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STUDIO
Aided Design and the Recoi,
The Remodelling of Pc

ork Control

Rúniain Neva Audio and British MC2Power Amps

 He spent a fortune on a moving fader console.
Then he discovered the Soundcraft DC 2000.
Steady yourself, the price of moving fader consoles all industry standard formats, including the
just took tumble. Available in a variety of
a Tascam DA -88, Alesis ADAT and Sony 9 -pin,
configurations, with or without patchbay, the host of other time (and money)
and offers a

Soundcraft DC 2000 integrates powerful saving features.

automation into a highly specified The DC 2000 slashes the cost of equipping
mixing console. And, thanks to our a sound -for-picture facility and suddenly

revolutionary C3 Console Control and makes adding a second or third room a

CommunicationTM system, digital noise real possibility.
is effectively eliminated. To find out more call +44 (0)1707-668143 or see
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STUDIO
SOUN
AND BROADCAST ENGINEERING
Computer aided
design and its
part in the
building of Real
World studios.
See page 22

5 Editorial 18 SPL Optimizer 51 Perspective

Tim Goodyer considers the An unusual and surprisingly Martin Polon blows the whistle
problems of cultural references effective approach to outboard on thefts from audio and video
in an international setting and equalisation from the US. studios. Crime is rife, but there
discovers the real relevance of Review by Dove Foister ore solutions
the soap opera
20 Music News 53 On Air
7 Events Doepfer Musikelektronik's Kevin Hilton identifies emergent
The regular Studio Sound list of MAQ16 /3 offers MIDI -based trends in Digital Audio
shows and conferences already studio setups many of the Broadcasting and discusses
charts events as far ahead as quirks of analogue sequencing their likely consequences
December 1995. Fill in your missing from modern
Year Planner now equipment. Zenon Schoepe
reports
56 MC' MC-650
Klark Teknik founder Terry
10 International News Clarke is back with a
Pro -audio news includes details 22 CAD and the phenomenal new audio
of the Russian trade show now amplifie -. Bench test by
beckoning the West, New Recording Studio Ben Duncan
York's first Capricorn console, Cccr'essiug u elecnoro o
Fremont's first API console and
Mark IV's takeover of UK
internationally acclaimed 63 Neva Audio
designers produced an
distributor Shuttlesound interesting account of the
Computer Aided Design of
PA- 5002BG
From the depths of Russia
studio facilities. Stuart
comes an unorthodox audio
Litobarski reports
amplifier which is a testament
to Russian ingenuity. Bench test
31 Akai DD 1500 by Sam Wise
Akai's ,i9, a s : no nonlinear
systems for recording and
editing continue apace with the
70 Index to 1994
DD 1500. Preview by
The pro -audio journal of
reference indexed. Reviews,
Bag End monitors. See page 13 Jim Betteridge
features and authors cross -
eferenced for your convenience
37 Network Control
F

13 AES Products
Pro -audio product news from Network control systems will
the San Francisco AES features help define the future of audio
74 Business
and video -but what are they Barry Fox finds fires warning
new close -field monitors from
shots about the longevity of
Bag End, Apogee Electronics and how do they work?
16 -bit digital masters and
MasterTools software and Allen Mornington -West reports
questions the adoption of
Sabine's Real-0 adaptive
industry standard M -O
equaliser 44 Namouche Studios
One old Portuguese studio has
17 ADT Serial recently been redesigned and
now offers an Aladdin's Cave of
Digital Analyser classic audio equipment.
Is this the portable signal Philip Newell reports
analyser no studio engineer or
broadcaster can work without?
Review by Francis Rumsey
Akai DD 1500. See page 31
3
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Tel: *44 (0) 1707 665000. Fax: *44 (0) 1707 665723
STUDIO
SOUND
AND BROADCAST ENGINEERING

December 1994
Volume 36 Number 12
ISSN 0144 5944
EDITORIAL
Editor: Tim Goodyer
Production Editor: Peter Stanbury
Editorial Secretary: Deborah Harris
Consultants: John Watkinson; Sam Wise
Columnists: Barry Fox; Kevin Hilton;
Martin Polon
Regular Contributors: James Betteridge;
Simon Croft; James Douglas; Ben Duncan;
Tim Frost; Philip Newell; Terry Nelson;
Dave Foister; Francis Rumsey; Yasmin Hashmi;
Zenon Schoepe; Patrick Stepley
ADVERTISEMENTS
Executive Ad Manager: Steve Grice
Deputy Ad Manager: Phil Boume The Soap Barrier
Business Development Manager: Georgie Lee
Advertisement Production: Carmen Herbert I've just got back from the San Francisco AES show. It was one of the most positive scows I
PA to the Publisher: Lianne Davey
have been involved in for some years: there was lots to see, plenty of people to talk to and it
CIRCULATION
Assistant Circulation Manager: Diana Rabôt was guaranteed to leave all attendees suffering from exhaustion -and many of them
suffering from jet lag. Unlike the rest of the showgoers, however, I was given an invaluable
Managing Director: Doug Shuard
Publisher: Steve Haysom piece of advice on my return: you need a rest, it went, have a third of a Mars bar.
I left the advice and took the joke because it epitomised one particular element of
EDITORIAL AND
ADVERTISEMENT OFFICES international communication that has been troubling me for some time and was to come
Spotlight Publications Ltd, 8th Floor, Ludgate up in conversation several times in San Francisco.
House, 245 Blackfriars Road, London SE1 9UR,
UK. Tel: 071 620 3636. Fax: 071 401 8036. Let's back track. Mars is a chocolate bar sold for years with the slogan `a Mars a day
NEWSTRADE DISTRIBUTION (UK) helps you work, rest and play'. A third of a Mars was, therefore, supposed to provide me
UMD, 1 Benwell Road, London N7 7AX, UK.
Tel: 071 700 4600. Fax: 071 607 3352.
with rest. Take it or leave it if you are already familiar with Mars and the slogan -if
these elements are missing from your culture, however, your options are more restricted.
© Spotlight Publications Ltd 1994. The point is this: an international community-such as pro -audio -relies on common
All rights reserved.
points of reference to communicate. On the technical side these are relatively common,
Origination by Craftsmen Colour and so discussions concerning sampling rates, THD or data reduction can be condunted
Reproductions Ltd, Unit 1, James Street,
Maidstone, Kent ME14 2UR. with relative ease Small talk and humour translate rather less well.
So what?
Printed in England by St Ives (Gillingham) Ltd,
2 Grant Close, Gillingham Business Park, So nothing, if all you need to communicate are technical specs, operational procedures
Gillingham, Kent ME8 OQB, UK. and sales stories. But even with the luxury of a generally accepted language, producing a
Studio Sound and Broadcast Engineering magazine that is as entertaining as it is informative is quite simply impossible. Which is
incorporates Sound International and Beat not to say that Studio Sound should be any mare dry than necessary; we did, with the
Instrumental.
welcome cooperation of Penny & Giles and Caiac, run quite a successful `April Fool's'
Studio Sound is published monthly.
The magazine is available on a rigidly story earlier this year -and next year's observance of this particular old custom is
controlled requested basis, only to qualified already comfortably in hand. But it should be readily understood that there are
personnel. genuinely few opportunities to extract a smile from readers in Ottawa without confusing
Subscription Rates: or perplexing those in Osaka.
UK annual subscription: £24.00
Overseas surface mail: £30.50/ÚS:$89 It may be that help is at hand, however. No: content with home -grown soap operas
USA airspeeded delivery: $70 such as Coronation Street, Eastenders and Brookside, the British broadcasters have
Subscription Enquiries treated their viewers to ever increasing numbers of imported soaps. It began with
UK: Subscription Dept, Studio Sound American soaps such as Cheers (not forgetting Soap) and more recently has embraced
Magazine, Spotlight Publications Ltd,
Royal Sovereign House, 40 Beresford Street, more Australian soaps than anyone dare count. At the same time, British soaps have
London SE 18 6BQ. been finding their way abroadEastenders, fcr example has turned up in both America
USA: Studio Sound Magazine, 2 Park Avenue,
18th Floor, New York, NY 10016. and Australia. With the press in general becoming increasingly seduced by soap opera
US Postmaster references for their levity, we seem poised to establish a set of international `soap
Please send address corrections to: Studio references'- ready -made solutions to the levity barrier.
Sound Magazine, c/o Mercury Airfreight
International Ltd Inc, 2323 Randolph Avenue, Once these are agreed and implemented, we will be able to tour trade show bars
Avenel, New Jersey NJ 07001. cynically discussing the good old days of soap -free journalism.
US second class postage paid at Rahway, NJ.
On another tack, you will see that this issue contains an index to 1994's articles and
reviews-as we have run in previous years. Again, this facility appears in direct response
ABC .
mid r
to the many readers who retain Studio Sound for future reference.
LIWEIEMEI
Finally, it simply remains for me to say Happy Christmas, Joyeux Noël, Season's
BUREAU EOFCiNCUAiÓN9 EDIERCIET2
Greetings, Felices Fiestas, Frohe Feiertage...
Total average net circulation of 18,834 issues during
K: 7,357. Overseas: 11,477. (ABC audited)
1993. UK:
111 Tim Goodyer
/ nitA United Newsppenv publication Cover: Hitokuchi -Zaka Studio, Tokyo. Design oy Harris Grant Associates

5
 The Wonderbra" and our new 488 CYI\A- Squeeze'
Compressor /Interface were designed to perorm the sane,
remarkable feat: To gently squeeze and pus: up.
While the result of the Wonderbra is stri_tly visual. -he
effect of the DYNA -Squeeze is pureLj audible. And that s
where this seemingly ridiculous comparison ?Ads.
With the eight channel DYNA -Squeeze connected
between your console and digital recorder, c-irical gain riding
instantly becomes a faded memory. \ow yn can get back
to recording hot, just like the good cld analcg days.
And by gently pushing more sound inb the upper end
of your recorder's dynamic range, DYYNA- S:uaeze le_s ycu
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To get your hands on a DYNA-Squeey.e, ring us toll-re.?
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At $579, it may not improve
your looks, but we guarantee it'll do
wonders for your sound.
etrix
Woncerbra is a registered trademark of Canadelle. Inc.
 December 1994 Conference: Video on Demand, Convention, Sydney Exhibition August 1995
December 1st-4th, 13th Langham Hilton, London, UK. Centre, Sydney, Australia. August 25th-28th, Beijing
International AES Conference, February 25th- 28th, 98th AES May 1995
International Radio and TV
Dallas, Texas, USA. December Convention, Palais de Congrés, May 5th-7th, Theatre World,
Broadcasting Equipment
4th -7th, 5th World CD -i and Paris, France. Exhibition 95, World Trade Centre,
Business Design Centre, London, UK.
Video -CD Conference, Düsseldorf, March 1995 Beijing, People's Republic of China.
May 23rd-25th, Midem Asia,
Germany. December 13th, UK March 8th -12th, Frankfurt Pro September 1995
Hong Kong. May 9th -12th, Pro
AES Lecture: PA Systems -Do
Light and Sound, Messe Frankfurt, Audio, Light and Music China 95, September 14th-18th, IBC 95,
They Get a Fair Hearing? Frankfurt, Germany. March Beijing Exhibition Centre, People's RAI Centre, Amsterdam, Holland.
Imperial College, London, UK.
8th -12th, ITA Seminar The Republic of China. May 30th-31st, September 21st-24th, Nordic
January 1995 Converging World of Leipziger MedienMesse Hörfunk, Sound Symposium XVII, Bolkesj0
January 5th -7th, Showbiz Expo Entertainment, Information and Leipziger Messe, Leipzeig, Germany. Mountain Hotel, Norway
East, New York Hilton and Towers, Delivery Systems, Westin Mission October 1995
June 1995
New York, USA. January Hills Resort, Rancho Mirage,
June 8th-10th, Second Annual October 5th-8th, 99th AES
24th-27th, ITA Information California, USA. March
South American Pro Audio Expo, Convention, Jacob K Javits Center,
SuperHighway '95 Conference 25th -27th, The Pro Audio Show,
Centro de Extension, Santiago, Chile. New York, USA. October
and Exhibition, Santa Clara Karachi, Pakistan. March
June 8th-13th, International 17th -19th, Vision 95, Olympia,
Convention Center, USA. January 29th -April 2nd, Audiovideo 95,
Television Symposium, Montreux, London, UK. October 24th -26th,
27th-29th, JTS Conference: Lenexpo Exhibition Complex,
Switzerland. June 10th-12th, REPLItech Asia, Singapore
Preserving Our A -V Heritage, St Petersburg, Russia.
12th ShowBiz Expo, Los Angeles, International Convention and
NFT, London, UK. January April 1995 USA. June 13th -15th, Exhibition Centre, Singapore.
30th-February 3rd, Midem, Palais
April 4th-6th, REPLItech October 25th-28th, Broadcast
des Festivals, Cannes, France. REPLItech International, Santa
Europe, Austria Center, Vienna, Clara Convention Center, Santa Cable and Satellite India 95,
February 1995 Austria. April 4th-7th,
Clara, USA. June 21st-23th, Pragati Maidan, New Delhi, India.
February 7th -9th, ISDN User Communications Tokyo Audio Technology 95 November 1995
Show, Olympia 2, London, UK. Exhibition, Tokyo International
(formerly APRS), National Hall, November 2nd -4th, Broadcast
February 12th -15th, Siel 95 and Trade Fairgrounds, Tokyo, Japan.
Olympia, London, UK. India 95, World Trade Centre,
Theatrical Services Exhibition, April 9th-13th, NAB 95
July 1995 Bombay, India. November
Porte de Versailles, Paris, France. Symposia, Las Vegas Convention
July 12th -14th, Pro Audio and 7th-9th, Wireless World Expo 95,
February 15th, Conference: Still Center, Las Vegas, USA. April
Light 95, World Trade Centre, Moscone Center, San Francisco, USA.
Protecting the Media, Le Meriden 10th -13th, NAB 95, Las Vegas
Hotel, London, UK. February Convention Center, Las Vegas, USA. Singapore. July 17th -19th, December 1995
20th-23rd, Communications April 26th-29th, Broadcast WCA 95 (Wireless Cable December 5th-9th, Expo Comm
World 95, Hong Kong Convention Technology Indonesia, Jakarta, Association Show), Washington China South 95, Guangzhou
and Exhibition Centre, Hong Kong. Indonesia. April 26th-28th, Convention Center, Foreign Trade Exhibition Centre,
February 23rd -24th, 5th Australian Regional AES Washington, USA. Guangzhou, China.

CONFERENCE REPORT
Reproduced Sound 10
For the tenth year running, the protocols. Propositions included the with LF directivity. Paul Mills Tom Hidley and Keith Holland
Institute of Acoustics' annual computer-network control of major continued the saga of Tannoy's about a new approach to optimum
conference on `Reproduced Sound' live shows, and presentations ranged current -driven drive -unit to-be, with control room design. The starting
was held at the Hydro Hotel, from the European beta users a look at current -driving power point is a new approach to room
overlooking Bowness on Windermere, experiences (at Blackpool) before and amplifier topologies. James Angus treatment, to vanquish
a town astride England's largest lake. after Crest's NexSys, to design presented a development for speaker inconsistencies between similar
As usual the conference ran from 9am considerations for network controller designers, namely figuring into the rooms with similar monitors, and
on Friday through to noon on Sunday. ICs. The parallel open session design the inevitable acoustic effects allow main monitors to once again
This year, the programme was split included my own own presentation of the nearest of the six walls with take the place of nearfield monitors
into three sessions running partly in on realistic power amplifier test which most speakers interface. After as the ideal reference. This is
parallel. First, an acoustics training procedures and an eye- opening some papers by EAW's Chamness achieved by having little
course for sound engineers. Second, a illustration on the graphical results and BOSE's Cliff Hendricksen, reverberation, the so-called Non
tranche of papers on Network of conducted EMC tests on seven relevant to large installed systems, Environment -while avoiding the
Control. Third, other papers, covering state -of-the-art, high power John Watkinson took up `The future unpleasant psychological effects of
diverse topics, including loudspeaker amplifiers. In an ironic twist, the of digital recording'. overly anechoic spaces.
developments, amplifier tests, room amplifiers guilty of conducting the The conference ended with seven Ben Duncan
acoustics, and speech intelligibility. most RF onto the mains supply papers under the heading `Sound in
Ten presentations were all included all of those with Spaces', including studies of early Copies of the papers are available in
broadly about networked controlling conventional power supplies. In the reflections in control rooms, and two books (Vol 16a and Vol16b,
of audio -video-other devices via speaker developments session, Johns work with diffusers and active Part 4) from: Institute of Acoustics,
computers. These were overviewed Woodgate and Bowsher discussed absorbers. It was in this final PO Box 320, St.Albans, Herts
by Allen Mornington-West's developments of compact `bipolar' session that I found the most AL11PZ, UK.
description of the host of existing and higher order gradient speakers interesting paper, by Phil Newell, Tel: +44 1 727 848195.
7
 Digital
Solid State Logic
Oxford England

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Integral hard disk multitrack recording/editing, providing up to
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New studio computer with Ultimation " and Total Recall'
Optional lard disk multitrack recording/editing, providing up to
95 concur-ent access hard disk channels
 In -brief
Synclavier -Fostex alliance
International News
Healed wounds between The Synclavier Jazz Festival. which took place in an
Company and the development team at
FXR have allowed the two companies to
Liglitwave Fibox athletics stadium. Three mixes were
multiplexed on to a single 1,000 -foot
make attractive overtures to the postpro cable run to feed the main left-right
industry. Fostex will now feature The
Synclavier Co's S/Link file conversion systems in action signal to the stage and signals to four
delay positions, again using multiple
and EditView software in the OS of Several recent events have made use of power sources.
their Foundation 2000 nonlinear Lightwave Systems' Fibre Optic Lightwave Systems Inc.
recorder -editor. The SF AES Digital Audio Link, which is claimed to Tel: +1 214 741 5142.
Convention provided the launch have a 21/2-mile transmission distance
platform for the alliance and saw both
and 108dB dynamic range. The July
parties demonstrating S/Link v2.0,
illustrating their joint commitment to
4th Boston Pops Esplanade Concert's
audio broadcast was transmitted using
APRS: new name,
becoming serious contenders in the
the system, carrying signals from the
hotly-contested nonlinear competition.
Synclavier Co. Tel: +1 603 448 8887.
stage to the WCRB mixing- announcing
booth about 400m away and
new venue Mark IV take Shuttlesound. THE SF AES Convention set
Fostex R &D. Tel: +1 603 643 9811.
the scene for UK distributor Shuttlesoundto sign over to
Avid and Yamaha strengthen links eliminating the hum and other noise The Association of Professional
At AES, Avid Technology and Yamaha which had been encountered at Recording Services (APRS) is the Swiss Mark IV group. Set against a background of

announced enhanced hardware and previous concert broadcasts. announcing a new name and a new extensive discussion, the arrangement is reckoned by

software integration between Avid audio Crossroads Audio used the system venue for the 1995 exhibition. Taking both parties to offer benefits all round-Mark IV have

products and the Yamaha DMC1000 at the Freedom Festival in Austin, place from 21st -23rd June 1995, addressed a 'key country' previously denied their own
digital mixing console. Avid also Texas, featuring a concert by (among Audio Technology '95 is to be held in
distribution, while Shuttlesound are expected to retain
announced support for direct interface others) Fleetwood Mac and REO the National Hall at Olympia,
day -to -day running and ensure added security.
with Yamaha A-D and D-A convertors. Speedwagon. The signal was sent from London, where the show aims to
News of the improved links with a crossover at the console to a delay reflect every facet of today's Shuttlesound. Tel: +44 181 640 9600

Yamaha accompanied details of v3.0 for tower 200 feet away; `since the delay professional audio industry. this firm foundation, we wanted to
AudioVision and AudioStation, giving system was powered by a separate Now in its 28th year, the APRS look for new ways to give the event
16 channels of audio playback with generator, there could have been exhibition continues to be the only added value. It was with this in mind
picture from a single disk, and the power phase and ground problems, but event of its kind in Britain, attracting that we researched an improved
expanded family of products built with Fibox we had no problem at all', a very strong UK and international venue for 1995. Our goal was to house
around the AudioVision and explains Chief Engineer Pete Stauber, following from visitors and exhibiting the exhibition in one main area,
AudioStation systems. who also uses the system in large- companies. Exhibition organiser providing an even more dynamic
Avid Technology Inc. scale fireworks displays where wiring Philip Vaughn explains the rationale atmosphere, and responding to our
Tel: +1 508 640 3103. runs are frequently of the order of behind the new plans for 1995: We exhibitors' requests. The National
Avid Technology Europe Ltd. thousands of feet and multiple power enjoyed a very successful show in Hall does exactly that, providing us
Tel: +44 1753 655999. sources are in use. 1994, with enthusiastic reception of with an extremely prestigious
Avid Japan KK. Finally, Morgan Sound used two both the Briefings sessions and our location equipped with excellent
Tel: +81 33 505 7937. Fibox systems at the Mount Hood broader exhibitor base. Building on exhibitor and visitor facilities.
4000 Audio Precision System Ones `The scope of the APRS Show has
Audio Precision have delivered their
also widened dramatically in recent
4000th System One PC -based audio
years, in response to our evolving
test and measurement system to the
industry. The event genuinely
Moonwha Broadcasting Corporation of
encompasses audio technology in its
Seoul, Korea. The new System, which is
widest sense, and hence we also
a Dual Domain version providing for
decided to address the issue of the
generation and analysis of both
show's name. Audio Technology '95,
analogue and digital domain signals, is
the third to be purchased by the
coupled with The APRS Show,
network, and will by used by MBC's
encapsulates the whole story-the
engineering staff for maintenance and long- standing tradition of the APRS
repair of all audio components in the Show is visibly aligned with the
network's television transmission chain. dynamics of today's audio
The first System One was shipped to environment, perfectly defining the
MBC in August 1985. event that is unique for both the UK
Audio Precision. and the wider international
Tel: +1 503 627 0832. marketplace.'
Panasonic ADA T Over 30 British companies will be
As if in response to the recent Tascam- attending the forthcoming Paris AES
Sony DA -88 digital multitrack tie-up, Convention with the assistance of a
Alesis and Panasonic have struck a subsidy from the Department of
deal giving the Japanese giant license Trade and Industry. Coordinated
to support the Alesis ADAT linear digital Valves return to RS catalogue. The worldwide market for thennionic valves or vacuum tubes) is still thought to be through the APRS body, the subsidy
recording format. Announced at the
worth around S3bn. By introducing a range of valves UK component giants RS Components aim to address the
offers up to 50% of the stand costs in
San Francisco AES Convention, this the interests of stimulating British
particular needs of the audio industry. RS are offering eight audio amplifier valves, including two matched pain,
strategic alignment ensures future exports and has been awarded to
ADAT -based machines from Panasonic from National Electronics, one of the few remaining specialised valve manufacturers. Supplied to RS by Richardson
Focusrite, DDA, Calrec, Crookwood,
intended for the pro -audio and Electronics, the parent company of National Electronics, the valves feature familiar part markings and comprise the Professional Monitor Company
postproduction market. a range including preamplifiers, driven and output valves suitable for power outputs of up to 70W. and Tannoy among others.
Alesis Corp. Tel: +1 310 558 4530 RS Components. Tel: +441536201234 APRS. Tel: +441734 756218.
10 Studio Sound, December 1994
 Contracts
Solitaire in good company
Soundtracs' Solitaire production console

Russian showing has recently found favour with a number

of facilities worldwide. Among the many
Audiovideo '95 is the third takers are France's Tralala Music and
international pro -audio and video Triangle Productions, California's
exhibition to be held at the Lenexpo Levitan Studios, Israel's Merlin's Cave,
complex in St Peterburg. The main Holland's Studio 88, Italy's Dynamo
themes of the show are expected to be Sound Studio, Britain's Trident 2,
pro -audio and video, PA systems, Belgium's Chain Gang Studios and
broadcast and A -V services. This Japan's Rock On Company.
year's show (1994) demonstrated the Production of the Solitaire is now
increasing interest of Western meeting the demand of one console
companies in the former Eastern bloc every 48 hours. A Soundtracs Jade
through such exhibitors as Avid and console with full dynamics has been
Reflexion Arts. ordered by the Dutch Broadcast
Greet Co. Tel: +7 812 119 6245. Corporation (NOB) for their Studio 2
broadcast facility in Hurth, Germany.
NOB already have a Soundtracs In Line

BGW license console installed at Studio Rembrandt,

Hilversum.
Soundtracs. Tel: +44 181 399 3392.
lab Gruppen API In Frisco
API President Paul Wolff used the San
BGW Systems and Lab Gruppen have Francisco AES Convention to announce
announced the signing of an exclusive A second Studer Dyaxis ll system has been taken by the British Central Office of Information for i:s Overseas Radio
the sale of a Legacy Series console to
technology- licensing agreement Services studio. Serving government offices and agencies, the COI will use Dyaxis II mainly in the production of the Salyer Music Group in Fremont. The
concerning the design of the foreign language programmes for distribution to overseas radio and TV broadcast :rs worldwide. Seated with the console is a 48 -input Legacy fitted with
established Lab Gruppen model Oyaxis Ms COI Studio Manager Derek Thomas Uptown 990 fader automation and is
2000C power amplifier. The 2000C scheduled for January installation.
London, Howard Schwartz in New real time by directors who are
uses patented signal- tracking API Consoles. Tel: +1 708 653 4544.
York, Warner Bros in Los Angeles, hundreds or thousands of miles away
switching technology, allowing a Capricorn sighted in NYC
Film House in Toronto and Sound from the dubbing theatre.
linear amplifier to operate highly The first placement of AMS Neve's
One in New York. Use of the system Dolby Laboratories.
efficiently at all load impedances. The Capricorn console in New York has
allows actors to work on soundtracks Tel +1 415 558 0200.
lightweight switching power supply is gone to RightTrack Studio. Featuring
for one production while remaining UK: Dolby Laboratories.
the key to the 2000C's weight of only 72 faders, 180 inputs, 288 paths and
on location for another, and film Tel: +441793 842100.
10kg; impedance matching load - 160 channels of EQ- dynamics, the sale
soundtrack mixes can be evaluated in
selector switches enable the amplifier was the cause of celebration for those
to deliver a kilowatt per channel or concerned at the SF AES.
more into 80, 452, 2Q and 1.5Q. AMS Neve. Tel: +441282 457011.
BGW, renowned amplifier RightTrack. Tel: +1 212 944 5770.
manufacturers for over 23 years, plan Boxers knock 'em dead
to incorporate the technology of the As The Discrete Research Group
Lab Gruppen design in the announces the creation of Coastal
Performance Series Model 10, and to Acoustics Ltd to handle the Boxer range
further improve the product by of monitors, comes news of Boxer
working closely with key touring sales. New York's, Battery Studios and
companies in the US. Sony Music have taken delivery of T5
Meanwhile the new Performance systems, while Tokyo -based Hitokuchi-
Series 3 is a 2U -high 450W per Zaka Studios (see cover) have a Boxer
channel amplifier capable of Four system as part of Control Room 3.
delivering 1000W into a bridged 8Q Nittozaka Studios, also in Tokyo, have a
load, and featuring a switch ,n+nñei[m, /M.GkFH4hl
T5 system, while Revolver Studios in

r
hM1trhlMOpt
selectable clipping eliminator to eé8ódrGS1 (111446111 frö(mtth(ml New Zealand have bought Boxer Four.
prevent speaker damage. Coastal Acoustics Ltd.
=
BGW Systems Inc. `f4lcf'`l
r Tel: +44 1753 631022.
Tel: +1 310 973 8090. Middle East's largest studio
installs Motionworker
DB Studios of Tel Aviv have installed

Dolby Fax A West Coast US sale of three Fairlight MFX324 -track Digital Audio Workstations was announced at tihe SF AES by
their own Motionworker system.
Motionworker is being used to control
Fairlight Director of Operations and Tamara Rogers -COO of Hollywood -based Wave Sound Recorders. The DB's analogue Studer machines, with its

features in films 5 -room postproduction facility opted for the MFX3s after surveying competing system. Ms Rogers commented, 'the
four Sony serial ports controlling ADATs
and other serial machines. This allows
only Digital Audio Workstation that met our criteria was the Fairlight The Waves no allation joins a recent sale of
Among the growing Dolby Fax -user various combinations of analogue and
a further MFX3to EFX Systems, a Burbank -based postpro facility, and the seven Japai ese orders taken during
list are several major film studios, digital formats, and also enables a hard
October. These include Mini system for national broadcaster NHK, and MFX3s for Tokyo 109, Sony PCI and Crow
including Disney's Buena Vista a
disk recorder such as Cubase Audio to
Studios in Glendale, California, Studios. Other worldwide orders include Icon Post and Best Results in Australia, Zoo °ostpro in London, and be run directly from DB's SSL computer.
Twickenham Film Studios in Moscow's REN TV and Triarios Corporation. Fairlight ESP Pty. Tel: +61 2 915 1230. Fair tight US. Tel: at 213 460 4884. Motionwokks. Tel: +44 1865 865355.
11
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 In brief
Ultra-Harmonizer

"
Capricorn enhanced
First showing of v2.3 software for the
AMS Neve Capricorn console took
Elrentide ULTRA HARMONIZER' DSp 400c>
upgrade place at the recent SF AES

wJ, .
Earir/M * aeree Convention and included VCA -style
MU.
Eventide's flagship DSP4000 ñ
nSen groups, allowing any number of slave
Ultra -Harmonizer recently received .,,,
Fr"- M faders to be controlled by a single
an AES upgrade in the form of v2.00 group master; meter read -outs to
software. Internal processing and reflect selected analogue levels;
program loading are faster under the individual setting of word length and
new software, and 40 new patchable Perfect harmony-v2.00 software for the DSP4000 dither; direct monitoring of external
modules-along with extensive audio sources and real-time merging
modification to the Patch Editor 100Hz- 200kHz and are optimised for monitoring by a host computer. of automation mix passes.
-have been added. use with 100W amplification (at 80). The DA -800 avoids the problem of AMS Neve. Tel: +44 1282 457011.
The user-interface has also been The D10E-S carries dual 10 -inch physical controls not matching Apogee UV22 goes soft
improved, reducing keystrokes and drivers with 400W power handling remotely -set levels by performing all MasterTools is Apogee Electronics'
making operation `more intuitive', and (482) and extends the system response level adjustments with continuous - TDM plug-in version of the UV22
a Compare function allows switching down to 18Hz (100Hz crossover). turn shaft encoders which are then Super CD Encoding system. Allowing
between an existing program and an Bag End. Tel: +1 708 529 6231. displayed accurately on the LCD in redithering of 20 -bit masters to the
edit of it. The operating system now 0.5dB steps. Each channel may be 16 -bit CD standard, MasterTools
supports larger memory cards (up to adjusted independently, or the offers simultaneous peak and
4Mb S -RAM). Shipping is planned for
January 1995.
Apogee DA -8Th2 channels may be linked, providing
precision tracking with up to 31dB of
average, Smart Meter Ballistics and
Over Indication metering options
Eventide. Tel: +1 201 641 1200. Apogee Sound have entered a new offset; level controls may be disabled among its features.
market with the DA -800, claimed to with a lockout switch. Apogee Electronics.
be the world's first professional power Level control uses the MTA 1567 Tel: +1 310 915 1000.

