$2.

50

C ONCFA
Volume 10 - April 1979
Number 2

SOUNO
;//1/P0RCF/11FA/

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o

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4

-- STUDIO DESIGN
Rudi Breuer -- 45
Michael Rettinger
Kent Duncan
Rich Houston
-- 62
68
80

RELATING ftfCORDING SCIENCE TO RECORDING ART TO RECORDING EQUIPMENT

versatile.. .
the word for Everything Audio. We have a wide range of clientele because we satisfy
is
awide range of needs. From the most elaborate studio design and installation to the
smallest equipment need, we are ready to serve you. Pictured at left is one of our
installations, Spectrum Recording Studios in Venice,
California. Our involvement in this project was
limited to that of design -to maximize their avail-
able funds, the owners had their own builders handle
construction. Pictured at right is Compact
Video Systems in Burbank, California, an advanced

audio /video facility utilizing

computer assistance in the post
production audio room. It is one
of our newest and most elaborate
installations. We designed this
facility in an existing structure,
supplied the audio equipment,
and assisted their crew during
construction, clarifying and
modifying the plans as the work
progressed. The combined effort
of the Compact Video crew and
the Everything supplied the plans in metric measure-
Audio staff result- ments and, through local representa-
ed in an installa- tion, kept involved in the project
tion that is inno- until its completion. In all of our pro-
vative in its tech- jects-anywhere in the world -the
nology as well as home office keeps abreast of every-
its finish and thing with on -site inspections.
materials. If you are contemplating upgrading
Another of our or building a new facility, we'd like to
recently complet- show you what we can do for you. Or
ed studios is the if you're just looking for a new piece
Record Star in Hamburg, West Germany. of equipment -let us help. From
(We have representation in Great Britain, total design and installation, to supplying
Germany, Australia, and Mexico.) We the smallest equipment need -we do it all.

MTia MITÚRra
IIOC
16055 VENTURA BLVD., SUITE 1001 ENCINO, CALIFORNIA 91436 (213) 995 -4175

Versatility: Let it work for you.

 /Y/'//rI/-//'r

Favourably comparable with any console available today, the standard 36 -input desk offers simultaneous
quad, stereo and mono mixes from 32 tracks, with DC subgrouping of VCA- assisted channel and echo return faders.

The M3000 only has excellent performance specifications and is purpose -built to allow the engineer total
control of the many advanced signal development and flow functions available in the desk.
Some of the outstanding facilities include: one mic and two differential line inputs: 4 -band parametric
equalization (variable frequency and Q on all 4 bands) with swept pass filters: four mono and one stereo send
addressable to 8 busses: inplace, groupable quad solo: programmable and groupable muting: automation ready
VCA channel faders with LED display in 'read' mode: 8 dedicated submasters: 24 assigns with panning odd -even
between live busses, and direct assigns: additional audio subgrouping in remix: 32 track monitoring: in-line
construction: comprehensive studio and control room monitoring systems: talkback: oscillator: 8 automated echo
returns, 4 assignable to multitrack: overall status commands for main operation modes: comprehensive patchfield:
phantom power: Penny and Giles conductive plastic faders.
Also available are the M2000, our most cost -effective 24 track desk, shortly also with automation option;
the M1000, our ten buss console intended for 16-track and sound reinforcement work; the X series, our small
console useful for 8- track, broadcast and reinforcement applications.

E `Ey`T)THINO
ra10.Zt
Contact Brian Cornfield at, EVERYTHING AUDIO. 16055 Ventura Blvd. Suite 1001, Encino, Los Angeles,CA 91436, Tel (213)995 4175.

MARTIN AUDIO
East Coast distribution, Courteney Spencer or Bruce Martin, MARTIN AUDIO. 423 West 55th, New York 10019, (212) 541 5900.
AMEK SYSTEMS AND CONTROLS LTD, Islington Mill, James St. Salford M3 5HW, England. Tel: (061) 834 6747.
 :--

www.americanradiohistory.com
 We won't promise the world,
but we will deliver what we promise!
udio delivers a guaranteed acoustic design based on principles proven and refined in 226
irldvride. More than just acoustics. we deliver all the elements required for today's technology -
-
analysis through acoustic. geometric and isolation design, to include turnkey completion.

coincidence that our clients are among the most successful and skilled professionals in their fields.

CBS SONY - Shinanomachi, Tokyo (12 studios)

VIDTRONICS - Los Angeles (Video Sweetening Room)
FANTASY RECORDS - Berkeley (2 studios)
MR. "D's," KENDUN RECORDERS - Burbank
SO(1NDMIXERS - New York City (Redesign and Rebuild)
RECORD PLANT - Los Angeles (studio C)
SOUNDS INTERCHANGE - Toronto
STUDIO SIX - Montreal
ARMSTRONG AUDIO 'VIDEO - Melbourne
MANGO STUDIOS - Sydney
CINEMA AUDIO - Manila
JEM RECORDS - Manila
PIERCE ARROW STUDIOS - Chicago
KITTY RECORDS - Tokyo (2 studios)
MASTER SOUND - Atlanta
CBS SONY - Robpongi, Tokyo (2 studios)
ALFA RECORDS - Tokyo
BIAS RECORDING - Virginia (3 studios)
SOUND PALACE - New York City
RECORD PLANT - Los Angeles (Remote Truck)
FANTASY RECORDS - Berkeley (studio B)

... Plus another 19] rooms by our exclusive

designer. Tom Hidley. The London Palladium. Virgin Records
Cabaret-Disco. and hundreds of studios ... Your project
should have our acoustic guarantee.

e Sierra
Audio
721 South Glenwood Place
Burbank. California 91506
(213) 843 -8115
Telex 691138
 RXCORDINO
engineer/producer
-Recording
the magazine to exclusively
Studio market ... all those
serve the
APRIL 1979
VOLUME 10 - NUMBER 2

whose work involves the recording of

commercially marketable sound. Contents
- the magazine produced to relate ...
Recording ART to Recording SCIENCE
to Recording EQUIPMENT.
page 30 - Horizon Records' TOMMY LI PUMA ..
from promotion -
to production - .

to label president
by Tom Lubin
Acoustics - Design - Construction

Editor /Publisher MARTIN GALLAY

page 45 The Rudi Breuer Approach -
by Rudi Breuer and Jim Riordan
Managing Editor
Consulting Editor
TOM LUBIN
PETER BUTT
Operations Manager D. KEITH LARKIN
.
page 62 Sound Insulation Requirements for Recording Studios
by Michael Rettinger
-
Traffic Manager KEN McARTHUR
Business Manager V L. GAFFNEY
Circulation Manager PATTY COLLINS
page 68 Studio Design Requirements for the Next Decade
by Kent Duncan
-
page Increased Height, Active Trapping, Improve
81
Remote Van Control Room Acoustics
by Rich Houston and Jeff Brown
-
"RECORDING Engineer /Producer"
(USPS 768 -840)
is published six times a year by GALLAY
COMMUNICATIONS, INC., 1850 N. Whit-
page 89
BEATLEMANIA
by Patrick Maloney
-
Live Performance Sound Reinforcement:

ley Avenue, Hollywood, California 90028,

and is sent to qualified recipients in the page 106 RECOGNITION 1978: A tribute to the 1978 Grammy
United States. One year (six issues) sub- Winning Engineers, Producers and Studios
scriptions for other than qualified individ-
uals and companies may be purchased at
the following rates:
page 110 "AN AMERICAN PRAYER" ...John Haenÿ s story
United States (surface mail) .. $10.00
United States (air mail)
All Other Countries
$17.00
of the Jim Morrison epic -
of the dedicated research, production and engineering

by John Haeny assisted by John Weaver

$19.00
Foreign subscriptions payable in U.S.
funds only by bank check or money order. page 124 Microphone Applications for Classical Recording
by Carson Taylor
-
o page 130
VCAs ROUND II:
B&B's David Baskind's response to Allison's Paul Buff
RECORDING Engineer /Producer is not
responsible for any claim made by any page 136 Paul Buff's response
person based on the publication by RE- page 142 Harvey Rubens, Marvin Caesar, Edward Bannon
CORDING Engineer/Producer of material and Michael Sanders
submitted for publication.
Material appearing in RECORDING En-
ginner /Producer may not be reproduced page 146 New Products Review: ECOPLATETM
without written permission of the publisher. by Larry Rebhun

The Cover: Departments:

Sierra Audio's latest install- Letters 10
ation, Mr. "D's", Kendun New Products 150
Recorders, Burbank. Photo Classified 170
shows large volume multi - News 172
Controlled Circulation Postage delay isolation room fea- Advertising Index 178
paid at
turing fully adjustable mid -
Los Angeles, California
band delay time; .1 to .7
seconds. Also depicted is
the ghost of a musician past.
Postmaster: Send form 3579 for
address correction to:
Photography: Bill Miller.

RECORDING Engineer /Producer

P. O. Box 2449
Hollywood, California 90028
(213) 467-1111

R-e,p 6
Introducing Altec Lansing's Incremental Power System.
And Its Closest Competitor.
Lately a lot of the big names in professional amplification published specifications for an Incremental Power System set
have been making head -to -head comparisons with their com- up for stereo, triamplified operation. Simply select the com-
petition. And, understandably, the brand being featured in each petitive components that you'd need to match Incremental
ad usually comes out on top. But one product that no one is Power's performance and then judge for yourself.
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Power System. room to tell you here. So if this kind of performance and pack-
That's not really surprising since Incremental Power is a age size sounds good to you, contact our Commercial Sound
lot more than just an amplifier. Each main frame actually con- Sales Department for the details. Or check the Yellow Pages
tains a flexible array of power amps, electronic under Sound Systems for the name of your
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prewired and ready to use. And since it is a story. We think you'll agree that our short
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R-e/p 7
for additional information circle no. 1
 Model 8078 Music Recording and Mixing Console.
44 inputs /32 tracks. Separate monitor mixdown.
Fitted with the incomparable 31105 equalizers.
VCA Grouping or NECAM Computer Mixing optional.
Join the Neve world of excellence.
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 Your original sound
is at the nearest
Tangent Dealer!
Lcttc r5
from: Kenneth R. Fause construction adds at least 6 inches at both
Fause & Associates front and rear, usually more. Add all this up
Newbury Park, CA and you have a gross front -to-back required
The companion articles in the last issue
Martin Audio by Don Davis and Chips Davis describing,
dimension of at least 25 feet! We are often,
New York /(212) 541 -5900 and quite seriously, given spaces half that
Bruce Martin among other things, Live End - Dead End size to turn into useable control rooms. The
(LEDE) control room acoustics raise some point is simply that here is another choice
Express Sound points which I feel invite commentary. To be the facility owner must make: floor area cost
California (Southern) /(714) 645 -8501 entirely fair to the authors, I must state that I
Jerry Smith versus desired acoustic performance.
have not yet made the pilgrimage to Las The authors declare, and I will strongly
Banana's At Large Vegas to hear the prototype room which the agree, that close -order reflections are
California (Northern) /(415) 457 -7600 articles discuss. Colleagues have given me undesirable in control room acoustics; the
J. D. Sharp glowing reports, so I am quite willing to "early sound" (say the first 2 ms.) is most
Lebow Labs accept the fact that the scheme works in the
manner discussed.
likely to have a comb filter spectrum, and
Massachusetts /(617) 782 -0600 image "smearing" may also result. Don
Peter Engle In architectural acoustics, as in most Davis proposes that the solution is to "put
aspects of life, there are few absolutes; there the sound source in as nearly anechoic
Creative Audio are options, choices, and engineering trade- space as you can achieve ... ". This certainly
Tennessee /(615) 331 -3247 offs to be made among these options. Thus,
Allen Rumbaugh works. It is worth noting that it is possible to
I would claim that in LEDE, we have not the avoid early time anomalies in designing a
Paul Westbrook Audio solution, but one more member in a family of hard front control room by paying very
Texas /(512) 578 -4401 potential options which might be careful attention to reflection paths. Tricky,
Paul Westbrook appropriate to a specific case at hand. The but possible. This is not mere conjecture; a
E.A.R. control room is a large and expensive tool; control room of our design based on that
Arizona/(602) 968 -8675 the more closely this tool is fitted to a given approach has been operating in Hollywood
Mike King task or situation, the more efficiently it will for nearly a year. The last time I visited, I
B.S.C. function in executing that task. dragged along our newly- acquired TDS to
Illinois/(312) 453 -5551 In my own consulting practice, see if theory, measurement and "golden
Paul Bergetz experience has shown that when all the ears" (not mine) would agree. The raw,
necessary people and technical equipment unequalized response of both left and right
Sedco are arranged in an ergonomic manner channels overlayed is shown with a time
Missouri/(417) 883 -6373 suitable for the intended use of the control
Mark Morton
room, the spatial arrangement of the room
Pro Audio Seattle has already been strongly defined. We
Washington /(206) 622 -6984 prefer, in fact, to start with a blank piece of
Craig Ingle paper and arrange the people and their
Stereo Sonics Laboratories equipment first, and then proceed to wrap a
suitable architectural enclosure about
Florida /(305) 831 -2575
Allan Smith them. The problem becomes vastly more
complex when the high value of real estate
AVC Systems in the major geographic recording activity
Minnesota /(612) 729 -8305 centers is considered. The studio designer
John Borman
proceeds to polish up his shoehorn when EDITEL. 2:'19,'79. L&R Overlay. No EQ
Listen Up the owner describes how much space he 3 Hz. 2000 Hz /sec, 10 kHz SPLH

Colorado /(303) 778 -0780 can afford to lease or purchase; usually window of approximately 1.5 ms. (1.7 feet).
Bill Rollin about two-thirds the area the studio The dip at about 3.5 kHz is inherent in the
Ford Audio designer had in mind. anechoic response of the particular
Oklahoma /(405) 525 -3343 Unfortunately, it appears that the LEDE loudspeaker installed. Yes, Virginia, it can
Jim Ford scheme may be considered only when a be done.
certain minimum dimensional envelope is The worst close -order reflection
Arnoldt Williams available. To meet the proposed "initial time
Michigan /(313) 453 -6586 problems we have encountered to date have
delay gap" of 20 ms. would likely require that been reflections from the console top, which
John Williams
the reflective surfaces, wall or tape will remain a design problem no matter
Veneman's machines, be about 9 to 10 feet behind the which ends of the control room be hard or
Maryland/(301) 762 -5100 prime mixing position. To meet the soft. It does not appear that this 3 by 8 foot
Andy Fantin loudspeaker spacing suggested with a or larger reflective surface is likely to
sensible stereo azimuth, the loudspeakers disappear or shrink markedly in the
would be at least 10 feet forward of the immediate future.
mixing position. Add an allowance for the The comments about reverberant field

tangent depth of the loudspeaker enclosures and

the necessary undulations of the rear wall,
say 4 feet total. Massive sound isolating
starvation being common in "rear dead"
control rooms are true, but again, this is a
matter of design specifics, and is not
R-e/p 10
Whysettleforacopy...

when
Tangent
Why settle for an
imperfect copy of your
gives you
sound, when Tangent will
give you the original?
Tangent's crystal -clear
transparency allows your origi-
the original?
nal sound to flow cleanly to the 16 Submasters
tape, with only the coloration Sub -Group Solo
Programmable Sub -Group Solo allows the Tangent's 16 submaster busses plus
that you add. engineer to solo an entire sub -group in "Direct" allow tremendous flexibility for 16
place by pushing only one button. This or 24 -track work.
And beyond this foundation of convenience is not found in all competing
solid quality, Tangent invites VCA grouping or Automation systems. FE Î Switching
Electronic FET switching silently
comparison on these features: Semi- Parametric EQ rearranges the signal flows for maximum
Automation Three -band sweepable frequency equaliza- convenience and minimum repatching.
tion on each channel is a standard Tangent
Automation from Tangent uses the feature. Not an expensive option as with Lots of Extras
innovative and widely- respected Penny & Giles faders, multiple Echo and
some competing systems.
Allison 65K programmer and Fadex Cue send, Phase Reverse, Tape Return
designs. Tangent chose the Allison system
because it is the proven -in -the -field system.
Transforrnerless Balancing Gain, and many other features on
Transformerless Balancing keeps your each channel give full professional control
original sound pure with incredible and reliability.
VCA Grouping transient response. Noise is within 3 dB
For those not needing full automation, of the theoretical limit
Voltage Controlled Amplifier (VCA) Group- Compare Tangent's features to
ing utilizes up to nine VCA groups, Transformerless Balancing is suddenly a consoles costing twice as much
while other manufacturers normally big deal among the other console and you'll see what a value
use fewer. manufacturers. It should be. Tangent's
been doing it for years. Tangent is.
As for comparing Tangent's
quality, well, you just can't get
better than the original.

Tangent Model 3216

rongent
0
MUSICAL ENGINEERING
2810 South 24th Street/(602) 267 -0653
Phoenix, Arizona 85034
R -e /p 11
for additional information circle no. 2
 PROFESSIONAL inevitable in the generic approach.
Another potential decision variable in
thinking on the subject and developing a
potential alternate solution for considera-
Ohio Disco Packager, selecting a geometry may present itself: a tion in designing control rooms. My double
SWB Electronics, portion of the studio time -buying compliments to Chips Davis for having had
marketplace absolutely demands, insane as the courage to plunk down his money and
uses Stanton Exclusively. it may be, the capacity to blow themselves build the first one, and thus prove that the
away with sound level on playback, a type of LEDE scheme is indeed viable.
acoustic massage. It is unrealistic, and it is
hazardous to hearing, but if you want to from: Jerrold S. Tiers
serve this lucrative part of the market, you Clayton, MO
gotta play the game. In a simplictic analysis, The article, and subsequent defense of
at low frequencies, a "dead end" source is same, by Mr. Ray Kimber, concerning
close to an omnidirectional radiator, Q =1 by speaker wire, is substantially in error and is
definition. The same source mounted flush misleading. Mr. Kimber's error is in the use
in a stiff barrier, a proper soffit for example, of an inappropriate equation without regard
and working sufficiently close to another for the origins of the equation or the physics
stiff boundary in the form of a hard ceiling, of electromagnetic speakers. The numbers
radiates into an approximation of a quarter obtained through the use of this equation do
space, for a source Q of 4. The direct sound not have any necessary relationship to the
is thus 6 dB higher at a given sampling point force available to resist cone motion, except
The trend to Portable Disco continues with respect to the case where Q =1. The in comparisons using the same speaker, and
strong. An ambitious Company in Canton, winner of this race might more likely be are in any case not proportional to the
Ohio, SWB, is achieving excellent success determined by the total sound level, in damping force, i.e.: doubling the number
with their units (their goal is a national franchis- which case the specifics of each type of does not double the force. Proof in a
ing operation). James C. Fravel, General design wpuld need to be compared to moment.
Manager /Promotions, writes to Stanton, We calculate reverberant sound level to arrive
are using Stanton cartridges in each and every
Lest I become embroiled in an
unit we sell. Two of our units have been running
at the total sum. Again: option, tradeoff, audiophiles' subjective controversy, I
for about a year and a half without failure. We decision. hasten to point out that I am not attacking
are quite proud of the track record of our units Two minor quibbles: It is stated that the Mr. Kimber's favorite wire, just his technical
and the Stanton cartridges." "initial time delay gap ... may be adjusted to explanation and formula. If you like the new
They use the 500AL because it's a durable provide the psychoacoustic effect of a large wire, use and recommend it; just don't claim
cartridge and "gives SWB a 4 dB base boost space." Is this a desirable goal? Most that halving the wire resistance doubles the
that we like to have with the music we play. It commercial product, Disco excepted, is damping. Now for the proof.
has been, by far, the best cartridge we have
used (and we have tried many) ".
auditioned by the end customer in a Let's start at the beginning. A
domestic living room or den, which may or loudspeaker is intended to transfer energy
So, Stanton, world famous for its top- of-the-
line calibrated cartridges, the 881S and the may not be a "large space." As many by air, by setting the air in motion,
681 series, also serves the professionals in an investigators have observed, it would alternately creating high and low pressure
interesting branch of the Disco Industry. appear desirable for there to be some zones near the cone. In order to move air,
Whether your usage involves recording, correlation between the spectral and the speaker cone must move. The cone has
broadcasting, archives, disco or home enter- temporal characteristics of the "typical" some non -zero mass, so it has kinetic
tainment, your choice should be the over- living room, whatever that may be, and the energy which is non -zero. The energy is
whelming choice of the professionals in every control room. A matter for further research. stored when the cone is accelerated, and
field ...Stanton Cartridges. Also, it is implied that the "precedence
© Stanton 1978 given up when it slows down. Because of
zone" window is 20 ms. In a fairly extensive this storage, the cone does not instantly
literature search on the subject, it appears reach full speed when a "step" of voltage is
that among, the various investigations applied to the voice coil, nor does it instantly
consulted, the precedence effect is at very stop and reverse direction when the polarity
least, a function of the source signal of the voltage is reversed. When the cone is
impulsive character, the absolute level of moving, its kinetic energy must be removed
the direct sound, the time delay of the in order to stop it. That is, since work equals
reflection, the relative sound level difference force x distance, and also work done on a
between the direct (or first) and the moving body equals the change in kinetic
reflected (or second) sound, the spectral energy of the body, a force must be applied
character of the reflected sound referenced while the cone moves some distance, in
to the direct sound, and the direction of order to stop it. The force applied may be
arrival of the reflected sound referenced to due to suspension friction, it may be due to
LarryL. Decker, Designer'Owner, examines finished the direct sound. Consider the possibility the air resisting cone motion, or it may be
control table for Disco use.
that the optimum reflection pattern in a due to electrical damping. If the rate of
For further information write: Stanton Magnetics, LEDE control room might be different for
Terminal Drive, Plainview, N.Y. 11803
different types of music - not so far-
fetched; modern concert halls are often
energy removal is low, (low damping, low
friction, and poor coupling to the air),
"The
choice constructed with variable acoustics for this
matter for further
oscillations may occur at the resonant
frequency of the speaker - the
of the reason. Again, a characteristic "hangover" or "tubbiness" in
professionals' "" investigation. the bass (ringing also occurs in tweeters,
I hope neither the authors or the readers and is often controlled by adjusting the
will find these comments to be carping. My suspension friction).

STANTON! sincere compliments to Don Davis for his

intuitive leap away from conventional
Neglecting everything but electrical
effects, let's see what causes the damping

R-e/p 12
For the Artist in Every Engineer
IM Quad/Eight Electronics
Quad/Eight International, 11929 Vose Street. North 1- z. tywood. Ca' 7a.er-
'or ad: '3, nt c,,--
 force. The force exerted by the voice coil is and combining, current. Because the current is squared,
given by: F = Bli, where "B" is the magnetic while R is not, the increase of i2 more than
flux density in the voice coil gap, "1" is the F=Bz l2 u/(Rve+Rw+Ra)=B I i offsets the decrease due to diminuation of R.
length of wire in the gap, and "i" is the The net power supplied by the speaker will
current flowing in the voice coil. "B" and "1" We are neglecting the amplifier output increase. Power is the rate of transfer of
are fixed by the coil and magnetic circuit voltage by invoking the principle of energy, so a given amount of kinetic energy
assembly, and are constant. The variable is superposition, allowing separate solutions can be removed in a shorter time if the rate
"i." Note that this force is either the force for the currents due to the two sources. of removal, power, is greater. So, again, the
exerted by the coil, or the force exerted on Plainly, the damping force "F" is damping effect is greater if the voice coil
the coil. (Microphones also "speak" if power dependent on the current, "i" which is resistance is decreased, if other resistances
is supplied to them.) In the case we are inversely proportional to the sum of the are held constant. It's not that the wire has
discussing, the energy is being supplied by resistances, including the voice coil nothing to do with damping, rather, voice
the stored kinetic energy of the cone, and resistance! Now, since the voice coil coil resistance has the greatest effect
the current "i" is due to cone motion. resistance is the largest resistance in the because it is the largest resistance in the
Now, taking the low frequency case, circuit, typically 5 - 7 ohms for a nominal 8 circuit.
current = volts /resistance by Ohms law. ohm speaker, it is the determining element. It is erroneous to assume that any version
If we are considering the speaker/wire/ The formula used by Mr. Kimber, since it of the "damping equation" used by Messrs.
amplifier system, the equivalent circuit neglects this resistance, is invalid. Kimber, Dickensheets, and Brooks
in Figure 1 is useful. With respect to Mr. Kimber's "justifica- provides any definitive information on
The speaker-generated voltage, Vspkr, tion" of the omission, in which he claims that speaker damping, since their formula, as
equals B u, where "u" is the velocity of the
1 it's okay, since "the only difference would be well as my own observations above, has
voice coil, while "B" and "l" are as before. the amount of power available ... ", his neglected an additional resistor which is the
Therefore, the current "i" from the first reasoning is faulty, precisely because the acoustic radiation resistance. This provides
equation is given by: amount of power available will vary with additional damping, varying from little, in an
voice coil resistance. Power, P, equals i2R. inefficient acoustic suspension speaker, to a
i =B I u/(R, + Rw + Re) Reducing the resistance will increase the possibly dominant effect in a high efficiency
horn system. The horn system is likely to be
FIGURE 1
very tolerant of low damping ratios, as the
I Ro amp cone is coupled to a greater mass of air, so
Vspkr Vamp that its own mass becomes less important
(Neglected in by comparison. The effect is similar to
Vspkr = B
incremental
u
I
analysis) suppressing the "ringing" of an L-C filter by
Speaker Wire Amp
properly terminating the output. Speakers
I

The Sound Workshop Series 1600 recording console.

As technology advances at an and the optional full parametric LED metering with even greater groups allowing from two inputs
ever increasing rate, it has be- which offers complete control of resolution than standard meters. to the entire console to be con-
come easier to design and build frequency, boost /cut, All of our LED indicators feature trolled by one fader, even if each
recording equipment that yields and "Q "on channel is assigned to a
"professional" specifications. separate output.
But specifications alone do not
define a product. As we con-
ceived the Series 1600, we saw
the need for a "true "professional
console that would be at home in
major multi -track installations,
yet offer the cost effectiveness
that other manufacturers
promise.

The Sound Workshop Series

1600 employs a modular design
philosophy, allowing numerous
initial configurations, and the each band. Both
EQ sections are corn - fully The gymnastics
ability to add features and func- necessary to cope
tion as need dictates and cash pletely stable, offer +/ -15 dB adjustable
range, and include an 18 dB/ intensity to corn - with today's complex mixes
flow allows.
octave switchable low -cut filter pensate for ambient light condi- are handled by ARMS Automa-
The Series 1600 is available with as well as LED status indication tions, and accept our Spectrum tion, leaving the engineer and
our standard transformer cou- for EQ IN and LOW -CUT IN. Analyzer which adds Real -Time producer to return to their art;
pled mic -pre or our new trans - Analyzation to the Series 1600. music and creativity. ARMS is a
formerless design which features The standard level indicator is an Standard Vu Meters are available true computer based system fea-
the TRANS- AMP LZ* amplifier LED column which can be or- on special order. turing INDEPENDENT MUTE
module. dered with or later retro- fitted WRITE (if you are considering
with Peak reading capabilities. Our VCA Grouping Package per- other automation systems, don't
Two equalizers are offered: the Our new High Resolution Meter mits assignment of each input buy one that can't write mutes
standard 3 -Band 12- Frequency; Module offers the convenience of channel to up to 3 Input Sub- independently!!!), Auto -nulling,
*Registered trademark of the Valley People. Inc.. Nashville, Tennessee.

R-e/p 14
generally have an optimum amount of in practice. such requirements.
damping, with which they perform best, and I am very interested in what the actual But the low resistance is not the main
the designer picks a tradeoff involving assumed source resistances in the speaker attraction of the new speaker cable, rather
efficiency, size, range, then adjust the industry are. It makes more sense to me to the fact that low resistance, plus distributed
damping to conform to the desired filter assume a small non-zero value, and assume capacitance and braiding (no conherent
function response. See the various articles a normal statistical distribution around that antenna) serves to significantly lower the
in the Journal of the Audio Engineering value, than it does to assume zero source affect of nearby power cables, lighting
Society, Audio, etc., for more information, impedance, since you are certain not to circuits, and RF fields. The cable also
especially concerning the large family of attain exactly zero. In any case, there must permits proximity with microphone lines to
bass reflex alignments worked out by A. N. be some sort of convention or standard rule a much greater degree than possible with
Thiele. of thumb. cable normally used with speakers.
With that caveat regarding the usefulness In conclusion, Mr. Kimber's numbers Mr. Tiers is to be complimented on what
of any fancy "damping" equations, let me seem a poor basis to choose wire on. It essentially is an "article" on the subject of
summarize: certainly seems adequate to keep wire dampening factor; and I think a very good
1) Electromagnetic forces in the resistance to around 5% of the voice coil one. My apologies for oversimplifying the
loudspeaker are a function of the current in resistance, in order to minimize power subject in the article. I essentially agree with
the voice coil. losses. Certainly #000 buss bar seems Mr. Tiers, except that I still think my
2) For a given voltage, the current in the excessive, no matter what glorious numbers numbers are not a "poor" basis to choose
coil is determined by the total circuit result from Mr. Kimber's formula. wire on. I think that under a few
resistance, including that of the coil. circumstances wire resistance of 5% of the
3) Therefore, whatever the actual utility of reply from: Ray Kimber resistance of the voice coil would be
the equations, it is incorrect to leave voice RKB Industries adequate.
coil resistance out. Rexburg, ID I do, however, think that between 2 to 5%

4) Since the voice coil resistance is large In my article I was not trying to state the of the voice coil resistance is better and, in
with respect to other resistances in the final word on dampening factor. Rather, the fact, meets my original requirements.
circuit, Mr. Kimber's linear relationship main purpose of the article was to show that Taking into account the factors as
between wire resistance and damping has there are some differences in cable mentioned by Mr. Tiers, one can easily
no basis in reality, the actual relationship resistance due to environmental tempera- decide which way to move within that 2 to
looks more like a log curve, and diminishing ture, stranding makeup, and the presence of 5% range.
returns catches up in a hurry. tin coating on the conductors. I was only And, for the record, I do not recommend
5) Those wonderful damping ratios in the pointing out in simple terms that the cable #000 buss bar.
30s and 40s are wholly imaginary, and those resistance is a factor, and that the cable I
amplifier D Rs of 1,000 will not be attainable was speaking about was sufficient to satisfy - continued on page 140

Anew philosophy of console design.

computer controlled Entry and Almost all of the options available
Exit modes, programmab e mut- for the Series 1600 can be retro-
ing, in- place -solo and more. fitted with no additional expense
ARMS will accept our socn to be over the cost if factory installed.
released Super-Group option Write for additional details. We're
which allows an UNLIMITED choosy about who sells the Se-
number of programmable ries 1600, so if you need assis-
input subgrjups. tance in finding the tight dealer,
call Emil Handke, here at Sound
Workshop (516 -582- 6210).

The Series 1600 also features

Penny & Giles faders; fully bal-
anced inputs, transformers cou-
pled track outputs, independent INGING TN
Studio and Control Room sec- ETEpINOtOG
E
tions, 4 send busses with Input-
sourcing and output assignment; rrn= EVE
and our unique modular, bal- MRS RIA Sound Workshop Professional Audio Products, Inc.
anced TT Patch Bay.
{. smetto.otóP
1324 Motor Parkway, Hauppauge, New York 11787 (516) 582-6210

for additional information circle no. 5 R-e/p 15

Northeast:
LONG VIEW FARM (North Brookfield, MA) is in the process of doing overdubs with TIM CURRY and co- producers
RICHARD WAGNER and MICHAEL KAMEN for their upcoming album project for A &M Records. Engineers KEVIN
HERRON and BRUCE TERGESEN are sharing the console. FRED HELLERMAN is mixing an LP for PETE SEGER in
Studio B. RANDALL BARBERA has joined the staff as studio manager. North Brookfield, MA 01535. (617) 867-7662.

PART OF II RECORDING STUDIO (North Dartmouth, MA) formerly a mobile recording service, has expanded its
I

a full- service 8 -track recording studio. The studio is located midway between the capitals of.
facilities to become
Boston, Massachusetts, and Providence, Rhode Island, and draws customers from all over southern New England.
The main studio was designed by the owners, and features a uniquely damped drum booth. 9 Sable Avenue, North
Dartmouth, MA 02747. (617) 996 -9728.

P & P STUDIOS (Stamford, CT) announces the opening of their new JOHN STORYK designed 16- 24track studio.
According to studio owners, JOHN FISHBACK and TERRY PUFFER, the facility also includes two smaller studios, a
soundstage, high -speed cassette and reel -to -reel duplication, film editing and transfer and multi -image program-
ming and projection. 17 Viaduct Road, Stamford, CT 06907. (203) 327 -9204.

NOLA RECORDING STUDIOS (New York, NY) has recently finished segmenting an upcoming event for the King
Biscuit Flower Hour, with RITA COOLIDGE, KRIS KRISTOFFERSON, and STEPHEN STILLS headlining at the
Havana Jam. The show was taped during a live performance in Cuba. Owner /engineer JIM CZAK, and staff engineer
TIM MULLIGAN are engineering advertising campaigns with producers BURT JONES, TRADE MARTIN and
HORACE OTT for spring releases on products including Gallo Wines, Yves St. Laurent and the Gillette Company.
111 West 57th Street, New York, NY 10019. (212) 586 -0040.

BLUE ROCK STUDIO (New York, NY) has been doing tracks with ALAN GORDON, writer of the BARBRA
STREISAND hit "My Heart Belongs To Me," for the Entertainment Company and Screen Gems. The sessions were
engineered by MICHAEL EWASKO. Also in the studio is KEITH AVEDON being produced by ALLAN
SCHWARTZBERG and engineered by MICHAEL EWASKO and EDDIE KORVIN. 29 Greene Street, New York, NY
10013. (212) 925 -2155.

MAGNAGRAPHIC RECORDING STUDIOS (New York, NY) has just purchased a 16 -track Scully with full remote
control, updating the studio from 8- to 16- tracks. Other studio equipment includes: a custom Spectra Sonics
console, dbx noise reduction, MicMix reverb and digital delay. 72 Bedford Street, New York, NY 10014. (212) 691-
2333.

RIGHT TRACK RECORDING (New York, NY) has recently updated their Auditronics 501 console with the Allison
Research Fadex system giving the studio automated mixdown capabilities, according to studio owner, SIMON
ANDREWS. 44 West 24th Street, New York, NY 10010. (212) 243 -4782.

RECORD PLANT (New York, NY) unveiled its flying remote recording package at the onset of the CBS Havana Jam
at the Karl Marx Theater. Record Plant's director of remote recording, DAVID HEWITT, described the operation as "a
complete packaging system which allows us to transport our gear via the small aircraft and limited ground
transportation available in South America." The control room sets up in available space complete with adjustable
wall treatment. 321 West 44th Street, New York, NY 10036. (212) 581 -6505.

SIGMA SOUND STUDIOS (New York, NY) is currently recording tracks and overdubs for the next STEELY DAN
album. The sessions are being produced by GARY KATZ with ROGER NICHOLS handling the engineering chores.
Other activity at the studio includes JIM BURGESS for DOOBIE BROTHERS with ANDY ABRAMS engineering.
Also, JIMMY SIMPSON mixing DEODOTO with ANDY ABRAMS engineering. 1697 Broadway, 10th Floor, New York,
NY 10019. (212) 582 -5055.

THE SOUND PALACE, INC. (New York, NY) has recently installed a monitor system designed for the studio by
TED ROTHSTEIN. The system utilizes the UREI time -aligned crossover with the Altec 604, JBL super- tweeter, and
three sub -woofers in each cabinet. The studio accommodates up to a 30 piece orchestra and utilizes sn MCI series
536 console which is fully automated. 237 West 54th Street, New York, NY 10019. (212) 541 -4870.

have you?
increased track capacity - gone 24, 16, 8
added key people won awards
moved or expanded added important equipment
these are some of the interesting news items that can be announced in the next
available issue. Write:
R -e /p STUDIO UPDATE
Box 2449, Hollywood, CA 90028
NOW THERE ARE FIVE LITTLE AURATONES .. .
Same clean sound, but five different configurations
for your special professional requirements.

RECORDING MONITORS FOR THE REAL WORLDTM

AUR ALT ONE CORPORATION P.O. BOX 698 CORONADO
for additional information circle no. 6
CALIFORNIA 92118 U.S.A.
R-e/p 17
 DAWN RECORDING STUDIOS, INC. (Farmingdale, NY) announces their recent relocation into a new studio
complex. The new studios feature a custom built Xedit 16 -track recorder, a Van Eps stereo disk cutting system, API
and Gately 16 -track consoles, plus outboard equipment. A second 16 -track studio is presently under construction.
756 Main Street, Farmingdale, NY 11735. (516) 249 -9619.

WIZARD RECORDING STUDIOS (Briarcliff Manor, NY) announces its expansion to 24 -track capability with the
acquisition of a new Lyrec recorder, one of the first of the line to be introduced in the U.S. by Neve. Other equipment
includes a Tangent 3216 console. Studer A -80 2- track, Big Reds with Mastering Labs crossovers, Auratones, and a
custom designed house monitor system. All outboard equipment as well as BGW power amplifiers, White monitor
EQ, and crossovers are housed in custom built enclosures. P.O. Box 25, Briarcliff Manor, NY 10510. (914)762-3015.

Southeast:
... at Alpha, Richmond
ALPHA AUDIO (Richmond, VA) recently installed a new 32- channel, automated
Sphere Eclipse "C" console. Among the initial users of the new console were produc-
ers RON DUNBAR and GEORGE CLINTON, completing album projects for Parlet and
Bootsy's Rubber Band. Alpha's engineer for the sessions was NICK COLLERAN.
2049 West Broad Street, Richmond, VA 23220. (804) 358-3852.

STRAWBERRY JAMM SOUND COMPANY (West Columbia, SC) has expanded from
four tracks to sixteen over the course of the past two years. The studio featu res MCI 16-
track recorder with AutoLocator, MXR digital and analog delay, dbx noise reduction,
three control room monitor systems, three isolation booths, and five echo systems.
Plans for the future include 24 -track with automation within the year. 3964Apian Way,
West Columbia, SC 29169. (803) 356 -4540.

CRITERIA (Miami, FL) has been recording a new album for PURE PRAIRIE LEAGUE with RON and HOWARD
ALBERT for FAT ALBERT PRODUCTIONS producing, DON GEHMAN engineering, and KEVIN RYAN assisting.
Criteria president MACK EMERMAN personally took over the engineering for a new double LP, by the UNIVERSITY
OF MIAMI CONCERT JAZZ BAND. 1755 N.E. 149th Street, Miami, FL 33181. (305) 947-5611.

SRS INTERNATIONAL RECORDING CORPORATION (Ft. Lauderdale, FL) has finished basic tracks on a new
BUDDY GRECO album with final mixing to be completed in April. Also in production are FREDERICK MICHAEL ST.
JUDE, ABBY LINCOLN and DINK RAMSEY. 790 Northeast 45th Street, Ft. Lauderdale, FL 33334. (305) 772 -0008.

FXL SOUND STUDIOS (Sunrise, FL) has recently opened its new 8-track studio with GOVERNOR BOB GRAHAM
cutting a symbolic recording tape to mark the opening. Studio equipment includes MCI 8- and 2-track recorders, a
Loft console, Crown amplifiers, and Big Red monitors. The new studio is under the owner /management of
husband /wife team, FRANK X. LUCONTO and PHYLLIS FINNEY. 7766 N. W. 44th Street, Sunrise, FL 33321. (305)
741 -7766.

South Central:
JACK CLEMENT RECORDING STUDIOS (Nashville, TN) has been working on the movie soundtrack for the
upcoming film, THE VILLAIN, a Rastar Films -Engelberg Production starring KIRK DOUGLAS. Production on the
project was being supervised by producer /arranger BILL JUSTIS. Also in the studio was BOBBY BARE with BYRD
BURTON producing and GARY LANEY engineering. 3102 Belmont Boulevard, Nashville, TN 37212. (615) 383 -1982.

YOUNG'UN SOUND (Nashville, TN) has recently updated the studio and control room, according to owner CHIP
YOUNG. The VALLEY AUDIO designed room features a Sphere Eclipse "C" with Allison programmer, and two
Ampex 24 -track recorders with sync -lock capability. Monitors available are Westlake, 4311s, and Auratones. Still
under construction are Studio B and a separate re-mix room. 114 - 17th Avenue South, Nashville, TN 37203. (615)
244 -5656.

MUSIC CITY MUSIC HALL (Nashville, TN) formerly RCA Studio A, has recently updated their Neve 8038 console
by adding Allison Research's automated fader system, the Fadex, according to BILL HARRIS and BILL
VANDERVORT, the studio engineers. 30 Music Square, Nashville, TN 37203. (615) 255 -9084.
- continued on page 23

to be represented in the next available issue write:

R -e /p STUDIO UPDATE
P.O. BOX 2449 HOLLYWOOD, CA 90028

R-e/p 18
Definitely a
World Class Studio.
You've heard about Sound 80 in
Minneapolis. About how the
latest technological
developments and equipment
are always available in our
studios. About our reputation for
technical excellence and leading
the industry in equipping studios
with revolutionary recording
systems. Well, we've just topped
our own reputation.
Now there's a reason to do more than hear
about Sound 80- there's a reason to come
and see (and use) our studios. Simply stated,
Sound 80 has the finest "beyond the state -
of- the -art" recording equipment available
anywhere today. From the 3M digital
32 -track recorder to a selection of new
consoles chosen for their "musical"
characteristics; from the results of years of
research in monitor systems to the disc
recording and remote recording systems
described here: Sound 80 is definitely a
world class studio.

www.americanradiohistory.com
The SRO Disc
Recording System.
With the advent of digital studio
mastering, the next generation of disc
cutting equipment is needed.
Presenting the SRO System. "The
Lathe" by L. J. Scully equipped with
an Ortofon cutterhead driven by our
Scott Rivard cutter amplifier. Sound
80 engineers have put 31/2 years of
development and subjective listening
tests into the SRO System. The
sound? Incredible.
Road 80.
We call it Road 80 because our remote truck
can take Sound 80 technology -including
multi -track digital- anywhere. Our GMC
Coach is the only remote unit available in
the midwest, but it's receiving national
attention because its acoustical
environment sounds as good as most control
rooms. Road 80 can capture those great
midwest audiences on 32 -track digital,
24 -track analog or two 24- tracks locked
together (46- track).

2709 East 25th Street

Minneapolis, Minnesota 55406
(612) 721 -6341
continued from page 18

ARDENT RECORDINGS, INC. (Memphis, TN) is currently constructing a third studio which will offer automated
mixdown with recording capability up to 42 tracks. Meanwhile, the two existing studios are kept busy with DENISE
LASALLE, ZZ TOP and THE MEMPHIS HORNS among the groups using the 24 -track facilities recently. 2000
Madison Avenue, Memphis, TN 38104. (901) 725 -0855.

North Central:
SUMA RECORDING STUDIO (Painesville, OH) has just completed final installation of 24 channels of Dolby Cat 22
Noise Reduction, interface with an Ampex MM -1200 24-track and Ampex MM-1000 16-track recorder, in addition to
technical improvements in Suma's 24x 48 channel console. Other equipment in use includes DeltaLabdigital delays,
EMT echo, Eventide Flanger, Studer and Ampex tape machines, and JBL and Auratone monitors. 5706 Vrooman
Road, Painesville, OH 44077. (216) 951 -3955.

K &R RECORDING STUDIOS (Southfield, MI) has just celebrated its first year in
business. Equipment includes: 8- and 16 -track Scully machines, 4- and 8 -track
Tascam machines, Otari and Re Vox 2 -track machines, JBL and Auratone moni-
tors, Model 5 Tascam Mix board, dbx compressors and noise reduction, Kepexes,
and Orban and EMT reverb. 29111 Greenfield Road, Southfield, MI 48076.
(313) 557 -8276.

CLOUD BORN PRODUCTIONS STUDIOS (Grosse Pointe, MI) announces its expansion to 24 -track MCI with
Dolby and dbx noise reduction. The facility is owned by KEN SANDS and GARY PRAEG. Additional equipment
includes an MCI console, Eventide Harmonizer, UREI limiters, Kepex Noise Gates, EXR Exciter, and a choice of two
monitoring systems. 18000 Mack Avenue, Grosse Pointe, MI 48224. (313) 882 -0566.

LANSING SOUND (Okemos, MI) is now a 24 -track facility. The building was designed and constructed from the
ground up as a recording studio. The studio features a MCI 24 -track recorder, Nectek console with full complement
of mikes and outboard equipment. Engineer and chief designer BOB BALDORI has formerly worked with Lou Adler,
Chuck Berry and Motown Records. 2719 East Mt. Hope Road, Okemos, Ml 48864. (517) 351 -6444.

WESTMINISTER SOUND STUDIO (Ft. Dodge, IA) has released plans for a major expansion, including the
acquisition of 24 -track state -of- the -art recording equipment for their Westlake facility. According to studio manager
JACK STOWE, Milam Audio will be installing the new equipment. Box 220, Otho, IA 50569. (515) 972 -4475.

Southwest:
INDIAN CREEK RECORDING (Uvalde, TX) is currently under construction, incorporating the newest design frcm
WOODY SMITH, of Abadon /Sun, Inc. The new studio is being built from the ground up with 18 -inch thick rock walls
resting on bedrock along with fifteen hundred square feet of glass enclosing the structure. Equipment consists o` a
Neve console and Lyrec multitrack with Ampex ATR -100 mixdown machines, Lexicon digital reverb units, with
monitoring done through an array of three JBL 4343s bi -amped with Crown PSA -2s and equalized by White sixth
octaves.

WELLS SOUND STUDIO (Houston, TX) has just upgraded to 16 -track facilities from 8- track. Also in the
changeover, a 32-input Speck console was installed. Monitoring is done through Altec 604s, with outbcard
equipment including delay lines, dbx, and signal gates. 20.36 Pasket, Houston, TX 77018. (713) 688 -8067.

Mountain:
SANBORN PRODUCTIONS (Boulder, CO) is now operating its new mobile unit designed by GENE REYNOLDS
and CARL FROST utilizing the near -field monitoring with bi -amped JBL 4333A monitors. Other equipment includes
a Sound Workshop 1600 console, and an Ampex AG- 440 -8. The 27- channel snake system uses Jensen sp!itter
transformers and AMP Coaxacon connectors. An oversized heating /air conditioniig unit floats independent of the
control room. All of this is housed in a 22' van atop an International Loadstar. 1280- 28th Street, Suite 10, Boulder, CO
80303. (303) 443 -2372.

have you?
increased track capacity - gone 24, 16, 8
added key people won awards
moved or expanded added important equipment
these are some of the interesting news items that can be announced in the next
available issue. Write:
R -e /p STUDIO UPDATE
Box 2449, Hollywood, CA 90028

R-e/p 23
 COMMUNI- CREATIONS, INC. (Denver, CO) has started operations in their newly completed 24 -track room.
ALAN BURNHAM ,formerdesignerandtechnician at Caribou Ranch, now astaff member at Communi, designed and
installed the new studio. The facility now has three complete recording areas, including a 50' by 35' by 18' sound
stage, a newly remodeled eight track room, video capabilities in all rooms, and all Ampex equipment including the
ATR -100. EMT reverberation units are also featured. 2130 South Bellaire Street, Denver, CO 80222. (303) 759 -1155.

Southwest:
LOCATION RECORDING SERVICE (Burbank, CA) has reopened their Studio 4with
a new Trident TSM 32 -24-24 board, which will be interfaced with the first Studer A -800
to be delivered in the U.S., late in April. The new board features a custom layout, and
special mods to provide optimum, transformerless, interface with the new Studer. First
sessions in the new room will include: Backstreet /MCA's artist, ROBBIE PATTON,
r I
with MIKE VERDICK producing, and Epic Records' group PAGES, with BOBBY
COLUMBY producing, and MIKE VERDICK engineering. 2201 West Burbank
Boulevard, Burbank, CA 91506. (213) 849 -1321.

KENDUN RECORDERS (Burbank, CA) has promoted LEILA GREENSTONE to director of administration, and
LEAH BERNSTEIN to director of creative services. Also joining the engineering staff are JOHN STRONACH and
BAKER BIGSBY. Artists in the studios include: BLUE OYSTER CULT, IGGY POP, and JOACHIM KUHN. 619 S.
Glenwood Place, Burbank, CA 91506. (213) 843 -8096.

SOUND AFFAIR RECORDING (Santa Ana, CA) has opened its new Sound Affairs Studio
studio featuring an Ampex MM -1200 16 -track machine and a Sound
Workshop 1600 series console. Monitoring is through JBL and E -V
Sentry Ill speakers. Studio design includes drum and vocal isolation
rooms and piano trap area. EXPRESS SOUND served as a consultant
and installer on the project. 2727 G. Croddy Way, Santa Ana,
CA 92704. (714) 540 -0063.

SALTY DOG RECORDING (Van Nuys, CA) has opened its new
24 -track studio with 4,000 square feet of floor space and new equip-
ment, including MCI JH -528 console, 3M -79 24 -track machine with
Audo Kinetics AutoLocator, Ampex 2 -track machines, stereo EMT,
Marshal Time Modulator, UREI Time Cube, Kepex, Gain Brains, MXR
Phasor and Flanger, with monitoring done through Ampex monitor speakers. 14511 Delano Street, Van Nuys,
CA 91411. (213) 994 -9973.

SPECTRUM STUDIOS (Venice, CA) has added a Stephens 24 -track tape recorder and an EMT /250 Digital
Reverberation system to their already 24 -track studio, bringing total recording capability to 46tracks using their 3M-
79 24 -track and the new Stephens interlocked. The studio has also modified their automated Harrison console to
include tri- stable null lights, automated mute and high frequency peaking /shelving option. The studio is currently
completing an LP for DAVID CASTLE (Casablanca /Parachute), JOE FARRELL (Xanadu), and DAVID SOUL. 3015
Ocean Front Walk, Venice. CA 90291. (213) 399 -9218.

LIONS GATE FILMS (Los Angeles, CA) the production company founded by ROBERT ALTMAN, has recently
gone into post -production with the establishment of LIONS GATE SOUND. RICHARD PORTMAN has been named
vice president. Portman's credits include seven Academy Award nominations. Two new state -of- the -art dubbing
stages are being constructed which will be able to accommodate 15 films per year. All time is already booked through
1979. 1861 South Bundy Drive, Los Angeles, CA 90025.

