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EX CLUSIVES Yamaha 03D Drawmer 1962 Nightpro EQ3D Oktava MK319 LA Audio Classic SPL Tube Vitaliser Optomedia Kestrel

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EX CLUSIVES Yamaha 03D Drawmer 1962 Nightpro EQ3D Oktava MK319 LA Audio Classic SPL Tube Vitaliser Optomedia Kestrel THE INTE RNATIONAL TECHNICAL MAGAZINE FOR PRO AUDIO, POSTPRODUCTION & BROADCAST EX CLUSIVES Yamaha 03D Drawmer 1962 Nightpro EQ3D Oktava MK319 LA Audio Classic SPL Tube Vitaliser Optomedia Kestrel a French a isnatiVd DYNAMIC MICS IN THE ROUND CONVERTORS: THE GUIDE l FIVE NATIONS RUGBY TREVORSOUND FOR FARGO HORN 05 Interview 1111 9 770144 594024 www.americanradiohistory.com M O R E T H A N A L E G E N D.. .4 ..,.n-. -r-. rr r rz. -.. Y .'yÓ:".; í /'. ¢t. t f 1 -i ls?,; : -rr íF¢pr }tC. _ ,. rk `.3.`;++r. t r r. ,-_ !'.. t' . ., 't '1r-- q-1- -±;,. , ..r_ 14, r - `. :'r`r tt.tt tr114"A. riri .. s.` ''; r - rr ?Sslt,t :i.. á- P 4i. 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Y- V i i .s pf° .1 á t yyl .. , .tt .tr, ill f.; `, R R .. t `s )111 `1i9,F,q_VS.. , 1 l p, a° 4,t.`-t,Tr` Ni ;ttzt .. !-! yf,yt e ,, ` ° il» ` .I <' .- E N C O R E - PA I X D A T A I N T E R C H A N G E VX MUSIC RECORDING & MIXING CONSOLE VXS MULTI -FORMAT PRODUCTION CONSOLE World's premier music production console VXS Multi- Format consoles additionally provide: Audio quality against which all other mixing consoles Monitoring and output configurability are judged Up to 8 discrete outputs /4 stereo pairs Neve formant spectrum EQ and dynamics in each channel Monitoring independent of main outputs 8 mono /4 stereo auxes when tracking, up to 48 auxes Support for three additional 8 -track ATRs /dubbers, or when mixing 2nd multitrack Master status switching for tracking, mixing and broadcast Additional stereo guide track inputs Colour TFT screen in meter bridge provides sight -level Pec /Direct paddle switches for monitor select and automation data and Recall displays record arm Encore automation /mix data interchange with AMS Neve Optional music and dialogue dual track faders digital consoles Optional assignable joystick panners AMS HEAD OFFICE AMS Neve plc - Billington Road Burnley tams BB11 SUB England Tel: +44 (0) 1282 457011 Fax: +44 (0) 1282 417282 - I ONDON Tel: 0171 916 2828 Fax: 0171 916 2827 4! RMANY Tel' 61 11 9 4) S20 - Fax: 61 31 9 42 5210 NEW YORK Tel: (212) 949 2324 Fax: (212) 450 7339 IIOI l YWOOD tel: (113) 461 6181 Fax: (A 3) 461 1620 - IORONFO Tel: (416) 365 3363 Fax: (416) 365 1044 NEVF. e mad: cn, uicy.rann neve help: / /www.anls neve.cnm www.americanradiohistory.com 4 85 Editorial Recording: I :IJunrg led Inologies and Glen Ballard enduring media face the future A regaling luck at the recording of Alanis Morissette's massive 6 Bitter Little Pill album Soundings Else Essential pro -audio news stories gathered froc» around the gl )he Comment 10 96 World Events Frances McDormand plays a International mtü i, \ .i11d tli re' r tense moment in Joel and Ethan Coen's low- budget D -A and A -D comment masterpiece, Fargo. IntunHied .uniment on pro -audio See page 58 convertor guide news and developments from Reviews A complete roundup of outboard both sides of the Atlantic convertors and John Watkinsons 12 32 key account of their operation 97 Innova Son Sensory OptoMedia Kestrel Broadcast l :cItI Ise. french digital desk studio-volume Cl) replicatur 58 Kevin Hilton studies British Postproduction: broadcasting's move away from 16 34 Fargo single -site transmitter working Yamaha 03D SPL Tube Vitaliser I;chind the scenes of a low - Exclusive: digital mixing's latest Alternative vale signal processor budget feature film. Richard 106 Buskin celebrates excellence in Open Mic all aspects of its production 21 36 It s :\\\ led Ileyton is right, Lexicon PCM90 Nightpro EQ3D a real solution to media file exchange problems is here Iligh -end signal processor :\ geotl deal from '5IIs EQ deck 65 Broadcast. 25 38 Five Nations Rugby Technology Drawmer 1962 Marantz CDR620 .Uunisidc the ,vwatt .md din Europe's finest rugby. Kevin Prize pre;unp and . \ -D convertor k luny Hilton finds a winning broadcast 99 29 40 71 Dr John New Technologies Oktava MK319 lohn \\atkinson takes us back Interview: to basics with a kook at the \Iurc nc\ i.0 iii.tn hr.nnicJ I.