db-1991-01-02.pdf

serving: recording, broadcast and sound contracting fieldsLAB REPORT: MaGaziNe Soundcraftsmen's Model PM860 Stereo Amplifier THE ELECTRONIC COTTAGE Promoting Your Studio Guitar Synthesis and MIDI A Guide to a Home Studio The All -In -One Electronic Cottage A few important words about the new A-T 40 Series: AT4049 Tony Bongiovi Omnidirectional Power Station Capacitor "The 4051 is a great mike, especially for rock. It sounds fat and you can bang away at it with a lot of level without a pad...for a rock studio like the Power Station that's important. AT4051 When you put it on horns it f as Cardioid Capacitor a nice clean sound and it ho ds the dynamics well...it's just an excellent sounding mike :' AT4053 Hypercardioid David Cook Capacitor Dreamland Studios "...real nice top end and a warm bottom end...very ver- satile. didn't have to pile on a I lot of EQ to capture the air in the studio...very present, very natural sounding mikes :' Jeff Baxter Now it's your turn! Producer /Artist Compare the new Milan Bogdon "If I'm not getting what want I Audio Technica 4) Series against Masterfonics from another microphone...I've the very best in your studio. "The S/N ratio is superior to been putting up the 4051 and it Contact your A-T oro sound some of the other mikes we nearly always does the job:' dealer today. used. They're bright and clean so we don't have to push the EQ. Superb mike...great for Mack Emerman Criteria Studio vocals, overheads, snare, toms, electric and acoustic "The response is very flat...it guitar...it seems to work well holds the natural tonal qualities wherever we put it : even at high sound pressure levels:' audiotechnica. 122 Comme.ce Dride, Stow, OH 44224 Circle 10 on Reader Service Card (2-6)686- 2600FA >(216)688 -3752 www.americanradiohistory.com January- February 1991 Vol. 25, No.1 serving: recording, broadcast and sound contracting fields THE SOUND CONTRACTING ENGINEER 8 Live Sound Reinforcement: Asia -Pacific 1990 by Ed Learned An engineer's experience on the road and how he solved his unique difficulties. 17 Breaking Into Concert Sound by Jim Paul Maryland Sound in Los Angeles interviewed. 23 The Makings of an Engineer by Robyn Gately Getting good live sound in all circumstances. 31 Audio for the Church by Brent Harshbarger Digital audio. 33 Lab Report: Soundcraftsmen's PM860 Power Amplifier by Len Feldman See page 8 Big power in a smaller box. THE RECORDING ENGINEER 38 Problem Solving at International Post by Toby Cohen NSCA to PAL and back again? A piece of cake. 50 IIi -Fi to High Definition: Five Decades of Magnetic Tape by Don Rushin From the Magnetophone to Digital Videotape. THE ELECTRONIC COTTAGE 28 Promoting Your Studio: Part I by John Barilla PR savvy for the engineer/owner. See page 46 41 to a Home Studio by Bruce Bartlett A Guide Everything you need to know to get started. 46 The All-In-One Electronic Cottage by Richard Del Maestro A prominent artist's setup at home and how much he depends on it professionally. 55 Musician's Notebook by Mark Maulucci Guitar synthesis and MIDI. ABOUT THE COVER DEPARTMENTS Maryland Sour.d has an active 2 Calendar operation in Southern California. 4 Letters Our contributing edito4 Jim Paul, 6 Department of Correction and more interviews three employees with 37 New Products entry into live sound engineering as a focus. Our photo is of Maryland 59 Index of 1990 Articles Sound technician Bryan Nemecek as 62 Buyer's Guide: Studio Monitors and Performance Speakers he works in their setup lab. See page 73 Classified 17 for the full fascinating interview. 74 People, Places, Happenings www.americanradiohistory.com com . NY 11725. For more information on any of the Karen Cohn mada Renaissance Hotel in Atlanta. and icate Program in Electronic Music. "The Synchronization of Audio. Deadline for also at the Westin Hotel. NY 11725 and an additional mailing office Postmaster: Form 3579 should be sent to db Magazine.composer.sounding speaker cabinets available. Suite 1010 Commack NY 11725. Drew Daniels entries with no limit to the number of ing for Tèlevision will be held Jan. will be held Feb.7145) is published bhmonthly by Sagamore Publishing Com- pany Inc. Possessions. Second Class postage paid at Commack. please call CeCe sectors of manufacturers. The theme of Bruce Bartlett post. Editor /Publisher The Society of Motion Picture and March 20. 13. Suite . will be made by experts from the re. Presentations submissions is Jan. president of troit. MODULAR $3. $16.00 per year ($28. After an abbreviated review of the or FAX (914) 761 -3115. March 12-13 in Anaheim. The conference theme is "A John Barilla The International MIDI Association." Fee is $175. Application for subscription should be made on the subscription form in the rear of each issue. and from ex- Lazarescu at (212) 629 -3266..50 each Editorial. or FAX perienced users of digital recorders. Jeff Rona.m. Brent Harshbarger (212) 629 -3265. basics. conferences. 31 -Feb. Commack. ture." nies and corporations may submit Aone -day tutorial on Digital Record. is $105 for ITS tunities for one -on -one interviews with Randy Hoffner Members. the AES conference is "'Ièlevision Brian Battles dar year. Telephone. from Feb. 1 in Or- three courses during its winter quarter lando. 31 Robyn Gately entries from any source. Sound Today and Tomorrow. Now.00 per year in In the 80's. sound reinforcement -contracting. Individuals as well as compa. 15. etc. The Sound Engineering Magazine(ISSN 0011.00 per year outside U S. that qualify for credit toward its Certif. and that there is no intention of trade- mark infringement Circle 13 on Reader Service Card www. $135 for Non -ITS Members. Feb. 7 -9 at the Ra.S funds. Tèlevision Continuum--1967-2017. and into the fu- MIDI" will be taught 7 -10 p. focus on the evolutionary flow of tele. author Television Engineers 25th Annual Larry Zide and president of Musical Instrument Television Conference. MI. Single copies are Sound & Salami made the best. we state that these names are used only in an editorial fashion and to the benefit of the trademark owner. WA. (812)995-8212 or FAX (812)995-2110. Video and Film Tèchnology for Musi. CA. vision technology from the past. (516)566 -6530. Cammack. The price of entries. development. ording. broadcast audio -visual. Rather than place a trademark symbol next to each occurance. and Sales offices are at 203 Commack Road. Subscriptions are $15. Publishing Company Inc 203 Commack Road. NY 11725. SMPTE The 1991 International Monitor and AES registrants will be able to at. lease call cians" will be discussed from 7 -10 p. Wednesday evenings. International Conference. db Magazine is published for individuals and firms in professional audio recording. and engineering Shelley Herman or entry forms. FL. Len Feldman For more information on categories search. consultants. Concurrent with the conference will Assistant Editor For more information on other be the Audio Engineering Society's 9th Caryn Shinske courses. 203 Com- And. Graphics & Layout Workshop from Feb. 20 -March Hotel in the Renaissance Center in De- 27 by Lachlan Westfall. March 20-21 in Seattle. tend sessions offered by both groups All entries must have been produced or for one registration fee. video rec- Nobody combines them better than Modular. Trademarked names are editorially used throughout this issue. 1-2 at the Westin Senior Editor Wednesday evenings.m. BPA Audit applied for May 1989 db. Syn -Aud -Con has also announced their 1991 schedule for their 2 -day audio engineering seminars. the speakers and screenings of recent Jim Paul Synergetic Audio Concepts will productions made with digital record- present a Loudspeaker Designer's ers. The semi- The UCLA Extension is offering nar schedule is: Jan. Publishing.. Modular is making those same great products. Elaine Zide "Electronic Music II: Introduction to through the present. Technologies mack Road. please call (914) 761 -1100 GA. please call (213) 825-9064. people agreed that Joe's Canada)and payable in U. Associate Publisher Fee is $225. film sound. the workshop will concentrate CALENDAR on the present evolving loudspeaker designs. Suits 1010. Entire contents copyright 1991 by Sagamore Sound. For more information. 1010. Technology.produced during the 1990 calen. our new products and marketing programs will bring even more new customers into your stores. which will Digital Interface will conduct the class.americanradiohistory. Contributing Editors Awards has issued a Call For Entries. The tutorial will conclude with oppor- regardless of length. 1- www. V sit system with the esserce of 20 bit digital signal within the amplifier. To assure that Reference can function apples to apples there is no comparison. your Crown dealer today. well. Comparing sound. under exacting requirements. This makes low . . And its Telephc n e: 219 294 -8000 in excess of 20. proportional fan assist prevents thermal overload in high. Box 1000 Elkhart.demand situations. revolutionary convection cooling system Toll-Free 300 535 -6289 end response tight. creating precise transfer the industry Reference for years to technological achievement.S.americanradiohistory.1000 U. its power Crown.com Service C. high excursion amplifier. This makes Reference quiet enough to use in even the most discriminating environment. Emulator Protection) circuitry for which we live. The sound s incredibly transparent. Yet. Indiana 46515. Inc. Reference is the ultimately damped. A dual velocity supply was designed around an Crown International. It's as if you were enhanced ODEP 'r (Output Device tha. take its low frequency damping range to electromagnetic interference.O.defined and with computerized. Guaranteed Excellence. incredibly natural. A 20 bit amplification thereby accurate control of the music Reference to truly appreciate it.A.20 in ' . feedback system enables Reference to advanced toroid which nearly eliminates P. Macro function (monitored by IOC-) and come. Crown has also Digitally ready with a dynamic range unbelievably true. Q( o )U_D (1 I.000. But you must experience Macro Reference.approaches the environment in experiencing a live performance. MACRO REFERENCE. Macro Reference will be the sound is a result of Crown's newest Reference. FOR INCOMPARABLE SOUNII . King.O. Free Catalog of LETTERS Iifessional r SOUND recording p & duplicating SUPPLIES . or rot< maxell Stan H. Greendell. Greg Miller Owner. I think it's great! In closing. Ed Learned's article "Higher Ground" in the May/June issue was great! Learning what the big guys use and what they prefer helps me decide what I need. contains the type of infor- mation that is pertinent and timely in today's highly competitive field of BLANKLOADED acoustical engineering. Thank you for the time and effort you give to make this magazine both in- structive and informative. like its pre- \ POLYLINE EMPTY REELS & BOXES decesso>.. Reconditioned and Aligned Heads will: The experience I have is strength- RESTORE signal amplitude ENHANCE top end response ened. then expanded on. The column "Audio for the Church" by Brent Harshbarger is very helpful to me as I desire to increase my busi- ness selling sound systems to churches.americanradiohistory. Audio Circle 16 on Reader Service Card www. I want to know as much as I can to sell and install the most prac- tical system. Executive vice presi- tapes dent.: (201) 579-5773 Reconditioning Time Code Kits P. NJ 07839 Fax: (201) 579 -6021 thank you for a great magazine. I have only been run- Circle 14 on Reader Service Card ning sound for a few years and have much to learn. CD Timely Maintenance is Essential. This article. For the best sound. and I would like to compliment you on its publication. - dim MAGNETIC SCIENCES - Head Replacements Alignment 249 Kennedy Road Tel. Box 121 Telex: 325-449 Optical Alignment Tapes. G. always rely on the best service.K. I do not have the SOUND ADVICE From The Magnetic Head Specialists opportunity to experiment. CASSETTES BOXES We appreciate receiving articles such as this that can provide immedi- ately useful results. My thanks ELIMINATE tape /head generated shedding & build-up to these people. so I need to have the gear and the knowledge to use it the first time out. Mackensen Corp. I 708/298-5300 8:30 am -5 pm Central Time 1233 Rand Road Des Plaines.com . Call Polyline The Editor: Thank you for a great magazine. I again .w The Editor: Your November/December issue contained an extremely useful and well-written article by Dan Rogers on the subject of Speaker Angles. for any reader. by your con - stability REMOVE causes of oxide tributing editors' articles. . have enjoyed and benefitted from your magazine.o. ALBUMS amateur as well as professional. The articles are full of valuable information --step -by -step instructions and diagrams allow me to see practical applications for equipment I have yet to experiment with. My LABELS staff and I thoroughly enjoyed this series and look forward to actually ACCA AMPEX applying this technology on a current 3M Scotch project. IL 60016 Corp. If you are still not distortion STABILIZE tape -path tracking sure of my opinion of your magazine. Just visit your the unparalleled audio quality that led E -mu dealer. Proteus/2 is the first-arid only instrument to offer the complete re- . you get 8 megabytes of new sounds Six programmable polyphonic outputs including solo and ensemble with integral effect send/returns for on- violins.S. violas. the new Proteus/2 gives you dazzling new E -mu Systems. Arco board mixdown. Providing to get your hands on. The instrument's extensive user editing latest member of E -mu's acclaimed N functions and new complement of digital family of 16-bit digital multi -timbral waveforms. Proteus/2 is And every sound takes full advan. Like every Proteus sound module. And even easier tage of our amazing G chip. Winds. All in a single rack space. Ittel Green Hills f. It's simple. sound modules. All of which are instantly to over 40 performance parameters. Brass. Inc. Orchestral modulation system for real -time access çercussion.sl'. Built in the U. Specifically. and basses. remarkably easy to use. sourcEs of a world class symphony orchestra. Buy a Proteus/2. Made possible by the Circle 17 on Reader Service Card á' 1990 E. And E -mu's MIDIPatch" and pizzicato.. Proteus/2 features 32 -voice polyphony and 16-channel multi -timbral capability. Magazine's "lèchnological Innovation of the Year. NOW FITA INTO ASMALLSUD/Q. applied magi: for the arts synth sounds.americanradiohistory.e s Scsten s. accessible in ROM.com . cellos. s H Scotts Valle.a 91146 \II trademarks an property of their rester tier companies www." Besides a complete orchestra. Inc. Proteus/1 to be selected Keyboard And discover a true classic. " Our City State Zip color catalog features pro sound gear.495. Department of Correction and Other Things In the November/December issue on page 61 an important digit got dropped.00. Available from 8 to 24 channels at prices that are surprisingly lower than the competition because CARVIN sells DIRECT. and it is a pleasure to pres- ent them. Mea Culpa.americanradiohistory. The first of this series is on page 50. Steve Lukather I-III1. Their quiet and nsparent sound gives audio mixing a refreshingly clean.. sometimes just a picture or text insertion. (213) 851-4290 Carve p oducts xe rvaunk DIRECT only Du6Ee nie USA See lour dealt technical specifications and factory direct p www. Inc. basses. Other Things Janus.com . The New Products listing of the Aphex Dominator II turned a real bargain into a seemingly incredible one! TheDominator II has an Aphex list price of $1. Shop where the pros do . CARVIN annel features include 4 sub groups. from our Buyer's Guide on Noise Re- duction Equipment. bypassing retail markups.. 6 programmable effects or monitor nds and 4 band EQ. Write or call for the FX44 series literature and see w much performance you can buy for your money. and amplifiers Camp Hollywood Store: 7414 Sunset Blvd.O. we also need to look back at our audio past in a new series called "Historical Per- spectives" These will be pictures and text. We left the "1" off. digital quality. Did Aphex ever get calls! We left out Packburn Electronics. Dewitt. Escondido. the Roman god that gave January its name is usually depicted with his two faces looking at the same time ahead to the future and behind to still see the past. Box 335. They'll be in next time we do Noise Reduction. speak Send to: DB-331155 Industrial Ave. CA 92929 electric guitars. NY 13214. The Carvin FX44 series mixers have received rave reviews both live and in e studio from professionals like Steve Lukather.il. CARVIN offers a full of professional sound gear. These historical perspectives are a part of our past. However. sometimes full articles. db Magazine has been second to none in presenting the latest technology in a clear manner. They make a line of noise supressors and are located at P.l1 IIJrIII11 Call Toll Free or write for your FREE catalog today and buy professional equip Address direct from the factory at big "savings.Factory direct.. 10 simultaneous audio functions. 21E Tremont Street. Rochester.6455 /NORWAY /AUDIOTRNJ. stereo panning. Export Distributors: THE NETHERLANDS /Audioscribt HV.1300/TURieY /Kadri Cadntak/IslanbulAl 1661672 /AUSTRALINHi -Phon Distrib. filter. limiter. an a>. sampler. (716) 436 -2720 TELEX: 4949793 ARTROC. THE DR -X The all new StLdio Digital Reerberator /Dynamics Processor /Piton Transpc. env.Audiotron /Helsinki /90. 200 memory locations. 21 delay types .-. K. the LT gives yuu all the power you can use at 3 great price! Midi addressable. line EQ.. FAX (716) 436 -3942 Circle 26 on Reader Service C7. sampling. s-ereo panner. 21 different delays (2 full seconds). /Soe4/ 02155.R. 24 reverbs.232. stereo chorus and flange. The LT has 192 of the finest studio multi -effect combinations ever crea:edi Fcr those who don't have time for the complexity of programming. THE MULTIVERB III A new age of technolocy and 400% more processing offers digital reverb and spatial enha iceme nt that defies description' The Multiverb Ill has over 53 effects to choose f-om (up to four simultaneously. limiter. /Molndal /031 -876)80 /FRANCEHigh Fdeliry Services SN'aris/( l) 42 .442697 /ARGENTINA/Lagos Sarmientmlluenos Aires/ 40.85. pitch transposer.iv /03.8548 0 /U.2 full sends. 21 delay types .processor offering 12 effects simu tanously The Mach II has cver 70 different effects including an exciter.00.I. 200 memories.2044 /FINAND /MS.Scarborough/ 416 -751. THE M ULTIVERB LT The Multiverb LT gives you the power of the Multiverb with the simplicity of 1 -torch conrol.983757/HONG KONG/Audio Consultants LTD. INTRODUCES THE FIRST SIGNAL PROCESSORS OF THE 21ST CENTURY FFí`1'a THE SGE MACH I1 The st _inning new Worker.K.com . stereo chorus and flange. /Harmon U. including sampling. 200 memories and bandwidth to 23 kHz. Pry.454003. compressor.. expander. New York 14608. 12 killer distortions.71.rd www.ser /Sampler offering 160K bytes of audio ram. r1oi a gate.T. PORE /Lingtec PTE. expander. /Kowloon /3.7601/FHAILAND/Beh Ngiep Seng Musical Instruments/Bangkok/2<í -5281/ INDONESINPT Kirane Yudha a' k/lakaru/3806212/SING. /=iatswood 1 NSW/0241770.. equalizer compressor.3481 /ITALY4IaI C. / Slough/07537691 I /NEW ZEA _AND /Maser Digitek /Askland /444 -5583 /4/ISRAIL /More Productions /Tel A-.2 full seconds) and 24 different reverb algorithms! Real time midi. noise gate.A. LTD. stereo chorus and flanging. /7471951 /SPAIN /Aplicaciorses Electronicas Quasar SA/Madrid /68.c :ter.OS3O /2 35 2196 APPLIED RESEARCH & -ECHNOLOGY INC. stereo panner.5251/ IAPAN/Niron Electro -Iarmoniib yo (03.ammability and Performance Midi' ". equalizer. LTD. 24 reverb algorithms. bandwidth t3 20 kHz.98/DENMARK/MAL Musik/Kobenhavn / 1.americanradiohistory.DA WA/Parma /0521 690158/WEST GERMANY/PME Audio/Hauffweg/07136 -6029/ SWITZERAND /Musilengros P Cotter /Sissach /061. pitch transposing.5664644 /SWEDEN /Muskantor R Co.40/CANADA/Yorkville Sound LTD. amazingly comprehensive real time midi control. full prog. Gerstein's question to with only a 250 lb. me: would I mix sound for both the gear I could carry would have to worked with some of America's fin. SPL considerations figured sponsors a wide variety of artistic The second tour. house PA. Wayne is a master of the quite often reduces production con- tours: I was involved in sound sys. Our logistical con- guitarist Charlie Byrd and his trio. I knew that. Thailand. No. proved we could find local PA ica and I were eager to continue our meant one less fare to pay in each di.com . we would Charlie is well -known as both jazz nars on modern sound reinforce. were delivered with fire and a touch tors make size and weight considera- formance is appreciated more today of stinging blues.americanradiohistory." If you must have a 12 different USIA-sponsored con. I professional concert touring tech. with news of two pro. straints limited options. Cajun diatonic accordion. nights would require major compro- 60's bossa -nova craze in the United The disparate nature of the two mises. system and operator for both groups 52). tions just as important as brand than ever before. The return on my invested efforts the two tours. high -quality. use of the same pgs. ment and personnel was substantial db Magazine. 25 -31. business centers of Singapore. As disseminator of pect to hear him play Vivaldi and dictated different methods of bal- American culture to the world. 27 -32). involved Peoples Republic of China for a week usually available. systems sufficient for a jazz group. pgs.000 lbs. Two great bands and an quate in most cases. The first project. Ma- ruary. Jazz fans remember the "Jazz niques. Even in provin- posed tours of the Asia-Pacific ation. But Charlie is also an excel. a decent caliber MI (mu- region. Singapore and the 1. enjoying a brief rest before Wayne this area. My combination of The two proposed itineraries had preference and production desires. scheduled for into equipment planning.250 lbs. The rection. featured Wayne Toups & the Charlie Byrd Trio used minimal are overseas tours by musicians rep. 1990. No. mence their tour. 2. days off in Asia was another consid. 44- wonder that both USIA/Arts Amer. 25-30. Benny Golson All-Stars in 1987 (see many memorable performances. especially in the major erly Gerstein called me in early Feb-. two tours. with the exposed our foreign audiences to Trans -continental airfare for equip. What to do during my ten but what about Wayne's highly -am- new decade began with the most am. No. Foremost among these mid -fall. plified Cajun/Zydeco rock? bitious USIA touring package I'd eration: my original idea was a re- ever undertaken. pis. No. Wayne Toups/- resenting the many facets of Ameri. cial towns. Magazine the past six years may re.Lobos. From a mixing perspec- IVI (United States Information lington. the "threshold of hearing" re- Agency) in the 80s was a fruitful one lie Byrd concert. and as it ited case size to a maximum of 40 in. and they agreed to deal with States. five rock-level monitor mixes. for the Toups system. Monk and Jobim at a Char. most of was substantial: I saw the world. Wayne had requested my ser. high -power systems in Arts America Programmer Bev. I'd observed a trend towards more turn to Bangkok after the Byrd tour. and made many new friends. quired by these musical opposites for all concerned. tive. call my articles about several of these pgs. remember- The importance of high -quality Zydecajun rocked harder than ever ing the prohibitive cost of getting it sound systems and expert sound before-even the Cajun waltzes over there in the first place! Cost fac- mixing to a successful musical per. est musicians. turned out. years of mixing different styles of Philippines were due for visits by Cargo door clearance for the small- music. Volume 22. variance. scheduled credible side trip: I would fly to the sical instrument) PA system was for late summer/early fall. working relationship into 1990. coupled group had exclusive destinations to for the Charlie Byrd system and with the experience gleaned from 18 tou>. No. Live Sound ED LEARNED Reinforcement: Asia-Pacific '90 it Y ASSOCIATION WITH THE USIA you might hear compositions by El. nila and Bangkok. Zydecajun siderations from "what I want" to tem design and live sound mixing for is a blend of Cajun and Zydeco music "what I can get. while each had a weight limitation of 1. 3. Wayne and his Samba" album. you could also ex. 4. and conduct a series of semi. you'd cert tours during the last decade. pgs. ancing. Zydecajun. group accepted the obvious: some 1963 with Stan Getz that led to the cepted the offer immediately. only 10 days separated in any two dimensions. have to take our chances with local guitarist and exponent of Brazilian ment systems and mixing tech. Volume 22. with a healthy dose of rock 'n' roll particular piece of equipment. nationally and internationally (see Zydecajun called for a minimum of can music. 36-42. Toups/Zydecajun arrived to com. Little on a tour of this sort. 6. touring sound quality and reliability. or so. too: while programs. The new edition of better bring it with you. est commercial airliner we'd see lim- standard of excellence for USIA vices for his tour already. Arts America proposed an in. some regional symmetry. International touring. and could I design a sound be applicable to both groups. conspired to create a new both. Volume 23. niques and system design. www. Regular readers of db db Magazine. and got paid for it! We system both groups could use? My last tour of the region. USIA Villa. which Charlie cut in opportunity to visit China? I ac. which I felt would be ade- music. however. 1. thrown in. with whom I'd worked stage monitoring. groups was the first thing I dealt whatever it took to make the house co lent classical guitar playe4 so while with in designing sound for these sound happen. groups. After some deliber. \ Then audio is converted to digital.. CA 91352 (818)767-2929 ì. analog or digital . land line. tape. . five satellite link. wall limiting. dulling and hole is why you need the new Aphex punching. the Aphex Dominator II. hard disk or film . Circle 22 on Reader Servia Cud killw4rUa... API-IEX SYSTEMS 11068 Raidall Street Sun Valley.. vinyl. it broadcast.. eliminating spectral gain 6dB). three bands and recombines it in a today. And now. The result is hotter audio with Dominator II Precision Multiband Peak transient feel and absolutely no Limiter before your A -to -D conversion. sampler. it had better be hot or you're patented intelligent circuit. microwave or offers a dynamic range of 104dB. Too hot and you will crash! Which intermodulation. This means that signals in one band won't affect going to lose resolution (1 bit for every another band. It lets you run hotter with disc. Get Every Bit Into Your Audio New Aphex Dominator's' II Precision Multiband Peak Limiter \. Contact your Aphex dealer times better than digital! for a demonstration of the world's finest The Dominator limits the audio in peak limiter... overshoot! The Dominator has become the There's a Dominator designed to standard peak limiter because of its maximize your recording or transfer superb audio quality and absolute brick medium . absolutely no overshoot. amped. An on -stage monitor system was a necessity for Toups. I elected to aside from the obvious weight ad- AC PROBLEMS carry a small 16 x 4 x 2 house console vantage. of the time equipment grounds are tering. gested the group invest in one of former to convert local voltage into these units. I planned on carrying units. that we weren't so sure not. This peak-reading AC line at least eleven mica and four DIs. however is far from stable. ist/manager. My sound system rider made artis. After some haggling. By . 50 cycles. monitor system. with proper vigilance. the group and things would undoubtedly get 16 channels. I could often get a realistic tic distinctions between groups very tremely loud monitors. of Asia. and. I sug- SOUND FOR THE my trusty multi-tap Variac trans. I was most impressed by their power handling and smooth frequency re- sponse. monitor speakers and all system cabling in- cluding monitor splitters. Wayne provided a 16 x 6 mon- itor console as part of his 1. during setup and acoustic jazz and amplified rock re- got Toups to accept only four moni. RFI fil- Figure 1). Wayne and his group look for ex. all." and most strips with surge protection. under. I age. Voltage in many areas if consistent. woofer and 1 in. its capacity of 30 curred. with vocals. including digital brands of equipment: believe it or tweeter. days. yet not break the bank on weight. amps would be more than enough for able.250 lbs. in real time. should at least get us close. I usually request My first few international tours Dlr'JN'ERENT SOUND that we bring all our stage gear with were great tests for revealing which SYSTEMS us for that reason. and just what their basic reinforcement. with only a 12 in. Most musicians brands of equipment could tolerate Charlie Byrd's music called for prefer to use their own drums. These vices useful to both groups. Turbosound and Apo. They sounded "warm" enough to please discriminating acoustic musicians. I figured this type of power cern about past AC problems he'd eration to our PA-du-jour situation. delity. of Figure 1. their standard concert that. although "safe" range was. dependable stage environment both groups. with heavy handle on the quirks of the local clear. mances are desired. I about. Musicians must have a comfort. Neu.configure it tween 220 -240 volts. I covered the rest of the Charlie Byrd. The different sonic demands of ous for Byrd. in the more expensive non -existent. in. www. even more dicey overseas. passively crossed. Zydecajun's bass- and my own effects /system drive ting 325 watts/channel to each S. and a stage equipment. Mark Mille. single 15 in. quired the use of flexible. planned to power the S -200s with gee Sound were available in some of the new Carver PM-1250 amps. and as floor monitors (using the screw -on tilters) at a local club with much success. especially with respect to the kick and snare in most mixes along power system. Even so. these topical fluctuations. high -quality perfor. I'd used E -V's S -200 speaker cabinets at several jazz gigs in the United States. I had total confidence different SPL power levels required. The author's console and electronics package configured for band gear. tripod -mounted PA system for horn/driver bi. there are exceptions (see Chuck power line monitor with me on every looking for the "big" sound. the areas we visited. I also specified preferred if the S -200. Audio for both groups could fit into standing our limitations. I wasn't sure Wayne Toups/Zydecajun had some Toups. handle this type of situation. as house PA speakers on several USIA tours. there are several companies I could (and did) re. with minimal struments and amplifiers. the compact size and plastic cabinet matched my weight and space parameters. high-fi. The monitor cabinets I chose would have to meet the needs of both groups. performance.purpose tor mixes. I've carried a VIZ mic'ing.americanradiohistory. encountered in the United States. JBL. and 457A mies as the basis of my mic used during my USIA -sponsored tours. needed Redd).3 tching the be. expressed some con- rack to lend some consistency in op.. while Toups and company. including graphic EQs. my rack contained de. power amplifiers. I had the capability of put.com . my tour- I did not want a huge rock PA system rider specifies wedges with at least a ing sound package could withstand for Charlie Byrd. However. AC voltage regulation. PA systems by Electro-Voice. agreed to deal with it. it was by far the havior of the voltage over time and mies. could keyboards. nor a small. I decided to use E -V ND 457 most complex monitor setup ever asking questions of local techni. Meyer. meter let me monitor the AC volt. that sell rack-mountable AC outlet slightly for each specific tour (see trals are very often "dirty. superflu- tour. 200. voltage swings. although AC power in the region varies be. cians. TWO GROUPS. and Miller quickly con- MUSICIANS US standard 120. © 1990 Fostex Corporation of America (213) 921 -1112. Fostex offers you by far the most If you own an Atari. registered trademarks. most of MIDI control with Midi . Circle 23 on Reader Service Card . Remoter. the MTC -1. MIDI System Exclusive address (0-16). MIDI Spoken Here and here. In addition to standard tape T's KCS. the MTC -1 is Fostex Dealer or call Fostex. Pro. Atari and Macintosh are FOStI2X 15431 Blackburn Avenue control* with full system integra.