KSR STUDIOS (Hollywood, CA) has opened their new 24 -track facility, according to president KEN STORY. The
studio is MCI equipped with 36-in and 24 -out. Monitoring is done with UREI Time Align Monitors. JERRY WEAVER
(Casablanca) is currently cutting tracks at the new studio for the R&B group, FRIENZ. The sessions are being
engineered by HAL SACKS. 1680 Vine Street, Suite 706 -713, Hollywood, CA 90028. (213) 467 -G768.

ELDORADO SOUND STUDIOS (Hollywood, CA) was operated for fifteen years under the supervision of chief
engineer JOHN CEVETELLO. On February 1st, John died while in Paris recording a Carmen MacRea album at the
NEDAM convention. The studio will continue to operate under the new management of NADA RAY BELL, previously
an assistant to John. 1717 N. Vine Street, Hollywood, CA 90028. (213) 467 -6151.

R-e,p 24
FOR THE
SMALL STUDIO OWNER
WITH BIG IDEAS.
If you're a small studio owner, you may have a problem:
your ideas are far beyond your present equipment.
Maybe you're an engineer, dreaming of an
automated 24 -track studio. Maybe you're a producer,
searching for "the next big thing." Maybe you're an
artist, trying to land a record contract. What you need
is something that will get you from where you are to
where you'd like to be.
Sound impossible? Not to us. At dbx, we're
committed to make professional recording technology
available to anyone with the determination to make use
of it. We make a line of rack -mountable signal -proc-
essing devices designed and priced especially for the
small studio.
Our tape noise reduction systems, the 155
(4- channel, switchable), the RM -155 (8-channel,
switchable) and the 158 (8- channel, simultaneous), all
offer the same 30 dB noise reduction and 10 dB head-
room improvement as our state -of- the -art units and are
fully compatible with them. They enable you to make
master quality tapes, instead of demos, on your present
equipment.
Our 161 and 163 compressor /limiters feature
true RMS signal detection, which closely resembles the
response of the human ear, and feed forward gain
reduction, which allow for infinite compression capabil-
ity. The 163 employs "Over Easy" compression, the
most natural- sounding you've ever heard, and its "one
knob" operation is the simplest around.
We can't guarantee our products will make you
a star. But if you've got the talent, they'll take you as far
as you want to go. dbx, Incorporated, 71 Chapel Street,
Newton, MA 02195 617- 964 -3210.

mi dbx 161
UNLOCK
YOUR EARS

.,;
dbx
158

for additional information circle no. 7

 *-E
JENNIFUDY RECORDING STUDIOS (North Hollywood, CA) has opened their new 24 track
studio according to an announcement by owner and cheif engineer Phil Kaye. The studio is equip-
ped with a Harrison Model 3232 console. Available are a number of different monitoring systems
including the UREI 813 'Time Aligned' and Mitsubishi DS -35B speakers. Kaye recently engineered
a direct -to- two -track album for producer Dave Pell's "Prez Conference" featuring Joe Williams.
The record was produced for GNP Crescendo, and is called "Prez and Joe ". 11115 Magnolia Boul-
evard, North Hollywood, CA 91601 (213) 980 -3872

THE AUTOMATT (San Francisco, CA) has been recording CON -FUNK -SHUN for Mercury Records with SKIP
SCARBOROUGH producing and FRED CATERO engineering. Also in the studio were THE DUROCS with ELIOT
MAZER producing in conjunction with members RON NAGLE and SCOTT FREE, and SPELLBOUND with ROY
SEGAL engineering. 827 Folsom Street, San Francisco, CA 94107. (415) 777 -2930.

TEWKSBURY SOUND RECORDERS (Richmond, CA)-has just acquired an Ampex MM -1000 wired for 24- tracks, a
pair of Ampex 440 2- tracks, and two ReVox quarter and half -track machines. Other new equipment includes: a
Nakamichi cassette deck, Orban Parametric Equalization, a Schoeps stereo microphone, and a Mason -Hamlin
Concert Grande, 9' long, which was built in 1910. 6026 Bernhard, Richmond, CA 94805. (415) 232-7933.

VILLA RECORDERS (Modesto, CA) has opened its new 16/24 -track studio Villa Recording Studios.
located on an 80 acre almond ranch. The studio is using a Trident 28 -in, 24 -out
console, Ampex MM -1200 16/24 -track recorder, two Ampex ATR -100s, and a
custom monitor system with Altec 604s, JBL 4311s, and Autratones. For rest and
relaxation the studio has a swimming pool, hot tub, and Swedish sauna.
3013 Shoemake Avenue, Modesto, CA 95350. (209) 521 -1494.

Northwest:
KAYE -SMITH PRODUCTIONS (Seattle, WA) announces the reopening of their
Studio A, which features an API custom console recently retro- fitted with the
Allison Research Fadex system. According to DAVE MATHEW, chief mainten-
ance engineer for the facility, Studio B also utilizes an API console, which is
automated with an Allison 65K Programmer. 2212 Fourth Avenue, Seattle,
WA 98121. (206) 624 -8651.

England
LANSDOWNE HOUSE (London) has recently installed a new Scamp
outboard rack consisting of four F300 -S Expander/Gates, two SO1 Com-
pressor- Limiters and the new effects modules S23 Pan Effects Module
and S24 Time Shape Modules. The rack has been built into a self -con-
tained signal processing "trolley" which may be wheeled to any part of the
studio. Lansdowne House, Lansdowne Road, London W.11. 01 727 0041.

ODYSSEY RECORDING STUDIOS (London) has completed its new

52 -track studio in London's West End. The facility includes two studios with large control rooms, a broadcast
facilities studio, copying rooms, and will eventually include disk cutting facilities. Each control room will have MCI
24- and 32 -track machines which can be locked together. In addition both studios are electronically connected
making it possible to tie all four machines together.

A ustralia
STUDIOS 301 (Sydney, Australia) has opened as a state -of- the -art facility consisting of two main studios, a
mixdown suite and mastering rooms. The studios offer fully synchronized video for film and television work, direct -
to -disk recording of up to 45 tracks with sync -locked Studer tape machines. Acoustic design was clone by KIGEL
WAKE, with all studios, including the mastering suite and mixdown suite, being acoustically matched. Other
equipment includes: Neve consoles, and dbx or Dolby noise reduction in addition to all of the usual special effects
equipment. 301 Castlereagh Street, Sydney NSW, Australia. (02) 20912.

to be represented in the next available issue write:

R -e /p STUDIO UPDATE
P.O. BOX 2449 HOLLYWOOD, CA 90028

R-e/p 26
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 Horizon's
Tommy Li Puma
- from promotion to production to president -
by Tom Lubin
photography: Art Rex
R -e/p [Tom Lubin]: In the past you've should put some serious thought into it. never really occurred to me to enter it as a
started and built a couple of labels. Horizon I learned that the best way, by hard player, not once I heard John Coltrane play
is your new label ... tell me about it. knocks. I started in 1962 with a Cleveland in a club. I knew I wasn't in that category, so
Tommy LiPuma: Hopefully it's going to be record distributor. It was a good I went into promotion and that brought me

as eclectic as my personal tastes are. I enjoy experience. I packed records for M.S. out here.
a lot of different types of music and I feel a Distributing. Shortly thereafter I got into
record company has to have a strong base. promotion. I came out to L.A. and went to R -e/p [Tom Lubin]: Is that when you got
It has to be involved in all types of music. work for Liberty Records. They sent me to involved with A&M?
When I say all types, I don't feel we should New York for a year in the same capacity, Tommy LiPuma: No, A&M was the first
venture into country, or classical since I feel and then I came back out here and got into job that I held as an A &R man. Prior to that I
there are other people who do that a lot publishing. That was when I was able to start was doing A &R work with Imperial
better than I. But other than that I'd say delving into the studio. I was doing song Records, which was a subsidiary of Liberty. I
Horizon is going to be rather broad in range. demos with writers and was able to learn had moved myself from professional
Not just because I feel its important to have producing without having to put my ass on manager of the publishing firm into making
a good solid base but because that's the way the line making a record. It gave me a some records. At that point Jerry and Herb
my tastes are. chance to play around in the studio. I asked me to join them. That was when they
realized I really enjoyed it. were just starting to expand. But we've
R -e/p [Tom Lubin]: Do you think Horizon, a I had been a musician, a saxophone gotten off the beaten path. We were talking
small label, operating under the umbrella of player, and had traveled with bands for a few about surviving in the business.
a much larger company, A&M, is indicative years. I averaged three or four nights a The biggest lesson I had was with a
of a trend in the business? Do you see more
small labels being distributed through much
week. During the day I was a barber by
trade. That might have spurred me on
company that I co -owned - Blue Thumb.
Dave Mason, the Pointers, the Crusaders,
larger companies? because I hated barbering to such a degree Dan Hicks and the Hot Licks, Sylvester and
Tommy LiPuma: I think distribution deals that I began to drill myself to achieve a few others were on the label. This was
will probably become more prevalent in whatever it was I was going to do just to get before ABC got involved with it. It was
order for the small label to survive. out of that. three -and-a -half years of survival. We were
You know there was a time when a small trying to exist as an independent, but we
label could make it with independent R -e/p [Tom Lubin]: How is it you went into had a terrible time collecting from
distribution. At the time that was the state of promotion rather than developing as a distributors. We had to pay our bills
things, but today it's become so musician? because it was the only way we could get our
sophisticated. The manner in which Tommy LiPuma: I suppose I was a bit records pressed, but it was tough getting
Columbia or WEA distribute their product insecure. Then again, now that I think about our money. At that particular time, in the
to the retailers and directly to the consumer it, it could have been just how I felt at the late 60s and early 70s, the big labels were
makes it very hard for the small company to time. It seemed like a good way to get into really getting into bidding wars over artists,
stay right up there with them, and they have the business. I was always a record freak. I so we were really flying by the seat of our
to, just to compete. It's not only a question had a big collection of albums, so it was an pants. Nonetheless it was a real lesson for
of good music, though I guess I'll always feel exciting thing to be into. The insecure part me in marketing. I realized just what you're
that good music will win out, it's a question of it was that I wasn't a schooled musician. I really up against if you're a smaller label.
of getting your product out on the street. I could read, but I wasn't good at There was a list of independents. A &M,
think that any smart individual, an composition. I felt you had to have a
entrepreneur, who wants to start a label background in conducting, and so on. It - continued overleaf
R-e/p 30
 Motown, and a few others, were at the top represent you as your "manager" for the they can act as a liaison between the group
and they got paid first. We were at the sake of being your mouthpiece isn't much and an agent or club. But something tells me
bottom of the list. To get back to the original help either. If he doesn't have any more that it would get off -color if suddenly you
question. Yes, I think you're going to see power or clout to open doors than you do, had record companies dealing in
more small record labels using major then you're both in the same boat. There are management. I think it would be unhealthy.
distribution providing the major knows and very few individuals that have the
trusts the abilities of those involved. agressiveness and ingenuity to get in the R -e/p: It seems that jazz is becoming an
door and become a great manager. So, I euer increasing part of the record market.
R -e/p [Tom Lubin]: Many artists haue tried guess it comes back to the best thing they TL: I think it has more visibility. I see more
to start their own labels in an effort to can do is find a reputable music business articles and magazine features. There's
showcase their talents and generate attorney. If the attorney can't directly help more being written about it and more people
interest in their region. Often they hope that he will definitely know somebody who have become interested in it. The artists
a major will see some action on the act and could. If he's into it and likes the people that have had huge success such as Chick
pick up the product. Do you think an act involved and wants to take them on as Corea, and George Bensen aren't really
has a chance by approaching the record clients then, obviously, he's going to work making "jazz" albums. I don't think Breezin'
business this way? with them. or any of the other albums I've made with
Tommy LiPuma: First of all they need a George are strictly jazz records. Those
good amount of capitol in order to just make R -e/p: Do you think performance is an record are very broad in nature and have a
the record, pay for the manufacturing and integral part of promoting the record lot of different influences in them. By
distribution, and support whatever it takes product? contrast a Bill Evans album falls much more
in the way of promotion to break the record TL: I have seen cases where it didn't seem into the category of jazz. Those albums,
out. I wouldn't want to say that it couldn't be to matter; such as Steely Dan, or Pink even though they may have had increased
done, but I think that it's practically suicidal Floyd, but I think it really helps. In the case sales commensurate with the increase in the
as far as getting something out of it. I think of George Bensen, when he's traveling he's buying public, aren't really doing any better
an act would be better off putting their probably reaching 20,000 people a week. If than they were five years ago. I'm sure that if
energies into making the act as good as it you do that over a period of thirty or forty Bill sold 30,000 copies of his last album that
possibly can be. The band should have their weeks, and maybe every six months you go would be a lot. It's unfortunate, too, because
material good and tight so they're really back to the same town, you're not only he happens to be one of the best.
ready to go when it does start happening. seeing a lot of people, you're building up a
following. Your name is always out there in R -e/p: He did an excellent album with Tony
one form or another. Bennett.
TL: That record sold more, and had "pop"
R -e/p: If third on a bill they're
a band is overtones by the very nature of Tony
probably not euen meeting their expenses. Bennett.
In order to make it happen for them are
record companies getting more inuolued in R -e/p: A&M has always taken acts and
the financing of the road production? developed them. They've always been
TL: Very much, but it depends on what type willing to keep an artist who consistently
of tour is booked. It's got to make sense. If a sells, though not millions of units. Many
band comes to the label and wants tour labels seem much more prone to drop an
support and their manager has booked artist if their first record isn't a million seller.
them in a lot of towns that aren't important, Do you think labels are going to continue
then the company isn't going to do it. The this practice, or become more involved in
It Sound Labs with engineer Al Schmitt. cities don't have to be major cities like L.A. nurturing and developing an act?
or New York, but they have to be break -out TL: I think it will depend on the nature of the
markets like Seattle, Washington/Balti - act. In the case of A&M their very existence
R -e/p: Once they are ready who should an more, Boston, Philadelphia or Atlanta. It's made them do what they've done, which is
act first approach? A record company, an important that they be seen in those areas, develop talent. There's a few reasons for
attorney, an accountant or management? especially to coincide with the release of a that. First, I don't think Jerry is the kind of
TL: I'd say for an unknown group that new album; but it's got to make sense, the individual who is inclined or, if it really got
doesn't have anybody handling their dates have to be right. Another thing, when down to it, would want to compete with, let's
management, they should go to an attorney. you're dealing with a good manager it's say, a Columbia. He gets more of ajolt out of
A music attorney, not just "a" attorney, amazing the things you can do. The staging finding an unknown act that he has an
because for the most part attorneys are of the show. If they're good at it then things instinct about, and building that act. I can't
connected with people in the record go as smooth as butter. think of one act with the exception of Joan
business on a daily basis. If they hear Baez, or someone of that stature, that was a
something when someone comes into their R -e/p: Like Bill Graham. known act prior to being with the label. It's
office for some sort of business TL: Yes, or Shep Gordon. the very nature of what they've built this
negotiations, it's very easy for the attorney small empire on. It's what they get a kick out
to say, "I just heard something today. The R -e/p: Since they're already
financing tours of. To tell you the truth, so do I. It's not that
guy plays really well, and I think you should do you think record companies are going to I've made that a quest in my life, it's just that
hear the tape." If that happens there's a get more into management as well as I get some bit of excitement out of
possibility that someone will hear the tape. record production? Will the two become developing an act. I think that's where my
Trying to hook up with a manager who is integrated? strengths lie.
known for an act that is unknown, is almost TL: Well, in a sense it goes on now when an I guess, too, I don't particularly like
impossible unless the manager sees the act doesn't have a manager. Sometimes dealing with an established act. You have
group and gets excited and wants to they're better off not having one. If the less of a one -to -one relationship when you
manage the act. Getting someone to record company is on top of the situation suddenly walk into a situation where you're

R-e/p 33
 whether or not you played one particular the face is the truth. There's no sense in
passage well. Sometimes musicians get trying to belabor something. With the
hung up on a bar or a part of the song that is exception of Dave Mason, who has an
really insignificant to the whole. amazing capacity to get better as he does
I like going for a performance. That's one overdubs, I can't remember that many
of the things that makes working with Al cases where recutting a part over -and -over
Schmidt such a joy. I've worked with him for improved the performance.
eight years. Al is probably one of the best
mixers that I've had the pleasure of working R -e/p: What sort of hours do you like to
with. And it's in the manner in which he does work?
At Sound Labs with drummer Steve Gadd. things which is so wonderful. TL: I don't like epics. First of all, it's an
When I'm working with him I know he has absolute waste of money. After awhile
confronted with an act that's sold several it covered, and I don't have to concern you're just punching a time clock. The
million copies. Suddenly, you're sitting there myself with the sound. There have been a creative juices and stamina will only last so
and they say to you, "Okay, schmuk. What few instances when I've gone to New York long. There's a lot of tension in a session
have you got to contribute?" to do some recording, and Al didn't come because in a sense everybody is under the
The thing I thrive on is being able to along, when I just'Wasri t sure I was getting gun. With a few exceptions six or seven
develop talent. It's seeing the potential, and things properly on tape. It was a well - hours is about it. After that I lose my
working with it. established studio and the engineers had objectivity, and I clam up. I originally was a
been at it for twenty -five years, but they had night person who would work evenings, but
R -e/p: How important is the attitude of the an attitude that they were just putting in I find now that if I work during the day I get
artist in your decision to work with them? their time. You'd a §k them to change the musicians at a fresh part of the day
TL: That's one of the big things. First of all, something and you'd get these vibes. They before they've been in fourteen sessions.
it's very obvious there is a multitude of talent weren't listening, they were just there. Their Even if they're not session guys they've been
out there. Some talent seems to work at minds were somewhere in New Rochelle. up since 11 o'clock bouncing around or
their art in a negative manner and some It's different with Al, and all the good doing whatever it is that they're doing. By 11
work positively. I've worked with both. engineers I know. They're dedicated and o'clock at night things start going in the
When the talent is so great that I overlook have a pride in their craft. other direction. I like working days.
some potential problems, then it will always, Another thing that's fantastic about Al is
some way or another, come back and his microphone technique. It's a real forte. R -e/p: Do you think the U.S. is just catching
disturb the situation. An act has to have all It's how he places them and which mike he up to the interest that Europeans have
the elements, not only whatever it is, the uses. It's all there. In the re -mix we might use displayed in jazz over the past few years?
vocal or musical creative part, but also a some outboard equipment to create effects. TL: Yes, I think so. The Europeans have
determination and positive attitude that Nonetheless it's put on the tape with very always been aware of the players, and so
they've got the goods. It's just a question of little processing. Also, he works in a forth.
getting all the right elements and working at smooth, swift, and as quiet a manner as he
it and making it your career. That's another conceivably can. That's been the biggest R -e/p: In the early sixties there was a
thing. An artist sees what's conceivable and asset to us working together. I'm able to definite English style. There seems to have
what's possible and they say let's go and do catch that spontaneity because, barring any emerged another European sound, this one
it; let's get a platinum record. That's unforeseen problems, within twenty having its root in Germany and France. Do
probably the worst thing that could ever minutes to a half -hour there's a more than you think that influence will continue?
happen to an absolutely unknown group. If reasonable balance. If things are starting to TL: Most definitely, and not just the disco.
they get a platiunum record the first time get hot we can get it. There are also some great things coming out
around, they are suddenly put in quite a It's like anything else. The players start off of Japan. I was in Japan in December, and I
position. With the inexperience that they at one level and play to a peak, and then it was knocked out with the musicianship I
have it's likely that they're just going to be slides downward. We may do another eight heard. While I was there I picked up an
ground up. I think people have to look at it takes, but the fact is that if you've got it you album for the rest of the world. A group
as a long term career just like anyone else can always go back to it. I don't ever say to called The Yellow Magic Orchestra. It's sort
who goes into a profession. them, "That's it! You don't need to do it of in the same gendre as Tangerine Dream
anymore." Not if they feel they want to do or Kraftwork. I would say it's one of the
R -e/p: How do you approach producing? another one. The fact is, if we're ready when most original things I've heard come out of
TL: Every case is unique. In the case of that magic happens, we've got it. And that's Japan. The guy who composed and put it all
George Benson, or someone like that, I get what I'm looking for, the magic. together is Harry Hosono. I was very
very involved in the selecting of the material; impressed with not only the performances
the early stages; the cast of musicians, such R -e/p: Do you do much overdubbing? of the orchestra in person and the people's
as Harvey Mason and Ralph McDonald; and TL: It depends. In the case of Weekend In response to them, but with him as an
picking the right arranger. In that particular L.A. we did quite a bit of overdubbing. But, individual. That gets back to what we were
case we used Claus. On "Living Inside Your again, it's no different than making a film in talking about that an act not only has the
Love" I used Mike Manari because Steve that all you're really trying to do is create an talent, etc., but he can walk into a room and
Gadd had played me some things he'd done illusion. If the illusion is correct I don't think you feel the charisma and the guy's
and they knocked me out. I'd say it's casting that anyone will question how you got it. It's presence. Then you're talking about an
in George's case, and being his objectivity in making it feel right and seem like that's the artist who can do more than have a hit
the booth. I think one of the hardest way it's supposed to be. That's your job, to record.
problems for an act is that there is no way to make sure that it does. The other thing we
be both subjective and objective. It's very do is fix just what doesn't work. If I can keep R -e/p: Would you expect more artists from
tough when you're out there doing it to 70 or 80 per cent of an original performance I non -English speaking countries will cut
suddenly walk into the booth and listen to would rather replace that 20 or 30 per cent English versions of their records?
the broad spectrum without wondering if, in fact, that thing that's hitting me right in TL: Of course, because they are more
R-e/p 34
was one of TM Productions'
first boards six years ago and it stl1 runs a tightly packed schedule of original vocal session recording and mix -
downs", says Ken Justiss, Operations Manager of TM Productions in Dallas. "Since we do more commercials and station
ID's than anybody else in the world, we produce literally thousands each year, and at some po'nt they've all gone through
this Son -Of -36-Grand (serial number 011)"
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plex production :asks. Its compact; all its cont -ols are so very accessible even trainees become proficient on it quickly."
`'Its reliability is outstanding. We've literally worn out the faders once, and we've changed a switch or two, but
the things I've seen go wrong with this board in six years are so minor, it's a waste of time to even talk about. It's an
excellent creative tool and I'd find it hard to fault our Auditroncs 501 in any area. In fact, our success with this board
was largely responsible for our baying three -ncre Auditronics consoles."
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about Auditronics consoles, circle reader service number or contact:

3750 Old Ge-well Road, Memphis, Tennessee 38118 (901) 362 -1350
 conscious of how important that is. They singer, and a fantastic band, but if the understand. If I had to actually sit down and
know they have to be understood. material sucks, it won't work. listen to every tape and talk to every person
who calls me, I would be sitting here twenty -
R -e/p: You work with Al Schmitt a great R -e/p: George Benson writes, plays, and four hours a day. That's just not productive,
deal. He produces and engineers many sings. Jon Mark, Johnny Almond and Dave not in my particular case. What I do is have
projects as well as engineering many of your Mason all have similar broad talents. Is it someone whose ears I respect highly, and
productions. Do you think that the getting where the complete artist who does they listen to them and pull out what they
engineer/producer has a difficult time falling it all is the only one that is going to be able to feel to be the highlights. From there they
into the role of engineer only? make it? narrow it down even more. If a manager,
TL: I have never felt it with Al. It's a mutual TL: Conceivably so. However, if the producer, arranger, or musician I respect
respect for one another as to what our roles individual who doesn't write but has a great calls me and tells me, "Hey, listen, so- and -so
are, what it is that we do. Even in the cases voice also has the ingenuity and wherewithal has this tape, or is playing somewhere and I
where we've co- produced such as Al to hear good material and build a catalog of think you should hear them," then I'll go and
Jarreau. Al Schmitt heard him at the Bla Bla songs they can perform, then they can make listen to them. I guess that's what it gets
Cafe, on Ventura Boulevard [Los Angeles]. it. There are still people who write songs and down to. Other than those things that run
Al Jarreaú s manager and Al Schmitt got others who push them. And you'll always across my ears when I'm out, I guess I
some money out of Columbia to make a have great singers because someone will respond to people I know and respect.
demo that didn't work out. And then I saw come along and say, "You're a great singer. I As far as the demo itself, I swear I expect
him at The Troubador, in Hollywood, and want to make an album with you." nothing more than whatever it takes to get
was knocked out. I called Mo Ostin and we the point across. If it's a song, a piano or a
went down on a Sunday night and that was R -e/p: How does somebody find great guitar and the voice will do because a good
it. So Al Schmitt was really responsible for material? How does the guy that lives in song is a good song, and a twenty piece
Jarreau getting his first deal. Subsequently, Oshkosh find great material? orchestra is not going to make it better or
after the first album, we decided we wanted TL: If you hang around crowds of music worse. In the case of a band, just going in
to produce the album together and it people maybe you'll hear something. Or, there and doing the best material that they
worked out beautifully. And, as I think about you just might start by going out and buying think they have, keeping it down to a
it, it's been a long term thing since we were the hits. I guess if I was an individual who minimum because quality is not quantity.
close prior to working together. Al was was trying to do something, the first thing I'd Some people call me and say they've written
producing records for RCA, Sam Cook, try to do is get out of Oshkosh and go to a four hundred songs. That's great, but which
Henry Mancini, and so forth, and I was a hub. That's not necessarily just L.A. Any four or five out of that four hundred are any
promotion man and we were friends. Al area where music people congregate: New good. What are the best ones. Picasso didn't
went into business for himself with Steve York, Nashville, Boston, San Francisco, paint a masterpiece everytime he sat down.
Douglas. They had a company called Chicago, Philadelphia, Detroit, Texas,
Penegrahm. Steve Douglas played Atlanta. There are pockets all over the R -e /p: When someone wants to take an
saxophone, he was on the last Dylan tour, country. unknown artist into the studio should they
and was the chicken sax player on the deal with the legal practicalities before
Spector Records. R -e/p: The exposure to other acts helps a starting to work with the musical creativity?
Al hadn't mixed a record in ...I'd say new act to develop their own abilities. This seems to have always been a business
eight to ten years. He'd stopped mixing TL: Not only that, it allows the act to rub where some participants in it haue alleged
records in the early 60's. When I was doing elbows with a variety of music people. rightly or wrongly that they've been
the Dave Mason album the engineer that I'd creatively or financially ripped off. What is
been working with had to go on to another R -e/p: If someone has an unknown act and your perspective on the ethics of the
project. I don't know why it occurred to me, they want you to hear them, what do they business?
but I decided to ask Al if he would mix the have to do? What sort of presentation? TL: Anytime you deal with individuals I
album down for me, just as a favor. He was TL: Someone has got to get my attention. think you'll find things run pretty steady, the
very excited and really wanted to do it. I This is very difficult for a lot of people to world hasn't changed; and I don't think that
think consequently when we did that album
- that was the Dave Mason Alone
-
Together album that it gave him a second
it's going to get any better. But I don't think
it's any more -or-less unethical than any
other business that I know of. I mean, you
look at how talented he was in an area he have honest people and you have thieves in
had not pursued for eight or ten years. I was any business you're in. What it gets down to
very pleased and so was he that he got back is that people have to be astute as to who the
into it. assholes are, and who the honest people
are. Sometimes that's very difficult to do.
R -e/p: What does it take to be a good Very often the person who's unethical has
producer? What should an act look for other things going for him such as charm, or
when someone says they want to produce a glib tongue. if you're an inexperienced
them? individual and just coming up, or you're a kid
TL: Someone that's not only objective, but or whatever and somebody makes you
has the ability to draw the right things out of laugh or says something that rings a bell,
you. Or, spontaneously being able to know you get sucked in. All the fanatical religious
when something is right. Being able to point movements that are going on have proven
it out and saying, 'You know, this is what it that people want to follow like sheep. They
should be like." And when it's off the mark don't want to think.
the producer has to be able to tell the artist This is really as far afield of the music
that it's not working. Someone who is business as it's possible to get, but I think it's
sensitive to material. That's a big, big part of appropriate. If there's one thing I fear today
the problem. I mean, you can have a great it's the loss of the individual. I see the
R-e/p 36 continued on page page 40
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J
individual shrinking. Forget whether it's line regardless of whether it's a hit record or necessary. If you bring the album in for
socialism, or capitolism or whatever. It's like not. You're there and you're learning. If it's a $10,000 under budget and it sounds
Fritz Lang's Metropolis. We are starting to good studio you'll just pick it up if you have fantastic then that's just a bonus. But you're
miss the individual. That's what I see the passion and desire to do it. defeating your purpose if you don't spend
missing. When you think back to the the additional $25,000 that makes the
pioneers they were very individual people. R -e/p: How do you prepare a budget? Is difference between making it right and just
When you speak specifically of the record that something you learn by just being putting it out the way it was when you hit the
business pioneer like Sid Nathan, who was around it? budget line. You've got to realize that what
owner and head of King Records, he might TL: I learned a bit that way, but I kind of just you're trying to sell is a product. When you
have had some questionable business use a formula of my own. I know the average walk into Tower Records it's awesome what
dealings, but he was an individual. amount of days that in takes me to do tracks. they have available today. You see how
And the number of musicians that I'm going much competition there is and what you're
R -e/p: A&M is uniquely individual. to use. I'll multiply the cost of the musicians up against. You just can't go in there
TL: Yes, it's a haven. times the number of hours and days that I'm thinking about budgets, you've got to think
going to use them. That's added to the about making the best possible album you
R -e/p: Those who might now be in school. studio time. I know how much the studio is can. That includes all the elements that go
To them what would you suggest? What costing per hour. I use an average as far as into it. Material, packaging, performance,
sort of background is best suited for this tape. At $125 a reel that can get out there, everything!
business? too. If you're using interlocked machines the
TL: What specific area? number of reels increases, and I record at 30 art seems to haue become a
R -e/p: Album
ips. You go through a reel pretty quickly at very important part of the marketing
R -e/p: Engineering, producing . . . those that speed. So you add that up. If you are process.
aspects. TL: Yes, but I guess I'm from the old school,
TL: I would say, first of all, that practical again it's the medium. We sell records
experience will do it every time. I would say through airplay. Once airplay has moved
the record into the top twenty or thirty then
if I were going to college and had to do it all
over again, I think I would try very hard to I think the manner in which you've done

let's say the graphics or whatever else you

-
get a law degree. Not really to practice law,
but to just survive. It's a lawyer's world. I'm do to advertise and market a record will -
help sales. But prior to that you've got to get
not saying you have to be an attorney; forget
about being an attorney. But just as a basis airplay. If it's got it, and it's in the grooves,
to sustain you through situations that you're you can sell it in a brown paper bag.
going to find yourself in the rest of your life.
A legal background is one way to get into R -e/p: It must be a big help if an act
anything that you want to get into. If you participates in the promotion by visiting
want to get into the business end of the radio stations, record stores and promo
situation, and I don't mean strictly the men when they're on the road.
business end of it. I mean like Clive Davis, TL: Believe me, that helps. Today though, I
he's the head of a record company. I'm the think it's more difficult to get an act into a
head of a record company, but I'm still very radio station, or a radio station to respond
much involved in the creative end of it. to an act. In many cases they don't want to
In my case it was just a question of having deal with that. When an act goes to a city, it
been in every aspect of the business for gets down to them working a club that's a
seventeen years. Just through experience good showcase and then the press and radio
and osmosis that comes from being around people are invited down to hear them. That
people who know it. Getting knocked on my creates some kind of excitement, but I don't
ass a few times, and being able to get up think you get that much out of radio
again helped. But I think there are easier interviews. It's airplay. It's not like selling a
ways to do it. If you have aspirations of being pair of shoes. If that's what you're selling you
the head of a label, of getting involved with working with a vocaist you know you're get a half page in Playboy, and if those shoes
the executive end of the business along with going to have to spend a lot of time with are what's happening then that's what they'll
the creative end, you've got to be an repairs and vocal overdubs. That could buy. Great. But with music you can't say,
attorney or have some business back- mean figuring in an additional week or two "Take my word for it, folks!" They want to
ground. It would be a tremendous help. weeks. It's working out whatever you think hear it.
To want to make records? Man, I would it's going to take in studio time to do the
get myself a job at a recording studio, or just vocals, or instrumental overdubs, etc. Then R -e/p: How involved do you get in the
hang out. Or work at studio instrument you try to bring it in for that. The thing about engineering?
rentals picking up Fender Rhodesis and doing a budget is that it can only give you a TL: Very little. I haven't gotten into
taking them to the studio in the city. I don't guideline as to what you think you're going automated mixing as yet only because the
know what other words to use except to get to spend or want to spend. You're talking studio I do most of my mixing in doesn't
on the circuit. Getting a job as a second in a about an intangible thing. It's not like going have it. We do most of our recording at
good recording studio would be an absolute out and building a building. Knowing you're Sound Labs, or have been for the last year -

asset to anybody who wants to learn how to going to need so many feet of wood, so and-a -half. Prior to that it was all at Capitol. I
make records. Sitting back there running many workers and so many yards of plaster still mix at Capitol. For one thing they have
the tape machine, learning how and where to put it all together. Maybe you'll be ten per one of the best echo chambers in the
to make punches, learning the musical cent over your original budget. With country. I think one of the big reasons why
structure of things. Even though you have a recording you're dealing with an. intangible. those rooms are so good is George
responsible job there, your ass isn't on the You have to go with what you think is Augspurger who tunes the rooms. I've

R-e/p 41
 become accustomed to what I hear when I able to make decisions is a very important
mix it down there. When I take it out, it part of producing.
sounds true. I just can't add EQ to
compensate for what I'm hearing or not R -e /p: What do you think about the quality
hearing in the room so that the tape will turn of record pressings?
out right. I just can't do that. It's very TL: It's terrible.
important to me that I hear exactly what I'm
doing. R -e /p: What can be done?
suppose at this particular point, if I were
I TL: I guess what the record companies
suddenly put on the spot and had a good could do is take substantially less in profits, Tommy, AI Schmitt and secona
second, I could probably get a balance. or they could charge an additional dollar. engineer Linda Ty
There's no conceivable way that you can they are doing is making a pressing that is
work in studios for ten years and not have it R -e/p: Do you think record companies exactly as the master tape prior to adding
rub off on you. I'm very conscious of might start to release two versions? An any mastering EQ, etc. They want to hear it
engineering when things don't sound right, audiophile version, and normal product? exactly as the tape.
when there is something wrong; but I've TL: I think that's possible. Actually, it's This is an area that I think a lot of people
chosen to put my emphasis on the music happening right now. The thing is the record pass over and don't give a lot of attention to.
and being finely tuned -in as to what's companies don't want to put in the time, It's probably the most important, and the
happening in the studio. As far as the energy, or money that it would take to set up most drastic point for me. I go through more
recording, I leave that up to Al. a department that would specialize in that traumas when mastering a record because
type of product. So what they're saying is there are such fine lines and such subtleties
R -e/p: Do you refer back to rough mixes at that they'd rather take a portion of their that can be done to the original master while
various times as an aid in remembering profits and give them to someone else who's cutting. There is so much that can happen,
what was originally cut on the "basic" doing that sort of thing as his living. so many variables when you're taking a two
sessions? track tape and putting it on a disk. I know a
TL: Yes, as far as making sure that I don't R -e/p: Suchas Mobile Fidelity's Original lot of people that once they have a two-track
over indulge the track. I try to stay very Masters? They haue an audiophile version they send it to the guy to make a disk. When
conscious of what it was I originally heard at of Breezin'. they listen to it, they say it's great, but Jesus
that specific time. The spontaneity or the TL: I have one of them here. They master at Christ!, that's the most important step. I
magic, or whatever. It helps to know if the half- speed, and press them in Japan. As far mean, you're spending $100,000 on
basics are being enhanced or detracted as the vinyl compound is concerned it's something and when it gets down to the last
from with the addition of each overdub. You incredible. The disk is very quiet. The only thing you say, 'Well, screw it!" I spend a
have to make the right decision, and being fallacy in the process is that what they say good deal of time on the mastering. That

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R-e/p 42 for additional information circle no. 16
doesn't mean just getting an acetate to take TL: There's no way that I could. When I yourself with people who can make sure
home and listen to. Let's say they've took this position I realized that there was that all the other elements are done
enhanced it by adding additional highs to the only so much that I could do as a producer. correctly and put forth in the right manner.
program. What you've got to remember is What I was really giving a workout to was They need to know what to do once it's
that everytime you add something you also being able to delegate authority and projects recorded. It requires daily attention.
have to think about what it is you're to other people. I'm now picking producers, That's another thing, daily attention. It's
subtracting. Also, what is it that you're and the other people that I surround myself easy for a company this large, that has forty
bringing out along with what you want to with. It's taken a year to build the staff that I or fifty acts, to lose something now -and
enhance. The only way you can do that is by have. To find the right people for particular then. If I'm in the studio I have to delegate
sitting at home and listening to it over a jobs, that's the challenge I have now. responsibility to those trust.
If

period of time so that the subtleties start You see, the promotion, marketing, sales, That's the essence, other than obviously
coming out. What is it that you're really
listening for? I don't like to rush the
mastering step, because the next thing you
know something that sounded great like the
all those other areas are as important as
what I do. You can make great records but it
won't happen if you haven't surrounded
been the toughest part of my job.
O
having to come up with the talent, and that's

little edge that you might have added, starts

to sound abrasive once you've listened to it
several times.
You might find you want to raise it only a
dB rather than two, or maybe not add it at
all. Or, if you did something to the bottom in
the mastering, when you cut the disk it
sounded right because you were trying to
zero in on a specific thing. But when you sit
back and hear it, it just doesn't sit right with
you. It's sort of like having a glass of bad
milk. Mastering requires the time to relax
and listen to, remembering what it was that
you had on the original tape as compared to
what you ultimately ended up with on the
disk.
When I EQ a disk I don't EQ it to blow it
up or to make it bigger. All I'm trying to do is
make it sound as much like the tape
sounded as possible. In some cases I find
that Mike Reese, the guy we work with at
Mastering Labs, will suggest something.
Since he's listening to the tape for the first
time his objectivity quite possibly is better
than mine. He might hear something that
didn't even occur to me that will really make
a difference. He'll make a disk, and I'll go
listen to it and let him know what I think. In a
lot of cases what he has done works.
The only thing about these original
masters is that I don't think you're hearing
them in their best light. In those cases where
I've cut things flat from the tape to the disk,
their records are even closer to the tape
than the regular pressing. I really wish I had
someone here who is more versed in cutting
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R -e /p: What's on the horizon for Horizon? strong the beat.
so easy, you can raise and lower the micro-
TL: Quite a few things. We just have a new phone with one hand tied behind your back. For details on these and other microphone
release with a group called Seawind. We There is Model PB -1, one of a series of stands/accessories headliners. Contact:
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R-e/p 44
fob' additional information circle no. 18
 studio construction
The Rudi Breuer approach
by
Rudi Breuer
with the assistance of
Jim Riordan

Naturally, the first step in constructing a don't come by bus as they might do in but with the way we insulate and isolate the
studio is finding the right location. Chicago or New York; they come by car. walls, the factor of losing heat is virtually
Occasionally, as a designer and contractor, I We have a severe parking problem here. down to nothing.
am called on before the site or building has Another location problem is being near Zoning and Permits
been selected. Careful consideration of the airport take -off or landing patterns. Of course, every area is a little different as
location can save a lot of headaches later. Superscope is in such a position. We had to far as the building and zoning regulations go.
For instance, here in California we're build their room in a relatively small area that Often it is difficult for an artist to get around
earthquake prone. We have to have certain was about 20 by 14 feet. We used more than these regulations to build a studio in his
seismic calculations. In particular, some of four hundred pieces of drywall to isolate the home. The only way is if he can show that
the buildings out here are old but spacious. rooms from the plane noise. It was a location the studio is for his private use. The artist
Let's say you want to use a building that was problem which we had to correct. That's who wants to build his own room should
built prior to 1933. It would probably be one of the challenges that makes this recognize there are limitations. I'm working
unsafe for anything in the eyes of the business so interesting. Each studio is on a studio with an artist now where the
building department. You could bring it up- different. situation is right, but, again, not everybody
to -date, but why do that unless you're going At Shade Tree, in Lake Geneva, can afford to have a studio on his private
to buy it. Why put the money in someone Wisconsin, the only problem we had to property. He's going to have to live there a
else's pocket when the lease is going to be consider was the winter. We had to make long time to get his money's worth unless he
over in ten years? The potential client must sure the heating and air conditioning were sells it to another musician. Not just
be made aware of many things which he may right. To do this we used an economizer anybody is going to be willing to pay him two
be totally in the dark about. unit. The net result was by taking the cold air hundred thousand to four hundred
Parking is another big problem here in direct and cutting out the compressor, a lot thousand dollars more just because there's a
L.A. The codes say that for every five less electricity was used. It's a little more studio there. Most people wouldn't know
hundred square feet of building you must expensive to install a unit like that, but it's what to do with it. Then again, being in the
have one parking space. The musicians here well worth it. You need adequate heating, position where he can use it for his private
R-e/p 45
 YOU'VE
GOT
IT WIRED
WITH A
MODEL 15.
b-. -411 -411
HI 'ID -.
. . . . . . . . . I . , -. .. :.
:;:::;::=:;-:
.:r:_; :-;-.; _
---A---y-+-*-.0.
,'41,
-
-
-- --
14
 Buying a big The Model 15 will drive any
mixer can be very 16 -track recorder and give you a vast
deceiving. From SUSS IN
array of mixing, monitoring and cue-
the time of deliv- ing capabilities. For example, the Cue
ery to the moment ACCESS ACCESS
PCV
mixing position can be fed by 48
RCV aero 7END
your board is .
sources simultaneously (all the inputs
operational, you N
TAPE A
Fla
plus all 16 tape playback positions plus
can run into quite all eight echo receives).
t v), :J
a few additional Tr,* Out of the crate, you'll have a lot
costs and frustrat- more mixer in the Model 15 than you
ing time delays. can get elsewhere for the money. Add
But consider your savings on installation (both parts
the Model 15. Rear and labor), and the Model 15 becomes
panel patch points even more cost-effective.
are already wired. So think about the real, often
Included in the cost. The meter bridge hidden costs of buying a mixer. When
is already wired. Included in the cost. you add it all up, we think you'll see
The separate power supply plugs right the practical advantages of getting it
in. Also included in the cost. It's not wired with a
unusual to get your board in the Model 15.
morning and do your first session that The Model
same night. 15's functions,
With the Model 15, you've got interior layout
performance and flexibility wired, too. and complete
From the discrete specifications are
. ;, microphone pre- described in our
M:CESS ACCESS
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\ lent input noise Information
is -126dB (weight- Bulletin. See your
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to one output us for a free
buss, signal -to- copy.
noise is 76dB Tascam Series,
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Formats are Telegraph Road, Montebello, CA 90640.
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for additional information circle no. 19 R-e/p 47

continued from page 45 -
Rudi Breuer was born in Germany
and came to the United States in
1955. By 1958 he was working as a
tradesman, and by 1963 he had
formed his own construction
business. He began building studios
as a sub -contractor in 1967, working
on such facilities as The Record
Plant, Bell Recording, and Wally
Heider. Four years ago, Rudi began
designing his own studios with the
stipulation that he build them. In
recent years, he has designed and
constructed many innovative and
successful studios, including
Bayshore Recording, in Coconut
Grove, Florida; The Shade Tree
Resort Studio, in Lake Geneva,
Wisconsin; and KBK Earth City
Studio, in St. Louis, Missouri; and
Control room ceiling detail - Village Recorders, Studio
use is a definite advantage for him as a all the way. But the inspectors were
built the Village Recorder's Studio D recording artist. bewildered at all the angled walls, floating
and Group Four, to name a few. Whenever we've worked in Canada we've floors and how nothing was parallel the way
James Riordan writes a syndicated had problems with building permits. Being it is in regular construction. To the inspector
rock column called Rock -Pop which contractors is one thing but being it looks like a puzzle. Most of the things we
appears in several newspapers contractors foreign country is another
in a do are strictly unorthodox in the normal
around the United States. Riordan story. The inspectors have a hard time building industry.
has also been producing records for believing the amount of materials that we When I am hired to do a job, I go in and
the last ten years in Nashville, put into these things. For example, Sound look at the place and then come up with
Chicago and Los Angeles. He Interchange, in Toronto, was a new several proposals. Once everyone agrees to
recently moved to the Los Angeles structure with two concrete block outside the final plan we go to the building
area from the Mid -West. walls, and a concrete roof. It was first class department for permits. Material shortages
can vary in the process and are occasionally
a problem. Drywall and insulation continue
to be very scarce. Sometimes it takes up to a
year to plan and acquire the materials for a

"THE PACKAGE"
job. You've got to be very solid financially to
even attempt it. You also have to go with
good designs that are original and accurate
in order to get successful results.

1000 Pure Vinyl 45 RPM Records. Decoupling

Labels ,one co /or) We finish the control room first so that the
All Metal Parts & Processing. electronics people can get an edge on
installing the equipment. We try to do so
Mastering by Dick McGrew using much each day, putting in long hours for the
Neumann VMS 70 Lathe and SX duration of the job. Of course, building time
74 Cutter. varies for each studio. It took us 63 or 64
COMPLETE days to build Shade Tree, which is pretty
PACKAGE.. much our average. Their outside structure
was completed when we got there. Then we

340.oó
did a slab separation by cutting the floor with
a water cooled concrete saw. That's all that
was necessary. We separated the floor from
(FOB DALLAS) the outside structure, the control room from
the isolation booth and the studio from the
control room.
"THE PACKAGE" consists of full processing. In an existing structure where buses,
Re- orders are possible without re- mastering. trucks or sirens go by it's probably going to
be necessary to use dual wall construction
and floating floors. The building used should
Call Toll Free for more information: 800 -527 9026 have a high ceiling. Even the control room
should have a minimum height of 13 feet
before the construction begins. I think any
record manufacturing corp.
cl +r' 902 Industrial Blvd., Dallas, Texas 75207
(214) 741 -2027
structure with a ceiling less than that is
compromising. You just can't do it without
getting into a pinch, and that becomes more
R-e/p 48 for additional information circle no. 20
 ARE YOU STILL
MIXING IN
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difficult and expensive. I always tell people, 2 x wall
"Sure, we can build one at the end of a
runway and next to a railroad track, but how
much do you want to spend ?" Isolation is
expensive. Perhaps it's the single most
important thing in studio construction.
Floating or de-coupling a particular wall or
the studio floor can make the difference c 2 x plate
between a good studio and a bad one. machinery rubber
Of course, what determines the type of
isolation technique needed is the structure
and the outside noise level. Are there other
tenants in the building below you or behind
you? existing concrete slab
If you use a floating floor and floating walls
then you establish a totally isolated base
from the existing structure. No part of the
ground new perimeter saw cut -J
walls touch any of the existing structure. It's FIGURE 1: STANDARD STUDIO CONSTRUCTION
de-coupled from the ceiling, the floor, and
the other walls. There's rubber between the and somebody blindfolded you and blocked floor. The wall on the floating floor isolates it
ceiling and the wall and rubber between the out the sound, we could hit a sledge hammer completely.
floor and the wall. If the wall shifts, it's on the original floor no more than six inches As of this point, none of the electrical and
against the rubber. away and you wouldn't feel it. audio equipment has been installed. They
Both the floating floor and the existing Another method of achieving isolation is are on the second wall on top of the last layer
floor are concrete but one of them floats on by de- coupling the floor from the outside of drywall between the furring strips. Over
top of the other. They are two separate structure. It involves cutting the floor that we install wood, felt, or whatever. We
systems with only one of them coupled to between the studio, the control room and try to punch through over the soundlock.
the structure. If you use a floating floor you the rest of the building. But the first method It's the best spot. Over the soundlock is also
don't have to cut the existing floor because is better, though more expensive. a good place to run air conditioning to the air
the floating floor is about ninety-nine per handlers. By running from the control room
cent de- coupled. Walls and studio over the air lock a lot of the sound
The floating floor system is supported by Wall construction will vary with the job, is shut off. The sound lock usually is next to
isolation pads under plywood, which forms a but usually the first wall may be built on the the control room leading into the studio, so
floor. You use three -and-a -half inches of floor of the existing structure right next to one sound lock can serve both areas. This
concrete and then build the studio on top of the outside wall, or it might be floated. The efficiently utilizes the space and keeps things
that. If the existing structure won't support floating wall gives the best isolation. It is held centrally located, making it simple and
such a system, they you better reconsider. up with rubberized brackets on each side so effective.
You can't float one on top of it. In such cases everything is actually de- coupled. The The sound lock is also made of double wall
the vibration level outside becomes much amount of drywall will also vary depending construction with the sandwiched -type walls
more a factor in how isolated the studio can on what you want to achieve, but generally and ceilings. Sometimes, if we have a
be. we use as many as five layers. The first layer spacious attic we utilize that area for such
Some of today's kinetic isolators are is soundboard, then three layers of drywall, things as amp storage. It can be separately
fantastic. They are made of compressed another soundboard, and then the other two air conditioned, have a drop -down stairwell,
fibrous (synthetic) material pressed into layers of drywall. or a built -in ladder. It's a good place to put
little cubes. If you were standing on a slab We finish the wall, seal it, caulk it; and remote dimmers, which cuts down the cost
that was poured on these kinetic isolators then start another wall. Possibly on a floating of long electrical runs.

