STUDIO

SOUND
 THE
MAKING
OFA
TRACK
RECORD Choosing a multitrack is one of the toughest
decisions ou'll hake to make.
Its sound qudlil\ yill playa large part in \our
studio's output.
Its features and evpfndabilit need h) be taken
into account, and weighed against cost.
Refiabilily is e\ en harder to assess.
The Soundcrafl Series 760 \lark 3 multitracks
are acquiring an enviable reputation anumg
producers and artistes w ilh private studios. for
those vCry reasons.
Darr Stewart and Annie Lennoy recorded their
last two albums on a Series 760 with Aulol(calor
and a 2400 console.
Thomas Dolby andToni Rohinson ow n \lark 3s.
as does 'Ibny \isconli (who knows a good sound
when he hears one).
\l, London's Easy Street. a 24 track Series 760
and a TS24 halve hosted chart albums from wing
Chung to Dennis Brown. from I leaven 17 and
The Pretenders to SIB and Robbie.
Leading Indie studio woodbine have averaged a
chart single <I week for the last year with their 762
Mark 3.
1Vh did they choose Soundcraft''
Most import nit the audio quality is often
compared to the highest priced machines on the
market.
\lam of our clients say we're more pleasing on
the hanks to Tower colouralfon: our \lark 3s.
I

square y i is are square, our I,F response is flat

and you can't hear the noise for silence.
We suggest you listen. and compare.
'l'he recisions for Itic \LIrk 3 were more than
cosmetic. as they're pro\ ed hr practice. Thev include
a new I)C servo- controlled transport. modular
w icing layout and a flat -wired self -contained
headblock assembly.
The 're built to keep performing -and they do.

4
The \lark 3, in tact. represents the chance to

Soundcraft acquire a much higher standard of audio quality and

engineering for the price than ever before.
So you can see why so many great names have
decided on the Series 760 Mark 3.
760 SERIES MK 3. Because they brow- a great track record when
they hear one.

ti(n/n(I(7all I'l('(7/Yllll(s 1,1(1.. tail 2. 6UlrhmnRMl!! Industrial Park. KnRlo Lanr. Itr(!Y'hlullliv(1(I. 11rrG,' II11(i;,TL. I('1.' (11-211( ,I(1;1(1. l'ilrsunllr: 01-2071119 1. l';IrcLnnnr.,' I S I.
1517 211t1ISY.. S;Intrl Vanity!. Calili(rnia 9U1(11. 'R'1:12131 15.'1 1591. hilr'.,'imil(':12L'31153563-F. Soundrlah Japan. 1F }ilul::i J,iYJn;;. I2-21 Rrndng;na.i..ShibnYnAu. 1'nA r( 1,71.
I'('l: (11, 31: iJ 1(;n1. 1'ru :vimil(': !(1:31; i ll 526(l.' nlm /('INII (:;urula Inc.. 111111.k rims rl.. Donal. (Ochry'. Cana(la lll'9 Í J(;. P.* (5111(185 1610. l'ür.,'ilnilr: (,7%J168,7 211191.
 STUDIO
SOUND AND BROADCAST ENGINEERING

REGULARS SPECIAL FEATURES

5 Editorial: The role of the mixing console
should be under scrutiny says Keith
Spencer -Allen
48 Digital news: Keith Spencer -Allen looks into
the increase in activity in this area

30 Diary: DEAF Awards dinner -ACO Pacific

correction -Address changes-Voiceprints: a
new art medium ? -Official BBC/Neve
handover- Agencies- Mixing consoles- Studio
Management Services -Forthcoming events -
ADA becomes DeltaLab licensee -
Chrysalis /Air/MAM merger- Syn -Aud-Con
Awards-In brief

64 Development of a digitally controlled

mixing console: Ted Fletcher explains why
console primarily designed for use on sound for
a

commercials has much eider applications

FEATURES
36 New products: Amek APC1000 -Dod RDS
3600 digital delay -Roland SRV 2000 digital
reverb-Sonosax SX -S and SX -T mixing 54 The producer series -Robin Millar: Ralph
Denyer discovers that Robin Millar felt a large
desks -Circuit Research SEP 800 compressor - amount of prejudice against him and how he
eventually found people who were willing to
Nakamichi MR -1 cassette deck -AMIX audio
products -In brief -Soundtracs consoles - - put their money where his mouth was
Eventide SP2016 reverb and effects software
Sound Technology audio test equipment 78 Starlight Express: Tim Leigh Smith
investigated the special requirements of this

42 Music page: Simmons SDS 9 electronic

drums -Sequential Prophet 2000 -Roland Music
Processing System. By Mark Jenkins 88
unusual London show
The Hill system: Richard Vickers continues
his conversations on the Live Aid PA system.

50 Letters: Automated testing- Designs on your

studio -Strong design
Here he concentrates on the development of the
system

72 Studiofile: The Fleetwood Mobile Studio,

Warlingham, Surrey REVIEW
98 Business: BBC cutbacks -Ambisonics turn of
events -Miles. By Barry Fox 100 Akai S612 MIDI digital sampler:
report by Mark Jenkins
.A user

EDITORIAL ADVERTISEMENTS Editorial and advertising offices:

Editor: Advertisement Manager: LINK HOUSE, DINGWALL
Keith Spencer -Allen Kerr Duffy AVENUE, CROYDON CR9 2TA,
Assistant Editor: Telephone Sales: GREAT BRITAIN
Carl Anthony Snape Adrian Tippin Phone: 01 -686 2599
Production Editor: Secretary: International: +44 1 686 2599
Ann Horan Mandy Paul Telex: 947709
Production Assistant: Production Manager: Link House Publications
Beverley Hudec Jacky Thompson
Consultant: PLC 1985. All rights reserved.
Japan and Far East Agent:
Hugh Ford Media Sales Japan Inc, Tamuracho
US Commentator: Bldg 3 3 14, Shimbashi Minato -Ku 11- A LINK HOUSE
Martin Polon Tokyo, Japan PUBLICATION
US West Coast Agent:
Contributing Editor: Herb Schiff, 1317 Fifth Street,
Richard Elen Suite 202, Santa Monica Publisher and consultant to
Secretary: CA 90401 USA APRS for Studio Sound's
Carrie Love Producer's Guide to APRS
Members 1984/85

Cover: The new APC1000 COMMERCIAL MANAGER December 1985 Number 12

courtesy of Amek Phil Guy Volume 27 ISSN 0133 -5944

3
 u-
eno
i
4
S
©
tiY°'.!ofter;

THE OTARI MTR 90 24 TRACK AND MTR 12 2 TRACK

The MTR 90's track record for outstanding reliability and performance and more recently the MTR 12 master recorder
have proven Otari's long term commitment to producing state of the art analogue tape machines.
Similarly, our reputation at Music Lab Hire demands we rent only the finest and most reliable recording studio
products available. When it came to investing in tape machines, our commitment had to be Otani.
When you rent Otari from Music Lab, be it for 24 track, 48 track lock -up, Mastering or Video post production,
our technicians arrive with the correct cable systems and a fully commissioned machine.
When synchronisation is required, a Q -lock system including all correct interfaces is available
as well as the new Otari EC101 Chase Synchroniser.
At Music Lab we not only recommend Otari Otari recommend us. -
MusIclr
LAB HIRE
01 -387 9356
24 HOUR STUDIO EQUIPMENT RENTAL I
E V E R S H O L T S T R E E T , L O N D O N N W 1 1 B Y . T E L E X 2 8 1 5 9 M U S L A B G
 DI T
EDITORIAL
E
This month's comment from Keith Spencer -Allen

Putting the choice back

Mixing consoles time again. In this issue you will see introduction by SSL of a system that has caused the
information on new or developing consoles of a wide console to change from a simple audio signal path
variety of types and designs from a wide cross section of manipulator to a central control system that has tied
individual manufacturers. We have also attempted to various elements of the control room under a single
obtain some opinions from manufacturers who are looking system control. There can be little doubt that the 4000
at the top end of the console market although are not yet and 6000 series consoles have introduced this master
ready to commit themselves to specific models. Although control concept to many users even though they may have
there are some quite remarkable low cost consoles chosen the console because of other performance and
available with increasing amounts of automation, it is not facility aspects. But whatever their reason it is with this
in this area of the market that the really important central control system that many studios are operating.
developments are imminent. So the first question is `Do we want the console to
This is neither the time nor the place to debate the good become the centre of all control room functions?' If
or bad market dominance of certain manufacturers. That manufacturers can co- operate and supply the necessary
has already been done in these pages and to excess in control information to allow this development to take
other publications. The terms `flavour -of- the -month', place then this is a positive direction. But how far do we
`backlash' and other such phrases are the indicator signs go? The first off-console facilities to be swallowed are /will
of a total lack of comprehension of the situation that we be the tape machine remotes and the synchroniser
find ourselves in. There is no doubt that one top end facilities. With a digital signal path it becomes easy to
manufacturer has found itself in an enviable position in bring many of the outboard signal processor facilities such
certain parts of the world but it is really not as simple as as delay lines into the console. One logical end product of
that. If we look a little deeper we see we are witnessing a such a path is the Lucasfilm ASP/Droidworks Sound
change in function of the mixing console -a Droid that incorporates the recording facilities and some
metamorphosis that will eventually reshape the studio as of the capabilities currently undertaken by outboard gear.
the changes originating on different sides of the studio Over the next 12 months there will be many differing
converge and leave us with a studio that will be visually approaches on offer as manufacturers' differing design
unfamiliar and with function control far beyond that philosophies emerge. We will have to familiarise ourselves
which we currently have available from any source. with the relative benefits of digital and analogue signal
The changes have started, and with the introduction of paths; assignable consoles of both types; consoles that
digital control and signal paths they will continue. The contain sophisticated automation of in- console facilities
direction we take and the speed with which things change and those that form the heart of larger central systems;
will depend on the reaction of the purchasers of the resettable or partially resettable consoles, etc, and you the
systems offered but it should be stressed at this time, client will be asked to make the choice between some
there are several manufacturers that have prototype combination of these types of choices. Often, however,
designs and are working on ideas for consoles -not too far these consoles may be sold on their channel facilities and
away from production -far ahead of what we in the studio resetting automation alone. I think that now is the time
industry are ready to accept. With technical innovation to start looking beyond such functions -commercially
presently seen as a virtue in its own right, there is important though they may be- towards the demands that
considerable pressure -or there will be-for studios to we envisage making of studio facilities in five, 10 or 15
make decisions about your future requirements without years time.
having the discussion and background available. May I We should try thinking beyond our present restrictions
suggest that at this time our thoughts should be focused and spend more time thinking in the absolute terms that
on this crucial question: what is our perception of the role some console designers are working in.
of the piece of control room equipment we presently refer If you feel that some of these ideas are somewhat remote
to as the mixing console /desk/board? from your practical experience then it is you that this is
The first function is obviously the mixing of audio aimed at. Remember many studios are already familiar
signals from a selection of sources and their redistribution with centralised control systems from a particular
to the required outputs. We then have signal processing manufacturer. The changes that are about to occur will
functions and the master control room functions. That is emanate from many directions and the wrong choice will
where development appeared to remain until the mid '70s. be expensive-as will the right one. Now is the time for
The most important change in approach was the thinking.

on a rigidly controlled requested be made to Studio Sound Total average net circulation of
Subscriptions, Link House 13,981 per issue during 1984. UK:

STUDIO basis only to qualified personnel

(see back page for terms) or for an
annual cost of £18.00 UK, $40 US
surface mail, $75 US airmail,
£24.50 overseas surface mail or
Magazines Ltd, Central House,
27 Park Street, Croydon CRO
1YD. Tel: 01 -760 0054.
5,735. Overseas: 8,246. (ABC
audited).

Studio Sound and Broadcast

£46.50 overseas airmail to non - Engineering incorporates Sound
qualifying readers or where more nternational and Beat
AND BROADCAST ENGINEERING than two copies are required in a US mailing agents: Postmaster Instrumental. Printed in England.
studio or small organisation. New please send address corrections to
STUDIO SOUND is published on
the second Friday of the preceding
month. The magazine is available
subscription enquiries should be
sent to the Croydon address on
page 3. All other enquiries should
Studio Sound, do Expediters of the
Printed Word Ltd, 515 Madison
Avenue, New York, NY 10022.
A
5
Toys for the boys
Rent or buy the latest studio processors from Music Lab

AMS DMX15 -80S 2 channel digital delay available with up to AMS RMX16 9 program plus "soft prog" locations for previously
32 secs at full bandwidth, full loop editing, VCA, external trigger, 9 issued programs, optional 99 memory remote control /bar code read-
memory locations, optional pitch change cards/de- glitch cards, plus er, optional delay memory extension (1600m/s).
optional DMX-K Interface allowing sampled sounds to be played
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YAMAHA REV 7 The amazing new programmable digital
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BEL BD320 Now with up to 32 seconds digital sampling, 60 user memories, 20HZ - 12KHZ bandwidth, offers an unprec-

r
full bandwidth, external trigger, loop edit facility, VCA. edented amount of operator control of essential parameters.

"" i'~ .
[7__. -'1.,?.
DRAWMER T102 Two channel trigger interface provides ROLAND SRV2000 Digital reverb with 16 Bit Linear D to A
system gives smooth 30Hz to 10KHz bandwidth, up to 99
variable length tone bursts and can create logic pulses for
seconds decay, contemporary or non -linear sounds can be created,
triggering outboard effects. Manual or auto reset allows single
32 user memories.
or continuous sequencing, selectable delay plus invert control.

DRAWMER DL221 2 channel, stereo linkable compressor/

limiter, variable threshold, ratio, attack release, separate peak limiter,
VU and gain reduction display. DRAWMER VACUUM TUBE 1960 Dual compressor limiter
using vacuum tubes in conjunction with semi conductors. Soft -knee
compression characteristics. Classic valve guitar sound, stereo
linkable.

DRAWMER DS201 2 channel stereo linkable noise gate, fre-

quency conscious keying with adjustable attack, hold and decay
controls.
BSS DPR 402 2 channel compressor limiter, de -esser and peak
limiter. All facilities available at once, stereo linkable.

RANE PE15 Five band parametric, 1.5 to 0.03 octave band-

width, 20db cut for notch filter capability, end bands switchable
®4 i 4041í ,

to shelving mode, individual by-pass, four octave sweep. ADA STD-1 Stereo tapped delay image processor, multivoice
chorusing, true stereo flanging, holographic
positioning, true stereo outputs, stereo
outputs from mono source.

RANE HC6 six stereo headphone amplifiers in a single rack

space, individual volume controls. Up to six separate mixes available.

LEXICON PCM60 2 program (room/plate) digital c,erb with

suitable size and decay settings, and bass /treble cut off.

LEXICON 224XL The ultimate digital

APHEX AURAL EXCITER TYPE B Psychoacoustic processor, processor featuring all hyperthetical reverb programs plus many
fast becoming standard studio tool. effects and split programs. LARC Remote /control, 60 stores.

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 Introducing the World's First Ever
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hePE15 ualizer an otch Filte

We got carried awa again, making another sin le box do all kinds of different things so that you
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*Bandwidth ranges from 1.5 octaves down tv an unprecedented 1 /30th (.03) octave
*Frequency sweep range offour octaves each band
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 If it's your job to get
sound onto tape you'll know
there's no one `right' way to do it,
there are just degrees of quality
and control.
Between the sound made
by an instrument to the final
master, there are an infinite
number of options.
Choosing what you're going
to place between the sound
source and the finished product,
is a profoundly important part
of the production process.

Where do you go
from decision,
here?
particu-
wrong
The
larly when you're buying equipment
can be an endless source of
frustration. There are, after all, any
number of experts only too willing
to help you part with your money.
At Turnkey we take a slightly
different approach. We'd rather not
make a sale than have a dissatisfied
customer. (The proofof this lies in the
fact that the majority of our turnover
comes from repeat business.)
Our staff are specialists. They
know about equipment inside and
out, in some cases they have actually
designed and specified it.
You can discover the truth of
this easily enough by calling us with
a question. From there we'll rely on
your impressions of us. We know
you won't be disappointed.

MiTnkey
BRENT VIEW ROAD, LONDON NW9 7EL.
TELEPHONE: 01-202 4366.
 1. RaaoranlaT
x. laleN Ex/skint sacardmt
11 W rEdtt
t. WOO Taks Oataüs
prantsyt
a O4S ]isssten
Title
T[M tSturn to Outer Mans)
tflaCt nytlan
and prapp (RLTylk)
K

ai
TT-MI'

lid MN

I WW1 II.
4414 111 I
CLUE is a unique computer -basedhard -copy record of the logged data, and
logging, autolocation and editing system, a time -code reader for more accurate
designed for use withVCR's, especially location; this will read both SMPTE and
those employed in digital audio mastering. EBU code.
It provides superior counter / timer CLUE will operate with either Sony
displays, stores extensive information Betamax recorders or V series U-matics
concerning each take in a session - title, or a combination of both.
start location, length etc - and provides CLUE will also handle both PAL and
intelligent autolocation based on this NTSC video formats.
logged data. Space available here is too short to
CLUE also allows frame - accurate do justice to CLUE's amazing facilities,
editing of digital material encoded so send now for our full- colour brochure
using Sony's low -cost digital processors that tells the full story.
PCM -F1 and PCM 701ES, as well as the
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Options available include a printer
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 NEW PRODUCT PROFILE
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11
 HIGH -SPEED VIDEO LOADING
You won't beat our systems ...
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Dynamic
Range
I Control
at its best.

525 Dual Gated Compressor /Limiter

Simultaneous compress /limit and expand /gate.
CL150 Fast RMST "' Compressor /Limiter
A highly cost -effective single channel automatic gain controller.
501 Peak-RMS Compressor /Limiter
rìx Simultaneous peak and RMS detection. An indispensable tool for PA.
522 Compressor/Limiter /Expander /Gate /Ducker
Versatile multi- function processing for studio, stage. or production.
SOUND TECHNOLOGY LTD
6 Letchworth Business Centre 511 Noise Reduction System
Avenue One, Letchworth Removes noise from any source, pre- recorded or live, mono or stereo.
Herts SG6 2HR
Telephone: 04626 75675 Symetrix products are sold and supported world -wide. When you
specify Symetrix you specify quality, performance, and reliability.

12 Studio Sound, December 1985

 Room Service?
HHB's reputation is founded on quality, reliability, further enhanced by Sony since
value for money and service, as well as their acquisition of MCI. This package
its commitment to the new technology of of console and recorder, complete with
digital recording. autolocator and audio remote, costs the
So, as digital multitrack has yet to same as some recorders alone, but makes
become an affordable reality for most no compromise on quality yet saves
people, we have sought out a superb range thousands of pounds.
of packages to fill the gap in analogue 24 Alternatively, for an even higher mixer
track choice. specification, we can offer any of the
We feel these make sound economic other Amek /TAC consoles, such as the
sense in the 2 " jungle. Angela or 2500 series, both of which are
The picture shows the superlative available with automation if required.
Total Audio Concepts `Matchless' console All these consoles feature the famous
one of the large range from Amek /TAC - Amek EQ, thought by many to be
and the Sony /MCI JH2424 the finest available, as well as the
which has an established facilities that make Amek consoles
reputation for quality and world leaders.
In addition to the analogue
Sony 24 track recorder, we
can also offer their digital
PCM 3324, as well as the
top -line Studer range.
Of course a multitrack
system does not start
and finish with the mixer
and recorder; we can
also supply everything you
need from digital
mastering systems through
signal processors and
monitors to microphones
and hardware.
We can also put you in
touch with the country's
top acoustic consultants,
and gain access to the
amazing Tecron TEF 10
audio analysis computer.
All this is naturally
supported by HHB's estab-
lished advice and back-up
service.
So if you're on the
horns of the 24 track
dilemma, why not try HHB's
Room Service, and call Martin Westwood.

HHB Hire and Sales, Unit F New Crescent Works,

Nicoll Road, London NW10 9AX. Tel: 01 -961 3295.
Telex: 923393.
 SANKEN INTRODUCES
FOUR MORE MICROPHONES
Maker of world -acclaimed CU -41
double- condenser microphone releases
new products to international market.
San ken Microphone Co., maker of the CU -41 two -way
condenser microphone, famed among sound engineers
throughout the world for the transparency of its record-
ing qualities (which make it perfect for compact disk
recording), is pleased to announce the release of four
more of its high quality microphones to the international
market. The microphones are:
CMS -6 MS Stereo Microphone A small, lightweight,
hand -held microphone for high quality outdoor radio,
TV and movie recording. Comes with portable battery
power supply and switchable matrix box. Freq. response
50Hz to 18kHz, dynamic range 108dB, self noise less
than 19dB.
CMS -2 MS Stereo Microphone For quality music, radio,
and TV studio recording. Small and lightweight, it has
'
MS-MULTIMIX
TOTALLY MODULAR

-
-
--
-

--
r ftÌ:itäf+tfi

True modularity to really meet your requirements,

in theater and multipurpose hall installations.
-A family of some 20 different input, grouping,
fader, metering and output modules.
Special modules for control room and
headphone monitoring, test signals, talkback,
remote control etc,
Heavy duty steel chassis.
Transformer balanced inputs and outputs.
Wide range meters, 60dB display.

MCA; MICROCOMPUTER CONTROLLED

AUDIO SYSTEM
Stores up to 600 cues (scenes) on floppy disk

- control outputdigitalfour
Controls up to
Assignable

-- output
Eight
tape recorders.
fader and meter to set and
levels.
groups.
System operation by single cue entry push

-- Optional speaker switching control

button.
Pocket terminal for remote

SCENE
matrix.
and cueing.

been widely used in Japan for more than eight years.

Freq. response 20Hz to 18kHz, dynamic range 129dB,
self noise less than 16dB.
CU -31 Axis Uni -Directional Condenser Microphone
and CU -32 Right Angle Uni -Directional Microphone AUDIENCE
For music, radio, TV and movie studio recording.
Renowned for their high performance and remarkable
reliability. Freq. response 20Hz to 18kHz, dynamic range
129dB, self noise less than 19dB.
For more information on these new microphones,
as well as on the famous CU -41, contact your nearest
Sanken dealer, as listed below.

Australia- Syntack International PTY Limited 1021 406 -4700 Belgium. Radelco 1031
2337880 Denmark. SLT Studie & Lydteknik APS 1011 71 -3344 England. Stirling
Audio Systems Ltd 101) 625 4515 France. 3M France 1031D31-6423 Netherlands
STAGE Theater en Studiotechniek 1034021 65780 Norway. Siv ing Benum A/B 1021
44 -2255 South Africa: Eltron IPTY) Ltd 10111 29 -3066 Sweden. Tal & Ton
Elektronik AB 10311 80 -3620 Switzerland Technad SA 12011 35- 3601/02.

san en
Japan's most original microphone maker
MCA
REMO ,F

MULTIMIX

Sole export agent Pan Communications. Inc

5 -72 -6 Asakusa. Tasto -ku. Tokyo 111. Japan
Telex J27803 HI Tech /Telephone 03- 871 -1370
Telefax 03- 871 -0169 /Cable Address PANCOMMJPN

MS AUDIOTRON
Laitilantie 10 00420 HELSINKI 42
14 Studio Sound, December 1985 90- 5664644
FINLAND 1T
Telex: 125778 msa sf
More effects from HEiß.
Introducing the amazing Yamaha REV 7 digital reverb + effects processor.

At last, a professional quality,

programmable digital reverb,
with the sounds and features you
want, at a price so low you won't
believe it.
Here are a few of the REV 7 s
features:
True or simulated stereo.
30 factory presets and up to 60 user stores.
Hall,Plate & Room reverb programs.
Reverb available with gating, reverse, flanging
Li Early reflection programs.
L/R delay and stereo echo.
El Stereo phasing and flanging.
El MIDI interface.
Remote control.
16 bit 31.25 kHz sampling giving 20 -12kHz response.
c

3 band parametric EQ.

For the more demanding user, don't forget Yamaha's
original REV digital reverb with its full function remote
1 At £1040 the REV 7 must be the year's best buy; sen:
control at £6595. now for colour brochure.

In addition to the REV 7, here are some more gadgets from HHB's effects collection:

The newest from the BEL stable, the BD320 gives all the
functions of the popular BD80, but with up to 32 (yes 32)
seconds of delay. BD80 £695 (2 secs) + £200 per extra 2 secs.
BD320 £1200 (8 secs) + £500 per extra 8 secs.
The BSS DPR402 is an all in one dynamics processor, pro-
viding compression, peak limiting, de- essing and expansion,
all with frequency keying all in a lu package £615.
For that authentic 60's sound, DRAWMER's 1960 valve
compressor /pre -amp is a must. "Soft knee" compression,
microphone inputs, side chain operation etc £750. (Don't forget
the DL221 © £325, and DS201© £275.)
The AMS RMX16 shown here is the state -of- the -art in pro-
grammable reverb. We also try to keep the DMX
15 -80 DDL /pitch transposer, but demand is high so order now.
RMX16 £4680. DMX15 -80 £POA.
The YAMAHA D 1500 is a low -cost, high -value programm-
able DDL with MIDI interface; it gives up to sec delay, 1

with 16 user memories. Our price is so low that we don't dare

print it! £POA.
KLARKTEKNIK's range of equalisers should need no intro-
duction: they are simply the industry standard for graphics.
We also stock other Klark-Teknik products, such as their
NIII41NId;;I NINIf4ldillfll' excellent digital reverb and the DN60 analyser. DN332 (shown
here) £525. DN360 £980. DN60 (analyser) £1650. DN780
reverb £3580.
TC ELECTRONICS TC2240/1140 are stereo /mono 4 band
fully parametric equalisers offering 20dB of cut and boost.
We think they are the best value and best sounding outboard
We also keep toys from Lexicon, Urei, Electrospace, dbx, EQ's around.TC2240 £330.TC1140 £195.
Eventide and many more. Our demo room is ready for you to
try before you buy; or take advantage of our mail order service
for best prices and free delivery.

Access, Barclaycard /Visa, American Express. Finance

arranged. (All prices exclude VAT and are correct at time of HHB HIRE & SALES. UNIT E NEW CRESCENT WORKS. NICOLL ROAD, LONDON NW10 9AX
going to press.) TELEPHONE 01 9613295. TELEX 923393
1
15
 SELA 2880-RPG
THE PERFECT COMPANION TO YOUR NAGRA RECORDER!
SturgisEstablished 1907

155 Chiswick High Road, Chiswick, London W4 2DT

01 -995 3443

DETACHED HOUSE WITH RECORDING STUDIO,

CHISWICK W4
An unusual detached double fronted house built
circa 1920, designed by an architect for his own
occupation, with recently added professional
24 -track recording studio acoustically designed by
Crockett of Mayfair Studios fame. The accom-
modation comprises entrance hall, 24' reception
room, dining room, large kitchen /breakfast room,
basement with solarium area, shower room and
sauna, three large double bedrooms, master
The Sela 2880-RP6 is a new mixer in the world famous 2880 film bedroom with en suite shower room, bathroom
dialogue mixer series.
Since more than 20 years the Sela 2880 -mixers have been the choice
and separate WC. At the rear of the house is a
of the leading film -and TV- studios with 24 nominated and 13 Oscar- separate recording studio with tape library, 15'
awarded films for best dialogue recording as the result.
square control room, recording room and drum/
Mixer Sela 2880 -RP6 is the new Swedish challenger to optimum sound
quality. vocal booth which would ideally suit a profes-
sional musician or record producer. The gardens
SELA AB
Gubbängstorget 119 -Box 6018, 122 06
surround the house affording the property
ENSKEDE (Stockholm) Sweden -Phone Nat
Ism G extreme privacy and seclusion.
08-94 02 70,In1+ 46.8 94 02 70
FOR SIGHT AND SOUND
Sole agent wanted in UK, USA and Canada Freehold £300,000

MUST REACH HILTON SOUND... WITHIN 10 SECONDS HILTON

IT'S MIDNIGHT, SOUND'S NEW CCF EQUIPMENT
THE BAND'S IN A IS AUTOMATICALLY TRIGGERED.
SESSION ANDTHESTUDIdS
DELAY LINE HAS DROPPED
OUT

lnnnnG1nE- t

AT HOME, HILTONS DUTY

ENGINEER TURNS OFF THE URGENT CALL IS
THE VIDEO AND PICKS
UPTHE PHONE.. INSTANTLY REROUTED...
When you have a gear breakdown you can lose your temper
your clients and your reputation. Hilton Sound can save all these
with just a 'phone call.
Anytime, anywhere - we'll be with you immediately, giving
you expert service, advice, or the right replacement. There's nobody
else who gives you the best in pro -audio gear.
The last thing you need is down time, so the first people you

f
call should be us.
AT HILTON SOUND WE'RE ONE CALL AWAY
NIGHT OR DAY!
'üüüii
30 MINUTES LATER A NEW UNIT

IN ndin Settnd. December It

IS POWERED UP IN POSITION AND
WORKING. AND THE BAND PLAYS ON
01-708 0483 HifbnSoundLtdC
,'
 Olympia 2
MILS
OUDIOFILE
Wednesday 25
26
27

JUNE 1986

EXHIBITION OF PROFESSIONAL
RECORDING EQUIPMENT
APPLY NOW FOR EXHIBITION SPACE

23 Chestnut Avenue
Chorleywood, Herts
England WD3 4HA
Tel: 0923 772907
THE
PROGRAMMABLE
MULTITRACK

Stellavox SP 8
Recorder

The
Iightweightpcwtable with
heavyweight features.
::: 4.9 kg Total operational weight
EBU SMPTETilrle- code generator ver dn,i,r.,ril,
* Universal option includes mono neo pilot compatible, mono ,vnl- hlotone and
stereo synchrotone.
* Optional plug -in 50 60 Hz synchronizer
r Very low power conswnption(90- I10mA).
g 6 Simultaneous inputs: 2 x mike: 2 x variable line: 2 x fixed Ini[
r,:- ,. -In, adaptorItows opto 12 spools to be used. rnc)Ludurrg NIud

SWITZERLAND 0 2068 Hauterive-Ne, ADVANCED MUSIC SYSTEMS*

K11VO [Link]: 038 33 42 33.

Telex:35 380.
I UK Distributors FUTURE FILM DEVELOPMENTS. 114 [Link] W1V 3LP England
- I9e<
Wallstreams lane, Worsthorne Burnley, Lancs,

Tel: (0282) 57011

,

BBIO 3PP. England.

Telex 63108 AMS -G.
1995
Tel. 01434 3344 & 0I- 4371892- [Link] Allotrope- LondonWl
1

17
 CALREC

For the Professional Recording, Broadcasting

and Film Industry.
Table -top, drop -in, flight case or 19" Stereo /mono high level playback or
rack -mounted styles. Mono master fader output with outside source inputs with pan and
Up to 24 channels. separate mix controls pre or post A and after -fade listen.
Optional or 2 compressor /limiters
1 B fader. Switched talk -back from internal
with provision for stereo linking. Full throw conductive plastic faders microphone to each auxiliary, main
Optional channel, group and output with pre fade and after fade listen. and external outputs.
insert system, pre or post faders. Wide range low noise input switching Wide -range alignment oscillator also
Low power consumption from mains or on each channel with optional used for tone to line.
batteries. phantom power. Monitor headphones output.
2 Group or Stereo A and B faders with Sophisticated 3 -band equaliser, HF and Choice of peak programme or VU
pre fade listen. LF filters on each channel. metedng.
4 Auxiliary controls pre or post fader Comprehensive stereo output monitor 2 or more units may be connected in
from each channel and 4 Auxiliary selection and control system. series with no loss of channels.
output controls. Channel pan controls. Full professional spec. on all outputs.

Audio ign 11r Worldwide

Audio Design Cake( Ltd.,
USA
Audio Design Calrec Inc.,
CALREC P.O. Box 182, Reading, RG2 9BA
12 (0734) 861088 Telex: 848722 ADR UK
P.O. Box 786, Bremerton, WÁ98310.
12(206) 2755009 Telex: 152426 ADR USA
11I1 T E D & DISTRIBUTORS WORLDWIDE
The Dolby XP Series
Professional
Cost -effective

XP Series Multi-track record or playback.

The Dolby XP Series contains up to contains fan cooling and electronically- music, film, broadcast, television, and
24 channels of Dolby A -type noise controlled output protection. videotape production. Over 90,000
reduction in 121/4" of rack space,
including power supply. The XP Series
utilizes an on- board, integrated noise
The XP Series includes "uncal"
controls, permitting convenient
resetting of Dolby level for playback of
channels are now in use world -wide.
The benefits of Dolby A -type
improved signal -to -noise ratio, lower
-
reduction circuit instead of the
interchangeable Cat. No. 22 modules
used in the SP Series, providing the
and punch -in on tapes from studios
with different Dolby level standards.
The user can select the option of "hard-
-
distortion, and reduced cross -talk and
print- through are achieved with a
minimum of signal processing and
same A -type noise reduction at a price wired" or electronically -buffered with resultant high signal integrity.

0 Dolbÿ
over 20% lower. bypass of individual channels or all
Each XP noise reduction channel channels simultaneously. The XP
consists of a plug -in Cat. No. 331 offers discrete FET switching for
module which contains the Dolby reliable, noise -free routing of audio
A -type noise reduction circuitry, signals. For convenience of wiring and Dolby Laboratories Inc., 731 Sansome Street,
precision input and output amplifiers for stability, a new detachable multi- San Francisco, CA 94111, Telephone (415) 392 -0300,
Telex 34409.
with low distortion, controls, and an channel connector plate is used, with
346 Clapham Road, London SW9 9AI',
accurate LED calibration display. The tie bar for the cable form. Telephone (01) 720 -1111, Telex 919109
separate, regulated PS3 power supply, Dolby noise reduction is a mainstay "Dolby" and the double -D symbol are trademarks of
designed for rack mounting directly of professional multi -track recording in Dolby Laboratories Licensing Corporation.
above the noise reduction unit chassis, studios throughout the world for L85/300

ISl
 The Right Mix
Cab/e..,0 .:
MANAGEMENT
SOUND
ENGINEERING

MUSK
ï.i//'%%f/yi woo
The music recording industry VIDEO

demands skilled professionals.

Treb s Institute of Recording Arts
gives you the right mix of theory
and practice...a two year training
program that prepares you for
success in this dynamic industry.
Apply now for Management, Record
Producing, or Sound Engineering...
full or part-time program.
day or night classes.
Choose the mix that's right for you.

If1STITUTE Of RECORDIf1G ARTS

CONNECTRONICSLIMTfED CONNECTRONICS CORPORATION I, "developing people tor the
C4TREMAS music industry since 1979."
20 Victoria Road 652 Glenbrook Road 290 Nepean Street 1435 Bleury. v301
1901 Ave of the Stars 34 West 8th Avenue 410 Oundas Si Eau
New Barnet Hertfordshire Stamford Vancouver. B C Toronto. Ontario Ottawa. Ontario Montreal. Quebec
Suite 1774
EN4 9PF England CT. 06906 U.S.A. Canada K1R 5G3 Canada H3A 2H7
Los Angeles. CA 90067 Canada V5Y 1M7 Canada M5A 2A8
Telephone. 01- 4493663 Telephone (203)324 2889 15141845.4141
12131 551.6619 1604) 872.2666 14161966.3066 16131232.7104
Telex 8955127 SGAL G Telex 643678

r-

1
-N -0 4t -T
-

ti
- -- H E R N
1

r
PROFESSIONAL STUDIO EQUIPMENT

MIXERS Studer A80 Mk 2 with auto o( E14,500

Suundcraft TS24 32 24 in line 12 months old C24.950 Studer A800 Mk lA with auto,.. ,I. 117.500
Soundcrah TS24 32 24 in hoe 7 months old C 25.500 Studer A810 '. master 112 muinhs (4.100
Soundc,aft 1600 lNewl 24 16 24 Mon with patch stand £9.150 Oran MIR 90 Mk2 24 track 16 months) £24.450
Suundcraft 800 24 8 24 Mon 2 years old C4.350 Ol,e MTR 10 '. master 2 years mint (3,900
MCI JH400 28 24 with JH50 automation 4 years old C16.500 MCI JH116 24 track 4 years old £14.450
MCI JH500 series 56 in lure 4 years old £45.000 MCI JH116 24 track 4 years old £14.000
Harrison MR 3 40 32 Fraur. 32 32 fitted with 3 speremods DBX VCAS 32 channels Lyrec TSR 24 track with latest auto and 'I. r
'.rudblock £13.250
tale, Alison automation E 31.500 Suundcraft 24 track with standard crnrn V-
r . months old C 11.500

Neve 8128 36 16 2 12 months old [ 55.500 Sundcraft 2" 16 track 30 IMPS. 3 years rn E5.000
Arnek 2500 16 8 8 2 IPA console) 3 years old (6.500 T,rscarn 85 16B 16 track 2 years old mint £4.500
AH8 Syncon A' with patch 2 years old [7,500 Faelight Mk2 pages 7 ()ayes R M G and L
1 E15,500
TAC Matchless in packuul case with cables 26 24 12 months old (8,150 JBL 4435 monitors 12 months old nice (2.500
Trident series 80 32 24 2 2 3 years C16.500 JBL 4430 monitors 2 years old nice E2.000
Hclro's 28 16 24 Mon 1975 updated 1980 ( 7.000 JBL 4401 monitors yea, old nu a
1 (200
MCI JH400 28 24 needs some work 7 years old 1E8,000 [Link] Little Reds still in box £650
Audio and Design vocal stresser mono C700
EX DEMO PACKAGE Yamaha R 1000 en demo £350
AHB system 8 miner 16.16 2 with Boston B 16 (4.500 lhaner DM2000 ex demo £199
AMS 15 80 5 with two 408 cards 6 card fast pitch
1 1 c. hive, and declutch (4.680 Mane/ HD 1000 ex demo (199
AMS 15 80 M with two 408 cards ISHI (2.750 Bel Stereo noise reduc. tint( E95
Ursa Ma1or 8X32 ISH (1.950 N.'um,in U 071 INew r ansah' and hits , ost t 104 00' (395

WE ARE CONSTANTLY ON THE LOOKOUT FOR USED EQUIPMENT. PLEASE GIVE US A RING.
RING TONY BAYLEY ON 061 -483 9563/4299 anytime or WRITE TO US AT:
4 CHEVIOT ROAD, HAZEL GROVE, STOCKPORT, CHESHIRE SK7 5BH
Tel: 061 -483 9563/4299 TELEX 666576 HTNRGSG

20 Studio Sound, December 1985

 Capture the whole sound
with the NFA-1 Audio Analyzer
Audio measurements can now be Simple operation * Special end -to -end measure- I----
carried out accurately, simply and * Direct entry via keypad, dialog ments without sync. connection
fast using only one instrument, mode e.g. for tape recorders
the NFA -1. * Twenty complete setups can * Graphic or alphanumeric dis- Iwould like
Without any accessories, you can be stored play the NFA-1 colour prospectus
CI info on AF measuring techniques
use the NFA -1 to measure: * Control via IEC /IEEE bus The NFA -1 is the rational way to
a discussion with a sales engineer
* Level, level difference and * Paired inputs and outputs for ensure audio quality. Request
attenuation, selective and wide - two channel test items more information right away. Name
band Firm
* Frequency, frequency shift and Address
phase difference

1i..
* Nonlinear distortion (difference 5s1 EetfpólUl 61 s 5.9 i 62 -34 rs 12 It
(N)

tones) I Seleativt awl /sinllVful dual,

WMNie diet iii iee
6241e [Link] Tel. No. W

* Noise levels, weighted/un- @

NIiN level (eielle anal)

<uuell
Yi/utM Irvtl (Iie11V1Nt), ,rwuen<M Oil,
-3.764

Wandel & Goltermann

weighted SeM (iMe/etlN( tl receiver)
SreepißiM Wye tea (reevr.
P. 0.
Box 45 Abt. VW
141d U fende.

* Wow and flutter as per DIN, 1 Safi reatrfiel NuNet1

ISWIM.,
Self-test
stored at-p's
D -7412 Eningen u. A.
!EC, NAB and JIS Fed. Rep. of Germany
* Run -up times, FFM, rumble as
per DIN and NAB.
I Ailetes list thirsts,. entered ,;M=[Link] 1= 0.05 122%.5
Tel. +(49) 7121 -8911
Telex 729833
G
WIPES 75

exi

i _ _ _,_
i :
,..
.,,.,ttt ,, ;

The Trident Series 75 has been developed

to provide full 24 track facilities in a

console that is ergonomically compact

and economically priced.

Because of this, the Series 75 is equally suitable for use in a

musician's home studio or a commercial multi -track facility.

The electronics design of the console allows no compromise. Trident have been manufacturing
consoles that are used in world class studios for the past dozen or so years and enjoy a
reputation for providing particularly warm and musical sounding equalisation. Series 75 carries
on this tradition in characteristic style.

A feature of the console is its comprehensive, separate monitor

section that provides monitor equalisation and the availability of
up to 56 line inputs during mixdown, complete with equalisation,
panning, aux sends and muting. A full 308 point bantam
patchbay is also provided as standard.

Take a close look at the Series 75. We'll

be surprised if you can find a console
with a better reputation and more
features at the same price.

Trident Audio Developments Ltd.

Trident House, Rodd Industrial Estate Trident U.S.A. Inc.
Govett Avenue, 3hepperton, 308 N. Stanley Avenue,
Middx, TW17 8AQ. Los Angeles 90036, U.S.A.
Telephone: (0932) 224665 Telephone: 213 - 933 7555
TRIDENT Telex: 8813928 TRIMIX G Telex: (255) 5106000019 TRIDENT U.S.A.
 SUPERIOR
EIPIERS
..

