May 1992 Recording Engineering Production $4.

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The Pro Audio Applications Magazine
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An INTERTEC Publication
Spending years on end cooped up in small, dark rooms with a bunch of engineers

takes certain special qualities. Durability, for one. We've always been known for that.

Of course, clear, uncolored sound quality doesn't hurt, either. Or hand -assembled
components, with gap precision to plus or minus one -millionth of an inch.

These features got TAD speakers into studios like Record Plant, NOMIS

and Masterfonics. And the same features are now getting us out of them.

See, we had this funny idea that if TAD could make music sound terrific in a

small room, we could make music sound terrific in a huge arena. And every outing

we've had with Maryland Sound has proved us right.

Not that we won't still work our woofers off in studios from L.A. to London

all day. But, at night, we'd like to get out and

1 PlTechnical
Audio Devices °

jam more often. (lb Pioneer Irrt/fl`sNitllllll l'rtuilu ls IliS ¡skin

{ 1991 Pioneer Electronics (USA) Inc .2265 E.220th Street, Long ßeach.CA 90810.12111816 0415, Fax 12111816 5941

Circle (1) on Rapid Facts Card

 .
10

Th
The ví700 is a 32 -buss production consol?
I 4,
series tha combines sonic purity and a familiar,
flexible ar_hrecure in standard configuratiors
ti
w¡
'.
up to 12.3 input :hannels. Designed us ng a rrini-
:
/
4., Air
mal number of active compone -its, the M700's
sigral path is clean and efficient wh ch results
in a natural sounding mix that open, robust t %
°4'
'4
.
and trarsoarent. ., .
The ease and flexibility of the M)0 Series .., . ,
can be Extended by means of TASCAM's new , . ,,,.

/
Moving FadEr Air-omation (MFA) pa_kage, a -u -, ..,
.
I

feahmeç rtand lone automation syrtem Mich 4ra

can be Er hancEd with a computer aE a display ' + *a. /
terrtina. The very responsive MFA package
includesTASCAM -designed mctoriz2d faders
with 12-br resolution, along with capabilities for
;,' /
sub-grouping faders, mutes and soles.
If you hader't yet seen the remarkable M700/
MFA prccucion console in action, you can easiy
do so by :along (213) 726-0303. Or by writing
TASCAM, 77.33 Telegraph Roac, Mortebelic.
CA 90641).

TASCAM H.

1991 UN Mnerica mc

CircI {3) on Rapld Facts Card

 14.44 ,p
REP Interview: Adrian Belew
Learning how to use that old "less is more" theory.
By: Dan Levitin
Volume 23, No.

May 1992

16
5

Desktop Production Update 20

Evaluating workstations.
By: Anthony McLean and Rick Schwartz
Tracking an Update 36
The Akai DD1000 Version 2.0.
By: Alan Parsons
12 Secret Knowledge of the Ether: Part Two 40
Avoiding RFI in multi -channel wireless microphone systems.
By: Bruce Jones
Hands On: Kurzweil K2000 58
Variable architecture synthesis technology.
By: Trammel Stark and Paul Lehrman

5494.441 Re/44241.4.44
Live & Direct 44
The Three R's: Reverberation, Reflections and Resonance.
By: David Scheirman
ITI+TItTI+ The 1992 Olympic Winter Games 46
149 Reliable, intelligible audio for athletes and audiences in the face of snow
and freezing temperatures
By: David Scheirman
20
%:i+/LNiwYW4
From the Top 5
Letters 6
Random Access 8
Fresh Tracks 12
CompuServe Reply Card 48A
REP: Handbook 53
Digital Domain 54
REP: On -Line 56
Of% Covi4 Sound Business 57
Lexicon Opus console installed at Post First Look 63
Edge located in Hollywood, Florida. Cutting Edge /Too New -In Progress 64
Workstation Index 65
Classified 66
Advertisers Index 72
Rapid Facts Cards 73
Subscriber Cards 75

REP and Live Soundl and Touring Technology now have a presence on the CompuServe Information Service network! Submit article ideas, create Letters- to -the-
Editor, download articles from our On -Line library or have a "live" conversation with our staff and contributors on the REP: On -Line Forum. To receive a free
CompuServe membership and sign -up kit, courtesy of REP, dial 1-800-524-3388 in the U.S. or Canada and ask for representative #232. Once on the network,
type GO REPMAG at any prompt to navigate directly to the MIDI VENDER FORUM, SECTION 14. Or reach the Editor's Mailbox at 75300,3141 by typing GO MAIL
at any prompt. See you On -Line!

REP: RecordingEngineeringProductlon (ISSN 1058 -9678) is published monthly by Intertec Publishing Corporation. 9800 Metcalf, Overland Park. KS 66212.2215. Subscriptions rates are
$26 to qualified readers. $30 to non -qualified readers per year in the United States, $50 for qualified and $60 for non -qualified per year outside the United States. Optional airmail for non -
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provided the base fee of 52.00 per copy of article is paid directly to ('CC. 21 Congress St.. Salem, MA 01970. Special requests should be addressed to Cameron Bishop, group vice president,
Intertec Publishing Corporation.

ISSN 1058.9678 $4.(1(1 a 5(1.0(1 7992 by Intertec Publishing. All rights reserved.

2 REP May 1992

 SYSTEM SYRCMRORIZER
PONTA
SEAU¿
SCI SCI
CPU
WEO LTC
BIM
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MCA

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MULTI- FORMAT
AUOIO PROCESSOR
sTuDER
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STOP
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IND REPRO

,,,,,,
RJA:OG

DIGITAL INPUT
STORAGE SYSTEM

111

CI

OR YE

MORE POWER
A\D YORE PERFORMANCE
THE NEW DYAxIS. Now providing
automated real -time EQ and Level
circuit designs, Dyaxis has achieved a
worldwide reputation for outstanding
STUDER DYAXIS
You. With
- DESIGNED FOR
Dvaxis. you not only get
Control for our 2 and -t output virtual sound quality. the most up to date digital technology
multitrack systems. Other advanced available you also get free on -line
RDAT. Dvaxis' integrated RDAT sub-
features include support of a 1 giga- service and support from professionals
system allows you to reliably hack up
byte hard drive for up to 10 hours of
1.2 gigabytes of information on a DAT who care. To find out more about the
stereo recording, new full magneto
data cassette. Using our custom Studer- right Dvaxis system to fit your specific
optical capability and full sample
Backer II software. you can retrieve an needs. call your Stur.er representative
frequency conversion.
entire job or a single sound effect for complete details.
SYNCHRONIZATION IS EASY. With the quickly and easily.
System Synchronizer and time code 4* OS 11010

NOG
DIGITAL
option, Dvaxis is a master of sample
COMPATIBILITY.
accurate time code based slave appli-
Dyaxis communicates
cations. just a click of the mouse
enables Dvaxis to lock to SMPTE.
with and transcodes

EBB'. VITC. video, and film tach.

between all major
digital formats such
SUPERB AUDIO QUALITY. Through as DASH. AES-EBU.
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prietary' A -D'D -A converter implemen- and more.
tation. anti- aliasing filter and analog

Studer Revox America, Inc. 1425 Elm Hill Pike Nashville, TN 37210 Tel: 615/254 -5651 Fax: 615/256-7619
New York 212/255 -4462 Los Angeles 8181780 -4234 Studer Revox Canada Ltd.. Toronto 416/510 -1347
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STUDER
 Introducing our new ACC copying units can handL four. And The ACC Series Control Unit.
Series: a high performance, easy-to- they're so easy to operate and clean
use line of cassette duplicators that even "non-techies" can do it.
offer better specs and expandabil- Find out all the ways we keep
ity than any product in their class. ahead of our competition. Ask your
Available in 1/4 track (stereo) dealer for more information about
or 1/2 track (mono), these compact, the ACC Series, or call Telex at
lightweight units copy both sides of 1- 800-828 -6107.
a cassette at 16 times regular speed. After all, we may be the leader
The control units can duplicate in audio duplication, but we didn't
three cassettes at once, while the get there by copying someone else.

Circle (5) on Rapid Facts Card

 Recording Engineering Production I

F zPTpy
TM
But if you think about it, how much does
EDITOR Virtual Production a console, sync system. digital multitrack
Mike Joseph
recorder and computer controller, all with
SENIOR ASSOCIATE EDITOR
Sue Edwards
Defined the same extremely high audio perform-
FEATURES EDITOR ance specs, cost in entirety? More, I'd wa-
Anthony McLean One year ago last March, REP maga- ger. And you'd never get the flexibility of
GRAPHIC DESIGNER zine presented a very full and complete features.
Liz Veternick presentation on digital production work- Which brings up a very interesting
ASSOCIATE EDITOR stations. We spent a fair amount of time point. When are the manufacturers going
Joe Ramsey pulling our hair out over what to call the to start telling the end users (who, due to
DIRECTORY EDITOR creatures. Tapeless studios? Random ac- the economy, conflicting storage and file
Pat Blanton
cess editors? Hard disk recorders? Audio sharing protocols, high prices, etc., are not
GROUP MANAGING EDITOR
Tom Cook
workstations? rushing to buy systems by the tens of thou-
CONSULTING EDITORS
A year later it turns out that all these sands) exactly what their systems do and
Tim Sadler, REP: On -Line Sysop titles apply, or conversely, none of these don't do, by design. Not to harangue, but
David Scheirman, Live Performance titles apply. The reason is, a computer there's a little marketing maturity that
Laurel Cash-Jones, Editorial Consultant doesn't care what type of interface (mean- needs to enter into the picture here.
Dan Levitin, Music Production Editor
ing CRT screen, video monitor, loudspeak- Not every production situation requires
Rick Schwartz, Contributing Editor
Mark Herman, Contributing Editor er, QWERTY keyboard, synthesizer, con- sample to sample SMPTE sync lock, or full
sole top) the bits are going to end up resolve. Radio commercials, for example,
GROUP VICE PRESIDENT addressing, and therefore what process it's might not need sync at all, or a short vid-
Cameron Bishop actually working on. Bits are bits. Only the eo stinger might only require trigger start
PUBLISHER clock speeds change to confuse the inno- sync lock. Should the customer pay for it
Dennis Milan
cent. The nature of the look and feel of if he or she doesn't need it? Yet almost eve-
MARKETING DIRECTOR
Darren Sextro the device, and therefore its function and ry workstation manufacturer proudly
GROUP SPECIAL PROJECTS DIRECTOR application traits, are as much a market- proclaims full sync capabilities, preferring
Czatdana (Dana) man ing spec and a code cruncher's interpre- not to discuss the finer details of trigger
PROMOTIONS MANAGER tation as anything. start (freewheel) versus full resolve, or
Evelyn Hornaday What am I saying? Basically, all of these chase master /slave capabilities. The ide-
MARKETING COORDINATOR devices, assuming similarly able hardware al seems simple to me: provide what the
Sally Nickoley support, are capable of having the identi- customer needs, at multiple levels, either
ADVERTISING BUSINESS MANAGER cal interface, identical screen appearance, as options or as different levels of pack-
Dee Unger
same feature set and function list. Will aged systems.
ADVERTISING PRODUCTION SUPERVISOR
Mary Birnbaum they? Of course not, primarily because it's The problem of windows- behind-
ADVERTISING COORDINATOR a niche marketing world. Companies, if windows has been addressed on many re-
Pat Eisenman they're smart, will build devices that are cent version revs by simplified direct ac-
CLASSIFIED ADVERTISING COORDINATOR job specific, matching function and price cess tricks, whether via power -user keys
Mia Fountain to capabilities. or more intelligent interfaces (I'm think-
Some people will only need to assem- ing of the Studer Dyaxis Lite controller
PRESIDENT
R.J. Hancock ble, sequence and edit 2 -track masters. For and the J.L. Cooper interfaces, which al-
CORPORATE CIRCULATION DIRECTOR them, a QWERTY keyboard, mouse, Mac though not ideal, are a big step in the right
Sandra Stewart Classic, simple digital I /O, and a 660 meg direction).
CIRCULATION DIRECTOR drive, and they're in biz. Four kilobucks, Several companies have taken up the
Doug Wilding computer included. Done deal. Lexicon Opus and DAR Soundstation ap-
CIRCULATION COORDINATOR The next guy might be doing lots of re- proach by developing full analog-type con-
Susan Link cording, using a tonnage of tracks, with sole work surfaces. Face it, humans are
CUSTOMER SERVICE no real editing, but lots of slip -to -sync as- tactile as well as visual, and we like to
913-541 -6628
sembly prior to linear tape layback. For punch buttons and slide faders. Mousing
EDITORIAL OFFICES
913 -341-1300 him, different platform, different spec, a fader on a vertical screen doesn't pro-
different system. More bucks, too. vide the resolution and feel of a finger on
REP is an applications-based publication targeted at profes-
the trigger.
sional individuals and companies active in the commercial
An audio post house may need the mon-
business of studio and field recording, audio for video, live do profundo version, due to the ever shift- In the near future, expect to see a num-
sound production and related fields Editorial content includes
descriptions and demonstrations of audio production tech-
ing needs of their revolving client and pro- ber of well thought out, nicely realized
niques, new products, equipment application, maintenance ducer list. Every single date may introduce console surfaces as front ends to the
and audio environment design. a whole new shopping list of require- higher-end production systems. The pres-
Member, Business Publications ments, functions limited only to the im- ence of these interfaces alone will go a
Audit of Circulation
Sustaining member, Audio
agination of the operators and the flexi- long way to making disk-based production
Engineering Society bility of the software /hardware config- the standard recording and editing medi-
Sustaining member of Acoustical Society of America uration. Many man-hours and lots of pro- um in the land of audio.
Member, International Communications Industries
Association prietary hardware research, development
Associate member of Society of Professional Audio and design goes into the multi -processor Mike Joseph
Recording Services
boxes, reflected in the cost of the systems. Editor
1992 by Iniertec Publishing. All rights reserved.

May 1992 R E P 5
 Retro Info. We at Sear Sound have been turning tween two 120V opposing phase hots
everything off with seemingly no ad- to yield 240V. The third wire is an
From: Nigel Toates, national field ser- verse effects. Back in the days of Earth Ground, connected to the chas-
vice manager, Siemens Audio, Inc., vacuum tubes (which we are still liv- sis for safety. Its function is to trip the
Bethel, CT. ing with), the thermal shock to the breaker if either hot wire shorts to
filaments as they were turned on was a chassis, which would be hazardous if
We at Siemens Audio read with inter- good reason for leaving everything on. the chassis were not grounded.
est the very informative article, "Neve On our vacuum tube console, we have The balanced power scheme that
Retro" by John La Grou in your Febru- a Variac on the filament supply. We Martin Glasband proposes in his Sep-
ary 1992 issue. We do, however, take bring up the filaments in the morning tember 1991 REP article is safe so
issue with one point in the article. The and turn them down at night. Being all long as what is normally the neutral
writer says that the Neve West Coast, Nuvistor and vacuum tube circuitry, I (current carrying conductor) and
East Coast and U.K. offices could not have never had to replace a tube be- ground conductor are not inter-
help him locate a copy of a schematic cause the filament burned out. In fact, changed. In Mr. Wilber's example of an
for a Neve 1063 module. ( "Nobody had I would estimate that 85% of the origi- ordinary desk lamp (or any other 120V
ever heard of it," he writes.) nal tubes are still in place and working unit with a 3 -wire grounded line cord),
We can't understand why our regional after 21 years. with balanced power the chassis will
offices (or the U.K., for that matter) Our Neve console and Studer ma- be grounded as always, but the differ-
would not have referred the writer's chines are turned on and off as needed, ence is that 50V would be on each
request to the corporate office here in and I would say that the two transis- Current Carrying conductor instead of
Bethel, CT. We get four or five calls tors which have popped over three a 120V hot and a OV neutral.
each week for similar information. years were the normal defect rate in a While it is true that in a standard
However, enclosed you will find a board full of discrete transistors. Be- 120V circuit, neutral and ground are
copy of the schematic for a 1063 mod- cause we live in an age of regulated bonded together at the source (breaker
ule, first built in 1969. Schematics are power supplies, we shouldn't be too panels and service entrance), this is
also available from this office for all concerned about a voltage surge past never done at the recepticle or inside
vintage Neve consoles. the power supply. The supplies have the appliance. Neutrals and grounds
never been down for maintenance. are always kept separate after leaving
Editor: REP highly recommends that In this year where soaring costs are the panel. This is perhaps the source
anyone modifying or refurbishing Neve confronted by falling demand, is it wise of Mr. Wilber's confusion.
consoles or modules make use of to save a few bucks on the electric bill? Balanced power does require a
Siemen's excellent service provisions. We have found that the savings, in- double -pole, common trip breaker as
They do, indeed, have most schemat- cluding air conditioning, are signifi- well as a solid chassis ground for safety,
ics and much in the way of compo- cant, especially in New York where we but I see no reason why standard NEMA-
nents in stock. Some custom modules pay the highest rates in the country. configured wiring devices cannot be
may not be supported by full docu- If some of your readers could let me safely used with balanced distribution,
mentation, as might be expected. The know their opinion, it would be help- so long as neither current -carrying
contact information is: ful. Incidentally, we turn things on well conductors are grounded.
Siemens Audio, Inc. in advance of sessions so that every- We are considering converting to
Neve and AMS Professional Audio thing is at operating temperature when balanced power distribution for the
Products it's time to hit the red button. FOH equipment in our concert sound
7 Parklawn Drive system, but the balancing transform-
Bethel, CT 06801 ers required for amp racks would be
Tel: 203-744 -6230 Hot Juice Response cost prohibitive.
Fax: 203 -792-7863 From: Al D. Forbes, Alpha Sound and
Light, Charlotte, NC.
More, More, More
Turn It On or Leave It Oft? I am writing in response to Robert From: Steve Ett, New York.
From: Walter E. Sear, Sear Sound, NY. Wilber's letter in the February 1992
REP issue titled "Hot Juice," regard- Just a note to let you know your
That ugly and never-ending question ing balanced power distribution. He magazine looks great. Personally I read
has again reared its head here at Sear
Sound, and was wondering if anyone
I

has done the definitive research on

claims to be a licensed electrical in-
spector, but it seems he has overlooked
a very important point in the concept
ing real hard
I
-
it cover to cover. You folks are work-
keep up the good work.
do have a couple of suggestions:
that nasty question: Should we leave of balanced power. 1) Print more letters to the Editor, to
the studio equipment turned on all of the Balanced power is nothing new. All hear the voice of the people.
time, or should we turn it off at the end household clothes dryers and window 2) More Fresh Tracks reviews, with
of the work day? air conditioners which are 240V use a more comments from participating
I was wondering whether some of

your readers might have some infor-

mation about this, rather than the end-
ference being the voltage -
balanced power source, the only dif-
240V in-
stead of 120V. In these types of appli-
engineers.
Keep up the good work!
Send letters to REP Box 12901. Overland Park. KS 66282-
less conjecture and hear -say that I have ances, all motors, heating elements, 2901; or fax 913 -967.1905. Letters must be signed and may
heard for the past 30 years. etc., are 240V devices, connected be- be edited for length and clarity.

6 REP May 1992

Now moving to digital is just sound economics.
Introducing The Sway IPCM -33245 SASH 13igital Multitrack Recorder-
Now you can get all the benefits of digital multitrack recording- superior
performance. reliability and sound -for about the same price as an analog
2.1 -track with noise reduction.

With Sony's new PCM- 33245 DASH recorder. It incorporates a high-

speed tape transport and I -bit 04 times oversampling A/D and lb-bit
1 times oversampling D/A converters. It even provides 4 times
play -speed pre -striping.
The PCM- 3'324S operates with either a standard or
an advanced remote control unit and offers plug -in
board options for more flexible configurations.
If you're investing in a multitrack.
Sony just made digital economically -
sound. For more information. call
-800-o 3 , -SONY. ext. 4424S. - --
 g6kM% Aeze44
WHAT THE FEDS disks. Sony and Matsushita own

THINK
two of the largest record compa-
nies in the U.S. and would net the
most revenue from this legislation.
In theory, every time American us-
ers of IBM PCs make a backup (if
this bill becomes law), they will be
paying a tax to overseas corpora-
tions.
The effective end result will be
The Copyright Office that:
has released Copyright 1) Performers would be forced to
Implications of Digital Au- pay a tape tax just to be able to
dio Transmission Ser- record their own performances.
vices. This 2- volume 2) Citizens would have to pay
study assesses the impact $5,000 for a "professional" digital
of the fledgling digital audio recorder in order to use the
audio transmission (DAT) equipment for editing.
industry, provides an ex- 3) Any American company (large
planation of what DAT is, or small) wanting to compete with
and, based on studies of Japanese digital audio manufactur-
analog taping and other ers will be forced to hire a lawyer to
pertinent materials, process the copious legal paper-
makes predictions about work concerning tech specs and
digital taping and the po- administrative decisions.
tential effect on U.S. copy- To date, C -SPAN and most news-
right owners. papers haven't covered this issue.
At the earn -a- living For those concerned, there is still
level, the report explores time to make /send multiple calls
avenues to compensate and letters to Congressman and
copyright owners for roy- ignite some legislative thought. This
alties lost on their works. bill is known as S -1623 in the Senate
It also discusses copy- and HR -3204 in the House.
right protection of sound As REP goes to press, this legis-
recordings in selected lation is on the Senate schedule
foreign countries and legislative and could be immediately called
policy implications regarding digi- WHAT THE FEDS DO up for a vote by Senate Majority
tal audio transmission services. The Congress continues to move on Leader Mitchell. In the House, the
report includes Copyright Office the Audio Home Recording Act of bill is still bouncing through the
recommendations for the future 1991. This bill will tax digital audio committee and sub -committee
protection and compensation of recorders and digital audio media, stage.
copyright owners and their works create a Federal bureaucracy to This one is important. Don't drop
in the U.S. distribute tax revenue to foreign - the ball! You can communicate with
In a nutshell, the report concludes owned record companies, and re- your elected representative at these
that it is currently impossible to strict digital audio decks so digital - addresses:
make an accurate long -range as- to- digital copies can't be made.
sessment regarding the potential The bill does not distinguish be-
harm of the burgeoning digital tween digital media used for com- Your Senator
transmission industry. puter data storage and digital me- The Capitol
This 793 -page report, stock num- dia used for audio recording. Just Washington, DC 20510
ber 030-002-00172-1, is available for as consumer DAT and 8mm video
$34 per set. To order, make pre- tape have become the standard Your Representative
payment to Superintendent of Docu- high- capacity backup media for The Capitol
ments, P.O. Box 371954, Pittsburgh, workstations/minis, it is likely that
PA 15250-7954 or visit your nearest writable optical digital audio disks Washington, DC 20515
U.S. Government bookstore. will replace today's magnetic floppy

8 Live Sound! May'92 REP Supplement

 PEOPLE trend watch
Symetrix has added two engineers
Christopher Hoskin and Allen Hey comrade, over here:
Goldstein, to coordinate their ex- In response to widespread and glamorized rumors reported from the
panded operations into the digital U.S. pro audio media in Pro Sound News, Home and Studio Recording and
marketplace ... Meyer Sound has an- Radio World (though none in RE P), world -class transducer fabricator/
nounced the appointment of Tom manufacturer Neumann recently issued a statement of clarification
Divins as president and CEO ... New concerning the so- called "East German Neumann" condenser mics
England Digital recently named George imported by Gotham, New York.
"Gus" E.R. Kinnear II as vice chair-
man and Brian N. Hamel as vice- presi- The communique reads: "Examination of the construction, circuits,
dent, finance and chief financial officer components and quality of the GeFell microphones reveal that they bear
Jacquelyn Herbrock has been ap- very little resemblance to the Neumann line of microphones."
pointed director of product develop- Based on this statement, we must assume that the addition of
ment for Audio-Technicá s professional Mikrofon Bau GeFell to the global marketplace has resulted in a one-
and consumer divisions; in a related world merger of questionable communist technology, Yankee propa-
move, Kenneth Satz will assume Ms. ganda and multiple pallets of neo- Neumanns (a.k.a. Microtech GeFell)
Herbrock's previous duties as prod- being off-loaded at U.S. ports.
uct manager; also at AT, Darius As in most things audio -Caveat Emptor!
Bossinas has been promoted to man-
ager of graphic services ... Jeffrey J.
Pallin has been promoted to the posi- Good Vibrations: (For when I'm 64)
tion of manager of marketing and sales Australian scientists have developed a gizmo nicknamed the "tickle
for TOA's commercial and PM&E Pro- talker." Roughly the equivalent of braille for the deaf, the shirt- pocket-
fessional Music and Entertainment sized unit uses a microphone and a DSP chip to decode sounds that are
product group. In other TOA activity, hardest to interpret by lip- reading. The information is then transferred
PM&E manager Jonathan Parker has
to the user via ring -like bands on the fingers of one hand. Differentiation
relocated to Atlanta to serve as gen-
eral manager of TOA's new East Coast between similar "looking" sounds, such as the consonants "h" and "p,"
office ... Gene Czerwinski, CEO of the is communicated by a localized tingling sensation. For many of us this
MAMA Foundation (Musical Archives, could be just in the nick of time.
Musical Archives) has announced the
following appointments: Ellen S. Cohn
to general manager, Andrew Duncan
to chief software engineer, and Doug REP and LIVE SOUND! have moved!
Evans to chief engineer ... Veteran com-
poser /producer Kelley Bryarly has
joined the staff of the Music Annex
REP LIVE
SOUND!
Recording Studio in Menlo Park, CA ...
Samson Technologies has appointed
Ron Milione to a design and research
and development position within their
engineering group ... The Toy Special-
00
Our new mailing address is: Our new telephone numbers are:
ists added John Kayne as its technical 9800 Metcalf Vox: (913) 967 -1300
manager AudioTechniques has
... Overland Park, KS 66212 -2215 Fax: (913) 967-1905
named Davis Schecterson to the posi-
tion of product manager for Tubetech/
Lydkraft ... Gina Romani was promoted
to production coordinator at Sound
Techniques ... Audiomation Systems "Call the thing `digital' and some fool will want to buy it."
has promoted Helen Stevenson to
sales office supervisor ... Nu-Nu Whit-
ing and Dutch Michaels have joined
forces to re- launch the 'Music Bank' -Comment from one senior broadcast engineer to a
backline and production hire services colleague getting a workstation demo in the audio
in South London ... City Spark Studios pavillion at the 1992 NAB convention.
in Kansas City has added Eric Elwell as
chief engineer and studio manager.

Live Sound! May'92 REP Supplement 9

 g4famol, Azeci4,
STUDIO UPDATE
Name/Location Details
A Dyaxis users group, known as the
NORTHEAST Dyaxis SIG (special interest group) is now
BearTracks Recording Studio/ Added a second Studer A820 -24 active on PAN (Performing Artists Net-
Suffern, NY multitrack tape recorder with built-in work) to create an electronic clearing-
Dolby SR. house of Dyaxis user information. Studer
Marathon Recording /NY Upgraded from their Neve V Series has made special arrangements for nor-
console to a VR60 with Flying Faders mal sign -up fees to be waived when
Automation. Dyaxis users join the network via Studer's
SOUTHEAST PAN messenger software.
Audiolmage/Richmond, VA Acquired the Otani ProDisk
464 digital audio recorder /editor. Manley has been given permission to pro-
In Your Ear Music And Recording Installed a New England Digital Post -Pro duce the famous Pultec PEQI valve
Services /Richmond, VA direct-to -disk recorder in their recently equalizer. The Pultec EQ has gained the
opened studio B. reputation among many engineers as be-
MIDWEST ing the finest available, regardless of
Advertising Giant Leo Took delivery of two Spectral 8 -track changes in technology. Manley has re-
Burnett /Chicago digital audio editing systems and tained the original design plus added some
purchased a Digidesign Pro Tools 4 -track extra frequencies.
digital audio editing system for Macintosh.
Skyview/Chicago Took delivery of a Sound Tracs Megas 24- Dr. Peter D'Antonio, CEO of RPG Diffusors
input console. and Mr. Donald A. Hoffend Jr., CEO of
Editech Post Productions/ Installed a Yamaha DMR8 digital audio Hoffend & Sons, Inc. announced that the
Omaha, NB workstation. two companies have allied to distribute
Cedill Records /Chicago Purchased the first Sonic Solutions Sonic the D'Antonio Performance Signature
Station in the Midwest. Series of products that employ the
VAMPS (Variable Acoustics Modular Per-
SOUTHWEST
Pedernales "Cut 'N Putt"!
formance Shell) approach to acoustic
Has been completely renovated and re-
Spicewood, TX equipped with the Tascam M -700 40-input control.
multitrack recording console with Moving
Fader Automation, plus the DA-800 DASH TOA, has opened its new Atlanta (East
format digital and ATR -80 analog 24 -track Coast) office. The new address is: TOA,
recorders.
Spalding Woods Corporate Office Park,
NORTHERN CALIFORNIA 3850 Holcomb Bridge Road, Suite 145,
Tambling Sound /San Jose Latest upgrade includes the Dolby XP Norcross, GA 30092.
Frame that provides 24 tracks of Dolby
SR.
Klay Anderson has announced the open-
SMP Audio Post /San Francisco Expanded into the audio -for -video ing of Klay-Anderson Audio, Inc. a pro
workstation market by adding the audio sales and service company in Salt
Digidesign Pro Tools and an 11' x 11'
sound room. Lake City, Utah.

NORTHWEST
The Center /Spokane, WA Installed a TAC Scorpion II mixing
console with 32 -channel, 16 -track
recording capability.
Sypha's Second Edition of The Tapeless
Great Britain Directory outlines system specifications of
Air Studios /Hampstead, Added a Neve 72- channel VRP Legend 84 various tapeless audio systems. This
North London console fitted with Flying Faders and publication provides a global review of this
Recall and ordered one of the first SSL G
Series multi- format production systems. marketplace and defines basic terminol-
ogy generic to the workstation environ-
Abbey Road Studios/London Installed the CEDAR Restoration and
Production System. ment. An allied study called "A review of
the digital audio workstation market" was
Japan
also recently released by Sypha. This "re-
Sound Design Studio/Tokyo Took delivery of a 72 -input Focusrite view" details existing market shares,
Studio console with full GML Moving
Fader automation. trends and historical realities of worksta-
tion technology.
DESIGNERS For more information about The Tapeless
Walters -Storyk Design Group /NY Completed the design and construction of Directory contact: Sypha,
a pair of identical control /recording and
vocal booths (for NED workstations) at 216A Gipsy Road, London
the JSM Music complex in Manhattan. SE27 9RB UK, 044 81 761 1042, Fax: 044
81 761 8279

10 REP May 1992

 hen I return from the road, it's such a reliEf

to have a home studio equipped with a

console that gives me the freedom to be

creative and experiment when the mood

hits. My AMR console has all the

professional features I need including a

MIDI command center and up to 56 inputs

available at mixdowm. The possibilities are

endless with this c insole"

Kenny Loggins

Peavey Audio Media Research

Production Series Recording Consoles
For more information about the Production
Series'" 800, 1600, or 2400 Recording
Consoles please contact your authorized
Peavey AMR dealer or call /write to the
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PEAVEY E A
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Circle (8) on Rapid Facts Card

 Fla Tv4.6144 By Dan Levitin

Brahms: "Serenade No. 2 for Small Enya: "Shepherd Moons" The Cowboy Junkies:
Orchestra; Variations on a Theme by Label: Reprise "Black Eyed Man"
Haydn; Hungarian Dances London Produced by: Nicky Ryan
Symphony Orchestra /Michael Tllson Engineered by: Nicky Ryan
Thomas" Mixed by: Gregg Jackman
Recorded at: Aigle Studios
Mixed at: Sarm West

Comments: Enya and Nicky Ryan

Iárnlinnen IdMTr1n Throw push multitrack vocal layering beyond
rrnr b.vyh Nn;ydn 1nignrrsrhe ]iur:r
conventional limits of reasonableness
and set down firmly - and gently - in a
Inrnlon Syrnphon} Orrhr.ira
MICHAEL TI LSnN THOMAS
soundscape of their own making. Com-
bining the power and beauty of 16th
century religious choirs with a hint of
modern rock pulses, Enya and Ryan
have sculpted what may be the most
intriguing and beautiful album of the
year.

Label: RCA
Produced by: Michael Timmins
Label: Sony Engineered by: Bob Doidge, John Oliveira
Produced by: David Mottley Mixed by: Tom Henderson
Engineered by: Michael Sheady Recorded at: Grant Avenue Studios
Tape editor: Christian Meincken (Hamilton, Canada)
Recorded at: Abbey Road Studio No. 1 Mastered by: Peter J. Moore (MDI)
(London)
Comments: Michael Timmins, the
Comments: David Mottley and primary songwriter, guitarist and pro-
Michael Sheady are one of our favorite ducer, avoids using any flashy produc-
teams for recording classical music. tion tricks. Instead, he keeps things
[See REP November, 1990 for a re- simple and understated, restraining
view of their Zubin Mehta Bartók re- himself to judicious use of reverb to
cording.] The pair create quiet, well - sweeten the vocals. His production
balanced recordings with a strong identity comes through most clearly
sense of both imaging and cohesion, in his interesting choices of instru-
and a silky top end with no harsh Of special interest: The recording is mentation.
digital artifacts. rich in reverbs and modern synthe- Of special interest: The instruments
Of special interest: Listen to the oboe
in "Serenade No. 2" as it trades the solo
position with the clarinet. The two
sized sounds with a perpetual ear to
the classical past. On many cuts, the
vocals are run through multiple -
-
are well recorded and not exaggerated
no huge drum sounds here, nor any
faux arena-sized guitars. The overall
instruments flow into one another tapped delays feeding large hall re- tone of the album is rather dark, but
seamlessly. The French horns in the verbs, while being simultaneously despite this lack of crispness, the in-
Adagio non troppo of the same piece flanged. These effects (along with the struments still retain a good degree of
are also interesting as they climb out massive layering and doubling) in the separation and individuality. Indeed,
above the ensemble. Those who won- hands of anyone else might have de- the dark atmosphere complements the
der why Abbey Road has its interna- cayed into gimmickry. "Shepherd overall melancholy, lonesome mood
tional reputation should hear this re-
cording. The ambiences and frequency
range match those of the best concert
Moons" is as far from gimmicks as
possible, using the studio to achieve a
vision, not as a substitute for the lack
rich and angelic vocals.
by Victor Barclay
-
of the album and Margot Timmins'
Reviewed

hall recording. of one.

Dan Levitin isREP's music production editor and teaches

music production at Stanford University.

12 R E P May 1992
The Sugarcubes:
"Stick Around For Joy"
FOCUS:
ED THACKER, Engineer, "The Sugarcubes"

REP: What's going on with the snare drums?

ET: Depending on the kind of beat Siggi was playing, we would use two
different snares and tune them differently and he could develop rhythms that
way. On two-thirds of the songs he is playing both snares at the same time.
Our whole approach was to get a lot of contrast out of the different snares.
On some songs we used a piccolo and a full size, on others they were both
full size. On "Gold" and "Lucky Night" we took the snares off the snare drums
entirely. People have remarked about the snare reverb and a lot of that was
how I miked the large room at Bearsville. The room has a 40 -foot ceiling and
it's a huge room. We put 87s in the balcony in the back and a couple of 49s
behind the drummer, about 10 feet back and maybe 10 feet up. Then I
compressed the room mics with a Fairchild.

REP: Did you record the guitars with chorus?