FIGURE 2: TYPICAL CONSTRUCTION (VILLAGE RECORDERS' STUDIO 'D')

upper floor existing 2nd story ceiling

>

ÿ'
- L .

insulation!:-
.>'>J
f T < T
L T V
> c">

additional drywall air space

drywall sandwich isolation hangers

exposed sound absorbers

R-e/p 50
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for additional information circle no.. 22 R -e/p 51
 cations
a floating floor about fifty per cent
time. In Group Four [Hollywood]
signed by Harry Newman) we didn't have
b do it because the location was ideal. It was
set back quite aways from the street and the
existing slab was six inches thick. The place
used to be a print shop and it has
tremendously high ceilings ... about twenty -
four feet in height. All we had to do was take
out the false ceiling that was there.
Another example is Captain and Tennilé s
new studio. They have a large warehouse -
type building that once was a store in the
western San Fernando Valley. In their case
we needed to isolate the floor and use a ro
multi -wall system so they could do future
expansion at their spacious location. It is studio floor
necessary to do all proper isolations at this transparent cloth
time.
There are some unique things in their
studio. One is my design of a drum booth
that's below the surface of the studio floor.
It's going to be an all -glass cage and it will
have traps underneath the regular studio
floor. So the kick drum will be totally
isolated. drum booth floor
One of the most interesting but difficult FIGURE 3: PERCUSSION PIT
sides of the studio construction business is
dealing with the many varied problems in the expanding soil it would break up. We When we built Record Plant C [Los
structure that face you when you take on a used a jack hammer to see how thick the Angeles] before the fire there was an
job. One of the studios I built for Westlake floor was and it was incredible! You could eighteen inch brick wall between it and
Audio was Century 21, in Winnipeg, roll tanks across that floor and not hurt it. I'd Studios A and B. Nobody ever thought this
Canada. The temperature was one hundred never seen anything like that before. The would leak, but Gary Kellgren and I
degrees different from California. We tried only problem in not cutting that slab would discussed the possibility. The proposed
to cut slab as we do on most jobs for the be if they built another studio next to this design idea called for building this big
isolation around the control room and the one without floating the floor. They might concrete block wall in there, de- coupling the
perimeter of the studio, but we found that have difficulty running simultaneous roof, and allowing the existing wall to flow
the concrete was twelve inches thick and it sessions since low frequency "flanking" freely. Structurally, it wasn't feasible. The
had half -inch rebar steel reinforcements in would occur through the floor. I think if they foundations would still have been coupled
the concrete. We found that the soil there is had been right next to a road with heavy together. To build such a wall you have to go
clay and when it gets moist it expands. In traffic they would have had problems with into the ground quite aways to have
other words, the whole structure actually low frequency resonance originating from substantial footing. Because the two walls
lifts up as it expands. Obviously, we couldn't the outside. A good set back took care of were parallel and close to one another there
use a thin slab like in California, because of that. was nothing to be achieved. You'd still be
coupling. What we did was cut the slab and I
Under constuction Studio D - Village Recorders, Hollywood. Photo: Steve Finestone. floated a wood wall in there. It took a
weekend to do. A weekend job that cost
seven thousand dollars could have been a
forty thousand dollar wall. That was just the
savings on the wall; to de- couple the roof
and all that goes with it would have been
another three to four weeks. That's how a
studio contractor can save people the
bucks. They were willing to take this route
and to do it my way and it was quick. There
was virtually no down time for the studio.
The wall we built did the trick. I shouldn't say
it stopped it one hundred per cent, but it
stopped it well enough to do simultaneous
sessions, and that's all we were after. You
don't want to expensively overbuild; you just
want to get it right.
I think my two most challenging projects

have been Village Recorders Studio D and

Bayshore. The challenge at Village was that
we had about seven weeks to finish the job.
The other difficult aspect of that job was that
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 we had to do structural remodeling at the and analyze it to see what was holding what.
same time. The place where the studio was Because we were working upstairs, we took
going to be had four posts in it which we had the railing out of a balcony and got a forklift.
to take out. We temporarily shored the We simply brought the materials to the job
building up while we re -did it. We used a fork and then raised them up with the forklift.
PRESENTS THE lift inside the building to get all the beams in At Bayshore there were apartments

$100
MICROPHONE
place. It was really a thrill-a- minute trying to behind the studio which had tennants full
get those beams to fit precisely where the time, and below the studio a yacht
old columns had been. It meant putting it brokerage which is a very quiet sort of
into just the right spot. It was down to the business. There is also a beauty salon in the
STAND nitty -gritty. It was down to a sixteenth of an building. Naturally, the landlord was afraid
inch and that's pretty close for steel work. that we were going to, in his words, "disturb
It's nothing like a new job where you can the neighbors." I had to come up with a
shimmy this or that. It's old, and the old guarantee in writing stating that the end
beams are already there, and you're trying product would not do so. In fact, the City of
to fit this new girder into the existing support Coconut Grove wanted a similar guarantee.
structure. Besides having to make several To accomplish the isolation we again built an
structural modifications we were pressed for isolated floor on top of the existing one using
time. isolation pads. There was no better way to
On the Bayshore job we had some do it.
structural modifications also. We had to We are continually running into structural
pick up a whole section of the roof with a problems involving studios in older
strongback (a steel beam to support the roof buildings. They can really be headaches. I've
from above) because we removed a bearing been called to some jobs where there is no
wall. It had to be done to accommodate the way that the building can support a studio on
control room. We had to call in a structural its upper level.
engineer to go through this whole building One job that did work out well in an older

2 x wall

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FIGURE 3: "BAY SHORE" INSTALLATION

R-e/p 54
 At first glance, the Solid State Logic ing and mix data manipulation.
Master Recording Console is markedly differ- More importantly, the system is remark-
ent from all the others. This is apparent in the ably easy to use. It responds to simple, com-
meticulous detail of its British craftsmanship, mon -sense English commands. It even tests
and in the bold yet carefully considered inno- itself and performs diagnosis of the entire auto-
vations it presents. mation system!
A closer look reveals the unparalleled There is a force behind these elements; a
completeness of the signal processing and rout- force called Music. We feel that today's engi-
ing possibilities. Each channel contains an in- neers and producers waste far too much of their
strument quality noise gate, keyable program time performing repetitive, tedious, non -musical
expander, full feature compressor/limiter, totally tasks. We set out to create a total studio system
flexible true parametric equalisation, and sepa- which would free them from these tasks, giving
rate continuously variable high and low pass them more time to listen to the music, and more
filters. time to concentrate entirely on essentials requir-
The total interface between the con- ing skill and judgment. More time, in other
sole, the multi -track and the Solid State Logic words, to Create.
Studio Computer dramatically increases studio It is not enough to have a collection of
efficiency. At last there is an automation system recording tools. They must be orgqInised and
which brings much needed assistance to re- presented in a manner which contiiutes to the
cording as well as mixing. The SSL computer smoothest possible flow of each session, what-
maintains reel information, tracklists, songtitles ever rs special requirements. We believe that
and cuepoints, then uses this data to perform our SL -4000 E Series constitutes a major fulfill-
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rate programmable drop -ins, and automatic Every Solid State Logic console is built
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Al mixing changes are captured well initial selection of components to the final on-
within frame accuracy, and with absolutely no site commissioning, every detail receives expe-
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The status of the automated faders is software - highly personal involvement is not inexpensive;
directed, enabling completely instinctive opera- but only in this way can we build instruments
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 construct. irregular. The floor, for obvious reasons, is
level. The walls are pie- shaped and the
Village ceiling is sloped. What you're trying to do is
One of the most beautiful rooms that I did maximize the delay. The volume should be
recently was the Village Recorders Studio at least twelve hundred cubic feet, but the
D. We have done several remodels on some bigger the better. Being in that particular
of their rooms. It's the constant process of location was like committing suicide. It was
updating that I was referring to earlier. It's the worst place you could build an echo
funny but (I'm going to repeat somebody's chamber, so we floated the whole thing on
words here) "now we've entered the era of concrete to get rid of all the leakage
the super rooms." problems with low resonances. It's not the
Earth City Studios, St. Louis, Missouri. only way to do it, but it's the most feasible
Studio D was built with Fleetwood Mac in
mind. They block book it for extended and economical. Coil springs should not be
building was the Chicago Recording periods. I think Geordie Hormel, the owner, used for that purpose because springs have
Company. In this case the building checked knew basically what they had wanted. The a tendency to pick up sound waves and
out fine. We got a break in that they had construction went smoothly and the whole resonate. Actually, fiberglass is really the
some sort of isolated floor from when the decoration concept was done in antiques. best way to do it, so that's what we did. At
building had been used as a radio station. Geordie went out and bought thousands of Village, they don't hear anything going by in
I was called in for consultation on the KBK dollars worth of antiques to install into the the street. And you would definitely hear it in
Earth City Studio, in St. Louis. (They studio. That included lead -stained windows the echo chamber if you were going to hear it
already had plans drawn by an AIA, and the and the like. Geordie's great on mirrors. He at all.
plans were conflicting.) The local contractor did an absolutely fantastic thing with mirrors The live echo chamber has an isolated
had come up with some very scary bids. in the longue area, which is relatively small, concrete floor (isolated again from the other
When I deciphered it, all it came down to but with mirrors it looks fantastic. floating floors), wood studs, three layers of
was poorly prepared plans. A heavy V- Studio D is very unique. It's very spacious. drywall and it's plastered from the inside. It
shaped block wall was suspended over the They have a live echo chamber there and it has three coats of plaster and a plaster putty
control room window by no visible means of has a six -foot window and door in it. The finish on it.
support (skyhook theory). I eliminated all studio has three iso-booths, including the In Studio D echo chamber a window was
block walls and went to a conventional wall. I live echo chamber. Because Village is on the included so that a picture could be projected
ended up doing the job and redesigning corner of two busy streets, there's a lot of on the wall inside and seen through the
extensively. They now have a fantastic 24- city noise. Just building a live echo chamber window. They often use the projector to set
track studio, and for a lot less than what was risky. mood in the studio.
their original plans would have cost to The shape of an echo chamber is always The Village Recorders Studio D is

örrpare our spee., specs, and

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for additional information circle no. 25 R-e!p 59

 dungeon, it's going to sound like that
because there's no joy there. It's amazing
the way some of these studios are designed.
Shade Tree has an outside window. It's
quite a view, and the mood created inside is
very good. When we built it we had to
consider condensation from the outside
window, so we ran a heat strip between it
and the inside. The heat strip dries up any
condensation, leaving the outside window
clear all the time. (Thanks, Dave.)
Shade Tree employed the new design that
I gradually evolved into from the
compression-type rooms. It's more of a
relief -type room. I think the sound they get
there is great.
When Bob Todrank called me in to help
build Ronnie Milsap's studio in Nashville we
had to use an upstairs room for live strings
and it worked out very well. We would have
liked to have a little more ceiling height, but it
turned out very good. It has a hardwood
floor with redwood on walls and ceiling. It's
really a very bright string room.
Window to outside world, Shadetree,
"Some Studios Aren't Lake Geneva, Wisconsin.
What They Used To Be" actually be helpful. They can act as relief,
Control room window frame detail -Village Re coders,
When you talk about structural problems
you have to realize that some of the older
believe it or not. But, basically, this sort of
movement degrades the transmission loss.
Studio D. Photo: Steve Finestone.
studios are not what they used to be In a multi- studio facility this can present a
probably the most elaborate studio I've built. acoutically because they deteriorate. Things real problem because of session
How a place feels is extremely important. If shift in the walls and crack, and they open interference. As an example, rock and roll in
you have a room that's depressing and like a up. For some control rooms the cracks may one studio leaking into vocal in the other
studio.
Owners who have studios built by people
who don't know exactly how to build them
NOISE GATE GT-4 run a high risk of having a bad room. The

r
problem might be almost impossible to
Four self powered channels in correct short of starting over.
1 -3/4" of rack space. He has the additional problem that if the
OMNI CRAFT Each channel has threshold and word gets out that there's something wrong
release control, key input switch,
and a condition - indicating led. he'll surely lose clients. Building it right the
$395.00 for four channels. first time will go a long way in preventing
financial suicide.
I recall a facility that required going back
If you have been reluctant to use noise and re -doing half the, rooms because a
gates in your mixdowns because you simple fact was neglected in the coupling
don't like the way they "sound ", then and de- coupling situation. You can't use just
you have been waiting for the Omni any type of would -be contractor or "wood
Craft GT -4. The GT -4 uses only butcher" to build a studio. It takes a lot of
a resistive L -pad to attentuate and experience and upgrading all the time. You
might have a last -minute change. There is
therefore contributes no noise or
just no way in the world that you can put
distortion.
everything down on paper. It's a constant
process of up- dating your acoustic designs
because there's so much progress being
made electronically. Then, too, I think we're
building a much better room, acoustically
speaking, than we did a few years ago.
Studio facilities run the gamut from the
smallest demo operation to multi - million
dollar master studio.
The owner of a demo room might have a
NI CRAFT INC.
desire to make masters, and he'll continually
R ..4 BOX 40 be re- investing in new equipment and
L CKPORT, IL. To get the full story, call or
updating what he already has. At som epoint
6 441 write Omni Craft and ask about
the owner has to make a really serious
8 5- 838 -1285 the noise gate that "doesn't make
decision. His $40 an hour rooms probably
a sound"
R-e/p 60 for additional information circle no. 26
won't cut it. The next big investment has to It's the same with specialty items. Flow do retail for many goods and services, while the
be improvements in the room, be it we know what kind of environment the contractor will be able to get discounts.
modifications or outright re- location and acoustic materials are tested in? We've I always feel you have got to be straight

brand new everything. checked out figures which say that so much with an owner, and yet flexible. Every
A good studio should have a good traffic lead will equal so much of a thickness of potential studio owner has some definite
pattern. It has to complement the studio. concrete. We've tried some of these things, ideas. Ronnie Milsap's job was one of those.
You can often use the traffic area for and in some instances it seems like a valid He's done so much recording that he had
isolation in a multi-complex situation. Some statement; but in some cases it's totally some good ideas to contribute. This project
people aren't willing to pay for an extra unrealistic. Lead is really a last chance thing was a joint venture with Bob Todrank. We
preliminary studies to see how things are
going to go. This kind of thing can turn into a
- an eleventh hour solution because
"weight wise" there are a lot of drawbacks,
- used some of his ideas, some of mine, and
some of Milsap's.
studio with no clear style or design. but "space wise" it's very efficient. Contracting for studios is a lot different
The studio construction business is A good studio contractor builds with a gut than building houses, where you're dealing
unique in that most cases the only time you feeling and intuitiveness that is developed with a single designer who's got a single plan
can experiment is when you have to go for it. over the years. Of course, a substantial for building sixty units. It's a one -of -a -kind
It's kind of a precarious position. construction background, along with a good sort of constructing. It's dealing with the air
I've tried constructing models to work out imagination, is essential. Don't be afraid to conditioning man one minute, and the rock
sound problems, but they don't seem to give ask your contractor. I think that in this star the next.
accurate results. There's nothing like the business it's something you have to do. Building studios requires cooperation
full -scale environment. There are plenty of Once I give the owner a completion date he's among a great many different types of
statistics on what will stop what, but so got equipment coming in and all kinds of people, and being flexible with your ideas
much of this information is highly dependent things lined up, so I've got to come through and the ideas contributed by the people who
on what environment the tests were for him. The responsibility of the owner is to want the studio. It's also making sure that
conducted in. have a realistic set timetable for you're giving the client the best possible
A similar example is speakers. Just construction. This is to his advantage when value for his money in building techniques,
because a speaker functioned well in a you consider such things as the inflation rate and by keeping him out of trouble design -
particular testing environment doesn't mean of raw material and the expense of extended wise and before the building begins.
it will react the same way in a given control construction time. With these accelerated It's understanding the life style and
room environment. I would like to see all the cost increases delays can cost the owner economics of around the -clock studio
-

speaker manufacturers use the same testing many thousands of dollars. operations, and at the same time being
environment so that accurate comparisons The contractor, besides saving time, can comfortable with the nine to five planning
could be made. In the end the owner has to also save in the purchase of the raw material. commissions, building inspectors, and
make a selection. The studio owner will have to pay straight elusive building material.

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for additional information circle no. 27 6?

 und Insulation Requirements
for Recording Studios
by Michael Rettinger
Consultant in Acoustics
Encino, California
In planning the construction of a new recording continuous recording, when the noise is chiefly street
studio, or even in evaluating its acoustic climate after traffic disturbances. The accuracy would not be as
completion, a 24 -hour noise exposure level survey is good if many short -term high -level signals had to be
desirable. This may reveal unexpected rumbles during evaluated, such as foghorn whistles, gunshots, siren
a certain hour of the day, periodic clinks and clonks of blasts, thunder, etc.
machinery near the room, and other equally In practice, when the tests are to be carried out in
objectionable acoustic disturbances. the open, the small reel -to -reel or cassette recorder
Unfortunately, the making of such a prolonged and associated intervalometer may in the evening be
sound recording requires over 20 miles of magnetic hidden in a bush on the site, or if overnight parking is
tape running at 15 ips, plus personnel for the three permitted there, the equipment may be locked in a car,
eight -hour shifts. Additionally, to secure statistical with the extension microphone hanging unobtrusively
information on the project, the recordings have to be on the outside. Transportation of the investigator to
either re- recorded onto a graphic level recorder to and from the site may be by an associate or by taxi.
make the temporal noise level variations visible, or When the site is large, this investigator has deployed
else they have to be evaluated in some other time - -several tape recorders about the lot to obtain the
consuming manner. temporal noise level variations at several locations.
To economize the process of noise exposure level
surveys, micro -sampling has come into vogue. Since dB FIGURE 1

very rarely the important noise peaks have a

110

predominant frequency above 6,000 Hertz, so that 100

high -fidelity recording is not necessary, a tape speed 90

o
of 1 -7/8 ips can be employed in the survey, to save RO

both tape and to reduce the number of reel changes 70

L
per hour. Also, the magnetic tape recorder does not 60 Lo
have to operate continuously, but for only a given Lso
percentage of time. Thus, when the recorder is "on" L90
only 10% of the time, say hour and 12 minutes in 12
1

hours, the noise history may be recorded on only 675

feet of tape, which, when 0.001 "thick, can be put on a 30

standard 5" diameter reel. Similarly, a "one- hour"

cassette operated 10% of the time can accommodate D
10 12 0 12
z
10 hours of noise recording. MiDNiGRT NOON MIDNIGHT

So as not to miss exceptional noise level changes in

an hour's period, it is best, in the 10% recording
technique, to record for six seconds continuously Figure shows a 24 -hour noise exposure level
1

every minute, instead of recording continuously for six survey made at a proposed studio site. The
minutes every hour. designations L,, Lio, L50, and L90 stand for the C-
The switching device, known as intervalometer, weighted decile noise levels exceeded respectively 1,
must not deactivate the electronics of the recorder, 10, 50 and 90 per cent of the time. In environmental
since this would introduce a significant time lag in the assessment work the A- weighted sound levels are
six -second intervals of recording, but must apply a often used in such surveys, to gain a measure of the
brake unit to the tape transport mechanism which is annoyance which the acoustic disturbances may
able to start and stop the medium instantly. produce on the dwellers of the area. This is of less
The accuracy of the micro -sampled results are importance here, since in studio work one is more
remarkably good. The micro -sampled decile noise interested in the amount of sound insulation required
level exceeded 50% of the test period, or L50, is less to achieve a specified interior noise level limit from a
than 0.5 decibels different from the Lso obtained by - continued overleaf
R-e/p 62
 We really con't have to b-oad- With the ECM -56F, Sony moves It's no stranger to theatres, sound
cast the virtues cf our ecuipment. in the direction cf a uni- directional con- stages, large halls and televsicn studios.
Especially t you've ever troad- denser microplone. Offering Sony's When you can't get proximit}, make
cast on our equipment. exclusive Back E ectret design, this sure you're not at a distance-from Sony.
Infact, go into almost any profes- unit combines a wide frequency Sony's line of micropl-o fes is as
sional facility, anc it'll be easy tc spot response, with uncanny smoothness. complete as you'll find anywhere.
Sony. With one e:ceptior: The Back Electret also sets the But it also has Sony's disciplined
Our miniature omri directional ECM -53FP ahead. The microphone: a quality and on-going perfecto -ism.
electret condenser mike. The f exible Cardioic for desk or podium Which you won't find anywhere.
ECM -50PS is so small, you'd never Sony C -74 microphone (not
expect such big performance. 1"et this pictured), is a gin-type. You'll often see
tie .ac microphore offers a wide fre- it at news conferences, where loaded
quency response with full cove-age questions are asked. This uni-directional
«' 1978 Sony Indus ries. A Division of Sony Cor> of America
from any direction. condenser microphone is acknowl- 9 West 57 Street. New York, N Y 10019.
On your vi9t you'll also'ccme edged as the standard in its category. Sony is a trademark of Sony Corp.
across the Sony C -37P. This is a profes-
sional condenser mike that's at home
on stage or in studios. This versatility is
enl-anced by a selector switch that lets
you go from omnito uni- directional.
And thanks to FET circuitry, the 37P
boasts a remarkaoly wide dynanic
range, allowing sound pressures of up
to 154 dB.

for additional information cire no. 28

 Recommended Background Noise Criteria for Various Rooms
knowledge of the exterior sound pressure level
A- Weighted
spectrum. Type of Enclosure PNC Sound Level
When a statistical distribution analyzer is not Recording Studios, Concert Halls 15-20 25 -30

\`\\
Theatres 20 25 30
available for determining the decile noise levels, they Homes 25-30
-

35
-

-40
35

may be obtained by adding all the time intervals Offices 30-35 40 -45
Stores 35-40 45 50
between two specified noise levels, as obtained from -

