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June 1990 $4.00

ENGINEII2 /PRODUCER The Applications Magazine for Audio Professionals

AN INTERTEC PUBLICATION

fu ac vw 4 t 'a' REIR Po/

It's the 1990s, and we're the first to admit that our 20-year-old title - Recording /Producer - doesn't begin to describe what today's working audio professional does on a daily basis. From this day on, we're R E P - the Pro Audio Applications Magazine for Recording, and Production.

It's too limiting to say that this magazine exists only for recording and record producers. R E P also addresses audio pros involved in post -production; , assembly and editing; creation; reinforcement, radio and TV ; commercial spot production; industrial ; and duplication; and studio design.

Although the name is updated, R E P will continue to present the applications- oriented material we've published for more than 20 years. R E P will continue to provide the information you need to work smarter and more profitably, from real, usable product reviews to business and production insights.

The audio world is changing, and R E P will help you face the challenges of that world, through the 1990s and beyond.

Dennis R. Milan Publisher June 1990 Recording NI Engineering - Production S4.00

THE LOST ART O RUIVI MI

IWIERVI6111: PADGHAM

RIZED E i SYSTEMS Atie!lh011 OÍ(11'1 and Sony /MCI C1fst01 ?1ers:

6 Studer quality and performance has just entered 5 r , " your price range with the affordable -very s affordable -A827 studio recorder, the first new multichannel from Studer since its Z ® standard- setting A820 -24. ® ea's° Superior sound for music recording. The A827 is just plainly ahead of the competition. And why ® % shouldn't it be? With the same transport and head vi - assembly. the sane audio quality as its big brother. °0 1 '%- '" the A827 is without doubt in the . { Studer class in spite of its ,. ..

a dable

. Available 16 and 8 -track ve sions. the A827 features a computer ntrolled transpon with 3 tape speeds.

var - d. switchablc Dolt i HX Pro and phase mpensated audio . Featured for post production. For TV// post production work. the A827 offers the fastest transport ingthe business -0 to 600 ips in 4 seconds - and with 14" reel capacity. The optional chase lock synchronizer guarantees nobody'II be waiting on . Post features like Reverse Play/Record and parallel /serial RS232/422 control ports make for easy integration into post production facilities. There's never been a better to part ways with those "other" machines...and move up to the famous Studer sound and quality. Call us. Experience the new A827 -24 with the best price /performance ratio available. STUDER REVOX

Studer Revox America. Inc. 1425 Elm Hill Pike Nashville. TN 37210.1615) 254 -5651

Los Angeles ( K I K) 780-4234 New York 1212) 255 -4462 Studer Rtn s Canada Ltd. 1416) 423 -2K3I Circle (3) on Rapid Facts Card THE NEVE PRISM SERIES Discover i ne run Spectrum Of Souu

With the Neve Prism Series, there's a whole new world of sound waiting to be discovered.

The Prism Series offers the unsurpassed EQ and dynamics capabilities of the Neve VR Series console - the console of choice in today's leading recording and post -production facili- ties - in one extremely powerful and flexible rack-mount pack- age. The two Prism modules include - parametric equalizer and the mic amp /dynamics unit, consisting of compressor / /gate /expander. In addition, the mic amp/ dynamics unit also has a mic input and variable high and low pass filters for unmatched definition, clarity, and size of sound.

The competitively priced Prism Series is even more affordable with our own Siemens financing. what kind of work you do, the Neve Prism Series will enhance it dramatically.

Take n look at the Neve Prism Series... Discover for 1jorrself the full spectrum of sound.

N 4 4 : 'r+ M . r/ss . . . . .

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o 0 0 T-,4 s. , ,e ism iNe . a1 r41111/ i /-.11/6111111111K1111111111. ive No Amen Dsn msw ( A Siemens Comp. ny DIGITAL

CT: (203) 744-6230 !`t: (212) 956-6464 TN: (615) 329-'584 CA: (213) 461-63: TORONT (416) 3 o. Owtario, Or Call/ 0ur4ieprese--+tatives: Audiotec#)wiques at 1212) 5866-5984 The Heav. 19M RC Ain -:R Et_ Circle (4) on Rapid Facts Card 1111111111111=111111111111111111111110M1 anoslef44 Volume 21, No.6

June 1990 54x4,41 F1144414 Zi4.tenzem444 REP Interview: C Live & Direct 26 By Richard Buskin 40 By Mike Joseph The Grammy -winning engineer /producer Automatic EQ: The Real Myth. talks about his work with , Gen- esis and . Automatic Systems, Part I The Making of "Lay Your 50 By Ken DeLoria Hands On Me" A discussion of the Apogee CORREQT sys- 32 By Mm Davis tem, including its origin, philosophy and The audio requirements for the Bon Jovi future development. video required complex handling of sever- al different sound sources.

Dealing with Drums e) 0 By Mike Joseph Rediscover the lost art of placing and mik- ing acoustic drums.

Close -Field Behavior of 9 Drum p1,4441444t 4 . By Tim Vear How a mic responds when placed near a From The Top 9 drum will determine the ultimate sound Guest Editorial 10 character. Random Access 12 Fresh Tracks 16 Five Questions: Digital Domain 20 Studio Microphones Sound Business 24 16 By Mike Joseph First Look 60 The Cutting Edge 61 Classified 68 Hands On: Archie Studio Advertisers' Index 74 Management System Rapid Facts Cards 75 ;11) By Robert Missbach Subscriber Cards 77

01. ge CaWn.

Photography by Kevin Anderson Art direction by Liz Veternick Studio: Sound Recorders, Kansas City, MO. Drums supplied by Big Dude's Music City, Kansas City, MO, and Bill Mack Jr.

REP (ISSN (1034.1673) is published monthly by Intertec Publishing Corporation, 9221 Quivira, Overland Park. KS 66215. Subscriptions rates are $26 to qualified readers. $30 to non-qualified readers per year in the United Stales, $50 for qualified and $60 for non -qualified per year outside the United Stales. Optional airmail for non -qualified readers outside the United Stales is also available for an additional $55 per year. Foreign subscriptions are payable in U.S. funds only by bank check or money order. Adjustments necessitated by subscription termination at single copy rate. POSTMASTER: Send address changes to REP, P.O. Box 12960. Overland Park, KS 66212.

Photocopy rights: Permission to photocopy for internal or personal use is granted by Intertec Publishing Corporation for libraries and others registered with Copyright Clearance Center (CCCI, provided the base fee of $2.00 per copy of article is paid directly to CCC, 21 Congress St.. Salem, MA 01970. Special requests should be addressed to Cameron Bishop, group vice president, Intertec Publishing Corporation.

ISSN 0034.1673 $4.00 + $0.00 :c 1990 by Intertec Publishing. All rights reserved.

4 REP June 1990 IF ADAM IS JUST ANOTHER DIGITAL MULTI-TTtACK, STENIE IS JUST ANOTHER .

You know how good this guy is. For total compatibility lets you devote 12 digital tracks musical abilities there's simply no one better. to vocals. And with single frame editing, you So when an impressive guy like Stevie tells can now eliminate the most difficult breaths us he's real impressed with ADAM, its and pops with absolute precision. music to our ears. ADAM. Just another wonder from Akai. Well, what Stevie is doing for music, Akai Call today for the authorized AKAI Digital is doing for digital multi -track. ADAM. dealer nearest you. The world's first portable digital multi- track, with the convenience of universally accepted 8mm tape, gives you the flexibility to expand to 36 tracks. It's the only digital machine within the means of any professional AKA! application. DIGITAL ADAM is the ultimate satellite multi- track. In a midi facility, ADAM is the ideal P.O. Box 2344 Fort Worth, TX 76113 primary machine because its SMPTE (817) 336 -5114

Circle (5) on Rapid Facts Card .av " . ..j , .1 MORE ARTISTS GO GOLD ON AMPEX THAN ON ALL OTHER TAPES PUT TOGETHER

VERY ARTIST PICTURED HERE HAS EARNED THE PRESTIGIOUS Ampex Golden Reel Award for creating a gold exclusively on Ampex audio tape. In fact, of all the gold released last year- and the year before -most of them were laid down exclusively on Ampex tape. And it's a good bet that most of the others used Ampex for the majority of their cuts, too. At Ampex, we respect the art of music and the rare ability it takes to create it. Being an artist means committing your body, mind and soul to your profession. It means fighting to preserve the integrity of your talent. It means never compromising your sound. We've made our own commitment to provide you with the highest quality, most consistent, most dependable audio tape in the world. Tape created with the same uncompromising attention to detail that you bring to your music. For all the details on what makes Ampex tape right for your sound, just call or write for a copy of our new 456 Technical Brochure, and see why Grand Master" 456 is engineered like no other tape in the world. AMPEX A MASTER OF ENGINEERING

Ampe.t Reronling Media 'J,'!""', 40I Nmm,i,nu, 11.5. 2+.02 Redwood City, California 040o3 1415) 307-34100

Circle (81 on Rapid Facts Card Incredible stereo. Great imaging No trade -offs.

Until now, there have Stereo Ambient Sampling localization for both music and been only two choices for System: SASS. Now, non -music sources. stereo microphones. two new choices are avail- It's all done within a single, Mid side and X Y mics able, each with no sacrifice lightweight, Crown -patented gave good mono compatibility in performance. frame that is easily adaptable to but produced wishy-washy SASS -P with switchable all common stands and mounts. imaging and sacrificed ambi- battery or phantom power A cushioned grip is provided ence. choice, and Crowns best studio grade for hand -held applications. near-coincident pairs, produced PZM capsules; or SASS -B to On one hand, portability sharper imaging at the expense utilize the world standard and impressive high end; on of poor mono compatibility and Bruel & Kjaer 4003 and 4006 the other, ultraquiet response required awkward stands and studio mics. to the lowest audible frequency. field assembled parts. Full ambience without Both SASS models have it al Either way, low end has coloration, excellent sum See your Crown represen- been weak and off -axis colora- to mono and an extraor- tative. You'll find the new tion lurked in the background. dinarily broad frequency SASS family stands alone All that has changed with response, SASS offers fantas- as THE choice for stereo. the introduction of Crown's tic imaging with pinpoint No trade -offs.

C rO w n INTERNATIONAL, INC. 1718 W. MISHAWAKA ROAD, ELKHART, IN 46517

Circle (7) on Rapid Facts Card Production Recording Engineering Vc To(,)

1 -man band, writing, directing, program- EDITOR Future History ming, performing, recording, mixing and Dan Torchia marketing in multiple mediums. TECHNICAL EDITOR Case in point: the guy who aligns the Mike Joseph Once upon a time, say 20 years ago, synced double 24-tracks at dawn, then ASSOCIATE EDITOR things were more clear. People in the au- directs and cuts voice -over talent to hard Pamela S Fleener dio industry were usually or disc over imported digital tracks (spun off GRAPHIC DESIGNER broadcasters before they gravitated behind on DAT), assembles, edits and lays-back an Liz Veternick the mixing board. Others did PA, em- agency Mac computer-generated commer- GROUP ASSOCIATE EDITOR bryonically developing the sound rein- cial donut to D2, audio and video, still Lauren Collinsworth Claflin forcement business somewhere in back al- store /frame grabs a shot for the DTP'd PR SENIOR MANAGING EDITOR piece, takes off his tie and completes bas- Tom Cook leys and garages. Our magazine, created in 1970 and nick- ics for a heavy -chromium glam -band as DIRECTORY EDITOR /producer in the afternoon and Pat Blanton named RE /P in the first issue, fit perfect- engineer ly in that neat, distinct world where stu- mixes his brother's neo-folk act at the CONSULTING EDITORS showcase club that night over Paul D. Lehrman, dios did music, radio stations did downtown John Monforte, Technical Consultant voice -overs, and film houses did looping his own rental PA system. Tomorrow he David Scheirman, Live Performance and transfers. Identifying a need, the does the Lambada. Editorial Consultant Laurel Cash-Jones, all of the important Question: What is this guy's job title? Sarah Coleman, Correspondent magazine addressed issues pertinent to the job of manipulat- What does he do for a living? Answer: Au- ing technology for the creation of audio dio production. Welcome to the Nineties. GROUP VICE PRESIDENT art, whether produced between four walls We at REP (present tense) recognize Cameron Bishop or out in a field. the traverses occurring today. In this post PUBLISHER RE /P magazine (past tense) continual- VH -1, sound byte, bigger- than -real world Dennis Milan ly broke new ground at higher elevations, where it all eventually goes to video, and PROMOTIONS MANAGER originating articles that addressed the the marketability of production values is Hornaday Evelyn gamut of production, everything, we are updating to match the MARKETING COORDINATOR from studio work to field recording, from times. Darren Sextro equipment design to post production, from With this issue, we are introducing a ADVERTISING BUSINESS MANAGER with chart -tracking producers shortened title and a new tag line to more Dee Unger interviews to features on megawatt touring sound truly image the changes that our media SUPERVISOR ADVERTISING PRODUCTION industry is undergoing. From now on, the Mary Birnbaum systems. Over the years, the rapid appearance magazine is officially REP - short, ADVERTISING COORDINATOR no longer reflects Sue Edwards and development of various storage medi- sweet, simple. The title ums, equipment platforms and production a job description - the recording en- techniques redefined the industry again gineer /producer - but addresses what by vocation: au- PRESIDENT and again. The greatly downpriced avail- people in our industry do R.J. Hancock ability of equipment from companies such dio recording, audio engineering and au- CORPORATE CIRCULATION DIRECTOR as Tascam and Fostex, not to mention elec- dio production. R EP. Chuck Rash tronic desktop editing and sound manip- We are also updating the department ti- CIRCULATION DIRECTOR ulation, allowed expanded audio produc- tles to more closely reflect subjects that Sandra Stewart tion without the capital investment that are currently achieving critical mass: Ran- CIRCULATION MANAGER was once needed. dom Access, an information hotline; Dig- Doug Wilding Albums, scores, demos, and ital Domain, on digital hardware, software CUSTOMER SERVICE commercials could be generated in back and disc -based recording; Sound Business, 913 -541-6633 offices, warehouses and bedrooms, in fa- where SPARS does its usual exemplary job CREATIVE DIRECTOR cilities fully equipped for the price of a lux- of explaining how to stay in business; and Kevin Callahan ury car. Professional, commercial audio First Look, a timely peek at the latest prod- production became the domain of musi- uct introductions. The titles may be new, cians, marketing specialists, creative art but the material covered is exactly the REP is an applications-based publication targeted at profes- types and media departments, in addition type that made the magazine a prime sional individuals and companies active in the commercial for useful and practical pro audio business of studio and field recording, audio for video, live to the traditional industry job titles. source sound production and related fields Editorial content includes Video and computer hardware took root info. descriptions and demonstrations of audio production tech- in previously audio-only en- We believe that positive change is good niques, new products, equipment application, maintenance and bloomed and audio environnent design. vironments. Compact affordable video and regularly needed to keep from becom- in we hope Member, Business Publications with expanded audio capabilities created ing dinosauric. With this mind, Audit of Circulation an entire support industry. Sync-to- you enjoy the new, fresh we have Sustaining member, Audio and the overall forward -leaning Engineering Society everything became more than a promise. recruited Sustaining member of Acoustical Society of America Today, out of the swirling fog of techno- spin that is presented in these pages. Let Member, International Communications Industries are starting to co- us know what you think. Association uncertainty, solid images Associate member of Society of Professional Audio alesce. The producer (small "p") of a proj- Mike Joseph Recording Services ect today has the capability to become a Technical Editor 1990 by Intertec Publishing. All rights reserved.

June 1990 R E P 9 of their capabilities. Nevertheless, the mu- gineering that enhances the primary re- What About Art? sical compositions are often recorded for cording. However, when you start your the sake of equipment - rather than for sessions with poorly written compositions, art. By Piper Stevenson there is little you can do as an engineer If you need some proof, think back to to make the more listenable or en- your favorite pre -1970 recordings. Songs joyable. I am not downplaying the techni- recorded on meager 4 -track recorders are cal advances we have made, just our reli- still enjoyed today, not because they are ance on them. We are losing touch with Glancing through the pages of this technically mystic. Rather, they exist as art the purpose of our actions. magazine, you will quickly realize how ex- forms, surpassing the standards that nei- Throughout all of the technical prolifer- citing the music biz can be. We have it all: ther time nor technology can denigrate. ation, the consumer has become educat- great equipment with astounding capabil- To further drive my point home, recall ed and is now keenly aware of the ad- ities, proliferating software algorithms to when stereo recordings were first intro- vancements afforded in sound recordings. suit even the wildest dreams, all on an duced. Those particular recordings that Unfortunately, many of us - including my- ever -expanding technological horizon. exploited the capabilities of the stereo field self - have postured the equipment well With so many great things going for our (i.e.: discrete channel muting and /or the ahead of the art form and, in doing so, tight little industry, it is no wonder that bombastic usage of panning) resulted in have lessened the effectiveness of our so few of us sit back and take time to lis- recordings that often lessened the quali- recordings. ten to the fruits that grow on the techno- ty of the complete work. Why? Because In an effort to produce recordings with logical vine. If we did take more time to technology superseded the medium to the greatest fidelity, we have lost sight of consider the art form, I think we would which they were attached. the fundamental principal that enables the be ashamed of ourselves. medium to exist - the music itself. While By placing such a premium on the val- we have spent time endlessly searching for ue of the technology we use to create the greatest gear, perhaps we should stop sound recordings, we have lessened the and begin searching for greater talent. primary source of our existence: the mu- We've lessened the So what can you to cultivate your own sical experience. talent? Here are some steps: Specifically, the greatest primary source of our percentage of existence: 1. Listen to recordings of music that you contemporary album- oriented music is the musical don't deal with in the studio. If you main- technical masturbation - nothing more, experience. ly do rock 'n' roll, listen to classical or folk. nothing less. Studio projects are born from Get a feel for what your peers in these oth- partially related electro- mechanical er disciplines are trying to accomplish. events, combined into preconceived, ac- 2. Attend live performances in clubs or ceptable formats palatable to the casual halls. It doesn't matter if you work radio listener. Today, unfortunately, little has changed. with that type of music every day. The Today's has crafted a I say this with some reservation, of course, point is to be thoroughly familiar with how "manufactured" recording process that because technology has advanced well be- the performance occurs outside of the rarely challenges the listening audience. yond the imagination of the early stereo controlled environment of the recording of this difficulty extends outward- pioneers. As a self -acknowledged promot- studio. ly and involves two interactive branches: er of MIDI, sampling, digital recordings 3. Re- acquaint yourself with the basics A large percentage of today's musical per- and workstations, I have many opportu- of recording. Before you can break the formances are sub -standard; and the tech- nities to use equipment, often to my own rules, you have to know what they are. nology used to record these performances disadvantage - often more so to the dis- Know what the best technique is for the is often utilized to correct the deficiencies advantage of the artist or listener. Perhaps effect you are achieving. Don't merely use of the primary art of creating the music. you, too, have been in similar situations techniques because it is the latest and In a nutshell, we have lost sight (or is as you practice your craft. Because you coolest. it sense of hearing?) of what makes the can "save a take" using high-tech, you do. The needs to cultivate a art form interesting and viable. Our eyes What about doing it right in the first place? stable of talented individuals comprised of glimmer at the latest , mul- How often, for example, have you been creative musicians and engineers. We titrack recorder or digital workstation. told, "It's gonna be heard on a 4 -inch TV need people who realize that the artform What we fail to notice is that while the speaker, why waste your time?" Or better existed long before the integrated circuit. technology has advanced, the talent who still, "The guy who watches MTV doesn't Until we do this, our technologically over- use the gear - and as important, those monitor with Perraux Amps and Genelecs produced recordings are worthless; they who perform - have not progressed ac- ... why should you ?" Did you agree with are an engineering experience gone cordingly. In the process of searching for your heckler and say, "Yeah, you're right haywire. that "perfect piece of gear," we have end- - the music can stand on its own:' Prob- ed up cheating the listener by placing ably not. Instead, you likely spent several technology before art. hours remixing and tightening the sound Engineers, producers and musicians invoking every imaginable studio tech- have utilized their wares to only a fraction nique, technology and creative juice in your body. Piper Stevenson is a Chicago-based recording engineer. Don't get me wrong - I am all for en-

10 R E P June 1990 W E C A R E AGFA

Bonnie Raitt's Grammy Album of the Year, Nick of Time, is more than just overdue recognition. Ifs a tribute to trust, faith and friends. Engineer Ed Cherney, producer , and the Record Plant in L.A. - all helped Bonnie turn out the album of her career, mixed on AGFA PEM 468. Listen closely and you'll hear a warmth much deeper than guitar licks. A legendary studio, a great team, and a perfect mix on an exceptional audio mastering tape. Nick of Time. It's more than just the album of the year. And more than any person or product involved. It's testi- mony to how great music can sound when it all comes together - when an album's recorded with a "Thing Called Love"

AGFA ... the hits are on us.

Agfa Corp . 100 Challenger Road Ridgefield Park, NJ 07660 Telephone (201) 4402500

Left to right Don Was- Producer Bonnie Raitt-Artist Ed Cherney -Engineer Circle (8) on Rapid Facts Card AUDIO VIDEO PROFESSIONAL AGFA R4fatMA ket_14,

CONSOLIDATION U.S. & BRITISH ...CONTINUED STUDIOS: What are the Differences?

re there differences between American and British studios? Bruce For- Piro audio buyouts, acquisitions and est, an American re -mix engineer who has been working in Britain for mergers continued this spring. Two com- the past few months, thinks so. panies with active acquisition histories Like many re- mixers, Forest started as a club DJ in New York; he got each picked up a company, and an audio his big break from Chris Blackwell of . He has re -mixed pioneer decided to sell out a multination- records from Steve Winwood, , Whitney Houston and Paul McCartney. When al conglomerate. he went to London for a party and a couple of , Forest stretched his week -long Dr. Willi Studer, the founder and sole visit into months. He offers these thoughts on the differences between American and shareholder of the Studer Revox Group, British studios: sold out to SAEG Refindus Holding Inc., "In the U.S., when I agree to do a mix, I first sort out the budget and see if the room a Swiss company. The sale was initially an- I want is available. Then I scout around for a keyboard player and see if I can get nounced at the AES Montreux show, but ahold of the artist - that's almost unheard of. Then I get all the equipment together, was announced domestically at the NAB turn up at the studio on the day of the mix and pounce around for half a day, trying convention in Atlanta in April. Tore Nor - to get it all working. dahl, president of Studer Revox America, "Over here it's different. When I came to do the ABC track, I was thinking, 'Oh my which acquired Dyaxis last fall, said he did God, who am I going to get for overdubs? Where am I going to get the equipment? not think the acquisition would affect Where am I going to find a good engineer ?' When I showed up, Martin Fry of ABC American operations. was sitting there waiting for me. And they had hired a keyboard player - they felt Mark IV Audio, which has been an ac- it was their responsibility. Over here, a keyboard player brings his own gear, while quisition trend the past couple of years, in the States, the guys walk in with a little black briefcase expecting you to sort out has acquired Dynacord, the West German the keyboards. manufacturer of music and commercial "In the U.S., most mixes come from the record company, while over here, most come sound products. The company will con- from the artist's management. And I prefer it from the management for the simple tinue to operate separately with its pres- reason that they know much better what they want. They want Bruce Forest to re- ent management. An American company, mix their artists' record. But when a record compa- Dynacord Electronics, has been formed ny calls and says they want you to do so- and -so, Bruce Forest and will be based in Los Alamitos, CA. the chances are that they're just jumping on a Robert Pabst, Mark IV Audio president, bandwagon, not necessarily who's best suit- said that Dynacord's technology in digi- ed to re -mix a particular track. "When it tal electronics will be used to develop comes to management, they will always products in the other Mark IV companies. pick someone they feel is best for the The fact that Dynacord has a strong Eu- job. In the U.S., it's rare to meet the ropean presence was undoubtedly a fac- artist, but here it's more common. tor, as the European Economic Commu- They can set up a meeting and nity becomes a reality in 1992. I can meet the guy and talk The third acquisition was DOD Electron- about the track. "I had a ics, with product lines DOD, DigiTech and very nervous moment Audio Logic, purchased by Harmon Inter- in Amsterdam. I was at national, the owner of JBL, UREI and a convention and a Soundcraft. According to the agreement, voice came over the DOD will retain control over its distribu- public address: 'Would tor network and will operate autono- Bruce Forest please go to the mously. organizer's office ?' They said I had to call MPL [McCartney's man- agement] immediately. And I thought, 'It's a Sunday, why else would he track me down in Amsterdam on a Sunday unless he hated it ?' It turned out they were call- ing to say they needed a 7 -inch right away. But I had a nervous 10 minutes!"

