ENGINEER/PRODUCER the Technical Journal for Audio Professionals A4.)O Why Leadin from Tape

April 1987 Sampling Copyright page 60

T.M. ENGINEER/PRODUCER The Technical Journal for Audio Professionals a4.)o Why Leadin from Tape

Finally the true potential of the digital studio can be realized. No longer are you limited to storing and retrieving digital data on media designed for outdated tape The Synclavier Tapeless Studio,- technology. The Direct -to -Disk is available today! Multi -Track Recording System Start with the industry- proven Synclavier Digital by New England Digital Audio System. Now available with a 32 track digital uses multiple. high capa- sequence recorder, 32 megabytes high ..... of -speed RAM ...... city. winchester hard and on -line storage support for megabytes ...... \.\\. up to 2000 of ...... ` disk drives for data sampled sounds. .,.,. "`"A " ` storage. The Direct -to -Disk System can be added at any time. . \ Operation is simple! The system is controlled by the :::::`:: Sync'avier's keyboard control panel. The easy -to -use inter- ``::::::::::`....:.` face provides all standard tape recorder functions, and ``"`:::::``:: . more! .` ...;..... The finest quality 16 -bit A/D conversion processes and . output filtering technology available are combined with vari- ...`"; ..` ..%%%%%%%%% %..` able "stereo" sampling rates of up to 100kHz to offer audio When ``:::` :.` fidelity unequalled by any other system. comparing %.....%`.. % ;. The Direct-to -Disk System stores large volumes of digital- the Direct -to -Disk `:.;:;:".. ly coded information on formatted winchester hard disks. System with standard :. :` ..` .`` .* .`%. . ; . Once stored, this information tape-based digital record- . can be accessed randomly at ``:%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%`` any point in the recorded program material. This random ing there is a dramatic differ- . - . access technology provides virtually instant rewind and ence. For example, the Direct `.;:0'1.'` I: soph :sticated editing features that would be impossible using to-Disk System does not need conventional technology. error correction. Its negligible error rate contrasts sharply with tape -based dig.tal recorders which require error correc- for rates tion software to compensate error of 1 up to 180.000 bits per hour. This dramatic difference in data integrity illustrates New England Digital s commitment to quality and audio fidelity. Expanding the system is simple. Start with as few as 4 tracks for overdubbing vocals or live instruments onto your Synclavier sequences; add on more tracks and recording time as needed. With configurations of up to 16 tracks and almost half an hour of recording time large multi -track projects can be easily completed. With the Synclavier's advanced hardware and software architecture. you always have the option to expand. We invite you to stop by any one of our offices, worldwide. for a complete demonstration of this amazing product.

New England Digital White Riper Jct VT 802 295 -5800 N Y 212 977.4510 L A 213 651 -4916 Authorized Distributors - Atlanta 404 351 -5955 Nashville 615 327 -4343 The fidelity, speed, and flexibility of this system make the "The Synclavier, R combined with the new Direct- Synclavier Direct -to -Disk Multi - to-Disk tin Multi-Track Recording System, provides Track Recording System truly the us with the most compact, reliable, upgrade- most powerful digital audio sys- able, and high fidelity recording environment tem ava'lable today. For a complete information pack- available today. For video -post, Foley, or music age, inc'uding an audio cassette recording, it's a product which offers us tremen- demonstrating the Synclavier and dous benefits, both sonically and financially." the Direct -to -Disk System, send $5.00 to New England Dgital Murray Allen, President, Universal Recording Corporation Corporation, Box 546, White River Junction, Vermont 0509f. Using today's advanced com- simultaneously onto as many as puter technology, the Synclavier 16 separate tracks. Dialogue, ef- Tapeless Studio now offers more fects, vocals, and or music tracks than just the ability to synthesize can be SMPTE synchronized and and create music. Now you edited with word processing -like can record "live audio" control at a single workstation.

Synclavier is a registered trademark of New England Digital Direct -to-Disk and The Tapeless Studio are trademarks of New England Digital

- 1986 New England Digital All specifications are subject to change without notice. Circle (1) on Rapid Facts Card

Seattle: 206 623 -7860 London: 202 -4366 Tokyo: 416 868 -0528 Contents

ENGINEER /PRODUCER April 1987 Volume 18 Number 4

Concert Sound Update Other Features Independent Production Contracts An independent engineer or pro- RE /P takes a detailed look at recent de- Hands On: ducer contemplating a spec deal velopments in hardware and techniques Applied Research & Technology should carefully check the small developed for live- performance sound. DR1 digital reverb and special print in the production contract. effects processor. Negotiated correctly, spec deal- By Bob Hodas 52 Concert Sound Reinforcement ings can be profitable and lead to Maturity more lucrative sessions. Approaches Legal Aspects of in loud- By Rosanne Soifer 82 Recent developments Digital Sound Sampling speaker, amplifier, crossover, When using sound samples, re- Departments equalization, monitoring and con- cording and production engineers Editorial 6 sole design have resulted in a rad- should carefully check the origins News ical improvement in the quality of 8-10 of the digital data, if only to pro- live- performance sound. Letters 10 -11 tect themselves from possible By John Meyer 22 Managing MIDI 12 copyright infringement. Sound on the Road 14 By Henry V. Barry 60 Film Sound Today 16 Designing and Packaging Living with Technology 18 Equipment for Use in Mobile and Remote Recording SPARS On -Line 20 Touring Sound Systems What kind of technical and opera- Studio Update 86 What are the pros and cons of tional features should a prospec- New Products 90 custom designing a concert sound tive client look for in an audio re- Classified 97 system vs. assembling it from com- mote recording facility? Advertiser's Index 98 By Gary H. Hedden 68 mercially available units, and how On the Cover: can the resultant system be packaged to withstand life on the road? Production Viewpoint: The Concert Series features specifically By David Scheirman 28 Wendy Carlos designed cluster modules and integral From the release in 1968 of rigging points that enable the cabinets to Switched-on Bach, through a vari- be assembled as building blocks to create Eighties Sound on the Road ety of albums and film scores to physical and acoustic arrays. Photo Transforming Air Supply's tradi- her latest offering, Beauty in the courtesy of JBL Professional. tional acoustic live- performance Beast, this producer /musician has sound to one that emphasizes demonstrated that synthesizers RECORDING ENGINEER /PRODUCER -Volume 18, No. 4 -(ISSN 0034 -1673) is published monthly by Intertec drums and electronic keyboards and electronic music offer the Publishing Corporation. 9221 Quivira Road. P.O. Box 12901, required the use of studio tech- composer an enhanced palette of Overland Park, KS 66212 -9981. Second -class postage paid at Shawnee Mission, KS and additional mainling offices. niques and signal processing. sound textures and colors. POSTMASTER: Send address changes to Intertec Publishing By Steve Zelenka 40 By Amy Ziffer 76 Corporation. P.O. Box 12901, Overland Park, KS 66212.9981.

2 Recording Engineer/Producer April 1987 DTR-900 32-CHAN N EL DIGITAL TAPE RECORDER

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Professional Digital standard recording format N 32 tracks Peak- reading LED meter bridge it The incomparable ballistics of Otari's renowned pinchrollerless transport N SMPTE -EBU time -code synchronization. When you are ready to create the ultimate recording studio, the Otani DTH -900 awaits. Otani, Technology You Can Trust IN Otani Corporation, 2 Davis Drive, Belmont, California 94002 a (415) 592 -8311 TWX 9103764890.

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Dave is ruined for the normal. SERIESTEN r spo sible orÇ You will undoubtedly say that Series Ten is the best sounding conceiving and overseeing the lesign o' the Series Ten. He was mixing desk you have ever used. If you do you will be in good elected a Fefow of the Audio Engineering Society for originating company. Some of the industry giants have already said that. the user interface of today's in ine mixing desks. Since he did Series Ten ever so gently pampers and protects the elements his pioneering work, ready all major mixing desks have adopted you have worked so hard to capture. However, at your this revolutionary arc'iitecture. command you can unleash an awesome fury of sonic The Series Ten is no less remarkable than his earlier work. gymnastics. Unless you have already experienced Series Ten The best mixers and tonmeisters throughout the wcrld are you can only imagine fully automated dynamics and acclaiming the brilliance of its tiser interface which so equalization. Think... seamlessly joins man and macine. Harrison is the motion picture industry's supplier of choice Harrison has crafted the Series Ten to allow full access to the for automated post production mixing desks. Our PP -1 mixing elegant power of this, the world's most capable mixing system, desk up to now has been the world's most automated mixing with a minimum of change to :he way you work. You w ll be at desk. It is from this experience base that we now bring you a home when you first sit at a Series Ten desk. You will to system powerful enough to fully automate a mixing desk of the k.l.Ili l t

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magnitude of Series Ten. This system is so powerful that Harrison must have United States government approval before shipment to most parts of the world. Do not le: this intimidate you. As we have developed th3 power of this automation system, we have also refined its control. You may even forget about it- forget about it at least until you try to mix on another desk without it. Many years of listening to you and responding to your needs have uniquely prepared Harrison for this bold new step. Series Ten from Harrison -It's all you hoped it would be. Harrison

Harrison Systems. Inc. P.O. Box 22964 Nashville. TN 37202 Telephone (615) 834 -1184 Telex 555133 Editorial

I'm often surprised at the lack of putational capacity. However, where cooperative communication and feed- their respective designers of such back between manufacturers and users systems go slightly adrift, I would of pro-audio equipment. Despite the fact hazard, is in the area of information that many recording, production and displays and operator interface. live -sound engineers are highly ar- The PC usually comes complete with a Industry ticulate in their view of current and composite color of monochrome video future technologies -and in such a sub- output, which naturally suggests the use jective field as audio mixing and process- of a conventional CRT monitor. The same Communications ing, how could this not be the case?-1 PC came out of the box with a standard detect that too few manufacturers keep QWERTY keyboard, so that becomes By Mel Lambert, Editor the an active eye and ear on the changing natural choice for system control. demands of our industry. So far so good, it could be argued, until During the past couple of decades, the you have to address the problem of infusion of ideas into the manufacturing where to locate the CRT monitor and sector may have been sufficient to en- keyboard within reach of the engineer in sure that new products and technologies a crowded control room. There is seldom appeared in the hands of sound space on the console surface for the engineers and producers to match the monitor, so the meter bridge becomes a changing demands of their art. These likely candidate. Provided that the moni- days, however, the diversification of tor is of sufficient size to be viewed from audio production tasks that need to be a distance of about 3 to 4 feet -which handled in recording studios and live - might also suggest that the screen performance venues is accelerating at graphics need to be extremely clear, and such a rate that we are often limited in of sufficient size and contrast -and efficiency and creativity by a lack of ac- doesn't interfere with the stereo perspec- cess to appropriate tools. tive from the main wall monitor loud- This need not be the case. There are speakers, we may be able to get away dozens of companies around the world with it. And, if the keyboard is on a suffi- carrying out large amounts of expensive ciently long lead, we might be able to R &D in the fields of digital signal pro- find enough space on the console to give cessing, speaker technology, amplifer de- it an albeit semi -permanent home near sign, random -access editing, console the mix position. topography, tape machine control and Aside from perhaps integrating the the myriad sub -divisions of audio elec- CRT monitor display and keyboard func- tronic and electromechanical design. tions within the console's existing auto- I sometimes wonder, however, if the mation, recall and transport control sys- manufacturer's intended design goals are tem (now there's an idea whose time has sufficiently aligned to the needs of the most definitely come!), I cannot help but potential user. On more than one occa- wonder if manufacturers of such devices sion while wandering the exhibition halls spend enough time working with engi- at AES, NAMM, APRS and similar in- neers and producers, or canvassing their dustry gatherings, I have come across opinions during the initial concept stages. some interesting paradoxes. I have re- Of the other oddities I could mention, ceived fascinating demos of new or one immediately springs to mind: upgraded products that give every ap- miniature display windows on outboard pearance of representing a true break- effects units that cannot be read from through in audio production capability. outside of a narrow viewing angle. And The same innovations, however, incor- what about complimiters and expanders porate one or two anomalies that mar an whose metering cannot be switched to otherwise interesting design approach. read input and /or output levels as well as The modern generation of computer - gain reduction? based editing and time code syn- I'm convinced that albeit minor opera- chronization systems represents one par- tional features such as these -and we ticularly good example of the kind of have all come across other examples of design anamolies to which I am eluding. the genre-could easily be prevented if Obviously, the majority of such systems we opened up enhanced lines of com- can take advantage of the power of the munication between the talented manu- "mighty micro" by being based around a facturer and the talented user. I can proprietary or lightly customized PC -if think of no better way of honoring our only because such systems are available pledge to both sides of the industry from OEM suppliers at a sufficiently low than offering to serve as a viable and cost, and offer more than adequate com- active communications forum. R1 p

6 Recording Engineer/Producer April 1987 When the Music Store Mixer Won't Cut It

The simple fact is, all the other PA consoles available XLR direct channel outputs; and channel, subgroup and today lack the processing, monitoring, and routirg cap- main output insert points. Of course, the cor sole also hz.s abilities that today's touring acts have grown to expect in eight 11x1 input matrix mixes (up to 16 are available using the studio. The WHEATSTONE MTX -1080 is the rein- optional matrix expander modules). Mainframe size, forcement console that PA mixers have been ask ng for. module complement, group placement and aux zone It's loaded with features, like programmable muting; 8 control modules are configured per client specifications. effects send controls (each with pre, post and off func- Now in our 10th Anniversary Year -ten years experi- tions, programmable to pre -fader or pre -EQ); fot, r -band ence building Audioarts Engireering and Wheatstore sweepable equalization with switchable Qand peak /shelf custom consoles. The WHEATSTONEMTX-1080 Console: modes; tunable HPF; separate electronically balanced mic built by professionals ... for professionals. and line inputs (transformer balanced option available); Whcotxtone Coíorohon

6720 VIP Parkway, Syracuse, NY 13211 (315 -455 -7740)

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AES sponsors Gauss series 2400 cassette duplication The first X- 400 /8- channel recorder has fifth international Conference systems to expand their music tape pro- been shipped to The Burbank Studios, The Audio Engineering Society will duction: L.J. Music, Hjoerring, Denmark; Burbank, CA, for use in the facility's film sponsor the Fifth International Con- Kovophon, Prague, Czechoslovakia; re- recording stages. Tapes recorded on ference on "Music and Digital Tech- Tonstudio Koch, Tyrol, Austria; plus the 8-channel version of the X -400 nology," May 1 -3 in Los Angeles. Agfa Gevaert, Munich, Teldec, Nortorf, 1/2 -inch transport can be played back on The 3 -day conference at the Biltmore Record Service Schallplatten, Alsdorf, the 16- channel transport, Mitsubishi says. Hotel will feature session topics on MIDI, and Pallas Schallplatten Fabrik, computer networks for music, real -time Diepholz, West Germany. Peirce -Phelps awarded contract control devices, digital music worksta- The series 2400 system will duplicate for conference center tions, music software, composing music music tapes on ferric, chromium dioxide The Scanticon Corporation has on personal computers and the develop- and metal -particle formulations. Master awarded a contract for the company to ment of the CD -1 format. loop bins operate at up to 480ips, and supply and install audio and video Members of the organizing committee slaves up to 240ips. systems at the new $40 million include Dominic Milano, editor, Scanticon- Minneapolis Executive Con- Keyboard Magazine, Robert Moog, Kurz- Sales of PD transports reported ference Center and Hotel, scheduled to weil Music Systems, Curtis Roads, editor, by Mitsubishi pro -audio group open in October 1987. Computer Music Journal and John Since the start of the year, six PD- Conference rooms are sound -proofed Strawn, conference chairman, S Systems. format X-850 32- tracks have been and equipped with color TV monitors, For more information contact the AES shipped to U.S. facilities. In Los Angeles, display board systems and computer in- national office at: 212 -661 -8528. X -850s have been delivered to A &M terface. Each center has its own staff of records, Gear Studios, Ivan Rene Moore A/V technicians, and TV and graphic Gauss duplicating systems Studios and Enterprise Studios. Clinton arts studio. Peirce -Phelps will equip the for Europe Studios, New York, and Audio Media master control room, main auditorium The following European record and Studios, Nashville, TN, have also in- and individual conference board and tape companies recently purchased stalled X -850s. breakout rooms.

TECHNICAL CONSULTANTS SUBSCRIPTIONS Larry Blake, Film Sound Qualified: ENGINEER /PRODUCER Bob Hodas, Evaluations and Practices United States (Domestic Only) $24.00 Douglas Howland, Broadcast Production Foreign $45.00 Paul D. Lehrman, Electronic Music Non -qualified: EDITORIAL David Scheirman, Live Performance United States (Domestic Only) $30.00 Mel Lambert, Editor Stephen St. Croix, Technology Developments Foreign $60.00 Dan Torchia, Managing Editor Optional airmail for non -qualified readers is RECORDING ENGINEER/PRODUCER is Sarah Stephenson, Associate Editor also available for an additional $75.00 per edited to relate recording science to record- Alisa Carter, Editorial Assistant year. Foreign subscriptions are payable in ing art to recording equipment, as these sub- Ramona Vassar, Editorial Assistant U.S. funds only by bank check or money jects, and their relationship to one another, order. Adjustments necessitated by subscrip- may be of value and interest to those working tion termination at single copy rate. ART in the field of commercially marketable recordings and live audio presentation. Kevin Callahan, Art Director The Recording Engineer /Producer is not editorial content includes: descriptions of responsible Noelle Kaplan, Graphic Designer for any claim by any person sound recording techniques, uses of sound based on the publication by Recording recording equipment, audio environment Engineer /Producer of material submitted BUSINESS design, audio equipment maintenance, new for publication. products. Cameron Bishop, Group Vice President BPA Membership applied for Dennis Milan, Publisher CORRESPONDENCE December 1986 Stephanie Fagan, Promotions Manager Advertising Cynthia Sedler, Marketing Coordinator and Subscription: Photocopy rights: Permission to photocopy 9221 Quivira Dee Unger, Advertising Supervisor for internal or personal use is granted by Overland Park, Gloria Shanahan, Advertising Coordinator KS 66215 Intertec Publishing Corporation for libaries 913 -888-4664 and others registered with Copyright Telex: 42:4156 Intertec OLPK Clearance Center (CCC), provided the base Sales offices: see page 98 Fax: 913 -888 -7243 fee of $2.00 per copy of article is paid directly Editorial: to CCC, 21 Congress St., Salem. MA 01970. Special requests should Suite 220 be addressed to Cameron Bishop, group vice president. ADMINISTRATION 1850 N. Whitley Ave. ISSN 0034 R.J. Hancock, President Hollywood, CA 90028 -1673 $4.00 +$0.00. Doug Riemer, Circulation Director 213-467 -1111 JoAnne DeSmet, Circulation Manager Fax: 213 -856 -4895 i/NTCRTEC MABLISINMO CONIOATION Dee Manies, Reader Correspondent IMC EMail: REP -US 1987. All rights reserved.

8 Recording Engineer/Producer April 1987 LVA LAkGÇT PR,OAUDIO NAP > Sales people experienced in the 2q,aipment and techniques of audio /video production. > Factory -trained service technicians who are fast, courteous, and dependable. D Over 200 different brands of professional audio /video equipment. Better selection of consoles and tape machines than anyone else in southern California. L.A.'s largest vo audio dealer is

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People tronic musical instruments. His wife will -Correction- continue his business as Harald wished. Of the many products he developed, Electronic Case Study New publisher for RE /P the Bode Vocoder was probably the one A page transposition in Paul Dennis Milan has been named pub- of which most of us in America would be Lehrman's article "An Electronic lisher of RE /P and its sister magazine, aware. It is still one of only three high- Music Case Study," published in the Sound & Video Contractor, in which he quality vocoder designs to exist today. March issue, may have caused a degree will oversee advertising and marketing Harald's quiet manner, and his never- of confusion. directions for both titles. ending interest in electronic music are At layout stage, pages 87 and 85 Prior to joining Intertec Publishing, only two of many reasons that he has became transposed, with the result Milan was with a business directory com- earned a following. that they now run in the ' following pany, and has a 10 -year background in Only weeks before he died we talked order: page 84 to page 87 to page 86 to various aspects of advertising and about adding new digital signal process- page 85 to page 88; the remaining marketing. ing gear to his private studio. He looked pages are in their correct order. forward to playing with the newest that Our apologies to Paul Lehrman and technology had to offer but, unfortunate- RE /P readers for any confusion that Harald Bode ly, did not get the chance. He was one of this error has caused -Mel Lambert, Harald Bode died at the age of 77 on the good guys. Editor. January 15, 1987. For over 50 years he An appreciation by Stephen St. Croix. had been active in the design of elec- RE/P letters

Cassette duplication pinch roller, and offer a short -term war- Five years ago, when our own cassette ranty. The decks sell for 65% of their duplication facility here in Northern Cali- From: Todd R. Lockwood, owner /mana- original cost. fornia wanted to expand from high- White ger Crow Audio, Burlington, VT. We credit Resolution, Inc., in Ver- speed into doing higher quality music I read with interest Kenneth Bacon's mont -the granddaddy of real -time cas- duplication, we purchased a number of article, "Selecting an In- Cassette Duplica- sette duplicators -with pioneering the high -end consumer decks (actually we tion System" (February 1987 issue). How- idea of using consumer decks for duplica- tried three different brands). We were ever, I don't feel he offered enough evi- tion. Resolution's facility currently hous- very pleased with the sound we were dence in favor of using high -end consum- es over 160 Revox 215 consumer décks, getting, and also the additional revenue er decks for real -time duplication. putting them in a position of being able that the service brought in. We installed 30 Nakamichi BX -1 decks to handle substantial size orders of real - But then, within months, the decks in 1983, and, since that time, have had time cassettes. wore out, and we were informed by the only three machine failures. This deck is For those interested in offering the manufacturers that they were just not de- actually a modestly priced machine, at highest possible quality cassette duplica- signed for the use to which we were sub- about $300, but we have been very im- tion, my vote is for the high -end con- jecting them. We tried to find a deck pressed with its stability. Since Naka- sumer deck. manufacturer who would work with us michi is one of the only manufacturers to develop a more rugged unit, but they who has strictly adhered to the Philip's Reply from Kenneth A. Bacon, president all felt the market was too narrow. standard for cassette playback equaliza- of KABA Research and Development, The only way to go seemed to be to tion, we found it necessary to alter the Novato, CA: use consumer decks and replace them recorded equalization to more closely Todd Lockwood's letter is a good ex- periodically-a practice still used exten- match the average consumer deck. pansion on my article published in the sively. This could still be the best plan for Like many consumer decks, the BX -1 February issue; space did not allow for someone with relatively light use. has a timer switch located on the front very much discussion on specific types of However, for the production house panel which allows the user to activate equipment. there is now a much better alternative. record mode by simply turning off and Most recording studios have done just We took the experience we had with then on the ac current. This feature elim- as Todd described -used a stack of con- real -time and high -speed duplication, inates the need for wiring the transport sumer tape decks for making cassette and spent two years working with a controls into a common control bus. copies. It takes 30 minutes to copy 30 group of Japanese engineers whose com- As a recording studio, duplication is minutes worth of music but, because it is pany specialized in motors, and who de- not our primary service. However, the real -time, use of a good deck will give veloped and manufactured continuous cassette decks have returned their cost you a very high quality copy -a charac- play background and foreground music about six times over. The investment is teristic of great importance to recording systems. The result is the KABA 4 -track further supported by the fact that we studios. Efficiency comes by making a real -time and 2X duplication system, have a ready market for used machines: number of copies at the same time, in a which will produce four to eight times the public. When the machines are stack. Many recording studios still use the number of cassettes per deck, per turned over, we replace the heads and this method. day that is possible with consumer decks.

10 Recordina Enaineer'Prnducer AnriI 1gA7 fetters

Using consumer decks does have the advantage that, after their performance is no longer adequate for studio duplication, they can usually be sold to the public as used equipment. Our equipment is dedicated to cassette duplication -both positions in the slave decks are copy -only and the master deck is a system control center with a play -only cassette transport. However, head life is conserv- atively rated in excess of 2,500 hours, and the transport life expectancy is 10,000 hours -5 years of 8 -hour per day operation -which is five to 20 times that of consumer decks. Since the main purpose of the article was not to recommend any particular type or make of equipment, but rather to suggest things the prospective purchaser should think about during the process of selecting a duplicator, the preceding information and a lot of other very interesting stories and developments in this particular field had to be left out.

Amplifier/loudspeaker connections From: Neil A. Shaw, Paul S Veneklasen and Associates, Santa Monica, CA. Per Bob Hodas' request in his article entitled "Amplifier to Loudspeaker Con- nections," published in the January 1987 The Shadow issue of RE /P, blue was suggested as the color code for the right channel. May we Knows suggest red as a more appropriate color? Also, what about 3- and 5-channel The new CDI -4800 SHADOW II'" synchronizer/ stereophonic systems? controller with universal transport capability knows how to control virtually any audio, video or film From: John W. Schuerman, video pro- transport on the market. Completely redesigned reliability, the duction manager, The College of William to reduce cost and increase CDI -4800 Series features an improved time and Mary in Virginia, Williamsburg, VA. code reader, an enhanced code only master, Bob I have just completed reading RS- 232;422 interface control, master record -in, Hodas' article "Amplifier to Loudspeaker and a more powerful microprocessor. Connections" in the January 1987 issue And the all new SHADOW II- performs with of RE /P. I am very much in favor of a even greater versatility. yet is completely com- standardization of commercial loud- patible with its predecessor. speaker connectors, and find the ITT- The SHADOW II'" provides the ultimate in for edits. And its Cannon units described in his article production flexibility complex affordably priced for today's professional. quite appealing. Each unit carries a 3 year warranty. I one However, would like to suggest For more details contact Cipher Digital today. change in the proposal. The "red- light" Call (800) 331 -9066. alliteration for channel designation is so common in most audio applications that I would hate to see it not used for the suggested speaker connectors. Please pass on to ITT- Cannon that I 7 i would like the boot and insulator color cipher c igitc P O BOX 170 FREDERICK. MD 21 701 for the right channel to be red in color. (301) 6950200 TELEX 272065 Thank you for the opportunity to respond to Bob's article, and specifically to this proposal. R.E/p

Circle (7) on Rapid Facts Card

April 1987 Recording Engineer Producer '1 Managing MIDI By Paul D. Lehrman

Defective and unfinished products unfinished product, rather than risk los- in the way it can be used, the creator will have become a way of life in the music ing orders. invariably have his own favorite ap- software industry, and they are probably The inherent nature of software -based proach, which means the others will get the major reasons why many profes- products can encourage manufacturers short shrift. A dozen beta sites outside sional studios are still holding back from to be sloppy. Because software is easy to the company, each one of which has his taking full advantage of computers. upgrade -you just send out a new disk or own pet way of using the product, can Although they can help us do wonderful ROM chip -a number of companies take alleviate that problem. things we've never been able to do the attitude that finishing the product Another solution to the dilemma is sim- before, everyone that knows computers before it ships is not crucial. And, ple communication. Listening to cus- and software -based devices can also give because software is often thought of as tomers should be high on a company's us headaches the likes of which we've somehow less substantial than hardware list of priorities, but there's another ap- never encountered. ( "hey, it's just a disk..."), there is more of proach: talking to other manufacturers Getting a hardware sequencer to "un- a tendency to abandon existing products and their customers. freeze" is very different from dealing that are giving them trouble before they On one level, this does take place. At with a noisy EQ pot; recovering a file any trade show, much of the activity con- eaten by a program that's crashed makes Defective and unfinished sists of exhibitors checking each other tracking down even the nastiest ground out. They're doing two things: reassuring loop seem like a day at the beach. And products have become themselves that the competition isn't too most of the time a session cannot con- a way of life in the far ahead: and stealing ideas. As long as tinue until a computer failure is it doesn't break any laws, this petty straightened music software industry. out; a computer's downtime larceny is healthy -it's a form of cooper- is a studio's downtime. ative development that otherwise would There are a number of reasons why are really finished, in favor of new, glitzy not exist. we've come to this point. For one thing, ones. Of course, in that case the But copying the good parts is only half there are numerous new companies customer gets abandoned as well. the job. Manufacturers owe it to them- making high -tech products for the pro- No wonder studio professionals are selves to learn about what has gone fessional music market. Launching such wary. In fact, with all the bad products wrong with their competitor's prod- a company no longer requires hundreds out there, I'm amazed that computers ucts -not just to gloat over, but to learn of thousands of dollars for hardware have made the inroads they have. I sup- from. What kind of bugs have surfaced, R &D. A couple of guys working in a pose it's a testament of sorts to the en- and how were they eliminated? How do basement for a few months can come up thusiasm and patience of many in our in- they handle copy-protection, or quantiz- with a software program that will turn dustry, but I don't think that enthusiasm ing notes shorter than the quantization the music industry its on ear just as well and patience will last too much longer. factor, or tape -sync jitter, or MIDI buffer as the latest mega -console from a multi- Products are getting more complex all overflow, or operating system national conglomerate. the time. In too few cases, however, are anomalies? What kind of improvements These companies don't always adhere they getting more solid and reliable. If have users suggested? to the standards we've gotten used to set the manufacturers are serious about There are various ways to gain access by larger hardware manufacturers. Many growing within our industry, there are to such information. One is the time- of the people involved are brand new to certain steps they will have to take. tested technique of getting hold of a com- the field, having come from backgrounds One step is easy, in theory, although it petitor's product and beating it to death. in office automation, graphics or video can be difficult for companies on tight A second is through public forums, both games, where the demands are very dif- schedules to implement: improve the test elèctronic (like PAN, CompuServe or ferent. They don't really understand the procedures. Despite the fact that every IMC /Easi) and print ( "Letters to the world of engineers and producers who manufacturer claims to have a thorough Editor "), where this kind of information put themselves on line the every day, alpha (in- house) and beta (field) testing is available. A third way is to ask for it. If with $200 -an -hour clocks running. For program, many do not seem to be taking a manufacturer is successful, it'll be too many of these companies, if the prod- full advantage of them. Certainly if I get proud of its problem -solving record and uct works at all they're satisfied. a new product, and find a half -dozen be happy to talk about it. All these new players in the field mean fatal bugs after playing with it for a cou- Although it's difficult to conceive of in that the is market far more competitive ple of hours -and this happens to me at a society as competitive as ours, a certain than it's ever been, with the result that least once a month-there's something amount of cooperation among manufac- speed often takes over from quality as definitely wrong with the maker's testing turers can be of enormous help in pro- the primary goal. Sometimes a company program. ducing reliable and stable products. MIDI makes promises it can't keep (program- Manufacturers often say in their own itself was born of such cooperation. mers tend to be optimistic in their defense that, because products are There are now new areas to explore: se- estimates of how long a problem will becoming more and more complex, it is quencer file formats, sample formats, take to solve) which, come delivery time, becoming increasingly difficult to predict timing codes, event lists and other forms puts the marketing department in a bind. how they will behave under all possible of information exchange that can allow The choice is often to go ahead with an conditions. This is true, but in some ways one program or device to work well with it's a copout. With a large enough testing another. Paul D. Lehrman is a Boston -based free -lance writer, program, all likely conditions can be And, to paraphrase Santayana, those electronic musician, synthesist, producer and regular dealt with. who do not learn from RE/P contributor. old bugs are If a product offers a variety of options doomed to repeat them.