`\\\' :
80
the temporal noise level variation chart, as illustrated

\````-
on Figure 2.
FIGURE 2

3.6 3
70
mi
90 -95 SPL Probability = T 3
+ + 1 = 17.5%
á dB-A

```
WEEMig
60 _ PNC65-

\\\`
0

\\
N 70
`PNC 60

=_
m
100

\`"`_
65.5
50 PNC55_
95 m
61
o
fPNC50

LIMN 0
90 m
57
PI 40 PNC45_

`\``
85 52.5
Z:
SPL
c
80 48
PNC35_
75 43.5
PNC30

_
`
70 39

35
65
0 10 20 30 40 50 60 PN Bo:-
20
30.5
Time Seconds
10 PNC 15.
26
A noise histogram shows the precentage of time
that the noise level at a given area is found between
o
two set limits. This amplitude distribution is by means 31.5 63 125 250 500 1,000 2,000 4,000 8,000
of rectangles whose widths are the noise level ranges Preferred Octave Band Center Frequencies, Hz
and whose heights are the temporal percentages. FIGURE 3: PREFERRED NOISE CRITERIA CURVES
The question arises now what can be done towards Each curve is a code for specifying the noise level characteristic, or spectrum,
of noise in rooms.
calculating the required sound insulation of the
exterior boundaries of the planned studio after the recorder, through a variable bandpass filter, to a
noise exposure level survey has been conducted at the graphic level recorder or other instrument to obtain
prospective site. First, from the magnetic tape used to the temporal sound pressure level variations in the
record the temporal noise level variation, the various octaves or third -octaves contained in the
spectrum of the prevailing noise should be obtained. variable bandpass filter. We obtain thus a series of
This may be done by connecting the output of the charts, much like that of Figure 1, each chart

What
The MRL Calibration G1 doh Is you, pool 01
the quality control that goes into every MRL
Reproducer Calibration Taper We guarantee
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you see requirements of IEC, NAB, AES, and EIA

Standards.
MRL Calibration Tapes me designed and
-

is what supported by expel is in magnetic recold ing

and audio standardization we helped witty
the standards. Each tape comes with
.

you detailed insuucuons and application notes.

The MRL catalog includes tapes for all studio
applications. In addi Gun to Ihr. usual spot
trequency lales. me make single -tone tapes
rapid swept Im rqucncy tapes, wideband 111
113r1 octave I,,uul pink 1,14141om 110150 Idpr.,
and dilfcrrncr nu'lluul anrnutlr sclup Lip, ',.
I ,a a ratalnq and of ,rv,'i GU
a h -.l M051 :ee av, dable 1111111 stock.
tle.del , 111 the LISA and Canada, (onto I

I ( (Jay) McKnight at
Magnetic Reference Laboratory, Inc.

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Mountain View, CA 94043
(415) 965.8187 .t
Exclusive Export Agent Gotham Éxpo1l Culp, 0
t-
:

New Ymmmk. NY

R-e/p 64 for additional information circle no. 29

pertaining to a different frequency band. Again we
must perform a statistical evaluation of the octave
components, that is, decile noise levels, Lí L,ó, etc.,,
THE MAGAZINE COLLECTOR
At last! A magazine collector that will keep all
where the L primes pertain to the various octave your special issues of RECORDING engineer/
producer free from dog -eared corners and other
sound pressure levels. damage. This heavy duty, rich brown vinyl maga-
From a practical point of view, it is not necessary to zine collector will store and protect your maga- MAGAZINE
NA\IF.

consider L. levels, that is, decile noise levels exceeded zines, making it simple to find that informative
article or unusual photograph when you want it.
by .1% of the test period, because such a small Our sturdy collector features a modern slash cut,
percentage refers to only the noise levels in 3.6 allowing easy removal of any issue. It measures
4" across on the inside and will hold publications
seconds within an hour. When the standard deviation up to 81/2 x 113/4. For easy identification, our publi-
of the noise (a measure of the spread about a mean cation's name is stamped in gold at the top of the
collector's backbone. You can order these col-
value) is 6 dB, the noise level difference between L., lectors now for the special price of $5.50 each,
and L, is 4.5 dB when the normal distribution of the (plus applicable sales tax).
Send your order to: RECORDING engineer /producer
noise levels is near Gaussian. To use L., as the P.O. Box 2449, Hollywood, CA 90028
criterion value for the exterior noise instead of L,
Please send me collectori'r
would require twice the surface density of the walls to
Name
achieve a desired interior noise level limit. This means
Address
twice as thick walls, since surface density refers to the
City State Zip
mass per unit wall area.
Figure 3 shows the series of curves known as PNC Check with order [' Master Charge BankAmericard (VISA)
graphs. Each curve is a code for specifying the noise 1 1 I 1 1 1 1

level characteristic, or spectrum, of the noise in a Exilration Date

room. In sound recording studios PNC -20 is generally Mo yr
Master Charge includes 4 d'gits above your name
desired, which is equivalent to an A- weighted sound
level of 30 dB -A.
Figure 4 represents a graphic solution to the
problem of how to determine the required sound
insulation of the exterior walls of a planned studio. The
solid line is the prevailing noise level spectrum during
1 % of the time, the so- called Lí as discussed
,

previously, and is labelled Curve A. The dashed line is

NEOTEK
the PNC -20 characteristic desired for the interior of

íßa
FIGURE 4
80

70 A
>
cs
60
en

: 50
a
-Es

tic
40 MEN
,,,, .-
ME A

30 No matter what console you are considering,

O
>
10
C.)
20 II Mil C you can't get a cleaner board or a better
dollar value than a NEOTEK Series Ill.
The fully professional Series Ill is available
B
10 configured up to 40 imputs with 32 track
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o band state variable parametric equalizer,
31.5 63 125 250 500 1000 2000 4000 8000 odd even track panning, & VU -PPM light
Mid - Frequencies of Octave Band, Hz meters. NEOTEK is the pioneer & leader in
transformerless console design.
Curve A: Decile noise level spectrum existing 1% of time.
Curve B: Preferred noise criterion PNC -20, equal to 30 dB -A. A full line studio Call Bill Wilson and let
Curve C: Required sound insulation characteristic of studio (curve A design- construction us put our years of ex-
minus curve B.) company perience to work for
you.
the studio, and is described as Curve B. Curve C is the Atin Audio
difference between Curve A and Curve B, and Associates
constitutes the required sound insulation 3191Bonnaview Dr
characteristic of the exterior boundaries of the Hermitage, _ 615 -883 -1405
planned building.
R-e/p 65
 Announcing
the new 24track designed for the 1980's.
Otan MTR90.

The 1980's are brought one step

nearer by the introduction of the
MTR- 90. This new sophisticated de-
sign is based on accumulated tech-
nology and innovation which have
been the hallmark of Otari for over
PWI
446, ' V
-w4°.111°
15 years. Is. °`

The new - generation tape transport

incorporates a pinch - roller -free di-
rect drive capstan with phase- locked-
loop dc -servo circuitry. Tape speeds
are 15/30 ips with ±20% stepless
varispeed and a digital percentage
readout. Features include full dc-
servo on supply and take -up motors
for constant tape tension, automatic
switching between input /sync /re-
produce electronics with gapless
punch -in /punch -out. And a sliding
tape -speed controller, built -in digital
timer, auto /manual motor -driven
head shields plus 40 -ohm balanced
output, to name but a few. It comes CUE Po>
with the latest electronics featuring a
single plug -in card per channel.

The MTR -90 is also available in a

16 -track frame, and a 16 -track pre -
wired for 24 which can be upgraded
to a 24 -track machine simply and
economically. For the full story, get
in contact with us.

U.S.A.: Otari Corporation, 981 Industrial Road,

San Carlos, California 94070
Phone: (415) 593 -1648

Japan: Otani Electric Co., Ltd., 4 -29 -18 Minami Ogikubo,

Suginami -ku, Tokyo 167
Phone: (03) 333 -9631

for additional information circle no. 31 R-e/p 67

 Mr. "D 's" control room, Solid State Logic console, Kendun Recorders, Burbank

Studio Design Requirements For The Next Decade

by
Kent Duncan
Sierra Audio
Burbank, California

In this, the infancy of the digital recording personal experience, it seems safe to equipment.
age, a significant number of manufacturers observe that not one out of a hundred
have already introduced professional audio studios, today, has 90 dB of broadband Analysis of Requirements
recording systems capable of from 20 to 30 outside interference rejection. Our own first for Recording Studio Design
dB better signal -to -noise ratios than had design and construction projects that for the Next Ten Years
been the standard up to this time. The clearly address this new isolation Realizing that the bulk of audio recording
challenge of digital technology as it relates to requirement are the two studios we are in the United States, Europe and Japan
the modern studio acoustic environment is presently building for Fantasy Records, today is done by the small independent
one that must now be addressed. The Berkeley; the two studios we are building in recording studio, supported by major
implications both to signal processing and Tokyo for Kitty Records; and, of course, the record labels, the goals of successful studio
acoustic performance of the recording turnkey facility of twelve studios for design and construction are straight
studio are as clear as they are unaddressed. CBS/Sony in Tokyo. forward: The studio owner desires to
Since the design and construction team of This discussion, then, will be divided into achieve maximum return on his investment.
Sierra Audio and Tom Hidley is the two parts. As follows, Part One will provide To do this the studio he wants designed and
leading turnkey builder in this industry (207 background focus to the subject. Part Two, constructed must meet the demand for
studio projects, worldwide) it falls to us, authored by Tom Hidley will appear in the outstanding acoustical, electronic and
more than to any others, to face up to this June issue of R -e/p setting the parameters human performance.
timely and demanding new acoustical and specifications required to exploit the
challenge. To illustrate the point: from new technology and new generations of - continued
R-e/p 68
Autilo-Tecknica introduces
five new iukrophones...
and il plea sant surprise.
w
AT813
Electret
Condenser
Cardioid

AT811
Electret
Condenser
Cardioid

AT801
Electret
Condenser
Omnidirectional

OAT812
Moving Coil
Dynamic
Cardicid

ÁT802
Moving Coil
Dynamic
Omnidirectional

Take a close look at these new no distortion even when used close -up electret condenser with integral wind-
Audio -Technica microphones. Three to high -level performers. And the screen is pegged at $95. All complete
electret condensers and two dynamics. balanced, phased Lo -Z (600 Ohm) out- with full one -year warranty.
Plus two clip -on miniature electrets (not put matches pro and semi -pro mixers Once you've seen and tried these
shown). All are superbly finished. Care- alike. new Audio -Technica microphones
fully thought out in every detail. With the Now for the surprise. The price. we think you'll welcome them. Not just
right "heft" and feel. Professional A3M Both omnis are nationally advertised at because they cost so little...but because
Switchcraft output connectors, of course. just $60, for either dynamic or electret they do so much. Available now from
Then listen in your studio. Full - condenser element. The two basic car - your Audio -Technica Professional
range, peak -free, clean and crisp. With dioids are just $80, while the AT813 Products dealer.

audio technica Great sound, right from the start!

AUDIO -TECHNICA U.S., INC., Dept.39RE, 33 SHawassee Aven.ie Fairlawn, Ohio 44313 In Canada: Superior Electronics, Inc.
R-e/p 69
for additional information circle no. 32
 the success of a project is very much a part fact that the random field components that
of the design concept, and cannot ever be must be part of the analysis procedure are
ignored. ignored.) The term broadband is used to
The net effect of not rigidly adhering to connote the frequency range 31 Hz to 16
these valid acoustical, electrical and human kHz.
design basics and principles has often Pulse testing techniques which may have
resulted in rooms where tinkering with the some accuracy in mid -range or top -end is
monitor system is a way of life, rather than unreliable in typical audio studio
having a monitor system as an integral unit environments where dimensions of less
Anti-static underlay and of the studio, to be relied upon as a basis of than one full wave -length of the frequency
acoustic sheathing prior to final finish. artistic evaluation. The purpose of this being measured exist. [The wave -length of
article then is to direct the reader toward 40 Hz is approximately 10 meters (32 feet),
Acoustically the studio must provide the careful analysis of the theory of any acoustic and most control rooms, as we have
artist and producer with a well- defined design, and perhaps to broaden the horizon observed, have maximum dimensions of not
sound, free of interference from outside and sophistication of the reader by sharing more than 2/3 that dimension.] Additionally,
sources, and providing internal separation the benefits of our worldwide consulting adjustments made on voicing filters when
between instruments generating very high experience. using a source other than pink -noise or
sound pressure levels (SPL) located only a warble -tones ignore the effect of alterations
few feet apart. Additionally, the control Measurement Techniques at the harmonics of the frequency being
room must provide a calibrated listening Since the acoustic environment to be adjusted.
reference free of phase inversions that measured will itself, in turn, become the Decay time must be plotted to provide
would impede the ability to accurately measurement tool for evaluating the meaningful analysis of any space. Unless the
evaluate the performance in as close to true recorded product, the need for exacting analysis of decay time is tied to a frequency
and flat reproduction as possible. analytical work cannot be stressed too range meaningful measurement is lacking. It
Electronically, the studio must be strongly. All Sierra/Hidley analysis is done is fine to say that one wants a two -second
designed and equipped to the highest using pink -noise and warble -tones studio, or a half- second control room, but
technical standards and impose no creative measured by Bruel & Kajer equipment this is meaningless without complete
compromises due to lack of flexibility or through the calibrated B&K Model 4134 specification.
reliability. random grazing microphone. (We never
From the human performance point of cease to be amazed at those who attempt to The Basic Studio Layout
view, an environment that is comfortable use omni microphones of sizes many times To illustrate, the following is a discussion
and conducive to creativity is extremely the wavelength of the high frequency of an average studio used for pop- recording,
desirable. The human interface so vital to material to be plotted, to say nothing of the that might accommodate 20 - 35 musicians.
Talking first of the studio (a discussion of
the control room will follow), the initial work
is twofold: 1) compute the primary resonant
frequency of the room and design an
attenuation system to remove this
THE
At last!
MAGAZINE COLLECTOR
magazine collector that will keep all
A
irregularity as it appears in the room curve.
2) Provide a large amount of low -end
your special issues of RECORDING engineer/ attenuation to achieve sufficient isolation,
producer free from dog -eared corners and other instrument-to- instrument. To do this
damage. This heavy duty, rich brown vinyl maga- MncArtsr
zine collector will store and protect your maga- effectively there must be an understanding
zines, making it simple to find that informative
NAME
of the sound pressure levels generated by
article or unusual photograph when you want it. the average band. For example, when
Our sturdy collector features a modern slash cut, measuring the Basie Band playing at double
allowing easy removal of any issue. It measures F, one would ordinarily experience
4" across on the inside and will hold publications reasonable 104 dB SPL peaks. But, a rock
up to 81/2 x 113/4. For easy identification, our publi- and roll drummer will often develop 120 dB
cation's name is stamped in gold at the top of the SPL of impact energy, threatening what
collector's backbone. You can order these col- would ordinarily have been sufficient
lectors now for the special price of $5.50 each,
(plus applicable sales tax). isolation.
Send your order to: RECORDING engineer /producer A bass guitar with 112 dB SPL centered
P.O. Box 2449, Hollywood, CA 90028 at, maybe, 50 - 80 Hz, and kick -drum levels
even higher than that dictate that in addition
Please send me collector(s) to having airborne (wave) challenges in the
Name room, the walls and floors will tend to move
in mechanical resonance with this low
Address
frequency energy. Properly treated with
City State Zip active attenuators the standing waves
Check with order E Master Charge 7 BankAmericard (VISA) created by these large amounts of low -end
flutter will be eliminated.
Audible mid-range and high -end flutter
Expiration Date echoes cause additional problems which will
Mo Yr
need to be solved.
Master Charge includes 4 digits above your name In solving these problems the acoustician
must reach a balance between isolation and
proximity to provide an artist the ideal
R-e/p 70
 )(icon 224 DIGITAL RE. VERB

This new
Lexicon reverb
brings
IMMED SET CAE_ SHIFT
great sound
FUNCTIC'N
down to size.

CROSS TREBLE PRE -

MID O' /ER DECAY DEPTH DELAY
BASS

REVERB- TIME

Model 224 reverberation system

has the sound, the controls,
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The remarkable - and remarkably compact - Lexicon
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And you get unprecedented control over all significant
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Model 224 saves studio space and is fully portable. Its 51/2" x 8"
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The system's high speed digital processor holds up to eight different
programs and requires only 7 inches of rack space.
Currently available programs include: concert hall programs with
stereo input and four outputs that create the space and depth of a live
performance with decay times of 0.6 seconds to 70 seconds; acoustic
chamber programs that provide sound equal to the best reverberation
chambers; plate programs that outperform the highest quality reverberation
plates or other mechanical devices with full control of all parameters
including pre -delay of up to 256 milliseconds.
Model 224. A major advance from Lexicon. Once you've heard it,
you'll never want to do another session without it.

Lexicon, Inc., 60 Turner Street, Waltham, MA 02154 (617) 891 -6790

eumn R-e/p 71
 workable situation, meaning adaquate
separation of at least 20 dB, broadband,
instrument -to- instrument, three meters
(approximately 10 feet) apart.
The most severe requirement for
isolation demands an integrated design
consideration, involving floor, walls and
ceiling, as will be shown. A minimum
requirement now exists of 50 dB of isolation
between two floor -coupled rhythm
instruments: piano producing 80 - 90 dB
SPL, and drums yielding in excess of 120 dB
... which good recording practice requires
to be no further than 3 meters (10 feet) from
one another.
To suggest that one or the other of the
instruments be placed in a separate room to
achieve isolation is much too restrictive to
the human performance factor, as well as
being unneccessary, relative to what we
know of acoustic design today. Diaphragmatic Power Attenuator (bass trap) and floating concrete floor detail.

The Rhythm Area

The integrated solution to the problem absorption. The Active Trap
involves decoupling each instrument from a Obviously, energy cannot be created or
common floor, as well as providing an Floor and Wall Construction destroyed. The energy of unwanted
attenuation system and massive wall system As an almost universal specification the soundwaves must be converted into motion
that not only provides a lack of sympathetic floor of the greatest majority of studios will by attenuation through membranes
resonance well below 31 Hz, but sufficient probably not have to exceed 30 cm (12 vibrating in sympathetic resonance, thereby
isolation to the outside as well. As designed, inches) of high density concrete slab. Atop reducing the energy to a level that provides
our drum cage provides 26 dB broadband this, each floated off the base slab with long - sufficient isolation, instrument -to-
isolation at a distance of 30 cm. The ceiling is life, open -cell rubber layer to form an instrument. While there are other methods
designed with 20+ dB low -end attenuation, acoustic sandwich, are a series of 20 cm (8 to accomplish this, such as slot resonators
and the piano is faced into a broadband trap, inch) concrete slabs linearly isolated from and tuned wedges, Tom Hidley developed
providing an additional 6 dB rolloff. The each other. (The control room actually sits the active trap as the method upon which
science today can indeed achieve 50 -odd dB on a third slab to further decouple the high- the Sierra/Hidley acoustic design is based.
broadband separation (26 plus 20 plus 6) power monitor system from the studio The active trap is an acoustic sandwich of
with these two instruments 10 feet apart, in space.) materials suspended to move freely in a
the same room! Typical stud and plasterboard construc- cavity designed specifically to attenuate a
However, if a studio were built inflexibly tion is found to be the most cost effective particular range of frequencies. Physically
with the instruments placed as provided for and flexible high mass wall technique used the blankets are suspended to allow free
by specific acoustical treatments, the worldwide. With the stud plates barrier motion as the trap converts sound waves
producer and engineer are obviously denied isolated from the slab, standard into physical motion. The specifications that
alternatives and choice to augment various construction calls for2 x 6 studs with 5 to 10 determine the amount of attenuation and
artistic properties of the instrument. At the cm of high mass materials overlapped and the center frequency of a particular trap are
other end of the alternative, far too many sandwiched as individually calculated for the trap length, spacing between traps,
studios are uniform throughout. This is too each particular application. The surfaces volume of the cavity, the angle of the trap in
confining in light of the state of the studio are a series of membranes which will react relation to the base line of the trap opening,
design art today. with sympathetic vibration to frequencies in and the ratio of cavity opening to cavity
Ideally, given sufficient total space for the the very low ranges, typically 8 to 36 Hz. volume.
studio an area of very short decay time Three or four of these wall systems are used The advantage of this approach is that
would be designed for the rhythm section, a with air spaces between for both control more attenuation across a given floor
moderate decay time area for guitars and room and studio, depending on isolation surface area is provided from a decidedly
other electric instruments, a medium -to- guarantee. * smaller area and volume of material than
warm area for horns and acoustic would otherwise be possible. The active
instruments, and a multiple -decay isolation trap has been found to be significantly more
area for strings and vocals. * The fact that Sierra Audio/Hidley designs efficient for recording studio application.
It becomes apparent that isolation control offer an acoustic guarantee has interested
Through the integrated use of these
clients and designers around the world. As far
(rejection) is a quite different matter, and design and construction techniques the
as we are aware, we are the only firm which
must be differentiated from absorptive offers any sort of guarantee attached to the studio will now have been cleared of
(attenuation) control. Generally, the performance of the studio. This specifically resonating anomalies, and further has been
primary tools used to achieve isolation are guarantees that from a point in the center of provided with low-end roll -off of up to 40 dB
decoupled, high mass wall and floor the control room, an area 12 to 18 feet wide, 6 at 40 Hz in the rhythm area.
systems, and secondarily diaphragmatic feet front-to -back, and from 6 inches above
the console to the ceiling will measure
power attenuators (bass traps). Although Designing For Creativity
precisely flat, plus or minus 1 dB broadband.
extreme low frequency trapping is used to This includes sufficient flexibility to vary the The highest order of challenge for the
improve isolation, trapping and trap design finish materials to achieve a mid -range decay acoustic designer is to produce an
is the predominant tool for controlling time up to 0.7 seconds, as the user prefers. environment where recording will take
R-e/p 72 - continued on page 76
 al MI6 al MI
Illil am al air Nil
qr. . _

for additional information circle no. 35

www.americanradiohistory.com
continued from page 72 -
place with as little correction as possible; Main Studio Floor hardwood walls surrounding a carpeted
that is without equalization! Since Moving out of the rhythm area (which floor to provide warmth to enhance
equalization is a form of phase shift, it must requires the highest order of low frequency moderate level instruments, such as horns
be assumed that whatever EQ or limiting is control), the following discusses the and acoustics. Obviously, the variation of
added in the control room is a statement of moderate area where other electric finish materials determines decay time of
either poor acoustics or deficient technique instruments are placed. Usually one end of mid and top frequencies, and considerable
by the engineer. Certainly all of us have this section has a large volume room trap in creative input is necessary to determine the
been reminded by the recent direct -to -disk front of which a hard surface floor for shape and geometric plan of these spaces.
and digital work that has been done around percussion is layed. This room trap adjacent A word about "live" and "dead" rooms. It
the world that the amount of EQ and limiting to the percussion area is tuned for wider must be remembered when we stress low -
in pop music is by and large unnecessary range bass frequencies attendant to end roll -off we are working 400 Hz down,
and counterproductive to the accurate percussion, while presence is enhanced by with maximum attenuation centered at 40
creating of the illusion we call a disk. It the hardwood floor upon which the Hz. We allow 400 Hz to 5 kHz to be longer
certainly is pleasing for us to walk into a instruments sit. This is located no more than (in decay time) as there is considerably
studio of our design and observe that only a four meters away from the basic rhythm better isolation due to low -end control.
couple of the tracks require just a taste of area, and meaning that all rhythm Indeed, the goal is not to make a studio
EQ, no more than 2 to 4 dB, reflecting the instruments are centered in a small radius. dead, but just the opposite. A very long
producers taste to accent a particular In the center of the studio, between the decay time is desirable throughout the
instrument, not his need to compensate for live and dead ends of the room, is a medium midband to enhance the presence and
inferior acoustic design. area that is most often designed with transients inherent in the music. All we are
saying is that to preserve good clean
Studio 1 Drawing CBS SONY STUDIO transients (a snappy snare, a funky piano, a
string section you can reach out and touch)
FLOOR PLAN the low end must be kept under control.
Then the drum sound stays tight when you
open the piano, percussion and ambient
microphones.

Multiple Decay Isolation Room

The live end of the room, today, is really
the outgrowth of what formerly was the
vocal booth. As our design has progressed
more space was needed in the vocal booth,
and as we enlarged it, it became more
useful. The multiple decay isolation room
now typically occupies a third of the floor
space in the pop recording environment and
basically has reflective materials with low
absorption coefficients, providing dual
purpose hard wall surfaces (reflective in the
mid -band and ported to trapping to
attenuate a moderate amount of low -end).
This provides a very useful treatment to
imitate the environment of a concert hall for
acoustic string instruments. It also helps
good engineers to build a finished mix at the
*SECTION time of initial tracking.

Mechanical Tools
to Alter Decay Times
Now that four areas have been provided
in the studio, each with optimized surface
materials to enhance individual characteris-
tics of particular instruments, further
flexibility can be built into the room to give
IIIIIIn'.0 the producer and engineer unlimited
freedom and flexibility of choice. Hard
surfaces can have pull drapes to shorten
mid -band decay time. Glass ceilings can
have louvers ported to mid -band traps
tINIIIIR14pItfE6E

Ueu rI
maw above. Carpets can be rolled back to reveal
f7l slate, marble or hardwood floors. Entire
sections oí the studio can be divided to
provide acoustic cavities that become very
bright as glass doors contain small areas to
increase decay times. All of this may be
done as part of a well engineered approach
to a flexible environment. It is no longer
R-e/p 76
necessary to instinctively reach for the EQ
or the echo send. Instead the engineer or
producer engages the remote drapery
control or the louvre gears to tune the
NEW!
studio for ideal reverb times. The
psychoacoustic effect of good lighting and
attractive design hasn't been forgotten
either.

CONTROL ROOM

The control room is the point of reference

where the decisions are made relating the
live band to the consumer listening
environments. It is the point where all audio Line/Microphone Audio Mixer
analysis is done. The control room must be
an accurate mirror of precisely what is
Six Line. Microphone Inputs Phono PrearplifiEr, RIAA Equalization
happening in the studio, without coloration. Monaural Output Monitor Output
It cannot be separated from the monitor Rack Mountable Transformer Isolation
system for which it was designed. The Equalization VU Meter
monitor must be capable of generating very OUTSTANDING GUARANTEED PERFORMANCE
high power in a clean and accurate way to
satisfy the client.
IMMEDIATE DELIVERY - ECONOMICALLY PRICED
More specifically, from an acoustic point Specifications may be optained from:
of view, there is a requirement for being able
to move across the entire width of the
mixing console (as well as forward and
back) without hearing any apparent change
in timbre or balance (and not encountering
P[CÏAO ONIC S
acoustic phase distortion). Acoustically the
room should be two-dimensional and
LEAUER IN !,[)VANCED TECHNOLOGY
symmetrical in a way that the stereo and 3750 Airport Road Ogden, Utah 84,403 (801) 332 -7531
quad image stays in balance. Too, there
must be low -end and primary resonance
frequency control. The room must be
accurate, which is to say that every
frequency must be very clearly defined. The
image must be precise, meaning that ear
20 years of making
fatigue will be low. Proper geometry is a good thing better
critical, to provide a lack of acoustic phase
distortion.

Acoustic Phase Distortion

One of the major benefits of having
achieved room linearity, as the curves have
improved over the years, is the reduction of
ear fatigue. In the past articles have been
written attributing improvements in this 1959
condition to better sum -add measurements.
Without question the reduction of acoustic
phase distortion has improved the accuracy
of the room and thereby reduced the
harshness of the mid -band, as well as having
minimized the need for phase alignment in
the monitor system.
But the real reduction in ear fatigue was We're building high speed tape duplicators for customers world-
the result of the improved geometry, wide. 98% of all the machines we've sold are still in use, proof of
smoothing the room further as measure- machine reliability and guaranteed customer satisfaction.
ment became more precise. As an example, Visit the Magnefax Booth at the AES Exhibition in L.A. and let us
a well known Hollywood Studio was help you with your cassette and quarter-inch tape duplication needs.
measured third octave, a few years ago. It
read plus or minus 2 dB from 60 Hz to 10
kHz, third octave. When read tenth octave,
several spikes over 22 dB were discovered. ITTIMT1
(What might it have been measured
fifteenth ?) Sierra/Hidley rooms when read
in this more precise way consistently deliver
megnefax..
Route 1 / Rogers, AR 72756 I Phone (501) 925 -1818
no more than a fi dB peak, as well as being

R-e/p 77
 flat over a much broader range. These improvement the acoustic third dimension frequency information will not be reflected
narrow band measurements, of course, of the control room has been minimized by back into the listening area. Low -end is
average when analyzed third octave. But it not only providing proper attenuation via controlled, then balanced in the control
is these spikes that are causing ear fatigue, active trapping, but by designing the room front -to-back. The listening area is
and what that means to the studio owner is interface of the trap ports to the room in ported to a ceiling trap. Then, in the final
shorter sessions and less revenue. such a way as to provide a completely analysis, before release, the room is tuned
symmetrical room with no chatter causing acoustically by sizing the appropriate trap
Sum -Add Measurements phase cancellation. ports ... rather than brute force electronic
If a monitor is placed in a free field and By tailoring the room for the monitor a voicing using a filter system.
sufficient power is fed to deliver, say 110 dB completely phase coherent room has been Another trap is povided in front of the
SPL broadband, and a second identical effected. room below the window system, and the
monitor is fed an equal amount of power, Using the supposition of a relatively small inside window pane is aimed off the console
theoretically a 6 dB power increase will control room, and attempting to correct the back into this trap. Decay time predictability
result acoustically. It is not uncommon to design of a standard monitor with electronic is achieved by the finish materials used in
measure rooms, which are up for redesign, time alignment is, we think, an obtuse the room, and can be modified to the client's
to find measurements with as Iowh as 3 dB approach when contrasted with a selected personal taste.
add. We have actually seen rooms that had monitor system and a room of compatible Mid -range dispersion is achieved by the
a 0 dB add. What this indicates is that the design. geometry of walls and ceiling together with
room had so much cancellation introduced Supposedly dead rooms have been the monitors providing an optimum ratio of
by random signal, that there was as much observed where the low frequency decay direct versus reflected sound at the listening
out -of -phase energy as there was in -phase time was amazingly long. There are reams of point.
energy. data on absorption coefficients, but very
Ideally, a design should achieve as close little complete information, especially Recent Projects
to the theoretical 6 dB summing maximum through the lower frequency bands. (What A number of recent projects have
as possible. By experiments with altered is the effect of an upholstered pad at 30 Hz ?) increased our experience in areas other
geometry, and research into the absorption Basic premises of control room design than in recording studios. Projects including
coefficients of various finish materials the indicate that the listening position (and that a cabaret disco in London for Virgin
Sierra/Hidley guarantee* now includes a is not just the center of the console) should Records, re- design of the sound
minimum 5 dB broadband sum -add be uniform in frequency response and reinforcement system of the London
requirement. (A full 6 dB with reverb times somewhat semi- reverberant in decay time. Palladium, and other non -studio projects
as low as .35 seconds at 40 Hz, and .25 in We achieve this by using many interlocking applying our principles have provided useful
mid and high frequencies has been achieved design criteria. For example, tape machines references for new design projects.
in several recent rooms.) With this are moved to angles where mid or high Additionally, recent rennovation projects
such as the Soundmixers complex, in New
York City, have provided interesting
information as to misconceptions prevalent
in the area of studio building. We have found

Change many such studios built with low -mass, low-

cost wall and floor systems that were used
to economize in the studio construction.
Sound to This turns out to be a vast disservice to the
client when his clients discover the results of
sympathetic vibration at relatively low
Silence levels. Substandard geometric design
introduces acoustic phase distortion and
contributes to non -linear frequency
with a response. Standing waves in control rooms
which manifest as unbalanced and boomy
bass commonly use attenuation systems
TABERASER other than active trapping. (Ah!, but to have
done it right the first time.)

This rugged, heavy duty bulk tape eraser wipes sound from
Your Checklist
all magnetic tapes, cartridges, cassettes and magnetic film Some of the questions that should be
stock; handling up to 2". asked in the early stage of planning the
studio and a key to selecting a good designer
It erases with minimum residual noise because the field
should involve comprehensive discussions
automatically diminishes at the end of each 30- second cycle.
of design theory, long before discussion of
A thermal control and blower keeps the unit below 71° C. finishing details, materials, colors, decor,
and layout. The following will be an aid to
making your decisions:
For the distributor in your area -Call or write:
Is the space large enough to develop into
a studio area that will accommodate the
TABERManufacturing & Engineering Company number of players needed for the type of
2081 Edison Ave. San Leandro, Ca. 94577 (415) 635 -3831 music to be recorded?

Is there sufficient space to develop an

R-e/p 78 for additional information circle no. 38
acoustically correct control room? table? High and low levels throughout the measurements are an indispensible part of
year? the total design process. An attitude of
Is there ample space and suitable building throughness can save a good deal of time
layout for office, support and traffic areas? What is the proximity and power of the and money.
nearest broadcast transmitter?
Is there audio interference from adjacent Conclusion
levels of the building? What is the humidity and temperature It is more than reasonable to expect that
range? the studio of the 1980s will vary in character
What is the composition and height of the from one area of the room to another,
ceiling? Is there any mechanical equipment What is the voltage, frequency and phase providing a variety of decay times essential
mounted adjacent? of the electrical power available? What is its to versatility. Any room lacking third
capacity? Its reliability? dimensional control from 30 Hz up and not
What is the level of ambient noise, both addressing the problem of instrument
airborne and ground conducted vibration? Are there unusual local building codes or leakage must be rejected out of hand. Any
At what frequency? Is it impact energy? zoning restrictions? Are there historic room that has a totally reflective surface
preservation laws affecting the area? behind the listening point, a monitor angle
What is the construction and exceeding 60 degrees to the listening point,
transmission factor of the internal walls? What is the proximity to airports, or low mass walls and ceiling systems, must
Are they common to a neighbor? railroads, or heavy traffic? be suspect. If the studio is to be a tool where
one makes subjective decisions based on
Is the floor slab solid? What is its What are the local labor rates? Are there engineering criteria then we must achieve
thickness? Do cracks go through to the potential union problems? an accurate environment without
ground? Is it transmitting external noise? compromise.
Will it carry the load of the proposed facility? What is the local tax situation? Is there Either the room is flat throughout the
any sort of investment credit? audible range, has minimal acoustic phase
Are the proposed studio spaces distortion, is symmetrical, and has greater
interrupted by structural supports? What is the availability of building than a 5 dB sum; or there is imperfection
materials in the area? resulting in coloration, sympathetic
What is the compostion of the soil under vibration, variations in frequency response
the building? What is the size and location of How costly is any required demolition? by level and listening position, and ear
subterranean pipes? Subways? fatigue.
Whether you have chosen an existing Specifics from Tom Hidley in June.
What is the relative height of the water building or a vacant piece of land, on -site

DYNAMIC VERSATILITY
TO ACCENT ANY TYPE OF PROGRAM MATERIAL
IS YOURS WITH

Di

DY NAF LANG E R.,..

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FEATURING TRUE AUTOMATION WITH PROGRAM CONTENT AUTOMATICALLY CONTROLLING PROGRAM
CONTENT IN ACCORDANCE WITH PARAMETERS THAT YOU ESTABLISH.

MI
MX MICMIX Audio
Products, Inc. (214) 352 -3811
2995 Ladybird
Dallas, TX 75220

for additional information circle no. 39 R p 79

The Orban 526A
Dynamic Sibilance
0

Controller:
the single channel de -ess specialist

Introducing the Orban 526A - an

improved, single- channel version of
our internationally -accepted Dynamic
Sibilance Controller. It features a
mike input, fully- balanced input and
output, LED level display, and GAIN
control
The 526A peirforms the de -ess
function only without the compro-
mises inherent in multi -function
processors. It's clean, quiet, stable,
and eas/to use. So it's invaluable
anywhere speech is processed profes-
sionally: recording studios, cinema,
broadcasting, cassette duplication,
and more. It's a simple time -saver
and problem- solver - and at $399*
you can't afford to be without it.
The Orban 526A De -Ess Spec-
ialist is available at your Orban pro -
audio dealer.

*suggested list

otbcin
Orban Associates Inc.
645 Bryant Street
San Francisco, California 94107
(415) 957 -1067 See it at AES Booth 62.

for additional information circle no. 40

 from acoustic design
to down beat...

'W:2,staalvQ 6311 Wilshire Blvd.

Los Angeles. California 90048
8447 Beverly Blvd.
Los Angeles. California 50048
AuL1Il0 (213) 655 -0303 (213) 654-2155
continued from page 81 -
hand he wanted to avoid a box size that
would be impractical for remote
applications. A happy medium was an 18' x
8' x 81/2box, which with the efficient use of
available space, afforded a more spacious
feeling in a very niobile configuration. The
larger space alone wasn't enough to end that
difficult and bothersome problem common
to all remote trucks and small control
rooms, "bass build -up" and inaccurate
monitoring. The solution was the extra
height of the new box which provided space
enough for an active ceiling trap. The trap in
itself is a revolutionary concept in remote
recording, it was but the first important step
to a studio quality monitoring system.

"The System" Realized

The rationale behind the feeling that
remote truck acoustics didn't need to be
perfect has been that mobile recording was
used only to capture the on- location
performance (usually on multitrack tape),
Detail of ceiling construction showing trapping and air conditioner ducting.
which was then taken to a conventional
studio where it was critically evaluated and
mixed. However, other applications for radio broadcasts, album projects at client's build -up, room overload, and poor stereo
remote recording in the last few years have choice of location, etc., it is readily apparent imaging were all popular demons with the
approached those of the permanent studio. that an accurate monitoring environment first Houston truck.
Although live performances are still big, the for critical mixing is a must!
video industry is seeing an increasing need Anyone who has attempted to design a The Problems
for location mixing. The present majority of small control room knows that many of the It is well known that standing waves occur
work is audio for video productions. When problems of acoustics are magnified and at specific frequencies and locations or
you add to this television simulcasts, live increased with decreasing room size. Bass modes within a room. Equalization provides

Time -Based Effects ... Without the Side-Effects.

Introducing the 440 Delay Line /Flanger from Loft Modular Devices.

TI re is a new solution for time -based effects. Filling All you get is great sounding delay combined with
the gap between expensive digital lines and tox' cost the creative flexability of VCO time based
'black boxes', the Series 440 Delay Line /F4dnger processing. Mixed to any degree with straight delays
delivers the amazing depth and dramatic realism from .5msec all the way out to 160msec., VCO
rightly associated with analog delay effects. Yet it processing permits such effects as resonant flanging,
avoids so many unwanted side effects you expect Leslie -type sounds with diffe ent 'rotation' speeds,
from analog and even some digital systems. vibrato, double tracking with realistic pitch and
timing errors, or a wide range of more subtle effects
Now, you don't have to sacrifice the dimensional to control the spatial perspective of your music. In
impact of your music to severely limited bandwidths, addition to the built -in VCO feature, control voltage
nor lose that bright crisp edge to compromised jacks allow further modification of the system's
electronics. Gone too, are the 'thumps', 'whistles', special effects capability. Impressive? We think so,
background oscillations, quantizing noise, 'grainy' but there is more. Why not check out the details at a
digital audio, and other strange distortion you may representative dealer near you.
have noticed before. Even headroom, a problem
with so many units, is no problem with the Series 440
Delay Line /Flanger.
The Series 440 Analog Delay
lane /Flanger is in stock and
ready for immediate delivery. Lon
MODULAR DEVICES

LOFT MODULAR DEVICES,INC. 91 Elm Street, Manchester, CT 06040 (203)646 -7806

R-e/p84 for additional information circle no. 41

no cure because the modes will still exist in smoother response without equalization, pleasing environment to work in. Added
the same locations. Low frequencies are lower susceptibility to acoustic overload, amenities include air conditioning/heating,
particularly hard to handle. Although soft improved stereo imaging and more effective dimmable lighting and a refrigerator. These
surfaces and other wall treatments can tailor soundproofing. The basic soundproofing is are all- important factors considering
the high and mid bands, they have little typical lead- laminated plywood and a raised engineers may spend 18 to 20 hours in the
effect on the low end, which will still roll sub -floor. truck at remote jobs. The interior comfort
around the room creating peaks and nulls. can make quite a difference in the results
The highest bass energy concentration will Comfort achieved in a remote application just as it
be at the junctions of walls, ceiling and As mentioned earlier, the new Houston does in ground -based control rooms.
corners. truck was designed to "feel" larger. That Houston's clients often comment that they
Acoustic overload is particularly acute in "cramped" feeling evident in many remote forget they are in a truck. Considering the
a small enclosure. As the monitoring level is trucks has been reduced. There is an resulting sound quality, monitoring
increased, a point is reached where direct, effective use of earth tones, plush carpeting accuracy and comfort of the new truck, Rich
reflected and reverberant signals are and stategically placed mirrors that combine Houston's new concepts in remote
bounced around the room at nearly equal to make the new truck an aesthetically recording really work.
amplitudes. Since the boundaries of the
small enclosure are so close, the time
interval between direct and reflected sound
is very short, resulting in mass aural
confusion. (Mixing in the first truck was
A microprocessor-controlled
done with the rear door open whenever
practical to help alleviate this problem and
audio analysis system.
decrease bass build -up.) [Perhaps the first
Live End Dead End mobile studio.] Not
-

only does this affect clarity and intelligibility,

it also degrades the perceived stereo image.
Special consideration must be given to
stereo monitoring when designing the small
control room. Not only will stereo imaging
suffer due to acoustic overload and
necessary close placement of speakers, any
Ivie's family of audio analysis
wall surface irregularities and asymetry will and measurement
also compound the problem. instruments, centered around
Practically all of the acoustical the IE- 30A/17Acorna
shortcomings of the first truck were a result
of size. Since there were physical
restrictions on how large the new truck
could be (especially the '8 -foot legal
maximum width), and still remain as mobile
as possible, it was necessary to enlarge the
interior by acoustical means. The single
most effective change was the addition of an
active ceiling trap. The entire ceiling was
done in the standard "swinging baffle"
configuration which also provided space for
113 octave band real-time analyzer
such mechanical requirements as air Precision sound level meter (Type 1, IEC 179)
conditioning ducts and lighting. In addition Peak, impulse, fast and slow responses
to the ceiling treatment, two tape machine Automatic spectrum plots
System weight 4.5 lbs.
soffits with active trapping were placed
along either side wall. These served to break The new family of 'vie acoustic and audio analysis equipment is the most advanced
up the low frequency concentration at the measurement system in the world, yet is so light and compact you can place a
complete acoustics laboratory under an airline seat.
junction of the ceiling and walls. All of the
traps prevent the typical bass build-up while Now you can accurately measure sound pressure levels and perform real-time,
third-octave band analysis simultaneously. Measure RTe0, delay, decay, and program
increasing the apparent size of the room. an infinite number of time /amplitude variables for gated time measurements. The
Symetry was carefully preserved newest computerized lvie analyzer is a versatile, compact, acoustics laboratory that
throughout the control room. The front wall is completely independent of power cords. Plot amplitude vs. time, amplitude vs.
frequency, etc., with precision accuracy, and generate "hard copy" automatically into
between the two monitor speakers was any standard X-Y recording device.
finished with a hardwood surface to facilitate
precision panning across the stereo lvie has a complete family of audio analysis products and accessories designed for
your particular application. Our products are sold and serviced worldwide.
spectrum, while the front side walls were
treated for improved dispersion. A "deck" Write for product catalogs containing specifications and applications information.

was constructed from the front wall to the

back of the console meter panel to prevent lvie Electronics Inc.
500 West 1200 South
sound from bouncing around in this Orem, Utah 84057
otherwise wasted area. All other wall Telephone (801) 224 -1800
surfaces were finished with velvet acoustic TELEX or TWX 910 -971 -5884
"pillows" or carpet.
The net result of these efforts is that of a

for additional information circle no. 42 R-e/p 85

 THE BLACK WIDOW
...because the best wasn't good enough.
You're looking at one of old cliche', "if you want it characteristics are the result
the finest loudspeakers in the done right, do it yourself." of optimized procedures and
world...the Peavey Black We did. concepts in design and
Widow. They were created to Since its introduction manufacturing that provide a
fill a serious void,... speakers several years ago, the Black complete integration of form
that could match the Widow has been praised by and function.
sophistication of today's sound experts and musicians Unlike the other
sound reinforcement for its excellent efficiency, established manufacturers
technology. For years we bandwidth, and power who are still building the
have employed the finest handling capabilities in speakers they designed back
speakers from the most applications that range from when a 100 Watt amp was a
respected manufacturers in high powered concert sound big deal, Peavey has
our equipment and through reinforcement to studio designed the Black Widow
years of experience, have re- recording. with today's technology for
discovered the value of that The Black Widow's unique today's high powered music.

r
 The combination of a rigid the Black Widow from other aluminum wire voice coil to
cast -aluminum frame and high quality transducers is its provide maximum energy
high- efficiency magnetic unique integral coil conversion. The cone
structure is a feature found in form /dome structure. When a assemblies provide the
many professional quality loudspeaker is subjected to required frequency response
loudspeakers. What places very high power levels, the shapes with minimum weight
the Black Widow Series far voice coil temperature rises and maximum structural
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Series provides a most with very precise operating
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form /dome as a heatsink. The Peavey Black Widow is
Just as high power amplifiers now offered as standard
use aluminum heatsinks to equipment or as an option in
dissipate heat, the Black most Peavey enclosures and
Widow coil form /dome is will soon be available "over
produced with low mass, high the counter" at selected
rigidity aluminum. Peavey Dealers.
The Peavey Black
Each Peavey Black Widow Widow,...for those who can't
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MODEL NO. DIAMETER NOMINAL POWER HANDLING CAPACITY SENSITIVITY VOICE COIL
IMPEDANCE CONTINUOUS PROGRAM 1w, 1m on axis DIAMETER
1201 12" 4/8 150W 300W 101 dB
1501 15" 4/8 150W 300W 103 dB
1502 15" 4/8 150W 300W 101 dB
1503 15" 8 150W 300W 102 dB
1801 18" 4/8 150W 300W 99 dB

for additional information circle no. 43 R-e/p 87

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R -e/p 88 for additional information circle no. 44

 A Live Performance Audio Experience
by
Patrick Maloney
Beatlemania did not end in the early most significant musical forces of our time. The Concept
1970's when John Paul, George and Ringo It continues today in the form of a well According to Abe, the underlying point of
decided to bring to a conclusion one of the produced, fast paced technical achievement
Patrick Maloney is a sound mixer in sight and sound called
"BEATLEMANIA."
-
what else - Beatlemania was to recreate the sound of
the Beatles' albums as faithfully as possible,
night after night. Since the albums were
based in San Francisco who special-
izes in live performance. Beside do- The show is presently being performed in done in the studio with much overdubbing
ing extensive work in the Bay Area three locations simultaneously across the and various studio tricks, a way had to be
through his own company, Consc- country by separate East Coast and West found to duplicate these sounds live, in real
Coast touring companies, as well as a New time. Fortunately, the technical equipment
ious Audio, he also mixes direct -
to -disk project for Crystal Clear York Broadway cast. Each company is
made up of two complete casts who act in
exists today to do this quite well -
digital delays, flangers, etc. About the only
the
Records. He has gained national
recognition for his road show work alternate shows, so in fact there are twenty - things that couldn't be done live were ail the
with such artists as Liza Minnelli four Beatle look -alikes and sing-alikes in all!
I had seen the show in Los Angeles at the
tape loop effects -a song like "Number 9"
was out of the question, for instance!
1;1974 [Mexico], 1975 [European
Tour], 1976, 1977), Andy Williams Pantages Theater last year, and then again All the singing, playing, special effects and
just recently at the Orpheum Theater in San orchestral sounds are performed live by the
(1977 American Tour - Caesar's
Palace; Monterey Jazz Festival Francisco. Each time the production group on -stage as well as by off -stage
basically blew me away. It is literally a sound
1976, 1977), Herb Alpert and the
TJB (1973, 1974 [European Tour], engineer's paradise - or nightmare,
depending on your point of view and/or level
session musicians and the second group of
"Beatles." For the following performance
this second group trades places with the
1975 [Canadian -USA Tour]), Burt
of proficiency. first group, which then comes backstage to
Bacharach (1975, 1976 [American
Tour], 1977), and many other acts The sound was designed by Abe Jacob, sing background vocals and play various
of equal stature. who has in the past designed and supervised percussion instruments.
He has a degree from San Francis
the sound for such hit shows as Hair, Jesus Very well and good you say, but whose
co State in broadcast communi- Christ Superstar, Chicago, A Chorus Line, job was it to figure out just which pars all
cation and has taught many aspects and others. The sound equipment for the these people were supposed to play each
of the recording, sound reinforce- show is on rental from Harry McCune night? That lot fell, for the most part, on one
ment business. Sound Service, Inc., based in San Francisco
and Anaheim, California. - continued overleaf
photos by
R-e/p 89
Dennis Minnick
Andy Dorfman. Andy, who was also the
conductor and keyboard magician
backstage in San Francisco, arranged and
orchestrated all the tunes and also figured
out how to produce most of the strange and
innovative effects the Beatles used. He did
this the same way countless bands have
-
done before namely by sitting in front of
an electric piano and listening to a cassette
of the Beatles' music over and over again
until he had all the tunes worked out, note
for note. Both David Eskenazi, the sound
mixer in San Francisco, also known as
"Doc," and Abe consider Andy to be
primarily responsible for accurately
reproducing the sound of the Beatles live.
Andy's charts and special effects ideas were
then taken by Abe, the various casts and
sound engineers for each show, and worked
with until Beatlemania was created.
Sound mixers are instructed to do the
show the way it was originally set up and
designed but are allowed to vary from the and the curtain goes up, the guy behind the quadraphonic effects coming from speakers
format if the situation dictates; as when a console is the producer, not just an engineer in the rear of the theater. The sound in the
singer's voice may be a bit weak one night or taking instructions from someone else. He's house is extremely even in level and
a trumpet player might be blowing slightly the guy responsible for the sound and frequency all the way to the top of the
off mike. As with any theater piece, success of the show every night. second balcony. Vocals are centered
however, there are definite cues that have to except in a few instances when they are
be followed throughout the show. The Equipment slowly panned for effect. Guitars are split
For example, the quadraphonic pan of The other hero of this show is the sound left and right with the bass guitar centered.
the piccalo trumpet in "Penny Lane"
although certainly not on the record, it was
- system itself. Abe had used McCune Rack and floor toms are split left and right,
Sound's JM -3 speakers before and knew kick center and snare slightly right of center.
an effect which Abe felt enhanced the show. that they would provide the dynamic range Off-stage strings are in mono except during
Some of the effects they came up with to as well as the quality required by this show. "Yesterday" and "Eleanor Rigby," when
duplicate the vocal effects on the records; The packaging of amplifiers and associated they switch to stereo. Horns are always
i.e., the doubling and pitch changes in tunes processing equipment made it easy to put stereo.
like "Lady Madonna" and "Strawberry the show up in a short amount of time. The stage set itself is basically a version of
Fields," got a little difficult for the musicians McCune was able to provide a complete what the set looked like when The Beatles
to sing along with, so they had to be service with regard to the console and first appeared on the Ed Sullivan Show. In
tempered somewhat. processing equipment as well. Because this fact, the first time we see the group live on-
Many of the Beatles' backward sounds show was going into legitimate theaters and stage is through a huge projection of a TV
and effects that we all know and love have not large auditoriums or coliseums, the size set following the original footage of Ed
been worked out by Andy and are played of the equipment was a prime concern. The Sullivan introducing the real Beatles. The
live quite effectively on the synthesizer. One JM -3, which is a fully integrated three -way set is not the only thing authenic: the stage
sound that I particularly liked was the system housed in a natrual wood- stained instruments consist of Ludwig drums,
"Sssshuucka- ka- ka -ka" at the beginning of cabinet, stands less than four feet tall and fit Rickenbacher guitars and Hofner bass, all
"Come Together." It was produced by an the bill perfectly. Four JM -3s are placed on a plugged into actual Vox Beatle amplifiers!
Eventide Harmonizer set for maximum single scaffold off each side of the stage. Abe drew the line at authenticity, however,
delay with about 90% regeneration. The Pioneering the movement away from wherever he felt that sound quality would
return signal's slider is brought up as the separate black bass bins and stacked suffer. For instance, the Shure 555A
regeneration decays in order to keep the multicell horns, the system was originally "Birdcage" mikes that the Beatles used at
effect loud in the mix. The initial sound designed by John Meyer for McCune Sound one time were bypassed in favor of Electro-
which generates the effect is the musician in the early 1970s. It has since undergone a Voice EV- 1776s, specially modified by
playing John saying "Shucka" into the mike. few modifications and in its present form is McCune's chief engineer, Bob Cavin. Bob
Doc credits this and several other effects to about the best thing I've heard to date. rebiased the FET preamp and changed the
Larry Spurgeon, the mixer who did the (With the exception of McCune's JM -10 output coupling capacitor from 10
show in Los Angeles. coliseum-capable system which would microfarads to 100 microfarads to decrease
New innovations and improvements are necessitate another article to describe!) I sat distortion. Shure SM -58s were originally
made all the time and Abe credits the through two loud performances without used but these modified EV -1776s were
continued success of the show to the once cringing, gritting my teeth, rolling my found to have a bit crisper sound, more level
various sound mixers, past and present: eyes or plugging my ears! When the show as and better rejection. The New York cast
namely, Doc Eskenazi, in San Francisco; over and I noticed that I could still hear soft have now switched to EV -DS35s which have
