O Degirr Iitcoiiwiin SERVING TODAY's MUSIC/RECORDING-CONSCIOUS SOCIETY

Home , Jan Akkerman, Modern Sounds, Roy Halee, Sama Layuca, Sunset Sound Recorders

OCTOBER 7977 MA o Degirr IitCOIIWIIN SERVING TODAY'S MUSIC/RECORDING-CONSCIOUS SOCIETY

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CIRCLE 87 ON READER SERVICE CARD www.americanradiohistory.com Ifou can't decide between getting a sunn O)P.A. system and an inexpensive At Sunn we've learned that, too cften, lean bank RAssystemil accounts get in the way of your ability to purchase a P.A. that will suit your reeds. So get e we've taken the electronics and manufac- s`prs , . turfing expertise that went irr o our = ?automated Sound Systems and appled it to three, new inexpensive sys.ems with = t `, Y\ c- Ó - features that reflect the latest in , techno ogy and the most music ally practical benefits. We call them our t ALPHA SERIES. Each Alpha P.A. console (4, 6 or 8 channels) features 100 Watts RMS, Phase -Sync' tone controls, high and low impedence operation, and the same 'integrated" design of Automated Sound- Genera_ion II. And `hey start in price at g \ $299.00 (suggested list s . price)! Write us for more information. Or better yet, '' - see your reams- Sunn dealer fora free - - demonstration. After I \ 4 ° al music's tie ^: p -. . thing.... and we're iere to help!

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www.americanradiohistory.com The Peavey

Series Last year when Peavey introduced the CS -800 Stereo Power Amp, professional sound men and engineers acclaimed it as the most versatile high performance power amp available for under $1,500.00. Now, there are two superbly engineered additions to the Peavey CS series, the CS -200 and CS -400. These new high performance amplifiers are built with the same meticulous quality control and engineering .t*. standards that go into the CS -800. , ,41d41 M We invite you to compare the features designed into the CS series. You'll see why no other power amp offers the value built into a Peavey. CS-200 $324.50 * Monaural power amplifier 200 Watts rms 20 Hz to 50 kHz response Less than 0.1% THD Less than 0.2% IMD LED overload indicator 19 -inch rack mount Forced air cooling CS-400 $424.50 * Stereo power amplifier 200 Watts rms per channel 20 Hz to 50 kHz response Less than 0.1% THD Less than 0.2% IMD LED overload indicators 19 -inch rack mount Forced air cooling

CS-800 $649.50 * Stereo power amplifier 111111111 400 Watts rms per channel 5 Hz to 60 kHz response Less than .05% THD Less than 0.1% IMD LED overload indicators Loudspeaker protection system Balanced input and electronic crossover capabilities 19 -inch rack mount Forced air cooling

*Suggested Retail

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CIRCLE 45 ON READER SERVICE CARD www.americanradiohistory.com OCTOBER 1977 O DON VOL. 2 NO. 10 RECORDING SERVING TODAYS MUSIC/RECORDING-CONSCIOUS SOCIETY

THE FEATURES THE STAPLES

THE APHEX AURAL EXCITER LETTERS TO THE EDITOR 4 -A PSYCHOACOUSTIC PHENOMENON TALKBACK By Michael Gershman The technical Q & A scene. 16 Regarded as a major advance in audio, the Aural Exciter is rapidly making its way THE PRODUCT SCENE into nearly every major recording studio. By Norman Eisenberg Take a look at what many recording artists, The notable and the new, with a comment producers and engineers can no longer do on reading about sound. without. MUSICAL NEWSICALS CHICAGO -"LIVE" BROADCAST By Fred Ridder By John M. Woram 44 New products for the musician. 34 Those "live" radio broadcasts we all enjoy are a lot more work than we would some- AMBIENT SOUND times be led to believe. Author Woram helps By Len Feldman 64 us to follow Chicago's signal path from the A look at yet another trend rapidly gaining stage right into your home. popularity (perhaps rightfully so) in audio circles- sub -woofers. ... AND ALL THAT JAZZ, SOUND REINFORCEMENT LAB REPORT AT NEWPORT, R.I. '77 By Norman Eisenberg 66 By John Gates 5 2 and Len Feldman The most famous of jazz festivals returns to Ashly Audio SC -66 Stereo Parametric its home base, and MR is there to cover the Equalizer difficult task of supplying the sound rein- Lexicon Delta T 92 Time Delay Unit forcement for a diverse group of jazz artists. Peavey CS -400 Power Amplifier

SIMON & GARFUNKEL REMEMBERED HANDS -ON REPORT -AN INTERVIEW WITH PRODUCER/ By Jim Ford 74 ENGINEER ROY HALEE and Brian Roth By Bob Weil 58 Tangent 1202 Mixer An enlightening dialogue with Mr. Halee, who describes the early years with Simon & GROOVE VIEWS 78 Garfunkel, the Lovin' Spoonful, Bob Dylan Reviews of albums by Southside Johnny and and Blood, Sweat and Tears. the Asbury Jukes, Mink DeVille, Dr. Feel - good, Flamin' Groovies, Bonnie Raitt, the COMING NEXT ISSUE! Gary Burton Quartet, Noel Pointer and Michael Howell. A Session with Brass Construction Building a Mobile Studio ADVERTISER'S Profile: An Interview with Weather INDEX 96 Report

Modern Recording is published monthly by Cowan Publishing Corp.. 14 Cover photo © 1977 Brad Rieger Vanderventer Ave., Port Washington, N.Y. 11050. Design and contents are copyright by Cowan Publishing Corp. and must not be reproduced in any manner except by permission of *.he publisher. Second class postage paid at Port Washington, New York, and at additional mailing offices. Subscription rates: $12.00 for 12 issues; $22.00 for 24 issues. Add $3.00 per year for subscriptions outside of U.S. Subscriptions must be paid in American currency.

3 www.americanradiohistory.com /400eaw RCORDIIINIG SERVING TODAY S MUSIC / RECORDING CONSCIOUS if 1 V SOC 11) 7111 IM7014 The World's Smallest Organ? '=r I really enjoy reading Modern Recording. It's a very fine magazine. H.G. La TORRE I'm eager to find out more about the Stylophone, the world's Editor smallest organ. I know that it is hand -held and played by touch- ing the stylus to the keyboard. How big a range does it have? I ROBERT ANGUS have also heard that Paul Anka has composed some of his work NORMAN EISENBERG on it-is this possible? I've seen ads for it with prices ranging from LEONARD FELDMAN $19.95 (discount) all the way up to $129.00. Why the vast dif- Audio Editorial Board ference in price? Any information you could pass along on this would be appreciated. FRED RIDDER -E. Doty Coy JIM FORD Richmond, Ky. BRIAN ROTH NAT HENTOFF By your question, we assume that you're referring to the Stylo- Contributing Editors phone 350 -S synthesizer made by Dubreq of London. While we can't tell you whether or not Paul Anka composes on it, we can tell you most STEFFON A. KACHOCKI of the basics. Just refer to the Musical Newsicals column in the Production Manager September, 1977, issue. If that doesn't satisfy your curiosity, we suggest that you write directly to Audio Arts, Inc., 5615 Melrose Ave., Hollywood, Ca. 90038. MELANIE DEUTSCH Production Assistant A Discriminating Reader RICHARD FERTELL I really enjoy your informative book. I think you do a splendid Advertising Director job with Talkback. I don't want to mislead you or for you to think that I am in any way degrading your work by my next BILL SLAPIN & CO. statement, but, I enjoy the easy understanding and the simple West Coast ways you go about explaining things in the articles. Keep it Advertising Representative simple, for many of us are young musicians who really don't know all the ins and outs of studio work yet or what it takes to BILL TRAVIS record something well. I believe it gives musicians a look at what Art Director lies ahead and clarifies goals for many of us. I do have one request: Please don't be afraid to do comparisons SHERYL STERN on equipment. Some pieces I would like to see compared, for LIZ BEENER example, are Tascam and Scully boards and tape decks as well as HAROLD PERRY Altec and JBL and Peavey pieces. I feel that the products available today Art Staff range from excellent to only fair and we should be made aware of the differences. Naturally, money is always a big consideration for there are only certain pieces we can afford. Thanks for the good work and keep it up. VINCENT P. TESTA -Eddy Mattos Publisher "The Sound Company" San Bernardino, Ca. Editorial and Executive Offices Modern Recording 14 Vanderventer Ave. A Classic Recording? Port Washington, N.Y. 11050 516- 883 -5705 The tone of the letter you are about to read may seem harsh at first, but often, those who believe they are "in the know, "as it PUBLISHING COWAN CORP. were, are, in fact, devoid of the barest essentials of information. Chairman of the Board Sanford R. Cowan President Richard A. Cowan I am referring to Russell Shaw's scathing review of the Eagles' re- Controller Cary L. Cowan lease,Hotel California (July, 1977, Groove Views, page 85). There comes a time in the life of a magazine such as yours, Editorial contributions should be addressed to The Editor, Modern Recording, 14 Vanderventer when definition of purpose is required. By that I mean, who re- Ave., Port Washington, N.Y. 11050. Unsolicited ally cares about the lowly opinion of one "record reviewer" manuscripts will be with be treated care and must with regard to musical quality? In a magazine largely accompanied by return postage. devoted to the operational aspects of recording, personal "cheap shots" at individual musicians are uncalled for.

4 MODERN RECORDING www.americanradiohistory.com KELSEY ó,12 & 16 CHANNEL STEREO MIXERS

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If we were to try to tell you about all the features and specifications of our new Kelsey Stereo P.A. Mixers, we'd have to take out four -page advertisements. So we're just going to tell you that each input channel has transformer balanced low impedance connector and high impedance jack; gain control; two LED indicators; 3 equalizers; monitor send; 2 effects sends; stereo pan; and on /off /solo switch. And there's an additional effects channel with all the controls of an input channel plus "spin ". On the outputs, 2 VUs switch - able between main and monitor; left and right faders and tone (high /low) controls; monitor volume; and switchable headphones between solo, main and monitor. The Mixers have a separate power supply, a solid mahogany cabinet, and come complete in an SMF Tour Series Road Case included in the price. What Price? $4,000.00? No Way!

8 Channel Stereo $1,350 List 12 Channel Stereo $1,700 List 16 Channel Stereo $2,100 List It's for real. Professional stereo mixers incorporating high -reliability, ultra -low -noise integrated circuits and state -of- the -art design. A top quality mixer at a price you can afford. Fill in the coupon below and we'll send you a copy of our four -page ad!

Please send me complete information on your Kelsey 8, 12 & 16 Channel Stereo Mixers.

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www.americanradiohistory.com Whether Mr. Shaw prefers to believe it or not, many people in the music industry and in the buying public found this While other album to have many highly redeeming manufacturers have been qualities, not the least of which is the busy selling their studio performance given by "former super- condenser microphones, the star" Joe Walsh. engineers at Beyer have been There's an old rule among guitarists You doing something far more that goes "knowing when not to play is important -perfecting them! equally important as knowing when to Before a product leaves play." Perhaps Mr. Shaw should take the Beyer factory, it has to this rule to heart in his profession. His comment in reference to Mr. Walsh is have to be perfect. not only musically uninformed, but, in No bugs. No flaws. my opinion, completely and utterly The Beyer studio ludicrous-considering its fantastic sales wait for condenser microphones are to date, and the fact that in just a few designed to give an exacting months, three cuts have become hits. reproduction of even the In ten or twenty years, there will be slightest variations, boasting lots of people around to say "The something a transient response second Eagles' Hotel California? A classic to none. recording!" But where exactly will Rus- And with 50 years sell Shaw be? Nowhere, if he continues experience manufacturing to take ridiculous "shots" at brilliant really microphones, Beyer knows albums like Hotel California. I suggest he listen again. And, this the importance of versatility. time, Russell, keep an open mind. For this reason, the Beyer -Michael Columbus 48V phantom condenser WLOF Radio microphones have one Orlando, Fl. pre -amplifier /shaft and four interchangeable heads: 2 omni's and 2 cardioids. Areas of Interest The choice is yours. Another letter of praise! I read every If you think you're word of every issue, underline it as ready to work with the though it were a text, and have learned best, stop by your local so much since my introduction to Modern Recording. Beyer Dealer and ask for a A couple of areas of interest come to presentation. mind, however: I'd love to see an article on Waylon Jennings and Willie Nelson and the Austin music /recording scene. Also, something on women engineers - BEYER DYNAMIC since I am one -would be very interesting. A Div. of Hammond Industries Inc. Thanks so much for your fine publication. 155 Michael Drive Syosset, New York 11791 -Susan Barrera (5161 364-1900 San Diego, Ca.

You're in luck -articles on both Willie Nelson and women engineers are loom- ing on the Modern Recording horizon. They're scheduled for upcoming issues, so keep on reading and enjoying.

Looking for Employment I am presently a sound man for a local group and I have taken the Recording Institute of America course. I am interested in obtaining employment in a recording studio, but I have one small problem -I do not now the MC714 MC711 MC713 MC712 locations of any recording studios that Cardioid Omni Cardioid Omni may be hiring.

CPRCLE 77 ON READER SERVICE CARD 6 MODERN RECORDING www.americanradiohistory.com Technics wants you to see what other speakers dont let you hear. Look at the waveforms.Technics has that compensates foe the time delays achieved phase linearity as well as caused by the -vide range of wide frequency response. And that frequencies in all n-usic. While means we've achieved state of the simultaneously compensating for art in high fidelity: virtually a mirror the different acoustics of the image of music as it was originally woofer, midrange and tweeter. And played. We call it waveform fidelity. finally by aligning each driver unit Julian Firsch, in June Popular in the optimum acocsti: position for Gectror ics, calls the Technics Linear precise linearity. Phase S6 -6000A "...one of the better live Piano Wavetorm. It's a lot of corrplicated engineering,. sounding speaker systems we have but it all adds up To something eery heard it a long tine:' simple. Music as it was originally -low did we do it? First by played. Not more, nothing less. conducting exhaustive amplitude/ And that's a lot. phase studies in acoustically perfect Í Listen t3 Technics Linear Phase chambers before designing and SB- 7000A, SI- 6000.A and SB- 5000A. rranufac_turing each of the wide They're now available for demonstration at selicted audio frequency /low distortion drivers. r Then by developing a unique new dealers for very selective ears. phase- c3ntrolled crossover network Piano Waveform reFraduced by SB- 1000A. Technics Proh_ssionel Sere by Parasonic

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www.americanradiohistory.com If at all possible, I would greatly appreciate the names and locations of GREAT SOUND studios in the north Jersey area that I could look into. Thank you for your time and assistance. -Mark Lorusso STARTS HERE. E. Rutherford, N.J.

You must realize that you are dealing with an extremely competitive field, and so our first piece of advice to you is not to be easily discouraged. We feel the simplest thing for you to do is look under the heading, "Recording Studios" in the Yellow Pages for the areas in which you are interested. However, if at all possible, you Introducing the Marlboro line of unidirectional cardioid microphones, shouldn't limit yourself a microphones built to deliver excellent performance both on stage and in to specific geographical area. a studio. Marlboro's unidirectional design keeps feedback and howl Another publication that could prove at a minimum, while giving you both the natural sound and freedom of very helpful is the Billboard Internation- movement you want. al Directory of Recording Studios. This directory is published by There are S Marlboro Mikes, all with great sound. And the price annually Bill- has a great sound to it, too. Marlboro Mikes retail from $14 to $49! board Magazine and costs approximately $10.00. You can write to them So test out a Marlboro Mike today, and find out where great sound for a copy 9000 really begins. at Sunset Blvd., Los Angeles, Ca. 90069 or call them at A Division of O Musical Instrument 213- 273 -7040. Corporation of America Dept. M R 1077 [í1boio 170 Eileen Way Knowledge for Consistent Sound Syosset, New York 11791 (516) 921 -9070 In response to your article on the Bot-

CIRCLE 57 ON READER SERVICE CARD tom Line, N.Y.C. (MR Dec /Jan 1977) and your intended series on sound reinforcement systems in action, may I say hoo -ray!! The information contained in that article plus the pictorial layout, should be ingested by every serious club owner in the world. Over the past five years, our group has worked with so many sound variables that it has, as you stated, always caused performance de- generation. But with continued information from your sort of intelligent source, broken down so that even the layman can understand, there may finally be places where audiences may enjoy "live" performances with consistent studio quality sound and without a serious loss of hearing. I could rave for pages on the benefits TAKE YOUR CHOICE derived from this info, but let me just Biamp offers you two electronic crossovers to fit your specific say, "Please keep up the series Don Ket- neecs. Check out these features, then go on down to your biamp dealer and check out his deal! teler, whoever you are. You're working for the best professional sound magazine M2'V mono 2 -way continuously variable crossover points 100 Hz to 10,000 Hz separate L.F. & H. F. level controls variable I've ever seen!!!" Continued success!!

L.F. filter variable H . phase inversion control gain -Bruce D. Fielding control balanced or unbalanced lines stack for stereo Ocean City, N.J. 2 -way or mono 3 -way THD below .01 %. SM /23 stereo 2 -way or mono 3 -way continuously variable crossover points 100 Hz to 10,000 Hz separate gain. L. F. Info on Engineering level, H.F. level controls balanced or unbalanced lines I'm writing this letter with two purposes THD below .01 %. in mind. First, I have just seen a copy of Call or write today: BIAMP SYSTEMS, INC. the Dec /Jan 1976 issue of Modern biarrp 15295 SW Bull Mt. Rd. Tigard, Oregon 97223 Recording and liked it. I'd like to know (503) 639 -1746 which back issues are available and how

CIRCLE 32 ON READER SERVICE CARD 8 MODERN RECORDING www.americanradiohistory.com ARE YOU BLAMING YOUR TAPE RECORDER FOR PROBLEMS CAUSED BY YOUR TAPES?

Every day people for stronger cassettes. all over the country go If your recorder fre- into hi fi dealers with quently suffers lapses in complaints about their sound, it could be the tape recorders. tape is of inferior quality. When in reality what And nobody's bothered they should be com- testing the tape for plaining about is their dropouts before it leaves JAMMING IS CAUSED BY YOUR POOR TRACKING IS CAUSED BY tapes. RECORDER. OR IS IT? the factory. YOUR RECORDER. OR IS IT? Because the fact is, a even after years of use, step of the way it's lot of the problems that we finish them to toler- checked for even the plague tape recorders ances as much as 60% slightest inconsistencies. can be attributed to bad higher than industry So if you re having tape. standards. problems with your Inside, we use free recorder, try a Maxell rolling Delrin rollers so cassette, 8 -track or reel - the tape doesn't stick. DROPOUTS ARE CAUSED BY YOUR to -reel tape. And finally, we RECORDER. OR ARE THEY? You might find there's screw instead of weld Maxell tape is made really nothing wrong everything together of only the finest poly- with your tape recorder, because screws make esters. And then every just with your tape.

HEAD WEAR IS CAUSED BY YOUR RECORDER. OR IS IT?

I f you have to clean your tape heads more mlaxelgrie35-90 than usual, for example, Sound RecordingTape it could be your tape *Output /Extended Range doesn't have a special nonabrasive head cleaner. rnaxe1170.81=90 Maxel I has one. 8 Tradc Cartridge-4m If your recorder jams, H.QnrutlExtended Rerge it can be any number of H- FStore>öOust Cönömroble things. Maxell does something to prevent all of them. We make our 11111nIIIIIIIIIlllll cassette shells of high impact polystyrene. And then so they won't crack maxellM.C90

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www.americanradiohistory.com to order them. Also, what is the cost of a yearly subscription to MR? My second purpose is this: I would like to earn a Bachelor's degree in the recording engineering. Since there are no schools that offer this course of study in Puerto Rico, could you recommend a school in the United States, pos- better sibly in New York? Thank you for your help in these matters. ba.s -Ramon Jorge Morales Hormigueros, Puerto Rico

bOifrorn. In answer to your first question, the MR are Forsythe excels its entrenched back issues of that currently competition in several important re- available include: June /July 1976, Oct/ spects you should consider before you specify your next sound reinforcement Nov 1976, Dec /Jan 1977, Feb /Mar system or augment the one you're already using: 1977, April 1977, May 1977, June 1977, efficiency of our true exponential SR -215 design gives 113 dB SPL at four feet July 1977 and August 1977. They cost at only one watt input, superior to the radius or quasi- exponential flares used $1.75 per copy and can be had by writ- by others ing directly to our Subscription Depart- frequency response from below 40 Hz to above 1200 Hz gives you plenty of ment. Subscription rates are $12.00 for deep boss and lets you cross over at the most favorable frequency for twelve issues and $22.00 for twenty - your drivers four issues. rugged construction with 18 -ply- per -inch hardwood eliminates resonances, improves strength -to- weight ratio and lasts longer on the road thon cheap As for your second question, we don't fir plywood or particle board (and the SR -215 will go through o 30 -inch door- know of any degree such as the one you way without skinning your knuckles) describe. However, we do know that For complete information on the SR -215 better bass boxes, Fanshawe College in London, Ontario, contact: Forsythe Audio Systems, 28 Acton Street, Canada, offers an extensive course in re- Watertown, Massachusetts 02172. cording engineering. Also, we recom- AUDIO SYSTEMS mend that you write directly to the CIRCLE 81 ON READER SERVICE CARD Recording Institute of America for information about their non -degree course of study which is offered in cities MODEL 4100 STEREO EQUALIZER all across the United States. You'll be happy to hear that they are planning to nodized Aluminum Finish offer the course in Puerto Rico soon. Solid Walnut Trim, Security Cover They'll be able to tell you more about Rack Mounti'g Available that themselves. Good luck!

Compliments for Klabin May I say first that your magazine is excellent and is probably thè best of its kind around. Please keep it going for- ever! I haven't missed a copy yet. Secondly, George Klabin's article, "Noise Reduction -Parts I and II" (May and June, 1977) was excellent. I'm looking forward to seeing more of the same. Thank you and keep those issues Suggested Retail Price: coming. -Peter Moore Oklahoma, Ok. Ten one -octave bands per chan- Sealed Mil -spec rotary controls nel, 31.5 Hz to 16 kHz for low noise operation ± 10 dB boost /cut on continuous Low noise circuitry, wide dy- Books on Recording range: -92 dBm to control namic have more "P.A. Primer" arti- Variable low -cut control from 20 +18dBm Why not Hz to 160 Hz, 12 dB /octave roll -off Magnetically -shielded, precision - cles, including basics on operating sound Optional low-level crossover for tuned inductors boards (equalizers and application to bi -amp systems High linearity, low distortion various instruments and vocals), unnec- Call or write today essary equipment, helpful additions instruments, Incorporated (Dealer inquiries after basic equipment is acquired, etc.? invited) , PHONE AREA 512/892 -0752 P.O. Box 698 AUSTIN TEXAS 78767 Also, have more articles with "layman"

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www.americanradiohistory.com explanations to recording. Too much is I think Mr. Passin is out of touch. To- assumed by many writers of your articles day's amateur recordist is likely to be when the article is designed for us well ahead of the implied beginner's in the "dummies" who want to know more. status, and might well have been buy- More books on PA systems and recording Gotham -supplied microphones for ing would be very helpful if they exist. years. After all, our tape decks are sold black. Maybe MR can find them and advertise. with no microphones, just like the pros. A book review of recording and PA -Tom Becker books would be a great help. Binaural Systems Co. -Keith Sims Miami, Fl. Fort Worth, Tx. [The following is Mr. Passin's reply.] Your comments are well - taken. We are continually working to get articles of I find Mr. Becker's response to my ans- the nature you refer to in MR. wer of Mr. West's question concerning !£ 38 ï For a listing of books on recording, ". .. home and amateur uses" of Ampex see MR issues Oct /Nov 1976, page 24, vs. TEAC -type machines to be highly ... .-.«. Dec /Jan 1977, page 18, July 1977, irrational. page 6 and the Talk back in this issue If Mr. Becker will re -read the question ;1;411 tut cirr-, entitled,`P.A. Pointers." and my response, he will find that I do not make a distinction between profes- Ats. Ida ..511.. .,. sional and amateur recordists, but be- A Request For Results tween professional and home uses of a Have you run any Lab Reports on the tape recorder. There can be no real dis- following tape recorders and, if so, are tinction made between professional and reprints of the test results available? The amateur requirements and that is why I They say that you can't judge a book by its machines I'm interested in are: the broadened my answer to the original cover; that's true, but what a cover. What TEAC A -650 cassette deck, the Pioneer question. was, and is, the most beautiful look in the professional field is now the most daring RT-1011 and RT -1050 open -reel decks Our field is analogous to photography. look in general audio. BUT looks are not and the Pioneer CT -F9191 cassette deck. The major differences in cameras are the whole story, in fact, not even the best Any information you can give me would not between pro and amateur but be- part. Inside - that's where you find true SAE quality and performance. Here are just be appreciated. tween pro /amateur and the snap -shot a few highlights of this SAE system: -Ronald F. Morris cameras. Home recording and snap -shot MARK VIII FM DIGITAL TUNER -A 5 -gang Lakewood, Ca. photography are legitimate, if not crit- tuning cap., Dual MOSFET front -end, Linear - ical, uses of their respective mediums. Phase IF filters with 7 -stage limiter and PLL MPX. IHF Sen.- 1.6uV, Stereo Sen. Neither the Pioneer RT-1011 nor the Mr. Becker will also note that I made (- 50dB) -30uV, mono THD -less than RT-1050 open-reel deck has been the no mention of the microphones that 0.15 %, stereo THD -less than 0.2 %. subject of a Lab Report yet. The TEAC come with tape recorders but rather the MARK IXB PRE-AMPLIFIER EQUALIZER -Low A noise phono circuits, 7 -band equalizer with -650 cassette deck is slated to be microphones usually used by home re- precision wound toroid inductors. THD and tested by Len Feldman and Norman Eis- cordists. I think he would agree with me IM -less than 0.02 %, Phono S/N (10mV enberg in an upcoming issue. Some info that, compared to the usual micro- ref.) -75dB, Aux. S/ N -95dB. on the Pioneer CT F-9191 appears in phones used by home recordists, a Neu- 2200 STEREO POWER AMPLIFIER -Fully complementary circuitry, LED Power Dis- the Talkback section of the August, mann KM -84 would certainly improve play, Relay Protection, 100. WATTS RMS/ 1977 issue on page 12. All four pieces the results obtained. CHANNEL (both channels driven) from 20Hz appear in the current Modern Rec- -Eli Passin to 20kHz at less than 0.05% Total Har- monic Distortion. ording Buyer's Guide so you might re- Vice President This system combines beauty, perfor- fer to that for some basic info. Order Gotham Audio Corp. mance, quality and because its SAE a FREE forms for it are in every issue. New York, New York 5 YEAR Service Contract. Compare and you'll find this is another great value by the people who make "Components for the Connoisseur." Amateur Recordists Speak Out Our Efforts Earn Appreciation Mind you, I don't normally complain I enjoy your magazine very much and about a magazine's content, but Mr. find it includes a veritable plethora of Passin's response to Hugh West's ques- practical, real -life information that the AElectronics, Inc. Scientific Audio vs. home other trade journals seem to neglect. In P.O. Box 60271, Terminal Annex tion of professional "expensive Los Angeles, Ca. 90060 recorders" for the amateur (June, 1977, particular, I have found the works by Please send more information on the Talkback, p. 13) was too much. Jim Ford and Brian Roth very interesting. MkVlll, MkIXB, and 2200. Modern Recording so far has seemed Also, John Woram's article in the May, to be aimed at the professional and ad- 1977, issue, "John Woram Presents NAME vanced non -professional recordist. I sus- Mike Graphones," makes interesting

ADDRESS pect that the majority of its readers fall reading. into one of those two groups, and have Thank you very much for your time- CITY. minor interest in "copying from a radio your efforts are appreciated. program, record or catching his son's or -William J. Dickerson STATE -ZIP MR 1077 daughter's piano performance." Midland, Mi.

CIRCLE 31 ON READER SERVICE CARD 12 MODERN RECORDING www.americanradiohistory.com One year later.

Super ED Last year. Sounc Workshop introduced the 1280 an 8 -track recording console rf compact functional design that would sound sriçnificant,'y better thar the rest. Now. ore year and thoisands of sessions later. the 1280 '1as become the most respec:ed board in tie semi -pro field. Vary simply. it sounds better. The equalizer section of the 1280 provides ±15dß of shelving at 100Hz and 12k1-1z, and 15dB of peak and dip at 3.7kHz. Super EO was developed for applications where 3 frequencies do not offer enough selectivity. Super EG provides 3 bands of equalization with a choice of 5 frequencies per nand. Low Mid High 20Hz 250Hz 4 8kHz 40Hz 500Hz 7.5kHz 90Hz '.2kHz 9kHz 200Hz 2.4kHz 12kHz 400Hz 4.81..Hz 12kkHz (shelving) The 1280B-8E0 shown with opt.onal Meter Bridge, which works in ccnjunction with standard Tri -Lits LEDs.

1280B balanced mic inputs) $3200. 1280B-8E018 inputs super eq. 4 standard) 4000. 1280B -12EQ (12 inputs w th supereq) 4400.