12 Recording Engineer Producer April 1987 To stay number one, you've got to- mike the be,t even better Which is why for ten years Ampex has continued advancing the performance of mastering tape. Through a decade of Increased performance and reliability Grand Master' 456 remains the tape behind the sound of success. Which is why more top albums are recorded on Ampex tape than any other tape in the world. For Grand Master 456, the beat goes on. AMPEX Ampex Corporation Magnetic Tape Division 401 Bioadway Redwood City CA 94063 415/367-3809 Ampex Corporation One ol The Signal Companies CA

Circle (8) on Rapid Facts Card Sound on the Road By David Scheirman

Today, more than ever before, even points on speaker enclosures, or to offer turer whose products he was getting smaller regional sound companies are specific printed instructions. The ready to endorse. The civic arena who becoming interested in hanging loud- preference seemed to be to let installa- booked the building sues the record com- speakers from the ceilings of concert tion contractors take the plunge (and the pany for damages to the hardwood floor venues, to improve both sightlines and risk) in determining how to best suspend and staging. The speaker manufacturer sound coverage for live shows. speaker cabinets and arrays. had announced the new flying system at Hanging or flying sound systems come The pro-sound field is perhaps a more a trade show, so a hasty redesign is made about through a unique synthesis of dynamic and volatile market; manufac- and it hits the market. audio considerations, visual esthetics turers competing in that part of the A primary question: Does the CEO of plus electrical, mechanical and structural business have embarked on develop- the multinational corporation that just engineering expertise. The hardware ment programs not only for hanging successfully bid for purchase of the audio that has been developed to fly sound hardware itself, but for manuals and product manufacturer in question really systems has moved in 20 or so years technical papers offering advice in this want to end up as a deep -pocket target from winch- operated steel cable climbers direction. for attempted liability claims? to heavy iron baskets and stacking The film M'A *SW depicted a pair of decks, to efficient chain motor hoists and army surgeons on a golfing holiday, able cabinets with integral hanging points. Has the flying hardware to be on the links in the morning and be Manufacturers are now beginning to been checked by a operating a thousand miles away that incorporate various types of flying hard- afternoon. Such professionals do exist in ware into their product lines. Once the structural engineer, the touring sound business; the Pros customized domain of major PA com- and is it safety certified? from Lititz (or Dallas, Baltimore, Platts- panies (who often jealously guarded their burgh, NY, Des Plaines, IL, or Canoga "flying" secrets), the current prolifera- Park, CA, etc.) regularly make a living by tion of commercially available hanging Let's dream up a hypothetical case. (I flying safe loudspeakers arrays. speaker systems makes the ownership would certainly hope that the following The hardware systems that have and operation of a flying sound system does not come to pass, but it soon may.) evolved to service the touring sound in- easier than ever before. It also poses An aggressive new record company puts dustry were not created overnight; hang- some major questions that may concern up tour support funding for an up -and- ing hardware has moved from cable - all touring sound professionals. coming Heavy Metal quartet that winch climbers to iron -framed basket High on the list of questions being specializes in copy versions of Balinese grids to chain -motor hoists and Aeroquip asked today: Has the flying hardware folk songs. Fresh from the nightclub cir- fittings and dedicated flying cabinetry in been checked by a structural engineer, cuit in Alaska, where they have been something under 20 years. and is it safety certified? Accidents in- entertaining unemployed pipeline Professional, nationwide touring sound volving hanging gear for concert produc- workers, the band's manager insists that companies may have a vested interest in tion systems are fortunately few and far the group's first video should be taped in keeping their flying system information between. If and when they do happen, a concert arena setting complete with a on a proprietary footing; more competi- the results can be catastrophic. flying sound system. tion from regional companies and new "Whenever anyone raises a question The international marketing manager contenders on the same turf can have about safety on a hanging project, or is for a major speaker manufacturer is an economic impact. Some touring -sound concerned about a particular truss ar- old buddy of the record company A &R industry veterans, independent con- rangement or piece of hardware, I vice president; together they concoct a sultants and structural design engineers always defer to them," advises a noted situation whereby the speaker manufac- are available for flying system design lighting designer, who is often involved turer will rush its untested hanging sys- projects; computer modeling is speeding in system assembly that uses 30 or more tem into prototype stage, in exchange up the system development process. Fly- hanging points. "With the risk factor be- for promotional consideration on the ing systems are proliferating, even very ing what it is today, with the ever - video credits. small ones, for club band touring. present possibility of lawsuit entangle- The sound system goes up, the lights If you or your company are consider- ment, it's not worth an argument." come down, the band hits an opening ing hanging loudspeakers in the air for Carrying adequate liability insurance chord...and the flying arrays collapse, any reason at any time in the future, before hanging your first flying system in crushing video cameras and tripods, pin- weigh that decision very carefully. Do the air is not only smart, it should per- ning the world class director under not hesitate to spend the time, money haps be mandatory. Recent system acci- speaker cabinets and breaking the and talent it takes to correctly design and dents have had insurance adjusters scram- guitarist's fingers. The truss-bar welds safety-test any hardware fittings that will bling for data; whether caused by human (which were done at midnight only the be used. It's not something to fear...but error, mechanical failure or an Act of night before setup) were faulty, the something to be safe about. God, any accident will raise many ques- army -surplus nylon webbing used for The system that you may be consider- tions in the search for ultimate cause. cabinet straps was rotten from jungle ing is possibly a premanufactured setup In the past, some commercial sound fungus, and the regional sound company from a manufacturer's product line. De- product manufacturers have been hesi- hired to help out had used non -case- mand product documentation, design tant to include hanging attachment hardened assembly bolts. certification and be sure to allow suffi- David Scheirman is president of Concert Sound Con- Lawsuits fly like a flock of starlings. cient time for system familiarization, sultants, Julian, CA and RE/P's live- performance con- The video director sues the sound com- before you become party to an accident sulting editor. pany. The guitarist sues the manufac- that endangers life and property. 12t: p

14 Recording EngineerProducer April 1987 THE PROS SAY A FEW WORDS ABOUT THE MANY COMPONENTS OF ]BL. High -quality components offer professional dependability and sound regardless of your seating teamed up with results-oriented great sound -and that's how we location or the size of the crowd:' engineering. That's how JBL Profes- define quality in our business. JBL Glenn Mon, Acting Director sional helps the pros achieve supe- really cares about making their Los Angeles Sports Arena rior sound for specific applications. products the best:' "We chose IBL equipment Here's what JBL means to five lead- Roy Clair because of its great reliability and ing professionals- Clair Brothers Audio all with vastly transparency. All the worshippers in different requirements: "You can't create a truly outstand- our 7,000-seat sanctuary must be "JBL products are very reliable ing soundtrack without being able to able to hear equally well. IBL horns and efficient, and that's why we've hear everything accurately. That's accomplish tuffs without coloration. used them for 16 years here at why JBL's clarity was the first thing The sound is very clear and natural Abbey Road Studios. We have JBL that impressed me. And with JBL, I no matter where you're sitting:' equipment in many locations can rest assured that our sound- David Taylor, Director of Media throughout the studios, and these track will sound just as good in the First Southern Baptist Church Del City, Oklahoma products give us the sound uniform- theaters as it does in the studio: ity we really need. We can count on John Bonner, Chief Engineer At JBL Professional, we believe JBL for professional, solid, great - Goldwyn Sound Department that components should match your sounding products:' Warner HoElywood Studios application, not the other way Ken Townsend, General Manager "We first installed JBL equipment around. To hear more about what Abbey Road Studios, London, England when we were selected as the box- sound professionals see in us, con- "In the concert sound business, ing venue for the 1984 Olympics. tact your JBL Professional dealer. we don't get any second chances. If Our P.A. system brings great consist- the sound system doesn't perform, ency and clarity to all our sporting the audience can't come back next events, including wrestling, motor IBL Professional week when we've got it right. That's sports, track meets, and basketball. JBL 8500 Balboa Boulevard Northridge. CA 91329 why we chose JBL. JBL products JBL components deliver outstanding

Circle (9) on Ra)ld Facts Card Film Sound Today By Larry Blake

Early last year I had the opportunity to I don't want to make it sound as if mix- Even though the film's director, handle extensive production sound ing is a cake walk. Production sound Richard Anderson, is one of the top recording for a film. Shooting on the mixers have a pretty tough time with sound editors in Hollywood, even he, 40- minute short (actually the first third of radio mics too, because you must cue with the sun going down (or coming up, a feature) lasted an initial 10 days, with between actors standing near each other as was often the case), on more than one pickups and reshoots taking place over to avoid acoustic phasing. In addition, occasion had to be convinced of the need the next few months. the job often becomes real nerve - for recording room tone or wild tracks. My partner during most of the shoot, wracking when crossfading between (The latter is the reading of lines for Doug Hemphill, and I decided from the radio boom and plant mics. sound only, usually moving the mic in a start to split 50/50 the boom operating But enough of my distributing credit better position and turning off noise - and production mixing chores. I quickly among the sound crew; I would just like making devices, like cameras, that had found out what my scattered production to see more production mixers share to be on during the shot.) sound experience had only hinted at: some of the limelight with their boom I don't doubt that many a great boom operating is a much tougher operators. dialogue job has been done without the assignment. production mixer providing room tone This is in contrast to the widely -held and wild tracks. Dialogue editors and re- belief that the production mixer does all I would like to see recording mixers can work wonders. In of the work, while the boom operator more production mixers my hometown of New Orleans we might just holds the mic. I am reminded of an call such tracks "lagniappe," a Creole col- interview with the director Terrence share some of the spotlight loquialism that describes the little Mallick (Days of Heaven), who said that with their boom operators. something extra that merchants would many low- budget filmmakers think they give their customers. Maybe it's tough to can get their proverbial brother -in-law to convince impatient crews to sit still for hold the boom. While I don't agree with After the picture had been edited, I had these tracks, but this little extra often the conclusion that he made - if you the opportunity to compare on a film goes a long way in post production. can't afford both a good mixer and a synchronizer my virgin tracks to the For example, during production of Star good boom operator you would be better cleaned -up and split -up tracks that will Trek IV: The Voyage Home, fewer than off looping (dubbing) the whole film -his go to the dub stage. It was interesting to 15 lines had to be looped in the whole point is clear. hear how careful placement of room film. Mind you, this isn't your Too often on shoestring operations the tone, a frame here and a frame there, soundstage -bound Neil Simon comedy; sound person is told to get one of the removed offending noises from the Star Trek IV was a quintessential big crew members who isn't busy during the track. It almost made me feel bad that I budget film laden with special take to hold the mic. Dangerous thinking hadn't solved this problem when it mechanical and optical effects. In this in- indeed. But back to my experience. originally occurred. stance though, director Leonard Nimoy The physical act of boom operating is This experience drove home the point took great pains to give the production only one reason why I consider it to be that production sound is not an end in mixer, Gene Cantamessa, the time to such a tough job. You've got to know the and of itself. It is done to serve, first the record wild tracks. The log book used to script and hope that you get a chance to picture editor, and finally the sound organize the code numbers of picture rehearse your cueing between the ac- editor whose work goes to the re- and sound listed dozens of wild lines that tors. Even if you are lucky enough to get recording mixer. would otherwise have been looped. a rehearsal, watch out for last- minute In my February column I offered that it All of which brings me to the next im- lights that the director of photography is probably best that production mixers portant lesson I learned: all the lagniappe turns on, causing your elaborate boom work only on production, and that a rein the world is worthless unless it can be move to create an eclipse across the ac- recording mixer stay on the dubbing found. Clear and complete sound logs tor's face. stages: experience and specialization and vocal slates are an important, Indeed, one of the more bizarre aspects breeds quality! though defintely not glamorous, part of of production sound recording is that the Although this may be true, there is the production sound team's job. quality of the track is, in many respects, another point to be made. If the produc- I did learn some things. A 40Hz sub - a function of the assistance you receive tion mixer knows that he will have to tone under the vocal slates really does from the camera crew and the assistant edit and mix his location tracks later on, help transfer personnel locate the print director. human nature would probably lead him takes. If your portable mixer doesn't One of the ways that the director of to do a better job. In today's modus have this feature, then go into play right photography on a 1.85:1 theatrical fea- operandi the buck (track ?) is passed, with after leaving record mode, but before ture can help is to frame for wide -screen very few production people in Holly- stopping the recorder. Not only will this release only, and to not protect the TV wood ever having any sound editing or leave a blank spot between takes, but, (1.33:1) safe area. I don't have the space re- recording experience, much less on because of a lack of sync tone, it will also here to fully explain all of this, but suffice films that they work on during production. cause the lock light to go out on the it to say that mic position (not to mention Although the same might be said of transfer bay's synchronizer. set design and camera framing itself) is sound editors and re- recording mix- This discussion of production record- often compromised because of some ers -they haven't participated in producing will continue next month with a look time-honored misconceptions. tion, either -the analogy doesn't fit at the use of stereo recorders. because have had to scores of Larry Blake is REIP's film sound consulting editor. they fix problems in production tracks. R : P

16 Recording Engineer,Producer April 1987 STUDIO PARAMETRIC ID/N0011t 5011tttllt tlBllat.911T LSOHTmmw RJIS.MRt - .1A5TER FREO BW FÆO AV: BW - ' .. POWER er 3 FRED BW FRE 3 ..)5 0S.Tv110 . A 55 .10 ; 33_' . E a , ^ : r ú ID _ O R .a! ; - ,. v L rt wuS.tLF LEVEL EroA.S ,I.':EL rFro's LEVEL 103,33.5 Ow. 33 LEVEL rv3345 LEVtL Fau

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I am a firm believer in individuality; I They served us well and generated the and all the other analog noise reduction am, in fact, an individual kind of guy. market interest that paid for the evolu- schemes. Amazing. We can't even stan- Most people in this industry probably are. tion which eventually took them out. dardize MIDI sequencer file formats. When we were young, our parents Those of us stuck with 2,000 8 -inch flop- And then there are the political moves tried to teach us that we should function pies (and maybe two or three $10,000 to assure that the R -DAT format uses in a way that met certain standards: their 5 -meg Winchesters) have to realize that some non -44.1 kHz sampling rate, so that standards. As we matured, we held on to we helped to finance the 3.5 -inch 1Mbyte you can't digital copy a Compact Disc. the concept that we had to perform to floppies that we use now. Anybody should realize that a move like standards, but we found ourselves in a The list of standards that lost the war, this will merely generate a large poten- position where it was possible to set our and took customers along as casualties, is tial market for a consumer -targeted own standards. Most of us did. a bit more painful for many of us to re- sample-rate converter. (I know of people Free at last from the constraints of call. It includes such gems as videodiscs working on that now, just in case.) seemingly artificial values, the T -types and 8 -track cartridges. If we would grow up and overcome among us went on to construct their own our individual desires to inflict our par- unique sets of standards. Some of these ticular standards on the world, we could very same T -types then went on to start Lack of standardization actually develop compatibility! The the manufacturing companies that customer says he wants this, and it is design the pro-audio equipment that you has been a problem in clear why. A little compatibility goes a use today, still using their own unique the professional audio field long way. It makes each of his machines sets of standards. potentially more powerful. It means that But now it has come full circle and we since its beginning. they have to learn only one basic data or find that there is a need for all of us to system concept. agree and conform to a master set of The manufacturers say they under- standards again. Failure to do so means Forty years ago, Akio Morita and stand, but secretly they really don't want failure; period. Masami Ibuka started Sony in a base- it in most cases. They often feel that the Lack of standardization has been a ment. Morita is still chairman, and has system they have come up with is problem in the professional audio field obviously made numerous correct deci- superior, and to adapt to a competitor's since its beginning. Differing ways of sions in those 40 years. But he admits to specs would compromise the perform- measuring distortion and noise have at least one bad decision, which he calls ance of their product. In addition, they made it complicated for the buyer to his worst business error ever: Beta. are often simply not willing to make compare when shopping for hardware. Although Beta is clearly the superior available the type of detailed technical The "pin *3 or *2 hot" double standard consumer video format in transport information needed for companies to get for XLR connectors is still with us today, mechanics, image resolution and noise, together. Secrets are secrets, after all. as is the hum that the wrong choice pro- and even cassette size, VHS has taken Let us not forget the fact that both mises. Standards such as dBu, dBm and over as the format of the masses. The customers and manufacturers alike cur- dBV are still used interchangeably by collective marketing power of the many rently believe true standardization and many. Trick uses of the actual meanings companies producing VHS decks has compatibility means that a lower number of total dynamic range and signal-to- forced this inferior format to be the win- of actual machines might need to be pur- noise ratio still deceive the occasional ner in the video standards war. chased to get any given job done. customer into expecting a heavily com- Here is a nice little story that should We used to make all of our audio panded machine to stay quiet during amuse you. Sony invented VHS. It wasn't machines talk to each other with analog flute solos. Surprise. very good, so they bagged it and tried audio. This forced a standard of sorts, Failure to establish or adhere to analog again. The second try was named Beta. and every machine could at least get electrical standards has made buying a For technical reasons, it made sense to data into and out of every other bit confusing, and has always been a abandon VHS (Video Home System), and machine, because it was converted to a rock in the road for those trying to make continue to try and do it right. For standard data format for every transfer: purchasing decisions. Usually it's an in- business reasons that nobody seems too analog audio. Sometimes this worked convenience, but not a disaster. sure of, and nobody takes credit for, pretty well, and sometimes with con- If we search our industry's history of Sony virtually gave away the abandoned siderable degradation; but the signal mechanical standards, however, we VHS format to the competition, instead always got there. discover clear warnings that, for every of hiding it in the back closet of the lab. Things are quite different now, and standardization battle, there is always at Who's sorry now? lack of standardization in our new digital least one total loser, often many losers Now we're at a point where we can world doesn't just cause a little confu- and only one winner, and sometimes make more of these mistakes in a year sion, it simply stops everything from (when the buying public senses enough than we have in a lifetime. Ongoing for- working at all. confusion) no winners at all. mat and standards battles today include Now we are faced with outgrowing the The list of standards that disappeared CD -V, DASH /PD, digital data rates, Band -Aid of resorting to use of audio for because of technological advances is audio sampling frequencies, error correc- communication, and we must really stan- almost endless, and must be thought of tion schemes, R -DAT format (possibly dardize. While a slightly mismatched as merely a part of our industry's growth. replay -only), 8mm video and HDTV. And audio interface will still fly, a slightly mis- Stephen St. Croix, RE/P's technology developments don't forget the battles we've grown so matched digital interface...will crash. consulting editor, is president of Lighting Studios and used to that we think of them as part of Marshall Electronic, Baltimore. life: Dolby A, B, C and SR, ANT c4, dbx R E/P

18 Recording Engineer,Producer April 1987 500 Series Loudspeaker Systems

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Meyer Sound Lat oratories, Inc. Meyer 2832 San Pablo Avenue Berkeley, r Sound o {nrnr I (147(12 Circle (11) on Rapid Facts Card SPARS On-Line By Gary Helmers

In last month's column we began a dis- In the front office, you need people 45 days). If you don't run a professional cussion of how a recording studio can who understand purchase orders, job operation, or if the studio competition is successfully enter and prosper in the numbers and, most of all, deadlines. The stiff in your locale, clients will bounce potentially lucrative broadcast produc- person making tape copies must under- around from studio to studio. Don't be tion market. We'll continue this month stand that each dub represents thousands afraid to hold their tapes or even refuse with some advice on acoustics, staffing of dollars of purchased radio or televi- to do a session for lack of payment of the studio, billing the client, promotion sion broadcast time. If you fail to deliver past bills. It is difficult to do this if you are and cultivating a studio attitude that will a flawless dub on time, and the client just beginning but, it the clients are work in this highly competitive field. misses the scheduled air date, you may worth having, they will eventually pay. Studio acoustics, whether good or bad, escape litigation but you won't escape Additionally, it's entirely acceptable to become glaringly obvious when record- the client's wrath. The client won't charge interest on unpaid balances. ing a solo narrator. There are words understand or care about any excuses. For a studio staff used to recording 3- separated by silence. Some studio Again, attitude is all important. Prob- minute songs, the transition into 15 -, 30- owners will say that "no acoustics is lems are inevitable when dealing with and 60- second commercial spots can be good acoustics" when dealing with radio confusing. Just how long is a spot and television production. anyway? Because of television network It's true that purity of sound is impor- Scheduling problems and scheduling, a TV spot may not exceed its tant when dealing with the many levels handling last -minute allotted time frame. A 31- second TV of audio post -production, but rooms with commercial will probably have the last acoustic character can work to your ad- changes for ad production second chopped off by the following item. vantage. Clients will notice and is the supreme juggling act. A good rule of thumb for TV produc- remember the special characteristics of a tion is 29.5- and 59.5- second sound- room -just be sure that you have some tracks. Radio is a bit more flexible flexibility in livening or deadening the the broad range of clients encountered in because of the lack of network regula- acoustics upon request. producing commercials and multi -image tions and the desire of stations to make One factor is constant in all good pro- projects. The staff must be able to live the advertiser happy. You can get by duction rooms: the air conditioner must and work with all sorts of people, and with a little more time for radio. Another be as quiet as possible. This seems to be graciously correct any problems that rule of thumb might be 30.5 and 60.5 as an obvious and minor consideration, but may arise. And, when the next client maximum length for spots. is often overlooked. It can be very em- comes in, the studio must sparkle with Equip your control room, dubbing barrassing when your big broadcast cli- fresh enthusiasm. room and even the studio with reliable ent stops the session to ask about the Scheduling sessions and handling last - and easily visible timers. Good an- mysterious and annoying drone on the minute chages for ad production is the nouncers can shave tenths of a second recording. supreme juggling act. The traffic person off a spot it they can see the clock. Plan ahead and you won't have to dis- responsible for handling these duties will So you've built a fine studio, staffed it mantle your studio to fix the air ducts need to be familiar with the length of with the best people you could find, and and isolation. Quiet consoles, digital re- time required for different jobs. This type you're ready to start producing sound- cording and the starkness of a solo nar- of work, if you are successful, means a tracks. How do you attract agencies, ration demand great care in studio great volume of diverse sessions. video producers and industrial multi- acoustics. Many production clients will contract image accounts? Although selection of the right equip- their own musicians, actors and ac- In every market, major or minor, there ment for your particular needs is crucial tresses. However, you might want to are societies and organizations devoted to success, a studio's most important consider providing this service. Working to these businesses. Look for the Society asset is the people who operate that with professionals that you are familiar of Communicating Arts, or the advertis- equipment. It is vital to attract, educate with has distinct advantages. Many ing club in your locale. Search out the and maintain a self- motivated, en- clients appreciate a studio with the local branch of the Industrial Television thusiastic staff. The client expects, and capability of hiring the necessary artists Association (ITVA) and the Association deserves, trained professionals with an for particular types of productions. of Multi -Image (AMI). Join the organiza- attitude conducive to pleasant and pro- Busy advertising agencies also appreci- tions and get to know your potential ductive sessions. ate receiving one invoice for the entire clients. Obtain your area's directory of Time very clearly translates as money session. They cannot get paid until they advertising agencies and find out who's for advertising and broadcast production submit a bill to their client, and many ac- in charge of production at the companies clients; they will not tolerate wasted ses- tors and actresses are quite slow when it you would like to work with. sion time. Engineers must be able to comes to invoicing. This additional serv- Have your suit pressed and go meet achieve the requested sound, record, edit ice can be taken care of for a fee that is people. They'll be glad to know another and assemble soundtracks at lightning added to talent costs. production facility is there to help them. speed without mistakes. A junior In short, getting your invoice out the Subscribe to Ad Age to keep up with engineer waiting for that magical album door quickly will help you get paid quick- who's doing what regionally and na- session will not do. To attract a profes- ly. Moving invoices quickly brings us to tionally. sional clientele you need a staff that en- the next topic: getting your money. Once again, I would like to thank Joe joys serving your advertising and pro- Basically, if your studio is an important Sheets, chief engineer at Alpha Audio in duction community. resource for your customers, you will get Richmond, VA, for his help in preparing Gary Helmers is the executive director of SPARS. paid in a reasonable period of time (30 to these last two On -Line columns. RI:,U

20 Recording Engineer/Producer April 1987 Today's tougher audio requirements demand a new choice Telex YA612O

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Circle (12) on Rapid Facts Card Record ng Engineer Producer Concert Sound Reinforcement Approaches Maturity By John Meyer Recent developments in loudspeaker, amplifier, crossover, equalization, monitoring and console design have resulted in a radical improvement in the quality of live -performance sound.

Picture the typical concert system of the late Sixties and early Seventies, when sound reinforcement was in its anarchic adolescence. Jumbled stacks of folded low- frequency horn enclosures, midrange cabinets and stacked and splayed high- frequency horns obscured sight lines and competed for acoustical dominance. On -stage monitors, when they were used, were handled by the house mix engineer, working with rudimentary equipment. Solid -state amplifiers were still a novel- ty, and active crossovers represented the cutting edge of experimental technologies. 1 Phase alignment of system electronics and loudspeaker arrays was widely . - regarded as insignificant. Cast in the role of pioneers, the men -` (and, very rarely, ..., women) who were ..ii-. .4.0 . :d responsible for these ir I.J .., systems battled , 7 heavy odds to put on a show. The il¡ . ,f loudspeaker systems -invariably "homebrew" affairs built by people with /j, little or no formal training -were wildly inconsistent. Distortion approaching 100% made it impossible to reproduce an intelligible vocal sound, and equalization was nearly useless. Component failures

For a Luciano Pavarotti concert last Septem- ber at Madison Square Garden. New York, Meyer Sound supplied MSL-3 cabinets, 650-R2 subwoofers, UPA-IA down fills and stage monitors. Sound designer was Roger Gans of the San Francisco Opera and Jimmy Lock of a imissostap Decca Records. ., i' ;1< ü L. r+r:a v.. 4.01.` . r n e - John Meyer is president of Meyer Sound Laboratories .7 ,Ss_I and a fellow of the AES.

22 Recording Engineer/Producer April 1987 testing, we can typically ran to 50% or higher each night. Computer -aided testing techniques With high resolution destructive Happily, the technology and practice make 100% production quality control identify and eliminate narrow -band resonances. And most of sound reinforcement have undergone practical, offering the possibility of now recognize the explosive development during the past minimizing field failures while greatly in- audio professionals of paying close attention to decade, and contemporary sound creasing consistency of performance. importance systems are much more sophisticated than their earlier counterparts. The rise of manufactured loudspeaker systems has brought greatly enhanced The Future of Concert Sound consistency and reliability. Modular full - range cabinets now afford a high degree With developments of the past de- soles, along with the outboard signal of dispersion control. Reliable, high cade, the current generation of sound processing and routing equipment, and power solid -state amplifiers and active reinforcement technology is nearing its would perform their functions in the would also monitor equalizer /crossovers are the norm. maturity. Further improvements will digital domain. It radically new the performance of the system as a Stage monitor mixing is a separate and only be made through approaches, requiring major whole on a continuous basis from a complex task in itself, and concert sound design in the way that sound systems number of sampling points in the now work with consoles that changes engineers are operated. space, affecting corrections digitally to as best recording are as sophisticated the To understand why this is the case, maintain linearity. The research and and production desks. consider the difference between a stu- development necessary to make this As a result, the overall quality of con- dio monitoring system and a concert system a reality will occupy much of cert sound has gradually improved. PA. The studio monitor works in a rel- the next decade. this level of Moreover, amplified sound has achieved atively controlled environment. Any As concert systems reach the work of sound rein- significant acceptance in legitimate open mics are acoustically isolated sophistication, forcement will change dramatically, and even classical artists -once from the monitors, and the characteris- theater, becoming much more highly technical. rein- tics of the control room are essentially the most vociferous critics of sound Sound system operators, in all likeli- advantage of high stable. forcement -are taking In such an environment, it is relative- hood, will move out of the hall itself, reach larger au- quality sound systems to ly easy to assure that the monitor sys- preferring to work in an isolated envi- diences. tem is consistently linear. Therefore, ronment with greater access to instru- The developments of the past decade the recording or production engineer mentation. Certainly, they will no long- have placed at our disposal the means to has a high degree of control, and the er concern themselves simply with indi- deliver consistent high -quality sound results are predictable and repealable. vidual channel gains, equalization and so but will interact with the system show after show, with greater efficiency By contrast, a concert PA is a com- on, acous- at a higher level-using controls and than ever before. We are approaching a plex and dynamic system. The tics of the space are affected by temper- displays that, presently, we can only new phase in our industry. The major ature, humidity and audience size, and guess at. changes that we now must make, in are thus in a constant state of flux. for the technological order to prepare Open microphones abound, and their Creative /technical producer developments of the next decade, are in signals are routed in a number of ways There will also necessarily be a new the areas of attitude and practice. to loudspeaker systems located both in position in sound reinforcement: that Indi- This article will explore the implica- the house and onstage. Because the po- of creative /technical producer. will be re- tions of the current state of the art, and sitions of some microphones inevitably viduals in this position artistic decisions offer some predictions of coming change in the course of the show, their sponsible for many (much as record producers are) and refinements in the practice of profes- acoustical relationships to the loudspeakers vary. will direct a team of system operators sional live -sound production. Finally, gain, equalization and sig- in a manner similar to that of contem- nal processing changes are made con- porary television producers. The work Loudspeaker systems tinually, at many points in the system, will require a high degree of musicali- The clear trend in reinforcement by several different operators. ty, technical knowledge in digital loudspeaker design today is toward the signal processing and acoustics, so-called "1- box," full -range modular Centralized processing system and-of course-communication skills. designers system. Because it offers the greatest All of these factors interact, and each The increasing use of sound and in classical flexibility in pattern control and ease of affects the linearity of the system as a in the theater archi- reinforcement may be token as handling, this approach is unlikely to be whole. Given the decentralized of contemporary concert rein- evidence that the position of live sound supplanted in the near future. The in- tecture forcement systems, any attempts that producer is already emerging. tegration of active, prealigned equalizing we make to linearize the system -no Clearly, the effect of these changes accep- electronics has also gained broad matter how sophisticated -are invaria- will be to ennoble the concert sound re- tance, chiefly because it simplifies setup bly compromised to some extent. In or- inforcement profession as a whole. In and assures both sonic consistency and der to attain the degree of control and the future, the technical staff will be re- reliability. predictability that recording and pro- garded less as simple piano movers, Existing loudspeaker technology also duction engineers enjoy, the system as and more as full creative partners in permits vast improvements in a whole must be constantly monitored, the shaping of events. Undoubtedly, the capabilities of the measurable performance. As a result of and adjustments made on an instan- next generation of concert sound sys- refinements in transducer design, and taneous basis. Ultimately, the only solution to this tems will open up new creative possi- the careful application of proven gargantuan task is a centralized, high- bilities, influencing the music as well. It total system engineering principles, speed, real-time digital signal process- seems safe to predict that as a result, 1 a distortion can be reduced to less than ing system. live performances will continue to be up to full power, with reasonably flat Such a system would replace entirely vital part of the music field well into free -field frequency response and con- the house and onstage monitor con- the future. trolled dispersion.

April 1987 Recording EngineerProducer 23 overall system phase response. the same way that a violinist might for testing is greater in live -sound rein- As these developments become more discuss a musical instrument. forcement than in any other professional widely accepted and implemented, the Romantic though it may be, that atti- audio application. Particularly in touring sonic differences among loudspeaker tude has some major pitfalls. Non -linear concert sound-where systems are con- systems inevitably will diminish -as the systems militate against stylistic plural- tinually disassembled, moved and differences in image quality among color ism, because they tend to make every- reassembled-the chances for faulty con- television receivers have become rela- thing sound the same. Being relatively nections, miswiring and component tively subtle. An industry -wide move in unresponsive to equalization changes, failures are multiplied. Often there is this direction (driven by a clear demand non -linear loudspeaker systems severely very little time for discovering and cor- in the marketplace) is already well under limit the mixing engineer's creative op- recting problems. way, signaling a fundamental shift in at- tions. Most importantly, however, Reinforcement professionals also face titudes toward loudspeaker design. they're simply going out of style because a bewildering variety of acoustical en- One of the oldest debates in sound of changing demand on the part of artists vironments (most of which are anything reinforcement, after all, turns on precise- and audiences alike. but ideal), and have long known that ly this question: Should the loudspeakers The overwhelming acceptance in the their efforts can be radically affected by behave as accurate linear reproducers, consumer marketplace of highly linear hall acoustics. Even if a loudspeaker or should they distort the signal in a way sound reproduction systems -for exam- system measures ruler -flat in free field, that is subjectively "pleasing ?" ple, Compact Disc players and high quali- because of physical reflections and Until recently, the latter attitude has ty headphones -is a clear signal to the resonances its frequency and phase held sway; for example, most of us have audio profession. Without a doubt, the response will differ in an enclosed space. heard the assertion that such and such future of sound reinforcement lies in The environment becomes, in reality, loudspeaker is "no good for rock and linear loudspeaker systems whose per- a part of the system itself, and has to be roll" (or some other particular musical formance is objectively verifiable with regarded as such. Little wonder, then, style). Indeed, many audio professionals standard audio test procedures. that onsite testing and equalization is a have been powerfully attracted to the long-standing practice in reinforcement. notion of specific system non -linearities, Testing and equalization The most prevalent acoustical testing preferring to talk about loudspeakers in One could easily argue that the need technique in professional audio is third - octave analysis, favored for its speed and cost effectiveness. For sound -system A cluster of JBL Concert Series cabinets supplied by Stanal Sound for a recent Neil Diamond equalization, the technique is normally date at the St. Paul Civic Center, MN. used in conjunction with multiple -band, fixed -frequency equalizers. Because third -octave analysis is a low resolution technique, it offers a kind of built-in curve -smoother, making it easy to observe general trends in a system's frequency response. Low resolution testing can yield misleading results, however. For example, a third -octave analyzer will not accurately display high -Q peaks or dips in the system's response; these will simply be averaged into the display of the nearest frequency band(s). As a result, a system that appears quite flat on a third - octave basis may in fact have significant frequency response aberrations that balance out in the averaging process. When third -octave analyzers are used with graphic -type equalizers for system equalization, the process can actually degrade the system's performance. In trying to correct a frequency response peak, for instance, one might unknow- ingly introduce a separate, adjacent dip that averages out the peak in the analyzer display- making the response rougher even though it appears, at low resolution, to be smoother. This is not to denigrate third-octave analysis, however; the data gathered must simply be interpreted correctly, with full knowledge of the limitations in resolution. Such knowledge will lead to proper application of the technique. For example, third- octave analyzers are very useful in checking for consistent polarity among loudspeakers in an array, since

24 Recording Engineer Producer April 1987 = Yamaha's newest musical instruments. For years, Yamaha has been making musical A ndUilnu Dill/din/on instruments that allow performers to express what '(..lN,..nm((hIs! they feel. Our new line of MZ Series professional dynamic microphones continues this tradition. The three -layer laminated beryllium film used of the MZ102Be, MZ103Be and NO dirt (,rill in the diaphragms MZ105Be offers greater control over piston movement for heightened presence and accuracy throughout the entire frequency range.