At HH we know there is no substitute for have been quick to note

quality. That's w,hy when you buy an HH and appreciate
amplifier you automatically get a range when installing
of benefits and features not always our amplifiers -
available from our competitors. A point and amazingly
many of the most notable Studios, it doesn't cost
Installation and Broad- any extra!
cast Companies HH design,
manufacture
and sell, thus
cutting out one
or more stages in
the supply chain. The
benefit - higher quality M900
and additional features. 400W +400W
The M900 has been designed for the
Range of Connectors installation or P.A. specialist who wants
Inputs: Jack and XLR together with quality, reliability and limited features
XLR Link connectors at a fiercely competitive price. Iden-
Outputs: Binding Posts and 4 x XLRs tical in performance and specification
to the V800 it has
Rear Carrying Handles the advantage of
Invaluable rear carrying handles help Lock Pot' Input
in transport and when installing in Attenuators.
racks. Additionally they provide pro- The vaco
tection against accidental breakage features stepped
of the binding posts. input
attenuate=

Contact one of our distributors or HH direct for full details of our range of power amplifiers.
Scenic Sounds Equipment, Unit 2, 12 William Road, London NW 1. Tel: 387 1262.
Canford Audio, Stargate Works, Ryton, Tyne & Wear NE40 3BR. Tel: 091 413 7171.
H. H. ELECTRONICS LIMITED, VIKING WAY, BAR HILL, CAMBRIDGE CB3 8EL.
TELEPHONE 0954 81140 TELEX 817515 HH Elec G
2:3
 TRA
MCI JH110B 8T on 1 inch, almost new
FOR SALE 4750.00
3M M79 24T with XT24 11,500.00
3M M79 16T Tape recorder, mint 6,250.00
3M M56 16T Tape recorder, choice of 2 4,000.00
Studer B67 console 2,000.00
Studer B67 console VU Penthouse 2,300.00
Studer A80 VU MKI stereo 3,000.00
Studer A80 VU Mkll stereo 3,400.00
Studer A80 VU Mkll stereo 1/2 inch, new heads 5,000.00
Studer A80 VU Mkll 16 -track 10,000.00
Studer A80 VU Mkll 24 -track 14,500.00
Studer C37 stereo on original console 650.00
Lyrec 532 24 -track with TPC remote 9,500.00
Lyrec 532 24 -track with ATC remote 12,000.00
Lyrec 532 24 -track with ATC remote, earlier model 10,500.00
Ampex MM1200 24-track 11,000.00
Ampex MM1100 24-track 9,000.00
MCI JH110A stereo 1,800.00
Ampex ATR 100 stereo 5,500.00
Ampex ATR 100 1/4 and 1 inch headblocks POA
Studer MklI 24-track headblock complete 2,800.00
Studer Mkl and Mkll 8 -track headblocks POA
Ferrograph Studio 8 stereo on console 500.00
Lyrec TR55 2,000.00
!tam 1610 16 -track on 1 inch 4,500.00
Trident series 80, 32- 24 -24, mint 14,000.00
Quad Eight 32-16 -24 7,000.00
Neve Kelso 10 -2, mint 3,500.00
Soundcraft 1624, 24 -16 -24 7,500.00
Neve 32 -8 -24 OFFERS
Alice production desk 2,000.00
Inkel 8 -2 built -in reverb, new 240.00
Master Room XL305 reverb 800.00
AKG BX20 800.00
EMT 140 Valve plate, remote 2,200.00
AMS 1580S 3.2 and 408 2 pitch and deglitch and keyboard interface, almost new 5,300.00
Electrospace time matrix, new 1,400.00
Audio and Design F500RS processor 500.00
Orban de -esser 260.00
Dolby M16 noise reduction 4,500.00
Dolby M24 noise reduction 6,750.00
Dolby A360 noise reduction EACH 395.00
DBX 216 noise reduction: 26 chan. 310D 2,000.00
8 Kepex 1 in powered rack 1,000.00
Ibanez DM1000 DIG. delay 200.00
Amek Systems X over 250.00
Revox amp 450.00
Teac A650 cassette recorder 150.00
16 DBX K9 22 cards 100.00
Jackfields 20 per row 20.00
DBX 160X Comp /lim as new 300.00
Crown DC300A amps 450.00
BGW 750A amp 450.00
BGW 250 amp 250.00
Various microphones as available POA
Neumann U67 valve microphones EACH 600.00
Neumann KM84 microphones FROM EACH 100.00
Neumann KM56 valve microphones EACH 250.00
Neumann KM86 Microphones EACH 350.00
STC 4038 Microphones EACH 175.00
Electrovoice RE10 microphones EACH 85.00
AKG C24 stereo valve microphone, new EACH 1,500.00
Neumann SM23 valve stereo microphone EACH 850.00
Amber test set 900.00
The above prices do not include VAT

ELECTRONICS SALES LTD

TRAD Road, Watford, Herts, WD2 5BB, England
149b. St. Albans
Tel: Watford 47988/9 Telex: 262741

24 Studio Sound, December 1985

When you're in the studio
you want the best.
Innovative products using the latest technologies
Sophisticated, versatile equipment to create originality
At Electrospace Developments Limited, we Like the Spanner, the industry's first digital
have an international reputation amongst panning system which gives infinitesimal adjustment
engineers for meeting all these criteria -and more. and variation for both mono and stereo inputs.
And, you won't need a small army of And like the next generation of technological
technicians to get the best from our products. engineering which we are today developing into
Products like our new Gate and Strate Gate, tomorrow's products.
unique Audio Gates which have a level of precision Contact our UK distributor, Britannia Row
and control that needs to be seen -and heard -to Limited, for full technical information on
be believed. 01 -226 3377.

FIca,rrtcrwwca
ELECTROSPACE DEVELOPMENTS LIMITED -THE SOUND OF QUALITY
Electrospace Developments Limited, 39/41 Newnham Street, Ely, Cambridgeshire, England. Tel: 0353 61251/2
Authorised dealers: Turnkey - London, Tel: 01 -202 4366/01 -637 1701 Don
Larking Audio Sales- Luton, Tel: 0582 450066/0782 24257
Carlsbro Sound Centre- Nottingham, Tel: 0602 581888

64 times speed using 7.5 ips master or

128 times speed using 3.75 ips master.

ASYNCHRONOUS CASSETTE DUPLICATOR

COMBINING duplication and QUALITY is built into this profes- PRODUCTIVITY of your operation
loading into one operation is sional equipment to provide the best in can be continually expanded from a
Recortec's contribution to lowering open reel type duplication systems. start -up 1 x 1 system, to a 1 x 3 as
production costs. And, the Bi- The standard 64 times duplication pictured and even to larger configura-
Directional Master eliminates the ratio provides the highest fidelity tions. Our systems provide highest
master bin loop! With the system attainable in high speed duplication. productivity, and a quality product
pictured, one operator can duplicate Even at 128 times, the bandwidth with fewer operators. Only Recortec
and quality control up to 2000 C60 is sufficient for most recording offers combined duplication and
cassettes per shift. applications. loading in one operation!

RECORTEC, INC. 275 Santa Ana Ct., Sunnyvale, CA 94086 TEL: (408) 737 -8441 TWX: 910- 379 -5022
THE PROFESSIONAL
PRODUCTION TOOL

The Bel BD240 is an upgraded version of the

Bel BD range of digital delay line /samplers.

More than simply a sound sampler, Modulation and

it is the complete production tool. feedback controls
Signals can be delayed up to 24 enable flanging and

-
seconds at 18kHz bandwidth
48 seconds at reduced
bandwidth.
chorusing effects.

Sync and start switches are

used in the sampling mode

like a tape recorder -

permitting the BD240 to be used
you select
sampling start point. Sampled
sounds can be edited, pitch shifted,
triggered internally or from an external
signal. They can also be played on a
compatible keyboard giving a range of
21/2 octaves.

The maximum delay time of 24 seconds makes the

BD240 an ideal tool for spinning in vocal tracks and
replacement sounds.

STD
Studio Equipment Distribution
29 Guildford Street, Luton, Beds., LUI 2NQ
Tel: Luton (0582) 452495
 NILRA 226 DIVol Sampler

10 0 .10 .20
,.

0
INPUT
', IP
MIX

,.. f;
FEEDBK PITCH
33
, .
66 3 65

START
uifl
%
0

REC I
ENO
100
i

Rebis

The RA226 Sampler represents a price editing and splicing of single or multiple samples.
breakthrough in digital audio technology. Forward and reverse playback modes plus
Using innovative techniques in software loop, one shot and step functions with momentary
driven processing this new Rebis module gives or latching action ensure full creative control.
you 5.25 seconds record playback expandable to External inputs are provided for CV keyboard,
21 seconds on board, maintaining 16kHz DC remote and audio trigger.
bandwidth. Delay mode for ADT and repeat echo can be
Variable two octave pitch shift also lets you used without erasing samples from memory.
take advantage of a useful range of time' The RA226 Digital Sampler is one megabyte
bandwidth settings through to of pure processing power
84 seconds at 4kHz made so instantly accessible
Auto trip makes recording you may never read the
simple. Start and end manual !

controls define the memory Give yourself the

zone for record and play- creative edge -get the full
back to enable precise facts today!

Rebis Audio Ltd. Kinver Street Stourbridge West Midlands DY8 5AB. ENGLAND.
Telephone: (0384) 71865. Telex: 335494.
Austria; Bauer Sound, Himberg 02235 -89298. Belgium; S.F.D., Bruxelles 522 7064. Canada; Heinl Electronics Inc., Ontario 717-1951. Denmark; KinovoxA /S, Lynge
02 18 76 17 Finland; Studiotec, Espoo 514 133. France; Lazare Electronics, Paris 878 6210. High Fidelity Services, Paris 285 0040. Germany; Thum & Mahr Audio,
Leverkusen 2173 -7806 -0. Hausmann Concert Electronic, Berlin 4336097 Hausmann Electronic, Starnberg 8151 1031. Studiotechnik Jurgen Klever, Hamburg 6901044.
Hong Kong & China; Audio Consultants Co. Ltd., Kowloon 3- 7125251. Italy; Startek, Bologna 32 10 63. Jamaica; Audioton Systems Ltd., Kingston 926 -2569.
Japan; Hibino Electro Sound Inc., Tokyo 442 -4101. Netherlands; Special Audio Products B.V., Amsterdam 140035. New Zealand; Maser Broadcast Systems Ltd.,
Glenfield 444 -3583. Saudi Arabia; Fadil Halwany & Sons, Dammam 8570848. South Africa; Tru -Fi Electronics, Johannesburg 786 -7177. Spain; Singleton Productions,
Barcelona 237 70 60. Sweden; Tal & Ton, Gothenburg 803620. Switzerland; E.M.M. Studio, Gempen 061 72 89 72.
 precision ffD Studio Products...Ifff)1
timing. ...with excellent connections.

1
audio,'video
Jockfields.

Timing is our speciality, so it wont take a second Pr CIPHER 735 CD Tuns -code caieddneai detector.
to tell you about our brand new CM250 synchroniser.

Its compact control unit has an 80 character LCD

display to give a generous amount of information
with 'menu based key instructions to guide
you through its many functions. Its available
now for all current video recorders and a wide
range of audio tape machines,

Applied
Microsystems
Bagshot Road. Chobham. Woking. Surrey GU24 BBZ. (09905) 6267.
Beyer
microphones.
Matthey
video delay
lines.

EMO D.I. boxes, mit splitters,

disc preamplifiers.
AUSTRALIA; Klarion Enterprises. (03) 613541. CANADA; Gerr Electro Acoustics.
(416) 868 -0528. DENMARK; AB Muisc. (06) 198733. FRANCE; Studio 38. (3) 968
6612. GERMANY; S.C.S.. (7159) 7222. HOLLAND; P.A.C.. (040) 424455. ITLAY; ffD FUTURE FILM DEVELOPMENTS
Startek, (051) 321063. NORWAY; Audiotron. (02) 352096. NEW ZEALAND; Maser
P.O. Box 3DG, 114 Wardour Street,London W1A 3DG, England.
Communications. (444) 3583. SOUTH AFRICA; Eltron, (011) 293066. SWEDEN;
TonKraft. (031) 134950. SWITZERLAND; EMM Studio. 1061) 728972. U.K.; Don
Telephone: 01-434 3344 & 01- 4371892. Telex: 21624 ALOFFD G.
Larking Audio Sales, (0582) 450066.
Cables: Allotrope-LondonWl.

HARRISONN
INFORMATION TECHNOLOGY LTD
X150 X300 X600 X1000 X1200 X1600 P900 SP2
Harrison products meet the accelerating High accuracy
differential circuitry
demands of the contemporary sound This advanced design
ensures the very lowest
professionals with exceptional technology. THD and IMD levels
Prestigious discotheques throughout the world as well as producing
extremely low levels
are benefiting from their superb musical of dynamic distortion
qualities and ultra reliability, whilst leading The new technology
incorporates fast transient
PA companies will now
only use Harrison Sound Innovations response and extended power
bandwidth. The fast slew rate
means sound quality is
products because accurate and transparent
of their live sound with dynamic bass
delivery and fast
a

qualities and HF response.

road -ruggedness.

r;<wRRr
. , sor! X1600 Si k# ..®.. ....-

T1'7P1L 11:tR
eiie1yiiiei W'T1°TL 't9e
yeiei

HARRISON
INFORMATION TECHNOLOGY LTD
Unit 3, Button End, Harson, Cambridge CB2 5NX, England
Telephone: 0223 871711. Telex: HITCAM G.
28 Studio Sound, December 1985
 BEEFY GOODNESS
FROM A SMALL CUBE

The R521 M one

hundred watts of
power packed into a
seven inch cube. The
baby of the range of
Toa's reference
monitors is especially ..
suited for recording studios, broadcast control rooms,
in the home or even for use with high quality background
music systems.
The Perfect Recipe For The Disc Of TThe Day
he D
Toa Electronics Limited
Talfon Road Hutton Inuostrial Estate, Hutton, Essex CM131TG Tel Brentwood (0277) 23384.

AMS
F M
OTARI PPG
T M
PARADISE S
C L X Q
MIDI 747 1687
G 0
H 0
ETC
 DIARY
DIARY
Installations, agencies, addresses

DEAF Awards dinner

The 1985 DEAF Awards AIR, London. Mike Cooper of
dinner will take place at the FWO Bauch has produced
Hilton Hotel on the evening of the DEAF diary with Phil
December 20th. This year's Graham of Music Week selling
committee includes Rodger ads.
Bain and Gloria Luck of CBS There is still time to provide
Studios; Derek Witt, corporate cash donations or prizes for
PR, CBS Records; Virgin the draw and offers of help for
Studio's MD, Barbara Jeffries; the dinner itself (table
and Robin Millar, Power Plant novelties, the cost of making
MD. Taking care of finances an Award, entertainment, etc)
and accounts for the second will be happily received by
year running is Do Bell of Gloria Luck at CBS Studios.

ACO Pacific correction Official BBC /Neve handover

We would like to correct an line was transposed and this
error made in the distributor should have been In a brief ceremony on equally unusual mobile truck
manufacturers /distributors given as the UK distributor September 16th, at BBC that the BBC refer to as a
listing in the microphones for Milab. At present there is Broadcasting House, London, DCV (Digital Control Vehicle).
review in the October issue. no UK distribution for ACO Neve Electronics officially This is an articulated truck
Under manufacturer ACO
Pacific's address we listed the
Pacific. handed over the fully digital with three major areas -
We apologise for any DSP console to the BBC. The control, recording and
UK distributor as Audio Video problems that this mistake console has been the result of equipment. Most interesting is
Marketing. Unfortunately a may have caused. a collaborative agreement the control area whose sides
between Neve and the BBC's can be extended at rest by
Engineering Research hydraulic rams to increase the
Address changes Department whose COPAS cubic area from 20 to 30 m'.
Keith Monks (Audio) Ltd number. The new telex digital audio processor formed The recording area has two
and Amdio Ltd have moved number is 265871 MONREF G the basis of the design. Mitsubishi X80 digital 2- tracks
their operations to Progress quote MAG95082. Tel: (studio This is the second full DSP with BBC designed interfaces
House, Albert Road, Aldershot, and bookings) 0667 62304, console in use and although to transcode between
Hants GU11 1SZ, UK. Tel: (bookings only) 0667 62570. similar to the system installed AES/EBU and Mitsubishi
0252 334121/2 (Amdio) and Trident Audio Developments at CTS Studios, it has several formats. There is also
0252 334123/4 (Keith Monks). has moved to Trident House, major differences. The system provision for analogue and
SynthAxe Ltd the Rodd Industrial Estate, Govett has 48 analogue mic/line digital multitracks.
synthesiser control company Avenue, Shepperton, Middx inputs and 30 outputs with a The BBC have described the
has moved to Four Seasons TW17 8AQ, UK. Tel: 0932 variety of other analogue vehicle and console as
House, 102b Woodstock Road, 224665. interfaces. Digitally there are experimental in the context
Witney, Oxfordshire, UK. Tel: Drawmer Marketing & full interfaces for a digital that they will be using it in a
0993 76910. Sales have moved and are now multitrack together with four wide range of applications so
Highland Recording Studio. located at Unit 4, Brook Lane tape machine returns. There is they may learn the maximum
Gollanfield, Scotland has a North, Brentford, Middlesex, no separate monitor section for amount to help them in future
new telex and telephone UK. Tel: 01 -847 2890. multitrack work but the desk equipment planning. First
can flip its functions to a recording outing for the truck

Voiceprints -a new art monitoring mode at a single

switch.
The console is installed in an
was Choral Evensong, at
Kings College, Cambridge
University on November 1st.
medium?
An interesting combination of
video computer techniques and
oscilloscope and enhanced
using the Quantel Paint Box. Agencies
sound sampling has been The results are claimed to be Solid State Logic has on -Sea, Essex SS2 6RH. Tel:
developed by artist/designer quite stunning with a full announced the appointment of 0702 511661.
Les Arnett and Electronic spectrum of colours, and Audio Intervisual Design of Custom Cable Services, the
Data Systems' computer expert according to Les Arnett every Los Angeles as its special sole UK importer of Monster
John McNulty. For a recent piece of music has a totally consultant for large -scale film Cable products has appointed
EDS sponsored symphony different voiceprint. With the and video industry projects. Wilmex to distribute the
concert Arnett and McNulty range of colours available in Audio Intervisual Design, 8456 Monster Prolink range.
set about creating a full colour the Quantel system there is West Third Street, Los Wilmex Ltd, 35 High Street,
'voiceprint' of Mahler's First enormous scope for artistic Angeles, CA 90048, USA. Tel: New Malden, Surrey KT3
Symphony as an original interpretation. (213) 653-0240. 4DE. Tel: 01- 949 2545.
souvenir of the concert. Various commissions have Audilec Distribution has Harrison Systems Inc and
Starting with a complete already been accepted and if been appointed main UK Westlake Audio Professional
digital recording of the work you are interested further distributor of Audio Technica Sales have announced the re-
they initially mapped the details can be obtained from sound reinforcement establishment of their dealer
performance using Fourier John McNulty, Tel: 0923 microphones, ie 800 and relationship. Westlake Audio
analysis and a Vax computer. 28466, or direct from Les Unipoint series. Audilec Professional Sales will
A 'snapshot' of the entire Arnett, Van der Graph, 4 Distribution Ltd, Unit 16, represent Harrison's full range
musical work was then taken Glemsford Drive, Harpenden, Laurence Industrial Estate, of 16, application specific,
from a Tektronix colour Herts, UK. Tel: 05827 4318. Eastwoodbury Lane, Southend. audio console systems.
30 Studio Sound, December 1985
 iNiiCfOf1 LiG'3©DF7

firtlCfOfl or_ nrrsx

This much power

in this much amp.
O Amcron
írn1DGP0-TEEN 51000

The Amcron tradition of peerless Reversible forced -air cooling.

performance was established with the intro- Amcron performance in 31/2 "rack space.
duction of the legendary DC3O0 series in We believe that these facts, coupled
1967. Now, in 1985, on the back of modern with Amcron's reputation speak for them-
technology and two decades of experience, selves. But if you wish to know more about
Amcron bring you the Micro Tech 1000 the Micro Tech 1000 and how it can solve
amplifier. your headroom problems, call HHB Hire &
The Micro Tech 1000 is the amp we've all Sales at: Unit F New Crescent Works,
been waiting for - lightweight, compact, Nicoll Rd, London NW10 [Link]: 01- 9613295.
and with more than enough punch to suit the Telex: 923393.
increased power requirements of the digital
age. These are the facts:
400 watts RMS per channel into 4 ohms.
Q ramcron
500 watts RMS per channel into 2 ohms.
1000 watts RMS into 4 ohms - bridged mono.
Safe operation at high power to 1 ohm. Nib
DENMARK, AVIDAN 02- 179591. FRANCE, SCV AUDIO 01- 8632211. ITALY, AUDIUM 02- 2537853 HOLLAND, IEMKE ROOS 020 -972121. SPAIN, AUPROSA 03- 3517011.
SWITZERLAND, MUSICA 01- 2524952. WEST GERMANY, MUSIK PRODUCTIV 05451 -140612.
 DIARY
DIARY
Events, management, licensees
Mixing consoles Forthcoming events
We had hoped to bring you an gather enough information to November 27 -29, ITAME March 4 to 7, 80th AES
appraisal of the latest make this worthwhile: our '85 (International Test & Convention, Congress Center.
developments in this area but report would have been out of Measurement Exhibition), Montreux.
due to the number of date by the time of Olympia 2, London. March 10 to 14, Fiarex
manufacturers who will be publication. 1986 Electronics Trade Fair, RAI,
launching new models and It is anticipated that full January 17 -19, NAMM Amsterdam.
innovations at the New York details will be available in the Winter Market, Convention November 12 (papers) 13 to
AES we have been unable to January issue. Center, Anaheim, California 16, AES, Los Angeles.

Studio Management Services ADA becomes DeltaLab

Studio Management Services Australian talent it recognises licensee
is a new Australian agency that there will always be a ADS Signal Processors has not disclosed.
formed to exclusively represent demand for overseas producers been granted a non -exclusive Richard E DeFreitas, founder
a number of leading producers It also represents a number of licence for the use of delta of DeltaLab Research and now
and engineers including Tony English and American modulation technology under pro audio vice president of
Buetell, Chris Corr, John producers in Australia. The four patents of DeltaLab ADS, said, "I have long been
French, Ross Fraser, Karen agency does not get directly Research Inc. convinced of the superiority of
Hewitt, Trevor Lucas, Ian involved in negotiations for Simultaneously, a lawsuit Adaptive Delta Modulation
'Mack' McKenzie, Martin international producers but which was initiated by technology over PCM -type
Pullan and Eddie Raynor. provides information on DeltaLab has been settled by digital sound processors. The
Although Studio previous credits, availability, consent judgment. Analog & Patent Office's reconfirmation
Management Services operates cost, etc, and general Digital Systems Inc (ADS), of our patents and the consent
from Platinum Australia's co- ordination. which bought certain assets of judgment in this case mean
studios the people it represents Studio Management Services, DeltaLab Research including that other competitors who use
are available for work 643 Chapel Street, South the patents, will receive a one- delta modulation should be
anywhere in the world and Yarra, Victoria 3141, time licence fee and a per -unit very willing to become
while SMS aims to secure Australia. Tel: (03) 241 -7485. royalty based on the sales of licensees of ADS rather than
more production work for ADA. Specific terms were face litigation.'' D

The new affordable SRV -2000 Digital Reverb

from 1k_RoIand
Another major breakthrough in digital technology and low frequency shelving can be set for each Features:
from Roland: the Midi reverb! This professional, memory location while confirming the values on
studio -quality effect is the perfect companion to the digital displays. This enables accurate tailoring 0.1 -9.9 & 10 -99 secs reverb time
today's Midi -controlled keyboards for creative of the SRV -2000 to your exact requirements. 0 -100 ms. Pre -delay
sound processing. For 19" rack -mounted use, remote switching 32 Midi memories
The 32 Midi programmable memories can store all sockets are provided for bypass, programme shift,
reverb time, pre -delay, room size, high- frequency eternity on /off and add -on. 2 band parametric equaliser
damping, gate time and output level controls whilst Low shelving equaliser
Stereo outputs and 6 digital numeric readouts
providing instant access to pre -programmed
further enhance the SRV- 2000's facilities. High Frequency damping
sounds for keyboard patches or Midi sequencing of
effects (a form of digital effects patch mixing). Variable room size
Precise programming of data such as
the two -band parametric equaliser 10-400 ms. Gate time
Programmable output level
6 digital numeric displays
Midi In & Thru
16 -bit linear A/D /A

Please call in soon

for a working demonstration
of the SRV -2000 in our fully
operational 16 track demo studio (1st floor).

The London Rock Shop

Full technical specifications may be obtained from: 26 Chalk Farm Road, London NW1 8AG
Tel: 01 -267 7851/5381/1771
32 Studio Sound, December 1985
 ,sx4t- The Aphex Aural Exciter Type C
The Best Way to Improve Your Sound System
Just Got Better.

And more affordable! processor. Live sounds fill the room without
Like the famous Type B, the new Type C all the problems of high frequency EQ.
restores natural brightness, presence and Multitrack tapes made on narrow format
detail to live and recorded sound ... and machines will sound like they were made
does it more quietly and musically! Lyrics on expensive studio recorders. Even
will have more intelligibility... guitars more cassette dupes will have an unmuffled,
bite ... drums more kick. The overall mix professional sound.
will be cleaner, more natural and exciting. Hear the difference only a genuine Aural
The Type C is the best way to improve Exciter can make at your dealer today. Or
any sound system. It adds that extra edge write us for more information and the name
that is impossible to add with any other of your nearest dealer.

The Aphex Compellor:

Invisible Compression in Stereo or Mono.
The Aphex Compellor is the most stereo versions. Or write us for the name
acclaimed compressor /leveler/peak of your nearest dealer and more infor-
limiter ever made. With good reason ... mation on the full line of innovative Aphex
you simply can't hear it work. It doesn't products.
add any color or other sonic effects. Best
of all, the Compellor is easy to use. Set it
once and it goes to work automatically...
inaudibly controlling your dynamics.
Ask your professional sound dealer for
a demonstration of the remarkable Aphex
Compellor. Available in monaural and

Aphex Systems Limited

® Sound Technology Ltd.
6 Letchworth Business
Centre, Avenue One,
Aural Exciter and Compellor are registered trademarks of Aphex Systems Ltd., North Hollywood, CA Letchworth, Herts SG6
© 1985 Aphex Systems Ltd. 2HR

AUSTRALIA CANADA GERMANY JAPAN SPAIN SWITZERLAND

East Coast Audio Sales. AKG Acoustics, AKG. Munich Matsuda Trading, Tokyo Neotecnica. Madrid Audio Systems
Melbourne Scarborough PAS AG, Basil
GREECE KOREA SWEDEN
AUSTRIA DENMARK Omikron. Athens Young Naksonsa. Seoul AB Betoma, Solna TAIWAN
AKG. Vienna SC Sound. Taastrup Unfair Engineering, Taipei
HONG KONG NEW ZEALAND SOUTH AFRICA
BENELUX FINLAND Audio Consultants. Maser Comm. Auckland
.
Tru -Fi Electronics
Trans European Music. Nores Oy, Helsinki Kowloon Wynberg. Sandton
SINGAPORE
Dilbeek Auvi Private Ltd.
FRANCE ITALY
3M France M. Casale Bauer. Bologna
Cergy Pontoise Cedex

33
 DIARY
Specification of the
. /TISA
input signal amplifier
DIARY Companies, awards
The first of a series
Separate microphone and line level
Chrysalis/Air /MAM merger
inputs, each with stepped sensitivity The summer reverse takeover Audio International Recording
switch. of Management Agency and Studios and Research
Music by the Chrysalis/Air Recordings. Audio
Mir - line changeover switch. Group and the public flotation International have two
of the subsequent amalgam studios, one 24 -track and the
H. F. lift and cut with 5 switched Chrysalis Group PLC, brings a other a smaller 2 -, 4 -, and
turnover frequencies. number of important London 8 -track studio. Research
recording facilities together Recordings is primarily a
High Pass Filter; 5 frequencies. within the same corporate broadcast post -production video
structure. facility with a satellite up -leg
Low Pass Filter; 5 frequencies. The Air /Chrysalis facilities operating on 1 in C- format,
are Air's 4- studio complex, the encompassing computer
Mid band lift and cut with continuously Wessex Sound 2- studio graphics and all aspects of
variable frequency and bandwidth. complex and the Air -Edel video.
8 -track facility. The latter is John Burgess, managing
L. F. lift and cut with 5 turnover used mainly for Air -Edel's own director of the Air Group,
frequencies. demo work and in -house states that no immediate
projects. changes are planned and the
E. Q. rout. The two companies studios will continue to
previously operating within operate as individual facilities
l'hase invert. the MAM congolomerate are at present. Ralph Denyer
Transformers in and out give
total floating freedom.
Syn-Aud -Con Awards
Input and output balance greatly Synergetic Audio Concepts has made a significant
exceeds that of lines likely to he used. (Syn -Aud-Con) of San Juan contribution to the
Capistrano, California has understanding or advancement
Frequency response falls away announced the introduction of of audio and acoustics.
smoothly without out -of -hand the Syn -Aud -Con annual The first recipient of the
resonances. to way outside audio
limits.
award for Excellence in Audio award is Richard C Heyser for
and Acoustics. $1000 will his development of the Heyser
be awarded to the individual Transform. He was presented
Immaculate square wave performance
(with controls flat).
who has been associated with with it at the Syn -Aud -Con
Syn -Aud -Con either as an Advanced TEF Workshop in
L. F. distortion traditionally associated
instructor or a `graduate' and Anaheim on August 3rd, 1985
with transformers is around 80 dB
down at 20Hz.

High order harmonics are not

In brief 'splice' two versions of a mix
generated in any condition of use. Playback Studio: are now together without timecode
able to supply Maxell UDII manipulation. Another feature
"It sparkles" C46 length cassette tapes in allows the Solo function to be
Fully screened enclosed module. the UK and throughout the automated and recorded on
Front panel h i" ` " rest of Europe. Previously disk as part of the mix data
... Doepke & Co: the ED
I

Uses Amphenol 18 way l:(,) in -line these tapes were only

rear connector and fits 1SEP frame available in Japan. Further range of earth leakage circuit
system. details from Playback Studio, breakers manufactured by this
Racks cases and P.S. Ll.'s available for 15 Percy Street, London W1P West German company is now
outboard mounting. 1FD. Tel: 01 -637 8392.. available in the UK through
Power requirements:
24vDC regulated ort 15v regulated
Monster Cable Products: Richdale Engineering Co Ltd,
has a growing range of audio 22 Updown Hill, Windlesham,
(specify).
Customizing possible to interface with
cables which includes the Surrey GU20 6DX. Tel: 0276
certain consoles. Interlink Reference with dual 73708. They are suitable for
inner conductors and three use in both single and 3 -phase
multiple gauge `wire networks' installations with leakage
within the cable for bass, trigger rates of 10, 30, 100,
midrange and high 300 and 500 mA. The tripping
frequencies. The Reference is mechanism actuates within
Foundation First available in a variety of 30 ms ...Solo Sound, an
Electro- Acoustic design engineers lengths terminated in gold 8 -track professional computer
P.O. Box 38 plated RCA phono connectors. music studio, opened on
Newmarket Suffolk CB8 7EG. Other Interlink October 1st, 1985, offering
Tel: (0638) 730696
signal leads include the MIDI sequencing, 16 s
Special, Interlink and Interlink sampling, MIDI keyboards and
Video... Audio Kinetics: has electric grand piano, digital
introduced several new drums, digital effects and
features to the MasterMix timecode synchronisation, Solo
automation system. Among Sound, 47 Draycott Avenue,
these is the Splice option Harrow, Middlesex, UK. Tel:
which enables the user to 01 -907 3889.0
34 Studio Sound, December 1985
Low- cost digital audio
comes of age.
The Sony PCM series has now been available policy towards these products. Accordingly they
for several years. In this time recording and broad- have upgraded them from the domestic cata-
cast organisations, government, educational logue, and, realising the need for professional
and industrial establishments, as well as individual support and all that that entails, have appointed
users have all acknowledged the unique value HHB as specialist dealers to represent them in
of these units, and made them a new standard. the pro -audio market.
It is the superlative quality of Sony PCM digital, We are proud to announce this appointment,
coupled with extremely low cost that has brought and happy to assure our customers of continued
about this professional acceptance of the range. availability of the PCM range. The re-instatement
This is borne out by the number of new ancilliary of the PCM production line has been very largely
products from other manufacturers, that have due to pressure from end-users, who are after all
further increased the flexibility and versatility of the motivating force in the audio world. So if you
the range. Examples of these products are the are involved with audio recording and are still
'CLUE' logging and editing system from HHB, as unfamiliar with Sony digital, then you owe it to your-
well as various interfaces which allow digital com- self to call HHB - the No, 1 name in Digital Audio.
munication with the PCM 1610.
Sony has acknowledged that this acceptance
by professional users necessitates a change of
HHB HIRE & SALES, UNIT
SONY' FRON4 POSIIv
NEW CRESCENT WORKS, NICOLL ROAD, LONDON NW10 9AX. TELEPHONE: 01- 9513295. TELEX: 923393.

, IIIIIIIIIIII
Á III

OIGITAL

THE SONY PCMF1 AND PCM701ES DIGITAL AUDIO PROCESSORS.

 NEW PRODUCTS
NEW PRODUCTS Equipment, modifications, options, software
Amek Systems & Controls has beyond although cost will be a
announced preliminary details
of the APC1000 Assignable
Amek APC1000 factor. Provision for
downloading of keyboard data
Production Console that is switch, AFL/PFL monitoring depending upon your metering will also be provided.
featured in preproduction form switch, remote start, mute requirements. Under the Not shown on the cover
on this month's cover. button, automation select and console there are three 9 U prototype is a system for
Originally conceived as a the faders. MasterMix is the racks for computer functions, resetting channel module
broadcast type console, it has standard automation used distribution amps, etc. levels described as 'total
applications in a wide range of although the faders have been The assignment panel retrieval', and consisting of a
studio and theatre uses. A reconfigured to remove the keyboard functions include keyboard with a switch for
major part of the design controls down the fader and channel input selection with every rotary control found on
philosophy was to reduce replace them with the single phantom power and phase, etc; a channel (26). Pressing that
overall console size and to this automation select button. The EQ in /out with HF and LF switch will illuminate two bar
end a 30 mm channel width channel strip facilities contain filters separately; aux bus levels on each channel in the
was adopted. This has been three inputs-either mic or selection with pre/post; up tolower penthouse area -one for
achieved without reducing line plus an additional input 48 routing buses, six stereo the actual pot position and the
channel facilities or that would normally be used buses and optional controls for
other for the memorised
lengthening the module by the as monitor or bus inputs to the dynamics. This keyboard isposition. These can be matched
use of a separate assignment the channel although the accessed from the channel by turning the pot in question.
panel. The on -board memory inputs can be configured to button marked Interrogate. If It is apparently possible that
allows all assignment panel give a choice of more than one there are selections from the this system may be standard
switch settings to be stored mic input; high and low keyboard already operative with the data stored along
and reset and several further 12 dB /octave swept filters; they will illuminate. The with the switch data.
levels of automation are 4 -band parametric -type EQ keyboard can then be used to There is also the option of
shortly to be added as basic or with switchable peak/shelving update the channel functions fitting a Massenburg
optional features. on high and low bands; eight and the information stored in Laboratories automation fader
The version shown on the aux send buses; panpot, of RAM. The keyboard will also system. This will then allow a
cover is the basis of the which there will be a number operate from the alternative number of channel functions
working prototype that will be of options; and a peak LED or way -should you wish to know such as aux sends cut, filters
completed by the end of the gate from each of the EQ which channels have a in /out, remote start and
year and contains 32 modules bands. There is no dedicated particular function selected, channel mutes to be controlled
in two banks of 16 with the monitor section but as each pushing the function button in in real -time against the
assignment panel between channel has the choice of three question will cause all automation timecode system.
them. This panel also contains inputs and full routing channels it is operative upon Amek Systems & Controls
monitoring and aux send capability to up to six stereo to illuminate a large Ltd, Islington Mill, James
masters although it is possible buses monitoring, including rectangular LED above the Street, Salford M3 5HW,
that the finished panel may be subgrouping functions can be modules but just below the UK. Tel: 061 8341351. Telex:
configured quite differently. handled fairly easily by penthouse. The basic console 668127.
The desk also has eight selection of channel functions. will have just one page of
subgroup and four stereo The penthouse area is in two memory that will reset the USA: Amek Consoles Inc,
output buses expandable to a sections. The upper layer can desk to its last set of keyboard 10815 Burbank Boulevard,
maximum of 64. contain metering or extra functions. There are North Hollywood, CA 91601.
The faders section contains modules such as dynamics possibilities of expanding this Tel: (818) 508 -9788. Telex:
the channel interrogation sections or even both upwards to 16 pages and 662526.

Roland SRV 2000

digital reverb
The Roland SRV 2000 is a includes two digital
MIDI compatible digital reverb equaalisers -a low frequency
incorporating a 16 -bit A /D/A control and a 2 -band
converter. The SRV 2000 can parametric the settings of
store up to 32 individual front which can be stored in the
panel settings (excluding input memory.
level) all of which are The SRV 2000 includes eight
Dod RDS 3600 digital delay automatically recallable via
MIDI. All the program data - basic room settings, five Hall
and two Plate settings. Pre -

New from Dod Electronics is available either in or out of attack gain and time; gate delay can be adjusted up to
the RDS 3600 digital delay phase. The unit can be time; reverb density and time; 160 ms in 1 ms steps, and
which offers up to 7 s of delay triggered via a drum machine early reflection density; HF reverberation time between
in a rack -mounted package. or footswitch. damping; room size (1 to -0.9 and 99 s. Gated reverb
Four pushbuttons provide 37 m3) and output level can be using a single SRV 2000 is
various effects -Flange (1.5 to Dod Electronics confirmed on the unit's digital possible.
14 ms); Chorus (6 to 14 ms); Corporation, 5639 South display. Additionally all the UK: Roland (UK) Ltd, Great
Double (50 to 450 ms) and Riley Lane, Salt Lake City, parameters can be modified in West Trading Estate, 983
Echo (200 ms to 1.8 s, 400 ms UT 84107, USA. Tel: (801) real -time. Great West Road, Brentford,
to 3.6 s, 800 ms to 7.2 s). 268 -8400. Memory capacity is Middx TW8 9DN. Tel: 01 -568
LEDs are provided for Delay UK: Sound Technology Ltd, 48 kbytes and the unit has a 4578.
Kill and Headroom. Repeat 6 Letchworth Business Centre, frequency response 30 Hz to USA: RolandCorp US, 7200
Hold can be activated either at Avenue One, Letchworth, 10 kHz ( +1/ -2.5 dB), a S/N Dominion Circle, Los Angeles,
the front or rear of the RDS Herts SG6 2HR. Tel: 04626 ratio of 80 dB and a dynamic CA 90040 -3647. Tel: (213)
3600 with a feedback option 75675. range of 90 dB. The SRV 2000 685 -5141. D
36 Studio Sound, December 1985
MTR90 SYNC CARD IS HERE! 16'1'RACKS ON 1 INCH FROM autolocator is also available.
NEW PRODUCT. OTARI. The MX70 comes in 8 -track and
8-prewired-16-track formats as
Deliveries have started of Engineered to the same high well as 16- track. An unusual
Otari's eagerly- awaited EC -101 -
standards as the MTR90 the option is a 1/2" 8-track
retrofit chase syncroniser world's best -selling 2" conversion kit to enable tapes
module for the MTR90 -II. This multitrack - the MX70 brings to be interchanged with
small card assembly simply Otari design and performance machines such as the Otari
plugs into two of the spare slots to the increasingly popular one - 5050 MkIII -8.
in the front of the machine. inch 16 -track format. MX70 deliveries have already
Recent MTR90's have been The MX70 offers most of the started, and ITA will be very
completely prewired for the operational facilities of the happy to arrange on -site
EC -101, earlier MTR90's MTR90, including an extremely demonstrations to show just
require simple alterations fast lock -up time under what 1" 16 -track can do.
internally. Adding the EC -101 synchroniser control. A full -
turns the MTR90 into a self- function remote control comes For more information on
syncronising machine, which as standard, with two -memory ITA products and services,
will follow any other audio or location; an optional call us on 01 -748 9009.
video machine designated as a
master. One cable feeding
SMPTE/EBU timecode is all that
is required between the two
recorders.
The EC -101 comes complete
with a small, elegant remote
control unit, allowing offsets to
OTARI UPDATE
be captured and stored, display
of master & slave timecodes,
etc. FROM ITA.
As the foremost Otari dealer in
the UK, ITA will be pleased to
demonstrate the EC -101 to
existing or future MTR90 users.

svo» »Rya
OTARI I14TR90
TECHNICAL
SEMINAR
DEC 11th
-13th
For further
details
application force a nd an
Jaqu1e at
ITA. tact

IN INN mmis
INDUSTRIAL TAPE APPLICATIONS
PROFESSIONAL PRODUCTS DIVISION - -
1 Felgate Mews, Studland Street, London W6 9JT. Telephone: 01 -748 9009. Telex: 21897.
 NEW PRODUCTS
NEW PRODUCTS Equipment, modifications, options, software

Sonosax SX -S and SX -T
mixing desks
The Sonosax SX -T is a new
professional mixing console
(SX -S10). The self- contained
consoles are designed for Nakamichi MR -1
designed for studio and
broadcast use. In the standard
professional mobile and studio
applications and are built in cassette deck
form there are 10 inputs but rugged anodised aluminium Nakamichi has announced the Mute and one touch
12, 16 or 24 can be specified cases. P&G 83 mm faders are first in a new range of Record /Pause. Each MR -1
with VCA or conventional standard and the desks include professional cassette decks includes an EIA standard rack
amplifiers and with up to gold connectors, military spec specifically designed for studio mount adaptor (with handles).
three VCA groups as an components and sealed applications. The MR -1 is a Nakamichi Corporation,
option. Mic/line input modules conductive plastic rotary 3 -head, dual direct -drive Shinjuku Daiichi Seimei
feature 3 -way EQ and low switches. The SX -S series is capstan machine with front Bldg, 2-7 -1 Nishishinjuku,
frequency filter, four aux battery powered and will panel '/4 in balanced inputs Shinjuku -ku, Tokyo, Japan.
sends, pre /post select and two typically run for 20 hours with and '/4 in (unbalanced), XLR Tel: (03) 342 -4461.
stereo mix bus assigns. Penny eight D cells (SX -S6) or 10 D (balanced) inputs and outputs UK: Quested Monitoring
and Giles 102 mm faders are cells (SX -S8 and SX -10). at the rear. Dolby B and C are Systems Ltd, 59 Maltings
standard. included and a NR loop is Close, Bagleys Lane, London
The SX -S series are high Sonosax SA, Rte Cantonale available for external noise SW6. Tel: 0836 204995
quality portable mixing desks 116, CH-1025, St Sulpice, reduction systems. (temporary).
available with six channels Switzerland. Tel: (021) 35 35 Additional features include USA: Nakamichi USA
(S-ri-.S61. eight (SX-S8) or 10 01/02. optional RM-200 remote Corporation, 19701 South
control, 4 -digit LED counter, Vermont Avenue, Torrance,
accurate memory stop, Record CA 90502. Tel: (213) 358 -8150.