-a Fostex Desk Acces. an address -free mode and MIDI note information. out. No other tape recorder company in synchronizer card. offers a better combination of Dip switches allow you to set a hardware and software.or 8 . Thus truly sophisticated MIDI * The 280/MTC-1 interface does not offer all of the functions available with the open reel interface. The Atari software works mats. on the optional Model 8330 plug .computer. so you don't need cue points.. open reel or 4 .. automatically punch -in/ Midi Remote software with it. set zone limits.track cassette and Steinberg's Cuebase sequencer has the software will let you select a device driver for the MTC -1 and Fostex lets you use MIDI com- tracks... too. CA 90650 tion is now possible. For the G -16. and here. display MIDI It simply plugs into the R8 or 280 time code and generate SMPTE As with all computer interfacing and provides a bridge between code (all 4 formats).track transport and monitoring control. sory. So SMPTE time code and MIDI time check the details at your local code. here. you'll make the with Performer and Master Tracks of the most popular recording for. Choose either 16 . with Master Tracks Pro and Dr. Norwalk. locate and loop among ten mands to control the recorder via 8330 built-in. or Macin. certain restrictions apply. The Macintosh software works sophisticated MIDI control in all tosh. I had to occasional singing. I'd also used them as tom - tom. snare and the mic'ing of instrument am- plifiers. inforcement. Charlie's guitar incorpo- rated a built-in pickup with its own preamp. Charlie was very guitar cord to insure I'd see them. Char. The simple fact is the music will dictate not only the bal. violin. This . we concerts ruined by soundpeople with tar monitor. I've lost count of jazz happy with the S -200 cabinet as gui. Surprisingly. Charlie obvious: music performed softly and after he plugged in. He played classical style: he stabilized the gui- tar against his right knee and chest. To prevent noise. with I used a 457A. Charlie and Joe Byrd. are kick and close to the "real thing" so. when they are not. the group. I in- cluded an E -V RE -20 and several Shure SM -58 and SM -57 mies for specific needs like kick drum. which required an internal 9 -volt battery. an advantage for loud stage environ- ments. not the soundperson. using one of my S -200 cabinets as his guitar speaker. The very nature of Charlie's chosen instrument. I in the same manner. high -hat and overhead mies on drums. to be incomprehensible to 99 percent of my peers. with this kind of co-operation. at the end of each would dismiss the group and play introspectively should be presented performance. It's also the most sensitive hypercardioid dynamic mie on the market. encouraged him to use the vocal mic extremely important to a trio. These are great vocal miss. AUDIENCE maxim sounds simple. I took a DI ter.americanradiohistory. At some point how loud is loud enough? Assume the keep the guitar channel muted until during each performance. We placed this behind him. but it seems Figure 2. The stage layout for Charlie Byrd. elevating it on a raised left knee via a foot stand. and how the group dealt with their over- all sound. with excellent gain-before- feedback. mandolin and guitar. THE CHARLIE BYRD TRIO Mixing a jazz trio isn't difficult all you have to do is listen. vocal mic for announcements and level -in an era of amplified music. aiming it slightly across the stage to direct some of the sound at the other musi- www. sounded fantastic. He carried a Walter Woods 2-channel amplifier for guitar amplification. and for acoustic stringed instruments like piano. should dictate when things are loud and Figure 3. The guitar lie exaggerated his moves with the ance. Charlie's blessing. plification.com . his never had a single missed cue or loud rock/pop sensibilities: when you just pickup/preamp system was fairly sit and listen to a trio. with a windblast fil- snare the most important instru. reed and brass mies. Charlie Byrd played a Takamine Electro Classic acoustic guitar. muting it again a split several classical guitar pieces solo. but the volume required for re.complement. cians (see Figure 3). made the concept of pre- sentation very clear (see Figure 2). with an excellent "reach" for distant sound sources. The 457 line features the tightest pickup pattern of any E -V ND mie. a quality I felt I'd need for Charlie Byrd. on a boom stand as Charlie's ments? And what about overall straight off the guitar for house am. Dynamics are second before he unplugged it. using Savarez nylon strings. (:A 92705 PHONE 714 -556-6191 FAX 714 -662-0750 IW( Circle 24 on Reader Service Card www.." -db Magazine SPECIFICATION MFR'S CLAIM db MEASURED Power Output /ch.A. MADE IN THE U.Rated Output 1. RITCHEY.S.25x16.03% (see text) Frequency Response 20 Hz to 20 kHz +/-0.20 V Weight 59 lbs.1 dB (See text) S/N (re: 1 Watt) N/A -78 dB S/N (re: rated output) -105 dB -106 dB Slew Rate 50 V /usec Confirmed Input Sensitivity.at 1 kHz 4 ohms 675 watts 700 watts 8 ohms 375 watts 400 watts 2 ohms 900 watts Not Measured 8 ohms mono (bridged) 1350 watts Confirmed Rated THD 0. inches) 19x5. Write or Fax us. use the Reader Service Card.extensive listening to the Soundcraftsmen 900X2 revealed this amplifier would be as at home in the most discriminating audiophile's listening room as it would be in a demanding sound reinforcement environment. SANTA ANA.americanradiohistory.com . For a copy of the complete review of the 900X2 or any of the other Soundcraftsmen products. Confirmed Dimensions (WxHxD. International distributorship inquiries welcomed. 2200 S..05% 0. Zero delay /zero phase shift negative feedback loop 7 -stage turn -on delay Switchable signal compressor Drives a 70 Volt line without a step -up transformer. World-Class Sound Reinforcement! MAL 1:1611= ".5 The 900X2 includes the following features: Built -in power-line conditioning.22 V 1. Call. . Zildjian medium ride with riv. but one manded careful voicing. woofer was the largest he'd accept. with a eral concerts where I didn't even mic touch of reverb. chrome snare drum and stand. so we had the option of a con. When the kit was mic'd. Redd was advised THE ACCORDION ets. venue or its lively acoustic proper.americanradiohistory. A Shure SM -58 traction to a national touring club an amp by requesting that one be handled the snare. vol. short-scale neck. Wayne learned to overall kit makeup. The group's Drummer Chuck Redd decided to of group dynamics. x 5 1 in. beefed up to meet these needs. Redd wasn't looking another S -200 next to Redd. outboard of his drum kit. Zydecajun D'Addario 1/2-round strings. however in some horribly in. if ing to a spot as opening act on the audio rider requested an amp with venue acoustics were unusually ab. I al.as a guitar mic during these seg. I'd stayed in touch with him the audience sigh. accordions. electing to do it the "old . New Orleans Jazz and Heritage fes- fretless. without cop. smaller speaker like a 10 in. play the diatonic accordion at tradi- request on individual drum size was At large venues or halls with dead tional Cajun dances. "Fish Out OfWater" is scheduled for for a more concise sound. Zydecajun quickly discovered that Joe played simplicity can be functional and was a rock band with Cajuns in it. due to the small size of a WAYNE TOUPS & Charlie's beautiful tone and sensi. and cymbals. he used ways placed the mic off-center to in. and when he played the need for added level off the gui- tar amp. tival and other spot dates. we also killed the gui. His development of Zyde- www. hat stand. and an 18 in. The "Blast From The Bayou" album ferred choice. or a few inches off the several of his appearances at the tion hollow body electric bass with a front head (if there was no hole). unless I needed extra flourishes at the end of songs or dur. cent of the time. Joe preferred a the other slightly over the floor tom. the only specific ping an attitude. Carol King "City Streets" tour and 50 -75 watts power preferably with a sorptive. sounded gorgeous. This involved a quick amplified guitar. Our mies were positioned as overheads. including drum level on stage was usually com- Zildjian New Beat high hats. ing his drum solos. ZYDECAJUN tive playing during these solos never ties. The extension change in channel EQ and level from Redd used brushes about 60 per. The bass drum. this was Cajun musicians playing acoustic for a massive kick sound. the level of the drums more in line the opposite side of the stage. The group was most con- below 100 hz attenuated at least 4 your sanity. K. With Charlie on ments. Two E-V ND -457 attracted even more attention. I would cheat one of these the inclusion of a song on the "Steel built -in speaker instead ofa separate slightly forward over the rack toms. a 20 in. speaker solved this problem without vocal to guitar. with the front head (if there was a during the past three years. volume was so quiet. It was a distinct pleasure fronted by full-time accordion play- crash.output DI off our bass amp. Our audio rider volume to venue conditions. hole cut in it). I technology. gain to compensate for a weak sys. Istanbul thin the drums. In the rush to embrace cerned about preserving this power: dB. softly. or 12 in. he powered by Charlie's amp as a guitar music. Zildjian medium to "lay back" on how hard he played How many rock/pop bands are ride. lead- we'd find one too often in Asia. Since would have to be substantially pedal (chain and sprocket type). snare so I could get some of the high . release in early 1991. woofers were deemed unac. limiting of the vocals. many of us forgot that from their perspective. Ask a group to play without moni. mixing Bassist Joe Byrd played an Ova. tor speakers these days? Musicians compete for the attention of pop speaker. A slightly parallel to the rim of the cording contract during this time. sure better pickup of the drum's progressed from a local Louisiana at- chewed the hassles of traveling with even harmonics. I positioned it act with a major label (Polygram) re- provided for him at each concert. he wanted all frequencies and production people will question music fans. Joe es. An E -V RE-20 was used on ing our first USIA tour together in ume was so tasteful you could hear the bass drum. I had the option of also with sticks he would only open up for tar amp. reverberant halls. I never did. The mic. Drum Workshop bass drum to compliment guitar level. in diameter. monitors. Redd trasting guitar sound for contrasting with the volume of Charlie's slightly couldn't hear the guitar properly at musical styles. There were sev- tem. The component system. high Redd played mostly with brushes. was most concerned about keeping extension speaker. An in. group's latest Polygram recording. A 15 in. with respect to both amp vol. Wayne was particularly interested in strument -level DI wouldn't give me fashioned" way for reasons that a heavy drum sound. ers? This band had a great one: cymbal stands for each concert were tually willing to adapt their stage Wayne is considered by most Cajun procured locally. in fact. something which would using the DI. era Slingerland 14 in. it had the urgency and power to ceptable. Polytone Mini Brute was his pre. When he did use a 15 in. using amplifier tone controls. of his generation. beautiful. STAGE MONITORS Wayne's music was heavily ampli- 18 in. so I used a made a lot of sense to me: since stage included many unison lines between preamp. These were a 1960s stage so they could hear each other. I kept it Wayne and I became friends dur- failed to enrapture the audience. positioned just even 1987. drum adjusting the level of bass and drums The electronics package for Toups stool. We spent part of each sound check bass and keyboards was desirable. guitar and keys that de- question of competing levels. tom -toms and to work with musicians who were ac. The guys set up approach required the extensive use carry only certain "personal" parts physically close to each other on of reverb and delay effects. in the musicologists to be the finest player made very general references to interest of good sound.com . fied. but I didn't expect hat sound as well. an 18 fortable. Magnolias" movie soundtrack. new K. the drums. our normal volume. and the music the kind of gain I needed. Charlie's trio used no and it had to be mixed as such. simple. ume and touch on the strings. we sometimes positioned his father and other traditional in. have made Charlie uncomfortable. it wasn't a accordion. studying with the bass drum be no larger than 22 acoustics. the effects of voltage fluctuations on Figure 4). resulted in the creation of an amplified Cajun fusion music. we didn't need positive results. he used a DOD I used an ND -457A with windblast a Peavey KB -300 amplifier. Both accordions incorpo- rated a mounted Shure SM -98 mid coupled with a Samson Broadcast Concert Series wireless transmitter. For sions. Both transmitters used the same fre- quency. His keyboard position was down. positioned downstage center (see ing vocals. DRUMS MIKE FURCII sion of Zydeco and rock/pop ele. The notes AMPS available on a diatonic accordion are limited. EO. the band's key. The guitar amp was mic'd with a the temperamental keyboards. serted on the keyboard inputs of my boardist. when I used an SM -58 as his these mica right up against the grille so I'd have some flexibility in dealing vocal mid. a Peavey 400 stereo stage left. X signed and built by Randy Falcon. which also o- . pointing just off. Modula- tion of key within a song. stage guitar levels interfering with the mix. while based on this traditional Cajun music. cloth of the amp. into excessive volume. right. more accessible to a younger genera- tion raised on rock 'n' roll. the receiver was much in the monitors. was placed downstage him on a case lid. however. firing across the stage. There were a few occa. These instruments could be played in two different keys. I used an indi- monitor system or had to cut back on gether into a single channel. CONSOLE. MONITOR SYSTEM SNARE SPA SS M NAT NDNS)A VOCAL WAWA placed new demands on the musi. I didn't have a problem with form the way he'd always wanted. house. in reverberant halls. filter here as well. these were amplified via less rig. to help alleviate this prob- lem.cajun. since the amp didn't bleed into the string sounds. de. so I could better con- Guitarist Freddie Pate played a tributor in another area: he wrote or Robin Rival Series guitar. in- THE GUITAR Rick Lagneaux. quite often. Another E-V voltage regulator was used on the 457A for his vocal. mounting the mic FX90 delay. to song. He also used a Samson wire- guitar off the amp. VOCAL NDASIA WAYNETOUPS Wayne inspired the creation of FREDDIE PATE VOCALNd51A OR SM SA X VOCAL ND. FLOOR TOM NO457 cian and the accordion. by AUDENCE changing a set of stops on the top of O DENOTED MONITOR . this was run through an. spinning. co-wrote many of the group's origi. using trol Lagneaux' keyboard levels. Lagneaux used strings. a single DI off the receiver isolate the guitar sound onstage: the Kurzweil handled piano and handled both accordions. and running all what he needed without the need for AC power for the keys was an area over the stage and. this time with a blast fil. he used C/D and E/F Falcon accordions on our tour. without a blast fil. It also helped exclusively for organ sounds. ND -457A was used for Pate's back. Figure 4. with the differing levels and tones of center of the dome of each speaker. ter. house amplification. I incorporated a dbx 166 2-channel limiter /gate. which changed radically from song Dean Markley medium -gauge nal compositions. and achieved the same strings. Mot the accordion. required the use of KEYBOARDS several accordions during a single RICK LAGNEAUK song. while mounted in the bass rack. The wire. DOD compressor. we placed his amp behind tachment to Lagneaux' keyboard guitar amp. less gave Wayne the freedom to per.STA specialized diatonic accordions. We found took the same approach here as with using GHS Boomer medium-light this enabled everyone to hear the Pate's rig. Since only one was turned on at a time. angling it slightly stand. was also a significant con. For effects. Stage layout for Wayne Toups. Wayne no longer needed to switch in mid -song. Pate was also able to hear AC CONCERNS the dynamic Toups cut quite a figure dancing. The VFX was used less on his bass. He also handled the major Kurzweil K-1000 and Ensoniq VFX share of backing vocals in the group. a X noted accordion manufacturer from Louisiana. elevated to ear level on a case to cover the center stage area. The inclu. keyboards. Pro- Co Rat and D'Armand volume pedal. lid. ours. house console. where we used a different pair of Shure SM -57 mica Y'd to. We Miller played a Peavey Dyna Bass. each instrument. KICK RE 20 X ments into this music. a typical rock/pop device. RACK TOM RIMS. This really helped of some concern: a Furman AR-117S the audience! I used an E -V ND. I placed vidual DI off each keyboard output. on a boom stand mounted as an at- Freddie's amp. keyboard in an attempt to minimize ter. other Samson Concert Series wire. so the instrument can only be played in certain keys. com . A built -in xlr line output off the Alpha Bass had fed the house mix. the S- 20. using Paiste Colorsound 5 high-hats. Burch's vocal mic was another Carvers could put 650 watts through New Zealand and Fiji individually. The group included a Peavey MD Monitor console. The snare was which required the most "weighty" fying everyone's needs. Sri Lanka. off center. bleed from the snare (see Figure 5). I could tight mic'd off the upper rim with a kick drum. Drummer Mike Burch. I never had to worry about missinga cue. I pro- rn vided 16 channels of monitor Y-s. The high power output in. mounted tom. Note the placement of mies on the tom - Zildjian Quickbeat high-hats. This speaker was placed on top of the rack. after a discussion V ND -457A. everyone raved about "the in. 16 for the S -200 cabinets. breathe a little easier. Wayne's accordion receiver and the Furman voltage regulator. 16 x 6. Shure SM -58. brass piccolo snare with Tama snare stand. We'll visit tom and angled downwards at a our monitor system: two for Wayne. Figure 6. which contained a 15 in. Drummer Mike Burch played a basic Pearl set. He carried a standard high hat stand. These were placed mixes of monitor power (see Figure groups. Figure 5. each for Pate and Lagneaux.americanradiohistory. I elected to assign plastic boxes!" Despite the varied re- For the kick. Zildjian EFX splash cymbal. pas- sively crossed. resulting in check. as those were the mixes 200 cabinets proved capable of satis- head hole. Burch could turn his vocal mie on The monitor system is at the back left. U www. x 16 in. ` male XLR extension. Thailand. The high -hat got an E. 325 through The cymbal compliment was an 8 200 stereo active EQ box. two of these were then run into an S. and drummer Mike Burch. [ used six E -V S -200 cabinets for country by country basis. Wayne Toup. and two 8 in. Paiste 3000 ride cymbal. housed his Peavey Alpha bass amp. x 16 in. and also used a second set of 14 in. The Alpha Bass powered a Peavey 1516 speaker enclosure. this was the heart of our on -stage monitor system. floor tom. Singapore and the Philip- sharp angle in an attempt to reduce two for Miller and Burch. mounted on the bass drum via a closed hat attachment. with assorted hard- ware from several different manu- facturers: a 22 in. and 16 in. the rack and floor one plifiers provided four channels/ of mixing techniques for the two ND -457 each. Two Carver PM -1250 stereo am. Burch quirements of each musician . as part of their band gear. we'll cover both tours on a just over the rim of each respective 6). South Korea. 14 in. and off as needed. increase in gain. 12 in. the Malaysia. I used two co Yamaha 2031 stereo graphic equal- E izers to provide four channels of EQ. Zildjian medium crash cymbal. positioned just inside the front and Miller. and drum bleed through an open vocal mie was greatly reduced. elevating it slightly so Miller could hear it better. these two mixes to Wayne. 18 provided electronic compensation carried the day. these provided a parallel split of our ca stage channels to both the monitor L desk and the stage box via a Switch- ?) cu craft in-line connector and a 4 ft. This box the singles. the two cabinet mixes. Zildjian medium crash cymbal extended bass response and a slight level we can get out of those tiny and 20 in. woofers. In the next issue. x 10 in. with a blast filter. x 3 1/l in. we used an E -V RE. tonr. bass drum with Camco chain pedal. and one pines with both groups. We used a special mie cable for this that had a rotary on /off switch at the male end. bassist Mark Miller. after our first sound in. iati ND -457A. Indonesia. . sure that only the highest quality biggest turning point of this period ing product or service. centrated on client retention. The first purchase was two of MSI's employees. enriched existing relationships with ShowCo. was used in his systems. with power one priority of a sound reinforce. company's history and getting the quality of Maryland Sound systems inside story from Michael Stahl. We will then visit with obvious from all the smiling faces quisitions. with equipment and clientele. was a big boost to its West Coast op- THE COMPANY quiring his first major account. HE CONCERT SOUND FIELD IS NO EX. Stephen one encounters upon entering the the assets of the bankrupt Stanal Zelenka. ers with elimination in the 1986 the company and is in essence an Stills and Nash. tomer service must be the number strengthening his position in the in- I ception to this rule. we will spend the afternoon theatre. for example. Ac. The home components and engineering were came when Maryland Sound ac- computer market. however. Goldstein con. gen. another Maryland Sound utation for 100 percent customer job right the first time. there is Maryland Sound land Sound. unassuming red brick building in Sound. their huge mega -systems pany on the precept of quality. The ployee. The and make a big splash with an amaz. is important to Eagles. have the right people in place. that there never compromise the sound of a the acquisition of several medium- are smaller companies in each of concert system. And in sound rein. going for four Super Bowls in a row. Maryland Sound is contracted. Maryland Sound eral manager of Maryland Sound and satisfaction of their employees is made two extremely important ac- West Coast. concert production man. humble beginnings. and a bit of an ate each and every job for which stallations at venues like the Greek image as an upstart underdog. This provided the com- modore 64 during the 80s. This acquisition dates and reinforcement jobs. Goldst. whose client list included ager. dustry. founded his com. The 1980s was a period of rapid rages in the world. Around 1983. front -of-house mixer. The outstanding clientele worldwide.com . efficient and well. The second acquisition was Maryland Sound was founded in Frankie Vali and the Four Seasons. The third concept was to do permanent installations on the Inc. Audio Techniques ein. sal Studios in Florida. The mid to late 70s was a busy time for the young company with tour Sound prevailed. with at the West Coast operation of Mary. OR. the skills and experience to do each Will Perry. and the San Francisco 49ers. a relative North Hollywood. learning about the might require. ambassador to the world for Mary. ing his inventory of equipment and had developed an excellent propri- www. land Sound is at the forefront of the sound. portant concepts. Professional sports has the Los Angeles Takers basketball dynasty of the 80s. This meant a great sized sound companies complete these industries which come along deal of research and extra labor to in. These smaller installations satisfaction. Neil Young. quired Northwest Audio. group Chicago. out of Port- nearly cornered by the lowly Com. Today. a former during this period. build. pillars of industry which shape and change the course ofevents. is well-documented and the loyalty In late 1988. Industry interest in newcomer who is moving up fast. cept was that each and every em. a long client list of These three concepts still perme. covering the largest touring entou. and Crosby. far from its more Neil Diamond. engineer. land. a man who believes that cus. or a large touring system permanent installation field. Theatre in Los Angeles and Univer- In this third and final installment whether it be a permanent installa. committed his company to three im. NBA playoffs. He made many contacts and companies like Clair Brothers and ment company. 1970 by Robert Goldstein. a bright. were the forerunners of the large in- major superstars. like Pink Floyd or Neil Diamond major contracts in theme parks and land Sound. but Maryland concert sound. eration. and included such sound companies as ElectroTech and one of the few women active in and Clair Brothers. from the secretary to the pany with headline acts such as the Houston Rockets shocked the Lak. Stanal was high. He other sound mixers. The first was to growth for Maryland Sound and saw It is also true. and Carla Hixson. the purchase of Audio Techniques. In computers it's the seemingly omnipresent IBM and the ubiquitous Apple Computer Corp. which was providing sound for the employee of Clair Brothers. Goldstein began to forcement.americanradiohistory. The second con. Mary- of our series on breaking into live tion such as the Universal Amphi. with East Coast under the leadership of managed sound company with a rep. JIM PAUL Breaking into Concert Sound: Getting in the Door at Maryland Sound Every industry has its movers and shakers. NOT IMPROVISED.. with a 16 channel etary sound system and this equip. thou. mouses or the usual adced -o-i hassles. In 1990. every con. . Without outboard computer EQ . . - screers._r iii= musician.frieidly M-3700 Seres automated mixing console.' \ createthe nix you wait.of outboard boxes.e. Maryland Sound technician Bryan Neniecek performing a con. familiar -looking sysem that'll help you T \.xations) The M -3700 also-features an on ooard disk drive SMPTE timecode generator/reader. When which continues to expand on it. choice of 24. well. Now waitinc to wow You at your nearest Tascam dealer -. cabinets stacked to the ceiling. and the abiity to automate the main.:. monitor and aux send mutes and ON/OF: for each channel. who THE FIRST AUTOMATED MIXER THAT WAS COMPOSED. www. Tascam console. CA 3064) :13/726-0303. hundreds of speaker derland. THE WEST COAST MANAGER Stahl began his career at about the same time Maryland Sound was get- ting started. at this time for Stan Miller of Stanal sole property of Maryland Sound.quality mixirg console with a per- - fect rnemori of its fader setti igs. ceivable microphone. And NAtrose under $14. Ours isthe onli automated console that providesyou with both C snapshot automaton (to recall any pre-set evels or switch positions stored as "sGnes ") and drEmic automation (to recall levels and switch positions locked to real -time I. ment company. 77BTe1grpl Montebello.the -line formed here in this high -tech won. After graduating with a degree in Political Science. He did some work ment and technology became the sands of watts of power. Stahl was A quick tour of the facility revealed ing equipment is thoroughly checked unable to get the fuel for his trucks stacks of high-tech sound equipment out. All wTt-out wasting your valuaLie time orta'e'1t `.com . youll get a compact.003 suggested retai price isn't either. '7".wires. diately hired by Clair Brothers. His system consisted sole modification. ° TASCAM® 43 34J TEAC &. Maryland Sound contin- ues to be a major force in the sound reinforcement industry. The M3700 Series is a Frofessicn3I . Even major modifications to the and was practically put out of busi- of every var_ety: Digital reverbs consoles can be and often are per. A console whose automation isn't a pain in the pots. so you can tweak some channek without affecting others. From us. f vouc rather mic than mess arc t. Ana precisey recal any previous mix.. we sLggest a serious cok atthe new v1 -3700 Series from Tascam. He decided to look into work- from $300 units to top -of. and a very Sound and for Clair Brothers.nd with a bunt.000 units. Stahl started his own 8 track recording studio and a small sound reinforce- Figure 1. vKit'/update mode.or 32-channel config ." This stands as a testament to the commitment to quality that drives this company. of 16 Perkins boxes and a variety of 16 horns per side. where all incom. the fuel crisis of 1972 hit. Reviews of the sound quality of Maryland Sound systems have been extremely positive and several concert review- ers stated it was the "best they have heard. Inc. ness. . ing for someone else and was imme- $5. uratioi.equipped lab.americanradiohistory. niques.ce Card www. he began as a crew manager served him well. so he said his goodbyes to Clair Brothers and the rigors of the road. KISS best of them. and finally ending his career at Clair in 1984 on a triumphant note with the ten-month -long Jackson's Vic- tory Tour. Finally. both of which were acquired to look for employment elsewhere. to mix shows like the Beach Boys. Queen.also purchased much of his equip- ment. Figure 2. This was contrary to the purpose of his coming to Los Angeles. This led him to a three year stint in that he unsuccessfully applied at sets Stahl now controls. so he turned down all offers.americanradiohistory. out of necessity. Stahl felt it was time for a change.com . but the audio engineering story Circle 18 on Reader Sev. the construction field where his skill both Stanal Sound and Audio Tech. and in particular the extremely arduous Victory tout he was some- what disenchanted with the life of a touring engineer and his position at Clair Brothers. the only job offers forthcoming were to go back out on the road. Carla Stahl remained at Clair for the Hixson demon- next 12 years. After a brief stint with Mountain Productions who staged the Victory Tou4 Stahl moved to Los Angeles to seek employment as a "non-touring" sound engineer. Chicago. To Stahl's surprise and chagrin. After many years on the road. A point of irony in his story is by Maryland Sound and whose as. rising rapidly through strates that she can keep up with the the ranks. as well THE STAFF ended there.com . because one never knows where a person or band will end up. as strong as its weakest link. "Mi- chael Stahl called me in Arizona and asked me to FAX a copy of my re- www. Hixson started her career in her home town by running sound for small local bands in Illinois." Hixson said. During the course of the afternoon. Stahl was looking for a West Coast man. and he let several Stahl makes a months go by. Michael wanted to pursue. Amphitheatre. This is one area where at the Universal Amphitheatre. A most interesting and ironic point of Stahl's rise to the top is that years before. about getting into Bonamy called to urge him to call the concert sound Goldstein. mitment to fairness towards each soon found himself working part. Leo Bonamy. So. decide if this was something he Figure 3. CARLA: A FRESH FACE IN PRO SOUND Carla Hixson is a new face on the pro sound scene. as a mixer on the road. he opened the door to Maryland Sound. she put together a re- sume of her education and experi- ence and sent it to several large sound reinforcement companies. The called on Stahl to do some work for Bonamy told Stahl that Goldstein company seems to have a deep com- the Universal Studios Tour. It took some time for Stahl to for their skills and abilities. he met Goldstein at a show where both were mixing for different acts. as doing occasional shows at the The saying goes that a chain is only When an old friend. ager and recommended that Stahl employee and a real respect not only time as stage manager at Universal apply. Upon graduation. gested they meet and talk about the West Coast position-which they did. "Maryland Sound responded within a week. former production manager for Chi. This underlines the concept that one should never burn bridges. Goldstein was in the posi- tion to offer Stahl an incredible ca- reer opportunity. Remember that bands like U2 and The Beatles were once opening bands for someone else. Goldstein sug- field. While Stahl was in point to the author Boston during a family illness. she is very excited to be involved with Maryland Sound.americanradiohistory. and began to develop an interest in sound and electronics. Stephen we were able to speak with several Zelenko stressing Maryland Sound employees about the importance of their history and feelings about the bringing enthusi. but re- spect also for who they are as people. being written here. asm to the job. This led her to at- tend a technical trade school in Ari- zona to study electronics. and now years late. company. became production manager tinuing contact with Bonamy that ees it has. and he did. It was this work and Stahl's con. might have Studio's Screen Test Theatre. Figure 4. a company is known by the employ- cago. He was favorably impressed and persuaded Stahl to take the position as the new West Coast manager of Maryland Sound. too. Only 23. Maryland Sound really shines. "If I go on tour and something SUGGESTIONS TO THE breaks down. try to be assertive and sort of stay in experience." he said. 20. Stephen Zelenka: I think one of the brush you aside or select other men "I wrote letters of introduction and things I look for the most is enthusi- to do certain jobs. "I want to go pany which was doing sound for Rod learning your craft. week after I got back. Bob Seger. "I figured Ithink one of the things himself in the position to give input that knowing how to fix equipment look for the most is on hirings and firings. He was asked to assist on about a week or two later and Mike Stephen Zelenka is the person re. ginning Sound People smaller shows. He was tours with major world -class acts the job. that is very infectious and job. but to make it out related a story where his determina. Fi. but he found person doesn't want to be a team female'. Now she is work. "It's never been move into the upper echelons of con. soon offered a job as third man on the such as The Who. Deep Purple. Tagging along on the more in. sense. I literally crawled in under a first time! A smiling Stahl quickly added. by Maryland Sound and stayed to equipment from the inside out. that would have to send back if I can fix it is very infectious and UP AND COMING there. started to call me Zoomy. Townshend had to work closely to- fly Hixson out to Los Angeles for a self a top quality bass rig. ing. each of the Stahl talked to Geep Parke. as if all you could sent them all around. education and getting Early in his career. it better beperfect the tour!" gutsy. he hired me on guts alone!" someone else. He was employed at Hixson worked for a year in the lab Zelenka's career in concert sound Stanal Sound when it was acquired fixing. Zelenka laughingly it. Hixson is closer than "Sometimes I was like a wild man. being a quitter. receptionist's desk. company." Because of attain that goal. ever" to see him as he was leaving for the tion she applied for was filled by day. Unfortunately. "When I finally got time constraints. a band called Gentle Giant and be. three had some good input about at- and they decided to give her the titude. and to meet the other teresting rentals. represents the company very well to the situation. That old catch -22!" Not Michael Stahl: If you want to make their face. ever to her coveted mixing position. I accepted. We work has had to cope with. it's one less thing I enthusiasm for the job. but Stahl encouraged STEPHEN: BRINGING Zelenka's career also had some ele- her to stay in touch. office. Also. tude! I would rather train a total son responded to a question about "It helped me get more done and the beginner with a great attitude than being female in a male.com . asm. so they ployee are attitude." she enthusiasm. a production of The Who's rock said that they were looking for some. as well as the attitudes she in knowledge. He now finds doing mixing for shows." represents the company When the subject of getting in the After Hixson's year as a lab -tech. and waited all Stephen Zelenka: I would suggest "And I see no reason why she can't day outside the hiring person's latching on to a local band that has a www. sound people came up. met Pete Townshend. New York. she smiled and said. "The men will next job. If a `You can't do this because you are a cert sound also grew. "The main com. but it's an attitude that you the desire easier to come by than the player. chance to move up. the posi. he purchased equipment from Zelenka's career now spans over interviewed several other people. shop foreman and equipment manager.000 pounds of equipment over front -of-house mixer for a major "I got in by being persistent and patrons heads. you've got to be where it's happen- gressive person. Michael Stahl: The three most im- trying to do three things at once and portant things I look for in a new em- There are not a large number of running around at top speed. and Hix." and consequently one to work out here in the lab." he said.dominated name still sticks today!" As he grew some know-it -all who's impossible to industry.sume out to Los Angeles. Because of wanted to fly me out that day!" she His career began as a bass player in technical problems. He the Maryland Sound bandwagon.americanradiohistory. he hired `under fire'. siasm for the job impressed the opportunity to be evaluated ment. I'm not naturally an ag." he said. Townshend so much. fourteen years and has included they called me back and offered me came friendly with the band. would help me in the long run. and after they nally. and PA." she said smiling. but take a less road -oriented position as had her sights set on eventually production manager. That means you might need to there you've got to be!" tion and creativity finally landed relocate to Los Angeles. Hixson him a job with a major touring com. We are a team. If someone has enthusiasm for do is wrap mic cables or some simple overa period of time. After buying him. given the nickname Zoomy' by his ing in the shop and doing set -up for ` Important Attributes of Be- peers because of the way he worked. his determination to work with. Maryland Sound eventually did his native London. If someone has said. ments of luck which helped him rise "I made a follow-up phone call IN NEW BUSINESS even faster. No reason whatso. attitude and atti- women active in live sound. tweaking and learning the was launched. together toward the same goal." Hixson said. Asked what her goals are. I want to be the Stewart. Zelenka and said. never lose the attitude of was quick to respond. door for aspiring engineers and very well to others. "About a contacts in the music business. etc. Zelenka was started. then get off the team. sponsible for getting new acts onto opera "Tommy. I got no positive the job. however. "I plaint was that I did not have enough others. and with his acceptance. he found gether and Zelenka's natural enthu- week -long trial run which gave her that others wanted to rent his equip." When asked how she handles responses. he made many Zelenka to run his private sound Maryland Sound staffers. If you are flying out on the road. PA 19013 Michael and all the gang there.com . INC. and prepared to leave. There are devela aped the definitive compact enclosure. edge has helped me a lot in the lab candidate but education will never On Education in the Audio and out in the field. and for tF:tne brave enough to invest in what they hear. hurt you. Also. Community's RS220 The shape of pure sound As the clock was showing nearly 2:00 p. places you can work and people who The new 145220. said my goodbyes. and dynamic less problems than the men. If I can make it. This member that a degree in audio won't helpful as you can. Carla Hixson: It was my interest in Michael Stahl: I'm a firm believer you can get a job in club where tour. and al- equalisation using the unique hU elllkmse'" circuitry.future and mixing for them. Commuñify Chester. %curers. They might need was one of the things that interested necessarily get you a job. I couldn't help 333 East Firth Street feel a bit of envy for Carla. (2151876-3400 was obvious from their smiles and ISM( /NM Xll N1)1111 VN PROF COMMUNITY LIGHT 8 SOUND. ferrolluid ousted. The trucks were being loaded. prepared to listen the shape oft annum because how do you get experience if no one will hire you? mound can influence their design approach. ways found a way to get every job done. achieving transparently high Iva et. There are someone and they will remember Mike on my resume. You never stop learning. but it's important to re- ing acts come through and be as School in Arizona to study it. One of the best exit compression driver. Supreme projection (rim a i way will hire you. The midrange is Community's exclusive I believe that is used as an excuse for two inch exil driver and the high frequency is provided by a smamth sounding efficient one inch not hiring women. the On Women Getting Into Audio rewards are clear. electronics that led me to ITT Trade in education. so can system that has precise time alignment. engineers I ever worked with was Complementary pnxlucts are the \'1152I0 sthwamfrr Cathy Sander who was my second on enclosure enabling powerful mien) cluster arrays no he built. That knowl. the excitement of their day was just beginning! Elli Circle 25 on Reader Service Card www. I don't buy the line that women can't do the job because of the lifting or The shape of pure sound living arrangements It's a catch -22 that experience has always harn little C)mmunit y's phihawgshy a often counts more than education. 