Recording the Frank Sinatra TV Special and Album: "OL' BLUE EYES IS BACK"

VOLUME 4 NUMBER 5 ` e/p SEPTEMBER / OCTOBER

Recording the Frank Sinatra TV Special and album: "OL' BLUE EYES IS BACK"

RELATING RECORDING SCIENCE TO RECORDING ART TO RECORDING EQUIPMENT

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www.americanradiohistory.com Altec, we challenge you. Any company that achieves a position of leadership must be prepared to meet the challenge of innovation. In the recording industry, this is a particularly crucial factor - because constantly evolving musical material demands ever newer and better recording techniques. For nearly 30 years, one name has dominated the studio monitor market. Altec. In 1973, Altec had more than twice as many speakers in recording studio use in the U.S. than its nearest competitor. And nearly as many as all other brands combined. (Source: Billboard's 1973 International Directory of Recording Studios.) That's leadership without question. Now someone is about to challenge that leadership. Us. Our first step: introduce three all -new monitor loudspeakers. They're a whole new breed, designed for tomorrow's recordings. And they exceed the performance characteristics of every monitor ever made. Including Altec's. They're packed with improvements and specs guaranteed to satisfy the goldenest of ears. Improved accuracy and definition. Better transient response. Flatter frequency response. Greater bandwidth. Greater power handling. And much more. Add to all that our 37 -plus years in the field of sound reproduction, and we think we're ready to challenge the leader. Even if we have to do it ourselves. AL.TLG fáe aund of experi9 z . 1515 S. Manchester Anaheim, Calif. 92803 The challengers. From front to back, it's the 9849A, the 9846 -8A and the 9848A. If you listen for a living, you should know more about them. Write or call. We'll send you all the facts and figures. Circle No. 101 Re/p 3

www.americanradiohistory.com ED

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L E A D E R IN A D V A N C E D T E C H N O L O G Y

www.americanradiohistory.com RECORDING engineer/ producer

- the magazine to exclusively serve the recording studio market ... all those whose work involves the recording 1973 of commercially marketable sound. SEPTEMBER /OCTOBER VOLUME 4 - NUMBER 5

- the magazine produced to relate .. . RECORDING ART to RECORDING SCIENCE ... to RECORDING EQUIP- MENT.

Editor /Publisher.... MARTIN GALLAY

Associate Editor WAYNE YENTIS

Engineering Editors RON MALO WILLIAM ROBINSON GARY DAVIS

Business Manager V.L. GAFFNEY

Circulation Manager D.S. WI LLIAMS Recording the Art Director ...DENNIS LEATHERMAN FRANK SINATRA TV SPECIAL and ALBUM

. interviews with MGM's ED GREENE and GOLDWYN'S RECORDING engineer /producer is pub- DON MACDOUGALL 15 Wayne Yentis lished bi- monthly and is sent free to qualified recipients in the United States. Subscriptions for other than qualified MASTERING FOR individuals or companies may be pur- TAPE DUPLICATION 25 Peter Butt chased at $5.00 per year. (All foreign subscriptions: $6.00 per year.) Material appearing in R -e/p may not be repro- THE duced without written permission of the TUBE VS TRANSISTOR Publisher. CONTROVERSY 35 Russell O. Hamm

Letters and Late News 8

Notes on Demagnetizing 13 RECORDING engineer /producer is not responsible for any claim made by any person based upon the publication by New Product News 43 RECORDING engineer /producer of material submitted for publication. Classified 51

about the cover: FRANK SINATRA as Controlled circulation postage paid at portrayed in bronze Los Angeles, California. by renowned sculptor RECORDING engineer /producer ROBERT BERKS 6430 Sunset Boulevard P.O. Box 2287 Hollywood, Ca. 90028 (213) 461 -7907

Re /p 7 4. Circle No. 102 www.americanradiohistory.com - q05 Pin 4 o LETTERS and LATE NEWS i<105 Pin 5 From the 1005 Pin 8

READERS 002 131n 5 An editorial material rating of emove wire from Pin 17, KI05 the most useful feature article, as And conned here gathered from the Reader Service Cards received prior to press time. Conned This wiry to vacated Pin 17, K1o5 JULY /AUGUST ISSUE: -o o- I'M OKAY...OKAY Cue

YOU'RE OKAY .. . by Gary Davis 34.1% FROM: retained on one button, not two (edit Dave Michelson and start), and cue control is on its Production Supervisor own button. A SIMPLE LOW -PASS FILTER Bonneville Program Services Installation of this button is best by Wayne Yentis 10.5% Bonneville International Corp. made 2- inches to the right of the exist- As an alternative to the suggested ing edit button where, conveniently e- CREATIVE MIXING FOR BETTER modification for the Scully 280 editing nough, Scully has seen fit to pre-punch function by Peter I the DISC MASTERING Butt, would like to transport plate for easy installation. contribute the enclosed schematic which, All one need is (v Kulka, do drill a hole through the MacLeod, Malo 50.8% I believe, is a more practical solution to pot -metal face cover. the problem for the non -motion sense The necessary relay installation can A MODIFIED EDITING FUNCTION machines. also go in a factory pre -punched hole to FOR THE SCULLY 280/284 This system adds one more button to the right of the existing relays on the the transport, ala the old Presto, the best SERIES DECK transport chasis. editing machine ever built, for cue fun- I hope this idea may be of some by Peter Butt 04.6% ction. Thus the edit -spill function is benefit to your readers.

As the industry has grown, so or PAL data rate selectable. A pro- has the demand for larger and vision for optional data display and larger tape systems. Unfortunately lever -wheel code preset allows as the number of tracks increases, vious: unlimited track expansion SMPTE hours, minutes, seconds the signal to noise, cross -talk, etc., with great audio specs! The cost? and frames to be read and /or pre- gets worse. And if that's not bad About half the price of a 16 track. selected. Optional accessories of- enough, the price of a 24 track Our basic system features fered include a Motor Drive Am- machine is almost double that of SMPTE Generator, Reader, and plifier and "Search and Find" a 16 track. Synchronizer. Operating in con- match -up system. A few years ago people started junction with the TCS Reader, the The Synchronization Genera- to consider the benefits of syn- TCS Synchronizer provides the req- tion has arrived - and it's about chronizing multi -track machines. uisite speed up or down error sig- time! The result? The birth of a new nals to capstans that can be either generation of tape synchronizing AC Synchronous or DC Servo con- *TCS -Time Code Synchronizing System equipment. The advantages are ob- trolled. The TCS Generator is NTSC QUAD /EIGHT ELECTRONICS Re/p 8 Circle No. 103

www.americanradiohistory.com Pete Butt's reply: the two channels together. Under the MCI's JH -16 and JH -24 tape machine. terms of the agreement, CBS will make Mr. Michelsons' alternative approach available (in their own studios only) the UREI APPOINTS WARRANTY REPAIR to modification of the Scully 280 EDIT use of CSG's or Quadrature units to any- REPRESENTATIVE mode is quite applicable to the non - one desirous of availing themselves of Associated Sound Systems, 5558 Ca- motion -sense models. It appears to grow these time and money saving devices. huenga Blvd., North Hollywood, Calif- a little more complicated when applied HAECO will also provide CSG units on a ornia 91601 has been appointed exclusive daily rental, or long -term lease basis to to motion -sense models, however. Factory Authorized repair station for any recording studios. Neither HAECO both warranty and non -warranty service can only blame my Mr. I neglect of nor CBS has any plans to market these of UREI, Universal Audio and Teletronix Michelsons' method upon my reluctance units in the immediate future. Aside products, according to D.F. (Bud) Morris, to drill holes and to my parsimonious from the stereophonic CSG units, HAE- UREI vice president and general manager. nature. CO will also be leasing a CSG -4 which Associated Sound Systems, headed by In addition, working with both types will permit discrete quadraphonic pro- Michael Ragsdale and Michael Levey, has of decks, I wanted a single modification gram mixes such as CD -4 to be combined for several years performed contract elec- procedure equally applicable to both into near-perfect stereo and mono mixes tronic maintenance for recording and types of machines. without going back to the mixing con- film studios in the greater Los Angeles sole. area, which has already gained them wide experience in servicing UREI equipment HAECO & CBS ANNOUNCE CROSS - MCI, INC. OF FT. LAUDERDALE AN- at the end user level. During the past six LICENSING OF CSG AND QUADRA- NOUNCES WEST COAST DEALERS months, Associated personnel have re- TURE EQUIPMENT Mr. G.C. (Jeep) Harned, president of ceived extensive test and calibration In a recent announcement, Howard MCI, Inc., has announced the appoint- training at the UREI factory, and have been performing warranty and non -war- Holzer, President of HAECO, and Ben- ment of two new dealers for MCI's line of jamin Bauer, Vice President of CBS ranty service on all UREI products for Labs., announced the cross -licensing of professional recording equipment. The the past four months. the patent rights for Holzer's CSG (Com- dealerships were awarded to Audio In- According to Morris, the shifting of patible Stereo Generator) and a similar dustries of Hollywood, California, and customer repair service from the factory device known as the CBS Quadrature. Quad -Eight Electronics of North Holly- to Associated will provide expedited han- Both devices are utilized to combine wood, California. Both companies will dling of warranty and non -warranty re- stereophonic mixes to a mono program represent MCI in southern California. pairs, with no compromise in quality of with near -perfect aesthetic balance with- workmanship. MCI is one of the few professional For prompt service, units requiring out a rerun( session. The Holzer CSG unit manufactures was introduced late in 1967 and the CBS audio manufactures that repair should now be sent directly to unit some time later. The HAECO CSG both recording consoles and tape ma- Associated Sound Systems, rather than will also produce encoded stereophonic chines. MCI's newest product includes the factory. Telephone inquiries regard- discs or tapes which can be combined to the JH -100 transport with DC capstan ing service should be to Mike Levey, mono at any time by merely combining servo drive. This new tape deck is part of (213) 985 -9200.

All Solid State OP Amp De- 144 Patch Points sign Studio Talkback Sixteen Track, Wet Monitor - 2 Cue Systems Dry Record, Monitoring Pan Pots on each input Money talks Nine Frequency Equalization Conductive Plastic Linear At- (Low- Mid -High) on each input tenuators Plus 29 dbm headroom Compact Size: 28 x 48 x 15 inches WHETHER YOU'RE SPENDING IT, OR SAVING IT Distortion less than 0.1 % at rated output Frequency Response: + 1 DB 20 VU Meters 20 - 20,000 Hz. That's why it makes good dollar sense to consider the 1008 -16 console for your operation. It's a completely professional 16 in -16 out unit with features you can't believe possible in a $9500 console. There are no extras to buy AZE and no hidden costs. CORPORATION P.O. DOX 6636 BIRMINGHAM, ALABAMA 35210 PHONE (205) 591 -4000 OFFICES AND WAREHOUSE, 514 ALTON ROAD BIRMINGHAM. ALABAMA

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Circle No. 104 Re/p 9

www.americanradiohistory.com DON FOSTER, PRO -AUDIO PIONEER consumer /professional products of the STITUTE OF AUDIO RESEARCH IN SUCCUMBS 3M Company's Mincom Division. NEW YORK NOVEMBER 15 - 18 A four day workshop exploring topics John Donald Foster (1910 - 1973): Burnett had been market manager of of major importance and interest to R -e professional Most /p readers will remember Don audio products in Camarillo, producers and arrangers will be presented Foster as the author in recent issues of California since 1970. by the Institute of Audio Research, Inc. several excellent audio research and re- Thursday, November 15 through Sunday, cording applications articles. Regretfully, November 18, in New York. The work- only a few knew him more deeply as the shop will cover audio recording and finest kind of human being, as well as a technology topics relevant to both the truely innovative designer and engineer producer and arranger. of audio products, and during World War Experts in the field will discuss auto- in a forum - II the inventor and developer of sig- mation and quadraphonics I nificant electronic ordinance devices. type conference with the students. Also, the workshop will cover studio tech- A true broadcast pioneer, Foster was nology, monitoring, session preparation, one of the earliest radio sound -effects signal processing, control room techni- men. The number of shows, only one of ques, stereo tape to disc transfer, and which was the "Shadow" series, on which microphones. Discussions on microphon- he worked is legend. es will explore the characteristics, appli- A Columbia Broadcasting System em- cations and techniques of recording ployee for 20 years, Don was very much strings, horns, acoustical and electronic involved in the technical evolution of instruments. will be spent color video One day of the seminar television and tape recording. Thomas W. Kenny has been appointed at Ultra -Sonic Recording Studios, 16 Among the major honors accorded to the position of market manager, con- track fully Dolbyized facility in Hemp- Don during his life was his selection to sumer /professional markets, Mincom Div, stead. supervise all audio and recording act- 3M Company. Fee for the Producers - Arrangers ivities during President Eisenhower's tour Kenny joined 3M in 1961 as a service Workshop is $250.00. Course outline and of India and Italy. representative at the Camarillo facility schedule are available by contacting Iry Don is survived by his wife and four and has held various sales positions with- Diehl, Institute of Audio Research, Inc., children. in the Division since that time. 64 University Place, New York, N.Y., Both Burnett and Kenny will relocate 10003. BURNETT, KENNY ASSUME NEW 3M to 3M headquarters in St. Paul, Minn. MINCOM DIV DUTIES, RELOCATE TO NATIONAL COUNCIL OF RECORD- ST. PAUL HEADQUARTERS ING ENGINEERS FORMED Robert F. Burnett has been appoin- PRODUCERS - ARRANGERS WORK- The National Council of Recording ted to the new position of sales manager, SHOP TO BE PRESENTED BY IN- Engineers, or (NCRE) founded by engin- fiore people are ksar ¡ng things

Model 100 -A - Sonipulse Room our way! Equalization System A. Model LA -3A - Leveling Amplifier B. Model 920-16 - Cooper Time Cube C. Model 527 -A - Active Graphic Equalizer D. Model 1176LN - Limiting Amplifier E. Model 565 - "Little Dipper" - Filtet Set F. Model BL -40 - Broadcast Limiter G. Model 963 - Digital Metronome

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"MOD ONE" - Broadcast Console

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www.americanradiohistory.com eers from across the country, has recent- vice president. Gulton Industries, Inc., Philip Garnick, ly been formed to: create an exchange Prior to joining Gulton as a corporate Electro -Voice president and a Gulton of ideas among engineers, encourage group vice president in January, 1970, corporate group vice president, announ- manufacturers to live up to their claims, Mr. Garnick's top management assign- ced today. evaluate equipment and disseminate re- ments included vice president of manu- In making the announcement, Mr. sults among members, provide manufac- facturing operations with The Harvey Garnick stated that Mr. Woodbridge will turers with a central forum for suggestion Group, Inc., and vice president of engin- have total responsibility for all market- or evaluation of new equipment ideas, eering and vice president of marketing ing, sales, and related support activities and intends to promote a higher state of operations with Sigma Instruments, Inc. for Electro- Voice. the art within the industry. He acquired his B.S. degree in electrical During the past three years, Mr. Wood- Membership is open to any profess- engineering from Northeastern Univer- bridge has been president of Gulton's ional working in the sound industry who sity, Boston, where he later returned for West Instrument Division. is not directly involved in the manufac- graduate work in advanced mathematics. turing or sale of equipment. The mem- He has designed and conducted a number BOOK REVIEW bership fee of $10 per year will be used of industrial marketing courses and sem- Ideas, Inventions and Patents an Intro- to cover printing and mailing costs for inars. duction To Patent Information, by David the organizations frequent newsletters. Abernathy and Wayne Knipe. Pioneer Requests for membership applications Press, Atlanta, Ga. should be sent to: NCRE, P.O. Box The authors' motivation for writing 8659, Universal City, Calif. 91608. In- this book was the realization that there quiries may be addressed to Larry Le- was no such book in existence. In dealing vine, A &M Records, 1416 N. LaBrea with the process of patenting, the de- Ave., Hollywood, Calif. 90028. velopment of ideas in various stages of development, we realize that there were GARNICK ELECTED ELECTRO -VOICE few books in print to help the beginner. PRESIDENT, WOODBRIDGE NAMED When an idea is developing into an MARKETING EXECUTIVE ó invention, the inventor needs help, some Philip Garnick has been elected presi- of which he ought to be able to provide dent of Electro- Voice, Inc., a subsidiary á for himself without having to ask an of Gulton Industries, Inc., it was an- m attorney, patent agent or patent attor- nounced today by Walter F. Gips, Jr., ney. So we have tried to provide some Gulton president and chief executive Jahleel D. Woodbridge has been ap- advice and facts to help an inventor, officer. pointed to the newly -created position of realizing that spending large sums of Mr. Garnick succeeds Joseph Marks executive vice president of marketing for money and a great deal of time will be who continues as a corporate Gulton Electro- Voice, Inc., a major subsidiary of needed to perfect an invention and de-

More and more recording and broadcast people are looking to UREI for innovative products to create and control the hot new sounds of today's music. Many UREI products have become standards in the industry. Our solid state LA -3A Leveling and 1176LN Limiter amplifiers outsell all other limiters put together. Our 565 "Little Dipper" filter cleans up problems of noise, hums, whistles, etc., like nothing else will. Our 920 -16 "Cooper Time Cube" creates quad sound out of stereo, stereo out of mono, or enhances volume simply and economically. Our 100-A Sonipulse room equalization system analyses frequency response over the full audio spectrum in less than 3 minutes. Its companion, 527 -A Active Graphic Equalizer, offers 27 precise 1/3 octave equalizers from 40 Hz to 16 kHz for spectrum contour- ing or correction. Our new "Mod One" Broadcast Con- sole is a modest cost little beauty with off -the -shelf plug in modules and features not found in most small consoles. It can be budget minded to fit present requirements and yet expandable for the future.