In the Bag amplifier expressly designed for

microprocessor control, planned from
VCA, and the power stage delivers
over 800W/per channel into 40 at less
beyerdynamic push
back the boundaries
The SF AES Convention saw the its inception to work in Lone Wolf s than 0.005% THD (at 1kHz) in a The new MPC65 from beyerdynamic
surprise launch of a new close -field MediaLink network environment and 2U-high package. The DA -800 is is a low- profile, small footprint
studio monitor system from Bag End offering features not found on any available both as a `straight' power Boundary-Effect condenser
-the Studio System. The Studio other computer -controlled amplifier. amplifier or with internal processing microphone. Its polar pattern is
System A incorporates prematched The 800W/channel amplifier cards for the various models of semicardioid, rejecting sound from the
MM -8 close -field along with the features large backlit LCDs on the Apogee loudspeakers. The processor rear, which with its unobtrusive design
D10E-S subwoofer system and the front panel which selectively display models may be specified in a makes it ideal for theatre use. It
ELF-1 integrator, while the Studio attenuation level, output voltage, load Permanent version with all input and features a flat frequency response
System B combines MM-8s and impedance, true output Wattage, output connections on the rear, or a between 65Hz and 18kHz, with a
D10E- Ss,and the lower cost ELF -M. operating temperature and AC mains Road version with connectors on the low -cut filter on the separate
The MM-8 monitors use an 8 -inch, voltage. In a computer- network front panel. preamplifier-adaptor.
2 -way, dual -concentric, time -aligned environment all these parameters are Apogee Sound Inc. beyerdynamic (GB) Ltd.
driver, have a frequency response of simultaneously available for Tel: +1 707 778 8887. Tel: +44 1273 479411.
Yamaha quadruple -speed
CD recorders

Gotham cables Already incorporated in a Pentium PC

package from CD Revolution, the
Alongside their recently- introduced Yamaha CDE100 and CDR100 are
specialised digital audio cables, quadruple -speed CD recorders, in
Gotham have launched some new external and internal formats
microphone and analogue audio cables. respectively. The models feature a
GAC -1 is a sophisticated unbalanced newly developed exclusive optical
cable, using multiple layers of head, spindle motor, high-speed
screening and insulation around a signal -processing LSI and control unit,
central 48mm x 0.07mm conductor. and incorporate the Orange Book
Together with Gotham's exclusive (Part 2 incremental writing) 3 -mode
double-Reussen shield as featured on record feature, with Disk-at -once,
most of their cables, GAC-1 Track -at -once and Multisession
incorporates a viscose separation modes. The external version is
between jacket and shield, and a available with a hard drive fitted
conductive plastic layer around the internally, and both models are fully
centre conductor to ground static compatible with CD -DA, CD -ROM,
energy developed by moving the cables. CD- ROM /XA and CD -I.
Similar construction is used in the Yamaha Corporation of America.
GAC -2 balanced cable, but without Tel: +1 714 522 9011.
the viscose separation or the Yamaha -Kemble Music.
conductive plastic. Two 48 x 0.07mm Tel: +44 1908 366700.
conductors are individually insulated, Quested HQ410U
AES debut: Bag End's first close -field studio monitor system surrounded by an overall Quested Monitoring Systems

13
chose the SF AES Convention as the
separation and then enclosed in the effects specifically designed for video Autoplay II consists of Windows
launch platform for their new HQ410U
double -Reussen shield, giving postproduction and dance remixing. workstations, which can be in any
multiformat studio monitors, versatile
screening effective up to 25MHz and Redesigned versions of some of the number of different locations,
units which can be configured in three
95dB noise attenuation at 25kHz. PCM-70 effects are also included, controlling a scheduler control
ways: as a 3 -way passive monitor,
A smaller version is also available: such as Concert Hall and Tiled Room `engine'. Commands are sent from
split in half and bi -amped to give a
GAC -2/1 cable forms the basis of presets. New algorithms rejoice in any of the workstations to the control
2 -way active with passive crossover
Gotham's multipair series and retains intriguing names like Glide>Hall and engine via an ethernet LAN.
between mid and high frequencies, or
the double -Reussen shield in a Res 1 /2>Plate, and another unique The system is modular design,
as a full 3 -way active monitor. The
simplified overall configuration. feature is the Dynamic Patching allowing for quick and cost -effective
loudspeaker can be mounted vertically
Gotham AG. Tel: +41 1 840 0144. matrix, which makes it possible to customisation. Modules available
or horizontally, with a rotation of the
map data from any of 143 possible within Autoplay II allow for matrix
sub -baffle which carries the HF and
control sources to any effects and VTR control, a tape library, ad
MF drivers, and features four 10 -inch,
high -excursion LF drivers with double Lexicon PCM-&? parameter. Also included in the
PCM-80 is a pair of `dynamic
insertion, GPI switching for auxiliary
equipment and an automated
rear suspension, a 3 -inch soft -dome
New from Lexicon is the PCM -80 spatialisation processors' which scheduler. This last module lists the
MF driver and a 1' /e -inch ferrofluid-
signal processor, a true -stereo effects enable effects to be placed virtually status of past, current and future
cooled soft-dome tweeter.
unit offering balanced analogue anywhere-between the speakers or events, enabling schedules and
Quested Monitoring Systems.
outputs, digital I -0, multivoice delay even beyond them. schedule information to be inserted,
Tel: +44 171 731 7434
and reverb effects, and RAM or ROM Lexicon Inc. Tel: +1 617 736 0300. deleted or amended.
CCS cdqPRIMA
storage with a PCMCIA data card. Fax: +1 617 891 0340. One module that is unique to
CCS Europe showed their new
The data -card slot enables effects to Autoplay II is the Group Event
cdqPRIMA, which they describe as
be carried between studios, as well as Library, which enables the software
the world's first intelligent full -duplex
audio codec, at the SF AES and
allowing additional memory or
algorithms to be added and upgraded
Autoplay II to use a unique tree structure
allowing for the preparation of event
German Tonmeistertagung. The
as they become available. Maddox Broadcast, broadcast -and- batches for later insertion into the
cdqPRIMA features ISO MPEG Layer
Two hundred preset programs software systems specialists, have transmission schedule. With the
II (MUSICAM), G.722, up to eight
cover a wide range of applications introduced Autoplay II, a system system's multitasking environment,
contact closures, one RS485 and
including music, both in performance placing transmission control under modules can be run simultaneously
three RS232 interfaces, and
and in production, and a range of Windows computer control. and more than one copy can be used

Unbelievable
.. CHANNEL ONE
d
- -
25 40 63 100 160 250 400 630 1ÌC 1.6K 2.5K 4K 6.3K 10K 16K GAIN OUTPUT

+12
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STEREO
M iMM
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!

MI= =MI MMEMM,SIOM 11OM Mal 11 ENNUI MINN " .1Ill NNW MIN "p
-
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0

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IC
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Nip know it's hard to believe. hut all fine EQs don't have to he expensive. Just take a look at the new
Q 215 ...
it's got the features. it's gol the dulabilki: it's gol the price. and it's got the saune Peavey. ...
firs
let x'1111 adjust a frequency hand kn. w khoul impacting adjacent frequency
The Q 215's cY1nti11m/ Q f
bolds. These cMn1slan1 Q fillers also eliminate the distortion created at high cul/boob1 levels that plague -
 either on a single workstation or
across a network. All information is
MEW 1110'"--
modularity in terms of network
interfaces. The synchronisation of up
to six ISDN B channels is performed
shared and all status screens are
according to the ITU-TJ.52
updated in real time. Full support of
recommendation, so that bit rates
all system functions can be given
between 56 and 384kbps can be
remotely via a modem.
transmitted without any additional
Maddox Broadcast Ltd. ISDN equipment. The unit can realise
Tel: +441293 542275.
complete systems, such as DAB, ADR,
SF AES surprise-Sabine's Real -Q point -to- multipoint for advertisement
distribution or satellite backup.
Get Real-O Sabine. Tel: +1 904 371 3829. result is precision directionality and
accurate frequency response even
CCS Audio Products.
Tel: +1 908 946 3800.
The San Francisco AES Convention below 2kHz in a microphone only CCS Europe GmbH.
provided a suitable and popular
platform for the release of the Sabine
Sanken shotgun 30cm in length. Three switchable
modes of operation are provided:
Tel: +49 8 11 55 160.
SADiE scores
Real -Q Practical Adaptive Equaliser. On show from Sanken at AES was Mono for sharp shotgun directivity
Version 2 (free) software release for
Aimed primarily at live events, the the new CSS -5 compact shotgun and maximum low- frequency the popular SADiE reorder-editor
Real -Q is a DSP -based equaliser microphone with switchable definition; Normal for directional include SCSI CD -R, DDP 8mm CD
capable of continually monitoring the mono-stereo functions. Developed in hypercardioid focus with accurate mastering format (Red or Orange Book
response of a performance hall and conjunction with NHK, the stereo localisation; and Wide, with standard), backup to Exabyte, 16, 20,
maintaining a predefined curve. 5- capsule CSS -5 is already in use for expanded 140° stereo image for 24 -bit editing and a hardware
Unashamedly pitched at more television dramas in Japan, and is cinematic ambience and SFX. controller interface. In SA&V's latest
elaborate and less automated systems, also intended for use on location Sanken claim that the sonic accounts, the company claim 560
the Real -Q includes pink and white film -video documentaries and major characteristics of the frontal sound systems installed during 1994 and
noise generators, real-time analyser, broadcast events. remain unchanged even when identify 45% of systems sold being for
31- band digital master and adaptive The design combines directional switching from mono to stereo. export from the UK.
equalisers, inputs for two reference capsules to create a line microphone Audio Intervisual Design. SA &V. Tel: +44 1353 648888
mies, digital input and output, with a second -order pressure - Tel: +1 213 845 1155.
10 memory locations and MIDI. gradient effect, and the claimed

-- -> than a EQ,ti using infcricN g;v1tat14N circuiti?. .%NII since frequencies needing cuVINNUsI are usu.d higltcv or lower
frequent*. hand's tenter; the crus1anl Q is set to cY rer the immediate frequencies on either side.
f,Nll that's not all ... ('lll'('h I/l'1"1'111.S1: l'1?VII Rl.S: 2/:3 octane dual inckpenckul I:rlauud EQ chauuuels
o GNLS1amt Q filters on standard ISO centerw o-10 Hz loin cut su itch with L1:1) indicator; h,, paass snitch
nigh 1.17) indicaUI: and overall gain control on each channel a 45 min sliders with full-length dust
shielding o 20 Hz to 20 kHz h.vudwidlh o ±12 dK cugA>tNati7 011uad 4-s1cy multicolor I,FJ) output indica/ors
o Ek)cIronk.dl 1ladauued and
unbalanced inputs/outputs o
EL TWO .. . . Internad pou er slq>tk (no w:dl
40 63 100 160 250 400 630 1K 1.6K 2.5K 4K 6.3K 10K 16K GAIN' naut) 0 Hugged all-metal
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controls o Hem. id..
filxrglas.s circuit board

t i .-
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%N11 more. The ruggeetL new

I
MM. tom awl limo, Imo Ems swim www, MADE IN U.S.A.
11111 NNW 1111IS
Q215@£2l9 ...WS got it all.
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t.uul. i'nr the New XGT)' 5 Me channel noise gale (1:199 )

Suggested retail price (Uh prices ouh )

Ia_avt=y
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11
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 'NEVE.8058. LOADED 28 x 32408. R /MODULES. 24 x 3204. S/MODULES.
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Studio Acoustics & Audio ' NEVE.SERIES 5114. CONFIGURED 24/4/2 +1/24 x 83049 MODULES
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Consultancy REQUIRED).
J studio design & installation - -- - ' MODULES AVAILABLE.
J soundproofing and acoustic detailing
'NEVE.1081,s AVAILABLE IN QUANTITY.
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MIOA A ItE MA S Stuart was trained at BBC '17
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ti

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discuss 'our consultancy services,
D

To
or for further information about our products; TELEPHONE: 0932 872672
Please phone Stuart on 0117 952 0897

'à!
FAX: 0932 874364
TEL: INTERNATIONAL 44 932 872672
FAX: INTERNATIONAL 44 932 874364
Soundwave Acoustics
Queen Anne House 11 Charlotte Street BATH BAI 2NE
Tel: 0225 337992 Mobile: 0589 291923
P,PD wee
Phone/Fax: 0272 520897 (Bristol Office) A UNITED KINGDOM BASED COMPANY

B &K
is
B &K
Brüel & Kjær a .

THE COMPACT SERIES FROM BRUEL & KJ/ER

Brüel & Kj er's Type 4021 and 4022 Compact Cardioid microphones are the latest development in
microphone technology - continuing the B &K tradition of the highest quality, but this time in an
exceptionally compact form. Using the same type of prepolarised condenser mic capsule as the
legendary 4011 and 4012 mics, the Compact Series carry an in- built, thick -film mounted FET- amplifi-
er which ensures high performance. With a range of quality benefits including an extremely smooth
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Danish Pro Audio Hejrevang I I, DK -3450 Allercd, Denmark Tel: +45 48 14 28 28 Fax: +45 48 14 27 00
 TEST EQUIPMENT

m
Cr

retransmitted output. When the

m
outputs are enabled they both carry
ADT Serial Digital Analyser whatever input data is selected,
therefore the professional interface
Cm
can be made to transmit consumer
New from Audio Digital Technology of the display which shows the consumer section includes display of data and vice versa. The edit
(ADT) is a piece of test equipment sampling frequency of the incoming the presence of a pre -emphasis flag, functions therefore allow audio data
that no studio or broadcaster using signal. The accuracy of the sampling the copyright assertion flag and the to be retransmitted over either type
digital audio can afford to be frequency can be measured, and SCMS copy generation. The of electrical interface with modified
without-particularly considering the LEDs indicate whether the received professional section shows two non -audio bits, making it possible
remarkably low price. The unit is a frequency is within either 400ppm, different types of pre -emphasis, the for the user to establish
hand -held, serial digital analyser 4% or out of range of the internal stereo mode flag, a LED to show that communication between two
(SDA) which can be used to display reference. This can be particularly the audio signal is flagged as having otherwise incompatible systems.
the states of a selection of non -audio useful because there may arise 20 -bit resolution, and another The consumer mode allows
bits carried over standard digital - occasions on which the sampling showing that the aux bits are used for modification of the copy-protection
audio interfaces, edit them and then frequency is either wrongly indicated up to 24 -bit audio words. All this, of status and SCMS generation for
retransmit the data. As studios in channel status, when the sampling course, depends on the manufacturer cases when legitimate digital copies
increasingly use all -digital signal frequencies of two devices are of the source device having implemented need to be made between two
chains and need to copy recordings different, or when the frequency the flags correctly (or at all). consumer devices. The SDA is
digitally between devices, the tolerance is too great for the receiver An Error Hold mode is possible, almost cheap enough to be left in
problems of incompatibility become to lock, resulting in allowing any received changes from circuit between two incompatible
more obvious. It is not uncommon for non -communication between devices. the initial state of bits to be latched devices as an interface adaptor.
two digital -audio devices to refuse to A final series of LEDs indicate the and displayed. Consequently it would Francis Rumsey
talk to each other because of a presence of line errors in the digital be possible to go away and leave the
difference in implementation of their signal, including indications of 'no SDA in circuit during a transfer and Audio Digital Technology,
digital interfaces, even when this lock' (inability to lock to the incoming allow it to store any interface errors 178 High Street, Teddington,
difference appears to be small. One data), biphase errors, parity errors, that occurred duping the transfer. Middlesex TW118HU, UK.
needs to be able to look at the state of channel status CRC errors (a typical The Edit mode of the SDA allows Tel: +44 181 977 4546.
the data bits most likely to cause a fault when devices don't transmit certain channel-status bits and the Fax: +44 181 943 1545.
problem and attempt to establish CRC), validity flag errors and a validity bit to be inverted at the
communication by careful editing. `confidence' light
The SDA works with either (which shows
AES -EBU (professional) or SPDIF that the
(consumer) digital interfaces, and has incoming signal
inputs and outputs in both formats. is of poor
BNC connectors on the side of the electrical
SDA allow it to be connected to an quality).
oscilloscope so that the input data The SDA is
waveform can be displayed. These extremely easy to
consist of connectors which tap off use and is well
both sides of the AES -EBU balanced finished as a
line and one which carries an product. It uses
extracted word clock signal for either an
synchronising the scope trigger. internal
Waveform or eye -pattern display rechargeable
allows a user to see whether the battery or an
audio signal is in good condition, and external 9V
to see how it has been affected by power supply,
being carried over long cables or poor and there is a
quality electrical paths. Low Battery
The input can be terminated in LED to show that
either 1100 or 7552, or left recharging is
unterminated, in order to match the needed.
input impedance to that required by The channel -
the standard in use. The effect of status display
changing termination can be seen on allows the user to
the external waveform display. see whether the
The SDA incorporates a DA incoming data is
convertor for monitoring the incoming in either
audio signal, either over a small consumer or
internal loudspeaker, which can be professional
switched to monitor either channel, format, and then
or using stereo headphones. correctly displays
The front panel consists of a the meanings of
number of LEDs representing the certain bits in the
states of some of the most important appropriate
channel-status bits in the digital - format. For
interface signal. It also has a section example, the Serial killer- almost cheap enough to use as a permanent equipment interface
17
 EQUALISER

each band has its own output level The combination of four of these
control ranging from -80 to +5dB. very flexible equaliser -filter bands is

SPL Optimizer Things become slightly less

intuitive when the unit was switched
to one of its basic filter modes: Band
powerful indeed. In Mono mode the
possibilities of a 4 -band parametric,
two bands of parametric with flexible
Many manufacturers put out four bands can all be set to different Pass, High Pass or Low Pass. high and low-pass filters, one
products identified simply by a model functions, giving an enormous range Selection of centre or cutoff frequency parametric with filters and a notch
number of variable arbitrariness, safe of possibilities. uses the same controls as the and so on should deal with most
in the knowledge that audio people There are, as there would have to parametric, but the BOOST -CUT eventualities, while dual -channel
love talking in code. Everyone knows be, a fair number of controls on each control is now used for the steepness mode still provides a useful range of
a 414 from a 441, a DA-30 from a band, and their functions are of the filter slope. Fully anti combinations. I particularly like the
DA -88, and an LNE from an XLR, obvious when in Parametric mode. clockwise it is marked Gentle while idea of using the Optimizer in a gate
and the bandying about of such The FREQUENCY control is clockwise is Steep, and although the or compressor side-chain, where the
impenetrable jargon signifies fully uncalibrated, marked simply from characteristics are not specified the ability to fine -tune such a bank of
paid -up membership of the club. It is Low to High, with limits set by the slopes are usefully distinct. The filters should allow treatment of
possible to come a cropper, however, various combinations of two push surprise is that in its central position problems most gates' own filters
and other manufacturers know the buttons. The available ranges have a it nulls the signal almost completely, would be stumped by.
value of a memorable, informative considerable overlap; the lowest is giving rise to the curious situation All too often, a product which
name. Few know which model of 10Hz-2.4kHz while the highest is that a device apparently set flat can attempts to be all things to all men
Mercedes -Benz or BMW is which, but 112Hz-23kHz, a range which should be giving no output at all. The ends up disappearing up its own
give a car a name like Mondeo or Clio cover most needs all by itself. The situation is made less output socket. Proof that a jack of all
and it sticks. Aphex, for instance, love disadvantage is the resulting low comprehensible by the fact that the trades is rarely master of any of
names, with products which sound resolution of the FREQUENCY control, intermediate positions appear to do them, it's often the last thing you'd
like the bad guys in a comic strip, and with small movements making, little other than make the same use to do any of the jobs it thinks it
after a shaky start during which the perhaps too big, a difference for easy setting quieter -the slope and the can do. Not so the Optimizer; it
most bizarre products carried the critical adjustment. Q is calibrated perceived filter characteristics manages to offer all the filtering
most mundane numbers, SPL decided from 1.5-0.2, and the final control remain about the same. A simple functions anyone is ever likely to
to follow the same path. Thus the provides 12dB of boost or cut. This is STEEP -GENTLE switch would have want and carry them all out not just
Vitalizer suggests its half-and -half on the modest side for a dedicated done the job for me, and avoided any adequately, but interestingly and
role of EQ and enhancement, and the parametric, and is complicated by possible confusion. That said, the musically. It is operationally quirky
Optimizer suggests-what? FM the fact that the Optimizer uses results the filters produce are very and it looks a bit utilitarian, but
broadcast processing perhaps, or at what SPL call `proportional Q' filters usable, further helped by the Q none of that should matter to the
least some form of dynamic control? which reduce the centre -frequency control which in HP and LP modes professional beside the fact that it is
Wrong; the Optimizer is no more or gain as the bandwidth increases so adds a variable boost just before the an unusually powerful, useful tool
less than an extremely adventurous as to maintain a more constant cutoff frequency. which does its job well. Remember
equaliser. But at least we will subjective level. This means that The final mode for each band is the name.
remember its name. with the Q at its widest, the Notch, which provides a deep notch Dave Foister
The Optimizer provides four bands equaliser will only give 5dB of boost of variable width at a centre
of versatile EQ and filtering, usable or cut at the centre frequency, which frequency chosen in the usual way. SPL, Hauptstrasse 59A, D-41372,
as a single 4 -band path or two 2 -band sounds limiting but in practice At its narrowest it beats the quoted Niederkrtichten 1, West Germany.
channels. Each band is identical, appears not to be. It does have the spec of 60dB rejection without too Tel: +49 21 63 9834 -0.
offering full parametric EQ or desired musical effect of keeping the much effect on the surrounding Fax: +49 21 63 9834 -20.
high -pass, low -pass, band -pass or perceived loudness steady and signal, and at its widest it provides UK: The Home Service, 178 High
notch filtering, all with frequency reducing the need for gain well over 70dB of cut, albeit with Street, Teddington, Middlesex
adjustable from 10Hz to 23kHz in adjustments as the EQ is changed. If significant loss of the surrounding TW118HU. Tel: +44 181 943 4949.
four broadly- overlapping ranges. The the gain does need to be altered, frequencies. Fax: +44 181 943 5155.

SPL Optimizer - interesting, musical and flexible

18 Studio Sound, December 1994
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 MUSIC NEWS
MIDI SEQUENCER
ARTIST SERIES
Hi-ENERGY

to set accurately from the knobs and it

is sensible to limit ranges if you want
to work quickly with multiple rows.
The knobs are not continuous and have
physical octave end -stops. Each row is
monophonic, so the full compositional
might of the MAQ amounts to 3 -note
polyphony. If this bothers you then you
are missing the point.
Old time, step time meets MIDI manageability in the MAQ 16/3
48 knobs can be saved in four preset
In use
Doepfer memory locations.
Each row of knobs can be
I can still get a buzz from complex,
short -step sequences played back at
programmed to emit different types of high speed but I realise that I'm a bit
Musikelektronik MIDI event such as note on and off,
velocity, continuous controller data,
strange like that. The significant thing
about the MAQ is that you can also
pitch bend, patch changes and mono develop a sequence with a splash of
continuous controller data to alter the
MAQ16i3 and poly aftertouch on a specified
MIDI channel. Advanced features add timbre, change velocities, aftertouch
It is strange the way some things come dynamic channel- switching from one and all that jazz to spice it up, and
full circle. I can remember a time when row of knobs into another, and make the sequence evolve. You can
I had my hand in my pocket ready to similarly note addition and also transpose rows from an external
buy a stand -alone step sequencer for transposition. All these functions are keyboard and you can slip and groove
my Korg MS20 monophonic CV synth entered from the EVENT button and the three rows relative to each other
convinced, that this would revolutionise follow a method of data entry that is without any headache to make even
compositional creativity. shared by all other function modes the most banal collection of clips
Fortunately -or unfortunately -press the relevant button, its LED sound meaningful.
depending on just how rose -tinted my lights and the display shows the Perhaps most surprisingly, this unit
memory glasses are -the salesman parameter. The parameter display has a lot of scope for real -time live
mentioned carelessly that this `new flashes alternately with a dot adjustment and experimentation
MIDI business' was making it possible indicating which of the three rows you (loosely in the vein of the Zyklus
to run far more sophisticated are currently adjusting. Subsequent machine), providing that you do not cut
sequencers from toy computers. A pressing of the appropriate function out note -off commands.
fleeting period of consideration had me button scrolls through parameter The MAQ lends itself well to
backing out of the shop (hand still access for the three rows. integration into a MIDI system where
firmly in pocket) not fully Each row sequence can be reduced it can be made to work musically as a
understanding but wondering whether in length by adjusting the first and last bass -line generator, a musical feature
such a piece of software would allow step, and the timing of the rows or for general underpinning. The
me to duplicate those step- sequencer relative to each other can be adjusted dance brigade will love it as will
effects that I so wanted. Of course, I in units of MIDI clock to give ambient artists.
got sidetracked along with the rest of a syncopated feels or different tempos The most distressing thing is the
generation and never really bothered. altogether. A MODE button changes the flashing alternate display for
But everything comes around. running order of a row's sequence parameter value and row selection as
The MAQ16 /3 from Doepfer between Forward, Reverse, Pendulum this definitely slows progress and I
Musikelektronik is described as a and Random settings. The device will find it hard to believe that the two
MIDI analogue sequencer and does sync to an external source and dump could not have been combined on the
everything those early sequencers its presets via MIDI. same display.
NEW BREED did-but it does it over MIDI and The SINGLE STEP function button The variability is incredible and
with a little more panache. The DEQ allows the parameter dial to step far exceeds what you would expect
ON THE was originally developed for through a column of three steps one to be able to achieve with such a
electronic music pioneers Kraftwerk, at a time with a numerical display basic concept. It does justice to those
but has since found homes with New given for any one of the three pots old analogue step- sequencers that
WORD'S
Order, The Human League and when turned. Without this, precise the MAQ is based on particularly
Pascal Gabriel. programming of sequences with as you can use it to drive modern
TOP The sequencer is a 3U -high notes, pauses and other data tone modules.
rackmount with an external PSU and becomes a very frustrating affair This is a wonderful piece of kit
STAGES MIDI Out and MIDI In (sequences can as you are constantly trying to catch that is a lot of fun. It is also great to
be influenced by incoming MIDI data) up with the sequence. However, see an old -style principle
on the back panel. On the front panel the more haphazard approach does implemented so intelligently and with
there are three rows of 16 knobs each prompt up the occasional attack such added value.
with an associated LED which flashes of inspiration.
when a particular event is triggered, The dial is a touch notchy and tricky FAME, Box 387, lA Buckingham
a rudimentary (although large) LED to adjust finely, and also requires Road, London N22 6SF, UK.
autonulling in order to pick up a Tel-fax: +44 1 81 889 0616.
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Music News is compiled
noncontinuous dial for parameter when on its widest setting (the range is
Tel: 0532 771441 Fax: 0532 704836 by Zenon Schoepe
entry. Complete configurations of the 1-5 octaves in octave steps) is difficult
20 Studio Sound, December 1994
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 COMPUTER AIDED DESIGN

CAD IN STUDIO DESIGN

technical support to which you will have access.
Stuart Litobarski assesses the It seems that designing on paper will continue to be with us
for the time being, because, on smaller projects at least, it is
place of computer -aided design in felt to be most time efficient to put sketches and even
drawings on paper. Once the architectural paper design is
the recording studio complete, it must be demonstrated to clients. With the typical
committee or decision maker being generally untrained at
visualising a finished building from a paper design, this task
Studio designers are quite a computer literate lot on
generally falls to an architect or designer, who can reveal and
the whole -if the findings of a recent survey carried
explain the various features. Traditionally, scale models have
out for Studio Sound, and around which this article is
been used at the competition stage.
based, are to be believed. Virtually all designers use a
Computer visualisation techniques now include animated
CAD package in their work. And with the use of software in
rendering of 3 -D CAD drawings, and video graphics. In
studio design growing, acoustic applications are expected to
rendering, the 3 -D CAD wire -frame drawing is `coloured in'
become an increasingly important, tool in the acoustician's
with representative surface textures and colours, and lighting
armoury. One important difference in studio design -as
effects are added using ray-tracing routines. This allows that
opposed to concert hall design -is the difficulty in defining the
classic moon-lit, walk- through effect to be achieved, giving the
acoustic characteristics of a small room, especially at low
viewer a strong impression of being in the building. The result
frequencies. While you could easily get a result for a bare
is an image that looks uncannily like an architectural
rectangular space, the act of adding just one mixing desk will
photograph. Virtual reality techniques can be expected to
radically alter the modes, and can seriously affect the room
extend this illusion in the future. ACM used Pointline
response. So how adequate is the current generation of
architectural CAD from Switzerland, that can make video
acoustic application software at handling studio design tasks?
animations directly.
Many add -on application programs are available for
CAD Autocad. They will access the actual Autocad data to produce
calculations on things such as piping, HV &AC, quantity
The overwhelming majority of studio consulting firms use
estimating, and other building services. To date there seems
Autocad. The fact that many architects use this package must
to be no system that will do this for acoustic calculations,
have played at least a small part in this decision. Another
although at least one firm of consultants have produced their
factor when choosing professional software is the level of
own software to translate Autocad data into input for Odeon.
This represents a major saving in time, as one of the difficult
things pointed out was actual time that it takes to input data
into all the different design programs. Many designers
reported that they were using ray -trace or mirror image
modelling software for acoustic prediction.
Many studio designers needed to use separate acoustic design
packages for their work. There is a problem with data exchange
between the various programs. The problem in getting data
exchange software to solve the problem seems to be one of
market demand. The replies received suggest that data import-
export may be a major bottleneck to interdisciplinary design
teams working over the electronic media.

Acoustic
application software
Almost all designers used a spreadsheet in some version. The
ease with which calculations may be set up and modified
makes this a major asset in the day to day calculations that
are the workload of the engineering consultant. As time goes
by, sets of spreadsheet templates are built up which can be
used again. Spreadsheets have the advantage that the output
can be easily printed in graphical form, and readily
incorporated into reports.
Many designers used DOS as well as Windows -based
programs. This is not surprising. In an area such as acoustic
data processing, that takes up much processing power, the
processing overheads of the Windows GUI can be a definite
restriction.
Specialist acousticians such as Mike Barron have become
Real World's main recording room was an almost entirely CAD project skilled in acoustic measurement techniques based on scale
22 Studio Sound, December 1994
 THE DESIGNERS

Andy Munro, Munro Associates, London

We use the CAD programs quite often, partly for
receiving and exchanging files. Amongst ourselves,
we tend to use some PC- orientated, Windows-
based CAD systems, mainly because they're
quicker for doing simple 3-D and even 2 -D stuff.
Most of the other software we've used off and on.
We use Mathcad. I've used some of the modelling
programs, but don't find them very suitable for
I

studio design In terms of use of computer and CAD

systems, in general we don't do anything else -we
don't have pens in the office any more. The last
time saw the drawing board think it was piled
I I

high with magazines. We're totally CAD based.

'MLSSA was a fairly simple concept when it first
came out. The minute first saw it in the AES
I

Journal jumped on it. Now, four years down the

I

line it's an extremely powerful software tool -but it

took four years to get there. don't think anybody
I

comes out with the perfect system in this line,

because there is so much development time
involved. We've developed quite a strong user base
as far as MLSSA is concerned, think we've got
I

about 200 users in the UK now. And they are fairly

interactive in their own ways. A lot of them are
loudspeaker manufacturers and a lot of them are
systems designers. They obviously work quite well
together and constantly send each other
Sandy Brown Associates' `wire frame' drawing of Air Lyndhurst's main hall measurements asking, 'well this is what we get, so
what happens if we change that?
tuning the finished product must be used. Test 'The only way you can really get a complete
data is used to plug updated parameters, such as answer, that would virtually guarantee a result
the room surface absorption characteristics, back would be to use finite element analysis. But, that
into the design software. The result is a more kind of modelling, a, uses up a lot of computer, and
b, actually is fairly complex to program in the first
accurate design prediction the next time around.
place. You're talking about a finite analysis system
Several systems are currently available to tackle
coupled to a fair amount of input by people such as
the task of these acoustic measurements, different ourselves, to actually make it do the acoustic
designers and consultants naturally favouring
modelling. But that is the way to go -that's
different systems. where you'll see the greatest advances in the next
The simplest method is just a measurement of couple of years.'
sound pressure levels. A white-noise source is
played through each monitor, in the case of a ACM. Germany
control room, and the level in third-octave 'Ray- tracing software and auralisation, whilst wisely
frequency bands is recorded at the listening used in large rooms, are to be handled as a tool
position. RT60 measurements may be made by like other tools. Decisions should not be based on
stepping off the test signal and measuring the their results alone. Calculations and experience
decay time. must come into play too. We use these new sound
This method is essentially frequency domain, tools with the same approach to calculations as we
Lyndhurst Hall: the completed facility and has its limitations, but is nevertheless useful did before. The only difference is the ability to
models, to predict the acoustics of a proposed in measuring the steady -state room response at the handle a bigger amount of data in less time, which
improves our work in the sense of being more
scheme. New computer techniques, whereby a listening position. Moving the measurement mic
detailed and more exact. Furthermore, we have the
block of plastic can be sculpted using laser beams around will normally reveal great differences in
possibility to try 'what if' solutions, which would not
that are driven by 3 -D CAD software, means that response to the modal pattern in the room, and this be possible with a manual system.
scale models may continue to play this in the can be an indicator of the diffusion properties of 'If these software tools are used in the right
future. However, computer programs that use ray- the room. Many measurement systems can do this manner, the predictions are confirmed by the
trace or mirror -image techniques are starting to test, including hand -held sound -level meters, when measurements, of course. Unfortunately, a lot of
assume this acoustic prediction role. used with the appropriate noise source, which can people believe that computer programs are
even be a CD. prophets, which can do all the calculations without
Acoustic The B &K 2012 Audio Analyser works by
producing a swept sine signal. In a manner
any knowledge of the scientific basics. In several
cases, we were called in to repair rooms that were

measurement reminiscent of the sonar chirp signal, the

bandwidth of the signal determines spatial
designed by other persons whose calculations were
based on software simulations. The users had

systems accuracy. Because the signal never stays long on

any one frequency, it effectively acts as a pulse at
completely ignored the fundamental acoustical
relationships.'
Once the design -be it paper or CAD-based -has that frequency, thereby allowing anechoic
been realised, some method of measuring and fine measurements to be taken when the received
23
 COMPUTER AIDED DESIGN

ARO, Adelaide, Australia

'We've got Autocad LT, which is fine for doing
plans, but that doesn't have any acoustical
features, of course. think certain people are
I

working on it, so hopefully they will come up with

something good. Finite element analysis would be
the way to go. I've found that MLSSA is not quite so
accurate as TEF for straight acoustical work. We're
working on remote testing using MLSSA.'