12 R E P June 1990 THE of the Studio A group of Los Angeles-based producers has sent a letter to Los Angeles studios asking them to help preserve the environment by not using styrofoam products, such as to -go containers and beverage cups, in their studios. The letter was signed by Rick Nowells, Jimmy !ovine, Shelly Yakus, Jellybean Benitez, Belinda Carlisle, Billy Stein- berg, Desmond Child, Davitt Sigerson, Don Was and Maria Vidal, and it read: "Dear Studio Manager: Please join us in our efforts to save the environment! One way that you can help is to stop using styrofoam products in your . We hope that you will read the attached article, copy it and distribute it to your friends. Thank you for your help in this fight to save our world:' AEI According to Laura Harding, Nowels' assistant, the response from Los Angeles stu- Maw studio dios has been very good. The group is also encouraging producers and other personnel in other cities to send a similar letter in their area. Charles Askanas has been named presi- For more information or a copy of the article mentioned in the letter, contact Nowels' dent and CEO of E -mu Systems . office at 213- 655 -7990; fax 213- 655 -0926. Richard K. Wheeler has been named Techni- president of Sony Operations and TrendWatch hanced by sound amplifying devices so as cal Services. Mark Gray has been ap- a Items of interest from outside the pro au- to propel and propulse in all directions pointed president of Sony Communica- dio industry: highly intensified conglomerate musical tions Products. Courtney Spencer has rock" CD Reissues: Engineer Roy Halee, who sound typically identified as hard been appointed vice president, sales and remastered Simon & Garfunkle's "Collect- This, with the lighting system and , marketing, of Sony Pro Audio ... JVC has ecstatic emo- ed Works" CD box, complained about the led fans "into a boiling pot of appointed Lisa Schraml manager of mar- when quality of the original CD issue of tionalism:' The man broke his knee keting and sales ... Akai has named Ron the 3 A.M.:" calling it he slipped on liquid near the front of Franklin digital products special- "Wednesday Morning, a "hopeless mess:' Quoted in the Interna- auditorium. ist ... Hugh R. Heinsohn has been which would tional CD Exchange, Halee said that his Legislation: The DAT bill, named director of marketing for Gentner incor- remastering of "Wednesday Morning" was require consumer DAT machines to Electronics. Elaine Jones has been system, is an improvement but still contained a "hor- porate the SCMS anti -copying named director of corporate pro- rendous amount" of distortion. Halee ini- slowly making its way through Congress jects . .. Audio Kinetics has appointed A hear- tially alleged that CBS lost the original after an early March introduction. Nick Smith to sales engineer ... Don Es- masters and used third- and fourth - ing before the Senate Communications ters, president of Harman International June 13. generation tapes. CBS denied that, saying Subcommittee was scheduled for Industries, the parent company of JBL when the that although they did have the master There has been no word on Professional, has been presented the 1990 Protection tapes, it wasn't worth the time or money House Commerce, Consumer Spirit of Life award, the highest volunteer would to use them for remastering. and Competitiveness Subcommittee honor given by the High Technology In- censorship Lawsuits: A man who broke his knee- hold its own hearing. On the dustry for the City of Hope ... Dave record - cap at a Rod Stewart concert contended front, 13 states have withdrawn Powell has been appointed Solid State the house system contributed to his labeling legislation after the Recording In- Logic's Eastern regional sales en- that accident, according to UPI. The lawsuit, dustry Association of America said it gineer ... QSC Audio Products has named Stewart, the Cajun - would standardize a label for its member Eric Mendenhall design engin- which was filed against dome, Lafayette, LA, and its insurance companies. There are bills that are still ac- eer ... Renkus-Heinz has announced the company, states that the music was "en- tive in about five states. following staff appointments: Carl C. Dor- waldt, national sales and marketing man- ager; Mark Duncan, product manager; Americans tend to walk into a studio as if it were a temple. They're and Graeme Harrison, European mar- the there. The British walk in and all they see keting manager ... Pro Co has promoted reverent about equipment William Eaton to Pro /Commercial Divi- is potential; they'll see a piece of equipment that's supposed to be used sion sales coordinator ... Arthur Stoppe for a vocal effect and use it on a guitar. I think it goes back to the Euro- has been promoted to production manag- pean tradition of decadence. The British tend to be somewhat kinky. During er for Alpha International ... James the day, they walk around in bowler hats and umbrellas, and at night Stoffo has been named wireless market- each other. It makes for interesting records. ing specialist for Vega ... Lexicon has ap- they go home and spank pointed Daniel D. Roberts vice presi- - Billy as quoted in the Chicago Tribune. dent, sales and marketing. ,1 June 1990 REP 1:3 RHG, Aa .44.

STUDIO UPDATE Facility/Location Details NORTHEAST Washington Professional Systems has opened a regional office in Mt. Lau- Apollo Theatre Recording Studios/ New recording facility. rel, NJ. The office is headed by Tho- New York mas Knauss, general manager, and will concentrate on the supply, installation Black Entertainment Network/ Steve V. Johnson named mixer, audio -for- and service of audio -visual systems. Washington, DC video engineer. The office is located at 20000 Horizon Crystal Sound /New York New equipment: Akai S950, Neumann U-47, Way, Suite 200, Mt. Laurel, NJ 08054; 386 PC computer. 609 -273 -8688; fax 609 -273 -8558.

Editel NY /New York Donald J. Cuminale named chief engineer. Agfa presented its sales awards during a sales meeting in Breckenridge, CO. Red Rock Recording /Saylorsburg, PA Installed East Coast's first Amek Magnum Bob Zamoscianyk, regional sales man- console. ager, Atlantic region, received the Vice President's Award. Jim Rouse, Pacific Selcer Sound /Brighton, MA New studio venture with Brian Capouch - Soundworks. region, won first place in the sales con- test. Second and third place went to /New York Added Sony PCM -3348 DASH recorder. Mike Caputo and Bill Greene, both from the Atlantic region. The Out- Studio 4 /Philadelphia B Room update: SSI EG console, Westlake standing Performance Award was BBSM -15 monitors, variety of . presented to Wayne Desmond, techni- cal support engineer, SOUTHEAST Ridgefield Park.

Allied Film & Video/Orlando, FL Relocated Florida operations to 4364 35th St., Sam Ash has opened a store dedicat- Orlando, FL 32811; 407 -649 -0008; fax ed to sound reinforcement, DJ equip- 407 -295 -1840. ment and club lighting. Managed by Tom Dubas, the store is located at 166 Atlantic Video /Alexandria, VA William A. Winn named audio engineer. W. 48th St. in New York. Clifty Studios /Paris, TN Upgraded to A-DAM 36 -track During its 24th annual awards dinner Soundscape Studios /Atlanta New equipment: Genelec 1035A monitors, dance, the Cinema Audio Society Studer Editech Dyaxis, Otani MTR 90. (CAS) honored mixers who were recipients of the Emmy Awards and Os- MIDWEST car nominations. The Man -of- the -Year Ajax Recording Team /Fort Wayne, IN New outboard equipment: Eventide award went to Bill Varney, vice presi- H3000B /SE, Drawmer 1960, DS-201 gates, dent of sound at Universal Studios. Spe- Dolby SR, Neve 1089 mic /EQ modules. cial awards of appreciation were giv- en to Fred Ginsburg, Ed Somers and Paisley Park Studios /Minneapolis Tom 'flicker named chief recording engineer. Phil Silvers for their successful efforts in producing Smith /Lee Productions/St. Louis Steve Higdon named chief music engineer. the wireless mic sympo- sium held last summer. Sound Decisions /Bolingbrook, IL New name of Body Electric Studios, reflect- ing new direction of audio for corporations. JBL has presented West L.A. Music with the first annual James B. Lansing SoundStage 1 /Galesburg, MI New recording facility. of the Year award. The award is in recognition a MOUNTAIN of complete concert sound system delivered to Los TeleScene /Salt Lake City Completed 24 -track audio studio and 16 -track Bukis in Mexico. MIDI studio.

SOUTHERN CALIFORNIA First Choice Marketing is a new mar- keting firm serving broadcast, com- California Magnetics /San Diego Will install Magnefax 7 -slave bin- loop dupli- mercial and pro audio manufacturers cation system. in the northwest United States. The firm is located at 7355 50th Ave. N.E., Group IV Recording /Hollywood Opened new Pablo Room for SFX and elec- tronic music. Seattle, WA 98115; 206 -524 -7344; fax 206 -524 -1015. Intersound /Los Angeles Celebrated 10th anniversary. Nagra USA has added two new cus- Soundworks West /West Hollywood Acquired Odyssey Filmakers assets and build- tomer service options: product leasing ing adjacent to Soundworks West's facility. and service contracts. Leases can run

14 R E P June 1990 from one to five years, with an option STUDIO UPDATE to buy at termination or to upgrade to Facility /Location Details newer Nagra technology. The service contract option covers the cost of la- NORTHERN CALIFORNIA bor for any equipment needing repair Davis Sound /Davis New equipment: Dolby model 363 2 -channel after the automatic 1 -year warranty SR reduction unit for its Otani I/2 -track expires. machine.

Mobius Music /San Francisco Addition of Neve /Studer room: Neve 8068 console and Studer A820 2- track.

Alpha Audio's division is the Music Annex /San Francisco Completed its Studio Ill audio for video mix- new distributor for the Azonic line of ing suite with an AMEK 2500 console and acoustical foam products. Otani tape machines.

KlarkTeknik has been named the ex- Sound Recording Organization (SRO)/ Joined Music Annex at the 69 Green St. fa- clusive U.S. distributor of MilaDs prod- San Francisco cility in San Francisco. uct line. Thumper Sound Studios/Oakland New recording facility offering 16-track re- cording with automation. Box 520, 1001 Neve North and Re- America Orion Bridgeway, Sausalito, CA 94965; 415 -547- search have signed an exclusive 3402. agreement making Neve responsible for the manufacturing, worldwide sales NORTHWEST and service of the Orion line of broad- Klub Kev's/Seattle Retrofitted Neve 8232 console for installation cast audio consoles. of Digital Creations Disc Mix moving fader automation system.

HAWAII Pyramid Audio (Chicago), Martin Lahaina Sound /Maui New equipment: Lexicon 480 -L, TC Electron- Audio (New York) and Hy James ics lt 2290 -sampler, Yamaha SFX 1000, (Detroit) have been named dealers for Digitech DSP 256 multi- FX, two Lexicon the Digital Dynamics ProDisk -464 line PCM 42 delay lines, two Lang PEQ-2 EQs, of recording and editing Yamaha C300 recorder and Sony PCM 2500 systems. pro-DAT. Upgrade: Sony DASH chips for PCM 3324.

Hybrid Arts has appointed SG Audio DEALERS (Chicago) and Milam Audio (Pekin, IL) Gand Pro Audio /Chicago Named Meyer HD-1 dealer. Has installed Otani of its ADAP II as authorized dealers multitrack recorders at Solid Sound Studios, digital audio recording and editor. Joy Art and Chicago Rehearsal Studios; a Roland R -880 reverb to Nexxus Recording, Waukesha, WI; and a Tascam M208 console, two Otani 5050 BIIs, an Otani MX50 and dbx Twenty-two sales reps from the United 263x, 163x and 463x units to Sound /Vid- States and Canada attended Rane's eo Impressions, Des Plaines, IL. first training session, held March 9 -10. Redwood Marketing /Nashville, First sales of AMEK Classic mixing consoles: Los Angeles Turner Broadcasting, Atlanta; ABC, New Tascam has presented New York -based York; NBC, Burbank. Marketration with its Rep of the Year award. MANUFACTURERS Neve Installations: VR72 console, Chicago Record- ing Company; Flying Faders, Groundstar Stu- dio; two V60 consoles and an 8128, Devon- Hybrid Arts has relocated to 8522 Na- shire Audio & Video. tional Blvd., Los Angeles, CA 90232; 213 -841 -0340; fax 213 -841 -0348. Soundcraft Installation: two Delta consoles, Eel Pie Studios. Neve North America has relocated its Sony Pro Audio Sales: PCM -3402 DASH recorder, Jack's headquarters to 7 Parklawn Drive, Tracks Recording Studios; PCM -3348 48- track Bethel, CT 06801. The phone and fax DASH machine, Digital Recorders. numbers remain the same. BrystonVermont Sales: 13 3B amps, four 4B amps and three 10B electronic crossovers, Pacific Sound Services.

June 1990 R E P 15 f T6644

Steve Morse: Eric Johnson: Vonda Shepard: "" "" "Vonda Shepard"

Label: Capital Producer: Eric Johnson Recorded by: Richard Mullen Assisted by: Eric Johnson, Chet Himes, Bob Lacivita, Walter New, Dave Parks, Stuart Sullivan Recorded at: Riverside Sound; Saucer One Studio; Arlyn Studios; Studio (all in Aus- tin, TX) Mixed by: Michael Frondelli, Richard Mullen Mixed at: Soundcastle Studios, Los Angeles; Riverside Sound, Austin Mastered by: Bernie Grundman at Bernie Grundman Mastering, Hollywood SPARS Code: Not listed

Label: MCA 1111110°N. Produced by: Vonda Shepard, James New- Producer: ton Howard, Robert Kraft, Gardner Cole and Recorded by: Steve Morse, Tom Wright, Rick Johnson Art Munson Sandidge : Felix Chamberlain Mixed by: Steve Morse, Rick Sandidge Studios: Oceanway, Kren, Leeds Le Mobile, Studios: MOR Studio, Atlanta; Chesire Sound, Can Am Recorders, The Complex, Studio 55, Atlanta; Mark V /Soundcastle, Greenville, SC Circle Seven, Sunset Sound, Art Munson Stu- Mastered by: Glenn Meadows at Masterfon- dios, Garden Rake Studios, Skyline Studios, ics, Nashville Schnee Studios SPARS Code: AAD Engineers: Ed Thacker, , David Pack, Ross Pallone, , Art Munson Comments: This is a truly excellent, and Ian Eales tasty solo album. Instantly accessible, the Mastered by: Stephen Marcussen at Preci- music ranges from country romps to sion Lacquer Mastering full -tilt electric fusion, from new age - inspired excursions to acoustic /electric Comments: Mainstream pop artists, folk pilgrimages. who often draw from different styles, can Of special interest: Listen closely to Comments: Succinctly arranged and present interesting challenges in record- "Highland Wedding;" "The Road Home" produced, this 3 -piece (plus occasional ing and mixing. This album shows what and the direct -to- digital master "Tumeni synth) rock romp is an encyclopedia of a sympathetic engineering and production Notes;' the latter a direct stereo guitar cut. guitar , ranging from Hendrix and team can accomplish. the best full- attack -rock fusion of the Of special interest: "Don't Cry llene" Seventies to some of the sweetest, cleanest features wit and instrument selection not acoustic sounds ever. typically associated with today's produc- Of special interest: Listen to "Desert tion standards. Mix influences from Toto Rose' for the digital effects, masterfully and the Yellowjackets result in an airy and layered guitars, drum punch and imaging. sonically compelling sound. This is a tune to calibrate your ears with. Also listen to the tones and mix of "Steves Boogie,' a country -flavored rocker, and "Trademark;' a snapshot of Johnson's Fresh Tracks is a monthly department patented guitar virtuosity at its best. spotlighting recent album releases from a technical and production viewpoint. REP is pleased to recommend these releases, both for quality referencing and listening enjoyment.

16 REP June 1990 RELA3LE 9LAYERS

CRYSTAL TALIEFERO ON QSC.

I always work with the best. Bil'y Joel, John Mellencamp, Bob Seger, and QSC in my monitors.

I like my vocal mix loud. After all, background vocals aren't always in the background.

QSC Power ... as reliable as the players who use them.

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: I %4es as \:1 ()SC .i``:i alit, t , ...146,41, ~1,a 10 a m r.' ,s0, , sills Si 10 . f 4" I= a I % i' % 411. A U D I O , I .. ;: / ; =. ~'ir. ¡ti - «..:. %.4! wf .1 ... :.. I. ' fLJ Tom,

Luciano Pavarotti: Dick Hyman: "Dick Hyman Zil: "Zil" " Tutto Pavarotti" "

Label: Reference Recordings Produced by: J. Tamblyn Henderson Jr. Executive producer: Marcia Martin Recorded by: Keith O. Johnson Recorded at: Evan Williams Recording Stu- dios, Santa Ana, CA Mastered by: Robert Harley, assisted by Beck Rowel and Steve Rickmon SPARS code: D

Engineer: Not listed Label: Verve /Forecast /Polygram Producer: Not listed Executive producer: Joao Mario Linhares SPARS CODE: ADD and DDD Produced by: Joao Batista, Ze Nogueira and Zil Comments: This double -CD collection Engineered by: Sergio Murillo, Mario Jorge, is noteworthy for the inclusion of oppos- Zezinho Almeida, Marcio Menescal and Hel - ing recording and production techniques: cio Braga analog vs. digital recording, and a full or- Mixed by: Sergio Murillo chestra vs. a MIDI one. Here is the per- Mastered by: Dennis Bouch at Future Disc fect demonstration disk for analog purists Systems, Hollywood and digital perfectionists alike. Studio: Synth Studios, Rio de Janeiro SPARS Code: Not listed Of special interest: "Caruso,' by Lucia Comments: Touted as the world's first Dalla, featured in the movie "The For- direct -to -CD recording, these perform- Comments: Comprised of seven of tunate Pilgram,' features a MIDI orches- ances were first encoded and edited on a Brazil's top musicians, Zil combines Bra- tral . The vocal processing, Bosendorfer 225SE Reproducing . zilian, pop and jazz influences for an ef- with artificial , dynamic ex- Later, they were transmitted via micro- fective presentation. A straightforward pansion and digital delay, is most un- wave to the mastering house, where glass production, the album's use of panning characteristic for a classical artist of masters were created in real time. The ses- and effects are tasteful, yet effective. Pavarotti's stature. sion's participants cited the disk's superi- Of special interest: " for the Rain- or sound quality as worth the expense and forest" and "Zarabatana' both for their ef- time. fective placement of vocals. Of special interest: Although the proc- ess may seem overly cumbersome, the recording's strength is in the clean presen- tation of Hyman 's performances on such standards as "Ain't Misbehavin " and "Honeysuckle Rose:' Is there an audible improvement? You be the judge.

18 R E P June 1990 John Hiatt Performer, , Producer, AMR Production Series" 1600 Console Owner. ..

Through continuing contact wi:h professional recording engineers, Peavey Audio Media Research has produced the definitive mixing console with performance, function and features of uncompromising quality. Ask John Watt-performer, songwriter, producer -what he thinks of his new Production Series' 1600 from AMR. Like John, the kind of people that incorporate AMR eqLipment int.( their studio design usually have quite a track record of success. Whether you're a seasoned professional or a talented novi :e, AMR has the sigh: equipment for you. irrAV Aud =o Media Research and Success-The Perfect Mix. AUDIOii=EaV MEDIA RESEARCHTM Circle (10) on Rapid Facts Card Send $2 for product catalog to AUD 0 MEDIA RESEARCH /A DIVISION OF PEAVEY ELECTRONICS 711 A Street/Meridiai, MS 393C2-2898 1990 Dzifzut Devi,44,

about what is currently available and what ways. Companies such as DigiDesign, Op- Technology will be available in the future. We also code, Lone Wolf and Studer Editech are need to make educated decisions about developing products addressing these for Today the directions that technology is taking: things even as we speak. Are optical disks cost effective, compared From time to time, I enjoy going back By Rick Schwartz to regular old- fashioned magnetic hard and looking through my old audio maga- disks? Does 18-bit really make a difference zines. Some articles are still timely, others you can hear? Should I buy a workstation not, but my favorites are columns that Welcome to Digital Domain. Don't be now or wait until later? Digital Domain is made predictions about the future. Why? misled by the high-tech title. The last thing here to help you wade through the swell- Because quite often they were wrong. So you'll find here is speculation and buzz ing waters of technology and answer these many new products that were expectant- words like virtual and Hypermedia. questions. ly heralded in those publications never Although we could write about future There are many exciting products and made it to market. technologies that may someday change technologies available today that are not Sometimes writers in audio magazines our lives, most of us are more concerned widely used. Satellite technology, for ex- have a tendency to water down their with next week than next year. By neces- ample. Did you know that your studio can columns so they do not offend anyone. Af- sity. After all, we need solutions to the transmit and receive real-time audio to stu- ter all, most publications are driven by rev- problems facing us today. Problems like dios all over the world at a reasonable enue from advertisements. , synchronization, interconnectivity and the cost? This "dial -up" capability is going to these writers do not seem to spend much lack of standardizations. change the way many of us work. time with a product before the review goes What we need is concise information Another exciting topic we will cover is to print. In extreme cases, I find myself the integration of technologies: the com- wondering if the author even used the Rich Schwartz is a sound designer /engineer and director bination of computers, optical technolo- product. So many pieces seem as if the of post- production for Music Animals, Los Angeles. gy, MIDI and digital audio in creative new merely rewrote the owners manu- al, throwing in comments about how nice or useful he or she thinks a feature might be. Yes, but did it work? There is nothing more frustrating than purchasing a new piece of software or hardware that has received a glowing review and finding out DIGITALLY it's buggier than a woodpile. With the sub- CONTROLLED jects we cover and the products we review, WITH WHITE INSTRUMENTS PERFORMANCE that won't happen here. Promise. So what kind of people should read this 1/3 OCTAVE EQUALIZER column? Anyone whose livelihood is de- termined by their awareness of modern production techniques and equipment. In fact, anyone who uses their ears to earn a living. This includes music mixers, au- dio for video mixers, mastering engineers, film sound editors, audio consultants and WHITE instruments Model 4700/4700 -2 designers. Most of you own or use a com- puter. Many of you come in contact with One or Two Channels in One Rack Space MIDI on a regular basis. Most of you will be working with digital recording, wheth- One 28 -Third Octave Filters, with Optional Remote Control er it is a keyboard sampler, a piece of 10dB Boost or Cut, 0.5 dB Intuitive Real -Time Controls processing gear in a rack, a digital tape resolution Tamper -Proof with Password recorder or a hard -disk workstation. Adjustable High and Low Pass Security Instead of sticking with rigid structures, Filters Servo -Balanced. Differential, I/O Digital Domain will incorporate various Adjustable Gain in 0.5 dB steps Output Muting during Power formats, including product reviews, con- All Functions Digitally Controlled up /down versations with industry heavyweights, and, of course, we Ten Non -Volatile, User Program- Hard -Wired By Pass Switch will emphasize leading edge technology. mable Memories, No Battery Optional RS232 and EIA422 Expect to learn about great and power- backup interfaces ful undocumented features for the prod- Ten User Programmable Presets Affordable Price ucts that you own. Plan to discover help- ful tips and assistance on subjects like For information see Sound your Contractor or SMPTE timecode manipulation, MIDI, the write: phone or FAX WHITE INSTRUMENTS. interface of audio equipment and com- puters. instruments P.O. Box 90099 Austin, Texas 78709 Division of C VAN R Inc Phone: 512/892 -0752 ... FAX 512/892 -0855 Circle (32) on Rapid Facts Card 20 R E P June 1990 ip;r7.;. tam m.o.. wow r....ftcws --- MIN Ll ilittila ELSE =EillE Ea===.. a-TEE-2 = M-1=1.,- A7A-"°4- 110E-1111:9E=ERVIIIMMilliffilm.71Inem -ligh-1-"-"esemes. Eiriliiiii!MgML072:1M-P-V- itucv - = sw.--- r.tair7 Eir==-5111/11-=algisniESEAk-leAess-.44- Niil =WM_ :1` :-= as ==-. MEIMINEES/1111 INIEN"Ilinini/MHERIMIANM9 - IIMIIIHEMPAINE/Inas :i 4 30 1111 NIU MIIII lhi 111 ..... ATIMMIEnEn Mum no g = I MiiiiiiinlffiihniENEminpallIEam al..-= ...... , ilmiliiiiiignigniiii====fflitemmo . o IA ID no WO Ms It so ,.sDAecs. os CI, AN sissy, Rev bob br Zoo Lowodidier SIWPINI A C ew

Ifyou think this looks good, wait until you hear it.

Circle (11) on Rapid Facts Card

We could go the traditional way and tell you a head of "spec': Hut. lo really appreciate the new Kama SOU Series Speaker System you have to hear it. To find nut where you can hear a. call 714:373-7278. or write to Kamsa, 6550 Katella Avenue. Cypress. CA 90630. ve sound engineer needs a silent partner.

An investment in a recording console represents a partnership you plan to live with for some time.Which is why the Sony MXP-3000 series console is a sound business decision. Its design concept is based exten- sively on sonic performance. Boasting features such as low -noise hybrid amplifiers, gold -plated connectors and large crystal oxygen -free interconnect cables that produce unparalleled sound quality. These ingenious features tell the inside story as to why this console is so quiet. And countless installations tell the outside story as to why this console - -'- is so successful. m` V Of course, sonic performance isn't the e : = c. ó ó 0 jt ' only story behind our console. Flexibil- oors o0 ity is a necessity in the creative record- s r. ing process, as well. Naturally, the ^'w .. MXP -3000 offers a host of flexible fea- s; ... _; . tures at an unmatched value. : -.r For instance, you have your choice of five distinct equalizers, and five differ- ent channel input modules. Plus, there are many other options available to suit your individual needs. All of which come housed in an ergonomically designed control surface. For a demonstration of the quietest addition to your control room, contact your Sony Professional Audio represen- tative. Or call 1- 800 -635- SONY. And remember, when you want a quiet mixer to back you, put a Sony MXP -3000 in front of you. SONY Professional Audio

Si, 1988 Sony C .mmunicattons Products Co., a division of Sony Corp of America. 1600 Queen Anne Rd..Teaneck. NJ 07666. is . . .r Sony. o" (...- `..--, 0.-> 1' O ,..._ ...,/-.- \ ... , , O o l : ) ,0 oC ... , :-.., O C) (...) o , _--) -z:..,-,::-...,7"-Z-).--- ..A.,, 6 s o - o-,..,..---

- (_.--.- ,-',-..-,, ? . o> o' -,- O o ----O -. , - *O -o cs;-=-...-,ó .2 .. >.-- o o e ..7\ O ..- o- ---o° O o c--,..-- o O 1/4.2 .... o'9-- , o o o L ' ."--o.', O .. 0V0.70- O soI SPARS Perspectives

tion systems, but in general, professional Reality No. 3: There is a lot of digital The Best of quality, state-of- the -art, first -generation hardware in the real world right now. In analog recordings are pretty damned com- many cases these various machines and Both Worlds petitive with digital recordings. The fact formats will not easily interface with one remains that digital will hold up better another. They do not talk to each other By Pete Caldwell than analog through successive genera- without involving manipulations. There- tions. This brings us to the second reality fore, it is the further responsibility of to- in our real world scenario. day's recording studio to insure, at the be- Reality No. 2: In the present world of ginning of a project, that all of the facilities Digital audio has been a major issue in sound recording for film and videotape, involved are comfortable with the various this industry for awhile now, but what are the end product is most often going to be digital formats to be used. its advantages? The obvious answer is that analog. Programs and commercials will go digital audio often sounds better than ana- to the TV broadcasters on 1 -inch Type C log. Why? Because digital systems, by na- tape, because most stations do not yet ture, are freed from much of the noise to have D -2 digital VTRs. Audio will proba- In sound recording for which analog systems are inherently bly go to the film mixer on sprocketed film and videotape, chained. analog mag film. the Additionally, digital recordings do not Unfortunately for digital, it is the end end product is most manifest distortion, wow, flutter, loss of fre- use playback that is most important. Your often going to be analog. quency response and other anomalies CDs at home sound great because you found in analog recordings that have have a digital player. A $300 CD player can passed through many generations from take advantage of all of the beauty of a original recording to final product. digital recording, while a $300 audio cas- For example, there are two entirely This is fine as technology goes, but un- sette player can butcher the beauty of any different digital multitrack formats. There fortunately, it is an oversimplification of recording. Digital is great if your final are many different stereo digital formats. life in the real world. To better appreciate product is a CD. Different devices employ different sam- life in the everyday trenches of the audio pling rates. Digital editing systems and industry, let's consider three primary real- workstations are notoriously unfriendly to ities we must all face. each other. Reality No. 1: In a professional record- Analog, on the other hand, has been ing studio, first -generation analog record- Studios must make around long enough to evolve standard ings can be mighty good. (There are those thoughtful, informed formats and conventions. As we all know, who think that first generation analog choices in order to get there are always unforeseen traps. But sounds better than digital, which has its the most from analog compared to digital, analog is a calm and own unique anomalies such as aliasing well -traveled sea upon which to sail. Dig- and rounding -off.) At Doppler Studios, we and digital. ital interfaces can be tempestuous once placed a $180,000 digital multitrack crossings. on one side of the control room and a Am I suggesting that we dispense with $60,000 analog multitrack on the other digital? Of course not. Digital is clearly the side for a simultaneous recording compar- wave of the future. Digital is coming on ison. We hired a and re- So why use digital if the advantages are strong, but some problems are coming corded everything from heavy metal to going to be largely lost? Well, there are with it. Analog, too, has a long and busy Chopin. The results of subjective listening several reasons. If you have multiple lay- future. The studio of today must make tests by many of Atlanta's best audio en- ers or a very complex combination of thoughtful, informed choices to get the gineers were quite interesting. components, and if you can keep your au- most from both real worlds. We must un- Both recordings were very good. I felt dio in the digital domain all the way to the derstand the present complexities and that the digital was a bit quieter with a last or next to the last step, then the re- help guide our industry along safe, effi- truer bass response, but the extreme high sults will be better: quieter, clearer and cient, good- sounding paths. end seemed somewhat harsh. The analog more faithful to the original, even if the The studio of the future will be all digi- high end seemed warmer and more pleas- end product is analog. But digital record- tal. The studio of the present must live ant, and the anomalies in the bass could ing can be expensive, and in some cases with the best of both worlds. be adjusted easily with equalization. The it is difficult to manipulate easily in the addition of noise reduction to the analog production process. process placed the apparent noise levels It has become the responsibility of to- of the two recordings in a similar range. day's recording studio to help audio pro- There are those who say that they can ducers decide when the added cost is hear unpleasant artifacts from noise reduc- worth it. In short, audio producers must know in advance how much difference digital recording will make. With the help The Society of Professional Audio Recording Services is of the studio, they must then plan the com- your best source of pro audio business information. For in- formation on membership and activities, contact SPARS Pete Caldwell is SPARS' first vice president and president plete audio process to avoid bouncing at 4300 10th Ave. N., Lake Worth, FL 33461; 407-641 -6648; of Doppler Studios, Atlanta. back and forth from digital to analog. fax 407- 642.8263.