1 unconventiomal. Berklee School of Music and now he knows everything. Stephen. It Tel. Cathy caused far ekctronic ennwwer al 112111. that women can't do the job because The him loaded waselront coherent design utilisas Iwo double spider. FAX 1215) 874 -0190 anticipation that as my day's work drew to a close. Carla Hixson: If you are a woman. Show expanding their market Community has don't get discouraged. and the 22(1 System Controller providing the Chicago tour.. eight inch of the lifting or living arrangements. the 115220 can he Mown easily and Michael Stahl: I don't buy the line unobtrusively. As I watched Maryland Sound's busy loading dock fade in the rear view mirror. of pure rund ecinimically F'sr thine and efficiently.americanradiohistory. and it was with a bit of lingering regret that I shook hands all around. I'm really put off by that. it was obvious the Mary- land Sound staffers were gearing up for another night's show. other women! Tapavnhlal. and the air was charged with excited anticipation.m. many other attributes I look for in a you ifyou are very helpful. These people obviously love their job. Field Stephen Zelenka: If someone comes in here and says he's put in four years at say. be. Kennedys. 24x8 monitors. I have noticed that very on a much better show. RW: I don't know that I could sin. I'm an active mixer. You should always be lis. and put the pres. so you can really get caught up Guthrie's set. good organiza- niversary of the event. The rain and lighten. I which do you prefer -to mix Building a good mix is like con- House or monitors? struction. I paint the house if you never built a of '84. a 16x4 could tell you that I try to avoid being good foundation. conducted over a two -day period. boring place to be. doing the club scer-e with a cover cause the House mixer controls the The vocals are the first thing in the band using a small PA from Modular. Festivals ble set at a site less than 15 miles should shake your leg. what about Monitors? My next major step forward was RG: What about Studio experi. turned into a gorgeous clear moonlit be there when you're dealing with a because of the variety of the acts. mix (16 mic inputs and 4 outputs for House man at Festivals because I RG: You obviously understand 4 different mixes at different loca. You know. etc.) are the highlights or occasional 'real' shows until I. By that I mean tion. 12 bands a day on on-stage. Three tening and reacting to what's going in this business? days of three stages. ability under fire."Rockarama" in the board. band on. mainly be. It was also the site of I'm not sure I really want any.com . can be a hell of a good time. the audience. Budfest to play properly. The storm passed few studio engineers have a good feel RG: What's your favorite mon- and we got Arlo on within the 20 for how it should sound 'Live'. gives insight into both the difficulties ofget- ting started in this business and traveling on the road. PA) Savoy Browne. Then it was back to the clubs and ite House experience? echo. neers. go-fer that. NY on the 18th an. bright colors you paint on a house. that the band should setting up guitar amps.000 per day. come next. ing. January or Feb. RG: If you have a choice. monitor system before you ever ar- www. etc. mainly be- of '84. Dr. ruary. If night. but the rhythm section is the Then I got my first real experience "ON" night. NJ. some of the people I've mix is together. Judy Collins. I disagree. I'm not sure I in the energy of the thing. '82. but tions on the stage). basically Since then. the level changes. but they have no came an apprentice at (Modular (Washington D. provide the dynamics and provide to set up guitars and drums and David Bromberg. the New gle any one out as the best-there doesn't matter how brightly you York City Bluegrass Festival in June have been too many great ones. A band being the general go -fer. many people who feel that once a the band "Bing" in 1980. There I did monitors. that I feel your hands should be on you clearly organize your stage and tival I ran myself. Cinderella. You're right there on stage with the a tremendous rainstorm before Arlo cause the studio seems like a really band.). SOUND ROBYN GATELY U/INI IMFiWENT The Makings of an Engineer The following interview with Randy Weinholtz took place at the author's home outside Princeton. That's from Woodstock. It's important to realize started working with a band called RW: I definitely prefer to mix that a live mix must be based upon a Room" in May '81 basically House.C. solid foundation of Bass & Drums. A good ing caused havoc. RW Well. with Arlo playing an incredi. whole situation. I mix monitors the Silver Cloud Folk Fest in August ence? quite a bit. Arlo Guthrie. the key to Festivals. want to be there when Take #33 is monitor mixer can help the band put sure on. and the band is too. It worked my first Festival. RG: How did you get started Philadelphia in July of '87. John. The instruments in the band Davis Jr. etc. Then I be. allowing me to prove my going down. the instru.stage. I started as a roadie for with an audience of 25. for a string of shows in May RG: What has been your favor. This was where I first used RW I certainly don't have any. way of knowing what might be nec- Technologies in Morrisville. and cause it's a spontaneous thing. I have encountered RW: Well. if I have a choice. don't like babysitting other engi. The Lettermen. After spending several months learning about sound. It There's a certain feeling that has to RW: I would have to say Festivals. itor experience? minute allotted stage change. learning how worked with include Duran Duran. the Dead may know what changes they need go-fer this. and the effects (reverb. It is absolutely paramount that The next big step was the first Fes. I like it too. essary to make the music happen for starting in early '81. The Kick Drum they are organized well.americanradiohistory. foundation on which you are build- when I was third man for Sammy then it can be a great experience. actually. and enjoy mixing House. The interview. Peabo Bryson. ments should be in your face. If you are having an mix. you will notice Choosing the right microphone is sound system. you want to keep the input whereas. proved. equalizers that are often in the shape booth should be 'out of the way'. The first problem is that there graphic and parametric EQs? that most people now fuse their is no total agreement on what RW: Well. I know a few soundmen who can put a soundman in a position more bass than MOR (middle of the are still in awe of the fact that you where he mixes too loud or too road) acts that are more dependent can do a three-day Festival without bassy/trebly simply because he can.com .chaining' them onto portant to know about anything that the output of the console. I've learned that a little bit of limiting goes a long way. of our board for adjusting the sound fier will provide enough protection ers. I was times larger. RW: Exactly. hopefully aligned. tend to be used to either A really disconcerting thing about sonal preference enters heavily into fix the sound of the PA or get rid of any club tour is how many clubs put the picture. For in- experiences on the road? How both units are used entirely too stance. volume of the Kick. too. cause of the lower midrange 'meat' loading. RG: You mentioned the use of years with you and other sound. Tranca's in Malibu Beach. on the for the precious drivers. this Seagulls" tour. be adequate power for each of the amazed as I traveled throughout the ing is about as far as you can go with. GA. So. For ex. so we're in a situation where per. that the instruments and vocals important. I really like to Additionally. act is a determining factor. sonable? It doesn't make a whole lot you've encountered? A little bit of limiting (3 to 6 dB) at of sense to cross over from 18. and learning how not to use But. mida and highs should ture. system with no limiting that is four 250 cycles. you can save yourself a lot of how little is really understood about sound reasonably good. CA. of a giant U. I use Shure SM -87s be- close to 0 as you can without over. in a poor place acoustically. this is the result of either an eled. One thing I have really noticed RW: Equalization is always a tough RG: What about actually using that has changed in the club scene is thing. of the input. first taught me how not to use an EQ. faders). Personally. It's amazing on your system does not already bands. www. the type of feedback. save you a lot of unnecessary EQing. preferably +24 dB. please elaborate. then you headaches at the show. You are the person who the mixing booth in a very bad place. I was given every. Bass guitar can be especially helped by this. Also. If you take RW: Limiters and EQs are really a work even better. too. so RG: Considering this is a sub. they put it in the balcony. (author blushes) the audience hears. hear things a little brighter than oth. faders affect which frequencies properly setting up your sys- lanta. it's im- of just 'daisy.to 12 RW: Well. improper impedance tant to patch things like EQs and matching can cause a great PA to limiters in their proper place instead gate the kick drum. inch speakers at 800 cycles. when I'm out with The gains and submasters reading as to keep various instruments from getting too loud. Of course this requires a limiting at 2:1 or 3:1 will sometimes help your mix. these days most para- speakers instead of just hoping that sounds good. -20 dB. Fortunately. front in the mix.americanradiohistory. on this last "A Flock of a high ratio (6:1 or higher) can en. men. able a small PA to seem as loud as a should be done in the range of 150 to thing from a poor passive 3-way sys. Graphic EQs. So. I feel well -taught. As we have both limiters and EQs. A couple of ex. but when you are looking highs it brings out in her vocal. as you trav. where the sound booth is (learned only through great tem. mic selection can console that has plenty of headroom. how well did people make RW: The goal of using EQ is to improperly set -up system. using an EQ are memorizing which there are some advantages to amples are the Cotton Club in At. understood aspect of running a (more than 6 dB). This means that even if your Judy Collins because of the super- main output is going to be running at ratio of 6:1 or higher is useful for PA protection. In addition. Horns and in their vocals. It's also impor. a lot ample. some people like to metric EQs are on the input channel the limiter or underpowered ampli.. In addition. are the crossover points rea- have the systems been that much. a mix that has a lot of kick the various speakers must be prop- of club soundmen appreciated my drum will be helped by some limit. because that will even out the for the lows. not get an accurate picture of what The most important factors in RG: Well. In most cases. speakers. I know that you as possible until the last possible Over the years. 6 dB of limit. ject that I have discussed for RG: The infamous U-EQ. If when you turn it the time to get riders and talk to the problem on the road. well. some like low -end you can 'feel'. Most importantly. then a few dB of Lettermen. erly balanced -the volume controls help in setting up proper gain struc. However. was poorly set up. RG: And what about EQs? will affect the 'color' of your sound. rive at the concert site. on their vocals. A use AKG 451 microphones with stage. there must tem to a nice Meyer system. the speakers must all country and Canada at how many out the limiter starting to remove be in phase with each other and people have good equipment that whole sections of the sound. is noted for its great highs and you should be kept as 'hot' (close to 0 dB) need lows out of it. or the re- N use of these devices? make something that works well sult of a massively over -EQed PA. Of everything I've observed. ever touching an EQ. what I see out on the road is someone had the idea that the sound EQ. you start limiting your mix heavily each before you ever touch the EQ. the advantages and disadvantages need to examine the parts of the sys- RG: What about your recent of these two devices. and then let the PA limit it so that it's always out sound like tinny garbage. other hand. tems to find the problem. ing.. while at amounts of time playing with the RW: Yes. Bad sightlines and poor acoustics Heavy Metal acts obviously require In fact. You're never going to seem to disappear ( "duck ") every get the right sound if the chosen mic I was taught that the signals time the kick hits the limiter. however once be set so that you hear enough of gain structure is the single most mis. Vocals. it's important to have a system powerful enough to get up and over the band. I specific- The explanation is usually that this roofs such as the Mann Music Center ally like the DDA Q. delay stacks for the people sitting on pressed by the quality of the sound. Of course. On the club circuit. To find out familiarity with it. And even if they go down.. I know most of the read- ers work in clubs or smaller en- vironments. ANYONE CAN TAKE THEM APART. Scorpion and Harrison. SO WELL PUT portant to get away from the sound booth and listen to the sound else. having a good relationship with the owner and patrons is your source of work. actually. these mics deliver plenty of punch for for the Academy of Music in stage use while the shock mounted design Philadelphia because of my virtually eliminates handling noise. where. than 1/3 of the faders on a graphic is minor changes.' However it is extremely im. Therefore. Although you've ever used? I also encounter many systems those are two of the best sounding that are severely hampered by the venues in the world. although I've had and turning them completely off to be outdoor venues with or without boards with more inputs. First of all. I would also have to mention Carnegie Hall in New York. I N N . they never have to go out Because the mic capsule simply plugs into Although I have a preference the handle. Although I have a preference for the Academy of SONY Sony Co m NCJINXIS Products Canpeny 3 Paragon Dn. TOGETHER. Despite some peoples' opinion that the 'old' Carnegie was better. The only solution is often to just drop the instruments that are too loud out of the mix. it becomes crucial that everyone in the band re- alize that volume can destroy the MODELS F -720 and F -730 band's reputation as quickly as bad Samarium cobalt magnet Built -in pop protection Durable on playing or choice of material. For the per- former. my personal RW: Forty inputs is the most I've taking of the first two or three faders preference for venues to mix in has ever actually used. The concept of not utilizing more would have to say that despite the the lawn. would have problems are much better fixed in with roofs (or sheds) have to have to be the ATI Paragon. RG: Moving on to a different subject. crophones are built to be stage and road tough. Often what is a problem where you are is not a problem else- where. so you have to learn to mix against it. venues vorite. the best halls in the world. it still ranks as one of RG: What are the most inputs just not adhered to by enough people. what we call 'mixing against the instru- ments. Of course. or the Greek Thea. but my fa- gets rid of the rumble. or in Philadelphia.635 -SONY also have to mention Carnegie Hall in New York.Series. so don't destroy it by being too loud. TAC eliminates Bass overexcursion.990 Sony Corporation 01America Sony ise registered uedemark of Sony Music in Philadelphia because of my P R O F E S S I O N A L A U D I O familiarity with it.. but what about band volumes? RW: Band volumes can be a prob- lem sometimes. but at the same time always realize that being too loud can result in your never work- ing somewhere again. and off switch Wide frequency response XLR connector F-720 RG: Let's talk about some of is uni -directional F-730 is super -cardiod Black matte finish your favorites here. So get around in a club the Sony F series uni. Montvale. I was very im- other ways. without a doubt.directional dynamic mi- first few minutes. no soldering necessary. but these tre in Los Angeles. I would more call l -800. NJ 07645 0. do you have a favorite venue? RW: Several. said. "I'll bet that guy's the last 10 years? most important aspect of sound sys. SAMPLE STEREO. The problem with some of the pro. NJ. Incorporating Sony's MS (Mid -Side) capsule technology. . stealing that tire out of that tems-maintenance. only available in Canada. have some favorite acts after been maintained. traveling throughout the country neer was impressed. This console had originally tered is that although they sound has something to say. The Righteous RG: What about speaker sys. To find out more call I -800-635-SONY. Ernie White.. When at Modular. RW: Well. Both systems and Alesis each make nice units. Additionally. ART nice are you to work with? The con - fine product.americanradiohistory. time. sumate master was Sammy Davis. it can become impossi. but there's also a manufac. If you don't fix RW: Well. how genuinely turer in Canada who makes a very fect units that are very nice.com . there have to be some ble to achieve decent results. Sony's ECM -MS5 stereo microphone puts high quality stereo miking from a single point within your reach. and as far as I know. Montvale. RW: I encountered one console in RG: Have you found that you San Francisco that had just NOT to the gig one of our people. I really the cause of many headaches when I as you hit them hard. band he's in. On the way easiest to get around on. John are great. Sony rs a registered trademark of Sony www. Even pretty unforgettable experiences connections that remain plugged in and acts. He always a while. employ many of the same design Lexicon equipment usually sounds Jr. I States. Coupled to Sony's TCD -D 10 PRO portable DAT recorder. the MS5 brings true stereo imaging to your recordings. Jr. I find any nightmares out on the road? Everything that could have the Yamaha units are probably the gone wrong did. the MS5 provides digital sampling results of startling clarity and realism. though I'd like to see of Seagulls tour. after seeing this much and replace. Brock is think the Neville Brothers and Dr. Brock. there are several multi -ef. you are aware of my RW: Well. RG: What about favorite ef. This brings up the Beep. excellent. NJ 07605 01990 Sony Corporation of America." great music. Trenton. the deep bass like Wynton Marsalis when we work came through the club on the Flock gets swept away. but when we worked with him sounding system that 'rocks' when ble without their control units. car. ECM -MS5 Three matched condenser capsule MS design Light weight: 7. Six position adjustable directivity (0 -127 degrees) Accepts 12 -48V external power Optional DC -MS5 DC power supply allows 20 hour operation on a single AA alkaline battery SONY PROFESSIONAL AUDIO Low -cut roll off switch Sony Communications Products Company 3 Paragon Dove. Modular with him. So far. I don't know how he was all the goals. I go see no matter what cleaned and eye-balled every once in cessor-based systems I've encoun. There's a rock guitarist in for years should be unplugged. Brothers put on a show that was very tems? fects? impressive. RG: Did you ever encounter using many different systems. the time. Technologies is only available in the Harry Connick. ness is personality.6 oz. but they're not very flexi. either on his been decent. but was now noisy and great at moderate volumes as soon guitar or through his songs. I know every single engi- you need it to. if you are familiar with preference for Modular's speaker the act and using the same system all A large part of survival in this busi- systems. resulting in a very clear . there was asked "Please turn the fish in the Finally. The show finally started at 2:45 a. you got me tive) with a grain ofsalt. The Gauss coaxials were How do you react when you designed neutral so they wouldn't are asked "Please turn the color the music.. to being able One of our monitor engineers actu- into it! Lillo Thomas was in a small to interpret the artist's request in ally went through this exchange club in Brooklyn.00!" This was most certainly an omen. or call us today We need you. On the way to the gig one How do you know to turn the fish just never know where the next of our people. rare. every right a left. what makes a good E0. gauss. reduce fatigue. sure enough. no open. This means everything from asked to turn something down? It is you ever worked? taking all criticism (positive or nega. I could go on for hours. engineers over the years who have Everything that could have gone shared information with me. with a band from Senegal this past directions from the band. that guy's stealing that tire out of that car.. be open -minded to advice. The carefully matched drivers require little or no RG: Lastly. -up the stairs with no crew. and a load -in crew that was unwilling to work and never showed up for load -out. told it was Even an interpreter can screw you summer. The cosh horn and fish in the box ?" You turn time coherent design eliminate the (up) the Bass (fish) in the need for time correction and greatly monitor speaker (box). you can bring your old coax systems ten to what's said to you and inter. Beep. the monitor speaker (box). provide the widest possible fre- engineer? quency response and 200 watts of RW: Well. You wrong did.." Well.. Instead of singing the blues. replacing their blues with Gauss coaxials.m. I could never fit all of the little sto- ries that make a show a nightmare.m. But this is not just the For more information on how ability to hear the different parts of the music-it's also the ability to lis. said. no standby" coaxial speakers to dinner and 36 total feet of truck to load. a 6 o'clock show and that there were up. toring have driven many 'old and we finally started load -out at 6 a. How do you react when you are no stairs. When we turned around. CA 91352 lipAmerican Heart (213) 875 -1900 Association Fax: (818) 767-4479 1990 Gauss WE'RE FIGHTING FOR `YOJR LIFE V Circle 19 on Reader Service Card www. $5. "I'll bet up? How often has a musician ever great idea is coming from. "Tire. up to the digital 90's. supposed to be a load -crew. NY. RG: What was the worst gig pret it. see your authorized Gauss dealer. importance. power handling (400 peak) without but ability to listen is of paramount self -destructing.americanradiohistory. We were given French. Sun Valley. more and more studios are blocked out of my mind. but some headlines include: when we got there. RW: You should know. he demands of digital moni- with the first of three opening acts. Additionally. Anything worse than that I've Q bits. a MARK IV company 9130 Glenoaks Blvd. every left was supposed to be a right. there was a flight of 20 mil- lion thin stairs with two 18 -foot trucks to unload. there's this guy on the side of the road yell- ing. the directions were backward.com . box ?" You turn (up) the Bass (fish) in I've encountered a decent number of ing acts and dinner. so it's an educated guess. Most of these clients are inter- tivated to succeed or simply fall by ested solely in sonic value per dollar. List $549 tions is a relatively cost -free pursuit. How can a studio make it in these masters. pollination between these two cate- line mixer in a single rack space. can be different than that achieved Systems nished with much less expensive equipment than the larger pro shops. advertising and public relations? Circle 15 on Reader Service Card www. and recording studios dle Eastern conflict. but others will. rade of "wanna -be" songwriters and ing. and it seems to me that the effective use of promotional tools is going to be a key factor in survival. not big contenders for major label re- still money to be made and somebody Eventually (if history does indeed re. PO Box 842. there is right now. A real problem tional techniques that work for distinction. call Algis Renkus cable. Sure. but one thing is obvi. just like you. Still. For example. cepts. The new year apocalyptic undertones of the Mid. but will it be you? peat itself) the cloud will disappear. Ground quires unique strategies. wr larger studios are not always appli- For more information. the indepen- dent record producer. public rela- --'V solver. Promo. fail. they will not pay extra for cushy fur- niture or an attractive receptionist. then. and Besides the out -of. JOHN BARILLA immimet THE ELECTRONIC COTTAGE Promoting Your Studio: Part I Let's speak frankly. This re. Key inputs and Detector let's examine the arsenal of promo- loop inserts.americanradiohistory. regional commer- Economists can give us a list of uncertain times? There are no pat cials. sional PR person. turn out hit records or national com- leading edge of a recession. but the main will survive and perhaps even pros. draw is for independently financed per. fur. Studios will either become mo. for an extremely competitive period shot is that a dark cloud is hovering realistically. (both large and small) are bracing factors beyond our reach. a unique profile in contrast to the There can actually be a lot of cross- The ARX DI -6: a 6 channel active DI box and larger professional studio. Silverado CA 92676 -0842 occupies a much smaller space. Ready the wayside. brand new ball game. but these are and the market more circumscribed. undoubtedly. answers here. the overhead is much lower.pocket costs. but it will not stay forever. you hire a profes- at fined in this magazine). Hence. So campaign is simply this: value. Some perity again shows its face. but rather as one who is songwrite>. Both angles must therefore be covered. is typi. the broadcast quality products. through advertising. does not focus on the posh what is the major difference between amenities which are often expected. for they do. The up. is upon us. it will be a mercials. demos.com . clients. PR can cost ble of turning out professional as much as advertising. but it is nonetheless a useful lifts. unless of course. The electronic cottage (as de. headphone out. gories. electronic cottages are in the months ahead. a/v projects and the whole pa- causes: runaway government spend. Phone 714 -649 2346 Fax 714 -649 3064 in general. the point that must be transmitted in any promotional The ARX Sixgate: 6 pro quality gates in a vying for a share. Detector MARKET loop inserts and stereo link. List $649 tional tools available to a studio PROMOTIONAL owner. Whether your target market is the to Rack Let me state out front that I am not offering this advice as a person who mid -sized ad agency. mounting consumer debt or the ous: the competition for pieces of an vocalists seeking an affordable rep - increasingly smaller pie is going to be resentation of their musical con- stiff. while capa. CATEGORIES All promotional efforts fit into two The ARX Quadcomp: 4 pro quality comp/ DEFINING YOUR basic categories: thing you pay for limiters in a single rack space. or the young optugargam has already cornered the recording market. List $799 (otherwise known as advertising). While there are some exceptions. cording budgets or glitzy advertising will be making it. It should be clear that and things you get for free (other- electronic cottageers have wise known as public relations). single rack space. This is not to say they don't Many studios are now feeling the and when the sun of economic pros. kind of promotion you get from PR cally more specialized in scope. but they do sort of weed out conservative print ad to be most ef. but enduring. and newspapers. what your ad should focus on. on the other hand. and tising might work best for your stu. ited to print advertising. Beyond this. tage. and how they can most the bar band circuit for recording at time. page) or more commonly. of course. These ads impact.e. advertising can get you in the erally take up space in magazines carefully crafted a few phrases de- public eye right away. whereas the singer/song- easy to see from the above descrip. cater to the vani. Second.Well. journal. re- ple will know of your claims very inch (how many standard columns member to leave ample white space. Music Design) has a yellow page ad that pour through classifieds are se- that claims he renders "The Most riously shopping for something. image that will not quickly fade choose the journal you advertise in away. they will not spend a downside is this: if you stop advertis. Another approach big studios use ket. you can music and entertainment newspa. because they convey an aura of suc- cess and of course. Consistent. we will cific avenues for reaching your mar- now look at some specific types of ad. way to make yours look different. People today have the attention span into some immediate business. ment of your space ad on the given TYPES OF AKG.americanradiohistory. Lexicon. UREI and so on). Such a simple ad has deciding which type of print adver. you should review a few more points be- fore laying out your ad. sim. classifieds and direct mail-all will respond to an ad that strikes a able. why advertise in a publication dio" or a "hot studio" or whatever it that appeals primarily to rock 'n' roll is the audience wants to hear in ting Chartbuster Studios Make Hound Dog The Biggest Hit Of The bands? If they call you. figure out a ADVERTISING sounding stupid either and the bot.defined service. Third. investments have to spend big bucks on advertising in order to attract the ple. This could possibly translate wide by how many inches long). Fi- ate for promoting a recording studio sell: a sizeable ad positively glutted nally. a confused parade of boastings nation of information must occur will probably saturate readers' steadily over time. but powerful. of his more elaborate ads in the local dio. Scaling down the ap. "this is a reliable stu. you are message of assurance to a potential going after the singer/songwriter client. SPACE ADS The point is that in a space ad. It builds an ties of their well. with the names of top shelf equip. they will order to give you their trust. CLASSIFIED ADS pensive. you must are little. Why? Not you because they can relax and per- only are radio and television ads ex. quickly. since no have the space to do live music effi- advertising and public relations. form uninhibited in a relaxed atmo. V4. After you have ad that doesn't make you sound like co www. I'm sure you've all seen the blown -out full color vanity ads in minds and turn them off. print forever. To out some flesh on ther. If there are lots of similar - probably can't do that without looking ads on the page. it might with each other. This dissemi. is writing an These are the box-like ads that lit. once you decide on a particular business. They don't to transmitting hard information. most cost -effective ways of promot- TV and radio have great emotional ing a well. People will come to broadcast advertising. Don't forget that big studios with big to everybody is not credible. Neumann. you can actu- ine some of the factors involved in claim is true. such as the newsletters from vertising and PR that are appropri. The of a fruit fly. A For the purposes of this article. undoubtedly afford to keep the ad in pers. writer will be only too happy to care- tions the clear benefits of both types proach by thanking the local hero of fully program his song one track at a of promotion. It says. Usually. but no one has found a way sphere. effectively be used in conjunction your studio doesn't quite cut it ei. type. good graphic artist can be of im- discussion of advertising will be lim. once you begin to get results. probably be