Mitsubishi | CS-27609 | Digital TV The Technical Journal for Audio Professionals

December 1987
Digital TV
Pg. 90
The Technical Journal for Audio Professionals
AN INTERTEC PUBLICATION
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SL 4000 G Series
Master Studio System
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Contents
ENGINEER /PRODUCER
December 1987
Volume 18
Number
12
Selecting Accounting Software
for Audio Facilities
1st Annual Buyers' Guide
RE/Ps first annual Buyers' Guide provides three separate categories including
the Product Directory, Manufacturers'
Directory and the Dealers /Distributors
Directory.
Product Directory
20
Manufacturers' Directory
43
Departments
Select accounting software packages carefully for efficiency and
maximum control of your facility's
money.
By Robert Carr
Editorial
82
Hands On:
Yamaha DMP -7
Dealers/ Distributors
Directory
Digital Mixing Processor
63
By Paul D. Lehrman
4
News
6-8
Letters
Managing MIDI
Sound on the Road
SPARS On -Line
Film Sound Today
New Products
Classified
Advertiser's Index
10
12
14
16
18
98-101
103
104
On the Cover:
86
Cover design by Alecia Wright, RE/Ps
graphic designer.
Other Features
State of the Industry:
Future Trends and Observa-
Digital Audio Recording
for TV Programming
tions
Editor Michael Fay explores some
of the new directions that recording facilities and the pro audio industry will take in the future.
By Michael Fay
2
Recording EngineerProducer
96
Digital post -production facilities
are now a reality with digital
recording, editing and processing
equipment.
By Peter Roos
December 1987
90
RECORDING ENGINEER /PRODUCER -Volume 18, No.
12-(ISSN 0034 -I6731 is published monthly by Intertec
Publishing Corporation. 9221 Quivira Road. P.O. Box 12901.
Overland Park. KS 66212-9981. Second -class postage paid at
Shawnee Mission. KS. and additional mailing offices.
POSTMASTER Send address changes to Intertec Publishing
Corporation, P.O. Box 12901. Overland Park. KS 66212.9981.
DTR
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When you are ready to create the ultimate recording studio, the Otari DTR-9C0 awaits.
O.ari, Technology You Can Trust
Otari Corporation, 2 Davis Drive, Belmont,
California 94002 N (415) 592 -8311 TW X 9103764890.
Circle
00:2211
(4) on Rapid
Facts Card
December 1987
Recordiig Engineer/P ;oducer
3
Editorial
Take the Show
On the Road?
New York is an exciting and stimulating city, and a vibrant part of the professional audio industry. Los Angeles is considered the recording capital of the
world. But, the perception that only two
cities in the United States are capable of
hosting the annual AES convention
should be re- evaluated.
A primary reason for hosting the show
in these locations is the size of the local
audio workforces. There are sufficient
numbers of engineers and other production people living in these areas to ensure a large attendance.
But at the same time, the AES is catering to the people in these markets and
they are ignoring a great number in
others. It would be of great benefit to our
industry if the autumn show could rotate
through an expanded list of sites, bringing it closer to all professionals.
All professionals need current information on the industry's latest products.
They crave information on new products,
not only because they are considering a
purchase, but also because it helps them
stay in touch with the industry.
By limiting the hands -on exposure of
new products, ideas and technologies to
a privileged few, we are restricting the
productivity of thousands of other creative individuals. Let's broaden this exposure and find new ways to allow more
professionals to participate in these informative exhibitions.
It is time to find a way to take the fall
AES conference show on the road. Here
is a possible format.
Starting in the fall of 1989, the convention could rotate through the following
cities: Nashville, San Diego, Chicago, San
Francisco, Boston, Los Angeles and New
York, with Seattle, Las Vegas, Dallas.
Denver, Philadelphia or Washington, DC
as possible alternatives.
1989: Nashville, TN, has almost 200 recording studios and is one of the world's
most vital production communities.
There would be no lack of interest there
and the city would draw from the Mid -Atlantic and Southeastern regions of the
country. 1990: San Diego will have its
new convention center open. It's close
enough to Los Angeles and Orange
County to effectively cover Southern
California. A significant draw from
Phoenix, San Francisco and Mexico
could also be expected. 1991: Chicago is
another productive region and would
draw
from
Minneapolis,
Recording EngineerProducer
December 1987
Southern California, Nevada and Utah.
1993: The show could go to Boston.
Philadelphia or Washington, DC, as all
are close enough to draw from New
York. For 1994 and 1995, we would
return to Los Angeles and New York.
This proposed schedule can broaden
user awareness and involvement, and
promote goodwill within the "middle
market" segment of the industry.
Most pro audio manufacturers are
reaching for the middle of the market
and above. If Los Angeles and New York
are considered to be the top, does that
mean that there are no other major recording centers? And what about producers and engineers who don't work in
these other recording centers but whose
work is nonetheless valuable? Who remains are working professionals in smaller cities who constitute the "middle market" majority. By limiting the show to
the two major East and West Coast recording centers, the Audio Engineering
Society implies to qualified professionals
in other areas that their work and /or
money is not significant. I doubt that's
the impression the AES or the manufacturers are trying to give, but it could be
the message that's being received.
In order for our industry to flourish, we
must be unified through effective communication and diverse representation.
There's an entire country between New
York and Los Angeles. For the sake of the
industry, the AES needs to discover it.
I welcome your comments and suggestions. Let the AES and the manufacturers
know how you feel about taking the
show on the road.
Detroit,
Cleveland, Cincinnati and other cities in
the Midwest. 1992: Besides the local
areas, San Francisco would be attractive
to those in the Pacific Northwest as well
4
as
Michael Fay
Editor
OR
TRUTFI...
CONSEQUENCES.
If you haven't heard IBL's new generation of Studio Monitors,
you haven't heard the "truth" about your sound.
TRUTH: A lot of monitors "color" their
sound. They dont deliver truly flat
response. Their technology is full of
compromises. Their components are
from a variety of sources. and not
designed to precisely integrate with
each other.
CONSEQUENCES: Bad mixes.
Re- mixes.
Having to "trash" an entire session. Or
worst of all, no mixes because clients
simply dont come back.
TRUTH: IBL eliminates these consequences by achieving a new "truth"
in sound: IBL's remarkable new 4400
Series. The design, size. and materials
have been specifically tailored to each
monitor's function. For example. the
2 -way 4406 6" Monitor is ideally
designed for console or close-in listening.
While the 2 -way 8" 4408 is ideal for
broadcast applications. The 3 -way 10"
4410 Monitor captures maximum spatial
detail at greater listening distances. And
the 3 -way 12" 4412 Monitor is mounted
with a tight -cluster arrangement for
close -in monitoring.
CONSEQUENCES: "Universal" monitors,
those not specifically designed for a
precise application or environment.
invariably compromise technology, with
inferior sound the result.
TRUTH: IBL's 4400 Series Studio Monitors achieve a new "truth" in sound with
an extended high frequency response
that remains effortlessly smooth through
the critical 3.000 to 20.000 Hz range.
And even extends beyond audibility to
27 kHz. reducing phase shift within the
audible band for a more open and natural sound. The 4400 Series' incomparable high end clarity is the result of IBL's
use of pure titanium for its unique
ribbed -dome tweeter and diamond
surround, capable of withstanding forces
surpassing a phenomenal 1000 G's.
CONSEQUENCES: When pushed hard.
most tweeters simply fail. Transient
detail blurs, and the material itself
deforms and breaks down. Other materials can't take the stress. and crack under
pressure.
TRUTH: The Frequency Dividing Network in each 4400 Series monitor allows
optimum transitions between drivers in
both amplitude and phase. The precisely
calibrated reference controls let you
adjust for personal preferences, room
variations. and specific equalization.
CONSEQUENCES: When the interaction
between drivers is not carefully orchestrated, the results can be edgy. indistinctive, or simply "false" sound.
TRUTH: All 4400 Studio Monitors feature IBL's exclusive Symmetrical Field
Geometry magnetic structure, which
dramatically reduces second harmonic
Circle
(5) on
distortion. and is key in producing the
4400's deep. powerful. clean bass.
CONSEQUENCES: Conventional magnetic structures utilize non -symmetrical
magnetic fields. which add significantly
to distortion due to a nonlinear pull on
the voice coil.
TRUTH: 4400 Series monitors also
feature special low diffraction grill frame
designs, which reduce time delay distortion. Extra -large voice coils and ultra rigid cast frames result in both
mechanical and thermal stability under
heavy professional use.
CONSEQUENCES: For reasons of economics. monitors will often use stamped
rather than cast frames. resulting in both
mechanical distortion and power compression.
TRUTH: The IBL 4400 Studio Monitor
Series captures the full dynamic range.
extended high frequency. and precise
character of your sound as no other
monitors in the business. Experience the
4400 Series Studio Monitors at your IBL
dealer's today.
CONSEQUENCES: You'll never know
the "truth" until you do.
JBL
IBL Professional
8500 Balboa Boulevard
Northridge. CA 91329
Rapid Facts Card
December 1987
Recording Engineer/Producer 5
Hews
AES elects 1987.88 officers
The Audio Engineering Society has announced its officers for 1987 -88. Daniel
Gravereaux was elected to serve as president. He has been serving as AES president since July, when he was elected to
fill the term of Richard Heyser, who died
in March.
Other elected officers are: Stanley Lipshitz, president -elect; Randall Hoffner,
Thomas Behrens, Richard Cabot, Roger
Furness and Lawrence Fincham, regional vice presidents; Diana Deutsch, William T. Shelton and Frank Anthony Griffiths, governors; John J. Bubbers, secretary; and Arthur E. Gruber, treasurer.
agreement,
retains software consultant
NED forms technology
New England Digital has entered into a
joint technology agreement with Analogic, a designer and marketer of analog -todigital converters, signal processing
equipment and medical products.
Under the agreement, the companies
EDITORIAL
Frederick J. Ampel, Editorial Director
Michael Fay, Editor
Dan Torchia, Staff Editor
Tom Cook, Senior Managing Editor
Sarah S. Coleman, Associate Editor
Darren Sextro, Editorial Assistant
Pat Blanton, Directory Issues Editor
ART
Alecia Wright, Graphic Designer
BUSINESS
Cameron Bishop, Group Vice President
Dennis Milan, Publisher
Stephanie Hanaway, Promotions Manager
Cynthia Sedler, Marketing Coordinator
Dee Unger, Advertising Supervisor
Pat Eisenman, Advertising Coordinator
Sales offices: see page 104
Synclavier.
NED has also retained Shelly Palmer to
be a software consultant to develop and
refine software for commercial production, and film and video post -production
applications. Palmer is founder and president of Shelton Leigh Palmer and Co.,
and Creative Audio Recording Services.
Tape companies use
Doug Riemer, Circulation
Vice President
Jane J. Powell, Circulation Manager
JoAnne DeSmet, Circulation
Fulfillment Manager
Barbara Clare, Reader Correspondent
Kevin Callahan, Corporate Art Director
audio mastering tape and will offer the
kits in other countries upon request. Ampex Great Britain has been supplying kits
free to APRS members.
Business notes
RLS Acoustics has relocated to 300
Brannan St., Suite 610, San Francisco,
CA 94107; 415- 541 -0818.
Vaughn Communications has acquired
AVC Systems, a vendor of pro audio and
broadcast equipment and systems.
APRS labeling system
British divisions of Ampex and BASF
are implementing a standardized labeling system for audio master tapes devised by APRS, the U.K. recording studio
Neve
organization.
The system uses self- adhesive color coded tape box labels using standardized
designations, designed to clearly mark a
master tape and avoid misidentifying.
BASF United Kingdom is supplying a
kit of labels free with every delivery of
has announced the following console sales: Apollo Theatre. New York, V
series; Mamorsky, Zimmerman, Hamm
& Forest recording studio, New York,
model 8232; Record Plant, New York,
Digital Transfer Console; Soundwave,
Washington, DC, model 8232; Eleven
Eleven Sound, Nashville, TN, V48; Crosstown Recorders, Memphis, TN, model
8232; KLRU, Austin. TX, V series for use
on "Austin City Limits "; CBS, Los Ange-
TECHNICAL CONSULTANTS
SUBSCRIPTIONS
Larry Blake, Film Sound
Bob Hodas, Evaluations and Practices
Douglas Howland, Broadcast Production
Paul D. Lehrman, Electronic Music
David Scheirman, Live Performance
Stephen St. Croix, Technology Developments
Qualified:
RECORDING ENGINEER /PRODUCER
is
edited to relate recording science to recording art to recording equipment, as these subjects, and their relationship to one another,
may be of value and interest to those working
in the field of commercially marketable recordings and live audio presentation. The
editorial content includes: descriptions of
sound recording techniques, uses of sound
recording equipment, audio environment
design, audio equipment maintenance, new
products.
CORRESPONDENCE
Advertising and Subscription:
9221 Quivira
913-888-4664
Telex: 42:4156 Intertec OLPK
Fax: 913 -888 -7243
R.J. Hancock, President
Recording EngineerPrnrirlror
essing products to be used in NED's
Overland Park, KS 66215
ADMINISTRATION
6
will develop a new generation of highspeed A/D converters and signal proc-
Editorial:
Suite 220
1850 N. Whitley Ave.
Hollywood, CA 90028
213 -467-1111
Fax: 213 -856-4895
norornhor 1007
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Optional airmail for non -qualified readers is
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year. Foreign subscriptions are payable in
U.S. funds only by bank check or money order. Adjustments necessitated by subscription
termination at single copy rate.
Recording Engineer /Producer is not responsible for any claim by any person based
on the publication by Recording Engi-
neer /Producer
of material submitted for
publication.
Photocopy rights: Permission to photocopy
for internal or personal use is granted by
Intertec Publishing Corporation for libraries
and others registered with Copyright Clearance Center (CCC), provided the base fee of
$2.00 per copy of article is paid directly to
CCC, 21 Congress St., Salem, MA 01970. Special requests should be addressed to Cameron
Bishop, group vice president.
ISSN 0034 -1673 $4.00 + $0.00.
Member, Business
Publications Audit of
VBPA
Circulation
Sustaining member of Acoustical Society
of America
/NTERTEC
It1NLRiNINo CORPORATION
1987. All rights resenrd.
.#
/7->7 ,ItSttGserQNer.
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Circle (6) on Rapid Facts Cad
f
News
les, V series for use in its new teleproduction site; Westlake Studios, Los Angeles,
V series; Baby O Recording, V60; Cherokee Recording, Hollywood, V60; and
Garden Rake Productions,
Oaks, CA, V48.
Sherman
SPARS names director,
elects new officers
Shirley Kaye has been named executive director of the Society of Professional Audio Recording Services. Kaye has
been a member of SPARS since 1972 and
is a former regional vice-president and
treasurer.
The former owner of Coconuts Recording Company in Miami, Kaye replaces
Gary Helmers, who resigned last summer.
The appointment was announced at
the AES Convention in New York, where
the society's officers for 1988 were elected at a general membership meeting.
The new officers are Nick Colleran,
chairman of the board; Guy Costa, president; Bruce Merley, first vice president;
Dick Trump, regional vice president/
treasurer; Dwight Cook, regional vice
president /secretary; and Johnny Rosen,
Charles Benanty, David Porter, Toni
Jung, Charles Comelli, Pete Caldwell and
Tom Kobayashi, regional vice presidents.
In addition, the SPARS national office
has relocated to 4200 10th Ave. North,
Suite 2, Lake Worth, FL 33461;
305- 641 -6648.
JBL supports Pink Floyd
on studio and stage
The new Pink Floyd album, "A Momentary Lapse of Reason" and the
"1987 -1988 World Tour" feature the use
of JBL loudspeakers. At Can Am Studios
in Los Angeles, JBL 4435 Bi- Radial studio
monitors were used in the mixing of
overdubs, and on stage for the tour JBL
Concert Series loudspeakers are being
used for the individual instrument
systems.
Two separate keyboard systems were
designed around the JBL 4828 Bi- Radial
stage monitoring system and the 4851
3 -way loudspeaker system. The bass
guitar setup incorporates the 4850 2 -way
loudspeaker system and the 4842 sub woofer system. Both keyboard and bass
setups use JBL/UREI 5235 electronic
crossovers and JBL/URE16260 and 6290
power amplifiers, with Concert Series input /output connector panels and cabling.
JBL sponsors
1987 Audio Engineering Conference
The conference for JBL sound contractors, independent consultants and representatives was presented late September,
in Woodland Hills, CA.
Ron Means, president of JBL Professional announced the Harman /JBL collaboration and new product developments. Ken Lopez, vice president of
sales presented a glimpse of new products that will soon be available from
JBL/UREI and Soundcraft Electronics.
Other guest speakers included: Rollins
Brook, Don and Carolyn Davis, Ken
Fause, Mark Gander, David Kaye, David
Klepper and Torben Jacobsen.
Also included during the 2 -day seminar
were "hands-on" workshops on sound
mixing, enclosure design, video setup
and TEF and RASTI techniques.
regional sales office at 11965 Venice Blvd.,
Suite 407, Los Angeles, CA 90066, for sales
and backup support. The company says
it plans to eventually develop a service
facility within the office.
Milab names U.S. distributor
Milab Microphones has named EXP as its
U.S. distributor of Milab's microphone line.
The company is located at 11288 Ventura
Blvd., Suite 304, Studio City, CA 91604;
818-843 -1830.
Corrections
the AES preview in the October issue, AKG Acoustics was omitted from a
category in the Product Directory. The
company manufactures microphone accessories, booms and stands, studio and
PA microphones, and wireless and RF
microphones.
Also, because of erroneous information supplied by the AES, Focusrite was
incorrectly listed as Zimbelman.
In
The August 1987 issue featured the article "An Engineer's Guide to Studio and
Live -Performance Microphones." Due to
Six companies have agreed to standardize serial communications protocols
for machine control in the audio production and post-production industries.
The agreement, between TimeLine,
Solid State Logic, New England Digital,
CMX, Triconcept and Alpha Audio, is the
first step in developing simplified computerized machine control systems using
serial protocol. This was developed by
TimeLine for its Lynx System Supervisor
and is based on the ES Bus standard.
The standardized protocol will allow
manufacturers to implement machine
control functions more easily without developing custom command and control
systems for each type of device.
The agreement was announced at the
AES Convention in New York. Following
Beta testing, TimeLine will publish the
command and control protocols.
a production error, Figures 1 and 2 are
reversed. Also in Table 1, the Micro-
Discovery Systems opens
East Coast offices
Centro Corporation has completed its
relocation from San Diego and is now
located at 369 Billy Mitchell Road, Salt Lake
City, UT 84116; 801- 537 -7779.
Suite 518B, Raleigh, NC 27609; 919 -881 -0066.
Recording EngineerProducer
Lexicon opens
West Coast office
Lexicon has opened a West Coast
Agreement announced for
standardization of
serial communications protocols
Discovery Systems has opened additional
offices in New York and Raleigh, NC, for
compact disc audio mastering and replication services. The addresses of the offices
are 437 Madison Ave., New York, NY 10022,
212 -888-2220; and 4601 Six Forks Road,
Centro completes relocation
8
Stewart opens headquarters
Stewart Electronics has opened its new
facility at 11460 Sunrise Gold Circle, Suite
B, Rancho Cordova, CA 95760. The company's phone number is still 916 -635 -3011.
December 1987
phone Selection Chart, please note if the
requirement is "extended lows," the
recommended microphone characteristic should be "omnidirectional condenser, or dynamic with extended low frequency response."
RF/P
For additional
advertiser
information, use
the Rapid Facts
Card in the back
of this issue.
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Rapid Facts Card
Mic evaluations
From: William Sommerwerck, Mechanicsburg, PA
Thanks for Lowell Cross' interesting article on microphone evaluations in the
August 1987 issue. May I add a few corrections and additions?
The JVC Q- Biphonic (nee, Quad -Biphonic) system does encode for height,
at least when making dummy -head recordings. The encoding is inherent in the
shape of the pinna and the arrival time
differences between the ears. If you have
the (Stereo Review) binaural record,
which includes sounds moving above
and below the listener, you can confirm
that the brain interprets these directional
cues reasonably well.
There is another source of microphone
coloration that Mr. Cross does not discuss. One of the fundamental problems
with conventional stereo recordings is
that the ambience is mixed with the
direct sound and comes from the wrong
direction in playback. Those ambience
components that fall in the fusion region
are masked by the direct sound, but are
still present to comb and create audible
coloration.
This suggests that figure-eight mies,
which suppress side sounds much more
than cardioids, will have less coloration.
Indeed, this seems to be the case. Using
my PML RC -4v mies, I find that single point recordings made with the figure eight pattern are crisper, livelier, more
immediate and less colored than those
made at the cardioid setting.
I also like the Blumlein setup for
another reason. As an amateur recordist
limited to live performances, I rarely
have the opportunity to ask the performers to rearrange themselves to suit my
concept of good imaging or the best balance. By rotating the mies a bit, I can get
a better spread of sound, or tame an
overly loud instrument, without messing
up the overall image.
Mic Pre Listening Test
From Deane Jensen, president Jensen
Transformers, N. Hollywood, CA
An important and relevant result of the
"Mic Pre Listening Test" in your October
1987 issue was omitted. Denny Jaeger,
who graciously offered his $2 million
studio for the tests, chose the Jensen
Twin Servo 990 mie pre, built by
Boulder, for his own studio.
This is the same Denny Jaeger who
was the first to convert his two Sony
3324 24 -track digital tape machines to
10
Recording EngineerProducer
the Apogee linear-phase filters for sonic
clarity. He was also one of the original
consultants who helped pioneer the
development of the Synclavier II, and
currently owns one of the four largest
Synclavier systems in the world -a man
who really "puts his money where his
mouth is," or is it "where his ears are."
So, which mie pre really won the test?
Digitally recorded tape
From John Lord, Santa Monica, CA
In his column in the July issue, Gary
Helmers repeats a common misconception about digital audio:
"Because a digitally recorded tape
contains only numbers, the
microprocessors can easily
distinguish between the recorded
signal and the inherent tape noise.
Consequently, digital soundtracks
can be bounced, theoretically at
least, through an infinite number
of generations, with the last
sounding just as lean as the
original."
Mr. Helmer's second sentence is false
for a variety of reasons. Errors do occur
in the recording and reproduction of the
bits that make up the digital signal, thus
changing the "numbers." The Second
Law of Thermodynamics has not been
repealed for audio engineers.
Unlike analog, however, in digital
audio there is the possibility of correcting
some errors. There are various ways of
doing this, but all involve recording extra information on the track.
A brute force method would be to
record three parallel digital tracks. Compare them in playback; if there is any
discrepancy, pick the version that occurs
on two of the tracks. (Notice that an error
that appeared simultaneously on the
playback of two of the tracks would be
accepted as the correct data.) This brute
force method would be a waste of tape.
Computer scientists long ago figured out
much more elegant and efficient ways of
catching errors, built around various
forms of error-correction code. The code
makes it possible for the computer to
check one section of the recording
against another.
Error correction can be made as good
as we want, but we cannot make it
perfect. For example, some simple codes
can correct an error in which one among
eight consecutive bits has been altered,
but it cannot catch the rarer error in
which two consecutive bits have altered.
The more errors an error correction
code can catch (i.e., the rarer the type of
December 1987
errors an error correction code can
catch), the more additional information
will be needed to be recorded on the
track. It's a compromise involving not
only space on the track but also computation time, and the law of diminishing
returns applies. So, for example, the error correction code used on audio CDs
does not catch as many errors as the
more extensive error correction code
used on CD-ROMs, because an isolated
mistake in musical material is not very
noticeable and playing time is a major
consideration, whereas on a CD-ROM a
number error in a database can have
serious consequences. For obvious
reasons, extensive error checking is used
in applications that handle such things as
bank balances. In comparison, error
checking in digital audio is nothing to
brag about.
An analogy may clarify the difference
between bouncing analog and bouncing
digital sound. Analog recording is like
copying a page of text on a Xerox
machine. The first copy looks pretty
good. Copy that copy, and it's not quite
as good. The serifs on the letters start to
drop out, and random dark points appear
in the white area (noise). By the time you
get the hundredth copy, about all that
would be visible would be a pattern of
dark horizontal lines. (Notice that in
photocopying and copying audiotapes,
the high frequencies go first.)
Digital recording is like giving the page
to a monk to copy. The first copy is pretty good, maybe one misspelling. The second monk notices the misspelling (he
knows what it should be from the context, like an error correcting code) and
corrects it. But by the time we get to the
hundredth monk's copy, an uncorrected
error would have appeared and the text
is corrupted. Notice, though, that the
white of the paper is still white (i.e., no
tape hiss) and the letters are still perfectly formed. They just don't mean what
they used to.
For these reasons, if a digital recording
were bounced through an infinite
number of generations, the last would be
pure noise, theoretically at least. It would
not be music but gibberish, gibberish
perfectly free of tape hiss. Fortunately,
none of us will ever have to deal with an
infinite number of genèrations, and since
the error-correcting schemes being used
have been chosen with an eye on the
typical number of generations used and
the limitations of the human ear, digital
is a blessing to those who deal in fourth or fifth -generation material.
REJP
oIcrtu
AMPEX
Our greates
There's only one xvay to build
a great reputation. And that's to do it
consistently, hit after hit.
We set the analog standard with
Ampex Grand Master' 456. We pioneered a new digital standard with
Ampex 467 digital mastering tape. And we developed Ampex 106 for
outstanding performance in a wide range of analog mastering applications.
When it comes to analog and digital mastering tapes, nobody
offers a wider selection.
More great pertbrmers record their hits on :Ampéx tape than any other
tape in the world. While opinion may vary
on what it takes to make a hit, there's no
argument on what it takes to master one.
AMPEX
Circle
(9) on Rapid
Facts Card
Managing MIDI
By Paul D. Lehrman
Because I don't get to play much music
outside of my own studio these days. I'm
pleased when someone asks me to do
some live performing. Recently, the organizers of several conventions and
meetings in the Northeast, all of which
happened to be scheduled at about the
same time, asked me to write and perform some pieces using computers and
MIDI equipment.
At one of those meetings, I even volunteered to run a workshop on the latest in
MIDI techniques, the afternoon before
my performance. My original title for the
workshop was rather imposing and formal sounding, but at the last minute, I
decided I really did want people to come,
so I changed it to "Fun with MIDI."
However, when I was setting up for the
workshop. a piece of equipment in my
MIDI setup broke down, and I couldn't
for the life of me figure out which one, or
why. "Fun with MIDI" quickly descended
into "MIDI Hell."
The setup involved two computers,
seven synthesizers, two signal processors, three mixers and three input devices, all under MIDI control. The layout
of the Ins, Outs, and Thrus was, to put it
mildly, complicated. One mistake. and
everything would come crashing down,
or would lock up, or worse.
Well, I thought I had it wired correctly,
but when I started to play my examples
for the eager workshop crowd, all sorts
of weird garbage came out -notes would
shut off mysteriously, or wouldn't shut
off at all, huge clusters of notes would
sound whenever I'd move a pitch wheel,
strings of program changes started occurring on all channels simultaneously,
stuff like that.
I fiddled around in front of the crowd
for a few minutes, and finally gave up in
disgust. For the rest of the hour, all I
could do was describe what I was going
to do, which was hardly the audience grabber I had hoped to do.
For the next three hours I tried to track
down what went wrong, so that I could
perform that night -without success. Finally, I went out to dinner.
When I eventually got back home and
started pulling everything apart, I discovered the culprit: A ROM chip in an interface box I was using as a merger had failed,
and was garbling the MIDI data coming
into it. I happened to have a replacement
ROM on hand, which I popped in, and
Paul D. Lehrman is RE/P's electronic music consulting
editor and is a Boston -based producer, electronic musician and tree -lance writer.
12
Recording EnaineerProducer
everything worked great.
The experience made me realize more
than ever what a pain MIDI can be, both
in the studio or on the road. In a personal -use studio like mine, I can avoid the
hassles that come with clients' constantly
changing requirements, but a commercial studio does not have that luxury.
Before MIDI came along, a studio already had enough to worry about, like
balanced lines, ground loops, RFI, hot
chassis, voltage drops, video sync buzz,
and keeping the power and audio lines
away from each other. Now we have to
Treat MIDI with the
same respect as you do
any signal in your studio.
deal with new kinds of ground loops
caused by MIDI cables, MIDI data loops,
local control, MIDI Thrus and a host of
new kinds of hardware like splitters,
mergers and patchbays. For the studio
just getting into MIDI it can be a
nightmare.
There are several principles that studios can follow to help keep them out of
MIDI Hell, however. Some are extensions to conventional good studio practice, while others are unique to the MIDI
age.
First of all, keep audio and MIDI wiring
separate, the way you do with audio and
video. MIDI is high-speed data, running
through not particularly well -shielded
lines, and under some circumstances, it
can indeed leak. Don't run audio and
MIDI lines parallel to each other for any
length.
Also, you'll avoid lots of confusion if
you do your audio and MIDI wiring at
separate times: Do all your audio wiring
first, check it thoroughly, and then do all
your MIDI wiring (or vice versa, if that's
more convenient). This may sound obvious, but you'd be surprised how often a
situation comes up where something is
not working right, and everyone starts
frantically tracking down audio cable
faults, until the tape op discovers that the
cable that was supposed to go into the
Thru jack on the second synth in the
chain somehow ended up in the In jack,
and that's why there's no audio from the
sampler.
And speaking of chains, try to avoid
them. They can cause the dreaded MIDI
December 1987
delay (although that's not as big a problem as was once thought), but more importantly, they can drive you nuts. If
there's a synth at the beginning of a
chain, whose MIDI processor goes funky,
it will take the whole chain down, and it
may take a while for you to realize what
happened. Instead, use a star network, in
which there is as short and predictable a
path as possible between whatever devices generate MIDI data and whatever
devices read it.
If you're doing a really complex setup,
with multiple ins and outs, mergers and
switchers, filters, channelizers, or whatever, get in the habit of setting the units
to their proper functions before you hook
up their MIDI cables. If you don't, you
may accidentally set up a MIDI loop,
which is like audio feedback, only not as
loud, and potentially far more destructive.
Equipment that gets caught in a MIDI
loop often will stop responding to anything, sometimes the only way to get it to
behave is to turn it off. If you're lucky,
the next time you turn it on, the unit will
work OK, but if you're unlucky, it will
have dumped all its memory. What happens to your particular setup when it's
confronted with a MIDI loop is not one of
those things that's worth finding out.
If you're working with a MIDI switcher
or patchbay, make sure that when you
change settings on it there is no MIDI data going through it. If you send a note -on
to a particular synth module. and then
switch it out of the circuit, it will never
get a note -off, and will keep sounding until you do something drastic. Similarly, if
you're in the middle of a pitchbend
sweep and suddenly change your synth
routings, you could end up with one
synth jumping out of tune while another
gets hung up on some pitchbend value
with no way to get it down again.
Finally, invest in some way of monitoring your MIDI data stream. You've got
cable checkers, digital voltmeters, and
oscilloscopes for looking at your audio
lines, so why should your MIDI lines deserve any less? There is a wonderful public domain program for the Macintosh
called "MIDIScope" that analyzes what's
happening on a MIDI line, and there are
also a few portable hardware devices
now becoming available that do the
same.
Treat MIDI with the same respect as
you do any signal in your studio. A few
bucks here and a few minutes there can
go a long way toward keeping you and
your studio out of MIDI Hell.
_gin.
onway Recording caters to the top record -date clientele in LA's highly competitive studio recording
scene. Yet hits are their stock in trade.
Owner Buddy Brundo has assembled outstanding engineering talent and provided them with the equipment
necessary to record some of the most demanding performances in the world. Conway has repeatedly chosen Neve
recording equipment, most recently the V Series 60 input
multitrack console with enhanced dynamics.
"Because of its versatility, the V Series console lets you do
a lot more. The built -in compressors and switching are better than ever," says Brundo.
The V Series offers separate releases on the combined
noise gate / expander and limiter / compressor to ensure the
highest degree of control. More threshold controls make it
possible to "fine tune" to previously unimagined preciseness.
Special effects possibilities almost create themselves. Noise
and distortion are at their lowest, so sound is pure, crisp and
natural. This is, quite simply, the most comprehensive inline dynamics unit ever.
What all this means is the real world of recording is a flexibility and warmth that have helped make Conway a consistent winner in any musical genre..
"We've had Dionne Warwick in tc do That's What Friends
Are For, as well as Smokey Robinson, Mr. Mister and the Talking Heads, who did a remix of Wild Life;' adds Brundo.
"We've had an unbelievable amount of hits this year, and
our clients keep coming back. They know there's something
special about the sound that comes out of here."
Neve...Only the Best for the Best!
N _\_OV/0
Rupert Neve Inc.
A Siemens Company
RUPERT NEVE INC.. BERKSHIRE INDUSTRIAL PARK, BETHEL, CONNECTICUT 06801, U.S.A.
TELEPHONE: :203) 744 -6230. TELEX: 96 9683. FACSIMILE. (203) 792-7863.
CA: TEL: (213) 874 -8124 FACSIMILE: (213) 824-1406 TN: TEL: (615) 385 -2727 TELEX: 78 6569
NEVE ELECTRONICS INTERNATIONAL LIMITED. MELBOURN. ROYSTON, HERTS SG8 6AU, ENGLAND
TELEPHONE: ROYSTON (0763) 60776. TELEX: 81381. CABLES: NEVE CAMBRIDGE. FACSIMILE: (0763) 61886
NY: TEL: (212) 956 -6464
Circle (8) on Rapid
Fob Cord
sound on the Road
By David Scheirman
Audiences have gathered together in
live- performance venues for thousands
of years to enjoy the sound of live music.
Ancient building engineers skillfully
combined a knowledge of materials and
mathematics to construct chambers and
arenas that could influence an audience's
emotional experience of a musical performance in different ways. In seeking to
construct performance spaces that would
enhance the type of program being presented acoustically, these early architectural sound experimenters laid the foundations for a knowledge of classical
acoustics that has come down to us
through recent centuries.
Most discussions of live sound for today's popular musical events center on
the musical style, or the type of sound reinforcement hardware that is in use for a
specific event or touring project. Most
tours that use the arena venue circuit to
present their musical performances operate with relatively standardized sound
system packages that are available from
a variety of rental companies. The development of such homogenized portable
systems has been imperative over the
past two decades because of touring's logistical considerations. The challenge to
these sound company system designers
was to assemble hardware rigs that were
flexible enough to present all styles of
music to large audiences in different cities every night.
As rock- and-roll (and its use in such
mainstream entertainment artforms as
the Ice Capades or Alvin & the Chipmunks on tour) has finally made an impact on the management staffs and financial controllers for major -city entertainment venues, some thought is being given by facility owners to the subject of
sound in their respective buildings. In
many arenas today, rock (and popular
music in general) concert events contribute a larger portion to the annual gross
profit totals than do the professional
sporting events for which the venues
were originally designed. Unfortunately,
many of the arenas and auditoriums in
use for today's major music events have
acoustical characteristics (loosely defined) that are essentially suited to
hockey matches or basketball games
than to the music of Kenny Rogers, Pat
Benatar or Motley Crue...all of whom can
contribute a significant amount of income to those same buildings.
David Scheirman is RE /Ps live performance consulting editor and is president of Concert Sound Consult-
ants, Julian, CA.
14
Recording Engineer/Producer
While some arenas are notable for
acoustics that actually help the live
concert ambience instead of hinder it;
many touring sound system technicians
list such buildings as the Meadowlands
Arena in New Jersey; Market Square
Arena in Indianapolis; and The Summit
in Houston as favorable concert venues.
On the other side of the coin, such buildings as the Boston Gardens in Boston;
Kiel Auditorium in St. Louis; and the
Spectrum in Philadelphia have traditionally presented touring sound crews with
major acoustical challenges.
Many venue management executives
Concert-goers are
becoming used to hearing
better-quality concert
audio than in recent years.
are realizing that the 'sound of music' in
their buildings is a significant issue that
deserves long -term consideration, and
some are acting on that new awareness
with a dedicated program of acoustical
improvements.
Those performance spaces that end up
having ideal acoustics for live contemporary music (whether by design or fortunate accident) are often used as a favorite site by entertainers for live album recordings. Oftentimes, these venues are
mid -sized buildings in the theater category that were patterned after the popular Vaudeville houses from the earlier
part of this century, such as the Fox
Theatre in Atlanta. Professionals attempting to make an arena space more
attractive to touring musical groups
would be well- advised to undertake a
dedicated study of such buildings.
Moving the fine-tuning efforts to the
loudspeaker arrays is a more labor- intensive process, and can be considerably
more difficult from a logistical perspective. Attempting to custom -tailor a hanging loudspeaker array for use in a particular facility can be very time-consuming.
Changing the way that large numbers of
speaker cabinets and their supportive
chain motors and rigging systems are
configured each day, in an attempt to optimize the show's sound for that venue
on a daily basis, can be difficult. The results can turn out to be marginal, at best,
if the system stacking and hanging is
done purely on an experimental basis,
without a previously -compiled database
to rely on that matches different parts of
December 1987
the speaker arrays to the various seating
areas.
In general, however, the trend is to
find more sound system rental companies with more experienced system operators using systems that are more phase coherent and point- source indexed.
When combined with the trend toward
more improved building acoustics, it is
not difficult to see why concert -goers are
becoming used to hearing better-quality
concert audio than in recent years.
The darker, more shadowy side of this
subject, perhaps, is related to sound system abuse and hearing damage. As sound
systems become more powerful and
building acoustics become more supportive of live music, the potential exists for
sound system operators who lack a sensitivity to health and safety -related issues
to inflict permanent hearing damage (for
both themselves and their audiences)
and to shorten their own soundmixing
careers in the process.
Jokes are often told in the entertainment business about the manager of a
well -known guitarist who used to urge
sound company personnel to 'turn it up
until it distorts, or you're fired!' Today's
concert sound systems have, for the most
part, been designed by engineers who
have spent decades attempting to get rid
of that very distortion sought by such
persons as the aforementioned manager.
As loudspeaker components are developed that are practically impervious to
thermal-damage related failure, and
amplifiers are brought to market that are
limited in their ability to develop high
levels of power only by the amperage
available in their dedicated electrical circuit, sound systems begin to be assembled that can be used to produce
either feelings of pleasure or pain at the
eardrums.
Enthusiastic supporters of this musical
style seem to have reached a point
where the sound and lighting characteristics of the concert event must simulate
open- hearth blast furnaces, or volcanic
eruptions. While I don't advocate cultural repression or legally- imposed noise
level ceilings at concert events, today's
musical climate (in at least one part of
the youth cultural spectrum) does present a unique challenge and opportunity
to sound system designers and operators.
How can the live sound industry both
serve up the audio experience these concert -goers expect, and preserve each human being's fragile hearing mechanisms
at the same time?
Dealer
over 200 different
brands of pro audio/
video equipment, we offer you
the best selection in the west.
And we carry a much larger
inventory so chances are we
have what you need in stock.
We'll keep you abreast of
new developments, new
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current and usually ahead of
the rest of the industry.
Can Do
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Since we moved to larger
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signal processing /effects gear.
Our second room has three
more complete production systems set up to hear and compare. This room caters to the
For You
Receptionist
audio /video needs of musicians
and production studios.
Just the Facts, Ma'am
Things change quickly in pro
audio. To make sure everyone
here knows all the facts about
the latest equipment, we've
added a Product Specialist to
our staff. His only job is
researching equipment -reading brochures and tech manuals, going to trade shows, talking with manufacturers -and
sharing that knowledge with
our customers.
New Central Location
We're easy to get to from
Hollywood, LA, and the valleys. And with more room,
we've enlarged our technical
and parts departments for even
better service and support.
Come by and visit us in our
new building. Rim some knobs
in the demo rooms. Or just call
and we'll be happy to discuss
your pro audio needs.
Katyn Thomas
(I to r): Jon Beachdell, Michele
Schwartz, Paul Freudenberg, Paul Svenson, Ben
Ing, Carl Marinoff, Bruce Bell, Mark Lever, Thom
"Coach" Ehle, Elmo Ponsdomenech. (Not pictured:
Con Psorakis.)
Sales Consultants
,m:
aln ;..:.'1'141:
Some of our support
Sales/Service/Design
IMe
Our Pro Demo Room: Three different fully
operating production systems, plus a vast
array of outboard gear
Everything Audio
staff (I to r): Brian
Cornfield, President; Niki Simpson,
Accounts Manager; Darrin Miller, Purchasing Agent; Carol Gumbel, Controller; Vanessa Perea, Purchasing.
Advancing with Technology
2721 West Burbank Boulevard Burbank, California 91505
Phone (818) 842 -4175 or (213) 276 -1414 Fax (818) 953 -2908
Circle (10) on Rapid Facts Card
Scans On-Line
By Bruce Merley
During the October AES Convention in
New York, SPARS hosted a workshop/
seminar that explored what we call "The
New Recording Studio Business." Gary
Helmers, former executive director of
SPARS, led the seminar that also featured a distinguished panel of speakers
from personal-use studios, specialty
"satellite" operations, service facilities
and multi -room recording complexes
who offered unique insights into the current changes in the audio industry.
It was evident from the outset that we
are seeing dramatic changes in our industry, resulting from new, low -cost
technology and the introduction of such
equipment as MIDI -related devices, sequencers, samplers and personal corn puters. All facets of the traditional audio
industry -from composing and pre-production to audio-for -video post- production -have felt the impact of this revolution in technology.
Once upon a time, the recording studio
was a full- service business offering
everything the customer required, from
microphones and musicians to lacquer
pressings and paper sleeves. As services
and applications of recording expanded,
more specialized facilities evolved and
we saw the emergence of record studios,
jingle studios, scoring studios, voice -over
rooms and so on. Now we live in an environment where the big shops compete
with the specialty studios and both are
confronted with the competition from a
vast array of high -tech boutique businesses that perform digital wizardry in
desktop operations.
Those who are willing
to breathe the air of
change ivill thrive on
the changes to come.
What direction is our industry taking?
The impressive number of fairly inexpensive computer -based devices shown
this year at AES would seem to imply
that the revolution is just beginning.
Soon, a totally digital signal path and
processing chain will be within the financial reach of most of the "boutique" studios, and hard disk -based editors are no
longer solely in the domain of the audio
giants. Now, almost anyone can be a
composer, player, mixer, producer and
Bruce Marley is president of Clinton Recording Studios, New York and first vice -president of SPARS.
16
Recording Engineer/Producer
recording engineer. And we'll all become rich and famous, right? Maybe not.
The success rate in the audio industry
is on a par with the rest of the business
community. The U.S. Small Business Administration is quick to point out that the
odds of success in business haven't improved much over the years. It's the
same risk it's always been, demanding
sharp business sense and finding the
right niche at the right time.
The advent of such devices as the sequencer may have been somewhat over-
The competition includes
hi-tech businesses that
perform digital wizardry
in desktop operations.
looked by the fellows who study the forces that cause us to fail or succeed in business. Nevertheless, "The New Recording
Studio Business" (as it was designated at
the AES /SPARS workshop) is with us
now and will continue to evolve rapidly.
Those who try to freeze the image of the
recording studio will become custodians
of a historical oddity and stand a good
chance of going bankrupt in the process.
Those who are willing to awaken each
morning and breathe the air of change
will thrive on the dynamic changes to
come.
For those of us who choose to explore
this uncertain future, whether for love of
music, love of money, or both, we need
to uncover the resources and information that can lead us to make informed
decisions. What technology should we
invest in? How can we successfully market our operations? How can we skillfully
use the technology and profit from it?
These are the key issues, the ones which
are increasingly difficult to resolve in the
face of technological change.
Communication with colleagues and
understanding their individual situations
can provide significant insights for the
decisions we all must make. Whether we
operate recording studios, personal use
studios, pre- or post -production facilities,
or any other variation on the audio
theme, an understanding of other paths
and perceptions can illuminate our individual goals.
Often, when I have consulted SPARS
colleagues at a time of decision I have
been overwhelmed by the advice and
December 1987
suggestions. Attempting to evaluate the
many viewpoints, motivations and experiences can be exasperating. Nevertheless, history has demonstrated that
my projections were considerably more
accurate as a result of this sharing
process.
We recently changed our name from
"The Society of Professional Audio Recording Studios" to "The Society of Professional Audio Recording Services." The
name change reflects the expansion and
diversification of the audio industry, an
evolution in which SPARS is participating. In light of our observations of these
changes SPARS is expanding the scope
of its programs to better serve both the
large facilities and the vital community
of smaller, more specialized businesses.
And, of course, we continue to provide a
sensible dialogue between the manufacturers and the community which invests
in the new technology.
SPARS represents a broad range of
businesses with many common goals
it's an extraordinary resource that deserves continued attention and support.
Membership in the organization is one of
today's biggest bargains, but then again,
it's like a dictionary. If you don't use it,
it's worthless. You can findout more about
SPARS, and the ways in which we are
serving a changing industry, by calling
or writing our new Executive Director,
Shirley Kaye, at our new national offices:
-
SPARS
4300 Tenth Avenue North, Suite 2
Lake Worth, Florida 33461
305-641-6648
LIZFJI?
Moving?
Take us with you.
Just peel off the subscription mailing label and attach it to the address change card located at the
front of this issue. Please allow 6-8
weeks to process your address
change.
ENGINEER/PRODUCER
QUALITY
the process begins
here...
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QSC Audio Produw is. 1926 Placentia Ave.. Costa Me
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Film Sound Today
By Larry Blake
In recent years it has become apparent
that an extensive, high- quality sound
library is the foundation of serious audio
post -production for film or video. Every
company seems to have a different flow
chart from original effects recording to
library storage to edited effect. Whatever
one's modus operandi. it behooves a
company to approach the recording,
cataloging and storage of sound effects
with a great deal of sober thought. What
follows are suggestions that might be of
some help:
Establish technical standards from
the outset and stick to them.
By "standards" I am referring not only
to obvious matters such as alignment
tapes. but also to microphone and library
techniques. (I'll deal with library
organization in my January 1988 column; micing was discussed in the July
1987 issue.) The more thought applied
in the beginning, the less retracing that
has to be done later on to bring the early
tapes up to spec.
With regard to technical matters, obtain reproducer alignment tapes when
you purchase your first 1/4-inch recorder.
Make sure that your tape is used to set
azimuth and frequency response whenever the machine is serviced. Do the
same with all your decks and you virtually remove machine alignment from your
list of things to check when something
doesn't sound right.
The most popular test tapes are corn posed of separate segments of line -up
tones (multifrequency). I don't think this
is the most prudent method. First of all,
your master tape must be run every time
you want to check a machine, although
this is slightly helped by purchasing two
matched tapes at the same time, storing
one as a vault reference.
Instead. I would recommend purchasing full rolls of 'kHz and 10kHz tomes for
basic level, azimuth and frequency
response calibration, along with pink
noise or tone sweeps for checking broadband frequency response. You can also
add a selected low- frequency tone for
keeping an eye on head bumps. Having
complete reels of individual signals will
allow you to cut off small segments for
day -to-day use, comparing them to vault
copies.
Always be on the alert for neat
sounds.
This can be best expressed by paraLarry Blake is RE/Ps film sound consulting editor and
works in film sound post -production in Los Angeles.
He also writes and publishes books on sound recording.
18
Recording EngineerProducer
phrasing Murphy's Law: 'The nifty
squeaky door that you plan to record
tomorrow will be oiled today." I would
venture to say that the desire to not pass
up great sounds is high on the list of
reasons that my peers want an R -DAT
machine small enough to carry with
them all the time.
Hire experienced effects recordists.
Sound effects recording is the most
underrated and misunderstood aspect of
sound post -production. Right off the bat.
many wonder why it is even necessary
The squeaky door you
plan to record tomorrow
will be oiled today.
to hire an effects recordist when there is
such a selection of sounds available on
CD. not to mention the hundreds of old
effects knocking around any moderatesized library.
First of all. an experienced recordist
will be able to provide you with a custom
effect that matches the picture. including
the angle and distance between subject
and lens (mic). If you need an in. stop,
rev, peel out with a '55 Chevy hot rod,
that's what you get.
While your library grows with first generation. quality recordings from a
variety of subjects, you open yourself up
to the serendipity factor. Let's say that
you ask the recordist to give you a series
of switches for your sci -fi film. While recording the switches on your 1/4-inch
deck. he realizes that he can get the
sound of gears meshing, needed for
another scene. by placing a blank reel
partly on the spindle and putting the
deck into rewind. Or maybe the recordist
just thought that this would be a neat
sound. and a few years later someone
discovers it in the library. The important
thing here, as a friend reminded me. is
that effects recordists must be able to
think abstractly because very few sounds
can be captured as complete. composite
effects.
Clear vocal slates are essential.
It is easy to rationalize the lack of a
slate by saying, "I didn't have the time,"
or "the sound is what it is" and can
be fully described by a good listen.