AMIX audio products

French audio manufacturer include an EQ bypass switch.
Societe Nouvelle Etelac has a For AV applications the CSL
range of audio products being AV series stereo mixers can be
marketed under the Amix fitted with either 8, 12, 16, 20
name. In the range are two or 24 input channels. There
professional stereo amplifiers- are seven different frame sizes,
five of which include an
the H2200 and the 1124005.
The latter provides external power supply. The
270 W /channel into 8 S2 (700 W CSL 2086 modular mixer is an
bridged) with 0.007% THD. 8, 16 or 24 into 8 desk, each
Circuit Research SEP The 112200, although
physically similar, provides
input module including two
inserts, six aux sends, stereo
800 compressor less power at 120 W/channel
into 8 S2, 380 W bridged.
monitor, solo, direct out and
P &G fader.
Circuit Research Labs Inc who at the output of the four Also in the range are two Other items in the Amix
have recently purchased compressor bands. A front rack -mounted equalisers: the range include disco mixers,
certain assets of MicMix Audio panel switch provides EMH 127 a 27 -band mono unit turntables and a variety of
Products Inc, has introduced a wideband/multiband switching and the ESH 211, stereo small sound reinforcement/
new stereo 4 -band compressor. thus allowing the SEP 800 to 11 -band graphic. The units use disco loudspeakers.
The SEP 800 features a be used as an AGC amplifier gyrator circuits with the EMH Societe Nouvelle Etelac,
patented CRL circuit that or a multiband processor. 127 having 1- octave spacing Zone Industrielle des
automatically corrects for Circuit Research Labs Inc, and the ESH 211 octave Chanoux, 62 -66 rue Louis
drifting as the circuits age. 2522 W Geneva Drive, spaced at mid/high frequencies Ampère, 93330 Neuilly Sur
Front panel EQ provides Temple, AZ 85282, USA. Tel: and 1/2- octave spaced at the Marne, France. Tel: 300 96
precise shaping of the signal (800) 535-7648. lower end. Both models 30. Telex: 240779.
38 Studio Sound, December 1985
 LATEST STARGATE, THE 626.

AMS DMX 15/805 (DUAL DELAY The successful Ursa Major

SYSTEM ). StarGate reverb is now available
in an enhanced version; the
Another industry standard AMS RMX16, FROM STOCK AT 626. In addition to the 8 reverb
incorporating the following ITA, WITH NEW FEATURES. programs found on the 323
features: (still available ), the 626 gives
The RMX 16 is now regarded as a you a further 8, including "outer
* Keyboard interface ready: studio standard and needs little space" very-long decay times
allowing stored sample to be introduction, but to say ITA can and a variety of useful delay
transposed via a keyboard. supply this fabulous unit ex stock. effects.
( NEW FEATURE )
* Looping facility: now available . .

simultaneously or
independently on both
channels. This allows the unit
to be used as two separate
NEW PRODUCTS, II
mono units.

This astounding unit is in stock at

ITA. Call for a demonstration.
NEW FEATURES,
NOW AT ITA.
The Ursa Major range of reverb
TAC SCORPION - NEW units, available exclusively from
VERSIONS. ITA, are not to be confused with
other low -cost digital reverbs.
* Expandable for 24 track The algorithms used in the Ursa's
recording (NEW FEATURE ) software give a much more
* Up to 32 input modules convincing simulation of "real"
* 4 AUX sends rooms, and the units are
* Comprehensive EQ with 2 x YAMAHA REV -7, HIGH -TECH, manufactured to unusually high
MID frequencies LOW -COST REVERS. engineering standards.
* EQ on TAPE/FX returns
(NEW FEATURE) The reverb that's taking the
industry by storm is now
Call ITA, the UK's main AMEK/ available for loan or sale from For more information on
TAC dealer for your free ITA. Call ITA now for a ITA products and services,
brochure. demonstration or brochure. callus on 01 -748 9009.

INDUSTRIAL TAPE APPLICATIONS

PROFESSIONAL PP[ S DIVISION -
1 Felgate Mews, Studland Street, London W6 9JT. Telephone: 01 -748 9009. Telex: 21897.
 NEW PRODUCTS
NEW PRODUCTS Equipment, modifications, options, software
In brief case ...FM Acoustics has
introduced Forceline 5, an
Lexicon Inc: has recently AWG 5 (16.5 mm) gauge single
introduced expanded software conductor cable capable of
packages for the 224XL and carrying 200 A RMS
the 200 digital reverberators. continuously or 1200 A on
Retrofit kits are available andpeaks. Also new is the
both models benefit from Forceplug 200, a 220 A ultra
additional programs and low loss load connector which
enhancements .. Fane
. accepts wire up to AWG 5
Acoustics: after a successful gauge. A special 200 A spade
trial period is now using a terminal -Forcelug 25 -is also
new edgewound glassfibre high available ... ICE Equipment:
temperature voice coil on has introduced the Panamic
many drive units and it is now microphone suspension. Soundtracs MR series
standard fitment in many of Rubber O rings support the
their 1985 Studio and microphone in the suspension
Crescendo series models ...
Vecteur: the French based
cradles so a wide variety of
microphones can be used. The Soundtracs consoles
company has released a new support brackets are Latest additions to the sound reinforcement: the basic
cable consisting of four solid adjustable on the mounting Soundtracs range include the 16/4/2 configuration being
wires of linear crystal, oxygen bar. A multi -position thumb MR series and the T series. easily expanded to 32/8/2.
free, very high purity copper lock is used to fix the tilt The former is designed for
encased in special insulation movement ... NSR: has 16 -track recording and is
Soundout Laboratories Ltd,
91 Ewell Road, Surbiton,
and shielding. The cable is announced a major available with either 24 or 32
suitable for both low level improvement for the AVL inputs. Facilities include four Surrey KT6 6AH, UK. Tel:
individually swept frequency 01 -399 3392.
signals and loudspeaker Genesis AV computer with the
connections. Ready made introduction of 25 frames /s EQ, six aux buses, 3 -band EQ USA: Soundtracs Inc, 262a
stereo pairs are available with EBU timecode, enabling AV and fader reverse on eight of Eastern Parkway,
high quality connectors and users to sync their shows to 16 tape returns. The T series Farmingdale, NY 11735. Tel:
come complete with carrying other audio tapes or video. is an expandable console for (516) 249-3669.

Sound advice on...

sound
A modern, creative, studio requires an
exceptional standard of processing facilities,
with the flexibility to control and improve
audio signals in the most efficient way.
The selection of the necessary equipment
is an extremely important step in the
planning or expansion of the control room.
Sound Technology exists to ensure that
your sound budget becomes a sound
investment.

Sound Technology Limited,

6, Letchworth Business Centre, Avenue One, Letchworth, Herts. SG6 2H R.
Telephone: 0462 675675 Telex: 826967

40 Studio Sound, December 1985

 NEW PRODUCTS
NEW PRODUCTS Equipment, modifications, options, software

Eventide SP2016 Sound Technology audio

reverberation and test equipment
effects software New from Sound Technology is computers and modems.
the 3000 series audio and Extensive front panel
Eventide has announced new SP2016 owners. transmission test equipment. programmability allows the
software for the SP2016 reverb The Automatic Panner Available separately as the storage in non -volatile memory
unit which provides four new program provides delay 3100A audio generator and the of complete audio test
reverberation effects, a vocoder panning as well as amplitude 3200A audio analyser or sequences. By entering a two
program and an automatic panning functions. User together in a single mainframe digit code a complete audio
panner facility. adjustable parameters make a unit (3000A) the 2- channel, test can be performed over an
The RMX Simulation Plus wide variety of crossfade and electronically balanced and audio path thousands of miles
program provides accurate panning effects possible. The floating 3100A generator long in a matter of seconds.
simulations of the AMS program is available as an provides sinewaves, Results can be stored in the
RMX -16 `Reverse Reverb' and option on new SP2016s and squarewaves, IMD, toneburst analyser or printed out on a
'Non- Linear Reverb' effects. can be retrofitted to existing and sine -step waveforms. The standard printer or plotter. If
Two independent channels are units. 2- channel 3200A analyser the user requires immediate
available and these can be The new Channel Vocoder measures level, noise, feedback results can be

'
used simultaneously. In ROM is also available as an frequency, harmonic distortion, conveyed back to the generator
addition `Natural Reverb' with option and enables the SP2016 intermodulation distortion, site via a modem.
natural decay ambience and to function as a full 18 -band phase error, channel Sound Technology Inc, 1400
`Gated Reverb' have also been professional vocoder. separation and quantising Dell Avenue, Campbell, CA
included. All these new reverb noise (digital data). 95008, USA. Tel: (408)
programs have been included
Eventide Inc, One Alsan Using Frequency Shift 378 -6540.
Way, Little Ferry, NJ 07643, UK: Precision Audio
at no extra cost in the USA. Tel: (201) 991 -8715. Keying (FSK) the new
standard Generation II equipment allows unmanned Marketing, 131 Mini House,
software package and are also UK: Marquee Electronics, automated remote Christchurch Road, Virginia
available as free software 90 Wardour Street, London transmission line testing Water GU25, Surrey. Tel:
enhancements to present W1V 3LE. Tel: 01 -439 8421. without the need for external 09904 4416.

technology
Contact your nearest
Sound Technology Centre
for a demonstration of
Alesis, Aphex, Ashly, DOD, ,--:----
;_,,;m
Digitech, Symetrix, Sundholm
°
GO

-
and Oberheim. . "
" :xa .s.a, s...e°

London
Raper & Wayman 01 -359 9342 ..,
- ro i
London Rock Shop 01.267 7851
Michael Stevens & Partners 01-464 4157
Stirling Audio Systems 01 -625 4515
Rose Morris Superstore 01 -836 0991
Brighton ge..a..!
.. ,..,
_

+. .. . +

.4(E
Sackville Sound 0273 -732745 Lime' I

Luton
Don Larking Audio 0582 -450066
Bristol
Studio 34, 0272-733154
Birmingham
Musical Exchanges 021-236 7544
West Yorkshire
KGM Studio Specialists 0924-371766
Scotland
Sound Control 0383 -733353
 MUSIC PAGE
MUSIC PAGE Mark Jenkins synthesis for the studio

Simmons SDS 9
electronic drums
The SDS 9 electronic drum kit from
Simmons features three toms, bass and
snare with newly developed injection
moulded pads. There are 20 factory
programmed drum kit memories with a
further 20 user programmable options. Prophet 2000
New for the snare drum are three
independent yet related samples of snare editing but its arpeggiator contrasts with
hit, cross stick and rim shot. The rim
sample being triggered by a second
Sequential Prophet the polyphonic sequencer of the Mirage.
Although initial impressions are very
pick -up located on the rim of the snare
pad. Spare snare eproms are available or
2000 favourable, both units are likely to suffer
by comparison with new releases at the
can be user sampled with the SDS EPB. Sequential has launched the Prophet
2000, an 8 -voice sampling device with Frankfurt Musik Messe in February.
Other features of the SDS 9 include Sequential Circuits Inc, 3051 North
auto trigger, wide dynamic range, tape weighted velocity- sensitive keyboard, full
MIDI implementation and 64 variable 1st St, San Jose, CA 95134 -2093. Tel:
dumping of programs, remote footswitch (408) 946 -5240. Telex: 364412.
switching, fully assignable MIDI sampling and synthesiser parameters.
Sounds are saved on 3.5 in diskettes, Europe: Sequential Circuits, PO Box 16
interface and fully programmable on 3640AA Mijdrecht, Netherlands.
board digital delay. and functions include 8 -way keyboard
split plus layering, sample reverse, mix, Tel: 31 2979 6211.
Simmons Electronics Ltd, Alban
Park, Hatfield Road, St Albans, Herts truncate, auto loop finding, arpeggiator, Roland's Music Processing System (NIPS)
ALA OJH, UK. Tel: 0727 36191. programmable pitch bend and
USA: Simmons Group Center Inc, 23917 modulation amounts, and velocity -

Crastsman Road, Calabasas, CA 91302. controlled sample start point and mix
Tel: (818) 884.2653. level.
MIDI, Mono, Poly and Omni modes are
SDS 9 electronic drum kit supported: sampling times are 16 s
)8 kHz), 8 s (15 kHz), 6 s )20 kHz). A
library of sounds is available and the
Prophet 2000 has 12 on -board analogue
sounds as emergency backups.

Assessment
The Prophet 2000's obvious competitor is
the Mirage from Ensoniq. The 2000 is
slightly more expensive but it has longer Roland Music
sampling time and higher frequency
response. Its control layout and Processing System
operational logic make it easier and The Roland Corp has announced the
faster to use (particularly in user Music Processing System (MPS) for IBM
sampling) but its synthesiser section is personal computer and compatible
less powerful than that of the Mirage. systems. MPS records, transcribes and
The 2000 offers more velocity control prints music using MIDI- equipped
from the keyboard than the Mirage and instruments.
it can format its own diskettes for Program options are selected using the
economy. Its MIDI implementation is PC's functions keys and function labels
comprehensive and will allow computer are displayed on the monitor screen.
Music can be entered from the computer
keyboard or from a synthesiser keyboard
in real -time or step -time, and real -time
performances can be edited and re-
r Rycote 1 arranged. Tracks can be merged, muted
or transposed and MIDI channels can be
re- assigned. A Score mode displays the
tracks in musical notation and allows a
score to be prepared for printing.
Wind JAMMER Hardware required is a 256K RAM
IBM PC or compatible (320K RAM for
A completely new concept of cover. printing), an IBM Color Graphics Display
The new WindJAMMER improves Board, a Roland MPU-401 MIDI
the performance of any Windshield interface, a Roland MIF-IPC interface
by at least 6 dB. card, and any MIDI instruments.
UK: Roland UK, 983 Great West Rd.
Now you can record in conditions Brentford, Middx. TW8 9DN.
previously considered impossible. Tel: 01 -568 4578.
USA: RolandCorp, 7200 Dominion Circle,
`(Rycote Microphone Windshields. New Mills, Slad Road, Stroud. Gloucester GL5 1RN, England. Tel. 04536 79338) Los Angeles, CA 90040 -3647. Tel: (213)
685 -5141.
42 Studio Sound, December 1985
fludioscope
NO LONG
UNDER WRA

N
Now there a range of highly sophisticated audio frequency
analysers plus a technologically advanced multichannel aucjio
level monitor .. .

all is revealed in our full colour brochure Invicta Works Elliott Road Bromley
Kent England BR2 9NT 01-4607299

---_
ri \`MaiiV
A
dB

16

12

-4

-8
8

-12

16

50 100 200 500 1K 2K 5K 10K 20K

Hz

One look at the curves of the Orban 622B Parametric

Nice curves.
Equalizer will show you its power. Few equalizers on
the market today can offer this unique combination
of corrective narrowband notching ( -40dB) and
gentle, musical broadband shaping. That's because
Orban's "constant -Q" design emphasizes non -
interaction between EQ parameters and gives you
the power to get your sound just right -without
compromise.
SCENIC SOUNDS EQUIPMENT LIMITED But EQ curves don't tell you everything. Talk to any
Unit 2, 12 William Road, London NW1 3EN. of the thousands of users who rely on the legendary
Tel: 01-3871262, 01 -734 2812 622B to solve problems every day. They'll tell you
Telex: 27939 SCENIC G that it's also the best -sounding, most flexible
equalizer you can own.
Belgium Trans European Music (Bruxelles) Finland Studrotec (Espoo) Use it in production for problematical tuning chores
France 3M France SA. Mviconi Div (Parisi Germany Estemnc (Hamblin and notch filtering or on monitors in sound reinforce-
Germany Hausman Electronic: (Berlin) Greece Audiolab (Hellas ment for feedback suppression. It's a real job- saver.
(Athens) Holland Cadac Holland [Hilversum) Italy Audio Products
International (Milano) Norway LydRomrnet, (Oslo) Portugal Ampere_
(Lisbon) Spain Singleton Productions (Barcelona) Sweden Tal & Ton
(Gothenburg) Switzerland Audio Bauer (Zurich)
or ban
43
 IT MAY SEEM JUST
A DETAILTO YOU,
BUT OUR REPUTATION
HINGES ON IT.

Otari Electric (UK) Ltd.

Otari Electric Co. Ltd. Otari Singapore Pte. Ltd. 22 Church Street,
Otari Corporation 4 -29 -18 Minami -Ogikubo, 625 Aljunied Road, Otari Electric Deutschland GmbH Slough,
2 Davis Drive, Suginami -ku, # 07 -05 Aljunied Ind., Gielen Strasse 9, SL1 1PT
Belmont, California 94002 Tokyo 167 Complex Singapore 1438 4040 Nuess 1 Berkshire
Telephone: (415) 592 -8311 Telephone: (03) 333 -9631 Telephone:743-7711 Telephone: 02101- 274011 Telephone: (0753) 822381
Telefax: (415) 591 -3377 Telefax: (03) 331-5802 'lèlefax: (743) 6430 Telefax: (02101) 222478 Telefax: (0753) 823707
Telex: 910- 376 -4890 OTARICORP BLMT Telex: J26604 OTRDENKI Telex: RS36935 OTARI Telex: 8517691 OTEL D Telex: 849453 OTARI G

44 Studio Sound, December 1985

 This panel protects the mother board at Detail.
the heart of the Otari MTR 12. And it's hinged A passionate attention to those things that
to allow easier access. make a professional's life that little bit easier.
The MTR 12's power supply is fully Naturally, because it's Otari, the
modular, too, for fast diagnosis and repair. technology is true state -of- the -art. It's the only
Even the transport assembly is hinged, for recorder of its type to offer 7.5, 15 and 30 i.p.s.
total accessibility. And the only design that lets you incorporate
In fact, every area of the MTR 12 shows IEC format centre -track timecode, with the
that Otari did more than design a recorder with capacity to resolve mono and stereo pilotones,
superlative performance. They also made it all in the same machine.
easier for you to keep it that way. Other than these features, you'll find very
All of which goes some way towards few options on the MTR 12. For the very
explaining what makes the MTR 12 the most simple reason that the MTR 12's standard
professional of 1/4" or 1/2" two -track mastering specification makes it one of the most complete
and production recorders. professional recorders you can buy.
Otari's advantage can be summed up in But Otari's attitude can best be shown by
one word. the way they build a 24 -hour a day mastering
recorder to the utmost standards of reliability.
And then make it as accessible as they can, for
maintenance.
After all, Otari reason, just because they
have bent over backwards to make the MTh 12
more reliable, there's no reason why you
should have to do the same to keep it that way.

For more information on the NITR 12 on ta her Otari productr. contact

Industrial Tape Applications. Felgatc Moor. Studland Street. London W6 91T Telephone 1117489009,
1

Stirling Audio Systems Ltd. I Can held Place. London N W 6 3BT. Telephone: 01-6254515.

45
 Drop-in, drop -out,
trigger effects, remote control...
QuPlay does it all
for under X300, automatically!
Drop everything and listen. Whether you're a recordist Only a minute to master
who plays a bit, or a player who records alone, you'll know We designed the QuPlay to help you. In operation,
you can't do both jobs at once. QuPlay changes all that. it's simplicity itself; after one demonstration you'll
Free to play...and free to think wonder why you tried to manage without it.
This brilliant new device will memorise drop -in Rugged and reliable
points, trigger external devices and functions as a
Housed in a tough steel box measuring just
remote control. Leaving your hands, and head free to
17 x 11 x 15cros, QuPlay is still light enough to permit
get on with more creative things.
one -hand use. And with its long remote cable, it'll give
Save time, stop mistakes you mobility between instruments and tape machine,
Just program QuPlay to carry out your instructions control room and studio.
then you can concentrate on getting the performance Accurate even after 20 passes
right. The operation is quick and efficient and you If youDO need twenty takes at a drop -in (maybe you
won't run the risk of wiping or clipping a perfect take. should be thinking of a new career) QuPlay will stay
locked on cue.
QuPlay...as versatile as you.
From MTR90 to Model A80
Works without using up valuable Does not need batteries or
tracks or the risk of stretching your mains power.
QuPlay is designed to interface with all the latest
valuable master tape. multi- tracks from state-of- the-art 24 -track to the more
Accepts programming by time -
Acts as conventional compact personal recorders.
remote control.
code driven devices. Self- powered
Trigger external effects, bounce Allows multiple Actually, strictly speaking. QuPlay draws its power
tracks, start 2 -track tape drop -in of a fixed from the tape machine it's plugged into. But what this
length sound effect
machine automatically.
by shifting
means in practice is that it's never going to run out of
Control drop -ins via record batteries at the crucial moment.
footswitch in recording window.
area, or patch through
A silent partner
on tie -lines from Itsnerves are unshakeable, performing precise drop -
control ins after hours of operation. It doesn't get tired, irritable
room.
or angry however long you work.
Affordable
At under £300, how much longer can you afford to
be without a QuPlay? In fact, when studio time
is being paid for by the hour,if it saves just
one mistake it could well pay for itself.
Want one?
Provides Post the coupon or, phone Don
unique pre- record
rehearsal facility with Larking Turnkey. Audio Services Ltd.,
,

arm /disarm buttons. Future Music or Music Labs today.

(Phone QuPlay for a list of foreign stockists.)
Program drop -in points, spot
erase, track clear confidently
without risk of accidental erasure. Post today for free brochure
and list of local stockists

uPla
Tel: 01-482 4288 or (0707) 44616, 24 hour answering service.
Telex: 8951182 GECOMS G. Attn. QuPlay.
.
Name
Address

Private Studio
Tape Model No
Commercial Studio r,.
Your Daytime Phone
k)

U.K. distribution exclusively by QuPlay. Credit facilities

available. Contact us for details.
QuPlay Ltd., Unit 5, 43 Carol Street, London NW 1
Worldwide List of Audio Developments Ltd., Agents

COUNTRY

Australia
AGENT

Rank Electronics
Tel: 2 449 5666 Telex: 71289
Contact Andrew Harrison
TOTAL
CONTROL
Austria Peertronic
Tel: 43 222 832224 Telex: 134072
Contact: Gunther Friedrich
Balkan States Constantin Stavrinids
Tel: 4121 39 5015 Telex: 26297
Contact: C. Stavrinidis
Canada Gerr Electro Acoustics Ltd.

AT YOUR
Te1:416 868 0528 Telex:065 24385
Contact: G. Eschweiler
China Ace (Intl) Co.
Tel:852 3 7452343 Telex:40442
Contact: Michael Pang /Whymen Chan
Denmark Kinovox
Te1:452 187617 Telex: 40394

Finland

France
Contact: Steen Peitersen
Studiotec KY
Te1:358 0 514133 Telex: 125284
Contact: Peter Stralman
Simplex Electronique
Tel :331 271 5330 Telex: 230045
Contact: J.C. Thobois
FINGERTIPS
Germany Nagra Kudelski GMBH
Te1:4989 656633 Telex:529893
Contact: J. Weber
Greece K. Stavrinidou
Te1:607 7782938 Telex:210934
Contact: [Link]
H ungary Cinac
Tel:4124 711600 Telex:451070
Contact: Henri Suter
India Cinerama PVT Ltd.
Te1:293873 Telex: 1171198
Contact: S. Agarwal
Israel Sontronics Electronic Equp. Ltd.
Tel 442233 Telex:361579 -Ref SSK
Contact: S. Shmueli
Italy Audio International SRL
Te1:392 7384751 Telex: 322251
Contact: R. Beppato
Japan General Traders Ltd.
Tel: 813 2912761 Telex: 24754
Contact: H. Saitoh
Korea Saetong Corp.
Tel: 783 6551 5 Telex: 23596
Contact: [Link]
Kuwait Light & Sound Elec. Co.
Tel: 965 434307 Telex: 4528
Contact: A. Al- Baghli
New Zealand General Video Int. Ltd.
Tel: 644 881 169 Telex: 30129
Contact: Gerry Smith
Norway Siving Benum & Co.
Te1:472 44 2255 Telex: 17681
Contact: Bjorn Benum JUST TWO OF OUR WIDE RANGE OF
Singapore Rank O'Connors Sing. PVT Ltd.
Tel: 65 637944 Telex: 21023 PROFESSIONAL MIXERS FOR BROADCASTING,
Contact: Patrick Ching
South Africa Prosound (PTY) Ltd. FILM SOUND AND POST PRODUCTION.
Tel: 27 11 337 6556 Telex: 485712
Contact: D. Feldman CONSOLE MOUNTED, RACK MOUNTING AND
Spain Telco Electonic S.L.
Tel: 341 231 5601 Telex: 27348
Contact: J. Escrig
PORTABLE VERSIONS AVAILABLE TO ORDER.
Sweden Intersonic N.B.
Tel: 468 744 5850 Telex: 11136
Contact: R. Isacson
Taiwan Linfair Lng. & Trading Ltd.
Tel: 886 23214454 Telex: 22563
Contact: Duncan Chang
Thailand Ace (Thailand) Co. Ltd.
Tel: 2812512 Telex: 72300
Contact: Bundhit Thongpen
Tunisia Soger Electronique
Tel: 2161254 230 Telex: 13447

Turkey
Contact: C. Barouch
Nefan Ltd.
DEVELOPMENTS LTD
Tel: 465952 Telex: 26304
Contact: A. Fresco Audio Developments Ltd, Hall Lane, Walsall Wood,
Zimbabwe Audex (PVT) Ltd.
Tel: 26370
Walsall, West Midlands, WS9 9AU
Contact: W. Mueller Telephone: Brownhills (0543) 375351 Telex No AudevG 338224
U.S. Office Audio Developments Inc.
Tel: 818 843 7567
Contact: Ron Fuller
IT
DIGITAL NEWS
The digital year: a ball gathers
speed. The last year has seen This year has seen an Wembley, London. This was fully covered
in the March issue. Since then, the BBC
much happening in the field of
digital audio. The purpose of this
increase in activity on have completed acceptance tests on their
DSP which was destined for installation
short update piece is to draw
attention to the breadth of change
the digital front. in their expandable mobile truck (see
Diary this issue(. Awaiting full
and the way that digital audio is Keith Spencer -Allen operational use are desks for Tape One
becoming a part of most audio signal for CD mastering use( and a smaller
chains. appraises the processing desk for the British National
This piece has been written before the
NY AES and therefore may be out of situation Sound Archive. An order has been
announced for another large desk for the
date by the time you read it -or again announcement that the first of the Neve WDR concert hall in Cologne, West
maybe not. DSP digital consoles was fully installed Germany.
The beginning of this year saw the and operational at CTS studios in Neve is not the only manufacturer in
the area of digital consoles which also
has operational units. Sony has been
showing a compact fixed format

The Card. .
8-channel unit, the K- 110.5, which
consists of a small control panel about
the size that would be required for a
similar facility analogue console with an

Your age LL play. additional processor rack. Nippon

Columbia, Denon, has been using an
in -house designed digital console for
classical CD production activities. This
unit is part of a complete range of digital
equipment that the company has
developed which includes a disk based
editing system and PCM processing units
capable of four discrete audio channel
recording on standard U -matic VTRs. We
understand there is a possibility that
this equipment may be made
commercially available in a modified
form at some point in the near future.
4Ik These are of course far from being the
sole manufacturers active in the area of
consoles. Possibly the most far reaching
c is the Sound Druid which is a practical
development of the Lucasfilm ASP in
association with the Convergence Corp
,.r.:»:.
¿- :
-. ,
under the name of The Droid Works. The
limits of the capabilities of such a system
are not yet clear but they are raising a
great deal of interest. We understand
that designs from other manufacturers
such as Enertec are progressing. The
Hamburg AES saw a prototype design
from French company VCL Audio, based
To help you survive the tim of growing This ace will make you a winner with audio around a control surface with no moving
quality demands on audio have on ATRs, VTRs and line transmission. Check it parts and a nice line in dark perspex.
redesigned one of our well ven analog out and challenge any digital tape recorder The Hamburg AES was also the time
telcom c4 compander car to outperform your analog machine equipped for a major announcement from the
The card wizard applied n tricks with with the telcom c4 compander ace. DASH manufacturers regarding the
SMDs and no less than 8 s for a further With these cards up your sleeve, you'll beat mastering formats. Prior to this both
reduction of space require nts and even the pants off the competition. Studer and Sony had been showing
stronger performance now ffering a There are 8000 telcom c4 channels already 2 -track DASH format machines running
115 dB dynamic range. playing worldwide.
at 71/2 in /s. Changes in proposed formats
Just take 30 of these to improve your sound. Contact us for further information. were the result of external industry
feedback and practical experience which
suggested a need for a modified
additional 2 -track standard with a tape
speed of 15 in s and the adoption of a
Tblecomnumications 'double DASH' track arrangement that
Audio & Design Calrec Ltd. ANT Nachrichtentechnik GmbH had largely taken the DASH proposed
Und 3. Horseshoe Park. Pangbourne
Lindener Str. 15, D -3340 Wolfenbuttel 4 -track format and matrixed the signals
Reading. R. G 87 JW England
Phone 0734 861088. Telex 848 722 ADR UK Phone (05331) 83 -0, Telex 95651 ant d so that each track was recorded twice
but not at the same point on the tape
allowing greater robustness of recording
48 Studio Sound, December 1985
and improved editing capability. This machine, was announced for launch or retard tracks relative to each other. It
announcement was greeted slightly sometime in 1986. can also be used as a medium for
sceptically by a European industry which Hard disk based systems for recording recording, editing and playback of sound
was somewhat taken by surprise. The are becoming more numerous. One such samples. We will be carrying a more in
APRS held a special meeting shortly system was the AudioFile introduced by depth look at the AurlioFilc in the near
afterwards to try to assess how to AMS. This is a flexible system that can future.
standardise so that one or the other of be used not only for editing, This has also been the year when the
the DASH formats should be accepted as synchronising to outside timecode compact disc has made itself a viable
UK standard. Due to a lack of practical sources or as a multitrack recording commercial medium and to this end is
information, however, they found medium in its own right but further acting as an increased impetus to
themselves unable to reach a positive facilities include the ability to advance professional interest in digital audio.
recommendation other than to encourage
the manufacturers to concentrate on a
machine that will handle both variations
of the DASH 2 -track formats. This we
understand is now in hand. Sony was
also able to announce that worldwide
sales of the PCM-3324 digital multitrack

muiIIirnioN
had exceeded 100 units.
At the lower cost end of digital audio,
we have seen the reintroduction of the
Sony Fl, 701 and the 501 PCM
processors whose production had been
discontinued. Credit for pressure to
restart production is due to British [Link] [Link]
[Link]
company HHB who were able to
demonstrate the sheer width of recording All from one 19" rack mount console
applications for the Fl, particularly, and 3 band Equalisation RIAA equalised inputs
the way in which it is an ideal low cost
introduction to PCM recording. HHB has 2 auxiliary sends Peak LED on inputs
also continued development of their 90mm smooth action faders 12 way LED displays on masters
CLUE logging and editing system Mic and Line inputs Phantom power on every input
allowing use with an increased range of
machine types. Subgroup direct outputs 5532 Op-amps throughout
The APRS saw the introduction of
some other new Sony products -the
Digital Tape Analyser, the DMR4000
digital audio orientated U -matic with
confidence head and the new 1630 PCM
processor.
West German company Harmonia
Mundi continued development of its
BW102 interface system that currently
allows connection between AES /EBU
digital standard and EIAJ standard but
will shortly allow connection to
Mitsubishi and most other formats as
well as level control, etc, in the digital
domain.
Mitsubishi continued to increase their
international availability. In the US, the
Digital Entertainments Corporation
acquired the Quad -Eight company who
had previously acquired the Westrex
company who had a long established UK
base. In mid summer, DEC launched
Mitsubishi into the UK with the first
two X800 machines going to Hilton Hill Audio, Inc.
231 Marquis Court
Sound hire company with another Lilburn, GA 30247 USA
machine going to Jacob's Studios in the (404) 923 -3193
UK. These were the first UK multitracks TLX 293827 HLAD
Headwater Industries
although there are several in Europe. 635 Caron Avenue
The APRS also saw the first public Windsor, Ontario N9E 5B8, Canada
(519) 256-2454
showing of the new X850 multitrack Hill Audio, Ltd.
which differs from the X800 in that it Hollingbourne House
Hollingbourne, Kent ME17 1Q), England
has a greater tape editing robustness (062 780) 555 Hill Audio
and a physical redesign together with a TLX 966641 HILL
number of other improvements. Although
not shown, the X86, a new 2 -track
la
 LETTERS
LETTERS
Letters should be marked `For Publication' and sent to the Editor at the Croydon address on page 3

Automated testing programming to equal or exceed

measurement speed of any audio test
he introduced into their project. Perhaps
this will change in the near future.
Dear Sir, The article entitled 'Automated equipment available. I agree with you, the artistic and
Audio Testing' in your August issue The ability to initiate a complex series individual design elements need to
understated the current technology of of tests by pressing a two-digit entry, advance to keep in step with the ever-
front panel programmability in audio test eliminates sorting through software improving acoustic performance.
equipment. Specifically, the Sound menus and the need for external Keep pushing this subject.
Technology 3000 Series front panel controllers and monitors. The resulting Yours faithfully, Tom Hidley.
programmability allows the user to access speed, portability, ease of use and
the full flexibility and speed of the test
instrument without an external controller.
reduction in audio equipment cost should
not be overlooked. Strong design
The user can define and store 50 front Yours faithfully, John E Williamson, Dear Sir, Your editorial on Studio
panel set ups. Each generator panel set President, Sound Technology Inc, Design (March 1984) was a breath of
up defines the type of signal (sinewave, 1400 Dell Avenue, Campbell, CA fresh air which mirrored precisely the
squarewave, IMD, toneburst or sine/step 95008, USA. sentiments that inspired us in building
waveforms), the sweep limits, points per the recently- completed StrongRoom
decade, time duration of sweep, and
sine/step and toneburst frequency and Designs on your studio. Our aim was to combine the latest
recording technology with the optimum
intervals. Each analyser panel set up
defines measurement type (distortion, flat studio acoustic environment and good interior
design where brick and pine are replaced
and filtered amplitude, IMD, noise, Dear Sir, I want to thank you for your by space, colour and natural light.
quantisation noise, channel separation clean and fair comments on the Working in close collaboration with
and phasing) and units of measurement importance of the visual design of the Assorted Images on interior design, we
to be displayed. An additional 10 memory music room. It is an art unto its own. developed a calm environment capable of
locations are used to chain series of the Of recent times (1983 -present), I have inspiring our clients rather than making
50-panel set ups in any sequence the user found that working with creative and 'in them feel it's just another day in just
desires. This chain of tests can be tune' decorators can introduce nice visual another studio.
recalled by pressing a two-digit entry. innovations that work within a controlled Yours faithfully, Richard Boote,
Step -time of measurements is a function acoustic environment. StrongRoom Ltd, The Bank,
of settling time allowing speed of However, there are only a few clients 1.20 Curtain Road, London EC2A 3PJ,
measurement under front panel that seem to accept the need for this art to UK.

The New Shure FP31.

MuRes light work of ENG mixing.

HV
The Shure FP31 is a 3 -in 1 -out mixer specifically designed for
ENG crews demanding a professional audio mixer in the
smallest, lightest package possible. Powered by standard 9V
batteries or external power source, and with an impressive
array of features including built -in slate microphone, the FP31
offers a unique combination of performance and portability.
Contact HW International for full details. HW International, 3 -5 Eden Grove, London N7 8EQ. Tel: 01 -607 2717

50 Studio Sound, December 1985

 BLOCK.

NEW YORK LOS ANGELES

one: Q -Lock by Audio Kinetics.