ET: Yes, that was all happening at the amp. The idea was to get as severe as
Label: Elektra possible when we used effects and to be as plain as possible when we didn't.
Producer: Paul Fox Thor played through a stereo setup and had a Marshall on one side and a
Engineer: Ed Thacker Peavey on the other. He had pretty strong ideas about the parts, and then
Mixing engineers: Paul Fox,Ed Thacker, Paul and I would have ideas, too. We were trying for big contrasts on this
The Sugarcubes record. I miked his cabinets using a 57 and a tube 67 placed together on one
Recorded at: Bearsville (New York) and speaker.
Summa (Los Angeles)
Mastered by: Stephen Marcussen at Preci- REP: Do you have them come in at funny angles?
sion Lacquer ET: Sometimes. It varies. I move the mic around looking for the right place. I

Comments: The 'cubes opt for more don't waste a lot of time looking for every position on every speaker.
mainstream arrangements and slicker
recording on this third release. Their REP: How long did the mixes take?
songs still seem to come from some- ET: Each mix took approximately a day. We like to start around lunchtime
where in our musical future, similar to and then finish up each mix at lunchtime the next day. Because of the
the experience one might have listen-
ing to the B-52s in 1945. These days
Björk sounds less like she is climaxing
I used the Sony DRE -2000 for snare drum -
that's my favorite these days
and for her vocal, depending on the sound, we'd use some 480 or Rev 7. I
-
Fairchild compression in the room, I didn't need to use a lot of digital reverb.

when she sings than on 1988's on "Life's used the 480 more for the room and smaller reverbs and the Rev 7 for the
Too Good" but she is still electrifying. larger verbs.
Of special interest: Drum flanges On the 480 I like the jazz hall and music clubs, and the large wood room. I
open up "Lucky Night" spilling into modify them slightly, but generally, just the reverb time and pre -delay. On
spaghetti- western guitars. The drum the Rev 7 I really like the vocal plate. A lot of the sounds on the record
ambiences, different from previous were created when we recorded them. There are the odd effects here and
'cubes recordings, don't sound ultra- there and in most cases the mix is where we controlled the amount of them.
modern, but maybe this is the sound But mostly it was on tape.
that will be hip in 2015 as people try
and "cop that 1988 'verb." On many REP: Björk sounds a little more controlled than usual.
tunes, two different snare drums are ET: Ithink it's kind of the nature of their writing this time - everything is a
employed on alternate beats. On little more accessible. It's still a little quirky, but the combination of
"Happy Nurse," Biörk sounds not un- their ideas and our ideas were to make it a little more accessible. The songs
like a previous Thacker -mixed diva, are a little more structured.
Debora lyall of Romeo Void. At times,
such as on "I'm Hungry," the drum kit REP: How did you record the bass drum?
sounds disembodied from itself, with
the ride cymbal sounding as if it's from
an entirely different instrument than
bass drum -a421
well inside a bass drum.
-
ET: We kept both heads on it and built a kind of cage for the mic inside the
and then I put a FET 47 outside. I usually like D112s as

the kick and snare: not a complaint but

a compliment. The overall other - REP: Did you record this 24- track?
wordliness is what you might expect ET: Well, it started out that way! But, you know how it goes. It's 48 -track
from an engineer whose initials imply analog, using Studer A800s. We mixed at Summa to a great ATR at 30ips.
familiarity with visits from extra -ter- Mixed to Scotch 996, no SR.
restrials.

May 1992 REP 13

 F«4i Tá4
Jody Watley:
"Affairs of the Heart"
FOCUS:
ALAN MEYERSON, KEN KESSIE, Mixing Engineers, Jody Watley

REP: What's your approach to mixing, do you start with the rhythm tracks
and work your way up?
KK: I definately start with the drums first, get the groove first.
AM: Most of the time I do that - it depends on the song. I did it for "I Want
You" and "Affairs" because there was so much emphasis in the rhythmic
structure of the song.
For "I Want You" I ended up using a bunch of delays on the bass to give it
the groove that it has. There isn't a whole lot of reverb on those tracks. They
were pretty busy and usually when I get tracks that are that filled up, I like to
keep reverbs to a minimum. Sound Castle has a great live room, so when I
mixed I pumped the drums back out into the room speakers and brought
them back in for echo.

REP: How much EQ -ing did you do at mix time?

Label: MCA AM: A whole lot. With those kind of tracks you have free reign to mess
Producers: Andre Cymone, David around with them as much as you care to, to create new stuff using EQ.
Morales, Michael J. Powell, Jody Watley,
Jon Nettlesbey and Terry Coffey REP: Do you add new parts when you're mixing?
Engineered by: Bobby Brooks, Hugo AM: do tend to run my Akai MPC60 live and add parts, but I didn't in this
I
Dwyer, John Poppo, DaveSussman, David case. did add some drum sounds using my Akai S1000 - I added a couple of
I
Ward, Dan Marnien, Wolfgang Aichholz, kicks and on "I Want You" I added two snares and a clap and used them in
Norman Whitfield different parts of the song. On both of the songs I did quite a bit of arranging
Mixed by: Alan Meyerson, Ken Kessie, in terms of dropping things out and doing breakdowns. Like the breakdown
David Morales, John Poppo, Barney in "I Want You," I created that and added the horn thing by doing a sharp
Perkins mute after the attack and adding a repeated 1/8 note delay.
Recorded at: Soundcastle, Can -Am, The Andre's tracks are so unique and so good to begin with that you try your
Enterprise, The Loft, Studio Masters, hardest to make sure he gets his ideas across. He doesn't do things by the
Encore (Los Angeles); Quad, Soundtrack, books, the chord changes and bass parts are very unusual and so you don't
Electric Lady (New York); Vanguard (Oak want to mess with them too much. You just try to highlight them and bring
Park, MI); Granny's House (Reno, NV) out the best of the songs. I mixed to 30ips at +5, using the new Ampex 499.
Mastered by: Brian Gardner at Bernie
Grundman Mastering (Los Angeles) REP: How did Andre decide who would mix which tunes?
Comments: The flash in the produc- KK: The ones I worked on are more the funkier, groove -type tunes. I think I've
tion of these tracks is in how well got a handle on street -type grooves and I get good vocals.
thought -out the arrangements are.
"Affairs of the Heart" is primarily ma- REP: How did you get the vocals so clear?
chine tracks, with occasional subtle KK: I hate to take credit for that - the stuff was actually recorded really well
enhancements, such as Dean Parks' by Andre and his engineer Bobby Brooks. They cut Dolby SR so everything
understated acoustic guitar on the title sounded really good off tape. You could put the keyboards low in the mix
track. Watley's layered vocals are and they would cut through - everything had a lot of clarity. Believe it or
smooth and supple, washing over the not, the first 24 tracks are all percussion (on the first machine) and the
rhythm tracks as leads and second 24 were the vocals and everything else.
countermelody backgrounds.
Of special interest: The tight and REP: What kind of reverb did you use on the vocals?
intricate rhythm arrangements on the KK: It was a combination of Rev 5 and SRV2000. I'm not actually sure if it was
up -tempo tunes such as "Strange Way," the SRV, but if I say that, maybe when I try to sell mine I'll get more for it!
"I Want You" and "Call On Me" would
seem impossible to mix without re- REP: On "Always" you pan so that everything is in its own space.
sulting in a cacophonous clutter, but KK: Yeah, I like to move everything a little bit so they don't pile up. Some-
Meyerson and Kessie pull these off times I actually move things around in time, but I didn't on this album
deftly. The vocals are on the up-front because there were so many percussion parts. I do that more on the new
side of things, but do blend well. I EnVogue record. Motion in rhythm parts I find sometimes is very destructive
listened to "I Want You" before leaving to a groove. Q-sound often has the same problem. A lot of people blow good
the house this morning, and I haven't grooves by auto panning key rhythm parts into outer space or Q- sounding
been able to get the chorus out of my them into left field. Kimsey said this: Sometimes when the Stones made stuff
head since then. too stereo they would lose the groove.

14 REP May 1992

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Circle (9) on Rapid Facts Card

 By Dan Levitin

producer /guitarist Adrian Belew is

perhaps best known for his work
with David Bowie, King Crimson
and The Bears. Liner notes detect-
ives will also remember his distinctive
sound on Paul Simons "Graceland;' includ-
ing lead guitar on "You Can Call Me Al:'
Belew's third solo album for Atlantic, "In-
ner Revolution" (see sidebar) was released
in March. Belew took time out to discuss
his ideas about production, and to recall
his studio influences. He also spills a
hitherto well-guarded secret about how he
sequences (chooses the order for) songs
for an album.

REP: What's that sound on the solo on

"This is What I Believe In ?"
AB: The GR50 Roland guitar synth. It's
one of the sounds in there that I devel-
oped; I liken it to Stevie Wonder's harmon-
ica playing. Throughout the verses I wrote
a program that goes along with the gui-
-
tar it's on their sound that they call "Ny-
lon Guitar:' I wrote some harmonies so
that when you're playing the verse figure,
harmonies come out. It sounds somewhat
like the interlocking guitar figure that
Robert Fripp and I did in King Crimson.
In the section you're asking about, I'm
playing the same exact sound, but I'm not
playing any notes, I'm just playing chica-
chica-chica.

REP: What about that weird sound

opening up "Standing In The Shadows?"
AB: That's two guitars playing in stereo
- the type of harmonic playing where you
run your fingers up and down the string,
but because there are two of them, the
harmonics are not meant to match and it
gives you kind of a Jews' Harp -type sound.
Immediately following that there is a
grinding sound -
I put a drill against the
guitar pickups and we used that to open
the verses.

REP: The guitars all sound like you're

using solid state amplification.
AB: Right. I rarely run through amps
when I'm recording live these days. I pre-
fer most often to just go through my ef-
fects and then direct into the board and
then effect it in different ways. Sometimes
1 use an amp, and when I do it's one of
those little practice amps, a Roland MG-

ADRIAN 10. It's smaller than most ghetto blasters

and can actually sound like a monstrous
size amp. If there's a sound I want that's
clean I might go direct into the board and
use the studio outboard delays, but most
often I go through whatever specific ef-
fects I want before the board.

1 E
BELEW
REP May 1992
Dan Levitin is REP's music production editor and he
teaches Music Technology at Stanford University.
REP: The production reminded me of ing their music and their band. And it
some of the old ELO records. I wondered sounds better because there's someone
if you were thinking, "Well, people are say- there like me who says, "No, this part real-
ing the '70s are coming back. Let me show ly might sound better if you wait to bring
'em what I can do with '60s-style pro- it in until the third verse:'
duction.'
AB: I think what happened for me was, REP: How do you record?
from my point of view, I went back to try- AB: We record digitally, but we also use
ing to write good, solid simple songs and some of the Neve module preamps that
then orchestrate them in an interesting but are more old style analog preamps and
not overdone manner. l liked Jeff Lynne's have a tendency to warm up the sound.
records too. I can't say they influenced me We do that with guitar and vocals.
because they were second -generation
George Martin records. R EP: Do you record at your own home
When I wrote "Big Blue Sun" I thought, studio?
this is a chance for me to write for a string AB: It isn't my studio, it's a nearby studio
quartet and put it in and that's something that's privately owned. It's about 10
I've been dying to do. It's an actual string minutes away from where I live and it's
quartet made up of school teachers. I don't all in a very nice, clean, quiet resort area
know how to actually write music, tech- where I live, Lake Geneva. In fact, I live
nically on paper, so I spent a lot of time on the lake. The studio has an 80-channel
with a friend where I would sing the part SSL, two 32 -track Mitsubishis and two 24-
and he would write it down. He wrote track Studers. So I mix and match between
some beautiful-looking computerized analog and digital, but mostly it's digital.
charts and they played them. We also used some of the latest comput-
On the other hand, you have a song er stuff, such as (Digidesign's) Sound Tools
such as "Inner Revolution" that is just bass, and (Opcodé s) Studio Vision for certain
guitar, drums and vocals. I wasn't think- editing, sampling and moving parts
ing so much of the '70s the way you are, around. This particular record is one of the
because / think of the '70s as disco. A SELECT ADRIAN BELEW more natural recordings I've done in the
DISCOGRAPHY sense that there isn't a lot of techno-
REP: Have you thought of producing wizardly apparent in it, because that isn't
other artists? Adrian Belew: The Lone Rhino; Wang what I felt the songs needed.
AB: I'm producing the premier rock band Bar King; Desire I do have a home studio that I've been
from Mexico, Caifanes Ion BMG records - Caught By the Tail; Mr. recently putting together. It started out
Ed.] It's a very pleasant surprise for me. Music Head; Young with Sound Tools, a Mac and a 16-track.
-
They sell platinum in Mexico they're the
biggest rock band there. They're in-
Lions; Inner Revolution
I used it in this particular instance just for
demo-ing. I have demos of these songs
The Bears: The Bears; Rise and
fluenced by Frank Zappa, King Crimson Shine that are just very simple.
and myself. So for five weeks were at Roy-
al. I've learned a whole lot and I think King Crimson: Discipline; Beat; Three REP: What kind of a sound were you go-
they've learned even more. of a Perfect Pair; ing for?
They're a very good band, very nice to Compact King AB: More of a band sound, even though
work with, and it's teaching me a lot about Crimson mostly it's being played by me. I wanted
being in the producer's seat. I feel I'm a to simplify the parts so as often as possi-
natural for it 'cause I grew up listening to Talking Heads: The Name of This Band
ble you have the least amount of instru-
is Talking Heads;
records as a producer would listen. I al- ments performing, thereby giving them
Remain in Light
ways tried to figure out why the parts were each their own character, their own space.
that way, what kind of reverb that was, David Byrne: Songs from the Broad- So instead of adding and adding things,
why they used that instrument ... way Production of the I'd use one single element. Instead of hav-
I would try to figure out on guitar what Catherine Wheel ing three guitar parts, I'd have one guitar
the saxophone player played and what the part doubled. I did all the singing myself.
drummer played. People often said, when Jerry Harrison: The Red and The Black I'm learning how to use that old "less
the Beatles' CDs came out, "I'm hearing is more" theory. I like having the voice in
Tom Tom Club: Tom Tom Club
things I've never heard before :' but that the middle and suddenly it springs out to
didn't happen to me because I had heard David Bowie: Stage; Lodger the side. I enjoy double tracking my voice
all those little things that had been in and guitar. I like it because there are so
there. My business manager, Stan Hertz - Frank Zappa: Sheik Yerbouti many ways to do it. You can get so pre-
man, says I have 24- track ears. Of course cise, or in some cases it's nice if it's loose.
now it would be 32 -track ears. Herbie Hancock: Magic Windows
I produced the second album by the El-
Jean Michael REP: Was there a specific sound or a rec-
vis Brothers, eight or nine years ago, and Jarre: Zoolook ord you were trying to emulate?
then they were dropped by CBS. I under- AB: I didn't refer to anyone's records, I'm
stand that producing someone else is a Riuichi only trying to make mine sound better
whole different thing, and that's what you Sakamoto: Left- Handed Dream and better as I go. Each time I make a rec-
get credibility for. ord, I've been using the same studio and
Peter Wolf. Lights Out
the same engineers, so that hasn't been
REP: What do you try to do as a pro- Laurie a variable. Between the three of us it turns
ducer, with Caifanes specifically? Anderson: Mister Heartbreak; Home into a lot of unspoken things.
AB: I'm trying to inspire the best perform- of the Brave
ances of their music, to record them and REP: Are there any producers you've
produce them in a manner that adds Paul Simon: Graceland worked with who influenced the way you
something unique, so that it ends up be- approach production?

May 1992 REP 17

 AB: Most of the people that I can think AB: I don't consult very much with tech- REP: Do you have any secrets to spill out
of who influenced me would probably be nicians apart from a period such as right to 80,000 readers?
on records I didn't do. Of the people I now where I'm having my friend Al Jew - AB: Theres one thing, regarding sequenc-
worked with I would say Brian Eno and er help build me a rack for the road. few- ing. My assistant engineer, Dan Harjung,
Frank Zappa - watching them work was er has a company called Uptown that
-
produces the Flash units something that
showed me a method for sequencing
records that is very interesting. I'm not
educational for me. One of the first things
Frank Zappa did for me was he took me directs traffic for MIDI. So apart from times sure if he invented this or not, but he puts
through the mastering process. He was such as this, when someone's building 30 seconds of the beginning of a song and
mastering an album set called "Leather," something for me, it's a case of me sitting 30 seconds from the ending of a song all
so he invited me along to watch how it in my music room fiddling with knobs and in a line on the multitrack machine and
was done. In the meantime, he taught me trying to come up with new sounds. They he does that with each song. So when you
little tricks of the trade, such as how to really propel me - I'm thrilled when I
come up with some new sound that I ha-
look down on the console you see that
faders one and two have a stereo mix of
find the right space between songs. The
trick there is counting in the same tempo ven't heard yet. For instance, I remember song number one and three and four have
as the previous song for an even number when I first got the guitar synthesizer to song two, and so on. Then we put it into
of bars. sound like an Eastern instrument - and
when you played it, it had a really differ-
cycle mode so it keeps cycling that 30 sec-
onds of tape, so you can keep hearing the
Brian Eno was involved with the first al-
bum I'd ever done in the studio - Bowie's ent feel to it, the notes played differently ending of track two going into the begin-
-
"Lodger" and he had some very unor-
thodox ways of working in the studio. He
and the sustain was different. It was like
learning to play another instrument. Or
ning of track 10, etc. We've used it for the
last four or five albums. It makes sequenc-
taught me composite guitar tracking and when you find a sound like an explosion ing go so much easier.
that you need to keep an open mind and
allow things to happen.
or a chicken - even if you can't use it,
it becomes part of your motif, part of your
materials that you can use later -
stance a day might come where you think
for in-

"this needs a chicken running across the INNER REVOLUTION

stereo field right here:'
Producer /guitarist Adrian Belew has
We had something go just released his sixth solo album, "In-
wrong with some of the REP: How much background do you ner Revolution" (Atlantic). The album
have in electronics, chips, etc
modules in the SSL AB: I have no knowledge of that
couldn't even solder a wire if I had to. I
-I
is marked by strong, melodic pop tunes
on which the wildly inventive Belew
plays almost all the instruments. Lots
and it starting sounding approach it strictly from a near -sighted ar- of double- tracked instruments and vo-
like the John Lennon tistic angle of just wanting those little box- cals, often split -panned hard left and
es to do interesting things for me. Every right, create an open and slightly
"Revolution" distortion now and then I have the urge to try some-
sound ... that's why I thing new, so I'll try out some new boxes
or something, so that in a sense keeps the
"retro" sound that stands in contrast to
the modern - and sometimes eerie
guitar synthesizer sounds that are Be-
-
love the studio. thrill alive. lew's trademark.
We had something go wrong with some His voice spans the range from fal-
of the modules in the SSL and it starting setto to all -out rocking rasp. "Standing
sounding like the John Lennon "Revolu-
tion" distortion sound -great sound
you can't really get it out of any guitar
- In The Shadow" capitalizes on inten-
tional distortion -the lead vocal and
REP: How did you get involved with the lead guitars sound as though they
amp that I know of. That's why I love the
Paul Simon?
AB: Roy Halee is another producer I love studio - that's my favorite place in the
are overloading the solid-state pre-
amps, a very different sound than the
- I only worked with Paul Simon for four
days on "Graceland' and I was amazed
whole world. tube distortion or tape distortion most
people employ (when they're employ-
with Roy's musical timing and ears. Dickie REP: I guess the biggest hit you've had ing it on purpose). The album's stand-
Landry was working with me and Laurie was the surprise success of "Oh Daddy:' out tune, "Big Blue Sun,' is a beauti-
Anderson at the time and he played some I tend to think of your work as being avant
fully melodic, reflective song that Be-
of my music for Paul. Paul called me and garde, on the artistic edge of things, and lew surrounds with more vocal layer-
said, "I really liked the sounds you're mak- it's always interesting when the avant ing combined with an exquisite string
ing and they might fit into this idea I have:' garde makes a brief appearance into the quartet.
When he first played the songs for me they mainstream.
had no vocals, they just had the African AB: Up to this point I would say that was
musicians and they didn't sound very really a case of me writing a novelty song
much like Paul Simon records, so I asked
him what he wanted and he sang very
that did very well - something I rarely
do. And I would think that the video had
softly - in a whisper - in my ear while
the track went down in the control room.
the most to do with the success of the
song. There's something about it; it's
It gave me chills. Then it sounded just like charming, and many people of our gener-
Paul Simon music. I was really thrilled by
the music on that album - I was one of
the first people to hear it and realize what
ation can relate to it. Many people want
to be successful, for their family or their
friends. Since then it's fueled an old de-
an enormous thing he had done. sire of mine to write good songs and get
them on the radio and do them in my own
REP: With all the sounds you have on manner, so that's been my quest, really
guitars and guitar synthesizers, what per- since the Bears. I don't think that cancels
centage of them are sounds you came up my usually avant garde tendencies, I think
with yourself vs. working with electronic the challenge then is just to fit those ideas Photographs by Gary Hannabarger, courtesy of Atlantic/
and guitar technicians? Atco Records, Los Angeles.
into the songs.

18 R E P May 1992
This is no Fairy Tale

This is real life. The frog won t turn

into a prince and Zis voice won't sound
-
Ike Diana Ross at Briiel & Kjaer
capturing reality is what we're all about.
Todays studi_rs are full of goof
sounding microphones but, fortunately, we
Lre not one of then. With Briel Sr Kjaer
you are the artist. We supply you with a
blank canvas and you get to zdd the color,
not us.
The B&K 4001' series offers 6 efferent
condenser mics, featuring true om zi or
cardioid pickup which can lx passively
nd accurately alt`red by our exclusive
coustic pressure e;aalizer (APE) adaptor.
They're available .n both 48 N,olt Plantom
or 130 Volt powered versions offering
unmatched 168dE dynamic range 'or the
most demanding snare drum crack to the
btlest details of natures acoustical
E - embles.

F YOU'RE SERIOUS ABOUT YOUR

RE '' ENCE RECDRDINGS:

YOU CAN'T AFFORD NOT TO!!!

Exclusive S. Distrib_tor Brüel & Kjaer'T.G.I.

North Am 'ca Inc. 2-00 Gage Aveiue, l' itchener.
Z)ntario, Ca ada N2R12C8 Tel (519) 743-1158
Fax (519) 745-2364
Circle (10) on Rapid Facts Card

J
f
r
 By Anthony McLean
and Rick Schwartz

DESKTOP have experienced as many demos as

possible, and tried to turn over every
rock. However, no endorsements are
PRODUCTION implied. Also, prices change. This up-
date is reference-only material! End
disclaimer.

Comparing similar things should be most basic information about the work- METHODOLOGY
simple. Apples to Apples. Broccoli to station environment. Relative impor- A solid strategy for considering a
Broccoli. That's easy. But, comparing tance of storage mediums (type and purchase is to identify the two or three
audio workstations is nearly impos- size), processing speeds and many systems that best meet your needs in
sible, primarily because no two fla- related issues were evaluated. We hear your price range and contact the manu-
vors are really the same. And side-by- from many of you that our workstation facturer or a reputable dealer about
side tire kicking isn't fair to anyone. issue is still on your desks. options and specific configurations.
What is important is to define the con- This year we've reviewed more sys- Also, it is critical to spend time actu-
tinuing evolution of these platforms tems, 23 to be exact, and have in- ally using any system you think is right
and hopefully establish benchmarks cluded systems upgrades information for you, before you buy.
for those considering a workstation in each section. In general, this year's You'll notice it's a world market. Aus-
purchase. Our goal has been to pro- update groups workstations accord- tralian, British, Japanese, American,
vide comparative data as much as pos- ing to the maximum number of simul- German and Swiss companies are all in
sible. Still not easy, but the right thing taneously recordable tracks, from ste- competition for your business. From
to do. reo through multitrack. Our evalua- our count, the total number of existing
There were many questions to an- tions were focused on each system's digital systems, of all types, now ex-
swer. But the issue mentioned most by primary application, although ancil- ceeds 80. From our point of view that
potential buyers we talked to was prof- lary functions are also included. also makes it a buyer's market.
itability. And profitability is always Quotes about each system, called We have grouped workstations from
chained to the "function vs. price is- "On -Line Observations," were obtained clearly established companies first.
sue." But functions and prices aren't from professional operators. The pur- These are units that we have been able
always comparable because there are pose of these quotes is to share some to view first -hand. A second grouping
usually alternate ways to perform a interesting and informative perspec- titled "Too-New /In- Progress" is located
single function, for instance, sample tives we received from actual users in the Cutting Edge section on pages 64
rate conversion. The reality is you pay during our research. and 65. A listing in that section does
more for proprietary hardware-based Finally, prices are mentioned, but not indicate that the products men-
systems and less for software-based only to establish a desktop ballpark tioned there are not desirable, but
systems powered by commonly avail- reference. simply that we were unable to develop
able Macs or PCs. So, comparing 6- REP has labored to establish accu- any dependable evaluations of in-pro-
figure systems that handle every con- rate data. And we know REP readers, duction, on- the-street units...yet.
ceivable audio-post application to 4- the most informed and discriminating Let the work begin ...
channel software -based systems isn't professionals in the recording indus-
Anthony McLean is features editor of R.E.P. Rick Schwartz
realistic or fair. try, would never buy a system simply REP and director of post- produc-
is a contributing editor to
In the March '91 REP we covered because of this data. Please note: We tion at the Post Complex. Los Angeles.

KEY TO ICONS

A B C
"Virtual" tape deck: A System features hardware System features an on-
RAM- or disk -based au- interface that is a tradi- screen (virtual) mixing
dio recording system that tionally styled mixing con- console.
provides all of the capa- sole, which provides ac- VrI4.TI}+I}
bilities of a 2- or multi- tual faders. Number indi-
track tape recorder. cates number or range of
Number indicates num- available faders/channels.
ber of discrete tracks.

D F
System has facilities for System permits sample System has time com-
digital signal processing, rate conversions allowing pression /expansion
such as equalization. digital audio to be con- function allowing tempo-
verted between various ral manipulation of re-
SRC sampling rates. (i.e.
44.1kHz samples are con-
verted to 48kHz samples.)
cordings (i.e. 31 second
radio spot shortened to
29.5 seconds without af-
fecting pitch).

20 R E P May 1992
 DESKTOP PRODUCTION

har 21g1M'0r

STEREO SYSTEMS l ta naar-

/FA Fdi,cr
Oiaiday
itiitl
Closed architecture limits future expansion.
AKAI DD1000 Does not support traditional delete-style
edits. Disk directory does not have a sort
4 function.
On -Line Observations: "The DD1000 al-
C
100,401,101000.40040
..._ ....

System Configuration: Two stereo pairs of

tracks record to disk, one pair at a time, using
MOD (magneto-optical disk) technology. The
lows us to quickly move from one client to
the next because of its use of removable
media. Using the DD1000 with touch screen
software is like having 50 digital cart ma-
-G lE0 hitsCEINI1--
1 >t =UMW Iwrü
Start - 6N

rik I101
W Of
0[
00 DC
Y 00
.x . a:
CO
"
device records at a nearly universal storage chines loaded and ready to go. By using a 'Grar. 17 dll 00 Of 01 :7 00 m OL

time of 30 minutes of stereo (at 44.1kHz). DD1000, Akai sampler and expander, a user
Additional drives can be added for extended would have up to 64M bytes of RAM, 32 voices
time and the deck can be locked to external and six tracks of digital audio from three
and editing are enough.
LTC or VITC. Although the DD1000 can func- rack -mount units, all of which are controlled
by a central computer. Similar capabilities
Weaknesses: Some small bugs still exist.
tion as a regular, easy-to-use 2-track, it can And anyone who wants to grow to more than
would cost much more using a dedicated
two workstation tracks must look elsewhere.
system."
On-Line Observations: "To me it is the
Conclusions: The DD1000 was one of the
most transparent machine I've heard to date.
first systems with support for optical media.
It doesn't force you to do DSP all the time." "I
Above everything else, removable optical
used to feel I had to have a scrub function. I
disks allow rapid data retrieval and are in-
haven't used scrub in six months." "We all
credibly sturdy. The system is highly reli-
know where the few remaining bugs are and
able and among the easiest systems to get
work around them, because it sounds so
running. Macintosh software has made the
good." "We use it as a digital scratchpad for
system less keystroke -intensive. The DD1000
album sequencing and use the flexible playlist
has found a strong niche in broadcasting
functions to stack CDPQ sheets. One record
applications, although the auto-load soft-
company called in every day for a week with
ware is becoming a hit with post- production
a new sequence list. Then they came in and
facilities. By improving its software for the
auditioned four sequences in one day."
Mac and providing DAT archiving capabili-
Conclusions: Near the lowest possible price
also handle sophisticated editing and signal ties, the company may have addressed the
point in the workstation universe.
processing. The optional DL500 trigger inter- last roadblock to widespread acceptance.
Bottom line: System prices start at $14,500.
Bottom Line: System prices start at $1,995
face allows the DD1000 to cue and play cuts
Circle (101) on Rapid Facts Card
(excluding computer and hard disk).
much like a standard cart machine. There are Circle (102) on Rapid Facts Card
two discrete balanced XLR inputs and four
discrete balanced XLR outputs for playing
the four tracks. as well as digital I /Os. TURTLE BEACH 56K
System Upgrades: Timestretch allows a
user to change the speed of audio during
playback without changing its pitch. Ma-
,. 4-CHANNEL SYSTEMS
" I
MICRO TECHNOLOGY UNLIMITED
chine control, using the Sony 9 -pin standard,
MICROSOUND DAW
allows the DD1000 to operate as a master or System Configuration: Turtle Beach seems
slave. Auto Qlist play puts the DD1000 in a to hold the position that, for most people,
constant play-ready state when recording the oncoming wave of low-price digital mul-
from a time code source. Users can make up titrack makes more sense than the hyper- 24 9
to 50 cuts on-the -fly during recording to auto- expensive software /hardware configura-
assemble a rough EDL. Atari ST users can tions. To that end, a 286- or 386-type PC, System Configuration: The Microsound
connect to a DD1000 using MIDI. Macintosh Turtle Beach's DSP card, Digital Interface Workstation is designed to work on any IBM
software has been rewritten to support new box, and SoundStage editing software de- PC-type platform (AT -type through 486),
hardware features and now supports color. liver a 2-track digital editing system. Out- supports Windows 3.1, and is available as a
Strengths: Very affordable. The system is board A/D and D/A converters are required/ discrete 4-channel, 4 -track version, or a 2-
self- contained; no extras are needed to oper- recommended allowing the user to choose track, 2-channel recorder. As many as 38
ate. It's able to simultaneously play two according to needs and budget. EQ,
stereo tracks from a single optical disk and varispeed, mixing and crossfading are among
has a built -in jog wheel for smooth scrub- standard DSP functions. Stereo recordings,
bing. Performs real -time time compression/ or "soundfiles," consisting of "zones," can be
expansion. Up to seven DD1000s can be con- stacked for random access playback and
trolled from single remote, which acts as a triggered by incoming MIDI data or at a user-
master clock for the system. The contents of defined time. Cart player simulation can be
an entire MOD can be backed up to any DAT triggered via mouse click. Simultaneous play-
machine with digital I /O. Samples can be back of multiple zones makes this system
primed in memory for instant playback, elimi- suitable for complex effects assembly. LTC
nating the delay most disk -based systems can be read and generated.
have. Sounds can be transferred via a digital System Upgrades: None to speak of. The
bus to an S -1100 sampler for edited effects. 56K product is essentially mature with the
Software packages are available for Atari and company continuing to iron out its few re-
Mac computers. mainingwrinkles.
Weaknesses: Will not record all four tracks Ancillary Markets: CD pre- mastering,
at once. Submixing is done to hear more than sound design. virtual tracks can be compiled, overlapped
two stereo tracks. VITC support requires the Strengths: Turtle Beach is working on the and internally mixed before output. In record -
DL 1000 remote and an optional card. Digital concept of appropriate scale and appropri- mode, on- screen VU meters, tape counters
interface does fully support the AES digital ate technology. The 56K offers maximum and bar graphs confirm and communicate
I /O. (However, devices that support the Type
affordability. For many people, in fact most recording status. Simulsyncing overdubs with
I standard can be used with an adapter.)
people, two tracks of random access audio the Microsound emulates traditional

May 1992 R E P 21
 multitracking. By using standard MS-DOS MULTICHANNEL SYSTE]VIS
partitioned disk drives, sound files can be
managed /stored with any other MS-DOS file.
Edits can be made at the waveform level
(via zoom -in view) and auditioned in real AKG DSE7000
time. Multiple internal stereo tracks can be
simultaneously triggered for cue list assem-
sequencing, editing and automated mixing
from the Macintosh platform. Combined with
8
bly. And the Microsound can emulate a broad- Digidesign SoundTools, Studio Vision opened
cast cart machine, with manual spot cuing up the entry level of workstation ownership.
(from the keyboard) while prior /post spots System Upgrades: For the first time the
remain visible. Unbalanced or balanced ana- System Configuration: AKG's DSE7000 is a
system can playback up to four tracks using RAM -based recording, editing and playback
log I /Os are available, as are optional digital two AudioMedia cards or ProTools hard-
I /Os and an optional time compression /ex-
system intended for the broadcast produc-
ware. Up to 16 tracks can be stored per song. tion market. Eight digital audio tracks can be
pansion function. An LTC reader /generator Although only four tracks can be played at
is also available. mixed to stereo internally. The DSE7000 emu-
once, you can select two audio tracks and lates the combo board of a radio production
System Upgrades: Microeditor functions mix them together along with dynamic
are on constant user -feedback driven up- studio with an onboard 10-channel digital
changes. OMS support is a time saver for mixer, and an invisible-to-the-engineer 386 -
grades. Upgrades to existing software (Ver- users with large MIDI setups.
sion 2.0) include Cut and Boost, which per- type PC. Computer chops are not required
Strengths: One of the most affordable 4- and the computer keyboard is only used for
mit real -time amplitude changes of a zone track hard disk recorders on the market.
within a segment, effectively allowing the text entry of project titles. The interface
Software is easy to learn and easy to use. completely emulates the broadcast produc-
engineer to "duck" music under dialogue. Includes powerful automated editing features,
Skip and Delay permit skipping samples tion environment with square plastic Start,
such as strip silence that cuts up a track Stop Record, Fast -Forward, Cue and even
within the zone as if deleted. Using Snap-to-
Grid, segments can now be positioned by dedicated Help, Undo buttons. Recording
starting/trailing edge, or selected Flag/Zone times are limited to 4.4 track -minutes at
point within the segment and moved to start 32kliz sampling and expandable to 17.6 track-
playing at a new time. Marker flags can now minutes with optional RAM cards. There is a
be set on the fly. Record and play can be Studio Vision. 15kHz upper bandwidth of sampled material.
System Upgrades: An optional data /DAT
triggered by: SMPTE, MTC, MIDI Note and
Mouse. The optional Microsync board al- archiving system has been added.
lows Sync-Lock Resolve and SMPTE genera- Strengths: By design, radio pros can handle
tion. Future enhancements include an antici- the DSE7000 more easily than most worksta-
pated summer 1992 release of a parametric tions. The RAM -based system delivers es-
EQ option. r sentially instant production access to the
Ancillary Markets: Music recording/edit- systems memory. (Hard disks are included
ing, radio mastering, CD pre-mastering, sound for safeties and data backup.)
design and computer music synthesis. Weaknesses: Not the workstation for ev-
Strengths: More than 300 audio segments erybody. The DSE7000 is especially strong,
can be used in a single mix. The price point although somewhat pricey for broadcast
rr...w .i DOW Oa* re*.
here, especially considering the cheap avail- because of its high-tech transparency.
ability of PC platforms, is impressive. On -Line Observations: "It is absolutely the
Weaknesses: The fact that this system only machine that everyone here (East Coast
does not grow beyond 4-track will eliminate radio station) can use. We have a production
many music production applications. The staff ranging from 17 to 66 years old. They
look and feel of the interface seems to bother fight for time on it." "It keeps the clients out
based on a preset level threshold. Audio and of our hair because we can get them in and
die -hard Mac types. But what's new? MIDI tracks may be dynamically automated
On -Line Observations: "The company has out so quickly."
with level changes and pans. Sound files can
provided excellent support ... we're making Conclusions: For tidy radio production
be edited using Sound Designer II or Alchemy and short track learning curves the DSE7000
money with (Microsound)." "I just completed software. One of the few companies with
a project in two days (with the MTU System) works very well. This unit capitalizes on
after-hours phone support. broadcast production requirements for spe-
that would have taken at least two weeks in Weaknesses: Older Mac processors may
linear (traditional) editing." get bogged down when locking automated
Conclusions: The company is aggressive digital audio tracks to time code. Has almost
and innovative. The overall speed of most no internal DSP capability. Program must
Microsound functions indicates the com- export sound files to SoundDesigner II for
pany has a grip on writing high -efficiency advanced waveform editing, time-expansion
software. Small details, such as immediate or sample rate conversion. System is depen-
access to deleted files regardless of edit dent on Digidesign hardware to record, and
length, are their forte. In general this system for house sync and machine control.
is a good- bang -for- the -buck -type product. On-Line Observations: "The audio part of
Bottom Line: Systems start at $3,690 (ex- this system has really seemed to come to-
cluding computer and hard drive). gether. Studio Vision is perfect for the way I