Neil Grant, Harris Grant Associates, UK

'As in other industries, CAD is no substitute for prior
knowledge, it just makes it quicker, providing
insights into mechanisms that might otherwise be
obscure. Exceedingly powerful software is being
used in the automotive and other industries. These
provide a level of sophistication not commonly
found in our own industry, although many
companies use their own bespoke packages and
notebooks that are proprietary and useful.
'Much work is being done on re- defining the
performance in 4111 space of acoustical materials, in
formats suitable for use in acoustic design
programs, but they are all hardware limited. The
DISC project [Dr. Peter D' Antonio in the States,
Mendel Kleiner in Europe] is working on
standardising this format, although their prime aim
is auralisation. Currently, all of these packages are
simplistic, but good sales tools.'

David Hawkins, Eastlake, London

'I've noted that any idea that is not the architects
own is difficult to communicate to them. CAD's
most beneficial use to ourselves was, and still is, in A further 'wire frame' model of Air Lyndhurst
the preparation of cutting drawings for when we
order -up the components for 9- element window signal is gated. Although the system is expensive, a computer. This allows software to be tailored to
systems of extremely complicated geometry. We high accuracy of frequency discrimination is the individual workload of the consultant. Indeed,
are probably a little different from other outfits in claimed down to quite low frequencies, when the several consultants code their own computer
that we are a design-and -build operation and a test procedures devised by B &K are carried out. programs. This allows a complete say in the
great deal of our work is overseas. People say to It is useful for locating narrow -band resonances, mathematical algorithms that will be used.
us, "I want to put up a studio in Athens, or Nigeria and edge diffraction effects in loudspeakers. Data Virtually all acoustic application programs make
or wherever, would you design it, and would you may be down -loaded into a computer for major assumptions in their algorithms, in order to
prefabricate it as far as possible, and would you simplify the calculations and produce a result in a
subsequent analysis.
send out all the people to assemble it on site ?".
TEF is a variation of the B &K system. It uses reasonable time. Very few software houses reveal
And that is our market niche. It also happens to be
software to produce waterfall time- energy- all their algorithms to the end user. Users are often
the area that we've got more expertise in than
frequency plots of the sound decay within a room, in the dark regarding the validity of results, when
almost anybody else. suppose we've built about
I

340 rooms in about 36 countries now.

hence TEF. The well -known TEF plots show the the software is used in different situations. Coding
'At the end of the day, it's garbage -in garbage -out. room decay at each frequency over a period of your own algorithms gives you a much greater say
Anyone who thinks that Autocad 12 is going to time. This type of plot is very useful, for example, in how your data will be crunched. Consultants
make a good draughtsman out of somebody who is in detecting low- frequency modal effects or in SAI do much work in DSP, so they make extensive
not basically disciplined to think, and to create, like identifying the location of a single reflecting use of Mathcad. They use Mathcad to transform
a draughtsman, is going to wait an awfully long time room surface. Again, data may be downloaded the filter coefficients, and to simulate and verify
for drawings to start pouring out. work with
I into a computer. DSP results before a design is put into practice.
drawings every day of my life, and I'm amazed that MLSSA is much favoured by loudspeaker
99% of the population that doesn't work with
drawings have a mental block on making a
manufacturers and system designers, who make
many frequency response measurements. A
Auralisation
composite mental 3- dimensional drawing out of a quasi-random noise -test signal is used that gives Auralisation is a new design technique. A 3 -D CAD
couple of 2- dimensional ones. CAD is useful for an improved signal -to- noise -ratio over previous model of a room is analysed using ray -trace or
that, and for being able to turn
systems. The synthetic test signal is quite unique, mirror -image techniques, to produce an impulse
things round on an axis and so forth, but we often
and easily discriminated against background noise. response based on the dimensions and surface
find that our commissioning clients need to see the
This allows all sorts of clever things to be done, coefficients of the room. This impulse response is
simplest representation of whatever they are
discussing with us, rather that a more complex and
such as taking test measurements from a sound slotted into a digital filter, that is used to filter an
versatile model.' system, while music is being played through the anechoic recording according to the predicted room
loudspeakers at the same time. Later versions response. The result is that the filtered recording will
incorporate many of the features of TEF. sound similar to the way that real sound would when
Many consultants use their own proprietary reproduced in the physical room. Auralisation allows
systems, usually based around data acquisition by comparisons of the effects of design changes in
24 Studio Sound, December 1994
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.
 COMPUTER AIDED DESIGN

the various acoustic parameters, such as shape, to be loudspeaker data was felt to be insufficient in
easily and economically made. A healthy market many cases.
response to auralisation should drive the ingenuity of Internet and E -mail are already being used to
Jack Metcalfe, Sydney, Australia the software designers in coding improved transmit data between the different disciplines
We find that we still need paper drawings at this algorithms. Although, to gain widespread that are involved in designing a major studio.
stage. Using TEF allows one to refine the models. acceptance, it looks as though auralisation will Sandy Brown Associates have been doing TV
Our models are still reasonably crude, but they are probably have to be linked in to a set of subjective studios for the Olympics, where they use NBC's
slowly evolving. We are interested in direct acoustic values. E -mail network. Andy Munro has used E -mail
connection between CAD and materials data lists, The auralisation technique is expected to with Disney.
using quantity survey programs, estimation and improve as more feedback from measured field Many thought that visualisation, and
costing software. We would like to see, and are data is gained. That depends on the willingness of auralisation, are excellent selling points. The
working towards, connection with numerically acoustics designers to work with the new medium, majority agreed that virtual reality would be used
controlled cutting equipment, through and to generate results. Comments received to create novel designs in the future. Although,
CAD output files.' suggest that the AES work into loudspeaker data the general consensus was that it will be a long
libraries, and the DISC surface project, will prove time coming.
Sam Berkow, SIA Acoustics, New York, USA
essential. SAI Acoustics and CATI' are just two of
use Autocad for drafting and 3 -D drawing. use a
'I I

wide range of acoustic design software, much of

which have been forced to write. The reason we
the firms who are world pioneers in auralisation.
Disadvantages
Advantages of CAD of CAD
I

wrote our own is that when worked at Artec there

I

just wasn't a commercial package. There's also the

point that a number of manufacturers don't tell you Most designers agree that more work is due on a None of the existing CAD modelling software used
what calculations they're doing. We put all of our method for data exchange between Autocad and was adequate at predicting the low- frequency
time in the calculation functions and not into the the various acoustic design packages. The need for performance of small rooms. Studies by CATT
user interface, because we don't sell software. So, a detailed and comprehensive library of surface Acoustic at Chalmers University in Sweden using
as typically half the development time is spent on data was commented on frequently. CADCAM is FE and BE analysis showed that even these
the user -interface, we were able to spend much being used or actively investigated in several cases. techniques could fall off dramatically in accuracy, if
more time on just getting the calculations right. SAI Eastlake Audio use it to produce cutting data for the rooms were very small or absorbent.
acoustic is a leader in the field of audible simulation complex acoustic windows. Generally, the building Nevertheless, German consultants ACM say they
'I have used Mathcad for many years and have
industry is not perceived as being very hi -tech. would like to see FE analysis programs available for
developed many spreadsheets for specific
Several who were contacted agreed that ray - use in their work. In the meantime, one answer
applications. Many consultants are unaware of the
trace modelling software had been found to give may be to stick with proven models, or else a
assumptions built into several of the leading
good correlation with measurements in larger minimum room size, when working on critical
packages, creating a false sense of security. This
point should be made clear to Studio Sound
rooms, even when these were quite complex in listening designs for small spaces. Unfortunately,
readers, small rooms and large rooms are shape. When kept to the task of designing this was rarely feasible.
acoustically different! Small rooms are much harder reflection-free control rooms, results in small rooms Designers who used a lot of acoustic design and
to model, because of the modal nature could also be excellent too. Poor accuracy in small modelling software often comment on the lack of
of small rooms rooms at low- frequency was felt to be the major suitable acoustic data to plug into the models.
'Scale models are very very useful. Very few drawback to this kind of software. Existing When a design system was used over a period of
people can really look at a drawing and "see" a 3 -D
room. Lastly, think that the hand drawing,
I

sketching process is very important to creating

successful designs.
'The challenge for people doing acoustical
computer modelling is to remember that ultimately,
what the rooms sounds like is more important than
the mathematics. But, it's my experience that
getting the mathematics right yields the most
reliable and reasonable result.'

Sean Davies, Wembley, UK

'After 35 years in the business find can often
I I

walk into a room and tell the client what the

characteristics of his room are without hearing
anything. look at the spaces, look at the surfaces,
I

the angles, and say, 'right, you'll get a phase shift

at so much, that is about a wavelength at 40Hz,
you're going to get a build -up of bass on the back
wall, you're stereo image is going to be pretty poor,
you're pans pots are going to work left, right, and
nothing much else in the middle,' and they look sort
of opened mouthed, and say, 'well how can you say
that because you haven't heard anything.' don't I

need to hear anything, it's pretty obvious in the

layout of the room. If can do that in probably five
I

minutes dead, why should sit at the computer for

I

half an hour?

The glass and lead construction of Real World followed extensive materials research
26 Studio Sound, December 1994
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 COMPUTER AIDED DESIGN

SOUND
CONNECTION
'The thing about studio designs is that you get a lot
of strange shapes for acoustic reasons, and the
average draftsman doesn't normally meet these
shapes, but the Autocad is useful in describing
these. I've also got spreadsheets and Mathcad in
the computer. The problem with acoustics design
programs is that they all make assumptions, and
they don't relate to subjective values, which is what
much of acoustics is about. see the acoustic
I

consultant as the person who can take the wishes

f:Nt. of the client and turn them into specifications for

materials, angles, and construction and so on. and
don't think the computer can do that because it has
I

NV 44
to have the input about what it is
supposed to produce.'

Schu S. Yamaguchi,
Acoustic Design Group, Japan
'Paper drawings are used for the basic design. We
use both TEF and MLSSA, and we have found the

)OUÑb results of reverberation time calculations, using

predictive modelling software, to be shorter that the
actual measurement results. We would like to see
acoustic design software included with CAD, and
combined with a virtual reality system.'
PERFECTION Nick Whitacker, London
'We use TEF systems for acoustics analysis, and
Digital signalling creates a versatile new
Norsonic and CEL for environmental work.
dimension in sound quality ...
but is your
Spreadsheets are used for cost analysis. We have
cabling ready to handle the demands of
digital signalling? done some work with EASE-Hypersignal
predictive(a ray- tracer) software for large spaces.
Now, GAC -2 AES -EBU from Gotham Cable Apart from these computer based items do not I

overcomes the problems of running digital really use architectural CAD systems myself,
signals on standard cable.
although continue to evaluate their development.'
I

With this specially developed, double-shielded

design, there's no impedance mismatch between Richard Galbraith, Real World's diffusing wall was one of
cable and transmitter at high frequencies. Sandy Brown Associates, London
the first to be modelled by computer
And you can run cable lengths longer than the 'Almost all the drawings and calculations that we do
signal wavelength - up to 300 metres - with no are in computer programs of one sort or another. time it was possible to build up an acoustic
damage to data quality.
We don't have any drawing boards in the office database, which would be used to train the system
GAC -2 AES -EBU is available from Deltron anymore. We use Odeon software for modelling, to better accuracy.
Components. It's backed by a unique under- although we all know what the disadvantages of
standing of the needs of the Pro -Audio market
the world over. And the knowledge of how to
modelling are. One of the problems traditionally has
been the difficulty of inputting data, but we have
The future of
engineer solutions to perfection.

For more information on GAC -2 AES -EBU or

written our own linking software now, so that we
can take Autocad models and inject them into CAD in audio
details on the entire Deltron DGS Pro -Audio Odeon. They thought it couldn't be done. The Multimedia computers are routinely fitted with a
Range, contact us today. model shown of Air studios basically contains about sound card of 16 -bit or better accuracy. This
as much data as Odeon can hold. would say it is
I
means that many home computers already contain
almost impossible to input that data on a point -by-
a powerful audio DSP system, featuring near
DELTRON point basis into Odeon by hand, it would just be a
CD-sound quality. Few designers admit to using
ridiculous amount of work.
'Every time see a piece of acoustics software it
I
these cards in their work. However, the sheer scale
always has this problem. It seems to me that one of of a 700 million plus potential market means that
the things that is required is to link with standard something must inevitably happen in this area.

DGS CAD programs whether it be Autocad, or others

using DXF file formats or something like that. It is
no good having a half -dozen different acoustics
What that will be, and whether it will put any
studio designers and acoustic consultants out of
work, remains to be seen. IN
P4011010 programs in which you have to input your co-
ordinate data in different ways. Odeon and others
have tried to get round this by creating their own Stuart Litobarski is an Acoustic
Deltron Components Ltd
little CAD system within the program. But, we would Consultant whose main interest is in
Atlas Works, Atlas Road, London NW10 6DN
never contemplate getting people skilled in more the acoustic design of recording
Tel: 44 81 -965 5000 Fax: 44 81 -965 6130
that one type of CAD drawing, because it's just too studios. He still finds time to play bass
DGS Pro -Audio
expensive with Bristol acidjazz band Hi Jinx.
PO Box 170426, Arlington, Texas TX 76003-0426 A freelance contributor to several
Tel: (817) 473 7272 Fax: (817) 473 7712 magazines, he is listed in Who's Who
in the World.

28 Studio Sound, December 1994

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 RECORDER -EDITOR PREVIEW

..._.
'PI 111I111111111I1i

The various elements of the DD1500 system -processor, A-D convertor, disk drive, remote and monitor
he DD1500 is a new 16- track, and output and the many and various naming can be executed.
Chard -disk recorder -editor from clock, sync and control connections that The user - interface itself is 19 -inch
Akai, with v1.0 software not allow accommodation of, or into, rackmount although it can also be used
scheduled for release until virtually any standard audio, film or desktop style. It is covered with
mid -December. What follows is intended video system. generally large, easily targeted buttons
as a brief overview of the system and its The 2U -high rackmount A D bearing clear and familiar legends that
features; an in -depth review will follow convertor unit providing up to will bring comfort to the mouse -weary
in a later issue. 12 analogue inputs and 20 analogue operator. The most familiar of these are
Though its name may suggest a outputs on balanced XLRs. the transport controls: PLAY, STOP,
vaguely linear progression, the DD1500 The 2U-high rackmount box containing REWIND, FAST FORWARD and RECORD. You
could not be more different from Akai's a hard disk of up to 4Gb and the optional can decide how fast the wind speeds are
existing DD1000, and is operationally optical disc-drive. Further suitable drives (up to five times play), and if you hit
streets ahead of it in virtually all can be attached via SCSI as usual.
respects. The system is entirely
purpose-built with not a mouse or drop -
The standard VGA colour monitor
which connects directly to the controller
Akai's latest nonlinear
down menu in sight. It comprises five
basic sections:
(no extra hardware required). This is
assisted by a 40 x 6 character LCD set recorder -editor further
The remote controller -which can be
sited up to 400 metres away-is linked
into the controller, below which are six
soft keys. Here menus and options are demonstrates the company's
by a single, lightweight Ethernet cable,
leaving the possibility of networking
displayed, the VGA monitor being
mainly for track -waveform display and ability to marry functional
metering. If desired, however, the
open for the future.
The 3U -high rackmount main contents of the LCD can be shown on the power with ease of operation.
processor which includes up to six monitor. In addition most people will
stereo pairs of AES -EBU digital inputs
and eight outputs, the time-code input
want to get hold of a standard PC -style
QWERTY keyboard from which all
Preview by Jim Betteridge
31
 INTERNATIONAL DISTRIBUTORS
RECORDER -EDITOR PREVIEW AUSTRALIA: AUDIO SERVICES CORP.
Tel: 02 901 4455 Fax: 02 901 4229
Contact: Ceoff Grist

BELGIUM: AMPTEC BVBA

Tel: 011 281458 Fax: 011 281459
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CANADA: STUDER CANADA LTD.
Tel: 416 510 1347 Fax: 416 510 1294
Contact: One Dysart
a WIND button while holding down PLAY it sounds commands were-very handy. If you do not like
just like a tape recorder shuttling in Edit mode what you hear, there are 20 levels of undo and, CZECH REPUBL C: AUDIOPOLIS
-not a digital glitch to be heard. Indeed, the as the tide turns again, redo. After all, the Tel: 42 2 322 552 Fax: 42 2 323 069
DD1500 can be used in Record mode very much clients indecision is final. Contact: Jan Adam

like a tape machine. The system locks to incoming time code DENMARK: INFERSTAGE A/S
Eight illuminated buttons plus a 1- 8/9 -16 extremely well and even shuttles with audio when Tel: 31 62 00 26 Fax: 31 62 06 40
button arm the 16 tracks, while a second row of following incoming LTC from a VTR in shuttle Contact: Finn Juul
eight buttons mute individual tracks on replay. -backward or forward. It will also follow VITC FINLAND: STUDIOTEC
You arm a track, hit PLAY and RECORD and an and resolve to video sync or word clock. Unlike the Tel: 90 592055 Fax: 90 592090
extending red line on each track selected tells DD1000, it actually resolves bit for bit to incoming Contact: Pet3r Strahlman
you are recording. You can also set in and out LTC and hence a video sync source may not be
FRANCE: S.A.V.
points for auto drop in and out, and check them necessary. RS422 Master mode allows full
Tel: 1 42 40 55 22 Fax: 1 42 40 47 80
before committing using the Rehearse mode. Hit transport and jog control of other equipment from Contact: Phi ippe Desgué
STOP and you instantly have the waveform on the the DD's remote.
screen ready to be edited. Notice there are no The general smoothness and speed of the GERMANY: MEDIACOM GmbH
changing modes, pages or screens; everything on Tel: 05451 500185 Fax: 05451 500183
system is due to the -ase of three LSI chips
Contact: Lwe Seyfert
the DD1500 is accessed from the one screen developed by Akai:
thereby cutting down significantly on key strokes The main DSP allows up to 32 events to GREECE: KEM ELECTRONICS 0.E.
and general palaver. With all 16 tracks in view happen simultaneously-say 16 tracks each Tel: 01 64 78 514/5 Fax: 01 64 76 384
you cannot see any detail, but hit the zoom key a with a simultaneous butt edit which can have Contact: Thinios Koliokotsis
few times and you can get down to basic details a short crossfade to avoid clicks. It is also HONG KONG: DIGITAL MEDIA TECHNOLOGY
instantly. The zoom range is currently not that responsible for the beautifully glitch -free Tel: 7210343 Fax: 3666883
Contact: Wilson Choi

IRELAND: C.T.I.
Tel: 01 4545400 Fax: 01 4545726
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NETHERLANDS:KiD PROFESSIONELE
ELEKTRO AKOESTIEK
great -about six seconds across the width of the scrubbing in shuttle. Tel: 2526 87889 Fax: 2526 87362
screen -and more useful for fine editing is the The mixer chip currently facilitates basic Contact: Daan Verschoor

JOG -SHUTTLE wheel which is among the smoothest mixing whereby you can set a static level and NORWAY: BENUM, SIV ING A/S
and most accurate I have laid my hand on. pan value for selected tracks and set fade -in and Tel: 22 1 45460 Fax: 22 1 48259
Dropping in and out, manually or automatically, fade -out times at the top and tail of each section Contact Egil Eide
is gapless and silent. You can also overdub just of a track together with a level for that section. POLAND: STUDIO DAVE
as you would with tape. In the second half of next year a fuller software Tel: 2 226 4912 Fax: 2 635 5262
Editing one or more tracks is generally very implementation will provide fully dynamic fader Contact: Bogdan Wojciechowski
quick and intuitive. In, Sync and Out points are and mute automation (16:4) controllable from
SINGAPORE, MALAYSIA AND THAILAND: TEAM 108
marked by punching large keys of the same any suitable MIDI controller or Akai's own MT8 Tel: 065 748 9333 Fax: 065 747 7273
names. The Sync point can be used to mark a mixer pad which has been designed as a semi Contact: ielena Lim
reference point that is neither the in nor out pro device for use with the DR8 -a less
point-say, to align a timp roll in bar 13 with a sophisticated 8- track hard -disk recorder. You SOUTH A =RICA: EMS
door slam in vision. For each project opened on Tel: 011 482 447C Fax: 011 726 2552
will also be able to use the single fader and pan
Contact: Dennis Feldman
the DD1500 there are 100 numbered locate pot on the remote itself. In addition, the mixer
memories to jump directly to, plus 100 grab will offer real -time EQ on a track basis. By the SPAIN: KASH FRODUCTIONS SA
points (hit the big button marked GRAB to set end of March there will also be real-time rate Tel: 91 367 5222/377 0068 Fax: 91 367 5209
one) which can be sequenced through at the conversion on playback. This means you can Contact: Jin Kashishian

touch of a button. COPY, CUT, ERASE, PASTE, record digitally at the sample rate as the source, SWEDEN: IN-ERSONIC LEAB
INSERT, TRIM and DISCARD keys, plus a fill include files of any rate in the same project, even Tel: 08 7445853 Fax: 08 184354
command, give a fairly clear picture of the basic on the same track, and the DD1500 will convert Contact: Mi<ael Sjostrand
tools available. For those oft repeated key stroke them to a standard rate on playback. In this way SWITZERLAND: AUDIO BAUER PRO AG
sequences a MACRO button allows six sets of key `bit transparency' is apparently maintained. Tel: 01 432323D Fax: 01 4326558
commands to be stored and recalled at the touch The graphics chip allows perfectly smooth, Contact: Roland Frei
of a soft key. You can Cut, Copy and Paste to continuous graphics with no delays, jumps or
USA: INDEPENDENT AUDIO
and from the library or the ten clipboard screen redraws to contend with.
Tel: 207 773 2424 Fax: 207 773 2422
memories, with the latter being available for To the right of the LCD screen is a good size Contact: Fraser Jones
audition before you past them in. Above the LED time -code display, and below this is a
transport keys are a set of play buttons marked 3'/2 -inch floppy drive. By the end of March 1995,
LAST, IN -OUT, TO, OVER and FROM. Having made this will allow EDLs from various major video edit
your incision, these buttons allow you to
audition it in various useful ways. The LAST key
suites to be inserted for autoconforming. There is
currently no DSP active, even though the HHb
will simply repeat what ever your last set of play hardware and the basic software (inherited
32 Studio Sound, December 1994 HHB Commurications Limited
73 -75 Scrubs Lane London NW10 60U UK
Tel: 0181 960 2144 Fax: 0181 960 1160
 e know. But then these are no ordinary DAT recorders.

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 RECORDER -EDITOR PREVIEW

from the DD1000) is in place. By the end of March In terms of cost, then, the basic system is
1995 this too should have been activated to provide positioned towards the top end of the mid -priced,
time stretch, pitch shifting, varispeed, EQ and computer -based systems, of which there are many.
reverse. All the above improvements are included There is no doubt that the list of features offered
in the original price of the DD1500. by a number of PC or Mac -based systems is
In terms of choice of storage, the DD1500 offers extremely impressive. To date, however, the likes
16- tracks from a hard disk or eight from one of the of AMS, DAR, Lexicon and Fairlight have rested
newer (faster) models of 1.3Gb removable relatively easy in the knowledge that, although the
magneto-optical drives. The limited number of bang- for-buck calculation may have seemed
tracks in the latter case is due entirely to disc against them on paper, the mouse-and -menu
speed and, assuming that they meet their intended interface is deemed too involved for some time -
spec, a new breed of 2.6Gb optical drive due out in conscious, high pressure, professional, postpro
Summer will be fast enough to provide a full facility houses. With this in mind, the DD1500
complement of 16 tracks. with its unusually direct, straightforward user -
By March 1995 the DD1500 will be able to interface and fast, unfaltering operation seems to
recognise files from Akai's current digital recorder - be something of a breakthrough. Reliability is also
editor, the DD1000, which is based around the a major factor for those working under the
slower 650Mb M -0 drive. The removable discs are impatient gaze of clients. If the DD1500 is
physically identical and are accepted directly by anything like the DD1000, there should not be any
the DD1500's drive. If you have a stand -alone problems there either.
650Mb drive you will be able to use it to record,
playback and edit with the DD1500, although it Archiving to Exabyte will be available by the end of UK: Akai (UK) Ltd, Haslemere Heathrow Estate,
will provide only four tracks. These can be four January. Meanwhile, you can archive to any other Silver Jubilee Way, Parkway, Hounslow, Middlesex
independent mono tracks, as opposed to the two SCSI device, such as an M -0 drive, and the TW4 6NQ. Tel +44 181 897 6388.
stereo pairs offered by the DD1000. In all cases, archiving can be made selective so that if you a Fax +44 181 759 8268.
the number of tracks stated includes any being stream of 30 different footsteps from a CD and US: Akai -AMC, 1316 East Lancaster, Fort Worth,
used for recording. Thus, if you are recording a ended up using only three of them, only the TX 76102. Tel: +1 817 336 5114.
stereo pair onto the 8- track-capable 1.3Gb optical sections of the recording used would be archived Fax: +1 817 870 1271.
drive, you will only be able play back six tracks. thereby saving space.

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34 Studio Sound, December 1994

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 EQUIPMENT CONTROL

The obvious uses for a uniform increasingly discerning and because determinate bounded latency network
control protocol are in large we have environmental issues to and Ethernet will, in principle, result in
PA rigs, musicals, leisure reckon with. loss of determinacy and bounded latency.
centres and theme parks. To We will consider a true network
these can be added night clubs, smaller
theatres, video suites, broadcast
Characteristics protocol as being able to support both
peer-to -peer operation and master-to-
environments, small-scale live There is an inanity in the human minion working. The earlier PA422
performance and virtual- reality sound psyche which leads an otherwise system predicates a master controller
systems. For audio equipment the rational person to specify a £2m audio and in this scheme it is one of the tasks
provision of the facility is likely to be a installation and then try to save a few of the master equipment to poll
complicating luxury in systems with pounds buying a cheap PC clone to attached equipment in order to update,
less than five power amplifiers and drive it. While accountants may have a for example, temperature or acoustic
associated equipment but an increasing great deal to learn about engineering, noise level values. Another feature of
necessity in systems where the number there may be some virtue in engineers true networking is that is should be
of audio units approaches 100. looking at life from the other side possible to design and implement
But it is almost impossible to -occasionally. When it comes to bridges, repeaters, routers and
countenance a single network something such as network control, it is gateways. Each of these necessary
technology -or, more importantly, a no surprise to learn that the incremental networking accessories will need to be
single network protocol -being used component cost is intended to be below intelligent principally because of the
uniformly throughout the world of £10 ($16). For MIDI this cost can be need to maintain some bound to the
professional audio, video and lighting below £5 ($8) but, as we will see, it is not latency. From a system designers point
control industries (PAW). Since current a serious contender for the role of of view, a network technology must offer
design technologies for signal processing network technology. galvanic isolation, low EMC emissions
are converging, future for product For practical reasons it is useful if and susceptibility, and in -built
differentiation will focus on the the combination of signalling rate and transmission error detection.
man-machine interface (MMI). These signalling distance can be optimised
considerations suggest some level of
protocol at which all aspects of PAW
and an often quoted target is 125kB/s
over 500m. At this rate it is only control
ISO OSI model
activity could be drawn together. and monitoring signals which are being The Open Systems Interconnection
At the present time, nearly all of the considered; audio or video programmes (OSI) 7 -layer model is a useful guideline
previously accepted methods of remote require data rates beyond 123MB /s and by which we can judge the degree to
control in the world of the entertaining there are emerging technologies which which we have an acceptable network
electron are up for change. The lighting will facilitate this (such as ATM). protocol design. Each layer can be
industry settled on the DMX512 At the present time, the use of envisaged as receiving and passing on
technology only a few years back and glass -cored fibre is likely to be messages to adjacent layers while it
yet we are witnessing moves to provide appreciated most when the bandwidth carries out a set of duties:
something significantly better. Even of the medium is used to carry 1. The physical layer is concerned
the widespread and much abused MIDI programme material at the same time. with the unstructured bitstream over
is witnessing a new approach on its The apparent limit of 125kB/s and 500m some physical medium. It is concerned
home territory of musical instrument reflect the need to be able to determine with mechanical connections, pin
control by the ZIPI and eXtended within a 1 -bit signalling period that the numbering, cable, fibre and radio
MIDI proposals.' control signal is correctly available to methods of bearing the bit stream and
What seems strange is the grip which equipment nodes attached to the bus. for establishing and maintaining access
many manufacturers attempt to retain The issue here is one of latency and to the medium.
on their control protocols. This would be determinacy. Determinacy expresses the 2. The datalink layer is concerned
understandable if there were some possibility of being able to operate the with reliable data transfer across the
doubt as to the stability of the interface network so that an attempt to transmit link. At this level, the data is organised
involved, but it is more likely that the information results in the network being into data frames, sync bits and stuffing
manufacturer perceives the loss of some in a known state. Latency expresses the bits are added and usually a Cyclic
proprietary control over the product. time delay between the requirement to Redundancy Check is computed and
Yet `open' protocols have witnessed transmit a message and the time when appended to the bitstream. Finally,
most widespread use, and this openness the message is correctly delivered. For
has powered third-party application
developers to extend the utility of
time -bounded systems it is important
that latency is both bounded -that is, it Allen Mornington -West
equipment. Consider Ethernet, GPIB,
AES3 -EBU and MIDI, or the
can be guaranteed not to exceed a stated
value and that the actual time is short.
outlines technologies and
widespread use of the C language.
We need network control and
For the sake of a quick yardstick the
reference for being on time could be
sets out some of the criteria
monitoring because equipment is
increasingly seldom close to hand
taken to be within one SMPTE -EBU
frame. Equipment such as repeaters and
for the future of network
-because productions are increasingly gateways modify the anticipation of
latency greatly and, a gateway between a
control systems
complex, because the public are
37
 EQUIPMENT CONTROL

the data may be subject to channel coding such as

NRZ, MFM or MLT3.
lower and upper layers of the OSI networking model
and so it organised two subcommittees to bring forth Simple
3. The network layer handles the consequences of
collisions having been detected as a consequence it
standards respective standards. There are a number
of candidates for the physical layer but not all of
architectures
has some part to play in maintaining the link. The them are open or licence free. Indeed, for some of The main network architectures are grouped
role is extended to provide continuity for successive them there is no firm technical information at all. according to their physical and logical
frames which form part of a longer message. Some that are open are costly to implement while arrangement. In most cases these reflect the
4. The transport layer handles full blocks of data others have chosen to encapsulate all OSI layers signalling means and the way in which the
and the flow control associated with this.It will within a proprietary closed technology. Because the signalling medium is accessed. The principal
normally monitor any errors in the received data AES SC10 is attempting to produce an open physical groups are:
and act accordingly. standard which has the acceptance of the main part Bus or spine: the connecting cable, or fibre passes
5. The session layer authorises access to the of industry, it is clearly not in a position to settle the by each equipment node and a connection to the
higher layers for the communication channel. issue for some time. It may have difficulty doing this equipment is achieved with a tap or T joint. There
Strings of packets which have been collated can be until the upper layers have been settled. Truly a are usually constraints on the length of the tail
presented to the next higher layer as a set of chicken and egg situation. attached to the T joint. It is usual for this scheme
checked data. Progress on the higher layers stalled for a short to implement one of the CSMA types of medium
6. The presentation layer deals with while though it looks to be freed now that meetings access by the Arcnet method breaks from this by
reorganising data by converting it (between using a token passing scheme based on equipment
EBCDIC and ASCII for example) or decrypting it node identities. A straight bus is usually easier to
in order to present it to the next layer. lay out the cable for but, unless care is taken with
7. The application layer here is not the final use the algorithm for medium access, access can not
application layer; that is one of the next few layers
with which the OSI model is not concerned. This The issues which always be guaranteed. This means that efficiency,
approximately the ratio between the practically
layer handles the interface to the operating system achieved data- transmission rate and the maximum
of the host machine such as its filing system or
storing away local variable values. It would be
remain to be possible signally bandwidth, can be poor.
Ring: each unit is connected to the next in the ring
feasible to model the local maintenance of time
code for example in this layer. resolved include by a cable or fibre. This format is usually
associated with the token- passing method of
It is probably clear that the easy bit is in the first determining medium access. The benefits of token -
two, maybe three, layers. These are concerned with
physical signalling and transport activities and, as
recognition of the passing schemes include the determinable latency
and the potential for using several segments of the
an example, you might visualise how to place a ring at the same time in order to increase the use
large amount of MIDI operation into just three new equipment, of the medium.
layers. MIDI, like DMX512, might be modelled as Star a central hub is used to connect each unit
skipping all of the other layers and relating itself
directly to the user's main program. What makes hooks for bridges individually. Though this could be realised as one
large junction box, it is often handled as a logical
the design process a challenge is the need to design ring in which each connection is handled in turn by
the messaging for these middle layers. The target is
to achieve this in such a manner that the resulting
and repeaters, time some controller. The need to visit each of the nodes
in turn means that for much of the time the
protocol can be carried on almost any reasonable
transport system. This should ensure that it will be code and handling equipment connection may be idle, but this does
not bring the advantage that disconnection of any
possible to design a gateway between the various equipment does not break the network.
transport technologies.
morphological There are a few major methods by which
signalling proceeds, more or less orderly, between
Setting standards dynamism consenting equipment.
Time Slot: this may be one of the more orderly
It is the content of these middle layers which may approaches to controlling access to the
be responsible for some engineers thinking that communications medium but setting it up and
things have become far too complicated. They may maintaining timing may be a problem especially if
only have wanted to change the gain on a power it is a requirement that equipments be allowed to
amplifier and adjust a graphic equaliser, but the at the recent AES Convention agreed to publish the come and go arbitrarily.
equipment which our industry has designed is first nine sections of the committee's AES24 ID as Master Polled: this certainly requires the
capable of greater functionality. The functionality a definition of the data model to which the continued presence of the master controller in
can also be modified on-the -fly as is the cast with protocols should relate. The issues which remain to order to stay up. Where feedback from remote
almost any equipment based on DSP. And, because be resolved include those of implementing equipment is required, it is necessary to set up a
we have no ideas what tomorrow's equipment automatic recognition of new equipment (possibly poll, or request, in a fixed regular basis and in the
designs will be, we need to design a protocol capable by way of a teacher- learner protocol), devising approach would look rather like a form of
of learning what the equipment it is connected to is hooks for bridges and repeaters, understanding the master-driven time slot. Sending a group broadcast
capable of. More than this, it should be possible to problems of time code in a network environment is an unwieldy activity as it means sending an
teach controlling equipment the rules of control. and handling morphological dynamism in individual message to each equipment node. But
Thus the targets for the protocol require us to agree equipment attached to this work. provided that the maximum message length of any
a data model for a generic entertainment Meanwhile it is all too easy to focus on the packet is constrained to a known size the
equipment such that however it is internally physical layers for at least they can be assumed to worst -case latency can be determined. This
organised, sufficiently intelligent learner equipment exist We'll look at some candidates for the task of
. approach to accessing the medium is usually
will be able to control the available functions. transport bearer and at a later time, possibly after associated with physical star installation and this
This all implies standards, and that is where the the AES Paris convention, we may be able to can lend itself well to installing an intelligent hub
AES SC10 has been active. This subcommittee review the issues involved in the higher layers in the base of a rack with relatively short
recognised that there was a valid divide between the more thoroughly. individual feeds to each item of equipment
38 Studio Sound, December 1994
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 EQUIPMENT CONTROL SONIC SOL TIONS