Among the information that is necessary: subject -mic distance, changes in
this take relative to earlier version. and a
simply detailed description of what's go-
December 1987
ing to happen. It is also essential in a
multitape series to write on the back of
the box the basic contents of each tape.
along with the tape number (9 of 3),
date. location. name of recordist, etc.
Also, cut the tape off after the last cue
when recording on t/, -inch: it helps the
librarian to know exactly how much remains when deciding where to break a
sequence.
Most modern libraries are stored on
either 1/4-inch tape or PCM-encoded
videotape, with either a typewritten or
computer -printed log. In short. there's
less of a need to be told what the cue is:
just want to hear the damn thing.
Cutting on mag is helped by voice
slates, whereas laying effects onto a
multitrack directly from 1/4-inch requires
rio need for vocal introductions. Furthermore, one day we will finally edit via
computer, with a large sound library online or near-line (i.e.. stored in a
changer). Once a search has been made
of the database. and you pick the effect
you want, hearing a slate before the
sound will be a waste of time.
Be prepared.
While you are establishing your technical standards, you should also organize
an accessory bag to go with your recorder. It is frustrating to have to go searching around prior to every session.
Among the accessories you should always have with you: gaffer's tape, spare
batteries, acoustafoam, cotton swabs, alcohol (in a sturdy glass bottle with dropper), blank tapes, spare empty reel, Swiss
Army knife, XLR he-he and she -she sexchange adapters, eye protectors and
rugged gloves. If you will be doing a car
series, walkie- talkies can help driver and
recordist communicate.
When a session is being covered by
many recorders. vocal slates with a bullhorn will help doing a bake-off of the different versions. Each cue should be consecutively numbered, with the various
mic positions noted on a chart. A
multipair XLR-XLR snake is useful in
multiple recorder situations when dealing with explosions or live ammunition,
when everyone is situated a distance
from the mics.
And don't forget to always pack a
cheap point- and-shoot camera to visually
document your sound expeditions for
future generations.
Next month I'll discuss using a cornputer to organize your library.
RE/P
Let's assume that results
are what's important,
not which tools you use.
Audio production is at least as
much art as science: there will always 1w those who ascribe L lag
cal aura to certain pieces of
equipment. But if your client list is
built on quality and consist(>ticv
rather than techno-voodoo, the
D(:\1 232 in -line console xx it i ::A"l'
automation can give you Acre
of both.
I
You need more console.
not more headaches.
You're working for more demanding clients, on bigger projects,
with tighter deadlines. You ne Ad
greater flexibility, expanded features, enhanced performance.
What you don't need is a "megastar" console -or the jumbo mortgage that goes along with it.
DDA's A\IR 24 has already set
new standards of audio performance and versatility in the "classic" split configuration. Now the
in -line DC`t 232 combines the accuracy of digital- quality audio, the
flexibility of digital control and the
capacity to handle a pair of synchronized digital 32 tracks.
CAT Central
Automation
Terminal: engineered to
speed your work flow.
The D(:.\I 232's Central Automation Termin II controls one of the
most ingenious automation systems
eye' to >ho .ten a mixing session.
Along with the precise fader and
mut .ng control you'll expect, the
CAI system includes advanced
fun( fions Ike Channel Copt that
lets you (iuplicate a channel's signal
floe as many times as you need to.
The computer %yi11 recall a "snapshot" of most console switch settings
manually or via S\1PTE code.
CG..t
_
I1 MI
1.
U
11464414.4
14
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With all of its conyeniencc functions, this (;VI' won't leave footprints all over your tracks. The
DC\1 232 maintains an overall dynamic range of 10(1 dB with at least
22 dB headroom at each stage.
thanks to exacting calculation of
every circuit component.
Circle (12) on Rapid Facts Card
A console
investment that
instantly doubles
your returns.
Ea :'lot the l)(:7.1 232's
channels, including the
lour baud EQ section,
can h split (luring mixdown. So a 56 channel
frame can handle as
many as 112 input$
from samplers, synths
and digital storage media. You'll probably run
out o' control room
space before the D(:\I
2:32 :-fns out of inputs.
TN advantages of
the D: :\I 232 in -I ne
consc le with CA':' automation are expia ned
more fully in our brochure. To get a copy, write on your
letterhead to the appropriate address below.
DIDA
UC:
íl
snRs
232 -vM-
Klark- Teknik Electronics Inc., 30B Banfi Plaza North
Farmingdale, NY 11735 (516) 249-3660
Unit #1, Inwood Business Pk., Whitton Rd.
Hounslow, Middlesex, UK TW3 2EB
01 570 7161
BUYERS'
GUIDE
Product Listings
This month, RE/P brings you the first
annual Buyers' Guide. Three separate
categories are featured to provide a complete listing of product categories, manufacturers and dealers /distributors to assist you with the products you need in
the pro audio industry.
The Product Directory begins on page
20 and features 68 categories and highlights advertisers' entries in blue, with
page numbers for additional information
about the product. All manufacturers listed in the Product Directory will also be
listed alphabetically in the Manufacturers' Directory, which begins on page 43.
The listing includes mailing addresses
and telephone numbers. The third directory. the Dealers /Distributors Directory.
begins on page 63 and is listed geographically by state. Each listing includes complete addresses, geographical area served
and represented products.
The Buyers' Guide was assembled by
the RE/P staff, who mailed questionnaires to pro audio manufacturers and
dealers /distributors. Those companies
that returned the questionnaires are
listed in the directories. However, some
companies and products may not be
listed. RE/P and Intertec Publishing do
not accept responsibility for unreturned
questionnaires or for omissions due to incomplete or inaccurate information provided by the companies.
Your company can be included in the
1988 Buyers' Guide by contacting Pat
Blanton, directory issues editor, P.O. Box
12901, Overland Park, KS 66212.
Product Directory
Manufacturers' Address Directory
Dealer /Distributor Directory
ACOUSTIC DESIGN AND
CONSTRUCTION
Nitty Gritty Record Care Products
Acoustech Corp.
Acoustic Sciences
Trend Textiles
Velodyne Acoustics
Penn Fabrication (NJ) Inc.
RPG Diffuser Systems
Audio Intervisual Design
Bertus Productions The Studio
C&C Consultants
DeCuir Corp.
GHL Audio Engineering
The Joiner Rose Group
Lakeside Associates
Menlo Scientific
Musicians' Service Complex
BGW Systems Inc.
Biamp Systems
ACOUSTIC TREATMENT
MATERIALS
Acoustic Sciences
AIpha Audio
..
E.A.R.S.
Menlo Scientific
20
Recording Engineer Producer
Boulder Amplifiers Silver Lake Research
Broadcast Audio Corp.
Carver Corp
51
Celestion Industries, Inc. C-Audio
Cetec Ivie
Crate
Crown International Inc.
Dax Audio Group, Inc.
dbx, A Div. of BSB N.A. Ltd.
71
It Electronic
__ '_':i,.i.i
hatclru- -Hirt
__
FM Acoustics USA
Focusrite US Ltd.
5:i
Fuat s l u p of : \nxrir,I
Galaxy Audio
.
Trax Audio & Music
UREI
Wt.tlakt : \udiu
65i
Gntn,r II rtr nir.
December 1987
Profe-
Kitty Hawk
Altec Lansing Corp.
Amplified Music Products Corp.
AMR (Audio Media Research)
Analog Systems
API -Audio Products Inc.
Ashly Audio
Audix
Benchmark Media Systems, Inc.
Persia Sound Studios
RPG Diffuser Systems
Skyelabs Inc.
State of The Art Electronik
Synergetic Services, Inc.
Tannoy North America Inc.
Gotham Audio Corp.
David Haller Co.
HEDCO
Hill Audio
HM Electronics, Inc.
Industrial Research Products
Innovative Electronic Designs
1RI.
AMPLIFIERS
Systems
See Adv. Page
See Adv. Page
See Adv. Page
Acoustik Architecture Inc.
Acoustilog Inc.
Audio Innovators, Inc. dba Pro Corn
page 20
page 43
page 63
l
r))
KMD Sound Electronics
Korg USA Inc.
Kustom Music, Inc.
Lectrosonics Inc.
Leitch Video of America Inc.
-I.Pnco. Inc
LP Music Group
McCurdy Radio Industries Ltd.
Meyer Sound Labs, Inc.
Mitsubishi Pro Audio Group
Norton Associates Inc.
-
Numark Electronics
Opamp Labs, Inc.
Paso Sound Products Inc.
IrnnirProT
Audio Corp.
,dart.
Ramsa /Panasonic
Ram. Corp
e11
Renkus- Heinz, Inc.
Roh Div. of Anchor Audio, Inc.
Roland Corp. US
Ross Systems Div. of IMC
RTS Systems, Inc.
SCS /Sound Code Systems
S.E.M. Co.
.16
IMO 11110
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Between a shadow and a whisper
That's where you'll find the ultimate in transport control. The Shadow '" with its powerful
microprocessor is capable of synchronizing
virtually any audio, video or film transport
on the market.
I I
Softouch- represents a technological
breakthrough in audio editing. Sixteen
Softkeys permit repetitive or intricate pre
and post production editing routines at the
quiet touch of a single key. These units are
affordably priced for today's professional.
The Shadow II and Softouch combined
make a powerful editing system increasing
productivity and enhancing user flexibility.
Both units carry a 3 year warranty.
For more details contact Cipher Digital
today. Call (800) 331 -9066.
G
CI
P
(
chcr c igitt
O BOx 170 FREDEPICK MD 21
301) 695-0200 TELEX 272065
,
inc,
701
Tinei1 today, CalS gNit M % totovf4w.
Circle (13) on Rapid Facts Card
Manufacturers Addresses begin on page 43
Product Directory
See Adv. Page
Shure Brothers Inc.
Sony Communications Products Co.
Soundcraftsmen
Spectra Sonics /Spectra Sound
Stanton Magnetics Inc.
Steven Electronics
Straight Wire Audio Inc.
Studer Revox America
Sunn Pro Sound
Symetrix Inc.
Tannoy North America Inc.
TASCAM, Teac Corp. of America
Technics
3M Broadcasting & Related Products
Times One
TOA Electronics, Inc.
Trax Audio & Music
UREI
Video Accessory Corp.
Ward-Beck Systems Ltd.
Wersi Electronics
Yamaha Music Corp., USA Pro
Audio Div.
95
11
19
7
CASES, EQUIPMENT
22
Recording Engineer/Producer
BC
7
S.E.M. Co.
Shure Brothers Inc.
Spectra Sonics /Spectra Sound
Summit Audio Inc.
Symetrix Inc.
31
UREI
December 1987
45
Aura Sonic Ltd.
Bi- Tronics Inc.
Canare ('able Inc.
Connectronics Corp.
Four Designs Co.
KMD Sound Electronics
LP Music Group
Mogami Product Div. Marshall
Electronics, Inc.
The Music People, Inc.
Paso Sound Products Inc.
Penn Fabrication (NJ) Inc.
99
Rane Corp.
Technics
73
Shure Brothers Inc.
S.I.L.I. Sano International Ltd. Inc.
39
Switchraft. Inc.
Whirlwind Interface International Inc.
Wireworks Corp.
COMPRESSORS
Whirlwind Interface International Inc.
Wireworks Corp.
Zeus Light & Sound Co.
J.C. Anglum Co. Inc.
A&S Case Co.
Dago Cases
DeCuir Corp.
Four Designs Co.
Gabriel Sound
Jan -Al Cases
KMD Sound Electronics
The Mitek Group
Pacific Wood Works
Peavey Electronics
ADC Telecommunications
AKG Acoustics Inc.
Co.
Advanced Music Systems /Calrec
Alesis
Altec Lansing Corp.
AMR (Audio Media Research)
Aphex Systems Ltd.
API -Audio Products Inc.
Ashly Audio
Audio Logic
Aura Sonic Ltd.
Beyer Dynamic Inc.
BSS Audio Ltd.
Cetec Ivie
Circuit Research Labs, Inc.
Crate
dbx, A Div. of BSB N.A. Ltd.
Delta Electronics Inc.
DOD Electronics Corp.
Dorrough Electronics
D &R Electronics
Drew Engineering Co.
Focusrite US Ltd.
Fostex Corp. of America
Furman Sound, Inc.
Innovative Electronic Designs
Inovonics Inc.
.JBI. Professional
Klark -Teknik
Lexicon Inc.
Mitsubishi Pro Audio Group
The Music People, Inc.
Musically Intelligent Devices
Opamp Labs, Inc.
Orban Associates
ProTech Audio Corp.
Rane Corp.
Rocktron Corp.
Roland Corp. US
Ross Systems Div. of IMC
41
CONNECTORS
51
TASCAM. Teac Corp. of America
Audio Intervisual Design
Audio Services Corp.
Aura Sonic Ltd.
Beyer Dynamic Inc.
Bi-Tronics Inc.
Boulder Amplifiers Silver Lake Research
Canare Cable Inc.
99
Connectronics Corp.
FM Acoustics USA
Furman Sound, Inc.
Gotham Audio Corp.
KMD Sound Electronics
Meyer Sound Labs, Inc.
Micro -Point Inc.
93
Mogami Product Div. Marshall
Electronics, Inc.
The Music People, Inc.
Numark Electronics
Renkus- Heinz, Inc.
Shure Brothers Inc.
S.I.L.I. Sano International Ltd. Inc.
TASCAM, Teac Corp. of America
Career Corp.
Valley International, Inc.
Wheatstone Broadcast Group
Yamaha Music Corp.. USA Pro
Audio Div.
lì7
dbx, A Div. of BSB N.A. Ltd.
Gotham Audio Corp.
Kenwood USA Corp.
Numark Electronics
Paso Sound Products Inc.
Shure Brothers Inc.
Sony Communications Products
Straight Wire Audio Inc.
Studer Revox America
15
Switchraft. Inc
Synergetic Services, Inc.
.17
COMPACT DISC PLAYERS
CABLE AND CONNECTORS
ADC Telecommunications
AKG Acoustics Inc.
Professional Audio Systems
Renkus- Heinz, Inc.
Stagehand Mfg.
Star Case
Thermudyne International
Top Notch Audio (TNA Case Co.)
Zeus Light & Sound Co.
BC
7
See Adv. Page
See Adv. Page
61
71
53
5
19,59
68
73
CONSOLES, AUTOMATION
SYSTEMS
Advanced Music Systems /Calrec
ANT Telecommunications Inc.
API -Audio Products Inc.
Audio Kinetics Ltd.
Auditronics Inc.
Broadcast Electronics
Calrec Audio Ltd. ( Calrec by AMS)
Clarity
CMX Corp.
J.L. Cooper Electronics
Digital Creations Corp.
D &R Electronics
Editron USA Inc.
GML. Inc. George Massenhurg
Labs
IMC /Akai Professionals
Klark -Teknik
McCurdy Radio Industries Ltd.
Mitsubishi Pro Audio Group
Musically Intelligent Devices
Rupert Neve Inc.
Ocean Audio Exchange
Orion Reseach
Solid State I,ncll'
Soundcraft USA
Soundtracs
Studer Revox America
Studio Master Systems
Touch Technologies, Inc.
Trident Audio USA ...
Ward-Beck Systems Ltd.
76
94
71
89
19,59
68
13
IFC -1
li
CONSOLES, DIGITAL
Advanced Music Systems /Calrec
Akai Div. of IMC
Amek /TA('
ANT Telecommunications Inc.
27
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-7-1-rod
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Drums, cymbals, brass and woodwind,
and even voice applications. The N /D408 and
N /D308 instrument mics do it all.
We designed them as instrument mics,
but believe it or not we're also getting great response from vocal performers who think
they're fantastic.
Actually, the N/D408 and N /D308 represent a radical departure from conventional instrument microphone designs. Both employ
N /DYM'" technology, and only the N/D Series
mics from Electro-Voice have it. And both
offer a pivoting yoke configuration for maximum
flexibility in positioning the microphone near
the sound source while maintaining optimum
pick up angle. They're N /DYM hot, and there is
no better mic for live sound reinforcement
of instruments.
Try them at your Electra Voice dealer and
in concert. Then let us know what you think.
Becholtbice'
o MARK IV
company
y
To learn more about NID Series microphones, see your Electro -Voice
dealer or write Electro -Voice, Inc., Dept. N, 600 Cecil Street.
Buchanan, MI 49107.
'Actual N1D408. 308 user comments are kept on Jile at the Electra -Voice Corporate headquarters in Buchanan, Michigan.
Circle (14) on Rapid Facts Card
Product Directory
Manufacturers Addresses begin on page 43
See Adv. Page
Calrec Audio Ltd. (Calrec by AMS)
CompuSonics Corp.
Gotham Audio Corp.
IMC /Akai Professionals
Rupert Neve Inc.
Soundtracs
Trident Audio USA
Yamaha Music Corp., USA Pro
Audi.,
l)i%
CONSOLES, RECORDING
AND PRODUCTION
13
9
41
CONSOLES, FADERS
Advanced Music Systems / Calrec
ANT Telecommunications Inc.
API -Audio Products Inc.
Auditronics Inc.
Broadcast Audio Corp.
Broadcast Electronics
D&R Electronics
McCurdy Radio Industries Ltd.
Mitsubishi Pro Audio Group
Rupert Neve Inc.
Ward-Beck Systems Ltd.
71
Broadcast Electronics
Calrec Audio Ltd. (Calrec by AMS)
Connectronics Corp.
Design Direct Sound
DOD Electronics Corp.
D &R Electronics
E.A.R.S.
Electro -Voice
F'ostex Corp. of America
Furman Sound, Inc.
Gotham Audio Corp.
Hill Audio
Hi -Tech Audio
Howe Technologies Corp.
.JBL Professional
Rupert Neve Inc.
Numark Electronics
Peavey Electronic.
Precision Design
Ramsa /Panasonic
7
71
23,33
53
5
13
31
Ross Systems Div. of IMC
Shure Brothers Inc.
Soundcraft USA
America
!Int Audio USA
Ward-Beck Systems Ltd.
Naha Music Corp., USA Pro
Audio Div.
24
Recording Engineer Producer
DDA
27
The Bertech Organization
Bertus Productions The Studio
Biamp Systems
Broadcast Audio Corp.
Calrec Audio Ltd. (Calrec by AMS)
Centro Corp.
CompuSonics Corp.
Connectronics Corp.
Dax Audio Group, Inc.
Solid State Logic
71
23.33
53
5
19,59
13
6))
73
IFC -1
Sony Communications Products Co.
Sound Workshop Pro Audio Products,
Inc.
Soundcraft USA
Soundtracs
Spectra Sonics /Spectra Sound
Studer Revox America
TASCAM, Teac Corp. of America
Trident Audio USA
Voice Over L.A., Inc.
Ward -Beck Systems Ltd.
Wheatstone Broadcast Group
Yamaha Music Corp., USA Pro
Audio Div.
B('
7
9
41
CONSOLES, SOUND
REINFORCEMENT
Soundtracs
Spectra Sonics /Spectra Sound
Star Case
r Revox
ADM Technology Inc.
Advanced Music Systems /Calrec
Akai Div. of IMC
Allen & Heath Brenell USA Ltd.
Amek /TAC
AMR (Audio Media Research)
ANT Telecommunications Inc.
API -Audio Products Inc.
Audio Logic
Auditronics Inc.
Design Direct Sound
DOD Electronics Corp.
D &R Electronics
Elect ro- Voice
Focusrite US Ltd.
Fostex Corp. of America
Gotham Audio Corp.
Hill Audio
Howe Technologies Corp.
.1B[. Professional
Klark -Teknik
Mitsubishi Pro Audio Group
Neotek
Ruix'rt Neve Inc.
Ocean Audio Exchange
Opamp Labs, Inc.
Orion Reseach
Quantum Audio Labs
Radio Systems, Inc.
Ramsa /Panasonic
Rane Corp.
Ross Systems Div. of IMC
BC
9
41
Allen & Heath Brenell USA Ltd.
Altec Lansing Corp.
AmekiTA('
Audio Logic
Beyer Dynamic Inc.
Biamp Systems
December 1987
See Adv. Page
Broadcast Electronics
Connectronics Corp.
Crate
Dax Audio Group, Inc.
DDA
13
CONSOLES, PORTABLE
ADM Technology Inc.
Advanced Music Systems / Calrec
Allen & Heath Brenell USA Ltd.
A('
ANT Telecommunications Inc.
Audio Logic
Audio Services Corp.
Audio -Technica US, Inc.
Broadcast Audio Corp.
See Adv. Page
'l7
DeCuir Corp.
Design Direct Sound
DOD Electronics Corp.
Dorrough Electronics
D &R Electronics
Elect ro- Voice
Galaxy Audio
Jim Gamble Associates
Hill Audio
Hi -Tech Audio
Innovative Electronic Designs
JBL Professional
Klark -Teknik
Mitsubishi Pro Audio Group
Neotek
Rupert Neve Inc.
Numark Electronics
Peavey Electronics
Ramsa /Panasonic
Rane Corp.
Ross Systems Div. of IMC
Shure Brothers Inc.
Soundcraft USA
71
23.33
5
19,59
13
31
73
Soundtracs
Spectra Sonics /Spectra Sound
Steven Electronics
Sunn Pro Sound
TASCAM, Teac Corp. of America
TOA Electronics, Inc.
Trident Audio USA
Ward-Beck Systems Ltd.
Wheatstone Broadcast Group
Yamaha Music Corp., USA Pro
Audio Div.
41
CROSSOVERS AND
FREQUENCY DIVIDERS
Acoustech Corp.
Altec Lansing Corp.
Amek /TA('
Ashly Audio
Audio Control Industrial
Audio Logic
Audix
Audra International
Aura Sonic Ltd.
BGW Systems Inc.
Biamp Systems
BSS Audio Ltd.
Carver Corp.
Cetec Ivie
Crate
Dax Audio Group, Inc.
DOD Electronics Corp.
Electro -Voice
Emilar Corp.
FM Acoustics USA
Fostex Corp. of America
Furman Sound, Inc.
Gold Line
Hill Audio
.JBI, Professional
Klark -Teknik
Martin America
51
E
This is a deo au!put of the
IEQ as the unit
bersg adjusted
The sliders can be moved + 15dB
In
2dB steps -o get the exact
response you reed L1nth the
s.mple push of a buttcr. complex
equalization can be ccne In
seconds with trcredi a accuracy
l
WITH
s
1
Smartcurve
-
2
Not Just Anorher
Programmable Equal.zer
With MIDI 'M
Smartcurve' is a
progrmrratie, high perforn3nce
pp
63 125 A41 5$A 1K
4K
2K
PRESET..( 122) Smart c urw OFF BAND
IEQ
ART
BOOST
-
2504z
ßa2
2
he IEQ. wi :h
graphic ecjia izer that includes a
video output =Dr these who wish to
enjoy the v dieo outpL-t of the EQ,
ART makes tie IEQ Video Monitor.*
Smartcurve', proprie:ary soft.are
develope1 by ART g.es you instant
actual freque-cy resoonse as easy
3s the push of 3 button.
The IEQ Fa^ili consists of both the
2,3 octave and the I ,'3 octave
graphic egL.a izers. Beth types come
n two varie -..es Cort-ollers and
Satellites A :cntroler is a se f:ontainec programmanale intellicent
graphic equa izer capable of
:ontrollirlg 15 satellises at onces
EQ Sate lites are exactly the same
anit exce3t the front panel cortrols
are elimirated.
EQ Model Spec lac litions:
controller S Sate he
128 battery beck ?d
prete
5
e
3
10
is se
32
63
123 230
(i22)
sae
1K
Smart curv. OFF
ART
2K
IEQ
4K
BAND
BOOST
1tK
250Hz
8K
--02.0
Perfect Sound
Turn Smartcurve" on and
perfect equalization Is at your finger tips Note the di:ference between the
second frame (5marcurve7" OFF)
and this frame he pcsrtion of the
sitters represert the actual frequency
+
15
10
5
response of the EQ interaction
between bands Is vir'ually eliminated
Incredible/ Just think, rcw when you
adjust the EQ you get exactly what
you need The Perfect" EQ7 Let your
eyes and ears cecide
5
s
10
15
(.
-
-
15
10
e
MIDI
Frequency Re;Fmse
O SdB
20Hz -2O H:
1kHz OdBM typical
THD c OOE°S
Dynamic Rance ? 100cE typical
Balances inxes End oubats
'
The power of the IEQ readily
becomes apper=nt as toe video
display plots the frequency
response due to the slider settings
Tne IEQ offers ugh quality con stant
equaizaton The video
graphic display shows -he correlation between
slida-s and the
frequency response
+
PRESET
Hear the Sound
PRESET- 122
2
Smart
curv.
ART
LK
IIn
ON
K
4K
=K
BAND.
BOOST
250Nz
02.0
IEQ Video Mb"Nor Featses
19" rack moustsble
NTSC campa ible mon2t tome monib4 Selectable iirucs
Standarc RCA á:ks for easy connectcns
It
Has
Applied
To
3s A Viiork Of . . .
Aeserch L Technology
215 T-enont Street
Rochester NY 14608
(716) 436-_72)
TELEX 48497913 ARTROC
FAX (716) 43L -3942
-PR"'
,
.
MO.
For mc
in-crnahon
I'`.7-s
col .
.
fi1fL
'.11.001as
tez your locar c'ealer
T_,---.0"
Cl-cls 15 on Rigid Facts Card
Product Directory
Manufacturers Addresses begin on page 43
See Adv. Page
Numark Electronics
Peavey Electronics
Professional Audio Systems
11
47
73
Rane Corp. ..
Renkus- Heinz, Inc.
Ross Systems Div. of IMC
S.E.M. Co.
Sound Concepts Inc.
State of The Art Electronik
Sunn Pro Sound
Tannoy North America Inc.
TOA Electronics, Inc.
Trax Audio & Music
UREI
\udio
Wheatstone Broadcast Group
Yanurba Music Corp
'
I
.
Audio Div
See Adv. Page
DRUM MACHINES
DOD Electronics Corp.
Akai Div. of IMC
Alesis
Aura Sonic Ltd.
Casio, Inc.
Drumware, Inc.
IMC /Akai Professionals
Korg USA Inc.
The Music People, Inc.
Oberheim -ECC
Roland Corp. US
Sequential Circuits
Simmons Electronics (USA) Inc.
Wersi Electronics
Electro-Voice
Fostex Corp. of America
Furman Sound, Inc.
IMC /Akai Professionals
Industrial Research Products
JBL Professional
Klark- Teknik
KMD Sound Electronics
Korg USA Inc.
LP Music Group
McCurdy Radio Industries Ltd.
MicroAudio
Mitsubishi Pro Audio Group
The Music People, Inc.
Musically Intelligent Devices
EDITING SYSTEMS,
DIGITAL
Numark Electronics
Orban Associates
Paso Sound Products Inc.
Advanced Music Systems /Calrec
Audio
Calrec Audio Ltd. Calrec by AMS1
Cipher Digital. Inc
DELAYS
ADA Signal Processors, Inc.
Advanced Music Systems /Calrec
Akai Div. of IMC
AF
AMR (Audio Media Research)
Applieu 'eni
'I'ech l,v.
Inc
Audio /Digital Inc.
Audio Logic
Aura Sonic Ltd.
DigiTech
DOD Electronics Corp.
Eventide, Inc.
Fostex Corp of . \nurico
Gotham Audio Corp.
CMX Corp.
Coherent Communications Inc.
CompuSonics Corp.
Fairlight Instruments, Inc.
For -A Corp. of America
IMC /Akai Professionals
Integrated Media Systems, Inc.
Lexicon Inc.
Mark of the Unicorn
Mitsubishi Pro Audio Group
New England Digital Corp.
Northeastern Digital Recording
Publison America, Inc.
Soundmaster International Inc.
Industrial Research Products
.1131. I'rofe,.i, Ana
)dark- Teknik
l
EDUCATIONAL COURSES
AND PROGRAMS
Korg USA Inc.
Lexicon Inc.
LP Music Group
McCurdy Radio Industries Ltd.
The Music People, Inc.
Numark Electronics
Pi' c Eh.,
Publison America, Inc.
Rocktron Corp.
Roland Corp. US
Audio Express Div. Worldwide
Communications
Berklee College of Music Music
Production & Engineering
CareerTrack Publications, Inc.
First Light Video
.
Five Towns College
Full Sail Center for the Recording Arts
Institute of Audio -Video Engineering
Menlo Scientific
UCLA Extension Professional
Designation in Recording Eng.
S.E.M. Co.
Sound Concepts Inc.
Spectra Sonics /Spectra Sound
T C Electronic America
TOA Electronics, Inc.
UREI
Yamaha Music Corp.. USA l'n
Audio Div.
EQUALIZERS, GRAPHIC
DISC -MASTERING SYSTEMS
Calrec Audio Ltd. ( Calrec by AMS)
CBS Records Group CBS, Inc.
CompuSonics Corp.
D&G Mastering
Diskmakers
Future
Gotham Audio Corp.
Sony Communications Products Co.
Sound Technique Inc.
26
Recording Engineer/Producer
65
(
i
ADA Signal Processors, Inc.
Alesis
Altec Lansing Corp.
API -Audio Products Inc.
\pI,ii,r;
li,
;u.h \
Iechnolow.
Inc
lu
See Adv. Page
Ashly Audio
Audio Logic
Aura Sonic Ltd.
Biamp Systems
Cetec Ivie
Dax Audio Group, Inc.
dbx, A Div. of BSB N.A. Ltd.
December 1987
21
23,33
53
5
19,59
75
68
Peavey Electronics
Ramsa /Panasonic
Rane Corp.
Ross Systems Div. of IMC
Scantek, Inc.
31
73
S.E.M. Co.
Sony Communications Products Co.
Soundcraftsmen
Spectra Sonics /Spectra Sound
Steven Electronics
Sunn Pro Sound
TAS('.\M. Teac Corp. of America
T C Electronic America
Technics
TOA Electronics, Inc.
7
UREI
Wheatstone Broadcast Group
White Instruments Div. C Van R, Inc.
Yamaha Music Corp.. USA Pro
Audio l)iv.
41
EQUALIZERS, PARAMETRIC
AMR (Audio Media Research)
API -Audio Products Inc.
Ashly Audio
Audio Logic
Beyer Dynamic Inc.
BGW Systems Inc.
Biamp Systems
Cetec Ivie
dbx, A Div. of BSB N.A. Ltd.
DOD Electronics Corp.
D &R Electronics
Elect ro -Voice
Focusrite US Ltd.
Furman Sound, Inc.
IMC /Akai Professionals
.JBI. Professional
Klark- 7'eknik
McCurdy Radio Industries Ltd.
Meyer Sound Labs, Inc.
Mitsubishi Pro Audio Group
Musically Intelligent Devices
Orban Associates
Paso Sound Products Inc.
Rane Corp.
Rocktron Corp.
Roland Corp. US
S.E.M. Co.
State of The Art Electronik
71
2:1,33
5
19,59
Est
73
Manufacturers Addresses begin on page 43
Product Directory
See Adv. Page
Steven Electronics
Summit Audio Inc.
Sunn Pro Sound
Symetrix Inc.
7
Wheatstone Broadcast Group
Yamaha Music Corp.. USA Pro
Audio Div.
41
EXPANDERS
Aphex Systems Ltd.
Ashly Audio
Audio Logic
dbx, A Div. of BSB N.A. Ltd.
Delta Electronics Inc.
D&R Electronics
Drew Engineering Co.
Furman Sound, Inc.
Gotham Audio Corp.
Korg USA Inc.
Kurzweil Music Systems, Inc.
Lexicon Inc.
Mitsubishi Pro Audio Group
Rane Corp.
Simmons Electronics (USA) Inc.
T C Electronic America
Valley International, Inc.
61
71
37
73
FADERS
API -Audio Products Inc.
Audio Kinetics Ltd.
D &R Electronics
McCurdy Radio Industries Ltd.
Roland Corp. US
S.E.M. Co.
Ward -Beck Systems Ltd.
76
95
45
Atlas /Soundolier
Audio -Technica US, Inc.
Beyer Dynamic Inc.
Cetec Vega
Electro -Voice
Fostex Corp. of America
Gentner Electronics Corp.
HM Electronics, Inc.
Korg USA Inc.
McCurdy Radio Industries Ltd.
The Music People, Inc.
Nady Systems, Inc.
Nakamichi America Corp.
Numark Electronics
Paso Sound Products Inc.
Rane Corp.
Roh Div. of Anchor Audio, Inc.
Roland Corp. US
RTS Systems, Inc.
Sawyer Camera & Video Co.
43
23,33
53
79
29
Associated Production Music
Bertus Productions The Studio
CompuSonics Corp.
DeWolfe Music Library, Inc.
Dimension Music & Sound Effects
Fairlight Instruments, Inc.
Leonardo Software
Manhattan Production Music
Musicworks
Network Production Music, Inc.
Oberheim -ECC
Omnimusic
Bill Rase Productions, Inc.
SoperSound
Studio Digital Samples
Valentino, Inc.
Fidelipac Corp.
Littlite /CAE Inc.
LP Music Group
The Music People, Inc.
Penn Fabrication INJ) Inc.
Gary Raymond Sound Systems
Spectrum Design & Development, Inc.
Sunn Pro Sound
Ultimate Support
70
December 1987
Alesis
Altec Lansing Corp.
Aphex Systems Ltd.
Ashly Audio
Audio Logic
Aura Sonic Ltd.
Beyer Dynamic Inc.
Biamp Systems
Broadcast Electronics
BSS Audio Ltd.
Carver Corp.
Cetec Ivie
Circuit Research Labs, Inc.
Delta Electronics Inc.
DOD Electronics Corp.
Dorrough Electronics
D &R Electronics
Drew Engineering Co.
Eventide, Inc.
Focusrite US Ltd.
Furman Sound, Inc.
Gold Line
Gotham Audio Corp.
I
71
Industrial Research Products
65
97
102
LIBRARIES, SOUND
EFFECTS
CompuSonics Corp.
DeWolfe Music Library, Inc.
Dimension Music & Sound Effects
Fairlight Instruments, Inc.
IMC /Akai Professionals
l
LIMITERS
Bertus Productions The Studio
73
102
LIGHTING EQUIPMENT
LEASING AND RENTAL
EQUIPMENT
Akashic Records Group
American Multimedia, Inc. Concept
Design
Associated Sound
Astra Services
A/T Scharff Rentals
Audio Innovators, Inc. dba Pro Com
Systems
Audio Rents, Inc.
Audio Services Corp.
Audiorent
Aura Sonic Ltd.
Bertus Productions The Studio
C.M.S. Digital, Inc.
DeCuir Corp.
Digital Dispatch, Inc.
Eastern Standard Productions, Inc.
Eventide, Inc.
Hi -Tech Audio
Mitsubishi Pro Audio Group
Gary Raymond Sound Systems
Scantek, Inc.
Southern Thunder Sound Inc.
Zeus Light & Sound Co.
Leonardo Software
Network Production Music, Inc.
Oberheim -ECC
Bill Rase Productions, Inc.
Studio Digital Samples
Valentino, Inc. _
Voice Over L.A., Inc.
57
LIBRARIES, MUSIC
PRODUCTION
AKG Acoustics Inc.
Anchor Audio, Inc.
Recording Engineer Producer
.
71
HEADPHONES, HEADSETS
AND INTERCOM SYSTEMS
28
Sennheiser Electronics
Shure Brothers Inc.
Sony Communications Products Co.
Stanton
ic.
Swintek Enterprises
TAS('AM, Teac Corp. of America
Technics
Telex Communications, Inc.
TOA Electronics, Inc.
Ward -Beck Systems Ltd.
.
TASCAM, Teac Corp. of America
T C Electronic America
TOA Electronics, Inc.
UREI
Valley International, Inc.
Ward-Beck Systems Ltd.
See Adv. Page
See Adv. Page
65
Inovonics Inc.
JBL Professional
Klark -Teknik
Korg USA Inc.
Martin America
McCurdy Radio Industries Ltd.
Mitsubishi Pro Audio Group
Musically Intelligent Devices
Opamp Labs, Inc.
Orban Associates
ProTech Audio Corp.
Publison America, Inc.
Rane Corp.
Roland Corp. US
Ross Systems Div. of IMC
S.E.M. Co.
Spectra Sonics /Spectra Sound
Summit Audio Inc.
Symetrix Inc.
UREI
Valley International, Inc.
Ward-Beck Systems Ltd.
Wheatstone Broadcast Group
5
19.,59
68
73
Focus On Excellence
-
Introducing the MR -1 Discrete Head Professional Cassette Deck
From Nakamichi -the company that created the cassette revolution!
The MR -1
professional deck with front and rear
balanced inputs, unbalanced inputs, balanced and unbalanced outputs,
linear -scale peak- reading meters, independent
Tape and EQ selection, Doloy -B and -C NR, provision for external NR,
remote control, EIA rack mount and more!
The MR -1 -with an Asymmetrical Dual- Capstan Direct -Drive Transport with
less than 0.027% flutter, an exclusive pressure -pad lifter that eliminates
scraoe flutter and modulation noise, and a Motor -Driven -Cam operating
system that ensures gentle tape handling, automatic slack takeup,
and long -term reliability.
The MR -1 -with the legendary Nakamichi Discrete 3 -Head recording system
for
20,000 Hz ±3 dB response, absolute azimuth accuracy,
and incredible headroom.
The MR -1 Discrete Head Professional Cassette Deck
From Nakamichi the company whose profession is recording!
-a
20-
-
Nakamichi
Naaarnlchi
U S A
Corporation
19701 South \,errnont Ave
Torrance. CA 90502
(213) 538 -8150
Dolby
NR manufactured under license from Dolby Laboratories Licensing Corporation
The word "DOLBY is a Iracemark of Dolby Laboratories Licensing Corporation
Circle (17) on Rapid Facts Card
December 1987
Recording Engineer Producer
29
Manufacturers Addresses begin on page 43
Product Directory
l'.
11
'.3.:33
Emilar Corp.
.11)
Acoustech Corp.
Altec Lansing Corp.
ANT Telecommunications Inc.
1:t
C-Audio
'3.:3:3
:
Fu,t,
Galaxy Audio
HRC Magnetics
1
Ramsa /Panasonic
Red Acoustics (USA) Ltd.
Renkus- Heinz, Inc.
Sammi Sound Technology
Scantek, Inc.
Shure Brothers Inc.
S.I.L.I. Sano International Ltd. Inc.
Tannoy North America Inc.
Technics
TOA Electronics, Inc.
1:3
Audio Analysts USA Inc.
Audix
Auratone Corp.
Bag End /Mitek
Beyer Dynamic Inc.
CBS Records Group CBS, Inc.
Celestion Industries, Inc. C -Audio
Cerwin -Vega Inc.
lund.
tisr
Cyber -Kinetek Systems, Inc.
Recording Engineer Producer
l
47
Pyramid Audio Inc.
Ramsa /Panasonic
Red Acoustics (USA) Ltd.
Renkus- Heinz, Inc.
Ross Systems Div. of IMC
Sammi Sound Technology
Shure Brothers Inc.
S.I.L.I. Sano International Ltd. Inc.
Sonic Systems Inc.
Spectra Sonics /Spectra Sound
Stagehand Mfg.
Sunn Pro Sound
Tannoy North America Inc.
3M Broadcasting & Related Products
TOA Electronics, Inc.
Top Notch Audio (TNA Case Co.)
Trax Audio & Music
Turbosound Inc.
Wersi Electronics
l';un;th;t 11u is l'urp. ('J:\ I'ru
December 1987
_
47
Ramsa /Panasonic
Red Acoustics (USA) Ltd.
Roger Sound Labs
Ross Systems Div. of IMC
Sammi Sound Technology
Sony Communications Products Co.
Spectra Sonics /Spectra Sound
State of The Art Electronik
Studer
Tannoy North America Inc.
FAS(_'Am. T..tc t'urp. of America
Technics
TOA Electronics, Inc.
Trax Audio & Music
Apogee Electronics Corp.
Astra Services
Black Audio Devices
BSS Audio Ltd.
Clean Co.
Delta Electronics Inc.
I)enrck
Metro Audio USA
P.A.S.
RE Instruments AS
Sound Technology, Inc.
Tentel
Vertigo Recording Services
MICROPHONE
ACCESSORIES
Accurate Sound Corp.
ACO Pacific Inc.
Inc
AKG
Altec Lansing Corp.
AMR (Audio Media Research)
(i"
Design Direct Sound
E.A.R.S.
19.S"
Klipsch & Associates, Inc.
KSS Sound
Lakeside Associates
Manta Electronics Group
McCurdy Radio Industries Ltd.
Meyer Sound Labs, Inc.
The Mitek Group
The Music People, Inc.
Musicians' Service Complex
Numark Electronics
MAINTENANCE
EQUIPMENT
Acoustech Corp.
Acoustical Physics Lab
Altec Lansing Corp.
AMR (Audio Media Research)
Anchor Audio, Inc.
ANT Telecommunications Inc.
Apogee Sound
Astra Services
Audix
Auratone Corp.
Bag End /Mitek
Boston Acoustics, Inc.
CBS Records Group CBS, Inc.
Celestion Industries, Inc. C -Audio
Cerwin -Vega Inc.
In,
Crate
VI /ICI'
Emilar Corp.
Four Designs Co.
Galaxy Audio
Gotham Audio Corp.
IMC /Akai Professionals
1ßL l'ruf,:.ionul
klark- I4.knik
OWI Inc.
Paso Sound Products Inc.
nul Audio 1v.trn
Frui,
LOUDSPEAKERS, STUDIO
MONITORING
Acoustical Physics Lab
Altec Lansing Corp.
Amplified Music Products Corp.
Anchor Audio, Inc.
ANT Telecommunications Inc.
Apogee Sound
30
Klipsch & Associates, Inc.
KMD Sound Electronics
Kustom Music, Inc.
Martin America
McCurdy Radio Industries Ltd.
Meyer Sound Labs, Inc.
The Mitek Group
Mitsubishi Pro Audio Group
The Music People, Inc.
Musicians' Service Complex
Numark Electronics
Paso Sound Products Inc.
i'let
Audi,, I)i
Zeus Light & Sound Co.
LOUDSPEAKERS, SOUND
REINFORCEMENT
I.ir_ht &
Hill Audio
Intersonics, Inc. ServoDrive
tem<
McCurdy Radio Industries Ltd.
MISCO /Minneapolis Speaker Co.
The Mitek Group
Mitsubishi Pro Audio Group
Musicians' Service Complex
Pacific Wood Works
Paso Sound Products Inc.
('ummunit
53
5
('ununue,
ii
S,Juud Inc
dbx, A Div. of BSB N.A. Ltd.
Design Direct Sound
Elect r
Emilar Corp.
l'etec Gau.,
:Anter'tca
Frazier
Gabriel Sound
Galaxy Audio
Audio Analysts USA Inc.
Audix
Audra International
Auratone Corp.
Bag End /Mitek
Beyer Dynamic Inc.
Celestion Industries, Inc.
Elect n,
dbx, A Div. of BSB N.A. Ltd.
DeCuir Corp.
Design Direct Sound
Eastern Acoustic Works
LOUDSPEAKERS,
COMPONENT
See Adv. Page
See Adv. Page
See Adv. Page
Astatic /CTI
Atla, Soundnller
Audio-Technics US, Inc.
Audix
Aura Sonic Ltd.
Beyer Dynamic Inc.
1.t
-- -- !-- ----7 ----- ...
- - - _M11
IMen.
'MOM/
The Award- Winning
For two consecutive years,
Peavey DECK Series poweamplifiers have won Music á
Sound Output and Music3
Sound Retailer magazines
award for "Most Innovat ve
Product" in the Sound
Reinforcement category
Peavey's digital energy
conversion, MOSFET desigr
has made the DECA 724 a -c
DECA 1200 the most poplar
new amps among sound
professionals for 1986 and
1987.
Now, Peavey continues :h s
award -winning series with the
DECA 424.
Better than 900/o efficient!
Peavey engineers have
combined the latest MOSFET
designs along with high speed
digital computer electronics
and electromagnetic enErçy
conversion technology to
create an amplifier with
efficiency performance
i
- - ----- ---__
Ta
w
AIM
aMI
aaaaa-
WM
aaaaal
--'
Digital MOSFET Amplifiers by Peavey
heretofore unmatched in any
comme-cially available units!
These amps also feature a
digital version of Peavey's
patented DDT'" compression
circuit which virtually
eliminales the possibility of
driving The amplifier into
distortion
See your authorized
Peavey Dealer for all the
details on these award -
winning amplifiers.
Discover how DECA power
amplifiers have -edefined
Dower!
No measurable TIM or
slew rate induced
distortion!
The unique nature of
DECA circuitry produces
nc measurable transient
intermodu,ation or slew rate
induced cistortion even
with complex signals at
high concert sound levels.
The DE;,A Series is
another step in Peavey's
commitment to produce the
most competitive,
profess oval power
amplifiers available on a
trLe performance basis.
PEAVEY ELECTRONICS CORPORATION
711 A Street
Meridian. MS 39301
Telephone: (601) '83- 5365 /Telex 504115
Fax 484 -4278
Circle (18) on Rapid Facts Card
Manufacturers Addresses begin on page 43
Product Directory
Audio
Di%
MICROPHONE BOOMS AND
STANDS
Crown International Inc.
DeCuir Corp.
Eli
MICROPHONES,
PRE -AMPLIFIERS
Yamaha Music Corp.. USA Pro
Black Audio Devices
Calrec Audio Ltd. ( Calrec by AMS)
Compton Electronics
23.33
r,
Gotham Audio Corp.
KMD Sound Electronics
LP Music Group
Metro Audio USA
Milab International
Mogami Product Div. Marshall
Electronics, Inc.
The Music People, Inc.
Numark Electronics
Paso Sound Products Inc.
Peave Elcctrunic-
31
Penn Fabrication USA Inc.
Ross Systems Div. of IMC
Sanken Microphone Pan
Communications, Inc.
Schoeps GmbH
Schoeps /Posthorn Recordings
Sennheiser Electronics
Shure Brothers Inc.
Spectra Sonics /Spectra Sound
Stewart Electronics Corp.
Switchraft. Inc.
Sr)
:3}t
Whirlwind Interface International Inc.
Wireworks Corp.
Oenoen
See Adv. Page
See Adv. Page
See Adv. Page
Accurate Sound Corp
AKG Acoustics In
Astatic/CFI
At las /Soundulier
Audio -Technica US, Inc.
Beyer Dynamic Inc.
Black Audio Devices
Bruel & Kjaer
Elect ro -Voice
Gotham Audio Corp.
KMD Sound Electronics
LP Music Group
Micron Audio Products, Ltd.
The Music People, Inc.
Paso Sound Products Inc.
Peavey Electronics
Penn Fabrication (NJ) Inc.
Ramsa /Panasonic
Ross Systems Div. of IMC
Sawyer Camera & Video Co.
Scantek, Inc.
Schoeps /Posthorn Recordings
Shure Brothers Inc.
Spectra Sonics /Spectra Sound
Ultimate Support
45
43
35
23.33
ACO Pacific Inc.
Altec Lansing Corp.
API-Audio Products Inc.
Audio Engineering Associates
Auditronics Inc.
Benchmark Media Systems, Inc.
Beyer Dynamic Inc.
Calrec Audio Ltd. ( Calrec by AMS)
Crate
D &R Electronic.
Electro -Voice
Focusrite US Ltd.
Fostex Corp. of America
HM Electronics, Inc.
IQS Inc.
3I
Micron Audio Products, Ltd.
Mitsubishi Pro Audio Group
Paso Sound Products Inc.
ProTech Audio Corp.
Radio Systems, Inc.
Ramsa /Panasonic
Ross Systems Div. of IMC
Sanken Microphone Pan
Communications, Inc.
Sawyer Camera & Video Co.
Schoeps GmbH
Schoeps /Posthorn Recordings
S.E.M. Co.
Uwl 5eillff 99
Yre@mp
Clearly the
World's Finest
Microphone
Preamplifier
Winner of Every
Listening Test
18 to 60 dB Gain
0.4 Hz to 140 kHz
Phantom Power
Deane Jensen's best mic preamp is now
available in half or full rack versions, with 2, 4
or 6 channels. The new standard for audio
perfection. Hear it at Audio Rents (LA), The
Rental Company (NY) or at your competitor's
studio. Write or call for a technical data sheet.
Manufactured for Jensen by Boulder Amplifiers
transformers
jensenINCORPORATED
North Hollywood, California 91601
TELEX 6502919207 MCI UW
Phone (213) 876 -0059
Closed Fridays, visitors by appointment only
10735 Burbank Boulevard
FAX (818) 763 -4574
"Twin Servo" is a trademark of Jensen Transformers, Inc.
Circle (19) on Rapld Facts Card
32
Recording Engineer Producer
December 1987
71
!:3,:3:3
T3:3
Large scale
concert sound
reinforcement has
a smaller future.
Manifold Technology"
delivers... twice the output
in half the space.'
Concert sound is getting smaller.
System size, that is, not toir dollars!
In fact, the high -level sound market
is stronger than ever. But h_gh
MT-4
Concert Sound System
50,000 -Watt Array
transportation and setup costs are
forcing lighter, smaller and more
efficient speaker systems. While
audiences demand better fidelity.