Circle (103) on Rapid Facts Card work, because most of my time is spent
sequencing MIDI tracks which need audio
recorded on top of them. The MIDI sequencer
OPCODE STUDIO VISION was not an afterthought, like many other

4 ttnrrrM
hard disk systems."
Conclusions: Studio Vision is ideal for
project studios or musicians who need to
record and edit a few digital tracks, but don't cific, less comprehensive workstation fea-
want to learn a new software. The company tures. Also excels in ad agency environment.
System Configuration: The original Studio has many loyal users. Bottom (Line: System prices range from
Vision was an upgrade path from Opcodé s Bottom Line: System prices start at $10,000. $27,500 to $37,500 (includes computer).
Vision software program. It offered 2 -track Circle (104) on Rapid Facts Card Circle (105) on Rapid Facts Card
playback linked with comprehensive MIDI

22 R E P May 1992
Who said a workhorse can't be a thoroughbred?

DIGITAL AUDIO RECORDER PCM -i 01)

SYNC
E3T
AUDIO INPUT
ANKOC:
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Ent TM., .
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LIINGINIIIIMINI11111111111110. ,O, ri J i S PLAY

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L.I SWIM SW11 U-

MVOS

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© ©©

The Sony PCM -7010 IDAT Recorder

It wasn't Sony. Because the fade and confidence monitoring.

l'CM -7010 was built from the ground And, with its advanced options, you
up as a professional F)AT recorder can record. playback and display

1II.Lt can handle everything from SMl'I'i' I II1Ic code and store digital
Lusic recording and on -air radio
music audio in memory for instant -start
and television broadcasting to playback. I1 you want a workhorse
audio -tor -video product and I)A"t' recorder that can do it all. today
corporate nitiltinrcdia svl nrs. and tomorrow, you want the Sony
l'hc l'CM- 7(11( feati'uu's l'CM 7010. For more inhumation, call

high -speed sc.LICh. vatiaflie - speed the Sony l'rolessional Audio croup
playback. { Ir in'out with cross at 1- 800 -045-SONY. ext. 7010.
 DESKTOP PRODUCTION

AMS AUDIOFILE PLUS

A large electroluminescent panel (similar
16, rr.
And a color LCD active matrix and VGA-
to those used in laptop computers) and a
computer monitor can both display track
resolution control surface screen take sheets, libraries and other data. Most often,
AudioFile beyond "green-screen" limitations. the EL panel is used by the operator and a
System Configuration: AMS was among (A standard color VGA can serve as an exten-
the first hard-disk recording systems; the large computer monitor is positioned for
sion monitor.) client viewing.
current version, AudioFile PLUS, consists of Ancillary markets: Music editing, CD pre -
a "controller surface" and two outboard Editing is "virtual," meaning no audio is
mastering, and broadcast applications. actually moved, modified or erased until a
rackmounts, one for the hard disks, and one Strengths: The system is very fast. One of
for processor cards and analog /digital I/Os. Clean -Up command is executed. Audio seg-
the few systems that records eight tracks at ments that are copied or moved to an empty
The AudioFile PLUS can interface digitally once. Scrubbing is smooth and feels like
with the company's Logic One or Logic Two track area are always faded -in and faded -out,
analog. Time compression sounds good. using preset default fade times. Fades can
digital mixing consoles for hands -on digital Powerful auto-conform software loads an
mixing. The Controller Surface is the user then be lengthened or shortened, and the
EDL and automatically records desired sec- material trimmed.
interface with a small, rack-mountable panel tions from a source tape. The AudioFile also
holding a video display, a QWERTY key- A routing/mixing matrix is interposed be-
works with Gefen's auto-load software to tween eight playback tracks and eight physi-
board, two shuttle /jog/value wheels, a floppy automatically record sound effects from CD.
drive and various buttons. cal outputs. Any track can be patched to any
Edits can be made with single subframe output, its levels changed and mixed with
The transputer -based AudioFile PLUS eas- accuracy. Disks are not tied to tracks; any
ily handles basic 2 -track production. The any other track to create a mono or stereo
sound will appear from any output. Punch -in sub -mix without using an external mixer.
base unit can function as an 8 -track digital and punch -outs are totally non-destructive.
recording system or 16 -track recording sys- Output and track levels can be changed in
Programmed record-in times can be saved to real time, using the control panel's knob or
tem, both configurable for eight inputs. The a floppy and loaded pre -session. Optional MIDI. MIDI- in, -out and -thru ports permit the
ADR software available. OMX to interface with keyboards, sequenc-
Weaknesses: Fairly expensive. Limited DSP ers and automated mixers. A Gate function
and mixing capacity. Has no dynamic auto- allows threshold level to be set so that only
mation capabilities. Proprietary computer audio material will actually be recorded,
system may limit expansion. Current (under while quiet areas will be shown as "digital
development) lack of on-screen waveform black" or "silence" on the track sheet display
display inhibits some applications. Users and will occupy zero disk space. Recording
must define and mark edit points by scrub- can take place in the background while edit-
bing. Small screen at desk may bother some ing occurs in the foreground so material can
users. But larger screen for client and /or be edited as soon as it is recorded.
operators is an easy add -on. System lacks an The 408 OMX has eight 1,000 -bin libraries
all-digital signal path. for storing audio segments, effects, jingles,
On -Line Observations: "I find the AudioFile dialogue and musical elements. These bins
very intuitive because it closely parallels the are identified by name, length and output,
way analog systems work. It also has the not time code position. Audio can be put into
base unit offers up to two track-hours of cleanest scrubbing of all systems I have
mono recording (at 44.1 kHz). and removed from any bin by using the copy
heard." "We spent 18 months, we looked at or move commands. Copying a sound seg-
DSP functions include time compression/ everything. Nothing even came close."
expansion, simulated reel- rocking, varispeed ment into a library takes up no additional
Conclusions: The system is fast and easy disk space, although libraries can be hard -
and crossfades. The AudioFile PLUS can be to learn. With many units in the field, it has
controlled on -line by Sony BVE or Ampex copied from session to session if necessary.
proved itself in the advertising, film and Library segments can be instantly triggered
VPR -3 editors, read /generate LTC time code post-production industries. With one of the
and read VITC. The "Jukebox" mode simu- from the system's keyboard or from a MIDI or
largest feature sets on the market the AMS computer keyboard with up to 64 library
lates eight cart machines. All 16- channel system offers controls 'post' editors need.
AudioFile PLUS systems can be paired with The adaptable card -cage design has allowed
fully automated AMS Logic consoles to
1
the system to remain competitive for more
provide AudioFile with digital mixing, EQ, than five years. Most important, the 500+
gating, limiting and compression /expansion. worldwide users make money from their
Future plans include segment -based mixing. AudioFile investment.
System Upgrades: Aud ioFi le enhancements Bottom Line:System prices start at $95,000.
include the ability to read CMX-type EDL Circle (106) on Rapid Facts Card
diskettes directly and to control where and
how source audio is recorded. AudioFile can
now sense gaps of five seconds or more
(since the previous cue) and use external AUGAN 408 OMX
machine control to fast forward to the next
edit point.
An optional buffer card allows events to be
placed closer than 18 frames together in a
9
track. Improved software is much more stable System Configuration: The 408 OMX is a
than previous versions. New EDL auto-con- stand -alone, rack -mount proprietary unit
form software dramatically reduces assem- configured to emulate a 64 -track ATR with
bly time. The system will read most popular bins key-assigned. An RS-232 port allows
four recording heads and eight playback
EDL formats, automatically load all source communication with printers and comput-
heads. Augan, a relatively small Dutch com-
elements and conform them. Other enhance- ers. A SCSI port permits an additional MOD
pany, developed VLSIs to control flow and
ments now available to all multi -input PLUS and digital output allows several OMXs to be
processing. The 408 OMX stores all audio
users are an MOD, an Exabyte backup and linked. RS -422 provides external video ma-
and session data directly to two MODs. Op-
cue-audition from the tape. chine control.
erator interface is reminiscent of a conven-
SPECTRA, the newest AudioFile upgrade,
Ancillary Markets: Music recording.
tional multitrack recorder with a separate,
also provides on -line MOD recording/edit- Strengths: A powerful, mid -price device
lightweight control panel with dedicated keys,
ing. A new slim -design control surface per- whose home may be destined for larger
a shuttle jog knob and a small back -lit alpha-
mits lap -top operation of the control surface. commercial production and broadcast facili-
numeric LC display.

24 R E P May 1992
 Have your cake...
You can have it both ways with System One.
Most audio test sets fall into one of two categories...
There are the specialty testers, like tape recorder test sets, video /audio monitors or pricey
short interval test systems. Then there are conventional general purpose audio testers,
which can do basic testing but lack the capability to fill today's specialized testing needs.
Investing large amounts in specialty systems that don't also meet your day-to-day
audio testing needs is both expensive and frustrating.
SYSTEM ONE solves the problem by providing both high performance general purpose audio
testing and innovative specialty testing functions. Basic SYSTEM ONE configurations are priced
competitively, yet can grow with your needs to include these advanced functions:

-
FASThst Test any audio channel
in 2 seconds or less
-
MIS Quasi -anechoic measure-
ments of loudspeakers
-
FM Automa=ed Stereo Proofs
-
TV BTSC An:omated Stereo
Proofs
DUAL DOMAIN TESTING -
Direct digital dcmain testing of
digital audio and interfaces.
TAPE TESTING Complete -
magnetic tape recorder and media
teslr. .
SPECTRUM ANALYSIS Audio -
FFT inaly3i3
-
EBU 0.33 Short interval testing
Clock :12) on R&D d Facts Card

With System One, yousan hace it both ways!

P.O.Box 2209, Beavert9!1, OR 57075

503/627-0832 1- 800/231 -7350
FAX: 503 /641 -8906, TELEX: 283357 AUDIO UR

INTERNATIONAL DISTRIBUTORS. Australie IRT ElestroncsPt,. Ltd -e 1611 2 439 3744 Austria: ELSINCO GmbH. Tel 143) 222 812 1731 edglur_ Lams Eunpar Mac NV Tel 1321 2. 466 5010 Bulgaria: ELS dCO.
.

h e Strelbishte. Tel (359) 92 581 698 Canada: GERRA JDIOOstreut,on. -el (4t61 696 -2779 China, Hong Kong: A C E (Intl) Co. Ltd Tel 1852; 431038/ Czeehosbvilkb: ELSINCO GmbH. Tel (43) 222 812 1751 Danmark:
npn Elektronik aps. Tel (45) 86 57 15 11 Finland: Genesc O1. Fel. (358) -7 13311 France: ETS Mesureur Tel (33) (I 45 83 66 41 Germany: RTWm.H Tel (49 221 TO 31 30 Hungary: ELSINCO KFT Tel 1361r 2 4854
r
)

Tel (39) 24840 1780 Japan: TOVO Corporation. Tel (81) 3 (5688) 630) Mores M-oung Co-po aeon Tel 182) 2 7849942 Malaysia: Test Measrement
ten et: Dan -El Technologies. Ltd Tel (972) 3- 544 -1466 aaly: Medea S
.

8 Engmeermg Sdn Bhd Tel (601 3 734 1017 NMNrlarda: TM Auc.o B V. Ter (31) 034 087 0717 New Zealand: Audio 8 Video Vnole_ ale
.
. Te '64. 7 43.7a4 4 Norway: Lydconsult Tel .47) 9 18 C3 81
Portugal: Acutron Electroacusbca LDA. Tel (351) 9414)87 / 34E4862 Pond: P H U INTERLAB Tel 1481 22 335 454 Singapore: THE Systems °teLd.. -el 185129026J8 Sailli Africa: SOUNDFUSION. Tel 127111 4-7 1315
1

Spain: Telco Electron.cs_ S A.. Tel (34) 1 531 -7101 Swedes: -a1 8 Ton 2leHrolnk AB. Tel (46) 31 80 36 20 Switzerland: Dr W A Gunther iC. Te 1''1 - 9 0 41 71 'swan ACESONIC Intl Co.. Ltd Tel 8861 2 7` 6 8896
t
 ties, the OMX is lightning quick, MIDI ready fully implemented, new enhancements for
and functionally distinct from most of its audio-post users will include a spot mode for
competition. faster on- or off -line spotting. A new grid
Weaknesses: It doesn't feature many of the placement to the original pacing. The system mode allows the user to nudge a sound by a
software bells and whistles that put many can lock to external LTC and follows the Sony predetermined amount and to quantize edits
engineers in their comfort zone. The system's P2 format. by selected increments. Start and end times
graphic display verges on austere. In the System Upgrades: The relatively new for each region are now screen-displayed
near term, it will be hard for potential North SoundStation Sigma is DAR's flagship. So- and voices are now color -coded for clarity.
American users to experience the device. phisticated varispeed, real-life crossfades Strengths: The modularity of the system
Distribution is sparse. and a feature called Segment- Based-EQ are allows a user to start small and expand as
On -Line Observations: "The Augan was major Sigma enhancements. In particular, needed. Huge original "Sound Tools" user -
new, so we had doubts, but it was the best the Segment-Based -EQ allows an engineer to base. More affordable than dedicated sys-
available option as a centerpiece recorder create EQ templates that can be stored, tems. Intuitive graphic editing allows regions
for our multiroom facility." "The OMX is copied and moved as needed to minimize the to be easily trimmed, expanded or moved.
conceived to meet actual studio needs, rather nasty re- invent-the -curve redundancies of Supports 64 virtual tracks. Open architec-
than match the competition's features." traditional post- production methods. A corn- ture ensures future growth. RAM-based sam-
Conclusions: Some startup problems will plete digital mixing package has been added pling capabilities can be added using Sample
exist as the company brings the product fully to complete the Sigma's internal control of Cell card. Extensive sound effects and music
into the North American market later this recorded tracks. Future upgrades include libraries are available on CD -ROM. A hard-
year. But Augan has a small, dedicated Euro- the ability to rock video and have all 16 audio
pean base. As witnessed in a 1992 NAB prod- tracks follow the rock frame -by-frame.
uct demo, the machine is positioned by its Ancillary Markets: Advertising produc-
features/benefits to profile far away from tion.
most other systems. See one if you can. Strengths: Lots of "little things" such as a
Bottom Line: System prices start at ap- strong librarian function that eases the work-
proximately $45.000. station file management bottleneck. Though
Circle (107) on Rapid Facts Card small, SoundStation's onboard editing screen
(and associated icons) reinforces the
system's refined approach to workstation
interface. Also. Wordfit is an option any
DAR SOUNDSTATION SIGMA audio-for- film /video facility must consider.
Weaknesses: To date, SoundStation has
16 *.ri,.»il1 been undersupported in the U.S. In the other
"little things" department, some people who
have seen SoundStation demos are distracted
System Configuration: The original that the "tape" emulation (as viewed on the
SoundStation II (no SoundStation Iwas made) playback sequence screen) spools from right - ware control surface is available from J.L.
is an elegant piece. The keyboard -sized Con- to-left. A minor point. Cooper, with eight faders, scrub wheel and
trol Console is a striking jog/shuttle wheel On -Line Observations: "We've been book- assignable soft controls. Pro Tools hardware
and dedicated controls package. Equally im- ing 20-25 hours a week at competitive rates. works with Studio Vision, Mark- of-the-
pressive, the DAR-authored software allows It is a money- maker." "You have a better Unicorn's Digital Performer and Q -Sheet A/V.
you to touchscreen select and manipulate chance of them (DAR) hearing your opera- Weaknesses: System requires a very fast
desired audio events. tional requests than from a big company." "I Mac CPU to function well. System Accelera-
This disk-based system is available in 4-, 8- had lots of demos, this is the warmest and tor is required to expand beyond four chan-
or 16 -track models, with up to 16 channels of best -sounding system I've heard." nels. Without the System Accelerator, screen
Conclusions: A lot of power to this pack- updates take too long, making on-screen
age. And if the soul of a workstation is its metering and moving faders almost useless.
interface, all the SoundStations are saints. No more than four tracks can be simulta-
We expect special features such as Wordfit neously heard in a basic 4- channel system.
and Segment- Based -EQ to really solve prob- Voice-allocation system is unacceptable for
lems and save time. You pay for both perfor- some applications. MIDI sequencing and ed-
mance and elegance here. Worthy of consid- iting abilities are very limited. Memory re-
eration for any fast-paced production envi- quirements of ProDeck and ProEdit have
ronment. caused some user problems when trying to
Bottom Line: System prices start at ap- run both applications on an 8Mbyte machine
proximately $85.000. using System 7.0. Interleaved stereo files are
Circle (108 on Rapid Facts Card no longer supported, requiring them to be
split before they can be used. Does not
support traditional EDL window.
DIGIDESIGN PRO Toots On -Line Observations: "Pro Tools is the
analog XLR balanced I /Os. A separate pro- only system that features multitrack record-
cessor and disk rack holds hard disks, CPU If l
ing, powerful DSP. MIDI sequencing and auto-
and I /Os. Optional DSP functions include
time compression/expansion and EQ. The
16 mated mixing at a reasonable cost." "Hard
disk editing (such as Pro Tools) is not the
DAR audio building block is called a "seg- place you want to do mixing."
ment." The building process stores segments System Configuration: One of the few sys- Ancillary Markets: Project /mid -size stu-
in directories and constructs a finished prod- tems that visually represents audio and MIDI dios for MIDI and multitrack linked record-
uct by copying. editing and moving segments data in the same window. Included are ef- ing, spot production and sound design.
to a production "reel." fects sends and DSP, such as parametric EQ. Conclusion: Pro Tools shows great prom-
DAR hangs its hat on the innovative The on-screen mixer features static and dy- ise, but is still young compared to most
"Wordfit" option. designed to automate dia- namic automation capabilities. Crossfades products in this survey. Currently. the sys-
logue replacement for film /video. Typically. are hard disk-based. Currently in version 1.1, tem requires the use of two applications,
any replacement track is "out of sync" with Digidesign recommends a Mac llci, Ilfx or which creates multiple problems for some
the original. Wordfit compares a location - Quadra with 8Mbytes of RAM, System 7 and users. The system is ideal for project studios
recorded track with the studio-recorded re- at least a 600Mbyte hard disk. that use digital tracks with MIDI.
placement track. Wordfit then processes the System Upgrades: The new System Ac- Bottom Line: $5,995 for basic 4- channel
replacement track to start /end in the same celerator increases processing speed and configuration (without Mac and hard disk).
time as the original and conforms the re- allows expansion (in groups of four). When Circle (109) on Rapid Facts Card

2fì R E P May 1992

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5 major advarces in wireless technology

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Separate nigh and pow frequency compandors for low distortion and fast transient response

These and 15 other important new features you've always needed

Call: (800) 821 -1121 LECTR050f ICS, Inc.

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Circle (13) of Rapid Facts card

 DESKTOP PRODUCTION

DOREMI LABS DAWN Weaknesses: Too new to tell. Units are

shipping and seem to work. To some, the on-
board screen /display may seem small. One
KORG SOUNDLJNK
4q I I
improvement would be to allow the machine
to interface with a third -party computer so it
System Configuration: Independent of large could operate within a Windows (or Mac) -
company support, the Mac -based DAWN has _81 \l'Am type graphic environment.
On -Line Observations: "The user interface
survived, during the ramp -up years of the
workstation industry. One of the most af- SystemConfigura ion:Physically,theproprietary and hardware controller have a very natural
fordable 8 -track systems on the market, this hardware and user interfaceare reminiscent ofa feel. It is nice having a workstation with
system works with MOD drives and records Lexicon Opus. SoundLink permits simultaneous hardware controller: it makes more sense."
at 32, 44.1 and 48kHz. Events are shown using recording of up to eight tracks. The digital mixer "The SoundLink niche seems to us to be a
a scrolling track sheet or EDL-style cue list. section featureseight channel faders, onestereo low -price (comparatively) tapeless tape ma-
System Upgrades: The Digital DAWN fea- master fader and a MIDI master volume fader, chine. The rear panel is incredibly well
tures eight analog inputs and four stereo each with continuous real-timeautomation; plus thought out. Machine control is a major plus,
digital inputs. The new DAWN chassis in- eight automated channel mutes. Other mixer because all you really need is a SoundLink, a
cludes digital I/O on all eight tracks, a new functions that can be snapshot-automated in- professional VTR and speakers."
sync board with built -in LTC reader /genera- Conclusions: An attractive and well-con-
tor and a programmable word clock I /O. sidered entry into this market. The package
Future developments include a digitally con- seems to make sense and work. With only
trolled mixer, produced in conjunction with a beta test users to speak with, hard -edged
Pacific Recorders and Engineering. opinions about the unit are limited.
Strengths: Dawn is expandable to 48 tracks Bottom line: $37,000 and up.
(in groups of eight). The system supports Circle (111) on Rapid Facts Card
AIFF standard sound files that can be edited
using Alchemy or Sound Designer II software.
Machine control card is standard with DAWN LEXICON OPUS
software and cues can be triggered using a
MIDI keyboard. Variable speed playback is 177 (`17

dude panning, aux 1/2 send levels and internal

effects balance. Snapshot automation of equal- System Configuration: The 12- channel, 8-
ization settings is also provided for the high/low track Opus offers faders, pan pots, mute and
EQbands(shelvingtype)and themidrange(para- solo switches, patch points, four aux sends
metric). with pre-post/on-off selection switches, EQ
Automation modes include off, write, read and polarity invert on each channel. Analog
and update. The update function incorpo- I/O and digital I/O can run simultaneously.
rates thresholds to control the update pro- The digital mixing console employs a 24 -bit-
cess for fader position changes. Automation wide audio data bus. The OPUS /E digital
data is edited in a similar manner to audio editing system offers standard OPUS record -
editing via move, erase and copy functions. ing/editing features without the console user
Channel settings for the noise gate and high - interface. OPUS /E contains a built -in 8x2 digi-
pass filter are saved with each session. tal monitor mixer with analog or digital out-
Three types of reverb (hall, room and plate) puts. A virtual disk environment permits
are provided with variable parameters while unlimited simultaneous crossfades and each
all channels use the processor send as a "reel" in the OPUS architecture can handle
possible. Software updates are delivered by reverb balance control. Reverb parameters up to 160 automated mix revisions. OPUS
modem. The new built -in synchronization are also snapshot automated. A compres- slaves to external time code (NDF, DF, EBU,
module resolves to house sync or external sor/limiter, resident to the L/R mix bus, can
SMPTE. A dedicated hardware control sur- also be snapshot automation controlled. Time
face was shown at the 1992 NAB convention compression /expansion and crossfades are
and is now shipping. implemented.
Weaknesses: Currently, the system offers The console features soft /hard keys, alpha-
very limited DSP, lacks digital EQ and has no numeric keys, transport controls, jog wheel
and faders and the system provides a 16-
....am
internal mixing or automation capabilities.
The anticipated summer delivery of a DSP track MIDI sequencer. Tempo maps can be
card and digitally controlled mixer should created, overdubbing and step recording is
solve most of these problems. provided and track bouncing can merge data
On -Line Observations: "The open-environ- from two different tracks. The basic //././//llllll. t
ment was critical for us. Using off -the -shelf SoundLink is shipped with a rack -mounted
Ethernet cards, our networking capability 670Mbyte hard drive and one 2.3Gbyte 8mm
rivals more expensive, dedicated systems. Exabyte back -up. The system will follow /lock
to LTC and VITC sources plus lock to House FILM rates) and can control a variety of serial
We routinely transfer sound files between
Sync, Digital Word Clock, MTC and MIDI interface video decks. OPUS also resolves to
multiple locations using Timbuktu software house sync or external word clock data.
for the Mac." clock. RS -422 provides external video ma-
chine control. System Upgrades: Current software (Ver-
Conclusions: On the market for more than sion 3.0) is quicker in function implementa-
four years, DAWN is popular with many film System Upgrades: It is a newly delivered
system, not widely circulated yet. MOD sup- tion, provides remote machine control, CPEX-
and post houses as an editorial tool. The time compression /expansion pitch -shifting
simple Mac-based interface, open architec- port is under development.
Ancillary markets: Music recording and and Opus console automation for all faders,
ture and accessible price have gained DAWN mutes, switches and rotary pots. Track level
acceptance among owner-operators seeking mastering for radio, CD pre -mastering.
Strengths: The SoundLink has a strong editing allows automation and audio data to
an affordable, high-performance start -up.
user interface offered in a turnkey package. be simultaneously edited. Version 3.0 also
Bottom Line: A DAWN Workstation Nucleus, permits control of video recorders from the
including two inputs/eight outputs and a Looks good, sounds fine, support from major
company seems assured. Benefit -to-price Opus. Future upgrades (Version 3.1) include
sync- board, starts at $16,500. support of a 2.5Gbyte hard disk, a color
Circle (110) on Rapid Facts Card seems good.
monitor and expanded machine control.

28 R E P May 1992
 DESKTOP PIODUCTION

Strengths:: A high performance platform, piing rates of up to 100kHz. EditView soft-

the Opus boasts high fidelity. serious auto- ware displays RAM and disk events with EDL
mation and was the overall winner in REP's or graphic-based playlists and has excellent
1992 workstation issue. color support. Librarian window keeps track
Weaknesses: When voicing-to-picture. it is System Configuration: The NED system
has grown continuously for nearly eight years
of off -line volumes. Database performs key-
tedious to backup six or seven takes. But the word searches by name and category. Op-
company has an ADR package in develop- since the seminal Synclavier made most
people aware of the meaning of direct-to- tional CMX Autoconform software records
ment intenced to eliminate this bottleneck. selected events via machine control, will
Like other integrated, stand-alone systems, disk. Among other features, the original sys-
tem has a large selection of music and SFX
you may be paying for more than you need.
On -Line Observations "We tested every
libraries available on 2Gbyte optical platters
major system ... we chose the Opus based on and Gbyte MODs. The DAT backup system
1

its ability to record /edit and mix in the digital operates at 8x real -time and holds I.2Gbytes
domain. (Al of the manufacturers) were ex- per tape.
System Upgrades: NED unveiled a new 16-
cellent in certain areas but Opus was the best
in terms of audio-for -video post." "Any client channel version of the DSP mixer in late 1991,
who uses it doesn't want to go back to the which is its first product to employ the Multi -
Arc hardware platform. The EditView soft-
analog room. Once you get out of the linear
ware lays out a track visually, so you can
thinking. it's hard to go back."
fade -in or fade-out on a sound using the
Conclusions: The company's ability to con-
mouse. Cues can be positioned by simply
tinuously u ?grade and Opus' strong track
record makes it a reasonable choice for dragging them where you want them on the
screen. TransferMation librarian software
those capable of a 6- figure purchase.
Bottom Line: $150.00( ccmligurable). quickly stores and retrieves sounds from
disk or RAM and now includes machine
Circle (112) on Rap d =acts Card
control. CMX Autoconform software loads
and conforms source audio to an EDL and
read head /tail trims and imports event names.
now supports rehearse and looping func-
Optional SoundDroid software includes spot-
tions for ADR applications. AudiMation soft-
NEW ENGLAND DIGITAL ware provides up to 16 channels of digital ting notes, cue sheet printing and a database.
mixing with 5 -band parametric EQ. Using Current software version is highly reliable.
POSTPRO Weaknesses: Overdue DSP option is ex-
AudiMation, up to eight snapshots can be
pensive and required for digital EQ. DSP
saved to disk. In addition, dynamic mixer
moves can be recorded by MIDI sequencer.
option cannot be expanded beyond 16 -track
SIO
capability. Current software has no inte-
Strengths: Fast and powerful. Large cus-
grated dynamic automation capabilities.
tomer user-base. Hardware supports sam-

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both electrical and optical digital I /Os. It generates
a temporary table of contents (l'OC), so you can
start and stop while recording, as well as edit out
any false starts or unwanted tracks. After finalizing
the TUC, your CD-R is playable on any Cl) player.
The PUR -10 incorporates the latest one -bit
conversion technology for extremely low noise and
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Circle (14) on Rapid Facts Card

May 1992 R E P 29
 DESKTOP PRODUCTION

Macintosh networking capabilities are dis- Ancillary Markets: Audio post for video/
abled when EditView software is used. Li- film, music editing, sound design, dialogue
brary searches can be slow. EditView lacks a editing and broadcast production.
global ripple function. Multi -user systems Strengths: Roland's DM-80 attempts to be
not yet demonstrated. all things to all people. You can get in rela-
On -line Observations: "I think the Post- tively cheap and theoretically go really big
Pro is a superior system because of its speed. with it. In the Roland tradition, the DM -80's
As fast as you can click on cut, it makes the hands -on feel is both user -friendly (non-in-
cut. In addition, EditView software has made timidating) and intuitive.
the system much easier to use." Weaknesses: The small onboard screen
Conclusions: One demonstration of could be a problem. You can't view more
EditView software will make anyone a be- than four tracks simultaneously without the
liever in the power of visual editing. NED has Macintosh software package.
always been a leader with many firsts under On -Line Observations: "Roland spent a lot
their belt. The company has always tra- of time working the bugs out. And the size of
versed the high -end market and can be ex- the company and their ability to hang with
pected to continue to do so. (the product) makes me secure in my deci-
Bottom line: Entry level systems are ap-
proximately $70,750.
Circle (113) on Rapid Facts Card

OTARI P0464
104 IpOWN

System Configuration: ProDisk 64 was the

sive. Its strength is that it (lid not try to be
first system on the market to match the
everything to all people. They decided to
storage capabilities of a 24-track (analog)
build a really good multitrack engine and
recorder and is still the only system that can
that's what they have done."
be expanded to 64 discrete tracks (even in sion." "We were especially interested in grow-
the field). Users can punch -in on multiple
Conclusions: The ProDisk system has
pushed their envelope with visual editing ing with this system."
tracks at once. Phase-accurate sample lock Conclusions: The user universe is not yet
capabilities, individual level control of every
eliminates phase cancellation when mixing large enough to know exactly where Roland
track with real faders, color support and
tracks to stereo. All editing is real -time. fits into the big picture. But modular design
more. And Otani has demonstrated a com-
System Upgrades: Otari's acquisition of and relatively inexpensive entry level price
prehensive commitment to the workstation
Digital Dynamics has resulted in improved combine with Roland's sales reach to make
environment. Anyone who needs to do seri-
R&D, marketing and technical support. New the DM-80 a lock for significant market pen-
ous multitrack production in the digital do-
ProDisk Guide software (Version 4.0) has a etration. It feels like a home/project studio
main should test drive a PD464.
graphic (more user -friendly) interface with device. It even looks like most other Roland
Bottom Line: $31,950 for a 4-I/O 4 -track
more color support and a CMX -EDL devices and that means even the least tech-
system.
autoconform feature. ProDisk also now of- nically oriented end -users should feel at ease
Circle (114) on Rapid Facts Card
fers removable disk packs and an off -line with it. Great place to start. No one else offers
backup station. In addition, DSP, mixing and a modular system in such an easy-to-as-
dynamics processing can be automated us- semble package. Rates high on the price-vs:
ing sequencing software that runs in the ROLAND DM-80 benefit continuum.
background. The newly released CB-158 Hard- Bottom Line: Starts at under $6.995.
/
ware Control Panel provides dedicated trans-
port and edit function controls as an alterna-
tive to mouse and keypad commands. New
titi}TiFt.