24 R E P June 1990 A ROOM EQUALIZED TO PERFECTION MULTITRACK TO MIXDOWN STUDIO MONITORS REVEAL THE ENTIRE SOUND SPECTRUM

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Circle (12) on Rapid Facts Card THE NIP INTERVIEW:

Hugh Padgham

By Richard Buskin

ii ' d rather have a bad -sounding rec- ord that's got a good vibe and is a good song, than a bad song that sounds fantastic :' asserts Hugh Padgham. "Sometimes you get de- mos that sound fantastic, and when you go into the studio and try to re- create them, every- thing's clean and nice, and it doesn't sound as good as the . "There are times when dodgy equipment can be nice, and I use quite a lot of cheap equip- ment - even some semi -pro stuff - and peo- ple come in and say, Wow, do you use that? I've got one of those in my home studio! ' The above statement notwithstanding, Padg- ham is not averse to employing state -of- the -art technology in order to create a sophisticated

Richard Buskin is a London -based free -lance writer.

26 R E P June 1990 The Grammy- winning engineer /producer talks about his work with Phil Collins, Genesis and Suzanne Vega.

Jure 1990 R E P 27 sound on the records that he is produc- then carried on from there, because they bark when he hits them! I ing, but whether he has been recording putting real drums on, real bass, real vo- don't know many other drummers who 's "Tonight;' Paul McCartney's cals. But the drum machine on records have toms that sound like that. He also ";" 's "Ghost in the such as "" and the uses a smaller bass drum than other peo- Machine" and Grammy award -winning Prophet pad was all actually original 8- ple use, while his last rack tom - the one "Synchronicity;" Genesis' last two albums track material. nearest the floor toms - is bigger than or each of the solo projects by Phil Col- "I suppose I have more music input on other people's. lins, he has always essayed to keep the the Phil record, because when it comes "I usually mic the bass drum with a Neu- sound fresh and uncluttered, encouraging to guitars and bases, Phil hands the onus mann U47 - I like the fatness, the low - the listener to pay attention to the music over to me. He admits he isn't expert in end thud that those mics give good rather -a than the machinery. guitar parts and that sort of thing, so we old [Shure SM -] 57 on the snare, 57s or Hugh first met Collins while engineer- get good musicians in and I help direct [Sennheiser] 421s on the toms, condenser ing 's album, "The Third;' at them. For instance, Phil hasn't necessari- or ribbon mics on the cymbals, and usual- London's in 1979. He ly written a bass line to the tune, so the ly a pair of [Neumann U -] 87s for room had started out a few years earlier as an bass player will come in and start playing mics. Then, with Phil, I also like using the assist engineer and tape -op at the nearby along and I'll tape him [AKG] 451 on the hi -hat, Advision and Lansdowne studios. Prior to and tell him the parts because he's got tom - embarking on a five-month tour of Europe that I like and so on. Re- toms and cymbals and with the Jim Capaldi Band, Padgham cording like that is great stands everywhere, so joined Townhouse as an engineer. Soon af- fun. sometimes you choose a ter, he helped wire in the first SSL desk "For the first two mic because you can get to be installed in a commercial studio in weeks we'll put down it into where you want the U.K. the stuff from the demo it to be! So basically I Gaining experience with PiL, the Jam, or re- create the pro- think careful placement XTC and , he moved on to grams. We started the of the mics on the production with Collins' "Face Value" al- tracks with a variety of drums and a good re- bum in 1981, went freelance, recruited the drum machines, but we cording, and you can't management services of Dennis Muirhead mainly used the old go wrong. and has never looked back. [Roland] 808, which is "For recording voices, Aside from producing, he has mixed MIDI- modified so that we can drive it off we generally use quite an unusual tech- records by , Genesis, Hall & the SBX 80. We also plugged up the basic nique, which consists of through Oates, Youssou N'Dour, Suzanne Vega and keyboard parts that would be in a se- a dynamic mic - a regular Beyer M88, . His track record places him in the quence in an E3, hit 'play' and let that go. which he uses on - then going top echelon of contemporary record pro- Then there would be other parts that he'd through this old Allen & Heath mini- ducers and engineers. This has been duly done manually that we would put down limiter. It has got a few controls on it for acknowledged with a number of top before going on to the next song. fast attack and slow release and things like awards, including the Grammy for Produc- "Then, before we had anyone else in, that, and I plug that over his voice and it's er of the Year in 1985. He is scheduled to we'd put down a guide vocal and a track as noisy as hell! Dynamic mics are a bit work on the new Sting album later this of real drums, before which all of the bass noisier than condensers anyway, so you're year. and guitar parts would be recorded and dealing against the odds as far as noise is In the interview, Padgham talked about amendments made - where necessary - concerned, but it doesn't actually matter. Collins' latest album, ':..But Seriously;' the to keyboards or drums or whatever. One I've got it down pat now. mix of Suzanne Vega's new record, "Days of the beauties of Phil's records, his key- "[The A &H] is a fantastic limiter, espe- of Open Hand;' and using new technology. board parts and his tunes, is that they're cially for me being co-producer with him, so simple. It's really hard to write simple because when he's singing, I'm the only Working with Phil Collins material, and in many cases, we try to one in the control room talking to him "Whereas Phil always comes into the keep the production pretty bare as well. about this performance, suggesting im- studio on the first day with a pile of de- "About six or seven times out of ten, provements and giving encouragement. mos, the last two Genesis albums have what we call the 'rough drums' will end You set a level for it and it's like the VU started with absolutely nothing prepared. up being the drum track, because I get his meter needle hits a brick wall, but it very The band just jams in the studio for a cou- sound while he's running it through a cou- rarely sounds over -limited. So when I'm ple of weeks. I record everything, ideas ple of times and then he just plays it. So doing vocals, I don't have to worry about build and the songs come out of this. doing a drum track, especially because the engineering side at all. "With Genesis, Phil sets up with a mic, he's such a brilliant drummer, is a half - "The way we work is that Phil will usual- sings 'la- dee-da -dee-dá or whatever comes hour operation at most. ly rehearse his part twice, then we'll re- into his head, and just uses drum ma- "We have created a drum sound by way cord him singing it four times. The first chines. Drums only get recorded once a of the fact that we used to do most of his one we always call 'The Bridesmaid; be- drum machine pattern and a framework recordings in Studio 2 at the Townhouse, cause nine times out of ten, it's compiled of the song is on tape, and then the drums which has a distinctive sound to it. When from takes two, three or four. He's good are just like any other overdub. we originally built Genesis Farm 10 years and sings pretty quickly. Although we "With Phil's latest album, on the other ago, we built a stone room to reproduce sometimes drop-in, I try to avoid doing so, hand, he came in with 8-track demos and the same kind of sound down there; because if it's a song with a fairly gentle did everything through his sequencer on they're stone rooms, not wood rooms or verse and a lot of shouting at the end, the the Emulator and drum machines, and glass rooms, and that accounts largely for voice will invariably sound different if he used an SBX 80 sync box. In the old days, the live sound, but then there's the way then has to go back to redo a line in the before sync boxes, in order not to lose the Phil tunes his top toms very tight, and verse! original feel of the demo, we actually they're single- headed. "On most of the other albums, there was dubbed the 8 -track stuff onto 24 -track and "We always call them the 'barking toms' usually a bit of [Eventide] Harmonizer -

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Soundcraft USA. JIM. Professional 8500 331hoa Boulevard. Northridge, CA 91329 H A Harman International Company the same as Peter Gabriel, who would feel desk that SSL had sitting in their ware- the demo of it, the guitar solo came out naked without it - but we didn't use any house in New York and put them into the and was sort of sitting on my ear! at all on this new record. I said, 'Phil, Skyline console! I had discovered the prob- "That was an extreme example, and you've got a great voice, and although lem at around 10 o'clock in the morning while there is a danger that you can freak we've affected it a lot in the past, let's sing and by 3 o'clock we started mixing with out on it, I hope I'm intelligent and aware straight this time: So, about the only treat- the E- Series modules. enough to avoid doing so. When 1 use it, ing we did to voice his on this record was "I mixed that down to a 1630 with Apo- I aim to do so subtly and tastefully - there tape -slap:' gee filters and we went down to Technics aren't going to be advertisements in the DAT, as well. That sounded great. The shop for this completely new recording Choice of recording format backing tracks had all been recorded at medium - and I hope the music I record "On Phil's record, I recorded all the bass Skyline and the overdubs were done on will just sound more interesting. and drums on analog, using a Studer A800 an MTR 90 at Suzanne's house with a De- "For a live concert album, the Q -Sound with Dolby A. I did some A -B tests be- meter mic amp. It was all very well re- would work great because it will give you tween a Sony 2500 DAT, a 1630, an ATR corded. clear imaging regarding the position of the 100 with no noise reduction and an ATR "I've never been a particularly valve musicians. But with a studio album, where 100 with Dolby SR. To me, the 1630 sound- [tube] person, but I am going to start us- do you put all of your overdubs if you're ed like the most faithful reproduction. The ing Demeter mic amps. They're made in putting everything through it? So it's very analog without noise reduction also California and they are valve, but the specs interesting, and hopefully, I'll use it dur- sounded good, in a punchy sort of way. on them are absolutely unbelievable - ing the recording process as well, as op- I have mixed things that have been re- really low noise, very good technical posed to just using it as a tool or toy dur- corded SR that sounded very good, but I specifications. Demeter also makes a valve ing the mix:' decided to steer clear of SR and go back DI box that everybody is raving about, so to Dolby A. I've ordered some of those as well:' "I did the drums and bass analog on Selected Phil's record. For the rest, we started out Mixing philosophy using a Sony 3324. Then, by our good for- "I don't like to spend more than a day Discography tune, we were lent a 3348, so we convert- on a mix. I like to get a mix to a stage that

ed 24 onto 48 and carried on from there. when 1 go home, I take a DAT home with Produced and recorded: The 48-track is an absolutely brilliant ma- me that I'm pretty happy with ... one that, Phil Collins: "Face Value"; "Hello, chine to work on, if only for the fact that if I died during that night, I wouldn't mind it has the most incredible transport. if it were released! I Must Be Going"; " "; ':..But Seriously." "This 48 -track was like a revelation, and "I then listen to it in the morning on my Genesis: "Genesis"; "Invisible I used it in an interesting way. I was de- own system, reconvene at around 10:30, Touch:' termined, because of the size of the con- iron out my thoughts with the artist, then *The Police: "Synchronicity"; sole, not to end up with more than I would lay down the final thing. Hopefully, a mix "Ghost In The Machine:' have done if I'd been doing it normal 48 only takes a day, but it goes through a David Bowie: "Tonight:' [2x24-track analog]. So I regarded the 48- night so that you have eight hours or more Paul McCartney: "Press To track as two machines and I used chan- off. Play:' *Paul Young: "Between Two Fires:' nels 1 -24 for information that I knew I was "I find it a really good challenge to mix XTC: "." going to keep and use on the mix, and I other peoples stuff, as long as there are Human League: "Hysteria:' used 25-48 as my mix from not too many horrors on it. It's probably The Fixx: "React." the other tape as well as for stacking up the most important part of the process, the vocals or keyboard parts; I used that as part where you can make or break a rec- Engineered and mixed: my slave reel, then bounced internally ord, because how you mix it is how Mr. /or *Genesis: ':' back over to 1 -24 if needed. So I made sure Man -in- the -Street ends up hearing it. Peter Gabriel: "The I only ended up with, at most, 24 tracks "I'm happy to do two or three record- Third:' XTC: ""; "Black of information on the mix:' ing/producing projects a year, and four or Sea." five mixing projects. I do tend to look at Brian Wilson: "Brian Wilson" Mixing Suzanne Vega's album it as two different jobs in a way, so it's great (mixed 6 tracks). "I don't like the G- series EQ and I won't for me, because I don't get bored with ei- * Sting: ':..Nothing Like The Sun." mix on one if I can possibly help it. I find ther one:' 'Julia Fordham: "Julia it very annoying that I don't have the Fordham." choice between bell and shelving on the Working with new equipment *Suzanne Vega: "Days of Open Hand." top and low ends, and the two mid bands "At the present time, I like to use Sony are absolutely vicious. 48 -track - while putting bass and drums "When I was doing Suzanne's record, it on analog whenever possible - together Awards was the first time I had worked at Skyline with valve [tube] mic amps and compres-

Studios [in 1 New York] and made sure that sors. In other words, going through some *Grammy Awards: Producer of the it was an E-Series desk. We booked the sort of valve -warming gear as it goes onto Year, Album of the Year (1985). place and everything was fine. Then, af- digital. Music Week Awards: Best British ter Christmas when I arrived there to start "One piece of equipment that I've re- Producer (1985). the work, I walked into the control room cently tried out and really liked was a new BPI Awards: Best Producer on the first day and sat to down write out Canadian device called Q- Sound, which nominations (1985 and 1986). the strip and I realized that most of the Jimmy !ovine and Shelley Yakus have : Best Single (1989) EQs on the desk were G- Series EQs! I been involved with. If you're sitting in for ":' freaked out - they had all been changed front of the speakers in the studio, you can over to Gs - so we had to cannibalize control the direction of the sounds by way whole channel strips out of an E- Series of a '3- dimensional' joystick. When I heard

30 R E P June 1990 Because compromise is out of the question

capstan motor that is designed to be The 311-80 and MTK :90 Whoever said, "compromise is speed -slewed. plus external control Kew rk;vgned from the the oil that lubricates the beginning to lock to connectors for easy interface to any eternal controllers. and business process" apparelrily wasn't SMPTE/EBU time -code based therefore provide excep- in the studio business. To the con- tional performance under synchronizer. editor or machine these conditions. Pictured trary. in this unique world where art controller. is the t1Tlf-9o+ ruhaneerl and business meet, and clients KG-10i chase synchrrmizrr. For whatever you do in audio, expect the best, compromise may he both machines share constant ten- And to keep every- the fastest way not to stay in business. sion transport technology for high thing where it belongs as That's why Mari tape recorders performance, yet gentle tape han- you move from one studio to another. come with something behind the dling. You'll also get digitally timed, something else you have to look be- meters. gapless. seamless. punch -in. punch - neath the surface to see -a 2" thick. out. On the "80." an autolocator with cast alloy deck plate. search zero and three cue memories It's not that we don't have our comes built -in. And if you're a purist imitators. We do. But to coin an old looking for the highest quality sound phrase. beauty is more than skin deep. And someday when you're under pressure to get that track out. and you lock a "90" to your video machine and things happen exactly °lari isn't in the tory business. The 41k-80 and the way they should ...Or some 1lTR -90- sport 2" thick r,sl allo' deck plates. Maly duty suing arms. and molar shafts early morning after the talent has designed to bande Ihr etceptkm:d arerMrsdion gone. you sit hack and listen to what charrleristk :s of these machines. you've put together, you'll be glad you decided that "compromise is out Our MX -80 and MTR-90 multi - of the question." tracks are used all over the world to ( herd's proprietary integrated ria nilr;r prrn ir11 S Call Mari. (415) 341 -5900. produce hit CI)s and major motion superior reliability and melare s servir lime. picture sound tracks. and for good reasons. possible, you'll appreciate the trans - For example. if you're involved formerless balanced inputs and MEE in audio post. you'll appreciate a outputs. Circle (13) on Rapid Facts Card the making of...

"LAY YOUR HANDS ON

The audio requirements for the Bon Jovi video required By Tom Davis complex handling of several different sound sources.

"He's trying to break me, isn't he? He The Company had been requested to end of the song to better suit the video's was only teasing me with the last two create "the ultimate performance video" needs. , wasn't he? Is this a trick question ?" for Bon Jovi. But of course the label want- For those of you not familiar with the That's what I said to Curt Mavis and Jeff ed to promote the pre-recorded version of song, it has an opening, ba- Richter of The Company when they start- the song, not a live performance. Nothing sically 48 tracks and three minutes of cra- ed laying out the basic premise video new here. I'm not the only one to take the ziness the band (and and director Wayne (sham was formulating for record mix and add a little echo and crowd what else) layed down when they were re- the Bon Jovi video, "Lay Your Hands on to match the picture. cording the album "New :' The fi- Me:' Wayne and I had done a number of But this was different. Wayne wanted to nal version for the record was cut down music videos the last few years that were capture the entire gamut of a live concert. quite a bit, but we had dubs of the origi- fairly involved on an audio level. But this He wanted to condense the before -concert nal 48 -track analog tapes, so was was the first time he had come to me be- anticipation, the heat of a power -charged possible at this point. fore the video was edited. Little did I know delivery, the audience participation and My involvement began one evening at that they were deliberately easing the the finale, within the length of the song Post Logic studios in Hollywood, where I specifics of the job to me little by little to - about five minutes. When Curt and met with Curt and Jeff to evaluate the 24- ensure my not taking my own life to get Wayne were discussing the approach to track master and slave of the song intro. out of this one. the clip with the band, he started playing Wayne wanted to see what we had on the Tom Davis is an audio mixer at Post Logic, Hollywood. with the idea of manipulating the front individual tracks to edit and into an

32 R E P June 1990 D M T D U A L C C N C E N T R I C T E C H N O L O G Y

Not your average woofer and tweeter.

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Canada N2M 2Cti clues given to the human ear. techniques which will min- 1519) 745-1158 Telex 069 -55328 decipher whether the sound is real imize or eliminate these rax 15191 745 -2364 CIrcla (14) on Rapid Facts Card 24 -TRK MASTER 24 -TRK SLAVE 24 -TRK MASTER original rendition for the video. We set up RECORD VERSION RECORD VERSION LIVE VERSION in Studio C, which is equipped with a 32- input Neotek Elite console and an Adams- Smith 2600AV editor. VIA ADAM -SMITH 2600 AV EDITING SYSTEM We proceeded with listening to groups of tracks a few at a time, first the master 24 -TRK MASTER 24 -TRK SLAVE and then the slave, and made notes of RECORD VERSION RECORD VERSION what we found. The whole time, we were edited submaster edited submaster spinning an audiocassette and identifying with the console slate what tracks were up and at what time code, so that Wayne could go away with something to play with DAT AUDIENCE in his off -line bay. This took about four SINGALONG hours. A few days later, we met in Post Logic's AKAI S950 4 -TRK STEREO 4 -TRK DOLBY LIVE MIC PYRO FX VIA 1630 MASTER CROWD LOOP DOLBY SR MIX SR XFER WALKIE EMULATOR III RECORD VERS Studio B, which has a 48-input Solid State 8 HAND CLAPS TALKIE Logic 6000 console, an AV editor and Otari MTR-90 24- tracks with Dolby XP SR packs. After spending time with the sections of the track we were focusing on, it started to become apparent to me that mixing this VIA SSL 6000 G CONSOLE stuff down to two tracks and doing the edits afterward was going to be rather i tough. Certain tracks carried over each other and there was the possibility of cut- ting off chambers ringing over. 24-TRK DOLBY SR COMPILATION SWEETENING MASTER TRACKS 1 -6 FINAL MIX STEMS I decided to create a second generation Dolby SR 24 -track edited submaster by patching the machines together track-to- track and assembling the selected sections i on a pre- striped time -coded reel using the Adams-Smith. (See Figure 1.) The beauty PCM 1630 MASTER r1 -IN VIDEO MASTER] of this system is that you can do preview edits on any or all tracks of your record Figure 1. Flow chart of the audio assembly for the "Lay Your Hands On Me" video. machine (by causing the MTR-90 to switch to input on record -selected tracks) and cre- for an automated mix. After another 10 drum part into an Akai S -950 and played ate a frame -accurate edit decision list, with hours or so, we printed the mix down to it in the a cappella part. At the climax of full notes, to keep track of what is hap- a 30ips SR 4-track, taking the code across. the singalong, the full song kicks in and pening. We now had the intro mixed, sans any plays out to the finale. This was not just convenient, but neces- crowd sweetening, for Wayne and Jeff to At this point, we had a 30- second intro, sary, because I had two 24 -track playbacks cut to. They took a 3/4 -inch U -matic trans- with no crowd sounds, no complete song, (master and slave). While it was possible fer of the final mix (which soon became a middle band breakdown with an added to synchronize four 24- tracks at Post Log- a rough mix) and started a more defined kick drum and a live Jon vocal with no ic, it would get pretty unwieldy, not to edit using the punched -up parts in our mix singalong, crowd cheering or audience mention expensive and confusing. So we to key off of, pulling the visual and the handclaps. All of this was plainly seen in pulled the pieces together, starting with soundtrack together. the rough cut. It sounded pretty strange. the master, and edited it down to a fresh We then took a look at the middle sec- In the next session, we decided to mix time -coded tape, sections at a time. tion of the song, which was one of the lit- the intro again, now that we had a better Editing track -to-track discretely like this tle "specifics" they discretely waited for picture cut to work with. We did a Total enabled me to do the electronic version the right moment to surprise me with. The Recall on the SSL and reset all the patches of a 24-track window edit, recording some Company shot a live concert of Bon Jovi and outboard from paper notes and tracks to one pass, delaying other tracks in Portland, OR, that had an a cappella tweaked the mix for a few more hours. to accommodate parts ringing over, and singalong with Jon and the audience. Mark Biehl and Tony Freedman, my assis- to very easily slip individual tracks from Wayne wanted to open up the record mix tants on the project, are famous for keep- one section to another section. It was like and add the live tracks for the singalong. ing impeccable recall notes, so the mix having an analog tape -based sequencer. Well, not only did it sound very different, came back perfectly. We then did a remix Once the master was cut to a length we it was a whole step lower. of the center section as well, again down liked, l put up another fresh tape to do the It was back to creating 24 -track sub- to a 4 -track SR master, and put these same thing with the slave reel. Using the masters again of the record version mas- tracks to bed. edit list generated in the AV, I basically did ter and slave, and making mix moves to The next step was to put all of these an audio assemble, previewing each edit match the band breakdown to the way pieces together. This required going to yet carefully and adjusting each edit for each they do it live. We then added Jon's live another 24 -track master to do a final con- specific track. The result was a new 48- vocal track, pitched up a whole step with form, add crowd, pyro blasts and walkie track edited, unmixed submaster that had an Eventide H -3000. To keep the whole talkie voices. Using the 3/4 -inch off-line for all the sections we wanted to time, ready thing moving along, we sampled the kick reference, we layed over the intro mix

:34 R E P June 1990 from the 4 -track to the new 24- track, pyro blasts. This mix was done twice on tor, an SSL desk and the excellent facil,- stretching the Dolbys for minimum signal two different days to get it just right. The ties at Post Logic. The audio portion of this degradation. At the point the song kicks mix was automated down to a set of open video took about 90 hours, but it could in full, we layed in the PCM 1630 master tracks on the same 24- track, and layed up have easily taken 150 hours or more with- of the record mix on another pair of to a new 1630 master, as well as layed out the technology I had at my disposal. tracks. At the middle section, we layed up back to the 1 -inch edited master in Dolby My only concern now is, what are our pre -mixed section, which had the A. Wayne (sham, Jeff Richter and Curt Mar- band mix, the sampled kick drum and I've done some pretty complex sessions vis conjuring up for the next one? Jon's ad lib vocal, all matching to picture. in my 12 years of mixing for picture, but After the middle section, we went back I think this was one of the most taxing on to the 1630 and played it out to the end. a purely logistical level. I'm not really sure The music was now all in place. how I would have gone about it had I not On to the crowd sweetening. I usually had systems like the Adams -Smith AV edi- find that two or three crowd loops of different intensity are necessary to give the range of control needed to avoid the crowd sounding like it's just getting loud- er and softer. I've even added 10 or 15 peo- ple in the studio screaming and hollering on seven or eight tracks to put some ran- dom specific voices in a clip. CHECK YOUR BALANCE. We didn't need to go that far on this one. Once the crowd loops were in place, we Before you invest in a professional DAT recorder, check to see if moved into the singalong. When Wayne it and Curt filmed the performance for the stacks up against the Sony PCM -2500: video, they asked the 600 or so invited guests to sing, a half -dozen times, the cho- Records at 44.1 kHz as well as 48kHz rus, which consists of "lay your hands on LW" Has professional SDIF -2, AES /EBU and S/P DIF interfaces me" three times. This was recorded on a LB' Has built -in error indicator portable DAT and transferred to 4 -track SR EV/ Operates on 100/120/220/240V, 50 /60Hz to edit with. It sounded quite nice, but [l" Is supplied with both wired and wireless remote contrcl each phrase had to be placed individual- riV Can individually trim L/R analog input aid output ly to keep time. Plus, 600 voices don't sound like 10,000, so I double- tracked the whole mess and added lots of delay and echo. But wait; they were rhythm clapping, too. Time to break out the Akai clapping disk that I had Paul Robie, one of my en- gineers, build for me. We called it up, picked the keys on the keyboard that seemed to feel right and played them in manually. I have to say I was real nervous about this section working, but it really did come out totally believable in the end. On yet another session, Johann Langlie, a sound designer I work with quite often, came in to lay pyro blasts to the fireworks in the picture to create the ultimate cli- max. He packs an Emulator rack and an Apple Macintosh running the Digidesign Q -Sheet software to fire his sounds to If it's a Sony, you can check all of the above which is what you'd SMPTE. After these were in, we wanted - The Leader in AudioTM . For to put in some walkie talkie chatter at the expect from Digital more information call top. We brought in a pair of walkie talkies 1- 800 -635 -SONY. and put one out in the studio with a mic PCM -2500 on it. was in the control -Recording and of Start ID, Skip ID and Program Number subcodes room with us; we just watched the picture -Two- hour recording time (with DT -120 Sony DAT cassette) Less than and squawked a few orders over the intro 0.005% Total Harmonic Distortion at +4dB Greater than 90dB section. High -speed locate capability at 60 times normal playback speed With all these pieces in place, we at- Sony Communications Products Company. tacked the final mix, blending the crowd 1600 Queen Anne Rd.. Teaneck. N.J. 07666 1989 Sony Corporation of America. swells in, adding some echo and slap to Sony and The Leader in Digital Audio are the body of the 1630 master version, SONY trademarks of Sony balancing the singalong crowd and hand PROFESSIONAL AUDIO claps, and, last but not least, going com- pletely over the top with the impact of the

June 1990 R E P 35 DEALING WITH DRUMS

By Mike Joseph

Rediscover the lost art of placing and miking acoustic drums. Photography by Kevin Anderson.