Mike Welch, in Chicago; Larry Sprugeon, in sounds, high frequencies and talk in a a still tighter pattern, in order to combat the
Los Angeles; Jesse Heimlich, in New York normal voice, I decided to get together with reverberation and general sound bounce on
and Dave Martin with the East Coast Doc to go over the details of the equipment the stage there.
touring company. This recognition is well being used as well as the operation of the The vocal mike at the foot of the stage is
deserved because, as every live mix system. an AKG -451 equipped with a long VR -2
engineer knows, when the lights go down Doc is mixing the show in stereo with extension tube and a CK -1 unidirectional
- continued on page 95
R-e/p 90
 Console
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 show only to end up like butter in the sun or individual mikes are punched into and out highlights. For instance, the piano mike and
because the mix wasn't "happening" and he of quad pan pots frequently, flexibility in a pickup come into the PM -1000 but are not
didn't know why. God knows he'd mixed console is essential and the MC -8 seems to assigned to an output. Instead they are
the tunes enough times in the studio. The be up to the job. combined on an echo buss, the output of
problem is that we're dealing with more than Each console input strip contains a which feeds one channel of the Aphex at line
one dimension now and the additional visual continuously variable gain control; three level. The echo buss is thereby used as a
element must be taken into account. Good
television sound mixers have known this all
section switchable EQ; two echo or effects
sends, selectable pre or post; pan control;
piano submixer - a typically novel and
resourceful technique thought up by Larry
along. eight buss assign buttons; cue button; input Spurgeon. The blend control on the Aphex
Beatlemania is a prime example of this overload light and long throw fader. The two is then set to produce just the right amount
concept being used correctly and the effect effects channels return via their own fully of Aphex to dry sound and this mixed
is very powerful and authentic. The brass, E..Qd and pannable input strips. Each return output is sent to a single input on the MC -8.
strings, and keyboard parts are mixed in channel is then routed through each of the The other.channel of the Aphex is set to
with the sound of the group on -stage at a four outputs for maximum flexibility and the full Aphex mode and is fed from the
slightly lower level than on the original control of effects. This console even has full vocal submaster module on the MC -8. This
record, so as to not take focus away from
the group. The resultant effect
and cheers from the audience at the
-applause
EQ on the cue output channel!
Sitting next to the MC -8 is a Yamaha PM-
1000 which has been modified by remoting
signal is then routed back to the console
where it is mixed in with the "dry" vocals.
(For a description of Aphex and its effects
beginning and, more importantly, at the end the power supply to improve signal -to- noise, refer to Howard Cummings article in the

for itself.
-
of each of the 29 tunes in the show speaks adding internal structural bracing, and by
connecting all its busses to the MC -8 via
August, 1977 issue of R -e/p, Volume 8,
Number 4.)
multipin connectors. The PM -1000 is used Vocals are fed into the UREI 1176LN at an
The House Mix as a submixer for the orchestra, 8:1 or 12:1 ratio utilizing fairly fast attack and
The MC -8 mixing board, custom built by background vocals, and piano. release times. Bass guitar and kick drum are
McCune, is the heart of the main mix Two racks of auxiliary processing each compressed 4:1 on separate LA -4s.
console in two of the three Beatlemania equipment flank the mix position and are Incidentally, the Harmonizers are used in
shows. It's a twenty -two in, four-out board connected to the MC -8 and PM -1000 via delay mode only and not for harmony! That
- eight of the inputs being switchable to
submaster modules if need be. The console
ADC mini -patch panels in the racks. These
racks contain two Eventide H -910
particular effect would definitely be out of
place among true Beatle harmonies.
differs from most other boards in that it Harmonizers with dual delay outputs, an Overall the system sounds extremely
incorporates a double matrix assignment Eventide Flanger model FL -210, two Orban quiet and noise free. According to Bob
system. Each input can be assigned to any 622B parametric equalizers, two UREI LA -4 Cavin, the equivalent input noise of the MC-
or all of the eight mixbusses whic'-i can then limiters, one UREI 1176LN limiter, four 8 is -130.5 dBv! This is referenced to the
be grouped through the submasters if need Penny and Giles quad pan pots, the control noise generated by a perfect 150 ohm
be and then routed to any one of four electronics for the Master Room CSREQ -23 resistor which is -131 dBv re .775 V.
outputs via eight pushbuttons on each stereo reverb unit, and a dual channel In order to preserve this kind of quality
output strip. Any output therefore can Aphex Aural Exciter. once all the peripheral processing
control any number of individual inputs or Exactly how all the microphones and equipment was patched in (and we all know
subs irrespective of what the other three other signals get mixed, grouped, processed what that can sound like!) McCune sought
outputs are doing. In a show like this, where and eventually routed to their respective to eliminate any possibility of ground loops,
Doc's hands aren't in any one place longer speakers could easily take several days to hums or buzzes. They therefore had Deane
than 3.4 seconds, and where whole groups describe, so I will limit myself to a few choice Jensen manufacture several different types
of double shielded high quality transformers
Doc Eskanazi at house position. McCune MC-8 on left, Yamaha PM -1000 on right. to their specs so that no ground connection
would exist between the microphones, the
processing equipment, the consoles, or the
amps. When they first discussed these
transformers with Deane, he thought they
were a bit off the wall but he went ahead and
built them anyway. Other transformer
manufacturers wouldn't even discuss the
idea. The mike transformer is now available
as a stock Jensen Transformer, model JE-
MB-D.
The one thing that Abe and all the mixing
engineers would like to have, but don't, is
some sort of automation at the console. All
the effects and assignment changes which
come into play during the show could then
be programmed through a series of presets.
This show is especially challenging for the
operator since many songs are segued into
each other and are not interrupted by
dialogue as they would be in most musicals. I
have a feeling that they need not wait too
much longer, as automation is just around
the corner and is steadily advancing, byte by
byte. (Sorry.)
continued from page 90 -
SM -58. When the Mellotron is programmed
for strings and the Arp for horn ensemble
SM-4B
SM57
drummer
vocal

V
(1).0
ECM33 and then mixed with the live instruments -
ECM33
SM58
9 SM57

SM57
well, the sound is very close to a full
orchestra (see Figure 2).
Sound isolation within the booth is done
with perforated metal baffles manufactured
SM57
l4y Nexus, which are very rugged and work

0 Cass
amp

(direct)
quitar
amp

SM57
guitar
amp

SM58
SM-3
RE20

® I trumpet
extremely well. However, the magnetized
rubber strips that are designed to link the
baffles together in groups seem to be
another example of "it seemed like a good
EV
idea at the time." What I saw linking the
1776
baffles together was the sound engineer's

EV1776 EV1776
plano
vocal
®
REIS
I
woodwinds best friend - gaffer's tape!
At this point I'd like to mention something
9utter
oce I
OCei pleno wagon band wagon which Abe was aware of and which I feel is a
r SM-3 subtle but important factor in the success of
this show. It all has to do with focus. When
FIGURE BEATLEMANIA STAGE SET-UP you listen to a record at home you are
-
7

basically dealing with one dimension

sound. This sound is created for the ears,
capsule. The extension tube enables "Paul" 20 on the trumpet; a Shure SM -54 on the not the eyes, and is mixed accordingly. At a
to swing the mike into position when he sits woodwinds; EV -RE15 on percussion and live concert, however, you have an artist on
on the edge of the stage and sings a few two SM -58s on background vocals. If you stage who is now a visual focal point and the
numbers solo. are thinking that one cello and one violin do mix should reflect and support this. For this
The bass guitar is taken direct via a not a string section make, you are quite reason, trying to make a group sound
SESCOM direct box whereas the lead correct. Beefing up the string and horn "exactly like the record" on stage can often
rhythm amps are miked with Shure SM -57 sections is the keyboard player who has at have an unsettling effect on the audience
and 58s respectively. The drum kit gets his disposal a Mellotron, taken direct; An and result in an unsatisfactory show for all
Sony ECM-33s on hi -hat and cymbals and
SM -57s on toms and snare. The front head
Arp 2600, also direct; as well as a Yamaha
electronic organ and Fender Rhodes, both
concerned - especially the engineer! It's
not uncommon for a studio engineer, with
of the kickdrum was left on so that the word of which feed a Fender amp miked with an little live experience, to attempt mixing a live
Beatlemania could be painted on it; a
decision which necessitated cutting a nice
four-inch hole at the bottom of the skin and
inserting an SM -57 through it to get a tighter
sound.
At various points in the show a motorized FIGURE 2: OCHESTRA BOOTH
band wagon containing a Yamaha grand
piano is moved out on stage. The piano is ECM33 ECM33
picked up by a Helpinstill Model 110 which
feeds the console at mike level. In addition
there is also an EV -CO90 omni electret
condenser mike suspended over the third
hole of the Yamaha. This mike is combined
with the Helpinstill to give an extremely
RE20 ®I !trumpet
smooth and natural piano sound. Sitting
atop the piano is a rather scarce old Gibson
organ brought in by Andy Dorfman. This SM54 R1 woodwinds
organ is much prized for one particularly
unique setting which produces the metallic
sounding opening notes of "Lucy In The Sky
With Diamonds." The output of the organ
feeds an MXR Phase 90 which is then
cleaned up by an MXR Noise Gate which
feeds the console directly via its balanced SM58 ® vocal
output.
During a recording studio sequence on SM58 ®vocal
stage, yet another band cart comes out
which is miked with an RE-20 on the trumpet
and an EV -RE15 on the woodwinds (see RE15
Figure 1).
Located backstage is a small booth which percussion
has been constructed to house the
orchestra and background singers. The
orchestra miking consists of Sony ECM -33s
on the viola and violin; an Electro -Voice RE-

R-e/p 95
 THANKS HOLLYWOOD
(Nashville, New York and San Francisco)
For Hanging inThere Until SEATTLE Was Ready to Happen

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PR
AUDIO
Professional Audio
Equipment & Services

Exclusive MCI Representatives in the Pacific Northwest

for additional information circle 45
2320 Sixth Ave. Seattle, Washington 98121 (206) 622 -6984
Monitors
The monitor mix equipment and
requirements are every bit as complicated
and demanding as the main mix in the show.
Tom Bartless, the monitor mixer in San
Francisco, must not only control the four
main monitor mixes but is also responsible
for the operation of two ITC broadcast tape
cartridge machines and a Re Vox A -77 which
are used throughout the show. These tape
decks supply announcements, voiceovers,
and songs performed by groups other than
the Beatles; i.e., "Let's Twist Again" by
Chubby Checker which opens the show.
Incidentally, the pre -show announcement
asking the audience to "refrain from
smoking ... anything!" is the voice of Abe
Jacob himself.
Previously, Doc had been the monitor
mixer when the show was in Los Angeles Monitor mix position.
and had developed a set of large index card
notes so that subsequent monitor mixers vary slightly depending on which of the two McCune MM -4 consoles which each
would have some starting point for each of groups is on stage that night. contain sixteen inputs and four outputs.
the 29 songs in the show. These "cue cards" The monitors are controlled by two Each input has a continuously variable gain
control, overload indicator, high and low
EQ, cue button and four independent rotary
JOHN MEYER & THE JM -3 volume controls. These volume controls
feed the four separate outputs, thus
The highlight of the February AES With the exception of the midrange providing four discrete mixes. One of these
meeting in the Bay Area recently was a talk horn itself, which was designed by John boards controls the sound levels from the
by John Meyer dealing with "An and built by McCune, the speaker tape decks and the on -stage instruments as
Amplitude and Phase Corrected Speaker components are standard factory units well as the sound from the film projectors.
System" which he recently developed with which are then drastically altered and The film sound is brought into the board via
ACD Electronics, in Lausanne, Switzer- modified. These modifications include, but special McCune projector bridges which are
land, and which he demonstrated at the are not limited to, almost entirely essentially transformer and padding devices
meeting. Intended for critical applications eliminating the mechanical compliance of which convert the speaker level signals from
where extremely flat and accurate the speakers to an extent that the the projectors to balanced mike level
response is desired (when isn't it ?) the compliance is a function of air load. The signals.
speakers caused quite a commotion at the speaker therefore behaves more like an The film sound and tape signals are then
meeting and are now available from John infinite baffle system than a horn loaded premixed and sent out to the house console
at (415) 569 -2866. one. via two of the MM-4's line outputs. A third
An earlier creation of John Meyer is his John informed me that the first version
namesake - the JM -3 loudspeaker
which he developed in conjunction with
- of the JM -3 was designed to be used with a
sub -woofer, so its range was from about 70
output feeds an input on the second MM -4
and is mixed with the balance of the vocal
Hz to 14 kHz, which in the early '70s was and orchestra mikes, all of which are then
McCune Sound. Presently being used in
Beatlemania, the JM -3 system consists of pretty wide range. Most systems John assigned to the four separate outputs. The
four output channels feed:
a three -way self- contained speaker
powered by a companion amplifier with
measured were rolling off around 10 -12
kHz, and pretty hard at that. What was A) Front two vocal monitors - Model
built -in active crossovers. These
crossovers, designed by McCune chief
interesting though, was that these other
systems were creating additional highs
SM -3
B) Keyboard monitor
C) Drum monitor - - Model SM -3
Model SM -4B
Orchestra headphones -
engineer Bob Cavin, are of a zero phase through high power amplification. These
highs were produced by harmonic D)
shift type which to my knowledge are not
otherwise available on the market today. distortion that occurred when the horns
were driven beyond their limits. His idea
Sennheiser 414 and orchestra -monitor
Crossover points are in the 400 Hz and Model SM -2.
4,000 Hz areas. The amplifier is an integral was to build a speaker where this was The SM -3 speaker is a bi -amped full range
part of the loudspeaker system and its under control rather than have to generate speaker which was originally designed for
electronics are extensively modified to a high level to get it. high quality playback in studio applications.
precisely complement the characteristics Altec compression drivers, Electro- Built by McCune Sound in conjunction with
of the speakers. Voice tweeters and Altec musical John Meyer, the speaker incorporates
Both John and McCune Sound's instrument woofers were used in the first phase correcting delay circuitry and is about
philosophy in building the JM -3 was to first version of these speakers. These were the flattest, most natural sounding monitor
build a speaker that was as smooth as protected by three separate speaker I've heard.
possible, determine where any remaining protection circuits which come into effect There is no midrange boost built into the
peaks or dips in the response might be, on continuous average or heating power
speaker itself, as is the case with several
and then equalize the system within the signals only, and do not react to the
transient peaks so necessary for quality other monitor systems on the market. As
amplifier package to make it as flat as
music reproduction. In the worst case the with all their speakers, McCune prefers to
possible, while minimizing the phase shift
start with the flattest response possible and
at the same time.
only introduce EQ at the console when

Rc/p98
 May 15,1979

NEW VCA WELCOMED BY

AUDIO INDUSTRY LEADERS

Los Angeles, CA -
Many of the
world's premier audio manufacturers
have announced current or future
use of the new B &B Audio VCA
from Aphex Systems, Ltd., claim- I
ing they have found it the best
available. Among those exhibiting
products using the new VCA at
the 63rd AES Convention in
Los Angeles are Automated Pro-
cesses, L. J. Scully, and Amber
Electro Design. Many others, includ-
ing Orange County Electronics,
Studer France, Televic, S.A.G.E.
and Midas have indicated they are
soon to follow.
The new VCA, or Voltage Con-
trolled Attenuator, invented by Dave 1
Baskind and Harvey Rubens, uses
innovative, proprietary techniques
to achieve new levels of perform-
ance. This new class A circuit has
none of the faults of older log -
antilog multiplier designs. Annoy-
ing crossover notch distortion is
eliminated, while modulation noise,
I.M. and harmonic distortion are
greatly reduced, resulting in a
cleaner, smoother sound, like no
VCA at all. The device has found
wide acceptance in the audio, video,
broadcast and instrumentation
fields. It can be used in all types of
automation systems, video effects
generators, distortion analyzers,
voltage controlled filters and equal-
izers, just to name a few of the
countless applications.
J The B &B 1537A VCA is available
in a 14 -pin DIP Package. Typical
specifications are: Bandwidth -
DC-50 MHz, T.H.D. - .004 %, I.M.D.
- .03 %, Dynamic Range - 110dB.

While at Los Angeles AES, be sure to visit Aphex Systems at Booth No. 115, and demonstration rooms 482 & 484.

for additional information circle no. 46 R -e /p 99

 necessary.
The high frequency horn, developed by
system may go a little out of balance if one nice linear drivers which need to be McCune engineer Steve Kadar, does not
or more sections is pushed into limiting, modified to move in a non -linear way in
sound like a horn at all yet it provides all the
but this was felt to be preferable to the order to match what is actually happening
power and efficiency of a horn system.
system shutting down due to a tripped to the air under compression. The
circuit breaker in the speaker line. There tweeters (which were originally designed According to Doc, the musicians are quite
are also indicator lamps located on the for hi -fi applications) have also been impressed with the quality and power of
amps to inform the operator if any section modified to lessen distortion as well as to these monitors and I never once heard a
is going into limiting. increase power and ruggedness. note of feedback throughout the show. The
A sub -woofer, the JM -5, was built to go Once modified the JM -3 system SM -3 is also used in the rear of the theater
with the JM-3s for those situations that achieved two tone IM distortion of less for the quad effects.
required more bass response. However, than 0.5% at 110 SPL at one meter. It's The SM -4B is another bi -amped speaker
the speaker was so big and bulky that it around 1% at 120 SPL. and was designed as a slant monitor with
was impractical to transport it to many One of John's prime considerations all three sides at asymmetrical angles so that
shows out of the area. A few years later along was to make the system as phase the speaker could be tilted to three different
when John went to work in Switzerland for coherent as possible. When the JM -3 was positions. The SM -4B starts out as a
the Institute of Advanced Musical Studies, first being designed over 10 years ago, stripped Altec 604 -8G frame which is fitted
he re- worked the JM -3 design. Returning phase was not taken too seriously by most with a special cone and extensively modified
to McCune Sound, he introduced people. John, however, felt very strongly high frequency diaphragm by ace speaker
modifications to the system based on about keeping phase distortion to a modifier, Dennis Minnick.
patents he received and which McCune is minimum and the system holds a The SM -2 is a small, two -way passive
now licensed to use. A modification to the differential time delay of about plus or crossover loudspeaker utilizing the
driver dropped distortion by a factor of 10. minus 0.5 ms from 50 to 15,000 Hz. horizontal Motorola piezo-electric tweeter.
The bass response was extended down to Another major design criterion for the Mainly used for cueing purposes, it also
the 30 -40 Hz region so they could be used JM -3 system was that its size be small
serves to augment the headphones in the
without sub-woofers. enough to fit into the luggage compart-
The driver modification deals with the ment of a small commercial passenger jet orchestra booth, should any of the
distortion created by the non- linear
compression and rarifraction of a
- a concept that proved to be an
important factor on national and
musicians choose not to use the
headphones. All SM series speakers are
waveform generated by a speaker or any international tours with groups like Herb powered by identical SM- 2 -3 -4B amplifiers
other system that moves air. If the device Alpert and the TJB, King Crimson, Burt which can be switched to choose the
which is moving air is moving linearly then Bacharach and Liza Minnelli. appropraite EQ and phase correction
the compression and rarifraction will be Even the stagehands smile whenever a circuitry necessary for each speaker.
different and will result in distortion of the show comes in with JM -3s instead of a I was happy to see that there were no side

waveform. The problem has been that multitude of unwieldy bass bins and horns. fill monitors used. I've always felt that they
manufacturers have been building very Now that's somethin'. smear the sound by getting into all the mikes
as well as contribute to the performers
playing slightly out of time and tune. This
latter problem is due to the different arrival
times of the same signal coming from both
his floor monitor as well as from the side
monitors further away.
According to Tom, the musicians on
stage (with the exception of the drummer
who is located behind the guitar amps) don't
want much of their instruments through the
monitors, as a rule; they prefer to hear them
through their amps. The Gibson organ,
which is taken direct into the house system,
also feeds a Fender amp under the piano
which is aimed on -stage and serves as the
organ monitor. This setup helps keep the IM
distortion (caused by too many voices and
instruments fighting to come out of a
speaker at the same time) to a minimum.
Another authentic touch to the setup is
that the "Paul" and "George" characters
both share a mike, as did the original
Beatles. Now we all know they could have
afforded another microphone, so I suspect
they did it to facilitate intonation and
harmony. This technique is still quite valid
today, despite the fact that monitor
JM -3 SM -3 SM -4/4B speakers have improved tremendously.
Tri-amped Bi -emped Bi -amped
Coaxial One thing that is not so evident in
Continuous Power Input 925 watts 150 watts 150 watts
Horizontal Beam Width 900 90° 100° Beatlemania but was something I recall the
SPL @ 1 meter 135 dB
40
121 dB
- 18 kHz
122 dB
50 Hz - 16 kHz
Beatles doing quite frequently was their
Response l'_3 dB) 60 Hz - 16 kHz Hz
Weight 245 lbs. 60 lbs. 90 lbs. habit of singing into a microphone which
43Hx26Wx32D 28Hx13Wx14D 20Hx34Wx18D
Dimensions
was positioned a little higher than their

R-e/p 100
mouths. Watch "A Hard Day's Night" again outputs and can be selected to monitor any
if you doubt me. I've always felt this was input or output of the two MM -4 boards.
intentional, not because Paul was shorter The speakers leave Tom's hands free to
than George (his boot heels were higher, react instantly to a potential problem. The
anyway) but because he could sing with less time necessary to put on a pair of
effort and more intensity this way. Try headphones could be all the time it takes to
exhaling through your mouth with your go from the onset of feedback to the real
head level or tilted slightly downward and thing.
then tilt your head up while continuing to Also located at the monitor mix position
exhale. You will feel and hear a marked are, in addition to the tape machines: 2 UREI
difference in the sound of the air issuing LA -4 limiters, an Orban 622B parametric
forth. The air passage is less constricted and equalizer, and two UREI -639 graphic
more controllable. There is also the benefit equalizers; all neatly packaged in a rack
of slightly more level before feedback as the which serves as a base for one of the MM -4
mike is not staring into the resonant cavity consoles.
of the open mouth all the time.
In addition to the audio monitor, there are Mike Splitter System
also closed circuit video monitors set up in Most of the mikes are patched into a 27
the orchestra booth. A camera is aimed at pair mike splitter system composed of two
the drummer so that the orchestra can have 27 -pair stage boxes and a splitter box which
a visual as well as audible cue of what is provides for one direct output and two
happening on stage. double shielded transformer isolated
Communication between the monitor outputs. This system is connected together
mixer and the house mixer is provided by a with AMP gold plated multipin connectors
Clear -Com system consisting of a King wired to Belden 27 -pair multicable and
Biscuit speaker /mike combo at the monitor terminates at both mixing positions with
position off -stage and a telephone handset AMP to 3 -pin XLR pigtail assemblies. A
out at the house console. The handset is separate 9 -pair splitter handles the balance
preferable to a headset since it only requires of the mikes and is connected to a second
one hand and ear to operate, leaving the 27 -pair cable which goes out to the house
others free to stay in touch with the show. console. Numbers 14 through 27 on this
The monitor mixer has a second King cable have had their connectors reversed to
Biscuit station in front of him which is on that there are 14 send lines available at the
another channel to the stage manager, who console that terminates backstage (see
uses it to give the various tape cues during Figure 3).
the show. There is no stage manager
communication to the house mixer, but Protection
messages can be relayed through the Sometimes power turn on and turn off
monitor mixer if necessary.
Loudspeakers, not headphones, are
connected to the monitor consoles' cue
can be a very frightening event. Any of you
who have ever turned on the console power
supply after the amps had been turned on
the
band stage
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 11.81

and listened to your speakers vent their _.0 sll ' `cc
'+,'8C655';'AtiiSiS"r,SÜi'rÚ,;.;
disapproval know what I mean. Fortunately, ,

all the speakers in this system have been '':1:#i"_ - _

'',
designed to wait awhile before they come on
so the old rule of "amps on last and off first"
is not as imperative anymore. The entire
system is also self -protected so that if an
amp suddenly decides to turn into a battery
it first disconnects the speaker so that the
cones don't flame out. Indicator lights on the
amp rack will also inform the operator that a
speaker has been disconnected.
According to Abe, there has never been a
show cancellation due to sound problems.
And that's with a show that's been running
for over three years and includes three
complete companies. One reason for this
admirable record has to be the self-
contained power distribution system.
Amp racks, backstage, tar left rack contains power distribution panel.
Power Distribution
All audio AC power comes from a single
breaker box which is wired directly into the
220 volt power panel in the theater. Two 220
connected to the remaining amp racks via
heavy duty twist -lok connectors. Lights on
this power panel rack indicate any errors in
install -
McCune package. It's easy to move and
you plug it in and it works right off
the bat. Bob Cavin, Steve Kadar, and
volt cables come out of this box; one of the wiring. In the event that 220 V is especially Thorny, have my deepest respect
which is wired into a power panel consisting unavailable, the amp racks can be powered and gratitude."
of 12 sets of 110 VAC grounded outlets. directly from separate 110 volt outlets Thorny, sometimes known as Alexander
These outlets are all on separate circuits
and supply power to the monitor mix
backstage by the use of twist -lok to three
wire u- ground adapters.
Yuill- Thornton, II - but not often
man chiefly responsible for designing a
- is the

equipment as well as to the musicians' stage package that satisfied Abe's requirements.
amps and effects boxes. The other 220 volt Packaging Abe wanted a compact system, one that
feed plugs directly into a power distribution Doc has been, to use his own words, weighed under a certain amount per piece,
panel in one of the amp racks which is "wonderfully and happily spoiled by the and that would load into a truck in a rational
fashion. The case dimensions were picked
two ways. First, the widths were chosen as
sub -multiples of a standard tractor -trailer
width which is about 91 inches. Therefore,
when the truck is packed there aren't any
For Your Scully Studio Recorders. leftover cubby holes or odd size spaces that
Think Ferrite need filling to protect the load from shifting.
Secondly, the height of all the cases was
10 Times Life All Track Formats 100's in Service picked to be the same as the height of a JM -3
Unconditional Warranty. speaker after it's strapped to a rolling
aluminum transport dolly. As a result, when
Ferrite Heads Available for all Professional Recorders. the whole load is in the truck the height is
uniform and plywood sheets are then laid on
top to create another flat level for additional
equipment.
Most of the decisions regarding the
design and use of these cases were made
with the operator in mind. As Thorny put it:
"My objective in all that I'm doing is to make
it easier for the operator. The less time the
operator spends screwing around with his
equipment, the more time he can spend
doing a good show."
Each amp case contains two amp racks
positioned back -to -back and was designed
by Thorny under the assumption that it will,
in most cases, be pushed up against a wall
backstage. Therefore, all patching, power
SAKI MAGNETICS INCORPORATED cable connections and controls are located
(A California Corporation)
on the front rack. The rear rack contains
only power amps which have had all their
controls removed and which don't normally
require access. Also located in each amp
rack is a fan and air filter panel (!) which
1649 12th Street Santa Monica, California 90404 (213) 4518611
make for very quiet air circulation.

R-e/p 102 for additional information circle no. 48

 The intention of the system was that it interface connection which will automate else that wasn't nailed down at the shop.
could be easily customized for a particular the testing of all processing electronics and They stacked them on top of each other on
show. The amp racks were built to contain amplifiers as well as measure the speaker's either side of the stage and surrounded
active impedance to see if any speaker has them with barbed wire so the kids wouldn't
either JM -3 or SM- 2-3 -4B amps or any
combination of the two, and therefore
components within the system were made
failed, and if so, which cabinet it is in.
The entire amp rack system for this show
get too close and get "fried" by the sound
a major concern at that point in time! Mort
-
as interchangeable as possible. For sits backstage in a 4 x 8 foot space; and yet, mixed the show from a dugout on a bunch of
example, an SM- 2-3 -4B amplifier consists of even with the close proximity of all the Altec 1567 tube mixers bussed together.
two modified Crown D -150 (150 watt) stereo control electronics, amplifiers and power Monitors were Altec 9844s placed here and
amplifiers and a separate controller panel cables, the noise level is such that you can there around the stage and fed off the main
containing all the SM- 2-3 -4B electronics. barely hear it in a quiet theater with yoúr ear program buss.
Should one of these amplifiers malfunction, to the foam speaker grill! As a good example of how much the
it can be exchanged for any other 150 watt This packaging system was developed for Beatles were concerned about the quality of
amp in the rack, including the one that the specific needs of Beatlemania and has the sound, Ringo actually sang into the
powers the midrange in the JM -3 speaker. proven to be so successful that McCune counterweight of the mike boom for two
(The highs and lows of the JM -3 are Sound is building all subsequent road songs! He had previously shoved the mike
powered by modified Crown D -75 and DC-
300A amps, respectively.) This flexibility
reduces the number of spare amps that
equipment in a similar manner.

Full Circle, Sort Of .. .

the counterweight was in front of him -
out of the way and it swung around so that

he sang into it instead. He thought that it

so

normally would be carried on the job. In talking to Mort Field, vice president was all very funny, of course! Evidently the
The wiring from the amps to the various and general manager of McCune Sound, I McCune crew weren't quite as amused
control electronics panels within the racks learned that this was not McCuné s first however, and shortly thereafter launched
are terminated in multipin Pyle connectors involvement with the music of the Beatles. It into the design and manufacture of the JM -3
and BNC video connectors, utilizing coaxial seems McCune did the sound for the last system, a system they hoped would make
cable to minimize hum, buzz and RF live Beatles' concert at Candlestick Park groups like the Beatles change their minds
[San Francisco]. According to Mort, the about the quality of sound available for live
interference. There are no banana plugs,
phone jacks, or even three pin XLR
connectors within the amp racks. Each
Beatles had totally given up on sound
they really didn't think it was possible to do it
- concerts.
Unfortunately, "The Beatles" are a
control electronics panel contains the right. They just hired the local sound memory at this point and not likely to play
speaker protection circuits, volume company wherever they went with another concert requiring a sound system.
controls, and all the limiting, EQ and phase instructions to just make it loud. So Beatlemania, however, will let you
correcting circuits necessary for its McCune Sound took every modified A-7 experience just what that concert could
application. There is also a microprocessor they had at the time along with everything have sounded like.

This singular
lower
".range
item
improves intelligibility in the
voice frequencies to a new order in high
power sound reinforcement. The
exciting new ATC 9" driver connects to
a straight exponential horn using an
integral phasing plug for enhanced
dispersion. The hand -laminated
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polyurethane damped to eliminate
resonances, even at 130 dB SPLs at
the throat. Its built for the road and has an unprecedented
six year warranty. Call or write for the"works ".

Eastern Acoustic Works, Inc.

59 Fountain Street, Box 1 l 1, Framingham, Massachusetts 01701/(617) 620 -1478
for additional information circle no. 49 R <.qr 103
THE BEST VALUE
IN A PROFESSIONAL
TAPE RECORDER
When you compare a tape recorder, here are the most important
areas to consider for value, quality, and sound.

PERFORMANCE:
Overall Signal -to- Noise: 66 dB unweighted at 520 nWb /m (30 Hz to 18 kHz audio filter).

Playback Signal -to -Noise (electronics): 72 dB unweighted (with audio filter).

Headroom: +24 dB. Maximum Output: +28 dBm.

Overall Frequency Response (15 ips): 30 Hz to 22 kHz ±2 dB.

Playback Frequency Response (MRL test tape): 31.5 Hz to 20 kHz ±2 dB.

RELIABILITY: An unmatched 4 -year track record of on the job performance for the original compact
professional recorder. Day in, night out. Just ask someone you trust.

ALIGNABILITY: Any tape recorder must be aligned to achieve maximum performance. With the
MX- 5050 -B, all primary alignments including record bias and level are on the front panel. So is a 1 -kHz test
oscillator. Secondary alignments are inside the bottom panel. You or your maintenance people can align it fast
and easy. This saves you time, money, and enhances your reputation.

INTERFACEABILITY: With a flick of the output switch you can plug -in to any system:
+4 dBm 600 ohm or -10 dB high impedance. No line amps or pads to mess with. A perfect match everytime.

ADDITIONAL BENEFITS: Three speeds, dc servo ±7 %, 1/4 track reproduce, full edit
including indexed splicing block, over -dubbing, noise free inserts, XLR connectors, NAB /CCIR switching,
unique 3- position alignment level switch.

PRICE: Suggested retail price $1,945 (USA).

MX- 5050 -B: THE CHOICE IS OBVIOUS

Call Ruth Pruett on 415/593 -1648 for the name of your Otani professional dealer.
Otani Corporation, 981 Industrial Rd.. San Carlos, CA 94070 TWX 910-376 -4890
 REVVIAlt,
MAID
MX50150
1tecoap

GO
01:

FCIAD LEVEL

for additional information circle no. 50 R 70.5

Honoring .. .

the ENGINEERS ...

the PRODUCERS .. .

and the STUDIOS for the parts they played in

making the recordings which won 1978's GRAMMYS .. .

RECOGNITION 1978
Best Engineered Recording (Non - Classical)
Engineers RODGER NICHOLS, AL SCHMITT
Producer Gary Katz
Studio Village Recorders
Disk Mastering Gary Katz, Warners
FM (No Static At All)
Steely Dan
Best Engineered Recording (Classical)
Engineers BUD GRAHAM, ARTHUR KENDY,
and RAY MOORE
Producer Andrew Cazdin
Studios Recorded at Manhattan Center
"VARESE ":
AMERIOUES- ARCANA -IONISATION

Producer of the Year

KARL RICHARDSON, ALBHY GALUTEN, THE BEE GEES

Best Engineered Album Nominees (Non -Classical)

Engineer BRUCE SWEDIEN Engineer GEORGE MASSENBURG

Asst. Engineers Nuls Eric Lund, 011ie Cotton, Asst. Engineers Jack Rouben, Warren Dewey
Anthony D'Amigo, Cheech D'Amigo Producer Maurice White
Studio Cherokee, Westlake II, A &R Recording Studio Hollywood Sound, Sunset Bowl,
Disk Mastering Bernie Grundman Burbank Studios
SOUNDS AND STUFF LIFE THAT ALL 'N ALL
Quincy Jones Earth, Wind and Fire
Engineer ALLEN SIDES Engineer ALLAN PARSONS
Asst. Engineer John Neal Asst. Engineer Chris Desmond
Producer Michael Robert Phillips Producer Allan Parsons
Studio Filmways /Wally Heider Studio Davlen Studio
Disk Mastering Stan Ricker, Phil Cross PYRAMID
A TRIBUTE TO ETHEL WATERS Alan Parsons
Diahann Carroll

Engineer -- JOHN NEAL

CLOSE ENCOUNTERS OF
THE THIRD KIND

1
Questions:
1. What has revolutionized mic preamp technology?
2. What doesn't know the meaning of slew rate limiting?
3. What makes a microphone sound like a microphone?
4. What passes 100khz (full power) with its leads tied behind
its back?
If you didn't get all four answers correct you haven't been paying
attention. TRANS AMP is winning friends all over the world with its
smooth talking, flawless, amplification. We're taking this opportunity
to thank some of those people who have lent us their ears, (promptly
returned) and given TRANS AMP a listen.
Hmmm ... HM GVIIHHH OVIIXOCXI, I don't see everyone's name!

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¡nMoux noS `ti0

dDüV SNIV23L '£
'fi dYüV SmVaL 'z :
diV SmV1L 'T SjalYlSLii
for additional information circle no. 119 R-e/p 107
 RECOGNITION 1978
Record Of The Year
Engineers -- JIM BOYER, PHIL RAMONE
Producer
Studio -- Recording
Phil Ramone
A &R
JUST THE WAY YOU ARE
Billy Joel
Album Of The Year
Engineers KARL RICHARDSON, LARRY MILES,
STEVE POULIOT, DANNY WALLIN,
RAY THOMPSON
Asst. Engineers Michel Marie, Tyrone Williams, Jim Nau,
Jerry Crawford, John Blanch, Ed Marshall,
Producers - Nick Bacona
The Bee Gees, Carl Richardson, Albhy
Galuten, Freddie Perren, Thomas J.
Valentino, Bill Oaks, David Shire, Ralph
MacDonald, W. Salter, KG Productions,
H. W. Casey, Richard Finch, Bobbie Martin,

Studios - Broadway Eddie, Ron Kersey

Criteria, Le Studio, Chateau D'Herou-
ville, Wally Heider, The Mon and Pops
Company Store, Burbank Studios,
- Cherokee
SATURDAY NIGHT FEVER
The Bee Gees

Best Country Vocal, Male Best R &B Vocal, Male

Engineers
Producer
-- BRADLEY
Booker
HARTMAN, DONIVAN COWART
T. Jones
Engineer AL SCHMITT

Disk Mastering -- Bernie

GEORGIA
Grundman
MIND - Willie Nelson
ON MY
Asst. Engineer
Producer
Don Henderson
Tommy Li Puma
Studio Taped live at the Roxy by Wally Heider,
additional recording at House of Music,
Best Country Vocal, Female
Engineer
Asst. Engineers
-- ARMIN STEINER
Linda Tyler, Don Henderson
ON BROADWAY -
mixed at Captiol Recording Studios.
George Benson
Producer
Studio
-- Gary
Sound
Klein
Lab
Best Jazz Instrumental Group
Engineer - BERNIE KIRSH
Disk Mastering
-- Lynn Morse,COME
HERE YOU AGAIN - Dolly Parton
The Mastering Lab Asst. Engineers
Producer
Studio
Stillman Kelly, Geoff Sykes
Chick Corea
Kendun Recorders
Best Pop Instrumental Performance Disk Mastering Davlon Sound, Crystal Sound,
Engineer MICK GUZAUSKI by Bernie Grundman
Asst. Engineers
Producer
Larry Swift, Michael Frondelli, Stillman Kelly
Chuck Mangione
FRIENDS - Chick Corea
Studio
Disk Mastering
- Kendun Recorders
Bob Ludwig, Masterdisk
Best Jazz Instrumental Soloist
-- VAL VALENTIN
- CHILDREN OF SANCHEZ
Chuck Mangione Group
Engineer
Producer
Studio - Norman Granz
Mountain Recording Studio
MONTREUX 77 AND OSCAR PETERSON JAM
Best Pop Vocal, Female
Engineer
Producer
- KEN FRIESEN
Jim Ed Norman
Oscar Peterson

Best Jazz Instrumental Big Band

Studio Eastern Sound Engineers SCHOLZEN HANS PETER, HEINER FRIESZ
Disk Mastering Jim Ed Norman, Capitol
YOU NEEDED ME -
Anne Murray
Producer
Studio
Disk Mastering
Jon Snyder
Domicile Club, Dieter Dierks Studio
Bernie Grundman
Best Pop Vocal, Male
Engineer -- MICHAEL DELUGG
LIVE IN MUNICH
Thad Jones and Mel Lewis
Producer Ron Dante
COPACABANA -
Barry Manllow Best Comedy Recording
Engineer -- RICHIE CICERO, WILLIAM McEUEN
Best R &B Vocal, Female
Engineer
Asst. Engineer
- JUERGEN KOPPERS
Producer
Studio - William E. McEuen
Aspen Studios, The Boarding House,

Producer -- Steve Smith

Georgio Moroder, Pete Bellotti Disk Mastering -- Red Rocks Theater
Jeff Sykes, Kendun
Studio
Disk Mastering -- Rusk Sound
Allen Zentz, Mastering Lab
LAST DANCE - Donna Summer
A WILD AND CRAZY GUY
Steve Martin

R-e/p 108
 RECOGNITION 1978
Best Engineered Album Nominees (Classical)
Engineers DOUG SAX, BUD WYATT Engineer GUNTER HERMANN
Producer Doug Sax, Lincoln Mayorga Producer Dr. Hans Hirsch, Magdeline Padberg
Studios MGM Studios Studio Berlin Philharmonic Hall
Disk Mastering Mastering Lao, Doug Sax BEETHOVEN: SYMPHONIES
WAGNER: DIE WALKURE: RIDE OF (9) COMPLETE
VALKYRIES/TRISTAN: PRELUDE
ACT /GOTTERDAMMERUNG SIEG-
1
Engineer GUNTER HERMANN
FRIED'S FUNERAL MUSIC /SIEG- Supervising
FRIED: FOREST MURMURS Engineers Michel Glotz, Cord Garben
Producer Dr. Hans Hirsch, Magdeline Padberg
Engineer JACK RENNER BRUCKNER:
Producer Bob Woods SYMPHONY #5 IN B FLAT MAJOR
Studio Severance Hall
Engineer PAUL GOODMAN
Disk Mastering Stan Ricker, JVC
FREDRICK FENNELL -
CLEVELAND SYMPHONIC WINDS
Producer
Studio
Jay David Saks
Scotish Rite Cathedral
Disk Mastering Paul Goodman, RCA
Engineer MARC AUBORT BERLIOZ:
Producer Joanna Nickrenz, Elite Recordings SYMPHONIE FANTASTIQUE
Studio Concert Hall St. Louis
Disk Mastering Masterdisk Engineer VITTORIO NEGRI
PROKOFIEV ALEXANDER NEVSKY Producer Vittorio Negri
BACH: MASS IN B MINOR
Engineer CHRIS PARKER
Producer Christopher 3ishop Engineer VITTORIO NEGRI
Disk Mastering Abbey Road Producer Vittorio Negri
MESSIAEN: TURAGALIA SYMPHONY HOLST: THE PLANETS

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for additional information circle no. 120 R-e/o 109

 "Morrison, magnetic and compel-
ling as ever but with a new sense of A N A M E R I C A N PRAYER
intimacy, lays himself bare without
diluting his mystery. His incantations,
JiM MORRISON
M U S I
C B Y

both sacred and profane, agonized

and ecstatic, trace his life from THE DOORS
wonder-filled childhood to exhilarat-
ed adolescense to tumultuous
adulthood - -
and beyond."
Richard Cromelin
Los Angeles Times Calendar

"Violent images of alienation - the

--
photographic (plus symbolic) nega-
tive of the American night there are

-
some unforgettable lines

-
or rather
lines I wish I could forget."
Lawrence Ferlinghetti

...
music critic John Rockwell
"
raised some questions about the
propriety of releasing albums by
An American Prayer
by the
deceased artists who, in their lifetime, PRODUCER /ENGINEER
had not approved the finished JOHN HAENY
product or, indeed, had no finished with the assistance of John Weaver
product to approve. The issues raised The history of An American Prayer into the studio together (December 8, 1970),
... demand some soul searching on
begins when Jim and I did the Elektra Jim had left the Doors and had negotiated a
the part of the music industry ..
"One posthumous recording in recording (March, 1969), the first of two contract for a poetry album which we were
particular works grandly, though, and sessions which produced the dialogue co- producing. We had started meeting and
its success ought to be an indicator of masters used on the record. Jim was still had an idea of the direction that we were
the proper course to take in these with the Doors. This was one of those things going in, what we were going to try to
matters. 'An American Prayer,' by Jim a record company does. "Can I have a accomplish. Then I got a call on his birthday.
Morrison and the Doors, works so couple of hours in the studio?' "Sure, Jim." He wanted to go into the recording studio
well because it is done by the artists At that time I was chief engineer of Elektra and get a good start on the poetry album. So
who would have been involved from and had been on the periphery of the I hustled around, and I got Village Studio 'B.'

recording of a number of Doors' albums I just set up one microphone in the middle
-
the outset."
David McGee & Barry Taylor
Record World
and, as it happened, I ended up engineering
for Jim.
of the studio, and I tried to encourage Jim to
move around. At Elektra, the voice had
I believe Jim looked at that session as a been recorded with a U-67 (it was probably
Jim Morrison and the Doors test. He had reached a point in his life where sans windscreen or any of those kinds of
emerged during a wild and charisma- he had done all he could do and wanted to devices), with echo and in stereo. (Jim
tic era in the history of rock. By the do as a rock and roll entertainer, he was center; returns left and right, along with
end of the sixties reaction to them had
run the gamut -
they were adored
and despised, praised and panned,
looking for new directions. His preoccupa-
tion at that point was his poetry. He had
stereo piano which Jim played for effect, as
used in the beginning of side two). At Village
grown this great, long, luxuriant beard and we recorded in mono with a Norelco C -12A
emulated and denounced. he walked everyplace. He led a very simple, at some distance and dry, although it was a
Still, for Morrison, one very an amazingly spartan existence. little difficult to keep Jim away from the
important personal goal had yet to be
realized. He wanted recognition as a
That first session lasted about an hour- microphone. He would always try to gobble
poet and early in 1969 he and and -a -half; two hours at the most. Jim read it up, like he did on stage.
producer /engineer John Haeny his poetry and also made spoken That session produced some of the most
began recording Jim's poetry. The commentary. By the second time we went beautiful performances on the album.
circumstances of Morrison's death in
Paris were widely reported and
sensationalized. Despite speculation
as to what really happened one fact
-
persisted Jim was gone. The rest of
the Doors went their ways, collective-
ly and separately; as did Haeny, who
maintained hopes of eventually
seeing Morrison's aborted project
completed.
Finally, ten years after it was begun,
Jim Morrison's poetry album is a
reality. The format and content of An
American Prayer defies comparison.
It is a unique blend of elements that
add up to an "aural cinema," a
panorama of images and sensations.
The following is John Haeny's
account of how it came to be.
- John Weaver December 8, 1970 at Village (left to right) Kathy Lisciandro, John Haeny, Jim Morrison, Frank Lisciandro
Ecerpts of Jim Morrison poetry courtesy of James Douglas Morrison Publishing, and Doors Music Co.
R c,É, 110
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 After we did the Village recordings, Jim sketchy. But, I carried it with me from the single inch of every single tape that we could
felt, as do most creative people, a need to time that Jim and I had started on it. Jim was find. I kept longhand notes on everything we
organize his thoughts. He didn't feel he a passionate filmmaker, I had been a heard, everything people responded to and
could do it in Los Angeles and wanted to go filmmaker. So film was very important to where it was located. We just wanted to see
to Paris. His plan was to go there, and then both of us. In those early discussions, Jim what we had, to make sure that there was
after he had settled down a bit, organize his and I were working on the idea of using film enough good material to create the kind of
thoughts. Then I was to go to Paris and do techniques to paint poetic images on the album we all knew we must produce. After
some more recording. It was about three record. After Jim's death what remained we approached Elektra it took about ten -
weeks before I was to travel to Paris that Jim was an incredibly strong feeling on my part and -a -half months of negotiation before we
passed away. as to how it was that Jim would have wanted resumed work on the project.
the record to be done. Once we went back to work we started
Gehstly they stir, gently rise So there was that rough shell of an outline having pieces transcribed, everything we
The dead are newborn awakening of what the record had to accomplish. The could. If we couldn't transcribe it, we put it
With ravaged limbs and wet souls, three Doors (Robbie Kreiger, Ray on 3 x 5 index cards until we had essentially
Gently they sigh in rapt Manzarek and John Densmore) came up catalogued and annotated or transcribed
funeral amazement. and listened to the dialogue tapes with me. every viable piece of material we could find.
Who called these dead to dance? Virtually all the- initial meetings on the At the same time, Paul Black, my assistant
album, for the first year- and-a -half or two throughout the project, gave me cross -
I never had any doubts that what has years, were at my home, with a very low references. He was the librarian for this
happened with this album was eventually profile regarding any publicity pertaining to project all the way through and of immense
going to happen. There was some very thin the project. We listened and I told them help to us all.
ice, but I always believed that, if it did some of what I knew that Jim wanted. We needed a great deal of creative
happen, it would happen right. With that We started discussing some of the other flexibility in the assembly stages of the
confidence, you get pretty stubborn. areas where we might find more material on project. I knew it was going to be very filmic
There was a very long legal hassle that Jim. I had known Frank Lisciandro and of and Frank was a filmman. Up in Santa
ensued after Jim's death which made it his involvement with Jim for a long time; he Barbara he had a Movieola three -table
impossible for the project to proceed. There was one of Jim's strongest creative editing machine with three magnetic
was a passage of some five years before I confidants. He essentially co- directed, co- playback heads on it, so he could interlock
received a phone call from Robbie Kreiger, produced and edited not only Jim's movie, or juxtapose sync with three cutting reels,
the Doors' guitarist. He told me that he and Highway, but, the Doors' film Feast of as they do in film. We transferred all of the
the rest of the group were interested in the Friends. He was very close to Jim, and knew elements we wanted to work with to
same thing that I was interested in: to pick him on a completely different level than magnetic film (mag), having pre -edge
up Jim's original project and carry it through anyone else did; plus he comprehended the numbered it. As it was transferred, it was
to completion. techniques and language of film. He was the notated which edge numbers related to
We decided that it was worth us getting missing element that was necessary for this what particular work. Then from there on
together and going over some tapes. I had a project. So I suggested that we bring Frank out, Frank would always have easy access
rough concept for the album; it was very in. We all wanted to go further, so we without having to listen through everything.
decided to review and see what materials we It was all cut up in pieces and put onto
had. editing cores, or hung up in film editing bins.
i ne Author At this point I had started getting Simultaneously, we were taking all of the
Beginning as a photographer, John computer runs from Elektra on what they 3 x 5 cards and the transcripts and quite
Haeny became intrigued with sound had in their vaults. They had savagely literally with scissors chopping them up in
and recording well over twenty years trashed, as most corporations do, rolls upon pieces.
ago. He worked for several establish- rolls of tapes; not the masters, but all the We then took all of these elements and
ed studios before being appointed as outtakes, all the good stuff. So that wasn't tried to sort them out into the sections we
the first staff engineer at Elektra exactly a great pool of information. The felt they belonged in, because Jim didn't
Records, later becoming its first Doors had done a live album and that was date any of his poetry, so there was no sense
chief engineer. During that period the next place to look. We had a lot of of chronology to any of the written works.
he helped build the stili operational outtakes, seven cities, eleven shows in all; We had to look at it and essentially
facility in Los Angeles. He left Elektra quite a few rolls of tape. That turned into a speculate as to where it applied itself, or
in the late 60's, and has since worked most valuable source. what it was related to.
as an independent engineer /produ- Also, in the course of making the films We pushed all the furniture back and
cer in most of the top studios in (Highway and Feast of Friends), all the film started laying the pieces of paper on the
this country. During the 60's he re- sound was recorded on a Nagra at 71/2 ips, floor and on the tables, shifting them
corded the Beau Brummels, (the first full track. They used that Nagra sometimes around; trying to tie the poems together;
American band to capture the Eng- just to sit up and brainstorm all night long, trying to get some idea of a story line.
lish sound). The legendary jazz great Jim and his friends, just talking. Some of So after we would thrash out an
John Coltrane and many of Judy these tapes were called the "Endless Night" approximate idea of a section Frank would
Collin's most classic recordings. tapes. When we started counting it up, it then trudge up to Santa Barbara, where he
In recent years he has engineered turned out that we had 90 five -inch reels to would assemble it as we had worked it out.
and/or produced records with San- go through. Among those tapes was the Sometimes it would take one, two, three
ford & Townsend, Gary Wright, Linda Indians story ("Dawn's Highway") which weeks of editing. Then he would have it put
Ronstadt and Jackson Brown, to follows "Ghost Song" on the record. That together roughly, sometimes interjecting
mention only a few. While recording was essentially our pool of pre- recorded sound effects and ideas of his own.
these artists he was also planning and materials. Some of the juxtapositions of lyrics with
creating An American Prayer, a So once we had gathered all the materials music was done when the Doors and Frank
together, we sat down for almost six months worked together in Santa Barbara for a
tribute to his friend, Jim Morrison.
and reviewed all the elements - every three -day period of time over some
R-e/p 112
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especially ticklish matters. But most of it were able to make a decision. If they didn't different time and place. I knew we would
Frank did in solitude. The script went belong, then we had to throw them out. The have the Doors, but we would have the
through major changes from what he did in time required to do this was substantial as Doors quite a few years older. When they
solitude to when it went to the studio, and was the cost. Most of the material that went started playing, it was magical.
then went through major changes from the on the floor went there not because it wasn't There were other moments of original
studio to the finished record. Yet, there is no good enough, but because there was music, such as Ray and Robbie playing
estimating the extent of his creative something about it that prevented the behind "Lament" on the second side. Those
contribution during the period of time that record from making the point that it seemed sections were best done using the most
he was cutting up in Santa Barbara. But, destined to make for itself. straight-ahead method: the dialogue was
what he did was right. It must have been, or first put on the multi-track and they played
we wouldn't have what we have. to Jim's words.
After he put a section together, he would The program for this evening We must have spent at least a couple of
then transfer it to Nagra, and bring it down is not new, months just concentrating on getting the
and we would all listen to it, tear it apart, You've seen this entertainment new music recorded. Then we came to the
reconstruct it, then jump into laying out the through and through. matter of laying Jim's words in. It was
next section. Frank would go back up to necessary to do it with the feeling and the
Santa Barbara to re -do the first section and intent of Jim being there, natural, breathing
do the first rough cut on the second section. Now came the time to go into the and flowing properly. They were sel- synced
We went through this until we had recording studio. Three to four months in, and because we were making so many
assembled all the sections together. For all were involved in matching, transferring and changes, and doing so much by trial and
intents and purposes, we may have rough pulling all the original dialogue pieces. error, I did not want to involve the original
cut each section as many as four or five Everything was originally recorded no faster master tapes in that kind of rough
times. Mind you, this is still not the end of than 15 ips, so in order to make editing the treatment. So we worked off of Nagra 7%2
the scripting process. We then moved the dialogue easier I stepped everything up to 30 copies that we made off of the edited mag.
editing table to Los Angeles and began three ips. Jim was notorious for very long pauses. The sound was horrid, but sync was solid as
months of fine cutting and working out our He had little or no concern about when he a rock and at this point content and flow was
differences with everyone present. coughed or sneezed, or licked his lips, or of primary importance. The music was
Since the album was being made much when he turned pages. So there was a great recorded on 24- track, and the guide
like a movie it was essential that we develop deal of cleaning up and fine razor blading dialogue was all laid in on one track, or
a script. We had to know every word and involved in the dialogue tapes. During this sometimes various tracks, and then
where it was to go and what it was to relate time the Doors were off composing and composited to one to establish some final
to. We couldn't begin to sit down and turn it rehearsing the original music score for the Bible of "this is the phrasing of things."
into an album until we had a comprehensive- album. Everything was synced up to that guide
ly detailed script, or as comprehensively The next stage was to record a demo of track that involved sync.
detailed as we could make it. We always had the score. Once this was completed I put What I had to do then was, on another
to build in that factor for creative change in together what we designated as "Overview track, end up with the original recordings of
the studio, and there was plenty of that. One." Although we had been listening to Jim's voice in absolute sync with the words
We had a great big pinboard, and for various overview forms during the entire that had been so patiently and carefully laid-
certain sections, we just took each one of editing process, this was the first to include in over months and months. The only way to
the various scenes and pieces that comprise the music. Once we knew that the score was do that was to solo the guide track and hear
that section and identified them in big working, we went into Hollywood Sound by my punch -ins whether or not I had
colored letters on large cards. One guy and started recording. punched the lines individually or whether
would organize all the cards, and somebody The Doors worked beautifully in putting they were continuous rolls off of the
else would get up and swap three cards with the music together. We had demoed it, so dialogue work tape. And if they were a
each other, and someone else would get up we had a very clear idea of where the words continuous roll, I would then sit down with
were and what poetry was to be laid in over the original and conform it to the edited
and move the front card to the last card.
Eventually something would fall together the six major works - "The Ghost Song,"
"Black Polished Chrome," "Latino
version. In the end it all had to match, no
matter what I had done to arrive at the guide
and Frank would start cutting again (I think
he logged a total of 700 to 900 hours at the Chrome," "Curses and Invocations," "The tracks.
mag table). Shortly we would be able to Ghost Song Reprise," "The End" and the I could have resorted to SMPTE time -

-
listen to the re -cut it was a great way to
get immediate feedback on how we were
"Albinoni Adagio." Ray Manzarek had a
script on his keyboards and a mike in front
based codes for sync, but then some of the
dialogue would have had to end up on four-
doing. of him. On the runthroughs he would read track because it was stereo already. With
We finally got to the point where we had the poetry as he was playing. Ray had a rental costs, we probably would have spent
done all we could do short of going into the great sense for Jim's phrasing. So what they twice as much on the production by having
recording studio. Some rough mixes had did in preparation and in actual recording to rent all the equipment necessary to have
been made off of the mag onto a Nagra and was wonderful. treated it that way. So I had to use some
that, along with a production script I Basically, cutting the score wasn't too very brutal straight- ahead, old- fashioned,
prepared, had become our Bible. These different from what we know as "lay it on the floor and measure it" methods.