\ lii.i\e Issuait mir workings of the deciBel serices-show cased here Trevor Horn Hie definitive 19tits pop 29 producer speaks to Phil Ward on 103 Features 1990s technology -and beyond LA Audio Classic Fire Wire 45 A practical look into the main Compressor 79 contender for the next I ."t , ,n.i; I,i, Dynamic mics Facility: generation of general interface Lisualh taken for granted. but 30 regularly essential to the Hans Dreijer Audio Dynamic mic roundup; HDA recording studio session. the Moving away from it, I)uirI, postproduction studio profile; Sony DPS -V77 dynamic mic attracts the hase. Zenon Schoepe finds HI)A Five Nations rugby broadcast ( )u.ll, n.rl lu.ntity in l)SP attention of Dave Feister tackling the German post market spotlight Studio Sound May 1997 3 www.americanradiohistory.com I al Resist if you must IT HAD TO happen. That most neglected of audio products -my cassette machine-recently reached the end of its useful life after years of uncom- plaining wear-it -to -death use and I was faced with the task of replacing it. As Studig is always the case when you are content with an item of equipment that serves you well, your knowledge of the relevant market falls away steeply from the highly informed state of consciousness you had reached at the time Incorporatingsoun Broadcast Engineering of purchase. After some eight years of satisfied ownership I emerged from a May 1997 Vol 39. No 5. ISSN 0144 5944 catatonic state in to a market that is now sadly devoid of the selection of suit- Miller Freeman plc. 4th Floor. 8 Montague Close, able machines I was it would still with. convinced be littered London Bridge. London SE1 9UR UK. The choice is actually paltry as many of the big names that used to supply Tel: +44 171 620 3636. 'pro' cassette machines have turned their attentions to other formats. How- Fax: +44 171 401 8036. ever, the real eye opener was the price. Given the decidedly old technology E -Mail: cz73 @cityscape.co.uk being courted, the same money would have got me DAT or MD even though Editorial Schoepe the R&D that went in to creating the MCC device must have been written off Executive Editor: Zenon Editor: Tim Goodyer at least a decade ago. Production Editor: Peter Stanbury What is wrong with this picture? Only that older technology is being side Editorial Secretary: Jenny Skelton lined in favour of funkier newer stuff to the total exclusion of the older US Representative: Debra Pagan -not Consultants: Francis Rumsey: John Watkinson formats, you understand, but just enough to make it increasingly difficult to Columnists: Dan Daley: Barry Fox: Kevin Hilton resist change. Design Consultant: Ben Mallalieu Examples of such encouraged obsolescence can be found in every sound Regular Contributors: Jim Betteridge: Simon Croft; Ben Duncan: Dave Foister: chain-users want something they're perfectly happy with but is hard to find, Bill Foster: Tim Frost: Yasmin Hashmi: Rob while the manufacturers try to sell them something else. Build what people James: Caroline Moss: Philip Newell: Terry Nelson: Stella Plumbridge: Martin Polon: want, sell them what you can. I bought another cassette machine. George Shilling: Sue Sillitoe: Patrick Stapley: Zenon Schoepe, executive editor Simon Trask Publishing Editor: Joe Hosken Old Masters Advertisement Sales Baillie WHEN ONE OF the old masters signed off a canvass, his job was essentially Group Sales Manager. Chris Deputy Ad Manager: Phil Bourne done. His art had been given its head and stood or fell on its own merits - Classified Ad Manager: Rebecca Reeves there was no equivalent complication to that of getting it PQ encoded, glass Advertisement Production Carmen Herbert mastered and copied in its thousands, and certainly no question promotion or distribution problems. PA to the Publisher: Lianne Davey Attempting to compare such a situation with that of today's recording artists Managing Director: Doug Shuard is complicated but enlightening. Consider, for example, that 16th-18th cen- Publisher: Steve Haysom tury painters were free from the kind of 'three painting deal' that would be e Miller Freeman pic. 1997. Ail rights reserved. No part of this pub- analogous to a modern record contract, and it's easy to see how damaging lication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying. recording the modern attitude to 'career development' can be. Consider also that when or any information storage or retrieval system without the express poor wetten consent of the publisher. The contents of Studio Sound a painting was complete, it belonged to the artist... and Broadcast Engineering are subject to reproduction in informa- tion storage and retrieval systems. Studio Sound and Broadcast Many points of comparison, like impoverished painters reusing old can- Engineering incorporates Sound International and Beat Instrumen- tal. Studio Sound and Broadcast Engineering is published monthly. vasses, are of curiosity value only. The most informative comparisons, how- The magazine is available on a rigidly controlled requested basis. only to qualified personnel.
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