11.cep those cards .m.o., 11922 Valerio Street, No. Hollywood, California 91605 (213) 764 -1500 Es letters coming! Exclusive export agent: Gotham Export Corporation, New York

Circle No. 106 Re/p 71

www.americanradiohistory.com velop it to the patentable stage. their important working parts is most Questions about inventions and pat- apt to be that ubiquitous and versatile ents answered by this book: How can I alloy of iron called steel. get a patent? Who can patent? What is a Steel is chosen because it is inherently patent? Why should I patent? How can I strong, it can be readily worked into find a patent attorney? What is a patent many useful forms and it is relatively agent? Will a copyright protect my idea? cheap. Sometimes it is chosen because How long does a patent last? How can I of its superior magnetic permeability, the make money from a patent? How long ability to "conduct" magnetism some does it take to get a patent? When thousands of times better than any other should I start to patent? How do I know common material. This property is used if my idea has been patented? How many to advantage in all kinds of electro- types of patents are there? magnetic equipment such as transfor- and many more player and the method of mass -producing mers, relays, electric motors and tape Available from : R -e /p Books discs from a single master. At a televised recording heads. 118 Pages, soft cover, $5.55 post- celebration in the Congress Center in Steel for such electro- magnetic com- paid. Prepaid orders only. Send check or Hamburg, whose keynote speaker was ponents is not only designed for high money order to RECORDING engineer/ Dr. Gustav Heinemann, President of Ger- orders of permeability, but it must also producer, P.O. Box 2287, Hollywood, many, Mr. Berliner accepted for the be magnetically "soft" as well, with a Ca. 90028 Berliner family the tribute to his grand- very low value of "magnetic memory" father. The trophy is a gold 1/3 -scale or retentivity. In other words, when the POLYDOR AWARD BREAKS WITH precise replica of Emile Berliner's original influence of any magnetizing force is TRADITION, THE `GOLDEN GRAMA- production "gramophone" (Berliner also removed, such magnetically "soft" steel PHONE' TROPHY AWARDED TO BER- coined the word). retains a very small amount of magnetism LINER FAMILY as a residual. The Golden Gramophone trophy, nor- In contrast to the above "soft" mag- mally awarded only to outstanding re- This discussion appears courtesy of netic steels, there exists a wide variety of cording artists, has recently been pre- the R.B. Annis Co., Indianapolis, Inc. magnetically "hard" steels. These are sented (September 18 in Hamburg) by usually more highly alloyed, they may be the Deutsche Grammophon Gesellschaft NOTES ON DEMAGNETIZING heat treated or perhaps work-hardened division of Polydor Records to Oliver Magnetic tape recording mechanisms, for strength, wear resistance or hardness Berliner, grandson of Emile Berliner, like a majority of other modern tech- etc., wherever superior mechanical char- founder of DGG and inventor of the nological gadgets, comprise an assemblage acteristics are necessary. microphone, the disc record, the disc of many materials. Predominant among Such magnetically hard materials have a somewhat lesser ability to conduct mag- 16 channels of noise reduction in seven netism but have a relatively good "mag- inches of rack space. The system improves netic memory ". Should magnetically headroom by 10dB and delivers 30dB of hard steel be exposed to magnetism, noise reduction. Simultaneous code, decode even if only for a fraction of a second, it and bypass functions can be selected at the will "remember" the exposure by re- panel or by remote control. Price, including taining a fair portion of the original a spare 310D module, is $8,200. dbx216 magnetism, becoming a secondary source Available from professional audio dealers of magnetism in its own right, acting provides or direct from dbx, Incorporated, 296 New- somewhat like a permanent magnet. ton Street, Waltham, Massachusetts 02154. There are all shadings of magnetically soft to magnetically hard steels, with most mechanical components such as capstans, guides, rollers and springs fal- ling in the middle to hard range so as to obtain superior mechanical strength and wear characteristics. Unfortunately, but naturally the magnetic coating on recording tape is very sensitive to extraneous magnetism inas- much as the recorded signal itself is only a modulation of the residual magnetism retained in the thin layer of magnetic coating compound. Exposure to subsequent magnetic fields of any consequence degrades the recorded signal. This degradation is proportional to the strength of such subsequent magnetic field exposure and somewhat to the number of times the tape is played or "wiped" across such fields. Degradation is noticeable as a loss or attenuation of the higher recorded frequencies as well as a noticeable increase in unwelcome background noise, which can amount to several dB. d bx,nc.

Re/p 12 Circle No. 107

www.americanradiohistory.com Steel capstans and guides, usually be- the field magnet is internal, contained "switching surge" which causes a momen- ing made of hard magnetic materials, are within a steel pot-like structure where tary high current peak. Capacitors, often often major offenders in retaining un- most of the magnetic potential appears employed in electronic circuits, can also wanted magnetism which tends to de- across the annular voice -coil gap, where create high peak charging currents. Often grade the recorded signal every time a it should appear. the circuitry includes a multiple turn tape is played. Beware of any magnetic sound equip- coil where the magnetic effect of the Some tape recorders and magnetic ment having built in loud speakers with current is multiplied in proportion to the sound projectors etc. are inherently bad external magnet type fields that radiate number of turns. Any steel within the actors because of "built in" extraneous stray magnetism all over the place. These area of such field will become mag- magnetism in the tape transport area. In are easily checked with a pocket magnetized, a portion of which will be re- such equipment (and nameplates don't netometer before you buy. If you already tained as residual magnetism. Care should always mean too much), capstans and have one, the only permanent cure is to also be taken not to bring magnetized other tape transport components will be remove the offending speaker to a more tools or other magnetic devices near found to be rather highly magnetized remote location or replace it with one of steel tape recorder components. Even the and tend to stay that way in spite of the internal magnet, self- shielding type effect of the earth's magnetic field should any normal demagnetizing procedure. speakers. After making this change, you not be discounted. This source of mag- One of the most common causes of can then demagnetize the tape transport netism is ever with us. Remember - the such high levels of stubborn magnetism components with every hope of success. mariners magnetic compass is actuated in components is due to their close Some portable recorders have permanent entirely by just the horizontal compon- proximity to an unshielded dynamic loud magnet field type drive motors that are ent of force created by the earth's field. speaker. Such a speaker is one that has an efficient from the standpoint of con- Typical for most of the U.S.A., the external permanent magnet, located on servation of battery power, but they vertical component of the earth's mag- the outside of the field structure. This radiate a rather strong stray magnetic netic field is considerably stronger than type of field construction generates full field which, in some cases, encompasses the horizontal component, due to the magnetic potential between the front and the tape transport area. fact that the field dips down about 70 rear of the speaker assembly, creating a There are many, other sources of mag- degrees toward the north. This steep strong and extensive stray magnetic field netism that can directly or indirectly angle of dip is due not only to curvature area that can induce high values of un- magnetize steel tape recorder compon- of the earth's surface but also to the desirable magnetism in any steel tape ents. Every time an electric current flows, fact that the effective magnetic pole area transport components located in the area. a magnetic field is generated. The in- of the earth is displaced and located Such loud speakers are o.k. in themselves tensity of this field is proportional to considerably below the surface. but their extensive stray field is "poison" the amount of current flowing. Whenever in magnetic recording gear. This is in switching is done in an inductive circuit continued on page 54 contrast to dynamic type speakers where there is a random chance of creating a

What you need is a console that works when you get it. That's the "ion of 36 Gand" ouditronics. inc. P. O. Box 12637 Memphis, Tenn. 38112 a (901) 276 -6338

Circle No. 108 Re/p 13

www.americanradiohistory.com If you want to lay down a 113 dB signal* flat from 28 to 18,000 Hz, radiating through an angle of 120° the SENTRY III is it.

On the other hand, if you need 4 dB more level on axis, and are willing to give up just 22 Hz of bass consider

*4' on axis with just 50 watts, with the SENTRY 'IVA. optional SEQ Active Equalizer. Response without equalizer, 40- 18,000 Hz.

Both monitor systems share the same mid -range a vented enclosure for extended range. and high frequency speaker components. Both Sentry Ill. Sentry IVA. The two best ways to have tweeter protector circuits bui!It ün to save the recreate the actual sound pressure sensations and systems from inadvertent damage. The Sentry IVA response range of live music ... in the studio or uses a dual- speaker, horn- Roaded bass end for in demanding sound reinforcement installations. efficiency. The Sentry Ill uses a single speaker in From the innovators at E -V. a Gabon C O M P A N Y gle,rofcc° ELECTRO- VOICE, INC., Dept. 931 RP, 674 Cecil Street, Buchanan, Michigan 49107 Circle No. 109 Re/p 14

www.americanradiohistory.com Recording the Frank Sinatra TV Special and Album: OL' BLUE EYES IS BACK!

Interviews with MGM Recording's Ed Greene and Samuel Goldwyn Studio's Don MacDougall

by: WAYNE YENTIS RAINBOW RECORDING SANTA BARBARA, CA.

Ed Greene Don MacDougall The T.V. Special The Album Frank Sinatra's albums mean something to everyone, and Don MacDougall, the music scoring mixer at Samuel his return to the recording studio, after several years of Goldwyn Studios, engineered the recording sessions for the retirement, is of special significance in gaining perspective on record album. The recording studio, actually a vintage motion the changes and developments in the recording arts. The picture scoring stage, was outfitted with equipment oriented Warner/Reprise album release "01' Blue Eyes Is Back ", is toward movie and TV production, and aside from a 16 track backed by a companion TV Special by the same name spon- reçording machine, the existing equipment was used. sored by Magnavox, featuring stage productions of some of DON MACDOUGALL: I was, well, not exactly apprehensive, the same songs recorded on the album. The TV production but terrified when I learned I was to do a session with involved recording a similar orchestral set -up and arrangement Frank Sinatra. The biggest thing was, that for the kind of as the album recording, but in a different studio, with set up he wanted it was going to be difficult to accommodate different equipment, with different engineers and crews, and him. He had to be in the center of the stage in front of the with the additional requirement of being coordinated with conductor, Gordon Jenkins for the most of the things (and television production. Ed Greene, Director of Engineering Gordon is lefthanded), so he had to see him from a different of MGM Recording Studios in Hollywood, was responsible perspective. I put him in the middle of the stage, which for audio end result for both productions; and, although he could accommodate maybe 120 guys. I think the orchestra I didn't do the actual recording of the album sessions, he did had was just around 45 men. The room we used here at the mixing of both productions at the MGM Recording Goldwyn, Scoring Stage 7, has a unique history in that it was Studios. built way back in the late 20's for Eddy Cantor. They recorded orchestra and chorus, singers, dancers, everything, and R -elp: You did two sessions, one the record album, and then they recorded them with 3 microphones. Historically, its a the TV special. There are different approaches in recording very old stage, and as I understand it Frank Sinatra did each, and it would be interesting to discuss these differences. record there once before in the 50's. I think he did "Guys ED GREENE: I think it would be better for me to concen- and Dolls" there. He's done some other things there too, he trate on the TV show rather than the album. I didn't record did an album with Lenny Hayton two or three years ago. To the album, I remixed it. It was recorded at Samuel Goldwyn my way of thinking the stage is probably the finest acoustical Studios by a very fine mixer named Don MacDougall. They room I've seen. It has a big music hall quality, yet if you really wanted the feeling of that particular room at Goldwyn baffle it properly, it can be intimate enough to be a very for the album. The TV recording sessions, although similar in small room too. many ways to the album, posed some very interesting additional problems. 16 track original recording was used on R -elp: Were there any particular problems with using the both, the tracks were laid out similarly, and the orchestra stage audio equipment? instrumentation was roughly the same, although the brass DON MACDOUGALL: One of the biggest problems I had section was expanded to accommodate some of the arrange- there was that the theater speakers that we have on the ments used for the TV show. The things that made it dif- scoring stage are tuned for theatrical release, so the high end ferent from the recording sessions were the various feeds and comes back off maybe at 9,000, and the bottom starts at program mixes that were supplied from the audio truck to the about 100, so you don't really know what you have on the 16 main TV truck, and the other interfacing elements. We had to track. For playback, I went through a 16 track matrix and deal with a live audience, we had to accommodate the fact over to a playback console on the stage. It wasn't ideal for that Mr. Sinatra was on a hand mike, lavalier and boom mikes, playback because that high end was gone, and with those big and we had to do this over a physically large area. At the same Altec speakers out there you had to put so much through time, close communication had to be maintained with all the them in order for them to respond adequately, that I was production elements involved. kind of worried about distortion, but I never did hear any continued on page 16 continued on page 22

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Re/p 16 Circle No. 110 www.americanradiohistory.com truck; they put the truck together based rophone. I hated to use the word "omni" on the equipment we specified. Outboard around people who weren't really tech- mixers and some microphone input mul- nically oriented because right away they ting expanded the Heider API board to said, "Omigod, that'll never work!" But, R -e /p: That's a significant difference. 77 inputs used. We used two basic record- in fact, it worked very well. We must ED GREENE: The idea was to try and ing set -ups. One was used for live record- have tried 15 or 18 microphones and find microphones and suitable techniques ing and the other for two dance seg- came down to about 5 that we tried on that would yield results similar to the ments. These were video pre- recorded the show. I originally shied away myself record. two days before the live show to audio from an "omni" just because you have to music track playback with half recorded, work it a little closer. But in this case, R -elp: What were some of the really half live vocal. This set -up is shown in being the professional that he is, Mr. tough things you had to solve? the block diagram A. The live recording Sinatra worked it just beautifully. ED GREENE: The tough problems were set -up is shown in block diagram B. On the segment of the show that taken care of in alot of meetings before Marty Pasetta had outlined the pro- required a lavalier we used an electret the production. The director, Marty gramming he felt was required to cover Sony ECM -50, also an omni, because Pasetta, not only knows audio but really his post -production needs and these con- its sound closely matched the KM -83. did his homework in all the problem figurations were the result. The outputs The boom mikes, Sennheiser 415's areas and got the right people together were used as shown with some gentle were not used during the live show, but so these were pretty well taken care of buss limiting added to the rhythm and during the video pre- record two days by program time. You don't keep some- sweetening by two Spectra Sonics limit- before. body waiting while you fix a buzz or ers. Ampex 440 -4's were used for the something, things have to be ready in audio music track playback, and 3M R -e /p: Is the KM -83 the same micro- advance. Otherwise, an artist is not going 16 tracks recorded two different program phone Mr. Sinatra used on the album? to feel comfortable, and the artist MUST configurations. We could punch -up any ED GREENE: No, a U -67 was used on feel comfortable, he must feel that every- combination of program on the monitor the record, a cardioid used at some dis- thing is straight ahead and ready. So we panel just to the right of the console. tance, about a foot and a half, so that really spent most of our time not oper- In addition, this monitor system also there was really little change of per- ating the set -up, but simply setting it up, programmed three separate headphone spective if he moved around a little. But by getting rid of those grounding pro- mixes for the major sections of the the problem with using a cardioid as a blems, by having the light man go orchestra: strings, rhythm, and winds hand mike is that unless you stay on axis, through every cue he could imagine, and brass. The output of this monitor or keep the same angular and distance with all the mikes wide open. The name mix fed two UREI 1/3 octave filters, relationship to it, you're going to have a of the game is to not have problems; Maclntosh power amplifiers and finally difference in sound illusion or quality. its preventative medicine. In addition, two JBL 4310 speakers. The monitor With an "omni" you get much less of Marty saw to it that we were covered in system was equalized to mixer position that. That's one of the reasons for the about six different ways for about every- using the UREI Sonipulse. "omni ". Also, the KM -83 has no prox- thing short of a power failure. imity effect; that is, there is no build -up R -e /p: How about your choice of mic- of the low end as you get close to the R -elp: Wally's truck was equipped with rophones? microphone. So with some careful level a lot of auxiliary equipment. Did you ED GREENE: The hand microphone that riding, it makes a pretty nice sound use most of this gear? we ended up with was a Neumann against the orchestra. It's not a par- ED GREENE: We used everything in the KM -83, believe it or not, an omni mic- ticularly unusual microphone, although

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www.americanradiohistory.com TV SPECIAL, 13CKP INPUT ASSIGNMENTS

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VIn VIn Yea v/c Arco Harp Ww' H/ WW Noms Dones -frum. Yerc 1èrc arc fèrc * Lim 't 144 #1 t1Z 5399 Pets frank yet Frank 'Fmk Try (Spare) Lay, once we had chosen it we couldn't find with extreme separation is, although you things, where there'll be extra tom-toms another one in town. So, we had one may end up with tracks that are ultra and things like that. It was just a very flown in from New York as a backup. separated, you lose a sense of "en- straightforward set of drums. I used one The director didn't like the standard semble"; there's no orchestra left. It's AKG C -451E above and an EV triple black pop filter, so we used a dull just bits and pieces. Frankly, I think six on the kick drum. chrome grill from another microphone. that show could have been recorded, not In the rhythm section, the Fender as well, but very well, with maybe 3 bass was taken direct, and on the string R -e /p: What were the areas of concern in microphones, just to pick it up as an bass I used a Sony C -37FET just off the dealing with the orchestra? overall orchestra. I'm sorry that I didn't instrument. Ray Brown, having played ED GREENE: Well, things like separation have them available. that particular bass on many recording You know, in this case we're dealing dates, knew where that mike would with arrangements from some of the R -e /p: Why, then, did you use this sound good. He gets a phenomenal sound best people around, and their arrange- plexi drum booth? from his instrument anyway. All of the ments lay pretty well, you know, listen- ED GREENE: There was just a little musicians put out a really good sound. ing to them live. What we had was pretty splash into the harp and strings and The object there was to simply pick up much a good standard orchestra set -up. into the acoustic guitars in front of this good sound, and not try to man- It was generally set -up with strings, harp the drums. It helped a lot to have that ufacture anything. If there was an ap- and basses to the left, rhythm in the partition there, particularly for the up proach in miking and in pick -up, it was center, and brass and woodwinds to the tempo songs with strings. that, to try and simply arrive at what was right. It was changed several times, more there and not manufacture something in for logistical reasons than anything else. R -elp: Since you had some isolation on any way, especially Mr. Sinatra. His As far as baffling is concerned, we set up the drums, did you use an elaborate sound is not a manufactured sound, I a plexiglas booth around the drums. That mike set -up? mean, that's him. was the only baffle we ended up with, ED GREENE: No, I used two micro- On acoustic guitars we used a pair of there were several others that were pro- phones. The drummer played with a well - Neumann U -87's which seemed to work posed but they either looked funny or balanced sound, that was Iry Cotler. It very well. On piano we used a U -87 they just weren't necessary. The trouble wasn't a set -up like some of the rock under the lid, at half stick. There was a

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Ke1Z 'arc 'Drums yews K y Guí1A Guitar VII, VIt,V/c WW" Horns on Trum Gdílar Guilar Piano Celesle E/13a5s Top Spare óoanis 8x55 ioe15 Drums Harp celeste used on one tune. On that, we of the arrangements, it was necessary to different mikes, but it was more of a used a pair of 666's; celestes have a bring up the first violins separately. The studio set -up on the album, where there tendency to have little notes that ring cello section had KM -84's, one for each was a little more baffling done in terms here and there, and using a pair of mikes instrument, and the "arco" bass had an of the brass and percussion sections. The in parallel has a tendency to offset that a M -50 Altec omni tucked -up in it. There strings were very similar. The drum set little. On percussion we used A C -451 E was a KM-84 on the harp, in this case, was a little more elaborate. on the tympani, and two Sony C -37 about a foot and a half in front and on FET's for the rest, vibes and bells, etc. the harpist's right side, close to the low R -e /p: Getting back to the TV session, Originally, I planned to use just a few strings, but pointed toward the high was the orchestra on camera? microphones on the string section, but strings. The whole string section was on ED GREENE: There was a concert seg- because we were a little concerned with two tracks; violins on one and all the ment, yes, they were on camera for the PA feeding into them and possible rest on the other. that. However, we had no restrictions feedback problems, I decided to go in a In the brass section, there were a concerning microphone replacement in little closer and use a mike for every pair of AKG C -414's on trombones, on the orchestra. None at all. The orchestra two chairs. There were 18 violins, the cardioid pattern set back a little so we was large, with 51 pieces. first row had. U- 47FET's and the rest had could get more of a section sound. U -87's. The 6 violi had U -87's. Remember, the idea was to try and get a R -e/p: How did you mike the audience? concert kind of sound. Again, if I had ED GREENE: There were 14 mikes for R -e /p: Why did you have U -47's in my druthers, and if we'd had the tracks the audience, which were pre -mixed and front and U -87's in back? available, I would have put up some came up on a single pot. The audience ED GREENE: Really, they're all very overall mixes. I think it would have been was distributed around the stage and the close in nature, the 47's just gave a a lovely sound. director did not want to see an audience mike. He didn't mind orchestra mikes, little bit of an edge to the first violins, R -e /p: Was this the same kind of miking but audience mikes had to be out of but they're all very close. The 47's set -up used on the album recording date? sight. We used EV DL42's interlaced came up on the board separately so I had ED GREENE: Roughly. It was a little among the PA monitors way up in the some adjustment on them. In a couple different on the album; they used some ceiling.