1280ß -EXP 12 input expander) . 2500. 12806- EXP -12E0 (expander with super eq) 3700. 1280A unbalanced cric inputs) 2850. 1280A -EXP' 12 input (.xpander) 2150. 1280 METER BRIDGE (for 1280A and 1280B) 850. It sounds better. Sound Workshop 1040 Northern Blvd., Roslyn, New York 11576 (516)- 621 -6710 PROFESSIONAL AUDIO PRODUCTS www.americanradiohistory.com Advice on Studio Construction I plan to have a separate control room you is to write. For years, I'd been Sometime this year I will be building a and a studio large enough for a drum hoping for a magazine such as yours, house. This will provide the unique op- booth, a vocal booth, an upright piano, but I thought we were too small a group portunity for me to design the house and the synthesizer equipment (these infor anyone to bother with. around my recording studio. My ques- struments would be a permanent part of Thank you a million times -keep it up. tions concern the physical size and loca- the studio). The equipment would be a -Gerry L. Turner tion of the studio. Tascam mixer and 8 -track recorder plus Quincy, Il. I had planned to put the studio in the a considerable amount of peripheral basement, on the assumption that this items, such as amplifiers, reverbs, limi- Since the information that you request would isolate it from outside noises ters, and so on. is too vast to be adequately covered in better than a street level structure. Is What it boils down to, I suppose, is the space available, we feel the best way this reasoning valid, or do you feel that how wide, how long and how tall? Since to answer your questions is to direct a spearate building (I could also build a the house is in the planning stages, a your attention to several articles which barn on the property) would be a better considerable amount of flexibility is have appeared in MR. `Building Your choice? Let me add that while the stu- available to me. The basement stairs Own Recording Studio," by Jeff Cooper, dio is in use there would be no problem could be made to enter some portion of which appeared in the Dec /Jan 1976 with household -type noises, such as tel- the studio, the control room, a separate issue might be a good place for you to evisions, children, etc., since the house hall, etc. start. His article, "How Acoustics Affect will only be occupied by two people. Any details you could provide would Recording," (July, 1977) might also My second question is what would be be of tremendous help to me. I already allow you to expand your current plans the ideal size for a studio? The studio have definite plans for acoustic treat- for the acoustic treatment of your stu- would be used to record electronic mu- ment of the studio, but no where could dio-to-be. The book by Mr. Cooper sic and rock bands, sometimes country I find information on an acceptable mini- from which these articles were excerp- and western music. (In other words, I mum /maximum size for a small studio. ted, How To Build Your Own Record- see no reason to provide accomodations Let me add that I get irritated reading ing Studio, should be out this fall, so for the New York Philharmonic.) all the praise your readers have for MR. keep your eyes open for that. And, by If I build the barn, I could make it al- I feel the space could be better used for all means, get in touch with a reputable most any size within reason. The base- more articles. Yet, here I am, telling audio supply dealer near you -he might ment would have some limitations but, you that MR is fantastic and asking for prove himself invaluable help. even so, its dimensions could be adjust- help. MR is a godsend; I genuinely ap- We hope these help you and -happy ed to approach a more ideal size. preciate it, and the only way I building! can tell 47

The New Reverb Price/Performance Leader: Introducing the new dual channel Orban /Parasound Spring channel model. The only thipç you give up is the flexibiliy of Reverb. The new 111B retains all of the electrical features of its our dual- chassis construction -now the spring is mounted with popular single- channel predecessor and augments them with a the electronics. new bass control and "quasi- parametric" midrange control. At $695 for two channels, :he 111B provides the gt.ality The new nidrange equalizer permits stepless adjustment of its alternative to the cheaper, consumer- quality reverbs or the ±12 dB equalization range, as well as continuously variable market. With industrial -quality construction, line -level bal- center -frequency and bandwidth. This equalization flexibility is anced outputs, compact size, and smooth, four - spring (per unparallelled in the low -cost reverb field and effectively corn - channel) sound, the 111B is the ideal choice for the user with plements tie simple equalizers usually found on low -cost space and /or budget limitations. And as always, you can mixers anc consoles. count on Orban /Parasound's reliability and prompt service. Includec in the new package is our unique "floating For more information on the new 111B, see your local Orban/ threshold imiter" which minimizes "spring twang" and pro- Parasound distributor, or contact vides abso ute protection from overload. And our highly-respected electronics provides a bright, super -clean sound with the best signal -to -noise in the spring reverb field. Most remark- urban /pororound ably, the two-channel 111B costs exactly as much as our single 680 Beach St., San Francisco, CA. 94 109 (415) 673 -4544

------á,...«. pgBAN,pggABOUNO wM w...w1.

CIRCLE 49 ON READER SERVICE CARD 14 MODERN RECORDING www.americanradiohistory.com We're rather well- known for our expensive amplifiers and tuners. Now we'd like to be known for our less expensive ones.

When LUX Audio products were introduced to respect in the hi -fi marketplace." the U.S. in late 1975, we had already played a That was fine. Not so fine, however, was our leading role in Japan electronics for more than five resulting reputation for being very expensive. Thus, decades. And our audio components had enjoyed many audiophiles were deprived of enjoying LUX an enthusiastic following in Asia and Europe for quality and performance simply because they were many years. unaware of our less expensive products. Thus, unlike the typical "new" brand, LUX had We're now rectifying that. The units shown below available a wide array of integrated and power are representative of our more moderately priced amplifiers, preamplifiers and tuners. Eighteen components. The differences between them and models in all. Our problem was deciding which our top models are more a matter of power or to introduce first. flexibility than any variation in quality. You'll see that We chose our top of the line power amplifier, even our lowest priced units have specifications the M -6000. Its enthusiastic reception encouraged any manufacturer of fine components would be us to follow with our other state -of- the -art products, proud of. such as the L -100 integrated amplifier and the So, if some of the engineering "indulgences" of C -1000 preamplifier. our top units aren't really necessary to you, you can These superb components combined still enjoy the sonic excellence that distinguishes performance, styling and precision in a manner LUX components... because now you know about new to the U.S. audiophile. They prompted one our moderate -priced components. Your LUX audio publication to state: "Almost overnight, the Audio dealer will be happy to spend as much time name 'LUX Audio' has earned itself a place of as you need helping you to appreciate them.

Luxman T -88V AM /FM stereo tuner. Our least expensive tuner, Luxman L -80V integrated stereo amplifier. 50 watts minimum yet includes FET front end with four -section tuning capacitor. continuous power per channel, with total harmonic distortion no Linear -phase ceramic filters in IF section. Features include more than 0.08 per cent, both channels driven simultaneously FM interstation -noise muting, variable output level control and into 8 ohms, 20 to 20,000 Hz. Frequency response, 10- 50,000 oscilloscope jacks for viewing multipath distortion, etc. Usable Hz, within 1 dB. Phono S/N better than 77 dB (re: 10 mV input). FM sensitivity; 2 microvolts (11.2 dBf) IHF and 2.8 microvolts Bass and treble controls each have 3 turnover frequencies; high (14.1 dBf) for 50 dB quieting. Stereo separation: 43 dB at and low filters each have 2 cut -off frequencies. $475. (Luxman 1,000 Hz. $345.00 L -85V, similar except 80 watts per channel, $765.)

LUX Audio of America, Ltd. 200 Aerial Way. Syosset. New York 11791 In Canada: White Electronics Development Corp., Ontario CIRCLE 61 ON READER SERVICE CARD www.americanradiohistory.com ILTALKñ

"Talkback" questions are answered ing equipment (and anything else that the mic just behind the head and at the by professional engineers, many of can be set into vibration). Commercial- end of the mic case; then thread two whose names you have probably seen ly available isolation equipment is rubber bands through the bands around listed on the credits of major pop scarce and expensive. Can you advise me the mic on opposite sides of the mic albums. Their techniques are their own on material and a methodology for tak- case. Third, thread the rubber bands and might very well differ from anoth- ing up vibrations that is feasible for a over the hanger so that the mic is sus- er's. Thus, an answer in "Talkback" is home situation? I'd appreciate any prac- pended with two X- shaped rubber certainly not necessarily the last word. tical ideas on this. mounts; then adjust the rubber bands so We welcome all questions on the sub- -David J. Deutsch that they hold the mic in the middle of ject of recording, although the large Chicago, Il. the wires and the microphone does not volume of questions received pre- touch the hanger. cludes our being able to answer them It's doubtful that "shock- mounting" This mount can be set on the floor or all. If you feel that we are skirting any your recording equipment (i.e. mixer hung over a chair or other object, bend- issues, fire a letter off to the editor and recorder) would help you with your ing the hook part of the hanger to aim right away. "Talkback" is the Modern problem but your point is well -taken the mic. If you have a mic stand you Recording reader's technical forum. about shock- mounting the microphone. can straighten the hook and tape it There's no professional recording engi- to the stand. neer that I know of who would be with- -Robert Dennis Home -Style Isolation Mount out shock mounts for all of the micro- Engineer I am a MR devotee in need of informa- phones used. Pro Sound/Superdisc tion and advice. I recently patched a After a little design consultation I Detroit, Mi. dbx 124 unit to my Dokorder 1140 came up with a very cheap yet effective Design Consultant: David L. Clark and the quality of sound reproduction "home style" microphone shock -mount was truly awesome. My homemade tape (see .photo). Its cost is one coat -hanger was so noiseless that, for the first time, and six rubber bands. I was so pleased Omni vs. Directional Mics I discovered "sub- sonics" in a real and with the result that I used it on a session I have a question regarding the Hands - disconcerting way. I believe that if these the next day! On Report by Jim Ford and Brian Roth rumblings could be controlled, I would To build this mount you first bend the in the May, 1977, issue which deals with have a fine home system. The solution coat -hanger into an S -shape with the microphones used in professional rein- probably involves isolation -type mount- hook coming out of the side of the "S." forcement applications ( "Microphones ings for microphones and for the record- Second, put two rubber bands around for Sound Reinforcement," page 62). Why are omnidirectional microphones seldom used? An omni is more rugged than a directional microphone; it is capable of handling higher levels without distortion; it is quieter; and it will have a smoother, wider range response for the same price. In high -level pickups where feedback and leakage are not problems, the advantages of a good omnidirectional mic would seem to far outweigh the single advantage of the directional unit. Have I missed something? -W.J. Dickerson Midland, Mi.

16 MODERN RECORDING

www.americanradiohistory.com First of all, this is an excellent question. It represents an area of microphone use that should be investigated by many young sound engineers. In the "live" situation, there are two NEW HUH POWER items that should make the important difference between the omni and cardioid. The 5500 -D ... 500 watts per channel in a 31/2" rack space First, feedback and leakage are a big problem. Set up an on -stage experiment, and you will find that the instrument amplifiers and the vocal monitors are so loud you cannot believe it. Many times we have had to do concerts where the vocal monitors are so loud that they start coming through the main front system and begin to color the overall house sound. Most all rock groups will demand very high monitor levels, and if you cannot get it, you are in trouble. The second important thing is the Low distortion (.005 THD sound quality. The cardioid mics being and .02 IMD), high damping used in concert sound reinforcement factor, and compact size make the have a bass boost due to the proximity S500 -D the ideal P.A. amplifier. It is 50% effect and have high frequency boost more efficient and operates at a lower temperature due to the design by the manufacturer. than conventional amplifiers. Complete specifications These mics were designed this way on and pricing from H /H's exclusive U.S.A. representative .. purpose, and they give the big "fat" sound that most pop vocalists want. All of the points that you listed about audiomarketing ltd. omni and the cardioid are right. How- 142 Hamilton Ave., Stamford, CT 06902 TEL: 203 359 2315 TELEX: 99 6519 ever, microphone selection and use is a matter of particular and individual CIRCLE 90 ON READER SERVICE CARD situations and should be evaluated separately by each engineer. After the technical specifications have been checked, listen to the microphone and let your mix and patch like ears be the final judge. -James A. Ford the Professionals R President trot center and patchbay permits the tape monitor loop of your audio system to conveniently accommodate up to four tape recorders of quad, stereo or mono format in any Ford Audio & Acoustics, Inc. combination, plus outboard noise reduction, equalizers, compressor /limiters, and SQ, QS, RM, and CD -4 decoder /demodulators. All accessories plug Oklahoma City, Ok. into phono jacks on the QT-1 rear panel (72 available) and are programmed from the front panel. Use for recording, playback, dubbing and mixing down from tapes at the flip of a switch. Patch cords (12 furnished) permit convenient sound -on- sound, sound -with -sound, channel interchanging, and in- sertion Skew Solution of equalization, noise reduction, etc., anywhere in the audio chain and in any desired sequence. The QT -1 is obsolescence -proof and provides professional studio type flexibility and convenience at an audiophile price of $249.95. I am having a problem with my Model For complete product information and list of demonstrating dealers, contact: 3340 -S TEAC tape deck. The tape has a tendency to skew as it passes over the heads. The skew is bad enough to cause the high frequencies to fade in and out during playback. I have adjusted the ca^ 00 COPY BUSS heads (using the oscilloscope method) sii 1 R- RECORD cDRNRS S and played with the supply reel tension IN w o lB^ RECORDE B ,DURGE 1 IV but with no luck. The TEAC company ` 4 hasn't been able R to help. It appears that NpIBE REDUCn 1cr.V a tape guide is badly needed between y,ie r--"11 REDU¡TID.10i` the record and playback heads. Maybe NgOiBE IN B a8 = l- 1 some of your MR readers have encoun- '' J tered this problem before since this is a uT z- popular machine. Solutions, anyone? By the way, I'm using Scotch 211 recording tape with seven inch reels. -Bill Stottlemyer Carroll Recording Studio Russound/F P, Inc. Trezevant, Tn. Canal Street North Berwick, Maine 03906

CIRCLE 33 ON READER SERVICE CARD OCTOBER 1977 17 www.americanradiohistory.com Things to look for from a repair stand- owner would contact me at: TEAC Cor- other machines with medium impedance point are: (1) Position (height) of the poration of America, 7733 Telegraph line inputs and line outputs. The KIK left tension arm. It may be too high or Rd., Montebello, Ca. 90604 (tel. 213- Model 10K Mixdown Box is designed low. Bending it slightly either way may 726- 0303), I could refer him to a Fac- for high impedance machines such as solve the problem. I would suggest tory Service representative in his area. Otani. The KIK Dual Impedance Model bending it up, away from the tape -deck -Tom Spurney provides for both types of recorders. face to start with. (2) Insufficient hold- Technical Correspondent The KIK Mixdown boxes are designed back tension on the supply reel, which TEAC Corporation of America to transfer channels in the following you have already experimented with. Montebello, Ca. manner: (3) The heads could be mis- aligned. 1) Record the first 3 channels, as out- Specifically, one or more heads could be lined in your Dokorder Instruction Man- tilted so that all the head and tape guide The Lowdown On Mixdown ual, either all at once, or using sel -sync surfaces are not parallel. If there is any I am interested in buying the KIK Mix- for one channel at a time. significant wear on the heads, it is un- down Box, but do not know which ver- 2) Return all sync buttons to the "nor- wise to touch the head -alignment screws. sion to order. I own a Dokorder 7140 4- mal" (non -sync) playback position. It will only make matters worse as the track multi -sync open -reel tape deck 3) Connect the 3 line outputs of the head is probably worn unevenly from and use Shure high -impedance micro- recorded tracks to inputs 1 -3 of the KIK being tilted. Even on a head which is ori- phones to record with. Could you Mixdown box. ginally installed and aligned correctly but please tell me which version would be 4) Connect the output jack of the Mix - shows wear, the chances of proper re- right for me? down box to the "line input" jack of alignment (getting the tape to run pro- -Alex Davidson, Jr. the fourth Dokorder channel. perly in the headwear grooves) are slim. Niagara Falls, Ontario, Canada 5) Set the "playback level" controls When someone contacts us by phone or on the first 3 Dokorder channels to "0" letter with a service problem, we can The key is in the "line output" imped- VU, or to the balance you want the only suggest the obvious fixes as a ance specification of the tape recorder. channels to have. means of assistance without seeing the If the specification reads "5,000 to 6) Set the "record level" of channel unit first -hand ourselves. The problem is 20,000 Ohms," the Model 10K is the 4 to "0" VU. (You may want to mix in not a common one and at this point, we right box. 47,000 Ohms, and higher, a "live" mic on channel 4 at this. -time would be interested in seeing the use the KIK Model 100K. using the channel 4 mic input, and the machine at one of our Factory Service The KIK Model 10K is designed for mic record level control.) This step can Facilities for personal attention. If the use with TEAC, Tascam, Dokorder, and be repeated as many times as necessary

Thte4/404,,Aileffilitpe,.

Just one glance at the Yamaha convert it into a monaural super There's not enough room to give you P -2200 power amp tells you the whole amp and /or 70 -volt line output capa- all the facts here, so send this ad story. The case, the handles, the bility for distribution systems.) along with six dollars. (Please, certifiec whole exterior relate a single, powerful Silent! With a 110dB S/N ratio and check or money order only. No cash message- rock -solid reliability, stability .05% THD from 20Hz to 20kHz, the P -2200 or personal checks.) Well send you and high performance. The P -2200 satisfies even the most critical ears. the P -2200 operation manual filled is no hi -fi retread. It's designed for a wide How pro can you go? The P- 2200's with facts. Or better yet. see your variety of professional applications. dB- calibrated input attenuators and Yamaha dealer. Strong! With 200 watts of continuous 50dB peak reading meters are flush average sine wave power into 8 ohms, mounted. Inputs to each channel have YAMAHA you've got plenty of punch to handle the XLR connectors with a parallel phone O high peaks essential to clean studio jack, plus a phase reversing switch. Musical Instrument Combo Division monitoring, as well as all -night cooking Speaker connectors are five -way 6600 Orangethorpe Avenue. in "live" concert reinforcement or binding posts that take wire or "banana" Buena Park. CA 90620. disco sound systems. (You can easily plugs. Write, P.O. Box 6600. Buena Park. CA 90622

CIRCLE 58 ON READER SERVICE CARD 18 MODERN RECORDING www.americanradiohistory.com BIC VENTURI proudly announces two new speakers, and no big changes.

Twice in the pastfouryears, BIC innovations and system design position between the 5 and 7. have significantly changed loudspeakers. And the new Formula 3 fills a similar slot between In 1973, BIC applied the venturi principle the 2 and 4. to speaker design (U.S. Patent #3,892,288) and Thus, whatever stage of upgrading a music introduced B.ICVENTURITM Speaker Systems. system is in, there's a B.IC VENTURI Formula to That ushered in the high -efficiency era, with fill that need. many long-time leaders quickly attempting to And there's a further significance, we think. follow our lead. The astute audiophile is fully aware that, in In 1976, B.IC perfected a series of monitor the speaker business, technological exercises and control functions that equipped speakers to abound. And that many yield marginal improve- make the entire system perform better, and intro- ments at very high cost. duced the System Monitor Speaker. At B.I.C, our approach is quite the opposite. That gave the loudspeaker a new role in the Rather than esoteric speaker designs for a stereo system, and the user the ability to purify his few, our commitment is to fundamental speaker system's output. advancement for many. And that is why BIC Today, the changes we have to announce are VENTURI speakers remain way ahead without significant ina different sense. being way out. The new Formula 6 and Formula 3 models For literature on all seven BIC VENTURI (on optional bases below) represent no major in- Formulas, write us at the address below. novations. But they complete a line of speakers that has already established fundamental new principles of speaker design and performance. Principles that will erdure for years to come. The Formula 6 Spec II brings the number of Monitor Seri S Spea-ars to three, and f Its a size

BIC VENTURI SPEAKER SYSTEMS TOMORROW'S TECHNOLOGY TODAY BI-C VENTURI, Westbury N.Y. 1159g. B-I.0 VENTURI and BICONEX are trademarks of British Industries Co. Division of Avnet. Inc. In Canada C.W. Pointon, Torcnto. CIRCLE 92 ON READER SERVICE CARD

www.americanradiohistory.com to get a good channel 4 take since the

first three channels are sti 1 intact. 7) Disconnect the KIK Mixdown Box, and switch Channel 4 to pla yback in "sel- sync" mode. 8) You can now record ove] the first 3 channels, combining them with the four channels of informatio n you've 'sett summed on channel 4 (using the Mix- down box). Since the KIK Mixdown be Ix is pas- cannot generate noise or dis- ' sive, it for pro - tortion, and it gives you th e mixing option without the need fc Ir investment in a large recording board ?stenis -Hat vey Gerst E for im President 9iand all dn meaia times i KIK (Hi -Fi Prod ucts Div.) 10 ervfce e wich Qp31 to aos North Holly'Holly Ca. Satur Voá mrio $1 million 10 ro ices. S. call gi courteous Fighting Feedback 926-6100 When setting up our P.A. system, I usu- I??.r7 ally try to tailor the sound to the particular hall in which we will be playing. First, I set up which includes K&tP- the system Cerwin -Vega Speakers, Crown amps and No ì;ao1 V a Tapco board and equalizer. I also set s 'Q up all mics and instruments before turning on the power. Since we use approx- 0212' 2 imately the same mix every night, the only adjustment needed is the master CIRCLE 67 ON READER SERVICE CARD volume and equalization. My procedure for equalization is what I want to glAUDIOARTS ENGINEERING ask about. 286 DOWNS ROAD, BETHANY, CT. 06525 I usually set the master volume about where I think it should be set, then turn EQUIPMENT DESIGNED TO LAST the output of the equalizer up gradually PARAMETRIC EQUALIERS, TUNABLE ELECTRONIC until the system begins to feed back. As CROSSOVERS, FEEDBACK SUPPRESSORS, AND MIXING SYSTEMS feedback oocurs, I adjust the equalizer to cancel it and continue to boost the volume until I have established about 8 -10 dB headroom for the whole system. Of course, I do a little bit of individual eq on the board, but this procedure seems to completely eliminate feedback. Usually the frequencies needing the Il o I I ° _ are lower mid -range, I11111 most adjustment between 200 and 500 Hz. irrigiNgIMMENOM Does this routine seem like it should work? I know we should use a real -time analyzer, but the expense and time in-

10 volved make that impossible. REVERE Thank you for a great magazine with 4 5 many great ideas. Keep up the good work. -Randy Adams Lindale, Tx.

Although it's difficult to tell from your letter, it appears that there is a flaw in your set -up procedure. Your description seems to indicate that you pre -set AT: o IN STOCK the master volume control on the mixer

Audio and Organ Services Ludwig Sound and Stage in one spot, then use the level controls 2780 Erie Boulevard Cast 164 Washington Avenue Syracuse, N.Y. 1322$ North Raven, Ct. 06473 on the equalizer for P.A. volume adjust-

CIRCLE 88 ON READER SERVICE CARD 20 MODERN RI CORDING

www.americanradiohistory.com HIGH BIAS. These cassette deck manufacturers are highly biased for SA: AIWA AKAI DOKORDER JVC KENWOOD MERITON NAKAMICHI OPTONICA PIONEER SANSUI SHARP TANDBERG TEAC TOSHIBA UHER YAMAHA And are joined by these in recommending SA for use in their decks: BANG & OLUFSEN DUAL FISHER HARMAN /KARDON LAFAYETTE ROYAL SOUND SANKYO AND MANY OTHERS.

'11161111, There's been a quiet revolution going on in the cassette world. D Leading makers of quality cassette decks have adopted TDK SA as their reference standard tape for high (Cr02) bias and equalization settings.Why TDK SA? Because TDK SA's advanced tape formulation and super precision cassette mechanism let them (and you) take full advantage of today's advanced cassette deck technology. D In addition, a growing number of other companies are recommending SA for use with their machines. D So for the ultimate in cassette sound and performance, load your deck with SA and switch to the "High" or "Cr02" bias/EQ settings. You'll consistently get less noise, highest saturation and output levels, lowest distortion and the widest dynamic range to let you get the best performance from any quality machine. But you needn't believe all this just because we say so. All you have to do is check our references. TDK. TDK Electronics Corp., 755 Eastgate Blvd., Garden City, N.Y.11530. The machine for your machine. In Canada: Superior Electronics Industries, Ltd. CIRCLE 64 ON READER SERVICE CARD www.americanradiohistory.com ments. Accepting that the mix and problems than the main stacks, due to several "loads." The key to its oper- individual eq are set, the level controls to their close proximity to open mics ation is to have the output impedance on the equalizer should be adjusted for and high volume levels. Where monitors of the device so low that changes in operating level (0 VU) on its meters, in are involved, mic and monitor place- "load" effect the output voltage only order to take best advantage of its sig- ment become as critical as equalization slightly. nal -to -noise ratio and headroom charac- in setting up a smooth, full- frequency, The most common, cheap and dirty teristics. After you've equalized the sys- feedback -free sound system. application of "distribution amps" that tem to eliminate feedback by the meth- Without more specifics on your partic- happens around sound studios is the cue od you have described, the equalizer ular system, it's hard to give you advice, amp we use to drive headphones. One gain should again be adjusted to 0 VU. but if you try to integrate these basics input can be fed to anywhere from Any further level changes should be into your existing procedure, feedback several to 20 or 30 headphones.If, for made at the mixer's master volume will becone less of a problem. safety purposes, you put a 4 -ohm, 20- control. -Bill Mueller watt or more resister in series with your Just as a refresher, there are a few Chief Engineer amp then plug in 0 to 50 headphones, basic rules to follow in order to reduce Sheffield Recordings, Ltd., Inc. each 4 ohms, the load will vary from 8 the possibility of acoustic feedback. Try Timonium, Md. ohms for 1, 6 for 2, 5.33 for 3, 4.8/5, to place the vocal mics well behind P.A. 4.2/20, 4.08/50. A very reasonable stacks. Use cardioid or super-cardioid range for most amps. (I've simply ig- mics wherever possible, especially in Isolation and the Distribution nored cable capacitance and headphone critical feedback areas, such as stage Amp inductance here.) As you can see,any front, or near the P.A. stacks or moni- How much isolation can you derive one headphone that is shorted won't tors. Restrict the use of omni mics to from a distribution amplifier and how change anything, indeed, if some less critical feedback areas, like stage much does each output load "down" ballet dancer with cleats shorts out amp miking. Educate the performers as the amplifier and effect the total output? a whole feed, you won't have any to how to handle cardioid mics. (Cover- -Peter Kouvitsky change in what's left. ing the rear vents of a cardioid mic con- East Norwich, N.Y. A "real" distribution amp as used in verts it to an unstable omni.) Give rov- major network production centers, TV ing performers definite physical bound- A distribution amp is simply a device stations, some music systems, etc., aries for hand -held operation. which will provide energy to a system consists of one input buffer amp which If you're using stage monitors, you which "distributes" one signal to more feeds its output to several output amps. may find that they cause more feedback than one "load;" practically speaking, This in an even more efficient and

Gallien- Krueger advises you to check out the 1000 -1S and 1000 -1SB before you buy any power amp. Compare their guaranteed specs. Compare their rugged construction. And take note of the 1000 -1SB unique bi -amp feature. (It's the only professional quality amp that has an internal electronic crossover.) They're all Gallien- Krueger. We do our own design, build our own transformers, and print our own circuit boards. So we know. Compare the 1000 series sound. Then decide. Sound advice. Take it from us at your Gallien- Krueger sound dealer. Gallien- Krueger, 504 B Vandell Way, Campbell. CA 95008 QC GALLIEN -KRUEGER You'll hear from us.

CIRCLE 79 ON READER SERVICE CARD 22 MODERN RECORDING www.americanradiohistory.com 8tol8from 749...

Live Music Mixing System

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INPUT FEATURES BALANCED MIC INPUTS HIGH Z LINE INPUTS IN /OUT JACKS 20dB ATTENUATION MONITOR SEND ECHO SEND 3 -BAND GRAPHIC EQUALIZER SOLO /PREVIEW SWITCH LEVEL CONTROL

OUTPUT FEATURES SOLID STATE LED VU METER HEADPHONE JACK /LEVEL CONTROL BUILT IN SPRING REVERB HIGH /LOW CUT FILTERS HOUSE /MONITOR LEVEL CONTROLS HOUSE /MONITOR OUTS

See your local dealer or write for our free catalog: UNI -SYN INC

A BSR COMPANY 742 Hampshire Rd. Westlake Village, CA 91361 (805) 497 -0766

TROUPER I Live Music Mixing System, expandable 6 inputs ($749 suggested retail value) to 18 inputs ($1447 suggested retai, value).

CIRCLE 60 ON READER SERVICE CARD

www.americanradiohistory.com Today's Equipment safe system. There is no interaction at all between loads and the source. Deserves Tomorrows' -Ed Rehm Enclosures Chief Engineer SYSTEM 700 by BSC. The Nordine Group SERIES II 01977 BSC, INC. Chicago, Il.

Before You Buy .. . Noise Reduction Systems TEAC- TASCAM -REVOX- When mixing down a multitrack tape to SAE-MARANTZ- -TECHN ICS the master tape, can a noise reduction -DBX- TAPPCO -AUDIO or Dolby be applied PULSE- SHURE- BEYER- unit to the master AKG- SONY- SUPERSCOPE tape with appreciable results on my 2932 RIVER ROAD finished tape? RIVER GROVE, ILLINOIS 60171 -S WITC I-1C RA FT PHONE NO. 312 -452 -5551 Consider BSC -C.E. Grier Send $3.00 For Information Montgomery, Al.

Yes! A noise reduction unit may be introduced between the multitrack tape and the two -track master tape to help preserve the quality of the original signal. The two most common noise reduction systems found in professional studios today are the Dolby A system which provides 10 dB of noise reduction 80111:11341-RauND QUAD PANNER MODEL OP-1 below 5 kHz increasing gradually to a maximum of 15 dB at 15 kHz and the dbx system which reduces noise 20 -30 dB under what it normally would be. The amount of noise reduction depends on the level of the input signal. Both systems operate on the compan- der principle: compression before recording, expansion on playback. Low level signals are raised above the noise level of the tape during recording. On playback, these low level signals are re- stored to their original level, while the gain reduction lowers the noise level by the same amount. Although both systems use the same principle of operation there are significant differences in circuitry making them incompatible. A noise reduction unit is not a cure for lazy engineering. Good signal levels are important throughout all phases of recording. A poorly recorded multitrack tape cannot be helped a great deal by using noise reduction on the two -track master. Many times noise reduction

The SOUND -A -ROUND can turn your quad system into a dynamic, moving sound environment. systems are used on the multitrack tape.

From a sublimely slow shift of sound from channel to channel to a neck wrenching spin, you Can precisely control the speed of I've been involved on projects where the revolution with either the panel control or optional loot pedal. multitrack utilized noise reduction and From barely perceptible changes in loudness to a blatant jumping effect from channel to channel, the depth can be controlled with either the panel control or optional foot pedal. the two -track master did not and vice

The direction of revolution can be instantly reversed with a switch. versa. It's also common to use noise re- Four LEDs let you know what the SOUND -A -ROUND is doing for you- indicating speed, direction, and channel levels. duction on both the multitrack and A joystick control allows you to precisely maneuver the sound by hand it you prefer. two -track master tape. The SOUND -A -ROUND Is available in the standard one input to four output configuration and also in two and four input Noise reduction systems are useful versions. tools and coupled with good All this unique and stunning capability for only 5299.95. Ask your dealer for more information or write to: engineering can produce high quality tapes -the result being an enjoyable product. -Evan Williams ÇyÇcisíou Audio Engineer po United Audio 160 Sugg Road. Buffalo. New York 14225 (716) 631 -3790 Santa Ana, Ca.

CIRCLE 43 ON READER SERVICE CARD 24 MODERN RECORDING www.americanradiohistory.com Only three receivers in the world give you master control of the entire music spectrum.

