlight: independent headphone level control nect without unplugging. The MIDI and optional foot switch for remote Out /Thru function also enables the user puch -in/ -out control. to play instruments attached to the Production Techniques for Circle (134) on Rapid Facts Card Macintosh when MIDI sequencing soft- Dance-Single Remixes ware is not being used. Circle (149) on Rapid Facts Card Facility Profile of Master Sound Astoria Studios

Functional Equations for Re- AKG ADR 68K cording and Production digital reverb Engineers The new unit developed by Ursa Major and now being marketed by AKG, in- Developments in Disc and CD cludes plate, chamber, room, and hall Mastering Techniques reverb algorithms, two split programs (plate /hall and room /room splits), as Production Viewpoint: well as reverse reverb. The software -based device offers eight Roy Thomas Baker seconds of 16 -bit, 15kHz sampling, which can be broken up into four pieces of 2 Hands -On Review of Dolby seconds each. A pair of 2- second samples Spectral Recording Modules can be played back into one of the reverb programs. Samples may be edited for start and stop points, then triggered by the audio inputs, by impulse trigger jacks located on the remote, or by press- ing the manual play buttons. Circle (138) on Rapid Facts Card

92 Recording EngineerProducer January 1987 New Products

CMX Cass lE Logitek Crossfire Ensoniq Visual Editing audio editing system automated crossfader for Mirage and IBM PC The unit simultaneously controls up to Designed to be controlled directly from The new Vision software features eight six audio tape recorders or VTRs plus 14 contact closure outputs on A/B roll edit different screens, including animate general- purpose interfaces, permitting systems, the unit provides audio fades function, which allows viewing of cur- mixing of an entire soundtrack. between two sets of dual -channel inputs, rent wavesample tuning and volume Designed for use in TV post -production using any of three fade styles. problems as it plays in the Mirage. facilities that offer audio for video Audio can be "faded- to-off", or can be Other features include single-key com- sweetening and post -production, the faded down to background levels for mands to move through and around the system provides both hard disk and flop- voice-overs. A front -panel thumbwheel screens, a 3 -D graphic wavesample dis- py disk storage as well as an additional switch sets the fade duration anywhere play, a Mirage diskette copy function, a CMX -compatible 8 -inch floppy option. from an instant cut to 9.9s in 0.1s in- user interface which enables parameter All models will accept a CMX video crements. modification, 4 note PC keyboard sound editing list (EDL) for use as a starting Circle (143) on Rapid Facts Card ability, PC disk sound storage ability. point in audio post -production. The system requires a Mirage Digital Circle (144) on Rapid Facts Card Sampling keyboard or Digital Multi - Sampler; an IBM PC, XT, AT or compati- ble with a minimum of 320K memory, one disk drive, DOS 2.0 or greater, an Fane reproduce frequencies from 80Hz down IBM Color Graphic Adapter, Hercules popular Colossus 24E bass speaker to 20Hz Fane says. It also has a quoted Graphics Adapter (or other and a Designed for stage, concert hall and power rating of 400W, a 23 -pound graphics adapters); Mirage Ad- vanced Guide (optional). theater applications, the new LF driver magnet assembly, a 4 -inch voice coil Sampler's may be used in horn loaded, tuned diameter, and a 34-inch usable excursion. Circle (140) on Rapid Facts Card reflex, or infinite baffle systems. Sensitivity is 101 dB at 1W at 1 m. The cellular foam cone uses a fatigue- Circle (141) on Rapid Facts Card resistant, double roll suspension and can

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DeOtgKe.d THE PROFESSIONAL'S CHOICE Ctuthactou PROFESSIONALS DEMAND THE BEST v bat CogiutrEtvo TOOLS AVAILABLE.

NSCA MANNY'S SUPPLIES THE BEST SUPPORT SYSTEMS NECESSARY TO CONTRACTORS HELP ACHIEVE EXCELLENCE. EXPO MORE '87 APRIL 6th, 7th, 8th, 1987 PROFESSIONAL TOOLS TO ASSIST IN FAIRMONT HOTEL CREATING THAT EXCELLENCE. NEW ORLEANS, LA MANNY'S MUSIC pe434-e 12/34A:427 156 W. 48TH STREET NYC, NY 10036 312593 (212) 819 -0576 -8360 Mon. -Sat. 9:00 -6:00