mixes consisted of mostly spoken word and contemporary music recording. I had I would mix the music down just enough

sound effects, and were our earliest decided that there was nothing to be gained so that I could take whatever cues I needed
overviews. from going back and trying to duplicate the from it and then I would locate the guide
We were always listening to elements in original Doors sound. I had a pretty good vocal on one speaker and the original vocal
sequence - it was a total that couldn't be
separated. There were a lot of ideas,
idea of Bruce Botnick's mike techniques
and some of his concepts in engineering,
on the other. I would just start rolling the
tape and punching like mad, and rolling and
sections, scenes and works that we had to and I have great admiration for what Paul punching and rolling and punching ... until I
carry all the way through to completion, to Rothchild (the Doors' original producer) would get a line (or lines) to lay in so they
see them in relation to the overall, before we and Bruce did with the group. But, this was a would sound like I had unison overdub

R-e/p 114
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 without also picking up the sound of opposed to limiting was going to be
A N A M E R I C A N P R A Y E R
whatever you're protecting the microphone necessary on Jim's voice, because on vocal
JIM MORRISON with. Eventually I found a piece that was
good, an active storm with a lot of thunder.
dialogue it's the best thing in the world for
increasing apparent loudness, bringing it
MUSIC SV

The first thing I had to. do was lay down a seemingly closer to you. On the other hand,
THE DOORS blanket of rain. This was done by taking the compression is also an evil beast in terms of
rainstorm and going through and editing out bringing up the tape noise when there is no
all of the thunder. I threw every piece of signal present at its input. Because the tapes
thunder out and turned it into as much of a were a variety of generations away, I also
rainstorm as possible. needed a good expander (noise gate), and
I then made a number of copies and there weren't any that really quite satisfied
edited them together since the original me. I had had experience with the PDM
sound effect was not long enough. The limiter by EMT. There is a characteristic
multiple copy was then recorded on four about the PDM that gives it a slight tonal
separate tracks, essentially two stereo color of its own, yet it's very muscular as a
pairs. The speedpf the multi -track machine compressor, and has a beautiful expansion
was slightly varied for each one of the circuit in it. Its' automated attack time is so
tracks, and the rain cue was started at a very fast that it is a bit veiling on music. On
coming at me focused down the center, in different point each time. What resulted was spoken word, however, it does not create
mono. When that happened, fine; on to the a nice blanket of rain. Later on, while any problems; as a matter of fact, there was
next line(s). mixing, I introduced a small amount of a quality of silkiness added to Jim's voice.
In a case like the "Riders on the Storm" phasing to get the effect of wet city streets Used properly, the PDM can create an
section the guide track was laid in first. Next and cars going by in the rain. There already incredible impression of apparent level. It
the music would be cued in. Whenever was some rain and thunder on "Riders," but struck me that the PDM might really save
previously recorded Doors' music was the perspective we needed was of Jim up me; that it might increase the presence of
called for, as in this instance, I used the front, the rainstorm outside of the phone Jim's voice and, at the same time, eliminate
actual final mixes from the original album booth, and the music filling in the remaining the noise without creating an unpleasant
masters and I transferred them very space. Every time I lifted the music I also pumping effect.
carefully to two-inch tape. Then the master raised the level of the rainstorm on the It was a bit of luck that the dynamics fell
of Jim's phone booth conversation was original mix, so I had to create a rainstorm of together so well on the record. I had doubts
edited to conform to the mag. I did this by, my own that sort of floated someplace that it would happen so well; it was a
starting with the first line of dialogue, putting between Jim and the music and ran struggle. But, when the various sections
the entire story together in correct order. continuously from one end of the piece to were mixed and segued together, it all
Then I'd record it on an open track, trying to the other. We wild- tracked onto various matched. I really don't know if anyone else
sync it in. The first line would go by, and the other tracks thunder cues which was amazed, but I certainly was.
next, and the next, and then all of a sudden I punctuated the poetry. Finally, the piece The Village tapes were recorded dry and
would be out of sync. I had to figure out what was mixed very much like a short section of the Elektra tapes were recorded with echo.
was wrong, then correct it and start from a film. Hard as I tried I was never able to get the
the top and run the whole section again. Because we were trying to establish a echo off those recordings. So, at Cherokee,
And then I'd get by that fifth line, and then filmic flow throughout the album, I ran into where I mixed the album, I combined their
the sixth, and then the seventh would drop problems with vocal matches in going back left and right channels to mono (taking care
out of sync. and forth between the various sources we that we had no head alignment problems
In that particular story, more than others, drew from. I knew that was probably going that would phase the voice). This reduced
I couldn't lay it in line-byline because the to be one of my biggest problems in the left and right information (i.e.: the echo)
perspective that was required put the voice engineering the project. Continuity in Jim's while building up the center channel (which,
so far up front that I couldn't use any kind of voice was going to be absolutely essential. of course, was Jim's dialogue) ... primitive,
blank spacer to fill in the holes. Instead, I put For the most part, when it came time to lay but effective. I then devised something very
in ambience from other sections of that in all of the original dialogue masters, I laid close to that original echo using a DDL for
same recording of poems that we weren't them in with the greatest amount of integrity delay, equalization on send and return lines,
using; if there was a long pregnant pause possible. In the course of making the and an AKG BX20 (which can be a very
and it was quiet enough, it was saved and different overviews that we used, I trained flexible device with a lot of fiddling around).
used later as spacer. The dialogue was myself by trial and error to find out just what Eventually I got that BX20 to sound very
eventually laid in in its entire length. At that the differences were. I developed an much like the live chamber that Jim's voice
point on this particular work, I turned off the instinct, almost on a line-to -line basis, from had originally been recorded with (one I had
guide track; it wasn't really that necessary one end of the album to the other, as to how designed when I built the Elektra facility).
any longer. Jim should sound. This reverberation was then used to varying
The possibility occurred to me that by degrees on virtually all the readings.
taking the different material and putting it I don't usually want to compress the
All hail the American night! through a chain of equipment that had very equalization so I generally change the
What was that? specific tonal characteristics, the result envelope of the signal first. I simply want to
I don't know. would tend to make the different pieces all alter the ballistics of the information coming
Sounds like guns ... thunder. sound the same. That was the solution. I off the tape. That's where the noise gating
used a Trident parametric equalizer in and the limiting go in. Next thing in the chain
conjunction with an Orban DSer and an is the equalization. Lastly, I want to control
I had to find one good rainstorm sound EMT -PDM limiter -compressor -expander any sibilancy from equalization or the
effect, which is one of the harder ones to on the dialogue throughout the entire limiting/compression process, hence the
find. Recorded rain can be a real can of album. DSer goes in last.
worms, because it's hard to record it I knew that some compression as Sometimes there was a transposition of

R-e/p 116
this sequence, and I would equalize first and
limit second, being especially careful to use
record - if other people want to include
that kind of information in their articles, fine.
of some of the Nagra tapes. After we had
been through all the tapes the only three
the expander in the circuit. That decision However, I'm not interested. To each elements that survived were the "Dawn's
would depend on what frequencies were reader: turn your own knobs, make your Highway" story, the phone conversation
being equalized and how much tape noise own music. used in the "Riders on the Storm" sequence,
was involved in the raw program material. If and the blues behind the "Angels and
I had fairly noisy information and had to add

a bit of high end - 6,000 or 7,000 Hertz

would start picking up some noise
-I Words dissemble
Sailors" section (which was recorded during
a benefit for Norman Mailer at the old
Cinematique Sixteen Theater on Sunset
Words be quick
immediately; even as low as 3,000 Hertz Words resemble walking sticks. Boulevard). That much was fairly well
you're going to pick up audible tape hiss. In Plant them they will grow recorded and, within the Emits of very
these cases I put the equalizer in front of the Watch them waver so. powerful equalization, could be saved with
compressor and let the expansion circuit conventional restoration techniques. But,
help quiet things down. The DSer at all "Dawn's Highway," which virtually gave me
times remained at the end of the chain. As Along with these methods I had to go to no meter readings whatsoever, was
far as the equalization used throughout the even greater lengths to upgrade the sound recorded on Scotch 111, at the old "0"

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levels, and was covered with tape hiss and
air conditioning noise. The phone booth GT RUH 24-F :-78.11:06 7

conversation was slightly better recorded. It 111

had, however, an uncomfortable hollow- I ii
- -i°i
ness about it and a lot of tape hiss and
residual noise from the street. There was
also some very bad pops and clipping, along
with crosstalk from the other end of the
conversation. Regardless of the kind of
problems that existed on these tapes, we
1)

2)
Morrison prototype
computer analysis of a
dry sample of Jim's voice.

Computer analysis of
"problems" -i.e., Indian
_ //iiÌÌ 71116

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=r ,

ui.
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had to save them.

I have been following digital recording
story (Dawn's Highway).

3) The computed system

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developments for years and Gordon Rudd, when applied to the pro-

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a designing engineer in Los Angeles (whom I blem alters the character-
neglected to give special thanks to on the istics of the "problem" to
album - he deserves one) introduced me to
Dr. Thomas Stockham and the Sound-
conform to those of the
prototype.
1Ì
stream facility. Dr. Stockham was able to
161
process an old acoustical recording of I.eEi
162
5.0E
PROTO 4KHZ
Enrico Caruso and totally separate MORR I SCN

Carusó s voice from the orchestra. In reality

the vocal was really a computer
synthesization. That was quite an amazing expense that I couldn't begin to consider. figurative, since I did not touch the
program, but one that was left behind, When we took our problem tapes up to computer. We also had to have a well -
more -or -less, when Dr. Stockham left the the Soundstream facilities in Salt Lake City recorded, dry sample of Jim's voice, which
University of Utah to form Soundstream. It we did find one resident program, the . we did. The computer would then analyze
was a program that I could have used and "basic" blind deconvolution program which both the dry sample and the problem,
wanted to use to eliminate the echo on the was originally designed to restore the sound drawing the parallels necessary to cause the
Elektra tapes, but it was no longer resident of the Caruso and John McCormack problem to sound as close to the dry sample
in Dr. Stockham's computer. To get that recordings. With this process, first we as possible. Basically, in this application the
program re- written, it would have taken would convert from analog to digital computer becomes a very sophisticated
three to four full professors in computer (digitalizing at a sampling rate of 50,000 equalizer.
sciences eight hours a day for as along as Hertz per second) a short sample of each of Once analyzed the computer is directed
two to three weeks. It would have been an the problem recordings. The "we" is to act on its conclusions. Then we would

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R-c1p 118 tor additional information circle no. 55

 ..,¡ T YST OG á CT - - g.- - 1.

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-4 .1&-1 -7.0;1
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1E2 1E3 1E 1E2 1E3 -E
1 .25Ee 1.0E1 1.25Ee
.. 11401° C.101 C1001) 10 KHZ :

listen, making subjective adjustments here the conclusion that the computer wasn't work.
and there. I would say, 'That's very good," going to help us. For instance, the Elektra I also wanted to see what convolution
or "It's deficient here," or "It's become more tapes had originally been recorded with would do to the "Angels and Sailors" music.
hollow," or whatever the subjective echo and I really wanted to get rid of it It came down to a very close trade -off. It
comment was. Then Bob Ingebretsen, who because I wanted to put consistent wasn't really any better than the original; as
handled the computer operation and the reverberation on the voice throughout the a matter of fact, it removed some of the
programming for us, would request the entire album. As it turns out that's documentary character from the original
computer to do different things at different something that's very, very sophisticated, and forced me to retreat to more
frequencies and in different manners. We even for these gentlemen. It was possible for conventional methods. However, through a
would then take a second run. a program to be written, but here again, it lot of very careful maneuvering it did do a
It took us quite a few runs on some of our might have taken a week or two to write it, rather remarkable job salvaging the
problems. With a few of them we came to and then there was no guarantee it would "Dawn's Highway" and "Riders" dialogue.

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for additional information circle no. 56 R-e/p 119

 A N A M E R I C A N P R A Y E R and send the computer off on the wall. Most people see it, and they're trying to
convolution process. We put something like figure out what the hell to do with it.
JIM MORRISON 12 minutes through convolution with a
MUSIC BY bandwidth of 10 kHz. Twelve minutes is
THE DOORS twelve hours in convolution. (If the
Can we resolve the past,
bandwidth were 5 kHz then it would have
Lurking jaws, joints of time?
only taken 6 hours.) Once the computer is
The Base
ready to go it simply sits there and munches
To come of age in a dry place,
and chews and convolves until the job is Holes and caves.
completed.
Word for word, these were probably the
most expensive moments on the record. It's In constructing the short vignettes found
not an inordinately expensive process, prefacing various pieces of poetry we used a
though on the other hand, it's also not one combination of pre- recorded and original
where you just run up to Utah and "get sound effects. For example, the opening of
convolved." The deconvolution process has the "Newborn Awakening" section, the line,
moderately limited application within the "A military station in the desert, " is used as a
recording industry today, but Dr. Stockham voiceover narrative to set the scene. We
Without the Soundstream solution they has, parallel to the development of blind had poems of varying lengths, sometimes
would be so marred that the medium would deconvolution, devised (in my opinion) the only one, two, maybe three or four lines, and
have gotten in the way. most amazing digital sound recording and that was their poetic form. We were using
After the convolutions were completed editing technology that exists at present. the voiceover to give the listener the
we then reconverted back from digital to Much of that development and all its editing location, similar to what you would do in a
analog and transferring the dialogue directly functions employ this same computer. The film. For the background we used the foot -
from the computer to a Dolbÿ d ATR-100 at names Dr. Tom Stockham and Bob stomping, marching and the "Ready, aim,
30 ips, "0" level. That equipment (including a Ingebretsen, at Soundstream, are going to fire" sound effects exactly as they were
Nagra for playback) had been taken to Utah be in the forefront of our dialogue regarding presented in the "Unknown Soldier." In
for us to make the transfers with. We spent digital signal processing for years to come. place of gunshots, we cut in the new sound
three full days working, 12 hours a day. These kinds of accomplishments are only a effects of a car peel -out. Cruising in
Between days 2 and 3, the computer precursor of what will happen as the automobiles was a poetic fetish of Jim's.
worked all night long without supervision interrelationship between computer Then we went to the Elektra recordings
because by the time we got to the end of day sciences and the recording arts evolves. It's for the lines, "can we resolve the past, the
2, we were ready to digitize all the materials inevitable, the handwriting is all over the lurking joints of times, the base to come of
age in a dry place, holes and caves." That
sets the scene for the story to follow. Three
to four pairs of automobile sound effects
were segued together to give the effect of
mikes by mail? for less? one moving camera shot.
With me supplying the direction, most of
why not! the work on the recording of original sound
effects was done by Frank Lisciandro and
Paul Black. At first I was, frankly, horrified
The Mike Shop sells mikes by mail! for less! when I saw that they had placed the
Write us with your requirements or for our price sheet. microphones up the exhaust pipe of the
Help us keep our mike prices down, enclose a 154 stamp with your request.
automobile. They were AKG MKH -815
condenser shotguns with windscreens. We
had a beautiful Nagra IV -2 which was run at
15 ips. In many ways this remote equipment
was superior to much of our studio gear.
The fidelity and signal-to -noise ratio of the
equipment is quite outstanding. The result
of that miking technique was an amazing
Doppler effect. First you hear an exhaust
pipe in one ear, and another exhaust pipe in
the other ear, then the car peels out into
imaginary infinity. To give the car a throatier
quality a Harmonizer was used in mixing to
add a sub -octave to the glass -packs.
We recorded the street scene effects
which introduces the "Angels and Sailors"
section on a Friday night. Paul and Frank
took Frank's station wagon and that same
equipment and placed the mikes in the back
of the station wagon in an X -Y
configuration. Just the microphone snouts
were sticking out the window of the car so
The Mike Shop-, PO Box 366R, Elmont, NY 11003 they wouldn't be noticed. Frank drove, Paul
A Division of Omnisound Ltd.
got in the back, laid down and operated the

R-e/p 120 for additional information circle no. 57

 machine as they spent about an hour the hands of some talented but crazy people
cruising the streets of Hollywood Boulevard and for a very long period of time they had
You've seen your birth, your
at its' maddest hours. The various sounds no idea of what they were going to get.
life and death,
you hear are the real street sounds of Elektra Records deserves all the accolades
You might recall all of the rest.
"angels and sailors." Here again there were one can give. Because of the nature of the
Did you have a good world
multiple tracks of sound effects used to record there was a tentativeness on
when you died?
accomplish a very simple effect. Elektrás part since the release of the record
Enough to base a movie on?
There was some faking of stereo done, coincided with the Supreme Court ruling on
but I'd say the majority of the important the George Carlin case. The Carlin record
sound effects, even including crowds, if you contained the seven dirty words that cannot
choose to call them sound effects, were Although Jim's poetry deals with a variety be broadcast over the public airwaves.
recorded in stereo. Most of the audience of themes and concepts, two are treated in There are at least five out of those seven
effects were located by going through great depth: death and sex. Anyone who's words on this album. So, the record
endless hours of live Doors' concert tapes, enormously preoccupied with life must also company was a bit concerned. Much to
and listening to just the two audience tracks be enormously preoccupied with how life their surprise, after they debuted the album
until we found the necessary audience came to be and how life, as we know it, around the country for retailers,
reactions. ceases to exist. There was never any wholesalers, promotion men and DJs, they
We also needed the effect of some girls question about our treatment of these found that there were a lot more DJs will-ng
screaming as they go by in a car. This was subjects because we dealt with what Jim to give it airplay. And many more people
one of our rowdier accomplishments. Paul had left the world. If that involved using than they had anticipated were willing to sell
and I enlisted a bunch of teenage girls from expletives or controversial language, or it.
my neighborhood and tried a number of trial suggestive stories that could be I did not consider myself a word man
runs at various speeds and mike placements controversial, well so be it. That was part of when I met Jim. One of the reasons I got
to get it to sound right. We finally got the car his art and it was our responsibility to involved with him was because it immersed
speed and everything correct, but the girls' preserve it. We didn't make the me in an area of art that I had wanted to
lacked enthusiasm. So, the next time the car controversy, neither did Jim, he simply had expand my understanding of. That's how
came by and was in the right position, we
simply did a 180 °, pulled our pants down
the thoughts and wrote them down. Others
created the controversy. All he did was
I've grown in my life -
by always looking For
a challenge that was bigger than I was. Ncw,
and, mooning the young ladies, got the comment and if anybody else felt that he in retrospect, there's no measuring what
reaction that we wanted. Obviously, every was controversial, then that was perceived kind of a role it will play in my life. I
time Paul and I hear the girls' scream, we in their minds only, not in Jim's or in ours. sometimes doubt if I'll ever be able to
think of a very different picture than the As for Elektra, they showed heroicness measure the relationship that Jim and I had,
public does. by putting an immense amount of money in at least not in this lifetime.

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R-e/p 123
/ . .,cop r° e Apo

It is interesting to me that so many pop

artists and engineers truly envy those of us
This approach is diametrically opposed to
the philosophical and musical requirements
by Carson C. Taylor

appreciation of the artists performing it. In

classical recording it may be truly stated
fortunate enough to have a career in of classical music whether it be a soloist or that, "Ninety per cent of the engineer's work
classical recording. During my twenty years the largest symphony orchestra. Classical will have been done before he approaches
at Capitol/Angel /EMI Records, I did all music is composed, organized and has the recording session." He must transport
types of music but have become best known specific forms which the composer intended what is being played to the ears of the
for my recordings of classical orchestras, it should follow and therefore has sound ultimate listener. We have written a great
soloists, and choruses in every conceivable requirements which are at once specific and many words and still not mentioned
combination. Also for big bands such as the traditional. Pop music now, whether live or microphones per se. This approach is
Stan Kenton band. It is inevitable that every recorded, depends entirely upon electronic necessary to the understanding of
engineer develops techniques built around technology for its existence. Classical music microphone use for classical music
certain microphones which become his does not. Classical instruments and voices recording.
favorites. However, it is basic to state that a were enjoyed by countless numbers of In general, the highest quality condenser
good engineer can make a good recording listeners before microphones, amplifiers microphones are to be preferred for overall
with any variety of high quality microphones and the like were ever invented. It, orchestral pick -up, for strings, woodwinds,
by applying them to the situation properly. therefore, exists outside the electronic brasses, pianos, etc. For percussion,
Before discussing microphone applica- medium into which we endeavor to confine tympani, drums and xylophones I usually
tions, it would be well to explore the it. It is essential to establish this difference use dynamics for reasons I will explain later.
philosophy of classical versus pop music between the two music forms if we are to A few of the desirable condenser types are
recording today. Almost everyone is familiar intelligently and successfully approach the as follows:
with multitrack pop recording and the
reasons for it. Pop techniques today are
task of recording classical music. The
audience is used to hearing the sound of Neumann (large diaphragm) -
built around creative building of the music
by highly advanced technology. Frequently,
their favorite artists face -to-face with no
electronics involved. The seating
KM-86,
Neumann
KM-88,
U -87
(small diaphrahm)
KM -84
-
the impact of the finished product is the
direct result of skillful use of all the
arrangement of a symphony is, to a large
degree, dictated by tradition and by the AKG -
sophisticated processing equipment
available in a modern studio. The
need for uniformity as conductors appear
with various groups throughout the world. Sennheiser
MKH-406
-
414-EB, 452, 451 -EB

microphone technique used is invariably An example is the concert master and first
overdubs. This is the basic manner in which violins are always to the conductor's left. All
all pop music is recorded today. the strings follow quite uniform patterns in There are many others of equal merit
order that the conductor always finds the which space does not permit listing.
players in the same position as he directs
AKG C -422 AKG C -33E
their performance. These facts all add up to Location Recorders' classic Neumann
the microphone approach the engineer SM -2 stereo microphone .. .

must take. He must preserve as nearly as

possible the integrity of the performance
and the original sound as the audience
would hear it. If he does not, he will not sell
records. It is as simple and as complex as
that. All his creative talent and technical skill
must be subordinated to the integrity of the
performance. This implies then that he shall
have an excellent working knowledge and
understanding of the music being
performed and further a sensitive

R-e/p 124
"ReVox new B77 is long
performance and short o
Mickey Mouse features."
That's what Herb Frie
said about the ReVox B77 in i -Fi/
Stereo Buyers' Guide.* If you do loca-
tion recordings, you'll be interested in
what Herb has to say.
In addition to evaluating
products for magazines, Herb Fried-
man is Chief Engineer for Tridac Elec-
tronic Laboratories and a major New
York radio station. As such, he
produces taped programming and he
knows the real differences between
truly professional recorders and others
that claim to have "professional
features ".
Differences like 18dB record
headroom, flat response with no low
frequency "head bumps ", the highest
usable dynamic range and t:-e lowest
noise of any portable recorder. Add to
these such features as all- digital -logic-
control of tape motion, large meters
with LED peak level indication, self -

contained tape splicer, and rugged

37 -pound package with a handle and
you've got the best location recorder in
the world.
If you'd like to know what else
Herb Friedman thinks about the B77,
please circle reader service number or
write to us for complete information in-
cluding a reprint of his article and a list
of professional audio dealers where
you may see and hear the Re Vox B77
demonstrated.

RE1/ox
Studer ReVox America, Inc.,1819 Broadway, Nashv IIe,Tennessee 37203 (615)329 -957
In Canada: Studer ReVox Canada, Ltd.

*Copyright 1978 Davis Publications. Inc. Quoted from Hi- Fi /Etereo Buyer=' Guide,
July/August 1978, by permission. All rights reserved. for additional i. formation circle no 60 erp 125
Coincident Techniques 2) X -Y stereo uses a two-head coincident boosted. When heard in mono the results
Ipersonally am a strong advocate of the microphone with both capsules usually may be disastrous. X -Y stereo using a
coincident stereo microphone either in X-Y cardioid or figure 8 patterns. Coincident, of coincident pair (mounted on same axis) is
or M -S technique. My favorites are the course, means mounted on the same axis as also termed "Intensity Stereo." This
Neumann SM -69, QM -69, AKG C -34 and close together as possible. nomenclature comes from the fact that the
422. 3)M -S stereo uses the same stereo stereo spread is heard due to intensity
My experience over many years proves microphone with the fixed capsule, a differences between the two capsules and
the coincident microphone to be the most cardioid, facing the sound source. The there is no phase differential. This works
versatile tool available for picking up all output of these two heads is fed into a sum very well indeed and when combined to
forms of classical music and, incidentally, and difference matrix which produces a mono no phase cancellations due to
highly useful in many pop situations. beautiful stereo sound. microphone placement occur. M -S stereo is
Whatever microphones are used they In evaluating these three approaches here also an intensity stereo technique with
must be placed at sufficient distance to are some facts to keep in mind. A-B stereo coaxially mounted capsules; but here we
present a good aural perspective with good (spaced mikes) can sound very good, but introduce a deliberately controlled
room ambience. There are three remember the stereo effect occurs due to electronic phase shift of the proper amount
approaches to true stereo pick -up: phase differences between the two to achieve beautiful stereo spread. This also
1) A-B stereo uses two like microphones microphones. Certain frequencies will be will combine to mono with no phase
spaced a number of inches or feet apart. subject to cancellation while others will be cancellations in excess of those present

FIGURE 1:

CHORUS '"------"""....%%.
TIMPANI

o®o
Cy-Cd)
dynamic
cardioid
'1110Cell(X- Y
coincident
stereo pair
OTRUMPETS
WOODWINDS TUBA
TROMBONES
dynamic
cardioids
condenser
cardioid `! X -Y
coincident
stereo pair

PIANO

HARP

0)0 dynamic
cardioid
1st VIOLINS CELLI C
carclioid
condenser
on first stand

PODIUM

coincident
stereo pair
usually 20 to 30 feet
out from the front of the
orchestra

Depending on the music it is sometimes desireable

to use sweetners for other incidental solo instruments
such as acoustic guitars or other soft speaking
instruments.

R-e/p 126
A(1 /DAVE 141151W

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AND
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AC1/DArE EIfEY
continued from page 126 -
acoustically in the room. I use X -Y and M -S with tracks out of phase due to this classical engineer does 85 or 90% of his work
for ali types of true stereo pickup. X -Y is not phenomenon. I always check my settings by before the session ever begins.
as subject to room ambience as M -S, so if using a scope on the board so I know the out Accompanying this text are a few
the room is extremely live this frequently is of phase material deliberately introduced is drawings of possible set -ups for some types
the better. not too much. of music I have recorded; but I dislike
When I especially wish to include the showing hard and fast rules for a creative
ambient sound of the hall I use M -S with the Sweetener Microphones technique. Each situation is unique, and I
matrix. One point to understand clearly in In addition to the overall stereo units, will always vary the elements to take into
the use of M -S with the matrix is how the other condensers both stereo and mono account the music, acoustics and
proper adjustment of the two capsules is may be used for sweetening and controlling instruments involved. Hopefully, an article
accomplished. Each capsule through the the balance of weaker instruments. such as this will stimulate a reader to think
matrix produces two outputs. The M +S is Dynamics are usually more useful for creatively while knowing that he must work
the in -phase mono signal from the front percussion or may also be used for within the acoustical and electronic
facing cardioid capsule. Seen on the woodwinds, guitars and the like. These limitations of his medium. Thoughtful study
oscilloscope the left and right outputs will microphones are usually kept as far from will bring ever increasing awareness of the
show a mono signal when this matrix pot is the instruments as is practical without demands of such music and the technology
opened. After closing the M +S and opening suffering severe leakage. Positioning and and philosophy it encompasses.
M-S pot you will see the left and right gain of these microphones are critical. At no In considering what is happening in the
outputs 180° out of phase. Also, you will time must the overall perspective change or recording studios, I would like to present a
hear the ambient room sound of this capsule the position of the instruments shift due to few other thoughts for your consideration.
as compared to the straight on cardioid. To the opening of one or more of these All pop music and much classical is being
balance these the M +S is opened first to sweeteners. Phase relationships must be done with multitrack recorders. Most of the
produce an average working level into the evaluated aurally and studied visually on an results, in my opinion, are less than they
board. The M-S side is then advanced until oscilloscope. Nothing must be introduced should be. In the rush to use more and more
the desired stereo spread is obtained
keeping in mind that if M -S overbalances
which will negate the performance of the
musicians. This is why it is incumbent upon
tracks, something is being overlooked
the basic fact that as you close mike
-
the M +S the entire output will flip -flop and a classical music mixer to understand the instrument after instrument and place each
be out of phase. I have seen many engineers sound of the music he is recording. The mike on a separate channel you will end up
with a countless number of mono tracks. No
CURTAIN amount of signal processing is ever going to
make anything out of it except mono. May I
offer a thought which is certainly not original
to me. When I do sessions I find people get
O® excited over the results of this approach.
OO Ocardlold
dynamic When recording multichannel, I always try
to break the music down into compatible
cardloid dynamics
FRENCH HORNS sections or groups. These I pick up with
--- WOODWINDS
--TRUMPETS-
-TROMBONES- stereo microphones and record them on at
least two tracks. The only time I use a mono
pickup is when the voice or instruments call
coincident for it, and even then I frequently use the
stereo pair
high leakage into overall stereo mikes to retain
the ambient perspective I want in the entire
pickup. This requires very careful planning
of your mike placements and the
understanding of what leakage is
compatible and what is not.
The results from this approach can be
Ca LI gratifying indeed. As you mix -down you will
cardloid
condenser find the tracks blending together in a full, big
or dynamic

H sound with much less effort and re -mix time.

for first stand

It is absolutely imperative, however, that an

PODIUM
understanding of the ultimate goal be
cardiold
dynamics achieved beforehand and this goal be kept
constantly in mind while recording. Off-axis
coincident coloration of the microphone used becomes
stereo pair
high and approximately highly important. It used to be considered
twenty feet from the
orchestra by every mixer, but with very close mike
placement and single instrument overdub-
bing this basic requirement seems to have
been forgotten.
I do not say that all records are bad
they are not. However, too many engineers
-
coincident and producers forget there is no substitute
stereo pair
approximately fifteen feet for knowledge of the medium and that
behind the front microphone,
FIGURE 2. and at the same height creativity can only flower within the
framework of knowledge and understand-
ing.

R-e/p 127
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For the first time, the protection circuit
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fn,
R-e/p 129
Lcttc r5
VCA's ... round 2
Editor's Note:
In organizing the responses to the VCA controversy which originated in the February 1979 issue of R -e /p (page 72,
ff) the editors have elected to present the protagonist material in series. David Baskind's (B &B) response is followed
by the material from Paul Buff (Allison). Thus, in his response some of Mr. Buff's opening comments refer to the less
substantive material that follows from B &B's Harvey Rubens and satisfied B &B customers Edward Bannon (One
Step Up Recording, L.A.) and Michael Sanders (The Pasha Music House, Hollywood).

4. Mr. Blackmer's comments on thermal halted, along with a promise by Mr. Buff of a
from: Dave Baskind, President distortion phenomena in his VCA are also at better VCA in the near future. It should be
Baskind, Bissot & Associates odds with accepted theory and recognized further noted that the photos in our article
(B &B Audio) data. In addition to the above cited were of a VCA -5M using a Sound
Los Angeles, CA references I refer the reader to the Allison Technology 1710a without the filter
In the article authored by Harvey Rubens, Research ad appearing in R -e/p in the engaged.
Marvin Caesar and myself in your March, August, 1977 issue. 2. With regard to the contention that the
1979 issue we made the mistake of not 5. Modulation noise studies are in their dbx and Allison VCAs are not class B
acknowledging the excellent work done by infancy at this time, but the data collected devices, we will for the moment ask Mr. Buff
Messrs. David Blackmer and Paul Buff in from experimentation through December, an interesting question: What is the log of a
the VCA field. Both men are indeed 1978, are sufficient to support our negative number? In the identity:
pioneers in the field of applied VCA contentions.
technology. 6. Mr. Blackmer claims that his trained log (- A)= log (N/1)2A =2log ,/ -1 +log A,
It is regrettable that our article was taken listeners could hear no difference between
as a personal affront by these gentlemen, for his device and a straight wire. We would notice that the term is defined as an
that was not the intention at all. On behalf of appreciate more details on this study, such imaginary number in all math textbooks.
my colleagues and myself I ask that as what his listeners were trained in and
apologies be accepted as applicable. what type of wire was used. By the time you figure it out, everyone
With regard to Messrs. Buff and 7. With regard to the noise performance else will know you have an imaginary
Blackmer's response to our article, I would of the B&B VCA, its dynamic range of 110 product. All puns aside, log converters will
like to make the following points: dB (with proper engineering), allows its not generate imaginary products. If they
1. The reader will find a valid list of application in any "state -of- the -art" system. could it would be unnecessary to have signal
supportive references at the end of our 8. Criticism of the control "taper" of the separators and separate positive and
article. Mr. Blackmer cites neither our own B&B VCA should be considered in light of negative processing chains in a log-antilog
nor any other references, and, except for a the fact that the 1537a obeys a precise multiplier. Furthermore, if the VCA -5M
cryptic referral to "Gibbons and Horn," one mathematical law: were a class AB device, oscilloscope photos
cannot find any citations supporting Mr. would not show crossover notches as the
Buff. As in his previous journalistic efforts, Attenuation (dB) = 20 log (1 + eKvc), primary distortion products. Allison
Mr. Buff is supported primarily by his own specifies this distortion at .02% ( -74 dBr) at
opinions which are regarded by many where Vc is the control voltage, and K is midband at high levels. This figure rises
practicing audio engineers as unique. the attenuation constant (see Figure 1). significantly both at higher frequencies and
2. Mr. Blackmer's comment about at lower input levels, as we discussed in our
transistor matching totally ignores scores of In addition, taper correction circuits article. It has been determined in several
research papers on the subject. Many of insuring ±-0.2 dB accuracy are available from studies that levels of TIM distortion (an
these references are listed in H. Lotsch's us upon request. associated phenomenon) of -90 dB (.003 %)
paper in "IEEE Transactions on Electron 9. Our article was not intended to have been detected by trained listeners
Devices," Volume ED -15, no. 5. discredit the dbx VCA, but rather to presented with music signals (see
In addition, the reader may be interested illuminate some of its inherent limitations. Multidimensional Audio, by Moeller, B&K
in a concise but thorough study of the log Incidentally, we have tried to obtain the new app. note). It has also been stated by
amplifiers and multipliers in the McGraw - 202c for evaluation, but after 90 days, we are Moeller that .01% notch distortion is
Hill booklet entitled, Electronic Circuit still waiting on delivery from a dbx subjectively much more annoying than as
Design with Solid State Devices, Manual 4, distributor. much as 10% harmonic distortion.
pp. 46 -53. In response to Mr. Buff's reply: 3. In our article we referred to the linearity
3. Mr. Blackmer's allegation concerning 1. Contrary to Mr. Buff's statements, his of log-linear multipliers with respect to
offset vs. attenuation in the Allison and B &B company claimed that VCA-5 was in accuracy of reproduction of an audio input
VCAs is incorrect. In the Allison samples we production and was heavily promoting and signal. We did not mean to imply that the
evaluated we found this problem virtually advertising it until the presentation of a attenuation curves of the VCA -5M and the
nonexistent. In our own VCAs the statistical paper on VCA performance by Mr. Rubens dbx 202 were inaccurate. As far the ear is
distribution of the effect insures that the and myself at the 60th AES Convention. concerned, accurate reproduction is far
problem is not additive among multiple Immediately following this presentation, more important than accurate attenuation.
channels that are properly aligned. advertisements and sales of the VCA-5 were 4. Mr. Buff asserts that Mr. Rubens does

R-e/p 130
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for additional information circle no. 63 R-e/p 131

not understand the circuit of the VCA -5M. If Schacknow, Raab, Wier, and Green, as well comparisons of any VCA or fader -amp
he so desired, we are prepared, with Mr. as our original references, is not at odds with combination is ridiculous.. To clarify, the
Buff's permission, to publish his circuit our conclusions. following examples are given:
complete with full computer analysis. 6. 35 dB of gain following any preamp or Figures 3 and 4 (overleaf) show simp-
5. In defense of our statements tape output will result in the serious lified console line drawings with gain
concerning noise modulation, we would like degradation of any recording console's structures. In typical consoles of today
the reader to understand that the work of performance. To consider this in we find microphone preamplifiers with
variable gains from 20dB to 60dB, buf-
fered faders or VCAs with a maximum
gain of 15dB, and buss amplifiers with a
12
_MAXIMUM
MAXIMUM GAIN.
CONSOLE
typical maximum gain of 10dB. Net max-
VCA 500 RETROFIT
imum overall gain would be:
FIGURE TAPER CURVE OF B &B
60 dB (mike preamp)
1

MAXIMUM
0 GAIN NOTE THAT MAXIMUM ERROR IS ±1 dB
ERROR OVER THE ENTIRE RANGE 15 dB (buffered fader or VCA)
+ 10 dB (net buss amplifier gain)
12

85 dB (Total maximum available

24
gain)

i0 Actual users never operate all

Fq
36
preamplifiers, faders, and buss amplifiers at
0c<
full gain at once. Under such a condition,

\
-48 Fq console dynamic range would be seriously
Os,,, impaired.
To elucidate, we will assume that all
60
amplifiers in our console are noiseless, and
MCI ` all microphones have a source resistance of
FADER
MARKINGS 200 ohms, with their only noise contribution
being thermal. According to the classical
NORMALIZED CONTROL VOLTAGE
formula
-10 00 1.0 2.0 3.0 4.0 5.0 60 70 80 9.0 10.0
v = 4kTBR,

+20 vn = 0.253 microvolts

A A
OVERLOAD
)

(CLIPPING)
or -129.7 dBv (ref. 0.775 volts) at room
temperature for 20 kHz bandwidth. If we
take 85 dB of gain on this noise voltage, our
+2.84 output noise would be -44.7 dBv for one
channel and -29.7 dBv for 32 channels.
Keep in mind that this is calculated for a
"noiseless" console. If we assume +24 dBv as
-14.3
the overload level of the buss amplifier, then
DYNAM C the maximum dynamic range for a single
MAXIMUM RANGE
WITH channel would be only 68.7 dB, and 53.7 dB
REALIZABLE
DYNAMIC
GAIN for 32 microphone channels. Note also that
RANGE the 35 dB of gain suggested by Mr. Buff
-31.4 would degrade these figures by an additional
20 dB.
More typically, consoles are operated
with as little gain and as few channels per
buss as practical. A worst case condition
-48.6
would typically incorporate 8 microphones
w -34.28 dB with average preamplifier gains of 35 dB,
average fader settings of 0 dB, and average
sub -master settings of +10 dB. In this case,
-65 with +24 dBv as a buss overload condition,
NOPPO PON output noise would be -69.7 dBv, and
P`MNt
0ß -17.14 dB dynamic range would be 93.7 dB. Notice
that this still assumes a "noiseless" console.
vCP In practice, microphone preamps achieve
-82 equivalent input noise of approximately
-0 dB
-128.5 dBv, which is very close to the
theoretical conditions cited above. The
FIGURE 2: THE CASE FOR USING MINIMUM GA N IN VCAs
greater majority of professional quality
-10
recording consoles maintain specifications
GAIN within a few dB of the above calculations,
LEVEL
(dBV) except when VCAs are used.
- continued overlei
R-e/p 132
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for additional information circle no. 64 R-e/p 133
 signal present. This will result (under the
20 to 60 dB
GAIN hypothetical 8 microphone condition
MIC
VCA or FADER #1
ON above) in an actual dynamic range of 71.8
15 dB GAIN MAXIMUM
IOFF dB.
L INE Under the same conditions, the B&B
VCA exhibits a noise floor increase of 6.5 dB
TAPE OUT 01

15dB with actual dynamic range performance

PAD SUBMASTER
being 79.5 dB.
20 to 60 dB
GAIN Note that these calculations correspond
MIC
VCA or FADER 02
ON with user reports that B&B VCAs sound
15 dB GAIN MAXIMUM subjectively quieter than dbx 202s. It should
LINE be apparent to the reader by now that any
gain taken after the mike preamp or line
TAPE OUT
508 inputs on any console will result in a
PAD
Pal degradation of system performance and
dynamic range, and should be minimized.
Figure 4 shows an improved console
topology that yields a 15 dB improvement in
20 to 60 dB
GAIN
dynamic range when mixing line signals,
ON
while maintaining needed gain for mixing
VCA or FADER #32
15 dB GAIN MAXIMUM microphone channels.
O OFF
7. Mr. Buff's evaluation of our MCI retrofit
LINE
card was apparently not done under
TAPE OUT 032 FIGURE 3: SIMPLIFIED LINE DRAWING OF TYPICAL appropriate conditions. On 64 random
5 dB
PAD RECORDING CONSOLE samples in the field we are achieving
tracking accuracies of ±0.2 dB. The curve
Mr. Buff represents as being from our MCI
card is impossible to obtain, as the circuit is
electronically prevented from operating in
20 to 6008
GAIN its non- linear region. In addition, the noise
MIC ON performance in MCI consoles is quite
VCA or FADER 01
acceptable, being 10 to 14 dB below tape
LINE recorder noise at the mix buss output (see

201060 dB
GAIN
5
o0
SUBMASTER
Figure 1).
8. Mr. Rubens' accompanying letter is
100% correct with respect to our dealings
with Mr. Buff and Allison Research. We
MIC ON were extremely careful to inform him of our
VCA or FADER #2
_TOFF intentions and goals when requesting
LINE samples last Spring. Furthermore, we have
never, nor to my knowledge have any of
representatives ever, received a request,
Pal written, telephonic, or verbal for a sample of
the B&B VCA from him.
In closing I would like to thank the reader
for bearing with me, and would like to
cordially invite all to visit us at the L.A. AES
Convention.
200
OHM
MIC
e4
ON

pOFF
References:
LINE Green, Weber and Duncan, "Detection of Pure
FIGURE 4: SIMPLIFIED LINE DRAWING OF Tones in Noise," JASA, Vol. 60, No. 4, Oct., 1976.
RECOMMENDED CONSOLE GAIN STRUCTURE Schacknow and Raab, "Noise Intensity
Discrimination: Effects of Bandwdith Condition
and Mode Masker Presentation," JASA, Vol. 60,
We will now observe that -90 dBv is a to Allison and dbx VCAs. No. 4, Oct., 1976.
typical input noise specification for Allison, The B&B VCA will appear to perform Wier and Green, "Detection of a Tone Burst in
dbx, and B&B VCAs and calculate the total worse under these conditions since it is an Continuous and Gated Noise Maskers, Defects
inherently different device and may require of Signal Frequency Duration and Masker Level,"
input noise assuming the VCAs are fed by
JASA, Vol. 61, No. 5, May, 1977.
the output of a 40 dB preamplifier with an up to 15 dB of post -VCA gain. Its output Leinonen, Otala, Curl, "A Method for
output noise of -89.7 dBv. This calculation is noise will be -80 dBv at unity gain setting, Measuring TIM," AES Journal, Vol. 25, No. 4,
done by converting to volts and taking the and the resulting dynamic range for 8 April, 1977.
square root of the sum of the squares, channels will be 85 dB. Sansen and Meyer, "Distortion in Bi -polar
yielding 35.2 microvolts or -86.8 dBv noise. The above calculations were made Transistor Variable Gain Amplifiers," Journal of
For 8 channels into a 10 dB (net gain) buss assuming no input signal. We shall now look Solid State Circuits, Vol. SC -8, No. 4, August,
1974.
amplifier this would result in a buss output at the three VCAs under dynamic
noise level of -67.6 dBv and a dynamic range conditions.
of 91.8 dB with +24 dBv clippling level and The Allison and dbx VCAs will exhibit Paul Buff's response
faders set at unity. This calculation applied peak noise level some 20 dB higher with begins overleaf . . .
R-e/p 134
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By popular demand an obscene option is now offered for this message.

AUDIO KINETICS (UK) LTD, Verulam Road, St Albans, AL3 4DH, England. Tel St Albans 32191. Telex 299951
for additional information circle no. 65 R -e p 135
 from: Paul Buff convention in Los Angeles. The concepts I will reiterate from my last reply to B&B
Allison Research involved in creating the EGC -101 device that both the dbx 202 and the Allison VCAs
Nashville, TN have been under development in my are Class AB devices, and do not have
Being recognized as a "gentleman" is not laboratory for a number of months, and will "dead zones" in their signal transfer
real high on my list of lifelong ambitions. be discussed in detail at the end of this letter. parameters.
Nor, is the ability to cite, but not It is unfortunate for Mr. Baskind that, as
comprehend, endless references to the Class A, B, C and AB evidenced by his response #2 directed to
work of previous authors. My goals are to These terms are used to define the signal me, he appears unable to comprehend the
truly understand the fruits of my labor, to be vs. bias conditions within an amplifying meaning of the various classes of amplifier
able to properly define its capabilities, and to device, and are defined by the author below, operation. It is further evident to me that
be able to place all attributes of a design, as well as graphically in the content of Figure Mr. Baskind is not as versed as he would like
whether good or bad, in their true 1. If a differing definition exists, I would like us to believe in the identification of various
perspective when questioned either to know about it so that I may be more distortion types, not in their audible
logically or illogically. enlightened in my work. consequences.
The very nature of all things analog is I will explain these observations.
based on shades of grey, not blacks and Mr. Baskind correctly points out the fact
whites. There is no "Perfect Analog Circuit," that log convertors cannot physically
be it a VCA, Mike Pre -amp, or what -have- process negative numbers. He then
you. Each has its limitations, distortions, attempts to convince the reader that, due to
and deviations from the ideal. The mark of a this fact, log multipliers cannot be anything
seasoned engineer lies in his ability to weigh other than Class B devices. Really, Mr.
the true effect of each and every area of Baskind; have you not somewhere in your
imperfection in structuring the most useful reference library learned that conventional
final result. "Noiseless," or "Distortionless" FIGURE 1AREAS OF CONDUCTION FOR EACH HALF OF A bipolar transistors, vacuum tubes, diodes
COMPLIMENTARY CIRCUIT VS THE BIAS CLASSES A. B AB 8
circuits do not exist. In time, a good C
and electrolytic capacitors are all incapable
engineer realizes that there is always room Class A: A device whose individual of physically processing negative numbers
for improvement in any analog design, and elements (tubes, transistors, etc.) are all in for the same reason as are log amps? Have
he learns how to make these improvements conduction throughout the entire excursion you never heard of bias?
with hardware, rather than with words. of the signal waveform. For clarification, I have shown in my
In the case of our original VCA-5, the Class B: A device whose individual Figure 2 a rudimentary example of a
circuit represented magnitude of order elements are in conduction during alternate balanced log /antilog multipler. By
improvements in the areas of signal halves of the signal waveform. Class B is adjustment of the magnitude of the applied
distortion and thermal stability, when characterized as having a "dead zone" at bias voltage, the circuit may be made to
compared to previous designs. We make no zero crossings, where neither of a pair of perform Class A (bias is greater than signal
apologies for its performance, nor have our circuit elements is in conduction. peaks), Class AB (slight bias to insure no
customers given us any cause to. Very Class C: A device whose individual dead zone), or Class B (no bias). Class C
shortly after its introduction, the means to elements are in conduction for much less operation could be obtained by inverting the
make further improvements became than i1h of the signal. Class C is not generally polarity of the bias source.
apparent. Rather than continuing to market used for audio, but is primarily used in tuned These principles are the same as those
a product which we knew how to improve, RF circuits. employed in appropriate biasing of all
we chose to make those improvements, and Class AB: A device whose individual amplifier circuits utilizing tubes or
superceded the VCA -5 with the present elements are in conduction for more than 1/2 transistors.
VCA -5A and VCA -5M devices. This act, of the total waveform, but for less than 100%
contrary to insinuations made by B &B, had of the waveform. Thus, AB operation falls, Crossover or Notch Distortion
nothing to do with their entering the VCA as its name implies, between the confines of In Class B or C circuits, the "dead zone"
field. In fact, when Mr. Rubens initially Class A and Class B. Class AB is at signal zero crossings can cause a
contacted me in the spring of 1978, I characterized as having one element or the discontinuity in the waveform, as shown in
informed him that we were in the process of other, or both, in conduction during all Figure 3. In its classic form, as induced by
improving the VCA -5, but that the improved portions of the signal waveform. In the Class B or C operation, the magnitude of
version would not be ready in time for crossover region, both elements conduct, the dead zone is constant, regardless of
inclusion in his "scientific paper." Thus, we thereby eliminating the "dead zone"
forwarded VCA -5 samples to him, asking associated with Classes B and C.
- Figure 3 appears overleaf -
that he acknowledge the fact that the device
was undergoing second generation
improvements.
I will not be maligned for superceding one
product with an improved version, no
matter what the underlying reason might be.
On behalf of my customers, the industry as
a whole, and, of course, my bank account,
my duty is toward continual refinement and
the introduction of new concepts as they are
uncovered.
In keeping with this policy, it should not
surprise the reader that yet another
Electronic Gain Control Device, specifical-
ly, the Allison EGC -101, will be introduced FIGURE 2: RUDIMENTARY CIRCUIT FOR A CLASS A, AB, B or C
to the industry at the Spring 1979 AES BALANCED LOG /ANTI LOG MULTIPLIER

R-e/p 136
 ANEW
STANDARD IN
MONITOR
EQUALIZERS

ONE SIXTH OCTAVE FEATURES

REAL TIME ANALYZERS
AVAILABLE 28 ONE -SIXTH octave bands from 40 Hz through 894 Hz
on and between I.S.O. one -third octave centers
13 one-third octave bands from 1000 Hz through 16 kHz
on I.S.O. centers.
10 dB boost or cut on continuous, calibrated, Mil -Spec
controls
Equal Q in both boost and cut conditions
Precision inductors in magnetically shielded enclosures
for maximum hum rejection
Accessory socket to permit insertion of 12 dB /octave or
18 dB /octave low -level crossover networks for bi- amping
or tri -amping
Mid and high frequency output trimmers accessible
from front panel
Noise guaranteed -
90 dBv or better
Input attenuation control variable to 20 dB of attenuation
accessible from front panel
Variable high -pass filter 20 Hz through 160 Hz, 12
dB /octave
Security cover

instruments incorporated
P.O. BOX 698 AUSTIN, TEXAS 78767
,
5121892.0752

for additional information circle no. 66 R-e/p 137

 Indeed, then, I would wholeheartedly measurement, spectrum, analysis, or
endorse the findings of Mr. Moeller, without listening test. What is evidenced and
the need for reading his paper. As is the case explained by myself at the close of my
in essentially all signal abnormalities, the original reply (February, 1979 R -e/p) is a
question of audibility simply comes down to small waveform anomaly of a relatively
a question of the apparent audibility of the constant 1 to 2 msec width, which is caused
FIGURE 3: CLASS B or C INDUCED CROSSOVER DISTORTION produced distortion product, with respect by slightly unequal phase delays in the two
to the apparent audibility of the signal. I circuit halves. It has nothing to do with the
signal magnitude or signal frequency. must point out, however, that the type of crossover distortion implied by Mr.
Consider the example where the magnitude determination of apparent audibility of Baskind, nor does it relate, as suggested by
of the dead zone is 2 mv and is of the classic sound involves a keen understanding of the Mr. Baskind, to audible TIM distortion.
form. If one were to apply a 20 volt peak to nature of the human ear. Only after one has This is so for three reasons:
peak signal ( +20 dBv) at any frequency, a developed this understanding may he A. An anomaly having a period of 2 msec
peak distortion residual of .01% would be accurately predict the results. has spectral energy in the region of 500 kHz,
measured, due to the 2 mv discontinuity. Mr. Baskind makes the erroneous and is of no audible consequence.
The effect would be fairly inaudible, since statements that the primary distortion B. The effect, while showing a slight rise
the distortion products produced would be products of the VCA -5M are "crossover with descending levels from +20 dBv to 0
of a peak magnitude 80 dB below the notches," and that Allison specifications dBv, then begins to diminish to non -
fundamental. An audible product could be concur. He then further attempts to delude measurability at low levels. The effect is
detected, however, if the signal were of a low the reader into believing that these nonexistent at moderate to low frequencies,
frequency, since the distortion product, anomalies have content within the audio at any signal level. These characteristics are
though 80 dB down, would fall in a spectrum, and are "more annoying than as contrary to audible crossover distortion. At
frequency band of greater sensitivity to the much as 10% harmonic distortion." In no point of either applied frequency or level
ear than that of the fundamental. making his arguments, he shows scope does the effect manifest itself as a
Now consider the consequences, in the traces of distortion products produced by perceivable distortion product.
same circuit, of reducing the signal level to .2 passing 20 kHz waveforms, wherein the C. When audio range filters are
volts peak to peak ( -20 dBv). The 2 mv displayed notches represent energy in the introduced in the measurement equipment,
discontinuity will now appear as a distortion AM radio band. the effect is gone entirely, as it is in listening
product measuring 1% peak, or 40 dB below An examination of all graphs and scope tests.
the signal level. If this signal level were of a photos introduced in the original article will
low frequency, the audibility of the clearly show an absence of Class B induced The VCA -5M in Practice
distortion product could easily exceed an crossover distortion in the VCA -5M, as will Mr. Baskind claims that my suggested
apparent 10 %, and become very annoying. examination of the device itself, by either console implementation with VCA circuits
capable of taking 30 to 35 dB of gain is
ridiculous, and will result in serious
degradation to the console's performance. I
beg to differ, as I believe will Trident,
Sphere, Auditronics, Tangent, API,
Harrison, and those other companies who
have adopted or plan to adopt this sort of
level structure.
You see, Mr. Baskind, with the advent of
noise reduction, as pioneered by Dolby and
dbx, digital recording as pioneered by
Soundstream, 3M and others, and
automated mixing as pioneered by yours
truly and by Mr. Wayne Jones, modern
studios no longer universally stuff meter
banging levels on their multitrack. We can
afford to be a little more sedate these days.
A modern console, particularly an
automated one, needs a gain reserve
sufficient to pull up the most delicate