That's why we've rnace
Manifold Technology systems twice
as loud in half the space. The two box, 4 -way active MT -4 uses 4
(four!) drivers in each bandpass for
unequaled acoustic output. Now,
your system can be one quarter the
size or four times as loud compared
to other designs.
The MTA -42 Manifold
Technology adapter combines four
compression drivers w. tbout added
distortion. And without -he phase
cancellations of Y- adapters! That's 4
supertweeter and 4 uppe-- midrange
compression drivers on identical
60° x 40° constant -directivity
horns. To complete the MTH-4
"high" box, four DL1CX woofers
use proprietary phase plLgs to
provide seamless vocals from
160 -1600 Hz. The result is flawless
138 -dB midbass at 1 meter!
The MTL -4 "low' box
combines four 18 -inch woofers in an
ultra compact 36" x 36" x 30"
cabinet. More efficient than hornloaded subwoofers, Mar ifold
Technology design prevents woofer
"bottoming" even at 40 Hz with
1,600 watts input!
High output plus high
fidelity
To produce high -level sound,
most concert systems aim many
horns at the same seating area.
Unfortunately, this approach causes
peaky frequen_-y response, decreased
sensitivity and ragged coverage
patterns. With four drivers on each
horn, a large -scale MT -4 sy'tem has
fewer indepenient sources. For
fewer phase- cLncellation problems.
Frequency response is smoother,
sensitivity increased, and coverage
perfectly constant.
A flying system that's
second to none
MT -4 ca ninets are optimally
equipped with a unique two -point
flying system that allows true point source arrays. Tilt angle adj istment
is easy because track positions are
pre-engineered for popular array
configuration'. Trial- and -error
guesswork is E thing of the past.
Nothing is as easy as an MT -4.
You don't have to wait for the
system of the inure. It's her now!
For a free MT -4 brochure, see your
EV Professional Audio Dealer or
write: Electrc- Voice, Inc., Dept.
REP -4, 600 Cccil St., Buchanan,
MI 49107.
GCbrrV'YVIG.ee
IVa
Circle (20) on Rapid Facts Card
MP RK
IV company
Product Directory
Manufacturers Addresses begin on page 43
See Adv. Page
Shure Brothers Inc.
Spectra Sonics /Spectra Sound
Stewart Electronics Corp.
Straight Wire Audio Inc.
85
Studio Technologies, Inc.
Summit Audio Inc.
T C Electronic America
Telex Communications, Inc.
TOA Electronics, Inc.
Valley International, Inc.
Yamaha Music Corp., USA Pro
Audio Div.
57
41
MICROPHONES, STUDIO
AND PA
Accurate Sound Corp.
ACO Pacific Inc.
Advanced Music Systems /Calrec
AKG Acoustics Inc.
45
Altec Lansing Corp.
AMR (Audio Media Research)
Astatic /CTI
Audio -Technica US, Inc.
Audix
Audra International
Aura Sonic Ltd.
Beyer Dynamic Inc.
Bruel & Kjaer
35
Calrec Audio Ltd. (Calrec by AMS)
Crown International Inc.
Electro -Voice
23,33
ETC-Essential Telecommunications Corp.
Gotham Audio Corp.
KMD Sound Electronics
Micron Audio Products, Ltd.
Milab International
The Music People, Inc.
Numark Electronics
Ocean Audio Exchange
Paso Sound Products Inc.
Peavey Electronics
31
Ramsa /Panasonic
Sanken Microphone Pan
Communications, Inc.
Sawyer Camera & Video Co.
Schoeps /Posthorn Recordings
Sennheiser Electronics
Shure Brothers Inc.
Sony Communications Products Co.
Spectra Sonics /Spectra Sound
TASCAM, Teac Corp. of America
7
Telex Communications, Inc.
57
3M Broadcasting & Related Products
TOA Electronics, Inc.
Uher of America
Yamaha Music Corp., USA Pro
Audio Div.
HM Electronics, Inc.
Lectrosonics Inc.
Micron Audio Products, Ltd.
Nady Systems, Inc.
Paso Sound Products Inc.
Peavey Electronics
Ramsa /Panasonic
Samson Technologies Corp.
Sanken Microphone Pan
Communications, Inc.
Sawyer Camera & Video Co.
Sennheiser Electronics
Shure Brothers Inc.
Sony Communications Products Co.
Spectra Sonics /Spectra Sound
Swintek Enterprises
Telex Communications, Inc.
TOA Electronics, Inc.
Applied Research & Technology,
Inc.
Audio Logic
BSS Audio Ltd.
Casio, Inc.
Fairlight Instruments, Inc.
Forte Music, Inc.
Fostex Corp. of America
Harmony Systems Inc.
IMC /Akai Professionals
Korg USA Inc.
Mark of the Unicorn
Mogami Product Div. Marshall
Electronics, Inc.
Musically Intelligent Devices
Musicians' Service Complex
Musicworks
Oberheim -ECC
Passport Designs Inc.
Peavey Electronics
Publison America, Inc.
Ross Systems Div. of IMC
Simmons Electronics (USA) Inc.
USA Productions
Wersi Electronics
Yamaha Music Corp., USA Pro
Audio Div.
57
Korg USA Inc.
Mitsubishi Pro Audio Group
Musically Intelligent Devices
Opamp Labs, Inc.
ProTech Audio Corp.
Rane Corp.
Roland Corp. US
Valley International, Inc.
Yamaha Music Corp., USA Pro
Audio Div.
71
19,59
68
73
41
NOISE REDUCTION
SYSTEMS
25
94
53
ANT Telecommunications Inc.
Ashly Audio
Audio Logic
Circuit Research Labs, Inc.
CompuSonics Corp.
dbx, A Div. of BSB N.A. Ltd.
DOD Electronics Corp.
Dolby Labs
D &R Electronics
Drew Engineering Co.
Electron Processing
Gotham Audio Corp.
Numark Electronics
Opamp Labs, Inc.
Packburn Electronics Inc.
Rocktron Corp.
Roland Corp. US
TASCAM, Teac Corp. of America
Ward -Beck Systems Ltd.
71
7
68
PATCHBAY AND JACK
PANELS
31
ADC Telecommunications
Akai Div. of IMC
Astra Services
41
Audio Accessories, Inc.
Audio Intervisual Design
Auditronics Inc.
Aura Sonic Ltd.
Bi- Tronics Inc.
Canare Cable Inc.
97
D&R Electronics
Fostex Corp. of America
71
Furman Sound, Inc.
Gentner Electronics Corp.
IMC /Akai Professionals
ADM Technology Inc.
December 1987
dbx, A Div. of BSB N.A. Ltd.
DOD Electronics Corp.
D&R Electronics
Drew Engineering Co.
Focusrite US Ltd.
Furman Sound, Inc.
Gold Line
Industrial Research Products
Innovative Electronic Designs
Klark -Teknik
Clarity
J.L. Cooper Electronics
DigiTech
DOD Electronics Corp.
Drumware, Inc.
Eventide, Inc.
Alesis
AMR (Audio Media Research)
Aphex Systems Ltd.
Ashly Audio
Audio Logic
Aura Sonic Ltd.
Recording EngineerProducer
31
APM/Kahler
AKG Acoustics Inc.
Astra Services
Beyer Dynamic Inc.
Cetec Vega
87
Circuit Research Labs, Inc.
ADA Signal Processors, Inc.
Allen & Heath Brenell USA Ltd.
AMR (Audio Media Research)
NOISE GATES
45
BSS Audio Ltd.
MIDI DEVICES, ADD -ON
MICROPHONES, WIRELESS
AND RF
Coherent Communications Inc.
Countryman Associates Inc.
34
41
See Adv. Page
See Adv. Page
61
Korg USA Inc.
Lowing Products
McCurdy Radio Industries Ltd.
Radio Systems, Inc.
Ross Systems Div. of IMC
99
53
79
he
ßroeIFtKjr
ardioid Microphone
HE TYPE 4011 CARDIOID PROFESSIONAL MICROPHONE
JOINS THE SERIES 4000 RANGE OF PROFESSIONAL
MICROPHONES - THE DRODUCT OF TEN YEARS OF RESEARCH AND DEVELOPMENT BY A TEAM OF DEDICATED
SPECIALISTS. THE 4011 S A PREPOLPRIZED CONDENSERMICROPHONE, WITH A FIRST -ORDER CARDIOI J DIRECTIONAL CHARACTERISTIC WHICH COMBINES A FLAT ON -AXIS
FREQUENCY RESPONSE WITH A UNIFORMLY SMOOTH OFF AXIS PHASE AND FREQUENCY RESPONSE. THE TYPE 4011
CAN HANDLE 158dB SDI_ BEFORE CLIPPINIG. COUPLED
WITH EXTREMELY LOW DISTORTION, THIS GIVES THE TYPE
4011 A SONIC PERFOR1v1ANCE UNEQUALLED BY ANY OTHER CARDIOID. THESE DESIGN FEATURES O'EN UP A WIDE
RANGE OF APPLICATION POSSIBILITIES.
THE WORK BRÜEL & KJAER'S ENGINEERS HAVE PUT INTO
THE DESIGN OF THIS MICROPHONE ENSURES THAT IT WILL
DUE TO RAPID AD-
NOT BECOME READILY OBSOLETE
VANCES IN TECHNOLCGY. THE CRAFTSMANSHIP AND MA-
TERIALS INVOLVED IN ITS CONSTRUCTION ARE WHAT
MAKE THE DIFFERENCE BETWEEN A GOOD MICROPHONE
AND A SUPERB MICROF HONE, AND ALLOW THE 4011 TO
BE CALLED, JUSTIFIABLY, A WORK OF ART ITS TECHNICAL SPECIFICATIONS PAINT AN IMPRESSIVE PICTURE, BUT
THERE'S MORE TO IT THAN THAT. PLT THE 4011 TO USE
AND YOU'LL FIND -I-AT, FOR ONCE, WHAT YOU READ
TRANSLATES INTO WHAT YOU HEAR.
Brüel & Kjær
WORLD HEADQUARTERS. DK -2850 Naerurn Denmark
Telephone: r 452800500 Telex 37316 bruka dk
Circle (21) oe Papld Facts Card
Australia (02) 450 -2066 ALstula 02235/ 7550'C Belgium 02.242 -9745
Brazil 2468149 Canada .5'4)695-8225 Finlar d (90) &)17044
France (1) 64 57 20 10 Federa Republic of Germany (04106) 4055
Great Britain (01) 954 -23E6 Holland 03402 -39994 Hong Kong 5- 487486
Italy (02) 5244 141
Japan 33- 435 -4813 Repu )lic of Kc-.rea 02- 793 -6886
Norway 02-78 70 96 Singapore 2258533 Spain (91) 26.310 00
Sweden (08) 711 2730 Swizerland (042) 651 31 Taiwan (02) 7139303
USA (617) 481 -7000 Local rearesentatives and service crganisations world -wide
-
1
-
Product Directory
Manufacturers Addresses begin on page 43
See Adv. Page
Switchraft, Inc.
TASCAM, Teac Corp. of America
Ward -Beck Systems Ltd.
39
7
Whirlwind Interface International Inc.
Wireworks Corp.
Zeus Light & Sound Co.
Applied Creative Technology Inc.
Associated Sound
Astra Services
Atlas /Soundolier
Audio Intervisual Design
Audio Kinetics Ltd.
Audio Logic
Audio Services Corp.
Auditronics Inc.
The Bertech Organization
Black Audio Devices
W.H. Brady Co. STP Div.
Broadcast Electronics
BSS Audio Ltd.
Celestion Industries, Inc. C-Audio
Clean Co.
DeCuir Corp.
Denecke Inc.
D &R Electronics
DW Labs, Inc.
E.A.R.S.
El Mar Plastics Inc.
Electron Processing
Numark Electronics
Shure Brothers Inc.
Stanton Magnetics Inc.
)'
PHONOGRAPH
TURNTABLES
Broadcast Electronics
Gotham Audio Corp.
McCurdy Radio Industries Ltd.
Numark Electronics
Paso Sound Products Inc.
Studer Revox America
71
PITCH SHIFTERS
100
Advanced Music Systems /Calrec
Akai Div. of IMC
Applied Research & Technology,
Inc.
Fostex Corp. of America
53
Four Designs Co.
FSR Inc.
Juice Goose c/o Whitenton Industries
Inc.
King Instrument Corp.
Klark -Teknik
LP Music Group
Metro Audio USA
Micro-Trak Corp.
Middle Atlantic Audio Products
Nitty Gritty Record Care Products
Omnimount Systems
P.A.S.
The Patchbay Designation Co.
Peavey Electronics
Penn Fabrication (NJ) Inc.
Polyline Corp.
Radio Systems, Inc.
Shure Brothers Inc.
Stewart Electronics Corp.
Strategic Sound, Inc.
Summit Audio Inc.
Synergetic Services, Inc.
TASCAM, Teac Corp. of America
Westlake Audio
Whirlwind Interface International Inc.
Zeus Light & Sound Co.
RC
ADA Signal Processors, Inc.
Fidelipac Corp.
Recording Engineer/Producer
45
76
68
85
31
69
85
7
55
25
Eventide, Inc.
Publison America, Inc.
Roland Corp. US
Yamaha Music Corp
Audio I)iv.
I
Z
\ l'
41
RACKS AND STANDS
AMR (Audio Media Research)
,oundolier
Ail.,
43
Broadcast Electronics
Centro Corp.
Dago Cases
DeCuir Corp.
Electronics
Fidelipac Corp.
FM Tubecraft
Four Designs Co.
Invisible Products Corp.
Jan -Al Cases
KMD Sound Electronics
Korg USA Inc.
Lowing Products
LP Music Group
McCurdy Radio Industries Ltd.
The Mitek Group
The Music People, Inc.
Numark Electronics
D &R
Ohm
Pacific Wood Works
P.A.S.
Paso Sound Products Inc.
Peavey Ele,.,
Radio Systems, Inc.
December 1987
Ultimate Support
Ward -Beck Systems Ltd.
Whirlwind Interface International Inc.
Winsted Corp.
Zeus Light & Sound Co.
Sumiko, Inc.
Fat Box
36
41
AKt; Acou
Audio -Technica US, Inc.
Gotham Audio Corp.
43
See Adv. Page
Ross Systems Div. of IMC
Solid Support Industries
Stagehand Mfg.
Storeel Corp.
PHONOGRAPH
CARTRIDGES
MISCELLANEOUS
ACCESSORIES
Audio Logic
DOD Electronics Corp.
Eventide, Inc.
Roland Corp. US
T C Electronic America
Yamaha Music Corp., USA Pro
Audio Div.
PERIPHERAL AND
PHASERS
See Adv. Page
RECORDING TAPE, AUDIO
Ampex Corp. Magnetic Tape Div.
Apogee Electronics Corp.
Audiolab Electronics, Inc.
Aura Sonic Ltd.
BASF Corp. Information Systems
Burlington Audio /Video Tapes, Inc.
Capitol Magnetic Products
CBS Records Group CBS, Inc.
Creative Sound Corp.
11
51)
Diskmakers
Embassy Cassette Inc.
Fidelipac Corp.
Fostex Corp. of America
5:3
Master Cassette & Duplication
Nakamichi America Corp.
29
Plantron International Corp.
Precision Audio Inc.
Bill Rase Productions, Inc.
Sony Communications Products Co.
Sony Magnetic Products Co. Professional
Tape Div.
Sprague Magnetics, Inc.
Studio Magnetics Co., Inc.
3M Magnetic Media Div.
Uni- Sette, Inc.
RECORDING TAPE,
U -MATIC
Ampex Corp. Magnetic Tape Div.
11
Audiolab Electronics, Inc.
Aura Sonic Ltd.
Sawyer Camera & Video Co.
Sony Communications Products Co.
Sony Magnetic Products Co. Professional
Tape Div.
Sprague Magnetics, Inc.
3M Magnetic Media Div.
REVERB DEVICES
Advanced Music Systems /Calrec
Inc
Alesis
AMR (Audio Media Research)
Applied Research & Technology.
AKG A:
Inc
:3,11)1
:31
Audio Logic
Aura Sonic Ltd.
DigiTech
DOD Electronics Corp.
D &R Electronics
Eventide, Inc.
Furman Sound, Inc.
Gold Line
Gotham Audio Corp.
IMC /Akai Professionals
_
t:
'G
71
%\c
)c*i
The price you have to pay to be free.
musician, you know you've got to be
the music that's inside you.
But, sadly, buying an "affordable" keyboard or
sound module often means compromising
your expressive freedom by accepting second rate sounds and limited capabilities.
At Kurzweil, we don't think the instrument
you play should build fences around your
As
a
free. Free to express
imagination. So we developed our revolutionary 1000 Series to help turn it loose. The 1000
Series delivers authentic Kurzweil sounds with
more voices, more programming power, more
creative freedom than you ever thought possible at prices you never thought possible.
Freedom from Financial
Oppression.
Thanks to our new VLSI microchip,
Kurzweil 1000 Series modules start at just
under $2000. VLSI has enabled us to pack
each Series 1000 instrument with up to 120 of
the same impeccable, 16bit floating point, digitally sampled sounds found
on the legendary Kurzweil
250' Choose from the
1000 SX String Expander
Module, 1000 HX Horn Expander, 1000 GX
Guitar Expander, 1000 PX Professional
Expander (which provides a varied collection
of our most famous samples) or the K 1000 (the
keyboard version of the 1000 PX)
.
Freedom of Expression.
The 1000 Series' generous polyphonic
capabilities free you from the expressive limitaS1995
tions of 12 -voice or 16 -voice systems. The 1000
PX and K 1000 offer the power of 24 voices
while the 1000 SX, 1000 GX and 1000 HX
each have 20 voices. And, if you need more
voices, you can combine all four 1000 Series
modules to create an 84 voice, 8- output supersystem. So go ahead. Stack voices to your
heart's content. Build complex, multi- voiced
sequences. Go for those big, two- fisted chord
shapes. The 1000 Series modules give you
miles of sonic territory to roam at will.
Freedom of Choice.
-
The 1000 Series is truly democratic too.
Three different operating modes let everyone
from novices to advanced programmers-ben efit from the 1000 Series' bountiful capabilities.
In Play Mode, you can use those great
Kurzweil sound programs just as they are.
Simply select a program and play. The Compiled Effects mode lets you apply a variety of
popular effects to any of the preset sound programs. And the Modular Editing mode takes
you deep inside the 1000 Series' voice
architecture.
So stand up for your rights. You owe it to
yourself to check out the 1000 Series. For mcre
information, visit your nearby Kurzweil dealer.
Or write to us at Kurzweil Music Systems, Inc.,
411 Waverley Oaks Road, Waltham, MA 02154,
(617) 893 -5900. In Canada, write to Heinl Electronics Inc., 16 Mary Street, Aurora, Ontario
L4G 3W8, (416) 727-1951.
KURZWEIL'
suggested retad price for 1000 SX and 1000 HX S1395 suggested retad pece for 1000 GX and 1000 PX. $2.595 suggested retan price for K1000 Ail specificationsand paces subject to change without
Circle (22) on Rapid Facts Card
We.
Manufacturers Addresses begin on page 43
Product Directory
See Adv. Page
Klark -Teknik
Lexicon Inc.
LP Music Group
Opamp Labs, Inc.
Peavey Electronics
Publison America, Inc.
Roland Corp. US
Scantek, Inc.
Yamaha Music Corp., USA Pro
Audio Div.
19,59
41
SIGNAL PROCESSORS
ADA Signal Processors, Inc.
ADM Technology Inc.
Advanced Music Systems / Calrec
AKG Acoustics Inc.
Alesis
Altec Lansing Corp.
AMR (Audio Media Research)
Analog Systems
Aphex Systems Ltd.
API -Audio Products Inc.
Applied Research & Technology,
Inc.
45
61
25
Ashly Audio
Audio/Digital Inc.
Audio Logic
Aura Sonic Ltd.
BBE
C&C Consultants
Biamp Systems
Brick Audio
BSS Audio Ltd.
Cetec Ivie
Clarity
dbx, A Div. of BSB N.A. Ltd.
Delta Electronics Inc.
DigiTech
DOD Electronics Corp.
Dorrough Electronics
D &R Electronics
Drew Engineering Co.
DW Labs, Inc.
Electro -Voice
Electron Processing
Eventide, Inc.
FM Acoustics USA
Focusrite US Ltd.
Four Designs Co.
Full Compass Systems
Furman Sound, Inc.
Gold Line
Gotham Audio Corp.
Howe Technologies Corp.
Industrial Research Products
Innovative Electronic Designs
Inovonics Inc.
First Light Video
Leonardo Software
Micro -Point Inc.
JBL Professional
Klark -Teknik
Korg USA Inc.
Lexicon Inc.
MicroAudio
Musically Intelligent Devices
Musicians' Service Complex
New England Digital Corp.
Opamp Labs, Inc.
Orban Associates
Recording Engineer/Producer
y
SOFTWARE, MUSIC AND
PRODUCTION
71
Aegis Development, Inc.
Dr. T's Music Software
Passport Designs Inc.
SOUND SAMPLERS
Advanced Music Systems /Calrec
Akai Div. of IMC
Audio Logic
Aura Sonic Ltd.
Design Direct Sound
DigiTech
DOD Electronics Corp.
Drumware, Inc.
E-Mu Systems Inc.
Eventide, Inc.
5
19,59
75
68
41
SYNTHESIZERS AND
KEYBOARDS
Akai Div. of IMC
Bertus Productions The Studio
Casio, Inc.
Ensoniq Corp.
Fairlight Instruments, Inc.
IMC /Akai Professionals
KMD Sound Electronics
Korg USA Inc.
Kurzweil Music Systems, Inc.
Musicians' Service Complex
New England Digital Corp.
37
Oberheim -ECC
Roland Corp. US
Sequential Circuits
Studio Technologies, Inc.
Technics
Wersi Electronics
TAPE DUPLICATION,
CASSETTE
Pristine Systems Inc.
Scientific Design Software
Studio Master Systems
23,33
T C Electronic America
Yamaha Music Corp., USA Pro
Audio Div.
SOFTWARE, BUSINESS
Advanced Music Systems /Calrec
Audio Express Div. Worldwide
Communications
IQS Inc.
38
Peavey Electronics
31
Publison America, Inc.
73
Rane Corp
Renkus- Heinz, Inc.
Rocktron Corp.
Roland Corp. US
Ross Systems Div. of IMC
Scantek, Inc.
S.E.M. Co.
Sound Concepts Inc.
Sound Studio
Steven Electronics
BC
Stud,
Studio Technologies, Inc.
Symetrix Inc.
7
TAS(':1M, Tear Cnrp ,,t America
T C Electronic America
TOA Electronics, Inc.
UREI
Valley International, Inc.
White Instruments Div. C Van R, Inc.
Yamaha Music Corp., USA Pro
Audio Div.
41
.
31
See Adv. Page
See Adv. Page
Fairlight Instruments, Inc.
IMC /Akai Professionals
Innovative Electronic Designs
Korg USA Inc.
Kurzweil Music Systems, Inc.
New England Digital Corp.
Oberheim-ECC
Publison America, Inc.
Roland Corp. US
Sequential Circuits
Simmons Electronics (USA) Inc.
December 1987
37
American Multimedia, Inc. Concept
Design
Apex Machine Co.
Associated Audio Services
Audio Cassette Center
Audio Digital Inc.
Audio Express Div. Worldwide
Communications
Audio-VideoGraphics
Audiolab Electronics, Inc.
Avid Productions
CBS Records Group CBS, Inc.
Cetec Gauss
69
Cinram Ltd
Davkore Co.
Digital Brothers
Digital 1 Duplication Inc.
Diskmakers
Domain Communications Inc.
Eastern Standard Productions, Inc.
Electro Sound, Inc.
Embassy Cassette Inc.
Greencorp. Inc.
HRC Magnetics
Inovonics Inc.
1B('
KARA Research & Development
Loran Audio & Cassette Products
Magnefax International, Inc.
Master Cassette & Duplication
Master Track Productions
Mobile Fidelity Sound Lab
Nakamichi America Corp.
'fit
3,101
Otari Corp.
Precision Audio Inc.
Bill Rase Productions, Inc.
Recortec Inc.
R.E.P. Sound Image Recording Ltd.
Sawtooth Magnetic Tape
Sawyer Camera & Video Co.
DURABILITY
Successful long- distance runners
have what it takes to go all the
way -and finish ahead of the pack.
The equipment you depend on
requires that same kind of stamina
to keep your performance levels
high, decibel- after -decibel, time after -time. That's why you'll
appreciate our quality- contolled,
state -of- the -art audio components
that won't fall short of your
expectations or cut short your
sessions.
Connectors, jacks, plugs, power
cords or patch panels, our durable
40 -year reputation with audio
engineers is on the line with every
master, every mix. Behind tie lines,
our backup team of support
engineers is on call to answer your
technical questions and help you
make the right choice every time.
No wonder thousands of your
fellow professionals around the
world keep specifying our ruggedly
reliable standard and subminiature
Send me information on your quality
components:
Please have a representative contact me.
Please send me your General Line Catalog
covering the complete Switchcraft line.
My area(s) of irterest is:
Switches
Connectors D Jacks /Plugs
Power Cords
EAC Receptacles
Molded Cable Assemblies
My application is
Current
Future
(date)
C Patch Panels
Name
Title
Company
Address
_
City
State
Zip
Telephone
)
Mail To: Marketing Communications Dept.,
Switchcraft, Inc.
5555 N. Elston Ave.,
LChicago,IL 60630
RE t287J
(
parts, no matter what system
they're installing. It's not surprising
their word -of -mouth -eferrals have
helped keep us in the forefront of
your highly demanding industry.
If you're looking for marathon
performers with the cuts to keep
going strong, look over our latest
li:erature. You'll find it loaded with
audio components of enduring
value.
Circle (23) on Rapid Facts Card
Switchcraft
A
Raytheon Company
5555 N. Elston Ave.
Chicago, IL 60630
(312) 792-2700
Manufacturers Addresses begin on page 43
Product Directory
See Adv. Page
See Adv. Page
Shur-Sound
& Sight, Inc.
Sony Communications Products Co.
Stereodyne /Dynapak Ltd.
Studio Magnetics Co., Inc.
TASCAM. 'fear Corp. of America ._
Telex Communications, [nc
3M Magnetic Media Div.
Trax Audio & Music
Uni- Sette, Inc.
Versadyne International, Inc.
Voice Over L.A., Inc.
Shur-Sound
& Sight, Inc.
Telex Communications, Inc
3M Magnetic Media Div.
Voice Over L.A., Inc.
._
TAPE MACHINES,
CARTRIDGE
Auteri Associates, Inc.
.1RF :Magnetic Sciences
1111
Norton Associates Inc.
Otani Corp.
Saki Magnetics. Inc
3,101
78
Sprague Magnetics, Inc.
Strategic Sound, Inc.
69
Davkore Co.
Digital Brothers
Digital 1 Duplication Inc.
Domain Communications Inc.
Eastern Standard Productions, Inc.
Magnefax International, Inc.
Master Track Productions
Ot;iii l'urp
Bill Rase Productions, Inc.
Recortec Inc.
7
Uher of America
TAPE MACHINES, ANALOG
;.u,.
BC
TASCAM. Teac Corp of America
TAPE MACHINE
REPLACEMENT HEADS
Accurate Sound Corp.
Associated Audio Services
Audiolab Electronics, Inc.
Avid Productions
t
Strategic Sound, Inc.
Studer Revox America
7
TAPE DUPLICATION,
REEL -TO -REEL
'etec
57
See Adv. Page
ti IDI
Akai Div. of IMC
Audiolab Electronics, Inc.
69
Cetec Gauss
53
Fostex Corp. of America
Gotham Audio Corp.
IMC /Akai Professionals
Inovonics Inc.
Kudelski SA
Nagra Magnetic Recorders
Ocean Audio Exchange
Otani Corp
3,101
Sony Communications Products Co.
Soundcraft USA
.
.
Audico, Inc.
Audiolab Electronics, Inc.
Auditronics Inc.
Broadcast Electronics
Cetec Gauss
69
Fidelipac Corp.
International Tapetronics 3M
Broadcasting & Related Products Div.
Otari Corp.
3.101
TAPE MACHINES,
CASSETTE
Accurate Sound Corp.
Akai Div. of IMC
AMR (Audio Media Research)
Audico, Inc.
Audiolab Electronics, Inc.
Cetec Gauss
Fostex Corp. of America
Gotham Audio Corp.
IMC /Akai Professionals
KABA Research & Development
K
69
53
IBC
\
C C
AUDIO VIDEO
COMFORTABLY
PROFESSIONAL
SSL 4000E
24 -TK. STUDER A -820
2 -TK. OTARI MTR 12
UREI 813, 811 MONITORS
QI
NEUMANN, AKG,
SENNHEISER, Etc.. MICS
III
rUZRC DISC
OUTBOARD EQUIP.
(At no extra charge)
SYSTEMS
Contact Terri
(212) 228-3063
INCORPORATED
COMPLETE ANALOGUE & DIGITAL MASTERING SERVICES
FOR COMPACT DISC, RECORD & CASSETTE MANUFACTURING
3475 CAHUENGA BLVD WEST. HOLLYWOOD. CALIFORNIA 90068
(213) 876-8733
Circle (24) on Rapid Facts Card
40
Recording Engineer/Producer December 1987
\
31 BOND STREET
New York, N.Y. 10012
Clrei.
2S) on Rapid
Facts Card
J
Listen to what engineers
in 47% ofall recording
studios have already heard:
Andwhat they haven't.
What we're going to tell you about the new
NS1OM Studio reference monitor may sound
familiar, and for good reason.
The NS1OM Studio is based on our legendary NS1OM which, judging from its popularity
in recording studios, delivers the near-field
acoustic imaging that most engineers have
Frequency response remains except onally smooth
demanded.
in the new NS1OM Studio, from 60Hz to 20kHz.
So rather than
listen to competitive
monitors to improve
the NS10M, we lis- I.
tened to professionals like you.
And ended up
retaining the best aspects of the NS10M's
performance, while enhancing others.
That means you can expect the same
smooth frequency response. The same highpower handling capability. And the same ability
to take on the stresses of a longer duty cycle.
All while maintaining accurate spatial definition without inducing listener fatigue.
Listening to what engineers needed also
0
20
SO
'00
200
,00
MOO
rnECiuEMCViIUI
2000
5000
,0000
meant making refinements designed specifically for the studio environment.
Like connector terminals that accept
large-diameter speaker cable for optimum
signal quality. A 3.5cm dome tweeter with
built-in acoustic damping tailored for near-field
monitoring. And a horizontal configuration so
the NS1OM Studio never gets in your way.
And because it takes a pro to better
service a pro, the NS1OM Studio is sold
exclusively through authorized Yamaha
Professional Audio dealers.
The NS1OM Studio.
Proof that at Yamaha, we listen to
professionals as much as professionals
listen to Yamaha.
Yamaha Music Corporation,
Professional Audio Division, P.O. Box 6600,
Buena Park, CA 90622. In Canada, Yamaha
Canada Music Ltd., 135 Milner Avenue,
Scarborough, Ontario M1S 3R1.
20000
10000
1967 MIX Magazine Annual Recording Industry Directory
Circle (28) on Rapid Facts Card
YAMAHA®
Engineering Imagination"
Manufacturers Addresses begin on page 43
Product Directory
Nakamichi America Corp.
29
3,101
Otani Corp.
Paso Sound Products Inc.
Ross Systems Div. of IMC
Sharp Electronics Corp. Professional
Products Div.
Studer Revox America
TASCAM, Teac Corp. of America
Technics
TOA Electronics, Inc.
Uher of America
Uni- Sette, Inc.
Yamaha Music Corp., USA Pro
1
Audio Div.
BC
7
41
TAPE MACHINES, DIGITAL
Akai Div. of IMC
Apogee Electronics Corp.
Audiolab Electronics, Inc.
CompuSonics Corp.
IMC /Akai Professionals
Integrated Media Systems, Inc.
Mitsubishi Pro Audio Group
Ocean Audio Exchange
)Lin (< i,
3,101
Sony Communications Products Co.
(
,Anu
rira
RC
Technics
Uni- Sette, Inc.
TAPE MACHINES, MAG
FILM
Audiolab Electronics, Inc.
Inovonics Inc.
Mitsubishi Pro Audio Group
Altair Electronics Inc.
70
81
RE Instruments AS
Recortec Inc.
Research Technology International
RTS Systems, Inc.
Scantek, Inc.
Sound Technology, Inc.
Standard Tape Lab, Inc.
T C Electronic America
VU /PPM METERS
API -Audio Products Inc.
Apogee Electronics Corp.
Astra Services
B &B Systems Inc.
Dorrough Electronics
Furman Sound, Inc.
Gotham Audio Corp.
Inovonics Inc.
McCurdy Radio Industries Ltd.
ProTech Audio Corp.
Radio Systems, Inc.
Schoeps /Posthorn Recordings
Selco Products Co.
Studio Master Systems
Ward -Beck Systems Ltd.
TIME CODE
SYNCHRONIZERS
Adams -Smith
Advanced Music Systems /Calrec
Allen & Heath Brenell USA Ltd.
AMR (Audio Media Research)
Amtel
APM /Kahler
Audio Kinetics Ltd
Cipher Digital, Inc.
CMX Corp.
Coherent Communications Inc.
IN OUR
CONTINUING EFFORTS
TO SERVE YOU...
time to time. Intertec Publishing Corp. makes its subscriber lists available to carefully
screened companies or organizations whose products, services. or information may be of interest to you.
In every case, list users must submit
their promotional material for approval. They may use the list only
From
(' >l> IIrrir "ni
t
Publison America, Inc.
Roland Corp. US
Skotel Corp.
Sony Communications Products Co.
Soundmaster International Inc.
Strategic Sound, Inc.
Studer Revox America
TASCAM, Teac Corp. of America
Timeline Inc.
TRANSFORMERS, AUDIO
IQS Inc.
Jasoni Electronics
Recording Engineer/Producer
Precision Design
RCA Test Tapes
I.
19.59
74
Altec Lansing Corp.
Asiatic /CTI
BSS Audio Ltd.
FSR Inc.
Jensen Transformers
...
Ki,rrk- Teknik
McCurdy Radio Industries Ltd.
The Music People, Inc.
December 19t3I
Opamp Labs, Inc.
Paso Sound Products Inc.
ProTech Audio Corp.
Reichenbach Engineering Co., Inc.
Shure Brothers Inc.
Ward -Beck Systems Ltd.
Whirlwind Interface International Inc.
Gotham Audio Corp.
Harmony Systems Inc.
IMC /Akai Professionals
ACO Pacific Inc.
42
93
Portland Instrument -SCV
I
Apogee Electronics Corp.
Audio Control Industrial
Audio Precision
BASF Corp. Information Systems
B &B Systems Inc.
CBS Records Group CBS, Inc.
Cetec Ivie
Delta Electronics Inc.
Electro Sound, Inc.
Four Designs Co.
Gold Line
Inovonics Inc.
75
Editron USA Inc.
Evertz Microsystems Ltd.
TEST AND MEASURING
EQUIPMENT
Kenwood USA Corp.
hI, rl l'rhru:
KMD Sound Electronics
Leitch Video of America Inc.
Magnetic Reference Lab
McCurdy Radio Industries Ltd.
Menlo Scientific
Metro Audio USA
MicroAudio
Micro -Point Inc.
Opamp Labs, Inc.
Tentel
Turbosound Inc.
Video Accessory Corp.
Ward -Beck Systems Ltd.
Whirlwind Interface International I nc.
White Instruments Div. C Van R, Inc.
Wireworks Corp.
International Tapetronics 3M
Broadcasting & Related Products Div.
See Adv. Page
See Adv. Page
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once.
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Manufacturers' Directory
The Manufacturers' Address Directory
alphabetical listing of all the companies in this issue with complete addresses and phone numbers.
is an
A
Accurate Sound Corp.
3515 Edison Way
Menlo Park, CA 94025
415 - 365 -2843
ACO Pacific Inc.
2604 Read
Belmont, CA 94002
415-595-8588
Enterprise Drive
Ann Arbor, MI 48103
313 -663 -7013
Acoustic Sciences
Hudson, MA 01749
617-562-3801
ADC Telecommunications
404.934 -9217
Acoustik Architecture Inc.
Polytek St.
Ottawa, Ont., Canada K1J 8Z2
4900 West 78th St.
Minneapolis, MN 55435
43 -1010
612-893-3071
613-748 -7683
ADM Technology Inc.
19
42
503 -343 -9727
800 -ASC-TUBE
3877 Foxford Drive
Doraville, GA 30340
1626 E. Big Beaver Road
Troy, MI 48084
313- 524 -2100
Acoustilog Inc.
Acoustech Corp.
P.O. Box 11156
Eugene, OR 97440
Acoustical Physics Lab
Mercer St.
New York, NY 10013
212- 925 -1365
Advanced Music Systems /Calrec
ADA Signal Processors, Inc.
7303 -D Edgewater Drive
Oakland, CA 94621
415 -632 -1323
800 -241 -8888
Billington Road
Burnley, Lancs, England
0282 -5077
BB
I
5ES
Aegis Development, Inc.
Adams -Smith
2210 Wilshire Blvd., Suite 277
Santa Monica, CA 90403
34 Tower St.
213-392-9972
Stands For
All Microphone Applications
Whether the application is for stage, studio, pulpit, lectern, dais,
dispatcher's console, switchboard, lecture hall, conference
room, bandstand or announcer's table, ATLAS /SOUNDOLIER
has the microphone stands, adaptors and accessories to
enhance any presentation.
Our complete selection offers more than fifty individual models
Option of manual and automatic wear-proof clutches Choice
of chrome or non -reflecting ebony finish
Broadcast quality
stands Horizontal boom attachments Table and desk models
Loudspeaker stands Miking stands for musical instruments
Equipment cabinets for touring performers.
PRODUCT AVAILABILITY: Eight regional warehouses to serve
you or your customers.
PROVEN QUALITY: U.S. craftsmanship by ATLAS/
SOUNDOLIER .. the world's standard for over half a century.
For your best value, contact us today.
W.
ATLAS / S O U N D O L I E R
1859 INTERTECH DRIVE
DIVISION OF AMERICAN TRADING AND PRODUCTION CORPORATION
FENTON. MISSOURI 63026 USA
(314) 349-3110
TWX 910 -760 -1650
5
Circle (40) on Rapld Facts Card
December 1987
Recording Engineer/Producer
43
Product Directory begins on page 20
Manufacturers Addresses
Akai Div. of IMC
Mountain Lakes, NJ 07046
Astra Services
P.O. Box 2344
Fort Worth, TX 76113
817 -336-5114
800-433 -5627
201 -263-1442
422 Route 206 S., Suite 188
Somerville, NJ 08876
201- 359-6014
ANT Telecommunications Inc.
205 Perry Parkway
Gaithersburg, MD 20877
301- 670-9777
Akashic Records Group
P.O. Box 395
Danville, CA 94526
415 -837-7959
AKG Acoustics Inc.
77 Selleck St.
Alesis
3630 -40 Holdrege Ave.
Los Angeles, CA 90016
213-467-8000
Atlas /Soundolier
API -Audio Products Inc.
Heath Brenell USA Ltd.
Connair Rd.
Orange, CT 06477
5
7953 Twist Lane
Springfield, VA 22153
703 -455-8188
Alpha Audio
2049 W. Broad St.
Richmond, VA 23220
804 -358-3852
212 -582 -2345
1859 Intertech Drive
Fenton, MO 63028
201- 887 -7800
Audico, Inc.
219 Croasen Ave.
Elk Grove Village.
312-640 -1030
IL
60007
Audio Accessories, Inc.
P.O. Box 4
Marlow, NH 03456
603- 446-3335
APM/Kahler
203- 795 -3594
P.O. Box 9305
Anaheim, CA 92802
714- 632-5280
Audio Analysts USA Inc.
Apogee Electronics Corp.
518-561 -5071
Industrial Blvd. W.
Plattsburgh, NY 12901
13
1517 20th St.
Altair Electronics Inc.
Santa Monica, CA 90404
Audio Cassette Center
1694 Calle Zocalo
Thousand Oaks, CA 91360
800- 529 -2496
213 -828 -1930
P.O. Box 46606
Apogee Sound
West Hollywood, CA 90046
1150 Industrial Ave., Suite C
Petaluma, CA 94952
707 -778-8887
Altec Lansing Corp.
P.O. Box 26105
Oklahoma City, OK 73126
405- 324 -5311
Applied Creative Technology Inc.
10529 Olympic Drive
Dallas, TX 75220
Amek/TAC
818-367-6328
Applied Research
American Multimedia, Inc.
Concept Design
215 Tremont St.
Rochester, NY 14608
716 -436 -2720
Route 8 Box 215 -A
Burlington, NC 27215
&
Technology, Inc.
1111 N. Gordon St.
Hollywood, CA 90038
Ampex Corp.
Magnetic Tape Div.
213 -466 -6181
Ashly Audio
401 Broadway M.S. 22 -02
Redwood City, CA 94063
415 -367 -3888
Amplified Music Products Corp.
100 Fernwood Ave.
Rochester, NY 14621
716 -544 -5191
800- 828-6308
9829 Independence Ave.
Chatsworth, CA 91311
Associated Audio Services
818 -709-0518
181 Westchester Ave.
AMR (Audio Media Research)
914 -937 -5129
P.O. Box 1230
Meridian, MS 39301
601 -484 -4278
Amtel
33 Main St., Suite 303
Nashua, NH 03060
603- 880 -9011
Analog Systems
P.O. Box 35879
Tucson, AZ 85740
602- 792 -3202
Audio Control Industrial
P.O. Box 3199
Lynnwood, WA 98046
206- 775 -8461
12 Long Island Ave.
Holstville, NY 11742
A &S Case Co.
919 -229-5554
213 -850 -5044
Audio Digital Inc.
214 -358 -4800
800- 433 -5373
10815 Burbank Blvd.
North Hollywood, CA 91601
Port Chester, NY 10573
Associated Production Music
6255 Sunset Blvd., Suite 724
Hollywood, CA 90028
213-461 -3211
Associated Production Music
516 -289 -3400
800- 874 -2202
Audio /Digital Inc.
10000 S. Bertelsen Road, Suite
Eugene, OR 97402
503- 687.8412
4
800- 423 -1082
Audio Engineering Associates
1029 N. Allen Ave.
Pasadena, CA 91104
818-798 -9127
Audio Express Div.
Worldwide Communications
320 Stewart St.
Reno, NV 89502
702 -322-6292
800- 322 -4422
Audio Innovators, Inc.
dba Pro Com Systems
5001 Baum Blvd.
Pittsburgh, PA 15213
412 -621 -1950
888 Seventh Ave.
New York, NY 10106
212 -977 -5680
Audio Intervisual Design
Associated Sound
213-469 -4773
1032 N. Sycamore Ave.
Los Angeles, CA 90038
2120 P St.
Audio Kinetics Ltd.
Anchor Audio, Inc.
Sacramento, CA 95816
913 West 223rd St.
Torrance, CA 90502
213 -533 -5984
800 -262 -4671
916-443 -4773
Kintec Centre, Theobald St.
Borehamwood, Hells, England WD6 4PJ
Astatic /CTI
01 -953 -8118
P.O. Box 120
Conneaut, OH 44030
216-593 -1111
800- 421 -3161
Audio Logic
J.C. Anglum Co. Inc.
60 Midvale Road
44
New York, NY 10036
3000 N.E. 12th Terrace
Fort Lauderdale, FL 33334
305 -568 -1572
13340 Saticoy
North Hollywood, CA 91605
818 -765-2212
800 -762 -7439
203 -348-2121
&
599 11th Ave.
Apex Machine Co.
Aphex Systems Ltd.
Stamford, CT 06902
Allen
A/T Scharff Rentals
Recording EngineerProducer
December 1987
5639 S. Riley Lane
Salt Lake City, UT 84107
801- 268 -8400
r ''1'-
,
rr
/
MI
B-CHECK
I
IXMIGHT
Adi161
GET IT IN
STEREO.
the field or on the run, the
C 522 ENG, mics it just like
in stereo. Wherever
you hear it
you are, whatever you're recording,
from courthouse interview, press
conference, rock concert, to forest
fire, the C 522's clarity, rugged
performance, and convenience are
exactly what you need to add a
capsules, elastic -mounted for low
noise and pre- configured to give
you a smooth, one -handed XY-stereo
field. It's a workhorse mic, with
the little extras a working pro needs,
like a built -in rechargeable battery,
low -power warning LED, integrated
on /off switch and boom mount
shock suspension.
Get it live in stereo with the AKG
In
-
AKG
true -life dimension.
Inside its sturdy housing are two
matched cardioid condenser
AKG
C
522 ENO
DISCONNECT
C
522.
*MEN NOT IN USE
i
s
AKG
Reporter: Dense O'ena,.
Wrh pennssan of
C
AKG 1987
n
Colony Ccr
accus:
rn ncat ans, Inc.
Akustische und <ino- Gerate GmbH. Austria
77 Selleck Street
Stamford, CT 06902
Product Directory begins on page 20
Manufacturers Addresses
Audio Precision
Auditronics Inc.
P.O. Box 2209
Beaverton, OR 97075
503- 627 -0832
800- 231 -7350
3750 Old Getwell Road
Memphis, TN 38118
901- 362-1350
800- 638-0977
Audio Rents, Inc.
Audix
7237 Santa Monica Blvd.
Hollywood, CA 90046
213- 874 -1000
Industrial Court, Suite 8
San Ramon, CA 94583
110 Ryan
415- 831 -0808
800- 332 -8349
Audio Services Corp.
4210 Lankershim Blvd.
North Hollywood, CA 91602
818-980 -9891
800- 228 -4429
Audra International
P.O. Box 38
Silverado, CA 92676
714-649 -2207
Audio -Technica US, Inc.
Aura Sonic Ltd.
1221 Commerce Drive
Stow, OH 44224
216 -686-2600
P.O. Box 791
Flushing, NY 11352 -0791
718 -886 -6500
Audio-VideoGraphics
Auratone Corp.
13801 East 35th St.
Independence, MO 64055
816-254 -0400
800-322-2822
P.O. Box 698
Coronado, CA 92118
619- 297 -2820
Audiolab Electronics, Inc.
Auteri Associates, Inc.
5831 Rosebud Lane, Suite P
Sacramento, CA 95841
53 Foreston Circle
916-348 -0200
Manorville, NY 11949
516 -878-6421
Audiorent
Avid Productions
Kurfuerstenwal 111
D -4350 Recklinghausen
1,
West Germany
49 -2361 -59494
235 E. Third Ave., Suite 215
San Mateo, CA 94401
415 -347 -3417
Performance specifications alone won't reveal all one needs to know in determining the
merits or the deficiencies of a power amplifier: but when we found one that had a slew rate
of 300 V uS (8 Ohms), a damping factor that hits the 1000 mark -all the way up to5KHi.
and a TH I) of .003g , it came as no surprise to us to find this same le% el of superb quality
in every other department we evaluated on the LENCO M PA POWER AMPLIFIER."
"Its greatest attribute was discovered at the listening tests. This amp brought a dimension
in realism, depth. and accuracy to our monitor system none of us had heard before. From
the lowest bottom end, through the midrange. and up through the highs. a new clarity and
'openness' revealed every detail of the recorded material. This allowed making evaluations
on EQ and dynamics control much easier!'
have chosen the MPA -2300 model LENCO AMP for my personal use. h has become
my trusted companion in even recording session I engineer. I can trust it to reveal
everything I need to know and hear at the consoler
"I
Uncompensated
Endorsement)
Wiley M. Ross. Recording Engineering
School of Music.
University of Arizona. Tucson
FOR MORE INFORMATION CONTACT:
Jim Rhodes/ LENCO, INC.
P.O. Box 348, 300 N. Maryland
Jackson, MO 63755
Phone: 314/243-3147
Aumb,
LENCO
Circle (42) on Rapid Facts Card
46
Recording Engineer/Producer
December 1987
B
Bag End /Mitek
One Miket Plaza
Winslow, IL 61089-0038
815-367 -3000
800- 225 -5689
BASF Corp. Information Systems
Crosby Drive
Bedford, MA 01730
617- 271 -4000
800- 225 -4350
B &B
Systems Inc.
28111 N. Ave. Stanford
Valencia, CA 91355
805- 257 -4853
800- 345 -1256
BBE
5500 Bolsa Ave., Suite 245
Huntington Beach, CA 92649
714 -897 -6766
800-233-8346
Benchmark Media Systems, Inc.
3817 Brewerton Road
North Syracuse, NY 13212
315 -452 -0400
Berklee College of Music
Music Production & Engineering
1140 Boylston
St.
Boston, MA 02215
617-266-1400
Just what
you needed
to hear.
The new Studio Monitor 1 with T.O.C. ('Dime Offset
Correction), from Professional Audio Systems, is exactly
what you need...to hear.