Circle (38) on Rapid Facts Card January 1987 Recording Engineer/Producer 93 N SCA ELECTRONIC Finai stage CONTRACTORS EXPO ND MORE 787 The R -e /p APRIL 6th, 7th, 8th, 1987 Buyer's Guide CASSETTE w# TECHNOLOGIES NEW ORLEANS, LA of Cutting and Services Otari Mastering and Bin Loop Mechanical Duplication with Dolby HX PRO "Here's the MASTERING BASF Agfa Shape IPS only expo PRESSING Graphic Services and Packaging worth TAPE DUPLICATION 10 Minutes to Sea-Tac Int'I. Airport closing up 34310 9th Ave. S , Suite 107 shop for! PACKAGING Federal Way, WA 98003 (206) 874 -2185 CD PREPARATION -Harold George NSCA R -e /p's Unique Directory President Listing of Disk Cutting and Tape Duplication Services - 010ipittil 12 Long Island Ave .1 ,viIki . N Y 1 142 the kind of services all re- Quality Audio Cassette Duplication cording production facilities Custom Four Color Printing and require as the "Final Stage" Packaging on Premises in the preparation of market- Mastering Editing able audio products. NI Rrdu, to S4,l1111i Fni ,,n, 1.,1C711711 48 HOI.'R SERVICE AVAILABLE "Don't miss the Call poll Free 1- 800 -874 -2202 most important In Neat York Call (516) 289 -3033 Electronic Contractor event of EMBASSY CASSETTE the year! has been serving Duplicators nationwide since 1983 with reliable audio cassettes at -Mel Wierenga FUT IRE DISC the best prices available. Find but how VP and we can save you time and money. Expo Chairman SYSTEMS Call us. You'll be glad you did. ANALOGUE 8 DIGITAL COMPLETE (800) 541 -8899. MASTERING SERVICES FOR COMPACT DISC, RECORD & CASSETTE MANUFACTURING In Calif. (800) 331 -1132. 3617 W. MacArthur, #500, Santa Ana, 44 4 A., d , ,ti [ -1

HOLLYWOOD LA 90068 ß t213)876 -8733 California 92704 "This is the year we're highlighting st, VIDEO SECURITY! - Barry Levin 1 Expo IN OUR CONTINUING EFFORTS TO SERVE YOU... Committee

From time to time. Intertec Publishing Corp. makes its subscriber lists available to carefully screened companies or organizations whose products, services. or information may be of interest to you. In every case, list users must submit their promotional material for approval. They may use the list only once. No information other than name and address is ever divulged. although names may be selected by segments to which the particular offer might appeal. majority readers appreciate this controlled use We are confident that the of our '4/%; of our mailing lists. A few people may prefer their names not be used. petA4 If you wish to have your name removed from any lists that we make available to others. please send your request, together with your mailing address label to Li yr 312/ Direct Mail Mgr. nISC A 593 -8360 Intertec Publishing Corp. P.O. Box 12901 Overland Park, KS 66212 Mail checks to NSCA CONTRACTORS EXPO '87 501 WEST ALGONQUIN ROAD ARLINGTON HEIGHTS, ILLINOIS 60005

94 Recording Engineer/Producer January 1987 Classified

FOR SALE Advertising rates in Classified Section are:

$1.00 per word per insertion. Initials and abbreviations count as full words. "Blind" ads $25.00 additional. Minimum classified charge $20.00. Classified is TAPE SALE also available at $112 per inch. Order Ampex 456 Mastering Tape must be accompanied by payment to en- Moving? 456- sure publication. 97G111 .... $104.00 ea. Classified columns are not open to Min. order 2 advertising of any products regularly 456-17611T $8.60 ea. produced by manufacturers unless used and no longer owned by the manufac- Min. order 10 turer or distributor. Classified Advertising should be sent Certified check or mio to RE /P, Advertising Department, 9221 No COD's FOB Dest. Quivira Rd., Shawnee Mission, KS 66215. TX cust. add 5 125% tax

W -M SALES COMPANY EMPLOYMENT 102 -D W. Fairmeadows Duncanville, Texas 75116

EXPERIENCED AUDIO TECHNICIAN for dealership. (214) 296 -2773 To fix current and vintage equipment. Send resume 12 -86 -2t Take and salary history to: City Sound, Box 9830, Berkeley, us CA 94708. 1 -86 -2t with you.