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www.americanradiohistory.com that we pull the PA sound level way especially some of the dimmers. The AC R -elp: Did you handle the PA system? back, for more of a natural sound, with for the whole audio set -up came from ED GREENE: No, the PA was provided only slight reinforcement. Everybody the Heider truck. All the electric in- by Hannon Engineering. There was a seemed to hear very well. struments on stage and any audio equip- blanket of loudspeakers, as I recall, 10 or ment was powered by lines from the more, about 20' above the stage, that R -elp: What about clicks, pops, and Heider truck, which was completely iso- provided an even covering of sound over buzzes? lated. the audience stage. The PA mixer had a ED GREENE: Well, it was the Heider mult of each of the solo mikes on a crew that was called in on everybody's R -e /p: Did you have to make many separate feed, along with the rhythm mix click and pop problems. They have such changes in set -up during the show? and sweetening mix that were being fed terrific experience in dealing with them. ED GREENE: There were some changes to the Pacific Video truck. If it became There were incredible grounding pro- made in the mixing depending on the necessary to favor rhythm at some point, blems that were discovered as we set -up, nature of the tune; differences between a for Mr. Sinatra to hear a cue, he could do but they helped deal with everyone of rhythm and brass tune, and a lush ballad that. Really, when we did our first run - them. The hand mikes, for instance, sort of thing. The set -up was designed to throughs, it felt so good, it had such a were run and rerun several times to get handle that sort of thing, nothing more good feel to it that Mr. Sinatra asked out of the way of some of the lighting, drastic.

Orchestra R -e /p: Did you use any echo or EQ SelUp Rthm during recording? ¡or 11,c.Zecord9 Vocal I? A. Taps ED GREENE: There were four echo Dlt,6ram A Hannon chambers available, all AKG. We used Boom En6ineerin8 them on the program mixes, but not on Soom 2 Au lilronics the 16 track recordings. One chamber Board was used on the vocal track of the pro- Video (Fàci(ic gram mix, another was available for the 7tFronlk rhythm section but I didn't use it. A third was used on strings and brass in the 16-fr11Ck Orch program mix. Pacific Video had a cham- Yecorder ber available to them which they used 4Traclt, > Rthm YtRt when they switched to a boom mike, Recorder > Vocal #1 which was controlled by their system. il 1 -Taps We coordinated levels so that our systems API Board sounded roughly the same. But again, (Wally Heider) when it comes down to it, by the time Orch the stage was set -up it became a concert 4Track. 1bTrack hall, so it had some natural sound of its Recorder Vocal Qecorder own. Aside from maybe enhancing the lapa vocal a little bit, with just a gentle echo Z Fran lZ sound, there's really not that much to do. (hol used) There's some to do, but not that much. I think what the producer and director were after was a very natural sort of feel, like you'd come on in a performance. SMP'IE That kind of live feel. Set' Up for Live Shoal 4 ?rack, Rehm Orch VTRrAudience R -e/p: Was there any occasion for a Recorder P.A. Diagram 3 SoloWleT stop or redo anytime during the per- n n Hannon formance? Er5ìneering ED GREENE: It happened once, but it Audilronics k frank was just a minor thing. There were no Rehm Board retakes after that. Orch. (R,,c.\(ic Video) R -e /p: What about overdubbing? ED GREENE: There was a chorus that was staged on a particular tune, and Announcer after the show we dubbed them on a 4Trocir` track. Aside from that, there was none, Recorder although they may be doing some later.

*1 13 15 6 Audience R -elp: Did you play your mixes of the API Board album recordings in the re- (Wally Neider) truck for ference? 1óTrack ED GREENE: Yes, I had only a 2 4Track. not R$corder track master of the album a 16 Recorder S>T;-; but track #k2 master there. But I had been living with -112 14 Audience IVIkes that album tape for so long that I Fmn1Z Orch. Inputs RFmix could tell right away if we were in the 77 Nies right audio ballpark. We spent quite a bit of time mixing that tape.

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www.americanradiohistory.com R -e /p: Did the fact that you were re- NOTES ON YOUR NEXT BOARD or: cording for a TV feed affect the way you mixed? AUTOMATION WILL SAVE THE DATE! ED GREENE: I will provide a finished, Subject: AUTOMATION complete mix of all music and vocals on Automation is here, no question about it. To handle a 24 track a I a track, and the audience on track. mixdown needs guts and nimble fingers. But, it is expensive. No may have to reference picture on to the question about it. a couple of shots for perspective, whether its a closeup or distant shot. But the do? Go full for Man, that is ex- overall sound we got on the program What can you -tilt total automation? mixes seems to work pretty well with pensive. Or forget it, maybe automation will go away - back to the the picture, so its just a matter of good old days. Now that's letting progress run you, instead of you touching up here and there when we running progress. remix the 16 track tapes. What should you do? Why not talk to one of the best names in the R -elp: How much rehearsal did you business? Bushnell. One outfit that doesn't want to sell you what have? you don't need. Bushnell. A group of people that doesn't have an ED GREENE: The show was shot actual- axe to grind, other than caring for your needs. Bushnell doesn't ly in two segments. In one segment there have an automation system of our own, but we do have ideas about was a dance number that was prere- corded and shot to lip sync. The other the existing automation systems you should hear. Any of the auto- segment was the actual performance mation systems is available to you in a Bushnell board - we've night. We had a chance to hear the gotten it together for you! orchestra for two days before show Subject: BOARD SIZES night. We had actually done some of the Here in the Los Angeles area, we tend to take for granted areas such pre- records only a half hour after hear- as: 24 track machines, automation, 24 track boards. We do forget ing the orchestra for the first time. But that lots of you in other parts of the country don't consider (nor was well by that time the room pretty even need) 24 track and the stuff that goes with it. Does this mean set up. It was a pretty good room they we aren't interested? No way! What can we do for you? If you built. Imagine, they took this huge bare accept a stock board such as Auditronics or MCI, then we can't sound stage, stage 19 at Paramount, and built everything specifically for this match their prices. BUT, if you realize the need and the validity for show. And at orchestra downbeat on the a board tailored to your studio, then we can do lots for you. 16 by first rehearsal everything seemed to fall 4, around $14,000. 16 by 8, around $19,500. That's custom design, into place. not stock!

R -elp: Are you mixing the album in As an example. At the AES convention in May, we showed a board quad? built for recording and sound reinforcement. 12 by 8, expandable ED GREENE: Yes, it's being done on to 16 by 8. 10 watt monitor amps built in, or to be used with discrete tape, and of course its for larger amps outside of the board. It has a very low profile, only 35" Warner /Reprise so they'll be using the high! In addition, the base is removable, so it'll go thru a regular CD -4 system. 30" door, and very easily. Would you like pictures and specs? Just R -elp: When you mixed the album, was drop me a note. Don't mark the reader service card, they haven't Mr. Sinatra in attendance? got room. ED GREENE: He wasn't there person- ally, but the arranger, Don Costa, was We have a new brochure that tells what we can do for you. To get it there and we'd submit some mixes. (the brochure), just mark the card. They'd come back with some notes, we'd INQUIRING? make some changes, were minor but they Send us a letter, telling what you need. Don't worry about block changes, and again the whole thing was diagrams, that's what our engineers (Don, Bill and Deane) provide. pretty much a straight ahead album. I Tell us about your studio, what you need. I'll get back to you with made a few mixes on my own to try out a rough price, so you know where you're going. Leasing? That we a few things, but every time I introduced a gimmick, things like time delays on can handle. How big is your studio, how long in business, these are guitars, and little extra repeat echo some things we'll need. things, they just seemed to get in the way, and I discarded them.

R -elp: Who made the overall sound quality judgements for the TV date? ED GREENE: Well, the arrangers and conductors, Don Costa and Gordon Jen- kins, both stopped by the truck and gave their OK for the sound we were getting. I'll be remixing the 16 track for the show at our MGM studios and I'm ELECTRONICS CORPORATION sure there'll be some additional judge- H U011111111 15801 Stagg Street, Van Nuys, California 91406 ments made after that. (213) 989 -2740

Circle No. 113 Re/p 21

www.americanradiohistory.com R -elp: Would you change anything if corded without being in the monitor re close -miked. The french horn section you had to do it over again? channels. When we got to the dub -down had a hard surfaced accordion -shaped ED GREENE: I might add those overall stages, it was kind of a surprise. But we baffle in back, and we mike those horns mikes to the orchestra, just to get a had it all. two ways, front and back. In back I used little more ensemble feeling. Aside from a pair of RCA 44's and a Telefunken that, I'll let you know. R -e /p: How did you approach the set -up U -47 with a "Church" capsule in front. procedure? The orchestra was on the floor except DON MACDOUGALL: Well, all the or- for the horns. There was a wooden baffle chestral and vocal elements were broken in front of the woodwinds. I had a U- Don MacDougall .. . down to 14 tracks usually, sometimes shaped baffle around the drummer using The Album 16. I usually keep some tracks open but the old Norelco C -60 microphones on a couple of times I couldn't. I put Mr. him, with an Altec 639 on the bass drum. distortion. It was a nice warm rich Sinatra in the center of the stage and Don Costa lent me his patio umbrella to sound. It sounded beautiful, but it didn't put a baffle on each side of him, high cover the drummer. I used more Nor - sound anything like it sounded at the flats, soft side to him. I used a Neumann elco's in the percussion section, and on dub -down studio over at MGM. U -67 on a boom, and used a Teletronix tympani. In another booth I had a peak limiter with about 5 dB of limit- Telefunken "Church" on Fender and R -e /p: What monitor system did you ing, which allowed me to record pretty string basses, and next to that the guitars use? flat through the system and get rid of in another booth each miked with Senn - DON MACDOUGALL: We had the same all the unwanted extraneous sounds and heiser 401's. The two pianos had Sony Altec A4's on the stage and in the con- get some pretty good tracks. The U -67's mikes, ECM 22's. That little condenser trol booth, but in the booth they were we used are really classy mikes, they've mike is the best thing I've found for better, newer; they had been revamped been rebuilt and they're pretty flat. And piano. and the high end was a little better, we recorded Mr. Sinatra that way, flat, Most of our stuff is very old, its not about to 10K. But all the playback the whole band was actually recorded really considered to be "state of the art ", systems were rolled off for theater re- flat; no equalization, no reverberation, at least in the recording industry. lease. You kind of fly by the seat of nothing. The natural room acoustics were your pants. The board is a basic 24 about, I would say, 3 seconds reverb R -e /p: What are the characteristics of channel board with 7 outputs. In this time, and it lent a marvelous kind of the Telefunken "Church" mike? case, recording on 16 track, it didn't ring to everything. DON MACDOUGALL: I would say it work ideally, for instance some of the has a very rich low end, close to about tracks like the fuzz guitar and Fender R -elp: Did you close -mike the orchestra? 40 cycles. It has very smooth response bass that were recorded direct were re- DON MACDOUGALL: The sections we- between about 40 to ten thousand. On

, Norelco C-ío0s Drumg 'Percussion

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Re/p 22

www.americanradiohistory.com one of the sessions, we had a solo DON MACDOUGALL: The recording really listen to him with that big an trumpet which used an RCA 77. supervisor was Don Costa, Sinatra's con- orchestra coming through the monitors I ductor on the road. He wanted a very had. I wasn't guessing really, but I was R -elp: Did you use any overall mikes for live, real sound for the session, he didn't straining to hear the clarity I knew was ambience? want any gimmicks. If we had EQ in the there and that was what I finally heard DON MACDOUGALL: I had them avail- system I'm sure he would have used it in on the dub -down. able to me but I didn't use them. We the monitors just for his own ears, so he picked up plenty of the room sound even could hear things a little more point- R -e /p: Have you heard the record on the though we were fairly close -miked. Its a edly. I had to tell him there were some radio? fantastic sound in this room. things he wasn't going to hear on play- DON MACDOUGALL: Yes, I think its back, at least on the stage. Most film sensational, one of the best things he's R -e /p: Who specified that room for the studios are really not with the recording ever done. Even on AM radio, it sounds session? state of the art. Of all the film studios in well balanced, all the values are still DON MACDOUGALL: I don't know, I the recording field, at least as we con- there. All Ed really did, I think, in a imagine Mr. Sinatra. I guess he's the one sider the recording field, Warner Brothers couple of cases was add just a little bit who said he wanted to record here. Its (The Burbank Studios), has done a great of chamber to Mr. Sinatra, and just a kind of nice that he did, especially when deal to update their equipment. They've little refinement; sometimes we had a you think of all the great studios there gone to a marvelous new board, and 60 cycle in a guitar amplifier which he are in town. The room is really sort of spent alot of money on new equipment. got rid of. Outside of that I don't miraculous in that its difficult to do We've done the samething here at Samuel think he had to do much. anything wrong in it acoustically. I've Goldwyn Studios, but in a different I can't remember ever hearing a badly found in working there over the years its area, in the area of re- recording. In the mixed Sinatra record. I believe a music sound is really consistently good. We state of the motion picture art, we feel mixer ought to be a musician, or should have to cheat a lot with baffling. We do a re- recording is really the most important have pretty good ears and know what lot of television shows: "Cannon ", "Stre- place to put your bucks. We've up -dated music's about. It's pretty important. I ets of San Francisco ", "Barnaby Jones ", our equipment to the point where I'd say also feel that there aren't enough young and you have to baffle sections to bring its the finest dubbing facility in the guys coming up that have really paid down the reverb time of the room. But world. Warner Brothers can't compete their dues enough to get into it. for this particular session I think the with us in dubbing, but they've got thing that really made it sound so good is the finest equipment on the scoring R -e /p: How many sessions were required that in playing for Frank Sinatra the stages. On the other hand, we've got to do the album? string players, the whole orchestra, every- this recording room that acoustically is DON MACDOUGALL: We had several one played a little more in tune, a little second to none. So we have to fool with sessions, about four get -togethers, and more enthusiastically. In that environ- the equipment a little. When you hear they went from 7 o'clock to around mid- ment no one laid back at all. the results of the album, and what night. Generally, everything was very we've done with old stuff and what guys relaxed. On the first night of recording, R -elp: Did the whole string section come like Dick Hornung, or maintenance en- on the very first song, there was no up on one track? gineer, Allen Holly my stage man, and percussion on this song and the drummer, DON MACDOUGALL: No it was divid- recordist Bill Schlegel; guys who make Johnny Guerin, decided to come into ed; violins, violi, celli, and basses on this stuff work for you, well, it's nice to the booth. He walked in right in the separate tracks. think it can still be done. Especially middle of a take and kicked out the when you hear it back on marvelous master AC plug. Everything went dead. R -e /p: What were the characteristics of equipment like Ed Greene has there at I had to tell Mr. Sinatra we'd have to the accordion baffle behind the horns? MGM. start over again. "You're a new kid," he DON MACDOUGALL: All that really said, "and that's ONE." does is send the french horn back to the R-elp: Is yours a tube or solid state front, where I usually have an overall board? R -elp: Had you used only 2 or 3 mikes section mike, and this way I have an DON MACDOUGALL: Its a tube board. overall, with maybe a vocal mike on opportunity to get the balance of the It's an oldy. Sinatra, do you think the results might horn section with a little reverb time have been better? included. If you record them directly R -e /p: What did you think of the mix - DON MACDOUGALL: It would have you get sort of a pointed sound. The down? sounded pretty good, but I don't think accordion -shaped baffle seems to sound DON MACDOUGALL: I couldn't believe it would have sounded better. Otherwise better than a flat baffle, and the horn what Ed did. I went over one night after we would have done it that way. But it players also seem to have an affinity for a long date here and he played a song would've still sounded pretty good, with playing in front of it, they say they from "A Little Night Music" "Clowns" maybe more of a cathedral quality. Of sound better to themselves. There was no and I'll tell you it wasn't to be believed. course, in the old days, that's the way trumpet section, although Conte Candoli Of course I couldn't hear it on playback they did it. Once we started making takes did a solo on one number. He was with here, and when I heard it there I was we just kind of let him go. He has such a the horn section, on a separate mike. dumbfounded. phenomenal knowledge of how to relate to a microphone. P's, for example, have a R -e /p: Was there a PA or monitor system R -e /p: Did you use any noise reduction tendency to pop alot if a performer so that Mr. Sinatra could hear him- equipment? doesn't know how to treat a microphone. self more in balance with the orchestra? DON MACDOUGALL: None at all. The But he's a master. He could hear himself DON MACDOUGALL: He had head- only thing that was used at all was just a and if he popped he would stop and not phones available, but he didn't use them. little Teletronix limiting to account for pop the next time. It was a monumental No one in the orchestra used them either. the lows and highs in Mr. Sinatra's session. I was thrilled and flattered to voice, in volume only; sometimes he have an opportunity to work with him, R -e /p: What kind of sound were you would sing very very softly. And the after all the years of growing up to his looking for? monitoring was a problem too, I couldn't music.