1 \ / Circle (115) on Rapid Facts Card

system controller cards incorporate improve- System Configuration: Expandable to 32

ments, such as VITC and external videosync. SONIC SOLUTIONS SONIC SYSTEM
tracks, the Roland DM-80 is a slightly over-
A software release is scheduled to add time due, highly anticipated hybrid that defies /
compression/expansion and pitch shift. easy classification. If the maximum six exter- PrIZ *rn+arl
C/
Strengths: One of the only systems that nal drives are used, the system can deliver 12
VAP
will simultaneously record more than 24 hours per four tracks of on -line audio.
tracks and is designed for complex produc- The DM -80-8 uses two disks to provide System Configuration: Sonic Systems start
tion with a high volume of track lengths and eight channels and is also available as the with a 2 -track "Sonic Mini Editor" and can
widths. The Guide graphic interface allows DM-80-4, a 4- channel system that cuts I /Os expand to 24-tracks. Any Mac Il can serve as
the user to move tracks by dragging them. and recording time in half. Multiple DM -80-8 the system's front -end, although the faster,
Has movable transport palette and on-screen and DM -80-4 units can be linked via the the better. Control is via mouse, keyboard
meter bridge. Cues can be auditioned from optional DM -80-S Macintosh Track Manager and the Mac's video display. NoNoise Ver-
the sound library and placed on screen. which emulates a tape recorder via software. sion 2 can digitally find and remove un-
Software supports drag and drop of time The DM -80-R remote has function keys, wanted recorded noise, including hiss, pops
code addresses.Superior technical support. track select buttons, transport controls, jog and clicks. DSP options include real-time EQ,
Weaknesses: Currently has limited DSP wheel, LCD readout and an input for an varispeed and reverb.
support (only levels and pans) and no digital optional keyboard hardware controller. The System Upgrades: The new SonicStation
EQ. Timeline/shuttlebar is too small to show DM-80-F hardware mixer interface features includes two channels of digital I /O. Boot
large numbers of edits. System is not hard to faders, pan pots and EQ controls. Automated time has been decreased. Segment editing
learn, but has some unusual logic. Display of mixing, via MIDI, includes level, panning and includes variable crossfades, movement and
waveforms is sometimes slow. Machine con- 2 -band EQ per track. deletion of sounds (with 32 levels of undo),
trol currently supports fixed slow-speed jog- System Upgrades: One improvement un- level adjustments and precise zoom in /out.
ging only. Current EDL does not display fade der development is a software resolver (an- The system is capable of real-time playback
in/out times. ticipated for late '92), which is designed to of any eight channels of the 64 virtual tracks
On -Line Observations: "The company is allowthe DM-80 system to slave to any source displayed in a segment window. All edits,
very hungry for feedback and very respon- of nonsynchronous, varispeed time code. level adjustments, shelving and presence

30 R E P May 1992
filters can be auditioned in real time. Op-
tional A/D and D/A converters can be added
and the company now manufactures its own
converters. The SonicStation is expandable
with four tracks per card. Options include
multitrack editing, automated mixing, ma-
chine control, project management and
NoNoise. The new PQ editing option com-
bined with the Sony /START Lab CD printer
allows the SonicStation to record reference,
broadcast and archiving CDs plus the new
PreMaster CDs for direct glass mastering.

ii *gRN
1111 11111$1111
nnrnrncnn naourawr
;

Sonic System's waveform editing now uses

33MHz DSP chips to accelerate DSP opera-
tions and allow the system to perform real -
time stereo No-Noise. The system can now
record audio at 48kHz but doesn't offer ana-
log I/Os. Multiformat digital I /Os are stan-
Things Set the Standard...
dard. Sync options include an LTC reader/
generator and external Ampex VPR -3 and
Sony P2 control. Time compression and rd in the <mil,' u( (inan.y
expansion is scheduled for mid-June release )nt I ar\r
1utn.iin. :1ixl hix i

(Version 1.4). Announced upgrades (fall

1992) will allow 12-channel playback with
expanded memory and full MIDI support.
Strengths: The Sonic System is the only
workstation with serious sonic restoration
capabilities. Flexible pricing allows users to
get onboard at reasonable costs. Thesystem
has extensive disk pre -mastering/mastering
capabilities and on-screen mixing with full
automation. Extensive DSP, filtering capa- I
bilities, real -time dynamics control and a
disk -based fade editor are included. Back-
ground on /off- loading to hard disk allows
u
users to foreground edit while loading or
storing program material. Software can find
the same waveform in different pieces of
audio by syncing to waveform. Open archi-
tecture allows expansion as each card can
handle seven SCSI devices. Fiber optic net-
works can be established to simultaneously
transfer up to 100 audio channels.
Weaknesses: The system still lacks the
ability to fully emulate a true -multitrack ma-
chine. Dynamic limiting/compression are less
smooth than in analog systems. The learning
curve is hindered by cluttered menus, which
are sometimes confusing, and some termi-
nology that is not intuitive.
On -Line Observations: "The new hardware,
running on a Mac Quadra, is five to 10 times
faster than my old Mac Il system. Operations
which used to take three to five seconds now
occur instantly. For laying up and sliding
tracks in a multitrack environment, I can't
imagine a more powerful system."
Conclusions: Sonic Solution's waveform
editing has a loyal following in music post -
production. A more streamlined user inter-
face would shorten the learning curve and
would probably attract more users. Full mov- Circle (16) on Rapid Facts Card

May -992 F E P :31

 ing fader automation improves the system. provides real time, 24-bit digital mixing and
Bottom fine: The SonicStation starts around 5-band parametric EQ across all channels.
$5,000. Depending on the Mac and hard disk Each 4-channel module can playback eight
size complete configurations range from ware, such as mixers (levels) and tape decks. tracks in real time or can combine unlimited
$11,000 to $15,000.2-channel No-Noise sys- Scrubbing and jogging can be accessed in the tracks (with sample- precise editing) in non -
tem prices start at $8,750 (excluding com- multitrack window. A special Spectral- real time. And each 4- channel processor
puter and hard drive). authored Windows application for Mark-of- offers edit, gain adjust and crossfade con-
Circle (116) on Rapid Facts Card the- Unicorn "Video Time Piece" maximizes
audio-for -video editing capacity. Up to 16
channels of digital I/O can be added by stack-
SPECTRAL SYNTHESIS DIGrrAi_ ing pairs of Spectral's ADDA2218 converters.
AUDIO WORKSTATIONS The new MAX-880 rack mount peripheral
offers multiple discrete I/O channels.
RUM Ancillary Markets: CD mastering and
U yYy" tapeless mastering for duplication systems.
Strengths: Relatively inexpensive. Users
indicate strong company support. There are
System Configuration: The Spectral more than 200 Spectral systems installed
Studio's cornerstone is the FlyBy digital au- globally. High sonic quality for investment.
dio bus, which links multiple hardware com- Weaknesses: Help screens could go fur-
ponents via a Windows-based software pro- ther, especially for novices. After -sales train- trol. Also included are event -based automa-
gram called Studio Tracks. The FlyBy Bus ing could be enhanced because the learning tion, multiformat digital I /O, internal time
Controller, a single -slot card anchors data curve, even for advanced engineers, is steep, code synchronizer and built-in sync with a
transfers between the host PC and any Spec- especially in multitrack mode. A video (hint, LTC/VICT reader /generator. Optical media
tral hardware. The Digital Studio board com- hint) might help, because as one user noted, support is provided. 24 -hour technical sup-
bines a SCSI drive controller and a DSP chip. "It's almost impossible to master something port can be accessed via the PAN network.
A high -performance IBM PC or compatible this powerful straight out of a manual. Some- System Configeration: Dyaxis I is a 2-chan-
(386 or 486) with at least 4 to 8Mbytes of times it's like driving a Lamborghini and not nel recorder/editor capable of mixing unlim-
RAM, color monitor ( VGA or EGA) and mouse getting it out of second gear." ited virtual tracks and locking to time code
are required. Balanced and unbalanced ana- On-Line Observations: "We did a large with better than single subframe accuracy.
log connections are provided by Spectral's amount of looking. And there are just too Software automatically adds a 'take' suffix to
external ADDA-2218 18-bit A/D-D /A con- many advantages to (Spectral). Because it is files. The Event Editor provides static EQ and
verter. For audio storage and retrieval, Spec- IBM- based,Ithink it is closer to the faster and level change automation. EQ settings can be
tral also supplies SCSI hard drives, ranging faster future. Because they use Windows, previewed in real time, committed to disk
from 330 to 670Mbytes. most users are now ready to accept it. The and instantly recalled on any file.
System Upgrades: Demand for multichan- part I really like is that they quickly integrate Strengths (Dyaxis I): More affordable than
nel I /Os to replace the original stereo-only user suggestions in software upgrades. I can't most dedicated systems. DSP includes time
configuration resulted in the release of the say enough about their response." compression/expansion, graphic or paramet-
AudioEngine Digital Audio Workstation, Conclusions: Spectral's success stems from ric EQ and tone generation. Multiformat digi-
which integrates digital audio for synthesis, fusing its digital audio subsystems into high tal I/O locks to almost any digital source and
sampling, signal processing and hard disk performance turnkey workstations. The includes a digital effects loop. Entire signal
recording/editing. The new AudioScape soft- company's excellent foothold could expand path is digital. Software allows unlimited
ware module uses the SynthEngine DSP hard- with less learning curve incline. virtual tracks and supports graphic and EDL
ware to perform real -time DSP on any signal Bottom Line: A single 330Mbyte drive, 4- playlists on the same screen. Any number of
present on the FlyBy bus. As each effect is track system starts at $6,985 (with a com- tracks can be auditioned or mixed to a stereo
loaded into the DSP engine, a corresponding puter and a DAT machine as a converter). A pair. System synchronizer operates as mas-
typical 8 -track system package, including A/ ter clock source that puts out SMPTE and
D-D /A converters and two 330Mbyte drives, MTC and reads SMPTE, VITC or tach. An
comes in at $10,730 (without computer). optional dedicated control surface uses but-
Circle (117) on Rapid Facts Card tons to emulate tape-based editor.
Weaknesses ( Dyaxis I): DSP does not cur-
rently accelerate mixing or crossfades. Gain
STUDER EDHECH nun changes within a mix window are slow. Ele-
ments do not ripple in a playlist. One change
nattun; in a mix window can cause the whole section
vi- I Ì R9 Ah'r to be reprocessed. System sometimes has
problems locking to IEC -958 Type II digital
sources. System has limited MIDI support
(The following System Configuration sec- (MTC only) and no machine control. Does
tion deals with the new Dyaxis II. The Dyaxis not perform equal -power crossfades.
I system is covered throughout the balance On -Line Observations (Dyaxis 1): "Other
of this section.) companies are heralding visual editing with
System Configuration: Dyaxis is a modu-
11 the ability to slide elements around on the
lar multichannel digital recorder using a screen as a new development, but Dyaxis has
"rack" is displayed on the screen. Control had it for more than four years. Virtual tracks
multitasking CPU, DSP board with eight DSPs
knobs and faders emulated on these racks are another big plus, because no matter how
and four channels of analog and digital I /O.
emulate traditional rack-mounted effect con- many tracks you have, it is never enough."
Dyaxis II systems can be configured with up
trols. Control sequencers can provide auto- Conclusions (Dyaxis D: Dyaxis I is a very
to 24 input channels and 48 playback tracks.
mated effect mixes and every control can be powerful editing system that works well in
The system is controlled by the MultiMix
executed via MIDI and the Digital Studio music editing and post -production environ-
software package, which integrates major
subsystem now records stereo or multiple ments. One of the first systems to edit on a
recording/editing tasks into one interactive
discrete sources, either digital or analog. window called the "Edit Desk." Five indi- magneto-optical disk, the system was a pio-
The Windows -based software interface neer in the use of virtual tracks.
vidual window "panes" interact with one
StudioTracks (Version 1.4) for the Digital other to provide track recording/playback Conclusions (Dyaxis ID: Dyaxis II is just
Studio sub -system has many added features, beginning to ship, but general consensus
controls, snapshot automations, multichan-
including 10-level Undo. By using the J.L. nel waveform editing, text -based editing and about demos (in Europe and the U.S.) indi-
Cooper CS-10, you can remote control hard- cate this system will be a major contender in
EDLs. The accompanying on- screen mixer

32 R E P May 1992
 DESKTOP PRODUCTION

the multitrack workstat ion market. The fact speaks our language. Our operators success-
that Dyaxis II's modular expansion architec- fully used it on the second day. It is a cutting
ture can configure as a single large system or room tool. For the price nothing can beat it."
several small ones should fortify sales. Optiflex) is the best. My tracks are so much Conclusions: Due to lack of availability in
Bottom Line: Dyaxis I starts at under $10,000. better and faster that they save money ev- the U.S. we were unable to reach any hands -
Circle (118) on Rapid Facts Card erywhere else in the process. It has great on conclusion. The lower- than -most entry
waveform displays. You don't have to scrub price for this system should attract potential
FILMDEO to find mistakes in the background."
Conclusions: The Windows -style editing
buyers for the relatively expensive audio for
film /video market.
SYSTEMS creates relatively quick learning curves. The Bottom Line: $50,000 for system with 3-
company's significant inroads in both the hour hard drive. MOD and four o /p's.
EDIFLEX SYSTEMS OPTIFLD( audio-for-film and t heme park markets places Circle (120) on Rapid Facts Card
the Optiflex within the "specialty" worksta-
tion universe.
Bottom line: $61.500 fora 4-channel ste-
reo system.
System Configuration: Optiflex offers the Circle (119) on Rapid Facts Card
flexibility of 35mm mag film with digital sound
quality. A Westrex control system provides
programmable motion and record /play con- ELECTRONIC DIGFTAL INNOVA-
trol of multiple machines, including mag- TIONS PTY., LTD.
netic film clobbers, projectors, multitrack
ATRs and VTRs. EDI-TRACKER
Optiflex uses proprietary hardware called
a Sound Engine that is based on the Motorola
68000 32 -bit processor with a 68450 DMA co-
processor with a 386 PC serving as the user
8
interface. The system provides linear PCM System Configuration: This Australian sys-
re- recording to a MOD and the Sound Engine tem is aimed at film editors and uses tradi-
system can record, playback and edit stereo tional film sound terminology and functions.
or mono. Windows -based editing for each Previously called Soundtracker, all EDI-
channel can be filed or stacked according to TRACKER recording and editing can be done
user application. on the same screen, although there are sepa- FAIRLIGHT ESP MFX2
The I/O system is completely separate from rate screens for each. Work is organized into
the processor section and uses 16-bit con-
verters with Apogee filters. Each MOD holds
jobs, subjects and reels with 99 editing tracks
per reel. As many as eight tracks may be
24 SRC
55 minutes of digital sound per side. Maxi- accessed at any instant and each cue on any
mum total recording time for the system is of these eight tracks can have automated System Configuration: The Fairlight MFX2
440 minutes. level and pan. There is an internal 8x2 mixer. is a digital 24 -track disk -based system using
For film sound systems, track-by -track off- The system auto-assembles from a CMX- hard and soft control function keys for mul-
set capability provides for sync adjustments type EDL, and a multi -user system allows up titrack editing. Recording and editing take
on the mix stage. Alternate tracks can be to four different operators with different place on the same screen and cues may be
loaded at will. Unlimited multiple takes can sync references to share a common resource edited across all tracks. The MFX2's inte-
be recorded on interchangeable media. The of disk drives and a sound library. Project grated video transport control and "Audio
system can read and conform to CMXI Ampex management can be organized by the off-line Freeze Frame" feature provide synchroniza-
EDLs. Ediflex's Audiflex and Opt iflex systems spotting system provided. tion of SFX to video and can play one audio
can be used together to provide multitrack Proprietary hardware and user interface frame at normal pitch down to zero speed.
record /playback. plus IBM 386 /30MHz PC with 2Mbytes RAM. Integrated sampling, cue list and music se-
Systems Upgrades: Expandable to 100. A 4- channel module can expand the entry quencing are available from Fairlight's Series
tracks. level, 4-channel system to eight channels. Ill package.
Ancillary markets: Theme park systems. The multi -user model supports up to six 4- A proprietary "Turbo SCSI" disk drive inter-
Strengths: Instant rollback and short pre- channel modules and four workstations. Each face can provide up to 16 continuous audio
roll maximizes time in the recording session. workstation features a pressure-sensitive tracks per single hard disk. And six
touch screen with plasma display, dedicated 1.200Mbyte hard disk drives may be con-
function keys, transport controls and two jog nected to create more than 20 track hours of
wheels for scrub, level, pan and cursor con- storage on -line. An optional MOD allows si-
trol. Synchronization is provided for LTC, multaneous stereo recording /playback and
VITC, wordclock, video reference, film chain instant sound archiving access. External
quadrature and pilot tone. VTRs can be scrubbed simultaneously with
System Upgrades: Dynamic equalization MFX audio. Replay channels can be extended
and mixing are planned. to 16 by 2- channel modules. RAM may be
Strengths: Although not a workstation for extended to 32Mbytes and 16 cues can be
all applications, the EDI- TRACKER is among replayed simultaneously. Synchronization
the slickest looking players in the audio-for- includes MTC and FTC.
film market. It does what it does well and can System Upgrades: The M FX's new EDL Pack-
perform in a multiworkstation environment. age was joint ly developed with software video
Weaknesses: E(1 functions aren't yet op- editing specialist Digiteyes (authors of
erative, and a color monitor is not supported. Shotlister) and can command the MFX2 to
On-Line Observations: "The touchscreen capture off -line video edit information.
matches traditional technology so I can im- Shotlister can then load EDLs from disk. sort
mediately see where I am." "We have to them into reels and then into chronological
compete with the world. In the Aussie film order. An EDL can then be loaded /conformed
Weaknesses: The only Optiflex problems industry we recover (gain profit) offshore, simultaneously through a series of edits and
uncovered in our research were non-specific plus TV is getting faster and harder than formatted into most on -line standards.
but conform- related. (Investigate this if you ever, and the EDI- TRACKER price allows us Ancillary markets: Music recording /edit-
are considering this system.) to remain competitive." "For picture /sync, it ing and sound design.
On -line Observations: "Editing (on the

May 1992 REP 33

 Strengths: For the audio-for -video/film post from both WaveFrame 1000 and WaveFrame
workplace the MFX can manage complex 400 to be integrated within one system.
SFX. The zoom -in, zoom-out interface seems The new system performs timefitting and
intuitive. Sync -to-video is strong and tern retains the directories of all hard drives the on-screen mixer now includes digital
Fairlight's experience in sonic excellence puts and off-line optical libraries. Built -in data- inserts. The 400 supports MODS, and soft-
base performs multiple keyword searches. ware functions, such as digital filters and
Disk to disk copies are 7x faster than real - screen redraw, now load much faster. Win-
time. As far as we know, the only system that dows 3.0 delivered system improvements,
can name a file while recording. memory limitations are history and macro-
Weaknesses: System is expensive consid- software reduced function command redun-
ering relatively limited DSP options are avail- dancies. WaveFrame software also works
able. Reel names as viewed in Windows can while other Windows applications are run-
only be five characters long. Only two chan- ning. Write-once CD capabilities allow users
nels can be recorded simultaneously. to master straight to a CD recorder. Machine
SoundNet is a costly option and will not allow control of the VTR is possible from alphanu-
two users to access the same disk at once. meric keyboard.
On-Line Observations: The system is very Ancillary markets: Music production, pre-
easy to use. Once you use it, you can't go production and editing, sound design, and
back to an analog system." "A great advan- CD pre -mastering.
tage is how clients understand the system Strengths: Allows manual punch -in capa-
interface, and can attend a session without bilities. System architecture allows routing
constant explanation." of digital audio from the sampler through
Conclusions: In ScreenSound, SSL has the mixer and to the disk recorder via digital
the system in the ball park. created a totally digital production system audio busing. The system now contains an
Weaknesses: Although the MFX is in 15 with a one -of -a-kind approach. Powerful on- screen mixer, offers more than 200 virtual
countries it has little North American pen- machine control and an easy-to-use interface tracks and generates time code (based on
etration. "Sound clip" location /organization disk recorder location is in a chain) so it can
is "managed" through dedication of certain serve as a master. The mixer and playlist are
tracks to certain SFX (i.e. track #2=various user -customizable as are assignable roving
small arms fire). Until recently the MFX was meters with a clip history. There is a built-in
incapable of tracking which clip is where database for music and SFX libraries.
without listening/viewing a track until the Weaknesses: System currently is limited to
desired sound rolls by. A text entry search - eight disk-based tracks and suffers from a
librarian is either finished or nearly com- long boot -time. The 1000 has optical media
plete. See this function yourself to be sure. support. Tighter integration between the
On -Line Observations: "Even first -time us- .. , .r sampler and disk recorder would improve
ers are effective with the MFX2. The learning performance. The disk recording software
incline isn't too steep." "We went with (MFX2) still lacks any waveform display (editorial
because we had already invested in the software has this). You still can't have MIDI
Fairlight CMI Series Ill, and wanted to pre- and disk-based events in an EDL and mixer
serve our investment. We have no regrets." automation is only available via MIDI.
"You rarely concern yourself with time code On -line Observations: "The software is
numbers to enter cue points. Its all done 1.1 becoming compatible across the entire prod-
visually on the screen." uct line. Now you can run editorial software
Conclusions: Historically, Fairlight worked has helped the ScreenSound achieve signifi-
the high ground of sampling technology. Few cant market penetration in post-production
sampling keyboards ever sounded better. and film environments.
Recently, Fairlight has struggled. But the Bottom line: $89,000 for a 3 -hour system.
heritage of those pioneer sampling machines Circle (122) on Rapid Facts Card
should combine with the high speed editing
and strong MFX2 user interface to invigorate
WAVEFRAME AUDIOFRAME

'¡
Fairlight's market penetration.
Bottom Line: $70,000 and up.
Circle (121) on Rapid Facts Card
C

SSL SCREENSOUND
System Configuration: Us' ng a mousecon-

8 r=
trolled 386/486 PC and outboard processing
SR(_ card rack, disks and I /Os, the original
L AudioFrame had five major "building blocks,"
including SoundProcessor (RAM -based re-
System Configuration: Sc reenSound is the corder, 16 to 48 tracks); EventProcessor
only system to interface via wireless pen and (triggerable EDL); StudioCAD (16x4x2 on- on the 1000 or mixer software on the 400. If
tablet. One of the first systems to offer ma- screen virtual mixer with EQ, reverb and you don't need a sampler, you can use a 400
chine control, ScreenSound employs an all - other DSP functions); DRM (disk -based re- instead of a 1000. Because you can save your
digital signal path plus static and dynamic cording/editing, with three to eight discrete mixes, you can always return to any previous
automation. Multiple units can be slaved to tracks depending on disk size and use of 16- state. I'll go back to the mixes from two or
one master for additional track capabilities. or24 -bit storage); and Texture (MIDI se- three days ago and it sets up everything in
System Upgrades: SSL has added a number quencer). Analog I/O was optional between the room, including DMP -7 mixer parameters
of enhancements, including autoconform soft- two to 32 channels of XLR inputs, and eight for the synths. Very precise recall."
ware with EDL import and support for MODS. to 32 discrete XLR outputs. Conclusions: The Series 1000 is now a
The system records up to 16 tracks, although System Upgrades: WaveFrame recently contender for any post -production or music
only eight can be played back at once. reconfigured and renamed its AudioFrame/ application. Lower-priced configurations
Strengths: The only system with disk -shar- CyberFrame systems. The AudioFrame is should increase AudioFrame user-base. The
ing capabilities and an automated SCSI now the WaveFrame 1000 (with 10 slots) and cardcagearchitecture will simplify upgrades.
patchbay that supports up to 16 devices. CyberFrame has become the WaveFrame 400 Bottom line: Series 400 systems start at
SoundNet provides central mass storage (with four spare slots). The highly modular $22,500.
available to a group of users. Operating sys- design allows Windows-compatible software Circle (123) on Rapid Facts Card

34 R E P May 1992
 The Compellor is the best way to The Compellor uses patented
even out levels from the same or dif- control circuitry to make its processing
ferent sources. This combination of "invisible" regardless of type of pro-
compressor, leveler and limiter, sounds gram. It's easy to set up. The Compellor
as if someone is riding faders extremely then self adjusts to the dynamics of the
-
well controlling level without any
impact on short term dynamics.
input, providing complete dynamics
control ... smooth, inaudible gain riding
Already in use in thousands of for consistent levels ... all automatically.
production, broadcast and installed Features of the Compellor Model 320
audio systems around the world, the include reference level switching from
Compellor is now even more attractive the rear panel; Leveling Speed switch -
to audio professionals. The Model 320 able from the front panel; Peak Limiter
Compellor features dual monaural cir- defeatable from the front panel; two
cuitry to provide you with two remote controllable bypass relays.
independent channels of the best To find out how the Compellor can
dynamics control available which can make any audio system better than
be linked two ways for stereo operation. ever and your life easier, call us today.

Aril -IEX
SYSTEMS 11068 Randall St -eet, Sun Valley, CA 91352, (818) 767-2929,
Aphex is proudly American ... 1 00Yî owned, engineered and manufactured in the U.S.A. © 1991 Aphex Systems
C+rcle (17) on Rapid Facts Card

NEW! Dual Mono Operation

 TRACKING
The AKAI DD1000 Version 2.0 By Alan Parsons

record and 4-track playback. AES /EBU in

and outs compatible with S/PDIF from
most DAT machines. Optical interface,
RS422, SCSI, Centronics port for printers,
two footswitch inputs and of course MIDI.
Edit cuts mode, with non -destructive
editing of up to 50 cuts for each take. Cuts
can be entered on the fly.
Playsheet mode, that allows instant
playback of up to nine takes or cuts by
pressing the buttons on a numbered key-
pad. No more than two takes can sound
at once.
Song mode, allowing takes /cuts to be
chained as on a sequencer.
Cue list mode, a series of takes /cuts,
fades and /or MIDI cues that interact with
other pages to allow a sequence of audio
events to be assembled.
External synchronization to
SMPTE /EBU time code, PAL /NTSC video
or digital word clock. The machine will
also sync to MIDI time code and start from
incoming MIDI clock.
Time display options in all four
SMPTE/EBU formats, feet /frames, sample
points or bars beats and clocks.
The Akai 001000 now features Timestretch and DAT backup of all data. The unit is 5U high, has a 6 -line backlit
LCD, several dedicated function buttons
and a rotating jog- wheel. An optional full -
In September 1990, Akai first released their flagship DD1000 optical
- -
function remote controller the DL1000
or the much less comprehensive and
disc recorder. Two significant software updates have been released
cheaper DL500, intended only as a remote
since. Engineer /producer Alan Parsons has been working with the playsheet controller, are now available.
system for a year. Here he updates us on the latest version. Front -end software is also available for the
Apple Mac.
Akai's first update, Version 1.3, allowed
seem rather proud of the fact
Akai ing from their broad base of owners (such SCSI connection to the DL1000 remote
that they listen to their users, and as myself). controller. Akai also specified a jumper
don't seem afraid to incorporate With stunning originality, the latest up- wire to be soldered internally on an inac-
outside suggestions into their prod- date is to be called Version 2.0, though the cessible board that entailed the laborious
ucts. Communicating with the Japanese version I have installed in the machine in process of taking all the XLR connecters
-
has never been easy they never let on
when they don't understand you. It's a
front of me as I write is a pre-release. off the back panel to get to it. Luckily, in-
serting updated software chips is a great
comforting thought that the development THE BASIC FACILITIES deal easier. The pair of software ICs is eas-
team for the DD1000 is U.K.-based and For those of you who are not yet famil- ily replaced in a couple of minutes after
speak real English! iar with the machine, here is a very brief removing the outer shell of the unit.
As well as getting a fair amount of use breakdown of its basic functions: Version 1.3. as well as ironing out a few
from two DD1000 units in different loca- 30 minutes of stereo 16-bit recording bugs, implemented quite a few new
tions, have been in regular touch with
I time at 44.1kHz on each side of a Sony features:
Akai to discuss updates and dare I say it. removable magneto-optical disk cartridge, Seamless recording across four disk
the occasional bug. They have packed a slightly larger than a CD case. 48kHz. drives, for longer recording times using ad-
wealth of new facilities into the machine 44.056kHz and 32kHz also available. 24- ditional DD1000 units or external disk
in the last year, many of the ideas emanat- bit internal processing. Each take on disk drives.
can be named. Various improvements to the Qlist
Alan Parsons is best -known for his work with The Beatles. Stereo balanced XLR inputs and two mode including auto Qlist creation after
Pink Floyd. Wings and his own Project. balanced stereo outputs allowing 2 -track record. This eliminates a rather cumber-

36 R E P May 1992
some process of having to compile a list ter recording say, take 1, the display shows
of instructions before anything can be take 2 as the next item to be recorded. The
heard on the Qlist page. machine is intelligent enough to know that
Improvements to edit cuts mode includ- if for example take 6 existed from an earli-
ing a spool function, that allows emulation er session, it would jump straight from
of a tape deck jog -wheel spooling across take 5 to take 7. Take titles do not have
the heads. to be "Takes" of course. "Alan 1" would
MIDI synchronization in song and increment to Alan 2 and so on. All takes,
playsheet modes, and improved graphics cuts, songs, Qlists, in fact anything, can be
and displays while playing back. renamed on the disk page.
The manual for version 1.3 consisted of I recently discovered a bug in the rec-
a number of update pages to be inserted ord mode. If the time display is set to bars
in the supplied loose leaf binder included beats and clocks on main setup, and MIDI
with version 1.0. The result was unfor- time code is the record time log source.
tunately a complete shambles of repeat- recording on the DD1000 is impossible.
ed pages and incorrect cross references
pity. Only with this latest update did re-
I
- Furthermore, Qlists cannot be played with
these settings from any page. The same
ceive a complete corrected version of the problem occurs when time display is
1.3 manual. Now of course, I need a Ver- SMPTE 29.97 ND, SMPTE 30. SMPTE 30
-
sion 2.0 manual picky picky! Thankful-
ly, the 69 -page update documentation is
drop and sample points. However, time
displays of EBU, SMPTE 24, and
well written, but it will be tough for new feet /frames seem to be fine with MIDI
owners having to refer constantly to both time code start.
documents. With luck the complete 2.0
manual will be ready soon. (An aside here
There is a new time code option
29.97 non -drop. If may quote from the
-
- manufacturers should ensure that their
distributors are supplied with as many cop-
I

manual, "This is for NTSC users who wish

to use a non -drop 30fps style time code
entries is no longer a "repeater :' Before
this update it was too easy to erase a
ies of update documentation as there are for contiguous frame reference but whose whole bunch of cues without a moment
units sold to them. We live in a 'soft' age.) time code is synchronized to NTSC:' Who for thought. A prompt now checks with
am I to question the utter indispensabili- us to make sure that we really want to de-
THE LATEST UPDATE ty of such a feature, as a mere mortal liv- lete each separate cue.
Onward to the new capabilities of Ver- ing in the United Kingdom, world of 25 Playback of takes in disk mode is now
sion 2 0.1 will also be referring to updates frames and PAL' possible, which means that we can hear
implemented on version 1.3, but won't In version 1.0 it was not an easy matter a take before deleting it, for example.
bother to draw attention to when each up- to compile a Qlist from a newly recorded Another new facility since version 1.0
date actually occurred. take. This meant that a lot of button push- is the activation of RS422 9 -pin connec-
By pressing a soft key marked INIT, ing had to take place before a playback tions for video and audio visual applica-
blank templates can now be called up for of a take could be referenced to external tions. A VTR equipped with RS422 can be
Qlists, songs, and playsheets, so that a new time code or MIDI. By switching the new played, rewound, jogged and shuttled from
page of settings can be started from function 'Qlist after recording' from its de- the Akai, and times can be 'grabbed' for
scratch. Until now, it was necessary to fault of none, (changed since V1.3 in re- spotting effects and lip- syncing. Recently,
copy an existing file, modify each item one sponse to users' requests), to 'create new Fostex audio machines have introduced
by one and then save it. Qlist, a cue list is made with the last take RS422 control, which could mean some
There is also a new facility to save sever- placed in the correct time position rela- interesting applications. Note that RS422
al main setup files, therefore your differ- tive to the external source, if any. The Qlist and MIDI cannot be used at the same time.
ent 'projects' (good word that) can have name defaults to the take name. Two oth- Finally, every cue in a Qlist can now be
their unique synchronization, digital sam- er 'Qlist after recording' options, namely routed to one or both outputs.
pling rates and display parameters saved 'add to Qlist and sort' and 'add to end of
onto disk. Qlist' can also be selected. The former will TIMESTRETCH
One complaint in the original version place the recording in the correct time po- There was a time when the very con-
was that entering numerical data was a sition, and the latter will place it at the end cept of being able to alter the length of
bit fiddly. A new function displays times of the Qlist regardless of its time position. a recording without affecting its pitch
with an underline cursor (as opposed to Edit cuts mode has a useful new audi- seemed an impossible dream. Even Hal
a highlight), that can be moved around a tioning function which lets us hear the being slowly deactivated and grinding to
numerical field, and entries can be easily take up to the start of a cut. Experienced a halt in perfect tune as he sang "Daisy
modified with the + and - keys. users will also note that the start mark, Daisy" in Kurnick's 2001:A Space Odyssey
Many users found that there was a dan- end mark, and general purpose mark keys back in the '60s failed to bring us a realis-
ger of inadvertently erasing a valuable now only move the cursor without past- tic commercial product resulting from the
take on the record page, because the most ing in the last time reference, when the clever but primitive rotating head tech-
recent recorded take remained armed for virtual "tape" is stationary. niques that were used for the film. Now
re- recording. A new option on the record Another change that will be appreciat- in the age of digital processing and real
screen called auto take name incremen- ed by experienced users is the fact that time pitch shifting comes another digital
tation prevents this from happening. Af- the delete soft key for Qlist cues and song miracle in the form of Timestretch.

AN UPDATE May 1992 R E P 37

 For a number of years. studios have had a rough approximation of the effect that al I have ever seen. No sooner has the re-
the ability to timestretch (after a fashion) will be produced in real time, and a 'com- cording been finished, a Qlist can be creat-
with existing equipment . All they needed mit' algorithm of higher quality which ed automatically to play the cuts in order
takes slightly longer than real time. An ad- and we can hear our edited version.
vantage of having plenty of storage is that
several versions with different settings can
Broadcasters are going to love this
agine removing coughs and page turning
- im-

be committed for comparison. during a performance! Of course on the

Broadcasters are going
We are given the choice of adjusting the fly edits can be a bit hit and miss at the
to love this ... amount of Timestretch with either a fixed best of times, and you have to have your
new start time, or a fixed new end time. wits about you to get a series of them right
The timestretched length is displayed in one pass, but they are easily trimmed
along with the start and end times of both up afterward using the normal edit cuts
to do was slow down or speed up the tape the old and new versions, so it is very easy page facilities. Up to 50 cuts are possible
so that it ran for the required time, usual- to adjust for the required amount of time for each take.
-
Think of it this way Supposing I rec-
ord someone counting from one to ten. As
he is counting with the DD1000 in record,
I could press the start mark key after "one"
and end mark after "two:' (Cut 1). I then
press the start mark after "three" and the
end mark after "four," (Cut 2). In a similar
manner I could mark the start and end of
each alternate number until the final "ten"
making a total of five cuts. I stop record-
ing and with auto QList set to on, I press
play and out comes "two, four, six, eight,
ten" - utterly brilliant.

... imagine removing

coughs and page
turning during
performance! ...