Iiin(.:I1L' /el ::ISGnN Throughout the entire line, a superior acoustic damping system makes use of a mesh screen and photo -silkscreen technology. The benefits are extraordinary long -term stability and absolute uniformity.This uniformity can be especially important when matching pairs of mics for stereo. A tight cardioid pattern provides excellent off axis rejection for superior feedback suppression. To reduce handling noise, all MZ mics have a unique three -point floating suspension system. And a special windscreen with three times the impact resistance of conventional types. So you know it can take a pounding. We even use gold -plated audio connectors. But when you listen to Yamaha MZ mics, you technology. 71nr ('-/M(inl Sll.:prusio! hear more than the result of advanced You hear a one -hundred -year tradition of making music. h l7 miplrt( info mn; tti( in. write lí un; ihí i Intern; i( mat G rrlrorition. I'n dìssinnal Audio I )ivi.i( m, l' ix Nit N I. Buena I `. irk. l':\ 90622. YAMAHA Engineering Imagination Circle (13) on Rapid Facts Card

(;,Ild-phló'(I ClnnllYl(ll cancellations are immediately apparent Because, by their very nature, FFT many live -sound engineers regard the from the display. They can also be used techniques clarify the interdependence monitors as one place where they can to check addition between drivers of amplitude and phase response, the in- compromise on quality, in order to free through their respective crossover points creasing use of FFT analysis is leading up money for other uses. (if the loudspeaker /crossover system is the audio profession to a better under- The situation has been complicated by phase aligned). standing of the concept of system lineari- the fact that the monitor system is the Ultimately, hand held third -octave ty. It has also stimulated the recent de- most direct contact point between the analyzers will largely replace "phase velopment of complementary amplitude sound crew and the on-stage musicians. popper" testers in sound reinforcement and phase equalization circuitry that is In the past, most musicians have been far because they can perform the same func- optimally suited to correction of loud- less technically minded and more in- tions more elegantly,. accurately and reli- speaker systems in physical spaces. clined to express their needs in intuitive ably while providing more information. Vastly superior to graphic -type terms. Recent advances in accoustical testing equalization techniques, such circuitry Working in an environment of high have centered on high resolution tech- allows the operator to efficiently sound pressure levels, vocalists in par- niques, generally employing sine -wave generate a precise inverse of the ticular sometimes have favored a fair sweeps (usually with a trackiqg filter) or amplitude /phase characteristic of the amount of intermodulation distortion in some implementation of Fact Fourier loudspeaker /room system. When the in- the monitors, having learned to use such Transform (FFT). Both methods offer verse function is inserted at the system distortion to determine whether a har- significant benefits in data accuracy, per - signal input, both the amplitude response mony part is in tune. And, because one mitfing precise tuning of system and the phase response improve. wants to satisfy the artists at all costs -in characteristics, and both allow display of The next generation of sound system order to remain employed -The tempta- phase data. equalization equipment (already in tion exists to seek certain specific types Of the two procedures, many consider development) will couple complemen- of non -linearities in monitor systems. FFT analysis to be the technique of tary equalization with dual -channel FFT Until relatively recently, these factors choice, chiefly because it is the fastest analysis under computer control. This have combined to hold down the quality when high resolution is required. will allow in- concert testing and of monitor systems. The same forces that In its most advanced implementation for equalization trimming using multiple in- are driving main PA systems toward audio applications, 2- channel FFT analy- strumentation microphones to sample linearity, however, are now also affec- sis permits measurements in the pre- the hall at several locations. For the im- ting monitors. As the sound quality of sence of an audience using music or mediate future, operating such equip- concert main systems has become voice as the test signal. ment will constitute a separate job in cleaner, the contribution of the monitors The acoustics or an empty hall differ itself, handled by specially trained to the sound in the house has become radically from one with an audience pre- technicians. more obvious. Audiences no longer sent. Therefore, the importance of this tolerate concerts that are plagued by technique in sound reinforcement can- Stage monitoring continuous feedback. not be overemphasized. (lt should be From the beginnings of concert sound And artists, now more technically noted that swept sinewave techniques reinforcement, the on -stage monitor sophisticated and accustomed to clean are perfectly acceptable and useful in system has often been considered a poor monitoring because of their increased laboratory situations and, if properly im- cousin to the the main house system. recording studio experience, are de- plemented, can offer substantial benefits Most of us remember the days when the manding better stage monitor systems. in the design phase of loudspeaker monitor mix was simply a single extra The technology necessary to satisfy system development.) feed from the house mixer. Even today, these demands has existed for some time, and is now seeing wider use. As stage monitor engineers are in- The Prism, developed and built by Showco, is designed to operate specifically in an arena en- creasingly seen to be full partners in a vironment. It is described as occupying approximately one-third the area of a conventional total sound reinforcement picture, the system and achieves "unparalleled sonic clarity, accuracy and consistency at every seating posi- same technical advances that apply to tion." Shown here is a full Prism rig for a recent Genesis concert at the Reunion Arena, Dallas. the main system will also be employed in the monitor system. For example, the process of "ringing out" the monitors with graphic -type equalizers will gradually be replaced by high resolution measurement and complementary equalization. This will allow higher gain before feedback and will result in much better sound quality -both onstage and in the house. The inherent complexity of monitoring systems and the need for efficient testing will help in turn to spur the development of more intelligent, flexible and user -friendly analysis equipment. In the long run, it seems inevitable that we will come to view the monitor system as a fully integrated component of a single, larger system that includes the main PA. This is as it should be, since the two are not really functionally separate -any changes in gain or

26 Recording EngineerProducer April 1987 a flown central For the recent World Disco Mixing Championships held at the Royal Albert Hall, London, in early March, Turbosound provided cluster array comprised of 42 TSE-II mid/high cabinets and 12 TSE -118 bass enclosures. Stage-level units consisted of four TSW-124 sub -bass cabinets, six TMS-4 full-range cabinets and six TMW-212 on -stage monitors. The system is said to have been installed and removed within 18 hours. equalization at the monitor level also af- offered by improved systems, concert system testing and equalization. Coupled fect the house system. sound engineers will inevitably make in- with in- concert measurement (using the Technical and logistical solutions will creasing use of the same tools used in program as source material), com- consequently have to be developed to at- studio recording. The sonic differences plementary equalization assures an un- tain efficient global optimization of among various limiters and equalizers, precedented degree of consistency in system performance, while simultane- for example, will assume greater impor- sound system behavior. Because the ously allowing the flexibility and control tance; in fact, outboard processing in technique acts to linearize the entire necessary to provide performers with the general will play an ever -widening role loudspeaker /room system, it effectively monitor mixes they require. in concet sound, and mixes will become erases the local acoustics to a con- more and more complex. trollable extent, and even permits im- House mix position Ultimately, the goal will not be to simp- position of an "ideal" (arbitrary) acoustic The increasing use of linear systems ly equal the sonic complexity and clarity signature in its place. has powerful implications for concert of studio recordings, but to provide the Given that one can thus idealize the sound engineers. Just as Compact Discs audience wish a sonic experience that acoustics of even the most reverberant highlight the sonic differences between surpasses that of recorded music in scale, venue, it becomes possible to standard- various recordings, so linear reinforce- dramatic impact and immediacy. ize processing and console settings, to ment systems tend to strikingly reveal Obviously, all of this will make the mix the extent that very sophisticated mixes the differences among various mixing engineer's job more demanding, because are practical. In all likelihood, we will see styles. For this reason, the responsibility he or she will still have to contend with snapshot -style console automation come for subjective sound quality is shifting the inevitable pressures of live produc- to be used in concert reinforcement in away from the loudspeakers and toward tion. Recording engineers at least have the foreseeable future (dependent upon the input signal, where it rightly belongs. the luxury of taking their time, recon- the music's stylistic requirements). Add Many live- performance mixing sidering and fine tuning a track or final the potential for MIDI -based automation engineers are still learning to adjust to mix. In live sound, however, there are no of signal processor parameters -syn- this concept. As concert sound systems retakes. Consequently, concert rein- chronized with the console automation continue to improve, however, attitudes forcement engineers will need to be able system -and the creative possiblities will change. Once we fully accept the to preplan their use of effects to some ex- become truly staggering. concept of linear sound reproduction, we tent, while retaining the flexibility that Concert engineers who keep them- open ourselves to dramatically broader concert work requires. selves abreast of these developments, creative possibilities. Therein lies one of the greatest poten- and help to demonstrate effective use, In order to fully exploit the capabilities tial benefits of current advances in sound face a bright future. RE/P

April 1987 Recording EngineerProducer 27 Designing and Packaging Equipment for Use in Touring Sound Systems By David Scheirman What are the pros and cons of custom designing a concert sound system, vs. assembling it from commercially available units, and how best can the resultant system be packaged to withstand a rough life on the road as part of a touring rig? ..

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Sound companies today are better pre- points and dollies. ager or financial backer should ask is: pared than ever before to put a system One of the most often overlooked sub- Why is the sound system being built? Is it out on the road. The hardware and tech- jects, however, is that of hidden costs. a hobby effort? Do preguaranteed con- niques that have been collectively and Protective racks and cases, custom pow- tracts to recover the initial investment innovatively developed by the touring er distribution and multipair cabling sys- exist? Or, is the system being assembled industry are making sound systems for tems, and the price of shop labor for cus- purely on speculative terms? portable use safer, more reliable and, in- tom assembly and modification of com- A determination should be made as to evitably, more expensive. mercial products -all these factors add a whether the new system will be just that: Manufacturers of professional sound significant sum to the price of any tour- a system, with the entire signal path care- equipment have become more market ing sound system assembly project. fully examined, or a collection of parts responsive to the needs of the touring in- For this reason, the actual purchase that change from time to time, depend- dustry. It is now possible to specify off - price of commercially available compo- ing on user need and component availa- the -shelf products when assembling a oents is often only half the cost of assem- bility. If a high- performance, competitive new concert system, with nearly every bly for one of today's concert sound sys- system is required, then there will be item available from microphone cables tems. Even non -touring systems planned plenty of gaps that are not filled by avail- to modular speaker cabinets with flying by regional companies should be care- able hardware or at least hardware that fully cost -projected to ensure that the doesn't fall within the budget. David Scheirman is the president of Concert Sound system assembly project will fit within Typically, the more money that's spent Consultants, and RE/P's live performance consulting the budget. on equipment to increase a sound sys- editor. A primary question any business man- tem's flexibility for a variety of potential

28 Recording EngineerProducer April 1987 Why your next console should be as difficult to hear as it is easy to operate.

The studio is more complex to a group, or thirty six. So you can split configuration. Master Input Status and less forgiving. concentrate on the music without dis- switches select mic inputs or line Electronic production techniques tractions from the mixer, even on returns on all input channels simultane- digital using MIDI and SMPTE sync require multitrack. ously. In its mixdown configuration, the AMR 24 will 60 more control than a "wire with gain" handle up to tracks, Features shouldn't degrade because the 24 Track can provide. But as functions and com- audio performance. Select switch ponents accumulate, the console's signal changes the monitor returns to line Automation widens creative possibili- path has grown more complex, and its returns normalled to your second 24 ties con- audio performance has suffered. On - and narrows the margin for track (or to synchronised "virtual analog recordings, higher levels of sole error. For example, FET mute tracks" from synthesisers and samplers). crosstalk, noise and intermodulation switches that are "silent" individually The monitor returns have aux buses, were an acceptable price for additional can produce audible glitches when solo and mute, plus four bands of EQ control. On digital multitrack, however, grouped. The AMR 24's carefully con- and long throw faders, so this flexibility trolled switching time these flaws become glaringly obvious. constants elimi- is achieved with no loss of audio quality. nate this problem. For additional effects returns, the Crosstalk blurs the stereo Every circuit in the AMR 24 has been Fader Reverse function creates an addi- image. calculated with equally close attention. tional 24 patch points through the cue Each stage Now that digital recorders have virtu- has at least 22 dB of head- send faders. room; total dynamic range is over 100 ally eliminated crosstalk, this is an espe- Imaginative design and uncompromis- dB. Even so, cially annoying problem. The AMR 24 unused stages are bypassed ing construction give the AMR 24 flexi- matches the channel separation per- to produce the shortest effective signal bility and sonic transparency that path in every operating formance of digital multitracks because mode. represent clear achievements: especially Perhaps AMR is a it employs balanced buses that eliminate the 24 product of clear on digital recordings. For all the crosstalk the same way mic inputs do. extremist engineering. But as we see it, facts on this innovative console, send This radical design approach takes full optimum audio performance, not sim- your business card or letterhead to: advantage of digital's more coherent ply a revised layout, is what makes a console automation - and digital -ready. sDAR3 stereo imaging. AMR 24 Balanced buses also eliminate the The feel is familiar, the func- D DA intermodulation that plagues the sound tions are unprecedented. KlarkTeknik Electronics Inc . 30B Banfi Plaza North of conventional "virtual ground" mix The AMR 24 facilitates innovative pro- Farmingdale, NY 11735 (516) 249 -3660 amps. The AMR 24's noise floor is con- duction techniques within a classically Unit #1, Inwood Business Pk Whitton Rd. stant whether you route one input Hounslow, Middlesex, UK TW3 2EB CIrci. (14) on Rapid Facts Card TOTAL INVESTMENT: INCREASING CAPITAL EXPENDITURE A

--$ 250K

-$ 200K

---$ 150K

$ 100K

-$ 50K I

INCREASING MICRO PHONES, ADD: ADD: ADD: ADD: ADD: SERVICE STANDS & CABLES MONITOR MAIN MIXING AMPISPKR. ARENA SYSTEM OUTDOOR CAPABILITY SYSTEM SETUP SYSTEM (HANGING) STADIUM (THEATERS) SUPPORT GEAR

Figure 1. Increasing system complexity requires a corresponding increase in capital investment.

users, the greater will be the scope of try are able to do so by constantly, but their basic system packages assembled services that can be offered by a sound gradually, changing and recycling basic and paid for are able to batten down the company. Custom patchbays, splitter hardware components. For this reason, a hatches and come out on top whenever panels and snake systems can mean the catch -up attempt by newer, smaller com- the angry winds of cost -cutting and bid- difference between amateur and profes- panies has a limited chance of success ding wars blow. sional, when users compare one system within the boundaries of standard busi- with another. ness practices. System assembly choices

In today's marketplace, it will take a Figure 1 details this concept. The more The primary cost of assembling a con- sizeable investment to assemble a com- available hardware that a sound compa- cert sound system and preparing it for petitive concert sound system from ny has access to, the wider is its range of the road can either be in the realm of la- scratch. Those major concert sound com- potential profit-generating operations. bor, or in parts and materials. Both are panies that dominate the touring indus- The dollar amounts shown here are ap- required of course; the question is to de- proximate, and will vary with system ap- cide the best direction for a company to plication and complexity. In an econom- concentrate its cash resources. Figure 2. A custom -built, proprietary sound system requires a greater investment in labor, ic climate where one pair of house and compared to parts and materials, than a sys- monitor consoles costs more than Figure 3. Labor costs to complete a system tem assembled from commercially available $100,000, it is not difficult to understand made up primarily of available components components. why those companies that already have will be lower; the parts cost will rise.

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30 Recording EngineerProducer April 1987 BUILT FOR THE DEMANDS OF PRODUCTION.

An the production busi- ufactured by TASCAM means Sync There are five ATR -60 -ecorders: ness, quality plus speed frequenc'/ response equals Repro, the ATR -60 -2T (IEC Standard) equals success. so you don't have to rewind and Center Track Time Code; ATR -60- That's why the TASCAM ATR -60 change modes to make critical 2N'2D Quarter -inch Mastering; Series is engineered for those who audio decisions. ATR- 60 -2HS Half -inch High Speed make their living with recorders. -Sync Lock and the most Mastering; ATR- 60 -4HS Half -inch All five share a design philosophy responsive servo control in the busi- 4 -Track High Speed Mastering or stressing function over flash; an ness will keep you working instead Multitrack; and the ATR-60-8 Half - overriding concern for performance of waitinc for a machine to lock up. inch Production Quality 8- track. without complication; a thoughtful -Time Code Lock keeps To see, hear and feel them, visit integration of features which code coming from the Sync head, your nearby TASCAM dealer, or call respond to the needs of the regardless of the audio monitor TASCAM for the name of the dealer professional. mode, sc your synchronizer won't nearest you. -On every ATR -60, the deck get confusing double messages Production is a demanding busi- plate won't flex. Ever. So you won't when modes are switched. ness. And the ATR -60's are built to be compensating for flex- induced - Input Enable Disable allows meet the denand. phase or wow and flutter in post you to monitor any source without production. repatchirg or changing mixer set- -The unique Omega.Drive puts tings, avoiding a common cause Pure Performance less stress on your tape, so the of aborts. cumulative tension of a thousand -Long cable runs don't bother TASCAM startstop passes won't reach a TASCAM ATR -60, since + 4 dBm, TEAC Professional Division your tape. + 8 dBm and even + 10 dBm levels 7733 Telegraph Rd. Montebel o, CA 90640 -Heads designed and man- are available. Telephone (213) 726 -0303

Circle (15) on Rapid Facts Card systems, and to heavy marketing pressures from some pro-sound manufacturers that attempt to increase their market shares, many new touring sound systems have recently been assembled in the United States. While some sound companies do specialize in custom -built crossovers, or have access to an in- house, self- support- ing woodshop, most companies today that serve the sound system rental market are relying heavily on commercially available products. Because buying the components is just the first step in the process of assembling the roadworthy, contemporary system, let's take a closer look at how such equipment is prepared, modified and protect- Figure 4. An expensive mixing console re- ed for use on the road. quires a sturdy, foam-lined case for protection on the road. Mixing consoles Consoles represent one of the first and most important investments to be made nents that arrive in cardboard boxes by for many sound companies. The more freight shipment, ready to plug in and popular models are easily rented even if turn on. a full system is not required; resale value Todays' new sound systems are usually is high for properly selected commercial a compromise. No major sound company products. Over a period of years, custom - Figure 2 shows that in a completely in this country today is building every- built devices do not hold their value custom -built sound system (in -house thing from console to amplifier, to loud- quite as well. manufacturing of consoles, amplifiers, speaker, for its own use. There are some The development of a custom -built speaker cabinets, etc.), the costs are smaller companies that do specialize in board is a complex and time consuming weighted toward labor for design and as- custom systems, including audio gear as- undertaking. For this reason most corn - sembly of system components. Custom sembled by an in -house electrical engi- panies conduct a thorough search for buildups take more time than using com- neer (often the sole proprietor). How- commercial products that offer desired mercially available products, and the la- ever, even the largest of companies have features at an affordable price. bor required is more specialized (and moved toward relying on manufacturers The preparation and possible modifica- more costly). for the basic building blocks in a system, tion of these commecial units is an added Figure 3 details the reverse situation. particularly in the field of electronics cost factor; the improvement of ground- For a system that has been assembled packaging and raw speaker components. ing buses, the lowering of circuit noise completely from manufactured, commer- through chip upgrades, and the incorpo- cial products, the cost of system assem- Current trend ration of multipair snake connectors or bly will be weighted toward parts and In response to the increased need for special patchbays all require shop labor materials -in this case toward compo- higher -quality portable concert sound above the original purchase price. Protecting the consoles on the road with sturdy cases is also a consideration. Figure S. Custom modifications and additions are made by major sound companies to even the A case from stock to fit a standard board, most full- featured commercial consoles. Seen here is Showco's add-on subgroup and cue bus such as a Soundcraft 800B -32, may cost bargraph metering system for the Harrison HM-5, as used on tour with Bob Seger and the Silver $600; a custom -fit, precision-made case Bullet Band. complete with welded aluminum dolly frame for a one -of-a -kind 48- channel desk may come in at $1,800. Foam lin- ing, sturdy castors and handles help protect the console investment during transport, and facilitate setup and teardown (Figure 4). Additional features often considered necessary include a spare power supply; miniature gooseneck lamps and even specialized custom units such as external metering systems to improve signal -monitoring capabilities (Figure 5). Ancillary support systems for a live event can boost the price of system assembly and will include intercoms; wireless communicators are often must -have items at large outdoor and arena events. Hard -wired production-line type inter-

32 Recording EngineerProducer April 1987 EAW KF550C It keeps getting better

The Engineering Advantage Since then we have continually refined the KF550 to stay well ahead of our imi- When you consider the fact that EAW tators. The new KF550C version adds the builds the KF550 it should come as no sur- H9040 constant coverage hig'n frequency prise that it is the qualitative standard of the horn, full frontal coverage vinyl coated per- industry. After all, EAW's director of engi- forated steel grills and rear panel cable /con- neering, Kenton Forsythe, has spent the last nector chamber as standard. This is in addi- twenty years advancing the "state of the art" tion to the standard features and perform- in concert sound loudspeaker systems. His ance that has made the KF550 the first contributions to the industry include: choice of sound companies in the past. 1972 Forsythe 8215, the world's first 2 x 15 inch bass Your crews will love the KF550C horn to incorporate a phase coupler and true because it loads in and flies so easily, and exponential flare (not to mention that it fit through most doors). your accountant will appreciate its transport 1976 Forsythe SR109, the world's first cone mid range efficiency. But we're confident that you will horn utilizing a phasing plug and lead reinforced choose the KF550C because it sounds great. fiberglass construction. 1977 Forsythe B212CT, using polyurethane filled subassemblies to create the world's most mathematically correct bass horn. 1978 EAW MR102, the first mid bass horn to use a 2EAW EASTERN ACOUSTIC WORKS center displacement plug for flat power response. 1978 EAW/Carlo CS3, the world's first "One Box" 59 Fountain St., Framingham, MA 01701 horn loaded flying system. Tel: (617) 620 1478 Tlx: 7103807630 1979 EAW BH800, the first bent horn using polyurethane reinforced wood construction. Japan: Unicus Int., Tokyo Te1:03 407 81 51 Tlx: 2322931 Europe: HPS, Amsterdam, Holland Tel 020 -233954 Tlx: 1981 EAW JF500, the world's first all horn loaded 10412 Spain: Latusa, Madrid Tel: 01- 641 081 2 France: compact full range system. Irelem, Paris Tel: 085 -464217 Attn: Mr Machuron 1983 EAW KF550, the world standard "One Box" fly- Australia: Audio Engineering, Sydney Tel: (02) 211 3026 ing system with flying strip hardware enabling Tlx: AA70842 Venezuela: Audio Rama, Caracas Tlx: 395- easy construction of complex arrays with only two 26551 Hong Kong: Hi -Tech, Tel 5- 447611 Tlx: 61299 fly points per cabinet. Argentina: Interface Argentina Te1:821 -1269 Tlx: 9900 Circle (13) on Rapid Facts Card ago it was just a fond wish. A rapidly growing pro-sound market has helped to inspire the creation of these custom -cable providers.

Electronic equipment racks Early concert sound companies created and assembled their own electronic crossovers, limiters and even power amplifiers. Specialty items such as line drivers were unavailable elsewhere. Items from the hi -fi recording and broadcast fields were borrowed, with basic modifications being required. Modern sound systems undergoing initial cost projections prior to assembly include commercially available items that did not exist even a decade ago. Five - Figure 6. Intercom systems for communication between console locations are another hidden way modular crossover with time correc- cost when assembling a new system. tion and phase trim? Channel- insertable noise gates? Ac power -line conditioner and voltage monitor? No problem. corn units are typically required at least these small but useful accessories. Just make sure to thoroughly check for each console location (Figure 6). In years past, the assembly of micro- the specification sheets prior to ordering; phone cables, stage subsnakes, six-packs, put the unit through its paces on the test Microphones, stands and cabling and even multipair main snake systems bench prior to trusting it in a live show When a system is being prepared for entailed many hours of pretour labor. situation; and, before committing to the serious road use, the actual purchase of Labor at that time was less expensive purchase of multiple units, verify that microphones is just the beginning. A ded- than the purchase of expensive commer- your crews give it a thumbs -up over a icated travel case for the microphone cial cable products, and the configura- period of time. complement is often combined with tions required by touring systems were Standard EIA rack -mounting provi- spare parts and tool storage. A wide vari- often unavailable. sions are made by most manufacturers ety of stands to enable the prompt re- Today, there are a variety of manufac- dedicated to the pro-sound industry. Op- sponse to changing stage needs at differ- turing and marketing companies that of- tional plug -in transformers are available ent events will include tripods, adjustable fer standard and custom premade ca- from a host of crossover, amplifier and booms and goosenecks (Figure 7). bling products. The quick assembly of equalizer manufacturers. These items Quick -release clips allow the daily re- cabling systems with minimum shop can be a quick fix when the electronics moval of mic holders from the stands to build -up time is as simple as a telephone rack assembly starts turning into a hum- prevent damage in transit. and to speed call and a purchase order. chasing project. (Input and output signal up stage preparation and load -out time. Three- and 4 -way splitter panels with isolation by transformer is usually re- A typical arena sound system with 50 or ground -lift switches and military discon- quired if a piece of equipment does not so microphone stands may require an in- nects delivered to specification within a offer power transformer isolation from vestment of up to $400 (at $8 each) for week or two by freight? Only 10 years the chassis, and is mounted in a rack with other gear.) Figure 7. Today's concert stages have changing requirements for microphone stands; a wide In examining commercial units for po- variety of booms, stands and assorted parts will be carried by well-equipped sound companies. tential use in a professional system, observe how well the device will fit into a buildingblock concept of rack assembly. Is it deeper than the racks that are available for mounting? Are the inputs and outputs balanced or unbalanced, and how will that affect your existing system signal path? Is pin 2 hot, or pin 3, and how will that affect your wiring harness? Does the electronic crossover under consideration have enough output drive to make it through 200 feet of output snake without an additional line- driver gain stage? (If not, locate it in the amplifier rack, or find another device.) The proper selection of components that match each other both mechanically and electrically will save countless hours of troubleshooting and modification time. Paying attention to visual appear- ance can be an important consideration as well. Properly mounted electronic de-

34 Recording EngineerProdbcer April 1987 New Carver Amps for permanent installation, studio, and concert use. PM -175 and PM-350.

NOW THAT THE CARVER PM -1.5 IS PROFESSIONALLY SUCCESSFUL, ing modules. Soon to be available is an electronic, program- IT'S STARTED A FAMILY. INTRODUCING THE NEW CARVER PM -175 mable 2 -way stereo crossover, with 24 dB per octave Linkwitz- AND PM -350. Reilly phase -aligned circuitry, a built -in adjustable high -end Month after month on demanding tours like Bruce Sp-ing- limiter and balanced outputs. And more modules will be avail - steen's and Michael Jackson's, night after night in sweltering able 'n the near future to further help you streamline your system. bars and clubs, the Carver PM -1.5 has proven itself. Now there PRO FROM CONCEPTION. The PM -175 and PM -350 inherited their are two more Carver Professional Amplifiers which deliver father's best features. Including slow startup and input muting to equally high performance and sound quality - plus some re- eliminate turn -on current surge, 11- detent level controls, phone markable new features that can make your life even easier. jacks, power, signal, clipping and protection indicators as well SERIOUS OUTPUT. The new PM -175 delivers 250 watts RMS per as balanced XLR input connectors. In a bridged mode, both channel into 4 ohms. As much as 500 watts RMS into 8 ohms amplifiers will drive 70 -volt lines without the need for external bridged mode. The larger PM -350 is rated at 450 watts per transformers. channel into 4 ohms. Up to a whopping 900 watts in 8 ohm MEET THE FAMILY AT YOUR CARVER DEALER. All remarkable Carver bridged mode. Both with less than 0.5% THD full bandwid'h at Professional Amplifiers await your own unique applications. Hear any level right up to clipping. Plus 2 ohm capability as well. their accuracy and appreciate their performance soon. SERIOUS PROTECTION. Like the PM -1.5, both new amplifiers have SPECIFICATIONS- CARVER PM -175 Power 8 ohms. 175 w/channel 20 -20kHz both channels driven wall no more tha, O 5 " -_ THD 4 ohms. 250 w /channel 20-20k Hz both channels driven with no more no less five protection including than 0.5% THD. 2 ohms 300 w /channel 20.20k Hz both channels driven with no more than 0.5% THD. than special circuits sophisti- Bridging: 500 watts into 8 ohms. 400 watts into 16 ohms. THD -less than 0.5% at any power level from 20 r0A, Tn rhyping IM Distortion less than 0.1% SMPTE. Frequency Bandwidth :5Hz- 80kHz. Gain: 29 cated fault interruption against dead shorts, non -musical high dB. Input Sensitivity: 1.5 V rms. Damping: 200 at 1 kHz. Slew rate: 25V/ micro second. frequency, and DC offset Noise: Better than 115 dB below 175 watts A- weighted. Inputs: Balanced to ground. XLk protection, as well as low or IRS phone Íacks. Input Impedance: 15k level internal power supply ohm each 1 Compatible with 25V and 70V systems. 19W x 3.5 "H x 11.56 "D fault and thermal overload SPECIFICATIONS: CARVER PM -350 Power: 8 ohms. 350 w /channel 20 -20kHz both safeguards. The result is an channels driven with no more than 0.5% THD 4 ohms. 450 wchannel 20 -20kHz amplifier which is kind to both channels driven with no more than 0.5% THD 2 ohms 450 w: channel 20 -20kHz your expensive drivers - as both channels driven with no more than 0.5% THD. Bridging: 900 watts into 8 ohms: 750 well as to itself. watts into 16 ohms. THD -less than 0.5% at any power level from 20 mW to clipping. IM OUTBOARD GOES INBOARD. Distortion less than 0.1% SMPTE. Frequency Bandwidth. 5Hz- 80kHz. Gain: 31 dB. Input Each PM -175 and PM -350 Sensitivity: 1.5 V rms. Damping: 200 at 1 kHz. Slew rate: 25V/micro second. Noise: has an internal circuit card Better than 115 dB below 350 watts. A- weighted. Inputs: Balanced to ground. XLR bay which accepts Carver's or TRS phone lacks. Input Impedance: 15k ohm each leg Compatible with 25V and 70V new plug -in signal process- systems 19'Wx3.5 "Hx11.56 "13

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Rapid Facts Card evolution Circle (17) on Distributed in Canada by technology (Figure 9). Some companies fabricate extremely well -protected equipment racks with

sturdy welded metal frames, hinged side - access panels for quick re- wiring or unit swapping, and quick -release protective front and rear plates. By the time a company's rack technology has progressed to this level, the rack and its case will probably be unavailable on the open market. Such hardware is built to last a decade or more.

Power amplifiers Twenty years ago, it was not uncommon to see tube-type power amplifiers carried into a venue wrapped in a moving blanket; available commercial units Figure 8. Neat, professional rack buildups were intended for use in fixed installa- will both protect electronic components, and tions, and the engineering was make system operation easier. time spent primarily on heat dissipation and unit survival, with a secondary focus on audio quality and electromechanical in- vices will be both protected and neat ber has been used more than once in a tegrity. (Figure 8). pinch. The advent of solid-state amplifiers A consistent method of mounting units made quite a difference in portable sys- in the racks is desirable. Custom wiring Protective cases tem design and operation. As systems be- harnesses, cable ties to reduce clutter A fully prepared and loaded electron- came more powerful, sound companies and an adequate, integral ac supply for ics or power amplifier rack represents a began to add extra bracing and rack - the rack all require both planning and considerable investment in both time mounted ears for popular units from a shop labor. Extras such as front and rear and expense for materials. In some variety of companies. One or two compa- panel work lamps, ground -fault test in- cases, the cost of the completed rack, nies brought out early products with inte- dicators and ground -lift test indicators, with its custom patchbay, ac, distribution gral cooling systems and rack -mountable ground -lift switch, and a compartment strips and internal wire harnesses can cases; today a wide selection of powerful, for spare fuses and patch cables add in- rival, or exceed, the cost of the units it is reliable power amplifiers are available. creased utility at extra cost. designed to hold and service. Modern power amplifiers are designed Some experienced sound companies, Custom-fitted, foam -lined cases will be for tight stacking in racks; variable input after minor trucking catastrophies, equip required if the rack is to survive being attenuators and signal monitoring devi- even small half -racks with metalwork taken from the build -up shop into the ces are standard features. As amplifier that provides rear support of each device real world of concert use. This represents manufacturers have responded well to in the rack. Other, simpler options can yet another added cost to system assem- pro-sound market needs, it is extremely include wooden framing with shelf sup- bly, whether commercial products or uncommon to find custom-built power ports; duct tape and a strip of 2' x4' lum- custom -fabricated devices are used units assembled in quantity by an eccen- tric sound company for concert touring use. Major concert sound companies also work in conjunction with amp manufac- Figure 9. Protective road cases for delicate audio equipment are available from a variety of turers to develop units manufacturers. Racks do not survive long on the road without them. that will suit their needs. Today, few modifications are required for even the most demanding tour situations.

Power distribution systems The subject of electrical power 11II111I111111IÍ11111111111 '- distribution is crucial in live sound system assembly, yet commercially available systems that are compatible with concert touring are rare. As lighting and electrical supply companies develop spin -off technologies, some units are available on a custom -order basis. A simple 100A service with 50 feet of feeder cable for use in a rental stage monitor system can be assembled from less than $200 worth of UL- approved parts available from an electrical whole- saler; a custom -built 400A distribution system for arena use with subpanel breaker boxes and motorized regulators

36 Recording EngineerProducer April 1987 The M 20 from AEG This professional machine is right The M20 represents the ultimate at the cutting edge in terms combination of state of the art sets new standards of technology, ease of operation, electronics and high -precision for professional reliability and ergonomics. mechanics. For higher demands tape recorders in and new applications, e.g. in con- The M 20 is the latest develop- junction with computer -controlled the studio. ment from the inventor of editing systems or stereo televis on. the magnetic tape recorder in a successful line stretching back It's tomorrow's answer to today's 50 years. It has every impressive sound studio. For further informa- feature the professional tion please write to: could ever desire. The latest microprocessor technology. AEG Aktiengesellschaft Sync amplifier for monitoring Professional Tape Recorder Branch

with the recording head during Bücklestrasse 1 -5 electronic editing. Electronic and D -7750 Konstanz storable automatic bias adjust- West Germany ment for different types of tape, with all sorts of equalization Phone (7531) 862370 (such as NAB and IEC), and that Telefax (7531) 862421 at all 4 speeds. Incorporation in Telex 733233 computer -controlled systems via standard interface. Timecode option. Built -in or portable for studio and mobil operation. Optimal operating in horizontal or vertical position. Continuous vertical and horizontal adjustment of Variostand allows perfect ergonomics for any operator. Suitable Kl Wnr - for 19" plug -in systems. AEG Circle 1181 on Repid Facts Card For this reason, even major sound companies will purchase commercially available modular enclosures for evalua- tion; first perhaps as sidefill monitors and, if the devices pass the test, then in quantity for full system use. Even then, some companies modify the boxes to suit their particular needs (Figure 10). Hanging system needs will increase any sound system's complexity. Once the realm of major touring sound firms, today even speaker manufacturers are experimenting with hanging hardware, and adding it to their loudspeaker system product lines. Although such systems Figure 10. Even well- equipped, commercially may seem to offer a quick and easy an- available modular loudspeaker enclosures swer to the question are often modified by major sound compa- of "how to get it in nies. Here, a brace of Meyer MSL -3s has been the air," a thorough knowledge of the covered with protective Ozite carpet for in- hardware intended for hanging use and creasing box life. rigorous safety procedures are firm requirements for any sound company owner considering such techniques. The actual cost of hanging gear will de- for stabilizing voltage levels can break larly for newer, younger companies. For pend upon the rigging arrangement the $10,000 barrier. The correct assess- the cost of a few sheets of plywood and chosen, and whether or not the chain ment of electrical power needs prior to the raw speaker components, a function- motors required will be purchased as a fabrication is an important aspect of sys- ing system can be had at great savings. capital investment, or rented as needed. tem assembly cost projections. (A single contemporary modular speaker A one-point hanging system for use with If there is any doubt whatsoever within cabinet from a reputable manufacturer small enclosures is easily assembled with your organization's staff regarding parts can cost more than $4,000). hardware store items, and can be a prob- choice and wiring practices, consult with The cost of handles, connectors and lem- solver for overhead monitors or fill a qualified engineer. An improperly de- castors or dollies to make the enclosures speakers in a ballroom situation. How- signed or poorly maintained power dis- roadworthy, adds to the build-up cost. ever, for even such simple hanging pro- tribution system can be a danger to your More sophisticated treatments, like projects, sound companies will typically per- own equipment and to human life. tective carpeting or integral hanging form stress-testing of components and re- points, will turn the inexpensive ply- ceive design certification from a structur- Speaker systems wood box into a serious capital invest- al engineer (Figure 11). There is perhaps no part of a sound ment. Often, it is not until the new cabi- Extra costs involved with hanging sys- system that can present a greater dilem- nets have been manufactured in quanti- tem development can include extra ma to a sound company anticipating the ty, painted and trucked to a show site, length loudspeaker cable harnesses, an assembly of a new touring system than that the developing company will get additional power distribution system for the loudspeaker enclosures. It is often adequate information about perform- chain motor operation, and an assort- tempting to build from scratch, particu- ance characteristics of the new devices. ment of nylon straps, steel cable bridles and safety harnesses for riggers. When planning a concert sound sys- Figure 11. A pair of Meyer UPA -IA loudspeaker enclosures are suspended from two points on tem, keep these points in mind: a custom -engineered bar, designed for use in a room divider ceiling track for ballrooms and convention centers. When budgeting costs, don't forget to include the hidden expenses. Carefully survey the available commercial hardware before committing research and development funds to custom -made projects. Standardized systems are in. They can save both time and money in the long run. Whenever possible, use traditional, accepted engineering standards and electrical assembly guidelines for system fabrication. Customized systems may be initially appealing, but once you build it, you'll be using it for a long time -they have an inherently low resale value. Above all, can the market bear your system's entry into a highly competitive field, and will you ever recover your investment if your venture becomes un- profitable? R.1 p

38 Recording EngineerProducer April 1987 R 9 0 0 0 SUPERCONSOLE

42 inputs 16 Aux sends 16 subgroups 8 VCA groups THE NEXT 8 Mute groups 16 x8 Output matrix GENERATION OF 4 band parametric EQ Comprehensivejackfield SOUND In-place solo system Optional input extenders REINFORCEMENT CONSOLES Designed to fuffillthe varying needs and budgets of all sound CORPION SR reinforcement applications.