JVC believes that when you buy a full Ard all the power you II ever need to rl r1 rl rl rI rl r1 performance stereo receiver you should rI ri II rI I drive your favorite speakers. be able to get full performance from it M111111.111 So if up to you Which do you 11.11 Without having to buy expensive add -on ,u 1 1 I I I I l I l I 1 l l I 1 l 1 I l I I1Ni prefer A JVC professional receiver accessories 111111111.101-11111 111 with a built -in SEA graphic equalizer. That s why one of the very special Or cnetha' leaves it out. .01. 7304 11t. 31N. 131N. features built into JVC s three new top-of- JVC- America Company, Division the-line receivers (JR -S300 II. JR-S400 II. = of US JVC -Corp.. 58 -75 Queens Midtown _7-111_;_ Y. 11:37e JR -S600 II` is our exclusive SEA five - =IL-- Expressway. Maspeth N zone graphic equalizer system It totally SEA IIE.r (212)4703-3300 Canada JVC Electronics eclipses the capability cf conventional of Canada Ltd . Scarborough. Ont. bass /midrange /treb e tone controls of For your nearest JVC dealer call other receivers With SEA you're in corn toll -free (outside N Y ) 300-221-7502 plete command of every segment o' S60011 540011 S30011 Exclusive 5 -zone SEA graphic equalizer RMS power, the musical spectrum from gut bucket system fou better performance from bass to coloratura highs SEA also components and listening room chanrel 8 ohms. 20Hz10 20.000Hz 120W . 80W 50W permits you to custom tailor the sound Total halmorlc to the acoustics of any room. and to distortion 0 08% 0 08% 0.1 % compensate for the shortcomings of Aporox retail value $650. $530 $400 other components in your system. And if you re a recording buff. you II appreciate another exclusive JVC WE bu Id in what the others professional touch `rou can switch the leave out. SEA equalizer section i ito the tape recorder circuit for sim.iltaneous ecual- ization while you re recording While these unique features alone set JVC s pace -setting receivers apart from the common herd. were further insuring top performance with a solid combination of additional features

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www.americanradiohistory.com P.A. Pointers any kind of advice you might find time As a guide to inexperienced P.A. owners, to impart would be greatly appreciated. FINALLY! could you answer a few questions about The state of the art is very low in Ken- the basic problems we continually ex- tucky and there seems to be very few A perience in staging an original rock act? people around to swap gripes with con- Professional Instrument Line Out equipment set -up is as follows, cerning the wide variety of building con- at Reasonable Prices stage left to right (see drawing): figurations we encounter. (1) Rhodes piano, Acoustic 150 w /2- -Tony Roedig CARVIN features the 15", 1 -12" Fort Thomas, Ky. finest in Professional (2) Les Paul, Twin reverb Instrumentation equip- (3) Rogers drum kit, miked There are two points I would like to ment at incredibly LOW (4) Kick, snare, overhead make before I attempt an answer to a FACTORY DIRECT (5) Kustom Kasino bass amp, Jazz bass, question of this nature. Point one is try PRICES. This is made possible because we Hohner to read as many articles, technical pap- manufacture and sell (6) Telecaster, Super reverb ers, and books pertaining to the prob- direct - eliminating retail (7) Stratocaster, Twin reverb, 2 -12" lems mentioned in this discussion as markups. The CARVIN SRO possible. Point two involves the advice Doubleneck Guitars (8) Monitor- Peavey PA I am offering. The information given feature 4 APH -6S Double 400 Coil Humbucking Pick- (9) P.A. Speakers-Sunn Magna 100.2 below is designed for general use. It may ups, Ebony fingerboards, (10) Power Amps -2 Kustom 8 SRS not precisely apply in every case. Read- Nickel -Silver frets, Shal- (11) Board- Peavey 1200 S ers, please feel free to add to the exam- ler M6 mini -gears & (12) Mics -AKG D1000E ples given as the problems listed could Phase -Switching. Plus 14 other guitar 'I'he present monitor set -up is inade- obviously go on for pages pages. models and a line of GUITAR PARTS. and CARVIN offers TUBE & Solid -State quate but necessitated by our financial Mic placement, though quite critical, Amplifiers featuring 7 Band Graphic situation. The P.A. set -up is new and the is often difficult to optimize "live." Equalizers, Channel - power amp settings are pure guesswork. Time of set -up, space limitations and to- Channel Switching The drum kit is miked with three AKG unpredictable room acoustics are your with Sustain Channel. JBL or MagnaLab D1000E mics as are the four vocals. obvious enemies here. Try to keep car - speakers. CARVIN The most common complaints are: dioid mic polar patterns working against Mixing Consoles fea- (1) Poor monitor performance. Could feedback. Watch out for hard reflective ture 6, 10, 1 2, and 18 this be bettered by different placement surfaces particularly behind or above Channels with Bal. Inputs, 10 Band of the monitor speakers? What about the stage. The temporary hanging Graphic Equalization, Bi -Amp Crossover of Networks, Stereo Panning, plus more. equalization here? moving pads, or some curtains, aids in CARVIN'S Professional Club and Com- mercial sound -reinforcement systems offer MagnaLab 9 Electro- 9 Voice, or JBL Horn Drivers lo 10 and Speakers. Plus Power Amps featuring Electronic Cross- overs. Professional quality and reliabil-

ity are not sacrificed for price at CARVIN. 12 All systems are carefully crafted by CAR- VIN in the U.S.A. and are backed by a Solid 5 YEAR War - ranty. Try CARVIN on a 10 Day Money - Back Trial Period. Call (714) 747 -1712 Mon. -Fri. (or Write 5 6 CARVIN, Dept. I51 J MR12, 1155 Indus- trial Avenue, Escon- dido, CA 92025 for your FREE Color (2) Fleeting, recurrent high -frequency control of high frequency reflections. Catalog. feedback. Probably due to the number Use good mic technique by singing into of "live" mics in a tight area and the mics on a slight angle staying at least MM monitor system. one or two inches away. Try using only send for (3) Recurring ground noise. one mic on two vocals. One mic tech- FREE CATALOG (4) General P.A. distortion. Presumably niques are often best, contrary to popu- I with SYSTEM EN MEFNgG due to overloading the mixer and low lar belief, particularly when recording. DEPT. MR 13 Factory Direct Prices settings on the power amps. Instrument Be careful not to cover vents or ports on I Name amps line into the mixer from external mic cases with your hand or with the Address speaker via a low impedance transfor- stand adapter. These holes are part of City I mer. Bass lines direct to board and to the mic phase delay network giving it on -stage amps. the cardioid pattern. mic cords !State Zip Check A critique of the equipment set-up and periodically -preventive maintenance is

CIRCLE 98 ON READER SERVICE CARD 26 MODERN RECORDING

www.americanradiohistory.com SURVIVAL OF THE FITTEST.

fittings. And clean up the mike cosmetically. That was easy. And that was all. After all it went through, this Sennheiser shotgun microphone still met all our original factory specifications. You could still smell With the same wide, flat response. Ultra - the smoke when this tight directionality. High sensitivity. And Sennheiser shotgun condens- freedom from overload. er microphone came in for repairs. The Of course, there's no need for such studio where it had been in daily use for extremes to prove how much you can years was devastated. depend on Sennheiser. Rugged design, Heat so intense, it melted the shock - precision craftsmanship and the fact that mount fittings. Thick smoke, corrosive Sennheiser RF condenser microphones chemical fumes and water all contributed don't use high -voltage DC bias (which to the studio's misery. can cause arcing) have all contributed to The studio had no idea how badly the our reputation for unsurpassed reliability. mike was damaged. They couldn't test And helped make Sennheiser the industry it. Their equipment had been all but standard over the years. totalled. So they returned the mike to us. For more information about our Dubiously, we put the unit on a test remarkable condenser microphones, see bench to see what needed to be done. your Sennheiser dealer or contact us. We had to replace the shock mount Either way, you'll get a warm reception. SENNHEISER ELECTRONIC CORPORATION 10 West 37th Street, New York 10018 (212) 239 -0190 Manufacturing Plant. Bissendorf /Hannover. West Germany

CIRCLE BO ON READER SERVICE CARD

www.americanradiohistory.com invaluable. Try using phase reverse ad- oid pattern mics. Beware of hi -fi gear Make sure your mixing console monitor apters (Shure A 15 PR) for the equaliza- disguised as pro equipment! The equip- output is not overloading your monitor tion adjustments on mics and mic pads. ment I speak of does not have the shield- amp input (distortion here could be These can all make drastic performance ing or balanced line capability of equip- causing the squealing feedback mention- differences. An excellent book for ment for P.A. use. The time and money ed in your letter). Use ingenuity in microphone information is Microphones: spent trying to interface this stuff to set -up of your speakers, trying to keep Design and Application by Lou Bur- your system could be used in purchasing mics and speakers acoustically isolated roughs. The publisher is Sagamore Pub- something more useful, perhaps used as possible. Read John Woram's The lishing Company, Plainview, New York pro gear. Recording Studio Handbook (Sagamore 11803. As for speakers, try running your Publishing). Chapters 4 and 5 can help I must warn you again, due to the dif- power amp input attenuators as "wide explain many of the questions related ferences in mixing console and effects open" as noise will permit. The outputs to speakers. equipment designs, these answers are of mixers, equalizers and electronic I would like to close by saying again general and may not always apply. A crossovers are not designed to be that reading and perhaps some profes- call to the manufacturer or experienced matched inefficiently. You might also sional, on- the -job assistance are invalu- users of the equipment in question is a look into bi- or tri- amplified set -ups. able aids. Here are some other reading wise investment. However, you might Check all crossover points to make sure materials I personally use and they have try to run the level controls in a 1/2 to all drivers are matched correctly. Fuses helped in many successful solutions: 3/4 open setting for optimum circuit in the speakers lines can save blown Audio Cyclopedia by Dr. Howard M. performance. To keep the mic preamps drivers (ask the manufacturer for recom- Tremain, Modern Recording Techniques from overload problems, use mic pads. mended values). Make sure you use by Robert E. Runstein, free technical The individual channel level controls enough power amplification. It is easier literature available from manufacturers will not help if the mic signal is too high. for speakers to handle unclipped wave- is also invaluable as are periodicals such Proper padding should place the level forms than distorted ones from a low as Modern Recording, Recording Engin- control in the 1/2 to 3/4 position. Use power source. Use heavy connectors and eer/Producer, db, the Sound Engineer- equalization sparingly -large boost in- check for correct phasing. Use heavy ing Magazine, and Studio Sound. creases the chance of clipping and resul- cable on speakers. Number 14 or 16 -Carlos Chafin tant distorted sound output. Try using service cord is a tough, reliable choice. Audio Engineer low frequency cut on any close mic sti- Use balanced lines to the power amp Alpha Audio uation. It will reduce rumble and the from the mixer (a line transformer 15 Richmond, Va. proximity bass boost inherent in cardi- K ohms to 600 ohms may be useful).

/IANVIAA

Monitor Flattener You can make sure your studio monitors generate hinge -points on treble and bass for each charnel. a truly 'tat response curve, regardless of brand. The EQ -2 can be cascaded to create a 22 -band,

Install the new Crown EQ -2, a two -channel, octave - 1 /2- octave monaural equalizer. center equalizer. Like all Crown equipment, the EQ -2 is designed Each of the eleven bands per channel provides to add no coloration of its own. S/N is -90 dB; fre- 4-15 dB of boost or cut. The center frequency of quency response (20 Hz to 20KHz, all controls flat) is each band is adjustable ±1/2-octave to allow precise Al dB, and IM distortion is less than .01 %. matching of equalization with the environment. The EQ -2 will flatten anj monitors you can name - Constant bandwidth filters minimize distortion. even mismatched pairs. Call your Crown supplier Sophisticated tone controls include variable today. (1. r crown Boxinternational 1000, EIl -Thart In 46314

CIRCLE 93 ON READER SERVICE CARD 28 MODERN RECORDING www.americanradiohistory.com QIWTL1 RE17@c* 0, EODMa),óUO2IS©`./O) - Ebó_Jg oo600000 00 000-Tg0 000000 0- o00 MG t%l 3) .0

Wom hiRcw AD 230 AD 220 Continuously variable delay And you can bet that these experienced Continuously variable up to 600 milliseconds electronic pioneers know how to judge a delay delay up to 500 milliseconds 4 bandwidth selections up line. The Ibanez Analog Delay with Multi -Flanger 3 bandwidth up to 20 KHz selections does what no other analog device of its kind has to 10KHz Built -in flar er with been able to do - beat the digital delays at their separate controls own game and at a price that almost any band can Built in Flanger Studio quality signal to afford. It's unbelievably quiet, features selective noise ratio bandwidth, and has the most versatile range of LED ladder -type VU meters controls of any comparable device. for input and delay levels Input sensitivity and output level controls High /low impedence with You can get double-tracking, slapback echo, either 1/4" or 3 -pin long delay, flanging, automatic vibrato, reverb, 19" rack mount cabinet cornectors and most any other time delay effect possible. Ask 19" rack mount cabinet about it at your Ibanez dealer today.

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MOVEL. A0 -220

IBANEZ, P.O. BOX 469, CORNWELLS HEIGHTS, PA 19020 327 BROADWAY, IDAHO FALLS, ID 83401 IN CANADA: EFKAY MUSICAL INST. LTD., 6355 PARK AVE., MONTREAL, P.Q. H2V 4H5

CIRCLE 75 ON READER SERVICE CARD

www.americanradiohistory.com TH E t hi. 10 j SCENE By Norman Eisenberg

VERSATILE INTERFACE DEVICE SPHERE'S ECLIPSE CONSOLES

A new audio patching center, the model SP -1 from Several new consoles in the Eclipse series, designed Russound /FMP, Inc. of North Berwick, Maine, specifically for multi-channel music recording and allows the audio -equipment owner to connect all available as 4,8,16,24 and 32 track systems with up stereo components and accessory devices together, to 40 inputs, have been announced by Sphere Elec- and to switch them in what is said to be a "virtually tronics of Chatsworth, California. Of modular construction and easily expandable, these consoles are claimed to offer very high performance through the use of discrete operational amplifiers and specially designed transformers. And while they are capable of handling complex mixing patterns, the consoles are said to have been designed with special emphasis placed on the "human engineering" of controls to simplify their operation and minimize user fatigue. Among the Eclipse series features are: wide choice of equalizers, all of which are interchangeable, including two styles of graphic; solo in stereo position with echo; solo of monitor channels; monitor mute; stereo echo send; monitor echo; two pannable effects returns; two programmable mutes

infinite variety of configurations, limited only by imagination and the number of available patch cords." The SP-1 connects to the tape monitor input and output jacks and has 48 additional jacks of its own. Four tape recorders plus other gear can be jacked in at the rear of the SP -1, and their interfacing controlled by front -panel switching or by chang- ing patch cords. Applications listed for the SP -1 include dubbing and copying, decoding from one noise- reduction format and encoding into another, duplicating tapes on several recorders simultaneously, intermixing of several two -channel sources, reversing channels, and many more. Supplied in a on each input; stereo cue. Patching uses profes- walnut finish vinyl case, with twelve patch cords sional size '/4 -inch jacks. Channel selectors are color and a twenty -two page booklet, the SP -1 patching coded and illuminated. Optional are light beam level center is priced at $149.95. displays.

CIRCLE 7 ON READER SERVICE CARD CIRCLE 2 ON READER SERVICE CARD

www.americanradiohistory.com SIX-IN MIXER NEW LINE OF MICROPHONES

From Spectra Sonics of Ogden, Utah comes news of Audio -Technica has added microphones to its prod- its model 1100 Line /Microphone Audio Mixer which uct offerings, which up to now have included phono accepts six line or six microphone inputs and has a cartridges, headphones and record -care accessories. monophonic output. The device also features a The new A -T mics are available in three electret- monitor capability, high -and low- frequency EQ and condenser and two dynamic (moving -coil) types, a VU meter. Inputs and program output are trans - and each type can be had with cardioid (unidirectional) and omnidirectional patterns. Top model is the $80 AT 813, an electret unidirectional with response rated from 20 Hz to 20 kHz, -58 dB sen- 1 sitivity, and balanced 600 -ohm output. Weight is 1 s 6.5 ounces less cable and clamp. The AT 813 has a former -isolated. Priced at $800, the model 1100 may be installed in a standard rack mount. Among its important specs are: S/N ratio of 80 dB minimum Model AT801 for line input, and 78 dB ± 1 dB for mic input; maximum continuous sine -wave power of +24 dBm ± 0.5 dB; maximum and typical THD rated at 0.02 and 0.01 percent respectively; and equalization capability of ±20 dB at 20 Hz and 20 kHz, and ±14 dB at 100 Hz and 10 kHz. CIRCLE 3 ON READER SERVICE CARD

SUPER AMP FROM Model SOUNDCRAFTSMEN AT811 A specially developed circuit, said to anticipate power demands and then supply only a proportional amount of power as required by varying input built -in protective screen with multistage filters to signal voltages, is featured in Soundcraftsmen's reduce wind noise and "pops" from close-up use. new stereo "super- amp," the model MA 5002. The Others in the line are the AT 811 at $75, and the amp is rated to deliver 250 watts (rms) per channel, AT 801 listing for $50. The AT801 is an omnidirec- 20 Hz to 20 kHz, both channels driven into 8 -ohm tional type. loads, with less than 0.1% THD. Noise is listed as All electret models have permanently polarized better than 105 dB down, and input sensitivity for diaphragms requiring no external power source. full-rated output is 1.28 volts. Slew rate is stated as One AA -size cell is placed inside the mic to power better than 25; damping factor, greater than 100; the impedance-matching network. response, as within 0.25 dB from 20 Hz to 20 kHz. The "vari- proportional" system, as it is called, Model through its continuous monitoring of output power AT802 needed, reportedly results in energy savings by reducing the amount of energy dissipated as heat loss. Yet controlled full power always is available, standing by, and supplied as needed. According to Model the manufacturer, this design enables a higher - AT812 powered amplifier to be sold at a lower price than class AB amplifiers since certain costs are elimi- nated -for instance the MA 5002 is said to need no The models AT 802 and AT 812 are the dynamic ventilating fan even under the most severe oper- mics, omnidirectional and unidirectional, and priced ating conditions. Equipped with LED indicators, at $50 and at $75, respectively. Accessories in the dual power cords for remote AC on /off, wood side mic line include cables with XLR -3 connectors, panels that may be removed for rack -mounting, and snap -on stand clamps, protective carrying cases, switching for two speaker systems, the MA 5002 is line matching transformer, slip -on foam wind- priced at $699. screens and a shock mount.

CIRCLE 10 ON READER SERVICE CARD CIRCLE 20 ON READER SERVICE CARD

www.americanradiohistory.com ADVENT OFFERS CASSETTE TAPE WINDER POWERED SPEAKER

Robins Industries, the accessories manufacturer, A surprise product from Advent Corp. is its new has announced a new high -speed hand -held winder powered loudspeaker, consisting of a two -way for cassette tapes. Known as catalog no. 36 -006, acoustic -suspension speaker driven by an inte- and priced at $4.59, the device permits wind or re- grated bi- amplification system. Known as The wind of a cassette off the deck at twice the normal Powered Advent Loudspeaker, the new product is rewind speed of the recorder. To use the winder, yor slip it onto a cassette and lock it in place. A hand crank operates a gear that drives a keyed spindle which fits the cassette hub.

CIRCLE 16 ON READER SERVICE CARD

A &D PARAMETRIC EQUALIZER

The model E950 equalizer, from the British firm Audio & Design Recording Ltd., is called by its manufacturer a "paragraphic" device which is their trademark for parametric. In the E950, pre -set, color -coded positions for frequency and bandwidth enable the device to be set up in either stereo 6- section format, or as a 12- section mono format, with output on either of the unit's connectors. In the 12- section mode, the device can serve as an octave equalizer with two "floating" sections for use over the full bandwidth for "tight notching." According to the manufacturer, the E950 should be ideal for sound -reinforcement in tight -notching up to six feedback modes in stereo, removing less audio con- said to be the result of Advent's on -going investiga- tent than with third- octave systems, and also tion of the complex interaction between power am- capable of being exactly tuneable to required fre- plifiers and drivers and the listening room. "Only quencies. A &D Ltd. also indicates the device's ap- by integrating amplifiers and speaker drivers," plications extend to broadcast use and to the re- says Advent, "could these interactions be predicted cording or sound -processing studio. Frequency is and controlled." variable over a four -octave range for each section; Priced at $500, the new speaker /amp system is and bandwidth may be varied down to one -eighth somewhat larger than the conventional 2 -cubic -foot octave. Inputs and outputs are balanced, and the a/s cabinet, measuring 28% by 14% by 11% inches. device is rated to handle overload in excess of +24 For additional info, write to Advent at 195 Albany dBm. Dimensions are standard rack -mount. St., Cambridge, Ma. 02139.

CIRCLE 12 ON READER SERVICE CARD CIRCLE 1 ON READER SERVICE CARD

www.americanradiohistory.com "FANTASTIC" PRODUCTS

From the company that calls itself Fantastic Elkhart, Indiana 46514, has a four -page brochure Sounds, Inc. (Long Beach, Ca.) comes word of listing "preliminary specifications" for its D -440 several new products. One is a microphone talk - stereo power amp, and DL -400 stereo control back system, available in many configurations. It system which involves a three- module design. This permits switching one mic signal to two inputs is the one you may have heard about -it shows remotely via a switch located at the microphone. digital readout of each channel. Crown also has Thus, for instance, a performer can switch his mic released an article on equalization that is very off the house sound system and into a cue monitor, worth studying. or board -operator headphone in order to communi- Some fascinating material is contained in a rather cate with his technical crew during a performance posh booklet on speakers published by a newcomer without the audience being aware of the signal - to the U.S. audio scene, the French company known switching. Optional hardware permits the system simply as 3A. Its U.S. address is 172 Madison Ave., to remotely switch other types of equipment such New York, N.Y. 10016. as lighting, cue lamps or peripheral signal- process- A big catalogue bulging with tape, audio, record ing equipment. and guitar accessories has been issued by Le -Bo Fantastic also has a dynamic equalizer offering Products, Co., Inc., Maspeth, N.Y. 11378. It is im- up to 15 dB of boost or cut, in frequency ranges possible to describe all the goodies shown in this from 50 Hz to 1 kHz, and from 500 Hz to 10 kHz. It booklet -they include things from blue-denim car- may be used as a simple variable frequency rying cases to splicing tape. equalizer or -in its "dynamic" mode -to vary the Switchcraft, Inc., 5555 No. Elston Ave., Chicago, EQ from flat response to the selected EQ settings Illinois 60630, has released a new catalogue, no. automatically as the dynamics of the input signal C -510, which describes a number of its connectors change. The threshold at which the EQ changes and includes a useful mating chart showing what begin is also variable. Suggested application is for mates with what. This company also has a one sheet tailoring a sound system's response to correct for a release describing its own new stereo selector vocalist whose tonal qualities vary as his or her system, the model 640R, which is designed for dynamics vary. handling up to 1728 combinations of stereo sources, Another Fantastic product is a "Tri -State LED amplifiers /receivers and speaker systems. Signal Indicator" which is said to be capable of JVC has a paper that goes deeply into the displaying both normal and overload signal condi- biphonic type of sound which is an extension of tions; it employs what Fantastic describes as binaural sound (described here in the June 1977 "sophisticated pulse- stretching circuitry tech- issue). If you're interested, contact JVC America, niques" that allow the LED to show instantaneous Inc., 58 -75 Queens Midtown Expressway, Maspeth, overload not normally visible on an LED. N.Y. 11378. Finally, there's a Power Indicator module that SAE 's full-line brochure describes it equalizers, allows continuous monitoring of bipolar power sup- tuner, noise -reducer, electronic crossover, etc., in ply voltages. In this device, two LED indicators re- addition to preamps and power amps. SAE's full main on continuously unless operating voltages name is Scientific Audio Electronics, Inc. and they drop below a predetermined threshold level. are at P.O. Box 60271, Terminal Annex, Los

CIRCLE 5 ON READER SERVICE CARD Angeles, Calif. 90060. An increasing number of British audio companies have indicated interest in the U.S. audio market. READING ABOUT SOUND For information on them, write to the British In- formation Services, 845 Third Avenue, New York, Sometimes reading about sound can be almost as N.Y. 10022. fascinating as hearing it, and a number of manufac- Finally, there's the latest edition of that perennial turers know this and take seriously the matter of electronic "dream book," the Heathkit catalogue. "literature" offered to prospective buyers. Among Write for a copy (Catalog 816) to Heath Co., Benton the spate of printed offerings that comes across my Harbor, Michigan 49022. desk, I often find some of special interest and would like to recommend these recent examples. Crown International, 1718 W. Mishawaka Road, .47

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The primary trade show of the Nation- of the unit, and three-conductor 1/4-inch which is best thought of as a "window" al Association of Music Merchants was phone jacks are provided for high or a "dead band," is continuously varia- held this June 10 through 12 in Atlanta impedance line in and line out. The SR ble from 12 dB to only 2 dB in width. rather than in Chicago as usual. The At- 107 mounts in a 19 -inch rack, and takes By starting with the "window" at its lanta show included a considerable num- up only 1 -3/4 inches of vertical rack widest and progressively narrowing it ber of first-time exhibitors, although many of them were smaller companies based in the South who may not have exhibited at previous Chicago NAMM shows due to the high transportation costs involved, in addition to newly- formed companies. This year's show fol- lowed the pattern of the last several years in its increased emphasis on PA equipment. So much interesting new PA gear was shown, in fact, that it will take the better part of two columns to catch up on it all. This month, however, we'll begin by looking at the new musical instruments and synthesizer products shown in Atlanta, and we'll continue on into musical instrument amplifiers and accessories and PA equipment in the next two months' columns. space. The other part of Shure's room while adjusting the equalizer as neces- equalization system is the M615AS sary to keep all the LEDs turned off, Equalization Analyzer System ($715.00) it is possible to equalize a sound sys- SOUND which consists of the ES615 omnidirec- tem's octave -band pink -noise response REINFORCEMENT tional Analyzer Microphone and the to within ±1 dB in a matter of minutes. M615 Equalization Analyzer (both CIRCLE 18 ON READER SERVICE CARD New from Shure Brothers Inc. (222 available individually). Shure has taken - ACCESSORIES - Hartrey Avenue, Evanston, Ill. 60204) an original approach to displaying data are a pair of units which combine to about the sound system's frequency Electronic Music Labs (P.O. Box H, form a complete room analysis and response; rather than using the usual Vernon, Ct. 06066), who make the equalization system. First is the Model array of five or more indicator lamps Syn -Key synthesizers, have introduced SR107 equalizer ($250.00). This unit is per equalization band to display the the EML Poly -Box ($475.00) which is a solid -state, active equalizer, whose actual signal levels, the M615 uses only ten octave -band filters have center two LEDs per band to indicate whether frequencies spaced at octave intervals the system's response falls above or from 31 Hz to 16 kHz. Each of the ten below a variable, pre -set "Hi /Lo Enve- filters has a ±15 dB boost or cut range lope." To use the M615 system, the ana- at its center frequency, and was de- lyzer's built -in pink -noise generator is signed for minimum phase character- connected to an input of the sound istics. Other features include a master system and the ES615 or other cali- level control which varies the level of brated mic is connected to the ana- the equalized output over a ±15 dB lyzer's input. The user then adjusts the range, an LED peak overload indicator equalizer's controls to extinguish the and an equalizer bypass switch. A low LEDs for each frequency band, indicat- a device designed to give polyphonic impedance, line -level input and a low ing that the response in that band falls capabilities to monophonic synthesizers. impedance mic /line output are accessed within the "Hi /Lo Envelope" width The Poly -Box is a digital /analog device via XLR connectors on the back panel which has been preset. This "envelope," which is programmed via a one -octave

MODERN RECORDING

www.americanradiohistory.com keyboard to produce harmony notes or designed to mount on a tom -tom stand. chords whenever a single note is played A lesser -known name in road cases is on the main synthesizer keyboard. The Bobadilla Cases (2302 East 38th Street, harmonic intervals of these additional Vernon, Ca. 90058) who offers a full notes are set via the Poly -Box keyboard, line of foam -lined fiber cases in addition with a range of three octaves above to to the plastic- coated plywood models one octave below the original note. The for the budget -minded. The Bobadilla Poly -Box's output precisely follows the catalog lists an extensive selection of main synthesizer's oscillator through standard -size cases in their standard con- portamento, vibrato and keyboard struction, which includes ABS -clad ply- transpositions. Manual tuning, variable wood in one of six colors, polyester phasing and a low -pass filter are includ- foam lining, riveted construction and ed in the Poly -Box to give maximum heavy -duty recessed hardware. Bobadil- control and wide variability of the inputs. The 5EX is self -powered, but la's specialty, however, is their extensive sounds produced. The unit interfaces connects into the Model 5's four output custom- design program. Even for stan- directly with patchable synthesizers, buses and cue, echo and solo buses. dard -size cases, custom design offers the and smaller, non -patchable instruments CIRCLE 19 ON READER SERVICE CARD ability to specify exactly the features may be simply modified to interface. and construction you want and need, CIRCLE 8 ON READER SERVICE CARD Star Instruments, Inc. (P.O. Box 71, ranging from extra -thick foam with Stafford Springs, Ct. 06076) has an crushed velvet lining in a guitar case to A new graphic equalizer, the Boss GE- interesting product in their "Synare" piano hinges and heavy -duty corners on 10, has been introduced by Beckman Percussion Synthesizer ($795.00). Four an amplifier case. One construction de- Musical Instruments (P.O. Box 22289, rubber pads are provided on the front of tail unique to Bobadilla cases is their East Los Angeles, Ca. 90022). The unit the unit to trigger the synthesizer; each "Double Edge" corners. Most other is an octave band model and has a ±12 of the four pads is individually tunable. road cases use butted corners which are dB cut and boost range for each band. In addition, each pad has three depth actually held together by rivets driven "zones" which can be set individually through the metal edging strip and ply- so that different sounds are produced wood at the corners. Double Edge cases from a combination of a triangle /square use an extruded aluminum channel with /pulse voltage -controlled oscillator, white an edge on the inside as well as the out- noise generator and pink noise generator. side of the case; the edges of the ABS- The VCO signal can be processed with a clad plywood are mitered at a 45- degree ring modulator with its own triangle/ angle to fit into the groove in the edging square-pulse oscillator, and the VCO- channel, and the case is constructed by plus -noise signal is processed through gluing the panels into the edging. This