Occasional clicks were heard on butt

joints. I tried to cure these with the cross -
Alan Parsons frone a different angle, at home, at work. fade facilities, but didn't have any luck.
Akai are aware of the problem, and will
presumably be addressing it. Akai prom-
ly by trial and error, and then use a Har- change. A unique facility not found on oth- ise that a similar facility will be imple-
monizer or similar box to restore the origi- er devices is the possibility to alter the mented soon for the edit cuts mode, so
nal pitch. Of course, they probably had to timestretch factor and hear the result as that we can do the same with material al-
put up with the inherent problems exhibit- the take plays. A new take name is as- ready recorded.
ed by all pitch shifters. signed for the timestretched version, and
Although not the first with the tech- the commit soft key starts the process. SEQUENCE MODE IN PLAYSHEET
nique, Akai have experience with 'prop- Timestretch can be applied to Qlists, Again, for those unfamiliar with the
er' timestretching on their S900 /1000 Se- songs and playsheets. If bars beats clocks DD1000, the normal mode of Playsheet
ries MIDI samplers. With the DD1000's is selected as the time display, stretch fac- gives us instant play of nine different
much greater storage capability, howev- tors can be calculated according to tem- takes /cuts from the numerical keypad "on
er, we can get into some serious time po. Remix engineers will find this useful the buttons" as it were. Broadcasters use
warps. Rather like regular pitch shifting, for matching tempos between two or this as the equivalent of nine 'cart' ma-
perfection is 'hard to achieve; but provid- more sources. chines. The 0 key calls up the next
ed the amount of Timestretch or playsheet in a compiled list. The new Se-
"Timeshrink" (my word, not Akai's) is not EDITING DURING RECORD quence mode is a real winner. It is acti-
too great, very acceptable results can be Believe it or not, this means exactly vated on the setup page in playsheet
obtained. what it says. While the recording to disk mode. Assuming the playsheet has a num-
There are 18 different preset modes for is actually in progress, pressing the end ber of takes/cuts assigned to the buttons,
the timestretch function, each named ac- mark key at appropriate moments will cre- we can make a series of keypresses
cording to its suitability for a particular ap- ate 'block edits' through the take. Each representing a "running order" of differ-
plication; e.g. speech, dance, perc, rock, time this key is pressed, the display moves ent takes as a playback sequence. As soon
etc. Each mode has three variations giv- on to the next cut number. For example as the first one has finished, the next one
ing a total of 54 different settings. Cut 2 is automatically butted up to Cut 1 starts, until the end of the programmed se-
Timestretch involves a copying process, and Cut 3 to Cut 2 and so on, unless a new quence has been reached. The duration
leaving the original intact. There is a real start time for the cut is specified by press- of a sequence can range anywhere from
time 'check' algorithm that allows us to ing the start mark key. This means the a few seconds to several hours if long takes
verify the new length, which lets us hear most rapid removal of unwanted materi- are repeated. Items can be added at any

38 REP May 1992

time during playback without interrupting contained unit requiring a bare minimum which case the SMPTE bit clock is faith-
the sequence. of setup. In spite of quite a bit of forward fully followed and works just fine, but
I found that for sequencing an album, selling by manufacturers and distributors SMPTE is usually not available at the ear-
the gaps between songs sometimes might of Mac- and PC -based hard disk recorders ly stages of a MIDI -based production. Dig-
not be long enough. Then I had the idea and editing software, I am still convinced ital tape formats, and analog systems
to record a take of digital silence which that I made the right decision for my own locked to a stable SMPTE/EBU time code,
I trimmed to last exactly 1 second, and as- purposes. As well as using the unit exten- should not give any problems driving the
signed this take, which I called "gap,' to sively in the studio as a mixing medium DD1000 via MIDI.
a key on the playsheet. Presto -
for a 3-
second space between songs all I had to
with rapid access to different songs and
for re- structuring demos, I have been us-
I do not advise syncing sequencers or

drum machines to the Akai with MIDI

do was press the gap key three times; for ing it for the recording of technical and clock. MIDI time code works much bet-
five seconds, five times and so on. It's a musical material for a forthcoming test LP ter. Different manufacturers have different
far cry from my days as a second engineer for CD and DCC. algorithms to calculate a song pointer at
when a sequencing session meant stick- Since the end of 1990, I have had a unit a particular tempo, so the DD1000 might
ing in little bits of leader tape until the in daily use as an effects source for a stage locate to a slightly different point than the
spaces between songs sounded right. show in Vienna called Freudiana in which sequencer when started in mid -sequence.
I am involved. Of course the March AES

SAVING DATA TO DAT in Vienna was a perfect opportunity for DIRTY BUGS
It was always possible to back up audio you all to go and see the show (plug plug) A few weeks ago I had a couple of an-
from the DD1000 via the digital outputs, and see and hear the DD1000 in use. All noying drop-out problems when I was
but now a welcome archiving facility for effects and pre- recorded music loops are playing back old material. I delved into the
al! the data has been added. Although the keyed from playsheets that are called up manual to look for a trouble shooting sec-
manual states the intention is for DAT ar- by MIDI program changes sent from tion. I found a paragraph about disk care
chiving, there is no reason why backups 'scene' commands on the theater's main that read, "Read /write errors may result
should not be made to 1610/1630 or any console. A MIDI note sent from the unit from stains or marks on the surface of the
other format supporting the AES/EBU dig- within a cue fires up a laser machine for optical disk:' Following the instructions,
ital interface. the finale. for the first time I carefully opened the
I have found its MIDI capabilities use- disk shutter to look at the disk inside
Yuk!! I had got into the bad habit of leav-
-
ful, but not without problems. One is a bug
that prevents incremental changes in BPM ing the optical disk in the drive overnight.
settings having any effect on the MIDI In fact there was a disk inside for about
... of course on the fly song position until a round number of three weeks at Christmas. This disk was
BPM has been reached. In other words thick with a grimy layer of dust. The disk
edits can be a bit hit 123.0BPM gives the same song position shutter is open inside the machine, and
and miss at the best of figures as 123.9BPM. being stationary for any extended period,
Although the DD1000 recognizes MIDI it is more susceptible to dirt accumulation.
times ... clock and song position pointers from se- The story has a happy ending - I have
had no further error problems since care-
quencers, it does not actually chase MIDI
clock. It senses its presence, but once start- fully cleaning my disks as the manual in-
ed will not respond to any tempo changes structed, but the moral of the tale is 'disks
We are given the choice of archiving the or variation in the clock rate. This means don't like dust: so always replace them in
"whole disk" (meaning one side of the that syncing to analog tape with a SMPTE their plastic cases after each use. It's also
disk, not both sides), "all takes:' "all songs :' to MIDI box will cause a sync drift, be- a good practice to clean the optical drive
"all Qlists" or "all playsheets.' Other archiv- cause no analog tape transport running lens with a special Sony MOA -L55 clean
ing possibilities also exist, such as Qlists wild is stable enough to perfectly repro- ing cartridge from time to time. I think
or songs with takes, or just single takes on duce a recorded item without causing it Akai should supply one with the machine.
their own. to drift slightly from its original duration. If you are going to be getting a lot of
Takes are sent to the AES /EBU outputs use from the DD1000, you may want to
as regular digital audio, and can be moni- think about forking out the extra amount
tored during the archiving process for the DL1000 remote controller. Unless
through the analog outputs, but all other the main unit is at eye level, it can be pret-
data, e.g. edit and setup information, is
... and you have to ty tiring working with it for long periods
also sent to the analog outputs. It is ex- have your wits about of time. The Macintosh front end is yet an-
tremely nasty- sounding, and could easily other option, of course.
damage speakers (and ears) if inadvertent- you to get a series of I'm pleased with the way the DD1000
ly played too loud. It can be distinctly them right in one pass. sounds, and I still feel that there is a
heard as a series of three bursts of data. tremendous amount of power packed into
(Each byte in a file is sent three times, and the comparatively small space that it oc-
the file itself is also sent three times, giv-
ing a nine -fold redundancy of data.) The The same problem occurs with MIDI
cupies - even more so now that it sports
these new facilities. Some of Akai's 'tricks'
audio itself is only output once. time code - once the DD1000 has located
the take or cue to the received time ref-
can't be matched by other machines at
There are three data rates available for any price. It will not be long I'm sure, be-
archiving that coincide with the availa- erence, it plays at exactly the original re- fore some of the other Japanese majors
ble sampling rates of 48kHz, 44.1kHz, corded speed and is not tracked by the in- will be hot on the trail with their own
44.056kHz and 32kHz. Recordings made coming MIDI time code. I have drawn recorders using the removable optical disk
at 44.1kHz and archived at 48kHz there- these difficulties to Akai's attention. Un- concept, if they aren't already doing it by
fore take a little less than real time to be fortunately, the ability to chase MIDI clock the time you read this!
backed up. As would be expected, a com- and MIDI time code would necessitate
prehensive set of restore functions gets the hardware that the DDI000 does not have
data from tape back into the DD1000. available. Their recommendation for sync-
One of the reasons I bought the DD1000 ing to analog tape is to use SMPTE /EBU
in the first place was that it was a self- time code to run the whole system, in

May 1992 R E P :39

 Part Two: Avoiding RFI In Multi- Channel
Wireless Microphone Systems.

SECRET
KNOWLEDGE
OF THE ETHER

By Bruce Jones
nais that would sum together to pro- these frequencies.
duce 185MHz. Mathematically, at least For instance, a receiver at 193MHz is
one of the signals must be at least only 2.7MHz away from 195.7MHz and
In last month's Secret Knowl- 92.5MHz from the receiver's operating only 8MHz away from 185Mz. A stan-
frequency (half the carrier frequency), dard front-end may have only a few
edge of the Ether, Part One, we which is easy for even standard front - decibels of rejection for signals this
addressed the various sources end filtering to reject. close in, and the signals will pass
of radio frequency interfer- Second order IM can be more of a through the front -end to the mixer
ence (RFI) in wireless micro- problem if you have two transmitters stage, which will generate a 10.7MHz
phone setups. Multiple order that are separated in frequency by the signal from these signals. Note again
IF frequency of the receivers (com- that it makes no difference what the
intermodulation and spurious monly 10.7MHz). For instance, if you receiver frequency is. As long as it is
emissions were discussed. In have transmitters at 185MHz and close to, or between 185MHz and
this month's article, we will 195.7MHz, the difference is 10.7MHz. 195.7MHz, it will have a problem with
cover RFI interaction in sys- This difference in signal may interfere these two transmitters.
tems, and suggest numerous with any receiver with a 10.7MHz IF Obviously, you don't want to have
operating within 5MHz to 10MHz of transmitters spaced at the IF frequency
means and techniques for iso-
lating, identifying and solving
wireless microphone RF prob-
lems. We'll pick up where we Second Order
Transmitter 183
left off- discussing the perfor- Intermodulation
mance of systems.
RR IN SYSTEMS (RECEIVER/TRANSMIT-
TER COMBINATIONS)
Second order IM is generally easy for
a receiver to reject because the sig-
nals required to generate a problem
must be far from the operating fre- Receiver 185
Receiver 183
quency of a receiver and can be easily
rejected by the front -end filters. Re-
member that the frequency of a sec- 172.3
00
ond order IM signal is produced by the
simple sum or difference of the fre-
quencies of two other signals. For in-
L.O. O0 0 loi
stance, to generate an interfering sig-
nal at 185MHz would require two sig-
nals either 185MHz apart or two sig-

Bruce Jones is vice-president of marketing for Lectrosonics, Audio Out Distorted Audio Out
a manufacturer and supplier of high-duality wireless sys-
tems.

t0 REP May1992
of any receiver. Receivers with a highly 172.300 = 10.7 MHz). The problem is the receivers, hooked up exactly as
selective front -end and high level mix- that both receivers will respond to the they will be used, and turn on the
ers will help prevent this problem. same transmitter, even though they transmitters one at a time. The trans-
Again, proper frequency coordination are on different frequencies. mitters should be about 10 feet away
will alleviate this problem. from the receiver antennas. The match-
A subtle problem that can also occur There are thousands of ing receiver will unsquelch (RF lamp
comes on) of course, but watch for
in any multi -channel wireless system,
no matter what operating frequencies
calculations that must other receivers also unsquelching. If
are chosen, is similar to receiver be made in order to se- one or more other receivers unsquelch,
crosstalk, as discussed earlier. Let's turn off the receiver that matches the
assume that two wireless systems are lect a group of frequen- transmitter. If the other receivers then
operating at 183MHz and 185MHz (you cies that are usable for squelch properly when the matching
receiver is turned off, you have this
can choose any pair of frequencies as
long as they are within 10MHz or so of any particular location specific interference problem.
each other). Now assume that both For a solution, you can try moving
receivers have IF frequencies of The reverse can also occur: receiver the transmitter farther away. At the
10.7MHz (the most commonly used). 185's local oscillator will be at actual operating distances this prob-
We'll designate the two parts of these 174.300MHz and can combine with lem may disappear. If it remains a prob-
systems as 183 and 185 to keep them transmitter 185's carrier to produce a lem at 30 feet or more, you may need to
straight. The basic problem is illus- 10.7MHz IF signal in receiver 183. In a make major shifts in system frequen-
trated on page 40. well- designed receiver, the local oscil- cies. Small shifts will not solve this
Receiver 183 has a local oscillator lator leakage will be small and this problem, because the interfering sig-
(LO) frequency of 172.3MHz (183 -172.3 problem will only show up when the nals are already 10.7MHz or more
= 10.7MHz). If this local oscillator leaks corresponding transmitter signal is apart. If one receiver and matching
into receiver 185, there would appear strong. If the receiver has a high selec- transmitter cause all the problems, it
to be no problem since any competent tivity front-end, this problem will be is probably excessive local oscillator
receiver can reject a signal 12.7MHz further reduced. Because the two in- radiation from that receiver. You can
off of the 185MHz frequency. But, a terfering signals are spaced apart by simply try replacing it with a different
problem appears anyway when trans- the IF frequency (10.7MHz in this ex- receiver and transmitter.
mitter 183 is also on. Transmitter 183's ample), at least one of the signals will Some ways to reduce this problem
carrier and receiver 183's local oscilla- be attenuated by a high selectivity are: Use antenna combiners that iso-
tor combine in receiver 185's mixer to front-end. late the receiver antennas from each
produce a 10.7MHz signal (183.000 - To test for this problem, turn on all other; use receivers with low local

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"1 44 PROGRAM LIMITER ttst 61,1:1;
e4, 46,
49 9 HR
O óE
FORMAT
¡_ HORIZONTAL
OR VERTICAL
RACK
MOUNT

The FPL 44 Quad Program Limiter makes a difference you can't hear. Its four independent
ServoLock limiters effectively guard against system overload, speaker damage and annoying feedback.
ée
-
Yet its program - dependent ratio assures just the right amount of gain reduction at each instant
no more, no less -so that you won't hear it working.
As if that weren't enough, the FPL 44 also includes a unique
AutoSlave feature, which ties selected channels together so that they
0,
all respond identically to the limiting requirements of any one channel.
Which preserves the tonal balance and stereo imaging ofmulti -way speaker
systems. All this squeezed into a compact HR format.
Wow...
RANE CORPORATION 10802 - 47th Ave. W., Mukilteo, WA 98275. (206) 355 -6000

Circle (18) on Rapid Facts Card

May 1992 REP 41

 oscillator dict all the combinations that could able. In most cases, these programs are
radiation; occur in any one geographic area. The not available as "public domain" soft-
use receiv- best advice is to use only receivers ware because the parameters that make
ers with offering very high IM suppression and them valid change as the wireless sys-
highly se- very high selectivity. A frequency co- tems are re- designed. There are thou-
lective ordination program is a must for any sands of calculations that must be made
front -ends; medium to large multi -channel system in order to select a group of frequen-
or separate of six to 24 channels. cies that are usable for any particular
the receiv- location. This is why computers must
ers by sev- SOLUTIONS TO RFl PROBLEMS be used. There is no way you could do
eral feet or Because most multi -channel wireless all the calculations necessary by hand
more. mic systems utilize inactive television on a timely basis.
A basic channels, the geographic location must Always contact someone with expe-
problem be determined at the outset. Televi- rience with this process and work out
that often sion stations in the vicinity must be a frequency coordination scheme be-
occurs in taken into account first, followed by at fore you agree to provide a large multi-
multi -channel wireless systems is a least several "runs" of a computer channel wireless system for your cli-
matter of third order combining of the program to determine what sort of IM ent, especially in traveling situations.
carriers. To illustrate this problem, problems might occur within a par- It is always best to implement a multi-
assume that you have wireless sys- ticular group of possible frequencies. channel wireless system using only
tems on 183, 184, and 185MHz. The RF The better computer programs include identical systems from the same manu-
facturer on coordinated frequencies.
Every wireless manufacturer has taken
Third Order Intermodulation their own path in designing wireless
systems. There are numerous choices

-
184 MHz Any
-00' 184
made by the design engineer to deter-
mine the oscillator fundamental fre-
Non -Linear quencies, the multipliers to be used
-111" 185

-
Device and the IF frequencies in any particu-
185 MHz
(184x2) -110. (368 -185) lar design. Trying to mix different
Many other combinations
brands and models in a multi -channel
such as 186, 553, 554, etc .
system is just asking for problems.
Putting three or four channels into a
church in Buford's Point, Idaho is one
front -ends of the receivers will pro- automatic selection and testing of fre- thing. Trying to place 10 or more chan-
vide only a small amount of attenua- quencies within available bands, fol- nels on the road, touring major cities
tion because there is only a 2MHz lowed by a report of the results. In in the United States, is an entirely dif-
spread between the frequencies most cases, choices have to be made ferent matter.
(1.2 %). High quality receivers can eas- between the frequency groupings with
ily separate the frequencies in the IF the fewest overall IM problems, and TESTING FOR COMPATIBILITY
filter section. Assume that the signal the practicality of delivering what is Because we arc living in the "real
from transmitter 184 produces a 2nd available on time, given the particular world," you rarely enjoy the luxury of
harmonic (2x 184MHz) in the mixer sound system application. purchasing or renting a new collection
stage of receiver 183. The signal from of wireless mic systems each time you
transmitter 185 (which also gets into By conducting a "sur- must implement a multi -channel wire-
receiver 183) is subtracted from it and less system. It would be nice to go
the resulting signal is just as valid as vey" of several manufac- through all the steps and check out
the signal from the 183 transmitter. procedures previously mentioned for
Obviously, you can prevent this prob- turers, you should be each job, but the real world just isn't
lem by changing any one of the three
frequencies. In a large multi -channel
able to tell which ones that friendly. So, the following proce-
really understand the dure is useful in determining the basic
wireless installation, things aren't compatibility of a multi-channel wire-
quite so easy to fix, because the pos- common problems of less system.
sible combinations become mind bog- Checking for receiver interaction:
gling. In a 24- channel system there are multi -channel wireless Turn on all receivers and place them in
552 third order intermodulation prod-
ucts. Changing one frequency to get systems and can offer the same relative position they will be
in the actual production. Leave the
rid of one interference problem can
create five new ones.
solutions. transmitters off. Check to see if any of
the squelch indicators (usually labeled
If you also include the case of three Even if you have some sort of com- "RF ") on any of the receivers opens up.
transmitters getting into a receiver, puter program to do the calculations, If any receiver squelch opens, turn off
the calculations become even more there are still a number of choices and the other receivers one at a time to
tedious and a computer program be- a few "judgment calls" that will need locate the receiver generating the RFI
comes absolutely necessary. To make to be made. In addition, the particular signal. By repositioning the offending
matters even more unpredictable, the filtering performance of each system receiver, you may be able to alleviate
wireless system carriers can also mix must be taken into account. the RR problem which, in this case,
with signals from external sources, or Any wireless mic manufacturer who could be the result of LO crosstalk.
the external signals alone can mix to is truly involved with high -end wire- If repositioning the receivers does
generate the same sort of IM prob- less systems will have a computerized not change the problem, you may have
lems. It is virtually impossible to pre- frequency coordination program avail- an external RF signal mixing with one

12 R E P May 1992
of the receiver oscillators. In this case, WHERE TO AND HELP as good as
turn on the transmitter for the receiver Manufacturers are generally your 60dB of re-
that the squelch opens on, and see if best source of assistance in choosing jection at a
the audio sounds OK. If the external and operating multi-channel wireless bandwidth
signal is fairly weak, the transmitter systems. It is a good idea to be slightly of 90kHz if
signal will bury it and the system will skeptical of any wireless manufacturer crystal IF fil-
still operate OK. However, note that a making overly big claims about how ters are be-
strong external signal can create noise many channels their systems allow, or ing used. If
even when the receiver's own trans- how easily multi-channel systems can multiple ce-
mitter is on. be put together. It will be informative ramic filters
Checking for transmitter spurs and if you contact a few different manufac- are used, the
second order IM: Turn on all of the turers and ask them questions such as selectivity
receivers. Then, turn on the transmit- these: won't be as
ters one at a time. As each transmitter good, but it
is turned on, its corresponding receiver 1) Flow many wireless systems can is still re-
will unsquelch (the RF lamp comes you reliably operate in a single loca- spectable to
on). Look to see if any other receivers tion? provide 600kHz bandwidth for 60dB
also unsquelch at the same time. If one down points.
or more others does come on, turn off Good answer: Seven or eight per TV Poor answer #1: "Huh ?"
the receiver that matches the trans- channel. They should ask what other Poor answer #2: "Our IF selectivity is
mitter and see if the other receivers systems you have, where the system 12dB at bandwidth of 600kHz."
remain unsquelched. If the squelch will be, geographically, or what TV Poor answer #3: "We use helical fil-
remains open, then you probably have channels are in use in the area. ters." (A helical filter is not a helical
a transmitter spur getting into the other Poor answer #1: "We make 12 fre- resonator.)
receivers. If they squelch and shut quencies and you can use all of them Poor answer #4: "Our engineer will
down normally when the matching together." be back Monday."
receiver is turned off, you may have a Poor answer #2: "Wireless systems Poor answer #5: "Our front end band-
second order IM problem as was dis- are like light bulbs. You just turn 'em width is 10MHz for 3dB down."
cussed in the earlier section entitled on." Poor answer #6: "You don't have to
"RFI in Systems." Refer back to that Poor answer #3: "Our system is a worry about that with our wireless."
section for more information on this great value for the money." Poor answer #7: "A diversity receiver
type of RFI problem. doesn't have that problem."
Checking for third order IM: Turn 2) What do your systems offer to
on all receivers and all transmitters. prevent interference? 4) How do you approach frequency
Place the transmitters as close in dis- coordination? Do you use a computer
tance to the receiver antennas as they Good answer: A discussion of front- program?
will be during the actual production. end and IF selectivity, advantages of
One at a time, turn the transmitters off, helical resonators, advantages of crys- Good answer: A computer program
ano then back on again. Do this at least tal filters or saw filters, advantages of is used for each multiple channel wire-
five or six times for each transmitter as multiple ceramic filters, etc. This less system sold. It lists problems in
you move around. Moving around with should be placed on a level you under- order of severity and checks for trans-
the transmitters as you turn them off stand, not just buzz words designed to mitter spurs, intermod, IF spacing, fre-
and on will ensure that you don't have snow you. It's a good sign if they offer quency spacing, etc. In addition, a print-
one located in a "null" where the RF to send you literature that explains out of all tests and checks that were
signal is very weak at a receiver where the design philosophy of the wireless run should be available to the dealer
you would normally have a problem. system in more detail. The literature and /or the purchaser.
Check to see if the corresponding re- should explain the problems and the Poor answer #1: "It's not necessary.
ceiver squelches (no RF lamp) as its design solutions, rather than just con- Wireless systems are just like light
transmitter is turned off. If it doesn't sist of pretty pictures. bulbs. You just plug 'em in and turn
squelch, you will need to determine Poor answer #1: "There's no interfer- 'em on."
which combinations of transmitters ence in the TV channels, VHF band, Poor answer #2: "It's not necessary
creates the RFI signal. UHF Band, etc." with diversity systems."
Through what can sometimes be a Poor answer #2: "I don't speak no Poor answer #3: "Our Cray is down
rather lengthy "process of elimination," technicalese!" until Wednesday, but it's OK. We never
you can narrow down the problem and Poor answer #3: "Our engineer will have problems with that."
identify which particular combination be back Friday." Poor answer #4: "Just space the fre-
of transmitters generates the offend- Poor answer #4: "We never have in- quencies far enough apart and it'll be
ing IM signal. The solution to this type terference." cool."
of IM problem often involves changing Poor answer #5: "Our engineer got
frequencies of one or more of the sys- 3) What sort of selectivity do your his thumb caught in the abacus and he
tems. Sometimes, moving the receiver receivers offer? won't be back 'til Saturday."
antennas farther away from the trans-
mitters can reduce the IM problem. Good answer: The front end should 5) What happens if I have RFI prob-
Final system check out: Turn ev- have a selectivity of at least 60dB of lems?
erything on. Listen to the output of rejection at a bandwidth of 12MHz;
each system one at a time. The idea in 60dB at a bandwidth of 8MHz would be Good answer: The manufacturer or
this step is to check for bad connec- even better. A high selectivity front - their dealer will work with you to re-
tions, transmitter gain adjustments and end reduces adjacent channel TV in- solve the problem. If the problem is
receiver output levels. terference and reduces other IM prob- due to interaction between the vari-
lems also. The IF selectivity could be Continued on page 45

May 1992 R E P 43
 idz.vz Doziza
nance, still hold court today for even see "Collected Papers in Acoustics" by
Reverberation, the most rudimentary of listening W.C. Sabine, published by Harvard
rooms and it's good to know a bit University Press, Cambridge, MA.)
Reflections about them. Let's take a look at what Employed as a consultant for the new
we know about the art and science of Boston Symphony Hall (opened in
and Resonance acoustics and see how it can apply to 1900), Sabine was able to influence the
gaining an understanding of some of construction of the facility to such an
By David Scheirman today's new buildings that are designed extent that the hall is still world-fa-
for the presentation of live music. mous for its acoustics. To this day, we
use the term sabin' for measuring
`

HISTORY sound absorption coefficients of dif-

Prior to the development of sound The intentional design of acoustics ferent building materials.
reinforcement systems, the major con- for concert halls is not a new craft. Another great name in acoustics is
cern in designing buildings for live Some of the world's best -sounding Leo Beranek, coincidentally, also based
musical programs was architectural. concert halls are 'old-world' rooms in in Cambridge. In the mid -'90s, Beranek
Before audio, a building designer was Europe, built more than two centuries became known as one of the outstand-
concerned with two things: the proper ago. Venues such as the Berlin Philhar- ing experts on the design of music
reverberation time that could be built monic, the Concertgebouw in halls around the world. (See Beranek's
into a facility to 'support' the natural Amsterdam and the Stadt- Casino in classic book, "Music, Acoustics and
sound of symphonic orchestras and Basel, Switzerland, are among the best, Architecture," published by
operas, and the correct geometric re- built after a classical tradition first Macmillan, NY.)
lationship of walls, ceilings and seat- pioneered in western Europe nearly Beranek was the acoustical consult-
ing areas to provide the most artistic 250 years ago. The Grosser ant for Philharmonic Hall (Lincoln Cen-
listening effects for music, while pre- Musivereinsaal, Vienna, is considered ter, NY). Unfortunate design changes
serving speech intelligibility -all with- by many to be the best concert hall in in the building (more seats than
out the use of a sound system. the world. If there is a common prob- Beranek's design called for, and the
Once sound reproduction systems lem, however, with any such facilities, use of budget- saving concrete 'clouds'
began to become popular and effec-
tive for use in buildings of all types
movie houses, concert halls, public
- it might be said that they are 'too
small.' In other words, to achieve the
'right' natural acoustics, it takes a lim-
in the ceiling) caused a fiasco: Opened
in 1962, the Philharmonic's sound was
panned by critics and musicians alike.
arts centers -
auditoriums, houses of worship and iting of the room size. This obviously
a trend developed limits the amount of seating space,
wherein many sound system design- typically to about 1,000 -1,200 people.
It was eventually gutted, renovated
and re- opened as Avery Fisher Hall.
Modern, recently built concert halls
ers assumed that most sound 'prob- Building designers have always had to such as the Eugene McDermott Hall at
lems' would be solved with audio engi- wrestle with this dilemma: how to best Myerson Symphony Center (Dallas);
neering alone. By the '50s and '60s, it present the live show on stage visually Evangeline Atwood Hall (Anchorage,
was assumed by some that with enough and acoustically, without making the AK); and Segistron Hall (Orange
of the right type of electronic gear and enclosed room space so large that the County, CA), each hardly five years
speaker systems, placed in the proper sound suffers? old, make use of classical building de-
locations, the sound perceived by the A pioneer in the relatively new scien- sign considerations and the most ad-
audience would be better than ever. tific approach to acoustics was Wallace vanced computer -modeling tech-
A variety of new building projects Sabine. In 1889, the Harvard Univer- niques and electronic architecture
and refurbishments have been com- sity physics professor undertook a technologies to help ensure that a re-
pleted in the U.S., circa 1970-1990, fea- survey of lecture halls on campus. He peat of New York's Philharmonic fi-
turing nearly every conceivable com- found that 'good' acoustics were en- asco won't be repeated. And, these
bination of acoustics (passive or ac- tirely dependent on reverberation newer halls seat far more than 1,000
tive), sound systems (monolithic cen- time. Working at night for three years, people. With the help of 'electronic
tral arrays and multi-source distrib- Sabine and his students visited differ- architecture,' they are able to break
uted 'surround' designs) and electronic ent rooms, using an organ pipe and a the 2,000-seat barrier, enabling shows
assistance (artificial resonance sys- stop watch. He eventually formulated to serve larger audiences.
tems and complex delay/distribution certain basic concepts that are now Such technologies were anticipated
matrixes). The acoustical consulting taken for granted, for example, the by Harry F. Olson in his landmark book
and sound system designing commu- larger a room, the longer its reverbera- "Elements of Acoustical Engineering,"
nities have had a chance to see what tion time. The more people or furnish- first published in 1940 by D. Van
works, and what doesn't, what the di- ings in the room, the shorter its rever- Nostrand Company, and now available
rections are for future technology de- beration time. Shorter reverberation from Professional Audio Journals
velopment and what some of the lim- cycles enhanced sound clarity; longer (Philadelphia) as "Acoustical Engineer-
its are in different design flowpaths. ones contributed to 'liveness.' Rever- ing." Olson says, "It is quite evident
The 'Three R's' of building acoustics beration time was arbitrarily defined that reproduced sound offers greater
... Reverberation, Reflections and Reso- by Sabine as the time required for the possibilities for obtaining the proper
sound to decrease to one millionth of artistic effects by the use of the follow-
David Scheirman is REP's live sound consulting editor and its original intensity after stopping the ing expedients: incidental sound, a wide
president of Concert Sound Consultants, Julian, CA, original sound source. (For full results volume range, the control of the rever-

44 R E P May 1992
 Continued from page 43 "The best sound
ous elements of the wireless systems
and if the manufacturer has handled
the frequency coordination, they will
effects library is
change frequencies at no cost to you.
The Hollywood Edge
beration of the room characteristics
and various sound effects."
From its early beginnings, less than a
Poor answer #1: "True diversity sys-
tems don't have RFI problem."
Poor answer #2: "We never have
those problems with our UHF system."
- without a doubt!"
century ago, the science of acoustical Poor answer #3: "We'll forward your Oliver Stone, Director
consulting has grown such that the problem to our engineer in Tasma-
nia." (J.F.K., Born on the
Acoustical Society of America boasts
more than 7,000 members. Today, well - Poor answer #4: "Try another fre- Fourth ofJuly, Platoon )
known acoustical consulting compa- quency, any one at all."
nies such as Jaffe Acoustics (Norwalk, Poor answer #5: "Oh, you can trade
CT) and Artec Consultants (New York) up to our Super Blasto system."
use technologies such as retractable Poor answer #6: "Take it back to your "Excellent!"
sound -absorbing panels, electronically dealer."
assisted building resonances, adjust- Martin Scorsese, Director
able- height sound reflectors and con- 6) If need to change frequencies
I

how long does it take? And how much (Cape Fear, GoodFella'c,
trollable reverberation chambers to
coax rich, classical sounds from larger does it cost? Raging Bull, Taxi Driver)
and larger rooms, while providing a
means to control or vary the acoustics Good answer: Five days or less after
to suit the type of performance. receipt at the factory, and for $100 (or
less). "Nothing else even
tea_
Typically, a reverberation time of 1.4
Poor answer #1: "We've got systems
stacked to the ceiling. We can't get to comes close!"
seconds is considered best for the good your system 'til next month."
hearing of speech in lecture halls. For Poor answer #2: "Two or three weeks Shadoe Stevens
opera, an average time of approxi- and $150."
(American Top Forty)
mately 1.6 seconds enables audiences
to hear a singer clearly, yet ensemble By conducting a "survey" of several
music still sounds 'live.' For symphonic manufacturers, you should be able to Hot off the press!!!
music in concert halls, two seconds is tell which ones really understand the
common problems of multi -channel Ask us about CARTOON TRAX.
considered to be an ideal design target
for reverberation time. wireless systems and can offer solu-
tions. If nothing else, you can at least
As an example, the previously men-
make some acquaintences and locate
Listen for yourself-
tioned Evangeline Atwood Concert Hall
sources of information, if and when
lets the technical staff switch from a
you do get involved with a multichan- If you buy sound effects
'normal' reverberation time of 1.6 sec-
onds (good for light opera and ampli- nel wireless system. There are now for your company,
more than 40 different brands of wire-
fied Broadway -style musicals) to a full
less mic systems being distributed and call us for a
two seconds for symphonic music. A
large number of distributed speakers sold by various manufacturers. You
mounted in walls and ceiling allow the should be aware that only a handful of FREE DEMO DISC!
presentation of a reverberant 'sur- them actually manufacture the prod-
round' program that can increase the ucts themselves. Many are OEM units,
apparent (perceived) room size. with designs purchased and /or cre-
With the science of room acoustics ated overseas. This is only important
design improving each year, and with in that it could make a big difference
audio engineering technology offering concerning the level of expertise and
better transducers, cleaner electron- services available from the factory, if
ics and quieter, more efficient power and when RFI problems arise. After all,
amplifiers, the listening public now when you have some really strange RFI
has an opportunity to hear live music problems, who you gonna' call? Call Toll Free
presented in a way to large audiences
that was once only possible in an inti-
800 -292 -3755
mate, limited -seat classical European In CA Call
concert hall. It takes a combination of
proper building architecture, correct 213- 466.6723
acoustical modeling predictions and
discretely applied sound reinforce- Note: The information in this article is available as part of a
ment systems. If you haven't yet expe- larger publication covering the design concepts and imple-
mentation of wireless microphone systems for professional
rienced a concert at one of today's and commercial users. Please call 1 -800- 821 -1121 for a
modern concert halls, do so at your copy of this publication. Special credit belongs to Larry
Fisher. vice- president of engineering at Lectrosonics, for his
earliest convenience. Chances are that technical expertise and generous assistance.
you'll find it well worth the listen.
711611 Holl\1eUOd Blvd. Hollywood. Ca 90028

Circle (21) on Rapid Facts Card

May 1992 R E P -15
 By David Scheirman

For a 16-day period in February,

1992, people around the world
looked to the XVI Olympic Winter
Games in the Savoie provincial re-
gion of France for a chance to wit-
ness the world's best skiers, skaters
and other winter athletic competi-
tors. This is the third time that the
French Alps have hosted the Winter
Olympics, the first were at Chamonix
in 1924, and the second at Grenoble
in 1968.

While the 1992 events were centered

inthe city of Albertville, in reality, the
various hockey, bobsled, ice skating
and skiing facilities were scattered
around the French Alps, from Tignes
to Moutiers to Les Saises, with many
venues being several hours apart even
in good weather. The Olympic area
covered world -famous ski areas, in-
cluding the Three Valleys (Vourchevel,
Meribel and Les Menuires) that boasts
500km of ski slopes, over 200 ski lifts
and 600 snow- making machines. Thus, quirements were monumental. tem needs for these Winter Games.
the equipment, crew and logistical re- Bose S.A.R.L. (Bose France) was cho- Drawing on experience first gained by
sen as the official professional sound Bose Canada at the XV Winter Olym-
David Scheirman is REP's live sound consulting editor and system supplier to provide, install, pics in Calgary, and with the assis -
president of Concert Sound Consultants. Julian, CA operate and maintain all sound sys- tance of Bruce Myers, Bose U.S.A.'s

46 R E P May 1992
 SOUND REINFORCEMENT

Reliable, intelligible audio for athletes and audiences

in the face of snow and freezing temperatures.

senior special projects Initial sound system predictive work, back, the unique tube -type Acoustic
engineer and the com- undertaken with Bose's Modeler corn - Wave Cannon and the Model 302 Tan-
pany's general man- puter sound system design program, dem-Tuned low-frequency enclosures
ager, Andy Smaga, Bose were used to format preliminary lay- were available.
France undertook to outs for the different venues. Basic Most systems would experience full-
make the sound for the system requirements included the time use for only about two weeks and
XVI Games the best yet. need, in most instances, to operate then be removed, but some would have
"I first met with the out-of-doors in temperatures that could to be pre -installed months in advance.
French Olympics Orga- get as low as -30° F (on downhill ski There were many variable such as
nizing Committee in runs, for instance). Myers did his first where to locate hidden cable runs,
1988, four years prior to site surveys in November 1989. Pre- how to place mounting poles and brack-
the event," says Smaga. liminary venue drawings were mapped ets, etc. In all, there were 13 different
"I showed them that we out, and targets were set for each Olympic sites that required advance
weren't trying to sell system's coverage and sound -pressure sound system designs and installation,
them speaker products, level needs. Every competition site in addition to the portable systems.
or just treat this like any was different and required its own de-
other profit- making job. sign approach to answer questions DOWNIIIlrl
What we wanted to do such as whether to install point- source Outdoor ski sites typically relied on
was to provide a com- arrays or distributed sound with delay multiples of Bose's model 802 enclo-

good-quality sound. It
-
plete service and deliver
what they needed
zones, or full- bandwidth systems for
music support or vocal reinforcement
only. Each building and site had its
sures erected on poles and set up in
distributed, signal -delayed zones. In-
door venues, such as the Hall De Glace,
would be a showcase own requirements. used for ice skating events, were given
for us. I could not afford "We started to choose what equip- a central array for music playback along
to do a poor quality job ment would be used at each site, and with multi -zone distributed vocal an-
in my own country!" this was based on crowd size, grounds nouncement reinforcement systems.
In mid -1989 Bose or building layout and program input," Of primary importance was the fact
France S.A.R.L. received says Bose's Bruce Myers. "The 27 dif- that all events would be televised. "The
a letter of intent to con- ferent temporary sound systems fell stress at world-televised events can
tract for services from into several different categories. Some happen when the broadcast and sound
the Olympic Commit- were simple, portable units used wher- reinforcement people don't speak the
tee. "28 contract drafts ever a press conference might be held same language," says Smaga. "For in-
later, we had a signed on short notice. Others had to be pre- stance, the Olympic Committee wants
deal," says Smaga. "We rigged and installed with hanging gear to please the spectators, who travel
elected to do this for a just as if they were permanent installa- great distances and pay to buy tickets
flat, all- inclusive fee. tions, even though they would be to see the events. The TV people have
There were so many pulled out a day or two after the corn- a different set of considerations. They
variables about sites, petition events at that site. Still others want to have an audio signal going out
audience sizes and so were intended to remain behind and to millions of people that doesn't con-
forth that the constant become part of the building facilities tain public- address interference."
changes and contract that would be turned over to the local
revisions would have civic authorities."
made us run out of valu- Generally, a full variety of Bose's prod- The stress at world -televised
able time." ucts was used to format the different events can happen when the
Smagás project direc- systems, ranging from the tiny Room-
tor, Dominique Mar - Mate speakers (used as cue monitors broadcast and sound rein-
phay, reached the early in amplifier rack rooms) to the vener-
forcement people don't speak
conclusion that sound able model 102, 402 and 802 systems,
for this event would be all of which rely on Bose's small 4.5- the same language.
successful only if each inch full -range cone loudspeakers and
specific system was active equalization circuitry. The
well -planned in advance, including Acoustimass Pro system, containing Care was taken to lay out the differ-
original design, equipment list and its own power amplifiers, was used in ent sound reinforcement systems so
special hardware needs and appropri- many systems. Where increased bass that a minimal amount of live sound
ate personnel. response was required for music play- "bleed" would be present at locations

May 1992 R E P 47
 broadcast audio to pick up
their natural sound."