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Te 1 . 0602 783306 Comprehensive outp_it EQ Teler 37329 A MEKNT G. Telex 662E26 A MEK USA Eighties Sound on the Road

By Steve Zelenka

Transforming Air Supply's traditional acoustic live -performance sound to one that emphasizes drums and electronic keyboards required the extensive use of studio techniques and signal processing.

Alive concert can be an enrapturing for replicating an artist's unique sound in just about anything. When you're mixing experience. Be it rock, classical, reggae live performance. Today's concert audi- live, everything is coming at you. You or any other musical genre, the ability to ences expect a closer album -type sound blink and you've missed your cue; it's his- enjoy an artist's live sound has become a than they did only half a decade ago. tory- you're on to the next song. Work- necessity in today's entertainment arena. An engineer should become an inte- ing in the studio you have the luxury of As a result, the live -sound engineer's role gral part of the band's sound -be it for rolling back the tape to the track and is becoming more and more important live or studio work -while keeping de- hearing it again. fined the distinct roles of a live- perform- I recently completed a 90 -city interna- Steve " Zoomte" Zelenka has handled studio production and live-sound mixing for The Who, Rod Stewart, ance vs. production engineer. The ad- tional tour with Air Supply, covering all Bob Marley, Duran Duran, Air Supply and, most re- vantage in being a live -sound engineer is types of venues throughout the United cently, Jermalne Jackson and David á David. that you can go into a studio and handle States, Australia, Japan, Hong Kong and

Air Supply in concert at Costa Mesa Amphitheater in Costa Mesa, CA.

40 Recording Engineer/Producer April 1987 QUALITY YOU CAN STAND ON AT PRICES YOU CAN AFFORD

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1. ET SERIES 4. ETR SERIES Fully adjustable keyboard arms (see insert) Available in various sizes (see photo) Height adjustable to 58" Optional casters: $35.00 Weight: 18Ibs. Color: black Load capacity: 300Ibs. All Tubecraft Products offer quick and easy assembly Colors: red, white, blue, black with no tools required. Nylon carry bag included Visit your nearest dealer or buy direct Be 2. MX SERIES Send your money order or certified check. Height adjustable sure and include complete shipping Weight: 6lbs. information along with model # and color Load Capacity: 801bs. desired Colors: red, white, blue, black Personal checks allow three weeks to clear Nylon carry bag included Master Card and Visa accepted All orders are freight collect 3. XT SERIES Height: 26" Tabletop Diminsions: 36'W x 20 "D Load Capacity: 1501bs. Casters included 41R9mcmv,T SYSTEMS Carpeted or Formica' tabletop (Casters optional with Formica top) Nylon carry bag included 1121 -26 LINCOLN AVE. HOLBROOK, NY 11741 (516) 56 7-8 588

Ciro e (20) on Rapid Facts Card

April 1987 Recording Engineer/Producer 41 grammed in two Yamaha DX -7s, which are connected via MIDI through a Mem- orymoog and Roland Jupiter 8. This keyboard configuration provided strings, horns and electronic effects for up -tempo numbers. I used a different Lexicon 224X program on each song, including inversed snare, chorus /echo and echo plate. I also used a 224 for backing vocals, and a Lex- icon model 200 for lead vocals, sometimes with a reverse -echo setting. The only Lexicon unit I leave operating all the time is the Prime Time. I program a stereo setting with a 3- second delay to provide a wide image.

Concert example with Air Supply For a recent Air Supply concert at the Three Midas PRO4A consoles handled front -of-house sound mixing duties for the Air Supply Costa Mesa Amphitheater, CA, Tasco tour. Of the 60 available inputs, 47 connected to stage instruments and DI sources, with 13 chan- provided the PA hardware as they did nels being reserved for effects returns. for the whole tour. Although each night had been set up with subtle differences, the following breakdown is typical of the Near East. When I started working tic drum sound with electronic percus- how I mixed the band's sound. with the band in 1982, as an independent sion. They are now using a Linn LM -1 From the house -mix position, I used live-sound engineer /producer, Air Sup- drum -machine trigger system and, on three Midas Pro4A boards of varied con- ply was moving to a more "electronic" some songs, backing tapes from a TEAC figurations. Of the 60 available input sound. Before then, their sound was A3440 ' -inch 4 -track (a technique I channels, 13 channels were reserved for mixed in a safe way; vocals, piano and learned while working with The Who on effects returns. Routing of those 60 chan- snare drum were up front and every- songs such as "Baba O'Riley" and "Won't nels was through eight subgroups to the thing else was pretty much forgotten, Get Fooled Again "). house system: even solos. I also began to emphasize guitarist 1) Kick, snare and high -hat. I felt that there are a lot more facets in- Wally Stocker's heavier chords, although 2) and 3) Stereo toms and overhead volved in the band's music. I wanted to the band's management was a bit con- cymbals. bring out the drums by adding some arti- cerned about the older crowd not liking 4) and 5) Stereo keyboards. ficial reverb and making them sound a thicker sound. Most of the main band 6) and 7) Bass, acoustic and rhythm fuller. I also now try and mix the band's equipment is kept down on stage, but I guitars. new keyboards into the overall sound. used an Eventide Harmonizer to make 8) Vocals. Generally, I wanted to make the band the guitar sound larger in the house, and The first 15 -input Midas board was sound a lot more progressive and full. a pair of gated AKG D12s in stereo on used solely for mixing drums. The last To define this newer and more con- two Dean Markley back -line amps to pro- imput channel was dedicated to the re- temporary Air Supply sound, I started duce a thicker, wider guitar sound. turn from a dbx model 500 Subharmonic supplementing the band's existing acous- We also had synthesizer parts pro- Synthesizer that handled bass drum, Linn bass output and snare top via an effects send. Although no longer manufac- 30-input Midas console handled on -stage mixing. tured, the 2-channel model 500 operates in the 54Hz -100Hz range and features two control knobs: the first boosts overall low frequencies a maximum of 12dB; the second know control-a sub - harmonic level- samples the input frequencies, divides that range in half, then outputs a signal that's an octave below the original. For Air Supply, snare frequencies were centered around the 80Hz range; via the model 500 the audience heard the snare at around 40Hz. In this way I get more punch from the snare, and put out a nice fat sound. For effects, channels 17 and 18 received a drum submix return from a Lexicon 224X running V8.2 noise -gate software. In addition, dbx model 904 noise gates were inserted into channel inserts and the 224X returns, except for

42 Recording Engineer/Producer April 1987 We don't mind looking a bit ridiculous if it helps make live sound sublime.

En em, ircorporatingTurbosound Flash- a multitude of "impossl r le problems. light ec no ogy. Every audience - and every artist - The V-2 also solves "impossible" problems of intelligibility without Frequency ultra-HF devices. It Response expects great sound. Unfortunately, artificial electronic enhancement or extraneous venues rarely cooperate with those transmits every nuance of the performance to every seat in the Fortunately, Turbosound house. And makes live sound more "lifelike" than it's ever been. -V.2 expectations. goes to any lengths to develop effective Finally, we'd like to point out one more important fact about this in professional audio performance the ridiculous - 10 to sound reinforcement prob- unique advance - Typical solutions lems - even when that entails a total re- looking part goes inside the box. examination of fundamental principles. Our determined refusal to rehash the conventions of enclosure design has led us to develop several patented

2nd Harmonic design principles. And to produce Drstonan unusual -looking loading techniques like our unrivalled TurboMie and TurboBass`" devices. Our search for a solution to the dilemmas of HF projec- nap » WOW gg 40000 tion and distortion has now produced FREOUENCYIHZI the radically advanced V Series. V Series combines aspects of mani- Curves have been smoothed for purposes of comparison. fold technology with Turbosound load- outputs of ing techniques to blend the Circle (21) on Rapid Facts Card multiple drivers gradually, minimizing phase cancellation. The first Only Turbosound is Ttirtosound realization of the V Series principle is the V-2 shown here. Available initially for the T-3 flare in our world -travelling TMS-3 full -range enclosure, this central focussing device couples two custom -built 1" Turbosound drivers. It extends the TMS -3's HF response to a true -3 dB at 20 KHz, an 0EdgeTech l reduces harmonic distortion dramatically and paves the way for the LONDON NEW YORE TOKYO s,'ri,' h.ortwrn applied far TurlaMid^ and TurIEitast' 1, vil' es are covered wurldwtdr hvarmciple Patent nrrsinile design patents Principle lranntcovenng\' Them, ii', fis. infnnlitnl in these designs err. therefore entirely unBp See Turtnnlond literature for frill udurmahun

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I r, i ti.r.rrrp r I . r r 1 n1n.r I.k rrI t I.i n i _" i. I,,,rk.p ,.r I, Thal ('r II. r k k e g'frl --_ I e brr.., I.-yu.''SI /bd/und Antik" \I.r.n.trnimk Tel 1 k I1111 ti Ihmy kung Irr Vutr. /ruh Audur Lark Pernr.rin!II59E72) 1Iu1,:rr F'.grT hTrk.,,Tr! In:11 29.1.17i1 Arum Randn ProAudio tinmlTel Inl1Lp5-9nu", rna "lei toll 201 Ip1 Awn ui sonrFlrk Equipment i Kb. Tel l0212:115911 Srrrgu WU/M.1 tixtr Ire srnge{arr Tr1 Irril:l:15-1595 Spain Irxtni Center Bangkok 'I:I 1021 iI1..15:nk.:yI Renyki.klu!I_._ l7f2 SII lien Inlrrnursrr ìltckhulm&I Owl 7.E.ISI2 SII s_rrrund Slay. S,hrmrnxenlTr! 1lll11:1:17 7Nurlurrd Rangkukllnrr(;r.gdm to I mourn Tel 1 o11 TUrbuaxmd Inudolt Tri 11111226-14991'SA T1d.,.exmd New York Tel 121211ra-9941i R Grrnam Adam Hall Weill "Digital has final

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600 user, AroaPd.. TeonM NJ 07666. C 1 .Soy s o legato:ma trodemont of Sony Corporation.

" n 44. y '-- IF y adapted to me:' Sit down at a Sony PCM -3202 2- channel digital recorder and you'll notice something strange. Mainly, that it's not strange. You can rock its reels, splice the tape, in fact, you can do everything you're used to doing with a studio - quality analog recorder. But still get great digital sound. And since it's Sony digital, you'll find that it's not only easier to work with, it's also easier to master with. Because the 3202 makes direct digital transfers to the world standard PCM -1630 CD mastering system. So if you've been waiting for a great tape machine that happens to be digital; don't wait. Contact your Sony Pro -Audio representative for a demonstration. For more information on the PCM -3202 and the PCM -3102 (71/2 ips version) call the Leader in Digital Audio at (201) 833 -5231. SONY ÊRO AUDIO Circle (22) on Rapid Facts Card Table I. House mixer channel designations and signal processing used in channel inserts. Input channels / through /5 were handled on the first Midas PRO4A console, channels 16 through 40 on the second and 41 through 60 on the third.

Channel Channel Number Sound Source Effects Number Sound Source Effects

1 PZM kick mic 904 gate to 30 Roland Jupiter 8 DI DN30 /30 EQ to model 160 limiter 32 Stage left DX -7 DI model 160 limiter

2 Linn -1 LM kick DI 33 Stage right DX -7 DI model 160 limiter

3 Snare top mic 904 gate to 31 Keyboard effects return DN30 /30 EQ to model 160 limiter 34 Yamaha CP80 DI model 622 EQ to model 160 limiter 4 Snare bottom mic 904 gate to DN30 /30 EQ to 35 Vocal mic DN30/30 EQ to model 160 limiter model 165 limiter 5 Hi -hat mic 36 Lead vocal mic DN30130 EQ to model 165 limiter 6 Rack tom No. 1 mic model 904 gate 37 Vocal mic 7 Rack tom No. 2 mic model 904 gate 38 Vocal mic 8 Rack tom No. 3 mic model 904 gate 39 Vocal mic 9 Floor tom No. 1 mic model 904 gate 40 Spare 10 Floor tom No. 2 mic model 904 gate 41 TEAC A3440 track #1 11 Overhead mic right 42 TEAC A3440 track #2 12 Overhead mic center 43 TEAC A3440 track #3 13 Overhead mic left 44 Lexicon 224 left return 14 Linn LM -1 snare DI 45 Lexicon 224 right return 15 dbx model 500 output 46 Lexicon Prime Time return 16 Simmons kit mix DI 47 Lexicon Prime Time return 17 Lexicon 224X left return 904 gate 48 Roland model 555 DI 18 Lexicon 224X right return 904 gate 49 Eventide Harmonizer returi 19 Electric guitar left mic 904 gate 50 Moog Stage Phaser return 20 Electric guitar right mic 904 gate 51 Lexicon model 200 return 21 Bass/synth left DI model 622 EQ to model 160 limiter 52 Lexicon model 200 return

22 Bass /synth right DI model 622 EQ to 53 Neumann U87 mic center model 160 limiter 54 Neumann U87 mic stage -left 23 Rhythm guitar mic 55 Linn LM -1 mix DI left 24 Acoustic guitar left mic 56 Linn LM -1 mix DI right 25 Acoustic guitar right mic 57 Introduction tape left 26 Yamaha C25 DI model 160 limiter 58 Introduction tape right 27 Yamaha DX -7 DI (panned left) 59 Playback tape left 28 Yamaha DX -7 DI (panned right) 60 Playback tape right

29 Memorymoog DI

48 Recording Engineer/Producer April 1987 QUALITY 1k` x the process begins here...

OJ$0ttor%s ping. conception C. .0:12.1.7,e, our customers 0',9 needs and delivering the QC' ,y c 1 y have come to expect. It is and giving them the resources to

. And ahvays. it is continually improving d our performance. ,'quality is the proceks. Circe (23) on Rapid Facts Card QSC Audio Products. 1926iPtabentia Ake.. Costa Mesa. (A 92627 714 64i-2540 .111111111.-- UL- drum overheads and high -hats channels, which were free from any noise -gate processing. The toms were gated very fast and tight, giving a strong top- and bottom-end response. As can be seen from Table 1, a second 25 -input Midas board handled guitars, stereo bass guitar, a Minimoog bass synthesizer and bass pedal effects. Acoustic guitar was run in stereo -with one side out of phase relative to the other -and a Eventide Harmonizer patched onto the output to provide a type of big, "George Harrison -style" acoustic guitar sound. Stage -right keyboards, performed by Dave Shelander, consisted of two Yama- ha DX -7s, a C25 and, periodically, a Ro- land Jupiter connected via MIDi and run in stereo through the second Midas desk. An additional pair of DX -7s, plus a Yam- aha CP80 piano for stage-left keyboard player Frank Esler- Smith, were also run into the second desk, with corresponding effects channels programed by the performers on stage. To The author's drum micing for Air Supply included a Crown PZM on a plexiglass sheet to cover make the keyboard mix sparkle, I the kick drum, Beyer M-201 on snare, AKG C460 on hi-hat. Sennheiser MD -421s on floor toms, connected an EXR Exciter across the AKG C414 on rack toms, AKG C460 on ride cymbal, Neumman U87 for ambience and AKG stereo keyboard subgroup output. C414s for overheads. Although I made primary use of a Lexi- con 224 for processing vocals by Graham

Figure 1. Console and equipment layout at mix position during an Air Supply tour.

MIC FOR n DN60 ANALYZER

MIDAS PRO4A CONSOLE #1 MIDAS PRO4A CONSOLE #2

15 INPUTS WITH 25 INPUTS SUBGROUPS AND MASTERS

Rack 1: cw z EXR Exciter H z_ Aphex Studio II Aural Exciter V1 î J Lexicon Prime Time effects processor Rack 3: o Lexicon model 200 effects processor Intercom systems a: w Roland model 555 Tape Echo Klark - Teknik DN60 spectrum analyzer o Eventide H949 Harmonizer Klark - Teknik model DN30/30 graphic z CC w dbx model 500 Subharmonic equalizers o cÑ Synthesizer Two dbx model 160 compressor - I-aa Lexicon model 224X digital reverb and limiters MIDAS PRO4A w (/) CONSOLE #3 z effects processor Two dbx model 165 compressor - Midas power supply limiters Eight dbx model 904 noise gates 25 INPUTS CD Rack 2: Lexicon model 224 digital reverb and PLAYER Four Klark-Teknik model DN30/30 effects processor (EFFECTS AND graphic equalizers TAPE RETURNS) Six dbx model 160 compressor-limiters Rack 4: Eight dbx model 904 noise gates Patchbay for all mic, tie and drive lines Two dbx model 165 compressor- to other racks. limiters Sony D50 portable Compact Disc Orban model 622 parametric player. equalizer Various cassette decks.

48 Recording Engineer Producer April 1987 The finest touring consoles never stand`

Many of the world's top artists regard Soundcraft touring consoles as outstanding. However, that hasn't made us complacent. We've made a few enhancements to the Series Four, derived from listening to the people who use it. And based on the wcrld's most successful live sound desk, the 800B. we've developed an ex- ceptional new touring console - the Series 8000. Both possess the advanced ergonomics, operational simplicity and reliability yoj've grown to expect. Series Four and Series 8000. Technology created for music. For further informaticn, contact us today. Soundcraft

:3351 Srxmarratt USA JBL Professional. 8500 Balboa B+ -_ . ar rl. Nortnrioye. GC9s3tltir Steve Zelanka with Jermaine Jackson during a pre-concert sound check.

Oddly, drummer Ralph Cooper didn't have the Linn composite drum mix routed to his on -stage monitors. Instead, monitor engineer Bill Chrysler sent Ralph a mix of the natural kick miced with the Sennheiser MD -421, and a Sim- mons kick. Because of feedback prob- Russell and Russell Hitchcock, the device make the entire percussive sound more lems associated with the latter's hemi- was also patched for piano and guitar distinctive and varied. spherical pickup pattern, we used the solos. The main vocal mix was connect- Ralph Cooper is physically a very small 421 for monitor feeds instead of the PZM. ed through a Lexicon Prime Time for drummer and had only a 20 -inch kick In addition, a Simmons kick sound was stereo effects, plus a model 200 with vari- drum. To achieve a larger bass sound, I preferred to that of the Linn, which only ous programs, such as a 100ms predelay 'mounted a Crown PZM on a 12 "x 10 "x' " provides a single output lacking the Sim- for reversed echo sounds. plexiglass sheet, which was then placed mons' dynamic qualities. All vocals passed through one side of inside the drum shell. The PZM output Mounted beneath the snare an Aphex Aural Exciter; was a Bey- the other side was gated quickly, compressed, boosted er M -201 mic, while was the high -hat re- dedicated to subgroups 1 and 8 to in the 80Hz -100Hz range with a Klark- ceived an AKG C460 with a CK5 capsule. provide good attack on snare, kick and Teknik DN33 third -octave graphic, and On rack toms I used tightly gated AKG vocals in the 700Hz to 7kHz range. finally connected through the dbx model C414s and, on floor toms, Sennheiser A third 20 -input Midas board was con- 500 Boom Box. MD -421s. For ambient micing, Neumann figured as a submixer for all effects re- A second kick sound, which was in- U87s -one for floor toms and one for turns, apart from the Lexicon 224X drum tended to provide mid and high slap, dif- rack toms -provided a sharp attack on patches. For high -hat and drum over- fered somewhat from the first setup. the tom sound. I also received a mono head I used a Moog Stage Phaser on an What I referred to as the Linn "Drum - mix from the Simmons electronic kit. aux send and returned to a separate Trigger System" involved patching out- For acoustic drum overheads, my mic - channel. The remainder of the board was puts from a dedicated Sennheiser ing preferences vary sometimes. On this configured for main vocals, using the MD-421 kick mic, the snare top mic and a date, I used two C414s as overheads and, Prime Time and model 200 for stereo C-ducer contact mic mounted on top of for ride cymbal, a C460 with a CK8 cap- out; backing vocals via the Lexicon 224; the snare, to a Linn LM -t drum machine sule. Both microphones are different, a Roland model 555 Tape Echo for multi- located at the house -mix position. (The with the C414s sounding fatter and ple repeats on vocal effects and guitar; MD -421 kick and snare top mics were splashier, and the C460 thinner and two channels (stage center and stage first routed through a pair of dbx model crisper. On some dates, however, de- right) for ambient micing; and a Linn 160 compressors and then to the Linn pendent on stage acoustics and other fac- LM -1 stereo mix. Four additional chan- kick and snare trigger inputs.) tors, I used three C414s or three nels handled replay C460s to of introduction mu- Separate snare outputs from the Linn cover drums. sic and special sound effects employed were routed to two channels on the first during the opening song. Midas desk. Output from the C -ducer Future trends contact mic on the snare was sent direct- Musical styles and tastes are constantly Drum micing ly to the Linn machine, and used to trig- changing. Back in the early Seventies, a With Air Supply, I was trying to ger percussive effects. I used a Roland driving lead guitar and up-front vocals achieve so many epic, orchestral sounds Boss digital sampler containing a sam- predominated in most rock songs. To- that I ended up using different reverb pled Linn Clap sound to manually trigger day, the emphasis on different instru- systems on the drums to enhance and handclaps for outros on specific songs. ments has shifted. The solid back beat -a

50 Recording Engineer Producer April 1987 Author Steve Zelenka at the trio of consoles mixing front-of -house sound for the Air Sup- ply tour .

percussive drum sound that drives 12 -inch dance mixes -is dominating new wave music. Studio engineers are now mixing up to 24 tracks of natural, synthesized and electronic drums, laying the resultant mix as basic percussion tracks for today's album sessions. A live -sound engineer definitely needs to duplicate the original sound of an album while mixing a concert date. In the case of Air Supply, the band's original album sound tended to be uneventful, compared to in- concert performances. In general, it lacked great production. But, with the 1985 album Air Supply, the band showed that they were capable of some interesting production work, thanks to producers Bob Ezrin and Peter Collins. I try to enhance the band's musical personality as a whole, without devi- ating too far from the traditional Air Sup- ply sound. But, there are recurring problems that consistently plague a live -sound engineer. Take acoustics, for example. Some arenas are very problematic, but I always try and get a decent sound regardless of whatever hall we're using and whatever speakers have been supplied. On the recent Air Supply tour, we used Meyer MSL -3s supplied by Tasco; seen here with the Stage mixing duties for the Air Supply tour were covered by Billy Chrysler, there were 10 cabinets per side, aug- DC-300A power amplifiers. Midas console, a rack of Klark -Teknik graphic equlizers and Crown mented with five subbass speakers, a combination that sounded very efficient when flown together. cities, the sound, explosive toms and flowing bands will be touring fewer I can get around many reverb prob- drum sound crew will have more time to set up lems by equalizing the house PA system. vocals that you can achieve. be less live better equipment at larger arenas. All of But, if the venue has exceptionally bad In the future there will cover the which should make for the perfect sound reverb or slap -echo problems, I'll try and shows. Bands will probably just Angeles, New check. R t:; P compensate by setting up a different major marketplaces: Los and that'll be it. RTat time for the vocals, so that the York, Chicago, Houston will see the show singer's voice floats in the hall. I love am- The rest of the country top Photos by Diane Fulton. bient arenas, because of the resultant via a satellite simulcast. Because

51 April 19137 Recording EngineerProducer Hands -on

Applied Research and Technology

ay.. . IMP BMW M 4MM, Mom war DRÎ ' Dígital Reverberation System

By Bob Hodas

The past year has seen a number of 40 programs in protected memory loca- standard 4- conductor telephone ex- low-cost digital reverb systems hit the tions and has the ability to store 100 user tension cord can be used if longer dis- market as the price of technology starts programs. tances are needed. to drop. The ART DR1, with its true Inputs are actively balanced and the MIDI In and Out jacks provide some of 16-bit linear architecture, is a prime ex- outputs single -ended. Access is via the most extensive MIDI control capabil- ample of combining high -quality sound 1/4-inch jacks that accept either TRS or ities available on any processor made to- with comprehensive MIDI control in a regular phone plugs. Input and output day. The real -time MIDI parameter con- small ergonomic package, and bringing may be either mono or true stereo mode. trol and mapping, called Performance all this to the user at a modest price. A rear -panel switch selects high- or low - MIDI, makes this unit desirable for Before writing this report, I spent two level input sensitivity, depending on keyboard players and composers using days at the Plant Studios, Sausalito, CA, whether you are interfacing with +4dBV sequencers. (See accompanying sidebar running a variety of instruments through or - 10dBV equipment. by Dennis Hannigan on page 59.) the DR1, and then used the unit on a mix Other back -panel controls include a session plus a live gig. Let's take a look at Dry Kill switch that eliminates the dry in- Front -panel controls the results. put signal from the outputs. This switch is Front -panel controls are well laid out The DR1 simulates a variety of very handy when using the DR1 as a and easily mastered. A segmented LED acoustic spaces, including halls, plates side -chain effect with returns run back meter displays input level as well as and rooms, while providing a number of into a console. A' footswitch jack can con- overload. Two independent sliders for special effects. (See Table 1 for a listing trol different assignable functions in the right and left channels control input lev- of factory presets.) The unit comes with Kill /Infinite mode. els and reverb -to-dry signal mix. Preset A remote control provided with each programs, user storage locations and unit plugs into a rear panel modular tel- parameter values are displayed in large Bob Hodas is RE/P's evaluations and practices con- ephone jack. Although the DR1 suiting editor. remote LED windows. I like the large LEDs controller comes with a 14 -foot cable, a much better than the LCD windows used

52 Recording EngineerProducer April 1987 by some manufacturers, because they relationship from the apparent sound when using DDL and Flanger /chorus I in- may be viewed from a variety of angles source. It really does work; I was left special- effects programs. found it it without sacrificing readability. with the distinct impression of walking convenient to continually refer back to Buttons indicating an up or down di- farther back into a hall's reverberant the quick reference card in order to do rection scroll through the values and op- sound field as I increased the controls. any manipulations. erate at either fast or slow speeds. Not When hooked up to a MIDI controller or The manufacturer should supply a being able to directly call up the required sequencer, you can create some realistic small template that would fit over the programs can be an inconvenience but, feelings of movement. value descriptions for each special -ef- because you can scroll through all 137 Because the unit is software based, I fects program. This would speed up ad- program locations in only four seconds, encountered problems identifying con- justments and put the information where this turned out to be a minor problem. trols as EPROM updates and more pro- it belongs -at the engineer's fingertips. What made the DR1 much less in- grams are added. Table 3 shows how the It is comforting to know, however, that tuitive to operate was the fact that pro- seven parameter descriptions change ART is continuing its research into new grams are displayed as a 2 -digit number or letter /number combination. In order to identify which hall or plate has been called up, the user must continually refer to the supplied quick reference card and make a list of user program locations. A many ways larger display showing program names There are would have been greatly appreciated. Programs currently running display to split a mic, an LED in the preset window. If any parameter is altered, this LED is ex- but only one way tinguished, indicating a deviation. I liked the fact that you could be running one program, call up another, and then in- is best itiate it at your discretion by pressing the Recall button. Jensen MB- series Mic Splitter Transformers All factory presets are permanently Wher you need to split a mic, you should use a trans- locked into memory; user locations can former 3ecause it provides a balanced, isolated signal to mixers' grounds be locked for strorage, or unlocked and the input of each mixer; none of the need be connected to each other (via the mic cable) so modified at will. User presets are easily ground -loop induced noise is easily avoided. There the parameters created by manipulating must be a Faraday shield on each winding so that the of a factory preset, then moving to an transformer will not provide a path for capacitive unlocked storage location and pressing coupling of common mode noise. the Store button. JENSEN TRANSFORMERS are best because, in The DR1's strong point is that it offers addition to meeting these requirements, they mic signal's fre- a great deal of versatility in parameter minimize degradation of the phase response, and distortion manipulation. Five bicolor LEDs indicate quency response, characteristics. To prevent common mode noise is up adjustment, which parameter for from being converted to a differential signal, while the values of that parameter are each end of every winding in a JENSEN displayed in a bright, 3 -digit alphanumer- TRANSFORMER has its capacitance ic LED display. Values are adjusted in the precision- matched to that These same manner as programs. All Room, winding's Faraday shield. are just a few of the reasons why Hall, and Plate programs share the same most ergineers end up using panel. parameters displayed on the front JENSEN splitter transformers. 2 shows the available control pa- Table The JENSEN JE -MB -C, JE -MB -D I rameters and value limits. really liked and JE -MB -E microphone bridg- the Diffusion parameter, and felt it im- ing trarsformers will split a mic portant in defining the density of reflec- signal to 2, 3 or 4 mixers. tions. The DR1 is capable of creating Insist on the best... some very dense programs that are great insist on a JENSEN. for handling lots of bass input. I also was impressed with the ability to set stopped (Decay) and Running (Mini- mum Decay) reverb times on all programs. The DR1 senses the input level and then switches to the longer decay value when the input drops below a certain threshold. This provides you with the ability to use short reverb times while the input is dense, thus maintaining clarity in the track, and retaining long reverb tails in the spaces. jensen transformers I The third parameter that makes my IN c O R P O R A T E 0 day is Position, which (as the name sug- i ntment only . 10735 BURBANK BLVD. N. HOLLYWOOD, CA 91601 Visitors by appo gests) allows you to simulate the distance (213) 876-0059 Closed fridays.