Each of the ten sliders has a detent in the center "flat" position, and there is a bypass switch for ease and convenience in setting up and adjusting the equalization. An input level switch is provided to match the GE -10's sensitivity with microphone, musical instrument or line level inputs for maximum versatility. The GE -10 is particularly suited for use with musical instruments because it has a remote switch jack for the bypass switch function, allowing the use of the unit like a special effect with a separate footswitch. CIRCLE 14 ON READER SERVICE CARD

TEAC Corporation of America (7733 a VCF with variable resonance and a type of construction is said to result in Telegraph Rd., Montebello, Ca. 90640) dual VCA. The 24 dB /octave VCF is a stiffer, stronger case which is almost has announced the introduction of an controlled by any combination of man- totally watertight if the optional water- expander unit for use with the Tascam ual control, triangle /square LFO, and tight valence is ordered. As an addition- Model 5 mixer. The Model 5EX expan- envelope generator with lag, and the al service, Bobadilla maintains a file of der ($1300) contains eight Model 201 VCF becomes a sine -wave oscillator at dimensions for all custom cases they input modules to double the input capa- the maximum resonance setting. The build so that it is a simple matter to city from eight to sixteen; an additional entire unit is packaged in a compact replace or duplicate a custom design at four input modules may be added as an eighteen -pound housing which is a later date. option, bringing the total to twenty CIRCLE 9 ON READER SERVICE CARD CIRCLE 4 ON READER SERVICE CARD

OCTOBER 1977

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www.americanradiohistory.com And you know how hard it is to understand the new generation. Remember the phrase tive feedback, and minimal tive Oxidation Process" A new tech- "generation gap "? Well it's not only distortion. nology originally developed for true for generations of men, but And, to heat up the argu- manufacturing large scale inte- generations of machines, too. ment, a Fet will never be afflicted grated circuits. V-Fet devices are a major by thermal runaway. High tempera- advancement, needing major expla- ture does not induce the self - Sony's V-Fets. nation. And nobody is more destructive current surge that you'll A full line, from A toV. equipped to offer it, than Sony. find in the regular transistor. Sony makes both integrated Sony pioneered the first V-Fets. Or, bye, bye, bipolar. amps and power amps with V-Fet generation of transistors, some 25 circuitry. The TA -4650, TA -5650, years ago. Wondering why Fets have TA -8650, TAN -5550 and TAN -8550. Today, Sony is predictably not taken over, with the transistor But if you rest your pur- innovative again, being: the first to chase decision on specs alone, offer V -Fet equipment commer- V -Fets will disappoint you. cially. And the only ones to bedazzle For example, Sony makes you with a whole line of it. two amps, one V-Fet, one not, with So with these credentials 11 altilAiLL 1r' identical specs. Yet the V-Fet amp behind us, we will begin our expla- Harmonic distortion components. costs more than a spec more. nation of the new generation. Conventional Transistor The wave of the Obviously, the true measure of the past future of V-Fets can't be measured by any- First came the Fets. thing except the human ear. The new generation really ii iii ii iii . . . Now that you've listened to us, began many generations ago. . - - r....1 -Nos .-MN really listen to us. Fets field effect transistors \u -or - i...... O NE were first conceived in the 1920's. . 111 So go ahead and measure But the concept was so far ahead Transistor switching lag. The .lack of lag with V-Fets it! Bring your favorite record to your of its time that nobody quite knew One reason nearly everyone will be V -Fet dealer. Ask him to play it. switching to V Fèt§ how to execute it. You'll find your favorite record will Fet's work quite differently becoming a part of history? become even more of a favorite, as than the bipolar transistor; the tran- Well, for one reason, a Fet the sound opens up to you like sistor you're familiar with. The bipo- will not allow high currents to pass never before. lar transistor works by conducting a through it. And today's loud- And, if you want to open up small amount of current, which speakers demand high currents to a brochure on V -Fets, we'll send you then induces a high level of current. drive them. one. Write to SONY, 9 West 57th With the Fet a small amount of volt- Enter the V-Fet. Vertical field Street, New York, New York 10019. age (rather than current) controls effect transistor. In this structure, We have one note to add. the high level of current. thousands of Fets are ordered in a V-Fet equipment is not cheap. So if This bestows a Fet with high parallel orientation. The current you've appreciated our explanation, speed reaction time. Regular tran- passes through the silicone chips you'll find that a little knowledge sistors have a delay in reaction vertically. can be an expensive thing. time, creating problems like notch Thus, the ability of the V-Fet distortion and TIM (transient inter- to handle a lot of current is many modulation) distortion. times greater than that of small sig- This high speed reaction nal Fets -like the kind found in FM means also that Fets are extremely tuners and pre -amps. SONY® efficient and accurate in the high Sony made it possible for frequency range. Therefore they this complex network to be mass allow more precise and stable nega- produced, by devising the "Selec- ©1977 Sony Corp. of America. Sony, 9 W 57 St. N.Y., N.Y. 10019. SONY is a trademark of Sony Corp. V-FETS

CIRCLE 78 ON READER SERVICE CARD

www.americanradiohistory.com A Psychoacoustic Phenomenon the Aphex

EXCITER

By Michael Gershman

In 1956, Curt Knoppel incorrectly human brain was obviously an integral wired up a sound amplifier in kit form; element in "hearing" sounds that he eventually corrected his mistake, could not be measured on oscillo- but not before he had heard an intrigu- scopes. ing sound, the sensation of which Based on this insight and his per- stayed with him for twenty years. sistence, what is now the Aphex Aural Over the course of those two dec- Exciter was born in the spring of 1973. ades, Knoppel periodically set aside in- Because of the Aphex Aural Exciter, venting time (he participated in the people who buy the records of such ar- design of the nose cone for the Discov- tists as Linda Ronstadt, James erer satellite and various space hard- Taylor, Jackson Browne and Donald ware) and spent nearly $100,000 of his Byrd, or attend the concerts of Paul own money chasing that elusive thread McCartney & Wings, Supertramp, of sound wherever it might lead. Kiss, Crosby, Stills & Nash and In 1971, Knoppel read an account of others, hear "enhanced" sound. the discovery of holography and had a Record producers, engineers and re- galvanizing brainstorm: The tantaliz- cording artists use terms like "bright- ing distorted sound he had heard years ness," "warmth," "increased pres- before might be to pure sound what ence" and "fullness" to describe what holography was to pure light. Aphex does to sound. His basic theory was proven correct, Aphex -an acronym for Aural Per- and subsequent research led him into ception Heterodyne Exciter -ad- the realm of psychoacoustics -the dresses psychoacoustic circuitry in the field of study that concerns itself with listener. The device gives the brain how the brain processes sound. Now he credit for what it has always done - had the final parts of his equation: The constantly emphasize and de- empha-

MODERN RECORDING

www.americanradiohistory.com size fragile bits of acoustic information tic information that get lost in process- of the cables went to the wrong points to create individual realities for each ing audio are resurrected and emulate and resulted in low plate voltage. (The listener. Aphex further stimulates their "live" ambience. Aphex doesn't unit was designed for 200 volts and in- psychoacoustic activity to enhance create information. What it does is stead got only six volts; as a result, perception of acoustic material. seek out information and make it audi- certain tubes were starved for plate This is a revolutionary development ble. Then, the miraculous circuitry in voltage.) in state -of- the -art audio. Psychoacous- the brain further enhances the infor- Coincidentally, in trying to make the tics is a little- discussed (and less mation to give vocals, percussive in- amp work, he used a stereo phono car- understood) field. Using a psycho - struments and acoustic instruments tridge as a sound source. The coil of acoustic device on commercial records greater realism." the cartridge supplied the inductance is indeed a major step in the history of The invention of Aphex is due to a needed under those conditions. The sound recording. fantastic combination of coincidences mis- wiring and cartridge added up to a Aphex is used in music and speech applications for entertainment in combination with the mixing facility. For professional use, it is employed in a fold -back configuration like an echo unit. The instrument has standard balanced inputs and outputs and is designed for a level of 4 dBm =O VU. It is suitable for stereo mixing; two units would be required for a quad mix. During the mixdown, Aphex is folded back onto the main channel, at a level 20 dB lower, taking on the character of a sub -carrier. A differential input is thereby created and, upon processing by the listener's aural circuitry, creates interestingly unique and "beneficial" effects. To achieve the optimum effect, engineers set each mix component at the desired levels and keep the Aphex mix and main return in set positions; thus, by moving the send signals up and down, the engineer controls the amount of Aphex on each track. Aphex can also be used as an "instrument" on a separate track. There is also an application for Aphex in the mastering phase. Work- ing with already mixed material, the mastering engineer can use Aphex in "blanket" fashion to give some punch to lifeless tracks. However, since Aphex is transient sensitive, it is quickly noticeable on percussion tracks, especially cymbals, limiting its use in mastering. There are other drawbacks to Aphex. It will make noisy tracks even noisier; if an instrument is slightly out of tune, Aphex will make it more objec- tionable; it can sound harsh when applied without subtlety. Says Knoppel, "Aphex is a very dumb instrument. It simply doesn't know that noise isn't beautiful." Aphex creator Curt Knoppel: ".. I knew I was on the right track." What Knoppel says on the plus side is, "With 30 ips tape that is clean, free which occurred over a twenty-year fantastic coincidence leading to a of unwanted distortion and has an ac- period. In 1956, Knoppel was wiring revolutionary sound improvement. ceptable signal -to -noise ratio, Aphex up a stereo amplifier kit. He didn't Knoppel remembers the moment will tend to make the sound consid- notice that one of the coupling bridges well. "I will never ever forget the erably more acoustical -like the went from left to right and the other potency of that sound. It was almost original sound source. Pieces of acous- from right to left. Consequently, a lot something not of this world.. I was

OCTOBER 1977

www.americanradiohistory.com completely fascinated with it and kept equation -the human ear. It got me connection didn't work out, but Knop- on playing with it. I tried to figure out looking beyond electronics for the first pel demonstrated Aphex for Caesar what was what, but eventually I just time and I started reading about the with gratifying results. The 24 -year- put it away." hearing process. When I discovered old Caesar had both the musical in- A native of Stockholm, Sweden, the science of psychoacoustics, I knew terest and the business experience to Knoppel moved to America two years I was on the right track." fully appreciate the possibilities; his later and was still intrigued enough to From that point, he had the basic infusion of capital and energy gave the

CI rm, m Poc LIMITE AURAL EXCITER C+ANNEL A CHANNEL B 4 5 8 R -8 2- 8 t' `Q 1 D 10 0 10 rER. AI%CNJTPUT L1V1L RJTPUT L1VIIIIL MONITOR

The Aphex 402, an earlier version of the current model 602. bring the strange amplifier kit along direction to the invention of Aphex, project a second wind. ... just in case. but there were still circuitry kinks to The two formed Aphex Systems, Fully twelve years later, after a be worked out. He filed the first Ltd. in March 1975 in Framingham, series of triumphant inventions -a original patent in the spring of 1972, Mass. In less than a year, Aphex got plastic automobile muffler, the Discov- but three more years of work were re- its first break when the system was erer satellite nose cone and NASA quired before a reliable working model used on NBC -TV's Midnight Special. space suits - Knoppel decided to inves- was available for demonstration in (It has been used on every broadcast tigate the mystery again. April, 1975. since then.) "I took it down from the attic one night and tried to recreate that incredible sound as well as I could. It didn't APHEX MODEL 602 work until I tried a phono source I realize how again. At the time, didn't VU METER FILTER THRESHOLD CONTROL FILTER TRIGGER INDICATOR FILTER NOTCH DEPTH CONTROL De.Esser notch depth important it was." 0 VU = +4dBm Selects triggering level Limer delayed LED to show Selects -14dBm. Although he was personally (Illuminated) of the De -Esser filter. De -Esser filter On state. from Zero to his inventions had created stumped, THE DE -ESSER CIRCUIT enough capital for him to hire his own A gated (passive) notch filter of is provided for sibilance con- acoustic experts. From the spring trol. 1968 until October 1970, Knoppel Center frequency is SkHe an.1 the filter effects only the oc 1.711-11 poured some $85,000 into the project. rNRESNDE- ESSER Aphex circuits (not the ceco C ev Source). The acoustical engineers he hired could APHEX INPUT only shake their heads in bewilder- A 4 6 CHANNEL OR APHEX INPUT (FEED) LEVEL INDICA"I' forced to 3, ment. Says Knoppel, "I was Bi -Color LED, following the Aphex conclusion that the sound ®gym 2- -a (Input) Level Control, 1 over left. accept the GREEN: -I5VU; RED: +4VU was created by voodoo and abandoned the project." SELECTOR Û MODE and APHEX MIX INPUTMETER.DUTPUT ,APHEX MIX .11 An account of Dr. Dennis Gabor's Pure SOURCE or APHEX. I r internat mixing of both componec ts. For APSES INPI:I IUNIl«L Vi MEI FR SWITCH OUTPUT ATTENUATOR discovery of the principles of holog- mixing, set knob at abc ut iii on

mix I y use of Effects Aphex circuit Selects I NPUT Infinity to scale and control raphy convinced him to abandon the input level, only. OUTPUT or APHEX Unity Gain. Aphex Input Control, lc wer left. abandonment. "I read the account in a newspaper and a light went on in my head. It made me think that my accident could Once again, a coincidence helped That April, Aphex was used by lead to a discovery in sound equivalent Aphex along at a crucial point. Knop- Showco, Inc. a leading sound com- to what holography meant to light." pel was introduced to Marvin Caesar, pany, for "live" performances by Paul "Then I got the notion that there an accountant and land developer on McCartney & Wings. Record producer was still something missing in my another business matter. The original Peter Asher heard the Wings system

40 MODERN RECORDING

www.americanradiohistory.com GOOGA MO GA SPEAKS! Come hear the final word on bass instrumental amplifi:aton and reinforcement. Liste- to Googa Mooga speak at your Commuzit. dealer now. f

Community Light & Sound, Inc. 5701 Grays Avenue, Fhiladelphia, PA 19143 (215) 727 -0900

CIRCLE 95 ON READER SERVICE CARD

www.americanradiohistory.com Linda went crazy for it and we used it SPECIFICATIONS on the rest of her album."

2 CHANNELS, 34n19" RACK MOUNT "In my business, the ideal of course INPUT CONDITIONS DE -ESSER CONDITIONS is 100% perfect sound. When you look (Internal level boost switch on PC Card 620) Gated Notch Filter for sibilance control. NORMAL LEVEL: 0 VU. +4dBm; BOOSTED: 0 VU. -HdBm. CENTER FREQUENCY: 5 kHz at it that way, a two or three per cent

IMPEDANCE: 20kOhms nominal. HEADROOM: 19dB. NOTCH WIDTH: 1 kHz to 20 kHz Input control effects Aphex feed only. NOTCH DEPTH: (Adjustable) 0 to -14dB improvement is just incredible. When CONNECTORS: XLR, pin 1 gnd, pin 2 low, pin 3 high. THRESHOLD: (Adjustable) full range. someone hands you three per cent in a INPUT INDICATOR FUNCTION INDICATOR: LED, timer effected. RISE TIME: 2 Microseconds. Bi -color LED in Aphex feed circuit. little black box called Aphex, it's like a TRIGGERING: Via 5kHz bandpass filter. GREEN: -15 VU; RED: +4 VU. Signal path through De -esser is passive gift from God." SOURCE SIGNAL CONDITIONS and effects Aphex feed, only. ACTIVE BYPASS:(Mix Control at "Source ")unity gain. VU METER CONDITIONS Other sound technicians agree, and INTERNAL MIX: (Mix Control at 74) 6dB loss. Meter circuits are huffered. SIGNAL to NOISE LEVEL: -95dBm Aphex is now a permanent fixture at CONTROL: Input /Output /Aphex Circuit Output OUTPUT CONDITIONS Aphex position padded 7dB (meter protection) studios like Wally Heider's, The IMPEDANCE: 600 Ohms, transformer, floating. POWER CONDITIONS CONTROL: Fully Clockwise (10) unity gain. Record Plant and A &M Records. Simi- 115V / 230V AC, 25 Watt. PHASE: Rear panel phase reversal switch. Rear mounted power ground lifter switch. CONNECTORS: XLR, pin 1 gnd, pin 2 low, pin 3 high. larly, it is used "live" for all performances by America, Glen Camp- bell, Kiss, Crosby, Stills & Nash, etc. and decided to use Aphex on his then have been quick to recognize the utili- The specialized unit is even upcoming album with Linda Ronstadt, ty of Aphex. Producer /engineer Val marketed in a special way. Says Hasten Down the Wind. Aphex was Garay, who has used Aphex on pro- Caesar, "We don't rent the hardware, also used on the floor of the Demo- jects for Ronstadt, Eric Carmen, An- but rather we lease it on the basis of cratic National Convention at the drew Gold and James Taylor, remem- $30 per minute for finished product. recommendation of Republican Sena- bers his introduction to the process. We charge a licensing fee to reproduce tor Lowell Weicker. "Peter Asher was producing Hasten our process and our effect. For the Since then, Aphex has been used by Down the Wind and we had already average album, it works out to be a full range of musical performers - mixed four of the cuts when he heard about $1,000." MOR artists like Neil Sedaka and Aphex used on the Wings tour. He Producers, engineers and musicians Johnny Mathis, rockers like Led Zep- called me up and told me we had to use all agree that $1,000 spent on Aphex is pelin and The Grateful Dead and coun- the unit. We went to the Mastering $1,000 well spent. Rod Stewart heard try artists like Dolly Parton and Hank Lab and started working with it on the Aural Exciter demonstrated and Snow. already mixed material. Joni Mitchell told his team of sound men, "Aphex is Record producers and engineers came running in when she heard it. a must." 4

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CIRCLE 83 ON READER SERVICE CARD 0 www.americanradiohistory.com www.americanradiohistory.com Many -perhaps even most -Modern Recording readers have been dabbling with recording long enough to have picked up at least a nodding acquain- tance with general session procedures. First, you set up the microphones. Then the musicians gather round, and some time is spent experimenting - positions are shuffled, microphones are changed, and after some trial -and- error a basic "sound" is achieved. Depending on the skills of the engineer (and the group) this can take minutes or hours. Once in awhile it just doesn't "come together" for quite a long time, which can be a bit embarrassing if there are a few visitors present. But eventually a series of "takes" does get recorded. The best ones are saved, and perhaps some editing is done. Sooner or later (often, it's later), a final master with anywhere from four to sixteen or more tracks is ready for mixdown. The production advantages of this multi-track technique are obvious - each part can be done, and re-done, until it's perfect. And, the engineer can spend hours later on honoring that famous procedure known as "we'll fix it in the mix." But now, imagine a somewhat different kind of session, with the following conditions imposed: (1) All microphones must be set up properly in advance, and may not be moved once the musicians show up. (2) There will be no rehearsal time. (3) All mics will be routed to a two - track stereo output, and the entire "balancing act" must be done while the musicians are playing. (4) Re -takes are not permitted. (5) Over a quarter -of- a- million "visitors" will be judg- ing your work. (6) The group is world famous, and so will you be ,...w f you screw things up. If this sounds like an engineer's night- a are, you may be right. But it's iso a reasonably accurate de- cription of the "live" radio broadcast featuring the group Chicago, over radio station WLIR -FM, on Friday, May 20, 1977. The occasion is a benefit concert for the One-to -One Foundation, an organi- zation whose purpose is to help keep retarded and emotionally disturbed children out of places like the now - notorious Willowbrook institute. So far, One -to -One's biggest fund -raising events have been concerts and mini - telethons, and this Coliseum show eventually raised $145,000 to aid them in their work.

www.americanradiohistory.com The "live" Chicago radio concert was one of marry special broadcasts it became harder to get groups who done in conjunction with WLIR's reg- could find the time to leave their tours ular weekly radio concert series -the and enter the studio for a radio broad- longest running show of its kind in the cast. The situation necessitated going country having started back in "on location" to broadcast the groups August of 1971 with weekly "live" from the concert facilities in the Long broadcasts from the Ultra -Sonic Re- Island, N.Y. area. Michael has been producing and cording Studios in Hempstead, New Engineering the broadcast is Mi- engineering WLIR's concert series York. At that time, the audience would chael Colchamiro, better known as since its start when he was a staff gather in the studio, along with the Michael "Tapes" for the benefit of engineer for Ultra -Sonic Recording. musicians. But as the series expanded, those who can't handle Colchamiro. When the series left Ultra -Sonic 31/2

46 MODERN RECORDING www.americanradiohistory.com "we'll fix it in the mix" still applies, want to have to get on line at that pay Console Input Assignments the mix is not going to be done three phone in the lobby.) weeks from tomorrow. It's going to be Console Pan done now. The ground rules are Input Instrument Position ominously simple: Get it right the first Miking For Broadcast time, or don't get it at all. This rules 1 Bass drum Center 2 Snare drum Left center out the need (and the excuse) for multi- For a one -shot "live" broadcast, 3 Small rack tom Left track, and forces everyone to regard microphone placement technique var- 4 Medium rack tom Left /left center the concert in musical terms and not ies considerably from the usual studio - 5 Large rack tom 1 Left center as an exercise in data processing. type session. Michael had never before 6 Large rack tom 2 Center/Right center Therefore, a reliable console and worked with Chicago, but fortunately, 7 Floor tom Right center some assorted odds and ends are about Chicago had been working with Clair 8 Roto -tom Right all that's required. At the moment, a Brothers Audio [the sound- reinforce- 9 High hat Right center modified Tascam Model 10 console ment company] consistently. Through 10 Over-all drums 1 Left center with expander is on board. In -house discussions with Gene Clair, it was 11 Over-all drums 2 Right center modifications 24 decided not 12 Bass direct Center to the -input board in- to deviate from Chicago's 13 Instrumental sub-mix Right center clude a solo system, which is especially normal stage miking. 14 Vocal sub -mix Center vital for "live" work. 15 Horn sub -mix Left center The monitor system is comprised of 16 Percussion sub -mix Left Dynaco amps, and Dynaco A -35 17 Full P.A. mix Not used speakers modified with an additional 18 Stage left mic Left piezo -electric tweeter and custom -built 19 Stage right mic Right crossovers. In a somewhat unorthodox 20 Audience left Left center departure from conventional control 21 Audience right Right center room monitoring, Michael supple- ments the speaker monitors with a pair of Sennheiser 414 "open-air" years ago, Michael and Audio by headphones, whose foam air -cushions Zimet (a retail high -end audio shop) allow him to hear the speakers even put together the Zimet Mobile Record- while wearing the phones. He finds the ing Van to be used exclusively for the phones help him pick out the details, production of radio concerts. and with several years worth of shows behind him, he's learned to equate this phones -plus- speaker sound with what Getting It Right he would hear under more traditional circumstances. The Zimet van is not quite the Peripheral equipment installed in massive tractor -trailer affair, over- the van includes a Sound Workshop reverberation system and also delay So, the microphone set -up was a two - lines, dbx 160 series compressors, part mixture of educated guess -work Soundcraftsmen 2212 graphic equal- and feeds from the Clair Brothers' izers and custom -built distribution P.A. set -up. The sound company had amplifiers. A pair of Shure M63 Audio placed eleven microphones on the Master control centers act as the final drums, and these were fed through drive stage before the phone lines. custom -built mic /line split boxes so that both the console in the Zimet van and Clair Brothers' P.A. board could Getting It Through derive separate drum mixes. The P.A. mix would be mono, while the broad- And speaking of phone lines, they cast mix would be stereo. A direct have been installed a few days in ad- pickup from the electric bass was also vance. As you may suspect, its not split to both boards. quite enough to tap into the nearest To complete the pickup, Clair Broth- pay phone, as these lines have quite a ers supplied sub -mixes of horns, per- limited response. The special lines are cussion, vocals and "everything else." good up to about 15 kHz, and the first Each of these was routed through their task of the day is to check them for board first, and then out to the van. phase, frequency response, signal -to- Therefore, it was up to the sound com- noise and headroom -all of which may pany to feed a useable set of sub -mixes vary depending on the conditions of out to the van, and for Michael to the lines, and perhaps the mood of the blend them together into a satisfac- phone company. An additional regular tory broadcast feed. Additional micro- weight because of a super board and line is set up to the radio station for in- phones for broadcast-only use were set twin 24- trackers. Remember, these are stant communication during the con- up on stage left and stage right, and "live" radio concerts, and although cert. (If disaster strikes, one doesn't two microphones were placed to cap-

OCTOBER 1977 47 www.americanradiohistory.com ture audience reaction. And as a final tive drum mix has been established. opened strong; the tentative drum mix hedge against everything that can go All sub -mix feeds from the P.A. board was right -on, and the instrument sub - wrong once you're on the air, a feed of have been checked (only that they mix was quickly brought in. The first the entire P.A. mix was also routed out work has been verified, levels and "the vocal entrance came in smoothly, and to the van for emergency use. For- mix" will be set after they're "on the soon the horns and percussion follow- tunately, it wasn't needed. air"). ed. Not bad for flying blind. By the end The basic drum mix in the van was The cue is taken directly from the of the first song all was in order, and it provisionally established with the help tuner in the van and we're "live" on was time to check the EQ and com- of a volunteer drummer, who made the the air with interviews explaining the pression on the phone -line feed, based rounds of the drums before the group One -to -One Foundation and Chicago's on A/B comparisons between the mon- arrived. All other mixing was done involvement. The interviews conclude itor bus and the "air" (from a Dynaco after the actual concert began. and the station returns to regular pro- FM -5 tuner). Compression was fine, When trying to create a good mix, it gramming before the concert begins. but it was necessary to trim the low helps to know the group's music, and The interview segment provided an end "just a touch" on the Shure M63s.

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although Michael is quite familiar with "on the air" check for the console and Mono compatibility was checked since Chicago, he still spent a few pre- phone lines. So far so good, but four many listeners would not be listening session hours reviewing their recent Electro -Voice RE -15s placed around a in stereo. recordings. It also helps to be working conference table is a far cry from The first set was over at 9:10 P.M. with a top -notch sound company such thirty -five mics and Chicago "live" on and the scene switched to the inter- as Clair Brothers, since their work can stage. view set (beside the van) for comments spell the difference between an ade- At 8:20 P.M. the cue is taken from from Geraldo Rivera and Chicago quate (or worse) pickup and an excel- the stage, transmitted to the van via a group members. Twenty -five minutes lent one. headset communication system, and later we're back on the air with then on to the station DJ through the Chicago until the final encore is fin- extra phone hook -up to interrupt the ished at 10:55. On the Air song on the air " ... and go to the Chicago and all involved had gotten Nassau Coliseum, for Chicago, "live" through the "live" radio broadcast by At 7:45 P.M. the phone lines have on WLIR -FM." The on- stage' introduc- giving a great performance. been given their final check, a tenta- tions were completed and the group

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www.americanradiohistory.com It started like a good news /bad news joke. GOOD NEWS: Provide a high output sound system for Woody Herman, Herbie Mann, Earl Klugh, Sarah Vaughn, the George Shearing Trio, the Thad Jones /Mel Lewis Band, the Count Basie orchestra, Ella Fitzgerald and Dizzy Gillespie. Three performers a day for three days with each concert starting at 5 P.M. BAD NEWS: The performers would appear during the July 4th weekend (at the height of the tourist season) in the middle of Fort Adams State Park, which overlooks the America Cup Races in the waters of Newport, R.I. The event was "Jazz Returns to New- port, R.I. '77." Here's the kicker: Fort Adams dates back to the American Revolution ... You guessed it ... almost no power /electricity/AC /juice. All sound and lighting power would have to be generated. 1250 -300 amp. 3 4 phase wire supplied via fully - regulated 150 kVA generator (cum - mins diesel powered). The generator was located outside the Fort approximately 200 feet from the stage to prevent noise interference. The security lighting power came from the limited AC power available inside the Fort so that the generator condition could not affect security lighting. Total security lighting power -100 amps. Capron Lighting & Sound contacted Phylis Adessi, the producer of the concerts, in March. The contracts were ap- proved and signed by early May, so we had plenty of time for planning, equipment preparation and check -out prior to the time of installation at Fort Adams. Because Capron was con- tracted to provide all the lighting and sound (including the security lighting and paging system). we had a remarkable degree of control over everything affecting our work during the festival.