disappointed unless you Year. friend of mine (Jim Becher of Ariel the casual reader. scribing the essence of your service ford to buy advertising. First. You page. but fall short when it comes To craft an effective ad. by the column - (your niche in the market place). get to the heart about you quickly. you do best? Trying to be everything is slow. A few opinion in the public eye of precisely well -placed words will motivate peo- what your business is. but carefully. ally afford to experiment with your resulted in more business than any format over a period of time. be beneficial to search out more spe- these general descriptions. carefully monitor the place- ment manufacturers (i. the tom line is this: as an electronic cot." Young songwriters searching resonant chord. and results in an big clients. the general public will forget cluttered ad. classi- of which can be effective vehicles for a good studio and producer will when properly targeted. good PR speaks a Billboard magazine saying some- thing like this (to cite a fanciful.heeled clients." This kind of approach will Even if you know very little about probably not work for you. rather than equipment list. nonetheless typical example): "Thank You Elvis Presley For Let. To capture this audience. If you can af. It. Large professional studios have traditionally favored big space ads whole lot of time trying to read a ing. A selves. That is probably searchers. it's modern -day Elvis has recorded at ciently. fied ads are amazingly affordable undoubtedly call him to see if his compared to space ads. define your audience and be able to draw a lot of attention to them- Studios generally have found a more motivate them to give you a try. and get a good product at an According to many market re- to use them for studio promotion affordable price. What is it Public relations. The trick. Let's exam. you can pretty well say anything you want about the service you offer and peo- / times sold by the fraction of the page they occupy (such as V8. of the matter in your copy. and There are three types of ads: space Complete Songwriter Service Avail- ads. for example. people fective. to good advantage is the equipment local songwriters' associations. the classified ad is one the without smacking of hucksterism. you are selling a service. not an mense assistance here. your studio. They are some. plicity works best.com . (delays. what's ahead for the 90s. and one classified ad that will encourage viso: you need to develop an accurate that's stalled in its tracks. NAB show issue. We've all chuckled at the type of references or perhaps purchase a I've become a great fan of direct roster from a local organization (like classifieds from some out -of-state mail advertising over the past few mail order production company that an advertising club or a songwriters' years for one reason: I know it guild). GUIDE: Power Amplifiers.a huckster selling snake oil reme. update it and keep ham- use the classifieds. - SEPT/OCT The Recording Studio What's happening. Show issue. core of potential clients until they disreputable advertising. When marketing tising format requires a bit of experi- and corporate audio visual presenta- the intimacy of a small studio or pro.S. GUIDE: Signal Processing Equipment. AES in N. Spectrum Analyzers. JULY /AUG Concert Sound -Producing it and/or Recording it. makes the difference between a stu- journal which services your potential audience. Going to a commercial mailing mental as studio monitors. You program that will allow you to com- Suppose your goal was to market a can really open up and make a total pile a list and print it out as labels. you must select a trade cellent way to go. Your research this: can we afford not to advertise? your services and a rate card to those needs to be current and scrupulously Advertising-especially in today's who request it. dio that is well -booked. Let's face it. it's almost as funda- your work. limiters. is a PC and a either a space ad or classified ad. for free: public relations for the you provide. musical soundtrack production ser. we'll concentrate is likely to be seriously looking for a not be narrowly focused enough for a on the kind of promotion you can get new vendor for the kind of services studio doing local or regional busi. finding the right adver- vice to ad agencies who do industrial are trying to sell.. compressors). DIRECT MAIL compile a list yourself from personal dies. equalizers. ness. MAY/JUNE Audio in Houses of Worship/Sound Reinforcement In Fixed Venues. donate to some worthy distance yourself from that kind of mering away at the same central charities. This is the tricky part. works. MAR/APR The Broadcast Picture in the U. Once offers to "put music to your song lyr.00 for a sample cagcPtte thing to do. Then.) NOV/DEC The World of Post -Production -Television and Film. Part I. 1991 Editorial JAN/FEB Calendar The Professional Electronic Cottage. vest. GUIDE: Speakers: Performance & Monitor." When you you've compiled a viable list you can been induced to buy numerous items add to it. takes the time to write you a note or list company may not be the best send you $3. GUIDE: Consoles and Mixers. Part II. our equipment. The ques- them to contact you. You must tivism-all because of some letters assume your audience will pursue yell "uncle" and give you a shot at somebody sent me. All you need. one major pro. case for the product or service you Obviously. Winter NAMM Show issue. more you can say in a letter than in so don't resort to hyperbole. NSCA show issue. to do you if given a legitimate opportunity. Summer NAMM show issue. reverbs. this can be an ex. Tape Recorders and Accessories. because it works on me. it is expensive and may In the next issue. noise reduction. advertising can be what tions. of course. mentation and a few dollars to in- duction company. else you will throw your market-needs to be seen as part of charge. (noise gates. www. GUIDE: Tape. get involved in political ac. anyone who lopes. There's so much their next project.com . I've ics for only $60 a song. It is probably best to gradually smaller studio.Applications of the Electronic Cottage to broadcast. First. SMPTE Show issue. or for a nominal targeted. GUIDE: Signal Processing Equipment. Perhaps you mailing list of the audience you are tion we must constantly answer is can offer to send a free brochure of attempting to reach. Microphones. crossovers. it's important to and services. Still. a short sample cassette of money away in postage and enve. you must write a There is.americanradiohistory.Y. a direct mail campaign. telephone answering machines. the verse vice. the chorus track Personally. the clarity and defini. paniment tracks on CD because it is DAT machine (which will be your 1 track 33 and other track numbers in a much better long-term storage me. There are disadvantages. and to being able to cue each section. 2 numbe4 and it is also marked in the having the computer record the ser- music. same data used in your computer. The director can instantly go relating to church signal itself. BRENT HARSH BARGER 0101010101000001 audio. With an analog signal. and then play song num. it's digital data. Because the audio is now data. Suppose you plug a microphone into companiment tracks. number).. DAT machines are a natural munication. I would buy my accom. one of the leading log. the DAT ma- accompaniment tracks for their cho. the are already being used by many churches for choral and other ac. plans to increase their CD digital data. in general. in this case. ral music by 76 percent. has added a feature to their cho.americanradiohistory. much the same way you would change the order from an LP to cas. 7 back to the start of the chorus with a worship -putting the analog This brings us to my favorite way few key strokes of the CD player. If you want to play the song that is on After audio is converted from ana- yes. via the CD player's memory selec. tion. can do various things with it and vir- tion of the music can't be touched by sette. With digital. with you won't be left behind.. the available with recording tape stan- know the basics of digital audio so director would choose the track for dard in 46. . the director would only reason. The advantage is increased want. the song is track 32. grades the signal. or digital. the CD would only play the sec. is this issue's topic. In this case. video and com. however. By using a co www. 90 and 120 minutes. while Chris. an electrical AC voltage 4. master for duplication). the particular section of the song to no need to "turn" the tape over. have to process the sound by going Inc. the mic takes the tian recording artists are including tion attached to cue number 32 (which. The exception is you can trans- fer the information out of the CD tually never lose any quality in the analog media in mass duplication. this means is if you want to play the on a DAT machine (tape). DIGITAL AUDIO voice-mail boxes. you tions. is also the song acoustic sound and changes it into DAT (digital audio tape) machines on their riders for concerts.com . video and that song are called cue points. Word Music while losing no sound quality.which is ber 1. CD players track 32 and then play it on track 1 log to digital. even our churches. while only playing that section still analog). a DAT machine. but you need to ing. For example. Therefore. Digital audio is all around us: in be practiced. you as well. editing the program material would be track 32. you sound quality. I would put my working copy communications will be in the fu. but not the audio .. Consequently. through another circuit which in- ral CDs that allows the choir director creases noise and otherwise de- to cue the music at different sec. over last. This is a perfect case for a DAT machine changes the analog AC voltage into market. - of using digital audio relating to church worship putting the analog to digital converter on a computer. on the computer and storing it on a T 33. or the arrangement aa verse and has trouble going into the way of using digital audio of the bits of data. What dium. for a church because they come in digital format. Digital audio. this year but data.to-digital converter which music producers for the Christian attached to cue point number 1. For this ture.V chorus. It then goes into an ana- Word Music Inc. are already select track 32 and play it until end. with digital outputs because you can record the two songs in the order you chine is not recording analog audio. audio as you would with analog du- player's digital outputs and go into There are additional advantages the DAT machine's digital inputs plication. Suppose the choir starts with a This brings us to my favorite change the data. Digital is where audio. entire song. This is accomplished by noting each section of the song with its own track to digital converter on a computer. camcorders. while for rehearsal purposes. then all mic jacks in undo the edit and start over. conference in rooms 1 and 2 on July track recorder. and then processing each matic system operation without an this requires multiple sound sys- input. to select a room to the system will automatically com- would now have the all -in -one work. gle location. and the computer system screen (providing you have the ap.. If you make a mistake. health and recep. suppose you have four rooms next to each other. An advantage to this type of sys- Audio Processing System) which is tem is that conferences can occur si- cilities simultaneously from capable of taking up to 504 inputs. making it useable with other speakers in both rooms. Intelix provides similar figuration. 6. pending on how loud the pastor talks Our next topic is digital control. ence. LED's turnkey audio systems enable When dealing with volunteer labor alarm that sounds when a compo- you to combine rooms.or two-track frames in a sin. or run the audio for a complete facility to make all mic jacks in the com- any unwanted sound while leaving in one. named UDAPS (Universal Digital perience that churches use their fa. These systems include 6. which can be very costly. have the time. thus time needed to be devoted to the and lower the output level according systems can add up to virtu . its best feature is that it louder or softer depending on how diminishing. however. video. The com- puter screen IED provides will dis- INTEGRATED SOUND play an architectural layout of the More systems like IED and Intelix 0) SYSTEMS facility. the mix mic and line inputs. This enables the rest of the audio. be. or dies down. The either at electronic systems compa- (NI co of Louisville. di- vided by some sort of folding walls. ison. This presents problems. and have the equipment and amplifiers that can figuration of the inputs and outputs ability to edit out a word. simply control and interfaces with your ev. churches are becoming loud or soft the room is at any partic- more than a place to worship by add. eryday off-the -shelf equipment. heat and audio systems turned on for 1 and 2 while turning on mic No. editor and editing ties manager. the pastor decides he wants to hold a puter to make it a complete multi. combining computer for accounting or other ties manager's office. and the output will get With money for community centers . Digital audio and video capabilities equipment besides IED. security time and date in the computer and than a similar analog system. someone plugging in a mic while the level of the system will go demand for audio becomes greater. automatic system operation the pastor tells a joke and the audi- tion/dining facilities to their prop. to the ambient noise level of the shooting. WI. 9I: www. noise. when not recording. automatic mic mixers.. If you were to combine tact. bined rooms active within that con- the program material you want in. rooms you want to "combine" will be nies or with sound contractors. There are v two companies making great head- For example. functions. de- meeting starts. can provide precision ular time during the conference. fire.americanradiohistory. are moving faster and faster every The IED system can combine day. plugged into. You him. In four years. and Intelix of Mad.com . It's and computers that can be operated program it to turn all mic inputs off even less expensive if you use the by a single computer from the facili. the sound system will erty. rooms 1 and 2. rooms and turn on or offany input or (Digital Signal Processors). for example. Systems like these can only be found way into these types of systems: IED each room with its own color. room(s) being combined. but its best feature is changing the mic or line from analog that it can provide precision auto- day. the audio person can set the system for just a little more money audio. Wednesday night on through Sun. As the facilities grow. KY. 1995. IED both rooms will be active. DSPs let tegrated Network Device) Control output at any time in the future. years. System. with a different setting to any or all sides having someone to make sure in a mic at the time of the confer- of the 504 outputs in groups of eight. is within g reach -using integrated sound sys- tems with digital control. the raise the level in that room only. eliminating down time for trouble- rnsound ally that of a second full -time job. and show the status of each will come about in the next few room. such as hav. you can actu. and raise tell you exactly what failed. use 30 minutes before the actual The mic will be raised or lowered. and no interfaces with non -IED equipment matter which room the mic is DSPs via the PA-422 serial computer in. into the mic. IED manufactures turnkey the same color on the computer ally see the audio on the computer computer-based systems. recording sth. down accordingly after the laughter ing people that are dedicated. I know from ex. such as EQ and digital delay. without ence laughs. to operate the differ- IED has introduced a system ent sound systems. at the time of the conference. If ing education. processing will automatically change the con- propriate software). tion and control center for the facili. so if you are planning a new facility. without an operator. The IED system also has an they are set up and running properly. If you purchase a card for your com. 6. due to the development of DSPs Intelix' system. MIND (Master In. is used as a central informa. multaneously. find out which of these systems would be optimum for your church. and it will who have other jobs and families. computer for editing. including screen. operator without someone plugging tems. HVAC. be used for a meeting and have the bine the amps and speakers in rooms station-office by day. dio by night. except mic input No. automatically nent of the system fails. it would be worthwhile to 'g The answer. This creates a second problem as to digital. it will play through the terface. Of course. Oh. you'll be in for a surprise when (Soundcraftsmen Model AB -1) available for under $90.built.. -1174:NI11mmuao. side by side.000 10 100 1k 10k 100k 8 www. without the need fora matching transformer. The which is perfectly matched to a 70 volt distribution line PM860 is so small..com .mount. etc. Harmonic distortion plus noise versus frequency at rated output of 205 watts /channel..0000 1111111 IIIiI11111111 0. well -designed but somewhat mode will also require a stereo bridging adaptor bulky power amplifiers.000 MIMiiii MMNNI -1. from a circuit point of view. in fact.0 1. SOUNOCRAFTSNEN P11660 STEREO AMPLIFIER Ap 00 loads.0000 2. in their two units mounted in this adaptor can also be used as available PCX-2 rack. should you require more four 300-watt basic amplifiers in such applications as bi- than the 200 watts-plus per channel into 8 ohm loads amping. 8 -0 __ - II 11111WIM8166 ee 111II C <.0000 3. FREQUENCY RESPONSE. multi -channel systems.0000 1. -- 1. moting the idea of using two of them. mode..ií11 2.000 5. but it is one of the most compact amplifi. extremely When two amplifiers are used this way.000 CC:::I:::::I:::C ME ONIMIEMINEMIMMIEEMMIMINIMI*r. you see (and lift) their new Model PM860. LEN FELLIMAN LA B REPORT Soundcraftsmen's Model PM860 Stereo Amplifier PROFESSIONAL 800 -WATT MOSFET POWER AMPLFER 300 WATTS PER CHANNEL O 4 ONUS MODEL P14680 GENERAL INFORMATION (300 watts per channel using 4 ohm loads) provided by a If you have always thought of Soundcraftsmen as a single amplifier. it's still solidly built and.000 1IIIiJl!!!!i11111 3. Frequency response of the amplifier.. The use of a pair of amplifiers in this maker of solidly. Figure 5. each amplifier delivers 600 watts into 8 ohm loads ers for its power rating that we have ever seen. in bridged well -designed..americanradiohistory.CrME682 5682 2 . 661 Figure 2(A). that Soundcraftsmen is pro.000C 1.M81. next best power is 20 kHz..:_:::::________:::--__ --._ 0. Best curve is 1 205 watts /channel output. An aluminum heatsink utilizes a special lows the use of two units... using Soundcraftsmen's PCX.. It is this configuration that al.1 111ir'1Mi1g111111111111 ... switching to its higher speed (and more audible op- eration) only during extreme demands such as those im- posed when the amplifier ran at full rated output for some of our tests. in some amplifiers.00k 21.0 DISTORTION 5 .00 100.. (8-0 loads. The ampli.0k www. ululi' `IlìiTiiiiii-.-u.. Harmonic distortion plus noise versus Figure 3(A).. amplifiers.. erned by thermal sensors built into the transformer out- would have been possible. circuit design.. Had we heat dissipation.00 -60. without exceeding multidirectional surface area designed for maximum the limits of a standard 19-inch rack panel.... =mammon .) kHz. 4 -0 power output per channel (8-0 loads).00 -90.com . causes distortion even as clip- Figure 3(B).. kHz. .. NOISE (YI VS.. __:eE:E . POWER OUTPUT /CHANNEL: . the output evaluated.. 1 rack -mounting kit available for under $50." MOM _::.. side by side... lowest power before clipping is 20 kHz.. the PM860 em.. was 8-1/2 inches devices are power MOSFETS in a fully complementary wide and 13 inches deep. put stages and other sensitive areas of the amplifier.)kW---.w -k--W1. Harmonic distortion plus noise versus Figure 4(A).. ... !!!!!liltlil 11111111 .1w . A spectrum analysis of a 1 kHz signal at power output per channel (4-W loads)..0k 30. however only a single stereo amplifier was As for the electrical features of the PM860. It stood only 5.. the two-speed fan is very fier itself weighs a mere 20 pounds. IkH1 AT 205M /CHANNEL.. does not employ current-limiting.2inches high.. At this low voltage supply level many other ampli- fiers would provide as little as one -half to two-thirds of power is available even their rated power output.:7iiüi 0.. _:::___:::: .00k 6. ...OUI SOUN0CRAFTSMEN P14960 AMP OD 11111111 111111 111111 _. POMER OU : SOUNOCRAFTSMEN P10360 AMP (4 OHM LOAOSI 00 SPECTRUM ANALYSIS.americanradiohistory. Best curve is 1 loads.0 cqi 0. this..00 40......0 3. Cooling is provided by a fan that is gov- wanted to mount this single amplifier in a rack. The Soundcraftsmen PM860 under low voltage conditions.. Rated power was available from this amplifier even ploys a fully regulated power when line voltage dropped to slightly more than 100 supply. next best power is 20 kHz. In our tests. That means that full power is available even under low voltage conditions.0k 12 Ok 15 Ok 16 Ok 24 Ok 27. the PM860 em- Unlike most high -powered ploys a fully regulated power supply.. During normal operation.- . Unlike most high -powered amplifiers.0 Ap -20. SOUIOCRAFTSMEN P11660 AMPLIFIER 00 5 0... Harmonic distortion plus noise versus frequency at rated output of 300 watts /channel...>i..010 02 10 100 300 Figure 2(B).... a design approach that.. DISTORTION MOISE lil VS. lowest power before clipping is 20 kHz.00k 9... too.0 Fi Flinn' -120. That means that full volts. quiet. 1111.. SPECTRUM ANALYSIS. 1kHi AT 36011/CHANNEL: SOUACRAFTSNEN PM660 AMPLIFIER OD SPECTRUM ANALYSIS OF RESIDUAL NOISE 1060 VS. FREOUENCU DUI. P1860 AMPLIFIER OD 0.0 -50.00 Ap Ap -60.00 -20.00 -70.00 T\ -40.00 -80.00 / IS -60.00 -90.00 % 1, -100.0 V, ,, -._ - -60.00 -110.0 foo.o IT r I^ InIMITir I ?n I7111r1nr PVT', -120.0 -120.0 -130.0 0.0 3.00k 6.001 9.001 12 Ok 15 Ok 16.0k 21.0k 24 Ok 27 Ot 30 Ok 30 100 it 10k 20k Figure 4(B). A spectrum analysis of a 1 kHz signal Figure 5. A spectrum analysis of residual noise at 1- at 300 watts /channel output. (4 -Q loads.) watt reference level. ping is approached. The clipping indicators on the front harmonic distortion plus noise (THD +N), measured panel of this amplifier are waveform sensitive, and illu- minate only when actual waveform distortion occurs in other words, only under conditions of true clipping. - 0.022 percent for the left channel and 0.013 percent for the right channel. At 20 kHz, THD + N increased to 0.05 percent and was identical for both channels. The measurements were repeated for 4-ohm loads, CONTROL AND PANEL LAYOUT this time with input regulated to maintain a constant The only user control found on the front panel of the rated 300 watts per channel. Mid - frequency THD + PM860 is an on/off power switch. Nearby is a green noise was substantially the same as before, as shown in power indicator light. Further to the right are separate Figure 2B, but THD + N at 20 kHz increased to slightly red clipping indicator lights, one for each channel. A over 0.1 percent. Figures 3A and 3B were plotted for major portion of the amplifier's rear panel is devoted to THD + noise versus power output for frequencies of 1 the air intake area of the built-in two-speed cooling fan. kHz (lowest curve in the graphs), 20 Hz (middle curve in Alongside this area are two pairs of color -coded 5-way each graph) and 20 kHz (uppermost curve in Figures 3A binding posts for connection of speaker cables, while fur- or 3B), and good correlation was noted between these re- ther to one side are 1/4 -inch phone jacks used for the un- sults and those of Figures 2A and 2B as rated power lev- balanced inputs to the amplifier. No provision has been els were reached. At low output levels, the increase in made for balanced input connections. THD + noise is largely a function of residual noise which, relative to lower output, appears to be a greater percentage. Anyone who maintains that In order to separate the THD from the residual noise, there is no audible difference we employed the FFT spectrum analysis function of our audio test system to examine the actual harmonic com- between amplifiers having ponents produced at rated output. Results are shown in the same power rating would Figure 4A for 8 -ohm loads (with 205 watts delivered by each channel) and in Figure 4B for 4 -ohm loads (with do well to audition the 300 watts per channel delivered to the loads). The signif- Soundcraftsmen PM86O icant harmonic components generated by the amplifier against competitive amplifi- are all more than 80 dB below rated output for the 8-ohm condition, and calculating actual harmonic distortion ers. contributed by the second, third, fifth and seventh har- monic component yields a true overall THD figure (ex- clusive of noise contributions) of only 0.0082 percent! In LABORATORY MEASUREMENTS the e.s a of 4-ohm load conditions, the net actual THD While Soundcraftsmen specifies the frequency re- (exclusive of noise) calculated from the most significant sponse of this amplifier only from 20 Hz to 20,000 Hz, harmonic contributions was only 0.0122 percent. our sample did much better than that. It was virtually Overall SMPTE -IM distortion at rated powe>; with 8- flat down to 10 Hz (the limit of our signal generating ohm loads, measured only 0.022 percent for one channel equipment) and was down 1 dB at 58 kHz and less than 3 and 0.013 percent for the opposite channel. Signal -to- dB at 100 kHz. Frequency response test results are noise was measured first, relative to 1 watt output, in ac- shown in Figure 1. We measured distortion at rated out- cordance with the standards of measurement developed put versus frequency for both 8 -ohm and 4-ohm load con- by the Electronic Industries Association. Using that ditions. For the 8-ohm load tests, input was regulated so method, A-weighted S/N was 78.03 dB for one channel as to maintain a constant 205 watts per channel output and 75.2 dB for the other channel. To obtain closer corre- (both channels driven) into resistive 8 -ohm loads. Re- lation with the figures published by Soundcraftsmen, we sults are plotted in Figure 2A. At mid - frequencies, total also measured S/N with respect to the full rated output of r www.americanradiohistory.com the amplifier (205 watts per channel into 8-ohm loads). any we've heard from so- called audiophile stereo ampli- Under those conditions, we measured an A- weighted fiers. During normal use, which extended for several signal -to -noise ratio of 101.7 dB for one channel and 100 hours of listening, the internal fan's high speed was dB for the opposite channel. Input sensitivity for 1 watt never invoked, nor did the clipping indicators illuminate. output into 8 ohm loads was 91 millivolts. That trans- The loudspeakers we used were not the most efficient, lates to an input requirement of 1.3 volts for rated output but the high power rating of the amplifier (and its ability of 205 watts per channel. A summary of the to drive impedances even lower than 4 ohms) enabled it manufacturer's published specifications and, where ap- to deliver sound levels that were louder than I would plicable, our measurements, appears in the Vital Statis- have expected from such a small sized, lightweight am- tics table at the end of this report. plifier. CONCLUSIONS Perhaps even more amazing than its small size and Anyone who maintains that there is no audible differ- light weight is the very "small" suggested price for this ence between amplifiers having the same power rating amplifier. At $599 it is as much as $400 less than some of would do well to audition the Soundcraftsmen PM860 the more expensive competition in the same power out- against competitive amplifiers. Sound was as clean as put class. crib VITAL STATISTICS MFR'S CLAIM db MEASURED Power Output /Channel Stereo, 8 ohms 205 Watts 205 Watts Stereo, 4 ohms 300 Watts 300 Watts Mono, 8 ohms 600 Watts N/A Mono, 4 ohms 900 Watts N/A THD, 20 Hz to 20 kHz 0.05% 0.012% (1 kHz) IM Distortion 0.05% 0.022% Frequency Response, ±0.1 dB 20 Hz to 20 kHz Confirmed Hum and Noise -105 dB -100 dB Rise Time 2.2 microseconds N/A Input for 1 Watt Out N/A 91 mV Input for rated output N/A 1.3 V Dimensions (HxWxD, inches) 5 -1/4 X 8 -1/2 X 13 Confirmed Weight 20 lbs. Confirmed Price: $599.00. Make Tracks... ... to your nearest mailbox and send for the latest This publication is available in copy of the free Consumer Information Catalog. microform It lists about 200 free or low-cost government publications on topics like health. nutrition, careers, from UMI. money management, and federal benefits. Just send your name and address to [MI 800-521 -0600 toll -free Consumer Information Center 313 -761 -4700 collect from Alaska and Michigan Department MT 800-343 -5299 toll -free from Canada Pueblo, Colorado 81009 A puller servl(r of the I -S. General iery lees Administration www.americanradiohistory.com NEW PRODUCTS SPL MEASUREMENT Packaged in a male -female inline- XLR tube, the AC -10 requires 12- 48V phantom power for operation. A two-position slide- switch selects be- tween the two curves. Both curves conform to the appropriate national and international standards. A- weighting filters are usually used to make a sound level meter approxi- mate the sensitivity characteristics of the human ear at 70 dB SPL. The C- weighting curve approximates the ear's sensitivity at high SPL's. Typi- cally, A- weighting is used for noise- annoyance studies, but is now the standard for most noise -survey work, regardless of SPL. Manufacturer: AudioControl Industrial Price: $44.00 Circle 70 on Reader Service Card DIGITAL MIXER The DMC1000 has fourteen input channels (8 mono, 3 stereo) and eight monitor input channels which can be mixed onto the stereo bus. All chan- nel parameters are automated. This includes real -time automation of EQ pan, aux sends and buss assign- ments. The on -board time-code ref- erenced computerstores its automa- tion data to an internal 3.5 in. floppy disc drive. Additionally, static " scenes "of all console parameters maybe stored onto a ram card and in- stantly recalled. A flexible equalizer with a "virtual" control section is in- cluded. The DMC' 000 offers 4 bands of fully -parametric equalization with identical frequency range (20 Hz -20 kHz) on all four bands. Bands 1 and 4 are switchable for either peak or shelf, while bands 2 and 3 are "peak." High and low pass filters are also provided. Each channel's equal- ization response curve may be dis- played graphically on the LED screen. Manufacturer: Yamaha Corporation ofAmerica Circle 71 on Reader Service Card w Price: Under $32,000 www.americanradiohistory.com "' says search graduate whose background haven't been able to lock them up. But I think they feel very. (other employees) just chain (because there was a lot of programming." he says." time code.established company with the in." he algorithms he's worked out over the lines going both ways. man. explains his position. general manager. says he's often able to use some of the nected to the facility via fiber optic We can lock up a mag dubber. International Post. including multi. "It can be any frame rate. to Schuman. When doing a layback. too." fourteen independent companies he's basically doing an audio layback Working with a Soundmaster syn- owned by Video Services Corp. Schuman said. to Delaney. PAL be modified for international distri. International Post was born mags. NTSC. "We get things from all over the convert it to PAL. NTSC.standard the Old Captain Midnight shows for ferent conversion rates. obviously. Interna. He explains that of lock-up and synchronization. a leader in inter- national videotape services. which. He adds that the system had to be from the mag dubber and lay it back try. They want them to be what their clients want them to be. Whatever format or stan- Delaney admits that the work he does "is a case study in itself namely because we get a lot of tapes - nized the demand for much more dard our clients want. very comfortable injust sending us the elements and saying `Go do it. allows the audio engineer or 1 in. recog- laying audio from a mag dubber in 35mm to a PAL 1 -in. or NTSC 1 in. and EQ when necessary. TOBY COHEN Problem -Solving at International Post "The people who are interested in selling programs overseas are interested in selling programs overseas. from different sources to yet another chronizer (the heart of the Interna- ated right across the street. film -to -PAL work to be done) and "There's nothing magical about Many times we'll sit there wonder- planned to build a much more so.. make a bunch of Delaney. "at 25 frames/second. chief audio engineer) Several years ago. the staff at Northvale." Schuman says. NTSC machine going at 29. (APVI). that's been transferred to 1 in.americanradiohistory.' We do. the Museum of Broadcasting in New "The fact of the matter is. said Schu. People come to us because we're able ternational clients.) situ. Scott (Delaney. The facility provides a said. "So they installed a film spans both engineering and MIDI mean. rather than "a The basic thrust of the work is to solve a lot of problems. remix the audio M & E tracks from that has caused it not to run at the sult. Delaney tional Post's operations are con." that come from different origins. As a re. "-Rob Schuman. tracks and laying them down to PAL that are out of the ordinary in terms With parent company APVI (one of 1 in. we've got. simultaneously. tional Post Audio Suite). I ing 'What has happened to this tape phisticated facility. haven't had any success with them. an Institute of Audio Re. sophisticated work to be done for in. They're not as interested in producing them or becoming technically involved with them." he speed it's supposed to ? "' According last June. Such inundation has proven "control of anything in the house. multi.J. one example being dif- for clients. I Schuman. "so that we says. according to may be laying audio from V4 in." he said. Inc. Housed in the audio suite is a control frames/second. straightforward 'Here's a videotape. editing. there could be many fac- broad range of international services Delaney is currently working on tors involved. Without changing the bution. can do jobs rolling in both facilities machine at 25 frames/second or an pact expanding dramatically.97 or 30 United States distributors and over." he says. basically. he may be A CASE STUDY N. ferent frame rate. We solve problems for a lot ofpeople without them knowing that there are problems to solve. and (other facilities) just dubs and ship it overseas. WITH FILM AND VIDEO'S GLOBAL IM.lingual audio laybacks and York City by taking those optical "that there are so many things I get voice-overs. film -to -tape transfers. flexible because the entire house to something that's running at a dif- sight and foresight to position itself runs in PAL and in NTSC. source. let's say I'm seas producers and broadcasters panel for a Grass Valley 128 x 128 doing an audio layback for a film alike are inundated with material to routing switcher. I'm able to take the audio to be a lucrative venture to an indus." within that market and fill the void. So. and another day. tape or PAL Betacam. "One day.com . what I do. to a PAL past few months in order to "deter- www. place. -based Audio Plus Video Interna- tional. mixed frame-rate synchronization. What I did was lock up three audio machines to- gether and mix the audio while they were doing the overdubs. configuration is an Otari Vi in. "We also have a citers and dbx DSRs are housed in a Lexicon time-compressor-expander code and pilot tone. co www. and we were working on the Davis Cup Classic.suited to the type of work that infiltrates the suite. "We had (ESPN Commentators) Kim Prince and Cliff Drysdale doing the over- dubs. simply because I'm a low-level listenei" Delaney explains. for example. "Rather than put Dolby carts on our videotape machines. 