It's the same all over the world. The
simple, uncluttered controls. The custom
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MN adds up to accuracy and ease of use, and that
means speed and creative flexibility. It means Q-
Lock. If you're looking for an international
standard, you've found it.
Now, more than ever, you need to
keep in sync with the times. Lock around the
The ability to synchronise video and clock - with Q -Lock.
audio recorders is an increasingly vital facility
required in studios all over the world. As much as Audio Kinetics Limited,
three -quarters of today's audio recordings Kinetic Centre, Theobald Street,
involve a visual aspect, and recording is more Boreham Wood, Hertfordshire,
international than ever before. Basic tracks in WD6 4131 England,
New York, string and brass overdubs in London, Tel: 01 -953 8118 Telex: 299951 AUDIO KINETICS
dubbing in Los Angeles ... modern international Audio Kinetics Inc., 1650 Highway 35, Suite 5,
productions need an international standard for Middletown, New Jersey 07748, U.S.A.
machine synchronisation, and there's really only Tel: (201) 671 -8668
 For today's accessible studio technology, there's a new way
of buying.
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Were here not simply to sell you a studio system, but to
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Ask Andrew Stirling and Garry Robson.
With their depth of industry experience, they'll make the
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The outstanding MTR-90 Series II comes in a variety of
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 We can offer their new MX -70 in partnership with the
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 THE PRODUCER SERIES
Robin Millar's UK produce, and from there on it
production career
started in 1982 with
Weekend's Le Variete
album, followed by
ROBIN MILLAR would be up to me to prove I
could do it. But when I
stepped off the boat from
France, nobody would have
the Pale Fountains any reason to employ me-
Thank You single, however cheap -to do
the Bluebells Forever Yours anything. I would have found
single, the Big Sound it almost impossible to have a
Authority This House single, meeting with an A &R man, to
the Fruits of Passion All I play him a load of French
Ever Wanted single, seven punk records and tell him how
tracks on Tom Robinson Hope wonderful I was."
And Glory RCA album, both Robin agrees that the
the Eden and Loue Not Money musical and production
Everything But The Girl standards are so high and the
albums, the Working Week competition so fierce in the
Working Nights album, the UK that many people who
Kane Gang's Gun Law and have been unable to achieve a
Take This Train from The breakthrough here, frequently
Lowdown World Of The Kane find success in other countries
Gang album, and the Sade where both the market and
Diamond Life album which of the industry itself are less
course includes the tracks complex and demanding. On
Your Love Is King and Smooth his return to the UK he had
Operator. to show he was made of the
He's made considerable Right Stuff. I had a point to
progress since somewhat prove inasmuch as my
suddenly appearing on the UK arrogance, or self- confidence,
studio scene when he took depending on whether you like
over part of the Morgan me or hate me, told me I was
studios complex at the at the stage in my career
beginning of the '80s. He says where I could -in certain
he never imagined that his ways -knock the spots off the
success as a producer in the average record producer
UK would happen as quickly working in this country. And I
as it did although he adds, "I could be radical in certain
was confident in my approach ways and I had ideas and
at starting as a producer in approaches to recording which
this country." were well worth a few people
Robin has been working in taking a chance on."
studios for some time, mostly He came back to the UK at
on projects with French a time when certain aspects of
artists. This dates back to the new technology were very
early '70s when he was a much to the fore. "I felt that
regular commuter between the actual perceptions of the
France and the UK. He Ralph Denyer talks to producer qualities required to make
worked both as a producer and fantastic productions were
as a jobbing session guitarist. Robin Millar who has been getting a little blurred by an
The last 31 years that he
spent primarily working in successful by working over- indulgence in the
possibilities of the new
France coincided with the
Punk and New Wave tidal
independently of fashion technology. People were being
dominated by, rather than
wash reaching that country from a desire to acquire some studios and making records dominating the equipment.
and he became something of a "hard evidence" of success in left him feeling that there was Things were becoming rather
figurehead in the movement his chosen field of work. At a mismatch between the shallow, standardised and
there as a record producer. the same time, years in the facilities that many recording rather dull."
"I was working very solidly. studio had given him a broad studios offered musicians and Robin also sensed the music
Before that I'd been playing base of experience on which to producers and the facilities that bands all around the UK
guitar and doing a bit of draw. that would actually be most were playing and wanted to
production in all sorts of styles "I came to the UK feeling suited to their requirements. play, was often at odds with
of music and was of course that I had an enormous Though he had taken on the the type of music the record
completely unknown in the amount of experience in role of producer in France, he companies were willing to
UK-I made a positive decision making records of all sorts and firmly maintained an spend their money on. As far
to return. You get to a point an enormous number of good, appreciation of the musician's as Robin could judge, the only
where you are frustrated by fresh ideas, perhaps coming outlook as the keystone of his record companies who seemed
not getting the respect of your from a different angle and approach to record production. to be aware and sympathetic
peer group. You can't show perhaps not being bound up In his book the music came were the small independents.
people your gold and silver with what A &R men would first, and still does. "So I figured I had the
discs with names of groups have asked me to do in the "It occurred to me that if I chance via independent record
they've never heard and feel UK for years and years. I had was able to take over a companies -if I put myself out
totally vindicated in why no track record and therefore London studio that was at a low enough price -to get
you dropped out of had to find a way to persuade already known to the British some jobs and produce records
conventional jobs and why you people to give me the initial record industry, the very fact that flew in the face of current
struggled away for so many chance to produce." that the person had taken it obsessions and make my mark.
years." At the same time Robin had over might be sufficient to What I wasn't intending to do
So part of the motivation to another train of thought. His stimulate a few key contacts was to fly in the face of new
return to the UK came simply experience of working in to give me the chance to technology per se and become
54 Studio Sound, December 1985
 THE PRODUCER SERIES
regarded as an old fashioned This was the time at which right time and been very Millar -who's not here
anti -technology, anti -digital, the producer backlash was at excited by the demos. I had no tonight -for his contribution.'
anti- sequencer type person, its peak. The cry from many idea the record was going to "The group came in to the
which is strangely enough bands was: 'We don't want to make the kind of global studio the next day and gave
what I've been labelled by an be manipulated by producers.' impact it did. You know, if me the award. But that says a
awful lot of people. So I'm now "I honestly think that was someone had told me it was lot about what that group is
in the curious position where I fair comment from the groups going to sell five million like. There you have it and
have been hoisted by my own because of the obsession with albums I would have said: there I will continue to go. I
petard." LinnDrums, digital reverbs, 'You must be mad!' " will continue to not be on the
sequencers and things." If you had thought the fact short list of all these groups
By 1982 the Power Robin invested considerable that the Sade album Diamond record companies are signing
Plant was well and time in convincing the group Life had also picked up the up, trying to follow in the
truly up- and -running that he was primarily BPI (British Phonographic footsteps of a Duran Duran, or
and during July and concerned with identifying the Institute) Best Album 1984 be another Howard Jones, or
August of that year qualities of their music that award would allay any another Tears For Fears or
Robin produced his should remain intact and not negative connotations for him whatever the reason is that
first UK sessions that lost in a welter of over- you'd be wrong. they've signed them up,
were to result in the Weekend emphasis on meeting Whereas he observes some because they think I'll mess it
album, Le Variete. Robin aptly marketing requirements. "And producers at the Power Plant all up or get it all wrong. I've
describes the group as, we produced the first album on the telephone seeking A &R been involved now in the
"loosely, a quiet jazz and Eden which became very approval for "the colour of production of six LPs in the
African influenced group" successful commercially and tambourine they are going to last two years and all six of
formed from splits in Young with the critics, which at that use on the chorus of a record" them have gone Top 20. So I
Marble Giants and Scritti time in my life was very Robin has a slightly different figure so far, so good."
Politti. The album was very important to me." approach when producing. "I To summarise he feels
successful for Rough Trade As if to vindicate Robin's have this habit of throwing popular music is based on
and according to Robin, was against the trend approach, record company people out of change. For him music -not
an important album for the the record became popular the studios and things like commerciality -is the
independent label, taking their with record company and A &R that and I really think one of fundamental. Because of this
records into Woolworth stores people. "And in fact the album the most interesting climaxes attitude he feels he has flown
for the first time. Not had no drums on seven out of to all that -this is about as in the face of prevailing
surprisingly, Rough Trade the 12 tracks, some acoustic much as we need to say about production styles and he's
were somewhat endeared guitars, flugal horn, trombone my background -was the BPI challenged many record
towards Robin, offering him, and things like that. And from (Awards). The Sade album was industry people's concept of
"the pick of the crop" of their there, I came across Sade." nominated album of the year the record producer's job, ie to
new acts to produce. He chose Robin had met Sade Adu and Smooth Operator was follow trends, to look at the
to work with the Pale and the band long before they nominated for single of the Top 40 and try to copy it.
Fountains. At the Power Plant were pronounced to be the year, which are both Robin says his job is not to
they recorded a "totally live, next big thing by the industry categories where you might copy pop records.
totally orchestral, back to the and the waving of cheque say that people on the "I think it's a strange irony
'60s sort of big bashy single ". books started. "I'd already met production side might have that in periods of time during
The track came off the stereo and established a relationship more claim to share the last year- according to Music
mastering machine on a with the band and had long limelight than some of the Week statistics and anyone
Sunday evening and by the talks and even gone into other categories. And I wasn't else's you care to name -I was
following Tuesday the band outselling every other
had what seemed like every producer in the country
major record company in the including Trevor Horn but
country trying to steal them
off Rough Trade. Virgin won
What wasn't intending to
I people weren't adding up 2
and 2 and making 4. They
the band over and the single
Thank You, though not a big
do was fly in the face of new were still saying that the
producers who brought out the
hit, made an impression on
the charts in half-a -dozen or so
technology per se and become cannon fodder of contemporary
pop were the one's who should
countries including the UK.
The fact that the record was
regarded as an old fashioned be smiled upon and that Robin
Millar's a renegade evil
different made an impact on
A &R people. Thus, Robin feels
anti -technology, anti -digital, influence."
It should be clarified that
that Thank You was the
record that opened the door to
anti -sequencer type person there is no question of sour
grapes because Trevor Horn in
work with the majors. fact won the BPI Producer
"As a result I did the first award. In fact Robin is
single for the Bluebells which arrangements and styles of invited to the BPI dinner, I flattered by descriptions in
was on London. Cherry Red production. In fact Sade still wasn't given a ticket and I print calling him `The acoustic
Records were losing says, to this day, that they'd wasn't nominated anywhere in Trevor Horn'.
Everything But The Girl to a decided to work with me as a the Producer's category. You
label licensed to WEA, so they producer before they'd heard a have to bear in mind that In a previous article in this
were basically a major group single note of anything I'd these nominations are made series Martin Rushent
on a major label and I was produced." by record companies. used the word
given the opportunity to ask Again, Robin feels that a "I watched the awards on TV 'transparent' in a positive
Everything But The Girl -who major factor in the band at a friend's house, in front of way when talking about
were very suspicious of wanting to work with him was a gas fire with a cup of tea his own work and certainly
producers, full stop -whether I musical empathy combined and a glass of wine or believes that the listener,
could work with them." with the fact that here was a something. And the group's unless it's someone in the
Six months later Robin had producer who was not the, name came up and they were trade, shouldn't really hear
persuaded the group that "big evil one, brought in from awarded Album Of The Year. the production. "John
producers were not necessarily the record company. I felt,
well, just very lucky that I'd
Sade -bless her cotton socks - Williams once quoted
something someone once said
all as bad as they were stood up and actually said: 'I
sometimes made out to be. caught up with her at the would like to thank Robin about the music he had
55
 THE PRODUCER SERIES
written for a movie. The have had to stop and sell up as a result of the lack of up would be entirely
person said: The movie was because the investments in re- visual distractions. From this dependent on talking through
fantastic -I didn't really notice designing and re- equipping experience he developed a their demos, working with the
the music.' John Williams said were essential to keep the theory. Because he just has group and understanding what
that was one of the finest work coming." "this enormous void" in front we wanted at the other end. I
compliments anyone had ever So both tenacity and belief of him "that should be full of might have nothing at all set
paid him. I'd say you could in himself have been beautiful music" he is not up except for one microphone
draw a certain parallel to that important factors. distracted by the sight of or one acoustic guitar, or
in record production. I would dominating monitor speakers whatever I considered to be
like people to say: 'The record Robin has had to deal pumping away at the air. He the right starting point for
was fantastic -I didn't really with the gradual feels the result is a better that particular group.
notice the production.' I would deterioration of his perception of sound and "I think you have your
take it as a compliment as it's eyesight since consequently, better recordings ground rules but those ground
very difficult to do that." childhood. He fools and mixes. rules are more to do with
On his return to the UK and quite a lot of people This theory was put into professional approach and
with obvious determination, because to a degree practice when the mixing room attitude. You've got to be
Robin mortgaged himself to his studios are tailored around at the Power Plant was systematic and use your time
the hilt and started to look at his requirements and he upgraded: "We deliberately correctly and cleverly. And
recording studios that were for knows the environment well, blacked the whole front wall of you've got to have an end in
sale. He was also determined enabling him to move around the mixing room and put the sight and that's something a
not to borrow. From the confidently. He refuses to wear speakers somewhere behind it. lot of people don't do. That
financial situation of most of dark glasses or to utilise any So no matter how well you can end can change as you go
the studios he looked at, he paraphernalia that identifies see, when you're sitting at the along. You have to allow
could see: "It didn't seem to be him as handicapped because console, you cannot tell where yourself the freedom to mutate
very easy to pay back all the that may set up barriers in the music is coming from. And in the studio but in the back
loans on setting up a studio, communication. I've had an awful lot of of your mind you have to have
you're really better off trying "Historically all you need to positive feedback from people a clear vision of what you
to persuade people to invest in say is that it has made me a who have said: 'It's marvellous want the ultimate result to be
you." To this end, Robin very determined person and not being able to see the before you embark on
painstakingly put together a recording. Beyond that, I
"solid business package"
which he describes as "very It just wouldn't be the case wouldn't go. I would never, for
instance, say that I have my
coherently worked out with
lots of financial details and
well analysed -not cowboy
that if a group came in on favourite piano sound, that
I've got the EQ written down
stuff." The overall their first day of recording I in a little black book, and
where I put the microphone in
presentation aggressively set
out in detail why he thought would be sitting there with a Studio One on that particular
piano because it will always
his ideas for studios were the
right ideas. Robin worked on whole armoury of equipment depend on what I am trying to
achieve on that particular
the proposal until he thought track. A lot of record
it strong enough to go to that determination follows speakers. You suddenly start production is about people,
financial institutions for help. through in the work I do. It to concentrate on the music relationships between people
"And apart from the fact that also meant that making music and on the person and all and understanding what
I felt a tremendous amount of was a very appropriate thing sorts of other things.' " people want."
prejudice against me because I for me to do because it's all Robin says they have found Robin refers to recording
couldn't see, I did eventually about listening. that it matters not how technique as technical backup
find people who were able to "The only barrier I have to someone conceptualises the and talks about a minimum
ignore that and put their get over is that I have to sound they're after -the responsibility for the producer
money where my mouth was." make it clear to people that it arrangement still seems to develop his knowledge of
Before attracting the shouldn't alarm them in any broadly popular. the medium. "I think that
investment he spent the best way. The odd little thing Talking about his general goes almost without saying. I
part of a year doing the becomes clear all of a sudden, production approach, Robin think any jerk shouldn't set
rounds. "I was turned down by as a matter of chance. At says, "I hope there is himself up as a producer
pretty well everybody. Most times I can kind of make the something people can identify unless he has a great deal of
people are suspicious of choice of whether to see or not about what I do to the point hard knowledge and is
anything that has got to see. If I decide not to look, that they might choose to use prepared to do a lot of hard
anything to do with the music then I just don't see. If I me." He would hope to be work to gain and maintain
business, doubly so if you've decide I have to look at known as someone who that knowledge of the nitty-
got any sort of handicap -both something I just concentrate nurtures talent and aids the gritty of the technical side of
suspicions are very ill- founded. all my energies on it, which is development of musical his work. But once you've got
The handicap wasn't a rather tiring." Robin doesn't individuality. If a record beyond that point, an awful lot
handicap for what I was trying seem to dwell on the point, company tells him that they of it is about talking, relating
to do and the music business making it clear that for him liked a group before they went to people, personality and
has its risk and its non -risk "life is good" and adding with into the studio but they like things like that."
elements." a laugh "at least God gave me them more after they've
The decision not to borrow brains and good looks." worked with Robin and the ne of Robin's
appears to have been a good He finds that his reliance on music's basic essence has regrets is that
and necessary one. Robin is some help from the acts he remained intact, he's a happy nowadays, demands
certain that paying back loans works with -just to avoid man. "It just wouldn't be the on his time as a
and interest would have been things like bumping into case that if a group came in producer and studio
financially crippling. "If I people and other moveable on their first day of recording, owner are such
think back to the first year or objects- actually tends to I would be sitting there with a that he rarely has
18 months of the Power break down barriers, removing whole armoury of equipment a chance to play guitar on
Plant's life, if we'd had to preconceptions of the producer that is part and parcel of my sessions and be directed by a
borrow all or even half the as the all-powerful dictatorial production and they would producer. Subject to
money to set up, we'd have ogre. Another advantage is have to fit into that sort of commitments he says, "I'm
been in dead lumber. We'd increased aural concentration scene. What I had already set available at MU rates because
56 Studio Sound, December 1985
Every console maker in the world
is trying to build a better system
than this:

:lid it iclilt fi il it

Including Solid State Logic. And we From the start, SSL understood that studios must
know, better than anyone else, just how hard adapt to a constant stream of new ideas. So we
that is to do. Because the SL 4000 E Series is created an on -going development programme to
much more than just a mixing console. It is a keep our clients at the leading edge. To date, this
comprehensive Master Studio System which programme has produced a solid history of soft-
gives the engineer command over the entire ware updates and hardware innovations such as
complement of control room equipment. It Total Recall the SSL Integral Synchroniser,
captures each artist's unique sound exactly, and dynamically automated parametric equalisation,
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that only comes from working with the very best. proven, retrofittable, and available today.

Solid State Logic

 THE PRODUCER SERIES
I feel I've benefited a lot from make a lot of noise. It is EQ or reverb, to the point may set up the microphone the
playing. I feel that I've alwayscertainly trie that in this where -in my mind or singer likes, sending the
go to make more and more country I w,ll never be imagination -there was not a signal from it to his
effort to remember what it's established in people's minds pair of monitor speakers there, headphones while taking the
like to be there on the other as someonr who can do his job or a console or three panes of signal from another
side of the glass." properly [Link] I do something glass. We spent a lot more microphone to the tape. "I do
When asked if it was just that people identify as having time moving microphones that a lot. Some people like
coincidence that many of the nothing to do with the jazz around than working on the the sound and action they get
acts he has produced are jazz thing which they regard as EQ " from spitting into a 57, it gets
influenced in some way, his competent and successful." Robin tried to maintain this their performance going. But
response was a quick, "Yes." Relating some of the philosophy all through the the way they sing and where
Then was it also a coincidence important features in the sessions but felt that he could they are in relation to the mic,
that these jazz influenced acts recording of Diamond Life, he relax the policy slightly for it's unrecordable. So you poise
also have female singers? This feels that the Power Plant's certain final overdubs. a valve 47 up in the air
time a laugh is followed by a ambience is conducive to "I think the two tracks that pointing down towards them
pause for consideration. "I creativity, adding, "I always the approach worked best on at a diagonal, out of line of
have to be careful what I say feel with any project that if are Hang On To Your Love the spit. Let them gobble away
here, as a happily married we've got the environment and Smooth Operator maybe at their 57 and you get the
man. I have always got on right and the right people, because they were the sort of performance you want on tape
well with women. I relate to we're halfway home. The mid -tempo natural groove with with the valve 47. Whereas if
them well -I think they're demos were good and had that the very fundamental bass, you confront some singers with
good to work with and have a sparkle and magic. It was drums, Rhodes congas and a valve mic, nothing happens.
good attitude. So it's not an perfectly obvious what we had sax." People who do a lot of stage
accident. I tend to be drawn to keep and what we had to Most importantly, he feels work find studio mics
towards projects that have make sure we didn't lose." the `experiment' was aesthetically unpleasant
girls involved in them based Robin remembers hearing successful in that the results things to sing at. You have to
on the fact that I think: I'm the demos and then simply suited Sade's music and be conscious of the fact that
good at that, so I'll do it. hearing the founder members performance: "Particularly the studios are very difficult and
"I happened to have a good of the band in someone's concept of selecting ambient alien places for performers to
jazz record collection and I living room. "I just thought: mics that seem right for the work in. You've got so many
happened to play some jazz This is the way I like this room and seem right for the barriers: all this sound-
guitar when I first met the group best, I think it really general sound of the band. proofing, triple- glazing and
people from Weekend. They'd works. I like Sade's voice best Selecting and maintaining recording desks. You've always
met two or three other when I just hear her standing their positions throughout the got to be trying to minimise
producers who happened to next to me in a room." Robin recording, feeding them in to a the effect that has on them.
know nothing about jazz." decided that he would get the greater or lesser extent with You've always got to be trying
band to set up to play in the close mic signals to give to make things convenient for
His knowledge of jazz studio together, get everything continuity. And it does seem them and not for you.
meant that Robin sounding good and then work to make the business of Somebody might say they hate
was able to record a towards replicating that sound mixing a little bit easier. I'm singing with headphones on.
brass section and say in the control room and on talking about sound rather The minute you put a speaker
if the voicing was tape. than balance." up, their singing improves
right, or to judge a This approach also seemed a enormously. Maybe they have
jazz solo on its good idea from the point of Of course, budget to have the speaker quite loud
merits or demerits. After view that they were working considerations can so you may get spill problems.
Weekend, one project led to to budget and recording time severely limit the Then you've got to do
another. "I'm neither running limitations so Robin wanted time available for conjuring tricks. If necessary,
away from nor towards it at the tracks to be "coherent and experimentation you've got to record that
the moment. There was a easy to mix ". with microphone speaker -after they've
great flurry about 18 months A major part of his recording technique. But finished -out -of -phase and then
ago when every dodgy jazz philosophy is to get and keep Robin feels that although basic make a bounce to minimise
group in the country wanted everyone in the band involved reference points and the spill. Or you do your
me to work with them but in the recording from day one. techniques are useful, far too backing vocals through
that seems to have died down He also found that it was often they limit creativity. speakers as well with the
a bit at the moment. generally "a good approach to "I'm always mystified by speakers out -of -phase leaving
"It was getting to a point get the band sounding good in producers who come to the them on while they're not
where it was starting to the room" and then to get it studio and say: `Haven't you singing. Then bounce the
bother me because people sounding like that on the got a such -and -such whole thing across with really
started to imagine me as other side of the glass. microphone? I can't record a tight gating between the
someone who was an antidote "It was something that I'd vocal without one.' Of course, singing and put roll -offs where
to loud records, which of never done before, it was an what I do is immediately get the bass drum is rumbling
course-from all those years of experiment. I didn't tell them them a such -and -such away. Do your conjuring
rock and punk before that - because the last thing you microphone but sometimes I tricks. You do the bloody
was absolutely not the case. want to tell a group is that scratch my head and think: work."
But at the time I was very you're conducting an `But the singer hasn't even
happy. I liked the people and experiment and using them as arrived he hasn't even heard Robin could of course
the type of music. At the same guinea pigs. Everything we him sing. He hasn't even play the role of the
time I would say that some of recorded, if I couldn't close my recorded the backing track all powerful
the tracks I did with Tom eyes and imagine that the yet.' To me that's still bizarre. successful record
Robinson as well as The Kane person was there playing in At some point, I think I must producer and studio
Gang were some of the most front of me, we stopped." have used every microphone in owner and operate
enjoyable things I've worked Robin recalls constantly this building for a lead vocal." on an intimidatory
on in the last few years trying to "...retain that Robin moved on to point out basis. "As a guitarist I
because I was able to make a audio image in my mind when that the microphone a remember being on the
racket. In the middle of I went back into the control producer or engineer thinks to receiving end of that time and
making all these soft late - room. Then we changed a be technically ideal may not time again. It mustn't be a
night records I was able to microphone, or moved a "inspire the person to sing them -and -us antagonistic
come out of the closet and microphone, or changed the well ". In such cases Robin situation. If you're going to
58 Studio Sound, December 1985
 and this:

The advent of stereo video introduced a new level The industry's acceptance was overwhelming.
of audio post-production requirements. SSL As a result, it is now possible to carry complete
responded with the SL 6000 E Series. This Total Recall console setups, edit and cue lists,
TM

provides the same high standard of audio quality and dynamic mixing data between more than 250
and signal processing flexibility as our 4000, leading music studios, post -production houses and
adding a unique matrix to simplify the creation of broadcast facilities in 72 cities and 24 countries. In
separate stereo music, efx and dialogue mixes. fact, this minor miracle happens every day. And to
The music video producers told us they needed to keep it happening around the clock, we've set up
move projects freely between recording studios service offices and technical training around the
and post-production suites. We listened, and world. Because we believe that your business
made both systems totally data- compatible. deserves responsiveness, not promises.

Solid State Logic

 THE PRODUCER SERIES
work for 12 or 13 hours a day Germany to talk to the people
six days a week almost all the who are actually going to use
year round, you've got to enjoy
it. Otherwise you must be
The amount of people I see their equipment and make
records. We're going to do the
mad. The amount of people I
see wandering around the
wandering around the studio same thing with Mitsubishi
and the AMS people who are
studio with long faces
surprises me. They look as if
with long faces surprises me. working on digital systems."
Robin says the Guild intends
they're dreading the next
experience in making a record.
They look as if they're to try to improve
communication with other
I think that's terribly sad."
The Kane Gang's Gun Law,
dreading the next experience sectors of the industry -such
as record company A &R people
complete with some machine
generated music is a very
in making a record. I think and recording studios -with
whom they feel a more
adventurous track.
Unfortunately it was to a
that's terribly sad meaningful dialogue should be
established, as well as between
certain extent buried on the producers themselves.
album The Bad And Lowdown "It has taken away the
World Of The Kane Gang. "I wanted to give the some point. "I regard competitive corridors in which
"Yeah, I loved making Gun impression of a large choir of Trevor Horn as one of the we producers were all running
Law. That was a Roland people and we built up 20 major musical finds of recent side -by -side but with walls
TR909 with about half the tracks of backing vocals with years. A major talent. I regard between us all, looking
original drum sounds two girls. We just ran the him as a record maker on the furtively over our shoulders to
maintained, half of them track again and again and I artistic side of the fence. It's see what's so- and-so doing?
sampled and replaced by my told them, very specifically, very difficult to say that Has he taken over a project I
favourite drum sounds. It was not to sing like session singers without seeming to diminish was doing and should I hate
a sort of synth bass line, singing exactly the same each the abilities of the groups and him because he did?
sampled kettle drums, pianos, time, just to sort of sing any people he works with but I "We've all met around the
all sorts of things. It was great old how, doing their ad libs think it has to be said that he table and got to know each
fun to do. I wanted to do that and any variations of the tune dominates the musical side of other and suddenly there's this
song partly because I thought that came up. We just built it the records he produces as league of friends who all do
the demo and the band were up and suddenly when we'd well as the approach to the the same job and are not in
very good and partly because I done about 20 tracks of vocals, overall sound and style. I don't competition with one another,
wanted to establish to it sounded like this huge think you can put him in a they're just trying to do their
myself -and anyone else who group of happy people." category of a producer whose best. And we have a fantastic
was interested -that it's all a job it is to bring out what exchange of ideas."
part and parcel of music and Sade's Diamond Life there is about a group that is Robin explained a pooling of
Gun Law was just something I has a lot of delicate already magic and guard it, information. If someone has
liked that shows I'm not musical shading thus keep it, expand on it, nurture bad experiences with a piece of
hamstrung or stuck in narrow creating different it, be true to it and give the software, he tells the other
musical ideas of what I want subtle musical group a platform on which producers. On the other hand,
to do and that I can do a good flavours. Also the old they themselves can build and if someone has found some
job on a record like that. I adage comes into grow. I would try to identify new equipment that performs
regarded it as a really exciting play: what you leave off a the essential difference a particular function well, the
track to work on and in a way track is just as important as between us there. information is passed on.
it was a bit of light relief what you put on. "I take great pleasure in the "The most interesting thing
because I find making loud "I think that suits Sade's thought that I might work about the meetings stemmed
records a lot easier." music. Overloaded production with a group again on a from one person saying: 'I
And Gun Law was totally is rather commonplace at the second project because don't know what it is but
different from Take This Train moment and I find that you generally speaking, for nie it every time I hear one of my
the other track Robin cut with have to be very careful. There is much easier if I've taught tracks on the radio, it sounds
the Kane Gang. "Yes, that are various stages of them how to work in the quiet and all you boys' records
was a track on which I used saturating records with studio properly and how to sound really loud.'
the basic philosophy I used on musical ideas which lead you express themselves; how to get "Then the person to his left
Diamond Life, of trying to get on to another plateau and you and keep their confidence, and said: `It's funny you should
that sort of `being there' type then have to complete the get the maximum creativity say that because I always
of atmosphere on the drums, picture to that degree of and bring out the best in think my records always sound
Hammond and piano parts and complication. You can put one them. If they're good, they'll dull and your records always
the basic blues guitar and little idea in one little part of have learnt those lessons well. sound really bright.'
vocal backings. If you listen to a song and that becomes top "Then I said: 'It's funny you
Take This Train and then heavy and you find that you should say that ...'
listen to Sade's Hang On To want to put the idea at the Robin was most "We're hoping to bring in a
Your Loue with your eyes beginning and the end as well. enthusiastic about lot of other producers- young,
closed, I think you'll see what Then you find the gaps you've the APRS Producers' old, experienced and
I mean. I think that's a good left sound rather empty and Guild, as he inexperienced -to get the
way of identifying what I'm weak, so you tend to put explained. "It's benefit of the information,
saying about this question of a something else in there. You really had some very strength and muscle that
band being in a room. It'll find you reach a point at tangible results we've got -to make
identify it in terms of the which if you put one more already inasmuch as we've manufacturers toe the line and
production style. I think you'd musical idea on a track, had two main people from not just ram things down our
be able to play Take This you've got to put six more on Sony sit down in front of us throats; level the score a bit
Train and Hang On To Your to make the song sound and talk for about four hours between the producers and the
Love and say they were done coherent within that new about what they are doing record companies and perhaps
by the same producer. So all framework." with digital recording and stop some of the enmity and
the things I said about Smooth During virtually every what we think they should be aggression that exists between
Operator and Hang On To interview Robin has given, by doing. We've done the same record companies and
Your Love applied absolutely
to Take This Train.
his own volition he's referred
to Trevor Horn's production at
thing with Studer who
actually flew in a team from round the same table. "
producers by sitting them all

60 Studio Sound, December 1985

 and this.

With the dawning of stereo television, broadcast None of this makes life easier for the competition.
audio requirements became substantially more It wasn't designed to. It was designed to make life
complex. Our clients asked for SSL quality in a easier for the balance engineer, the producer, the
format that could serve a variety of highly specific talent, the operations manager, the booking office
applications. The new SL 5000 M Series meets and the maintenance department. To make life
these requirements with on -the -air reliability and easier for the decision makers, we've put together
operational ease. SSL's M Series architecture is a series of brochures describing the entire range of
totally modular, designed for stereo broadcast, Solid State Logic systems and benefits. We'll be
and data- compatible with all other SSL Systems. happy to send you copies, and to arrange auditions
It features electronic switching with Instant and demonstrations. We invite you to call or write
Reset', and is also available with Total Recall'. to discuss your particular needs.
Oxford, England OX7 2PQ Tel: (099 389) 8282
200 West 57th Street, New York NY 10019 Tel: (212) 315 -1111

Solid State Logic 6255 Sunset Blvd, Los Angeles CA 90028 Tel: (213) 463 -4444
Avenue Druey 12, 1018 Lausanne, Switzerland Tel: (21) 36 -4661
22 Austin Avenue, Kowloon, Hong Kong Tel: (3) 721 -2162
 29 Guildford Street, Luton, Beds.
Telephone: Luton (0582) 450066
audio sales Telex: 825488 DONLAR G
 ír Ott Orw ripe wMO ill£'lib BS
710/NNIiNfIIIF.

lounD T g cs JBL Westlake

Audio

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electronics TRIDENT

29 Guildford Street, Luton, Beds

Dui 7,
Telephone: Luton (0582) 450066
audio sales Telex: 825488 DONLAR G
 DEVELOPMENT OF A
DIGITALLY CONTROLLED
MIXING CONSOLE
The traumas involved
in the creation of the Ted Fletcher and Steve Dove of became obvious to all the
engineers who saw it that its
first Silk mixing
console were well
Alice described the thinking scope of use is very much
greater than first envisaged;
documented in Studio
Sound October 1983.
behind the development of a the mixer is ideal as a full
blown music recording console,
The mixer was digitally controlled mixing console itsfacilities
stereo subgrouping
being a valued bonus.
developed from first
principles and incorporated a in a previous article. Throughout Analogue
wealth of new technology.
Completed early in 1983 it the building of the original console Big radio stations are just
was installed in Studio Four of
Silk Sound in Berwick Street,
it became clear that it had a wider complicated collections of
fairly simple audio 'circuits'
London, where it has been
busily producing the sounds
application than was first interconnected by a massive
switching system. As the audio
for massive quantities of TV envisaged. Ted now outlines the signals have to travel long
commercials every since.
In spite of its enormous modifications which enabled two distances through some horrid
environments, signals have to
success as a working tool, the
process of creating the monster
more Silks to thread their way into bemustkeptbe atbalanced.
a high level and
That
was so traumatic to all
concerned that Alice decided
recording studios philosophy is as old as radio
and as true in 1985 as it was
not to go for a sales drive; in Staines. The stalwart Alice this, neither the in -line nor in 1930.
fact the many enquiries that wiremen finally relented under the conventional approach was The Silk mixer is a large
were received were dealt with the pressure of bribery with suitable; the method adopted collection of audio circuits
more along the lines of polite promises of crates of beer for a was to create a collection of interconnected...etc. What
suggestions that there were frame free of faults and the the finest individual circuits other way is there to go? Isn't
other manufacturers of process began again -but this known and to interconnect it obvious that any mixer of
multitrack consoles whose time the computers were them with an array of this magnitude must have a
products were jolly good! ready. switching matrices. Alice balanced audio path? The
Steve Dove flew off to already had an established industry generally (and
warmer climes to perpetuate track record in the field of universally) has been
the rumour that he is the Silk revisited audio switching, stemming struggling for years with the
highest paid 'roadie' in the The original Silk was from earlier days in limitations imposed by 'one
world, Ted played at conceived out of frustration commercial radio and latterly wire' tunnel vision. The Silk
commuting to the Far East, with an industry that could in large computer controlled was the first multitrack mixer
and quietly, Alice got on with not, or would not, supply systems for theatres as well as to apply the obvious in every
producing mixers and equipment to the requirements radio and television. audio path. Doesn't the console
gradually developing computer of a major customer (Robbie The format requirement for strain the floor with the
control of complex switching Weston at Silk Sound). It was the Silk was for 24 input weight of transformers? No! In
systems. It was all too quiet created to perform the function channels working to 24 1981 a seemingly simple little
and well ordered to last: of a highly flexible 24 -track in- outputs but with six stereo circuit was developed in
around Christmas 1984, in line mixer, with the ability to subgroups operable as stereo Windsor, it looks like an
quick succession, Alice was emulate a conventional mixer line level channels as well, op -amp eating its own tail but
talked into manufacturing two with stereo channels, and with access to both audio in reality, it's a truly
more Silks with the subgroups and groups; the paths of each channel at any symmetrical summing
probability of orders for format that is a requirement time (under some conditions amplifier that can be used for
several more. The cries of in the modern commercial making it a 60- channel mixer). inputs or balanced 'virtual
anguish from the silkworms studio specialising in TV and As soon as the first mixer earth' mixing. We tried it in
could be heard from Slough to radio commercials. To achieve was completed and installed, it anger for the first time in a
The completed console is currently used for TV comm,rci;11-. <<,und mixing and music ri.c r iing

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64 Studio Sound, December 1985

Two technologies One name.
The Studer 820.

For many years Studer have been The 820 supports both technologies
at the forefront of analogue recording - the A820 for analogue, and the P.C.M.
technology while being major version the D820 which will be available
contributors to the development of a early in 1985.
world -wide standard of digital recording. Write or phone for details.
This in -depth involvement and commit-
ment to two technologies has resulted in
the launch of the Studer 820 transport.
The Studer 820 is brand new
throughout and while maintaining the
heritage of other Studer transports it is
designed to meet the needs of analogue
and digital technologies for the next two
decades.
The die -cast chassis houses two
d/c spooling motors and a d/c capstan
drive which in conjunction with Swiss
precision mechanics and a level of
intelligence as yet unseen in a tape
transport ensures very fast but extremely
gentle tape handling.
STUDER
CH-8105 Regensdorf Telephone (01) 840 29 60
I-_

FWO. Bauch Limited

49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ
Telephone 01 -953 0091. Telex 27502
 DEVELOPMENT OF A A seemingly major problem of being interrogated and blocks, Ted watching over the
of the first responding to commands from routing systems and the
DIGITALLY CONTROLLED in the development peripheral audio monitoring,
Silk was the integrity of the 'somewhere outside'. The clock (

MIXING CONSOLE analogue switches -there had and its associated circuitry aux systems, comms and
little video editing mixer for to be literally thousands of scans the matrix controls and metering) and Mike
the BBC in 1982, the test stages and audio signals could switches (three banks of eight shouldering the impressive
performance was so startling have to pass through up to 20 per channel) sitting there burden of computer systems.
and vice free; the circuit was switching stages with no quietly Megging away to itself We spent a week or so
nicknamed the 'Superbal' and degradation whatsoever. Once right next to all that sensitive studying the old Silk with the
the name has stuck. The Silk again the existing technology audio stuff! Not to worry, this valuable benefit of hindsight
is stuffed full of superbals and came to the rescue with is just the sort of horrific and user comments and came
its output equivalent -a circuit current -mode CMOS switching; environment that balanced to the surprising decision that
that thinks its an output a technique where stages can audio ignores completely. in spite of the deadly
transformer. be simply cascaded with no Provision was made in the timescale that was required on
So the Silk has no measurable (or audible) first mixer for the later the original design, the system
transformers? Wrong again. degradation, no clicks, no addition of overall processor still 'stood up' and remained
The very best microphone crosstalk, no distortion. control but once the mixer was ahead of its time. A minor
input stage we have seen and In hindsight, we shouldn't installed at Silk Sound, the change to the automatic
tested has one of those little wonder at the performance of studio became so successful routing of aux outputs 5 to 8
lumps of iron and copper the Silk; the absence of that Robbie threatened to which had caused some user
sitting on the front. It's hardly perceived noise and the shoot any Alice engineer who confusion (too automatic) and
reactionary to use the best massive overload margins are touched the mixer. So all the that was it.
available circuit even if all predictable in a proper channels are still Megging Time had not stood still, a
opposition insists that we are balanced system. The thing to away doing their own things detail improvement in matrix
senile. Using a mie wonder about is how the at their own rates. technology had been made late
transformer is more expensive industry managed for so long in 1984 -a simple way of
than fitting the latest marvel with such inferior 1985 rationalising power supplies
of physics that receives Radio 'conventional' equipment. The specification for the new between audio systems and the
1 quite badly and doesn't Silks for Greenwood and controlling computers,
sound too good anyway but it's Digital Blackwood Studios in eliminating much level
a small price to pay for The press and the media must Switzerland, included such shifting circuitry and actually
excellence. be to blame for the picture minor items as 16 presettable improving distortion
The other departure from that is conjured up by the mixer configurations, running performance in very large
normality in the system came word 'computer'. Inevitably it real -time status change under systems. It was our first stroke
from those big switchers that is the idea of a keyboard with SMPTE code control and fader of luck that our old prototype
Alice quietly make; a neat some 'chips' behind it, automation. The design team Silk channel took to the
little trick for avoiding audio surmounted by a grinning now consisted of Steve Dove, supply changes as if they had
current in the ground paths VDU. By this definition, the Ted Fletcher, and a 6 ft been designed in originally!
(there is some unbalanced original Silk had little to do digitally controlled weirdo - The channel was hastily (well,
circuitry tucked away inside with computers; it didn't even Mike Law -who after gaining a couple of days) hooked in to
the building blocks!). have a microprocessor in it! work experience at Alice the lab matrix development
This is the 'dustbin' But the digital manipulation during his last two years at computer (a BBC with bells
technique of using op -amps to that goes on in the 'channel' is Birmingham University, and whistles on) where it was
gobble up unwanted signals certainly as digital as your graduated with an excellent coaxed into thinking that it
like little pacmen. This in watch or washing machine. degree, then claimed that we was a section of a theatre
combination with the For ease (!) of initial testing, had mentally ruined him for matrix in Helsinki, and
superbals makes the detail each channel module has its gainful employment anywhere started to show distinct signs
circuit diagrams look distinctly own on -board free running else -so he might as well stay of intelligence.
Daliesque but what's a few clock (1 MHz originally) in Windsor. We divided up the After much testing and
extra op -amps sprinkled complete with dividers and responsibilities with Steve as patting each other on the
among the thousands? timing peripherals but capable the architect of the channel back, it had become obvious
Simplified block diagram -Silk channels
PHANTOM INS INS
POWER PRE POST
TO A

MIC/LINE MULTI
FADER MUTE PAN
MIC REMIX ROUTING
i -
n
TO

L EG EO
IN /OUT
[Link]' TO
24 -TRACK
MULTITRACK

HI PASS PHASE
FILTER REV MAIN MULTI
PFL AFL
TO
MULTITRACKO MAIN
FADER REVERSE
cf
(MULTI) PATH SWAP (OUTPUT EXCHANGE)
FROM B ROUTING TO STEREO
MULTITRACK O
4> TRACK
METER
TO
SUBGROUPS
SUBGROUP
BUS
C
4> SEC
A/0 ,.TO MIX
SEC BUS 1
INS FADER MIXPAN

LINE
IN EC
MUTE
SOLO/SOLO SAF
X & V CONTROL) MIX 2
y TO MIX
Bus 2
IN

iSECNITOR) PATH
AUX PRE
& SEC PFL
1 -6 & A UX POST 1-6

INS
PAN
(BALANCE)

STEREO
INPUT
BUS
ED oEG
IN/OUT STEREO
FADER
ON /OFF
SOLO/SOLO
z ROUTING
TO
24 -TRACK
TO MULTITRACK
MIX BUS

SAFE
X &V CONTROL TO MIX
STEREO AUX PRE
1-4 AUX POST
ST BUS 1
LINE
INPUT
O
N
INPUT MIX 2
TO MIX
GAIN BUS 2

ROUTING TO STEREO
TO SUBGROUP
SUBGROUPS BUS

66 Studio Sound, December 1985

 UK
DISTRIBUTION
NATIONWIDE
Through a network
of the countries leading
component distributors

Sole Agent UK
Eardley Electronics Ltd
Eardley House 182 -184 Campden Hill Road
Kensington London W8 7AS
Telephone: 01 -221 0606 Telex: 23894
 DEVELOPMENT OF A references for set switch
DIGITALLY CONTROLLED patterns and modifications. To
achieve this, the main EPROM
MIXING CONSOLE operating system chip contains
that although the `channel' not only the operating system
was behaving itself under all and such `language' as is
conditions, the changes to the required but also a set of four
power supplies made it 'preset' switch combinations
impossible to see the covering the main desk
illumination inside the tiny functions together with the
logic switches that are command systems required to
sprinkled all over the channel. operate the mixer interface,
A tripartite meeting decided with video driver system and a
that the only sensible course large block of RAM (not to
of action was to control the mention a comprehensive set
LED drive current to each of diagnostic programs which
switch separately with a Steve Dove and wireman Chris assemble the Silk while production can be accessed by plugging in
director Eric works on a module
transistor -this involved the an intelligent terminal or even
adding of 800 transistors to by telephone).
the mixer. Miniaturised PC The 8K EPROM used is
design has been a feature of substantially full of machine
the Silk from the beginning, code; the print -out runs to
so there were not too many many feet of paper! The
groans from the drawing office battery backed -up RAM adds a
when they were presented further 8K of memory and the
with the pencil sketches of a video card makes use of yet
4 cm square PCB containing another 16K. But should a
an IC, a resistor pack and stupid ex- operator (just been
eight transistors. Prototypes fired) pour Coke down the
were manufactured 'in house' computer rack, the whole
and the module promptly lit system still works -just acting
up like a Christmas tree. a little more stupidly!
Meanwhile, having decided (Remember Hal ?)
that operators actually like
looking at TV screens and our Fader automation
friends in Oxford can't be rushing away to avoid the the monitor switcher (as it was A second processor controls the
wrong, John Andrews set wrath of the stockings who to become). A bank of 8/1 fader automation system -the
about the task of shoehorning were well into production by switch cards originally two computers talking to each
a VDU into the centre this time and dreaded the designed for a television other in interrupt mode.
section -a success but only at word `mod'. company joined some VCA (Action by the automation
the expense of a `power bulge' The prototype `channel' was amplifiers (original research) computer flags the main
at the back. judged to be fit for use under and a complex interface card computer which asks what has
The pace of work slowly and local control (with its own first used for the British been done -the information is
inexorably increased. The old `computer' working as a `stand Forces Broadcasting tape then displayed on the screen
computer generated wiring alone' system) and handed on duplication system in for mere mortals to look at or
schedules were dusted off and to Mike Law to be taught to Paddington. The whole system ignore.) The system stores the
passed down to the Silk farm behave correctly under central when plumbed together is fader information in yet
in readiness for the arrival of
the mainframe. The huge
processor control. The rest of controlled via a 26 -way ribbon another block of memory -
the Silk team only had to cable from the `monitor' dynamic RAM, where the 48K
double -sided PCBs started to suffer muttered `nrds and position in the mainframe, the of capacity is sufficient to
arrive -for the Silk stockings nwds' for a day, before the module having almost nothing store more than 20 minutes of
to work on under magnifying educated module was returned on it! The most significant fader action by even the most
glasses (too dense for flow to the stockings with the advantage of working the long phrenetic of engineers.
soldering), and a massive area instruction `make 'em all like way round with a remote logic To keep the system in time
of testbench was crammed that one'. controlled switcher is the ease with the real world, SMPTE
with equipment for channel of interface with the dreaded code is used. This was an early
testing, the required test Monitor magic computer systems; such decision in the development of
equipment being: two audio The monitor module on the mundane functions as `mute', the automation as it is the
oscillators and a sweep first Silk followed conventional 'dim' and 'PFL' become most used timecode making
generator /plotter; two lines with the audio being instantly more controllable. the system compatible from
oscilloscopes; 12 audio meters; switched and routed studio to studio.
an extended scale true RMS mechanically. The final
meter; a precision noise meter; module ended up as four
Computer nuts Final storage of the fader
movement information at the
a '/3-octave analyser; four layers of unbelievably dense and bolts end of a session is a
power supplies; two digital wiring and PC work For historic reasons (big 'download' on to the single
voltmeters; a logic probe and a terminating on a 120 -way switchers and even bigger SMPTE track where each
40 -way jackfield -all necessary connector; the process is not software) the central processor minute of track running time
to test a single channel. repeatable outside a mental of the Silk computer is a 6502 is compressed into about 1/2 s.
The production prototype hospital. TF's first job after running under an operating Fader movement information
channel was lovingly prepared the order confirmations was to system close to the BBC /Acorn appears on the VDU, courtesy
by the Silk stockings, completely redesign the system -a specially written of the main computer, as a
inspected for obvious faults by monitor arrangement with the version designed for `stand series of vertical bars. Reading
Eric, the production director, eventual aim of being able to alone' cards. Its basic function and writing to the fader
and passed on to Steve for the reproduce it with a semblance is to scan the control cells in automation computer can be
harrowing task of testing to of reliability using existing the mixer (three cells per done overall or using separate
destruction on the `big rig'. technology if at all possible. channel with eight switches faders. Special functions such
This process meandered on for As the central computer per cell) and to be able to store as fader grouping and the
days and days; Steve surfacing system was due to be the switch combinations, setting of SMPTE time
from his manic mumblings contained in a 3U Eurocard respond to modifications to the positions, are controlled from a
every few hours to apply red rack with plenty of room to status, and take control of any small panel conveniently
pencil marks on the spare, after a little cross - combination of switches when placed for coffee cups (a drain
component layouts to indicate technology horse trading, the required. To do this, the hole is supplied so that hot
the modifications, then spare space was allocated for computer needs memory coffee pours straight on to the
68 Studio Sound, December 1985
 This is live sound's most far-reaching With the companion TurboBass TM
development in over a decade. device, our system leaves speakers that
Its design carries Worldwide depend on compression drivers and so-
Principle Patents, the first of their kind in called 'state of the art' materials standing.
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Its unique, remarkable qualities are ability to keep the 'feel' of the original
completely new to live music. sound - these are Turbosound properties.
Five years after its development, All without any active compensating
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So we developed the TurboMìdTM to regarded as the elite of sound systems.
cover the 250Hz - 4kHz vocal range Having created them, of course,

iïiiii
without a crossover point. we'll continue to listen to engineers and

iii
7Lrbosound
musicians - and stay ahead.
--- Conventional Range-1 If you haven't heard a new
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uu Turbosound system, catch one in concert