passage on tape to any of predominance
desired by the producer. Additonally, there
is the level modifying effect of the equalizers,
compressors, expanders and other effects
The microphone you've been reading about devices which might be inserted at any point
is at Audio Services for you to hear. in the signal path.
anyone is interested in obtaining first-
If
Sales, service and rental to the professional. hand information on the validity of what I
have stated, and on the field performance of
the VCA-5M, I would suggest personal
contact with one of the studios listed at the
AUDIO SERVICES CO. AND SALES CENTER INC. end of this letter. They have in common the
4713 LANKERSHIM BLVD. fact that all have converted standard non -

N. HOLLYWOOD, CALIFORNIA 91602 (213) 766 -5255 VCA consoles to automated formats; using
the Allison Fadex system, which utilizes the
R-e p ?38 for additional information circle no. 67
NotJustan Alternative...
The Answer!

The
Auditronics
Model 501 console
Interfaced with
The Allison Research
FADEXTh System. In use at
Right Track Recording,
New York, N.Y.

While trying to solve the dilemma of deliver- 5. Valley Audio must be able to back it up
ing modestly priced, automated consoles; with prompt service and have all spare
VALLEY AUDIO felt it necessary to fulfill the fol- parts and modules in stock.
lowing criteria: 6. It must carry a prompt and reliable delivery.
1. The console must have the finest electronic
7. It must be priced under $50,000.
performance available.
2. It must have all necessary features for mod-
ern multi -track recording. WE FOUND OUR ANSWER by combining the
industry standard Allison Research FADEXTh
3. It must be a prcven design wth a lengthy
automation with the time proven Auditronics
track record of satisfied clients. Model 501 Console!
4. It must have the most standard and relia-
ble automation .system available. WE'RE SURE IT WILL BE YOUR ANSWER, TOO!

Entire Completed Units Available From:

VALLEY /IU Di0

DIVISION OF TODRANK TECHNIC IL SYSTEMS, INC.
P.O. Box 40743 2821 Erica Place Nashville Tennessee 37204 615- 383 -4732

MA51Eii-- 5 OF AURAL GRA7IF-ICA1i DN

for additional information ci. cle no. 68
 VCA-5M in the 35 dB gain configuration. I VCA itself may provide up to 35 dB of gain 20 dB headroom.
would suggest that the reader ask: as directed by the various controlling Dynamic range? In Mr. Baskind's
A. Does the console benefit from the sources, thus allowing the operator analysis, the only conclusion one can
increased gain flexibility in the channel, complete mixing freedom. It should be extract from his example is that all input
group, and VCA master faders? further noted that at least 20 dB of signals were elevated to the point of
B. Did the installation degrade the headroom exists, and that the structure is producing the maximum buss output level
console's noise performance? nearly impossible to overload without the of +24 dBv. Under this condition, the VCAs
C. Is there audible degradation to the operator being alerted by the smell of will each produce an output noise of 92 dB
audio signal quality? burning VU meters. below each signal level in such a manner as
In following the signal and noise in a to sum in exactly the same fashion as does
The Baskind Suggested Console normal mixing or miking session, it is shown the signal. If the signal in this exaggerated
I couldn't agree more with Mr. Baskind's that the VCA is presented a nominal level of example sums to +24 dBv, the noise will sum
psychology that a minimum amount of gain +4 dBv with an accompanying noise of about to -68 dBv, thereby resulting in a dynamic
should follow the VCA, for that has been my -90 dBv. Since my mixing experience has range of 92 dB. (For 32 channels, 8
prime point in these letters all along. Beyond shown that for a typical music program, the channels, or whatever number you like.)
that point, he leads the reader through a sum total of a number of mixed signals will Now, let's go back to the real world mix
nonsensical series of calculations which average arounçi 6 dB higher than the and assume that, at the end of the second
bear no resemblance to an in -use analysis of individual signals, I have placed the channel verse, the lead singer had gasped a sigh of
a modern recording console, and which are faders at 6 dB attenuation. (The group relief for having sung the whole verse right.
completely erroneous in reference to the faders and the VCA Grandmaster are It registered -29 on the VU meter ( -25 dBv).
stated noise under signal conditions. These placed at 0 dB.) The output noise from each During the mix session, the producer says,
errors would appear to suggest an VCA is around -92 dBv, while the signal "I love it! Bring it out in front, real loud." You
incomplete understanding on the part of Mr. levels are about -2 dBv. work the group and channel faders during
Baskind on the cause and effect of Contrary to Mr. Baskind's fabrication the passage to bring up the sigh to +4 on the
modulation noise. that modulation noise in the VCA -5M output buss.
He then takes a workable but somewhat suddenly causes a 20 dB increase in noise During the passage, you have directed 29
outdated 32 channel console structure level the instant any level of signal is applied, dB of gain to the lead vocal VCA, which
(Baskind Figure 3), which is incapable of the VCA output noise shown in my Figure 4 causes its output noise to become about -60
accepting B &B VCATTs without noise includes modulation noise, and is typical of dBv. The output buss noise also goes to -60
degradation, and converts it to an 8 track the noise performance in the presence of dBv since its noise predominantly comes
console which can accept the VCATTs but the stated signal level. from the one elevated channel. The output
is no longer workable in the real world As in the past article, Mr. Baskind was a S/N ratio becomes 64 dB during that
(Baskind Figure 4). Where do the equalizers bit overzealous in relating these passage, then reverts to the normal 81 dB.
go? How do you make up for their potential parameters. In actuality, as I stated in my In my first reply (February, 1979 R -e/p), I
signal loss? Where are the VCA group first reply, the signal induced noise increase showed that a hypothetical console
masters? How do you bring up a group since in the VCA -5M is proportional to the signal configured for 35 dB gain reserve with the
the VCATT has no gain reserve? What level, and is consistently around 92 dB B&B VCATT would produce, at nominal
happens when a vocal line is -15 dBv on tape below the signal level. Thus, noise mix position, an output S/N ratio of 53 dB.
and the procducer wants it +4 dBv in the modulation becomes significant only when I further showed that, both by testing, and

mix? How do you keep your retrofit large signals are applied, and then still poses by published specification, the marketed
customer from crying when you tell him he no audible consequence, since the RMS B&B/MCI retrofit module would produce,
must rebuild his console, give up 15 dB of noise level tracks the RMS signal level at a at nominal mix position on a real 32 channel
gain reserve, and go back to 8 track in order 92 dB factor of separation. console, an output S/N ratio of 60 dB,
to use your product? Getting back to my Figure 4, the signals without considering any noise produced by
Now let's go back and review my pass from the VCA outputs, through the the console itself, or by the signal source.
recommended console structure, and find nominally unity gain EQs, and are summed These findings correlate to the dB with
out just which one is ridiculous. in the unity gain buss amplifier(s). Mr. Baskind's own statement in this issue
At the output, we find that the music has that "the noise performance of the B&B
Figure 4 summed to produce a +4 dBv, while the 32 retrofitted MCI console is quite acceptable,
In referring to my Figure 4, it can be seen noise sources have summed to produce a being 10 to 14 dB below tape recorder noise
that no gain follows the VCA, but that the -77 dBv noise level. Finally, S/N = 81 dB with at the buss output."
Since non-noise- reduced tape recorders
produce S/N ratios of 61 to 66 dB per track,
TRANS -AMP -110dB to +35dB 0dB 0dB the summation of 32 tracks would come to
an S/N ratio of between 46 dB and 50 dB,
OdB/60dB
(40 dB)
-130dBv ein
+24
+4
-90
GAIN +24

-92
+24
t4
-77
exactly as Mr. Baskind submits
dB above the noise of the B &B /MCI
-10 to 14
EC)

-100dBv console.

dBx TAPE
-06.A ein
ttt OUT What Mr. Baskind conveniently fails to
mention is that, thanks to his competitor,
or CHANNEL dbx, the tape machines used in modern
GROUP 31 SIMILAR CHANNELS studios employ up to 30 dB of noise
DIGITAL
reduction. Thus, in the real world sense, the
MASTER +XX = dBv CLIPPING
console noise exceeds the tape noise by up
ALLISON 65K AUTOMATION
= NOM. SIGNAL
-XX = NOM. NOISE to 20 dB
acceptable."
- not what I would call "quite

FIGURE 4: ALLISON RESEARCH PREFERRED

On the final subject of the control linearity
CONSOLE SIGNAL FLOW of the B&B /MCI retrofit, I can only state

R-e/p 140
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Mail To: TELEX A -V DEPT. R -e /p 4/79
Modular Electronics: Individual plug -in 9600 Aldrich Ave. So.
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modular electronics perm 't fast easy
Yes. l'd like to know more about
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for additional information circle no. 69 ße/p141

 what I observed in lab testing the marketed
sample. Since my test results very closely FIGURE 5: DISTORTION TABULATION
matched the attenuation vs. control volts Trimmed Untrimmed
curve published in the B &B 1573A SMPTE IMD @ +20 dBv input or output, any gain setting 009% .08%
literature, and did not resemble Mr. SMPTE IMD @ < +15 dBv input or output, any gain setting <.005% <.04%
Baskind's Figure 1, I must draw my own 1kHz THD @ +20 dBv input or output, any gain setting 0075% .04%
kHz THD @ < +15 dBv input or output, any gain setting <.003% <.02%
conclusions. Out of fairness to B &B, 1

however, I shall attempt to retrieve the

sample and re- perform the tests. Should I be unity gain, a 10 to 20 dB improvement is maximum output, with this configuration, is
wrong, my apologies will be forthcoming. evident at the gain extremes, where noise +22 dBv.
approaches the theoretical limits, as The gain cell itself is not powered. Thus,
The Allison EGC -101 governed by the values of the input and the user's ability to configure circuits with
As stated earlier in this letter, Allison output resistors. It should further be noted elevated levels is restricted only by the
Research herewith announces the release of that this noise performance is in the breakdown voltage of the op -amps he
a new generation of Electronic Gain Control presence of nominal signals, and shows only selects. It should be noted, however, that
Devices, under the basic nomenclature a slight increase in the presence of high level unity gain noise must increase proportion-
EGC -101. signals. ately to the higher operating levels, in such
The reader might ask why, if our VCA -5 is an elevated level circuit, in order to maintain
so great, we would contemplate a further Distortion Performance Class A operation.
generation. The answer lies in my opening The intricate balancing and cross
statements regarding the continuing ability balancing of the gain cell, together with Packaging
to improve any analog circuit. I believe that computer selection of its elements, assures The EGC -101 gain cell is packaged as a
the reader will appreciate the magnitude of an exceedingly low production of distortion .5" x 1" x .4" epoxy molded module with 8
improvement offered by the EGC series, products. The further inclusion of two pins, arranged to plug into a standard 18 pin
after reading the following descriptions. stable external trims (test and connect DIP socket. It requires a minimum amount
Generically speaking, the EGC is a resistors or inexpensive trim pots) can of external circuitry, and may be configured
complimentarily balanced and symmetrical- reduce the residual distortion levels to near in several ways, to suit the user's needs. The
ly cross balanced Class A log/antilog non- measurability, as shown below. It employment of the basic EGC -101 cell is
multiplier. should be noted that the values shown are very cost effective, particularly at OEM
The device uses neither signal separators based on a median current level, coinciding pricing levels.
nor split signal paths in achieving its with a unity gain noise of about -87.5 dBv, Complete factory trimmed VCAs are also
transform, nor does the device require the and are anticipated maximum values, available, in a variety of physical
use of the symmetry control (distortion null) reliably achievable on marketed product. It configurations, for second source and
associated with Class AB or B devices. should further be noted that the distortion retrofit applications.
There is no distortion form associated characteristics are essentially unaffected by
with the crossover region, nor is there any thermal conditions. (Figure 5) Patent Information
modulation noise beyond the 4 to 5 dB In addition to patents applications
increase associated with large signal peaks Bandwidth/Slew Rate currently in process by the author, the EGC
in a Class A non -feedback circuit. Both the small signal parameters and full principles are licensed under U.S. Patent
The EGC -101 is a current in, current out power bandwidth parameters of the EGC - #3,714,462, and may not be practiced
gain cell which requires but two user 101 are a function of the op -amps employed. without specific authority from the patent
definable op -amps in the signal path, those Slew rates of 13V/microsecond are obtained holders.
being one input device and one output using inexpensive TL070 series op -amps.
device. The effect with still faster devices has not
No differential combining networks or been determined at the time of this writing, from: Harvey Rubens
amplifiers are employed, but figures around 30V /microsecond are an- VCA Applications Engineer
ticipated. Since the gain x bandwidth para- B &B Audio
Gain Control Range meters of the EGC -101 are primarily a func- Aphex Systems, Ltd.
The theoretical gain control range of the tion of the input op -amp, attention should be Los Angeles, CA
device is from 180 dB gain to 180 dB paid to the op -amp's gain x bandwidth, if When we have met in the past you [Paul
attenuation, following a precise log (dB vs. VCA gains in excess of 40 dB are anticipated. Buff] were always a gentleman. Unfortun-
volts) control law. This range, in practice, is ately, such was not the case when, under
restricted by the input op -amp, and by stray Control Rejection the guise of a "factual reply" to our VCA
leakage paths, to a usable range of from 60 In a Class A true VCA, it is a necessity to article, you chose to attack us personally by
dB gain to 125 dB attenuation (at low and trim for minimum control feed through, as publicly questioning our ethics, our
mid frequencies), and 100 dB at 20 kHz. well as to AC couple the signal input to motivation, and our veracity.
eliminate variable amplification of the input For the record, let's get a few facts
Noise Performance offset component. Thus defined, the device straight:
Noise performance is excellent, and is can be trimmed to exhibit less than 10 mv 1. You say that VCA -5 was an "interim
affected (within the limits shown below) by (typically 3 mv) control feed through when product." Prior to preparation of our paper
the user definable operating currents and operated over a gain range of -100 dB to +30 for the AES Spring '78 Convention you
choice of op -amps. dB. announced in full -page ads that "VCA -5 is
Output noise (20 Hz - 20 kHz): here NOW," calling it the "Better VCA." (R-
at full attenuation = -105 dBv to -115 dBv, Powering/Input Output Overload e/p, August and December, 1977.) Perhaps,
at unity gain = -86 dBv to -90 dBv, When configured as recommended, and if this was to be an "interim product," the ad
at 40 dB gain = -65 dBv to -75 dBv. powered with±16 volts, the maximum input should have read, "VCA -5 is here for a
It should be noted that, while noise level, at attenuation, is +27 dB, and limited engagement," or some such
performance is similar to the VCA -5M at diminishes to +22 dBv at unity gain. The wording.
R-e/p 142
 In our supposed hasty search for quick We sincerely hope that in all future that the bass sound he got directly through
riches we spent more than two years in discussions there be no more personal our board with no EQ was better than
uncompensated research and lab work plus attacks, so we can stick to the merits of our anything he had been able to get with EQ
considerable money to arrive at a working respective products. and other processing in the other rooms.
IC before we even announced that we had a You and the public at large are cordially This is one of many such cases that tell me
device worthy of professional considera- invited to visit us at the Spring AES show that it is better not to degrade the signal than
tion. We did not bother to try to market any where we will have all three VCAs side -by- to try to repair it.
"interim models." side for comparison, with sufficient We are about to add two more rooms. I
2. When we requested a sample of VCA -5 equipment for proper testing. have specified the console in each to be an
I personally told you that we were working MCI JH -542. I have also specified that if MCI
on a device which, when completed, would from: Edward Bannon cannot supply these boards with B &B
be a competitive product and that we would Director of Engineering VCAs that I would like them shipped with no
understand if you did not want to send the One Step Up Recording VCA cards, and I'll get the B &Bs here.
sample. Studios I am not an electronic design engineer,

3. We agreed to advise you in advance of Los Angeles, CA and I leave it to those who are to argue about
any performance anomalies we found and to As director of engineering at One Step Up all the numbers. My specialty is
verify them with you before we presented Recording Studios, in Los Angeles, I read applications, and my living depends on
them publicly. This we did in several long your collected articles on VCAs with continued user satisfaction. I don't generally
distance phone calls at our own expense, particular interest, since our MCI JH -528 speak out in print about one product or
and it was only after we reported our console is fully decked out with B&B VCAs another, but I felt it was necessary in this
findings to you that you mentioned that you (or VCATTs, if you prefer), as is the JH -528 case where a product which has brought so
were working on an update for VCA -5. This at Pasha Music House, another MCI studio much user satisfaction was taking such a
was duly mentioned in our oral presentation in Los Angeles which I designed, built, and misleading rap from Messrs. Blackmer and
to the convention. specified equipment for. Buff.
4. In our presentation to the convention Before we put out the bucks for 32 Those who know me know that I was a
we announced to the audience that if any channels of replacement VCAs in each true die -hard against VCAs and automa-
manufacturer believed we had misrepresen-
ted his product, he could contact us at the
working console, believe me - we listened
to both taped and directly miked material -in
tion. Now I'm a believer.

convention, and we would publicly offer any versus bypass and one VCA versus the from: Michael C. Sanders
required corrections, both in print and to other. With the B &B VCA we often had to Director, Research and
the convention. This same offer was made double check whether it was in circuit or Development
personally both to you and Mr. Blackmer. being bypassed. On the other hand, with the The Pasha Music House
No such communication was ever dbx 202s (supplied with the stock JH -528), it Hollywood, CA
presented to us in any of our subsequent
meetings in the year since then.
was like losing a generation of tape
-
worse compared to either the B &B VCA
- or For inclusion with the article from B &B
Audio:
5. We have received considerable or bypass. In fact, we used to record tracks When Ed Bannon suggested that we try
favorable comment from all over the world using the monitor faders just to avoid going the new B &B VCAs at Pasha, ou- chief
with respect to our findings presented in through the dbx's more than the one engineer, Larry Brown, set up a listening
that paper and in subsequent research. necessary pass during mixdown. Two times session with the assistance of Mike. Lietz
Your attempt to belittle it by punctuating through those things was more than we and Dave Holman. They compared
the words "scientific paper" with quotation could stand. channels in our MCI 528 equipped with dbx,
marks is petty and totally unwarranted. If listening is the final standard for B&B, and hardwired faders. The overall
6. Unfortunately, in the last minute editing judgement then the B&B VCA wins hands - consensus was that the B &Bs sounded very
of our article in R -e/p, not all changes in the down compared to the dbx 202, and I much like the hardwires, giving the room
text were included. For this reason there is suggest that Mr. Blackmer's trained more punch and openness than it had
some confusion as to some illustration listeners used a very rusty wire. before. Over and above anyone's spec
references. Be this as it may, all comparative As for Paul Buff's analysis of the noise sheets, our decision to switch to B&Bs was
photos and graphs in the article as printed performance of our MCI console, all I can made on the basis of audible differences.
contain data measured from your VCA -5M say is that the noise measured at the stereo Both we and our clients have been
under conditions identical to those for the buss out with the 24 -track machine turned extremely pleased with the results.
dbx 202 and our own device. Specific off is 11 to 14 dB quieter than when the
corrections of interest to the reader are: machine's own noise is added in. VCA noise
A. Figure 5A and 5B (page 74) show a hasn't been a complaint here from either Partial list of studios who have retrofitted
greater crossover notch at 20 kHz (not 20 engineers or clients. conventional non -VCA consoles with the
Allison Fadex system, using VCA -5M VCAs:
Hz) than at 2 kHz. The same is true for whatever grouping
B. The first paragraph on page 76 should problems Mr. Buff thinks are present. As a Neve Console
refer to graphs 6A and 6B and photos 7A, matter of fact, I would say we had a problem Music City Music Hall
7B, and 7C. The figures themselves are keeping the group sound together when we RCA Building, Nashville, TN
properly labeled. had the dbx's.
7. Libel is an actionable offense with Client response at both studios has been Auditronics Console
Right Track Recording Studios
specific legal meaning. If you believe we are very positive. One producer here had cut New York, NY
guilty of libeling you, please notify either us some tracks in Mussel Shoals on a Neve
or our attorney. If you are unprepared to do board and an MCI tape machine. He API Console
so, your action labelling our comments as continued overdubbing in Los Angeles on Capricorn Records
such in print is, in and of itself, a libelous act an automated Harrison console, again with Macon, GA
which we are, as of this moment, willing to an MCI tape machine. In a last minute
API Console
overlook. However, in the future, please attempt to get a better bass sound he flew in Kaye -Smith Recording Studio
choose your public wording more carefully. the original bass player and was surprised Seattle, WA
R-e/p 143
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for additional information circle no. 70 R-e/p 145

 THE ECHOPLATE CHAMBER
(A Decay Whose Time Has Come.)
by
Larry Rebhun
Over the last twenty years just about to a stereo 140. The pickups were held in some very useful feedback that was
everyone involved in professional recording place with two small magnets so that they invaluable in arriving at the Ecoplate's final
has at one time or another worked with the could be easily moved to various positions design.
EMT -140 echo device. Often, engineers use on the plate. By moving the pickups from It became fairly apparent as a result of his
as the standard the fine concert hall position to position on the surface of the exploration that the sonic differences
characteristics and performance of the 140 plate it was concluded that their placement between the 140s was due to the kind of
when making comparisons of the various was non -critical. The effect was basically the steel they use, and the ability of EMT to
other forms of echo devices (i.e.: spring, same. The only degradation in the sound control the quality of the cold - rolled plate.
digital, analogue, even live chambers). The was noticed when they were placed closer Interestingly, it is said that EMT selects their
only detractive comment that is expressed than two inches from the edge of the plate. plates from those that are produced by
by many engineers is that the EMT needs Anywhere else produced enough of a rollers that are nearing the end of their
more of a "sizzling" high end echo difference between the pickups to maintain useful life, hence they tend to be even
characteristic. This is particularly true the quad effect. smoother than new ones. Even though EMT
among "rock and roll" engineers. Attempts Well, quad died, but when Jim moved rejects two -thirds of these sheets, Jim
to design and produce a plate device that west he continued his investigations using concluded that there still existed enough
more closely conforms to these subjective the five EMTs belonging to Western. What difference from one plate to another to
parameters has for some years run head -on quickly became apparent to him were the effect the sound of the final product. After
into the EMT patent protections. This variations between the various 140 plates. extensive metalurgical research he decided
patent ran out February 2, 1977. Since that One of them definitely had a "better" sound that stainless steel was a more desirable
time at least three plate reverb development than the others. "A more open sound," plate medium than the cold- rolled steel.
projects have been undertaken. One such according to Jim. He spent enumerable The stainless steel appeared to have a
project has been carried to a successful hours trying to make each of the other units better high frequency response, with a
conclusion by veteran recording engineer sound as good as the best one. He natural decay characteristic in the 1 kHz to
Jim Cunningham. experimented with changing the tension, 2 kHz region as opposed to 500 Hz with the
Cunningham is presently technical tried different pickups and amplifiers and steel type. The size remains the same, 1
director of United Western Studios (division even sawed up old speakers for drivers. meter x 2 meters. Also, the stainless plate
of URC), in Hollywood. Jim began (The customized speaker drivers were will not rust when you put your unit on the
development of his Ecoplate reverberation quickly given up since the metal filings kept roof, although Jim has seen a lot of rusty
device while he was studio manager at getting stuck in the gap.) Whenever he tried EMTs that sounded very good. He claims
Sound Market, in Chicago. He started his something new he would ask whoever was the rust doesn't seem to affect their
experiments during the early days of quad mixing at the time for their opinion. Since performance.
(which wasn't too long before the last days engineers are not prone to be shy about The key to the whole design is something
of quad), by adding two additional pickups expressing their views, Jim was able to get called a bending mode speed. This is equal
to the speed that the sound travels through
the metal, which in steel is 6,000
3, .,,?
meters /second, or
ECOPLATE FREQUENCY RESPONSE - ONE CHANNEL
CD = dXfXc2X1.5
1/3 octave warble tone - 15" /second sweep
d = Thickness
f =Frequency
CL = Speed of sound in metal
CD = Bending mode speed

Suffice it to say that researchers tried to

make the piece of steel smaller and thinner,
to reduce the size of the echo unit, but then
found that when you reach a certain point,
the high frequency decay is substantially
decreased. With a piece 2 mils thick, you
have no high frequency decay above 2 kHz
because the air pressure dampens the plate.
In fact, there is a European radio station that
has a reverb system that uses a nickle plate
operating in a vacuum. It works quite well,
but is a little impractical for the average
FREQUENCY IN CYCLES PER SECOND
studio.
All this bending is too small to be seen
The Author: Larry Rebhun has been engineering for the past nine years. He has been on staff at Bearsvllle Sound in New York, Two: Dot, Ojai, California and Hall ln
Hollywood. Presently he lives in Los Angeles and is head of the engineering staff at Cherokee.
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for additional information circle no. 71 R-elp 147

even at the lowest frequencies, but the
movement can be slowed by a damping pad,
parallel to the plate and a half -inch or so
away from it. During the Ecoplate's
development Cunningham found that
frequencies below 100 Hz produced more
"mud" than sound, so he put a three pole
100 Hz high pass filter in the unit.
"If you're dumb enough to put a kick
drum in the chamber you hear this boom
going on for 5 or 10 seconds, and that 50 Hz
information would just clutter the reverb, so
we cut it off at the input. Once it gets excited Plate driver. Plate pickup.
with low frequencies you won't be able to
stop it. For a decay time of 31/z seconds, the
damper is about ilh inch from the plate. The increasing the tension only diminishes the might turn this one and hear the decay
dampening material is also critical. It must bass response. The high frequency output is plateau, so you turn it the other way and it
have just the right amount of flow resistance not significantly increased. The evenness of goes straight down, then you know you're
to the air pressure. It tends to affect the low tension does affect the smoothness of decay doing the right thing. Then you move on to
frequencies more than the highs. and is fairly critical. It is important to have an the next nut. You have to do it at a lot of
"Another thing we were aiming at is a flat even tension all around, or else the decay different frequencies. It's a compromise.
response with respect to decay time. That's starts to "plateau." If you get 'way off track, You adjust them all until it sounds pretty
a matter of tightening the plate. A lot of you will lose bottom end. There is no way, good. That's why the strain gauge would be
people will double clip an EMT to get rid of however, to boost the highs by tensioning. very nice. It would save a lot of time."
that long reverb time at low frequencies. We That is why the stainless steel plate seems to In the area of amplifiers, Jim acknowled-
have real heavy clips on ours so you can give the desired "sound." ges that all he could really do was improve
tighten it up to anything you want. You can The way to measure frequency response the signal -to-noise and power capabilities.
get rid of all the low frequency reverb if you of an echo chamber, is through the use of "The most recent EMT device is, of course,
want, but it sounds ghastly." 1/3 octave warble tones. Using a pure tone a solid state device that was designed,
One idea that Jim is planning for the to set level would drive you crazy because of probably seven or eight years ago and it
Ecoplate is a series of strain gauges ... one all the random resonances in the metal. uses perfectly good components. They are
at each tension point with a meter that could To check decay time Jim uses a "pinger" just a little bit dated. Now there is available
be switched to read each one. This would which consists of an oscillator, a VCA and newer, lower noise circuits, so we took
make tensioning a cinch! They only cost an envelope generator. The VCA controls advantage of it. We can design something
about a dollar apiece, and would save hours the oscillator output and the envelope that is smaller and cheaper than the fancy
of hassle. generator controls the gain of the VCA. one that EMT has been using." The
There are a number of old wives tales Hence, any combination of frequencies and Ecoplate amp will simply plug -in for easy
floating around about tuning the plates. The envelopes can be fed to the plate, from a servicing.
main problem has been trying to get enough very short staccato pulse to long, rolling The EMT 140 has a switchable, slow
high frequencies out of the system. Many waves. acting, vactec type limiter. The Ecoplate
people feel that tightening the plate "You listen on earphones, while you are does not use a limiter since its design can
increases the top end response; but, in fact, tuning, by turning the tension nuts. You better withstand the heavy transients found
in today's recording.
Corner tension assembly, dampening plate and amplifier. Another area that Cunningham
experimented with were the pickups. His
plate has two accelerometers attached to it.
These devices were originally developed to
measure stress by utilizing a small crystal
and a lead weight. The pickups have a
resonant frequency of 50 kHz. Obviously
out of the frequency range of human
hearing, it nevertheless contributes to the
openness of the Ecoplate's sound. The EMT
pickups have a resonant frequency of 25
kHz.
Jim also "filled me in" on some of the new
design ideas behind the gold foil EMT 240.
They knew that the 140 patent was running
out, so a few years ago they began designing
the gold foil, therefore making enough of a
change to warrant a new patent, which
would hold for another 17 years. Some of
the same people who had worked on the
original 140 helped produce the smaller
version. In the process they had to come up
with a new type of plate. They manufactured
an electro- deposited gold foil and somehow
changed the characteristics so they could

R-e/p 148
get high frequency decay with a thin sheet. the ear detects it right away. Or a trumpet
According to the patent (which Jim had in player doesn't hold the same waveform. His
his desk), "The metal foil comprises a nearly embourchure is constantly changing. That's
pure metal having the characteristics of high what adds the human -ness .. the overtone
.

thermal conductivity with a low coefficient structure is varying.

of thermal expansion." "There are a number of things that give
Cunningham said, "There have been a lot metal plates their coloration, and they all
of guys who will take a piece of equipment have to do with the way the ear senses
that they buy from some reputable sound. In order to sound fantastic, or
manufacturer, and they'll just tear it apart natural, an echo unit has to produce at least
and start all over again, thinking they are four resonances per Hertz, in the area of 1
one upping the designers. Usually, they
-
kHz."
wind up with something inferior to what they To get away from the theory a bit, we
bought. But when we got all these talked about the physical appearance. The
comments that one EMT chamber was box is very utilitarian looking. No frills. But
better than the others, we decided to try and
make something that was as good or better
who cares ...the things are stuck away
somewhere, out of sight, and anyway it's the
than that. It was not easy. The designers of Ecoplate frame design. sound that's important.
these things were no slouches. I have a Jim's firm, Programming Technologies,
tremendous amount of respect for them. In least a thousand of them. The echo density will be offering their plate for a list price
designing our unit we made countless that is required is a thousand reflections per through dealers for around $5,000, and it will
changes in the electronics, the pickups and second, otherwise the ear detects it as not come with a rather detailed instruction
the drivers before we arrived at the solution realistic reverberation. You could take a manual so you can tweak to your ears'
to the problem. What we think we have bunch of digital delays and feed them back delight.
developed is a plate which is more current into themselves through a very complex I recently had the opportunity to listen to
with today's existing recording techniques, network, and still the ear would detect it an Ecoplate side -by -side with a 140. It may
at least that's the design aim we worked instantly as being artificial. be close to blasphemy, but there was no
toward." "The ear needs to hear random doubt about the sound being clearer and
Our discussion gradually turned to digital characteristics. Real life is random. There is more open. It's great to know that there are
forms of reverberation. "There is a lot of nothing regular about anything in the world. people out there like Jim Cunningham
confusion about what reverberation is. For example, that's why a synthesizer experimenting so that engineers can sit
Authorities talk about reverb using a digital sounds like a reed organ ... it's a sawtooth. down at consoles, push up faders, and say,
delay. That's absurd! You would need at You can do all sorts of fancy things to it, but "Ah- h- h-h-h -h -h!"

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recording with its introduction of the MTR -
submixes 90. The MTR -90 project has involved an optional 10 memory tape location device
SERIES 316: sixteen tracks (with full shuttle capabilities) will position
several years of intensive research and
Included are echo sends, cue sends (four on the
104-108 -316), solo, equalizers, pan pot, six step in-
development and represents the crowning the MTR -90 as the most functional
put gain adjust with two input pad positions, conduc- achievement in Otari's 15 years of multitrack on the market.
tive plastic sliders, fully modular plug -in construction manufacturing professional recording According to Otani, performance
using plug -in integrated circuits throughout, balanced
transformer inputs, output transformers optional. equipment. parameters will be state -of- the-art and fully
New high slew rate IC's assure full output to 20 KHz. The manufacturer claims the MTR -90 documented on the production machine.
MANY OPTIONS AND CONFIGURATIONS ALLOW reflects the leading edge of currently Other features include: electronic cueing
YOU TO HAVE IT JUST AS YOU WANT IT.
available technology by incorporating a fully of tape by use of front panel fader, ±20%
STAGE MONITOR mixer Model 104L makes eight symmetrical tape path utilizing a pinch - speed variation (calibrated in tenths of a per
independent mixes, uses color coded knobs and
large lighted VU meters, optional headphone roller -free direct drive capstan. The design cent), timed electronic inserts for gapless
monitor, intercom. eliminates a significant source of tape wear and noiseless punches (automatic
and other problems attributed to compensation for vari- speed), rear panel
"American quality at Japanese prices." capstan/pinch roller contact with the two - access for interface with SMPTE
inch tape. A phase lock loop DC servo synchronizers and tape motion controllers,
system for all three transport motors single card electronics, and more.
INTERFACE insures intimate tape -to -head contact with Three versions will be available; 16, 16
ELECTRONICS constant tension while eliminating tape
stretching. In fast wind modes the capstan
wired for 24, and 24. Estimated initial
delivery is 60 days following the Los Angeles
3810 WESTHEIMER
totally controls operation allowing a good show. Pricing will be available at AES.
HOUSTON, TEXAS 77027
tape pack under all conditions. The OTARI CORPORATION
(713) 626 -1190 construction of the frame and top plate 981 INDUSTRIAL ROAD
assembly resembles a hand -crafted SAN CARLOS, CA 94070
automobile to insure the itegrity and rigidity (415) 593-1648
of the entire machine. for additional information circle no. 74

R-elp 150
 Here's how useful
a distortion analyzer
can be
Monitor voltage. power, dis-
tortion or d3 ratio.
No manual
ways in auto -null, reachesa null i
nulling controls required (the 1710A is al-
less than 5 seconds).
Intermodulation Distortion Analyzer optionally available. Oscillator distortion is typ-
ically .001 %.

Measure generator signal at ±1 dB Vernier adds fine

load with the push of a level control.
button.

Internal oscillator adjust-

able from +26 dBm to

Selectable 18 dB per oc-

tave filters eject hum and
-

high fequency noise. - -89.9 dBm in 0.1 dB steps.

Turn off oscillator tor quick

S/N measurement.

Fast Fushhetton operation

Tuning indicators help
lets you se. level, measure O measure distortion of an
voltage or 'ewer, then mea-
external source.
sure distortion.

Measu-e voltage or power

from 10 Hz :o 110 kHz.
I

r, Simultaneously select oscil-

lator and analyzer frequency

íßa with fast -to -use pushbut-

100 kC: Ba aiced Input.

e \o ees$
tons. 10 Hz to 110 kHz.

View input signal on a

\ Balanced and floating 15012
or 60011 Generator output.

scope.
Automatic Set Level is op- View distortion products on Measure distortion down to .002%, voltage or S/N ratios
tionally available. a scope. with 100 dB dynamic ange.

Two of the above features are so outstandingly balanced, unbalanced, off -ground or whatever.
valuable that we especially invite your attention That's because the signal source output circuit is
to them. fully isolated and balanced.
One 's the fast, easy measuring you get with There is no output transformer to introduce noise
pushbutton -selected distortion -measuring circuits or distortion.
(sigral source and measuring circuits are simul- Besides these outstanding conveniences, you
taneously selected with the same pushbuttons). can have the Sound Tech 1710A with an option that
Pushbuttons make it so simple to measure quickly enables you to measure intermodulation distortion.
and to repeat measurements. Call Mike Hogue /Larry Maguire to get full infor-
Secondly, you can drive virtually any type of
circuit from the signal source output whether - mation on an instrument recognized everywhere
as the standard of the audio field.

BE SURE TO VISIT US AT AES - BOOTH 53

SOUND TECHNOLOGY
1400 DELL AVENUE
CAMPBELL, CALIFORNIA 9500B
(4087 378 -6540
for acditional information circle no. 75 R-e/p 151
 output levels in determining the composite
signal at the mixed output. These facilities
enable the user to obtain multiple- repeat
Q MURK TERMIN
effects with full control over the level of each
time delay.
The DN70 is available from franchised
Klark -Teknik dealers nationwide.
HAMMOND INDUSTRIES, INC.
155 MICHAEL DRIVE
SYOSSET, NY 11791
(516) 364 -1900

KLARK -TEKNIK DN70 The DN70 incorporates one input and for additional information circle no. 77
DIGITAL TIME PROCESSOR four output channels. All inputs and outputs
Hammond Industries, Inc., has are standard XLR 3 -pin audio connctors. NEW SHURE SM81
announced the availability of the Klark- Output A, B, and C are intended for use PROFESSIONAL CONDENSER
Teknik DN70 Digital Time Processor. when straight time delays are needed to Shure Brothers, Inc., has announced its
The DN70 is available with delay options compensate for natural time delays in entry into the professional condenser
of 163 ms, 326 ms, and 652 ms, with a multiple speaker installations. A digital microphone market with the Shure Model
frequency response of 30 Hz to 15 kHz at readout of the set time delay is located on SM81, a cardioid condenser unit. Shure
maximum delay. Because the analog to the front panel for channels A, B, and C. feels this microphone is designed to set new
digital converter was designed in- house, The DN70 also includes a front panel standards for mechanical and environmen-
Klark -Teknik's DN70 boasts excellent noise lockout control to prevent tampering with tal ruggedness and reliability, while
specifications and a full 90 dB dynamic delay settings in permanent and semi- advancing state -of- the -art electroacoustical
range. permanent installations. The control is performance.
The front panel facilities include an input accessible with a common screwdriver. The company states that the Model SM81
level control and an LED headroom The mixed output enables the DN70 to be is a product of years of research and
indicator for constant input level used as a time -based effects unit and operational testing in a wide range of studio
monitoring. Internal input and output level provides a continuous mix of the delayed and field situations involving extremes in
presets can also be adjusted to provide level signal from channels A, B, and C. On the temperature, humidity, and physical
matching for optimum signal -to-noise ratio. front panel are Regeneration and punishment. As a result, the SM81 is said to
These functions are fully detailed in the Direct /Delayed Pan controls which are be capable of withstanding extensive use
operator's manual provided with each unit. used in conjunction with the A, B, and C and abuse, while at the same time
maintaining the high quality performance
expected of the very best studio condenser
microphones, not only in the studio, but in
virtually any professional application.

Similarly, the electroacoustical perfor-

mance characteristics of the Shure SM81
are reportedly the result of extensive
development effort. The signal -to-noise
ratio and smooth consistent cardioid
pattern at all frequencies provide exception
off -axis rejection of unwanted sound for
improved separation and isolation. In
addition to a precise cardioid polar pattern,
the electronics section of the SM81 exhibits
unparalleled low total harmonic and
intermodulation distortion below its clipping
Recording Systems point - significantly lower than that of other
for the Entertainment Industries professional condenser microphones, with
no compromise in performance over an
extremely wide range of simplex power
You deserve the best. Let us design a system for yot. featuring operating conditions.
one of the "No Compromise" consoles from HarrisonHi The SM81 also features a three -position
low- frequency response switch convenient-
Dan Gwynne Electro - Media Systems, Inc. ly located on the microphone's case. The
8230 Beverly Blvd. Ste 27 L. A., Ca. 90048 (213) 653 -4931 switch, which is adjustable without tools or
disassembly, can provide the option of a flat

R-e/p 152 for additional information circle no. 76

 COMMUNITY
The best sound equipment there is.
Because from conception to completion
we make no compromises.
We start with a job, not a market. We give our products the best war-
Every Community horn, every cabinet ranty in professional sound.
was designed because there was a need
for it, a particular professional applica- We provide the most accurate, usable
tion that no other product could fill. So technical data available on horn -
that whether you are considering rock loudspeaker performance in the in-
and roll for the masses or one voice dustry.
speaking to one ear, Community has you
covered. No tricks, noinconsistencies, just factual
information on what you can expect from
We engineer the physical design that us.
precisely fills that requirement and We distribute through the most
construct it exactly as laws of physics knowledgeable, reliable professional
dictate it must be built. retailers in the country.
If we can't do it correctly the first time
around we work until we find a way. We Not every big city can boast a Community
won't bend it, we won't shorten it, be- dealer, but a lot of small towns can, be-
cause we found out a long time ago that cause we go where the talent is.
you can't cheat physics. We don't use in- In other words, we give our best so
ferior materials because the result is al- that you can give your best. We take
ways an inferior product. No ginger-
bread, no inadequacy. Just simple, pride in what we do and we sincerely
straight- forward designs with the built - believe that what we do is build
in toughness and strength that have be- superior pro sound equipment.
come the hallmark of every Community
product. Try us. Our business is professional
sound.

COMMUNITY LIGHT & SOUND, INC., 5701 Grays Avenue, Philadelphia, PA 19143'' (215) 727 -0900
for additional information circle no. 78 R -e p 153
 response, a low-frequency rolloff at 6 dB per triggering limiters or compressors.
octave below 100 Hz, or a low -frequency EXR claims their unit has a signal -to-noise
WANIEDIn cutoff of 18 dB per octave below 80 Hz. The
switch can also be used to compensate for
ratio of better than 90 dB, its operational
simplicity, and its avoidance of the use of
proximity effect. distortion, the EXR Exciter may be used
Another feature of the SM81 is a anywhere in the audio reproduction chain,
switchable 10 dB attenuator built into the from cutting basic tracks to broadcasting.
head of the microphone to prevent high EXR CORPORATION
sound pressure levels from overloading the 11523 DEXTER -PINCKNEY ROAD
microphone's internal electronics. PINCKNEY, MI 48169
The SM81 operates over a wide range of (313) 878-9445
simplex (phantom) powering voltages and for additional information circle no. 81
impedances. This includes the DIN 45 596
standard voltages of 12 and 48 volts. LOW FREQUENCY HORN FROM
The SM81 features a silm, sleek EASTERN ACOUSTIC WORKS
appearance, weighs only 230 grams (8 oz.), The new B -212 CT bass horn from
and is just 212 mm (8 -11/32 in.) in length. Eastern Acoustic Works is designed for
For the very best Studio User net price of the SM81 is $225.00, applications requiring the highest definition
which includes a windscreen, swivel sonic performance at extremely high sound
Construction and Design adapter, and attenuator lock furnished as levels. According to the manufacturer, the
available... accessories. Optional accessories include horn incorporates a novel means of
simplex power supplies, a heavy-duty efficiently coupling the bass drivers to the
for
k.

He is also known windscreen, a unique new stereo throat of the horn and achieves a
doing work all over North microphone adapter, boom and isolation theoretically correct exponential transfer
America, giving firm mount assemblies, and a special 4.3 m (14 over the full horn length which minimizes
estimates, exacting dates i ft.) microphone stand.
SHURE BROTHERS, INC.
discontinuity in the air - loaded impedance
characteristic. This throat -coupling plug
of completion and ... 222 HARTREY AVENUE totally avoids degradations of sound
NO BULL!!! EVANSTON, IL 60204 pressure level and high -end frequency
response which occur in generally available
He pleads guilty of con-
for additional information circle no. 80 folded bass horns due to their step
structing the following transition design.
studios : EXR CORPORATION
Century 21, Winnipeg, EXCITER MODEL EX2
Canada, new studio According to the EXR Corporation, their
Sound Interchange, Exciter is the first Psychoacoustic Audio
Toronto, Canada, new Processing System to be offered for sale.
studio
Designed for recording studio, broadcast-
Superscope, San Fernando, ing, motion picture, television and sound
California, new studio
reinforcement applications, the stereo unit
Chicago Recording Company,
Chicago, Illinois, Studios 1,
restores the natural presence, clarity,
2 and 3 fullness and individual signal separation lost
in the audio reproduction chain.
Bill Szymczyk's Bayshore
Recording Studios, Inc., EXR Corporation has added internal mix
Coconut Grove, Florida, capabilities, pushbutton switching, input
new studio level control in solo mode, and multiple LED
The Shade Tree indicators to the EX2. The internal mixing
Playboy Club capability allows the unit to be used in areas
Lake Geneva, Wisconsin Eastern Acoustic Works reports the
new studio
where external mixing is not readily
available, primarily in broadcasting and disk construction of the B -212 CT employs new
Group Four, Hollywood, Calif. techniques developed to achieve the
mastering. The EXR Exciter can now be
KBK Earth City Studios added in line before the compressor /limiter complex structures rquired for this design
St. Louis, Missouri without the resonance and rigidity problems
in broadcasting. Since there is no multiplier
Village Recorders, effect or phase problems introduced to the inherent in conventional fiberglass and
Los Angeles, California wood enclosures. The finished horn uses an
new studio
broadcast chain, the Exciter is totally
compatible with previously enhanced assortment of woods, high- density foams
Record Plant,
Los Angeles, California
program material. It also adds to the and special dampening compounds
new studio apparent signal strength without noticeably specially selected for each application. The
Ronnie Milsap,
Nashville, Tennessee
new studio

Call for information and details

RUDOLF A. BREUER
805 / 273-3792
Lic. No. 238315

--
R-e/p 154
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for additional inform_ on ci rcle no. 82 R-e/p 155

whole device is encased in 15 mm cross

TT
grain laminated Baltic Birch and is finished
with a semi -gloss black catalysed
polyurethane industrial coating that exhibits
superior moisture and scuff resistance.
Standard convenience features include
sis -11-1sii.v c,

recessed bar -handles, full hardware

complement, and an input assembly $144444;;3;;;U4antitjtiIt>tttsrlst,>ï,tt
consisting of dual 1/4" phone jacks, dual twist
locks and banana connections. Wheels and
;Yy;3,7Jatltl'+tltltltlÇtáC
.9.9Y:/bV YYIii.tiirliY9?Tiliti9li>iq71171ii?,aiY.
edge trim are available as an option.
The bass horn is intended for modular TYTTTTTTTTTTTTTTTTTTTTTITTTTTtTt'TTT*YttSCrC
system use, offering extended low
frequency performance when used in
multiple arrays. As a result of the low flare
rate, a quad array of B -212 CT's will produce
140 dB SPL on axis at one meter from 40 to
350 Hz as supplied with two ATC PA75 -314 console, the Model 2000 Mixing Console. arranged to aid in maintaining precise
B -LCR 12" drivers. The use of 12" drivers According to the company, the Model control over each signal.
provides better transient response and 2000 is unique in that it has been built to APSI reports that reliability and versatility
lower distortion than typical designs using withstand the rough handling of a road of the Model 2000 have been road proven in
15" drivers. operation while retaining all the sensitivity, hundreds of thousands of miles of travel and
EASTERN ACOUSTIC WORKS flexibility and ease of operation of the most hundred of flawless performances in
59 FOUNTAIN STREET, BOX 111 sophisticated studio units. concert halls, theaters and clubs of all sizes.
FRAMINGHAM, MA 01701 All necessary functions are incorporated No compromise has been made in either
(617) 620 -1478 in the standard APSI console. As many as 32 sound quality or construction of the
input channels feed four sub-mix, four console.
for additional information circle no. 83
master and four quad output channels in AUDIO PROCESSING SYSTEMS
APSI ANNOUNCES any combination. The twelve outputs may 38 LANDSDOWNE STREET
TOUGH, NEW ROAD CONSOLE be configured to provide effects, sub - CAMBRIDGE, MA 02139
Audio Processing Systems, Inc., (APSI) grouping, stage monitors, taping, or house (617) 263-8827
has announced immediate production mixes in any combination. All controls and for additional information circle no. 85
availability of their sound reinforcement indicators are color coded and logically

A Reasonable Alternative...
Serve 'em sound on a PLATE!
"THE PLATE" from Audicon gives you more reverb for
less money. Check the features!

* There are no limiters nor compressors used

because none are needed.

* Plate system is pretensioned so there is no setup

necessary. Just plug it in and turn it on.

* High headroom electronics provide wide i

dynamic range.
But the real beauty is in the price...

$4500P0 Initial Installations:

(includes shipping in Continental U.S.)

For technical specs and dealers: Sound Mixers Studio

New York
C D © CuMBM7U1 a3OML Tulsa Studios
1200 ßeechwood Avenue Nashville, TN 37212 Oklahoma
615.256-6900
R-e/p 156 for additional information circle no. 84
 signal processing system than is reportedly
-20
EQUALIZER available elsewhere in the market.
lo
ORANGE COUNTY ELECTRONICS
PARASOUND, INC.
SUITE 414, 680 BEACH STREET
UNITY SAN FRANCISCO, CA 94109
O
INPUT dR
(415) 673-4544
no
S for additional information circle no. 86
IN
C
SYSTEM
OUT

34
0.3
DIP

140
ar
PEAK

fW

400
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{ Hw'

110
0.3.
440
p73

1K3 340
,,2.01
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13K
Í2.ñ7
NEVE ANNOUNCES LARGEST
STANDARD CONSOLE YET
Recognizing the growing need for high
quality 46 -track recording, Neve Electronics
International, Limited, has announced
OVER details of a standard 48 -track console
LOAD 20
Ltd A.rS
440
O4N ''Oct r3_Q!
44 f,,fi 2K0 200 f,., EK4 640 fHz 20K. specifically designed to meet the latest
_0:10 _gob; Ocr _3_.öl OOt 4.0)
ORANGE COUNTY ELECTRONICS PEG professional requirements.
Called the 8098, this new 48 -track
NEW PARAMETRIC EQUALIZER example, there is no change in level. recording and mixdown console follows
MODULE FROM ORANGE COUNTY This module reportedly offers extremely hard on the heels of Nevé s recently
Orange County Electronics, Winnipeg, low noise operation. Signal -to-noise is 110 introduced 8078 40- channel 32 -track model,
Manitoba, Canada, has introduced their dB with all sections in 20 dB boost. but with its 56 input channel capacity it is
new PEQ full Parametric Equalizer module. Distortion is 0.05% THD @ 18 dBm output. very much the big brother of the 8078.
The new PEQ module is a four-band Standard balanced or unbalanced operation Unlike the 8078 with its straight design,
parametric with center frequencies variable is available. An overload indicator warns of the 8098 features an L- shaped design to
from 20 Hz to 20 kHz in overlapping five excessive levels in any stage of the module. allow the 56 -input channels to be utilized
octave (32:1) ranges. Each section tunes Output capability is +30 dB (10 k load); +24 more conveniently. Although Neve have
over a 40 dB control range. Bandwidth is dB (600 ohm load). built larger custom designed consoles, the
variable from .15 -3 octaves (Q = 10 - 0.33). The PEQ is designed to be used as either 8098 is the largest standard console so far
According to the manufacturer, a unique a mono or stereo parametric in the standard and, as might be expected, it offers a very
feature of this parametric equalizer is that all Orange County rack frame. It can also be comprehensive array of facilities designed
controls are non- interacting. This means utilized as part of the Orange County VS -1 to satisfy even the most demanding
that when the bandwidth is varied, for Stressor, thereby offering more control in a - continued overleaf

24816243240 SIGNAL -TO -NOISE RATIO referenced to 1040

nWb /m (3% THD) unweighted wideband at 30
ips: on our 2 -track 1/2" 80dB; on our 4 -track 1/2 ",
8 -track 1" and 16 -track 2" 75dB; on our 24 -track
2" 72dB; on our 32 -track 2" 71dB; and an amazing
70dB on our 40 -track 2 ". We're the quiet one.

ff
STEPHENS
Since 1956
ELECTRONICS, INC
3513 Pacific Avenue, Burbank, Calif. 91505 Phone (213) 842 -5116

for additional information circle no. 87 R-e/p 157

professional applications.
As with most Neve consoles, the 8098's
capabilities can be considerably enhanced
at any time by the addition of Nevé s
powerful NECAM computer assisted
mixdown system and VCA sub -grouping
facilities.
According to Neve, some of the 8098's
features include: 56 input channels with full
equalization and Penny and Giles faders on
each channel; master microphone/line
changeover facilities; and master cut A and
B facility to enable pre -selected groups of
channels to be muted. Four reverberation
outputs with delay and slap -back facilities; 6
cue (foldback) groups, 4 mono and 1 stereo
output; muting positional solo facilities on all
channels; 48 track monitor mixdown
section with full quad panning; and 48 track NEW E -V SHOCK MOUNTED most demanding circumstances."
metering using VU or PPM or Bargraph OMNIDIRECTIONAL MIKE Frequency response extends to 18,000
meters. Plus all the usual facilities found on A new shock mounted omnidirectional Hz. A slight emphasis in the 2,000 to 12,000
Neve multitrack consoles such as full microphone tagged the D056 has been range enhances the D056's vocal qualitites
quadraphonic monitoring, studio loud- announced by Greg Silsby, Professional while a slow rolloff below 200 Hz reduces
speaker circuits, comprehensive talkback Products Sales Manager at Electro- Voice. low- frequency noise interference. "P-
facilities, a range of patch-panel options, The D056 is primarily intended for hand- popping" protection is provided by a high-
integral limiter/compressor effects, etc., to held Pbroadcast and sound reinforcement density AcoustifoamT" blast filter.
customer specifications. applications. According to Silsby, "Isolation The suggested retail price: $100.
RUPERT NEVE, INC. of handling noises and mike cable vibration ELECTRO-VOICE, INC.
BERKSHIRE INDUSTRIAL PARK are achieved by having the main acoustic 600 CECIL STREET
BETHEL, CT 06801 cavity and the diaphragm /voice coil BUCHANAN, MI 49107
(203) 744-6230 assembly isolated as an integral unit, from (616) 695-6831
for additional information circle no. 88 the case. This makes a capsule /case for additional information circle no. 90
collision virtually impossible even under the

THE MARSHALLTIME MODULATOR M

ssr 1`T /TT TeT Tay AS,

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MARSHALL
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MODULATOR
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"DOES EVERYTHINGAMARSHALLTIMEMODULATOR DOES."

Others claim it; we do it. We have not been sitting back and resting more versatile; with an internal power supply
The Marshall Time Modulator'M started it these past three years since the Time Modula- and up to 400 milliseconds of delay at 95 dB.
all, and is now the reference standard to torTM was introduced. Every advancement in Ask your local

1
which others compare. Even the effects in- the technologies that apply to delay process- Marshall repre-
troduced by the Time ModulatorTM have be- ing has been incorporated in the new Time sentative for our MARSHALL
come industry standards; such as Positive Modulator," assuring performance and spec- demonstration kit
Flanging,' Negative FlangingM ADT,'M Card- ifications that exceed the very best of the and record, or ask
board Tube Echo,' Resonant FlangingTM and newcomers. us directly, and
others. New advances now make the unit even see why the first
is still the best.

MARSHALL ELECTRONIC, 1205 YORK RD. SUITE 14, LUTHERVILLE, MD. 21093, USA (301) 484 -2220
R-e/p 158 for additional information circle no. 89
 WIREWORKS INTRODUCES technique allows the module to provide
MULTICABLE COMPONENTS speech time compression/expansion with
GROUP noise -free splicing. A true multiplicative
Wireworks Corporation, manufacturer of pitch shift is produced in real time for all
microphone cable and professional frequency components of the input.
multicable systems, is announcing their According to Lexicon the Model 20 is a
expanded line of Multicable Components. continuously adjustable x2.0 to x0.4 pitch
Geared for the professional user, all shift range, and offers a 100 to 5,000 Hz
components are interchangable to allow for +0/ -3 dB frequency response, greater than
a system configuration tailored to the 56 dB dynamic range, and 0.6% total
application. distortion and noise. Easily integrated into
Included within the components group systems, the 3.5" x 5" module requires only
are Multiboxes (chassis mount), Multiracks intelligible speech over a range from 1/2 to 21/2 +12 VDC @ 150 ma/ -12 VDC @ 50 ma and
(rack mount), Multitrunk sections and times normal sound speed. Use of a audio input to function. Provisions for
Multitails. Featuring AMP Multipin and patented, digital "intelligent splicing" slaving control of an external DC motor to
Switchcraft QG Series connectors,
Wireworks' Multicable Components are