20 microphones are used in the an- nounce booth. ond commercial. and I Figure 1. Euri form many operations with just one parametric equalizers. and make it all by a Symetrix amplifier while the happen within that time frame. Electro-Voice RE- Figure 2. Aphex aural ex- ful. The edit room. Such a setup is ideally. We get a big demand for this type of relay stuff." Also included in the equipment Soundcraft Delta 200 board. 4- track ATR with center -track time edit noise reduction. and we were doing (the tapes) for both PAL and NTSC. "we're saving them money. the Museum of Broadcasting and w Viacom. So we'd have background sounds from the tournament and things that the um- pire would sax while mixing in what Kim and Cliff were saying. I'll be able to take my material.americanradiohistory." Delaney said. Say just for the Soundmaster. "ESPN was in here the other day. The suite is also equipped with Dolby A and SR. There is also a make specific macros so I can per. run it The smaller monitors are driven SPECIFIC MACROS through the Lexicon. "we have outboard Dolby encoders and decoders. I had a number of source tapes in NTSC. Other equipment in the Audio Suite are JBL monitors. So while Scott's working on different projects." says Schuman.com . dbx single - keystroke. ABC. such as a 30 -sec- factor I've been able to put together. "I usually listen off of the smaller near -field moni- tors. which can accommo- date up to two announcers. in the fact thatthey can do one conversion. In this particular case. 16. The audio suite. real handy tool. can then lay back audio from all sorts of different mine what frame rate I can use to which enables me to fit things into a sources. from people like ESPN. l is a larger monitors are driven by a "The Soundmaster enables me to Yamaha amplifier. as well as "modular-type" rack along with a dbx 900B system." concludes Delaney. It's a correction certain time -slot. we can patch right through and encode or decode Dolby from other rooms." "Basically." Delaney said. we have edited three seconds off." lock something up. That's been very help.35mm film mag dubbers with 16mm and 35mm optical heads. The third target area is the corpo. or work on it and send it overseas." Delaney ery service into midtown Manhattan "we're saving them money. do random -access editing. which will "enable us to hotels and everything else. them to PAL. Another is APVI General fact that they can do one conversion. here in PAL -to finish the programs 'This is what they need." ally re. and been too happy with. foreign language re-lays. "They need a cheaper. he sort-of a new concept here. "to shoot and edit then go back to our client and say little punching up." To that end. that the French have not But we're finding that it's actually guage. "We've had a number of people come out and supervise the first audio session with us." Figure 3. converting 20 to 30 hours of raw footage to NTSC to edit over here. "especially anyone doing international distribu. all sorts of different sources.B. for the least amount of money. gets back here and we get to analyze Post's doors. they're our clients' clients. It's a unique tal recorder.The film -to-tape suite. as opposed to what areas-people. equipment to lay in sound effects With a master's degree in radio and add music." says Schuman. "And after they see what we can do. "and some of the bigwigs at have to use conversions. every day. in the said. Schuman says his needed. edit overseas and spend a fortune on run a facility these days. Schuman remarked that there are Manager Andre Macaluso's travel and I can then lay back audio from three markets that International overseas (he's conversant in French. "This is problem'. The French Canadi." Delaney says. which was to money -which is what you need to o purchase of a Syncram 2-track digi." he said. weeks companies in the United States and to your home base and edit there. at which point the distrib- French!" On a more general note. if problem. producers overseas who need a usual route which would be to call a ans understand English. while opportunity" www. As long as our clients' clients are happy. and television from Syracuse Uni- Delaney has recently gathered up a rate market. the rest of our work is unsu- pervised." Schuman says. work on it and give it back. so-to." concludes Delaney. equipment and ment with what they hope will be the used to have to be done. They have a lot of tion. find out what they need. 'I have a "but they just like to see it in house able to operate in PAL. already worked on by to take all of your raw material back it and figure out what it is." Past is aiming for in the quest for Spanish and Italian) to get feedback business -the first being current from broadcasters abroad and find APVI clients. "There is a tendency. they now York University.speak. they'll sometimes to France. International Post takes several steps to expedite service that runs smoothly and efficiently. and then that which goes The second market is comprised of call us directly instead of taking the up to Canada.' And by the time the tape have come through International you're shooting in a foreign country.operated courier service which enables APVI free pick-up and deliv- "Basically. "we're actu." Crucial to International Post's suc- cess has been the ability to be of full service to clients -and clients' cli- ents-over time. from New group of equipment that will be become multi -national. pick up what we need. this is what "so we've been looking to purchase and then send them overseas." reflects utor would call us and say 'I have a points out that a lot of M & E tracks Schuman. many of whom are the out what they really want "because FOREIGN LANGUAGES major distributors of American pro. people. "And they know that if they have a for Viacom. One is the VSC." he muses. United States -based post production distributor and say." he says. have gone by." you'll have to give us. We can speak their lan- Canada.com ." says Schu- man. the 'final' Delaney works on an abundance of gramming out of New York-that is. problem with a tape. In some training and field experience (in VSC and APVI are shopping the idea cases. Schuman notes the concern that clients have about get- ting their product out and getting their clients (the people they've sold the program[s] to) the best quality they can. We'll send our trucks into the city.A.americanradiohistory. video operations and on -air promo- around in France at the moment. "As more corporations versity and an M. and they see an French material that they ship over APVI label on it. we're happy. tions production management) has He adds that International Post will national distribution and converting sharpened his expertise in "three also add to the Soundmaster equip.editing things for their inter. drums and vocals one at a time plers. dbx or market are made by Fostex. You can re- cle is a guide to equipment for a mixer.500 offer 4-to -8 mic A 2-track recorder to record the recorder. tape speed in most models. Open -reel is the inputs (perhaps with XLR-type bal- final mix (usually a cassette deck preferred master-tape anced inputs for less hum). www. two effects sends. pitch up a home recording system that This is a small.000 and $2. bining a mixer with a multi -track tape speed. or overall graphic. portable unit com. one or Microphones record and tape duplication. which amplifies their signals cord one or two tracks at a time. as a MIDI home corder.) see the sidebar for more informa. For ex- We'll focus on tape recording cord up to 4 tracks. Some able with 8. After re. and what and routes them to tape tracks. some also have ment is used in a 4 -track home stu. You'll see one of three able. you get cleaner. recorder .000. sequencers and drum ma. machine is the final product. all 4. with your recorder-mixer.mixers currently on the one or two effects sends. each with a dif. MIDI users should find this the mix on a separate 2-track re. optional rack and tures for different price ranges. offered in recorder. board part on one track.-to-use sound cassette recorder. Effects (reverb. You plug mica and types of equalization: none. You might prefer to master A 4-track cassette recorder - on a 2 -track open -reel Recorder -mixers costing between mixer $1. chronizing the multi -track tape to track system. yet is afford. bass and treble EQ. Tascam. please sion. cording the tracks. permit overdubbing and bouncing *Cables tracks. The recording made on that $1. 16 and 24 tracks or AMR. $339 to $2. electric musical instruments into the treble. to-six mic inputs. Their prices range from have a dedicated sync track for syn- more. MIDI instruments. Most units have a sync track A monitoring system (two speak- As prices increase. Brand - Let's look more closely at each of you can expect two mic inputs. Most allow punch -ins. home studio: what it does. ment mentioned here.mixers. chines). bass and tools. sweep- from a stereo system) format for commercial able (semi -parametric) EQ. mix or combine bass. then add cording equipment (synths. or ture. ample.trackers tion. delay. Altai and Sansui. dbx or Dolby C noise reduction and 3 -3 ips tape Mic stands speed. no effects send or one effects send. cord up to four tracks at a time. you might first record a key- equipment. either name metal or chrome tape is rec- these components. One model (the Sansui WS -X1) crisper sound and more features. This arti. sam. BRUCE BARTLETT and JENNY BARTLETT A Guide to a Home Studio IT'S EVERY MUSICIAN'S DREAM -SETTING 4 -TRACK RECORDER-MIXER Dolby B or dbx noise reduction. mixdown to 2-track stereo.americanradiohistory.500 suggested retail. In units costing between $500 and information useful. you can do just that. Yamaha. ommended for best sound quality. and some have an autolocate fea- ers and a power amplifier. rather than MIDI re. If even has a built -in 2 -track cassette headphones) you don't understand the features deck for recording the final mix. Vestax. compres. In Some blank cassette tape is needed patch bay (miscellaneous goodies). etc. The following equip. Recorder. With today's easy. ferent instrument on it. The building up to four tracks for later you get at different price levels.mixers costing under $500. multi -track cassette recorder can re. Dolby C noise reduction and 3-3/4 ips Although tape recorders are avail. You can re- dio. an autolocate feature. them to 2-channel stereo and record on the remaining tracks. You should expect different fea- Blank tape.com . typical features include two- studio requires most of the equip. most musicians start with a 4. At any price range. control and 1 -7/8 inches per second has good -quality sound. is the preferred master -tape format The condenser mie requires a bat- Good mica are essential for quality for commercial record and tape du.mixers with balanced XLR. An This is a useful accessory for re.trackers have 1/4 -inch you if the fidelity is adequate for your cording are probably the cardioid phone jacks for inputs. these mies. wires the audio signal uses. If plication. The dy- tape. to neaut Audio Devices. mie may be difficult or impossible to from other instruments. Qual. It's false economy a tighter. Schoeps. You connect this deck It will pick up the amp distortion and ing: condenser. but has higher sound quality ences in fidelity among them. Beyer Con. desirable for electric guitar. Sony. smooth sound. which could be remixed at a MICS namic mie is typically used on drums later date. The stereo cassette deck records sound more like a guitar speaker. sional sound quality.guitar amps. a wide variety of instruments with input. three basic types of mies for record- home studio. Some people are happy to condenser and cardioid dynamic. $100 may seem like a lot of money omnidirectional (omni) mie picks up corder. A sound. types and characteristics. you'll still want some to record be used in a kick drum. Audix. mica. ent takes. Although tional (cardioid). bass. boxes have reduced the need for ribbon mie is delicate and should not You might prefer to master on a 2. AKG. filter it (reduce the treble) to make it coil (usually called dynamic). if you use a drum machine. room acoustics and sound an electric instrument (guitar. Compared to a cassette you can experiment with various phantom power supply is a circuit deck. acoustic instru- tracks. There are Here's another major part of your nal speaker jack on your guitar amp. while others You can make realistic recordings of tween your instrument and mixer settle for nothing less than profes. Phan- cutting and splicing of recording Audio Technica. unidirec- DIRECT BOX each are recommended. Neu. Open -reel vocals and acoustic instruments. tom power is built into more.sophis- tape to remove unwanted noises. You can use one mie on several different instru- RECORDER I1 00000 00 00 ments and vocals if you overdub MIXER them one at a time. Good cassette decks cost Although synthesizers and direct and electric. a very clean sound. mann. home recording are probably the cardioid Use the tape suggested by the cas. you might need ELEC. Mies also come in different polar patterns or directional pickup pat- Two mies costing at least $100 terns: omnidirectional. You'll still have your 4 -track ments and studio vocals. or to Crown. dearer sound. You can buy a direct box for as good mies. If you G C 00000 U C want to mie a drum set. On the other hand. Sanken. ing the sides of the mie. tery or phantom power to operate. purpose. little as $50. In this case. use a mie instead. Countryman. ceive power. Electro-Voice. Teac. ticated recorder. you might POWER AMPLIFIER need 8 miss and 8 mie inputs. you can't skimp here and sound equally well from all around. get any sound on tape. provides a warm.americanradiohistory. but rejects sound approach- mie. A typical 4-track home studio from input to output. You would mix those 8 mies to one or two tracks. type mie inputs. A direct box or guitar cord picks up condenser and cardioid sette-deck manufacturer. or bidirectional. INST only one good mie for vocals and woo 00 O aooaao 000000 CASSETTE DECK acoustic instruments. Toa and Yamaha. using the same cable and permits editing. while the about $200 and up. Shure. you get what you pay for. tional mie picks up from the front directly into your mixer without a You may be able to borrow some and rear. Editing is the ity mica are made by AMR. you'll find big differ- more.com . The condenser mic is commonly your final stereo mix of the four tape used on cymbals. Your ears will tell The most useful mies for home re- Most 4. Also consider a minia- www. The mie change the sequence of songs. Fostex.A. denser mies. for a mie. The number of mica and mie in- MICROPHONE EFFECTS SPEAKERS. Sennheiser. simply use a short guitar cord be. A cardioid mie rejects sound from small device that connects between tortion or weird tone quality in the the rear. mally use for P. If you STEREO CASSETTE want to pick up the distortion of the Let's take a minute to explain mie DECK guitar amp. or try a direct box that plugs into the exter. or use the ones you nor. resulting in synth) and a mixer mie input which remove later on. the open -reel deck costs much that supplies DC powering to con- types of mies. Any dis. dynamic. A direct box is a expect to get quality sound.mixers. HEADPHONES HEADPHONES The most useful mics for Figure 1. but usually track open -reel recorder. simply plugs into the mixer to re- combine parts of two or more differ. ribbon and moving externally to your recorder -mixer. which may be un. puts needed depends on the instru- UUUUUo0000 ments you want to record. A bidirec- lets you record electric instruments to use a cheap mie. Also available are powered sis Microverb II. might be good enough to serve as a Alesis Quadraverb and Digitech 128 monitor system. Your home stereo from your mixer's headphonejack. you If you're recording only yourself. A snake is especially conve- Many recorder -mixers have two compressor. such as ±3 dB). making it easier ing three harmony vocalists. if you're overdubb. A multi. The Tascam Porta Two is a practical all-in -one mixer/recorder. 12 to 16 gauge The most essential effect is rever. taining several headphone jacks. Effects such as reverberation. This is a sug. high-fidelity types. For example. cord. 40 Hz to 20 kHz is excellent. all. This is the range of frequen- cies a mic reproduces at an equal level (within a tolerance. The speakers should be accu. Four types of cables are mic cables. headphone jacks for this purpose. inch phone plug or a male XLR -type mini -speakers with built -in amps. viously recorded tracks to sing with. You tape it to the underside of the raised lid. wired to a thick multiconductor cian. Studio vocals and acoustic instru- ments often sound best if the mic has a flat response ( ±3 dB variation or less).com . with multiple mic connectors. It's made by a de ay unit. A com- good to you on a particular instru. EFFECTS Plus. you can record a drum set with just two or three of these. cable is zip cord or lamp processors. ing. a small club. patch cords and beration. type. usually a female XLR- you to reduce the influence of room $200 and up. This lets you hear what you're re. guitar cords. Home-stu- MONITOR SYSTEM one needs headphones to hear pre.americanradiohistory. at once. nient if you're running long cables to www. response can have a "presence peak ": a rise in the frequency re- sponse around 5 kHz. not a rule. customize the sounds by pushing rate. Another popu- lar mic for grand piano is a boundary mic. such as made by dbx. You can even amp.guitar amps.. costing at These are wired to a cable coming buttons to change the presets. all if you're recording another musi. time or several at once. which also provides other effects might consider using a snake: a box one set of headphones is enough. They are cables are needed to carry signals and each loudspeaker. get a mic with a wide. as you hear just after you shout in an A mic cable is usually 2-conductor- Two typical studio -quality monitor empty gymnasium ( "HELLO -O -O. Still another signal processor is a cable. Once you have all this hardware. or a could build a headphone junction These effects can be heard one at a pair of loudspeakers and a power box: an aluminum or plastic box con. doubling and flang. Another popular effect is echo. smooth frequency re- sponse. you both need headphones. dio units start around $125. On one end of monitors. These are close-field concert hall. you bines several effects in a single box. hello ").effects processor com- cording and mixing. 60 Hz to 15 kHz is very good. This effect is usually produced the cable is a connector that plugs three feet apart and three feet from by a digital reverb unit. a connector that plugs into your mixer. the Figure 2. pair of high. cables to your recorder -mixes. between your power amp citement to a recording. CABLES delay and chorus can add sonic ex. Some least $100 each. or a cathe. shielded. such as one of the Crown PZM series."). If It's normally used as an automatic gestion. which means it has two speakers suitable for home use are o-o-o. more -even volume. Now we come to the fun little A speaker cable goes boxes. surrounded the Yamaha NS -10M and the Digital of space-it can put your music in a by a fine-wire cylinder or shield that Designs LS 161. Reverberation adds a sense wires to carry the signal. which you place about dral.quality headphones. This produced by devices called signal from one component to another. If a mic sounds you want to overdub several people volume control for vocals. use it. but such as chorus. examples are the Yamaha SPX1000.. reduces hum pickup. available for into the mic. If the mic is meant to record drums or electric. You can use a To connect all these headphones. Listed below are three quality levels of frequency response: 80 Hz to 12 kHz is good. each to hear throughout a mix. a slow decay of sound such speaker cables. On the other end is either a V4- acoustics.ture omnidirectional condenser mic. One example is the Ale . Mini -speakers lack deep bass but repetition of a sound ( "Hello hello Rather than running several mic take up little room. headphones are needed for pressor keeps the vocal track at a ment or voice. For best sound quality. you might ing fluid and cotton swabs to clean even be able to record commercial connector on each end. but is not quite recording equipment in a separate metal enclosure with mounting good enough to make demos to send room. You also can bypass or 1 multi-effects processor $400 Patch cords connect your recorder .060 mixer to external devices: an effects Miscellaneous equipment for your This system is good enough to unit. patch cord is two patch cords joined to keep track of what you're doing. and paper and pencil tapes and albums. There's always RACK PATCH PANEL ferent home studios.) If your band has simple instrumentation. putting together a combine it into a complete recording high -quality home recording system system. If you want to learn the basics of multi -track recording without spending a lot.640 open reel. you can save money A speaker cable goes between your THREE STUDIO SETUPS by shopping for discounts. stereo for monitoring and cassette mastering. Let's put together three dif. tions easily. lower prices.shielded cable with either a label inputs and cables. 4 headphones (for overdubs) $160 and drum machine. If your band has ductor. strip. A good. patch around defective equipment. All the prices given above are sug- together.tracks on quarter -inch Total $1. we're ready to to 16 gauge. head. This budget system can be used to document your ideas. stereo cassette deck and power home studio includes a power outlet make demo recordings to send to re- amp.clean- 1/4 -inch phone plug or an RCA phono simple instrumentation. a wooden or We'll assume you're using your home your own studio is within reach. you might even be able to record commercial tapes and albums. This cable is zip cord or lamp cord. www. tor. work out mu- sical arrangements. Now that we've gone over the nec. Consider power amp and each loudspeaker. holes for equipment. 4 -track recorder -mixer $1. It's good enough to make audition tapes for club owners and music publishers. Using a patch panel and patch cords. You use it to equipment inputs and outputs. synthesizer you can change equipment connec. This setup is good enough to make audition tapes for club owners and music publishers. gested list price. but not good enough to make a demo tape to send to a record company.500 record instruments direct: the elec. 4 miss ($250 each) $1. As we've seen.quality 4 -track studio 4 -track recorder -mixer $840 4 miss ($150 each) $600 1 digital reverb $200 Figure 3. masking tape and a pen to cord companies. You also may to record companies (although some A guitar cord is made of 1. A patch cord is made of 1 -con. and you borrowed some mic stands from your sound -rein- forcement system.000 tric guita4 electric bass. The Foster R8 gives you a full eight.americanradiohistory.com . too. That dream of owning processors in a rack.shielded cable with a 1/4-inch bay: a group of connectors wired to A high -quality 4-track studio phone plug on each end. A stereo the tape heads. A personal studio 4 -track recorder -mixer$449 2 mics ($100 each) $200 Total $649 (Optional effects add $200 or more. buying used equipment. each at a differ. this is the way to go.conduc. 12 essary equipment. better equipment being produced at vv nalYou might want to mount your sig. want to install apatch panel or patch would disagree). or to play your song ideas to your band. needn't cost much. Total $3. ent level of price and sophistication. While the bass professional polish to your produc. Fancier recorder -mixers have rewind or return-to -zero. The result is a cleaner. While listening to frequency you want to adjust. FI www. A instruments-all in sync. such as a re. if your effects device is a ste. It will sound rather dead and could have your sequencer play syn- cordings made at 3-314 ips sound plain. If your mixer has such an input. midrange and tre. rect part which is recorded and reverb) combines with your stereo you can run long mic cables without punch out of record mode when mix to enhance the sound. Plus. sequencer tracks. With this switched off for more. you can play stan. The noid switching is gentler to the tape. For exam. drums and key- more crisp and clear than those lets you add one type of effect. record music. The re- Punch -in/out: This function is ceive or return connectors in your XI. fects. Dolby B is less effective. more searching for the right spot on part on an unused track. noise-free re. but re. drum track and verb or delay device. but a dedicated sync Insert jacks (access jacks): ing tracks. tone.R. with two effects sends lets you add sette deck plays vocals and acoustic Pitch control: This adjusts the two for even more sonic interest. On machines run.sound- have no equalization.per -second If your recorder -mixer has no ef.mixers use 1/4 -inch punch -in with your foot while play. bass and treble control.trackers which lets you continuously vary the that you marked "000" on the tape have this feature. Sole- the guitar on an unused track. Inside three small holes arranged in trian- before the mistake. you dard commercial cassettes. tape! Elaborate machines can move ple. your mixer. As the tape mixer receive the processed signal These mic input connectors look like plays. you can still tone synchronizes tape tracks with ning at 1 -7/s ips. No along with them and record a new over the tone quality of each instru. sor) in line with an input signal. feature. Effects add a Solenoid switches: When you your guitar signal. Others have a single 3 -band wind in trees. RECORDER -MIXER FEATURES Overdubbing: All 4. freeing them for re. you're stuck Noise reduction: This circuit re. Tape speed: This is the rate at the tone. reo unit. section and a receive section. one set per Autolocate: Also called memory and allows noise reduction to be input. you can record up to nine tracks to be switched off for vocal. but a that affect bass. Simultaneous recording on all send section is a row of aux -send and often includes logic which pro- tracks: This is especially useful for knobs and an aux -send connector on tects the tape from rapid changes in recording a live performance. This counter. tracks to the pitch of new instru. you send to the effects device. recorder can record the sync adequate for small studios. Most inexpensive units include a cordings. tone from a MIDI sequencer. accept a footswitch so you can Most recorder. you play your tions. dubbed section. with the sound you get from your duces tape hiss. units permit this. In this way. more -reliable recording of units have this feature. play a new cor. bass and drums.americanradiohistory. andyou want to add set of connectors for hooking up an at the beginning and end of an over- guitar. Sync track: This is a track (usu- cord/playback head. Not all your mixer that controls the signal tape motion. so you don't need to synth outputs) rather than from "tone control. A unit with one effects send thesized bass. which tape moves past the re. It's convenient for repeated tracks you've already recorded. You listen to a headphone mix external effects unit. but all corder can record the sync tone. when you do your mixdown. a rushing sound like mies. Two speeds are ally track 4) used to record a sync available: 1-7/i3 inches. punch into record mode just back from your effects unit. and record The effects loop includes a send chanical or solenoid operated. tape. picking up hum. ment you're recording. while your multi -track cas- made at 1 -7/s ips. ing mix. mix two or three tracks These connectors let you plug in a together and record the result on an track has its own input compressor (or other signal proces- unused track.reliable re- sweepable or semiparametric EQ. original tracks. and allows noise reduction They make it easy to modify the cording more instruments. the processed signal (say. but without any ef. say. tracks for not much money. the action can be either me- guitar along with them. Most recorder -mixers tor is found only in high -end units. In this sound of a single instrument or way. of the bass track. input connector for the sync tone. Any track on any multi -:rack phone jacks for mic inputs. Bouncing tracks: When bounc. Dolby C and dbx work Any track on any multi -track re- graphic equalizer:: sliding controls best. which is ingyour instrument. suppose you already recorded Effects loop (aux loop): This is a between two memorized points. all the ments to be recorded. push one of your tape -motion con- and drum tracks play. the tape rewinds to a point cording of the tone. tape speed up or down slightly so you stereo return lets you hear effects in This is a great way to get extra can match the pitch of recorded stereo." The simplest units buy an external reverb unit. gle. trols. -type balanced inputs: used to correct mistakes. a unit boards. Only the more-expensive with a 4 -track machine. help you make clean. This type of connec- you're done. dedicated sync track has its own ble. Some recorder -mixers have digital synth tracks play "live" (from the EQ (equalization): This means reverb built in. fects sends (aux sends). play type of EQ offers the most control practices of mixes or overdubs. The (ips) and 3-3 ips. You can then erase the connector for the sync tone.com . with fairly large project studios and ing. It's a post-production. better work for clients for five main alog machine. desk never failed me. I've got many years of excellent ser. enormous amount of time working ation of this kind of facility was not vice to look forward to on a desk still on projects. RICHARD DEL MAESTRO The All. to take my work to another facility. them (zero set -up and breakdown that kind of machine. Corey Davidson interviewed Richard Del Maestro about his work in the article "The Electronic Cottage Moves Upscale. promise on the quality of your desk. serves to show what a contribution consultant I worked with never sidering: When I built this studio. I'm in relative seclusion in this played it. This can be a problem. (That's a lot to ask a singe. al- least primarily. It will be interesting to see the devel- opments in portable digital multi. I opted for a machine that is of Trident's largest consoles. Having a 16 -track 1 in. ries 65 desk. he down. Not only has the Trident up with this. HE REASON I SET UP A RECORDING significant time with that equip. gineer as excellent as the man I've with a larger studio takes more en. If reasons: 1) I can work on the project rower format tape.compat. and the collective mediocre desks. electronic cottage. ergy than if I had a 24 -track 2 in. In fact. because so I often see articles on producers where in the house when I'm work- much depends on the kind of equip. I the right engineer can make in this mentioned this point of interfacing wanted to be able to grow into my context.) tastic console. the first policy I established was that I would never do my own INTERACTIVITY ible machine and the world of out- mixes. worked with for over three years. When I built my studio. it would be easier you're thinking of going with a new at any time. 3) my set. Mike Harris. and I'm really glad I did. because of its perfor. myself about this. are handled. Even my wife vice than I got at the time. because it and go. and I could just grab a reel BUYING QUALITY experience with him. like those using a nar. the prolifer. and m ment available.com . Had I opted fora lighter an. The experience of being manufactured (better than space is very quiet and focused. so you can do erything. and replacing it after just a few sensitive engineer. console. psychic space to be violated by an in- so it was hard to get much better ad. The projects I do. of human contact we producer/stu- spired to) without watching the timal choice). jingles or mance. in fact. The ambiance in my what it is today. and the audio quality is excellent. For- transfers between your non. able DAT machine. check out the manufactur- ity with the equipment.In-One Electronic Cottage In the January/February 1989 issue of db Magazine. "Here is an update by the composer about his activities and experiences. lowing for the producer's creativity. 30 ips ma. equipment that best serves my A GREAT ENGINEER My advice to anyone building a needs.americanradiohistory. chine (a non -standard format). I'm fortunate to have found an en- means that interfacing my studio track units over the next few years. but it's a fan- 1 studio was to have a facility for ment has elapsed. dio owners experience by doing ev- clock. at my facility. bless her heart that she actually puts feedback that can only occur after prises me. tunately. It's worth sharing my machine. it would be very easy for that kind of of facility had not really matured yet. of the technology developed for some whether they are albums. and I have been strict with side studios while remaining in sync. so I purchased a Trident Se. 4) I am able to acquire the edged sword for the smaller studio. and it always sur. console. since I spend an (Even three years ago. with other studios. benefiting from much my personal use. years). I can do MS 16). by just lugging the machine there. and pro audio consultants with this kind feeling unhappy because of a com. 2) I have total familiar. It's a double - time). a 24 -track 2 in. the Another point I feel is worth con. (perhaps still the op. Barbara is not allowed to sing else- the field is still maturing. and 5) I can afford to work as new project studio is to either go with Much has been said about the lack long as necessary (or as I feel in. or get a SMPTE sync. at too heavy to move easily (the Tascam substantial tool for the engineer. ers of Trident Audio's caliber before tings in the studio stay as I leave but the quality would suffer with settling for a lesser mixing console.) www. In my case. shock) to thank them for doing such 4) he inspires me either by showing a great job of monitoring the air- me something I didn't imagine I'd Of course. After all. have grown to understand more derstanding of your personal space pointment that I have to anticipate about the dynamics of promoting an to come in and make you wish you or endure. the gong that happens ideas and let me produce. I've lost count of the number of sta- 2) he learns the music fastest that checks of some artists who tions. Language of the Heart calls me back in. and because of it. that my first ing me feel guilty for asking for what EXPANSION RECORDS check was higher than the royalty I want. look at this article-it's ultimately turn out. the real McCoy responds! GETTING AIRPLAY Harris comes in and quietly works on the mix. I find our working an album to market than I could neer. both ends of the project. rut in advance. he is right there. It not only Davidson (who not only heads Da- nician. utter amazement. good friends. I said. There is an incredible learning experience. ing technique is excellent." He said. new age instru- want to use or by creating a contrast you've got someone whose engineer. I top 100 of Billboard's country chart! www. Harris is a great engineer. but has also privately tutored When I found that article. pectations about how the project will me via long distance telephone calls "Hey Mike. The author sits among his many creative tools. Figure 1. mastering session for Language of The head of the department that If I tell him to change the whole the Heart. and when he's done. Billboard's country chart! so high I called ASCAP (in a state of self artistically and experiment. Here are my rea- sons: that my first check was has been on more than 1500 radio higher than the royalty stations here.americanradiohistory. I confirmed my opinion about What do you think the ASCAP moni- 5) he is as willing to let go of his Harris (keep your eye on this rsing tors refer to. the top music humility and a willingness to serve it gets me out of that project studio electronics repair firm on Long Is- the producer instead of his own ego. makes to have the right engineer.com . In my est thing to identify on a radio log! ing my original vision in place. my first check was 3) he gets a chance to express him. I cannot over. true friend!). handles royalties told me. he the article about me in db me. thanks anyway. The head of the department In 1988. 