T.O.C. studio monitors, the only true constant coverage coaxial monitor system, employ beryllium diaphragm
HF compression drivers, giving you resonance free
extended HF response to 20 kHz. The 15" LF transducers
with large linear excursion capability, high sensitivity and
power handling provide ultra low distortion to below
35 Hz. The HF and LF are combined by fourth -order
Linear Phase crossover filters with T.O.C. providing near
perfect phase response resulting in pinpoint stereo imaging. And, its all neatly packaged in a hand -finished black
oak enclosure rivaling fine furniture.
T.O.C. studio monitors give you good solid hysics,
sound engineering, meticulous attention to detail and
clean, clear, unadulterated sound. When there is silence,
you get silence. And, the fleeting transients that often
create the difference between good sound and great
sound are faithfully reproduced.
Ok, listen. That's all we're asking you to do. Listen
to the only studio monitoring system designed to give you
what you needed to hear. You can audition a pair of
Tust
O.C. studio monitors at your favorite studio supply
dealer, or may contact us direct.
"
Professional Audio Systems
® 19V-P.A.ti.
1224 West 252nd Street, Harbor City, CA 90710, (213) 534 -3570 Telex: 469539
Club (27) on Rapid Fact Cana
Product Directory begins on page 20
Manufacturers Addresses
The Bertech Organization
C
14447 Califa St.
Van Nuys, CA 91401
818 -909 -0262
800 -992 -2272
Calrec Audio Ltd.
(Calrec by AMS)
P.O. Box 31864
2522 W. Geneva Drive
Tempe, AZ 85282
602- 438 -0888
800- 535 -7648
Clarity
Bertus Productions
The Studio
Seattle, WA 98103
22723 Berdon St.
Woodland Hills, CA 91367
818- 883 -1920
206-633 -1956
Nelson Lane
Garrison, NY 10524
Canare Cable Inc.
914-424-4071
832 N. Victory Blvd.
Burbank, CA 91502
818-840-0993
Clean Co.
Beyer Dynamic Inc.
Burns Ave.
Hicksville, NY 11801
5 -05
Capitol Magnetic Products
6902 Sunset Blvd.
Los Angeles, CA 90028
213 -461 -2701
516 -935-8000
BGW Systems Inc.
13130 S. Yukon Ave.
Hawthorne, CA 90250
213 -973 -8090
800- 252 -4800
P.O. Box 1125
Burbank, CA 91507
818-842 -5547
C.M.S. Digital, Inc.
182 S. Raymond
Pasadena, CA 91105
818-405 -8002
CareerTrack Publications, Inc.
1775 38th St.
Boulder, CO 80301
303- 440 -7440
800-334 -1018
Biamp Systems
14270 N.W. Science Park Drive
Portland, OR 97229
583-641-7287
Bi- Tronics Inc.
CMX Corp.
2230 Martin Ave.
Santa Clara, CA 95050
408 -988 -2000
800- 982 -3400
Carver Corp.
Coherent Communications Inc.
P.O. Box 1237
13756 Glenoaks Blvd.
Sylmar, CA 91342
Lynnwood, WA 98036
206- 775 -1202
P.O. Box 125
Tuckahoe, NY 10707
914-793-3221
800- 522 -7377
818 -362 -9393
Casio, Inc.
Community Light
570 Mount Pleasant Ave.
Dover, NJ 07801
201- 361 -5400
333 E. Fifth St.
Chester, PA 19013
215-876-3400
P.O. Box 106
Ventura, CA 93002
805 -653 -5557
CBS Records Group
CBS, Inc.
Compton Electronics
91 Woodmont Road
Garfield, NJ 07026
Boston Acoustics, Inc.
Milford, CT 06460
201 -478-6903
Black Audio Devices
203- 783 -4000
247 Lynnfield St.
Peabody, MA 01960
617 -532 -2111
C&C
Consultants
2215 C St.
Lincoln, NE 68502
402 -474-2215
Boulder Amplifiers
Silver Lake Research
4850 Sterling Drive
Boulder, CO 80301
303-449-8220
Celestion Industries, Inc.
C -Audio
&
Sound, Inc.
160 Belmont Ave.
CompuSonics Corp.
2345 Yale St.
Palo Alto, CA 94306
415 -494 -1184
Connectronics Corp.
652 Glenbrook Road
Stamford, CT 06906
203- 324 -2889
800-322 -2537
W.H. Brady Co. STP Div.
Kunniholm Drive, Box 521
Holliston, MA 01746
P.O. Box 571
Milwaukee, WI 53201
617 -429 -6706
J.L. Cooper Electronics
414-332-8100
Centro Corp.
369 Billy Mitchell Road
1931 Pontius Ave.
West Los Angeles, CA 90041
Brick Audio
102 S.
Porter
Elgin, IL 60120
312-742-7425
Salt Lake City, UT 84116
213 -473 -8771
801 -534 -7779
Countryman Associates Inc.
Cerwin -Vega Inc.
417 Stanford Ave.
Redwood City, CA 94063
415- 364 -9988
555 E. Easy St.
Simi Valley, CA 93065
805- 584 -9332
Broadcast Audio Corp.
11306 Sunco Drive
Ranch Cordova, CA 95742
916 -635 -1048
P.O. Box 3606
Quincy, IL 62305
217 -224 -9600
Crate
9130 Glenoaks Blvd.
Sun Valley, CA 91352
213-875 -1900
1400 Ferguson Ave.
St. Louis, MO 63133
314 -727-4512
800-325 -8148
Cetec Ivie
Creative Sound Corp.
Cetec Gauss
Broadcast Electronics
1366 W. Center St.
Orem, UT 84057
801- 224 -1800
6290 Sunset Blvd., Suite 1026
Hollywood, CA 90028
213-871-1010
Cetec Vega
Crest Audio
9900 Baldwin Place
El Monte, CA 91731 -2204
818 -442 -0782
150 Florence Ave.
Hawthorne, NJ 07506
201- 423 -1300
30 -B Banfi Plaza N.
Farmingdale, NY 11735
516 - 249 -3660
Cinram Ltd
Crown International Inc.
Burlington Audio /Video Tapes, Inc.
Cipher Digital, Inc.
Bruel
&
185 Forest
Kjaer
St.
Marlborough, MA 01752
617- 481 -7000
BSS Audio Ltd.
106 Mott St.
Oceanside, NY 11572
516-678-4414
800- 331 -3191
48
Circuit Research Labs, Inc.
Recording Engineer/Producer
2255 Markham Road
Scarborough, Ont., Canada
P.O. Box 170
Frederick, MD 21701
301-695 -0200
800-331 -9066
December 1987
1718 W. Mishawaka Road
Elkhart, IN 46517
219 - 294 -8000
Cyber -Kinetek Systems, Inc.
11839 Starcrest Drive
San Antonio, TX 78247
512 -496-0717
Product Directory begins on page 20
Manufacturers Addresses
D
Dimension Music
&
Sound Effects
P.O. Box 1561
Jupiter, FL 33468
Dago Cases
6945 Indiana Court, Suite 600
Golden, CO 80403
303- 421 -7912
800 -342 -3246
Davkore Co.
1300 -D Space Park Way
Mountain View, CA 94043
305- 746 -2222
800- 634 -0091
160 San Gabriel Drive
Sunnyvale, CA 94086
408- 245 -6600
925 N. Third St.
Philadelphia, PA 19123
215 -627 -2277
800-468-9353
Electro -Voice
Dr. Vs Music Software
Dax Audio Group, Inc.
66 Louise Road
Chestnut Hill, MA 02167
617 -244 -6954
Portland, OR 97202
DOD Electronics Corp.
503- 232 -4445
dbx, A Div. of BSB N.A. Ltd.
Chapel
Newton, MA 02195
71
617 -964 -3210
5639 S. Riley Lane
Salt Lake City, UT 84107
801 -268 -8400
800- 453 -7484
Dolby Labs
DDA
30 -B Banfi Plaza N.
Farmingdale, NY 11735
516 -249-3660
DeCuir Corp.
4012 S. Broadway Place
Los Angeles, CA 90037
213 - 233 -4184
Delta Electronics Inc.
5730 General Washington Drive
Alexandria, VA 22312
703 -354-3350
Denecke Inc.
5417 Cahuenga, Suite B
North Hollywood, CA 91601
818 -766 -3525
Design Direct Sound
6850 35th N.E., Suite
Seattle, WA 98115
206- 527 -4371
1
DeWolfe Music Library, Inc.
25 West 45th St.
821 E. Artesia Blvd.
Carson, CA 90746
213 -327 -3180
Electro Sound, Inc.
Diskmakers
415-969 -3030
1231 S.E. Gideon St.
El Mar Plastics Inc.
600 Cecil St.
Buchanan, MI 49107
616 -595 -6831
Electron Processing
P.O. Box 708
Medford, NY 11763
516 -764-9798
Embassy Cassette Inc.
3617 W. Macarthur, Suite 500
Santa Ana, CA 92704
800- 541 -8899
Emilar Corp.
100 Potrero
San Francisco, CA 94103
415-558 -0200
Domain Communications Inc.
P.O. Box 337
Wheaton, IL 60189
312 -668-5300
1365 N. McCan St.
Anaheim, CA 92806
714-632 -8500
E-Mu Systems Inc.
P.O. Box 66303
Scotts Valley, CA 95066
Dorrough Electronics
5221 Collier Place
Woodland Hills, CA 91364
818-999 -1132
D&R Electronics
408- 438-1921
Ensoniq Corp.
Great Valley Parkway
Malvern, PA 19355
155
215 -647 -3930
ETC-Essential Telecommunications
1720 Chip N Dale drive
Arlington, TX 76012
817-548-1677
Corp.
64 Addison Road
D &R Electronics
Rynkade 15B
1382 GS Weesp, Holland
2940-10014
Glastonbury, Cr 06033
203- 633-3188
Eventide, Inc.
Alsan Way
Little Ferry, NJ 07643
1
Drew Engineering Co.
35 Indiana St.
201- 641 -1200
800-446 -7878
Rochester, NY 14609
New York, NY 10036
212 -382-0220
716 -544 -3337
Evertz Microsystems Ltd.
Drumware, Inc.
D &G Mastering
3465 Mainway
Burlington, Ont., Canada L7M lA9
416-335-3700
Englishtown, NJ 07726
12077 Wilshire Blvd., Suite 515
Los Angeles, CA 90025
213-478-3956
201 -446 -2411
DW Labs, Inc.
Digital Brothers
P.O. Box 882
1731 Bonaire Way
Newport Beach, CA 92660
201- 376-8453
P.O. Box 370
714 -645-9702
Digital Dispatch, Inc.
P.O. Box 4426
Burbank, CA 91503
818-952 -FAST
800- 446-FAST
Digital
1
Duplication Inc.
660 Douglas Ave.
Altamonte Springs, FL 32714
305-682-7790
DigiTech
5639 S. Riley Lane
Salt Lake City, UT 84107
801- 268 -8400
800- 453 -7484
Fairlight Instruments, Inc.
E
Digital Creations Corp.
50 Werman Court
Plainview, NY 11803
516 -756 -9620
F
Millburn, NJ 07041
E.A.R.S.
2945 Westwood Blvd.
Los Angeles, CA 90064
213-470 -6280
Fat Box
617 -423 -9565
814 E. Walnut Ave.
Burbank, CA 91501
818 -842 -6600
Eastern Standard Productions, Inc.
Fidelipac Corp.
26 Baxter St.
Buffalo, NY 14207
716-876 -1454
Morrestown, NJ 08057
3
Hanson St.
Boston, MA 02118
Eastern Acoustic Works
59 Fountain St.
P.O. Box 808
609- 235 -3900
800-HOT -TAPE
First Light Video
617 -620 -1479
374 N. Ridgewood Place
Los Angeles, CA 90004
213 -463 -2240
Editron USA Inc.
Five Towns College
Framingham, MA 01701
748 Seward St.
Hollywood, CA 90038
213 -464 -8723
2165 Seaford Ave.
Seaford, NY 11783
516- 783-8800
December 1987
Recording Engineer/Producer
49
Manufacturers Addresses
Product Directory begins on page 20
FM Acoustics USA
Frazier
P.O. Box 854
Benicia, CA 94510
707- 745 -4444
Route 3 Box 319
Morrilton, AR 72110 -9532
G
Gabriel Sound
501-727 -5543
P.O. Box 34
Haskell, NJ 07420
FM Tubecraft
201- 835-5004
FSR Inc.
1121 -26 Lincoln Ave.
Holbrook, NY 11741
516- 567 -8588
220 Little Falls Road
Cedar Grove, NJ 07009
201- 239 -0988
Galaxy Audio
625 E. Pawnee
Wichita, KS 67211
316- 263 -2852
Focusrite US Ltd.
1100 Wheaton Oaks Court
Wheaton, IL 60187
Full Compass Systems
Jim Gamble Associates
6729 Seybold Road
Madison, WI 53719 -1393
608- 271 -1100
800- 356-5844
312-653 -4544
For-A Corp. of America
320 Nevada St.
Newton, MA 02160
617 -244-3223
P.O. Box 7047
Tahoe City, CA 95703
916-583-0138
Gentner Electronics Corp.
P.O. Box 27647
Full Sail Center for the
Salt Lake City, UT 84127-0647
Recording Arts
Forte Music, Inc.
P.O. Box 6322
San Jose, CA 95150
415 -965-8880
Fostex Corp. of America
15431 Lackburn Ave.
Norwalk, CA 90650
213 -921 -1112
801 -268-1117
658 Douglas Ave.
Altamonte Springs, FL 32714
305- 788 -2450
GHL Audio Engineering
Furman Sound, Inc.
GML, Inc.
2807 Azalea Place
Nashville, TN 37204
615 - 269 -5183
30 Rich St.
George Massenburg Labs
Greenbrae, CA 94904
1517 20th St.
415-927 -1225
Santa Monica, CA 90404
213-453 -5350
Four Designs Co.
6531 Gross Ave.
Future Disc Systems
Canoga Park, CA 91307
818-716-8540
800-544 -3746
Gold Line
3475 Cahuenga Blvd. W.
Hollywood, CA 90068
213-876 -8733
P.O. Box 115
West Redding, CT 06896
203 -938 -2588
MAGNETIC PRODUCTS
audiotape.
CAPITOL,
Duplicator Cassette and 8 -Track Tape
audiopäk
Broadcast Cartridges
Capitol Magnetic Products
CORPORATE AND INTERNATIONAL SALES OFFICES
EASTERN SALES O FFICE
CENTRAL SALES OFFICE
WESTERN SALES OFFICE:
UNITED KINGDOM
,.
Circle (29) on Rapid Facts Card
50
Recording EngineerProducer
December 1987
TESTED. PROVEN.
The Carver PM -1.5 Magnetic Field Power Amp -For performance, reliability and sound.
On the Road
Since the professional debut in 1983 of
the Carver PM -1.5 Low Feedback High Headroom Magnetic Field Power Amplifier, the sonic excellence and reliability of this 21 -lb., 450 watts per channel* powerhouse has
been tested -and proven -on some of the biggest and
toughest tours ever to go on the road. 108 Carver PM -1.5's
were used by Clair Brothers on the Bruce Springsteen tour,
and 180 PM -1.5's on the Michael Jackson "Victory" tour.
In both cases the result was purely awesome power.
"Our new Carver amp racks pack twice the number
of channels in about the same truck volume as the conventional racks they replace. In addition the average power per
channel has increased while the average weight per channel has decreased. In the low end, for example, we now have
1,200 watts per cabinet where 650 watts were previously
available. They take less room on the truck, they weigh less
and our systems have more headroom than before. The
Carver amplifier has allowed us to take a significant step in
improving our sound systems" CLAIR BROTHERS
And not only a sound industry giant like Clair Brothers
tours with Carver.
We have toured Carvers with the following artists:
Softcell, Paul Young, Johnny Mathis, Donna Summers,
Howard Jones, Pointer Sisters, Psychedelic Furs, Lee
Greenwood, General Public, George Thorogood. This is
exclusive of our numerous one -nighters. The consensus of
the performers is that the equipment sounds great. They
have been amazed by the sound of the amps as well as
their size and weight. As for reliability, out of 50 amps we
had only one fail in the past year of touring. This is by far
the best record we've had with any manufacturer of amplifiers. Sonically, the extra headroom is readily apparent. We,
at Manticore unanimously agree that the PM -1.5 is incredible and is the only amp we intend to buy."
Tom Whisner (owner) MANTICORE
In the Laboratory The Carver PM -1.5 was rigorously tested by Len Feldman for MODERN RECORDING
(February 1985). His laboratory test results also prove that
the PM -1.5 really delivers. The following quotes from the
Lab Report are reprinted with permission of MODERN
-
The amplifier delivered
a
clean 480 watts per chan-
nel into 8 -ohm loads with both channels driven for its rated
harmonic distortion level of 0.5 %. Even at the frequency
extreme of 20 Hz. power output for rated THD was 470
watts as against 450 claimed by Carver. Furthermore, at
rated power output, distortion decreased to an insignificant 0.015% at mid -frequencies and 0.007% at 20 Hz.
When connected to 4-ohm loads, the PM -1.5 delivered 750
watts per channel for rated THD of 0.05% -far more than
the 600 watts claimed by Carver. Clearly, when it comes to
specs for a professional amplifier. Carver has taken a very
conservative approach...All (manufacturer's claims)
equaled or exceeded published specifications- usually by
a wide margin."
"Carver has managed to deliver a tremendous amount
of power in a small lightweight package at a very reasonable cost..."
"For the professional audio engineer or technician who
has to move a lot of gear around much of the time and who
expects total reliability and circuit protection, come what
may, the Carver PM -1.5 represents, in our view, a real winning product. We will probably see it used increasingly by
professionals in every area of sound reinforcement."
Now -don't you think you owe it to yourself to hurry
over to your local Carver Pro Sound Dealer and test your
own PM -1.57 Whether you run a megawatt sound company, a struggling bar band, or a recording studio gearing
up for digital, the Carver PM -1.5 will pay you. In increased
portability and reduced freight costs. In freedom from
expensive blown drivers. In sheer sonic excellence.
'Power: 8 ohms, 450 watts /chan. 20 Hz -20 kHz both channels driven
with less than 0.5% THD. 4 ohms. 600 wattsichan. rms 20 Hz -20 kHz
both channels driven with less than 0.5% THD. 16 ohms. 300 wattschan. 20 Hz -20 kHz both channels driven with less than 0.5% THD. 2
ohms. 525 watts/chan. at clipping, 1 kHz. with less than 0.5% THD.
Note: 2 -ohm specification for information purposes only Operation at
2 ohms is permissible but not recommended. IM Distortion: Less than
0.1% SMPTE. Frequency Response: -3 dB at 3 Hz. -3 dB at 80 kHz.
Damping: 200 at kHz. Gain: 26 dB. Noise: Better than 115 dB below
450W A- weighted. Input: Balanced to ground.
XLR or phone. Impedance: 15k -ohm each
leg, balanced to ground. Bridging: 1200W into
8 ohms, 1000W into 16 ohms, accessed
through rear -panel recessed switch. Dimensions: 19 in. wide, 31/2 in. high, 1015(16
in. deep. Weight: 21 lbs.
1
RECORDING & MUSIC:
"The first thing we noticed when we began to work
with the Carver PM -1.5 was the ease with which the amplifier delivered almost limitless power to speaker loads which
we had previously considered to be difficult to drive to loud
levels. This is the sort of amplifier that just refuses to quit."
',tl
'k
\I
ACCURATE
Circle (43) on Rapid Facts Card
For more information write to CARVER CORPORATION, 19210 33rd Avenue West, P.O. Box 1237, Lynnwood, WA 98046
Manufacturers Addresses
Product Directory begins on page 20
Gotham Audio Corp.
Institute of Audio-Video Engineering
1790 Broadway
New York, NY 10019
212 -765-3410
1831 Hyperion
Hollywood, CA 90027
P.O. Box 589
Westboro, MA 01581
213 -666 -2380
800- 551 -8877
Greencorp. Inc.
617 -366-9141
Integrated Media Systems, Inc.
3505 S. Ocean Drive
Hollywood, FL 33019
305 -925 -0707
800-972 -0707
1552 Laurel St.
San Carlos, CA 94070
415 -592 -8055
P.O. Box 241
Intersonics, Inc.
ServoDrive
P.O. Box 2744
Norcross, GA 30091
404 -662-8788
0562- 741515
Invisible Products Corp.
159 Commercial St.
Lynn, MA 01905-2909
617 -592 -5992
HEDCO
P.O. Box 1985
Grass Valley, CA 95945
916-273 -9524
800- 433 -2648
12812 -J Gardon Grove Road
Garden Grove, CA 92643
714- 539-7842
5002 -B N. Royal Atlanta Drive
Tucker, GA 30084
404 -934-1851
J
Associates, Inc.
KMD Sound Electronics
Korg USA Inc.
89 Frost St.
Westbury, NY 11590
516 -333 -9100
800-645 -3188
KSS Sound
Hi -Tech Audio
260 Grove St.
Half Moon Bay, CA 94019
415 -726-2428
105 28th Ave. S.
Jan-Al Cases
4452 E. Washington Blvd.
Los Angeles, CA 90023
213 -260-7212
HM Electronics, Inc.
6675 Mesa Ridge Road
San Diego, CA 92121
619 -535-6060
Jasoni Electronics
2900 E. Charleston Blvd., Suite 197
Las Vegas, NV 89104
702 -384-0081
Howe Technologies Corp.
2300 Central Ave., Suite E
Boulder, CO 80301
303 -444-4693
800-525-7520
8500 Balboa Blvd.
Northridge, CA 91329
818-893 -8411
4125 Centurion Way
Dallas, TX 75244
214 -392 -7800
Waco, TX 76708
817 -756 -5303
800-443 -8457
615-329 -0695
Kudelski SA
Rte. de Geneve 22
1033 Cheseaux, Switzerland
021 -731 21 21
Kurzweil Music Systems, Inc.
Kustom Music, Inc.
The Joiner Rose Group
Herning Ave.
Nashville, TN 37212-2024
411 Waverly Oaks Road
Waltham, MA 02154
617-893-5900
JBL Professional
HRC Magnetics
1611
&
P.O. Box 688
Hope, AR 71801
501- 777 -6751
P.O. Box 507
Bloomfield, CT 06002
203- 243 -7888
IQS Inc.
Hill Audio
30 -B Banfi Plaza N.
Farmingdale, NY 11735
516 - 249 -3660
Klipsch
3453 Commercial
Northbrook, IL 60062
312 -272-1772
Harmony Systems Inc.
Klark -Teknik
Walter Nash Road
Kidderminster, Worcs
England DYII 7HJ
309 -828-1381
800-447 -0414
5910 Crescent Blvd.
Pennsauken, NJ 08109
609- 662-6355
800- 932 -0730
160 Belmont Ave.
Garfield, NJ 07026
Klark- Teknik
Bloomington, IL 61702
David Hailer Co.
Kitty Hawk
201- 478-6903
International Tapetronics
3M Broadcasting & Related
Products Div.
H
King Instrument Corp.
Route 2 Box 604
Fayetteville, TN 37334
615 -452-9672
615 -433-5006
JRF Magnetic Sciences
249 Kennedy Road
Greendell, NJ 07839
201- 579-5773
I
P.O. Box 2344
Fort Worth, TX 76113
817 -861 -9774
Industrial Research Products
7320 Ashcroft, Suite 302
Houston, TX 77081
713 -772-1404
321 Bond St.
Elk Grove Village, IL 60007
K
312- 439 -3600
Innovative Electronic Designs
KABA Research & Development
9701 Taylorsville Road
Louisville, KY 40299
502- 267 -7436
24 Commercial Blvd., Suite E
Novato, CA 94949 -9959
415-883 -5404
800- 231 -TAPE
Inovonics Inc.
Kenwood USA Corp.
Fair Ave.
Santa Cruz, CA 95060
Walnut St.
Compton, CA 90220
408 -458 -0552
213 -639 -9000
1305
52
Lakeside Associates
Juice Goose
c/o Whitenton Industries Inc.
IMC /Akai Professionals
Recording EngineerProducer
1111 W.
December 1987
L
Alegria
Irvine, CA 92720
4
714- 730-1333
Lectrosonics Inc.
P.O. Box 12617
Albuquerque, NM 87195
505-831 -1010
800- 821 -1121
Leitch Video of America Inc.
825-K Greenbrier Circle
Chesapeake, VA 23320
804- 424 -7920
800- 231 -9673
Lenco, Inc.
300 N. Maryland
Jackson, MO 63755
314 -243 -3147
800- 325 -8494
Fostex Presents a Series
of Timely Investments:
4010
r-
4010
SMPTE Time Code Generator/Reader has
all the tunctions you'll ever need because it's completely
software based. As in all high tech digital electronics today. there's a switching power supply. And socketed
EPROMs mean your hardware will never be obsolete. Plus.
the 4010 has a serial data port on the rear panel which
allows communication with (and control by) computers.
4030 Synchronizer with switching power supply
4035 Controller for all major
brands and
and
models of tape recorders-both audio and video. Control
up to one master and three slaves, or slave as many
transports as you wish, just by adding a 4030 for each
slave. A serial interface port allows communication with
personal computers to run F.A.M.E., Fostex Automated
Media Editing. SMPTE time code based, it works with
24. 25, 30 fps and drop frame, and features resolution to
/100 of a frame, selectable pre-roll up to 99 seconds, 10
1
position auto-locate and programmable, automatic punch
in/out with rehearse function.
4050
Auto Locator is a full function remote con trol unit for Fostex Models 80, 20 and all E-Series
recorders. In addition to tempo control, you can locate to
the measure bar and beat, thus the 4050 is the first
autolocator to think musically. Up to ten cue points can
be programmed and you can punch in and out automatically. The 4050 is also a MIDI Synchronizer. featuring a
SMPTE/EBU Time Code generator /reader -all four formats. Any MIDI instrument can be synchronized to this
most accurate timing reference. You can also simulate the
running of the recopier in osier to have the SMPTE/EBU
coule run MIDI instruments only. There's even a serial
communication port which lets you use a personal
computer.
Tec,nologia,
-15431
FOStI2X
Al'.
Norwalk. CA 90650
Blackburn
-III?
921-1112
(213) 921
I`)tr/ Frtix Corporation
( 213 )
Circle (44) on Rapid Facts Card
id
\inrnc.i
Manufacturers Addresses
Product Directory begins on page 20
Leonardo Software
Metro Audio USA
P.O. Box 567
Montrose, CA 91020
818- 957 -6599
Nady Systems, Inc.
Lexicon Inc.
Meyer Sound Labs, Inc.
1145 65th St.
Oakland, CA 94608
100 Beaver St.
Waltham, MA 02154
617 -891 -6790
2832 San Pablo Ave.
Berkeley, CA 94702
415 -486 -1166
415 -652 -2411
Nagra Magnetic Recorders
19 West 44th St., Room 715
Littlite /CAE Inc.
MicroAudio
P.O. Box430
Hamburg, MI 48139
313-231 -9373
4438 S.W. Hewett
Portland, OR 97221
503- 292 -8896
New York, NY 10036
212 -840-0999
Micron Audio Products, Ltd.
19701 S. Vermont Ave.
Torrance, CA 90502
Loran Audio
& Cassette
4150 Riverside Drive
Burbank, CA 91505
818-955 -8577
Products
210 Westlake Drive
Valhalla, NY 10595
914-761-6520
Lowing Products
Micro -Point Inc.
4342 Milan S.W.
Wyoming, MI 45909
616 -538 -5828
45 Kensico Drive
LP Music Group
160 Belmont Ave.
Garfield, NJ 07026
201 -478-6903
619- 451 -6400
Middle Atlantic Audio Products
Berkshire Industrial Park
Bethel, CT 06801
11288 Venture Blvd., Suite 304
Studio City, CA 91604
818-843 -1830
MISCO /Minneapolis Speaker Co.
229 Polaris Ave., Suite 4
Mountain View, CA 94043
415-965-8187
Manhattan Production Music
300 West 53rd St., Suite 2A
New York, NY 10019
212 - 586 -7799
Network Production Music, Inc.
Chicopee, MA 01013
413-594-8501
800- 358 -8729
Milab International
Magnetic Reference Lab
1154 W. Belmont Ave.
Chicago, IL 60657
11021 Via Frontera
San Diego, CA 92127
Front St.
201 -839 -1011
501- 925 -1818
Neotek
Micro-Trak Corp.
Haskell, NJ 07420
Route 1 Box 764
Rogers, AR 72756
213-538-8150
312 -929 -6699
P.O. Box 96
Magnefax International, Inc.
Nakamichi America Corp.
Mount Kisco, NY 10549
914 -241 -4439
165
M
800-854-2075
Rupert Neve Inc.
203-744-6230
New England Digital Corp.
P.O. Box 546
White River Junction, VT 05001
802 -295 -5800
Nitty Gritty Record Care Products
3806 Grand Ave.
Minneapolis, MN 55409
612-825 -1010
4650 Arrow Highway, Suite F4
Montclair, CA 91763
714 -625 -5525
The Mitek Group
Northeastern Digital Recording
One Mitek Plaza
Winslow, IL 61089
815-367 -3000
12 Sadler Ave.
Shrewsbury, MA 01545
Manta Electronics Group
800- 225 -5689
617 -753-1192
185 Frederick St.
Toronto, Ont., Canada M5A 1J7
Mitsubishi Pro Audio Group
Norton Associates Inc.
225 Parkside Drive
San Fernando, CA 91340
818 - 898 -2341
10 Di Tomas Court
Copiague, NY 11726
516 -842 -4666
Mobile Fidelity Sound Lab
Numark Electronics
416-868 -0513
Mark of the Unicorn
222 Third St.
Cambridge, MA 02142
617- 576-2760
1260 Holm Road
Petaluma, CA 94952
707 -778 -0134
Martin America
Master Cassette
&
503 Raritan Center
Edison, NJ 08837
201 - 225 -3222
Mogami Product Div.
P.O. Box 5139
Chatsworth, CA 91313
818-718 -1031
Marshall Electronics, Inc.
Duplication
2002 North Drive
Phoenix, AZ 85009
602- 269 -2869
800 -228 -8919
203- 521 -2248
800 -243 -2888
Ocean Audio Exchange
Brian St.
Commack, NY 11725
3
Omnimount Systems
Musicians' Service Complex
10850 Vanowen St.
North Hollywood, CA 91605
818-766-9000
416- 751 -6262
Menlo Scientific
Musicworks
39 Menlo Place
Berkeley, CA 94707
415 -528-1277
18
Recording Engineer/Producer
366 Las Casas Ave.
Pacific Palisades, CA 90272
213 -459 -2743
516 - 864 -1683
433 -A Jerusalem Ave.
Uniondale, NY 11553
516 -483-6342
Toronto, Ont., Canada M4A 2L4
Oberheim -ECC
West Hartford, Cl' 06107
Musically Intelligent Devices
McCurdy Radio Industries Ltd.
o
2015 E. Davies
City of Commerce, CA 90040 -1787
213-479-4948
P.O. Box 648
1524 W. Winton Ave.
Hayward, CA 94544
415-782-0877
800 -63 -TAPES
108 Carnforth Road
P.O. Box 2027
Culver City, CA 90230
213 - 390-6608
The Music People, Inc.
Master Track Productions
54
N
693 Washington St.
Venice, CA 90292
213-305-1521
Haviland
Boston, MA 02115
617 -266-2886
December 1987
Omnimusic
52 Main St.
Port Washington, NY 11050
516 -883 -0121
800- 828-OMNI
Bruce Swedien, Michael, Quincy ... and the high-power,
ultra- accurate Westlake SM -i Studio Reference Monitors
BRUCE SWEDIEN: "We've lived with these SM -ls
now for a pretty fair amount of time, and I can
honestly say we like them better today than (we did)
the day we walked in here to start Michael's project.
"I've never heard anything like the accuracy of the
combination of the SM -ls and Studio "D ". They are
just like good friends, you can trust them to tell you
the truth. We'll work here with the SM -ls on
Quincy's new album as well."
Bruce Swedien's good friends, The Westlake SM -1
monitors: with their dual 18" active woofers, a 12"
mid-bass, 2" and 1" throat compression drivers, and
a 1/2" compression tweeter, the SM -1 is the world's
most powerful production reference monitor system. As a fully integrated system it yields a full 6 dB
more headroom than typical 15" systems, at +/- 3dB
through the full audio range of 20Hz to 20kHz in a
typical control room. IM distortion is extremely low,
a minimum of 6dB - often as much as 20dB compared
to 2-way single amp systems.
Westlake monitor systems are the choice in more
than 250 leading professional recording environments worldwide. Any substantial investment in
either new room designs, or updated facilities ought
to include serious consideration of the SM -1 or any
of the family of Westlake reference monitors.
.the Westlake family of high -resolution studio monitors
MM -1
1'N-:1'
11H
-1
1111 -7
'Available in Vertical and Horizontal ferma(.
from a, uustu design
to down twat_
Circle (30) on Rapid Facts Card
Westlake
Audio
Redake
_tai Lavery Court. l'nit
IN
%udio Manufacturing Group
\Frdwny Park. (,litln'nia 013.10
MOS-099-3(11t6
Manufacturers Addresses
Product Directory begins on page 20
Opamp Labs, Inc.
Polyline Corp.
RCA Test Tapes
1033 N. Sycamore Ave.
Los Angeles, CA 90038
213 -934 -3566
1233 Rand Road
Des Plaines, IL 60016
312 -298 -5300
108 Monticello Road
Weaverville, NC 28787
Orban Associates
Portland Instrument -SCV
645 Bryant St.
San Francisco, CA 94107
415 -957 -1067
RE Instruments AS
1101 -A
Glendale, CA 91201
Emdrupvej 26
DK-2100 Copenhagen 0E, Denmark
818 -500 -0137
01 18 44 22
Orion Reseach
Precision Audio Inc.
Recortec Inc.
4650 West 160th St.
Cleveland, OH 44135
216-267-7700
800-82 -AUDIO
18582 US 20
Bristol, IN 46507
219-295-7493
275 Santa Ana Court
Sunnyvale, CA 94086
408- 737 -8441
Precision Design
Red Acoustics (USA) Ltd.
704- 658-2000
Air Way
2
27106 46th Ave. S.
Kent, WA 98032 -7147
206- 852 -5070
1231 Roth Drive
Lansing, MI 48911
415- 592 -8311
Pristine Systems Inc.
6515 Sunset Blvd., Suite 201B
Hollywood, CA 90028
213- 461 -2819
Reichenbach Engineering Co., Inc.
OWI Inc.
Otani Corp.
Davis Drive
Belmont, CA 94002
1160 Mahalo Place
Compton, CA 90220
213 -638 -4732
800- 638 -1094
517 -694 -3618
Professional Audio Systems
1224 West 252nd St.
Harbor City, CA 90710
213 -534 -3570
P
Flowerfield Building 1
St. James, NY 11780
P.O. Box 244
17191 Armstrong Ave.
Irvine, CA 92714
R.E.P. Sound Image
Recording Ltd.
180 Sheldon Drive
Cambridge, Ont., Canada N1R 6V1
Forestville, CA 95436
Publison America, Inc.
707 -887 -1652
6464 Sunset Blvd., Suite 775
Hollywood, CA 90028
213 -460 -6355
519 -623 -2269
Dewitt, NY 13214 -0335
Pyramid Audio Inc.
4700 Chase Ave.
315 -472 -5644
450 W. Taft Drive
Packburn Electronics Inc.
P.O. Box 335
P.A.S.
Rocktron Corp.
1633 Star Batt Drive
Rochester, MI 48309
313-853-3055
QSC Audio Products
914-738 -4800
1926 Placenta Ave.
Costa Mesa, CA 92627
714 -645 -2540
Passport Designs Inc.
Quantum Audio Labs
First St.
Pelham, NY 10803
14
Half Moon Bay, CA 94019
415 -726 -0280
Peavey Electronics
ft
Radio Systems, Inc.
601- 483-5365
5113 W. Chester Pike
Edgemont, PA 19028
215 -356 -4700
800-523 -2133
Penn Fabrication (NJ) Inc.
Ramsa /Panasonic
P.O. Box 356
6550 Katella Ave.
Cypress, CA 90630
201- 348 -7000
711 A St.
Meridian, MS 39301
Hawthorne, NJ 07506
201-423 -4404
Penn Fabrication USA Inc.
Rane Corp.
1111 Rancho Conejo Blvd.
6510 216th S.W.
Newbury Park, CA 91320
805 -499 -5932
Persia Sound Studios
378 Bernent Ave.
8381 Canoga Ave.
Canoga Park, CA 91304
818 - 882 -1001
913 West 223rd St.
Torrance, CA 90502
213.533 -1498
800- 262 -4671
Roland Corp. US
The Patchbay Designation Co.
4742 San Fernando Road
Glendale, CA 91204
818 -241 -5585
Roger Sound Labs
Roh Div. of Anchor Audio, Inc.
2752 Walnut Ave.
Tuston, CA 92680
714 -838-8833
625 Miramontes, Suite 103
Lincolnwood, IL 60646
312 -339 -8014
Q
Paso Sound Products Inc.
Research Technology International
South Holland, IL 60473
5700 East Loop 820 South
Fort Worth, TX 76119-7050
817-483 -7474
800- 433-7668
Mountlake Terrace, WA 98043
206 -774 -7309
7200 Dominion Circle
Los Angeles, CA 90040
213 -685 -5141
Ross Systems
Div. of IMC
P.O. Box 2344
Fort Worth, TX 76113
817- 336-5114
800- 433-5627
RPG Diffuser Systems
12003 Wimbleton St.
Largo, MD 20772
301- 249-5649
RTS Systems, Inc.
1100 W. Chestnut St.
Burbank, CA 91506
818 -840-7385
Bill Rase Productions, Inc.
718 -816 -6384
955 Venture Court
Sacramento, CA 95825
916-929-9181
Plantron International Corp.
Gary Raymond Sound Systems
Saki Magnetics, Inc.
P.O. Box 1722
26600 Agoura Road
Calabasas, CA 91302
818 -880-4054
Staten Island, NY 10310
P.O. Box 58971
56
Renkus- Heinz, Inc.
714- 250 -0166
Pro Tech Audio Corp.
Pacific Wood Works
6887 Farmdale Ave., Building 10
North Hollywood, CA 91605
818- 765 -6040
Seattle, WA 98138 -1971
Thousand Oaks, CA 91360
206- 859-1992
805 -492 -5858
Recording EngineerProducer
December 1987
s
Manufacturers Addresses
Sammi Sound Technology
39 Menlo Place
Berkeley, CA 94707
415-527 -8799
Samson Technologies Corp.
485 -19 S. Broadway
Hicksville, NY 11801
516 -932 -3810
Sanken Microphone
Pan Communications, Inc.
-5 -10 Roppongi, Suite 607
Minato-Ku, Tokyo 106 Japan
1
81 0 3 505 5463
Sawtooth Magnetic Tape
P.O. Box 525
Santa Cruz, CA 95061 -0525
408- 423 -1849
Sawyer Camera & Video Co.
1208 W. Isabel St.
Burbank, CA 91506
818-843-1781
800 -423 -7779
Scantek, Inc.
Monroe St., Suite 1606
Rockville, MD 20850
51
301- 279 -9308
Schoeps GmbH
Postbox 410970
D -7500 Karlsruhe, Germany
072 -42011
Schoeps /Posthorn Recordings
142 West 26th St.
New York, NY 10001
212- 242 -3737
Scientific Design Software
P.O. Box 3248
Chatsworth, CA 91313
818 -718 -1201
SCS /Sound Code Systems
P.O. Box 2198
Garden Grove, CA 92640
714 -554-0903
Selco Products Co.
7580 Stage Road
Buena Park, CA 90621
714-521 -8673
800-25 -SELLO
S.E.M. Co.
3782 Westridge Ave.
West Vancouver, BC, Canada V7V 3H5
604 -922 -0526
Sennheiser Electronics
P.O. Box 987
Old Lyme, CT 06371
203- 434 -9190
Sequential Circuits
3051 N. First St.
San Jose, CA 95134
408- 433-5240
Sharp Electronics Corp.
Professional Products Div.
Sharp Plaza
Mahwah, NJ 07430
201 -529 -8731
800-526 -0264
Telex has been a trusted leader in the tape duplicating industry for
decades. They've earned that position with innovative products such
as the 6120 series which features compact size, unlimited expandability, track format selection, one -button operation and peak reading
LEE 's for convenient audio level monitoring. Add these incredible
terms to the list and is it any wonder the 6120's popularity is still
growing!
Just think, from the tapes you produce each month, you cou d earn
or save enough to easily make the payments. Best of all you don't pay
any interest, and you can take up to 12 months to pay. That really puts
the 6120 series within reach now! Write or call today for full details and
a production chart showing how few
cassettes you have to produce each
month to pay for a system with these
exc ting no interest terms.
TEL
This special financing offer is also available on the all new
Pro Series 6120xLP
e 6120
duplicator with 8X speed and professional specs.
Shure Brothers Inc.
222 Hartrey Ave.
Evanston, IL 60202 -3696
312 -866 -2200
elex Communications, Inc.. 9600 Aldrich Avenue South, Minneapolis. MN 55420
CALL TOLL FREE 1- 800 -828 -6107 In MN call (612) 887 -5531
Circle (32) on Rapid Facts Card
December 1987
Recording Engineer,Producer
57
Manufacturers Addresses
Shur -Sound
&
Product Directory begins on page 20
Sound Technology, Inc.
Sight, Inc.
3350 Scott Blvd., Building 5
Santa Clara, CA 95054
408-727 -7620
1400 Dell Ave.
Siemen- Neve --See Rupert Neve Inc.
S.I.L.L
Sano International Ltd. Inc.
50 S. Center St., Building 24
Orange, NJ 07050
201-674-7017
Simmons Electronics (USA) Inc.
231917 Craftsman Road
Calabasas, CA 91302
818 -884-2653
800 -HIP-DRUM
43 -1010 Polytek
St.
Campbell, CA 95008
Ottawa, Ont., Canada K1J 8Z2
408-378 -6540
613 -744 -1003
Sound Workshop
Pro Audio Products, Inc.
Stereodyne /Dynapak Ltd.
50 Werman Court
Plainview, NY 11803
516-756-0140
Mississauga, Ont., Canada L4X 2E2
416 -625-8311
3121 Universal Drive
Soundcraft Electronics
Steven Electronics
Unit 2, Borehamwood Industrial Park Rowley
Rowley Lane, Borehamwood
160 Belmont Ave.
Garfield, NJ 07026
Herta, England WD6 5PZ
201- 478 -6903
01- 207 -5050
Stewart Electronics Corp.
Soundcraft USA
11460 Sunrise Gold Circle, Suite B
Rancho Cordova, CA 95742
916-635 -3011
Skotel Corp.
8500 Balboa Blvd.
Northridge, CA 91329
818- 893-8411
1445 Provencher
Soundcraftsmen
3337 W. Hospital Ave.
Atlanta, GA 30341
404- 458 -3280
Brossard, Que., Canada J4W 1Z3
514- 465 -8990
Storeel Corp.
2200 S. Ritchey
Santa Ana, CA 92705
Skyelabs Inc.
714 -556-6191
Straight Wire Audio Inc.
2200 Bridgeway
Sausalita, CA 94965
415-332-6100
Soundmaster International Inc.
Solid State Logic
416 -741 -4034
4611 Columbia Pike
Arlington, VA 22201
703- 979 -1990
800- 368 -2081
306 Rexdale Blvd., Suite 5
Toronto, Ont., Canada M9W IR6
320 West 46th St.
New York, NY 10036
212 -315 -1111
Strategic Sound, Inc.
Soundtracs
2495 Middlefield Ave.
Fremont, CA 94539
415 -656-4154
77 Selleck St.
Stamford, CT 06902
Solid State Logic
203 -348 -2121
Studer Revos America
Soundtracs PLC
1425 Elm
Solid Support Industries
Ewell Road
Surbiton, Surrey, England KT6 6AH
615 -254 -5651
2453 Chico Ave.
01- 399 -3392
Studio Digital Samples
Begbroke
Oxford, England OX5 1RU
44-8675-4353
91
South El Monte, CA 91733
Southern Thunder Sound Inc.
818 -579 -6063
800 -782 -6377
212
737 Canal St.,
Building 23B
Stamford, CT 06902
203-356 -1136
Sony Communications Products Co.
1600 Queen Anne Road
Teaneck, NJ 07666
201-930-6435
Sony Magnetic Products Co.
Professional Tape Div.
Third Ave. N.
Minneapolis, MN 55401
Sonic Systems Inc.
Hill Pike
Nashville, TN 37210
23131 Canzonet St.
Woodland Hills, CA 91367
818-704 -6585
612- 339 -6303
Studio Magnetics Co., Inc.
Spectra Sonics /Spectra Sound
Holtsville, NY 11742
3750 Airport Road
Ogden, UT 84405
801- 392-7531
516- 289 -3400
800-874-2202
Spectrum Design
12
&
Development, Inc.
3420 Walbert Ave.
Allentown, PA 18104
215- 395-6934
Long Island Ave.
Studio Master Systems
P.O. Drawer P
North Miami Beach, FL 33160
305-945 -9774
Sony Drive
Park Ridge, NJ 07656 -8038
201- 930-6087
201- 930-7081
Sprague Magnetica, Inc.
Studio Technologies, Inc.
15720 Stagg St.
5520 W. Touhy Ave.
Skokie, IL 60077
312-676-9177
SoperSound
800 -553 -8712
P.O. Box 498
Stagehand Mfg.
Palo Alto, CA 94301
415 -321 -4022
800- 227 -9980
259 E. Fourth St.
London, KY 40741
606 -864 -7618
Sound Concepts Inc.
Standard Tape Lab, Inc.
Newell Road
Brookline, MA 02146
617 -566 -0110
26120 Eden Landing Road, Suite 5
Hayward, CA 94545
415-786 -3546
Sound Studio
Stanton Magnetics Inc.
160 Belmont Ave.
Garfield, NJ 07026
201- 478-6903
Terminal Drive
Plainview, NY 11803
516-349 -0235
714 -671 -5657
800 -854 -6230
Sound Technique Inc.
Star Case
Swintek Enterprises
130 West 42nd St.
New York, NY 10036
212 -869 -1323
648 Superior
587 Division St.
Munster, IN 46321
Campbell, CA 95008
219-922 -4440
408- 378-8091
27
58
State of The Art Electronik
Recording Engineer/Producer
Van Nuys, CA 91406
818 -994-6602
December 1987
Sumiko, Inc.
P.O. Box 5046
Berkeley, CA 94705
415 -843-4500
Summit Audio Inc.
P.O. Box 1678
Los Gatos, CA 95031
408- 395 -2448
Sunn Pro Sound
1130 Columbia St.
Brea, CA 92621
44 octave graphic equaliser - Frequency
response ±0.5dB 120Hz - 20kHz1, Distortion
+4dBm( <0.0t% at 1kHz, Equivalent input noise
<- 90dIlm, Auto-bypass failsafe. Low and High
pass variable filters, Balanced XLII input and
30 band
1
output.
Also available for steren applications DN360 Dual
Channel 3(1 hand's octal e graphic equaliser.
(
;RAPHIC EQUALISER
©aSIIMB,.
Dual channel 5 band parametric equaliser Frequency response ±0.5dB 120Hz - 20kHr.
Distortion +4dBml <0.01% at IkHz. Equivalent
input noise <- 90dBm, 100% Frequency overlap
for each filter + variable bandwidth, Bypass. XI.11
inputs and outputs.
1
Also available DN405 Single Channel
5
parametric equaliser.
-:-i/-4:
hand
;-4F.
PARAMIE'I-RIC EQUALISER
±iV';-.tf;
V°,
`?.>Lf
t?.`Q?° Re
66.o-ii-;-6160-á0 ar"ili
_
N60
-
Real time audio spectrum analyser
30 band
1h octave + overall level, LED display. Pink noise
source, Mid line XLII input, ATI measuring
microphone, X-V plotter output, Add -on reverber-
ation analyser available.
SPECTRUM ANALYSER
'
la
ï ie
fas.
10
sec. digital delay
line.
e
Digital reverberation system -Bandwidth rct crb
model 20Hz- 12kllz, Distortion <0.03% at 1kHz,
Dynamic range 85dB, Digital conversion 16 Bit
Linear, Arithmetic processor 32 Bit, Stereo
processing, Balanced XLII input and outputs, 7
parameter control, 28 programme library. 50 user
memories, Midi interface. Updatable programming.
Helmut. control.
P
71
Engineering integrity that
guarantees the most durable
and outstanding product
quality in the industry
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Klark-leknik's renowned
"reliability control" -
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assuring dependable system
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DIGITAL REVERB
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Klark- Ièknik's proven ability
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DIGITAL DELAY LINE
mum
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Frequency
response
± 1dB
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Minimum increment 20 micro sec. Delay range 01.311 sec, Digital conversion 16 Bit Linear, XI.II
terminated input and outputs.