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www.americanradiohistory.com Arrival and Set-Up Sound System Equipment List Herbie Mann Jim Warwick, vice -president of Stage and mic set-up Capron, supervised the entire Capron 1 Uni -Sync Trouper IV (house mixer) involvement with this festival. He 28 channel with 4 submasters -1 house selected sound system components for send, 2 monitor sends, 1 echo send & LEGEND: phantom power supply. Trouper IV reliability and performance with an 0 0 monitor equipped with Uni -Sync 241 dual active eye to portability and ease of set -up. DRUMS DS35 EQ QLM -1 four -way line amp and snare RE15 Like most portable sound systems, limiters and MA -4B LED VU Meters /Line bass /kick H. Mann's amp package (for Jim designed this system to plug sub -masters) tom /rack personal together fast. 1 Uni -Sync Trouper I (monitor mixer) tom /floor mic Everything in the system is pack- 18 channel with 1 house send, 1 monitor hi -hat aged to travel well and withstand send and 1 echo send overhead 3 White 4001 1/3 various weather conditions -an impor- octave active equalizers overhead tant consideration when doing outdoor 1 White 140 real -time spectrum analyzer 1 White 150 real -time spectrum analyzer BASS work. The power amplifiers and long - GUITAR hand held GUITAR throw horns are housed in custom - 1 White 151 pink noise generator hand- n built wood road cases. The power held amplifier racks are castered; the horn 11 BGW Systems 750A power amplifiers 00 and bass cabinets have to stack, so 3 BGW Systems 250A power amplifiers they are not castered. Custom Anvil 2 BGW Systems 500D power amplifiers road cases are used for all mixers, 1 BGW Systems 100 power amplifiers Herbie microphones, microphone cables, 4 Electro -Voice HR9040 long-throw microphone snakes and stands for horns maximum protection against mechan- 8 Electro -Voice HR6040 medium -throw 0 0 ical shock, dust, weather, etc. The mix- horns ers operate in their cases with the ser- 8 Electro -Voice HR6040 wide -throw vice areas exposed for fast and easy ac- horns cess. Where feasible, cables on cable 8 Electro -Voice TL806Q Bass Cabinets reels are built into their road cases. 8 Electro -Voice TL5050 Bass Cabinets Jim arrived four days before the 6 Electro -Voice Sentry IV B full -range speaker systems festival was to open to personally 2 Electro -Voice Eliminator 2A make final preparations for the sound 8 Capron floor monitors and lighting installations and to super- (With Electro -Voice 12L speakers- cross vise the scaffolding and staging set -up over at 800Hz) by Ocean State Rentals. Electro -Voice 1823M- high- frequency Two days before opening, the rest of driver the crew arrived. House mixer -Larry Electro -Voice 8HD- high- frequency horn

"Links" Faherty; monitor mixer -Al 1 Captron 31 pair snake Kennedy; light board operator-Paul

Iversen; and swing man -Paul "Buster" Horton. They arrived in con- pi/0 ' 1` voy formation with: t" (a) A 22 -foot truck with power -lift : gate packed with the sound system. (b) A 14 -foot truck with power -lift gate packed with a Hammond B3 organ, and miscellaneous sound and I .'s. lighting equipment. (c) A 14 -foot parcel van with the stage and security lighting systems. (d) A station wagon with crew gear in tow. (e) A 20 -foot mobile home. The mobile home was our on -site command center with our only phone

54 MODERN RECORDING www.americanradiohistory.com Count Basie Stage and mic set-up

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VOCALS O and O e SOLOS producer, and outdoor festivals seem pre -established settings which ranged to be governed by Murphy's Law. from 50% to 80% of maximum output Because both entrances to the fort depending on the type of horn. Using were designed for a horse and wagon, the pink -noise generator again, the not a modern -day vehicle, all trucks House system was EQed for flat with a were unloaded at the entrance and the reading taken from an RE20 micro- contents were shuttled to the stage phone and a spectrum analyzer. After area via forklift. The house mixing the system was EQed, Jim took spot system was located approximately 200 checks of the sound pressure level at feet in front of stage left on a each frequency at various locations in 12'X 12'X 10' high scaffolding the "house" (all over the fort) using platform. Power amplifier racks were the White 150 hand -held spectrum located (in their road cases) at the base analyzer. (The system was EQed by of the house speaker stacks on scaf- ear for the performances.) Al then set folding wings down stage right and the microphones on their stands while down stage left. The monitor mixing Links checked all microphone cables system and monitor power amplifier and the mic snake with the Capron Mic racks (in their road cases) were located Line Tester -MLT. The remote ter- down stage left. minator on the MLT allowed Links to After the equipment was placed in check for case shorts, phase reversal, its operating position, the generator straight shorts and opens as indicated was turned on and checked for proper on an LED readout with only one end voltage and frequency. Then the power of the cable plugged into the hand -held at the main (300 amp) disconnect was tester. Finally, all channels of the to the outside world. If you've ever checked for proper phasing and vol- House mixing board were checked worked on- location, you know how im- tage. The power that was run from the portant a phone in a dry place can be. main disconnect to the power ampli- Microphone List At night, the mobile home doubled as fiers and mixing boards was checked crew quarters. Having the crew also. Then the House and Monitor 14 E -V 1776 condenser cardioid housed on job site saves precious time systems components were connected 18 E -V DS35 dynamic cardioid when the nearest hotel is many and powered. 8 E -V RE15 dynamic cardioid minutes away (or longer during tourist Jim ran pink noise thru the House 4 E -V RE16 dynamic cardioid 4 E -V RE20 dynamic cardioid traffic jams). system (via a mic channel on the mix- Total: 44 microphones Approximately 48 hours were al- ing board) and the system was checked lowed for the set -up and check -out of by Links and Al, segment by segment. all the sound and lighting systems When it was determined that the with microphones plugged in. The prior to the sound check by the first House system was working properly, Monitor system was checked with day's performers. This amount of time the House bass amplifiers were set at much the same procedure as the House may seem generous, but it is neces- 80% of maximum output. The House system. Sound pressure levels were sary. This was a first time effort by the horns and power amplifiers were set at checked on stage and not in the house.

OCTOBER 1977 55 www.americanradiohistory.com Operation 24 microphones

1 announce microphone That The sound system was ready to go almost 24 hours to the minute before 31 pairs of microphone cable snakes Good Sound opening. Now, they were ready to deal - (split to monitor mixer) with the performers, road managers

and assorted hangers on. Some per- 1 formers had sent in microphone lists House mixer and set -ups in advance ... and some Uni -Sync Trouper IV performers hadn't. 1 The performers or the road mana- House power amplifiers gers met with Jim and Links to determine the particular requirements for each act. The list of performers in- 4 BGW 750A 2 BGW 500D dicates a wide range of requirements, High Full music styles and tastes ... that's what 4 BGW 750A 3 BGW 250A makes it interesting. Unlike rock or Low Full pop music groups, none of the performers carried their own sound men, House speakers so House mix was worked be- the out V 1 tween the road manager and Links. Al 4 EV HR9040 4 EV Sentry IVB 8 EV HR6040 worked out the monitor mix with the 4 EV HR4020 i performers. 8 EV TL8060 2 EV Eliminator 2A 8 EV TL5050 Herbie Mann carried a personal microphone to be used for his flute and Sound system diagram (HOUSE) vocals. During his set, he wanted only the flute in the stage monitors. His set- It's always interesting to see what up diagram shows each musician is seasoned musicians will do in different miked and each had his own floor mon- surroundings with new equipment. itor. Herbie and his drummer had two During her sound check, Ella Fitz- monitors each. Contrast the Herbie gerald tried the relatively new Electro- Mann set -up with the Count Basie set- Voice 1776 condenser microphone and up. The Count's nine -foot concert chose to use it during her set. Both More and more groups grand piano was miked with four Count Basie and Dizzy Gillespie (on RE15 microphones, and the bass (situ- the same bill) took her lead and also are insisting on mixers by ated) behind the piano was taken used the 1776 for their vocal/solo Interface Electronics because direct. The guitar player next to the microphones. During the short, some- their rugged advanced de- piano chose not to use any microphone times non -existent sound checks, the sign, high quality components, or pickup. Look at the Count's set -up; solo bus on the Uni -Sync mixers find any monitors? The Count depends helped Links & Al keep track of every- modular construction, im- on his ears and eyes to "hear" his or- thing without potting down all other munity to stray fields, and chestra, so no monitors! channels to isolate microphones. The multiple options result in real -time analyzers helped us visually much better performance and 24 mic ophones keep track of just what it was we were a flexibility that allows you to 1 announce microphone hearing, quickly and accurately. The pre -production checkout (before have it your way, with every- l the system left the shop and after it in 31 pairs of microphone cable snakes thing one frame including 4- (split to house mixer) was set -up) was thorough enough to submasters, large lighted VU prevent any problems from occuring. It's a very good feeling at the end of meters, equalizers and cross- 1 Monitor mixer three days and over thirteen hours of overs. Series 104/108 can Uni -Sync Trouper I good music to know that you didn't handle up to 32 inputs and up need any of the backup equipment you 1 to 8 stereo submasters; and Monitor power amplifiers brought "just in case." The other half we make the only profes- of that feeling is knowing you chose the right equipment in the first place sional Stage Monitor mixer, 1 1 1 1 BGW 750A 2 BGW 750A 1 BGW 100 and that you had the right crew with available complete with you. equalizers and intercom. 1 Wouldn't you know, the system had Monitor speakers Write for more information. to be struck and packed on July 4th. At least it didn't take as long to pack 1 2 EV Sentry IVB 8 Capron Monitor headset as it did to set -up. Everything was in INTERFACE ELECTRONICS side fill floor monitors for drummers the trucks, ready to go home, in just 3810 Westheimer, Houston, Tx 77027 Sound system diagram (MONITOR) ten hours. Telephone (713) 626 -1190

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www.americanradiohistory.com simon & By Bob Weil pw Garliinkel

an interview with engineer/ producer oy Hatee

Producer/engineer /record company vice-president Roy before coming to ABC Records in 1975 as vice-president, Halee has been integrally involved in some of the all -time A &R- Creative. Roy's recent productions have been the classic recordings of contemporary music. He got his start critically acclaimed Mark /Almond Band's To The Heart LP, engineering Bob Dylan's "Like A Rolling Stone, " and and a recently released album by a new group, The Big Wha- moved on to engineer the Lovin' Spoonful and Blood, Sweat Koo. The new group is led by David Palmer, lead singer on & Tears. But he probably is best known for his long associa- Steely Dan's Can't Buy A Thrill album, and also Carole tion with Simon & Garfunkel- engineering their first few King's lyricist for the Wrap Around Joy album. albums and co producing their Bookends and Bridge Over When this interview took place, Halee was just beginning Troubled Water albums. work on an album with a new ABC act -Blood, Sweat & Halee went on to head Columbia Records' San Francisco Tears. The album he says is going to surprise critics of the studios, where he worked with Laura Nyro and other artists group's recent work.

MR: Roy, how did you get started in the song and we'd do it "live." When- ly creative records are made when recording? ever Dylan was ready we'd just roll the everyone's got some input.... "How RH: Well, I started in television at machines because you never knew about this ?" .... "Let's try that" ... . CBS and worked my way up into the what was gonna happen. It was almost "I wonder what it would sound like if control/engineering phase of TV before like doing a remote. we ".... moving to CBS Records as an editing MR: Did you do any overdubbing on The "duh dum whack, duh dum engineer. I spent about a year there those sessions? whack" on "Summer In The City" is editing nothing but classical music RH: None at all, really. just a mic and a sand bag placed in a prior to moving into the studio end. MR: How about the Spoonful? Who big garbage can. Crazy, but it worked. There I was fortunate enough to start was producing when you started? MR: Good things seem to happen off engineering Dylan's "Like A Roll- RH: That was the first thing I did when no one's afraid to make a sugges- ing Stone," and proceeded from there after working with Dylan. Eric Jacob- tion because they might step on some- to do the Lovin' Spoonful, Simon and son was the producer. body's toes. Garfunkel, Blood, Sweat & Tears .. . MR: Was John Sebastian the moti- RH: Right. all at about the same time ... so vating force? MR: Who was producing Simon and everything fell into place for me, RH: As I recall, they were all con - Garfunkel when you first started engineer -wise, at that moment. tributing heavily and equally, and to working with them? MR: What machines were you re- me that is the magical thing in the RH: When I first started engineer- cording on in those days? studio - when everybody's into it and ing them, a guy named Tom Wilson RH: Four -track Ampex machines. it's like a mad house. If someone was producing the Wednesday Morn- "Summer In The City," "Daydream," walked into the studio off the streets, ing, 3 A.M album. He also did the all the early Simon and Garfunkel, and they'd never believe anyone could Sounds of Silence LP. Dylan stuff was four track. work like that. But when a group is MR: As I recall, the version of the MR: Tell me about the early Dylan making great records, there's so much "Sounds of Silence" on Wednesday sessions. That was a hell of a way to going on that it really is chaos. Jacob- Morning didn't have any drums at all break in as an engineer. Those sessions son, the producer, was there harness- while the one on the Sounds of Silence have an amazing spontaneity, almost ing this energy ... trying to keep it album did. like it was a case of "let's just run it somewhat together without holding RH: Right. The first version of through and ... " anything back. Of course, hit records "Sounds" was actually just a demo, RH: That's just about it. He'd write can be made by a formula too, but real- almost an audition; with just Paul and

58 MODERN RECORDING

www.americanradiohistory.com Artie, and Paul on guitar. We did some think Paul's the guy with the most actly the same speed? overdubs later, when they were out of studio chops around. He's not afraid RH: Very hard, but not as hard as the country. That version scored and to do whatever's necessary to enhance dealing with the fact that we were from there on we always used outside a record. working with an 8 -track at the time, so musicians. I think Bob Johnson came MR: Back to Simon and Garfunkel; on that song we obviously ran out of in to finish up producing the Sounds of was Artie doing a lot of the vocal ar- tracks early along. When I came up Silence album and he did Parsley, rangements? with the idea of those voices at the end Sage, Rosemary and Thyme and RH: Well, actually, a lot of the ar- of the song, and Artie had the brain- started the Bookends album. ranging was being done by everyone in storm to record them in a church at MR: So it was during Bookends that the studio. Artie, Paul, myself and the Columbia University, I was left with Roy Halee, engineer became Roy musicians. the problem of devising a way to use Halee, producer /engineer? MR: Which studio musicians were two 8- tracks in sync- which, at that RH: Yes, I finished up Bookends and you working with? time, I thought was quite a technical produced Bridge Over Troubled Water. RH: Larry Knechtel on keyboards, achievement. I was able to do 16 -track MR: Were you actually producing or Joe Osborne on bass, Hal Blaine on with two 8 -track machines, by using co- producing with Paul and Artie? drums -that whole crew. When you've one machine's drive system for the RH: Definitely co- producing, got musicians of that caliber you're other machine and making sync marks especially with Paul. Realistically, if crazy not to let them work out their on the tape. We needed at least five or you're working with that kind of own parts. Like Larry has to take six tracks to put all the voices on, so I talent, there's no way it can be any- credit for the piano arrangement on made a guide track of the original 8- thing but a co- production. If the artist "Bridge Over Troubled Water." He in- track to take into this church, did the hears in his head exactly what he stinctively knew what to play. On voices that way, then re -mixed it at the wants then the function of the pro- "Keep The Customer Satisfied," studio synching the two machines ducer is to get that down on tape, and that's basically my horn part. together. Not too easy at the time! no matter what the credits say, the ar- MR: Can you go into the history of Which is one of the reasons I think it tist is co- producing. On the other The Boxer? I've heard it was a long turned out to be such a truly incredible hand, some "super- stars" really don't time in the making. record. have the slightest idea of what they RH: That was my favorite record MR: How about the "bull- whip" per- want. Then the producer has to take with them! I found that, as a producer, cussive sound you got? control in order to do his job -bringing that was the most challenging and sat- RH: That was Hal Blaine's snare; I out the best in the artist. isfying record I made; there are all think we put him in an elevator shaft I've never been into the head trip of kinds of strange things going on. First to get an explosive drum sound .. . putting "the Roy Halee signature" on of all, we started with Paul's great sped the tape up a little bit ... slowed a record. Whatever works best for the song which truly epitomizes New York it down ... heavily limited, heavily record is what's right, whatever's City. We cut the original tracks in New compressed -just kept trying things realistic. I really think the "star pro- York with Fred Carter Jr., who was until we got the sound we wanted. ducer trip" has been blown all out of their guitarist at that point. Fred and proportion. Paul had a very magical thing going MR: Blown out of proportion by the with their guitars, like they were made press? Or by producers who actually for each other. get into it? MR: I've always thought Paul RH: I think both, man. I think the Simon to be a better guitarist than tyrannical producer is a dying breed. most people realize. Magical records are a product of RH: Paul is sensational ... my mutual respect between artist and pro- favorite acoustic guitarist. I adore the ducer. I have great respect for Richard way he plays. He's an even better Perry -he has the knack, the personal- guitarist than he knows. He has a ity to gain the confidence and get the history of listening to everything and most out of the artist. And he obvious- everyone, and I think to this day he ly maintains his objectivity. The same still takes classical guitar lessons. But, goes for Waronker and Titelman. getting back to "The Boxer." It was a Peter Asher's another guy who makes gas. After New York we went to Nash- marvelously clean records. Bones ville ... did some overdubbing ... Howe too; there's an example of what back to New York for more overdub- I'm talking about. He's made the tran- bing ... brought in an arranger to MR: It must be interesting working sition from making producer's records write string parts ... ran out of tracks with Blood, Sweat and Tears and Bob- (the early Association and Fifth ... recorded the strings and some Fred by Colomby [drummer for Blood, Dimension were definitely "Bones Carter dobro licks on "wild monos" to Sweat and Tears] again at ABC after Howe records "). Now, the albums he's be sunk in later. working with them on those well - doing with Tom Waits are fantastic in MR: Hold on. "Wild monos?" known albums at Columbia. that they really capture Wait's unique- RH: You roll a mono, record a part, RH: The first time I worked with ness. I think the only great "pro- and worry about putting it in later Blood, Sweat and Tears was while en- ducer's records" being made today are when you mix. gineering their first album with David by the great artist /producers like Paul MR: How difficult was it to sync the Clayton- Thomas, the one with "Spin - McCartney and Stevie Wonder. I parts since no two machines run at ex- nin' Wheel," "You've Made Me So

OCTOBER 1977

www.americanradiohistory.com Very Happy" and "And When I Die." MR: When you're producing do you liked using a Neumann U -87 combined At that point, Jim Guercio was pro- see yourself as a member of the group? with a Neumann KM84. Or if I wanted ducing the group. Then I did the next RH: Absolutely! When you're pro- a very "stringy" sound I'd use a Sony three albums, and Blood, Sweat and ducing, you have to become a member ECM22 with an Electro- Voice RE -20. Tears went on to work with Paul -a respected member -of the family. MR: How were the mics aimed? Buckmaster, Jimmy Ienner and Bob If you behave like an outsider looking RH: Well, I'd really have to show James before coming to ABC. in, that's what they see you as. A pro- you, but an example is on "A Song For MR: Tell me a little about your early ducer should be the group member who The Asking." I put a KM84 about two work with them. can also stand back and be objective. feet back from the sound hole and a RH: Well, we recorded that first one But you've got to have the respect and pair of U -87s on either side. Sort of like in a small room at Columbia Studios in confidence of the musicians. you'd record a classical guitarist to New York. At that time, there wasn't MR: Aren't you often faced with the pick up the harmonic structure of the a lot of investigation into untested choice between going for "perfect instrument. techniques going on, but Blood, Sweat sound" vs. grabbing a track that feels MR: And the piano? and Tears was very progressive. So, right even if its got its flaws? RH: Well, I use three mics for the we started playing around with things RH: Sure. The producer's perennial piano, but a lot of people don't use a like leading Katz's guitar through dilemma. Of course the ideal situation center mic. But, I like to keep the Leslie speakers, recording in phone is to achieve both, and again, "The piano natural in the mix instead of booths, playing around with EMTs, Boxer" is the closest I've ever come. spreading extreme left to extreme and I think that was the first album Not even knowing what went into it, it right. with the drums recorded in stereo. I just works! You know, you could make MR: So you go for a more realistic think Bobby will bear me out on that. a perfect, sterile record, by over - panorama of sound -like the musi- And even that was such a radical rehearsing, over -recording. Maybe on cians might be set up on stage- rather departure from mono drums that we occasion I've slipped into that perfec- than forgetting that and going for a kept them right center and left center. tionist producer trip, but I'm on guard total aural effect. MR: How about the horns? against it. RH: Somewhere between the two RH: Some of them were recorded MR: How about the problem of really. I go for the total sound, but if right there, some were added later. musicians losing contact -visual and there's leakage I'll place the in- MR: So you did quite a bit of over- musical- because of the precautions struments in the stereo where they dubbing? you have to take against leakage -e.g., were in the room. Otherwise you some- RH: We overdubbed some solos and baffles, booths, whatever? times hear something disturbing with- horn parts, but there were no outside RH: First of all, I think leakage can out even knowing what it is. So, I players, if that's what you mean. be put to good use. Ask Phil Spector wouldn't put a floor tom on the far We're striving for the same thing this about that. You can hear leakage and right when it's also being picked up on time. Keeping the sound true to the say, "Oh my God, I'm in trouble," or, the left overhead mic. band -no studio cats. I want to get the you can say, "How can I use this to my MR: And what is your favorite mik- input of the band itself. advantage ?" ing technique for drums? MR: Well, the new band's a really MR: But if you're recording someone RH: Again, whatever works, but diverse group of musicians -some who's singing and playing acoustic some of my favorite miss are AKG have big band backgrounds, some jazz guitar at the same time, and the 452s, or 451s on the overalls, a KM84, . rock ... r &b ... the whole musical vocal's right on but he blows a strum, Shure SM53 or even a 452 on a snare. I spectrum. you could lose a great vocal track. like a Sennheiser MD441 for the bass RH: That's true, and the original RH: That's true. So you do a number drum. I like KM84s very much for the Blood, Sweat and Tears were the same of takes and splice it up if you have to. high -hats because they're so clean. way -fine musicians with very dif- You might see fifty splices on one Beyers on toms and Sony C500s on the ferent backgrounds. And we're start- song. Splicing is a viable alternative to big floor -toms. Just examples you ing to get that same excitement going punching everything in like some pro- understand. that I talked about earlier -the chaos ducers do. I do most of my punching MR: Do you like heavy compression with everybody putting their own on the overdubs after I've spliced up a on the drums? stamp on the record. If we get that, basic. As a matter of fact, I often RH: No. I don't like to use it. I love then we've accomplished something recorded Paul's (Simon) vocal and the drum sound Dudgeon [producer and we'll have another magical record. guitar together. The leakage produces Gus Dudgeon] gets for Elton John's So far it's going really well. They a warm interrelationship that you albums. I think they work incredibly started off a little tentative, but now don't get otherwise. well together on everything for that they're really playing and saying what MR: It seems that acoustic guitar matter, but sometimes it bothers me they feel. This album's going to have and acoustic piano are the most dif- that it's always the same. It works and the old Blood, Sweat and Tears "feel," ficult instruments to get a good sound it's great, but I like variety! not like their last Columbia album, on, but you seemed to get a great MR: That's obvious from the album which sounds like what it is -a bunch sound on Paul's guitar everytime. you did recently with the Big Wha- of studio cats. RH: Well, with Paul's guitar, I was Koo. MR: How's the rapport between you always experimenting. However, a lot RH: Well, the group is so talented. and Colomby? Do you have to lay out of it is the way Paul plays. If you listen To me, David Palmer's a star singer specific roles? to his recent albums, he always gets a and writer. They've got three other RH: Definitely not. It's all very great sound; it's the musician as much good vocalists, plus Danny Douma is spontaneous. as the producer or engineer. Usually I another incredible writer. They can do

60 MODERN RECORDING

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Product ßiî Vvlin 7373 N. Cicero Avenue, Lincolnwood, Illinois 60646 51 Nantucket Blvd., Scarborough, Ontario, Canada Write for free Lab Series brochure. (Norfi ), CIRCLE 51 ON READER SERVICE CARD www.americanradiohistory.com rock, L.A. rock, ballads, even gospel hear, and you z,-an communicate with a MR: What goes into being a good and reggae -and do it all well. 1 have good engineer, you'll come out with a engineer? really high hopes for those guys. good record. One of the most impor- RH: To me, engineers fall into three MR: What mics do you like for tant things for a professional producer categories: Number 1 is the musician - vocals? to remember is to let the engineer do engineer. He takes his cues from a HH: Again, it depends on a lot of his job and to make suggestions with- chart and can read music, so he plays things -the vocalist, the part, the out climbing all over the engineer and the board like a concert pianist; Num- room, the moods, the song ... a lot of the board. It's hard for me to relate to ber 2 is the creative engineer who things. So, 1 might use an E -V RE20 producers who do that, because I doesn't have the musical background On one kind of voice for an uptempo started as an engineer. If someone's but is extremely creative, with great rock song. Or on a lush ballad with full going to get into that, they should instincts for remembering cues, find- voice maybe a Neumann U -47. When engineer their own sessions altogether; ing the right sound, striving for dif- in doubt, I'll try a good all- purpose which is what I do, because I love it. ferent sounds and techniques -"Let's mic -U -47, U -87 or U -67. MR: Do you run into problems pro- try phasing here, feeding that echo MR: When you're recording do you ducing and engineering at the same through a phaser and delay it, then go for the "final" sound at the time, or time? combine it with a straight feed," do you record it fairly straight and RH: Sure. But it's worth it even always trying something new; Number perfect it in the mix? though it sometimes gets hectic. Engi- 3 may be an electronic whiz, but he RH: I try to get the sound the way I neering's my right arm, and I par- basically sits there and follows instruc- want it while recording. Too many ticularly love to mix because I feel I tions. Of course, some producers prefer times when you say, "I'll get it in the can really mix up a storm. Maybe a that kind of engineer. mix," it doesn't work out, so I try to day will come when I'll want to step MR: And, as an engineer, Roy Halee do my EQ -ing while recording. Within back from the board, but right now I falls into which category? safe boundaries of course. wouldn't let anybody mix my records RH: I hope I'm a combination of one MR: Do you use a lot of EQ? because I think I can mix them better. and two. Creative engineering can RH: You mean am I an EQ freak? If I remember working in New York as snowball into magical records. Exam- the music calls for it. I guess I'll use an engineer with Bob Crewe produc- ple: on "Bridge Over Troubled whatever I have to. ing. He told me that he usually took Water," Blaine was playing "dum- MR: How do you like to order your over from the engineer for the mix, but dum, b -dum -dum, dum -dum, b -dum- sessions? he said he didn't feel the need to do dum," and I put a combination of a RH: Always the basic tracks first that with me, because he felt my mixes 15" tape -reverb with a 7" tape -echo with the vocalist singing a reference were as good as his. That really made and all of a sudden it was "dum -dum, track over the headphones to the musi- me feel good. b- dicka -dah, dum -dum, dum -dum, cians. When the basic tracks have been MR: OK, tell me about mixing. How b -dicka -dah, dum -dum;" and Hal's cut and spliced together, a scat vocal much effect do the room and the freaking out because that's what he goes on the tape. Then sweetening, and monitors have? hears in the headphones, but it's not at some point along the sweetening RH: To me that's always been what he's playing. So, musical ideas process, the final vocal. frustrating man, because I get so can come from innovative engineering. MR: Lead vocals before backups? locked into a mix in one environment One thing we did for the first time on RH: Vocals are vocals. Usually the that when I take it somewhere else, it "Bridge" was cut a super -fast tape - lead first, but sometimes all at once. drives me crazy. So I try to find a com- echo on the voices. I'd take a vocal and MR: How about harmonies? Does promise, but the ideal would be for re- record it going through one machine each vocalist have his own mic? Or do everybody to hear the record on the at normal speed and through the other you like the effect of several vocalists speakers I mix them on. And that's a little out of sync. So it was like phas- around one mic? not even getting into the loss of ing without the oscillation. What's RH: I like the blend you get when transparency that occurs in master- funny is that I heard that same vocal singers set the balance themselves, ing. The transfer from tape to disc is sound on a Beatles' album at about the singing into the same mic -more one of the weakest links in the chain; same time, so we got to the same place power and better blend. Then, as the especially as you get in towards the at the same time -independently. producer, I can give them some center of the record and the transients MR: When you listen to music for en- guidance like asking one to step back start to go and you lose the top end. joyment, do you find yourself getting and another to step up. I've actually heard a 12- string guitar analytical? Picking the recording MR: How about noise reduction? disappear from a mix on certain apart and saying, "I would have done RH: Never use it, because I feel it speakers. I guess I do what most pro- this or that differently ?" colors the sound. Except occasionally ducers do. I have several systems at RH: That's another pitfall I try to I'll use Dolby's for effect. Like on "On- home that are a pretty good cross - avoid, and I really don't let it happen ly Living Boy In New York" I put Paul section (big Mclntoshes, KLHs, JBL very often anymore. and Artie in an echo chamber with 4310s and 10 -inch Sonab cubes), so MR: Where do you see the future of Dolby, and then didn't resolve it, giv- that's what I go by, but I'd still like to recording going? ing it that brittle- brassy sound. mix on each set. RH: There's digital recording and MR: Do you feel you need a lot of MR: How about mixing a single? computer mixing, but I'm most in- engineer's chops in order to be a good RH: Well, I EQ differently and I mix trigued by the video -disc because it producer? through the small speakers. If you opens up staging and whole new areas RH: Absolutely not! If you have a threw a single mix up on the big moni- of production. That's really exciting to good concept of what you want to tors, often the voice would be buried. me, man. A whole new aspect.