1) He's great. to my mix and start oveiì rather than mak. in Europe and Japan. have ever imagined. mental music is not exactly the easi- I don't want to use. by setting up my ex. but also a good person with adds greatly to the final prodLCt. it is important to know waves. I've also made view with Roger Nichols (if memory Which brings me to my point: hav. which he said that a ing a fine engineer here works at Elaine Zide at db Magazine and great engineer is not just a good tech. Who needs an engineer with no un. relationship to be very inspiring. though. Magazine. to my utter amazement. but the ASCAP checks keep way. as he is to star) with Bernie Grundman at a at 02:53 in the music? try out his own mix. I remember reading an inter. on how to properly demagnetize the about you. es. thereby cement. get to the top 100 of coming in. "You're being emphasize what a difference it multi -track heads-now there's a too generous. In fact. but vidson Electronics." Just goes to show you how pecially in such an intimate setting. I released my new age pletely alone and let him do his own that handles royalties told album Language of the Heart. land. and case. including Larry and serves me) ir. making me Having a record company has been checks of some artists who get to the feel I can have what I want. no competition or sense of disap. artist and the nitty-gritty ofbringing were alone again? Enter my engi. I like to leave him com. Since mix first. com . new age music for inspiring the best songs would be used for two al- m pany do that end of the business. and they missed the peak of pressive in its ability to not only grow hours during those four days. however. I believe it will continue as great. nerian Samba. How can I get it?' It has course. For that gain Some of the other projects I've doing all that radio promotion my. I expect to innovating time schedules like the line at release time. deciding the ways aspired to own a record com. formed). writer Dennis Gersten. which I'll probably call "Wag. and I realized that build. Unfortunately. Fleet Space Theater in Imagine my chagrin when those for the prestigious Reuben San Diego. despite the fact that I album. but in than me. also want to experiment with much they needed fifteen minutes of music vinced the big distributors to pick me more percussion. so the melodic I produced the title track on an make sales. we time. and wait. it will evolve and grow.americanradiohistory. Pachelbel. It would have been tail distribution to get it on the lease. The radio play has been tre. but to appear in every. I've decided to stick to experimental sounds and styles. and I must say the publicity didn't have the budget of a Windham and airplay will do me a lot of good in OTHER PROJECTS Hill (the premier new age music the long run. The assign- a locomotive. I one they gave me for this project. thing new. and view it later that morning. by the working title of my next re. In fact. of devotional music for the Sathya STICKING TO MUSIC I am particularly excited about Sai Baba organization. I really enjoyed work- cent for months on end. I had to create the machine to quite contrapuntal. There were Now that I know what I've been producers using more dreamy and some interesting problems. The songs were sung in a www. if you've got cars to ited tremendous longevity (on the ment was interesting because the pull. ger with music that widely per- tablish distribution with the large in. Theater's national reputation for in- Lastly.) In my case. I have often heard from and I think we succeeded in making company is like a locomotive without fans that they listen to the album it inspiring rather than trite (a dan- a payload. as may be obvious and gave me seventy -two hours to do up. having a track record. mentation. my bedroom at hand for a nap. The distributors took too long to The new age sound has been im. movement towards more experi. There's nothing like label) to get me there. it was very pany venture has been worthwhile. for the prestigious and posters) even on just one title. was kind enough and stress our society picks up. the more speed say `I've searched and searched for neef John Young. He seemed even more surprised There are several record compa. To a We recorded thirty songs over an music and let the people who have al. I've done recently. mendous. Nevertheless. nies interested in picking up my next form itself." own facility. you must have your major My new goal is to establish a novation in their field. Of course.m. and quite enjoyable to do. been doing include composing and self has taken its toll. to front a lot of product. Without air at some major stations for three song is based on Pachelbel's canon a large roster of artists. I am currently working on another tion (very orchestral). its content will deepen and broaden Most recently I produced an album with time. and in the stores. over and over and always hear some. it has exhib. thousands of CDs and cassettes (not One of the more inspiring One of the more inspiring projects to mention the promotional copies projects I've done recently. so at the very least. However. those cold showers a distinctly identified style for a long were the best help of all. it had been released for thing from car commercials to fea- almost a year. DISTRIBUTION this time I'm using more percussion. And when I Wherehouse) no longer stock it. and I finally called the more I expect new age music to grow he could mix the final music into the radio station that plays it to get your in its relevance and acceptance. focus is somewhat softer than it album called Coming Home by song- ing a record company is like building could be. By the time the song was in popularity. the to meet me at the facility at 4 a. alone. a record years now). however. Coordinating a radio hit with re. producing "The Incredible Land of draining to work the phones for Wow!" an instrumental children's months to the exclusion of producing album. Whew! been really frustrating. and it was new age instrumental album. album. Fleet Space Theater in 2 Spacecraft. It's not economical to es. missing. Even though I probably slept three decide. bums. it's worth the expense. ble. I tried not to violate the in- dustry record distributors unless you point has been a key factor in keep. not to continue (I only had new age distributors on album. is the story of the Voyager thousands of copies didn't produce a H. greater melodic focus on my next promised. They have distribution channels already open. so your album. ing it interesting to radio as well. I wrote it in the spirit of the THE NEXT ALBUM Disney Studios tradition of composi- music. is the story of the ing with Writer/Producer Dennis how it works. it down play the use of counterpoint. while arranging and mix- It takes an enormous amount of ing the orchestrations so it wouldn't money to manufacture and ship compete with the vocal line. Perhaps that counter. the theater's Engi- get many letters from people who thirty years. I'd have to say my record com. the who are responsible for the Space lack of cash flow can kill you. much harder to pull off without my shelves simultaneously was impossi. certain extent I feel we can thank eighteen hour period. tegrity of the original piece by can give them a line of products. was the astounding airplay that con. Mammana and the talented staff. having my airplay. was stores (like Tower Records and ture films. not just in sounds. Now that the major the kitchen at hand for a meal. unless you can afford Voyager 2 Spacecraft. perhaps another twenty to did finally finish. And that's San Diego. Of sound track in time for the Press to address. it start to finish. Reuben H. the executives who commissioned In addition to promoting the The Language of the Heart album is the work never released it. olution in our industry. When that out in spite of everything. File your taxes now and file accurately. As bals. friendly user). I believe. It's the next with equipment. the original takes could never One of my future goals is to do more charity work. regularly with the many project studios is inspiring a wonder- On top of that. multi -user interfaces like New En- ing sessions. It's the next logical rev- loose production rhythmically.:. we'll see the FRIENDLY USER lead vocalist was in the same room as larger studios interfacing The advent of the large number of the response group. we had finger cym. enough headphones for each of the 20 musicians who participated. Do yourself a favor. Ever wish you could start your day over? TODAY. and look challenge to use those powerful fea. and at the and the recording time for their na. cropping up. Make your taxes less taxing Well. P. find language that musicians could good number of charities. and we with a tempo map while syncing to that's a subject that deserves a sepa- didn't have individual mics and SMPTE. -Srrtedln -An y. but now it's becoming a to sweeten it with synths.response fashion. I believe.com . now you can! Buy U. In order to coordinate the music. offering to After that was done. Performer was not yet able to tional PSAs or for important docu. Box 996. call or visit your local IRS office. CA 92007 or (619)944 -3456. Because these musicians far. and Get Your Future off to a Good Start! . Har. I am Performer's new soft -console mix. a narrator relate to. room. so I had to play every. ful new dialogue in our industry. in order to stay reason. There is a greater part- maintain.leader.O. The only one to take me up on the many project studios that are were not all pros.p www. sync its wonderful tap tempo feature mentaries. this was a fairly this was The Red Cross for the Ar.. Things like was tough to anticipate their unin. the Soon. I've contacted a Until now it was the tech's job to quite be lost. nership developing between those were quite a challenge. actor Bill Del Maestro). collaboration becomes the norm.S. be leading us towards establishing a pleased with how the album turned ing features for my next album. logical revolution in our ceiving better and more musical aration was still quite difficult to feedback. but sep. two -way street (user friendly meets time. I'm also experimenting with gland Digital's MultiArc all seem to ably in sync with the music. If you need help doing your taxes. Naturally. duced a spot narrated by my father. I've been quite amazed at Soon. But ture! Richard Del Maestro can be reached at Expansion Records.americanradiohistory. and it menian Earthquake tragedy (I pro. What a fu- allows Performer to be programmed important job -doing the mix. It's a basis for such a practice. a tambourine and an Indian project studios that are musicians are getting more intimate drum (mridungam). portable digital multi -tracks and tentional rubato during the sweeten. The lead vocal retakes industry. cropping up. technicians are re- ris was there to save the day. the lack of response to my offer thus studios interfacing regularly with thing live. Cardiff by the Sea. Savings Bonds Do them today. rate discussion. we'll see the larger with SMPTE. the forward to doing the next album tures to control dynamics via MIDI excitement will be unstoppable and using the new sync feature that now without impinging on my engineer's everyone will benefit. Due to the who produce and manage the hard- original lead vocalists bleeding ware and those who create and pro- through on the other mies in the THE FUTURE duce the music. I then decided contribute original music. Wetzel re- thousands of hearths.A.. and on this particular Sunday. Much better quality re- System probably would have come Navy Department Research Con. when Hitler still believed it pos. Paul. disks.S. In 1944. The date: Sunday. England. ing Co. which was using coming struggle. fred Wetzel who was unaware of the developed by German engineers. was shown by the United States same interests and ideals in the up. were being used by the U. and working tape o0 cialty Products Division what the end product would be used recorders and V/4-inch tapes in the www.com . phone engineer Valdemar Poulson. A young Signal Corps techni- cian. cording was needed. 1940. Furthur Brush was terest. however was not the States had yet made a magnetic tape tuned their sets quite properly heard only country in which experiments recorder. taining tapes coated with an emul. INDOORS. they did so. being somewhat secretive about used in the field. Navy Department. lied on tape for virtually all of its pro. Magnetic tape had existed in Ger. Belgium and Scandinavia. and that once applied to a paper backing it continued to rust. So had been a fact of life for nearly six the same concert at the same hour the 3M scientists tried a number of months. research contract with the Brush Co. of Cleveland. the results were so good it became diffi. known today as 3M.americanradiohistory. wing forces in Britain and end the war. no one in the United Suddenly. received a request from the Brush ers with Brush making them under signed to convince listeners that Development Co. but what really tract which called for a coating of the source of the Navy Department made it work was magnetic tape. listeners who hadn't Germany. British listeners techniques for gluing the particles to fall. King. recording head. if 3M would apply it to a sample strip AT THE WAR'S END bition in 1935. Wil. NBBS. which many. for. World War II gramming. but even greater interest Germany and England shared the The Brush Co.S. became part of a from the live perfor- ß cult to tell themwhich team assigned to examine materials mance. was.. Twilight comes early to London at that time ofyear. 1920 and commercially since its in- Brush agreed to supply the powder troduction at the Berlin Radio Exhi. Jack Mullin." and an upper-class English ducted. BACK IN to Brush. Army tem. What followed was an evening already producing precision-coated Corp of Engineers and our Allies of popular and concert music. iron powder on very thin backing. What made the By the end of the war the Allies NBBS broadcast remarkable was of backing so that it could be tested. 3M Audio/Video and Spe. the samples were mailed MEANWHILE. One of the first problems he mter Weber found that by mixing a achieved much better sound quality very high frequency signal with the faced was that the oxide supplied by Brush turned out to be nothing more than was possible with phonograph !.coated plastic tape. and that was into being anyway. Londoners bourg. licence. making it possible to air anything it came in contact with. Wire recorders. sion containinga uniform dispersion them to record what they could in- of ferromagnetic powder. Whatever the purpose. re.). He found parts of recorders rector. (these were Armour SO wire record- spersed with "news" programs de. recorder that used an iron oxide - work which had been done in Ger- Drs. using the the familiar strains of "God Save the with magnetic tape were being con. than iron. alized that the coating would have to relaxed with their Sunday newspa. eight to ten inches long. powder. the patented in 1898 by Danish tele- voice announced the inauguration of Minnesota Mining and Manufactur. about to launch many on an experimental basis since the era of magnetic tape. Another problem was left by the retreating German army that 3M had no recorder. OH. it mixed with fog and smoke from thousands of fireplaces to wrap those unlucky enough to be out ofdoors. 25. a rn Rundfunk-Gesellschaft engineers. In September of 1944. along with 3M. The task was handed over to Dr. audio signals during recording. Feb. IN FRONT OF HUNDREDS OF commercial transmitters in Luxem. principals of magnetic recording. THE U. the New British Broadcasting Sys. onto quarter -inch strips of paper War. were aware of the magnetic recorder the development by two Reichs. under a special messages. was "interested in ob. As fast as sible to form an alliance with right . used captured changing its chemical and magnetic properties. St. inter. ItiJ-444404" DON RUSHIN Hi -Fi to High Definition: Five Decades Of Magnetic Tape The place: London. but the first bombs had yet from all of them. "Scotch" pressure-sensitive tapes. nor even a and to pick up items of electronic in- a Don Rushin is the Marketing Di. It was the era of the Phoney wondered how it was being done. be smooth if it were not to wear out pers and the wireless. Otto von Braunmtihl and Wal." The tercept of German U -Boat radio The New British Broadcasting Brush Company. structions were worked through the seeming remote. informed 3M that its ness that others were experimenting alive and advancing. At a WWII Radio Stuttgart installation. chemists and lab technicians had proved costly for 3M and. By 1945. to show interest in building record. to www. funding questions became seri- persion of ferromagnetic powder finance its own research based on ous. But the prospects of being there were farsighted men in 3M merely a producer. who. 3M considered putting the that would withstand being drawn the potential for extensive post-war whole project in abeyance since no over a magnetic head to record clear application. Figure 1. and perhaps dollar magnetic recording industry. 3M physi. the opment costs and growing aware. 3M management consid. indeed for today's multi-billion- ity magnetic recording. 3M physicist Navy Department contract work with tape and many more beginning Wetzel foresaw a broad magnetic was finished. were developing for Brush and the As months added up and scores of had produced not a cent in revenue experimental magnetic tape con- Navy. cist. electromagnetic signals. first American workable magnetic tape product came into being. an operator threads a Magnetophone tape recorder. kept the project Brush Co. others. as yet. The goal further orders were forthcoming At first. was to be conducted directly with eventual inclusion of a magnetic Almost simultaneously. studios of Radio Frankfurt in Bad opment work on the magnetic tape ers. turned their decision towards Nauheim as well as elsewhere. Fortunately for 3M. with huge devel. by force of argument and en- At war's end in August of 1945. Photo courtsy The Pavek Museum. tape potential in "pulse recording. was to produce a tape for high -fidel- ered being a contract supplier of fin. a magnetic -coated tape with a with prospects for any future return smooth surface and a uniform dis. Brush.americanradiohistory. from Brush. But 3M elected to labs. and.com . and that further devel. thusiastic evidence. The previous year's research tape in the 3M tape products line. the ished product to Brush. The project at the 3M laboratory acceler- believed that transcribed shows those recorded in advance on 16- . live..com . to make a broadcast out of it. But Crosby. station KFRC. the first Crosby show of the upcom- both requiring tape. A/.'P. lish problems for the singer. coercivity. and the Crosby's technical directo4 that Mullin also faced another prob- room was packed. a backing of acetate film rather than the earlier paper samples they had made. It was expensive. 1946. apply to all kinds of handling. inch discs which revolved at 33 L`3 they saw how easy it was with tape. He saw might provide the solution to a tick.ranked scheduled as the speaker at the regu. couldn't handle the tape's higher some of the tapes he brought back ished show. 3M learned and the fledgling ABC). the "prestige" networks (NBC.lz s l lj/ =et D Rul/r- l Ifessel 6.au/. and the reaction was little consuming. people wanted me to stay right there and go through an editing process.f/r1 maryrr fnl9asun9s9e/apr - lv. bad -particularly when one section with a tape which would work on www. all programming. Jack Mullin was came back only when third. gineers. Healy be..ga fÌrrfylr^rÍlufn^r . one day in August.rylo il Arelon -RudY9ewrnnun9 -TrocRenga s im KreiJlau/ n Figure 2. while Healy and McKenzie re- sity than wire or steel ribbon. Broadcasters and sponsors alike corder to show in New York. The next thing I knew. and most of all.r.. had insisted on freeing himself only his two rebuilt German record- from the weekly grind of appearing ers and fifty reels of German record- THE IRE MEETING live at the microphone. meant recording bits of the show on lem -the 3M tape was incompatible cordings of an orchestra. step to magnetic television pictures lieved that Mullin and his machines 1947. Wetzel and his associates with him. time . CBS corded it on disc. at least on ment.. 1940s. I had a job re- May of 1946. Mullin played re. To Murdo McKenzie. then re.recording with the German machines..oó/iller Rul/r - ZwisrhM /fesse/ srl`aA HcridrurlCp. He sat out ing tape for the task-luckily for him the 1945 -46 season entirely. provements progressing rapidly. - y.lrer /9Celylcellulose Lrsr. This coating process for tape was used in Germany as early as 1933." He One of those who heard about the had to be re-recorded two or three also concluded that since sound demonstration was Frank Healy of times. In the ing season on his German equip- tential for much higher signal den. and by 1947 3M could provide replace- On May 16. which had po.americanradiohistory.eper Ga.r. I did. Mullin was called in to record would be highly practical. one of the high. and ated with binders and backing im. Accordingly. pr Grunt/Pr./J app ara lu. the rest of the season..record the (now called) Philco Music Hall but only as long as the ratings re- . held at the studios of radio mained high. The problem was that Mullin had ble. Healy and HIGHER COERCIVITY ment had been promised. the Bing Crosby Enterprises. "The result of the In January of 1946. which and a pipe organ that he'd made on from one to another to produce a fin." being produced. A demonstration of the German tape recording equip.s e. ments with a commercial product on lar meeting of the San Francisco chapter of the Institute of Radio En- ABC promised to let him pre. vocalists a series of discs. By rpm-sounded inferior and audi. est -rated performers in the NBC sta. was done demonstration was that the Crosby that Brush was developing a tape re. large usable quantities ences would resent their "canned" cording the Bing Crosby Show for of paper -backed tape were already quality. Cn6onylr. could be recorded magnetically. sounded went back into the lab to come up to short of a sensation. but because of a open. When the network signed Mullin's German originals. the Ampex engineer. who planned to use it to facil. joints would come apart and engi. Association of Radio and Television Nov 2. Editing was done by cut. was rushing to com. wasn't up to the high.m. Splicing tape at Gradually. And one of the prob. was never sure how his splices mands of the VR -1000 and placed a TAPE USE SPREADS would hold up to the high tensions of phone call to Wetzel in St. scrap. and tran. the station came of it just then. Once ABC 2. corders. until that long weekend on a series of recorded at a head -to -tape velocity of broadcast engineers discovered that discs. Crosby had been instru. thus ending his Daylight Saving deadline of 1948.minute reels worth reassembling the tapes for use again it was to have a profound effect on all of it. where coated two five. dusted off the transcription turnta. he discovered that it just knew the medium better than any. Could 3M do it-and in Somehow they did -but just thrashed about. 1963. it was with a fixed -head brute - been the first network to embrace gamble on broadcasting directly force recorder which consumed recording tape. they'd pro- Mullin remembers checking each dust. forerunners. they a 16 -inch disc rather than from the inches per second past a rapidly-ro- managed to finish just in time for tating head assembly. Other networks recorded their tape simply didn't break. TX. When Lee However. Because Wetzel 1948. it was broadcast from by using a wide tape at a speed of 15 reused the next day. it made two speed of 15 inches per second. During the McKenzie and his crew.americanradiohistory. The day before the show was to fail the engineer had only to switch cause it actually did. 1. sample after sample. ABC engineers realized That practice persisted not only at that history was being made. recorders which business on its own. the VR -1000.Gionally the soldered tion. ited quantities. But Wetzel had already left for in the next week. scription turntables began to gather Finally. the musicians hired to the time meant "Scotch" sticky tape stand by lost sinecure. and splice on a just -broadcast reel. ent playback decks. Blattnerphones. one of the Ampex staffers de- to the backup. Ampex had been cagey about what tape soon spread to the other net. videotape really dates cian standing by in a little studio from April 15. the British Broad. neers dove for cover as the steel strip posed to do. kind of machine the tape was to be works. had acquired several might jump into the video recorder daylight time at the end of April. he had a pretty good idea delivering tape. Ocrs. If one were to present in those early days -not be. 3M's Wetzel demonstrated the first put it on a disc for the purpose. video tape. it was also the year when 3M Engi- It's worth noting that when the nicians got busy checking every neer Bob Herr proposed the idea of Philco Music Hall aired on the night splice in every tape so they could be recording pictures as well as sound of Oct. a pair of 3M tech. 3M rah of the electrical transcription. Hilton Hotel in Chicago. (Mullin also recalls forms of music and on the nation's the airport. it was one of the last from the tape -but just in case the 7. they were able to meet the hoping against hope that Wetzel's www. due to tape or splice failure. was forced to outline in detail would be able to meet the April dead. Somehow. who horror. shears and soldering it back to. 1947. After black and white video recordings in ical footnote-although ABC had one or two shows. chival recording medium. after having 22 weeks that went on. It wasn't until Program #27 used ribbons of steel as the recording had been doing his own research on of the Crosby show that 3M began medium. every edit. by 6:00 a.000 feet of tape in 15 minutes. then room to the recording studio. and on the 12 audio recorders what is used today. as the recording medium. Fear of tape breakage was ever . when Bing assembled just the show they lost only three minutes of air time Crosby Enterprises' Jack Mullin and wanted from Mullin's master tape. they decided to 1950. Vic Mohrlant. Mullin. copied from While 1948 was audio tape's year. Even Mullin. a techni- that 3M came out. history of breakage with some tape cided to try out the new tape. which country for a year or two.) just barely. used on. no doubt fearing that 3M itate the switch from standard to casting Corp. Nonetheless. Nothing much tape Mullin had recorded in August. With ble. Ampex dios of larger stations around the bles and captured all of the events of planned to show its first commercial video recorder. Paul..000 inches per second and a tape coverage on tape.them. sticky -tape -with -talcum routine. And just as 3M and cal services engineer grabbed the taping were going on. to put full confidence in it as an ar- tape should break there was a musi.frequency de- body. if Ampex Corp. 1956. missing hardly a sylla. ting the ribbon with tinsmith's what Ampex was up to. and spliced them together for reuse. OFF TO THE AIRPORT with a dusting of talcum powder. whle the Crosby listening habits. In the 1930s. and put a team of 50 reels of German tape last until re- early Brush Sound mirror recorders technicians on the job. had supplied instrumentation tape copies of each program and started them simultaneously on two differ. Tape moved form the control duced a sample that worked. They Broadcasters opened at the Conrad network studios but also in the stu. plete for the American Broadcasting Very much the same thing hap- Company. ABC's love affair with magnetic those early recorders.com . off after midnight. on annual convention of the National cital. when the 31st Harvey Oswald fired at President ready to go on the air with a piano re. time for the debut the following day? barely. in order to make his lems with the paper tape used on the Wetzel thought so. exactly what the new tape was sup- line. A histor. They worked was that it couldn't stand up to fast through the night. out of despera- dered whether the tape supplier gether. John E Kennedy in Dallas. Everybody won. It was the last hur- began to switch to tape. with true Ampex had met the Crosby and ABC samples and dashed to the airport splicing tape essentially similar to deadlines. coming up with inforcements arrived. saved every braking on the machines. sign -on the following day. pened at the ABC studios in Chicago VIDEO TAPE mental in persuading the network to when the network got its first re- buy the machines. and then in very lim. shown how to operate mission and in delayed broadcasting the controls of the recorde. for delayed broadcast A more important reason lay in to his hotel with it. To reel of Scotch 179 videotape.flight had been delayed. An Ampex official Many rushed to the stage to get a in attendance reminded them of the closer look. videos. the more they stay the same. Mountain and Pacific human reactions to the new me. according to some engineers. found a mem. but a variety of electronic tricks ized jobs? which simply can't be performed on What they weren't concerned TAPE IS NOW film. by the summer of of programs.guessing ers learned not only all of the econo- radiator or warm studio console? them.95. two-thirds of American home complete with well - had not. In fact. It was out on the runway those produced had to be thrown appointed kitchen and a color televi- waiting to take off. pulled the pouch off the pole more than just a fetish. One of Nonetheless. next day. For once. 3M packed its corder. was the two leaders in networks had no more than 50 use. each with a or three days' work in a New York discussion. cleanliness is him and before long the subject had gency. directo. History was about to repeat itself. the represented a mini -vacation. I www. used to handling film. a wayward industry. Wetzel film instead. there. Nixon THE FIRST VIDEO persuaded him to agree to let it be TAPED BROADCAST on in program production and the shooting of commercials. Directors and producers re. Mohrlant dashed away. 1960s. the honors went to CBS. Yet stations and networks. The tape has This time.. no doubt learned the hard way that when it played back on tape. there was no concern other complaint involved the been hailed as a milestone in com- among professionals about the possi. which continued to run. they didn't want to give it up for two earnest and sometimes animated able reels among them. turned from lighthearted pleasant- and passed it back to his passenger. kind of sensation that Muffin's IRE to tape. a model teaches us: the more things change. very obvious advantages and econo. asked for a re. video tape had become as ac. dium. One of the perks in the produc. He'd always been document in its own right. were other worries. During the late 1950s and early important program were placed in a ately. and recorders piled up. different playback decks. per. with its own video re- out onto the tarmac. American newspapers had Time on April 28. but by no means ready to price tag of $248. pit. ad men and program produc- magnetic field. An. and saw. RECORDING HISTORY nition TV at least for the production was the effect of dust and dirt. What effect would it have on union . and electronic editing still lay a viet Union. To keep dirt out and reduce the sion studio. recording was of radio and the music and stunts as well as adopting what The smallest scratch. 1956. Nixon joined concerned about a medical emer. President Philip Gundy rushed back Nov 30. By the time it was broadcast the make the change -over to Daylight erybody-camera crew. commercials and rock 3M's biggest problems in meeting 1959. Ampex International Edwards and the News the night of few years in the future. they few remarks. Again there formers. but with the appearance of pen if a reel of the stuff containing an tape he could see results immedi. headed engineers and front office men were on their feet cheering as them simultaneously on two the two progressed to vigorous they rolled those first two reels. he shouted that it was an wrapping which had been used for before the color camera to make a emergency package for Dr. wrapped it in a in the Central. technicians will be mastering the April 28 deadline had been in cepted a part of television as audio a whole new portfolio of techniques coming up with perfect reels of tape. the United works from existing formats. Khrushchev found the TV studio fas- Fastening the package onto the end turn to the foil -lined black paper cinating and readily agreed to step of the pole. etc. One speck of dust or dirt in the coating. among other things. States Information Agency had set thing the history of magnetic tape microscopic damage to tape edges were enough to reject a reel of video- up an exhibition in Moscow which in- cluded. calling for just one more take. And orders for both tape tape. effects of humidity. "For many of them. With the launching of high defi- about. The process which was different than make sure that it got out of the So- network used it to record Douglas film. despite its seen in the United States. What would hap. or stored on top of a sented "outsiders" second. That summe. Hard. launch the missiles. Khrushchev. thrust and parry. but This time.com . Vice President ber of the ground crew who had a videotape in sealed transparent Richard Nixon invited Soviet Pre- pole long enough to reach the cock. Videotape spread rapidly for trans. to reported the event as an exchange was a mad rush to produce enough exotic locales for two or three weeks acrimonious enough to start World recorders and enough tape to make of shooting." one old -timer recalls. tion of some of the more elaborate All three networks had decided to commercials was the sending of ev. polybags. dirty shirt and booked the first flight time zones. in early runs. it tape. Oblivious to the red eye winking at of each program and started them from the front of the camera. mies possible from shooting on tape. rewound of programs. account executives. comes to videotape. it War III. The pilot. What the viewers actually this possible. and persuaded the pilot to stop. ries to a full -blown debate on the rel- The video -tape demonstration by ative merits of capitalism and com- Ampex on April 15 caused the same Once ABC began to switch munism. mier Khrushchev to visit it with him.americanradiohistory. however. Khrushchev insisted that it be trans- which bought the first commercial mies. by April 28. On July 24. sponsor's or client's representative munication as well as an historical bility of tape breakage-but there at the shooting. Eventually. 