Just peel off the subscription mailing label and attach it to the address change card located at the front of this issue. Please allow 6 -8 weeks to process your ad- dress change. CHAIRMAN Music Production & Engineering Department The Music Production and Engineering Department within the Music Technology Division is accep- ting applications for Chairman, Music Production and Engineering Department. Applicant must have an extensive background in professional music production or production /engineering and manage- ment, teaching and administrative experience. A Master's degree or equivalent professional training is required. The Chairman is responsible for the administration of the department, including budgeting, faculty hiring, student selection and curriculum direction. He /she will work directly with and report to the Chairman, Music Technology Division. The curriculum includes courses in recording technology. studio production and engineering tech- f:NGIN1a:R PR(NX1C1:R niques and business. Facilities include three 8 track and three 24 track studios, with automated mix- ing, video interlock capabilities and current processing equipment. Salary commensurate with qualifications. Berklee College of Music is a private four -year institution with an educational mission of practical career preparation in the various contemporary styles of today's professional music world. The 200 or more internationally respected faculty work with 2,500 students from over 75 countries and the U.S. COMING TO WEST GERMANY? Please send resume, letters of recommendation and demo tape with application by February 15. 1987 for a June 1, 1987 starting date to: Music Technology Search Committee Dept. RE, tulrliorent Office of the Dean of Faculty, Berklee College of Music. 1140 Boylston St.. Boston, MA 02215.

GERMANY'S NO. 1 RENTAL COMPANY Offers ou a compete se- o equipment for r OUTBOARD EQUIPMENT DIGITAL RECORDERS Fully equipped SONY editing suite Werklee including DAD -1000 CD Subsoi), ea.tor and DTA,2000 tape analyser ( -t )I.I.f.(ji. ( 5ll 'l( . For further details please contact Peter Wolff or Stephan Behrens at Equal Opportunity Employer AUDIORENT, Kurfuerstenwall 11. D-4350 Recklinghausen 1 Phone 2361 59494 Telex. 829772 wolff d Circle (39) on Rapid Facts Card January 1987 Recording EngineerProducer 95 Advertiser's Index

Rapid Rapid Page Facts Advertiser Page Facts Advertiser Number Number Hotline Number Number Hotline

Allen & Heath Brenell IBC 2 416/361 -1667 Klark -Teknik Electronics Alpha Audio 89 35 804/358 -3852 Inc. 5 5 516/249 -3660 Ampex Corp. 23 13 415/367-3809 Lake Systems 57 20 Aphex Systems Ltd. 79 30 818/765 -2212 LD Systems, Inc. 77 28 713/695-9400 API Audio Products, Inc 12 31 703/455 -8188 Lenco 78 29 800/325 -8494 Applied Research & LT Sound 85 800/241 -3005 Technology 13 8 716/436 -2720 Manny's Music 93 38 212/819-0576 Audiorent 95 39 Meyer Sound Labs 19 11 Bacon, Kenneth Assoc. 29 15 800 /231 -TAPE Musically Intelligent Devices Bruel & Kjaer Instruments, Inc. 87 33 516/864 -1683 Inc. 11 7 617/481 -7000 New England Digital IFC -1 1 802/295 -5800 Carver 45 18 818/442-0782 Orban Associates Cetec Vega 73 40 800/322 -2537 Inc. 61 25 Connectronics 85 32 Otari Corp. 39 17 Cooper, J.L. Electronics 69 26 Quad Recording Countryman Associates 91 37 415/364 -9988 Studios 59 21 212/730-1035 Crown International 20-21 12 219/294 -8000 Sanken Microphone Co. 55 19 Crown International 62 23 219/294 -8000 Schoeps GmbH 31 16 Ensoniq Corp. 9 6 Seck 85 32 800/322 -2537 Fostex Corp. of Sony Broadcast Products America 27 14 213/921-1112 Co. 14 -15 9 Gentner 89 36 801/268-1117 Standard Tape Laboratory, Goldline 63 24 203/938-2588 Inc. 76 27 415/786 -3546 JBL Professional 3 4 Studer Revox /America BC 3 615/254 -5651 Juice Goose -Whitenton Tascam Div./TEAC Industries 87 34 713/933 -5121 Corp 17 10 213/726 -0303