Re/p 23 www.americanradiohistory.com With your great ear, maybe you can get perfect sound sync. But can you really afford it?

Getting sound 8 -track and a 16 -track unit sync by ear is costing together. you a lot more than it And, of course, your has to. Because now you audio recorders should be can get sound sync that's 3M Series 79 Professional right on the money, instantly. Audio Recorders. Mono By using the SMPTE through 24- track, they Edit Code and the new 3M give you precise tape Series 79 Synchronizer. handling, extremely low No more trial- and -error tape posi- wow and flutter and signal -to- tioning, no "rocking and rolling;' no time - noise ratios that are state -of- the -art. wasting- tweaking of tape speeds until Used together, the 3M Series 79 they sound right. Synchronizer and Professional Audio Just fast and easy sound sync, Recorders give you the sound quality and because with the edit code on your video split- second accuracy you need for editing, and audio tapes, you've got split- second, dubbing and sweetening. Faster and at a absolute identification of the entire much lower cost. tape length. And what could For VTR editing, first transfer the be sweeter than that? sound track and edit code from your Professional master tape (quad or slant track, mono- Audio Products, 3M chrome or color) to any multitrack 3M Company, 3M Center, Professional Audio Recorder. St. Paul, MN 55101. Then manually park the tapes to Tel.: (612) 733 -7323. within half a minute of each other using TWX: 910 -563 -3712. the Synchronizer's built -in edit code reader and start your VTR. The audio recorder automatically slaves to your VTR and locks into perfect sync, with no drift, no knob twisting no matter how long the tapes. With this kind of precision, you can build a useable sound effects track by using the edit code for effect location. We've been there. Get a high quality sound track by re- And brought the answers back. cording video and the code on your VTR, sound and the same edit code on a separate audio recorder. Build your own 24 -track audio recorder by locking an m 3 COMPANY Re /p 24 Circle No. 114 www.americanradiohistory.com Give a listen at any of these 3M dealers:

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Re/p 25

www.americanradiohistory.com First of all, a complete alignment of alignment tape characteristics cannot be whether it's been Dolby'd, DBX'd, or the tape machines to be used in gener- prevented from coloring the program Burwen'd or whatever. This may strike ation of the source master tape should quality. It may appear that the points I some as a rather self- evident practice, have been completed shortly prior to have brought up so far are so elementry but more than one source tape in my beginning the mastering process. Obvious- that they usually go unmentioned. I am experience has had some unspecified sys- ly, this applies to all machines utilized in mentioning them for precisely that rea- tem of noise reduction applied to it the process. I say this because the play- son. Unless the recipient of the master with no obvious indication as to what back machine alignment is sometimes tape can set his playback system to type was used. In fact I've even seen a neglected as being of minor importance duplicate the levels and azimuth observed couple that had processed and unpro- compared with that of the record mach- by the originator of that tape, he must cessed segments within the same tape, ine. As an aid toward this end, I would presume that his local standards are again with no indication as to what had like to urge that more studios install equally applicable to the recorder on been done, noise reduction systems are phase scopes in the monitoring outputs which the master was generated. After no more invariant than tape machine of their consoles so that the phase char- having had occasion to examine align- alignments. acteristics of the signal being monitored ment tapes from several sources, I must With regard to flat spectrum or other can be continuously observed. Such a confess that this is a somewhat shaky pre- extremely bright program material for scope is also very useful in multi -track sumption. A recorder, after all, can't be duplication in tape format, keep in mind tape machine alignment and can serve as aligned more accurately than the limits that although cutting stylus velocity is a tool to observe and localize faults such determined by the alignment tape used not a factor, the high -speed duplicator as clipping and can be used to indicate to determine the machine's playback record pre- emphasis curve often rises to compression in a more meaningful way characteristic. Alignment tapes often dis- greater than 15 dB above a 500 Hz than a simple gain- reduction meter. I am agree between manufacturers not only to reference level and therefore may be more -or-less accustomed to not finding the extent of high- frequency boost but responsible for saturation of the cassette phase scopes in the control rooms of also as to the value of flux supposedly or 8 -track tape during duplication. The most studios of my acquaintance. The representative of the 185 nano Weber/ pre- emphasis curves used for the 15 and value of a relatively cheap oscilloscope meter defined as N.A.B. zero. Aging 30 ips professional machines have much has been proven in my experience many alone can account for a couple or so dB less high -end boost, permitting recording times. In my intellectual parochialism I along the high end of an alignment tape. of zero -level signals to beyond 15 kHz, marvel that others have not come to As far as who's right, or least wrong in without danger of tape saturation. If rely upon them as I have. With a little the alignment tape business, I don't saturation is to be avoided on 8 -track outboarding, an X -Y scope can even care to venture, but it appears that cartridge and cassette copy, the audio yield some pretty significant information magnetic flux standards do vary from spectrum in the 10 kHz to 15 kHz regarding phasing and balance of quad- standard to standard. region should generally be down 10 to raphonic program material. 1 I think it's also well to mention that, 15 dB from a 500 Hz reference. The Having aligned his equipment, the in the past, I have noted a distinct point of all this is that excessively bright master tape preparer should record a scarcity of master tapes prepared at material is as much of a problem to tape series of 30- second tones at the head-end established studios across the country duplicators as it is to disc cutters. Both of the program material. I think that the that include these tones and the infor- disc and tape media are limited rather frequencies of 700, 10,000, and 100 Hz mation necessary to maximise their use- strictly in the peak signal amplitudes are generally considered to yield an ac- fulness. While we're on the subject of they are capable of successfully repro- curate indication of the condition of the tones, any noise reduction equipment to ducing. The total flux representing an recorder /reproducer in question. It is be used during the program transfer audio signal existant on a piece of tape important to emphasize that the tones be should be bypassed during this operation. is the algebraic sum of the components of recorded in such a way as to appear to It's the recording machine characteristic that signal within the band -pass of that the originator of the material to be we're after. Not that of the machine signal, with pre- emphasis added, just as flat within the ± 2 dB tolerance for coupled with whatever peripheral equip- the groove excursions on a disc represent professional tape equipment. Just to e- ment that may be in the program chain. the algebraic sum of those same com- liminate any misunderstanding subse- In passing, although it is beyond the ponents, with pre- emphasis added. The quent to this process, the tones should be scope of this article, inclusion of the tone point is that there is a maximum level included, by frequency and observed set at the head end of 1 ", 1" and 2" over a given bandwidth that can be playback level, along with the music title masters should also be a standard practice accommodated on a piece of consumer listing that should be a part of every as well. In all cases the tones should be priced tape just as there is on a stereo mastering effort. The observed playback leadered to facilitate their location and to disc. For this reason the mixer should be levels should be logged with candor usu- separate them from the program itself. aware that his program material will fit ally reserved for the confessional. If you Now then, the program material within some rather inflexible limits, re- see a 1 or 2 dB hump at 10 kHz in play- should be transferred with due attention gardless of what form the ultimate dupli- back, for a constant input level, please payed to the points made by the afore cated product may take. Very high levels note it. I, for one, will not relay that mentioned Kulka, MacLeod and Malo. of high frequency information should be information to your competitors. Your Further, a clear listing of the program restricted in the multi -track mixing pro- secret will be safe with me, and we'll material by title and clock time, in cess rather than in the tape duplicators' both gain a better end -product for it. chronological order of appearance from running master generation. Additionally, Honesty is, indeed, the best policy. With- the head of the tape, should be included the mixer should realize that an exces- out these tones and the written descrip- with the master more often than it seems sively high low frequency component can tion of them, variations not only in to be. This is especially important in the result in saturation of high frequency equipment calibration, but in standard case of purely instrumental selections energy riding on top of it. The high end and foreign language material. of the spectrum is not the sole source of Further, and very important, if any trouble for either disc or tape media. 1. D.L. Patton, QUADRAPHONIC DISPLAY noise reduction system has been used in Suppose, now we turn our attention to TECHNIQUE, Journal of the A.E.S. Vol. 20 processing your master tape, note the No. 6 fact on your cue sheet and specify continued on page 31

Re/p 26 Circle No. 115

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www.americanradiohistory.com SERVICES AVAILABLE TO OUR PACKAGE AND TURN -KEY CLIENTS PRE -PLANNING: Which markets are you going after? One studio or two? What is the sound character desired? How much multi -track separation? Your budget? Future expansion? These are just a few of the questions discussed at this stage. From the answers, we'll provide you with a comprehensive proposal covering our recommendations and the cost for the entire project. SITE EVALUATION: If you're planning to build from the ground up or within an existing shell, we'll help you to select the best building or RECORD PLANT Sausalito, California location in terms of size, demolition and construction costs, zoning, noise transmission SYSTEM INTERFACE: Our engineers will problems and those "hidden" costs. Remodeling install all the recording equipment and an existing studio? We can show you how to interface the entire system to the console. A get the best results from your space. total system checkout is performed from microphone phasing to monitor equalization DESIGN: Acoustical design is the key to the and balancing. success of a studio. Westlake Audio's geometric and acoustic designs will provide you with a TRAINING: Technical and mixing engineers winning "sound." Prior to construction, we will will train your personnel in the operation and guarantee the performance of your studio and maintenance of the studio and equipment. control room with respect to isolation, response, STUDIO MANAGEMENT: Upon request, decay time in various frequency bands Westlake Audio will offer guidelines and and dispersion. suggestions for all facets of studio management EQUIPMENT SELECTION: We have carefully including rates, booking procedures and evaluated the many products on the controls, personnel requirements, wages, work professional audio market to provide our clients orders, tape legends, library systems and credit. with a broad selection of the finest recording equipment available. From consoles, NO OTHER PROFESSIONAL AUDIO DEALER automation and tape machines to monitors, CAN OFFER THESE UNIQUE SERVICES AND microphones and support equipment, we have THE EXPERIENCE GAINED FROM BUILDING the lines to satisfy your requirements THIRTY -NINE MAJOR FACILTIES. and budget. From a splicing block to an automated console, FINANCING: We work closely with several a home studio to an extravaganza companies whose specialty is providing clients WRITE OR CALL AND WE'LL SHOW YOU with a lease or conditional sales plan tailored HOW TO EARN A 50% RETURN ON to your needs. YOUR INVESTMENT. CONSTRUCTION: As the proper implementation and execution of the geometric and acoustic designs requires unique construction techniques, Westlake Audio will provide a construction foreman to oversee and work with your local construction crew and electrical and air -conditioning subcontractors. from acoustic design to down beat... WIRING: Our technical crew will install all the

audio wiring throughout the Wilshire Blvd. studio complex Westlake 6311 and tie down the wiring to the microphone, Los Angeles, California 90048 headphone and tape machine panels, echo Aud k (213) 655-0303 chambers, console, amplifier room and monitors.

www.americanradiohistory.com The stereo cassette track format is set \\\,, ROGRQM out the way it is to permit a certain 0.022 -- 3 amount of compatibility between mono Lett ChennCl and stereo cassette players and mono and 0 06 stereo cassettes. This has been done by 0.016 arranging the sixty- thousandths wide mono cassette tracks for programs A and B so that the single mono track covers 0.022 PROGRAM gie,ni Channel the left and right stereo tracks of the program of interest, including the guard band between them. The energy from the 4 left and right channels is then combined 0.150 0.030 within the mono playback head as the well known L + R monophonic sum of 1 the stereo channels. Obviously, phase 'FROG Z.AM A cancellation and addition will occur be- O.OZZ tween channels of a stereo program when R;gMt Chònnel played back in a mono player. Im- proprieties regarding the phase relation- 0.060 0.016 ships of program components during the mix -down can have some rather jarring \\V 4 repercussions when observed through the RAM A 0,022 mono cassette playback head. Although a Anne \\ given stereo program may sound just great in a stereo player, that's no guarantee that the cassette will sound ok in a mono player. Cassete Tape Dimensions and TrACIZ Geometry As far as the arrangement of the sequence of selections for duplication is 6.1,rc 1 concerned, the reader is urged to consider that programs are contained on the same piece of tape, side -by -side. I'm sure, some of the restrictions upon the stereo respective programs A and B. Widely by this time, no one will flinch at this program material peculiar to the tape accepted dimensions are given as design idea, but I mention it to emphasize that format, most notably cassette and 8 -track centers with tolerances omitted for clar- it is important to arrange a given se- cartridge. Let us now consider the stereo ity. The tape itself is about 0.150 inches quence of selections in such a way as to cassette. wide with a thickness of about 0.8 split the first and second halves of the As we all know, this little beastie con- thousandths for C -60 tape and about 0.5 program as nearly equally as possible sists of a roughly symmetrical set of thousandths for C -90. between sides of the cassette. Unlike the plastic shells welded or glued together to A word or two of clarification regard- 45 and 33 1/3 R.P.M. disc, the length of form a protective case containing a pair ing the significance of the C -60 and C-90 side A of the cassette is exactly the of tape spools, tape guiding devices of designations may be in order. The "C" same length as side B. Since the longer varied kind, and means for access to the may be taken to stand for some obscure of the two programs will determine the tape by the cassette machine playback nomenclature of which I am not fully actual playing time of the cassette, sever- head and tape transport system consist- aware, (Cassette, possibly ?) and the sub- al benefits may be realized by making ing of a pinch -roller and capstan mechan- sequent digits refer to the total playing the lengths of programs A and B very ism. There are a bunch of other goodies time, in minutes, available on the cas- nearly equal. One of these is that the within your basic cassette, too, but it is sette, for both sides. By way of illus- length of tape necessary to contain the not our purpose to dwell upon them tration, a C -90 cassette could be expected entire program will be minimized and, here. to play for 45 minutes in each direction, also, there will be a minimum of blank Inspection of a typical sample of the a C -60, for 30 minutes, etc. The standard tape to be plodded through by the species will reveal that the tape contained playing speed for audio cassettes is, of listener of the finished product. One side in one of these little jewels differs in at course, nominally 1 7/8 inches per sec- being very much longer that the other least a couple of ways from your ordin- ond. I insert the modifying adjective will result in an annoyingly long portion ary, garden variety of magnetic tape. owing to the scarcity of cassette players of blank tape at the end of one program Reference to Figure 1 will serve to define of my acquaintance that do, in fact, or the other. Casual reflection will reveal many of the dimensional characteristics operate at the 1 7/8 I.P.S. speed. The that there is very little either edifying or peculiar to cassette tape and the cassette majority seem to run as much as 5% entertaining about a long period of si- stereo track format. Of course, just about faster than the naive would initially lence at the beginning or end of parts of everyone throughout creation, with the expect them to. The implications of this, a cassette. exception of mothers -in -law, are thor- regarding tonal pitch and actual program Now for the good old 8 -track Lear oughly aware of all this, but here it is playing time, I think, are obvious and tape cartridge. The Lear cartridge is a anyway. For those of us who have not may be inferred by the reader. This plastic case containing a rotating hub on already chosen to avert our eyes, the description of the cassette itself is pre- which the tape containing the program drawing is intended to show the cassette sented primarily as a guide to be kept in has been wound, oxide out. Access to the tape as it would appear when viewed in mind in the preparation of a master tape, as it passes from the center of the the cassette with stereo program A in the source tape whose program material will rotating hub, over the tape pack and process of being played. That is, oxide eventually be contained within each of a across the front of the cartridge, is gained out, tape motion from left to right. The presumably large number of the little by a playback head protruding from the arrows point to the head end of their wonders. cartridge player through openings in the

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www.americanradiohistory.com tape. A stereo program, to be contained T1 PG M A 14 on an 8 -track cartridge, must be divided into four very nearly equal length segments and the segments arranged so that they will be played as programs A 10.02Z lkWidth Tlz pGM Left through D in alphabetical sequence. Even though up to about 90 minutes of playing time is available in the 8 -track for- } mat, a break in the program continuity Tk3 PGM C Lef must be tolerated at the point where the its cycle and the repro- 0. 0 10 Guard $and Width tape completes duce head must be switched to the sub- -Ï 4 . 0.24$ sequent pair of tracks to continue play- k PGM D Leff ing the program. This seemingly minor Wid-th technical detail, like other minor details, is only important when it is not con- ll5 PGM A Z.el,t sidered. The "click -thunk" interrupting 8 -track program segments may be thought objectionable enough to take some pains, when arranging the time sequence -fvo pGP\ $1Z16ht of program selections, to avoid having one selection begin at the end of one program segment and conclude on another. Most importantly, such a case PGM C Qgfii must not occur with program D and program A. Sometimes, try as we might, there's i just no other remedy for fitting a pro- 8 PGM a t gram on an 8 -track other than to allow a 1 gross disparity between segment lengths or to tolerate the interruption of a selection. 8 -track programming can be 8 Trock Lear-lYpe 'Tape Cylrid8e TraclorrnAfi somewhat of a knotty problem in the case of a program sequence that must preserve a certain sequential order. Solu- ic .re 2 tions to this sort of situation can be difficult indeed if the freedom to re- arrange selection order is restricted. cartridge plastic case. The tape is drawn dimensions of the tracks, guard bands In closing, I think a brief discussion of across the head by a capstan within the and track assignments for the standard the sound quality capabilities of dupli- player that is positioned opposite a pinch '4 -inch 8 -track tape. Note that the track cated tape products is in order. The roller contained within the cartridge widths are just about the same as they question of the viability of tape record- body. The tape passes over the pinch are for stereo cassette tracks. The guard ings as opposed to the stereo disc has roller so that it is engaged between the bands are a little smaller than in the occurred to more than one audio pro- player capstan and the cartridge pinch cassette format. fessional. Almost everyone seems to roller. Engagement of the pinch roller I'm sure that very few of us would know that tapes just don't sound any- with the capstan then pulls the tape indicate surprise at the fact that there where near as good as records and across the player head. The tape is held are four stereo pairs available on the cassettes are a waste of time to even in contact with the reproduce head by a pressure pad and a system of tape guides internal to the cartridge. From the capstan, the tape is routed back to the outside of the pack on the rotating hub assembly. The tape is spliced together so 5dB that it forms an endless loop with a conductive foil splice retaining the two ends of the tape. Tape circulation on the rotating platform is facilitated by the lubrication of the tape itself with a graphite compound coating the tape backing. The purpose of the conductive foil is to indicate the end of the program cycle and either switch the player off or cause the reproduce head to step to the 20 100 K 101 ZOK next pair of tracks in the program sequence as the tape loop completes an -rypl Umï1s PlaybaclkFre9uency Rsponse Type entire circuit. Got that? of Now, let's take a look at the track Stereo Cassette Duplictited zcl 32 'Times Playback Speed format for these specimens. Figure 2 shows an approximate drawing of the urc 3