In a world where an ever -growing The sound of the beat seeds of all other instruments. Sounding percentage of professional, respect- With the possible exception of having boards, vibrating surfaces, the pursuit of ed, working music creators can to record a 60 -piece orchestra under the different pitches in different registers, and regularly chart tracks without seeing apron of an opera house stage thrust, acoustic amplification can all be traced a real , it is imperative that we drums are probably the most interactive, from drums. occasionally return to the roots of record- affecting, least -controllable set of sources Drums are classic 3 -piece Helmholtz ing. Like a pendulum, the whims of mu- there may be. The ability to record drums resonators. One end oscillates, its period sic production techniques swing back and properly separates the kids from the determined by size, mass and tautness. forth. Acoustic drums are making a come- adults, the firsts from the seconds. The The shell determines the length and back, and it is important that knowledge ability to capture the combination of column of air contained, creating a reso- of the art of drum miking not be lost. sounds you want to capture, as separate nant cavity. The mouth at the other end Some of the approaches and techniques from those you end up with, is even more couples the air column to the outside may be obvious. Some may be new to you. a measure of success. world, its diameter also determining tun- Some may be merely refreshing, once Drums, which are essentially devices us- ing. Change one variable and the others known but long forgotten. None, howev- ing the oscillations of a stretched di- change. er, are developed definitively: All pros aphragm over the mouth of a resonant Above the skin on the outside, sound need to add their own twists. There are tube to move air, are arguably the oldest dissipates quickly, as the initial attack no definitives. musical instruments. From the concepts wavefront rapidly expands. Inside the

Mike Joseph is technical editor of REP. embodied in their development sprang the shell, many pressure modes and nulls ex-

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Circle (15) on Rapid Facts Card ist. The excited, resonant air column is complicated by the fact that the entire record, and vice versa. generates the fundamental, which prin- kit occupies a large footprint, interacts in- Here are some widely known and highly cipally couples to the outside air through ternally and covers a large frequency spec- subjective consideration: Large kits don't the mouth. The vibrating air mass inside trum. Therein lies the interpretive art - sound bigger when they are recorded. The the shell secondarily restimulates the use the ears. tastiest sounds often come from the head, causing sympathetic vibration and The nature of microphones further col- smallest, tightest sets. Case in point - the the creation of multiple harmonics, which or the picture. (See Close -Field Behavior biggest, fattest drums I ever cut were from radiate back through the skin. of Drum Microphones" on page 42.) Each Sheila E:s tiny, red Yamaha starter kit. The The pureness of the tone and length of mic adds distinct characteristics and filters worst, floppiest sound was from a much - sustain is determined, among other things, to the natural projected sound of the in- touted name-brand concert set that sound- by how closely the mechanical tuning of strument. Multiply that by the infinite ed huge on stage but like spaghetti in the the skin matches the mechanical tuning number of positions possible for locating studio, no matter how tight the heads of the shell system. A head set to one pitch the mic head and you can develop virtu- were. on a shell that is tuned, by design, to an- ally any waveform you are looking for Mics hear the sound looser than it is in other will decay rapidly and speak in without touching the EQ. the room. When tuning or damping the several tongues. If the two are harmoni- kit, make it right in the room, then go one cally related, the tone will be pure and the notch deader, assuming you are close mik- sustain long. ing. Distance miking is another story, of Among the acoustic instrument family, course. Enough snare sizzle to the ear may it is percussion instruments alone which be too much to a mic. Also, everything generate fundamental frequencies from leaks. Work with it to make use of the 25Hz to 10kHz. The harmonics of a siz- Acoustic creation good leakage. zle go measurably past 30kHz. An experienced engineer will quickly The point is this: The sound on the oth- The act of effectively recording drums indicate the following: A good sounding er side of the glass, filtered by mics and to tape is complex and convoluted, involv- instrument with any mic will always sound 2- dimensional acoustics, is different than ing the original sound, multisource inter- better in the control room than a so -so 3- dimensional hearing in the studio. You action, the effect of room boundaries, mi- source with the best mic. Drums are the must put your face in front of the kit to crophone diaphragm size /location /pos- prime example of the rule - if it doesn't hear where it is, with the understanding itioning /distance, room surface treatment, sound good, alter the source. Use anoth- that the mics will subtly alter that reality. reflectivity, absorption and volume. Some er snare drum. Swap out the crash or ride. A good arrangement is to place your recording engineers are intuitively con- Change the heads on the toms. No amount well- versed second in the room under a nected to this formula and have no prob- of fiddling with the EQ will fix a dull, flat set of cans while you sit in the CR. Leak lem with it. Others never get it. Here is or resonant tub. a little program and a lot of talk -back, and the once -over: Work with the drummer to get the direct the alterations by remote. sound that you are looking for. Apologies to the players, but microphones do not hear what the drummers hear sitting on the throne. The fundamental of the sound projects away from the drummer, with the majority of the attack only in their face. Drums in a room The body, or fullness, develops at distance Tricks for treats Let's limit our discussion to basic drum from the skin. The throne position is just Tuning up a kit has always seemed more kits: kick, snare, tom toms, cymbals, high not representative of the sound the mic black art than not, even to many drum- hat. First, drums are loud - they move air. hears. Also, a player gets a certain amount mers. The variables are numerous: Hy- They rattle their own hardware. They of tactile, vibratory feedback through the draulic heads have a lower "Q" or peak wake up rooms, exciting them at seldom - floor, seat and stick, filling in areas that resonance than others, so they do not find excited frequencies. Due to their percus- the mic does not hear. their exact pitch as easily or tune as high. sive nature (read: steep leading -edge at- Diplomacy counts. Work with the drum- Because of a greater head mass, they also tack of the waveform envelope), they show mer's sound because it is often good, or seem to have fewer higher harmonics and up room reflections and flutter where lit- specific to the music at hand, and the ses- need to be hit harder to bite. Double heads tle else does. Their wide, harmonically sion will go smoother. , you can- quadruple the difficulty - many believe rich bandwidth faithfully exposes room not substitute bigger sticks; ask the drum- that the top head's tuning determines the colorations: the combination of eigen- mer to play differently or cut a 6 -inch attack pitch, and the bottom determines tones, room modes, standing wave har- circle in his double- headed kick. You can, the overhang resonance. Sometimes. monics, reflections, room volume reso- however, explain to him that you are try- Drum tuning drifts with temperature and nance, absorptive coefficients in specific ing to capture his sound, which means giv- humidity, of course, let alone the results bands, etc. Drums are great this way - ing the mics what they want to interpret, of being stacked inside one another in a certainly better than a Marshall stack or which might be different than what is be- car trunk for two days. two cellos. ing heard on the hot seat. You know the A good technique for tuning seems to The first order of business with drums drill. be the following: Find the range and key is to place them in a location providing But don't be afraid to suggest the neces- that the drums fall in and let the drum- sound that is most like what you are look- sary, such as swapping out for the studio mer tune to the partials he prefers. Use ing for. Bright and reflectively snappy may snare, or taking off the front head of the a piano if it helps. Then help tune to the be the trick in the morning, flat and dry kick or the bottom skins of the toms. purest, cleanest individual note on each later. Awareness of acoustic characteristics Clearly, the program material will dictate drum, looking to diminish the secondary apply: The type of flooring, proximity to the requirement. What works for acous- ring or partial unrelated harmonic as walls and room treatment, although this tic swizzle jazz will not cut it on a dance much as possible. Play all the pieces in the

38 R E P June 1990 kit to see if the other drums cause too Putting tape on the head is sloppy tun- it in the ballpark, something else is dread- much sympathetic resonance on other ing. because it unbalances the head. fully wrong. Save yourself the time and drums. This is often easier by muting or makes one -note tuning difficult, limits the swap out the drum! soloing on the board than damping out in room for the drummer to hit and gets in Kick drums are less troublesome, be- the room. the way of the mic (duct tape doesn't cause a judicious application of pillow or If the toms or snare need damping, cut "speak "). A wallet placed on the head blanket placed in the bottom usually out a ring or circle of old drum head to works better, but it walks around and still works. Try to avoid tape on the actual skin the inside diameter of the head so that the gets in the way. Many heavy- forearm hit- - it will start buzzing two takes in. Be- width of the doughnut or ring section is ters get good results by laying a slice of cause of the large size of the cavity, inter- only an inch or two, leaving a hole of six old T- shirt, cotton cloth or towel over the nal mic placement in relation to the beat- or eight inches in the center for the real head with tape on the shell to hold it in er, symmetrically or not, allows more head to show through. Lay this on the place. Whatever works. However, if the flexibility than in smaller shells. skin. Vary the amount of damping by how drum head needs two pounds of gaffer's The pillow or teddy bear inside the shell wide the ring is, whether it has a larger tape and a thrice -folded tablecloth to get primarily changes the cubic volume and or smaller hole in the middle. If you can, do not tape it down, because the tape will work loosely and will buzz. The ring effectively damps the wave as it travels to the rim, reflects and returns to the center. Knowing that the amplitude of skin travel is greater in the center than at The $100,000 digital recording and the edges should be powerful ammunition you when you apply variable damping to the editing want...for under $10,000! skin, no matter how it is accomplished. The MTU MicroSound-AT'm gives you 16 -bit multitrack digital audio -to -disk recording with the editing power you have dreamed of. Now you can: instantly access any- where in multitrack files up to 94 track minutes, combine sounds from disk or record new ....._. ,. material MIDI or timecode sync'd, B cut and mix to sample precision, undoing edits anytime in the future, never touching your masters.

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June 1990 R E P 39 high- frequency absorption inside the a microphone inside the shell on a single - space, which changes the tuning frequen- skinned instrument. The location inside a cy and "Q" of that frequency, as well as shell is crucial, with a smaller mic element the balance of harmonics to fundamental. usually being more predictable and When in doubt, surprise yourself - get a repeatable than a larger one. In this mat- little starter kick with one head and tune ter, clamp -on mic brackets keep the wan- the head right. Everything else will hap- dering to a minimum. pen magically. General rules: After you get a good sound on one tom, or between a single tom and the snare, always compare the sound of all the mics you will bring up, in and out of electrical polarity, in stereo pan- ning placement and sum mono. Moving

Mic on drums a microphone 1 inch sideways may not ef- Short of writing the definitive ency- fect the sound of the miked drum, but may clopedia on placement, it is enough to say highly color a drum next door, one whose that everything works sometimes. Most sound with which you are already satis- things work for the wrong reasons, and fied. Don't assume anything. Some mics understanding the of small space are wired pin 2 hot, others pin 3. Check acoustics always helps. Remember, when the cancellation and addition of all signals, you mic a drum closely, you more or less not just for correctitude, but for creative only pick up the pressure wave from the aesthetics as well. attack of the stick and sympathetic inter- On floor toms, try to make the drum nal resonance coming back through the mouth non -parallel to the floor. It is not skin. surprising that reflection and standing You also pick up the reflections of the waves between the floor and the skin other drums mirrored off the head. Mik- greatly distract or contribute to the sound. ing at distance allows the sound to develop Place a foam block or a packing blanket or focus, becoming bigger or fatter. Mik- under the drum and see what ing at great distance allows the lower fre- happens. quencies from the bottom of the shell to Finally, try using one mic between add to the attack from the head. It also drums to pick up both. It is obvious that picks up everything else in the damned the fewer mics that are on the kit, the less room. interaction there will be. Assuming most readers are familiar with Try experimenting with different mics and po- the common practices of placing a mic sitions for unusual sounds. For example, try a head above a skin, proper gain staging of laualier mic attached to a pencil, which is then the electronics and the ritualistic act called taped to the snare drum. Does a No. 2 lead "the getting of the sounds;" let's look at sound better than a No. 3? Try it and see what happens. some of the more obtuse variants. With a snare drum, the problem is usual- ly one of practicality. Can you get the mic Kick it out in close enough without getting in some- ing edge of the sound reaches the program With kick drum, be aware that room thing else's way? Does the mic touch the mic. The distance placement that this al- leakage and other drums get into the shell high hat? Is there too much high hat? Is lows on the program mic adds air and col- chamber from the back or through the there too much, or not enough, snare in or, which a drum head needs for the sound skin, exciting odd resonances. Playing the sound? to coalesce. It works well. with the working distance to the beater Here are some suggestions: Try any new Try placing a second mic below the can overcome this (direct to indirect sound swivel- headed microphone, which lets you snare, strategically located to minimize ratio), but a gobo or blanket outside the place the mic from an angle and away kick pickup. Flip the polarity (don't call it drum often kills leakage without altering from the hat. Use a clamp -on bracket sys- phase!) on the board to realign the top and the sound in a negative way. Where leak- tem, which has the additional advantage bottom mics, signal -wise. Then again, age is not a problem, try taping (with foam of locking-in the mic to drum head dis- maybe out -of- polarity sounds better. Play standoff) a lay mic to the stalk of the beat- tance as the kit starts rockin: Play with odd with position for creative cancellation. Or er on the mechanism. WD -40 will kill mics, such as a high SPL lay peeking over put two similar mics on the same head, squeaks. the edge or taped to a pencil, or an older tight and parallel to the head, flip the A pressure zone -type mic placed slight- ribbon at several inches off the rim, out polarity on one and move it back. Try ly in front of the mouth opening will add of harm's way. Orienting the ribbon so that everything once, preferably on billable a different quality to the sound, as will one its dead 90° side is aimed at the hat is es- time. (You're no dummy!) inside the shell or a second mic on the pecially nice. skin in front, away from the beater, with A great trick for fans of signal gating is flipped polarity. Moving the inside mic in to patch a lay or small mic, located directly or out will create cancellations, selective- above the snare head, into the trigger in- ly altering the sound. put on the gate, with the gating function On high hat, try to get the majority of that controls a snare program mic locat- the sound from the snare mic, or use a ed 6 to 8 inches away. The gate response Totally tom tom separate mic, such as a small diaphragm time is cheated by the closer trigger mic, Toms can experience everything men- condenser, above the bell and pointing allowing full open by the time the lead- tioned above, with the addition of adding away from a crash or ride, utilizing the hat

40 R E P June 1990 to shield the snare sound. Print the hat sig- Another approach to cymbals is to tape aware that radically boosting anything be- nal to the kick track, which allows you to mics to the cymbals' stand stalks, letting low 60Hz is dangerous these days, because independently filter each for separate con- the movement or the wash of the ride and rumble and junk faithfully translate to trol later, thereby saving a track channel. crash alter the sound of the instrument compact discs verbatim. Hi pass the bot- Say you read it here first. Also on high hat, pickup underneath. If the sound is too tom out of anything without a low fun- put two mics up, flip one's polarity and much alone, try subtly adding it to another damental and choose the one or two in- play with distance, using cancellation as mic above, either in or out of polarity. struments in the mix that have real bottom an acoustic EQ. to fill that space. On overhead mics, don't settle for a Finally, watch how much top is added spaced stereo pair. If you are not close - to the hat and cymbals. When digital splat- miking each cymbal directly, use an over- ters, it goes to town. There are too many head stereo system, or try taping the edge steps and stages after the master 2 -track of two pressure zone mics in a 45° V or for someone to alter your mix; and top wedge and hanging them above and Using EQ end that crashes into the ceiling is one of ahead of the drummer's head. The sound Let me say a personal word on equali- the first things to suffer. is natural and balanced, although without zation. The less boost the better. Nowhere a larger boundary plane, it is shy below more than on the wide bandwidth noise - A word to the wise 200Hz or so. like character of percussion is it easier to No matter how and where you do it, Try something different: Keeping left hear phase shift than when boosting large conventions in drum miking are merely and right proper, use the other mics (snare, amounts of one frequency. Don't ask your- a stepping -off point. There is always room toms, kick) to fill in the missing frequen- self, "What would I like to hear more of?" to experiment and rediscover. Thankful- cies, relying on the body of the sound and Rather, ask, "What am I hearing too much ly, the possibilities for new sounds, let total imaging to be generated by the over- of?" Almost always, taking out mids to ex- alone new styles and feels of playing, are head pressure zone mics, which are promi- pose the high sounds is better than boost- so limitless that acoustic drums will never nent in the mix. The spatial coherence ing the highs, though the resultant curve be replaced. And as long as there are and time domain control is excellent. This may be identical. The gain staging, drums, there will be new ways to record works remarkably well for many styles of headroom and distortion that you improve them. music and is the reverse from the normal may be your own. approach of overheads as lower level af- Several obvious, well -proven EQ points terthoughts. Even the snare and hat come deserve attention. A sharp cut at 600Hz across well, needing only subtle reinforce- is the quickest way to remove the "big rub- ment if correctly completed ber ball" sound on toms and kick. Be

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Circle (17) on Rapld Facts Card June 1990 R -EP 41 CLOSE -FIELD BEHAVIOR OF DRUM MICROPHONES By Tim Vear

The acoustics of the close -field readily apparent in drum miking. These of a drum are characterized differences are in the moving parts of the by the sound of a very wide elements and in the associated circuitry. frequency range, the sound of In both devices, the moving part con- a very wide dynamic range, the sound sists of a diaphragm that vibrates in re- with extreme transients, and the sound sponse to sound pressure. In a dynamic generated by a large acoustic source (or element, a small coil of wire glued to the sources). rear of the diaphragm generates the out- These conditions may suggest the ap- put signal when moved through a magnet- propriate general type of microphone to ic field. The combination of voice coil, be used, but it is the characteristics of a How a mic responds glue and the necessarily thicker di- particular microphone under these con- aphragm results in a moving mass up to ditions that determines the sound charac- when placed near a 1,000 times greater than the typical con- ter that is ultimately reproduced. A look denser diaphragm, which is unen- at some of these characteristics will help drum will determine cumbered. to understand the behavior of micro- the ultimate The condenser microphone, however, phones in this environment. requires additional active circuitry to sound character. generate a usable output signal level. This Transducer type circuitry introduces certain limitations not Excluding the occasionally fragile rib- found in dynamic microphones, which are bon device, the two basic transducer types passive devices and have no electronical- that are typically used for drums - dy- ly generated noise of their own. These namics and condensers - have certain differences and others have a direct in- fundamental differences that become fluence on the frequency response, dy- Tim Vear is an applications engineer for Shure Brothers, namic range, transient response and direc- Evanston. IL. tivity of each type.

42 R E P June 1990 /kw "few

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June 1990 R E P 43 Frequency response dynamic microphone even with close mik- noise floor. However, a condenser micro- Drums have a wide frequency response ing. However, its sensitivity may not be phone may be designed with higher sen- range, especially when cymbals and oth- sufficient (especially at high frequencies) sitivity (especially at high frequencies) and er percussion devices are included. Wide to pick up low -level sounds with an ade- greater signal -to -noise ratio than a com- range microphones of dynamic and con- quate signal -to-noise ratio. parable dynamic, thus making it more denser design are available, although the For a condenser microphone, the noise suitable for pickup of low -level sounds. condenser has an advantage at very high floor is primarily a function of the elec- frequencies due to its low mass diaphragm. tronic noise generated in its active cir- Transient response The frequency response of a drum mi- cuitry, though it is still low in high -quality The nature of sound produced by drums crophone is profoundly affected by its designs. The maximum sound level for a and other percussion instruments is tran- placement. The dominant effect is a pro- condenser is generally not limited by the sient - it consists of many short -duration, nounced increase in low- frequency re- element, but by this active circuitry. large- amplitude waveforms. To reproduce sponse because the microphone is locat- At some SPL (usually stated in the these sounds, a microphone element must ed closer to the drum. This is known as specifications), this circuitry will be limit- respond quickly and accurately. The tran- "proximity effect" and occurs only with ed by its voltage ceiling and distortion. It sient behavior of a microphone is related directional microphones. is possible to design condenser micro- directly to its high- frequency response and The increase may be as great as 30dB phones capable of handling levels above to the nature of its mechanical and elec- for frequencies below 50Hz within '/4-inch 145dB, but only at the expense of a higher trical resonances. of the drum head. The actual amount of increase is a function of the microphone's free -field response and its directional pat- tern: At a given frequency, a bi- directional type has 6dB more proximity effect than a cardioid, with supercardioid and hyper - cardioid types falling in between. The off -axis frequency response of a mi- crophone is equally important in deter- mining the overall pickup because sound arrives at the microphone from many TERMINAL directions when it is positioned close to MAGNET a large sound source, such as a drum. This is why microphones with similar on -axis response may sound quite different when REAR ENTRY used in a close -miked drum application. POLE PIECE VOICE COIL Dynamic range DIAPHRAGM The dynamic range of a drum kit is the difference (in decibels) between the UNIDIRECTIONAL RESONATOR loudest and softest sounds that it can pro- DYNAMIC duce. At distances within 1 inch, the sound MICROPHONE pressure level (SPL) from a snare drum (typically the loudest source) may ap- proach 155dB, while the minimum level will be the background noise level of the room, perhaps 25dB SPL for an extreme- ly quiet recording studio. The dynamic range of a microphone is normally defined as the difference (in decibels) between the noise floor of the microphone and the maximum input SPL that it can handle without distortion. This is related to the sensitivity of the micro- CASE phone and its signal -to -noise ratio: Sensi- TERMINAL tivity is the electrical output level for a INSULATOR standard SPL (usually 74dB or 94dB), SPRING CONTACT while signal -to -noise ratio is the difference REAR ENTRY HOLES (in dB) between the sensitivity of the mi- ACOUSTICAL RESISTANCE crophone INSULATOR and its noise floor. BACKPLATE For a dynamic microphone, the noise SPACER floor is only a function of its resistance (ap- DIAPHRAGM proximately RESONATOR the rated impedance) since it UNIDIRECTIONAL has no active (noise generating) circuitry. GRILLE The maximum SPL for a dynamic, though CONDENSER not often stated, is typically above 155dB. MICROPHONE This gives dynamic microphones a dy- namic range that is suitable for high -level Figure 1. Cutaway diagrams of a unidirectional dynamic mic (top) and a unidirectional condenser drum miking applications. mic. The differences in each mic's construction have an influence on the frequency response, dy- It is usually not possible to overload a namic range, transient response and directivity.

44 R E P June 1990 Extended frequency response in a dy- and how it is damped. In the snare drum, be made smaller than comparable dynam- namic microphone is usually obtained by for example, the sound from the bottom ics, they may often be mounted more pre- the use of several acoustic resonators in of the drum is completely different from cisely. addition to the basic mechanical system that of the top because of the snare mech- A further consideration for a large formed by the diaphragm and voice coil. anism on the lower head. sound source, such as a drum kit, is the In general, the higher moving mass and As mentioned earlier, the sound use of multiple microphones. Interference multiple resonators of dynamic micro- reproduced by a microphone is a compos- effects may occur when the sound of one phones reduce the speed and accuracy of ite of its on -axis and off-axis response. The drum is picked up by more than one mi- their transient response at high frequen- on -axis sound source will be that portion crophone. This can only be determined by cies. However, the effect on low- frequency of the drum that is immediately in front listening to the combination of micro- and mid -range sound is minimal. of the microphone, but the off -axis sound phones, rather than to each individually. With a much lower mass mechanical consists of other parts of the head and the Although we can characterize the sound system and less reliance on acoustic reso- drum plus the direct and reflected sounds of the close-field, its effect on different mi- nators, the condenser microphone has the from nearby drums or other sources. crophones varies considerably. It is not potential for better transient response than The balance of on-axis to off -axis sound possible to predict the total "sound" of a a comparable dynamic. It is necessary, is determined primarily by the distance of microphone in a close -field application however, that the active circuitry of the the microphone to the sound source and solely on the basis of published or theo- condenser also have excellent transient re- by its directivity. Some off -axis sound will retical specifications. Only actual use and sponse within its dynamic range. This can be heard and the fidelity of the off -axis experience can yield this information. usually be achieved in high -quality pickup will determine whether this en- In addition, any attempt to capture the designs. hances or detracts from the overall sound. sound of a drum with a microphone at Because most drums are not played in one, or even several, locations cannot re- Acoustic source isolation from other instruments, direc- produce the total sound of the instrument. The physical size and shape of percus- tional microphones are often used to min- A microphone samples one small point in sion instruments have a marked effect on imize leakage of sound from off -axis a large, complex sound field. Placement the sound picked up by a close -field mi- sources. However, the directivity of any may be critical and will vary with differ- crophone. The sound of a drum radiates microphone varies to some extent with ent kinds of drums and microphone not only from the head(s), but from the frequency, especially for larger models. models. shell and rim as well. The head is not a When the proximity effect of a direction- Selection of a particular microphone will uniform source of sound; it has many al microphone is added, distance and be based not only upon its ability to de- vibration modes that depend on where orientation strongly influence the final liver a desirable sound, but also on ease and how it is struck, how it is tensioned sound. Since condenser microphones may of use, flexibility, durability and cost.

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company's headquarters will net the infor- mation you are looking for. Most mie companies design and build many more microphones than they adver- Modern design technology tise, or that the average pro audio dealer seems to have improved the stocks. Some mic companies (like Schoeps, performance of studio micro- Milab, Josephson, Beyer and Sanken) with phones over the years. Where traditionally smaller advertising budgets, can I attain applications brochures or spe- build excellent though harder to find prod- cific info on mies I can't find locally? ucts. Others, like Crown with their PZMe- A. Even the smallest mie suppliers have mo, provide good newsletter application marketing departments whose prime pur- notes, yours for the asking with a single pose in life is to inform customers about phone call. Call your local dealer or the their product. Almost always, a call to a factories directly for the appropriate info.

The Academy heard il (With one major exception.)

So will you.