1957. it made two copies session had ten years earlier. studio. then see himself aboard the flight. One reason was the editing lated in full and played unedited. home. But it was slow to catch the tape and played it back. package all around. live or studio performance from the my guitar. and drums will sound more realistic the GK-1 pick-up on my Telecaster cluded laser. while others do not. what's more. Both the Ro. mentation inside the actual guitar. MIDI has vidualistic instrument it is also serve hard you pick) can control mixes or become a universal and sophisti. It was their merits and you should choose music. and sample patches such as piano many aspects of MIDI. It's here to stay and it's timbral sound module as well.com . each with its own set of advan. A more models. MIDI performance data. Some guitar controllers have enough on keyboards to be consid- my choice! been rather unorthodox in their ered a bad player. There is another aspect of guitar having to mar their instrument with Casio and Korg. shapes and sizes. This Like many guitarists. I'd first! I tried guitar synths out in enter into this equation. that's an The right one for me was the Ro. Various technologies have in. variation of the strings. "track" faster. SyntheA. so I'm guitarists seem to view the synth as for well over a decade. playing BE BOP lines with a fact. instead of strummed. Unlike a keyboard. MUSICIANS' MARK MAULUCCI NSJTE5IJSJI( Practical Guitar Synthesis This month's forum is about gui. scale length and actual held exclusively in the domain of the thesizer. Steppe. Many Guitar synthesis has been around sources. Also. I did and still do. ger. On the surface it land GR-5000 and the Arp Avatar There are many guitar syn. but synthesizer. one big effect. many synth my own guitar while controlling the lized. Many people worry about In addition to Roland. sonar. I'm not good my instrument and play the axe of gone. Other than pro- The GM -70 has since been discon. I knew I'd recognize the or thousands of dollars. Individual preference and budget dom of expression. with the sounds and MIDI imple.tapping of flutes just doesn't right one when it came along. the resonant wanted to his palette of sounds. The beauty requirements hold sway here. The Casio is self. and pitches. mechanical and will track faster when plucked with putty (!) and it works like a and pitch to voltage. I remained interested. make it for me. In thesizers on the market at many player. being replaced by their string configurations. Some three voice chords. Then again. I held out for harmonics. The vibration and pitch player to add the colors he's always and sequencers affordable to many. hanging on to it. OWN individual's choice and art is free- land GM -70 which came out in 1986. There guitarist will come up with sounds of this piece is that it allows me to use are several different approaches uti. I bought a keyboard synth playing technique are all factors that keyboardist. key to MIDI City and enables us to ths. There is no suggest the player approach each music stores and even took some right or wrong in choosing a guitar sound in the spirit in which it has home. You can spend hundreds evolved. in the hands of a jazz were introduced in the mid -70s. horn patch could be quite effective. String velocity (how of MIDI in all its splendor. all have existing synthesis that is just as important as a synth pick-up installation. Yamaha. to learn to play a new instrument. sound technology has not register perfect note on note off The guitar synthesizer allows the made digital synthesizers. The first thing the pro. but I opted not to put holes in Ibanez.americanradiohistory. I preserve the beauty of xe and a few others have come and guitar controller. materials. It's our synthesis as Roland's D -series syn. PICK YOUR. tar synthesis. dream. For authenticity.contained the control of sound-control of permanent set -up is certainly possi. not to mention gramming percussion and playing tinued by Roland. The GM -70 was a MIDI con. All the various guitar synths have harness today's technology for our verter and controller only. my keyboard the GR -50 which is probably a better folks take to these because they may chops are virtually nil. it will in a live situation. Imagine my www. Roland's pitch to voltage Hex price points. and approaches. the We haven't parted since. We can ac- ble with the screws and springs pro. It's a multi . Pitchrider. might seem so. I just attach tages. are the conversion The very attributes that make guitar strings set to different instruments and sound modules and the advent the wonderfully expressive and indi. I thought they invaluable because it opens doors on the same L/A (linear arithmetic) made guitar synths so I didn't have previously shut to guitarists. necessary to have external sound the one that's right for you. samplers commands. based Personally speaking. tually sequence a composition for vided. What has that there is no such thing as perfect. characteristics of body in itself is very exciting and was long years before buying a guitar syn. tire ensemble with the different changed though. to render it a less than ideal MIDI layers of tones for staggering effect cated binary musical language and controller. light. spective customer must realize is The finger picker can control an en- changed to this day. among others. The bar chording and fin- skeptical. Undoubtedly. pick-up has remained virtually un. ) length is shorter and it tracks great. I cultivating have no place here. books. and diet to science. I rec- of sequencing. technical side of guitar synthesis. Find out about the Government's bestsellers. much more. New Catalog This catalog includes books from virtually Post Office Box 37000 every Government agency. This is like piano and drums. transportation. utilize this great technology for my undesirable blips and bloops along Again. Using thinner strings (some MIDI Studio.americanradiohistory. The Statistical Abstract. most popular books. hobbies. Books like Infant Care. And every year the space. gardening. tracking is not a problem. 20013 www. there will always be a certain scale length.046 gauge. and Cutting Energy Costs. Glitching is the occurrence of the standard 0.past frustration in not only repre. I tend to play solos not to say that bending and other ommend plucking instead of pick- "live" on a recording or in a perfor. Tracking practical in terms of least dollars in. How to Select a Nursing Home. You can't the trick of playing the bass lines up THE TECHNICAL SIDE believe how fast you'll run out of past the twelfth fret. So the subjects range Washington. and much. a second class Cleaning up our technique will go far MIDI or blend the two without hav- citizen.C. publishes thousands of children. I felt like I was on with the notes we intended to play. In the case of long scale length mance with my backing tracks se. Write - Send today for a copy of the book we don't sell. (Speaking of ing.. I transpose the pitch down an octave "Tracking" and "glitching" are the PITCH TO VOLTAGE or two for the notes I want. bending. physical Government's "bestsellers" . The refers to how long it takes for the vested and playing adjustment. save yourself a lot of grief impeding the tracking of bass quenced. That all changed when I in alleviating this problem.000 of GPO's published books.010-0. horn rock and blues guitarists spent years and brass.. I take my chances with manufactures but not being able to source. You longer you wait. Merchandising Your Job Talents. the slower the tracking Next time: The Guitarist in the amount of delay time between the will be. Again. Many of ing to change instruments. Now there's education. business. Starting a Business. The Space Shuttle at Work. NOT FOR SALE Because It's Free! Every year the Government from agriculture. D. people in the know. There's even a special section for recently It's our new catalog of almost 1. parts and more into my sequencer. actual picking of the string and its controllers use all B strings) can help senting keyboard production for a resultant sound from a sound track faster. buzzwords and phenomena you'll I think pitch to voltage is the most I could never sequence my songs encounter in this arena. Voyager at Saturn. and Government Printing Office vacations. the organic slurs and slides that we For most patches like flute. Depending on the technology thicker the string and the longer the used. The There can be a noticeable delay in can edit out mistakes and glitches guitar converter is only interested in patches that have fast attack times which is one of the great advantages accurate note information.com . but it's not for sale - a book that tells you about the it's free! fitness. The scale I haven't spent much time on the memory on your sequencer. without my guitar converter. it's handy to switch from guitar to the outside looking in. strings Now I can write bass lines. techniques won't work. the longer you're synth to sound a note played on the have to deal with the fact that the locked out of MIDI City! guitar. And there are sells millions of these books to titles on military history. I utilize when you're sequencing. and turn the bender information off sounds and sequencer data. I want to play my guitar and music in my studio. could control MIDI from my guitar. p. March/April Convention. Sep- Harshbarger. January/February 1990. November/Decem. p. March/April 1990. Tek Text: Plotting the PA Angle A Program. 35. p. p. 38.americanradiohistory. - Breaking Into Concert Sound in July/August 1990. Ed Learned. November/De. p. THE BROADCAST ber/December 1990. p. 4. May/June Ad Ventures. p. 18. p. 34. 55. John Barilla. 56. Station. Randy Hoffner. May /June 1990. p. System. A Sound System. p. Steven C. John Barilla. January/February 1990. Model 900X2 Power Amplifier. Len Feld. p.com . 14. 55. p. Rogers. p. 31. p. 6. p. Hugo. May/June vertising. the Television Picture-The Old tion in Church Sound. cember 1990. Stage Monitor Systems. p. Janu. Murray R. Ad Ventures: Telephone BBSing. 44. Randy Hoffner. 1990. Greg DeTogne. p. Brian Battles. 48. Breaking Into Concert Sound. p. Randy Hoff- p. ber 1990. Hands On: Crown System 2000 ENGINEER Down Mexico Way. Audio for the Church: Purchasing The Las Vegas Hilton Showroom May /June 1990. vision: What's In It For Audio? REINFORCEMENT man. Randy A Specialized Synagogue Sound North Forty Music-Truth in Ad. Randy Hoffner. 30. p. Ty ruary 1990. 24. 14. May /June The Creation of a Console. Brian Battles. ary/February 1990. Robyn vision Network. tion. Speaker Repairs in the Field. p. March /April 1990. p. Bit -Rate Reduction. L. Ed Learned. p. Kefauv- Software For The PC. Designing a World -Class Radio Audio for the Church: Multi. p. www. July/August 1990. Daniel C. p. Jim Paul. The Sound Contracting Engineer: Home Of The World's Newest Tele- p. May/June 1990. Rypka. 32. March/April 1990. 4. 6. Feldman. Ronald Ben. July /August Broadcast Audio: Digital Audio 1990. 44. p. Larry Zide. Audio Recorder as Well. 46. 26. Audio System. John Barilla.A. 22. 52. Education in Sound Reinforce. p. May/June 1990. Brent Harshbar- ger. 43. March/April 1990. INDEX BY TITLE SOUND CONTRACTING/ Lab Report: Shure Model 1200 Broadcast Audio: Advanced Tele- SOUND Power/Mixer Amplifier. New Addition To The Proteus Fam- Live! Ed Learned. July /August 1990. Alan P. 52. Brent Harshbarger. Symphony Orchestra. July/August 1990. July /August 1990. ENGINEER ber 1990. 14. Fashioned Way. p. Dan Rogers. er. AES Roundup: Cruising The AES ment. Randy Hoffner. Broadcast Audio: HDTV Video Audio for the Church. p. Jim Paul. 26. Ed Learned. Grammy Time. 4. 32. p. Brent Gately. March/April 1990. The 1989 Newport Jazz Festival. culating The Ideal Speaker Loca. 64. November/December 1990. Novem- 1990. November/De. nett.track. Harshbarger. 59. 30. March /April 1990. 47. tember/October 1990. 1990. p. March/April 1990. The Production System. Paul Broadcast Audio: Placing Sound in Audio for the Church: Equaliza. ily. Hoffner. 26. Len Broadcast Audio: Audio for HDTV: cember 1990. Hands On: Proteus II-XR: A Hot Higher Ground: The Winans. Tape Recorder: A State -of-the -Art Harshbarger.59. Outdoor Sound Reinforcement for November/December 1990. November /Decem- 16. Brent ary/February 1990. July /August 1990. Sound Reinforcement in North Af. May/June 1990. January/Feb- 'ng. September/October 1990. Ford. p. 57. Allen. p. p. Guide. January/February Lab Report: Soundcraftsmen 1990. Janu. p. Audio for the Church. Audio in the Theater. September/October 1990. Troubleshooting: A Step-By -Step THE RECORDING Part II. Part III. p. Ronald Bennett. p. Jim Paul. Shelley Herman. Brent Tek Text: Speaker Angles II: Cal. ner. A New Loews Cinema Sound Sys- tem. 41. p. 1990. Brent March/April 1990. 52. Audio for the Church. Broadcast Audio: New Zealand: Harshbarger. rica. p. cember 1990. September/October 1990. 30. Brian Battles. 1990 INDEX Lab Report: Aphex Expressor Hot Tips: Using Delay. Station. May/June 1990. November /Decem- lett. Sync. July /August 1990. ber 1990. John Barilla. p. John Barilla. p. Malcolm Chisholm. Musician's Notebook: The Basics. Lab Report: Shure Model 1200 1990. Len Re. Designing a World-Class Radio 1/3rd Octave Graphic Equalizer. 59. John Barilla. p. Rick Shriver. 40. p. Lab Report: Sony Model MU -R201 Leigh Benjamin. November/December 1990. 59. May/June 1990. 14. May/June 1990. The Hunt for Red October. 47. 44.second Drum Sound Set. Brent Part 2. John Barilla. January/February 1990. 1990. John A Tale of Two Cottages. Cleaner Mixes With MIDI Tape Feldman. Brad Leigh Benjamin.Post -Production for Hot Tips: The Art Of Equalization: Feldman. Model 900X2 Power Amplifier. p. Stage Monitor Systems. p. p. p. 48. LEN FELDMAN New Sound.com . Interview with John Alberts. James Becher. the 90s. Len Perspectives on Sound Design: An JOHN BARILLA Feldman. November/Decem. Len Feld. May /June September /October 1990. John Hot Tips: The Art Of Equalization: Barilla. November/December ruary 1990. January/February 1990. Robyn COTTAGE Hot Tips: Using Delay. John Ba. 8. 19. p. May/June 1990. January/February 1990. 47. 47. rilla. January/February 1990. July/August p. July /August 1990. Bartlett. John Barilla. Lab Report: ARX Systems EQ 60 man. vertising. Len Feld- The 30. Lab Report: Sony Model MU -R201 2-Channel Digital Reverberator. Lab Report: ARX Systems EQ60 41. p. A Tale of Two Cottages. Audio for the Church. lett. p. 14. John Barilla. 1990. 48. p. Brent Harsh - 1990. John Bari.creating the Sousa Sound. Ad Ventures: Equipment Con- (Upgraded for 1990). p. Hot Tips: The Art Of Equalization: man. January/February 1990. p. January/February 1990. 1990. Harshbarger. p. 1990. P. July /August BRUCE BARTLETT tion in Church Sound. Brent Harshbarger. September/October 1990. September/October 1990. Len Music from an Electronic Cottage. November/December 1990. p. 53. Gately. Lab Report: Yamaha MT3X Multi. 19. p. Harshbarger. 1990. 38. September /Octo. p. LS161 Studio Monitor Loudspeaker ary/February 1990. 46. p. p. 39. Lab Report: Soundcraftsmen 33. 38. Len Feldman. New Songs. Part 1. September/October 1990. p. 27. track Cassette Recorder. Hot Tips: The Art Of Equalization: Audio for the Church: Equaliza- Part 3. July /August 1990. 1990. Brad ily. 52. Len Feld- Sound Whiz Frank Serafine on New Addition To The Proteus Fam. New Sound. 59. p. Hands On: Proteus II -XR: A Hot Power/Mixer Amplifier. 8. p. January/February Ad Ventures. p. Len The Plant. Hot Tips: Understanding Time LS161 Studio Monitor Loudspeaker Audio for the Church: Multi. May/June North Forty Music-Truth in Ad. track Cassette Recorder. p. Brent cerns. Interview with John Alberts. 1990. 52. Feldman. November/December p. Novem- Part 3. up. 19. 53. 52. p. p. John Bari. 34. Mark Maulucci.americanradiohistory. 8. May/June ber 1990. John Bari. 40. 36. Model 651 Compressor/Limiter. p. John Bari . September/October The New Wave of CD Referencing. May/June 1990. p. John Barilla. Barilla. 44. ing. September/October 1990. Sep. John Barilla. Movie Making in China. Hot Tips: Understanding Time ROBYN GATELY Code Synchronization. New Songs. 30. 36. Audio for the Church. Bruce Bart. 4.Channel Digital Reverberator.track- Code Synchronization. p. p. 48. p. 43. 54. January/Feb. 41. lla. lla. Part 2. p. p. Recording Techniques: Make Clean. The Sound Contacting Engineer: THE ELECTRONIC September/October 1990. 35. p. p. Janu- Lab Report: Digital Designs Model 1990. July/August ber/December 1990. 35. Recording Techniques: Make Model 651 Compressor/Limiter Len lla. Larry Zide. March/April Bob Ludwig. July /August 1990. p. (Upgraded for 1990). March /April 1990. p. Hot Tips: The Art Of Equalization: 1990. 1 /3rd Octave Graphic Equalizer. BRENT HARSHBARGER Ad Ventures: Equipment Con. Hot Tips: The Art Of Equalization: Len Feldman. tember/October 1990. January/February 1990. Audio for the Church. John Barilla. 14. 1990. p. Brian Battles. Bruce Bartlett. Brent Part 1. Bruce Bart. p. Lab Report: Yamaha MT3X Multi- p. November/December 1990. Bruce Brian Battles. March/April 1990. September/October er Mixes With MIDI Tape Sync. 26. 42. p. cerns. Ad Ventures: Telephone BBSing. Lab Report: Digital Designs Model barger. John Ba. November/De- P. 35. p. March/April Perspectives on Sound Design: An Harshbarger. John Barilla. p. p. man. 2. May/June 1990. John Barilla. p. May/June 1990. ber 1990. 54. INDEX BY COLUMNIST Lab Report: Aphex Expressor rilla. 59. 21. Brian Battles. p. www. 1990. BRIAN BATTLES Feldman. lla. January/February 1990. p. Barilla. The Church. Systems EQ 60 1 /3rd Octave Broadcast Audio: Digital Audio Barilla. January/February Equalization: Part 3. Tonmeister Technology. May/June 1990. March/April 1990. September/October 1990. Sound Reinforcement. Tek Text: ers. Len. 67. 51. Systems. Beche4 James. The Creation of a Con- Performance and Studio Monitors. Brent.Channel Stereo Broadcast Audio: New Zealand: Reverberator. Ford. Malcolm. Church. p. The 30 -Sec- a Sound System. Tape Recorders. 1990. 1990. 68. 1990. 14. p.41. p. tem. p. 38. Model MU -R201 2. Cross. Noise Reduction Equipment. Plant-Post -Production for the 90s. 1990. March /April 1990. Audio for the tober 1990. Church: Equalization in Church m Barilla. Brent. p. March/April Tape. A Tale of Two Cot . Randy Hoffner. Education in Harshbarger. 55. March/April ond Drum Sound Set -up. p. p. January/February 1990. 52. tion. p. ber/December 1990. Brad Leigh. John. p. 35. November/December Broadcast Audio: Audio for HDTV: Barilla. Sep. 52. 4. p.americanradiohistory. p. 26. Recording Tech. p. p. March/April Church: Purchasing a Sound Sys- ber 1990. May/June 1990. July /August 1990. September/October Home of the World's Newest Televi. Harshbarger. July/August Expressor Model 651 Compres- 1990. p. 8. o. January/February 1990. May /June swer To Audio Noise. Brian. plifier. Hands On: Proteus 1990. Randy standing Time Code Synchroniza. p. p. m May/June 1990. p. New Sound. Brent. Lab Report: Shure Broadcast Audio: HDTV Video Songs. Buyer's Guide: Signal Processing ary 1990. 44. sor/Limiter. p. ater. Brent. Whiz Frank Serafine on The Hunt Church. Brent Harshbarger. MIDI Tape Sync. ary/February 1990. 48. 1990. p. Sound. Audio for the Gates. July/August 1990. Model 1200 Power/Mixer Amplifier. p. cember 1990. 46. 35. Lab Report: Sound- Broadcast Audio: Placing Sound in 1990. p. Bennett. 38. Dan. p. Murray R. Randy Hoffner. Hot Tips: The Art Of DeTogne. Lab Report: Digi. tacting Engineer: Stage Monitor March /April 1990. Brent. 59. Limiters. p. Brian. 59. The Production System. September/October 1990. July/August Bit -Rate Reduction. Buyer's Guide: Consoles and Mix. Grammy Time. p. Fashioned Way. Hot Tips: The Art Of Chisholm. 43. p. - Barilla. p. Barilla. Perspectives on Sound Design: An Interview with 1990. 47. p. Audio for the E Proteus Family. Music from an Harshbarger. Randy Hoffner. July/August 1990. The Sound Con- Buyer's Guide: Power Amplifiers. p. January/February 1990. Len. 39. May /June 1990. Ad Ventures. 41. 74. 64. Battles. BUYER'S GUIDE INDEX 53. 1990. John. 1990 Winter Harshbarger. Feldman.com . Brian. Hot Tips: Using Graphic Equalizer. May/June 1990. 40. November/Decem. Janu. sories. July /August March/April 1990. Equalization: Part 1. 19. p. Lab Report: Sony ner. Bernd. Feldman. Battles. p. Lab Report: Aphex Randy Hoffner. Bruce. 47. Ad Ventures: Tele. 1990. Sound Harshbarger. 48. Bartlett. North Forty Music Truth In Advertising. September/October 1990. Martin. 4. November/December 1990. sion Network. 44. John. New Feldman. p. 26. II: Compressors. overs. Randy Hoff. Hot Tips: The Art Of Feldman. May/June 1990. v Class Radio Station. 46. 63. Barilla. John. 1990. p. 34. Ronald. September/October Feldman. September /October 1990. p. Novem- July/August 1990. phone BBSing. May /June ema Sound System. p. Equalizers. A New Loews Cin- RANDY HOFFNER Equalization: Part 2. Bennett. Battles. p. Ad Ventures: Soundly Engineered A/C: The An- Buyer's Guide: Microphones. NAMM Round -Up. November/December 1990. Gottinger. p. 1990. 44. Monitor Loudspeaker (Upgraded for Yamaha MT3X Multi -track Cassette 1990). July/August ing I: Delays. March/April Church: Multi. 44. vision: What's In It For Audio? Barilla. Tape Acces. Greg. 54. Glasband. p. November/Decem. 63. Equipment Concerns. Ronald. p. 30.tracking. p. Benjamin. Len. www. p. 1990 INDEX Audio for the Church: Purchasing Barilla. Hot Tips: Under. p. p. p. p. for Red October. Delay. ber 1990. p. Harshbarger. John Alberts. 27. Reverbs. Audio for the c ary 1990. Lab Report: tember/October 1990. September /Oc. niques: Make Cleaner Mixes With sole. May/June z Barilla. p. November/De- Broadcast Audio: Advanced Tele. John. January/Febru. p. Audio for the tages. Brent. January/February 1990. 36. Noise Benjamin. p. March/April 1990. 30. II -XR: A Hot New Addition To The Buxbaum. 1990. January/Febru. Lab Report: ARX Hoffner. p. 19. March/April 1990. p. September/October 59. Len. Electronic Cottage. July/August 1990. Tape Recorder: A State -of-the -Art Audio Recorder as Well. Ty. John. tal Designs Model LS161 Studio Feldman. John. 1990. Designing a World . Book Review: Buyer's Guide: Signal Process. 47. 1990. John. Audio in the The. p. Audio for the 0" INDEX BY AUTHOR Allen. 56. Len. Gately. Len. Bruce. craftsmen Model 900X2 Power Am- the Television Picture -The Old Bartlett. 14. Brad Leigh. Buyer's Guide: Speaker Systems. John. November/December 1990. 59. p. 31. John. Barilla. 57. 21. p. John. Recorder. Robyn. 32. Janu. p. 56. Jim. Referencing. The AES Convention. p. Randy. p. State-of-the-Art Audio Recorder as March /April 1990. p. Broadcast Audio: ment in North Africa. September/October 1990. 57. Movie Making in Hoffner. Learned. Bob. Placing Sound in the Television Pic. Randy. broadcast and sound contracting fields Buyer's Guide Speaker Systems. July/August 1990. Troubleshooting: A Hoffner.americanradiohistory. each treated separately. January/February 1990. Broadcast Audio: Rypka. 14. p. AES Roundup: Cruising Zide. 33. May/June 1990. p. Shrivel. p. Breaking Into Concert Synagogue Sound System. Field. Sep. Breaking Into Concert September /October 1990. May/June 1990. 4. Zide. tember /October 1990. The New Wave of CD Well. Learned. May/June 1990. A Specialized Hugo. 64. China. Broadcast Audio: forcement for Symphony Orchestra. Rogers. 30. Learned. ber 1990. November/December 1990. p. p. Sound. Randy. Learned. Kefauve4 Alan P. 42. Re-creating the Sousa Newest Television Network. Rogers. Guest Editorial. November/December1990. Outdoor Sound Rein. ting the PA Angle--A Program. Advanced Television: What's In It 16. 52. Rick.com . Tek Text: Plot- P. ber/December 1990. p. Jim. 26. Broadcast Audio: cember 1990. Ludwig. New Zealand: Home of the World's Maulucci. The Guide is in chart form and is immediately followed by manufacturers' adressses. Audio for HDTV The Production March/April 1990. 1990 INDEX Herman. serving: recording. Steven C. Ed. Ed. March/April 1990. p. p. July /August 1990. Mark. you will find a Guide to speakers. The 1989 Newport ture-The Old Fashioned Way. 8. Daniel C.A. 4. Shelley. Larry. 24. Down Mexico 22. Broadcast Audio: Winans -Live! May/June 1990. November/Decem- Hoffner. Randy. Ed. Speaker Angles II: Calculating The Hoffner. Broadcast Audio: 33. Shelley. both studio monitors and performance/stage types. For Audio? January/February 1990. 31. Paul. p. be aware that we attemp to contact every manufacturer but not all are prompt or cooperative enough for our necessary deadlines. p. p. 6. 6. Novem. The Las Vegas Step -By -Step Guide. Sound in L. November/De- Hoffner. Herman. p. Novem- Digital Audio Bit -Rate Reduction. March /April 1990. p. Randy. 32. p. 18. Performance and Studio Monitor On the pages that follow. P. www. 52. Jazz Festival. Sound Reinforce. Higher Ground: The Sound. July/August 1990. 14. July /August Hilton Showroom Audio System. Jim. Randy. Musician's Note. book: The Basics. Part III. p. p. p. HDTV Video Tape Recorder: A 1990. 55. ber/December 1990. Paul. Paul. Larry. Part II. Tek Text: System. Speaker Repairs in the Paul. As usual. July /August 1990. p. ary/February 1990. p. Hoffner. Ideal Speaker Location. Way. Ed. Daniel C. 80 metal 5 9 4435 35.39500 38 walnut fabric 3 (2) 17.25 AE-6 14 black black 0/8 53 -17k cone horn 78 same 23 epoxy steel 15.25 vmy vinyl control room.com . black h 60 -20.5 cart-fil steel 25 ELECTRO -VOICE FR12-2 25. high power output epoxy foam 4 AE-3M 16 black black 8 70k -18k 1.2 FR200 255 veneer 8 50 -18k cone 1. FI' 4PEg MONITOR SPEAKERS ALTEC LANSING M600 26 bn-.7 38. o gt °a9 PEP pc JSvO5 5 004. black 8 60 -18k horn 2500 $411 00 2-way 15 in woofer wedge stage momtor 17.5 pen -e.5 epoxy foam 12 AE-4M 14 buck black 8 55-165k 1 7 cone horn 78 same 14 epoxy foam 23. Full range sound.25 CELESTION INDUSTRIES C 3 12 black black 8 75 -20k '. black 8 32-20k cone 6 cone 3 5( 44 $350 00 Can generate 112dB in a medium -sized 14..4 $200 00 Has open uncolored sound and low price e Ash cloth -3 favorite with studios and sound contractors.2 PI100 61 vinyl 8 80-18k cone 15 dome 23. 925 black black 4 120 -20 5 25 cone 75 dome 6k 4 5250.1 3 21. highly accurate sound 22 reproduction contains famous Altec 604.2 72. cone dome 5k 8. Individualft tuned for each installation LS -3 wood optional 2-15 cone comp horn same veneer LS -4 wood opbonn! 2.tA 0. 1525 black black 4 75-20k 6 5 cone dome 3k 10 5395 00 trol 9.2 FM1502ER 28.americanradiohistory.6 FR15.°°P .5 blac.5 black black 0 30 -20k cone 2 25 horn 3k 34. 17 APOGEE SOUND SSM black black 16 280 -21k Designed for linear. 8 80-18k 12 cone dome 1 `1 28 All Sentry series monitors 41.8 grille 3 40 24.10 cone horn 44 same 12.5 W www.1 veneer 8 50 -15k 12 cone 90x horn 435 80 3 30 42.13 4406 1538 oled blue e 55-20k 6 cone Ti 3k 17 5250 00 9 38 walnut fabric dome 8.5 bloc.v°°w yOk C Ylg.75 oiled blue 8 30 -16k 15 cone horn 1k 240 E2.5 AE-68 14 black black 8/8 53-17k 1 12 cone horn 78 Designed for linear. 9 CERWIN-VEGA CM 20 flack black 8 30-20k 0 cone 2 25 horn 3k 49 5150 DO Ideal as main speaker system in a small room 11 vinyl cloth or console mounted for neadleld listening 10 CM-10 23. epoxy foam 14 23.5 $200 00 Ideal as main speaker system in small rooms. 14 COMMUNITY LIGHT & SOUND -See our ad on page 22 CSX28M 14 black clack 8 horn 300 $355 00 2 -way 12 in woofer wedge stage monitor 15 cari et steel 2225 CSX38M 17.I.4 FOSTEX -sae our ad on page 11 LS-2 wood optional 12 cone comp horn All custom -made and installed vereer reference models.7 black B 65 -20k cone 90x horn 72 2 13.0.9 3 22.5 dome 2 Sr Sentry series 41. 14 vinyl cloth 10 CM-12 23.00 trol 625 metal 3 1 563 Con.04' jO vd5 5'k EP F F\aE 5 °NJ\GF P 053°' f``"\O °JSS\O°pyyO°FP°J0?5° p55.15 cone comp same veneer JBL PROFESSIONAL Con. high power output.9 3 22. 400.5 rased wood 3 cone each Gold plated terminals.5 black black 2222 lbs is unloaded weight.25 oiled blue 8 50 -20k 8 cone Ti 2 5 26 $325 00 12 walnut fabric dome 11.1 black black 16k 9.) 098 15 grey black 4 r 50-16k 8 cone dome 75 dome 800 28.00 High sensitivity and power handling. 18.5 One box system.5 oiled blue 8 45-20k 10 cone .00 full -range point source phase coherent DMT 10 14. 2 electronic 10 cloth 2.8 cation dependent equalizer. 8 black black 80 -16k 6 full .00 Active. 2 -60 17.5 nextel alum power dome transducers.4 $1. 2 electronic X-overs with lo- 11.5 grey black 4 7 50-17k 10 cone 3 5 cone dome 500 66 $4.25 4412 14.500.5 reran metal range Magnetically shielded Accessories opt 8 cone WS. PBM 11. A723 22. hard wired crossover 11 4 controlling enclosure. High 13.4 cloth 2.5 black black 8B 16 220 238 3 -way all horn loaded Vertical format. tn. 2706 12 dark black 4 42 -20k 12 cone 2 dome 1 dome 720 48 1825 00 Compact Can be installed on floor 15 1 gray anod 3 5k stands or suspension brackets. 8 10 13 gray matent 3 cone pair extended low frequency response. compact-sized 85 enclosure.5 $500.3 $2. 12 16. Can 42 metal accept variety of horn and driver comb.63 Polyamide dome. A10 12.5 black cloth System 24. 833 32 black cloth 8 35-16k 15 red 115 $6. monitor system for very large control rooms 24 wanting high levels.amplified (1 -120W. 6 $12000 Compact full -range. hard -wired 2 8 8 yMyi mesh 3 cone crossover network.300 00 Ultra-low distortion with high continuous 20 satin/ 3 horn output 14 75 walnut 834 38.GEJN P 1/' WoP0.5 horn and the ability to play at high levels. rear 65 6 gray material 3 cone pair firing tuned Portable.plated terminals. poly dome 2 6 10 $350 00 High sensitivity and power handling. 2 12.amplified (3-60W).25 oiled blue 8 45-20k 12 cone _ cone Ti 800 47 5750 00 23. five -year warranty P8M 15 pewter black 47 -20k 8 poly dome 2 4 18.5 (2) metal 3k VV). 20.1 -100W.5 5k X -overs with location dependent 7.88 pewter black 8 57-20k 6 5. a 7 cone 5. cone Ti 800 43 $495.25 KLEIN & HUMMEL (GOTHAM AUDIO CORP. and extremely low bass. STUDER REVOX AMERICA INC. 26 16H 22.00 14.3 rated wood 3 cone each Bi -wired gold.000.amplified. SM -2 25 black e 35. gi d0eN20 ta9 1.5 black cloth 3 for midfield applications.com . energy control enclosure 94 System 18. 25 F2 22. tri.40000 Active. 16 1 (Biampldied) system PANASONIC /RAMSA WS. 10.. five -year warranty.1 black 48 -25k 8 poly horn 2 3lr 26.16k 18 127 $1. 20k 15 cone 7 25 cone horn 190 5 3 -way studio monitor with time offset 19.63 4410 23. tri.:1 black BASS 42 metal 15 235 36 5 MEYER SOUND LABORATORIES INC.4 DMT energy controlling enclosure. 1000 51 black metal 8M 1. System 254 I9mr black 44 -25k 12 poly horn t bi 57.5 oia.7 nut cloth 3 27k Useful in small to medium sized listen- 16 ing environments TANNOY NORTH AMERICA INC.4 $1. 11.9 wal.25 correction 18.25 equalizer. black 40-20k 12 cone 5 cone dome 300 68 $1850 00 Each crossover has dedicated 100w amp.powered near field reference monitor 12 satin 40 -20k dome corrected for amplitude and phase accuracy. 91 System 22 lame black 46-25k 10 poly horn 2 3k 41 9 $1.7 $12000 A10 6.00 0 E W yONy vV P 4 oJeNOy OPJeP NC St 0011`c`G 05 QPOO pO*P 4408 17. MARTIN AMERICA YRS 22. M000 0\ OV GN trP FP \y 5 y POOePO 0 0r-yO PoP1. (amps.3 cloth 2.5 4k electronic X -overs with location 11.00 high sensitivity with high power sensnwity.13 satin/ Load 30. near -field monitor.800 00 Subwoofer for 833 system.00 8i-wired gold-plated terminals.135.500 00 Active. 6 1 white while 6 80.13 walnut 4R HD -1 16 Black 32-22K 8 1 silk 51 $4.00 Self.5 paint 3 4.5 SM -3 38 black 884 27ß01( 15 cone 15 cone horn 103 210 The SM3 is a 3 -way triamplifled studio 36 paint ohms r 2.00 full -range point source phase coherent DMT.4 dependent equalizer 092 31.7 gray black 4 7 50 -20k 10 cone 2 dome 75 dome 600 48.americanradiohistory. System 15 8 gray steel 55-25k 65 poly dome 3k 28 8 $550.5 walnut fabric dome 45 11.4 $2. ferrofluid cooled polyamide dome.000. 2-50W) 096 20. www.8 mold metal 5 PROFESSIONAL AUDIO SYST EMS SM -1 25 oak black 8 37 -20k cone 7 2! horn r ? 100 Biamplified 2 -way studio monitor designed 19. five -Veer warrant. 12.25 walnut fabric dome 45 11. 31 maple black 4 29-20k 2 cone 2 90 650 319 $7500.75 MS101 8.75 rad throat.3 lamr black B 35 -25k 15 paper 1.00 P 0w s»14C'' a00.6 280.5k 15.3 312. 110 $1.Vk ePOSiQN"I vNeP 9 pONßE t 11.00 Bigger version of the NS1OMS with greater M 11. 15. 22..39000 43.6 rated wood 3 cone each Gold.625 metal (2) fiber material 7. warm musical 22 response and maximum versatility www. weather-resistant system 7 nylon has versatile omnimount brackets 5.crossover network.398. M500 33 black black B 46-20k 10 dir. dome dome Sk low -end response. 150 watts 16.3 direc M200 17 black black 65 -20k 5 5 cone 3500 17 $400.2 $237 50 Industry.5 metal range Volume and tone controls.5k 12 co.5 wood cloth (2) formed dcr.5 rad vented system. 60 $895 00 16.75 NS40 23. smooth ME -AV 8.20k 8 comp 22 $575 00 Features Active Servo Technology giving 17. 7.5k 12 cone 12 co. 11.20k 12 dir 2k 43 $799 00 Compact size with "big" source.standard studio close-field MS 15 wood cloth formed dome monitors Available for commercial version 7.6 black black 90 -20k 4 cone 3500 4. 28.9 15 in. 196 $2.5 M300 22 black bleck 8 50.00 same ME 9.5F 12 co.00 full -range point source phase coherent DMT 15 21. 1 in 17. 7.5 paint 811C 2075 B 70-17.500.6 e F N\S t{ ON°GA 6-`"" _tP EO P0 J O Q 09O Ooy x.88 gray black Jersey 8 50 -20k 11 dge-cone cast dome 500 35. System 17. wide dispersion pattern.890.19 TOA ELECTRONICS 265. 554A 9.EN5\GNß eN Oi"' . 29 epoxy steel 8M tight pattern control. 240 $3.rugged.5k 12 cone 12 Co.5 for near field monitoring. bass driver. 18 metal tonst reinforced construction.500.5 black black 10 30 -20k 4 full 49 $125 00 Has mic and two line inputs.00 Easy installation in 8 ohm or 70V 95 nylon distributed application Excellent 8. 9.8 metal range tone controls. 17.5 M400 23 black black 8 80.5 1398 00 Magnetically.6 frame UREI 809 23 8 50-77. with 75 watts power handling APOGEE SOUND 3X3 4S black black 8L 53-19k 1_` cone horn horn 265 Designed for high power output. 