Also available DN773 Stereo
Why the
world's
leading
sound
system
designers
confidently
specify
Klark -Teknik
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Circle (45) on Rapid Facts Card
December 1987
Recording Engineer/Producer
59
Manufacturers Addresses
Product Directory begins on page 20
Switchraft, Inc.
T C Electronic America
120 County Road
T
5555 N. Elston Ave.
Chicago, IL 60630
312 -792 -2700
Tannoy North America Inc.
300 Gage Ave.. finit
Kitchener, Ont.. Canada N2M 2C8
519-745-1158
Tenafly, NJ 07670
201 - 568 -1820
1
Symetrix Inc.
4211 24th Ave. W.
Seattle, WA 98199
206- 282-2555
TASCAM,
Teac Corp. of America
7733 Telegraph Road
Synergetic Services, Inc.
1926 N.E. 151st St.
Montebello, CA 90640
North Miami Beach, FL 33162
305-947-7372
213 -726 -0303
T C Electronics
Grimhoejvej 3
KD -8220 Brabrank, Denmark
456 - 262800
Technics
One Panasonic Way
Secaucus, NJ 07094
201 -348-7781
Telex Communications, Inc.
WEIRCLIFFE BULK ERASERS,
A QUANTUM EXCLUSIVE.
9600 Aldrich Ave. S.
Minneapolis, MN 55420
612 -887 -5531
Tentel
1506 Dell Ave.
Campbell, CA 95008
408 -379 -1881
800- 538 -6894
Thermodyne International
20850 S. Alameda St.
Long Beach, CA 90810
213 -603 -1976
3M Broadcasting & Related Products
3M Center, 223 -5S-08
St. Paul, MN 55144
612 -733 -9214
3M Magnetic Media Div.
3M Center, 223 -5N -01
St. Paul, MN 55144
612- 733 -1082
Timeline Inc.
270 Lafayette St.
New York, NY 10012
212 -431 -0330
BTE 1905
Weircliffe bulk tape erasers
for all audio and video
formats including new
MII and BETA SF
213 -325 -5200
No need to tie up valuable
production machines just to
erase your audio or video tape.
Now you can get erasure
better than -70dB with Weircliffe's
new line of bulk tape erasers.
Whether you're looking for conveyor or non -conveyor units, or
have a variety of formats to
accommodate including MII and
BETA SP we have a degausser
designed to meet your needs.
Weircliffe products are
exclusively distributed in the
U.S., Canada, Central and South
America by Quantum. For the
name of your local Quantum
dealer, contact Quantum Audio
Labs, Inc., 2752 Walnut Avenue,
Tustin, CA 92680 or call
(714) 838 -8833.
TWX 910- 333 -8535
FAX (714) 838 -9619
QUANTUM
A PALTEX
INTERNATIU'.a, ...UMPA%
Circle (46) on Rapid Facts Card
60
Times One
22937 Arlington Ave.
Torrance, CA 90501
Recording Engineer/Producer
December 1987
TOA Electronics, Inc.
480 Carlton Court
San Francisco, CA 94080
415 - 588-2538
Top Notch Audio (TNA Case Co.)
P.O. Box 403
Highlands, NJ 07732
201 -872 -9190
Touch Technologies, Inc.
363 Adelaide St. E.
Toronto, Ont., Canada M5A 1N3
416- 865 -1877
Trax Audio
&
Music
545 West 500 South
Bountiful, UT 84010
801 - 298-3280
Trend Textiles
9509 Foster
Schiller Park, IL 60176
312 -678 -8300
Product Directory begins on page 20
Manufacturers Addresses
Trident Audio USA
2720 Monterey St., Suite 403
Torrance, CA 90503
213 -533 -8900
Turbosound Inc.
611 Broadway, Suite 841
New York, NY 10012
212 -460 -9940
U
Video Accessory Corp.
2450 Central Ave.
Ward -Beck Systems Ltd.
Boulder, CO 80301
Scarborough, Ont., Canada
303 -443 -4950
800- 821 -0426
416- 438 -6550
841 Progress Ave.
Voice Over L.A., Inc.
1717 N. Highland Ave., Suite 620
M1H
2X4
Wersi Electronics
1720 Hempstead Road
Lancaster, PA 17601
Hollywood, CA 90028
213 -463 -8652
717 - 299 -4327
800- 233 -3865
W
UCLA Extension Professional
Designation in Recording Eng.
P.O. Box 24901
Los Angeles, CA 90024
213 -825 -9064
Uher of America
7067 Vineland Ave.
North Hollywood, CA 91605
818 -764 -1120
Ultimate Support
TT)
f
2506 Zurich Drive
Fort Collins, CO 80522
303 -493 -4488
Uni -Sette, Inc.
1854 Fulton Ave.
Sacramento, CA 95825
916-485 -9534
UREI
8500 Balboa Blvd.
Northridge, CA 91329
818 -893-8411
USA Productions
6363 Sunset Blvd., Suite 810
Hollywood, CA 90028
213 -467 -5258
800 -338 -2011
V
Valentino, Inc.
151 West 46th St.
New York, NY 10036
212 -869-5210
800- 223-6278
Valley International, Inc.
P.O. Box 40306
Nashville, TN 37204
615 -383 -4737
Velodyne Acoustics
1746 Junction Ave.
DOES YOUR LIMITER
MASSACRE YOUR SOUND?
The Aphex Dominator' is
the perfect solution!
Unlike dumb, over-threshold
devices, the Dominator is an
intelligent 3-band limiter with a
proprietary circuit which varies
the threshold for limiting. The
result is an absolute peak ceiling while retaining a transparent sound. You can run
hotter levels to maximize
signal -to-noise without fear of
overloading.
The Dominator provides total
transparency below processing
threshold ...increased loudness ... freedom from spectral
gain intermodulation ... maintenance of transient feel ... high
density capability... and can be
used for multiple applications.
It's flexible and easy to use.
Ask your audio professional
for a free demonstration. Once
you've heard it, you'll never be
satisfied with your old limiters.
San Jose, CA 95112
408 -436 -0688
800 -VELODYNE
Versadyne International, Inc.
504 -D Vandell Way
Campbell, CA 90058
408 -379 -0900
800 -233 -9370
Vertigo Recording Services
12115 Magnolia, Suite 116
North Hollywood, CA 91607
818 -907 -5161
Pac
Aphex Systems Ltd.
13340 Saticoy Street North Hollywood, Ca 91605
(818) 765 -2212 TWX: 910- 321 -5762
Dominator is
a
trademark of .Aphex Ssst,ms Ltd and manufactured in the t'
S
I
Circle (47) on Rapid Facts Card
December 1987
Recording Engineer Producer
61
Manufacturers Addresses
Product Directory begins on page 20
White Instruments
Div. C Van R, Inc.
Westlake Audio
7265 Santa Monica Blvd.
Los Angeles, CA 90046
213 -851 -9800
P.O. Box 698
Austin, TX 78767
512 -892 -0752
Wheatstone Broadcast Group
Winsted Corp.
10901 Hampshire Ave.
6720 VIP Parkway
Syracuse, NY 13211
315 -455 -7740
Y
Yamaha Music Corp., USA
Pro Audio Div.
P.O. Box 6600
Buena Park, CA 90620
818-986 -4643
S.
Minneapolis, MN 55438
612 -944 -8556
800- 447 -2257
Whirlwind Interface International
Inc.
Z
Wireworks Corp.
100 Boxart St.
Rochester, NY 14612
716 -663 -8820
800- 772 -9997
Zeus Light & Sound Co.
2702 Pricetown Road
380 Hillside Ave.
Hillside, NJ 07205
201 - 686 -7400
800 -624 -0061
Temple, PA 19560 -9799
215 -921 -0520
REAJ
Pifessional
SOUND recording
duplicating
SUPPLIES
oot,r
acíg.
co,t4sA
POLYLINE
Blank- loaded audio
cassettes
Empty reels and boxes
Audio cassette boxes
and albums
V
V
Agfa
Ampex
3M
FUJI
Maxell
TDK
BASF
..
""
..
Audio, you won't
dust keep up, you'll
POST- PRODUCTION
- and MAINTENANCE
SUPPLIES
get ahead
Our sales, parts
and technical support can help put
you on top of it all.
`
AUDIO TAPE and
CASSETTES from
V'
With Martin
?,.Th
SHIPPED
FROM STOCK
WITHIN
24 HOURS
under normal
circumstances
ASK FOR OUR FREE CATALOG
Call Polyline
/
312 298 -5300
8:30 am -5 pm Central Time
1233 Rand Road
Des Plaines, IL 60016
Circle (48) on Rapid Facts Card
62
Recording Engineer/Producer
December 1987
Corp.
423 WEST 55TH STREET NEW YORK, N.Y. 10019.4490
(212) 541 -5900
Circle (49) on Rapid Facts Card
BUYERS'
Dealers/Distributors
Directory
GUIDE
The Dealers /Distributors Directory
features a listing of dealers /distributors
complete with addresses, telephone
numbers, territory served and products
represented. Listings are arranged alphabetically by state /company. Please note
that companies listed do not include all
dealers /distributors serving an area, but
only those that returned the RE/Ps ques-
Example listing
Johnston Pro Audio Sales,
(1)
39011
Ocean Park Blvd.
(2) Los Angeles, CA 90029
(213) 221 -4338
(3) CA. OR, WA
(4) Loudspeakers;
sound
studio monitoring.
reinforcement.
(1) company name. street address
(2) city. state. zip. phone number
(3) geographic region served
(4) products represented
tionnaire.
example below of a dealer/distributor listing. The geographic code key
is included on this page for your
See the
This company serves California, Oregon and
Washington and sells loudspeaker components for sound reinforcement and monitoring.
reference.
-.1/4NLN
ARIZONA
ARKANSAS
AEA,
1029
Inc.,
Pasadena,
Advanced Audio (Div. of Aljon Sys-
tems), 3943
enix,
E.
Whitton Ave., Pho-
85018
AZ,
(602- 954 -8155)
AZ, CA, NV, NM,
ville,
5416)
speaker
Powered
Applications
Recording Tape;
duction Systems; Reverb, Echo &
Analog; Time Code Synchronizers
Keyboards;
(602- 623 -8268)
AZ, CA, NM, NV,
Amplifiers; Equalizers; Loudspeakers, S.R.; Microphones &
UT,
Acces.; Signal Processors; Test &
Measurement; Lighting
E.A.R.
Professional
Audio -Video,
2641 E. McDowell Road, Phoenix,
AZ, 85008 (602- 267 -0600) AZ.
Preamps/
Amps/ Loudspeakers/ Headphones:
Delay;
CALIFORNIA
Angeles,
(213-651-3060)
MIDI Devices
Processors; Synthesizers; Tape Dup-
Analog & Digital Recorders,
Time Code Synchronizers
90048
CA, Amplifiers;
Studio;
& Sound Samplers;
Associated Sound, 2120
Turntables:
ramento,
Dan Alexander Audio,
2944
CA,
P St., Sac-
95816
San Pa-
Amplifiers; Consoles
SR;
Ave., Berkeley, CA, 94702
(415- 644 -2363) Worldwide, All
blo
Test & Measurement Equip.
gear. Microphones
Audio Intervisual Design, 1032
(818 -840 -8327)
(213- 469 -4773)
ers
So. -NV.
92111
(619. 277.2540;
CA- 800 -858-
1061) Nationwide, Recording
Tape
Duplication -audio
Tape;
Derek
AZ, So. -CA, HI,
Amplifiers; Consoles, Recording, Production & Sound Reinforcement;
Equalizers;
Loudspeakers, Studio Monitoring;
Microphones & Acces.; Signal
Processors; Tape MachinesAnalog;
Test & Measurement Equip.; Cable,
N.
90038
AZ, CA, CO, FL,
GA, HI, IL, MI, NV, OR, TN, UT, VA,
Amplifiers; Consoles, Reco-ding &
Production; Editing Systems; Equalizers; Loudspeakers, Studio Monitoring;
Microphones & Acces.; MIDI
Devices & Sound Samplers; Record-
Audio & Video
ing Tape;
cassettes;
Cassettes; Reels & Boxes; Splicing &
Equal-
Processors, Tape Machines, Analog;
types of professional used recording
Keyboards; Time Code Synchroniz-
Clairemont Mesa Blvd., San Diego,
CA,
izers; Speakers; Microphones; Signal
Sycamore, Los Angeles. CA.
Advanced Recording Products, 7190
(916-
443 -4773; 800 -492 -6800)
Allen Associates, P.O. Box
2229, Toluca Lake, CA, 91602
800. 854 -1061;
ers;
Connectors:
Signal Processors; Synthesizers &
Amplifiers; Consoles; Editing
Systems;
Equalizers;
Loud speakers;Microphones; MIDI; Noise
Recording Tape; Signal
CA,
Equalizers; Loudspeakers,
CA,
NY,
&
NV,
Los
Machines,
Tape
Synchronizers;
Cartridges; TestEquip.; MIDI; Accessories & Misc. Equip.
8162 Beverly
David L. Abell, Inc.,
CA, CO, NM, OK, OR, TX, UT, WA,
Reduction;
Synthesizers;
Cables
Blvd.,
Arizona Cine Equipment, 2125 East
20th St., Tucson, AZ, 87519
Recorders; Mi-
91505
CA, Video Edit-
Central & No.West -AR, Au-
Loud-
Systems for Professional
(818- 843 -7004)
ing Systems; Microphones & Acces.;
Custom
Electronics Devices; Specialists in
Design & Fabrication of Custom
bank Blvd., Burbank, CA,
Consoles;
Tape; Signal Processing; Noise Re-
Speakers
Multi- Amplified
Digital Processors;
3816 Bur-
crophones; Stands & Acces.; Audio
dio;
Fabrication of
So. -CA,
ASC Video Corporation,
Ave.,
(818-
(501 -889-
etc.; General Systems Consulting;
&
Box 19, Perry-
72126
AR,
UT, Loudspeakers for Monitoring,
Design
798 -9127)
Allrent, Inc., Route 2,
Allen
N.
91104
CA,
American
Sound
&
Video
Corp.,
Leader Tape; Hold Down Tape; Video
27,790 Ave. Hopkins, Valencia, CA,
91355 (805 -257 -0700) Nation-
Tape; Studio Dispensers and More
wide, Tape Duplication
December 1987
Tape Duplication; Tape
Machines, Analog & Digital; Time
Code
Synchronizers;Digital
Inter-
faces
Recording Engineer/Producer 63
Bananas At Large, 802 Fourth St., San
Rafael, CA, 94901 (415 -4577600) USA, GU, PR, VI, Amplifiers;
Consoles, Recording Production &
Sound Reinforcement; Editing Systems; Equalizers; Loudspeakers,
Sound Reinforcement, Microphones
& Access.; Loudspeakers, Studio
Monitoring; Microphones & Sound
Samplers; Noise Reduction Systems;
RecordingTape; Signal Processors;
Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog &
Audio LA, 11349 Santa Monica Blvd.,
Angeles,
Los
(213- 477 -1516)
CA,
90025
AK, AZ, CA, CO,
HI, OR, NV, NM, TX, UT, WA, A full
service organization specializing in
Music and Audio Production Systems for recording, video and
film- scoring applications. Our expertise includes system design and
installation, advanced SMPTE and
MIDI engineering, and computer -assisted musicsystems
Audio Rents Inc., 7237 Santa Monica
Blvd.,
Hollywood,
(213-874-1000)
CA,
Digital; Test & Measurement Equip.;
Time Code Synchronizers
90046
CA, Equalizers;
Berman Gravley Co., Inc., 350 -B
Fisher Ave., Costa Mesa, CA,
92626 (714. 549.2122) So. -CA,
So. -NV, Amplifiers; Microphone &
P.A. Systems;
Acces.; Portable
Broadcast Circuitry; Signal Proces-
& Acces.; Noise Re-
Microphones
duction Systems; Signal Processors
Audio Services Corp., 4210 Lankershim Blvd., North Hollywood, CA,
91602 (818. 980.9891)
USA &
Canada, Audio Equip. -Film, Video,
Live Entertainment, News; Test &
Measurement Equip.; Tape; Service
& Repair; Used Equip.
sor; Cables
(818-985-1792)
Audio Village, P.O. Box 4692, Palm
CA,
92263 (619Springs,
320 -0728)
USA, Asia, Canada,
Europe, All Equip. -Used (Consignment & From Stock) Sales; RecordMusical
Instruments;
ing;
PA;
Computers; Replacement Heads
Switchers, Time Code Synchronizers; Equipment Racks & Cases
Associates
Marketing
Broadcast
(BMA), 4196 Cleveland Ave.,
Diego,
0784)
San
92103 (619 -295-
CA,
AZ, CA, Amplifiers; Con-
soles- Recording & Production; Edit-
ing
Studio
Systems;
Monitoring;
Acces.;
&
Microphones
Signal
Systems; Equalizers; Loudspeakers,
Studio Monitoring; Microphones &
Recording
Acces.;
Tape;
Signal
Processors; Tape Machines, Analog
& Digital;Time Code Synchronizers;
Studio Microphones
Creative Marketing Group Inc., 2720
Monterey St., Torrance, CA, 90503
(213- 533 -5112)
USA & Canada,
Consoles Recording, Production &
Sound Reinforcement
Digital Dispatch, Inc., P.O. Box 4426,
(818-
91503
Processors; Tape Machines; Test &
Burbank,
Measurement Equip.; Time Code
Synchronizers; Video Production &
952 -FAST; 800 -446 -FAST) USA
Editing Equip.
Digital; Time
Christy's Editorial Film Supply, Inc.,
135 N. Victory Blvd., Burbank, CA,
91502 (818-845-1755)
Recording
10640 Magnolia
North Hollywood, CA, 91601
B & L Sales, Inc.,
Blvd.,
Drive, Woodland Hills, CA, 91364
(818-704-6324) AR, CA, HI, NV,
UT, Amplifiers; Consoles; Recording
Routing
Equip.;
Production
&
Equip. -Sales
Tape;
&
Film
Rentals
USA,
Editing
Magnetic
Film; Leaders; Editorial Tapes and
National, Microphones & Acces.; Recording Tape;
Tape Duplication Equip.; Blank Cassettes; Cassette Recorders, Boxes &
Labels; Empty Reels & Boxes; Recorder Care Accessories
CMTV Inc., 1900 W. Burbank Blvd.,
CA,
91506 (818Burbank,
Bowdish Associates, 4432 Ensenada
PA, RI, VT, WA, Amplifiers; Editing
Supplies
843.6644; 714-841-4397)
CA,
& Canada, Tape Machines, Analog &
Code Synchronizers;
Signal Processors; Recording Tape;
Video Monitors; Equalizers; Digital
Reverbs & Delays; MIDI Devices &
Sound
Reduction
Samplers;Noise
Systems; Microphones &
Synthesizers & Keyboards
Acess.;
Dugan Sound Design, 290
Napoleon St., Studio E, San Fran-
Dan
CA,
CT, DE, IN, MD, MA, NV, NJ, NY, OR,
cisco,
9776)
CA,
94124
No. -CA,
(415 -821-
Tape
Machines,
Analog; Equalizers; Recording Tape
Educational Electronics Corp., P.O. Box
339, Inglewood, CA, 90306
(213- 677 -8167) National, Audio
Cassette Duplicators
The Enright Co., 3965 Walnut Ave.,
CA,
90807
Beach,
Long
(213.595 -4624) AZ, CA, NV, NM,
flexibility!
HI,
Test & Measurement Equip.;
Time Code; Accessories; Digital Effects;
Time
Base
Correctors;
Video /Audio D.A.'s; Sync Generators; Cases; Miniature Chip Cameras
Everything Audio, 2721 W. Burbank
CA,
91505
Burbank,
Blvd.,
(818- 842 -4175) CA, Amplifiers;
Consoles, Recording, Production &
Sound Reinforcement; Loudspeakers, Studio Monitoring; Microphones
& Acces.; MIDI Devices & Sound
Samplers; Noise Reduction Systems;
Recording Tape; Signal Processors;
Synthesizers & Keyboards; TapeDuplication; Tape Machines, Analog &
Digital; Test & Measurement Equip;
Time Code Synchronizers
$fitt1ft e®
Gooseneck Lamps
&
Accessories
See advertisement on page 15
mixing consoles, amps,
turntables, effects racks,
multi- tracks, synthesizers,
music stands, drum machines,
keyboards, orchestras,
d.j. consoles
Geien Systems, 5068 San Feliciano
Littlite /CAE, Inc.
P.O. Box 430
Hamburg. MI 48139
313 231 -9373
Drive, Woodland Hills, CA, 91367
Nationwide,
(818-884-6294)
Disc Loaders; Editing Systems; Time
Code Synchronizers; Software Packages
Goodman Music, 5311 Lankershim
Blvd., North Hollywood, CA, 91601
(818- 760 -4430)
So. -CA,
Key-
boards & Synthesizers; MIDI Products
Circle (34) on Rapid Facts Card
64
Recording Engineer/Producer December 1987
Haight Ashbury Music Center, 1540
Haight St., San Francisco. CA,
(415- 863 -7327)
94117
Analog: Cassette Labeling Equip. &
Loading Equip.; Shrink Wrap Systems: Turnkey & Audio Cassette
Duplication Systems
CA,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement:
Editing Systems: Equalizers; Loudspeakers, Sound Reinforcement:
Loudspeakers, Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers; Noise Reduction
Tape;
Signal
Systems:Recording
See advertisement on IBC
Leo's Audio & Music Technologies,
5447 Telegraph Ave., Oakland. CA,
94609 (415- 652 -1553)
Processors; Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog & Digital
Tape: Processors; Synthesizers &
Keyboards; Tape Duplication; Tape
Jensen Transformers, Inc., 10735
Burbank Blvd., North Hollywood. CA,
91601 (213 -876.0059)
USA &
Canada, Amplifiers; Microphone Pre
Amps; Audio Transformers; Moving
Units,
Coil
Cartridge
Step -Up
AC- Circuit Anaylsis & Optimization
Software: Phono Pre Amps; Power
Machines, Analog & Digital: Test
Equip.;T me Code Synchronizers
Mated Hi- Fidelity, Inc., 2199 El
Camino
Real,
Mateo,
CA,
94403
(415- 573 -6506)
CA,
San
Computer Synthesizers & Keyboards: Tape Duplication; Tape Machines, Analog &
Digital: Amplifiers: Consoles, Recording, Production & Sound ReinSignal Processors;
Amplifiers
See advertisement on page 32
KABA Research & Development,
CA, NV,
Amplifiers; Consoles, Recording, Production & Sound Reinforcement:
Equalizers;
Loudspeakers: Microphones: MIDI
Devices; Noise Reduction Systems:
OR, WA,
2,4
forcement:
Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones
Commercial Blvd.. Suite E. Novato.
CA. 94949 -9959 (415 -8835041. 800.231 -TAPE) USA,
Canada, Central & South America,
Recording Tape; Signal Processors:
Tape Duplication; Tape Machines,
&Acces.: MIDI Devices & Sound
Samplers: Noise Reduction Systems,
Recording Tape
Mayhew & Co., 3115 W. Olive, Suite 6,
CA,
91505 (818Burbank,
840.9293) CA, Wireless Microphones; Sales: Rental; Service
gnalProcessors; Synthesizers &
Keyboards, Tape Duplication: Tape
Machines (analog), Time Code SynS
chronizers
Sye Mitchell Sound Co. Inc., 22301
Cass Ave., Woodland Hills, CA,
Ocean Audio, 366 Las Casas, Pacific
Palisades. CA, 90272
(213-
91364 (818- 348 -4977) World-
459 -2743) National, Used Equipment Broker, All Products Handled
wide, Amplifiers; Consoles. Record-
Production;
Equalizers:
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; Noise Reduction Systems;
Signal Processors:Tape Machines,
Analog & Digital; Time Code Synchronizers
Pacific Coast Marketing, 14125 Capri
Drive, Los Gatos. CA, 95030
(408- 370 -3505) CA, NV, Cart
Machines & Carts; Test & Measurement Equip.
John Muehsam, 6375 Zuma Mesa
Malibu,
CA.
90265
Drive,
( 213-457-7728 ) CA, Commercial
Music Production
90028 (213- 462 -1393: 818762 -8950: 714 -641 -7433) Na-
ing
&
Pacific Radio Electronics, 1351 CaHollywood,
CA,
huenga Blvd..
tional By Catalog, Wire & Cable:
Connectors. Patching Systems; Tool
New World Audio Express, 4792
Clairemont Mesa Blvd., San Diego,
Technical Aids; Cleaning
Maintenance Supplies
&
92117 (619- 569 -1944;
800 -854 -2005) USA, Amplifiers;
CA,
Consoles
(
Patterson & Associates, 2555 E.
Chapman Ave., Suite 300, Fullerton,
production,
recording.
&
CA.
sound reinforcement): Editing Sys-
92631(714- 992- 1422)CA,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Actes.; Signal Processors; MIDI De-
tems:
Equalizers;
Loudspeakers
(sound reinforcement. studio monitoring); Microphones & Acces.: MIDI
Devices & Sound Samplers. Noise
Reduction Systems; Recording Tape;
vices & Sound Samplers; Synthesiz-
The art of
shaping sound.
tl
is a high-performance
acoustical foam that upgrades
your studio inexpensively.
Ideal for a temporary
isolation booth, it
can also eliminate
1
slap echo and
harsh resonances
in the main room
or silence noisy
tape equipment in
SONEX
O
410
0N
the control booth.
Write for our color
brochure today.
SONEX is manufactured by
lllbruck and distributed exclusively to the pro sound market by
Alpha Audio.
STEP UP TO THE FUTURE
10 Vol. CD Sound Effects Library
10 Vol. CD Music Library
AlpohaAudio'
Richmond, Virginia 23220 USA (804) 358 -3852
Telex: 469037 (ALPHAAUD CI) FAX: (804) 358 -9496
Acoustic Products for the Audio Industry
Circle (36) on Rapid Facts Card
CONTACT:
27TH DIMENSION, INC., P.O. BOX 1561, JUPITER, FLORIDA 33468
80016340091
3051746-2222
OUTSIDE FLORIDA
FLORIDA COLLECT
-
0401.01.0001
e nonw
Of
ngcui xaa,oru. NC
-
i
Circle (37) on Rapid Facts Card
December 1987
Recording Engineer/Producer
65
ers & Keyboards, Tape Duplication;
Tape MachinesAnalog
Peoples Music, 122 N. Main St.,
Sebastopol, CA, 95472 (707823 -7664) CA, Amps; Loudspeakers; Microphones; Recording Tape;
Signal Processors
Plaza Music, 6901 La Palma, Buena
Park, CA, 90620 (714.5223553) CA, Amplifiers; Consoles
Sound Reinforcement; Equalizers
Sound Reinforcement; Microphones
& Acces.; MIDI Devices & Sound
Samplers, Noise Reduction Systems;
Signal Processors; Synthesizers &
Keyboards; Time Code Synchronizers; Tape Machines, Analog
Plus Four Marketing, 1360 N. Main
St., Walnut Creek, CA, 94596
(415- 937 -0650) No. -CA, No.NV, Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Equalizers: Loudspeakers, Sound
Reinforcement & Studio Monitors;
Signal Processors; Tape Machines
Analog; Computer Controlled Audio
Systems; Microphone & Inter -face
Cable
Pro Media, 185 Berry St.,Suite 358,
Francisco,
CA,
94107
San
(415-957-1383) No. -CA, Am-
plifiers; Consoles Recording, Production & Sound Reinforcement;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio; Microphones & Acces.; MIDI Devices &
Sound Samplers; Noise Reduction
Systems; Recording Tape; Signal
Processors; Tape MachineAnalog;
Equipment Rental; Complete Sound
System Design & Installation
Professional Audio Services & Supply
Co., 619 S. Glenwood Place, Burbank, CA, 91506 (818 -8436320) CA, Amplifiers; Consoles,
Recording, Production & Sound
Reinforcement; Equalizers; MIDI Devices & Sound Samplers; Microphones & Acces.; Signal Processors;
Tape Duplication;Tape Machines,
Analog; Loudspeakers, Sound Reinforcement & Studio Monitoring
Rainbow Park, 1033 Battery St., Suite
204, San Francisco, CA, 94111
(415 -421 -2875) CA, Amplifiers;
Consoles, Sound Reinforcement; Microphones & Acces.; Recording
Tape; Tape Duplication; Tape Machines, Analog; Multi -Image Control
Equip.
RGS-Richard Griffin Sales, 8519
Chester St., Paramount, CA, 90723
(213-634-3042) So. -CA, Con-
Recording,
Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; Noise Reduction Systems;
Signal Processors; Tape Machines,
Analog; Time Code Synchronizers;
Full
Line
Video &Photographic
Equip.
soles
RTS Systems, Inc.,
St.,
1
100
Burbank,
(818- 840 -7119)
W.
Chestnut
CA,
USA
91506
and
Canada, Headsets & Headphones
Santa Cruz Sound Co., 2 -1513 E. Cliff
Drive, Santa Cruz, CA, 95062
(408. 475.0768) Monterey Bay &
San Francisco Metro. Areas, Amplifiers; Consoles; Equalizers; Loudspeakers
(Loudspeaker
Reconing -Electronic Repair); Microphones; DJ Supplies; Sound Systems
Rental, Microphone Stand Repair
Sawyer Camera & Video Co., 1208 W.
Isabel St., Burbank, CA, 91506
(818-843-1781;
800-4237779) AK, AZ, AR, CA, CO, GU, HI,
ID, IL, IN, IA, KS, KY, LA, MI, MN, MS,
MO, MT, NE, NV, NM, ND, OK, OR,
SD, TX, UT, WA, WI, BC in Canada,
Amplifiers;
Loudspeakers;
Micro-
phones
Sequoia Electronics, 209 Lester Lane,
Los Gatos, CA, 95032 (408356 -3232) AK, AZ, CA, HI, ID, NV,
NM, OR, WA, Equalizers; Signal
Processors; Tape Machines, Analog;
Magnetic Tape Heads; Recorder
Care Products; Test Tapes, Carts &
Cassettes; Clocks & Timers; Repair
Parts
Doc Siegel Audio Services, 5755 Cor teen Place, North Hollywood, CA,
91607 (213- 877 -2300) USA,
Amplifiers; Equalizers; Microphones
& Acces.; Recording Tape; Signal
Processors; Tape Machines, Analog;
RF
Equip.
Simon Systems, 707 Clear Haven
Drive, Agoura Hills, CA, 91301
(818- 707 -9980) USA, Signal
Processing; Direct Boxes; Headphone Cue Boxes; Power Supplies;
Electronic Consulting
Skip's Music, Inc., 2740 Auburn Blvd.,
Sacramento, CA, 95821 (916484 -7575) No. -CA, Amplifiers;
Consoles, Recording, Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; MIDI Devices & Sound Sam plers :Noise Reduction Systems; Re-
Washington Professional Systems
Soundcraft TS24 In -line Console
Available in frame sizes of 24, 32, 40, 48 & 56
Flexible, yet relatively compact in size
Layout is simple to operate & understand
Easy to reconfigure without loss of control
Clearly defined sections for MIX & CHANNEL
Separate scribble strips for both M & C
Special one button broadcast configuration
Automation ready and available
Internal oscillator routing to main mix, multitrack and aux sends, or to the
patchbay
Two headphone circuits for separate HP mixes
Six masters to control aux sends, each with AFL
Comprehensive Talkback system for communication
Legendary Soundcraft sonics and construction
Priced from $45,000 up
.. ..
..:t.i.
TS24/32 in WPS' fully functional 24TK showroom
Sound Reputation
At Washington Professional Systems it's not just that we listen ... it's what we hear. Our staff represents over forty years of audio expertise.
That's knowledge you can draw on to build an audio /video system that will exactly and economically fill your production needs. Knowledge
that may keep your next mix from becoming a compromise between mediocrity and frustration.
Sound Judgements
Our staff earned the right to be considered experts. They found the answers to tough questions when it was their job on the line and
can do the same when yours is.
SOUND SOLUTIONS FOR THE SERIOUS PROFESSIONAL
11157 Veirs Mill Road Wheaton, Maryland 20902 (301) 942 -6800
Circle (33) on Rapid Facts Card
66
Recording Engineer/Producer
December 1987
cording Tape;
Signal Processors;
Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog
The Sound Center, 9278 Civic Center
Drive, Beverly Hills, CA, 90210
(213- 274 -6951) CA, Amplifiers;
Equalizers; Loudspeakers, Studio
Monitoring; Microphones & Acces.;
Noise Reduction Systems; Recording
Tape; Signal Processors; Tape Machines, Analog
Sound Expressions, 3249 Santa Rosa
Ave.,
Santa
Rosa,
(707- 528 -3565)
CA,
95407
CA, HI, Amplifi-
Microphones & Acces.; MIDI Devices
& Sound Samplers
VIF International, P.O. Box
Mountain
View,
CA,
1555,
94502
(408. 739.9740)
Worldwide, Recording Tape; Spare Parts for
Professional A/V Recorders; Motor
Remanufacturing
West LA Music, 11345 Santa Monica
Blvd., Los Angeles, CA, 90025
(213- 477 -1945)
Nationwide,
mostly -CA, Amplifiers; Consoles,
Recording, Production & Sound
Reinforcement; Editing Systems;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring,
Microphones & Acces.; MIDI Devices
& Sound Samplers; Noise Reduction
Systems; Recording Tape Signal Processors; Synthesizers & Keyboards; Tape Duplication; Tape
Machines, Analog & Digital; Test &
Measurement Equip.; Time Code
Synchronizers
Westlake Audio, 7265 Santa Monica
Blvd., Los Angeles, CA, 90046
(213- 851 -9800) USA, Pro Audio
Equip.
See advertisement on page 55
Westwood Musical Instruments, Inc.,
2301 Purdue Ave., Los Angeles,
CA,
90064 (213- 478 -4251)
USA & Canada, Amplifiers; Consoles, Recording,
Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Studio Monitoring &
Sound Reinforcement; Microphones
& Acces.; MIDI Devices & Sound
Samplers; Recording Tape; Signal
Processors; Synthesizers & Key -
boards;Tape Machines; Time Code
Synchronizers; MIDI Guitar Systems;
Acoustic & Electric Guitars; Electronic Service; Guitar Repair
ers; Consoles, Recording, Production
& Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring, Microphone &
Acces.; MIDI Devices & Sound Samplers; Signal Processors
South Bay Sound & Light, P.O. Box
174, El Segundo, CA, 90245
(213.322 -6059) Greater Los Angeles Area, Loudspeakers, Sound
Reinforcement; Microphones; Amplifiers; Consoles; Signal Processors;
Stage Lighting Equip.
TAKE IT ON THE ROAD.
SEE WHAT IT VITILL DO.
Stanislaus Audio Visual, 1431 Kansas
Ave.,
Modesto,
CA,
95351
(209- 529 -2700;
800 -3411441) CA, Loudspeakers, Sound
Reinforcement & Studio Monitoring;
Microphones & Acces.; Tape Machines, Analog; Tape Duplication
Suntronics, P.O. Box 734, Upland, CA,
91786 (714- 985.0701) So. -CA,
Remote Controls
Tele-MIDI, 30 N. Raymond Ave., Suite
601,
Pasadena,
CA,
91103
(818-584-5814; 800 -356 -MIDI)
USA & Canada. MIDI Services &
Sound Samplers; MIDI Software &
Peripherals
Thrifty Electronic Supply Co., 13643
Burbank
Blvd.,
91401
(818- 786 -1610)
Nuys,
CA,
CA,
Amplifiers; Equalizers; Loudspeakers, Studio Monitoring & Acces.;
Recording Tape; Tape Machines,
Analog & Digital
Van
Todd Tillemans Audio, 923 W. Third
St., Azusa, CA, 91702 (818969 -6910) CA, Audio Acoustic
Foam; New & Used Equipment Sales
T.M.B. Associates, 3416 W. Burbank,
Burbank,
CA,
91505 (818-
842 -9651) USA, Cable & Connectors; Cases; Lighting Equip.; Microphones, Studio; Patchbay & Jack
Panels; Peripheral & Miscellaneous
Acces.
Shok- Stop'" cases are tough.
road with them once, and
you'll know exactly what we're
talking about.
Built like no other, Shok -Stop
cases can take a beating that
would turn other cases into so
Hit the
much scrap metal and sawdust.
The Shok -Stop's rugged high
density polyethylene shell, with
its unique ribbed design, absorbs
virtually all impact shock. The little
remaining vibration reaching the
interior is instantly overcome by the
high density custom fitted foam.
And, your very valuable extremely
sensitive broadcast equipment is
left totally unharmed.
Shok-Stop cases are water tight,
scuff resistant and are the only field
repairable cases on the market
today. They can be ordered with
optional EMI/RFI shielding and
pressure release valves.
So, the next time you hit the road
for one of those knock -down drag out sessions, remember to pack it
all in the toughest transit cases
made.
The ShokStop from
Thermo dyne.
Brian Trankle & Associates, 1504
Industrial Way, Suite 4, Belmont, CA,
94002 (415-595-4004)
CA, HI,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
NV,
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring;
H THERMODYHE
INTERNATIONAL LTD
20850 Alameda St, Long Beach, CA 90810 (213) 603 -1976
Circle (50) on Rapid Facts Card
December 1987
Recording EngineerProducer
67
rt
COLORADO
Ave.,
NM,
NY, UT, WY,
NE,
NJ,
St., Suite 7, Boulder, CO,
(303- 443 -9822)
CO, Re-
cording Tape: Tape Duplication
Kart Kair, 9445 West 52nd Ave.,
Acces.; MIDI Devices & Sound Samplers; Noise Reduction Systems; Recording Tape; SignalProcessors;
Tape Machines, Analog; Test &
Measurement Equip.; Time Code
Synchronizers
CO,
80002
(303422 -7219) Worldwide, Recording
Denver,
Tape & Cartridges; Broadcast Carts
& Products; Cartridge Remanufac-
turing
Mirromere Audio, 7150 West 38th
Wind Over The Earth, Inc.,
1
922 High Ridge
CT,
06905
(203- 322 -9202;
212 -585-
John B. Anthony Co.,
Road,
Stamford,
2027) Metro -NY, Amplifiers;
135 Pearl
MOVING FADER GRAPHICS
Software runs on IBM and
Low noise high quality
Mac PC (Atari ST
audio specs
available soon)
Easily interfaces to any
Full Fader Automation
console
16 -40 Channels in one
3 space rack. 80 Channel
"w-... ,r
capability
-
I.LIIIIIIlI111991
Mute and Solo
Real time and step edit,
copy, bounce, delete,
mix merge, auto pan
Intelligent Fader
Interface
8 ALPS 100mm Studio Faders
Individual LED switches for
Read /Write, Mute. Solo
and Group
Each fader completely
assignable to any
channel or group
saying:
-MegaMix made
easy what cou :.t
have
mix
-r iax
a
potentially cliffi
,'
Kurt Munkacsi and Philip
Glass
"LISZTRONIOUE
Digital
Audi
gives d 9 out of 10 for
audio quality
With MegaMix All I
used was
1250
00 mixing console
Jeffrey Reid Baker
$
The MegaM,x system
has given
MIDI BASED MIXING BOARD
AUTOMATION ON YOUR PC
(516) 864 -1683
Musically Intelligent Devices
(P 0 Box 682) 6 Brian St Commack. NY 11725
my studio
a
Circle (51) on Rapid Facts Card
DCODE TC -1 TIME CODE READER
regular
$625.00
Limited
Offer!!!
ú`-f, ,tLi Cis
$39500
.1
DENECKE, INC.
5417 -B Cahuenga Blvd.. N.
Hollywood. CA 91601 (818) 766.3525
Circle (52) on Rapid Facts Card
68
Recording EngineerProducer
December 1987
FLORIDA
AMP Services, 224 Datura St., Suite
Computers & Music,
59th
Ave.,
Miami,
19470 N.W.
FL, 33015
(305- 620 -4483) Miami, Caribbean, MIDI & Recording Studio Con-
sultant;
Recording
Studio;
Monitoring; Computer Sequencing
Harris Audio Systems, Inc., 1962 N.E.
149th St., N. Miami, FL, 33181 FL,
PR, VI, Amplifiers; Consoles, Recording, Production & Sound Reinforcement, Editing Systems, Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Noise Reduction Systems; Recording Tape; Signal
Processors; Tape Duplication; Tape
Machines, Analog &Digital; Time
Code Synchronizers
GEORGIA
American Sound & Video Corp., 2225
Faulkner Road N.E., Atlanta, GA,
30324 (404- 633 -4577) Nationwide, Tape Duplication
,
úL
The Music People, Inc., P.O. Box 648,
Hartford,
West
CT,
06107
(203- 521 -2248) USA, Signal
Processors; Loudspeakers, Sound
Reinforcement;
Microphones
&
Acces.; Headphones; Stereo Mixers
whole new
meaning
Frank Sera?ne
I am very
excited about mcorpor
almg MegaM,x into
my system
Herbie Hancock
Reads Time Code from 1/50 - 50x speed
Reshapes Time Code for copying
60 hz sync from 24 or 30 frame code
CT, ME, MA, NH, RI,
VT, Cassette Duplication & Equip.
log
NEW? IFI -8
been
274 -6955)
Duplication & Tape Machines, Ana-
SMPTE compatible
What the pros are
Con-
Cassette Tek, 408 Woodbury Road,
Watertown. CT, 06795 (203-
614, West Palm Beach, FL, 33401
(305- 659 -4805;
800 -8260601 ) Worldwide, Parts for: Tape
8 Subgroups
>xorMegaMrr
Production &
soles, Recording,
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones;
Noise Reduction Systems; Signal
Processors; Tape Duplication; Tape
Machines, Analog & Digital; Test
&Measurement Equip.; Time Code
Synthesizers
CONNECTICUT
Mix.7.'
Uses MTA 1537 VCA
80302
CO, Amplifiers;
Equalizers; Microphones & Acces.;
Noise Reduction Systems; Recording
Tape; Signal Processors; Tape Duplication; Tape Machines, Analog &
Digital; Time Code Synchronizers
Amplifiers; Consoles, Sound Reinforcement & Recording & Production; Editing Systems; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Productions Ltd.,
Jason St., Englewood, CO,
Sound
3897 S.
80110 (303- 761 -7940)
80033
CO,
CO, CA, ID, KS,
MT,
Jackson
Wheatridge,
(303- 431 -2348)
National Sound & Video Engineering,
1756 Wilwat Drive, Norcross, GA,
30093 (404- 447 -1717
AL, GA,
NC, SC, TN, Amplifiers; Consoles,
Recording, Production & Sound
Reinforcement; Editing Systems;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers;Noise Reduction
Systems; Recording Tape; Signal
Processors; Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog & Digital; Test
Measurement Equip.; Time Code
Synchronizers
Soundd Investment Co., Inc., 3586
Pierce Drive, Chamblee, GA, 30341
(404- 458 -1679)
So.east
USA,
Shipping Nationwide, Recording
Tape; Equalizers; Loudspeakers Studio Monitoring; Microphones &
Acces.; Signal Routing & Patching
Equip.; Cables; Studio Editing & Production Supplies; Studio D -Mag &
Erase Products; Tape Reels & Boxes
WJR Distributors, Inc., 4451 Log
Cabin Drive, Suite 132, Smyrna, GA,
30080 (800- 423 -8859) AL, GA,
MS, NC, SC, TN, Amplifiers; Consoles, Recording, Production
&
Sound Reinforcement; Loudspeakers, Sound Reinforcement & Studio
Monitoring; Microphones; Noise Reduction; Signal Processors;Tape MaAnalog;
Time
chines,
Code
Synchronizers; Test & Measurement
Equip.
HAWAII
Full Circle Music Center, 1901 Kapiolani Blvd.. Honolulu, HI, 96826
(808- 941 -3944)
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Equalizers; Loudspeakers, Sound
Reinforcemnet & Studio Monitoring;
Misc. & Accessories; Noise Reduction Systems; Recording Tape; Signal
Processors; Tape Duplication; Tape
Machines, Analog :Test & Measure-
ment Equip.; Time Code Synchronizers
See advertisement on page 102
Columbia Audio /Video, 1741 Second
St., Highland Park, IL, 60035
(313- 433 -6010)
IL, IN, IA, MO,
crophones & Acces.; Recording Tape
D
J's Pro Audio, 7009 W. Ogden,
Berwyn,
7400)
IL,
60402 (312 -863-
IL,
3161)
USA, Amplifiers: Consoles,
Production
Recording,
&
Studio & S.R.; MIDI Device; & Sam-
Microphones & Acces.: MIDI Devices
& Sound Samplers: Noise Reduction
plers; N.R. System; Tape;
Processors:
boards;
Machines,
Loudspeakers,
Sound
Systems; Recording Tape; Signal Processor; Synthesizers & Key-
Key-
Analog;
Time Code Synchronizers;
Systems;
Reinforcement & Studio Monitoring;
Signal
&
Synthesizers
Tape
Equalizers;
Editing
Sound
Reinforcement:
Music
boards;
Tape
Duplication:
Tape
Found, The Missing Link.
Gauss Coaxial Monitors
Its a well known fact that loudspeakers
are the
missing link in studio. post production and broadcast facilt es' audio chain The accepted criteria for
ideal speakers are: balanced. phase-coherent Cr
time aligned. and with as little color as possible.
Gauss Coaxial Monitors let you hear it all, even the
mistakes without adding color. These time coherent monitors provide an extremely stable stereo
image.so you know exactly what you're mixing. Ant,
if you re mixing digital sound. they offer the cleanest
reproduction you've ever heard...
with no high -end harshness. And.
with 400 watts of power handling.
you'll hear all the dynamics.
.
If you re
upgrading for better sound.
be sure to include Gauss coaxial
monitors in your plans. Your choice
of 12" or 15" Remember, if you
can't hear the mistakes. they end
up in your finished product. Let
AAA Swing City Music, 1312
(618- 345 -6700)
(309 -346-
61554
Pekin,
Amplifiers; Consoles, Recording & Sound Reinforcement: Equalizers; Loudspeakers,
IL. IN, WI,
ILLINOIS
Collinsville,
Milam Audio Co., 1470 Valle Vista,
Amplifiers;
HI,
Consoles, Recording, Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; MIDI Devices & Sound Samplers;
Recording
Tape;
Signal
Processors; Synthesizers & Key Analog;
boards:Tape
Machines,
Time Code Synchronizers; Music
Software, Compliers
dalia,
Software
Editing Systems; Mi-
WI, Consoles;
IL.
your speakers be the strongest link!
Van -
62234
Call us today for the name of your
nearest dealer or rep so you can
arrange a demonstration.
Amplifiers; Consoles; Recording, Production
IL, MO,
& Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring: Microphones &
Acces., MIDI Devices & Sound Samplers; Noise Reduction Systems: ReTape:
cording
Signal
Processing;Synthesizers & Keyboards; Tape Machines, Analog:
Time Code Synchronizers
auss
gby Cetec
Sound IONS
fp
kun,
.,
Cette Gauss
9130 Gienoa*s Blvd
Sun Valley CA 91352
213/8751900
797969
Telex
Audio Resources, Inc., 778 Burr Oak
Drive,
Westmont,
IL,
60559
(312- 665 -1180)
IL, IN, KY, MN,
Amplifiers; Consoles,
Recording, Production & Sound
Reinforcement; Equalizers; Loudspeakers, Sound Reinforcement &
Studio Monitoring; Microphones &
ND, WI, SD,
Acces.; Noise Reduction Systems;
,_ys sù-L
Signal Processors; Tape Machines,
Analog & Digital; Test & Measure mentE quip.; Time Code Synchroniz-
ers
Bridgewater Custom Sound, P.O. Box
135, South Holland, IL, 60473
(312- 596 -0309)
IL,
IN, MI,
WI,
Circle (53) on Rapid Facts Card
December 1987
Recording Engineer Producer
69
Machines, Analog & Digital; Test &
Noise Reduction;
Measurement Equip.;
Signal
Time
Code
Synchronizers
New Horizons Electronic Marketing,
2211 Lakeside Drive, Bannockburn,
IL, 60015 (312 -234 -6500) Upper half -IL, So -WI, Amplifiers; Consoles;
Equalizers; Loudspeakers;
Microphones; Signal Processors
Douglas Ordon & Co., Inc., 230
St., Suite
L -02,
IL,
Ohio
60611
Chicago, IL,
(312-440-0500)
E.
IA, MI,
IN,
MN, MO, WI, Amplifiers; Consoles,
Recording,
Production
&
Sound
Reinforcement, Loudspeakers, Studio Monitoring; Noise Reduction Systems; Signal
Processors;
Test &
Measurement Equip., Time Code
Disk Based Digital
Synchronizers;
Tape;
South
Holland,
(312- 339 -8014)
W.
60473
IL, IN,
IA,
KS, KY, MI, MN, MO, NE, ND, OH, SO,
WI,
Amplifiers; Consoles- Recording,
Carbondale,
457 -5641
IL,
)
University,
S.