now available in sizes tanging from 3 to 50
pairs.

Multiboxes are housed in a chassis

constructed of .090" steel, welded and
ground and feature two bar -type protective
handles. The durable Multiracks are
designed to mount directly into all standard
19" equipment racks and feature handles
which provide connector protection and
additional tie -off points. Multitrunks and
Multitails incoporate individually shielded, LOADED...
THE 600 WAlT
multipair cable with heavy wall neoprene
shrink tubing at connector to provide stress
relief.
Wireworks Multicable Components are
available with XLR or quarter -inch return
lines and with 2-way, 3 -way, and 4-way mike
splitting capability.
NO-OPTION AMP.
People kept asking us "How about a high -power rising gradually to 0.2% THD at 20 kHz into 4
WIREWORKS CORPORATION amp with low distortion that's loaded with options ohms) and 600 watts into 8 ohms with the same
380 HILLSIDE AVENUE and doesn't cost an arm and a leg ?" We listened specs in the bridged -mono operation.
to them and set out to build' The Complete Amp" Features include: PowerLimit Controls; Fan
HILLSIDE, NJ 07205 with reliability, power, specs, features, and price. Cooling; 3 -way Load Protection; LED displays for
(201) 686 -7400 We've succeeded. Our reputation has been built level, distortion, and limiting indicators; Balanced
on the design and construction of cost -effective Inputs with XLR type 3-pin connectors: and
for additional information circle no. 91 gear combining maximum performance with sim- Outputs with 5 -way binding posts, phone jacks,
plicity and reliability. Now OSC offers a package and speaker protection fuses. Ask your Pro-Audio
LEXICON PITCH SHIFT you can't find in any other amp, REGARD- Dealer about the A 8.0 or write directly to
LESS OF PRICE OR OPTIONS. The A 8.0 us for a free brochure detailing the incred-
MODULE AVAILABLE delivers 300 watts of clean power to each ible features and specifications of this
The Lexicon Model 20 is an LSI -based channel (20 -16 kHz with less than .09 %THD exceptional new power amplifier from QSC.
audio pitch shift module that permits tape, AUDIO PRODUCTS
1926 Placentia Avenue
disk, and film editors, previewers, and Costa Mesa, CA 92627
sound reproducers to create off -speed 714/645 -2540

for additional information circle no. 92 R-e/p 163

the selected pitch factor are included. to "roll off" the low frequencies from the
The Lexicon Model 20 is priced at $170 instrumental backup and room environ-
each (100 pieces per year). OEM discounts ment while accenting the vocal range. The
and licensing arrangements are offered. microphones include: ATM31, a unidirec-
Complete documentation and literature are tional (cardioid), fixed -charge condenser
available on request. model; ATM41, a unidirectional (cardioid),
LEXICON, INC. moving -coil dynamic model; and the
60 TURNER STREET ATM91, a unidirectional (cardioid), fixed -
WALTHAM, MA 02154 charge condenser model.
(617) 891 -6790 Audio -Technica Artists Series instrument
for additional information circle no. 93 mikes include: The ATM10, an omnidirec-
tional, fixed- charge condenser model;
AUDIO -TECHNICA 'ARTISTS ATM11, a unidirectional ( cardioid), fixed -
SERIES' MICROPHONES charge condenser model; ATM21, a
FOR MUSICIANS unidirectional (cardioid), moving -coil
Called the Artists Series, the new line dynamic model.
consists of six microphones with various The ATM10 and ATM11 fixed- charge
pickup patterns and electrical designs. instrument mikes are engineered to
Three of the microphones are designed for eliminate potentially dangerous, sub -
vocalists, three for instrumental pickup. harmonic frequencies that might add
"A major feature of each of our road - The !Mil O:. The ATM I The .Th,1
distortion and damage speakers.
tough vocal microphones is the triple -layer The instrument mikes are available with
windscreen," says Charlie Winkler, recently models. According to Audio-Technica, the optional schock mounts.
appointed as Audio -Technica's first fixed- charge condenser offers benefits over Each microphone in Audio- Technicá s
marketing manager - music products. earlier electret designs. The permanently Artiste Series has a heavy -duty housing with
a low- reflectance matte finish.
"Rather than a conventional, single -layer
screen, there is a heavy outer wire mesh, a
finer inner mesh and a fine brass screen. All
moving diaphragm -
charged element is mounted behind the
not on it. The
diaphragm is thinner than usual to deliver
AUDIO -TECHNICA, U.S.
33 SHIAWASSEE AVENUE
are soldered in place, rather than glued. extremely low distortion and uniform wide FAIRLAWN, OH 44313
This helps assure that the mike will range. (216) 836-0246
withstand rough handling." Three vocal mikes are designed to
The mikes are available in moving -coil eliminate feedback while providing high for additional information circle no. 95
dynamic and fixed- charge condenser output. The frequency response is tailored

Amber 4400A:
top studio performer.
AMBER 4400A MULTIPURPOSE AUDIO TEST SET. Designed for
an industry where time is money, and maintaining top performance is
essential. It saves you time by integrating virtually every test and
measurement function you could need. It cuts setup time, and assures
quality equal to or exceeding competitive equipment, but at a fraction
of the cost.
With your oscilloscope, the Amber 4400A can plot the frequency re-
sponse of a tape recorder or monitor system; measure the weighted
noise of a console; plot the phase response of an equalizer or check
the transient behaviour of a speaker; tune your room or measure the
RTan of your studio. Optional interface lets you make hard copy plots
with any XY recorder.
The Amber 4400A combines versatility with quality. It integrates sine,
function, sweep. tone burst and noise generator; autoranging digital
dBm meter and frequency counter; multimode filter; spectrum
analyser; frequency response and phase response plotter.

The Amber 4400A lets

you make sure your
product is always at its
best.
Amber Electro Design Ltd.

Export:
Gotham Export eorporoñon. Vem Y.,.%
4810 Jean Talon West
Montreal Canada H4P 2N5
Telephone (514) 735 4105 amber
R-elp 164 for additional information circle no. 94
 NEW MAGNETIC TAPE ces "The Plate," a new standard for
REPRODUCER CALIBRATOR reverberation systems for use in demanding
NOW OFFERED BY MORRISON studios and broadcast facilities.
This precision de- emphasis network The surprise in this quality reverb is its
provides seven high and three low surprisingly low price; about two- thirds of
frequency characteristics for standardizing other comparable units.
tape playback equipment with the induction Reverberation characteristics surpass by
loop technique. Various induction loop far those of "plate -type" systems now avail-
assemblies for open reel and cartridge or able. Driver and pickup systems employ the
cassette machines are available for use with latest technological improvements.
the calibrator. The network is passive and There are no limiter or compressing units
employs specially manufactured compo- in the extremely low -noise amplifier. The
nents to provide all required curves to be metal to withstand the abuse commonly low noise circuitry offers a wide dynamic
usei with magnetic tape and film equipment encountered in "real world" use. The range with headroom to spare.
of all formats. A fact sheet and price microphone itself is suspended in the shock The plate system in "The Plate" is pre -
information may be obtained by writing to mount by four replaceable urethane bands. tensioned prior to shipment so there are no
the publisher of the Standard Tape Manual. A hinged metal latch is provided for those adjustments and no setup is required.
R. K. MORRISON applications that require only temporary "The Plate" has already been installed at
819 COVENTRY ROAD shock mounting of the microphone, or, Sound Mixers Studio, in New York, and at
KENSINGTON, CA 94707 when used with a supplied set screw, the Tulsa Studios, in Oklahoma. The unit is
for additional information circle no. 96 313A becomes an inexpensive semi- priced at $4,500.00, including shipping
permanent shock mount for those within the continental United States.
E -V INTRODUCES LOW -COST applications that don't require frequent Other products available from Audicon
MICROPHONE SHOCK MOUNT microphone changes. Marketing Group are multi -pair cables for
A new shock mount clamp, designated ELECTRO- VOICE, INC. audio wiring, and specialized power supplies
the 313A, was announced by Greg Silsby, DEPARTMENT SH for phantom power and other audio
Professional Products Sales Manager at 600 CECIL STREET applications.
Electro- Voice. The unit has the outward BUCHANAN, MI 49107 AUDICON MARKETING GROUP
appearance of being a standard stand (616) 695-6831 1200 BEECHWOOD AVENUE
clamp, but is actually a whole lot more. for additional information circle no. 97 NASHVILLE, TN 37212
Meant to hold microphones with an (615) 256-6900
approximate 3/4" barrel diameter, the 313A is "THE PLATE" BY AUDICON for additional information circle no. 98
manufactured from polycarbonate and The Audicon Marketing Group announ-

The Quad-Eight Story You've Never

Heard.
Introducing the precision Quad -Eight Equalizers. Three and
four-band configurations with integral Hi and Lo -Pass filters. Each
available in 19" rack and standard console -1 /2" mountings. Contact
1

us for all the juicy details.

For the Artist in Every Engineer.

Quad -Eight
1
International,t
Quad -Eight Electronics

1929 Vose Street, North Hollywood, California 91605, (213) 764 -1516 Telex: 662 -446

for additional information circle no. 99 R-e/p 165

 Outside it's NEW NEUMANN CONDENSER: flat response, of course. A 6 dB overload

BLACK THE MODEL U -89

Gotham Audio Corporation, the
exclusive U.S./Canada representative for
Neumann products for over 22 years, is
protection switch completes the U -89's
facilities.
The U -89 is available in quantity
immediately following the AES Convention
Inside it's pleased to announce the introduction of a
revolutionary new condenser microphone:
in Los Angeles. Accessories such as wind
screen, elastic suspension and battery
the Model U -89. supplies are available.
1-112U.IPIM Since 1947, when Neumann brought to GOTHAM AUDIO CORP.
this country their U -47, and with it 741 WASHINGTON STREET
revolutionized the recording industry, every NEW YORK, NY 10014
introduction of a new model studio (212) 741 -7411
TYPE 85 FET DIRECT BOX microphone has heralded a new fashion in for additional information circle no. 100
AMP. INST. PICKUP sound, and therefore this new arrival will be
T` watched with great interest. LEXICON ANNOUNCES NEW
INPUT
DIGITAL REVERBERATION SYSTEM
SPEAKER A new digital reverberation system with
superb audio quality and extensive control
MIC OUTPUT capabilities has been announced by
OPEN Lexicon. The Model 224 provides a long-
fí A PIN I awaited alternative to large, cumbersome
mechanical reverberators. The 224 provides
ONO
reverberation with smooth, natural decay
without coloration, "twang" or "boing." Its'
5" x 8" remote control console puts reverb
control right at the producer's fingertips
allowing unprecedented control over all
INDESTRUCTIBLE significant reverberation parameters. The
EXTRUDED HOUSING system is the industry's first reverb with a
built -in control memory that provides
RECESSED instant pushbutton recall of previously set
CONNECTORS AND effects. Model 224's high speed digital
SWITCHES processor accepts up to eight different
programs and requires only seven inches of
BATTERY OR PHANTOM rack space. It not only saves studio space
but is fully portable for on- location use.
POWERED Lexicon has developed a library of
programs including: concert hall programs
INTERNAL PAD FOR The U -89, the latest of the FET -80 48 Volt with stereo input and four outputs that
SPEAKER BRIDGING "Phantom Powered" series, maintains the create the space and depth of a live
basic shape of the current best seller, the U- performance with decay times of 0.6
TRUE GROUND 87, but trims about 15% off its height and seconds to 70 seconds; acoustic chamber
bulk. Its totally new and revolutionary programs that provide sound equal to the
ISOLATION -EVEN condenser capsule for the first time best reverberation chamber and pre -delay
WHEN PHANTOM provides exposed capsule elements, up to 256 milliseconds; plate programs that
POWERED including the two gold sputtered polyester out perform the highest quality reverbera-
membranes, all of which are at zero Volt tion plates or other mechanical devices with
R.F. FILTERED ON INPUT potential. The result is far greater security full control of all parameters including pre -
AND OUTPUT against capsule failure resulting from delay.
humidity, human breath and accumulating
dirt.
ACTIVE CIRCUIT -DOES The U -89 features five directional
NOT LOAD PICKUPS characteristics: the three basic ones,
cardioid, figure -8 and omni -directional, and
LESS THAN 2µV NOISE the additional hyper -cardioid and wide
cardioid. The former is an extra narrow
RESPONSE ±.5dB 20 Hz pickup angle at the expense of a small back
TO 20 KHz lobe, while the latter is a very wide -angle
cardioid which may best be described as
"uni- directional." All of the patterns have a
.05°Io HARMONIC directional integrity previously available
DISTORTION only in the miniature KM microphone
series. While the U -87 microphone has but
COUNTRYMAN ASSOCIATES one transistor, the U -89 has ten and with it
424 Stanford Avenue an undistorted sound pressure tolerance
Redwood City, CA 94063 that's up 12 dB. There are two selectable
low frequency roll -off curves: one at 80 Hz
Phone (4151 364 -9988
and one at 160 Hz turn -over frequency plus
R-e/p 166
 A basic program is selected by provided on the two mix output. Other
pushbutton and then is tuned for the desired standard features include four cue/echo
THE WORD FOR TODAY
sound by adjusting six slide pots whose sends with EQ; talkback, slate, and dim IS
parameters are digitally displayed in logic; alternate speaker switch; switchable
engineering units. Reverberation times in
seconds for both bass and mid -range may be
pre/post EQ; internal phantom power; a
solid hardwood frame; and the slickest "NATURAL"
set independently. The bass to mid -range functional layout on the market.
crossover is set in kHz. Depth, a non - Series III is available with automation as
[More or Less]
dimensional parameter, is set to simulate the an option. The series III with 28- inputs and
position of the reverberant pickup in 24 -track assign is available for $23,000.00. For years, all reverbs were just
concert hall programs. Pre-delay is set in NEOTEK that - simply reverbs - until
milliseconds to create the desired effect in P.O. BOX 11127 development of the MASTER -
chamber and plate programs. CHICAGO, IL 60611 ROOM.
LEXICON, INCORPORATED MASTER -ROOM claimed Natural
for additional information circle no. 102
60 TURNER STREET Sound and demonstrated what is
WALTHAM, MS 02154 meant by that with its unique,
(617) 891 -6790 MITSUBISHI AUDIO full ambience properties of:
for additional information circle no. 103 DA -A7DC AMPLIFIER
Mitsubishi Audio has announced a new Natural delay prior to first echo
NEOTEK SERIES III power amplifier. The DA -A7DC which Natural group of first order
RECORDING CONSOLE delivers 75 watts per channel (RMS) into 8 echoes
Neotek announces its series III ohms with 0.01% total harmonic distortion. Natural build -up in amplitude
professional recording console. The series Fred Hartfelder, Mitsubishi national
Natural pattern random diffu-
sion
III is a full function, state -of- the -art audio director, said the unit's suggested Natural build-up in echo density
transformerless recording console. retail price is $330, and will be delivered in Natural proportioned decay
The series III joins the series I and II quantity nationally beginning in March. Natural flat frequency response
transformerless PA console that the firm The unit's highly sophisticated circuitry Natural smoothness without
has been manufacturing for the past seven utilizes state-of- the -art ultra-low noise semi- limiting
years. It is available in two frame sizes, 28- conductor technology, providing a signal-to-
inputs or 40- inputs with up to 32 -track noise ratio of 122 dB (IHF A network). The
assignment. circuitry is entirely direct -coupled resulting As a result of MASTER-ROOM,
Standard features include completely in a frequency response of flat to 0 Hz (DC).
"NATURAL" is now the key word
transformerless design throughout, utilizing in reverberation equipment, but a
Like all Mitsubishi amplifiers, the DA-
the latest state -of- the -art high speed word that is too often used
A7DC utilizes the company's unique without regard to its true mean-
circuitry. Each IO module features a full four "docking," in which any Mitsubishi preamp ing.
band state variable parametric equalizer, or tuner -preamp can be joined electrically
channel mutes, odd/even track panning, and physically to the amplifier so that the So thanks to all who have
and stereo/mono solo functions. The preamp or tuner -preamp front panel helped to make "NATURAL" the
console status functions are performed by controls regulate all functions for both units. word in reverberation devices.
master logic controlled FET switching; Reliable, safe operation is reportedly From the originator...the one
group muting and solo -in -place are ensured by relay- operated protection who backs it up with perfor-
performed by the master logic. circuits which guard the output transistors mance.
The light meters are individually from overload and isolate the speakers from
switchable between VU and PPM potential damage.
characteristics with an overall dim control. Other specifications include: frequency
VU meters with peak indicators are response of +0 -0.1 dB from 20 to 20,000 Hz;

i.+
MICMIX Audio Products, Inc.
2995 Ladybird, Dallas, TX 75220
(214) 352-3811
R-e/p 167
 10 to 60,000 Hz power bandwidth; 80 dB
channel separation (at 1 kHz). Dimensions
are 163/4 wide x 6% high x 9'% deep. Weight is
26 lb., 8 oz.
MITSUBISHI AUDIO SYSTEMS
MELCO SALES, INC.
3030 E. VICTORIA STREET
COMPTON, CA 90221
(213) 537 -7132
for additional information circle no. 105

SPECK MODEL 800 -D

MIXING CONSOLE
The Speck 800 -D is a 16 input, 8/16
output studio mixing console. The console
is totally modular with 16 input modules, a
master module, and a complete communi-
cations module housed in a sturdy
mainframe that contains 10 large,
illuminated VU meters.
Each input has 8 panable assigns, 3 band
parametric equalizer, 3 sends, pan, stereo RAINDIRK CONCORD A NEW 2,048 -STAGE BBD
solo, a long throw slide fader, and most 52000 CONSOLE INTRODUCED ANNOUNCED BY PANASONIC
important: a second line input with an Raindirk will be introducing the Concord A new, low -noise 2,048 -stage BBD
independent slide fader, a 2 band equalizer S2000, a new low price mixing system at the ("bucket brigade device ") is now available
and pan. Los Angeles AES. The mixer features from the Electronic Components Division of
Since the Speck 800 -D has two discrete electronic signal switching and P.R.O.M. Panasonic Company. Designed as
line input circuits for each input module and controlled status switching to give a flexible, "BBD3008," it comes in an eight -pin DIP
16 assignable direct outputs in addition to easily operated mixer. It is suitable for a very plastic package offering a variable delay
the 8 sub -masters, the 800 -D is well suited wide range of applications, including time of up to 104.8 milliseconds, low
for 16 or 24 track studio operations. The recording and re- mixing, broadcasting and insertion loss (0 dB typical), wide dynamic
stereo program buss is independent of the 8 PA work. range (signal -to-noise about 78 dB), wide
track assign section which allows the Also to be exhibited will be a Series III frequency response (about 0.3 of the clock
console to feed a full compliment of 1/2-track, mixer with a number of new features to frequency), low total harmonic distortion
1/4- track, and cassette recorders simultan- further enhance the flexibility of this very (0.5% typical), clock frequency range of up
eously during mixdown. popular mixer. to 200 kHz.
The unit is priced at $9,800.00. RAINDIRK, LIMITED According to Bill Bottari, Panasonic's
SPECK ELECTRONICS 33A BRIDGE STREET product manager: "The new BBD3008
7400 GREENBUSH AVENUE DOWNHAM MARKET offers an inexpensive alternative to a
NORTH HOLLYWOOD, CA 91605 NORFOLK, ENGLAND designer of audio and general analog
(213) 764-1200 (036 63) 2165-3617 circuits. Unlike conventional BBDs, the
for additional information circle no. 106 for additional information circle no. 108 BBD3008 is an extremely low -noise device.
It can be used to obtain reverberation

The Symetrix
CL-100 represents a major
step forward in versatility
and cost -effectiveness.
Consider these features: D- essing, Independent attack
and release controls, Side chain insertion which allows an equalizer
to be patched into the control loop for frequency dependent threshold, and
LED gain reduction and threshold indication. CL -100: S299, CL-100B (Balanced): $34
Symetrix, 109 Bell Street, Seattle, Washington 98121 (206) 682 -3076.
R-e/p 168 for additional information circle no. 107
effects in electronic organs and other
musical instruments; variable or fixed
delays of all kinds of analog signals;
telephone time compression and delay line
for voice communication systems. Of
course, the latest addition to the Panasonic
BBD family - -
the BBD3008 provides the
designer with more choice to fit his
requirements (other BBDs that were
introduced previously are BBD3001
through BBD3007)."

each input, line/mike input select switch, Since the introduction of the 4550, this
input LED clipping light, slide pots and built - product has found the pathway into
in road case. numerous recording studios and broadcast
The MMX -1800A is designed to be highly stations around the world. Similar
The deliveries of BBD3008 are stock to 8 dependable and functional in any placement has also been found in the sound
weeks. OEM discount prices are available multichannel recording or live PA use. reinforcement area.
on request. In 1,000 -piece lots each Suggested retail price is $2,380.00. The unit is a full octave device used in the
BBD3008 costs $14.95. MUSIMATIC, INC. measurement of spectrum content and
PANASONIC COMPANY 4187 GLENWOOD ROAD contains two memories useful in A - B
ONE PANASONIC WAY DECATUR, GA 30032 comparisons. Currently, this is the only full
SECAUCUS, NJ 07094 (404) 289 -5159 octave device on the market in the world.
(201) 348 -7276 for additional information circle no. 110
Track Audio, Inc., is in the process of
setting up a distribution network and is open
for additional information circle no. 109
AMBER ELECTRO to dealer inquiries. Correspondence should
MUSIMATIC MMX-1800A DESIGN EXPANDING be sent to:
SOUND MIXER Amber Electro Design, a Canadian based TRACK AUDIO, INC.
The MMX -1800A is Musimatic's new 18 firm, has agreed to allow Track Audio, 33753 9th SOUTH
channel stereo mixer which boasts these Incorporated, a U.S. based firm, to continue FEDERAL WAY, WA 98003
features: talkback mike, separate manufacturing the Model 4550 Spectrum (206) 838 -4460
headphone section, 3 band EQ on each Display. All correspondence relating to this for additional information circle no. 111
input, 4 band monitor EQ, built -in reverb, device should now be directed to Track
output VU meters, recording outputs on Audio, Inc.

We design and manufacture high -

definition loudspeaker systems to
exacting standards, making use of
the finest materials available.

141111Eir P.A. Stage & Instrument Monitor Studio Monitor

Eastern Acoustic Works,

59 Fountain Street, Box 111, Framingham, Massachusetts 01701/(617) 620-1478

for additional information circle no. 112 R-e/p 169

 CONSULTING SERVICES FOR SALE: ALL EQUIPMENT IN
Classified Consulting in Performance and Presentation Technology EXCELLENT CONDITION
1 Eventide 1745A DDL
1Eventide 1745M DDL
ARCHITECTURAL ACOUSTICS
1 Ampex 300-2 in console

CLASSIFIED ADVERTISING ENTERTAINMENT SOUND SYSTEMS 1 Ampex 300-4SS in console

1 Set 8 -Track Heads for 3M -M79

- RATES
-
and TIME DELAY SPECTROMETRY
Associates AUDIO- VISUAL SYSTEMS 1 Ampex 351 -2 with Inovonics electronics
$45.00 Per Column Inch 5 OpAmp Labs Model SM100 50w/channel
7 Tipperary Lane Newbury Park CA 91320 (805) 498 -4006
(21/4" X 1") CONTACT FRANK TARSIA
One inch minimum, payable in ad- (215) 561 -3660
vance. Four inches maximum. Space EQUIPMENT WANTED
over four inches will be charged for
at regular display advertising rates. TRACKS!
WANTED Total recording systems, specializing in the
RECORDING EQUIPMENT semi -pro studio. Tascam, TEAC, Neotek,
BGW, dbx, MicMix, Sennheiser, TAPCO,
BOOKS OF ALL AGES AND MXR, Shure, S.A.E., and many others.
VARIETIES COMPLETE STUDIO PACKAGES
Dan Alexander 6026 Bernhard AVAILABLE
theory and working Richmond, CA 94805 U.S.A.
information and emphasis on TRACKS
(415) 232 -7933 or (415) 232 -7818 -
9520 47th Street
practical uses
"MICROPHONES HOW
THEY WORK AND HOW
- Brookfield, IL 60513 (312) 485-0020

TO USE THEM" EQUIPMENT FOR SALE

RECORDING STUDIO:
224 Pages -
by Martin Clifford
97 Illustrations
$8.95 Hardbound; $5.95 Paperback
FREE CATALOG 6 AUDIO APPLICATIONS
CONSOLES
Immediate sale and occupancy. Par-
tially equipped midtown NYC record-
KITS L WIRED
Postpaid AMPLIFIERS ing studio. Excellent acoustics and
R -e/p Books MIC., EC), ACN,LINE,
location. Wired for video. (212) 679-
P. O. Box 2449 Hollywood, CA 90028 TAPE, DISC, POWER
OSCILLATORS 5670, (203) 226-4200.
AUDIO, TAPE BIAS
POWER SUPPLIES
SOUND RECORDING 1033 N. SYCAMORE AVE.
by John Eargie. JME Associates LOS ANGELES, CA. 90038
The best book on the technical (213) 934 -3566 FROM EUROPE!
side of recording thoroughly
.

for additional information circle no. 113 TWEED AUDIO PRODUCTS

recommended
- Studio Sound
"

338 Pages, illustrated with 232 tables, ONE STOP FOR ALL YOUR
AUDIO DESIGN & RECORDING
SCAMP SYSTEMS

ound
curves, schematic diagrams, photographs, PROFESSIONAL AUDIO REQUIREMENTS
and cutaway views of equipment. BOTTOM LINE ORIENTED
F. T. C. BREWER COMPANY

P.
$16.95 each
R-e /p Books
0. Box 2449 Hollywood, CA 90028
P.O. Box 8057 Pensacola, Florida 32506

FOR SALE
oluCions
SOUND SYSTEM ENGINEERING Ampex 300/440 8- track; custom DETROIT'S
by Don & Carolyn Davis Spectra Sonics console 16 x 16; PRO -AUDIO WAREHOUSE
296 Pages
-
81/:x11 AG -440 2- track; miscellaneous gear.
(313) 739-7020
P. O.
Hardbound
Box 2449

HANDBOOK OF
$19.95
R -e/p Books
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When you subscribe to R -e /p . . .

anal algal - - --
you'll be starting a useful reference library pertaining
MULTICHANNEL to the recording industry.
RECORDING
by P. A /ton Everest We will be delighted to enter your subscription to R -e /p upon receipt of
320 pages 201 illustrations
The book that covers it all
a comprehensive guide to all facets of
... your order -
your order and payment (check or money order must be included with
we cannot bill for subscriptions). Your subscription will
begin with the next published issue. (Sorry! We cannot start with back
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R -e/p BACK ISSUES AVAILABLE ONE YEAR (SIX ISSUES)
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December, 1975 Volume 6, #6
February, 1976 Volume 7, #1
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R-e/p 170
 API 2061 stock console, modified FOR SALE-CUSTOM CONSOLE
for 28 -in, 24 -track monitor, 8 mix FOR SALE: Scully 16 -track 100
24 -in, 32 -out, 32 channel separate mix -
busses. With production desk, full recorder, reasonable, mint condition. down section, 4separate monitor speaker
patch bay, 2 limiters, many extras. Spare 16- track, 12- track, 8-track head systems, API #312 preamps with Deane
$18,000.00. SOUND IDEAS, 151 West assemblies. Spare logic cards, 4 extra
46th Street, NY, NY 10036. Call George Jensen Transformers, API #325 line amps
electronics, meter panel, 16 -track with peak indicators. Faders are Painton
-
Klabin at (212) 575 -1711.
ALTEC Acoustavoicette, $375.00 - sync- master, digital counter.
(213) 245 -7640
conductive plastic. API #550A EQ, 4
echo, 2 cue, auto -mute, 4 API #575 Osc.
Producer's desk installed with: Pioneer
cassette deck, ITI stereo parametric
STUDIO LIQUIDATION FOR SALE: 8 channel Otari 1/2" tape equalizer. Complete with all supplies
11/2 Year old MCI 428B console required. Also 3M Model 79 24-track
deck, console and remote, Tascam recorder and 2- track; both new. Will sell
$20,000 M -5 with talkback, flight case. part or package price. Will install. Call
2dbx RM 154 noise reduction, eight Also Crown, MXR, etc. Reasonable
track each EVERYTHING AUDIO
$1,000 ea. offers. Call Tim. Los Angeles
MicMix Master Room Reverb $1,000 (213) 995 -4175
(216) 332 -9916
Many Mikes, Grand Piano... $5,000
Call (217) 367 -7262 (Days) USED STUDER CONSOLE
(217) 359 -6634 (Nights) MOBILE RECORDING FACILITY FOR SALE
36' long mobile control room. Width Model 189 -080 Swiss made like a fine
expands to 15'. Truck comes with
52 x 32 Auditronics console, Dolbys,
watch -a
steal at $20,000 complete
Custom 24 -track recording console,
API Equalizers, dbx VCA level control,
24- input, 24 buss, 24 -track monitor,
AKG BX -20 reverb, AG -440 2-track
and 4- track, and complete video
Steve -
and in perfect condition.
(212) 765 -2005
4 echo sends, comprehensive patch bay. system. Control room has JBL 4333
$26,000.00 speakers with UREI 1/3- octave 527A MIKES FROM STOCK!
Custom Mastering Console, API Equal- filters. Comes with International AKG EV-SONYiSHURE /SENNHEISER
izer, Neumann Filter, dbx VCA line amps,

-
all point patching facility. $10,000.00.
Tri Star Cab.
TSR - (415) 232 -7933 ound
(213) 655-8280

FOR SALE
Roger Mayer
Tascam, TEAC, Sound Workshop, Otarl
dbx, Nakamichi, MXR, Dynaco, ADS, E -V,
olutions
MCI JH -428 professional recording con- Eventide, Shure, Maxell, Ampex, AKG Pro, DETROIT'S
sole. Excellent condition, fully oper- Beyer, UREI, Sfax, Sennheiser, TAPCO, PRO -AUDIO WAREHOUSE
ational, 3 years old. 28 x 24 with quad Crown, and more!
and stereo outputs, light meters, full SEND FOR PRICE QUOTES (313) 739-7020
patch bay and power supplies. $25k. ZIMET PRO AUDIO
For more information write: Console, Dept. REP
P.O. Box 3015, Washington, DC 20010, 1038 Northern Blvd Roslyn, NY 11576
or call (202) 347-1420. EDUCATION
FOR SALE -
Klipsch MCM 1900 bi-
amp industrial loudspeaker system
with road trim with wheels, as seen
Eastman School of Music
Stereo Mikes at AES Show, Circus Disco. A.C.I., of the
C -34 and 422
Hollywood. $3,250.00. (213) 938 -7459 University of Rochester
AKG In Stock
FOR SALE SUMMER
Custom El -Tech 24-track console. 5-
104aB and 105
band select able EQ. 26- inputs, 5 RECORDING
effects busses, Jensen mike pre -
the British amps. $12,500.00. INSTITUTES 1979
reference for STUDIO SOUND RECORDERS in newly equipped and
KLF (213) 985-9157
classical recording. renovated facilities
FOR SALE
2 Fairchild 659A Reverbs $350 ea. BASIC RECORDING
!vie 1 Ampex 400 Transport 71 -15 ips.. $150
Ampex AG440B -8 w /remote, excellent TECHNIQUES
IE -30s In Stock 1
6 wks. - June 25 to August 3
IE -10 Trades Taken 2 Ampex 300/350 head stacks (from 32200
duplicator)
ADVANCED RECORDING
$75 TECHNIQUES
6 hubs Ampex 1" 406 tape, excellent
ECOPLATE Great reverb 3 wks. - July 16 to August 3
$10 ea.
ECOPLATE at a good price! FALK RECORDING SERVICE Instruction by professionals in the
ECOPLATE Ask us (502) 267 -0479 fields of audio recording and
ECOPLATE about availability. engineering covers microphones,
FOR SALE studio setups, remotes, classical
SPECK 800 -C 16/8 mixing console. recording, signal processing,
REVOX MODIFICATION
Complete with patch bay. $6, 200.
We're updating to 800 -D. It's your
chance to save $$$.
maintenance, etc. Labs, recording
sessions, mixdowns. Ros Ritchie,
TO PROFESSIONAL STANDARDS HAL HIDEY STUDIOS director of Eastman Recording
15 ips B -77s in stock! (213) 761 -0671 Services, coordinator. Credit and
non -credit.
(213) 798 -9127 FOR SALE -
Custom DeMedio re-
cording console; 32 inputs, 24 out-
write for brochure and application to:
#85 ARROYO ANNEX
PASADENA, CA.91109
AUDIO ENGINEERING ASSOCIATES
02iSt puts, full patch bay.
WALLY HEIDER RECORDING
Summer Session, Dept. 19, Eastman
School of Music, 26 Gibbs Street,
Rochester, New York 14604
(213) 466 -5474 equal opportunity to all applicants

R-e/p 171
EMPLOYMENT EQUIPMENT FOR SALE

JBL
The NEW CROWN PSA -2 Micro-
processor Programmed Amplifier is
the new industry standard because it
C,J5
sounds better. If you don't agree with
us, we'll buy it back! We also stock
BGW and JBL power amplifiers, JBL
and UREI Time -Align Monitors. UCLA SYMPOSIUM HIGHLIGHTS
APPLICATIONS Call us. "THE REVOLUTION IN
Pro Audio
ENGINEER AS1
San Antonio, TX, USA (512) 824 -8781 HOME ENTERTAINMENT"
UCLA Extension will provide a forum for
We're growing and in need of an additional demonstration and discussion of "The
qualified Applications Engineer with a
minimum of 2 years professional experi- EDUCATION Revolution in Home Entertainment: New
ence in engineered sound systems Technology's Impact on the Arts," May 11-
design and appropriate educational Short Intensive summer courses in 13 at the Los Angeles Hilton Hotel.
preparation. Recording Techniques, Electronics,
Electronic Music, Jazz Improvization, The symposium will be held on the eve of
Please submit resume including salary Contemporary Song Writing, Popular and the 1979 Los Angeles Convention of the
history for prompt and confidential Jazz Harmony, Musical Instrument Repair Audio Engineering Society. It will bring
consideration to: and Instrumental Workshops in Saxo-
phone, Clarinet, Flute, Trombone, and together experts in technology and arts
Percussion, with Allard, Oberbrunner, programming to demonstrate and discuss
Peter Horsman Rascher, Goebel, Purcell and Strohman. new tools and systems of communication
Write or call Frank Stachow, Summer
Workshops. (717) 867 -4411, Ext. 275. and the new dimensions in multi -media arts
JAMES B. LANSING LEBANON VALLEY COLLEGE
Annville, PA 17003
events they make possible.
Martin Polon, chairman of the 1979 AES
SOUND, INC. Convention and director of Audio -Visual
8500 Balboa Blvd. Services at UCLA, will conduct the
Northridge, CA 91329 EMPLOYMENT symposium, presented in cooperation with
the AES and Audio magazine.
Equal Opportunity Employer M/F
SERVICE -
HELP WANTED
Immediate opening for
qualified head technician for rapidly
The Friday, May 11, evening session deals
with "Sound: Recreating the Live Concert in
expanding pro audio retailer. Man- the Home." Demonstrations will include
agement ability plus previous multi- new speakers, amplifiers, disk, tape, and
track and digital experience a must. digital delay.
All replies held in confidence. The Saturday, May 12, morning session
Box CGI, c/o R -e /p
NATIONAL P.O. Box 2449 Hollywood, CA 90028 features "Sound: Capturing the Live
Performance for the Home," with
SALES MANAGER QUAD -EIGHT ELECTRONICS demonstrations of digital recording, direct -
CONSOLE SYSTEMS ENGINEER to -disk, microphones, and computer
Responsible for sales of Position involves layout and design of
film and recording consoles. It requires mixing. The afternoon session "Video in a
signal processing equipment Multimedia Arena" will feature demonstra-
in -depth knowledge of console operation
in the United States and and electronics, and /or extensive mixing/ tions of cable TV, motion picture, home
Canada. maintenance experience. This is your video tape and video tape and video disk,
opportunity to join the leader in custom
audio. We offer excellent salaries and full stereo projection TV.
Requires the ability to benefits. Send your resume and salary his- The final session, Sunday morning, May
manage, sell, direct and tory, in confidence, to: 13, "The Information Connection:
QUAD -EIGHT ELECTRONICS
motivate dealers and Mr. Skip Pierce Broadcasting into the Home," will feature
representitives. 11929 Voss, St. No. Hollywood, CA 91605 demonstrations of electronic literature,
visual arts inventory, TV newspaper, radio
LEADING NATIONAL AUDIO TECH TV, shortwave, computer graphics. In the
Some recording studio WRITER NEEDS ASSISTANT afternoon, "Home Entertainment: Visions
background essential with Self- starter to develop both technical
of the Year 2000" will feature demonstra-
and creative copy for pro- audio, Hi -Fi,
actual engineering exp- musical and computer equipment. Re- tions of laser or coherent light communica-
perience highly desirable. laxed atmosphere in hills 45 minutes tion and satellite transmission.
from downtown L.A. Writing experience
helpful, but we may train the right Featured speakers are John M. Eargle,
Submit resume in person. Full time preferred. Send vice president, product development, JBL;
confidence, including salary resume. Richard E. Heyser, senior engineer, Jet
Gary Davis & Associates Propulsion Laboratory, California Institute
history to

MS
20939 Hillside Dr. Topanga, CA 90290
John Saul of Technology; Eugene Pitts, III, editor,

Ix
IN/11
SALES -
HELP WANTED
Professional audio retailer
has immediate opening for high cali-
ber salesman with a minimum of two
years recording or broadcast sales
Audio magazine; Andrea L. Rich, director,
Office of Instructional Development,
UCLA; and Emil Torick, director, Audio
Systems Technology Center, CBS
Technology Center, Stanford, Connecticut.
experience. Above average compen-
MICMIX Audio Products, Inc. sation. All replies held in confi- Other speakers will be announced.
2995 Ladybird, Dallas, TX 75220 dence. All sessions will take place in the Golden
(214) 352 -3811 Box CGI, c/o R -e /p State Room and the Pacific Room of the Los
P.O. Box 2449 Hollywood, CA 90028 Angeles Hilton, 930 Wilshire Boulevard.

R-e/p 172
The $85 fee includes admission to all be honored with the Chamber of
exhibits and general sessions of the AES Commerce "star" on Hollywood Boule-
Concention, May 15 -18, at the Hotel. vard's prestigious Walk of Fame.
For enrollment information, write The Three days earlier, the group was at the
Arts, UCLA Extension, P.O. Box 24902, U.N. in New York taping "A Gift of Song,"
Los Angeles, California 90024, or call (213) the internationally televised benefit concert
825 -9064. for UNICEF. Conceived by the Bee Gees to
celebrate the International Year of the
BEE GEES RESPONSIBLE Child, all proceeds derived from the original
FOR MANY "GIFTS OF SONG" songs aired on the program will flow to
The latest in a succession of Bee Gees' UNICEF to provide basic care for children
"song gifts" to underprivileged children in over 100 developing nations. Income from
stems from the group's fourth Ampex sales of the Bee Gees' "Too Much Heaven" including the recording studio, engineers
Golden Reel award, presented by the and the songs of ten other entertainers on and other technical personnel, as well as the
magnetic tape manufacturer in honor of the the program are estimated to top $100 artists.
brothers' new single, 'Too Much Heaven." million. With the program now in its third year,
The award carried a $1,000 cash donation to In addition to Golden Reels for "Too more than 450 award plaques have been
a charity of the artist's choice. Much Heaven" and "Saturday Night Fever," presented and over $80,000 has been given
This gift, the fourth Ampex has presented
to children's agencies on behalf of the Bee
the Bee Gees have two others to their
credit. No other group has won more, and in
to worthy causes -
most of it to non- profit
child care organizations.
Gees, will go to the Sunrise School for every case the brothers designated
Retarded Children, in Miami, Florida. Miami children's agencies as recipients of the QUAD -EIGHT DELIVERS
is now home base for two of the brothers donation. A NUMBER OF FILM
and the site of Criteria Recording Studios, The Ampex donation for the album "Main RE- RECORDING CONSOLES
where the Bee Gees record their hits. Course" went to the Children's Health Quad- Eight, the North Hollywood,
The Bee Gees received the Golden Reel Council, in Palo Alto, California, and the California, manufacturer of mixing
award January 12th in Los Angeles during a contribution for "Children of the World"
week of heightened musical activity. The
occasion was proclaimed "Bee Gees' Day"
went to "Jerry's kids"
Dystrophy Association.
the Muscular - equipment, has recently supplied two large
automated consoles to Nippon TV, in
Japan; acquired a contract from Norsk
by mayor Tom Bradley and included The innovative program is the only Film, of Oslo, for a customized QE -2441S
appearances by the Bee Gees on two recording industry award that carries a film re- recording console, and has also
network television shows. The brothers also charity donation, and is the only award to shipped a QE -2441S unit to Romania Films.
became only the fifth singing group ever to recognize the entire recording team, The academy award winning company

GRE El BACK
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ANNOUNCING
A HARRISON COMPROMISE
Sorry competition.... price only.
Affordable automation is now even more affordable.
The Harrison 3624 and 2824 are now available at 10% off Almost
for a limited time. Not a quality cutback, but a price rollback NO COMPROMISE
so you can put some of the long GREEN... BACK in your pocket.
Harrison
HARRISON SYSTEMS. INC. P0. Box 22964, Nashville, Tennessee 37202 (615) 834 -1184, TELEX 555133
www.americanradiohistory.com
 still receives orders from major Hollywood BTX. He came from Pacific Video
concerns: Corporation, where he was responsible for
Jensen transformers
By
- Universal Studios: A 76 -input custom
Compumix III film system; a QE-2441S re-
marketing and sales.

recording console and a custom electronic NEW SPECTRA SONICS

Wide Bandwidth looping console. BUILDING COMPLETE
Minimum Transient Distortion - Robert Altman 's Lion's Gate Films: 45-
input Compumix automated re- recording
Spectra Sonics president, Mr. William G.
Dilley, with understandable pride,
Low Noise announced recently that their new building,
and turnkey package.
- Ryder Sound Services: Installation of a
45 -input Compumix III automated system
constructed to his design and specifications,
is completed. The new factory is situated
has just been completed with a custom across the road from Ogden 's Municipal
electronic looping console to follow. Airport where the company airplane is
- Todd -AO: Quad-Eight has re- equiped
the facility at Todd -AO, finishing re-
hangered. The two story structure,
constructed of white brick and steel, reflects
furbishment with the installation of a 96- the clean design aesthetics that are
input, 6-track re- recording console in Studio immediately apparent in the audio products
"A" and a 24- input, 4 buss stereo re- that are manufactured by Spectra Sonics.
recording console in Studio "B." The new factory site was selected for easy
access to surface and air transportation
FANTASY NAMES NEW V.P. facilities. The air terminal is a ten minute
Years of transformer manu-
Jim Stern has been named vice president walk from the factory and the Interstate
facturing and design experi-
of engineering/studio operations for Highway is within a few minutes drive.
ence, combined with computer The factory is located on a bluff
Fantasy /Prestige/Milestone /Stax by label
assisted technology, have en- overlooking the city of Ogden, and enjoys
president Ralph Kaffel.
abled us to make asignificantly an impressive view of the Rocky Mountains
audible improvement in the of Utah. The building is constructed to
performance of audio trans- improve production through a logical traffic
formers. flow. In addition, a distinctive and
Write for information
impressive demonstration area provides a
1617 NORTH FULLER AVENUE
suitable setting.
HOLLYWOOD, CA 90046 The new Spectra Sonics address is: 3750
(Visitors by appointment only) Airport Road, Odgen, Utah 84403. The
telephone remains the same: (801) 392-
7531.

NEW TOLL-FREE SERVICE

FROM AMPEX
Ampex Corporation's audio -video
systems division has inaugurated a 24 -hour
SPECK toll-free telephone system for ordering
HAS spare and replacement parts for the
division's professional audio and video
SOMETHING products.
NEW... Stern was well-known as a drummer in
Parts orders will be placed the day they
are received, and a follow -up service is
the Bay Area when he joined Fantasy in provided to insure prompt delivery.
We've designed some 1969 with an in -house rhythm section The toll -free number for California is (800)
new concepts into our backing a busy schedule of R &B sessions. 982 -5875. The toll -free number for the
F/P /M/S chief engineer since 1971, Stern remaining contiguous states is (800) 227-
mixing consoles .. .
heads a steaff of 15 and supervises three 8402.
and have added these recording studios. He is currently Headquartered in Redwood City,
consoles to our overseeing the preparation of a new state- California, the Ampex audio-video systems
product line. of- the -art fourth studio and disk mastering division manufacturers audio and video
studio in the seven-story tower now being recorders, cameras, systems and related
SEND FOR SPECK'S added to the Fantasy building. equipment for commercial and educational
1979 FULL LINE CATALOG broadcasters and for closed circuit TV
BTX ESTABLISHES applications in medicine, education,

o
O1
WEST COAST OPERATIONS
Opening of West Coast operations of the
BTX Corporation is announced by Ronald
C. Barker, general manager of the Weston,
Massachusetts, manufacturer of SMPTE
time code systems.
industry, science and government.

QUAD-EIGHT EXPANDS
FACILITIES AND INCREASES
NUMBER OF DEALERSHIPS
Facility expansion has begun at Quad -
7400 Greenbush Avenue The new BTX operations are located at Eight, the North Hollywood [California]
North Hollywood, CA 91605 6255 Hollywood Boulevard, where the based manufacturer of professional mixing
(213) 764 -1200 equipment. To meet the increased demands
telephone number is (213) 462 -1506. Jerry
Hudspeth has been named manager for for their products, the company has

R-e/p 174
 Let's Talk About AUTOSET
Auto -Set is a complete self- contained automation anexpensive mass storage cevice and a time code
programmer made by Harrison Systems. It is speci-i- system. Also, you never run out of cata storage space
Gaily designed to interface with all Harrisor.consoles as the data space increases with the length of material
ever built. Interface is quick and simple through the to be mixed.
use of multipin connector. Auto -Set allows the storage of four separate and inde-
Auto -Set is a simple piece of equipment to operate. pendent mixes on one channel of a standard aucio tape
It can operate as simply and with as little facility as machine. Two channels of a machine must be allo-
the other available automation systems. All that is re- cated to autorr.ation for bouncing the data back and
quired is the pressing of one out-on. forth as a mix is built. Auto -Set allows you to independ-
Auto -Set can alsc be a very powerful tool to the ently select any one of the four nixes for each console
experienced operator, and that experience can be fader. This selection process can be repeated 10 times
had very easily. The Auto-Set commands nave been for different pats of a mix anc the selections recalled
written in such a way that an inexperienced operato- sequentially in a real time a _he final mix is recorded.
can gain operating expertise in small steps There is
no need to know the complete instruction set in the Pre -Set Automation data is stored on special certi-
beginning as features can be learned one at a time. fied data car:ridges wlich pLg Ito the front of the
Auto -Set. Preset automation s a totally different way
WHY DOES AUTO -SET LOOK LIKE A COMPUTER_'
of storing automation data. The previously described
Because it is a computer. Auto -Set contains two Z -8C
dynamic automation stores coltinuous changes in
microprocessors operating under firmware control tc real time. Prese: automation stores "snapshot' mixes
make your life easier and your final product better.
only when you Dress a buttcn, up to 630 of them
There is no need for you to be a computer program- on one data car:ridge. Likew se when ycu are ready
mer as all programs are supplied, safely locked away to use the "snapshot' mixes they can be recalled
in non -volatile memory. one at a time with the simple push of a button.
HOW DOES AUTO -SET STORE DATA? The uses of preset automation are many and var ed.
It can store data in two different ways oecause It can be used for direct to d sc -eco-dine using mixes
Auto -Set is in reality two separate automation pro taken in rehearsal and recalled by the mixer as needed.
grammers living in ane box_ Also, it can be used in broadcast. live performance,
Normal Automation Data is stored on a standard theatre, or any other applicat on where mixing is not
studio tape machine. This is a very good way to store from a prerecorded multitrac -c
automation data as it is not necessary to purchase NOW, GC TALK TO THE OTHER GUYS.

®
i II ,>*

PR «
0 11111 NIIIIN

HARRISON SYSTEMS, INC. P O. Box 229E4 Nashville, Tennessee 3 7202 . 1 : --

 Active Direct acquired an additional 11,000 square feet of Temmer will be working with music
Passive
Direct Box
Box
room adjacent to the existing facility. The students at the Centre, indoctrinating them
area will be customized for specialized into the philosophy of recording and
Digital Research and Development and to actually putting students on tape, doing re-
SM-1A SM -2
house modular console production. takes, editing, etc. Mr. Temmer will also be
Deluxe Active Single 'Mie- splitters" Coupled with spatial growth, three new giving a 11/2 -hour daily course for second
Direct Box
dealers have been added to carry Quad - year Theater Crafts students on sound
Eight's products. In Los Angeles the new reinforcement for the legitimate stage.
dealer is Everything Audio;" in Northern There may be a possibility of accommodat-
SM-3 MS-1A California 'Accurate Sound" andin the New ing a small number of seminar students for
Quad "Mic-splitter' 8x2 "Mic-Splitter" York area, "Martin Audio" will have Quad - the second week.
Eight's line. For further information, contact Lorraine
Schindel, Theater Arts Division, The Banff
SEX DISCRIMINATION SUIT Centre, Box 1020, Banff, Alberta TOL OCO,
AGAINST MAJOR SOUND Canada.
MS-4 MS-8
REINFORCEMENT COMPANY
12x2 "Mic-splitter" 16x2 "Mic-splitter" Linda Joyce Wheatcroft filed on NEW ENGLAND CONSERVATORY
December 1, 1978, a suit against Clair OFFERS COURSE IN AUDIO
Brothers Audio Enterprises, Inc., of Lititz, The New England Conservatory of Music
Pennsylvania, charging sex discrimination will hold a Summer Session from June 25 -
in hiring practices with their sound August 3, 1979, featuring workshops,
MS-10
MS-9
company. courses, and master classes. Among the
Direct Boxes: Both active and passive SM -1A for
guitars SM -2 and SM-3 for keyboards and The suit, filed in the United States District numerous offerings of special interest is the
electronic instruments.
Court for the Central District of California, Electronic Music Workshop with Robert
"Mie -splitters ": Low impedance in and out. Will
handle +6 dBm. Will pass phantom voltage. is to redress deprivation of rights secured by Ceely, June 25 - 29.
Isolated grounds.
Title VII of the Civil Rights Act of 1964, The workshop will be divided into two
Thou/end, in we wound the Wald! which stems from an incident during the sessions. Mornings will include lectures and
We also manufacture audio transformers,
snakes, audio modules spring of 1976 Peter Frampton Tour. demonstrations of the hardware and
SEND FOR YOUR FREE COPY Linda Jouce Wheatcroft seeks perma- software of Electronic Music and
OF OUR NEW CATALOG nent injunctive relief from discrimination discussions of how and why synthesizers
P.O. Box 590,
CÓM work, and the theory behind their sounds.
against her with respect to employment
12931 Budlong Ave., "Quality
Gardena, CA 90247 U.S.A. Engineered because of her sex, an accounting for loss of The afternoon sessions will be individual
770-3346-7510, 421-1828, Sound
Products" earnings by her resulting from Clair Brother hands -on experience with the ARP,
Audio Enterprises, Inc., unlawful refusal to MOOG, BUCHLA, and EML Synthesizers.
hire her, and money damages resulting from Studio technique covering multichannel
WHAT'S WRONG WITH THIS PICTURE? the unlawful employment practices. recording, sel- sync, overdubbing,
The Equal Employment Opportunity reverberation, etc., sophisticated
sequencing techniques, and unusual patch
9

Commission, Philadelphia District Office,

found reasonable cause to believe the configurations will also be explored and
charge of sex discrimination and issued a demonstrated.
"Notice of Right to Sue" on September 8,

\t'
1978.
REQUEST FOR COURSE

/11 =
eer Linda Joyce Wheatcroft and her legal
counsel, Laura Goldin, of Goldin and
Goldin, believe it is the first such suit in the
INFORMATION FROM
INSTITUTIONS & INSTRUCTORS
-- OF AUDIO EDUCATION
sound technician area of the music industry. PROGRAMS
R -e /p is interested in obtaining inform-
BANFF CENTRE OFFERS
ation from schools and other organiza-
RECORDING FUNDAMENTALS, tions that are involved in education as
1979
it relates to the recorded art.
This year's course will take place from Such information will be included in
Monday, June 3rd to Friday, June 8th and a listing which will be prepared, to be
will again be under the direction of Stephen response to the mounting number
sent
e F. Temmer, president of Gotham Audio
in
of requests for such information.
Corporation, New York/Hollywood. This is reply to:
SIMPLE .. . the fourth year that the course has been Curriculum List
This poor devil is spending more time given.
hasseling with cabling and connec-
Recording engineer/producer
The fee for this week -long, 45 -hour P.O. Box 2449
tors than he is playing music . . .
which is why he purchased his home
course is $225.00. Single accommodation is Hollywood, CA 90028
studio in the first place. $21.50 per day; shared is $19.50. This
includes full meal service in the cafeteria.
If you are a musician- engineer in the SONY/RCA IN DIGITAL
Selection of applicants will be made as
L.A. area and you need help with your RECORDING SESSION
studio, just call .. . applications are received. There is an
absolute application deadline of May 15th, WITH DALLAS SYMPHONY
KELLY 894 -8925 or NANCE 652 -5151 but it may well be that all available space has Sony's new PCM -1600 digital audio
SCREEN DOOR MUSIC and NANCE been booked by that date. Prompt return of processor was used in March to record
P.O. BOX 4848 application forms is encouraged. three classical works performed by the
PANORAMA CITY, CA. 91412 The week following the seminar, Mr. Dallas Symphony Orchestra which are

R-e/p 176
 MIN ®® UM ®

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7 NO 1%
COMPROMISE
Two nice sounding words, just like a lot of other Harrison customers have the No Compromise
nice sounding words that manufacturers and sup- philosophy, also. In most cases the decision to
pliers use to describe their products and services. purchase a Harrison console has not been made
Talk is cheap and so are words, so in order for on price, for there are many consoles that sell for
words to have any true value they must stand for less. Harrison owners know that they have pur-
something of value. chased the finest consoles for their studios. That
At Harrison Systems No Compromise means goes a long way toward the making of a No Com-
something very real to us, to our dealers, and to promise studio. Interestingly, most Harrison
our customers. No Compromise is a way of doing owners have found that the choice of a Harrison
business, a philosophy that we believe in, a stan- console has in the long -run been the most
dard by which we can measure our every decision profitable for their operations. The care and
and endeavor, not just pretty words. expertise in the design of the consoles have made
The No Compromise philosophy is with us their clientele very happy and supportive. The
every minute of every day. It is the dominant quality of construction and check out have meant
factor in the design, the manufacture, and the minimum down time and start up problems.
after sales support of every piece of equipment Harrison consoles have a history of very good
that we build. retained value which means that the cost of
To our dealers it means that they are repre- ownership can be quite reasonable.
senting and delivering the very best recording Many years ago one of the smartest men I
consoles available in the world. They are proud have known told me that if you take care of
of the fact and we are proud of them. Without business, then business will take care of you.
exception Harrison dealers world wide are the Taking care of business ... I guess that is what
finest, most knowledgeable, most honorable audio No Compromise is really all about.
professionals to be found.

Harrison
HARRISON SYSTEMS, INC. P 0. Box 22964, Nashville, Tennessee 37202 (615) 834 -1184, TELEX 555133
THIS ISSUE OF R -e/p IS SPONSORED intended for RCA Red Seal release, is capable of precision electronic editing.
BY THE FOLLOWING LIST It is RCA's intention to release three
OF ADVERTISERS according to Roger Pryor, digital audio
A &R Record Mfg. Co
48 division manager for Sony. classical albums from the Dallas Symphony
Allison Research 88
Conductor Eduardo Mata led the Dallas session. Pryor noted that Sony's advanced
ALTEC Corporation
Amber Electro Design 164
7
Symphony's performance of Stravinskÿ s editor will be used for the first time here for
Amek Inside front cvr -3
38 -39 Firebird Suite and Symphony in Three the RCA project. "From what our engineers
Ampex Corporation in Japan have told me," noted Pryor, "we
Aphex 99 Movements, as well as Ravel's Daphnis and
Atlas Sound 43
156 Chloe. The 3/4-inch U-Matic tapes will be should have no difficulty editing up to RCA's
Audicon Marketing standards."
Audio & Design Recording 42 edited later this spring using an advanced
Audio Associates 65
126 -A -B electronic editing unit to be shown by Sony The RCA/Dallas Symphony session was
Audio Concepts/Dave Kelsey recorded at Mt. View College, in Dallas.
Audio Distributors, Inc. 101 at the Los Angeles AES Convention.
Audio Industries Corp 73
135 According to Sony sources, the new editor Peter Delheim produced for RCA.
Audio Kinetics (UK), Ltd.
Audio Services 138
Audio -Technica, US 69
Audioarts Engineering 118 BENJAMIN B. BAUER, NOTED
Auditronics 35
SCIENTIST AND MICROPHONE
Auratone 17
BGW Systems 155
119
PIONEER DEAD AT 65
BTX Corporation
Benjamin B. Bauer, former head of CBS water, and techniques and instrumentation
Rudi Breuer 154
32
Technology Center, Stamford, Connecti- for reproducing and broadcasting
Canyon Recorders
CETEC Gauss 144 -145
153
Community Light & Sound cut, died of a heart attack on Saturday, quadraphony.
Countryman Associates Mr. Bauer was born in Odessa, Russia, in
Crown International 128-129 March 31, 1979. He was 65 years old. A
dbx, inc.
1
25
225
towering figure in the audio and acoustics 1913 and spent his youth in Cuba. Coming
DeltaLab Research
EXR Corporation 49 field, he had remained a consultant to CBS to the U.S. in 1930, he earned a degree in
following his retirement in July of 1978 after Industrial Engineering from Pratt Institute,
Eastern Acoustic Works 103, 169
Eastman School of Music
Electro-Media Systems 152 21 years of service. in New York City, before attending the
Electro-Voice, Inc 44
Inside front cvr -3 Mr. Bauer's first invention came shortly University of Cincinnati where in 1937 he
Everything Audio
Hammond Industries, Inc 37 after his graduation from college in 1937. It received an Electrical Engineering degree.
Harrison Systems 173,175,177,179
4-5 was the single transducer cardioid dynamic, Post graduate studies included Physics,
Hidley Design Services
Inovonics, Inc. 147 or directional, microphone whose Mathematics, and Acoustics at Chicago and
150
Interface Electronics
85 acoustical phase shift principle is to this day Northwestern Universities.
Ivie Electronics
JBL 111, 172 used most universally in commercial Dedicated to learning and scientific
174
Jensen Transformers
37 microphones for broadcast and public education, Mr. Bauer authored nearly 100
Klark- Teknik
Klipsch & Associates 133 address systems. At that time a novice technical papers; lectured widely in this
development engineer for Shure Brothers, country and abroad; contributed to
71
Lexicon, Inc.
Loft Modular Devices 84
MCI 74 -75 Incorporated, manufacturers of micro- technical acoustical subjects; was technical
MRL 64
77 phones and phonograph pickups, he was to editor and publisher of a textbook,
Magnefax, Inc.
Marshall Electronics 158 become Shuré s director of engineering and "Acquisition, Reduction, and Analysis of
MICMIX Audio Products 79,167,1722
vice president. He joined CBS, Incorporat- Acoustical Data," for the U.S. Navy, and
Midas Audio Systems
Milam Audio 122 -123 ed, in 1957 where he assumed responsibility was visiting professor of engineering
Rupert Neve, Inc 8-9
54 for audio technology development at the acoustics at Pennsylvania State University.
Northwest Sound
Omnicraft 60 then CBS Laboratories, in Stamford, He was elected to the National Academy
Omnisound, Ltd. 120
Connecticut. of Engineering in 1974, and was a member of
Orange County Electronics
Orban Associates 80, 115 the Naval Studies Board from the National
66-67, 104 -105
Otani Corporation
Peavey Electronics 86 -87 Many contributions in the ensuing four Academy of Sciences. He was a Fellow of
Pro Audio /Seattle 97
109
decades followed Mr. Bauer's landmark the Institute of Electrical and Electronic
Programing Technologies
OSC Audio Products
1938 microphone invention. Spanning a Engineers, of the Acoustical Society of
Quad -Eight 13, 165 broad range of technology disciplines, he America, and the Audio Engineering
Quantum Audio Labs, Inc.
Raindirk Limited 149
51 was awarded 75 U.S. Patents. Foreign Society. He was ari honorary member of the
SESCOM Patents swelled the total to more than a latter organization as well as a past
hundred. His long list of achievements president and recipient of its Gold Medal
Saki Magnetics 102
Screen Door Music 176
Shure Brothers, Inc. bk cvr
4-5
included microphones created for award. In 1977 the Acoustical Society
Sierra Audio
Solid State Logic, Ltd. 55-56, 57-58 acoustical measurements, piston phones, presented Mr. Bauer with its' silver medal in
Sony Industries heartbeat measurements, hearing aids, acoustics, only the third scientist so
19 -20, 21 -22
Sound 80, Inc
Sound Technology 151 public address systems, broadcasting, honored "for his contribution to engineering
Sound Workshop 14 -15, 53 sound ranging, and civil and military acoustics, particularly in the development of
communications; headphones, and artificial techniques and devices used to pickup,
Speck Electronics 174
Spectra Sonics 26-27, 77
Stanton Magnetics 12 voice and ear devices, loudspeakers and record, and reproduce sound."
Stephens Electronics 157
125 loudspeaker enclosures, vibration Recently, in March 1979, Mr. Bauer had
Studer Re Vox America
measuring instruments, stereophonic test been inducted into the L'Ordre de
Studio Supply Company
Symetrix
TDK
91 -92, 93 -94
168
113 records, and transducers for phonograph Chevalerie de L.'Etoile de la Paix -a
Taber Manufacturing Co. 78 recording and reproduction. Magnetic chevalier of the Order of the Knights of the
recording heads and transports, directional Star of Peace -- an international non-
Tangent Systems 10-11
TEAC/Tascam 46-47
Telex Communications 59,
141 hydrophones, and hydrophone calibrators. denominational organization founded in
UREI
61 Devices for automatic level control in 1229, and dedicated to peace and which
URSA MAJOR
Valley Audio 40, 16 broadcasting, psychoacoustic research recognizes heads of state and leaders in the
related to the measurement of loudness and field of government, international relations,
Valley People 107
Westlake Audio 82-83
White Instruments 137 to the directional hearing in air and under diplomacy, the arts and sciences.
31
Yamaha International