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A member of thelbrbosound Group ofCompanæ5 London New York

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 DEVELOPMENT OF A and at the same time touch sound apparently pulls the past it -the spurious effects
DIGITALLY CONTROLLED one of the PRESET buttons. signal forward. This works are the result of the totally
The word 'STORE' flashes, well if the electronics correctlydifferent manner that digital
MIXING CONSOLE within the time that you emulate the natural effect, processing treats complex
knee of the operator). blinked, the complete desk however, an equaliser which waveforms: those with
status is stored in the selected introduces phase and transient content. The
Velocity preset and is permanent until amplitude distortion of orders mathematics are adequate for
So basically the Silk has 30 changed. that do not occur in the real the steady state but once
'channels' which are semi - At the end of the session, world will sound unpleasant - transients appear the phase
components become unrelated
intelligent and think that they you run the tape a little the effect being rejected by the
are individual computers, two longer with the SMPTE track ear, thus requiring greater to their frequencies and a
real computers that talk to in 'record' mode and store the distortion to even begin to perceived unreality is
each other (and incidentally, fader information for a few produce the desired sound. In introduced.
simulate a third 'processor seconds. Then choosing an the recent past, experiments We must not be dogmatic -it
simulation' for channel unused preset, you 'store' have been carried out along is only an unproven theory
interrogation) and a whole again so that the next day, the these lines-applying different based on some listening tests
heap of high speed software to desk will return to the mess circuit designs in the attempt but there is some writing on
hold it all together. So isn't you left it in. to emulate audio reality. The the wall (albeit partisan
there a time lag when you try results were unremarkable in graffiti) and presently, it
to operate the beast? Back to reality that the facts and results supports our case for real -time
The answer is a resounding A mixer is only a collection of confirmed the theory. electronics that react in a
no! The main programme loop microphone amplifiers, line Simplistically, it is a proven manner very close to the world
which interrogates the amplifiers and routing fact that, particularly at we continue to live in.
channels is designed for a switches laid out to enable the middle and high frequencies, At Alice experience of the
mixer size of 96 channels, and poor recording engineer to put modification of the spectrum maligned digital converters
it gets round that in a mere down on tape the wonders of should be restricted to first has shown no serious problem
60 ms. This means that a total the music of the time. order (6 dB /octave) with in the transient domain -only
desk re- configuration happens The Silk is only a mixer -a attendant phase shift (lead for a huge step forward in
within '/: s of hitting a preset handful of circuitry that 20 allowing the use of digital
lift, lag for cut) proportional to
button. Alteration of years ago would have been it, and this rule of thumb recording of analogue signals
individual routing happens inter -connected by some sort of must apply for both steady with complete fidelity. The
faster than that As a delay of patchfield or a few thousand state signals and transients. problem seems to manifest
even 0.1 s could be an relays. Now we interleave the The design of circuitry to itself in the CD mastering
annoyance in a complex music analogue with digital achieve this is well understood process -is it where a digital
mix, the software has been control -why not digitise the and applied by some console equaliser was used?
arranged so that main lot? manufacturers (including To maintain equality and
functions like X/Y muting are The answer to this basic Alice), others ignore the prove our attempts at fairness,
scanned first making the question is in two parts; one psychophysics and produce it must be stated that where
operating appear to be abstruse and the other equipment which in dynamic control is required for
instantaneous. economic. specifications promises whatever reason, then the
Operationally, it works like superior frequency control but digital domain with its
this: you throw the main
power switch and the mixer
What an is in practice sounds disgusting
giving the equipment a sound
inherent time delays reigns
supreme. This is one good
lights up like fairyland -in the equaliser for? of its own that is only wanted reason for omitting dynamic
operational state that it was Deciding whether a sound is (and deserved) by cloth -eared processing in the Silk; the
in the last time it was real or not to the ears of a producers and engineers who future will provide a new
switched off (control presets listener is a combination of so are affected by hype. breed of digital goodies which
and modifications retained in many factors that, in the will become hooked into the
battery backed -up RAM). The classic description, it is an art DCA -DSP real -time Silk to achieve
screen comes alive and you see form -a science with more On the question of the relative another step towards the
a display at the top like '9 than seven variables! One tiny merits of digital signal perfect mixer.
PRESET'. This indicates that section of that art is the type processing (DSP) versus
the last preset condition to be and use of the equaliser. digitally controlled analogue
(DCA), when considering the
The economic
used was number 9. You press In the real world, positional
a small button in the middle information (near or far as finer points of perceived sound, answer
of the control surface which well as direction) is digital systems must be Since the completion of the
says 'SET ZERO'. This is one acknowledged to be a complex considered -being an first Silk, fully digital mixers
of the pre -programmed desk combination of relative levels important part of our working have been installed. Their
states and turns everything with frequency (amplitude environment. price is approaching 10 times
off. You then hit 'RECORD' frequency response) and phase The digital equaliser is a that of the Silk and their
and the channels adopt a relationships across the audio mathematical construction of audio performance is no
conventional 'in -line' mode spectrum. Every environment what is believed to happen in improvement on properly used
ready to take signals from mic modifies the sound we hear, the real world -the shapes, balanced analogue (is any
inputs and route through to from the open air -which orders and phase shifts can be improvement possible or even
multitrack, with monitoring attenuates high frequencies neatly accommodated into the necessary ?) their adaptability
automatically routed from the relatively with distance, to a channel processing and now is restricted and reliability has
multitrack through the 'sec' or highly reverberant concert they exist. Yet there are a yet to be established. As
monitor path and down to the hall -which embellishes the remarkable number of quality forward looking engineers, the
main mix bus. You press PFL sound with multi -path aficionados who complain of Silk design team have an
or SOLO and the words appear reflections, phase shifts and astringency, apparent accumulated 100 man years of
on the VDU, similarly with cancellations. From this it is distortion, unreal effects and experience and 20 man years
master functions like obvious that large sudden general uneasiness when of design behind them. The
MASTER A /B, SOLO and changes of amplitude at listening to pure digital decision to stick with analogue
others. specific frequencies rarely recordings. Technical buzz for the foreseeable future is
You start your session occur naturally -the ear is words like 'quantisation and not a light one. Digital audio
setting the start time of the unused to them therefore they aliasing' are bandied, and design is happening and
SMPTE code and changing sound unnatural. blame is laid time and time perhaps our grandchildren will
routes and paths (little + The most common use of the again at the door of the poor operate totally in the digital
signs appear on the screen) equaliser whether engineers old A/D and D/A converters. domain but for the present
and hit on a switch realise it or not, is to change We have a theory. and the next 10 years,
combination that you want to the perspective or perceived Given that some difficult to analogue will rule the
repeat later. You press a large distance of the signal that is define problem does exist -and industry; economics and
red button marked 'STORE' being equalised -a brighter all our ears are not completely technology demand it.
70 Studio Sound, December 1985
 The essence of great musicianship is to make
the difficult look easy.
The essence of good technology is to make
the sophisticated simple.

It would have been easy for output levels exactly where

us to design the 163X with you want them and it will be
separate controls for attack, equally happy doing it on
release, threshold, stage, in the concert hall or in
compression ratio and output the studio. The 163X was
level; what was tough was to designed for people
create a design that would interested more in the way
adjust all those parameters things sound than in
with just two easily mastering technology.
understood controls. It is this' commitment to
The result is a modular, friendly sophistication at an
stereo -strappable even friendlier price which
compressor/limiter with distinguishes the 163X,
dbx's world- renowned another industry standard
OVER -EASY'' compression from dbx, the world's leading
characteristic which takes manufacturer of professional
only seconds to set up. The audio signal processors.
163X will unobtrusively hold

ass. 02195 USA.

Austria KAIN GES MBH & COMPANY Salzburgh, Vienna Australia KLARION ENTERPRISES PTY LTD South Melbourne Belgium TRANS EUROPEAN MUSIC SA Dilbeek
Denmark SLT Kopenhagen Finland STUDIOTEC KY Espoo France S.C.V. AUDIO Paris Great Britain SCENIC SOUNDS EQUIPMENT LTD. London Greece ANTALEX O.E
Athens Hong Kong STUDER REVOX LTD Indonesia PT. KIRANA YUDHA TEKNIK Jakarta Italy SCIENTEL AUDIO SRL Modena Japan BSR LIMITED Tokyo The
Netherlands SPECIAL AUDIO PRODUCTS B . Amsterdam New Zealand VICOMM SYSTEMS LIMITED Auckland Norway LYDROMMET Oslo Singapore LINGTEC PTE LTD
South Africa PRO SOUND Johannesburgh Spain AUDIO PROFESSIONAL SA Barcelona Sweden TAL & TON ELEKTRONIK AB Gothenburg Switzerland AUDIO BAUER
AG Zurich Taiwan YANG'S AUDIO VISUAL LABS Taipei Turkey OMER TRADE EXPORT AND REPRESENTATION Ankara West Germany AUDIO VERTRIEB
 STUDIOFILE
STUDIOFILE
The Fleetwood Mobile Studio
has, until very recently, kept a The Fleetwood Mobile Studio, The JBL 4343s are driven by
HH MOSFET V800 amps, and
fairly low profile. This was
mainly due to the fact that Warlingham, Surrey equalised by White 1/2-octave
EQs; reference speakers are
they were not geared up for supervise the operation and table if you want to keep out either Yamaha NS10Ms or
live work and were therefore the equipment choice was his. of the way and there is also Auratones driven by Quad
operating only on location. SHE Audio supplied most of room for storing the test tapes 303s.
Location work as such has not the gear and carried out the and the headphones. Heating Fleetwood are rather proud
been the 'fashionable' way of installation and very little has is installed, in addition to the of the outboard equipment
doing things for a few years changed since then. air conditioning systems which complement which they, again,
now and it is surprising that The size is really what pushes cold air in, in front of believe is probably one of the
Fleetwood only decided to strikes you first. The van itself the console and it is then largest to be installed in such
install a second 24 -track does not look enormous but as drawn out at the back of the a facility. It includes Eventide
machine and `go live' in soon as you set foot inside you room so that cold air is H949 Harmonizer, AMS
January of this year. If there can't help but comment. constantly passing over the DMX15.80S digital delay
was any doubt about the Towards the front the custom - equipment. processor, Marshall 5002 Time
decision, there are certainly no built Raindirk Quantum The Raindirk console design Modulator, Drawmer dual
regrets now as the work comes console is the centre piece, and was based loosely on the compressor /limiter,
pouring in. They didn't exactly the whole van is lit by day company's 500 series and Audio +Design F760 limiter/
-
get off to a bad start either
their first live assignment was
from the three (triple glazed)
windows along either side
facilities include VCA sub- compressor, two dbx 160
grouping, MCI automation, compressor /limiters, two UREI
Frankie Goes to Hollywood's wall, and by night, by 32 -track routing, 50- inputs, 1176 peak limiters and an
Europe A Go Go, satellites spotlights. The Hessian/ programmable muting system AMS RMX16 digital reverb.
and all. fibreboard/Rockwool insulated (the mutes may also be There is also a Scamp rack
The truck itself was born walls are pretty programmed from the which contains three Drawmer
nearly five years ago out of straightforward; the ceiling, computer), four auxiliary noise gates, four Roger Mayer
the profits of Fleetwood more complex, incorporates sends, two echos, 3 -band EQ gates, two Audio +Design 501
Publishing which, of course, '/4- wavelength bass trapping with high pass filter and more compressor/limiters, two 506
published Fleetwood Mac, above the mixing position; it unusual features such as the gates and two 504 parametric
hence the name. The three then slopes away up to the Track Jump switch which equalisers. All this, together
partners are Nick and JBL 4343 monitors with a allows you to bounce tracks with facilities to read timecode
Michelle (Mitch) Reynolds and solid oak top surface. From the without any patching. off tape, lock up to a U -Matie
Andy Rose. Andy came from mix position right to the back Andy finds the console very recorder and mix down to
the recently demised Mobile of the truck the ceiling is versatile and believes it to be picture on the colour video
One which he was with from covered in a solid foam tile one of the most advanced monitor, enables Fleetwood to
its inception to its end. The finish. With the floor covered consoles installed in a UK tackle most things.
dedicated trio run the mobile entirely with thick carpet, mobile recording facility. A Microphones, mie stands and
almost entirely alone with the every surface is treated. "In a new power supply was recently DI boxes and plenty of them
aid of Eve Bruckner who runs truck like this there has to be designed for it by Clive Green are particularly important for
the publishing companies, very careful control of the of Cadac as the previous one's live work and they include
takes care of bookings and bass. In the mixing position regulators were introducing Neumann U87, KM84, U47,
moves into the office when the the sound is very good, but if noise and hum. "Clive Green's AKG 414, D12, 451, Shure
truck is away to man the you sit on the seat at the back power supply is like a tank. SM58, 51, Beyer M88, M201,
phones 24 -hours a day. Andy you would tend to hear too The noise figures now are very PZMs and Sennheisers, 14 DI
takes care of the inside of the much bass," explained Andy. good -the board is much boxes and something in the
truck, Nick the outside, travel The fact that space is not a quieter and it also runs a lot region of 40 microphone
arrangements, ferries and problem meant that Fleetwood cooler now." stands. They need an
costs, and Mitch is tape /op, were able to incorporate a Tape machines are two MCI abundance of equipment in
cook and PR lady. Driving is kitchen (albeit small) at the 24 -track multitracks with MCI this area, they all explained at
split between Nick and Andy, back where not only can you JH45 synchroniser, and two once, because you might be
and when they arrive at the (or Mitch) prepare snacks but MCI 2- tracks all with Dolby called on to record things like
gig it's all hands to the deck. there is a small fold-down noise reduction. the Heroes and Villains live
When it is resting, the The automated custom Raindirk console is loosely based on the 500 concert in aid of a music
mobile lives in a haulier's therapy charity which involved
yard in a small Sussex village; 22 different bands, twice in
"Well, we can't park it outside one day, including such
the house can we ?" explained memories of our youth as the
Nick. The haulier's yard is Troggs and the Tremeloes.
actually, perfect because Fleetwood also carry 20 pairs
mechanical truck maintenance of Beyer DT100 headphones
is instantly on hand and it is which are used in conjunction
also relatively secure. The with the four foldback
facility is unusually large and channels in the truck.
spacious, built in a Ford D Andy: "We always have a
Series 38 ft lorry. When the couple of spare mies plugged
cab and chassis were first in so that if there is a
bought, the chassis had an 8 ft breakdown for some reason we
extension fitted and the can just throw another
interior acoustic design and microphone in." Nick, Andy
equipping took place over a and Mitch work very closely.
period of nearly 12 months. All three rig and do -rig. As
Freelance engineer Lou Austin soon as the equipment is all
was commandeered to into the venue Nick stations
72 Studio Sound, December 1985
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 STUDIOFILE
STUDIOFILE
himself on the stage, Andy in good as worthless. A paradox
the mobile and Mitch runs Fleetwood continued indeed.
around in between wherever This new customs approach
she is needed. means that you may not
It is all down to export blank tape -you are
organisation, the attitude of therefore forced to try and buy
the PA crew towards the it wherever your destination
mobile crew being all may be, because the same
important. If the two teams problem applies as you go
cannot work together they from country to country. It's a
might just as well go home. real headache and has led
Andy: "They must be many a desperate engineer to
professional. Ten years ago, or some lateral thinking!
even five years ago people's You may export test tapes -
attitudes were very negative if you have to use a different
a mobile suddenly turned up form -they still can't go on
at a gig. It's much better these your carnet, but any pre-
days. Everybody must pull recorded tape can go out.
together, and the PA shouldn't Theoretically you could simply
fight us, they should be record timecode on to your
thinking -album, if we do this blank tapes. No? Then, in
well for the album then we'll France comes the problem,
The mobile is housed in a 38 ft Ford D series lorry what do you do with the tape?
get another gig with the band
next year. course. Maintenance work and years ago because they are You can't take money out of
"The band themselves are mobile recording vehicles are still charging almost the same the country so how can you
going to be nervous because of inseparable. The equipment prices as they were then. It sell your client his tape? It is
the recording so we have to demands constant checking really is a problem. Fixed all almost as crazy as the rule
try to be as inconspicuous as and rechecking -much more studios could work round the that forbids the entry of
possible. We always split from than in a fixed location studio. clock 24 -hours a day if they master tapes in Greece. If you
the PA mics, and if at the Nick: "You can't have a wanted to but we can't. You want to get your record re-
soundcheck those mics sound mobile and part time might spend four days mastered in Greece, you have
good, then we don't do maintenance -it is definitely a travelling each way to a gig
and a lot of that time could be
- to send over a record and have
anything else. We do try to go 7 days a week job. We get so it lifted from the vinyl.
along with the PA soundcheck much last minute work that doing silly things like waiting As far as they know,
-we certainly don't go in and we just could not afford to around for one of two ferries a Fleetwood is the only
insist on having our own. have anything not working, so week or something. People just commercial mobile studio that
After all, all we're doing is it is all checked and double do not realise what is is totally privately owned and
just tagging a few bits of wire checked all the time. The tape involved." run, and they are also the
on the end of a chain. The machines are lined up before In addition to constant only mobile APRS members.
mobile shouldn't try to take every session or gig. We also maintenance, the mobile They are totally dedicated to
over. You should just try as have to be constantly updating carries numerous spares, and their business and love every
much as possible not to our equipment to make sure spare spares in some cases minute of it. As Mitch said:
interfere and not to add we keep ahead." since once you leave the "We love being on the road
anything not essential -keep a On the face of it, it is not country there is no saying how and it all works very well."
low profile and do everything immediately obvious that a easy it is going to be to ' Slightly apprehensive at the
quickly. mobile studio actually incurs acquire parts, so the answer is beginning of 1985, mentally
"If you do need to change more overheads than a fixed take your own -espcially for prepared for a hard struggle to
any of the mics the out front location. Although you can the console and the machines. success, they are all three
engineers and the stage charge the client for mileage Travelling abroad, all the genuinely thrilled that things
monitor engineers will usually and your time, you cannot equipment goes on an ATA have been going so much
go with your changes without charge as much as it would be Carnet which lists 422 items. better than they could ever
any problem. The main thing earning were it recording, you This used to be a fairly simple have hoped. At the time of
is just to keep it simple, that have to spend far longer way of showing customs this interview they were
way then you have less things carrying out routine officers what you are taking involved in recording the new
to go wrong." maintenance because all the out of the country and then ELP album (Emmerson, Lake
Nick gets hold of the PA travelling has shaken the that you are bringing the and Powell (Cozy Powell))
microphone chart of equipment around. Andy: same things back. The issue which they were very proud to
everything that is going into "People are also loath to pay however has recently been have got. Past clients are as
and out of the stage boxes and vast sums of money for a complicated by the fact that it diverse as they are numerous:
during the concert he remains mobile too. They just don't suddenly dawned on somebody Meatloaf to Blow Monkeys,
on stage the whole time, ready realise how much cost is that blank tape when it leaves Whitesnake to Mama's Boys,
to throw in the spare mic, pick involved. American trucks cost England is something that we Manfred Mann to Nazareth.
up the fallen stand, and just something like £2,000 a day. can value because you know With a pedigree such as
generally make sure In the UK, however, the what blank tape costs. theirs, and keenness to
everything goes smoothly. people who are running However, once it has been succeed, the low profile is
Throughout the day all three mobiles, and have been for used to record, say, Paul lifting steadily and bound to
are constantly in years, find it very difficult to McCartney you can look at it continue to do so.
communication over the implement price increases and two ways: either it is now an Janet Angus
talkback. they therefore cannot afford to extremely valuable commodity, Fleetwood Mobile
Apart from unfailingly re -equip or update existing possibly worth millions of Recording Studio,
turning up very early for equipment, and a lot of them pounds, or alternatively you 41 Kingswood Lane,
every gig that's about it. are still working with the could take the view that since Warlingham, Surrey CR3
Apart from the maintenance of same console they had ten it is no longer virgin, it is as 9AB, UK. Tel: 01-651 5108.
74 Studio Sound, December 1985
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76 Studio Sound, December 1985

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 STARLIGHT EXPRESS
The London stage
Tim Leigh Smith investigates the the live theatre where
production of Starlight hardware must be unobtrusive
and not impede the action.
Express became
something of a special requirements for a quality Martin Levan regards it as a
landmark in theatre
sound in terms of the
sound system at a major London very rewarding experience.
"Having never worked in the
scale of the operation,
the quality achieved, and its
musical when the cast performs theatre before I confronted
many new problems. It is a
implications for the future of on roller skates very different environment
sound in the theatre. Over the from the studio. You're
last 15 years there have been dealing with the same sort of
major improvements in the equipment but the application
quality of theatre sound but in is totally different. I mixed the
the last five years it has show for the opening and the
distinctly come of age. first few weeks. Andrew Lloyd -
Permanent installations such Webber was very pleased and
as those operated by Britain's the show met with some good
National Theatre, the Royal reactions as far as the sound
Opera House and the Royal was concerned.
Shakespeare Company usually "It was great fun. I really
achieved very acceptable did enjoy it. A studio engineer
results but in the early 1970s leemer. might imagine that mixing a
show is rather like spending
many theatres seemed to hire
in gear that was better suited tttttt444444441.4e,1A;,;l two hours in the studio doing
to the raw sound of a pop
concert or the dull drone of a
/1t'11rl 14 +Y
}}j:}}}}}. 4 r glr r r r r r
t'i'i V'.1'Y!'S'pr
e
a rough mix of the same thing
every day. It's nothing like
political rally. There were that at all. The show feels
even occasions when the totally different each night
audience applauded a break and with the audience there's
down in the sound system an instant reaction to
because its failure actually View from the Cadac desk of the unusual set design everything you're doing.
improved the clarity. You're part of the
Autograph Sound Recording The show is staged at the company hires Autograph to performance, responding to the
has been part of a movement Apollo Victoria -just across the supply the equipment for a shape of the show and moving
to get studio quality road from London's Victoria freelance sound designer, as in with it."
equipment accepted in the station. With the entire cast this case, then Autograph
theatre environment. These on castors the set design is a offers their services as After the successful
efforts were greatly little unusual. The stage has technical consultants, much as launch of Song and
encouraged by the pioneering been extended out over the an in -house balance engineer Dance in April
work of early theatre sound orchestra pit to provide a large provides support for a 1982, Andrew
designers such as Abe Jacob circular area which could freelance engineer. Lloyd- Webber asked
and David Collison. Sound represent the original loop of Sound designer Martin Martin Levan to
designers are, more or less, track that is the basis of every Levan was a freelance studio check out
the audio equivalent of train set. Further extensions engineer /producer before the sound on his 1981 hit
lighting designers. They form a loop of track round the becoming a sound designer in Cats, based on poems by T S
specify the overall effect of the central section of the front 1982. He started as a tape op Eliot, which had then been
sound system and have stalls and a massive loop some 15 years ago and was a running for about a year, and
considerable influence over along the sides and across the balance engineer at Morgan is still running at the New
the sort of equipment used. back of the stalls. An incline Studios when Andrew Lloyd - London theatre. Martin
Starlight Express is a across the back of the stage Webber went there in 1977 decided that some changes
musical fantasy by Andrew leads up to a high level loop with his brother Julian to should be made and discovered
Lloyd- Webber and Richard which comes out from the record Variations on a theme another aspect of theatre
Stilgoe depicting the wings to run along the front of by Paganini. This was followed sound.
relationships and rivalry the balcony and back into the by other sessions with Andrew "I quickly learned that
between the locomotives and wings. Suspended above the Lloyd- Webber at Morgan performers are very aware of
rolling stock on a child's stage is a swinging bridge including the album of the the sound on the stage, even
model railway. As for many which rotates and tilts, rises London stage production of though they're moving around
children this train set includes and descends, moves upstage Evita. This was also a show and they're not getting the
elements of stamp collecting and downstage to provide a equipped by Autograph and is full force of the PA because
and motor racing. A wide variety of links between the still running at the Prince they're usually behind it. They
selection of locos from around loops of track. Edward theatre. are totally tuned in, and they
the world almost outnumbers The ambitious staging by Late in 1981 Andrew Lloyd - feel very unsettled if it differs
the odd assortment of director Trevor Nunn and Webber was planning the night to night. When you're
passenger and freight cars, choreography by Arlene stage presentation Song and doing eight shows a week with
and there are frequent races to Philips -of Hot Gossip fame - Dance which featured songs
from Tell Me on a Sunday
only one day off at the
weekend it's very difficult to
determine which is the top posed some interesting
train. Each of the 26 challenges for sound designer with lyrics by Don Black and make any changes because
performers is on roller- skates Martin Levan and the a ballet based on Variations. you've got to have the show
and has a name and costume technical team from He suggested that as Martin working well each night. So
which clearly indicates which Autograph led by Andrew Levan had recorded the you may have to make a
of the locomotives, freight or Bruce. Autograph covers many Variations album he should subtle change every day over a
passenger cars they represent. of the major musical work with Autograph on the period of four or five weeks.
For example, Dinah the diner productions in London. The sound for the theatre It's a very slow process and
is dressed as a waitress, and company has its own sound production. It is obviously some of the changes are
three identical box cars -Rocky designers and provides a quite a transition from the unsettling for the performers
I, Rocky II and Rocky III -look complete sound package when multitracking, overdubbing, but it really doesn't take very
like contenders. required. If a production remixing recording studio to long for them to settle again."
78 Studio Sound, December 1985
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 When the changes were cymbals by Simmons and a
completed and Cats was
purring along smoothly once
again Andrew Lloyd Webber
-
STARUGHT EXPRESS LinnDrum (all DI); a
percussionist with two
tympani, tubular bells, snare
was happy with the result so (2xKM84), congas (MD421),
Martin Levan went on to glockenspiel and xylophone
design the sound for the New (KM86).
York opening. Starlight Express You may have counted 16
was already beginning to get instrument mies and 13 DI
up steam for its London links making a total of 29
opening in March 1984. sources. This demonstrates a
A major decision was that sub -clause of Parkinson's Law:
the sound for the new show pit bands expand to fill the
should be totally amplified
very loud with almost no
- space available. A Studer 8/4
mixer was installed on top of
direct sound audible to the the outboard rack alongside
audience-rather than the the main mixer to handle the
usual reinforcement. The stage overflow. This pre -mixes two
extension over the orchestra trumpets, two trombones and
pit created a near sound proof the four percussion mies on to
room for the band which is three channels of the main
therefore relayed through a set desk.
of monitor speakers behind the Alongside each input fader
stage area. A high level of on the Cadac desk is a row of
sound from the band coming LEDs indicating input level
across the stage into a rather from -20 dB (green) to +20 dB
lively auditorium required a (red). This shows up very
close mic technique for quickly if a channel has gone
adequate separation on the down or is being overdriven.
vocal chain. With up to 20 The main input channels have
singing performers on stage at Meyer Sound Labs UPA -1 loudspeakers at the rear of the stage. all the usual facilities such as
one time, many having solo 3 -band parametric EQ, aux
lines and all on roller- skates, console designed specifically failure amongst a great pile sends and access to the
sometimes dancing or racing, for use in the theatre, and of temporary cables would be outboard rack. Each channel
the only possible answer was Andrew Bruce was very horrendous. You'd have to can be assigned to one of the
individual radio mics. impressed by the rapid send 2,000 people home, and VCA groups (1 to 8) for level
delivery and high standard that wouldn't be good control or direct (group 0); the
The scale of the of the equipment. So the three publicity. So there's a greater selection being indicated by an
operation and the of them spent several weeks degree of permanence built alphanumeric LED display
extra facilities Martin working out the precise into this installation." above the fader. Three VCA
Levan wanted meant requirements for Starlight The desk has 56 input groups are allocated to the
that the sound desk Express along with the types channels, 32 main and six aux band: DI keyboards on group
had to be designed of back-up facilities, long term outputs, eight VCA group 6, all the mies on group 7, DI
and built specially for reliability and ease of faders, and a very flexible drums and bass on group 8.
Starlight Express, although it servicing needed for live routing system to The output of the 26 band
is owned by Autograph and presentation. accommodate any changes in channels can be directly
hired to the production The resultant desk is a the production. The inputs are routed to any or all 16 main
company. Andrew Bruce points sizeable beast which would arranged as 22 vocal channels outputs via a set of 16
out that it is not in the best grace any self-respecting on the L- shaped left hand pushbuttons and 16 miniature
interests of a production multitrack studio. This was section of the desk and 26 conductive plastic preset level
company to buy this sort of not one of your portable PA band channels on the right controls at the top of each
equipment. The need for jobs. In fact much of the with eight auxiliary inputs in channel. Ten of these group
service cover, to ensure that equipment was installed at the the middle above the VCA sub outputs exclusively feed the
the show does go on every Apollo Victoria on a groups. main band loudspeakers which
night, would add a permanent basis with an Two of the band channels are actually sunk into the
considerable annual fee on top expected life of about 10 are used to route delayed band back wall of the theatre to
of the purchase price. And years. This implies a sound to speaker systems maximise the usable stage
when the show does close, confidence which is probably further forward into the area. This was quite a major
sooner or later, the production justified in the light of auditorium than the main operation involving several
company is left with a load of Lloyd -Webber's track record. band speakers. This leaves 24 pneumatic road drills as there
sound gear of uncertain value "It's partly because they channels to handle the are 10 large speaker systems
which will probably be put thought it was going to run," 15 -piece band which comprises: here, some of them 30 in
into storage where it will get says Andrew Bruce, "but quite three keyboard players, one (762 mm) deep. By selecting
damp and end up useless. On a lot of the installation is with electric piano and the appropriate output routing
the other hand Autograph's permanent because of the Yamaha DX7 synth, one with and adjusting the channel
hire charges include free Greater London Council safety DX7 and Prophet, one with output presets, it is possible to
replacement of faulty regulations. You're not Prophet and Emulator (all position each of the band
equipment and emergency allowed to just run cables keyboards are DI); one of the sources at any point in the
service cover until 9.30 at under wooden tracks -it's got keyboard players also plays wall of sound across the back
night by which time most to be run in trunking. Also harmonica on one number of the stage.
shows will be safely into their this show's a lot more (SM77); two woodwind players, All the main loudspeakers
second half. complicated than any other I one with flute (KM84) and sax are from Meyer Sound
Clive Green was chosen to know of in this country. (U47), one with clarinet and Laboratories by way of
build the desk. At the time his You're not only dealing with a sax on one mic (C460); six Autograph Sales, British
company was producing mega -sound system, you're brass players, three trumpets agents for Meyer. The band
custom- designed desks and dealing with two video (U89 each), two trombones speakers are four massive
subsequently took over the systems and all the (U47/Ú89), one French Horn MSL-3 and six smaller UPA -1
trade name Cadac when the mechanical stuff like the (C414); two guitarists, one bass systems. Each system is
original company ceased bridge which is the centre (DI), one with acoustic guitar biamped and includes a
trading. Martin Levan was piece. They felt it was worth (ECM50) and electric guitar controller with active
familiar with Cadac desks, making it neat and tidy (SM77); a drummer with all - crossover, delay circuitry to
Autograph had already taken because the consequences of electronic kit including bass, align the phase of the HF and
delivery of Clive Green's first being unable to track down a snare, hi -hat, toms and LF drivers, and driver
80 Studio Sound, December 1985
 The Mitsubishi X- 850
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 protection limiters to prevent any time from any point in
overheating.
The MSL-3 and UPA -1 are
not designed to handle very
STARUGHT EXPRESS
array of speakers on the back without bottoming out
the theatre. This posed a
considerable problem in terms
of radio mic reception from the
low bass so an 11th output wall has been called, there "The only problem we have far corners of an auditorium
from the desk feeds all the was no question of using space is one that any microphone full of metalwork supporting
bass instruments to six Meyer mics. Andrew Bruce, having would have in that situation. the tracks. However,
USW -1 subwoofers which are arranged for Audio They suffer from the ingress of Autograph has quite a
arranged round the Engineering to supply 20 sweat on the forehead, and reputation for setting up
proscenium arch and are Micron radio mic systems, they're throwaway jobs after comprehensive radio mic
delayed to match in with the helped Martin Levan carry out about six months. We had one coverage and it is possible to
main band speakers. The tests to determine the best major change -over in the first pick up performers from
resultant sound is very loud position for the actual mics. year and quite a few singles almost anywhere in the
but clean and impressive. The traditional `tie -clip' have been changed -in the theatre. There are other
Foldback for the band is position would not provide summer we get through considerations, like risk of
provided on headphones fed enough clean signal and would microphones fairly quickly. feedback and the problems
via individual Formula Sound pick up undesirable chest There was a suggestion which of musical timing over a
Que-4 mixers so each player resonances from the singers. sounded good, using very fine distance, but the facility
can set the desired levels. At first they considered the gauze sprayed with 3M is used on a couple of songs.
Three auxiliary outputs from headset type of mic position, Scotchgard. The theory was In addition to the 21 radio
the main desk carry sections at the corner of the mouth, that it repels water and it mics there are three other
of the band and a fourth feed which is sometimes used in wouldn't allow sweat through vocal mics. One of these is
provides audience reaction pop concerts. "It's a very the very fine mesh but it mounted inside a tunnel
which is essential for the ambient theatre. When you're didn't seem to work. entrance in one corner of the
conductor. The keyboard on the stage there are so "For a while the theatre. Rusty, the freight
players and guitarists each many hard surfaces that it deterioration is difficult to spot yard steam engine and leading
have a feed of their own local rings a lot. If you don't get a unless you do an AB character, makes his first
output on their fourth microphone close to the comparison with a brand new entrance from here, and his
channel. performer you start re- mic. It's a gradual process. voice is heard approaching the
With the conductor concealed amplifying the ambience and Then it comes to the point tunnel entrance, via a
beneath the stage a video start getting into trouble." where it cracks up the loudspeaker in that corner, as
system is used to make his The very sensitive Micron moment you give it any sort of he assures us that, "Nobody
gestures visible to cast and transmitters, intended for level. I assume that what can do it like a steam train!"
crew. He stands on a well lit speech from a distance, happens is that the charge on This mic shares a channel
podium facing a small b/w objected to the much higher the electret gradually gets less with the hand -held spare radio
camera which relays his image levels of singing close to the and less, because sweat is a mic.
to three large video monitors mic, and their compact design saline solution so it would The other two mics are in a
slung below the balcony for does not leave much room for tend to conduct electricity. But dressing room next to the
the benefit of the cast on pads. Pending possible I would have thought that stage which has been equipped
stage, and several smaller modifications by the there were far worse things with video monitors, foldback
monitors located at control manufacturer, a compromise about dumping a large blob of facilities, some acoustic
points where cues are required solution had to be found. They salt solution on the front plate treatment, and two AKG
such as sound, lighting, and tried concealing the mic on the of an electret than just C414s to form a chorus booth.
video control. The conductor singer's forehead, just at the gradually discharging it." Any The chorus singers thicken out
has two video monitors hair line. "The forehead suggestions? the choruses on big numbers
himself. One shows his own seemed to be an obvious and provide backing vox for
image to ensure that his more choice -but it wasn't obvious There are 21 Micron some solos. Their two mics are
enthusiastic efforts do not take to anyone else. Everyone else diversity receivers, transformer combined onto one
him out of shot. The other just laughed but it works very each with LED channel of the desk.
carries an output from video well in that position." indication of One of Martin Levan's
control following the action on, Sennheiser supplied the tiny transmitter battery special requirements for the
and beyond, the stage. MKE2 omnidirectional strength, frequency Starlight Express desk was
When the various races take microphones in a convincing drift, and RF level at computer control of the VCA
place the roller- skating racers pink flesh tint as well as each of the dual receivers. As group assignment for the vocal
speed round the back of the black. The precise location of there has to be a member of channels. The idea is a bit like
stalls, off on to loops out in the mic depends on any the sound crew behind the programmable lighting control.
the wings and across the front headgear or wig that a scenes at one corner of the Each of the 22 vocal channels
of the balcony. Thus they tend character may wear but stage to look after all the can be assigned to any one of
to vanish from the sight of all generally the mic is almost radio mics throughout the the eight VCA group faders or
or part of the audience at completely undetectable even show, it was decided to install direct (group 0). Although
some of the most dramatic face to face with the the receivers in that corner so there can be up to 20 singers
moments in the show. A vision performer. Each mic and that she can monitor the on the stage at one time, they
mixer co- ordinates seven transmitter is allocated to a status of all the transmitters may not all be singing and
remote controlled colour particular person on a both visually and on those who are can be
cameras to provide full permanent basis to ensure headphones. This has enabled designated as lead singers or
coverage of the races. As each consistent quality. her to spot problems and take chorus, depending on the
contest prepares to start, three Andrew Bruce is very action before the fault becomes particular song. When
large screens appear, one pleased with these noticeable to the audience, or characters go off stage their
above the proscenium arch for microphones. "They're very indeed anyone else. It also mics have to be muted, of
the balcony while two more reliable because the cable that leaves the sound operator on course. The changes from
unfold from what look like Sennheiser use is steel the desk free to concentrate on chorus to lead or mute always
girder bridges on either side of reinforced and it can put up his job as balance engineer. take place at predetermined
the stalls, to carry pictures with a great deal more Audio Engineering provided a cue points, so the computer is
from three video projectors. bending and flexing, without special remote display which is loaded with the 86 consecutive
The conductor has a video feed parting company with the mounted on the mixer so that sets of vocal mic group
throughout the show so that connector-much more so than if the sound balancer hears a assignments which are
the band can vamp 'tì1 ready all the other small lavalier fault he can check whether it required to cover the whole
in the event of a problem or microphones that we've ever is a radio mic or something show. At each cue point the
delay. used. They also sound good. nearer home. sound balancer pushes a
Since the vocal mics would They seem to be able to accept When Trevor Nunn the button on the desk, the
be right in the line of fire of higher sound pressure levels director was planning the computer silently steps to the
the powerful reproductive than most of the other types staging of the show he wanted next set of assignments, and
system of the orchestra, as the without the distortion, and performers to be audible at the appropriate group number
82 Studio Sound, December 1985
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is displayed at the top of each interrupt the private lives and
vocal channel fader.