INSTALLATIONS AND CREW

DEPLOYMENT
The installation of parts
of some systems for the
Winter Games began in the
summer of 1989. This in-
cluded cable runs and pole -
mount positions. Do-
minique Marphay worked
with a hand-picked crew
An example of the unusual sound coverage problems presented by many Olympic event venues, the bobsled numbering up to 60 people
run shown here required a multi -zone distributed audio system. at various times, allowing
the same technicians who
where broadcast -audio microphones worked well at the Val D'Isere site for would be operating the different sys-
were located. While Bose France was men's skiing were not as applicable to tems to work on installing them as
no stranger to providing sound rein- the Meribel site where women's events they became familiar with the differ-
forcement for major sporting events were held. "As it turned out, the men ent sites. Many new buildings and com-
(having worked on petitive sites
the LeMans auto were also con -
race and the Tour stricted as new
de France bicycle projects, built
race), test systems from the ground
were set up during up, so sound sys-
World Cup events tem work needed
in 1990 that en- to keep on sched-
abled the com- ule with the con-
pany to gain more struction track.
experience with "Each different
winter sporting system in a venue
events that in- had its own dedi-
cluded TV broad- cated crew under
cast involvement. the direction of a
"The tests re- site manager,"
vealed valuable in- says Smaga. "We
formation," says didn't want to get
Smaga. "For the trapped by try-
broadcast people,
it is important that
their mics pick up
the natural sound
of the skier, the
bobsled or the A bobsled whizzes past a loudspeaker location at 90nph. The sound
skater going by. reinforcement system handled both vocal and music payback input.
For competitive
skiing, a large part
of the excitement of the broadcast are more aggressive in their skiing, so
audio is the sound of skis and poles on they make more noise," says Smaga.
snow and the rush of the air. Some of "The TV mics picked up the men just
the events include downhill skiing to fine with no P.A. interference, but the
music. The skier needs to hear it, the women's events required some basic
spectators need to hear it, yet the TV changes because it was harder for the
people don't want to hear the P.A. It is
very tricky."
The sound team also learned that A Bose model 902 loudspeaker enclosure
system placement and levels that mounted in the custom -built bobsled run.

18 R E P May 1992
ing to rely on people, or systems, to do
double -duty. For instance, let's say
there were a few days off at one site for
one system, and another venue could
maybe make use of those resources,
but, what if the weather changes, or an
event gets canceled and then re- sched-
uled? We wanted to leave nothing to
chance."
With event sites spread out over an
entire province of France, and some of
them being several hours drive away
from each other (often more with traf-
fic delays), the plan made sense. About
three dozen sound technicians were
required to staff the systems during
the events, and an additional two dozen
laborers and specialists (including rig-
gers, electricians and such) were used
during the installation phase. Some
sound technicians were chosen for
their ability on skis, because many
times the compact Bose loudspeakers The 34,000-seat outdoor stadium at Albertville, used for the opening and closing ceremonies,
featured a central production tower to hold lighting and sound equipment.
had to be taken up steep alpine slopes
for mounting, and this task was best
accomplished by one person on skis gether, from original design to facility range from -200 F to +45` F. A system
with a back -pack. construction to the use for competi- was needed to provide an average of
tive events. 95dBA sound -pressure level reinforce-
THE LA PLAGNE BOBSLED SITE SYSTEM The La Plagne site, used for bobsled ment for both voice and incidental
It is beyond the scope of this feature and luge events, was based around a music. Background noise would in-
to examine all 13 site installations in custom -built, ammonia-cooled bobsled clude crowd sounds and wind pro-
detail. We can, however, take a look at run. It was predicted that tempera- jected to measure up to 80dBA in the
one site and see how things fit to- tures at the outdoor facility would audience area.

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Circle (19) on Rapid Facts Card Circle (20) on Rapid Facts Card

May 1992 R E P -19

 cue monitor in the equip- lom and freestyle skiing all required a
ment room. different approach to find the delicate
"This was one of the more balance of sound reinforcement that
interesting advance system worked for athletes, spectators and
designs," says Bose's Bruce broadcast executives.
Myers. "The bobsled track
wound downhill like a ser- The installation of parts of
pent, and the audience ar-
eas were scattered. There some systems for the 1992
was no single point at which Winter Games began in the
you could say, 'sound here'
or 'no sound here.' It was a summer of 1989.
case of needing to use good
judgment in having enough "One of the more challenging tasks
speaker location density to had to do with the skaters," says Andy
reach the people where Smaga "We supplied a complete re-
they were, yet not having a hearsal system in a different building,
system that spilled out too and a compact audio production facil-
much from the spectator ity where our audio techs could re-
areas, because all of the ceive the different musical program
various broadcast com- tapes from each country's skaters and
mentators needed to be then standardize them for playback
able to use their remote during the events. For example, one
mics without picking up from Lithuania might bring us an L.P.
P.A. interference." record. Another from Sweden might
Elam Francois. sound designer for 11w opening und closing The system described of- have a studio -produced reel -to-reel
ceremonies, shown here at the Yamaha DMC 1000 digital fered good, clear and intel- tape. An American might have their
console. ligible audio signal distri- music program on a cassette tape. They
bution to the intended were all different formats, different
This site required the early installa- spectator coverage areas, while mini- qualities, different levels and so forth.
tion of cable troughs and speaker mizing the spill outside of the venue. We had not only the skater's own mu-
mounting locations, because the con- Announcements were crisp and musi- sical programs that they do their rou-
crete track was first poured more than cal interludes were dynamic, yet the tines to, but also different national
a year before the competitive events system did not call attention to itself. anthems to play when the winners
would take place. The sys-
tem design relied on mul-
tiple units of Bose's model
402 column -type speaker
enclosure, that were in-
stalled in recessed cavities
in the walls of the bobsled
track.
Including 36 of the 402s
and another 30 of the smaller
model 102 enclosures, the
system would not only serve
to present events results an-
nouncements in both French
and English, but to cover
the entire audience area
with sound when musical
programs, playback mes-
sages and broadcast narra-
tive was presented from the
International Broadcast Cen-
ter. Most of the loudspeaker
system was laid out as a 100V
constant-voltage line. The central production mast showing U.S. Sound's loudspeaker arrays for 360 °coverage. Additional signal
As installed, the system fea- delayed speaker units were suspended from support cables anchored to the stadium perimeter.
tured an 8x2 Yamaha mixer
that received input from six hard -wired The compact, recessed enclosures ren- were announced at an event. Our techs
cardioid mics and one wireless vocal dered it visually unobtrusive, if not worked to get everything standard-
mic system, along with a cassette nearly invisible. ized on DAT so that we could have the
player, CD player and FM tuner. Two best, consistent quality and quickly go
graphic equalizers and a program lim- OTHER EVENTS back over the same things if they were
iter were used on the mixer's outputs. In addition to the bobsled site de- needed again."
A 1 x 10 distribution amplifier fed sig- tailed above, there were of course many Indoor skating and hockey buildings
nal to nine Bose model 1800 -IV power other sites, each with a sound system received custom -configured central ar-
amplifiers (distributed in Europe). A tailored to the needs of the sport in- rays constructed of 10 to 12 model
tiny Room -Mate speaker was used as a volved. Ski jumping, ice dancing, sla- 802s and Acoustic Wave Cannon low-

50 R E P May 1992
 frequency OPENING MD CLUNG CEREMONIES the opening and closing ceremony pro-
devices. Every Olympic Games has its open- grams, including special effects such
Custom - ing and closing ceremony to help de- as wind, birds and insects, jet planes,
constructed fine the spirit of the event and to honor accordions, ticking clocks and bag-
hanging the locale in which it is being held. In pipes. The DD1000 gave Mr. Francais
frames were Albertville, France, these programs the tool he needed to assemble com-
used for rig- took place in a 34,000 -seat outdoor plicated, time-cued music and sound
ging the sys- stadium constructed of temporary effects segments with the assistance
tems. Addi- high -rise bleachers with a tower-like of Akai's DD -QMAC software. Each
t i o n a l production mast all erected on a soc- DD1000 features a removable magneto-
speakers cer field. Telema, a European produc- optical disk and can record and store
(up to 32 per tion organization, was the primary up to 90 minutes of material with in-
venue) were contractor in charge of all technical stant random access.
hung on catwalks and configured in aspects of the opening and closing "We have had many changes within
delay zones using Yamaha's DDL -3 digi- ceremonies. Bose France was subcon- the musical program sincel first started
tal delays to maximize vocal clarity for tracted to supply sound reinforcement putting it together for this event," says
announcements. services to Telema. Francais. "The digital system allows
Outdoor ski events at seven different The primary sound designer for the me to quickly re- configure things if we
sites often featured 40 or more model events was Elain Francais, a Paris - need to accommodate changes in the
802s or AM-Pro enclosures located on based sound professional who chose show's choreography."
12 -foot to 16 -foot poles, usually spaced to use digital sampling and storage
at 24 -foot intervals to cover spectator equipment to present an unusual, The equipment, crew and
groups and to provide music playback highly- entertaining audio program to
reinforcement for some of these out- complement Telema's production.
logistical requirements
door events. This included diverse aspects such as were monumental.
In all, for 16 straight days, up to 25 100 costumed clowns riding bicycles,
different events were serviced with gymnasts and jugglers, and 300 re- The digital outputs of the DD1000s
sound reinforcement on a daily basis, gional folk-dancers in the Savoie pro- were fed into a Yamaha D- 1000MC digi-
on time, without technical difficulty, vincial costume. tal mixing console, that was routed to
and in spite of traffic snarls, winter Francais relied on three of Akai's a Yamaha PM- 3000-40, used to distrib-
weather conditions and crowds that DDI000 optical disk recorders, linked ute sound to the many different speaker
often exceeded the event planners' via a Macintosh computer, to sequence zones. Also feeding the PM-3000 were
expectations. and cue -up a wide variety of sounds for 22 of AKG's new battery- powered RF

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Circle (22) on Rapid Facts Card Circle (23) on Rapid Facts Card
May 1992 REP 51
 mic sys-
tems. The
new AKG
systems,
operating in
the800MHz-
900 MHz
band, were
picked up
by a mast -
mount an-
tenna lo-
cated high
on the stadium rim; a single 70MHz
line carried 12 diversity channels to
the receivers, located in the sound
control booth. Hans Radda, in charge
of export sales and marketing for AKG
Acoustics in Vienna and present at the
Winter Games Ceremonies, stated that
this system represented a wireless
technology breakthrough. Currently, A clusteroffourofU.S Sound's mid/high enclosures, suspended from Keularcables at a point50
other similar systems can carry no meters from the central tower.
more than six diversity channels in
such a narrow bandwidth, whereas lightweight enclosures, and the other Francais a full speaker system toolkit
the new AKG wireless system doubles related to narrow -pattern array tech- to work with.
that capacity. nology for covering large audiences.
The wireless mic systems found many The highly directive arrayable enclo- SUMMARY COMMENTS
uses. Program announcers, some of sures represent an interesting and ef- Major, globally- televised events such
whom rode above the audience sus- fective new design trend for large-scale as the Winter Olympics require the
pended in ski -lift chairs, relied on them. sound reinforcement. highest level of professionalism in
Tiny C410 mic elements were attached "A primary criteria for the system terms of sound reinforcement, from
to the blades of ice skaters, with trans- design here was a low weight factor," design to installation to operations.
mitters hidden in their costumes; the says Henricksen. "The center mast that Audiences for these "mega-events"
crisp sound of blades meeting ice was the 360° system hangs from supports a come with a sense of expectation to
then panned around the large outdoor very complex lighting system, along see and hear things that have never
stadium, following the skaters around with being the central anchor point for been experienced before, to be wowed
the ring via placement in one of nearly the Kevlar suspension cables used for by sight and sound, and to be not only
two dozen signal- delayed overhead hanging production hardware and even entertained, but to be drawn into the
speaker arrays. our own delay arrays. Traditional sound group experience of participating in a
system packaging would have just been spectacle. Millions more watch at
SPEAKERS too heavy. Our entire 64-box speaker home on their television sets (and lis-
Utility speaker systems installed in enclosure complement weighs just ten to broadcast audio). It is at this
the ceremony stadium included Bose over three tons." The weight per low type of special event that a fine line is
model 102s, placed beneath the bleach- frequency box is merely 110 pounds, walked between the proven reliability
ers for use as a paging system to alert components included, and the weight of known technology and the risk-tak-
program participants of upcoming per mid /high box at 98 pounds! ing that often accompanies cutting-
event cues, and an array of model 802s Four identical arrays made up of the edge technologies.
used for music playback needs in the 3-way system's modular boxes were Bose France's project manager Do-
performer staging area. suspended from the center mast to minique Marphay did a world -class
The primary sound reinforcement cover the round stadium area. This job of assembling the equipment and
system for the round, open -air facility included a total of 32 low boxes and 32 operators needed to handle an ex-
was obtained from U.S. Sound (New mid /high boxes for the central array. tremely challenging sound project.
Jersey). The company has been qui- Additional subwoofers were located Bruce Myers of Bose U.S.A. played an
etly at work for the past five or so years below the seating sections. integral part, specifying and designing
developing new -technology, horn - A ring of signal -delayed mid /high what would work best for the different
loaded integrated loudspeaker sys- enclosures, arranged in pairs and sus- venue sites. New technologies from
tems for use in large-scale sound rein- pended from Kevlar cables, was set other companies as represented by
forcement. Designer Cliff Henricksen out at 50 meters from the center mast U.S. Sound's lightweight, high- defini-
(formerly with Electro-Voice and Com- and oriented down toward the audi- tion loudspeaker system and AKG's
munity Light & Sound) has used large - ence seating areas. These were prima- new wireless microphone systems
format compression drivers to a good rily used to reinforce vocal announce- played their part, as well.
advantage. Combining new driver tech- ments and for special- effects sound
nologies with advanced enclosure - imaging placement. Other similar en-
building materials, U.S. Sound has cre- closures were positioned atop the
ated a lightweight, powerful system stadium's perimeter and mounted to
that is exceptionally articulate. Two lighting- support towers, thus enfold-
patents have been granted to the com- ing the audience in a huge "surround -
pany, one for a method of constructing sound" field that gave sound designer

52 R E P May 1992
REP: H44
ences depending on the standard used are available, they are generally ex-
Wow and Flutter (See below). Use the standard by which pensive, making them rare in the field.
your ATRs are specified. Overall, this useful and revealing mea-
By M. Raymond Jason sure of ATR performance has acquired
Parameter. NAB IEC /DIN the status of "outcast."
Frequency: 3kHz 3.15kHz If you don't have a wide -bandwidth
Bandwidth: 0.5 -200Hz 0.2-200Hz flutter meter, you can still obtain rela-
Digital recording can claim one abso- Detection: Average Quasi-peak tive measurements of scrape flutter by
lute advantage over analog, which no response recording a 12.5kHz tone, rewinding,
future analog innovations will chal- (rms cal.) then playing back through a harmonic
lenge: immunity from time -dependent distortion analyzer set to null the tone.
problems. While in some circum- Simply listening to the output of the
stances (read: poor design) one can Both standards share a requirement analyzer permits fine adjustment of
measure, or even hear digital phase - for measurement during playback, as scrape -flutter rollers. Position the
jitter, analog recording is and will for- distinct from measurement in repro roller for minimum noise. Take care
ever be stuck with wow, flutter and mode during recording. The NAB re- not to give the roller so much tape
(unless time code is used) timing prob- quires a special wow and flutter align- penetration that it lifts the tape from
lems. This and next month's focus will ment tape, while the IEC/DIN specifies the heads. At the optimum penetra-
be troubleshooting these time-depen- that a recording be made on the ma- tion, signal strength should not be di-
dent ATR transport problems. chine under test, the tape rewound, minished by more than 0.1dB.
Wow and flutter are the audible ef- then played back for measurement.
fects of disturbances in tape motion, SEARCH AND DESTROY
manifesting as periodic pitch varia- BENING A SINGLE NUMBER To eliminate a source of wow or flut-
tion. Wow refers specifically to low- Because indicated wow and flutter ter you must first locate it. Check the
frequency variation, from 0.5Hz to ap- varies from moment to moment, there capstan and the pinch -roller. If either
proximately 2Hz, while flutter encom- is ambiguity regarding how to associ- has any grease- pencil or 3-D oxide
passes all higher- frequency variation. ate a single- number performance speci- build-up, cleaning them off usually
At 15ips, rotating components down fication to a variable analyzer indica- solves the problem.
to approximately two inches in out- tion. In general, peak wow and flutter Pinch -rollers age and incur damage
side diameter can contribute to wow is more interesting than average or over time. Swapping pinch -rollers is a
or flutter, depending on how many minimum, for the obvious reason that simple and fast way to tell if you need
geometrical or rotational imperfec- the goal in optimizing a tape machine a new one. Incorrect pinch-roller pres-
tions are present over the span of a is elimination of all audible problems. sure can also promote flutter, so check
circumference. Smaller components On the other hand, brief bursts of the pressure with a spring scale ac-
including small rollers and the cap- flutter that occur very rarely (and are cording to your service manual.
stan can contribute only to flutter. often due to tape sticking within the The supply motor and its rotation -
Flutter frequencies up to several thou- supply pack) are unlikely to be no- counting or velocity-sensing mecha-
sand hertz can result from transport ticed even during critical listening, and nism are common wow and flutter -
servo -system oscillations or are often uncurable. A compromise producing failure sites (wow and flut-
intermittencies, and from mechanical technique, which allows for occasional ter are rarely transferred from the take -
disturbance or oscillation of the tape bursts, selects the point at which the up reel through the capstan /pinch-
sliding past the heads. These more indicated value is exceeded only ap- roller system). Problems of this type
than 200Hz problems are collectively proximately 5'%, of the time. appear as periodic tension variation
measured using wide -bandwidth flut- Automated analyzers make this cal- on the supply side of the capstan. Large-
ter meters as "scrape flutter." culation ... well, automatically. To ap- magnitude tension variations may be
Four major standards organizations proximate this scheme using a con- visible as dancer arm oscillations. Use
publish specifications for wow and flut- ventional meter, note the peak indica- an in -line tape -tension gauge to catch
ter measurement, including the NAB tions for each of ten 10- second read- smaller amplitude oscillations.
in the U.S., the IEC and DIN in Europe, ings. Then, simply take the second- If you don't have an in -line tension
and the JIS in Japan. Because the IEC highest reading to obtain a single -num- gauge, you may have success using a 3-
and DIN specifications are identical, ber wow and flutter measurement. inch to 4-inch length of 1/8 -inch heat -
and little equipment available in Averaged repetitions of this process shrinkable tubing (or even a plastic
America uses JIS specs, the following increase accuracy. drinking straw: use its whole length
discussion will only consider NAB and because it's quite stiff) held vertically
IEC /DIN measurements. SCRAPE FLUTTER between thumb and forefinger and
Scrape flutter can dramatically de- pressed against the tape. Even very
NAB VS. IEC/DIN MEASUREMENTS grade sound quality, yet is excluded small tension perturbations will be
There are three main differences be- from the standardized measurement revealed in the jitterings of the tubing.
tween NAB and IEC /DIN wow and flut- techniques. Few, if any, ATR manufac- If your ATR's transport logic allows it,
ter, resulting in measurement differ- turers provide a scrape flutter specifi- holding the dancer arm fixed may help,
cation, probably precisely because because the dancer arm, in doing its
M. Raymond Jason is an electronic engineer at National there is no standard. Furthermore, job, may reduce the amplitude of a
Public Radio in Washington. DC. while wide-bandwidth flutter meters Continued on page 64

May 1992 REP 53

 Dozoiti Demeit,4%
code as well as time code from the mic and line inputs, unbalanced ana-
Dealing with Diff original Fostex D-20, it will lock to ex- log line I /Os, ABS time code, no SCMS,
ternal references including word -sync, a built -in auto limiter, start ID editing
Machines, composite video or frame pulses. If and integral re- numbering.
there is a drawback it would have to be
Part Two its price and weight, even though it is SONY
comparable to a Nagra in both of those Since last fall, when our original DAT
categories. column was written, Sony has released
The evolution of the D-20 and PD-2 the PCM-7000 Series of DAT recorders.
By Rick Schwattz
continues with Fostex's introduction The 7000 Series was designed from the
of the new D-20B. An updated version ground up to be professional work-
of the D -20 offers added time code horse machines that offer an array of
generator and chase lock synchronizer, standard and optional features, includ-
Back in January we carefully looked at and is capable of transcoding time ing glitch-free punch in /out, confidence
many of the DAT recorders used in code from tape. The time code genera- monitoring, internal time code syn-
professional recording studios. In the tor has standard time code types and chronization, instant start and serial
column, we included both rack -mount jam sync capability (24, 25, 29.97, D/ or parallel interfaces. All Sony PCM-
and portable units, and focused on ND and 30). If a DAT tape has a differ- 7000 Series recorders join Fostex by
problem areas such as program index- ent format code, the D-20B can be set offering varispeed capability. As of last
ing and digital I /Os. Since then, DAT to playback the format you are using September, the Sony TCD-D10 Pro was
manufacturers have been hard at work and chase the master, eliminating con- replaced by the TCD -D10 Pro II. The
on new products, as well as enhance- version problems. new model adds absolute time code
ments of existing products. This up- and also addresses the AES/EBU inter-
date will look at new developments .NC face and clock jitter issues mentioned
from companies such as Denon, Fostex, Although the DS -DT900 was included in my previous article. If you own an
Marantz, Sony and Teac. in the earlier feature, we decided to older TCD-D10, you can upgrade it by
run it again to include additional infor- calling Sony customer assistance at
DENON mation recently provided from the 201 -833 -5300. The Sony PCM -2000 was
Although the DTR-2000G is a grey- manufacturer. I learned that the DT- included in the earlier story, the only
market machine, there is a U.S. version 900 has an internal DIP switch that thing that has changed since then is its
with a black face called the DTR-2000. allows the digital input and output to new lower list price of $5,000.
The 2000G is a special edition machine be configured alternately (i.e. AES in,
with a gold front panel, gold -plated S/PDIF out; or S /PDIF in, AES out, etc.). TEAC
connecters and oxygen -free wire in- The DA-P20 is one of the lowest priced
side the unit. The company didn't portables on the market, with balanced
skimp on quality, as the 2000G fea- DAT manufacturers have XLR mic/line inputs. It includes IEC-
tures 20-bit LAMBA type D/A convert- 958 digital I/O and records digitally at
ers and the same heavy-duty trans- been hard at work on 48kHz, 44.1kHz and 32kHz. The unit
port as the Panasonic SV -3900. This new products, as well weighs 3.1 pounds and has a unique
model has an interesting feature I have table of contents feature that displays
not seen before: While in pause mode, as enhancements the total performance time on a DAT
you can advance at half -speed with a of existing products. tape, as well as its total number of
fine cue control. It also has a digital indexes.
fade in /out feature, and records digi-
tally with SCMS at 48kHz, 44.1kHz and I also learned the machine has the UPDATES ON -UNE
32kHz sample rates. ability to write start IDs via the AES If you own a DAT machine that we
port as audio passes below a -60dB have not yet featured or would like to
FOSID(
Although the PD-2 was first shown
last June, it was just starting to ship at
threshold. The machine also has soft-
ware available that will expand its time
code features. See the chart for more
-
discuss these issues in greater depth
please contact me on our new bulle-
tin board on Compuserve. Go to the
the time this article was written. The information. section 14, REPMAG in the MIDI
PD-2 is clearly the Swiss Army knife of VENDER area. My CIS address is
professional portables. It includes al- MARANR 70672,1377. See you on -line.
most every feature imaginable: a built- New in the queue is this portable
in TC generator, 4 -head design for off- stereo DAT recorder of extremely small
tape monitoring, MS decoding for head- proportions (4" x 2.5" x 8.5 "). At less Correction: The Vocal Splicer men-
phones, filters, phantom power, error than 3.5 pounds including batteries, it tioned in the March 1992 column is
search capability and much more. features 1 -bit A/D conversion at 48kHz available from Studio City Sound, 818-
Compatible with IEC standard time and 1 -bit D/A conversion at 48kHz, 710 -9306.
44.1kHz and 32kHz rates. Capabilities
Special thanks to Tim Murray of the DAT Store 310.828 -6487
are quite extensive, with AES /EBU and for his assistance with some information included in this
Rick Schwartz is a contributing editor to REP and director
of post production at Post Complex. Los Angeles. S /PDIFdigital I /Os supported, balanced column.

54 R E P May 1992
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May 1992 REP 55

 ilEP: apv-1,4,e
faster than you can digest them ?" I chusetts company has developed digi-
Service is ... won't deny that, as a news junkie, I get tal communications hardware that will
a thrill just knowing all that informa- permit schools, businesses, hospitals,
By Tim Sadler tion is pouring across my threshold, or yes, even studios to use their local
but the real power of this service is in CATV systems as high speed computer
the application software that arrived networks. Applitek Corporation of
The other day I was having trouble with it and on it. Software updates are Andover, MA, has created a system
accessing CIS (CompuServe Informa- also delivered via this cable service. called LANcity. Without getting into
tion Service) via my usual modem con- As has been my custom after many the nuts and bolts, it supports the
nection in Cambridge, MA. Seems that years with the Mac interface, I just integration of smaller Ethernet Local
all 20+ nodes were occupied by others plunged right in without reading the Area Networks into one big Metropoli-
who had logged on before me. It made instructions. Kids, don't try this at tan Area Network (MAN). Literally, any
me stop and think. If the ultimate goal home. After poking around for several classroom, office, studio or living room
is to get everybody networked to- minutes while the news stories flew with a cable TV outlet and a PC can be
gether, are there enough phone cir- by, I thought it advisable to give the hooked into this computer network.
cuits or modems to do it? The fact is docs a once over. When I went to close Potential benefits might include real
that it is expensive to provide an ac- the program, it announced that I had time database research and mainte-
cess point to an international network actively been archiving 227 stories to nance, resource sharing (sample li-
such as CIS, and few of us want our disk! Now, I subscribe to three dailies, braries anyone ?), administrative pa-
home phone line tied up by the com- six weeklies and at least as many perwork and operating cost reductions,
puter. As the number of people seek- monthlies, but 227 articles in under low- cost/hig -speed two-way data corn -
ing information sources other than TV, five minutes! I was stunned. I had the munications for users such as a pro-
radio and newspaper grows, the prob- media monster by the tail. duction facility spread over several
lem just gets worse. Fortunately, it took only minutes to floors of a big building, or even among
Well, I wouldn't have dragged you tame the beast. The software allows separate buildings. Interesting, yes?
this far if I hadn't found a very interest- you to select which services you wish If you ever wonder where I dig up
ing answer to this info-bottleneck, and to save information from at any given some of these esoteric digital services,
it's probably as close as the nearest TV time. I started by turning off all the I feel compelled to take just a moment
set. That fat wire we call the cable has weather, sports, entertainment and fi- to plug the annual Seybold Digital
got a lot more coming out of it than just nancial news, and severely limiting World Conference coming to Beverly
104 channels of video programming! the business, national and world news. Hills, June 1992. The event is three
I've been experimenting with two new What I was left with was news about days of total immersion in digital com-
technologies that take advantage of the X -Press service, and information munications, storage and retrieval,
the data channels already present on about its use in education. with sound and lights, moving or not.
the cable. The first is the X -Press Infor-
mation Service. If you've ever gotten
excited by watching a newswire
As an experiment, I initialized a clip-
ping folder to snag any stories relating
to 'computers.' Because the flow of
It's about computers and telephony
multimedia and music -
in fact any
thing that can be converted into bit:
teletype machine as it spewed out information from X -Press is omnipres- and moved around. If you need to know
reams of paper covered with breaking ent, the software is designed to run where the digital world is headed, thi:
news from around the world, then unobtrusively in the background as conference will give you lots to chew
you'll like X- Press. The day the inter- you proceed with your other desktop on. Examples of subjects addressed
face arrived, I couldn't wait to connect assignments. Later in the day, I checked include Broadcast Quality Video in a
it to my cable to see if there really was back with X -Press and in my personal Box; a Multimedia Platform Shoot-Out.
news gushing out of the end of the directory were nine articles about The New Consumer Devices, discuss
wire. I plugged in the power supply 'computers,' a collection of general ing 'personal digital assistants' and
and two out of three lights lit up! But stories from the services I had left producing for them; Delivery of Enter-
when I screwed on the cable connec- active, and a special directory file in- tainment to the Home will focus on the
tion, there it was. The third little LED forming me of the software files that radical changes occurring to music,
just started to wink at me. I knew by would be available for downloading film and video distribution channels
the way it pulsed that I was looking at over the next week. The software list and; The Other Information Networks
the ebb and flow of digital information. included a patch or bug fix that would looks at cable, cellular and direct -
I know, it's going to sound reverential, correct a windowing problem I had broadcast satellite technology as ad-
but I just sat there and stared at that discovered earlier in the day. ditional distribution channels.
pulsing light for a whole minute. So I marked that file to be delivered The bottom line is, if you want your
A simple connection to my Mac and to me that evening and went to read studio to have an edge in the next
there it was on the screen. News,
weather sports, stocks -
all scrolling
by faster than I could read them. OK, I
the articles in my `computer' clipping
folder. With a little refining this thing
could be the Personalized Virtual News-
millennium, you need to know this
stuff. The Digital World Conference is a
great place to get your feet wet.
can hear it now: "Who needs an expen- paper we've heard so much about. The
sive teleprompter feeding you stories X-Press interface includes a whole set To receive your free CompuServe Introductory Membership,
of commands that are aimed at stock courtesy of (I.E.'', complete and return the reply card found
Tim Sadler is president of IntraMedia. a media software
and commodity market tracking. between pages 48 and 49, or call 1- 800 -524 -3388 and ask
consultancy and Sysop of REP: On -Line, His Compuserve for representative #232. Tell them you're an R.E.I. sub-
address is 75300,3142. In vaguely -related news: A Massa- scriber. REP's editorial CompuServe address is 7530.3141.