417,.
International Dealers

AUSTRALIA START LAB, INC

SYNCROTECH SYSTEMS DESIGN 2 -14 -19 Okino Bldg., 4th FI.
under network control. for example) are monitored but the first part of the Unit C, 9 Gibbes Street Minami -Azabu
Chatswood, N.S.W. 2067 Minato -Ku, Tokyo 106
Token passing: instead of allowing a fixed time CAN packet is actually a priority code and this is 61 -2- 417 -5088 phone 81 -3- 3448.9841 phone
for each equipment to occupy the network medium used to determine that the highest priority 61 -2- 417 -8360 fax 81 -3- 3448 -9095 fax

regardless of whether there is any information to equipment node has command of the bus. Because AUSTRIA KOREA
convey a node holds a token which allows it access the determination of this is carried out on a bit-by- AUDIO SALES UNION SOUND
Neusiedlerstrasse 19 593-23, Kong Nung 1 -Dong
to the bus if it has anything to say. When it has bit basis, it is known as Non -Destructive Bitwise A -2340 Mddling No- Won -Ku, Seoul
finished its turn it passes the token to the next Arbitration. The overall process is known as 43- 2236 -26123 phone 82 -2- 976 -4080 phone
43- 2236 -43223 fax 82 -2- 976 -4079 fax
equipment node. Two main forms of this exist CSMA/CD/NDBA. CAN appears to have other
physically. In the first the physical arrangements interesting features which might suit transport CANADA NETHERLANDS
ADCOM ELECTRONICS TRANSTEC BV
is actually a ring and the token is passed methods for PAVI equipment. 310 Judson Street, Unit 1 Brugwachter 19
sequentially round. In an enhancement of this There is one more characteristic which will need Toronto, Ontario M8Z 5T6 3034 KD Rotterdam
(416) 251-3166 phone 31 -10- 414 -7055 phone
approach it is possible to use the fact that the ring settling and that is the matter of the medium. (416) 251-3977 fax 31 -10- 411 -3580 fax
is broken at each equipment node and that this There is a small field from which to choose:
MATRIX PROFESSIONALVIDEO SYSTEMS NEW ZEALAND
isolates each segment of the ring and it is possible Twisted pair: this is available in shielded and 123 West 7th Avenue GROUP 3, INC
Vancouver, B.C. V5Y 1 LB
to have several message transactions occurring at unshielded versions. Experience in high EMC 604 -875 -6301 phone
P.O. Box 2039
South Hamilton, MA 01982 U.S.A
the same time. The second format is physically a environments indicates that it is the quality of the 604 -875 -0543 fax (508) 927-2379 phone
linear bus in which the token is passed to the balancing which has most effect and the shield (508) 927-1648 fax
equipment with the next valid equipment identity. tidies up the EMC aspect, adds to the strength and DENMARK
NORWAY
DANSK AUDIO DISTRIBUTION
This latter approach is taken by Arcnet. One minor the fun in terminating it. There's a wide choice of Fuglegardsvej 5
SIV. ING BENUM
Haakon den Godes vei 14
drawback of the simple implementation of a ring potential candidate cables.' 2820 Gentofte
Vinderen, 0373 Oslo
45 -31- 682811 phone
topology is that in a large system it can be some Coaxial: the conventional thin -net form of 45- 31- 652449 fax
47 -22- 145460 phone
47- 22- 148259 fax
time before the token is passed through the full Ethernet uses coaxial cabling but this is often an
FINLAND
round of addresses and thus latency, though expensive option. STUDIOTEC KY
POLAND
TONMEISTER RECORDINGS
determinate and bounded, can become rather large. Optical fibre: there is choice here since short -haul Kuusiniemi 2
6120 Massachusetts Avenue
02710 Espoo
One obvious way to circumvent this is to age the connections may use plastic fibre and cheap optical 358-0-592005 phone Bethesda, MD 20816
48 -22- 397949 phone
equipment addresses even to the point where, transceivers. Longer distances are best covered 358 -0- 592 -090 fax
USA
having not been actively involved in sending or using single-mode fibre and these do provide FRANCE (301) 229-1664 phone
(301) 229 8002 fax
receiving data for a number of periods, the greater bandwidth capable of exceeding 250MHz D.D.D.
97, Boulevard de Magenta
equipment node effectively becomes dormant. using a 1300nm LED, for example. One problem 75010 Paris RUSSIA
I.S.P.A.
When it is time to wake up it must negotiate for its with the optical approach applied to a bus or ring 33 -1- 4246 -0186 phone
7/4 Kutuzovski Pr,; Block 6, Apt 12
33 -1- 4246 -2048 fax
existence to be recognised and for a fresh instance topology is that each node has to remain powered Moscow 121248
7 -502- 224 -1008 phone
of its node alias to be determined. or else the network will fall over. GERMANY
7 -502- 224 -1009 fax
R. BARTH KG
CSMACD group: Carrier Sense Medium Access These are typical physical and electronic Grillparzerstrasse 6A
D -2000 Hamburg 76 SINGAPORE
Collision Detection. The principle is that in a arrangements for networking structures along with TEAM 108
49 -40- 229 -8883 phone
collection of a number of nodes it may become some of the commoner medium access methods in 49 -40- 223 -209 fax 55 Genting Lane
Singapore 1334
increasingly impossible to determine which is the use. Technologies which can not implement a 65- 748 -9333 phone
STAGE TEC GmbH
node which will require access to the medium next. network approach are not covered here, which Bahnhofstrasse 13 65- 747 -7273 fax
79843 Ldffingen
Accordingly there can be a free-for -all and the first leaves MIDI and DMX512 out in the cold because 49- 951 -71295 phone SOUTH AFRICA
stage in averting calamity is that before they do not provide peer -to-peer working and 49- 951 -747632 fax EMINENTLY MORE SUITABLE (EMS)
24 Napier Road
attempting to gain access to the medium a node because the scope of the definition of available HONG KONG 1st Floor, South Wing
shall monitor the bus activity until it has commands means that every extension of the DIGITAL MEDIA TECHNOLOGY Richmond, Johannesburg
Flat C, 1/F., Comfort Bldg. 27 -11-482 -4470 phone
determined that it is clear to transmit. It is quite control protocol is an exception. 86 -88, Nathan Rd. 27 -11-726 -2552 fax
likely that, where is a large number of potential Tsim Sha Tsui, Kowloon
intercommunicants, other nodes might also take
the same time to declare their hand. Each node is
Physical transports 852- 721 -0343 phone
852 -366 -6883 fax
SPAIN
SONY ESPAÑA
Maria Tubau, 4
INDONESIA 28050 Madrid
required to monitor the medium and to decode its We should retain a distinction between the ROSCOR 34 -1-536 -5700 phone
own transmissions and where it determines that transmission of programme materials and control Jin. H.R. Rasuna Said 34-1- 358 -9794 fax
Kay. X-7, No. 6
what it can receive is not what it sent it must information. There are technologies which can be Plaza 89, Suite 301 SWEDEN
assume some kind of fault. The interfering nodes used to carry both types of information such as Jakarta 12920 PREFIX
61 -21- 850 -6781 phone Gullrands Vag 163
are required to be silent before they attempt to B -ISDN, ATM, 100VGAnyLan, but it might be S -145 64 Norborg
gain access once more and they hold off trying for a preferable to consider them as simply bearers ISRAEL 46-8- 531 -911 -83 phone/fax
D.Z. SOUND PRODUCTIONS
random time. As collisions increase the length of rather than the network itself. There is no reason 18 Shenkin Street SWITZERLAND
this backing off, this delay is increased. This is the why the two information streams have to be Givataim 53 301 DR. W.A. GUNTHER AG
972.3- 317185 phone Seestrasse 77
basis of the medium- access protocol used in related and, besides, there remains the need to 972 -3- 573 -1744 fax CH8703 Erienbach - Zurich
Ethernet but it gives rise to the problem that the provide a reverse -signalling channel for all of the ITALY
41 -1- 910 -4141 phone
41 -1- 910 -3544 fax
latency is potentially unbounded and monitoring data to be sent back from wherever. REPP
Via Manzoni, Querce 311
indeterminate. Proposals to use the Ethernet There are a large number of potential candidates 20080 Basiglio
TAIWAN
ACESONIC INTERNATIONAL CO, LTD
transport system for PAW signalling have and, with only slight stretch of perspective, over 39- 2- 90- 755 -230 phone No. 6, Alley 5, Lane 130, Sec. 3
39 -35- 450 -682 fax
suggested ways around this problem and one of 20 may be available. This is not to say that others Ming Sheng E. Road
Taipei
them requires that the peak traffic is held to below in use in professional -audio systems do not exist, JAPAN
886 -2- 719 -2388 phone
DAIKIN INDUSTRIES LTD
a rate of 2MB /s, some 20% of the potential peak but that details are not to hand at the present 1000 -2 Ohtani, Okamoto -Cho
886 -2- 716 -0043 fax

rate. This is a fair penalty to pay for the privilege time. These include the Crown IQ, Crest NexSys, Kusatsu, Shiga 525
UNITED KINGDOM
81- 775 -65 -6196 phone
of being able to use the standard hubs and QSC QLink and the Lone Wolf MediaLink systems. 81- 775 -65 -6652 fax
TYRELL CORPORATION
20 Great Chapel Street
repeaters used throughout the computing industry. All of these are proprietary systems and it has been
London W1V 3A0
NIPPON PHONOGRAM CO.
One principle variation on the CSMACD indicated that is a full protocol standard should Wako Building 44- 71- 287.1515 phone
approach is taken by one of the industrial process arise that their owners will attempt to carry the 8 -5 Roppongi 4-Chome 44 -71- 287-1464 fax
Minato -Ku, Tokyo 106
control protocols known as CAN. In this scheme standard within their signalling technology. 81 -3-3479 -3741 phone
the signals placed on the medium (fibre or copper, We will look at examples of their electrical 81 -3-3408 -1692 fax

40 Studio Sound, December 1994

 Equipped
for Success
Ask our users "Why Sonic ?" and LARSON SOUND, LOS ANG
SYSTEMS they'll tell you: "The Sonic System
4 systems with MediaNet
is one of the keys to my success"
for TV audio post production.

PROJECTS
Owners wax about increased
movies including "Is There
TV
productivity with multi- tasking
Life Out There ?," "Return of

the Native," and "The Other

features like background loading
Anna." and unloading. They praise Sonic's
"Sonic was our choice because
MediaNet which provides instant
it does the broadest range of

tasks well, and it's truly access to any sound in their facility
networkable."
as well as seamless links among
-RICK LARSON
editing systems, transfer stations,
and the mixing stage. Engineers
applaud the limitless DSP power
SYSTEMS and sound quality of the System.
CHOP EM OUT, LONDON
4 systems including
They take comfort in Sonic's record
full audio restoration.

PROJECTS
of technology innovation, such as
Brian Eno 20 -bit remastered
our new SonicCinema system for
4 CD set; Tangerine Dream

20 -bit remasters; Status Quo; full- motion Video CDs. Operators

and many others, including
boast how the amazing speed and
classical recordings and movie

soundtracks restored.
flexibility of the Sonic System lets
"The ultimate non -linear music them deliver higher quality work -
editing system...simply the
from instant spotting of fx, to
best."

-SIMON HEYWORTN
dialog or music editing, to high-
speed CD recording.

No other system can match the

Sonic's price performance, and no
J. WALTER THOMPSON, CHICAGO
SYSTEMS

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other company can match the
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production. technology vision of Sonic Solu-

PROJECTS tions. Just ask our users or call us
Major ad campaigns for 7 -11,

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-JOHN ZWIERZKO

SONIC SOLUTIONS
1891 East Francisco Blvd. San Rafael, CA 94901 Tel 415 485 -4800 Fax 415 485 -4877
 EQUIPMENT CONTROL

waveform, as it is a means of showing their might include a complete EDL, the complete set of between a master controller and a standby
structure and their electrical driving and timing coefficients for a DSP system and the complete controller, on an almost point -to -point basis. You
characteristics, in a second article. For the present, channel settings for an audio mixing desk or might consider wiring a large site with an
as a rough measure of their potency, we will lighting-control panel. Echellon-based system because all of the systems
estimate their messaging speed in terms of the In a practical network, Ethernet would be hard components are available to the installer. It
greatest rate at which they can send a single byte pushed to reach 40% of bus utilisation and the might be appropriate to arrange for a group of
payload and, as a measure of their ability to carry messaging and transfer figures would be some 30% video playback machines to share a token
longer messages we will try a first estimate on the lower. An Arcnet system with a large number of ringsystem hub. And CAN might see use as the
length of time which would be taken to transfer nodes would spend a great amount of the network final control protocol at individual equipment
1MB (125Byte). resource simply passing the tok (sic) round as each level because of its cost effectiveness. At present
instance of token passing involves the equivalent of there is no clear winner and it appears there will
Speedy message? an 8 -byte packet. The Echellon system was
modelled using the standard differential mode in
remain a variety for some time to come.
References:
There is a point of view -not necessarily shared by which there appears to be a lengthy waiting period 1A new network and communications protocol for electronic
all-that in a PAW -based network control the type at the end of each packet. It is this which appears musical devices was published in the ICMC proceedings 1994.
of messages transmitted will comprise mainly of to slow down the overall performance. The More information is obtainable from Keith McMillen, e-mail
mcmillen®cnmat.berkeley.edu.
short messages. These will be something like estimate for CAN assumes that the protocol in use
More information on eXtended MIDI from Digital Design &
change gain to X, temperature is X, gang together is loosely based on the DevideNet.4 Development, 18A Godshuis Street, 1861 Belgium. Compuserve
A and B, Powerdown X, move X, acknowledge A summary here is invidious because each of 73261,530
message, drop connection and so on. This, it could the transport systems referred to could be 2 DMX512, A Guide for Users and Installers, Adam Bennette,
be argued, leaves other technologies to perform a considered an optimum solution for a particular PLASA, 7 Highlight House, MN213UH, UK. In addition to a
concise description of DMX512 operation this text contains a
better job shifting pages of text. Messages in long use in which performance in one or other of the useful list amble types which might be considered
strings will however occur and two circumstances apparently key characteristics of a PAVI network 3 Some Principles for Control of Entertainment Electronics by
come to mind. The first occurs during the initiation has to be compromised in order to capitalise on Networks, Allen Momington -West, proceeding of the Reproduced
phase of the network when various equipments set other benefits. This focuses attention on the AES Sound conference RS10, Windermere 1994.E -mail
out to learn about each other. This process has 100044.1157Rcompuserve.com
SC10 target to achieve a messaging protocol
4 The DeviceNet specification, Alolen Bradley Co, 747 Alpha
been described as a Teacher -Learner Protocol which can be carried on a variety of suitable Drive, Highland Heights, OH 44 143, USA. This sets out the full
(TLP).3 The second arises when arrays or lists of transports. Thus one might use an Ethernet DeviceNet protocol for PAW and it is worth considering adapting
values internal to a unit have to be sent -this transport to shift a large amount of data. many of the measures rather than using them outright.

The non -compromise solderless XY- Series

* Up to 60% saving in assembly time

* Fully field serviceable
* Neutriks' unique chuck type strain relief
* Special contact for the shield
,. * Choice of shell grounding
* Short circuit proof

Neutrik sets standards again

Neutrik AG Neutrik Zürich AG Neutrik Marketing Ltd.
Liechtenstein Switzerland United Kingdom
Tel 075/2329666 Tel 01/7340400 Tel 071/7928188
Fax 075/2325393 Fax 01/7343891 Fax 071!7928187

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Japan USA
Tel 03/54112551 Tel 908/9019488
Fax 03/54112827 Fax 908/9019608

42 Studie :und. I). cember 1994

 Sound a 49 2654 960058iÍ( GREECE Omikron IT 301 330 2095' üj((jjWu HOLLAND Radio Europa a 3180 558484v ISRAEL More Audio a 97
cp

MSL -5 High Power Loudspeaker System

cc
w
"The most important part of my job
is to connect the audience to the
artist and make them forget that
they are in -fact listening to a
loudspeaker system. The ability of
the MSL -5 to reproduce sound
naturally plays an important part in
helping me achieve that. The
Q
MSL -5 represents the next
Q)
evolutionary step in large scale
Ú concert loudspeaker systems."
Alexander Yuill Thornton II "Thorny ",
Sound Designer for Luciano Pavarotti,
The Three Tenors Series, concerts of
Placido Domingo and José Carreras.

"The MSL -5s provided incredible

coverage: If I had used any other
system, I would have asked for four
times as many boxes. With only
three MSL -5s per side we were
clocked at 87 dB - a mile away!
From the first hit on the drums, I
knew I was going to have a great
time. Using the MSL -5s for KISS
was a hell of a lot of fun."
Orris Herry, Front of House Engineer
for KISS and Lita Ford

" The MSL- 5/DS -2 system used at

the 28th Montreux Jazz Festival
was capable of providing
incredible power and punch for
nights when we had rock acts, to
grace and nuance for an acoustic
ensemble or orchestra. It remains
one of the most flexible systems I
have ever used, and I will certainly
consider specifying it for all my
future jobs."
Steve Levitt, Front of House Engineer , 28th
Montreux Jazz Festival, Lisa Stansfield,
Level 42

Photo: Montreux Jazz_ Festival main sys:em (left).

q- ----... -- ------- z

(a
. //////// Meyer
Sound
,
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L
,

`rb' ql SWITZERLAND Hyperson a 41 21 648 5960 , il UK Autograph Sales a 44 171 267 6677, i(USA a 1 510 486 1166,11 ((( Oit
 STUDIO RESTORATION

NAMOUCHE STU D i 0 S Ponte) whose main work was music for advertising, though
When the Portuguese Namouche the owners were also respected musical performers in their
own rights. In May 1985, Namouche bought Polysom and
Studios decided to refit, they within six months, also bought Radio Triunfo, so by the
beginning of 1986, both studios were again under common
discovered a wealth of classic ownership. The names of both were changed to Namouche.
Three years later, Namouche sold the old Polysom studios,

equipment earmarked for which are now known as Xangrila (Shangri -la), and at the
time of the sale, virtually all of the ex- Polysom equipment was

destruction. Philip Newell reports transferred to the former Radio Triunfo studio, which brought
together under one roof a quite exquisite selection of classic
recording equipment, including the two Neve consoles. These
on a marriage of old equipment were believed to be the only two Neves in Portugal, except
possibly for one which reputedly remains boxed and unused in
and new studio design a television studio. The 12.5m x 14m studio at Radio Triunfo,
with its 6m -high ceiling, was one of the only studio rooms of
Namouche studios began life as Radio Triunfo in the its size in Portugal, so despite the winding down of the
early 1970s. Radio Triunfo was not as the name operation, the studios continued to find work. The former
suggests, a radio station, but a record company isolation rooms downstairs (below the main control room)
owned by Rogerio Leal, and a church organisation. were converted into control rooms for radio recording and
In April 1969, they commissioned the studio design from jingle production, which provided a workable income for the
acoustician and Thermal Insulation-Isolation Engineer Andre whole; but despite the sporadic upgrading of equipment, the
Ledentu from Le Cannet. The studio was built as an extension problems involved in finding spare parts in Portugal for
to the rear ground floor and basement of an apartment much of the more esoteric equipment, meant that more of it
building in Estrada da Luz, the road leading to the famous was being put into storage. By 1993, it was clear
Benfica football stadium, Estadio da Luz. that the situation could not continue indefinitely.
Serious attention to equipping the studio seems to have Inez and Ze da Ponte sold a large share -holding back to
begun in the mid- 1970s, with a new Neve 16:4 8014 console. Jose Serafim, from whom they had bought the studios in
Around 1978, a Neve Series 80 console was purchased from 1985. Serafim now had his own very successful record label,
Decca in London. This had been extended at some point to a plus CD and cassette production plants, but was without
30 -input 24- output format, though it is unclear whether studio facilities. By the beginning of 1994, it was necessary
Decca did the modification, or console electronics prior to either to re build or to close down the studio.
shipment. Subsequently, the Neve console found its way to
Polysom, another studio owned by Jose Serafim and Arnaldo
Trindade. In 1982, Polysom bought Radio Triunfo, complete
Aladdin's cave
with all its equipment. Visiting Namouche in early 1993, I found an Aladdin's Cave of
Running parallel to this operation was the Namouche classic audio -recording equipment. The general state of repair
production company (owned by Guilherme Inez and Ze da was not good, partly as a result of sales reps being more
interested in selling equipment than providing back up, and
partly because finding alternative back up is no easy task.
The equipment list included, however, many items unique in
Portugal including around two dozen Neumann microphones,
half of which were types such as U67s and M49s. Many people
had told the owners that the equipment was beyond repair, as
spare parts were no longer available yet I was able to find
boxes of unused AC701 acorn valves for the M49s in a drawer
of odds and ends. Downstairs, an Ampex AG440 8 -track
machine was being used as an interim 2 -track for making
radio programmes, replacing a `dead' ATR102. This had been
lying idle for four years after suffering a broken glass tacho-
disc. The studio had been told locally that spares for these
machines were no longer available- untrue, yet we did not
need to search farther than a drawer in the workshop to
locate a replacement disc. Such was the disarray.
`Good, modern equipment' such as Tascam, Fostex or
Yamaha was being suggested for refitting the studio -the
sonic quality of which falls far short of that of the dying
equipment in Namouche.

al, AJ
The `old' control room showing stacked monitors and original Neve console
Recognising my obvious enthusiasm, the owners arranged a
period of four days for my son Julius and myself to see just
what we could revitalise. We began with the 24 -track Neve
console, which was little over half functioning. Under the
44 Studio Sound, December 1994
The redesigned studio control room with Reflexion Arts 236 monitors and `combined' Neve console
watchful and interested gaze of Namouche staff, we rectified 12 sections of full-height wood panelling, about 80cm wide,
fault after fault, and it soon become obvious to all that there interspaced with sections of fabric over a sort of Hessian -faced
was life in the console. At the end of the period, I was asked if compressed glass fibre. The false ceiling was made of
I wanted to re design and re build the whole studio. The compressed glass -fibre tiles, but was unfortunately
answer was an unequivocal `Yes'. punctuated with perspex sheets to allow through the light of
48 fluorescent tubes. The entire lower section of the walls,
Acoustics from about 1.5m down, was covered in a perforated board,
something like pegboard but from sheet wood, fixed over a
Big changes were needed in order to bring the Namouche into glass -fibre backing. The entire wall adjacent to the booths and
line with current expectations. The studio itself has a floor control room was covered in perforated wood, with
area of about 175m2, with almost 6m of headroom up to the sharp- angled protuberances to break up the uniformity of the
first false ceiling. The general acoustic was somewhat strange, surface. The floor was a fully-floated concrete slab with carpet
yet for most things perfectly workable. The ambience, on its surface. According to Ledentu's spec, the short pile
however, was uninspiring and dated- before my visit, I was carpet was laid to reduce the noise of feet and general
told that it was reminiscent of the old Pye Studio in Marble movement. The specification called for `a studio usable for a
Arch, London. When I saw Namouche, I could see why: wide range of recording' of which drama would be a distinct
elevated control rooms, the general 'mid-browness' of the possibility as the plan refers much to the intelligibility of
place, and the acoustic architecture which largely consisted of speech and for which purpose, a general reverb time of around
surface treatments. I chose to brighten the place up both half a second had been the aim. Acoustic variability was to be
visually and acoustically. effected solely by the use of around a dozen acoustic partitions
Namouche had not only managed to hold on to their classic which were hard on one side and soft on the other, and could
equipment, but also to the paperwork. The explanatory plan be wheeled around. In general, the sound was lacklustre.
of Andre Ledentu's original design was still held in the files The original specification was written entirely in terms of
after 25 years-it called for skylights, but being close to one of room volume, absorption units, decibels of isolation and other
the flight paths into Lisbon airport, Ledentu recommended technicalities. Not one word in the 20 -odd page document
the idea not be implemented. Further, he called for a 15 -inch referred to a musical instrument. Such was largely the
soft-earth overlayer on the slab roof to deaden airborne noise, accepted practice in those days, but as I pointed out at length
considered at that time to be around 90dB outside, Noise (see `Out of Control', Studio Sound, December 1993) what is
levels are by no means so high these days, as efficient high - specified technically and what is perceived musically are often
bypass turbofan engines are significantly quieter than the only tenuously linked.
Concorde style turbojet engines of the late- 1960s. Certainly As there were many good points to the original design, I
there was no aircraft noise apparent in Namouche, so chose to modify rather than totally rebuild. Also, the
Ledentu's isolation recommendations appear to have done late -1960s ambience of the design was not entirely without
their job well. character. There are still a number of dated studios in Lisbon,
The walls consisted of alternate hard and soft surfaces of but these will soon go leaving the `new' Namouche quite
45
 STUDIO RESTORATION

The main monitoring consisted of a

pair of JBL 4430s, and a pair of Altec
9844Ás (the Altecs standing on top of
the JBLs) wired in parallel for each
side of the `stereo'. The Carver
amplifier was distorting at low levels
on one side, and radiating hum into
all adjacent wiring. The only saving
grace was a pair of Genelec 53ONFs
on top of the console, but even these
suffered from the bounce off the hard
back wall behind the engineer.
There were a total of eight pairs of
monitors around the place -the
legacy of a history of monitoring
problems. In one room, there were
even four Altec 604Es lying on the
floor, from where they came I have no
clue.
The old control room was far too
live, and with parallel walls the
resonant modes were particularly
noticeable. It was decided to
concentrate on internal acoustics,
distinctive in years to come. huge Czechoslovak Petrov concert general aesthetics, and monitoring.
It was decided to lay a light - grand-took on a significantly richer The room was roughly 7m square,
coloured wooden floor partly to add character after the new floor was with the entrances behind a pillar at
more immediate brightness to the down. To help to compensate the centre rear. The main restriction was
sound. Certainly the grand piano -a overall acoustic for this additional only having about 2.6m in ceiling
175m2 of reflective surface, about height. In order to break up the
70m2 or 80m2 of wall surface was parallel nature of the room, it was
treated with Noisetec PKB2, a decided to make the walls and ceiling
deadsheet and felt barrier mat. This as diaphragmatic as possible over a
was then covered with a light beige wide frequency range. To the inside of
'stretch' material which cut down Ledentu's original sound isolation
significantly the reverb time of the ceiling was affixed 6cm ofArkobel, a
room as a whole. The movable high- density reconstituted foam.
screens were also made to be much Glued to the undersurface of this was
more absorbent on their `dead' sides, a layer of PKB2, 5Kg/m2 deadsheet
before being covered in the same with a 2cm layer of heavy felt bonded
fabric as the walls; a huge to one side, which pointed into the
improvement on the original finish of room. Below this was a stretch -fabric
a dark green, plastic garden mesh. ceiling which support the lights.
Finally, the fluorescent lights were The new walls were assembled
relegated to cleaning and inside the old room, and consisted of

SII IJRE maintenance duties and hidden

behind a reduced number of perspex
panels. Four.500m halogen
floodlights were extended from the
walls and ceiling (two from each) and
wooden frames covered in alternate
layers of felt and deadsheet. Along
each side wall was then hung a free
hanging, maximum-sized, low -
frequency absorber panel. A further