62 MODERN RECORDING

www.americanradiohistory.com DB -10 Bass Excavator

We know clusive "Autolade "feature. And the awesome "Super Earthquake" Its rot hard to get into selling disco. horns that draw crowds wherever you install them. And all our other There are dozens of companies waiting to trade their hardware for equalizers, kilowatt amplifiers, and high- definition speaker systems your hard cash. that go together in enough combinations to satisfy anybody. Except' their" hardware is usually made by somebody else_ And Speaking of combinations, we've published a new guide with a supported by who knows who. dozen "pre- engineered" systems covering just about every situation That's why you should get your disco gear from Cerwin -Vega. We you might ran into. It's available now from the people who invented werethetirstresponsible audio company to recognize disco as a whole Disco with a Difference -Cerwin -Vega. new market. We're still the only one that can research, desigr, and build from scratch all the specialized products that great disco demands. Loud is Beautiful...if its clean Products like our utterly unique DM -1 control center with its ex- %( Cerwin-Vega! 12250 Montague Street, Arleta, CA 91331, 213; 896 -0777 In Canada: Cerwin -Vega! Ltd., 19 Malley Road, Scarborough. Ontario. 416 752 -7530 CIRCLE 97 0r4 READER SERVICE CARD www.americanradiohistory.com BY LEN FELDMAN

Sub -Woofers or "3- Speaker Stereo" know, the idea did not exactly catch on in those early years, and the "second solution" to the problem fared A couple of months ago, I devoted this column to a much better. That second solution, of course, was the discussion of bi- amping and tri- amping. If you recall, development by Edgar Vilchur and others of the so- bi- amping and tri- amping can eliminate the need for called acoustic suspension or air suspension speaker passive crossovers in multi-way loudspeaker systems design which, though it sacrificed efficiency, did and are generally thought- despite their higher cost - deliver remarkably good bass from a small box. to provide other sonic advantages. Why did the first versions of three-speaker stereo This month, I'd like to take a look at another trend fail? For two reasons, I think. First, not enough work in speaker system design that seems to be gaining in or study had been done to determine at what precise popularity these days -the use of a sub -woofer (or frequency we no longer require directional clues. Many even a pair of them) to augment the bass response of people assumed (and some still do) that anything systems using wide -range speakers which don't quite below 200 Hz or so is "non- directional." It is in- go "all the way down." Like bi- amping and tri- amping, teresting to note that during that same period it was three -speaker stereo is hardly a new idea. I can generally believed that high- frequencies (say, above remember back a dozen years or more when stereo first 4,000 Hz or so) were also "non- directional" and that came upon the scene in a big way and the listening therefore, stereo systems might employ "mixed public's first reaction was: "What, you mean now I've highs" as well as "mixed lows." At least two pro- got to have two of those monstrous boxes in my living ponents of stereo FM broadcast systems which were room ?" In those days, the typical popular speaker was tested in the late 1950s and early 1960s offered a fairly large box (usually floor standing), and the pros- systems in which left and right channel high frequen- pect of having to position two of them in a listening cies were in fact added together to conserve spectrum room (and having them ideally spaced for good stereo space. besides) was not greeted with glee even by the most Extended listening tests conducted during that impressed stereophiles. period quickly revealed that stereo separation was im- Two solutions to the problem appeared almost si- portant both at high frequencies and at frequencies multaneously. The first of these was the three- speaker well below the 200 Hz point which had previously been approach. Earlier studies had indicated that below a hypothesized as being the lower limit of directionality. certain frequency, most listeners could not detect Again, some of the misconceptions that earlier had direction of sound. Many reasoned, therefore, that one been taken as gospel were the result of steady -tone could assemble a satisfactory stereo speaker system testing. As we have long since learned, testing audio by mixing together the bass from the left and right equipment and human hearing characteristics with program channels and feeding it to a common low- fre- sine -wave tones bears little relationship to what ac- quency speaker. Mid- and high- frequencies were kept tually takes place psychoacoustically when our hear- separated and fed to smaller speaker systems which ing mechanism is subjected to the complex signals then had to have only limited frequency response. The which we call music. "side" speakers, it was reasoned, could then be Another possible reason for the lack of success of relatively small units which would not pose as great a those early three-speaker systems was the failure of problem in positioning as would a pair of large, full- their designers to supply a properly designed cross- range systems. over network to go with them. In some instances, the In fact, several companies and speaker manufac- side speaker systems (those which were fed with actual turers tried just that approach. As most of us now left- or right -channel information) were allowed to

64 MODERN RECORDING

www.americanradiohistory.com "roll -off" by themselves at the bass end. While such blocked in any way and so that the listener subtends mechanical roll-off might well provide the required flat the proper angle to each of the two side - channel response of the total system, with the mid- positioned speakers. If one tries to combine these two require- speaker taking over as the side speakers roll off, power ments, we see that on the one hand speaker positioning was still being fed from the driving amplifiers to the ought to be variable (for best bass reproduction) while side speakers, and amplifiers were required to drive on the other hand it should be fixed to provide a con- rather complex load impedances below system reso- vincing stereo sound pattern. nance of the side firing speakers. Amplifier power may A properly designed three -speaker stereo system can also have been inadequate for the job and high orders solve this problem. One can experiment with place- of distortion were produced by the side speakers when ment on the sub -woofer until bass reproduction is op- they were fed with tones well below their low-end timized (without regard to the sub -woofer's position limits for satisfactory sound reproduction. relative to the listener), while the two side -channel units can be positioned for optimum stereo imaging and best dispersion. The sub -woofer, in fact, not only Coming Full Circle can be placed behind the listener (if that proves to be the optimum point) but can even be hidden behind a Well, times have changed, and so has the technology piece of furniture or concealed behind a curtain, since of speaker design. Once more we see a variety of three- such positioning will have no effect whatever on bass speaker stereo system possibilities coming to market. energy delivered into the listening room. Perhaps the most elegant of these that I saw at the Another sub -woofer recently introduced in this coun- recently concluded Consumer Electronic Show in Chi- try is one made by Visonik, their model SUB -1. Using cago this past summer was JBL's newly designed a 12 -inch woofer, this unit crosses over at 160 Hz and L -212 system. This is an array in which all three is supplied with its own matrix crossover. It is in- speakers of the system are supplied. What's more, the tended for use with that company's D -502 side sub -woofer (which has a crossover frequency of only 70 speakers, updated versions of their David 50 models. Hz), has its own built -in power amplifier with inputs The two companies mentioned are not alone in the from left and right channel conventional amplifiers re- introduction of the three - speaker stereo concept. used to drive the "side" speakers as well as the re- For some years now, Janis Audio, located in New quired crossover network. York, has been successfully marketing their Model One of the advantages of the three - speaker system, W -1 and W -2 sub -woofer systems which also come as pointed out in their excellent demonstration, is that with crossover networks and can be adapted for use because of the non -directional information produced with just about any high quality side speaker pairs by the sub -woofer part of the system, that sub -woofer which are then no longer called upon to deliver their can be placed just about anywhere in the listening very lowest bass. room -even well behind the listener. All sound will still Readers may also be familiar with the Infinity seem to be emanating from the plane between the two Servo -Statik lA speaker system which consists of a conventionally placed left and right channel side sub -woofer cube containing an 18 -inch woofer, elec- speakers, which are considerably smaller in size than tronic crossover, feedback sensor and a 150 -watt d.c. they would have had to be had they been required to servo amplifier plus two floor-standing electrostatic reproduce the full audio range. This is more than a mid -range modules and tweeter modules with their decorating advantage, and should be of particular con- own built -in power supplies. An all -dynamic three - cern to those of you who face the problem of equipping speaker system has been offered by Phase Linear for a control room with monitor speakers or a recording some time as well. The bass module of this system, studio area with playback speakers or talk -back known as the Andromeda II, contains two 12 -inch speakers. woofers and measures 2' by 2' by 2' while the side Conventional speaker placement for stereo has speakers contain four 4 -inch mid -range drivers and always involved two contradictory considerations. In five 1 -inch tweeter drivers. No doubt the appearance of order to achieve a balanced reproduction in the bass these three -speaker systems from such better -known range, the positioning of the speaker boxes is limited and highly- visible firms as James B. Lansing will by the distance between the walls of the room. The prompt other manufacturers to investigate the advan- final position of any speaker is bound to affect bass tages of three -speaker stereo and to introduce more response and to create "standing wave" peaks and models in the months ahead. It is interesting to note nulls. This often leads to either overstressed bass or that while this concept is not new, its present introduc- bass that is simply too weak at the listener's position. tion may well be much more successful than were the On the other hand, proper positioning of the speakers first attempts to market the three -speaker approach. in terms of "stereo imaging" and high- frequency Perhaps the idea was way ahead of its time back in the dispersion is almost always dictated by the listener's 1960s -and it is possible that now, in the 1970s, it is an preferred position, so that mid- and high- frequency idea whose time has finally come. sounds radiating outward towards the listener are not -77

OCTOBER 1977 65

www.americanradiohistory.com NORMAN EISENBERG AND LEN FELDMAN

Ashly Audio Model SC -66 Stereo Parametric Equalizer

General Description: The Ashly Audio SC -66 is a for its particular portion of the total spectrum. The professional-grade parametric equalizer which may be bottom knob adjusts the octave -width from 3.3. oc- used as a four -band stereo device, or cascaded to serve taves to .05 octave, or from a relatively broad-peak (or as an eight -band monophonic device. Its four frequen- dip) to a narrow spike ( "positive" or "negative ") cy bands (per channel) cover "low" (16 Hz to 800 Hz); depending on how the dB knob has been adjusted. "low -mid" (48 Hz to 2.4 kHz); "hi -mid" (160 Hz to 8 Channel 1 and channel 2 have identical controls and kHz); and "hi" (480 Hz to 24 kHz). Each band is ad- markings. Above each group of three knobs is an out- justable in three ways, which is to say in terms of gain or attenuation, in terms of "center frequency," and in terms of the octave -width around the center frequency. In musical terms, these three functions translate to raising or lowering the level of the signal from -15 to +15 dB; moving the center of the group of notes up or down the scale; selecting the number of notes affected from about 40 to a single tone. It is this versatility that is meant by the term "parametric" as contrasted Ashly SC -66: Front panel view. with simpler equalizers which do not permit shifting center frequencies or the width of the band affected. in switch for that particular frequency segment so that The front panel controls are logically arranged for equalization can be switched in or bypassed conveni- the device's operation. Each band has three control ently, as desired. Also on the front panel is the device's knobs. The top knob handles levels and is calibrated power off/on switch and an LED indicator. The panel from a bit beyond -15 dB through 0 to a bit beyond itself is black; the knobs are colored differently for +15 dB. The middle knob adjusts the center frequency each frequency band.

www.americanradiohistory.com The rear contains standard phone -jacks for left and former is shown in the 'scope photo of Fig. 1. The right channel inputs and outputs, and the unit's AC center- frequency control of the mid -low section was set power cord which is fitted with a three -prong (ground- to its two extremes and to three intermediate posi- ing) plug. The SC -66 may be directly rack -mounted. tions. Only that single band was used to create each of The non-interacting, but continuous, range of adjustments possible with the SC -66 lend it considerable versatility. Among the suggested uses are control of troublesome acoustic phenomena such as feedback, ring modes, speaker cabinet resonances, equalizing a range of tones or a single musical note. As is true of most equalizers, and especially of parametric designs, the applications are manifold, but the owner's manual gives -as examples - instructions on feedback, correcting for a thin -sounding vocal, compensating for electric bass with poor definition, reducing 60 -Hz hum or turntable rumble, correcting for speaker or room resonances and eliminating sibilance.

Test Results: In MR's tests, published specs for the Ashly Audio SC -66 were either confirmed or exceeded except for a minor difference of 2 dBV on hum and noise which could very well be accounted for in terms of differences in test gear. In any event, at -85 dBV Fig. 2: Ashly Audio SC -66: Bandwidth of each equal- and -93 dBV for hum and noise with equalization in izer control can be varied from as wide as 3-1/3 oc- and out respectively, the SC -66 certainly is quiet taves to a narrow 1 /20th of an octave. enough for critical applications. the five boost /cut response patterns shown, one at a time. For the test shown in Fig. 2, we set the center frequency at around 800 Hz (using the same low -mid band section of one channel of the SC -66), but this time we varied the bandwidth control from its widest setting (which produces a bandwidth of over 3 octaves), through a medium -width setting, and down to its nar- rowest setting. In the last setting it is possible to just about attenuate or boost a single note of music without affecting adjacent tones. In sound-reinforcement work this application permits higher overall system gain since specific feedback notes can be sharply at- tenuated without affecting overall musical response. If the system were used for nothing else, up to four acoustic feedback tones could be suppressed in this manner. And the application of this facility for recording is self- evident. To further examine the important differences bet- Fig. 1: Ashly Audio SC -66: Low-mid control center ween this type of equalizer and "non- parametric" frequency can be varied from 48 Hz to 2.4 kHz. types, (including those with more bands but with fixed bandwidths and fixed centers), we set up a required The lab tests confirmed the action and range of the response curve that might typically be needed in a EQ bands and since there is overlap from one band to large listening room in which a bit of vocalist-presence the next, center frequencies actually can be set any- effect was required, but with attenuation below that where along the audio spectrum so long as four are re- frequency because of speaker system distortion limita- quired (for stereo) or eight for mono. An example of the tions, and with removal of a severe standing wave ef-

www.americanradiohistory.com fect at around 125 Hz (a common problem in many tem will prevent users from feeding inordinately high rooms), and finally a bit of treble emphasis to take care signal input levels to the device, thereby avoiding the of a tweeter that. did not quite handle the top treble possibility of overload. range above 10 kHz in a linear or "flat" manner. How the SC -66 handled this complex problem is graphically shown in the 'scope photo of Fig. 3. We know of no conventional graphic equalizer that could have produced this overall response curve. For monophonic applications (probably the most common would be sound reinforcement) the manufacturer states that the two four -band channels of the SC -66 may be cascaded to provide eight bands of EQ. Accordingly, we tested the device in this mode as shown in the `scope photo of Fig. 4. In addition to sup- pressing two feedback modes at around 300 Hz and at 2.1 kHz, we still were able to take care of the standing - wave problem, provide the needed bass -boost from 50 Hz to 70 Hz, add the presence -effect for the vocalist at about 1500 Hz and the treble emphasis required by the room. Again, and perhaps even more emphatically, no ordinary graphic equalizer could come close to providing us with this sort of complex response curve. Fig. 4: Ashly Audio SC -66: Used in cascade (mono- phonically), the SC -66 offers eight sets of parametric controls. It can create even more complex response curves, as shown here.

Individual Comment by N.E.: The SC -66 shapes up as an eminently competent device for professional applications in which it would appear to be outstand- ingly good for sound -reinforcement work using it as an eight -band mono device, although even for stereo recording work using its four bands per channel, it can do "more" than non -parametric devices with more bands. The avowed intent of the manufacturer in offering this product is to provide a great measure of the versatility of parametric EQ within a format and at a price that could appeal to the budget -minded but professionally- involved sound technician, and it would appear that Ashly Audio has succeeded admirably in doing just that. Fig. 3: Ashly Audio SC -66: No conventional graphic equalizer could ever produce this complex response curve. ASHLY AUDIO SC -66 PARAMETRIC EQUALIZER: Vital Statistics PERFORMANCE CHARACTERISTIC LAB MEASUREMENT

General Info: Dimensions are 19 inches wide (rack - Amplitude range ±15dB mountable); 51/4 inches high; 6 inches deep. Weight is Frequency range per control: 16 Hz to 800 Hz 8.5 pounds. Price is $599. Low -mid 48 Hz to 2.4 kHz Mid -high 160 Hzto8kHz High 480 Hz to 24 kHz (all end -points within -15%0. Individual Comment by L.F.: All in all, the Bandwidth range 31/3 to 1/20 octave Ashly SC -66 seems to be an extremely well- designed Maximum input level (flat) +18 dBm unit, precisely calibrated in all its control functions, Maximum input level (at max boost) +8 dBm Frequency response (flat settings) ± 0.3 dB, 20 Hz to 20 kHz and capable of extremely wide dynamic range. One Distortion at +10 dBm 0.015% at 1 kHz feature that might have been useful would be a limit in- 0.026% at 20 Hz dicator light of some sort for each EQ band, for we did 0.040% at 20 kHz Hum and noise (EQ in) - 85 dBV note that when input signal levels are exceeded, distor- Hum and noise (EQ out) - 93 dBV tion rises fairly rapidly. Since, however, the device Gain (controls flat) Unity ±0.2 dB probably will find its greatest applications in profes- Output impedance 50 ohms; terminate in 600 ohms or more sional sound- reinforcement and studio work, we would presume that adequate metering elsewhere in the sys- CIRCLE 13 ON READER SERVICE CARD J 68 MODERN RECORDING www.americanradiohistory.com Peavey CS -400 Stereo Power Amplifier

General Description: The CS -400 from Peavey Test Results: Inasmuch as the Peavey CS -400 Electronics is one of a series of power amplifiers de- amplifier is intended for commercial use and is not of- signed for commercial/professional use (others in the fered as a consumer -type product, it is exempt from line include the mono CS -200 and the stereo CS -800). the requirements of the Federal Trade Commission's The front panel, of rack -mount dimensions and fitted "power disclosure" rules. Thus, rated power -as with handles, contains individual level controls for Peavey defines it -is given as 200 watts per channel each channel, marked from 0 to 10. Above each control for 4 -ohm loads, but the company spells out THD and is an LED overload indicator and below each control is IM for a 100 -watt amplifier working into 8 -ohm loads. To get an insight into just what this amplifier will do, MR tested a few performance areas with both loads, and also observed its behavior at both power levels. The test results indicate that into a 4 -ohm load the amplifier will not go into "clipping" until com- fortably over 200 watts. Into an 8 -ohm load, it clips i below 200 watts (at 175 watts). Rated distortion for the 4 -ohm load is well below spec for a 100 -watt output level. Power bandwidth for a 200 -watt level makes it to Peavey CS -400: Rear panel view.

a "line out" phone jack. This jack (on each channel) has a 250 -ohm resistor in series with it and so is suitable for driving headphones or to otherwise feed a signal- voltage to some other device. Also on the front panel is the power off/on switch (which glows when activated), and a stylistically- matched high- temperature indicator. The CS -400 is equipped with a three -speed built-in cooling fan. The control for this feature, a three- position switch, is found on the right -hand side panel. At the rear are double sets of outputs for each channel, including standard binding posts which also accept banana plugs, and phone jacks. There are double Peavey CS -400: Internal view. sets of inputs, also phone jacks, so that the amplifier may be fed from two different preamps or control con- 14 kHz; for a 100 -watt level, to beyond 20 kHz. To soles at once. those, then, who are mentally "locked into" the Rated output is 200 watts per channel for 4 -ohm prevailing high- fidelity type of spec, the Peavey loads (see explanation in "Test Results" section CS-400 may be thought of as a better than 100 -watt below). per-channel power amp with amazing specs, or a 200-

OCTOBER 1977 69

www.americanradiohistory.com 0.9 jurisdiction over the "disclosures" for this amplifier 0.8 175W ALL CHANNELS DRIVEN they might have a fit. However, they do not, which 0.7 8-OHM LOADS points up the difference in design philosophy between INPUT: 1 kHz Ì 0.6 2 THD amplifiers designed for commercial use and those in- 0 0.5 1= tended for home hi -fi systems. The latter are "spec'd" ó 0.4 to appeal to the audiophile, and the FTC's insistence ti 0.3 s vot175W that power- output ratings be accompanied by a state- 0.2 166w ment of frequency extremes over which an amplifier 0.1 will deliver its rated power at no more than rated har- o 01 1.0 10 100 1000 monic distortion has prompted most hi -fi manufac-

POWER OUTPUT /CHANNI L -- WATTS turers to shoot for a 20 -Hz to 20 -kHz "power band." Commercial amplifier manufacturers know full well Fig. 1: Peavey CS-400: Harmonic and intermodula- that if THD does tend to rise at the high end (say, tion distortion characteristics.

watt per -channel power amp with very good specs but 4 -OHM LOADS BOTH CHANNELS DRIVEN with rising distortion beyond about 15 kHz. Either 200 VV/CH 3.0 way, it is primarily a commercial -grade amplifier in - --- -100 W/CH 2.5 terms of its ruggedness of design and construction, I 2.0 Z and its thermal reliability when subjected to long -term 0 Ñ 1.5 high -power output demands. From all indications, to ¢O 1. o- best of MR's testing insights, the Peavey CS -400 w the 0.5 will fill that bill. Its three -speed built -in cooling fan 0 o J (which runs silently) is effective: in our lab tests we 10 100 1K 10K FREQUENCY --HZ were aware that we were "punishing" the amp to a far greater degree than would be the case in normal use, and we ran the fan at its highest speed. Even after the Fig. 3: Peavey CS -400: Distortion vs. frequency.

0.9 11.' above 10 kHz), the second harmonic contribution of 24 7WW 1W 0.8 i~25 ALL CHANNELS DRIVEN this distortion will be above 20 kHz, and the more 0.7 4-OHM LOADS significant third- harmonic THD component will be INPUT: 1 kHz 1 0.6 I THD even further beyond the limits of human hearing. Zp 0.5 - - - - -IM Thus, Peavey seems not at all concerned with the fact iTc 0.4 0 that, at 15 kHz, the amplifier can no longer deliver its ÿ 0.3 s 238W "rated" 200 watts of power into 4 -ohm loads (see Fig. 0.2 230W 3) -and, in the case of this amplifier, we're not con- 0.1 cerned about that fact either. o 01 1.0 10 100 1000 What does matter is that the CS -400 appears to be POWER OUTPUT /CHANNEL --WATTS superbly crafted and amply rugged to function in its intended role, primarily as a sound -reinforcement Fig. 2: Peavey CS -400: Harmonic and intermodula- amplifier. However, this is not to say that it could not tion distortion characteristics. also serve in home use for stereo systems.

amplifier was called on to deliver near -rated output for the many minutes required to make our measure- PEAVEY CS -400 AMPLIFIER: Vital Statistics area never really got too hot to ments, the heat -sink PERFORMANCE CHARACTERISTIC LAB MEASUREMENT touch. And the front -panel high -temp light never had Continuous power per channel (at 1 occasion to come on during any of our tests. kHz) into 8 ohms, 175 watts before clipping into 4 ohms, 230 watts before clipping Power bandwidth into 4 ohms, 200 watts, 20 Hz to 14 kHz into 4 ohms, 100 watts, 20 Hz to beyond General Info: Dimensions are 19 inches wide (rack - 20 kHz Frequency response either load, +0, -1 dB, 9 Hz to 30 kHz mountable); 5'/, inches high; 126/8 inches deep. Weight Damping factor into 8 ohms, 120; into 4 ohms, 60. is 52 pounds. Price: $424.50. THD into 8 ohms at 100 watts, 0.0052% into 4 ohms at 100 watts, 0.0080% IM distortion into 8 ohms, 0.015% at 100 watts into 4 ohms, 0.022% at 100 watts Joint Comment by L.F. and N.E.: It was in- Residual hum and noise 98 dB down at 200 watts output teresting to us to note how a commercial amplifier Input sensitivity 0.83 volt into 4 ohms for 200 watts manufacturer lists the performance specs for a prod- output 800 watts maximum uct as contrasted to how a high -fidelity amplifier Power consumption manufacturer must do so in the light of the recently promulgated F.T.C. rules. Were the F.T.C. to have CIRCLE 15 ON READER SERVICE CARD

70 MODERN RECORDING www.americanradiohistory.com Lexicon Model 92 Digital Delay System

General Description: The Lexicon "Delta -T" Basically, the model 92 is a compact, lower -cost ap- model 92 is a digital delay system housed in a low plication of larger and costlier Delta -T systems from silhouette metal case suitable for rack -mounting. It Lexicon and is intended for use in sound -reinforcement has one input and two outputs. Time delay for each work and in studio" / "live " -recording situations. Sup- output is adjustable on separate front -panel controls. plied with the device are detailed instructions and two These are large knobs that provide stepped adjust- applications booklets that delve deeply into the use of ments. Each knob is calibrated from 0 to 120 (delay time delay for sound -reinforcement and in- studio milliseconds) in steps of 7.5 milliseconds. Also on the work. Included in the former category are such topics front panel are the power off/on button and its LED in- as distributed loudspeaker systems, mic- to- talker dicator, and an LED display of headroom (in decibels) distances, outdoor installations, etc. The latter with five indicators from 40 to 0 in steps of 10 dB. In booklet goes into time delay as applied to room addition to the delay -time selectors, there are in- acoustics, reverb, image placement, doubling, am-

Lexicon 92: Front panel view.

dividual screwdriver adjustments for input sensitivity bience enhancement, delayed echo send, flanging, etc. and output level. These are accessible through small In addition to this generous literature offering, the holes on the front panel. Connectors at the rear are device also comes with a seven -inch, 33'/2 -rpm disc Switchcraft XLR (three -pin) types, the input being a recording that contains musical excerpts demon- female and the two outputs being male. The power strating various studio application effects. cord connector, also at the rear, is a three -prong grounding type and a suitable power cord is supplied Test Results: In MR's tests, the Lexicon 92 met or with the unit. exceeded its published specs, and performed very

OCTOBER 1977 71 www.americanradiohistory.com much "as advertised" which is to say, splendidly. To special effects (resonance, flanging, etc.). Though Lex- check out some of the delay parameters in the lab, we icon mentions its possible use for echo send, ambience introduced a tone -burst signal of suitable amplitude enhancement, and double -tracking use in studio and and frequency to the input of the model 92 and then "live" performance situations, I suspect that the used no delay, then a 15- millisecond delay, and then a model 92 will find its greatest application in sound 45- millisecond delay. The results are shown on the reinforcement where zoning of speakers is becoming three 'scope photos we made at the unit's output. These, and additional, tests confirm the device's action, although if you want to be absolutely precise about delay times, add 0.17 milliseconds to the indicated settings. To measure harmonic distortion and noise at the output, we used a spectrum analyzer which is a better procedure than using a single -meter analyzer. For this test, a l -kHz signal was applied at a level just below the "limit," (as indicated by the O -dB light on the front panel being extinguished), and swept the filters of our analyzer from 20 Hz to 20 kHz. The results are shown on the fourth `scope photo, with the desired l-kHz output signal represented by the spike at center - screen. Each vertical division here is an amplitude of 10 dB. Thus, 2nd harmonic contribution is down about

Lexicon 92: Upper trace is input tone burst; lower trace shows output delay of 15 milliseconds.

increasingly important for well -designed auditorium and concert -hall sound systems. The model 92 is, after all, a mono unit whose two outputs provide identical signal content, albeit at different adjustable time- delay increments. As such, it makes an ideal delay unit for smaller installations where two levels of delay for speaker zoning are found to be adequate.

Lexicon 92: Upper trace shows input tone burst; lower trace is output delay of 0 milliseconds.

72 dB (with respect to the fundamental), while the 3rd harmonic content is down some 64 dB (equivalent to 0.063% distortion). In MR's view that is near -amazing performance considering that the signal had been first pre- emphasized, then translated to 12 -bit digital code, stored in memory and translated some milliseconds later back to analog form.

General Info: Dimensions are 19 inches wide (rack - mountable); 31/2 inches high; 11'/2 inches deep. Weight Lexicon 92: Upper trace is input tone burst; Icwer is 8'/2 pounds. Price: $1560. trace shows output delay of 45 milliseconds. While my comments are usually confined to a Individual Comment by L.F.: As I see it, Lex- device's performance. I must in this instance make icon's model 92 may be regarded as their model 102's mention of the extremely sophisticated circuitry used little brother. It offers only time delay and none of the by Lexicon in this unit. Input signals are sampled

MODERN RECORDING

www.americanradiohistory.com 34,133 times per second, and are converted into 12 -bit with too much input signal, things at the delayed out- "floating point words" for each of these samplings. put can "fall apart" sonically speaking. With the Ten bits are used for the mantissa, and the remaining model 92 there is a full 40 dB of visible indication two for an exponent. Had straight binary encoding before that disaster occurs and, since you are able to

Lexicon 92: Internal view. Notice the high-technology digital and analog circuitry.

been used in the A/D system, 15 bits would be required adjust the "limit input sensitivity" over the range to encode the same available dynamic range, and that from +8 dBm to +18 dBm, it is possible to take full would have necessitated considerably higher cost. advantage of the unit's dynamic range capability without constantly worrying about possible overload. P.S. -If you do nothing else about this unit, try to get hold of the manufacturer's Application Notes AN -2 (for sound reinforcement systems) and AN -103 (for studio applications). They contain a wealth of information about this new technique. And try to listen to that seven -inch disc recording. It's a very good demo of the technique.

LEXICON MODEL 92 DIGITAL DELAY SYSTEM: Vital Statistics

PERFORMANCE CHARACTERISTIC LAB MEASUREMENT

Dynamic range (ret. limit level) 93 dB, "A" weighted; 87 dB, unweighted THD (plus noise) 0.065% Frequency response +0, -2 dB, 20 Hz to14kHz Delay range 0 to 120 msec, in 7.5 msec steps Input level at limiting +8 to +18 dBm, adjustable Input impedance 10 K ohm min., floating Lexicon 92: Third harmonic distortion of "delayed" 1 Output impedance 90 ohms max., transformer coupled kHz output signal at just below "limit" was 64 dB Connectors XLR -3 below reference output level (0.063 %); level Power requirements 100- 125/200 -250 volts AC, 50/60 noise Hz; uses 20 watts was considerably lower than that. Power off /on muting 0.5 sec. on; 50 msec off.

Individual Comment by N.E.: The calibrated light indicators are a welcome feature on the front panel. If you have had some experience with digital CIRCLE 11 ON READER SERVICE CARD time -delay units you know that if they are overdriven 4

www.americanradiohistory.com Tangent 1)0D Mixer By Jim Ford and Brian Roth

General Description: One of the latest sound reinforcement mixers available on the market is the model 1202 manufactured by Tangent Musical Engineering. This inexpensive 12 input, stereo output unit provides on each input: (A) Rotary -type volume control. (B) A pan pot. (C) Effects send control with pre /post selection. (D) Reverb send control with pre /post selection. (E) Monitor send control with pre /post selection. (F) Three knob low -, mid -, and high- frequency equalization controls. (G) Input preamplifier gain control. (H) Peak overload indicator "LED." The effects, reverb and monitor send controls have a detent at their mid (12:00) position. Clockwise rotation from the center point causes the send signal to be sent range.The equalizer is very similar to that found in to the appropriate bus after the equalization and the top -grade stereo preamplifiers or receivers. The three volume control ("Post"). Counterclockwise rotation equalization pots have a center detent at their "flat" from the detent sends the signal to the appropriate bus position. The output section contains the usual master volume controls for left and right outputs. Additionally, an auxiliary input control (for tape playback during in- termissions, etc.), effects return control and a reverb return control are included for both outputs. The internal spring reverb circuitry features bass and treble equalization controls on the front panel. The monitor master section provides a master monitor volume control and a five -knob, five -frequency equalizer with graphic -type equalization curves. The headphone output phone jack located below the padded "wrist rest" can monitor the main outputs in stereo or the monitor output in mono. A rotary switch for main or monitor source selection and a headphone volume control are located on the front panel. Metering for the left, right and monitor outputs consists of three rows of LEDs calibrated at - 20, -15, -10, -5, -2, 0 and +3 VU. A power indicator is located above the meter LEDs. after the equalization but before the volume control The rear panel of the mixer contains all the input and ("Pre"). No signal is sent to the bus when a send con- output connections. The main left and right as well as trol is in its detented position. the monitor outputs are available as balanced or un- The microphone inputs are balanced, but no trans- balanced signals. The reverb send and return jacks will formers are utilized. Instead, a rather novel circuit is disconnect the internal reverb circuitry if an external substituted for the standard microphone input trans- reverb unit is patched into the mixer. former. Each input also provides an unbalanced input All inputs or outputs that are balanced utilize 3 -pin for high impedance microphones or line level sources. "cannon" type connectors. All remaining connectors Both of these inputs are affected by the input "gain" are quarter -inch phone jacks. control. The Tangent mixer is non -modular. Each input or The equalization circuit is a modified "Baxendall" output is wired on a separate printed circuit board configuration with shelving action for the high and low that is attached to the front panel by the various frequencies and a broad bell -shaped curve for the mid- "pots" associated with that channel.