Basically lead boys are

STARLIGHT EXPRESS affairs of the locos and rolling
stock-`This is Control! Tonight
is Race Night!' His many
assigned to group 1, portentous pronouncements
lead girls to group 2, are pre- recorded on numerous
chorus boys to group broadcast cartridges which are
3, and chorus girls to played in by a tape op tucked
group 4. For complex away behind the video control
reasons group 5 is desk at the back of the stalls
spare and is kept shut, so mics and armed with a triple stack
to be muted are assigned to ITC cart machine.
group 5. Groups 6, 7 and 8 are Andrew Bruce advocates the
used for sections of the band. use of carts in theatre shows
In effect the vocal channels because they have instant
can be set to suit the start, and they do it very
individual performers while quietly. More than one cue can
the balance is controlled on be put on each cart as the
just four VCA group faders. To machine stops automatically,
assist this operation the sound ready for the next cue. The
balancers have added a tactile Control Voice cart machine
zero mark in the form of a comes up on one of the eight
small strip of gaffer tape auxiliary inputs and is routed
alongside each group fader. A to the main speakers direct
LED beside each channel fader and via a digital delay which
indicates when both the adds a sort of main line
channel fader and the assigned terminus PA effect.
group are open. The tape op takes her own
The programmed assignment cues from the score -she
system is very important to happens to be studying
the smooth running of the music-and there are several
show so a simple back -up dramatic moments when the
computer is provided with all Meyer Sound Labs UM-/s provide vocal coverage for the balcony orchestra and the Control
the cues stored on an EPROM. Voice suddenly burst forth
If there are major changes to tense moment for the sound rose in pitch as it frequency together most effectively. She
the show a new EPROM has balancer. shifted its own feedback. It is also responsible for
to be blown, but the back -up Additional vocal coverage for sounds ridiculous. operating a voltage controlled
system has proved to be the stalls is provided by a set "We have very very steep siren which wails above the
comparatively inexpensive and of miniature Bose 101 notch filters which are made stage to heighten the
very reliable. speakers slung under the as feedback suppressors by excitement just before each
The output of each vocal balcony. There is also a line of UREI. We often stick them in race. Then during the races
channel can be routed to two Bose /0/s on the front edge of but sometimes you can get just there is commentary to ensure
audio sub -groups, one main the stage, aimed at the people as good a result without them, that no one misses the
and one spare, which allow for in the front row of the stalls. or just using an ordinary dastardly deeds done to deter
the insertion of outboard Andrew Bruce: "The main graphic EQ. The big problem the hero. This is also pre-
equipment on the entire vocal vocal system goes over their with those steep notch filters recorded and times in with the
chain. In fact very little EQ is heads. They would hear the is that you can lose sight of action very well. Finally there
used on the vocal mics, just vocals going on but it would what you're trying to do, and is, inevitably, a train crash in
slight trimming on the be 'up there'. They need a that is to make the voice as the tunnel at one corner of the
channel EQ to suit the signal from in front to push intelligible as possible at as stage. This effect is routed via
combination of performer and the vocals back onto the stage. high a level as possible another auxiliary input to the
personal mic. The two vocal It's at fairly low level so that, without it sounding awful at speaker in that corner.
sub-groups have the same hopefully, it doesn't drill a the same time. Unless you At one point the Control
16 -way output routing as the hole in their foreheads." remember that you end up Voice announces the arrival of
band channels. Naturally the A semi -circle of five UM-1 notching out so many a brand new electric
vocals are not routed to any of UltraMonitors suspended over frequencies, in such an locomotive -Electra. He and
the band speakers behind the the stage provides the main important part of the band, his train sing of the joys of
stage. vocal coverage for the balcony. that all you're left with is a AC/DC, their voices enhanced
The main vocal speaker This is reinforced by two rows lot of low and a lot of high by an AMS DMX 15 -80S
systems are two Meyer Sound of Bose 101 speakers hanging with a few spikes here and stereo delay line with the
UPA -1 mounted one each side from the ceiling above the there in the middle. pitch change card using two
of the proscenium arch to balcony which carry mainly "Sometimes after you've different settings, one high
cover most of the stalls. vocals with some band sound. used a feedback suppressor for and one low. The harmoniser
Further forward on either side All the various speakers that a couple of days, and you're outputs come up on two
of the stalls is a Meyer UM-1 are mounted any distance in thinking there's just auxiliary inputs, the
UltraMonitor which is front of the main speaker something not right with the remaining four aux inputs
designed as a concert stage systems are on delayed feeds sound, you switch it out take stereo reverb from two
monitor. These speakers to match the timing of the completely and just reduce Ursa Major 8X32 digital
project sound over a narrow main signal. level slightly: and suddenly reverbs, one for the band and
angle to reach the far corners One item of equipment that is everything comes to life again. one for vocals.
of the stalls without washing notable by its absence is any It's got to be used There are four effects sends
over the tracks, thus reducing form of feedback suppression. intelligently." from each of the main desk
the risk of feedback if anyone Andrew Bruce: "Sometimes we channels. Two of these go to a
is skating round with a live use it and sometimes we don't, One voice in pair of quadpots, one main
mic. At the start of one because no device is wholly Starlight Express is and one spare, which can
number all the freight cars are acceptable. One device that not really part of route signals to the
collected from a tunnel half we've steered well clear of is the vocal chain. loudspeakers in each corner of
way along the left side of the the frequency shifter. I've This is the Control the theatre, such as the one
stalls and they then pass close heard the effects of a Voice -the voice of used for the train crash
behind the left hand vocal frequency shifter when it the little boy who effects. The other two go to a
speakers singing as they go finally was nudged further is running his model railway, pair of 12 -way panpots built
without any feedback. Andrew than it could cope and it went frequently making precocious specially by Phil Leaver at
Bruce admits that this is a into beautiful feedback that announcements which Autograph. These complex
84 Studio Sound, December 1985
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contraptions turn quite easily the problem and realised there
with the aid of a large black
knob known affectionately as
'The Donut'. There are 12
STARLIGHT EXPRESS was a serious requirement for
more channels in theatre. You
can't have 26 people roller -

Bose speakers arranged round skating around with mie

the big loop of track along the cables on the floor, it's
sides and across the back of obvious. And there's no way
the stalls. One of the 12 -way that you can stick mies up in
pots is used during the races front of the stage if you've got
to route some of the energetic s rock and roll at PA levels. He
sounds from the band to these needed to see these things for
speakers, following the action himself; you can only describe
round the track. A very them up to a certain point."
effective effect.
With the 4 -way effects In the early days of talking
outputs, 12 -way effects outputs pictures and television it
and 16 main outputs there are was assumed that the
32 output faders with LED loudspeaker must be as
level displays on the right close to the screen as
hand end of the desk. These possible. The coming of
feed five groups of amplifier simultaneous television
racks in various parts of the and stereo radio coverage has
theatre, as close as possible to begun to educate audiences to
the speakers they serve, their accept some separation
location being subject to safety 12 -way quad panpots christened The Donut' between image and sound. The
regulations. Seven 15 -pair totally amplified sound of
multicore cables carry all the equipment," says Andrew A couple of years ago there Starlight Express without a
programme feeds to and from Bruce, "it works beautifully." was a story in the British single microphone visible does
the desk via a patchbay. Most of these units are used press about a pair of birds create a curious detachment.
For the individual mic leads on the band. There are also which had built their nest The effect is similar to the
in the orchestra pit Andrew two UREI 1176LN mono between the tracks of a busy scenes in BBC TV's Last of the
Bruce used quad cable for the compressor /limiters and two railway line. Despite frequent Summer Wine where minute
first time and achieved a Ursa Major 8X32 reverb units. trains the hen laid her eggs figures in a distant landscape
major reduction in the noise An AKG TDU 7000 and determinedly sat on them. are heard conversing in 'close
from thyristor-controlled 4- channel digital delay is used Track maintenance staff took up', or the pantomime on ice
lighting. "Instead of being a for some of the delayed care not to disturb these with the skaters way down
balanced twisted screened pair, speaker feeds. Andrew Bruce ornithological train spotters. there on the rink while actors
it's two balanced twisted finds this unit very Then someone thought the and singers provide the voices
screened pairs which are satisfactory too: "It's a rack brave birds deserved publicity, over PA. There are already
twisted round each other. Any with eight slots and you can and the media descended on plans to stage the show in
noise induced in quad cable is
about one tenth of its normal
make it into four by one
in /one -out or a single one
-

-
the nest site. An eager
newshound trod on the nest
large arenas in the States-
that'll be interesting. At the
level in an ordinary balanced in /seven -out (with different and killed the story. end of each show in the
twisted pair. It's something delay times) depending on the Something similar happened theatre several members of the
the broadcasters have been modules you buy. It's very to the first night of Starlight audience ask the sound
using for a long time and flexible, and it's the quietest Express when a TV unit operator if the music was live
we've had a great need of it in delay that I've ever come turned up to cover audience or recorded. On being told that
the theatre for years because across. It's very reliable and reaction to the event and, it is all live they are always
the thyristors are the bane of it's got one thing that always perfectly legally, obliterated incredulous but delighted and
our life. Completely quiet attracts me to manufacturers: one third of the radio mie most impressed -a typical
sound systems are now quite that is a relay bypass so that channels with its transmission comment being, "What a
possible." if you switch the power off the link to base. This disaster fabulous job!"
Autograph also set up a relays relax and there is still attracted the attention of a Starlight Express is
complex multichannel an audio path. We have our Department of Trade and brilliantly staged. The
communications system graphics modified so that, in a Industry (DTI) committee musicians, cast, make -up,
linking the stage management live situation, if a unit starts which was considering the costumes, set, lighting,
with the conductor and all the misbehaving you can just kill reallocation of frequencies in sound ...the whole
control points. Four of the the power. Although you may Band I and Band III. presentation is superb. Yet
stage management staff carry suddenly get a funny EQ or no Andrew Bruce: "Because of somehow the magnificent
2 -way radios which are delay time, you still have a the fuss we were asked to setting does not seem to
patched into this wired show. It's fail safe and it comment and submit an support a true gem. The story
system, and six others have comes as standard with the application to be viewed as a loses its way. The message of
receive -only sets. The Cadac AKG delay." Three more delay specialised user. Broadcasters Starlight Express might be
desk includes four lines are provided by Klark- are 'Recognised Users' (along that each one of us, tea boy,
communications input Teknik DN700 (one for the with radio taxis and the like) tape op, balance engineer, or
channels which can feed Control Voice), and the but we never have been. We producer, has a part to play.
certain intercom mics to the graphics are Klark -Teknik came under the heading of The seeds of greatness are in
auditorium speakers for DN332 dual 16 -band for General User with four all of us, and the race is not
rehearsals. This avoids tying equalising speaker systems. assigned channels. It always to the swift. Rusty
up regular mic channels. One There is a noticeable appears that the theatre wins the final race because his
of the communications inputs tendency to have spare industry may now be regarded competitors cheat themselves
is available to the stage capacity in case of failure. as a separate body with off the track -he wins from
management during the show "We have two complete sets of specific requirements. I was behind. The story ends with
so that if there is any danger power supplies, they're quite heartened by their very the suggestion that the
to skaters or audience when a combined through diodes so friendly attitude at DTI. We defeated diesel locomotive
race is on, a track marshal can one could go short circuit in even had the chairman of the should be converted to steam.
order 'Stop racing' over the the middle of the show and, sub -committee who was Finally a note of thanks to
sound of the band. hopefully, nobody would looking into this problem sound balancer Graham
The outboard rack houses notice. Details like that come sitting at the desk for a whole Carmichael for allowing me to
four MaxiQ 3 -band parametrics from years of biting our nails, show, loving every minute of see the show from the sound
and four Gain Brain wondering whether power it. He was completely bowled desk and for his help with the
compressors from Valley supplies are going to die on over by the complexity, he had backstage photography.
People. "I love that the first night." no idea. He saw the extent of
86 Studio Sound, December 1985
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`1985. Sound Technology
 THE HILL
The PA system used at the
SYSTEM least efficiency at 250 Hz, at its most
Wembley Live Aid concert Following his article efficient at 125 Hz, and just right around
earlier this year was based on an
existing Hill Audio sound system on the Live Aid PA 60 Hz.
By this time we'd fallen in love with
which has been in use for a
number of years.
last month, Richard 60 Hz as a bass frequency, we felt that
anything that was happening at 60 Hz
RV: Can you outline for me how
your system developed?
Vickers talks to gave good, strong kick drums -and that's
where we wanted the system to be most
MH: All the cabinets are identical, four - Malcolm Hill and Mike powerful. We tuned it at 60 Hz, it gave a
way, full -range enclosures, run from peak at 125 Hz which we didn't want
three -way active crossovers. The bass Scarfe of Hill Audio and a phase cancellation point at 250 Hz;
section uses special ATC long coil 12 in
speakers and the mid is the cone about the development it sounded great.
We played around with it and realised
element of two Tannoy ferro- cooled 10 in
speakers.
of the sound system that 250 Hz in general rock and roll
terms was the kind of frequency you end
The top has a passive crossover, We bought some and got the woodwork up killing on the EQ -well in normal
splitting the treble band to high and low shop to make all kinds of cabinets. We theatres anyway.
The low treble is an Emilar 2 in were concerned about the Martin cabinet So the lack of it didn't seem to concern
compression driver and the high treble because it was impractical to put in the the sound because it wasn't a frequency
uses the dual concentric (DC) tweeters back of a Transit van -we used them for that was really wanted, and the 125 Hz
which are part of the DC Tannoy transporting our rigs at the time and we didn't want, so we knocked it back on
package. there was the classic Martin situation: the EQ. This was still a separate bass
The crossover points are not cliff-edge you've sold somebody a nice new system, bin at this time. That's where our
type (ie 24 dB /octave), but quite slow they're totally happy and six months famous B212 bass bin came from. You
slopes (12 dB /octave), so that bass gently later they can't understand why there's could put a 3 k rig in a Transit -it's
rolls out as the mid gently rolls in. In no bottom end. where I got my dimensions. When we
general these points are around 300 Hz What happened was the removable came to do our full range cabinet in
bass to mid, 1.5 kHz mid to top and bottom panel gradually worked loose, 1980, we used this bass bin that had
6 kHz top to HF. screws fell out and the air seal went -all been so successful since 1975, and all we
So the 10 in is running from around the energy from the 15 in was rattling did was to make it three 12s instead of
340 Hz to 1.5 kHz, but these are not very the back panel instead of going out of two so it balanced the sound up. It's the
specific. We have total control over them the front of the cab. one product design that we haven't
and their slopes; we set the electronic I felt this ATC was really happening as changed since it was first designed -our
crossover up with gaps between the a speaker, it gave the kind of bass that I systems have never lacked bass power.
settings, so in fact we set the midrange was looking for and came into the price The only thing you have to watch is that
to control the set at 1.7 kHz with the bracket that we needed. I wanted a the folded horn completely decouples the
treble control set at 3 kHz. So the cleaner sound, a more compact, practical speaker below about 20 Hz, so it's
acoustic energy transfer happens package. usually a pretty good idea to put a 30 Hz
gently- somewhere between the two It had occurred to me that in most roll-off.
which is just what we wanted to get it designs a lot of loudspeaker energy was RV: Most people seem to knock out
flat. used trying to break the cabinet apart 40 Hz down these days.
The long coil 12 in dates back to when because of the high compressions in MH: In a high compression folded horn
we were involved with Dave Martin. I folded horn enclosures. I messed around cab, the speaker can't move; in ours you
walked into his place one day, when we with designs and I was impressed with pump 15 Hz through it and the speaker
were using his folded horn bass bins the quality and efficiency of a 4560 from just (Malcolm blows raspberry) and
with Gauss 15 in speakers, and he said 100 Hz upwards, and the very low moves about 10 ft in either direction, and
'listen to this'. frequency power potential of the Martin falls apart.
He had this single 15 in bass bin bin. Our cabinet presents the ATC and the
alongside another that looked like a The end result was a 4 ft folded amp driving it with a horrendous job; all
scaled down model of it, and on A/B'ing horn à la Martin bin, but driven from the damping and cone control relies on
the two, the smaller one was at a similar the rear of the cones of the 12 in the coil of the speaker; the amplifier and
level but the bass transient response was speakers, the front of the cones being the cabinet have nothing to do with the
phenomenal -this turned out to be the direct radiators. control of the cone excursion loading
ATC. RV: What happens on the back of the which moves as though it was in free
It has the same coil strength, diameter 12 in monitoring-are the speakers air.
and energy as the Gauss but it's coupled completely open at the back? Its natural response is inverse to a
to a 12 in cone instead of a 15 in and MH: The three speakers face forward, Martin bin, or the Clair S4. We stuck to
with a long coil, it's capable of moving looking like an infinite -baffle cabinet, a 3 -way crossover because we felt that
under control over an extremely wide and from around 150 Hz upwards it's a intermodulation etc, over the treble band
excursion, so you get your energy back direct radiator, and then we have a was not a major consideration, keeping it
but being a stiff 12 in cone, the transient folded -horn, just like a Martin except it's simple.
response and bass integrity are so much driven from the rear of the cone. We had We then spent a year messing around
more than the 15 in and it was half the to reduce the obvious potential for phase with systems. ATC 10 in speakers, a
price of the Gauss. So I thought, 'this is cancellation. We ended up with phase block of CS5 speakers which were great
the one for me'. cancellation at 250 Hz. The cab is at its for quiet bands -on loud bands the bass
88 Studio Sound, December 1985
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 energy was moving the midrange cones the 2441s weren't just going out, they
whatever you put into them which were gradually deteriorating.
meant the vocals disappeared during any MH: You could start a show and you had
peak.
I bought a pair of Tannoy
Buckinghams for a studio installation
and then bought some SRM10X speakers
THE HILL no idea what state your horns were in. If
they had just blown then you'd have
known that they needed fixing -a very
expensive problem. We totally lost faith

SYSTEM
for my home hi -fi. We discovered that in the JBLs as you'd get this strange
the speaker was 150 W and up till then sounding top end as the suspension
I'd always thought Tannoys had low around the diaphragm was cracking up.
power handling. Then the 2445 appeared, but you
So I rang them and the guy said 'yes, looked at the size and weight of it and
it's a ferro -fluid cooled diaphragm and RV: Isn't that like most compression said: `well, forget it'.
can take easily 150 W'. So we stuck the drivers? Most of them have a hump at The R -H design team then went back
speaker on a baffle and put an 800 W the start of the midband area -or around to Emilar and we followed them and so
amp on it- midrange signal only -and that area -and it's just that the majority we're now using the Emilars. It's similar
turned it up. The mechanics of the coil of manufacturers don't bother to tell you. to the R -H, but has been improved with
coupling were so good it just got louder MH: Yes. That's right. We were also a cleaner top end and a little more
and louder and ended up receiving about having another major problem in that efficiency -and we're happy with it. In
600 W, creating an incredible SPL, the 2441 diaphragm had proved to be fact the latest Emilar over the frequency
totally clean until the lightweight very unreliable. band that we use is more efficient than
suspension just collapsed. We did a deal RV: And expensive. the 2445.
with Tannoy for some slight MH: Well, that's by the by. We tried all In my opinion, of all the 2 in drivers
modifications to make it suitable for PA; sorts of 2 in drivers -the TAD etc, and I've seen, the TAD is the best if you
it's bolted together so it requires then we discovered Renkus- Heinz. want a driver to cover a very wide
Locktites or it wouldn't travel as it Although the R -H is limited it does frequency range. Obviously the other
stands, and various things like a higher actually do what we wanted very well. It negative thing about it is that having a
powered coil. covers the 1.5 -5 kHz band very smoothly, beryllium diaphragm you are a little bit
This gave us a tremendous bonus more so than the 2441, so for our cabinet worried about your engineers developing
because we were also trying to find a it was great. cancer in 20 years' time or whatever -I'd
driver for the top end. The classic format It is incredibly tough -I can't ever rather avoid it if I can. So that's where
was a 2 in driver and bullet, which I'd recall losing a diaphragm, although I'm the cabinet came from, and it wasn't an
never been happy with. sure we must have; it's very clean and overnight thing. It was the result of very
RV: Always too much hiss and not the bonus is it's lightweight, which for long-term work.
enough of the sound? our flying cabinets is important. The For the mechanics of it, we wanted to
MH: All they do is act like a 15 kHz main thing at the time was that it didn't have all the cabinets identical, so we
noise generator, whatever signal you put collapse. made it a complete full range enclosure
in. Having gone with dual -concentric I'd rather do AC /DC with 60 working with a multiconnector on the back. From
Tannoys we get free of charge a very Renkus -Heinz than 60 2441 s in various the flying point of view, we built it in to
clean, high frequency compression driver, states. a steel cradle, so each cabinet carries its
two per cabinet for nothing. By putting MS: That was a problem at the time, as own flying hardware. All you have to do D
them at an angle to each other to
produce smooth coupling with the Hill Audio's M3 speaker cabinet
midrange we very neatly set it up so as
you moved off-axis of the 2 in driver you
came into the path of the Tannoy
tweeters, giving you a cabinet of around
10 -15 kHz range with 60° dispersion.
RV: I wondered if you encountered phase
problems with the cab?
MH: The critical thing to look at is
using a lot of them together. A lot of
designers have made an error by looking
at the cab on its own and not paying
enough attention to what happens when
you use a lot together. Four cabs a side
may sound great but 40 a side and
you've all types of problems.
Obviously it's the coupling between the
cabs that's of primary importance-it
took a lot of experimenting to get the
angle of the lOs to each other and in fact
the end result is that finished cabs
couple correctly with adjacent cabinets,
as long as they're 7'/2° from each other.
Hence the 71/2° that the cabs were
stacked with at Wembley.

LA7: System
development
MH: Since August 1981, apart from
minor details, we haven't changed it.
MS: Apart from changing the 2 in
compression driver.
MH: Yes. We started off using the JBL
2441 and it was OK. We were however
unhappy with two things -one was that
there was always more 2.5 -3 kHz than
we wanted, and just EQ'ing it out of the
system didn't seem to have the right
effect.
90 Studio Sound, December 1985
"I just think more people
ought to know how good
Soundtracs gear is ...

"I did a lot of research before buying a mixing console for Turbot studios. Ideally I'd
have liked an SSL or a Harrison suppose, but frankly, they were out of my price
I

range.
Among the producers & engineers asked, however, the general opinion was that
I

if it lived up to its claims one of the new Soundtracs desks would be excellent value
for the money I had.
Well it did, and it was: it's clean, versatile and easily good enough to turn out
professional masters. A few minor niggles perhaps, but what the hell. I work with the
engineer from a top London studio and he loves it.
Like Pete Townshend I paid the normal retail price for my desk and didn't get any
backhanders for this ad. I just think more people ought to know how good
Soundtracs gear is ..."
TOM ROBINSON U.K. Distributor

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America Soundtracs Inc 745 One Hundred and Ninth Street, Arlington, Texas 76011 Tel. 18171 460 5519 MCI Intertek Inc., 745 One Hundred and Ninth Street, Arlington, Texas, 76011. Tel. (817) 640
.

6447 Australia Klarion Pry Limited, I6 Suakin Street, Pymble, N.S. W. 2073. Tel. 2 449 5666. Tlx: AA7I 289 Austria Audiosales, Postfach 168,A-2340 Modling. Tel. 2236 88 81 45. Tlx- 79456 AUDIO A Belgium Prom
Audio, Av. de Stalingradlaan 63. 1000 Brussels. Tel. 02 231 7840 Canada Omnimedia Corporation Ltd.. 9653 Côte de Liesse, Dorval. Quebec H91' 1A3. Tel: 514 636 9971 Denmark Kinovox AS, Industnvej 9. 3540
Lynge. Tel. 02 187617 Finland MS Audiotron, Box 28, SF00421 Helsinki. Tel: 90 5664644 France Phase Acoustic, 163 -165 Bd Boisson, 13004 Marseilles. Tel. 91-4987 28 Germany Amptown, Hamburg. Tel 040
6460040. Session Musik. Walldorf. Tel. 06 2272876. Sound & Drumland, Berlin. Tel 030 882791 I. Musik Shop, Munich. Tel 089 341 I I. Der Musikladen, Nurnberg. Tel- 091I 445454. Greece Sound Centre, 22
I

Tossitsa Street, P.O. Box 148, Athens, Greece Hong Kong Ace (International) Co, /fl. Wing Ming Ind. Centre, 15 Cheung Yue Street, Cheungshawan, Kowloon, Hong Kong. Tel 3- 7452343. Tlx: 40442 ACECO
HX Indonesia P.T. Kirana Yudha Teknik, P.O. Box 71. JNG - I

Jakarta. Tel: 487235. Tlx 48120 HASKO IA. Israel Barkai Ltd., P.O. Box 2263, Ramat Gan, Israel 52122. Tel. 03-735178/732044 Italy Linear Italiana
[Link]., 20125 Milano, Via Arbe, 50. Tel 02- 6884741 Japan Trichord Corporation, Bunsei Building No. 3 I FI 8 -8, 5 Chome Toranomon, Minato -Ku, Tokyo, Japan. Tel. 3 433 2941. Tlx 2524324 CMOSL J Korea Young
Nak So Ri Sa Co., 182 Jangsa -dong, Jongru -ku, Seoul. Tel: 267 -9697. Tlx K22756 YNTRADE Netherlands Pieter Bollen geluidstechniek by /PAC, Hondsruglaan 83 A 5628 DB Eindhoven. Tel: 040 -424455 Norway BE
siving Benum as, Boks 2493, Solli, 0203 Oslo. Tel 02- 442255 Portugal Amperel Electronica Industrial LDA Av. Fontes Pereira, De Melo, 47, 4`, D 1000 Lisboa. Tel 532227/532698 Singapore Lingtec Pte. Ltd., 246
MacPherson Road 07 -04, Betime Building. Singapore 1334. Tel. 07- 471951/07- 471952 Spain Telco Electronics SA. Gravina 27, 28004 Madrid. Tel: 231 7840 -2210187 Sweden Septon Electronic A.B., Box 4048,
S -42104 Vastra Frolunda. Tel: 31299400 Switzerland Studio M 8 M, Villa Tannheim, Ch5012 Schoenewerd. Tel. 64 4149 69 Thailand Kitchareon Machine Tool and Musical Ltd., 73 Asadang Road, Bangkok 2 Tel.
2224712 United Kingdom Don Larking Audio Sales Ltd., 29 Guildford Street, Luton, Beds. Tel: 0582 450066.
 to fly the system, is clip one cabinet to a power amp to Turbo once and they
another. You don't need extra chunks of wanted to see how it would drive two
hardware which make the cabinets

THE HILL
cabinets in parallel; the second cabinet
heavier, but on balance we think it's a they had was in the building next door
better thing to do. and they linked the two together. That is
RV: Or as at Wembley, you were able to something we never do, always one cable
use the clipping between the cabinets as per cabinet. The first went half as quiet

SYSTEM
a method of allowing you to go six high, and there wasn't anything coming out of
and still get good stability between the the second at all on the bottom end,
cabinets? because they were losing so much power.
MH: Well that's effectively the result. You end up saying 'look, you add that
You can go one, two or even sixteen together and you've got about 1 Sl of
cabinets in a vertical column by clipping there is no specific point; you just keep resistance in the cable and you're
them to each other, which gives extreme pushing and pushing it and gradually loading it down to 2 E2 so you're only
versatility and you're left with a rigid the amplifiers will start distorting more, getting %rds of the available power by
structure which is one thing against, and so will the cabinets -but there is no bouncing 2 E2 off 3 E2 and the damping
say, the Clair or Turbosound flying specific point that you have to work factor has gone totally out of the
systems. We felt the Clair system left below. If it suddenly goes from great to window'.
unnecessary and unwarranted air gaps horrible, you've got a big problem. But I can't get through to anyone, so
between the cabinets and the cabinets I first came across this with power I've given up trying to tell them now.
were independently suspended so there amplifiers in the early days with the We spend a lot of money carrying a lot
was a lot of kinetic energy being wasted Crown DC300. If you had a DC300 of heavy cables around.
as the cabinets vibrated. Obviously, in driving two 4560s a side on kick drum RV: Do you think that 1.5 mm cable is
designing the systems we looked at you went up to a certain point where it sufficient for the job?
everybody else's. just made this horrible noise at you, MH: Up to 45 ft, I'm happy with it. To
RV: There are theories against this, which meant you had a very quiet bass me, the loss of damping and power is
where people say if you have everything end because the engineers were just noticeable at 45 ft. Not many people
in one block it's angled straight forward, desperately trying to avoid that point. would notice the difference, using the
then it's very easy, especially at If you put our amplifier in there, and cables we do.
festivals, for the sound to just go over on paper it's exactly the same power, RV: You were using CPC connectors -I
people's heads. A lot of people in a small suddenly the whole thing was much haven't seen them used as speaker
area produce a lot of heat -this tends to more powerful; when you reached the connectors before.
produce a heat layer over the top of clipping or protection point on mine, it MH: The reason we're using them is
them, and if the sound is projected in a just got slightly more distorted. A because you can load them with as many
straight wall it tends to bounce off the progressive distortion, so you could drive or as few pins as you want. Because we
top of this layer. When it's beamed it flat out and you had sonic headroom to have this big chunky cable -only needing
downwards, though, it's more likely to deal with the peaks beyond it. With the ten pins- Cannon EPs are out. We had
break through that barrier. DC300 your maximum had to be within to find something with a big, chunky
MH: That's a very good theory and I the rated power. clamp and capable of 10 -pin connection.
think it has some validity. You could say RV: I'll probably get shot for saying We like the fact that it's plastic:
that the top two rows create a downward this, but DC300s were designed for although it's not as strong, in one way,
pressure front on the cabinets below industrial use and it wasn't until the as metal, it can't short out. If a fork lift
them, in other words the top two rows 300A that true audio applications were does go over it it bounces back rather
divert the sound down; if they weren't possible. than bending; plus the connector at the
there the sound would go up. MH: It was actually for home hi -fi -then cable end is actually of less mass than
MS: This was the main complaint that for professional use, but this was when I the cable, so you don't get this weight at
we had the first time we did Donnington. first came across the phenomenon that if the end of the cable.
MH: I'm sure what you're saying is it had a specific distortion point, you had The only problems that we had with
exactly what happened. That was when a problem. Similarly, on Martin rigs, it-if it's plugged into the cabinet and
we got complaints from villages miles especially the Philishave -if you had a someone drives a fork lift across the
away. It's the conclusion I came to, when version that had an RCF speaker in it, cable and rips it out, it also rips the
the people are in there, there is that rather than ATCs -you came to a point retaining ring of the socket out of the
layer of hot air and if the sound is where it actually makes a dreadful noise cabinet. What I'd like to do (and I'm
coming parallel it gets reflected up. at you (Malcolm blows another very happy with the cable end), is have a
The easiest thing is just to hit it with raspberry). metal end in the cabinet which is what
more power, so I'm using the acoustic RV: I was quite interested by some of we're working on.
wavefront of the top two rows to deflect the amplifiers; you had three channel Going back to the amplifier front,
the acoustic wavefront of the first four amps driving the side stacks with the that's what we did with the triple -
rows downwards. 3000s driving the centre. Were these channel amplifier, and it was extremely
RV: Allowing you to carry on using the specifically designed for the flying rig? neat, very easy to work, set up and it
same cabinet, and not have to change MH: Yes the triple channel amp was gives individual control over each
anything for your flying rig? designed for the flying system to make it cabinet; and we were working on
MH: All I can say is that at Donnington very neat and simple -one cabinet, one individual control of cabinets such as
last year it was incredibly successful. cable, one amplifier, one input cable. monitors, side fills, small PA systems
Although it was the loudest Donnington RV: Are you driving each of the 12s and things like that. However, having
ever, it didn't travel beyond the festival individually, because I noticed six cables run a system for several years, we felt
site. running up out of the back of the 10-core that we could benefit from having more
RV: It seems that it's only over the last speaker cable? power-the headroom thing.
four or five years that people have put MH: This is one of the things which We also felt that when we were
the correct degree of importance on how other people don't do, and I keep telling pushing the system really hard, the
much headroom is available. The result them they're making an enormous weakness of our triple amp was its
is that the sound is that much cleaner, mistake. We have a 10 -core cable, six common power supply. If you drove the
transient response improves no end and cores powering the 12 inch -ers individually, bass band heavily into overload the
you have the capacity to take very high two cores drive the midrange in parallel available power in the midrange was
power levels for short periods of time, and the other two cores drive the top reduced and there was cross- modulation.
helping to improve the dynamic range end. The midrange got harder under those
for the audience's appreciation. People like Turbosound use the same conditions, so we wanted more headroom
MH: It's very important for there to be diameter cores, but only six -way; it's and we wanted to have separate power
no natural limit in the system. There are great, because you have a smaller, supplies for the mid and top amplifiers.
an awful lot of systems around that seem cheaper, more flexible cable, but you lose That meant that the tri -amp was getting
to have a certain, specific limit and when so much power and so much damping so much more complex, and bigger, that
they reach it, they suddenly just crack factor when you're driving a flying we thought in that application we are
up. I tried very hard with our system- cabinet over a long lead. I demonstrated just as well off using a conventional D
92 Studio Sound, December 1985
 THE DIG TAL
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ów102 PROFESSIONAL D -7800 Freiburg (West Germany)
Phone: +49-761 491506
Telex: 7721606 (hma d)
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amplifier, which is why we're using our
new 3000s.
mentioned it, and the worst happened -
but I guarantee we didn't lose a snare

THE HILL
RV: How do you set up the 3000s to drum the whole way through.
power the stacks? RV: Why have you stuck with 8 -band
MH: We put two 3000s in a rack, both fixed frequency EQ on your desks, when
channels of one driving two bass sections most manufacturers use sweep EQ?
each, one side of the second 3000 driving MH: The Series 3S mixers we use have

SYSTEM
all four mid sections and the other side 8 -band fixed frequency, though each
driving all four treble sections. The band is switchable up or down half an
available power to each band is double octave. This, we feel is the most
the theoretical RMS handling of the practically effective EQ there is. The
units, so since we developed these amps reason we avoid sweep EQs is that as
we've never run out of power-clean We use Belden because we find it's they stand, the classical sweep EQ is
amplifier power-at all. As soon as we mechanically very strong, but electrically with a gyrator circuit which adds so
did that, when pushing the system, we you could use anything -we've used all much distortion and colouration that I'd
completely lost any tendency towards sorts of stuff. It doesn't even have to be rather not have an EQ in the first place.
midrange hardness and the top end screened, and it works very well. Soundcraft, Studiomaster, Midas, etc,
cleaned up just like that, so the sonic RV: And saves you money as well. all exhibit it.
improvement is quite strong. MH: Well the saving on the cable more To my way of thinking all the EQ does
Selling a 3000 series stereo amp with a than pays for the active stage box. is even out the frequency response, it
conventional connector etc is a lot easier RV: Presumably, the front end that's in doesn't alter phase response or anything
than selling a tri- amplifier. We use your stage box is lifted essentially from like that. This is something my ears
1000s for the tri -amped wedges, side fills your desks? always tell me...
and anywhere local control is necessary. MH: We keep it in the desks as well, Mike (Scarfe) for instance went along
just in case. But it is the same design. with this in broad terms until one day
The Helpinstall on the piano was the we were at Tasco demonstrating our new
Multicores only thing padded at Live Aid. cabinets, and we'd used a pre -recorded
RV: I believe you run all your multis at as that hadn't been sound checked at all. tape through our system and they did
line level? The first time we brought it up, we put the same thing using a Midas.
MH: The motivation for having a virtual the pad on as they were sending us the You could A/B the tape through our
earth active stage box on stage to bring line output instead of the mic. mixer with the EQ flat or run the tape
everything up to line level is that, even RV: My only twitch about the stage box directly to the crossover and it would
using a high quality Belden multicore of system at Live Aid was that all your sound just the same, Mike couldn't
say 100 m in length with a 200 t2 splits came off after everything had been believe it when it went through the
microphone driving a 1.2 kS2 terminating through your front end, boosted up to Midas with the EQ defeat in and the
impedance on the mixer, you could easily line level and then dropped down again Midas completely changed the character
have 70 or 80 f2 in the multicore plus a through dropping transformers for the of the sound coming out.
fair degree of capacitance. If you take a splits (MH: `for the BBC?') Right. Would Nothing wrong with the sound coming
mic direct into the mixer and A/B it that not have been more ethically correct out -it wasn't a bad sound, but it wasn't
there is a tremendous difference in noise, if your splits had been in front of your the same as putting the tape straight
buzzes, crackles, a lower signal to noise stage box? into the cabinet, because of all the phase
ratio because of signal loss and general MH: This is one of the things which colouration in it.
quality especially at low frequencies, and could well have been different if the If you'd measured the Midas frequency
of course, the damping goes out of the scale of the event had been anticipated response it would have been totally flat
window. prior to planning. but the phase response was completely
Through an active system, by virtue of The BBC wanted to avoid parallel out of the window.
having a virtual earth line level output, splits because of the voltage change that A friend of ours Mike Shea in the
it's totally immune to lighting buzzes, you get when other departments pull in States used a Neutrik phase -response
hums, crackles, RF and the rest of it. and out. If I was to do it again, I'd still recorder and when he checked our mixer
You can put miles of cable on it-any do an active buffered split, but I'd have against others he thought the machine
kind of cable, and you don't get any had all the mics going into a special box had gone wrong, because the phase
noticeable degradation. just for the occasion, and that box would response through our EQ stage was
By doing it this way the connection have produced the monitor split, the out totally flat. When he put it on a
between stage and out front is totally front split, and the BBC split, rather Soundcraft and even an Orban
immune to all nasties and you only need than them tapping off after our active parametric, he found it was all over the
one core per way so straightaway you stage box. place. Hence discovering something that
can get double the number of channels The splitting of the sources was not no one had really looked at until this
down the same multicore. ideal for that event; in particular, we point.
Because it's all at line level, you can should have thought: `What do we do if This was, for us, a technical
also quite cheerfully send the outputs of the lead vocal goes down ?' and consulted conformation of my philosophy don't -I
the mixer and crossover back down the with the BBC -and that we never did. like the colouration that sweep EQs
same cable that has the inputs; there's We never mentioned it, the BBC never add.
no chance of it oscillating, because there
is no gain within the cable.
The disadvantages are that you have to
watch the headroom of the gain stage on STEREO DISC AMPLIFIER 5
the stage box, which means that THE MOST THOROUGHLY RESEARCHED DISC AMPLIFIER THERE IS
sometimes you have to introduce a pad
For Broadcasting, Disc Monitoring and Transfer
on the stage box but we've given the
input a lot of headroom so this is only n

necessary in extreme cases. A thing for

the future is to multiplex a logic down
there for it to drop in pads
automatically.
It totally freaks out American stage
hands. They've just done Showco or
someone, and they turn up with six
RIAA from magnetic cartridge to balanced output through the unique Response Variable Filter which provides. through a single
stage hands to run out six multis, and
control knob. a 3dB turnover frequency variable between 13 and 4kHz but always with an appropriate phase and amplitude
you just give them one and they can't characteristic for psychoacoustic considerations. Ring or write for full specifications:
understand where the rest are. They SURREY ELECTRONICS LTD The Forge, Lucks Green, Cranleigh
can't handle the idea of running 50 Surrey GU6 7BG Telephone: 0483 275997
channels and all the outputs down one
small cable.
94 Studio Sound, December 1985
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1111011 I III DUillIlIlIll 1111111111

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KLARHTEKI1IK
 Barry Fox investigates the facts behind the industry news
BBC cutbacks conversion. How much extra would it
have cost if the BBC had been forced to
could throw the image forward.
Murray and Sexton put engineers on
Let it not be forgotten that if the BBC produce separate programmes for 405 the job of making a car decoder. At the
governors have their way the Neve DSP line TV instead of sourcing them from same time they negotiated with BTG for
will be the last true innovation ever to the 625 line service? a licence. The decoder worked )I've heard
come out of the BBC. The OB's control room expands from 20 it) and after going through the
BBC engineers joke privately about the to 30 m when the van is parked -a bureaucratic mill of dealing with BTG,
recently delivered OB truck now needing pushbutton control on the outside works AVS certainly didn't fancy starting
its MOT because it was ordered over the hydraulics. So what happens if the again from square one with Maple. AVS
three years ago. Neve managing director OB van is covering a carnival and a created the subsidiary, Troy, and signed
Laci Nester -Smith admits that the reveller pushes the button? the day before BTG's deal with Maple
project proved far more ambitious than Neve and the BBC have thought of was finalised.
anyone imagined. that. The button has to be primed, like a Bearing in mind that it was Troy's
"It represents 100 man years of bomb. idea to use Ambisonics in a car, BTG
development, in addition to the original Engineers up for the chop have a does pretty well. Troy pays £2,000 up
BBC work at Kingswood Warren," says fantasy: In here Governors. Just make front, and then a 5'4 (or £2, if larger)
Nester -Smith. yourselves at home in this nice new royalty on every unit made. Troy spent
The BBC's Guy McNally began work 30 m' control room. It's a tight fit but £50,000 on developing the system. Even
on COPAS (Computer Operated you can all just squeeze in. Now the nice before launching the product Troy had
Processing of Audio Signals) in 1978. boffin from Kingswood Warren will pop committed £0.4 m on tools and advance
Neve joined in after two years and by outside and press a button." orders to the Welsh AB group which is
1981 there was a working prototype. In making the units for them. So Troy is
March 1982 the BBC ordered a working
desk in a mobile for outside broadcasts. Ambisonics turn gambling a similar sum to that which
the NRDC and BTG have spent over the
A team of engineers and studio operators
were locked in a room and told to work of events last 12, unsuccessful, years. Richard
Murray leaves no doubt that he did not
out a final spec sheet. It still took Two recent events suggest that exactly regard BTG as a bundle of fire.
another three years; the van was finally Ambisonics surround sound might finally He knows he has a big education job on
handed over in September. lift off, after all. his hands and wants to play down the 12
The delay is due to one thing. Gross After years of behind -the -scenes year history when talking to the
underestimation by all concerned of the negotiations, often fraught with consumer and popular press. The British
yawning gap between prototype design considerable ill -will, some of the rights to public still equates surround sound with
and production engineering. But, says the invention have been bought back by quadraphonics and yawns at the thought
Nester -Smith, It must be 100C% right." some of the team who sold them to the of something that has been on the shelf
The DSP design had to be frozen two NRDC 12 years ago. Canadian firm for so long. "It needs a commercial kick
years ago, otherwise it would still be at Maple Technology will now try to exploit that BTG hasn't been giving it," says
the design stage. That's why the circuit the invention and succeed where NRDC, Murray. The dedicated band of Brits,
boards use bit slice technology, with and the British Technology Group which who have kept the faith with
strings of power-hungry 4 -bit TTL chips took over from NRDC, have failed. Ambisonics, despite all the squabbling
wired in parallel to build up the 32 -bit The licence with Maple was signed in and fumbling that has dead handed it,
main mixing bus. More modern July. As predictably as clockwork, BTG can only hope that Troy will be able to
architecture could reduce the number of had just failed to make any effort to give it that kick.
chips from 250 per board down to 15. publicise the seminar on Ambisonics
The designers of the original ENIAC
computer built in the USA at the end of
technology and recording techniques
which it was jointly sponsoring with the Miles
the war had the same problem. They APRS. "We decided against press Miles Davis played the last concert of
kept on finding better ways of wiring the releasing it and to play it in low key,- I this year's JVC and Capital Jazz
valves. Someone finally had to say now was told. That is, I suppose, one way to Festival at the Royal Festival Hall in
we stop designing, and start building'. sell a surround sound system. London. Not only did Miles play an
The BBC governors are currently Just before Maple signed on the dotted encore (unheard of) but while roaming
planning to cut back on research and line, British professional video company the stage like a caged lion (normal), he
development so up to 1,000 engineering AVS also signed on a line with BTG. posed to photographers (definitely
jobs may go. Along with the IBA labs at The AVS subsidiary company, Troy, will abnormal). His roaming was courtesy of
Winchester, Kingswood Warren is one of now make Ambisonic decoders for use in a Countryman diversity radio mic
the few places left in Britain where cars. This, and whatever push Maple can system, running on US frequencies at
there is any original research and muster, could be the turning point. US power transmission levels. By the
development being done into basic Before it gets lost in the mists of time, time the DTI has woken up to the fact
broadcasting technology. it's as well to have the background to that a visiting performer is not on
As well as the Neve digital mixing this signing on record. 175 MHz with a maximum of 5 mW, they
desk, the BBC has contributed Around a year and a half ago AVS was have long gone.
invaluable work on loudspeakers, digital dealing with BTG on other matters. Several times Miles went to the front
sound, glass fibre technology, teletext, Richard Murray and Alan Sexton of AVS of the RFH stage, bent over the edge and
telecine, standards conversion...Over (Murray is ex -REW and Sexton ex- blew his horn direct into the lens of a
the last five years the BBC has licensed Philips and Pioneer) were offered a BTG crouching snapshotter. He did exactly
20 companies to manufacture equipment demonstration of Ambisonics. It was an the same thing at the Nice Jazz Festival.
and pay the Corporation a royalty. The exotic six speaker dem which they Is this a new Miles? Has the Prince of
official BBC line is that the royalty immediately wrote off as far too esoteric Darkness suddenly turned soft and
revenue from these is 'insignificant'. So for commercial success. But a week later friendly to photographers? Not a bit of it.
presumably are the three Queen's they had an idea. Why not use it in a As Miles leaned over the edge of the
Awards for technological achievement car? Ambisonics widens the listening stage and dipped his trumpet at a
and the prestige that projects like the area, making the speakers unobtrusive. photographer, he would open the spit
Neve DSP bring to Britain. No one Back seat passengers usually find the valve and let the contents fall on
counts the money saved on standards rear speakers obtrusive. Ambisonics whoever was below-.E
98 Studio Sound, December 1985
 Q RLRRR-TERRIR