The performers and audience at the Grammy Awards need -frequency division, time domain alignment, f have the most critical ears in professional audio. The bandwidth protective limiting, precise equalization last sounds this group of top artists, engineers and in well engineered, finely tuned circuits specificai producers want to hear is phase shift or the designed for use with their respective loudspeake of a processor-based loudspeaker system. And they didn't. Because for the second consecu- OI -I- : tive year, Apogee speakers were selected as the house -- Nadel .A -3x3 Single Channel. Permanent Version Processor sound system for this prestigious event. No sliding filters. No floating crossovers. Just clear, natural Optimized electronics = optimum signal qualit sound with less electronics and fewer cabinets And Apogee systems are easy to install, easy to arra p,P than many conventional systems. and quick to take on the road (ask about the full cor Apogee processors do have all the functions you plement of rigging hardware). Q. What alternatives do I have for mount- Stow, OH 44224; 216 -686 -2600. books (note that several may be overly en- ing drum mies, other than regular stands Beyer Dynamic 5 -05 Burns Ave., Hicks- try level or steeped in design expla- and extension booms? ville, NY 11801; 516 -935 -8000. nations): A. The following companies manufacture Bruel & Kjaer: Attn: Service, 185 For- Sound Recording Handbook, by John brackets and clamps to simplify your mic est St., Marlborough, MA 01752; 508- Woram, Howard W. Sams & Co. setup: 481 -7000. The Microphone Manual: Design and Atlas /Soundolier: 1859 Intertech Drive, Electro-Voice: Attn: Repair Dept., 600 Application, by David Miles Huber, Fenton, MO 63026; 314- 349 -3110. Cecil St., Buchanan, MI 49107; 616.695- Howard W. Sams & Co. AKG: 1525 Alvarado St., San Leandro, 6831. Also, contact various microphone man- CA 94577; 415 -351 -3500. Neumann: c/o Gotham Audio, Attn: Joe ufacturers that may have brochures Beyer Dynamic 5 -05 Burns Ave., Hicks- Leung. 1790 Broadway, 8th Floor, New available. ville, NY 11801; 516 -935 -8000. York, NY 10019-1412; 212- 765 -3410. Shure Bros.: 222 Hartrey Ave., Evanston, Sanken: c/o Audio Intervisual Design, Q. Does super high- quality microphone IL 60202 -3696; 708-866 -2200. Attn: Andrew /Service, 1032 N. Sycamore cable make that much of a difference, or Black Audio Devices: Box 106, Ventura, Ave., Los Angeles, CA 90038; 213-469- is it advertising hype? CA 93002; 805- 653 -5557 4773. A. If you haven't heard the comparison, Schoeps: c/o Posthorn Recordings, Attn: you owe it to yourself to try the follow- Jerry Bruck, 142 W. 26th St., New York, ing: Get 100 feet of regular old off -the -shelf Q. I have some great old microphones NY 10001; 212- 242 -3737. 2- conductor braided shield mic cable, and that don't sound quite right anymore. Sennheiser: Six Vista Dr., Old Lyme, CT 100 feet of a high -quality low-capacit- Where can I send them to have them 06371; 203 -434 -9190. ance /low- resistance mic cable (such as refurbished or rebuilt? Shure Bros.: 222 Hartrey Ave., Evanston, Mogami or Canare). Plug in a mic (any mic A. All the major mic manufacturers and IL 60202 -3696; 708-866 -2200. will do) to one of the lines, put on a good many independents offer refurbishing and Sony: 1600 Queen Anne Road, Teaneck, set of and jangle some car factory servicing for their microphones. NJ 07666; 201 -833 -5300. keys. Swap cables. The following companies can be contact- If you can't hear the difference between ed at the addresses and numbers listed the two cables, it's probably time to retire. below: Q. Is there a good book I can give to my The longer the cable run the more obvi- AKG: Attn: Mic Repair, 1525 Alvarado second engineers to get them up to speed ous the difference. In short, good low - St., San Leandro, CA 94577; 415 -351 -3500. on mic technicques and applications? capacitance cable makes a noticable im- AudioTechnica: 1221 Commerce Dr., A. REP recommends the following provement.

Now available in single and dual channel models, Moscow to Japan, with a few stopovers on )ogee's second generation processors enable you to Broadway. Don't listen to what you don't ecisely tune the protection circuits to keep amplifiers want to hear. Let the sound quality of )m clipping. New rubber conductive front panel the Grammy's work for you. Call, write, or fax Apogee Sound, 1150 Industrial Drive, Model A i x Dual Chmnel. Suite C, Petaluma, CA 94952. 707/778-8887 Road Version or fax 707 /778 -6923. Apogee Sound. Processor Engineered for ;itches feature a hidden lock to prevent unwanted Perfection. calibration. FOG- What the Academy heard, you can hear worldwide stadiums, auditoriums, churches and theaters from SOUND /NC_

Circle (20) on Rapid Facts Card L 4c_ Vi Nua

Excluded is the issue of frequency res- with full storage capabilities, delays, a Automatic EO: olution and phase integrity of the various computer to drive the package, multiple equalizer designs: graphic, parametric, system sample points, inverse signal com- The Great Myth fixed Q sweep, graphametric, digital, dig- parison and a level of setup complexity ital control of analog, non -symmetric com- rivaling the main P.A. itself. By Mike Just ph bining, etc., with their different slopes, Qs And it still does not know if the bass and band -to -band interactivity. coming off the stage is from the musical In theory, wouldn't it be nice if we could instrument amps or the monitor fills. Do one of the big buzzes in the sound rein- run some noise through the system, read you really want it to turn down the house forcement industry is the heated discus- the room response with a mic and have low end automatically because the sam- sion over automatic (or automated) house a "smart" EQ subtract the room effect ple mics in the room say "too much :' even and monitor system equalization. from the original signal, adding in the ap- if there is no bass in the house mix? This The entire issue is rife with complexity. propriate 1/2-octave EQ? Systems like the sounds too much like dueling equalizers, Most practitioners agree that quality mics 1128 from T.C. Electronics can do that. pitting the house zones against the moni- and real-time measuring devices alone can How smart are they? Well, what do you tor mixes against the stage sound. not provide the perfect room EQ. As for want to do? Do you want to have the sys- The human will and must be tuning by ear, no matter how good you tem set itself up with noise before the in the loop for the foreseeable future, even are, your brain identifies peaks better than show so the response is flat on a given if only as a link between the "We have a dips, correlates in stereo, is axially depen- speaker's main axis (plus or minus any aes- problem /do you want me to fix it ?" dent, compensates for indirect sound in thetic house curve you add)? That's easy. prompt on the screen and the button that a reverberant sound field and lives inside Do you want to make it flat with noise says, "Push to engage EQ correction :' your skull, which is connected to the rest in eight different measuring points in the If this is even slightly intriguing to you, of your body, which uses its fingers to ad- house? then read with special interest the short just the EQ knobs, which all told do not Do you want to measure the interaction series beginning with this month's article let your ears get out into the room's sound between those zones? That is harder still. from Apogee Sound on the reality of state - field. Mics do not suffer these problems in How does EQ /analyzer No. 3 know that of- the -technology equalization systems. the same way. the low end from speakers /zone Na 4 isn't Next month, following up Apogee's Conversely, anyone who has stuck a sin- part of its signal output, turning down, in CORREQT article, we will run a piece on gle microphone up in a room and plugged effect, the low end to take care of what the Meyer SIM measurement and equali- in a '/s- octave analyzer knows the tenta- is really a side lobe from next door? zation system, currently enjoying con- tive nature of the act. "X" number of Do you want to elevate this all one lev- siderable use around the world. We hope different speaker devices splayed in "X" el and have the system use program ma- the presentation of the truth behind alter- number of zones in a typical large venue terial during the show as the signal source native approaches to improving sound sys- suggest that it is highly questionable to instead of noise, while compensating for tem response via computerized FFT anal- trust the effectiveness of a single stereo - indirect versus direct sound, meaning time ysis and parametric equalization will be strapped graphic EQ device. domain signal alignment? Look out! Your educational - and maybe even bust a equipment jumps to the level of mul- myth or two. Mike Joseph is technical editor of REP. tichannel fast Fourier transform analyzers Just don't call it automatic equalization.

The MRL Calibration Graph is your proof of the quality control that goes into every MRL Reproducer Calibration Tape. We guarantee What each one to exceed the performance requirements of IEC, NAB, AES, and EIA Standards. MRL Calibration Tapes are designed and supported by experts in magnetic recording and audio standardization ... we helped write isywoiát e the standards. Each tape comes with detailed instructions and application notes. The MRL catalog includes tapes for all studio you applications. In addition to the usual spot - frequency tapes, we make single -tone tapes, rapid -swept frequency tapes, wideband or t... 1 /3rd octave -band pink random noise tapes, and difference- method azimuth -setup tapes. For a catalog and a list of oer 60 Most are available from stock. dealers nt the USA and Canada, contact dA

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Circle (21) on Rapid Facts Card 48 R E P June 1990 BoseProFil "Sound quality and ease of use were 'ne-compromise' requirements. We had to satisfy a broad range of applications for both speech and music. With Bose equipment, it was never a gamble'

- James G. Rite Fsirce- Phelps, Incorpora`ed Ai.gijNideo Systems Divisor

The Site: TrcpWoild casino and Entena nmert Resort Atlantic City NawJersey The Challenge: Prcvide quality sound insta lation fcr casinos public areas, sncpping a-cacies a -d restaurants el le assc-inc an easily heard and cnder- s-coc pag ng capability for security ne3ds.

The Contractor: Jenes G =iitz .'eirce- Phelos, ,ncorpc rated Team The Products: 1200 Bose 102 F72 flush -mount ou:speakers E EN ERED 32 Bose 102C system contodlers For Better Sound

The Result: "rrever:ìa2to c npromise. Lsing Bose procucts. I was able -o

cuerccme :he variety of accJst cal anc 3nvironrrental rcaibl'ocks I

-aced i- a- nsta lation of th s nagnitu>de. We p-ovided E sound system

tlexiol.'enoug- to sound as gcod h an open cap i no as i: does in an neeting room. The Bose 102 oudsoeasers wee versatile E,rot_gf to hardie many dif e-ent relu cements while provid ng a simple ari un for installation. We came up 3winner. and so dc oar client."

For mare info-nation on Bose products, call 1- 508 - 87Th 7,:30 or write Bose :orp , Dept REP, Tt-3 11.1ountal-,BOSE Framingham, WA 01701 -9158 Better sound through research. Circle (24 » Rapid Facts Card PART ONE

Computerized

EQ Systems By Ken Del.oria

Origin most configurations and operating levels. CORREQT was developed during a 3- Because of the linear nature of these loud- year period to answer the needs of sound speakers, it was relatively easy to identi- designers and consultants who were us- fy the independent characteristics of the ing Apogee speaker products in demand- acoustic environment as the greatest var- ing situations. These users were experienc- iable and the largest contributor to over- he CORREQT system is, at once, ing variable perceptions of speaker all system performance variables. (System a philosophy of sound system de- response performance characteristics as is defined here as the microphone(s), mix- sign and practice, a technique they changed venues, which is not unique er, processor(s), (s), loudspeaker(s) and an evolving compilation of in the sound reinforcement field. and acoustic response characteristics of hardware and software. A common concern emerged among the room.) Its mission is to enlarge, develop and ex- the various users that there should be a A method was developed to solve these tend the performance results of the Apo- way to minimize the contribution of the non -linearities involving: gee loudspeaker line, particularly and es- room's acoustics, thereby improving the The use of the transfer function meas- pecially when the loudspeakers are consistency of the sonic results from lo- urement response of a 2 -port FFT-based utilized in reflective acoustic environ- cation to location. Frequency response, spectrum analyzer to identify the non - ments. This utilization of the loudspeak- projection pattern uniformity, signal linearities. ers accounts for the majority of typical ap- arrival -time consistency and dynamic The deployment of precision paramet- plications of the Apogee product base that power handling were all factors to be con- ric equalizers to correct response, there- is presently in distribution. sidered. by linearizing the system performance.

Ken DeLoria is the founder and CEO of Apogee Sound, The Apogee loudspeaker line had been The dual-channel FFT, an essential piece Petaluma, CA. engineered to minimize non -linearities in of instrumentation, had become common-

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EQUALISE, .peoLer ,pen4er

IIIIIIIIItIIII+fI DUAL CHANNEL FIT (Hp 3582A) Iltlttttt, DUAL CHANNEL FIT (Hp 35824 MIXING CONSOLE MIXING CONSOLE BIBIBI\BI @ @ @ 1 IBIPP=2e!1111 o ti CI @ @ LAY LINE DELAY LINE C,o nrl B Channel A Mow wl to a

A: ROOM MODE B: INVERTED EQ MODE

Figure 1. The typical process for using the CORREQT system is: A: Room Mode: B: Inverted EQ Mode; C: Result Mode; D: Normal EQ Mode.

50 R E P June 1990 A discussion of the Apogee CORREQT system, including its origin, philosophy and future development.

place at Apogee for research and develop- lies yielded remarkable results. A typical nance modes and their relative intensity. ment work and routine production testing. subjective reaction to the corrected re- Similar to above, rooms that exhibit strong Research revealed that the dual -channel sponse was a reverberant field. Rooms low- frequency resonance modes that are FFT. when used as a 2 -port network were said to be "drier" and intelligibility narrow in Q, harmonically related and analyzer. could effectively form the basis factors, especially of podium and lavalier spaced apart by two to three times their of a response correction system by meas- microphones, rose dramatically. Levels be- Q factor, can be easily flattened without uring the transfer function of the system. fore feedback increased. RT60 measure- creating adverse side effects. Rooms which (Transfer function is the result of dividing ments showed significantly less reverber- do not exhibit easily identifiable reso- the spectrum that is present at the input ation without the loss of full -range system nance modes, or where the modes are to one channel of the analyzer by the response from the usual methods of res- very wide, are more difficult to equalize spectrum that is present at the other tricting bandwidth via less specific equali- to advantage. channel.) zation, such as 1/3- octave graphics. The presence or absence of significant By using precision parametric equaliz- After the empirical data was collected acoustical anoma lies. Severe acoustical ers, you can effectively null the acousti- and collated under a wide range of con- problems, such as pronounced flutter cal environment's response irregularities ditions, a basis was formed for the validi- echoes. discreet echoes, or radical re- and much of the resulting sonic coloration. ty of the technique. The conclusion was sponse variations from one area of the You can also demonstrate a measure of that by attenuating the energy at those room to another, are problematic and can control that was previously unavailable by specific frequencies where the room had be challenging to improve with equaliza- simple 1/3- octave analysis or parametric natural resonant modes, an operator could tion. Typically, some improvements are equalizers alone. significantly and perceptibly decrease the realized; however, a highly consistent Development overall resonance of the room without ad- sound field throughout the seating areas To develop the system, the acoustic versely limiting the frequency response of may be impossible to achieve. characteristics of many sizes and shapes the system. The choice and placement of loudspeak- of rooms were analyzed. We found that The effectiveness of the technique was er(s); i.e, the overall system design. Just as the most significant deviations from flat a function of the following four factors: a poorly designed room may be linear response are attributable to the The characteristics of the reverberant problematic in nature, a poorly designed room character, rather than speaker place- field. This affects the potential for alter- loudspeaker or loudspeaker cluster may ment or multiple speaker interaction. This ing the perceived reverberant character- be difficult or impossible to improve with coloration was usually in the low- to mid - istics of the room. If the reverberant field equalization. Also, the placement and fo- frequency range, approximately 40Hz to is reasonably flat with smooth high - cus of the loudspeakers will ultimately dic- 800Hz. Virtually all rooms that were meas- frequency roll -off characteristics, the abil- tate the obtainable end results. The sys- ured displayed multiple narrow -band ity to alter the room sound by equaliza- tem design needs to be approached in a resonances. Peaks of 6dB to 10dB, which tion of the system (without adversely af- methodical and informed fashion to allow were only 1/10- octave to 1/3- octave wide, fecting the direct sound characteristics) is the CORREQF technique to achieve its full were common. not as great as in a room where the rever- potential. Using precision parametric equalizers to berant field exhibits significant peaks and Methodology alter the electrical response by the precise dips in response. A 2 -port analyzer, in this case a Hewlett inverses of the acoustic response anoma- The presence or absence of room reso- Packard 3582A FFT Analyzer, with its abil-

4- ') - Mc

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(OA, ;.AN'.i; 4I ?}1Iltt}1}}tt a} DJAL CHANNEL FFT (Hp 3582A)

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C: RESULT MODE D: NORMAL EO MODE

June 1990 REP 51 ity to compute transfer function, is used AVERAGE COMPLETE Sr c to measure the system response during in- A itial system setup. This is accomplished by -20 stimulating the system with the internal dBVrms periodic noise source of the analyzer and LogMag displaying the signal from a measurement - 10 I microphone placed in the room. This dB ¡ method yields rapid measurement re- /div r sponse for quick setup because of the eas- ily read nature of the stimulus noise sig- -100 nal. (Note: Periodic noise is white noise that contains timing information, allowing AMPLITUDE VS FRED RMS: 130 the analyzer to read time domain re- B sponse in addition to frequency domain - 10 response.) dBVrms Typical room resonance modes can be LogMag narrow in bandwidth. Therefore, the ex- 10 dB tremely narrow, precise nature of many /01v equalizer corrections indicated by the I measurement results in raised concern about the stability of the system. Would -90 L_ such specific settings of the equalizers be AMPLITUDE VS FRED RMS: 130 valid as room conditions changed (such as temperature, humidity or volume of air in Figure 3. Channels A and B amplitude vs. frequency response display, using program material the room displaced by patrons)? as the source. Although an indication of the overall spectral content of the program material The 2 -port analyzer again proved to be is displayed, the characteristic of the equalizer's setting is impossible to determine. the answer. The system response is con- tinually verifiable during actual perform- ance, with the house full of patrons, by rected through the parametrics during the ly altered throughout the show as condi- utilizing a transfer function computation performance. The averaging shows the tions changed. This is because of the in- to compare the electrical response of the corrective curves developed during system evitable shifting in the room's acoustic program material on Channel A to that of setup, when the faster technique of using characteristics. This happens because of the acoustic response (derived from meas- periodic noise as the stimulus was em- the absorbency and displacement urement microphones) of the loudspeak- ployed instead of the performance pro- changes, along with changes in tempera- er and room characteristics on Channel B. gram signal. ture and humidity conditions, when an By averaging the data, a stable and inter- It is important to note that the useful- empty room fills up. pretable trace is produced even with ness of the precise narrow band correc- As a practical example, during the 1990 sporadic and dynamic program material tions that are typically employed with the Academy Awards ceremony at the Doro- as the system stimulus. CORREQT technique would be invalid, thy Chandler Pavilion in Los Angeles, a Any deviation from linear (flat) response and possibly detrimental, if the results 14dB cut with a bandcenter of 70Hz, 1/6- is readily shown and can be manually cor- could not be monitored and subsequent- octave wide (one of the primary resonant modes of that room identified during re- hearsals) needed to be changed to a band FREE RUN Src Meas center of 84Hz during actual performance, with a house full of patrons. Leaving this -17.06 cut at 70Hz would not have helped attenu- dBVrms ate the room resonance mode and would LogMeg have created an acoustic "hole" at 70Hz. 2 However. by tracking the system's re- dB sponse and adjusting the filters according- /div ly, the valuable correction that has been established during rehearsal was retuned -33.06 to produce the same result during per- formance. (Note: A typical CORREQT AMPLITUDE VS FRED setup may employ as many as 50 to 60 fil- B ter points across all of the loudspeaker -14 dBVrms coverage zones.) A validity check on the significance and LogMag usefulness of the data can be made by us- 2 dB ing the coherence function of the analyz- /01v er. This is important. because the process of acquiring valid data is a function of the coherence of the timing information be- -30 tween the signal arrival at both of the AMPLITUDE VS FRED analyzer's input channels. One input chan- nel is the direct line level from the board Figure 2. vs. Channels A and B amplitude frequency response display using a periodic noise and one is from the microphones. The source. Note the clean display with high resolution because of of test the uniformity the signal. former must be accurately delayed to

52 R E P June 1990 THEISOR = G T

520 lbs.= 235 kg Introducing the new KP -600 Series flyable speaker system from KLIPSCH'. No longer does breathtaking sound translate to backbreaking weight. A full -range, fully - featured, three- cabinet stack that's ready to fly weighs less than 5201ós. To really lighten your load, you can move the system one cabinet at a time. Or you can use the rigid assembly hardware, put the whole stack on its wheel tray, and still move it without much of a strain. The secret is in the cabinet construction. A super -light composite material molded around a rigid aluminum skeleton. The result is a stronger, lighter, cabinet that remains free of unwanted resonances. The fact that the KP -600 Series is lightweight is just one of many things that makes this system a heavyweight contender. Consider its maximum continuous output of more than 131 dB. Consider its frequency response of 43 Hz - 17 kHz ± 3 dB. Consider its modular design that lets you easily rotate or interchange the horns for the best polar coverage. Consider all the infinite design details that help you hook it up and hoist it up, quickly and easily. Consider the simple fact that it sounds great, too. For some informative literature about the new KLIPSCH KP -600 drop us a line at the address below.

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Circle (23) on Rapid Facts Card match the transmission delay of the loud- AVERAGE COMPLETE Src. speaker's acoustic energy, which is rela- tive to the microphone positions. Secondary systems Once the main system's resonant modes Real 125 have been defined and corrected, the ad- e -3 dition of secondary or ancillary loud- speakers (side or front fills, center clusters) /d1v can re-excite, and to some extent undo, the careful work of correcting the prima- o ry system's response. COHERENCE RMS: 130 A technique was developed to deploy B ancillary loudspeakers without adverse ef- 14 fects by locating the measurement micro- dB phone in the physical area that the secon- Lo g Mag dary loudspeaker is intended to cover. A 2 measurement is taken with this secondary dB /01V loudspeaker switched off and the prima- ry or main system on. After the response is viewed, the ancillary loudspeaker's re- -2 sponse is shaped with the equalizer to fill TRANSFER in the loudspeaker's coverage zone with FUNCTION RMS: 130 the frequencies not represented by the pri- Figure 4. The coherence display (Truce Aland the transfer function display with Channel A refer- mary or main loudspeakers. enced to Channel B (Trace B). The equalizer settings are easy to observe and they reasonably In this manner, the secondary loud- track the measurement made with the periodic noise source. Where the coherence is low (top speaker system does not add additional trace), the accuracy of the transfer function response (bottom trace) is compromised. energy to the room at frequencies not re- quired in its coverage zone, if this energy is present by virtue of carry over or "spill:' crophone location, which is usually co- number of frequency spans and in the vered predominantly by a single loud- different loudspeaker coverage zones, a System equipment speaker or stack covering a limited area. linearized system response is obtained. A The equipment used for CORREQT con- This is called a zone. major assumption is that there are no sig- sists of: A mode is selected on the switcher that nificant non -linearities in the loudspeak- A set of calibrated measurement grade routes the output of the equalizer that is er arrays or other system components microphones, typically one or more for associated with this zone (delayed by the driving the speakers themselves, such as each major loudspeaker coverage zone. precise increment of the loudspeaker's frequency, level compression, headroom B &K 4007 and 4011 types can be used transmission time to the measurement mi- limitations and pattern anomalies due to with good results. crophone), to the A channel of the FFT. poor array combining. A Hewlett Packard 3582A dual -channel The measurement microphone output is FFT-based spectrum analyzer. routed to the B channel input. The resul- The future A signal router, which accesses the in- tant amplitude vs. frequency trace is stored The power of advanced equalization puts and outputs of the various equaliz- and displayed from the analyzer's memo- techniques is starting to emerge as a star ers that are patched into the system; ac- ry. This trace represents the room re- in its own right, rather than a walk -on ex- cepts and selects the signal from the sponse. tra. Highly visible shows, such as the in- measurement microphones and routes A correction curve is manually set on ternationally broadcast Grammy Awards selected signals to a digital delay unit and the equalizer and displayed in inverted and Academy Awards that have both used to the two input channels of the FFT form by resetting the switcher to route the Apogee's CORREQT system for the past analyzer. output of the equalizer to the FFT's Chan- two years, have proven the value of hav- A high- quality digital delay for time /dis- nel A input and the input of the equalizer ing a full -time equalization operator on tance alignment of the source signal (typi- to the Channel B input. l'he equalizer staff during system installation, rehearsals cally line level at the EQ) and measure- curve should be adjusted to overlay the and the show. ment mies. stored room response curve. This trace is The future development of sophisticat- A computer controller that interfaces to the inverted correction curve. ed hardware and software will allow the the HP 3582A through the HPIB port. The The switcher is again reconfigured to process to be performed in a semi- computer allows indefinite storage and display the results of the corrected system automated manner, eliminating the re- subsequent retrieval of response traces, response. For this display, the input to the quirement for the separate operator, and provides control functions for easy equalizer (again delayed by the transmis- lowering the labor costs and broadening use. sion time) is routed to channel A of the the potential user base. Additional break- FFT and the measurement microphone throughs in hardware and software con- Applying the system signal is routed to channel B. This is the trol systems will allow the process to be A typical approach to apply the COR- corrected room response. Additional and understood and mastered by operators REQT technique to a room follows (see ongoing adjustments are usually made in who may not possess training of in- Figure 1): this mode. strumentation usage. The normal system setup is stimulated The normal, non- inverted equalizer re- with periodic noise or program material. sponse is then displayed as a check and The switcher is first selected to show the to study storage purposes. Editor's note: Part 2 of this series, covering the Meyer SIM un- equalized room response at a given mi- By repeating this process throughout a system, will appear in the July issue.

54 R E P June 1990 Hot Cakes That Cook. Producers want their duplicated to delivering those steamy hot recordings to sound as hot as highs, low noise and the master. So, you've got consistency, pancake after to use tape that lets their pancake. music really cook. Tape There's just one difference. that's especially hot on When you use CintasCHROME the top end. Audio Duplicating Tape, you'll CintasCHROMETM pancakes save a lot of dough. For your free really stack up to BASF* samples, call Bob Piselli at (904) and AGFA* when it comes 445 -5545.

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By Robert Missbach

Amodern studio churns out pounds of paper everyday - everything from track sheets to cue sheets, stock orders to trouble reports, work orders to invoices. In larger studios, perhaps a dozen different people have to share data from these sources. The studio manager may book a session by collecting data about a client (record company, independent artist or producer), scheduling a room, ordering the necessary equipment, assigning engineers and alerting them to the session requirements. The assistant engineer must log out tape from stock, keep a tracksheet for each song, keep a tape legend for each tape, fill in the daily work order with hours worked and materi- als used, and fill out repair requests for the maintenance engineers. The engineers, in turn, must act on the reports, schedule and log maintenance, and order spare parts. The office manager must collate the daily work orders, prepare in- voices for the time, material and equipment used, handle accounts payable and receiv- able, perform payroll duties and generate accounting reports. Every studio has its own version of paper forms to carry this data, some of which have evolved over time, some adapted from other uses, others "appropriated" from another studio whose system has shown success. The end result of this paper moun-

Robert Missbach is a San Francisco -area independent recording engineer and producer whose credits include albums by Huey Lewis 8 the News. Santana, Journey and Michael Bolton.