GEMIJS now flood the ceiling from below,

throwing a warm light down into the
room. These can be further
augmented by various par spotlights.
The old control room, in use until
February 1994, was an unqualified
lightweight frame was fixed inside,
and covered in the same stretch
fabric as the ceiling. The floor was re
laid using a pre -finished wood strip.
Despite the relatively low internal
ceiling height of around 2.3m, the
disaster. It was too live, resonant, light colours on all surfaces, and well
unsymmetrical, badly laid out, and distributed lighting, dimmable by
had a wooden wall with small variac, now give a impression of air
perforations less than two feet behind and space.
the engineer's head. The pan controls Apart from a central structural
on the mixing desk were not used pillar, the front wall from 1.3m down
because little effect could be heard. I consisted of two large windows
was told that the centre on the pan looking down into the main studio
pots were not reliable so nobody area. For reasons of safety and
would use them, yet when I checked acoustic deadness, the inner windows
them out electrically, I failed to find were replaced with 12mm laminated
one faulty pan pot on the whole desk. glass. There was no alternative but
46 Studio Sound, December 1994
to position the main monitoring
system in new overbridge between
the top of the window and the ceiling.
The problem with overbridge
mounting is that there is no surface
in which to mount the loudspeakers
in such a way that there is a
continuous, plane surface against
which the sound wave from the bass
drivers can `push'. Getting a clean
incident wave without phase
confusion is usually difficult. In this
instance, the diaphragmatic ceiling
helped to reduce reflections from
above, while the underside of the
bridge was itself made of
diaphragmatic deadsheet in order to
reduce the resonant nature of the
cavity created below the dead soffit. I
later chose to leave the mixing
console close to the loudspeakers, as
it could have played havoc with the
room acoustics if its back is allowed
to `see' the loudspeakers. The rear
and bottom panels were left off the vintage, when Building the Pink the pan pot to be for the position
console partially in order to let the Museum in Liverpool in 1988. In the heard. We only played the game four
sound `breathe' through the console, event, Julius undertook the console times, and after four precisely correct
and partly to remove the tendency refit, and Cyril Selinger, Jerry answers, I heard no further mention
for the panels to rattle, which is Crockford and Ken Atwood (former of inaccurate pan pots.
noticeable with high -level transients employees of Ampex, Neve and Dolby
from the monitor system in a room of respectively) came out for various
such low reverberation time. spells to utilise their wide ranging
The main monitoring system was a experience on the more intransigent
pair of Reflexion Arts 236s, driven by problems.
the new Neva Audio 5002BG The composite console was fitted
amplifiers made in St Petersburg, with 48 channels of Necam 96
Russia (see bench test in this issue). automation, providing commonality
For the small monitor system, I of spare parts and experience of use
decided to continue to use the with the only other Necam system in
Genelec S30s, as they provided a good Portugal at Discossete. In these
contrast to the RA236s, yet agreed far -flung parts, equipment needs to
with them well in terms of overall be chosen for ruggedness and
musical balance. These days, I repairability, as well as performance.
generally do not like to use large and Once I had been given the
small monitor systems from the same go-ahead for the rebuild, I had the
manufacturer. A second respected equipment re arranged in the room,
point of view is usually beneficial to more in the fashion of the layout
balanced decision making. which I was proposing. Definite
courses of events had led to the
Equipment previous layout, yet it had forced
virtually all the equipment into one
I had found a wonderful Chilton corner of the room, with a large area
mixing desk in a cardboard box, and behind the monitor loudspeakers for
knew it was sonically first class and setting a Fairlight and various other
capable of substituting for the Neve instruments. This necessitated a
in the radio jingle control room. This fourth set of monitors, this time for
made it possible to combine the two the musicians, but still in the same
Neves, yielding a 46-channel mixer reflective room. After I had
with 18 additional effects returns repositioned the equipment, we
channels. I had few worries about played a game with the pan pots -I
this, as I had done a similar job when would mark a position on the front
the Manor Mobile bought the Pye wall, then ask somebody to tell me
Recording Studios Mobile in 1974. when the sound appeared to be
That composite console was coming from that position. The pan
subsequently sold to Genesis in the pots were marked with a centre 0
early 1980s. Largely assisting Julius, then 1 -5 left and 1 -5 right. I would
I had also reworked the ex -EMI then ask the listener to tell me in
Amsterdam Neve console, of similar what position he or she would expect
47
 STUDIO RESTORATION

People said that the new equipment layout was obvious, yet the supplies to the office and hallway. At several points in the
for some reason, despite all the time and problems, nobody design, power efficiency was a great factor to be considered.
had done the obvious. Sometimes a large part of a studio Electricity is not cheap here, either.
designer's job is giving people the confidence to follow their
own judgment. In this case I think that many things had
become established, even after the initial reasons for doing
The new studio
had vanished, and temporary fixes had become permanent. Where does all this leave us? With classic recording
The pre -February 1994 control room consisted of two equipment, extensively overhauled, and laid out in a space
former rooms with their dividing partition removed. Except more suited to current recording practices placed in an
for the doors and large windows, all the wall surfaces up -to -date monitoring environment without having lost the
consisted of the same perforated wooden panels as were used feel of the `grand old studios' from which it evolved. Now that
in the studios. The false ceiling was of compressed glass -fibre Namouche have been put into contact with the appropriate
tiles, and the floor was covered with short-pile carpet, from sources of spare parts and experienced personnel, the
which the static shocks were almost lethal. It appears to be previous degeneration of the equipment need not recur.
absolutely normal in Portugal, and I have spoken to qualified Interestingly, so many experienced persons from countries
electricians on the subject, to wire three phases to one to the north and east have expressed delight in such a facility
extension board. For example, if an effects rack is fed by a becoming available, yet the local Portuguese response is
12 -way distribution board into which to plug the effects. It is disappointing. It is remarkable just how deep the Fostex-
not unusual for one phase to be connected to each group of Tascam mentality goes. Appearances seem to be all
four sockets. Even in live work, I have found three phases important over here, and consequently many will shy away
feeding one amplifier rack. One reason for this would appear from things unusual -and unusual Namouche certainly is.
to be the lack of current available on any one phase, not the The big studio room is already in demand with owners of
mention the lack of current generally. The total power into other studios bringing along their own ADAT setups to use
the whole Namouche complex is less than that supplied to the recording space, microphones and mixing console, then
many British houses, but the uprating of a supply can be scurrying off back to their own studio for any overdubbing,
bureaucratic, time consuming, expensive, and not without editing and mixing.
risks. There is a problem with many corrupt `officials' in The studio have just recruited one British recording
Portugal, and people often engineer, while one of their existing engineers has gone to
worry that to invite somebody Abbey Road to witness operations there for a few weeks.
in to assess a situation for A third engineer is so involved in jingle recordings that he
upgrade, is also an invitation rarely seems to lift his head for long enough to realise
for them to discover a missing that anything has changed since last year. He does seem
approval, authorisation, or appreciative, however, that it is no longer necessary to spend
other piece of paper, which time routeing around problems. In July 1994, a British
unless somebody is bribed, maintenance person was also added to the full -time staff.
will surely see you closed Namouche has provided Portugal with a window into the
down. The Namouche complex world of `real' recording, where engineering skills can be put
had a 3 -phase feed of 30A per to the test with a sonically beautiful recording chain, the only
phase; luckily there was a possible item which I would consider lacking being
spare 30A single-phase feed to 48 channels of Dolby SR, but who knows what the near future
the offices. We doubled up on may bring.
this phase, to give 60A for the
audio supplies of the entire Namouche Studios 1-3: Estrada da Luz, 26B -1600
building, which left us one Lisboa, Portugal. Tel: +351 1 726 5575.
30A feed for air conditioning, Namouche Studio 3: Rua de Campolide, 103C-1000
and another for the lights and Lisboa. Tel: +351 1 68 18 66.
48 Studio Sound, December 1994
 What do you like best about your DA-88?
"Built -in headroom. It makes a big difference "I like having the A/D and D/A converters on an interface
when you're trying to track quickly." "The TASCAM unit is clearly
card because you can drop in a new card without having
more dependable."
to disassemble the whole machine."
"MIDI synching is so easy
and clean. It's hard to know where "With the sync
the virtual recording ends and the "I've had a lot of experience with TASCAM... card it's so easy
taped recording begins." the dependability and the value. It was a no- to synchronize
risk investment for us." our audio both
to video and
It sounds great. Especially in other audio
"The seventy minutes of recording time
"Bouncing. I can the upper frequencies." source, including
bounce forever, it
seems. The DA -88 "The sync card has
-
means we can do something we never
could before get an entire perfor-
mance on a single piece of tape."
our DAT. "

just doesn't distort built -in SMPTE,

like other digital video sync and Sony "The sheer number ofprofessionals
decks." 9 -pin. Perfect for our
using the DA -88 system put paid to
video house." any reservations I might have had
"We really like the convenience of the
Hi8 format. You don't get tape stretch, about moving into digital recording."
you get much snore time per tape, and
it's really cost -effective."

"The Hi8 format is a

superior recording
medium, and it's a
"I can't help but notice the difference TASCAM."
in the sound. Unbelievable."

"It locks up a `It's trouble-free. All I have to do is OFMAi

helium lot faster clean the heads. I'd call it the stress -
thartour other free modular digital multitrack!"
digital multi-
track recorder." "I needed over an hour of recording
time. The DA -88 is the only digital
recorder to offer that."

"The frame accuracy is so fantastic, I can MEMO r0

edit voice -overs and guitar parts as small
as two frames using the Absolute Time
capability." "Punching in and out "E.EAT LOC I LOC 2

is so simple. That fact

alone made it worth
"The punches are very clean buying a DA -88."
and accurate. A dream."

"I've been on the DA -88 nonstop for three

weeks now. The transport is phenomenal."

"I like the size, the editing

capabilities, and the price.
I even like the way it looks." "I just finished scoring two "I can now offer my customers
movies on it. Unbelievable digital recording at ,malogue prices."
amachine." "It just feels better than
"I like the auto -locator and
"It's just faster. any other recorder in its
rehearsal modes, and of course
"Two things. First, the DA -88 gives me a full one -hour and thirteen minutes Speed courts. price range."
we're doing our next album on it."
of record time. Second, the wind times are so wonderfully tight and quick... Time is money." We love the jog/sh male wheel.
it takes my other digital recorder a mess and a h,il¡to rewind." It's working out great."

No wonder the DA -88 is the preferred digital multitrack.

It features the latest generation in digital multitrack recording technology. According to users,
it's the best -sounding, best -built, most functional and affordable digital multitrack on the market.
You're going to love the DA -88. Get to your dealer now and see why!
"It's the name. They snake the best "I wanted the serious machine for music
recording equipment, period." - production. That's TASCAM."

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no hassle. Life is so easy now that I have my DA -88."
TASCAM
Take advantage of our experience.
®
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I don't want to be left out."
5 Marlin House, The Croxley Centre, Watford, Herts WD1 8YA TEL: 0923 819630

o 1994 TEAC America, Inc.

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AUTUMN 94
Solid State Logic
Into The
Major New Products from
Future
SSL Launched at AES
al) 41111,

AMP
I

SL 9000
SERIES
TOTAL STUDIO SYSTEM

High Quality Audio

Advanced Automation
Optional Digital
Storage and Editing

Fully Digital
Total Automation/Reset
Integral Digital Storage
and Editing
Solid State Logic
Into The F ___
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sr IS
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film

Solid State Logic JIM!

Announces New --':1.::-i-:::-.7

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9000
1-s E R I E S

Products at AES
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TOTAL STUDIO SYSTEM
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In a period of unprecedented technological ''aP)!) )! f , J rt

change, there are several issues of over- ), j ff+!

.
4

r,gJiÿ ijit3i
c] !1!
riding concern to studios around the world. 1iL

At the AES Convention in San Francisco,

Solid State Logic defined the way ahead
with a range of revolutionary new products i.i-..i1
,1144
:.b_Lti-1,,l,y
which follow concepts first seen in Scenaria SL 9000 J Series Total Studio System
and OmniMix. Audiophile sound quality
Resource Management
At the core of SSL's product philosophy is
9. ,4. 9 . .. 48 -track routing
Main LCRS bus, plus 4 additional
the realisation of a tapeless, non -linear work- stereo busses
ing environment - for all its quality and effi- Digital Audio Switchable E/G eq in each channel
ciency reasons - with the provision for either The Axiom Digital Production System 6 mono, one stereo aux send per
an analogue or digital control surface. Both provides automated gain, pan, equalisation, channel
systems benefit from random access record- filters, dynamics and the most commonly used Automation of master fader, large
ing and the shared resources provided by effects processing, such as reverberation. fader, small fader, channel switches,
SSL's DiskTrack system. Axiom is a single system capable of multi- cuts and group solos, left /right,
track recording, non- destructive drop -ins, front /back panning
DiskTrackTM Recording /Editing & editing, sequencing and playback, all with 32 software groups
Resource Management System the same high quality. Only by the use of Soft grouping of channel switches
Instant access, non -linear working SSL's award -winning, proprietary technol- 8 master control groups
environment ogy has this been achievable. Integral digital storage /editing option
Provides multi- console access to central The Future
I/O and hard disk resources Solid State Logic revolutionised audio produc-
Up to 95 channels of concurrent access tion when it created the first fully- featured, Axiom Digital Production System
hard disk audio storage /editing in -line console with a dedicated automation Fully digital, fully automated
All 95 channels may simultaneously be computer. A similar revolution has taken mixing console
in record and playback, effectively place as a result of Scenaria and OmniMix, Systemwide or selective reset
doubling the number of useful channels which were the first products to combine Console frame sizes from 48 to
Non-destructive drop -in /out recording and editing with digital video. 96 channels
Offline concurrent backup The SL 9000 J Series and Axiom Digital Configurable for a wide range
Integral part of Axiom and option for Production System are the latest innovations of applications
SL 9000 J Series consoles in SSL's strategy for integration - making Integral hard disk storage /editing
studios' dreams for the future attainable today. - up to 95 channels of concurrent
Analogue Audio access hard disk audio storage
SSL has continually advanced its analogue Resource management system, giving
console designs. Years of experience have shared access to:
culminated in an entirely new console, the SL - Comprehensive analogue and digital
9000 J Series Total Studio System, which we inputs /outputs
confidently dub the 'ultimate analogue DIGITAL PRODUCTION SYSTEM
- Hard disk resources
console'.
The SL 9000 J Series provides a familiar
control surface, while its high quality circuitry
gives it an unrivalled noise performance plus
enhanced versions of SSL's legendary signal
processing capabilities.
The SL 9000 boasts a new, fast automation
computer, based on the proven control tech-
nology of SSL's award -winning family of digi-
tal products. The majority of console switches
are now automated, in addition to the small
faders. Automated panning is also a feature.
Most remarkably, the SL 9000 provides the
option of having SSL's DiskTrack hard disk
multitrack recorder /editor integrated with its
automation system. The addition of DiskTrack
enables an analogue console to benefit from
in -built digital recording and editing resources
for the first time.
[SSLDIGITAL
 Solid State Logic
SSL Digital and
Latest Disney
Blockbuster Dubbed
on OmniMix
Solid State Logic digital systems played a
key role in the creation of the soundtrack
of the latest animated feature film from Walt
Disney, The Lion King. ScreenSound, Scenaria
and OmniMix systems have all been used,
both on the original soundtrack and many
foreign language versions.
Weddington Studios, in Hollywood,
worked on the original English -language
dialogue. With it's ScreenSound system,

7
Weddington was able to edit and sequence
the project with the aid of the system's
comprehensive track laying functions. Co-
owner of Weddington, Steve Flick, comments:
"It's a great system to work on. ScreenSound
A The mixing team (L -R) Brian Christiansen, his father (and owner of Sun Studio) Svend
allows an editor to become more involved in and brother Bennie
sound design."
New Wave Entertainment, in Burbank, put Disney producers and directors in Califor- ing features, enabled Werne to considerably
the film's promotional trailers together. Within nia, enabling them to respond instantly to speed up the post -production process, so
its recently- opened facility, New Wave houses lines spoken by actors Jeremy irons and that changes made by Disney could easily
two Scenaria systems and SoundNet. Rowan Atkinson. be accommodated.
"Speed is essential for us," comments Work on the Scandinavian -language Sun Studio in Copenhagen has recently
David Cantu, Editor /Mixer. "The Scenar- versions of The Lion King was conducted by installed Denmark's first OmniMix in an all -
ias let us make quick editorial and mix Werne Studios in Finland and Sun Studio new THX- approved dubbing theatre, plus
changes in response to Disney's requests." in Denmark. Werne Studios its one of a standalone ScreenSound V5 with Vision -
London -based Saunders and Gordon, a Finland's leading film and video post - Track for dialogue editing. Sun worked on
leading post -production studio, used production facilities and is equipped with the mixes for the Swedish, Norwegian,
Scenaria for dialogue recording on the film. three ScreenSound V5s, two VisionTracks, Finnish and Icelandic versions of The Lion
Saunders and Gordon's Scenaria -equipped SoundNet and an SL 4040 G Series with film King, whilst also carrying out the full voice
Studio One was linked by ISDN lines to panning. ScreenSound V5, with its network- recording and mixing of the Danish version.

Criteria Expands With G Pl

"SSL was the "SSL was the natural choice
for this expansion. It's repu-
Natural Choice" tation, support and mixing
qualities are all unsurpassed
Miami's Criteria Recording Studios re- in the industry," commented
opened it's premier mixing suite, Levy. "A lot of artists and
Studio B, with a 96- channel SL 4000 G Plus producers also want SSL's
console from Solid State Logic, equipped automation, which is why we
with the Ultimation moving fader system selected both the Ultimation
and Total Recall. and Total Recall options."
"We upgraded to the larger console because The new 96-channel SL 4000
a lot of our international clients need to work G Plus console in Studio B
on a board of this size," says Joel Levy, owner joins the facility's complement
and president of Criteria since 1988. "They of SSL consoles, which
require the additional capabilities for returns, includes a 48-channel SL 6000
effects and simply more tracks. For instance, in the large tracking room and
some people like to lock three 24 -track an SL 6048 in Studio D, which
machines together - that's 72 channels right is used primarily for voice -
there." over and commercial work. Joel Levy, ownerlpresi ent at the SL40i )0 G Plus console in Studio B at
Criteria, Miami
The 37 year-old studio has a lengthy history In recent months, Criteria
of prestigious clients and recording successes, has hosted an impressive 11111111116

with work spanning the careers of James client list, including REM who returned for and South American artists such as Jose Luis
Brown, the Eagles and the Bee Gees, through their second visit. The studio has also contin- Rodriguez, Raul DiBlasio and Mexico's Juan
to Gloria Estefan and Lenny Kravitz. ued to gain popularity among leading Latin Gabriel.
SSL DIGITAL
Solid State Logic
Warner Bros. Installs Two SL 8000 Film Consoles
"Tailor -made to Suit
the Way We Work"
Warner Bros Studios Post -Production
Facility has installed two custom
SL 8000 Film consoles aspart of a major reno-
vation of the Burbank facility. The consoles
will be used on the feature film dubbing
stages.
Each of the 80- channel SL 8000 Film
consoles has been customised with special
features that include split mix busses for
three -man operation, three 48 -input pre -dub
mixers, three 8-channel reassigns for each
mixer, joystick panners and two graphic EQs
for each mixer.
"SSL offered us the flexibility of customising
the SL 8000 consoles," says Chief Engineer
Claus Wiedemann. "Now our consoles are
tailor -made to suit the particular way in
which we need to work."
Warner Bros Studios Post-Production Facil-
ity offers a full -range of services, including
production sound, film editing, digital sound
editing, telecine and transfer, ADR /Foley
stages, two scoring stages, as well as five re-
recording stages which accommodate all film (L -R) John Reitz, David Campbell, Gregg Rudloff : The re- recording
mixer team with one of the
and video formats. custom SL 8000 Film Consoles installed at Warner Bros. Burbank Studios
"Warner Bros is committed to having an
in -house facility which is in -line with the
highest industry standards," says Don houses for both in-house work and work for film successes, including: Unforgiven, Demo-
Rodgers, Senior VP of Post-Production at outside clients." lition Man and Perfect World, and television
Warner Bros, "Our facility is technologically Warner Bros Studios Post-Production Facil- programmes such as Brisco County Jr. and Lois
competitive with other studios and post- ity has worked on a number of recent feature & Clark: The New Adventures of Superman.

SL 8000 G Plus to Crescent Moon Studio

"The Best Console for Film and
Surround Sound"
Miami -basedCrescent Moon Studios, owned by Estefan Enter-
prises, has installed a 72 -input L- shaped SL 8000 G Plus
console with Ultimation and Total Recall in its Studio C.
"I particularly like the additional routing capabilities that the
SL 8000 affords," explains Chief Engineer and facility designer Eric
Shilling. "It is extremely flexible and allows me to work in more
than one medium. Crescent Moon is becoming increasingly involved
with music -for -film and surround sound projects, for which the
SL 8000 is undoubtedly the best console."
Recent projects undertaken at Crescent Moon include nine tracks
for the forthcoming Sylvester Stallone movie The Specialist, and
work on a new album for Gloria Estefan. In addition, Phil Ramone
completed mixes for a second Frank Sinatra Duets project on the
SL 8000 G Plus, having also used the facility for the first Duets
album.
Initially, Crescent Moon Studios was built as a private recording
facility for Gloria Estefan and her husband, Emilio, but in 1990
opened it's doors to other artists, including Whitney Houston,
Aretha Franklin, INXS, Pink Floyd and Bette Midler.
1 Eric Shilling with the SL 8000 G Plus at Crescent Moon, Miami

'SSLDIGITAL
 Solid State Logic
Scenaria Around The World
ost- production companies around the world are increas-
ingly specifying Scenaria and OmniMix. Among the latest
installations are:
Fox Tape, Hollywood, the audio /video post -production
facility which handles on -air promotions work for the Fox
Broadcasting Company, has installed a third and fourth
Scenaria. "Scenariá s integrated design makes it a one -person
operation; a hands -on editing and mixing environment in one
package," comments VP of Engineering Tony Ciesniewski.
Tape Gallery, London, an audio post -production facility
specialising in commercials, has purchased its second Scenaria,
and upgraded both to OmniMix specification. "With the
increased level of business on our first system, we needed a
second within a year." explains MD Lloyd Billing.
East Side, New York, has the first OmniMix system in
New York. The OmniMix joins six ScreenSounds which are
linked via SoundNet, three SL 4000 consoles and two SL
6000 consoles. "The great advantage of OmniMix is the
combination of digital audio and video storage," explains
Project Design Engineer, Jim Sorensen. "With instant
access to picture, there's no rewind time."
Saunders & Gordon, London, was the first audio post -
production house in London to install a Scenaria system.
Following the popularity of the system with its clients, Saun-
ders & Gordon has now installed a second system.
Post Perfect, New York, a major video and special effects
facility in New York, has installed three Scenaria systems
in it's audio post facility, Mixed Nuts. "We can offer our
clients amazing speed with Scenaria," comments Dean
Winkler, VP and Director of Creative Services. "It's a
whole new way of approaching audio post-production."
The Post Group, Los Angeles, handles a wide range of
sound editing, mix-to- picture, and music editing on their
Scenaria. "We needed an automated system, but were
limited by the space available," explains Rick Wilson,
-
audio engineering supervisor. "Scenaria solves both prob-
lems now that recording, editing and mixing can be carried
out in a compact surface and in the digital domain."
NOB, Holland, is the largest post-production facility in the
country. "We wanted to have the most technologically
advanced system," comments Fritz Paeper, Production
Manager at NOB. " Scenaria is the first system to combine the
advantages of digital audio production with digital video."
Soundtrack, New York, has recently taken delivery of it's
first Scenaria, to accompany the seven ScreenSound digi-
tal audio editors, two SL 4000 G Series consoles and three
SL 6000 G Series consoles already installed at the studio.
USA Networks, Jersey City, as part of a major reloca-
tion and expansion programme, has installed its first
Scenaria. "Scenaria allows for quick storage and recall of 6'
information, as well as switching between various
versions of a project," says Senior Sound Mixer, East Side,
Andy Allen. New York
New Wave Entertainment, Burbank, has two
Scenaria systems and a SoundNet. "The Scenarias
let us make quick editorial and mix changes in
response to requests," comments David Cantu,
Editor /Mixer.
Orbit, Rome, Italy, the world's first fully digital,
multi-channel, multi- lingual, direct -to -home satel-
lite television broadcaster has installed two
Scenarias. "We are delighted with Scenaria. It is
especially helpful to producers who can easily
understand this state of the art equipment," says
Phil Braden, General Manager.

SSL DIGITAL
Solid State Logic
Broadcasters Worldwide Install
Solid State Logic mixing consoles and digi- Australia - ABC TV has installed a 48 -chan-
tal products are increasingly being speci- nel SL 4000 G Plus console as part of a major
fied by many of the world's leading broad- refurbishment.
casters. Latest installations include: Austria - National broadcaster, ORF has up-
USA - NFL Films has purchased an SL 8048 G graded its Scenaria to full OmniMix stan-
Plus console with UltimationTM and Total dard for future Surround Sound projects.
RecallTM. Unitel has taken delivery of an Sweden - SR, the Swedish Broadcasting
SL 8040 GB On -Air Production console. ESPN, Corporation has purchased a further four
sports cable network, purchased an SL 5548 SL 4000 G Plus consoles; three for use in OB
broadcast console. CBS has added an SL 8056 vehicles.
GB On -Air Production console for use in its Italy - Orbit, the world's first fully digital,
New York facility, and an SL 6064 G Plus for multi- channel, multi-lingual, direct -to-home
use in its Los Angeles Television City head- satellite television broadcaster has bought
quarters. Fox Tape added third and fourth two Scenarias for it's new Rome-based facil-
Scenaria systems to make them amongst the ity.
world's largest Scenaria users. NPR, the first Taiwan - TTV purchased an SL 4040 G Plus
non -commercial, satellite- delivered radio console. CTS, currently relocating into a
system in the US, has installed an SL 4048 G purpose -built complex in Taipei, has
Plus console with Ultimation and Total Recall. purchased an SL 4024 and an SL 8048 G Plus
United Arab Emirates - UA Radio has console.
installed a 40- channel SL 4000, the first SSL Japan - National Broadcaster, NHK has
console in the country. installed six Scenaria systems. These are
Kuwait - KBS, Kuwait Broadcasting Service located at their headquarters and at regional
has up- graded it's facilities with an SL 4048 stations in Sendai, Nagoro, Matsuyama,
G Plus console. Hiroshima and Sapporo.

SSL Scores in Film and Episodic TV

SSL Digital Speeds Up Audio Post
Audio post -production for some of the Hanna Barbera's Daisy Mead Maizie and
world's most successful television Doctor Seuss are amongst the recent projects
programmes and films is regularly being carried out at London's M2 Facilities Group.
carried out with SSL Digital products. The studio's two ScreenSound V5s, with
In the UK the popular series Jeeves and VisionTrack and SoundNet, have been used
Wooster, starring Stephen Fry and Hugh predominantly on post -production of
Laurie is one of Snaptrax's many prestigious programmes for the BBC and independent
projects. Barely a year after opening at television, including Dispatches, Time Watch
Denham Studios, London, Snaptrax now also and The South Bank Show.
works on the internationally acclaimed tele- Audio post on the film True Lies
vision series Poirot, starring David Suchet. was carried out using Screen -
Andre Perreault
Current projects, including a new Hugh Sound by James Cameron's working on
Laurie comedy drama Lightstorm Entertain- OmniMix at
series entitled All or ment in Santa Monica. Hollywood Digital
Nothing At All, have Hollywood Digital in
resulted in the need for the US, dedicate over
a further Version 5 50% of their sessions to John Arrias, owner,
system. Snaptrax's two episodic TV and drama B&J Recording,
existing systems will series, and as such Los Angeles

also be upgraded to V5 require a speedy work

standard. turnaround. With audio
production of the series Harts of the linked via SoundNet. The New York -based
West, Movies -of-the-Week and the studio recently worked on the feature film
hugely popular Larry Sanders Show, I Love Trouble, starring Nick Nolte and Julia
the fully integrated post- produc- Roberts, as well as The Simpsons TV series
Richard Lambert of tion approach of their two Scenaria and promotional trailers for CBS Sports.
M2 Facilities with OmniMix systems allows for ADR work for the television series Robo-
the studio's speed, accuracy and flexibility. cop, and promotional work for Married
ScreenSound With Children and Seinfeld are amongst
Working on a variety of animation
1 Colin Richie, dialogue projects for Warner Bros, projects undertaken by Los Angeles-based
working on 'Poirot' MGM, Hanna Barbera, Universal, B & J Recording. Having recently installed
with one of and Disney's The Lion King, has led their first ScreenSound V5, the post- produc-
Snaptrax's three to Howard Schwartz Recording tion facility is now heavily involved with
ScreenSounds
expanding it's ScreenSound facil- writing and post-producing American Glad-
ity, with a total of five systems iators and Gladiators 2000.
SSL DIGITAL
 Solid State Logic
Eastern Europe SSL Shows
Goes Digital Eastern Promise
Broadcasters Install studios, post -production facilities
Music
and broadcasters in the Far East are
ScreenSound S-Pro Alfa,
Prague increasingly demanding SSL consoles and
digital products.
Throughout the former Communist states Wonder Station, Japan has upgraded to a
of Eastern Europe, post -production and new SL 4064 G Plus. Joe Hisaishi, successful
broadcast companies are installing Solid musician and studio owner, was so impressed
State Logic digital audio -for -video systems. with the new console that he immediately re-
Installations have most recently taken place recorded his new album on the G Plus.
in Russia, the Czech Republic and Romania. Omnibus, Japan, are so pleased with the
Romania - Romanian TV has installed a changes that Scenaria has brought, that it is
ScreenSound system at it's headquarters in now up- dating to OmniMix specification.
Bucharest. The public television station will Omnibus has clients who now insist on
use the ScreenSound to handle the post - Scenaria, refusing to use any other system.
production of the country's main TV In Taiwan, Platinum Studios, which already
programmes and films. has four roomsequipped , SL 4000 G Plus
The Czech Republic - S -Pro Alfa in Prague console has purchased a Scenaria for audio
is a new post -production facility. The Omnibus, Japan post -production on video and TV projects.
company has recently installed a Screen - CTS in Taiwan has installed an SL 8048 G
Sound system to handle post -production Plus console, and an SL 4024 G Plus console in
for television and radio advertisement spots. new purpose-built premises in Taipei.
Russia - Premier SV has installed an TTV, also located in Taipei, has installed
ScreenSound V5 with SoundNet and Vision - an SL 4040 G Plus console for use on variety
Track. Premier is one of the leading adver- show productions.
tising agencies in Russia, which has also Music Factory in Hong Kong has installed
bought the rights for a number of popular an SL 4056 G Plus, console, fitted with Total
western television series, including Return to Recall and Ultimation.
Eden, Twin Peaks, Wild Rose and The Streets of
Music Factory, Hong Kong
San Francisco.

G Plus Sets Standard for NY's 'Room

World -Class Stu With a View'
Musicrecording studios around the world Rom With a View, a Manhattan -based
increasingly refer to Solid State Logic tudio where the control room enjoys stun-
consoles as the industry's standard for excellence. ning views of the Empire State Building, has
London -based Westpoint Studios has installed installed an SL 4064 G Plus with Ultimation
an SL 4048 G Plus console. The private studio, co- and Total Recall.
owned by Simply Red drummer, Gota Yashiki, 'We felt that the installation of an SSL would
works on a large variety of music projects, allow us to open up commercially," explains
including Japanese productions. owner Alessandro Cecconi. 'We have the abil-
Based on the Caribbean island of Martinique, ity to handle film and video post-production
Hibiscus, a ten -year old music production projects and we specialise in working with
company, has just installed an SL 4048 G Plus European clients. We are one of the few facil-
console with Ultimation and Total Recall. This is ities in the USA that can lock up to PAL and
the first G Plus console to be installed in the Gota Yashiki and Davy Tyler at Westpoint Studios NTSC. "
French Caribbean. Hardstudios, Switzerland
Hardstudios in Switzerland has installed an V Room With a View, New York

SL 4000 G Plus console to be used predominately

on Swiss projects. The studio selected the G Plus
console because of it's reliability and outstanding
reputation within the industry.
Record- breaking songwriter and producer,
Mike Stock has purchased an SL 4000 G Plus
console for his new £3 million two -room
complex in London. Mike, who produced hits
for Rick Astley, Kylie Minogue and Jason Dono-
van as part of Stock, Aitken and Waterman,
chose the console because of it's global reputation
for quality.
SSL DIGITAL
Solid State Logic
From the Desk of... Humberto Gatica Award-
1
wenty years ago, when Humberto
Gatica first walked into a recording
Winning SSL
studio, he realised instantly that this was
the industry he wanted to be involved in. Consoles and Digital
Now, as a highly respected producer and
engineer working with artists such as Products Are The
Gloria Estefan, Barbra Streisand, Michael
Jackson and Tina Turner, Gatica spends
Industry Choice
the majority of his time in the studio. olid State Logic has recently won pres-
"It's very important for me that the studio tigious industry awards for both its G
is just right in terms of technical quality Plus console range and the Scenaria
and atmosphere, as I could be spending OmniMix Digital Audio /Video System.
anywhere from ten hours to six months At the Third Annual Professional's Choice
there. I take a systems approach, so that Awards Ceremony, held at NAB '94, the
everything works together, using pieces of "The SSL automation system is an aspect G Plus Console System was named Audio
equipment that come as close as possible I love! It's fast and user -friendly, and so Console of the Year.
to what I would call "real" sound. incredibly accurate. If I create an atmos- The awards ceremony honoured the best
"I first discovered the SL 4000 console at phere that touches you emotionally, then I post -production and production equipment
a studio called Ground Control in Santa feel I have accomplished my job. I go for of the year, as voted by the readers of Post
Monica. I realised that, finally, there was quality every time, and that's where the and Producer magazines.
a way for me to make music the way I reliability and functionality of the equip- Offering greatly enhanced sound qual-
wanted to hear it. Over the years many ment I use really comes into play. ity, with oxygen -free cable and new op and
sonic improvements have been made and "I'm the most unbelievably self-critical mix amps, as well as entirely new opera-
I would say that there's now almost a human being, and when I finish a mix, it's tional features, G Plus represents the
warmth to the SSL sound. About 85% of a great accomplishment to be able to feel updating of the entire G Series console
the equalisation that you hear on my it in your heart and hear it in your brain. range, to set new, even higher standards
records comes from what the console alone That's the feeling I'm always in pursuit of in performance specification.
provides me with. in my work." Scenaria OmniMix Digital Surround
Sound Audio /Video System has received
the 1994 Excellence in Engineering Award
SSL's Studios for audio. The award, sponsored by Televi-
sion Broadcast (TVB) magazine, honours
innovative and landmark products in the
Withthe finest range of consoles and broadcast marketplace. TVB's broadcast
digital post -production products in consultants nominate products, which are
the world, SSL places a high priority on then voted on by the readership.
providing demonstration facilities of an "The Excellence in Engineering Award
equally high standard. At SSL's worldwide seeks to identify those products that our
headquarters, near Oxford, there are a range
of studios fully equipped for their applica-
tion, whether that be music recording, broad-
'classics' -
readers feel are so innovative that they are
that set new standards in a
product category for the broadcast indus-
cast or film and video post-production. The try," explains Ron Merrell, TVB editor.
company also has its own lecture room for
structured presentations to larger groups. SSL worldwide headquarters near Oxford,
The main mixing rooms are home to an where the demonstration studios are situated
SL 8000 G Plus console, SL 9000 J Series and
Axiom Digital Production System. There is outboard equipment, plus digital and ators and service personnel. Further demon-
also a digital post -production floor with analogue multitrack recorders. stration facilities are located at SSL's New
rooms housing OmniMix, Scenaria, Screen - Each of these rooms is in almost constant York, Los Angeles and Tokyo offices.
Sound, VisionTrack, SoundNet and World - use, providing a critical environment for If you would like to learn more about any
Net systems. In addition to SSL equipment, clients to learn about SSL systems. Regular SSL system, just contact your nearest SSL
there is also a range of industry- standard training courses are also held, both for oper- office or agent.