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99
 A user report by Mark Jenkins

AKAI 5612 5612

MIDI DIGITAL SAMPLER
A=At
met
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Akai's S612 is the first would more accurately have been way before playing. The Start Point
dedicated polyphonic sound labelled Omni/Poly, since there was no slider allows selection of a new start
sampler to appear in a indication that the unit could respond to point on an arbitrary scale of 0 to 100,
standard 19 in rack -mounting several MIDI channels and play six while the End Point slider has a scale of
format. Unlike the AMS different monophonic voices -30 to +30 with 0 at the centre of its
DMX 15 -80S the Akai has no simultaneously (Mono mode). The Poly travel.
digital delay functions and mode did make it possible, however, to This arrangement gives you several
unlike that unit and the Powertran select any one of MIDI channels 1 to 9 options. You can cut any initial click off
MCS-1 it has the ability to play six using Channel Up and Channel Down, a sample, shorten it, or, by setting the
voices simultaneously. the channel in use being shown on a End Point slider to a negative figure,
This factor alone takes the Akai out of numeric LED display. System Exclusive play all or part of the sound backwards.
the realms of simply triggering sampled information can be transmitted to other In the One Shot mode the sound will
sounds and makes it worth controlling Akai units. play once when you strike a key; in the
the unit from a music keyboard. This can Under the MIDI controls are the Looping Mode the sound will repeat
be achieved via a rear -panel MIDI save/load/verify switches which operate between the start and end points chosen
socket, and the Akai in fact responds the Akai's disk storage system, of which as long as you hold a key down.
dynamically to MIDI inputs so the more later. The main sampling control The Looping option obviously gives the
volume of individual chords can be section has three functions, One Shot, possibility of sustained (organ or string -

controlled by playing technique on, for Looping and Alternative, together with like) effects but it's difficult to set up a
instance, a Yamaha DX7 FM two Sustain sliding controls to set the loop without a noticeable glitch. This is
synthesiser. start and end points of the sample just a matter of practice though and
The Akai has two front panel audio during playback. I understand that careful experimentation usually allows
inputs on '/a in jack sockets at mic and another option, Manual Splice, has been you to find acceptable start and end
line levels. The record level control has added to production models. points. The Alternative (perhaps more
an associated LED VU level meter, and After a sample has been taken from a correctly `Alternating') mode helps in
there is a monitor level control to feed live source or loaded from disk, a MIDI this task; it makes the sample repeat
the sound input to the line out at a input from a keyboard, sequencer or between the start and end points
comfortable listening level. computer will cause the Akai to sound forwards and then backwards, and so at
There is also an external trigger input the appropriate pitch (notes responded to least any glitch which may be audible is
jack on the front panel -this is an are keys 36 -96 from the total range only heard half as frequently.
alternative to the automatic triggering of recognised by MIDI of 0 -127). On the right hand side of the front
the sampling function which can be set Unless the sound to be sampled has panel are seven rotary controls, of which
to operate when the input level exceeds already been edited on tape, it's likely three refer to a modulation LFO and
approximately -5 dB. There are two that you would want to edit it in some four to various aspects of the final
touch -membrane switches under the output. One of the output controls is
record level meter; these are Record New SPECIFICATION
Decay, which allows a sample to
and Record Overdub, which allow you to Mounting: EIA 2U (Disc Drive EIA 21J( continue playing for a variable time (up
make a new sample or add another layer Depth: 379 mm to its full length) although a key is no
Weight: 6.0 kg
of sound to an existing one. Overdubbing Sampling: Up to 8 s longer held; in synthesiser terminology,
can be carried out indefinitely but the Voices: Six this is more properly known as release.
quality of each element of the sound will MIDI: In/Thru; Key Down; Pitch Bend; On the S612 the sampling time is
suffer to such an extent that no more Modulation; Velocity; Damper; System exc
Inputs: Mic, line automatically controlled by the
than three overdubs would normally be Outputs: Line approximate pitch of the sample-from
advisable. Akai Electric Co Ltd, 12 -14, 2- Chome, Higashi - 1 s for high pitches to 8 s for lower
Next to the Record Mode controls are Kojiya, Ohta -ku, Tokyo, Japan. pitches. More user control in this area
UK: Akai (UK( Ltd, Haslemere Heathrow Estate,
three switches for MIDI operation Silver Jubilee Way, Parkway, Hounslow, would have been welcome but at least
mode -MonoPoly, Channel Up and Middx TW4 6NF. the system assures maximum bandwidth
Channel Down. On the pre -production USA: Akai America Ltd, 800 West Artesia when playing back at altered pitches.
model we examined the first of these Boulevard, PO Box 6010, Compton. CA 90220. Also in the Output section is.a filter
100 Studio Sound, December 1985
 REVIEW
control, which operates a powerful extremely well with inputs both to the playing or sequencer passages. Pitch
lowpass filter which can remove any mic and line sockets, and showed no tracking and stability is quite
unwanted quantisation noise or hiss. The particular tendency to distort inputs. phenomenal over a very wide range;
option of controlling this filter from the Since sample length is chosen frequency response varies with sample
decay level would have added some automatically, frequency response of the time but can reach 14 kHz and generally
interesting analogue synthesiser -type sample was generally very good. Some seems good to the ear.
possibilities. very high pitches or harmonics generated Akai are new to the professional
Also on the right of the panel are a an unacceptable amount of quantisation market but have some excellent ideas
level control and a jack line out socket, noise or harmonic distortion but such and very high standards. The 5612,
and above these is the Tune control incidences were few and far between and although it has no digital delay or other
which gives a range of approximately the built -in filter often helped out. functions, wins through its relative
plus or minus one semitone. On the Response to MIDI key information, inexpensiveness combined with very
review model there were two pitch bend, modulation and key velocity acceptable quality and performance. It
microswitches on the rear panel, one of was perfect, and the Akai had no could well set the standard for others in
which produced octave switching in a difficulty in reproducing very fast its field to follow.
rather sporadic manner; these switches
will probably appear on the front panel
in production models.
The LFO controls show that a good
deal of thought has gone into the Akai's
design. Altering the pitch of a sample
which has any kind of cyclic modulation
(vibrato, tremolo or filter effects) will
change the modulation rate, possibly to a
NOoaSerIeS
amplifiers
very unmusical degree; if you can sample
without modulation, the Akai can offer
you some of its own. The controls are
power
Rate, Depth and Delay, and the *3000 watts in 51/4 inches 61000
modulation waveshape is a smoothish 1000W into 8, mono
triangle. HIGH EFFICIENCY dual power supplies 600W Into 4, pc, channel
300W mto 8, per channel
To return to the save /verify /load from TOROIDAL transformer and dx1000A
functions; the rear panel of the S612 has computer grade capacitors. 1500W into 8, mono
800W Into 4, per channel
a multiway edge connector for a
FULLY PROTECTED against damage to 450W into 8, per channel
dedicated disk drive unit using the Quick
Disc system. This is also 19 in rack -
either load or amplifier. dx2000
2000W into 4, mono
into mono
SPACE SAVING occupies only 3 units
1200W 8,
mounting and consists simply of a drive 1000W into 2, per channel
unit plus a disk storage rack. It uses (5%1 of 19" rack space. 600W
300W
Into
into
4,
8,
per channel
per channel
31/2 in disks offering one sound on each RELIABLE output devices can handle dx3000
side of a disk with an access time of 6 times rated power.
3000W into 4, mono
1600W into 8, mono
around 2 s with LED's next to the MIDI
UNI 0 UE ultra line, 1500W into 2, Ixxr channel
channel display showing when the unit 800W Into 4, per channel
450W into 8, per channel
is saving or loading. The S612 has no cou
method for selecting which of several pr

sounds should be loaded from a disk,

although the potential capacity of the
disks themselves must be much greater
than one sound per side.
This is unfortunate, since it could
mean dealing with very large numbers of
disks, the price of which would mount up
rapidly. It's not clear whether the S612's
editing controls actually modify the form
in which a sample is stored to disk or
whether they still have to be set up
correctly after disk loading to reproduce
the desired effect.
On the rear panel of the S612 there's a
MIDI -thru socket as well as a MIDI -in,
and an enigmatic multiway socket which
may turn out to provide individual voice
outputs when (and if) the unit is able to
function in MIDI mono mode.
I used the S612 for a couple of weeks,
controlling it from a Yamaha DX7
synthesiser and a Roland MSQ700
sequencer. The S612's main advantage is
extreme speed -it's possible to take a dx3000 bridged mono
sample, edit it to size, and find yourself
playing or recording with it in a matter
of seconds.
Sound sources included bass and Hill Audio, Inc., 231 Marquis Court, Tilburrq GA 30247 USA (404) 923 -3193 TLX 293827 HLAD
Headwater Industries, 635 Caron Ave., Windsor, Ontario N9E 5138, Canada (519) 256 -2454
electric guitars, LPs, compact discs, voice Hill Audio, Ltd., Hollingbourne House, Hollingbourne, Kent ME17 1Q), England (062 780) 555 TLX 966641 HILL
and various synthesisers. The Akai coped
101
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102 Studio Sound, December 1985

 IAD
The SM83 has been
specifically designed to
provide superior quality
sound reproduction in
professional broadcasting, film,
and related sound reinforcement
applications. It features a wide
range frequency response,

EASY
MANUFACTURERS OF STANDS, RACKS AND SCREENS FOR THE AUDIO INDUSTRY.
specially tailored to provide
more natural sound. This
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by an electronically
created dip at 730 Hz
to overcome the
chest resonance
phenomenon,
and by an acous-
tically generated
high- frequency boost
above 3 kHz resulting in
a cleaner, more pleasing
sound than other lavalier
mics. In addition, a 12 dB per
octave rolloff below 100 Hz
helps reduce room noise and
other undesirable low- frequency
signals. The Shure - developed
amplifier supplied with the SM83 is
compact, lightweight and can easily
clip onto a belt or fit into a pocket. It
is powered bya standard, readily avail-
able nine -volt battery or by simplex
power from an external source or
virtually any microphone power supply
Stands for all makes providing 5 to 52 Vdc simplex voltage.
And, the amplifier has extensive RF and
of consoles hum shielding to reduce the effects
We can rack anything of electromagnetic and electrostatic
interference. The microphone
for than
less and cable are easily deta-
Studio Equipment Distribution ched from the amplifier for
you would think 27 Guildford Street. Luton. Beds. LUI 2N0
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microphone's innovative mounting
hardware, small size and non- reflec-
cable shop. tive black finish provide for an in-
conspicious on-camera appearance.
The SM83 is supplied with a versatile
Klotz audio cable
system of hardware that permits a
Klotz modular stageboxes & multicores wide variety of unobtrusive mounting
"Broadcast Series" studio interface cables techniques. Three mounting means
Neutrik XLR connectors
Full colour catalogue `
tier are provided: a single -mount tie bar;
a dual -mount tie bar (for mounting
two microphones simultaneously);
and price guide and two multi - purpose mounting
blocks which may be connected to a
available on - lanyard, or sewn, pinned or taped
request. onto clothing. Also supplied is an
acoustic windscreen for outdoor use.
The SM83 is extremely rugged and
offers outstanding reliability. In
addition, it is field -serviceable. The
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TELEPHONE
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01
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HW International 3 -5 Eden Grove London N7 8EQ Tel 01 -607 2717
103
rllrlly
HIRE & SALES

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Im
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PRESENT

Ell Imo

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IN ASSÖCIATION WITH

STUDIO
SOUND

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AND BROADCAST ENGINEERING

\ MENE

INFORMATION EXCHANGE
The first seminar series geared exclusively to DAY 2: DECEMBER 4th 198510 a. m.
group exploration of the exciting opportunities `Digital Workshop'. The session for studio & post - production
engineers and producers.
of digital technology in Britain, in all areas of A series of presentations and a full `hands on' workshop including
recording. the very latest technology.
The UK's first Digital Information - Multi- tracking (PCM 33 24 & DASH)
Exchange takes place this December in Central - Editing (DAE 1100 & PCM 1610/1630)
London and is fully supported with the active - Low-cost digital (PCM- F1/701 & CLUE)
participation of leading figures in music and - Digital Transfer (PCM- F1/701 1* PCM 1610/ 1630 and return)
broadcast as well as industry and research. - analysis & quality
Tape control
- laybacks
Video
Participants and speakers will include:
-
Keith Spencer -Allen Editor, Studio Sound Clive Swan - Standards conversion
- Managing Director, Polygram Record Operations Rupert
- -
Hine Producer Ian Duffel) Managing Director, HMV DAY 3: DECEMBER 5th 198510 a. m.
-
Shops Pip Williams Producer Ian Jones Managing - `Digital in Industry -A Forum'
Director, HHB Hire & Sales Dr Trevor Lamb -
Department
The session for research scientists & engineers working in industry

of Physiology, Cambridge University Ben Turner Managing- and education.

Director, Finesplice Ltd Dr John Chillery -
Research
A series of presentations and discussions featuring unique

Engineering Department, Royal Aircraft Establishment and - applications of digital recording.

- Speech analysis /voice recognition
various key management and technical support personnel from
Sony Broadcast and HHB Hire and Sales Ltd. - Interfaces with DEC's VAX computers and CRAY main frames
A full daily session
will include lunch and refreshments; with a - Low frequency recording in aerospace
charge for each day of £35.00 (Day 1 combines two half-day sessions - Data storage
at £20.00 per session). Please fill in the coupon provided and send
with your cheque to: More details from :
Digital Information Exchange c/o HHB Hire & Sales, Phil Guy on 01 -686 2599 (office hours only) or
Unit F, New Crescent Works, Nicoll Road, London NW10 9AX. Nick Hopewell -Smith on 01- 3814624 (office hours
Tel: 01-9613295 Telex: 923393. only).
The venue is the Private Members Suite at London Zoo, Regents NB: Delegate numbers will be strictly limited.
Park, London NW1. Convenient parking facilities will be arranged.

DAY 1: DECEMBER 3rd 1985 10a.m. and 2 p.m.

`Planning for Growth with Compact Disc'(two half-day sessions).
rl /we would like to attend on DAY 1LJ DAY 21 I DAY 3

The sessionsfor record company personnel, production managers Please reserve invite /s for the total sum of £
and executive producers in broadcasting.
- of
The importance PCM recording to compact disc
Name

- Market analysis/projected growth Company

- Planning and budgeting releases

Address
- Quality control in recording
- Hardware developments
- at point of
Compact disc sale Telephone
- Standards and Documentation
 CLASSIFIEDS
Advertisements for this section must be pre -paid. The rate is 50p per word, minimum £12.50. Box Nos. £3.00 extra. Semi -display rates on
application. Copy and remittance for advertisements in FEBRUARY issue must reach these offices by 3rd DECEMBER addressed to: The
Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA. Cheques made payable to Link House Publications
(Croydon) Ltd. Note: Advertisement copy must be clearly printed in block capitals or typewritten.
Replies to Box Nos. should be addressed to the Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA, and
the Box No. quoted on the outside of the envelope. The district after Box No. indicates its locality. SEX DISCRIMINATION ACT 1975: No job
advertisement which indicates or can reasonably be understood as indicating an intention to discriminate on grounds of sex (e.g. by inviting
applications only from males or only from females) may be accepted, unless (1) the job is for the purpose of a private householder or (2) it is in a
business employing less than six persons or (3) it is otherwise excepted from the requirements of the Sex Discrimination Act. A statement must be
made at the time the advertisement is placed saying which of the exceptions in the Act is considered to apply.

_
The attention of advertisers is drawn to "The Business Advertisements (Disclosure) Order 1977 ", which requires that, from 1st January
1978, all advertisements by persons who seek to sell goods in the course of business must make that fact clear. From the above date
consumers therefore should know whether an advertisement relates to a sale by a trader or a private seller.

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GAUSS Loop -Bin / TELEX In- Cassette
QUALITY HIGH -SPEED and real -time audio
and video cassette copying and processing. Any High Quality Blanks/ Label Printing
quantity. While you wait. 24 -hour, 7- days -a -week
service. Central London W2. GWBB Audiovision.
Tel: 01 -723 1583/5190. (X)
OPEN
(ANY SPEED - ALSO
DUPLICATING
REELBROADCAST SPEC.) TO

LOCKWOOD, TANNOY, etc. New and used

SPEECH RECORDING
-OVERS ;LANGUAGES: AUDIO- VISUALS)
( VOICE
equipment always available. Lockwood Audio
Sales. 01 -866 0671. (X)
SPEECH -PLUS RECORDINGS LTD.
UNIT 32, NO. 19, PAGES WALK, LONDON SE1 4SB. TEL: 01 -231 0961
CASSETTE LABELS PRINTED. Self -

adhesive or plain, also inlay cards, any

quantity supplied, small orders welcome.
High quality -low cost. Samples /price list.
Tel: 0326 313605. (B) &Uher Sales &Service ehogignS
Revco( casseur
open reel
and
projectors,
35mm slide and repaired.
dberg, Uher
AURAL CASSETTE DUPLICATION. 1ómm sound etc., serviced
h Revox, re THE CASSETTE DUPLICATING SPECIALISTS
amplifiers,
Real -time copies on Nakamichi machines to recorders, Ferrogra P contracts
available
Howell, Elf, Real time & high speed duplication
the highest quality. Agfa or chrome copies Bell & agents. Maintenance at:
ag
our service 610620. Blank cassettes wound to length
from 1/4" or cassette masters. Unbelievable Tei:0908
rates. 01 -302 4246. (M) Visit our Pad °ell. TEL: 061 -881 2402

oustics Ltd
5S Hig
Street,tNewport

Photo
S
THE COMPLETE SERVICE. Disc cutting
(masters and demos), pressings, sleeves,
cassettes, labels. Fixed and mobile recording
studios. Free brochure. TAM STUDIO,
13a Hamilton Way, London N3. Tel. 01- 3460033 SELF ADHESIVE CASSETTE LABELS
(X) We are specialists in self adhesive cassette labels and can
supply them in a wide variety of formats.
Send or phone for our full price list and size chart.
Telephone 10795) 28425 - 24 hours
INDUSTRIAL PROCESS - Self Adhesive Labels SUPERFAST
CASSETTE DUPLICATING. Label and Inlay UNIT A4, SMEED -DEAN CENTRE
cards printed or supplied blank. Shrink SITTINGBOURNE, KENT ME10 3RN, ENGLAND /
wrapping. Rate card from AUDICORD DIRECT FROM
Records, 59 Mayfield Way, Barwell, Leicester
LE9 8BL. 0455 47298. (M) OUR MODERN
FOR ALL YOUR RECORDING NEEDS
AMPEX AUDIO AND VIDEO TAPE MAIN DISTRIBUTORS
U.K. PRESSING
Spools, boxes, blades, splicing and leader tape. Blank PLANT
STREET COPYS -A CASSETTE COPYING precision wound cassettes C1 -120, labels, library cases
and cards, C- zeros, pancake, etc. Broadcast Cartridges. CUTTING - PRESSING
SERVICE SECOND TO NONE! We can
arrange collection and delivery of master tapes, 103 Washway Road TEST PRESSING
so for high -quality, real -time chrome cassettes AINR=Er - Sale, Cheshire M33 1 TY
LABELS SLEEVES
.

(N) Tel: 061-905 1127

call Street Copys on 01 -251 3924. 9O Nr' ANC VIDEO SERVICES
CASSETTES
FOR QUALITY, PRICE AND SERVICE
ARTWORK
STUDIO MAINTENANCE '3M'- Professional COMPETITIVE PRICES
equipment needs professional service; for help
from one of the best small service companies,
SPEEDY R EVOX SERVICE MARKET LEADERS
ring (0727) 58977 24hr. PlusTEACITASCAM, FOSTEX, UHER, most Mixers.
Amplifiers, Effects. Priority Bookings taken.
Collection /Delivery arranged.
A personal service by experienced engineers.
WHO SAYS YOU DON'T NOTICE THESE
SMALL ADS! For as little as £12.50+ VAT you 34 Danbury Street, London N1 [Link]
Telephone 01 -359 9342/3030
too could be getting your service message across.
For more details contract Adrian Tippin at
STUDIO SOUND. Tel: 01 -686 2599. RAPER & WAYM AN
CLASSIFIEDS
105
 FOR SALE -TRADE

f HIGH QUALITY CASSETTE DUPLICATION AND

SPECIALISED LENGTH BLANK CASSETTES
I HIS MONTH CET OUR FREE BROCHURE
and discover our pro. and home studio supply
service; studio documentation, custom leads.

ICM C O's ,eQQhO

i.
Q-Aato AGFA /BASF TAPES
ADO, 4 Auckland Court, London SE27 9PE.
01 -761 0178. (M)

Leeholme Audio Services Ltd., 350-4 Leabrldge Road. Layton. London, E10 Telephone 01- 5584748

USED STUDIO EQUIPMENT FOR SALE?

Advertise it now in STUDIO SOUND
CLASSIFIEDS for as little as £12.50+ VAT. For
MAGNETIC TAPE/FILM HEADS CASSETTE DUPLICATORS more details call Adrian Tippin at STUDIO
We manufacture to order, Y.", Y, ", 1" and 2" tape heads
and a wide variety of film heads at very competitive prices.
SALES SERVICE MAINTENANCE SOUND. Tel: 01 -686 2599.
Please specify machinetype for an early quotation. High speed cassette duplicators throughout the
We also offer a prompt RELAPPING service at standard United Kingdom and export.
prices.
GRAFF WOLLENSAK SONY
BRANCH & APPLEBY LTD. Sr( It ND TECHNIQUES 28 input studio
Stonefield Way, Ruislip, Middx. HA40YL Sound Cassette Services Ltd. i ,ri1lr. External bantam jack bay fitted
P.O. Box 2, South Chard, Somerset
Tel.01. 8841577 0460 20988 LI,'ii!I +VAT. Phone 01 -748 7961.

¡LONDON SERVICING FACILITIES

54J2ô4(/
STUDIO CLEARANCE EQUIPMENT SALE.
Including Neve 28.8.24, offers above £30,000.
P/fiV^S Top studio mies (sonie valve) complete cutting
MEASURE IT facility £12,000. Various effects, Sony
pneumatics plus lots more. Phone for list 01 -521
DAYS A WEEK 24 HOUR
7
EXPRESS STUDIO EQUIPMENT If you can hear it we can measure 2040.
HIRE SERVICE. it and whats more tell you what
DIGITAL DELAY - HARMONISERS SALES to do with the minimum of
DIGITAL REVERB UNITS
TECHNICAL HILL 'K' SERIES. Professional 24ír console
inconvenience. [Link], 30 Sifam VU's, P &G faders, 280 way
DIGITAL RECORDERS
DIGITAL RHYTHM COMPUTERS
SERVICES GPO patchfield. Beautifully maintained and
VIDEO EQUIPMENT equipment mainten.i.
MUNRO ASSOCIATES. 01 -480 7121 finished in light oak. £3,950 o.n.o. Trackside
serwre and a comprehen ,i. Studios (0702) 333453.
t (IMPRI- SS1)RS Noisl studio and studio equipme:i'
des:yn srvice..

jbs records
MUSIC-SPEECH-COMPUTER SALE! LEEVERS PROLINE 1000, £800 vgc.
REAL -TIME or (Slow) HIGH -SPEED Quality Cassette 12" Tannoy golds w /crossovers Lockwoods
Duplication and Blanks from 1 to 1000 +. Computer
printed Cassette Labels. Speech and 3/4" reel -to -reel £280. Linn 111 £1,800. Rebis LED meters,
111f PUIYBflCK STUDIO recording /editing. Fast Security Delivery service. oscillator, ADT, modulator, Hafler DI-1220. Best
lop15 Percy Street, London W1
jbs records -a division of FILTERBOND LTD. Offers. 16- channel DBX noise reduction 6PO
Tel 01 -637 8392 19 Sadler. Way, Hertford SG14 2DZ. 0992 -551188. patch strips w /patch corps. Also air conditioner.
Phone 060 885 360/269. (M)
AUDIO &V\OEO
MAXI-CZ FL/U TD K. SONi PMFJ Let Saki expertise relap your tape
TAPES heads in London DISC CUTTING EQUIPMENT and systems
Factory- approved laboratory and bought, sold, installed and manufactured (under
licence from ORTOFON). TAM /ENGLAND,
training guarantees finish to original I3a Hamilton Way, London N3 IAN. Telephone
performance specification 01 -346 0033. (X)
ALL MAKES RELAPPED
Tapetek, 44A Brighton Road, London N16 8EG
TEAC 244/34/38 discounts and HP and leasing.

-
BLANI ASS - -FS Ara 'engirt BASF
Tel: 01 -254 5203 or 0860 317260 (mobile)
EFFIE'
=
la, TAPE Ice SHELLS Erricks VCD, Brighouse 722121 (Bob) (X)
Replacement Saki heads from:
Fairview HIG- A, TIME CASSETTE
Tape Marketing, 13 Elm Road
SAKI
HE .. :.. -. .am C2.50 fo' Faringdon, Oxon SN7 7EJ list
Services cASSETT alk-S TO E16. 50 !o, 24
TRACK HEADS
USED MICROPHONES: BOUGHT: SOLD:
SAE Lists. In stock valve U47; C414; C451;
FAIP /IEW STUDIOS. WILLERBY HULL 0482 653116
SM58 etc. Whitetower Records, 44 Challacombe,
DOES YOUR STUDIO NEED Furzton, Milton Keynes MK4 IDP. Tel: (0908)
502836.
A FACELIFT?
YOU NEED IT ... WE SUPPLY IT
wound cassettes, high speed duplication. Both
n STUDIO REFURBISHMENTS
usury Ampex, Basf, Capital open reel copying. Full printing CALL THE SPECIALISTS
facilities (side labels & inlays) Major suppliers of Ampex
open -reel tape. Also razors, leader tape, splicing tape
spools and boxes, etc., etc. RECORD CONSTRUCTION LTD FOR
Rainhill Tape Specialists
31 Eccleston Street
Prescot, Merseyside L34 5QA
01 -985 7573
SALE
051 -430 9001 100 C -60 cassettes beautifully copied in stereo
Still only £ 59.50 (plus VAT)
Established 24 -track Recording
We can copy from 100 to 5,000 high quality
cassettes on our high speed loop -bin system, load
Studio in converted Chapel,
REAL TIME CASSETTE COPYING
them precisely into top -class shells. Price includes
All work carried out on Nakamichi machines to the highest
standard. Normal or chrome tape available. library case and all production work from your Kt in situated in Kensington W10.
We also supply blank cassettes wound to length. edited master. Any length C -5 to C -90. Ring for
AGFA, BASF Chrome and Maxell XLII tape available
GATEWAY CASSETTE SERVICES price check. For details telephone:
1 GAUDEN ROAD, LONDON SW4 6LR
TEL: 01 -627 4758
STUDIO REPUBLIC 01 -960 0751 or 01 -727 1022.
47 High Street. Pinner 01 -868 5555 01 -866 5555

CLASSIFIEDS
106 Studio Sound, December 1985
 u D O SEM
STOCK
FOR SALE IN FINLAND
Two BTX sync. systems including
$%?,EXC1IAN G E HILL 12 selles console 24 4
50mtr multrcore and box on cable
dran All night rases
BTX 4793: Softouch 4790, 2 pcs TASCAM M21. I

TASCAM M208
shadow 4700, cypher 6000, STUDER A80 MX II 24 track
LYREC TR532 24 track me locator
C23 181
(22.500
TEAC M2A (mint
PROMARK NIX3 H 4 _ bargare
6230, video char. ins., TASCAN MSI6 saneen track f5 995
I

TASCAN 4806 (speaal poco, f2.495 TASCAM M106 (new on dem..

ALICE 128 (12 4 Bl )good cond,
16010 6210 -6240 cards installed. TASCAM 38 (new In box I

TASCAM 38 (ex- showroom model,

C

(I
695
529
I
TASCAM MÚ40 4 merze rackmoum
TASCAM M30 ( I year old)
BTX 4792: Softouch 4790, TEAC 80.8 with DX81 m01)
FOSTEX B 16 (from stock
11,495
POA FOSTEX 450 mewl
RAM RM 1O (new) C475
shadow 4700, cypher 6000, FOSTEX B16 ( yr old)
1

FOXTEX 601 new model

(2 750
C 1 369
RAM RM I6 (new) f595

6230 video char. ins., 6010 -6210 FOSTEX A8 Ire-con new headsI
TASCAN 34B (new model to our controls
f895
6995
AMS RMX 16
REVERBERATION
from stock to order F'OA
TASCAM 34 (second hand. rmm
cards installed. MCI JH 110BC BT l' t as new
015)
(3 499
LEXICON'X (from stock Io order
LEXICON 200(m stock)
I POA
£3.995
TASCAN ATR60 2T with CNTR rune code
IF Cables: 2 pcs Studer A -810,
62.750
TASCAM 52 NAB IEC record play front panel LEXICON PCM 60 (1 only) 11.495
swltchmg f AXC, BX20E S H (reduced I LI 195
JVC 6600, Studer A -800. All TASCAM 52( new in box. I onlvl £1295
1.595
ROLAND SRV 2000 (In stockt
YAMAHA rev 7 (in stock)
099
[ 1.040
TASCAM 32 (man) £595
equipment factory new. TASCAM 32 ( new In box) f 745 YAMAHA R I01X1(mono )1In stock)
ALFSIS XT (better than 2x 010001
L347
L629
REVOX PR99 MX II In revox case bal m1c
Ring Sähköliikkeiden Oy, Ilkka
f
FOSTEX 3180(shghtly marked) L25n
puts tined (HS) C 1.100
REVOX PR99 MX II HS NAB & IEC (1.095
Loads of great Bnish springs at f195 each
Toivanen, Int + 358 -0- 8382614 REVOX PR99 MK I HS NAB & IEC
REVOX B77 MX II HS NAB & IEC
(925
72
ACCESSIT stereo reverb
DIGITAL DELAYS
L125

or Kimmo V. Saarinen Ant. TEAC X2000M (new m box)

TASCAM 22-2 (new in box I
(790
(425
AMS 15805 408MS. 16s and 3.2s cards may be
+ 358 -0- 8382295 for full details of UHER 4200 repon monitor Inc stereo mlc.
(Sed to total any desired tune pitch change
1harmonisen modules with degInch P 0 A
PSU and nt-cads (newt £675
AMS keyboard mtedace'chorus control
this unique opportunity. Part del FOSTEX 20 (new model) SMPTE comparable
CNTR tunecode £695
P O A
BEL PD77 w: h 2s card L695 extra cards 2 seconds

possible and other if's on request. SONY PCM 70IES L750

each L200 each )max 8 secs)
OF ke. board Interface (for older models) L90
CASSETTE - CASI611R DUPLICATORS BEL 'I0 & 320 POA
SLO, P.O. Box 88 TASCAM T2640MS ( new Ia1 demo, C1595
KORG SDD2000 L550
Il 395 DIGITECH 0051900 £275
SF -01301 Vantaa, Finland GRAFF HMSP (master slave P5U
TEAC W4400 dual s master slave C180
I

KORG 5001100 £295

ROLAND SDE3000 (695
CASSETTE MACHINES & PORTAX4TUDIO6 IBANEZ DM500 at L150 each
TASCAN porta-one Inc PSU £347
DELTALAB effectron nu S H L175
TASCAM 234 (4 nack) (550
DICITECH RD53enn 5350
ITS FREE TASCAM 244 portasmd)o
FOSTF.X 250 ponastudlo
C600
£550
IBANEZHD:
AIR LIMCATCdf IYTAMAIA,
(250

Don Larking audio sales produce a free bi- monthly TASCAN 144 ponasmdto NICE (cash, £350 JhLIUREI STUDIO MASSTER & QUAD
newsletter which is mailed direct and contains lists FOSTEX X15 mmrstudlo (210
AMP BARGAINS
FOSTF.X MN 15 muer comp for X15 [40
of new and used recording equipment for both the TASCAM 225'syncassene C195 HILL DX 700 (new) L395
professional and home studio. Telephone now and TEAC V700 3H B & C C295 HILL DX 100 Inewl C75
get your name on our computer. 10582) 450066 or TEAC V707 autoev B & DBX
TEACV360CB&C
C195 FOSTEX 6001300WPC'MS 4 ohm) L375
C95 TURNER 8502 1180WPC RMS 8 otunl f.395
telex 825488. TEAC V330 B C75 AMCRON 0150A II 175 WPC RMS 8 ohm,
MARANTZ CP430 p-»ai: 6", )brand newt L45'
388. th,... ..
.
..
.

MICROPHONES BY NEUMAN, SENNBEÜER,

'4'AM2466c..
[Link] AKG, BETER, SHORE &c ELECTRO VOICE,
C -DUCER
PA. (Palra [Link])

SOUNDCRAFT h:{ .

DOLBY 360 (I only )

819 chahs bel (1 only)
11295
JBL 4612 C650, JBL 4625 L550. JBL 4691 (995.
JBL 4602 í680. JBL 4695 í535. JBL 4628 (5001 each
BOSE 802 (695. BOSE 402 6495. BOSE 302 0975
tu System Controller L175
Mixing Consoles COMPRESSORS, LIMITERS, EXPANDERS
AND GATES KEYBOARDS A DRUM MAMMIES
(:3ONI0 Mirage (deftnately In stock 61 4:4
ALL MODELS IN STOCK AUDIO & DESIGN compex limner F760RX5
I

BROOK SIREN SYSTEMS DPR402 (new

NOLAND TR707 f43
L495 I
KORG DOM 220 6174
Kelsey Acoustics Ltd DBX 166 new product
ACCESSIT gates and comp: from stock
(495
f49
KORG DDM 110
SEQUENTIAL DRUMTRAKS
f 15F)
095
Call: 01 -727 1046 DBX 160X
YAMAHA GC2020 (amazingly only
ACCESSIT aphex einer
L375
íl99
£59
YAMAHA TX -7
ROLAND JXOP (en-demo unm
£535
(975
DBX I65A (new)
ROLAND TB 303 buslme (2 avanable. 5'H)
(695 (cash each 614^
DRAWMER 1960. DS201. 01221 & DL231 POA I

KORG DW6000(ex demo ore o-::

SYMETRIX dual comp 'hm nip gare duck 6495
FOSTEX 3070 (195
YAMAHA RX I I
APHEX rope'B' (m stock. new) (295
YAMAHA DX -7 (new
TECRON TEF 10 UREI 1176 LN(new)
MIXING CONSOLES
L550 MONITORS BY URE!, ME & TAROT
EQUALISATION BY FORMULA, YAMAHA,
AMEK 2500 senes &'Angela To Order
TASCAM ADC
Time Energy Frequency TAC'Matchless' & 'Scorpion'
ALLEN & HEATH CMC24 wnh Commodore
On Demo ANALOG DELAY
AMS DM28O L74
computer routing
KLARK TEKNIK Ipal, DN34 with Aereo link In
TRIDENT Inmu 16 way Input frame 10 char loaded I

Measurement Service (1082) Inew) í2.900

Immaculateeondmon
MILS: BY NEUMANN, SD4 ,HEISER
L695
ALLEN& HEATH system 8 II 1682 (as new) L1.195
STUDIOMASTER 16.16.2 (new. oid once, £ 1.295 SHORE, EV, BEYER & MG
STUDIOMASTER 16.82 (new. old pnce) (950
SPECIALS
MUNRO ASSOCIATES. 01 -480 7121 STUDIOMASTER 6 2 wIth 6 channel ext (new) L395
STUDIOMASTER 8 4 (new) C550 SENNHEISER tnfra-red headphone system.
RAM mega L 1.495 transmmer-radtator and four headsets
SECO 18 2 le -We console (new) 61225 )the lot) offers around (250
AHB SR senes 2 &4 buss (on demo) PO.A Pair SPENDOR SA I ref monitors C75
SECK 12.2 (stock ) (495 75 mens BELDEN 3 pair on drum with mulnpins &
Studio TASCAM M35 (new) L695 boxes 0100
Specialists (stock)
SECO 6 -2 L345 HARMONISER HDI0001banez (as new l L250
RAINDIRK CONCORDE 20 16 in We console EMR mtdnrack performer hard software for
(lau) f1.200ono BBCB midi 6125
HOURS OF BUSINESS: MON - FRI 930 a 6.00 pm SAT 10 00 a 2 00 p m FOR SALES ONLY
Your Northern appointed agent for
- .

Please add VAT (UK customers)

NEUMANN JBl LE X IC ON SUUNDCRAF7
SENNHFISER TANNOv DRAWMER S UD IOMAST FR
STOP PRESS ... During the time between us advertising this list
T

SHURF REVOX DBX REI

BEsFR
URFI
ASCAM
QUAD
YAMAHA
AMPEX
APHEX
APPLIED
... and you reading it we have probably sold many of the items featured .

MICROS', TE MS ... However, they have been replaced with similar or different bargains,
18 42 Charlotte Street. WAKEFIELD. W Yorks WF1 EUH
Tel 10924) 371 766 ... sp_please telephone or telex with your name and address for our
... latest print -out by first class post or airmail
r
PART EXCHANGE WELCOME
CAN I BUY ANY OF YOUR SURPLUS EQUIPMENT
I SELL ANY EQUIPMENT FOR YOU ON COMMISSION.
\
OTARI 8 -track model MX5050
STUDIO 110
ICA.N
ALAN CHEETHAM
Mk Ill demonstration model, as
HIGH LANE VILLAGE. Nr S" ,CKPC) --AA Telex 665721 SOTA
new, bargain price £2,900 +VAT'
: ..

Telephone: (0895) 36313

06632 4244
London Sales & Servicing 01 -586 3167
4 Wellington Rd, St Johns Wood NW8 (Opp. Lords Cricket Ground)

CLASSIFIEDS
 FOR SALE -TRADE
DIGITAL SAM THERAPY
FOR AURAI_ EXCITEMENT
MIDI
SYSTEMS 01 -995 4730
AUDIO FAIRLIGHT +
ALS 32 -TRACK STUDIO
.. .

RENTALS
24 HOUR SERVICE
WE HIRE TeL 01 -221 5967
Personal Multitrack systems from a Portastudio to
a full 16 -track home recording package.

A range of the latest and most cost -effective

digital fix for use at home or in the studio. SONY n-_
PCM 1610 DIGITAL AUDIO PROCESSORS
ßi::1...

Comprehensive range of signal processors, mics

and studio monitors to complete your package. 5850D/A U -MATIC RECORDERS
The latest MIDI compatible keyboards, expander DMR 2000 U -MATIC RECORDERS DIGITAL HIRE
modules, sequencers and interfacing equipment. BVU 200 U -MATIC RECORDERS
Digital Drum Machines, some with alternative DAE 1100 DIGITAL AUDIO EDITOR PCM 1810
sounds and Simmons electronic drum kits. PCM F1 DIGITAL AUDIO PROCESSORS with u -matic
Our large range of equipment Is being constantly revised so send for SLF1 BETAMAX RECORDERS
the latest edition of our professional hire list.
DTA 2000 TAPE ANALYSIS
FULLY EQUIPPED AIR CONDITIONED £175 plus vat /day
DIGITAL & TRANSFER FACILITY

FOR SALE PllIWIb Marquee Electronics

MISCELLANEOUS TV AND VIDEO
EQUIPMENT TO BE SOLD IN ONE
HHB Hire & Sales. Unit F New Crescent Works, Nicoll Road,
London NW 10 9A X. Telephone. 01- 9613295. Telex 923393. 01-409 8421
LOT. INCLUDES NEW MARCONI
CAMERA CARDS, OPERATOR
CONTROL UNITS, PLUGE AND
FOR HIRE
GRATING GENERATOR, S/H MK 7
LEXICON 224X Larc.
(--------
MARCONI TELECINE. A WHOLE £85 per day including delivery.
'I-HIRE
FLOOR OF THE STUFF. SEIZED Tel: 0582 30072
FOR DEBT. £5000.00. 24 -hour service
MULTITRACK
TEL: 0923 47988

FOR SALE-PRIVATE EMULATOR 11 PLUS FULL SOUND LIBRARY

ALSO: LINN DRUM, SIMMONS KIT, KEYBOARDS ETC.
STUDIO SUPPLY SERVICE WORKING IN THE USA?
SOUNDCRAFT SERIES II DESK, bargraph, 061 928 5037 NEW YORK ,- NASHVILLE
parametrics. Neumann U87, Roland chorus THE MANCHESTER BASED HIRE COMPANY

echo, harmoniser, patch bays, digital delay,

Amcron DC300A, lots more equipment, offers
invited. Tony 0424 441989. "THE AUDIO RENTAL PEOPLE"
Complete selection of pro audio equipment for hire.
Recording * PA * Digital Audio * Audio for Video
VIF INTERNATIONAL will remanufacture your
AMPEX or SCULLY (Ashland /Bodine) direct
drive capstan motor for US $250. Average turn
around time 2 -3 weeks. For details write to PO Box
() The First Name in
Sound Equipment Hire
A/T Scharff Rentals. 1619 Broadway, New York.
Phone (212) 582- 7360/IMC13671/MCI Mail 260 -0455

1555, Mountain View, CA94042, USA. (D /F)

C FELDON AUDIO
BELL 24/16 MODULAR DESK AND
A.C.E.S. 16 -track with remote both v.g.c.
£6,500. Tel: Manchester 368 2234. (M)
580 4314
126 Great Portland Street, London WIN5PH. Telex 28668 AUDIO G

* Sony PCM -3324 24-track digital recorders. LEXICON AMS YAMAHA LINN
'Q' LOCK TWO MACHINE SYNCH SYSTEM * Sony PCM -1610 2-track digital recorders. PUBLISON INFERNAL MACHINE 90:
2 x A80 programs. Good working order (1,800 * Sony Fl and 701 2-track digital recorders. - 21 SEC. STEREO SAMPLING
o.n.o. Phone 01- 572 8737 Mr. Fairlev. * Plus the most comprehensive range of audio effects 01 -228 0984
and ancillary equipment available.
Electronic editing facilities for 24 track digital
New fully equipped 2 -track digital editing and transfer sute.