56 R E P June 1990 tain must be toward consistent and effi- cient data flow, so that all parties who Semper Recording (444) 999 -1212 , MI need the information are able to find, Vert 2 14 IRD- OfNProACtbns TRACKS*EIT share, add to or delete from it. GL EST I DATE /27/89 Recently, some of these roles have been MASTE= TAPE 101 ENGINEER JE b 8001'1 computers that run AE ENE IR SV assisted by personal ASST. ENO SPEED accounting software, databases for every- ARTIST Sp,tnq Rafe I ALIGNMENT thing from clients to master tapes to parts I 1 /4 I /44 I /8 1 /8/ 1 /16 and stock inventories, and other special- TITLF I 1 - O. M., 128 469 352 I 234 156 1 j 117 ized applications. These are available for PRODUCER 1

computer platform: IBM and the ITIALS GM I every w SHPTE TAPE POSIT NON MAIE Geer q.,. Mrtn clones, Macintosh, Atari, Amiga, you START STOP DURATION name it. SET UP MOTES I I Often, the programs are manipulated by TAPE POSITION INDICATOR workers who were not originally hired for START END I their computer skills, but for their adminis- 4 5 6 7 8 trative, technical or creative knowledge. 1 2 3 TT Fleor They have, with varying degrees of suc- Kok Near Kick fr Room TTI Top TT1 Bottom TT2 Top TT2 Bottom cess, learned to use these applications to assist in data management. 12 13 14 15 16 programs to at- 9 10 11 Archie is one of the first S 1000 Emu Loft TT 0444 ON Left OM Right Snare Top Snare N!M tempt wrapping all of the various func- Bottom Snare tions and requirements just mentioned 24 into one piece of software. It achieves 17 18 19 20 21 22 23 Near Bass Gtr Neer Gtr varying degrees of success. Emu R9'i S -50 L S -50 R Bass D/i Bass fr fr Archie was created by John Alcock and Pete Johnson to bring all the data require- 25 26 27 28 29 30 31 32 ments of studio operation into one inte- Vox Gtr Pal grated computer datafile. Running only on the Macintosh platform, Archie combines the functions of every studio operation 33 34 ß 36 37 38 39 40 that requires a piece of paper.

Background 48 A musician, recording engineer, produc- 41 42 43 44 45 46 47 er, film and studio designer who has relocated to Los Angeles, Alcock decided that the recording world needed a studio management program. Alcock's friend, Pete Johnson, who is a writer, programmer and die -hard fan, Sample Tracksheet. Users can put their facility names and logos at the top of the page, if desired. introduced him to a Macintosh computer in 1984; work began on Archie in 1987. It was initially released in July 1988. There are currently more than 100 studios in a minimum of 2MB free space. These plat- a more reliable MultiFinder compatibility. for the Australia, Europe and the United States forms support either the single -user or The program retails for $995 for a multi - that have purchased Archie. multi -user versions of Archie and, with at single -user version, and $1,325 as many as Archie is a relational database that uses least 2.5MB RAM, will also support Mul- user package, which supports station cop- the Double Helix Engine, a run -time ver- tiFinder. It is strongly suggested that the four stations, with additional is expensive if you sion of a multi -user database program by faster computer models or an accelerat- ies for $150 each. This and billing, but Odesta. It includes 34 separate databases ed Plus or SE be used, particularly on a only want it for accounting want to automize or relations, utilizing interconnective "hot multi -user installation. The program takes reasonable if you links." Some of these relations are: horsepower to run, and the faster the com- everything. page binder Timesheets (work orders), Invoices, Stock puter's crunch speed the better. The manual is a 130 -plus -dump illustrations for Resale, Master Tape Library, Equip- Archie was ambitious in its first release, with numerous screen and func- ment Inventory, Clients, Producers, Ven- incorporating most of the important that details the myriad of menus numerous 'Archie dors, Engineers, and Accounts Receivable. pieces that are now in use. There have tions, interspersed with While the man- These relations are used to produce more been nine upgrades, including a major re- Tips" and "Archie Notes:' a it provides than 150 different forms, including track- write resulting in the current version, 2.0. ual does not include tutorial, an overview of the sheets, song cue sheets, invoices, state- The most important enhancement in 2.0 the new user with offering suggestions for ments, mailing lists and various account- is speed, which is reported to be four to different relations, systems. ing reports. There are also search and 20 times faster than the original, depend- category names and numbering vol- warning capabilities for most of the re- ing on the operation. Other improvements The result is an adequate reference in detail. lations. include allowing studio staff to issue main- ume, though not especially deep menu selections. Archie will run on a Macintosh Plus, SE, tenance requests, establishing equipment Most of the text describes more explanations on how to SE /30 or the II family, using System Soft- inspection intervals, 48 -track tracksheets However, to other ware version 6.0.2 or later, with at least with more fields, additional security op- use them and how they relate 2MB of RAM. It requires a hard disk with tions, refinements to report functions and functions would be helpful.

June 1990 R E P 57 Operational Observations Some glaring inadequacies are immedi- Many record companies require an ac- What Archie attempts is ambitious. In ately evident. First, there is no way to count of how much time was spent on a one package, it incorporates every report- change the layouts. Also, the number, size certain song. Often, producers need to ing, tracking. scheduling and archiving and placement of entry fields is not a user - track the time spent by individual per- function known to modern studio opera- definable option. While most of the forms formers (guitar overdubs, backing vocals, tions. Since all departments are relation- are usable as is. the one form that is ar- programming) for payment and credit pur- al, a change of data in one layout appears guably the most used and most necessary poses. Meal breaks and downtime should immediately in all reports using that data. in a commercial studio is the work or- be listed for hourly clients. Most internal calculations are automat- der/timesheet. This is the point -of -sale There is a Miscellaneous Charges field ic, such as entering applicable sales tax- document around which all other invoic- with a single total, which can be used to es, totalling invoices or statements, and ing, inventory and scheduling must re- gather some of these entries. However, depleting inventories when an item is en- volve. this is a blank. unformatted field that does tered on a timesheet. A financial section Another fault is that Archie features not self -total and is not an ideal way to log tracks checks and deposits. reconciles only one line for entering session start and these activities. Miscellaneous Charges statements, and produces journals and stop times. In most large, active studios. should be for catering. rentals and other monthly reports. There are layouts for box this does not reflect reality. A session services that are pertinent to the session. and tape labels, mailing labels and check usually starts and stops different activities It should contain an itemized cost field and printing (using pre -printed check blanks). several times throughout the day. return a calculation field of these charges It is probable that many studios will not Archie provides three separate fields to appear on the timesheet and invoice for employ all of the program's many features. (and rate structures) for Tracking, Mixing. clear accounting. Archie provides no way There is a great amount of data that must and Editing /Copying. These fields may be to change this. be entered to make the system work, a redefined as needed: Analog Tracking. The use of the run -time version of Dou- chore that requires time and thought. To Digital Editing, 48 -track Mixing, Down- ble Helix precludes user definability of lay- be effective, all of the studio data must he time, etc.; but there is only one entry line outs and fields. If users had the full de- in the system. per timesheet for each of the three. veloper's version of Double Helix (a costly acquisition) and were able to acquire the password from Archié s authors (an impos- sibility), they could change whatever they Semper Fl Recording (444) 999 -1212 wished. But 3814 Most Silver A P.3 tl 111 98712 Archie was not intended to be a user -definable medium. so users must accept the existing layouts or pay a little extra to the publishers a EDT II ro t234567 I TRISIEET 100 for customization. Mr. Alcock strongly resists customizing via John Doe DATE l8/2e/89 Famous R000ed Company Inc their programmer. because it makes up- 6000 Sunset Boulevard C O.D1 Wo ROOM A grades more difficult to distribute. LOS Angeles, CA 90028 B OOKED TIME IN I10 op (213) 555 -1234 B OOKED TIME OUT L22 00 Features and Limitations: (213) 555 -1190 Accounting: Archie allows only one ac- SETUP count ENTNEFR'S N ITIALS -a checking account. 'There is no PRODUCER ,If ASSISTANT'S INITIALS AE petty cash fund, no additional checking INITIALS OM accounts. or savings or credit accounts. All MISCELLANEOUS CHARGES NAME GeErgna Martn source and disbursement accounts are list- DESCRIPTION PROJECT [Sl,ppooy Pole ed together; there is no separation be- Rental tween income, expenses, capital or cred- STUDIO MOORS VORKED it categories. The journal report lists START [DD HOURS transactions individually, not totalled by

RECORD 10 00 22 90 1200 category. There is a Monthly Subtotals by M1% category. but it does not show totals to (COPY /EDIT TOTAL 'woo° date, by quarter or for the year. Statements print a list of invoices due, but not payments received. There is SESSION MATERIALS USED SESSION NOTES a fea- ture that specifies that a payment be ap- DESCRIPTION QTY plied to a given invoice, but this merely 2' Analog Master Tape removes that invoice from the list on the 2 5 1/4" Analog To statement. E 6 I /4' Dgrta1 Tape 4 Lists: The databases for Clients, Vendors, é C-30 e 5 Producers and Engineers produce lists, 6 and one may "query" to extract a selec- 7 tive list based on criteria in the base. How- e ever, this reduced list cannot be printed 9 nor viewed as a list, only flipped through 10 like a stack. Sessions: The tracksheets contain all of PRODUCER SIOIIATIRE. CLIENT SIGNATURE: the expected fields, plus some helpful ad- Oeorglna Martin famOUe Record Compared ditions. such as a field for tempo that be- gets delay -in- millisecond conversions, and SMPTE start and stop times to calculate Sample Timesheet, with morn at the top for the facility name and loue/ the elapsed time. However. starting a

58 R E P June 1990 tracksheet begins a series of forms that Wrap up everything they need and more. Others must be completed. A master tape log en- Archie tries to accomplish a lot; perhaps have needs that Archie cannot address. try must be made, then a cue sheet, both it attempts too much. What choices does For them, a better choice is to develop resulting in a title list. These are useful a studio have? If every business had a resi- their own program from the many appli- documents, but very time -consuming for dent computer wiz to develop databases, cations available. They may not get every- an assistant to perform during the session, applications and the links between them. thing in one package, but the separate when all he wanted was a tracksheet. and had an accounting department versed pieces will probably work faster, easier, and There should be a way around this. in the latest electronic bookkeeping tech- and allow often -needed customization Printing forms: There is no choice of niques, they would not need Archie. Many stylizing. type fonts. This most sacred of Macintosh smaller studios do not have these By all means, if you are in the market conventions is unsupported. The Double resources and, therefore, must rely on one and looking, do not pass up this all- Helix Engine contains only a single font, man's idea of how to do it. Archie might encompassing program. Realize where the Geneva 9, which is a screen font that be perfect for them. compromises live, and how they may or works passably on the screen. However, With an installed base of over 100, may not fit your case. when a studio is issuing an invoice for a chances are that some find Archie to be few thousand dollars, users might want something with a bit more class. (Note that most Postscript laser printers would sub- stitute a laser font like Helvetica.) Highlights Monitor -a reference loudspeaker system for Do You the mixing and mastering of recorded music. Relational database using the Double Helix Engine. Standard -a reference from which qualitative Includes 34 separate databases judgements can be made. or relations, including Timesheets, ow Invoices, Stock for Resale, Master Tracks - (noun) channels on a multi -track Tape Library, Equipment Inventory, recorder (verb) accurately reproduces the audio En- Clients, Producers, Vendors, qualities of another transducer. gineers and Accounts Receivable. these System requirements: Macin- Monitor Standard'- a close -fiekl recording SE, SE /30 or II; System tosh Plus, monitor system from RADIAN. The only one version 6.0.2 or later with Software which accurately tracks large recording monitors. at least 2MB of RAM; hard disk with terms? a minimum of 2MB free space. Price: $995, single -user version; $1,325, multi -user package (sup- ports up to four stations); addition- What does all al station copies at $150 each. Circle (105) on Rapid Facts Card this mean? There is a good explanation for this. however. Arbitrarily changing fonts would RADIAN's new MM -8 Systems are wreak havoc with most of the entry and the only close-field monitors to display fields, which are carefully sized utilize full-sized compression drirrrs. and positioned within the layouts. A menu choice of fonts for some printable forms, RADIAN's new MM -8 Systems like the invoices, would be desirable, but reproduce explosive transients this feature, again, is not supported with- with clarity and ease. in the Double Helix Engine. No more distortion or break-up from The developer whom I spoke with fragile domes and cone tweeters. works within the limitations of the run- time version, although he expresses an in- RADIAN's new MM -8 Systems intermediate version coherent. point- source terest in seeing an provide Model MM -8 from Odesta that might allow some flexi- sound for superior stereo imaging. bility. Speed: Archie is slow. This is a comput- RADIAN's new MM -8 Systems eliminate the "sweet spot." Their ultra wide-angle (120°) er fact of life - the bigger the file, the dispersion delivers the same tonal balance to everyone seated at the console. slower it works. Since Archie is one large relational datafile, it carries a lot of weight. The idea really is to put everything that Call RADIAN to arrange for an audition in your recording studio. does into it. With a Ilcx, it is the studio RADIAN Monitor Standard" ' Systems are sold exclusively thru Authorized Dealers. sluggish; with a Plus, it is painful. Unfortunately, it is not possible to "cut loose" the relational interlinks to minimize re- figure time. Note that some CAD pro- grams, which have a similar problem in wpm that they refresh the entire screen every time you alter or add to them, manualize 4520 E. Eisenhower Circle Anaheim. CA 92807 (714) 693 -9277 FAX (714) 693 -9278 the redraw function - they only refresh when told. Circle (25) on Rapid Facts Card

June 1990 REP 59 No matter what By Laurel Cash -Jones duce power if the amplifier's temperature your direction... becomes extreme (similar to an electron- ic aspirin). Another unique feature is its A new venue rear panel, which utilizes not only the The folks at Soundcraft have come up traditional 5 -way binding posts outputs Compass Systems with what I think is this year's most ap- and XLR /barrier strip inputs, but three propriately named product - the Venue Neutrik Speakon speaker jacks. Two sound reinforcement console. Speakons provide channel 1- and 2- carries over three hundred The Venue has eight buses and mute speaker interfaces. An additional Speakon control, and has seven combinations of can be used as a single stereo pair for long four frame sizes with an overbridge avail- speaker runs, as a bridged mono speaker able for the larger frames. The overbridge output or for bi- amping speakers with a brands of professional equip- has standard VU meters and integrated crossover. peak LEDs. List price is expected to be $2,798 (a lot This new console also features full 8-bus less than an MX missile, I might add) and routing and six independent auxiliary the unit will be available for September ment to all of your sends. The mono and stereo input mod- delivery. ules have mute group capability, which al- Circle (100) on Rapid Facts Card lows each channel's status to be controlled Zounds what sounds needs, so if you need by four master mute buses for rapid rest- - ing during a performance. Dynamic Range is the first volume of a There are also four dual group /stereo new digitally recorded sound effects li- FX return modules with insert points and brary called Sonic Boom. Each Sonic or any other a dual matrix module to use primarily Boom volume will concentrate on one where matrix speaker feeds are used. type of effect and its variations. This first Circle (101) on Rapid Facts Card volume consists entirely of gun sounds and related effects, including 873 sounds audio, video or lighting from more than 30 weapons. Each effect is categorized and easy to locate. All of these effects were recorded on device and want DAT, transferred to New England Digital's - Synclavier and Direct-To-Disk for trim- ming, organization and processing, then digitally mastered. quality at rock (,.( prices The Sonic Boom series is now available I_ I as a 12 -inch optical disk to use in the Syn- clavier and DirectTo -Disk, and on DAT and . the friendly Circle (102) on Rapid Facts Card I want to take you higher Sound Ideas /LucasFilm library QSC is introducing one of the highest Also notable in SFX land is the new co- power -rated amplifiers ever. The MX 4000 production deal between Sound Ideas of is rated at 750W per channel at 8f1, Canada and LucasFilm Ltd. As part of the 1,125W per channel at 4fì and a whopping newest release from Sound Ideas, three Systems. 1,500W at 20. CDs of the best stuff from Skywalker With all of this power, the MX 4000 Ranch (LucasFilm's Academy Award - takes up only three rack spaces and winning Marin County, CA, facility) are represents a new, enhanced design ap- available. The sounds included in this col- 1 -800- 356 -5844. proach for QSC. It utilizes an "open archi- lection have been heard in many favorite tecture" via input connectors mounted on LucasFilm productions and fall into three a removable module. This module allows categories: industry, jungle animals and for interface with control systems as they the sounds of the earth's elements. develop and will be compatible with a sec- At the same time, Sound Ideas is releas- ond generation of ing three CDs to enhance its already vast devices that QSC is currently developing. library of sounds. These new discs will fea- These new circuit designs include a ture aircraft, a U.S. Navy aircraft carrier built -in limiter that prevents A step in the right direction! excess clip- and high -performance vehicle sound ef- ping and acts quickly and smoothly to re- fects. (I wonder who got to keep the cars.) 5618 Odana Road, Circle (103) on Rapid Facts Card Madison, WI 53719 Laurel Cash-Jones is R -EP's editorial consultant and a Los Consultation: 608 -271 -1100 Angeles -based free -lance writer.

L Circle (26) on Rapid Facts Card 60 REP June 1990 Roland SN -550 buses. ' hese two buses can then be as- of 106dB. Other features include a forced digital noise eliminator signed to one or all of three main P.A. air cooling system with a thermostatical- a - The SN -550 digital noise eliminator em- feeds. A companion monitor console is ly controlled 2 -speed fan, current ploys a 5 -band downward expander, which also scheduled for introduction this year. limiting and fast -tripping circuit breaker reduces noise in frequency bands that do Circle (109) on Rapid Facts Card power switch, two independent heat sink not contain the original sound without any thermal signal cutoffs and self -resetting of the side effects, such as breathing, en- dual thermals inside the power transform- countered on full -band expanders. A hum er, a 5 -way binding post to accommodate cancellation circuit efficiently removes ac bare wire and banana plug connections, line noise, display buzz, and noise from a bridging switch for mono applications, dimmers. Many of the unit's parameters LED clipping indicators and removable air are automatically set up to help obtain op- filters. timal noise elimination, such as 60Hz ac Circle (107) on Rapid Facts Card line noise. Shape Mark 10 cassettes Circle (106) on Rapid Facts Card Numark SA3200 power amp The second generation of Shape's Mark 10 audio cassette incorporates design and Audio Analysts The SA3200 is rated at 510W RMS into 40 production refinements that reduce the CADD console and 1.02kW into 812 (bridged mono mode). number of internal parts while boosting configured The amp incorporates advanced dc- This 64 -input house console, performance. The Generation II retains inputs, features a 4 -band full coupled bipolar technology featuring as 40 mic the clear plastic shell and the "1 -piece EQ section on each channel. ultra -speed components for a flat -out fre- parametric bridge" assembly introduced as part of the provided are eight stereo inputs and quency response of 20Hz to 20kHz, +0, Also original Mark 10 cassette. line inputs, all feeding into eight ster- -1dB. Specs include a slew rating of eight Circle (108) on Rapid Facts Card eo subgroups that feed two stereo mixing 50V/ms, a THD of .035 %, and a S/N ratio

Why do Jensen Tiranaformers have Clearer Midrange and Top End? The high frequency rolloff of a Jensen Transformer is optimized, by computer analysis, to fit the Bessel Low Pass Filter OTHER response. This means minimum overshoot ringing and flat group delay for best time and JE11P-1 alignment of all spectral components of the musical waveform. In other words, the harmonics arrive fundamental at the same time as the STEP WAVEFORM frequency. The result is a clear midrange and top end without the harsh, edgy sound which has been one of the most objectionable sonic complaints about transformers.

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June 1990 R E P 61 McManus Enterprises manually adjusted. A 10dB attenuation sitivity of 91dB SPL. Suggested list price cable protector switch and a built -in bass roll -off filter are is $249. The YellowJacket is a modular cable pro- included. Circle (112) on Rapid Facts Card tector for location work made of Hiper- Circle (110) on Rapid Facts Card thane, a patented super -resilient synthet- Alan Gordon Enterprises ic material. The YellowJacket's lightweight Peavey SRC mixing consoles supplies construction features a shallow -angled The SRC 1600/2400 mixing consoles are The company has introduced two power ramp that can be easily handled by wheel- equipped with six separate aux sends for units. The Lavalier Power Supply. designed easier signal chairs, pedestrians and vehicles. Com- routing. Two of the sends are for use with the Sennheiser MKE -2 or pre -EQ prised of 3- foot -long interlocking sections, and fader; two are post -fader and TRAM TR -50 lavaliere, features a supply the protector is available in 4- or 5- channel EQ; and two are switchable pre -EQ and unit equipped with a Vega- compatible post -fader. Features versions, each capable of accepting a 11/2 - include XLR balanced Lemo connector. The 12 -1.20 Mini Inver - inch diameter cable per groove. Larger inputs, 1/4 -inch unbalanced inputs, 60dB tor is designed as a means of powering ac models are available. input gain, 3 -band EQ with sweepable mixing panels and other equipment from mid, Circle (144) on Rapid Facts Card channel -limit LED and more. The 12V batteries. The unit converts 11Vdc to console is Beyerdynamic MC 742 mic available in 16- and 24-channel 15Vdc to clean 115Vac, ±5 %, and provides versions. continuous power The MC 742 stereo condenser microphone up to 100W. Circle (111) on Rapid Facts Card Circle (113) on Rapid Facts is designed for all stereo, MS and XY re- Card cording configurations, and includes two Peavey PRM 225 monitor Hill rack mixers double diaphragm capsules arranged ver- The PRM 225 2 -way phase- referenced stu- The MINImix. the MULTImix II and the tically. The upper capsule can be rotated dio monitor features a 411 impedance, two OMNImix are the newest additions to the 360° in relation to the lower capsule to 51/2 -inch woofers, one 1 -inch tweeter, Hill Audio series of rack -mount mixers. accommodate a complete range of record- 3kHz crossover frequency, response The MINImix, designed for sound rein- ing techniques. Five polar patterns can be linearity of 72Hz to 18kHz ±3dB, and sen- forcement. features a large number of in-

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The MUUl'Imix channels or more; simultaneous 18-bit out- are also available. II lists for $2,499. The OMNImix has 28 put, 16 -bit input resolutions; and 64x A/D Circle (122) on Rapid Facts Card usable inputs, eight subgroups and fea- oversampling for undetectable distortion. tures a 3 -band EQ with mid sweep, four The system is available for AT bus com- Shure L2 transmitter aux sends, four stereo inputs with 2 -band puters as an upgrade; a complete system The L2 handheld transmitter, the most re- E.Q., eight panable aux returns and is also available in a 5 -space rack -mount cent in the L series of wireless microphone 100mm alps faders. List price is $4,499. with optional rack- mounted Eltekon hard products, is available in three versions. The Circle (115) on Rapid Facts Card drives and monitor. L2/58 features Shure's SM58 microphone Circle (124) on Rapid Facts Card element. The LS /96 incorporates the con- Polydax PR 11 HR 40 speaker denser used in the SM96. The L2/Beta 58 Bass The PR 11 HR 40 features an exponential Intersonics features Shure's Beta 58 element. Any of paper diaphragm that allows the driver to Technology Series the three elements can be used with the sustain a clean, smooth frequency The Bass Technology Series same L2 transmitter. Prices range from throughout its operating range. This 4r /2- are based on the ServoDrive operating $532 to $748. inch midrange, which is designed with a principle, which replaces the traditional Circle (125) on Rapid Facts Card 2 -layer copper voice coil based on a 1 -inch magnet and fragile voice coil with a high- aluminum former, produces a sensitivity speed, extremely responsive rotary motor, level of 97dB 1W /1M. drive shaft and active cooling system. The T.C. Electronic delay lines Circle (116) on Rapid Facts Card Bass Tech 7 features more than The'TC 1280 stereo digital audio delay and twice the output of previous SDL (Servo - the TC 1380 multitap digital audio delay Soundtracs Quartz console Drive Loudspeaker) models from Inter - use the same technology as the 2290 sam- sonics. pler. They operate with a processor time The Quartz console, previously introduced Circle (114) on Rapid Facts Card of 30ms and enable the operator to enter the project code name PCX. is cur- under delay time in meters or feet. Both units rently in production. Quartz is a 24 -bus in- have XLR- balanced input /output and re- line console with computer mute automa- lay bypass. tion of channels and auxiliaries. Because Circle (137) on Rapid Facts Card of the in -line design, it is narrower than traditional split consoles with comparable inputs. It features a stereo aux and 4 -band Bruel & Kjaer CD all -sweepable EQ. Options include stereo Recorded using the Series 4000 micro- inputs, additional effects return inputs, and phones, Bruel & Kjaer's limited edition CD frame sizes to accommodate 32 and 48 showcases 69 minutes of music. The 18 modules. selections cover a broad spectrum of mu- Circle (117) on Rapid Facts Card sical styles, including pop, jazz, classical and folk. Hollywood Edge FX library Circle (140) on Rapid Facts Card The Hollywood Edge Premiere Edition is a -CD sound effects library featuring 20 Q -Sheet upgrade more than 1,500 wide -imaging sound ef- Digidesign 2.0 is the upgrade for the fects. Recorded primarily on DAT and edit- Electronic Media CD RackPack Q -Sheet A/V MIDI /SMPTE automation program that ed on the AMS AudioFile in full spectrum Electronic Media International's CD Rack - adds integration to the Sound Tools digi- stereo, it is cross -referenced and indexed. Pack is a CD package /rack made of recy- tal recording and editing system. Version Circle (118) on Rapid Facts Card cled and recyclable rigid plastic. Featur- 2.0 provides two independent tracks of ing a double-sided viewing area, the audio that can be added to MIDI package is designed to protect CDs dur- digital synchronized to SMPTE. With Microsound direct -to -disk ing mailing. events, all 2.0, digital recordings can be much longer recording system Circle (143) on Rapid Facts Card Jointly introduced by Eltekon Technolo- than sampled sound triggered from digi- gies and Micro Technology Unlimited, tal samplers, and it provides a method to a Microsound is a 2- or 4 -track digital record- Apogee Fl /EIAJ enhancement add dialog or acoustic instruments to ing system for music recording. CD The FI/EIAJ enhancement system is de- MIDI /SMPTE system. List price is $995. mastering, sound effects triggering and signed for Sony PCM Fls and other EIAJ- Registered Q -Sheet A/V users can upgrade post -production. Features include digital type digital audio processors. The system for $50. Sales of Q- Sheet, the predecessor sound storage; SCSI -based archiving to provides improved A/D conversion be- to Q -Sheet A /V, is being discontinued, and tape or optical disk; 2- or 4- channel ster- cause of an analog input board that fea- registered Q -Sheet users can upgrade for eo; 2- channel plus 2-channel AES -EBU; tures the 924 series ultra -linear phase low- $395. five crystal sample clocks. which provide pass filters. A digital output board provides Circle (141) on Rapid Facts Card