SSL Worldwide
International Headquarters
Solid State Logic, Begbroke, Oxford, OX5 1RU, England Tel: (0865) 842300 Fax: (0865) 842118

France Italy Japan USA (Headquarters) USA (Western Region)

1 rue Michael Faraday Via Pirandello 17 3-55 -14 Sendagaya 320 West 46th Street 6255 Sunset Boulevard
78180 Montigny le Bretonneux 20099 Sesto San Giovanni Shibuya -Ku New York Los Angeles
Tel: (I) 3460 4666 Milan Tokyo 151 NY 10036 -8398 CA 90028 -7411
Fax: (1) 3460 9522 Tel: (2) 262 24956 Tel: (03) 5474 1144 Tel: (212) 315 1111 Tel: (213) 463 4444
Fax: (2) 262 24938 Fax: (03) 5474 1147 Fax: (212) 315 0251 Fax: (213) 463 6568
Sales and Service Agents: Canada; Acura Technology Gump; (9051886 6960 China, Hong Kong, Advanced Communication Equipment 424 0187 Singapore, Malaysia, I donesia: Advanced Communication Equipment (Singapore) 741 5328: Taiwan; Advancetek (2) 719 2388: Austria,
Croatia, Slovenia, Bosnia, Hungary; Audiosales (Austria) (22) 36 26 121 Norway; Si, Ing. Benum A/S (2/ 145 450: South Korea; Daesan International Inc. 12) 379 8442: Switzerland; DR W.A. Gunther (I) 9104141: Kuwait; International Music Centre 264 5635: Argentina; ITV Intervidco
Professional ID 362 0794 Spain. Lexon SA(312034804: Denmark: Pmvideo Equipment A-S(421647801: Southern Africa; Questek Marketing CC (Ill 7891832 Brun; Savana Comunicacoes Ltda (21)2745109: Finland; Studioter(0) 59205.5: Australia; Syntec International PV(2)4174700
Colombia; Sonygraf Iata III 256 2519 Venezuela: Sonex de Venezuela 12/ 1158 082: Belgium, Luxembourg: Trans European Music (2) 466 5010: The Netherlands; TM Audio (30) 414 070: Chile; Intervideo (235) 2668: Czech Republic Audio Sales
S. R(1.121 9 4173: Egypt EKO Sound (360) 3566: Russian Federation; Elbor Ltd 10628) 668455: Slovakia; Audiosales (77221249

SSL DIGITAL
Published by Solid State Logic, Oxford - A Carlton Company © Solid State Logic Ltd.
Printed in England 1994
 C!)
-1=1
m
Cr)
eed a valve compressor made in Finland
on a chromed stainless steel chassis
sessions and for `suspect' groups. m
Hired guard services or (as they are
modelled on the old Pultec models but Martin Polon euphemistically called US) 'rent-a-cops' can provide
cannot afford it? Not to worry just parking lot security during sessions, to check the
schedule a session in a `big' studio and check out Only steal from studio perimeters regularly and to respond to m
those you love -or
their gear. Then return some dark night and make studio `silent alarms.'
your selection via `Midnight Audio Supply'. Designation of one or more staff members as
Alternatively, book another session using the same
alias as before. Send the house technician out for those in the biz `security coordinator' is one way of focusing
attention on the problem, as is the use of hidden
booze with an extra bottle in it for him; back the cameras and-or microphones to record activities
truck up to the studio's rear door and go on a inside the studio complex during off-hours. These
between organised crime `families' and record
`shopping' spree. Yet another method is to `enlist' practices have become standard items in some
companies. These relationships included
the help of a technician at the `target' studio in facilities as have well placed and visible TV
`protection' for specific studios from any kind of
question who will, at the end of the session, assist cameras covering the parking and loading areas as
in moving as much of the studio's equipment into
undesirable `problems'. That was then and this is
well as all entrances.
now, but there has been suggestions of `rings' that
your truck as is humanly possible. Keeping a complete and up -to-date inventory of
There are numerous ways in which studios are specialise in the theft of audio and video studio
all equipment in the studio coupled with a 'going-
equipment. There is no way to combat such
defrauded or burgled-according to law on' and a `going-out' check of studio facilities after
organisations other than to use the best possible
enforcement sources, the proliferation of project each session or at the least on a weekly basis can
studios has not done what many in the professional
security aids. But it may be wise to forgo the usual
help identify problem areas, and while background
recording industry had hoped -to dilute the round of incredulity when such stories circulate at
industry events. There are crime `families' and they checks of current staff are controversial, some
demand for illicit professional equipment. Instead, studios are now having to make them. Other studio
are people you would really rather not know.
according to one insurance company executive, `the owners feel such a procedure is especially
Scams: not all studio thieves come at night or
ability of hundreds of thousands of young recording important for evaluating prospective new staff.
physically break -into the facilities. There has been
aficionados to gain experience with inexpensive Alarm systems that work via sonic, ultra sonic,
recording hardware has only seemed to whet their the odd instance of individuals dressed in
infrared or motion sensors and-or a combination of
uniforms, appearing at studios to pick up this piece
appetite for the stuff found in professional all the above are particularly effective. Burglar
of equipment or that for `repair'. This scam works
recording studios. Fortunately, very few translate alarm systems of varying sophistication certainly
especially well when everyone save the receptionist
their equipment lust into felonious assault on the have become standard equipment at many facilities
recording studio industry.' has worked until four -in- the -morning on a session.
as has the periodic changing of all locks. The use of
Crimes against professional recording studios Solutions to `equipment shrinkage' high -quality electronic combination locks provides
usually take one of the following forms: problems include the use of computer and both adequate security and allows for instant
The inside job: one law enforcement source equipment anchors. These are reprogramming of the lock in- house. Key locks
estimates that at least 50% of all break -ins have commercially available, virtually should be changed every six months or more often
some component of an `inside job.' This is not to say indestructible plastic `connectors' that attach to the if necessary.
that studio staff are involved in all cases but that unit in question via epoxy adhesive. The plastic The fact that every television station in the US
someone has been able to `case' the studio to assess unit can then be `passed through' with a chain or has an adequate perimeter fence and security
its equipment, paths of entry and exit, security cable and padlocked to a large piece of furniture or personnel while precious few recording or
features and staffing times. It would, be naive to other surface. postproduction studio complexes do is a function of
assume that all former studio staff all exhibit the Security screws on equipment placed in relay more than Federal mandates on broadcast
same loyalty as Queen Elizabeth's Household racks, in conjunction with cement or lead weights facilities. For example, every recording complex
Guard... especially where there has been bad attached to the bottom of the relay racks are and post facility on `movie' studio lots has the same
feelings on both sides. And current staff, if not another option. These screws can be removed only protective modes. But most studio owners refuse to
properly compensated by their perception (not with a special screwdriver, unavailable through take necessary precautions for a number of
yours), will on occasion consider a 15% `fingers fee' the usual hardware retail channels. The screws reasons-despite the fact the there are a
on a $250,000 equipment `lift' -a suitable nest egg were originally invented for use in penal significant number of studios in the US (and
for their old age! institutions and mental `hospitals,' and cannot be elsewhere) with equipment investments as large as
Clients: it would be nice to assume that all removed with power screwdrivers -the `tool' of that of many TV stations not to mention client
studio clients come to your facility to take choice of break-in artists. bases of significant notoriety.
advantage of your fabulous sound. But this may be Alternatively, the use of cement filled steel pipes The reasons for ignoring what has become a
a bit short of the mark. There will be the occasional of large diameter in conjunction with `one way' tire growing threat to studio facilities generally falls
client who will be `shopping' your facilities for after shredders at loading dock entrances can be into four categories.
hours action. The correct response is not to assume considered. This allows total control of loading First is cost -most studio operators who cite this
any level of paranoia towards any customer areas after hours. factor ignore their initial investment in equipment
-especially since you will never know who is there Roller -style door closures over the loading dock which is always in the six figures and frequently
to `shop' you. doors and any other access portals large enough to exceeds that. The savings on insurance alone can
Freelancers: the problem of controlling equipment allow equipment removal or unauthorised egress often pay for security improvements. Police details
shrinkage must also include the regular passage of are a further option. Some studios use welded bars at night can be built into the studio charges for
freelance engineers and other part -time help brought and removable gates to control all studio openings. evening services. Second is customer reaction. Yet
in by or at the request of your clients. Again, the vast Tools may be engraved to identify the ownership in the 1990s, clients frequently welcome adequate
majority of such freelancers are as reliable as your of specific units as well as at the component level security especially for artists who are easily
own staff. But there are the occasional `bad apple' such as microphones and speaker drivers; welded recognisable. Third is the fear that security
who will attempt to add some of your test equipment chains will limit movement of recording console precautions will make it harder to resell equipment
or microphones or the odd power amplifier to his frames by connection to welded steel anchors as the studio `trades up' to newer gear. The fourth
collection after the last session. placed permanently into the cement of the studio is a concern over the loss of in- studio flexibility.
Organised crime: this is a really tough issue floor while off-duty police officers can be paid to The bottom line is that a relatively minor
with a lot of history for the record business. There patrol the premises on certain nights (if not all investment could sustain a much larger success
has been in the distant past documented links nights and weekends) and during recording in your studio.
51
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AVC Audio
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Video Consulting. Tel. (41) 624 622 Czech Republic: ELSINCO Praha spot s r o.. Tel (2) 49 66 89 Denmark: npn Elektromk aps. Tel 86 57 t5 11 Finland: Genelec OV. Tel: 77 1331t France: PVT. ETS
Mesureur. Tel (1) 45 83 66 41 Germany: RTW GmbH. Tel. 221 70913-0 Greece: KEM Electronics Ltd_ Tel 01-6478514/5 Hungary: ELSINCO KFT, Tel (1) 269 18 50 India: HINDITRON Services
Tel 22 836 -4560 Israel: Dan -El Technologies. Ltd Tel: 3- 6478770 Italy: Link Engineering s.r I.. Tel: 0521/648723 Japan: TOY() Corporation. Tel 3 (5688) 6800 Korea: B8P International
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 To vaguely quote Quentin Tarantino, what service), serial storage, magneto-optical discs, and
was I talking about? Oh right, DAB. The solid -state audio filing.
evolution of digital transmission
Kevin Hilton As was to be expected, some worries have been
technology for radio and television has voiced over this invasion by the pocket -protector
been pretty much a parallel phenomenon, maybe
with the pictureless medium out front in the early
IBC and the latest brigade, and it's not necessarily just broadcast
veterans afraid of a little competition. One of the
days. At this year's IBC, digital was everywhere on DAB more vocal during the Show was Paul
on the main exhibition floor, but it was largely all Bamborough, Chairman of film- editing- systems
for television-compression, Pay-Per -View, Near make sure that services won't drop out if there is a maker Lightworks, who used his company's press
Instant Video on Demand. bit-error.' reception to say: `The computer industry is not like
Those who wanted the latest on digital audio Joining the BBC in this pan- European initiative the video industry. The film -video industry says
broadcasting had to wander round the upper are an impressive list of broadcasters, telecoms what will happen when it says it-the computer
reaches of the RAI Centre, following signs of authorities and manufacturers (trade and industry is a lot more optimistic.'
increasing illogicality, until they eventually came domestic), including Robert Bosch, Deutsche Bamborough was originally a founder of SSL,
across a small, almost apologetic section called the Bundespost Telekom, Grundig, Philips, Thomson, before moving on, forming Lightworks in 1990,
New Technologies Display. Pushed right to the and the CCETT. These have been joined in later concentrating on nonlinear editors for the film
back of this was the BBC Research and months by other companies that must have industry. He is now partly looking back to audio
Development stand, showing the latest work by the realised that DAB is not only going to happen but for the way ahead, promising a second generation
Eureka 147 Project, a consortium of broadcasters is going to be big: the European Space Agency, nonlinear system with full networking, integrated
and consumer electronics manufacturers endorsed Rohde & Schwarz, Teracom Svensk Rundradio of sound mixing and lossless compression by the
by the European Broadcasting and International Sweden, Delco from the USA, Finland's Nokia, and second-half of 1995.
Telecommunications Unions. a large Japanese contingent, including Sony, The first move to this can be seen on the
If the name sounds familiar, that is because it Clarion and Pioneer. Heauyworks One, which includes an integrated
uses the same prefix as another EU- backed These technologies combine computation, console, the Fader Box, delivering live audio
venture, the failed, almost notorious Eureka 95 measurement and communications -which H -P mixing, assignable channels to faders groups,
Project to develop a universal system for high call MC2-and are being brought to the broadcast mute and solo buttons, four different modes
definition television. While that has market through joint ventures; the company are (Playback, Record, Trim and Update), eight fully-
metamorphosed into the 1187 ADTT (Advanced canny enough to realise that they are still a assignable fader groups, fully- motorised faders
Digital Television Technologies) programme, 147 newcomer to this market. 'We thought that a large and eight camera buttons for so- called 'on- the -fly'
looks like becoming reality, with broadcasters, company just plunging in wouldn't make a lot of vision editing. Such a move is part of the
regulators and governments talking about the end sense,' says Jim Olson, General Manager of H -P's increasing attempts to bring together the once
of next year as a likely start date. Video Communications division, based in Santa disparate areas of sound and vision in
The IBC display was based on a theoretically Clara, California. postproduction, a dichotomy that many see as
typical configuration, showing the transmission To date, these associations include software unsuitable in these days of multimedia.
chain from source to receiver. Using a CD player management designer Louth, routeing and While Bamborough's current company prepares
as the starting point, the signal is fed into a automation manufacturer Pro -Bel, and graphics to spread itself in the traditional audio -visual
Musicam coding unit, where the compression specialist Pinnacle Systems. H -P are also building market, the one that he helped found is moving
bit -rates for the various services are selected, fed up close ties with established broadcast further from its core business to embrace
to a power amplifier, transmitted and then distributors, including Delta System in Germany, technologies that have been adopted from the
received by specialist domestic units. which also handles Pro -Bel, and a number of TV computer and telecommunications sectors. SSL
The heart of DAB, the multiplex process, operators: Channel 13 (KOLD -TV) in Arizona, have built upon their studio networking systems
allows varying, multiple channels to be carried on which went on air in October, were the first, to produce WorldNet, a 2 -level concept based on
a single frequency. Working on a bandwidth of followed by Munich -based RTL2, now rated as one the Integrated Services Digital Network (ISDN).
approximately 1.5MHz and an overall transport of Germany's big four private stations. The high -end, complete bodies of work involving
bit-rate of 2.4Mbit/s, broadcasters can select Jim Olson says that H -P intend to build their either real-time performances, or entire
audio bit -rates between 384kbit /s and 32kbit/s, broadcast market share by 300 to 400% come next ScreenSound or Scenaria multitrack programmes
depending on the amount of error protection year, although he admits that it is still a small being passed between compatible facilities in
required and the type of service concerned. Rough part of the company's overall business. `But we see different locations, is catered for by WorldNet
estimates foresee a typical single -multiplex it as a key market in the future,' he says, `and so Project. Voice -over work and other simpler jobs
configuration of six high -quality stereo channels, do other leading computer firms. Oracle and are intended for WorldNet Audio.
and up to 20 restricted quality stereo -mono Microsoft are all producing video- related products SSL's Marketing Director, Colin Pringle,
stations. and it's for several reasons. This whole move of explained, `We can transfer multitrack projects
Such a system is being hailed as supremely analogue to digital is playing to the strengths of bit -for-bit. Instead of backing up onto a tape
spectrum and power efficient, something that all big companies like Microsoft and H -P.' streamer, engineers could back up onto somebody
broadcasters and regulatory bodies are looking for This was borne out on the floor of the RAI; with else's system using the net. WorldNet Audio is for
given that FM is becoming a crowded and precious the obvious exceptions of Sony and Panasonic, daily use by voice -over people, but it would be
commodity. DAB also has other attractions: it can many of the traditional broadcast hardware sensible for most operators to have both.'
bury data within the carrying signal, allowing manufacturers were dwarfed by the size and Which, more or less, brings IBC '94 to a close.
functional information, like dynamic range control, splendour of the stands showing equipment from The worrying thought is that, before we're ready
and added extras, for example song lyrics for companies that, a few years ago, would have never for it, the whole business will start again because
visual display, to be included in the service. contemplated attending something like IBC. The of the move to annual status, which also means
This extra capacity means that the operators flags heralded IBM, Silicon Graphics, NEC, and that it will come along just as we think we have
will be able to precisely dictate the format of the Soft-Image/Microsoft, as well as H -P, while the got rid of the ITS. Perhaps we should spare a
different services. `There is some intelligence to it,' launches reflected current interests and concerns: thought for the staff of the IBC, who had been
explains the BBC's Humphrey Lau. 'We can assign MPEG -based compression, desktop editing for used to a year off before even having to think
different bit-rates to different channels, as well as news suites (IBM having teamed up with about the next exhibition; now they are going to
specifying the protection needed for that channel. Independent Television News to produce the have to go straight from one to the other.
With error protection on the subchannels, we can world's first stored digital video `news on demand' Welcome to the real world, guys.
53
 VI I D E VI

Honda. 30 Jana'? - Fridar. 3 Feórrar 1995 Palais des Festhals. Cannes. France.

The Premier International Music Market

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greatest one -show for professionals only. Nothing comes close to the

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REED MIDEM ORGANISATION LTD - Tel: 0171 528 0086 Fax: 0171 895 0949
METROPOLIS HOUSE, 22 PERCY STREET, LONDON W1P 9FF
01 KIsEI) Is \II1B11'10 \ (A)111 \II;S
 Will your next
advertisement reach
thousands, or waste
thousands?

advertisement nobody
n Book your next advertise- out and return the
Cut
sees isn't an advertise- ment in a publication coupon to find out
ment. It's a complete waste of with an ABC Certificate of more about the ABC. We've
money. Circulation, and you'll have an just given you thousands of
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 POWER AMPLIFIER

MC2 MC-65 0 female XLRs, but with no male `link

Ben Duncan assesses the outs'. No user has had a problem thus
far, but MC2 say they can soon supply

MC -650, one of a new range of units with this facility if needed for a
reasonable, minimum number of ten

British power amplifiers with units. Outputs are conventionally wired

Speakons-half the terminals (2 +, 2 -)
are unused. There are additionally
microprocessor control binding -posts- cum -4mm- sockets with
special side shrouding to help meet the
The MC -650 (and its junior (unlike a similar but more elongated soon -to-be compulsory EC LVD
cousin, the MC -450) comes approach by a major US amp regulations. Slide switches set Stereo or
from MC2, a new name in manufacturer) and does not rely on Bridge (mono) modes, and a minimum
power amplifier tacky self-adhesive aids. Turning to the nominal load impedance of 4Q or 2Q.
manufacturing. Still, the design is no controls and indicators, the gain controls The review amplifier (and all current
upstart, having had an exceptional are `shaft encoders', meaning they are production models) was supplied with
gestation period of almost 20 years, for `digitally -abled' and have no end -stops. blanked -off provision for a D- connector,
the man behind MC2 is Terry Clarke, Each channel also has touch MUTE marked Remote. It is easy to take all the
founder and ex -owner of Klark-Teknik. buttons, signal bar-LED metering (with front-panel information and monitor and
Since the 1970s, he has spent many true clip referral), limit and fault LEDs. control the amplifier from an external
hours thinking about power amplifier The bar LEDs show the gain setting as computer, and this has been tested.
design, received technical input from soon as the associated gain control However MC2 -like almost everyone
Jeff Byers of Midas, and examined other (strictly attenuator) knob is turned, even else-is waiting for a, indeed the,
manufacturer's work. But while at KT slightly. For example, when the knob is protocol to emerge -having seen enough
he never got around to it in fact, the cranked up to the maximum gain setting money to buy houses being poured by
MC2 project only began in earnest three (strictly minimum attenuation), the bar one large pro -audio company after
years ago after Clarke sold KT to Mark meter lights up fully, to OdB. another into perfecting equipment for a
IV. The end result was partly launched A touch button can be set to link the networking `standard' that is yet to be.
this year, and dozens are already in use, channels, indicated by the central Link Clarke cites the Lone Wolf network as
both in multiple fixed installs, and also LED. Further LEDs indicate Bridge the best seen so far, except the custom
in Opus Audio Developments' PA rigs
which are manufactured down the road
- mode, and `2Q' operation, where both
channels' power supplies are
hardware as unrealistically pricey.
Whatever, all amplifiers will be
from MC2. As the design progressed, reconfigured for a more optimum updatable with a remote card when a
Opus provided useful critical input current- voltage ratio into 2Q loads in sensible, global protocol emerges.
stereo or 4Q when bridged. Another,
Description single LED lights if either channel
overheats. The mains cable is hard wired
Internal affairs
Visually, the most striking element of and changing it, while reasonably The inside of the amp is simpler than
the MC-650 is its bright blue, anodised straightforward, would require most: there is a limited amount of
front panel. And the sculpted profile, destruction of the permanent cable sturdy, pluggable wiring loom, with all
with the edges of the fan filter media clamp. Incoming supply fusing (an latching connectors, hooked up to three
tucked behind the nearly' /4 -inch thick overall 10A for 240V AC) is accessible on circuit cards and two amplifier modules,
front plate. This is practical stuff, as the the panel. There are another seven, fully the latter combining drive circuitry, the
filter pad is about as accessible as you documented fuses inside. M -DAC, heat sinks and fans. One PCB
can get, but will not flop or fall out Inputs are conventionally wired contains the power- supply fusing and

Limit -
Fault Tamp Fault

The MC -650-a stylish new British amplifier with an impressive performance

56 Studio Sound, December 1994
reservoir capacitors, the protective ntc thermistors,
control relays and auxiliary circuitry. A second
PCB holds the front-panel controls and LEDs. The
SNP roga. Name. Mt Lf rlSrd% r AY.% rwrwraa Yrue ai-4M mgt.... num., rMrMll'aY.
third board carries a microprocessor and
temperature- reading A D convertor
...
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S.M.
-the source of the amplifier's intelligence. The M11111111II=11111=

1
7.244
remaining interior space is filled by a single toroid . MIN1111111111111111111111
with multiple windings. 1111111111IIIIII=1IIIIII=
For those who still feel that the type of output M111111MMEI111111\11
transistor says anything significant about the way ME11111II11111111111I11\\
an amplifier sounds or survives, they are bipolar, 11111111111
modern, plastic and made by Toshiba. The heat
sinks are 'live' but are insulated from the case by
rugged plastic tape. The omission of individual
transistor insulators (mica) aids device junction
a.M

a.Mr IIIIIIIIIIII
I11111111111
. S.

cooling and also simplifies and speeds up transistor

Fi};. I }ig.2
replacements, which is also streamlined by the
can be set by a DIP header inside (see Fig.91. The 100Hz and 150Hz hum frequencies. When
transistors being soldered straight- legged, at the weighted for audible annoyance, the frequencies
'agc' setting offers poetic justice at last: it can be
PCB edge. Cooling employs an exceptional two fans
used to punish DJs who abuse a PA system or risk either side of 3.5kHz will drop away steeply. Even
per heat sink -four in all. The fans' noise is
the hirer being fined for sound level excesses -as at this most sensitive point, the indicated noise,
pleasingly discreet; in a quiet space, from a
any gain reduction is permanent until reset by -123dB below full output, will be all but inaudible
distance of ten feet, it sounds like the faint traffic
switching off. The unit was tested with the default in all but the quietest rooms with highly sensitive
roar of a motorway five miles away. The fans blast
settings -limit just below clip. midrange drivers. There's also no pickup (at 32kHz
directly and orthogonally against the fins -an
and harmonics) from the test set's computer
approach rarely seen, though I first used it myself
to good effect over a decade ago. The MC -650's heat Bench test monitor -a
sign of some RF immunity, considering
my Audio Precision's dedicated PC monitor has a
Fig.! shows the bandwidth for three load uniform position with respect to tested equipment,
SW6 and SW7 operate together, they determine the
operating mode and release time of the limiter as conditions, driven 1dB below clip, over the fine and that a number of other PA amplifiers have
follows:. range of 0dB to -0.5dB. The response is healthy, showed sizeable 32kHz spikes.
SW6 SW7 Function just approaching -0.5dB at 20kHz with a 40 In Fig.5, "(THD into a 40 load has been plotted
OFF OFF Release time = slow ( minimum) load, or slightly less. The slight with both wide (upper) and narrow bandwidth.
OFF ON Release time = fast
difference in the amplitude of the 40 and 80 load Wide means 10Hz to 500kHz; narrow is 400Hz to
ON OFF Automatic Gain
plots expresses the output impedance, which is 22kHz. These are corner frequencies and plotting is
Control mode. (Once the level has been reduced it will constant from 10Hz to above 5kHz. The inter plot confined to narrower limits of half the uppermost
remain at that level until changed manually). gap of about 0.02dB works out as an unusually low frequency, and about double the lowermost, hence
ON ON Limiter disabled. 9mQ at the output terminals. Alas, only those able 1kHz to 10kHz for the narrow-band plot. The
to place the amp within a yard or less of the boxes similarity in percentage THD for the wide and
SW8 (normally ON) This sets the attack time of the
limiter. (PA) or monitors (studio) will be able to make narrow plots demonstrates that most of the
ON =Fast direct use of this. At least it indicates some distortion registered at 1kHz is real harmonics, not
OFF = Slow uniformity in the application of feedback. Fig.2 superimposed hum and -or hiss.
repeats the bandwidth sweep up to low RF realms, Fig.6 shows percentage THD versus frequency
Fig. 9-Tabulation of DIP header options with a 40 load. There were no signs (nor smells) of with a standard, 'honest' 80kHz bandwidth (which
stress, and the -25dB of rejection at 1MHz is quite still only includes up to the 4th harmonic at
sinks are certainly surprisingly small considering 20kHz), into different loads: an open circuit, 852
good. Fig.3 plots CMR, residue measured at the
the power throughput. Later, Terry Clarke
output, with a CM signal of +18dBu for a high CM and 452 resistive loads, and a simulated 452,15-inch
revealed that the design had been optimised with
residue -to -noise ratio (CMRNR). LF rejection is driver (Simulated Loud Speaker or SLS) load.
the aid of a student who had expertise in using a
excellent, slightly different but both in excess of Above 200Hz, the three loaded curves are very
thermal CAD program. similar up to 3kHz, with only slight differences on
-90dB at 100Hz, degrading to still better than
The driver stage -described by the maker as
-50dB at 50kHz. up to 50kHz. This suggests that the distortion seen
floating-is relatively unusual for being reduced to
Fig.4 shows the noise spectra, with little if in this, the mid range, is dominantly the driver or
just a dual op -amp IC, and having power supplies anything to bother the ear at the usual 50Hz, some earlier stage -the output stage is
that follow the output swing, so that the drive
signal can be higher than the output section. This
avoids the waste heat that the more common 1V to
10V (at clip) of output 'saturation voltage' implies,
r M.a. M....a on .aa 0010, r 0M000, M M1 71 611171% tar roga......rJ w is: MnI1SCMr1 a MOM. ID KT 11 au'M

when hard driving with a compressed programme.

As the output transistors are bipolar, the question
of abuse protection arises. This is a joint effort. As
well as current sharing, it involves avoiding
saturation at high frequencies, and with a 1
_ . .

minimum number of four transistors, abrupt ñ ul -,z..

limiting above 20A had its part to play 111
Cs.
-even with the power devices being jointly rated
at 60A at room temperature.
Also hidden inside is a versatile limiter,
a.
Inll INN 1!Pls."
a
IUu!/:' IIII
u

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o
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la
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elegantly utilising the same M -DAC as the gain
controls. Mode (limiter or agc), thresholds (0dB,
Fi);. :i Fig. -I
-1dB, -2dB or -3dB below true clip) and dynamics
57
 TECHNICAL REVIEW
S CN O [PS

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ALL PATTERNS
Fig. 7 Fig. 8
BALANCED LO -Z OUTPUT
`blameless'. Below 200Hz, the same applies except affecting the results.
12 V - 48 V the SLS shows a steep rise in percentage THD, Further `real world' testing' revealed that the
where the simulated drive- unit's stressful MC -650 was in the top category, one of a handful
PHANTOM POWERING capacitative loading regime begins. A similarly of amplifiers that sailed through and survived
abrupt rise in percentage THD is typical of most tortures that included (in turn) 1 hour of cooking
Contact power amplifiers tested so far with this new, more with a worst -case signal; driving hard until `an
Dietmar Koller, TDS - Tecniche Del Suono,
apposite audio test condition. As the average ear is event' with all the air vents taped -up; and
A
Tel (1) 4 09 57 57 Tel.:12) 33 40 03 50 increasingly unfussy about harmonics totalling connecting Channel 1 output full -bore up
AUS
dB audio,
IL
Kellner Ltd., above 1% at low bass, the effect in occurring Channel 2 input. Beyond these, while checking
(3)8531070 Tel.: (3) 5 61 01 52-4
Tel
mostly below 100Hz, is less significant than it mains operating range, I discovered one niche of
Neynen Audio Video Imai & Comp. Ltd.,
B
(11) 52 58 58
NV,
1 appears, but is still food for thought about what unwelcome behaviour, unlikely to be
Tel Tel: (31 33 57 -04 01

Einova Ltd., Siv. Ing. Benum A/S,

resistive load tests do not reveal. (This test may encountered often, but still possible. This was
CDN
Tel (514)3642118
N
Tel.: (221 14 54 60 seem unfair to the maker, but new tests have to the way in which a momentary (half a second)
CH_
Decibel S. A.,
NL
Heynen B. V., start somewhere). dip in supply below 205V AC (re. 240V setting)
(21)9463337
Tel Tel.: (8851 ) 9 61 11
Fig.7 illustrates the transfer function and irrevocably triggered a complete shutdown
Tilmebase Serviras (inemot.,
rDK
PSS,

Tel 35 8215 82
P
Tel.: (1) 80 46 77
maximum output. Distortion, here measured sequence. This latter condition, involving total
Leven, 18 C Electronics.,
narrow -band, initially falls as usual with loss of output, and even the fans and all LEDs, is
R
Tel (3(2034804 note Tel.: (56) 44 51 88 increasing drive. But instead of abruptly rising only intended to occur if the amplifier or rack
F
Areitec,
S
RMS AB, at clip, normally occurring where the output
Tel.: (17611 46
Tel.: (1) 45 30 21 23 SO
power stops rising (on the transfer function plot),
GB
Project Audio Ltd.,
Tel. (7l)3590400
Audio Consultants (o., Ltd.,
SF
Multdnli Ay,
Tel.: (0) 48 81 33

Posthorn Recordings,
the MC -650's anticlip limiting action prevents
any significant rise, at least up to the +12dBu Even at this most
HK
drive level shown, or about 2.5dB past where clip
I-si
sensitive point, the
I
Tel ' 3 51 36 28 Tel.: (212) 242-3137

1Studio Dave, would have occurred. Meanwhile, the power

PL (22) 26 4912
Tel
output is still clamped as if clipped, in this case
to 640W, referenced to 452. The unusually low
distortion of such a `hard' limiter effect is
indicated noise,
apparently accounted for by the use of the gain -
controlling M -DAC as the attenuative element.
-123dB below full
Schalltechnik Dr. -Ing. Schoeps GmbH
Finally, Fig.8 demonstrates good, low crosstalk
in both directions, up to the most perfectionist output, will be all
recording studio requirements. The uppermost,
Box

Telephone: 07 21/9 43 20-0

410970 D -16209 Karlsruhe
- Fax: 07 21/49 57 50
Channel A to Channel B plot was plotted with a
narrow 20kHz bandwidth to illustrate that some
but inaudible
broad and -or major out -of-band noise was not
58 Studio Sound, December 1994
 ot all suppliers are equa'
Can your supplier,
provide an SM58 mit for under £80
or 16 pair foil screened cable for £2.99 a metre,
.12

IT

t!2
IN

Y
10

kN
-
\
20

FREOUENCY

10 20
' 40
50

.40
'.50
IN
E.O.
o/
SOFT

OUT

0/1

SOFT
POWER

DRAWMEI
1961

VACUUM TUBE:
EQUALISER
or twenty 3U rack Trays
Maste

deliver a Drawmer 1961 Tube Equa

today,
IN
kH
IN o ON

-À-LOW-PASS E.O.

sell you a box of Ampex 456 quarter inch,

for £13.73 a reel without negotiating?