56 R E P May 1992
50444.4t E SPARS Perspectives

Midway through his performance, the has the software that does the job.
Who's Laughing? comic threw a sheet over Barry and Expect to pay more for faster boxes
me, stuck his head under, and said with more storage.
By Dwight Cook "What's wrong with you guys? You
haven't laughed once during my act."
Then the comic climbed out from un-
ter get with the program -
If you are not computerized, you bet-
now. But
let's remember that computers by
Are you fascinated with the concept der the sheet and continued his prom- themselves don't make one success-
of the "tapeless studio ?" Are you won- enade across the stage. I quickly re- ful. They are just a tool, as is a worksta-
dering which workstation to buy? Are moved my head from underneath and tion. Our tools are changing, and not
you worried about whether you bought began to laugh. I was laughing because always for the better.
the right one? Are you as tired of this
recession as I am? Let's start there
it's time we all did something about it!
- Barry was still under the sheet. Barry
had it pulled up close to his face and
was trying to watch the performance
Many people currently can't edit a
voice track with a mouse as fast as a
good engineer can with a blade. If we're
When I think about this economy I through the sheet. After about 10 min- not careful we could replace razor cuts
am reminded of my trip to L.A. for the utes he came out from under the sheet with carpel tunnel syndrome. I think
SPARS Business Conference last Janu- and gave me a wild look when he real- the ideal workstation would use stan-
ary. I went to glean some tidbits of ized that I was already out. To this day, dard computer hardware that users
wisdom from my many SPARS col- Barry still says, "Dwight, I can't be- can upgrade in the field. After all, we've
leagues. I sure came back with some lieve you left me alone under that heard it said that the audio industry is
bits, and with a little effort I might even
apply a few ideas.
Being serious is important and has
act-
sheet." This recession is like that bad
it's no laughing matter. But you
have to find something to laugh about.
at the mercy of the computer industry.
I would also like to see more manu-
facturers coming to our facilities to
its place, but it's also important to My wife got one of those "word-a- see the kind of work we do and how we

-loosen up and look on the lighter side

something my wife is always telling
me. I firmly believe that we should
day" calendars for Christmas. And no-
body can accuse you of misspelling
your own word. One day last week the
do it. This would result in more effi-
cient, faster workstations with better
interfaces. Thankfully, this is already
never go through the day without a word was "ostrichize," meaning you beginning to happen.
good laugh. It's therapeutic. Also, we didn't believe or accept things the way
should find time to get our minds off they really were.
work. Use that time to do something Just how long did it take our govern-
with the family or for recreation. Find ment to accept the fact that we were in
some time to be alone. I set aside a a recession? Too long. And how long is
little quiet time Monday through Fri-
day by getting up 30 minutes before -
it going to take us to get out of the
recession? Too long unless we take
HARD DR VES
the rest of the family. the offensive position. Let's think posi- FACTORY DIRECT!
The laughter, getting away from work tive and do something positive. You
and being alone can help you to focus can make a difference within your busi- Organize up to 2.4 GigaBytes of
your energies more productively. If ness, and within your sphere of influ- sourds and digital recordings!
you plan on being a leader in this ence. Get out from under that sheet
business, you have to focus and have a and face the music! Access sounds in milliseconds!
clear idea of where you are going. And Workstations: there are a bunch to
if you don't know where you're going, choose from. Are you thinking of buy- raca...
don't expect anyone else to follow. ing one? Do you have to have one?
After a full day at the SPARS business Which one? Let's get back to the ba-
conference, Barry Landrum, (a great sics. Don't cave in to peer pressure.
motivational speaker and one of the Buy one if you need one and buy the
funniest human beings I have ever met) one you need.
and I were ready for a laugh and de- I do some computer consulting as
Compatible with
cided to visit a comedy club on Sunset well as this studio stuff. I am reminded SCSI based
Boulevard. We were given front row of a conversation I had with a client samplers and
seats and believe me, we heard some who asked me, "What computer should computers!
bonafide bad jokes that night. A lot of I buy ?" The answer was obvious to me.
Expandable!
the humor was in poor taste and the "First, find the software you need for
comedians were simply going for the your task," I said. "If you can find com- All Cabling Included!
shock value. I think a truly funny per- mercial off-the -shelf software, get it. Double Shock Mounted!
son makes you laugh without going for Otherwise, have custom software writ- 2 to 5 year warranties!
the gross-out. ten. Then find the kind of computer
Dual and Removobe models also availabel
One comedian didn't have any jokes you need to run it. Of course, you may

laughing -
at all, just props. Barry and I were not
it was simply a bad act.
need a faster, more expensive com-
puter if you have big storage needs,
want graphics or require networking."
(800) 845 -0756
1318 E Mission Rd.
Dwight Cook was the first vice president of SPARS, and is Purchasing a workstation demands the FRONTERO.] Suite 202
currently president of Cook Sound and Picture Works, Son Marcos, CA 92069
Houston, TX. same logic. Find the workstation that
Circle (24) on Rapid Facts Card

May 1992 R E P 57
 VARIABLE ARCHITECTURE
SYNTHESIS TECHNOLOGY
HANGS ON:

KURZWEIL
K2000
For those of us whose equipment budg- waveforms on line at once! For storage
By Trammel Stark ets do not reach into the lofty heights of purposes, the unit comer standard with a
six figures, MI manufacturers are creating built -in floppy drive that utilizes 720Kbytes
instruments that are capable of perform- or 1.44Mbytes MS-DOS formatted disks. In
ing ever more complex tasks while retain- addition to the floppy drive, there is a pro-
The meteoric evolution of samplers ing a price structure that will allow the vision for an optional internal hard disk,
and synthesizers has made them an majority of professionals to sustain more and the unit comes with a 25-pin SCSI port
unavoidable commodity in today's mundane callings. Such as, possibly, food to facilitate use of an external hard disk
production environment. It is a fact and shelter. and /or CD-ROM. The internal effects pro-
of studio life that facilities in today's hyper- Kurzweil (now a division of Young cessor is essentially a Digitech 256 that is
competitive marketplace are required to Chang) has quite possibly set a new stan- capable of providing four simultaneous ef-
be fluent in the real world applications of dard for these instruments with the in- fects and is controllable in real time or
sampling and synthesis, whether for mu- troduction of the K2000. The compact, un- through MIDI. Finally, an optional stereo
sic production or for the manipulation of assuming appearance of this unit belies sampling board is currently under devel-
sound effects and dialogue. the impressive power that resides inside. opment that will incorporate 1/4 -inch
The latest trend in affordable music stereo analog inputs as well as digital
workstation design has seen the develop- OVERVIEW AES /EBU /S /PDIF and optical digitals in-
ment of hybrid instruments that seek to Kurzweil has appropriately given the puts and outputs.
effectively combine the worlds of sam- name VAST (Variable Architecture Synthe- The K2000 has a 5- octave, 61 -note key-
pling, digital synthesis and digital effects sis Technology) to the K2000. This syn- board that is spring- loaded and sends and
processing into one practical and easy-to- thesizer generates sounds from a variety receives attack velocity, release velocity
use unit. This concept had its beginnings of sources. The sounds emanate from in- and mono pressure. The unit receives, but
in the development of the Synclavier and strument samples and sampled synth does not transmit poly -pressure. The front
Fairlight instruments of over a decade ago waveforms stored in ROM, as well as from panel has eight mode select buttons that
(notice the term "affordable" in the previ- samples loaded from floppy disks into each have secondary uses in edit mode,
ous sentence). These high -end instruments sample RAM. These sounds may then be a volume control, an assignable control
(or more correctly, DAWs) continue to push modified by an impressive list of DSP func- slider, six soft keys underneath a 240 x
the technological envelope of sound de- tions. The 24- voice K2000 is shipped with 64 LCD readout, cursor buttons, a large
sign, and may even be given credit for 8Mbytes of ROM, expandable to 24Mbytes alpha wheel and an alpha- numeric key-
changing the complexion of recording stu- through the addition of two optional pad. There are also 'mark' and 'jump' but-
dios as we now know them today. All this 8Mbytes ROM kits. The standard 2Mbytes tons that allow access to previously used
progress, however, does not come without of sample RAM is expandable to 64Mbytes pages while in edit mode.
a price tag. through the addition of Macintosh simms. On the back panel one finds the power
(That's right, 64Mbytes!) switch with a voltage selector that will al-
Trammel Stark is an Atlanta producer. composer and ar- So there you have a workstation with low the unit to use local power in any part
ranger.
the potential of 88Mbytes of samples and of the world, a headphone output, six au-

58 REP May1992
dio outputs configured as a stereo mix basically a signal path that serves to route
with two additional stereo outs (that also the sound source through a variety of
function as four independent mono outs), user -selectable DSP functions. The DSP VAST CONSIDERATIONS
two footswitch jacks, a control pedal jack, functions chosen within each segment of
MIDI ports and the SCSI port. The group the algorithm determine the type of syn- By Paul Lehrman
A and group B outs may be used as insert thesis that is employed. There are 31
loop -throughs for outboard effects devices predefined algorithms in the K2000, with
The first time I ever got incredibly ex-
through the use of a stereo insert cable, up to five DSP modules depending on
which algorithm is chosen. Each segment cited about a synthesizer was my
with the tip functioning as a send and the
of the algorithm may also be modulated sophomore year of college, when I first
ring functioning as the return. The mod
laid eyes on the Buchla modular sys-
wheel, control slider, footswitch jacks and by a variety of control sources.
Some of the many DSP functions in- tem at the Columbia- Princeton Elec-
control pedal are all independently pro-
cluded are: high frequency stimulator (a tronic Music Center. I can't say the
grammable.
type of exciter), parametric and graphic Kurzweil K-2000 gives me exactly the
same rush, but after spending the last
OPERATING MODES equalization, four -pole low -pass and high -
pass filters, a band -pass filter, various low
month with it, I can say it comes aw-
The K2000 is divided into eight operat-
frequency oscillation waveforms, distor- fully close. This is a box with just about
ing modes. The first is Program Mode,
tion and numerous others. everything that synthesizer, sound de-
where one chooses, edits and plays the
A multitude of other functions may de- sign, and MIDI heads have been lust-
various programs. The program, keymap
fine such parameters as the program's re- ing after for the past decade, at a price
and sample editors are all found in this
sponse to pitch bend, velocity, assignable you won't have to re- mortgage the
mode. Programs begin life as individual
controllers, and keyboard tracking, reverse house to afford.
instrument samples or as sampled wave- It slices, it dices, it samples, it synths,
forms that are assigned to a keymap. The samples, adjust fine tuning control, adjust
the wet /dry mix of the effects, create it filters, it effects, it even processes ex-
keymap is then routed to an algorithm
envelopes, save and copy layers, or imple-
ternal audio. And it does everything
(more on these later) where the samples
ment other basic utilities and program- very well. To understand the concept
are modulated, shaped, filtered, sliced,
ming options. It is safe to say that there behind it, imagine sticking an
diced and otherwise manipulated to your
are ample structural and control options Oberheim Matrix -12, with all of its
heart's content. This resulting sound is re-
to keep even the most jaded sound design-
filtering, modulation routing, and real,
ferred to as a layer.
ers occupied for the duration of life as we
twiddleable knobs in the same chassis
Finally, up to three layers may be
now know it! with an Akai S1000. The filters, proces-
stacked, each with different keyboard
sors, equalizers, "stimulators" and other
ranges that may split or overlap and with The next step in the layering scheme of
the K2000 is the setup mode. In this mode, programs are incredibly flexible, and
individual controller response character- sound beautiful to boot.
istics. This layered combination comprises up to three programs may be combined
Okay, let me calm down a bit. Is this
the completed program. The layer is the as a single performance combination. Each
of the zones may have its own program, the ultimate workstation, the last piece
basic unit of polyphony, therefore if a pro-
MIDI channel, controller assignments, trans-
of MIDI gear that you will ever need?
gram is made up of three layers, depress-
No, for a number of reasons that I'll get
ing one note will take up three of the 24 position, key range and effects mix.
Quick access mode is used to arrange into a little later. But it does more than
available voices.
random programs or setups into groups of any other single less- than -$50,000
As defined by Kurzweil, an algorithm is
piece of equipment I've ever seen, with
very few compromises. As the center
of a MIDI -based studio, it is ideal, and
PROGRAM as a live-performance instrument or
MODE portable music and effects studio, it
is unsurpassed.

SETUP
MODE
QUICK
ACCESS
MODE
- EFFECTS
MODE
MIDI
MODE
MASTER
MODE
SONG
MODE - DISK
MODE
Philosophically, the K2000 is closer
to Kurzweil's original K250 than to the
1000 or 1200 Series. The K250 was a
real sampler with substantial process-
SETUP
QUICK
ACCESS
EFFECTS SONG ing power, but it was extremely diffi-
EDITOR EDITOR EDITOR EDITOR cult to use, so most users stuck with the
factory sounds. The company's en-
gineers took this into account when
they put together the 1000 Series,
which were playback -only modules,
PROGRAM featuring twice as many voices, a com-
EDITOR plex but relatively understandable
operating system and price tags run-
ning about 80% less than the K250.
VELOC. PRESS. INT. The K2000 handles both sampling
KEYMAP
MAP
EDITOR
MAP TABLE
EDITOR
and synthesis with ROM and RAM

r
EDITOR
EDITOR sounds. It does straight sample play-
back like the 1000, but also provides
an enormous amount of DSP power on
top of the basic waveforms. The ROM
SAMPLE samples are no slouches and sound fine
EDITOR
just the way they are, but the fun be-
gins when you start using the filters
and processors to make subtle or gross
Continued on page 60
Figure 1. Flow chart of Program Editor showing "nested editors." each related to the parameters
that make up different components of a program.

May 1992 R E P 59
 10 entries each. This is very useful for ar- teresting feature is called MIDIScope. This
ranging programs or setups into a specif- displays MIDI messages that are also sent Continued from page 59
ic order for live performance, and to ar- and received by the K2000. changes in the sound. Want to make
range categories of sounds into related Song mode calls up the 'scratchpad' se- a hyper-realistic trumpet patch in
groups for studio situations. quencer. This is a very rudimentary which aftertouch controls vibrato rate
As previously mentioned, the effects 15,000 -note, -track sequencer that will al-
1 and foot pedal pulls a Harmon mute
processor in the K2000 is effectively a low multi -channel overdubbing, but no in and out? It's actually easy to do.
Digitech 256 chip set. There are 47 facto- editing at all. Its only metric setting is 4/4. Want to create an entire symphony or-
ry presets in ROM and 80 user-program- The tempo is adjustable from 1 to 255 chestra spread across the keyboard,
mable preset locations. The digital effects BPM, and the sequencer may be locked with different balances, pan positions
may be set to respond to program FX as- to external MIDI sync. It will, however, rec- and room simulations available at the
signments, setup FX assignments, or to ig- ord multi-timbral sequences from an ex- touch of a button? That's not difficult
nore these pre-programmed assignments. ternal sequencer and will play back type to do either.
It is also possible to assign a MIDI chan- 0 MIDI sequence files (1- track, multi- The optional sound blocks that will
nel to the effects (FX channel) that will timbral sequences). be coming out over the next few
change effect programs independently It is satisfying to see an instrument man- months will contain, among other
and that will allow real time control of the ufacturer that does not force one to pur- sounds, the K250's and 1000's "greatest
wet /dry mix and two parameters, varia- chase an onboard sequencer that will rare- hits,' and in all will let you have up to
ble from preset to preset. ly, if ever, be used. Granted there are many 24Mbytes of ROM. Add to that
There are 27 configurations of effects users for whom these sequencers are just 64Mbytes of RAM (using 16Mbyte
that range from stereo chorus, delay, the ticket for casual gigs or songwriting, SIMMs) and you arguably have the larg-
flange, various reverbs, and parametric but I would assume that most users who est sampler in the world. You can't do
and graphic EQ, to combinations of up to purchase instruments in the $2,000 to direct sampling into the K2000 yet (that
four simultaneous effects. This is proba- $3,000 range are probably already using option will be out this summer), but the
bly the finest onboard effects device that software -based or hardware sequencers designers have included SCSI -based
I have heard on any synthesizer. and have no desire or need for an sample transfer, using the Peavey -
MIDI mode configures the K2000's re- elaborate onboard sequencer. I would like designed, and hopefully soon- to -be-
sponse to incoming MIDI messages and to think that these resources are put to use standard, SMDI protocol. For the first
configures MIDI information that the key- in other areas of the synth that are of time in all my experiences with sam-
board sends to other devices. The MIDI more practical benefit. plers, this actually worked the first time
controls are flexible and serve to make the Disk mode handles all disk utility func- that I tried it.
K2000 a capable master controller. While tions. In the K2000, disk files contain what This means that you can record sam-
in 'program' mode, the K2000 transmits are referred to as 'objects: An object may ples with a Sound Tools or Pro Tools
on one MIDI channel at a time, but in be defined as a program, setup, quick ac- system, an Audiomedia card, a Peav-
'setup' mode, it is capable of transmitting cess bank, keymap, sample, effect, etc. ey module, or any other SCSI -based
on three MIDI channels at once, with each The K2000 will load Akai S -1000 sample sampler, and load them into the K2000
channel having it's own key range. One files directly. It does not recognize pro- quite quickly. (No, sorry, you can't play
exciting function called 'buttons: enables gram or drum input information due to a the thing while you're loading samples
a user to record a sequence of button different operating system and architec- over SCSI.) Right now, the only com-
presses into a sequencer and then play ture than the S-1000, however,the K2000 puter software that supports the K2000
back the stream of events as a macro. One will ask if you want to create a keymap correctly is Passport's Alchemy (in a
possible use of this feature would be to rec- for the S-1000 sample before loading and version that as of this writing is still in
ord a sequence of events that on playback, will assign the sample root to C4 if you Beta-test), but that program handles all
will enter disk mode, select a specific SCSI answer yes. Otherwise, a keymap must be types of Digidesign files, and we can
device, and load one or more banks of created in the program edit mode before hope that Digidesign's software will be
samples or programs. The K2000 also the sample can be played. upgraded soon as well.
responds to the MIDI controller 0 program In fact, the SCSI implementation lets
change command. IMPRESSIONS you do something brand new: You can
This latter allows direct MIDI access to Now that we've waded through a brief connect a Syquest removable drive to
program numbers that exceed the origi- synopsis of this keyboard, what, you may a Macintosh and the K2000 at the same
nal limit of 127 without the limitations in- ask, does this thing sound like? For start- time, and use it with either device,
herent in using patch maps. The K2000 ers, the architecture of the K2000 allows without switching cables. When you
numbers programs and setups in 10 banks for the simultaneous creation of various pop a K2000- formatted cartridge in the
of 100 locations each (000 - 999). types of synthesis. drive, you can read it and write to it
Master mode is a global utility mode In addition to sample playback, the in- from the K2000, and when you put a
that controls tuning, transposition, veloc- strument is capable of emulating the L.A. Mac -formatted cartridge in, the Mac
ity and pressure sensitivity, panning of out- synthesis of the Roland 'D' Series syn- takes over without even blinking. Fur-
puts A and B and 'drum channel: This is thesizers, emulations of vectoring synthe- thermore, regardless of what's in the
a specific MIDI channel that is used for sis in which the sound may evolve over drive, the Mac and the K2000 can con-
drum programs, allowing 32 split points a span of 20 or 30 seconds. Additionally, tinue to communicate with each other.
in the program rather than the usual three the K2000 creates some of the most You can also put a hard disk drive
layers. It also allows other manipulation authentic analog sounds that have ever
I
(any Macintosh -compatible 1/3- height
of the drum sounds such as individual heard coming from a digital synth. For all Connor or Quantum mechanism, up to
drum EQ, filtering, envelopes and note as- you proponents of the "more is more" 240 Mbytes) inside the case, making
signments. school of music production, it must be not- the K2000 truly self- contained.
The master mode also contains a list of ed that this synthesizer has the equivalent
17 possible intonation tables for those of of four oscillators per voice, thereby mak- SPECIAL FIX
you who are into non -western tonalities ing it possible to stack up to 96 oscillators The digital processor's effects are
(a little Tibetan hip-hop anyone ?). These in mono mode! Sufficiently huge sounds programmable in real time. Each sound
scales are not editable, however, it is pos- are possible, however, without resorting program has an effects program asso-
sible to create custom microtonal scales to such excess. Continued on page 61
within the keymap editor. Another in- The factory samples, as one would ex-

60 R E P May 1992
 Continued from page 60
elated with it, and the effects para-
Frequency in Hertz meters that you can control with the
sound program are determined in the
program editor, not in the effects edi-
30
10 100 1k 10k -
tor an unusual arrangement, but one
with a certain logic behind it. Beside
wet /dry mix, each program allows two
20 effects parameter assignments.
In master mode, the effects are "de-
10 coupled" from the programs, so chang-
ing a sound program doesn't change
the effect. This is the way the unit will
0
be used most often in the studio, and
in this mode an unlimited number of
-10 effects parameters can be controlled
over MIDI. However, which MIDI con-
- 20 trollers adjust which parameters is not
changeable by the user, and unfor-
-30 tunately is also not documented, so the
feature is a bit difficult to use.
So, are you ready to buy yet? Hold
on - there are a few things you need
to consider. First of all, as of this writ-
ing, the K2000 isn't finished -
the drool- inducing options that Kurz-
all of
Frequency in Hertz
weil /Young Chang has promised are
not implemented or available yet.
100 1k 10k
Which is not to say the K2000 doesn't
work: on the contrary, unlike some
computer -based pro audio products
that are released before their time, the
K2000 won't wipe your hard disk, fry
your power supply, or wreck your pro-
- 10 duction schedule. In fact, the thing has
never so much as hiccupped since I
-20 first turned it on. It just doesn't yet do
- 30 everything that you might like it to.
Right under the sampling option on
- 40 your priority list will probably be ex-
panded program RAM. This is differ-
-50 ent from sample RAM, because it's
- 60 non -volatile, and therefore more ex-
pensive. The stock K2000 has
128kbytes of program RAM. That may
sound like a lot, (I'm told the 1000s had
about ' /loth of that) but programming
objects in the K2000 are big. The stock
Frequency in Hertz voices are more intriguing than they
are strictly utilitarian, which is a trend
that I welcome, because they will in-
spire you to dig into programming the
thing, but it means you are going to
want to customize most of your voices,
and you will need space to put them
in. Right now there's room for a cou-
ple of hundred RAM programs, but (es-
pecially if you've got 64Mbytes of sam-
ples to play with) you may quickly find
that's not enough.
The $3,000 price tag certainly offers
a lot for the money, but it's a bit mis-
leading if you plan to use the K2000
to its full potential. A full -blown system,
including the sampling option, sample
and program RAM and a big hard disk
will more than double that price.
Some users will consider the 24 -voice
limit a problem. With three voice lay -
Continued on page 62
Figure 2. Examples of K2000 l)SP filters: Thp graph -steep resonant bass; middle-parametric
equalizer; bottom-two-pole bandpass filter with fixed width.

May 1992 R E P 61
 pect from a company with Kurzweil's sam- coming. This has to do with the 24 -voice
pling pedigree, are all quite good. Acous- polyphony. Normally, 24 voices is more Continued from page 61
tic and electric pianos are very well than adequate for most synths and sam- ers available per program, it is true that
represented. There is an especially nice plers, and in many cases may be enough you could use up voices quickly. How-
Rhodes program called 'tine piano' that is for the K2000. But given the abundant ever, these are not sine waves we're
reminiscent of a "dyno my piano" modi- layering capacity of this instrument, it is talking about here: Each of those
fied Rhodes. possible to run short of voices very quick- voices is a rich waveform in itself, and
Electric bass samples cover the usual ly. Granted, not all music requires massive with all of the DSP in the various al-
range of fretless, picked, and funk bass, simultaneous layering on multiple parts, gorithms available, you can create in-
and as one might expect from this instru- but consider that in program mode, with credibly interesting sounds with a sin-
ment's analog emulation capabilities, the maximum of three layers playing at gle layer. In addition, when it comes
synth basses are very good. There are a once, a 5 -note chord will require 15 of the to intelligently allocating and stealing
variety of guitar programs ranging from 24 available voices. In setup mode, with voices, Kurzweil has always been one
aggressive leads to acoustic six and 12- up to nine possible layers, well, you add of the best in the business (most peo-
string. One of my favorites is the '12- string it up. Also, stereo samples require two ple who played a K250 could never
with Leslie' program. voices per note. It would be interesting to really believe it only had 12 voices),
All the other usual sounds found on see some sort of expansion module (may- and the K2000 is no exception.
high -quality synthesizers these days exist be along the lines of the Akai S -1100 ex-
in abundance, such as 'tone wheel' organs, pander) that would offer additional voices
lush strings, sax, trumpet, and brass sam- under the control of a single K2000.
ples, synth brass, ('Toto brass' is very nice) Another area of concern has to do with If you want to use it
and cherubic vocal choirs. There are also the fact that there are only six outputs. In
great drum samples. Kurzweil has re- many cases, once again, this is sufficient. in post, you're going
corded all new drum and percussion sam- However, while recording, especially in a to have to hook it up
ples for the K2000, and you get a wide virtual tracking situation, six outputs may
range of sounds, from huge rock drums be used up very quickly if one desires to to a good MIDI
to tight dance drums, as well as all the usu- route sounds through individual channels
al percussion. Some of the drum samples
sequencer.
on the console.
were recorded dry, and others recorded However, all things considered, Kurzweil
with ambience. As stated earlier, all drum has released a tremendous synthesiz-
sounds may have independent filtering, er/sampler in the K2000, one that will no
EQ and envelopes applied in the drum doubt take its place among the most Will you run out of voices some-
channel mode. prominent and important of the instru- where along the way while you're do-
ments currently available. ing major production? Undoubtedly,
AMAZING SYNTHS Circle (100) on Rapid Facts Card but you can always take your more
The K2000 really shines with its in- conventional sounds (pianos, strings,
describable synth programs. These run the brass) and "off- load" them onto a 1200
SPECS AND DESCRIPTION
gamut of delicate and sweet to downright module, an E -Mu Proteus, or for that
frightening. There is one particular Manufacturer: Young Chang America matter a Roland Sound Canvas, leav-
speech -like program that may best be de- ing the K2000 to do what it does best.
Contact: David Fox
scribed as a recitation by Cousin It's big 13336 Alondra Blvd. (And yes, there will be a rack version
brother. In setup mode, the sounds really Cerritos, CA 90701 of the K2000 before long.)
get interesting, with all the layering capac- 310-926-3200 The number of audio outputs may be
ity of the K2000 taken to extreme. These FAX: 310-404 -0748 a more serious issue. Although there
sounds really must be heard to be fully Model: Kurzweil K2000 are six holes in the back, there are real-
appreciated. ly only four output channels (of course,
Price: $2,995
As is true for all synthesizers, these fac- this is still better than the two found
tory programs represent a starting point Description: VAST (Variable Architec- in the 1000s and the original K250).
ture Synthesis Technol-
for the creation of sounds. Several third - ogy) Synthesizer/Sam -
The "mix" outputs merely combine
party programmers are already at work pler various configurations of the A /B/C /D
creating new sounds for the K2000, such Stereo, 24 -voice signals, dry or through the onboard
as Sound Sources and Stratus Sounds. 8Mbytes ROM, expanda- digital processor, and do not accept
Kurzweil also has a team of programmers ble to 24Mbytes voice assignments of their own. This
at work converting all of the existing Kurz- 2Mbytes RAM, expanda- is a very nice scheme if you have a
weil 250 and K-1000 samples for use in the ble to 64Mbytes limited number of mixer inputs avail-
K2000, as well as creating new samples 720 /1.44Mbyte floppy able, but since mixer inputs are a dime
and programs. Additionally, Opcode has disk drive a dozen these days, I don't see it as
developed a K2000 module for its Galaxy Optional internal hard much of an advantage. If you want to
Ed /Lib. disk do discrete outboard processing of
All in all, Kurzweil has come up with a SCSI port for external many different sounds emanating from
formidable contestant in the never end- hard disk and /or the K2000, this will be a limitation.
ing war of the synthesizers, and the K2000 CD-ROM On the other hand, the designers
may well prove to be the Mother of all Digitech 256 internal have done all they can to make the out-
DSP put structure flexible. One positive
Keyboard Workstations. The sheer poten-
tial for onboard memory alone is truly Optional digital I /O, thing to be said for it is that, as on the
stereo sampling board Proteus, the individual outs are actu-
remarkable. With the addition of the up-
5- octave, 61-note
coming digital and /or analog stereo sam- ally channel inserts, so you can route
keyboard
pling option, the K-2000 will prove itself their signals through an external pro-
Six audio outputs (stereo
a very capable sound design and produc- mix plus four individu- cessor and then back into the K2000,
tion centerpoint. al mono outs) to emerge again from the mix outputs,
In spite of all that was done right with Loads Akai S-1000 sam- Continued on page 63
this instrument, I see one potential short- ple files directly

62 R E P May 1992
 ta04
Continued from page 62
with or without further processing
from the K2000's own chip. Having a
digital equalizer available for each
Foz44/1
voice helps as well. Furthermore, not
unlike the Korg Wavestation A /D, you
can take an audio signal from an al-
together different source, bring it into DO YOU BELIEVE IN MAGI?
By Laurel Cash -Jones and Fred Jones
the K2000, process it with the on-board
If so, you will really appreciate this.
processor, and mix it with the K2000's
J.L. Cooper Electronics is announcing
different sounds. Normally in this column we go in the addition of the P-1 Mounting Pan to
For the amount of MIDI control this depth about a particular product or their MAGI II automation system. As
beast provides, it's surprising that there two and give you all the skinny on it, you are probably aware, the MAGI II is
are so few physical controllers availa- hopefully before anyone else does. a cost -effective console automation
ble: two foot switch inputs, one control Because we have been flooded with a system, controlled by a Macintosh
pedal input, and a data slider, plus bunch of new things, we thought we computer, that can provide up to 64
modulation and pitch wheels. If you would deviate from this tried and true channels of automation to your exist-
want to add more real time control, formula and get to all of them in one ing console in either an external or
you'll have to add something such as month. Hey, we're flexible. internal version.
a Lexicon MRC, and such devices don't
The new P -1 Mounting Pan standard-
come cheap.
TRIO: R TO ME LIMIT izes and simplifies the installation of
With that introduction, you probably the internal version, the MAGI Ili, and
WRAP IT UP
expect us to talk about some new lim- is particularly useful for small con-
But enough of its shortcomings. iters. You're right. UREI is introducing soles that don't have space available
There is room for improvement, but three new compressor /limiters; the LA- inside for mounting the internal ver-
there is also no doubt that the K2000 22, LA-12 and LA-10. They are all single sion and have to use external faders. A
is a truly magnificent musical instru-
rack space units, and are designed to single P -1 can hold up to 32 channels,
ment, a giant leap forward in the in- handle signals in excess of 24dBu, but and because all automation controls
tegration of sampling and synthesis, that is where the similarity ends. can be factory installed, it reduces
with great sound and a surprisingly The LA-10 is a single -channel unit, installation time at your studio.
comprehensible operating system. I while the LA-12 is a dual-channel unit. Circle (127) on Rapid Facts Card
foresee it having a long and fruitful life
The LA -22 is also a dual -channel unit,
in many different facets of the indus-
but it features a parametric filter that ADAT G ADAT BUT ...
try, from composition, to post -pro- DataSYNC is here to solve your prob-
can be adjusted to change the function
duction, to live performance. from being a broadband unit, to a fre- lems before you even have one. What
Is it a true audio workstation? No. It we mean is, the folks at J.L. Cooper
quency specific one.
doesn't do direct-to -disk recording, it Circle (125) on Rapid Facts Card Electronics (remember them ?) are
has no direct SMPTE inputs, and it has building a much needed accessory to
no word clock input, so its samples can- WE'RE KEEPING IT ALL UNDER CONTROL the Alesis ADAT 8-track digital recorder
not play back locked to any external Since the MIDI manufacturers of before it is even widely available on
source. If you want to use it in post, America and Japan MIDI standards the market.
you're going to have to hook it up to committee released the specifications J.L. Cooper's new dataSYNC gener-
a good MIDI sequencer. But then it will of their new MIDI Machine Control pro- ates MIDI time code from the Alesis
do plenty of amazing things: play full tocols (called MMC), tape recorder ADAT's sync out. This bi- taccurate unit
scores; create, edit, and place sound ef- builders have been staying up late try- plugs into a 9 -pin port on the back of
fects; fly in good -sized chunks of dia- ing to add this new feature to their the ADAT and converts the sample
logue or sung vocals; and accomplish current line of equipment. This newly clock to MIDI time code. This means
some heavy -duty real time processing. defined protocol allows you to control you can drive a sequencer or digital
And, you can carry the sucker under- and automate most of the functions of audio workstation without having to
neath one arm to your next nightclub a standard tape recorder via MIDI com- lay down MIDI or SMPTE time code on
gig, as well. mands from a synthesizer or computer. one of the eight tracks on the ADAT,
Fostex has been a serious advocate thus saving you some very valuable
of this idea. In fact, they have already space on the tape.
had a product in the field for some A MIDI input allows new MIDI data to

MIDI -
time that allows machine control via
the R8/MTC -1. They are now
introducing a new version of the prod-
be merged while locked to the ADAT.
Lock and run LEDs tell you what is
happening, and the dataSYNC converts
uct that conforms to the newly re- the ADAT's transport functions into
leased MIDI MMC standards, which MIDI Machine Control (MMC) mes-
makes them among the first to have a sages. The dataSYNC is a 1/2 rack -
product with MMC. space workhorse, just ready to get to
The Fostex MMC -1 /B is now avail- work for you as soon as you as you
able, and as an added bonus to current have an ADAT. How do they do all of
owners of the R8 /MTC -1, they will up- this for $349.95? Will wonders ever
date your system at no charge. (You cease?
should take them up on this.) Circle (128) on Rapid Facts Cards
Paul Lehrman, a long -time contributor to REP, is a
composer, author and consultant in the Boston area.
Circle (126) on Rapid Facts Card
He is on the faculty of the University of Massachusetts - FROM MASTERMIND TO MACROMIND
Lowell, and serves on the executive board of the MIDI Laurel Cash -Jones Is an editorial consultant to FI-E-P and a MacroMind -Paracomp is announcing
Manufacturers Association. free -lance writer. Fred Jones is a freelance engineer, pro-
ducer and writer.
the release of SoundEdit Pro and the

May 1992 R E P 63
 Cu &1st
First Look WAVEFRAME 401
Too New/In Progress
Continued from page 63
Mac Recorder Sound System Pro, which Cutting Edge breaks tradition slightly
WaveFrame recently introduced a
moderately priced disk recorder
the WaveFrame 401- which uss the
-
are (as you may have guessed) com- for this issue to continue Workstation same disk recording and editorial soft-
pletely new versions of their hard disk coverage of products that we haven't ware used on the newly reconfigured
recording software for the Macintosh been able to evaluate or are not yet WaveFrame 1000 and 400. This new
operating system. available on the open market. system offers 8-track recording, edit-
SoundEdit Pro's new features include ing, and mixing, and is intended for
the ability to record, edit, and play music production, CD mastering, digi-
sounds directly from the disk, thus Product vendors in 1992 Update: tal post production and other applica-
eliminating RAM constraints. You may tions. Digital I /Os, VITC sync, and mul-
AMS AUDIOFILE OPTICA
also now input sound from any hard- titrack punch-in recording are also part
A simpler, 4- channel version of
ware device whose driver is compat- of the package.
ible with the Macintosh Sound Input
AudioFile PLUS, the AMS AudioFile
OPTICA is intended for simple track Circle (133) on Rapid Facts Card
Manager, open and save sounds at 8 or
16 bits, and sample sounds at any
laying operations. Using a MOD, the
OPTICA system allows fast transfer Other Approaches:
sample rate up to and including 48kHz.
You may also view the sound spec- between AudioFile systems. Capable
of recording manually or automatically DIGITAL AUDIO LABS
trum waveform in 2D and 3D simulta- The Card!), from Digital Audio Labs,
with reference to a video-style EDL or
neously, and work with additional file is (more or less) a PC workstation
as an ADR device, the OPTICA can also
formats, such as Sound Designer II, "kit," used to deliver two simultaneous
operate as a background recorder in a
System 7.0 SND, AIFF-C and System 7.0 recording /replay channels and in-
video edit suite.
disk-based sound resources and vir- Circle (130) on Rapid Facts Card tended for audio post for video, music
tual memory. Current registered users editing, broadcast applications and CD
of earlier MacRecorder versions can DYAXIS UTE pre-mastering. Version 2 of The CardD
upgrade for $75. New versions: Scheduled for mid -summer release, editing software, called The EdDitor,
MacRecorder Sound System 2.0.5, the Dyaxis Lite is a low budget, basic delivers fade /crossfade functions,
$249; MacRecorder Sound System Pro, task, 2 -track digital editor. A specially markers, edit history, a save/load edit
$349; SoundEdit 2.0.5 (software),$195; authored version of Studer Editech's list, and recording VU meters. "Cata-
SoundEdit Pro (software), $295. MacMix software provides digital edit- loged" cues can be arranged and trig-
This program is particularly well - ing features with industry standard gered by assigned keys on the alpha-
suited for multimedia applications. A commands and terminology. The engi- numeric keyboard. The system can be
suggested add-on is the new CS-1 con- neer- friendly Dyaxis Lite Remote Con- installed in some portable PCs, but
trol station From J.L. Cooper. It is a troller is configured with familiar au- requires 386/16MHz and 2Mbytes of
universal controller, with five user pro- dio controls. Dedicated keys execute RAM or higher. For successful opera-
grammable function keys and two most editing functions while 10 tion, the RAM should be configured as
modifier keys that allow for a total of softkeys allow operators more com- expanded memory with a memory
20 possible key combinations. mands to meet specific needs. Dyaxis manager program.
Circle (129) on Rapid Facts Card
Lite data files are fully compatible with The available developer's software
the Dyaxis I and the Lite can com- toolkit seems to indicate an open invi-
REP: Handbook pletely upgrade into a Dyaxis I. And, tation to third -party vendors. To that
Continued from page 53 little-or-no computer experience is re- end, third -party party software is al-
problem but not eliminate it, thereby quired. ready available for time code slaving
making diagnosis elusive.
Circle (131) on Rapid Facts Card and events list editing. Third Party
Most ATR dancer arms are designed MIDI interfacing software has been
SSL SCENAMA announced.
to smooth out residual tension varia- SSL's new Scenaria includes a 38- Circle (134) on Rapid Facts Card
tion caused by imperfect supply-mo- channel automated digital mixing con-
tor drive. The position of the dancer sole, a 24 -track random access re- SUNRIZE INDUSTRIES- STUOID 16 AND A01012
arm may affect wow and flutter perfor- corder /player, multitrack audio edi- The Video Toaster, used with the
mance, as may fine adjustment of the tor and automated audio /control rout- Commodore Amiga computer, is revo-
dancer arm's damping mechanism. ing. Compatibility with ScreenSound lutionizing video production. Now
Curing wow and flutter problems is and SoundNet and multiple machine comes the AD1012 digital audio card
usually time consuming and mentally control is provided. The anchor to this with Studio 16 (Version 1.0) for the
taxing. Ease the process by taking care- package is the VisionTrack function Amiga. Bundled with SunRize's Studio
ful wow and flutter measurements when that integrates digital random access 16 editing software, the AD1012 allows
you first start your repair, and at each video storage. Combined with the 24- Amiga owners hours of hard -disk au-
step along the way as you make adjust- track random access audio recorder, dio recording. The AD1012 digital au-
ments or replace parts. This will pro- VisionTrack permits instantaneous dio card mounts to an Amiga 2000 or
vide a written record and will be useful location and rollback of audio and 3000 and will record /playback with 12-
next time the ATR comes down with a video to any point in the soundtrack. bit resolution.
case of wow and flutter. Circle (132) on Rapid Facts Card Included on the AD1012 is an Analog