June 1990 REP 63 ettuz4vg le

surround AKG Acoustics Pearl Microphone TLC 90 mic design that maximizes acoustic radiation from the cones piston action DSE 7000 workstation A cardioid condenser mic, the TLC 90, is while minimizing acoustic interference The DSE 7000 includes an 8-track digital designed for vocals and instruments. Re- from the surround. recorder, a 10 -input mixer and a 2 -track quiring 30V to 48V of phantom power, the Circle (147) on Rapid Facts Card digital mixdown. The DSE 7000 employs mic features an internal shock -mount of 16 bit 4x oversampled D/A converters, silicone rubber to reduce noise and Klark-Teknik delay units sampling rates of 32kHz, 44.1kHz and 48 vibration. KlarkTeknik has released two stereo de- kHz, and a RAM card with 4.4 minutes of Circle (121) on Rapid Facts Card lay units. The DN726 is a stereo delay line audio storage. that accepts two inputs and provides ster- Circle (135) on Rapid Facts Card NVision NV2000 multiplexer eo, in -phase outputs. The frequency re- sponse is 20Hz to Killer Tracks production library The NV2000 is a digital audio multiplex- 20kHz, and the delay range A spinoff from the Hollywood facility er designed to support and simplify mul- is 0 to 1.3 seconds in 20ms incre- ments. The DN775 is a stereo mastering HLC /Killer Music, Killer Tracks is a digi- tichannel audio interconnection require- preview delay, which tally recorded /mastered production mu- ments. It provides 20 -bit encoding and provides a 2x2 in- put /output configuration. It sic library available on CD or DAI: The in- distribution capability for multiple chan- has a frequen- cy response of 20Hz to itial library consists of 30 compact discs nels of program audio with 110dB S/N in 25kHz and a de- lay range of 0 to 5.55 seconds and contains more than 1,900 selections a studio environment. It can be upgraded in 16ms increments. of music beds for jingles, promos, A/V and to carry eight channels with analog or dig- Circle multimedia production. ital references. Prices for the NV2000 be- (130) on Rapid Facts Card Circle (119) on Rapid Facts Card gin at $7,000. Carver power amplifiers Circle (146) on Rapid Facts Card Beyer HM 560 mic Carver has introduced six new profession- al power The HM 560, a dynamic vocal headset mi- amplifiers. The PM -120 and PM- crophone, is designed for musicians who 300 are I -rack space designs with 60W and 150W per play an instrument while they sing. It fea- channel, respectively, into tures an adjustable boom for placement 411. The PM -600 and PM -900 magnetic field in relation to the performer's mouth. The amplifiers are rated at 300 +300W and microphone can be situated on the right 450 +450W into 4f1. The PM -1200 and PT-1250 (the or left side of the head, depending on the "PT" stands for professional performer's preference. touring) have 600W and 625W per chan- nel into 411. Circle (123) on Rapid Facts Card Circle (136) on Rapid Facts Card Lexicon 300 L -V high- frequency digital effects system reproduction systems Vega Q -Plus update The 300 digital effects system incorporates The updated version of the Q -Plus wire- Electro-Voice has released two broadband new algorithms and proprietary digital sig- less intercom system features an improved high- frequency acoustic summation sys- nal processing circuits, as well as a time range and intelligent squelch circuits for tems for a pair of compression drivers. The code reader, stereo pitch shifting and de- its QX-6A base station; the QTR -2 wall - N /DYM1 /2MT and the DHIA /2MT are lay effects. A 5 -entry event list includes a around units include improved receiv- comprised of two drivers with an MTA-22 time code value and a set -up number. The er/transmitter RF performance and an en- adapter, which offers a standard exit that 300 has universal connectivity through hanced limiter for an improved S/N ratio. mates to all E -V Hp- series horns. Both AES/EBU and EIAJ protocols. A local sidetone is also available for direct have a 1 -piece titanium dome diaphragm Circle (133) on Rapid Facts Card QTR-to -QTR operation, and headsets and suspension and are protected from fea- ture increased volume capacity. New England high-power damage. Digital PostPro SD Circle (142) on Rapid Facts Card Circle The PostPro SD workstation, a combina- (126) on Rapid Facts Card tion of Synclavier capabili- Soundtracs Sequel Digidesign Sound Tools ties and DirectTo -Disk recording and edit- The Sequel sound reinforcement console for Atari ST ing skills, is a 24 -track recorder /editor that features input channels with a 4 -band Atari Sound Tools from Digidesign is a provides eight Synclavier outputs and up parametric EQ and high -pass filter, nine hard -disk based digital audio recording, to 16 tracks of disk recording. It enables auxiliaries, four LEDs and four mute editing and playback system for Atari operators to make cuts, substitutions and groups. Each output group has eight met- Mega ST computers. Originally developed changes in the final mix. Options for the ric sends. All signal buses are electroni- for the Apple Macintosh, there are more PostPro SD include a 2Gbyte optical disk cally balanced to reduce crosstalk and pro- than 1,200 Sound Tools systems installed storage and retrieval system, 50% to 200% vide noise specification. worldwide. Each Atari system includes a time compression and expansion, MIDI - Circle (127) on Rapid Facts Card computer card for the Mega ST2 or ST4, net, CMX Autoconform and EditView soft- an external A /D -D /A converter and the ware, an enhanced Synclavier veloci- Tannoy close -field monitor computer software. The system allows the ty /pressure keyboard and a DESC The NFM -8 (DMT) close -field monitor in- user to record two tracks of high-fidelity controller /editor /locator. The Postpro SD corporates an 8 -inch dual concentric driv- sound directly to any Atari hard disk drive. is priced under $130,000. er in a ported, medite enclosure that offers Recording length is limited only by drive Circle (134) on Rapid Facts Card solid bass reproduction. It features a roll- capacity. Editing features include fast non-

64 R E P June 1990 Lowest Prices on AMPEX Tape

Ampex 456 Grand Master® Studio Mastering Tape destructive playlist editing, time compres- reel sion /expansion, digital EQ and mix- As low as... 2 " $114.08 per ing /merging, and cut /copy /paste style editing. Digital recording and editing are As low as... 1 " $ 52.68 per reel supported by Digidesign's optional DAT I/O bi- directional digital interface. SMPTE synchronization is also supported. List As low as... 1/2 " $ 30.43 per reel price is $2,995. Circle (148) on Rapid Facts Card As low as... 1/4 " $ 9.43 bulk Jensen /Hardy TSMP The Jensen /Hardy Twin Servo Micro- phone Pre -amp (TSMP) is a re- engineering COMPLETE CATALOGUE AVAILABLE UPON REQUEST. version of the Twin Servo Dual 990 Mic Pre -amp. This new unit features built -in AEG- Telefunken Mastering Telefunken /Lyrec Duplicating LED metering with switchable VU or peak characteristics; compact I3/4 -inch rack - 3M Audio Distributor Audio -Video Cassette Duplication mountable chassis with two or four chan- R -DAT Digital Tape J -Card Printing nels; redesigned dc servo circuitry for low- er distortion; improved input and output Sony Pro Video Custom Video Cassette Loading transformers; and improved, scratch -free Audio & Video Accessories Ampex Pro Video pots. Circle (128) on Rapid Facts Card HRC Magnetics 1611 Herring Waco, Texas 76708 Eventide sampler for CALL TOLL FREE 1- 800 -443 -8457 Nationwide FAX 817- 756 -0082 H3000 Ultra -Harmonizer Circle (33) on Rapid Facto Card The HS322 internal sampling board adds 16 -bit, 44.1kHz sampling to the H3000's list of audio processing tools. The base ver- sion of the HS322 stores 11.8 seconds of stereo or 23.7 seconds of mono samples in RAM. Expanded- memory versions of the internal sampling board are available with longer sampling times. The H3000's HOLDS UP sampling software can address up to three minutes of mono sampling. The HS322 two samples in RAM and outputs ROAD stores ON THE two independent mono voices or one ster- eo voice. Circle (145) on Rapid Facts Card

BSS DPR -501 noise gate The DPR-504 4-channel noise gate is de- signed to clean up multimiked drums or percussion setups and eliminate spillover from backline instruments and monitors. It is also used in to high- light instruments, and in the studio to elim- inate room . The operating controls include a key filter frequency, var- iable between 30Hz and 20kHz center. Key filter width is variable between 0.5 and 10 octaves, threshold is variable be- tween +20dBV and -50dBV. Rapid Facts Card Circle (131) on ti Klark-Teknik signal processors J..' _: Klark= leknik has introduced four signal processors. The DN500 dual compres- sor/expander /limiter is a 2- channel pro- cessor that can be used independently or COUNTRYMAN ASSOCIATES INC. linked for stereo operation. The DN504 417 STANFORD AVE.-REDW000 CITY, CA. 34063-RHONE 415 -364-9988

Circle (34) on Rapid coots Card June 1990 R E P 65 ettUz4i It

quad compressor /limiter contains four Panasonic SV -3900 addresses interactive improvisation and al- compressor / in a single rack space, DAT recorder ternative performance techniques using each with complete function control. The The SV-3900 Pro -DAI' recorder features a the MRC, LXP-5 and a keyboard. The sec- DN510 advanced dual noisegate can be fully implemented serial control interface ond deals with MIDI, mixing and the MRC. operated as a dual mono system or a ster- for external remote operation of transport Both documents were written by Thomas eo unit. The DN514 quad auto gate is a and programming modes that require few Dimuzio. The third and fourth. written by 4- channel noise gate in which each chan- front -panel controls. It also has a remote Paul Lehrman, deal with MRC setups for nel has two automatic attack settings for controller with keypad, a horizontal cas- the Kurzweil 1000 synths and Yamaha fast setup and attack time response. sette tray, and balanced inputs and synths, respectively. Circle (132) on Rapid Facts Card outputs. Circle (139) on Rapid Facts Card Eltekon mass storage systems Circle (129) on Rapid Facts Card Eltekon Technologies has three new prod- Yamaha monitor ucts in its line of mass storage systems for loudspeaker system samplers, computers and direct -to -disk re- The MS6US monitor speaker system is a cording systems. The MX-2 is a rewritable compact powered 2 -way loudspeaker with optical disk with a capacity range of an 8 -inch low- frequency speaker and a 650Mbytes to 1Gbyte on a removable 51/4 bullet -type high- frequency unit. It has cartridge. The TX -2 is a tape back -up sys- three inputs and a built -in power amplifi- tem with a storage capacity of 2.2Gbyte Lexicon MRC application notes er. It features YST, which is designed to on one 8mm tape, with a data transfer rate Continuing with the series, "Applications: use a negative output impedance ampli- at 246Kbytes per second. MicroSound is Tips, Tricks, and Techniques :' Lexicon has fier, yield extended low- frequency re- a direct -to-disk recording system for IBM published four new documents designed sponse and improve sound quality. Sug- 386 systems. to assist users in tapping the power of the gested price is $575. Circle (120) on Rapid Facts Card Lexicon MIDI Remote Controller. The first Circle (138) on Rapid Facts Card

DISC MAKERS Complete manufacturing for the audio industry. COMPLETE PACKAGES FOR: Cassette Duplication Record Pressing Compact Disc Replication

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Circle (31) on Rapid Facts Card Circle (35) on Rapid Facts Card 66 REP June 1990 of all APRS studio and manufacturing play music. Also included is information Publications members are featured as well. The guide Anderton has assembled from his ex- is available for $12. perience in electronic music. Sections are 1990 Nashville Hotline Circle (153) on Rapid Facts Card included that describe the basics of using Creative Sourcebook MIDI, synchronizing sequencers to tape, The third edition of the Nashville Hotline Fluke /Philips catalog tips for using MIDI guitar and other alter- Creative Sourcebook is now available for The 1990 Fluke and Philips 7ést & Meas- nate controllers, the creative use of con- $30. The sourcebook is comprised of con- urement Catalog is now available from tinuous controllers and time shifting to tact names, phone numbers and address- Fluke. The 536 -page catalog includes in- free -sequenced music from a "computer- es for Nashville companies that provide formation for more than 650 products, ac- ized" sound, techniques for automated services for the music, film /video and ad- cessories and software programs. Features mixing, sequencer troubleshooting, and vertising industries. include 20 new products, a new rack - the potential hazards of hard disk storage. Circle (152) on Rapid Facts Card mount selection guide, a glossary, and an Circle (155) on Rapid Facts Card abbreviations and symbols section. The APRS UK recording guide catalog is free. The Tapeless Directory The APRS Guide to Recording in the UK, Circle (154) on Rapid Facts Card Sypha, an independent digital audio con- 1990, the APRS' annual members direc- sultant firm, has released The Tapeless tory, presents comprehensive information Passport sequencing book Directory, which provides information on on 113 professional sound recording facil- Craig Anderton's latest publication, Pow- 39 available tapeless digital audio record- ities of various types located in the United er Sequencing with Master Tracks Pro/Pm ing /editing systems; 24 systems include Kingdom. Separate sections for post - 4, is now available from Passport and Mu- detailed presentations. Background infor- production operations, mobiles, affiliates sic Sales Corporation for $19.95. The book mation on technology and terminology is and full- member studios are included. In- contains 122 "power tips" for those who included. troductory articles, maps, photos, and a list use the MIDI sequencers to compose and Circle (156) on Rapid Facts Card

DESIGN SALES

SERVICE PARTS INNOVATIVE e3aotsf FINANCING PLANS P R O F E S S I O N AL RUSH DELIVERY MuSic Library INNOVATIVE SOLUTIONS FOR PROFESSIONALS and SFX CD's A FEW EXAMPLES: SOUNDTRACS IL48/ERIC/CMX/MRX STUDIO CONSOLES AMEK MAGN UM/TAC SCORPION II/BULLET CONSOLES C.A.D. 16 TO 48 INPUT, DC SERVO POWERED MIXING CONSOLES EVENTIDE H -30005 & B NY'S EXCLUSIVE T.C. ELECTRONICS DEALER FEA- Compact Disc TURING THE T.C. 2290 AKG ADR 68K DIGITAL REVERB ROLAND R -880 DIGITAL REVERE & E660 DIGITAL E.Q. CONDENSOR MICS Hotline BY JOSEPHSON, AKG, CROWN, NEUMANN, SONY & SENNHEISER APPLE MACINTOSH COMPUTERS (NY'S ONLY APPLE MUSIC 1- 800 -221 -6713 DEALER SOUNDTOOLS DIGITAL AUDIO RECORDING & EDITING SYSTEM TASCAM MSR -24 1" 24 -TRACK BREAKTHROUGH PRICE >i » >iii »> RECORDER MONITORS BY TANNOY, EV, JBL & UREI AKAI A.D.A.M. 12 -TRACK DIGITAL AUDIO RECORDER NEW YORKS LARGEST PRO AUDIO INVENTORY PROCESSORS BY EVENTIDE, LEXICON, DBX, SYMETRIX, VALLEY PEOPLE, ALESIS, T.C. ELEC- TRONICS & AUDIO LOGIC D.A.T. FEATUR- ING THE SONY TC -D10 PRO & PCM 2500 AND THE PANASONIC SV -3500 & SV255 SAM- DeWolfe Music library PLERS FEATURING THE AKAI S -1000 & S1 000H D, 25 West 45th Street "- THE ROLAND S -770, S -550, & S -330, THE EMU EMAX II, E Ill & PROTEUS INTRODUCING D.A.R. Ne`v-viYork, NY 10036 DIGITAL WORKSTATION -POST PRODUCTION .212- 382 -0220 POWER TOOL. TASCAM ATR -80 JAPAN'S FINEST 2" 24 -TRACK sh 723 SEVENTH AVENUE (THIRD FLOOR) FAX 212 -382 -0278 NEW YORK CITY 10036 (212) 719 -2640 Circle (38) on Rapid Facts Card Circle (37) on Rapid Facts Card June 1990 R E P 67 FOR SALE

db ENGINEERING new specials 3M GET YOUR CAINIX421 from the oldest broker in the East. Audio, video & digital tapes PROCESSING; TUBE -TEC, Aphex, Full line of accessories TOGETHER Massenburg, Sontek, Orban, Eventide. DAT recorders. .ti Orders shipped within 24 hours. MONITORS: TANNOY, Klipsch, Aura - tone. AMPS; Crest, Haller, Ashley all @ R & M PRO AUDIO 1080 Pacheco. S.F., CA 94116 best prices. db is also your source for; (415) 665 -8480 Klipsch, AKG, Neumann, Adams -Smith, Beyer, Studiomaster, Sennheiser & most major brands. Call for quotes. American Pro Audio Phone (617) 782 -4838 Fax (617) 782 -4935

0' CABLE WRAPS ACKAGES OF 3,10 & 100 saw Lich STUDIOWORKS ,M Recording & Broadcast Equipment (415) 861 -6011 11( 1 Iriclr'nt P.O. Box 77394 Linn( A,' I \. ('nU(It' San Francisco, CA 94107 FAX (4151 3349511 FACTORY DIRECT PRICES larnaha luh('lec h ON 3M & AMPEX TAPE Fc 1,It'. tit lllrl(llra( Bever hc )lancl al,ai All nph15 reserved Patent 04700432 AKG EVENTIDE RAMSA hanl,a Panast 1111c Circle (41) on Rapid Facts Card ART JBL OTAR I Mini Lease Program D BX LEXICON VALLEY INT'L 1t'( nr u,'(1. Ir,ult' u1, 23-1,0 ACOUSTIC FOAM EV NEUMANN OTHERS n11n1th, Ith hu ()Lit Irlltu)n no tlnalll Idl, EXCELLENT SOUNDPROOFING SONY rl'(hllr('(I nun. 2 V'n in business. for Recording & Rehearsal Studios, Video Facilities & Professional Audio 1- 800 -333 -2172 Home Studios (800)438 -5921 / (704)375 -1053 SPECIAL PRICES! Brand New 19" ADC BELOW WHOLESALE Patchbay Panels 50% LOWER THAN ANY tt COMPETITOR E.A.R.S.TM, Inc. Balanced /normalled, 144 points each. STUDIO SPECIALISTS Cost $300-Sell $175 each, 2 for $300 or DEPTH SHEET SIZE SPECIAL PRICE (S) 3 for $400. (617) 783 -5229 2" 74"x36" $1395 Call Roger Cordell Acoustical & Studio Design -- 3" - 74 -x36- $1595 (818) 763 -8301 Installations 4' 74 -x36" 518.95 Custom Engineering ADD 65 ". SALES TAX PLUS $300 PER SHEET S8H Maintenance Services ALLOW 2 -4 WEEKS FOR DELIVERY Consulation CONSOLE VISA lJ TEF'" Analysis Trident console 80 -B 32 input, Pro Audio Sales separate monitoring - 24 TRK, set 1-800-247-4497 Custom Furniture up for 48. Has echo and pan. Ex- In CA (213) 650-8906 E.A.R.S. ...THE STUDIO DESIGN cellent condition. & INSTALLATION COMPANY N.F.I. FAX:(818) 999-0381 813 -868 -8873 Unsurpassed quality of Design and Instal- Circle (40) on Rapid Facts Card lation includes: System Layout, Cable Harnesses, Cus- tom Patchbays Wall Panels & Cue Sys- tems, Modifications, etc. ACOUSTIC FOAM FOSTEX RECORDING EQUIPMENT Experienced designers and installers fulfill GIANT your specific requirements. MACINTOSH & IBM Computers 54" x 54" & compatibles Over 110 GREAT brands of NEW Pro Au- dio equipment plus: Cables, connectors, $19.99 MUSIC SOFTWARE Per analyzers, hard drives, preamps, level con- Sheet! Monitors & Printers KILL NOISE verters, alignment tapes, acoustical panels, QUICK' etc. DISCOUNT PRICES We we service what sell. 1 - 11 'a. MC A DATAWARE, INC. Easy Leasing / Mastercard / Visa . 3 -inch sheets also available et 92999. CALL or company brochure. 800 -522 -2025 America's most unique (we ship world wide) MA (617) 783 -5229 (In NY 914246.3036) catalog for audio 4 video' P. O. Box 1122 FAX (617) 254 -8781 Hollywood, CA 90078 -1122 E A.R.S:", Inc. MA.RI(ERTEK' (818) 996 -1161 90 Windom St., Boston, MA 02134 VIDEO SUPPLY

Circle (43) on Rapid Facts Card Circle (42) on Rapid Facts Card 68 REP June 1990 FOR SALE, con't.

!! dl.)E 214 Lincoln St. The oldest broker on the East Coast r Suite 103C PHONE (617) 782 -4838 ENGINEERING Boston, MA 02134 FAX (617) 782 -4935 WE NEED YOUR CLEAN USED 24 TRACK !!! SSL 4064G,3yr, mint, call; 4056E/G LH patch, call; 6064E/G VU, $275K: 4048 w/ DO YOURSELF A FAVOR 32, recall ready, $165K; Neve 8128, 48 in 56fr w /Necam $175K; 4000E Modules, $3.3K. Amek, API, Neve, Trident, Call. 24 +Tracks; MCI JH24 lo hrs, $20K; CALL NOW! Studer A800 MKIII, $48K; Mitsubishi X -850, call; 3M dig 32tr, $40K; Otari MTR90, MX -80 many, call. Otari MX5050BII, $1.7K; Pultec Mavec, $1.4K;EQP -1A, $1.8K (318) 989 -1000 Neumann U -87s, $1.2K; VF -14 tube, $425; Telefunken ELAM 251 mint, CALL; AKG C12A (tube), $1.5K; C414B, $650. We have dbx noise reduction in stock. 4416 Johnston St., Bldg.. 9A List Your For -Sale Items Free!! Otari & Tascam authorized service LA 70503 Lafayette, All major brands available new at great prices!!

In 1989, Madisound Speaker Components processed 20,000 POP SSL 4000E/ tota' recall/ 3 mach. orders. FILTERS A/S Sync/ Extra patch bays!, lots of Extras, dbx multi track N.R. VIFA DYNAUDIO An absolute necessity units, omnicraft production mixer FOCAL MB QUART for every studio 16 -4 -2 patchbays, MCI JH24's, PHILIPS AUDAX $49.95 Includes screen, MCI 4 track, Kepex frames gates gooseneck and shipping EUROPA PEERLESS clamp, comps Scully 4tk/ mono, Urei Call or Write for Free Brochure 813a spkers 3m 79 spare parts, MOREL SOLEN d , EN Outside CA (800) 446 -7677 Harrision 4032. rim Inside CA (818) 788 -3635 KEF ETON Call Warren at: PERFECT LAY POPPER STOPPERS (312) 644 -1666 SIDEWINDER P.O. Box 6010 -658, Sherman Oaks, CA 91413 DEALER INQUIRIES WELCOME ELECTROVOICE SATISFACTION GUARANTEED NEW, USED, SLEDGEHAMMER DEMO EQUIPMENT Shouldn't your business take TRIDENT, SOUND WORKSHOP, advantage of these fine MILS MICS MICS AMEK /TAC, SOUNDCRAFT CONSOLES, AKG BEYER CROWN TASCAM MSR -24. DIGIDESIGN SOUND product lines? TOOLS, TASCAM DA30 DAT, LEXICON EV AT MILAB SONY 480L, EVENTIDE H3000SE, DYAXIS Madisound Spcakc-r Comporx-rats NEUMANN SENNHEISER 320MEG, TASCAM RDAT's, CAD CON- 8608 University Grcen DIGITAL DIGITAL SOLES, OTARI MX70, SYNCHRONIZERS, AKAI A -DAM SONY R -DAT ROLAND /AKAI SAMPLERS. Box 4283 Madison WI 53711 PANASONIC R -DAT COMPETITIVE PRICING UNCOMPROMISED Phono 608531 -3433 POWER AMPS SERVICE LEASING SPECIALISTS EXPERIENCED Fax: 608 -831 -3771 SALE ON ALL IN -STOCK POWER AMPS EAR PROFESSIONAL AUDIO /VIDEO MKII NEW & USED CONSOLES (602) 267 -0600 NEVE 8058 TAC- MATCHLESS WHEATSTONE PRISTINE 32 INPUT, 16 GROUP, SOUNDTRACS STUDIOMASTER 8 AUX W /MATRIX, A/B CUT, P /BAY. SECK TRIDENT DUPLICATION SERVICES ONE OWNER, PRIVATE USE CALL FOR THE NEW 415 -662 -2046 LOW PRICE CASSETTE TEK, INC. TAPE & SUPPLY CATALOG SPECIALISTS IN PROMOTIONAL ASK FOR THE COMPLETE FOR LIST CASSETTES USED EQUIPMENT ARTISTS-PRODUCERS-AGENCIES OPUS Highest quality custom blanks audio and 48 -TRACK RECORDING SUITE 4262 GRAND. GURNEE. IL 60031 video VHS cassettes IN THE HEART OF HOLLYWOOD 708 -336 -6787 ORDERS 800 -522 -6787 Duplication of audio and video EMBOSSED on- cassette printing using Neve- Studer -Sony -Adams /Smitn the PRINT RITE system huge control room w /Mac sequencing Direct mail services 'IZQIiabIQ Reasonable pricing many synths, outboard processing, No Fancy Ads Fast service flexible patchbay & sync -to -video Just Good Service & Prices 1605 THOMASTON AVE. many extras - $665K All Major Lines WATERBURY, CT 06704 TEL. (203) 757 -4848 (213) 461 -0734 704 375 8662 Ext 737 FAX (203) 756 -8585