New iieáimrequestingdeliry*orAonow

If he tells you where to go...

its bound to be Studiospares
No waiting, no fuss,
just service with speed.
STUDIOSPARES LTD, 61 /63 ROCHESTER PLACE, Please send me a free copy of the

CAMDEN TOWN, LONDON NW1/1 9JU Studiospares 100 page catalogue

Name
TELEPHONE: +(44) 071 4821692 Company (If relevant)

FAX IS FASTER +(44) 071 485 4168 Address

VA7 inclusive prices

`NSA PHONE 24 Shure SM58 £93.99
Pest Code
011-482 1692 HOURS
16 pair cable £3.51 Studio Sound
 POWER AMPLIFIER

catches (or is overcome by) fire. Fortunately, the during the dead time, you cannot see the effect
Overall sonic maker was able to fix this problem, which was an
oversight after early changes, by mailing a
that your adjustment had had on metered levels.
This is important in a big PA, where an
revised program IC (PROM). Fitting the new IC adjustment cannot be heard by the knob turner,
quality of the was an unusually easy operation, requiring little
other than removing the lid and unclicking a few
and only be done 'by numbers', and because the
wait time will add up if you have 100 units to
MC -650 was connectors. With the new PROM, the amplifier
withstood prolonged supply dips to below 160V
adjust. Thankfully, this too was fixed `overnight
in the post', with further revised `PROMware'

assessed in the AC without hiccups. One feature I at first

disliked was the way that having made a gain
which speeded up the LED bar's reset back to
signal- metering after encoder turning had ceased,
adjustment, a subjectively lengthy and irritating to be well under a second, These are examples of
top class dead time elapsed. Anyone who has been saddled
with computer that `thinks' slower than they do
where the ease of changing and upgrading
software can be unexpectedly helpful to everyone
knows how this feels... It was frustrating because concerned.

Conclusion
After bench tests, the MC -650 was `environmentally
assessed' in sweaty anger in a Nottingham dance-
house music club, where it was driven to just below

NEWS FROM clip with a 70Hz bass -heavy full -range signal for
six hours. There were no problems, and the sound
quality was noted much improved over the older
PA amp (that shall be nameless) that it replaced.

TUBE -TECH Only the MC -650's weight was criticised by my

hosts, who had to lug the amp up and (even worst
after six hours of sweating) down three flights of

LCA 2B
stairs. While the MC-650 is only averagely weighty
considering its output rating and 50 -60Hz power
supply, MC° are sufficiently aware of weight -
sensitive users to already be working on the higher
power but lighter- weight model, with a
switch-mode supply.
Listening tests were then carried out in a
controlled setup, where the room content, layout
COMPRESSOR LIMITER
1

7
1
and the top-class- core -audio system components
3:1 6:1 lim :8
6
,12 (including 15 -inch Tannoy DMT-II monitors) have
.1
-1,5
-2,5
changed only sparsely and mostly incrementally
15:1

5,5 121 over many months. Even furniture has not moved
.6
more than a couple of inches in this time. What
Of( .110
-'5 ff' 0
20:1
was most impressive about the MC-650's sonic
RATIO THRESHOLD THRESHOLD
COMPRESSOR LCA 2B
quality was that it sounded so natural at all levels
LYDKRAFT DENMARK C,25
right up to clip; there was nothing strident or
,.. 6.8
manual link 1 bypass
`shouty' about the mids, and no audible
exaggeration in any other band. In a few highly
OR
testing areas, such as the sense of air and precision
surrounding a vocal line that is itself surrounded
-
preset Ilnk 2

by a mayhemic backing track, it was also good

PRESE A7"nEL
even if it was felt that the planned future model
with a switch -mode power supply would likely
sound even better. Still, overall sonic quality of the
MC -650 was assessed in the top class.
All round, a very solid unit, highly original, light
(elegant) in places, with muscle applied in the
The new TUBE -TECH LCA 2B stereo right, other places. The MC-650 should open ears
compressor/limiter is based on the very in all kinds of pro -audio realms, and also one of the
limited number of powerful pro amplifiers suited to
successful LCA 2A (released April -93). a small studio, having unobtrusive cooling fans.
The LCA 2B features ouput level
control and limiter on /off switch. MC' Audio Ltd, Unit 6, Kingsgate, Heathpark
Industrial Estate, Honiton, Devon E %14 8YD.
Tel: +44 1 404 44633. Fax: +441404 44660.
References
1. Realistic Amplifier Testing-Procedures for
AUSTRIA (02) 236 26 123, BELGIUM (08) 941 5278, BRASIL (011) 34 8339,
DENMARK (43) 99 88 77, FINLAND (90) 592 055, FRANCE 87 77 00 00,
GERMANY (089) 609 4947, HOLLAND (02) 0613 1521, JAPAN (03) 5489
LYDKRAFT Touring PA. For further information and
availability see P.189-204 of Proc. IOA,
3281, KOREA (02) 741 7386, NORWAY (55) 951 975, SINGAPORE 748 Lydkraft Aps Ved Damhussoen 38 Reproduced Sound 10', and in `Events' on page 7.
9333, SWEDEN (046) 32 03 70, SWITZERLAND (01) 840 0144, TAIWAN
DK 2720 Vanlose DENMARK
(886) 2719 2388, UK (069) 1658550, USA (212) 586 5989.
 2:00 a.m. The band
just found the sound
Of course, you wouldn'- be
they've been looking for. of BASF 911 Low rub cff.
hawing this anxiety attack Everyone's rockin'. Precision -manufactured. I's
if yDu used new BASF 900 Exeot you. You're figuring classic BASF The kind of
maxima High Output out how to tell them the BASF tape studios have been
Mastering Tape. With 3 dB relying on since 1934. As jou
HIGH OUTPUT MASTER
more output and 2 dB less turn to face the band (gulp),
noise than standard analogue you were using jusi you make a vow.
mastering tapes, it is identical "crapped out." If you survive the next ten
to the MOL and the signal - minutes, the -irst thing yoL'Il
to-noise ratios of other high output masters. But it do is contact BASF: Germany, 0621 - 4382 -366
has the reel after reel reliability and consistency or UK, 081 - 908 -8340.
ADDED VALUE BY (BASF

© 1994 BASF Corporation Information Systems 7 BASF

 GALAXY
S T U D I O S

A recording studio complex

with four live studios with daylight, a 330 m2 music hall,
for classical music, popmusic, jazzmusic, . . .

for band, group, orchestra, . . .

Equipment
a Neve Capricorn console, Neve 51 desk, Amek Angela,
two Sony 3348 recorders, Genelec 1035, 1024 and
1022A monitoring, Sonic Solutions editing and
mastering system, .

GALAXY STUDIOS
Tel: ( +32) 14 31 43 43 Fax: ( +32) 14 32 12 24
Kievitstraat 42, B -4200 MOL BELGIUM (EU)
 RUSSIAN AMPLIFIER

NEVA AUDIO PA-50020G size of those currently in use in the

With the trade borders opening, West, and there are indications that
component voltage and current limits
pro -audio equipment from the are lower. For example, the very large
count of 32 output transistors for a
former Eastern Bloc is beginning 500W-44 output stage, and the large
number of relatively low value
to make its way into the West capacitors in evidence in the power

-with surprising results. Sam supply. It is said that `where there is a

will, there is a way'. The designer of this
amplifier was not going to be put off by a
MANUFACTURER'S
SPECIFICATION
Wise bench tests the NevaAudio limited range of components.
The upside of this design is that
Power Output

professional power amplifier each parallelled component is subjected

W (per channel)
Continous Average Output
to a reduced stress -so long as none Power both channels driven.
This may be the first review of a the front to a sub -frame panel and held of the parallelled devices have failed. 80 1kHz 1 %THD 350W
piece of Russian professional together at the rear with a metal frame But the downside is the well known 40 kHz 1 %THD 500W
1

audio equipment in the West. containing power supply rectifiers, electronics reliability axiom that Bridged mono operation
8Q 1kHz %THD 1000W
It certainly surprised me when regulators and capacitors. Access is failures are directly proportional to 1

Total Harmonic Distortion

the editor asked me to have a look at obtained by removing top and bottom component count.
0.003%
the Russian power amplifier under my covers. The front and rear panels can On arrival, everything seemed well,
(1kHz, -10dB re: rated output)
desk'. On second thoughts, why should then be easily removed, leaving the two except that two internal hold -downs 0.1% (20Hz to 20kHz)
surprise be my reaction? Russia has main heat sink assemblies with their for the heat -sink assemblies had Frequency Range
proved over many years able to master output devices accessible for repair. sheared, being made of machined 5Hz to 60kHz ( -3dB, Pout=1W)
technology which matches that in the Except for the four doubled -sided glass - paxolin. In addition, there are a lot of 20Hz to 20kHz, +0, 0.3dB
West, and even to produce good results fibre PCBs used to mount the 16 pairs of internal screws which, though fitted Signal -to -Noise Ratio
when hampered by trade embargoes on output transistors per channel, all PCBs with shakeproof washers, would be 106dB (A- weighted)
various products, some of them still in are single-sided and made of paxolin or prone to loosening if the equipment Slew Rate 35V/pS
force today. its Russian equivalent. travelled a lot. Those factors, added to Input Sensitivity
Truthfully, the stimulus for this Most of the wiring is hand soldered in the rack space required (when venting 1.25V RMS for rated 80 output
review was really the very competitive place with apparently no internal plug is accounted for) probably mean that Gain 32dB
price offered for this amplifier. If it and socket connections. Wires are this amplifier would live better in a Damping Factor
400:1 (400Hz, 8Q)
works well, European and US bundled using hand -tied looms fixed installation rather than a
Output Circuit Type
manufacturers watch out. -reminiscent of high -quality audio flightcase rack.
fully complementary, two -level
In the manufacture of a power equipment of 30 years ago. Many of the All wiring, components and PCBs
Output Devices (Total)
amplifier there are four main cost components are also about double the appear well made and carefully 64 output transistors
areas: metalwork, output devices, Cooling passive
transformer and labour. My thoughts Connections: Input
were that this amplifier probably phone jack or XLR,
1/. -inch
contained Russian parts for all except balanced and unbalanced
the output devices -these being Output 30 A terminals
somewhat high -tech and specialised for Dimensions (WxHxD)
a country without an historic hi -fi 438mm x 132mm x 435mm
market. But here I was wrong. The (19 inches x 51 /.inches x 1714
amplifier is Russian through and inches)
through, and is quite revealing Weight 19kg (41.8lbs)
regarding technology which is probably Power Supply
220V ac, 50-60Hz (actually
either unavailable or very high cost in
probably 240V)
the local market. But, ways have been

f
Protection
found to construct an amplifier which is
DC protect: 1 Hz or DC at 4.5V
mechanically well thought out and Thermal 95 °C
nearly up to our best standards in Current Voltage limiting
quality.

Internal fr"
construction
The chassis is all steel with what looks
like a cadmium -passivated finish. This
consists mainly of two robust frames 5002 internals-strange looking rectifiers, heat sinks and
which run from front to rear secured at circuit layouts
63
 RUSSIAN AMPLIFIER
W_

W
J
Common Mode Rejection Ratio (dB)
CC TABLE 1

40 Ap

Q
U 50
Noise measurement type
Unweighted 22Hz-22kHz RMS
Channel A
-97.5dB
Channel 13
-102.3dB
A- Weighted RMS -105.0dB - 107.0dB
-60
A- weighted Average -106.1dB - 108.3dB
s
U
W
70

80
CCIR-468 Unweighted
CCIR -468 -3 Weighted
-93.6dB
-94.8dB
-96.9dB
-95.1dB

-90
Panels and controls as shown in Fig.2. Input sensitivity measures
+3dBu for full output into 452, or 1.1V.
-100 The front panel is made of black-painted aluminium, Output source impedance is about 0.050, giving
10 100 1k 10k 50k with large cast -aluminium handles for carrying the a damping factor into 852 of 160, an adequate
Frequency (Hz)
unit and protecting the controls, which are performance but less than the 400 specified. Power
ig.1: Common Mode Rejection Ratio of themselves recessed. Each channel has a was initially measured below specification using
hannels A and B. Both are loaded with nondetented rotary volume control, calibrated 0-10. the specified 220V mains supply. However, at 240V
S2 and driven simultaneously at These were found to match reasonably well between the unit met specification at 350W into 80 and
50W /channel -
channels typical accuracy 0.6dB channel -to- channel
when set to visually the same position-good enough.
500W into 40 both channels driven. These rose to
415W into 80 and 630W into 44 with a single
Channel Separation (dB)
Each has three LEDs mounted above it: red channel driven at the 1% distortion level. Bridged
Protect-giving warning of short circuits or over - mono delivered 1000W into 80.
-40 Ap temperature shut-down, green Signal (which gets Frequency response is as specified being -3dB at
brighter as the signal level increases beginning at 5Hz and 60kHz. Audio band flatness is within
50
about 30dB below clipping) and red Clip (which 0.2dB. The response is almost totally constant with
-60
illuminates at almost exactly the point the amplifier output level.
Gene ato begins to clip under any operational conditions). In
Boating the centre is a red, illuminated, ON-OFF switch. Output Spectrum (dB re: rated output power)
-70

-80 -- -- "11'llII
miliked On the rear is a large -diameter captive mains
cable complete with the correct internal colours for
o Ap

;I the UK. The mains fuse is internally mounted

90 Gen.rae ilk -30
gentr beneath the top cover, so, if a fuse blows due to
rounded
L j
ageing and could be safely replaced you are 60
-100 nonetheless out of luck in less than 20 minutes
10 100 1k 10k 50k
Frequency (Hz) work. Inputs are on Neutrik-type XLR connectors
-90
(not Russian) and a parallelled three -pole 6.35mm
Fig.2: Channel separation (X -talk) in dB. jack. Outputs are sensibly only on 30A rated 5 -way
Both channels loaded with 8 S2, driven binding posts. There is room for a Speakon or two
-120
alternatively at 350 W/channel here. Lastly are three slide switches -two combine
-150
to select Stereo, Dual Mono (Channel A input 0 100 200 300 400 500
Output Spectrum (dB re: rated output power) routes to both channels), and Bridge modes. The Frequency (He)

o
last lifts the chassis ground from the signal ground.
Ap
There are two brackets fitted to provide rear of Fig.4: Low frequency spectrum of
-30
rack support. The weight of the unit is quite well output signal with both channels loaded
balanced and toward the front-good design. with 4 O. Referenced to rated output
power (500W/ch into 4 S2). Note overall
60
Harmonica of mains f equency
Bench tests increase in level from Fig.3.
With 1 kHz tone generating 350 W rated
-90 The first testing problem is that the amplifier has
output power
been supplied labelled for 220V operation, and with
-120

-150 AMMO
0 100 200 300 400 500
a continental -type mains plug. While this is not
usually a problem with signal- processing
equipment, the 10% over voltage provided by
British power supplies can be enough to consign a
Output Spectrum (dB

o
re re ed ou put power)

Ap °

Fig.3: Low frequency spectrum of

Frequency (Hz)
power amp to the great graveyard in the sky. Here,
my Chinese-made variac (variable voltage
-30 BQBCtrum
of Flg. 3' Use fight so

-60 o
output signal with both channels loaded transformer) was put to good use after several years
with 4 SL Referenced to rated output of neglect. A voltage monitor was permanently tied
-1 o
power (500W/ch into 4 S2). to the output of the transformer to ensure that full -90
No input signal voltage was maintained under load.
111111
assembled, including the heat sinks which, rather
Following completion of the bench tests, the unit
was tried on 240V and found to deliver the rated
-120
--
,r
Iui,111lJ111
lllli irinLhll4w,.ui1
ctrum with 37.5 Hz si 081 at ratad autpu
11,
o

-150 7 o
than being the extrusions we have grown to power instead of something a bit less. Obviously
I

0 100 200 300 400 500

expect, are constructed of 16 formed fins screwed the builders put in a 240V-rated transformer but Frequency MY)
to a pair of thick aluminium main plates. neglected to relabel the housing.
Ventilation is by convection -there is not a fan in Fig.5: Low frequency spectrum of
sight. Rack spaces above and below are likely to
be essential to reliable operation. During testing
Inputs and outputs output signal with both channels loaded
with 4 S2. Referenced to rated output
the amplifier was stood on the bench on its The input is electronically balanced, having an input power (500W/ch into 4 0.).
relatively small rubber feet. It worked reliably impedance of about 16k4, suitably high. Input Comparison of spectrum with no signal,
but would have run cooler with better airflow common- mode -rejection ratio is shown in Fig.1 -an and spectrum with full rated output at
beneath. 37.5 Hz
acceptable performance. Channel separation is good
64 Studio Sound, December 1994
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 RUSSIAN AMPLIFIER

Output Sp.ctnm (de n: rood output power)

Output Spectrum MS no nod output pewml
-80

-90
For comparison, the THD +n plot versus level at
1kHz is shown in Fig.7. The point at which the
-too amplifier switches power supply modes is evident at
about -6dB output level, as is the point at which the
-110 amplifier begins to clip just below OdB. The
apparent rise of distortion to the left is largely due
-120 to noise. Fig.8 shows how THD +n changes with
level (individual curves) and frequency. The
-130
o 1k 2k 3k 4k 5k Total Harmon)c Disturtlon ITND. NII%1

,,,,,,,,,©
Frequency (He)
5
Fig.6: This is the same data as shown in Fig.10: FFT Spectrum with tone tones of
Fig.4, but with a wider frequency 19 kHz and 20 kHz. Level is set at 285 W
spectrum displayed into 452, both channels driven. Graph
shows intermodulation distortion
Noise and distortion 0.1 products (IM)
Wideband noise measurements are given in distortion does not drop below 0.01 ok on Channel
Table 1, meeting specification. This again is a good, o01
A, but does meet spec on Channel B (not shown).
though not startling performance. The difference is almost entirely low frequency
The biggest weakness of the amplifier's design 0.001 1111111111111111 related. For comparison, Fig.9 shows the
seems to stem from the power supply. This is due, I .0005
-30 -20 -10 o
equivalent distortion curves for the recently -
would guess, to component availability, a large reviewed Chameleon. Can you hear this
Output Leval (de re rated output laved
number of fairly small value capacitors are used to combination of harmonic and intermodulation
build up to the required value. One of the main Fig.7: THD+N (%) versus Output distortion? I think so, but it is not blatant at these
sources of low to mid-frequency noise in a power Amplitude (dBr). Levels referenced to levels.
amplifier is the wiring between the rectifiers and the rated output level. Both channels Fig.10 is interesting from the intermodulation
capacitors. This has a continuous stream of short- driven at 1 kHz perspective. Here there are two tones injected at the
duration high -current pulses in it as the transformer same level -19kHz and 20kHz, designed to stress
lead-outs and rectifiers supply current to charge up any sluggishness in the amplifier. There are high -
Total Hermonlc Distortion (THO +NII %1
the capacitors on each peak of the mains cycle. If order distortion products surrounding the two
this wiring is spread out, or not carefully and
consistently dressed with respect to input wiring a1=o5-:E:1
ME.pS011
Mnu1(
limed Opp., p.011111MI.pN1I11=11
tones, and a cluster of lower order products mixed
up with the power supply noise at the low frequency
and preamplifiers, then noise can result. While it is
clear that noise as a whole is kept under good 1l, Level nu1111EMBn111.
!yq1=.011111111n
end of the spectrum.
When tested with a square-wave signal and-or a
control, the noise and other artefacts produced by
these mains pulses is not so well controlled.
0.1

-:
\\i p:;;¡===:.IIa6il111111
141.19.rliff.1.11te::- i11111111N111
capacitive load, the amplifier behaved impeccably.

Figs.3-6 are an interesting series of spectral

noise plots, showing the noise and distortion caused 0.01 ,,.:. Power efficiency
by the power supply system. Fig.3 shows the noise BB=-MI:io=:E:::- The amplifier operating instructions make the point
spectrum up to 500Hz when the amplifier is loaded
with 452, but with no input signal. The lines every
iiiiiiiöiliimiii
111111111111111111111
that the amplifier is power efficient, particularly on
standby and at low levels of signal -that is, most of
0.001
50Hz are harmonics of the mains current. The 20 100 1k 10k 20k the time. Fig.11 confirms a low quiescent state,
levels are relatively low, but they do extend upward frequency (M.1 consuming only about 86W for a 1000W amplifier.
in frequency a good way, indications of a likely At about 1W output, the current begins to rise,
source in the power supply system wiring. At first
Fig.8: Change of THD+N with output
level and frequency. Load is 4 f2, both going sharply upward at 100W output where it is
glance Fig.4 looks the same, but note that the channels driven 25%c efficient. At full power, about 1,800W are
levels are now at least 20dB higher, This plot was consumed for an output of 1000W total average
taken when the amplifier was delivering 300W per power or about 55% efficiency. Bear in mind that at
channel of 1kHz sine wave into 40. Total Harmonic Dis ados (TNO+NH %I this level the amplifier is dissipating 800W
Next look at Fig.5. This combines the plot of internally, so begins to warm up nicely.
Fig.3 (top, dotted -use right -side legend) and a Lastly, in Fig.12. the turn-on' transient is shown
plot which is nearly the same as Fig.4. Instead of reaching a peak of over 30A for one mains cycle.
1kHz the tone is at 37.5Hz -very near mains There is no attempt at a soft start on this amplifier.
frequency but selected to produce intermediate 0.1
lines if any interaction results. The 50Hz
harmonics have remained at the same level, but
Listening test
they are joined by a series of intermodulation 0.01 To get an idea of theaudibility of some of what
products at 12.5Hz intervals. The cause here is was measured, the amplifier was taken home to
some modulation of the power supply due to the power up my JBL Control 5s with subs.
less than zero perfect impedance that it has. Compared to the Technics amplifier which is in
In Fig.6, we back out to a wider frequency view 0.001 normal use, the Neva sounded slightly cloudier
20 100 1k 10k 20k
up to 5kHz. This is actually the same result as Fraquancy (Hz(
with a mite of harshness on vocals -subtle, but
Fig.4. The hash on the left is the mains spectrum present none the less. For some reason-possibly
without the intermodulation caused by the 37.5Hz Fig.9: Hill Chameleon - shown for nothing to do with the amp -the stereo imaging
tone. The line at 1kHz is the sine-wave test signal. comparison. Change of THD+N with seemed to be better. All in all it was quite
The lines at multiples of 1kHz are its harmonic output level and frequency. Load is 4 f2, pleasant though I was pleased to hook the other
distortion products. both channels driven amp back up again.
66 Studio Sound, December 1994
li/i 111o3i: foo1)lotoJ/ i ¡1 orn i d E E o 0113 ok,
with to 240 ]iipiti J J

but ja3t 111 0 tJr 0

4,
y
y
.4 /
414

t,
., 4,

ry TAL7Y TECMNOLOOY

i-! ` ` `_
II/IfIf/
rfrr
e _t
// S
_
I
-L.
f î1111117171-i`
VI f
r
,_
si}r :
- '.,

- - - -fit=fiia__ V ,.W.
t a_ n. .-

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digitally 4. 4, can be connected to

4, 4,
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 AMBIENT- TECHNICAL REVIEW
QUICKPOLE BOOMS
Very stiff carbon fibre
All metal screwlock
Power Consumption (Wette)
Tumor Current of Amplifier (Amps)

2k Ap
30

20
1.6k
QUICKPOLE JUMBO 10
1.2k
The answer to classical,
800
Organ music, and film 10

location recording. 400 20

QP 5190 9m Long up to
83 W se powers

-30
QP 6200 l lm Long Off 200 400 600 800 1k 0 02 04 06 0.8 1 1.2 1.4 1.6 1.8 2
Time (Seconds)
Fits standard Manfrotto Total Output Power (Watts)

stand and angle adapter, Fig.11: Power Consumption (W) versus Fig.12: Time record of turn -on current of
for horizontal or Output Power (W). Both channels amplifier. Note maximum current is
driven and loaded with 452. Output over 30 amps. There is no soft -start
vertical positions power shown is total of both channels circuit on this amplifier

Special lightweight Conclusion it may be hard to beat for fixed installations in

many applications such as clubs, sound
Ambient tripod . The NevaAudio PA-5002BG is, in many ways, a reinforcement and so on. For studio monitoring in
good power amplifier. It handles long -duration a high performance environment, another model
STANDARD high-level signals well, never going into heat
protection mode or showing any signs of distress
may be preferred.
Congratulations to the designers of the
BOOMS during testing. That is more than can be said for NevaAudio amplifier for overcoming obstacles to
some amplifiers recently tested. It has some produce a good product from (probably) limited
constructional weaknesses which the resources. It is a sign of good things to come.
For film/TV. low han- manufacturer could readily overcome. Ventilation
dling noisy, Easy action. space must be kept around the amplifier, so do not Audionet, 155 Upper Street, London NI 1RA,
assume that the 3U height is real from a rack UK. Tel: +44 171 354 8848.
Good for 'eavy mikes. space perspective. For the very interesting price, Fax: +44 171 226 8586.
QP 460 2
QP 470 2. FIELD REPORT
QP 480 3.2m I encountered the Neva 5002 while investigating made over 2500 amplifiers over the last five years
QP 4140 5.2m proposed work in Russia. I had some amplifiers and they have no service stations. It would seem
QP boom extentions. shipped to Lisbon, where I was redesigning that to the best of their knowledge, they have had
As fifth segment. Namouche studios (see article in this issue). no reservoir failures. The rectifiers are peculiar flat
Nobody knew what to expect but when the things, which are unlike anything else which I
Fits Manfrotto stand
amplifiers emerged, there was a `business' have seen and are mounted between some strange
Custom sizes on request appearance to them which set a lot of heads `bed on nails' heat sinks. The choice seems to have
nodding in approval. been dictated by availability and reliability.
After unpacking, everything came apart out of a I pumped them further, trying to find the weak
burning curiosity as to whether all inside would be spots. Apparently only two faults are likely to
ka
marked in the Cyrillic alphabet, and if Russian occur: a blown mains fuse suggests the failure of an
components would look any different to Eastern output device. The cure being to check the
and Western ones. To everybody's delight, there resistance between the transistor legs one by one in
were strange looking rectifiers and heat sinks, situ, one of which will show a resistance around lit
circuit layouts untypical of more familiar products, less than the others. Change that, and you are
and I saw the use of Paxolin insulators for the first back in business. The other likely fault is a driver
time in decades. transistor failure. `Not enough gold in Russian
In October 1994, I was visiting St Petersburg for transistors!', I was told. On rare occasions, an
the Audio Video '94 exhibition. While there, I was amplifier will exhibit asymmetric clipping, which
invited to the Neva `factory' and it immediately occurs if a driver goes open circuit at the base-
became apparent why the amplifiers are such good emitter junction-the fix is only a 15-minute
performers. The people at Neva, including their repair. The amps do not seem to go wrong often. It
designers Feodor Kurouzbaver and Vladimir appears, however, that the amplifiers are
Rataev, were people of great intelligence, absolutely incapable of going DC on the output
QUICKPOLE FLOATER competence and humility. There was no sales hype, -sensor circuits crowbar the PSU at the slightest
Accoustic suspension no arrogance about the superiority of their designs; sign of a dangerous output, so in the very rare
Prevents boom or floor noise reaching sen- only a remarkable degree of openness, honesty, and event of an output device failure, precious cones
sitive mike assemblies. Standard 3/8" the courtesy that comes from a good upbringing and diaphragms suffer no ill effects.
and education. There is no doubt that these people know that
Thread or Rycote flange adapter. Neva use multiple reservoir capacitors because they are doing. I came away with the impression
4 hardness levels for mikes up to 1.5 Kilos large single capacitors of adequate reliability are that the people, and their products, can be implicitly
Indispensible when booming with hard to get hold of from Russian or ex -USSR trusted. Neva are working on a 2kW/channel model,
MS Stereo Mikes. sources. The capacitors which they use (24 per which I look forward to testing as I am sure it will be
Call us for info and dealer list amplifier) are Russian military -grade capacitors something to be reckoned with.
with which they feel comfortable. They have now Philip Newell
AMBIENT RECORDING
Konradin str 3 . 81543 Muenchen
Tel: int 49- 89- 6518535 Fax: 6518558
 44° RICHMOND Gotham Cable
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EXPENSIVE !

International Sales Manager A.S. McKAY LTD

A.S. McKay Ltd, the importers of the
Digital Audio Research, a world leader in Russian Microphones 'Okinva' and
digital audio products, requires a dedicated 'Nevaton' are pleased to present their used
and dynamic sales professional to join their microphones list.
sales team.
Prices quoted are US$ and are negotiable in most cases.