74 MODERN RECORDING www.americanradiohistory.com half of the mechanical range of the pot is used. Also, when the controls were used in the "Pre" portion of their range, some confusion was caused since the controls operated backwards from the conventional manner. We would have much preferred separate pre -post switches. We also noted that the "Gain" control was rather sensitive to only slight changes; fortunately, the well damped pots reduced what could have been a real problem. The LED VU "meters" were interesting to watch in action. In fact, it seemed as if they were a bit hypnotic and distracted the soundman's attention. We also noted that the light -type, meters tend to become "washed out" when located in bright sunlight. Maybe we are just old fashioned, but we still prefer seeing a needle swinging across a VU scale, particularly if a peak overload indicator is included. The unit had a very clean sound overall, and we agreed that the mixer offered an amazingly complete set of features. Back at the shop, we conducted further investiga- tions of the input overload characteristics. We discovered that the "peak" indicators were somewhat premature when they illuminated. However, we were able to overdrive the inputs with strong signals, even Field Test: After donning our orange Tangent T- with the "gain" controls at minimum. Using the shirts, we took the mixer to a club that featured jazz equalization controls increased the overload problems. artists. The mixer was interfaced with a medium -sized We feel that the unit should have included input pads tri -amped sound system. to handle hot signals. Naturally, external in -line pads We all agreed that the unit was very quiet (the am- can be used to eliminate this situation. bient noise of the club was much greater than that of We connected the mixer into our listening room set- the mixer). The bass and treble controls were great; it up to conduct further listening tests under a more con- was possible to make large equalization adjustments trolled situation. We concluded that the Tangent was a without the usual "peaky" sound that the majority of very respectable sounding unit in terms of low noise other mixers unfortunately provide. However, we and distortion. The performance of the mixer was ex- decided that the midrange control affected too much of cellent when its price is considered. the upper bass region. We were disturbed by frequent flashing of the "peak" indicator on the bass drum input, even with the input "gain" control adjusted to its minimum point. We could hear no evidence of clipping, however. Lab Test: Our first test concerned itself with the in- Since the jazz band was playing at volume levels much put overload characteristics with the equalization con- softer than typical rock and roll bands, we questioned trols set at their detented "flat" position; we found whether the mixer would be capable of handling the that input clipping occurred at +4.5 dBm (1.3 volts hot levels found in louder performances. More on this RMS). As we noted earlier, this will suffice except for observation later. very loud signals (particularly if condensor micro- The reverb sound was fair; this is typical of most phones are utilized). Since the equalizer is located in built -in reverb units. Fortunately, Tangent included the circuit after the microphone preamp and before the reverb send and return connectors to allow external volume control, any EQ boost will cause a proportional reverb devices to be used with the mixer. decrease in input signal handling ability. For example, The various controls were silky smooth when if 10 dB of bass boost is applied the maximum input at rotated. Everyone loved their damped "feel." We low frequencies that the mixer will handle is decreased tended to agree with Tangent's choice of good quality by 10 dB when compared to the "flat" setting. rotary pots rather than the small sliders found on The peak indicator would light at about 10 dB before some mixers in the lower -price class. We did miss hav- actual microphone preamp /equalizer overload under ing slider -type volume controls, but the rotary volume flat or boost conditions. However, we noted that when controls created no special operational difficulties. the equalizers are set for a high amount of "cut" that The headphone output didn't provide very much the input overload LED wouldn't light under certain volume and it seemed prone to distort easily. conditions, even though the microphone preamp was The center detented controls for the reverb, monitor clipping. Thus, if the bass control was set for full cut and effects sends proved to be rather touchy since only and a high -level bass signal was fed into the mixer, the

OCTOBER 1977 www.americanradiohistory.com microphone preamp would overload without any in- have a bit higher maximum output voltage to ensure dication from the peak "LED." Although a potential ample headroom. We noted that a 600 -ohm load would problem, this condition probably wouldn't be en- cause the output signal level to drop by several dB; countered very often. this lowered the O VU voltage from +4 dB to +1.5 The tables give most of the details of the mixer's per- dBm (.92 volts). formance. We were extremely pleased with the noise The overall frequency response was quite good- ±1 measurements. Under all conditions the Tangent was dB from 10 Hz to 65 kHz. We noticed that the very quiet. As before, we have included a measurement equalization controls on several inputs were not quite "flat" in their detented positions; this is probably due to slight inaccuracies in the tracking of the pots. Total Harmonic Distortion vs. Frequency Since the mixer doesn't use input or output trans- % THD at 0 VU % THD at +20 dB output formers, the square -wave response of the mixer was Frequency ( +dB, 1.25 volts RMS) (7.75 volts RMS) superlative. No evidence of ringing or instability was 20 Hz .04 %* .02 %* observed with the square -wave test. We have seen sig- 1 kHz .008% .004% nificantly poorer square -wave respone in mixers 20 kHz .05% (see text) costing much more than the Tangent. Additionally, *Mainly hum the lack of input transformers reduces low- frequency distortion to a very minimal amount. Intermodulation Distortion Service access to the mixer may be difficult due to the fact that the printed circuit boards that contain at 0 VU (1.25 volts) output .008% at +20 dB (7.75 volts) output .004% the mixer's circuitry are soldered onto the various interconnecting wires. Sockets were not used for the in- Maximum output levels, main outputs tegrated circuit "chips," and it appears that replacing one of them could be a hassle. Frequency High Impedance Load 600 -ohm Load The quality of components used in the mixer was (4.9 volts RMS) 20 Hz +20 dB (7.75 volts RMS) +16 dBm adequate. We have had very good experience in the 1 kHz +20.5 dB (8.2 volts RMS) +16 dBm (4.9 volts RMS) 20 kHz +19.5 dB (7.3 volts RMS) +15.5 dBm (4.6 volts RMS) past with the particular brand of pots that Tangent uses on the 1202. Since the mixer is new, the factory has not com- Signal to noise, main outputs, 20 Hz -20 kHz pleted any type of operating manual; so we cannot comment on its completeness or accuracy. We examin- Unweighted - figures are dB below 0 VU (1.25 volts RMS) ed the service information provided by Tangent, and Master volume off -97 dB found it to be adequate. However, no printed circuit Master volume at normal setting -80 dB Typical mix (see text) -76 dB board parts location diagrams are included (and the Microphone preamp set for 40 dB gain on one input parts locations are not labeled on the PC boards). Of -79 dB course, we are sure that the documentation problems Microphone preamp set for 60 dB gain on one input -72 dB will be solved by Tangent in the near future. It is dif- Equivalent input noise -128 dBm ficult for the manual writers to keep up with the design and production engineers!

for a "typical mix" situation that is representative of the noise level under actual usage with all 12 inputs ac- Conclusions: The Tangent model 1202 is one of the tivated and a variety of equalization adjustments. best thought out mixers we have seen in its price class. This figure is outstanding, indicating that our ears In a number of areas this unit outperforms much more were telling the truth at the gig! expensive mixers. Distortion measurements were typically masked by Its front -panel layout is easy to deal with, and most the residual noise level. However, once again we were all the controls functioned in a civilized manner. faced with the slew rate limiting phenomenon (the in- The outstanding aspect of the unit is its sound quali- ability of the integrated circuit "op- amps" used in the ty. Distortion was minimal, and the mixer was aston- circuitry to reproduce high frequencies at high output ishingly quiet. As we keep saying, the Tangent mixer levels with low distortion). At 20 kHz, the maximum is capable of higher fidelity than many more expensive output level into a high impedance load with .5% THD devices on the market, and that in itself is an accom- was 6 volts RMS, or about 2 dB less output than at plishment. midrange frequencies. We didn't hear any real evi- Considering its overall high performance, it is un- dence of this high- frequency distress during our field fortunate that input pad switches were not included. test, but, as we've stated before, "faster" op -amps With this exception, we think that the Tangent 1202 would eliminate any possibility of a problem. The 20 represents a very good value. It includes a multitude kHz, O VU distortion residual consisted primarily of of legitimate features and it scores very well in terms third harmonic components. of signal fidelity. Put it all together and you have one Considering that the O VU calibration point is +4 fine instrument. -

dB (1.25 volts), we feel that the mixer could stand to CIRCLE 6 ON READER SERVICE CARD

76 MODERN RECORDING www.americanradiohistory.com Snake and UltraSnake. The classic connector cords especially designed for use with musical instruments and systems. The exclusive Snake cable, manufactured for Whirlwind Music by Belden, features a tough neoprene exterior lined with a unique noise -free shield. UltraSnake comes tipped with two solid brass military plugs; Snake with a pair of nickeled brass Switchcraft plugs. Both are designed to take the strain of on -stage patching without fraying at the ends. Both are available only at your Whirlwind dealer. There is no substitution. You get the Snake, or you're left with the hiss.

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CIRCLE 56 ON READER SERVICE CARD

www.americanradiohistory.com Reviewed by: SEDGWICK CLARK CHAS FARRELL -KIMBRELL NAT HENTOFF JOE KLEE GRO VF, VIEWS GIL PODOLINSKY HOWARD ROLLER f,r nrt RUSSELL SHAW

gas. They were brought up just right in mickery running away with the produc- the mix to add that percussive punch tion, no recording experimentation that underlines a feeling and makes the done at the group's expense. It is also tune work. Everything about the record- one of the few group albums where ing was done straight ahead. No gim- everybody shares center stage both COURTIAL with ERROL KNOWLES: Don't You Think It's Time. [Bill Cour- tial, Steve Whiting, producers; Ken Hop- kins, engineer; recorded at Wally Hei- ders, San Francisco, Ca.] Pipeline Rec- ords 2001.

Performance Refreshing Recording: Well done

They're few and far between when you can find a record that features musicians who are capable of living up to their self -labeled musical style(s). Cour- tial with Errol Knowles can honestly lay claim to the fact that they play a hy- brid of jazz, soul, Latin and funk -without turning to disco when in doubt, or more importantly, being steeped heavily in one musical approach and only flirt with the others as would a committed married man. Further, it's so nice again to hear someone sing without sounding like Mick Jagger or Stevie Wonder and singing worthwhile lyrics. Not only is this a debut album for the group but for the label as well, which is cause for real celebration when you realize that there isn't one dog tune on the album. The success here lies totally with the elimination of musical cliches. The Rhodes electric piano is present but not overused, nor is the Elka String Choir (at last, a break from the ARP) merely thrown in to cover a hole. Bill Courtial's guitar is of the more traditional jazz style, which is great in this concept, giving the group sound that change of pace from the routine guitar effects. I especially enjoyed the recording of the con- COURTIAL WITH ERROL KNOWLES. A cause for celebration

78 MODERN RECORDING www.americanradiohistory.com equally and often. Finally, this is an album you'll be glad is in your collection to break up the daily heavy -metal assault. G.P.

MINK DEVILLE: Cabretta. [Jack Nitz- Dolby Laboratories che, producer; Kim King and Ed Rak, engineers; recorded at A &R Studios, New York, New York.] Capitol ST is proud 11631. to be associated Performance Average Recording: Reproduced the era with Mink DeVille first came to the attention of vinyl collectors through a double E)) record set issued late last year by Atlan- tic Records. It featured the underground -ST 1 punk /revival bands that frequent the ED A CBGB club in New York and was appro- priately entitled Live at CBGB's. The object of the recording was to see if any one of the groups garnered any favorable public reaction. Apparently, Mink Making Films Sound Better DeVille attracted Capitol's eye and the DOLBY SYSTEM result of that interest is this album. To my ear, most of these acts had Noise Reduction - High Fidelity their roots and inspiration in Bruce Springsteen, for the street -smart lyrics TARWARS 1977 20th FOX and '50's theme and production are CENTURY CORP. ALL RIGHTS RESERVED. common to all. Those who live in New

York or New Jersey probably could pro- CIRCLE 85 ON READER SERVICE CARD fess a chicken -or- the -egg theory, but to the rest of us, Springsteen came first chronologically. As to the makings of this record, when you have Jack Nitzsche and are going Mix Down Like a Pro for $20 for that late '50's, early '60's sound, The KIK Mixdown Box lets you Ping Pong channels easily. how can you miss? The recording util- Transfer tracks to give your 4 izes many of the classic approaches Channel tape recorder a 7 and Channel identifiable sounds used to make capacity. No channel will be more than one gen- records during that period- finger snaps, eration away from the original. The KIK Mixdown Box is the spotty use of vibes merely to accent, available in 3 versions, a 10,000 Ohm model: ora 100,000 the use of a professional vocal group for Ohm unit, or the Dual Impedance model for 10,000, and back ups (The Immortals), the charac- 100,000 Ohm operation. Die -cast unit construction. 4 in, teristic reedy sax solo, etc. The material and 1 out The Mixdown Box has no active devices to gen- is primarily rhythmic songs with street erate hiss, or distortion. themes ( "Venus of Avenue D," "Cadil- The lac Walk," "Spanish Stroll ") and there is KIK Mixdown Box Warranty is for a full year against much space instrumentally behind the a failure of any kind, under normal usage. vocals. Cabretta really reminds one of To order, state which model you want; all the good things about mono record- Model10K ings- tightness, C $20 each simplicity and the Model100K excitement /miracle of a good take C $20 each where everybody played together with- Dual Impedance Model g $35 each out mistakes. Send cash, check, or money order plus $1 handling, (CA The mix is very basic. Drums are residents, add 6% state tax) primarily snare and high hat with no to; kick, very infrequent cymbals, and no rolls. The bass is without recognition, heard faintly in the background. No KIK 6620 Whitsett Ave., North Hollywood, CA. 91606 guitar solos to speak of. The use of piano is accidental in effect. In short, Please PRINT clearly to insure prompt shipment and allow there is nothing fancy instrumentally on 2 -4 weeks for delivery. this record. Vocals are the main intent

CIRCLE 65 ON READER SERVICE CARD OCTOBER 1977 79 www.americanradiohistory.com MINK DEVILLE: Out of CBGB's and arousing curiosity here, being clean, centered in the mix DOCTOR FEELGOOD: Ma /practice. sembles doing sixth -rate garage imita- without echo or reverb, underlining the [Dr. Feelgood and Vic Maile, producers; tions of blues standards. This direction lyrical story. Doug Bennett, engineer; recorded at is quite unchic. Whether or not this revival sound is to Canvey Island, Essex, England.] Colum- On the other hand, when you take a be associated solely with New York or bia PC 34098. bunch of incompetent, out of sync New Jersey, there are a number of rockers, equip them with British accents, groups from that area using this same Performance Limp as a wet noodle and the right type of hype, they auto- style. Mink DeVille is not the best nor Recording: Not much better matically become folk heroes. I can the worst, merely needing improvement state that back in the southern states in consistency. For a debut album, it Musical double standards abound these where Ah was raised, such bands were has succeeded in arousing my curiosity days. To wit: we're all tired of so- called the norm. Many aspiring fourteen year to see what follows. G.P. American boogie bands, repetitive en- old players cut their teeth on stuff like Most $1200. delay units can't match the performance of the X269.95 New Morley Electrostatic Delay Line. Here's proof: Distortion free - meets recording levels for frequency response and noise. Shortest delay time on the market - as short as 10ms for rich, full doubling effects. Continuously variable delay control for precision setting from 10ms up to 330ms. Delay only output for mixing. Infinity of repeats from single response to runaway. MORLEy For live use by vocalists, amplified instrument or PA. Mono or Stereo. And, in its own price r range this patented FREE catabg and crazy bumper sticker Morley EDL is indisputably 1811 Magnolia Blvd bar none: the finest delay line available M OR LEY, Burbank Ca. 9150( tape, digital or analog. But then, you really (213) 843 -7122 wouldn't expect less than the best from Morley. Naine Address We built it failsafe because your City Zip MOR LEY. career depends on it_ _ and so does ours. MR 779 L

CIRCLE 55 ON READER SERVICE CARD 80 MODERN RECORDING www.americanradiohistory.com Power amplifiers have been the stepchildren of the electronic revolution for too long. Many so-called "power amps" are nothing more than redesigned hi -fi amplifiers. Others sacrifice sound quality to attain high volume levels. Still others risk blowing out expensive speakers every time the volume is turned up. Tapco meets the challenge with two new stereo power amplifiers. Both are designed from the ground up. Both employ Tapco's (P120 exclusive Power Sentry R to control clipping distortion and help Rated at 61 watts per channel in stereo, 122 watts mono. Each protect expensive horn drivers. Both are designed to reproduce output is capable of 500 watts total stage dissipation for only 61 distortion -free sound at the volume levels demanded by today's watts of rated output power. Sophisticated protection circuitry professional musicians. And both are engineered and built by the guards against gross fault conditions without ever affecting sound most respected name in sound reproduction. quality. Power Sentry R protects against clipping distortion, and advanced -design convection cooled heat sinks keep the CP -120 running cool even at full power. $339.00 Tapco power ratings are in accordance with the Federal Trade Commission rulings concerning power output claims.

Send me full information and specifications on Tapco Power Amps. Yes, I'd also like this ad reproduced on a T-shirt. (P 500 / C P 504M I am enclosing $3 95 for each shirt ordered. medium large ex. large Designed for full -range sound amplification, or for bi -amp setups Size: small to TAPCO with its counterpart, the CP -120, this fan -cooled stereo amp is i Make checks and money orders payable rated at 255 watts per channel in stereo, 510 watts mono. Tapco's NAME exclusive Power Sentry A protects against prolonged clipping ADDRESS distortion, and consequent loss of tonal quality and danger to speakers. Output protection circuitry is safe and confident. Each CITY STATE ZIP of the 8 output devices per channel is rated at 250 watts, providing Send to: Ahmet Akimbo, Tapco, 3810 148th Avenue a total output stage dissipation of 2000 watts. An optional readout Northeast, Redmond, WA 98052. package is available (CP- 500M). $649.00 a CIRCLE 68 ON READER SERVICE CARD

www.americanradiohistory.com DR. FEELGOOD: A waste of PVC

Muddy Water's "Rolling and Tumbling" The guitar and rhythm tracks are out of the primeval rock stomper "Riot in Cell (present here). Yet in almost all cases, time; the lead singer (not identified by Block No. 9" convey only a surface bare the groups here in America do it better. name) sounds like a postal worker urgency, not the deep conviction and That includes ensembles who never drunk at a weekend pub, with maybe a powerdrive that they were meant for. made it past legion halls. slight swagger, but no blues or rock feel. Critiquing the production and engineer- Why this sarcastic indictment? Well, to The original compositions are among ing on this waste of precious PVC is any reasonable, non- affected auditor, the most banal, elementary crap to cross about parallel to issuing qualitative Dr. Feelgood has some basic limitations these lobes in months. The versions of judgement on the performance of the which show next to zero musical ability. immortals like the Waters number and foreman at the sewage treatment plant.

ASHLY P.A. PROBLEM SOLVERS

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CIRCLE 86 ON READER SERVICE CARD 82 MODERN RECORDING

www.americanradiohistory.com biamp

INTRODUCES BI -FET TECHNOLOGY

Shown above is our model 8802 8- channel stereo- output mixing console. We also make 6 and 12 channel models. NI BIAMP consoles feature BI -FET technology. On June 10, 1977 BIAMP introduced WATCH THE COMPETITION FOLLOW revolutionary circuitry to the profess onal OUR LEAD! BELIEVE IN BIAMP! audio industry at the NAMM Show in At- lanta, Ga. What th s means to you is Please send me quieter m xers, faster slewing rates, more info. lower distortion, greater bandwidth and BIAMP SYSTEMS, INC. improved output capability. In fact a ... 10950 S.W. 5th, Suite 110 superior product' Beaverton, Oregon 97005

The BI -FET ope-ational amplifier is the Name 1 state -of- the -art device which sclves Address many audio circuit challenges. This means recording studio quality at a frac- City U tion of the cost. All BIAMP mixing con- State 1 Zip MI soles use BI -FET technology.

CIRCLE 96 ON READER SERVICE CARD

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By Nat Hentoff N :471 76 : EFT FM[tl41 Quintessence marks Bill Evan's return, watched her do just that in a mobile if only on records, to a small combo set - unit outside a New York night club. . 6----. -ï °è- ;i--.' W - ting-by contrast with the trio dates of Someday Helen should have her own ir=} } +*-4. label, E4. 101. E to-1- recent years. Evans by no means domi- but that's almost everybody's nates the proceedings, this being an egal- dream. A jazz afficionado who has i ._ :r-! i- rv itarian collective enterprise as befits the actually reached that state of grace is °t jr1; ;.FF 1. i W stature of his colleagues: tenor saxo- Carl Jefferson, owner of Concord Jazz r \... phonist Harold Land, guitarist Kenny and producer of many of its albums. T- f2J-fz tT Burrell, bassist Ray Brown, and drum- The catalogue so far focuses, by and s,--lt_1t-!rìx l mer Philly Joe Jones. The result is a large, on mainstream modern sounds, re- nearly flawless session of largely gentle, flecting the owner's preference for resil- - #i- It- : : : Z z- z reflective chamber jazz with the musi- ient swinging and melodic solos. The .1:T(Z:II`=:Il =-1:i[ cians sounding as if they had been play- sound in the series so far has been invar- . t. . Z . 2 .: Z .1+2 ing together for many months, so pre- iably clean, brisk and spacious. A case H=3-E=3-1=3-E=3- cisely attuned are they to each other's in point is the new Juggernaut: Frank Tt _: Z: _. improvisatory sensibilities. Capp /Nat Pierce. Although everyone involved is quite A big band session in the Basie lineage, 1z3- _3 [ _3- ( _. luminously inventive as they match but with its own distinctly flavorsome Evan's acute sensitivity to dynamics, a character, the arrangements are crisp, special tribute is due Philly Joe Jones. with ample space for solo flights by tangent A picaresque figure off the stand, Philly such robust -sounding sidemen as trom- Joe, who has slipped in and out of the bonist Buster Cooper and tenor saxo- music scene in recent years, was best phonist Plas Johnson. As a bonus, Ernie 3216 known for his steaming, crackling, pow- Anderson, in some of his most persua- erfully witty drumming with Miles Davis sive appearances on record so far, sings 16 Submaster Assigns in the mid- 1950's. But there is also and shouts in his uniquely sly, blues - 22 LED Metering Arrays Philly Joe as a marvelously subtle mas- laced way of telling sensual tales. Co- 3-Band Parametric EQ ter of graceful, dance -like brush figures leaders Frankie Capp on drums and 2 Echo Sends -as in much of this set. And softly as he Nat Pierce on piano make it all cohere plays, his unerring pulse -the quintes- as they joyfully drive this, their very 2 Cue Sends sence of jazz-is at the core of the pro- own, big band. FET Switching ceedings. Concord Jazz, Inc. is at P.O. Box 845, Phase Reverse In all, this is the warmest, most thor- Concord, California 94522, and I would Phantom Microphone oughly relaxed (though never lazy) jazz suggest you write for a catalogue. Any Powering set in months. And the sound of the re- other small labels that would like to be cording matches the silvery lucidity of reviewed in this column can send re- Balanced In, Out, Return the music, with all the parts in delicate leases to me at 25 Fifth Ave., N.Y., N.Y. Gain (Mic Pre -Amp) but firm balance. Surely much of the 10003. LED Peak Indicators non -musician credit for the high standards set by this album is due Helen BILL EVANS: Quintessence. [Helen Write for complete infor- Keane, the producer who is also Bill Keane, producer; Phil Kaffel, engineer.] mation on specifications and features! Evan's manager. She may be the only Fantasy F -9529. jazz manager who herself is so profic- O ient at a control board that she could FRANKIE CAPP /NAT PIERCE: Jugger- Tnn9GnT authoritatively handle the engineering naut. [Carl Jefferson, producer; Bill Put- musical engineering as well as the producing of a date. I've nam, engineer.] Concord CJ -40. 2810 south 24th street phoenix, arixone 85034 602- 267 -0653

CIRCLE 70 ON READER SERVICE CARD 84 MODERN RECORDING www.americanradiohistory.com Suggested Our List Price EM-80 339.00 239.00 SO-112T 225.00 159.00 S4115H 375.00 265.00 Here's FARFISSA VIP 600 Two Manual 1998.00 1498.00 VIP 500 Dual Manual 1545.00 1149.00 611 Matador (demo) 895.00 599.00 Suggested Our List Price Mini Matador 550.00 425.00 ELECTRO- HARMONIX VIP 345 Single Manual 1245.00 869.00 Electric Mistress 199.95 79.95 Professional Piano (demo) 1050.00 735.00 Maestro PS lA Phase the Syntorchestra Stereo Shifter (close -out) 199.95 69.95 Preset Synthesizer (demo) 995.00 688.00 VIP 370 Single Manual deal. Organ 1250.00 939.00 IMP You send us the money, we ship you the product, OBERHEIM 4 Voice Polyphonic in a box, fast. with Programmer 5690.00 3799.00 2 Voice with Mini - You're looking at our Sequencer 2195,00 1469.00 Digital Sequencer 1295.00 869.00 beautiful showrooms. To Synthesizer Expander Model 695.00 469.00 get prices down this low, Mini Sequencer 495.00 339.00 we've had to TEAC eliminate all A -3340S 1200.00 1099.00 the typical sales overhead. A- 2340SX 850.00 825.00 No demonstrations, TEAC TASCAM Series Model 1 Mixer 150.00 127.50 brochures or catalogs. You Model 2 Mixer 350.00 288.00 know what you want. We Model 3 Mixer 900.00 757.00 -BOSE Model 5A Mixer 1650.00 1427.00 know we can sell it to you 80 -0 8 -Track Recorder 3000.00 t 25 -2 2 -Track Mastering Suggested Ou for less. Recorder 2000.00 List Price t We'reoneofthe largest na- MOOG PB 64 Patch Bay 92.85 78.00 Polymoog 4495.00 3195.00 BOSE CRUMMAR tional dealers for leading Micro Moog 1795.00 1088.00 Bose speakers w/eq. 850 /pair 588.00 Portable Organ Percussion Controller 265.00 188.00 lines of musical instru- (sound of B3) Poly Pedals 295.00 209.00 ments. All warranties Traveler 1 Organ 1195.00 888.00 FENDER Traveler 3 Organ 2295.00 1688.00 offered by the man- Rhodes Piano Multi Man 1299.00 948.00 Stage 73 Piano 925.00 647.50 Road Runner ufacturers are honored Stage 88 1095.00 769.50 pedal bass unit 550.00 418.00 whether unit is shipped in Suitcase 73 1375.00 969.50 Pedal Bass 295.00 218.00 the box or from Suitcase 88 1545.00 1088.00 BOBBER our Key Bass 525.00 367.50 Clavinet 1095.00 788.00 Satellite Speaker System 975.00 682.50 checkout floor. String Vox 1195.00 888.00 If ELIA this unusual offer String Choir ELKA 490 699.00 499.00 sounds good to you, all MXR you've got to do is order. 10 Band and 6 Band . ,a.,:a..±A. .:...... Yrr z+.z:. Graphic Equalizer `t.txetltttt!"ìïstrrrfs. Band To ttltttllttttltf.lït.. 10 139.95 79.95 Order 6 Band 79.95 49.95 jjjjjjiti;ïYltti'JEYiitYfilitlitlittltkttfw Send a cashier's check or money llliiii"ltliliiffttw,2 MXR Digital Delay 999.95 699.00 order for the full amount. (Sorry, you'll have to arrange for financing laáaatiiiaaafitat . LESLIE Model 147 745.00 488.00 on your own.) Specify exactly which Model 122 745.00 488.00 item you want by brand name, model i Model 760 894.00 588.00 number. ALTEC Model 910 1174.00 788.00 12048 Voice of the Theater We will ship immediately. Freight 760.00 456.00 Model 925 1882.00 1288.00 1217A Column 560.00 336.00 charges will becollect- payable by 1221A Stage Monitor 596.00 359.00 Half Price Sale you when you receive the item. KUSTOM (demos) California residents MF 1212 Folded Horn add 6% Sales Tax. Enclosure 550.00 225.00 YAMAHA MF 1012 Radial Horn 650.00 325.00 CP 70 Electronic Baby 10 Stereo Power Amplifier 399.00 199.50 Grand 3100.00 t 6 6- Channel High/Low CP 30 Electronic Piano 1295.00 Impedance 799.00 399.50 11 t YC 45D Most Advanced FLH 15 PA Cabinet 400.00. . 200.00 Suggested Our Dual Manual Portable M 15 Mid -Range Horn 190.00 95.00 ARP List Price Keyboard 2975.00 1995.00 Omni 2395.00 1488.00 YC 25D Dual Manual Organ 1375.00 949.50 SHURE t Call for price. 2600 3195.00 1988.00 YC 20 Single Manual 895.00 599.00 SM 57 99.00 79.20 Axxe 995.00 588.00 YC 10 Starger Single Manual 595.00 399.00 Prices subject to change after 9/30/77 SM 58 126.00 99.00 Odyssey 1695.00 988.00 SY 2 Synthesizer 995.00 588.00 PE 50SP 217.00 109.00 L DGX 1295.00 788.00 Pedal Bass for the mited quantities of some items. PE 54D 142.00 69.00 String Ensemble 1995.00 1188.00 above models 200.00 134.00 W itten copies of warranties available. PE 56D 156.00 79.00 PM- 1000 -32 (demo) 13,800.00 7995.00 PE 588 92.75 49.00 PM- 1000 -24 (demo) 12,000.00 6995.00 PM- 1000 -16 (demo) 6950.00 3995.00 CROWN NAB PM- 1000 -32 13,800.00 10,300.00 DC 300 849.00 t PM- 1000 -24 12,000.00 9000.00 D 150A 499.00 t PM- 1000 -16 6950.00 5200.00 D 60 299.00 t ENGINEERING PM -700 2695.00 2000.00 PM -430 1095.00 820.00 AMPEX 456 Master 1/2" Tape 45.00 PM -170 495.00 369.00 Grand 24.88 1015 Seventh Avenue P -2200 Power Amplifier 895.00 719.00 DBX EM -150 Mixer San Diego, Calif. 92101 CAT Amplifier 640.00 448.00 DBX 154 750.00 EM -100 439.00 2 Voice CAT 849.00 599.00 307.00 DBX 160 315.00 t 714/239 -1979

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www.americanradiohistory.com Both take excrement and try to do their time friend of Johnny Lyons, having best with it; yet the plant has never been played with him in such infamous Jer- For the the beneficiary of trendy hype. R.S. sey duos as "Southside Johnny and the Kid " -produced the first album as well. This second album is different from Sound... SOUTHSIDE JOHNNY AND THE the first, because it succeeds in estab- ASBURY JUKES: This Time It's For lishing an identity. I think much of the Specs... Real. [Steve Van Zandt, producer; Don difference comes from the production Meehan, Ken Robertson, engineers; re- concept. I am very impressed that the corded at Columbia Recording Studios, desire for authenticity in the late '50's, Features... New York.] Epic PE 34668. early '60's approach went as far as using such vocal backups from that period as Performance. Top notch The Coasters, The Five Satins and The Price... Recording: No complaints Drifters. The stereo mix is fairly basic. The -_--- The key to this recording is its authen- piano is left, the guitar right, and the ..1,..uu ticity and sincerity. With the release of vocals, horns, strings, drums and bass " : the first album one came away with the center. The exception is "I Ain't Got distinct impression that Southside John- the Fever No More" where guitar one is ,, ny was merely riding on the coattails left, echoed Rhodes centered with min- of Bruce Springsteen's success. He was ute fast panning to give a slight defini-

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CIRCLE 41 ON READER SERVICE CARD 86 MODERN RECORDING www.americanradiohistory.com M@IXRN RINING's 2Nd ANNUAL BUYER'S GUIDE WILL BE ON SALE Nou1977 ORdERYOURS Now! MODEM NON -SUBSCRIBER'S OFFER: 1C® IIWIING I am enclosing $ for copyls) of MODERN RECORDING's " Buyer's Guide " at MACIAZINE $2.50 each. 14 Vanderventer Ave. Port Washington, N.Y. 11050 check / money order / enclosed for the amount of $ P/ease Print

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www.americanradiohistory.com tion of the Asbury Jukes is often count- ical teen concerns. Those mid -sixties ered by the use of a string section. In British invasion pop hits quickly lost fact, the presence of the horn section is their chic, as waves of sociological phen- really what gives the material character omena made the message muddled and, and has an effect quite similar to Van on occasion, infused pomposity and

.. Morrison's sound when he was backed camp artiste into a previously direct

CMqiJ Ì by New Caladonia. Overall, this album medium.