sales Offices

OVERLAND PARK, KS NORWOOD AUSTRALIA Mary Tracy Hastwell, Williamson 913- 888 -4664 Rouse Pty. Ltd. P.O. Box 12901 P.O. Box 419 Overland Park, KS 66212 Norwood, Australia Telex: 42 -4256 Intertec OLPK Phone: 332 -3322 Telex: AA87113 SANTA MONICA, CA TOKYO, JAPAN Herbert A. Schiff, Haruki Hirayama 213 -393 -9285 EMS, Inc. Jason Perlman Sagami Bldg., 4 -2 -21, Shinjuku 213 -458-9987 Shinjuku -ku, Tokyo 160, Chris Woodbury (03) 350 -5666 213 -451 -8695 Cable: EMSINCPERIOD Schiff & Associates Telex: 2322520 EMSINCJ 501 Santa Monica Blvd. Santa Monica, CA 90401 LONDON, ENGLAND Nicholas McGeachin NEW YORK, NY Suite 460, Southbank House Stan Kashine Black Prince Road, 212 -687 -4128 London SEI 7SJ 212- 687 -4652 Telex: 295555 LSPG 630 Third Ave., Eight Floor Telephones: 01- 582 -7522 New York, NY 10017 01 -587 -1578

96 Recording Engineer/Producer January 1987 SYNCHRONISED MIDI MIXING

THE MIXERS Advanced in -line consoles - High sonic quality - 32 Programmable on -board memories for input and monitor muting and input to track routing -6 effect sends - Wide - range EQ - Extensive foldback and talkback systems -8 re- routable subgroups -Genuine solo-in -place

THE FORMATS CMC24 - 24:16:2 -16 track monitoring - 40 inpLts at remix CMC32 - 32:16:2 - 24 track mcnitoring - 56 inpLts at remix

THE CONTROL OPTION

. ._ For system expansion - The CMR revolutionary MIDI - xx4 intelligent programmer -100 routing memories -100 , dZ1 *1iJtix% muting memories -100 MIDI programs -1000 event 10- x x,i? 3 ` "\\ song sequencer, 100 steps per song - Step or real -time l,iissss 3'1 \\\ L \\ event programming - MIDI song position pointer implementation - Interchangeable RAM -pack memory 111111 iiiii

THE COMPUTER OPTION '<+"" : °t The expansion alternative - CMI64 and CMS64 interfaces --, ti" , jY, for CBM64/128 computers - Channel index - Track sheet Éxxxxsx 'd - 56 routing memories - 1024 muting memories - 2048 ,If,k.k.aK lislkA á ,.A = 'i. + t itis event sequencer - ,l,i# c. t. c' ``L'l' \ \ Tape synchronisation yrL,,' t .1 ` `

1 \ THE INFORMATION 1'`," . A colour brochure - Write, telephone or telex

41B-USA, 5

In Canada - Gerrqudi 69 Ship o Distribu Street, t'on Bri 9hton Inc. (416) BN1 361 -1667 1AE, UK. Tel. (0273)24928 Telex: 878235 MBI AHB G mbi/aHB 1'(W1419 WWI, ICircle (2) on Rapid Facts Card //// Ii/!711/

áa v; ° :1: vvvd k

The future of multi -track mastering was commonly assumed to want, and audio alignment is automatic with all parameters be 100% digital. But now Studer has built a multi -track for the (including NR levels) set and stored digitally. future...by going back to thoroughly refine and update analog Finally, the A82O technology. shakes the "sound assumptions." With ne'% aniorphOus metal heads, advanced f)base compensation For the best possible combination of reliability, production circuits, and fully integrated Dolby "' SR as an option, the A82O capabilities, format compatibility, and sonic performance, the boldly challenges the costliest digital machines for overall Studer A82O challenges all competitors. Analog and digital. No sonic performance. Let your ears be the judge. matter the price. Some other manufacturers apparently assumed analog could First, the A82O is fast and flexible. With total microproces- not get significantly better. With the arrival of the A82O, that's sor control, it starts smoother, locks quicker, locates faster, now a questionable assumption. Call your nearest Studer of- and shuttles tape better than anything the competition has yet fice for detailed directions back to the future. Studer Revox to offer. The tougher the job and the tighter the deadline, the America. Inc., 1425 Elm Hill Pike, Nashville, TN 37210, more you'll love the A82O. (615) 254.5651 The A820 is also fully user programmable. An extensive Offices Los Angeles 18181780-4234 New Vor, 1212,255 -4462 Chicago ,3121526 -1660 software menu lets you choose the operating features you Dallas 1 21 41943 -22 39 San Frann,sco 14151930-984% STUDER Circle (3) on Rapid Facts Card