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www.americanradiohistory.com consider as a quality consumer sound medium. Why even issue tape product in the form of cassettes at all, when everybody knows that 8 -track cartridge sales exceed cassettes by about 5 to 1? Not only that, cassettes with their skinny little tracks and slow tape speed are the low riders of the retail music industry. Everybody knows that. Right? Well, almost. I don't know that. In fact, the results that we at Superscope have been able to achieve in the form of stereo cassette product has been rather MODEL A pleasantly surprising in terms of quality. Super -legible black on The sound quality of cassettes of my white, woodhue case. recent experience has been at least as good as the product we produce in any other tape format, and often exceeds results realizable in 8 -track cartridge. Peak signal -to -noise ratios of about 50 dB are generally achievable in stereo cassette and 8 -track format. Frequency response variations observed in playback measurements taken from six slaves fall within the limits shown in Figure 3. Subjective results of duplicated music comparisons in 8 -track and cassette for- the miracle quartz: mats generally indicate that the lowly of cassette does not suffer relative to other tape formats or even by very much when Cordless accuracy compared to disc recordings. Once more, I would like to under- to one minute a year score the importance of supplying program material of the very highest quality Westclox MODEL B possible to any duplicator. Most dupli- Contemporary black cation establishments are intimately a- Quartzmatic Clock numerals on tan face, ware of the capabilities and limitations woodhue case. of their respective facilities and tape for- only $5500 mats. Obviously, your material can't very well emerge from the high -speed duplication process very much better than it Precision quartz accuracy. Accurate to plus or year was it went in. Degradation of minus one minute per when -less than 2/10 seconds a day. quality will occur in any duplication process whatever so we may as well Cordless convenience and portability. Runs on two ordinary "C" batteries. start out as well as we can in the first place. The importance of an accurate, Keeps you on time during power failures, complete master tape cue sheet should or where no power plug is available. not be discounted. Big 12" face with red sweep second hand. Easy read at a distance. It is difficult to argue that cassettes to -even are the key to the high volume tape Ideal for radio & T.V. stations, hospitals and market. I do, however, believe that the labs, police and fire stations, transportation MODEL C cassette is too often ruled out of many terminals, weather stations, Decorator style, white homes and offices ... anywhere! numerals, black & bronze marketing plans because it is generally face, light gray case. believed that it is incapable of yielding One year Factory Guarantee from Westclox, results consistant with other recorded division of General Time, world's foremost maker of precision timepieces. music formats. I think that general realization of the capabilities and limitations This latest advance in quartz timekeeping Order the amazing of consumer tape formats would enable technology is available NOW for only $55.00 in your Quartzmatic Clock today the industry to make more judicious each choice of colors. Use this coupon or send your own purchase order. at this special price! choices in marketing strategy. The availability of high quality music in the lower - r cost cassette form should yield benefits ALT_ GENERAL TIME SERVICE Please send me _Model "A." _Model "B " _Model "C" A TALLEY INDUSTRIES COMPANY Quartzmatic Clocks. to the industry and to the consumer. AKRON 25 Ghent Rd., Ohio 44313 _Send postpaid. My check or money order is enclosed. REP -9 I only ascend to the soap box to rebutt CHICAGO 206 N. Michigan Ave., III. 60601 _Send C.O.D.I'II pay shipping charges.

an indictment of the cassette that I have DALLAS 400 S. Ervay St., Tex. 75201 Name

heard from both layman and professional LOS ANGELES 5404 Wilshire Blvd., Cal. 90036 Company alike. Evidently, very few of us realize NEW YORK 150 E. 47th St., N.Y. 10017 Address how good a pre- recorded tape can sound. PHILADELPHIA 1214 Walnut St., Penna. 19107

PHOENIX 2047 E. Camelback Rd., Ariz. 05016 City State Zip local sales tax where applicable) L SAN FRANCISCO 540 Mission St., Cal. 94105 (Add J Circle No. 116 Re/p 33

www.americanradiohistory.com If you're seriously into music or up to four additional input modules sound reinforcement you want more Tou ou for and other optional accessories than hi -fi products can give including talkback, remote you. But full professional stu- tiou transport control, quad pan - dio gear costs an arm and a what need ner, and headphone monitor. leg, and you pay for a lot of things you may not That's what you need and that's what you pay for. really need. Some things, however, you may or may not need, and That's why there's a TASCAM Model 10. It's an we leave that choice up to you. For instance, the basic 8 -in, 4 -out mixing console, and it's just $1890. Model 10 is high impedance in and out, but studio line With the Model 10 you get what you have to have. impedances are available optionally. You'll probably Without sacrificing a single necessary function. want low impedance mic inputs, but you may not need Each input module gives you mic and line atten- all low impedance line inputs. So we don't make you uation, three bands of peak and dip equalization (two pay for them. You can order any combination of high with frequency selection), pre- and post -echo send and and low input /output impedances according to your receive circuitry, pan function, and a unique straight - application. line fader. Details and specs on the Model 10 are available Each of the four submasters has a meter control for the asking. At the same time we'll tell you about our switch (line /echo), independent monitor level control, new Series 70 Recorder /reproducers. echo receive level control, and a straight -line fader. You also get a master gain module and 4" VU meters We've got what you need. with LED peak indicators. Plus pre -wired facilities for M11130111111 CORPORATUN 5440 McConnell Avenue Los Angeles, California 90066

Re/p 34 Circle No. 117

www.americanradiohistory.com UJI3H vs IA%IIOI%

by RUSSELL O. HAMM SEAR SOUND NEW YORK

Ask a recording engineer what makes electronically. which were visually very impressive. It's one studio sound different from another About this same time I had an inter- true, according to the parameters being and he'll tell you ... "acoustics." Why? esting discussion with a guitar player who measured there should be no difference Because there are a lot of articles about was searching for the best amp he could in the sound of equivalent tube and building studios with technical looking get. He told me, "You know, there is a transistor amplifiers. My question was, stuff like sound absorption coefficients. night and day difference between amps, are some important parameters not being Supposedly these things affect the sound. especially tubes and transistors." I asked measured? Said another engineer, "You How about electronics, does the console him if he'd looked into the specs on the just have to get used to the nice clean affect the sound? "Oh no." Why? "Cause different amps to see what they had to sound of transistors. What you've been the specs say so. Just look at an ad for a say. His reply: "I just go by my ear, I listening to on tubes is a lot of distor- good console and you'll see the fre- can't read them specs, man." tion." Well that could be too, but have quency response, noise and distortion all So I posed the question to a lot of you looked at the hi -fi ads recently? look good." people: what about this tube sound vs. Seems now that unless you buy a super With this premise in mind I spent a transistor sound business? Is there a dif- high power amp, you're going to get clip- couple of years trying to improve the ference? Musicians, engineers, hi -fi bugs ping distortion. I guess those nice clean sound of a bad studio. I literally rebuilt everyone could talk about it. "Really, old amps weren't so clean afterall . . . the whole studio acoustically. The place it's a very hot topic," is the one point I asked a few musicians and producers still sounded abominable. Then one day I that came across very clearly though to tell me what they heard as the differ- had a bright idea. I plugged the mikes everyone had opinions but no facts. ence between tubes and transistors. directly into a small mixer instead of the Here are a few examples. "Tube amps have more bass . . . The regular console. Wow! what a difference. An electrical engineer, one who de- bass actually sounds an octave lower," From that day on acoustics were out the signs recording consoles, absolutely pro- said one guitarist. A couple of different window in my book. All the acoustic ved to me that there was nothing to the people pointed out that there was a big changes I had made had never come argument. He did this by getting out his difference in the mid range sound. Tubes close to the change in sound made data sheets and quoting some figures seemed clear while transistors were This article was derived from a paper presented at the 43rd convention of the AES, New York.

Re/p 35 www.americanradiohistory.com cloudy, "Transistor records are very type of amplifiers used in the recording than ever before they are not designed to clean but they lack the `air' of a good console. Category one was transistors, handle this kind of level. Most commer- tube recording." two was vacuum tubes and three was cially available preamplifiers operate at I showed a transistor to one older operational amplifiers. Electronics was 40 dB gain and overload at an input level musician and his immediate reaction was: again the predominant cause of sound of about - 20 dBm. From the table you'll "no wonder they don't have any 'air' in coloration. With this premise in mind I note that the U -87 mike puts out a peak the sound, there ain't .enough room in decided to look into amplifier distortion of - 1 dBm from the large floor tom. 'em!" Different people told me that characteristics. Amplification of this by 40 dB gives they heard a lot of buzzing or white As the new hi -fi ads tell us most severe amplifier overload and logically noise on transistor recordings especially amplifiers clip on peak program material. causes lots of distortion. on the attack of notes. Of course I heard Here, I thought, might be where the The high level mike signal problem is several theories that tubes overload sound coloration is coming from but first curable of course. Most consoles today gently so they don't cause distortion on I decided to check up on this clipping have pads on the microphone inputs attacks. One producer told me he liked business. To get an idea of the kind of which can attenuate these signals to a transistors because they had better highs levels mike preamplifiers have to handle range where the preamplifier can handle and lows but they didn't have the under actual studio operating conditions, them. The use of pads however raises two 'punch' of tubes. "Sometimes transistors I built some special test equipment. A unresolved problems. One, pads were not sound like they're under a blanket." peak reading meter allowed me to read used 10 years ago on tube type consoles. I started a collection of records group- the instantaneous level of signal trans- In fact they weren't even common on the ing them according to their sound. Quite ients while a special log amplifier showed first generation of transistor consoles surprisingly they did seem to fall into the whole signal on the scope. This way I either. Yet, I have popular recordings three general categories. Comparing rec- could get an idea of how significant the made back then that don't sound sever- ords with one another is a bit of a pro- peaks were relative to the actual signal ely distorted. Secondly, how much pad- blem since the musical selections and level. I hooked this rig up to the console ding do you add? Too much and you instrumentation is different on every and monitored different mike lines dur- don't have any range on your fader or one. Still, a general sound quality or ing regular sessions. The results were too little and the peaks clip. electronic cast prevails over each record amazing. Sure I expected to get loud I set up three commercially available regardless of musical content. The rec- signals, especially from the drums with preamplifiers in the studio. One tran- ords in category one had a 'closed' close miking, but not this loud. Table sistor type, one IC and one vacuum tube. sound, they were brilliant yet they seem- No. 1 gives a few good examples. I adjusted them to a gain of exactly ed to have a 'covered' quality. Within If you get a manufacturer's data sheet 40 dB and I regulated their operating the sound texture the instruments seem- for one of the mikes listed in the table voltages so they would overload at the ed masked so determining just what was you'll notice they give the sensitivity of same output level, + 18 dBm. Each amp playing was difficult. Played loud the the mike at some standard sound pres- was connected to the console monitoring records were 'buzzy' and rather annoy- sure level. My calculations, based upon network. As the test signal I used the ing, at normal levels they were fine. that data, indicate that sound pressures U -87 microphone over a large floor tom. Category two's predominant trait was in excess of 130 dB are common. While The mike fed into a variable pad and loudness. These records were so loud the latest console amplifiers have less then to a switch which could select each compared to others it seemed like they noise, less distortion and more knobs preamp. I got together a few studio were at the breaking point. One more dB and the record would shatter. They Table 1 - PEAK MICROPHONE OUTPUT LEVELS FOR PERCUSSIVE SOUNDS were distorted somewhat but the sound still seemed clearer than the first cate- Instrument D 'stance Microphone output level open circuit OdB = .775 gory. Instruments were defineable within the sound but they did not sound real or U-87 U-47 77-DX C-28 666 live. Category three was very different. Realism prevailed. If the records were 6" 0 -6 -9 -15 played at a 'live' sound level they act- Bass Drum ually sounded like the band was sitting (single head) in the room. Each instrument was very clear; distortion seemed almost nonexis- Large Tom Tom 12" -1 -6 -9 -10 -5 tent. The loudness was nowhere near category two and as the playback level Small Tom Tom 12" -1 -5 -7 -9 was reduced on the phonograph the sound became thin with the highs very Piano 6" -25 -29 -38 -35 -32 overbalanced. This characteristic was not (single note) so dominant in either of the other categories. -33 -33 It took quite a bit of time to do all of Piano 6" -23 -27 -36 this listening and categorizing which I (chord) have so briefly described here. The next step was to track down some of the Orchestra Bells 18" -16 -25 -33 -33 -30 studios or engineers who had made these recordings and find out what sort of Cow Bell 12" -10 -12 -29 -19 -15 equipment they had used. Needless to was a big All of say this too project. Loud Yell 4" 0 -11 - -10 -10 this is, of course, a psychoacoustical study where there is bound to be error U U made by Neumann, 77DX made by RCA, C -28 made by and indeed there was. But, in general, the -87 and -47 main factor in each category was the AKG, 666 made by Electro- Voice.

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Circle No. 118 Re/p 37

www.americanradiohistory.com people and we listened to the output of the margin of error we had with the widely between different types of amp- each amp as a strong armed drummer transistor amp almost disappeared. A lifiers. It's well known that when an beat away. 2 dB change in pad made the difference amplifier operates in its overload region The transistor amp was a push pull between no distortion and very audible it introduces distortion. Any amplifier silicon design. Its output signal sounded distortion. design for audio use has a total harmonic very distorted. I adjusted the pad until Amp three was a push pull triode distortion specification at some partic- everyone agreed that the distortion had tube design. Quite surprisingly this amp ular signal level. These tests illustrate disappeared. I did this adjustment several didn't need any padding. Its output was however that all the amplifiers could be times so I could get a range of attenu- quite clean. driven beyond this point without the ation settings. It turned out that 10 to 15 Just to make sure the amplifiers were distortion being too noticeable. Obvious- dB padding did the trick. operating ok I inserted 25 dB of attenu- ly this is not the kind of distortion the The second amp was one of those ation and switched the mike signal to ear normally associates with electronic cast epoxy operational amplifier designs. each of them. Everyone agreed they all overload yet the amplifier is distorting. Again the output was very distorted sounded the same. clean. Distortion is the addition of harmonics without padding. It turned out that These listening tests quite clearly in- to the signal. Harmonics are what gives a 20 dB of attenuation was necessary and dicate that the overload margin varies sound it's character. Adding harmonics changes a sound. Therefore it must be in this region of inaudible overload where 50 the sound coloration is added by the I amplifier causing the difference between o Op AMP transistors, tubes and ICs. 40 - Fgutt / Using a conventional THD (total har- / monic distortion) analyzer, I checked out Triode i approximately 50 different amplifier de- v 30 , I / signs. I plotted a curve of THD against i input level as each amplifier was driven Transistor into its distortion region. The results 20 = / were very disappointing, all the curves / / came out about the same as figure No. 1 Ia I 0 In1ode shows. These particular examples were w i chosen because they are representative i of the family of devices. A quick glance 1°6 - _ / will you tubes do not overload o show that 0 12. 24 36 more gently than transistors; another RRJAiive Input Level, d8 popular myth laid to rest! THD is actually a measurement of the MElttikt5e amplifier comparison 01 To1al sum of the individual distortion compon- Harmonic Dislortion ents. In other words you can determine it by adding up the contribution of each 50 harmonic. Here is an area for problems however since THD tells absolutely nothing about which harmonics are causing 40 - figure 2 , how much of the distortion. For several of the amps I repeated the overload tests but this time I examined the output signal, on a spectrum analyzer. After a bit of testing it seemed that measuring the first seven harmonics was enough to I see how most of the prominent distor- I tion components behaved. The harmon- , 4th , ics higher than the seventh were quite 10 low in amplitude and very hard to 3rd +b measure accurately. 2r.=;=T'h4Th This time the results were very re- 0 vealing. Figure No. 2 is a good example 0 12 24 3b of the distortion from a triode tube Relative Input Level, dB amplifier. The distortion is composed of Dìslorfiion Components for two Triode Amplifier strong 2nd and 3rd harmonics with the higher ones in diminishing order of importance. Look at the output waveform, notice that the top is flattened but the bottom is still rounded like the sine wave input. The next amplifier, figure No. 3, is a push pull, silicon transistor type. The 3rd harmonic is very strong while the 2nd is about the same magnitude as the higher ones. Now it becomes clearer where THD measurements can be mis- WAvéorm fior Triode amplfier zit 12 dB Overload leading. Figure No. 1 indicates that the THD for both these amps is about the

Re/p 38

www.americanradiohistory.com At last,, a studio masterng tape that's belier than the one everybody's been using.

A while ago, someone came along Audio's secret processes are the other with a new tape :hat, admittedly, was part. The results aren't secret, a better mousetrap. But it was not though: Audiotape HOLN has reduced the ultimate mousetrap. print through by at least 2 dB, and There were problems with that typically 3 dB over the tape you tape, good as it was. Problems switched to a few years ago. which we at Audio Devices have been Third problem: able to solve. How do you reduce headwear? First problem: Solution: How do you get even more energy Use a smooth coating surface out of each particle? with a built -in permanent lubricant. Solution: That'll reduce your headwear. By improving the dispersion. Fourth problem: Poorly dispersed particles clump How do you improve handling and together causing storage reliability? magnetic losses Solution: due to interaction Use a backcoating that's super - and energy durable. Cushion-Aire'!" cancellations. Output 0$ bu. backcoating, with - The new Audiotape its controlled surface - HOLN has texture, improves higher - 3 Non- , s I backcoated polyester .roi. loop 01NU0ielepO HOLM . output and lower -4 high -speed handling alter 100C passes. and winding, noise than .u.Hl.e. HOLN 1 MO .. .,. MaLN .. .., and eliminates the the tape you - M. HOLM I .Ma switched to years causes of cinching, 9 MI HOLM IS MI/ ago. The new spoking, and other Cushion -Aire backcoaling _1pe I ! I LI -6 -4 -2 0 +2 pack deformities. aller 1000 passes. Audio tape w. Ida/ iron -oxide Scully I r.c0r0.r e115 op* Input *011009. Another problem is maintaining

Hr.l or..,. loop 01 poorly particles deliver consistency of product. We've solved Imparted lap. that too. By having a superior degree more energy. Frequency response. of quality control. Second problem: +2 How do you reduce print- through? t+1 For a complete discussion of the 0 *et Y.*«p. MotN- Solution: improvements Audiotape features 6 -2 I M. HOLA. Uniform particle size and dis- 20 100 1000 10000 20000 over the leading backcoated tape, .I..HI., IHM. send for our detailed literature. persion are part of the solution. Scully I roomier e115 Mo. aw0N Inpu11.e010A.