(618-
62901
IL, IN, MO, KY,
Amplifi-
Sound
Reinforcement;
Editing
Systems; Equalizers; Loudspeakers,
Reinforcement
Sound
&
Studio
Monitoring; Microphones & Acces.;
& Sound Samplers;
MIDI Devices
Machines,
4700 W. Chase
IL,
60646
(312- 677 -3000;
800 -3237520) National, Video/Film SupAve.,
IRC Audio Inc.,
Lincolnwood,
(317-849-6887)
Reduction Systems, Recording Tape;
Signal Processors;
duction Equipment Sales; Cases
Time
1165 Tower
(312- 843 -7400) IL,
60173
IL,
IN, IA, KS, MI,
MN, MO, OH, WI, Amplifiers; Con-
Recording
&
Reduction
Systems;
47374
IN,
Loudspeakers,
Sound
Reinforcement;
Microphones
&
Equalizers; Loudspeaker,
Sound
Reinforcement & Studio; Microphones; MIDI Devices; Noise Reduc-
3
weighted
Freeze frame
Peak hold
on
plu fine
sensitivity
I, 2, 3,
ci 4
pink \'oisc
Calibrated .Microphone included
.
YOU CAN
TRUST
Internal, rechargeable battery pack
Carry case
\
The SA -3050A from Audio Control Industrial
Call today for more information!
Audio Control Industrial
22313 701h Ale.
70
Mountlake terrace, N A 98043
Circle (54) on Rapid Facts Card
%Nest
Recording Engineer/Producer
\
A NAME
dB resolution
Printer (parallel) interface
Rack mount
,Q
Inc.
\
RIA
-P\
Options:
,
AV
Southern
Thunder
sound
yeraged ct
dB range
ti
Gy
O,
display speeds
Six nonvolatile
memories, can be
Balanced MR,
balanced '. "
( BNC
Systems; Signal Processors;
Synthesizers
INSTALLATIONS
Digital full screen SPL or
bar graph with peak hold
Made in USA
tion
SOUND
DESIGN
RIGGING
RENTALS
LIGHTING
MONITORS
// filters
Large easy to read display- selectable R¡A or SPL
LA, TX, Amplifiers; Consoles
Recording & Sound Reinforcement;
AR,
ers;
Greencastle Music Center. 500 N.
Jackson St., Greencastle, IN, 46135
(317- 653 -3916) IN, Amplifiers;
Signal
E.
71105
(318-798-6000; 318 -797 -MIDI)
Bert Kouns, Shreveport, LA,
Amplifiers; Consoles, Sound Reinforcement; Editing Systems; Equaliz-
Affordable, 1/2 Octave, Real Time Analyzer
With Memories & SPL Display
Under $1000.
Discrete A;\S7 class
Shreveport Music Co. Inc., 1610
IN, KY, MI, OH,
Acces.
Production;
Loudspeakers, Studio
Monitoring; Microphones & Acces.;
Noise
Richmond,
(317- 935 -7343)
Schaumburg,
Road,
LOUISIANA
Fox Electronics Co. Inc., 711 S. Ninth
St.,
Studio -Sonics Corp.,
Tape Machines
Analog; Test &Measurement Equip.;
Time Code Synchronizers
INDIANA
ers & Keyboards; Tape Duplication;
Measurement Equip.;
IN, KY, MI,
Production & Sound Reinforcement;
Equalizers; Loudspeakers Sound
Reinforcement & Studio Monitoring;
Microphones & Acess., MIDI; Noise
Noise Reduction Systems; Recording
Tape Machines, Analog & Digital;
IL,
OH, Amplifiers; Consoles, Recording,
Video Basics, Inc., 1220 Richards St.,
Joliet,
IL,
60433 (815 -7266411 ) IL, IN, WI, Editing Systems;
Microphones & Acces.; Video Pro-
Tape; SignalProcessors; Synthesiz-
8112 Castleway Court
IN,
46250
Indianapolis,
W.,
plies & Acces.; Storage Systems
ers; Consoles, Recording, Production
&
log -Tape
Tek Media Supply Co.,
Sound Core Music, 715
Equalizers;
92
Reinforcement;
Sound
Loudspeakers, Sound Reinforcement
Editing Systems; Equalizers; LoudStudio Monitors; Microphones, MIDI;
Consoles,
nectors
Code Synchronizers
soles,
&
Ana-
Digital; Time
Code Synchronizers; Cable & Con-
Production & Sound Reinforcement;
speakers -Sound Reinforcement
Machines
Machines Analog & Digital; Time
Taft Drive,
IL,
AR,
Tape
Keyboards; Tape Duplication; Tape
&
Code Synchronizers
Pyramid Audio Inc., 450
Processors;
Equalizers; MIDI Devices; Synthesizers & Keyboards; Signal Processor;
Test
Recorder /Editor
Recording
Processors;Synthesizers
December 1987
121161
775 -8461
,.v,\ A
\t,Q((SA
,M
,,
\
(612) 339 -6303
3rd Ave. N.
_212
Minneapolis, MN.
\\
v
v
Circle (55) on Rapid Facts Card
55401
from
DAY\
"In -line System"
30 mm Module Width Yields Unparalleled Compactness
Up to 56 Modules in less than 51/2 feet
Up to 112 "Mix" inputs in less than 51/2 feet
Unique "Floating Subgroup System"
Any input can be subgroup
Each input module has a "Summed" output
In -line "Tape Monitor" section
Monitor patch point, aux sends, and equalizer
Monitor solo, mute, and fader reverse
Four Band Equalizer
High and Low shelving with two sweepable mids
EQ split (EQ on channel and monitor)
8 Effects send busses per module
Stereo "In- place" solo and PFL (pre -fade listen)
Hand -crafted cabinetry with pedestal base
Digital quality specifications
,o.
M
Cza`tEd
Ly:
3-a
,o
I.- e
USA
1720 Chip
D &R
D &R
N
Dale Drive
Arlington, TX 76012
Ph. (817) 548 -1677
FAX 817- 277 -6066
Electronica b.v.
Rijnkade 15B
1382 GS Weesp, Holland
Ph. 02940 -18014
FAX 2940 -16987
Beyoi«1 Cimpa'iiooir
Circle (38) on Rapid Facts Card
Specialty Sound Co. Inc., P.O. Box
4139,
Monroe,
LA,
(318- 387 -3628)
Consoles,
Sound
71211
LA, Amplifiers;
Reinforcement;
Loudspeakers, Sound Reinforcemnet
& Studio Monitoring; Microphones &
Acces.; MIDI Devices & Sound Samplers; Signal Processing; Synthesiz-
ers & Keyboards; Tape Machines,
Analog
MARYLAND
& Studio Monitors; Microphones &
Acces.; Signal Processors
E.A.R.S., 3 Hanson St., Boston, MA,
02118 (617-423-9565) USA,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers;Noise Reduction
Systems; Signal Processors; Time
Code Synchronizers; Transformers
Lake Systems Corp., 287 Grove St.,
Newton,
Avtecs, 619 Hungerford Drive, Rockville, MD, 20850 (301 -2792500) DC, MD, VA, Amplifiers;
Consoles; Editing Systems; Equalizers; Noise Reduction; Signal Processors; Tape Duplication; Recorders
Analog & Digital
MASSACHUSETTS
Boston Light & Sound Inc., 124 Brighton Ave., Allston, MA, 02134
(617- 787.3131) CT, ME, MA,
NH, RI, VT, Amplifiers; Consoles,
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
MA,
02166
(617-
244 -6881)
CT, DC, ME, MD, MA,
NH, NJ, NY, PA, RI, VT, Amplifiers;
Consoles, Recording, Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Studio Monitoring &
Sound Reinforcement; Microphones
& Acces.; MIDI Devices & Sound
Samplers; Noise Reduction Systems;
Recording Tape; Signal Processors;
TapeMachines, Analog & Digital;
Time Code Synchronizers
LaSalle Audio Systems, P.O. Box 820,
Astor Station, Boston, MA, 02123
(617-536-2030) CT, ME, MA,
NH, RI, VT, Amplifiers; Consoles,
Recording, Production & Sound
Reinforcement; Editing Systems;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers; Noise Reduction
Systems; Recording Tape; Signal Processors; Synthesizers & Keyboards; Tape Duplication; Tape
Machines, Analog & Digital; Test &
Measurement Equip.; Time Code
Synchronizers
Music Designers, Inc. /Precision Motor
Works, 241 White Pond Road, Hudson,
MA, 01749 (617 -5624420) USA, Microphones & Acces.;
Tape Machines, Analog; Cleaning
Fluids; Motor Servicing & Rebuilding
794 -9399) CT, ME, MA, NH,
Acces., MIDI Devices & Sound Samplers; Noise Reduction; Recording
Tape; Signal Processors; Synthesizers, Analog Tape Machines,
(617- 229 -6050) New
England States, Amplifiers; Consoles, Recording, Production
&
Sound Reinforcement; Editing Systems; Equalizers; Loudspeakers,
Sound Reinforcement & Studio
Monitoring; Microphones & Acces.;
MIDI Devices; Noise Reduction Systems;
Recording Tape;
Signal
Processors;Synthesizers & Keyboards; Tape Duplication; Test &
Measurement Equip.; Time Code
Synchronizers
01803
Star Systems, 462 Merrimack St.,
Methuen, MA,
01844 (617-
MICHIGAN
2342
S.
ids, MI,
Broadcast Group, Inc.,
Division Ave., Grand Rap
USA, Amplifiers; Consoles, Record-
ing & Production; Equalizers; Loud-
speakers,
Monitoring;
Studio
Microphones; Noise Reduction;Tape
Machines, Analog; Studio Furniture
Cooks Music, 615 N. Mission, Mount
Pleasant,
MI,
48858 (517772 -2455) MI, Amplifiers; Consoles, Recording, Production
&
Sound Reinforcement; Editing Systems; Equalizers; Loudspeakers,
Sound Reinforcement, & Studio
Monitoring; Microphones & Acces.,
MIDI Devices & Sound Samplers;
JUST A HARD EARNED REPUTATION.
CHUCK LEVIN'S
WASEINGTON ivA(USE CENTER
301-946-8808
Circle (39) on Rapid Facts Card
Recording Engineer/Producer
December 1987
-'
49507 (616 -452 -1596)
NO NOISE.
72
Time
Code Synchronizers
The Audio
Professional Audio Associates Inc.,
170 Cambridge St., Burlington, MA,
RI,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers, Loudspeakers, Sound Reinforcement &
Studio Monitoring;Microphones &
VT,
Go downtown and look around. The fancy pants dance where the music
are accessed through four stereo mixing buses, each with its own 4- position
way to perfect a club's sound is Rane's
selector switch and Alps studio grade 60mm slider. Crossfade is completely
is cool. AnC the smoothest, easiest
innovative MP 24.
assignable via another 60mm slider and two selector switches. Then there's
We've loaded this new Stereo Program Mixing Console to the
separate mic and program EQ, mic and program loops, master
gills with features. You're looking at more flexibility and perform-
balanced outputs, zone and booth outputs, light trigger output, cue
ance in this one unit than in any other mixer /preamp made.
system... whew! And that's not the half of it.
Furthermore, its got the highest level of signal quality: noise and
distortion am virtually eliminated. And it's priced at $1099.
Those in the know are already saying our MP 24 will be the
industry standard. But why be modest? We think it'l be the king.
Here's a partial rundown of why the MP 24 just made the
Rane Corporation, 6510 216th Southwest,
competition obsolete. Nine stereo inputs (three phono and six line)
Mountlake Terrace, WA 98043.206/774 -7309.
Circle (58) on Rapid Facts Card
ANE
Noise Reduction Systems; Recording
Tape :Signal Processors; Synthesizers & Keyboards; Tape Duplication,
Tape Machines, Analog; Test &
Measurement Equip.; Time Code
Yore Co., 3564 Rolling View Drive,
Machines, Analog
The Music Castle, Inc., 1418 N. Woodward,
Royal
48067
MI,
Oak,
(313- 543 -5070)
MI- primarily
metro Detroit & surrounding area,
Amplifiers: Consoles, Sound Reinforcement; Loudspeakers, Sound
Synchronizers
FiFe-Pearce Electric Co., 17141 Ryan
48212
Road,
Detroit,
MI,
Nationwide,
(800- 521 -1062)
Tape Eraser Equip. Video/Audio
Reinforcement;
phones,
Equalizers:Micro
Acces.;
Hy James
The Audio Professionals,
24166 Haggerty, Farmington Hills,
MI,
-
48024 (313 -471 -0027)
Tape
IL,
Machines; CD
Players; Microphones; Direct Boxes;
Speakers; Amplifiers; Reverberation;
Processing;
EqualizaSignal
tion;Noise Reduction; TT & CarIntercoms;
Telephone
tridges;
Interfaces; Headphones; Recording
Tape; Film & Video; Clock Systems;
Time Code /MIDI; Test
SMPTE
Equip.; RF; Accessories
Lake,
(612 -770 -9760)
55110
MN,
SD,
Acces.: MIDI Devices & Sound Sam-
plers; Noise Reduction Systems;Re-
cording, Production, & Sound Rein-
cording
forcement:
Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog;
MN,
ND,
Equalizers;
Loudspeakers. Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.:MIDI Devices & Sound Samplers; Noise Reduction Systems; Sig-
Processors:
Tape
Machines,
Glen
Road,
Intercom
Editing Systems; Equalizers; Loud-
Reinforcement;
Equalizers;
&
Sound
Editing
Systems;
Sound
Loudspeakers,
Microphones & Acces.:MIDI Devices
& Sound Samplers; Noise Reduction
Recording Tape;
Synthesizers
Signal
&
Key-
boards: Tape Duplication; Tape Machines, Analog & Digital; Test &
Measurement Equip.;
Time
Code
Synchronizers
48053
55401 (612.339 -6303)
Amplifiers
Reinforcement;
Processors;
(314- 421 -1211)
MO, VI, Amplifiers; Consoles, Re-
cording & Production: Sound Reinforcement:
Equalizers;
Loudspeakers, Sound Reinforcement; Recording Microphones &
Acces.; Noise Reduction; Recording
Tape -Signal Processors;Tape Machines, Analog; Time Code Synchronizers
Rigging;
Signal
plication; Tape Machines,
Analog;
Test & Measurement Equip.
NEW HAMPSHIRE
Interface, 660
03431
S.
Main St., Keene, NH,
(603-357-5040)
ME,
MA, NH, VT, Amplifiers; Equalizers;
Loudspeaker SR & Monitor; Microphones; Recording Tape; Tape Ma-
NEBRASKA
Promusica Sales,
Keene,
Midwest Sound & Lighting, Inc., 2324
O
St.,
Lincoln,
NE,
68510
4831)
VT,
NH,
93 Roxbury St.,
03431 (603 -352-
CT, ME, MA, NH, NJ, NY, RI,
Amplifiers; Consoles, Recording
(402- 474 -4918)
SD, Amplifiers; Consoles, Recording,
Loudspeakers;
Production and Sound Reinforce-
Devices; Signal Processors;Test &
ment; Editing Systems; Equalizers;
Measurement Equip.; Software
&
Acces.:
See advertisement on page 70
The MRL Calibration Graph is your proof of
the quality control that goes into every MRL
Reproducer Calibration Tape. We guarantee
each one to exceed the pet for mance
cquirements of IEC, NAB, AES, and EIA
Standards.
MRL Calibration Tapes are designed and
supported by experts in magnetic recording
and audio standardization ... we helped write
the standards. Each tape comes with
detailed instructions and application notes..
The MRL catalog includes tapes for all studio
applications. In addition to the usual spot
frequency tapes, we make single -tone tapes.
rapid -swept frequency tapes, wideband of
1 /3rd octave -band pink random noise tapes,
and difference -method azimuth -setup tapes.
Most are available from stock.
set..
For a catalog and a lost of over 60
dealers in the USA aril Canada, contact
at
Inc.
.t
Exclusive Export Agent: Gotham Export Corp, o
t
New York, NY
Circle (57) on Rapid Facts Card
Recording Engineer/Producer
Processors;
chines, Analog
IA, MN,
Amplifiers;
Signal
Synthesizers & Keyboards; Tape Du-
struction :Microphones
you
74
FL, GA, IL, MA,
cording Tape;
Equalizers; Acoustic Design & Con -
What
is'what e
Magnetic Reference Laboratory,
229 Polaris Ave., Suite 4
Mountain View, CA 94043
(4151 965 -8187
1620 S.
Louis, MO, 63104
NE. ND, SD, WI, Man., Loudspeakers,
phones & Acces.; Noise Reduction
Tape
plers; Noise Reduction Systems; Re-
Paradise Sight & Sound,
Broadway, St.
&
Studio Monitoring; Microphones &
Acces.:MIDI Devices & Sound Sam-
MISSOURI
Southern Thunder Sound, Inc., 212
Third Ave. N., Minneapolis, MN,
Sound
(Jay) McKnight
MN,
Reinforcement & Studio Monitoring;
metro Detroit & surrounding area,
Amplifiers; Consoles, Sound Reinforcement; Loudspeakers, Sound
Reinforcement; Equalizers; Micro-
J G.
Louis Park,
Production
ing,
MI- primarily
Systems; Signal Processors;
St.
wide, Amplifiers, Consoles, Record-
Processors;
MI,
IA, KS, MO, NE,
Production & Sound Reinforcement;
55416 (612- 929 -4000) Nation-
Systems;
Pontiac,
(402- 399 -8028)
speakers, Sound Reinforcement
soles,
(313- 682 -0544)
Test & Measurement Equip.
Midwest Sound & Lighting, Inc., 308
South 72nd St., Omaha, NE, 68114
Telco
School
Equip.
American Audio Systems, 4834 Park
459 -6040)
graph,
Processors;
SD, Amplifiers; Consoles, Recording,
Intercom;
MINNESOTA
44808 Helm St.,
48170 (313-
MI, Amplifiers; ConRecording, Production &
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring;Microphones &
Acces.; MIDI Devices; Signal Processing; Tape Machines, Analog;
Time Code Synchronizers
The Music Castle, Inc., 34 S. Tele-
Tape; Siganl
Analog; Test & Measurement Equip.;
corders; Cartridge
Key Marketing, Inc.,
Plymouth,
MI,
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
West -WI, Amplifiers; Consoles, Re-
nal
Machines, Analog
IN, MI, OH, WI, Consoles; Tape Re-
Bear
-
Reduction
Noise
Systems.; Signal Processors;
White
December 1987
IA, KS, MO, NE,
& Sound Reinforcement; Equalizers,
Microphones;
MIDI
NEW JERSEY
American Sound & Video Corp., 3
Fairfield Crescent, West Caldwell,
NJ,
07006 (201- 575 -8484)
Na-
tionwide, Tape Duplication
Gabriel Sound, P.O. Box 34, Haskell,
NJ,
07420 (201 -835 -5004)
No. -NJ,
Amplifiers;
NY,
Ivb°\ib
EQUALIZATION
CT,
Mikes;
Stands; Speakers; Speaker Cabinets;
Servo -Bass; Flight Cases; Process-
WITH MULTIPLE PODS
ing; Consoles; Complete Tour Pack -
aging;Custom
Speaker
Multi -Pin
Reconing
&
Work;
Electronic
Maintenance
Impact Audio, 175 Hornblower Ave.,
Belleville,
NJ,
07109 (201-
759 -0261) CT,
NJ, NY, Amplifiers;
Consoles Recording, Production &
Sound Reinforcement; Equalizers;
--
LoudspeakersSound Reinforcement
& Studio Monitoring; Signal Processors; Flight Cases
JRF Magnetic Sciences,
Greendell,
Road,
249 Kennedy
07839
NJ,
(201-579-5773)
USA, Magnetic
Recording Heads; Sales & Service
Noise Unlimited, Inc., 104
Somerville,
St.,
(201 -725.1700)
S.
NJ,
,4.M.
Bridge
as
'
08889
CA, CT, DE, DC,
IL, IN, ME, MD, MA, MI, MN, MO, NH,
NJ, NY, NC, OH, OK, PA, TX, VT, VA,
WA, Acoustical Testing, Consulting
& Engineering
The MicroAudio PODs can do it for you!
Professional Audio Video Corp, P.O.
Box
14, Towaco, NJ, 07082
(201-523-3333)
USA, Amplifi-
ers; Consoles, Recording, Production
& Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
28 1/3 octave bands
Noise floor better than
& Studio Monitoring;Microphones &
Acces.; Noise Reduction Systems;
Recording Tape; Signal Processing;
Tape Machines, Analog
Leonia,
Programmable from your monitor console
07605 -0334
NJ,
(201 -944.2806)
93 dB
Use a different EQ in each monitor
for live applications
Peter E. Schmitt Co., Inc., 240 Grand
Ave.,
-
Programming cable lengths in excess of 500 ft
NJ, NY,
Amplifi-
an UNLIMITED number of PODs
Use
ers; Consoles, Recording & Produc-
tion;
Equalizers;
LoudspeakersSound Reinforcement;
Microphones & Accessories; Digital
Reverbs; Aural Exciters, Speakers
NEW YORK
Acoustilog, Inc., 19 Mercer St., New
York,
1365)
NY,
10013
(212 -925-
CT, NJ, NY, Consoles, Re-
cording & Production; Microphones
& Acces.; Recording Tape; Signal
Processors
tke
Migraudio
4438 S W Hewett
Portland. Oregon 9:221
503 -292-8896
800- 445-1248
TELEX 4997744 INTR
Metal Work and Aseembly by
l
Tektronix /Metals Dir and ECB Inc
co a
Patent Pending
Circle (65) on Rapid Facts Card
De ce m b er 1 987
Recor worry
d'
E rl9lrlB@r/p
uuucar
75
duction & Sound Reinforcement;
Equalizers; Loudspeakers, Sound
Alex Musical Instruments, Inc., 164
48th St., New York, NY,
10036 (212- 819 -0070) USA,
West
Reinforcement & Studio Monitoring;
Microphones & Acces.;MIDI Devices
Amplifiers, Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems, Equalizers, Loud-
& Sound Samplers; Recording Tape;
Processor; Synthesizers &
Keyboards, Tape Machines, Analog;
Signal
speakers, Sound Reinforcement &
Studio Monitoring, Microphones &
plers,
Recording
Processors, Synthesizers
Key-
&
Analog;
chines,
Time
Code
Com-
Synchronizers; Video, MIDI
puter Software
ing,
NY,
11352 -0791
886 -6500)
(718-
tors; Compressors;
Crossovers
ers;
Microphones;
Noise
Gates;
Patch Bays; Recording Tape Audio &
Video; Reverb Units; Signal Processors, Samplers
Lyell Station, Rochester, NY,
14606
Music /Professional
NY,
10036
CT, MA, NJ, NY, Amplifiers;
chronizers
See advertisement on page 62
Merimack Sound, 901 Monroe Ave.,
442 -5050)
Video)
Sound
DE, IN,
RI, VT,
Equalizers:
Reinforcement & Studio
Monitoring;Microphones & Acces.;
soles,
Devices & Sound Samplers;
tems;
MIDI
MD,
WA,
Loudspeakers,
Drives; Modems; Tape Back Ups
Nationwide,
Hard
MASTER MIX
Equalizers;
ers & Keyboards, Tape Duplication;
MIDI Devices
Tape Machines, Analog & Digital;
Noise Reduction Systems; Recording
Test & Measurement Equip.; Time
Tape; Signal Processors; Synthesiz-
Code Synchronizers
ers & Keyboards; Tape Duplication;
Reinforcement
& Sound Samplers;
Analog & Digital;
Test & Measurement Equip.; Time
Code Synchronizers
Tape Machines,
48
21st St., New York, NY,
10010 (212 -741 -8011) USA,
L. Matthew Miller Associates Ltd.,
West
CANADA,
EUROPE,
N
aving used MasterMix I don't know how I managed
efore. It takes the drudgery out of remixing.,
Ken Gordon, Joint Managing Director,
Saunders and Gordon Ltd.
The Universal
Console
Automation
System.
automatic to go to MasterMix. I couldn't work
ithout it.
Robin Saunders, Joint Managing Director,
Saunders and Gordon Ltd.
's
e mixing process was flawless on four consecutive
lbums. I especially enjoyed the compare feature.
Richard Landis, Country & Vlkstern
Producer, of Richard Landis Studio, L.A.
AUDIO KINETICS
,
asterMix clearly demonstrates that there's more than
ne superb automated mix system on the market.
Unit 3 Recording Studios, London.
Circle (66) on Rapid Facts Card
76
Recording Engineer Producer
December 1987
Loudspeakers,
Studio
clean, quiet and reliable. There is virtually no change
sound quality or noise. It is intuitive in its operation. I
d it for a week before I even read the manual,!
John Rotundi, Chief Engineer
of Sound Services Inc.
Audio Kim:tics Ltd. Kinctir Ccntrc,
'I hcobald St. (iurcltcmt\s'uud. Hurts \1'U(i -+I'. IE:ngland.
'Id: (11 -95:I till) Pax: Ill -953 1115.
&
Acces.;
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers; Loud-
221 -0974)
Production
&
MD, MA, NH, NJ, NY, PA, RI, VT,
Pro-
Recording,
Sound Reinforcement; Editing Sys-
Monitoring;Microphones &
(516-
Am-
(716-
Tape; Signal Processors; Synthesiz-
Colotti Enterprises, P.O. Box 639, Le-
11756
14620
NY, Amplifiers; Con-
Sound
Martin Audio Video Corp., 423 West
55th St., New York, NY, 10019
(212- 541 -5900) CT, DE, DC, ME,
NY,
NY,
Noise Reduction Systems; Recording
& Digital; Time Code Synchronizers
vittown,
themselves.
(212 -819-
plication; Tape Machines, Analog &
Digital; Test Equip.; Time Code Syn-
Rochester,
NY, PA,
The
Customers
speak for
Audio
tems;
plifiers; Consoles, Recording
(716- 328 -1220)
Synthesizers & Keyboards, Tape Du-
Recording Tape; Signal Processors;
Sound Reinforcement; Editing Sys-
Processors; Tape Machines, Analog
Brighton Sound, Inc., P.O. Box 60977.
Folder Audio & Video; Video Boxes
0576)
Amplifiers; Editing Systems; Equalizers; Loudspeakers & Studio Moni&
toring:
Microphones
Tape;
Acces.:Recording
Signal
Frequency Dividers; Delays; Drum
Machines; Equalizers;Rentals; Limit-
Samplers, Noise Reduction Systems;
331 -3191) NATIONWIDE, Recording Tape & Accessories (Audio &
MA, NV, NJ, NY, OR, PA,
&
Accessories; MIDI Devices & Sound
Consoles, Recording, Production &
757 -6977) CA, CT,
USA, Cable, Connec-
NATIONWIDE,
CANADA,
ENGLAND, FRANCE,
Blank Audio & Video Cassettes, Vinyl
City,
Camera Mart Inc., 456 West 55th St.,
New York, NY, 10019 (212-
Aura Sonic Ltd, P.O. Box 791, Flush-
Inc.,
800-
11572 (516- 678 -4414;
boards, Tape Duplication, Tape Ma-
(716- 876 -1454)
Productions,
Div., 156 West 48th St., New York
Burlington Audio /Video Tapes, Inc.,
106 Mott St., Oceanside, NY,
Tape :Signal
speakers, Sound Reinforcement &
Studio Monitoring :Microphones &
Manny's
Time Code Synchronizers
Acces., MIDI Devices & Sound Sam-
26 Baxter St., Buffalo, NY, 14207
Eastern Standard
SOUTH
AMERICA, Video Recording;
Amplifiers; Consoles, Recording.
ers, Studio Monitoring; Sound Sam -
WV,
Editing Systems; Microphones, Video
plers;Recording
Signal
Production & Sound Reinforcement;
Tape, Video Tape Duplication
Ma-
Processors, Time Code Synchroniz-
Editing Systems; Equalizers; Loud-
chines; Test & Measurement Equip.
ers; Hard Disk Based Digital Record-
speakers, Sound Reinforcement &
ing & Editing Systems
Studio
For Video,
Video
Video Time Code Ma-
Tape,
chines
Mineroff Electronics, Inc., 946 Downing Road, Valley Stream, NY,
(516- 825 -4702)
11580
Nationwide,
Amplifiers;
Recording; Equalizers;
Loudspeakers;
Microphones
&
Acces.; Recording Tape; Tape Duplication; Tape Machines
Success Specialty Sales Corp., P.O.
Box
77,
Rockville
Centre,
11570 (516 798 -2311)
-
plication; Tape Machines, Analog &
Audio & Video
Digital; Test & Measurement Equip.;
Unistage, Inc., 330 Genesee St., Buffalo,
NY,
14204
(716 -853-
Clinton St., Syracuse, NY, 13202
Recording,
(315- 422 -8423)
Sound
NY, Amplifiers,
Production
27512
Acces.; Noise Reduction Systems:
Samplers; Noise Reduction, Tape,
Signal Processors; Synthesizers &
Keyboards; Tape Machines, Analog;
Recording Tape
St., New York,
(212- 586 -7376)
NY,
10036
Central Music Exchange, 11504 LoCleveland, OH, 44111
(216- 671 -0093) OH, PA, Amplifiers; Consoles, Sound Reinforcement; Equalizers;
Loudspeakers,
Sound: Loudspeakers, Studio; Microphones & Acces.; MIDI Devices:
Noise Reduction;Signal Processors:
Synthesizers & Keyboards; Electronic Percussion
rain Ave.,
NORTH CAROLINA
CT, DE, DC, ME,
MD, MA, NH, NJ, NY, PA, PR, RI, VT,
Reliable Music, 650
Amplifiers, Consoles, Recording &
Charlotte,
Production; Equalizers: Loudspeak-
375 -8662)
NC,
E.
Stonewall St.,
28202
Video & Audio;
-
OHIO
Studio Consultants, Inc., 321 West
44th
NA-
Storage Systems & Carrying Cases
Time Code Synchronizers
Tape Machines
(919- 467 -8113)
TIONWIDE, Microphones & Acces.;
Reinforcement; Equalizers;
& Studio Monitoring :Microphones &
Synthesizers;
Wyco Sales, P.O. Box 887, Cary, NC,
Loudspeakers, Sound Reinforcement
tors; Microphones; MIDI Devices &
Processors,
Time Code Synchronizers
&
Sound Reinforcement :Studio Moni-
Signal
Processors.
Synthesizers & Keyboards, Tape Du-
Splicing Tapes; Packaging Products
West -NY, Amplifiers; Con-
Consoles, Equalizers, Loudspeakers,
cording Tape; Signal
USA,
soles,
S.
&
plers; Noise Reduction Systems; Re-
NY,
6500)
Onondaga Music & Sound, 412
Monitoring :Microphones
Acces.; MIDI Devices & Sound Sam-
(704-
FL, GA, NC, SC, VA,
¡.
(jif
I
,
n
,!Ni
,
.,i11,11Ì,1
Hood Industries Inc.,
Ave.,
Cleveland,
5700 Superior
44103
OH,
(216- 431 -4663) OH, Amplifiers;
Consoles, Sound Reinforcement;
Equalizers; Loudspeakers, Sound
Reinforcement & Studio Monitoring ;Microphones & Acces.; Signal
Processors; Tape Machines, Analog
ICB Audio Co., 1349 E. McMillan St.,
Cincinnati, OH, 45206 (513281 -5535) IL, IN, KY, OH, PA, TN,
M. Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers; Loudspeakers, Sound Reinforcement &
Studio Monitoring :Microphones &
Acces.; MIDI Devices & Sound Samplers; Noise Reduction Systems; Recording Tape; Signal Processors;
Tape Duplication; Tape Machines.
Analog; Test & Measurement Equip.;
Time Code Synchronizers
610
45202
Ray Lammers Music House, Inc.,
Walnut St., Cincinnati, OH,
513 -241 -0200) IN, KY, OH, Amplifiers; Consoles, Sound Reinforcement; Equalizers;
Loudspeakers,
Sound Reinforcement; Microphones
& Acces.; Noise Reduction Systems;
Signal Processors
(
Ohio Sound Systems, 1399 East 17th
St.,
Cleveland,
OH,
44114
' 'i'
:2:rÑ; ,
LZs:
f /
the clues you need to solve the mystery of hog'
to balance price with pertòrrnancc reveal themselves
Nyhen you examine the benefits of Community's new CS
Series of loudspeaker systems. Consider the facts: Community's 20 gars of experience in live tour sound combined with the latest computerized testing and analysis created
the C'S Series of eight powerful components tailored to fit any of
your sound needs. This is the new standard of performance that
takes less Out of your wallet and puts more into your music..
Community Light & Sound, Inc. 333 East Fifth Street. Chester. PA 19013
1215) 876 -3400 "Ii'lex 834649 Philly PA Cher.
M
All
Communy
.
Circle (67) on Rapid Facts Card
December 1987
Recording Engineer/Producer
77
(216- 781 -1234)
OH, Amplifiers,
Equalizers; Loudspeakers, Sound
Microphones
&
Reinforcement;
Acces.; Noise Reduction Systems
Sound
Reinforcement;
& Studio Monitoring;Microphones &
Time Code Synchronizers
Acces.; Noise Reduction Systems,
Recording Tape; Signal Processors;
(216- 741 -1400)
IN, KY, MI, OH,
Analog & Digital; Time Code Syn-
PA, Amplifiers; Consoles; Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers; Loudspeakers, Sound Reinforcement &
Studio Monitoring; Microphones &
Acces.; MIDI Devices & Sound Sam plers;Noise Reduction Systems; Recording Tape; Signal Processors;
Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog &
Digital; Test & Measurement Equip.;
Time Code Synchronizers
chronizers; Wireless Microphones &
C.L. Pugh & Associates, Inc., 13477
Prospect Road, Suite 209, Cleveland, OH, 44136 (216 -2381777) OH, West -PA, WV, Amplifiers; Loudspeakers, Sound Reinforcement
&
Monitoring;
Studio
Microphones & Acces.
Synthesizers & KeyMachines, Analog;
Tape
boards;
2121 Brook park Road, Cleveland, OH, 44134
Pi Keyboards & Audio,
Processors;
Equalizers;
Loudspeakers, Sound Reinforcement
Tape Duplication; Tape
Bob
Norman,
P.O.
Box
OH,
44139
39104,
Solon,
(216- 248 -1317;
219 -4241800; 517 -592 -5138) IN, KY,
Machines,
OK,
73070
329 -8431) AL. AK,
5997,
(405-
AZ, AR, CO,
FL, GA, HI, ID, LA, MS, MT, NV, NM,
OK, OR, PR, SC, TN, TX, UT, VI, WA,
WY, Amplifiers; Consoles, Recording
& Production; Equalizers; Tape Ma-
Consoles, Recording & Sound Rein-
chines, Analog;Cables, Connectors;
forcement; Equalizers; Loudspeakers; Studio Monitoring & Sound
Direct Boxes & Acces.
Sound, 3665 Karl Road,
43224
Reinforcement; Microphones; Sound
Production
Intercom;
Theatre Sound System
Columbus,
OH,
263 -3720)
IN,
(614-
Samplers;
OH, MI, PA, WV.
MIDI Devices &
Synthesizers;
GKM Marketing Corp., P.O. Box 1713,
OKLAHOMA
West
1
-40,
Speakers Unlimited, 3138 N. Main St.,
45405
OH,
4800
Oklahoma City. OK,
73128 (800- 654 -6744)
IN,
Oswego,
OR,
97305
(503- 635 -3531) AK, Amplifiers;
Lake
Ford Audio -Video Systems Inc.,
chronizers
275 -7417)
OREGON
Sound Samplers;
Synthesizers & Keyboards, Tape
Machines, Analog; Time Code Syn-
OH,
Cases,
Lighting Equip., Wire
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Equalizers; Loudspeakers; Studio
Monitors;Microphones
& Acces.;
Dayton,
Associates,
Rock Studio Supply, P.O. Box
OH, MI, West -PA, WV, Amplifiers;
Intercom;
Roadshow
White
Time Code Synchronizers
AR, KS,
LA, MO, NM, OK, TX, Amplifiers,
Loudspeakers, Sound Reinforcement
& Studio; Tape Machines, Analog;
Compact Disc Players; Speaker Wire;
Interconnect Cable
(513-
Consoles, Recording & Sound Rein-
Amplifiers;
forcement, Editing Systems, Equaliz-
way.
(503- 226 -0170;
2252) AZ, CA, CO,
Northwestern, Inc., 1224 S.W. BroadPortland,
OR,
97205
800 -547-
Reddish Supply, Inc. dba Phil
Consoles, Recording & Sound Rein-
Reddish Sound, 11725 Royalton
Road, North Royalton, OH, 44133
forcement; Equalizers; Loudspeak-
ers.
Loudspeakers,
Reinforcement
& Studio
ers; Studio Monitors; Microphones &
tor;Noise Reduction Systems; Re-
NV, NM, OK, OR, SD, TX, UT, WA,
(216-582-4333)
OH, Amplifiers;
Acces.; MIDI Devices;Noise Reduc-
Consoles, Recording, Production &
tion Systems; Recording Tape; Signal
cording Tape; Signal Processors;
Tape Machine, Analog & Digital,
Tape Machine Parts
Phil
The Industry Standard
For Excellence
Sound
Moni-
KS, MT, NE, ND,
Recording Tape; Tape Duplication;
Direct Metal
Dmm'
\Mastering/
Direct Metal Mastering
U.S. Only Complete
DMM Facility-
Disk Mastering
Suite
Hi- Definition
Saki Ferrite Audio Replacement Heads
Hot -pressed, glass- bonded ferrite for superior sound and
long life. Fully compatable with original manufacturer. 1/4"
and 1/2 ", 2 and 4 track applications. For Ampex, MCI,
Mincom, Otari, Revox, Scully, Studer, Technics, and
others. Call now to order.
MAGNETICS,
SAKI SAKI
26600
INC.
Agoura Road, Calabasas, CA 91302
Phone (818) 880 -4054 Telex 244 546 FAX (818) 880 -6242
Circle (68) on Rapid Facts Card
78
Recording Engineer/Producer
December 1987
Plating
State -Of-The -Art
Pressing
For
brochure & pricing,
call or write
'E_UROPÄDISK;L°TD.
75 Varick St.
N.Y. 10013
(212) 226-4401
Circle (69) on Rapid Facts Card
PENNSYLVANIA
Audio Innovators, Inc. dba Pro Corn
Systems, 5001 Baum Blvd., Pittsburgh, PA, 15213 (412.6211950) USA for service & consultation; OH, PA, WV for sales, Amplifi-
Headsets;Lighting Equip.; Limiters;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; Noise Reduction Systems;
Signal Processors; Transformers
Consoles,
Recording
&
Production & Sound Reinforcement;
TENNESSEE
Editing Systems; Equalizers; Loudspeakers Sound Reinforcement &
Studio Monitoring; Microphones &
Audio Systems Inc., 205 22nd Ave.
N.,
Nashville,
TN,
37203
ers;
Acces.;Noise
Reduction
Systems;
Recording Tape; Signal Processors;
Tape Duplication; Tape Machines,
Analog; Test & Measurement Equip.
Fred's Music Shop, 212 W. Lancaster
Ave.,
Shillington, PA,
19607
(215.777 -3733) Central & So.
East -PA, Amplifiers; Consoles, Recording, Production & Sound Reinforcement;
Equalizers;
Loudspeakers, Sound Reinforcement; Microphones & Acces.; MIDI
Sound Samplers;Signal
Processors; Synthesizers & Keyboards; Tape Machines, Analog
Devices &
Fred's Music (West Branch), 4511
Jonestown Road, Harrisburg, PA,
(615- 320 -1600)
AL, GA, KY, TN,
Loudspeakers, Studio Monitoring;
Recording Tape; Tape Duplication
Evans Sales & Marketing, 509 -A Ligon Drive, Nashville, TN, 37204
(615.256.4675) AL,
GA, MS, NC,
SC, TN, Amplifiers; Consoles, Re-
cording, Production & Sound Reinforcement; Loudspeakers, Sound
Reinforcement; Studio Monitoring;
Microphones &
Acces.;
Signal
Processors
Memphis
Communications
Corp.,
1381 Madison Ave., Memphis, TN,
38174 -1735 (901- 725 -9271)
USA, Amplifiers; Consoles, Recording, Production & Sound Reinforce-
ment; Editing Systems; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.;MIDI Devices & Sound Samplers; Noise Reduction Systems; Recording Tape; Signal Processors;
Synthesizers & Keyboards; Tape Duplication; Tape Machines, Analog &
Digital; Test & Measurement Equip.:
Time Code Synchronizers
TEXAS
Audio Specialties Co., 13416 Brook
green,
(214- 239 -2230)
AL, AR, FL, GA,
IN, KY, LA, MS, MO, NC, OH, OK, SC,
TN, TX, VA, WV, Amplifiers; Consoles,
Recording & Production;
Equalizers; Loudspeakers, Sound
(615- 646 -4477)
AL, GA, MS, SC,
TN, Amplifiers; Consoles, Production & Sound Reinforcement;Equal izers; Loudspeakers, Monitor &
Sound Reinforcement; Microphones;
Noise Reduction Systems; Signal
Processors: MIDI Devices & Samplers
-
75240
TX, Amplifiers;
Victor Duncan, Inc., 6305 N. O'Connor,
4,
Irving,
TX,
Building
75039 -3510 (214 -869 -0200)
Reinforcement & Studio; Microphones & Acces.; MIDI Devices &
Samplers;Noise Reduction Systems;
Recording
Tape -Digital;
Signal
Processors; Tape Machines; Analog
& Digital; Time Code Synchronizers
Wilson Audio Sales, 5972 Asberry
Court,
Nashville,
TN,
37221
TX,
Consoles, Recording; Equalizers;
Loudspeakers; Studio Monitoring;
Microphones & Acces.; Noise Reduction Systems; Recording Tape;
Signal Processors;Tape Machines,
Analog & Digital; Time Code Synchronizers; Editing & Head Cleaning
Items for Recording Equip.
Studio Supply Co., 1717 Elm Hill Pike,
Suite B -9, Nashville, TN, 37210
(615- 366 -1890)
Dallas,
USA & Canada, Audio, Film, Video,
Lighting Production Equipment; Test
Equip.; Tape; Vans & Acces.; Service
& Repair; Over 300 Lines of Pro
Equip.
HRC Magnetics, 1611 Herring, Waco,
76708 (817. 756.5303;
800 -443 -8457) USA and Canada,
TX,
Recording Tape; Tape Duplication;
Video Tape; Broadcast Video Tape;
Video Tape Duplication;Microphones
& Acces.; Consoles Sound Rein-
forcement
Judon Enterprises, P.O. Box 763041,
Dallas,
TX,
75376.3041
17109 (717- 652 -7714) Central-PA, Amplifiers; Consoles; Sound
Reinforcement;
Equalizers;
Loud-
speakers, Sound Reinforcement; Microphones and Acces.;MIDI Devices
& Sound Samplers; Signal Proces-
sors; Synthesizers & Keyboards
Electronic Patch Panels
Medley Music Corp., 1041 Lancaster
Ave.,
(
Bryn
Mawr,
PA,
215- 527 -3090) DE,
19010
NJ, PA, Am-
plifiers;
Consoles, Recording
&
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.;MIDI Devices & Samplers;
Noise Reduction Systems; Recording
Tape; Signal Processors; Synthesiz-
ers & Keyboards; Tape Machines,
Analog
1111111111111111111111111111111
.....
_...
E E
I
.
Radio Systems, Inc., 5113 W. Chester
Pike,
Edgemont,
PA,
19028
(215- 356 -4700;
800 -5232133; PA- 800 -423 -2133) USA
& Canada, Amplifiers; Consoles, Recording & Production; Equalizers;
Loudspeakers,
Monitor Studio
ing;Microphones & Acces.; Recording Tape; Signal Processor; Tape
Machines, Analog
Gentner switchers are as reliable as patch panels when it
comes to routing audio signals because the switching process
is passive (using magnetically latching relays). And like a
patch panel, our stereo and mono switchers provide instantaneous selection of sources.
Zeus Light & Sound, 2702 Pricetown
Road, Temple, PA, 19560 -9799
(215- 921 -0520)
USA, Amplifiers; Cable & Connectors; Cases;
Compressors; Consoles, Recording,
Production & Sound Reinforcement;
Delays; Equalizers; Headphones &
Call us today at (801) 268 -1117
for ordering information.
The Clear Choice.
GENTNER
ENGINEERING COMPANY, INC.
540 West 3560 South
Salt Lake City, UT 84115
(801) 268 -1117
Circle (58) on Rapid Facts Card
December 1987
Recording Engineer Producer
79
214 -372 -3088) 250 mile radius
of Dallas, Amplifiers; Consoles,
Sound Reinforcement; Editing Systems; Equalizers; Loudspeakers,
Sound Reinforcement & Studio
Monitoring;Microphones & Acces.;
MIDI Devices & Sound Samplers;
Recording Tape; Signal Processors
(
Juice Goose, c/o Whitenton Industries
Inc., 7320 Ashcroft, Suite 302,
Houston,
TX,
77081
(713772 -1404) Worldwide, Battery
Backups & Line Conditioners; Power
Distribution
LD Systems, 467 West 38th St.,
Houston,
TX,
77018 (713695 -9400) AR, LA, OK, TX, Amplifiers; Consoles; Recording, Production & Sound Reinforcement;
Loudspeakers, Studio Monitoring;
Microphones & Acces.;MIDI Devices
& Sound Samplers; Noise Reduction
Systems; Recording Tape; Signal
Processors; Tape Duplication; Tape
Machines, Analog; Time Code Synchronizers; Equalizers
Lightning Music & Sound, Inc., 7801
N. Lamar, Suite 8148, Austin, TX,
78752
(512- 451 -6535)
TX,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers: Loudspeakers, Studio Monitoring
&
Sound Reinforcement; Microphones
Acces.;MIDI Devices & Sound
Samplers; Noise Reduction Systems;
Recording Tape; Signal Processors;
Synthesizers & Keyboards; Tape
Machines, Analog & Digital; Time
Code Synchronizers
&
Lightning Music & Sound, Inc., 4801
Spring Valley, Suite 103A, Dallas,
TX, 75244 (214- 387 -1198) TX,
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers; Loudspeakers, Studio Monitoring &
Sound Reinforcement; Microphones
& Acces.;MIDI Devices & Sound
Samplers; Noise Reduction Systems;
Recording Tape; Signal Processors;
Synthesizers & Keyboards; Tape
Machines, Analog & Digital; Time
Code Synchronizers
Midcom, Inc., 631 1 B, O'Connor Road,
Suite
108, LB50, Irving, TX,
P.A.S. (Professional Audio Supply),
5700 East Loop 820 South, Fort
TX,
76119 -7050
Worth,
(800- 443 -7668) USA, Amplifiers, Consoles; Equalizers; Loudspeakers; Microphones & Acces.;
Noise Reduction Equipment; Recording Tape;Signal Processors; Tape
Duplication; Tape Machines, Analog;
Test & Measurement Equip.
The Pressing Plant, 2727 Irving Blvd.,
(214 -630-
75207
Dallas,
TX,
6401)
USA, Compac
Disc; Cassettes; Albums; Jackets & Boxes
Linden Inc., 229
andria,
City,
MD,
DC,
VA,
Main,
S.