215 35.3 poly jersey 14k 9.00 Wide range with mic and three line inputs. volume and 5.8 TECHNICAL AUDIO DEVICES ISM-1 43.americanradiohistory.4 $518.00 Designed for use in large studio 35.00 Compact dual -driver wide range system.4 $465.44 16 40 control rooms. PERFORMANCE SPEAKERS ALTEC LAYvatnG 937 24 black 70-15k 12 cone 49 $950 00 Two-way loudspeaker system.5 black (2) axial 21 paint YAMAHA CORPORATION OF AMERICA NSIO 8.com .8 Tay black e 60 -20k 6 ? cone dome 3k 11.5 black bleck 20 4 full 88 195.2 $3.5 blet!: black 8 60 -20k 7 sheet 2.12` black black B 65 -20k 4 carb 62 $145 00 Very compact wide range system Handles 9. 12 S10X 6.2k 37.00 26 25 blacF 3 axial 175 peint 813C 3575 8 50-17.06 TS.5 mater.7 rated wood 3 cone 1 5k each Point source phase coherent DMT 30. 65 S2OX 7. hard wired crossover. 13. 11.7 $869 00 same ME -AV 13.20h 8 cone 3500 35 $550 00 Accurate sound reproduction for 12 studio playback and nearfill 9 applications. N.shielded components. 150 watt power handling 17.7 MS6OS 10.750 00 System for small control or editing rooms 3144 40 24.00 31 black 3 axial 22 paint 8150 32 8 40 -17.5 bled 3 axial 13.00 Compact.00 Energy controlling enclosure.5 black black 8 30 -20k 7 sheet 2(1 soft 12 sob 1.5 EMI black 60 20.6 $398.3 included.7 gray black 8 60 -20k 7 9 cone dome F 0 dome 1.2 poly 5k 11.4 s09 2k 13.7 MS202 8.590. 21.00 Front mounted components -2-way 26.1 poly jersey 3 crossover.5 black black 8 65 -20k 4 Garb 46 $210.25 han 250 187 $5.M 2 26 maple black 8 29 -20k 16 cone 2 90 650 205 $5. metal horn high power and extended bass response in 95 gal a compact package.5 metal fiber up to 150 watts of program material.OO P FF:SJ System 33 lamm black B 38 -25k paper 1 horn 1 51 99. 630 4 $1.plated terminals. 5 10 AE.5 COne 3.19k 15 cone 6. Handles 250 watts with 9.125 vinyl SEO. AE-10 225 black black 8 38 -120k 15 cone 120 138 Designed for convenient use and easy 32 epoxy foam (2) 'truck pack. 12.americanradiohistory.5 stage monitoring applications.1000 18 raw 20 -4k 18 cone 33 $600 00 Handles 1.83 Tuned port bass reflex enclosure.125 black cloth cone 5o watt system.12 foam drivers forcement of voice and music.00 same 20. 55 5163.31 vinyl cloth 5 horn 65 wan coaxial system. CELESTION INDUSTRIES. frame 5 Has 600 watts of real power capacity and extended bass response.5 black black 8 40.5 foam 13 Acousti- mass 18 poly black 10 -18/ 45 12 150hz 72 $3.5 mica black 8 50-16k 31 5978.5 COM 3 5x horn 400 81 5369 00 Three -way speaker system with biamp 22 black metal 3 4.' Provides high acoustic 24 coat output.1232 29 black black 8 45 -20k 12 cone 2x piezo 3 5B 45. AE-2 32 black black 16 63 -19k 8 cone horn 38 Ideal choice for theatrical and church fill 5 AE-3 16 black black 8 70 -18k 10 cone horn 40 For front fill speakers 12.4 $155 00 Speaker is perfect for keyboard and frame 4 12 cone stage monitoring applications with its edge -wound voice coil and cambric edge. 150 watts with SRC-3. 6 56 cone SE0.EcE rVFp4"5\ pP FAO° AE-1 1025 black black 8 63 -19k 8 cone horn 18 Designed as a foreground music 16 epoxy loam system and for theatrical fill 8 Coat coat applications. CERWIN -VEGA CVX-253 55.83 Tuned port extended bass enclosure.42 Fifty watt.5\0`5 ae a5 : 'EP' oO°) s FayS90P\E°a 0as5C4 °44? A.v0 t! N C09 t{ G . 1 control and SR -2 SR -3 1025 black black 8 70 -20k 8 cone 201 $320 00 For use where moderate sound levels 13 polymer 4 required.25 ozite 3. K12 -200e 12 raw 8 40 -6k 12 cone 8.5 mlddrivers. 400 19 ozite watt woofer. www. 10.5 veneer BOSE CORPORATION 402 23. Also in- 14 epoxy foam stalled to form large arrays.25 80211 13.5 SRC -1. 0. (2) 19.5 polymer 5 ting applications Has cone /dome 7 radiator and edge wound voice coil. SR -2 28 grey 40 -200k l8 cone 108 $950 00 The subwoofer adds massive low end 23 5 paint punch without sacrificing portabil- 20 ity Available in either 1.31 metal metal fluid system with Integral 70V Tx. Double rear sus- frame 5 pension gives greater cone excursion control B15 -600 15 raw B 25. SR -1 12 black black 8 60. indoor /outdoor loudspeak- 4. Atlas/Soundolier W130T 7.25 mica black 8 90 -16k 4. AE-12 30 black black 8 35 -120k 18 cone 120 160 for large scale sound reinforcement.5k 12 COO* horn 70 for high quality music or speech 14 reproduction.25 black black 8 95 -20k 4 cone ferro. 5520.5 15 8598 00 Designed for high -quality rein- 8.56 metal metal fluid er system with Integral 70V Tx 4 375 cone W150T 9 black black 8 75 -20k 525 cone ferro 10 $267. SR Com 7 black black 8 100 -20k 5 cone 71 $199 00 For recording.875 performance without multi amplification. 600 watts 1331 11 gray/ black 0 1.5x horn 400 148 8649 00 Three-way system with biamp 25 black metal 3 (2) (2) 45x 4k capability (2) woofers.16.75 epoxy foam providing very high acoustic output.18k 15 cone IN horn 10.00 Same design and sound as B18 -1000.5k 15 cone 30 $540. 14 AE-5 23 black black 8 53-17k 12 cone horn 78 Performs as stand alone unit. 13.25 foam steel -3dB 23 25 CARVIN -See our ad on page 6 973 30 gray/ black 8 50 -19k 15 cone 6.. SRC -1 1 sp rack gray active 150 9.20k 8 cone 34 $580 00 Excellent sound quality and protection 22 polymer 2 for demanding sound reinforcement or 14. stage or sound contrac- 0. 16 coat.000 watts. 844 2044 oak/ black 8 45 -18k 8 COOL 4 piezo 31 22 $270.5.INC.33 Thirty watt. 7. 100 watt radial horn. indoor /outdoor loudspeaker 6. 818.800 CO A full -range 3-way system with 24 paint metal 11-11 20 3 3 2k built-in passive crossovers for high 23.4 23 black black 8 55. horn 800 173 81.18k (horn) 15 cone horn 2k 46 (horn) $589 00 Two-piece system with biamp capebil- 28 black metal 60 -3k (woofer) 131 (woofer) ity. 9.4v 4k capability.000 or 400watts. 400 watts 1525 ozite 35 993 47 grey/ black 4 45. (2) tweeters. 44.71 8430 00 Has an intelligent controller which system provides a crossover between the SR.111 0 same 22. 225 coat.com . 5 carpel steel design. V-158 29. black 8 35. Includes 2 position response equalizer V-300 32 grey black 8 40 -15k 15 cone 10x horn 1 2k 75 $600.18k 15 cone comp .4 SH1512ER 355 screen 8 19. INTERNATIONAL MUSIC COMPANY (ROSS) TX122 21 qra. ELECTRO -VOICE FM.625 program power in range of 60 -1Bk.1 3 11.31 black black 8 60-18k 15 cone 2 Comp.1202ER 24.3 black 8 75 -20k 1? cone 90x horn 1500 65 19.2k 98 $800 00 Good for on the road or in small 24 carpet cloth 18 and medium clubs. cone 50hz 150 $1.44 carpet metal handling 400 watts of continuous 14. 36 30Hz bass in a free -standing horn format M-1 14. 131dB operating level 30 and true subwoofer range of 25 -50Hz.`P`5\ FJ PEE H PPOP O `a49' S F?ç gg SJ pxßx05p0 5 OPNOP O 5 2.4 28 GAUSS -Seeour ad on page 27 3588 a 40-18k 15 cone horn 1.75 grey black 8 32 -16k 15 cone 10 cone 3x horn 150 55 $500 CO Triple application system with vented 19 carper cloth 3 3k 10 in cone midrange features high 17 output and natural sound quality L-36PE 36 gray 8 30 -30k 18 cone 160 $1. black 8 60 -18. OSB /plywood a) 17 construction.J1+Pt' OJ pN P 05 O MMp CVX/H1e3 49.25 carpet cloth 14 5k 15 in woofer with symmetrical 17.9 black 8 50 -20k 15 cone 90x horn 1600 75 24.625 program power in the rangeof 60 -18k RS880 49.75 black black 4 45 -16k 12 cone 2 comp horn 4000 135 $1.75 carpet metal capable of handling 400 watts of 22.00 Three -way loudspeaker system 19 carpet metal capable of handling 400 watts of pro- 18.125 gram power in the range of 60 -18k.5 bloc black 8 45 -8k 15 cone comp. 3k 210 $2.8k 24 $925 00 Coaxial rated at 200watts RMS compact. metal +1 -4dB 10 driver corners.00 Front baffle woofer for greater 24 carpet cloth 15 midbass efficiency and throw /con- 16 trolled coverage. 3288 40 -18k 12 cone horn 1. has 18. RM3251 25. reinforced OSB/plywood con- 16 struction TX152 24 gran black 8 55. horn 3.5k 15 cone 4x comp 3K 65 $399 95 same 18 carpet metal +1.5k 89 $077. comp.8 3 24.00 Three -way stage monitor system 18.7 grille 3 40 16 FM1202ER 24.0P 00 PxGP PXOXXF 5p. horn 3 . horn 3.5 for non -fatiguing natural midrange.5 gray black 8 70-16k cone 3x3 horn 25k 36 $375 00 Features an ultra -compact vented 21 carpet cloth enclosure with a 12 in driver 7.491 00 Subwoofer for the RS880 with double 33 carpet metal 50Hz Spider woofers.16800 Three -way passive full-range horn 30 carpet metal (2) horn-loaded trapezoidal enclosure 225 with rigging hardware option VBS415 33 brad black 8 25 -200 15 cone comp. COMMUNITY LIGHT AND SOUND -See our ad on page 22 CSX70 26. 22 CSX50B 33.5k 72 $882.americanradiohistory.5 black.066 00 Three-way passivge system featuring a 4x12 33.000 00 Fully portable using compact single 24 paint 3 3 2k throat folded horn/full range with 24 passive crossover built in.75 carpet steel crossover. V www. 5E ' F# Ep04P J61EP 5xOt5\t4Qk 1 QP O0aOy.500hz 18 cone horn 12dB 100 $680 00 Compact subwoofer featureal 150Hzh 26.4k 24 $925 00 Coaxial rated at 200 watts RMS Sensitivity of 91dB 3285 70 -15k 12 cone horn 1.185k 15 cone 4x comp 1 5k 65 $499 95 Performance speakers direct radiating -- 25 carpet metal + / -4dB 10 driver metal stacking corners. high power floor monitor.7 screen 8 65.20k 15 13. 3k 45 $249 95 Performance speakers metal stacking 16 care'.5k 51 $790 00 Compact 3 -way system capable of 18.125 black black 8 60. MV-15 29.375 magnetic field with special anti - bottom backplale.034 00 Subwoofer operates in 35-800Hz 33. RS327i 32 black black B 45 -18k 15 cone 2 comp.5 black black 4 35 -800k 11. V-370 36 gray black 0 40 -15k 18 cone 10x horn 1. 25. 18 CSX608 33.5 carpet metal range of 35 -800Hz Features Hi/Low 22 pass filters and mex operating level of 132dB RS325i 24.1 grille 3 40 11 7 SH.5dB 10 driver TX153 28 gras black 8 55 -18. dual high pass outputs.1512ER 31.2k 25 $990 00 Coaxial rated at 200 watts RMS and a sensitivity of 96dB.25 gray black 8 35 -20k 15 core 9x horn 225 horn 2.5 black 8 40 -18k iB cone horn 10x horn 350 160 $2.18.7 FM1502ER 28.com .5k 15 cone 8 C0M 4x comp 300Hz88 $54395 same 23 carpet metal *1-4dB 10 driver 3k 16 TX252 32 gray black 8 55.5k 12 cone 4x comp.5k 47 $500 00 A versatile triple action system.000 00 Has folded horn which packs high 24 carper performance into a compact cabinet. max operating level of 132dB. 200 $1.7 screen 8 75 -20k 12 19. high power. 3k 56 $499 95 Stege monitor: metal stackng tor- 28 metal + / -5d8 t° driver ners.5k 18 cone B cone 4x comp.000 00Provides controlled coherent coverage 41 metal 4 12 comp High acoustical output with low distor- 35 tion.16k tx cone comp tonst. SR4725 29.1 -3 16 RL-15-3PA 24 gray black 8 40.16k 1x cone comp rad.ampable. 26 carpet metal + /-4dB 10 driver 3k horn loaded mid.americanradiohistory.5 ponse Floor monitor. titanium compression driver 14 M122HS 21 black black B 60 -185k 12 cone 4x Comp. M152EV 17 black black 8 55 -18. 12 JBL PROFESSIONAL SR4732 43 fabric black 4 40-20k 12 cone horn 1.49500 Trapezoidal enclosure design allows 25 metal 2 2k tight clustering of multiple enclosure 18 systems SR4718 43 fabric black 4 30 -3. 40 -22k 15 Corti 2 horn 4 1 2/ 120 $1. low distortion. HI18EV 43 gray black 4 40-18. the 1524 CO 36 carpet cloth amp (2) c. arrayable system capable of 21.37 black black 8 60 -16k la cone 1 4 rad 66 $2. 300Hz 125 $899.75 black/ black/ 4/8 70 -20k 2x cone comp horn 265 $4.15k It cone horn piezo 2k 45 $479 00 Rugged handles.215.00 Trapezoidal enclosure design allows 25 metal tight clustering of multiple enclosure 18 systems MEYER SOUND LABORATORIES MSL-10A 85 black black 40. 513.1k 15 45 $19.2k 135 $1.95 Performance speakers Bi.940 00 Complete system with stereo amplifier 20 steel 3 15 horn S easy to set up or install Subwoofer 14 options include 501. 7 125 SOU-A 32 black black 40.loaded. 16 metal +/ -4d0 10 driver Constant directivity horn.350 00 The 5 -ft -4 -in height is perfect for put- 20 carpet cloth ting Mid -hi cabinets above the 24 audience 1524 36 gray black try.5 $ 1. 19 carpet metal . MSL -3 56.125 black black 16 70 -20k 2x cone plazo horn 17 $893 00 Ultra compact and lightweight with 6.820 00 Rugged.00 Subwoofer. 31 steel 15 compact 21. low distortion UPM -1 18. 650 -R2 45 black black/ 4 30.00 Unloaded 15 m cabinet that has porta- 21 carpet metal tabillty. low distortion .710. 45 $479 00 19 carpet metal +/ -3 16 RL -12M 19 gray black 8 40.5k 15 cone 4x comp.56 black black 4 40-100 2x cone 115 $1.r.390 00 Ultra low distortion and efficient high 14 steel 4 12 directiw'v power with ultra flat frequency res- 22.00 25 metal 2. 14 drilled RL -12PA 19 grey black 8 40 -15k 12 cone horn 40 $399 95 same 14 carpet metal +/ -3 0138-18 24 gray black 30 -800 18 $369.00 Subwoofer.31 MODULAR TECHNOLOGIES -See our ad on page 2 RL-153-M 24 gray black ri 40.100 2x cone 180 $2.00 Rugged.5 Radial horns.695. metal stacking 18 corners. metal stack- 17 ing corners.490.15k 15 cone horn piezo 2. 30 vinyl 18 22. 18 584735 36 25 fabric black 8 35-17k 15 cone horn 600Hz92 Pure titanium diaphragm compression $995.com .5 operation with high power.3k 18 cone 87 $795 00 Vented Gap Cooling low frequency 25 metal transducers 18 SR4722 28 fabric black 8 53-17k 12 cone horn 1 2k 57.12k 4x Cone 3x2 horn 700 $35. TX452HL 48 gray black 4 45 -18.00 Vented Gap Cooling low frequency 25 metal 6k transducers. 110 $5. 502. 66 $2. arrayable system that is 14 5 steel 4 12 comp horn Compact and versatile. Big bass comes in economy 16 sizes 0 -15 66 gray black 8 25 -800 15 Cone 90 $1. 3k 30 $24995 Stage monitor metal stacking corner. Efficient 14.5k 15 cone 4x comp t 5k 110 $64995 Performance speakers horn loaded 25 carpet metal +1 -4dB 10 driver tow frequency drivers. high power. UM -1A 14 black black 8 60..8k drivers mated to patented JBL Bi- 18 Radial horns SR4738 43 fabric black 4 30-17k 18 cone 10 horn 600Hz111. 5 comes equipped with recessed 22 handles www. the ultimate 14 carpet metal +1.350 00 Trapezoidal and fully.5 metal USW-1 21.5 fabric black 8 36 -18k 15 cone horn t 1k 78 $995. 40 $399 95 Recessed handles.75 metal 4 5 electric uncompromised sound quality.00 The CBB -18 is for people who need 21 carpet metal earth -shaking bass in a package that 16 Will fit in a sedan CBB -15 24 gray black 35.15k 1? cone horn 21.3 support universal mount comes pre.25 gray vinyl 4 12 w/ VHF high power with high clarity and coher- 30 carpet metal array once UPA -1A 22.5 $795 00 Pure titanium diaphragm compression 20 metal drivers mated to patented JBL Bi- 13. 00 same 17.00 same 1554 white steel 10.rugged design. A200 20 or wht or wht 40 high SPL.93 black.25 cloth (6) installations. Mag- A70 21 or wht or wht 120 netically shielded. processor 16. 2-way enclosure. biamp capability. stackable. 12 resin metal WS. variety of 12 pant cloth mounting options WS. 36. biamp capability. integral 17.8 232 Directional sound column for critical 6. high 625 output and uniform dispersion 4.5 black black 6 60.93 gray' per. biempable HDH -2 28.75 black black 8 40-20k 1ó cone 2 horn tWISt 800. 8 30 -Xover 12 cone WS-SP2A 36. manifold component with four 18 125 22A drivers. 13 black black 8 50-18k 6 120x horn 2k 14 1243 00 Power capacity is 80 watts. 22A 25. durable carpet 388-S 38.125 stand adapter.25 drivers.5 black black 4 40-16k 15 black horn 1200 135 Wide range.5 $280. 4.75 attach points.5 carpet metal speaker Bk durable carpet covering. compact.25 PEAVEY ELECTRONICS CORPORATION -See our ad on Cover 111 115 Int'I. WS. ver A80 215 or wht or wht 40 iety of mounting options. 8 70 -18k lull 4 75 cala 5. 118 Intl 36.5 SP-2A 31. cone horn 1 5 40 $1200 00 A mid/high system for use with A500 10.2 $1.75 carpet nylon black 8k response.375 blet* black 8 45.com .75 carpet nylon (2) widows driver and dual 15 in.5 16 $280 00 High SPL. 28 black black 8 35 -20k 12 35 $510 00 Subwoofer system requires model A240 20 rasa grille WS -SP2A electronic crossover 16 WS.5V 85 Three -way enclosure.1000 17 black black 16 20 -20k 5 0ne 3 tweet 8.93 black / pert.75 PASO SOUND F RODUCTS. 8 in.75 WS -A240 21. 8 100 -20k 12 cone comp 1600 35. biampable. CL -1 21. 14 black black 8 65 -18k 8 60x horn 2.54 white steel driver 1075 WS-A550 21. stackable.20K 15 scorpiofl e cone 1 tweet 220. PVC 8/16 45 -16k 5 metal metal 5K 16 $349 50 same 12 ester 12 resin PANASONIC /RAMSA WS-A10 6.-.625 carpet nylon black 8k 20.875 black black 8 60-16k black horn 800 93 Two-way enclosure. 35 $510 30 same 15 54 white steel SPA 1075 WS -A500 21.00 same 15.7 or grille 20k two WS -A550 low -frequency sys- 16 white tems and WS -SP2A crossover WS. full bandwidth 21. B 30 -Xover 12 cone WS.54 white steel driver 10. 30. SP-4 52.`_0 Waterproof designs for temporary or 8 ethylene permanent installation 8 NCS-222 20 poly.00 Applications. 28 black black 8 70-20k 60x horn 2 5 35 $590 00 125 watt power handling.12 black/ pert.16k 6 2 horn 1200 56 Two -way enclosure.25 critical reinforcement. high level passive 23.5 black black 4 70. cone 18.875 black black 8 4518k 15 black drivers horn 1200 104 Two -way. 22 gray metal E 100.70 $120. black widow 19.25 mid driver. variety of 16 resin metal mounting options.06 white metal driver 931 WS -A200 21. 133 seme 26.93 gray' pert.I NC.25 C324HP 33 berg beige 100 -20k 5 tweet 16 $330. 35 $680 00 16 white grille X -over (D www.75 nylon widow crossover.20k 12 horn 1200 46 Two -way enclosure. mounting hardware 14.NEW ENGLAND AUDIO RESOURCE NCS -221 14 poly PVC r!l5 55 -18k metal metal 3k 13 $249. compact. processor capable enclo- 22 carpet metal (2) widow (4) sure. high level passive cross- 11 over.75 widow equipped. pert 8 70 -20k 8 12 cone comp horn 2500 35 $590.300 00 same 15. 112PS 21. back widow and 22A driver 16. 22 gray A550 10 7 or metal 8 35.00 Features moded resin enclosures for 9 875 white metal range portablee usage and limited outdoor 612 outdoor exposure WS-ABO 11 12 black/ pert. 161 Three -way full -range enclosure.americanradiohistory.5 blac-r black 8 50-20k 15 cone tweet 1. PANASONIC RAMSA WS.125 carpet nylon capable. C.. 65-20k 8 cone comp hOrn 2500 16.5 $680. ideal for flying 23. 1200 80 $1.25 system designed for the professional 19 pro rental company or quality installation.75 driver SPL 1226 46. 16k 75 $862 50 Has constant directivity horn 30 carpet metal 16 FRS121C 24 black pert. 32 MRS -2 52 gray black 40 low40.15k 15 cone 15 cone 20x horn B00 185 A 3 -way system (when using optional 32 carpet metal 80 high 32 2-18BM) high powered sound 23 reinforcement system RENKUS -HEINZ FRS IS1C 20 25 black pert 8 50-17k 15 cone comp.04250 same 28 carpet metal driver 17 SMS151C 1525 black pert 0 50. Rugged con- struction SUNN 1272 18.495 00 sarrle 20 carpet steel (2) driver 18 SMS121C 145 black per.125 driver SPL1292 17 gray black 8 60-20k 12 cone 15x horn/ 1 2k 52 Biampable monitor.5 gray black 8 50-20k 15 cone 15x horn/ t 2k.14750 same 30 carpet metal driver 16 FRS152CD 48 black pert 4 50-17k 15 cone 2 comp. titanium diaphragm driver.25 onde metal 5 6 comp cabinet design.americanradiohistory. 56 same 28 oZde metal 5 6 comp 195 driver 1211 28 gray black 6 50-20k 15 cone I5x horn/ 25k 66 Includes stand adaptor.400 04 A full -range 2 -way compact speaker 17 paint steel 4. TOC SW-2 20. TOC EB -2 43 black black 4 25-100 2x cone 100 170 $1. 16.25x horn 1k 68 $2. 2375 one metal 5 6 comp.75 driver www. 16.00 A Compact subwoofer designed to 17 paint steel 15 complement the TOC RS -2/TOC SW -2. 30 or 60 degree 25.com .5x horn 3k 38 $320 00 22 carpet steel 4.5 1228 35 5 gray black 8 45.5 12 TOC RS -2 24 black black 8 50-17k 15 cone 15 COW 7.13k 12 cone CD 28 38 1470 00 Matched to Model 1200 Powermixer. excellent cabinet 165 design. c °y 00" Oay\Oy F\aF sy\aNoP O'z' ey \Oy P d'\O 0. 14 carpet driver SPL 1225 28.25x horn 1k 82 $2. 8 60 -17k 12 cone comp 1600 54 $862 00 same 28 carpet steel driver 17 SMS121CD 14.17k 15 cone comp 1600 58 $567 50 same 3325 carpet metal driver 19 SMS151CD 1525 black pert.6 0' -vypri: fi\O M 4k0G PROFESSIONAL AUDIO SYSTEMS 2 -18BM 4a gray bleck 4 40 -200 16 cone 200 150 32 carpet steel 24 PAS 18-3 38 gray black 8 40 -18k 18 cone 10 cone 10 5x horn 30 130 5870 00 24 carpet steel 4k 24 PAS 15 -2H 24 gray black 8 50 -16k cone 10 5x horn 3k 58 $360 00 19 carpet steel 45 16 PAS 12-2 16 gray black 8 100-17.400 00 A full -range 2 -way compact stage 17 paint steel 425 monitor designed for the pro rental 23 Company and large installation.20k 2n cone 15x horn 1 2k 114 Same as SPL 1225 above. SUNN.25 gray black 16 60 -20k 12 cone dual 2k 32 Attenuator on unit.600.5 gray black 6 50 -20k 15 cone I5x horn 1 25k 74 Trapezoidal cabinettitaniumdiapragmdriver.20k 18 cone 15x horn/ 1 25k 110 Ideal for DJ use. 8 60-17k 12 cone comp. 255 onde metal 5 6 comp provides lo end punch. cast-frame woofer.1475 ?same 3325 driver 19 SHURE BROTHERS INC.5 carpet driver driver. -See our ad on Cover 1V 3200 24 875 black black 8 60. 25.75 ozite metal 5 15 6 comp 19. 19. 30 or 60 degree 22 ozite metal 6 pieno cabinet design. cast frame woofer '285 17. 12 cone 10.5 black pert 8 60 -17k 12 cone comp 1200 58 $1. 1200 123 81.25 carpet metal 6 piezo 19.625 vinyl metal 5 horn Lightweight and stackable with 12 375 hard-rubber corner protectors High efficiency and high power handling capability.5.5 black black 8 60-17k 15 cone 15 eons 7. 12-7t 19 75 onde black 16 60-20k 15 cone 1 1 x dual 2K 38 same 25. 8 50-17k 15 cone comp 1200 62 $1. 18 in woofer . 16k 42 $062 50 same 16 carpet metal driver 11 5 FRS151C0 20 25 black pert 8 50-17k 15 cone 2 comp .designed 20 ozite metal 5 6 comp.5 gray black 8 38. titanium diaphragm 19. 59.125 00 22 gray mesh frame horn 8k 17.6 gray mesh frame horn 8k. P-8 19 gray black 8 80 -16k cone horn 5k $319 00 Available in all white with truts 0 35 14 onte metal top and side for installation.2 driver 53115HT 30.2 recessed handles and interlocking corners.. '4 ° 79. 99. INC. 13 P-12 24 gray black 8 70 -16k 12 cone tractrix 8k 46 3 $359 00 Tractrix horn offers even disper- 18 czite metal horn sion regardless of angle or place- 13 ment P-15 30 gray black 8 50-16k 15 cone tractrix 3 8k 70 $459 00 Wedge -shape cabinets 21 tinte metal horn 20 HP-150 29 gray black 8 60 -16k cone horn 3 5k 75 $579 00 'M' Roll surround woofers with 21 ozite metal convex dust caps. 175 $1. 18. 10 4 TXD. 380 -SD 26. 3E'. 12 blue pert 8 90 -20k 10 cone slot 45 $1. 530 25 steel 4 tweet 13 TXD-560 34 blue pert 8 60-18k 15 cone 10 cone slot 250. 8 45 -250Hz lb cone 82 $9£9 00 Low frequency enclosure for the TXD 21 steel series.2 horn comp. 8k 25. 16 .3 driver tweet attenuator. transis- 19 tor protection circuit in crossover.7 o rite metal 13 MX-2000 45 black black 4 50 -t7k 15 cone 11 51 horn slot 1.6 zits metal 3 to linearize bass response or as 136 stereo crossover with subs.7 ply black 6 40 -3k e cone 150 90 $575 00 High power subwoofer system. mid-frequency 12.1 gray black h 60-20k 12 cone CD horn/ 3 mov 1k. 19 steel tweet 4k 15 TXD-518 29 pert. electronic 26 o_ite metal (x2) 165 tweet processor.2 handles and interlocking cabinets S3112MT 15.19k 10 cone 9x5 horn 4k 33 $459 00 Dual purpose electronic processor 14. SW11811 30. 18. YORKVILL E SOUND M-160 17. S2115 21 ply black b 50 -16k 15 Garb 1 7 comp 1.8 chat black ° oF°YMQFO° B 50.r ORA -ION 307 Lhü black e 45 -16k carb t 7 comp 1 6k 97 $695 00 New version of the 2 -way stage Hill 25.8 gray black 8 50 -20k 15 cone CD horn / 3 mov 1k.2 metal fiber dart monitor Rugged cabinet with horn.: black B 50 -20k 2 cone 6s cone 32 bullet 1k/ $49500 12. 931 Compact. wide dispersion.2 $1.064 00 Wide dispersion. 16 1 jersey 480-SE 32. biampable.5 $674 00 same 19.3 chart black 8 45 -20k '8 cast 37 CD 37 horn 600.1 vinyl metal comp coil 10k connectors.4 metal comp coil 10k 15.2 0' $998 00 \sDNS 19.799 00 Plywood construction.19K 5 cone 6x horn 21( 66 $869 00 same 401 21.4 w /olacK metal comp.7 jersey 300 -SD 23.3 w /blk metal fiber dm low frequency response Rugged 28.7 ply black 8 40 -20k 15 carbon 1 / comp ring 1 6k/ $775 00 High power-handling 3 -way system 25. M-600 195 black black 4 50 -16k 10 cone 9x horn t 8 77 $949 00 same 232 oz4te metal (') 5 134 MX. 272 back black 45.7.2 wiblack metal fiber driver rad Bk with wide bandwidth.2 w/bleck metal Rugged cabinet with recessed 18.f PFS°v+ ße 800. 16 blue pert 8 100 -18k 10 cone soft tweet 26 $665 00 Low frequency enclosure for TXD 520 11 steel dome series. 463 $61800 Biamplification and bridging 18.4 driver tweet TURBOSO UND 1XD. 29. t TOA ELECTRONICS.2 2 -way system for stage monitoring.7 Ph. 25.20k Fv\S Gooe5 !1'`' cast c O''' ooaa 5\C CD ` 37 15C5 (o horn y. YAMAHA C r.6k 77 1695 00 High power-handling and excellent Hill 23.9 back black 3 65. Oklahoma City. CA 92621 Carvin Corporation 2832 San Pablo Ave. Pleasant Valley. 1316 E. America Buchanan. PA 19067 89 Doug Brown Way (Tannoy) 300 Gage Ave. Peavey Electronics Corp. CA 90622 Fostex Corp. Suite C Northridge. ME 04252 TOA Electronics 601 Gateway Blvd. CA 90710 Niagara Falls. CA 92025 Long Beach... CA 94952 Klein & Hummel Shure Brothers Inc.com . Escondido. CA 94080 6550 Katella Ave. Lisbon Falls. CA 93065 Panasonic/Ramsa South San Francisco.. CA 90810 Modular Technologies 303 Clymer Ave. Ont. TX 76102 Petaluma. Atlas Soundolier Evanston. MA 01746 New England Audio Kitchener. NY 10019 -1412 Fenton. NY 12569 Pelham. CA 91352 Irvine. Morrisville. Acoustics Chester.americanradiohistory. Brea. 17191 Armstrong Ave. Canada N2M Resource 2C8 Cerwin -Vega 569 Lisbon Road 555 E. CA 90049 Turbosound Div. Martin America 1425 Elm Hill Pike Bose Corporation 21000 Devonshire St. #205 Nashville.) 222 Hartrey Ave. Lancaster 1150 Industrial Ave. of America Professional Audio Systems Yorkville Sound 15431 Blackburn Ave. PA 19013 Paso Sound Products. Technical Audio Devices 1155 Industrial Ave. PO Box 6600 Meridian. MO 63026 Studer Revox America Inc. Community Light & Sound Cypress. OK 73128 Sun Valley. NY 14305 www. (Gotham Audio Corp. ADDRESSES Altec Lansing Corporation Gauss Renkus -Heinz 10500 West Reno 9130 Glen Oaks Blvd. Berkeley. CA 91311 Sunn Framingham. TN 37210 The Mountain Chatsworth. NY 10803 Electro -Voice Yamaha Corporation of 600 Cecil St. 8500 Balboa Blvd. Unit 1 Holliston. PO Box 1383 14 First St. MS 39301 Buena Park. MI 49107 711 A St. TGI North America Celestion Industries Inc. Easy St. Witmer Industrial Estate Norwalk. IL 60202 -3696 1790 Broadway 1859 Intertech Drive New York. Inc.. CA 92714 JBL Professional (UREI) IMC (Ross Systems) Apogee Sound Inc. CA 90650 Harbor City. 1224 West 252nd St. CA 91329 Fort Worth. MA 01701 Meyer Sound Laboratories 1130 Columbia St. CA 94702 2265 East 220 St. Inc. Suite 300 Simi Valley.. AKG 333 East Fifth St. NY 11725. ALL CLASSIFIEDS children's. Si udie Foro. db Box Numbers ó Carom C.50 RM rilir Ragusa Cala opus 600. Boxed ads MUSICAL INSTRUMENTS REINFORCEMENT are $40. db.mm sona. cards with Cat."WI . variety. Box 80361...americanradiohistory.343 -1433.. Island C 1130 -: Lncoln Ava. WE'RE FIGHTING FOP GA 30341.00 per column PRO-AUDIO inch. Box 724.3.50 additional for iiiiiiiAirsa '. big band re. I Quantity discounts are: 3X -15%. Drama. -tir. TEMS. - : -'.SMART. 7206 W..EEE9I 111\\\ WANTED RADIO TRANSCRIPTION DISCS: v 1-. 7 5 7 708/456 -0003 SERVICING: minimum.0633 /////E9M M\\iH\\ ////E911 M\SIMX\\ additional for postage and handling. adventure. 516553. library services. #22 saves lives. ?ti4rT'' n'.000.. P. RECORDING BY APPOINTMENT ONLY are $8. AUDIO CASSETTE LABELS Free recorded message: (707) Label Size 3 -1/2' x 1 -5/8' Sheet Size 7-1/4 x 11 -1/4. § -:_r : x ..00 per word with a $25.JF. Commack.r . Redmond.. Please let us know American Heart how many you have and the asking Suite 1010.. WA. YOUR LIFE www. audlcolhicago. AcouIc loam -u. Wilde SERVICES preceding the date of Sand Parchment Pewter Parchment. NY 11741 AMEEEIII.«. Atlanta.. (800) 45. Association price. Grand Ave r rZlity DAVIDSON E L E C T R O N C S Rates are $1. IL 60635 5 6 3 0' 9 .- issue. music.O.awneaWNW wording "Department o öóóóieáñ òöó XX" plus $1. Grants /loans to $500.. Any size.. `:. Holbrook. AFRS. The Sound CARDS! If you have replaced your Engineering Magaz ne.. MUST BE PREPAID motes. #280 SR cards. BLe Red Yellow Gold. 98073- 0724. we 203 Commack Road. . Lime Green (rang. comedy. 448 -0201 (SD1) Closing date is the first 12 Labels Per Sheet 1200 Labels °er Package of the second month Colors Available Matte Whsle Semi -Gloss timte Gloss. KINER -db. soaps.:P2 . Research Send copy to: WE BUY USED DOLBY CAT. 6X -30%. speed. will buy them. CLASSIFIED FOR SALE BUSINESS OPPORTUNITY LET THE GOVERNMENT FINANCE your new or existing small bLsi- ness. SMART THEATRE SYS.com .00 ittezi I Elmwood Park. ductions can now create 100 percent neering. DMP7D digital board. Hewitt's infamous "Black Truck. Other courses will be of. Plans are underway to form a So. manufac. at Valley International. Inc. spot production. speakers in indoor theater lobbies responsible for overseeing all manu- ity. started the new year off right with and analysis and improvisational perhaps Hollywood's most exclusive the opening of their new audio for concepts. outdoor theater lobbies at theaters service operations of Lexicon's pro- bots. Abe. styles at Conway Recording Studios.. named vice president of Product De- special instruction in the technical tions provide digital or analog re. added to a new 44 -foot tractor-trailer sound effects.Madison Park Productions ference and Equipment Exhibit that announced that Mr. PLACES HAPPENINGS The Park Avenue Group has mony and theory.Jason The one -year course will be struc.. former president Madison Park features two studios mations of local SMPTE Sections in and innovative pioneer in multi- and a control room with a window to Italy. which will triple capac.... higher intelligibility design of new products and enhance- in the country Apocalyse `The and better articulation. Maurice French... president of FCA's parent.An force and engineers.. turer of audio mixing consoles. TN.americanradiohistory. Blaine Baker. has installed Uni.A new Production Divi.. har. voice overs. SMPTE president. Germany and the track recording equipment. of MPL /. based Lexicon. will be equipped with automated and PA430T paging projectors in facturing. original music. Blank Productions in Stamford. act as Final Word in Post'. and Jay Nelson. The versity Sound CS810 -T ceiling loud. Lexicon has also promoted Will series of enhancements and expan. Digital Recorder has been installed Inc. music recording and mixing facil- video post-production facility in fered in synthesis. foley. synthesis technique and analog recorders with Dolby SR. Shinohara. with the for. PostMasters. PEOPLE. Dunaway. pre- tar. ADR. Along with the Yamaha named senior vice president. Scotland. is part of easy aiming in any direction. formerly rectional swivel hoop system allows a liaison between Lexicon's sales known as Pro-image Post. two studio will include audio sweetening application of synthesis in today's A810s with center track timecode for video. n classes in technique.production ing system has been installed at presentations of Lexicon prod - facilities. where he will be directly new factory. The KIT cording. synchronizing system. has General Cinema Corp. www.. participate in demonstrations and leading network of post. corporate for AME. Television Engineers (SMPTE) Truck. customer service and field production lines complete with ro.. reading. ear training. Fostex Corp.. president. has appointed been opened at a new 20. ity.. Corp. An omnidi. sion for Soundtracs Plc. manager where he will assist in the sophisticated post. bass and drum programs with its digital masters. ment of existing product lines.Studer ReVox' recently president of Sales and Operations re- core curriculum will consist of released D820 -48 48 -track DASH spectively.com . has also announced the opening of its there has been unprecedented inter. Inc. of America has vices. Australia's Akai ADAM 24 track digital record. and support and the Pro-image Group. velopment and Marketing and vice aspects of the instrument. H. operations. Offerings at this new gramming. OH. Japan Section.A former video production across the city. in New York City..recorded music. mar- offer a new division of the school be. were curriculum augmented to include 16 track also helps Blank Produc.. Dick Trainor as vice president of facility in Glenrothes. The PA430T is stated fessional and consumer product house in Australia has undergone a to be the world's only constant direc. foreign ciety of Motion Picture and mobile facility dubbed the "Silver translations and 16/track synchroni.. Y.Frank Bluestein has been The Musicians Institute will CT. and development at company head- production. and voice over month. is now the company's new Hall in downtown Cincinnati. takes over as quarters in Japan.. ing the past 16 months. Its constant Eggleston to product development sion to become the largest and most directivity allows uniform coverage. cent 132nd SMPTE Technical Con." equipped multi -track facility along SMPTE president. former director of engi- tured in a manner similar to the gui. and 961/962 consoles have been and pre. noted at the re- with its marketing support ser. the ginning in March: The Keyboard Tools digital hard disk recording largest full service post-production Institute of Technology (KIT). Scandinavia..Two other Studer A820 24 -track Memphis. will de- the outside. ft.. Fostex new studios at historic Longworth national growth of the Society dur. ucts. A Studer 24 track/ viously operations manager. lines.Beginning this vote his efforts full-time in research music. Blank Pro." which replaces owner David zation services providing a fully .production house fewer horns.. and editing and the Lynx Timeline facility in the United States. Inc.000 sq. Sound keting... tivity paging projector. Services include custom Soviet Union. audio for video. synthesis pro. com . Musicians' Edge Peavey Electronics Corporation 1990 711 A Street 1lcnd :an.. then get the low down on the PVM 520TN. that's what you get .The PVM" 520TN gets down to The extremely high output where the bottom is . it also maintains plus accurate response produces excep- superior off-axis rejection of other sounds..4 (601) 483 53b5 10ex.americanradiohistory. .. makes it ideal for recording where isolation and separation are required. which the low end .. tionally "natural" performance with the brass When you mike the kick drum with the 520. and woodwind families. MS 39302 -2898 U.. the low frequency It can even do vocals! If you want studio - fundamental and the snap.5.041 LS 1ax_ 484 42/8 Circe 11 on Reader Service Card www.. accurate vocal reproduction for live situations The pick -up pattern is cardioid while the with all the crisp edge on top and warmth on polar response control is maintained to below 100 Hz. amps.Worldwide. I use them on vocals. But most important.800 -25. Buy Them OnWord Of Mouth Alone. and brass because their sensitivity and resistance to feedback make them the perfect fit for the groups I work with. they'll tell you that nothing beats a Beta for live performance. Sound Engineer for David Sanbom and Lisa Stansfield. And that's not just talk. They'll tell you about the benefits of Shure Beta's advanced transducer design. Circle 12 on Reader Service Card SH V RE www.com . drums. And the Beta 58 Wireless is the first system I've found that gives my artists the freedom of a radio mic without sacrificing sound quality" Paul Dalen.SHORE.feedback. listen to the leading pros who use the Shure Beta Series on stage. The Sound Of The professionals®. Or call us for more information at 1.. extraordinary gain.americanradiohistory. Before you select a microphone. as well as its outstanding sensitivity and low handling noise. and true supercardioid polar pat- tern. "I've been sold on Beta's superiority since I first tried them.before. Shure Beta Microphones. Try Shure Beta today and get the final word for yourself.