With sales to over forty countries, the (PHONE: +44 (0) 81 541 1177) (FAX: +44 (0) 81 546 2779)
successful candidate will be required to
AKG C12 (With Power Supply) $6,000
support and develop a network of distributors
AKG C24 (With Power Supply) $6,500
as well as closing direct sales throughout the Neumann U47 (No Power Supply) $3,000
world. Neumann U47 (With Power Supply) $3,500
Neumann U47 (Long Body Original With Power) $4,000
International sales experience is essential. A Neumann U67 (Stereo Matched Pair With Power Supply
thorough knowledge of digital audio is $5,000 per pair
preferred. Neumann U67 (Single) With Power Supply $2,500
Neumann U67 (No Power Supply) $2,000
Neumann UM57 (No Power Supply) $2,000
Please send your C.V. or telephone Michael Neumann KM56 (No Power Supply) $1,100
Parker at: Telefunken (Schoeps) 221B (With Power Supply) $1,500
Telefunken (Schoeps) 221B (No Power Supply) $1,000
Digital Audio Research Ltd RCA BK 101 (Very Rare Ribbon) $1,500 per pair
Lomo 19A9 (Russian Large Diaphragm with Power
2 Silverglade Business Park, Leatherhead Road,
Supply) $1,200
Chessington, Surrey. KT9 2QL.
A.S. McKay Ltd.,
Tel No: 01372 742848 Fax No: 01372 743532 BRIDAL CLOSE, SU BITON ROAD
6
KINGSTON UPON THAMES, SURREY KT1 2JW
IN D EX TO 1994
AUTHORS Tim Frost
EAW
Tony Griffiths Interview
1/18
2/35
Studer D827
Crest NexSys
6/53
10/16
Jim Betteridge
Akai DD1500 12/31 Dr Sidney Harman Interview 9/23 Andrew Neve
tc electronic M5000 4/39 Soundscape Digital Soundscape 5/43
Corey Greenberg
Sergio Castro Pictures in the Round (ELP) 5/29 Philip Newell
Aura Studios (Portugal) 8/44 Horn Monitor Characteristics 3/59
David Godsmark Monitor Comparisons 8/51
Simon Croft Serial Port Synchronisation 7/31 Namouche Studio redesign 12/49
AES Show Preview (Amsterdam) 1/39
APRS Show Preview (London) 6/71 Yasmin Hashmi Jeffery Noah
Fleetwood Mobile/ Fostex Foundation 2000 2/39 Mixed -signal testing 2/55
Lisa Stansfield 11/59 MTU MicroSound 5/51
Tapeless Multitracking 4/55 Nicholas Pasquariello
Dan Daley Film Sound Restoration 9/47
Night Technologies International Kevin Hilton
EQ3 11/16 In -ear Monitoring 3/33 Martin Polon
On Air 1/61, 2/79, 3/55, 4/71, Perspective 1/63, 2/81, 3/57, 4/69,
James Douglas 5/59, 6/97, 7/63, 8/65, 9/69, 5/57, 6/95, 7/61, 8/63, 9/67,
AT &T DigitalMixer Core 11/38 10/65, 11/85, 12/45 10/63, 11/81, 12/47
Avid AudioVision 10/27 Pink Floyd (Tampa concert) 8/27
Hollywood Digital, USA 2/22 U2 (Zooropa tour) 2/61 Gordon Reid
Dubbing 'The Lion King' 9/32 Energy Technology VKP-1 11/78
The Oscars 6/58 Judith King
Pacific Ocean Post 1/48 The Hit Factory, NYC, USA 11/26 Francis Rumsey
SPARS Conference (Digital Audio ADT Serial Digital Analyser 12/17
Workstations) 6/19 Paul Laurence AES Conference Report
Eddie Kramer Interview 6/85, 7/49 (The Bit Budget) 8/20
Ben Duncan Buried CD Data 5/61, 6/99
Focusrite Red 5 7/65 Vic Lennard DG 4D Overview 1/27
Common Mode Rejection 8/67 P &G MM16 MIDI Manager 3/44 Digital VTRs 1/65
EMC Regulations 11/87 Steinberg Cubase Audio Remote Control (MIDI
MC' MC -650 12/55 Falcon 16 6/17 Automation) 3/39
Surround Sound 9/55
Dave Foister Mike Lethby Tektronix AM700 11/20
AGM MR1 4/27 Operalia '94, Mexico 11/46
AKG C12VR 6/43 Zenon Schoepe
AKG WMS -900 9/41 Stuart Litobarski Akai DR4d 3/29
Behringer Intelligate XR2000 1/17 CAD Studio Design 12/24 ART SGX2000 2/21
CEDAR DC1 2/19 Pete Cornish 8/18
DAT Indexing 3/12 Chuck Meyer Doepfer Musikelecktronik
Focusrite Red 3 9/15 Synchronising Audio and Video 9/71 MAO 16/3 12/22
HHB Portadat (preview) 1/35 DigiTech DHP55 1/21
HHB Portadat 10/15 Julian Mitchell DMC Ground Control -GCX 5/16
Prism Sound Dscope 8/16 AIR Studios, London, UK 6/34 E-mu Systems Morpheus 3/19
Sennheiser K6 4/14 Finnish Opera House, Helsinki 6/39
SPL Optimizer 12/19 Allen Mornington -West Frankfurt Musikmesse 4/19
TL Audio Valve Mixer 7/45 Network Control 12/39 Galaxy Studios , Mol,
TL Audio Valve Compressor 11/18 Belgium 10/42
Caroline Moss Kenton Electronics Pro -4 7/18
Bill Foster Funoon al Emarat Studios, Korg Audio Gallery 2/21
The Jitter Bug (Jitter discussion) 10/37 Dubai, UAE 7/20 Marshall DRP -1 11/24
Mesa Boogie V -Twin 7/18
Barry Fox Terry Nelson MTA Signature- series EQ 12/20
Business /74, 2/98, 3/74, 4/82,
1 Klark Teknik DN3600 4/42 Sony HR -GP5 6/14
5/74, 6/106, 7/74, 8/74, 9/82, L'Acoustics V -DOSC 3/14 VTM, Vilvoorde, Belgium 10/46
10/82, 11/106, 12/74 Live Sound News 4/16, 9/20, 11/22 Yamaha GW33 10/20
70 Studio Sound. December 1991
Yamaha 0Y-series 9/18 Tony Griffiths Interview 2/35 DAR SoundStation Gold 9/51
Dr Sidney Harman Interview 9/23 DK Audio MSD550 -SA 9/15
Patrick Stapley Horn Monitor Characteristics 3/59 E-mu Systems Morpheus 3/19
Amek System 9098 EQ 6/65 In -ear Monitoring 3/33 Energy Technology VKP -1 11/78
AMS Neve Capricorn 5/34 The Jitter Bug (Jitter discussion) 10/37 Eventide DSP4000
Apogee Sound CRQ -12 4/51 Eddie Kramer Interview 6/85, 7/49 Ultra- Harmonizer 2/49
DAR SoundStation Gold Live Console Roundup 8/33 Focusrite In -line Console 3/49
(preview) 5/15 Dubbing 'The Lion King' 9/32 Focusrite Red 3 9/15
DAR SoundStation Gold 9/51 Mixed -signal Testing 2/55 Focusrite Red 5 7/65
DK Audio MSD550 -SA 9/15 Monitor Comparisons 8/51 Fostex Foundation 2000 2/39
Eventide DSP4000 2/49 Network Control 12/39 HHB Portadat (preview) 1/35
Focusrite In -line Console 3/49 Pictures in the Round HHB Portadat 10/15
Le Studio Mobile 5/18 (ELP -Dolby ProLogic) 5/29 Klark Teknik DN3600 4/42
Live Console Roundup 8/33 Remote Control (MIDI L'Acoustics V-DOSC 3/14
Mackie 8 -Bus Console 7/39 Automation) 3/39 Mackie 8 -Bus Console 7/39
MTA Series 900 11/69 Serial Port Synchronisation 7/31 MC' MC -650 ° 12/55
Oasis Television Studios 4/20 SPARS Conference Millennia Media HV -3
Otari RADAR 10/53 (Digital Audio Workstations) 6/19 mic preamp 10/67
Sony DATStation 1/23 St Matthew Passion recording and MTA Series 900 11/69
Sound Check Test CD 8/46 broadcast 6/21 MTA Signature- series EQ 12/20
Soundcraft Series 10 -105 7/25 Surround Sound 9/55 MTU MicroSound 5/51
St Matthew Passion Synchronising Audio and Video 9/71 Neva Audio PA- 5002BG 12/65
Recording /Broadcast 6/21 Tapeless Multitracking 4/55 Night Technologies International
Studio Audio & Video SADiE 5/23 The Wireless Multicore 9/62 E03 equaliser 11/16
Tyrell TyreStor 7/15 Otari RADAR 10/53
Yamaha ProMix 01
Zoo Postpro, London, UK
7/55
10/22 LIVE SOUND P &G MM16 MIDI Manager
Prism Sound
3/44
Live Sound News 4/16, 9/20 Dscope signal analyser 8/16
Andrew Sutcliffe Operalia '94, Mexico 11/46 tcelectronic M5000 4/39
DAR SoundStation Gold (preview) 5/15 The Oscars 6/58 Sabine ADF- 2400 2/83
Sawmills Studios, Cornwall, UK 3/20 Pink Floyd (Tampa concert) 8/27 Sennheiser K6 4/14
Lisa Stansfield Sony DATStation 1/23
John Watkinson (The Fleetwood Mobile) 11/59 Sound Check Test CD 8/46
ADDA 9/16 U2 (Zooropa tour) 2/61 Soundcraft Series 10 -105 7/25
Digital Signal Levels 2/69 Soundscape Digital Soundscape 5/43
Digital Signal Processing
Digital VTR Sound
4/73
11/65 MUSIC NEWS SPL Optimizer
Steinberg Cubase Audio
Falcon 16
12/19
6/17
ART SGX2000 2/21
Sam Wise Pete Cornish 8/18 Studer D827 6/53
Creation C101 mic preamp 10/67 DMC Ground Control -GCX Studio Audio & Video SADiE 5/23
Millennia Media HV -3 10/67 Expander 5/16 Tektronix AM700 11/20
Neva Audio PA- 5002BG 12/65 Doepfer Musikelecktronik TL Audio Valve Mixer 7/45
Sabine ADF -2400 2/83 MAO 16/3 12/22 TL Audio Valve Compressor 11/18
DigiTech DHP55 1/21 Tyrell TyreStor 7/15
John Wykes Kenton Electronics Pro -4 7/18 Yamaha GW33 10/20
The Wireless Multicore 9/62 Korg Audio Gallery 2/21 Yamaha ProMix 01 7/55
E -mu Systems Morpheus 3/19 Denotes technical review
FEATURES Frankfurt Musikmesse
Marshall DRP -1
4/19
11/24 STUDIOS
ADDA Conference 9/16 Mesa Boogie V-Twin 7/18
AES Show Preview (Amsterdam) 1/39 Sony HR -GP5 6/14 AIR Studios, London, UK 6/34
APRS Show Preview (London) 6/71 Yamaha QY- series 9/18 Aura Studios, Portugal 8/44
AES Conference Report Funoon al Emarat, Dubai, UAE 7/20
Galaxy Studios , Mol, Belgium 10/42
(The Bit Budget)
AMS Neve Capricorn
8/20
REVIEWS The Hit Factory, NYC, USA
Hollywood Digital, USA
11/26
2/22
(Broadcast applications) 5/34 ADT Serial Digital Analyser 12/17
Buried CD Data 5/61, 6/99 AGM MR1 4/27 LeStudio Mobile, Paris, France 5/18
CAD Studio Design 12/24 Akai DR4d 3/29 Namouche, Lisbon, Portugal 12/49
Common Mode Rejection 8/67 Akai DD1500 12/31 Oasis Television, London, UK 4/20
DAT Indexing 3/12 AKG C12VR 6/43 POP, Santa Monica, USA 1/48
DAT Tape Roundup 5/48 AKG WMS -900 9/41 Sawmills, Cornwall, UK 3/20
DG 4D Overview 1/27 Amek System 9098 EQ 6/65 VTM, Vilvoorde, Belgium 10/46
Digital Signal Levels 2/69 Apogee Sound CRQ -12 4/51 Zoo Postpro, London, UK 10/22
Digital VTRs 1/65 AT &T Digital Mixer Core 11/38
Digital Signal Processing
Digital VTR Sound
4/73
11/65
Avid AudioVision
Behringer Intelligate XR2000
10/27
1/17
LETTERS
DAT Testing 1/57
EAW 1/18 CEDAR DC1 DeClicker 2/19 Mic Preamps, Mastering,
Energy Technology VKP-1 11/78 CEDAR DH1 DeHisser 11/55 Classical miking 2/75
Film Sound Restoration 9/47 Creation C101 mic preamp 10/67 DAT Longevity, Sound Isolation,
Finnish Opera House, Helsinki 6/39 Crest NexSys 10/16 Dummy Head Recording 4/65
Fleetwood Mobile/ DAR SoundStation Gold The Russian Front
Lisa Stansfield 11/59 (preview) 5/15 (Pro -audio in Russia), DAT IDs 9/58
71
 CLASSIFIEDS
Please call Steve Grice for or Phil Bourne
Rates & Details 44 (0) 71 620 3636
The attention of advertisers is drawn to The Business Advertisements
(Disclosure) Order 1977 ", which requires that, all advertisements by persons
who seek to sell goods in the course of business must make that fact clear.
SERVICES
All job advertisements are bound by the Sex Discrimination Act 1975.

J
Advertisement copy must be clearly printed in block capitals or typewritten
and addressed to: Steve Grice, Studio Sound, Spotlight Publications
Limited, 8th Floor, Ludgate House, 245 Blackfriars Road, London SE1 9UR.
©
1
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cDV T LI
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DAT STORAGE RACK- E3.5e+vuT!
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FROM
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£2.50 +VAT!
C2.69+ VAT!
£2.90 +VAT!
£3.39+ VAT!
,F,J
AMS Audiofile M8+ harddisk
Recorcflng
DIRECT
ONLY 35.99 +VAT! 1
32 WAY JACK /JACK DATR122 ' FROM £3.81 + VAT!
24 WAY JACK /8 WAY MIDI
EASILY REVERSIBLE NORMALISING Irs
Tp /C/,y
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c Ev
EVILL' I
audio recorder /editor
16 output machine (8 out fitted)
NORTH ROAD WB'DY ROYSTON FEATS SG8 OAB COMPACT DISCS
software version 11.04 FULL MASTERING
[ EUROPE AUDIO RENT ] with a harddisk capacity of LATEST 32 -BIT DSP
the no 1 pro audio rent on the continent 8 hours
SUPER BIT MAPPING
We rent out analog and digital multitracks (4 -8- 20,000 pounds sterling. 20 BIT DIGITAL RECORDING STUDIO
16-24 tracks), consoles, mics and all modern
outboard equipment. Also samplers, soundmodu-
les, DAT (with timecode), U-matic, synchronizers.
Contact only by fax: 20 BIT EDITING

New: Sony 3324S - ring for our competitive prices

+(32) 2 374 63 36 SOUND RESTORATION, DE -CLICK etc

COPY MASTERS
PHONE HOLLAND (31) 3465.70670 OR FAX (31) 3465.72707

ITEM 1:
Dolby SR. MT24 automated unit with IS encode /decode cards.
ISDN USERS
DIGITALLY DUPLICATED

CASSETTES
Dolby 'SR' and 'A' noise reduction £8,000 + VAT The PRINT /REPROGRAPHICS
ITEM 2:
Studer A80 Mk 24 -track pre -wired frame with
2 12 ") 16-track in
remote audio selection panel. 15/30 ips. Dolby 'A' XPI6 bay
DIGITAL DIAL -UP LIST MARKET LEADERS
h Worldwide Directory of Studio,. Broadcasters, Producers, Artists .
e 081
containing 16 Dolby A encode /decode cards 446 3218 LONDON
with Digital CODECS & /or FILE TRANSFER CAPABILITIES
Total price £4,750 - will split
Get on the list FREE. Single issue price:US $30 if 0480 461880 CAMBRIDGE
ITEM 3:
Perfectone Rapimag Sep Mag machines. x30 spooling. EBU
2T heads. 24/25 fps.
I)i( I F0 *T
r 1
1- 203 -254 -0869, Fax: 1- 203 -256 -5723
47 Colonial Drive Fairfield. CT 06430 USA

(a) 16mm Televise with Sony DCX102P Colour Camera.

(b) Dual Transport 16mm Reply + 16mm Replay. jbs records
(c) Single Transpon 1hmm Replay.
(d) Dual Transport 16mm Replay + 16mm Replay + 16mm
SEAL MUSIC and SPEECH
REAL-TIME/HIGHER-SPEED Quality Cassette Duplication and
Record /Replay + Pilot. Blanks from 1 -1000. Computer printed Labels.
(e) Single Transport 16mm EBU 2T/35mm Triple. Record/Replay Solo, ''I." reel, Sony Betamax or R -DAT recording.
£18,000 + VAT Fast Security Delivery service.
FILTERBOND LTD. jbs records div, FREEPOST
CWMNI CYNHYRCHU TELEDU CAERDYDD CYF. THE CASSETTE DUPLICATING SPECIALISTS 19 SADLERS WAY, HERTFORD, SG14 2BR 0992- 500101
CARDIFF TELEVISION COMPANY LTD. Real time & high speed loop bin duplication, FOR SALE: STUDER A 820, 24 tracks (3,000 hours)
26 Dalcross Street, Roath, Cardiff CF2 4UB
Tel: 0222 450950 Fax: 0222 451151
printing & packaging. Blanks wound to length Analogic, Automatic Alignment + 24 Dolby SR inside
TEL: 061 -973 1884 + Remote control and Autolocator. Please contact:
NEW TAPE HEADS supplied for most makes, tape (33 -1) 39 76 88 45 (Answering machine).
head re- lapping/re- profiling. Same day turn round. FOUR NEVE CHANNELS (type 34128) £1,200. AKG C24 STEREO MIC OR SIMILAR. Also 4038
Head Technology, 11 Brittania Way, Stanwell, Staines, Supplied in 12/2 frame with PPM's. Includes mains Mics by amateur recording engineer. All in good
Middx. Tel: 0784 256046. power supply. Tel: (01495) 201116; (0860) 333089. working order. Tel: 0444 440955. Fax: 440688.

EM1
MARTIN AUDIO MARTIN AUDIO

Martin Audio, part of the TGI Group and a world leader in the
manufacture of professional loudspeaker systems, is growing As a prestigious world market leader in professional
rapidly and has plans to expand its R & D facility. loudspeaker manufacture, Martin Audio are seeking a
Immediate opportunities exist for two electro- acoustic salesperson to fill a vacancy within a company which
engineers to work on the development of new products for is enjoying rapid expansion and growth within all areas
the sound reinforcement and installation markets. In both of the pro audio market.
instances, relevant practical experience and ability to work
under own initiative could well outweigh formal qualifications. Reporting to the Sales and Marketing Manager, the
successful candidate will have had experience in selling
DEVELOPMENTIAPPLICATIONS ENGINEER to contractors, music stores, AV companies and PA
Degree in electro- acoustics, physics or engineering and /or one rental companies in the UK. Export sales knowledge
to two years practical experience in loudspeaker system
design.
would be an advantage but is not necessary.
A significant salary package + commission + car is
DEVELOPMENT ENGINEER
Degree in electro- acoustics, physics or engineering with three
available according to experience. For an application
to five years experience in loudspeaker system design. form please reply in writing enclosing your career
details to:
Generous salary packages are available according to
experience.
Martin Kelly, Sales & Marketing Manager
Please reply in writing enclosing career history to:
Bill Webb, Engineering Director, Martin Audio Limited,
Martin Audio Limited, 19 Lincoln Road,
19 Lincoln Road, Cressex Industrial Estate, High Wycombe, Bucks, UK HP12 3RD
High Wycombe, Bucks HP12 3RD Tel No: 01494 535312
 FOR SALE

Buying and Selling quality professional

equipment throughout Europe
Sounds
nick ryan `$' +44 (0)892 861099 Fax: +44 (0)892 863485 incorporated

PHONE
AUDIQ +44 (0) 272 467711
TOYSHOP FAX
+44 (0) 272 730505
Used Equipment List
CONSOLES: Audio and Oearpn 560-RS stete0 .__. (425 blecirospace Time Matrix.. 1450
eva VR 80 3 available'. with (lying faders with GML, all fully
ANALOGUE TAPE MACHINES: E Irmiler.
N 2 I
Olen MIR 90 Mk2 low hoots path overbuau -- r.,, 111,500
Drewmtoer OL 221 compresser_ ................. .(275 Elecnospece spanner. 1195
loaded __ _...... .._ t call (250 MICROPHONES:
Olen MTR 90 spares. loads. ( call
Neve V3 flying faders 48 channel superb [120,000 061 162 stereo 55TO:OC of ISO ......... ..._... (550
0teri EC 101 synchronimr for MTR 90 1250 R150
Neve 8108 56 channels In line bar graphs. [50,000 001 165 quantity available (330
Otari MX 80 remlloc. low usage (9.000
.... ................... ........
Neumann U 87 2 available with shocks........._........... 1150
N eve 806/118078 rebuilt, 4 band 1066 eo, 32 buss can only
Studer A 800 MY 3 very low hours __.. [ call BSS OPR 502 dual MIDI gate (350 Meumaen KM 84i average condition ._..... 1225
appreciate In value... .. 2 call Orbs, de esters leer _..... 1250
Studer A 80 MAI goon runner (4,950 1
0eumane SM 69 Fel stereo MINT... _.. 1950
Nave DICI transler console 012.000 Yelley M.apea 2 10 in rack (1.500
Studer A BO Mk2 16124 Name. ter, me 03.000 AIG 0120 3 mice off pm, 1 __.. ..__ 02.000 lot
SSL 6027G 56 fitted rat patch [ call Valley Gates quad gate _... ..__
Foster G 18 MINT, hardly used _. [2.500 AMG The Tube complete kit .. ....... ....11.150
SOL Stereo modules. (1,600 Mlerk Tekeik SI 80 FITS w ih mic (1,200
Sony 5000 9" CIL. excellent coed 0950 EAR The Nebo rare. stunning -...- _......_.. 11.100
SSL Mono module _ ......01,200 !Dark LYOik DM 510 dual MIDI pate 1425
Ampex AIR 102 'n ref orb shed wartan y. _ 03.500 1 call
SOL Prop aglpan 516831... 22,150 Cork TSAMA ON 322. 0350
02.150 BAR 4007 6 ova fable ... 1450
Amok G 2520 40 Borne 36 fitted. Mao ermo sounds wonderful 0275
Studer A80 k' _.. __.. 0575 OBE 822 sonic BAK 3529 stereo let 4003 pre amps ._ 12,500
Studer 667 trolley excellent
. __.. 0515
Rehm pates 6 compressers [call Sennheisa- 4151 booed rile. 1225
AmeY Moaan 40 frame. supertrue ........_.... ....._._.(37.000 Romaine 511A nose Yee expander.. [175
Dolby MT 24 SR automated. IR cards 09,000 Sennheisa1 MO 421 2 available .... 0150
Dolby XP Reed empty 0850 Shure SM 87... __ __...._ _..... 1150
FX:
TAC SR 6000 401612 .......... ............._[10,500
Dolby SP 24A 24 channels. 0obley A. ..... 11.250
oassIse ORS immaculate ... .02.250 MONITORING:
TAC Matchless 2 available. .... ...._.._ .............from 03.500 OUTBOARD: Lemon 2211XL with LARC v B 2 (3.500 oyeendie M2 with steeds and amp... [ call
APT 48 German high end eonsent ____(40.000 MevelAmek 9098 in stock, on demo and sounding wonderful ( cell Lexica. 224 lost serviced._.. 11.250 AID SCM 100A.__.. 12,150
Yamaha OMC 1000 18 months. excellent. 1 available ........(16.000 N ave 2254a par racked and refurbished by Shop.... .(1,600 Lexicon 200 224 Ina box..... 01.200 AID SCM 20 ................... 1150

f
Trident 65 Series 24116 excellent .....(3,500 N ova 1002 discreet class A .. E call Lexicon Super Prime Time 97 0150 TanneryLittle Gems excellent conadIon 0450
Mackie 8 buss 241612 as new 22,500 N ave 33135 Viotepa Eq's parr railed (995 HAS RMX 18 remote. 0250 FM 801A the ultimate' _.. [1.500
Studiamaster Praline 241816 MI01 01.150 Nave 33808 psudee stereo.... 0150 AMS SMX 15.805 severe I, ea ro us spec 01.300 BGW 7500 studio use only.... 0395
Soundaaft Spirit Live 1313. excellent. 49 N ava spares psu modules etc loads. 0 cell Eventide R 30005 2 avalable 11.500 Oued 521 BBC Spec....
Owed 5206
1450
7350
N ava V reel 8 eq, 2 dynamics, MINT
excellent.
14.500 Eventide R 910 1275
DIGITAL RECORDERS: knelt PM 01 rare, clam 2520 eq. 4 re rack ( cell Rlarl lok.lk OM 780 reverb, excellent 1095 Goad 405....... _... _... 1115
OAR Saundstatiao 2 B channel ............... 012.500 Ural 1178 2 available (750 Roland SOS 3000 2 available. _. 1395 VARIOUS:
AIMS Audiophile v.7, 2 in R out IM .. ....14,500 Urai LA 4 par racked. silver .......(150 Bel ODE 3200 24 second delay. sample 1550 Sony DAI 1100, 1810 complete system _... 113.000
ASS Audiophile And Ideal for sharing 2 rooms wit Audiophile.... Ural 548 parametric eq. (425 Bsl BD 80 recent brown model 1275 Emma 403014035 sync remote 1650
[1,500 TubeTech LCA 2B as new, re cent (1,695 EMT 444 [total delay, I in 6 out cheap' 0150 0TW PPMs BBC spec.... 1200
Dipidesien Pro Tools with accelerator _..... f call Tubeieeh PE1B valve eq. p Acct _ .........(195 Sony R7 raerb & remote 1875 Audio Kinetics Pant 6 Pad _.. .......1750
Alesis ADAT few hours use ._.__.. _... (1.500 TubeTech CLIA valve comp esse perfect..... ..........(895 Yamaha SPX 913.......... ........ ............. ...... 0275 Function duoctioo MI01 Mania 1350
Sany 2500 pro DOT __. ___... .....0975 Summit OCL2000 mint. stereo [miter _.... _...__01,695 Y.mehe R 1000 crusty -

-- - _..__...___[120 GPO patch bays.__. _...

_.. from E5

WE PIX, BUY, SELL AND BROKER ALL STUDIO EQUIPMENT AND COMPLETE STUDIOS THROUGHOUT THE WORLD, SPECIALISING IN ESOTERIC AND TUBE EQUIPMENT - CALL US WITH YOUR REQUIREMENTS.

OTHER SERVICES: Studio design, installation and servicing. Custom modificat ens, racks for Neve eq's, compressors and mic amps; phone for cliert list and details. New equipment
supplied, please phone for a competitive quote on any new equipment, packages tailored to your requirements.

TONY LARKING PROFESSIONAL SALES LIMITED

ENGLAND'S LARGEST STOCKIST OF
DIAL A FAX USED GEAR
NEW & USED
PRO -AUDIO EQUIPMENT
FOR A COMPLETE UP T0 DATE EQUIPMENT Lisa on
Dial 033o 413 733 on your
fax machine 6 press start
when lnstmcted.
Some machines may
reed to switched
SC
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WANTED
CONSOLES
MONITORS
. 14 TRACK 9I TRACK
. STUDIO MICROPHONES . PRO 51540

Why continue on with your old equipment

ADA1 . OUTWARD

to polling mode to when Tony larking Professional Sales can eme you a
use this eMCe. rocking good part exchange deal

0462 490600
COAS O 390 per

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PLUS: FINANCE AVAILABLE -

NOW! FAX: 0462 490700

timminute a9 other USE YOUR EXISTING EQUIPMENT
es AS A DEPOSIT!
b
 What a shame that US NC went out of business years
audio pioneer Bert ago, but Decca have kept their
Whyte did not live to see 45 recorders going since the late
and hear the new batch 1970s, by buying up every available
of Sony Classical CDs which have been secondhand machine, and
sourced from the Everest archives. cannibalising them for spares.
In the late 1950s and early 1960s, Scanner drums have been refurbished
Whyte put together the best stereo by coating with Teflon.
recording equipment he could lay It would have been far easier for
his hands on, and took it to the best Decca to buy Sony U-matics and
halls he could find, to record the top PCM 1600 convertors. But Tony
orchestras of the day for the Everest Griffiths was never satisfied with the
label. The first batch of five CDs error rates, so Decca just kept on
include performances by Sir Adrian using the WCs. This has saved Decca
Boult, Sir Malcolm Sargent, a fortune in capital investment over
Malcolm Arnold (now Sir), and the last 15 years.
Walter Susskind, at Walthamstow We have spent nothing on new
Assembly Hall in London and Heinz machines in 15 years', says Griffiths,
Hall, Pitsburg. `while most studios have had to
The microphones used were three upgrade their U -matic and PCM
Neumann U -47 valve condensers,
Barry Fox processors several times over'.
modified by Frank Church. The Decca are now upgrading to an
high- voltage DC power source was a
photoflash battery. There were no
Are all our 16 -bit masters optical disc recorder-but not Sony's
PCM 9000. Instead, they are making
line amplifiers; the signal just went
through one triode before recording
already obsolete? Is there a their own at a rate of eight a month
-not for sale, only for use inside the
and one triode for playback.
Instead of /4 -inch tape, Whyte
workable alternative to PolyGram group.
Why not buy off the shelf from
used 35mm movie technology. The currently available M -O Sony? Decca's point is that the
film studios were using Westrex
3- channel film recorders, to keep mastering systems? PCM 9000 is based on MiniDisc
technology and thus a nonstandard
dialogue, music and effects separate magneto- optical disc. Decca's recorder
for multilingual release. Whyte used the lids came off the acetate fumes 16 bits of a 16 -bit system. used a 5'/4 -inch magneto -optical disc
the same machines, with three mics, started allergic skin reactions for 'I was there at the transfers, and of ISO standard, as used by the
for stereo. everyone involved. I know that what we are getting is computer industry. So the company
The sprocketed 35mm acetate film Without doubt the results sound low -level accuracy. People who buy can pick and choose its source of disc,
was coated over its full width with great. But inevitably the questions the CDs now get to hear the quality and upgrade to longer playing times
magnetic oxide. So each of the three arise. Why do you need 20 -bit of the masters.' as the computer industry upgrades
tracks was 7mm wide. Recording transfers and SBM processing to Food for thought -as, if the the standard capacity.
speed was the film industry standard, deliver an analogue recording which, only way to capture an analogue The current recorder has a 1.3Gó
90ft per minute or 18 -inch per second. however good, still has a noise floor recording accurately is to record the capacity. With lossless compression'
The high recording speed and wide well above 16 -bit levels? Any low-level background noise of around 2.1 this gives around
tracks provided Whyte with a very low analogue recording, however quiet, accurately, then the last ten years of 72 minutes unbroken playing time
noise floor and a very wide bandwidth. will be self dithering, with the noise 16 -bit transfers are obsolete. Which, with a 20 -bit recording. Bought in
This, of course, was in the days before floor continually toggling the least of course, is excellent news for the bulk, disc prices are around half the
Dolby and dbx. So the signal was significant bits. record companies, who can now price of tape.
completely unprocessed. The thick Whether the use of SBM to convert remaster and reissue all their Lossless compression itself is
acetate base meant that there was no the 20 -bit disc transfers to 16 -bit previous CD reissues. meaningless. What is being referred
print through after recording. masters is of real benefit, remains Meanwhile, back in Britain, Decca to here is lossless reduction' -which
But Everest then made and worked open to question. But David Smith, of continue to go their own way. Not out sounds like a contradiction in terms.
from '/4-inch tape copies, releasing on Sony's Classical Recording Division, of perversity, but conviction. All reduction involves throwing some
vinyl pressings of variable quality. who supervised the project, argues In the late 1970s Nippon Columbia information away but lossless
Last year Seymour Solomon, convincingly that there is very real in Japan, Soundstream in the US and reduction, whether for text, pictures
President of Omega Records and value in `freezing' the film original in Decca in the UK, lead the studio world or audio, means throwing away
founder of the Vanguard classic label, 20-bit, rather than 16 -bit code. into digital audio recording. All used redundant information, for instance
found a hundred of the original `What it is doing', says Smith, `is their own proprietary equipment. gaps between words, blank areas of
Everest 35mm masters in a vault in more accurately capturing the noise. Decca modified the warhorse reel-to- picture, straight repetition or silence.
California. They had not been played There is good reason to believe that reel video recorders which were then The principles are similar to those
since they were dubbed onto tape. there is useful information below the made by WC, the International Video used on personal computers, to
Solomon worked with Sony to modify a noise floor in an analogue recording. Corporation of San Francisco. These double the effective capacity of a hard
more modern Westrex film recorder to And it's detail that's worth retrieving. were so rugged that the military disc drive.
match the original equalisation curves. I want to hear the reverberation tails adopted them as standard. So did the When you think about it, common t
cc
The signal was transferred to of the hall, I want to hear the space British Government's GCHQ listening sense tells that computer disk
Sony's 20 -bit PCM 9000 system and round the orchestra and the air round post at Cheltenham. compression must be lossless
then mastered down to 16 bits for CD the oboe. Naval frigates used WC recorders, -otherwise programs would fail to
release, with SBM (Super Bit `It's a fact too, that the upper too. When one went down in the run, word processed text would read F
Mapping). The film cans had not 16 bits of a 20 -bit system are Falklands, it took the world's stock of differently and bank statements
been opened for 30 years and when probably more accurate than the the nonstandard tape reels with it. would no longer add up.
74 Studio Sound, December 1994
 Digital Power.

Tho nA_Rnri I i1n ¡aIis rontrn11od Pow r Amplifier.

Apogee's revolutionary DA -800 brings the power of intelligent digital control to a rugged professional
amplifier.

Featuring a large LCD display and a continuous -turn shaft encoder for each chan el, the DA -800 offers pow -
erful control and monitoring features when used as a stand -alone product, while ultiple units may be inter-
faced to a host computer via the MediaLink® network.

The intelligent gain circuits allow channel -to- channel linking (with up to 31 dB of offset), automatic level
recall upon power up, and control disable for installation work.

An on -board microprocessor continually monitors all internal functions of he 800 watt per channel
device, sending status reports to the front panel display selectively showing: t: mperature, output voltage,
attenuation level (in .5 dB increments), AC mains voltage, load impedance, and rue output wattage. These
parameters may be viewed simultaneously at the host computer, while remote control of level, phase
reverse, on -off, and circuit breaker re -set is available for large numbers of ampl fiers in subgroups or indi-
vidually as desired.

The DA -800 offers alot more than just advanced digital control; at the heart of t e design is an ultra -quiet,
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Companion products to the DA -800 are the DA -700 and DA -600 (700 and 600 watt s- per -channel into 4 ohms,
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 lho

Its been three years in the making and the

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For monitor mixing, 16 independent

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F' Media Link is a registered trademark of Lone Wolf Corporation.

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DESIGNED FOR A PURE PERFORMANCE
KIark Tekaik PLC. Walter Nash Road, Kidderminster. Worcestershire DYI 1711J. England. Tel: (01562) 741515 Fax No: (01562) 745371
Mark IV Pro Audio Groap. 448 Post Road. Buchanan MI 49107, USA. Tel: (616) 695 4750 Fax No: (616) 695 0470.
Mark IV Aodio Canada, 345 Herben Street. Gananoque. Ontario K7G 2V1, Canada. Tel: (613) 382 2141 Fax No: (613) 382 7466.