84115
UT,
phones & Acces.;Noise Reduction
Reinforcement;
Sound
Microphones
&
Acces.; Tape Duplication
Straight Wire Audio,
22204 (703- 979 -1990)
USA,
Consoles, Recording & Production;
Equalizers
(206-
98007
WA,
forcement; Equalizers; Loudspeak-
Reinforcement;
Sound
ers,
Reinforcement & Monitoring;
ID,
(206WA,
OR,
Professional Audio Recording Equip-
AudioLine, Inc., 2323 -J Bluemound
Waukesha,
Road,
(414- 785 -9166)
WI,
53186
IL, IN,
IA, KS,
KY, MI, MN, MO, MT. NE, ND, OH,
OK,
OR, TN,
WI, WY,
Amplifiers;
Consoles, Recording & Production;
Equalizers;
plers;
Monitoring; Microphones & Acces.;
Tape Duplication; Tape Ma-
sors;
Noise
Tape; Signal Processors; Synthesiz-
chines, Analog & Digital; Time Code
ers;
Synchronizers; Installations
chines,
Trax Audio, 545 West 500 South,
Suite
Bountiful,
D,
(801- 298 -3280)
84010
UT,
AZ, CO, ID, NV,
NM, UT, WY, Amplifiers; Consoles,
Production
Recording,
Reinforcement;
Equalizers;
&
Editing
Sound
Systems;
Loudspeakers,
Sound
Reinforcement & Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers;Noise Reduction
Systems; Recording Tape; Signal
Reduction :Recording
Tape Duplication;
Analog;
Tape Ma-
Time
Code
Loudspeakers,
Studio
MIDI Devices & Sound Samplers;
-
Noise Reduction Systems; Recording
Tape; Signal Processors; Tape Machines, Analog; Time Code Synchro-
Synchronizers
nizers
Northmar, Inc., 1011 N.E. 69th, Seattle, WA, 98115
(206.524 -5170)
AK, ID, MT, OR, WA, Amplifiers;
Consoles, Recording, Production &
Reinforcement;
Sound
Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring;Microphones &
Acces.; Noise Reduction Systems;
Signal Processors
Callan's Skogmo
Store,
dba Bear
Creek Sound,
1
Durand,
54736 (715 -672-
8750)
WI,
13 -1 15 W. Main St.,
MN, WI, Amplifiers; Loud-
speakers, Sound Reinforcement
Full Compass Systems, Ltd.,
Seybold
Road,
6729
Madison,
WI,
53719 -1393 (608-271-1100)
USA, Amplifiers; Consoles, Record-
Key-
Pacnor Marketing, Inc., 21026 67th
ing, Production & Sound Reinforce-
boards; Tape Duplication; Tape Ma-
Ave. W., Suite E, Lynnwood, WA,
ment; Editing Systems; Equalizers;
chines; Analog & Digital; Test &
98036 (206- 771 -6016)
AK, ID,
Loudspeakers, Sound Reinforcement
Measurement Equip.; Time Code
MT, OR, WA, Amplifiers; Consoles,
& Studio Monitoring; Microphones &
Synchronizers
Sound
Processors;
&
Synthesizers
VERMONT
Reinforcement; Loudspeak-
Acces.;Noise
Reduction
Systems;
ers, Sound Reinforcement & Studio
Recording Tape; Signal Processors;
Monitoring; Signal Processors; Wire
Tape Duplication; Tape Machines.
Analog & Digital; Test & Measure-
& Cable
ment Equip.; Time Code Synchroniz-
75039-3510 (214 869 -2144)
sociates, Inc.), 333 Westlake Ave.
AR, LA, OK, TX, Amplifiers; Con-
(802- 863 -8652)
N.,
WA,
98109 -5282
soles, Recording,
Production &
Sound Reinforcement; Editing Sys-
ers; Consoles, Recording & Sound
(206- 622.7850)
AK, ID, MT, OR,
Reinforcement; Equalizers; Editing
WA,
Systems; Loudspeakers,
Reinforcement;
Recording Engineer/Producer
AK,
Microphones; MIDI Devices & Sam-
PNTA (Pacific Northwest Theatre As-
80
98155
WA,
362.0491)
Microphones; Tape; Signal Proces-
44
tems; Equalizers; Loudspeakers,
Sound Reinforcement & Studio
Monitoring; Microphones & Acces.;
MIDI Devices & Sound Samplers; Noise Reduction Systems; Recording
Tape; Signal Processors; Tape Duplication; Tape Machines, Analog &
Digital; Test & Measurement Equip.;
Time Code Synchronizers; Intercom
Systems; Wireless Systems; Headphones
Seattle,
Reinforcement & Studio Monitoring;
Church St., Burlington, VT, 05401
-
RMS Sound, 17517 15th Ave. N.E.,
WISCONSIN
cording
Loudspeakers,
Tape
Duplication;
ment
American Music, 14340 N.E. 20th,
Bellevue,
Tape
Machines, Analog; Time Code Syn-
chronizers
(SWA),
4611 Columbia Pike, Arlington, VA,
Inc.
Consoles, Recording & Sound Rein-
Sound
Sound
Systems;
Loudspeakers,
UT, WY, Amplifiers; Consoles, Re-
&
&
Equalizers; Micro-
forcement;
641 -5005) AK, WA, Amplifiers;
Equalizers;
Production
Reinforcement;
Amplifiers; Consoles, Sound Rein-
CO, ID, MT, NV,
(801- 466 -3196)
No. -ID, West -MT, OR, WA, Consoles,
Recording,
WASHINGTON
Performance Audio, 2358
Lake
22314 -2436
(703- 549 -4424)
UTAH
Salt
Henry St., Alex-
N.
VA,
Advance
Music
Center,
Inc.,
USA,
Amplifi-
Studio &
Reinforcement, Microphones; MIDI;
Noise
Reduction;
Recording
Tape;Signal Processing; Synthesizers;
Tape Duplication;
Tape
Ma-
chines; Time Code Synchronizers
Seattle,
December 1987
CANADA
Amplifiers; Consoles; Sound
Equalizers;
Loud-
speakers, Sound Reinforcement; Mi-
Erikson Music Reg'd., A Div. of JAM
Industries Ltd., 111 Granton Drive,
& Acces.;Specialize in
Suite
sound reinforcement systems for
Ont.,
crophones
404/406,
Richmond
Canada Canada,
Hill,
Amplifiers;
Consoles, Recording, Production &
stage & theatre use
Sound Reinforcement; Editing Sys-
Reptronics Northwest, 911 Western
Ave.,
VIRGINIA
ers; Video Equip.; Lighting Equip.
98104
Suite
334,
tems;
Equalizers; Microphones
&
Seattle,
WA,
Acces.;MIDI Devices & Sound Sam-
(206- 624 -2790)
AK,
plers; Tape Machines, Analog; Signal
Processors;
Synthesizers
&
Key-
boards; Time Code Synchronizers
Erikson Music Reg'd., A Div. of JAM
Industries Ltd., 378 Isabey, St. Laurent,
Que.,
Canada
(514- 738 -3000)
H4T
Canada,
1W1
Am-
plifiers; Consoles, Recording, Pro-
duction
&
Sound Reinforcement;
Editing Systems; Equalizers; Microphones & Acces.;MIDI Devices &
Sound
Samplers;
Tape Machines,
Analog; Signal Processors; Synthesizers & Keyboards; Time Code Syn-
chronizers
TAPE MACHINE TESTING
AND LOTS MORE!
Tape machine testing is just part of Audio Precision System Ones
repertoire. For tape, System One does:
response on stereo machines -or multi- tracks
to 192 tracks
distortion across the entire spectrum
wow and flutter, rotational and scrape
MOL
SOL
separation (worst -case crosstalk on multi- tracks)
azimuth adjustments
phase vs frequency
gap scatter on multi- tracks
spectral analysis of noise
ANALOG TAPE: System One tests VTRS, ATRS, reel -to -reel, cart. cassette
Erikson Music Reg'd., A Div. of JAM
Industries Ltd., 3496 Vanness Ave.,
Vancouver, BC, Canada V5R 5A9
Canada, Amplifiers, Consoles, Re.
cording, Production & Sound Rein.
forcement;
Editing
Systems;
Equalizers; Microphones & Acces.;MIDI Devices & Sound Samplers;
Tape Machines, Analog;
Signal
Processors; Synthesizers & Keyboard; Time Code Synchronizers
formats -two or three head -using tapes you make or standard
reference tapes, even with voice between tones.
distortion levels make it
the selection of the leading manufacturers of digital recording systems. Try measuring the -85 to -90 dB distortion 16 -bit PCM systems
with a test set with -75 dB residuals!
DIGITAL TAPE: System Ones -100 dB (0.001%)
AND LOTS MORE: Audio Precisions System One tests all audio equip-
tems;
ment in your inventory- compact disc players, consoles, power
amps, distribution amplifiers, switchers, transmitters. Even acoustical
tests on loudspeakers and microphones.
Features such as:
three forms of imd including transient
complete, automatic custom test procedures
created without knowledge of programming languages
fast on- screen graphic or tabular results
low -cost graphic hard copy via dot matrix printers
make System One the most powerful choice in audio testing.
Sound
Call or write Audio Precision today for
Gerr Electro Acoustics Ltd., 363
Adelaide Street E., Toronto, Ont.,
Canada, M5A 1N3 (416 -8680528) Canada, Amplifiers; Consoles,
Recording,
Production
&
Sound Reinforcement; Editing Sys-
Equalizers; Loudspeakers,
Reinforcement & Studio
Monitoring :Microphones & Acces.;
Noise Reduction Systems; Signal
KeyProcessors;
Synthesizers;
boards; Test & Measurement Equip.;
Time Code Synchronizers
Gerraudio Distribution Inc., 363 Adelaide Street E., Toronto, Ont., Canada,
M5A
1N3
(416- 361 -1667)
Canada, Amplifiers; Consoles, Recording, Production & Sound Reinforcement; Equalizers;Microphones
prices on System One
complete technical data and
Audio
precision
Box 2209, Beaverton, OR 97075
503/627 -0832 1- 800/231 -7350
P.O.
& Acces.; Signal Processors; MIDI
Devices & Sound Samplers
Gould Marketing Inc., 6445 Cote de
Liesse, Montreal, Que., Canada, H4T
1E5 (514- 342 -4441) Northwest
Territory,
Amplifiers;
Consoles,
Sound Reinforcement; Equalizers;
Loudspeakers, Sound Reinforcement
& Studio Monitoring; Microphones &
Acces.; Signal Processors; Tape Duplication; Tape Machines, Analog &
Digital
The Imaginative Marketing Group (A
Soundcraft Canada Subsidiary),
1444 Hymus Blvd., Dorval, Que.,
1J6 (514 -685Canada, H9P
2046) Canada, Consoles, Recording, Production & Sound Reinforcement; Amplifiers; Equalizers; MIDI
Devices & Sound Samplers; Signal
Processors
Continued on page 102
Circle (59) on Rapid Facts Card
Selecting Accounting
Software for Recording
and Production Facilities
By Robert Carr
A carefully chosen accounting package can increase the efficiency
of your studio and allow you to have maximum control over your money.
The primary concern of an owner /operator of a recording and production facility
is probably cash flow: keeping money corning in to pay salaries and day-to-day bills.
For this reason, accounting principles and
bookkeeping are usually the first business
skills that engineers and musicians have to
learn when they open their own studios.
Surprisingly, a large percentage of studios
continue to maintain their books by hand,
even when the workload approaches "out
of control" levels. In many cases, studio
operators are just not sure how to automate
their accounting functions. Rather than
making their record -keeping work a valuable asset, they or their employees spend
most of their time reacting to small daily
financial crises: scrambling to track pastdue accounts; forgetting to pay important
fees or payments on time; spending hours,
and sometimes days, developing net worth
and net income statements to get a bank
loan; and so on.
Certainly, modest operations handling
just a few clients may find that converting
to a computerized accounting system is just
not worth the effort. The time required to
enter and manipulate data and then generate small reports can be more time consuming than doing the books by hand,
especially if you're not good at using a
typewriter -style keyboard. But if your
recording studio is growing, and you
already feel the pressure, then an automated accounting system can save time
Robert Carr is an administrator of computer -based projects
with software publisher Ashton-Tate.
82
Recording Engineer/Producer
and money, as well as provide your clients
with peripheral services that will make
them want to come back for more.
Benefits of an automated
accounting system
While the selection, installation and
maintenance of an automated accounting
system can easily seem overwhelming,
there are several important benefits that
make the investment worthwhile.
Many studios continue
to maintain their books
by hand, even when the
workload approaches
"out of control" levels.
Increased Financial Control. Assuming
that your studio employees keep your computer records up to date and accurate, an
automated accounting system helps reconcile any account with statements received,
a task that could take virtually hours to do
by hand. With a few keystrokes, you can
print summaries detailing the specific
sources of your cash, the amounts received
and the anticipated cash disbursements
(the amount of money you owe) for any
given period (the next week, last month, a
fiscal quarter, a full year, etc.).
December 1987
Such reports help you avoid unnecessary
late finance charges that drain your cash;
they warn you about clients who owe you
money but haven't paid on time; they highlight inconsistencies in charges from vendors; and generally give you complete
control over your money.
Faster Processing Time. Studio accounting functions can be accelerated to track
and process larger amounts of data in
shorter amounts of time. The extra time
frees your employees to do other tasks, or
to provide additional services to session
clients, which can then be billed to generate additional revenues.
Better Decision Making. With the right
data available to the user (net worth statements, graphs of seasonal fluctuations in
business, charts indicating current/
projected rate of growth), you can make
better strategic management decisions
with regard to facility expansion, equipment service contracts, lease vs. buy agreements, etc.
What is accounting software?
The jargon of an accounting world, coupled with the complexity inherent in computer hardware /software, can sometimes
make automated accounting seem like "the
right decision for the other guy, but not for
me:' From a software point of view, the layout of a computer accounting system is
really quite simple.
Generally speaking, an accounting package is a relational database program with
arithmetic capabilities. At the heart of the
accounting package are several data files.
ACCOUNTS
SMILE
Data are entered into these files by filling
in customized input screens that appear on
your CRT display. For convenience, the
input screens are usually designed to
resemble typical accounting forms or layouts that appear in ledger books. In this
way, the operator can make obvious associations between the automated system and
manual methods.
Because the database is relational, data
in the files can be manipulated in powerful
ways. Individual pieces of data input to the
same on- screen form via the keyboard can
automatically be analyzed and sent to the
appropriate files for storage. Data can be
passed from one file to another. Specific
data can be pulled from several files and
sent to the screen (or to a printer or a
separate data file on floppy disk) in the
form of a customized report.
In all these cases (data input, manipulation and output), the functions are simply
routine capabilities of relational databases.
The only major difference between a relational database and an automated accounting program lies in how these capabilities
are presented to the operator.
In some smaller accounting packages,
two or more of the sample data files may
be combined into one file to keep the accounting program simple and compact
enough to run on smaller PCs. These
types of programs also limit the number of
input -screen designs and report forms to
include only those most commonly requested by small businesses.
As a business grows in complexity,
however, the demands on the system
increase as well. Studio managers may find
that they want a greater variety of specialized reports. As more aspects of the business are put on computer, so the number
of specialized input- screen layouts
increases. And the sheer volume of data to
be processed requires that more and more
routine functions be done automatically by
the computer, rather than being initiated
each time by the operator.
All of these considerations require
greater computer memory capacity to hold
the program and the stored data.
Unfortunately, as program files and data
files increase in size, the time required to
carry out typical operations increases. To
reduce the processing time of the computer
to acceptable levels, the software developer
usually chooses to break the files down into
smaller, more specialized groupings, as can
be seen from Figure 1.
The same approach is also followed for
the program files. Common functions and
processes are grouped together, which is
why you see accounting programs sold by
the module. All input screens, functions and
custom reports that relate to Accounts Pay-
o
a
Figure
1. General relationship between various modules in a typical accounting software package
to their respective data files. All transaction data is stored in files on floppy or hard disk, with each
file holding data relating to a specific topic. (For example: client, vendor or inventory information,
etc.) The relevant data are accessed via software modules that specialize in handling Data Entry
screens, operations and report formats of a similar nature. (For instance: Accounts Payable functions, Payroll functions. General Ledger functions, etc.)
able, for example, are included in the A/ P
module. All input screens, functions and
reports that relate to Payroll are included
in the Payroll module, and so on. (The side-
bar Typical Accounting Modules provides
breakdown of the types of available modules, and how they would be used in a
recording studio.)
Not all businesses need all the available
modules. The basic financial functions
required by most businesses include
accounts payable (A /P), accounts receivable (A /R), payroll and general ledger
(G /L). These functions can be included in
one package (with limited features and
capabilities), or each localized to its own
dedicated module.
Typical accounting features
Accounting, like most disciplines, has
evolved its own jargon which, to outsiders,
may appear to be quite foreign. The transfer of accounting functions to computers
has further complicated the terms used to
describe specific processes and procedures.
The following words of explanation
should shed some light on the more common features you may want to include in
the system for your studio.
1. Audit trail is a simple and dependable
way to follow the path or progress of a trans-
action through the accounting system to
allow the operator to verify all entries
related to that transaction. An audit trail
also protects your data from tampering by
preventing someone changing or deleting
important records without following
prescribed security procedures.
2. Password protection is the ability to
require passwords for access to various
parts of your accounting system, and prevent unauthorized personnel from reviewing or altering sensitive information. Access
can be controlled for an entire module or
for specific operations within a given module (e.g. in the Accounts Receivable module, access levels might be: a. enter invoices
only; b. enter and edit invoices only; c.
enter, edit and approve invoices to payment; or d. perform all previous operations,
plus Period End Close.
3. Automatic posting allows each module
to automatically update companion modules at user-defined intervals (such as
immediately, daily, weekly, monthly or
quarterly). This capability means that the
operator doesn't have to re-enter data into
each module for every new transaction.
4. Custom report generation is useful
because not all businesses require the same
types of data laid out the same way. The
ability to define the look and content of
December 1987
Recording Engineer/Producer
83
7ÿpical accounting modules
Full-scale accounting programs
are laid out in subsystems called
modules. The four most commonly
used modules are general ledger
(G /L), accounts payable (A /P),
accounts receivable (A /R), and
payroll. Whether you need any
other modules will depend on the
individual requirements ofyour studio business.
The following is a brief overview
of several types of accounting modules, and the services they are
intended to provide:
Accounts receivable keeps track
of the amount of money clients owe
you.
Accounts payable keeps track of
the amount of money you owe to
your vendors and suppliers.
Payroll keeps track of the amount
of money you have to pay your
employees, and the deductions
(taxes, social security, etc.) required
by law.
General ledger provides a summary ofall the previous information
for given periods of time (month,
quarter, year, etc.).
Remote banking module links
your PC with your bank's computer
so you can do banking transactions
from your office or studia
Built-in word processing is useful for generating sales and collection letters, maintaining mailing lists,
etc.
Job costing price lists might be
worth considering if you extend
courtesies to preferred clients,
actively maintain two or more price
lists, or follow a particularly
involved logic for calculating session
costs. Evaluate this software module
for file size, and for the number of
available pricing categories.
Sales order (session data) entry
can be the real test of a program's
quality because so many other functions are tied to it. Ideally, order entry
should generate a traffic order to
alert all personnel (engineers, technical staff, sales people, etc.) that a
session is scheduled for a certain
time, and that specific people, equipment and services are required. It
should automatically update inventory files to subtract reels of tape
used; track equipment that is rented
and installed for the session; automatically flag pieces of requested
equipment that are not available in
house and need to be rented from an
outside vendor; flag double bookings, and so on. The module might
also generate an invoice with a
detailed list of services and equip-
84
Recording Engineer/Producer
ment provided for specific lengths of
time or specific dates; update the
Accounts Receivable file (to bill the
client); and update the General
Ledger file (to provide a full financial
snapshot of business over a given
period).
Time accounting (or project
tracking) follows the lengths of sessions for accurate computation of
billings at hourly rates.
Inventory is the reason many facilities automate their operations. If
you have a retail or rental business
(musical instruments or pro-audio
gear) along with your studio, this
module can help you track your
stock. Depending on the program's
functions and capabilities, it may
also be able to handle the contents
of your tape vault.
Fixed assets tracks all depreciable assets over a certain value (like
$500 or $750 per item). The module
automatically calculates depreciation and transfers that debit to the
general ledger file; it can also be used
to track equipment.
Purchase order generates POs
for buying new equipment and supplies and keeps track of what has
been ordered, when it's supposed to
arrive and item descriptions. This
module should talk to the accounts
payable module and, ideally, with
the fixed-asset module for purchases
of depreciable capital equipment.
Retail system is similar to order
entry and probably unnecessary for
most studio operations. But for those
occasional retail businesses
music or pro -audio store that does a
cash -and-carry business in addition
to operating a recording studio -the
RS module will update files via direct
data entry at the cash register. Keep
in mind that retail systems usually
add considerably to the equipment
cost of automating. But, depending
-a
on the over-the-counter sales activity,
they can pay for themselves many
times over by quickly pointing out
discrepancies between cash amounts
and inventory movements, which
can deter employee theft.
Commission reporting computes commissions of salespeople.
Be sure the module figures the commission the way you usually da
Service contracts is intended for
people in the rental or sales business
who provide equipment service. It
also helps schedule preventive maintenance calls, alerts you to contract
expirations and keeps track of service department hours and revenues.
December 1987
your reports according to your requirements can save you time and help eliminate
costly misinterpretations of data.
5. Intuitive design is a rather arbitrary
aspect of a program that depends a great
deal on your current methods of operation.
The key here is to clearly define the way
you operate your accounting procedures
now, and find a program that follows those
procedures as closely as possible. The program should be organized in a way that's
familiar to you and your staff, with onscreen menus that are easy to understand
and follow.
6. Stand-alone Modules means that each
module should operate independently. If all
you need at first is a general ledger module, it won't be too much use to you if it
requires an A / P module and an A /R module to operate. Also make sure that you can
add more modules painlessly as your business grows, and that all the modules you
might possibly need are available. An A/P
module from one company, however, probably won't work with a general ledger module from another company.
7. Search on incomplete data is the ability to scan the database for specific records
based on incomplete data, such as the first
three letters of a client's name, or by the
date of a session.
8. Simultaneous access to multiple dataentry screens or files is best explained by the
following example: suppose you have
finished entering the specs on an upcoming session and the computer refuses to
accept it because there is no record created
for that specific client. Some programs
force you to back out of that data-entry
mode, access another menu option, create
a client data record and then re -enter your
session data again.
Obviously, programs that let you put the
first screen on hold -but without dumping
your data -while you quickly build the
client record are a big advantage.
9. Multiple profit-center tracking and consolidation is useful if your business corn prises multiple, but separate, profit centers/
companies (equipment and instrument rental, sound reinforcement services, recording studio, tape duplication services, etc.).
If so, check to see whether the software can
handle multiple sets of records and then
merge summaries of financial activity from
each company into one consolidated report
on a periodic (monthly, quarterly or yearly)
basis.
How to choose a system
In the December 1986 issue,
I
outlined
several factors to consider when automating a recording studio operation. All of
those same parameters also apply to
choosing accounting software. However,
there's an additional couple of other points
that need to be kept in mind.
Take a long, close look at your current
accounting procedures. Involve your
employees in writing down the structure of
your business, and all the data you have to
record, track and analyze for efficient studio operation. Develop an application
diagram -a chart that visually describes
the data you usually record, the paths the
data follow as they travel through your system, and the types of reports you'll need to
meet various needs. This activity will also
help you identify any "unique needs" your
studio may have. And it certainly wouldn't
hurt to talk with other studio owners and
find out what their thoughts are, or what
programs they may have tried or purchased
for their rooms.
These activities may seem like a waste of
time, but I cannot stress their importance
too much. Most studio personnel think they
know all about the businesses they own or
operate. Too often, however, they're quite
surprised to discover that they have many
holes in their accounting procedures, or
that they really don't understand the entire
accounting process.
Remember, you don't want to pick a package just because it has the friendliest style
of operation, or has the most functions, or
is the most well known. The planning, lists
and diagrams you create will help you
evaluate a given software package for its
applicability to your own recording studio
business.
Keep in mind that it's not unusual to
spend eight to 10 hours looking at the features of a single business accounting package. In fact, two or three visits may be
necessary to fully grasp the functionality of
a package under evaluation. You may even
want to do some benchmark testing for performance of the software packages that
look promising. (An accounting program
with 1,000 or 5,000 records can seem like
a totally different system than the one that
sorted and processed 25 records in lightning speed during the demonstration.)
Preliminary analysis of your needs and
preferences can help narrow down your
options to just one or two software packages, and ensure that the time you do spend
at a demonstration is used wisely.
Definitely deal with a full- service vendor;
one that sells solutions to situations rather
than just hardware and software. Because
such dealers are rare, also do some homework here. If you have an accountant now,
I recommend that you take advantage of
any expertise he or she has in this area.
Many CPAs have already automated their
own businesses, and have set up consulting
services to help their clients automate their
accounting functions. Working with such
an accountant might offer the added
benefit of your being able to transport data
to his or her office electronically at regular
intervals for analysis and auditing, thus saving time (no data re- entry), and providing
faster turnaround time for analysis and
advice.
Finally, everyone who will operate the
system should be involved in the process of
deciding how the system will be used and
which system will be purchased. Their participation will help break down any fears or
resistance they may have to automation.
Then, once they're working on the system,
listen to their feedback. They will probably
be the first to realize whether or not the system is right for your business. If it's not,
think seriously about changing to another
system, rather than proceeding with the
original system, which may cause untold
frustration and cost you even more money
when you finally have to switch at a later
date.
The accounting package you choose for
your recording or production facility will
become the foundation for all your business
operations. I'm sure you wouldn't continue
to work with studio monitors or a tape
recorder that didn't perform up to your
expectations. Why trust your finances to
anything less than state -of- the -art
perfection?
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December 1987
Recording Engineer/Producer
85
Hands-on
Yamaha DMP-7 Digital
Mixing Processor
By Paul D Lehrman
Signal path
Wth the Yamaha DMP-7, MIDI-controlled
automated mixing and signal processing
seems finally to have come of age. In
one package, the DMP-7 combines an
8x2 mixer, eight channels of parametric
equalization and three digital effects
processors, all operating completely in the
digital domain.
Add to that the most comprehensive
MIDI control ever implemented in a piece
of hardware and a user interface radically
different from any other mixer on the market and you can understand why the DMP-7
has been garnering tremendous interest
since its introduction last fall.
But because it is such a major departure
in console design, the unit has been raising
just as many questions as eyebrows. The
device explores areas of manipulation and
control that most people have never even
thought about, much less demanded.
Therefore, any review of it has to explain
first what it does, and why.
System configuration
with, the DMP-7 is a mixer, with
eight inputs, two outputs, one effects send
and a stereo effects return. The inputs are
unbalanced, high- impedance, with continuous trim controls that allow them to be
used with source levels from -20dBv to
+4dBv. The effects send and returns are
unbalanced and fixed at a nominal output
level of +4dBv. The outputs are also
+4dBv, but there are two sets: unbalanced
15kí1 and balanced 60051. There is also a
headphone output, which comes directly
off the main stereo output, and has no
independent level control of its own.
There are eight main faders (which serve
multiple functions, as we shall see later), an
effects return fader and a main stereo output fader. Above each fader is a button that
To begin
Paul Lehrman is
RE/Ps electronic music consulting editor
and is a Boston-based electronic musician, producer and
free -lance writer.
86
Recording Engineer Producer
r' r' r'
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turns the channel on and another, labeled
"Select that accesses the subsidiary functions of the channel, pan and equalization.
It also instructs an 8- segment peak-reading
LED to read that channel's input level.
There are similar displays for send level,
and left and right output levels.
All other functions are handled by a bank
of buttons and a single "data entry" slider
at the right side of the unit. Two of the buttons, marked with up- and down -arrows,
duplicate or complement the action of the
data slider and have a "repeat" function
when held, with a very smooth acceleration characteristic when held longer. All of
the faders and the data entry slider are
motorized, the significance of which I'll get
to later on. There is a jack for a foot pedal,
which can be used to duplicate either the
master stereo fader or the data slider.
There are various indicator lights all over
the unit showing the status of many of the
functions and controls, and a large 2 -digit
red LED above the faders for showing program numbers. The bulk of the unit's functional information, however, is displayed on
a two-line by 16-character lighted LCD, similar to that found on a digital synthesizer in
the upper right corner.
December 1987
'
When a signal reaches one of the DMP-7's
inputs, it passes through a single amplification stage, and is then immediately converted to a 16 -bit linear digital signal
sampled at 44.1kHz. It then goes through
a 3 -band equalizer with each stage providing +15dB of gain. The low band ranges
from 32Hz- 800Hz, in either peaking or
shelving mode, with adjustable bandwidth
(in peaking mode only) of 0.1 -5.0; the mid band EQ covers 250Hz to 8kHz with
adjustable gain and bandwidth; and the
high band covers 1 kHz to 18kHz, peaking
or shelving.
After equalization, the signal's phase can
be inverted, and then it passes through the
main channel fader, through one or more
effects loops (which I'll get to in a moment),
and then on to the stereo mix bus through
a I6- position programmable pan control.
At the main output stage is a "compressor"
(actually a limiter) that provides a kind of
digital level- chopping across the output
signal, which is adjustable from 0% -100 %.
Also at this stage are 8 -pin input and output DIN jacks labeled "cascade, which
allow multiple DMP-7s to be linked together
while staying within the digital domain.
Finally, the stereo signal is passed through
a digital -to-analog converter and sent to the
outside world.
The range of effects available on the
DMP-7 is impressive. There are three
independent effects loops, the first two
featuring 17 different programs, comprising six reverbs (including gated and
reverse), two flangings, three chorusings,
phasing, tremolo, two early -reflection programs and two straight delays. The effects
are highly reminiscent of, without being
identical to, those produced by Yamahas
SPX-90.
There are default values for all of the
effects which sound perfectly good, but the
user can also adjust each parameter of each
effect individually. The third effects bus has
only four of these effects, plus an auto panning feature, but it is through this bus
that the external effects loop passes. When
the external loop is enabled, the internal
effects on the bus are disabled, but an extra
set of EQs (low, mid, and high) is available
for the stereo returns.
Although there is a return fader, there are
no effects send controls immediately visible on the DMP-7. Instead, there are three
buttons marked "Send E' "2ï and "3;' and
selecting one of them causes the return
fader to physically move (remember, all of
the faders are motorized) to the position
appropriate for that particular bus. Pressing a button marked "Fader Flip" turns the
eight main faders into effects sends for the
selected bus, and makes them all march
obediently to their proper positions for this
function. Indicator lights above the faders
show whether they are in normal or effects send mode, and if the latter, which of the
three buses is being worked on. Another
switch allows each of the 24 effects sends
to be pre- or post- fader.
Changing settings
This approach to console design makes
the control surface look very clean and
uncluttered, but it means a certain amount
of gymnastics have to be accomplished to
change some settings. To adjust, for example, the center frequency of the mid -range
EQ on channel 2, you have to first press the
"select" button above fader 2, then press
one of the three EQ buttons at the right.
Then, when the parameters for the
equalizer appear in the LCD window, press
a button marked with a right arrow until the
frequency parameter starts to blink. (Each
time you change the parameter, the data
slider moves to the appropriate position
this thing is a little scary to watch sometimes.) Then you move the data slider or
press buttons marked with the up and down
arrows to get to the value you want.
Changing effects parameters is even
more complex. Each effect can have up to
eight adjustable parameters, which means
two display "pages" of values to step
through, and many of the parameters have
double -precision values, so that the data
slider does coarse adjustments while the
arrow keys handle fine adjustments.
-
MIDI
register by pressing a button marked
"Store" You can also assign to each memory
register a name, which will appear in the
LCD whenever it is recalled. (The character set available for the names not only contains a full Roman alphabet, numerals,
umlauts, 28 punctuation marks and four
graphics elements, it also has 50 Kanji
characters.)
A memory can be called up by dialing its
number into the LED display with a pair of
up- and down -arrow switches (which are
different from the switches used for
parameter adjustment), and pressing
"Recall :' or it can be accessed via a MIDI
program change. There is no direct or
a
default one -to -one correspondence
between MIDI program numbers and
memory numbers, however -you have to
go into a special mode that lets you "map"
program- change numbers to memory
numbers.
The time the unit takes to move from one
memory to another is controlled by the
"fade -time" parameter, accessed from the
"utility" button, which is adjustable from 0.1
to 10 seconds. (Unlike the Akai MPX-820,
reviewed in these pages in May, the fade
time is not stored as part of an individual
memory, but is constant.)
The second MIDI mode lets you map
MIDI controllers to specific parameters, so
that, for example, the foot pedal on a synthesizer can operate the Q of the mid frequency equalizer on channel 6. At the
risk of repeating myself, every parameter
on the board is assignable, including all the
individual equalization and effects controls,
channel ons and offs, pre- and post -fader
effects switches, and even the fade time.
There are no scaling or offset controls for
these parameters- sending a controller
value of 128 will always set the assigned
parameter to its maximum value, and sending a controller 0 will set it to minimum.
Of course, when MIDI data is received,
any faders being controlled externally will
move to their proper positions, and if the
data slider happens to be set to act on a
parameter that is being MIDI -controlled, it
will move as well.
Third mode
The third mode lets you assign MIDI Note
numbers to individual parameters, with the
velocity of incoming notes (0 to 128)
determining the parameter values.
The MIDI implementation works in both
directions-the DMP-7 generates MIDI
information as well as reads it. When a
memory register is called from the front
panel, and there has been a program
change assigned to that memory, then the
program change will be transmitted over
HDL'-B
up
ON THE ROAD
TYPE 85 FET DIRECT BOX
control
As if all this weren't enough, the DMP-7
allows every onboard parameter to be controlled by MIDI. Essentially, there are three
MIDI modes, although because they can all
work together simultaneously, the distinction between them is a little blurred.
One mode is to call up the unit's internal
"scene change" memories with MIDI program changes. There are 98 storage
registers (30 in internal RAM, the others on
a RAM cartridge), and the setting of every
parameter on the unit can be recorded into
4
.
ASSOCIATES INC.
COUNTRYMAN
424 STANFORD AVE.- REOW000 CITY, CA.- 94063-PHONE 415-364 -9908
Circle (80) on Rapid Facts Card
December 1987
Recording Engineer ?roducer
87
Technical Specifications:
Inputs: 15kí1, -20 to
+ 4dBu nomi-
nal, unbalanced.
Outputs: +4dBu nominal, 600e
balanced and 15kfl unbalanced.
Dynamic range: 88dB.
Frequency response: 22Hz-20kHz,
± PidB.
Total harmonic distortion: 0.03%
at ¡kHz, maximum output.
Digital conversion: 16-bit linear
PCM, 44.1kHz sampling rate.
Equalization: 3 -band, 32Hz800Hz, 250Hz-8,000Hz, 1 kHz 18kHz, ± 15dB, peaking or shelving (except mid-band), Q variable
from 0.1 to 5.0.
Effects: Four reverb, two flange,
two chorus, phasing, two tremolo,
two early reflections, two gated
reverb, two stereo delay, autopans.
Three independent effects loops, one
external.
Memories: Thirty internal, 67
on data cartridge. All settings
memorized.
MIDI control: Program change,
controller change, note-ons. System
exclusive dump available.
Displays: Four 8- segment LED peak
meters, 2-digit numeric memory indicator, 16- character x 2-line backlit
parameter display.
Dimensions: 18%" x 5jß" x
LCD
17%,"
rack -mountable.
Weight: 23.1 lbs.
Power consumption: 85W.
Circle (99) on Rapid Facts Card
MIDI. Likewise, it a MIDI note and /or controller is assigned to a fader or parameter,
then changing that parameter from the
front panel will cause the note or controller
change to be transmitted.
This means that both scene changes and
individual fader moves can easily be
recorded in a sequencer, and overdubbed,
edited, and played back just like a synthesizer track. All of these functions are
switchable -you can toggle separately the
transmission and reception of controllers,
notes, or program changes. (The unit can
be set to read any MIDI channel, or in Omni
On mode. It transmits on the same channel
it's reading, and when it is in Omni mode
it transmits on channel 1.)
Any MIDI data sent to the mixer, which
the mixer is configured to respond to, can
be echoed back out again to the MIDI Out
jack (there is also a standard MIDI Thru
jack). I'm not sure what this feature is for,
except perhaps for ganging two DMP-7s.
There is no "Local Control Off, so there is
no easy way to use the device as a controller
for other MIDI equipment, without affecting its own settings. On the other hand,
there's a clever scheme -sort of an auto-
88
Recording EngineerProducer
mated punch mode-for using the device
to edit its own sequenced tracks, if you happen to be using it with a sequencer which
does not edit tracks easily, like Yamahas
QX5.
Should you get in the way of a moving
fader or slider, and try to make it stop, one
of two things can happen, depending on the
setting of a button marked "auto/manual:'
In the manual mode, the fader will attempt
to finish its "electrical" motion (i.e., the level
will continue to change), pause for about
a second, and then adjust the signal level
to match the physical position at which
you're holding it. In the auto mode, the
fader will ignore you electrically, and
politely but quite firmly insist on finishing
its physical motion as soon as you let go
of it.
Finally, there are four separate MIDI configuration "banks' each with its own unique
MIDI assignments (including channel),
which can be switched among at will. Of
course, all of the internal settings can be
bulk dumped and /or loaded over MIDI
system -exclusive, and software to do all the
mapping and editing off -line will soon be
available from several companies, including Digital Music Services and Digidesign.
In -use
A few minutes' thought will show that the
potential uses of the DMP-7 are enormous.
Yamaha itself has said that it didn't have a
particular use in mind for the device when
it was introduced, but the most obvious
application would be as a synthesizer mixer
in a sequencer -based production studio.
With good sequencing software (especially
the new breed that allows graphic controller editing and definable controller density), the unit can be made to accomplish
some rather astounding feats.
On the minus side, however, there are a
lot of new concepts to get used to, which
will make the unit less than easy to learn
for some. And more important drawbacks
are that there are some design trade -offs
that limit the devices true utility, and there
are some other design decisions that just
seem wrong.
Looking briefly at the audio performance
of the unit, the action of the D/A converters
is good, showing a little bit of high frequency rolloff as input levels approach
the saturation point. Even when the built in digital output limiter is turned off (and it's
not a bad idea just to leave it off-except at
very low ratios, it doesn't sound very good),
there seems to be some kind of limiting
always in place, with the result that overloaded outputs don't sound quite as obnoxious as the board's digital nature would
have you expect.
Headroom is adequate, but you should be
careful with sources with excessive highfrequency content: at the " +4" setting of
the input trim, a 1,900Hz input signal will
December 1987
clip at a level of +18dBv, while at 20kHz the
clipping level goes down to about +3dBv.
As long as levels are kept down, frequency
response is dead flat.
The dynamic range is not quite the 88dB
claimed for it-my uncontrolled tests place
it at about 70dB-but it is far wider than the
majority of synthesizers that will be
plugged into it. The faders operate with
approximately 0.5dB resolution, but only
cover a range of about 35dB -at the bottom
of the fader travel, the signal level drops off
a cliff, landing at the noise floor some 35dB
below. Despite the finite resolution, the
fader action sounds exceptionally smooth.
Under MIDI control, the faders behave
beautifully. There's an interesting
phenomenon that occurs when the unit
receives a program change in which several
faders have to move simultaneously. The
physical movements of the faders do not
match each other -some faders will arrive
at their destinations well before others,
like those old wind -up horse race games.
Electrically, however, they all track each
other perfectly.
For some obscure reason, the fade -time
parameter affects not only program
changes, but controller and note velocity
changes to the faders as well. If the fade
time is set for 6 seconds, then any controller
change will take six seconds to have an
effect. Fortunately, the data buffer that handles incoming controller events operates in
a last-in -last -out manner, and therefore the
delays are not cumulative, or else a simple
sweep of a mod wheel could hang the thing
up for several minutes.
A completely befuddling effect that goes
along with this, is that if you alter the fade time parameter while a fader is moving
under MIDI control, the physical fader
movement will reflect the new fade time
(i.e., if you shorten the fade time, the fader
will move more quickly), but the electrical
fader movement will remain unaltered.
Weird.
The equalizers and effects buses are a
completely different story. Their action is
not smooth, but under many circumstances
is rather jumpy, and changing a parameter
while a signal is passing through often
results in an audible click. (This is especially
true with the effects, which is not unexpected.) The fade -time parameter has no
effect on parameter changes, but there is
a very troubling delay that occurs when
accessing a parameter over MIDI.
If only one command comes in, it gets
executed right away, but if a string of corn mands is received, such as that generated
by a modulation wheel, there will be a significant pause, sometimes 2 seconds or
more, while the unit seems to digest all the
data, before it starts to execute the
commands.
Furthermore, while it's digesting, the
board essentially goes dead-you can't
change any of the controls except the
faders. Fortunately, the storage buffer for
incoming MIDI data is not overly large,
maybe 100 commands' worth, so the queue
never gets too huge, and as mentioned
above, it operates in a last-in -last -out manner, so it doesn't slow things up too terribly.
The equalizers and effects behave rather
strangely with program changes as well.
Rather than changing smoothly over time
like the faders, the equalizer and effects
parameters jump immediately from the old
value to the new. If there is signal going
through one of the effects, it is unceremoniously dumped with a loud pop,
and equalizer changes can also sound
after you've moved it is nearly impossible.
This also means that using the unit as a
multitrack recording mixer is out of the
question without some sort of external
switching and pad arrangement.
These complaints aside, it must be said
that the DMP -7 is truly a brilliant piece of
engineering that will stimulate nearly
everyone involved with music production
to new ways of thinking, and will no doubt
set a standard for mixers of all types in
months and years to come. It doesn't quite
do everything that you might want it to,
redesigning the console. I'll bet anything
there's a 32- input, 18 -bit, 100kHz version
of the beast with 48 MIDI cables running
out of it on some test bench in Hamamatsu, just waiting for the next convention.
RE/P
pretty nasty.
The
Similar to what happens when it receives
controller string, the unit goes dead for
period of 2.5 seconds after it receives a
program change, during which it will
a
a
accept no more MIDI data or front -panel
instructions -including another program
change- except for fader movements.
This philosophy of "faders first, everything else be damned" means that although
the DMP-7 is an excellent fader automation
A
and even within its limitations, it could
perform some tasks better.
Once you understand what it can and
cannot do, you may find it one of the most
useful tools you've ever encountered, especially for a synthesizer -based studio. It
is certainly the first step for Yamaha (and,
no doubt, others) on the path to completely
Essential
few minutes of thought
will show that the
Tools.
potential uses of the
are enormous.
DMP-7
system, those who were hoping it would
also be a real time super -MIDI-controllable
equalizer and effects generator will have to
wait a while longer. There are ways around
the sluggishness of the response, if you have
sequencing software that allows pinpoint
editing of controller data, but no way
around the glitches.
There are several other moans and
groans of varying significance. Although
you can assign two different controllers
and /or notes to control a single parameter,
you can't do the reverse-assign one controller to handle several parameters
which to my thinking would be a far more
useful feature. The fade -time parameter is
not calibrated properly: at the higher
ranges, the actual fade time is about 30%
shorter than what is indicated, while when
the parameter is set for the shortest time,
0.1 second, the actual time is more like
-
15ms.
GML PARAMETRIC EQUALIZER
The analog equalization reference standard.
GML MICROPHONE PRE -AMP
Two or four channel, high- resolution, discrete, dipolar circuitry.
While the recessed buttons look sleek
and elegant, they mean that resting your
hands on the control surface is an invitation
to disaster -they activate at a very slight
touch, and have little or no tactile feedback.
They also stick under summer weather
conditions, sometimes in the "on' position,
which can be maddening.
The input trim controls seem very
flimsy, and except for the upper and lower
limits and a center detent position, getting
one of them back to a particular position
GML FADER AUTOMATION SYSTEM
Fast, reliable, and accurate. Outstanding flexibility and
functionality. The only choice in an open architecture system.
GEORGE MASSENBURG LABS
There is no comparison.
1517
20th Street. Santa Monica. California 90404 213/453 -5350 FAX 213/453-3031
Circle (61) on Rapid Facts Card
Digital Audio Recording
for TV Programming
By Peter Roos
Digital post-production facilities are now a reality
with digital recording, editing and processing equipment.
DIGITAI
TRACK CONSTRUCTI( )'4
DipNsi tidd
ramrdrqs
The proliferation of digital recording, editing, and processing equipment has turned
the dream of a complete digital post production facility into a reality.
By using industry standard digital -todigital (D -to -D) transfer protocols, a studio
IA,.Ii
Figure
1.
trnr*
Representation of the hard disc recorder/editor and the audir, networking capabilities.
Figure 2. Display of digital interfacing and connection to mixdown equipment.
90
Recording Engineer/Producer
December 1987
can be interlinked across the full audio-forvideo post -production spectrum. On
another level, audio computers now allow
sound transfers in the digital data domain
as well as the use of computer applications
software. Improved sound quality is yet
another side benefit.
High -quality sound is a necessity for
today's TV programming. Television sound
has changed considerably with the advent
of MTS stereo and enlarged audio /video
systems. More importantly, home video hi -fi
(i.e., VHS and Beta hi -fi, LaserDisc) is very
much a high -end sonic reality and, for
producers home vided distribution is a very
important cash resource.
The advantages of digital TV sound go
well beyond improved sonics. A complete
digital audio facility can provide speed and
efficiency. The real payoff comes from letting you work more quickly and meet
seemingly impossible deadlines.
As one of the last steps before distribution, audio-for -video post- production must
happen fast. From a facility standpoint, if
you complete the job quickly with highquality, your clients will remain happy
because they're spending less money.
Besides, deadlines are crucial in television. The medium works in a very
Peter Roos is vice president, operations of Transcom Digital,
a New York-based television production and post-production
Studio.
demanding time frame, and there is no
room for being late. Imagine seeing this
announcement on your television screen
one night:
"This show has been cancelled due to
complications in post."
The digital audio advantage
In order to see how digital audio really
makes a difference in terms of post production speed, the following hypothetical digital audio studio has been designed.
All the ingredients are technologically
available and the general outline could very
well be a blueprint for the audio -for -video
post houses of tomorrow.
First, however, consider how sound is
generally handled for television these days.
Post houses either work with mag on
flatbeds and Moviolas or with multitrack
tape and SMPTE time code.
With mag you physically line up the magnetic tape with a work print of the film, sliding the two pieces of film and tape against
each other until they match. You either cut
the mag or you build your pieces to assemble all your tracks and you mix with all your
mag tracks on interlocked dubbers.
The other option is working with analog
multitrack tape. Generally this involves lining up tapes of effects, narration, music and
building them onto a multitrack, coordinating all elements with SMPTE time code.
You're actually constructing the soundtrack
on the multitrack one element at a time.
Despite its common link with music recording, this system has two basic drawbacks for
television sound: you are either tying up the
master, or you're losing a generation's
worth of sound quality by recording the
elements on a second analog machine.
The real payoff comes
from letting you work
more quickly and
meet impossible deadlines.
Neither of these traditional TV sound
systems can provide the random access/
edit list building capabilities of a digital
audio /video network -clearly the wave
of the future for TV sound.
The audio/ video network
At the heart of this ideal audio-for-television studio is the digital audio network.
This is not a system built around a multitrack digital recorder. Instead, the digital
multitrack or stereo recorder is but a single
workstation in a digital audio network that
resembles more the connected automation
systems of an office PC network than it does
a traditional recording studia. Processing
power and storage are all shared.
The digital audio network is built around
massive hard disk storage system connected to a wide variety of workstations
a
that either operate independently or
interrelate for enhanced creativity and
extra -fast, intra- facility information
shuttling.
There are a variety of digital audio systems to choose from, but for television work
that system must be able to store at least 10
hours of audio material. It must also offer
flexible editing software and allow edit
list generation, database management,
time code sync reference, auto -assemble
code to change but invariably it happens.
This is the nightmare of audio- for-video
work but, fortunately, you can manipulate
things rather easily with your hard disc
audio system in place with the ease of
manipulating paragraphs on a word
processor.
The advantages of
digital TV sound go well
beyond improved sonics.
layback and random access.
The audio -for -video
process begins
With the system in place, and the video
cut already on 1 -inch tape, the process
begins. The first step involves duplicating
multiple U -matic cassette workprints and
recording each with time code.
These U -matic cassettes are duplicated
for each in -house audio group. Thus, everyone can start building their own audio lists
at the same time. Nothing is ever committed to tape. A virtual multitrack is being
created of separate edit lists, organized by
time code location and instantly accessible
with a menu command.
You never really want that original time
ion
Ian
The in -house audio groups are broken
down into the basic elements -each with
its own, individual digital requirements:
1. Music recording, including synthesizers
and MIDI sequencers.
2. Sound effects, either from compact disc
or from a digitally recorded /sampled
in-house library.
3. Dialogue recording, recorded and
sequenced digitally.
Ultimately all the edit lists will be transferred to the digital multitrack tape
recorder. An automated mixing console
will contribute its own balance and mix.
However, the important point at this early
ion
ion
ian
ion
FROM START TO FINISH
ion
... ion
Audio Cassette & Video
Tape Duplication
From 100 - 100,000 copies, the same consistent
quality goes into every tape we duplicate.
Computer controlled, state of the art facilities
accommodating all formats and budgets.
And there's more
... with
our
in -house graphics
and printing capabilities, your project will be
complimented by great looking packaging, too!
When your reputation depends on it
.
.
.
'0
ianCommunications Group, Inc.
Circle (72) on Rapid Facts Card
December 1987
Recording Engineer/Producer
91
Robert Mandell, president of Trunscom, [IefdJ und Peter Roos, rice president.
stage is that all the work is being constructed and assembled in less expensive
off-line suites using the hard disc editor. The
elements never go analog and nothing you
do involves dubbing down. All editing is
non -destructive and involves nothing more
than creating edit lists or sequences from
the original material. With
a '/o -inch
videocassette deck, a keyboard and monitor, the television equivalent of a Moviola
is created.
Digital music making
and scoring benefit
tremendously from
random- access recording.
Immediately, the speed of the system
becomes evident. You can review an entire
episode of the program with the producer
and decide where to lay in all your music
and sound effect cues by creating and
rearranging a computerized list. In fact, you
can virtually finish the project by the time
you are through reviewing the program the
first time. You never have to cue up reels
from tape libraries and fast forward them
until you reach the right spot. This is a much
faster process. The elements you need have
all been loaded onto hard disc. Cuing decisions or element changes can be made on
the spot.