Audio Devices, Inc., A Capitol Industries Company, 100 Research Drive, Glenbrook, Conn. 06906

Circle No. 119 Re/p 39

www.americanradiohistory.com same. But, from figures No. 1 and No. 2 50 we see that the actual distortion components are quite different. Look at the waveform for the transistor amplifier, it 40 is almost a square wave, quite different from the tube. Next, in figure No. 4, is the distortion for an IC amplifier. Here E 30 again the 3rd harmonic is the strongest 5 3rd but, there are two more very different characteristics. One, there are no even numbered harmonics present. Second, 20 5'" --..,, v the 5th and 7th harmonics are very 2^d 4t strong. Look at the output waveform, 10 r- with sharp and symmetrical clipping. i t From these spectrum plots of distortion we have found out then that each of is generating different 0 12 24 36 type amplifier harmonics as it goes into overload. From 1?glklive Input Level, d5 our listening tests we know that the pistorlion Components for Mullis-168e, Transformer audibility of this distortion varies from in Coupled, Transistor Amplifier one amplifier to another. With this mind we decided to check out the effect of various harmonics on our musical hearing. Fortunately there is quite a bit of published information in this area. It seems that instrument builders and physicists have been working on mechanically varying harmonic structure of sounds for centuries. What makes a trumpet sound different from an oboe has a great deal of relevance to what makes a tube sound different from a transistor. Basically har- vlaveform for transistor amplifier a1 12d5 overload monics can be broken into two parts. Figure 3 Odd harmonics like the 3rd and the 5th produce a `stopped' or covered sound. Even harmonics like the 2nd and 4th 50 produce a `choral' or open sound. In combinations the 2nd, 3rd, 4th and 5th produce instrument sounds particularly 40 the `brassy' type. This is quite basic and 3rd Ç needless to say no where near the whole 0 story for the lower harmonics. For our 30 , purposes it will do nicely. Next, the m / upper harmonics like the 7th and higher i 20 actually get out of tune musically with 0 %/ our Westernized ear, they are not musi- M cal. As these high harmonics begin to i / appear they sound grating and very no- 10 ,` ticeable. The musicians and physicists have called this effect `edge'. It's the 0 bite of the sound. Actually engineers 0 12 24 36 are familiar with this in the form of the Relative Input Level, d6 `presence' equalizer. Studies have been done which show that the edge is a Distortion Components for N\onolfthic Operational strong ear clue for loudness. A trumpet Amplifier with Hybrid Ouiptd 51c6e playing loud or soft maintains the same balance of fundamental on lower harmonics, its the balance of the edge to the fundamental which actually clues the ear that it is playing louder, not nearer. Now, to apply what we've learned to the problem at hand: tubes versus transistors. From the electrical tests we see that transistor amplifiers generate strong 3rd harmonic distortion when they overload. The instrument theory says that ¡or Wavelorm operational arnplifiier 6t 12 dl3 overload 3rd harmonic generates a `covered' Figure 4 sound. Hence when the producer I spoke to said that transistor records sounded like they were under a blanket he didn't

Re/p 40

www.americanradiohistory.com realize just how good a distortion analyzer he was. IC's, too, generate this strong 3rd harmonic but here there is the factor of `edge' to take into account. Listen to Besides the 3rd the IC generates strong 5th and 7th which sounds awful. Right away you hear it and correct the over- loading. This agrees with the listening the Sound tests where the amp went into audible distortion with a couple dB over the overload point. IC's actually have an of Dependability audible warning system which prevents generating the 3rd harmonic which is responsible for `covered' sound. With IC's then you stay pretty much in the linear range and get very clean sound. Now, if you don't notice the distortion especially on short transients you get STL test tapes maintain a reputation as the most dependable that `shattered glass' effect. Exactly the and accurate tapes you can buy because of the consistently sound that some of the musicians said high standards produced on the finest precision equipment. they heard. It comes from too much In addition, they are available in more sizes than that edge on the attacks. offered by any other manufacturer in the world. Tubes are quite a different story from Listen to the sound of dependability ... and accuracy. Order the solid state amplifiers. When the tube STL test tapes and find out where your system really is. amp overloads it adds all the lower harmonics. You get the `brassy' sound on All audio widths from 150 mil. to 2 -inch. Prompt delivery overload instead of the `covered' sound. insures freshness. The higher harmonics don't add appre- ciable edge until the amp is quite aways For the distributor in your area -Call or write: into distortion and very brassy. This point, according to the listening tests can TABERManufacturing & Engineering Company be 15 to 20 dB into distortion. Is this bad? It depends upon what you are 2081 Edison Ave. S n Leandro, Ca. 94577 (415) 635 -3831 looking for in your finished recording. Tennessee distributors: Audits -s, Inc., Studio Supply Company The reason why the tube records seemed to jump out of the speaker is because every input signal is being compressed and equalized (distorted). You hear more YES, a bass because the higher harmonics are YOU CAN PAY LESS when you need completely self -contained enhanced and cause a `synthetic bass' PROFESSIONAL MIXER SYSTEM. effect. You get the clarity of mid range at low volume again because of the com- The QM -8 contains all the features and functions of a full -size console. pression, you are recording the signal at a higher level relative to the normal `real' 8 LINE INPUTS MIS NMr11111111 4 BUSS OUTPUTS level. You cannot get these effects with ob t Mftwooy I I I I41 transistor amplifiers. Neither can you get 4 MONITOR OUTPUTS 4 1 r 8 BALANCED LOW -Z them with tube amplifiers if they are not MIC INPUTS ECHO SEND AND I f operating in the right distortion range. : RECEIVE ./i HEADPHONE How do you know if it's the right '40 '4 range? You take your chances. CUE SYSTEM My point is not to start a revival of NOISE tube amplifiers but rather to shed some LOW scientific light upon a controversy which has been long on answers and short on fact. Perhaps the real question we should all be thinking about is: are records sup- 2 POS HIGH AND LOW FREQUENCY EQUALIZERS posed to be a recreation of the `real' MONITOR MIX SYSTEM STEREO OR QUAD acoustic event or are they a manufact- XL INPUT AND OUTPUT CONNECTORS ured product tailored to make record LARGE ILLUMINATED VU players sound good? Either way we have METERS a long way to go. PATCH POINT PREAMP OUT -EQ IN As a non- technical friend asked me a QUAD PAN POTS ON EACH INPUT while ago, "Why is recorded music some- The QM -8 mixer system is ideally suited for recording, production or sound times so soft I have to turn up the reinforcement. It's small size (19"x19 " "x7 " ") and light weight .(37 lbs) make volume and the next minute it's so loud the QM -8 equally at home as permanently installed console or portable re- it's blasting? Why can't you record it so mote unit. the entire record comes out at the same PRICE $1996.00 loudness ?" To think we spend so much time and money on a 70 dB dynamic 1310 SARTORI AVENUE, TORRANCE, CA. 90501 range!!! unn um (213) 320-5211 (213) 775-1349

Re/p 41 www.americanradiohistory.com

Telex tape duplicating equi ment w* start with what you need, but you're never likely to outgrow it. Every possible tnought has been given in the Plug-in componentry makes the Telex system design of theTeiex tape duplicating system to easily expandable in true^bui|ding'b|ock^fashion. make it a modular, step-by-step expandable Your Telex dealer can show you exactly what system with the highest degree of flexibility we equipment you need and how economically he know of. can satisfy that need. You can havecassetto'to'oassetÍn. reel to Write Telex Communications, Inc., 9600 cassetto, reel-to reel or even cassette to reel Aldrich Avenue South, K8innonpo|ia, Minnesota duplicating. All this with true professional 55420. studio quality and all the commonly required head configuratons available. PRODUCTS OF SOUND RESEARCH Sirnp|e, push button operation assures con sistenttnpquo|i-ty reproduction even with non- TELEX.. technical operating personnel. COMMUNICATION INC `°,

Re/p 42 Circle No. 122

www.americanradiohistory.com NEW PRODUCT NEWS MEMORIES LITTLE HELPER AUTO- MATED MIXDOWN SYSTEM Allison Research Inc. of Nashville ANC_ , by license from ALLISON RESEARCH, INC. iriC") has introduced their "MEMORIES LIT- TLE HELPER" system of Automated Mixdown. MEMORIES LITTLE HELPER Memories Little Helper is unique in t-COU rs vROus GROUPS GROUPS GROUPS GRO /P5 ROGRAMAtO PROGRAMMED PROGRAMMED PROGP A PROGRAMMED the respect that it allows existing control MOOR AMMED -- G L :; : : boards to be easily converted to auto- , o o 2 o , u T mated operation without extensive down r time or mechanical alterations. In a typical installation, the wires to each channel fader are brought out to a r REA special multi -pin connector, which serves R D. READ as an interface point for the Memories

Little Helper unit. When a dummy plug I WRIT' is inserted, normal non -automated con- WRITE WRITE sole operation is restored. IODATE When the automation system is con- UPDATE UPDATE nected, however, the audio is routed through voltage controlled amplifiers contained in the Memories Little Helper IO II package, while a source of 5 vdc is fed THE CONTROLS: Allison Research / Automated Processes through the faders. Installation time for As seen in the close detail photo, each unit, and is the same device used in most consoles is said to be 4 to 6 hours. of the individual channel modules con- automated consoles currently being de- Once installed in this manner, Mem- tains the following operating controls or livered by Automated Processes Inc. ories Little Helper allows automated mix- indicators: Its unique multi -level digital code is ing on the console faders themselves, Read, write and update controls claimed to offer larger capacity, higher rather than on a relatively awkward (momentary, illuminated buttons with update speeds and greater inherent pro- external fader bank, or controller. (The electronic latching. Used for selection of tection from dropouts and splices than company does, however, have available a individual track operating modes.) more conventional bi phase digital sys- compact external fader bank for appli- Level -match null indicators (LEDs tems. It is readily expandable to up to cations where console modification is used for locating relative fader to pro- 256 variable automation functions (2048 undesirable, such as demo rental and grammer relationship, when switching equivalent bit functions) via plug -in other un- committed purposes.) from read to write modes. These LEDs cards. The physical space alloted in the Another side advantage claimed for also serve as overrange indicators. Memories Little Helper system, however, the quick disconnect, wired in console Group master selector which allows allows expansion to only 128 variable approach is that it allows studios with sub groups (i.e. rhythm, horns, voices) to functions. more than one console to easily move the be assigned to one of five grouping SYSTEM SPECIFICATIONS: system from room to room while still sub -masters, whereby they are controlled Functions automated, individual track maintaining "on the console" automated in blocks, while maintaining echo and level, master level, 5 grouping sub - mixing. Along these same lines, it is panning perspectives. The effect of the masters. Linear range of controls, 100 interesting to note that several console group master may be programmed or dB. Update speed, to 125 scans per manufacturers are currently considering non -programmed. second. Accuracy -resolution, .5 dB (first the inclusion of Memories Little Helper MASTER CONTROL MODULE: 50 dB attenuation), 2 dB (last 50 dB "quick connect plugs" on their non - A seventeenth module in the package attenuation), (not affected by multiple automated consoles. contains controls for simultaneously passes). Signal to noise ratio, 111 dB THE PACKAGE: placing all modules in "read" "write" or typical. Distortion, under .05% typical. A complete 16 track unit measures "update" modes, as well as data track Max attenuation (kill), 130 dB. Storage only 8 3/4" x 19" x 9" and can be rack change -over selector and group master medium, master or slave tape machine, mounted, pedestal mounted or set on a status selector. (2 tracks required). table or producers desk. All controls, individual and master, Complete 16 track system $9,250.00. Contained in the package are the may be remote controlled. A pre-set Complete 24 track system $13,500.00, programmer, 16 voltage controlled amp- control module is also in development. Available November 1973. lifiers (VCA2 -1), all operating controls, THE PROGRAMMER: ALLISON RESEARCH, INC., 2817 level -match and over-range indicators and The programmer in the Memories ERICA PL., BOX 40288, NASHVILLE, all associated circuitry. Little Helper system is, of course, the TN. 37204 Circle No. 123

NEW MICMIX REVERBERATION UNIT able in equivalent room volumes from reverb is 'captured' by the most pre- The MICMIX MR-II Master -Room is a 4000 to over a million cubic feet. The dominant sound applied, individual -track professional, studio -quality unit and is MR -II model is the 4K cubic foot equiv- reverbs are becoming highly desirable and one of a series of economical designs alent and has a nominal decay time of 2 Master -Room's cost allows the best type which permit application of exactly the seconds, which is most applicable to and amount to be applied to a particular right amount and type of reverberation to both speech and music. The larger equiv- type of sound. individual tracks or to any type of mix- alent room volumes are more useful with Master -Room incorporates a patent - down. The Master-Room series is avail- strings and similar instruments. Since a pending design which eliminates the need

Re/p 43

www.americanradiohistory.com Who would want to own...an 80dB dynamic range record?

Exampiles of records selling because range be produced? The fact is that of superb sound, alone, are becoming only the Burwen Noise Eliminator more numerous. And small wonder! makes such recording possible ... You will be con- For, in a recent survey of customers and it's expensive! who already own high -quality, home vinced, as we are, that it can boost sound systems, over 80% of those your record sales 10% to 20% ... and it is worth the who responded to a request for sug- decide that more than gested improvements said, "Do some- investment. thing to get better sounding records, To get complete facts on the Burwen tapes and FM." Noise Eliminator, Model 2000 ... How can records of 80dB dynamic just call or write:

tol LABORATORIES,L3uruien INC.

209 MIDDLESEX TURNPIKE, BURLINGTON, MA. 01803 /TEL. (617) 273 -1488 Re/p 44 Circle No. 125 www.americanradiohistory.com for any tape -delay mechanism as well as tape mastering and duplicating facilities, button tape track transfer, mike-line sig- the `twang' and flutter-echo effects gen- and FM broadcasters can eliminate objec- nal mixing and automatic demagnetiza- erally found in other moderately priced tionable high frequency distortion or tion of tape heads. reverbs. Each Master -Room includes a carrier modulation. Brilliance control to adjust the character of the Room to fit the type of sound being processed. Featuring monaural drive and .. stereo -perspective outputs, in- . put impedance on the standard model is a bridging 10K ohms, with 600 ohm balanced input units also available. Standard The Model 400 operates much like a output impedance is 150 ohms on each standard program limiter except that it channel which is enough to drive loads of does not cover the full audio band width. up to 500 ohms at rated output. 600 ohm Only the high frequency components are balanced outputs are also available in the controlled. :\1astcr -Room series. It is particularly effective in cassette duplication. Masters processed using the Model 400 Limiter significantly reduce high frequency distortion, such as sibilant sound, on the duplicated tapes. The Model 400 Limiter is compatible with standard studio grade equipment. With an internal power supply, it is Solid state with FET front end, Super - totally self- contained. A single knob con- Seven is a product of the Ferrograph trols primary power and limits in /out Company, Ltd., Great Britain's leading functions. Front panel lamps provide producer of quality tape recorders. visual indication of limiter modes. ELPA MARKETING INDUSTRIES, INC. Price, $1050. NEW HYDE PARK, N.Y. 11040 AND AUDIO /TEK INC., P.O. BOX 5012, SAN SCOTTSDALE, AZ. 85260 JOSE, CA. 95150 Circle No. 128 Circle No. 127 NEW ANNIS COMPANY KIT PROVID- FERROGRAPH SUPER SEVEN TAPE ES EVERYTHING NEEDED TO MEAS- RECORDER FROM ELPA MARKET- URE AND ELIMINATE MAGNETISM ING INDUSTRIES FROM AUDIO AND VIDEO TAPE RE- The Ferrograph Super- Seven, a 3- CORDER COMPONENTS speed 10 1/2" real recorder, offers 2 and 4 track stereo and mono models with or without integrated power amplifier and speakers. With 3- speeds (7 1/2, 3 3/4, 1 7/8 ips), Super -Seven is the only reel -to -reel machine offering 1 7/8 ips and only Ferrograph offers this speed with Dolby "B" noise reduction. An optional high speed unit operates at 15, 7 1/2 and 3 3/4 ips and is available at no additional cost. (Dolby "B" noise Standard input level is set for +4 VU, reduction system is also available at all but almost any other design level is speeds except 15 ips. Dolby is not avail- readily obtainable. Standard output level able at 15 ips on any 10 1/2" machine). is also +4 VU. Saturation level on the A host of thirty -five features includes Master -Room series is at +18 dBm peak instant slur -free starts on record and play- Known as the Han -D -Kit, the kit pro- and noise is rated at -66 dB. An acoustic back, bias adjustment on front deck, vides everything needed to measure and susceptibility level of 100 dB SPL permits variable speed wind /rewind for fast edi- eliminate damaging magnetism. Included use of the Master -Room in the monitor ting, push button tape source comparison is a pocket magnetometer to measure area without feedback problems, while its for each channel, professional electronic residual magnetism, a clip -on extension small size and weight (the MR -II is only editing, push button bias readings, push probe to reach recessed components, 38 inches high and weighs 22 pounds) allows it to be placed almost anywhere. XLR connections are featured for both input and output with mating connectors supplied, and the unit is housed in an attractive walnut finish wood cabinet. The unit is self- contained and operates on 115 volts, 50/60 Hz power. Price: $985 (Standard Model MR-II), and up. MICMIX AUDIO PRODUCTS, INC., PO BOX 9691, DALLAS, TEXAS 75214 Circle No. 126 Don't. Production profits are up to you. DUAL CHANNEL FREQUENCY SE- LECTIVE LIMITER FROM AUDIO /TEK GRAfDson is on the way with help. Audio /Tek's Model 500 Frequency Se- lective Limiter is designed to limit high 0 ouditronics. inc. frequency energy below a fixed value. P.O. Box 12637 Memphis, Tennessee 38112 With this capability, recording studios,