G is very consistent, honest and enjoyable. Call the Flamin' Groovies a bunch Music -or recording-needn't be com- of three -chord rockers. Yet, in this plex to be good. G.P. instance, the description would be one ipii: of both praise and accuracy, for, in truth, this young five -man band from FLAMIN' GROOVIES: Shake Some Wales is adept at making the brief, yet Action. [Greg Shaw, executive producer; crystal- clear, statements that were re- Take the trouble Dave Edmunds, producer; engineer not sponsible for the initial British musical listed; recorded at Rockfield Studios, waves over here fourteen years ago (has out of tuning Monmouth, South Wales.] Sire SASD it been that long?). Now, you can achieve instant, 7521. Produced under the aegis of rocker first -time, precision tuning of any Dave Edmunds ( "I Hear You Knocking" instrument with the Korg tuner. Performance: Poignantly simple -circa 1973) and famed record collec- Faster than strobes or pitch pipes, Recording: Pristine it permits both audio and visual clarity tor Greg Shaw, Shake Some Action con- chromatic tuning. It's easy to use tains fourteen little gems, only one and operate, and enables you to Oh, for those days of melodic, simple longer than four minutes. Favorites here correct pitch discrepancies with three- minute songs, about non -allegor- include the title cut, with an infectious your eyes or ears. Suggested list price, $159.95, includes tuner, batteries, AC adapter and handy carrying case.

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CIRCLE 62 ON READER SERVICE CARD DON'T MISS OUT on back issues of MR! ..:

Just send $1.50 plus $.25 for postage and handling per issue to: Modern Recording Back Issues Dept. 14 Vanderventer Avenue Port Washington, N.Y. 11050 ;heck Box: Vol. 2. No. 5 Vol. 2, No. 8 J Vol. 2, No. 6 Vol. 2, No. 9 D Vol. 2, No. 7 Vol. 2, No.10 Sorry! All other back issues are out of print. Name

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State Zip FLAMIN' GROOVIES: Reminiscent of the mid -sixties British invasion

88 MODERN RECORDING

www.americanradiohistory.com hook line; "You Tore Me Down," replete with multi -cast Mersey Har- monies; and the acoustically rooted, Get your signal processed "I'll Cry Alone." s From a technical standpoint, the production is perfect and flawless. Not that the Groovies project any kind of multi - instrumental virtuosity; three chords ÌifjÌllii seem to be the extent of their active repertoire. Yet within the space of these relatively modest limitations, THE TROUPER SOP -1 OUTPUT SIGNAL PROCESSOR Shaw and Edmunds have basically fol- NINE BAND GRAPHIC lowed a no frills, pedestrian approach Interaction Control determines EQUALIZER whereby the guitars are given special amount of cross limiting ±10 dB adjustment at emphasis. No great ornate creation, but one May be used to limit high and octave frequencies everything is in place; drums and vocals low frequency outputs of the Peak Indicator are given the proper mix; no solos crossover separately. In /Out Switch to speak of are taken; and save a muted ADDITIONAL TROUPER SERIES chorus effect on "I'll Cry Alone" (the ELECTRONIC CROSSOVER ACCESSORIES METER LINE AMP PACKAGE only remotely futuristic tune here), 16 Individually selectable everything QUAD LIMITER is translated with ultimate frequencies DUAL 9-BAND GRAPHIC EQUALIZER fealty. There's a distinct charm in that, High Frequency Level Control DUAL ELECTRONIC CROSSOVER one which makes the contents hum - Peak Indicator 9 -BAND EQUALIZER /CROSSOVER mable to the point of occlusion of COMBINATION other thoughts. R.S. DUAL LIMITER See your local dealer or Two Independent Peak Limiters write for our free catalog: On Cross-Over Outputs UNI -SYNC BROTHER BAIT: Brother Bait. Input /Threshold Level Controls [Charles Green, producer; Phil Benton, Solid State LED Output and engineer; recorded at Webb 4, Atlanta, Gain Reduction VU A BSA COMPANY 742 HAMPSHIRE ROAD Ga.] Tiger Lily TL 14070. Indicators WESTLAKE VILLAGE, CA 91361

Performance: Vibrant CIRCLE 36 ON READER SERVICE CARD Recording: Tight (in the good sense)

With this, their debut album, Brother Bait has started off in high gear to say the least. Despite the unimaginative title, Bait has released an album of highly imaginative material. The material, though powerful, is not lacking in commercial appeal. However, I'm sure this band could be less commercial and still have plenty THE of appeal (only time will tell). The band, though from Atlanta, Ga., plays nowhere near the "Southern- Country- Rock" sound associated with that area (i.e. Allmans and Lynard Skynard). POWER The sound is more English Rock; lots of vocal harmony, classical overtones on piano and an overall clean, tight STRUCTURE sound. Engineering At last ... a company that builds high quality components with very affordable prices. The was carried out with QSC Power Structure consists of two really fine electronic crossovers (one with a built -in 65- noticeable precision. The drums were watt high- frequency amp). The QSC power amps include a 150 -watt mono amp, a 150 -watt panned well with great stereo separa- stereo amp and a soon- to -be-available 240-watt stereo job. Dollar for dollar, these components will out -perform any others on the market. tion and the vocals were happily We also offer the QSC AudioRack to house our own or any other rack -mountable com- placed well up front so you can hear ponents. the words!! Lead guitarist, Ron For more information about our unique concepts in cost -effective gear, drop us a line or visit Bloom, plays a custom made twin -neck your nearby music or pro-audio dealer. guitar (6 and 12 string) designed to his QUILTER SOUND COMPANY specifications (at a cost of $1,400). His 1936 Placentia Ave. guitar rides, cut through nicely with a Costa Mesa, CA 92627 perfect combination of guts and clear- ID (714) 645 -2540 ness. Bloom is also responsible for

CIRCLE 39 ON READER SERVICE CARD OCTOBER 1977 89 www.americanradiohistory.com writing all the material found on this recording. Possibly the only fault with the recording is that the bass doesn't seem to have as much bottom as one might expect from this type of band. It is a bit too high end (for my taste, anyway). However, it is full of punch, and bassist, Larry McDonald, definitely leaves no holes to be filled. For those of you bored with bands hung up in the four -chord syndrome, an investment in Brother Bait's first album may prove to be a welcomed relief from the headaches caused from straining to hear the melody. C.F. -K.

BONNIE RAITT: Sweet Forgiveness. [Paul Rothchild, producer; John Haeny, roger Mayer, engineers; recorded at on others Sunset Sound Recorders and Electra BONNIE RAITT: Relying Sound Recorders, Los Angeles, Ca.] has find separations are good, but there's little Warner Bros. BS 2990. corded for as long as she to some worthwhile material. Still relying excitement. The instruments keep their though the Performance: Still in need of good on the ideas and basic creativity of distance from the vocals, material others, Raitt's and /or Rothchild's inter- string effect in "Two Lives" is lost being hissing Recording. How compressed can you pretations need work. so far back in the mix, and her is get? Knob wise, the major complaint with sibilants drive you up a wall. There the performance turned in by the engin- almost an overabundance of background vocals in group context. There isn't This is Bonnie's sixth album, and I eers is the constant use of compression musicianship in the grooves, either. have yet to hear one that tracked 10 for and limiting. Overall, she sounds lifeless much from the distort- 10. You'd expect someone who's re- and bored throughout the album. The The title track suffers ing guitar battling the acoustic piano for dominance. The drums throughout tend to be flat sounding, though the acoustic guitar is nice and crisp. The disappointment lies with Raitt, although I come away with the feeling The instantly famous Schaffer -V-á Diversity that this was an album made under System gives you control of space - - -and lots of new performing possibilities. duress of some sort. The fact that Less than half a mile from the womb that people keep going further and further spawned SVDS is the nest of Eventide the world's foremost manufacturer of exotic back among the oldies for new material time domain modifiers. So we're also the bothers me. When junk like Del Shan- one stop you can make to master time. non's "Runaway" gets the nod, I begin NO STRINGS ATTACHED ! the Ken Schaffer Group is one of the world's major suppliers of top -of- the -line by, to get nervous. Anyone for "Palisades For all of you who've been standing special effects equipment. We've supplied thanks. SVDS w ireless systems are finally hundreds of major bands and studios Park ?" G.P. ready for delivery. with Eventide Digital Delay (1745M), the in electric Eventide Harmonizer Tr", Instant Flanger Its the greatest advance and Amazing Omnipressor. instruments since Les Paul.... there's now no need for a cord between Eventide equipment is normally kept in your instrumerr and its amp. stock for immediate delivery. We also otter a number of exclusive custom Schaffer-Vega Diversity Systems, modifications which make the entire for all instrumeits and hand -held mics Eventide line even more versatile in both guarantee a minimum 100 yard live and studio application. performing range, give complete protection against electric shock, ....., and - -- it's no gimmick-- - . . , Gru- make no compromise in your sound. NOEL POINTER: Phantazia. [Dave - Larry Prototypes ha' a been field tested sin and Larry Rosen, producers; groups since on the road bN, several major Rosen, engineer; recorded at Camp Col - January.... and have passed every test. seeing Starting right row, you'll be Eventide is the standard delay equipment umby, New City, New York.] Blue by Kiss, and hearing SIDS in use for nearly every major studio on six Note BN LA 736 H. ELO, CS &N, Ric- Derringer, Ted Nugent, continents. Ifs the secret behind dozens of Steve Miller, Commodores, Peter Gabriel soecial effects you hear in live concert and Mahogany Rush to name just a few. with nearly every major band. It's far cnd away the best. Performance: Vital and electrifying Get rid of the Imitations of cords each. Uses all the gimmicks, but for once and br all.... you can enter Complete Operating Manuals 9 $5 Recording: the house from behind, playing all Check with us: We specialize in time& space uses them well the way, and never get shocked again. (list Prices: Model 1745M $4100 Pitch Change Module $850. Plug independent delay outputs $550. $1 for specs. Additional -in Call.. .or send complete 1-armonizer. all options, $1865: Polyphonic Harmonizer ire $600: Instant Hanger $615: Omnipressor $600). High School of Music SVDS instrument systems: $3300; board New York's Operating Manua : $5 and Art has produced many jazz and GROUP, INC. THE KEN SCHAFFER gone on to star- 10 East 49th Street pop musicians who've New York, New York 10017 (212) 371-2335 MODERN RECORDING 90 www.americanradiohistory.com dom, such as Billy Cobham and Jeremy later in California but it still comes Steig. The latest is an exciting contem- out a tasteful, integrated sound. ((d SD550 porary violinist who seems more adept With his debut album Noel Pointer ept/ Inc than most at fusing the jazz and rock has served the public notice that he's idioms. Noel Pointer plays both acoustic here -and that he's a talent to be and electric violin at different points on reckoned with. J.K. this recording, yet, even when he's amplified, he manages to avoid losing the MICHAEL HOWELL: A /one. [Pat Britt, characteristic string tone that makes a producer; Mel Ford, engineer; recorded TIME violin a violin and sounding like a sub- at Perceptive Studios, San Francisco, DELAY SYSTEM stitute for a saxophone or lead guitar. California, on August 17, 1976.] Cata- IT DELIVERS WHAT QUAD ONLY PROMISED: Noel AND IT DOES IT WITH ANY RECORDING OR Pointer is a fiddler first and fore- lyst CAT 7615. BROADCAST. most. Through a varied repertoire that includes Stevie Wonder's "Living For Performance: Brave virtuosity The SD550 will peel the music off the wall and Recording: fill your room with the thrilling sounds of a live The City," two jazz originals by gui- Soft and fluffy performance. It is the first and only system to tarist Earl Klugh, a new arrangement of combine infinitely variable control of delay and reverberation with automatic high frequency "Wayfaring Stranger" and the title song In these days of electrified instruments contouring for the accurate reproduction of from "Fiddler On The Roof," Noel it isn't easy to remember the time when concert hall ambience in any listening room; and unlike any other available 4CH, reverber- Pointer never loses the unique sound guitars didn't have amplifiers. The ation or ambience recovery system, the SD550 of his instrument. Of course, it helps acoustic Spanish guitar is an instrument won't twang, hiss, distort, shift images or in any way affect the sonic quality of even the to have players like Dave Grusin, Steve nearly unmatched in its ability to com- finest music system. Gadd and John Tropea to work with. municate romantic beauty, warmth and You could spend a lot more just exchanging Also noteworthy is a flute player named melody. It's also amazingly self- suffic- stereo components for a little added range or Dave Valentin, who also wrote one of ient, able to supply melody lines, bass clarity. Before you do, experience the breath- taking realism of total presence. Listen to an the songs on the album, "Rainstorm." lines and chordal harmonies. Concert SD550. These people have. This certainly wasn't the re- kind of guitarists such as Andres Segovia and "makes almost any stereo or mono program cording session where the engineer just Julian Bream have long been aware of sound more real than 99% of the available opened the mics and let guys quadraphonic programs. " Julian Hirsh in Pop- the blow. the beauties of the unaccompanied ular Electronics 6/76 Bobby Columby of Blood, Sweat and guitar, as have such jazz greats as Eddie "turns formerly flat recordings into gems while finally fullfilling the promise of 4CH sound." N.J. owner

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äN NOEL POINTER: A talent to be reckoned with

Tears certainly knows the techniques Lang and Joe Pass. Now they are joined that go into making a contemporary by Michael Howell, who plays an ambi- ó jazz /rock recording and he's capable of tious program which includes McCoy ; using them all at his studio in New City. Tyner's "Sama Layuca" and Duke El- As far as the overdubbing goes, some lington's "Sophisticated Lady," in addi- MODERN RECORDING Magazine 14 Vanderventer string and reed ensembles were added tion to his own "Honey Chile," Harvey Ave. Port Washington. N Y 11050

OCTOBER 1977

www.americanradiohistory.com Mann's "Song No. 3" and Stevie Won- results are always spontaneous and fresh. der's "Creepin'." The separations on Passengers are very It would seem easy to record sucn a distinctive, with Burton's shimmering recital by a single instrument, but, when vibraphone given the full spectrum of instructions such as no overdubbing or the mix. The concept of movement is post- recorded sweetening are imposed, interesting here, for while the vibra- it becomes more difficult. A close mik- phone is basically the center of the mix, ing would have brought more presence when he plays into the upper register and detail, but it would have brought the vibes are panned slightly to the right more extraneous finger noise as well. It of the mix, and to the left for the lower was a wise decision on the part of the octaves. Pat Matheny's guitar comprises engineer and producer to go for a dia- the left of the mix along with Steve phanous sound which is admirably Swallow's bass, whereas Eberhard Weber's suited to the music and the artist. bass is to the right of the mix with the The PAIR P.P.S. OBSOLETES ALL Howell's decisions were not always as drums to the center. Drummer Gottlieb ELECTRONIC DRUM SETS wise. After admitting, in the liner notes, utilized his cymbals predominantly BY ALLOWING YOU TO TAP IN: the impossibility of duplicating McCoy throughout this recording, which adds GI ANY TIME SIGNATURE Tyner's piano technique on guitar he an odd tonal color when played against taANY RHYTHM PATTERN goes for the impossible. It's called the vibes, for the resonances of the PLUS A SEPARATE BRIDGE RHYTHM taking chances. Sometimes it works, instruments are in contrast. Matheny's Build it from a PAIA kit for only $79.95. sometimes it doesn't. But, when it does guitar is very cleanly recorded, with the work, the results justify the times that occasional use of echo the only additive, ( 1Send_ PPS Kits at S79.95ea.(+S3ooshipping) Howell gets himself too far out on a which is a wise choice for a distortive - ( 1 Send more information & FREE CATALOG musical limb for comfort. J.K. type effect would only muddy the overall performance. name: THE GARY BURTON QUARTET My only problem with the recording address: WITH EBERHARD WEBER: Passengers. was differentiating the two bassists, [Manfred Eicher, producer; Jan Erik Swallow and Weber. I don't really feel city: state: zip: Kongshaug, engineer; recorded at Talent that the use of two bassists added any-

cut out & mail to: Studio, Oslo, Norway.] ECM 1092. thing to the recording, with Swallow DEPT. 10 -MR tending to be placed very much in the 13115 I 1020 W WILSRIRElOKLAROMA C171 OK j Spontaneous back of the mix. It was only through CIRCLE 47 ON READER SERVICE CARD Performance Recording. Distinctive my knowledge that Weber's one -of-a- kind five -string bass has a high C -string As is the case with practically all that enabled me to discern the soloist. RiudioTapQ ECM recordings, each is recorded "live" in one or two takes, with professionals in the studio, for the actual recording completed in a day.

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CASSETTES, C -10 -C -90, with Agfa, Ampex, 3M Tape LEADER & SPLICING TAPE EBERHARD WEBER: One -of -a -kind EMPTY REELS & BOXES but hard to find All widths, sizes. GARY BURTON: Always spontaneous Common sense also told me that since - COMPETITIVE FROM STOCK - and fresh Weber's the featured guest soloist, that Recording Supply Co. Add mixing time and the album is done must be his solo. Nevertheless, this is a Rand Road 1233 believes that very pretty jazz album filled with tonal Des Plaines, IL 60016 in a week. Manfred Eicher olvof is the only way to record jazz and I colorations and combinations rarely em- poi Corp. 312/297 -0955] agree. In the case of Gary Burton the ployed today. G.P.

CIRCLE 35 ON READER SERVICE CARD 92 MODERN RECORDING www.americanradiohistory.com - --`ti,;, o , The Art ; . of Recordi

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CIRCLE 37 ON READER SERVICE CARD

www.americanradiohistory.com tion and bass response. There's no sub- DON'T SETTLE stitute for the excitement of the real FOR LESS thing. The Arp 2600, Odyssey and Pro - Soloist synthesizers don't even come THAN THE BEST IN close. S.C. INTERCONNECTING TCHAIKOVSKY: 1812 Overture; Nut- cracker Suite. [Jack Kraft, keyboards; SI BE LI US: Symphony Nos. 1 and 2; DEVICES Larry Alexander, record engineer; Kraft Finlandia. Boston Symphony Orchestra, & Alexander, synthesizer programming; Colin Davis, cond. [Vittorio Negri, pro- recorded at Ultima Sound Studios, Blau- ducer; recorded in Symphony Hall, Bos- AUDIO CONNECTORS velt, N.Y.] London Phase -4 SPC 21168. ton, Mass.] Philips 9500.140 and 9500. JACK PANELS 141. Performance: Synthesized CABLES SNAKE Recording: Thin Performances: First, dramatic; CABLES Second, relaxed MULTISWITCHES® Figuring that I had spoken my peace Recordings: Rich and clean AUDIO ACCESSORIES about synthesizer versions of the clas- sics in the April MR, I was surprised The second and third installments of CONNECTORS when I received this record for review. Colin Davis' Sibelius cycle with the Bos - Maybe pop fans can get into this stuff, tin Symphony Orchestra on Philips fully IN DEPTH INVENTORY but I continue to receive negative vibes. live up to the initial disc's coupling of IMMEDIATE DELIVERY SEND FOR FREE CATALOG

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CIRCLE 99 ON READER SERVICE CARD

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COLIN DAVIS AND THE BOSTON SYMPHONY ORCHESTRA: Strongly characterized interpretations

'The unsigned jacket notes state: "In the the Fifth and Seventh Symphonies (MR, more densely orchestrated sections on Dec/Jan 1976). The brass seem not as this album, more than 200 individual prominent, although it is difficult to tracks of synthesizer information were judge whether the conducting or engin- utilized to build a sound with a depth, eering is responsible. The winds are power and variety of tonal textures more closely balanced in the First, less equal to and greater than a full sym- so in the Second. The overall sound re- kiftS IYM any Fender Raverb Amp! phony orchestra." Nuts! Depth, power mains excellent, with a definite plus and tonal variety are precisely what one once again in Symphony Hall's superb The Ice Cube'" is the first Professional Quality gain -boost /overdrive device to misses most of all! For the 1812 Over- acoustics. use your amplifier's built -in controls and ture, listen to Haitink on Philips for an The First is the most impressive per- power. Highly reliable, with no batteries lifelike display of these formance. From the moody, sensitively or cords to wear out, the Ice Cube, is awesomely virtually indestructible. three qualities (in the recorded sound, phrased clarinet solo of the opening to Manufacturer's suggested retail: 519.95 not the staid performance) or the Or- the wrenching turmoil of the close, JHD Audio, 1370 Logon Ave., Unit E and seethe Costa Meso, California 92626 mandy on RCA, which even utilizes an Davis makes the music surge electronic cannon in the cataclysmic with passion and drama. The well - finale. In the Nutcracker Suite, I am judged wind balance reveals many fel- surprised at the lack of dynamic varia- icitous details usually covered by the

CIRCLE 71 ON READER SERVICE CARD 94 MODERN RECORDING www.americanradiohistory.com strings, and the harp contribution in the period was his. As Christopher Palmer third movement is excitingly in focus. points out in the accompanying liner By Popular Demand! The only major drawbacks come in the notes, Rozsa certainly does not have a otherwise superb final movement, where light touch. There are times in movies THE Davis holds back the first two statements like "The Lost Weekend" and "Spell- HISTORY of the motto theme, disrupting the line bound" when the music overwhelms the and destroying the built -in dramatic films rather disastrously -making emo- °F`WCORDING contrast with the concluding largemente tional transitions for actors, doing By Robert Angus treatment of the motto. Also, the broad things the images should do, leaving tempo of the conclusion is not quite in nothing to the imagination. the BSO's bones -the playing is not In fairness to Rozsa, he did not dic- quite of one mind. tate the style, he only embodied it most The Second Symphony may seem a bit completely. Interestingly enough, this casual in Davis' hands to those accus- recording of Rozsa film music only has tomed to the icily intense grandeur of one cut from "Lost Weekend" to illus- Szell's classic Concertgebouw recording trate the original Rozsa sound. Every also on Philips. As with the First, Davis science fiction film for the next decade takes few liberties; tempo changes are overworked the theremin after Rozsa very minor modifications of the basic established it as the evocation of emo- pulse, with none of the passionate tional disturbance. The entire six -part series from accelerandos or rallentandos of Bern- Fortunately, there is more to his music Modern Recording Magazine. stein or Barbirolli. But by the time than that style. The first side of this DG Reprinted as a specially bound Davis reaches the final three pages, he release is all forties material except the book for only ... $3.50 has imperceptively broadened into a cut from "A Time to Love and a Time tempo of extraordinary power, with the to Die." "The Thief of Bagdad" music is Send for this edition today! brass pealing out majestically over the brilliant and quite enjoyable, sounding solid underpinning of the glorious like early William Walton. It is beautiful- Send check or money order to: BSO strings. ly recorded as well, reproducing splen- Modern Both recordings show occasional signs didly the glistening instrumental detail Recording Magazine of haste: some less- than -sharp ffz at- of the work. Notable, also, is the section 14 Vanderventer Ave. tacks in the opening movement of the from "Naked City," easily the most Port Washington, N.Y. 11050 First, scrappy strings at one bar after interesting music on the album and letter F in the final movement, a sneeze quite unlike most of Rozsa's music in its just after the return of the allegro tem- simplicity and clarity. po at letter K, and a couple of bad Side two turns to Rozsa, the epic corn- MODERN RECORDING splices; the Second contains a surprising poser. "Ben Hur" and "Quo Vadis," number of almost- buried coughs. But two notable Rozsa epic scores, are both these trifles should hardly discourage regrettably absent here. The epic or %, anyone from hearing Davis' strongly spectacular film is a fine genre for BUY SELL TRADE t characterized interpretations. S.C. Rozsa since the slightly overblown style PRODUCTS of such films fits the lushness of Rozsa's music very well. Unfortunately, the sel- EQUIPMENT L ections here aren't very distinctive and SERVICES tend to blur into one. All in all, this is a most respectable Classified Rates disc, cleanly recorded with a full -bal- 60c per word anced sound. Rozsa, the conductor, MIKLOS ROZSA: Miklos Rozsa Con- acquits himself well, indeed, showing Minimum 10 words. Copy ducts His Great Film Music. [The Royal great taste and restraint in his readings must be received at Modern Philharmonic Orchestra, conducted by of his own music. The album is attrac- Recording, 14 Vander - Miklos Rozsa; Brian Culverhouse, pro- tively packaged with notes by the ubi- vent er Avenue, Port Wash- ducer; Peter Bown, engineer; recorded quitous Christopher Palmer and photos ington, N.Y. 11050 by,the in London, England.] Deutsche Gram - from the various films. I hesitate to 1st day of the 2nd month NMI mophon 2584 013. point out that the photo from "A prior to cover date (for Double Life" labeled as Ronald Col- example, the Dec /Jan issue Performance: Quite enjoyable man and Signe Hasso is not Ms. Hasso closes October 1st). Pay- Recording: Fits the lushness of the music but a young Shelley Winters. A parting ment must accompany or- thought: there is much more Rozsa der. Phone numbers count Miklos Rozsa has an enviable position material of interest to collectors - as 1 word. Zip codes are among movie composers. He is both re- "Double Indemnity," "The Asphalt free. spected critically and popular commer- Jungle" and "The Red House," just to DISPLAY ADVERTISl .. °J cially. Although his work spans roughly name a few. How about a second Rozsa $80 00 per column inch four decades of movie making, he was album, DG? H.R. the Hollywood composer in the forties. The style and tone of movies in that NOW

www.americanradiohistory.com Advertiser's Index Reader Service k Advertiser Page # Reader Service k Advertiser Page # Reader Service # Advertiser Page k 82 Acoustic Control 57 79 Gallien Krueger 22 37 Recording Institute 93 84 Amcom 85 77 Hammond 6 35 Recording Supply 92 86 Ashly 82 75 Ibanez 29 33 Russound 17 88 Audio Arts 20 73 Interface 56 31 SAE 12 90 Audio Marketing 17 71 JHD 94 80 Sennheiser 27 No* Audio Technica 49 69 JVC 25 78 Sony America 36, 37 32 Biamp 8 67 K &L Pro 20 76 Sony Superscope Cyr. 3 96 Biamp 83 Nos Ken Schaeffer 90 74 Sound Concepts 91 92 BIC 19 65 KIK 79 Nos Sound Workshop 13 Nos BSC 24 63 LT Sound 96 Nos Sound Workshop 42 98 Carvin 26 61 Lux 15 72 Sunn 1 99 Calif. Switch & Sig. 94 59 Maxell 9 70 Tangent 84 97 Cerwin Vega 63 57 MICA 8 68 Tapco 81 95 Community Light & Sound 41 55 Morley 80 Nos Teac /Tascam 51 93 Crown 28 53 MXR Cyr. 4 66 Technics 7 91 DBX 11 51 Norlin 61 64 TDK 21 89 Dallas Musical 5 49 Orban Parasound 14 62 Unlcord 88 87 DiMarzio Cvr.2 47 PAIA 92 60 Unisync 23 85 Dolby 79 45 Peavey 2 36 Unisync 89 83 Express Sound 43 43 Polyfusion 24 58 Yamaha 18 81 Forsythe 10 41 Quantum 86 56 Whirlwind 77 39 Qullter 89 54 White 10

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MODERN RECORDING

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CIRCLE 76 ON READER SERVICE CARD

www.americanradiohistory.com You know what to expect from bility enables the Six -band brick walls, low ceilings and Graphic Equalizer to selective- hard floors. Your bass gets ly distort at any given frequen- eaten by the drapes and your cy . The MXR Six -band Graphic guitar solo echoes right back Equalizer is battery powered at you. The environment of a with battery life of up to one small club is designed to make year in normal use. it a good place to drink and The Ten -band Graphic EquEl- dance, not necessarily a good izer expands the capability o- place to perform. What you sound control even farther. Ten need is the ability to tailor bands cover the entire frequen- your sound to the room. cy spectrum in octave incre- At MXR, we realize that quality sound is essential to ments that allow you to specifically boost or diminish a musician, wherever he plays. MXR Graphic Equal- tf e tonality of any part of your performance. Its fre- izers car give you the control to make that sound, gJency range (31.2 Hz- 16KHz) is sufficient to allow your soL nd, possible, whether you are playing in a tt-ewidest range of application, including; musical small club, in a large auditoriLm, or any place instruments such as keyboard and drums as well as in- between. PA mains and /or monitor equalization. The MXR Ten -band is Available in either Six or Ten -band ranges MXR Graphic Equalizer AC powered, can Graphic Equalizers are designed to precisely modify handle both low and high impedance signals and is extremely quiet. selected frequency ranges in order to compensate for aural discrepancies caused by the acoustical Both the Six and Ten -band Equalizers are ruggedly environment. cc.nstructed for long -term reliability. So, now you can make a MXR's Six -band Graphic Equalizer has been designed any environment controlled environment for modification over the tonal response range (100 wth an MXR Graphic Equalizer. To hear the difference fo- Hz -3.2 KHz) and is ideal for Lse with electric and yourself, see your MXR dealer. MXR Innovations, acoustic guitar, bass and brass. Its overdrive capa- Ins., 277 N. Goodman St., Rochester, N.Y. 14607. Professional (MXRI Products Group 53 ON READER SERVICE CARIA www.americanradiohistory.com