Making digital music
things on the tape. You can instantly tie into
sync, grabbing time code right off the cassette. With the massive hard disc storage
capacity there's instant access to an enormous sound effects library for sampling.
Besides, all your own recordings can be
mixed, matched, stored and accessed with
limitless flexibility. Several companies offer
combined synthesizer, hard discs for "tapeless" recording. However, the component
system we've devised here allows for a flexible array of keyboards, digital sampler/
recorders and sequencer programs. New
components can be added as the technology advances.
The MIDI connection is an important element as well. As opposed to doing an original digital recording you have the option in
this digital world of doing multitrack MIDI
recording. Each MIDI track is a sequence,
like an edit list, that tells your keyboards
when they should play a particular note and
when they should shut it off. What you do
is actually build up multiple tracks of these
note -on /note -off commands. You can control a group of synthesizers and individually work on tweaking each of those tracks
one at a time. All track work is stored on a
personal computer with MIDI sequencer
software.
You can work that way first to get an idea
of multitrack capability and then do a
stereo mixdown to the digital domain. Or
you can go straight to multitrack with the
understanding that you are in an on -line situation which is much more expensive. You
can also print -out your edit lists to use as
music cue sheets.
Digital music making and scoring benefit
tremendously from random -access recording. You can work virtually by yourself,
never worrying about over-recording
92
rtecurumy cnyrneerr-ruuucer
uecen'Lief
Digital sound effects and
MIDI- generated Foley
Digital sound effects, meanwhile, come
I
from a variety of sources. There are numerous CD libraries around that provide a
growing number of digitally recorded
sound effects. Otherwise, you might
already have your own in -house archived
sound effects, samples from your MIDI
room, or sound effects you've collected in
the field with a portable digital recorder
all of which can be digitally transferred into
your hard disc system.
Sampling keyboards can now be used to
create Foley effects. Instead of physically
creating those footsteps or splashing
sounds in the studio, for example, "live"
sound effects can be simulated by the
digital piano keyboard.
An important note to make at this point
is that everything is organized with a database. You have all your elements notated
by name and time code. Since the recorder
is a computer, the database searches return
the actual sound instead of a reference to
the location of the sound on an analog tape.
In the computer all the audio is randomly
accessible and is a friendly way to work
especially with the high volume in a good
sound effects library.
-
-
Each MIDI track is a
sequence, like an edit-list
that tells your keyboards
when to play and shut off
a particular note.
Digital dialogue recording
The final element in this TV audio triad
is the dialogue, when done in the digital
domain, offers you a quick alternative to
standard ADR procedures.
Automatic Dialogue Recording (ADR) is
often done with multitrack tape machines
and videocassette reference or with film
loops and mag. It may be a fairly smooth
process in the hands of an experienced
engineer but there is no real speed
involved -especially when compared to
how fast it can fly on the digital audio network (i.e., automatically cuing the actors at
predetermined edit points). The advantages are manifold: it can also be used to
create composites from several takes and
can block movie dialogue to fit edits or to
rearrange takes. Besides, there's virtually
no lock up or rewind time involved and the
ability to slide takes with pinpoint accuracy
is an important edge.
You can't really slip and slide things effectively on multitrack tape. With a mag you
can change the interlock but nothing could
be simpler than adjusting sync via a
keyboard stroke.
the digital domain, though standardization
of digital processing equipment is still
needed to provide those absolute digital
ins /outs that we ultimately will require.
The final stereo mix is relayed to video
either to an analog video machine with a
digital audio track or to a digital videotape
recorder (DVTR). Both machines are real
world alternatives that allow you to keep
your audio digital one step longer. However,
most TV facilities don't have digital audio
VTRs, and a -inch video dub with analog audio is generally required for playback. Then again, if you prefer, you can
-
1
uplink it all digitally to satellite.
Here again the digital element prevails
because it is possible, though expensive
and not really practical, to uplink digital
audio for distribution. In fact, this process
is particularly applicable to the Sony 1630
format. The 1630 processor not only turns
analog audio to digital audio but takes it one
step further by turning digital audio into
video which can then be uplinked. You just
uplink the video, which is an encoded version of the digital audio, and then capture
it on the down side, converting it back to
digital audio with the 1630.
Digital layback
At this point the various audio workstations have created their individual edit
lists on the master hard disk system. The
lists can be called up at any time for comparison from any editing suite. Most importantly, the lists can actually be layed back
onto the multitrack '.n an automated
fashion without ever leaving the digital
domain.
The digital element prevails
because it is possible
to uplink digital audio
You don't
have to
search
for studio
automation
software
any more!
41
for distribution.
In this case, these transfers are accomplished by taking advantage of the Sony
1630 format. This format was originally
created by Sony to make non -generation
dubs between stereo machines. Other standards like the AES /EBU, Pro Digi and
DASH could also be used. Still, the point
must be made that, for this digitally integrated track construction / mixdown situation to work, all equipment must share
a common digital transfer protocol. With
the proper digital interface, you can take
advantage of all your off -line work and
auto-assemble your tracks digitally onto the
multitrack. You are ready for the mix.
Digital mixdown
We live in a world of the analog mixing
console. However, in a hypothetical situation like this you can accept the fact that the
digital console is a professional recording
reality.
During the mixdown to a stereo format,
digital processing is used to create specific
audio effects. Here too you are staying in
Introducing the A V 3000 automated management system for
audio and video studios.
AN 3000 software tracks sessions from the initial phone call through invoicing
and beyond. It keeps your studio's schedule, records session setups, tracks
equipment rentals, maintains inventory, keeps a tape library, generates reports,
interfaces with accounting, and more. Available for PC -XT's AT's, and compatibles in single and multi -user configurations.
In addition to the AN 3000 software, Micro -Point carries a full line of computer
hardware and software products for total automation of your studio.
With Micro-Point's extensive knowledge of the audio /video industry and 20
years of experience you can count on the highest level of customer service and
support. Finally! Studio automation software backed by an industry leader.
Studio Automation Software
Automated Audio Testing Software
Full Line of Computer Hardware and Software Products
Computer Products
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I
v
MICRO`-POOIIJNT
INC..
45 Kensico Dr Mt. Kisco, N.Y 10549
Phone (914) 241 -4439, Telex 353664
Call our computer bulletin board 24 hours a day at (914) 241 -8529
Circle (74) on Rapid Facts Card
December 1987
Recording Engineer Producer
93
Control room equipment
The hypothetical digital audio studio we've designed is based upon
Transcom Digital, a digital audio for- video, production and post production studio in New York. The
system was created to post-produce
a syndicated series, 'Adventures of
the Galaxy Rangers,' which is currently being aired worldwide and in
65 domestic marketplaces. The studio is now open for rental to outside
producers.
The digital audio network is built
upon the CompuSonics DSP 2002
with the combined resource of 14
hard discs. The system is directly
interfaced to a variety of video editing and music suites, as well as a
master control room that features a
Sony 3324 digital recorder and a
Solid State Logic SL 6000E console.
A direct digital CompuSonics -to3324 interface has been constructed
for this suite.
The music scoring room is built
around a variety of keyboards and
samplers including the Kurzweil 250
and the Akai S900, along with
Macintosh and Amiga personal computers running the latest MIDI controller software. Interestingly, the
CompuSonics terminal has been
removed from the suite. The user
interface is accessed from a window
on the Amiga, which can be pulled
up at any time. Customized adjustments have been made to the CompuSonics software to simplify many
of the operational commands, particularly as they apply to dialogue
recording. For instance, the system
has been customized to automatically cue the actors and to easily
make all time code adjustments.
Similarly, the CompuSonics software has been enhanced to auto assemble all edit lists during digital
layback. This feature is an industry
first, and has been designed to replicate the process that is commonly
handled during automated video
editing.
The affordable solution to AUTOMATION.
Finally there is an inexpensive, simple -to- operate, modular, full featured Automati
System to retrofit any console at any budget. MidiMation, from JLCooper, gives your console all
power and all the features previously only available as built -in features on a few megabuck console
MAGI (Mixer Automation Gain Interface), MAGI VCA (dbx"' VCAs), SAM (SMPTE AUTOMATION
MANAGER), SAMDisk 3.5" floppy sub -system, and MIDI MUTE truly constitute a breakthrough in
console automation.
Now, you can automate your studio starting for as little as $549. And, like all JLCoo
products, these grow with you
up to 56 channels! Buy only the features you need, as you need the
and add to your MidiMation system as your needs change. Best of all, MAGI, MAGI VCA, SAM, SAMDís
and MIDI MUTE require no modification of your console.
4
+ * ash
-
dhx is
a
J`OOPER
.,..
ELECTRONICS
1931 Pontius Avenue
West Los Angeles, CA 90025
.e
(213) 473 -8771
Circle (75) on Rapid Facts Card
94
Recording Engineer/Producer
December 1987
`
AP 4. r
MidiMatíon, affordable state -of- the-arrt autpmalfo-
registered trademark of the dbx Corp
,*
TLX:
_
414
5100110679 JL COOPER
r
At this point you have taken digital audio
for television as far as it can go, since a consumer digital TV standard is still years away.
However, it is apparent that the technological hardware exists to handle a TV
sound totally in the digital domain. We have
already spoken about the many
advantages- primarily speed and the lack
of generation loss. A digital audio standard,
when it develops, will mean that even more
equipment with D -to-D transfer capability
will be produced.
Meanwhile, the parallel paths of digital
audio tape recorders developing from
When a digital audio
standard is developed,
more equipment with
D-to -D transfer capability
could be produced.
videotape technology, and high powered
micro computers evolving into hard disk
record /edit workstations, converge neatly
at the television sound application. Audio tape machines designed to run on house
video sync reference, couple with video style time code list editors to create the
audio analogy of video off -line /on -line
editing.
Author Peter Roos at Trans com :s digital audit network
bank.
Transcom's mix suite features the CompuSonics DSP -2002, Sony
3324 recorder and a Solid State Logic SL 6000E console.
:iii
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THE PROFESSIONALS
200 Terminal Dr., Plainview, NY 11803
500AL ... For heavy duty on-the -air me with
wide tracking force range.
Circle (62) on Rapid Facts Card
December 1987
Recording Engineer/Producer
95
State of the Industry;
Future Trends and Observations
13y
What
is the pro audio industry going
to be like next year? In five years? In 10?
Although predicting the future can be
risky, some reasonable judgments can be
made from the issues that have dominated the industry lately. Making accurate predictions is perhaps overall
less important than stimulating new
thoughts and ideas.
RE/P started this tradition of predicting future trends because an industry
dialogue is necessary. The studio business continues to change and evolve at
an ever -faster pace. To stay competitive,
it's going to become necessary to anticipate changes, not just follow them.
The envelopes please: Here are some
of the trends that I feel are going to be
shaping the industry in the next few
years:
1. Control room dimensions will get
larger and monitoring will get smaller.
2. For large-scale monitoring, cone/
dome systems will increasingly be used.
3. The cost of digital technology will
decrease and seriously compete with its
analog counterparts, perhaps causing a
price war.
4. Studio owners will have to diversify
their business even more broadly than
they have in the past.
5. A new personnel position will
evolve in the studio, broadening the job
market.
6. Standardization between products
will have to play a bigger role.
Now for the specifics:
Studio design
For years I've worked on conceptual
designs, looking for the perfect balance
between acoustics, ergonomics and sight
lines. The future will be toward large
control rooms. This is not a new concept,
many designers are working on rooms
having 600 to 700 square feet of unbuilt
space. But, what I'm suggesting is a control room with 800 to 1,000 square feet
of finished floor space.
The production control room of the
future will incorporate enough space for
the console and engineer, all signal processing and machinery not in isolated
booths, the arranger /producer, a musician's workstation, clients and other peo-
96
Recording EngineerProducer
.tilichael Fay, Editor
ple involved in the production. Each person or group of people actively engaged
in the project will have individual stereo
audio monitoring, video monitoring, a
communication and timing network,
computer terminal, desk space for writing and direct eye -to-eye contact with
key production personnel.
Instead of high -power soffet mounted
monitors, this room would rely on multiple close field speakers with sub -woofer
support for accurate full frequency range
reproduction monitoring.
The small monitor package won't be
for everyone, but it can have a significant quality and economic impact for
those who are able to work with this
format.
For those who need large studio monitors, the future may be in the development of all cone/dome systems. As the
power handling capabilities of these
systems improve, you'll see more of this
type of product.
However, I recently spoke with a studio owner who mentioned he was going
to replace his all cone /dome system with
a popular coaxial configuration because
his clients weren't hearing enough harmonic distortion, which is frequently
misinterpreted as loudness and brightness. Most of us have been living with
mid- and high- frequency distortion so
long that these new cone /dome systems
might take some getting use to.
In a year or two, multitrack random access recording machines will be at a
price and performance point giving multitrack digital and analog tape machines
serious competition.
Although some people may speculate
that the random access competition will
result in the demise of the analog format,
it won't happen. The format will survive
and find a niche in the market as have
for example tube and ribbon products.
One of the more popular phrases these
days is "digital audio workstation."
These are powerful composition, production, and editing tools that when fully
evolved may also be able to do the real
time mixing and signal processing
necessary to produce a master quality
finished product.
These "workstations" will be ideally
December 1987
suited for integration into the large control room environment, which will also
include a main mixing console, audio
and video monitoring, and some sort of
acoustic space in which to record a live
performance or sample for further processing.
But as Sting demonstrated at New England Digital's 10th anniversary celebration at the AES in New York, all purpose "workstations" are wonderful
tools, but as a real time performance
system they will never replace live
bands.
Diversification
Everyone is talking about audio for
film and video. This is one viable way to
diversify, but the video and film industries will not be the panacea many
envision.
The amount of album work for national and regional distribution is dwindling, and the video and film markets can
provide only so much new business. The
key to survival is on the broadest level.
When the telephone rings you should be
able to say, "Yes, we can do that job."
In order to properly service the widest
possible client base, certain business
standards are necessary, such as:
1. Facilities should be operated by experienced professionals who work efficiently, and have flexible and constructive attitudes.
2. The studio equipment should be
maintained at or above the manufacturers specifications both sonically and
mechanically.
3. Provide the level of service that you
would expect to receive if you were paying someone else $50 to $200 an hour or
more.
4. Have a location that is convenient
for your daytime clients. They are the
ones who must fight traffic patterns and
deadlines.
5. The environment should be conducive to creativity and productivity.
Most clients would prefer too much light
and elbow room, to too little.
6. Rates should be consistent with the
quality of service.
7. The personal and the professional
image of business should be compatible
with that of your clients. A good image
will help to instill confidence.
These seven points are consistently
beneficial in all areas of the audio production business.
In the next few years, a new position of
responsibility in the recording studio
control room will evolve. The title might
be "systems engineer," and will be an
alternative or perhaps an addition to the
position of a second engineer. This position will be created because of the growing complexity of communication and
control systems.
The operator will be responsible for all
system communication between the studió s hardware and software. Such tasks
as electronic audio patching, MIDI patching, voice editing. sound effects
librarian, edit decision -list data entry,
and interlock system control could be effectively handled by this person.
For the aspiring audio engineer, this is
an area of opportunity, especially as it
becomes harder to break into the
business.
Imagine where the acceptance level of
the digital tape machine would be today
if manufacturers would have adopted a
single sampling rate standard. Or, how
much easier installation jobs would be if
SoperSound
Now on CD
there was a single standard governing
which pin is hot on an XLR connnector.
The professional audio industry would
be improved by finding ways to implement certain standards for formats, connectors and communications protocol.
The explosive growth of the electronic
musical instrument industry is largely
due to the universal acceptance of MIDI.
The desire to design new and uniquely
superior products helps lead to progress.
But time, energy and money are better
spent focusing on improved sonic and
mechanical operations than on attempts
to corner the market by developing an
incompatible format.
Publications
It is not enough to just look at the
future trends as they relate to the
manufacturers and users of equipment.
We must also look at the future of pro
audio publications.
The editorial criteria that served our
industry in the 1970s is only partially
adequate in the late 80s and on into the
90s. Today the stakes are high, and in
order to serve the industry effectively
pro audio publications will have to be actively involved.
For these publications, technology is
PLUG INTO
AUDIO -LINE
PRODUCTS
not only allowing us, but forcing us to be
more objective, creative, and educational in editorial content.
A professional trade journal can and
should help you do your job better. We
are in a position to help our readers
evaluate new developments by asking
and answering questions on how will this
product help engineers work more effectively and how will this hardware invest ment better service clients or make more
money.
Obviously, there are other issues that
will become important, and the importance of some of the issues mentioned
here may not be apparent for some time.
But it's undeniable that this is an exciting
time to be in the pro audio industry, and
despite some uncertainty, the future is
definitely bright.
If you have any thoughts on what is going to be important in the future and
want to share them with the rest of the
industry, write to me at RE/Ps
Hollywood office. The address is 1850 N.
Whitley Ave., Suite 220, Hollywood, CA
90028. The best responses will be included in the "Letters" department in future
issues.
In the meantime, here's to a successful
1988.
LIZFJP1
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MUSIC LIBRARY
P.O. Box 498. Palo
Alto. CA 94301
Circle (73) on Rapid Facts Card
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AUDIO ACCESSORIES, INC., MILI. STREET. MARI.OW, NH 03456
Circle
033)
(603) 446-3335
on Rapid Facts Card
December 1987
Recording Engineer/Producer 97
New Products
Editor's note: This month, "New Products" focuses on the recent AES convention in New York-new products that
were introduced, additions to a product
line, or enhancements or revisions to existing products. Each entry has a Rapid
S t r e e t e rv i l l e
.
Facts number at the end. For more information on any of the products listed, circle the appropriate number on the Rapid
Facts Cards at the back of the issue.
More products from the AES will be
featured in the January issue.
.. The Class of Chicago
á
New England Digital
Direct -to -Disk recorder
A stand -alone digital audio recorder,
the unit features 100kHz, 16 -bit recording and is used in conjunction with the
company's Audio Event Editor software.
The unit is available in 4 -, 8- and
16 -track configurations. Recording time
up to one hour is available at the 100Hz
sampling rate; in a 16 -track system. up to
32 hours of time is available at 50Hz
sampling.
Circle (100) on Rapid Facts Card
Studer A820
multitrack recorder
The A820 is a -inch, 8- channel version of the 820 series, and is aimed at the
advanced production and video post
markets. Optional plug-in noise reduction cards can be integrated into the machine, and reels up to 14 inches can be
used.
Circle (101) on Rapid Facts Card
1
When you talk about class in recording studios there are two factors to
consider - people and facilities. Here at Streeterville we have both. Creative
engineering excellence plus support staff services with a 'family feel,'
combine with state -of-the -art facilities for a studio atmosphere
that is second to none.
Ask participants in Chicago's production community - the producers,
singers, players and announcers - about "Streeterville People." You will
unanimously hear that from session engineers to studio owners /managers
Streeterville provides personable, energetic professionals who will draw
upon the experience and resources of this 18-year -old organization all for
one goal - to insure your project's success.
Facility -wise, there is only one word used to describe Streeterville:
world -class. Streeterville is based around six 24/48 track studios with
variable room acoustics, two Solid State Logic music systems, customized
Neve desks, two Harrison consoles, an unimaginable array of outboard gear
and a Synclavier Digital Audio System. Add to this unmatched sound -topicture capabilities and international satellite services and you'll find
yourself working in one of the nation's finest audio facilities.
In the
final mix, Streeterville makes one classy statement.
streeterville
7
Studios
-
Synclavier Digital Audio System 2 Solid State Logic Studio Systems
Neve NECAM
Up to 48 Track Recording
Nationwide Satellite Recording Services/Uplink & Downlink
Streeterville Recording Studios
161 E. Grand A
Chicago, IL 60611 (312) 644-1666
Circle (84) on Rapid Facts Card
98
Recording Engineer/Producer
December 1987
Optical Media international
sampling discs
"Northstar Gold" is a CD -ROM disc
pressed in 24 -karat gold, and contains
about 450 sound samples for the Emulator II and in -house sounds from the company. The gold pressing allows for higher reflectivity and a longer life span, the
company says. "Universe of Sounds,"
Volume 1, contains 3,200 keyboard layouts for E -mu Systems Emax samplers.
Circle (102) on Rapid Facts Card
Yamaha DEQ7 digital equalizer
The rack -mount unit has all preset EQ
configurations, with 60 RAM memory locations that allow settings to be stored.
All signal processing is in the digital domain, the company says. MIDI, digital
and analog inputs and outputs are also
included.
Circle (103) on Rapid Facts Card
The ideal
New Products
microphone cable
for fixed
installations
Leonardo librarian software
Professional Librarian software enables computerized search and playback
of compact disc sound effects and pro-
duction music libraries. Designed to run
on PCs and compatibles, the system controls a Sony CDK -006 multiple compact
disc player. Discs can be searched by category, description, tempo, length, instrumentation, sound types, key or mode.
Circle (104) on Rapid Facts Card
3M 8175 splicing tape
Featuring a synthetic adhesive that is
said to prevent creep and drying out, the
tape is designed for use with digital audiotape. A special black backing eliminates
translucencies experienced with splicing
tape with clear backing, and prevents a
digital audio recorder from interpreting
splicing gaps at the end of the tape, the
company says.
QSC Series Two
power amps
Consisting of the MPS 2300, the A2300
and the A2150, the series is designed for
commercial sound applications. The
amplifiers incorporate transformerless
audio circuits and direct outputs, which
the company says delivers flatter frequency response, lower distortion and
better output regulation. The MPS 2300
is a music and paging system; the A2300
is a 2-channel, 150W per channel amp;
and the A2150 is a single-channel, 150W
amp.
Dupont Kevlar 29" fibers for high
tensile strength. Stronger than
steel, Kevlar can resist more than
3 times the tension of usual
reinforcement filler to prevent
stretching or kinking of wires
when pulled through conduit.
Drain wire for
ground return.
\
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Circle (135) on Rapid Facts Card
Star -Quad
4- conductor
design cancels
electro- magnetically
induced noise from
SCR dimmers and
fluorescent lights.
Irradiated Polyethylene
insulation is cross -linked
so it will not shrink back,
deform or char when
soldering.
Circle (108) on Rapid Facts Card
Four Designs rack
Son of FX is a mobile workstation that
Aluminum foil shield provides
100% coverage to block
electrostatic noise while
giving the cable a very
thin profile.
allows the organization of recording,
computer and rack -mount equipment.
Two adjustable shelves are included to
hold such items as recorders or drum machines, while 10 units of rack space are
provided. The unit is made of wood,
which eliminates ground loop problems,
the company says.
PVC gray jacket.
Canare L -4E5AT (smaller diameter)
and L -4E6AT (larger diameter) cables
are designed for use with micro-
Circle (118) on Rapid Facts Card
Sunkyong chrome audiotape
Designated UCR, the chrome tape is an
addition to its music and voice grade
tapes, and is available in 10,500 -foot pancakes.
Circle (124) on Rapid Facts Card
Digital Audio Research
Soundstation
11
Professional Audio Systems
Studio Monitor 1
The monitors feature Time Offset Correction and use beryllium diaphragm
compression drivers, allowing extended
HF response to 20kHz, the company
says. the 2 -way, biamped system has
10W power output and nominal impedance of 812, high and low.
Circle (109) on Rapid Facts Card
For use in audio, video and film production, the unit combines multichannel
digital audio recording, direct- access
sound editing and digital signal processing. The basic configuration includes
4- channel recording and editing and can
be expanded to eight channels. The unit
uses 51/4 -inch Winchester and WORM
disks for audio storage.
Definition series multicore cable is designed for speaker systems with electronic crossovers. Each conductor comprises
224 strands of pure, oxygen -free copper,
enabling greater sound clarity, the company says.
Circle (110) on Rapid Facts Card
Circle (120) on Rapid Facts Card
TMB/Mogami
Definition series cable
phones and for line -level signals
from mixers to power amps. They
are ideal for laying in conduit, instal-
lation between or within audio
equipment, and general industrial
use. These high shielded professional cables with their unique Star Quad configuration reduce hum
and noise to less than 1/10 that of
conventional 2- conductor mic
cable. A choice of two diameters
makes it the perfect cable
for sound contractors. Request
Canare's full line cable catalog.
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TYPICAL 2- CONDUCTOR
MIC CABLE
Ampex cassette shipper
An optional shipper /hanger box for
Ampex 467 digital audio cassettes features injected molded plastic, a dust seal
and vertical stabilizers. The shipper allows cassettes to be stacked easily for
shipping and storage.
Circle (131) on Rapid Facts Card
CANARE
L -4E5AT
& L -4E6AT CABLE
CANARE CABLE INC.
832
N
Victory Blvd. i Burbank. CA 91502
18181840 -0993
Circle (76) on Rapid Facts Card
December 1987
Recording Engineer/Producer
99
New Products
ment. The process is a mastering lathe
that generates CD pits by embossing in
real time, which allows the results to be
checked immediately. The lathe is small
and lightweight, allowing it to be used in
a studio, and lets artists monitor a CD
master during the recording process.
111111111111111111111111
Circle (117) on Rapid Facts Card
the current generation of DASH and PD
digital recorders and is claimed to have
àn exceptional carrier -to-noise ratio, ensuring low error rates. It is available in
'/a -, 'h- and
-inch widths, and in 5,000-,
7,500- and 10,000 -foot lengths. The
R -DAT duplication cassette is available in
60- minute lengths.
1
Circle (121) on Rapid Facts Card
ANT E413 multitrack NR
The noise reduction system
is
a
24- channel unit and is the latest member
of the company's telcom C4 NR system.
Based on the company's C4 E card, the
unit is claimed to be smaller, lighter and
more energy efficient, with
range of 118dB.
a
dynamic
Circle (106) on Rapid Facts Card
Sennheiser RF
mic monitoring system
The computer -based monitoring system monitors and displays the signal
strength, audio output and frequency error of wireless mies on up to 27 individual channels. Each channel is identified
by number, frequency and the individual
performer's name. The system is designed for large -scale theater, film and
television productions.
Teldec Direct Metal
Mastering for CD
Previously used for vinyl records,
DMM can now be used to master compact discs without a clean room environ-
Circle (116) on Rapid Facts Card
Agfa- Gevaert PEM 291D
R -DAT cassette
The master tape has been designed for
master tape,
KABA Cool Power Tower
The oak equipment cabinet is fan
cooled, equipped with castors, and accommodates rack mounts or stacked
equipment. The unit also comes with 12
surge-protected outlets, an 8-foot power
cord and a spare convenience outlet.
Circle (132) on Rapid Facts Card
Milab LC -28 microphone
A new version of the LC -25 transformerless condenser mic, the LC -28 has a
switchable high-pass filter, and 10dB and
20dB pads. Sensitivity has been increased
by 5dB, and maximum SPL is 145dB.
Circle (105) on Rapid Facts Card
IMMEDIATE AVAILABILITY FROM STOCK!
QUALITY JEWEL
BOXES FOR CD'S...CD STORAGE SYSTEMS...
NORELCO BOXES
FOR CASSETTES.
1/4" TAPE REELS and BOXES
C -O Cassettes (sonic and screw type)
Soft Poly Boxes Ampex Style Boxes
Cassette Hub Locks Cassette Splicing Tape
Hubs and Cores for Video and Cassette Tapes
7 -1/2" Reels for Studio Masters
El Mar Plastics, Inc.
(213) 327-3180
821 E. Artesia Blvd.
Carson
CA
90746
SUPPLYING THE TAPE INDUSTRY SINCE 1966
Circle (81) on Rapid Facts Card
100
Recording Engineer/Producer
December 1987
For fast, accurate service, please remove
the peel off label used to address your
magazine, and attach it to the Reader
Service Card, the Address Change Card
or to any correspondence you send us
regarding your subscription.
New Products
cilitate time correction between drivers
in a loudspeaker cabinet.
Circle (111) on Rapid Facts Card
Lenco MPA -2100
and -2300 power amps
The MPA-2100 is designed for close-
RAMSA WR -S840 series console
The line of consoles is designed for
sound reinforcement mixing and features 40 input modules, eight group and
eight aux buses, and an 8x11 output matrix. Options include a submix input
module that configures the console to accept up to 160 mic or line inputs, and a
configuration that converts the console
into a stage monitor mixing console with
18 discrete sends.
Circle (113) on Rapid Facts Card
field and cue systems, while the 2300 is
for dedicated monitors and concert
sound reinforcement. Both have extractable channel power modules, a front-side
cooling system, and no wire used in the
audio pathways.
Circle (112) on Rapid Facts Card
REA)
New! loexpeosive
Ceoter Irack Iime-Coe
for Noo-IC Audio Machines.
Sony enhancements
for MXP -3036
New options for the recording /remixing console include vacuum fluorescent
light meters for more readability, a wild
fader option to increase the number of
effects in a mix, and software enhancements for the console's automation system to provide greater storage capacity,
greater user interface and new features.
Circle (129) on Rapid Facts Card
Otani TC -50
time code /FM processor
The TC-50 is a retrofit for Otani
2- tracks such as the BII, MKIII -2 or 5050,
and adds center -track time code. Two track, 1/4-inch machines can be synchronized to a videotape or film machine
with stereo audio, eliminating the need
to purchase a 1/2-inch, 4 -track machine.
Circle (125) on Rapid Facts Card
Now you can make your 2 -track machines
synchronizer-ready for a fraction of the cost of a new
machine. Otari's new TC -50 Time Code /FM Processor is
primarily designed for the Otani BII or Mark III -2 but it is also
adaptable to most 4- head -position 1/4" tape recorders.
So if your older machines have just been gathering dust,
or if you're looking for a way to get synchronizer -ready
performance at low cost when you buy a new machine, the
TC -50 is the answer. From Otani; Technology You Can Trust.
Contact your nearest Otani dealer, or
Otani at (415) 592-8311.
Circle (77) on Rapid Facts Card
` OTa, 1987
Studer A721 cassette deck
This pro cassette recorder replaces the
A710 and is a 4- motor, dual capstan unit
with a die-cast transport and headblock.
Dolby B and C NR is available, as well as
Dolby HX headroom extension.
EXCELLENCE is the result of uncompromising dedication
to quality and service.
JRF is proud of its reputation as a leader in the field of magnetic heads
Our technical and engineering staff is committed to providing the f nest
products and services
Circle (138) on Rapid Facts Card
CADD DL -1 crossover system
The DL -1 is a digitally based audio system control unit. A crossover can be configured in a stereo 3-way or stereo 2 -way
mode. In addition, the unit has a digital
compressor/limiter on each output for
loudspeaker protection, and a digital delay circuit for each frequency band to fa-
r
=>
Magnetic Head Refurbishing
Optical /Digital Assembly
Alignment
MCI /Sony parts dealer
Full line of replacement heads
IN STOCK
Fast, reliable service that's
3M parts dealer
Technical Assistance
unmatched for quality
Responsive to the needs of the recording industry. we at JRF feel there can
be no substitute for EXCELLENCE
Irla'
MAGNETIC SCIENCES
Kennedy Road P.O. Box 121
Greendell, Ni 07839
Tel: (201) 579 -5773
Fax (201) 579 -6021
Telex 325 -449
Circle (78) on Rapid Facts Card
December 1987
Recording Engineer, Producer
101
Continued from page 81
J-Mar Electronics Ltd., 6
34 Parkdale Avenue N., Hamilton,
Ont., Canada, L8H 5W8 (416545 -0404) Ont., Amplifiers; ConProduction &
soles, Recording,
Banigan
Drive, Toronto, Ont., Canada, M4H
1E9
(416 -421 -9080)
Canada.
Amplifiers; Consoles, Recording,
Production & Sound Reinforcement;
Editing Systems; Equalizers; Loud-
Sound
& Studio Monitoring; Microphones &
Acces.;MIDI Devices & Sound Samplers; Noise Reduction Systems; Re-
plers; Noise Reduction Systems; Recording Tape; Signal Processors;
Synthesizers & Keyboards; Tape Du-
cording Tape; Signal Processors;
Synthesizers & Keyboards; Tape
Machines. Analog; Time Code Syn-
The Music Plant, 908 -A Island High-
2N5
(514- 499 -0331)
Canada, Character Generators; Test
Wave
Equipment, Vectorscopes;
Form Monitors; Battery Belts; Tripods; Fluid Heads
M.E.S.-Music Equipment Sales Ltd.,
way, Campbell
V9W
Oakwood Audio Labs, 652 King Edward St., Winnipeg, Man.. Canada,
R3H
(204- 786 -6715)
OP2
River, BC, Canada,
2C3(604- 287- 7770)North
Vancouver island and outlaying area
of BC, Amplifiers; Consoles, Sound
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cording Tape; Signal
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1444 Hymus Blvd., Dorval, Que.,
H9P 1J6 (514 -6851610) Canada, Consoles, Record-
ing, Production & Sound Reinforce-
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Editing
Tape
Systems;
Machines, Analog
Tartini Musical Imports Ltd. (TMI),
2530 Davies Ave., Port Coquitlam,
BC,
Canada,
464 -1341)
V3C
3V7
Canada,
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Analog, Digital; Time Code Synchro-
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Amplifiers;
Tele-Tech Electronics Ltd., 920 Denison St., Unit 11, Markham, Ont.,
Canada, L3R 3K5 (416 -4755646) Canada, Amplifiers; Consoles, Recording & Production; Editing
Equalizers;
Systems;
Loudspeakers, Studio Monitoring;
Microphones & Acces.; MIDI Devices
& Sound Samplers;Noise Reduction
Systems; Recording Tape; Signal
Processors; Tape Machines, Analog
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You
Experience the
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Consoles, Recording, Production &
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Soundcraft Electronics Canada Inc.,
chronizers
Mediatech Inc., 1010 E. La Gau chetiere St., Montreal, Que., Canada,
H2L
Equalizers;
Loudspeakers, Sound Reinforcement
speakers, Sound Reinforcement &
Studio Monitoring; Microphones &
Acces.;MIDI Devices & Sound Sam-
plication; Tape Machines, Analog &
Digital; Test & Measurement Equip.;
Time Code Synchronizers
Reinforcement;
sizers & Keyboards; Porta Studios
DIGITAL
Advantage.
The Pro's
Compact
!.4:`F,1
Disc
/
Player.
1- 800 - 223 -6278
But if you do. well send you right away, and at no charge, the
complete Valentino Compact Disc Production Music and
Sound Effects Libraries Catalog that has everything you need
for your productions -the complete listings for both libraries. a
FREE Compact Disc Demo for both collections, and all ordering
information. But, we can't send it to you, unless you call us.
So take the first step. CALL TODAY!
VALENTINO... the first Production Music Library on Compact Disc!
VALENTINO... the first and ONLY digitally recorded sound effects
library produced in the United States.
In New York call (212) 869 -5210
-Valentino,
151 W
CUSTOM SOUND
Pro Audio Showroom
160th & S. Halsted
Harvey. IL 60426
Mailing Address
P.O. Box 135
S.
Holland, IL 60473
Demos Available
Call for Details
Monday - Friday 9:00 -6:00
Saturday 10:00 -5:00
(312)596-0309
46th Street. New York. NY 10036
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102
rïdsjewater
Recording Engineer/Producer
December 1987
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FOR SALE
Classified
TWO (2) SCULLY 280.8 -'
(E
MOST COMPLETE
SELECTION OF
sole mounted, 1981 Models. NAB equalization,
7'h + 15 IPS, DC Servodrive motor includes two
extra record /playback ampcards, one biasoscillator card, one logic card, one servocard. Heads
replaced last year. Price $1500 each. Call Harrah's
(702) 588-6611, ext. 2240 (Sue).
12-87-1t
Advertising rates in Classified Section
are:
$1.00 per word per insertion. Initials and
abbreviations count as full words.
"Blind" ads $25.00 additional. Minimum
classified charge $20.00. Classified is
also available at $112 per inch. Order
must be accompanied by payment to ensure publication.
Classified columns are not open to
advertising of any products regularly
produced by manufacturers unless used
and no longer owned by the manufacturer or distributor.
Classified Advertising should be sent
to RE /P, Advertising Department, 9221
Quivira Rd., Shawnee Mission, KS 66215.
AUDIO TEST
MIDWEST BASED national radio production facility needs Production Engineer with management
skills. Must have five years experience including
documentaries and radio commercials. Send
tape, resume, salary history and references to
Recording Engineer /Producer, P.O. Box 12901,
Dept. 504, Overland Park, KS 66212.
12.87.1t
TAPES
All formats including cassettes
EXCELLENT OPPORTUNITY for audio engineer
with full experience in audio sweetening for video.
Write to: Dept. A, P.O. Box 780. 340 West 42nd
Street, NYC 10036.
12.87.1t
Write or phone for free catalog
TI
STANDARD TAPE LABORATORY, INC.
HELP WANTED
26120 Eden Landing Road
If`
MANUFACTURER'S REPS WANTED for our lines
of telephone teleconferencing equipment, audio
products and pre -wired patch panels. Technical
background required. Send resume with current
list of products represented to: Gentner Electronics Corporation, P.O. Box 27647, Salt Lake City, Utah 84127-0647, (801) 268-1117.
12.87 -1t
MISCELLANEOUS
NEUMANN/SCHOEPSIAKG tube mikes in excellent condition, Gotham checked W. new capsules in most cases; VF -14 tubes for U -47; also
'telcom' N/R cards; Send SASE for complete
listing to: Stephen Temmer, 767 Greenwich St.,
NYC 10014.
TRK tapedecks, con-
PROJECT MANAGER -MONSTER CABLE. We
need your audio experience! We are looking for an
audio industry professional with background in
R&D and marketing to co-ordinate introduction of
new products into the marketplace. Work with
talented engineering and mktg. depts. in a friendly
but intensive atmosphere. Put your audio experience to work for you in this key co-ordination
position. If you have boundless enthusiasm and
energy to match, call and tell us about your experience. Manf. background a must. Personnel,
2-4 p.m., 415-777-1355. San Francisco, CA. 12.87.lt
11.87.2t
WANTED -Tube -Type equipments by McIntosh,
Marantz, Quad, ARC, Western Electric. Early
speaker systems, units, by Tannoy, JBL, EV,
Altec, Jensen, W.E. Tel: 818/576 -2642, Audio City,
P.O. Box 832, Monterey Park, CA 91754.
12-87 -tfn
*5,
Hayward, CA 94545
(415J 788 -3546
Circle (82) on Rapid Facts Card
sound Off
Two Ways
For Studio Demos or Retail Sales
SOUNDSHEETS: Flexible vinyl discs
sound great, won't break!
AUDIO CASSETTES: Send for your
free "Cassette Talk" newsletter complete
cith latc.t I'riccs.
EIATCIRE
I
LL FR7E0E
7 B
1
8R0.
0 -EeVaA
E
w-TON FL
7 0
Circle (83) on Rapid Facts Card
The Best That Money Can Rent
a
599 Eleventh Ave.
NY, NY 10036
(212) 582-4400
Digital Multitrack
Time Code Equip
Walkie Talkies
PA Equip
Wireless Mikes
Video Playback
AUDIO CONNECTORS
Outboard Equip
Mixing Consoles
JACK PANELS
Prewired
availablei
-44
On -Call 24 Hours
Circle (85) on Rapid Facts Card
MULTISWITCH' SWITCHES
''e one -stop
source for all your electro-
mechanical needs Standard and custom
assemhkvS Fr,-' catalogs available
IN OUR CONTINUING EFFORTS TO SERVE YOU...
13717
From time to time, Intertec Publishing Corp. makes its subscriber lists
available to carefully screened companies or organizations whose products,
services, or information may be of interest to you. In every case, list users must
submit their promotional material for approval. They may use the list only once.
No information other than name and address is ever divulged, although names
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If you wish to have your name removed from any lists that we make available to
others, please send your request, together with your mailing address label to:
Direct Mail Mgr.
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P.O. Box 12901
Overland Park, KS 66212
Sa
PRO SOUND
Normandie Ave Gardena CA 90249 11131 770 2330
Oulside CA Cali Tau Free 18001 421 2471
Circle (84) on Rapid Facts Card
ail
FREE
v.c
32pg Catalog á 50 Audio Video Appllc.
.o.
100,-,o
aUy,Ce.
c
-,
6a,o
Ne
4.046:
n,,, 2-out,
TV Audio
DM Ample
N
i
1
6-
1
n 4
-om, 14-In
Price! Prod Consoles
(213) 934-3588
®oOPAMP LABS INC
1033
cn,
411.0
oec
Sycamora Av LOS ANGELES CA, 90038
Circle (88) on Rapid Facts Card
PORTABLESMPTE TIMECODE
GENERATOR /READER
I
alit
lr,llurrJ
-
I
$595
\UF h'tmote
il
s'.a
-
tim,)// pac ka,qt -/.,
I
Set rear/ antl run L ser Bits
4-di i1 LED. L7h,t..t'tli>pla1. mure.
3
.
.
TAO LOGIC COMPANY
(714) 997-7165
Circle (87) on Rapid Facts Card
December 1987
Recording Engineer/Producer
103
Advertiser s Index
Page
Number
AIT Scharff Rentals
AKG Acoustics, Inc
Alpha Audio
Amek Systems & Controls Ltd
Ampex Corp
Aphex Systems Ltd
Applied Research & Technology
Atlas/Soundolier
Audio Accessories, Inc
Audio Control
Audio Kinetics Ltd
Audio Precision
Bridgewater Custom Sound
Bruel & Kjaer
Canare Cable Inc
Capital Magnetics
Carver
Cetec Gauss
Cipher Digital Inc.
Community Light & Sound
Cooper, J L Electronics
Countryman Associates
USA
Denecke Inc
D & R
Dimension Music Library
Electro-Voice, Inc.
Electro -Voice. Inc.
Elmar Plastics
Europadisk. Ltd.
Eva-Tone Inc.
Everything Audio
Fostex Corp. of America
Future Disc Systems
Gentner
GML
IAN Communications Group, Inc
JBL Professional
Jensen Transformers
JRF Magnetic Sciences, Inc
KABA Research
& Development
KCC Audio /Video
Klark -Teknik Electronics Inc.
103
Rapid
Facts
Number
212/582 -4400
203/348 -2121
804/358 -3852
85
45
65
36
27
16
11
9
61
47
25
43
15
63
76
66
81
59
102
80
35
21
99
50
76
51
43
69
53
21
13
77
67
75
94
87
71
68
65
23
33
100
78
103
54
14
20
69
83
10
44
40
24
79
58
89
61
91
72
213/327 -3180
212/226 -4401
800 /EVA -TONE
818/842 -4175
213/921 -1112
213/876 -8733
801/268 -1117
213/453 -5350
617/658 -3700
5
32
19
101
78
19
818/840 -0993
213/461 -2701
818/442-0782
213/875 -1900
301/695 -0200
215/876-3400
213/473 -8771
415/364 -9988
817/548 -1677
818/766 -3525
800/634 -0091
37
15
IBC
40
800/231 -7350
312/596 -0309
60
38
52
81
1
25
12
Number
213/876 -0059
201/579 -5773
800/231 -TAPE
212/228 -3063
516/249 -3660
45
37
22
46
42
Littlite/CAE, Inc
64
34
Magnetic Reference Laboratory, Inc
Martin Audio Video Corp.
Micro Audio
Micropoint
Musically Intelligent Devices Inc
Nakamichi USA Corp.
74
57
62
75
49
212/541 -5900
65
93
74
68
29
51
13
8
800/445 -1248
914/241 -4439
516/864 -1683
213/538.8150
203/744 -6230
213/934 -3566
415/592 -8311
415/592 -8311
818/241 -5585
601/483 -5365
312/298 -5300
800/421 -2471
213/534 -3570
714/645 -2540
714/838 -8833
206/774 -7309
818/880 -4054
212/315 -1111
800/227 -9980
612/339 -6303
415/786 -3546
17
Opamp Labs
Otari Corp
Otari Corp
Patch Bay Designation Company
Peavey Electronics Corp.
103
31
18
PolylineCorp
62
103
48
Professional Audio Systems
QSC Audio Products
Quantum Audio Labs
47
27
Rane Corp.
Saki Magnetics. Inc
Pro Sound
Solid State Logic
Soper Sound Music Library
Southern Thunder Sound
Standard Tape Laboratory, Inc.
Stanton Magnetics Inc.
Stewart Electronics
Streeterville
Studer Revox /America
Switchcraft
3
86
4
101
77
85
71
84
17
11
60
46
73
56
68
78
IFC -1
97
70
73
103
82
62
70
95
85
98
BC
55
64
3
39
23
103
87
617/893 -5900
800/325 -8494
313/231 -9373
415/965 -8187
916- 635 -3011
312/644 -1666
615/254 -5651
102
Valentino Music Library
72
Washington Music Center
Washington Professional Systems ...66
Westlake Audio Professional Equip.
79
33
714/997-7165
213/726 -0303
612/887 -5531
213/603 -1976
213/533 -8900
212/869 -5210
301/946 -8808
301/942 -6800
Sales Group
Yamaha Intl. Corp.
55
30
213- 851 -9800
41
26
TAO Logic
TASCAM Div./Teac Corp
Telex Communications, Inc
Thermodyne International Ltd
Trident USA Inc.
7
57
67
9
6
32
50
7
39
NEW YORK, NY
OVERLAND PARK, KS
SANTA MONICA, CA
LONDON, ENGLAND
Mary Tracy
Herbert A. Schiff
913 -541 -6637 or
913-888 -4664
213 -393 -9285
Jason Perlman
P.O. Box 12901
213- 458 -9987
Overland Park, KS 66212
Telex: 42 -4256 Intertec OLPK
Telefax: 913-888-7243
Chris Woodbury Leonard
213 -451 -8695
Schiff & Associates
501 Santa Monica Blvd.
Santa Monica, CA 90401
Telefax: 213- 393 -2381
Nicholas McGeachin
Roseleigh House
New Street
Deddington, Oxford
0X5 4SP England
Telefax: (0869) 38040
Telephone: (0869) 38794
Telex: 837469 BES G
Recording Engineer/Producer
Advertiser
Hotline
59
Sales Offices
104
Rapid
Facts
Number
Klark -Teknik PLC
Kurzweil Music Systems, Inc
Lenco
Neve Inc.
29
53
5
415/367 -3809
818/765 -2212
716/436 -2720
314/349 -3110
603/446 -3335
206/775 -8461
40
97
70
Page
Advertiser
Hotline
December 1987
Stan Kushine
212.702 -341)1
29th Floor
866 Third Ave.
New York, NY 118)22
Telefax: 212-702-7802
NORWOOD, AUSTRALIA
Hosto.ell, Williamson
Rouse Pty. Ltd.
P.O. Box 419
Norwood, Australia
Telephone: 332 -3322
Telex: AA87113
11119
BEI
Portable 4- position system in road case. Produces
mas:ers from live recording and duplicates 19 C -45s
per hcur double time.
4
REAR
in roll- around oak cabinet.
Cabinet dimensions: 203/4"w x 19 "d x 72'/2 "h.
Production - over 100 C -40s per hour, double time.
FRONT
22- position system
P
O
vD
IL
L
U
Q
1
4949
CA
X041
Novato,
Blvd., call (4&1 ßß3
24 Commercial in CA
Development
K
A-ßó
KAgp Research231--T APE
lß
TO\I Free
EMS
`
LEI,
DC
CIC
110- position system in roll- around
oak cabinets. Production
capacity, C -45s per 8 -hour shift:
Real time - 1700
Double time - 2700
Floor area required - 13.5 sq. ft.
Power required - 2500 watts.
Circle
(1) on Rapid
Facts Card
1
11
GE
CCI GE
CC GC
GE
CC
GE
CIC
1
11
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= '=
= ® .1.
Bit a Studer
Introducing the
D820X DASH Format
Digital Audio Recorder
STUDER .10W_
;
STUDER REVOX AMERICA, INC.
1425 Elm Hill Pike, Nasl-v Ile, TN 37210
(615) 254-5651
Offices.
Los Angeles (818) 780 -4234
New York (212) 255 -4462
Chicago (312) 526-1660
Dallas (214) 943-2239
San Francisco (415) 9309866
The wait is over. Digital hits finally entered the Studer era.
For over 35 years, Studer has concentrated exclusively on one goal:
designing and manufacturing the world's finest audio production equipment. So when it comes down to what professionals want, Studer delivers.
The D820X is no exception. Listen to it-carefully! You'll hear flawless sonic resolution, thanks to proprietary digital processing circuits
and uncompromising analog input /output electronics.
Then do a razor-blade edit. Feel how the controls shuttle tape with
effortless precision. Note how the meter overbridge panel provides comprehensive control of all operating modes and level adjustments.
Finally, tilt up the transport to examine construction and craftsmanship. No other digital recorder can match what you'll see.
The D820X is built to last It's every bit a Studer.
Robust Twin -DASH format at 15 ips 14" reel capacity PWM auxiliary tracks with configuration for CD subcode mastering data Fully programmable operating keys Service diagnostic displays Internal operating system provides RS232 access to transport and digital audio
operations.
Circle
(3) on Rapid
Facts Card
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