Circle No. 129 Re/p 45

www.americanradiohistory.com dual -purpose Han -D -Mag demagnetizer, PERFORMERS' MODEL 671 SINGLE -D lates the transducer assembly from mech- experimental test strips, and complete MICROPHONE anical noises. An internal Acoustifoam instructions. Han -D -Mag has a demagne- Buchanan, Michigan, September 12, TM filter allows close talking without ex- tizing field strength of over 350 oersteds 1973 - The Electro -Voice Model 671 is a cessive "P- popping" and prevents dirt and on at 1/4" distance from end of probe, com- new "ball type" single -D cardioid micro- magnetic particles from accumulating pared to 70 -80 oersteds on demagnetizers phone which emphasizes low frequencies the diaphragm. formerly available. when used "close up." Its carefully The 671 uses the broadcast standard Complete measurement and demagne- shaped response is ideal for the exacting A3M -type connector and the matching tizing of an average recorder takes only a needs of high quality sound reinforce- tapered cable plug becomes a part of the few minutes. In operation, the Han -D- ment, public address, and recording. microphone's shapely silhouette. This Mag plugs into any 115 VAC circuit. Its "ball type" microphone's more beauti- plastic jacketed probe is shaped to de- fully detailed styling is indicative of its magnetize hard -to -reach components. outstanding performance. The opposite, flush pole end, measures The microphone is equipped with a over 800 oersteds, so powerful it can be locking device to keep the switch in the used for limited bulk demagnetizing of "on" position when desired. Impedance tapes up to 'A" wide if regular bulk is selectable Hi -Z or Lo-Z at the con- tape eraser is not available. nector. Two kits are offered by Annis. Eco- Suggested resale net price of $54.75 nomy kit 20/B5 at $29.75 includes the for the Model 671. Also available are standard magnetometer, while Deluxe kit Models 671P, with phone plug at end of 25/S5 at $51.00 features a jewelled mag- cable at $57 net, and the 671PC with netometer with greater stability and ac- plug and in handsome carrying case pri- curacy. Above prices are postpaid in U.S. ced at $60 net. A. ELECTRO-VOICE, INC., 600 CECIL Special export model kits are avail- STREET, BUCHANAN, MI. 49107 able with 230 -volt 50/60 Hz Han-D -Mag Circle No. 132 at $4.50 extra, plus export shipping charges. A new head design and an exclusive MCI ANNOUNCES TAPE TRANSPORT, hologram designed Volumetric TM dia- RECORDING CONSOLE PRODUCT R.B. ANNIS COMPANY, 1101 NORTH phragm provide exceptionally wide, lin- LINE UPDATES: DELAWARE ST., INDIANAPOLIS, IND. ear response at all angles of incidence for MCI JH -100 SERVO DRIVEN TAPE 46202 high gain- before -feedback in sound rein- TRANSPORT forcement applications. Off -axis color- Circle No. 130 The MCI JH -100 transport replaces ation is virtually eliminated. The . head subassembly is user replaceable. As part the JH -10 transport in MCI's JH -16 and of this assembly, a newly designed and JH -24, 8, 16, and 24 track recorders. The extremely effective shock absorber iso- JH -100 combines state of the art electronically controlled tape handling and the following unique features: D.C. capstan servo drive. Super accurate crystal controlled. Fixed tape speeds, 15 -30 -ips (7.5 ips available). Stable variable speed operation from front panel for special effects and speed corrections.

A NEW STANDARD IN PERFORMANCE

D -190E Cardioid dynamic microphone.

For information on the entire Wide range external speed program- AKG product line call or write ming for inter -machine sync, audio /video or audio /audio remote speed control, special effects. MICROPHONES HEADPHONES "Piano Proof" flutter; typically .04% sti OISTRIEWTED 15 ips I. IC l' ips Din weighted, .06% 15 Din NORTH AMERICAN PHILIPS CORPORATION ,00 EAST 2nn STREET. NEW VORN. NEW VORN 100,7 unweighted.

AKG CANADA DIVISION OF DOUBLE DIAMOND ELECTRONICS SCARBOROUGH, ONTARIO

Re/p 46 Circle No. 131

www.americanradiohistory.com All mode reel tension control system, preamp to accomodate the full range of the signals of interest. Its large, easy -to- constant tape tension, high speed accu- professional microphones (I.M. distortion read meter reads directly in dBC without racy anywhere in reel, consistant tape ODBM input less than .15 %). interpolation or computation. The 451C packing. Monitor mute switching and echo re- is housed in a rugged, all metal case and Full manual velocity programming for turn muting. uses a single transistor radio battery Full quad - F -B giving over 200 hours operation. The cueing, editing, special effects. panning both L -R and for 360° quad positioning on all input 451C is priced at $98.00 and is available Totally "Relay- Less" design with full modules and echo returns. from professional audio dealers or the TTL deck logic. 48 additional tie - lines and jacks on factory. For full product information and New "Mark II" auto locator, full patch bay. list of dealers contact the manufacturer. bidirectional operation, key board entry, MCI, 4007 N.E. SIXTH AVENUE, FT. SCOTT INSTRUMENT LABORATOR- readout and operation in real time, no LAUDERDALE, FLORIDA 33308 IES, 30 CROSS STREET, CAMBRIDGE, MASSACHUSETTS over shoot -controlled approach speed. Circle No. 134 02139. New decor and trim. Circle No. NEW ECONOMICAL PROFESSIONAL 135 MCI, 4007 N.E. 6th AVENUE, FT. SOUND LEVEL METER FROM SCOTT NEW UREI "ACTIVE" CROSSOVER LAUDERDALE, FLORIDA 33308 INSTRUMENTS NETWORK FOR BI -AMP AND TRI- Circle No. 133 Scott Instruments announces its new portable 451C professional sound level AMP OF TWO -WAY AND THREE -WAY MCI JH -416 `STOCK' RECORDING meter with "C" weighting for flat re- SPEAKER SYSTEMS CONSOLES sponse. Designed for use by the audio A radically different concept in Elec- professional and the advanced enthusiast tronic Crossover Systems is employed alike, the 451C instrument is pocket ahead of power amplifiers to increase sized, yet gives readings which meet or efficiency and performance of loudspeak- exceed ANSI type S3C accuracy. er systems. Two plug in cards, the 521L (for two -way) and 521H (for mid and high in three -way) make the crossover 0.0...,.u..«. usolo,.,o,., .EASTERN frequencies continuously tunable: 200 AIR DEVICES 411 1 TYPE°N 451 MT Hz to 2 kHz for 521L and kHz to .MpMtftC SOUND LEVEL .,flER Ml..LNC.y 10 for EV EL-dBf kHz 521H. No changing of fixed ,JN0 components to establish optimum crossover frequencies for any two -way or three -way speaker system. All inputs and outputs are transformer isolated but may In response to input from the 65 be bypassed if desired. Filter character- owners of the MCI JH -416 recording istic is 2 pole Butterworth, yeilding console the following features have been 12 dB per octave or 40 dB per decade added to the MCI `Stock' board: attenuation rate with essentially perfect Improved conductive plastic faders by frequency flatness within the passband. Penny and Giles Ltd with improved illumitation. Available with or without internal power Illuminated mute switch with channel supply. One card (521L) is required for number. each two -way system; two cards (521L Full reciprocal midrange equalization - and 521H) provide three -way outputs boost or cut of 14DB. Its range of 45 to 130 dBC sound for tri- amplification. EQ in /out switch. pressure level permits measurements of Model 521P housing holds four cards Mike input pad and new higher gain ambient and background noise as well as and has its own power supply; Model

The time has come whá gital generates time delays withcu- any elay for both the recording studio alteration to the signal. nd sound contractor is no longer By using modular construction luxury but a necessity. Pandora the unit can expanded *SI be at any Systems has developed a unit time. The main frame holds 449 ms. wrr ch fulfil s the needs of both, and of delay and 5 outputs. Inter-con- as flexibility and technical excel - necting frames are available for ence that surpasses any compa- longer delays. able device available on the ma Delay times are variable in - m et today. Allsteps by simple front panel patc High resolution 12 bit digital ing or internal strapping for pe oding produces a full 7 manent installations. amic range A Tie this all together wi aking the use of sign WW1 . 411.11.1, the lowest basic prise (- ;) n.n.n Itering noise recuction r^r,.rrr^rrzrr^i r+,.6. the industry, the Ti niecessary. Coupled 1''\r{ r r`'(''',A r r h.r1 r1 Line becomes the t_lt ma less than .1% distor- cr` r` r' rL r r` r .+.r.. time machine. Pricing T rr7','r''rr.` .-0 ',.6.e., (measured at Lill out - , starts at $2,500. De n,7,o.n LINE 00 HZ) the Time Lin Ac;) and contractor irq is a black box that invited.

(615) 320-0623 P. O. BOX 964, 1 MktitNASHVILLE, TENN. 37202

Circle No. 136 Re/p 47

www.americanradiohistory.com One of a series of brief discussions by Electro -Voice engineers trim, bus selector, and in line fader. Amplification is plug in operational amp- THE lifier and all signal switching is solid state MOS analog switch. All circuits are BACK OF designed to 1% tolerences and are made from 100% American components. This THE BOOK series according to Multi -Track is priced WILLIAM RAVENTOS half-way between the low cost import Professional Products Marketing Manager consoles and the twenty thousand dollar low cost super consoles. Part of the fun of reading any microphone 521E holds four cards and has no power MULTI - TRACK, P. O. BOX 3187, catalog is looking at the new models designed supply, but can be powered from the HOLLYWOOD, CA. 90028 to solve old problems. While most manufacturers, ourselves included, put their great- 521P. Up to eleven cards can be mounted Circle No. 140 est emphasis on microphone design, the area in a 19" rack (31/2" high) for large of accessories can often be vitally important to the operating engineer. installations, using a standard card cage HAECO IMPROVED SUSPENSION AD- and external t 15 to 24 vdc supply. APTER FOR WESTREX / CUTTER - Several items soon to be seen in the E -V Send for complete technical infor- HEADS ANNOUNCED catalog deserve special notice. New line matching transformers that convert 150 ohms to mation. HAECO introduces a new suspension Hi -Z have been introduced. Not only are they UREI, 11922 VALERIO ST., NORTH for use with Westrex heads mounted to smaller and more convenient (with plugs already installed, for instance) but perfor- HOLLYWOOD, CA. 91605 Scully lathes. The suspension helps sig- mance has been upgraded as well, the result Circle No. 138 nificantly in the reduction of advance of superior transformer design. ball pressure, thereby reducing the some- PANDORA DIGITAL DELAY LINE The Model 380 Mike Line Attenuator is a times troublesome scoring problem. The simple device (you can easily build your own TIME LINE - a high quality digital delay HAECO CS -1 suspension can be directly from our information) but when packaged line specifically designed for professional retrofitted existing lathe with plugs installed in a small tube, the con- to any Scully venience of controlling pre -amp overload by audio. High resolution 12 bit encoding and includes within its structure the simply plugging in a 380 cannot be over- produces a full 72 dB dynamic range facility for headlift, automatic looked. automatic naturally, making the use of signal alter- heated stylus control, and built -in dash The Model 513A High -Pass Filter is an im- ing noise reduction systems unnecessary. pot. proved version of this useful tool. Cost has been cut 1/3, and weight by even more.

Connectors are now integral and the switch I ,.. has been eliminated. Getting rid of rumble, low- frequency wind noise, and other pro- `? 4'.e,4 blems is now a simple plug -in operation. yç4E4t`k.0,4;1414:1414r 4 W `4N c _ 19(rl. A novel answer to stage sound pickup needs i . ,;_ Tt9E';l: ,. 11\l is the "Mike Mouse ". It's a molded Acousti- foam TM support that permits locating a microphone inconspicuously on the stage floor surface. Our original discussion of stage The main frame is expandable to 5 out- pickup methods tell how and why this simple bit of foam worked so well. Write for Sound puts and 449 ms of delay. Larger units Techniques, Vol. 3, No. 1. are available. The delay time switching is in 1 ms. There are times when you may wish to use a accomplished by simple patching professional microphone with an On - Off steps. The basic frame is 89 ms. 1 output. switch and stud mount. Enter the Model 342 Price - $2,500.00. Stud Adapter. It can be added to any 3/4" mike with XL-style connector. An Allen PANDORA SYSTEMS, P.O. BOX 964, screw firmly clamps the mike without mar- NASHVILLE, TN. 37202 ring the case, and the unit can be freed from the stud adapter whenever desired. Circle No. 139

Theft of microphones is a common, and MULTI -TRACK SERIES "B" MIXING Besides effectively lowering the mass seemingly increasing problem. The E -V Mod- of the cutterhead, one of the most im- el 340 Security Clamp is designed to thwart CONSOLES the thieves. Two Allen screws can be used to Multi -Track of Hollywood California portant features of the suspension is the hold the mike. One squeezes a shoe that ease of removal and re- insertion without clamps the microphone firmly without mar- announces the addition of the Series "B" ring. The other can actually bite into the modular mixing console system to their disturbing the absolute diametric rela- case of the mike, making unauthorized re- product line. This mixing system was tionship of the cutting stylus. moval a major problem. It is generally agreed that if the microphone can't be stolen in the designed by the same engineers who HOLZER AUDIO ENG. CORP., 14110 first 15 -20 seconds, the likelihood of loss is developed the vari -band sweep equalizer. AETNA ST., VAN NUYS, CA. 91401 greatly reduced. This security clamp should sharply cut your losses. Channel features include 9 frequency equalization, solo -mute, dry channel pan, Circle No. 141 E-V is continually on the lookout for new echo pan, monitor mix, earphone mix, ideas from the field that can increase the MODEL DL42, LONG REACH MICRO- utility and effectiveness of our microphones. echo send, line -mic switch, input gain The accessories in the back of our catalogs PHONE are our response to your need for greater OM MIN MN ONE The Cardiline Model DL42 is said to flexibility in meeting today's sound chal- a® represent the newest state -of- the -art gen- lenges. eration in highly directional microphon- For reprints of other discussions in this series, es, utilizing a combination of character- or technical data on any E -V product, write: YItY eire istics of hypercardioid and distributed ELECTRO- VOICE, INC., Dept. 1033J &&C front opening designs. The hyper -cardioid 623 Cecil St., Buchanan, Michigan 49107 &Y action gives the microphone essentially uniform characteristics at frequencies up to 500 Hz. At this point, the distributed front opening takes over for the balance gke,,CrOler.® of the range to which it responds. Benefits derived from this new design a GULTON subsidiary include wider range response, better con-

Circle No. 137

www.americanradiohistory.com trol of polar response, plus high level and connectors. Monitor outputs on 1/4 inch CLOVER MODEL 714 EQUALIZER greater directivity. These features make phone jacks. The electronics in QM -8 Clover systems announces the intro- possible a were designed working distance which is two, and evaluated over a 2 year duction of the Model 714 equalizer. three, or four times that of conventional period before being placed in production. directional microphones. Designed for stereo or quad operation, This unit offers many unique and valu- the 8x4 console includes monitoring and able features and is described as a plug -in headphone cue systems. The input mod- fifteen frequency active equalizer incor- ule contains high and low frequency porating linear motion slide controls and Ps selector switches and high and low fre- high performance integrated circuitry to quency boost -cut controls. An input se- provide a new advance in useability and lector switch selects the signal for the performance. module and controls microphone pre -amp gain. A pan selector switch that switches pan pot operation to front or rear. Buss assignment switches an echo send control, and a slide pot module level control.

Low frequencies are 50, 100, 250, 350, and 500 HZ. Midrange frequencies are 500, 1100, 1700, 2500, and 3500 Hz. High frequencies are 2500, 5000, 7000, 10000, and 12000 Hz. In addition, there In deriving the polar pattern (off axis Low frequency equalization at ± 12DB are separate high and low -pass filters response) of the microphone, specific max at 50HZ or 200Hz. High frequency with cutoff frequencies of 85 Hz and considerations were made to achieve the equalization at ± 12DB at 3KHZ or 10 11 kHz respectively. An in /out switch is lowest possible directivity index at all KHZ. Output at ± 18DBM before clip- provided to defeat the equalizer without frequencies (highest possible direction- ping. S/N ratio is 70DB. Response ± 1DB changing the control settings. The unit ality). The directivity index even down to 20- 20,000 HZ. has unity gain, and can be operated 100 Hz approaches the theoretical. Max- Priced under $2000. either balanced or unbalanced. imum attenuation of off -axis energy QUANTUM AUDIO oc- LABS, 1310 SAR- Exclusive linear controls, balanced, curs to the sides of the microphone TORI AVE., TORRANCE, CA. 90501 where such rejection is often most useful. transformerless operation, low noise and Circle No. 143 An entirely new shock -mount design distortion, reciprocal peaking equaliza- greatly reduces susceptibility to mechanical shock transference. Also, tailored low- frequency response allows accurate reproduction of input material, while greatly reducing wind noise problems in the low- frequency area. GREATAI IKE STANDS To prevent wind noise during outdoor use or for rapid panning in the studio, the DL42 is equipped with an Acoustifoam FROM GkEAT BRITAIN TM windscreen. Shaped low- frequency response also greatly reduces wind noise Now ... a mike stand that just problems. may be the best look- Ideal for boom use, fish pole use, or ing equipment in your handheld applications where added working distance is required, the DL42 offers } studio. Keith Monks wide -range response in a comparatively mike stands feature small size, plus greatly increased direc- a non -tipping base, tivity and working distance. exclusive single- action The suggested net professional price: $ 300.00. boom clamp, and hosts ELECTRO- VOICE, INC., 600 CECIL of other goodies: drum ST., BUCHANAN, MI. 49107 booms, side clamps, Circle No. 142 cable reels, etc. Ask your professional NEW QUANTUM QM -8 MIXER SYS- TEMS audio dealer or call Torrance Ca. .The QM -8 Mixer audiotechniques, inc. System is ideally suited for recording, production or sound reinforcement. It's small size (19 "x19 "x7 ") and light weight (37 pounds) make the new QM -8 console equally at home as a permanently installed console or as a portable remote An exclusive Brit sh import by unit. The unit is said to contain all the 'i features and functions of a full size console. All inputs are XL type female , connectors. Mic inputs are 200 ohms u 'fie nique inc. balanced, line inputs 10K ohms unbal- 142 l*milton Avenue, %ttmfo rd, Conn. 06902 Tel: 203 359 2312 anced. Buss outputs are XL type male