Circle (24) on Rapid Facts Card

April 1987 Recorcing EngineerProducer 53 Table 1. Factory supp/red preset programs

software, which can be added as a simple Preset Room Description Preset Room Description chip replacement. The final control is the Kill /Infinite FO EF.1 Character H4 ddl Ping -Pong mode (K /I), which can be controlled via F1 P1.0 Super Tight Plate H5 ddl Echorec a front -panel button or the footswitch F2 P2.0 Tight Plate H6 R5.0 Pop Room mentioned earlier. You F3 P3.0 Medium Plate H7 P3.0 Tunnel can assign one of F4 P4.0 Open Plate H8 R4.0 Dynamic Room three functions to this switch: kill the re- F5 P5.0 Large Plate H9 R4.0 Dynamic Pump verb; kill the decay but leave the reflec- F6 R1.0 Living Room JO R5.0 Stereo Image tions; or hold the reverb infinitely. In the F7 R2.0 Medium Bright Room J1 R2.0 Early Reflection DDL program, mode 2 kills regeneration F8 R3.0 Large Smooth Room J2 EG.0 Gated Snare and mode 3 acts as a repeat hold. K/I is F9 R4.0 Large Empty Room J3 EF.2 Downward Percussive just one more control that provides the GO R5.0 Large Night Club Flange DR1 with creative power. G1 H1.0 Practice Hall J4 FC.1 Short Flange G2 H2.0 Natural Room J5 FC.1 Long Flange G3 H3.0 Medium Hall J6 FC.1 Chorus Operational assessment G4 H4.0 Large Hall I learned all the DR l's operating func- Performance Midi: G5 H5.0 Event Hall tions quickly, which speaks well for its G6 EF.1 Cavern J7 H3.0 Key Velocity -Decay operational design. Adding to the con- G7 EF.1 Canyon Time venience is the small remote that allows G8 EF.2 Flange Mod Wheel -HF total parameter and program control. G9 EF.2 Step Flange Damping Except for the Store function, all front - HO EF.2 Drone J8 H3.0 Mod Wheel -Decay panel functions are duplicated H1 ER.0 Reverse Slap Time on the remote, H2 ER.0 Reverse Swell Key Number -Position making it a versatile tool. H3 EG.0 Gated Echo J9 H3.0 Key Number -Decay The DRI was quiet. The first thing I lis- Time tened to was the unit's output noise. I Mod Wheel- Position hooked up only the outputs to the console and ran the faders all the way to the top. This unit turned out to be only about 5dB noisier than the digital reverb unit I Table 2. Control parameters and ranges for Room and Hall programs. use for noise comparisons, which makes it one of the quietest on the market. Soundwise, the DR has a definite per- Control Description Values sonality. The algom ithms are bright and strong PRE DELAY Pre Delay 0-200 ms throughout the mid -range fre- DECAY Decay Time 0.1-25 s quencies. There is also a lot of high -end HF DAMPING HF Damping 0-19 response, which is desirable on some in- POSITION Position 0-9 struments but unacceptable on others. K/I MODE Kill rev. decay, Inf. 0-3 found that on most instruments, I used DIFFUSION Diffusion 0-9 the High Frequency Damping parameter MIN DECAY Min Decay 0.1-25 s more often. (max #Decay Time) Generally, both sustained and staccato keyboards sounded good with most programs. Guitar was also flattered in many cases. What surprised me the most was Table 3. Control parameters and ranges for f)DL (top) and Flanger/Chorus special effects programs. just how good kick drum and tom -toms sounded due to the high amount of diffusion available. The unit is able to do in- Control Description Values credible things with bass -heavy instruments. PRE DELAY Regen Delay 0.01-1.00 s The Room programs DECAY Left Tap's delay 0.01-1.00 had good varia- HF DAMPING HF Damping 0-19 tion but were pretty bright. The Halls POSITION Regen 0-19 sounded realistic and had lots of good ap- K/I MODE Kill rev. decay, Inf. 0-3 plications. Several programs reminded DIFFUSION Unused me of the type of coliseums and halls in MIN DECAY Right Tap's delay 0.01-1.00 which I have mixed live sound while on the road. The larger halls had the same characteristic reflection "rings" that I have found in all digital reverbs. Control Description Values Some special effects programs im- PRE DELAY Left Base Delay 0-100 ms pressed me more than others. The DDL DECAY Left Sweep Width 0.1-8.0 programs all had excellent bandwidth HF DAMPING Sweep Speed 1-25 and provided a variety of useful and POSITION Regen 0-19 pleasing delay effects. The Flange, Chor- K/I MODE Kill rev. decay 0-2 us and Gate programs didn't do anything DIFFUSION Right Base Delay 0-100 special for me, but the Reverse programs MIN DECAY Right Sweep Width 0.1-8.0 were fun, and the Pop Room was good. There are also a couple of large spaces,

54 Recording Engineer/Producer April 1987 N /DYM means better sensitivity N /DYM design means more microphone signal to cut through the electrical noise of mixers and processors for system "signal -to- noise' that equals even expensive studio microphones. New N /DYM" microphones N /DYM means break every Electro-Voice tradition lower distortion Neodymium, the rare earth super - but one. Excellence magnet at the heart of every N, DYM mic, not only creates an enormous magnetic field within the gap, the When was the last time you used a microphone that "fringe" flux outside the gap is also in- tense, surrounding the voice coil with performed so well you actually did a double take? You a uniform magnetic field for lower distortion even during peak SPL's. actually said, "Wow! This thing is fantastic." Chances are it hasn't happened in years. It hasn't happened because even though microphones have been modified and improved gradually over the years, there hasn't been any real breakthrough for over two decades. The new N /DYM'" microphones are going to make you say "Wow! " This innovative series of vocal and instrument dynamics represents the first genuine advance in microphone performance in nearly a quarter century. At the heart of this Electro -Voice breakthrough is N /DYM, a totally new microphone technology. N /DYM aligned design uses a rare earth supermagnet that is four times more powerful than conventional dynamic microphone magnets. The power and presence of these N /DYM microphones is anything but traditional. They convert more sound energy into usable N /DYM means signal than any other dynamic microphone. That's 6 dB high end sizzle hotter than the most popular! With 50 percent more surface area than other designs, the larger N/D But the proof is in performance. We know it's not the diaphragm intercepts more sound waves and converts this energy into components but the sound that equates to excellence in more output. Reinforced to prevent "breakup;" the diaphragm reliably your mind. See your Electro-Voice couples high-frequency pressures and voice coil movements all the dealer for a demonstration before way to 20,000 Hz. your next performance. N /DYM means less feedback Becho:Voice' To learn more about N/D Our supercardioid pattern rejects Series microphones, see more unwanted off -axis sound than your Electro -Voice dealer or the usual cardioid. And the unique write Electro-Voice, Inc., geometry of the N /DYM magnetic MUSIC MICROPHONES Dept. N, 600 Cecil Street, structure keeps our pattern super - Buchanan, MI 49107. cardioid at all frequencies. a MARK IV company ' -^ (25) on Rapid Fact, Card of which the Tunnel is great but not for tory preset programs to obtain the de- doing it my way. the timid! sired results. This has convinced me that I had mixed feelings about processing Instead of trying to describe all 37 fac- DR1 the was designed more for key- snare drums with the DR1. If I put in an tory presets, let's look at a few instru- board players than engineers, especially "English sound," with lots of top and bot- ments and where the best applications when you take into account the MIDI tom but very little in the mid -range, I lay. Please be aware that, except for Performance capabilities. But, with 100 found some good applications. When I keyboards and guitars, I performed some storage locations available, I felt strongly processed a tight snare with lots of crack heavy parameter manipulation all fac- on that there was nothing stopping me from or ring, I found the results to be much less than pleasing. My general fix was to EQ the effects Technical Specifications send and roll out a lot of the information, causing the midband overring. When I did this, the original drum sound could Input: stereo 47k0 balanced; +12dBV Factory presets: 40 (37 main pro- max. grams, plus three Performance MIDI be well matched with the reverb. As a Output: stereo /mono; low impedance; programs). rule of thumb, I got the best snare sounds unbalanced; + 12dBV max. . User presets: 100; internal battery by using lots of HF Damping, keeping Operating level: High = OdB; Low = back -up. Diffusion low, and placing the listening -12dB; rear switchable. Room types: 21. Position at medium to close. The pro- Dynamic range: greater than 90dB in MIDI receive channel: 1 -16, Omni, grams that I liked best were F7, F8, GO, -all modes. on /off. H2, H6, JO and J1. Frequency response: 35kHz dry; MIDI program: 0.127 ;; assignable to I had lots 14kHz reverb. any preset. of fun with kick drum. I achieved a beefier D/A converter. 16-bit linear. Performance MIDI: allows the DR1 to bottom end sound by respond to MIDI messages such as Note running both outputs with no panning on Software (Rev. level 1.2) On Velocity, Mod Wheel, Pitch Wheel, the console; it also helped reinforce the Decay time: 0.1 -25 seconds for all nor- After Touch, and others Control any kick image. To achieve the best results, I mal rooms; different in some effects of two values that define a preset in used high Diffusion with distant room programs. real time during live performance. positions. For standard reverb, programs Pre- delay: 0-200ms in 1ms incre- F4, F7, F8, G4 and H6 worked well. For ments; different in some effects pro- Circle (125) on Rapid Facts Card special effects, G5 with heavy manip- grams. ulation and H3 sounded good. I found HI has some good applications for Rap (sort

G SERIES STUDIO COMPUTER u necoramg EngineerProducer April 1987 of syncopated rhythms with a backward fects rack. FI had some rich harmonics lead vocal, but the larger plates were un- metal zipper in a can, if you can dig it). without the feelings of reverb. Plates 1 -4 ruly. F7 worked well for the lead vocals Toms were pretty happening when were good too. All Rooms had applica- also, and the DDLs sounded full range processed through the DRI. The low -mid tion, except for the Large Empty Room, and capable of some good moving vocal I didn't like on snare was just what the which sounded just like its description. effects. Backgrounds sounded best in F9, doctor ordered for toms and kick. F3, F6, All Halls were nice and effective. G3 and G4, and H6 was pretty good. For F9, G5, H7 and H8 were my favorites. I DDL's, Flanges and most other special a large airy sound, I used larger spaces used short decays combined with high effects provided creative stimulus. It with short decays and far Positions. Diffusion and mid to distant Positions. would be advisable to watch out for The manual is easy to understand and The toms also took well to special ef- some of the larger programs and effects, operation can be picked up in no time. fects, with the Flange programs (J4, J5) such as JI, in which long delays can pull Extensive documentation is provided for adding some nice harmonics, and mak- the keys out of pitch. MIDI operation. Concerning mainte- ing the toms stand out in a mix without The medium to large rooms really open nance, however, there are no schemat- washing them out in reverb. up for guitars, with F8 and F9 being the ics. Inside, the DRI is well laid out and The Gated programs (J2) sounded bet- best sounding. I thought that the Hall should be easy to repair, but it must be ter on toms than on snare. I really really sounded like some of my road gigs, left to someone familiar with heavily haven't found a digital special effects de- but I have become tired of battling those software -based systems. vice that produces a gated reverb pro- acoustics. It is good to know that the The ART DRI has many good control gram that sounds as good as one you can sound can be recreated if that's what you functions that give the user as much cre- build with real gates, but this is not bad. want. HI was fun, and H5 took me back ative input to the programs as they de- I found after testing drums that I to the days of Elvis; great for solos too. sire. The bright sound will not be all yearned for a low- frequency control on For lead and background vocals, I things to all people (or, should I say, in- the DRI. In some cases, I could have had found that the strong low -mid in the pro- struments), but there are plenty of pro- more bottom; with as many parameter grams could pull the vocal further out if grams that, with some listening and ma- options as the DRI provides, it's too bad the singer was a bit off pitch. My fix was nipulation, will create some very pleas- that ART left out LF adjustment. to EQ the return by rolling out a couple ing and interesting spaces. The DR l's af- Keyboards, whether sustained strings, of decibels at 40OHz with a broad band- fordability makes it an attractive main horns or staccato pieces, sounded good width. This was effective at smoothing reverb for a small studio, a secondary with almost every factory preset. It is out the reverb and was used for both unit for a large studio, and a highly con- easy to see why the DRI would be a lead and backgrounds. trollable addition for keyboard players strong addition to a keyboard player's ef- Tight plates FI and F2 worked well for and composers.

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April 1987 Recording Engineer Producer 57 i Static and Real -Time MIDI Control of the ART DRI By Denis Hannigan The DRI can receive on any of the 16 front panel value will change in quencing software, you can analyze MIDI channels, in either Omni or Poly response to the MIDI message), and the MIDI data stream and actually mode. In Omni mode the slaved DRI then set the starting/center value of the change the controllers after the fact. responds to data being sent on all 16 decay time at 2.0. For example, you can take a se- MIDI channels; no channel assignment You can also set the scaling to a quenced track of music and assign con- is necessary. In Poly mode, the slave negative value to establish an inverse trollers to the performance contours to only receives on a preselected MIDI relation between the DRI's front -panel guide the DR.! Or, if you've recorded channel To communicate in this value and the MIDI message. For ex- the MIDI data corresponding to an ef- mode, the transmitter (usually a se- ample, to control the HF Damping fect you like, just cut and paste it where quencer or keyboard) and the DRI with note on key number, I set the scal- you want it in the MIDI sequence. must be set to the, same MIDI channel. ing to a -52. While playing the DX -7, For random effects, I took a key- In MIDI Program mode you can the HF Damping is now decreasing inboard track already containing con- assign any of the DRI presets to 128 stead of increasing. troller information and played it MIDI program slots, which allows By combining these two settings, the through the DRI. Some interesting reverb and effects presets to be harder 1 pressed the keyboard, the results can be found in this roundabout changed from a keyboard. When you greater the reverb decay time. And the fashion. select a keyboard patch, the corre- higher up the keyboard I played, the sponding DR! preset changes with it. brighter the room sounds. In a sense, I Applications There is also an incremental preset can now tailor the reverb to a par- For the musician/producer, Per- mode for setting up a series of presets ticular keyboard performance; as can formance MIDI opens up a whole new that loop. However, this preset mode be seen, Performance MIDI opens up a world of creative possibilities. You can can only be effected from the DRI's lot of creative potential. interact creatively with the DRI as an front panel or remote unit and not via It's easy to record the DRI's Perform- instrument and record your perform- MIDI. ance MIDI data into a sequencer. One ance to tape or disk. Even after ex- Another handy feature is a kill way is to record MIDI settings live as perimenting briefly, I came up with preset, which turns off the unit's output you record the keyboard parts. This some interesting settings. upon receipt of a MIDI program takes some getting used to, since your Try note on key number to increase change command. keyboard style (attack, mod wheel, decay, and note on velocity to increase The DRI responds to both system ex- pitch bend, etc.) can affect the reverb HF damping. In this setting, the lower clusive and non -exclusive messages. and effects parameters. keyboard notes you play, the less Non -exclusive messages are used for Also, watch out for processor timing decay (bass notes are clearer) and the commands such as note on, note off, delays-making quick, radical changes greater your attack velocity, the darker modulation wheel changes and timing on certain parameters can cause slight- the room becomes (more presence). information. They are the most com- ly audible glitches. For example, when Or set note on velocity to increase mon MIDI messages and are not using note on velocity to affect decay, if decay, and modulation wheel to specific to any manufacturer's equip- you play a key hard and immediately decrease decay; you can now build up ment. System exclusive messages, on follow it with a soft attack, the pro- to crescendos with a long decay and the other hand, are specific to each cessor will adjust to the last velocity then decrease with the mod wheel. manufacturer's equipment, and allow played, and reverb decay will cut off For delay effects, set the note on the DR/ to communicate information abruptly. You can avoid this effect by velocity to increase regeneration and in such a way that it doesn't interfere using the correct scaling. the mod wheel to kill it. Or another with other products connected to the The quantization (resolution) of the choice is to use the mod wheel to in- MIDI interface. controller you are using can also cause crease regeneration, and the pitch Applications of system exclusive glitches. The mod wheel (14-bit) gives bend or foot pedal to kill the effect. messages include recording preset you smoother control than pitch bend I like to create special effects using changes and value changes into a se- (7-bit), especially for greater value the DRI's DDL room and percussive quencer, or the ability to edit changes; the musician's playing style flange /drone rooms. Assigning con- parameters on a computer and store should be adjusted to compensate for trollers to delay taps, drone frequency them to disk. You can also dump pre- these differences. or sweep width quickly achieves some sets from one DRI to another. An alternate method of sequencing interesting Twilight Zone-type effects! with the DR! is to record the music Using a breath controller adds a new Real-time MIDi mode data first, without effects. Then, while perspective to manipulating an effects In Performance MIDI mode you can monitoring the previous MIDI tracks, processor. As a woodwind player simultaneously control two of the cur- lay down a track or two of MIDI con- turned keyboardist, I find the DX-7's rent front panel values with MIDI mes- troller messages. This way, you can breath controller especially valuable. sages. For this Hands-On review, / used concentrate on the reverb and effects The ability to change room size or add a Yamaha DX -7 as controller key- performance separately from the delay to choice sections by using your board, both because of its popularity music. breath is helpful if both hands are busy in the studio and the number of avail- Another major benefit of Perform- playing parts. able controllers (pitch bend, mod ance MIDI is the ability to edit and For the engineer/producer, the ap- wheel note on/off,, velocity on /off, store effects presets to floppy disk. At plications of real-time MIDI are down- after touch, breath controller, data en- least one company, MusicSoft, has right exciting. With access to a device try slider, and foot controller). Ad- developed a visual editor program for such as the Yamaha MCS2 MIDI con- justable values on the DR! include the IBM PC and compatibles, with an trol station and a few MIDI-capable ef- front -panel value affected, MIDI mes- Apple Mac version to follow soon. The fects processors, programming and sages used, scaling (adjustable from program provides a full- screen view of storing complete reverb/effects mixes -128 to + 128) and starting /center all DR! parameters and functions, plus are possible. value (see Table A for details). assignment of MIDI programs and Per- For live mixing, complete setups can For example, to control the decay formance MID! settings. Such features be stored in preproduction and then time of a reverb room (front-panel are invaluable for fast editing, modified during performance. The end value) with note on velocity (MIDI preproduction and keeping a record of result can be saved for future use or message), I first set the scaling to a +44 effects settings after projects are done. passed to another engineer working (the higher the number, the greater the With access to some powerful se- the same venue.

58 Recording Engineer Producer April 1987 (

In the studio, a second engineer can learn to program a MIDI controller and work with the producer to set up the effects. Settings can be fine tuned in real time, while the first engineer sets up the mix. Linked to a computer- based MIDI sequencer, the mix can be recorded and saved to floppy disk. Many people will take a while to warm up to MIDI- capable devices like LISTE the DRI. As music technology snow- balls, it seems as if our new product manuals are forever open. As an avid MIDI user, I'm excited about the potential of Performance MIDI. It will allow "The MILAB LC -25 beats any mic you can buy for more dynamic control over effects, twice the price. It's incredible on vocals when creating and storing settings in produc- compared with the U -87 ... superb on accoustic tion, on- screen editing and storage, sequencing complete reverb /effects guitar, better than the KM -88 and it wipes out the mixes, saving them to disk and more of 414." a musical /performance interface with Larry Brown, Producer /Engineer effects processors. "The moment I tried the LC -25, I could tell the

Denis Hannigan is a composer /synthesist and difference. It's clear, clean and bright... when I get a contributing writer to RE/P. off the road, I have a great all around mic for my studio." Kevin Cronin, Lead Singer, REO Speedwagon Table A. Performance MIDI values and controller messages. "Total transparency. In terms of timbre, comparable to the very best tube mics, with sweet high - Front panel value affected: frequency." Kavi Alexander, Producer /Engineer, Performance MIDI off Pre -delay Water Lily Accoustics Decay "The best sounding microphone available for live HF Damping Position vocals, don't leave home without it!" K/I on /off Dan Healy, Sound Engineer, The Grateful Dead Diffusion

Min Decay (not applicable to Perfor- "Not only did I use the LC-25 on ROD STEWART's

mance MIDI reverb rooms) live vocals, I used them on the brass section and

for drum overheads. I also used Milab's VM -41 on MIDI Controller Messages: the hi -hat, and their DC-96B s on snare and tom tom. The results were great!" Specific: Note off key number Lars Brogaard, Sound Engineer Note off velocity Note on key number Note on velocity 7Zeor, Poly key pressure ate ToZG... Channel pressure Pitch bend Low noise for today's 14 -bit Controllers: digital applications. Excellent directivity. Solid brass Mod wheel (1, 33) construction. Breath controller (2, 34) Insensitive to Unassigned (3, 35) Transformerless. hand noise. Foot controller (4, 36) Cardioid Condenser. LC -25 PA - Portamento time (5, 37) Designed to provide 10dB pad and Data entry (6, 38) the high standards of high pass filter Main volume (7, 39) performance demanded LC -25LL Balance (8, 40) of a studio instrument. Line level output Pan (10, 42) Expression pedal (11, 43) Distributed by 7 -bit Controllers: EXP Hold pedal (64) 11288 Ventura Blvd. Portamento (65) Suite 304 Sustenuto (66) Milab Studio City, CA 91604 Soft Pedal (67) 818- 843 -1830 R -E/P TELEX 4900006950 E-MAIL IMC2140

Circle (28) on Rapid Facts Card April 1987 Record;ng Engineer/Producer 59 Legal Aspects of Digital Sound Sampling

By Henry V Barry

When using sound samples, recording and production engineers should carefully check the origins of the digital data, if only to protect themselves from possible copyright infringements.

Sampling devices often create some in- regarding digital sampling center upon high, and usually is taken simply to mean teresting dilemmas. After a session dur- copyright ownership. They involve who that the author did not copy from some- ing which several thousands of dollars owns what and, often more important, one else. The requirement of fixation in a have been spent on hiring the best string who can stop whom from doing what "tangible medium of expression" is players available -which players happen with a particular sample. In the case of satisfied by affixation in any medium, to be playing a simple line that would be digital samples, the answers are deter- such as magnetic tape or a floppy quite easy to sample -what recording or mined mainly by a congressional policy diskette. Recent cases have found that production engineer has not considered of providing a lower level of copyright fixation in read only memory (ROM) also making a sample of that sound for future protection to "sound recordings" than is qualifies. use? Or, when participants in a session given to other categories of works. No protection is given to ideas under have been struggling for hours to First, I'll discuss the general protec- copyright, only to the expression of achieve a respectable drum sound and tions afforded by the Copyright Act of ideas. For example, there is no copyright meanwhile you come across a CD con- 1976 and how they are obtained. This protection for the idea of making an in- taining a great sounding drum break that will be followed by a discussion of how verted snare sample, but each such sam- can be sampled, triggered from an ex- samples and other sound recordings are ple made subsequently may be protected isting acoustic drum track and added to distinguished under the current copy- if it meets the originality criteria. the mix, who will refuse and why? Final- right law, from computer programs, musi- The fact that protection exists or "sub- ly, when someone offers you a diskette cal compositions and other literary works. sists" from the creation of the work containing a sound sample, is it legal to means that works are protected by the make a copy of it? Establishing copyright copyright law, whether or not the crea- For everyone involved in the record- in sound recordings tor (usually referred to as the author) has ing process, the use of digital sampling Under the Copyright Act of 1976, taken the time formally to register the devices raises these and other interesting copyright exists from the time of crea- work with the Copyright Office. legal and ethical questions. This article tion in "original works of authorship For sound recordings, the law requires will examine some of those questions fixed in any tangible. means of expres- that a form of notice, consisting of three and set guidelines for the use of sampling sion, now known or later developed, elements, appear on all copies. devices and sound samples. from which [the works) can be per- The first symbol is a letter P in a circle; Most of the legal questions that arise ceived, reproduced, or otherwise com- second, the year of first publication of municated, either directly or with the aid the sound recording; and third, the name Hank Barry Is an attorney at Cooley, Godward, Castro, of a machine or device." of the owner of the copyright. Huddleston á Tatum, Palo Alto, CA. The standard for originality is not very The medium of fixation is irrelevant;

60 Recording EngineerProducer April 1987 sound recordings fixed in records, tapes, other than the author, depending upon corded, is sufficient to prevent the literal CD-ROMs, or other media such as disk- bargaining or employment relationships. copying of sound recordings. It does not ettes (floppy or hard) or EPROMs are A producer or engineer working for a compare, however, to the greater protec- copyrightable, as long as they contain record company, for example, will usual- tion accorded other categories of works, fixations of sound. ly undertake a blanket assignment of the such as computer programs, musical rights to his or her work to the label. compositions and literary works. Who is the author Sound recordings are defined as of a sound recording? works that result from the fixation of a The creator of a sound recording has a series of musical, spoken or other copyright in that recording from the mo- sounds, but not including the sounds ac- ment he or she creates it. A recording is companying a motion picture or other by definition a reproduction of some- The creator of a sound audio-visual work, regardless of the thing else. However, it is important to recording has a copyright nature of the material objects, such as point out that the creator or author of the discs, tape or phonorecords, in which sound that will be reproduced, whether on that recording from they are embodied." In addition, this that person is a speaker, a singer, a the moment it is created. category includes tape recording of writer and /or an arranger, must usually sounds. give his or her permission for the crea- The primary reason for according a tion and copyrighting of the sound re- relatively lesser degree of protection to cording. (Defining the circumstances sound recordings is historical in origin. under which such permissions might not Under the Copyright Act of 1909, no pro- be required is very difficult. In all cases it Similarly, a musician who is recorded vision was expressed granting copyright is better to express permission in specifically for the purpose of producing in sound recordings. For the most part, writing.) samples will normally assign all the record companies and other owners of Once the creator of a sound recording rights in the recording to the company or sound recordings relied upon state copy- has assembled this bundle of permis- individual producing the samples. right acts or judicially -developed legal sions, he or she can create an in- principles for protection against piracy. dependently copyrightable "fixation" Samples as "sound recordings" Confusion regarding the legal status of and claim author status for that work. The Copyright Act sets forth a level of sound recordings made it difficult to Of course, the party that can actually protection for works that are sound re- deter record pirates. Thus, the first claim the copyright may be someone cordings. The level of protection ac- federal statute expressly prohibiting the

Advancing technologies can move at G such a rate a new product may blur by without offering the true explanation of why it was developed in the first place. Quite simply the new GLM is a superior studio quality microphone that incorporates all the benefits of its larger more conventional predecessors. Crown technology has always ignored the conventions of new product development and recognized no limits in achieving the ultimate in professional quality. See your nearest Crown dealer. Find out how this incredibly small microphone achieves such a high level of performance. Crown International, Inc., (219) 29 t -8000 1718 W MLshawaka Rd., Elkhart, IN +6517 ocrownu

Circle (27) on Rapid Facts Card April 1987 Recording Engineer Producer 61 copying of sound recordings was passed computer program is defined as "a set of Copies of Form SR and the forms used in 1971. statements or instructions to be used for copyrighting other types of works are directly or indirectly in a computer in available from the United States Rights granted under copyright order to bring about a certain result." Copyright Office, Library of Congress, We will now assume that all applicable The important thing to note about this Washington, DC 20559. permissions have been assembled and a definition is its "verbal" quality. A pro- recording has been made, whether it is a gram is something used to bring about a Infringement of copyright 50- minute analog tape recording of an result. This serves to distinguish, for ex- in sound recordings orchestral work or an 8- second sample of ample, signal processing programs (that In the case of all types of works other a piano sound. The author of that record- manipulate data and produce a result) than sound recordings, the right to from the signals themselves. Because samples are merely data and do not "bring about" a result, they are probably not programs under the Copy- Once the creator of a sound Act. right Because samples are recording has assembled Distinguishing sound recordings merely data and do not the relevant permissions, The distinction between digital "bring about" a result, they can create an samples and musical compositions is fair- they are probably not independently copyrightable ly easy to see. It is perhaps more difficult to distinguish samples from other data in programs under the "fixation " and claim form, such as word processing or digital Copyright Act. author status for that work. musical notation files, that do not bring about a result and are therefore not "programs" under the copyright law. A block of data (such as word processing file containing a short story), assuming, or the party claiming through such ing it meets minimal standards of origi- reproduce the copyrighted work is not author, immediately receives certain nality, would be a digital representa- taken to mean that an infringer must rights under the 1976 Copyright Act. tion of a literary work entitled to full make an identical copy of the work. These rights are as follows: copyright protection. A digital sample is There are numerous cases that define cop- To reproduce the copyrighted work in also a block of data that does not in itself ying in a more liberal way. The cases copies or phonorecords; bring about a result and a digital sample say that copying can be proved by show- To prepare derivative works based on would, therefore, most likely qualify as a ing that the alleged infringer had access the copyrighted work; literary work under the Copyright Act. to the copyrighted work, and that there To distribute copies or phonorecords However, the congressional policy is substantial similarity between the of the work to the public by sale or other regarding sound recordings discussed copyrighted work and the alleged copy. transfer of ownership, or by rental, lease above may complicate such logic. With respect to sound recordings, or lending. Although the courts have not been however, the law provides that only As noted above, there is no public per- faced with the issue, I suspect that they those reproductions "that directly or in- formance right in sound recordings. The will apply a genesis test for determining directly recapture the actual sounds duration of the rights under copyright for whether a block of data is a sound fixed in the recording" are prohibited. Im- sound recordings created after January recording. That is, if the data "began life" itation or simulation of a sound recording 1, 1978, is for the life of the author and in the analog world as a pattern of sound is expressly excluded from the definition 50 years after the author's death. If the waves, the data will be considered a of infringing activities. A literal copy of a work is a work made for hire (a sound sound recording for copyright purposes. sound recording must be made in order recording made in the course of a pro- Under this test, for example, a sample of to constitute infringement. ducer's employment by a record com- an acoustic piano would be sound Of course, where there is literal copy- pany), the rights endure for 75 years recording. A digital representation of a ing there will be substantial similarity. A from the date of publication or 100 years waveform generated within a computer bit of electronic alteration will not alter from the date of creation, whichever is by an operator using a synthesis pro- this fact. In the criminal record piracy shorter. gram would be a literary work, and a case of United States vs. Taxe, the signal processing program would be a defendants acquired records and tapes Distinguishing sound recordings computer program. from retail outlets and then re- recorded from computer programs them onto 8 track stereo tapes; they Because the information that com- Registration of copyright were altered by speeding up the record- prises a sound sample is stored in digital Although copyright exists from the ings and adding echo and additional syn- form in memory or on a magnetic time a work is created, there are certain thesizer tracks on a multitrack in the pro- medium, it is tempting to think of that in- legal remedies that are available only if cess. Their conviction for violating the formation as a computer program. Com- work is registered. Registration is accom- copyright law was upheld. puter programs are eligible for full panied by submitting to the Copyright copyright protection (that is, their Office a copy of the sound recording (two Other defenses authors are granted more rights than the copies if the work has been published), If electronic alteration is not a defense three listed above), subject to a statutory along with a completed Form SR and a to infringement by literal copying, what provision that grants owners of program check for the registration fee. The re- is? The answer is: "Not much." The line copies the right to make an archival copy quired copies of the sound recording of cases that includes the Betamax deci- or adaptation of the program. may be submitted on the media set forth sion would suggest that making a copy of Under the Copyright Act, however, a on Form SR. a sound recording that you have pur-

62 Recording Engineer/Producer April 1987 2.34 ' '111111111911 111 111111111611 '1 ms, - ta //10100 A.Y- 31 i: 'r. 111111111'11 e w « 1 111111161I :161

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High quality, professional performance versatility rugged metal construction with performance and feature extras. It's AMR System I

4 Channel Multi -Track Cassette Recording 3 Band EC) (with sweepable mid -range) on each Mute switch on each input System input Auxiliary maste- send control 28 dB of Headroom Peak Hold Level indicators Assignable Auxiliary master retirn Solid metal construction Electronic Stopwatch High Power internal headphone amplifier Overdubber " Multi- function pedal remote Insert "patch" jacks on each input Dolby' B and C Noise Reduction control (optional) Pan Pots on each input (assignable to tracks 1 -2, Solenoid opera'ed transport function controls Monitor Mixer section 3 -4, or L -R) Zero Stop and Zero Play 6 x 4 mixer for tracking and overdubbing Overdub, Ping -pong and mixdown without Interconnectinc cable harness ( ncluded) 10 x 2 mixing capability for mixdown patching or changing signal cables Manufactured in the USA.

If you are serious about your multi -track recording, the AMR System I offers the features and performance found in large and expensive professional recording equipment. See the AMR System I at your local AMR multi -track dealer and hear the difference.

Dolby is a Registered Trademark of Dolby Laboratories Corporation AMR'AUDIO MEDIA RESEARCH ROUTE 2 HWY 503 DECATUR MS39327 I601635 -2244 "the American Sound" Circle t28) on Rapid Facts Card Reproduced copyright notice from Jazz From Hell album sleeve.

+' MI PNAIPRI/NINSIR/tL 1/1. NI NUM R(StR141 IuIRNI!(I ItPI1IICINKAMIINI IS A 1"III NIIN If APWIICANI lAIIS ANI sllt(C I1 CRINRA! MIS(n(IIM YAIN/ACINRII ANI IIS/RIiNI(I II CAMI/ RECORDS. INC.. A SNWNAA/ Il CAPIII! IMIIS/RI(S-(N. INC. MIAMI IR N.S.A.

Sampling Realities: E Frank Zappa's experience with his recent Jazz From Hell album

By Dan Torchia

For a producer or engineer, securing Zappa concluded that there was no be not commercial. And the reason protection against unauthorized sam- clear-cut language that refers to sam- people steal things off other peoples' pling may seem a remote possibility. pling. Because most of the copyright records is because they want a certain Until the law catches up with tech- law was written at a time when sam- 'commercial' sound. nology, the short-term solution may be pling technology didn't exist, there is "Like stealing so and so's snare drum evolutionary, rather than revolu- no clear legal definition, he says. sound-or the other common in- tionary: treat sampling as just another "I think the whole copyright law stance- people taking CDs of the Star form of sound recording and claim ex- should be updated to include the most Wars soundtrack music and taking isting copyright protection. recent developments in technology," whole chunks of John Williams' score One artist /producer who has taken he emphasizes. "Whenever you have with the London Symphony Orchestra just such a step is Frank Zappa. His interpretational possibilities, that and using that for a string sweetener." most recent release, Jazz from Hell, is opens up a big can of worms." probably the first album that claims Identifying samples copyright protection against unauthor- Collecting samples If you think that one of your sounds ized sampling. Because Zappa composes and has been sampled without permission, Not only is such a notice needed, records on a New England Digital spectral analysis might provide some Zappa says, but the copyright law Synclavier, he uses a variety of ap- useful clues, Zappa offers. "You could should be changed to reflect the new proaches to collect sound samples. use a Synclavier for example, to print technology. Zappa hires musicians at $100 an hour out a 3- dimensional graphic depiction The album's copyright notice states to play samples into the Synclavier. of a given sound." that "unauthorized reproduction/ The musicians know that they are being "Even with echo modification and so sampling is a violation of applicable sampled at the sessions, he says, and forth, there could be enough tell-tale laws and are subject to criminal prose- they sign releases that describe what waveform intonation to help you iden- cution." The additions are relatively the session is for. tify a given sample, " he says. minor compared with a standard copy- Seven of the eight songs on Jazz from Until the law provides clear copyright notice, but Zappa felt the changes Hell were composed on the Synclavier, right protection against sampling, Zap - were needed. with one song being a guitar solo. pa advises others to include similar "1 suspected that something like this Album information contains composi- notices to the one printed on the album was going to come up maybe two years tion information and also credits the cover for Jazz from Hell. Not only do ago," he says. "I spoke to my attorney musicians who were sampled for the people need to protect themselves, they about it. He was completely unaware Zappa album. also need to make sure that they aren't of the ramifications of it [sampling]. / Although he does not know of an in- violating another musician's copy- took it upon myself to design the stance where his music has been right. notice." sampled, Zappa says that putting the "If you're going to do sampling, " he After examining the copyright law, copyright notice on the album was a concludes, "you have to give some con- basic business decision. sideration to the people who have "I've never been confronted with that already gone through a lot of time and because my music is not the kind of trouble to put specialized sounds on Dan Torchia is managing editor of RE/P and a thing that a person would want to im- records, and not be a bandit and steal freelance guitaristlkeyboardist. itate or steal; what I do is perceived to those things from somebody else."

64 Recording EngineerProducer April 1987 chased or received over the air for your right law provides are particularly impor- personal use in your home is not an in- tant for people working in the music infringement. Two other arguments that If the data "began life" dustry, we should all try to keep that are often made are as follows: overall incentive structure in mind when Extent of copying. In the sampled in the analog world as deciding those seemingly unimportant drum -break example quoted above, the a pattern of sound waves, legal and ethical questions that come up defendant might argue that the portion every day. P of the sound recording taken was so the data will be considered slight as to be insignificant. In general, a sound recording An outline of issues In software protection and licens- the law responds to this argument by ing is available without charge from the author, c/o for copyright purposes. Huddleston & Tatum, 5 Palo at Cooley, Godward, Castro, looking how much was taken in rela- Alto Square, Palo Alto, CA 94306. Please enclose an tion to the whole, not only from a quan- 8Y: "x11" self- addressed stamped envelope with suNl- titative standpoint, but also from a cient postage for five ounces of return mall. qualitative one. If a particular drum sound recording is very important to the whole of the recording from which it is being taken, the taking of even a short portion may constitute infringement. Purpose of the copying. In the example in which a diskette containing sound samples is duplicated, the person making the copy may claim that, although this is technically infringement, it is harmless because he or she does not intend to make additional copies and sell them. The opposition argues that this is infringement and, perhaps more importantly, if this type of activity were per- mitted the economic incentives that a copyright law is supposed to offer for the production of new works would be lost. This is a difficult issue that will become more important as R -DAT recorders and other means of high -quality duplication become available. It is a widely practiced form of infringement that raises ethical questions for those who believe that copyright provides an important incentive to the production of new works.