64 R E P May 1992
Devices 2105 "sound accelerator" digi- the Publison, which may be attributed longer manufactures the DR -2, exisiting
tal signal processor that allows real to its French mystique. While unable users (in some cases seven year veter-
time digital effects such as flanging, to discuss the machine with North ans) continue to be serviced and re-
chorusing and echoes. Studio 16 offers American users (are there any ?) our ceive software upgrades from Side-
fade in /out, 4 -track playback with a 4- European agents indicate the device track Systems of Richmond, VA.
channel mixer, LEDs and graphic should be considered a strong work Although the DR -2 name has disap-
meters. AD1012 owners can upgrade "In Progress." peared, Sidetrack now manufactures
to SunRize's upcoming AD516 16-bit Circle (138) on Rapid Facts Card and distributes an upgraded system
stereo card. based on the original DR -2 design.
SunRize is working with Blue Ribbon SINGULAR SOUIllONS One major Sidetrack system improve-
Sound Works and other developers to A 2- channel recording editing sys- ment removes pop at edit (a problem
provide direct software support for tem, using the NEXT computer plat- with the original DR -2 system) via new
the AD1012. The "Bars & Pipes" pro- form, is being offered by California - edit -to-subframe capabilties. While it
gram allows users to trigger the AD1012 based Singular Solutions with I/O help doesn't crossfade, provide EQ, sample -
as a MIDI channel. from Metaresearch. On -line endorse- rate conversion or time /compression.
Circle (135) on Rapid Facts Card ment of the NEXT Platform /Singular the Sidetrack does resolve to house
Solutions combo came from veteran sync (24, 25, 30, or 30DF), samples at
STEINBERG TOPAZ (St.Louis- based) classical recording 44.056, 44.1 and 48kHz and allows us-
For some time now, Steinberg has and broadcast producer Barry Hufker ers to slave up to eight SCSI memory
been developing the 4- channel Topaz of Hufker Recording, who strongly in- devices.
based on Cubase audio sequencing dicated he "would not change systems" The company is also working on a
software and an MOD. This system even if offered free alternatives. 3rd generation of The Boss editing sys-
reportedly generates eight channels Circle (139) on Rapid Facts Card tem while supporting and offering up-
and currently provides digital mixing. grades for existing 8400 and The Boss
Future plans include automation and 2 systems. Sidetrack systems cost ap-
SIDETRACK SYSTEMS (ALPHA AUDIO DR -21
EQ. Another software program, Time proximately 50% less than original Al-
Bandit, can be imported for realtime The Alpha Audio DR-2 digital 2 -track
pha DR-2 systems due to new econo-
compression/expansion and can con- hard -disk recorder was designed to
mies in hardware.
struct a chord through recognition of emulate a standard 2-track open -reel Circle (140) on Rapid Facts Card
the pitch of a cue. deck and more. While Alpha Audio no
Circle (136) on Rapid Facts Card

YAMAHA CBX -05

Speaking of Steinberg, a Yamaha part- WORKSTATION INDEX
nership with Steinberg and fellow soft- Manufacturer Page Rapid Facts #
ware developer Mark of the Unicorn
("Digital Performer" for the Macintosh)
Akai/IMC: DD 1000 21 101

has resulted in the release of the CBX - AKG: DSE7000 22 105

D5 4-track recording system. This unit AMS: AudioFile PLUS 24 106
offers 2 -track simultaneous recording Augan: 408 OMX 24 107
and 4-track CD- quality playback. Au- Digidesign: Pro Tools 26 109
dio data such as vocals, instruments,
Digital Audio Research: SoundStation 11 26 108
etc., and MIDI data can be simulta-
neously computer -controlled. Com- Doremi Labs: DAWN 28 110
puter interface occurs via SCSI con- EdiFlex Systems: Optiflex 33 119
nections. Hard disks can connect di- EDI: Tracker 33 120
rectly to the CBX -D5, reducing the pro- Fairlight: MFX2 33 12I
cessing power required from the host
Korg: Soundlink 28 III
computer. The result allows the CBX-
D5 to be paired with computers such Lexicon: Opus, Opus/E 28 112
as the Mac SE 30 and Atari ST. MTU: Microsound -AT 21 103
Circle (137) on Rapid Facts Card New England Digital: PostPro 29 113
Opcode: Studio Vision 22 104
Other Options: Otani: ProDisk 30 114
PUBLISON- INFERNAL WORKSTATION Roland: DM -80 30 115
The Publison- Infernal Workstation Sonic Solutions: Sonic System 30 116
can reportedly be expanded from four Spectral Synthesis: Digital Studio System 32 II7
to 16 channels via 4-channel modules. Solid State Logic: ScreenSound 34 I22
A proprietary hardware and user in-
terface features graphic tablet and pen.
Studer Editech: Dyaxis 32 118
Recording and editing take place on Turtle Beach: 56K 21 102
the same screen. With nearly a six- WaveFrame: 1000 and 400 34 123
figure price, intrigue continues about

May 1992 R E P 65
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1 FOR SALE
Reconditioned Yamaha
56 voice. 24 sam-
pling. 32 FM. 9 Meg RAM, 260
Meg Disk. Mac II. Release "0"
all options $2500. Yamaha C5 Grand PM 3000 4(1 -Ch. Consoles software. 3M -79 2" 24 TK Tape
$10,000. Much more. Call for complete A -1 Audio Inc. Machine. 2- Studer A -80 VU MK
listing. Lyndon IV 1/2" 1202 hrs.
714-625 -2396 (213) 465 -1101 201- 656 -7023
"1

Now proudly featuring QUESTED powered monitors NEW, USED, DEMO EQUIPMENT
New specials onAshly, Sony DAT, Aphex, Eventide, TC
Electronic, Tannoy, AKG & Adams -Smith Zeta Ill. HUGE SELECTION OF MULTITRACK
ENGINEERING RECORDERS, CONSOLES,
214 Lincoln St. S S L parts; G computer from $2.5K, E modules from $2.6K OUTBOARD GEAR
S S L 4048, $135K; 4056E/G, $185K; Neve 8108, 48in, $65K; SOUND TOOLS, PRO TOOLS, MAC II'S, IL
Suite 103C COOPER CS1O, OPCODE STUDIO 5, OTARI
Boston, MA 02134 8058, $60K; BCM10, $10K; Trident 80B, $35K; Trident 24PB, MX80, TRIDENT 24, LEXICON REVERBS,
36X24, $22K; Amek Angela 28in, $20K; 2500 32 auto, $36K. GENELEC 1031A MONITORS, APOGEE D/A
The oldest East CALL for prices on API, DDA, TAC & Soundcraft. CONVERTERS, WESTLAKE MONITORS,
Coast broker I! EVENTIDE H3000, MICS, ROLAND S770,
Tape; Otani MTR90, $26K; Ampex MM1200, $12.5K; MCI JH24 TASCAM M3700/M3500 CONSOLE, AKAI
DDI000,SONY DPSR7.
(617) 782-4838 $17K; 3M M79, $11K. Otani MX70 16tr, $8K; Tascam MS16, $6K FINANCING, SYSTEM DESIGN, INSTALLATION,
fax (617) 782 -4935 FACTORY SERVICE, EXPERIENCE
Processing; Sony PCM601 cony, $850; Eventide H3000SE,
NEW AND USED WARRANTEED COMPONENTS
Otani & Ta scam $2.4K; Mics; Neumann U47 Nuvistor, $2.4K; U47FET, $1.4K: CALL FOR CURRENT EQUIPMENT FAX
factory service. AKG C12A (tube), $1.4K; Pultec Mavec (tube EG/pre), $1.4K. EAR PROFESSIONAL AUDIO (602) 267-0600

Circle (40) on Rapid Facts Card

66 R E P May 1992
FOR SALE, con't

STUDIOWORKS WHY GO ANYWHERE ELSE QUALITY

Recording & Broadcast Equipment
FOR ANYTHING AUDIO New & Used
FACTORY DIRECT PRICES WHEN WE HAVE IT ALL ? Equipment
ON 3M & AMPEX TAPE
ADAMS- SMIIII LEXICON ADAMS-SMITH AKAI AKAI- DIGITAL AKG
ALLEN tk ilEATII NEUMANN ALLEN AND HEATH API ART ASHLY BBE BSS
FOSTEX ()TART INNOVATIVE
IIAFLER SENNIIEISER CASIO -DAT CREST CROWN DBX DDA DEMETER Studio Design
.1131.?UREI SOUNDTRACS DRAWMER EAW EVENTIDE FOSTEX GML
L COOPER & Installation
.1
HAFLER KLARK -TEKNIK LEXICON MACKIE DESIGNS
Over 70 Professional Lines! MILAB MONSTER CABLE NUMARK PS- SYSTEMS
SONY RANE SAMSON WIRELESS SENNHEISER SHERPA
RELIABLE
Professional Audio SONY SOUNDTRACS STUDIOMASTER SYMETRIX
(800)438 -5921 TANNOY T.C. ELECTRONICS TUBE -TECH WHITE
Service &
(704)375 -1053 Maintenance
tiuuc iUall
S1111
Sony used & demo sale

tl 1:111
n.0 h 11

1,1,1 ,1
:42 An11-,11,
all tc:n nn
$:111(
.S
$811K
Si u'wr;uuc
h.inl ill ier
u'luarranlc
anything audio, IN STOCK
professional audio and video systems NOW
USED SPECIALS.. A -DAM, 513,000 Mitsubishi X -850 w /apogee filters. call! Soundtrecs
PC Midi, $5,700 Eventide 969, $750. (3) Eventide 949 w/deglitch, 51000 each Eventide
Allen + Heath
1430006, 51800 TC Electronics 2290 (Base Model), 51,350 - Sony 3324A, 400 hrs., 557K GS -3
AKAI S1000 HAFLER 125 Amps
MIDI bit stereo digital
Trident Trimix/7024x24 w P8, S12,500 Fostex E -2, $1,800 (2) Otari MTR -9011, $27K 121
sampler
16
AMEK 2000 Studer A -800 Mk111, $35K Studer A-80 MkIII, $25K Neumann U87í , 51,500 AKG C -414, In Line
call for price Neve 1066 eo/mic pre, $1,400 Neve 1073 egrmic pre, 51,500 Neve 8068
CARVER Amplifiers OTARI MX5050
MkII 32 Vo, mint, 585K Neve V2 48 Vo w /moving faders, $165K SSL 4048G, call for price Console
Model 100. 300. 1200 FOSTEX E -8, A -20 SSL 4056 E,/G, call for price SSL 6056E, call for price Lexicon 4801. w/SME and Lare, $8200
JUICE GOOSE 150 -R DBX 160, 5450 AMS 15 ADS, S5K AMS RMX 16, 54,200 Lexicon 200, $1,500
APHEX
RANE GE27 Neumann M49, M50, U47, U48, U67, call for price EMT 250, 512,500
Compressors. dominators
CONSTANT-0 COMPLETE SSL ANALOG / DIGITAL FACILITY
ADAMS -SMITH 2600
INCLUDING MANY VINTAGE PIECES BUY, SELL
JBL Speakers Syncironizers

yf. CALL FOR LISTING Of INVENTORY CLEARANCE ITEMS & TRADE

MICOR VIDEO EQUIP
5545 N. Clark St., Chicago. IL 60640.1222
Telex 910 240 9449 Fax 312 334 4385

312 -334 -4300

IT

800-788x875
617d26-2763 FAX
Vintage & Used
Equipment

IN -STOCK USED PRO -AUDIO EQUIPMENT 63 MELCHER STREET BOSTON, MA 02210 617-426 -2875
Circle (41) on Rapid Facts Card

BUY - SELL In Stock:

CONSIGN
NEW & USED
JVC DS -DT 900
Otan MTR 90 /MTR 12 /MX 5050 SONEX- SOURCE
Studer A-801 / A -810
AUDIO & VIDEO Tascam M-50/M-216 / 112 /48. 58 Nonotuck St . Northampton. MA 01060
EQUIPMENT
Full Line Dealer
JVC Sennhelser
Audlo-Technlca
CALL
BARRY
Graham Patton 612 /D -Esam 800
Sound Workshop Seves 30

818-845-7000 818-845-9483 wreck 800.348.7600

Best Prices - Natioiwide Delivery
'Your Source for Sonex Acousticaï Foam'

800-484 -1003 Ext. 0032 413-584-7944

AKG Broadcast Store, Inc. Order Credit Cards Accepted Fax or info

Circle (42) on Rapid Facts Card

DAT TAPES VTMP -2 TUBE MICROPHONE PRE -AMP

e
120 Minute
"Nume BrrlTrt!
o
ONLY $6.99 -^
nnlull,Ar a.ltl, Ilrll sr(,(I. o e
,ultlp, I t
ALL TUBE DESIGN, TWO CHANNELS OF JENSEN 13K6C MIC TRANSFORMER INPUTS AND INSTRUMENT LEVEL
.tII "n(, AIH1 (''¡.2.11I-I INPUTS, PHANTOM POWER, VARIABLE GAIN, LOW THD (.06%), LOW NOISE (124 EIN), PEASONABLY PRICED

800- 321 -KSET USED BY: WALTER BECKER, HUGH PADGHAM (STING), RY C00DER, ALLAN HOLDSWORTH,
ANTON SANKO (SUZANNE VEGA), MICHAEL HEDGES & OTHERS
M /CARD -VISA FOR INFORMATION ON THIS PRODUCT OR THE TUBE DIRECT BOX CONTACT:
Money Buck Gum-office DEMETER AMPLIFICATION INNOVATIVE AUDIO
CASSETTE HOUSE (818) 986 -7103 FAX (310) 470 8817
1907 PARNELL AVENUE. LOS ANGELES. CA 90025

Circle (43) on Rapid Facts Card

May 1992 REP 67
 FOR SALE

SINGERS!
SALE'
MARKERFOAM "ACOUSTIC FOAM
I Affordable Time
Code
REMOVE VOCALS
FROM RECORDS AND CDs!

#0-1 GIANT
r p-.lp 54 "x54"
Immediate Shipping
'1 -C -1 Time Code Reader
TC -Maxi/Mix Studio Time Code
Y Reg 52995 Now $19.99.3" Reg Readers
S39 95 Now 529.99, KILL NOISE QUICK'
>

Hgh performance. full-size sheets of super high density Markerfoam. Syncbox 'rime Code Generator I xF yj
E2 mount. Blue or gray. Supemiffective sound absorption for studios ¡,`ta
Markedoam offers best value. boles profession' & is proven ,r sr,.. TS- Grande Concert Slate
worldwde Request Foam-Buyers Guide Catalog. specs & free sar-p es
today VISA. MC. AMEX. COD. PO's. QUANTITY DISCOUNTS EC -2 TC Counter
:M vs-!
-+-F-
't C
MARKERTEK JUMBO TS -1 Time Code Slate
.
. ', .

SOUND ABSORB BLANKETS

---
,/,
;h /l,.
Hea vY -duty72- x60 - padded blankets
absorb sound wherever they re hung or SING WITH THE WORLD'S BEST BANDS!
-
.V ..J draped Fabulous for stage. studio 8 held
use Top professional quality at a super
saver once' Weight. 6 lbs Black. $1999. OMEN 'ONE_
An Unlimited supply of Backgrunds from standard
stereo records! Record with your voice or perform live
with the backgrounds. Used in Profssional Performance
2
MARKERTEK BLADE TILES'" yet connects easily to a home component stereo. This
unique product is manufactured and sold Exclusively by
HIGH PERFORMANCE
LOW, LOW COST! LT Sound - Not sold through dealtrs. Call or write for a
$3.49 per tile. 16x16x2- Free Brochure and Demo Record.
Denecke, Inc. 5417 B Cahucnga Blvd
America s best acoustic Ide
value. only from Markenek'
LT Sound, Dept. RP- 3,7980 LT Parkway
Charcoal Also available 16x N 1lollywood, CA 91601 Lithonia, GA 30058 (404)482 -4724
16x3- as shown. $4.49each. Manufactured and Sold Exclusively by LT Sound
(818) 766 -3525 (818) 766-0269 FAX 24 HOUR PHONE DEMO LINE: 14041482-2485
MARKERSTIK' loam adhe-
sive FREE with any Foam pur-
chase in this ad' Lintel offer
A $5.95 per tube value

:istk g
itF S O N E X
-t1t 1f I All the colors and sizes
plus great prices! The Studio POP Filter CABLE REELS
Get our FREE 149-page catalog A Great Improvement on a Good Idea! Large Cable Reel with casters
of over 6.000 exclusive and hard -
Open up the sound of your vocals R-460S Heavy duty frame & bearings
to-find supplies for audio & video. and voice overs without annoying
ONLY Robust winding handle
800 -522 -2025 catalog
America's most unique "POPS" ruining your best take!
FAX: 914 -246-1757 for audio & video! Standard mic stand Only $295.83 Ideal for multi-channel snakes
& long single-channel mic runs

MAR ERTEK
idaptor with threaded
miss
ss insert $ In stock
With optional for immediate
4 Saugerties One piece plastic ems r
Clamp and
VIDEO SUPPLY
New 'ork 12 US A 5' a 6- diameter -rn Gooseneck
delivery! ! b-

Circle (44) on Rapid Facts Card

cream or black

ONE YEAR GUARANTEE

4495
plus smppmg
HAVE is the
largest stocking a
t,
AUDIO VISUAL ASSISTANCE distributor of 309PO'L:gAVQHU2..7. ,NY12534
565 Sherwood Road, CANARE in the
CUSTOM LENGTHS RECORDED OR BLANK
ALSO TELEPHONE ON -HOLD SYSTEMS
Shoreview, MN 55126
Phone: 612-481 -9715
USA! 518/828 -2000

MADE OUR
IN 15th IEnu
U.S.A. YEAR
DATRAX® ELIO
-7

MANUFACTURER DIRECT
MANN ENDLESS CASSETTE INDUSTRIES
P. O. BOX 422093. SAN FRANCISCO. CA 94142 -2093
(415) 221-2000 FAX (415) 387-2425
Sony /MCI Trident Originator in DAT Tape Storage Systems.
Tannoy Eventide DATRAX 60 Solid Oak in Natural or Black Finish
DAT /DAT Tape Flight Cases
Yamaha Tubetech
Nylon DAT Tape Carrying Cases
Fostex Soundtracs
Contact Renée Hambleton, 913 -967 -1732, Beyer Roland Akai
NEW PLASTIC LINE:
for information on frequency and pre- DATRAX 40 Video 8mm Raz, holds 36
Ramsa Panasonic Cassette Ras, holds 48
payment discounts, or send your order and
materials to: Mini Lease Program For
CALL TOLL FREE:
information or to order:
800.9.DATRAX
Renée Hambleton New or used, trade-ins 24 -60 Tel: 818.783.9133 Fax: 8.8.783.9318
REP months with buyout option BRYCO PRODUCTS, 13444 Noorpark St.,
9800 Metcalf $5K -25K no financials Suite 23, Sherman Oaks, (A 91423
Overland Park, KS 66212 -2215. required min. 2 yrs in business.
Fax your ad to 913 -967 -1901 :

1- 800 -333 -2172

s11lii1ii11
- 'I) ' , s

68 R E P May 1992
FOR SALE, con't.

MILAM AUDIO
Bc' "THE SOURCE"
SINCE 1567

CONSOLES
Now You Can Afford MULTI -TRACKS
THE WORLDS FINEST MONITORS
D.A.T. AMPS
REICHENBACH ENGINEERING is now marketing
EFFECTS MICS
their Legendary audio transformers through USED EQUIPMENT
BAUER COMMUNICATIONS, INC.
Reichenbach pioneered the technology giving you 1470 Valle Vista Blvd.
flat group delay. and the beset response. with no Pekin, IL 61554
overshoot or ringing OLI low distortion core
material eliminates that muddy bottom end.
(309) 346 -3161 Digital Audio Tape In Stock
800 -334 -8187 Analog Tape, Audio Accessories
1 25 100 FAX 309 -346 -6431
,c 115K-E $53.92 $4471 $3439 Phone In Order. Ship Same Day
RE-11P-1
RE-MB-C
RE-MB-D
RE-DB-E
$51.31
$43.54
$7615
$54.64
$4255
$36.11
$6314
$45.31
$3272
$27.77
$4856
$34.85
Great Quality - Great Price

vi.il u.:n Bl.ah 624 AVOID OBSOLESCEN(]- Call us at

\ 5l .1('om'cnnun.:ln:,hrint
April 27-24, I
04 CHOOSE
AUDIO UPGRADES
(313) 662 -0669
B li:1( ER CllSl.tr! .S/CA r/OrI:S, LM'.
Replace the IC's. transistors.
for prices on tapes & duplicating
Phone 1K(xt1627-7277 Fax IRIxI K94-117I5
ILmnrrh inerArliJ 01n1`I Irmrn b.in.l,rminl and caps in your console:
tape machine and outboard gear World Class Tapes
Circle (49) on Rapid Facts Card and achieve better than new sped' Audio Tape Distributors & Duplicators

SUPERCOUSTIC 670 Airport Blvd., Suite 1

NFI
ACOUSTIC FOAM AUDIO UPGRADES P.O. Box 7611
Box 7551 Mission Hills, (A 91346 Ann Arbor, Michigan 48107
GUARANTEED LOWEST PRICES IN THE COUNTRY
WE'LL BEAT ANY DEAL. (818) 78(1 -1222 FAX (818) 892 -7785 (313) 662 -0669
48" x 48" (1- 800 -365 -0669 outside Michigan)
IMMEDIATE
SHIPPING

ACOUSTICAL CONSULTING Circle (46) on Rapid Facts Card

2'- $15.50
3 "- $23.50
4'-$27.50 FOR SALE
Medium Blue or Custom Charcoal Colors. BUILDING A STUDIO ??
Stop Sound Now! With the Highest Density SSL 6056E, Loaded 40, TR, RH.
Polyurethane Foam available anywhere. STUDIO & ACOUSTICAL DESIGN Patch Bay, VU, 5yr. old "MINT-
Excellent sound proofing for all applications.
Custom colors and sizes, also available.
COMPLETE STUDIO PLANS Non-Smoking. $149,000.00 Firm.
Warning- Don't buy low denr:ity bed size matt- WIRING SYSTEM DESIGN 2 Otari M'IR 90 Midi Both $48K.
ress foam that has no sound absorbing propert- STUDIO INSTALLS & PRE -WIRING
ies or specs. Buy from the only company that X86 2tk. W/Apogee's $7,500.00.
OTARI & TASCAM SERVICE
specializes in foam and Guarantees satisfaction)
Call now for FREE Catalog, Specs. & Samples Have your new room or facility designed
Sony BVH -1100A 1" VTR
& built by audio professionals with over $7,500.00. Ampex, Urei, Eventide,
NATIO \AL FOAM, INC.

°I 1- 800 -356 -0944

6311 De Soto Ave., Suite A
'111.4
Check
o
20 years experience as mixers, produc-
ers, musicians & studio owners.

db ENGINEERING
Lexicon, Neumann, AKG, plus
much more.
Call Karl (503) 274-8544
Woodland Hills, CA 91367 C D
FAX (503) 274 -7684
Boston, MA (617) 782 -0648
Circle (45) on Rapid Facts Card

RENTAL EQUIPMENT PERFORMING ARTISTS WANTED

INSTRUCTION
db Rents Exotic & Tube gear !!! Mountain Lion Production
Tubes Exotica & Other
Neumann U47 API 550 EO Currently looking for performing artists
Neumann U67 ITI /SontecParametric Recording Live Sound Music Business for listing publication in North Carolina,
AKG C -12A Vocal Stressor Composition MIDI and more! South Carolina and Virginia. Please send
Pulten Mavec Eq/Pre Aphex Compellor Over 550 titles. demo tapes and available dates to:
Altec 1566A Mic Pre
New Items AlwaysBeinq Added
Aphex Dominator
Call for Availability
FREE CATALOG (800) 233-9604 P.O. Box 18207, Raleigh, NC
6400 Hollis St. n12, Emeryville, CA 94608 27619 or Call 919- 790 -3829.
db ENGINE ERING Inc. Agencies & Producers ltelcome.
Tel:(617) 782 -0648 Fax:(617) 782 -4935 MIX BOOKSHELF

May 1992 R E P 69
 EQUIPMENT WANTED DUPLICATION SERVICES

Were looking for equipment of Wanted: Dead or alive COMPACT DISCS CASSETTES VIDEO
exceptional audio quality... Pultec, ITI, Lang. Sontec EQs, Telefunken. CD Replication Real Time Cassettes for CD -like sound
NEVEs. SSLs, AMEKs. Fairchilds, Neumann, AKG or RCA mies. UREI, dbx. UA. High Speed Blank Tapes Complete Packaging/Printing
LA -2As, Pultecs, Langs. etc. Teletronix, Fairchild limiters and other gear. Every tape checked ándguaranteed Fantastic Quality
Cash or Trade Boxes or tubes: API or Neve consoles and old and Service
this is not a problem

MERCENARY AUDIO
guitars.
Dan Alexander
5935 Market St. Oakland, CA 94608
f RO
1- 800 -365 -TAPE (8273)
tow Prices
Tel: 617- 784 -7610 Fax: 617-784 -9244 510 -644 -2363 Fax 510 -644 -1848

Sell Your Clean Used Gear ! EQUIPMENT WANTED

List For -Sale Items Free !!
BUY OR TRADE
WANTED; UREI, Teletronix, Lexicon, YOUR USED MULTITRACK RECORDERS
Neve, Trident, AMS & dbx. All tube
mics. Clean multitracks & consoles.
db ENGINEERING Inc.
AND CONSOLES
EAR PROFESSIONAL AUDIONIDEO
0C Drs
for i?; hl Dcins
(602) 267 -0600 Othertpackages
dupllcationNakamk
Tel:(617) 782 -4838 Fax:(6 1 7)782-4935 tlmee Bin pduplHDesign n9
,Rp1

PACKAGING MISCELLANEOUS
*Digitalo100
t(229-
DUPle¡eAn4
ord.Design
ree catalogue
1.10-(301)
Baltimore,

RELIAf10E
Audio Packaging Solutions
AUDIO 14FEC13
Albums for CD's with DISC MAKERS
or without Jewel cases STUDIO EQUIP FOR HIRE Cassette
Albums for audio and Technician on staff 7 am. - a.m. 1
video cassettes Duplication
Many Styles Open 7 days a week
Custom Imprinting Digital Tape Machines,
Record Pressino
Ideal for boxed sets CD Replication
Synclavier Systems.
Effects Processors, Reverbs Video Duplication
Call today for free catalog. Complete Packages
(213) 871 -1104 (818) 980 -4006
Reliance Plastics & Packaging Division
217 Brook Ave.. Passaic. NJ 07055 Ask For Mark CALL FOR OUR FREE FULL COLOR CATALOG
Fax :( 201)473 -1023 Phone (201) 473 -7200 1- 800 -468 -9353 (In PA: 215-232-41401

Circle (47) on Rapid Facts Card

DISC MAKERS
132E North dth Street
LEASING /FINANCING Phrlodelphro, PA 10019

EQUIPMENT FINANCING
"LOANS BY PHONE"
NO FINANCIALS REQUIRED
LFCI
Equipment Leasing
ESP
FOR TRANSACTIONS UNDER
TAPES & CD REPLICATION
$50,000
NEW OR USED EQUIPMENT Up to $75,000 with CD'S HIGH SPEED
$2,000 TO $200,000 credit application only CASSETTES
NO DOWN PAYMENT 48 hour credit decision
AUDIOPHILE REAL TIME
SALE -LEASEBACK EQUIPMENT Nationwide
CASSETTES ON TDK -SA
FOR WORKING CAPITAL New & used equipment
WE DO START-UP We can recommend DIGITAL MASTERING
BUSINESSES EASTERN
discount equipment STANDARD
AND EDITING
TO APPLY OR REQUEST dealers PRODUCTIONS, INC. COMPLETE
ADDITIONAL INFORMATION Over 10 yrs in the A/V 37 JOHN GLENN DR. PRINTING
CONTACT MARK WILSON industry BUFFALO. NY 14228
AND
(800) 275-01851 TEL 716- 691 -7631
PACKAGING
FAX: (214) 235 -5452 Apply by phone
FAX 716- 691 -7732
1-800-527-9225
a7 NATIONAL
,UNDING
(800) 626 -LFCI 1-800- 527-9225
FORA FREE BROCHURE

BUSE REP CLASSIFIEDS

70 R E P May 1992
SERVICES

LOUDSPEAKERS- EXCLUSIVE COMPLETE CD AND CASSETTE

Warranty/Non Warranty Repair. ALIGNED AUDIO INC, PRODUCTION

PS
JBL
* AR
Factory Authorized Center
Professional -high Fidelity
Four Day Turnaround For Stocked Kits.
All Work Done By Factory Trained
SUPER QUALITY
Audiophile Record Pressing
1111
I_l11 71 I I
IllllIL 'air Irr
¡DC
Technicians. CD Replication
PRICE STEVENSON ACOUSTIC RESEARCH Real Tana and High Speed 212-333-5950
1591 Broad Run Rd.. Davningtown. PA 19335 (215) 383 -1083 Cassette Duplication
MASTERING REPLICATION
Direct On -Shell Imprint in Colors
PRINTING TOTAL PACKAGING

RCA MICROPHONES -Repair .COMPLETE -tk'C &A cS POSTERS GRAPHIC DESIGN STUDIO
PERSONALIZED EXPERT SERVICE
service on all models. Complete
sound and cosmetic restoration.
We also repair other ribbon types.
ú Call Today for your Free Catalogue
1 000-869-6561
718-788-6969
I 101 WEST 57TH ST. NEW YORK, N.Y. 10019

-;-7
OR 1- FOR THOSE WHO HEAR THE
ENAK Microphone Repair, 420 DIFFERENCE"
Carew Avenue, Pitman, NJ 08071.
FAZ 18-4 99-0 4 21
(609) 589 -6186. Circle (48) on Rapid Facts Card

WHEN YOU'RE READY FOR THE BEST! .I,315Ó3 PIV3SVl 7Ar 833NÓ4-,,
State Of The Art
Cassette Duplication Pro Digital Inc. ú
HIGHEST QUALITY CASSETTE DUPLICATION
CUSTOM LOADED BLANKS LOWEST PRICES
1 -800- 242 -2015
RECORD DEAL Rot order
Service
Make Your Music LOOK
CUP OF WATER PRODUCTIONS
13780 12TH ROAD PLYMOUTH, IN 46563 As Good As It SOUNDS O
l,t.l, t'\perl repairs
on all DAT recorder
brands & models.
MAGNETIC RECORDING HEADS Two Day Turnaround
on most Sony and x
RELAP /REPLACEMENT for Audio. Video. m
Time Code, Duplication. Panasonic machines. t-
N
O
30+ years of head design experience. Free Estimates

:
u_

350 N. Eric Dr., 215.328.6992

1 Palatine, IL 60067
800 -227-4323
AIWA TASCAM PIONEER TS

AUDIOPHILE
QUALITY...
-pe STOP PAYING TOO MUCH FOR YOUR CDs!
' US' MOST
COMPLETE FACILITY! RECORD ^'
Cassette Duplication Complete CD manufacturing and marketing services.
Compact Disc Production
DMM Vinyl Pressing Custom
Our regular prices beat their
Graphics Mastering Studios
COMPLETE PACKAGES with state -of -me -art 1. Lowest Price advertised specials!
Neve Digital Mastering for CD, Studer 8 Lyrec
HX -Pro Cassette Duplication. DMM Mastering Designed to fit your
for Vinyl and a complete in -house art
department - design, layout, typesetting, color
2 Customized Packages individual needs.
separation. Get THE BEST at no extra cost'
For a Complete Brochure. call or write
y
,+° "' .. 3. No Extra Costs
What we include
(that they don't!):

0
EUROPADISK. LTD.

ONE
75 Varick Street. New York. NY 10013 kniv
n (212)226 -4401 FAX (212) 966 -0456 Digital Mastering
1-800 Glass Mastering
Printing, Graphics
4. Packaging Environmentally
Renée Hambleton safe alternative!
Classified Advertising Manager
Broadcast Engineering
Complimentary color ads
REP -SBVC in major music magazines!
Video Systems
9800 Metcalf
Competitive turn -around time!
(913) 967-1732
Overland Park, KS 662'2 -2215 FAX: (913) 967-1901
70 Route 202 N., Peterborough, NH 03458. Fax:(603) 924-8613

May 1992 R E P 71
 AIW fi4ue sue. Oat
Rapid CLASSIFIEDS
Page Facts Advertiser Renée Harnbleton
Number Number Hotline 913 -967 -1732
9800 Metcalf
Aligned Audio 71 48 718- 788 -6969
Overland Park, KS 66212 -2215
Anything Audio 67 41 617-426 -2875 Telefax: 913-967-1901

Aphex Systems Ltd 35 17 818 -767 -2929

ARX Systems 51 23 714- 649 -2346 SANTA MONICA, CA

Herbert A. Schiff
Audio Precision 25 12 800 -231 -7350 310 -393 -9285
Jason Perlman
Bauer Communications 69 49 800 -627-7277 310- 458 -9987
Kelly Daugherty
Bruel & Kjaer /TGI North America .19 10 519 -745 -1158
310- 451 -8695
Carver 29 14 800 -443 -CAV R 501 Santa Monica Blvd., Ste. 401
Santa Monica, CA 90401
DB Engineering 66 40 617 -782 -4838 Telefax: 310 -393 -2381

DBX, Div. of AKG Acoustics IBC 2 510 -351 -3500

Fast Forward Video 49 19 800-755-TIME NEW YORK, NY

Ron Lew
Frontera 57 24 619 - 727-3410 212 -332 -0634
38th Floor
The Hollywood Edge 65 21 800 -292 -3755
888 Seventh Ave.
Innovative Audio 67 43 818 -986-7103 New York, NY 10106
Telefax: 212 -332 -0663
Lectrosonics 27 13 800 -821 -1121

Markertek Video Supply 68 44 914-246 -3036

OXFORD, ENGLAND
Mercenary Audio 66 unlisted 617 -784 -7610 Richard Woolley
Unit 3, Farm Business Centre
M.T.U. 49 20 919- 870-0344 Clifton Road
800 -356 -0944
Deddington, Oxford
National Foam Inc 69 45
OX15 4TP England
Peavey Electronics Corp. 11 8 601 -483-5365 Telefax: +44(0) 869-38040
Telephone: +44(0) 869 -38794
Rane Corporation 41 18 206 -355-6000 'lèlex: 837469 BES G
Recording Industry Source 51 22 213- 841 -2700

Reliance Plastics & Package 70 47 201 -473 -7200 LIST RENTAL SERVICES
REPRESENTATIVE
Seam Tech 67 42 415 -543 -0170 Lori Christie
9800 Metcalf
Sony Professional Audio 7,23 800 -635 -SONY
Overland Park, KS 66212 -2215
Soundcraft U.S.A. BAC 818-893 -8411 Phone: 913 -967 -1875
Fax: 913 -967 -1897
Spectral Synthesis 31 16 206- 487 -2931

Studer Revox America Inc. 3 4 615 -254 -5651

TOKYO, JAPAN
Tascam 1 3 213 -726 -0303 Mashy Yoshikawa
Orient Echo, Inc.
Technical Audio Devices IFC 1 213 -816 -0415 1101 Grand Maison
800 -828-6107
Shimomiyabi -Cho, 2 -18
Telex Communications, Inc 4 5
Shinjuku -ku, Tokyo 162, Japan
World Class Tapes 69 46 313 -662 -0669 Tel: (3) 3235 -5961
Telex: J -33376 MYORIENT
Yamaha International Corp. 15 9 800 -395 -1313 Fax: (3) 3235 -5852

72 R E P May 1992
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PRODUCTS THAT SET THE STANDARD
CJI.RLSSON/1II/IffNS. EOIlA1I/fN;, MOUUlf.k P!rJr.I',',riN'. AN!) Nr)15f RiUUl.11ON SYSTEMS
1525 Alvarado Street. San Leandro, CA 94577 Tel: 510/351 -3500 Fax: 510/351 -0500

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For The Artist In Every Engineer.

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Now you can afford the best. Hear Sapphyre today at your authorized Sotmdcraft dealer.

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85(X) Balboa Book ird, Northridge, CA 91329
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H A Harman International Company