Circle No. 144 Re/p 49 www.americanradiohistory.com tion at fifteen frequencies in three ranges, of relatively low performance to those of NEW TAPE ELECTRONICS UP- continuous boost and attenuate controls, professional quality. GRADES SINGLE -CHANNEL RE- independent high and low -pass filters. For operator convenience, a step -by- CORDERS The unique layout of the controls is step test procedure is provided under a Inovonics' Model 360 Tape Recording the result of user -oriented design pro- transparent cover on top of the unit. A Electronics replaces tube -type electronics gram, and results in a tremendous im- self -test feature also is provided to verify in older single -channel professional re- provement in speed and useability since proper operation of each of the test corders. the control settings can be observed with functions. It is designed as a plug- for -plug re- peripheral vision from any angle or dis- placement package for Ampex 300, 350/ tance. EQ changes are completely free 351, and 354 tape transports and will of pops and clicks. perform with original heads. The Model Clover is also offering this equalizer 360 Electronics are also adaptable to in self-powered units of 4 or 8, desig- most other single -channel tape transport nated Model 714 -4 and 714 -8 respec- and head assemblies. tively, which are ideal for upgrading or The 360 is completely self- contained expanding existing installations. and highly reliable. The internal power CLOVER SYSTEMS, 6232 SANTA MO- supply is fully regulated to assure stable line NICA BLVD., HOLLYWOOD, CA.90038 operation despite wide variations in voltage. Plug -in circuit cards and solid - Circle No. 145 state design simplify maintenance and increase performance. 3M MINCOM INTRODUCES TEST SET FOR AUDIO TAPE RECORDERS A test set that shows at a glance if tape recorders and other audio systems are operating correctly has been introduced by 3M Company, Mincom Div- ision. The 3M brand Model 6500 Recorder from Test Set was designed to simplify the All adjustments are accessible testing process for the recorder manu- the front. Panel controls include Record facturer, user and serviceman. 3M says Gain and Repro Gain with preset CAL special skills are not required to operate Potential uses include production test- positions, and solid-state Monitor and the Model 6500. The instrument's "quick ing, in- service calibration and repair test- Equalization switching to eliminate con- look" meter has calibrated color bands to ing of audio tape recorders, audio multi- tact noise and to permit remote control indicate acceptable, marginal or unaccep- plex systems, audio power amplifiers and of both these functions. The 360 is table performance of the device being voice logging tape recorders. Other uses housed in a standard rack size cabinet. tested. include a daily confidence check of audio Price: $645. The lightweight, portable unit's meter recorders in offices and schools, rapid INOVONICS INC., 1630 DELL AVE., reads a composite signal for testing input quality assurance testing by manufactur- CAMPBELL, CA. 95008 and output levels, frequency response, ers, and recorder production line test Circle No. 147 harmonic distortion, signal -to -noise ratio stations. and tape transport flutter for a wide cross The unit, which measures 10 -3/4 in- INDEX section of audio tape recorders and sys- ches wide, 12 inches deep and 5 -1/2 in- ADVERTISERS tems, 3M says. ches high, weighs less than 10 pounds PAGE For example, the flutter and harmonic and uses either AC power or six standard distortion levels can be measured up to "D" cell batteries. AKG 46 3 percent maximum and signal -to -noise The Model 6500 is priced at $1,595. 1974. ALLISON 37 ratios from 20 to 50 decibels. Availability is scheduled for early ALTEC 2 -3 By the flick of a switch, the operator FROM: AMPEX 54 can select any of three individually cali- 3M COMPANY, ST. PAUL, MN. 55133 AUDIO DEVICES 39 to cover AUDIO TECHNIQUES 49 brated sets of test parameters Circle No. 146 AUDITRONICS 13 -45 different quality recorders - from those BURWEN 44 BUSHNELL 21 DBX 12 ELECTRO -VOICE 14 -48 GENERAL TIME 33 MAZE 9 Presenting The MCI 18 -19 MULTI -TRACK 50 VARI -BAND SWEEP EQUALIZER! PANDORA 47 Equalization any way the ear can hear it. QUAD -EIGHT 8 QUANTUM 41 Continuously variable bandcenter, bandwidth SCULLY /METROTECH 16 (slope) and amplitude at a price comparable to SHURE BROS. 56 -CVR 4 SPECTRA SONICS 5 non -sweeping equalizers. STUDIO SUPPLY 55 -CVR 3 EE EE E fr'S.E5 TABER 41 E E E E E E E_ E mils- PI TASCAM 34 TELEX 42 P. 0. Box 3187, Hollywood, CA 90028 3M 24 -25 1965 Cheremoya Ave., Hollywood, CA 90068 UREI 10 -11 (213) 467 -7890 WESTLAKE 27- 28 -29 -30

Circle No. 148 Re/p 50 www.americanradiohistory.com BUILD YOUR OWN highest quality I.C. COMBINING AMPLIFIERS from CLASSIFIED microphone mixers, consoles, phono $40.00. Fully tested and guaranteed preamps, crossovers, equalizers, or vol- for 10 years. Distribution amps, line CLASSIFIED ADVERTISING tage controlled devices, using modules. amps, mic preamps, xfmr cards. Card RATES Free catalog. BURWEN LABS., 209 files, power supplies. Electronix cross- MIDDLESEX TURNPIKE, BURLIN- overs. Equalizers. DIRECT FROM Prepaid with submitted copy: GTON, MASS. 01803. MFG., NO DISTRIBUTOR MARK -UP One column inch (1" x 2'/4 ") $20.00 FOR SALE: MCI JH -416 MASTER IXTLAN ENGINEERING, Box 323, 1/2 column inch ('h" x 21/2") 14.00 RECORDING CONSOLE 16 CHAN- LOMBARD, ILL. 60148 *(If billing is required add 20 % ) NELS INPUT 16 CHANNELS OUT- FOR SALE: PUT. MINT CONDITION. ORIGINAL Dolby A's, Model 360, $1,150 pr. Wired prokits with rack - COST $19,500 . . . MUST SELL Send for FREE Catalog ears: 2 SM -6, $350 ea.; EK -6, $200; . . . SELLING FOR $16,000 OR EQ -6, $175; use and Audio Applications MAKE OFFER. CONTACT WILLIAM together as 12/4/2 mixer with echo WATERS (614) 663 -2544 EQ. Ampex 350 OPAMP LABS case (will hold above), $40. Two 172 S Alta Vista Blvd. 71! FOR SALE DUE TO 90036 EXPANSION Shure M67 mixers $100 each. Two los Angeles. Calif. Custom Recording (2131 934.3566 Console 12 in /4 Advent spkrs., $175 pr. Sony MX12 out. Switchable "mic /off /line" on all mixer, $70. Acoustech IV Preamp, Circle No. 152 12 inputs, pan pots, 260 station patch $15. (203) 866 -9339 bay, mic loss pads, three echo send & receive w /EQ, remote transport Don't have a "NAKED STUDIO". controls, etc. Buy your own new 1974 MISS & MR Other related NUDE AMERICA & MISS NUDE 8 and 16 equipment available. each (2 TRACK RECORDING CONSOLES KINTEL PROD., 1200 SPRING ST WORLD CALENDAR! $3.00 for $5.00). THE SOUNDEST DOLLAR SPENT NW, ATLANTA, GA. 30309 DICK DROST'S NAKED CITY, ROS- IN PRO AUDIO TODAY WANTED TO BUY: Used 4 -track re- ELAWN, INDIANA 46372 1965 CHE REMOYA AVE., cording console; Tascam, Langevin, HOLLYWOOD, CALIF. 90028 Quantum, Stevenson, or equivalent. P.O. Box 3187, Hollywood, CA. 90028 Also, used Revox tape machine. Phone (213) 467 -7890 (813) 688 -4265. EMPLOYMENT Circle No. 153 FOR SALE: Model 1204 Electrodyne EQUIPMENT AVAILABLE Console, 16 in, 4 out, mixdown re- Young, experienced Recording Engineer mote controls, many extras. $10,500. familiar with 16 Track recording. Able to work independently with American and ONE STOP FOR ALL YOUR PROFESSIONAL Immediate availability. SOUND AUDIO REQUIREMENTS. RE- European customers. Ready to come to BOTTOM LINE ORIENTED. CORDERS, 206 SOUTH 44th ST., Israel and join KOLINOR RECORDING F. T. C. BREWER COMPANY OMAHA, NB. 68131 STUDIOS. Experience with 'rock' and light P. O. Box 8057, Pensacola, Florida, 32505 music, and ability to get along with all FOR SALE: AG 350 -2 Ampex re- kinds of people. APPLY TO: PROFESSIONAL RECORDING AND corder. Please for des- KOLINOR RECORDING STUDIOS, 18, call complete HaArba'a STREET, TEL AVIV., ISRAEL TEST EQUIPMENT for recording stu- cription Scott Kent, BKM Assoc., dios and broadcasters - Altec, Ampex, (617) 658 -6565. HELP WANTED: Large midwest Re- 3M, GR, HP, Tektronix - new & used. cording Studio (16 track), wishes to Free equipment list, or drop in. Universal Audio 24 in 12 out tube interview mature professional engineer CHAS. E. WASHBURN CO. console, sub -mix, solo's, EQ on inputs between 25 and 35 yrs. of age. Must 6114 -R Santa Monica BI. and echo, spare modules, limiters, be take charge man, with good busi- Hollywood, CA. 90038 aux EQ etc. $10,000. Phone (213) 472 -7772 or 472 -9402. ness sense and technically competent. Career position for right man. Send AUDIO EQUIPMENT NEW AND USED whatever your needs. Whether you're FOR SALE: Late Model Scully 100, full particulars listing qualifications. building a new studio or remodeling 16 track recorder with meter panel BOX MRS R -E /P BOX 2287, HOLLY- your present one, check us first for a and custom remote. As new condition WOOD, CA. 90028 package price. We will not be undersold. $12,700. SOUND RECORDERS, 206 Studio design, acoustical, AMBOY AUDIO ASSOCIATES, 236 SO. 44th ST., OMAHA, NB. 68131 technical and Walnut St., South Amboy, N.J. 08879. operational consulting. 20 years experience (201) 721 -5121 FOR SALE: COMPLETE STUDIO in music mixing in Chicago and the mid -

4 track Scully 2 track Ampex 300 west. I have nothing to sell except know- FOR SALE: MCI /API console 24 in- 32 in 4 out custom board with echo ledge in the music audio field. Free -lance puts and 24 outputs with 24 Auto- EQ, mikes, stands, 604E Altec, tools, mixing in the Chicago and midwest area. BRUCE F. mated Process Equalizers plus 8 A.P. cables, etc. $9,000. SWEDIEN, 705 HERMITAGE quad panners. Also custom installed CONWAY RECORDERS, 655 NO. DRIVE, DEERFIELD, ILLINOIS 60015 illuminated muting system. 18 months ST. ANDREWS PL., HOLLYWOOD, (312) 945 -8629 CA., (213) 463 -2175 old. $28,000. MIXER WANTED Contact: Recording Studio -16 track + disc cut- Modern Hollywood studio seeking OVIE SPARKS ting. Low overhead. Convenient to mixer - producer - manager with com- CAPRICORN SOUND STUDIOS Phili., Balto. & D.C. $70,000. Finan- mercial and music experience. Owner- 548 BROADWAY cing Avail. Principals only. BOX BM ship opportunity for right man. MACON, GA. 31208 R -E /P BOX 2287, HOLLYWOOD, BOX CH R -E /P BOX 2287, HOLLY- (912) 745 -8516 CA. 90028 WOOD, CA. 90028

Re/p 53 www.americanradiohistory.com magnetism that may be present in corn - HELP WANTED: Competent, exper- continued from page 13 ponents. ienced operating engineer for growing Fairly long iron or steel members It is indeed fortunate that magnetic tape duplication operation near New which may be oriented somewhat parallel residuals can be removed from steel York City. Intelligence and take ch- with the direction of the earth's magnetic components in several different ways. arge ability essential. State experience field, will become magnetized due to the In other words, they can be demag- and salary requirements. fact that their high magnetic "conduc- netized. BOX H, CROTON -ON- HUDSON, N. tivity" tends to concentrate the earth's One very effective method is to heat Y. 10520 magnetic field in that area. Rather strong the steel red hot then slowly cool in a poles will appear at the ends low magnetic field area. This, however, is A Los Angeles based console manu- magnetic such iron or steel members. Steel obviously not a very practical method for facturer is looking for a girl or boy of poles will, most requirements. A second method is Friday. Jobs will include console con- components brought near such the same as expose the steel to a carefully construction, basic design assistance, and in turn, become magnetized, to to any other magnetic trolled magnetic field of opposite polar- mixing. A basic knowledge of pro - when exposed is oriented in exactly the same audio recording systems, wiring, D.C. field source. Very little consideration ity, but In as the original magnetizing electronics is desirable. Def- usually given to such a possibility. direction and A.C. oppositely inite chance for advancement. Please other words, don't place your recorder field. The intensity of this must be an accurately send resume to BOX TR R -E /P BOX too close to the ends of steel pipes, bars polarized field or fraction of the original mag- 2287, HOLLYWOOD, CA. 90028 or structures oriented either vertically determined in a generally north and south direction. netizing field. This fraction will vary its heat NATIONAL SALES MANAGER It is also well to be alert to the pos- depending on the type of steel, etc. De- PROFESSIONAL AUDIO EQUIP- sibility of picking up magnetism from a treatment or work hardening, myriad of electro- magnetic or permanent termination of such a precise fraction is MENT and Rapidly expanding electronics manu- magnet devices that may have extensive practically a laboratory procedure is a very suitable process facturer seeks experienced manager to stray fields. For instance, some meter therefore not direct sales program for professional type photometers and many transistor either. radios contain very strong unshielded A third, relatively simple demagnet- audio products division diversification. magnets. izing method is to expose the steel to a Experience working with commercial permanent An instrument known as a pocket magnetic field of cyclically reversing po- sound contractors desirable. Write: magnetometer can be used to discover or larity which must have an initial inten- L.J. LYNN, DIRECTOR OF MAR- determine the magnitude and polarity of sity higher than the fraction mentioned KETING & SALES, SUNN MUSICAL such disturbing magnetic fields or resi- in the above described laboratory pro- EQUIPMENT COMPANY, AMBURN magnetometer is cedure. This cyclically reversing field is PARK, TUALATIN, duals. The calibrated INDUSTRIAL quick and handy to use, giving an instant then reduced in intensity so that each OREGON 97062 indication of any dangerous levels of succeeding half- cycle, of opposite polarity, is slightly less than the preceding half-cycle but more than the critical minimum "fraction" as dictated by the type of steel involved. ENGINEERING MANAGER The intensity of such a cyclically alternating demagnetizing field can be reduced to near zero by means of a PROFESSIONAL AUDIO rheostat or a variable transformer, or much more simply by progressively sep- and the source of alter- Ampex, located on the San Francisco pen- arating the steel nating demagnetizing field to such a is expanding its' product design and de- insula, the field induced in the velopment programs in professional audio pro- distance that is essentially zero. This is not ducts and systems. steel difficult, nor is the separation distance Due to this expansion, we have an immediate involved too great because such induced opportunity for an Engineering Manager to direct magnetism very nearly follows the in- the design efforts for professional audio record- verse square law, where doubling the ers and related products for our Audio-Video distance apart will reduce induction to Systems Division. amount and doub- for you must possess one quarter the initial To qualify this position, etc. management experience. You ling again, to one sixteenth, strong technical and important points to will be responsible for the technical direction of One of the most cyclical demagnetizing is several design teams and these responsibilities remember in of control budgets, cost that actual demagnetizing is accomplish- will include supervision reduction analyses and schedules. ed only during the incremental demag- For immediate consideration for this oppor- of successive half -cycles of the time to join the World Leader in Professional netizing field, or only during that tunity are Audio -Video Product Design and Marketing, pl- when the work and the demagnetizer to "cook" ease send your resume confidentially to: being separated. Leaving steel field is R. DENISON, AMPEX CORP., 401 BROADWAY, in an alternating demagnetizing consider REDWOOD CITY, CA. 94063. An Equal Oppor- of little value unless one might tunity Employer M/F the secondary effect of heat being generated in the work due to losses from induced eddy currents. part two will appear in the AMPEX Nov/Dec issue

Re/p 54 www.americanradiohistory.com W ERET -E BOOK E \DS STDO SDPLY EXPER E\CE BEO\S EXPERIENCE - wrought from extensive years of hard work by many people participating in all phases of recording. People now brought together to serve you.

KNOWLEDGE - gained from long successful involvement in mixing, studio management, maintenance, equipment design, accoustical consultations, and turn -key studio construction that uniquely qualifies us to mold an unlimited selection of the world's finest recording gear into a facility that fits you.

WISDOM - dictating that our designs and specifications are generated after careful consultations as to your style of recording, personal room and equipment preferences, and your fis- cal requirements.

STUDIO SUPPLY designs and equips rooms that feel good, sound good, and work good. After all, isn't that what a good studio is all about? a ...... STUDIO SUPPLY HAS ACCESS TO MANY LEASING PLANS AND

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P.O. BOX 280 NASHVILLE, TENN. 37202

Circle No. 149

www.americanradiohistory.com The Wollmcin... A howling fucceff rtory.

The hottest radio happening since multiplex! He's Wolfman Jack, a personality extraordinaire and an independent production company. From his home /studio in Beverly Hills, California, Wolfman Jack pre- records his widely syndicated daily radio show almost entirely with Shure audio componentry. For vocal pickup, the Wolfman uses two of the finest Shure studio microphones: the "workhorse" SM53 unidirectional dynamic and the smoother -than -silk SM33 unidirectional ribbon. (His "outrigger" production console is a Shure M675 Broadcast Production Master used in conjunction with a Shure M67 Mixer.) A Shure M688 Stereo Mixer is used for stereo recording. Even in disc playback, Shure plays a vital role with a precision - engineered Shure -M232 professional tone arm and M44E Cartridge. Shure professional products doing their thing help the Wolfman do his thing. For your copy of our Professional Products Catalog, drop us a note - and see what we mean. Shure Brothers Inc. 222 Hartrey Avenue, Evanston, Illinois 60204 1--I V 1=R E In Canada: A. C. Simmonds & Sons Ltd.

Circle No. 150