Remedies In general, the remedies for infringement are injunctions against further copying, actual damages and recovery of the infringer's profits. Criminal penalties can also be imposed for certain types of infringement. Statutory damages (rang- ing from $250 to $10,000- awarded in place of actual damages and defendant's profits) and attorney's fees can be awarded only if the plaintiff has registered the work with the Copyright Office within certain time limits. Copyright litigation is usually very complex, and certain law firms specialize in this type of case.

Conclusion The purpose of this article has been to point out some of the legal and ethical issues associated with sound samples and devices. Like tapes, samples are sound recordings that may be infringed. Like Canore Cable manufactures the best in high quality, professional 'Star Quad" tape machines, sampling devices may be Microphone, Video, 'Quad' Speaker, Musical Instrument and Data Transmission used to copy and thereby infringe rights Cables, Cable Reels and Multi- channel "Modular Snake" systems. in other people's sound recordings. Because the incentives that the copy- Request Canare's NEW full line catalog (No. 4).

CA/V.9/9E CABLE 832 N. Victory Blvd., Burbank. CA 91502 (818) 840 -0993

Circle (29) on Rapid Facts Card April 1987 Recording Engineer/Producer 67 Mobile and Remote Recording

By Gary H. Hedden

What kind of technical and operational features should a prospective client look for in an audio remote recording facility?

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68 Recording Engineer/Producer April 1987 Asuccessful remote recording project ings from all varieties of locations. that I am not yet through experiencing usually results from many weeks of care- Remote audio trucks can also be used the wide variety of sessions available in ful planning by specialists who somehow to handle the complex requirements of remote audio. manage to anticipate potential disasters, video and film productions, mainly Nevertheless, some general principles and carefully formulate alternatives that because even the most sophisticated apply. First, for a live concert session, seem to solve problems even before they video trucks just can't dedicate sufficient the recording facility and sound rein- develop. on -board space to handle multitrack forcement should function as indepen- Experienced studio producers, engi- music recording. dent systems. Because mic and line neers or musicians may be thoroughly Perhaps we should first clarify an signals from the stage area need to be perplexed when asked to produce a live idealized way in which principle contrac- routed to the monitor mixer, house recording. They may not even be able to tors work together in a typical live- mixer and the truck's recording console, find viable companies that operate concert multitrack recording. Although complex grounding and impedance remote audio facilities. And once an example would be helpful, the nature problems can develop when the systems located, it may be difficult to evaluate the of remote recording is such that typical are interconnected. technical capabilities and staff of com- or normal just doesn't exist. Having ex- The objective here is to split the signals peting companies. perienced the recording of a 50 -piece or- in such a way that the stage performance Without a doubt, developing and keep- chestra in the woods, a 1 -time festival is virtually unaffected by the recording ing the budget is equally challenging. with some 15 different acts performing in process. The recording engineer will Although this article will emphasize the one evening, a 24 -track recording of a probably want to add separate audience remote multitrack recording of live con- comedy show (one principle mic), a cir- mics, and perhaps change or supplement certs, mobile trucks have frequently cus, rock and roll live-to-satellite and the on -stage mics or direct -input lines. been used to produce studio-like record- R &B produced in a garage, I'm certain For more complex shows, submixes

Gary Hedden, who has been engineering remote ses- Full Sail's mobile is equipped with a 32 -input Sphere Eclipse console, two Sony JH-24 mutti- sions since 1982, is president of GHL Audio Engineer- tracks, Otani MTR -10 and MTR-12 2- tracks, Fostex 1S-3 and Yamaha NS-10 monitors, Roland ing, a Nashville -based company that operates a small studio and a full -scale remote truck. SDE-3000, Lexicon 480XL, model 200 and PCM-41 digital effects, UREI, dbx, Aphex and Om- nicraft compressor and noise gates, a Time Line Lynx time code synchronizer and a video /intercom system.

Selection of Remote Recording Facilities Omega Audio 8036 Aviation Place Dallas, TX 72535 214-350-9066

Westwood One 9540 Washington Blvd. Culver City, CA 90232-2689 213-204-5000

Le Mobile 11131 Weddington St. North Hollywood, CA 91601 818-506-8481

WGBH Productions 125 Western Ave. Boston, MA 02134 %,.%,,.%..%..%..%%.%.. 617-492 -2777 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%r,%%% /tttt///11/lllllii1111%%%1VOIt4ti'. One Pass One China Basin Building San Francisco, CA 94107 414- 777-5777

GHL 2807 Azalea Place Nashville, TN 37204 615-269-5183

Full Sail 660 Douglas Ave. Altamonte Springs, FL 32714 305-788-2450

Anril 1 4R7 Recnrding EnginAer/Producer 69 and effect returns may also need to be cept by offering a different selection of Omega Audio's mobile is equipped with a connected to and from the recording microphones). The sound reinforcement 38-input API console, JBL model 4430 moni- equipment. For instance, the truck may system, on the other hand, and especial- tors, two Otani MTR -90 24- tracks, two Otani return a backing -vocal submix to the ly the stage monitors, can adversely af- MTR -10 2- tracks (with interchangeable 4-track house mixer, or the house mixer may fect the recording's quality. It's easy to on 1/2-inch headblocks), dbx mode! 160, 162 and 165 compressors, ADR Vocal Stressor, send a critical delay effect to be recorded see that serious problems can arise if atti- two UREI LNI176 compressors, Lexicon 224X in the mobile truck. tudes are inflexible. digital reverb with LARC remote and a com- Recording engineers are usually una- Intercoms must provide quick access prehensive RTS 1FB and intercom system. ble to improve the sound in the hall (ex- between the recording crew, staging crew, video production (if appropriate), and perhaps broadcast engineers, while isolated systems will allow individual crews to communicate among themselves. The audio truck might also use one or more closed- circuit video cameras to help anticipate changes on stage. Dur- ing video shoots the audio crew will usually monitor at least one of the available production feeds.

Pre-production and communication As in most situations, preparation and communication are the keys to success in remote recording. Before contacting a remote audio company, try to define the specific objectives of your recording. Live recordings may ultimately be used as an album, video soundtrack, broadcast or just for analysis by the artist. In some situations, a stereo mix direct to '/. -inch may be sufficient; others may require two multitrack machines with all the outboard goodies. Many times, the show is recorded on all available machines as additional assurance against equipment failure.

Westwood One's Concertmaster I mobile features a Sony JH-636 console, Ampex MM-1200 multitracks and ATR-102 mastering transports, plus a full complement of processing equipment.

70 Recording Engineer/Producer April 1987 Le Mobile is equipped with a 32 -input Neue model 8058 console with NECAM servo -controlled automation, a custom -designed 12-input submixer, two Studer A800 multitracks, two Studer A810 2- tracks, a Studer TLS2000 time code synchronization system, Dolby SR noise reduction racks, EMT 250, 244, Lexicon model 200 and Yamaha REV-7 digital reverb units, URE1 LA -3A, LN1176, dbx model 160 and Neve model 32264A compressors, custom- designed monitoring using JBL drivers plus various video equipment. :a.,':. r,' LG':

If the direct 2 -track mix is great, except for one portion of the show, a quick remix from the multitrack may complete the production. Allow the mobile engineers to determine the possibilities in advance, and you'll be able to control the cost without sacrificing production flexibility. The budget is a familiar restriction in remote recording. Ideally, you should know what the business people would like to spend on the project, as well as the maximum available funding. During the event, you may need to make some quick decisions that increase the production cost. (Most remote companies won't

Orban's 424A Gated Compressor/Limiter/De-Esser is a versatile and economical production tool. It offers a wide range of hands -on controls to facilitate difficult level control chores where maximum flexibility is required. Fea :ures include: Fully- adjustable compression ratio, attack and release time, release shape, idle gain, and de- esser for unmatched versatility Astonishingly transparent control action, even under extreme situations-no pumping, breathing, or processing artifacts Can be utilized as a hard or soft peak limiter or as a gentle "soft- knee" compressor plus full - 'unction de -esser Orban Associates Inc. 645 Bryant St., San Francisco, CA 94107 (415) 957 -1067 Telex: 17-1480

Circle (20) on Rapid Facts Card April 1987 Recording EngineerProducer 71 release the tapes until ail bills are fully elude electrical power, the routing of quirements of remote trucks. paid.) If your first task is to prepare a cables, parking, acoustical problems (like The myriad of audio and video multi - budget, at least try to classify the level of a particulary noisy air conditioning sys- way snakes need to be routed away from quality desired by the investors. tem) and extra costs for stage hands. potential sources of electrical inter- A typical mobile truck needs access to ference, while avoiding the possibility of Location shooting an electrical service rated at 100A, damage from equipment dollies or fork- If possible, inspect the location of the possibly 3-phase, with the supply being lifts. The length of the audio cable should recording before shopping for a mobile available at the start of setup time. be minimized to maintain the best signal truck. If you cannot actually visit the Larger halls frequently have a conven- quality. place, speak to the stage manager, or ient provision for power hook -up that is While discussing your show with the someone else in authority and determine isolated from the lighting circuits (a stage manager, you might receive a good any limitations imposed by that par- familiar source of electrical noise in recommendation for a truck, since he ticular venue. Areas of concern could in- audio), and are aware of the cabling re- probably has experience with several different companies. There are several other sources of referrals available. Although the pub- The audio section of One Pass' video production vehicle features a 24-input Auditronics model lished directories are helpful, they don't 700 console, an Otani MX-5050 2 -track and various outboard signal processors. For music - always provide the information you're recording dates, a 24-track can be hired in from an outside rental company. looking for. The information may be out - of -date, and the apparent number of competing rigs is probably misleading, because some companies offering remote services are actually consultants that will represent you to their favorite independent truck. However, a consul- tant may be the best approach to your project, because he makes the effort to know the current marketplace. If you elect to go shopping directly, seek out some recommendations from musicians, producers and engineers. Check out the credits listed on your favorite albums and video concerts. Recording studios in the area can also help in locating viable choices. In reality, there are very few fully equipped remote trucks, and their business image is fairly low -key. Most of their business comes from word -of- mouth promotion. Evaluating mobile operators Assuming that you now have the names and phone numbers of some potential suppliers, let me offer some suggestions on the best way to evaluate the merits of each of them. Choosing a remote company is similar to choosing a studio, except that distance often may make it difficult to actually visit the facility and meet the key people. You'll find several varieties of equipment lists and vehicles. Depending upon your specific requirements, you can concentrate on fewer candidates by know- ing their basic qualifications. The vehicles fall into four categories: Strictly portable equipment. Vans or straight-trucks. Converted buses or motor homes. Tractor -trailer rigs. Either the budget or specific event location may eliminate some choices. Portable equipment is most often used in orchestral recording, although there are certainly other situations where the portable approach is sufficient. I know of one highly respected remote company that is

72 Recording Engineer'Producei Apr 1 1987 Sectional view of the GHL mobile showing (from left to right): the rear cable storage area and reels, audio control room equipped with 36-input Harrison MR-4 console with Sound Workshop ARMS automation, Cipher Soft- touch time code synchronizer, Lexicon and Quantec digital reverbs, Marshall Time Modu- lator, Eventide Harmonizer, Valley People, Aphex, UREI and dbx compressors, Fostex IS-3 monitors, two Otani MTR-90 multitracks, two Otrai MX -5050 2- tracks and an MTR -12 2/4-track, and a rear maintenance shop and production lounge.

setting up four, 2 -inch machines and a 70 -input console for a 46 -track remote in Africa; obviously, something of this corn - plexity represents an exceptionally portable system. If you elect to contract a company using such equipment, it will need access to a suitable space at the hall to set up the Our new software installed in your DR1 offers you th-D most extensive MIDI control room. implementation of any reverb made and includes Pert xmance MIDI Most mainstream remote recording, You now have real time control, in addition to full computer contro. preset however, involves too much equipment durip reload, and master /slave operations allowing you to link two DR1 s to be easily transported separately, and it and Other features standard in ART's new Version 1.2 software include a is permanently installed in a truck or bus. Flanger /Chorus Room, a Preset Sequences feature and 10 additional new It goes without saying that larger Presets. vehicles are more costly to construct, Factory who performance, check out the specification for our transport and operate, and require park- For those demand DRI with Performance MIDI ing space at the hall. They offer the advantages, however, of ensuring quick PRESETS 40 FACTORY 100 USER PROGRAMMABLE' set -up, consistent monitoring and isola- D/A BANDWIDTH 16 BIT LINEAR - 14KHZ RESPONSE tion from the sound in the hall. UPDATEABLE YES' AND. WE DELIVER VERSION 12 NOW AVAIL BLE' F EMOTE CONTROL YES! FULL CONTROL OF ALL REVERB AND PERFORMANCE MIDI FUN ,TIONS' The recording formats available for MIDI YES' THE MOST MIDI CONTROLLED REVERB AVAILABLE' remote recordings are variations on SPECIAL EFFECTS YES' UPDATEABLE AND EXPANDABLE, several familiar categories: DECAY TIME 0.1 TO 25 SECONDS AND DYNAMIC DECAY TIME =APABILITIES' 2 -track stereo (direct -mix). PREDELAY 0.0 TO 200ms IN 1 Oms INCREMENTS, POSITION AND DIFFUSION' Narrow -gauge multitrack (8 -track on OTHER CONTROLS H F DAMPING. 1/2 -inch; 16 -track on 1- inch). Simply, it you want the best sounding reverb with the fulleDt MIDI Single multitrack (16- or 24 -track on implementation available including the best sounding PLATES, ROOMS AND 2-inch). HA_LS, contact us. We'll continue to impress you wit, unique prodt_cts that Dual multitrack (46 -track or continu- delver superior performance! ous recording). Call or write today. for more information, Some mobile trucks are carrying digi- Digital Reverberation Systems tal stereo or multitrack machines, and Digital Delay Systems most can rent them for an additional fee. F ill Line of Equalizers P`tch Transposer Packages The main advantage of the dual- machine Spttware Update Packages approach is the ability to continuously Applied Research & Technology Inc. record a live session without having to 215 Tremont Street change tape reels. PFO -AUDIO NEVER Rochester. New Ytxk 14608 You should check out how many con- SOUNDED SO GOOD! (716) 436-2720 sole inputs will be needed, as well as how

Circle (31) on Rapid Facts Card

April 1987 Recording EngineerProducer 73 WGBH Production's mobile features a 40 -input API console, two Otani MTR-90 24-tracks, two Ampex ATR -102 2- tracks, UREI and Auratone monitors, and BTX and Adams-Smith time code synchronizers.

SAVE many signals need to be shared with the ing truck. stage. Many times, additional mixing in- Check to see that the internal layout of puts can be provided by satellite boards the control room area is workable for to submix less critical sources. Don't your engineering style. There are as TIME forget to include adequate micing of the many design approaches for monitor sys- audience, and extra console inputs pro- tems and equipment location as there are vide a measure of security against sur- remote trucks. Some facilities are best prises and failures. suited only for recording, while others Because there may be many surprises can be utilized as post- production or mix - at the gig, you should also have con- down rooms. fidence in the technical integrity of the When you have sufficient time to overall system. Power conditioning, evaluate the monitoring system, bring grounding immunity to RF interference along a familiar source on tape or CD. If and, in particular, the type of interface to the main system sounds too unfamiliar, stage and house equipment or video you can also operate with a smaller, truck may seriously affect your project. close -field monitor system mounted on Usually, a remote audio truck is isolated the console. via transformers and balanced audio If your project involves video or film, lines from all other on -site equipment make sure that the audio equipment grounds. The better rigs have several op- fulfills the appropriate requirements. An tions that can cure most problems. experienced technical advisor may be needed to coordinate the efforts of the Microphones and monitoring video and audio staff to ensure proper In order to evaluate the number and synchronizing and editing during post - types of microphones to be used to production. For fast, accurate service, record the live date, remember that most Perhaps the most important factor to please remove the peel off critical mics will be electrically split with consider is the area of personnel. label used to address your the PA or sound reinforcement system. Remote audio is vastly different than The artist and his sound contractor will studio sessions. Because there is little magazine, and attach it to be active in the selection process. You time to develop a rapport with the the Reader Service Card, need to identify which console will sup- various technical crews, a cooperative the Address Change Card ply phantom power to the condenser attitude is essential. Whoever is actually or to any correspondence mics and active direct boxes. During the mixing the show must be experienced in you send us regarding setup and recording, any repatching of remote work. If you are planning to use powered mics must be coordinated by an engineer from outside the remote your subscription. the mixing engineers, or there will be company's staff, make sure that the latter transient "kabooms" and power tran- is amendable to a free -lancer. The sients sent to the other consoles. Any chosen engineer must know his primary house or audience micing, however, is tasks as they relate to the final goals. usually isolated and unique to the record- For instance, if the show is to be re-

74 Recorcing EngineerPrndurPr Anril 1QR7 mixed later for an album release, the quires extra knowledgeable people on is likely to seem large, but remember stereo monitor mix can be compromised stage, keeping the various mixing that, if all goes well, you will generate a in favor of cutting great tracks. The in- engineers updated on input assignments, lot of product in a short period of time. tensity and concentration might cause and maintaining constant vigilance on The following ideas might increase the average studio engineer to behave grounding /interface concerns. your cost somewhat, while greatly irrationally. Sometimes, however, too many decreasing your risk (remote recording is Most remote audio trucks are built by helpers can be inefficient and difficult to essentially risky): an engineering entrepreneur; try to ob- coordinate. The optimum balance is If at all possible, schedule the key peo- tain his or her presence at your gig, even achieved when everyone has a full -time ple to attend a show prior to the record- of spe- if he is only there to "baby -sit" your mix but manageable task. ing. This is impossible in the case engineer. If you've made some calls and ex- cial events, but any familiarity with the plored the areas I've mentioned, and still staging and music helps tremendously. Audio production staff have more than one choice of facility If scheduling permits, a setup day A typical remote session requires three available on the date in question, con- and /or rehearsal day is very valuable, crew members. An on -stage assistant, sider yourself fortunate. When obtaining and usually less expensive to book than a who is always available via intercom, bids, make sure that you've included all full recording day. maintains the truck -to-stage interface, possible expenses: And finally, don't skimp on the tape recording tape and is ready to assist if problems Mileage and /or daily transportation budget. In the final tally, If develop. The mixing engineer will be fees. These range from virtually nothing is probably your cheapest insurance. about tape thoroughly pre- occupied with the con - for a local supplier, to perhaps $1.50 per the engineer is so concerned intro, sole(s). The tape-machine operator runs round -trip mile plus daily driver ex- usage that he misses a spontaneous spend hundreds of dollars to the 2 -track and multitrack transports, penses and truck rental to your location. you may changes reels and usually keeps a de- Basic daily rates for the facility. As jn repair it later. both in studio tailed log of any information that may be all business, the more complete rigs are For those of us who mix are seldom helpful during post -production sessions. more expensive to rent. and trucks, remote dates enjoy a More or less people may be involved in Travel, lodging and food expenses for routine. While we thoroughly album, remote a given show, depending on many other the crew at the show. well -produced studio compare factors. Music festivals are perhaps the Additional equipment rentals. as audio engineers find nothing to most difficult to handle, because the needed. with the impact of a live performance. stage setup is constantly changing. A live Recording tape. recording or broadcast of a festival re- At first glance, the overall investment

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April 1987 Recording Engineer/Producer 75 Production Viewpoint:

Wendy Carlos, composer /synthesist, in her MIDI equipped personal -use studio. Wendy Carlos

By Amy Ziffer

From the release in 1968 of Switched -On Bach, through a variety of innovative albums and film scores to her latest offering, Beauty in the Beast, this prolific producer /musician has demonstrated that synthesizers and electronic music offer the composer an enhanced palette of sound textures and colors.

Many consider Wendy Carlos to be a award -winning composer /synthesist be- career, but I felt for the whole industry, leading pioneer of electronic-music com- tween sessions at her Greenwich Village the whole world, and it's just a quick position, and possibly the first person to personal -use studio. With Beauty in the snapshot of that intersection. As I was truly popularize and legitimize the use of Beast receiving critical acclaim, our in- working on Beauty in the Beast, I felt synthesizers and synthesized sound. depth interview began with the project's that it was probably the most important Over the course of a long recording conception. record of my career. career, which began in 1968 with the release of Switched-On Bach, and con- RE/P (Amy Zifer): Beauty in the Beast RE /P: How did you develop the unusual tinues with her most recent work, Beauty has been a long time in the making. and alternate tunings used on Beauty in in the Beast, she has consistently charted When did you start work on the project? the Beast? new musical territory. Her new project, a Wendy Carlos: Several years ago, at WC: Back in 1955 or 1956, at about the series of original pieces that experiment least. In many ways, I've been working same time the RCA music synthesizer with alternate tunings and microtonality, on it, on and off, probably the better part came to the public's attention, I was it arguably the most innovative to date. of the past two decades. There was an in- reading books on tunings and tern - RE /P caught up with the Grammy evitability to this particular record, not peraments. The ones I used on Beauty in that it's the only thing 1 have to say on the Beast grew out of a lifelong aware- A Los Angelesbased freelance engineer, Amy Ziffer the subject of possible has a bachelor's degree in audio recording from the timbre and tun- ness of what a lot of other people had Berklee College of Music, Boston. Her recent ses- ings -but this was the first time many done before me. Each of them has a dif- sions Include a variety of music and multimedia parallel paths in music and technology projects at MotownHitsville Studios, Hollywood. ferent history; they vary all the way from came together. Not just for me in my "I stole it," to "I just sort of invented

76 Recording Engineer/Producer April 1987 by it" -the latter based on ideas that have listen to how beautiful the sounds are on soon discover that you're spoiled been around for years and years. the album. digital's wide dynamic and low noise. come to cut the LP and I stumbled across a few myself by hap- When you then py accidents, some were taken from RE/P: Have you ever experimented with cassette (loop -bin master) versions, you ethnic ideas developed by many cultures polytonality or atonality? have to go back to limiting the dynamic over many hundreds of years, and were WC: On a new record that'll be out this range a little bit. I did the level ad- ideas that came about while tinkering in spring, called Secrets of Synthesis, which justments by hand. I did not want to use the studio. is my homage to the whole field, and to a limiter or compressor, so I just rode the all of the people who helped me get fader gently throughout the whole RE/P: On the liner notes for Beauty in where I am, I demonstrate a scale that is remastering stage. the Beast, you mention a scale you used 13 equal -sized steps in an octave. And philos- in the title cut, called Alpha. How is this that's exactly the right scale to use if you RE/P: Do you have an overall Alpha scale constructed? want to fool around with atonal music. ophy of recording and production? "Just Imaginings," a cut off Beauty in the Beast, has polytonality all over the place. I started out by imitating a type of texture that piles together many As I was working on tonalities all at one time. I was curious to know what it would sound like if those If I did use sampling it Beauty in the Beast, tonalities were not tempered the way would be as a tool for it was probably that ours are, but tuned to the just inter- I felt that editing and putting the most important vals of what I call the "harmonic scale." The answer is that it sounds lovely. together a piece. record of my career. I much prefer the sound of polytonality when the notes are tuned properly, in just ratios. It looks like polytonality and bitonality are at home in the new world of being able to tune things correctly. WC: I not to be too habit -bound; I'm WC: There is a property of equal try myself from falling into temperament that's desirable in and of RE/P: On Beauty in the Beast, as well as always stopping Of course, in the itself. The symmetry of always having previous studio projects, you've taken on too many patterns. when you're talking the same size intervals available (equal the duties of engineer and producer, as recording studio sensible practice, there are tempered scale) is musically fascinating, well as composer and performer. When about good, are good to keep, such even if it has no acoustical foundation did you start handling engineering duties? some habits that as using reasonable levels. For synthe- whatsoever. I thought, "Let me see if I WC: The first exposure I had to record- I've always found that it's can find a scale that has some pure inter- ing was back in high school when I put sizer work, performance vals, but also equal -sized steps." together a film with an 8mm movie best for me to put the full '/4 machine, and value on the tracks, so that I'm not hav- I built a scale in which I took the size of camera and a -inch tape more than look after the the minor third, split it into four parts discovered that the two could be made to ing to do much in the mix. Later on, you and then stacked up as many of those stay in sync if you did a lot of editing. In overall balance I met this can never put in the interpretation that parts as I could within the octave. It turns college at Brown University doing while you're playing. out that when you do that, by luck, after fellow who, at the time, was running the you've missed repeating five more of these steps (from only professional remote recording facili- that your composi- the minor third), you hit a perfect fifth ty in Rhode Island, and he asked if I RE /P: Do you find maintain their integrity in the within such a close tolerance it sounds would help. I learned to set up micro- tions from an idea to the master tape, far better than the equal -tempered scale. phones and run the Ampex tape transfer does and the ability to hear Because we now have the minor third machines. or multitrack things at various stages of completion within the fifth, we should then expect to Then I went to Columbia- Princeton become a form of inspiration in itself, be able to play a major triad. In this way, Electronic Music Center. In those days, give you new ideas? you have a way of playing a triad that's doing electronic music, there was no and is the first project that I did not purer than in any of the tempered scales way you could not pick up an awful lot of WC: This score paper. Usually I'm aware of. But you also have this "polish" in recording and editing. After I write out first on is where you put your ideas down, strange ability to play melodies in this in- left, I got a job at a studio in New York that if a composition has a mind terval that exactly splits a minor third. that no longer exists, called Gotham and discover The kind of thing you're talk- The Alpha scale lets you create har- Recording. Gotham hired me on the of its own. is something I've encountered monies very smoothly and yet makes basis of the fact that I was among the ing about it happens on a recording, your melody very exotic. fastest people they had ever seen editing. before. When it's for very different reasons. For an Unfortunately, if you keep going with The tape I had to put together every day example, you hear sounds that are these steps, when you have almost would usually take me about half my and fatter, so they want to go at a reached an octave, you're just a mite flat. 8-hour shift, and then I could play around bigger tempo. And, when you take the next step, you with the equipment. slower kinds of feedback when overshoot the octave -so there is no oc- You receive all recording and that definitely in- tave in the scale. RE/P: As well as having a hand in prac- you're the overall piece. The ideal is to This property gave the album its title tically every aspect of the album's fluences leave yourself open to make a change because, at that time, I called (the Alpha realization, did you also become in- when you realize you need one, and to scale) "the beast" -and hence "beauty in volved with the mastering stages? throw away wonderful minutes of music the beast," thinking how beastly this idea WC: Oh, I do all that! I'm like a 1- person when they just don't belong there. was of not having an octave interval. Yet band. Mastering to digital, as I do, you

April 1987 Recording Engineer/Producer 77 Table 1. Mathematical origins of the chroma or well- tempered scale, based on the common use For Beauty in the Beast I threw away of A = 440Hz. probably three or four album's worth of

music, because it just didn't work. I Note Frequency (Hz) Difference of frequencies Ratio of frequencies allowed myself to take lucky things that would happen in an improvisational way A 880.0 880.0 (880.0 - 830.6) = 49.4 = "f2 and make them become part of the com- 830.6 position. G# 830.6 830.6 (830.6 - 783.9) = 46.7 = "f2 783.9 RE /P: Did you lake an active role in the G 783.9 design of your personal -use studio? WC: I guess I did all of it myself. Original- ly, I had a lot of input from a design engineer who helped me put together the plans. Of course, it's undergone so many modifications now that it's con- 523.3 siderably different from the original. (523.3 - 493.9) = 29.4 523.3 = "f2 I've got it to the point where the 493.9 (custom) console has about as wide B 493.9 493.9 a (493.9 - 466.2) = 27.7 = "f2 signal -to-noise ratio as is theoretically 466.2 possible, probably something like 115dB. A# 466.2 466.2 (466.2 - 440.0) = 26.2 =' =f2 It was last rebuilt just a year ago, and is 440.0 now as quiet as anything out there. A 440.0 The room was built as a Faraday cage,

The Mathematics ofAlternate Tuning Scales

A common misconception we have decide to move to; the same applies to notes whose frequencies fall between about Western music is the belief that minor thirds, and any other interval those of the well- or equal- tempered the way in which instruments are that can occur. scale. There are many ways to devise tuned is the way have they always been So why, you might ask, if it makes so such scales, and they do not necessari- tuned. This is untrue. In fact, up until much sense, wasn't this well- tempered ly have to have constant sized inter- roughly 250 years ago, many conflic- scale in use all along? Here's where vals. Of course, other cultures have ting tuning methods were simultane- things get sticky. if you think back to dealt with the problems and possibili- ously in use throughout Europe. The your high -school physics classes, you'll ties of tunings in myriad different changing needs and desires of com- remember Pythagoras' experiments ways, some of which can be heard on posers, however, result in the invention with vibrating strings. Picture a guita' Wendy Carlos' Beauty in the Beast. and standardization of the scale com- string, say the low E, set into motion by By way of an example, the line notes monly used today. plucking; not only is E produced, but for Beauty in the Beast provide the The two most essential features of also various overtones. (Overtones are following explanation of the Alpha our chromatic scale, often referred to notes whose frequencies are whole and Beta scales used on the title track: as the well -tempered or equal - number multiples of the fundamental) "The new scales used for [blending tempered scale, are: It just so happens that the interval of two quasi- grotesque ideas with a Its division into exactly 12 semi- the fifth that is produced as a natural romantic theme] are quite odd. The tones; and consequence of this series of overtones first ,heard, called Beta, splits the The absolutely constant size of the (hence, the expression a "perfect" perfect fourth into two equal parts (ac- interval between any. two successive fifth), is not the same as the fifth in the tually eight equal steps of nearly 64 notes, no matter which notes or which equal -tempered scale. Although cents each), and the second, Alpha, register are selected. minute, the difference is but audible. It does the same to the minor third (four The first feature is usually easily is compounded if you attempt to tune equal steps for 78 cents each). While understood; the second is not so sim- an instrument with real perfect fifths both scales have nearly perfect triads ple, however. From Table I, it can be throughout its range. (two remarkable coincidences), neither seen that, although the difference in The importance of the fifth in rela- can build a standard diatonic scale, the frequencies of any note and its im- tion to the fundamental is beyond the and so the melodic motion is strange mediate predecessor will vary, the scope of this explanation. Suffice it to and exotic." ratios of these frequencies is a constant say that if we desire acoustically ac- Another track, "Just Imaginings," is value equal to the 12th root 2, of also curate intervals, we have to scrap the described as being "perfectly tuned in a written 1' \12 (approximately 1.05946). ability to modulate freely, and vice ver- Super -Just scale that the composer What this means for composers is sa. Over the course of Western music, refers to as Harmonic scale. It con- that when they modulate from one key the need to modulate won out. tinues past the fifth harmonic ofjust in- to another, they can be confident that A scale with acoustically correct intonation all the way to the (prime) there won't be any unpleasant har- tervals is called a just scale. Another 19th. "And then," Carlos continues, "in monic problems due to differences in scale in use in the past that tried to a 194 note per octave slight of hand, it the size of intervals. In other words, a resolve this conflict slightly differently modulates all over, including two perfect fifth is a perfect fifth, no matter is the mean -tone scale. circles of fifths, at the climax to sec- which key you're in or which key you Microtonality refers to the use of tions one and three."

78 Recording Engineer/Producer April 1987 are marketing and is shielded from all of the New York (EIAJ) digital format and some of the fan- He and a friend now Slave broadcast signals. We used Sheetrock cy Sony Betamax VCRs. I've still got an something they call the Mulogix with foil backing, and screwed it Ampex 2-track, a 3M 4 -track and a 3M 32, because it has 32 oscillators and can a MIDI keyboard. They're together onto a galvanized steel track so 16 -track with a rebuilt set of Dolby A301 be slowed to R &D that the metal foil touches the metal cards, which I'm now going to replace Betatesting it now. It will provide important products. track; the carpet is covering more with SR cards. feedback for more AES are trying to aluminum screening. All of these are tied I've never used 24 -track because of the My friends at the my arm to come down to Los together, so the whole room is a conduc- narrow track widths -43 mils is just too twist Angeles in May to give a talk at the Com- tive cage. narrow. Beauty in the Beast was tracked If they twist my The grounding star point on the con- to 16 -track and then mixed down to digi- puter Music Conference. arm hard enough, I'll probably come sole is a penny, and everything grounds tal, so there was one analog pass. But the with my Slave 32 to demonstrate sounds to that. There's been times when we've sounds, not having been sampled, have and tunings. [The AES conference on grounded the shield to the star point, but no microphone limitations. to getting a really "Music and Digital Technology" will be I think right now that the room is floating I'm looking forward held May 1 -3 in Los Angeles. See page 8 on the inside and the shield is grounded. fine MIDI sequencer that can edit easily I for more details- Editor.] The best test is that when we put a and take variable tempo and meter. radio or television in there, we get the also want to see Macintosh software :: How did you deal with the prob- lousiest reception in the world! equipment for dumping music sequences RE/P onto score paper, so that you can read lem of playing a keyboard devised for scales, but which is RE /P: What kind of synthesizers and notes on a page. equal temperament used to control altered tunings? recording equipment are you now using? I'm impatient about a lot of things and pieces of WC: I have a 16-bit Hewlett- Packard WC: I always laugh at interviews where those, I think, are the important 9825, for which I wrote software that they ask "What box do you use ?" They gear -ones that I wish I had but don't! allows me to tune the Synergy [syn- just talk about what boxes they own. engineer, thesizer]. I have another set of software Who cares? So I use a Stanley screw- RE/P: What role did your that allows me to call up the tuning driver and this guy uses a Sears and Roe- Stoney Stockell, play in the project? tables by just pushing one key, but that buck screwdriver. Does it really matter? WC: l've never really given Stoney ade- was horrible. I've got tape machines, a console, quate credit. He is a very good program- truly After I finished the record in 1986, I equalizers, echo chambers and digital mer, and he knows how to put the hard- took an old keyboard I had that was one delays -the units everyone else is using. ware together. Without him I would not octave long and turned it into one that l've been using the Sony PCM -F1 /701 be at this stage -it's that simple.