STUDIO PACKAGES

I
T T E HIRE SALES FOR SALE

ed pit INSTALLATIONS 24 TRACK STUDIO

JACKSON MUSIC GROUP
01 -607 0087 The Studios, Rickmansworth,
PROFESSIONAL SOUND SYSTEMS AND Herts, England WD3 2XD
CONTROL EQUIPMENT (TOYS) 24 HOUR SERVICE RING: 0860-313.990 Telephone: 0923 772351 or Vodafone 0836 203557

CLASSIFIEDS
108 Studio Sound, December 1985
 STUDIO DESIGNERS STUDIOS-FOR SALE SITUATIONS VACANT
AND CONSULTANTS
DETACHED VICTORIAN HOUSE in S.E. POWER PLANT STUDIOS
TIME DELAY London with 2 soundproofed rooms. At MAINTENANCE ENGINEER
present private 24 -track studio. Not including 1\ ,. ,oil M,unronanr e Fir,rinr,i enrrur,l Irrr 1,trsy 24 4fi
SPECTROMETRY equipment. £55,000. 01 -302 4246 evenings ft,niirrti wnh SSL [Link]. Sr,r,l,r Or,ui erlrnnrrrorrt
ir k
Air ,le hoc kworl rr ctii- [Link] lintint
only. IM) , r , c Come] tialary riilnr Ir,rson
Discover why your studio sounds Contact ROBIN MILLAR or RUTH LOW on
01-451 3727
the way it does ... or should

MUNRO ASSOCIATES. 01 -480 7121

SITUATIONS WANTED

STUDIO CONSTRUCTION ENGLISH FREELANCE ENGINEER

WANTED
PRESENTLY LIVING IN
Studio environments built to the highest standards.
Our services include.
Fully engineered floating floors suspended ceilings. high density doors, sound
lock lobbies. concrete and brickwork, double glazing. low frequency absorbers.
W. GERMANY, TOTALLY
DISILLUSIONED WITH WORK
DEAD OR ALIVE
attenuated ventilation systems, insulating sealants acoustic screens, electrical
and electronic installation, equipment sales and commissioning
U.K. and rntematwnal projects undertaArn_
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KNOWLEDGE OF S.S.L. DESKS
AND SYNCHRONISERS ETC.
PLEASE CONTACT BOX NO. 927
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Consultants in acoustics and noise control
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contact
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ADRIAN TIPPIN
Tel: 01 -686 2599
aft, Ext 189

CLASSIFIEDS
 INDEX TO VOLUME 27
Address changes Westlake 51/1 Richard Lamont
Denon digital 28/4
ACO Pacific Inc 34/8 Live Aid -TV and telecommunications
AKG Acoustics 28/6 Authors Mixing the media
54/10
64/7
Alangrove Associates 42/10 Bill Aitken Nimbus CD manufacture 44/6
Alpha Products Inc 26/9 String control (SynthAxe) 44/4 Syncwriter 84/4
Amdio Ltd 30/12 Terri Anderson Paul D Lehrman
Autograph Sales 34/3 Oral history of sound 98/3 An American in London 80/4
Auvis-Asona 34/3 Recording Exhibition 32/3 International Computer Music Conference,
Beyer Dynamic 50/1 Janet Angus Paris 92/3
Broadcast Engineering Consultants 42/10 A Blow by Blow account 76/6 Multitalented ASP 66/2
Crow of Reading 34/3, 30/11 A classical approach 90/9 Robin Lumley
C -Tape 30/4 Battery Studios, London 54/6 Electronic assistance for film scores 48/1
D &R Electronica BV 26/9 Cabaletta Recording, London 68/1 Paul Messenger
DLAS (Northern) 34/3 CBS Studios W1, London 76/3 Cable Sound -a Rationale at Last? 32/5
Drawmer Marketing and Sales 30/12 Cutting at Master Room 54/5 Linn set up 60/5
Tony Faulkner 30/4 Interior Motives 68/8 Bob Metzler
Film -Tech 38/7 Live Aid -radio production 54/10 Automated audio testing 48/8
Genelec OY 42/10 Puk- design for digital 42/11 Terry Nelson
Highland Recording Studio 30/12 SAV Studios, London 56/8 Bullet Creative Group, Nashville 62/5
HM Electronics Inc 38/7 Sutton Sound Mobile Studio 64/5 Milano Studio, Milan 66/4
Hudsons Group of Companies 28/6 The Barge, London 92/7 Sinus Studio, Bern 78/3
Inovonics Inc 34/8 The Fleetwood Mobile Studio 72/12 Star Studio, Hamburg 58/8
Keith Monks (Audio) Ltd 30/12 Training -Tonmeisters in industry 34/1 Studio 21, Yorkshire 74/9
Leisureplan Services 42/10 Vocalising on vocals 50/9 Studios de la Grande Armée, Paris 70/10
Musiflex 30/11 Workhouse Studios, London 60/2 The Burbank Studios, Hollywood 66/9
Phoenix Systems Inc 38/7 Bob Anthony Theme Park Sound at Disney 64/6
Quad- Eight/Westrex 32/2 A -1 Audio's two -truck tour 74/2 Terry Pennington
Rubber Dubbers Inc 34/8 Lion Share, Los Angeles 64/4 Constant Q 82/10
Serafine FX Inc 38/7 Tony Arnold N P Petersen
Shone Sound Ltd 34/8 Tooling up 44/1 A custom moving fader system 100/7
Soundcraft (Sales & Marketing) 30/11 Tony Batchelor Martin Polon
Sound Designs 32/2 Disc cutting system improvements 110/7 In perspective 70/2, 62/6, 48/7, 64/9
Sound Marketing 34/8 Hans Beekhuyzen US stereo television 28/9
STC PLC (Standard Telephones and Cables) 26/9 Studio 44, Monster 50/11 Sid Price
Symetrix 30/11 Jim Betteridge Automatic automation for sound mixing 104/7
SynthAxe Ltd 30/12 Unique recording -Ocean Way 86/10 Kim Ryrie
Tannoy 30/4 Robin Bransbury Series III Fairlight CMI 74/10
The Real World Technologies Group 26/9 Automation and the VCA 80/8 Wolfgang Schneider
Trebas Institute of Recordings Arts 30/4 Pete Clark Telcom c4 noise reduction system 46/2
Trident Audio Developments 30/12 The role of maintenance 40/1 Robert Simpson
Waugh Instruments 34/3 Martin Colloms Dark Rides 82/9
Whitetower Records 34/3 Wayne Kerr AMS1 90/1 Mike Skeet
Jay Denson Ambisonics round and round 78/9
Agencies Studio 'N' Cologne
Ralph Denyer
62/2 Digital interconnections
Peter Smith
36/8
ADA 30/4 Chrysalis/Air/MAM merger 34/12 Dark Rides 82/9
AEG-Telefunken 32/3 Hollywood Studios, London 52/6 Tim Leigh Smith
Alpha Products 28/9 The producer series -Chris Tsangarides 82/7 Digital World Record 72/7
Altec Lansing 32/3 The producer series -George Martin 56/1, 52/2 Hazel Yarwood Abbey Road disc cutter 50/5
Amek 30/6 The producer series -Martin Rushent 74/5 In Step 66/10
Amek Systems and Controls Ltd 42/10 The producer series -Robin Millar 54/12 Starlight Express 78/12
Annis 34/8 Rod Duggan Keith Spencer-Allen
Aphex 32/3 Digital interconnection 76/8 Crown Delta Omega 2000 92/4
Ashworth Transducers 42/10 Richard Elen CTS & DSP 64/3
Atlas Systems 42/10 Insights 70/1, 78/2, 54/4, 66/8 Digital news 44/12
Audio -Kinetics 34/5 Synthesisers -the way to go 72/4 Klark-Teknik DN780 78/6
Audio Technica 30/12 Ursa Major 8X32 Mkll in operation 84/5 Mixing Consoles -the top end 46/12
BASF 28/9 Ben Fenner Ursa Major MSP -126 86/6
Beard Audio 30/6 Aphex Aural Exciter Type B 118/7 Variable acoustics at Danmarks Radio 82/3
Bel Electronics 40/7 Ted Fletcher Richard Vickers
BES 29/9 A personal view of psychoacoustics 72/6 Live Aid -the PA system 90/11
Bodysonic Company 34/8 Development of a digitally controlled mixing The Hill system 88/12
Brooke Siren Systems 34/5 console 64/12 Peter Vogel
Capitol Magnetic Products 30/6 Hugh Ford Series III Fairlight CMI 74/10
C -ducer 34/8 Crown Delta Omega 2000 108/3
Electrolube 51/1 Lightning may damage magnetic recordings 30/8
Electrospace Developments 51/1 Microphone reviews 106/10 Business
Enertec 32/3 Neutrik Audiograph 3300 80/1 A change of heart 72/2
FM Acoustics 42/10 Sony APR -5000 series analogue tape Advice for drop outs 58/6
Fostex 34/8 machine 112/10 Ambisonics turn of events 98/12
Fuji magnetic tape products 42/10 TAC Matchless 80/2 Australians go MAC 72/2
Gauss 40/7 Tascam M-520 mixing console 86/5 Balance codes 82/5
Harrison Systems 30/12 Technical Projects MJS -401 D 72/1 BBC cutbacks 98/12
HHB (CLUE) 51/1 Barry Fox Binaural film sound 74/3
KEF Electronics of America 28/9 Business 52/1, 72/2, 74/3, 90/4, 82/5, Black magic, cooking and chemistry 102/10
Jellinghaus Musik Systems 42/10 58/6, 80/7, 78/8, 42/9, 102/10, 88/11, 98/12 Blumlein preserved 90/4
Lyrec 34/5 Michael Gaylord Case report 78/8
Meyer Sound 34/8 The ribbon microphone 46/9, 98/10 CD mono 72/2
Millbank Electronics 42/10 Ian Gilby CD sub -codes 42/9
Monster Cable 30/12 Electrospace Spanner SP2 83/6 Cellular radio 90/4
Otari 34/8 Neil Grant Don't be an expert 58/6
Perfectone 34/5 Introduction to loudspeaker reviews 76/11 DSP at CTS 74/3
Posso 34/8 David Hawkins DSP facts 82/5
PPG 30/6 Large scale acoustics 62/3 E -mail advice 88/11
Quad 28/9 Ann Horan Four into two 42/9
Rebis 32/3 Rooster Studio, London 66/5 Have you got the right time, please? 78/8
SAJE 28/9 Manuel Huber Information block 82/5
Sanken Microphone 34/8 Important aspects of power amplifiers 66/11 LA digital 52/1
Sixmix 34/8 Mark Jenkins Miles 98/12
Solid State Logic 30/12 Akai S612 MIDI digital sampler 100/12 Mind your Ps and Qs 74/3
Soundtracs 34/8 Allen & Heath Brenell CMC 24 120/7 More on tape levy 102/10
Stage Accompany 42/10 Music page 38/12 Multichannel soundtrack 72/2
SW Davies 28/9 Synthesis primer and update 58/4 Music for pleasure 80/7
Teldec (DMM) 51/1 Mike Jones One in the eye 80/7
Total Audio Concepts Ltd 42/10 Miller International, Hamburg 96/7 Products launch 52/1
Toa Electric 42/10 Masao Konomi Pulling the plug 78/8
3M (Mag A -V Group) 30/4 History of Sanken Microphone 54/11 Round the houses 90/4
Ursa Major 34/5 Ken Kessler Spoiler boiler 58/6
Westec 30/6 Bose RoomMate 46/3 Supermarket sales for CD? 88/11

110 Studio Sound, December 1985

Turning a deaf ear 79/8 Compressors & Limiters 36/2 Harrison and Westlake team up again 36/8
Corrections 34/3 Hilton Sound digital hire 32/11
Contracts Crown International 36/7 Hollywood vaults 43/10
Adams -Smith 30/9 C -Tape purchase Cactus 34/2 Hudsons Group take over Crow 32/2
Alangrove Associates 34/3 CTEAP Convention, Paris 32/4 IEC books 34/3
Allen & Heath Brenell 30/11 Datagenic cassette duplication 32/11 Independent Labels Advisory Service 32/8
Altec /Audix 36/2 DEAF Awards dinner 30/12 Interior motives correction 30/11
Audio FX 32/8 Denon digital 28/4 IPE new divisions 30/4
Audio Kinetics 32/8 Digital interconnections 36/8 ITA/Ursa Major 32/8
Audio Sales 30/6 Direct supply for Peavey 50/1 James Yorke custom service 32/11
Bel Electronics 32/8 Disc cutting system improvements correction 26/9 JBL Professional 36/7
Bosch 32/8 Doepke & Co ED range 34/12 John Deacon 32/8
Calrec 34/3 Eastlake Audio Quested option 28/4 King verdict upheld on appeal 32/11
Comfort Sound 30/9 Electro Sound seminar 34/8 Klark -Teknik 36/7
DDA 28/4 Electrospace Developments correction 28/9 Lightning may damage magnetic recordings 30/8
Dyma Engineering 30/11 EMI compact disc plant 42/10 Literature received 38/7, 36/8, 26/9, 30/11
Discrete Research 30/9, 30/11 End of an era (Quad ESL) 30/11 Lutz Meyer solo 40/7
Eastlake Audio 28/4 End of line for KT88 32/2 Lyrec UK 40/7
Elliot Bros 36/2, 34/3 Forthcoming events 36/7, 32/8, 26/9, 30/11, 32/12 Mastering index 30/5
Feldon Audio 34/3, 34/5 Gaff Management/Marquee 36/7 MBI /Munro join forces 30/11
FM Acoustics 34/3, 30/11 Gateway and Rebis combine on course 34/8 Mixing consoles 32/12
GERR Electro Acoustics 34/5 Gotham export becomes Gexco 38/7 Monster Cable Products 34/12

Atd
GML 36/2 Granta Windings Ltd 32/8 Music Lab expansion 32/11 D
Group One Acoustics 30/6
Harmonia Mundi 30/9
Harrison
Harrison/Bauch
Harrison Systems
HM Electronics
43/10
34/3
36/2, 28/4, 34/5, 32/8, 30/11
30/11 e new ...
TRIS RIESENT
Hutchinson & Partners 30/9
Jor -Dan Studios 30/6
Lexicon 32/8
Martin Audio 30/9
Micmix Audio 36/2
Mitsubishi 34/3, 30/9, 30/11
Mitsubishi /DEC 36/2, 28/4
Mitsubishi /Gerr
Monitor Systems Technology
Neve
Otari
Philips
Quantec
34/5
30/9
36/2, 34/5, 30/9
36/2, 32/8, 30/9
32/8, 30/9
65 4, 8 or 16 Bus routing
32/8
Roland 32/8 8 or 16 track Monitor w /EQ
Sam Toyoshima designs 30/9
Scenic Sounds Equipment 43/10 4 -band EQ with dual swept Mid's
Solar Audio & Rec 30/6 ContinLously variable Hi Pass Filter
Solid State Logic 34/3, 28/4, 34/5, 30/6,
32/8, 30/9, 30/11 8 Aux. Sends, switchable Pre /Post
Sony 50/1, 36/2, 28/4
Soundcraft 30/6, 30/9 Programmable "Auto Mute" bus
Soundtracs 32/8
Streeterville 28/4
Each channel w /Direct Outs & Inserts
Studer 28/4, 34/5, 30/9 Stereo Place" Solo
Studer /FWO Bauch 30/9
Tannoy 32/8 Four Eaho Returns
Telcom /Audio + Design 30/11
Fully Modular construction
Theatre Technology
Tom Hidley
Turnkey
Tunkey 2
30/6
34/3
30/6, 30/9
36/2
Expandable mainframe -
to 56 inputs!
Turbosound 32/8
Valley Audio 30/11
Westlake Audio 30/9
MP
Diary
Abbey Road subcode editing 42/10
ACO Pacific correction 30/12
ADA becomes DeltaLab licensee 32/12
AES Convention policy 51/1
AES loudspeakers 32/4
AlRborne 30/5
Alpha Audio distribution 32/8
Amek /GML agreement 51/1
Andy Munro goes solo 32/5
Aosis for Barry Blue 36/8
APRS column 34/2, 30/4, 28/6 TRIDENT takes
APRS course 40/7
APRS membership categories 30/6 another step forward.
APRS orders for Harrison 26/9
APRS Producers' Guild 30/8 'v.
APRS Studio Link Up 32/8 1+t4ti.4"= The new, cost-effective
Arbiter back with Fender 36/8
Around the Tonmeistertagung 36/3 TRIDENT Series 65 console
Artisan Sound recorders 32/8 *-ter. maintains the tradition of
Audio -Kinetics interfacing 34/5 -
Audio -Kinetics splice option 34/12 performance, value and
Auditronics acquires Tapecaster
Azimuth Productions
36/8
26/9
'le reliability that has kept
Bandive & Atlantex merger 32/2 TRIDENT a leader in recording
Bayer Merlon for CD worldwide 40/7
BBC license LS5 /9 32/3 systems for the past two decades.
Benchmark Design 30/6
Ben Turner joins Finesplice 32/11
BKSTS award 42/10
BPI first quarter figures 42/10 TRIDENT AUDIO DEVELOPMENTS LTD.
BPI -MU agreements 32/2 Rodd Industrial Estate, Govett Ave., Shepperton, Middx. TW17 8QA U.K.
Breaking the 12 in world record 34/8
Cable sound -a rationale at last ?. 32/5 Tel: Walton on Thames (0932) 224665 Tlx: 8813982 TRIMIX G
Cadey info 32/2
Cadey info comes through
CBS move into film and TV
38/7
42/10
TRIDENT U.S.A., INC.
Chrysalis/Air /MAM merger 34/12 308 N. Stanley Ave., Los Angeles, CA 90036 U.S.A.
Cipher acquires btx 28/6 Tel: (213) 933 -7535 Tlx: 5106000019 TRIDENT USA
City University Diploma 38/7
Community Light & Sound Inc 36/7

111
 PRS donates to Band -Aid 32/3 State Group acquisitions 28/9
INDEX TO VOLUME Quad- Eight/Westrex eastern US office
Queen's Awards
50/1
36/7
Stirling service
Stolen LinnDrum
30/9
30/9

Music scoring system

27 50/1
Quested news
Real-time cassettes
Recording exhibition
Recording industry job centre
32/3
30/9
32/3
43/10
Studio Equipment Distribution
Studio Management Services
Studio Technologies correction
Switchcraft
40/7
32/12
26/9
36/7
NCAC directory 32/3 Return of API 30/11 Syn -Aud -Con Awards 34/12
Neve 36/7 RS over the counter 32/2 Synthesiser and Electronic Keyboard Handbook32/4
New DSP order 32/5 Saved by HHB 26/9 TAM cutting system 32/5
New headquarters for Modern Video Film 32/2 SIM training 30/6 TMG says tape levy unworkable 36/7
New plant for James Yorke 40/7 Sinatra's AKG auction 32/4 Todrank/Grant collaboration 38/7
New pro audio for Scotland 32/2 Solid State Logic goes West Coast 30/4 Training sessions in USA 32/11
Nimbus correction 40/7 Solo Sound opening 34/12 Turnkey shop 32/2
Northern ASCE show 26/9 Sony renames MCI facility 38/7 UK hire companies association 38/7
Now its ART 32/3 Soundcraft/GML agreement 51/1 Up and coming topics 30/6
Odyssey refit 32/8 Soundcraft move 30/4 US stereo television 28/9
Mixing consoles 32/12 Soundcraft New York 32/3 Valley Audio correction 28/9
Monster Cable Products 34/12 Soundex goes to Allotrope 32/2 Valley People 440 review correction 42/10
Official BBC /Neve handover 30/12 Sound Summit Studio opens in Lake Geneva 32/2 Voiceprints-a new art medium? 30/12
Original Equipment Manufacturers Agreement 32/8 Space Logic design 43/10 Wayne Kerr review 34/3
Philips in China 36/7 SSL Far East office 42/10 We try harder 30/11
Playback Studio C46 34/12 SSL for China Records 50/1 Worldwide cabling from Kelsey 32/5
Yellow Two package deal 32/11

Editorials
the new .. .
And something to stop!
Automate and communicate?
5/9
5/7

TRISERIESENT
Developments in testing 5/8
Education or training 5/1
Electronic music synthesis 5/4
Flirting with the dynamic rangers and other
stories 5/2
Malicious rumours incorporated 5/10
Mastery 5/5
Monitoring the situation 5/11

75 24 Bus outputs w /Metering

Putting the choice back
Something old, something new?
Studio design
We are vulnerable to aliens
5/12
5/9
5/3
5/6

24 track Monitor w /EQ and Fader Reverse Exhibitions

77th AES Convention, Hamburg -preview 52/3
Comprehensive 364 point Patchbay 78th AES Convention, Anaheim -preview 40/5
79th AES Convention, New York -preview 46/10
4 -band EQ with dual swept Mid's APRS Exhibition, London -preview 52/7
32/4
Continuously variable Hi Pass Filter CTEAP Convention, Paris
Tonmeistertagung 36/3
8 Aux. Sends, switchable Pre /Post
Features
Programmable "Auto Mute" bus A Blow by Blow account 76/6
Each channel w /Direct Outs & Inserts A classical approach
A custom moving fader system
90/9
100/7
Stereo "In Place" Solo A -1 Audio's two -truck tour 74/2
Ambisonics -round and round 78/9
Four Echo Returns An American in London 80/4
A personal view of psychoacoustics 72/6
Automated audio testing 48/8
Automatic automation for sound mixing 104/7
Automation and the VCA 80/8
Constant Q 82/10
CTS & DSP (DSP at CTS) 64/3
Cutting at Master Room 54/5
Dark Rides 82/9
Development of a digitally controlled mixing
console 64/12
Digital interconnections 76/8
Digital news 44/12
Digital World Record 72/7
Disc cutting system improvements 110/7
Effects, reverb and equalisers 38/6
Electronic assistance for film scorers 48/1
Guide to audio tape 72/5
TRIDENT's reputation Hazel Yarwood Abbey Road disc cutter 50/5
History of Sanken Microphone 54/11
for integrated systems and mportant aspects of power amplifiers 66/11
n perspective 70/2, 62/6, 48/7, 64/9
performance continues. nsights 70/1, 78/2, 54/4, 66/8
n Step 66/10
nterior motives 68/8
The new TRIDENT Series 75 nternational Computer Music Conference,
Paris 92/3
has the same sonic qualities ntroduction to loudspeaker reviews 76/11
that have made TRIDENT a Large scale design
Linn set up
62/3
60/5
legend among world -class Live Aid -radio production 54/10
Live Aid -TV and telecommunications 54/10
recording studios. Affordable Live Aid -the PA system 90/11
versatility is the hallmark of Mixing consoles -the top end 46/12
Mixing the media 64/7
this innovative system. Monitor survey 58/11
Multitalented ASP 66/2
Nimbus CD manufacturer 44/6
Oral history of sound 98/3
TRIDENT AUDIO DEVELOPMENTS LTD. Power amplifiers 104/3
Rodd Industrial Estate, Govett Ave., Shepperton, Middx. TW17 8QA U.K. Puk-design for digital 42/11
Series III Fairlight CM! 74/10
Tel: Walton on Thames (0932) 224665 Tlx: 8813982 TRIMIX G Starlight Express 78/12
String control 44/4
TRIDENT U.S.A., INC. Syncwriter
Synthesisers the way to go
84/4
72/4
308 N. Stanley Ave., Los Angeles, CA 90036 U.S.A. Synthesis primer and update 58/4
Tel: (213) 933 -7555 Tlx: 5106000019 TRIDENT USA Telcom c4 noise reduction system 46/2
Theme park sound at Disney 64/6
The Hill system 88/12

112 Studio Sound, December 1985

The producer series-Chris Tsandgerides 82/7 Eventide H969 30/1 Linn 9000 40/4
The producer series-George Martin 56/1, 52/2 Eventide SP2016 reverb and effects software 32/12 Loft 410 processor 36/9
The producer series-Martin Rushent 74/5 Fane 36/12 Lola Audio from Yugoslavia 32/6
The producer series-Robin Millar 54/12 FM Acoustics 36/12 Marshall AES -357 ambience effects system 36/10
The ribbon microphone 46/9, 98/10 Fougerolle Picot N-10 digital recorder 34/11 MIDI switching from JL Cooper Electronics 42/8
The role of maintenance 40/1 Furman rack accessories 40/4 Mini vacuum cleaner 46/7
Tooling up 44/1 Furman Sound LC -X expander /limiter/ Modutec panel meters 38/8
Training tonmeisters in industry 34/1 compressor 34/11 MonSter and UniVUer 38/8
Unique recording -Ocean Way 86/10 Gauss monitor system 40/8 Munro Electronics amplifiers 34/9
Variable acoustics at Danmarks Radio 82/3 Genelec 1022A 34/6 Musicomp 42/8
Vocalising on vocals 50/9 Harman (Audio) UK 34/9 Nakamichi MR -1 cassette deck 34/12
Harmonia Mundi Acustica bw102 digital audio Neotek Elite console 38/9
Letters interface 34/11 New Bel units 32/9
Aphex Aural Exciter review 62/11 Harris noise gate 32/6 NSR 36/12
Audiograph improvements 70/4 HM Electronics 36/11 Numark SA -110 power amplifier 38/8
Automated testing 40/12 ICI Equipment 36/12 Oberheim Electronics 42/8
Bose purpose-designed loudspeakers 78/4 Imhof blower units 36/6 Oberheim new DMX cards 38/4
Bose theory 44/2 IMS series 200 switcher 34/10 Octave -plateau IBM PC music software 38/4
Creative encouragement 40/12 JBL 4425 bi- radial monitor 34/10 Oneac Ltd 36/11
Credit where credit's due 46/8 JBL power amplifiers 42/8 Orban security covers 48/3
Designs on your studio 40/12 Jensen Transformer Inc 34/9 Otani 42/8
Disc cutting remembered 47/8 Kemplant Gripmate 30/1 Otani MX -70 series 46/3
DIY suggestion 46/8 Lexicon Inc 36/12 Parabolic dish microphone 44/7 D
DSP and data storage 46/8
Equipment dilemma 90/3
Hearing damage
Maintenance support
Matchless review
62/11
78/4
78/4
e new ...
DENT
Permanent PA 90/3
Putting the record straight 90/3
Rejecting conformity 47/8
Styli and mastering 90/3
Sutton Sound corrections 47/8
Tape speeds 90/3, 46/8
Wayne Kerr AMS1 90/3
Wilf 62/11

Music page
Akai digital products
C -Tape acoustic trigger
E -mu SP -12 percussion system
40/10
41/10
40/9
80B
- IES
24 separate switchable Bus outputs
Kurzweil 250 updates 41/10
Moog Song Writer 40/10 4 -band Sta e Variable EQ w /selectable
Roland Music Processing System
Roland SBX80 synchroniser
38/12
41/9
frequencies
Sequential Prophet 2000 38/12 5 Aux. Sen s, each switchable Pre /Post
SIEL software 40/9
Simmons SDS 9 electronic drums 38/12 Programm; ble "Auto Mute" bus
Steinberger/Roland guitar synth
U -Music MIDI system
41/9
40/9
Stereo "In 'lace" Solo
Split Mon or section, each w/3 -band EQ,
New Products Fader Reve e and assignment to Remix
ACO Pacific ACM48UP microphone 34/9
Acoustic Physics Laboratories control 4 Echo Ret rns with EQ
room monitors 36/9 Full Master Status switching
ADA Digitizer 4 36/6
Aim 501 oscillator 38/10 Automatio compatible with ARMS II ®,
AKG flight cases 34/10
Alesis XT digital reverb 36/6 MASTERMI ®, OPTIMIX ®, and MASSENBERG®
Alice digital control 48/3
Alphaton safety DI box 36/5
Amek APC 1000 37/12
Amek Equipment 34/9
AMIX audio products 34/12
AMS AudioFile 44/7
Aphex Compellor and exciters 46/3
Aphex Series 500 modules 38/8
Applied Microsystems CM250 synchroniser 34/11
Applied Research & Technology 42/8
ART 36/11
Audio + Design 36/11
Audioarts M16 32/6
Audio Engineering Services delay mods 36/11 Truly a World -Class
Audio -Kinetics machine & B16 interfaces 40/2
Audio-Kinetics synchroniser and editor 36/6 recording system.
Audio- Kinetics timecode Timelink 38/2
Audio -Line SKINNI jack 44/3 The new TRIDENT
Audio Precision System One 32/9
Audio Technica 36/11 Series 80B with added
AXE KT -1000 synchroniser 40/8 features and expanded
B & B Systems' Imagescope 38/8
Barcus -Berry microphone 36/9 capabilities, continues its
Bel BD80 retrigger 30/1
Beyer Dynamic HM 560 microphone 32/9 tradition as an Industry Standard.
Bodysonic transducer 34/9
Bose Room Mate 46/3
Bruel & Kjaer 30/1, 34/6 Experience a Legend . . .
BTR jackscrew mounts 38/11
Circuit Research SEP 800 compressor 34/12
Coustone acoustic panels 38/9 Before you commit to your next console
Crown /Amcron Micro-Tech 1000 48/3
Crown PCC160 boundary mic 36/5 system, consult your local TRIDENT dealer,
Digital clock divider 40/8
Digital tape from Ampex 38/9
Digital tape from 3M 34/9 TRIDENT AUDIO DEVELOPMENTS LTD.
Dod effects units 40/2 Rodd Industrial Estate, Govett Ave., Shepperton, Middx. TW17 8QA U.K.
Dod RDS 3600 digital delay 32/12
Dolby 362 38/2 Tel: Walton on Thames (0932) 224665 Tlx: 8813982 TRIMIX G
Drawmer T102 Interface 36/11
Dynamic dbx166
EAA Square 1000 power amplifier
38/5
42/7
TRIDENT U.S.A., INC.
EAR 8220 and 8230 equalisers 34/11
308 N. Stanley Ave., Los Angeles, CA 90036 U.S.A.
Electrospace Spanner 38/2 Tel: (213) 933 -7555 Tlx: 5106000019 TRIDENT USA
EMT-Franz digital delay and magnetic disc
recorder 38/11

113
 UK: b12 meter 32/9 Symetrix 30/11
INDEX TO VOLUME UK: Otani MTR12 Series 11 master recorder
Upgraded BGW power amp
38/11
40/8
Tecron
Telex communications
34/8
34/5

Penny & Giles fader

27 36/10
UREI 809 studio monitor
Ursa Major MSP -126 stereo processor
Ursa Major StarGate 626
US Audio Gatex
38/8
44/3
42/7
36/5
Tres Virgos Studios
Turnkey 2
Edward Veale
David Walker
40/7
34/2
34/5
34/8
Philips BPE condenser mics 34/6 Valley People model 440 processor 42/8
VCL Audio digital console
Powertran MCS -1 digital sampling unit
Prefer
46/7, 32/9
36/11 Vecteur
34/10
36/12
Reviews
Vesta Fire RV-3 38/4 ACO Pacific ACM48UP microphone 106/10
Quad 510 and 520 32/1 100/12
Visonik grows 44/7 Akai S612 MIDI digital sampler
Qu Play on cue 38/9 120/7
Rack mounting monitor 44/7 Walkovers 38/4 Allen & Heath Brenell CMC 24
Yamaha REV -7 digital reverb 32/6 Aphex Aural Exciter Type B 118/7
Rebis Audio Ltd 36/11 108/3
Rebis RA200 series additions Crown Delta Omega 2000
38/2
Recortec 42/8 People Crown Delta Omega 2000 (user)
Electrospace Spanner SP2 .
92/4
83/6
Regentport Plantinum console 36/9 AES 34/5 DN780 78/6
Renkus -Heinz crossover and horn /adaptor 40/2 AKG 34/8
Rycote stereo windshield 40/4
Mil
MB acs Q 106/10
Alpha Audio 34/8 1080/1
Sanken new microphones 38/11 Aphex 34/5, 40/7 Neutrikk 3300 80/1
Schoeps Collette capsule 40/4 Audio Kinetics 40/7
Sennheiser MD409 re- introduced 40/2 Audio Sales
Rhodrstems II (Electronic assistance for film
Rhodesystems
28/6 scorers) 6/1
Sennheiser MKH 40 42/7 BBC 34/5 Sennheiser MKH 406 and MKH 416 106/10
Shure FP11 and FP12 38/5 Bearsville Studios 34/5 Sony APR -5000 series 1144 4
Shure Prologue mics 32/6 Cherry Lane Music 34/5 44/4
Shure SM91 TAC
36/5 Crow of Reading 40/7 TAC Matchless 86/5
Solid State Logic 5000 M series 32/1 Crown International Inc 34/2, 34/5, 40/7, 34/8
Sonosax SX -S and SX -T mixing desks 34/12 Tascam mixing consoles 72/1
Electro-Voice 34/2 Technical Projects opD 84/1
Sony AES launch 36/9 Florida Recording Studios 30/11 Ursa Major 8X32 Nlkll in operation 84/5
Sony APR -5000 series 44/7 Harman (Audio) UK Ltd 40/7 86/6
Ursa Major MSP -126
Sony CD mastering system 38/10 ITA 34/5
Sony VTRs for digital audio, new U-matic 48/3 JBL 34/5 Wayne Kerr AMS1 90/1
Soundcraft series 600
Sound Technology audio test equipment 32/12 Lexc
icon 51/1 Studiofile
Soundtracs consoles 36/12 Marquee 34/2 Battery Studios, London 54/6
Soundtracs M series 38/4 Media Music 34/8 Bullet Creative Group, Nashville 62/5
SPL exciters and P03 34/6 Midcom Inc 34/5 Cabaletta Recording, Herts 68/1
Stage Accompany programmable parametric 46/7 Monitor Systems Technology 34/5 CBS Studios W1, London 76/3
Stellavox Star TD9 38/5 Munro Associates 34/8 Hollywood Studios, London 52/6
Stellavox TD 9 tape recorder 36/11 Music Lab 34/2 Lion Share, Los Angeles 64/4
STL test tape standards 38/4 Myriad Audio Video Sales 34/2 Milano Studio, Milan 66/4
Studer products and upgrades 44/3 Neve 51/1 Miller International, Hamburg 96/7
Summit Audio valve comp /lim 34/10 Otani Germany 34/5 Rooster Studio, London 66/5
Symetrix dual gated comp /lim 40/4 Platinum Australia 40/7 SAV Studios, London 56/8
Symetrix 511A 34/6 Pye TVT 51/1 Sinus Studio, Bern 78/3
Symetrix 544 quad expander /gate 32/12 Quad- Eight / Westrex 51/1 Star Studio, Hamburg 60/8
Synton replaces Vocoders: SPX216 36/6 Recortec Inc 34/8 Studio 'N' Cologne 62/2
3M wire marking system 38/9 Shone Sound 34/8 Studio 21, Yorkshire 74/9
Tannoy FSM & DTM -8 monitors 36/10 Signetics Corp 28/6 Studio 44, Monster 50/11
Tapetalk The Box RSA 2 42/7 Solid State Logic 34/2 Studios de la Grande Armée, Paris 70/10
Tascam new models 38/10 Sony Broadcast 51/1, 34/2 Sutton Sound Mobile Studio, London 64/5
Tascam Porta-One 40/2 Sony Corp of America 40/7 The Barge, London 92/7
The Gate and the Strate Gate 46/7 Soundcraft 51/1, 34/5 The Burbank Studios, Hollywood 66/9
Timeline LYNX timecode module 38/9 Soundcraft Electronics (UK) 34/8 The Fleetwood Mobile Studio, Warlingham 72/12
TMK CV100 AU cable length /fault detector 36/10 I Studio Equipment Distribution 40/7 Workhouse Studios, London 60/2

INDEX TO ADVERTISERS
APRS 17 Urban 43
AMS Industries PLC 17 Otani 44, 45
AMEK Ltd 95 Paradise Studios Ltd 29
Ampex (UK) IBC
QU Play Ltd 46
ANT Nachrichtentechnik GMBH 48 Quad Eight Westrex Ltd 75
Aphex Systems 33
Applied Microsystems Ltd 28 Rane Corporation 7
Rebis Audio 27
Audio Design Calrec Ltd 18
Recortec Inc 25
Audio Developments 47
Rycote Microphone Windshields 42
Audio Kinetics 51
Audio Service Co 102 S.E.D 26, 103
BASF AG 83 Sanken Microphone Co Ltd 14
Scenic Sounds 43, 71, 79
Britannia Row 25
Sela AB 16
Connectronics Ltd 20 Solid State Logic 57, 59, 61
DBX 71 Sony Broadcast Ltd 73
Dolby Laboratories Inc 19 Sound Technology 40, 41, 87
Don Larking Audio 62, 63 Soundcraft Electronics Ltd IFC
Eardley Electronics 67 Soundout Labs 91
Foundation First 34 Stage Accompany 89
Future Film Developments Ltd 17, 28 Sterling Audio Systems 52, 53
FWO Bauch Ltd 65, 85 Studio Spares 11
Studer 65
H H Electronics Ltd 23
Sturgis & Son 16
H W International (Shure) 50, 103 94
Surrey Electronics
Harmonia Mundi Acustica 93
Syco Systems Ltd 76, 77
Harrison Information Technology 28
Symetrix 12
HHB Hire & Sales 10, 13, 15, 31, 35, 108
Hill Audio Ltd 49, 101 Tape Automation 12
The London Rock Shop Ltd 32
Hilton Sound 16, 81
TOA Electric Co Ltd 29
ITA 37, 39 24
Trad Sales & Services
Klark Teknik Research Ltd 96, 97, 99 Trebas Institute of Recording 20
Lexicon 79 Trident Audio Developments 22
Michael Stevens & Partners 43 Trident USA Inc 111, 112, 113
MS Audiotron 14 Turbosound 69
Music Labs Group Ltd 4, 6, 103 Turnkey 8, 9
Northern Audio 20 Ursa Major OBC
Neumann 85 Wandel & Goltermann 21
Studio .Sound is available without charge to qualified readers: these are directors, n:nagers, executives and key personnel actively engaged in sound recording in any part or ihe',mid. The Publisher reserves the
right to refuse applications considered inappropriate and restrict the number of free copies sent to any one company or organisation. Non -qualify ing readers can buy Studio Sound at an annual subscription Of
Els ai. All enquiries to: Subscription Department, Link House Magazines, Central House, 27 Park Street, Croydon CRO IVD. Tel: 01- 7601)054. Puhlished by the proprietors Link House Magazines
Limited, Link House, Dingwall Avenue, Croydon CRS 2TA and printed by Lawrence-Allen Licl., Gloucester Si reef, Weston-super-Mare, Avon 5h23 ITS.
REFINING THE FINEST
Advanced recording equipment demands advanced recording tape. Which
is why for ten years Ampex has continued challenging machine capabilities.
Through a decade of technological improvements, Grand Master" 456 remains an
audio tape of unequalled sophistication and consistency. Which is why more top
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in the world. For Grand Master 456, the beat goes on.
Ampex International. Magnetic Tape Division, Acre Road, Reading RG2 OQR. England, (44) 734- 875200
AM PEX
Ampex Corporation One of The Signa; Companies

AND THE BEAT GOES ON

HARRY, THERE HAS TO BE AN EASIER WAY.
MEMO:
Listen, Harry, I know you keep saying we of controls. The reverb programs all sound
need "creative sound processing" to stay absolutely professional (this is an Ursa Ma-
competitive. I loved the way you hung the jor unit, after all) -but the 626 goes way be-
mikes inside a 24- gallon aquarium for the yond straight reverb. There's mono and
Fred's Fish Food jingle (too bad Fred's sing- stereo delay lines, for example, an effect
ing goldfish dropped dead, though). And called "reverse reverb," a stereoized dual
your reverse hyperspatial time -delay effects echo, and the brightest plate simulation I've
for the "H.G. Wells Concerto" were incred- ever heard. Plus a lot more -16 pre -tuned
ibly brilliant. Real award -winning stuff. "rooms" in all, with 256 possible variations
But I gotta tell you: these complicated set- on each effect.
ups of yours are driving me crazy. First I Anyway, Harry, I want you to cancel ev-
spend all day rigging equipment. Then I go erything on your calendar tomorrow morn-
all night de- bugging the effects so they ing. I'm taking you to hear a live demo of the
sound right. 626. Don't forget the checkbook, either. We
Harry, there just has to be an easier need this thing -and the sooner the better.
way to produce interesting acoustic envi-
ronments. Regards,
And I think I found it: Ursa Major's new
StarGate 626. The 626 puts just about every
-
effect we need digital reverb, delays, and
special effects inside one box with one set THE STARGATE 626
.'RSA MAJOR.

StarGate 626
DIGITAL REVERS a EFFECTS

QGC?
URSA MAJOR, Inc. Box 28, Boston, MA 02258 USA Telephone (617) 924 -7697
Telex: 921405 URSAMAJORBELM