June 1990 R E P 69 FOR SALE

The Studio POP Filter THE PLACE" IN NASHVILLE, TN. FOR PRO USED AUDIO & VIDEO EQUIPMENT A Great Improvement on a Good Idea! WE VE MOVED INTO OUR NEW OFFICE AND WARE- HOUSE & ARE READY TO BUY. SELL. TRADE AND EX- CHANGE YOUR USED MITAM AUDIO When up the sound of you, vocals EQUIPMENT CALL OR FAX FOR OUR NEW LOCATION and voice overs without annoying AND SOME GREAT MOVE- IN SPECIALS ON "POPS" ruining your best take! SELECT NEW PRODUCTS. SUCH AS SUMMIT TUBE GEAR. STEWART DIRECT BOXES. MRL "THE SOURCE" TEST TAPES AND MUCH MORE!!! Standard mic stand Only MCI JH556C -48 I/O LM /AUTO adaptor with threaded CONSOLES brass insert s2400 "BEST VALUE" NEED OFFER MCI JH542B -32 I/O VU MULTI -TRACKS One piece plastic tirss With optional NEEDS 5" diameter -in sky Clamp and VERY LITTLE $16.000 MONITORS or black Gooseneck MCI JH428B -28 I/O VU GOOD CONDITION $11.000 D.A.T. AMPS ONE YEAR GUARANTEE MCI JH416A -24 I/O VU EFFECTS MICS AUDIO VISUAL ASSISTANCE SOME DISCRETE MOD $5.500 USED EQUIPMENT 565 Sherwood Road, AUDIOTRONICS 501 26 I/O "AS IS" ..$5.000 Shoreview, MN 55126 OUAMTAM 0M -168 16 I/O 1470 Valle Vista Blvd. Phone: 612-481-9715 8 BUSS 16 MON $1,750 SONY JH24 24TK W /ALIII $20.000 Pekin, IL 61554 Circle (44) on Rapid Facts Card STUDER A -80 MK Ill (309) 346 -3161 W /REMOTE & LOCATOR $24,000 STUDER A -80 MK II 800 -334 -8187 Harrison MR3, Soundcraft 600, Stein- W /REMOTE & LOCATOR $15,750 FAX 309 -346 -6431 TASCAM ATR -80 24 TK $22.000 way M (1927), UREI 539s, RX5, DPX1, BTX W/CYPHER -SOFT TOUCH-SHADOW. $4.000 MSB +, Masterbeat, Crown DC300, MCI JH10-16 EARLY MODEL NO DC150, EV REMOTE 2 750 Sentry 100As, JBL 4401s, COMPLETE CASSETTE DUP. SYSTEM $10.500 Bel BD80, Orange County Comp /Imtr, INCLUDES TELEX W/3 SLAVES- WINDER- FOLDER COMPLETE CONSOLES dbx 161, Ampex 350 /Inovonics 2 tk, Pi- SYSTEM KLARK -TEKNIK ON -60 FOR oneer RT1050 2 tk, Crown PZM, MXR 1/3 OCT ANALYZER $1.500 SALE ddl (212)362 -7840 W /MIC AND ROADCASE Sphere Eclipse 20x16 $6000. WHITE 4303 1/6 OCT EO 1 PAIR $1,600 LOTS MORE STUFF CALL FOR LIST Midas PRO Custom Recording B.A.E., INC. (BLEVINS AUDIO EXCHANGE) $10,500. Hank (916) 284 -6929. RANDY BLEVINS 1- 615 -391 -0429 or FAX 1- 615- 391 -0456

Circle (45) on Rapid Facts Card SYNCLAVIER 32 Poly -8 FM - dbENGINEERING 8 out. 16 meg RAM, 240 meg stora- Call and ask why the ble, clock module. 2 x 8 MIDI, VP keyboard w /custom Formica console MONITOR SYSTEMS consoles by ARIES are cabinet. Mint condition. the industry's best buy !! Two complete bi -amped systems English quality for less $$$ than Trident, 516 -669 -1868. including consoles, wedges, Soundcraft or TAC !! Prices for 16/8/16 amps, crossovers, eq's, cabling, start under $5,000. New modular range racks and cases. Call for more 24/8/16 w /meters, 4 band EQ and 8 info. PROFESSIONAL 24 -TRK STUDIO sends from $12,500. Call for 8/12 buss, in Van Nuys, CA 16/24 monitor pricing up to 40/12/24. to Hollywood. Seriously Sound 404 - 872 -0346 Close Burbank. Beverly Hills and Phone (617) 782 -4838 Los Angeles. 3.750 square feet. 71/2 years left on the lease. Solid client base Many gold and Fax (617) 782 -4935 platinum records Call and leave message: 818 -360 -4589

90°S..... co YOU NEED : , .r ? anything audiooffers a full range of professional Digital Audio products for every application Manhattan Recording Studio and budget. Let our staff of sales engineers and technicians design a system to meet your and Luxury Apartment For Sale facilities needs, from R -DAT to multi -track digital, new or used we have what you need to get the lob done easily & cost -effectively. We carry a complete line of new & used audio and video equipment Established studio. 24 tracks +. with prices and services unmatched nationwide. Call today and start saving time and money now! Take a look at some of quality Excellent acoustics, looks great, wired our product lines... ALI'l1A rALI)II) DI2,2 I Ian] Disk Ricorder Kt Boss -2 Edit jug System AUUII)MATioN Moving and ready to go. Also has MIDI room, l'adrr uutunuitirnt Digital Designs AUDIO-KINETICS-MASTER MIX It Automation office, shop, lounge and storage. With Ak:u': \D: \M AMS T('. Elrruunir , \l'I IiSS Klark liknik N'oo'k Evtntidc Ilaticr or w/o equipment. Four bedroom, 2t/2 USED SPECIALS SSL- 4048G/E.recall 179k -Otan MTR -90/1 $18 5k -AKG Tube $1.7k 2- Panasonic bthrm apartment in same building. SV3500 $1.5k ea. Sony APR -24 Like -new $37.9k Mits X -850 $87k 2- Neumann U47 -Tube $1.7k Spacious living rm and dining rm. ea. also 2-U67 $1 9k ea. Fostex 816D 30ips $3.6k AMS RMX16 $4.6k 3- Tascám MS-16 $4 -7k Sony C48 $/00 2- Pultec PFO1 A $1 9k Tascam Sunny. Sold separately or together. M -520 $3.8k List your 4 -sale equip w /us FREE!! Qualified buyers only. anything audio NEW USED RARE BUY SELL TRADE (212) 362 -7840 professional audio and video systems PHONE 617 -426 -2875 FAX 617- 426-2763 Equipment Soles System Design Installation 63 MELCHER STREET BOSTON, MA 02210 Circle (46) on Rapid Facts Card 70 R E P June 1990 FOR SALE, con't. FINANCING Lease Financial Lvsmi Iffelio East Coast Consultants, Inc. Request our New "DATAFILE" MIDI -$50.000 with credit app. only Equipment Reviews & Buying Guide, The East Coast MIDI New & Used DEALS, Bulletin Board System -Provides: Delivering: You never get a second chance Off -balance sheet financing Prodisk hardisk recorder; Soundcraft to make a first impression... Tax benefits 3200 Mega Mixer; Otani DTR 900, MTR At ECM ::e realize that s hue. That s why we ve assembled a -All types of equipment 100, MX 80; Sony & Panasonic DATs. huge assortment of MIDI' ProductioniStudio applications for au computer types From Sequencers to SMPTE. d s an here -Nationwide leasing Chicago's Leading Our Synth Patch and Sample Libraries are stocked with over We specialize in A/V equipment. Pro -Audio Dealer 5.000 killer sounds with more being added regularly. Give at -all at speeds rip 1038 400 baud (HST 124 hours a day Call: (216) 882 -6503 708- 339 -8014 we think you II agree a second chance wont be necessary East Coast MIDI 516-928-4986 (data) 516- 928 -8986 (24 hour voice info) EQUIPMENT FINANCING Revox PR99 Mk II two -track in "LOANS BY PHONE" floor console $1200. Revox PR99 NO FINANCIALS REQUIRED FOR remote control $150. Atlas boom TRANSACTIONS UNDER $35,000 stand $90. Roland MPU -IPC MIDI NEW OR USED EQUIPMENT card for IBM & compatibles $100. rrcr,Tr I S2.000 TO $200.000 i NO DOWN PAYMENT (213) 850 -6433 SALE -LEASEBACK EQUIPMENT FOR WORKING CAPITAL .'/°tttclu CJ ransiornlers TO APPLY OR REQUEST ADDITIONAL INFORMATION RECORDING STUDIO EQUIPMENT CONTACT MARK WILSON Reichenbach Engineering Co., Inc. E -MU EMAX Il Keyboard $4200.00 (800) 342-2093 E -MU Emulator III 4 meg $6999.00 SPECIALISTS IN QUALITY AUDIO TRANSFORMERS FAX: (214) 235-5452 Meyer 833 monitor system $3800.00 Fostex E2 (2 track) $2800.00 6887 Farmdale Avenue - Building 10 TEKCOM CORPORATION North Hollywood. CA 91605 TRAINING 1020 N. Delaware Ave .Philadelphia. PA 19125 (818) 765-6040 215 -426 -6700 READY TO IMPROVE YOUR EQUIPMENT WANTED Portable Sound Panels 1 RECORDING Isolate specific areas 1 Many sizes and options SKILLS? 1 Wanted: Dead or alive. Pultec EQs: Fair- Panels start at $19 95/ e, THEN SIT NEXT TO A TOP FLIGHT Complete w/ foam 1 child & Teletronix limiters, Neumann, 0 ENGINEER AS HE DEMONSTRATES Wrote for tree cataloc Telefunken, AKG. RCA, and Scheps mi- Island Cases I ALL THE ELEMENTS THAT GO .1 \.. Ilolhrook, 1 II-1! crophones. Tube or ' \ I Macintosh Marantz INTO GREAT RECORDING 1;,I \1 `Ih,fiillhi; amps and pre -amps. Sontec, ITI, and Lang EQs. Neve or API equipment. Box- The SHAPING YOUR SOUND series is es of old tubes. UREI, Orban, United au- five indispensable new videotapes cover- ing multi -track recording. mixing, signal dio. dBx, and other outboard gear. Ampex processing and microphones. They bring BASIC TOOLS ATR -102 or 104. Parts for MCI JH- 110/114 better studio technique to life using the ease recorders. Altec 604s /crossovers /Tannoy power of video to co "WHAT NO BOOK speakers, JBL 2231: Altec 288 -H driver. ON THE SUBJECT HAS EVER BEEN I misc. equipment of all types. ABLE TO ACCOMPLISH!" (Mix Hammer SuperconductorT Please call Dan Alexander Magazine) 2944 San Pablo Ave.. Berkeley. CA 94702 If you record guitars and you don't use a Su- Every tape is packed with demonstrations perconductor'" you're missing a basic 415 -644 -2363 Fax 415 -644 -1848 and examples that cut through time con- tool! suming book study and get you down to Guitar cables eat up high end. A 15ft ca- better recordings. ble causes up to a 10dó roll off between 4kHz and 20kHz. EQUIPMENT WANTED CALL FREE TO FIND OUT MORE The ABOUT SHAPING YOUR SOUND, Superconductor's circuitry eliminates BUY OR TRADE this loss. Experience new clarity & bril- THE PROFESSIONALS' TRAINING liance. Get it all on tape! YOUR USED MULTITRACK RECORDERS PROGRAM. AND CONSOLES DW Labs IiThe Audible Difference 1- 800 -777 -1576 PO. Box 882, Dept. 21, Milburn, N.J. 07041 EAR PROFESSIONAL AUDIO /VIDEO FIRST LIGHT VIDEO PUBLISHING 1- 800 -542 -2454 (602) 267 -0600 374 N. Ridgewood Place. L.A.. CA 90004 Circle (47) on Rapid Facts Card Circle (48) on Rapid Facts Card

June 1990 R E P 71 SERVICES HELP WANTED

STUDER DISC MAKERS ENGINEER /PRODUCER REVOX Cassette t_.. Music Production Company seeking FACTORY AUTHORIZED SERVICE CENTER motivated engineer /producer with ex- "SUPERLATIVE SERVICE" Duplication I L in Swiss trained in servicing all open reel and perience all areas of modern pro- recorders, CD players, and other Record Pressing ; duction as well as commercial writ- Studer /ReVox equipment. Over 12,000 units CD Replication ing. Cooperative, positive attitude serviced Nationwide since 1978. Fast 48-72 hour service w /90 day warranty. Huge parts tildeo Duplication and intense creativity are essential to inventory. Capstan shaft resurfacing & head Complete Pad ages our A -level team. Sour grapes need relapping service. New 8 used machines not apply. Send demos and resume available w /warranty Visa/MC. CALL FOR OUR FREE FULL COLOR CATALOG to: STUDIO -SONICS CORP. 1- 800 -468 -9353 (In PA: 215 - 232 -4140) 2246 N. Palmer Dr., #100 LaBov & Beyond Schaumburg, II 60173 P.O. Box 5533 Phone: (708) 843 -7400 DISC MAKERS Ft. Wayne, IN 46895 FAX: (708) 843 -7493 132E North 4th Street Attn: Linda Philadelphia, PA 10019

Quality Cassette Duplication AUDIO ENGINEER BASF tape. Complete services Major NYC Video /Audio facility seeks au- LOUDSPEAKERS -EXCLUSIVE and fast delivery from studio to packaging and fulfillment. dio engineer with experience in SMPTE East Coast Authorized Center Interlock Mixing. Send resume to: Professional - WAREHOUSE RECORDING STUDIO UBL Warranty /Non Warranty Repair. Four 2071 -20MX Emerson St., P. O. Box 2258, Dept. Audio Day Turnaround For Stocked Kits. All FL Work Done By Factory Trained Tech- Jacksonville, 32207. Times Square Station nicians. (904- 399 -0424) New York, NY 10108 PRICE STEVENSON ACOUSTIC RESEARCH

1591 Broad Run Rd . Downingtown. PA 19335 (215) 383-1083 RCA MICROPHONES -Repair MISCELLANEOUS service on all models. Complete sound and cosmetic restoration. 35 yrs. experience with RCA. MAGNETIC RECORDING ENAK Microphone Repair, 420 HEADS -RELAP /REPLACE- Carew Avenue, Pitman, NJ "World Class" MENT for Audio, Video, Time 08071. (609) 589 -6186. Code, Duplication. 29 years of head design experience. IEM, HELP WANTED 350 N. Eric Dr., Palatine, IL Tapes 60067: tel (708)358 -4622. & Duplicating JBL REAL TIME CASSETTE DUPLICATION AT HIGH SPEED PRICES. LOUDSPEAKER 1000 C -24 (or less) chrome tape with direct printing on clear shells, full color inserts and PRODUCT MANAGER shrinkwrap at the low price of $998.00. Digital Au Professional has FASTTRACK RECORDS JBL an immediate oppor- tunity in the area of product management for Analog Tape, Audio Accessories 4220 Broadway, Denver Colo. 80216 loudspeaker products. (303) 292 -2115 Phone In Order, Ship Same Day The successful candidate will have a BSEE and 3 -5 years experience in the specification Great Quality - Great Price and design of professional loudspeaker pro- On -Shell Printing ducts for both studio and sound reinforce- ment applications. Particular emphasis will be placed on project management skills, as Call us at ALIGNED AUDIO INC. well as familiarity with the various vertical SUPER markets served. such as sound contracting. QUALITY home and studio recording, musical instru- (800) 365 -0669 Audiophile Record Pressing ments, broadcast. tour sound, etc. for prices on tapes & CD Replication duplicating Real Time and High Speed JBL Professional offers a competitive salary. Cassette Duplication comprehensive benefits package, and the working for industry leader. If Direct On -Shell Imprint in Colors challenge of an World Class Tapes you would like to join our team, please submit COMPLETE PACKAGES your resume including salary history to: Audio Tape Distributors & Duplicators Call Today for your Free Catalogue Mark Gander 670 Airport Blvd., Suite 1 1 Vice President. Marketing P.O. Box 7611 800 -869 -6561 JBL Professional, Dept. PSN OR 1 718-788-6969 8500 Balboa Blvd.. P.O. Box 2200 Ann Arbor, Michigan 48107 Northridge. CA 91329 (313) 662 -0669 (within Michigan) FAX 1 718-499-0421 Circle (49) on Rapid Facts Card Circle (50) on Rapid Facts Card

72 R E P June 1990 MISCELLANEOUS RENTAL EQUIPMENT

HI TECH AUDIO SYSTEMS INC. Check This Out !! THE MOST COMPLETE The national specialists in Live Pro Audio SELECTION OF Mixing Console & Signal Processing equipment rentals. A wide selection of Rack Attack" large & medium main frame consoles. Audio Processing Systems *Gamble *Yamaha Soundcraft Ramsa EFX and R -DAT units, available for Lexicon 480L AUDIO TEST national & regional tours, special events, & long /short term leasing. Lexicon PCM -70 415 -726 -2428 800 -522 -4827 TAPES San Francisco - Orlando - Chicao Lexicon PCM -42 TM H -3000 ENDLESS WORD Eventide All formats luclu111'11 cassettes ADVERTISING PROMOTIONS Yamaha SPX -1000 Write or phone for free catalog VOLUME IN STORE P.O.P. and TELEPHONE ON HOLD MESSAGES Yamaha REV -5 IDEAL FOR HI -SPEED or REAL -TIME STD DUPLICATING T.C. 2290 STANDARD TAPE LAIONATOIT,INC. 26120 Eden Landing Road a5. Hayward. CA 94545 All 7 devices 1415171e -3541 $165/day Circle (53) on Rapid Facts Card All systems include remote patchbay

Made in U.S.A. & Quality tested before shipping. Lengths from 20 sec. to 20 min. Outboard Rentals Special non -stretch tape. Plays vertical or horizontal. 998 STUDIO EQUIP. FOR HIRE Clear case permits visual cuing. (818) -1024 Ask about our new volume discount Technician on staff 7 a-m. - 1 a.m. Hollywood, CA pricing & low cost endless cassette pro- Open 7 days a week motional players and new F.C.C. approv- Circle (51) on Rapid Facts Card ed multi -line telephone adapter for Digital Tape Machines, messages on hold tape players. Synclav er Systems MANN ENDLESS CASSETTE INDUSTRIES Effects Processors, Reverbs P.O. Box 1347 San Francisco. CA 94101 (415) 221 -2000 Ext. 2 A TOTAL EFFECT (215) 871 -1104 (818) 9E0 -4006 Fax: (415) 387 -2425 Ask For Ma -k

RENTAL EQUIPMENT 1990 Eventide H -3000 SE

June 1990 R E P 73 tellwaz4.04 totave ott.(24

Rapid Page Facts Advertiser CLASSIFIEDS Number Number Hotline Renee llanrbleton 113-888-4664 A Total Effect 73 52 818/345 -4404 9221 Quivira Road Agfa Corporation 11 8 201/440 -2500 Shawnee Mission, KS 66215 Telefax: 913-541-6697 Akai /IMC Pro EMI 5 5 817/336 -5114 Aligned Audio, Inc 72 49 800/869 -6561 SANTA MONICA, CA Ampex Recording Media 6 -7 6 415/367 -3809 !Herbert A. Schiff Anvil Cases, Inc. 62 29 800/359 -2684 21:1- 39:3 -9285 Jason Perlman Anything Audio 70 46 617/426 -2875 213-458-9987 Apogee Sound, Inc. 46 -47 20 707/778-8887 Kelly Daugherty. Audio Services Corporation 66 31 818/980 -9891 213- 451-8695 Audio Visual Assistance 70 44 612/481 -9715 51)1 Santa Monica Blvd. Blevins Audio Exchange 70 45 615/391 -0429 Santa Monica, ('A 90401 Telefax: 21:3.39:3 -2381 Bose Corporation 49 22 508/879 -7330

Carver . 41 17 818/442-0782 CHICAGO, IL Cintas Vac 55 24 904/445 -5545 !hn id Rauenberu' :312 -435- 23) ;)) Cooper, JL Electronics IBC 1 213/306 -4131 55 East Jackson Blvd. Countryman Associates 65 34 415/364 -9988 Chicago, II. 60604 International Crown 8 7 219/294 -8000 'h'le fa x::312- 922 -1408 DeWolfe Music Library 67 36 212/382 -0220 Disc Makers 66 35 212/265 -6662 NEW YORK, NY Stan Kosltine Drawmer (Quest Marketing) 45 19 617/964 -9466 212-332-0600 D.W. Labs 71 47 210/376 -8453 :38th Flour E.A.R.S., Inc. 68 43 617/783 -5229 888 Seventh Ave. First Light Video Publishing 71 48 800/777 -1576 New York, NY 10106 Full Compass 60 26 800/356 -5844 'l'elefax: 212- 332 -0663 HRC Magnetics 65 33 800/443 -8457 OXFORD, ENGLAND JBL. BC 2 Nicholas d/cGeuchin Jensen Transformers, Inc. 61 27 213/876 -0059 Roseleigh House KABA Research & New Street Development 37 15 415/883 -5041 i)eddingtnn, Oxford Klipsch 53 23 OX5 45F England Telefax: (086;9) :18040 MTU. 39 16 919/870 -0344 Telephone: (0869) :18794 Magnetic Inc. 21 Reference Laboratory, ...48 415/965 -8187 Telex: 837169 131:5 G Markertek Video Supply 68 42 800/522 -2025 National Foam, Inc. 68 40 800/247 -4497 FREW'VILLE, SOUTH AUSTRALIA Neve.Inc. 3 4 203/744 -6230 ./olur Williamson Otan Corp. 31 13 415/341 -5900 Misfired!. Williamson. Rep. Panasonic (Ramsa Div) 21 11 714/895 -7278 Pte Ltd. Peavey Electronics Corp 19 10 601/483 -5365 1119 Conyngham Street Pro Audio Asia '90 62 28 Frewville 5)163 South Australia OSC Audio Products 17 9 714/645 -2540 Phone: 799-522 Rack Attack 73 51 818/998-1024 'I;'lefax: 08 79 9735 Radian Audio Engineering, Inc. 59 25 714/693 -9277 Telex: AA87113 HANDM Sam Ash Professional 67 37 212/719 -2640 TOKYO, JAPAN Seam Tech 68 41 415/334 -9511 Mashy )h lukau o Sony Pro Audio -23 35,22 800/635 -SONY Orient Echo, Inc. Soundcraft USA 29 818/893 -4351 1101 Grand Maison Standard Tape Laboratory, Inc. 73 53 415/786 -3546 Shinunnivabi -Cho, 2 -18 Studer Revox /America 2 3 615/254 -5651 Shinjuku -ku, Tokyo 162, Japan lelepheure: I13-235 -5961 Sunkyong Magnetic /America, Inc 25 12 800/331 -5729 /ilex: J- 33371; 11YORI1:NT Tannoy North America. Inc 33 14 519/745 -1158 White Instruments 20 32 512/892 -0752 World Class Tapes 72 50 800/365 -0669

74 R E P June 1990 How To Gei The Perfect Mix.

With MAGI II Console Automation Series from J.L. Cooper Electronics.

The mix down process standard music recording, to isn't what it used to be. film, TV, broadcast, commer- Recording engineers are cial and live sound MAGI is finding it increasingly difficult automating consoles from to maintain calm, creative con- Trident, Soundcraft, Allen trol over both the console and & Heath, Harrison, D & R, the battery of outboard gear, Biamp, Neotek,'Iàscam, DDA, As these demands escalate, Soundworkshop, Soundtracs, the need for console automa- AMEKPFAC and Ramses tion is further amplified by the Guaranteed need for perfection. The MAGI Satisfaction! II and MAGI Ili Console Auto- mation Series from J.L. Cooper J.L. Cooper Electronics and its Electronics are designed to Authorized Dealers are confi- MAGI I/ External System save you time, money and dent that once you own MAGI II, never go man- give you the ability to achieve a very complicated mix to be Mixes may be performed and you'll back to perfection! quickly constructed, edited, edited in real time, or off-line ual mixing again. So confident and refined in real time or off- with MAGI Ifs powerful cue that we're putting our money Freedom Of Choice line with absolute accuracy. list. Cut, Copy, Paste, Merge, where our mouth in For a lim- Both MAGI II and MAGI IIi In addition, these mixes can Undo, Redo, and other precise ited time, our participating interface with virtually any be saved to disk for future use. numeric edit decisions are dealers are offering a money console to provide precision fully supported. Our MIDI back guarantee* If you're not Fast, Intuitive & SMPTE-locked automation for Event Generator allows the totally satisfied within 30 days, 8 to 64 channels. The MAGI II Transparent! recording and triggering of all return the system and they'll MAGI II is an outboard system for the Every aspect of has types of MIDI events. Film and refund your money. been designed for the working audio facility preferring "por- Video can take ad- With the cost of perfection engineer. MAGI H features a table" automation that can vantage of our hit list to spot finally within reach, why wait? straight ahead user- interface be moved from desk to desk. cues in real time. No other Call us today for the location internally incorporating clean, unclut- The MAGI IIi is an automation system gives you of a dealer in your area. It's system that uses the tered moving fader graphics installed this flexibility! time to see what MAGI II can that make it extremely easy to console's existing fadem. do for your mixes. learn and use. Even a "guest The Bottom line Flexibility & Control engineer" can be up and run- Other manufacturers would MAGI II memorizes fade4 ning in 15 minutes! like you to believe that an auto- The Video mute and other real time mation system must have a You can preview the MAGI II events. These events can be MAGI II and MAGI Ili high price tag to be on the cut- with our video demonstration. performed in as many passes Features: ting edge. The MAGI II dispels This Video offers a complete as you wish, or you can work Both the MAGI II and MAGI IIi that myth. The MAGI system overview of the system's oper- on the mix one section at a feature high quality dbx VCA's with its wealth of profes- ation. It's just $13.95 and can time, or even one track at a for audio transparency. The sional features starts at just be charged to your VISA or time. MAGI II can be used to MAGI II Controller reads and $5,000.00, and it works! That MasterCard. To order, contact automate effects sends and generates all SMPTE formats. the bottom line. J.L. Cooper Electronics at: sub -groups as well as control- The powerful software ling your outboard effects pro- program runs on either a MAGI is being used in a (213) 300-4131. cessors. The MAGI II allows Macintosh or Atari computer. number of applications from

JbOPER ELECTRONICS

'limited restrictions may apply, contact your local dealerfor details 13478 Beach Avenue - Marina del Rey, California 90292 FAX 213 -822 -2252 Circle (1) on Rapid Facts Card Super. Natural.

Power. The BI. /UREI SR Series is an artful achievement in sound reinforcement electronics, putting pro -caliber power amplification into a super small super lightweight pack- age. The 500 watt model, for example, is a mere 2 rack units tall and weighs only 42 pounds. SR Series circuitry capitalizes on the natural benefits of high -speed complimentary symmetry, giving you an

amplifier that naturally can - ce!s distortion and lets every nuance of your music cone through. And, powerful. Responding the instant you need it, the dual 150 watt model 6615, dual 300 watt model 6630 and dual 500 watt model 6650 all come with switch - selectable stereo, dual mono or bridged mono operation. Plus, The SR Series uses an ultra -quiet cooling fan that alters its speed as it senses subtle variations in the heat

SAC temperature. With a rear - to -front airflow across the components, your racks stay cool while your music heats up. SR Series Power Amplifiers can be found at your local authorized .113L Professional dealer. Drop by today. give them a good listen and put some super natural ¡131, power into your sound system.

UREI ELECTRONIC JBL PRODUCTS

1131. Proics,i, nap tii() Balboa Roulc\ard, Northridge, CA 91329 H A Harman International Company

Circle (2) on Rapid Facts Card