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Circle (32) on Rapid Facts Card April 1987 Recording EngineerProducer 79 could control the Hewlett- Packard. It for combining old and new; natural with and a painter, I would pick the latter. But took a me couple of months to do, but I man -made. What do you think about the it takes a lot longer; you can take more finally found a way so that when I use of synthesizers to duplicate the pictures in your life with a camera than pushed C it said to the Hewlett- Packard: sounds of traditional acoustic in- you can ever hope to paint. It's a slower "OK, send to the Synergy the tables for struments? way of working, but you can then come C." If 1 do it quickly before I play my first WC: It's probably the only way that up with things that don't already exist. note in the new key, it immediately you're ever going to learn to do any- If I did use sampling it would be as a dumps in the new tuning. thing. I think a good artist learns tool for editing and putting together a The truth is that, with some of these perspective, shading and color balancing, piece. But it wouldn't be because that's new elaborate tunings I'm fooling with and may even try and learn to imitate a the way I'm actually going to make my now, it's a very frustrating process. It's photoghraph. When they're finished timbres. learning, they don't try and do that for their career. They've got the tools now under their belt, those tools can then be used for anything. But if you don't spend the time paying your dues, you don't I am going to do a On some of the tracks have the ability. for modern version of Beauty in the Beast RE/P: You seldom hear synthesizers Switched -On Bach, I did use the onboard being used solely for their unique capabili- using new technologies sequencer ty, to achieve sounds that an acoustic in- that is part as a farewell gesture of Synergy. strument will never produce. WC: 1 agree. It's like buying a fancy to J.S. Bach. wood -working set and then only using it to shorten the legs of a chair. It seems like a waste of the tools. I think that you're best off taking the not a sufficient answer, but that's what bull by the horns and saying: "If I'm go- RE/P: Do you use sequencers? happens when you follow your nose ing to do it, I'm going to do it right. I'm WC: No, I have always played live. The looking for something new and exciting. going to learn to play chords, harmony newer devices called sequencers are When I was trying to build a digital and melody, to get good chops on the more like digital recorders of perfor- synthesizer in the late Seventies, I was keyboard or whatever controller, and mance gestures. On some of the tracks pretty much working in the dark. Hal I'm going to learn to make all of these for Beauty in the Beast I did use the on- Alles, the fellow at Bell Labs who de- really sophisticated timbres other people board sequencer that is part of Synergy. signed the digital oscillator card that have developed over the years...like a It can play about 1,000 notes. I used it to forms the heart of the Synergy, built Stradivarius violin. Learn what makes it play little patterns at times when I could seven synthesizers before he arrived at sound good, and you'll be better off. not push the record button at the same the final one. Even the Synergy architec- time as hitting the computer keyboard to ture has a lot of frustrating things about Do RE/P: you think it's only a matter of alter the key and play the notes. I kept it. I'd like to be able to microtune the par- time before composers and synthesists blowing it and finally just taught myself tials with a better resolution than they've become used to the new tools, and the how to use the sequencer. given me. field of electronic music really begins to Kurzweil sent me K150 to play with. flower? RE/P: How did you become involved Once again, they've overlooked certain WC: Perhaps, but don't forget Theodore with the music scores for A Clockwork things. They do not allow you to move Sturgeon, the science fiction author, Orange, The Shining and Tron? the overtones by ramping them in fre- whose rule for the world was, "95% of WC: I had written some music that I quency during the time of a note. That's everything is crud." That includes com- thought would be right for A Clockwork how acoustic instruments sound so rich. posers and the music they write, plus the Orange, so we sent Stanley Kubrick lots Hal Alles' card did not have that prob- synthesizers they use. of tapes. He asked if we could fly out to lem; he didn't know what was important Later on it's all very well and good to see him ¡in London) and we then dis- so he gave everything equal value. say "We've got Beethoven and Mozart," covered that the music was already laid I know enough technically to ask the but what about those other composers into the movie and he was getting used right questions, and usually the answers we've forgotten? Without that reflection to it. It was essentially a matter of that you get are not very satisfactory: of mediocrity around us, we would not finishing the job. "No one needs that," "Oh, that's not im- know how to take the steps to move for- Then, in 1978, he called us for The portant," "Well, nobody can hear that" - ward and try to be a little better. Shining. For various reasons, very little that one's used a lot, and of course it's of our music -I think we had composed not true. RE /P: On your new album you state that about seven or eight hours when we But who wants to be the one to decide none of the sounds were generated using were done -managed to make its way in- how these things should be done? Years sampling technology. Do you see yourself to the movie. from now people are going to look back working with sampling in the future? Nonetheless, because of these two film at those of us who are setting down the WC: Not the way everyone else is using scores and my records, Michael Frem- standards now and ask, "Why didn't you it. It's not good enough for me to just cap- mer, who was working with Disney on think of doing this or that ?" ture And we'll something -I have to know why I'm Tron, called up and wanted to know if I have to say "I don't know. I just didn't sampling it. I always wanted to build my would do some synthesizer music for think of it!" own rather than take in something that that score. I told him I'd only do it if I has been prebuilt for me. If I were to could also do the orchestral portions. RE /P: You seem to have a fascination choose between being a photographer "You can write for orchestra, too ?" he

80 Recording Engineer,Producer April 1987 says, to which I reply "Are you kidding ?" has been pulling my collar and saying, "'_ I sent them some music, they loved it "Hey Wendy, you've got to do a 20th an- ., - and I got the job. niversary record for this Switched -On Bach thing." I am going to do a modern . ,,., ` RE/P: You were once quoted as express- version of Switched-On Bach, using all of ing "a desire to make electronic music as the new technologies as a sort of farewell i much a performing art as possible." gesture to J.S. Bach, who certainly did a !;;°, ,' ." .. Have you intentionally shied away from lot of favors for me posthumously. ? touring and live performance? If I can ever reach the point where I - . t WC: No, not at all. I do lecture tours and get enough success with my original +, demonstrations. I've been dying to find compositions that I can pursue more of somebody who would sponsor a concert the same, I want to work with some of traditional and new music, using about singers and use some of the newest ` a dozen people playing Synergy -like devices, like the Fairlight Voicetracker. ; & P machines. I'd be interested if I could do it That will allow me to convert pitch into tunings: on that basis, but not to do it badly. To MIDI data from any instrument or voice, Take for example, alternative will be gather an ensemble of people to do poly- dump it into a MIDI sequencer and play it I'm sure in a matter of years that phonic, contrapuntal music that has the back on a synthesizer to meld true vocal old hat; right now though, it's pioneer in exciting same interest as a good jazz combo or an music with all the things I can do now. territory. Although we live of a orchestra would be very interesting. I think as soon as people get bored times, I always remind myself with their sampling devices and analog Chinese curse: "May you live in in- RE/P: Having moved out into a totally instruments, they'll learn the same thing teresting times." will the style new direction with Beauty in the Beast, I was forced to; namely that you've got Alternate tunings change in what can we expect to see from Wendy to be able to draw any possible picture if of the music we make. It won't happen will Carlos in the future? you want to know that, in the future, you our lifetimes, but gradually people a broader WC: It looks like that, for commercial will never run out of ideas. The truth is begin to learn to accept of music reasons, I'm going to have to do a few that we're in a time of growing pains, "palette" of scales and types -it I that more performances of other peoples' with MIDI being set up and hardware be- will become more eclectic. think renaissance, in music once again, which is a bargain ing decided on. I think in another 10 to we'll see a marvelous with the devil I've never been able to 20 years, things are going to be a little music and in all the performing arts. totally get free of. Certainly everyone more cut and dried. Rr: f)

Larry Schwartz - Sound Engineer

"I have finally found a speaker system to solve my touring sound problems. I needed a system that could handle all the different types of venues that Crystal performs at from clubs to arenas. With the Renkus Heinz Smart Systems, I'm coverilg more audience with fewer enclosures than I previously used The smooth mid -range and natural sound of the snart systems allow me to mix Crystal's voice perfec Iy (Crystal clear)."

RENKUS-HEI NZ Circle (33) on Rapid Facts Card manufacturers )I prOFISSWnel suck c,- ri 17191 Armstrong Ave Irvme, CA 92716 (714) 250.0166 TELEX 7C. ,H ir., Independent Production Contracts

By Rosanne Soifer

An independent engineer or producer contemplating a spec deal should carefully check the small print in the production contract. For the unwary, the process can be costly but negotiated correctly, spec dealings can be profitable and lead to more lucrative sessions.

Jobs without money have become a gets signed to a major label. That lets posed to work with is mediocre." way of life in some parts of the music both him and the label off the hook Although a producer, understandably, business. Working on spec, bartering regarding any prior obligations. But, per- wants a contract that gives him a decent one's talents and playing showcases are sonally, I have to feel good about the percentage of the future deal, Deodato is three common format changes that have people and talent involved before com- more specific. largely superceded receiving normal mitting any of my time." "I'd go for an escalating percentage of legal tender for a day's (or night's) work. Another independent who agrees with record sales as the sales improve," he For an intertwined variety of social, Sauvagé s philosophy is Eumir Deodato, says. "You make an exception in the economic and technological reasons, the who, having produced several Kool and case of a new act, where going for a flat music business ain't what it used to be -if the Gang ablums, also has had several percentage is smarter, since you don't it ever was. Speculative work for in- hits as an artist. He produced the Roberta know if the record will bomb or not. dependent engineers and producers, Flack selection from the movie White "I wouldn't put in for points from all studios, side musicians and editors exist Nights, as well as One Way, whose single the artist's revenue (such as live perform- for anyone willing to forego immediate Don't Think About it saw chart success. ances) once he gets signed. That gets into (cash) gratification for a larger piece of "The song must be there; that's the the realm of management. It's dangerous the pie at a later date. most important factor," Deodato says. for a producer to be involved with that "There's no real budget in spec," says "I'll turn down a spec deal -even though aspect and you make a lot of enemies Michel Sauvage, manager of Sound the artist is good -if the material I'm sup- that way. Ideas, New York. He served six- and -a- "Restrict any other points to produc- half years as manager of Electric Lady in tion and maybe publishing, if applicable. New York, produced albums for Roy It's also not the producer's job to shop Buchanan, and has handled engineering Contract Basics the tape; it's exhausting and often hard duties for Cameo, and King Creole and An independent production to tell in retrospect who did what that got The Coconuts. Sauvage has experienced contract should cover the following topics: the act signed." spec work from all angles. Quality control of material, musi- An independent producer negotiates you "If pay anyone up front, except for cians and choice of studio. with the artist or the artist's manage- out -of- pocket expenses and extra studio Time for the producer to prepare the ment. Contract provisions might cover personnel who aren't really in on the demo, perhqps with an option to the following areas: quality control (of project, it causes problems," he says. renew. material, musicians and choice of studio); Mutual final selection "Also, any and all future work arising of material. time for the producer to prepare the Storage and custody of the master from the original deal must be taken into demo, perhaps with an option to tape. renew; account with a time limit, which may mutual Right of assignment. final selection of material; vary according to the venue and the Condition of royalties. storage and custody of the master tape; style of music. Protection of the artist's original right of assignment; condition of "Why? Engineer/producers have to be material. royalties; protection of the artist's careful that the artist doesn't at some Standard definitions of recording original material; standard definitions of point back -date your agreement once he costs. recording costs; and override provisions. Rosanne Soifer is a New York-based free-lance Override provisions. Independent engineer /producer technical writer. Mallory Earl recently worked with

82 Recording Engineer/Producer April 1987 starts out by taking in spec work Independent producer and Sound Ideas studio - it will soon pay off and /or manager, Michel Sauvage. thinking bring in paying clients-is usually in for a "If you anyone up rude awakening. pay After all, a new studio tends to attract front, except for out-of- attention from fledgling artists whose pocket expenses and extra friends are equally broke. In the mean- studio personnel who time, a studio owner might wonder, "How will you pay the phone bills ?" aren't really in on the That's why, says Steve Simenowitz, project, it causes Long Island -based entertainment lawyer, problems." many established studio owners hang up the phone when they hear the word Michel Sauvage, mentioned. That's also why many studio manager, established studios become involved Sound Ideas Studio, with spec work to fill time the facility New York cannot sell otherwise. The key factor in a studio's decision to become involved with a spec deal centers around what Simenowitz refers a spec deal is. Madonna's first band, Breakfast Club. to as "opportunity cost." the person seeking a beginning "There are two major kinds of spec "This economic concept estimates the According to Sauvage, "For may insist that a spec deals," he says. "The first is when the value of a project not by its intrinsic artist, the studio be full force and effect for a cer- producer is approached by an unsigned costs," he explains, "but substitution deal in of time for anything the ar- act; and the second is when the producer costs." tain amount in addition to the tape himself approaches an act and offers to In others words, would the time a tist accomplishes, produce in order to get the things he studio gives to a spec deal be considered he recorded there. if artist X is still shop- needs -like equipment or studio time-in down time anyway, or would it be time "For example, tape he made at the studio but, sort of a barter." that studio would have no trouble selling ping the has met people hang- The first type of deal is probably the to a paying client at card rate? in the meantime, put together a road most common, Earl says. This decision may depend on just who ing out at the studio, "The producer may be specing his time and services, or he may be financing the production, but not necessarily the band. If the producer is working on spec," Earl says, "his agreement should state that he will be entitled to at least 25% of the label deal when the band is sold. api-a reputation of quality- "The 'deal' means the total sum: advances, production expenses and distribution amplifiers custom products royalties. Points on retail sales vary and should be negotiated separately. microphone pre -amps equalizers "Another way is to ask for a dollar replacement parts the 2520 OP -AMP amount and a lower percentage, or for an additional 25% of the deal for specing his time, as sort of a finance charge. Plus, Plus these new products: I feel the producer should have the power of assignment of the band to a 5502 Dual Four Band Rack Mount 550A EQ third party, be it any party who can manufacture and distribute the product ,-,'. ..,'. ., ,.,., ,-.., ,..., ,-..,.jp,_,rop :70. in any way." : 41P- =-, y Z 7:'_0_,10, `--..,.. _,;.:;,;`_:,";C®.. The recording studio's role Engineer /producers are usually amenable to spec deals because, to be Motorized Servo Fader honest, it's how most of them start out 940M and continue to stay active in the record- 318a distribution amplifier ing business. However, studio owners tend to regard spec deals the way most people contemplate back surgery -an expensive inconvenience that may or api audio products, inc. well for the future. And may not bode VA 22153 because most deals tend to involve the 7953 Twist Lane, Springfield, no Uhe unknown and the un- (703) 455 -8188 tlx: 510 -6001 -898 unmonied, the EAU/CAM signed, such concerns are not frivolous. Yet, many studios handle sufficient spec western representative eastern representative spec Inc. work to warrant creating special mQ1ñC 16055 Ventura Blvd , Suite 1001 studio consultants. Ibirryi 321 West 4411h Street, New York, NY 10036 contracts. A brand new studio that 1-. 001) Encino, California 91436 d!" (213) 276 -1414 (212) 586 -7376

Circle (34) on Rapid Facts Card Agni 1987 Recording Enginee-Producer 83 band and has started making some interested in the artist's video only as a behind Well Known Studio about a spec money as an opening act, the studio prelude to signing the artist for an album. deal proposal. management may insist on a piece of the The video, therefore, becomes a self - Usually these deals are for 3 -song artist's profits. contained promotional item for another tapes, but this was for a whole album. "The spec contract artist X made with product. Because Musician had a name and had the studio, therefore, is not only for the "How then can the studio determine its assembled some good session players as demo tape, but also for whatever else he rightful cut on an album that hasn't even well as a producer with a good track does musically within the specified time been planned yet? The only alternative record, Well Known said OK. frame," says Sauvage. Well Known corralled their principal This may sound a lot like owing your engineer and an assistant, and pulled life to the company store, and may pro- together an agreement for both of vide artist X with about as much "I'll turn down a spec them -also on spec. Musician's agent had breathing space as a new pair of jeans. deal -even though the publicized the project, so had Well However, Sauvage makes the point that artist is Known Studio. Several labels had ex- a neophyte without management good-if the is pressed interest. What could go wrong? "learning simply by recording and hang- material I'm supposed to The project was a musical disaster and ing out at a top -notch studio." Future work with is mediocre." was shelved two-thirds complete. Musi- monetary success within the specified Eumir Deodato, cian was eventually signed to another time frame may indeed be directly independent producer label with a deal having nothing to do traceable to the spec time the studio in- with the project, so neither Well Known vested in artist X. or anyone involved could claim prior obligations. Hours in the studio seems to be to go for total reimburse- However, nearly one year later, the A generic spec deal permits an artist ment to for the video at card rate, should principal engineer began to wonder record for a maximum number of hours the artist get signed as result of it. This about the project's demise, and asked in a studio. If the artist secures a label isn't really on spec any more, but a 'buy - Well Known to let him try his hand at deal, the studio must be paid back at card now- pay -later' purchase plan." finishing it, thereby superceding the rate, and the subsequent album must be The studio may do well to consider in- original producer. Well Known gave per- cut there. If, for some reason, it cannot cluding a clause in the contract that pro- mission. However, the engineer was still be worked out that way -maybe the vides for subsequent video taping should stuck with four songs written by the label specifies that the album be cut at the act land a label. original producer. The project kept another facility -the studio must be paid Because of the conspicuous number of growing since new musicians had to be back at usually twice the card rate. definite "maybes" involved, such as brought in to supplement the original The figure represents costs for session scheduling problems that leave everyone tracks. Well Known was now owed about time. Most spec contracts, whether firmly be- implanted in midair, or potential $45,000 -$80,000 in session time alone. tween the artist and the independent investors with dubious financial honesty, After numerous attempts by the producer or the studio, contain other many spec deals appear to be doomed to engineer (now the producer) to shop the clauses that provide the latter with many life on the shelf rather than the airwaves. tape, the most he could get was an offer possible money making opportunities at Here's an illustration of how and why; of $25,000. Therefore, the tape continues the artist's expense. unfortunately, most of this story is true: to sit on the shelf. Why? A cursory glance at the 15- clause, Mike Musician was one of those artists If the tape is sold, Well Known will be 4 -page contract drawn up by a major who more people had heard about than presented with at least $80,000 worth of New York studio bears this out. Buried had actually heard perform. Although he claims. For Well Known to sell the tape within the expected terms and condi- had recorded fairly frequently in the for any less would open them to a bar- tions concerning payment schedules and past -both on his own and as a featured rage of lawsuits, including possible in- time constraints, the contract contains player on other artist's albums -he junctive measures to prevent the tape's phraseology which, among other things, wasn't currently signed to a label. He and release. Can anything be done to move gives the studio the right to pre -empt the his manager approached the moneymen this tape off the shelf so Well Known can artist's session with no advance notice recoup its original investment? (otherwise known as bumpability); the Three possibilities come to mind: publishing rights for material recorded Independent producer Eumir Deodato at his personal -use Duplex Sound studio. until the artist secures a label deal; the Mike Musician could suddenly become right to assign the agreement to a third really hot on his new label, so that party, including perhaps new studio anything bearing his name -from owners; and also the right of the studio to records to roach repellent -would sell. seek injunctive relief should the artist breach the agreement in any way. Mike Musician could get involved in Spec work is obviously very future something -anything -that attracts and oriented, because nobody gets paid at guarantees media attention (such as mar- first, if at all. When the deal involves rying someone notorious, getting ar- video, it may take on some interesting rested, or running for office). twists for both the studio and the indy producer. Mike Musician could die unexpectedly. According to Tom MacDonnell, one of (Death does well on the charts.) the owners of East Coast Video, New With that last cheerful thought in York, "Doing a video on spec really mind, is it any wonder that many studios means the studio is doing it as a freebie, are reluctant to work on spec? since a record company will usually be There are, however, some exceptions.

84 Recording EngineerProducer April 1967 ANNOUNCING One is the jazz field, where spec is a way connection for all it's worth." CAPABILITY of life. It tends to involve everyone: the Accepting a non -event for what it is (or 48 TRACK artist, studio, producers, side musicians tuned out to be) can become automatic GML AUTOMATION and also the record label. after a while. But, to avoid getting in- The second is with an artist who, volved in what may turn out to be a bad although not a household name, has situation down the road, means taking some sort of a following and, with the some elementary precautions. right tune, could very well hit it big. "Before you get involved with an artist

"Before you get involved with an artist or sign anything, take a cassette of the material to your contacts in A &R at the big record companies, and rind out if there's actually a market for the material." Mallory Earl, independent engineer /producer

Blues artists, "legends," members of or sign anything," says Mallory Earl, well-known acts going solo, and musical "take a cassette of the material to your theater performances, are good ex- contacts in A &R at the big record com- amples. panies, and find out if there's actually a The last category is the artist or group market for the material. Is there a attempting a comeback, such as the reac- targetable audience? And, if it's a band, tivated (1983) Mamas and Papas, featur- be prepared for the fact that they might ing Spanky MacFarland. They recorded break up." nearly a whole album on spec at Electric Yvonne Sewall, president of I-Contact, Lady, New York. a referral agency for independent engineers, producers and studios, echos Low rung on the totem pole Earl's sentiments. While independent producers and "Before I negotiate a spec deal," she studios may be able to demand various says, "whether I'm repping the producer monetary pieces of the prospective pie or studio, I'm first interested in whether "The building of Mad without too much fuss, those further on or not the artist has decent management down the line may have to fight a little with viable connections, and if the whole Hatter Studios is the harder, such as tape editors, assistants organization is well run. I'll even attend a and side musicians. Now the credit line the rehearsals if I have to." realization of having becomes essential, because there is no "Even if the project turns sour," says place where musicians money to bank at the outset (which could Eumir Deodato, "try your best to finish it, be a long time; some "outsets" have been to avoid getting sued. Unless, that is, you could make music in a known to last several years). A credit can somehow prove that the screw -up is free, easy atmosphere. line, however, may be bankable in terms not your fault, and get out of it that way. of future work and, of course, must be in- "I'd try to get a clause in my contract sisted on, no matter what the other cir- that gives me the right as producer to "Our technical concept is: cumstances. halt a project if I think it's going badly, or clarity of sound. What if the project never goes to pull out after a certain number of anywhere? Suppose it gets shelved mid- hours but still be owed for studio time. way through, the artist /label /financial It should be noted that Deodato owns "Our musical concept is: backers run out of money, or the studio Duplex Sound, New York, where most of the artist's vision folds? How does one make the best of his projects take place. Studio spec con- (and get career mileage out of) a non- tracts are usually negotiated separately. realized." event? Deodato also feels that a producer should Free -lance tape editor and DJ, Gail Elise specify in the contract that he be a King, says, "Talk about it. Mention mutual part of the final selection process names you worked with and you stand a of material. sog,L, good chance of picking up paying jobs Summing up the situation, Sauvage from it." states, "I'd try to get a rider in my contract "The fact that a project died is not your saying that my services as either an engi- fault," says Sauvage of Sound Ideas. "You neer or producer should be one of the CONTACT THE STUDIO MANAGER TERMS AT did the work, you were employed -so to first compensated when a deal is made." FOR RATES AND (213) 664-5766 speak-for a measurable amount of time, All of which seems like sage advice to and this is how you should present it. an independent engineer/producer con- MAD HATTER RECORDING STUDIOS "If you worked at a name studio with templating a spec deal. P 2635 GRIFFITH PARK BLVD. name people, play that up and use that Photos by Rosanne Soifer. LOS ANGELES. CA 90039

Circle (35) on Rapid Facts Card April 1987 Recording Engineer/Producer 85 Studio update

Northeast tape machines, Compact Disc players David Letterman and Paul Simon's and synthesizers. 321 First Ave., Pitts- Hearts and Bones album. 420 Lexington burgh, PA 15222; 412 -281 -8500. Ave., *1934, New York, NY 10170; Magno Sound and Video (New York) 212 -687-4180. has taken delivery of a Neve V series Soundwave (Washington, DC) has re- console with NECAM 96 servo-fader modeled and added a new Chips Davis, Kajem Recording Studios (Gladwyne, automation. "We handle sound re- LEDE Design, studio and control room. PA) has added a Lexicon 480L digital recording, including audio sweetening Jim Harmon, founder and president reverb and effects processor, a Yamaha and sound for TV features as says, well as "We're thrilled at the ability to concert grand piano, an Ensoniq ESQ -1 theatrical releases," says Brian Bailey, bring the first Chips Davis designed facili- synthesizer, an Aphex Compellor limiter Magno chief engineer. ty to Washington, and know that the and a Roland Dimension D effects "Then on the video side, we convert new Soundwave will offer producers and processor. 1400 Mill Creek Road, Glad- from European standards, and make clients audio quality and an acoustic en- wyne, PA 19035; 215-MIX-EARS. duplications. The Neve V series enables vironment that is truly state of the art." you to use any module to be either an in- Harmon adds that all wall treatments Power Play Studios (Long Island, New put or output bus, so you're not limited in conform to the principles of Live-End/ York) has added a Sony PCM -3202 any way." 212 W. 48th St., New York, NY Dead -End. 2000 P. St., NW, Washington, DASH -format digital 2 -track and an 10036; 212-757 -8855. DC; 202 -861 -0560. E -mu Systems SP -12 drum machine with disk drive. 38-12 Production 30th St., Long Masters (Pittsburgh, PA) At Howard Schwartz Recording (New Island City, NY 11101; 718-729 -1780. recently upgraded its 24 -track recording York), John Alberts has joined the facility with the addition of a Boss time studio's engineering staff. Alberts was Unique Recording (New York) has code editing system from Alpha Audio. previously with Regent Sound Studios, taken delivery of three Yamaha DX- The editor and transport synchronizer New York, where he was senior mixer. 71IFD synthesizers, three Yamaha TX- system can be used to control a variety His post -production credits include work 81Z racks and an RX -5 digital drum of sources in an audio suite, including for Saturday Night Live, Late Night with machine with a total of 64 internal sounds. Oberheim hardware includes three DPX -1 sample players, a Sequen- tial Prophet 2000 and an E -mu Sys- tems Emulator H. 701 Seventh Ave., New York, NY 10036; 212- 921 -1711. flexibility! Southeast

Reflection Studio (Nashville) has added a Neve 8323 production console. 2741 Larmon Drive, Nashville, TN 37204; 615- 269 -0828.

Fry Systems (Arlington, VA), in cooperation with Time -Life Music, has purchased an AEG Telefunken M -21 analog 2 -track for use during production of a 41% Rock 'N' Roll Era anthology series. 1204 N. Sycamore St., Arlington, VA 22205. íte 8 Gooseneck Lamps & Accessories At Ron Rose Productions (Tampa, FL), Deanna Everett has joined the staff as audio engineer. Everett previously worked as engineer at The Mix Place, New York. 3409 W. Lemon St., Tampa, mixing consoles, amps. FL 33609; 813- 873 -7700. turntables, effects racks. multitracks. Middle Ear Studio (Miami), the Bee synthesizers, Gees' personal Littlite /CAE, Inc. -use studio, has added a music stands, drum machines. Neve V series console with NECAM 96 P.O. Box 430 automation. keyboards, orchestras. Hamburg, Ml 48139 d.j. consoles 313/231 -9373 At Sixteenth Avenue Sound (Nashville), Dave Parker has joined the staff as audio engineer. Parker recently completed engineering training at the Full

Circle (38) on Rapid Facts Card 86 Recording Engineer/Producer April 1987 Studio Update

Sail Center for the Recording Arts, Orlan- do, FL. 1217 16th Ave., South, Nashville, TN 37212; 615-327 -8787.

Masterfonics (Nashville) has added a mix room featuring acoustic design by Tom Hidley and monitor design by Shio Kinoshita and Tom Hidley. Hardware includes an Otani DTR-900 PD- format digital 32 -track and a Solid State Logic SL4000 console. 280 Music Square East, Nashville, TN 37203; 615-327 -4533.

Midwest

At Tele -Image (Dallas), Wayne Kirkwood has joined the staff as audio engineer. Previously, he served as field engineer with Solid State Logic in New York, where he was responsible for the maintenance, commissioning and system integration of new equipment. 6305 N. O'Connor Rd., Suite 103, LB #6, Irving. TX 75309-3510; 214-869 -0060. Discovery Svs!erns digital audio studio. Dahlia. ()H.

Discovery Systems, (Dublin, OH) has taken delivery of Neve 8232 console with 32 input modules and dual equal- ized stereo reverb /effects returns. 7007 The Mic Preamp Discovery Blvd., Dublin, OH 43017: 614-761 -4138. you've been wishing for Reelsound Recording (Austin, TX) has is here! added two Yamaha SPX -90 effects, an AMS RMX -16 digital reverb, a -20 Neumann U -67 mic and an Audio Design time code reader. 2304 Sheri .i Oaks Lane, Austin, TX 78748; . 21 5 i221 f 3 512- 472 -3325. 3915 ''} 335. 3551 8815 & - .¡ w: 121 ,.. 3950 3312 Southern California G.(

' " . mÌidv - mhim7unmd. Positive Audio (San Carlos, CA) has .._ opened a new 2- studio facility. Studio B features a Harrison 32x48 automated console, two MCI JH -24 24- tracks, two The M -1 Mic Preamp MCI JH -110 2- tracks and an Otani MX- The John Hardy Company M -1 Mic Preamp gives you superior 5050B. Computer, arranging and com- quality of sound at a very affordable price. Features include: position duties are covered with four E -mu Systems E-Max's and a New 990 discrete op -amp England Digital Synclavier II. Jensen JE -16 -B mic input transformer Studio A features a tunable recording DC servo circuitry room with a 16'x32' raised stage, a 65'x75' studio area and a Steinway concert grand piano. 1250 San Carlos Ave., gil San Carlos, CA 94070; 415 -595-4041. THE JOHN HARDY COMPANY The Manufacturer of High -Quality Audio Equipment

Micro Plant (Hollywood), a dedicated P.O. Box AA631 (312) 864 -8060 TELEX: 910- 380 -4670 MIDI -synth room, has opened at the Los Evanston, IL 60204 (JOHN HARDY CO)

Circle (37) on Rapid Facts Card April 1987 Recording EngineerProducer 87 Studio Update

"I developed the basic equipment package at my home studio while working on TV and film scores," Deutsch explains. "Chris Stone, president of the Record Plant, convinced me that there was a real need for a compact synthesizer studio designed for songwriters, scoring composers and jingle producers. I added some gear to make it a full - service professional facility." 1032 N. Sycamore Aue., Hollywood, CA 90038; 213-653 -0240.

EFX Systems (Burbank, CA). has purchased two Sony MXP -3036 production consoles and the Sony ADS -3000 time code -based hard disk automation sys- Larrabee Sound, Los Angeles. tems. The post -production studio has also added two Sony PCM -3324 DASH - Angeles Record Plant complex. The in- MIDI -capable keyboards, sequencers and format 24- tracks and two PCM 3302 dependent operation was launched by outboard gear. A library of digitally 2- tracks. 919 N. Victory Blvd., Burbank, Steve Deutsch, a Los Angeles -based ses- sampled sounds is available, as well as CA 91502,- 818- 843 -4762. sion player and synthesist. the capability to create new sounds. The room houses a TAC Scorpion Recorders include a Fostex B -16 Larrabee Sound (Los Angeles) has 32x8 console, JBL 4425 and Yamaha 16- track, Technics 2 -track and Sony recently remodeled its pair of production NS-10M monitors. An Apple Macintosh PCM -501 -ES digital processor with time studios. Both are equipped with Solid Plus, running sequences software, links code video lockup for scoring. State Logic 56 -input SL4000E consoles

THE BOTTOM LINE Keeping it under control can make or break you. We at Pristine Systems can help with our STUDIO MANAGEMENT SYSTEM

Bookings & Work Orders Tape Library Billings and Receivables Accounts Payable General Ledger, Financial Reports Inventory Control and More! This unique software is available as individual packages or as a completely III integrated solution for any MS -DOS microcomputer in either hard disk or diskette versions. III If you've had your fill of trying to adapt a general system to fit your needs - (=MIRE DISC CALL US NOW! SYSTEMS Pristine INCORPOHAT LD Systems, Inc. 6515 Sunset Blvd. #2018 COMPLETE ANALOGUE & DIGITAL MASTERING SERVICES Hollywood, CA 90028 (213) 461 -2819 FOR COMPACT DISC, RECORD & CASSETTE MANUFACTURING In Canada: Tele -Tech 920 Denison St., Unit 11 3475 CAHUENGA BLVD WEST, HOLLYWOOD. CALIFORNIA 90068 Markham, Ont L3R 3K5 (213) 876-8733 (416) 499 -3242

Circle (38) on Rapid Facts Card Circle (54) on Rapid Facts Card 88 Recording Engineer/Producer April 1987 Studio Update with Total Recall and dual Studer A -800 former software for up to 250 tracks of Canada multitracks. Outboard racks include Lex- MIDI control /recording, sequencing and icon 480L, 224XL, 200, PCM -70 and music notation. -42 digital effects units. Also featured are Other synthesizers are by E -mu, Ober - Smooth Rock Studios (Calgary, Alber- Yamaha REV-1 and SPX -90 effects units heim, Garfield and Casio. Outboard ta, Canada) has installed an Audio Ki- and Focusrite equalizers. 8811 Santa processes include a Publison Infernal netics Q -Lock 4.10 synchronization sys- Monica Blvd., Los Angeles, CA 90069; Machine 90 dual stereo reverb /delay tem with Eclipse Editor and Q -Link, a 213 -657-6750. line, pitch shifter and 42-second sampler. Mitsubishi PD- Format X -86 2 -track 1442 A Walnut St., Suite 364, Berkeley, and an Otani MTR -12 series II analog At Sunset Sound (Hollywood), George CA 94709; 415-540 -0177. 2 -track with center time code and CB -109 Binder has joined the staff as chief tech- remote. 1 -D, 624 Beaver Dam Rd., N.E., nical maintenance engineer. He is a Calgary, Alta, Canada T2K4W6; graduate of the University of Miami, and Northwest 403-275 -6110. has been with the studio since April 1985 as a maintenance engineer. At Sunset Cascade Recording (Portland, OR) has Westward Communications Ltd. /Spot Sound Factory, Hollywood, Jeffrey added an Otani MTR -12 2- track, Otani Shop Studio (Vancouver, BC) has re- Bork has been promoted to the position MX -5050 II, two Audio Digital TC2 cently installed a Meyer 833/834 moni- of chief technical maintenance engineer. processors. an Aphex Exciter, Even- toring system. The system is said to fea- Bork was formerly a maintenance engi- tide Harmonizer and a Nakamichi ture a linear frequency response and of- neer at Sunset Sound and, prior to that, real -time cassette duplication system. fers a maximum output capacity at with Baby -O Recording Studio, Holly- Monitors include UREI 811 and 120dB SPL. 363 Adelaide St. East, Toron- wood. 6650 Sunset Blvd., Hollywood, CA Yamaha NS -IOM. Staff additions include to, Ontario, Canada M5A 1N3; 90028; 213 -469-1186. an engineer, Rick McMillen and Jenny 416-868-0528. Trukositz, who will manage promotions Send Studio Update announcements to: Sarah FilmCore (Hollywood) has expanded its and general office administration. 2115 Stephenson. Recording Engineer/Producer, Intertec sound effects library and added a Se- N. Vancouver Ave., Portland, OR 97227; Publishing, 9221 Ouivira Road, Overland Park, KS 86215. quential Prophet 2000 synthesizer. 503-287 -1662. The 2000's digital sampler capability can produce 16 different sounds on the keyboard simultaneously, manipulate any of the 10,000 existing sounds or create new ones. 6725 Sunset Blvd., x402 Los Angeles, CA 90028; 213-462 -5765 Music Grinder (Los Angeles) has ADB-4 upgraded its facilities to 46 -track The Stewart Electronics capability with a Studer A -800 MkIII, a GML equalizer, an AMS RMX -16 digital Four Channel Active Direct Box reverb, a Yamaha SPX -90 and REV -7 Four transparent, reliable direct boxes in one chassis. digital processor. A new machine room has been added to house a Studer and MCI JH -24 multi - tracks. 7460 Melrose Ave., Los Angeles, CA 90046; 213 - 655 -2996.

Northern California

Live Oak Studios (Berkeley, CA) has opened The Attic, described as a fully equipped, preproduction and electronic music facility. Linked via 16 tie lines to a List Price $ 3-+9.00 24 -track studio located on a lower floor, for cost -ef- the new facility is designed Each Channel Features: as fective demo and record production, Hi Z inputs on front and rear of chassis Ground lift switch Instrument /line /speaker well as sequencing and programming of level input selector Lo Z balanced output with XLR connector Mir /line Lo Z output level electronic music projects. selector Operates on Phantom Power or auxiliary power supply Optional rack kits allow Hardware includes a Kurzweil 250 rack mounting of up to 8 channels in a single rack space May be mounted forward or digital synthesizer with 50kHz sampling reverse-allowing terminations to he made on front or rear of rack. option, a Yamaha TX -816 rack system Dealers Inquiries Welcome with eight DX -7 modules, Opcode Sys- Stewart Electronics tems Voice Editor and Librarian soft- P.O. Box 60317, Sacramento, CA 95860 ware (5,000 patches). An Apple Mac- (916) 635 -3011 intosh runs Mark of the Unicorn Per-

Circle (39) on Rapid Facts Card April 1987 Recording Engineer/Producer 89 New Products

UREI C series studio monitors Designed with higher input sensitivity than the previous series of Time Aligns, the new 811 C monitor has a quoted sensitivity of 99dB SPL; figures for the 813C and 815C are 101dB and 103dB, respec- tively. The unit's function is said to offer an improved frequency response envelope to beyond 17.5kHz. Each of the studio monitors use a new 801C coaxial midrange loudspeaker, which is combined with a titanium -diaphragm compression drive to provide a single-point sound source. Additional bass drivers are used in the 813C and 815C for extended low - frequency response. Circle (134) on Rapid Facts Card

Soundtracs FME series production console The modular mixer is available in two mainframe sizes for either 22 or 32 modules. Module types include: mono input; mono input with remote switching; stereo input with remote start; and monitor input with eight monitor sends and group output with upper and lower monitor sections. Metering is via 12 LED bargraphs that include a solo warning display and PSU rail indicators. The majority of inputs /outputs are electronically balanced and the tape sends /returns are internally selectable mouuTIN4 to aRAUCET +4dBm or - 10dBV operating levels. Circle (129) on Rapid Facts Card

APOC,EE ® RADIAL srRAPLESS R14WN4 Pristine Systems CD controller software The Sound Effects Manager software interfaces PC (Shown Apogee AE -5 System) an IBM XT /AT or compatible with a Sony 60 -disc CD changer. Apogee has a full line of Features include sound effects trigger- speakers & processors. ing and retrieval from libraries and other Call or write for Info. sources listed in the database. The soft- 707 -778-8887 415- 397 -5777 ware can also create and execute edit Southern CA: 714-730 -6313 POG=- decision lists. Circle (137) on Rapid 1150 Industrial Ave., Suite C Facts Card Petaluma, CA 94952 50L/NO INC

Circle (40) on Rapid Facts Card 90 Recording Engineer/Producer April 1987 New Products

Sanken CMS -7 stereo Audio Control Industrial memories with read, write, freeze and condenser mic SA3050 spectrum analyzer RTA- memory comparison functions; Designed for portable indoor /outdoor The 30 -band display unit uses a large - three signal inputs; a phantom -powered television and radio broadcasting and format, 270 -dot matrix panel with vari- balanced XLR mic input; FET instrumen- motion -picture production, the stereo able resolution of between 1dB and 4dB tation BNC input; and a balanced, bridg- mic can be used for in -field applications per step, SPL on -off, and fast, medium ing line -level input. on a camera boom. The design enables and slow decay integration. The full - The unit includes a digital pink noise one person to handle all outdoor stereo scale display range is a quoted 44dBa to generator with adjustable output that can recording. 136dBa, or -56dBm to +36dBm. be used to drive a speaker directly. Circle (127) on Rapid Facts Card Standard features include six Circle (132) on Rapid Facts Card

ART ProVerb effects unit The MIDI- capable digital reverb system offers 100 user presets with front - panel program descriptions and controls. Functions of the rack-mount unit's 100 presets comprise 50 reverb, 10 gated, 10 reverse, 10 chorus, 10 delay and 10 echo effects. Circle (169) on Rapid Facts Card

SOFT TECHNOLOGY HOLDS UP IMO ON THE ROAD

"A tool that performs more work with less energy input through a simpler, more sophisticated design is considered to be SOFT TECHNOLOGY."

CONNECTOR TEMPLATES make fabrication of XLP TYPE 85 FET DIRECT BOX type connector panels SWIFT, ACCURATE, and EASY! All the tedious drafting of the odd decimal dimensions of the connectors is done AMP. INST. for you. The precision work is built into the PICKUP TEMPLATES. This spring tempered stainless steel tool gives consistent, precise connector mounting without all the work. INPUT SWIFT. ACCURATE. and EASY! An excellent example of Soft Technology.

1 set (1 male, 1 female) - á17.00 BLACK AUDIO DEVICES COUNTRYMAN ASSOCIATES INC. P.O. BOX 4573 - GLENDALE. CA 91202 424 STANFORD AVE.- REDWOOD CITY, CA.- 94C 33 -PHONE 415-364-9966 (818) 507 -8785

Circle (41) on Rapid Facts Card Circle (42) on Rapid Facts Card April 1987 Recording Engineer/Producer 91 New Products

Soundcraft Series 8000 EQ with switchable bandwidth, eight in- Harrison VGA -10 production console dividual auxiliary sends and individual graphics display system The new unit features redesigned in- 8 -bus routing with separate LED in- The unit is an interactive video graphic put /output and stereo master modules dicators. display and control system, and can be resulting in lower distortion and im- The Series 8000 is available in both added to the Series 10 assignable con- proved noise figures, the company front -of -house and stage -monitor console. It generates a 1.024x768 pixel, high claims. figurations. resolution display, with up to 256 colors. The module offers 4 -band parametric Circle (133) on Rapid Facts Card The display presents composite equalization curves, dynamics processor transfer curves, multimode displays of pano- rama and all of the Series 10's signal processing functions. Information is displayed on a 19 -inch video monitor and, by use of a mouse or other device, any or all of the parameters of the module may be modified. The VGA -10 hardware consists of a Harrison proprietary PC computer and video graphics display system with software and a communications controller card. Circle (140) on Rapid Facts Card

Naturally we're MIDI. A complete line of We have a reputation software for Atari, shapiñg sóíoind. Commodore, IBM, is a high -performance to live up to. Macintosh, Apple IIC, SONEX IIE and GS, by: acoustical foam that upgrades your You expect up -to- the -moment technology Bacchus studio inexpensively. Ideal for a at L.D. Systems. In this industry, that Club MIDI (Pro MIDI) temporary isolation booth, it can means MIDI. So of course we have Digi Designs (Sound also eliminate slap echo and harsh the gear. But as you'd expect, we went Designer) Doctor T resonances in the main room or further than "MIDI -izing" our showroom. Hybrid Arts We brought on a MIDI expert. He knows Mark of the Unicorn silence noisy tape equipment in computers, software, sampling, actes- (Performer, the control booth. Apt sories, applications -anything MIDI. Professional Composer) Write for our That's why we hired him. Magnetic Music (Texture) 1'! Jim Miller (Personal color brochure Composer) So we can maintain our reputation. .,i` Octave Plateau (Sequencer Plus, Patch Master) Opcode Passport Designs Sonus !

SYSTEMS We have cables, patchers, 467 West 38th Street, Houston, Texas 77018 mergers, blenders and a full line of MIDI I (713) 695 -9400 peripherals by: Alpha We can be contacted electronically on IBM's Esi Street and the "PAN" network. J.L. Cooper Oudio. Garfield 2049 West Broad Street Richmond. Virginia 23220 360 Systems USA Professional Sound and Lighting Sales, Services. Rentals (804) 358-3852 FAX: (804) 358 -9496 Telex 469037 (ALPHAAUD CI) Acoustic Products for the Audio Industry Circle (43) on Rapid Facts Card Circle (44) on Rapid Facts Card 92 Recording EngineerProducer April 1987 New Products

MicroAudio DigiTech RDS 7.6 put level selection switch and feedback equalizer series digital delay /sampler controls are provided. Model 28 is a hand-held programmer The new unit can digitally record up to The delay has a quoted signal -to-noise for use with the programmable PODs 1.1 7.6 seconds of sound samples. ratio in excess of 85dB, with delay and 1.2. The unit adjusts each of the 28, The delay section features modulation ranges of 1.5ms to 15ms. ISO-centered third -ocatve EQ bands on controls for chorusing, flanging, phasing, Circle (136) on Rapid Facts Card either of the 1.1 or 1.2 EQ PODs. It doubling, echoes and infinite repeat. In- measures 8 "x6 "x I'/z ". Model 1.2 equalizer POD is a blank - panelled, tamper -proof third- octave EQ unit. It stores up to eight EQ curves, and is suitable for hands-off operation of EQ functions. The unit can be programmed to hold up to eight EQ settings, and has a quoted noise floor in excess of - 93dBm. Model 1.1 equalizer POD is a blank - panelled tamper -proof third -octave unit that stores one EQ curve in memory. Circle (131) on Rapid Facts Card Studio Technologies Potential applications include minimiz- Mic- PreEminence ing signal flow through a console and pre -amp and interface digital sampling. In addition to phantom Designed to interface between analog power, a signal indicator and trim con- microphones and digital recorders, the trol are also featured. unit operates as a transformerless Circle (130) on Rapid Facts Card balanced pre-amp.

IF YOU'RE NOT USING IT.... .Mega xi SELL IT FINALLY! tHE A High Quality, Professional 44444444444 44 RT AUTOMATION R E cH System at an i1i81 llSt4l1 UR AFFORDABLE N CHF/NEAH/Ia r o Price. USED Our .400/0 mailers EqHOUEa Easily interfaces ND Yj to your exist- SÿSiorá/S o thous DEO ing console. ur used ve an equipmentmonth. Full fader automation pnheo/ ` Mute and solo looking 8 Subgroups for Real time and step edit eEIÉHE Mix merge 4 Copy, bounce, DsrribNIZgTIpÑ delete fades ross SMPTE compatible Runs on IBM and and eb compatibles and cus9 a// ryd cdros Sor vrorep an; Macintosh 512 & 74447 e9uro Plus s pmenr PATENT PENDING 4144/4 THINK MIDI BASED MIXING BOARD 6Z7 roll 9p 'e ()us/ BERTECH YOUR PC reoo()9gz AUTOMATION ON ie FIRST! Musically Intelligent Devices C 3 Brian Street, Commack, NY 11725 516 864 -1683

Circle (45) on Rapid Facts Card Circle (46) on Rapid Facts Card April 1987 Recording Engineer 93 New Products

Ensoniq ESQ -M are available including piano, vocals and Soundolier MVXA -195 synthesizer module brass instruments. monitor panel The ESQ-M is an 8-voice polyphonic, A 16- character flourescent display The 7-channel amplified monitor panel polytimbral synth module with three shows 40 on -board programs with an ad- is designed for mounting in standard oscillators per voice. A choice of 32 ditional 80 cartridge programs available. 19 -inch upright racks or console turrets. multisampled and synthetic waveforms Circle (143) on Rapid Facts Card The units require 51/4-inch of vertical panel space and provides both aural and visual monitoring. The monitor panel incorporates a VU meter with three switchable sensitivity ranges of a quoted -10dB, 0dB and + 10dB, a 2Wrms amp and a high com- pliance 4 -inch speaker with integral input attenuator. Internal input switches provide selection of 70.7V or 25V line -level signals on adjacent channels. The unit is intended for low- voltage operation and requires a 24Vdc at 400mA maximum power source. Circle (138) on Rapid Facts Card

coining in May: ENGINEER/PRODUCER

Studio Design Electrical and Interface Systems Details the electrical power, system in- and Construction terconnect and grounding schemes for audio facilities. Acoustic Design and Monitoring Plus our regular departments Requirements Discusses the types of acoustic design im- Other Features Managing MIDI plementation available to recording and Sound on the Road production studio operators, and the im- Property and Employee Insurance Film Sound Today portance of considering the "room /mon- What types of property damage, theft Living with Technology itor" interface. and personal liability insurance should a SPARS On -Line studio operator purchase? News and People Letter to the Editor Customized Acoustics and Monitoring Production Viewpoint: Studio Update for Multifunction Facilities Narada Michael Walden New Products Considers the different functionality and This innovative producer shares his pro- acoustic requirements for various types duction techniques for recent Whitney of audio recording and production ses- Houston, Aretha Franklin, George Ben- sions. son and Sheena Easton sessions.

94 Recording Engineer/Producer April 1987 New Products

Aries 10x4x8 Winstead V8701 Industry West Electronics mixing console equipment rack Hypersound 115 The 10- input, rackmount or desk -top Constructed to accommodate more Measuring 4'/e "x81/4"x141h" and console is said to be suited for studio and than 1,000 pounds of electronic equip- weighing 13 pounds, the portable sound sound reinforcement applications. ment, the rack provides 30 inches of system from IWE is said to be capable of Features include selectable mic and space. providing an SPL of 115dB at lm. line input, 48V phantom power, 30 -band Tapped front rails allow simple installa- Such performance is said to result from EQ with switchable high and low fre- tion of equipment, with back rails that the use of charge pump amplifiers, tri- quency and sweepable midrange con- adjust independently for equipment of band peak processors and back wave trol. A post EQ, prefade insert point, varying depths. phase inverters. mute, PFL switches and overload in- The rack measures 783A inches and The system uses triplex amplifiers and dicators also are available. features removable side panels for instal- a non -interruptable 3 -way auto power Four auxiliary sends per channel are lation and servicing of equipment. The select. It has a battery life of up to 20 switchable prepost in pairs, and eight bottom is open for air flow and cable ac- days continuous use. monitor /FX returns are provided with cess while the top is vented for cooling. Circle (171) on Rapid Facts Card equalization. Circle (143) on Rapid Facts Card Circle (142) on Rapid Facts Card

F.TW 1150 DA JL Cooper Electronics MSB Plus digital peakmeter MIDI matrix switcher Available in a table top or flush mount- The programmable 8x8 matrix switch - ing model, the meter offers spot or bar er stores 64 setups and features MIDI graph level indicators. Transpose, Channelizing, Data Filtering, Display range for Scale A is a quoted in addition to programmable merging. -50dB to 0 and 0 to +10dB headroom. MSB Plus uses two sets of program- Scale B is -6OdB to OdB. Sampling fre- mable MIDI processors, each of which quency is a quoted 44.1kHz, 44.056kHz. can be assigned to any input jack. The Error flag and overload indicators are output of the processors can be assigned operated with a hold function. Reset is to individual MIDI output jacks, or can be either manual, automatic or via the merged into a single output. The trans- remote connector. The modulation long- pose function will transpose incoming term maximum level is stored in the MIDI notes over ±5- octave range, while peak memory and can be displayed by the channel jump feature will increment pushing a button on the instrument. the incoming MIDI channel number to Circle (144) on Rapid Facts Card any other channel number. Circle (141) on Rapid Facts Card

The MRL Calibration Graph is your proof of the quality contiol that goes into every MR L Reproducer Calibration Tape. We guarantee What each one to exceed the pei tot mance

, egwrements of IEC, NAB, AES, and E IA Standards.

MRL Calibration Tapes are designed and supported by experts in magnetic recording and audio standarchzotion ... we helped write i sywhát e the standards. Each tape comes with detailed instructions raid application notes. The MRL catalog inches tapes for all studio youu applications. In additon to the usual spot frequency tapes, we make single -tone tapes, rapid -swept frequent- tapes, wideband of set... 1 /3rd octave -band pir k random noise tapes and difference- methal azimuth -setup tapes. Fro a catalog and a list of ovef 60 Most are available fron stock. dealers nt the USA and Canada, contact J. G. (Jay) McKnight at:. Magnetic Reference Laboratory, Inc. 229 Polaris Ave., Suite 4 cuooptV Mountain View, CA 94043 'T aPe 1415) 9658187 Exclusive Export Agent: Gotham Export Corp, 0 New York, NY

Circle ( -7) on Rapid Facts Card April 1987 Recording EngineerProducer 95 New Products

DOD Electronics R -231 cessing on additional tape or Compact 16- channel X -400 1/2-inch transport, Series C graphic Disc returns. allowing tapes recorded on the X-400/8 The rackmount unit offers two chan- Available for the series 500 is a 4 -input to be played back on the X-400/16. nels of 31 -band, ISO-centered third - module option kit that retrofits to the A 14 -inch reel capability provides one octave equalization in a 2U (31/2-inch) right of the output section. The user can hour of recording at 30 ips. package. Available cut or boost is a select between mono or stereo inputs, Circle (135) on Rapid Facts Card quoted 12dB. which can be used for effects returns, or A status LED indicates whether the any combination of the two. equalizer and the low cut filter is in cir- For the series 600, a monitor module cuit. The unit's slider controls feature expands the monitoring capabilities with center detents with 40mm of movement. eight additional line returns for full A master level control offers up to 24-track monitoring. Accessories for ± 12dB of gain. A 4- segment LED bar - Facts Circle (139) on Rapid Card Shure SM 98 mic graph indicates input signal levels. The new A98MK unit allows mounting Circle (128) on Rapid Facts Card of the SM98 mic to any drum rim. It features a flexible gooseneck section, adjustable height and angle and matte Mitsubishi X -400 black finish. PD- format 8/ 16 -track For reducing sibilance noises, the Soundcraft module options The 8- channel recorder records a total A98PF pop filter kit features locking col- for series 500 and 600 consoles of 14 tracks on 1/2-inch tape. In addition lar to protect the mic against theft. Stereo inputs are available for both to the eight digital channels, two digital For permanent installations, the models featuring 4 -band EQ, routing to tracks are provided for error correction A98 -G18 18 -inch gooseneck allows all eight buses and the stereo bus, and ac- coding and two for analog cue tracks. mounting on a variety of surfaces, while cess to six auxiliary sends. One digital auxiliary and one time code the A98HA hanging adapter, positions The fully balanced stereo input can be track are also included. the SM98 at a 45° downward angle. used as an effects return for signal pro- The unit is compatible with the Circle (184) on Rapid Facts Card

Moving?

Take us with you. Just peel off the subscription mailing label and attach it to the address change card located at the front of this issue. Please allow 6 -8 weeks to process your address change.

°6 Recording Engineer Producer April 1981 THE MOST COMPLETE Classified SELECTION OF

Advertising rates in Classified Section MISCELLANEOUS are: FREE CATALOG: Institute of Audio -Video AUDIO TEST $1.00 per word per insertion. Initials and Engineering, 1831 Hyperion, (RP), Hollywood, CA abbreviations count as full words. 90027. Recording School. (800) 551.8877 or (213) 666 -2380. Approved for International Students. "Blind" ads $25.00 additional. Minimum Employers: Call for Employees/interns. 3.87.6t classified charge $20.00. Classified is TAPES also available at $112 per inch. Order must be accompanied by payment to en- RE- INVENT THE WHEEL? Will you personally re- All formats Including cassettes sure publication. discover all the pitfalls of sound engineering? You Classified columns are not open to don't have to, you know! By reading our books or Write or phone for free catalog advertising of any products regularly taking our courses, you can make a quantum leap forward in your sound career. Bypass 5 or more produced by manufacturers unless used years of embarassing and expensive mistakes. and no longer owned by the manufac- Pick up where we left off! Don't re- invent the RITA turer or distributor. wheel. Call us today. We're: SKE Publishing, P.O. Box 2519 -A, Sedona, AZ 86336, (602) 282-1258. STANDARD TAPE LABORATORY. INC. Advertising should be Classified sent 12-86, 4-86, 6-86 26120 Eden Landing Road *5, Hayward, CA 94545 to RE /P, Advertising Department, 9221 (4151 786-3545 Quivira Rd., Shawnee Mission, KS 66215. Circle (48) on Rapid Facts Card FOR RENT COMING TO WEST GERMANY? The Best That Money Can Rent aioierit Ei Digital Multitrack Video Playback Calf GERMANY'S NO. 1 RENTAL COMPANY r e n t e l e PA Equip Time Code Outboard Equip Equip Wireless Mikes 1619 Broadway Walkie Talkies Mixing Consoles OUTBOARD EQUIPMENT DIGITAL RECORDERS NY, NY 10019 24 Fully equipped SONY i editing sale (212) 582 -7360 On -Call Hours including DAD 1000 CD - Subcode editor and DIA2000 tape analyser For further details please contact Peter Wolff or Stephan Behrens at

FOR SALE EMPLOYMENT AUDIORENT. Kurfuerstenwall 11. D -4350 Recklinghausen 1 Phone. 236159494. Telex: 829772 wolff d 24 TRACKS $19,800 That's no misprint, that's TECHNICAL DIRECTOR for radio network produc- - Circle (49) on Rapid Facts Card your total price for a brand -new 24 track deck! The tion facility. Substantial audio production and ACES Co. of England makes a complete line of maintenance required. Send resume to: APRN, studio gear, built to rugged, top -quality standards, 4640 Old Seward 4202, Anchorage, AK 99503. all available at unheard of prices. 32 input in -line 4 -87 -1t console, $13,7801 This board has all the features at the right price. Why even consider semi -pro or sb:fib used 24 track equipment, when you can have AUDIO CONNECTORS JACK PANELS brand -new, full featured gear, all with a 2 YEAR Prewired WARRANTY! Call or write, and find out how. YOU available i CAN GO 24-TRACK TODAY! FACTORY DISTRIBU- TOR, ROCK STUDIO SUPPLY, Box 5997, Norman, Spund Off OK 73070, (405)329-8431 2.87.81 Two Ways Sales USED RECORDING EQUIPMENT: Buy, Sell, Trade. For Studio Demos or Retail MULTISWITCH` SWITCHES Phone 415 -474 -1625 or 213. 666.5513. 3 -87.31 SOUNDSHEETS: Flexible vinyl discs sound great, tcon't break! The one -stop source for all your electromechanical needs Standard and custom AUDIO CASSETTES: Send for your assemblies Free catalogs available AUN: MCI 500 OWNERS: (100) Aphex 500A VCA free "Cassette Talk" newsletter complete Cards, brand -new in original packing. Also BTX with latest prices. PRO SOUND 13717 Se Normandie Ave Gardena CA 90249 770 2330 Cypher/Shadow II Package, Buchla 400. (212) 12131 TOLL FREE 1 800 EVA TOSE om Outside CA Call Tou Free 18001 471 2471 645-6319. 4.87 -31 EuvEwr P0 Bo. 7020 R, Clearwater. FL 33518 Circle (50) on Rapid Facts Card

MCI JH 24 RECORDER, Westlake Studio FREE 32pg Catalog 8 50 Audio Video Applic. o SPX-90, REV 7, Yamaha Monitors, Yamaha . oe55. cE. r.r.r MXP3000 Automated Console, NS10M's. Sony E0 Sony F1 Digital Processor. Megamix Fader 51.ro Mono P.r P E o5ÿ Automation. 'Call Dick McCalley at (612) 866 -1868. 4-87-1t N STOP the shrink tube mess in your shop! .P a . ro o,., A',P1. TV Audio 8 Rcd Prod Conol MCI 428 CONSOLE 20x20 TL071 IC's throughout The SHRINK RACK will OOPAMP LABS INC (213) 934 -3588 a full 4' length of 1033 N Sycamore Av LOS ANGELES CA, 90038 new caps, meter amps, 6 SENDS $12,000, TEAC accommodate Model 5 BTX SHADOW 4700 wl Cipher shrink tubing while making $700, Rapid reader generator $6,000. Allison 65K programmer retrieval of shorter lengths for Circle (51) on Facts Card updated $1,500, REVOX A -700 $1,000. DBX900 small jobs a cinch. Rack w/3,903, 3,904 8 3.905 $2,250. CALL JOEL: Overall dimensions: Small Days (914) 338.7151. 4-87-1t compartments 2 "x2 "x4', Large compartments 4 "x4 "x4' (units can be ordered with up to 6 Use the small compartments). Wall - mountable and made of durable high impact plastic. SHRINK Rapid Facts Card NEVE 8128 56/NECAM $190,000.00. Due to II- RACK puts an end to the delay in must sell this mint 2 yr. old construction problem of sorting, storing and console: with NECAM 96- $210,000.00. Phone dispensing shrink tubing. Price in (213) 665-5201, Buddy King /Gary Starr, Soundcas- the back $35. For further information, Studios, L.A., California. 4-87-1 t tie contact: Larry Quinn, 1305 Glenoaks Blvd., Glendale, CA of this issue! 91201. (818) 507 -1052 after 4pm

Circle (52) on Rapid Facts Card

H1J111 lo/ r1CGO10ang CragleaCCr/rrVUU(.Cr ar Advertiser's index

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

AEG Aktiengesellschaft 37 18 Mad Hatter Recording Allen & Heath Brenell IBC 2 416/361-1667 Studios 85 35 213/664-5766 Alpha Audio 92 44 804/358 -3852 Magnetic Reference Ampex Corp 13 8 415/367 -3809 Laboratory, Inc. 95 47 415/965.8187 API Audio Products, Inc. 83 34 703/455-8188 Meyer Sound Labs 19 11 Apogee Sound Inc 90 40 707/778-8887 Milab 59 26 818/843-1830 Applied Research & Technology 73 31 716/436 -2720 Musically Intelligent Devices Audio Media Research 63 28 601/635-2244 Inc 93 46 516/864-1683

Audiorent 97 49 New England Digital IFC -1 1 802/295-5800 Bacon, Kenneth Assoc 65-66 800/231 -TAPE Opamp Labs 97 51 213/934 -3566 Bertech Organization 93 45 201/579-5773 Orban Associates Inc. 71 30 415/957-1067 Bi- Tronics Inc. 65-66 800/522 -7377 Otari Corp. 3 4 415/592 -8311 Black Audio Devices 91 41 818/507-8785 Pristine Systems, Inc. 88 54 416/499-3242 CAE /Littlite 86 36 313/231 -9373 Pro Sound 97 50 800/421 -2471 Canare Cable Inc 67 29 818/840 -0993 QSC Audio Products 47 23 714/645-2540 Carver 35 17 818/442 -0782 Quinn, Larry 97 52 818/507 -7777 Cipher Digital Inc. 11 7 301/695-0200 Rane Corp. 17 10 206/774-7309 Countryman Associates 91 42 415/364-9988 Renkus- Heinz, Inc. 81 33 714/250 -0166 Crown International 61 27 219/294 -8000 Solid State Logic 56-57 212/315-1111 Digital: 1 Duplicators Inc 65-66 305/788-2450 Sony Broadcast Products Eastern Acoustic Works 33 16 617/620 -1478 Co 44 -45 22 201/833-5231 Electro- Voice, Inc. 55 25 Soundcraft USA 49 818/893 -4351 Everything Audio 9 6 818/995-4175 Standard Tape Laboratory, FM -Tube Craft Support Inc 97 48 415/786 -3546 Systems Inc 41 20 516/567 -8588 Stewart Electronics 89 39 916/635 -3011 Furman Sound 79 32 415/927-1225 Studer Revox America Future Disc Systems 88 38 213/876-8733 Inc. BC 3 615/254-5651 Hardy Co. 87 37 312/864 -8060 TASCAM Div./Teac Corp 31 15 213/726 -0303 Harrison Systems 4 -5 615/834 -1184 Telex Communications, Inc. 21 12 612/887 -5531 JBL Professional 15 9 Total Audio Concepts Ltd 39 19 818/508 -9788 Jensen Transformers 53 24 213/876 -0059 Turbosound Inc. 43 21 212/460-9940 Klark -Teknik Electronics Inc. 29 14 516/249 -3660 Wheatstone Broadcast Group 7 5 315/455-7740 LD Systems, Inc 92 43 713/695 -9400 Yamaha Intl. Corp 25 13

sales Offices

OVERLAND PARK, KS NORWOOD AUSTRALIA Mary Tracy Hastwell, Williamson 913- 541 -6637 or Rouse Pty. Ltd. 913- 888 -4664 P.O. Box 419 P.O. Box 12901 Norwood, Australia Overland Park, KS 66212 Phone: 332 -3322 Telex: 42 -4256 Intertec OLPK Telex: AA87113 SANTA MONICA, CA TOKYO, JAPAN Herbert A. Schiff, Haruki Hirayama 213- 393 -9285 EMS, Inc. Jason Perlman Sagami Bldg., 4 -2 -21, Shinjuku 213- 458 -9987 Shinjuku -ku, Tokyo 160, Chris Woodbury (03) 350 -5666 213 -451 -8695 Cable: EMSINCPERIOD Schiff & Associates Telex: 2322520 EMSINCJ 501 Santa Monica Blvd. Santa Monica, CA 90401 LONDON, ENGLAND Nicholas McGeachin NEW YORK, NY Suite 460, Southbank House Stan Kashine Black Prince Road, 212- 702 -3401 London SEI 7SJ 29th Floor Telex: 295555 LSPG 866 Third Ave. Telephones: 01- 735 -8171 New York, NY 10022 01 -587 -1578

98 Recording Engineer/Producer April 1987 a

Designed for the Working Professional! Performance The Sigma Series offers you the Sigma will satisfy your Current and Maximum Flexibility, in layout and Future needs in 16, 24 and 32 track design features that reflect the evolution recording as well as MIDI First of Sigma Engineering. Generation Recording and Sound Built to the Highest Standards, to Reinforcement Applications. which AHB has established its reputation For more detailed information on the on... for over 14 years. New AHB Sigma Console. Contact your Authorized AHB Dealer Today.

fiLLtfl&fiTfl bPfflELL U.S.A. Allen & Heath Brenell (USA) Ltd Five Connair Road Orange, CT 06477 / (203) 795 -3534

U.K. Allen & Heath Brer-ell Ltd. 69 Ship St. Brighton, BNl IAE England Tel. (0273) 24928 Telex 878235 r 11 CANADA: .i+ .. .r Gen-Audio ;Toronto s . (416) 361 -1667 4 r . ""'. say ..'r > r , '41-111111.;: i ° - w ° ° -.0 ° - i ' ' ..,1 .w a.. ; ¡/ é ° ' i .. ° Í"r-'i = :110 - !.,. s > i" s ÌS ' -1, 41) Sr A~'- a. J _ Y f A .4 y_-? í; +. i T I - . / sr- ` - / i ,-.0 / 4 =. v : ? .. i- i 9 . III . - : iI ' y .% / .; /kii-i ir4010" `i" v \ I/ /k///¡ i i / i /¡i..../ //i/iij/ -/ i/ / / y i .s / r' / /' / ' r ` '. r/' r/// 4101" -16... . r " ..r.. de . . K/ iir/ ' / - / 4.04 .+1 Cr. 1. / / s'.-Qd-, i -` i/V¿f/"///I/-...- " / ;...%,,,,, . r o-' . .*:. .,r/r / JrrJ+/ ' /.% i/ /% . "- / /'/ / '"//i, // . %///i // /r/- '/////, / ¡ r+I///y/i, / / / / / ...... / , .:"' ' ///V. /// / /.. ////V///i, /// . --- /./ .. ,401' / '2,, 1. - . / . - OtS CUcla (2) on Rapid Fads Card í - 0.-... / / / / r' The future of multi -track mastering was commonly assumed to want, and audio alignment is automatic with all parameters be 100% digital. But now Studer has built a multi -track for the (including NR levels) set and stored digitally. '` ` future...by going back to thoroughly refine and update analog Finally, the A820 shakes the "sound assumptions." With technology. new amorphous metal heads, advanced phase compensation For the best possible combination of reliability, production circuits, and fully integrated Dolby" SR as an option. the A82O capabilities, format compatibility, and sonic performance, the boldly challenges the costliest digital machines for overall Studer A82O challenges all competitors. Analog and digital. No sonic performance. Let your ears be the judge. matter the price. Some other manufacturers apparently assumed analog could First, the A820 is fast and flexible. With total microproces- not get significantly better. With the arrival of the A82O, that's sor control, it starts smoother, locks quicker, locates faster, now a questionable assumption. Call your nearest Studer of- and shuttles tape better than anything the competition has yet fice for detailed directions back to the future. Studer Revox to offer. The tougher the job and the tighter the deadline, the America, Inc., 1425 Elm Hill Pike, Nashville, TN 37210, more you'll love the A82O. (615) 254 -5651 An extensive The A820 is also fully user programmable. Offices Los Angeles 1818780 4734 New York 12121255.4461 Cnn.ago (3121526.1660 software menu lets you choose the operating features you Dallas (2141943 2239 San Francisco 1415)9:0 9866 STUDER Circle (3) on Rapid Facts Card